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Kurzbeschreibung
The organization of letters on a blank sheet—or screen—is the most basic challenge facing anyone who practices design. What type of font to use? How big? How should those letters, words, and paragraphs be aligned, spaced, ordered, shaped, and otherwise manipulated? In this groundbreaking new primer, leading design educator and historian Ellen Lupton provides clear and concise guidance for anyone learning or brushing up on their typographic skills.
Thinking with Type is divided into three sections: letter, text, and grid. Each section begins with an easy-to-grasp essay that reviews historical, technological, and theoretical concepts, and is then followed by a set of practical exercises that bring the material covered to life. Sections conclude with examples of work by leading practitioners that demonstrate creative possibilities (along with some classic no-no's to avoid).
Thinking with Type is divided into three sections: letter, text, and grid. Each section begins with an easy-to-grasp essay that reviews historical, technological, and theoretical concepts, and is then followed by a set of practical exercises that bring the material covered to life. Sections conclude with examples of work by leading practitioners that demonstrate creative possibilities (along with some classic no-no's to avoid).
Synopsis
A new addition to our best selling series, Design Briefs, Thinking with Type is a straightforward primer that presents practical information about typographic design that can be immediately applied within the context of design history and theory. It is divided into three sections - letter, text, grid - each accompanied by an essay explaining key concepts, and then a set of practical demonstrations illustrating that material. The lessons of Thinking with Type are applicable to typographic design wherever it is practiced: printed materials of all kinds, Web sites, television screens. A companion Web site, will provide examples of design on screen, and provide other information (lesson plans, exercises) for readers and teaching professionals. Thinking with Type is a state-of-the-art pedagogical tool, that will be essential reading for students, teachers, and anyone else who wishes to improve or brush on their design skills.
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Kundenrezensionen
Die hilfreichsten Kundenrezensionen
Format:Taschenbuch
This book made typography accessible to everyone. With intensive use of figures, and the easy-to-understand text, you can appreciate typography and see how the typography affect your everyday life like you've never seen it before.
Format:Taschenbuch
Dieses nette Büchlein ist wirklich sehr schön aufgemacht mit unzähligen Bildern, Typographiebeispielen, Websites (etwas veraltete) und vielen Anregungen. Würde es mir wieder kaufen.
Die hilfreichsten Kundenrezensionen auf Amazon.com (beta)
Amazon.com:
67 Rezensionen
116 von 121 Kunden fanden die folgende Rezension hilfreich
A much needed book
21. Mai 2005
Format:Taschenbuch
This is a well-structured and well-written text with refreshing examples from a wide range of designers. These examples reinforce the concept that successful design and typography come from critical thinking and that there is no one style or approach that is "correct."
I plan to require this book in the undergraduate typography class I teach, but because it is accessible even to a novice, I'd recommend it to anyone with an interest in type. One of the strengths of the book is its succinctness, but that may be one flaw as well. When a book is so well done, you want more... (Fortunately there is a website which does have supporting materials for those who want more.) Also if you want a meaty book on the specifics of type, then you should also get Robert Bringhurst's phenomenal book "The Elements of Typographic Style." It pairs so well with the overview and examples from Lupton's book.
It is a terrific value and well-produced.
I plan to require this book in the undergraduate typography class I teach, but because it is accessible even to a novice, I'd recommend it to anyone with an interest in type. One of the strengths of the book is its succinctness, but that may be one flaw as well. When a book is so well done, you want more... (Fortunately there is a website which does have supporting materials for those who want more.) Also if you want a meaty book on the specifics of type, then you should also get Robert Bringhurst's phenomenal book "The Elements of Typographic Style." It pairs so well with the overview and examples from Lupton's book.
It is a terrific value and well-produced.
181 von 193 Kunden fanden die folgende Rezension hilfreich
A must for the lost
8. April 2005
Format:Taschenbuch
Personally, this has probably been the most influental design book that I own. I felt like I was a better designer after having read half of it, without once touching my mac. i just knew that what I had absorbed was going to come out in my work, and it did. The book takes an overview look at design, and speaks in plain english about many things that I've heard or dealt with. But catagorizes stuff and explains things in a fluid manner so that the different bits of information come together and make sense. It is good for the novice and the struggling self taught. Full of great examples. It's too elementary for the serious designer. But for someone who did not go to Design School, but now works with design, its the perfect basic "education in a book".
37 von 37 Kunden fanden die folgende Rezension hilfreich
A must for new designers and those who have to work with designers
30. Oktober 2006
Format:Taschenbuch
This book and some of the other books from the Design Briefs series, have become an integral part of my working resource library. Ellen Lupton's book has been one that I have used over and over again. I often reference it when I am faced with a blank page that I am having a hard time laying out.
The section on typography, the largest section of the book, was a very interesting read. I enjoyed learning about the history of printing and typography. Beginning designers will appreciate the categorizing of typefaces. This leads into the discussion of electronic typesetting and the limitations and challenges that has created for designers.
Lupton's book shed a lot of light on different strategies for organizing type, graphics, and pictures on my own layouts. Unlike many other books on graphic design, Lupton's book was down-to-earth and was easy for a non-designer (like myself) to understand. It used some meaningful practical examples, instead of relying on art school projects that have limited real-life applications.
The section on grids was one of the most easy to understand that I have ever come across. It also gave many examples of grids that can be incorporated for page layout. Lupton also gave a decent low-level overview on the golden section, but she did not give enough of examples of how the golden section can be used as a more flexible grid.
One of my favourite parts of her book is the section on proofreading where she has one of the best proofreader's marking charts that I have ever seen. I have used this resource on complex projects like annual reports with agency graphic designers. No more second-guessing edits, Lupton's list captures it all. In fact, a lot of the designers and account reps who have used it with me consider it to be a time (and money) saver.
This book is probably too basic for seasoned designers, but if you just bought a copy of InDesign, or you're working in a corporate communications department and expected to create some basic layouts, you will take away a lot of good ideas and principles from this book. It covers off on many of the principles of good design without leaving you feeling overwhelmed.
The section on typography, the largest section of the book, was a very interesting read. I enjoyed learning about the history of printing and typography. Beginning designers will appreciate the categorizing of typefaces. This leads into the discussion of electronic typesetting and the limitations and challenges that has created for designers.
Lupton's book shed a lot of light on different strategies for organizing type, graphics, and pictures on my own layouts. Unlike many other books on graphic design, Lupton's book was down-to-earth and was easy for a non-designer (like myself) to understand. It used some meaningful practical examples, instead of relying on art school projects that have limited real-life applications.
The section on grids was one of the most easy to understand that I have ever come across. It also gave many examples of grids that can be incorporated for page layout. Lupton also gave a decent low-level overview on the golden section, but she did not give enough of examples of how the golden section can be used as a more flexible grid.
One of my favourite parts of her book is the section on proofreading where she has one of the best proofreader's marking charts that I have ever seen. I have used this resource on complex projects like annual reports with agency graphic designers. No more second-guessing edits, Lupton's list captures it all. In fact, a lot of the designers and account reps who have used it with me consider it to be a time (and money) saver.
This book is probably too basic for seasoned designers, but if you just bought a copy of InDesign, or you're working in a corporate communications department and expected to create some basic layouts, you will take away a lot of good ideas and principles from this book. It covers off on many of the principles of good design without leaving you feeling overwhelmed.
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