The fundamentals of typography / [Gavin Ambrose & Paul Harris].

by Ambrose, GavinLooking glass; Harris, Paul, (Paul Arthur), 1971-.

Publisher: Lausanne : AVA Academia, 2006.Description: 175 pages : illustrations (some colour) ; 23 cm.ISBN: 2940373450; 9782940373451.Subject(s): Graphic design (Typography)Looking glass | PrintingLooking glassNote: Includes indexes. Alternative form: 9782940439973 (e-book)
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Enhanced descriptions from Syndetics:

Basic principles are presented through detailed explanations, expanded illustrations, case studies, and reference material from leading design studios around the world. A sound understanding of type history and classification facilitates controlled, intelligent and thoughtful type usage, across a range of media. The Fundamentals of Typography builds upon these shared principles and will become an invaluable reference for creatives and designers alike.

Includes indexes.

Table of contents provided by Syndetics

  • Introduction (p. 6)
  • How to get the most out of this book (p. 8)
  • 1 A brief history (p. 10)
  • The history of type (p. 12)
  • Cuneiform tablets (p. 14)
  • Hieroglyphs (p. 15)
  • Ideogram-based languages (p. 16)
  • Phoenician characters (p. 18)
  • The Greek alphabet (p. 20)
  • Cyrillic languages (p. 22)
  • Semitic and Aramaic languages (p. 24)
  • The Roman alphabet (p. 26)
  • The modern alphabet (p. 28)
  • Moveable type, 1436 (p. 30)
  • The effect of printing in Europe (p. 32)
  • The Industrial Revolution, 1800s (p. 34)
  • Arts and Crafts Movement, 1850s (p. 36)
  • Modernism, 1910 (p. 38)
  • 1950s (p. 42)
  • 1960s (p. 44)
  • 1970s (p. 46)
  • 1980s (p. 48)
  • 1990s (p. 50)
  • Graphic design since 2000 (p. 52)
  • 2 A few basics (p. 54)
  • Typefaces and fonts (p. 56)
  • Typeface anatomy (p. 57)
  • Relative and absolute measurements (p. 58)
  • X-height (p. 61)
  • Basic terminology (p. 62)
  • Majuscule and minuscule (p. 64)
  • Set width (p. 65)
  • Baseline grid (p. 66)
  • The golden section (p. 68)
  • Fibonacci sequence (p. 69)
  • Standard paper sizes (p. 70)
  • The page - how we read (p. 74)
  • Dividing the page (p. 76)
  • 3 Letterforms (p. 80)
  • Type families (p. 82)
  • Typeweight variations (p. 83)
  • Frutiger's grid (p. 84)
  • Types of serif (p. 86)
  • Fractions (p. 88)
  • Superscript and subscript (p. 89)
  • Numerals (p. 90)
  • Punctuation (p. 91)
  • Diacritical marks (p. 92)
  • Dashes (p. 94)
  • Character spacing (p. 95)
  • Expert sets and special characters (p. 96)
  • Ligatures, dipthongs and sans serif logotypes (p. 98)
  • Drop and standing capitals (p. 99)
  • Small capitals (true and false) (p. 100)
  • Italic and oblique (p. 101)
  • Type classification systems (p. 102)
  • Type classification in practice (p. 108)
  • Newspaper text faces (p. 110)
  • 4 Words and paragraphs (p. 112)
  • Calculating line lengths (p. 114)
  • Kerning and letterspacing (p. 116)
  • Automated kerning tables (p. 117)
  • Alignment (p. 118)
  • Word spacing, hyphenation and justification (p. 122)
  • Type detailing (p. 123)
  • Leading (p. 124)
  • Indents (p. 126)
  • Indexes (p. 127)
  • Type size (p. 128)
  • Display type (p. 129)
  • Reversing type (p. 130)
  • Wraps and runarounds (p. 131)
  • 5 Using type (p. 132)
  • Hierarchy (p. 134)
  • Colour (p. 136)
  • Surprint, overprint and knockout (p. 138)
  • Printing and type realisation (p. 140)
  • Type on screen (p. 144)
  • Grids and fonts (p. 146)
  • Generating type (p. 148)
  • Legibility and readability (p. 150)
  • Texture (p. 152)
  • Type as image (p. 154)
  • Concrete poetry, typograms, trompe l'oeil and calligrammes (p. 156)
  • Type in the environment (p. 158)
  • Scale (p. 160)
  • Vernacular (p. 162)
  • Appropriation (p. 164)
  • Typographic democracy (p. 166)
  • Ownership (p. 167)
  • Proof marks (p. 168)
  • Conclusion (p. 170)
  • Contacts (p. 171)
  • Glossary (p. 172)
  • Index (p. 174)
  • Font index (p. 176)

Reviews provided by Syndetics

CHOICE Review

This second edition (1st ed., 2006), beautifully designed by Ambrose, is updated in both content and images. The book serves as a "source of typographical information with which informed design choices can be made" and also can serve as a textbook for design students. Included is a quick overview of the history of typography, type and design terminology, measuring systems, the use of different letterforms, and how to do layouts of single words and text. Numerous illustrations of the use of type in design--from books to architecture--are featured. Each chapter comes with a case study and a typographic assignment. This book stands out from other typography or design books because of a certain European "cool" or hip factor. Ambrose is a practicing graphic designer who has done work for Elle and Christie's, and coauthor Harris has written widely on graphic design. This volume is as current as it can be, given the dizzying changes in technology and the evolving platforms for delivering text. Summing Up: Recommended. Lower-level undergraduates, two-year technical program students, practitioners, and general readers. N. J. Quinlan Nova Southeastern University

Author notes provided by Syndetics

Gavin Ambrose is a practising graphic designer whose client base includes the arts sector, galleries, publishers and advertising agencies. He has written and designed several books on graphic design, branding and packaging. Paul Harris studied at the London College of Communication and has gone on to become a freelance writer and editor. His work has appeared extensively in magazines and journals on both sides of the Atlantic, including style bible Dazed & Confused.

Other editions of this work

No cover image available The fundamentals of typography / by Ambrose, Gavin ©2011
No cover image available The fundamentals of typography by Ambrose, Gavin ©2006
No cover image available The fundamentals of typography by Ambrose, Gavin ©2011

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