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Typographic Design: Form and Communication | 
| Authors: Rob Carter, Ben Day, Philip B. Meggs
Publisher: Wiley
List Price: $55.00
Buy Used: $3.24
You Save: $51.76 (94%)
New (12) Used (37) from $3.24
Media: Paperback
Edition: 3rd
Number Of Items: 1
Pages: 320
Shipping Weight (lbs): 2.2
Dimensions (in): 11 x 8.5 x 0.7
ISBN: 0471383414
Dewey Decimal Number: 686.224
EAN: 9780471383413
Condition: Little or no highlighting. Textbook only, no cd. We ship daily. Look at our feedback, we provide excellent service. Media mail can take up to 3 weeks to arrive. We suggest the use of PRIORITY shipping when possible. Please refer to our return policies before any purchases. (10/18/08)
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| Editorial Reviews:
Product Description
Includes 80 full-color pages addressing the important issue of color in typographic design.
* New case studies showcase design for Web sites, CD-ROMs, and environmental graphics in addition to the existing case studies which detail examples of visual identification systems, book and magazine design, film and video text, and wayfinding graphics, along with outlines for analysis and solutions.
* Revised technology section emphasizes current digital type technology.
* Five new typefaces are included in the type specimens chapter.
* New information is included on legibility and the Internet.
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| Customer Reviews: Read 2 more reviews...
 An excellent typographic resource July 13, 2008
I had the privilege to have Phil Meggs for Type I in which we used this book. This book in conjunction with his instruction provided me with an invaluable foundation in the understanding of type and it's use as a communication tool. It's a must in any graphic designers library.
 Fair primer July 4, 2007
1 out of 1 found this review helpful
I imagine this book working well as a text for an introductory course on typography. Part of that impression comes from the clear need for an instructor to tie the material together and bring it to life with practical exercises.
The format addresses an audience that reasons in visual terms. Each two page spread, sometimes each page presents a complete thought. Illustration demonstrates each of the points made. The first section presents a history in sound-bites, highlighting the history of print and placing it in historical context. Next, about fifteen pages establish the anatomy of a character and typeface, and the words that describe it. Successive chapters describe basic visual hierarchy and composition, page formatting and legibility, technology as of 1993, and samples from typographic curricula at colleges around the US. The last and larger half of the book presents case studies in a few pages each, then nearly 100 pages of type specimens. Each specimen appears in enlarged form, making important details easily visible. Next, the specimen appears in several examples of body text, giving the font's real reading experience at several point sizes and spacings.
This book does a fair job with the basics, and educators may find ideas that will help their own classrooms. Experienced typographers, even students taking their second course, will bottom out quickly. Your experience of this book will depend on how you use it. A good instructor could find it a helpful adjunct, but self-taught students won't get the direction they look for.
-- wiredweird
A must have January 2, 2007
Definitely a must have. If you are going to own only 3 books on design this should be one of them.
Covers the basics of typography in great detail and then goes on to discuss how it has been implemented through history. Great solid content and great examples, like most of Meggs work.
Up to date February 7, 2006
0 out of 2 found this review helpful
This is a great text book for graphic designers to have in their library. It provides a lot of visuals and information designers should be familiarized with.
One of the best July 4, 2004
19 out of 20 found this review helpful
I have been a graphic designer for over 20 years. I teach typography at the university level. I learned typography the old-fashioned way: by specifying, setting, and manipulating it by hand. From that background I can confidently state that THE best way to truly understand how type works is through understanding the forms of letters, words, and groups of words.Students trying to understand typography today have a huge disincentive to slow down and truly study how type works and that is, the speed of the computer. It's easy to go right past the fundamentally subtle nature of letterforms and combinations thereof. You can't understand type at the pace that you can pull down a menu and select a typeface while rushing to get to the more exciting steps of design. This book is one of the very best for SHOWING what type is really about. Comments about the layout of the book and the size of artwork in it should not dissuade students and instructors; this book will show you what type IS and how it works in design.
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