A Typographic Workbook

Lavishly illustrated with more than 450 images,A Typographic Workbook, Second Edition explains the process successful designers use to select, space, and creatively integrate fonts. This essential text demonstrates the use of type as a dynamic and expressive communication tool. This edition provides new and updated coverage of a broad range of topicsfrom a logical, clear historical overview of the craft to the latest digital technologies. Known for its highly interactive format, thisSecond Edition continues to include helpful review questions and multiple-choice quizzes, as well as many new projects and skill-building exercises that help readers immediately apply what they have learned.A Typographic Workbook, Second Edition is a valuable professional resource for working designers and an indispensable training tool for graphic design students.

KATE CLAIR is a general partner in Hats-Off Impressions, a design firm based in Binghamton, New York. She is also a faculty member in the Communication Design Department at Kutztown University in Kutztown, Pennsylvania.

CYNTHIA BUSIC-SNYDER is Associate Professor of Graphic Design and Coordinator of Graphic Design Studies in the Department of Art at Mohawk Valley Community College in Utica, New York.

Preface v

Acknowledgments vi

1: Ancient Writing Systems 1

Prehistoric Societies; Development of Oral Communication; Early Writing Societies; Pictograph-Based Writing Systems; From Pictographs to Ideographs; The Semitic Languages; Sumerian Cuneiform; Minoan Writing; Written Languages Remain Undeciphered; Egyptian Hieroglyphics; Hieratic Script; Demotic Script; Ancient Writing Systems Evolve; The Rise of Ancient Greece; and Recovering Ancient Egyptian Hieroglyphics

2: Lettering During the Roman Empire and Middle Ages 23

Impact of the Roman Empire; Roman Triumphal Arches; Roman Lettering; Capitalis Quadrata to Rustica; Constantine Ends Christian Persecution; The Roman Empire Divided; The Scroll versus the Codex; Roman Script; Christianizing of Ireland and the Celtic Lettering; The Crumbling Empire Leads to Feudalism; Celtic Round Uncials; Lettering as a Declaration of Faith; A Unifying Force in Lettering; The Romanesque Hand Invites Innovation; The Development of the Gothic Textura Hand; Mediterranean Expansion of Muslims; Development of Rag Paper in Europe; The Late Gothic Period; Rotunda Compared to Gothic Lettering; and Setting the Stage for the Renaissance

3: Renaissance Typography and Printing 43

The Renaissance; The Beginning of Printing; Gutenberg: The Metal Craftsman; Movable, Reusable Type; Imitation of a Hand-Copied Book; The First Printing Ink; Composing a Page; Printing the 42-Line Bible; Assembly-Line Book Production; Early Typefaces; The Spread of Printing: Jenson in Italy; Printing in England; The Religious Reformation; The Pinnacle of the Renaissance; Intertwining Printeries: The Estienne Family and Simon de Colines; Aldus Mantius as Publisher; The Letter as Art; Geofroy Tory Establishes Bookmaking as an Art; France Offers a New Look in Type: Garamond; Prevalence of Italic and Script Faces; Handwriting as a Status Symbol; and Printing Innovations

4: Typography During Colonization and Industrialization 61

Colonial Era Typography; A Mathematically Perfect Font; Rococo Era Typography; Letterpress Printing; Typography During Colonial Expansion; Type Fashion in England; Writing Master Turns Typographer;
Typography in Italy; The Dawn of Industrialization; Printing Gains Momentum; Introduction of Sans Serif Fonts; A New Era in Typography: Advertising; The Practical Writing Machine; Stone Chromolithography Printing; The Victorian Era Influences Typography; and Documenting the American Civil War

5: Early Twentieth-Century Typography 77

The Arts and Crafts Movement; Kelmscott Press; Page Type Composition Speeds Up; Art Nouveau; Type for Mass Production; Offset Lithography; An Aesthetic Revolution; Post-War Typographer: Rudolph Koch; Frederic Goudys Inspired Private Press in the United States; Edward Johnston and Eric Gill: Classic Letters; The Roaring Twenties; Dada Rejects Typographic Messages; Art Deco; The Bauhaus Aesthetic: Kandinsky and Bayer; DeStijl Movement in the Netherlands; Russian Constructivism: El Lissitzky and Kurt Schwitters; Minimal Typographic Design: Jan Tschichold; A Geometric Typeface: Paul Renners Futura; The Great Depression; Type for Daily Newspapers; and The United States at War

6: Technology Changes the Designers Role 99

Transitioning from Hot Type to Cold Type; Technology Changes the Designers Role in the Production Process; Fitting Copy; Type Specification; Proofreading Tips; Proofreaders Marks; Type Design During the Second Half of the Twentieth Century; Type Design in the 1960s; Type Design During the Radical 1970s; Wolfgang Weingart; and The Dawning of the Digital Age

7: Contemporary Typography and Digital Technology 123

Émigré Magazine; Dot Matrix, Daisy Wheel and Ink Jet Printing; Zuzanna Licko; Laser Printer Technology; Jeffery Keedy; Max Kisman; Letterror; Neville Brody; Matthew Carter; Digital Font Technology; Adobe and the Development of PostScript; PostScript Type I; PostScript Type 2; PostScript Type 3; and Font Availability and Distribution

8: Character Characteristics 141

Upper- and Lowercase Letterforms; Measuring Type; Distinguishing Font Styles; Fonts, Faces and Families; Typeface Design; Type for Use in Different Sizes; Design of an Italic Font; Designing Font Variations of Weight and Proportion; Lining Figures, Small Caps, Superscript, Subscript, and Dingbats; Type Anatomy; Arms and Tails; The Spine and Shoulder; Serifs, Brackets, Terminals, and Finials; Counters and Bowls; Apices, Crotches, and Vertices; Swashes and Flags; Horizontal Spacing and Measurement; Vertical Spacing; Type Alignment; Spacing Type and Punctuation in Display Sizes; Uppercase versus Mixed Upper- and Lowercase Type; and Optical Character Alignment in Headlines

9: Type Identification and Classification 167

Black Letter; Old Style; Modern Style Typefaces; Square or Slab Serif; Sans Serif; Script and Cursive; Display and Decorative; and The Search for a Modern Classification System

10: Setting Text Type 183

Legibility and Readability; Font Design Characteristics; Letterform Proportions; Letter Spacing, Word Spacing, and Line Spacing; Arrangement of Text Type; Background Value, Color, and Contrast; Type Enclosed by Boxes and Bars; Single Spaces Following Punctuation; Typesetting Abbreviations; Using Bullets to Emphasize ListedInformation; Prime Marks, Quotation Marks, and Apostrophes; Adding and Omitting Quoted Content Correctly; Using a Virgule; Hyphenation and Justification; and Widows and Orphans

11: Selecting and Combining Fonts Creatively 215

Font Selection Considerations; Typographic Personality: Denotation, Connotation, and Resonance; Determining Compositional Importance; Spacing and Grouping Type; Weight, Proportion, Value and Texture; Positive and Negative; Varying Position and Orientation; and Varying Font Structure and Style

12: Organizing Typographic Compositions 229

Basic Page Layout Considerations; Typical Layout Considerations; Establishing a Grid; Margins, Gutters
and Alleys; Mastheads; Headlines and Subheads; Headers and Footers; Body Copy; Callouts and Pull Quotes; Tables, Lists, and Forms; Captions, Bylines and Credits; and Sidebars and Initial Caps

Appendix A: Font sample charts 249

Appendix B: Key concepts 347

Appendix C: Key players 375

Credits 380

Bibliography 381

Index 383