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The Anatomy of Type: A Graphic Guide to 100 Typefaces [Englisch] [Gebundene Ausgabe]

Stephen Coles
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Kurzbeschreibung

13. November 2012

The Anatomy of Type is the ultimate stylistic guide to the intricacies and design of 100 indispensable typefaces. A delightful, colorful, and visual reference guide created by Stephen Coles and Tony Seddon—two acknowledged pros in the font design world—The Anatomy of Type was developed with typographers, graphic designers, and font geeks in mind, graphically and visually expanding on the current font-mania initiated by Simon Garfields's Just My Type.


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The Anatomy of Type: A Graphic Guide to 100 Typefaces + Thinking with Type: A Critical Guide for Designers, Writers, Editors, and Students (Design Briefs) + The Elements of Typographic Style: Version 4.0
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Produktinformation

  • Gebundene Ausgabe: 256 Seiten
  • Verlag: Harper Design (13. November 2012)
  • Sprache: Englisch
  • ISBN-10: 0062203126
  • ISBN-13: 978-0062203120
  • Größe und/oder Gewicht: 25,2 x 19,7 x 2,5 cm
  • Durchschnittliche Kundenbewertung: 5.0 von 5 Sternen  Alle Rezensionen anzeigen (1 Kundenrezension)
  • Amazon Bestseller-Rang: Nr. 39.360 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)

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A visual treat for anyone who loves fonts and typographic design.

The Anatomy of Type explores one hundred traditional and modern typefaces in loving detail, with a full spread devoted to each entry. The full character set from each typeface is shown, and the best letters for identification are enlarged and annotated, revealing key features, anatomical details, and the finer, often-overlooked elements of type design. Containing in-depth information on everything from the designer and foundry, the year of release, and the different weights and styles available, The Anatomy of Type is more than a reference guide to the intricacies of typeface design. It is a visual send-up of some of the world's most beloved typefaces, whimsically displayed in vibrant color.

Über den Autor und weitere Mitwirkende

The former creative director of FontShop, Stephen Coles now edits the websites Typographica, Fonts in Use, and The Mid-Century Modernist, and contributes to Print and Codex magazines. A Type Camp instructor, he is a member of the FontFont TypeBoard. He lives in Oakland, California, and Berlin, Germany.


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Von Nelke
Format:Gebundene Ausgabe|Verifizierter Kauf
"The Anatomy of Type" von Stephen Coles beschäftigt sich nahezu ausschließlich mit dem Aufbau von (einigen) Glyphen von 100 Schriften. Eine kleine Einleitung klärt kurz über die englischen Begriffe zur Beschreibung von Schrift auf, dann folgt eine kurze Erklärung der dem Buch zugrundeliegenden Schrift-Klassifikation. Schön kurz und nachvollziehbar.

Danach kommen die Schriften, eingeteilt in Kapitel, die den Klassifizierung entsprechen: Humanist Serif, Transitional Serif, Rational Serif, Contemporary Serif, Inscribed/Engraved, Grotesque Sans, Neo-Grotesque Sans, Gothic Sans, Geometric Sans, Humanist Sans, Neo-Humanist Sans, Grotesque Slab, Geometric Slab, Humanist Slab, Scrips, Display.

Stephen Coles analysiert nicht nur die Schriften nach Formmerkmalen, x-Höhe, Achsenneigung, etc., sondern gibt in einem kleinen Kästchen auch seine Meinung zur jeweiligen Schrift ab. Oft auch, wo man diese Schrift seiner Meinung nach am besten einsetzen könne.

Neben dem Schriftnamen gibt es auf je einer Doppelseite pro Schrift Informationen über die Herkunft und das Entstehungsjahr, eine kurze Glyphentabelle mit den wichtigsten Glyphen (ohne Ligaturen). Manchmal werden zusätzlich ein paar Glyphen aus anderen Schnitten gezeigt. Auf der rechten Seite werden zusätzlich bis zu drei Schriften (mit einer handvoll Glyphen) zum Vergleichen vorgeschlagen. Manche dieser Vergleichsschriften sind auch im Buch vorhanden.

Während das Buch ganz gut ist, was die Analyse einzelner Schriften/Glyphen betrifft, ist der Ansatz mit dem Vergleich leider unausgereift. Auch wenn beide Schriften im Buch vorhanden sind, sind die Glyphentabellen viel zu klein für einen direkten Vergleich mithilfe des Buches.
Lesen Sie weiter... ›
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Amazon.com: 4.4 von 5 Sternen  19 Rezensionen
8 von 9 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen A Beautiful Display of How Typefaces Work 17. Januar 2013
Von R. Hardy - Veröffentlicht auf Amazon.com
Format:Gebundene Ausgabe
It used to be that people who used machines for written communication were using typewriters, and the letters that came out on the page all looked the same. There was some variation when IBM introduced the "Selectric" typewriter in 1961, with a "golf ball" full of letters that struck the ribbon and printed on the page. You could change your golf ball from a "Courier" typeface, which looked just like typing, to a "Letter Gothic" face which was straighter and without serifs for decoration. With computers, we get a lot more choices; unless you leave everything to default, you get to select, for instance, what letters you want used when you are reading e-mail. This has made typefaces more interesting to a lot of people, the type of people who were happy to read Simon Garfield's fine book of typeface stories, _Just My Type_, a couple of years ago. If you liked that, and you want to dig a little deeper, and also want a good-looking book for your coffee table, I strongly recommend _The Anatomy of Type: A Graphic Guide to 100 Typefaces_ (Harper Design) by Stephen Coles. It is enormous fun to look at the variation of the strange shapes of letters here, most of which are not exuberant show faces, but are working letters meant to be read. For any job, you want to get the right worker, and this book will help get a typeface that will do a particular job, but the book is also simply an enjoyable display of useful and attractive design.

As befits a book about typefaces, the displays here are clear, with a happy use of color and a two-page spread for each typeface. In his introduction, Coles says the hundred typefaces have been chosen because of their versatility and practical use. He begins with a glossary, which includes many terms that have to do with parts of letters, important because they will have much to do with the taxonomy which Coles lays out in the display pages that are the main part of the book. Each two-page spread of the hundred typefaces here gets uniform treatment. The main part of the display is spread across the two pages, specimen words and letters in big print, with arrows and notes to show what it is about the typeface that gives it its character and how to tell it from others. Learning the sources of the typefaces presents some surprises. Lexicon was introduced in 1992 specifically for dictionaries, and the pages here show how it has maximum legibility within minimum space. Melior was designed by Hermann Zapf, and released in 1952; its curves are based on the "superellipse," a shape midway between a rectangle and an ellipse. Interstate is a typographic adaptation of signs you see on the highway. The Grotesque family of letters look sensible now (and include the famous and ultra-orderly Helvetica), but when these typefaces came out in the early 1800s, people found them so odd they called them grotesque, and the nickname has stuck.

_The Anatomy of Type_ is a handsome object. It will serve as a reference guide for those who want to make good choices of typefaces for particular jobs, and it will appeal to the growing number of font geeks. Best of all, for those of us who take for granted the irregular blobs of ink or pixels that enable written communication, it instills an appreciation for artistry within a circumscribed but vital field.
8 von 10 Kunden fanden die folgende Rezension hilfreich
4.0 von 5 Sternen Nice book for students 21. Dezember 2012
Von Jeremy - Veröffentlicht auf Amazon.com
Format:Gebundene Ausgabe|Verifizierter Kauf
This material is covered in practically every type book, but this one stands out in how deeply it dives into the subject. There also seems to be some innovation in how typefaces are described. I like the idea of a "rational serif" which seems to be a very adequate description that I had not run across until this book.

The book goes into 5 examples from each classification, highlighting characteristics of each font, so in that way it is a glorified marketing piece, but still very useful.

The price is right, so it is recommended.
8 von 10 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen The Anatomy of Type 18. Dezember 2012
Von Jim Parkinson - Veröffentlicht auf Amazon.com
Format:Gebundene Ausgabe
I was in Portland last weekend and went to Powell's (the world's largest bookstore). I bought a stack of lettering and type books including The Anatomy of Type by Stephen Coles. It's a very good book. I was sucked right in. It's packed with wonderful typographic insights. I think it will be around in designers bookshelves for a long time to come.
4 von 5 Kunden fanden die folgende Rezension hilfreich
3.0 von 5 Sternen Interesting but incomplete 15. März 2014
Von Goffredo Puccetti - Veröffentlicht auf Amazon.com
Format:Gebundene Ausgabe|Verifizierter Kauf
A very interesting reading. A must-have for typomaniacs. As resource book I cannot give more than 3 stars, though:
I would have appreciated a more exhaustive list of terms related to type anatomy. I think I understand the rationale of the author to stick to the terms that are widespread but still, I would have welcome to see the book live up to its cover promise where it reads: examining Shoulders, Spines and Tails in Detail. In example: there is no mention of what a shoulder is in the Anatomy of Type double page spread and, if I am not mistaken, in the whole book! Similarly a book on the anatomy of typeface, meant to be used as a reference guide, cannot, in my opinion, ignore fundamentally important concepts such as the contrast, a term which again is absent in the book.
In the part of the book devoted to in detail examination of typefaces, a quick fine-tuning of the - otherwise beautiful - double page layout will vastly improve the usability of the book: the body-text in the right page should be visually self-explanatory and be set in the actual typeface under scrutiny.
The choice of typefaces is, of course, a matter of personal taste and it is quite impossible to have two designers agree on any type list: I personally have enjoyed it a lot even if I could have lived with a couple of modern slab serifs less! :-)
1 von 1 Kunden fanden die folgende Rezension hilfreich
4.0 von 5 Sternen A gorgeous book for any type fanatic 1. Juli 2014
Von Michael K. Smith - Veröffentlicht auf Amazon.com
Format:Kindle Edition
I'm not and never could be a designer, whether of typography or anything else, but I'm enough of a book-junky to appreciate the differences between the way type looks on the page (both in blocks of text and as headings), or on road signs, or on billboards. Most people pay no attention to the type that forms the words they're reading, and that's usually a good thing. The best, most readable body type -- Garamond, Goudy, Caslon, Georgia -- is unobtrusive. It doesn't call attention to itself. Helvetica, on the other hand, while terrible in text, is extremely legible from three feet away, at any angle and in a variety of sizes. That's why it's the most ubiquitous typeface in any part of the world that uses Roman letters.

Coles is very much a designer and he's extremely familiar with the telling details of a huge number of faces. He can identify almost any typeface at a glance, and he knows what each one is good for. And in this very nicely composed volume, he passes the most important part of that information on to the reader. He divides the faces (not "fonts") into the traditional families and gives a two-page spread to each, with details on the original designer and foundry and date of release. There's a word or phrase at large size with the distinguishing characteristics noted, a brief description of its place in the scheme of things, a full character set, and a short list of comparable faces, just in case you're looking for an alternative. His comments are historical, biographical, artistic, and commercial, and no matter how much you think you already know, you'll learn something knew on nearly every page.
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