| |
| |
Preface | |
| |
| |
Typography Influences Us Everyday | |
| |
| |
Typographic Skills Needed by Designers | |
| |
| |
Who Is this Book for? | |
| |
| |
For PC Users | |
| |
| |
How To Use this Book | |
| |
| |
Chapter by Chapter | |
| |
| |
Acknowledgements | |
| |
| |
About the Author | |
| |
| |
Questions and Feedback | |
| |
| |
Contributors | |
| |
| |
Dedication | |
| |
| |
| |
Getting Started with Typography in the Digital Environment | |
| |
| |
Working in the Digital Environment | |
| |
| |
Two Ways That Computers Represent Images | |
| |
| |
Types of Computer Graphics Programs | |
| |
| |
Design Concepts Study Guide Chapter 1 | |
| |
| |
| |
The Voice of Type | |
| |
| |
Can You Hear the Type? | |
| |
| |
Introduction to the Anatomy of Letter Characters | |
| |
| |
Type Family: Variations on the Theme | |
| |
| |
Don't Faux It | |
| |
| |
Placing Type Over Pictures | |
| |
| |
Design Concepts Study Guide Chapter 2 | |
| |
| |
| |
Observing Abstract Form in Type Design | |
| |
| |
Learning to See Feelingly | |
| |
| |
Words Are Tools | |
| |
| |
Three Types of Terms | |
| |
| |
Elements, Qualities, and Principles in Letterforms | |
| |
| |
Composition: Putting the Parts Together | |
| |
| |
Design Concepts Study Guide Chapter 3 | |
| |
| |
| |
Exploring the Fundamentals: Making Display Type Work | |
| |
| |
Focus on Fundamentals | |
| |
| |
Stacked Display Type and Line Breaks | |
| |
| |
Putting the Stack in Order: Alignment | |
| |
| |
Fine-Tuning Alignment and Punctuation | |
| |
| |
Capitalization Formats | |
| |
| |
Text within Boxes | |
| |
| |
Adjusting the Spacing of Letters: Tracking | |
| |
| |
The Space Between Lines: Leading | |
| |
| |
Adjusting How Letters Fit Together: Kerning | |
| |
| |
Save the Kerning for Last (Almost Always) | |
| |
| |
Design Concepts Study Guide Chapter 4 | |
| |
| |
| |
Structure and Measurement | |
| |
| |
Six Categories of Type Structure | |
| |
| |
Type Measurement and Specification | |
| |
| |
Designing Typographic Logotypes | |
| |
| |
Design Concepts Study Guide Chapter 5 | |
| |
| |
| |
Resources of Style, Sources of Inspiration: The History of Typographic Design | |
| |
| |
Before the Alphabet | |
| |
| |
The Phonetic Alphabet and the Forms of Letters | |
| |
| |
Early Letter Spacing, Punctuation, and Layout | |
| |
| |
Medieval Manuscript | |
| |
| |
The Typographic Revolution | |
| |
| |
The Origin of Roman Type | |
| |
| |
The Modern Impulse | |
| |
| |
Victorian Type: An Aesthetic of Enrichment | |
| |
| |
The Arts and Crafts Movement: A Bridge from Victorianism to the Future | |
| |
| |
Art Nouveau | |
| |
| |
Typography of the Machine Age | |
| |
| |
Design at Mid-Century | |
| |
| |
Holes in the Armor: Postmodern Typography | |
| |
| |
Design Concepts Study Guide Chapter 6 | |
| |
| |
| |
The Nitty-Gritty of Body Copy: Keep'n It Readable | |
| |
| |
Choosing the Right Typeface | |
| |
| |
Type Color | |
| |
| |
Type Size | |
| |
| |
Columns | |
| |
| |
Leading Body Type | |
| |
| |
Tracking and Word Spacing | |
| |
| |
Rags: Bad, Good, and Special | |
| |
| |
Hyphens | |
| |
| |
Unwanted Widows and Lonely Orphans | |
| |
| |
Manual Interventions: Patching Up Blemishes | |
| |
| |
Paragraphing | |
| |
| |
Changing Type to Create Emphasis | |
| |
| |
Doin' the Numbers | |
| |
| |
Lists | |
| |
| |
Design Concepts Study Guide Chapter 7 | |
| |
| |
| |
Making Information Accessible | |
| |
| |
Two Principles of Information Organization: Hierarchy and Grouping | |
| |
| |
Strategizing for Communication: The Design Brief | |
| |
| |
The Grid: A Tool for Structure | |
| |
| |
Put It on the Tab | |
| |
| |
Tables | |
| |
| |
Design Concepts Study Guide Chapter 8 | |
| |
| |
| |
Type in Publications | |
| |
| |
It Pays to Advertise | |
| |
| |
Elements That Sell the Publication | |
| |
| |
Elements That Sell the Stories | |
| |
| |
Elements That Help Navigation | |
| |
| |
Grid Systems in Publications | |
| |
| |
Design Concepts Study Guide Chapter 9 | |
| |
| |
| |
Type Effects-The Good, the Trite, and the Ugly | |
| |
| |
The Designer's Judgment | |
| |
| |
Drop Shadows and Embossed Letters | |
| |
| |
Text on a Curved Line | |
| |
| |
Shaped Text Blocks | |
| |
| |
Text Wraps | |
| |
| |
Beware of Ghosts | |
| |
| |
Pictorial Effects | |
| |
| |
Interaction of Type and Image | |
| |
| |
Design Concepts Study Guide Chapter 10 | |
| |
| |
| |
Off the Page-Type in New Media | |
| |
| |
Type On Screen-Through the Glass, Haphazardly | |
| |
| |
Show and Tell: Type in PowerPoint Presentations | |
| |
| |
TTTTWWW: Taking Type to the World Wide Web | |
| |
| |
Type Elements in Web Design | |
| |
| |
Live Text vs. Type Images | |
| |
| |
Applying Attributes to Live Text | |
| |
| |
Print-Friendly Web Content | |
| |
| |
Type in Flash Animations | |
| |
| |
Designing a Web Site | |
| |
| |
Design Concepts Study Guide Chapter 11 | |
| |
| |
| |
A Closer Look at Type Design | |
| |
| |
Detailed Anatomy of Letterforms | |
| |
| |
Optical Adjustments in Typefaces | |
| |
| |
'R' You Seein' the Type? | |
| |
| |
A Close Look at Serifs | |
| |
| |
Design Concepts Study Guide Chapter 12 | |
| |
| |
| |
Type Specimens | |
| |
| |
Glossary | |
| |
| |
Selected Bibliography | |
| |
| |
Index | |