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Very Short Introductions #584
Typography: A Very Short Introduction
Typography, the art of designing printed words, was once the domain of an elite few artists but has become an area with which millions of people engage daily. The widespread usage of digital devices from laptops to tablets and smart phones which are used for written communications means that we are regularly asked to make decisions about the fonts, sizes, and layouts we use in our writing. This broadening engagement with the field of typography has led to a perceptible shift from debates about legibility and technicalities to conversations about which fonts best reflect the writer's personality or style.
In this Very Short Introduction , Paul Luna offers a broad definition of typography as design for reading, whether in print or on screens, where a set of visual choices are taken to make a written message more accessible, more easily transmitted, more significant, or more attractive. Considering the development of letterforms and the shapes of letter we use, Luna discusses the history behind our modern day letters and fonts, before considering the issues behind key typographic decisions, and the differences between printed and on-screen typography. Presenting any piece of typography as a fundamental design choice, Luna introduces the options available today, and explores the reasons why key typographic decisions are made.
ABOUT THE SERIES : The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.
In this Very Short Introduction , Paul Luna offers a broad definition of typography as design for reading, whether in print or on screens, where a set of visual choices are taken to make a written message more accessible, more easily transmitted, more significant, or more attractive. Considering the development of letterforms and the shapes of letter we use, Luna discusses the history behind our modern day letters and fonts, before considering the issues behind key typographic decisions, and the differences between printed and on-screen typography. Presenting any piece of typography as a fundamental design choice, Luna introduces the options available today, and explores the reasons why key typographic decisions are made.
ABOUT THE SERIES : The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.
176 pages, Paperback
Published February 1, 2019
24 people are currently reading
215 people want to read
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Displaying 1 - 11 of 11 reviews
December 21, 2020
So there's more to fonts than that they just came with the word processing software you pirated!
Every font and typeface has its own history and it's interesting to learn how fonts and types came to be and how their origins trace back to monk's tedious handwritings, presses and publishing houses and how, later on, many design decisions were made solely based on economics and pragmatism; save out space (paper) and ink, draw attention or seduce etcetera. Most fonts we come across now trace back to newspapers and publishing houses (like many font's names are already suggestive of).
Also, the QWERTY-keyboard layout we use is not a well thought-out ergonomic design but just shaped this way so that more commonly used letters are spread out evenly instead of put together in the middle so that, in past times, typewriters wouldn't jam so often. A more comfortable and less straining alternative is the Dvorak-keyboard layout – which nobody uses. Food for thought.
I didn't care about all the technological aspects that are explained in the book though. It's clear that a lot of thought and calculations went to optical sizing and stuff but I doubt that a lot of readers would actually care to learn the exact formulas for doing so.
Worth scanning for the origins and history of typefaces and letterpress printing in general but all-over it was a bit too technical for "A Very Short Introduction" to typography for me.
Every font and typeface has its own history and it's interesting to learn how fonts and types came to be and how their origins trace back to monk's tedious handwritings, presses and publishing houses and how, later on, many design decisions were made solely based on economics and pragmatism; save out space (paper) and ink, draw attention or seduce etcetera. Most fonts we come across now trace back to newspapers and publishing houses (like many font's names are already suggestive of).
Also, the QWERTY-keyboard layout we use is not a well thought-out ergonomic design but just shaped this way so that more commonly used letters are spread out evenly instead of put together in the middle so that, in past times, typewriters wouldn't jam so often. A more comfortable and less straining alternative is the Dvorak-keyboard layout – which nobody uses. Food for thought.
I didn't care about all the technological aspects that are explained in the book though. It's clear that a lot of thought and calculations went to optical sizing and stuff but I doubt that a lot of readers would actually care to learn the exact formulas for doing so.
Worth scanning for the origins and history of typefaces and letterpress printing in general but all-over it was a bit too technical for "A Very Short Introduction" to typography for me.
October 18, 2021
Paul Luna expertly articulates a surprisingly broad scope of information that leaves the reader informed and eager to learn more. Further, the discussion extends beyond typography into the greater concept of design which contributes to the message's universal nature and makes work a valuable read for a range of professionals.
Passages I found significant:
"Documents are not neutral channels through which information flows frictionlessly between writer and reader." (p. 68)
"Looking at ephemera lets us trace ideas about the relationship of graphic form to language with an evidence base of voices and approaches far wider than those of books or even magazines, and forces us to confront the visual meaning of items which don't have a convenient, prejudged, iconic status." (p. 103)
Passages I found significant:
"Documents are not neutral channels through which information flows frictionlessly between writer and reader." (p. 68)
"Looking at ephemera lets us trace ideas about the relationship of graphic form to language with an evidence base of voices and approaches far wider than those of books or even magazines, and forces us to confront the visual meaning of items which don't have a convenient, prejudged, iconic status." (p. 103)
October 2, 2022
Αυτό είναι ένα βαρετό βιβλίο, θυμίζει τι χειρότερες στιγμές ενός σχολικού βιβλίου ιστορίας, παραθέτοντας ονόματα και ημερομηνίες αλλά με πολύ λίγες (αναλογικά) εικόνες και ανέκδοτες ιστορίες που θα βοηθούσαν στην κατανόηση και θα έκαναν το βιβλίο πιο ενδιαφέρον. Δεν υπάρχει τίποτα για να εμπνεύσει κάποιον να μάθει περισσότερα για την τέχνη της τυπογραφίας. Αυτό που μένει στον αναγνώστη είναι κάτι του τύπου: Α, αυτή η γραμματοσειρά λέγεται Gsramond, κάποιος ήταν αυτός...
Δεν είναι το καλύτερο βιβλίο για την τυπογραφία, αποφύγετέ το, ιδιαίτερα αν είναι η πρώτη σας επαφή...
Δεν είναι το καλύτερο βιβλίο για την τυπογραφία, αποφύγετέ το, ιδιαίτερα αν είναι η πρώτη σας επαφή...
October 21, 2022
fascinating. focused on the technical aspects and history for the most part. didnt mind the history bit but the niche technical details werent too great for an introduction. last chapter has typography design tips tho
April 29, 2021
Awful as a first introduction. Dull, boring, it says a lot of things but none of which that are engaging.
August 10, 2019
Paul Luna is Emeritus Professor of Typography & Graphic Communication at Reading University and former Head of Corporate Design at Oxford University Press. In this interesting, although quite technical book, whic, ironically, is hampered by a small typeface that makes it difficult to read, he sets out ideas about the development of typography, how to organise typographic material and the differences between printed and electronic typography.
January 15, 2019
An insightful and interesting first introduction to typography from its history to usage for people with limited vision and how to present it best with tips and advice. A hugely informative book for a novice such as myself featuring a lot of recommendations for further reading. I will definitely refer to this book again! Very happy with my first read of the VSI series!
January 17, 2025
This little book “does what it says on the tin”: it gives a quick overview of the field of typography in terms of history, approach, and practical advice. A must-read for any designer working with text.
December 2, 2018
A small book, but an excellent up-to-date account of typography, which cried out for more illustrations! Still, plenty to follow-up on.
June 10, 2024
Nirvana for typo-nerds. Fun read with lots of detail and insight. Good history to kick it off.
July 19, 2020
An informative book that covers a broad range of topics related to typography, but I found it a bit dry. The biggest problem with the book is the scarce use of illustrations. Maybe this has to do with the format, but I found many ideas and examples difficult to visualize or grasp because of this. Many references to historical figures and notable works also make the book a bit harder to plow through, but are helpful for future reference. Overall, I felt that I got a broad overview of the field of typography, but really wish there were many more illustrations.
Displaying 1 - 11 of 11 reviews