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Typography Essentials: 100 Design Principles for Working with Type

Book Description

A deep understanding of letterforms and knowledge of their effective use can only be obtained with constant observation and experimentation; it evolves over a lifetime of design practice and study.

Table of Contents

  1. Cover
  2. Title Page
  3. Dedication
  4. Contents
  5. Introduction
  6. THE LETTER
    1. 1 Using letter as form
    2. 2 Using counter spaces as form
    3. 3 Letterform details
    4. 4 Emotional content implied by the text
    5. 5 Historical connotation
    6. 6 Considering the medium
    7. 7 Honoring dignity
    8. 8 The handmade solution
    9. 9 Being expressive
    10. 10 Staying neutral
    11. 11 Considering background contrast
    12. 12 Emphasis using weight
    13. 13 Emphasis using contrasting weights
    14. 14 Emphasis using size
    15. 15 Emphasis using contrasting sizes
    16. 16 Proper smart quotes
    17. 17 The hyphen, the en dash, and the em dash
    18. 18 High contrast in reverse
    19. 19 Extreme scaling
    20. 20 Heavy flourishes
    21. 21 Thinking like a typesetter
    22. 22 Using display versions
    23. 23 Using numbers
    24. 24 Dingbats and pictograms
    25. 25 Theory of Relativity I
  7. THE WORD
    1. 26 A “bad” typeface?
    2. 27 Typographic abominations
    3. 28 Hierarchy using position
    4. 29 Hierarchy using size
    5. 30 Hierarchy using weight
    6. 31 Hierarchy using color
    7. 32 Hierarchy using contrast
    8. 33 Hierarchy using orientation
    9. 34 Hierarchy using special effects
    10. 35 To kern or not to kern
    11. 36 Type as image
    12. 37 Three-dimensional type
    13. 38 Repetition
    14. 39 Deconstructed type
    15. 40 Vertical stacking
    16. 41 See the shape
    17. 42 Using cases
    18. 43 The rule of three typefaces
    19. 44 Mixing many typefaces
    20. 45 Mixing type using contrast, weight, or color
    21. 46 Mixing typefaces using historical compatibility
    22. 47 Familiarity breeds legibility
    23. 48 Properly weighted small caps and fractions
    24. 49 Using the right type
    25. 50 Theory of Relativity II
  8. THE PARAGRAPH
    1. 51 Invisible typography
    2. 52 Highly evident typography
    3. 53 Less is more
    4. 54 More is more
    5. 55 Letter spacing and word spacing
    6. 56 Hyphenation and justification
    7. 57 Tracking guidelines
    8. 58 The “color” of the text type
    9. 59 Considering typographic mass
    10. 60 Pattern, gradation, and texture
    11. 61 Basic leading principles
    12. 62 Optimum line lengths
    13. 63 Increasing leading
    14. 64 Tightly stacked lines
    15. 65 Indicating paragraphs
    16. 66 Initial caps and drop caps
    17. 67 Opening paragraphs
    18. 68 Orphans and widows
    19. 69 “Rivers” of space
    20. 70 Eschew decorative type
    21. 71 Celebrate decorative type
    22. 72 Text overlapping images
    23. 73 Text overlapping text
    24. 74 The text block effect
    25. 75 Theory of Relativity III
  9. THE PAGE
    1. 76 Legibility, legibility, legibility
    2. 77 Legibility taking a back seat
    3. 78 Limiting typefaces
    4. 79 One type family
    5. 80 Six necessary typefaces
    6. 81 A need for every typeface
    7. 82 Text typefaces versus display typefaces
    8. 83 Organized entry points
    9. 84 Systematizing hierarchy
    10. 85 Using justified type
    11. 86 Using flush-left, rag-right type
    12. 87 Using centered, asymmetrical, and flush-right type
    13. 88 The multicolumn text grid
    14. 89 The uneven text grid
    15. 90 Typographic “furniture”
    16. 91 Decks, callouts, and pull quotes
    17. 92 The “birth and death” of the text
    18. 93 Chaos versus order
    19. 94 Commentary, marginalia, and alternate languages
    20. 95 Tables and charts
    21. 96 Navigational devices
    22. 97 Margins and gutters
    23. 98 Framing the text
    24. 99 Floating in space
    25. 100 Theory of Relativity IV
  10. Contributors index
  11. About the author
  12. Acknowledgments
  13. Copyright Page
  14. Footnote
    1. intro_fn01