"Amusing Alphabet Mazes" makes typography puzzling with 80 mazes in a variety of shapes and display styles, all constructed with letters of the alphabet. The mazes range from fairly easy to moderately difficult and are appropriate for both older children and adults. All mazes are classic mazes with an entry and one path to the exit and over 20 of them are created using tessellation patterns of letters. Solutions are provide at the end of the book. (This book is not meant for pre-school or Kindergarten children trying to learn their ABCs. If you are looking for that type of book, consider the author's "Easy Alphabet Mazes." "Tessellating Alphabet Mazes for Kids" is slightly more difficult and also for children. Two other maze books based on letters that are meant for adults are the author's "Puzzling Typography" and "Puzzling Typography A Sequel.")

How New York City subways signage evolved from a "visual mess" to a uniform system with Helvetica triumphant. For years, the signs in the New York City subway system were a bewildering hodge-podge of lettering styles, sizes, shapes, materials, colors, and messages. The original mosaics (dating from as early as 1904), displaying a variety of serif and sans serif letters and decorative elements, were supplemented by signs in terracotta and cut stone. Over the years, enamel signs identifying stations and warning riders not to spit, smoke, or cross the tracks were added to the mix. Efforts to untangle this visual mess began in the mid-1960s, when the city transit authority hired the design firm Unimark International to create a clear and consistent sign system. We can see the results today in the white-on-black signs throughout the subway system, displaying station names, directions, and instructions in crisp Helvetica. This book tells the story of how typographic order triumphed over chaos. The process didn't go smoothly or quickly. At one point New York Times architecture writer Paul Goldberger declared that the signs were so confusing one almost wished that they weren't there at all. Legend has it that Helvetica came in and vanquished the competition. Paul Shaw shows that it didn't happen that way-that, in fact, for various reasons (expense, the limitations of the transit authority sign shop), the typeface overhaul of the 1960s began not with Helvetica but with its forebear, Standard (AKA Akzidenz Grotesk). It wasn't until the 1980s and 1990s that Helvetica became ubiquitous. Shaw describes the slow typographic changeover (supplementing his text with more than 250 images-photographs, sketches, type samples, and documents). He places this signage evolution in the context of the history of the New York City subway system, of 1960s transportation signage, of Unimark International, and of Helvetica itself.

Those employed by small businesses and nonprofits often wear many hats - and some fit better than others. Graphics may be one of those ill-fitting hats. If it is, this handbook will help you decide which tasks to take on, and which to outsource. You'll learn the advantages and disadvantages of digital and traditional printing. You'll also learn how to plan your marketing budget, cut printing costs, and avoid costly mistakes. Learn to answer these important questions - What is graphic design and what do I need to know about it? How do I establish an identity, or brand, for my small nonprofit or business? What do I need to know about typography? What graphic file formats provide the best web usability and printed results? How can I make a dull image look better? What prepress issues may arise that I need to know about? Can I use inexpensive software and still get good results? What do I need to ask to get good results from my designer or printer? Contains illustrations, bibliography and glossary.

Web Typography uses a foundation of typographic terminology and graphic design rules to approach the ever-changing question of effective modern website design. It uses monographs and detailed examples to communicate subtle points of aesthetic, and does so in programming languages and idioms familiar to the readership.

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone

Letters: Building an Alphabet with Art and Attitude by Peter N Liptak (illustrated by Lynn Tsan)

ABC - Do you Dot a D?

An Alphabet Apart In Letters, the art and poetry of the English alphabet comes alive through rhythm and rhyme in philosophically charged verse. Much can be learned about a people by the language they use, but what can be said of the letters of that language? This playful treatise on the English alphabet explores the art and philosophy of some letters as they gained form in one artist's eye and expression in the language of a wondering wordsmith. 26 letters called out for a home and found one in the words of this tiny tome.

The quotable alphabet book: "The Lime Launched the First Attack ""The idea, like a chill, catching... Endlessly in an E etch-a-sketching.""Self reflection in dual direction... What will you find upon inspection?""With sudden laughter, or intense sigh, An L will come to mind awry.""Pure of heart, "we are P," they said.""Self," said S. "What is the correction of my silvery snakelike perfection?""Unbending and unbeatable, uncompromising U led / A revolution to unite alphabet's understanding / For all who would learn, U are outstanding "

About the author Peter N. Liptak lives and writes in Seoul, Korea. As a purveyor of the English language, Peter believes in the power of poetry to teachthe rhythmic beauty and artistry of communication.

InDesign is now regarded as the industry standard in desktop publishing and is very widely used by publishing professionals and non-specialists alike. Many users have a pressing need for automation of their workflows but have been reluctant to get started because of the lack of a simple internal mechanism for recording steps, like Photoshop and Illustrator actions. Instead InDesign relies on scripting which, for many InDesign users, may seem a little too much like hard work. In fact, InDesign comes with all the tools necessary for creating scripts and scripting is not that difficult-it can even be fun! This book is aimed at the general user and provides an introduction to scripting InDesign, using JavaScript to create simple cross-platform solutions. It also gives a general introduction to XML, DTDs and XSLT, before showing how to automate the importing and exporting of XML data. Learn proactively through step-by-step tutorials on creating JavaScript solutions: the Try it for yourself! approach allows you to see for yourself how scripts are put together. Create scripts that manipulate text and images, build documents automatically and output them as interactive PDFs. Become familiar with the InDesign object model: as you work through the book, you will make repeated use of the essential syntax for manipulating InDesign objects such as document, pages, text frames, graphics and preferences. Create user interfaces to make your scripts more flexible and user-friendly. Rather than just creating scripts which always perform the same steps, you will learn to user ScriptUI to provide users with the ability to make choices that determine what the script will do. Learn how to automate XML import and export and provide an interface which allows the user to filter import by supplying parameter values. Please note that the work files for this book can now be downloaded at the following URL: http: //www.grantgamble.com/downloads/indesigncs5js1.zip

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.

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.

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.

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.

The Complete Source Code and Program Listing for TeX Now, 35 years after the first edition, the leading worldwide experts on these systems have spent several months inspecting every page thoroughly. We now believe that every "i" has been properly dotted, every "t" has been properly crossed, and every bug has been properly exterminated. Donald E. Knuth, creator of the exciting TeX computer typesetting system, has made available in this volume the fully documented program listing for TeX. Readers who are already familiar with TeX and with its user's guide, The TeXbook, will find much of interest in the source code. Other readers interested in software development and in Knuth's programming style will find this a fascinating and instructive case study. Never before has a computer program of this size been spelled out so clearly and completely. Knuth presents all the algorithms and explains every detail of the TeX program, utilizing the WEB system of structured documentation that he developed as part of his TeX research project. TeX: The Program is the second in a five-volume series on Computers and Typesetting, all authored by Knuth. This series presents the results of nearly a decade of innovative research on the problems of preparing publications of high quality.

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.

This is a visual guide to the best in contemporary typographic design, featuring examples and usages of modern typography from around the world. Covering a wide variety of applications, from design to print - magazines, books, brochures, posters, etc - to signage systems and screenbased typography, the book gives an insight into the current trends and directions of modern typography and provides a rich source of inspiration for design students and established designers alike.