is a freelance Designer and Art Director based in Oregon. He is the creator and curator of ,, an independent typography site helping designers choose the perfect font combinations.

  • 20th-Century Type

    An updated and expanded edition of a classic book on 20th-century graphic design.,surveysthe significant issues that have shaped the history and evolution of typography and graphic design, showing how current typographic trends are part of a continuously changing movement that can be plotted through the decades. Generously illustrated with over three hundred examples???more than two hundred of which are in color???the book charts significant topics including the arrival of mass-production; the birth of the art director; the appearance of the grid (and its subsequent rejection); the coming of non-print media; and the launch of the Macintosh computer and its ushering in of a new generation of designers enfranchised by digital technology.,This revised edition of a fundamental work brings the story up to date with new text and images covering type on screen and, in particular, type for the internet. Combining an assessment of the culture of experimentation in contemporary typographic design alongside a clear presentation of the field???s historical context, the book is an informed and accessible source for all students of design and for designers needing an expert overview of typography.

  • A Type Primer

    Practical and hands-on in approach, this book/exercise manual speaks clearly to beginning graphic designers and others involved with type about the complex meeting of message, image, and history surrounding typography.

  • A???Z of Letterpress

    A must for letterpress enthusiasts and graphic designers, this is a covetable showcase of Alan Kitching’s font collection. Each page has been carefully created by Alan Kitching in collaboration with Angus Hyland, making this book a work of art in its own right. Presented as an A to Z, each letter is interspersed with complete alphabets giving the reader access to a large range of fonts to reference in their own work.

  • An Essay on Typography

    An Essay on Typography was first published in 1931, instantly recognized as a classic, and has long been unavailable. It represents Gill at his best opinionated, fustian, and consistently humane. It is his only major work on typography and remains indispensable for anyone interested in the art of letter forms and the presentation of graphic information.,This manifesto, however, is not only about letters their form, fit, and function but also about man’s role in an industrial society. As Gill wrote later, it was his chief object “to describe two worlds that of industrialism and that of the human workman & to define their limits.”,His thinking about type is still provocative. Here are the seeds of modern advertising unjustified lines, tight word and letter spacing, ample leading. Here, too, is vintage Gill, as polemical as he is practical, as much concerned about the soul of man as the work of man; as much obsessed by the ends as by the means.

  • Better Web Typography for a Better Web

    Better Web Typography for a Better Web is a book is based on a top-rated online course explaining typography to people who build web sites???web designers and web developers. The author, Matej Latin, takes complex concepts such as vertical rhythm, modular scale and page composition, and explains them in a simple way. The content of the book is accompanied by live code examples and the readers design and build an example website as they go through it. This is a new typography book for a new medium, the rules haven’t changed much, everything else has.

  • Designing with Type

    The classic , has been completely redesigned, with an updated format and full color throughout. New information and new images make this perennial best-seller an even more valuable tool for anyone interested in learning about typography. The fifth edition has been integrated with a convenient website, ,, where students and teachers can examine hundreds of design solutions and explore a world of typographic information. First published more than thirty-five years ago, , has sold more than 250,000 copies???and this fully updated edition, with its new online resource, will educate and inspire a new generation of designers.

  • Encyclopaedia of Typefaces

    The standard typography desktop reference???now in its 5th revision, with new resources sure to please today???s graphic artists, desktop publishers and website designers. Nearly 2,000 fonts cover every need. Each typeface is arranged alphabetically, with Roman, Lineale, and Script versions, usually in upper and lower case alphabets and numerals. Along with new fonts, illustrations show many classic typefaces that are only found here. ,: a glossary of technical terms and tips on classifying types.

  • Flexible Typesetting

    For the first time in hundreds of years, because of the web, the role of the typographer has changed. We no longer decide; we suggest. We no longer simply choose typefaces, font sizes, line spacing, and margins; we prepare and instruct text to make those choices for itself. In this book, Tim Brown illuminates the complex, beautiful world of typesetting-arguably the most important part of typography because it forms the backbone of the reading experience-and shows us how to parry the inevitable pressures that arise when we can no longer predict how, and where, our text will be read.

  • Just My Type

    What???s your type? Suddenly everyone???s obsessed with fonts. Whether you???re enraged by Ikea???s Verdanagate, want to know what the Beach Boys have in common with easy Jet or why it???s okay to like Comic Sans, Just My Type will have the answer. Learn why using upper case got a New Zealand health worker sacked. Refer to Prince in the Tafkap years as a Dingbat (that works on many levels). Spot where movies get their time periods wrong and don???t be duped by fake posters on eBay. Simon Garfield meets the people behind the typefaces and along the way learns why some fonts ??? like men ??? are from Mars and some are from Venus. From type on the high street and album covers, to the print in our homes and offices, Garfield is the font of all types of knowledge.

  • On Web Typography

    Achieving a thorough grasp of typography can take a lifetime, but moving beyond the basics is within your reach right now. In this book, we???ll learn how to look at typefaces with a discerning eye, different approaches to typographic planning, how typography impacts the act of reading, and how to choose and combine appropriate typefaces from an aesthetic and technical point of view. Through an understanding of our design tools and how they relate to the web as a medium, we can empower ourselves to use type in meaningful and powerful ways.

  • Shaping Text

    takes a practical and broad approach to typography. It is aimed at design students and graphic designers, and also at those who are concerned with content: writers, editors, and publishers. Showing a wide range of examples from first-rate designers across the world, the book examines why and how typographic designs work well in a given context. Particular attention is given to the team play between the text itself???written language???and the design???the shaping of the text???to form a new, multilevel visual message with a complex content.

  • Stop Stealing Sheep & Find Out How Type Works

    Explains what type is, demonstrates how to select it, and examines its use in printed communication.

  • The Anatomy of Type

    Students and professionals in any creative field can benefit from a good typographic eye. The Anatomy of Type (The Geometry of Type in the UK) is all about looking more closely at letters. Through visual diagrams and practical descriptions, you???ll learn how to distinguish between related typefaces and see how the attributes of letterforms (such as contrast, detail, and proportion) affect the mood, readability, and use of each typeface. Nutritional value aside, the spreads full of big type are nice eye candy, too.,The 100 typefaces featured in the book are hand-picked by the author for their functionality and stylistic relevance in today???s design landscape. Along with several familiar faces (Garamond, Bodoni, Gill Sans, Helvetica), you???ll also discover contemporary fonts that are less common ??? and often more useful ??? than the overused classics.

  • The Complete Manual of Typography

    This book is about how type should look and how to make it look that way; in other words, how to set type like a professional. It releases the craft knowledge that used to reside almost exclusively in the heads of people working in type shops. The shops are gone, the technologies have changed, but the goal remains the same. This book explains in very practical terms how to use today’s computerized tools to achieve that secret of good design: well-set type.,Beautifully designed and richly illustrated, The Complete Manual of Typography is an essential reference for anyone who works with type. Designers, print production professionals, and corporate communications managers can go straight to the index to find focused answers to specific questions, while educators and students can read it as a textbook from cover to cover. You’ll find:,History, basic concepts, and anatomy of good typography, concisely presented and indexed for quick reference by busy professionals. Straight-ahead instructions for how to manage fonts, handle corrupted or missing fonts, and find the characters you need. Clear, useful explanations of what makes good type good (and bad type bad) . Detailed guidance on controlling the fundamentals of type, including measure, point size, leading, kerning, and hyphenation and justification. Practical advice on how to fix and avoid composition problems such as loose lines, bad rags, widows and orphans. Hard-to-find rules for managing indents and alignments, skews, wraps, expert-set characters, and tables. Scores of workarounds that show how to wring good type out of uncooperative word-processing and layout programs.

  • The Designer???s Dictionary of Type

    follows in the footsteps of ,providing a vivid and highly accessible look at an even more important graphic design ingredient: typography. From classic fonts like Garamond and Helvetica, to modern-day digital fonts like OCR-A and Keedy Sans, author and designer Sean Adams demystifies 48 major typefaces, describing their history, stylistic traits, and common application. Adams once again provides eye-catching illustrated examples, this time showcasing the beauty and expressiveness of typography, as employed by the world???s greatest designers. Organized by serif, sans-serif, script, display, and digital typefaces, this book will be a vital guide for designers, teachers, or students looking to gain a foundational understanding of the art, practice, and history of typography.

  • The Elements of Typographic Style

    Renowned typographer and poet Robert Bringhurst brings clarity to the art of typography with this masterful style guide. Combining practical, theoretical, and historical, this book is a must for graphic artists, editors, or anyone working with the printed page using digital or traditional methods.,Having established itself as a standard in its field , is house manual at most American university presses, a standard university text, and a reference work in studios of designers around the world. It has been translated into italian and greek, and dutch.

  • The Evolution of Type

    The history of letter design from woodcuts to computer fonts.,The Evolution of Type examines 100 landmark typefaces from the history of font design, from the type used by Johannes Gutenberg to produce his 42-Line Bible, to the latest digital typefaces. It reveals the meaning behind typographic characters and shows how the use of type has changed over time.,A full spread is devoted to each typeface and its origins. Concise text describes the design history and usage of the face, and its long-term impact on the development of typefaces. Annotated enlargements show the new features that the typeface introduced and highlight its most important design characteristics.,The Evolution of Type has practical applications in many fields of graphic design. General readers will enjoy learning about something that they encounter every day. They will gain an appreciation for the unique characteristics of a word beyond its dictionary definition.

  • The New Typography

    Since its initial publication in Berlin in 1928, Jan Tschichold’s ,has been recognized as the definitive treatise on book and graphic design in the machine age. First published in English in 1995, with an excellent introduction by Robin Kinross, this new edition includes a foreword by Rich Hendel, who considers current thinking about Tschichold’s life and work.

  • The Visual History of Type

    is a comprehensive, detailed survey of the major typefaces produced since the advent of printing with movable type in the mid???fifteenth century to the present day. Arranged chronologically to provide context, more than 320 typefaces are displayed in the form of their original type specimens or earliest printing. Each entry is supported by a brief history and description of key characteristics of the typeface.,This book will be the definitive publication in its field, appealing to graphic designers, educators, historians and design students. It will also be a significant resource for professional type designers and students of type.,I’ve always felt that good typography is the most undervalued and underappreciated elements in modern product design. Text is never just text. It often goes unnoticed in good design, but good type design can elicit emotion, guide attention and even create a typographical identity.,The designers at , valued to the power of typography and typographical identity in their recent , when they selected an old-style serif, ,, as their primary typeface. , was originally released over 100 years ago, and the slightly ironic choice (for a tech company) has become synonymous with ,’s brand in just a couple of years.,Bad typography, by contrast, sticks out. Even to non-design oriented folks, bad typography is easy to spot, reflects badly on the brand and leads to a poor user experience.,Often (and I’m the first to admit I do this), designers fall back on , rather than carefully considering the best typography for a design. Partly, because good typography skills are difficult to master. Paired with ,, understanding the basics of effective typography is a powerful force multiplier to help you stand out and improve user experiences., traces the evolution of typeface design over the last 200 years. As much a beautifully-design coffee table as an exhaustive and thorough history of type, , is a great primer for levelling up on your typography knowledge.,If you’re interested in a more practical book dedicated to improving your web design typography, an honourable mention goes to , by , which I highly recommend!

  • Type

    This book offers a novel overview of typeface design, exploring the most beautiful and remarkable examples of font catalogs from the history of publishing, with a special emphasis on the period from the mid-19th century to the mid-20th century, when color catalogs were at their height. Taken from a Dutch collection, this exuberant selection traverses the evolution of the printed letter in all its various incarnations via exquisitely designed catalogs displaying not only type specimens in roman, italic, bold, semi-bold, narrow, and broad, but also characters, borders, ornaments, initial letters and decorations as well as often spectacular examples of the use of the letters. The Victorian fonts, sumptuous and sometimes unbelievably outrageous, are accorded a prominent place in this book. In addition to lead letters, examples from lithography and letters by window-dressers, inscription carvers, and calligraphers are also displayed and described.,Featuring works by type designers including: William Caslon, Fritz Helmuth Ehmcke, Peter Behrens, Rudolf Koch, Eric Gill, Jan van Krimpen, Paul Renner, Jan Tschichold, A. M. Cassandre, Aldo Novarese, Adrian Frutiger.,In order to include a vast amount of material, we have divided this text into two volumes. The first volume displays pre 20th Century type specimens, and the second covers the period from 1900 to the middle of the century. In the first volume, editor Cees de Jong and collector Jan Tholenaar write about single specimens and types; in the second, Alston Purvis outlines the history of types.