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Type Rules
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Table of Contents

Acknowledgments x Preface xi Introduction 1 Chapter One A Brief History of Type 3 Sounds to Symbols 3 Gutenberg and Movable Type 6 The Industrial Revolution and the Mechanization of Type 8 Photocomposition 8 Herb Lubalin and Expressive Typography 11 Into the Digital Age 12 Notable Type Designers 14 Exercises: 22 Design Guidelines, Nancy Sharon Collins 22 Typographic Timeline, Ilene Strizver 24 Historical Design, Ilene Strizver 25 Chapter Two From Metal to Mac: Understanding Font Technology 27 What Is a Font? 27 Font Formats 27 Type 1 (PostScript) Fonts 28 TrueType Fonts 29 OpenType Fonts 29 Techtip: OpenType Features 32 Hinting 33 Font Management Utilities 33 Techtip: OpenType Font Identifiers 33 Typetip: Long S 34 Typetip: Font vs. Typeface 34 Exercise: 35 Exploring Your OpenType Fonts, Ilene Strizver 35 Chapter Three What Makes a Typeface Look the Way It Does? 37 Parts of a Character 38 Type Categories 40 Serif 40 Sans Serif 42 Scripts 43 Handwriting 44 Blackletter 45 Titling Fonts 45 Opticals and Size-Sensitive Fonts 46 Typetip: One- and Two-Storey Lowercase As and Gs 47 Decorative and Display 48 Typetip: Character vs. Glyph 49 Exercises: Think Like a Type Designer, Ilene Strizver 50 Letter Parts Assignment, Catherine Begle 51 Personal Type Specimen Catalog, Ilene Strizver 54 Type Specimen Book and Typeface Analysis, Audrey G. Bennett 55 Typeface Comparison Book, Joey Hannaford 57 Block Type Project, Erich Doubek 62 Chapter Four Selecting the Right Type for the Job 65 Factors to Consider 65 Design Goals 65 Identify Your Audience 67 Type Size 68 Type Color 68 Legibility and Readability 68 Paper and Surface Considerations 70 Printing Method 70 Low-Resolution Environments 70 What Makes a Good Typeface? 71 Consistent Design Characteristics 71 Legibility 71 Spacing 71 Kerning 72 Even Color and Texture 72 Text vs. Display 73 Type Super Families and Systems 74 Script, Calligraphic, and Handwriting Fonts 77 When the Best Font for the Job Isn?t a Font 78 Typographic Illustration 85 Mixing It Up 89 Text with Display 90 Serif with Sans 90 Weight Contrast (Light with Heavy) 91 Width Contrast (Wide with Narrow) 92 Script and Decorative Designs 92 Type Super Families and Systems 96 Dos and Don?ts 97 Typetip: Type Specimen Materials 98 Typetip: What?s New on the Font Scene 98 Typetip: A Bodoni by Any Other Name? 99 Exercises: Why Are All the Scary Typefaces Pointy? Christopher Andreola 100 A Garamond Is a Garamond Is a Garamond . . . or Is It? Ilene Strizver 101 Six-Word Memoirs Poster, Elizabeth Resnick 104 Real Signage Critique, Amelia Hugill-Fontanel 107 Chapter Five Formatting Your Type 109 Type Size 109 Line Length 110 Line Spacing (Leading) 110 Techtip: Auto Leading 113 Alignment 114 Typetip: Fine-Tuning Justified Type 116 Indents and Other Paragraph Separators 125 First Line Indent 125 Extreme Indent 125 Hanging Indent (r Outdent) 126 Dingbats 126 Line Space 126 Typetip: Standard Ligatures 126 Techtip: Style Sheets 128 Typetip: Footnotes and Endnotes 129 Techtip: Importing Copy 130 Exercises: Typographic Lecture Series Brochure, Karen Cheng 131 Visualizing Poetry, Cassie Hester 134 Chapter Six Typographic Hierarchy and Emphasis 137 Typographic Hierarchy 138 Techniques for Emphasis 142 Italics and Obliques 142 Boldface (Weight Contrast) 143 Underscores 143 Case (Caps vs. Lowercase) 145 Type Size 145 Wide vs. Narrow 146 Changing Typestyle 146 Changing Color or Shade 146 Typetip: Avoid Computer-Generated Styling 151 Exercises: Typographic Hierarchy Study, Elizabeth Resnick 154 Currency Redesign, Jimmy Moss 156 Expressive Typography, Stephanie Nace 158 Chapter Seven Fine-Tuning and Tweaking Your Type 161 Punctuation 161 Quotation Marks 161 Apostrophes 162 Primes 163 Techtip: Unwanted Smart Quotes 163 Hyphens, En Dashes, and Em Dashes 164 Hyphenation 166 Visual Alignment 167 Optical Margin Alignment 167 Techtip: Discretionary Hyphens 168 Techtip: Hung Punctuation and Optical Margin Alignment 168 Horizontal Alignment 168 Vertical Alignment 170 Rags 172 Techtip: Adobe Text Composer 173 Widows and Orphans 173 Typetip: Breaking for Sense 174 Techtip: Glyph Positioning and Baseline Shift 175 Exercise: Editorial Design, Ilene Strizver 176 Chapter Eight Spacing Considerations 179 Tracking 179 Techtip: Adjusting Tracking 182 Kerning 183 Custom Kerning 184 Typetip: Scaling Logos 185 Techtip: Adjusting Kerning 188 Word Spacing 190 Techtip: Adjusting Word Spacing 191 Typetip: Type on a Curve 192 Typetip: Double Word Spaces NOT! 193 Exercise: Spacing, Kerning, and Visual Alignment Exploration, Ilene Strizver 194 Chapter Nine Finessing Your Type 197 Small Caps 197 Techtip: How to Access True-Drawn Small Caps 198 Initial Letters 200 Raised Initial 201 Dropped Initial 202 Decorative Initial 203 Boxed, Reversed, Oversized, and Overlapped Initials 203 Swash Characters 207 Alternate Characters 208 Type and Color 209 Exercises: Information Hierarchy Book, David Kadavy 210 Concert Poster Design, Frank Armstrong 212 Chapter Ten Figures, Fractions, Signs, Symbols, and Dingbats 215 Figures 215 Techtip: Accessing Figures in OpenType Fonts 218 Techtip: Tabular to Proportional Shortcut 218 Fractions 219 Techtip: Creating Fractions in OpenType Fonts 219 Bullets 220 Registered, Trademark, and Copyright Symbols 220 Techtip: Indenting Bulleted Lists 221 Techtip: Circle P 223 Accents and Accented Characters 224 Typetip: Creating Accented Characters 224 Parentheses, Brackets, Braces, and Angled Brackets 225 Euro 227 Ellipses 227 Dingbats and Ornaments 227 End Marks 228 Typetip: Typographic Checklist 229 Exercises: Typographic Principles Card Set, Regina Rowland 230 Spa Brochure, Ilene Strizver 232 Chapter Eleven Type on the Web (and Other Digital Formats) 235 Characteristics of Type on the Web 235 Font Style 235 Type Size 236 Column Width/Line Length 237 Line Breaks 237 Column Depth 238 Color 238 Web-Safe Fonts 238 Sans Serif 238 Serif 239 Symbol Fonts 239 Web Fonts 240 Web-Font Availability 242 Typetip: Web-Font Services 242 Smart Punctuation on the Web 243 Cascading Style Sheets 244 Type as Graphic 244 Typographic Hierarchy on the Web 244 Dos and Don?ts 246 Smartphones, Tablets, E-readers, and Other Devices 248 Exercises: The Crystal Goblet Online: An Assignment in Two Parts (Transparent and Opaque), La254ura Franz 250 enCODE / deCODE, Heather Shaw258 254 iPad Editorial, Marty Maxwell Lane 258 Chapter Twelve Type in Motion 263 Combining Type and Motion 264 Basic Guidelines 265 Font Selection 265 Movement 266 Color 266 Sound 267 How to Get Started 267 Dos and Don?ts 268 Exercises: Four Squares: Text, Color, Motion, Heather Shaw 270 Design is?, Marty Maxwell Lane 274 Film Title Sequence, David Peacock and Michaela Wagoner 276 Digital Narrative, Dermot Mac Cormack 278 Chapter Thirteen Designing Your Own Typeface 281 Handwriting Fonts: A Good Place to Begin 281 Three Approaches to Designing a Typeface 284 Professional Guidelines 286 Techtip: Font Production Editors 287 Exercises: On Beyond Zebra: The 27th Letter Assignment, Virginia Rougon Chavis 288 Introduction to Type Design: Symphony, James Montalbano 290 Digitize Your Signature, James Montalbano 293 Appendices Digital Font Foundries and Distributors 295 Web-Font Services 295 Typographic Resources 295 Glossary 296 Bibliography 301 Picture Credits 302 Index 303

About the Author

Ilene Strizver is the founder of The Type Studio inWestport, Connecticut. She writes and teaches extensively ontypography. During her career, she has been creative and productiondirector of U&lc magazine, as well as director oftypeface development at International Typeface Corporation (ITC) inNew York City, where she developed more than 300 text and displaytypefaces with respected type designers such as Sumner Stone, ErikSpiekermann, Jill Bell, Jim Parkinson, and the late Phill Grimshaw.In addition to penning the popular TypeTalk column forcreativepro.com, Ilene is a featured contributor to the Fontologyseries for fonts.com.

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