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.

Preface v Acknowledgments vi 1: Ancient Writing Systems 1 Prehistoric 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 2: Lettering During the Roman Empire and Middle Ages 23 Impact 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 3: Renaissance Typography and Printing 43 The 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 4: Typography During Colonization and Industrialization 61 Colonial Era Typography; A Mathematically Perfect Font; Rococo Era Typography; Letterpress Printing; Typography During Colonial Expansion; Type Fashion in England; Writing Master Turns Typographer;Typography 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 5: Early Twentieth-Century Typography 77 The 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 6: Technology Changes the Designer’s Role 99 Transitioning 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 7: Contemporary Typography and Digital Technology 123 Émigré 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 8: Character Characteristics 141 Upper- 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 9: Type Identification and Classification 167 Black 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 10: Setting Text Type 183 Legibility 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 Information; Prime Marks, Quotation Marks, and Apostrophes; Adding and Omitting Quoted Content Correctly; Using a Virgule; Hyphenation and Justification; and Widows and Orphans 11: Selecting and Combining Fonts Creatively 215 Font 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 12: Organizing Typographic Compositions 229 Basic Page Layout Considerations; Typical Layout Considerations; Establishing a Grid; Margins, Guttersand 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 Appendix A: Font sample charts 249 Appendix B: Key concepts 347 Appendix C: Key players 375 Credits 380 Bibliography 381 Index 383

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 technologiesA clear historical overview of type and typographic technologiesIn-depth explanations of the formal qualities of different typefacesFundamental coverage of computer terms and principlesA newly added characters per pica (CPP) chartCharts of standard paper sizes and envelope dimensionsExamples 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.