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| Preface | |
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| Acknowledgments | |
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| Ancient Writing Systems | |
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| Prehistoric Societies | |
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| Development of Oral Communication | |
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| Early Writing Societies | |
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| Pictograph-Based Writing Systems | |
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| From Pictographs to Ideographs | |
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| The Semitic Languages | |
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| Sumerian Cuneiform | |
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| Minoan Writing | |
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| Written Languages Remain Undeciphered | |
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| Egyptian Hieroglyphics | |
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| Hieratic Script | |
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| Demotic Script | |
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| Ancient Writing Systems Evolve | |
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| The Rise of Ancient Greece | |
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| Recovering Ancient Egyptian Hieroglyphics | |
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| Lettering During the Roman Empire and Middle Ages | |
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| Impact of the Roman Empire | |
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| Roman Triumphal Arches | |
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| Roman Lettering | |
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| Capitalis Quadrata to Rustica | |
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| Constantine Ends Christian Persecution | |
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| The Roman Empire Divided | |
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| The Scroll versus the Codex | |
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| Roman Script | |
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| Christianizing of Ireland and the Celtic Lettering | |
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| The Crumbling Empire Leads to Feudalism | |
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| Celtic Round Uncials | |
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| Lettering as a Declaration of Faith | |
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| A Unifying Force in Lettering | |
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| The Romanesque Hand Invites Innovation | |
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| The Development of the Gothic Textura Hand | |
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| Mediterranean Expansion of Muslims | |
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| Development of Rag Paper in Europe | |
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| The Late Gothic Period | |
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| Rotunda Compared to Gothic Lettering | |
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| Setting the Stage for the Renaissance | |
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| Renaissance Typography and Printing | |
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| The Renaissance | |
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| The Beginning of Printing | |
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| Gutenberg: The Metal Craftsman | |
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| Movable, Reusable Type | |
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| Imitation of a Hand-Copied Book | |
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| The First Printing Ink | |
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| Composing a Page | |
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| Printing the 42-Line Bible | |
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| Assembly-Line Book Production | |
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| Early Typefaces | |
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| The Spread of Printing: Jenson in Italy | |
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| Printing in England | |
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| The Religious Reformation | |
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| The Pinnacle of the Renaissance | |
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| Intertwining Printeries: The Estienne Family and Simon de Colines | |
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| Aldus Mantius as Publisher | |
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| The Letter as Art | |
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| Geofroy Tory Establishes Bookmaking as an Art | |
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| France Offers a New Look in Type: Garamond | |
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| Prevalence of Italic and Script Faces | |
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| Handwriting as a Status Symbol | |
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| Printing Innovations | |
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| Typography During Colonization and Industrialization | |
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| Colonial Era Typography | |
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| A Mathematically Perfect Font | |
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| Rococo Era Typography | |
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| Letterpress Printing | |
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| Typography During Colonial Expansion | |
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| Type Fashion in England | |
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| Writing Master Turns Typographer | |
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| Typography in Italy | |
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| The Dawn of Industrialization | |
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| Printing Gains Momentum | |
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| Introduction of Sans Serif Fonts | |
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| A New Era in Typography: Advertising | |
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| The Practical Writing Machine | |
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| Stone Chromolithography Printing | |
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| The Victorian Era Influences Typography | |
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| Documenting the American Civil War | |
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| Early Twentieth-Century Typography | |
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| The Arts and Crafts Movement | |
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| Kelmscott Press | |
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| Page Type Composition Speeds Up | |
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| Art Nouveau | |
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| Type for Mass Production | |
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| Offset Lithography | |
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| An Aesthetic Revolution | |
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| Post-War Typographer: Rudolph Koch | |
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| Frederic Goudy's Inspired Private Press in the United States | |
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| Edward Johnston and Eric Gill: Classic Letters | |
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| The Roaring Twenties | |
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| Dada Rejects Typographic Messages | |
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| Art Deco | |
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| The Bauhaus Aesthetic: Kandinsky and Bayer | |
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| DeStijl Movement in the Netherlands | |
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| Russian Constructivism: El Lissitzky and Kurt Schwitters | |
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| Minimal Typographic Design: Jan Tschichold | |
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| A Geometric Typeface: Paul Renner's Futura | |
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| The Great Depression | |
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| Type for Daily Newspapers | |
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| The United States at War | |
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| Technology Changes the Designer's Role | |
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| Transitioning from Hot Type to Cold Type | |
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| Technology Changes the Designer's Role in the Production Process | |
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| Fitting Copy | |
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| Type Specification | |
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| Proofreading Tips | |
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| Proofreader's Marks | |
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| Type Design During the Second Half of the Twentieth Century | |
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| Type Design in the 1960s | |
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| Type Design During the Radical 1970s | |
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| Wolfgang Weingart | |
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| The Dawning of the Digital Age | |
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| Contemporary Typography and Digital Technology | |
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| Emigre Magazine | |
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| Dot Matrix | |
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| Daisy Wheel and Ink Jet Printing | |
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| Zuzanna Licko | |
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| Laser Printer Technology | |
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| Jeffery Keedy | |
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| Max Kisman | |
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| Letterror | |
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| Neville Brody | |
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| Matthew Carter | |
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| Digital Font Technology | |
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| Adobe and the Development of PostScript | |
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| PostScript Type 1 | |
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| PostScript Type 2 | |
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| PostScript Type 3 | |
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| Font Availability and Distribution | |
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| Character Characteristics | |
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| Upper- and Lowercase Letterforms | |
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| Measuring Type | |
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| Distinguishing Font Styles | |
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| Fonts, Faces and Families | |
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| Typeface Design | |
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| Type for Use in Different Sizes | |
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| Design of an Italic Font | |
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| Designing Font Variations of Weight and Proportion | |
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| Lining Figures, Small Caps, Superscript, Subscript, and Dingbats | |
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| Type Anatomy | |
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| Arms and Tails | |
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| The Spine and Shoulder | |
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| Serifs, Brackets, Terminals, and Finials | |
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| Counters and Bowls | |
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| Apices, Crotches, and Vertices | |
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| Swashes and Flags | |
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| Horizontal Spacing and Measurement | |
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| Vertical Spacing | |
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| Type Alignment | |
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| Spacing Type and Punctuation in Display Sizes | |
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| Uppercase versus Mixed Upper- and Lowercase Type | |
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| Optical Character Alignment in Headlines | |
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| Type Identification and Classification | |
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| Black Letter | |
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| Old Style | |
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| Modern Style Typefaces | |
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| Square or Slab Serif | |
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| Sans Serif | |
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| Script and Cursive | |
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| Display and Decorative | |
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| The Search for a Modern Classification System | |
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| Setting Text Type | |
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| Legibility and Readability | |
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| Font Design Characteristics | |
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| Letterform Proportions | |
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| Letter Spacing, Word Spacing, and Line Spacing | |
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| Arrangement of Text Type | |
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| Background Value, Color, and Contrast | |
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| Type Enclosed by Boxes and Bars | |
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| Single Spaces Following Punctuation | |
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| Typesetting Abbreviations | |
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| Using Bullets to Emphasize Listed Information | |
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| Prime Marks, Quotation Marks, and Apostrophes | |
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| Adding and Omitting Quoted Content Correctly | |
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| Using a Virgule | |
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| Hyphenation and Justification | |
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| Widows and Orphans | |
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| Selecting and Combining Fonts Creatively | |
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| Font Selection Considerations | |
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| Typographic Personality: Denotation, Connotation, and Resonance | |
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| Determining Compositional Importance | |
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| Spacing and Grouping Type | |
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| Weight, Proportion, Value and Texture | |
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| Positive and Negative | |
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| Varying Position and Orientation | |
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| Varying Font Structure and Style | |
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| Organizing Typographic Compositions | |
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| Basic Page Layout Considerations | |
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| Typical Layout Considerations | |
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| Establishing a Grid | |
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| Margins, Gutters and Alleys | |
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| Mastheads | |
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| Headlines and Subheads | |
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| Headers and Footers | |
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| Body Copy | |
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| Callouts and Pull Quotes | |
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| Tables, Lists, and Forms | |
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| Captions, Bylines and Credits | |
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| Sidebars and Initial Caps | |
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| Font sample charts | |
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| Key concepts | |
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| Key players | |
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| Credits | |
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| Bibliography | |