The new history of the book has constituted a vibrant academic field in recent years, and theories of print culture have moved to the center of much scholarly discourse. One might think typography would be a basic element in the construction of these theories, yet if only we would pay careful attention to detail, Joseph A. Dane argues, we would find something else entirely: that a careful consideration of typography serves not as a material support to prevailing theories of print but, rather, as a recalcitrant counter-voice to them.In "Out of Sorts" Dane continues his examination of the ways in which the grand narratives of book history mask what we might actually learn by looking at books themselves. He considers the differences between internal and external evidence for the nature of the type used by Gutenberg and the curious disconnection between the two, and he explores how descriptions of typesetting devices from the seventeenth and eighteenth centuries have been projected back onto the fifteenth to make the earlier period not more accessible but less. In subsequent chapters, he considers topics that include the modern mythologies of so-called gothic typefaces, the presence of nontypographical elements in typographical form, and the assumptions that underlie the electronic editions of a medieval poem or the visual representation of typographical history in nineteenth-century studies of the subject.Is Dane one of the most original or most traditional of historians of print? In "Out of Sorts" he demonstrates that it may well be possible to be both things at once.

A charming and indispensable tour of two thousand years of the written word, Shady Characters weaves a fascinating trail across the parallel histories of language and typography.

Whether investigating the asterisk (*) and dagger ( ) which alternately illuminated and skewered heretical verses of the early Bible or the at sign (@), which languished in obscurity for centuries until rescued by the Internet, Keith Houston draws on myriad sources to chart the life and times of these enigmatic squiggles, both exotic (

) and everyday (&).

From the Library of Alexandria to the halls of Bell Labs, figures as diverse as Charlemagne, Vladimir Nabokov, and George W. Bush cross paths with marks as obscure as the interrobang (?) and as divisive as the dash ( ). Ancient Roman graffiti, Venetian trading shorthand, Cold War double agents, and Madison Avenue round out an ever more diverse set of episodes, characters, and artifacts.

Richly illustrated, ranging across time, typographies, and countries, Shady Characters will delight and entertain all who cherish the unpredictable and surprising in the writing life."

The Visual Dictionary of Typography is a comprehensive guide to the numerous terms used within typography and its associated disciplines. Over 250 terms are explained and contextualised, with concise definitions accompanied by illustrations and examples taken from historical and contemporary typography. The dictionary covers traditional, manual practices and processes as well as modern terminology. It also defines a wide variety of practical terms, such as "Point size," "Leading" and "Gutter," as well as movements and lettering styles including"Gothic," "Reductionism," and"Constructivism." "The Visual Dictionary of Typography" is an invaluable reference tool that improves the reader's understanding of the professional terms applied in the world of typography.

TeX is a sophisticated typesetting system that has been in widespread use since approximately 1980. TeX's originator, Donald Knuth, structured the system so users could add functionality. The TeX Users Group (TUG) was founded in 1980 "for educational and scientific purposes, to provide an organization for those who have an interest in typography and font design, and are users of the TeX typesetting system." This book contains interviews with about 50 people who have been or are active users or developers of TeX and its variations or active in TUG or one of the many local TeX user groups. As such, the book provides something of a history of the evolution of TeX and profiles of the people instrumental in this evolution.

This book reviews the circumstances that led to what Paul Renner called "the inflation of historicism," places his response to that problem in the context of the Weimar Republic, details how the German attributes with which he began the project were displaced from the typeface that emerged in 1927, demonstrates that Futura belongs to a new category of serif-less roman fonts rooted in Arts and Crafts lettering, and considers why the specifically German aspects of the project have gone unrecognized for over seventy years. Renner's writing is compared to ideas prevalent in early twentieth-century German cultural discourse, and Futura's design process is placed in the context of Renner's personal experience of Weimar's social and economic crises. Objective measurements are employed to establish the relationship between drawings attributed to Renner and are used to compare features of Futura with other fonts of the period.

Shouldn't your boat's name look as distinctive as your boat?

A well-chosen and well-designed name on a transom or topsides is the finishing touch and creates the ultimate first impression for any boat. Your boat's name is the single most highly visible clue to your nautical interests and sensibilities. Whether the name is whimsical ("Y-Knot"), classical ("Terpsichore"), irreverent ("Aquaholic"), mythical ("Valkyrie"), sly ("For Sail"), romantic ("Wayfarer"), or full of attitude ("Bite Me"), it won't communicate your message without an effective design. Choose the lettering and graphic style that best expresses your boating aspirations and personality. Communicate your choices to a letterer, vinyl lettering shop, or a designer. Browse 1,500 boat names and explore resources for expanded research. Take a visual tour through the history of boat naming and across a seascape of boat transoms and topsides. Work with hand-painted, gold-leaf, vinyl or lighted display lettering.

First published in 1978, Typography: Design and Practice is now established as a landmark introduction to working with text. Although writing at the dawn of computerized typesetting, Lewis's basic principles and design advice still stand strong. This remastered edition provides both an overview of the history of typeface design and an easy-to-understand grounding in the practice of choosing fonts and laying out of text. Essential reading for graphic designers, typographers and anyone with an interest in the printed page.

Typography is no longer the specialist domain of the typesetter: these days anyone who uses a computer has access to a wide range of typefaces and effects. This book offers an introduction to the basics of typography, including choosing which typeface to use; adjusting letter-, line-, and word-spacing for improved legibility; understanding kerning and leading; and mastering typographic details, such as italics, punctuation, and line endings. The book is illustrated throughout with practical examples demonstrating good and bad solutions. There are tips for specific design tasks, such as letters, charts, tables, and design for the screen, and a glossary explaining typographic terms.

This title draws together the development of type and type design from its inception, alongside the technical advances of printing.

This illustrated A-Z features outstanding type designers from around the world, from Gutenberg to the present day. Arranged alphabetically by designer's name, the book contains over 260 biographical profiles. Entries are illustrated by key typefaces taken from a wide range of sources, including type specimens, original posters, private press editions and magazine covers, and also give a list of work and, where applicable, further reading references and a website address. An essential reference for typographers, graphic designers and students, the book also features a full index and eight short texts by leading typographers - Jonathan Barnbrook, Erik van Blokland, Clive Bruton, John Downer, John Hudson, Jean Francois Porchez, Erik Spiekermann and Jeremy Tankard - that cover a variety of different aspects of type design, including typeface revivals, font piracy, designing fonts for corporate identities and the role of nationality in type design.

This is a comprehensive guide to creating and using digital type, both in print and for the Web. An introduction offers a brief history and discusses font classification and software. Step-by-step explanations are provided for creating a wide range of type effects: drop shadow, wood block style, bevel, gradient, fading type, type on curves, perforated type, and many more. Designing type for the screen presents a new set of challenges, including editable HTML, type as image and how to choose fonts, type size and colour. A chapter on creating your own fonts discusses how to get the most out of industry standard software - Fontographer, Scan Font and Font Studio - and describes how to build up letterforms and refine them in Photoshop or Illustrator. Numerous creative approaches to font design discussed here include: amending existing typefaces, combining typefaces and creating fonts out of found objects.

Providing an essential grounding for readers of all levels, from students to professionals, this carefully structured text takes the reader through every aspect of typography, from the history of language and writing systems to the invention of movable type and the evolution of the digital systems of today. It provides an overview of the bewildering variety of typefaces available and is a practical guide to using type as a meaningful element of design in all media. In this revised edition, Chapter 3 ('Form') has been considerably extended with illustrations of 'part-alphabets' for 60 typefaces and detailed explanations of their visual features. There are also updated sections in Chapters 4 and 6 ('Manufacture & Design' and 'Conventions') and in Chapter 5 ('Structure') there is new material on the use of grids and design for the Web.

- 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
and illustrations

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.

Treasury of copyright-free fonts with eye-catching appeal includes Carnival Open, Ecclesiastic, Garland, Laurel, Daisy Delight, scores more. All fonts include upper-case alphabets; some contain punctuation marks and lower-case letters. Most have numerals. Graphic artists and illustrators will find these distinctive alphabets ideal for use in display ads, on posters, signs, menus, etc.

Ornate, decorative letters (formed with long tails and flourishes) will add panache and style to ads, posters, signs, menus-almost any print project. Fonts include El Greco, Raffia Initials, Cantini Casual, Mardi Gras Regular, Italian Slab Fancy, dozens more.

A comprehensive analysis of digital typography, complete with examples of styles from all around the world. It includes a CD-ROM that contains eight free fonts. Each font cited in the text is accompanied by the designer's address and details.

Since its first publication in 1987, Twentieth Century Type Designers has become a standard reference work for typographers, designers and students alike. This edition includes an examination of the latest technological developments in the design and composition of type, and introduces the work of some of the more recent designers to have made their mark in the twentieth century.

Although the skeleton shapes of the letters of our alphabet hardly change, many skilled type designers have devoted much time, sometimes their whole lives, to drawing different versions of the outlines. This book serves as an introduction to the concept of typefaces and to some of the personalities who have created them -- Goudy, Rogers, Koch, Gill, Morison, Van Krimpen, Trump, Tschichold, Frutiger, and Zapf -- and places them in the context of the enormous changes that have occurred in the methods of creating and setting type.

Offbeat, eye-catching typefaces add a sharp, contemporary look to display ads, posters, signs, menus, and other graphic projects. Fonts include the jagged-edged style of Ransom Note, playful Kidprint and Fingerpaint, angular Desert Rat, whimsical Crazy Eights, and dozens more: Ninja, Hardscrabble, Everglades, Double Take, Bushman, Bramble, and Aspodistra.

EARLY GIANTS.

Johann Gutenberg.

William Caxton.

Aldus Manutius.

Claude Garamond.

William Caslon.

John Baskerville.

Giambattista Bodoni.

MODERN PIONEERS.

Frederic W. Goudy.

Morris Fuller Benton.

Rudolf Koch.

Oswald Cooper.

William Addison Dwiggins.

Eric Gill.

Stanley Morison.

Jan Van Krimpen.

Robert Hunter Middleton.

Beatrice Warde.

Jan Tschichold.

Designers and Their Typefaces.

Over 800 Art-Nouveau florals, swirls, women, animals, borders, scrolls, wreaths, spots and dingbats, copyright-free.

Examines the use of filmsetting, hot metal, and computers in setting type and how these systems have influenced book design.

"Typologia" presents more or less graphically Frederic Goudy's work in type design and describes his own methods of type production. His remarks on type legibility and fine printing, as presented in the body of the book, present the conclusions of a craftsman intensely interested in every phase of typography.
The book itself, which Goudy was asked by the University of California Press to write, plan, and supervise, has been set in a type designed by Goudy and and first employed for the exclusive use of the University-University of California Old Style.