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Books on the topic 'Typeface design'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 January 2023

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1

Type 1: Digital typeface design. New York: Universe Pub., 2002.

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2

Type 1: Digital typeface design. London: Laurence King, 2002.

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3

Typeface: Classic typography for contemporary design. New York: Princeton Architectural Press, 2009.

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4

Levin, Aaron, Karen Cheng, Sumner Stone, and Muriel Paris. Jean François Porchez: L'excellence typographique = the haute couture of typeface design. Gap]: Atelier Perrousseaux éditeur, 2014.

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5

Russem, Michael, typographer, book designer, Creighton Sarah binder, Kat Ran Press, Stinehour Press, and Press Collection (Library of Congress), eds. Designing the mentoring stamp: An artist's commentary on theory, gesture, photography, composition, color, light, and the typeface Penumbra. [Florence, Massachusetts]: Kat Ran Press, 2007.

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6

Printing, London College of. BA MPD Design History thesis 1990: Corporate typography from London Transport to the Face:a study of exclusive typeface design for use within specific visual identity systems. London: London College of Printing, 1990.

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7

1978-, Strals Nolen, ed. Lettering & type: Creating letters and designing typefaces. New York: Princeton Architectural Press, 2009.

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8

editor, Jenkinson Anna, ed. Tasty stories: Legendary food brands and their typefaces. Antwerp: Luster, 2014.

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9

University, De Montfort. Corporate design strategy: The visual identity, the logo, the logo colours, corporate typefaces, do's and don'ts. Leicester: De Montfort University, 1994.

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10

Reči i slova: Tipografska pisma, 8-29. septembar 2005 = Words & letters : typefaces, September 8-29, 2005. Beograd: Muzej primenjene umetnosti, 2005.

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11

Ben, Day, and Meggs Philip B, eds. Typographic design: Form and communication. New York: Van Nostrand Reinhold, 1985.

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12

B, Meggs Philip, and Day Ben, eds. Typographic design: Form and communication. 4th ed. Hoboken, N.J: John Wiley & Sons, 2007.

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13

Ben, Day, and Meggs Philip B, eds. Typographic design: Form and communication. 2nd ed. New York: Van Nostrand Reinhold, 1993.

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14

Ben, Day, and Meggs Philip B, eds. Typographic design: Form and communication. 2nd ed. New York: John Wiley, 1993.

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15

B, Meggs Philip, and Day Ben, eds. Typographic design: Form and communication. 3rd ed. New York: John Wiley & Sons, 2002.

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16

Zapf, Hermann. Hermann Zapf & his design philosophy: Selected articles and lectures on calligraphy and contemporary developments in type design, with illustrations and bibliographical notes, and a complete list of his typefaces. Chicago: Society of Typographic Arts, 1987.

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17

Alphabook: Typeface Design & Application. Arco Editorial, 1999.

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18

Alphabook: Typeface Design & Application. Watson-Guptill Publications, 1999.

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19

Harkins, Michael. Contemporary Processes of Text Typeface Design. Taylor & Francis Group, 2020.

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20

Harkins, Michael. Contemporary Processes of Text Typeface Design. Taylor & Francis Group, 2020.

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21

Contemporary Processes of Text Typeface Design. Taylor & Francis Group, 2020.

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22

Harkins, Michael. Contemporary Processes of Text Typeface Design. Taylor & Francis Group, 2020.

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23

Harkins, Michael. Contemporary Processes of Text Typeface Design. Taylor & Francis Group, 2020.

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24

Hollandsworth, Cynthia. Typeface Design Standards: A Manual for Designers. Design Pr, 1993.

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25

Helvetica: Homage to a Typeface. Lars Müller Publishers, 2005.

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26

AbiFarès, Huda Smitshuijzen. Typographic Matchmaking: Building Cultural Bridges with Typeface Desi. Bis B.V., Uitgeverij (BIS Publishers), 2009.

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27

King, Jean Callan, and Tony Esposito. PostScriptTM Typeface Library, Vol. 2, Sans Serif Design, Outline & Ornaments. Wiley, 1994.

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28

Aihong, Li. Japanese Style Typeface Design and Applications: A Reference from Japanese Masters. Artpower International Publish Company, Limited, 2019.

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29

Bonneville, Douglas. The Big Book of Font Combinations: Hundreds of Typeface Pairing Ideas for Graphic Design & Typography Enthusiasts. BonFX, 2019.

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30

Bob, Aufuldish, and Donelan Eric, eds. Émigré fonts: Typeface designs. Sacramento, CA: Émigré, 1995.

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31

Luna, Paul. Design. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199574797.003.0008.

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The Press’s approach to the design of its publications between 1970 and 2004 developed in parallel to its editorial policy. When the publishing departments were reorganized in Oxford in the mid-1970s, the design operations for general trade, educational, and academic books were consolidated. The increasing demand for design-intensive publications and the widely differing requirements of different titles soon necessitated the creation of individual design departments within each publishing department. Each design studio responded to the design challenges of its books, which were very different, and there were no centralized design standards until the implementation of the corporate identity in 1998. The chapter discusses how designers approached OUP books and considers the success of their designs, taking into account typefaces, typesetting, cover design, format, and illustration.

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32

Publishers, Museum. Notebook : Snuff Box, Portrait of John Baskerville Artist : Samuel Raven after: James Millar, Made from Hand Painted Paper, Applied Arts, 18th Century, Social History, Industry, Design, Typeface, Typography, Birmingham History. Independently Published, 2020.

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33

Shaoqiang, Wang. Indie Type: Typefaces and Creative Font Application in Design. Flamant, 2019.

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34

Wageningen, Mark van. Type & Color: How to Design and Use Multicolored Typefaces. Princeton Architectural Press, 2019.

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35

Wageningen, Mark van. Type and Color: How to Design and Use Multicolored Typefaces. Princeton Architectural Press, 2019.

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36

Consuegra, David. Classic Typefaces: American Type and Type Designers. Skyhorse Publishing Company, Incorporated, 2011.

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37

Classic Typefaces: American Type and Type Designers. Skyhorse Publishing Company, Incorporated, 2011.

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38

Never Use More Than Two Different Typefaces: And 50 Other Ridiculous Typography Rules. Bis B.V., Uitgeverij (BIS Publishers), 2014.

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39

(Editor), Philip B. Meggs, and Roy McKelvey (Editor), eds. Revival of the Fittest: Digital Versions of Classic Typefaces. RC Publications, 2000.

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40

Archer-Parré, Caroline, and Malcolm Dick, eds. John Baskerville. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940643.001.0001.

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This book is concerned with the eighteenth-century typographer, printer, industrialist and Enlightenment figure, John Baskerville (1707-75). Baskerville was a Birmingham inventor, entrepreneur and artist with a worldwide reputation who made eighteenth-century Birmingham a city without typographic equal, by changing the course of type design. Baskerville not only designed one of the world’s most historically important typefaces, he also experimented with casting and setting type, improved the construction of the printing-press, developed a new kind of paper and refined the quality of printing inks. His typographic experiments put him ahead of his time, had an international impact and did much to enhance the printing and publishing industries of his day. Yet despite his importance, fame and influence many aspects of Baskerville’s work and life remain unexplored and his contribution to the arts, industry and technology of the Enlightenment are largely unrecognized. Moreover, recent research in archaeology, art and design, history, literary studies and typography, is leading to a fundamental reassessment of many aspects of Baskerville’s life and impact, including his birthplace, his work, the networks which sustained him and the reception of his printing in Britain and overseas. This interdisciplinary approach provides an original contribution to printing history, eighteenth-century studies and the dissemination of ideas.

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41

Meggs, Philip B. Typographic Specimens: The Great Typefaces with Typographic Design: Form and Communication 4th Edition Set. John Wiley & Sons, 2007.

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42

Typographic Design. Adams Media, 2014.

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43

Sanders, Mark, Ben Day, Philip B. Meggs, Rob Carter, and Sandra Maxa. Typographic Design. Wiley & Sons, Incorporated, John, 2014.

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44

Day, Ben, Philip B. Meggs, and Rob Carter. Typographic Design: Form and Communication. Wiley, 2006.

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45

Day, Ben, Philip B. Meggs, and Rob Carter. Typographic Design: Form and Communication. Wiley & Sons, Incorporated, John, 2012.

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46

Sanders, Mark, Ben Day, Philip B. Meggs, Rob Carter, and Sandra Maxa. Typographic Design: Form and Communication. Wiley & Sons, Incorporated, John, 2014.

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47

Sanders, Mark, Ben Day, Philip B. Meggs, Rob Carter, and Sandra Maxa. Typographic Design: Form and Communication. Wiley & Sons, Incorporated, John, 2017.

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48

Meggs, Philip B. Typographic Design: Form and Communication. Wiley & Sons, Limited, John, 2018.

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49

Sanders, Mark, Ben Day, Philip B. Meggs, Rob Carter, and Sandra Maxa. Typographic Design: Form and Communication. Wiley & Sons, Incorporated, John, 2014.

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50

Day, Ben, Philip B. Meggs, and Rob Carter. Typographic Design: Form and Communication. Wiley & Sons, Incorporated, John, 2012.

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