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Typography, Referenced by Call Number: Z250 .T985 2012 (also available at the AL and LO Campus Libraries)Has information on typefaces, designers, and foundries.
On the book's page, click on "Read Online" for an option to search within the book.
Adrian Frutiger - Typefaces by Publication Date: 2014Has information on typefaces.
On the book's page, click on "Read Online" for an option to search within the book.
Classic Typefaces by Publication Date: 2011Has information on American typeface designers (with brief descriptions of their typefaces), and on nine American foundries.
On the book's page, scroll to the Table of Contents and click on any of the links to get an option to "Search Within" the book.
The Thames and Hudson Dictionary of Graphic Design and DesignersCall Number: NC997 .L54 2012 (also available the the LO and MA Campus Libraries)Has brief information on typeface and designers.
Meggs' History of Graphic Design by Call Number: Z246 .M43 2016 (also available at the AL Campus Library)Information on the stages of graphic design through history, including designers and their work.
On the book's page, scroll to the Table of Contents and click on any of the links to get an option to "Search Within" the book.
Design School: Type: A Practical Guide for Students and Designers by Publication Date: 2017Has information on typefaces.
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Books at the Alexandria Campus
52 Typo by
Every day there is something happening in the world of typography and graphic design - something new being created in Buenos Aires, Paris, Tel Aviv, Tehran, Seoul or Melbourne. The most inspiring, trendsetting and enduring stories, events and works have been collected here to guide the reader to the highlights: 52 for 52 weeks, written by more than 40 experts. Releases such as the legendary 1975 NASA Graphic Standards Manual are presented and various creative approaches discussed. Newfonts, typeface designers and foundries are introduced, classic American fonts newly interpreted and the question of why new fonts are always needed examined. Important new logos are presented, big industry events such as the Typo in Berlin reported on and the winners of the European Design Awards presented. At the end of the book there are dedications to Adrian Frutiger and Alan Rickman, who was once a graphic designer.
Call Number: Z246 .A125x 2017 (available at the AL Campus Library)Publication Date: 2017
Encyclopaedia of Typefaces by
For over 50 years, Encyclopaedia of Typefaces has been the dominant typeface guide and now the internationally celebrated work is published in a new 55thAnniversary edition. With over 2,000 type faces arranged alphabetically and into three sections- Romans, Lineales and Scripts- this is the most accessible and easy-to-use edition yet. Each entry includes a specimen setting, the original founder or manufacturer, as well as the date of introduction. This definitive desktop reference guide is invaluable for historical relevance as well as for modern printers, graphic designers, publishers, typographers and desktop publishers.
Call Number: Z250 .J36 2008 (availalbe at the AL Campus Library)Publication Date: 2009
Essential Type by
A comprehensive and beautifully illustrated guide to fonts, essential for anyone who engages with type in their daily lives Have you ever wondered which typeface is used for airport signs? Or about the history behind the Times New Roman font? We are constantly engaging with type, yet many of us struggle to use it effectively or simply to understand the basics. This beautifully illustrated, easy to use companion is the perfect guide to everything typographic. Tony Seddon provides an essential lexicon that explains the history and functionality of 140 type terms and 20 unique typeface classifications. The book also features a timeline of typeface classification from the mid-15th century to the present day, and concludes with a chapter detailing over 40 important typeface families that reflect the history of typeface development and typographic style from the earliest days of movable type. Essential Type will help to build your knowledge of type and typeface use with a clear and comprehensive "what is it" and "why use it" approach to the subject. Five chapters explore topics including the anatomy of type, glyphs, typeface classification, and typefaces ranging from serif to sans serif to script and display. The chapter on typefaces pays particular attention to highlighting key design features and, along with illuminating backstories and tips to aid identification, makes this book the perfect companion for all type enthusiasts and practitioners.
Call Number: Z250 .S43 2016 (available at the AL, LO, WO Campus Libraries)Publication Date: 2016
Exploring Typography by
What do designers need to know about typography? The answer can be found in this richly illustrated book that examines the varied uses of type in contemporary visual communications. Exploring Typography takes a concise but thorough approach to introducing and examining the principles of typography. Coverage begins with a brief history of type and a survey of how type is classified. Readers then learn about the physical components of letters and the rules of legibility, readability, and style. Subsequent chapters survey the creative use of emphasis, designing effective layouts, using grids, and developing original type styles. Finally, the author examines contemporary challenges in type while introducing terminology and concepts relevant to designing with type in a digital environment.
Call Number: Z246 .R235x 2006 (available at the AL and AN Campus Libraries)Publication Date: 2006
Graphic Design in Germany 1890-1945 by
German graphic and typographic design in the first half of the twentieth century represents an extraordinarily rich and diverse aspect of the history of visual culture. It marks the moment of recognition that the world was becoming increasingly dependent on a modern and commercialized system of communication in which the designer was to play a major role. An unprecedented scale of attention was devoted to printed matter, whether as designs for graphic ornament, typefaces and logos in books and advertisements, or magazines, posters, signage, and exhibitions. Jeremy Aynsley has written the first account in English of the emergence of German graphic design between 1890 and 1945. Based on many years of research and original material, this handsome book is lavishly illustrated with examples from across a stylistically varied field. There were many good reasons for Germany to lead in the field of print culture. Historically it was a country that had been associated since the Middle Ages with the arts of the book and printing, and many of the new design developments in the twentieth century grew from that base. The spectacular industrial and commercial boom following the Franco-Prussian War, when the Germans became world competitors, stimulated interest in the field of advertising, whether in newspapers, journals, or on sidewalk kiosks. Perhaps borrowing in the beginning from the Arts and Crafts movement in Britain, Art Nouveau in France, and the advanced advertising designers in the U.S., the German artists soon developed a style of their own that was aggressive, aesthetically adventurous, and well constructed to attract customers. While some of the individual designers such as Peter Behrens, Lucian Bernhard, Jan Tschichold, Herbert Bayer, and John Heartfield are well known, many others have not received such attention. Aynsley provides an amazingly well-rounded picture of this burst of innovation that changed the face of modern life, as well as of the politically and socially turbulent era that spawned it.
Call Number: NC998.6.G4 A96 2000 (available at the LO Campus Library)Publication Date: 2000
Just My Type by
A hugely entertaining and revealing guide to the history of type that asks, What does your favorite font say about you? Fonts surround us every day, on street signs and buildings, on movie posters and books, and on just about every product we buy. But where do fonts come from, and why do we need so many? Who is responsible for the staid practicality of Times New Roman, the cool anonymity of Arial, or the irritating levity of Comic Sans (and the movement to ban it)? Typefaces are now 560 years old, but we barely knew their names until about twenty years ago when the pull-down font menus on our first computers made us all the gods of type. Beginning in the early days of Gutenberg and ending with the most adventurous digital fonts, Simon Garfield explores the rich history and subtle powers of type. He goes on to investigate a range of modern mysteries, including how Helvetica took over the world, what inspires the seeming ubiquitous use of Trajan on bad movie posters, and exactly why the all-type cover of Men are from Mars, Women are from Venus was so effective. It also examines why the "T" in the Beatles logo is longer than the other letters and how Gotham helped Barack Obama into the White House. A must-have book for the design conscious, Just My Type's cheeky irreverence will also charm everyone who loved Eats, Shoots & Leaves and Schott's Original Miscellany.
Call Number: Z250 .G228 2011 (available at the AL and LO Campus Libraries)Publication Date: 2011
Revival Type by
An illuminating account of the design inspirations and technical transformations that have shaped the digital typefaces of the 21st century In this fascinating tour through typographic history, Paul Shaw provides a visually rich exploration of digital type revival. Many typefaces from the pre-digital past have been reinvented for use on computers and mobile devices, while other new font designs are revivals of letterforms, drawn from inscriptions, calligraphic manuals, posters, and book jackets. Revival Type deftly introduces these fonts, many of which are widely used, and engagingly tells their stories. Examples include translations of letterforms not previously used as type, direct revivals of metal and wood typefaces, and looser interpretations of older fonts. Among these are variations on classic designs by John Baskerville, Giambattista Bodoni, William Caslon, Firmin Didot, Claude Garamont, Robert Granjon, and Nicolas Jenson, as well as typefaces inspired by less familiar designers, including Richard Austin, Philippe Grandjean, and Eudald Pradell. Updates and revisions of 20th-century classics such as Palatino, Meridien, DIN, Metro, and Neue Haas Grotesk (Helvetica) are also discussed. Handsomely illustrated with annotated examples, archival material depicting classic designs, and full character sets of modern typefaces, Revival Type is an essential introduction for designers and design enthusiasts into the process of reinterpreting historical type.
Call Number: Z250 .S533x 2017 (available ON RESERVE at the AL Campus Library)Publication Date: 2017
Stylepedia by
A chunky, distinctive object of brilliant design in and of itself,Stylepedia is the first handy, cross-referenced desk guide to the kaleidoscope that is modern design. In hundreds of illustrated entries, Heller and Fili, the award-winning authors ofEuro Deco and numerous other popular design titles, survey the designers, schools, and movements that comprise the practice today as well as take a fascinating glimpse back at some of the seminal early leaders. From the first Santa Claus to appear on a Coca-Cola bottle to the increasingly ubiquitous camouflage tee shirt, iconic everyday items of yesterday and today provide valuable inspiration to designers and design aficionados. As quirky as it is useful and positively packed with lavish color illustrations, this designer's design compendium is the only one of its kind.
Call Number: NC998 .H67 2006 (available at the LO Campus Library)Publication Date: 2006
Swiss Graphic Design by
Swiss graphic design and "the Swiss Style” are crucial elements in the history of modernism. During the 1920s and ’30s, skills traditionally associated with Swiss industry, particularly pharmaceuticals and mechanical engineering, were matched by those of the country’s graphic designers, who produced their advertising and technical literature. These pioneering graphic artists saw design as part of industrial production and searched for anonymous, objective visual communication. They chose photographic images rather than illustration, and typefaces that were industrial-looking rather than those designed for books. Written by noted design authority Richard Hollis, this lavishly illustrated volume looks at the uniquely clear graphic language developed by such Swiss designers as Theo Ballmer, Max Bill, Adrian Frutiger, Karl Gerstner, Armin Hoffman, Ernst Keller, Herbert Matter, Josef M#65533;ller-Brockmann, and Jan Tschichold. The style of these artists received worldwide admiration for its formal discipline: images and text were organized by geometrical grids. Adopted internationally, the grid and sans serif typefaces such as Helvetica became the classic emblems of Swiss graphic design. Showcasing design work across a range of media, including posters, magazines, exhibition displays, brochures, advertisements, books, and film, this essential book shows how many of the Swiss designers’ modernist elements remain an indispensable part of today’s graphic language.
Call Number: NC998.6.S9 H65 2006b (Available at the LO Campus Library)Publication Date: 2006
Type by
Type is the bridge between writer and reader, between thought and understanding. Type is the message bearer: an art-form that impinges upon every literate being and yet for most of its history it has conformed to the old adage that 'good typography should be invisible', it should not distract with its own personality. It was only at the end of the nineteenth century that designers slowly realised that they could say as much with their lettering as writers could with their words. Form, of course, carries as much meaning as content. Now, anyone within reach of a computer and its limitless database of fonts has the same power. "Type: The Secret History of Letters" tells its story for the first time, treating typography as a hidden measure of our history. From the tempestuous debate about its beginnings in the fifteenth century, to the invention of our most contemporary lettering, Simon Loxley, with the skill of a novelist, tells of the people and events behind our letters. How did Johann Gutenberg, in late 1438, come to think of printing? Does Baskerville have anything to do with Sherlock Holmes? Why did the Nazis re-invent Blackletter? What is a Zapf? "Type" is a guide through the history of our letters and a study of their power. From fashion through propaganda and the development of mass literacy, Loxley shows how typography has changed our world.
Call Number: Z250.A2 L69 2006 (available at the AL Campus Library)Publication Date: 2006
Typography Sketchbooks by
* Typography the design of letters is at the heart of visual communication and graphic design. No design is successful without successful typography. * An artful craft since the days of moveable type, today's digital designers have an unimaginable array of possibilities when it comes to choosing typefaces. Whether on paper, screen or in e-ink, legibility and expression are paramount. * Where do the best contemporary fonts come from, and who designed them? Fortunately for us, typography for most designers is an obsession, one of the purest forms of design, one that can always be improved and refined. * Selected by the world's most knowledgable and well-connected graphic-design commentator, Steven Heller, this survey gets into the minds of designers who create typefaces, word-images and logos through their private sketchbooks. * This collection of typographic explorations, arranged by designer intimately reveals how over 90 of world's leading designers and typographers continually strive to find new and exciting ways of communicating through letters and words. Established designer and up-and-coming talents include Ivan Chermayeff, Carlos Segura, Milton Glaser, Maira Kalman, Bob Aulfudish, Matthew Carter (US), Javier Mariscal and Patrick Thomas (Spain), Erik Spiekermann, Viktor N#65533;bel (Germany), Peter Bilak and Enkeling (the Netherlands), Jean Baptiste Lev#65533;e (France). * The result of these wide-ranging typographic musings provide fascinating insights into the expressive quality of letters and words. Aimed at all those who use type, whether by hand or on screen, this pleasing compendium stresses the importance of good typography at a time when reading habits are changing and celebrates a craft that has endured for centuries.
Call Number: Z246 .H445 2011 (available at the AL Campus Library)Publication Date: 2011
Unjustified Texts by
For twenty-five years, Robin Kinross has been making a case for typography as a matter of fine detail and subtle judgment, whose products concern all of us, every day. This selection of his writings-including some previously unpublished-brings his major themes into focus: the unsung virtues of editorial design and information design, the fate of Modernism in the twentieth century, and the virtues of a socially oriented design approach. His much sought-after and out-of-print pamphlet Fellow Readers (1994) is reprinted in full.
Call Number: Z246 .K56x 2002 (available at the AL Campus Library)Publication Date: 2003
The Anatomy of Type (available at the AL Campus Library) by
The Anatomy of Type is the ultimate stylistic guide to the intricacies and design of 100 indispensable typefaces. A delightful, colorful, and visual reference guide created by Stephen Coles and Tony Seddon--two acknowledged pros in the font design world--The Anatomy of Type was developed with typographers, graphic designers, and font geeks in mind, graphically and visually expanding on the current font-mania initiated by Simon Garfields's Just My Type.
Call Number: Z250.A2 C65x 2012Publication Date: 2012
