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Typographic Design: Form and Communication 5th Revised edition [Mīkstie vāki]

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  • Formāts: Paperback / softback, 368 pages, height x width x depth: 275x215x19 mm, weight: 1158 g, Illustrations
  • Izdošanas datums: 02-Dec-2011
  • Izdevniecība: John Wiley & Sons Ltd
  • ISBN-10: 047064821X
  • ISBN-13: 9780470648216
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  • Formāts: Paperback / softback, 368 pages, height x width x depth: 275x215x19 mm, weight: 1158 g, Illustrations
  • Izdošanas datums: 02-Dec-2011
  • Izdevniecība: John Wiley & Sons Ltd
  • ISBN-10: 047064821X
  • ISBN-13: 9780470648216
Citas grāmatas par šo tēmu:
"Full-color throughout and be supported by a companion website and instructor ancillaries, Typographic Design has been a consistent knowledge source on the ins and outs of working with type. The new Fifth Edition is updated throughout, including many new images and case studies. It also contains new information on visual metaphor, analogy, metonymy, multi-modal typography, and new cultural developments in type. Other new additions include a chapter on typography on the screen, as well as up-to-date information on typographic technology"--

Provided by publisher.

Full-color throughout and be supported by a companion website and instructor ancillaries, Typographic Design has been a consistent knowledge source on the ins and outs of working with type. The new Fifth Edition is updated throughout, including many new images and case studies. It also contains new information on visual metaphor, analogy, metonymy, multi-modal typography, and new cultural developments in type. Other new additions include a chapter on typography on the screen, as well as up-to-date information on typographic technology.

Recenzijas

"... Typography has undergone continuous change. This book provides a concise and comprehensive overview of the fundamental information for effective typographic-design practice." (neopoprealismjournal.wetpaint.com, March 2012) 'A two column-layout provides space to cram in a huge amount of content-a comprehensive guide to type on the web.' (.net, July 2012)

Introduction xi
1 The Evolution of Typography
1(30)
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(4)
2 The Anatomy of Typography
31(18)
Letterforms analyzed
32(3)
The typographic font
35(3)
Historical classification of typefaces
38(4)
Typographic measurement
42(3)
The type family
45(4)
3 Syntax and Communication
49(26)
Typographic syntax
50(10)
Typographic space
60(4)
Visual hierarchy
64(6)
ABA form
70(5)
4 Legibility
75(16)
Distinguishing characteristics of letters
76(2)
The nature of words
78(1)
Capital and lowercase letters
79(1)
Interletter and interword spacing
79(1)
Type size, line length, and interline spacing
80(1)
Weight
81(1)
Character width
81(1)
Italics
81(1)
Legibility and color
82(3)
Justified and unjustified typography
85(1)
Paragraphs and indentions
85(2)
Legibility and electronic page design
87(1)
Typographic details
88(3)
5 The Typographic Grid
91(20)
Background
92(1)
Structure and space
92(2)
Proportion
94(3)
Single column grids
97(3)
Multi-column grids
100(5)
Modular grids
105(5)
Improvisational structures
110(1)
6 The Typographic Message
111(14)
A multidimensional language
112(3)
Verbal/visual equations
115(6)
Function and expression
121(4)
7 Typographic Technology
125(14)
Hand composition
126(1)
Linotype
127(1)
Monotype
128(1)
Ludiow
129(1)
Phototypesetting
130(2)
Digital typesetting
132(2)
Electronic page design
134(5)
8 Typography on Screen
139(22)
Rendering type on screen
140(3)
Selecting typefaces
143(3)
Legibility factors for on-screen typography
146(2)
Programming for Web design
148(2)
Structuring Web pages
150(2)
Case studies in Web design
152(9)
9 Case Studies in Typographic Design
161(26)
Integrating type and image in poster design
162(4)
The U.S. National Park Service Unigrid System
166(3)
Book design: VAS: An Opera in Flatland
169(4)
Typographic film titles
173(3)
Buenos Aires Underground (Subte)
176(4)
Information design: Metropolitan World Atlas
180(4)
A typographic program for the 17th Street Farmers' Market
184(3)
10 Typographic Design Education
187(30)
Generation of a typographic sign from a gestural mark
188(1)
Letter/digit configurations
189(1)
Urban letterform studies
189(1)
Inventing sign systems
190(1)
Letterform analysis
190(1)
Flowering typography
191(1)
Sequential typographic forms in space
191(1)
Visual organization and grid structures
192(1)
Introduction to systems design
193(1)
Designing with a single letter
194(1)
Typography and image transformations
194(1)
Experimental compositions with found typography
195(1)
Syntactic explorations using onomatopoeic terms
196(1)
Type chronology booklet
197(1)
Expressive typography: form amplifies message
198(1)
Computer improvisation and manipulation
198(1)
Observing systems in our surroundings
199(1)
Interpretive typography: exploring legibility and impact
200(1)
Symphony poster series
200(1)
Information design: changing typographic parameters
201(1)
Typographic cubes
202(1)
Calendar typography
202(1)
Unity of form and communication
203(1)
Typeface history posters
204(1)
Visual identity program
204(1)
Type in Motion
205(1)
Blending Latin and non-Latin typographic forms
205(1)
Type and image in the third dimension
206(1)
Comparative relationships: type and image
207(1)
Directional poster: from your house to the university
208(1)
Graphic-design history posters and booklet
209(1)
Animated Web site flash pages
210(1)
Typezine: my favorite typeface
211(1)
Type history posters
211(1)
Typeface design: mind/machine
212(1)
Experimental typographic system
213(1)
Banknote design
214(1)
Type as metaphor
215(1)
Form and counterform, scale and proportion: "Ne var, ne yok?"
216(1)
11 Typographic Design Process
217(74)
Atraditional model
218(1)
Processing typographic form and ideas
219(6)
Typographic process case studies
225(5)
Experimental typographic transformation
230(8)
Wow Projector: Design as Projection
238(7)
Typographic book covers
245(46)
12 Type Specimens
291(43)
Old Style
253(1)
Adobe Garamond
254(6)
Adobe Minion Display Regular
260(6)
Additional Old Style fonts
266(3)
Sans serif
269(1)
Univers 55
270(6)
Meta Normal
276(6)
Futura Book
282(6)
Additional Sans Serif fonts
288(3)
Transitional
291(1)
Baskerville Regular
292(6)
Georgia
298(6)
Additional Transitional fonts
304(3)
Modern
307(1)
Bauer Bodoni Regular
308(6)
Additional Modern fonts
314(3)
Egyptian
317(1)
Serifa Roman
318(6)
Archer
324(6)
Additional Egyptian fonts
330(2)
Selected Decorative fonts
332(2)
A chronology of typeface designs 334(2)
Glossary 336(10)
Bibliography 346(2)
Picture Credits 348(4)
Index 352
Rob Carter is Professor of Typography and Graphic Design at Virginia Commonwealth University, and has served as a visiting professor at the Gerrit Rietveld Academy in Amsterdam. He has received numerous awards for his work from organizations such as the American Institute of Graphic Arts, New York Type Directors Club, New York Art Directors Club, Society of Typographic Arts, Creativity, Print regional annual, and I.D. magazine's Annual Design Review. 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, with Sandra Wheeler, of Meggs: Making Graphic Design Hist ory. 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. His many exhibitions included the American Institute of Graphic Arts, the New York Type Directors Club, and the New York Sculpture Centre. The Boston Society of Printers awarded him a teaching fellowship. He served as a consultant to Bostonia magazine, NASA, and the Fogg Museum, and art directed Handel and Haydn magazine. He was selected for Who's Who Among America's Teachers . The late Philip Meggs was a designer, educator, and author. He was School of the Arts Research Professor, Communication Arts and Design Department, 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. He was inducted into the Art Directors Hall of Fame and received its Educator's Award for lifetime achievement and significantly shaping the future of the fields of graphic design education and writing. He was posthumously awarded the AIGA Medal for design leadership.