Overview

A deep understanding of letterforms and knowledge of their effective use can only be obtained with constant observation and experimentation; it evolves over a lifetime of design practice and study. This comprehensive guide is intended to advance the progress of designers seeking to deepen their typographic expertise. Typography Essentials is a practical, hands-on resource to distill, organize, and compartmentalize-but not to oversimplify-the many complex issues surrounding the effective use of typography. It is for designers of every medium in which type plays a major role, and is organized and designed to make the process enjoyable and entertaining, as well as instructional. New in paperback, this book is divided into four easy-to-use sections: The Letter, The Word, The Paragraph, and The Page. Each of the 100 principles has an explanation and examples representing the principle in action.

Full Product Details

Author:   Ina Saltz
Publisher:   Quarto Publishing Group USA Inc
Imprint:   Rockport Publishers Inc.
Volume:   2
Dimensions:   Width: 21.60cm , Height: 1.60cm , Length: 27.90cm
Weight:   0.787kg
ISBN:  

9781592537402

ISBN 10:   1592537405
Pages:   208
Publication Date:   01 November 2011
Recommended Age:   From 0 to 0 years
Audience:   General/trade ,  General
Format:   Paperback
Publisher's Status:   Out of Print
Availability:   Awaiting stock  

Table of Contents

INTRODUCTION THE LETTER 1 Using letter as form 2 Using counter spaces as form 3 Letterform details 4 Emotional content implied by the text 5 Historical connotation 6 Considering the medium 7 Honoring dignity 8 The handmade solution 9 Being expressive 10 Staying neutral 11 Considering background contrast 12 Emphasis using weight 13 Emphasis using contrasting weights 14 Emphasis using size 15 Emphasis using contrasting sizes 16 Proper smart quotes 17 The hyphen, the en dash, and the em dash 18 High contrast in reverse 19 Extreme scaling 20 Heavy flourishes 21 Thinking like a typesetter 22 Using display versions 23 Using numbers 24 Dingbats and pictograms 25 Theory of Relativity I THE WORD 26 A “bad” typeface? 27 Typographic abominations 28 Hierarchy using position 29 Hierarchy using size 30 Hierarchy using weight 31 Hierarchy using color 32 Hierarchy using contrast 33 Hierarchy using orientation 34 Hierarchy using special effects 35 To kern or not to kern 36 Type as image 37 Three-dimensional type 38 Repetition 39 Deconstructed type 40 Vertical stacking 41 See the shape 42 Using cases 43 The rule of three typefaces 44 Mixing many typefaces 45 Mixing type using contrast, weight, or color 46 Mixing typefaces using historical compatibility 47 Familiarity breeds legibility 48 Properly weighted small caps and fractions 49 Using the right type 50 Theory of Relativity II THE PARAGRAPH 51 Invisible typography 52 Highly evident typography 53 Less is more 54 More is more 55 Letter spacing and word spacing 56 Hyphenation and justification 57 Tracking guidelines 58 The “color” of the text type 59 Considering typographic mass 60 Pattern, gradation, and texture 61 Basic leading principles 62 Optimum line lengths 63 Increasing leading 64 Tightly stacked lines 65 Indicating paragraphs 66 Initial caps and drop caps 67 Opening paragraphs 68 Orphans and widows 69 “Rivers” of space 70 Eschew decorative type 71 Celebrate decorative type 72 Text overlapping images 73 Text overlapping text 74 The text block effect 75 Theory of Relativity III THE PAGE 76 Legibility, legibility, legibility 77 Legibility taking a back seat 78 Limiting typefaces 79 One type family 80 Six necessary typefaces 81 A need for every typeface 82 Text typefaces versus display typefaces 83 Organized entry points 84 Systematizing hierarchy 85 Using justified type 86 Using flush-left, rag-right type 87 Using centered, asymmetrical, and flush-right type 88 The multicolumn text grid 89 The uneven text grid 90 Typographic “furniture” 91 Decks, callouts, and pull quotes 92 The “birth and death” of the text 93 Chaos versus order 94 Commentary, marginalia, and alternate languages 95 Tables and charts 96 Navigational devices 97 Margins and gutters 98 Framing the text 99 Floating in space 100 Theory of Relativity IV CONTRIBUTORS INDEX ABOUT THE AUTHOR ACKNOWLEDGMENTS

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Author Information

Ina Saltz is an art director, designer, writer, photographer and professor (of Electronic Design and Multimedia at The City College of New York) whose areas of expertise are typography and magazine design. For over 22 years, Ina was an editorial design director at Time Magazine (International Editions), Worth Magazine, and other magazines including Golf Magazine, Golf for Women Magazine, and Worldbusiness Magazine. Ina frequently lectures on topics related to magazine design and typography, including Toronto, Atlanta, Denver, Moscow, Amsterdam and Calgary.

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