LEADER 05111nam 2200577 a 450 001 9910811236103321 005 20240417025738.0 010 $a1-61673-621-6 035 $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(EXLCZ)992670000000140759 100 $a20090121d2009 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aTypography essentials$b[electronic resource] $e100 design principles for working with type /$fIna Saltz 205 $a1st edition 210 $aBeverly, Mass. $cRockport Publishers$dc2009 215 $a1 online resource (209 p.) 300 $aIncludes index. 311 $a1-59253-523-2 327 $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. 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$01613631 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910811236103321 996 $aTypography essentials$93943026 997 $aUNINA