{"product_id":"a-typographic-workbook-isbn-9780471696902","title":"A Typographic Workbook","description":"Lavishly illustrated with more than 450 images, \u003ci\u003eA Typographic Workbook, Second Edition\u003c\/i\u003e 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 \u003ci\u003eSecond Edition\u003c\/i\u003e 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. \u003ci\u003eA Typographic Workbook, Second Edition\u003c\/i\u003e is a valuable professional resource for working designers and an indispensable training tool for graphic design students. \u003cp\u003ePreface v\u003c\/p\u003e \u003cp\u003eAcknowledgments vi\u003c\/p\u003e \u003cp\u003e\u003cb\u003e1: Ancient Writing Systems 1\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003ci\u003ePrehistoric Societies; Development of Oral Communication; Early Writing Societies; Pictograph-Based Writing Systems; From Pictographs to Ideographs; The Semitic Languages; Sumerian Cuneiform; Minoan Writing; Written Languages Remain Undeciphered; Egyptian Hieroglyphics; Hieratic Script; Demotic Script; Ancient Writing Systems Evolve; The Rise of Ancient Greece; and Recovering Ancient Egyptian Hieroglyphics\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e2: Lettering During the Roman Empire and Middle Ages 23\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003ci\u003eImpact of the Roman Empire; Roman Triumphal Arches; Roman Lettering; Capitalis Quadrata to Rustica; Constantine Ends Christian Persecution; The Roman Empire Divided; The Scroll versus the Codex; Roman Script; Christianizing of Ireland and the Celtic Lettering; The Crumbling Empire Leads to Feudalism; Celtic Round Uncials; Lettering as a Declaration of Faith; A Unifying Force in Lettering; The Romanesque Hand Invites Innovation; The Development of the Gothic Textura Hand; Mediterranean Expansion of Muslims; Development of Rag Paper in Europe; The Late Gothic Period; Rotunda Compared to Gothic Lettering; and Setting the Stage for the Renaissance\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e3: Renaissance Typography and Printing 43\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003ci\u003eThe Renaissance; The Beginning of Printing; Gutenberg: The Metal Craftsman; Movable, Reusable Type; Imitation of a Hand-Copied Book; The First Printing Ink; Composing a Page; Printing the 42-Line Bible; Assembly-Line Book Production; Early Typefaces; The Spread of Printing: Jenson in Italy; Printing in England; The Religious Reformation; The Pinnacle of the Renaissance; Intertwining Printeries: The Estienne Family and Simon de Colines; Aldus Mantius as Publisher; The Letter as Art; Geofroy Tory Establishes Bookmaking as an Art; France Offers a New Look in Type: Garamond; Prevalence of Italic and Script Faces; Handwriting as a Status Symbol; and Printing Innovations\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e4: Typography During Colonization and Industrialization 61\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003ci\u003eColonial Era Typography; A Mathematically Perfect Font; Rococo Era Typography; Letterpress Printing; Typography During Colonial Expansion; Type Fashion in England; Writing Master Turns Typographer;\u003c\/i\u003e\u003cbr\u003e\u003ci\u003eTypography in Italy; The Dawn of Industrialization; Printing Gains Momentum; Introduction of Sans Serif Fonts; A New Era in Typography: Advertising; The Practical Writing Machine; Stone Chromolithography Printing; The Victorian Era Influences Typography; and Documenting the American Civil War\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e5: Early Twentieth-Century Typography 77\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003ci\u003eThe Arts and Crafts Movement; Kelmscott Press; Page Type Composition Speeds Up; Art Nouveau; Type for Mass Production; Offset Lithography; An Aesthetic Revolution; Post-War Typographer: Rudolph Koch; Frederic Goudy’s Inspired Private Press in the United States; Edward Johnston and Eric Gill: Classic Letters; The Roaring Twenties; Dada Rejects Typographic Messages; Art Deco; The Bauhaus Aesthetic: Kandinsky and Bayer; DeStijl Movement in the Netherlands; Russian Constructivism: El Lissitzky and Kurt Schwitters; Minimal Typographic Design: Jan Tschichold; A Geometric Typeface: Paul Renner’s Futura; The Great Depression; Type for Daily Newspapers; and The United States at War\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e6: Technology Changes the Designer’s Role 99\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003ci\u003eTransitioning from Hot Type to Cold Type; Technology Changes the Designer’s Role in the Production Process; Fitting Copy; Type Specification; Proofreading Tips; Proofreader’s Marks; Type Design During the Second Half of the Twentieth Century; Type Design in the 1960s; Type Design During the Radical 1970s; Wolfgang Weingart; and The Dawning of the Digital Age\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e7: Contemporary Typography and Digital Technology 123\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003ci\u003eÉmigré Magazine; Dot Matrix, Daisy Wheel and Ink Jet Printing; Zuzanna Licko; Laser Printer Technology; Jeffery Keedy; Max Kisman; Letterror; Neville Brody; Matthew Carter; Digital Font Technology; Adobe and the Development of PostScript; PostScript Type I; PostScript Type 2; PostScript Type 3; and Font Availability and Distribution\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e8: Character Characteristics 141\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003ci\u003eUpper- and Lowercase Letterforms; Measuring Type; Distinguishing Font Styles; Fonts, Faces and Families; Typeface Design; Type for Use in Different Sizes; Design of an Italic Font; Designing Font Variations of Weight and Proportion; Lining Figures, Small Caps, Superscript, Subscript, and Dingbats; Type Anatomy; Arms and Tails; The Spine and Shoulder; Serifs, Brackets, Terminals, and Finials; Counters and Bowls; Apices, Crotches, and Vertices; Swashes and Flags; Horizontal Spacing and Measurement; Vertical Spacing; Type Alignment; Spacing Type and Punctuation in Display Sizes; Uppercase versus Mixed Upper- and Lowercase Type; and Optical Character Alignment in Headlines\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e9: Type Identification and Classification 167\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003ci\u003eBlack Letter; Old Style; Modern Style Typefaces; Square or Slab Serif; Sans Serif; Script and Cursive; Display and Decorative; and The Search for a Modern Classification System\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e10: Setting Text Type 183\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003ci\u003eLegibility and Readability; Font Design Characteristics; Letterform Proportions; Letter Spacing, Word Spacing, and Line Spacing; Arrangement of Text Type; Background Value, Color, and Contrast; Type Enclosed by Boxes and Bars; Single Spaces Following Punctuation; Typesetting Abbreviations; Using Bullets to Emphasize Listed \u003c\/i\u003e\u003ci\u003eInformation; Prime Marks, Quotation Marks, and Apostrophes; Adding and Omitting Quoted Content Correctly; Using a Virgule; Hyphenation and Justification; and Widows and Orphans\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e11: Selecting and Combining Fonts Creatively 215\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003ci\u003eFont Selection Considerations; Typographic Personality: Denotation, Connotation, and Resonance; Determining Compositional Importance; Spacing and Grouping Type; Weight, Proportion, Value and Texture; Positive and Negative; Varying Position and Orientation; and Varying Font Structure and Style\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e12: Organizing Typographic Compositions 229\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003ci\u003eBasic Page Layout Considerations; Typical Layout Considerations; Establishing a Grid; Margins, Gutters\u003c\/i\u003e\u003cbr\u003e\u003ci\u003eand Alleys; Mastheads; Headlines and Subheads; Headers and Footers; Body Copy; Callouts and Pull Quotes; Tables, Lists, and Forms; Captions, Bylines and Credits; and Sidebars and Initial Caps\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eAppendix A: Font sample charts 249\u003c\/p\u003e \u003cp\u003eAppendix B: Key concepts 347\u003c\/p\u003e \u003cp\u003eAppendix C: Key players 375\u003c\/p\u003e \u003cp\u003eCredits 380\u003c\/p\u003e \u003cp\u003eBibliography 381\u003c\/p\u003e \u003cp\u003eIndex 383\u003c\/p\u003e  \u003cb\u003eKATE CLAIR\u003c\/b\u003e 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.  \u003cp\u003e\u003cb\u003eCYNTHIA BUSIC-SNYDER\u003c\/b\u003e 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.\u003c\/p\u003e  \u003cb\u003eThe bestselling guide to mastering the concepts and skills for successfully designing with type\u003c\/b\u003e  \u003cp\u003eWelcome to a fascinating tour of the innovative potential of type—\u003ci\u003eA Typographic Workbook\u003c\/i\u003e, 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.\u003c\/p\u003e \u003cp\u003eThis 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:\u003c\/p\u003e \u003cul\u003e \u003cli\u003eCoverage of new digital technologies\u003c\/li\u003e \u003cli\u003eA clear historical overview of type and typographic technologies\u003c\/li\u003e \u003cli\u003eIn-depth explanations of the formal qualities of different typefaces\u003c\/li\u003e \u003cli\u003eFundamental coverage of computer terms and principles\u003c\/li\u003e \u003cli\u003eA newly added characters per pica (CPP) chart\u003c\/li\u003e \u003cli\u003eCharts of standard paper sizes and envelope dimensions\u003c\/li\u003e \u003cli\u003eExamples of standard folding conventions for brochures\u003c\/li\u003e \u003c\/ul\u003e \u003cp\u003e\u003ci\u003eA Typographic Workbook\u003c\/i\u003e, Second Edition is a valuable professional resource for working designers and an indispensable training tool for graphic design students.\u003c\/p\u003e","brand":"Wiley","offers":[{"title":"Default Title","offer_id":47988646805733,"sku":"NP9780471696902","price":53.95,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9780471696902.jpg?v=1761781103","url":"https:\/\/k12savings.com\/es\/products\/a-typographic-workbook-isbn-9780471696902","provider":"K12savings","version":"1.0","type":"link"}