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The ease with which we can choose a typeface today is something we take for granted, but it is possible only because of the tremendous amount of labor of the Bentons.
Compiled exclusively by invitation, only leading international typographers are represented in this eagerly awaited follow-up to the first volume.Critically acclaimed by leaders in the design field as one of the most useful books ever on typography, the selectiveness and scope of volume one are even broader in volume two. Illustrated examples of the finest in type design range over a wide spectrum, from historical to contemporary, classical to experimental, and formal to whimsical.
Graphic designers will enrich their understanding of American type design and type designers with this unique and extensive reference. The fascinating history of type in America is chronicled through the typefaces and biographies of sixty-two of the most influential type designers, including Linn Boyd Benton, Morris Fuller Benton, and Darius Wells, and through the description and history of nine American type foundries. Complete with samples of 334 different typefaces, and 700 black-and-white illustrations, this eye-popping reference reveals the expansive contribution America has made to the world of type design.
New in paperback! If youÆre searching for a font that goes beyond ho-hum, this book is for you. TodayÆs computers provide a selection of fonts that serve reasonably well for workaday letters and publications, but have become utterly boring from overuse. If you want your project to attract the readerÆs attention, you need an original font. Indie Fonts provides a showcase collection of over 1600 diverse fonts from 19 18 of todayÆs hottest digital type foundries and features the best work of these designers. Indie Fonts will help readers find some of the highest quality fonts available today. The type styles range from the best of Matthew CarterÆs classic designs to the latest irreverence of ingoFonts. Designers searching for unique typefaces will find what they are looking for, whether historical revivals or futuristic techno faces.
"This study of America's leading type foundry of the nineteenth century, MacKellar, Smiths Jordan, emphasizes the design of the hundreds of typefaces that were produced by the foundry, from its inception in the 1860s until its merger with most other American foundries at the end of the century. The author describes how changing business conditions and technical improvements in type founding interacted with changes in public taste over the decades to modify the appearance of American typefaces." "While MacKellar, Smiths Jordan is only one of many American foundries, it can stand as an exemplar of the rest. It was the descendant of the first successful American type foundry, Binny and Ronaldson, started in Philadelphia in 1796, and set many industry standards in business practice, manufacturing, and design. When taste turned away from ornamented type styles at the end of the nineteenth century, MacKellar, Smiths Jordan's output fell into obscurity. This study proposes that the earlier styles were very successful in their own time and should be judged on that basis. A completely illustrated appendix showing MSJ's original typeface designs accompanies the text."--BOOK JACKET.
An illuminating account of the design inspirations and technical transformations that have shaped the digital typefaces of the 21st century In this fascinating tour through typographic history, Paul Shaw provides a visually rich exploration of digital type revival. Many typefaces from the pre-digital past have been reinvented for use on computers and mobile devices, while other new font designs are revivals of letterforms, drawn from inscriptions, calligraphic manuals, posters, and book jackets. Revival Type deftly introduces these fonts, many of which are widely used, and engagingly tells their stories. Examples include translations of letterforms not previously used as type, direct revivals of metal and wood typefaces, and looser interpretations of older fonts. Among these are variations on classic designs by John Baskerville, Giambattista Bodoni, William Caslon, Firmin Didot, Claude Garamont, Robert Granjon, and Nicolas Jenson, as well as typefaces inspired by less familiar designers, including Richard Austin, Philippe Grandjean, and Eudald Pradell. Updates and revisions of 20th-century classics such as Palatino, Meridien, DIN, Metro, and Neue Haas Grotesk (Helvetica) are also discussed. Handsomely illustrated with annotated examples, archival material depicting classic designs, and full character sets of modern typefaces, Revival Type is an essential introduction for designers and design enthusiasts into the process of reinterpreting historical type.
Just My Type is not just a font book, but a book of stories. About how Helvetica and Comic Sans took over the world. About why Barack Obama opted for Gotham, while Amy Winehouse found her soul in 30s Art Deco. About the great originators of type, from Baskerville to Zapf, or people like Neville Brody who threw out the rulebook, or Margaret Calvert, who invented the motorway signs that are used from Watford Gap to Abu Dhabi. About the pivotal moment when fonts left the world of Letraset and were loaded onto computers ... and typefaces became something we realised we all have an opinion about. As the Sunday Times review put it, the book is 'a kind of Eats, Shoots and Leaves for letters, revealing the extent to which fonts are not only shaped by but also define the world in which we live.' This edition is available with both black and silver covers.