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Lavishly illustrated with more than 450 images, A Typographic Workbook, Second Edition explains the process successful designers use to select, space, and creatively integrate fonts. This essential text demonstrates the use of type as a dynamic and expressive communication tool. This edition provides new and updated coverage of a broad range of topics–from a logical, clear historical overview of the craft to the latest digital technologies. Known for its highly interactive format, this Second Edition continues to include helpful review questions and multiple-choice quizzes, as well as many new projects and skill-building exercises that help readers immediately apply what they have learned. A Typographic Workbook, Second Edition is a valuable professional resource for working designers and an indispensable training tool for graphic design students.
- Sales Rank: #569065 in Books
- Published on: 2005-08-15
- Original language: English
- Number of items: 1
- Dimensions: 10.90" h x .85" w x 8.50" l, 1.98 pounds
- Binding: Paperback
- 400 pages
- ISBN13: 9780471696902
- Condition: New
- Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!
From the Back Cover
The bestselling guide to mastering the concepts and skills for successfully designing with type
Welcome to a fascinating tour of the innovative potential of type—A Typographic Workbook, Second Edition. Lavishly illustrated with more than 450 images, this Second Edition clearly explains the process successful designers use to select, space, and creatively integrate fonts. The only book of its kind to combine the history of typography with practical application and technology, A Typographic Workbook clearly illustrates the use of type as a dynamic and expressive communication tool.
This edition provides new and updated coverage of a broad range of topics—from a logical, clear historical overview of the craft to the latest digital technologies. Known for its highly interactive format, this Second Edition continues to include helpful review questions and multiple-choice quizzes, as well as many new projects and skill-building exercises that help readers immediately apply what they have learned. Other special features of this handy workbook include:
- Coverage of new digital technologies
- A clear historical overview of type and typographic technologies
- In-depth explanations of the formal qualities of different typefaces
- Fundamental coverage of computer terms and principles
- A newly added characters per pica (CPP) chart
- Charts of standard paper sizes and envelope dimensions
- Examples of standard folding conventions for brochures
A Typographic Workbook, Second Edition is a valuable professional resource for working designers and an indispensable training tool for graphic design students.
About the Author
KATE CLAIR is a general partner in Hats-Off Impressions, a design firm based in Binghamton, New York. She is also a faculty member in the Communication Design Department at Kutztown University in Kutztown, Pennsylvania.
CYNTHIA BUSIC-SNYDER is Associate Professor of Graphic Design and Coordinator of Graphic Design Studies in the Department of Art at Mohawk Valley Community College in Utica, New York.
Most helpful customer reviews
6 of 12 people found the following review helpful.
Reader for New Hampshire
By Amazon Customer
This book was required (forced on me ) for a graphic design course that I am taking. Flipping through the pages, it appears to be a great book. Ten times I have attempted to read it, but after ten or fifteen minutes it gave me a headache or I couldn't keep my mind on it. No one else in the class was able to read it either. The material could be very interesting, but the author loves to use extremely small type size with a typeface that is extremely difficult to read (for example, page 259). This book never saw an editor--no competent editor would have allowed it to be printed.
12 of 12 people found the following review helpful.
typography 1.01
By A Customer
This book is an excellent starting place for any newbie designer/typographer (despite the shortcomings of occasional poor typography as mentioned in other reviews). It's very difficult to find a book that covers the breadth and depth of this one, yet still manages to deal with fundamental issues in a very readable and accessible way. You won't find another book as comprehensive and practical as this one!
The beauty of the book lies in its ability to reveal ALL the tools and skills you require, in a no-nonsense style, to create legible and artistic type. Your work won't win awards after reading it, but you will be armed with all the practical concepts you need to work with type in a competent and creative manner. I get the impression from the tone of the text that it's written for a young audience, maybe first-year college students, so the writing can sometimes belabor seemingly straight-forward concepts.
The numerous exercises are designed to impart the nuts-and-bolts techniques of how to use type in a practical yet expressive way. Most of the projects are concerned with the mechanics of legibility and information hierarchy, as well as kerning, tracking, leading and ligatures etc. The history sections are also very informative and outline the expansion of writing systems and technologies throughout human social development.
After reading this and completing the exercises, the reader could comfortably move onto a more advanced treatises on type like "The Elements of Typographic Style" by Bringhurst or "Type in Use" by White, equipped with a well-grounded foundation to absorb more technical/conceptual information.
8 of 9 people found the following review helpful.
Not beyond all hope! Maybe another edition?
By Heidi L. Carrier
I agree with many of the previous reviewers who have remarked on the poor writing style throughout this book! The historical sections are particularly awkward, as though the author did some research and simply tried to rephrase the content (usually unsuccessfully!). Though I was quite put-off by the writing style (or lack thereof), I did press on. What I found was a plethora of good information, useful side bar examples, and creative exercises. There is good content here, but it can be a lot of work to find and absorb it.
I would love to see a new edition of this book, where the author could work more closely with an editor to develop a clear, stronger voice, resulting in a useable teaching tool. If such an edition were to be written, I would suggest a few improvements:
1. Reorganize the sections. The book doesn't flow well from chapter to chapter, and the reader feels directionless while proceeding through the book. Although the history is fascinating, it opens the book and goes on for quite some time. I found myself wanting to skip ahead. Also, it would make more sense to me to discuss the Five Historic Families of Type immediately after the Parts of a Character, rather than throwing the topics of 20th c. Typography and Changes in Printing Technology in the middle.
2. Consider eliminating the technique of switching typefaces every few pages. Yes, the reader does get a sense of which typefaces are more easily read than others at that size/leading, but is it really a good idea to tire and frustrate the reader while attempting to instruct?
3. Eliminate or re-work the introductions. If it is neccesary to give an outline of upcoming topics, perhaps present it as a list rather than writing it out in as a paragraph? The current introductions are glaring examples of what I was taught NOT to do in English classes!
4. Keep a consistent tone. The author swaps rapidly between informal and formal tones, which is disconcerting.
5. Reduce redundancy. It would be better to reference various chapters and allow them to give a thorough explanation of a topic, rather than throwing in mini-definitions anywhere a term or concept is mentioned.
6. The list of popular typefaces at the end of the book is very useful to me, and I have returned to it time and time again. Perhaps after the typefaces are shown/described, a few lists/tables could follow that would group them by classification (old style, transitional, modern, etc.) and also by use (formal invitation, technical manual, classified advertising, logo, etc.)
So... this book is not beyond all hope. Even with all of its faults, I have still found it useful. I would, however, hesitate to recommend it to anyone in its current incarnation... maybe a future edition!
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