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.

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.

Max Bill (1908-1994) is primarily associated with the terms "Concrete Art" and "Environmental Design". He was active in nearly every area of art and design, which were universal concepts for him. Furthermore, his theoretical publications have turned him into one of the most fruitful stimulators of Modern Concrete Art in post-war Europe among the Bauhaus generation of students. This volume offers a comprehensive view into an area of his work that has so far received little attention: typography, advertising and book design. It shows for that almost everything that the Swiss Avantgarde movement accomplished during the 1930s was visualized in Bill's studio "bill-zurich reklame". The reader discovers Max Bill as the tireless creator of highly individual types, commercial logos and advertisements as well as an exceedingly versatile designer who had an amazing command of "visual humor". presenting Max Bill's less known work as a visual designer highlighting his influence in the field examples of his typefaces and logos documents the works of his studio "bill-zurich reklame"

Appropriate for all introductory courses on print publishing, desktop publishing, typography, or document production.

This completely revised edition continues in the original's tradition by providing students with simple, logical principles for using type to produce beautiful, professional documents. The renowned Macintosh and graphic design instructor Robin Williams has added a thoroughly revised chapter on fonts, and updated the entire book to reflect extensive changes in software and hardware since the original edition was published. Her wide-ranging coverage includes these and many other topics: real vs. generic quotation marks, the correct use of en and em dashes, tabs, indents, hyphenation, justification, kerning, leading, and white space; and what to do about widows, orphans, and hanging punctuation. This concise book will be indispensable for beginning-level students who need fast answers for publishing the highest-quality documents, and it will be an equally useful reference for students with more experience in document production.

Arabic is the third most widely used script in the world, and gave rise to one of the richest manuscript cultures of mankind. Its representation in type has engaged printers, engineers, businesses and designers since the 16th century, and today most digital devices render Arabic type. Yet the evolution of the printed form of Arabic, and its development from metal to pixels, has not been charted before. Arabic Type-Making in the Machine Age provides the first comprehensive account of this history using previously undocumented archival sources. In this richly illustrated volume, Titus Nemeth narrates the evolution of Arabic type under the influence of changing technologies from the perspective of a practitioner, combining historical research with applied design considerations.

New in paperback, "The Typography Workbook" provides an at-a-glance reference book for designers on all aspects of type.

The book is part of Rockport's popular Workbook series of practical and inspirational workbooks that cover all the fundamental areas of the graphic design business. This book presents an abundance of information on type - the cornerstone of graphic design - succinctly and to the point, so that designers can get the information they need quickly and easily.

Whereas many other books on type are either very technical or showcase oriented, this book offers ideas and inspiration through hundreds of real-life projects showing successful, well-crafted usage of type. The book also offers a variety of other content, including choosing fonts, sizes, and colors; incorporating text and illustrations; avoiding common mistakes in text usage; and teaching rules by which to live (and work) by.

Encompassing a wide range of calligraphy in many languages and hands, or styles, this book presents a visual treasury of works by 100 contemporary scribes, all of whom were either born in New York or studied or worked in the city. From English and its related Romance languages to a wide range of Asian and Middle Eastern alphabets and nonalphabetic characters, the more than 550 examples of beautiful writing create a rich visual smorgasbord. Traditional uses of hand-lettered calligraphy are shown, including event invitations and envelopes, certificates and awards, and quotes and sayings framed as artwork. The examples also include contemporary applications and nontraditional forms such as graffiti and experimental calligraphy that is not formed from readable characters. All are hand-wrought and human-made, using pointed or broad-edged pens, whether quill or steel, or a brush or other simple tool.

In 1948, the noted book designer and Purdue alumnus Bruce Rogers wrote a book that documented and illustrated his creation of the Centaur typeface. The book was privately printed by Rogers himself under the name of his studio, October House. This limited edition of the book was transferred to the Purdue Libraries at the time of his death along with his other papers and books. Over the years the remaining stock has found its home in the Special Collections of the Libraries. And although known as something of a collector's item by those who are aware of the few copies in circulation, it is here available to the general market for the first time. Centaur Types is a fascinating book for several reasons: in the designer's own words, we learn of the evolution of the typeface and of his interest in the art and craft of creating type; it demonstrates different and comparable typefaces, and gives examples of Centaur from six to seventy-two point; and lastly, it stands as a fitting example of fine book-making from one of the master book designers of his time.

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."

What do we read when we read a text? The author's words, of course, but is that all? The prevailing publishing ethic has insisted that typography-the selection and arrangement of type and other visual elements on a page-should be an invisible, silent, and deferential servant to the text it conveys. This book contests that conventional point of view. Looking at texts ranging from the King James Bible to contemporary comic strips, the contributors to Illuminating Letters examine the seldom considered but richly revealing relationships between a text's typography and its literary interpretation. The essays assume no previous typographic knowledge or expertise; instead they invite readers primarily concerned with literary and cultural meanings to turn a more curious eye to the visual and physical forms of a specific text or genre. As the contributors show, closer inspection of those forms can yield fresh insights into the significance of a text's material presentation, leading readers to appreciate better how presentation shapes understandings of the text's meanings and values. The case studies included in the volume amplify its two overarching themes: one set explores the roles of printers and publishers in manipulating, willingly or not, the meaning and reception of texts through typographic choices; the other group examines the efforts of authors to circumvent or subvert such mediation by directly controlling the typographic presentation of their texts. Together these essays demonstrate that choices about type selection and arrangement do indeed help to orchestrate textual meaning. In addition to the editors, contributors include Sarah A. Kelen, Beth McCoy, Steven R. Price, Leon Jackson, and Gene Kannenberg Jr.

Type is the bridge between writer and reader, between thought and understanding. Type is the message bearer: an art-form that impinges upon every literate being and yet for most of its history it has conformed to the old adage that 'good typography should be invisible', it should not distract with its own personality. It was only at the end of the nineteenth century that designers slowly realised that they could say as much with their lettering as writers could with their words. Form, of course, carries as much meaning as content. Now, anyone within reach of a computer and its limitless database of fonts has the same power. "Type: The Secret History of Letters" tells its story for the first time, treating typography as a hidden measure of our history. From the tempestuous debate about its beginnings in the fifteenth century, to the invention of our most contemporary lettering, Simon Loxley, with the skill of a novelist, tells of the people and events behind our letters. How did Johann Gutenberg, in late 1438, come to think of printing? Does Baskerville have anything to do with Sherlock Holmes? Why did the Nazis re-invent Blackletter? What is a Zapf? "Type" is a guide through the history of our letters and a study of their power. From fashion through propaganda and the development of mass literacy, Loxley shows how typography has changed our world.

Typographic design begins with a set of information and a concept. The designer, facing a blank sheet of paper or a computer screen, is anxious about the first step to take in developing a design. The elements of typography are an obvious starting point, but often do not get the attention they deserve. A thorough understanding of how letters, words, lines, paragraphs and columns are formed, what makes them unique as design elements, and how they express character and emotion are the most essential tools in the designer's repertoire. The basic principles of typographic design transform the utilitarian quality of words, lines, paragraphs and columns into an aesthetic form that conveys both the intellectual meaning and emotional feeling of the message. Through the relationship between the elements and space, and their rhythm and composition, design not only objectively conveys information but also gives subjective cues for the interpretation of its contents. As a visual form of language, typography is perceived as a whole before its individual parts are read. The surface characteristics of the design - the topology - create the first impression and derive from the form, size, position, and color of the typographic elements. Captured in a series of transparent diagrams, they reveal a new design dimension and animate the designer to further develop the original conceptual idea. This process provides the designer with a tool for refining, altering, adjusting, deconstructing and reassembling the individual levels to create a finely detailed, cohesive typographic composition.

"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.

For generations, children’s books provided American readers with their first impressions of Japan. Seemingly authoritative, and full of fascinating details about daily life in a distant land, these publications often presented a mixture of facts, stereotypes, and complete fabrications.    This volume takes readers on a journey through nearly 200 years of American children’s books depicting Japanese culture, starting with the illustrated journal of a boy who accompanied Commodore Matthew Perry on his historic voyage in the 1850s. Along the way, it traces the important role that representations of Japan played in the evolution of children’s literature, including the early works of Edward Stratemeyer, who went on to create such iconic characters as Nancy Drew. It also considers how American children’s books about Japan have gradually become more realistic with more Japanese-American authors entering the field, and with texts grappling with such serious subjects as internment camps and the bombing of Hiroshima and Nagasaki.   Drawing from the Library of Congress’s massive collection, Sybille A. Jagusch presents long passages from many different types of Japanese-themed children’s books and periodicals—including travelogues, histories, rare picture books, folktale collections, and boys’ adventure stories—to give readers a fascinating look at these striking texts. Published by Rutgers University Press, in association with the Library of Congress.