MARC Record from Marygrove College

LEADER: 05923cam a2200721 a 4500
001 ocn255890548
003 OCoLC
005 20191109073048.3
008 090121s2009 maua 001 0 eng
010 $a 2009001540
040 $aDLC$beng$cDLC$dCDX$dVP@$dGEBAY$dQBX$dDEBBG$dUKMGB$dBTCTA$dOCLCF$dOCLCQ$dNZAUC$dZH7$dMMV$dUSSAE$dOCLCO$dCPO
015 $aGBB189327$2bnb
016 7 $a015665309$2Uk
016 7 $a015856467$2Uk
020 $a9781592535231
020 $a1592535232
020 $a9781592537402
020 $a1592537405
029 1 $aCDX$b8846212
029 1 $aDEBBG$bBV035592915
029 1 $aGEBAY$b11466210
029 1 $aNZ1$b12907699
029 1 $aUNITY$b120112736
029 1 $aUKMGB$b015856467
035 $a(OCoLC)255890548
050 00 $aZ246$b.S223 2009
082 00 $a686.2/24$222
084 $a24,1$2ssgn
084 $aAN 34300$2rvk
049 $aMAIN
100 1 $aSaltz, Ina.
245 10 $aTypography essentials :$b100 design principles for working with type /$cIna Saltz.
260 $aBeverly, Mass. :$bRockport Publishers,$c©2009.
300 $a208 pages :$billustrations (chiefly color) ;$c26 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
500 $aIncludes index.
520 $aThis 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.
505 0 $aINTRODUCTION -- 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 -- 17 The hyphen, the en dash, and the em dash -- 18 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 -- 35 To kern or not to kern -- 36 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 -- 52 Highly evident typography -- 53 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 -- "Rivers" of space -- 70 Eschew decorative type -- 71 Celebrate decorative type -- 72 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 -- 87 Using centered, asymmetrical, and flush-right type -- 88 The multicolumn text grid -- 89 The uneven text grid -- 90 Typographic "furniture" -- 91 Decks, callouts, and pull quotes -- 92 The "birth and death" of the text -- 93 Chaos versus order -- 94 Commentary, marginalia, and alternate languages -- 95 Tables and charts -- 96 Navigational devices -- 97 Margins and gutters -- 98 Framing the text -- 99 Floating in space -- 100 Theory of Relativity IV.
504 $aIncludes bibliographical references and index.
590 $bInternet Archive - 2
590 $bInternet Archive 2
650 0 $aGraphic design (Typography)
650 0 $aType and type-founding.
650 7 $aGraphic design (Typography)$2fast$0(OCoLC)fst00946640
650 7 $aType and type-founding.$2fast$0(OCoLC)fst01159951
650 7 $aGebrauchsgrafik$2gnd
650 7 $aTypografie$2gnd
650 7 $aTypography.$2sears
650 7 $aType and type-founding.$2sears
650 07 $aGebrauchsgraphik.$2swd
650 07 $aTypographie.$2swd
655 4 $aBildband.
856 42 $3Contributor biographical information$uhttp://catdir.loc.gov/catdir/enhancements/fy0916/2009001540-b.html
856 42 $3Publisher description$uhttp://catdir.loc.gov/catdir/enhancements/fy0905/2009001540-d.html
938 $aCoutts Information Services$bCOUT$n8846212
938 $aQuality Books, Inc.$bQUAL$na 09001540
938 $aBaker and Taylor$bBTCP$nBK0007943369
938 $aYBP Library Services$bYANK$n2995398
938 $aBlackwell Book Service$bBBUS$nR9788231$c$40.00
994 $a92$bERR
976 $a31927002047782