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Typographic Design: Form and Communication 7th edition [Minkštas viršelis]

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(Virginia Co), (Maryland Institute College of Art), (Maryland Institute College of Art), (Virginia Commonwealth University; Syracuse University; National College of Art and Design in Dublin, Ireland), (Virginia Commonwealth University)
  • Formatas: Paperback / softback, 368 pages, aukštis x plotis x storis: 274x216x20 mm, weight: 975 g
  • Išleidimo metai: 13-Mar-2018
  • Leidėjas: John Wiley & Sons Inc
  • ISBN-10: 1119312566
  • ISBN-13: 9781119312567
Kitos knygos pagal šią temą:
  • Formatas: Paperback / softback, 368 pages, aukštis x plotis x storis: 274x216x20 mm, weight: 975 g
  • Išleidimo metai: 13-Mar-2018
  • Leidėjas: John Wiley & Sons Inc
  • ISBN-10: 1119312566
  • ISBN-13: 9781119312567
Kitos knygos pagal šią temą:
The bestselling introduction to designing the written word

Typographic Design: Form & Communication is the definitive reference for graphic designers, providing a comprehensive introduction to the visual word. Done well, typopgraphy can communicate so much more than the words themselves. Typographic design determines how you feel about a message, the associations you make, and ultimately, the overall success of the communication. Typographic design extends from the page to the screen, and is a critical element of almost any graphic design project. This book provides essential guidance on everything related to type: from letterforms and negative space, to messaging, processes, and history, aspiring designers will find great utility in mastering these critical concepts.

This new seventh edition has been fully updated with new coverage of contemporary typography processes, updated case studies, and new examples from branding, print, web, motion, and more. On-screen typographic design concepts are discussed in greater detail, and the online supplemental materials include new flashcards, terminology and quizzes.





Understand design factors as they relate to type Explore communication and typographic messaging Learn how typography has evolved, and where it is headed Adopt established approaches to designing with type

The irony of typographic design is that, when done well, it often goes unnoticedbut its impact on a projects overall success is undeniable. Typography can make or break a page, can enhance or overpower an image, and can obscure a message or bring it into sharp focus. It is one of the most powerful tools in the graphic designers arsenal, and Typographic Design is the complete, practical introduction.
Foreword viii
Rob Carter
Introduction ix
1 The Evolution of Typography
1(32)
From the origins of writing to Gutenberg's invention of movable type
2(5)
Typography from Gutenberg to the nineteenth century
7(5)
The nineteenth century and the Industrial Revolution
12(6)
Typography in the twentieth century
18(9)
A new century and millennium begin
27(6)
2 The Anatomy of Typography
33(20)
Letterforms analyzed
34(3)
The typographic font
37(3)
Historical classification of typefaces
40(4)
The type family
44(4)
Typographic measurement
48(3)
Measuring type on screen
51(2)
3 Legibility
53(24)
Basic principles of legibility
54(10)
Typographic details
64(2)
Legibility and digital typography
66(2)
Rendering type on screen
68(2)
Reading on screen
70(1)
Selecting typefaces
71(3)
Other legibility factors for on-screen typography
74(3)
4 The Typographic Grid
77(22)
Background
78(1)
Structure and space
79(1)
Proportion
80(1)
The square
81(2)
Single-column grids
83(3)
Multicolumn grids
86(5)
Modular grids
91(5)
Improvisational structures
96(1)
The grid and type on screen
97(2)
5 Syntax and Communication
99(24)
Typographic syntax
100(9)
Typographic space
109(3)
Visual hierarchy
112(6)
ABA form
118(5)
6 The Typographic Message
123(10)
A multidimensional language
124(3)
Verbal/visual equations
127(3)
Function and expression
130(3)
7 The Evolution of Typographic Technology
133(20)
Hand composition
134(1)
Machine composition
135(2)
Phototypesetting
137(3)
Digital typesetting
140(2)
Digital typeface file formats
142(2)
Screen-based typography
144(4)
Generative typography
148(3)
Hybrid typography
151(2)
8 Typography in Time and Motion
153(16)
Background
154(3)
Using type in time-based media
157(4)
How type changes and moves
161(5)
Legibility factors
166(1)
Expression
167(2)
9 Case Studies in Typographic Design
169(26)
Poster design: Integrating type and image
170(4)
Book design: VAS: An Opera in Flatland
174(4)
Type in motion: Process and presentation
178(4)
Identity system: Exhibit Columbus
182(4)
Information design: Bloomberg
186(4)
Identity system: 17th Street Farmers' Market
190(3)
Interaction design: Helmut Schmid: Design Is Attitude
193(2)
10 Typographic Design Education
195(24)
Letter/digit configurations
196(1)
Inventing sign systems
196(1)
Comparative relationships: type and image
197(1)
Sequential typographic forms in space
198(1)
Unity of form and communication
199(1)
Onomatopoeia in motion
200(1)
Type chronology booklet
201(1)
Typography in the browser
202(1)
Typographic hierarchy
203(1)
Calendar duconstruction
204(1)
Experimental compositions with found typography
205(1)
Directional poster: from your house to the university
206(1)
Type, texture, tone and poetry
207(1)
New York Times grid analysis
208(1)
Type interface
209(1)
Banknote design
210(1)
Observing systems in our surroundings
211(1)
Typographic cubes
212(1)
Blending Latin and non-Latin typographic forms
212(1)
Type and image in the third dimension
213(1)
Typezine: my favorite typeface
214(1)
Typeface design: mind/machine
215(1)
Experimental typographic system
216(1)
Expressive typography: form amplifies message
217(1)
Type as metaphor
217(1)
The book project: giving shape and voice to the typographic page
218(1)
11 Typographic Design Process
219(32)
A traditional model
220(7)
Exploring typographic permutations
227(5)
Exploring typographic transformation
232(7)
Ludd: a typographic expedition
239(7)
Composites
246(5)
12 Type Specimens
251(71)
Old Style
252(2)
Garamond
254(6)
Additional Old Style fonts
260(2)
Sans serif
262(2)
Franklin Gothic
264(6)
Univers
270(6)
Meta
276(6)
Futura
282(6)
Additional sans serif fonts
288(2)
Transitional
290(2)
Baskerville
292(6)
Additional transitional fonts
298(2)
Modern
300(2)
Bauer Bodoni
302(6)
Additional Modern fonts
308(2)
Egyptian
310(2)
Serifa
312(6)
Additional Egyptian fonts
318(2)
Selected Decorative fonts
320(2)
Glossary 322(6)
Bibliography 328(2)
Credits 330(4)
Index 334
Rob Carter is Professor Emeritus at Virginia Commonwealth University, and has served as a visiting professor at the Gerrit Rietveld Academy in Amsterdam. He is the author of American Typography Today, Typographic Design: The Great Typefaces, the five-volume Working with Type series, and Digital Color and Type. He is also coauthor of Meggs: Making Graphic Design History.

Sandra Maxa is Director of the Master of Arts Graphic Design program at the Maryland Institute College of Art, where she teaches design process, theory and typography. She has served as visiting faculty at the Pratt Institute, Parsons, and at Rutgers University–Newark. As partner at Q Collective, her professional work reflects her deep interest in identity, interactivity and visual culture.

Mark Sanders is Professor in the Graphic Design department at the Maryland Institute College of Art, where he teaches typographic, system, and interaction design. He has also been a visiting assistant professor at the Pratt Institute and Rutgers University–Newark. As partner at Q Collective, he produces rich design systems that incorporate typography, identity, interaction, and space.

The late Philip B. Meggs was School of the Arts Research Professor at Virginia Commonwealth University; visiting faculty at Syracuse University and the National College of Art and Design in Dublin, Ireland; and contributing editor to Print magazine. He authored more than a dozen books and 150 articles and papers on design and typography, including a section on graphic design in Encyclopedia Britannica.

The late Ben Day was Professor Emeritus at Virginia Commonwealth University. He also taught at Boston University and had been a Visiting Designer at the University of Connecticut.