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How can designers today achieve classical book design when it derives from an era of hot metal? This book has the answer.
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How can designers today achieve classical book design when it derives from an era of hot metal? This book has the answer.
Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Produktdetails
- Produktdetails
- Verlag: David R. Godine Publisher
- Seitenzahl: 529
- Erscheinungstermin: 5. Mai 2020
- Englisch
- Abmessung: 312mm x 228mm x 55mm
- Gewicht: 2380g
- ISBN-13: 9781567926538
- ISBN-10: 1567926533
- Artikelnr.: 58773336
- Herstellerkennzeichnung
- Libri GmbH
- Europaallee 1
- 36244 Bad Hersfeld
- 06621 890
- Verlag: David R. Godine Publisher
- Seitenzahl: 529
- Erscheinungstermin: 5. Mai 2020
- Englisch
- Abmessung: 312mm x 228mm x 55mm
- Gewicht: 2380g
- ISBN-13: 9781567926538
- ISBN-10: 1567926533
- Artikelnr.: 58773336
- Herstellerkennzeichnung
- Libri GmbH
- Europaallee 1
- 36244 Bad Hersfeld
- 06621 890
Mark Argetsinger is a celebrated designer who has won awards in publication design competitions hosted by the Association of University Presses (AUP), the American Institute of Graphic Arts (AIGA), and the American Alliance of Museums (AAM). Argetsinger is also the recipient of the Carl Hertzog Award for Excellence in Book Design.
Contents
Introduction: The Classical Tradition. A detailed sketch of the
establishment of the theory of typographical classicism with Joseph Moxon's
architectural analogy. This classicism is situated in the Renaissance
rediscovery of the mathematics of Ancient Greece, and its assault by the
Modernist school in the 20th century is looked to as source of
disorganization of typographic standards today.
Chapter 1: A Short History of Typographical Variations. The forms that
typographical letterforms took when cast in lead at the inception of
printing are examined in an annotated pictorial survey.
Chapter 2: Type in the 20th and 21st Centuries. The upheavals of
typographic letterforms are chronicled through the transition of
letterpress to offset printing, and the phenomenon of type revivals and
type design in general are examined.
Chapter 3: Desktop Publishing. The technological transition from
letterpress to offset and digital printing is further examined through the
means of a timeline and commentary on the developments that resulted in the
present disposition of desktop publishing.
Chapter 4: Basic Layout-Type. A Short explication of the use of InDesign as
medium of typesetting.
Chapter 5: Basic Layout-Images. A Short explication of the use of InDesign
as medium of incorporating images within the page.
Chapter 6: Format and Mise-en-Page. The all-important explication of
proportions of the page and the disposition of a book's margins.
Chapter 7: Composition. A detailed study of typesetting with a view to its
rules for best practices.
Chapter 8: OpenType Fonts and Font Editing. The digital technology of
OpenType fonts has brought about the restoration of sound typography to the
digital world. And the ability to edit type renders a typographer's powers
whole again.
Chapter 9: Page Elements and Make-up of Pages. How type is arrayed on the
page and how pages are made-up in a book to best ease and aid readers'
comprehension.
Chapter 10: Printers' Manuals and House Style. The trade's standards as
expressed in its peculiar literature of the printer's manual and various
house styles are examined, along with a draft proposal of a house style for
these latter days.
Chapter 11: Proof-Reading and Copy-Editing. Publishing houses used to
proof-read and copy-edit to an extraordinarily high standard, which arts
have been degraded or eliminated entirely in the new model of
self-publishing. These two essential aspects of the book are discussed and
an explication of proof-readers' mark is added.
Chapter 12: Paper: The Substrate of the Book. As the drama of highly acidic
paper in 19th-century books proved, a book lives by virtue of its paper. A
concise history of paper is followed by practical choices for the modern
book designer.
Chapter 13: Binding: The Book's Carapace. How a book is bound determines
its utility and longevity. A survey of binding history is followed by
practical choices for the modern book designer.
Appendices:
1. Typographic Ornament: A Short Overview
2. A Note on Greek Types. An exploration, first, of historical cast-type
ornaments, showing examples of contemporary usage, and, second, of the
needlessly controversial history of Greek typographical forms.
Annotated bibliography. A selective bibliography of essential or useful
books with an annotated characterization of each.
Index
Introduction: The Classical Tradition. A detailed sketch of the
establishment of the theory of typographical classicism with Joseph Moxon's
architectural analogy. This classicism is situated in the Renaissance
rediscovery of the mathematics of Ancient Greece, and its assault by the
Modernist school in the 20th century is looked to as source of
disorganization of typographic standards today.
Chapter 1: A Short History of Typographical Variations. The forms that
typographical letterforms took when cast in lead at the inception of
printing are examined in an annotated pictorial survey.
Chapter 2: Type in the 20th and 21st Centuries. The upheavals of
typographic letterforms are chronicled through the transition of
letterpress to offset printing, and the phenomenon of type revivals and
type design in general are examined.
Chapter 3: Desktop Publishing. The technological transition from
letterpress to offset and digital printing is further examined through the
means of a timeline and commentary on the developments that resulted in the
present disposition of desktop publishing.
Chapter 4: Basic Layout-Type. A Short explication of the use of InDesign as
medium of typesetting.
Chapter 5: Basic Layout-Images. A Short explication of the use of InDesign
as medium of incorporating images within the page.
Chapter 6: Format and Mise-en-Page. The all-important explication of
proportions of the page and the disposition of a book's margins.
Chapter 7: Composition. A detailed study of typesetting with a view to its
rules for best practices.
Chapter 8: OpenType Fonts and Font Editing. The digital technology of
OpenType fonts has brought about the restoration of sound typography to the
digital world. And the ability to edit type renders a typographer's powers
whole again.
Chapter 9: Page Elements and Make-up of Pages. How type is arrayed on the
page and how pages are made-up in a book to best ease and aid readers'
comprehension.
Chapter 10: Printers' Manuals and House Style. The trade's standards as
expressed in its peculiar literature of the printer's manual and various
house styles are examined, along with a draft proposal of a house style for
these latter days.
Chapter 11: Proof-Reading and Copy-Editing. Publishing houses used to
proof-read and copy-edit to an extraordinarily high standard, which arts
have been degraded or eliminated entirely in the new model of
self-publishing. These two essential aspects of the book are discussed and
an explication of proof-readers' mark is added.
Chapter 12: Paper: The Substrate of the Book. As the drama of highly acidic
paper in 19th-century books proved, a book lives by virtue of its paper. A
concise history of paper is followed by practical choices for the modern
book designer.
Chapter 13: Binding: The Book's Carapace. How a book is bound determines
its utility and longevity. A survey of binding history is followed by
practical choices for the modern book designer.
Appendices:
1. Typographic Ornament: A Short Overview
2. A Note on Greek Types. An exploration, first, of historical cast-type
ornaments, showing examples of contemporary usage, and, second, of the
needlessly controversial history of Greek typographical forms.
Annotated bibliography. A selective bibliography of essential or useful
books with an annotated characterization of each.
Index
Contents
Introduction: The Classical Tradition. A detailed sketch of the
establishment of the theory of typographical classicism with Joseph Moxon's
architectural analogy. This classicism is situated in the Renaissance
rediscovery of the mathematics of Ancient Greece, and its assault by the
Modernist school in the 20th century is looked to as source of
disorganization of typographic standards today.
Chapter 1: A Short History of Typographical Variations. The forms that
typographical letterforms took when cast in lead at the inception of
printing are examined in an annotated pictorial survey.
Chapter 2: Type in the 20th and 21st Centuries. The upheavals of
typographic letterforms are chronicled through the transition of
letterpress to offset printing, and the phenomenon of type revivals and
type design in general are examined.
Chapter 3: Desktop Publishing. The technological transition from
letterpress to offset and digital printing is further examined through the
means of a timeline and commentary on the developments that resulted in the
present disposition of desktop publishing.
Chapter 4: Basic Layout-Type. A Short explication of the use of InDesign as
medium of typesetting.
Chapter 5: Basic Layout-Images. A Short explication of the use of InDesign
as medium of incorporating images within the page.
Chapter 6: Format and Mise-en-Page. The all-important explication of
proportions of the page and the disposition of a book's margins.
Chapter 7: Composition. A detailed study of typesetting with a view to its
rules for best practices.
Chapter 8: OpenType Fonts and Font Editing. The digital technology of
OpenType fonts has brought about the restoration of sound typography to the
digital world. And the ability to edit type renders a typographer's powers
whole again.
Chapter 9: Page Elements and Make-up of Pages. How type is arrayed on the
page and how pages are made-up in a book to best ease and aid readers'
comprehension.
Chapter 10: Printers' Manuals and House Style. The trade's standards as
expressed in its peculiar literature of the printer's manual and various
house styles are examined, along with a draft proposal of a house style for
these latter days.
Chapter 11: Proof-Reading and Copy-Editing. Publishing houses used to
proof-read and copy-edit to an extraordinarily high standard, which arts
have been degraded or eliminated entirely in the new model of
self-publishing. These two essential aspects of the book are discussed and
an explication of proof-readers' mark is added.
Chapter 12: Paper: The Substrate of the Book. As the drama of highly acidic
paper in 19th-century books proved, a book lives by virtue of its paper. A
concise history of paper is followed by practical choices for the modern
book designer.
Chapter 13: Binding: The Book's Carapace. How a book is bound determines
its utility and longevity. A survey of binding history is followed by
practical choices for the modern book designer.
Appendices:
1. Typographic Ornament: A Short Overview
2. A Note on Greek Types. An exploration, first, of historical cast-type
ornaments, showing examples of contemporary usage, and, second, of the
needlessly controversial history of Greek typographical forms.
Annotated bibliography. A selective bibliography of essential or useful
books with an annotated characterization of each.
Index
Introduction: The Classical Tradition. A detailed sketch of the
establishment of the theory of typographical classicism with Joseph Moxon's
architectural analogy. This classicism is situated in the Renaissance
rediscovery of the mathematics of Ancient Greece, and its assault by the
Modernist school in the 20th century is looked to as source of
disorganization of typographic standards today.
Chapter 1: A Short History of Typographical Variations. The forms that
typographical letterforms took when cast in lead at the inception of
printing are examined in an annotated pictorial survey.
Chapter 2: Type in the 20th and 21st Centuries. The upheavals of
typographic letterforms are chronicled through the transition of
letterpress to offset printing, and the phenomenon of type revivals and
type design in general are examined.
Chapter 3: Desktop Publishing. The technological transition from
letterpress to offset and digital printing is further examined through the
means of a timeline and commentary on the developments that resulted in the
present disposition of desktop publishing.
Chapter 4: Basic Layout-Type. A Short explication of the use of InDesign as
medium of typesetting.
Chapter 5: Basic Layout-Images. A Short explication of the use of InDesign
as medium of incorporating images within the page.
Chapter 6: Format and Mise-en-Page. The all-important explication of
proportions of the page and the disposition of a book's margins.
Chapter 7: Composition. A detailed study of typesetting with a view to its
rules for best practices.
Chapter 8: OpenType Fonts and Font Editing. The digital technology of
OpenType fonts has brought about the restoration of sound typography to the
digital world. And the ability to edit type renders a typographer's powers
whole again.
Chapter 9: Page Elements and Make-up of Pages. How type is arrayed on the
page and how pages are made-up in a book to best ease and aid readers'
comprehension.
Chapter 10: Printers' Manuals and House Style. The trade's standards as
expressed in its peculiar literature of the printer's manual and various
house styles are examined, along with a draft proposal of a house style for
these latter days.
Chapter 11: Proof-Reading and Copy-Editing. Publishing houses used to
proof-read and copy-edit to an extraordinarily high standard, which arts
have been degraded or eliminated entirely in the new model of
self-publishing. These two essential aspects of the book are discussed and
an explication of proof-readers' mark is added.
Chapter 12: Paper: The Substrate of the Book. As the drama of highly acidic
paper in 19th-century books proved, a book lives by virtue of its paper. A
concise history of paper is followed by practical choices for the modern
book designer.
Chapter 13: Binding: The Book's Carapace. How a book is bound determines
its utility and longevity. A survey of binding history is followed by
practical choices for the modern book designer.
Appendices:
1. Typographic Ornament: A Short Overview
2. A Note on Greek Types. An exploration, first, of historical cast-type
ornaments, showing examples of contemporary usage, and, second, of the
needlessly controversial history of Greek typographical forms.
Annotated bibliography. A selective bibliography of essential or useful
books with an annotated characterization of each.
Index