A celebration of the world of letters found or created in unexpected places: natural, artificial, and urban alike Even non-graphic designers know that type is everywhere: fonts and typefaces fill everything we consume or inhabit. They communicate, inform, sell, explain . . . and yet finding serendipitous letterforms in the least likely locations can also excite and inspire. Once experienced, it is impossible not to see letters in anything from forests to housing projects, from leaves to brickwork. The eye becomes accustomed to seeing a world built of letters. Unlike most books on typography that present the “best” and most refined examples, the object here is to reveal the "lost" or "unseen" typographies in nature and our cities. From machine-made and sculptural forms to flora and fauna, from the fading ghost types on buildings from a pre-digital age to the subterranean forms found beneath our urban centers, from crowd-sourced creations to the popular vernacular, there is a universe of letterforms all around us.

Since its first appearance in 1962, the impact of The Gutenberg Galaxy has been felt around the world. It gave us the concept of the global village; that phrase has now been translated, along with the rest of the book, into twelve languages, from Japanese to Serbo-Croat. It helped establish Marshall McLuhan as the original 'media guru.' More than 200,000 copies are in print. The reissue of this landmark book reflects the continuing importance of McLuhan's work for contemporary readers.

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.

Typography encompasses design for reading, whether in print or on screens, where a set of visual choices to do with font, layout, and print size are taken to enhance a written message. Paul Luna explores the fascinating history of our letters, considering why typographic decisions are taken, and their impact on our own words.

A designer’s deep dive into seven science fiction films, filled with “gloriously esoteric nerdery [and] observations as witty as they are keen” (Wired). In Typeset in the Future, blogger and designer Dave Addey invites sci-fi movie fans on a journey through seven genre-defining classics, discovering how they create compelling visions of the future through typography and design. The book delves deep into 2001: A Space Odyssey, Star Trek: The Motion Picture, Alien, Blade Runner, Total Recall, WALL·E, and Moon, studying the design tricks and inspirations that make each film transcend mere celluloid and become a believable reality. These studies are illustrated by film stills, concept art, type specimens, and ephemera, plus original interviews with Mike Okuda (Star Trek), Paul Verhoeven (Total Recall), and Ralph Eggleston and Craig Foster (Pixar). Typeset in the Future is an obsessively geeky study of how classic sci-fi movies draw us in to their imagined worlds.

Exploring the methods for teaching and learning typography, this book features more than 40 essays from top experts and educators in typography today. These essays run the gamut from introducing the themes of type and typography to various complex and rare strategies for learning.

Pending

Overzicht van vooral de 20e-eeuwse Nederlandse typografie.

From whimsical to elegant, and old-school influences to new school—Goodtype’s The Art of Lettering showcases dynamic hand lettering from today’s young and sought-after typographers and calligraphers, stoking creative inspiration for graphic designers, artists, and type enthusiasts alike. Hand lettering is making a comeback, bursting out of its graphic-design bubble and finding a mainstream via collecting social media sites like Instagram and Pinterest. The avid interest in hand lettering seemingly goes hand in hand with the weariness audiences feel with constant slick digital presentation of the information they consume. The Art of Lettering collects myriad new and established graphic designers for whom hand lettering is a time-honored art that has modern applications. Showcasing more than 100 artists from all over the world, the book displays their typographic takes and illustrates their perfectly imperfect handcrafted art, from beautiful photographs of concept sketches to the end result. Straying away from traditional pen calligraphy, artists today employ new and creative approaches, including building type with coffee grounds, watercolors, and combinations of different hand tools, resulting in a dynamically fresh approach to creating type.

The refereed post-proceedings of the International Workshop of the Types Working Group are presented in this volume. The 17 papers address all current issues in formal reasoning and computer programming based on type theory, including languages and computerized tools for reasoning; applications in several domains, such as analysis of programming languages; certified software; formalization of mathematics; and mathematics education.