Culture. Communication. New Media Typography rules the world, but in what way does a typographical text still form the fundamentals of public life in an era of digitalism and interactivity? In 'The Triumph of Typography' a number of professionals investigate the cultural revolution caused by new media and digitalisation. AUTHOR: Henk Hoeks studied philosophy and history and has been an editor for Sun publishers for over 40 years. Ewan Lentjes taught design theory at the graphic department of ArtEZ. SELLING POINTS: * The history of modern typography and the development and influence of new media on it, offering a selection of diverse insights on the concept of typography * Highlights the most recent developments in the field of typography * With contributions by Willem Frijhoff, Gererd Hadders, Ellen Lupton, Jack Post, Rick Poynor, Jose Teunissen and Wouter Weijers and in collaborations with Artez school 200 colour and 80 b/w illustrations

Basic principles are presented through detailed explanations, expanded illustrations, case studies, and reference material from leading design studios around the world. A sound understanding of type history and classification facilitates controlled, intelligent and thoughtful type usage, across a range of media. The Fundamentals of Typography builds upon these shared principles and will become an invaluable reference for creatives and designers alike.

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.

Louise Fili has been an inspiration for designers around the world since the 1980s, when she raised the bar on book cover design, creating close to two thousand jackets as art director for Pantheon Books. In 1989 Fili founded her own graphic design studio, Louise Fili Ltd, and branched out into the fields of restaurant and food packaging design. Her lavish and elegant typography, often hand drawn, helps advertise and market such well-known brands as Sarabeth's, Bella Cucina, Jean-Georges, and Good Housekeeping, among many others. Known for her intense attention to detail, her fresh reinterpretation of vintage sources, and her passion for all things Italian, Fili has won numerous awards. Elegantissima, the first monograph on her work, covers the breadth of her nearly forty-year design career and is a must-have for graphic design students and professionals, as well as anyone interested in advertising, food, restaurants, Italy, and books.

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.

Why all the fuss over television? It is blamed for an assortment of evils, including violence, shortened attention spans, the decline of literacy and political indoctrination. In this scintillating and approachable book, Ellis Cashmore weighs up the theories and evidence. He argues that much of the panic is without foundation and that the single most important danger posed by TV is that it encourages us to spend too much. Cashmore agrees with many writers that television is an elemental force in today's culture, but he offers us a completely different account of how and why this has come about. It is an evaluation that will surprise, provoke and delight. In essence, Cashmore argues that television is the central apparatus of consumer society and its success is measured not in terms of whether we enjoy programs, but how much we spend as a result of watching them. It is a book that should be read by anyone who watches television and wants to know what it is doing to them.