Typographic communications today:
Gespeichert in:
| Format: | Buch |
|---|---|
| Sprache: | Undetermined |
| Veröffentlicht: |
Cambridge, Mass. u.a.
MIT Pr.
1989
|
| Ausgabe: | 1. MIT Pr. ed. |
| Schlagworte: | |
| Online-Zugang: | Klappentext Inhaltsverzeichnis |
| Beschreibung: | VI, 249 S. überw. Ill. |
| ISBN: | 0262071142 |
Internformat
MARC
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| 245 | 1 | 0 | |a Typographic communications today |c by Edward M. Gottschall. International Typeface Corporation, New York, NY |
| 250 | |a 1. MIT Pr. ed. | ||
| 264 | 1 | |a Cambridge, Mass. u.a. |b MIT Pr. |c 1989 | |
| 300 | |a VI, 249 S. |b überw. Ill. | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
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Datensatz im Suchindex
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|---|---|
| DE-BY-FWS_call_number | 2803/2006:0101 |
| DE-BY-FWS_katkey | 44175 |
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| adam_text | TYPOGRAPHIC COMMUNICATIONS TODAY
Table of Contents
PAGE
PAGE
PAGE
Preface, by Aaron Burns
Introduction
I. The Many Faces of Typographic Design
2
Vitality and dynamism. Clarity and order.
Disorder for its own sake. Typographic
irregularity with a purpose. Customized
non-dogmatic typographies. Vitality/clarity, a
blend. Order and graphic redundancy. Complexity
and distinctiveness. Symbology, directness,
uniqueness, appropriateness. What is ideal?
Typographic noise. A myriad of looks.
П.
Roots
-
Evolution and Revolution from
Constable to Kandinsky
12
The painting/typography connection. Traditional
representational painting. Impressionism. Post-
Impressionism. Expressionism. Fauvism. Art
Nouveau.
Cubism. Futurism.
Dadaism.
Surrealism. Abstraction. Non-Objective art.
Ш.
Order Out of Chaos
24
The Russian
Avant
Garde. Suprematism.
Constructivism. Fine art/graphic design links.
The
De Stijl
movement in the Netherlands.
Theo
van
Doesburg. Piet Mondrian. Piet Zwart.
Paul Schuitema.
H.
N.
Werkman.
Art Deco.
IV. The Focal Point -The
Bauhaus 32
Origins. Concept Typography at the
Bauhaus.
Johannes
Itten, Laszlo
Moholy-Nagy,
Herbert Bayer
Joost
Schmidt. The role of
van
Doesburg
and El Lissitzky. The end of the
Bauhaus.
Its impact then and now.
V. Spreading the Word: Jan Tschichold
40
Tschichold s role in teaching and practicing
typographic orderliness, asymmetry, and the use
of sans serif typefaces.
VI. Fine Tuning: Clarity
and Grid Systems
44
What is a grid? The influence of
Theo Balmer,
Max Bill,
Emil
Ruder, Josef
Müller-Brockmann,
Armin
Hoffmann, Walter Herdeg, in Switzerland.
The grid system emigrates. The Italian connection
and the role of Studio Boggeri, Max Huber,
Xanti Schawinsky, Carlo Vivarelli,
Albe Steiner,
Bruno
Munari,
Giovanni
Pintori
and others.
Anton Stankowski s work in Stuttgart.
Typographies of Ernst
Schneidler,
Ladislav
Sutnar,
Karol
Tiege,
Karl Gerstner.
VII.
The New Typography
Crosses the Ocean
54
Thumbnail sketches of dozens of the influential
typographic designers who brought their
approach to contemporary typography to the
United States and Canada.
VIII.
American Design Pioneers
62
Paul Rand. Bradbury Thompson. Lester
Beali.
William Golden.
IX. The Influence of the Private Press
74
The major late 19th and 20th century private
presses in England and the United States, and
how they influenced typography there.
X. Typeface Milestones
1896-1960 78
Some of F.
W
Goudy s observations about the
beauty and importance of typefaces. Major
typefaces and typeface design directions in the
heyday and twilight years of metal typography.
Full alphabets of
97
typefaces are shown and
grouped by design characteristics. Experimental
typefaces. The Family Concept. A summary of
typeface trends by decades. Ten newspaper text
typefaces.
XI. Typefaces
1970— 90
The impact of computers and laser technologies
on typeface designs ar d typesetting. Typeface
design systems:
Ikarus,
Letter IP, PM Digital
Spiral, Monotype, others. Low resolution output.
Monospace typefaces. Full alphabets of more than
90
typefaces are shown and grouped by design
characteristics. The influence of rrc. The role of
A.Typ. 1
Thoughts about typefaces.
XII.
Bits, Bytes and Typographic Design
104
A wide spectrum of technologies in the
70s
and
80s
that have revolutionized typographies and
expanded the number of people who set and
compose type from the tens of thousands to over
a million. A consideration of the implications
of the entry of typographic novices to the world
of typographic communications. How the new
technologies have changed what can be done,
how it s done, and how budgets, timetables,
communication effectiveness and lines of
authority have been affected.
XIII.
The Many Faces of
Typography Today
120
How many outstanding designers around the
world are striving for typographic excellence and
communication effectiveness. A look at the most
recent decades and the many different roads to
achieving visual vitality, communication impact
and clarity, or an appropriate blend of these very
reconcilable attributes.
XIV.
Thoughts
234
Thoughts about how to use type more effectively,
by Otl Aicher, Herbert Bayer, Lester
Beali,
Will
Burtin, Max Caflisch, Ivan Chermayeff, Louis
Dorfsman, Max Huber, Allen F. Hurlburt, Vance
Jonson,
Herb Lubalin, Paul Rand, Klaus Schmidt,
Herbert Spencer, and others.
Acknowledgments, Permissions
239
Select Bibliography
240
Index
244
Colophon
249
typographic Communications Today
by Edward M.
Gottschall
Suddenly, the universe of people making decisions
about typography has expanded. Effective visual
communication
—
through informed manipulation
of the size and style of type, its placement on a two-
dimensional surface, its integration with graphic
material, and the quality of its reproduction
—
is within reach of anyone who has a computer.
Typographic Communications Today places this
phenomenon in historical perspective, covering
the whole of twentieth-century graphic design.
With over
900
illustrations, more than
500
in color,
it is an essential reference book for graphic artists and
designers and for those who, regardless of profession,
are involved in design choices. It clarifies the options
available in this new era of print while at the same
time examining the new technologies in the context
of art history. The numerous quotations by first-rate
designers make this a treasury of good thinking ahout
the hows and whys of typographic design.
Types are displayed and grid systems employed as
they are being discussed. Gottschall s lively commen¬
tary examines the many typographic solutions
designers have evolved for communications prob¬
lems, beginning with the creative solutions devised
by artists
—
painters, architects, poets
—
and conclud¬
ing with the opportunities and challenges posed by
computers and laser technology.
Several chapters focus on how these technologies
have changed the ways typefaces are being designed
and used.
Gottschall
explains how terminals, output
devices, networks, scanners, and software have revo¬
lutionized the world of typesetting and given graphic
designers a whole new set of tools, freedoms, and
restrictions. The chapter Bits, Bytes, and Typo¬
graphic Design, for example, offers a state-of-the-art
review of keyboarding on terminals, image scanning,
electronic filing, and networking. Not only does
Gottschall
discuss the role of personal computers and
word processing software, he also reviews the pack¬
ages and languages available from all of the major
corporate players
-
Apple, Xerox, Wang, ibm,
at&t,
Interleaf, and many others
-
and goes further to
evaluate the future of such possibilities as X-ray chip
etching.
Edward M.Gottschali is Vice Chairman of Interna¬
tional Typeface Corporation and Editor of U&L·
magazine.
|
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| title | Typographic communications today |
| title_auth | Typographic communications today |
| title_exact_search | Typographic communications today |
| title_full | Typographic communications today by Edward M. Gottschall. International Typeface Corporation, New York, NY |
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Inhaltsverzeichnis
THWS Schweinfurt Magazin
| Signatur: |
2803 2006:0101 |
|---|---|
| Exemplar 1 | ausleihbar Verfügbar Bestellen |