"Thinking with Type is to typography what Stephen Hawking's A Brief History of Time is to physics."—I Love Typography The best-selling Thinking with Type in a revised and expanded second edition: Thinking with Type is the definitive guide to using typography in visual communication. Ellen Lupton provides clear and focused guidance on how letters, words, and paragraphs should be aligned, spaced, ordered, and shaped. The book covers all typography essentials, from typefaces and type families, to kerning and tracking, to using a grid. Visual examples show how to be inventive within systems of typographic form, including what the rules are, and how to break them. This revised edition includes forty-eight pages of new content with the latest information on: • style sheets for print and the web • the use of ornaments and captions • lining and non-lining numerals • the use of small caps and enlarged capitals • mixing typefaces • font formats and font licensing Plus, new eye-opening demonstrations of basic typography design with letters, helpful exercises, and dozens of additional illustrations. Thinking with Type is the typography book for everyone: designers, writers, editors, students, and anyone else who works with words. If you love font and lettering books, Ellen Lupton's guide reveals the way typefaces are constructed and how to use them most effectively. Fans of Thinking with Type will love Ellen Lupton's new book Extra Bold: A Feminist, Inclusive, Anti-racist, Nonbinary Field Guide for Graphic Designers.

A full-scale historical treatment of the advent of printing and its importance as an agent of change, first published in 1980.

Long the preserve of trained specialists alone, typography is now a territory open to everyone equipped with a computer. For millions, the ability to produce effective printed documents has lately become, like effective speaking and writing, an essential professional skill and an important source of personal satisfaction. Far more than a style guide, this book is a brief history of typographic art; a compact encyclopedia of typographic symbols, concepts and traditions; and a tour of the technologies employed, old and new. In all, it is a thoughtful and insightful desktop reference for everyone who works with written words. To writers, this book offers a whole new set of skills and tools for effective expression and communication. To readers, it offers a new dimension of reading: a deeper appreciation of letters and a deeper understanding of what they mean.--From publisher description.

Revealing the secret history of punctuation, this tour of two thousand years of the written word, from ancient Greece to the Internet, explores the parallel histories of language and typography throughout the world and across time.

This second edition of An Introduction to Book History provides a comprehensive critical introduction to the development of the book and print culture. Each fully revised and updated chapter contains new material and covers recent developments in the field, including: The Postcolonial Book Censorship by states and religions Social History, and the recognition of underrepresentation of its value to book history studies Contemporary publishing Each section begins with a summary of the chapter's aims and contents, followed by a detailed discussion of the relevant issues, concluding with a summary of the chapter and points to ponder. Sections include: the history of the book orality to Literacy literacy to printing authors, authorship and authority printers, booksellers, publishers, agents readers and reading the future of the book. An Introduction to Book History is an ideal introduction to this exciting field of study, and is designed as a companion text to The Book History Reader.

This book displays and dissects the career and design motives of graphic designer Joost Grootens. In a systematic fashion it charts the first 100 books designed by Grootens over the past ten years. In the first chapter, '10 years', Grootens uses timelines, lists and graphs to map the course of his career as a designer, the people he worked with and the places where the work took place. In '100 books', the designer dissects his book designs. He details the grids, formats, paper stocks, colours and typefaces, and charts the books' structures and compositions. '18,788 pages' shows at actual size a selection of spreads from books designed by Grootens, including the internationally acclaimed atlases. In the text 'I swear I use no art at all' Joost Grootens gives a personal account of making books and the ideas behind his designs.

Books, and the printed word more generally, are aspects of modern life that are all too often taken for granted. Yet the emergence of the book was a process of immense historical importance and heralded the dawning of the epoch of modernity. In this much praised history of that process, Lucien Febvre and Henri-Jean Martin mesh together economic and technological history, sociology and anthropology, as well as the study of modes of consciousness, to root the development of the printed word in the changing social relations and ideological struggles of Western Europe.

In a career that has spanned more than forty years, Matthew Carter has designed many of the typefaces that we see every day in and on publications, books, signs, and screens. Carter's celebrated typefaces include such stalwarts as Galliard, Mantinia, and Verdana. In 1975, he created the now-pervasive Bell Centennial specifically for use in phone books. Publications including Sports Illustrated, the Daily News, Wired, and the Washington Post, along with cultural institutions such as the Walker Arts Center and The Victoria & Albert Museum, have all commissioned Carter fonts. Typographically Speaking: The Art of Matthew Carter entered the field in the days of hand-cut punches and hot-metal type, and has continued to innovate through the eras of photocomposition and digital design. Essays discuss the form of his work, his position and use of typographic history, and his technological innovation. All of his fonts are reproduced in full for reference, and illustrations place his designs in context. Published in conjunction with the University of Maryland Baltimore County.

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 topics–from a logical, clear historical overview of the craft to the latest digital technologies. Known for its highly interactive format, this Second 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.