Introduction | p. 6 |
How to get the most out of this book | p. 8 |
A brief history | p. 10 |
The history of type | p. 12 |
Cuneiform tablets | p. 14 |
Hieroglyphs | p. 15 |
Ideogram-based languages | p. 16 |
Phoenician characters | p. 18 |
The Greek alphabet | p. 20 |
Cyrillic languages | p. 22 |
Semitic and Aramaic languages | p. 24 |
The Roman alphabet | p. 26 |
The modern alphabet | p. 28 |
Moveable type, 1436 | p. 30 |
The effect of printing in Europe | p. 32 |
The Industrial Revolution, 1800s | p. 34 |
Arts and Crafts Movement, 1850s | p. 36 |
Modernism, 1910 | p. 38 |
1950s | p. 42 |
1960s | p. 44 |
1970s | p. 46 |
1980s | p. 48 |
1990s | p. 50 |
Graphic design since 2000 | p. 52 |
A few basics | p. 54 |
Typefaces and fonts | p. 56 |
Typeface anatomy | p. 57 |
Relative and absolute measurements | p. 58 |
X-height | p. 61 |
Basic terminology | p. 62 |
Majuscule and minuscule | p. 64 |
Set width | p. 65 |
Baseline grid | p. 66 |
The golden section | p. 68 |
Fibonacci sequence | p. 69 |
Standard paper sizes | p. 70 |
The page - how we read | p. 74 |
Dividing the page | p. 76 |
Letterforms | p. 80 |
Type families | p. 82 |
Typeweight variations | p. 83 |
Frutiger's grid | p. 84 |
Types of serif | p. 86 |
Fractions | p. 88 |
Superscript and subscript | p. 89 |
Numerals | p. 90 |
Punctuation | p. 91 |
Diacritical marks | p. 92 |
Dashes | p. 94 |
Character spacing | p. 95 |
Expert sets and special characters | p. 96 |
Ligatures, dipthongs and sans serif logotypes | p. 98 |
Drop and standing capitals | p. 99 |
Small capitals (true and false) | p. 100 |
Italic and oblique | p. 101 |
Type classification systems | p. 102 |
Type classification in practice | p. 108 |
Newspaper text faces | p. 110 |
Words and paragraphs | p. 112 |
Calculating line lengths | p. 114 |
Kerning and letterspacing | p. 116 |
Automated kerning tables | p. 117 |
Alignment | p. 118 |
Word spacing, hyphenation and justification | p. 122 |
Type detailing | p. 123 |
Leading | p. 124 |
Indents | p. 126 |
Indexes | p. 127 |
Type size | p. 128 |
Display type | p. 129 |
Reversing type | p. 130 |
Wraps and runarounds | p. 131 |
Using type | p. 132 |
Hierarchy | p. 134 |
Colour | p. 136 |
Surprint, overprint and knockout | p. 138 |
Printing and type realisation | p. 140 |
Type on screen | p. 144 |
Grids and fonts | p. 146 |
Generating type | p. 148 |
Legibility and readability | p. 150 |
Texture | p. 152 |
Type as image | p. 154 |
Concrete poetry, typograms, trompe l'oeil and calligrammes | p. 156 |
Type in the environment | p. 158 |
Scale | p. 160 |
Vernacular | p. 162 |
Appropriation | p. 164 |
Typographic democracy | p. 166 |
Ownership | p. 167 |
Proof marks | p. 168 |
Conclusion | p. 170 |
Contacts | p. 171 |
Glossary | p. 172 |
Index | p. 174 |
Font index | p. 176 |
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