Shaping Text takes a practical and broad approach to typography. It is aimed at design students and graphic designers, and also at those who are concerned with content: writers, editors, and publishers. Showing a wide range of examples from first-rate designers across the world, the book examines why and how typographic designs work well in a given context. Particular attention is given to the team play between the text itself—written language—and the design—the shaping of the text—to form a new, multilevel visual message with a complex content.
Renowned typographer and poet Robert Bringhurst brings clarity to the art of typography with this masterful style guide. Combining the practical, theoretical, and historical, this edition is completely updated, with a thorough exploration of the newest innovations in intelligent font technology, and is a must-have for graphic artists, editors, or anyone working with the printed page using digital or traditional methods.
Our all time best selling book is now available in a revised and expanded second edition. Thinking with Type is the definitive guide to using typography in visual communication, from the printed page to the computer screen. This revised edition includes forty-eight pages of new content, including the latest information on style sheets for print and the web, the use of ornaments and captions, lining and non-lining numerals, the use of small caps and enlarged capitals, as well as information on captions, font licensing, mixing typefaces, and hand lettering. Throughout the book, visual examples show how to be inventive within systems of typographic form—what the rules are and how to break them. Thinking with Type is a type book for everyone: designers, writers, editors, students, and anyone else who works with words. The popular online companion to “Thinking with Type” [thinkingwithtype.com] has been revised to reflect the new material in the second edition.
This classic typography book, first published in 1993, is now updated with brand-new typefaces, fonts, and illustrations. Internationally renowned graphic designer Erik Spiekermann explains in everyday terms what typography is and offers design guidance in choosing type for legibility, meaning, and aesthetic appeal. Stop Stealing Sheep and Find Out How Type Works, 2nd Edition guides the reader through all aspects of typography, from the history and mechanics of type, to training the eye to recognize and choose typefaces. Uncover type’s roots and placement within society and learn how to use space and layout to improve overall communication. This elegant guide for readers of all levels is revised and updated to discuss the particular design challenges of type on the Internet. Note: This title was originally announced in the October 2000 Pearson Technology Group catalog.
Published to instant acclaim in 2005, our best selling How to Be a Graphic Designer without Losing Your Soul has become a trusted resource for graphic designers around the world, combining practical advice with philosophical guidance to help young professionals embark on their careers. This new, expanded edition brings this essential text up to date with new chapters on professional skills, the creative process, and global trends that include social responsibility, ethics, and the rise of digital culture. How to Be a Graphic Designer offers clear, concise guidance along with focused, no-nonsense strategies for setting up, running, and promoting a studio; finding work; and collaborating with clients. The book also includes inspiring new interviews with leading designers, including Jonathan Barnbrook, Sara De Bondt, Stephen Doyle, Ben Drury, Paul Sahre, Dmitri Siegel, Sophie Thomas, and Magnus Vol Mathiassen.
From its roots in the development of printing, graphic design has evolved as a means of identification, information, and promotion to become a profession and discipline in its own right.This authoritative documentary history begins with the poster and goes on to chart the development of word and image in brochures and magazines, advertising, corporate identity, television, and electronic media, and the impact of technical innovations such as photography and the computer. For the revised edition, a new final chapter covers all the recent international developments in graphic design, including the role of the computer and the Internet in design innovation and globalization. In the last years of the twentieth century, at a time when “designer products” and the use of logos grew in importance, the role of graphic designers became more complex, subversive, and sometimes more political—witness Oliviero Toscani’s notorious advertisements for Benetton. Digital technology cleared the way for an astonishing proliferation of new typefaces, and words began to take second place to typography in a whole range of magazines and books as designers asserted the primacy of their medium. Designers and companies discussed here include Neville Brody, David Carson, Design Writing Research, Edward Fella, Tibor Kalman, Jeffery Keedy, LettError, Pierre di Sciullo, Tomato, Gerard Unger, Cornel Windlin, and a host of others. Over 800 illustrations, 30 in color
Now in its Fourth Edition, this unrivaled, seminal work continues its long tradition of providing balanced insight and thorough historical background. Under the new authorial leadership of Alston Purvis, this authoritative book offers more than 450 new images, along with expansive coverage of such topics as Italian, Russian, and Dutch design. It reveals a saga of creative innovators, breakthrough technologies, and important design innovations.
This critical study of graphic design and typography is a source for anyone interested in the art and history of books, letterforms, symbols, advertising, and theories of visual and verbal communication. A section on theory considers the centrality of the written and printed word to post-structuralism and deconstruction. A wide range of design practices are discussed, from the history of punctuation and the origins of international pictograms to the structure of modern typography. A section on media looks at the role of design in mass communications with essays on stock photography, visual journalism, illustration, advertising and vernacular design cultures. The book closes with history, a section organised as a time line spanning 200 years of design in America. These historical case studies show how the modern profession of graphic design emerged in response to cultural, political and economic developments in the US.
Graphic Design, Referenced is a visual and informational guide to the most commonly referenced terms, historical moments, landmark projects, and influential practitioners in the field of graphic design. With more than 2,000 design projects illustrating more than 400 entries, it provides an intense overview of the varied elements that make up the graphic design profession through a unique set of chapters: “principles” defines the very basic foundation of what constitutes graphic design to establish the language, terms, and concepts that govern what we do and how we do it, covering layout, typography, and printing terms; “knowledge” explores the most influential sources through which we learn about graphic design from the educational institutions we attend to the magazines and books we read; “representatives” gathers the designers who over the years have proven the most prominent or have steered the course of graphic design in one way or another; and “practice” highlights some of the most iconic work produced that not only serve as examples of best practices, but also illustrate its potential lasting legacy. Graphic Design, Referenced serves as a comprehensive source of information and inspiration by documenting and chronicling the scope of contemporary graphic design, stemming from the middle of the twentieth century to today.
From a professional for professionals, here is the definitive word on using grid systems in graphic design. Though Muller-Brockman first presented hi interpretation of grid in 1961, this text is still useful today for anyone working in the latest computer-assisted design. With examples on how to work correctly at a conceptual level and exact instructions for using all of the systems (8 to 32 fields), this guidebook provides a crystal-clear framework for problem-solving. Dimension: 81/2 x 113/4 inches, English & German Text, 357 b&w examples and illustrations.
The titles in our best-selling Design Brief series are highly praised by graphic design students, educators, and professionals worldwide as invaluable resources. Each beautifully designed, affordable volume offers a concise overview of a design fundamentalthe hows of design. But as most seasoned designers will tell you, a comprehensive education also requires an understanding of the whys of design practice. Graphic Design Theory presents groundbreaking, primary texts from the most important historical and contemporary designthinkers. From Aleksandr Rodchenko’s “Who We Are: Manifesto of the Constructivist Group” to Kenya Hara’s “Computer Technology and Design,” this essential volume provides the necessary foundation for contemporary critical vocabulary and thought.
Graphic Design Theory is organized in three sections: “Creating the Field” traces the evolution of graphic design over the course of the early 1900s, including influential avant-garde ideas of futurism, constructivism, and the Bauhaus; “Building on Success” covers the mid- to late twentieth century and considers the International Style, modernism, and postmodernism; and “Mapping the Future” opens at the end of the last century and includes current discussions on legibility, social responsibility, and new media. Striking color images illustrate each of the movements discussed and demonstrate the ongoing relationship between theory and practice. A brief commentary prefaces each text, providing a cultural and historical framework through which the work can be evaluated. Authors include such influential designers as Herbert Bayer, Lszl Moholy-Nagy, Karl Gerstner, Katherine McCoy, Michael Rock, Lev Manovich, Ellen Lupton, and Lorraine Wild. Additional features include a timeline, glossary, and bibliography for further reading. A must-have survey for graduate and undergraduate courses in design history, theory, and contemporary issues, Graphic Design Theory invites designers and interested readers of all levels to plunge into the world of design discourse.
Making and Breaking the Grid is a comprehensive layout design workshop that assumes that in order to effectively break the rules of grid-based design, one must first understand those rules and see them applies to real-world projects.
Text reveals top designers’ work in process and rationale. Projects with similar characteristics are linked through a simple notational system that encourages exploration and comparison of structure ideas. Also included are historical overviews that summarize the development of layout concepts, both grid-based and non-grid based, in modern design practice.
Tibor Kalman: Perverse Optimist is the definitive and exuberant document of the late Tibor Kalman’s work and ideas. This full-color, oversize title reveals Kalman’s thoughts on magazines, advertising, sex, bookstores, food, and the design profession. Product designs, stills and storyboards from his film and video projects, and spreads from his book and magazine work are included. The impressive list of contributors includes Kurt Andersen, Paola Antonelli, David Byrne, Jay Chiat, Steven Heller, Isaac Mizrahi, Chee Pearlman, Rick Poynor, and Ingrid Sischy.
• Includes 2 extensive timecharts, one on type designers, one on the evolution of writing and printing—reference at a glance
• Newly revised and expanded
• Hundreds of remarkable photographs
From the history of language and writing systems, to the development of letterforms and movable type, to the evolution of today’s digital systems, Type and Typography offers an overview of the typefaces available today and a practical guide to using type as a meaningful element of design in all mediums. Newly expanded with fifty additional pages of text and eighty-five new illustrations, this second edition reflects the exciting developments in typography since the first edition was published in 2002.
How is a book designed? What do book designers think about as they turn mansucripts into printed books? In this volume the book designer Richard Hendel and other book designers discuss their approaches and working methods. They consider the problems posed by a wide range of projects - selection of book’s size and shape, choice of typeface for text and display, arrangement of type on the page, and determination of typographic details for all parts of the book within manufacturing and buget limitations. As omnipresent as books are, few readers are aware of the “invisible” craft of book designing. The task of a book designer faces is different from that faced by other designers. The challenge, says Hendel isn’t to create something different or pretty or clever but to discover how best to serve the author’s words. Hendel does not epouse a single philosophy of design or a set of instructions; he shows that there are many ways to design a book. In detailed descriptions of the creative process, Hendel and the eight other designers show how they achieve the most effective visual presentation of words, offering many examples to illustrate their choices.