Type Rules, Enhanced Edition E-Book

Ilene Strizver

• Herausgeber: John Wiley & Sons
• Kategorie: Geisteswissenschaft
• Sprache: Englisch

Seitenzahl: 384

Veröffentlichungsjahr: 2014

Beschreibung

Type Rules!, Fourth Edition is an up-to-date, thorough introduction to the principles and practices of typography. From the fundamentals to cutting-edge applications, this edition has everything today's serious designer needs to use type effectively. Dozens of exercises reinforce authoritative coverage on such topics as how to select the appropriate type for the job, how to set type like a pro, and how to design a typeface, as well as how to fully harness the power of major design packages including the Adobe Creative Suite.Includes video clips showing examples of projects discussed in Chapter 11- Type on the Web and Chapter 12- Type in Motion

Leseprobe

CONTENTS

Cover

Title page

Copyright page

Dedication

Acknowledgements

Preface

Introduction

Chapter One: A Brief History of Type

Sounds to Symbols

Gutenberg and Movable Type

The Industrial Revolution and the Mechanization of Type

Photocomposition

Into the Digital Age

Exercise

Chapter Two: From Metal to MAC

What is a Font?

Font Formats

Hinting

Font Management Utilities

Exercise

Chapter Three: What Makes a Typeface Look the Way it Does?

Parts of a Character

Type Categories

Exercise

Chapter Four: Selecting the Right Type for the Job

Factors to Consider

What Makes a Good Typeface?

Text vs. Display

Type Super Families and Systems

Script, Calligraphic, and Handwriting Fonts

When the Best Font for the Job isn’t a font

Typographic Illustration

Mixing it up

Dos and Don’ts

Exercise

Chapter Five: Formatting your Type

Type Size

Line Length

Line Spacing (Leading)

Alignment

Indents and Other Paragraph Separators

Exercise

Chapter Six: Typographic Hierarchy and Emphasis

Typographic Hierarchy

Techniques for Emphasis

Exercise

Chapter Seven: Fine-Tuning and Tweaking your Type

Punctuation

Visual Alignment

Rags

Widows and Orphans

Exercise

Chapter Eight: Spacing Considerations

Tracking

Kerning

Word Spacing

Exercise

Chapter Nine: Finessing your Type

Small Caps

Initial Letters

Swash Characters

Alternate Characters

Type and Color

Exercise

Chapter Ten: Figures, Fractions, Signs, Symbols, and Dingbats

Figures

Fractions

Bullets

Registered, Trademark, and Copyright Symbols

Accents and Accented Characters

Parentheses, Brackets, Braces, and Angled Brackets

Euro

Ellipses

Dingbats and Ornaments

End Marks

Exercise

Chapter Eleven: Type on the Web (and other Digital Formats)

Characteristics of Type on the Web

Web-Safe Fonts

Web Fonts

Smart Punctuation on the Web

Cascading Style Sheets

Type as Graphic

Typographic Hierarchy on the Web

Dos and Don’ts

Smartphones, Tablets, E-Readers, and Other Devices

Exercise

Chapter Twelve: Type in Motion

Combining Type and Motion

Basic Guidelines

How to Get Started

Dos and Don’ts

Exercise

Chapter Thirteen: Designing your own Typeface

Handwriting Fonts: A Good Place to Begin

Three Approaches to Designing a Typeface

Professional Guidelines

Exercise

Appendix

Digital Font Foundries and Distributors

Web-Font Services

Typographic Resources

Glossary

Bibliography

Picture Credits

Index

Copyright © 2014 by Ilene Strizver. All rights reserved.

Published by John Wiley & Sons, Inc., Hoboken, New Jersey.

Published simultaneously in Canada.

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Library of Congress Cataloging-in-Publication Data:

Strizver, Ilene, 1953- Type rules! : the designer’s guide to professional typography / Ilene Strizver. -- Fourth edition.   pages cm Includes bibliographical references and index. ISBN 978-1-118-45405-3 (pbk.); ISBN 978-1-118-74869-5 (ebk.); ISBN 978-1-118-75866-3 (ebk.) 1. Type and type-founding. 2. Graphic design (Typography) 3. Graphic design (Typography)--Computer programs. I. Title. Z250.S92 2014 686.2’21--dc23 2013018923 978-1-118-45405-3

DEDICATION

This book is dedicated to my father, Leonard Strizver, who taught me to believe in myself and that the sky was the limit to what I could accomplish. Unfortunately he did not live long enough to see his words take shape in my life.

I hope I have made you proud, Dad.

ACKNOWLEDGMENTS

As someone whose academic beginnings focused on music and fine art, I was extremely lucky to have crossed paths with some of the most openhearted and talented individuals in the world of typography and graphic design, almost in spite of myself. Aaron Burns, Ed Benguiat, Herb Lubalin, Bob Farber, and Allan Haley permanently altered my life’s path, and I will be forever indebted to them. Their creative brilliance coupled with their incredible generosity of spirit ignited within me a passion for type that will never be satiated.

Through the years, there have been countless graphic designers, type designers, typographers, and other creative professionals who have unselfishly shared their knowledge and passion for type and design with me. To all of them I offer my deepest thanks, for without them, this book never would have come to be.

I want to extend a heartfelt thanks to my typographic “partners in crime,” James Montalbano, Mark Jamra, Ken Barber, Otmar Hoefer, Thomas Phinney, and David Lemon, who have generously and willingly shared their expertise and resources.

A very warm thanks to my special friends Maxim Zhukov, Christopher Slye, Fred Brady, and Nat Brockman, who have so very graciously offered their time and professional assistance to help make this a better book.

In addition, a very special thanks goes out to Charles Nix, Scott Fisk, Brian Lucid, Heather Shaw, and Jakob Trollbäck, whose knowledge of today’s digital technology helped make Type Rules! a more useful, up-to-date tool for today’s graphics designers and students of design.

I would also like to extend my deepest gratitude to all the instructors who willingly shared their teaching methods and assignments with me and, as well, to the students who allowed the use of their assignment solutions for publication.

I could never express enough appreciation to all my students and workshop attendees. They continue to keep me on my toes; push me to learn newer and better methods, technique, and software; and challenge me to offer a better explanation. Their talent, enthusiasm, and passion for learning inspire me to be the best I can be.

And last but not least, a very special thanks to my editor, Margaret Cummins, whose unwavering belief in me and in this book, combined with her own vision of what it could be, inspired me to new heights.

PREFACE

This fourth edition of Type Rules! has been revised and expanded in a number of ways. The content has not only been updated to reflect current standards and practices in typography, design, and technology, but also significantly expanded to include the most up-to-date information on type on the web, type in motion, and type on other digital devices. All chapters have updated Techtips and Typetips, as well both new and tried-and-true Exercises, many of which include some very exciting student solutions.

▪ TECHTIPS are instructional sidebars on how to employ some of the typographic principles and techniques featured throughout the book using one of the most widely used design applications, Adobe InDesign CS6 for Mac OS X.

▪ TYPETIPS are sidebars that contain helpful hints and tasty tidbits that explain how to finesse your type in more detail.

▪ And last, but definitely not least, the Exercises are intended to assist in learning and understanding typographic principles, and how to apply them to design projects. These Exercises, which follow each chapter, are intended for educators and students, but they can be used by anyone who wants to reinforce and apply the material in this book—and wind up with some great portfolio pieces as well!

* * * * *

This fourth edition has been expanded with the addition of bonus videos to accompany Chapters 11 and 12. When you see the video icon , visit http://www.wiley.com/go/typerules and enter the access code located at the back of this book to view the video content.

INTRODUCTION

Type is all around us, in everything we read, from product packaging in the grocery store to television commercials, from greeting cards, books, and magazines to movie credits and storefront signs. Learning to read and write the alphabet is one of the first things we are taught in school, and that process often begins before nursery school with television shows and videos intended for the hungry and curious minds of two- and three-year-olds.

Type and printed matter not only communicate information to us but also influence decisions we make on a daily basis. Whether we realize it or not, type and the way it appears affects which CD or book cover catches our eyes, which detergent we think might make the whites whiter, and which movie seems like it might be the scariest or most romantic. Much of this process goes on unconsciously, which is why the art and craft of typography is so invisible to the average person. But its unseen nature by no means diminishes the importance and influence type has on the quality and substance of our daily lives.

Type Rules! is intended for anyone interested in typography, be they a professional graphic designer, an instructor, or a novice computer user. There is something here for everyone, whether you know a little or a lot about type. This book does not have to be read front to back; you may thumb through the chapters and stop wherever something sparks your interest, or you may read it chapter after chapter, cover to cover. This book will stimulate and satisfy the neophyte’s interest in type as well as offer advanced information and techniques to professional graphic designers who want to improve their work.

Typography is not taught (or taught effectively, in my experience) in every design school, as it should be. When it is, the focus is often on typographic design in its broadest sense, not the nuts and bolts of how to set type tastefully and effectively; addressing this void is my primary objective. This book is intended to help you learn how to communicate effectively and professionally with type, no matter what the medium, device, or platform.

* * * * *

I can trace my interest in type and letterforms back to the posters I drew for my junior high school elections. I remember spending hours on the lettering: measuring out the strokes of each character, the spaces between each letter, and the spaces between the lines. Those posters would appear extremely crude by professional standards, but my interest in the geometry of letters and the relationships between their positive and negative spaces was evident even then.

After studying music and then fine art in college, I was lucky enough to land a seat in Ed Benguiat’s lettering class at the School of Visual Arts in New York City; my life was never the same again. Ed instilled in me the passion for type that I have today and with which I will attempt to infect you. The bad news is that if I succeed, there is really no cure for it; the good news is that “catching it” will open your eyes to many exciting things you have never seen before and allow you to enjoy and appreciate the world around you in a completely new way.

CHAPTER ONE

A BRIEF HISTORY OF TYPE

The story of type doesn’t begin with type per se, rather it starts with the beginning of mankind and civilization. Type has only existed for about 560 years, but its beginnings are rooted in the life of the caveman himself, as it was his developing needs and habits that led civilization on a path toward the evolution of the alphabet and subsequently the invention of type and printing. It is certainly possible to learn to use type effectively and tastefully without knowing its roots, but to fully understand and appreciate type today, it is important to know something of the past.

Milestones in the history of type are highlighted throughout this chapter. Some of the dates, chronology, and details vary from source to source, but the spirit of the events remains the same. These events have taken mankind on a glorious ride from the crudest cave drawings to the bits and bytes of type in the digital age.

SOUNDS TO SYMBOLS

For many years, early humans communicated purely with sound. Verbal language—which is heard and not seen as opposed to visual language (or visible language, as it is often called)—has many limitations: it is gone the instant it is spoken and heard, and it is therefore temporary. Stories, history, and other information could not be passed from generation to generation in a permanent way, only by direct word of mouth.

The earliest attempts to record stories and ideas were through cave drawings; the first known is dated around 25,000 BC. These drawings, or pictographs, were very simple representations of people, places, and things, and for this reason, they were relatively easy to learn and understand. Although this was a very simple form of written communication, it was certainly more permanent than sound, and much of it has survived the ravages of time and still exists today. (Fig. 1-1)

Figure 1-1 This Aboriginal rock painting (c. 13,000 BC), located in a cave in Queensland, Australia, is a distinctive example of the earliest form of written communication.