The Designer’s Dictionary of Type follows in the footsteps of The Designer’s Dictionary of Color, providing a vivid and highly accessible look at an even more important graphic design ingredient: typography.
From classic fonts like Garamond and Helvetica, to modern-day digital fonts like OCR-A and Keedy Sans, author and designer Sean Adams demystifies 48 major typefaces, describing their history, stylistic traits, and common application. Adams once again provides eye-catching illustrated examples, this time showcasing the beauty and expressiveness of typography, as employed by the world’s greatest designers. Organized by serif, sans-serif, script, display, and digital typefaces, this book will be a vital guide for designers, teachers, or students looking to gain a foundational understanding of the art, practice, and history of typography.
Sean Adams is the Chair of the Undergraduate and Graduate Graphic Design Program at ArtCenter. He also serves as Executive Director of the Graphic Design Graduate Program. Adams continues his design practice with The Office of Sean Adams. He is the author of multiple books, and on-screen author for LinkedIn Learning. He is the only two-term AIGA national president in AIGA’s 100-year history. In 2014, Adams was awarded the AIGA Medal, the highest honor in the profession. He currently is on the editorial board and writes for Design Observer.
Adams is an AIGA and Aspen Design Fellow. He has been widely recognized by every major competition and publication, including a solo exhibition at SFMOMA. Adams has been cited as one of the forty most important people shaping design internationally, and one of the top ten influential designers in the United States. Previously, Adams was a founding partner of AdamsMorioka.
In my first semester studying type design, I found this book quite useful. It clearly breaks down the families into categories and subcategories with a detailed analysis of specimens, showing the characteristics for identification. Many examples are given for typical uses in the real world, which is great when looking for ideas for mockups after creating your own typeface.
Although I read the book when taking Type Design, when I had already finished a semester on Typography, the book does well to reiterate how typefaces create atmosphere and personality. Thus, as learned in Typography, the content dictates the choice for presentation.
As with all reference volumes of this type, there will be fonts or designers missing which you might expect; but on the whole this is a very nicely presented and researched volume, focussing on quality of samples for the small selection of fonts over quantity of fonts presented.