Typeface

by Tamye Riggs, James Grieshaber (Collaborator)

If there is one experience that any graphic designer can relate to, it's the quest for the perfect typeface. The right typeface communicates the visual essence of the content while enhancing the impact of the overall design. The dozens of type samplers available are often more confusing than helpful, offering hundreds of choices but little guidance. Classic Typography for Contemporary Design is a unique sourcebook featuring sixty classic typefaces that continue to resonate with today's most influential graphic designers. The book is organized using typographic classifications such as sans serif, serif, display, script, and dingbats. Each typeface is presented in detail, including its origin, main characteristics, and uses. The main character set of each type specimen is accompanied by typesheet style examples including technical specifications and non-Latin characters.

In addition, Typeface includes a unique feature certain to delight a choice of similar typefaces is given for each font, so that alternatives can be easily compared, taking the stress out of tracking down typefaces. Characteristics such as vertically stressed oblique serifs or abrupt contrasts are highlighted and easily cross-referenced, allowing designers to make educated type choices without having to trawl through the seemingly endless pages of type vendor libraries. Accompanying the main character sets and typesheets are examples of the typefaces in use. Leading practitioners such as Pentagram, karlssonwilker inc., and Why Not Associates provide a working context for each typeface, making Typeface both a fully functional sourcebook and an inspirational showcase of international typographic design.

Genres: Design, Nonfiction, Art

256 pages, Paperback

First published July 1, 2009

Reviews

[Araminta Matthews · Rating 3 out of 5]

Here's what I learned from this book: I generally don't like sans serif fonts, which leads me to believe I am more a classicist than a modernist (given that most sans serifs were developed post-1920, and primarily in the 1960-1990s. I also discovered that most script fonts bug me (though I liked Cezanne, which is apparently a faithful rendition of Cezanne's handwriting). And don't get me started on display fonts.

Having said that, I also know that my reaction to those fonts was influenced by reading/experiencing them in print-type as sans serif fonts are better for digital rendering (that is, users can interpret the characters and read more easily in sans serif on a screen and serif in print).

Generally, this book was a fine how-do-you-do, but not what I was hoping for. I liked the historical context of typefaces, and I appreciated the myriad displays/settings of those typefaces in rendition (it gave context), but this is just a coffee table book and I was really after something more scholarly. The truth is, I want to see the personification of typeface--that is, I want to see research on the emotional/artistic reaction to various typefaces in various settings to see if users/readers attach different interpretations to different typefaces. I'll look for that in my next book on the subject...

[Donny Truong · Rating 4 out of 5]

Although the cover is a bit overwhelming, Tamye Riggs’s Typeface is filled with beautiful typographic visuals, unique character highlights, and a bit of history. It’s a perfect coffee table book to look at and to be inspired.

[Justin · Rating 3 out of 5]

A varied assortment of typefaces falling into one of four categories: serif, sans serif, display, and script.

The nuance of change is slight, yet the reading and impact can be tangible.