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It is a primer, an introduction, but in no way fulfilling of its hype. A great book, for the right person. For worthwhile instruction and something to dwell in, I strongly recommend The Elements of Typographic Style It covers the same subjects as this book, going far more in-depth with practical instruction and advice covering every aspect of typography. The Grid section is especially vague and almost uninformative. For someone wanting to know about typography, or someone just getting started in the field of typography or graphic design, this book is for you. It covers a broad spectrum of subjects, all very relevant to today's world of design.However, it is sorely lacking in content for anyone who wants to get serious about design.
It's like those conversations that are really exciting because everyone is hopped up on coffee and no one knows where its going and you get people saying "what where we talking about." every 5seconds. it will show lots of cool stuff, but it all seems oddly extraneous, since it never comes back to the IDEA of typography. Required book for my typography course, and to be frank I absolutely hated it. When it comes to typography I'm very pick and this book tries to be organized but unfortunately becomes ADHD, hah.It has lots of great info, but fails to tie it all together.
if you are taking typography and this is your required text, then I highly recommend it.
The sections might be considered essays more than a longer narrative, which makes for an easy read.The examples are as integral to the book's narrative as the history itself. In talking about spacing, the history of written type translated onto evenly made printing blocks is transformed into the modern purpose of controlling visual space in body copy. History is weaved between practical information in a way that is more narrative and entertaining than the typically dry text book lesson. In one moment you're reading about the purpose of body text; the author switches abruptly into the history of written manuscripts. In steering projects toward visual solutions that deliver clear messages, we have to look at the very building blocks of design.
Makes sense. This book comes from Ellen Lupton, a professor at my home state's Maryland Institute College of Art.Choosing type isn't just about whim or feeling. Perhaps not. The modern model of dynamic typography that changes with context is in full effect and some readers might not like some of the more magazine styled layouts.I suspect that the average reader will learn a lot from this text. The format is almost web-like in it's sections and pieces which appeals to a young and tech-savvy designer such as myself.
It's the backdrop for basing modern uses of type. If the cover seems familiar it might be because I mentioned this book before in my article Gifts for Graphic Designers: A Wish List, but it's time for a more thorough review. In a short few paragraphs we're in the digital age of dynamic text. The writer doesn't just force you to memorize this kind of information, but instead she explains why. This book deconstructs type into basic elements helping you make informed design decisions. Design isn't just about how things look, the answer to a design challenge is more about discovering why certain things work.
Many of the other examples are just fun type tricks and explainations on when and why they work or don't.Effectively conveyed is type styles' effectiveness in different mediums. Purposefully functional,the history isn't fully explored. It's a field guide for professionals to deal with type. Helvetica is a font designed for print, Verdana works well for web. The layout of the book has great play with type itself. Thinking with Type: A Critical Guide for Designers, Writers, Editors, & Students aims to get at the heart of this issue.
This is possibly ideal for the busy modern pros that the book must be aimed to, but for those looking for a long form and in-depth view you'll have to go elsewhere. The answers are stated with justified text. The layout grid is discussed like most things, with it's origin with printing press. So you can look at type with fresh eyes and see that Verdana's large x-height and simple curves work well for the pixel display of the computer system. The essay format drives the points forward and then simply moves on. Will the average writer or editor appreciate this information as much.
The short page count of the book can be seen as a much appreciated conciseness. It may not be what everyone is looking for, but it will appeal to many design professionals who need a quick reference and crash course. It can serve as a good guide during the design process. The book's aim is to be as practical as possible while providing a logical and historical foundation. The focus is clearly intended to steer the reader into the uses of the modern grid in magazine, book and web design.There are some negatives. When is justified text good or bad.
The book is divided into three sections: Letter, Text and Grid plus an appendix of definitions, hints and warnings. The design of the pages often split the text liberally with examples.
One of the easiest I have ever read, almost like a childrens book, but better. It is fun to read. It is filled with historical and present typographic trends and styles and common rules and systems that are used throughout the history of type, and much much more. This book is full of stuff. Once you start you really don't want to put it down.
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