Enhanced descriptions from Syndetics:

Quickly master the concepts and skills you need to successfully design with type

a typographic WORKBOOK

To help you gain a deeper understanding of the effects produced by various fonts and typographic techniques, designer Kate Clair takes you on a fascinating tour of the innovative potential of type. Extensive visual examples illustrate the use of type as an expressive communication tool. From selecting the right font, to spacing it, to the creative integration of fonts, she explains the decisions made by successful designers. At the same time, she provides step-by-step guidance and numerous practice exercises that help you develop the confidence and skills needed to put that knowledge to work in your own designs. In addition, a detailed history of type is included.

A valuable professional resource for working designers and an indispensable training tool for graphic design students, A Typographic Workbook features:
* A historical overview of type and typographic technologies
* In-depth explanations of the formal qualities of different typefaces
* Skill-building exercises and projects to sharpen your skills
* Quizzes and review questions that help you gauge your progress
* An overview of computer terms and principles

Table of contents provided by Syndetics

• Preface (p. v)
• Acknowledgments (p. vi)
• 1 Ancient Writing Systems (p. 1)
• Prehistoric Societies
• Development of Oral Communication
• Early Writing Societies
• Pictograph-Based Writing Systems
• From Pictographs to Ideographs
• The Semitic Languages
• Sumerian Cuneiform
• Minoan Writing
• Written Languages Remain Undeciphered
• Egyptian Hieroglyphics
• Hieratic Script
• Demotic Script
• Ancient Writing Systems Evolve
• The Rise of Ancient Greece
• Recovering Ancient Egyptian Hieroglyphics
• 2 Lettering During the Roman Empire and Middle Ages (p. 23)
• Impact of the Roman Empire
• Roman Triumphal Arches
• Roman Lettering
• Capitalis Quadrata to Rustica
• Constantine Ends Christian Persecution
• The Roman Empire Divided
• The Scroll versus the Codex
• Roman Script
• Christianizing of Ireland and the Celtic Lettering
• The Crumbling Empire Leads to Feudalism
• Celtic Round Uncials
• Lettering as a Declaration of Faith
• A Unifying Force in Lettering
• The Romanesque Hand Invites Innovation
• The Development of the Gothic Textura Hand
• Mediterranean Expansion of Muslims
• Development of Rag Paper in Europe
• The Late Gothic Period
• Rotunda Compared to Gothic Lettering
• Setting the Stage for the Renaissance
• 3 Renaissance Typography and Printing (p. 43)
• The Renaissance
• The Beginning of Printing
• Gutenberg: The Metal Craftsman
• Movable, Reusable Type
• Imitation of a Hand-Copied Book
• The First Printing Ink
• Composing a Page
• Printing the 42-Line Bible
• Assembly-Line Book Production
• Early Typefaces
• The Spread of Printing: Jenson in Italy
• Printing in England
• The Religious Reformation
• The Pinnacle of the Renaissance
• Intertwining Printeries: The Estienne Family and Simon de Colines
• Aldus Mantius as Publisher
• The Letter as Art
• Geofroy Tory Establishes Bookmaking as an Art
• France Offers a New Look in Type: Garamond
• Prevalence of Italic and Script Faces
• Handwriting as a Status Symbol
• Printing Innovations
• 4 Typography During Colonization and Industrialization (p. 61)
• Colonial Era Typography
• A Mathematically Perfect Font
• Rococo Era Typography
• Letterpress Printing
• Typography During Colonial Expansion
• Type Fashion in England
• Writing Master Turns Typographer
• Typography in Italy
• The Dawn of Industrialization
• Printing Gains Momentum
• Introduction of Sans Serif Fonts
• A New Era in Typography: Advertising
• The Practical Writing Machine
• Stone Chromolithography Printing
• The Victorian Era Influences Typography
• Documenting the American Civil War
• 5 Early Twentieth-Century Typography (p. 77)
• The Arts and Crafts Movement
• Kelmscott Press
• Page Type Composition Speeds Up
• Art Nouveau
• Type for Mass Production
• Offset Lithography
• An Aesthetic Revolution
• Post-War Typographer: Rudolph Koch
• Frederic Goudy's Inspired Private Press in the United States
• Edward Johnston and Eric Gill: Classic Letters
• The Roaring Twenties
• Dada Rejects Typographic Messages
• Art Deco
• The Bauhaus Aesthetic: Kandinsky and Bayer
• DeStijl Movement in the Netherlands
• Russian Constructivism: El Lissitzky and Kurt Schwitters
• Minimal Typographic Design: Jan Tschichold
• A Geometric Typeface: Paul Renner's Futura
• The Great Depression
• Type for Daily Newspapers
• The United States at War
• 6 Technology Changes the Designer's Role (p. 99)
• Transitioning from Hot Type to Cold Type
• Technology Changes the Designer's Role in the Production Process
• Fitting Copy
• Type Specification
• Proofreading Tips
• Proofreader's Marks
• Type Design During the Second Half of the Twentieth Century
• Type Design in the 1960s
• Type Design During the Radical 1970s
• Wolfgang Weingart
• The Dawning of the Digital Age
• 7 Contemporary Typography and Digital Technology (p. 123)
• Emigre Magazine
• Dot Matrix
• Daisy Wheel and Ink Jet Printing
• Zuzanna Licko
• Laser Printer Technology
• Jeffery Keedy
• Max Kisman
• Letterror
• Neville Brody
• Matthew Carter
• Digital Font Technology
• Adobe and the Development of PostScript
• PostScript Type 1
• PostScript Type 2
• PostScript Type 3
• Font Availability and Distribution
• 8 Character Characteristics (p. 141)
• Upper- and Lowercase Letterforms
• Measuring Type
• Distinguishing Font Styles
• Fonts, Faces and Families
• Typeface Design
• Type for Use in Different Sizes
• Design of an Italic Font
• Designing Font Variations of Weight and Proportion
• Lining Figures, Small Caps, Superscript, Subscript, and Dingbats
• Type Anatomy
• Arms and Tails
• The Spine and Shoulder
• Serifs, Brackets, Terminals, and Finials
• Counters and Bowls
• Apices, Crotches, and Vertices
• Swashes and Flags
• Horizontal Spacing and Measurement
• Vertical Spacing
• Type Alignment
• Spacing Type and Punctuation in Display Sizes
• Uppercase versus Mixed Upper- and Lowercase Type
• Optical Character Alignment in Headlines
• 9 Type Identification and Classification (p. 167)
• Black Letter
• Old Style
• Modern Style Typefaces
• Square or Slab Serif
• Sans Serif
• Script and Cursive
• Display and Decorative
• The Search for a Modern Classification System
• 10 Setting Text Type (p. 183)
• Legibility and Readability
• Font Design Characteristics
• Letterform Proportions
• Letter Spacing, Word Spacing, and Line Spacing
• Arrangement of Text Type
• Background Value, Color, and Contrast
• Type Enclosed by Boxes and Bars
• Single Spaces Following Punctuation
• Typesetting Abbreviations
• Using Bullets to Emphasize Listed Information
• Prime Marks, Quotation Marks, and Apostrophes
• Adding and Omitting Quoted Content Correctly
• Using a Virgule
• Hyphenation and Justification
• Widows and Orphans
• 11 Selecting and Combining Fonts Creatively (p. 215)
• Font Selection Considerations
• Typographic Personality: Denotation, Connotation, and Resonance
• Determining Compositional Importance
• Spacing and Grouping Type
• Weight, Proportion, Value and Texture
• Positive and Negative
• Varying Position and Orientation
• Varying Font Structure and Style
• 12 Organizing Typographic Compositions (p. 229)
• Basic Page Layout Considerations
• Typical Layout Considerations
• Establishing a Grid
• Margins, Gutters and Alleys
• Mastheads
• Headlines and Subheads
• Headers and Footers
• Body Copy
• Callouts and Pull Quotes
• Tables, Lists, and Forms
• Captions, Bylines and Credits
• Sidebars and Initial Caps
• Appendix A Font sample charts (p. 249)
• Appendix B Key concepts (p. 343)
• Appendix C Key players (p. 371)
• Credits (p. 380)
• Bibliography (p. 381)

Author notes provided by Syndetics