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Typographic Workbook a Primer to History, Techniques, and Artistry A Typographic Workbook a primer to history, techniques, and artistry Second Edition Kate Clair Cynthia Busic-Snyder John Wiley & Sons, Inc. Introduction.indd 1 6/24/2005 10:11:18 AM This book is printed on acid-free paper. Copyright © 2005 by John Wiley & Sons, Inc. All rights reserved Published by John Wiley & Sons, Inc., Hoboken, New Jersey Published simultaneously in Canada No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, Inc. 222 Rosewood Drive Danvers, MA 01923 tel (978) 750-8400 fax (978) 750-4470 or on the web at www.copyright.com. Requests to the Publisher for permission should be addressed to the Permissions Department John Wiley & Sons, Inc. 111 River Street, Hoboken, NJ 07030 tel (201) 748-6011 fax (201) 748-6008 or online at http://www.wiley.com/go/permission. Limit of Liability/Disclaimer of Warranty: While the publisher and author have used their best efforts in preparing this book, they make no representations or warranties with respect to the accuracy or completeness of the contents of this book and specifi cally disclaim any implied warranties of merchantability or fi tness for a particular purpose. No warranty may be created or extended by sales representatives or written sales materials. The advice and strategies contained herein may not be suitable for your situation. You should consult with a professional where appropriate. Neither the publisher nor author shall be liable for any loss of profi t or any other commercial damages, including but not limited to special, incidental, consequential, or other damages. For general information on our other products and services or for technical support, please contact our Customer Care Department within the United States at (800) 762-2974, outside the United States at (317) 572-3993 or fax (317) 572-4002. Wiley also publishes its books in a variety of electronic formats. Some content that appears in print may not be available in electronic books. Library of Congress Cataloging-in-Publication Data: ISBN-13: 978-0-471-69690-2 ISBN-10: 0-471-69690-0 Printed in the United States of America 10 9 8 7 6 5 4 3 2 Introduction_2.indd ii 3/9/2006 12:02:26 PM TABLE OF CONENTS Table of Contents Preface ....................................................................v 4: Typography During Colonization Acknowledgments ................................................ vi and Industrialization ...................................61 Colonial Era Typography; A Mathematically Perfect 1: Ancient Writing Systems ...............................1 Font; Rococo Era Typography; Letterpress Printing; Prehistoric Societies; Development of Oral Typography During Colonial Expansion; Type Fashion Communication; Early Writing Societies; Pictograph- in England; Writing Master Turns Typographer; Based Writing Systems; From Pictographs to Typography in Italy; The Dawn of Industrialization; Ideographs; The Semitic Languages; Sumerian Printing Gains Momentum; Introduction of Sans Serif Cuneiform; Minoan Writing; Written Languages Fonts; A New Era in Typography: Advertising; The Remain Undeciphered; Egyptian Hieroglyphics; Practical Writing Machine; Stone Chromolithography Hieratic Script; Demotic Script; Ancient Writing Printing; The Victorian Era Influences Typography; Systems Evolve; The Rise of Ancient Greece; and and Documenting the American Civil War Recovering Ancient Egyptian Hieroglyphics 5: Early Twentieth-Century Typography ...... 77 2: Lettering During the Roman Empire The Arts and Crafts Movement; Kelmscott Press; Page and Middle Ages .......................................... 23 Type Composition Speeds Up; Art Nouveau; Type for Impact of the Roman Empire; Roman Triumphal Mass Production; Offset Lithography; An Aesthetic Arches; Roman Lettering; Capitalis Quadrata to Revolution; Post-War Typographer: Rudolph Rustica; Constantine Ends Christian Persecution; The Koch; Frederic Goudy’s Inspired Private Press in Roman Empire Divided; The Scroll versus the Codex; the United States; Edward Johnston and Eric Gill: Roman Script; Christianizing of Ireland and the Celtic Classic Letters; The Roaring Twenties; Dada Rejects Lettering; The Crumbling Empire Leads to Feudalism; Typographic Messages; Art Deco; The Bauhaus Celtic Round Uncials; Lettering as a Declaration of Aesthetic: Kandinsky and Bayer; DeStijl Movement Faith; A Unifying Force in Lettering; The Romanesque in the Netherlands; Russian Constructivism: El Hand Invites Innovation; The Development of the Lissitzky and Kurt Schwitters; Minimal Typographic Gothic Textura Hand; Mediterranean Expansion of Design: Jan Tschichold; A Geometric Typeface: Paul Muslims; Development of Rag Paper in Europe; The Renner’s Futura; The Great Depression; Type for Late Gothic Period; Rotunda Compared to Gothic Daily Newspapers; and The United States at War Lettering; and Setting the Stage for the Renaissance 6: Technology Changes the Designer’s Role . 99 3: Renaissance Typography Transitioning from Hot Type to Cold Type; and Printing ................................................. 43 Technology Changes the Designer’s Role in the The Renaissance; The Beginning of Printing; Production Process; Fitting Copy; Type Specification; Gutenberg: The Metal Craftsman; Movable, Reusable Proofreading Tips; Proofreader’s Marks; Type Design Type; Imitation of a Hand-Copied Book; The First During the Second Half of the Twentieth Century; Printing Ink; Composing a Page; Printing the 42- Type Design in the 1960s; Type Design During the Line Bible; Assembly-Line Book Production; Early Radical 1970s; Wolfgang Weingart; and The Dawning Typefaces; The Spread of Printing: Jenson in Italy; of the Digital Age Printing in England; The Religious Reformation; The Pinnacle of the Renaissance; Intertwining Printeries: The Estienne Family and Simon de Colines; Aldus Mantius as Publisher; The Letter as Art; Geofroy Tory Establishes Bookmaking as an Art; France Offers a New Look in Type: Garamond; Prevalence of Italic and Script Faces; Handwriting as a Status Symbol; and Printing Innovations i i i Introduction.indd 3 6/24/2005 10:11:19 AM TABLE OF CONTENTS 7: Contemporary Typography and 11: Selecting and Combining Digital Technology .................................... 123 Fonts Creatively ......................................... 215 Émigré Magazine; Dot Matrix, Daisy Wheel Font Selection Considerations; Typographic and Ink Jet Printing; Zuzanna Licko; Laser Personality: Denotation, Connotation, and Printer Technology; Jeffery Keedy; Max Kisman; Resonance; Determining Compositional Importance; Letterror; Neville Brody; Matthew Carter; Digital Spacing and Grouping Type; Weight, Proportion, Font Technology; Adobe and the Development Value and Texture; Positive and Negative; Varying of PostScript; PostScript Type I; PostScript Type Position and Orientation; and Varying Font Structure 2; PostScript Type 3; and Font Availability and and Style Distribution 12: Organizing Typographic 8: Character Characteristics..........................141 Compositions .............................................229 Upper- and Lowercase Letterforms; Measuring Type; Basic Page Layout Considerations; Typical Layout Distinguishing Font Styles; Fonts, Faces and Families; Considerations; Establishing a Grid; Margins, Gutters Typeface Design; Type for Use in Different Sizes; and Alleys; Mastheads; Headlines and Subheads; Design of an Italic Font; Designing Font Variations Headers and Footers; Body Copy; Callouts and Pull of Weight and Proportion; Lining Figures, Small Quotes; Tables, Lists, and Forms; Captions, Bylines Caps, Superscript, Subscript, and Dingbats; Type and Credits; and Sidebars and Initial Caps Anatomy; Arms and Tails; The Spine and Shoulder; Serifs, Brackets, Terminals, and Finials; Counters Appendix A: Font sample charts ...................... 249 and Bowls; Apices, Crotches, and Vertices; Swashes and Flags; Horizontal Spacing and Measurement; Vertical Spacing; Type Alignment; Spacing Type Appendix B: Key concepts ................................. 347 and Punctuation in Display Sizes; Uppercase versus Mixed Upper- and Lowercase Type; and Optical Appendix C: Key players ................................... 375 Character Alignment in Headlines Credits ...............................................................380 9: Type Identification and Classification .... 167 Black Letter; Old Style; Modern Style Typefaces; Bibliography .......................................................381 Square or Slab Serif; Sans Serif; Script and Cursive; Display and Decorative; and The Search for a Modern Classification System Index ..................................................................383 10: Setting Text Type ....................................... 183 Legibility and Readability; Font Design Characteristics; Letterform Proportions; Letter Spacing, Word Spacing, and Line Spacing; Arrangement of Text Type; Background Value, Color, and Contrast; Type Enclosed by Boxes and Bars; Single Spaces Following Punctuation; Typesetting Abbreviations; Using Bullets to Emphasize Listed Information; Prime Marks, Quotation Marks, and Apostrophes; Adding and Omitting Quoted Content Correctly; Using a Virgule; Hyphenation and Justification;
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