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"Originally released to great acclaim in 2010, Typography for Lawyers was the first guide to the essentials of typography aimed specifically at lawyers. Author Matthew Butterick, an attorney and Harvard-trained typographer, dispelled the myth that legal documents are incompatible with excellent typography. Butterick explained how to get professional results with the tools you already have quickly and easily. Revised and updated & the second edition includes: new topics such as email, footnotes, alternate figures, and OpenType features; avice for presentations, contracts, grids of numbers, and court opinions; technical tips covering the newest versions of Word and WordPerfect for Windows and OS X; new font recommendations, including two that are free; new essays on the font copyrights, screen-reading considerations, and typographic disputes that have reached the courts; a refreshed layout, featuring type features designed by the author."--from Amazon.com website.
A memoir of the nearly two years the author and her husband lived in Rome.
This book is about how type should look and how to make it look that way--in other words, how to set type like a professional. It explains in practical terms how to use today's digital tools to achieve the secret of good design: well set type. An essential reference for anyone who works with type: designers, print production professionals, and corporate communications managers can go to straight to the index to find focused answers to specific questions, while educators and students can read it as a text book from cover to cover.
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.
The Geometry of Type explores 100 traditional and modern typefaces in detail, with a full spread devoted to each entry. Characters from each typeface are enlarged and annotated to reveal key features, anatomical details, and the finer, often-overlooked elements of type design, which shows how these attributes affect mood and readability. Sidebar information lists the designer and foundry, the year of release and the different weights and styles available, while feature boxes explain the origins and best uses for each typeface, such as whether it is suitable for running text or as a display font for headlines. To help the reader spot each typeface in the wider world, the full character set is shown, and the best letters for identification are highlighted. This beautiful and highly practical work of reference for font spotters, designers and users is a close-up celebration of typefaces and great type design.
It's present day, or thereabouts. North America's made up of thirteen countries. Caught in the power struggle between The Christian Republic of Texas and the Republic of California, a soldier named Braxton Alexander searches for the answers to life's burning questions. What is worth fighting for? Which side is right? And why do those aliens like old-time baseball so much? The answer to all of these questions is the same: It all depends.
Stanley Morison provided the impetus and judgement behind the programme of typographical revival carried through by the Monotype Corporation in the 1920s and early 1930s. The Tally is an account, historical, critical and functional, of the types cut under Morison's direction during this period.
A comprehensive and beautifully illustrated guide to fonts, essential for anyone who engages with type in their daily lives Have you ever wondered which typeface is used for airport signs? Or about the history behind the Times New Roman font? We are constantly engaging with type, yet many of us struggle to use it effectively or simply to understand the basics. This beautifully illustrated, easy to use companion is the perfect guide to everything typographic. Tony Seddon provides an essential lexicon that explains the history and functionality of 140 type terms and 20 unique typeface classifications. The book also features a timeline of typeface classification from the mid-15th century to the present day, and concludes with a chapter detailing over 40 important typeface families that reflect the history of typeface development and typographic style from the earliest days of movable type. Essential Type will help to build your knowledge of type and typeface use with a clear and comprehensive "what is it" and "why use it" approach to the subject. Five chapters explore topics including the anatomy of type, glyphs, typeface classification, and typefaces ranging from serif to sans serif to script and display. The chapter on typefaces pays particular attention to highlighting key design features and, along with illuminating backstories and tips to aid identification, makes this book the perfect companion for all type enthusiasts and practitioners.
"To the layman, all printing types look the same. But for typographers, graphic artists and others of that lunatic fringe who believe that the letters we look at daily (and take entirely for granted) are of profound importance, the question of how letters are formed, what shape they assume, and how they have evolved remains one of passionate and continuing concern. Lawson explores the vast territory of types, their development and uses, their antecedents and offspring, with precision, insight, and clarity. Written for the layman but containing exhaustive research, drawings and synopses of typefaces, this book is an essential addition to the library of anyone s typographic library. It is, as Lawson states, not written for the printer convinced that there are already too many typefaces, but rather for that curious part of the population that believes the opposite; that the subtleties of refinement as applies to roman and cursive letters have yet to be fully investigated and that the production of the perfect typeface remains a goal to be as much desired by present as by future type designers. Anyone aspiring to typographic wisdom should own and treasure this classic."--Amazon description.