Typography / Gavin Ambrose and Paul Harris.

By:

Ambrose, Gavin

Contributor(s):

Harris, Paul, 1971-

Material type: Text

TextSeries: Basics design ; 3Publication details: Lausanne, Switzerland : AVA Publishing SA ; London : Distributed by Thames & Hudson ; New York : Distributed by Watson-Guptill Publications, 2005.Description: 176 p. : ill. ; 23 cmISBN:

2940373353
9782940373352

Subject(s):

DDC classification:

686.22 BAS

Holdings
Item type	Current library	Call number	Copy number	Status	Date due	Barcode
Standard Loan	LSAD Library Main Collection	686.22 BAS (Browse shelf(Opens below))	1	Checked out	19/09/2023	39002100378398

Enhanced descriptions from Syndetics:

Effective use of typography can produce a neutral effect or rouse the passions, symbolise artistic, political or philosophical movements, or express the personality of a person or organisation. Typefaces vary from clear and distinguishable letterforms that are suitable for extended blocks of text, to more dramatic and eye-catching typefaces that grab attention and are used in newspaper headlines and advertisements. Basics Design- Typography aims to impart a comprehensive understanding of typography, to explore its history, theory and practice. Aimed at both students and practising designers, it provides a thorough examination of how typography informs other aspects of creative design.

Table of contents provided by Syndetics

Introduction (p. 6)
How to get the most out of this book (p. 8)
Looking at Type (p. 10)
Where type is used (p. 12)
What is type? (p. 14)
Typefaces and fonts (or founts) (p. 16)
Typeface style (p. 18)
Italic or oblique? (p. 20)
Looking at a typeface (p. 22)
Typeface anatomy (p. 26)
X-height (p. 28)
Absolute and relative measurements (p. 30)
Type Classification (p. 34)
Basic classifications (p. 36)
Block typefaces (p. 38)
Roman typefaces (p. 40)
Roman variations (p. 42)
Serif variations (p. 46)
Gothic typefaces (p. 48)
Gothic variations (p. 50)
Rounded variations (p. 54)
Script typefaces (p. 56)
Graphic typefaces (p. 58)
Setting Type (p. 60)
Type families (p. 62)
Using multiple typefaces (p. 66)
Text hierarchy (p. 68)
Type on a page (p. 70)
Numerals (p. 74)
Drop and standing capitals (p. 78)
Special characters (p. 80)
Ligatures (p. 82)
The right character for the job (p. 84)
Punctuation (p. 86)
Non-alphabetical typefaces (p. 88)
Non-Latin typefaces (p. 90)
Leading (p. 92)
Tracking (p. 94)
Kerning (p. 96)
Spacing (p. 100)
Overprinting and knocking out (p. 102)
Legibility and readability (p. 104)
Type Generation (p. 108)
Font generation (p. 110)
Type as a visual identity (p. 112)
Hand-drawn type (p. 116)
Building letterforms (p. 118)
Expressionism (p. 122)
Type Realisation (p. 124)
Materials (p. 126)
Printing techniques (p. 132)
Hot-metal printing (p. 134)
Silk-screen printing (p. 138)
Gravure printing (p. 140)
Print finishing (p. 142)
Embossing and debossing (p. 144)
Foil blocking (p. 146)
Varnishes (p. 148)
Type in Practice (p. 150)
Eclecticism (p. 152)
Integrating type and image (p. 154)
Environment (p. 158)
Glossary (p. 160)
Conclusion (p. 172)
Acknowledgements (p. 174)
Contacts (p. 176)

Author notes provided by Syndetics

Gavin Ambrose achieved his Masters in Communications at Central St. Martins and is a tutor on both the Typographic and Information Design courses at the London College of Printing. He has written and designed several books on branding and packaging. Paul Harris studied at the London College of Printing and has gone on to become a freelance writer and editor. His work has appeared extensively in magazines and journals on both sides of the Atlantic, including style bible Dazed & Confused.