Typography essentials 100 design principles for working with type
A deep understanding of letterforms and knowledge of their effective use can only be obtained with constant observation and experimentation; it evolves over a lifetime of design practice and study.
| Autor principal: | |
|---|---|
| Formato: | Libro electrónico |
| Idioma: | Inglés |
| Publicado: |
Beverly, Mass. :
Rockport Publishers
c2009.
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| Edición: | 1st edition |
| Materias: | |
| Ver en Biblioteca Universitat Ramon Llull: | https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009628562006719 |
Tabla de Contenidos:
- Cover
- Title
- CONTENTS
- INTRODUCTION
- THE LETTER
- 1 Using letter as form
- 2 Using counter spaces as form
- 3 Letterform details
- 4 Emotional content implied by the text
- 5 Historical connotation
- 6 Considering the medium
- 7 Honoring dignity
- 8 The handmade solution
- 9 Being expressive
- 10 Staying neutral
- 11 Considering background contrast
- 12 Emphasis using weight
- 13 Emphasis using contrasting weights
- 14 Emphasis using size
- 15 Emphasis using contrasting sizes
- 16 Proper smart quotes
- 17 The hyphen, the en dash, and the em dash
- 18 High contrast in reverse
- 19 Extreme scaling
- 20 Heavy flourishes
- 21 Thinking like a typesetter
- 22 Using display versions
- 23 Using numbers
- 24 Dingbats and pictograms
- 25 Theory of Relativity I
- THE WORD
- 26 A "bad" typeface?
- 27 Typographic abominations
- 28 Hierarchy using position
- 29 Hierarchy using size
- 30 Hierarchy using weight
- 31 Hierarchy using color
- 32 Hierarchy using contrast
- 33 Hierarchy using orientation
- 34 Hierarchy using special effects
- 35 To kern or not to kern
- 36 Type as image
- 37 Three-dimensional type
- 38 Repetition
- 39 Deconstructed type
- 40 Vertical stacking
- 41 See the shape
- 42 Using cases
- 43 The rule of three typefaces
- 44 Mixing many typefaces
- 45 Mixing type using contrast, weight, or color
- 46 Mixing typefaces using historical compatibility
- 47 Familiarity breeds legibility
- 48 Properly weighted small caps and fractions
- 49 Using the right type
- 50 Theory of Relativity II
- THE PARAGRAPH
- 51 Invisible typography
- 52 Highly evident typography
- 53 Less is more
- 54 More is more
- 55 Letter spacing and word spacing
- 56 Hyphenation and justification
- 57 Tracking guidelines
- 58 The "color" of the text type
- 59 Considering typographic mass.
- 60 Pattern, gradation, and texture
- 61 Basic leading principles
- 62 Optimum line lengths
- 63 Increasing leading
- 64 Tightly stacked lines
- 65 Indicating paragraphs
- 66 Initial caps and drop caps
- 67 Opening paragraphs
- 68 Orphans and widows
- 69 "Rivers" of space
- 70 Eschew decorative type
- 71 Celebrate decorative type
- 72 Text overlapping images
- 73 Text overlapping text
- 74 The text block effect
- 75 Theory of Relativity III
- THE PAGE
- 76 Legibility, legibility, legibility
- 77 Legibility taking a back seat
- 78 Limiting typefaces
- 79 One type family
- 80 Six necessary typefaces
- 81 A need for every typeface
- 82 Text typefaces versus display typefaces
- 83 Organized entry points
- 84 Systematizing hierarchy
- 85 Using justified type
- 86 Using flush-left, rag-right type
- 87 Using centered, asymmetrical, and flush-right type
- 88 The multicolumn text grid
- 89 The uneven text grid
- 90 Typographic "furniture"
- 91 Decks, callouts, and pull quotes
- 92 The "birth and death" of the text
- 93 Chaos versus order
- 94 Commentary, marginalia, and alternate languages
- 95 Tables and charts
- 96 Navigational devices
- 97 Margins and gutters
- 98 Framing the text
- 99 Floating in space
- 100 Theory of Relativity IV
- CONTRIBUTORS INDEX
- A
- B
- C
- D
- E
- F
- H
- I
- K
- L
- M
- N
- P
- R
- S
- T
- V
- W
- ABOUT THE AUTHOR
- ACKNOWLEDGMENTS.
