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 108
... formats have only recently been introduced into practice . In this special issue there is only one job that is consciously based on a DIN format . 10 Elemental designing is , in typography as in other fields , not absolute or conclusive ...
... formats have only recently been introduced into practice . In this special issue there is only one job that is consciously based on a DIN format . 10 Elemental designing is , in typography as in other fields , not absolute or conclusive ...
Страница 170
... format that would be an alternative to PostScript Type 1. In 1991 this was launched as True- Type . The font format was Apple's , while Microsoft made the imag- ing technology ( TrueImage , which never functioned properly and soon fell ...
... format that would be an alternative to PostScript Type 1. In 1991 this was launched as True- Type . The font format was Apple's , while Microsoft made the imag- ing technology ( TrueImage , which never functioned properly and soon fell ...
Страница 171
... format had already been ' reverse - engi- neered ' ( by the Bitstream typefoundry in Boston ) . The TrueType format had advantages over PostScript Type 1 in allowing designers to control character shape at particular sizes . The smaller ...
... format had already been ' reverse - engi- neered ' ( by the Bitstream typefoundry in Boston ) . The TrueType format had advantages over PostScript Type 1 in allowing designers to control character shape at particular sizes . The smaller ...
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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