Thinking with Type: A Critical Guide for Designers, Writers, Editors, & Students (Design Briefs)

Thinking with Type: A Critical Guide for Designers, Writers, Editors, & Students (Design Briefs)
Average customer rating:

Glossy, colorful, devoid of substance

useless

Great value

don't be deceived by the title

A disorderly book, some good advice, much confusion

Thinking with Type: A Critical Guide for Designers, Writers, Editors, & Students (Design Briefs)
Ellen Lupton
Manufacturer: Princeton Architectural Press
ProductGroup: Book
Binding: Paperback

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Typography | Graphic Design | Design & Decorative Arts | Arts & Photography | Subjects | Books
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Accessories:

Visual Grammar (Design Briefs)

ASIN: 1568984480

Book Description

The organization of letters on a blank sheet -- or screen -- is the most basic challenge facing anyone who practices design. What type of font to use? How big? How should those letters, words, and paragraphs be aligned, spaced, ordered, shaped, and otherwise manipulated? In this groundbreaking new primer, leading design educator and historian Ellen Lupton provides clear and concise guidance for anyone learning or brushing up on their typographic skills.
Thinking with Type is divided into three sections: letter, text, and grid. Each section begins with an easy-to-grasp essay that reviews historical, technological, and theoretical concepts, and is then followed by a set of practical exercises that bring the material covered to life. Sections conclude with examples of work by leading practitioners that demonstrate creative possibilities (along with some classic no-no's to avoid).

Customer Reviews:

Glossy, colorful, devoid of substance.......2007-10-09

Ellen Lupton's "Thinking with Type" is a strange book that exists because of itself. It uses different fonts and colors and layout to tell you about different fonts and colors and layout. Even the example text is about itself, and not Lorem Ipsum or some such (for example, "This is Helvetica 9 point" written in Helvetica 9 point).

This is about as meta as you can get, a work of reflexive modern art if you will. Think Godel, Lupton, Bach? But it advertises itself as A Critical Guide for Designers, Writers and Editors, which it surely, emphatically, is not. I learned more from the first few pages of Parker's Looking Good in Print -- a fine book every one of whose commandments Lupton manages to violate -- than from this opus of navel-gazing.

A few concrete things wrong with it: well, the obvious one is that since every design element in this book exists to show itself, the book as a whole is extremely difficult to read. This is exacerbated by bad Index and Table of Contents... the only reason they exist is because they should (sum ergo sum). The fancy rendering of chapters (of which there are three, yes three; moreover they have monosyllabic titles) and sections add to this weird where-am-I-in-the-text effect.

At a graphic design contest level, this might be interesting, but at a "critical guide" level, it is criminal -- worse than type crime. This book suffers from the unpardonable crime of overdesign at any macroscopic level you'd care to think about. Moreover, it simply lacks substance. If a tenth of the time spent typesetting this book had been allocated to actual content, it could have turned out all right. As such, it is full of gloss and color, signifying nothing.

useless.......2007-09-08

I wouldn't recommend this book to anybody. just a fiw bits of information from every area, but nothing specific or useful.

Great value.......2007-09-05

If you're loooking for a good foundational knowledge of type, this is one of the best books for the money you'll find.

don't be deceived by the title.......2007-09-04

not quite helpful with thinking with type as the title suggests. more of a brief historical overview of type and such. does not really help you think critically about type. there are a few other books i would definitely if you're wanting for something deeper about type after reading this book. overall, for the price, it's a decent book to own. i do wish the book talked more about the grid system though.

A disorderly book, some good advice, much confusion.......2007-08-25

This book does not accomplish what it sets out to be, according to the subtitle, "A critical guide for designers, writers, editors & students". It has some interesting examples of unusual designs and has some value for designers of, for example, brochures or advertisements. But the book has limited value for the remaining targeted audience, as far too much of the book is devoted to oddities and strange designs that a writer, editor or student should NEVER even think of using.

The majority of the examples of text settings in the book are unreadable for more than a few lines. No writer who actually wants his or her work to be read should ever want to have the text set in one of these designs.

There are some useful guides on matters such as leading and tracking, but these are lost in the overall jumble. The book merits two stars only because of designers might find it useful. All others should avoid the book.

Designing with Type: The Essential Guide to Typography (Designing With Type)

Average customer rating:

A Textbook I Will Hang onto Long After the Class
Designing with Type: The Essential Guide to Typography
pleased typography student
New edition and companion website are great for typography classes.
New Fifth Edition is Even Better

Designing with Type: The Essential Guide to Typography (Designing With Type)
James Craig , William Bevington , and Irene Korol Scala
Manufacturer: Watson-Guptill
ProductGroup: Book
Binding: Paperback

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Thinking with Type: A Critical Guide for Designers, Writers, Editors, & Students (Design Briefs)
Creativity for Graphic Designers: A Real-World Guide to Idea Generation--From Defining Your Message to Selecting the Best Idea for Your Printed Piece
Stop Stealing Sheep & Find Out How Type Works, Second Edition
Basic Typography: A Design Manual
Graphic Design School, Third Edition

ASIN: 0823014134
Release Date: 2006-05-01

Book Description

• First published in 1971, used universally ever since
• Access to lessons from distinguished typographers around the world through Web site: designingwithtype.com
• "An excellent and useful introduction to the subject."—Milton Glaser

New information and new images make this perennial best-seller an even more valuable tool for anyone interested in learning about typography.

Customer Reviews:

A Textbook I Will Hang onto Long After the Class.......2007-09-13

As a graphic design student, I purchased this book as the required text for my Typography I class. The school has been using Designing with Type for years and it is easy to see why. The information is clear, consice, and covers everything from the history and naming of typefaces to the nitty gritty technical information. The definitions of technical terms, measurements, and industry standards are incredibly useful and are supported by visual examples throughout the entire book. The glossary in the back is also a great reference to some common and and popular typfaces. One thing to note, a lot of these reviews refer to the spiral bound (4th ed.), which unfortunately is no longer a feature in the 5th edition.

Designing with Type: The Essential Guide to Typography.......2007-01-09

I have used this book for a number of years, along with a number of other books on typography, as primary reading for my Typography 1 class that I teach at a design school. It is an excellent resource for the student who is just starting out and learning the fundamentals of design.

pleased typography student.......2006-09-16

I am a second year Communication Design student at a prestigious (pretentious) art school in New York City. This year marks my first foray into typography, and this book was the first recommendation on my to-buy list.

Anyone who is at least vaguely familiar with the concept of typography knows that most type enthusiasts range from "I didn't realize there was that much involved" to "Oh my god, you even named your child after a typeface." (I didn't know that's what they meant by "font family.") But seriously, folks: for those not yet versed in the trials and tribulations contained within passionate pursuit of the perfect sans-serif, typography can be very intimidating.

When I bought DWT 5 -- because I had to, remember -- I expected a tome comparable to the tedious scrolls of a monastery scribe; typography was to be my new religion and I was ok with that. Thankfully, that's not how my experience with DWT played out at all.

First of all, it's actually a book, complete with pleasing cover that isn't obnoxiously heavy and is able to withstand backpack fare. It's solid and smooth and looks good on my shelf -- apparently an improvement over earlier editions. But this is hardly the reason for my enthusiastic review.

The truth of the matter is, the "hands-on" way this book approaches the art of teaching typography is beyond superb. In fact, it's so superb, it makes me want to jump into a rambling anecdote -- so bear with me.

I once had a beyond awful chemistry teacher. Awful because he was dryer than a saltine and refused to get off his wrinkly behind to put some damn liquid over a Bunsen and show us the magic of the science. Don't get me wrong here -- chemistry is and should be treated with academic respect and precision. It is surely a very "logical" subject, in that the math-based reasoning behind the formulas and the calculations and the diagrams and the nomenclature is all very structured. But the propensity by which one can dive into the circuitous lexicon of chemical confoundry makes it easy to forget that a chemist is actually dealing with the stuff that makes up our physical world. Being a visual person, it would kill me to sit for an entire hour and a half doing worksheets and readings and spar in lofty conversations without doing so much as one experiment to demonstrate. I mean, it was pretty simple -- I wanted to SEE what the hell it was we were talking about. And sure enough, when we WOULD actually do an experiment, I was able to link the lofty ideas with the visual responses, and it would all be clear as day.

This is the hands-on approach I describe as being taken on by DWT. Craig makes no mistake in realizing that typography IS the book, and uses this to his advantage by creating ACTUAL TYPOGRAPHIC EXAMPLES to explain the principles of type. It's one thing to be told that Bodoni is much easier to read because of its simplified serifs, but to actually SEE Bodoni set in multiple iterations makes the difference between remembering and absorbing. It's as if Craig is stopping in the middle of his lecture, walking over to you, and drawing for you on your paper exactly what he means. Not to mention he does it in a clear and simple layout that it probably unique to edition 5.

I was ready to dread my typography readings, expecting them to be a series of formulas. Now I look forward to seeing all the neat explosions and chemical reactions, and to wondering how I'll fit them into my next layout. But don't go too fast with it Craig, take it slow -- this is introductory level, after all, and I'm not ready to put Helvetica on the birth certificate yet.

New edition and companion website are great for typography classes........2006-09-10

This new edition (5) is a great textbook for the beginning typography class; thorough, well-written and illustrated, highlighting the most important things a beginning designer must know. It is very engaging and easy to read. Students will benefit greatly not only from using the book in class, but having it in their design library for the future. Professors will find it a great resource, along with it's wonderful companion website, which contains a vast resource of lecture material, visual samples, links and project assignments with examples of student work.

New Fifth Edition is Even Better .......2006-06-17

This is the new fifth edition of this classic book on typography that first began in 1971. Since then it has become a standard of the industry. It's real strength is how it describes fonts from the standpoint of conveying feeling, readability, aspects of fonts that you wouldn't normally think about.

Type is an important part of graphics art. It is likely that in most projects type is what covers most of the page. Through the use of the proper type face, size, and special effects type can be used to assist in the conveyance of information which is what graphics art is all about.

This book has been around for some thirty-five years. It is the standard text in design schools around the world. For this fifth edition it has been redesigned, printed in full color and had much new material added without omitting features that have made the book such a valuable tool.

Exhibition and Display Design (Working with Type Series)

Average customer rating:

Exhibition and Display Design (Working with Type Series)
David E. Carter
Manufacturer: Rotovision
ProductGroup: Book
Binding: Paperback

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Book Description

"This breakthrough book provides the graphic design field with an impressive set of fresh possibilities," writes Print Magazine USA about this authoritative study on the use of computer-generated typography for exhibition and display design.

Teaching by example, the book includes a portfolio of today's most excellent computer-driven international work. Instructive text emphasizes the importance of mastering the fundamental principles of traditional typography in order to work effectively with new technology.

Create Impact with Type, Image and Color
Average customer rating:

waste of time

Create Impact with Type, Image and Color
Carolyn Knight , and Jessica Glaser
Manufacturer: RotoVision
ProductGroup: Book
Binding: Paperback

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ASIN: 2940361770

Book Description

Discover the secrets of communication for good graphic design

Being able to communicate effectively and persuasively through the mediums of visual and verbal methods is a fundamental concept of design.

Create Impact with Type, Image and Color breaks down the specifics of the different levels of communication into what grabs attention first, what is accessed next and what, on various levels, follows on. Through case studies and practical exercises, it looks at the basic principles of design, as well as essential design considerations and the importance of aesthetics, providing a complete overview of all areas of communication.

Through inspiring examples, it investigates the ways in which information is received by its audience within a variety of print and screen contexts, and the practical exercises allow the reader to develop what they have learnt. All of this serves to provide the designer with the methodology and the practice to design for maximum effect.

Customer Reviews:

waste of time.......2007-02-24

Don't Bother, there is nothing to be gained by reading this book. Poor examples and no real educational component makes this book a true waste of time.

A Tally of Types: With Additions by Several Hands ; And With a New Introduction by Mike Parker

Average customer rating:

Visual and historical information
Definitely worth reading

A Tally of Types: With Additions by Several Hands ; And With a New Introduction by Mike Parker
Stanley Morison , and Brooke Crutchley
Manufacturer: David R Godine
ProductGroup: Book
Binding: Paperback

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Anatomy of a Typeface
Letters of Credit: A View of Type Design
An Essay on Typography
Type: The Secret History of Letters
A View of Early Typography: Up To About 1600

ASIN: 1567920047

Product Description

This landmark book, first published in 1953 in a private keepsake edition and later revised and expanded, remains an indispensable reference for students of book design. It presents Stanley Morison at his best: opinionated, eclectic, offering his characteristic blend of erudition and insight. Finally available again after many years, A Tally of Types discusses twenty different faces, many cut under Morison's direct supervision, and most of them now translated into digital settings.

This is the real history behind the letters: who first cut them, how they were used (and should be used), and how the modern versions became accessible. Each essay is set in the typeface it discusses, making the book an exciting visual adventure as well as teaching of primary importance. An invaluable aid for modern practitioners and historians alike, this edition contains a new introduction by Mike Parker, former co-director of Typographic Development at the Mergenthaler Corporation.

Customer Reviews:

Visual and historical information.......2004-04-22

Typography may be unique among arts in its historical ties to commerce. Type foundries create and sell fonts as a matter of business. Trades like printing and advertising have historically publicized type by using it, and driven the creation of new fonts. Typography is also distinctive in that, for such small field, it has so many large personalities.

Stanley Morison is one of those personalities, and one of the people who made 20th century typography what it was. He had a unique insight into the type trade of the first half of that century, as well as a wealth of history about several other centuries of type design and designers.

The most strinking feature of this book is the way each chapter about some important typeface is set in that face. Seeing and reading a whole page of body text, set and spaced in the usual way, is fundamentally different from seeing menu of "quick brown foxes" or pages of nonsense words. Reading the type is different from looking at letterforms, so this gives real information that specimen books can never provide. (As a personal matter, I realized just how much I dislike the italics with slope angles different in the capitals than in the lower case.)

Don't pick this up as a text on typography; beginners won't get much they can use. If you already appreciate that subtle art, if you want to learn more about its history and practice, this is a very enjoyable way to learn.

Definitely worth reading.......2000-04-08

This book provides a great insight into the history and design of type, and quite a bit of the commentary is useful even today. Morison is well known, of course, for the Times New Roman face - and there is a section in the book on that face. But his commentary on the designing of faces like Plantin and Bembo is much more interesting, if you ask me. Also, if you are at all a fan of Eric Gill, you will like the section on Perpetua and Felicity. Anyone interested in the history of type should have this book, that much is certain.

Design Basics: Ideas and Inspiration for Working with Layout, Type, and Color in Graphic Design

Average customer rating:

Coffee Table Book

Design Basics: Ideas and Inspiration for Working with Layout, Type, and Color in Graphic Design

Manufacturer: Rockport Publishers
ProductGroup: Book
Binding: Paperback

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The Big Book of Design Ideas (Big Book (Collins Design))

ASIN: 1564968545

Book Description

Design Basics presents creative and innovative design in an affordable format. This book presents inspiring, contemporary projects—and explore particular aspects of graphic design. With examples of work ranging from brochures to packaging, to self-promotion, this bok is a sure source of inspiration for all graphic designers.

In Design Basics the reader will be presented with the inner workings of graphic design while the focus is on layout, type and color.

Customer Reviews:

Coffee Table Book.......2003-01-25

This book is supposed to explain "what makes a design's layout compelling" (it doesn't), show "myriad ways type can be used" (definitely not, most of the time the author doesn't even tell you what type face is being used), and demonstrate how to use "color to get the message across" (yes, there are some nice examples here but no CMYK or RGB color guide).

More often than not, this book resembles a coffee table book-- nice images, little information, weak analysis, and nothing noteworthy to learn. Basically, you buy this book to just flip, flip, flip, and then you are done with it. Still, it has a couple of nice images to look at, and maybe give you an idea or two, so it gets 2 stars. But don't buy it if you are seeking inspiration or if you want to learn to design.

Graphic Designer's Gd to Effective Visual Comm: Creating Hierarchies with Type and Image
Average customer rating:
Graphic Designer's Gd to Effective Visual Comm: Creating Hierarchies with Type and Image
Carolyn Knight , and Jessica Glaser
Manufacturer: Rotovision
ProductGroup: Book
Binding: Hardcover

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Web Design Basics: Ideas and Inspiration for Working with Type, Color, and Navigation on the Web
Average customer rating:

Interesting but flawed

Web Design Basics: Ideas and Inspiration for Working with Type, Color, and Navigation on the Web
Glenn Fleishman , Toby Malina , and Jeff Carlson
Manufacturer: Rockport Publishers
ProductGroup: Book
Binding: Hardcover

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The Web Page Design Cookbook: All the Ingredients You Need to Create 5-Star Web Pages

ASIN: 1564968901

Customer Reviews:

Interesting but flawed.......2003-07-21

Many samples for non-mainstream sites. A lot of these interestingly designed web sites have bad UI though.

Digital Type Design Guide: The Page Designer's Guide to Working With Type

Average customer rating:

Excellent advice and a fine collection of fonts
Mediorcre book with inflated reviews.
Should be called the digital type bible
This is a high quality book on typography and a great value!
A stunningly beautiful book about fonts.

Digital Type Design Guide: The Page Designer's Guide to Working With Type
Sean Cavanaugh , and Ken Oyer
Manufacturer: Hayden Books
ProductGroup: Book
Binding: Paperback

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Customer Reviews:

Excellent advice and a fine collection of fonts.......2002-01-03

I'm only giving this excellent book a four star rating as it was published in 1995, so some of the information about using software to manage fonts and compose text is out of date, and although there is a chapter on e-mail, there's nothing on the WWW. However, this is only a small fraction of the body of this very valuable book. In addition to being an outstanding and clearly explained guide to typography, the companion CD contains a very superior and diversified collection of finely executed fonts. I've been using them professionally and personally since I first acquired a copy when the book was published.

Both the book and the fonts are well worth the investment. I hope this fine volume will be updated.

Mediorcre book with inflated reviews........1999-11-18

I hate when there are nothing but overly-ecstatic reviews for a particular book. You should be skeptical too. The first few chapters of this book are a good reference for designers who have little experience working with type on computers. There is also a chapter on "The Rules of Digital Typography" that offers a great deal of help for the novice, but will nauseate the experienced. It contains a chapter on creating juvenile Photoshop treatments such as "Type in flames." 100 out of the 271 pages of this book are spec sheets for the imitation fonts included with the CD. The overall design of the book is substandard for a design book. Overall, the book is a good resource for those who lack fundamental graphic design education (which includes typography), but of little use to the experienced designer.

Should be called the digital type bible.......1999-09-07

This is the best treatment of digital typography I've ever seen. Sean has not only addressed both technical and aesthetic issues, he has done it in a refreshing and witty tone that had me laughing out loud. Unlike many computer graphic design books on the market today, this one is NOT written for Mac users only; PC users will find this book immensely helpful in dealing with cross-platform problems that crop up when dealing with service bureaus. I consider this my most valuable reference book. With its wealth of technical info, beautiful typography, and solid design technique--not to mention the CD-ROM full of fonts!--it's a steal. I'd urge everyone from design pros to administrative assistants to buy this one.

This is a high quality book on typography and a great value!.......1999-05-05

As a college professor who has taught typography for the past 12 years, I have been waiting for a book & CD like this. The type history, technique tutorials, font handling tips and specimens are good overviews for my students and the font library is great. These fonts are good quality, and better yet, the CD contains both IBM & Mac in two formats for cross platform work. This is a good complete font library for beginners who are stuck using that long list of bad novelty display fonts which loaded with a word processing program. Also, any outdated info in the technical section (re: versions of software) is updated on the author's website.

A stunningly beautiful book about fonts........1999-01-25

This book contains all sorts of great information about fonts. As a bonus, the book design is gorgeous and the book comes with some wonderful fonts on CD-ROM. I highly recommend this book to anyone interested in design and typography, especially those who strive to put a slightly higher level of quality and detail into their work.

Average customer rating:

Great Book
An invaluable tool
Nice introduction to type use

Design with Type
Carl Dair
Manufacturer: University of Toronto Press
ProductGroup: Book
Binding: Paperback

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ASIN: 0802065198

Book Description

Design with Type takes the reader through a study of typography that starts with the individual letter and proceeds through the word, the line, and the mass of text. The contrasts possible with type are treated in detail, along with their applications to the typography ofbooks, advertising, magazines, and information data. The various contending schools oftypography are discussed, copiously illustrated with the author's selection of over 150 examples of imaginative typography from many parts ot the world.

Design with Type differs from all other books on typography in that it discusses type as a design material as well as a means of communication: the premise is that if type is understood in terms of design, the user of type will be better able to work with it to achieve maximum legibility and effectiveness, as well as aesthetic pleasure. Everyone who uses type, everyone who enjoys the appearance of the printed word, will find Design with Type informative and fascinating. It provides, too, an outstanding example of the effectiveness of imaginative and tasteful typographic design.

Customer Reviews:

Great Book.......2005-03-14

Unlike other books I have come across, this title is worthy of being on the shelf. More visual examples could have been shown but I say this because I enjoy looking at pictures. The text in this book is definately valuable. $25 is a fair price I'd say.

An invaluable tool.......2002-05-13

There's a reason why Carl Dair's book has been continuously in print since it was first published in the '50s. It's one of the best introductions to the idea of contrast in design: contrast of size, contrast of weight, contrast of position, and so on. And it's visually inspiring itself, despite being a small, square, one- and two-color volume. Recent printings have unpleasantly tight bindings, but it's still a classic, and one of the best available tools for typographic design.

Nice introduction to type use.......2001-04-18

For some reason Canada seems to produce spectacular typographic writers. I'd never read this book before, but encountering it for CDN5.00 a few years back, I figured I may as well pick it up. Good decision. It's a very well-written book indeed.

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