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Typography essentials : 100 design principles for working with type /
This book outlines and demonstrates basic type guidelines and rules through 100 entries, including choosing the typeface for the project, striving for rhythm and balance with type, combining typefaces, using special characters, and kerning and legibility. These essentials of type design are critical...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Beverly, Mass. :
Rockport Publishers,
©2009.
|
| Temas: | |
| Acceso en línea: | Texto completo (Requiere registro previo con correo institucional) |
MARC
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| 100 | 1 | |a Saltz, Ina. | |
| 245 | 1 | 0 | |a Typography essentials : |b 100 design principles for working with type / |c Ina Saltz. |
| 246 | 3 | 0 | |a 100 design principles for working with type |
| 246 | 3 | |a One hundred design principles for working with type | |
| 260 | |a Beverly, Mass. : |b Rockport Publishers, |c ©2009. | ||
| 300 | |a 1 online resource (208 pages) : |b illustrations | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a computer |b c |2 rdamedia | ||
| 338 | |a online resource |b cr |2 rdacarrier | ||
| 347 | |a data file |2 rda | ||
| 588 | 0 | |a Print version record. | |
| 505 | 0 | |a Cover -- 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 | |
| 505 | 8 | |a 17 The hyphen, the en dash, and the em dash18 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 | |
| 505 | 8 | |a 35 To kern or not to kern36 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 | |
| 505 | 8 | |a 52 Highly evident typography53 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 -- 60 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 | |
| 505 | 8 | |a 71 Celebrate decorative type72 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 | |
| 520 | |a This book outlines and demonstrates basic type guidelines and rules through 100 entries, including choosing the typeface for the project, striving for rhythm and balance with type, combining typefaces, using special characters, and kerning and legibility. These essentials of type design are critical to the success of any job. | ||
| 546 | |a English. | ||
| 590 | |a eBooks on EBSCOhost |b EBSCO eBook Subscription Academic Collection - Worldwide | ||
| 590 | |a O'Reilly |b O'Reilly Online Learning: Academic/Public Library Edition | ||
| 650 | 0 | |a Graphic design (Typography) | |
| 650 | 0 | |a Type and type-founding. | |
| 650 | 0 | |a Graphic arts. | |
| 650 | 6 | |a Arts graphiques. | |
| 650 | 7 | |a graphic arts. |2 aat | |
| 650 | 7 | |a graphic design. |2 aat | |
| 650 | 7 | |a DESIGN |x Graphic Arts |x Typography. |2 bisacsh | |
| 650 | 7 | |a Graphic arts |2 fast | |
| 650 | 7 | |a Graphic design (Typography) |2 fast | |
| 650 | 7 | |a Type and type-founding |2 fast | |
| 650 | 7 | |a Gebrauchsgrafik |2 gnd | |
| 650 | 7 | |a Typografie |2 gnd | |
| 650 | 7 | |a Typography. |2 sears | |
| 650 | 7 | |a Type and type-founding. |2 sears | |
| 776 | 0 | 8 | |i Print version: |a Saltz, Ina. |t Typography essentials. |d Beverly, Mass. : Rockport Publishers, ©2009 |z 9781592535231 |w (DLC) 2009001540 |w (OCoLC)255890548 |
| 856 | 4 | 0 | |u https://learning.oreilly.com/library/view/~/9781592535231/?ar |z Texto completo (Requiere registro previo con correo institucional) |
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