pdf 1 - exhibitions international

Marian Bantjes critiques the alphabet
(From her book I wonder, 2010).
BIS Publishers
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The Netherlands
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ISBN 978 90 6369 133 2
Copyright © 2011 BIS Publishers
and Jan Middendorp
Image research and design
Jan Middendorp
Editorial and production assistance
Catherine Dal, Christine Gertsch, Florian
Hardwig, Anthony Noel
Drawings
Christine Gertsch, Christin Huber, Edgar
Walthert
Photography
Eva Czaya, Christine Gertsch, JM
Typefaces
Rooney (Jan Fromm), Agile (Edgar Walthert,
Village), the Shire Types (Jeremy Tankard)
All rights reserved. No part of this publication
may be reproduced or transmitted in any form
or by any means, without permission in writing
from the copyright owners.
Every reasonable attempt has been made to
identify owners of copyright. Any errors or
omissions brought to the publisher’s attention
will be corrected in subsequent editions.
7
11
Reading and
seeing
Making text look right 118
Formatting the paragraph 120
Alignment 122
Hyphenation & Justification 123
Distinguishing sections, paragraphs 124
Initials 125
Letter and word, black and white 126
Fine-tuning headlines 127
Tracking: spacing and kerning 128
Adjusting optical alignment 129
OpenType functions and features 130
Small capitals 132
Ligatures &c. 134
Swashes, flourishes, beginnings and endings 135
Punctuation at home and abroad 136
Hyphens, dashes, spaces – ¡and more! 137
Numerals, figures, digits, numbers 138
Adjusting to circumstances 140
Small and narrow type 141
These words don’t mean a thing... 12
Legibility: design versus the academics 14
Typography and the designer’s role 16
Visual rhetoric 18
Modes of reading 20
Stream of ideas: immersed in a text 22
Navigation: guiding the reader 24
Staging the reader’s experience 26
Seducing with type: packaging 28
Seducing with type: book covers 30
Corporate design 32
Information design, at your service 34
Designing for the web 36
CONTENtS
117
Typographic
detail
Culture, communication, typography
143
Design strategies
and concepts
Art for art’s sake: products for typophiles 38
Typography and good ideas 144
Style and statement 146
Reference, pastiche, parody 148
Logo strategies 150
Corporate typeface 152
59
Knowing and
selecting type
Materiality and the third dimensional 154
Spatial illusions 156
The fourth dimension 158
Material technologies 160
41
Organising
and planning
Controlling the canvas 42
Modularity and efficiency 44
Divine proportions 46
Secret formulae of book design 48
Looking into grid systems 50
Types of grid 52
The grid exposed 54
Grids on the web 56
Thinking about type selection 60
Text and display: bread and butter 62
Typeface, font, family, font format 64
Family members 66
Italics true and false 68
Typeface anatomy: serifs and dry sticks 70
Comparing fonts 72
Type classification 74
Classifying by writing tools 76
Old letterforms, new fonts 78
‘Type’ before Gutenberg 80
Broken script (blackletter) 82
The renaissance oldstyle 84
Royal contrasts 86
Typographic noise 88
Dominant type: Modernism, Art Deco 90
Modularity in type and lettering 92
That Swiss feeling 94
The emancipation of the sans-serif 96
Seriffed text typefaces: an update 98
Optical size: tailor-made type 100
Choosing typefaces 102
Combining typefaces 104
‘Type’ without a font 106
Fonts or lettering 108
Finding and buying fonts 110
Type on the screen: the facts 112
The year of webfonts 114
163
Type and
technology
A brief history of typographic
technology 164
Five centuries of typesetting 166
Speeding things up 168
Typesetting with light 170
Display type for everyone 171
The pros and cons of progress 172
Digital letters and democracy 173
Reference books and
further reading 174
Image index by designer 176