{"product_id":"type-rules-isbn-9781118454053","title":"Type Rules","description":"\u003cp\u003e\u003ci\u003eType Rules!, Fourth Edition\u003c\/i\u003e 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\u003c\/p\u003e \u003cp\u003eAcknowledgments x\u003c\/p\u003e \u003cp\u003ePreface xi\u003c\/p\u003e \u003cp\u003eIntroduction 1\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter One A Brief History of Type 3\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eSounds to Symbols 3\u003c\/p\u003e \u003cp\u003eGutenberg and Movable Type 6\u003c\/p\u003e \u003cp\u003eThe Industrial Revolution and the Mechanization of Type 8\u003c\/p\u003e \u003cp\u003ePhotocomposition 8\u003c\/p\u003e \u003cp\u003eHerb Lubalin and Expressive Typography 11\u003c\/p\u003e \u003cp\u003eInto the Digital Age 12\u003c\/p\u003e \u003cp\u003eNotable Type Designers 14\u003c\/p\u003e \u003cp\u003eExercises: 22\u003c\/p\u003e \u003cp\u003eDesign Guidelines, \u003ci\u003eNancy Sharon Collins\u003c\/i\u003e 22\u003c\/p\u003e \u003cp\u003eTypographic Timeline, \u003ci\u003eIlene Strizver\u003c\/i\u003e 24\u003c\/p\u003e \u003cp\u003eHistorical Design, \u003ci\u003eIlene Strizver\u003c\/i\u003e 25\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter Two From Metal to Mac: Understanding Font Technology 27\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eWhat Is a Font? 27\u003c\/p\u003e \u003cp\u003eFont Formats 27\u003c\/p\u003e \u003cp\u003eType 1 (PostScript) Fonts 28\u003c\/p\u003e \u003cp\u003eTrueType Fonts 29\u003c\/p\u003e \u003cp\u003eOpenType Fonts 29\u003c\/p\u003e \u003cp\u003eTechtip: OpenType Features 32\u003c\/p\u003e \u003cp\u003eHinting 33\u003c\/p\u003e \u003cp\u003eFont Management Utilities 33\u003c\/p\u003e \u003cp\u003eTechtip: OpenType Font Identifiers 33\u003c\/p\u003e \u003cp\u003eTypetip: Long S 34\u003c\/p\u003e \u003cp\u003eTypetip: Font vs. Typeface 34\u003c\/p\u003e \u003cp\u003eExercise: 35\u003c\/p\u003e \u003cp\u003eExploring Your OpenType Fonts, \u003ci\u003eIlene Strizver\u003c\/i\u003e 35\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter Three What Makes a Typeface Look the Way It Does? 37\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eParts of a Character 38\u003c\/p\u003e \u003cp\u003eType Categories 40\u003c\/p\u003e \u003cp\u003eSerif 40\u003c\/p\u003e \u003cp\u003eSans Serif 42\u003c\/p\u003e \u003cp\u003eScripts 43\u003c\/p\u003e \u003cp\u003eHandwriting 44\u003c\/p\u003e \u003cp\u003eBlackletter 45\u003c\/p\u003e \u003cp\u003eTitling Fonts 45\u003c\/p\u003e \u003cp\u003eOpticals and Size-Sensitive Fonts 46\u003c\/p\u003e \u003cp\u003eTypetip: One- and Two-Storey Lowercase As and Gs 47\u003c\/p\u003e \u003cp\u003eDecorative and Display 48\u003c\/p\u003e \u003cp\u003eTypetip: Character vs. Glyph 49\u003c\/p\u003e \u003cp\u003eExercises:\u003c\/p\u003e \u003cp\u003eThink Like a Type Designer, \u003ci\u003eIlene Strizver\u003c\/i\u003e 50\u003c\/p\u003e \u003cp\u003eLetter Parts Assignment, \u003ci\u003eCatherine Begle\u003c\/i\u003e 51\u003c\/p\u003e \u003cp\u003ePersonal Type Specimen Catalog, \u003ci\u003eIlene Strizver\u003c\/i\u003e 54\u003c\/p\u003e \u003cp\u003eType Specimen Book and Typeface Analysis, \u003ci\u003eAudrey G. Bennett\u003c\/i\u003e 55\u003c\/p\u003e \u003cp\u003eTypeface Comparison Book, \u003ci\u003eJoey Hannaford\u003c\/i\u003e 57\u003c\/p\u003e \u003cp\u003eBlock Type Project, \u003ci\u003eErich Doubek\u003c\/i\u003e 62\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter Four Selecting the Right Type for the Job 65\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eFactors to Consider 65\u003c\/p\u003e \u003cp\u003eDesign Goals 65\u003c\/p\u003e \u003cp\u003eIdentify Your Audience 67\u003c\/p\u003e \u003cp\u003eType Size 68\u003c\/p\u003e \u003cp\u003eType Color 68\u003c\/p\u003e \u003cp\u003eLegibility and Readability 68\u003c\/p\u003e \u003cp\u003ePaper and Surface Considerations 70\u003c\/p\u003e \u003cp\u003ePrinting Method 70\u003c\/p\u003e \u003cp\u003eLow-Resolution Environments 70\u003c\/p\u003e \u003cp\u003eWhat Makes a Good Typeface? 71\u003c\/p\u003e \u003cp\u003eConsistent Design Characteristics 71\u003c\/p\u003e \u003cp\u003eLegibility 71\u003c\/p\u003e \u003cp\u003eSpacing 71\u003c\/p\u003e \u003cp\u003eKerning 72\u003c\/p\u003e \u003cp\u003eEven Color and Texture 72\u003c\/p\u003e \u003cp\u003eText vs. Display 73\u003c\/p\u003e \u003cp\u003eType Super Families and Systems 74\u003c\/p\u003e \u003cp\u003eScript, Calligraphic, and Handwriting Fonts 77\u003c\/p\u003e \u003cp\u003eWhen the Best Font for the Job Isn’t a Font 78\u003c\/p\u003e \u003cp\u003eTypographic Illustration 85\u003c\/p\u003e \u003cp\u003eMixing It Up 89\u003c\/p\u003e \u003cp\u003eText with Display 90\u003c\/p\u003e \u003cp\u003eSerif with Sans 90\u003c\/p\u003e \u003cp\u003eWeight Contrast (Light with Heavy) 91\u003c\/p\u003e \u003cp\u003eWidth Contrast (Wide with Narrow) 92\u003c\/p\u003e \u003cp\u003eScript and Decorative Designs 92\u003c\/p\u003e \u003cp\u003eType Super Families and Systems 96\u003c\/p\u003e \u003cp\u003eDos and Don’ts 97\u003c\/p\u003e \u003cp\u003eTypetip: Type Specimen Materials 98\u003c\/p\u003e \u003cp\u003eTypetip: What’s New on the Font Scene 98\u003c\/p\u003e \u003cp\u003eTypetip: A Bodoni by Any Other Name? 99\u003c\/p\u003e \u003cp\u003eExercises:\u003c\/p\u003e \u003cp\u003eWhy Are All the Scary Typefaces Pointy? \u003ci\u003eChristopher Andreola\u003c\/i\u003e 100\u003c\/p\u003e \u003cp\u003eA Garamond Is a Garamond Is a Garamond . . . or Is It? \u003ci\u003eIlene Strizver\u003c\/i\u003e 101\u003c\/p\u003e \u003cp\u003eSix-Word Memoirs Poster, \u003ci\u003eElizabeth Resnick\u003c\/i\u003e 104\u003c\/p\u003e \u003cp\u003eReal Signage Critique, \u003ci\u003eAmelia Hugill-Fontanel\u003c\/i\u003e 107\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter Five Formatting Your Type 109\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eType Size 109\u003c\/p\u003e \u003cp\u003eLine Length 110\u003c\/p\u003e \u003cp\u003eLine Spacing (Leading) 110\u003c\/p\u003e \u003cp\u003eTechtip: Auto Leading 113\u003c\/p\u003e \u003cp\u003eAlignment 114\u003c\/p\u003e \u003cp\u003eTypetip: Fine-Tuning Justified Type 116\u003c\/p\u003e \u003cp\u003eIndents and Other Paragraph Separators 125\u003c\/p\u003e \u003cp\u003eFirst Line Indent 125\u003c\/p\u003e \u003cp\u003eExtreme Indent 125\u003c\/p\u003e \u003cp\u003eHanging Indent (r Outdent) 126\u003c\/p\u003e \u003cp\u003eDingbats 126\u003c\/p\u003e \u003cp\u003eLine Space 126\u003c\/p\u003e \u003cp\u003eTypetip: Standard Ligatures 126\u003c\/p\u003e \u003cp\u003eTechtip: Style Sheets 128\u003c\/p\u003e \u003cp\u003eTypetip: Footnotes and Endnotes 129\u003c\/p\u003e \u003cp\u003eTechtip: Importing Copy 130\u003c\/p\u003e \u003cp\u003eExercises:\u003c\/p\u003e \u003cp\u003eTypographic Lecture Series Brochure, \u003ci\u003eKaren Cheng\u003c\/i\u003e 131\u003c\/p\u003e \u003cp\u003eVisualizing Poetry, \u003ci\u003eCassie Hester\u003c\/i\u003e 134\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter Six Typographic Hierarchy and Emphasis 137\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eTypographic Hierarchy 138\u003c\/p\u003e \u003cp\u003eTechniques for Emphasis 142\u003c\/p\u003e \u003cp\u003eItalics and Obliques 142\u003c\/p\u003e \u003cp\u003eBoldface (Weight Contrast) 143\u003c\/p\u003e \u003cp\u003eUnderscores 143\u003c\/p\u003e \u003cp\u003eCase (Caps vs. Lowercase) 145\u003c\/p\u003e \u003cp\u003eType Size 145\u003c\/p\u003e \u003cp\u003eWide vs. Narrow 146\u003c\/p\u003e \u003cp\u003eChanging Typestyle 146\u003c\/p\u003e \u003cp\u003eChanging Color or Shade 146\u003c\/p\u003e \u003cp\u003eTypetip: Avoid Computer-Generated Styling 151\u003c\/p\u003e \u003cp\u003eExercises:\u003c\/p\u003e \u003cp\u003eTypographic Hierarchy Study, \u003ci\u003eElizabeth Resnick\u003c\/i\u003e 154\u003c\/p\u003e \u003cp\u003eCurrency Redesign, \u003ci\u003eJimmy Moss\u003c\/i\u003e 156\u003c\/p\u003e \u003cp\u003eExpressive Typography, \u003ci\u003eStephanie Nace\u003c\/i\u003e 158\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter Seven Fine-Tuning and Tweaking Your Type 161\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003ePunctuation 161\u003c\/p\u003e \u003cp\u003eQuotation Marks 161\u003c\/p\u003e \u003cp\u003eApostrophes 162\u003c\/p\u003e \u003cp\u003ePrimes 163\u003c\/p\u003e \u003cp\u003eTechtip: Unwanted Smart Quotes 163\u003c\/p\u003e \u003cp\u003eHyphens, En Dashes, and Em Dashes 164\u003c\/p\u003e \u003cp\u003eHyphenation 166\u003c\/p\u003e \u003cp\u003eVisual Alignment 167\u003c\/p\u003e \u003cp\u003eOptical Margin Alignment 167\u003c\/p\u003e \u003cp\u003eTechtip: Discretionary Hyphens 168\u003c\/p\u003e \u003cp\u003eTechtip: Hung Punctuation and Optical Margin Alignment 168\u003c\/p\u003e \u003cp\u003eHorizontal Alignment 168\u003c\/p\u003e \u003cp\u003eVertical Alignment 170\u003c\/p\u003e \u003cp\u003eRags 172\u003c\/p\u003e \u003cp\u003eTechtip: Adobe Text Composer 173\u003c\/p\u003e \u003cp\u003eWidows and Orphans 173\u003c\/p\u003e \u003cp\u003eTypetip: Breaking for Sense 174\u003c\/p\u003e \u003cp\u003eTechtip: Glyph Positioning and Baseline Shift 175\u003c\/p\u003e \u003cp\u003eExercise: Editorial Design, \u003ci\u003eIlene Strizver\u003c\/i\u003e 176\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter Eight Spacing Considerations 179\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eTracking 179\u003c\/p\u003e \u003cp\u003eTechtip: Adjusting Tracking 182\u003c\/p\u003e \u003cp\u003eKerning 183\u003c\/p\u003e \u003cp\u003eCustom Kerning 184\u003c\/p\u003e \u003cp\u003eTypetip: Scaling Logos 185\u003c\/p\u003e \u003cp\u003eTechtip: Adjusting Kerning 188\u003c\/p\u003e \u003cp\u003eWord Spacing 190\u003c\/p\u003e \u003cp\u003eTechtip: Adjusting Word Spacing 191\u003c\/p\u003e \u003cp\u003eTypetip: Type on a Curve 192\u003c\/p\u003e \u003cp\u003eTypetip: Double Word Spaces NOT! 193\u003c\/p\u003e \u003cp\u003eExercise:\u003c\/p\u003e \u003cp\u003eSpacing, Kerning, and Visual Alignment Exploration, \u003ci\u003eIlene Strizver\u003c\/i\u003e 194\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter Nine Finessing Your Type 197\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eSmall Caps 197\u003c\/p\u003e \u003cp\u003eTechtip: How to Access True-Drawn Small Caps 198\u003c\/p\u003e \u003cp\u003eInitial Letters 200\u003c\/p\u003e \u003cp\u003eRaised Initial 201\u003c\/p\u003e \u003cp\u003eDropped Initial 202\u003c\/p\u003e \u003cp\u003eDecorative Initial 203\u003c\/p\u003e \u003cp\u003eBoxed, Reversed, Oversized, and Overlapped Initials 203\u003c\/p\u003e \u003cp\u003eSwash Characters 207\u003c\/p\u003e \u003cp\u003eAlternate Characters 208\u003c\/p\u003e \u003cp\u003eType and Color 209\u003c\/p\u003e \u003cp\u003eExercises:\u003c\/p\u003e \u003cp\u003eInformation Hierarchy Book, \u003ci\u003eDavid Kadavy\u003c\/i\u003e 210\u003c\/p\u003e \u003cp\u003eConcert Poster Design, \u003ci\u003eFrank Armstrong\u003c\/i\u003e 212\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter Ten Figures, Fractions, Signs, Symbols, and Dingbats 215\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eFigures 215\u003c\/p\u003e \u003cp\u003eTechtip: Accessing Figures in OpenType Fonts 218\u003c\/p\u003e \u003cp\u003eTechtip: Tabular to Proportional Shortcut 218\u003c\/p\u003e \u003cp\u003eFractions 219\u003c\/p\u003e \u003cp\u003eTechtip: Creating Fractions in OpenType Fonts 219\u003c\/p\u003e \u003cp\u003eBullets 220\u003c\/p\u003e \u003cp\u003eRegistered, Trademark, and Copyright Symbols 220\u003c\/p\u003e \u003cp\u003eTechtip: Indenting Bulleted Lists 221\u003c\/p\u003e \u003cp\u003eTechtip: Circle P 223\u003c\/p\u003e \u003cp\u003eAccents and Accented Characters 224\u003c\/p\u003e \u003cp\u003eTypetip: Creating Accented Characters 224\u003c\/p\u003e \u003cp\u003eParentheses, Brackets, Braces, and Angled Brackets 225\u003c\/p\u003e \u003cp\u003eEuro 227\u003c\/p\u003e \u003cp\u003eEllipses 227\u003c\/p\u003e \u003cp\u003eDingbats and Ornaments 227\u003c\/p\u003e \u003cp\u003eEnd Marks 228\u003c\/p\u003e \u003cp\u003eTypetip: Typographic Checklist 229\u003c\/p\u003e \u003cp\u003eExercises:\u003c\/p\u003e \u003cp\u003eTypographic Principles Card Set, \u003ci\u003eRegina Rowland\u003c\/i\u003e 230\u003c\/p\u003e \u003cp\u003eSpa Brochure, \u003ci\u003eIlene Strizver\u003c\/i\u003e 232\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter Eleven Type on the Web (and Other Digital Formats) 235\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eCharacteristics of Type on the Web 235\u003c\/p\u003e \u003cp\u003eFont Style 235\u003c\/p\u003e \u003cp\u003eType Size 236\u003c\/p\u003e \u003cp\u003eColumn Width\/Line Length 237\u003c\/p\u003e \u003cp\u003eLine Breaks 237\u003c\/p\u003e \u003cp\u003eColumn Depth 238\u003c\/p\u003e \u003cp\u003eColor 238\u003c\/p\u003e \u003cp\u003eWeb-Safe Fonts 238\u003c\/p\u003e \u003cp\u003eSans Serif 238\u003c\/p\u003e \u003cp\u003eSerif 239\u003c\/p\u003e \u003cp\u003eSymbol Fonts 239\u003c\/p\u003e \u003cp\u003eWeb Fonts 240\u003c\/p\u003e \u003cp\u003eWeb-Font Availability 242\u003c\/p\u003e \u003cp\u003eTypetip: Web-Font Services 242\u003c\/p\u003e \u003cp\u003eSmart Punctuation on the Web 243\u003c\/p\u003e \u003cp\u003eCascading Style Sheets 244\u003c\/p\u003e \u003cp\u003eType as Graphic 244\u003c\/p\u003e \u003cp\u003eTypographic Hierarchy on the Web 244\u003c\/p\u003e \u003cp\u003eDos and Don’ts 246\u003c\/p\u003e \u003cp\u003eSmartphones, Tablets, E-readers, and Other Devices 248\u003c\/p\u003e \u003cp\u003eExercises:\u003c\/p\u003e \u003cp\u003eThe Crystal Goblet Online: An Assignment in Two Parts (Transparent and Opaque), \u003ci\u003eLa254ura Franz\u003c\/i\u003e 250\u003c\/p\u003e \u003cp\u003eENCODE \/ DECODE, \u003ci\u003eHeather Shaw258\u003c\/i\u003e 254\u003c\/p\u003e \u003cp\u003eIPad Editorial, \u003ci\u003eMarty Maxwell Lane\u003c\/i\u003e 258\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter Twelve Type in Motion 263\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eCombining Type and Motion 264\u003c\/p\u003e \u003cp\u003eBasic Guidelines 265\u003c\/p\u003e \u003cp\u003eFont Selection 265\u003c\/p\u003e \u003cp\u003eMovement 266\u003c\/p\u003e \u003cp\u003eColor 266\u003c\/p\u003e \u003cp\u003eSound 267\u003c\/p\u003e \u003cp\u003eHow to Get Started 267\u003c\/p\u003e \u003cp\u003eDos and Don’ts 268\u003c\/p\u003e \u003cp\u003eExercises:\u003c\/p\u003e \u003cp\u003eFour Squares: Text, Color, Motion, \u003ci\u003eHeather Shaw\u003c\/i\u003e 270\u003c\/p\u003e \u003cp\u003eDesign is …, \u003ci\u003eMarty Maxwell Lane\u003c\/i\u003e 274\u003c\/p\u003e \u003cp\u003eFilm Title Sequence, \u003ci\u003eDavid Peacock and Michaela Wagoner\u003c\/i\u003e 276\u003c\/p\u003e \u003cp\u003eDigital Narrative, \u003ci\u003eDermot Mac Cormack\u003c\/i\u003e 278\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter Thirteen Designing Your Own Typeface 281\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eHandwriting Fonts: A Good Place to Begin 281\u003c\/p\u003e \u003cp\u003eThree Approaches to Designing a Typeface 284\u003c\/p\u003e \u003cp\u003eProfessional Guidelines 286\u003c\/p\u003e \u003cp\u003eTechtip: Font Production Editors 287\u003c\/p\u003e \u003cp\u003eExercises:\u003c\/p\u003e \u003cp\u003eOn Beyond Zebra: The 27th Letter Assignment, \u003ci\u003eVirginia Rougon Chavis\u003c\/i\u003e 288\u003c\/p\u003e \u003cp\u003eIntroduction to Type Design: Symphony, \u003ci\u003eJames Montalbano\u003c\/i\u003e 290\u003c\/p\u003e \u003cp\u003eDigitize Your Signature, \u003ci\u003eJames Montalbano\u003c\/i\u003e 293\u003c\/p\u003e \u003cp\u003e\u003cb\u003eAppendices\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eDigital Font Foundries and Distributors 295\u003c\/p\u003e \u003cp\u003eWeb-Font Services 295\u003c\/p\u003e \u003cp\u003eTypographic Resources 295\u003c\/p\u003e \u003cp\u003eGlossary 296\u003c\/p\u003e \u003cp\u003eBibliography 301\u003c\/p\u003e \u003cp\u003ePicture Credits 302\u003c\/p\u003e \u003cp\u003eIndex 303\u003c\/p\u003e  \u003cp\u003e\u003cb\u003eIlene Strizver\u003c\/b\u003e is the founder of The Type Studio in Westport, Connecticut. She writes and teaches extensively on typography. During her career, she has been creative and produc- tion director of \u003ci\u003eU\u0026amp;lc\u003c\/i\u003e magazine, as well as director of typeface development at International Typeface Corporation (ITC) in New York City, where she developed more than 300 text and display typefaces with respected type designers such as Sumner Stone, Erik Spiekermann, Jill Bell, Jim Parkinson, and the late Phill Grimshaw. In addition to penning the popular TypeTalk column for creativepro.com, Ilene is a featured contributor to the Fontology series for fonts.com.   \u003c\/p\u003e\u003cp\u003eA comprehensive introduction to typography, from principle to practice \u003c\/p\u003e\u003cp\u003e\u003ci\u003eType Rules!, Fourth Edition\u003c\/i\u003e is an up-to-date, thorough introduction to the principles and practices of typography. From the fundamentals to cutting-edge applications, this \u003ci\u003eFourth Edition\u003c\/i\u003e has everything today's serious designer needs in order 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, how to avoid common mistakes, and how to design a typeface, as well as how to fully harness the typographic features and power of InDesign – with new coverage of the latest version. Bonus videos tied to the book offer examples of digital typography and type in motion. \u003c\/p\u003e\u003cp\u003e\"I've purchased and read just about every book on typography written over the last twenty-five years. Ilene Strizver's Type Rules! is one of the best. It's a book that will prove its value time and again.\" \u003cb\u003e—Allan Haley, Director of Words and Letters, Monotype Imaging\u003c\/b\u003e  \u003c\/p\u003e\u003cp\u003e\u003ci\u003e\"Type Rules!\u003c\/i\u003e is a must-have book for students and professionals alike. I highly recommend it.\" \u003cb\u003e—Prof. Ed Benguiat, world-renowned type designer and educator, School of Visual Arts\u003c\/b\u003e \u003c\/p\u003e\u003cp\u003e\u003cb\u003eThis new\u003c\/b\u003e \u003cb\u003e\u003ci\u003eFourth Edition\u003c\/i\u003e\u003c\/b\u003e \u003cb\u003eincludes:\u003c\/b\u003e \u003c\/p\u003e\u003cul\u003e \u003cli\u003eExpanded coverage of type on the web, web fonts, and type in motion\u003c\/li\u003e \u003cli\u003eNew chapters on typographic hierarchy and guidelines for mobile devices\u003c\/li\u003e \u003cli\u003eAccess to bonus video content\u003c\/li\u003e \u003cli\u003eMore type tips and embedded exercises than ever before\u003c\/li\u003e \u003cli\u003eIn-depth coverage of the latest type trends, including OpenType, scaling logos, and interactive typography\u003c\/li\u003e \u003cli\u003eAn expanded discussion of the history of typography and notable type designers, along with a glossary of key terms\u003c\/li\u003e \u003c\/ul\u003e","brand":"Wiley","offers":[{"title":"Default Title","offer_id":47990421618917,"sku":"NP9781118454053","price":51.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9781118454053.jpg?v=1761787760","url":"https:\/\/k12savings.com\/es\/products\/type-rules-isbn-9781118454053","provider":"K12savings","version":"1.0","type":"link"}