LEADER 05341nam 2200649 a 450 001 9910965076803321 005 20240417025738.0 010 $a9781616736217 010 $a1616736216 035 $a(CKB)2670000000140759 035 $a(OCoLC)782910775 035 $a(CaPaEBR)ebrary10716292 035 $a(SSID)ssj0000572128 035 $a(PQKBManifestationID)12271893 035 $a(PQKBTitleCode)TC0000572128 035 $a(PQKBWorkID)10527917 035 $a(PQKB)10480966 035 $a(Au-PeEL)EBL3399785 035 $a(CaPaEBR)ebr10716292 035 $a(CaONFJC)MIL524324 035 $a(OCoLC)923351360 035 $a(CaSebORM)9781592535231 035 $a(MiAaPQ)EBC3399785 035 $a(OCoLC)ocn782910775 035 $a(Perlego)2326284 035 $a(EXLCZ)992670000000140759 100 $a20090121d2009 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aTypography essentials $e100 design principles for working with type /$fIna Saltz 205 $a1st edition 210 $aBeverly, Mass. $cRockport Publishers$dc2009 215 $a1 online resource (209 p.) 300 $aIncludes index. 311 08$a9781592535231 311 08$a1592535232 327 $aCover -- Title -- CONTENTS -- INTRODUCTION -- THE LETTER -- 1 Using letter as form -- 2 Using counter spaces as form -- 3 Letterform details -- 4 Emotional content implied by the text -- 5 Historical connotation -- 6 Considering the medium -- 7 Honoring dignity -- 8 The handmade solution -- 9 Being expressive -- 10 Staying neutral -- 11 Considering background contrast -- 12 Emphasis using weight -- 13 Emphasis using contrasting weights -- 14 Emphasis using size -- 15 Emphasis using contrasting sizes -- 16 Proper smart quotes -- 17 The hyphen, the en dash, and the em dash -- 18 High contrast in reverse -- 19 Extreme scaling -- 20 Heavy flourishes -- 21 Thinking like a typesetter -- 22 Using display versions -- 23 Using numbers -- 24 Dingbats and pictograms -- 25 Theory of Relativity I -- THE WORD -- 26 A "bad" typeface? -- 27 Typographic abominations -- 28 Hierarchy using position -- 29 Hierarchy using size -- 30 Hierarchy using weight -- 31 Hierarchy using color -- 32 Hierarchy using contrast -- 33 Hierarchy using orientation -- 34 Hierarchy using special effects -- 35 To kern or not to kern -- 36 Type as image -- 37 Three-dimensional type -- 38 Repetition -- 39 Deconstructed type -- 40 Vertical stacking -- 41 See the shape -- 42 Using cases -- 43 The rule of three typefaces -- 44 Mixing many typefaces -- 45 Mixing type using contrast, weight, or color -- 46 Mixing typefaces using historical compatibility -- 47 Familiarity breeds legibility -- 48 Properly weighted small caps and fractions -- 49 Using the right type -- 50 Theory of Relativity II -- THE PARAGRAPH -- 51 Invisible typography -- 52 Highly evident typography -- 53 Less is more -- 54 More is more -- 55 Letter spacing and word spacing -- 56 Hyphenation and justification -- 57 Tracking guidelines -- 58 The "color" of the text type -- 59 Considering typographic mass. 327 $a60 Pattern, gradation, and texture -- 61 Basic leading principles -- 62 Optimum line lengths -- 63 Increasing leading -- 64 Tightly stacked lines -- 65 Indicating paragraphs -- 66 Initial caps and drop caps -- 67 Opening paragraphs -- 68 Orphans and widows -- 69 "Rivers" of space -- 70 Eschew decorative type -- 71 Celebrate decorative type -- 72 Text overlapping images -- 73 Text overlapping text -- 74 The text block effect -- 75 Theory of Relativity III -- THE PAGE -- 76 Legibility, legibility, legibility -- 77 Legibility taking a back seat -- 78 Limiting typefaces -- 79 One type family -- 80 Six necessary typefaces -- 81 A need for every typeface -- 82 Text typefaces versus display typefaces -- 83 Organized entry points -- 84 Systematizing hierarchy -- 85 Using justified type -- 86 Using flush-left, rag-right type -- 87 Using centered, asymmetrical, and flush-right type -- 88 The multicolumn text grid -- 89 The uneven text grid -- 90 Typographic "furniture" -- 91 Decks, callouts, and pull quotes -- 92 The "birth and death" of the text -- 93 Chaos versus order -- 94 Commentary, marginalia, and alternate languages -- 95 Tables and charts -- 96 Navigational devices -- 97 Margins and gutters -- 98 Framing the text -- 99 Floating in space -- 100 Theory of Relativity IV -- CONTRIBUTORS INDEX -- A -- B -- C -- D -- E -- F -- H -- I -- K -- L -- M -- N -- P -- R -- S -- T -- V -- W -- ABOUT THE AUTHOR -- ACKNOWLEDGMENTS. 330 $aA deep understanding of letterforms and knowledge of their effective use can only be obtained with constant observation and experimentation; it evolves over a lifetime of design practice and study. 517 3 $a100 design principles for working with type 517 3 $aOne hundred design principles for working with type 606 $aGraphic design (Typography) 606 $aType and type-founding 615 0$aGraphic design (Typography) 615 0$aType and type-founding. 676 $a686.2/24 700 $aSaltz$b Ina$01807510 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910965076803321 996 $aTypography essentials$94357281 997 $aUNINA LEADER 02142nam 22004813 450 001 9910160796803321 005 20250314080357.0 010 $a9783956760006 010 $a395676000X 035 $a(CKB)3710000001026989 035 $a(BIP)051875509 035 $a(VLeBooks)9783956760006 035 $a(MiAaPQ)EBC31956646 035 $a(Au-PeEL)EBL31956646 035 $a(Exl-AI)31956646 035 $a(EXLCZ)993710000001026989 100 $a20250314d2025 uy 0 101 0 $ager 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aRembrandt 205 $a1st ed. 210 1$aChicago :$cAndreas Liese. Outside The Box,$d2025. 210 4$d©2025. 215 $a1 online resource (283 p.) 225 $aOpen EPUB eBook 327 $aREMBRANDT -- ABBILDUNGSVERZEICHNIS -- Die Gebärde eines Schaffenden -- Rembrandts Biographie -- Rembrandt und die Natur -- Religiöse Bilder -- Zusammenfassung$7Generated by AI. 330 8 $a"The Lion's Skin" is a romp through the upper classes during a time of political turmoil. Justin Caryll is the illegitimate son of the Earl of Ostermore who has been raised in France by a friend of his mother's, Sir Richard Everard. Caryll is honorable, intelligent, educated, well-bred, loyal...in short, the typical, "perfect" Sabatini hero. Lord Ostermore is self-centered and cowardly, but not the main antagonist. That is left to his son, Viscount Rotherby, who is just as vain and egotistical as his father, but whose primary character flaws are that he has no sense of honor and is a bully. 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