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.

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.

"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.

Type design is often presented in either such detail-obsessed complexity that it is not welcoming to beginners, or it is so simplified with the help of apps and web services that the resulting fonts are virtually useless. This book is different. It shows readers how to design professional fonts - without having to find out all of type design's secrets first. Designing Fonts teaches the basics of type design from sketched letters to finished font, offering an uncomplicated but thorough introduction to type design. With easy-to-follow instructions, many examples and professional tips, readers will learn how to design unique typefaces tailor-made for their own projects or customer orders. This book has two parts. Part 1 explains the theoretical, creative and technical basics of type design and font production. Six chapters then cover everything from alphabet to font, showing readers how to find and develop typeface ideas, design matching letters, produce fonts and expand them with special functions. Part 2 comprises eight workshops that explore how to design and implement different kinds of typefaces, from decorative interlocking display fonts with alternative letters to well-developed headline fonts with multiple cuts and OpenType features.

A history of the influence of communication technologies on Western architectural theory. The discipline of architecture depends on the transmission in space and time of accumulated experiences, concepts, rules, and models. From the invention of the alphabet to the development of ASCII code for electronic communication, the process of recording and transmitting this body of knowledge has reflected the dominant information technologies of each period. In this book Mario Carpo discusses the communications media used by Western architects, from classical antiquity to modern classicism, showing how each medium related to specific forms of architectural thinking. Carpo highlights the significance of the invention of movable type and mechanically reproduced images. He argues that Renaissance architectural theory, particularly the system of the five architectural orders, was consciously developed in response to the formats and potential of the new printed media. Carpo contrasts architecture in the age of printing with what preceded it: Vitruvian theory and the manuscript format, oral transmission in the Middle Ages, and the fifteenth-century transition from script to print. He also suggests that the basic principles of "typographic" architecture thrived in the Western world as long as print remained our main information technology. The shift from printed to digital representations, he points out, will again alter the course of architecture.

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"

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.

The typograhic grid is a child of constructive art. This book offers a collection of about two dozen typographic works of the author including books, brochures and art catalogues. The works, documented in schematic drawings and many individual illustrations, are not meant to be recipes; instead, they should provide the reader with impulses of how he himself can set design processes in motion from the outset. The many-sidedness of design with grid systems should be made manifest

Transforming Type examines kinetic or moving type in a range of fields including film credits, television idents, interactive poetry and motion graphics. As the screen increasingly imitates the properties of real-life environments, typographic sequences are able to present letters that are active and reactive. These environments invite new discussions about the difference between motion and change, global and local transformation, and the relationship between word and image. In this illuminating study, Barbara Brownie explores the ways in which letterforms transform on screen, and the consequences of such transformations. Drawing on examples including Kyle Cooper's title sequence design, kinetic poetry and MPC's idents for the UK's Channel 4, she differentiates motion from other kinds of kineticism, with particular emphasis on the transformation of letterforms into other forms and objects, through construction, parallax and metamorphosis. She proposes that each of these kinetic behaviours requires us to revisit existing assumptions about the nature of alphabetic forms and the spaces in which they are found.

Originally commissioned by the British newspaper The Times in 1931 in response to a critique of the previous typeface they used, the Times type family - including Times Roman, Times New Roman, and a number of other variants - has become one of the most commonly used throughout the world. Distributed by Microsoft with every copy of Windows since version 3.1 and used as the default typeface for many applications including Microsoft Word, Times has become a widely accepted typeface for high school and college papers. It is also widely used in publishing, including for almost all mass market paperbacks produced in the United States, and it became the official typeface of all U.S. government diplomatic documents in 2004. This new volume in the "I Love Type" series is expertly curated to prove that this highly functional type family can be highly aesthetic and cutting edge, when utilized by internationally respected designers for the incredibly creative designs featured in these pages.

The business of Stephenson Blake and Company grew from modest beginnings in 1818 into a business that dominated the typefounding industry in Britain. Roy Millington charts the history of this typefoundery, with particular focus on the changing technical and social milieu in which the company operated. Illustrated with examples of typefaces, display specimens and the machinery of personalities of the company, this thorough account of a traditional manufacturing business should appeal to anyone interested in typographical or printing history.

This lively account of the printed word draws together the histories of typography and printing into one robustly illustrated volume, and describes how dramatic changes in technology have affected type design. Historical paintings, engravings, and photographs give a visual context to the different eras of type design and print, and key typefaces from each historical era are discussed and compared to others of the era. The original use of each typeface is pictured alongside contemporary examples, providing a broad sense of the character of each face. Sidebars explain how to use individual typefaces, warn of pitfalls, and highlight the particular benefits of using the face. A superb and engaging introduction to the world of typography, the book is also a vital reference for anyone who works with type and knows that understanding the history of letterforms is key to using type creatively and effectively.