Modern Typography: An Essay in Critical HistoryPrinceton Architectural Press, 1. 9. 2004. - 224 страница Modern Typography, 2nd Edition is a completely updated and revised edition of Robin Kinross's classic survey of European and North American typography since 1700, first published in 1992. In addition to numerous new illustrations and revised text, Modern Typography has been re-scaled to a new, convenient pocket format. Kinross's overview breaks ground by focusing on the history of typography as an intricate web of social, technical, and material processes, rather than a parade of typeface styles. Eye magazine calls Modern Typography the book that tells "how modern typography got to be the way it is." Together, Kinross's clear, concise writing combined with his extensive knowledge of the history of typography create a gold standard for how design history ought to be written. |
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Страница 221
... example is the arrangement below : the grid for the periodical Capital . The basic unit is 10 points ; the size of the basic type- face including the lead . The text and picture area are divided at the same time into one , two , three ...
... example is the arrangement below : the grid for the periodical Capital . The basic unit is 10 points ; the size of the basic type- face including the lead . The text and picture area are divided at the same time into one , two , three ...
Страница 234
... examples ' in this book attempt to pro- vide some visual illustration of its themes . No strict rules governed the choice of examples . Some of them are actually discussed in the text . Some were chosen just because they show things ...
... examples ' in this book attempt to pro- vide some visual illustration of its themes . No strict rules governed the choice of examples . Some of them are actually discussed in the text . Some were chosen just because they show things ...
Страница 235
... examples is another area of dilemma and finally unresolvable contradiction . One strong wish has been to show that these artefacts are indeed artefacts . Books , for example , have weight , texture , smell , as well as kinetic ...
... examples is another area of dilemma and finally unresolvable contradiction . One strong wish has been to show that these artefacts are indeed artefacts . Books , for example , have weight , texture , smell , as well as kinetic ...
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Preface acknowledgements | 8 |
Modern typography | 13 |
Enlightenment origins | 22 |
Ауторска права | |
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advertising aesthetic approach artistic Arts & Crafts Bauhaus became become blackletter book design book typography Britain British composition context culture Didot discussion Dwiggins early edition elements Emil Ruder Eric Gill especially essay example font format forms Fournier Froshaug German Gerstner Gill graphic design idea ideal images industry issue italic Jan Tschichold Johnston journal Jugendstil Kelmscott Larisch legibility letterforms letterpress letters Linotype London machine Mardersteig material Max Bill ment Metafont modern typography modernist modernist typography Monotype Corporation Morris movement neue Typographie Neville Brody notably ornaments paper Paul Renner Poeschel practice printers printing trade Printing types private press production programme published rational reform revival roman Ruder sanserif Schrift standard Stanley Morison style suggested Swiss typography tion tradition type design typeface typeface design typefoundry typesetting typo Typografie typographic design typographic history Typographische Updike Updike's Vinne visual W. A. Dwiggins Werkbund