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Thinking with Type: A Critical Guide for Designers, Writers, Editors, and Students (Design Briefs) [Englisch] [Taschenbuch]

Ellen Lupton
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Kurzbeschreibung

26. August 2010 Design Briefs
Our all time best selling book is now available in a revised and expanded second edition. Thinking with Type is the definitive guide to using typography in visual communication, from the printed page to the computer screen. This revised edition includes forty-eight pages of new content, including the latest information on style sheets for print and the web, the use of ornaments and captions, lining and non-lining numerals, the use of small caps and enlarged capitals, as well as information on captions, font licensing, mixing typefaces, and hand lettering. Throughout the book, visual examples show how to be inventive within systems of typographic form--what the rules are and how to break them. Thinking with Type is a type book for everyone: designers, writers, editors, students, and anyone else who works with words. The popular online companion to Thinking with Type (www.thinkingwithtype.com) has been revised to reflect the new material in the second edition.

Wird oft zusammen gekauft

Thinking with Type: A Critical Guide for Designers, Writers, Editors, and Students (Design Briefs) + Making and Breaking the Grid: A Layout Design Workshop + The Elements of Typographic Style: Version 4.0
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Produktinformation

  • Taschenbuch: 224 Seiten
  • Verlag: Princeton Architectural Press; Auflage: 2nd revised edition. (26. August 2010)
  • Sprache: Englisch
  • ISBN-10: 1568989695
  • ISBN-13: 978-1568989693
  • Größe und/oder Gewicht: 21,8 x 18 x 1,5 cm
  • Durchschnittliche Kundenbewertung: 4.0 von 5 Sternen  Alle Rezensionen anzeigen (1 Kundenrezension)
  • Amazon Bestseller-Rang: Nr. 46.165 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)

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Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Stichwortverzeichnis | Rückseite
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4.0 von 5 Sternen Danke 30. März 2014
Format:Taschenbuch|Verifizierter Kauf
Vielen Dank für dieses Produkt.
Es gefällt mir wirklich. Ich hoffe dass wir im Zukunft noch mal business machen können.
Leibe Grüße,
L.
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Amazon.com: 4.6 von 5 Sternen  99 Rezensionen
26 von 28 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen great additions! 24. Oktober 2010
Von Becca - Veröffentlicht auf Amazon.com
Format:Taschenbuch|Verifizierter Kauf
I've used "Thinking with Type" for the last year and a half in the typography classes that I teach. I thought the first edition was a useful tool. Then one of my students ordered this one, and let me look at it...and I was amazed at all of the new information (like a separate page each for numbers, punctuation, and ornaments) and examples that had been added. I ordered it for myself as soon as possible, and will be recommending the second edition to all of my students from now on.
24 von 26 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Great handbook 2. November 2010
Von kenk - Veröffentlicht auf Amazon.com
Format:Taschenbuch|Verifizierter Kauf
This book is an excellent resource for anyone who is serious about graphic layout. It is not a type book; it does not review fonts individually. Rather, it considers type as a visual element. Accessibly written, someone new to the field could use it, as well as experienced graphic artists and those for whom the page is important. A good investment for the artist on a budget, too.
16 von 17 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Great book for anyone graphically inclined 1. Dezember 2010
Von A. Irvine - Veröffentlicht auf Amazon.com
Format:Taschenbuch
This book was suggested to me on Amazon because of other books I ordered on graphically displaying data, and I'm so happy it was! This book has easy-read essays about letters, text, and grids, all followed by some specific do's and don't's, and ideas/exercises to consider, all without being too preachy and laying the groundwork for you to make your own decisions about how to display text. I'm an urban planning & design student and I loved this book- I think anyone who will ever create anything from a report to a poster to a presentation should read it.
37 von 49 Kunden fanden die folgende Rezension hilfreich
2.0 von 5 Sternen Gave me a headache to read 5. August 2012
Von K. Feucht - Veröffentlicht auf Amazon.com
Format:Taschenbuch|Verifizierter Kauf
This book had an initial very strong appeal to me, that quickly wore off. While the title of the book seems to suggest that the principle topic of the book is typography, it is not. Rather, it is a manual of modern design ideas. Ellen suggests that her goal is not to encourage readability, but to encourage the reader not to read. I quote "Although many books define the purpose of typography as enhancing the readability of the written word, one of design's most humane functions is, in actuality, to help readers avoid reading." This thinking is quite consistent with the decontructionist philosophical school that she tends to often quote, especially with Jacques Derrida. That is fine and dandy, except that the fact that Ellen is writing something suggests that she hopes that somebody will read what she writes. She is correct about one thing, that this book was not easy of the eyes to read. Her efforts to be different or unconventional made it very tense to get through her book. The book is laden with illustrations and the first impression of the plethora of examples of design that she provides is that they are cute. Subsequent impressions of her examples are less complementary, in that they are a tremendous strain on the reader (user, if you wish) to interpret the message being conveyed. Unfortunately, as she has received many favorable comments on Amazon.com, there will be many budding young graphic designers out there trying to establish their position in the world of graphic design, and are spurred by this book to be bizarre rather than effective in communicating an idea. If one has no ideas or thoughts to communicate, then this book is excellent for you. Allow your imagination to run wild, defy any convention, and never think about whether your message (if you have one) has been sent to the "other user", i.e., the reader. I can only presume that most "readers" of this book actually never read the book, but only looked at the "pretty" pictures. Her design style has much tension to it. It is crowded, busy, disorganized. The important readable type, such as the announcement of an event, is not immediately obvious, or written quite small and at an obtuse angle, making it a challenge to identify a purpose for the illustration. Deviations from convention rarely are effective at conveying or symbolizing anything, such as when she decides to arbitrarily and occasionally defy the text box of the main text. Perhaps the only value of this book is to suggest that deviations from convention might occasionally improve the efficacy of communication of a message, and for that it received two stars.
4 von 4 Kunden fanden die folgende Rezension hilfreich
4.0 von 5 Sternen A Critical Handbook for a Designer’s Starting Point Typography 4. November 2013
Von Elizabeth Shular - Veröffentlicht auf Amazon.com
Format:Taschenbuch
Thinking with type is a critical guide for graphic designers. This book is not just about fonts. It's about seeing type as a visual element. Terms such as kerning, hierarchy, and type size give meaning to type in a visual composition. Creatively speaking, designers are able to manipulate typography and turn it into a message, like a symbolic code or a meaning.

The categories of this book are dissected into four components that consist of letters, texts, grids, and appendix. In the letters category, type is displayed as a narrative and a program. In electronic communication, one designer created typefaces consisting of no diagonals or curves in order to display type on a video screen. The designer proposed a design methodology that is rule-based and systematic.

In narratives, typography adopts the behaviors of the typeface’s name. One example from the book is a typeface called Beowulf. Created in 1990, this typeface has randomized outlines suggesting a behavior similar to the typeface itself.

In the text category, kerning is a really important subject in this book. The use of adjustment of space between two letters is significant in type. Ellen Lupton explains this beautifully in pages 102-103. These pages cover two types of kerning, metric and optical. Exercising space, Line spacing, and alignment are something that designers must be aware of when designing typography.

Throughout this book, there are helpful terms and guides on how not to treat type. These rules are called type crimes. Rules like these are helpful, because it gives designers the reason why they should avoid these crimes. Crimes such as vertical text and stretching type are the biggest offenders in type. Only designers who can justify their design can intentionally break these rules.

I recommend this book not only because of the eye-catching graphic examples but also because of how the text itself represents a visual guide. By using this guide designers can create typefaces, from compositions, and use typographic forms and elements to make the text easier to read.
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