Practical Font Design has built a niche for itself among graphic and Web designers who want to build their own fonts: especially with the first book. I learned a lot since I wrote that first book. This radically revised, updated, and expanded third edition combines the first two books. They are rearranged so they make a lot more sense and some brand new material is added. This is a quick introduction showing a workflow to build new fonts using FontLab 5. Fourteen fonts are developed in this book including an 8-font text family and a companion 4-font sans serif for headers. The techniques are simple and easy to understand. The results are completely under your control.

"Originally released to great acclaim in 2010, Typography for Lawyers was the first guide to the essentials of typography aimed specifically at lawyers. Author Matthew Butterick, an attorney and Harvard-trained typographer, dispelled the myth that legal documents are incompatible with excellent typography. Butterick explained how to get professional results with the tools you already have quickly and easily. Revised and updated & the second edition includes: new topics such as email, footnotes, alternate figures, and OpenType features; avice for presentations, contracts, grids of numbers, and court opinions; technical tips covering the newest versions of Word and WordPerfect for Windows and OS X; new font recommendations, including two that are free; new essays on the font copyrights, screen-reading considerations, and typographic disputes that have reached the courts; a refreshed layout, featuring type features designed by the author."--from Amazon.com website.

Type design is often presented in either such detail-obsessed complexity that it is not welcoming to beginners, or it is so simplified with the help of apps and web services that the resulting fonts are virtually useless. This book is different. It shows readers how to design professional fonts - without having to find out all of type design's secrets first. Designing Fonts teaches the basics of type design from sketched letters to finished font, offering an uncomplicated but thorough introduction to type design. With easy-to-follow instructions, many examples and professional tips, readers will learn how to design unique typefaces tailor-made for their own projects or customer orders. This book has two parts. Part 1 explains the theoretical, creative and technical basics of type design and font production. Six chapters then cover everything from alphabet to font, showing readers how to find and develop typeface ideas, design matching letters, produce fonts and expand them with special functions. Part 2 comprises eight workshops that explore how to design and implement different kinds of typefaces, from decorative interlocking display fonts with alternative letters to well-developed headline fonts with multiple cuts and OpenType features.

Why do you want to use Fontographer?For the fun of it!When I received the opportunity to go back to my roots, and see what the new Fontographer was like, I was a little concerned. I had just spent nine years painfully teaching myself to letterspace by hand, to write OpenType features, and to become accustomed to the tool set of FontLab. Don't get me wrong, FontLab is a great program. There are still a few features of FontLab that, as a professional font designer, I cannot do without. But I was taken by surprise.Fontographer brought the fun back!It is still the same marvelous program with which I first learned to design fonts. The drawing interface is still clean, clear, and elegant. It still works the way I have learned to work over the past two decades of digital graphic design. I found pleasure in drawing again. Fontographer is a wonderful drawing experience. It has been a real joy to experience that again. After nearly a decade in FontLab, font design is fun again.

"Fontographer is an application which appeals to experienced graphic designers with a background in PostScript illustration"-Page 1.

Better Web Typography for a Better Web is a book based on a top-rated online course explaining typography to people who build web sites-web designers and web developers. The author, Matej Latin, takes complex concepts such as vertical rhythm, modular scale and page composition, and explains them in an easy-to-understand way. The content of the book is accompanied by live code examples and the readers go through a process of designing and building an example website as they go through the book. This is a new typography book for a new medium, the rules haven't changed much, everything else has.

It's everywhere, including the moon (on the commemorative plaque left by Apollo 11 astronauts), Nike sneakers, the artworks of Barbara Kruger, Ed Ruscha, and Jenny Holzer, 2001: A Space Odyssey credits, Domino's Pizza boxes, Absolut Vodka bottles, and Red Bull cans. Richard Nixon used it for his presidential campaign, as did Hillary Clinton. Indeed, Futura is one of the most used fonts in the world today—the typeface of modern design—more so even than Helvetica. This fascinating book explores the cultural history and uses of a face that's so common you might not notice, until you start looking, and then you can't escape it. Douglas Thomas traces Futura from its Bauhaus-inspired origin in Paul Renner's 1924 design, to its current role as the go-to choice for corporate work, logos, motion pictures, and advertisements. Never Use Futura is illuminating, sometimes playful, reading, not just for type nerds, but for anyone interested in how typefaces are used, take on meaning, and become a language of their own.

The now-classic introduction to designing typography, handsomely redesigned and updated for the digital age In this invaluable book, Karen Cheng explains the processes behind creating and designing type, one of the most important tools of graphic design. She addresses issues of structure, optical compensation, and legibility, with special emphasis given to the often-overlooked relationships between letters and shapes in font design. In this second edition, students and professional graphic designers alike will benefit from an expanded discussion of the creative practice of designing type—what designers need to consider, their rationale, and issues of accessibility—in the context of contemporary processes for the digital age. Illustrated with more than 400 diagrams that demonstrate visual principles and letter construction, ranging from informal progress sketches to final type designs and diagrams, this essential guide analyzes a wide range of classic and modern typefaces, including those from many premier type foundries. Cheng’s text covers the history of type, the primary systems of typeface classification, the parts of a letter, and the effects of new technology on design methodology, among many other key topics.

Just My Type is not just a font book, but a book of stories. About how Helvetica and Comic Sans took over the world. About why Barack Obama opted for Gotham, while Amy Winehouse found her soul in 30s Art Deco. About the great originators of type, from Baskerville to Zapf, or people like Neville Brody who threw out the rulebook, or Margaret Calvert, who invented the motorway signs that are used from Watford Gap to Abu Dhabi. About the pivotal moment when fonts left the world of Letraset and were loaded onto computers ... and typefaces became something we realised we all have an opinion about. As the Sunday Times review put it, the book is 'a kind of Eats, Shoots and Leaves for letters, revealing the extent to which fonts are not only shaped by but also define the world in which we live.' This edition is available with both black and silver covers.