The Geometry of Type explores 100 traditional and modern typefaces in loving detail, with a full spread devoted to each entry. Characters from each typeface are enlarged and annotated to reveal key features, anatomical details, and the finer, often-overlooked elements of type design, which shows how these attributes affect mood and readability. Sidebar information lists the designer and foundry, the year of release and the different weights and styles available, while feature boxes explain the origins and best uses for each typeface, such as whether it is suitable for running text or as a display font for headlines. To help the reader spot each typeface in the wider world, the full character set is shown, and the best letters for identification are highlighted. This beautiful and highly practical work of reference for font spotters, designers and users is a close-up celebration of typefaces and great type design.

The Anatomy of Type is the ultimate stylistic guide to the intricacies and design of 100 indispensable typefaces. A delightful, colorful, and visual reference guide created by Stephen Coles and Tony Seddon—two acknowledged pros in the font design world—The Anatomy of Type was developed with typographers, graphic designers, and font geeks in mind, graphically and visually expanding on the current font-mania initiated by Simon Garfields's Just My Type.

This work takes a close look at a broad range of 20th-century examples of design, architecture and illustration, revealing underlying geometric structures in their compositions.

Cosmology, the study of the universe, arouses a great deal of public interest, with serious articles both in the scientific press and in major newspapers, with many of the theories and concepts (e.g. the 'big bang' and 'black holes') discussed, often in great depth.Accordingly the book is divided into three parts:Part 1 is readable (and understandable) by anyone with a nodding acquaintance with the basic language of cosmology: events, lights paths, galaxies, black holes and so on. It covers the whole story of the book in a way as untechnical as possible given the scope of the topics covered.Part 2 covers the same ground again but with enough technical details to satisfy a reader with basic knowledge of mathematics and/or physics.Part 3 consists of appendices which are referred to in the other parts and which also contain the highly technical material omitted from Section 2.

Although grid systems are the foundation for almost all typographic design, they are often associated with rigid, formulaic solutions. However, the belief that all great design is nonetheless based on grid systems (even if only subverted ones) suggests that few designers truly understand the complexities and potential riches of grid composition.

This fine and versatile introduction begins with the theorems common to Euclidean and non-Euclidean geometry, and then it addresses the specific differences that constitute elliptic and hyperbolic geometry. 1901 edition.

The standard university-level text for decades, this volume offers exercises in construction problems, harmonic division, circle and triangle geometry, and other areas. 1952 edition, revised and enlarged by the author.

An innovative examination of typography as a medium of communication rather than part of print or digital media. Typography is everywhere and yet widely unnoticed. When we read type, we fail to see type. In this book, Kate Brideau considers typography not as part of "print media" or "digital media" but as a medium of communication itself, able to transcend the life and death of particular technologies. Examining the contradiction between typographic form (often overlooked) and function (often overpowering), Brideau argues that typography is made up not of letters but of shapes, and that shape is existentially and technologically central to the typographic medium. After considering what constitutes typographic form, Brideau turns to typographic function and how it relates to form. Examining typography's role in both the neurological and psychological aspects of reading, she argues that typography's functions exceed reading; typographic forms communicate, but that communication is not limited to the content they carry. To understand to what extent the design and operations of the typographic medium affect the way we perceive information, Brideau warns, we must understand the medium's own operational logic, embodied in the full diversity of typographic forms. Brideau discusses a range of topics--from intellectual property protection for typefaces to Renaissance and Enlightenment ideal letterforms--and draws on a wide variety of theoretical work, including phenomenological ideas about comprehension, German media archaeology, and the media and communication theories of Vilém Flusser and others. Hand-drawn illustrations of typographic forms accompany the text.

Learn the history and techniques of hand lettering from a renowned design studio. This practical and visual guide features exercises, case studies, and typographic models for letter styles such as serif, sans serif, brush, and script. Known throughout the world for its eclectic typeface collections and far-reaching creative exploits, from fonts and fashion to ceramics and space technology, House Industries has been a standard bearer for American graphic design for more than twenty-five years. The House Industries Lettering Manual is an accessible hands-on guide to drawing letters from Ken Barber, House's head letterer and type design director. Modeled after a series of sold-out lettering workshops that Ken has conducted around the world, this highly illustrated handbook outlines the history of lettering, various methods and techniques, common letter styles, and best practices for getting paid for your work. This handy how-to guide also provides lettering models to help sharpen your drawing skills and offer departure points for further experimentation. Designed by House Industries and including copious examples, exercises, and opportunities to practice what you've learned, plus photographs of works-in-progress and finished projects, this instructive and visually engaging book will help you master the dynamic art of lettering, whether you're a budding artist or an experienced designer.

Early in this century, it was shown that the new non-Newtonian physics -- known as Einstein's Special Theory of Relativity -- rested on a new, non-Euclidean geometry, which incorporated time and space into a unified "chronogeometric" structure. This high-level study elucidates the motivation and significance of the changes in physical geometry brought about by Einstein, in both the first and the second phase of Relativity. After a discussion of Newtonian principles and 19th-century views on electrodynamics and the aether, the author offers illuminating expositions of Einstein's electrodynamics of moving bodies, Minkowski spacetime, Einstein's quest for a theory of gravity, gravitational geometry, the concept of simultaneity, time and causality and other topics. An important Appendix -- designed to define spacetime curvature -- considers differentiable manifolds, fiber bundles, linear connections and useful formulae. Relativity continues to be a major focus of interest for physicists, mathematicians and philosophers of science. This highly regarded work offers them a rich, "historico-critical" exposition -- emphasizing geometrical ideas -- of the elements of the Special and General Theory of Relativity.