The international creation of typefaces after 1950 was decisively influenced by the Swiss type designer Adrian Frutiger. His Univers typeface and the machine-readable font OCR-B, which was adopted as an ISO standard, are milestones, as is his type for the Paris airports, which set new standards for signage types and evolved into the Frutiger typeface. With his corporate types, he helped to define the public profiles of companies such as the Japanese Shiseido line of cosmetics. In all he created some fifty types, including Ondine, Méridien, Avenir, and Vectora. Based on conversations with Frutiger himself and on extensive research in France, England, Germany, and Switzerland, this publication provides a highly detailed and accurate account of the type designer's artistic development. For the first time, all of his types - from the design phase to the marketing stage - are illustrated and analyzed with reference to the technology and related types. Hitherto unpublished types that were never realized and more than one hundred logos complete the picture.
The letters of the alphabet have been the object of speculation since their invention almost 4000 years ago. The symbols represent sounds, yet they exist in their own right, often invested with quasi-magical power. This book examines the many imaginative, often idiosyncratic ways in which the letters of the alphabet have been assigned value in political, spiritual, or religious belief systems over two millennia.
The Anatomy of Type is the ultimate stylistic guide to the intricacies and design of 100 indispensable typefaces. A delightful, colorful, and visual reference guide created by Stephen Coles and Tony Seddon--two acknowledged pros in the font design world--The Anatomy of Type was developed with typographers, graphic designers, and font geeks in mind, graphically and visually expanding on the current font-mania initiated by Simon Garfields's Just My Type.
Graphic designers will enrich their understanding of American type design and type designers with this unique and extensive reference. The fascinating history of type in America is chronicled through the typefaces and biographies of sixty-two of the most influential type designers, including Linn Boyd Benton, Morris Fuller Benton, and Darius Wells, and through the description and history of nine American type foundries. Complete with samples of 334 different typefaces, and 700 black-and-white illustrations, this eye-popping reference reveals the expansive contribution America has made to the world of type design.
One of the most essential tools of graphic design, typography influences the appearance of visual print materials perhaps more than any other component. This essential book explains the processes behind creating and designing type. Author Karen Cheng discusses issues of structure, optical compensation, and legibility, with special emphasis given to the often overlooked relationships between letters and shapes in font design. The book is illustrated with numerous diagrams that demonstrate visual principles and letter construction, ranging from informal progress sketches to final type designs and diagrams. A wide range of classic and modern typefaces is analyzed, including those from many premier contemporary type foundries. Introductory essays and diagrams emphasize the history of type, the primary systems of typeface classification, the two main proportional systems for type, the parts of a letter, the effects of new technology on design methodology, the optical illusions that affect density and balance in letterforms, and the differences in form between basic serif typestyles. The book provides detailed guidelines for creating serif and sans serif letters, numbers, punctuation, and accents. As design clients increasingly call for original and custom typefaces, Designing Type is a superb reference for both students and professional graphic designers.
Call Number: Temporarily shelved at Faculty Reserve
Publication Date: 2013
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 revision and updating of the longest chapter, "Prowling the Specimen Books," and many other small but important updates based on things that are continually changing in the field.
A generously illustrated examination of the enduring influence of and many variations on the classical Roman capital letter. The fiftieth anniversary of Helvetica, the most famous of all sans serif typefaces, was celebrated with an excitement unusual in the staid world of typography and culminated in the release of the first movie ever made starring a typeface. Yet Helvetica's fifty-year milestone pales in comparison with the two thousandth anniversary in 2014 of Trajan's Column and its famous inscription--the preeminent illustration of the classical Roman capital letter. For, despite the modern ascendance of the sans serif, serif typefaces, most notably Times Roman, still dominate printed matter and retain a strong presence in screen-based communication. The Eternal Letter is a lavishly illustrated examination of the enduring influence of, and many variations on, the classical Roman capital letter. The Eternal Letter offers a series of essays by some of the most highly regarded practitioners in the fields of typography, lettering, and stone carving. They discuss the subtleties of the classical Roman capital letter itself, different iterations of it over the years, and the work of famous typographers and craftsmen. The essays cover such topics as efforts to calculate a geometric formulation of the Trajan letters; the recalculation of their proportions by early typefounders; the development and astonishing popularity of Adobe Trajan; type and letter designs by Father Edward M. Catich, Frederic W. Goudy, Eric Gill, Jan van Krimpen, Hermann Zapf, Matthew Carter, and others; the influence of Trajan in Russia; and three generations of lettercarvers at the John Stevens Shop in Newport, Rhode Island. Essays about modern typefaces--including Matinia, Senatus, and Penumbra--are contributed by the designers of these typefaces. Contributors John and Nicholas Benson, Frank E. Blokland, Matthew Carter, Ewan Clayton, Lance Hidy, Jost Hochuli, Jonathan Hoefler, Richard Kindersley, Scott-Martin Kosofsky, Gerry Leonidas, Martin Majoor, Steve Matteson, Gregory MacNaughton, James Mosley, Tom Perkins, Yves Peters, Ryan L. Roth, Werner Schneider, Paul Shaw, Julian Waters, Maxim Zhukov
This lively account of the printed word draws together the histories of typography and printing into one robustly illustrated volume, and describes how dramatic changes in technology have affected type design. Historical paintings, engravings, and photographs give a visual context to the different eras of type design and print, and key typefaces from each historical era are discussed and compared to others of the era. The original use of each typeface is pictured alongside contemporary examples, providing a broad sense of the character of each face. Sidebars explain how to use individual typefaces, warn of pitfalls, and highlight the particular benefits of using the face. A superb and engaging introduction to the world of typography, the book is also a vital reference for anyone who works with type and knows that understanding the history of letterforms is key to using type creatively and effectively.
Few have left a deeper impression on the world of typography than Jan Tschichold (1902-1974), one of the most outstanding and influential designers of the twentieth century. Not only was he a master in his field, but he also lectured on the subject, wrote a number of highly influential books, and designed many classic typefaces, including the best-selling Sabon. This substantial volume places Tschichold's vision firmly in the rich cultural and historical context of his era. In his introduction, Cees W. de Jong offers an overview of Tschichold's life and times, while the other contributors discuss the designer's major influences and innovations, including his seminal poster design, groundbreaking work with Penguin Books, and later reappropriation of classical typography. Superbly illustrated with archive photographs and examples of Tschichold's work, the book confirms de Jong's assertion that "Tschichold's heritage lives on in the digital age, proving that he is among the greatest typographic designers ever, his influence still being visible in the world of typography to this day." The essays are by Jorre Both, Stefanie Burger, Martijn F. Le Coultre, Richard Doubleday, and Alston W. Purvis.