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Product Description
Typography - the art, or skill, of designing printed matter, especially printed words - has a history stretching back five hundred years. Ever since its invention in the fifteenth century printing has been based on the movable types, and this technology has conditioned the design of everything from pamphlets to newspapers, books and magazines. But in the last quarter of the twentieth century a revolution has taken place. Printers and designers throughout the world have jettisoned the old technology in favor of advanced filmsetting and desk-top systems, which introduce new problems and open up exciting possibilities for typographers. This book tackles the implications for designers of the typesetting revolution. Written with an infectious zest and enthusiasm, it is sure to become the budding typographer's basic reference book.
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Most Helpful Customer Reviews
13 of 13 people found the following review helpful
Format:Paperback
The book was written in 1980 before the onset of desktop publishing, and even with the additions in 1992 is in some respects a little outdated in some places. However there is a lot of practical information that is still very relevant today. Furthermore the book is well written in an easy to read style and nicely designed with wide margins that have lovely illustrations and examples of typefaces. It also makes it easy to hold the book and not have your thumb cover the text. The book starts with an historical overview of printing, then explains equipment that would have been used in a typographers studio, much of which is probably superceded by computers now. The book then examines what makes a legible publication, taking account of typefaces (serif is better for long articles), good line lengths, use of space and cultural background. Caligraphy and classification of typefaces are looked at, followed by different methods of typesetting such as hot and cold metal and filmsetting (again this is now more of a historical section). An interesting chapter on paper explains how it is made and different types that are available, the good advice to talk to your printer rather than make a choice yourself is typical of the practical information the book provides. Two chapters cover book design ranging from the parts of a book and the merits of asymmetrical or centred typography and proofers marks. McLean translated a couple of Jan Tschichold's books so is well informed on this subject and that of the golden section for determining the margins in a book. Practical considerations such as libraries often re-binding books twice and guides on margins to allow this are given here. Short chapters on jobbing typography, such as business cards, and newspaper design close the book. McLean redesigned the Observer's weekend review section in 1960 and has useful insights on design considerations.
6 of 6 people found the following review helpful
Format:Paperback
Ruri McLean seems to me to have well informed and considered opinions which are not only interesting in their own right but generate enthusiasm and interest in the topics covered.
I am finding this book to be extremely informative and useful. Although I work in modern design spheres and the book has a strong leaning towards methods of typography either outdated or not directly related to me I find it of great relevance in a field where a little knowledge seems to be a dangerous thing.
Format:Paperback
It is precisely because this book was written before the ubiquity of desk top publishing that I would recommend it to anyone thinking of making a book. When it was written, there were still strong links between typography (what we call graphic design today) and printing. Understanding these connections provides an important foundation in dealing with a blank page. This book helps the reader understand what makes a well designed book. With its help you will exercise restraint, appreciate conventions and design the very best book (or page) that you are capable of. Read it first and you'll save hours of subsequent agonising over "what went wrong". With this book you are in very safe hands - its guidance will free you to make creative decisions instead of worrying about whether the Foreword should go before or after the Contents.
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