Amazon.com
This lovely, well-written book is concerned foremost with creating beautiful typography and is essential for professionals who regularly work with typographic designs. Author Robert Bringhurst writes about designing with the correct typeface; striving for rhythm, proportion, and harmony; choosing and combining type; designing pages; using section heads, subheads, footnotes, and tables; applying kerning and other type adjustments to improve legibility; and adding special characters, including punctuation and diacritical marks. The Elements of Typographic Style teaches the history of and the artistic and practical perspectives on a variety of type families that are available in Europe and America today.
The last section of the book classifies and displays many type families, offers a glossary of typography terms, and lists type designers and type foundries. The book briefly mentions digital typography, but otherwise ignores it, focusing instead on general typography and page- and type-design issues. Its examples include text in a variety of languages--including English, Russian, German, and Greek--which is particularly helpful if your work has a multinational focus.
Book Description
Renowned typographer and poet Robert Bringhurst brings clarity to the art of typography with this masterful style guide. Combining the practical, theoretical, and historical, this edition is completely updated, with a thorough exploration of the newest innovations in intelligent font technology, and is a must-have for graphic artists, editors, or anyone working with the printed page using digital or traditional methods.
Customer Reviews:
Excellent product.......2007-09-09
This Bringhurst book cam vacuum wrapped in perfect condition in a timely manner. I would buy from here again without hesitation. Highly recommended.
Type History not Examples.......2007-08-10
This book makes it sound like it's going to tell you how to make unique typography. However, it just tells you the history of type and typographical styles. In my opinion unless you are taking a class on the history of type this book is not useful for any other purpose.
A great resource.......2007-05-21
As a designer, you can't argue the value of having this book as a resource. Reading through it can be heavy at times but the amount of great information far outweighs anything negative you could say. It's become an important part of my collection and has given me a great perspective when approaching any projects that need a typographic punch. Well worth a purchase and will be for some time.
Hard Read.......2007-05-12
This boks is considered a must buy book for any one in typography or graphic design. I do not enjoy it one bit. It is a hard read, and it loses my interest. It is not good for reference at all and because the paragraphs are so long winded that you could not find what you were looking for. This may be a book more for the advanced typographer or designer, definatly not for a beginner.
Great Typography book -A Must for serious designers!.......2007-04-03
From A to Z, this book covers all aspects of typography. If you thought you knew a lot about fonts, their history, usage, manipulation and every aspect -this book will show you how much you really don't know. A definite must read for the serious type nut.
Book Description
For designers working in every medium, layout is arguable the most basic, and most important, element. Effective layout is essential to communication and enables the end user to not only be drawn in with an innovative design but to digest information easily.
Making and Breaking the Grid is a comprehensive layout design workshop that assumes that in order to effectively break the rules of grid-based design, one must first understand those rules and see them applies to real-world projects.
Text reveals top designers' work in process and rationale. Projects with similar characteristics are linked through a simple notational system that encourages exploration and comparison of structure ideas. Also included are historical overviews that summarize the development of layout concepts, both grid-based and non-grid based, in modern design practice.
Customer Reviews:
Great book for designers.......2007-09-28
It has a lot of examples and explanations of grid and grid-related layouts.
A good reference guide for designers, whether they are students ore professionals.
essential structure.......2007-09-05
You may think this book is a little dry, but it is really essential to learn how to use and when you can violate the grid when creating layouts for print or web projects. A must have for any student in graphic design. Also try Kimberly Elam's "Grid Systems" book if you need additional resources.
The big book of clarity and chaos.......2007-07-21
What a strange publication. Divided into two sections the first explaining grid formatting with actual printed material and the second revealing how to design print without a grid.
There seems a contradiction here because the grid, used intelligently, will allow a whole range of graphic options to be presented with clarity. Some of the print examples reproduced in the first section do show this with perhaps the most useful item a grid thumbnail for each piece, unfortunately I thought it was rather too small on each spread despite being the key to explaining each format. From past experience, designing magazines, I would start work on a grid by concentrating on the text type size because it is the least flexible of all the elements on the page. This point really wasn't made enough of in the book's chapter: Grid Basics.
The reproductions show a reasonable range of design solutions, essentially print though there is an example of corporate signage. Missing are magazines (consumer or trade) timetables and the like. Without a grid this type of printed matter really wouldn't exist.
The book's contradiction, to my mind, start with the second section: 'Grid Deconstructions and Non-Grid-Based Design Projects'. The forty items shown seem to have a couple of common threads: their design is essentially arbitrary which makes them look very messy and frequently their typography (display and text) is used as a design element which makes the words unreadable. Their design is the opposite of grid stimulated creativity, in other words visual chaos.
Some of the examples are quite amazing. On page 180-181 twelve pages of a calendar are shown, totally useless as its impossible to see the days and dates. Pages 188-189 show eight spreads from a design school journal showing irregular shaped blocks of text creating a sort of collage. I doubt anyone made the effort to read any of it. What is interesting about this second section material is that so much of it comes from educational establishments. In the real world all this designer whimsy would be rejected by the client on sight of the first dummy
'Making and Breaking the Grid' is well printed with 175dpi and the layout is adequate and for a book about grids you would have thought its own grid would have been included but it is strangely missing. Overall I felt that because the contents present two opposite design ideals the book's editorial concept is rather flawed.
From my experience there is only one book that really explains it all: Muller-Brockmann's Grid Systems in Graphic Design published in Switzerland and full of good solid, practical, hands-on information. This book's only purpose is creative clarity.
***FOR AN INSIDE LOOK click 'customer images' under the cover.
good.......2007-06-23
I really enjoy this book, though it is not my absolute absolute favorite. It is still a good addition to any designer's collection and it is written by one of the most knowledgeable in grid design.
It is well-thought and very interesting. A bit unlike the other grid books - in a good way.
kukkimom.......2007-06-01
One of the best graphic design books for exploring the grid. Lots of photos with grid diagrams -- everything from print to web projects are featured.
Book Description
For more than two decades, the type book of choice for design professionals and students
Typographic design has been a field in constant motion since Gutenberg first invented movable type. Staying abreast of recent developments in the field is imperative for both design professionals and students. Thoroughly updated to maintain its relevancy in today's digital world, Typographic Design: Form and Communication, Fourth Edition continues to provide a compre-hensive overview of every aspect of designing with type, now in full color.
This Fourth Edition of the bestselling text in the field offers detailed coverage of such essential topics as the anatomy of letters and type families, visual communications and design aesthetics, and designing for legibility. Supplementing these essential topics are theoret-ical and structural problem-solving approaches by some of the leading design educators across the United States. Unwrapping the underlying concepts about typographic form and message, Typographic Design, Fourth Edition includes four pictorial timelines that illustrate the evolution of typography and writing within the context of world events - from the origins of writing more than 5,000 years ago to contemporary Web site and electronic page design.
New features include:
Full-color treatment throughout
A new ancillary Web site containing resources for self-learners, students and professors (www.typographicdesign4e.com)
Two new chapters: The Typographic Grid and Typographic Design Process
An updated design education section that includes recent examples of projects assigned by leading design educators
New case studies that showcase design for Web sites and animated typography projects
Case studies detailing examples of visual identification systems, environmental graphics, book and magazine design, Web site design, type in motion, and wayfinding graphics
Updated coverage of digital type technology
Customer Reviews:
Typographic Design: Form and Communication.......2007-09-21
I was impressed to be ableto get this textbook as quick as I did. I needed it right away for school and the campus bookstore didn't even have it. I paid a little more but it was convenient for me.
A Text Book?.......2007-05-06
I am very disappointed by this book. We used it as course book in second year type classes and my students were less than thrilled. We'd switched from the Lupton Thinking With Type book. My question is this: Is this meant to be a textbook or a brief history of typography?
The book is full of the sort of language that belongs in academic journals discussing visual culture. It is too sweeping in its coverage. Nor does the text does not relate to the examples in any sensible way. Too often the text discusses issues then refers to an example without explaining how they are connected.
There is much valuable information in this book but it is buried.
My remedy: I would make this typography textbook. I would get rid of the history section or make it very shorter. The first thing you see are ancient stone tablets and hieroglyphics, very off-putting to any student. The type specimens and type technology are unnecessary. The chapter on legibility is, well, awful. Tell me how type works. (Or, I should shut up and write my own type book!) This book is also poorly designed and lacks a design concept. The cover is especially bad.
Review: Typographic Design: Form and Communication. May 2007
4th Edition, Updated for digital font coverage and more.......2007-03-17
Among the things that Gutenberg invented was the whole idea of type. Since then however, there have been literally thousands of type designs developed. Some have been developed for greater readability, some came about so that a greater density of words could be put on a page, some were designed for a logo that would be unique and recognizable around the world. Today the typography world in in a state of flux greater than ever before as new digital fonts are being designed.
This book is the bestselling book in the field and discusses virtually everything there is to know about type, its uses, the effect that different styles have on the mind, the characteristic of new electronic fonts, screen fonts, laser printer fonts and much more. It is a highly graphic book using pictures to clearly illustrate what creative use of fonts can do to a book, an ad, or a web site.
Book Description
Includes 80 full-color pages addressing the important issue of color in typographic design.
* New case studies showcase design for Web sites, CD-ROMs, and environmental graphics in addition to the existing case studies which detail examples of visual identification systems, book and magazine design, film and video text, and wayfinding graphics, along with outlines for analysis and solutions.
* Revised technology section emphasizes current digital type technology.
* Five new typefaces are included in the type specimens chapter.
* New information is included on legibility and the Internet.
Customer Reviews:
Fair primer.......2007-07-04
I imagine this book working well as a text for an introductory course on typography. Part of that impression comes from the clear need for an instructor to tie the material together and bring it to life with practical exercises.
The format addresses an audience that reasons in visual terms. Each two page spread, sometimes each page presents a complete thought. Illustration demonstrates each of the points made. The first section presents a history in sound-bites, highlighting the history of print and placing it in historical context. Next, about fifteen pages establish the anatomy of a character and typeface, and the words that describe it. Successive chapters describe basic visual hierarchy and composition, page formatting and legibility, technology as of 1993, and samples from typographic curricula at colleges around the US. The last and larger half of the book presents case studies in a few pages each, then nearly 100 pages of type specimens. Each specimen appears in enlarged form, making important details easily visible. Next, the specimen appears in several examples of body text, giving the font's real reading experience at several point sizes and spacings.
This book does a fair job with the basics, and educators may find ideas that will help their own classrooms. Experienced typographers, even students taking their second course, will bottom out quickly. Your experience of this book will depend on how you use it. A good instructor could find it a helpful adjunct, but self-taught students won't get the direction they look for.
-- wiredweird
A must have.......2007-01-02
Definitely a must have. If you are going to own only 3 books on design this should be one of them.
Covers the basics of typography in great detail and then goes on to discuss how it has been implemented through history. Great solid content and great examples, like most of Meggs work.
Up to date.......2006-02-07
This is a great text book for graphic designers to have in their library. It provides a lot of visuals and information designers should be familiarized with.
One of the best.......2004-07-05
I have been a graphic designer for over 20 years. I teach typography at the university level. I learned typography the old-fashioned way: by specifying, setting, and manipulating it by hand. From that background I can confidently state that THE best way to truly understand how type works is through understanding the forms of letters, words, and groups of words.
Students trying to understand typography today have a huge disincentive to slow down and truly study how type works and that is, the speed of the computer. It's easy to go right past the fundamentally subtle nature of letterforms and combinations thereof. You can't understand type at the pace that you can pull down a menu and select a typeface while rushing to get to the more exciting steps of design.
This book is one of the very best for SHOWING what type is really about. Comments about the layout of the book and the size of artwork in it should not dissuade students and instructors; this book will show you what type IS and how it works in design.
Wow, what a letdown.......2003-05-29
This is one of the rare books that my art college actually required me to purchase for a Typography class. The design of this book is poor and very dated. Just take a look at the cover. The first chapter offers a timeline which is interesting in concept--it features a brief history of lettering and type, and adds images of other significant events happening at the same time. But the timeline design forces you to jump back and forth from images to text and the grid layout forces the image placement to be so inconsistent that you give up trying to find the corresponding text. The rest of the book provides interesting and useful information for the type neophyte, but again, its WAY too dated to be a required textbook. I'm sorry I bought this book.
Average customer rating:
- Your graphic design career SAVED! By durable, genious little IdeaFactory
- Great pocket guide.
- Jog 'yer brain.
- Wonderful resource!
- One of the greatest books for logo design
|
Idea Index: Graphic Effects and Typographic Treatments
Jim Krause
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ASIN: 1581800460 |
Customer Reviews:
Your graphic design career SAVED! By durable, genious little IdeaFactory.......2007-04-12
You may be a design superstar, but you need this. If not now, you will eventually and it will be at 2am in the morning and 4 Red Bulls shy of an 8am deadline when you realize you should have had it, while all the local bookstores are closed and the one person awake that you know owns it lives one hour away, but your car is out of gas due to the money you're not making from the ideas you're not creating from the Idea Index you don't own and anyone else you think may own it is sleeping or competing for the same work and laughing at your naivety because they know they are going to win the job and raise their arms in ecstatic passion, kissing the boss's butt and laughing with an evil smiling scowl in a moment of unfair glory you are not a part of. Invest in saving your tail from that moment.
The greatest designers and artists will tell you they don't always just "make it appear", but go to other sources for inspiration. Even if you don't think you need it, you need it just to give you a fresh perspective at times.
I can't tell you the number of times this little idea factory will save your tail during a mind block! It has saved me many times and probably has resulted in thousands of dollars worth of design work won due to the ideas generated from it during a blank out. Just that alone should be enough to convince you to get it.
This durable, vinyl covered gemlette is geared toward graphic design folks and is divided into two sections:
1. Graphic Effects:
2. Typographic Treatments
What I really like about the Idea Index is that amongst its 300+ ideas, you will find multiple versions of each individual idea per page, not just one little instance. Also, the ideas use varying techniques, not just what the author may be predisposed to. The ideas are indeed simple in many cases and that is enough to spark that one little idea that will build and build, compounding the ideas until you have just thrown your hands over your head in ecstatic excitement over the design award you just won, after making all that money from that job you wrested from the hands of the other guy 4 Red Bulls shy of an 8am meeting at 2am who doesn't own this book. Uhh . . .
Save yourself the drama. Just get it, my brain hurts . . . from all the ideas this book creates.
Great pocket guide........2007-03-14
This is a great little source of ideas to keep in your back pocket. It is good to flip through when you need to work past a creative blcok.
Jog 'yer brain........2007-01-21
I was happy to find this little book. It has two main sections, one for graphics and one for type treatments. In each section are several ideas explained in both words and visuals. There isn't anything ground breaking here. But it's awesome because there are so many ideas and approaches tightly packed in a small book. So when my brain is dead and and I need to pull out of my tunnel vision...it's there for me.
Wonderful resource!.......2006-12-20
Sometimes I find myself a little stuck on projects but flipping through this book always gets me back on track. Just as he says it is useful tool to "get ideas stirring or later on, expand a page or two of thumbnail sketches." The graphical examples used in the book aren't finished, polished pieces but they are great illustrations of how to expand your ideas and speed the creative process.
One of the greatest books for logo design.......2006-05-16
Another book that is definately a "must buy", especially if you're a logo designer.Funny thing is, the publisher has released another book that is especially focused on logos named "logo index" but i find this "idea index" to be a hundred times more useful when it comes to logos.
So what kind of book exactly is it ?
It's a book about design principles.In other words, the book consists of hundreds of instructions, guides and examples of ways to apply certain design principles.Every principle is illustrated with one or more examples, most of them being logos.While many of the principles do not reinvent the wheel, it's *the* book to have handy when having a "designer's block" staring at a white sheet of paper not knowing where to begin or just when you're looking for ideas to start.
What makes this book so much more valuable than any of these logo collection books is that its focus is on principles, not nice logo examples only.In other words, this book helps you to develop your *own* ideas instead of seduce you into copying a logo you found in one of the collection books.
It also does apply for not only logos but anything where good graphic design principles are asked for.It's a real workbook just as Cabarga's book "Logo Font & Lettering Bible" is (which i highly recommend as well) and i would not want to be without it.
Book Description
So you have a great concept and all the fancy digital tools you could possibly require—what's stopping you from creating beautiful pages? Namely the training to pull all of these elements together into a cohesive design that effectively communicates your message. Not to worry: This book is the one place you can turn to find quick, non-intimidating, excellent design help. In
The Non-Designer's Design Book, 2nd Edition, best-selling author
Robin Williams turns her attention to the basic principles of good design and typography. All you have to do is follow her clearly explained concepts, and you'll begin producing more sophisticated, professional, and interesting pages immediately. Humor-infused, jargon-free prose interspersed with design exercises, quizzes, illustrations, and dozens of examples make learning a snap—which is just what audiences have come to expect from this best-selling author.
Customer Reviews:
A fun way to test your sense of style.......2007-10-18
Not getting the response you hope for from that poster in the window? Maybe you need to check your design... This book is key for anyone who was not born with the style gene, like me! The "What Not To Wear" for publication design. It is essential for anyone dealing with public relations and advertisement - even if it is a resume or business card. Excellent resource for beginning Web developers or anyone involved with graphic layout. Highly recommended for audiences middle school and up.
Design demystified.......2007-09-16
Writers who want to improve the look of whatever they write will find some excellent information here. This book will also suit anyone who wants to understand the basics of graphic design. Williams' engaging writing style makes this both an entertaining and useful read. Make sure you do the exercises and quizzes - they're fun and extremely helpful.
Worth the time to read!.......2007-07-17
This book is a quick and nice read. It really helps me have a better concept of the main ideas of graphic design. It is definitely a good investment to take the time to read it. Whether you are a beginning web-designer, or are involved in other types of graphic design, this book will certainly save you a lot of headaches in the future.
Opens a new world .......2007-07-16
I love this book! I've spent quite some time working on a new business card for myself using Williams' clear and basic instructions, and the process has been exciting and fun. I now have a business card that says much more about me and is light-years away from the standard format available at the do-it-yourself places.
If you can tell that your brochure/card/letterhead/flyer/poster looks terrible but have no idea why, do yourself a favor and buy this book.
Very informative........2007-06-25
My professor actually made us buy this book for our Intro. to Desktop Publishing course. I really like it. It has great design info for graphic designers and non-designers alike and has some humour thrown in there as well. I would highly recommend it.
Book Description
Lavishly illustrated with more than 450 images, A Typographic Workbook, Second Edition explains the process successful designers use to select, space, and creatively integrate fonts. This essential text demonstrates the use of type as a dynamic and expressive communication tool. This edition provides new and updated coverage of a broad range of topics–from a logical, clear historical overview of the craft to the latest digital technologies. Known for its highly interactive format, this Second Edition continues to include helpful review questions and multiple-choice quizzes, as well as many new projects and skill-building exercises that help readers immediately apply what they have learned. A Typographic Workbook, Second Edition is a valuable professional resource for working designers and an indispensable training tool for graphic design students.
Customer Reviews:
Typo Workbook.......2007-01-12
Book received as advertised. Easy transaction and received in a minimum period of time.
A Lovely History and Review of Type in all the Ages.......2006-11-18
This book provides just enough in-depth history of letters and type to keep it interesting and not become a history lesson. Wonderful layout, executing examples of the type talked about by using them. Favorite part is the back with hundreds of fonts displayed on a whole page in all forms. They actually tell the story of Alice in Wonderland from start to finish.
The Wrong Edition is Reviewed Here!.......2005-11-04
The reviews posted here reflect comments made regarding the 1st edition of this book. The second edition takes into account the many concerns indicated here as well as by other professionals, and provides a more streamlined approach in language that is easier to read.
Please take a look at this verion of "A Typographic Workbook" 2ed to reflect on the changes. Post a new review if you have had a chance to look at it as well!
Not beyond all hope! Maybe another edition?.......2005-06-25
I agree with many of the previous reviewers who have remarked on the poor writing style throughout this book! The historical sections are particularly awkward, as though the author did some research and simply tried to rephrase the content (usually unsuccessfully!). Though I was quite put-off by the writing style (or lack thereof), I did press on. What I found was a plethora of good information, useful side bar examples, and creative exercises. There is good content here, but it can be a lot of work to find and absorb it.
I would love to see a new edition of this book, where the author could work more closely with an editor to develop a clear, stronger voice, resulting in a useable teaching tool. If such an edition were to be written, I would suggest a few improvements:
1. Reorganize the sections. The book doesn't flow well from chapter to chapter, and the reader feels directionless while proceeding through the book. Although the history is fascinating, it opens the book and goes on for quite some time. I found myself wanting to skip ahead. Also, it would make more sense to me to discuss the Five Historic Families of Type immediately after the Parts of a Character, rather than throwing the topics of 20th c. Typography and Changes in Printing Technology in the middle.
2. Consider eliminating the technique of switching typefaces every few pages. Yes, the reader does get a sense of which typefaces are more easily read than others at that size/leading, but is it really a good idea to tire and frustrate the reader while attempting to instruct?
3. Eliminate or re-work the introductions. If it is neccesary to give an outline of upcoming topics, perhaps present it as a list rather than writing it out in as a paragraph? The current introductions are glaring examples of what I was taught NOT to do in English classes!
4. Keep a consistent tone. The author swaps rapidly between informal and formal tones, which is disconcerting.
5. Reduce redundancy. It would be better to reference various chapters and allow them to give a thorough explanation of a topic, rather than throwing in mini-definitions anywhere a term or concept is mentioned.
6. The list of popular typefaces at the end of the book is very useful to me, and I have returned to it time and time again. Perhaps after the typefaces are shown/described, a few lists/tables could follow that would group them by classification (old style, transitional, modern, etc.) and also by use (formal invitation, technical manual, classified advertising, logo, etc.)
So... this book is not beyond all hope. Even with all of its faults, I have still found it useful. I would, however, hesitate to recommend it to anyone in its current incarnation... maybe a future edition!
Avoid at all costs.......2004-02-18
This is unequivocally the most poorly written textbook I've ever encountered in my life. I have no idea how this got published. If you casually flip through the book as a cursory review, you'll find that it LOOKS nice, (On almost every other page there's an enlarged sample of a font - complete with an unnecessary, meticulously hand-drawn portrait of it's creator) But once you begin an attempt to actually read the text, it's migraine time. The writing is so distractingly bad that I'm at the point where after reading this book for a few hours, I find myself having learned nothing because I keep finding awkwardly written sentences and revising them in my head instead of retaining the information they're supposed to convey.
As an example, proving why no one should ever spend money on this book, here is an excerpt from the first chapter:
"Those who could read were looked to for advice in all types of disputes and emergencies, their knowledge and judgment were unchallenged. Scribes - those who could write - were believed in some cultures to have power over human life, if an Egyptian scribe wrote your name in the Book of the Dead, your time was up in this world! Doubtless, the scribes did little to dissuade this myth. Scribes were trained in Egypt from the time they were about five years old. Today we have abolished this controlled system of learning writing and reading skills. (But a parallel to that practice today can be seen today in the knowledge of computer programming.) In ancient times, hand-copied scrolls were expensive to produce, (not many people were taught to write); any scrolls were cherished, valued and cared for from one generation to the next."
Book Description
Eye-catching black-and-white ornaments and designs, selected from rare, turn-of-the-century printers' catalogs, depict a rich treasury of black-and-white subjects — from ornate frames, scrollwork, and headpieces to banners, wreaths, and a vast array of charming figurative illustrations. Splendid source of immediately usable art will delight and inspire artists, designers, and hobbyists.
Customer Reviews:
Dover never lets me down!.......2007-01-10
I was looking for copyright free art for a publication I was working on...Dover never lets me down!
The assortment of styles and topics in this edition is great. It will serve me well in future projects as well as the one I purchased it for!
660 Typographic Ornaments CD-rom and book.......2006-02-08
This is a fantastic resource book and the CD makes everything so easy! I have wanted to have clip art for my collages and cards and I was thrilled with the variety of clip art available--nearly everything works! I ordered a larger, hard-bound book in addition to this book, but I found more of the clip art here more usable and classic than in the more expensive, hardbound version. I have been looking for something like this forever and was pleased to find it and find it at such a great price!
Average customer rating:
|
How to Understand and Use Grids
Alan Swann
Manufacturer: North Light Books
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Binding: Hardcover
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ASIN: 0891342842 |
Book Description
A noted international designer and typographer encourages screen-based designers to establish an efficient hierarchyof information with clear layouts, proving how good design can generate visual logic. A well thought out grid system for the screens thereby allows the screen designer to create order, so that the users can easily orient themselves and find information. Includes successful examples of on-screen grids from leading international companies such as Adidas, Lufthansa, and Jaguar
Customer Reviews:
Fascinating, timely and practical too.......2003-09-29
Another superb book by Götz. Although the title is a tad dry and does not suggest that the book will appeal to the same wide audience as Type for the Internet, in fact `Grids' is just as fascinating and timely. Gotz describes how websites (and other browser-read creations) should be laid out for maximum effectiveness. Her analysis is practical and how-to, leading from the apparently obvious problem of landscape layout , the limits of legibility on screen, to the more elaborate problems of dynamic and interactive pages. But the very practicality of Gotz's approach, and her sharp focus, only make it doubly clear how our whole philosophic engagement with information is radically changed by the new technologies. Gotz does not resist the temptation to point at some of the larger issues by truffling her boook with witty quotations and maxims from the great savants, all presented with a layout full of panache.
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- The Non-Designer's Design Book
- The Official eBay Bible Second Edition: The Newly Revised and Updated Version of the Most Comprehensive eBay How-To Manual for Everyone from First-Time Users to eBay Experts (Official Ebay Bible)
- The Principles of Beautiful Web Design
- The Pro: A Golf Novel
- The Real Rule of Four
- The Salsa Guidebook
- The Serigraphs of Doug West
- The Surface Designer's Handbook: Dyeing, Printing, Painting, and Creating Resists on Fabric
Books Index
Books Home
Recommended Books
- The Road from Coorain
- Nemesis: The Last Days of the American Republic
- Cycle of the Werewolf
- Family Reconstruction: Long Day's Journey into Light
- Henri Cartier-Bresson: Scrapbook
- Introductory Chemistry: A Foundation
- History: Fiction or Science
- By Appointment Only: Writings on Art and Art Dealing
- Desert Peoples: Archaeological Perspectives
- Rolling Out New Products Across International Markets
Thinking with Type: A Critical Guide for Designers, Writers, Editors, & Students (Design Briefs)
Making and Breaking the Grid: A Graphic Design Layout Workshop
The Elements of Graphic Design: Space, Unity, Page Architecture, and Type
Meggs' History of Graphic Design
Stop Stealing Sheep & Find Out How Type Works, Second Edition
