Thinking with Type: A Critical Guide for Designers, Writers, Editors, and Students (Design Briefs)

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Thinking with Type: A Critical Guide for Designers, Writers, Editors, and Students (Design Briefs)

Thinking with Type: A Critical Guide for Designers, Writers, Editors, and Students (Design Briefs)

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Lupton considers various forms of presenting information and how linear or non-linear they are. Text has the capacity to be much less linear than speech, especially when it's stored in a database. It is kind of like asking a city kid where food comes from—well duh, it comes from the grocery store! A superfamily comprises dozens of related fonts in multiple weights and/or widths, often with both sans-serif and serif versions. Small capitals and non-lining numerals (formerly only in serif fonts) appear in the sans-serif versions of Thesis, Scala Pro and other contemporary superfamilies. Some type families evolve over time. An exception is Univers, designed by Swiss typographer Adrian Frutiger, in 1957. Frutiger designed 21 versions of Univers, thereby conceiving an entire system of it. Choose Your Type Wisely

Text. A text, Lupton reminds us, is: an ongoing sequence of words distinct from shorter headlines or captions (87). Debates about a book, which requires an author, as opposed to “text” are everywhere in the postmodern period when authors, like Jacques Derrida (91), question to the need for an authority figure in charge of producing a text. Lupton enters this debate, in part, by elegantly illustrating alternatives to simple text. Type classifications were a basic system for classifying typefaces devised in the nineteenth century, in an effort to organize and understand type. Common classifications include Serif, Sans Serif, Monospace, Script and Display typefaces.

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So dive in to discover the different types of thinking, how to identify yours, and how to improve it. Types of Thinking Their forte? Hidden meanings behind things and relate them to other items, events, or experiences. They usually can observe things as theories and/or possibilities. And they’re often curious about how everything relates to the bigger picture. Ok, so let me use this opportunity to educate some of us on the difference between typography and fonts. I’m not a complicated human so I’ll try to be as concise as ever because I’m honing my content design skill. This book is organized into three sections: letter, text, and grid. Each section begins with an overview of that category, including its definition and history, then splits into multiple smaller sections about specific subcategories. Practical Tip: To create a baseline grid, simply choose the type size and leading of your text, such as 10-pt Scala Pro with 12 pts leading (10/12). Avoid auto leading so that you can work with whole numbers that multiply and divide cleanly. Use this line space increment to set the baseline grid in your document preferences.

A set of Brno Chairs, designed by Ludwig Mies van der Rohe in 1930. The chairs are neatly positioned around a table in the Villa Tugendhat.

Types of Type

Thinking with Type is to typography what Stephen Hawking's A Brief History of Time is to physics."-- I Love Typography Thinking with Type is to typography what Stephen Hawking's A Brief History of Time is to physics."— I Love Typography Now that you understand the importance of the grid systems and how to integrate them into your work, take what you learned and add a little structure to your designs. References and Where to Learn More For a concrete thinker, it’s about practical thinking only, always literal, and to the point. They mainly focus on what’s in front of them, but not so much on what’s beyond their viewpoint.



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