Typography, Referenced was named to the 2013 Outstanding Reference Sources List, an annual handpicked list from the Reference and User Services Association (RUSA, a division of the American Library Association) of the most noteworthy reference titles published in 2012.Typography, Referenced is the single most comprehensive volume covering every aspect of typography that any design student, professional designer, or design aficionado needs to know today.
In these pages, you'll find:
—Thousands of illustrated examples of contemporary usage in design
—Historical developments from Greek lapidary letters to the movie Helvetica
—Landmark designs turning single letters into typefaces
—Definitions of essential type-specific language, terms, ideas, principles, and processes
—Ways technology has influenced and advanced type
—The future of type on the web, mobile devices, tablets, and beyond
In short, Typography, Referenced is the ultimate source of typographic information and inspiration, documenting and chronicling the full scope of essential typographic knowledge and design from the beginnings of moveable type to the present "golden age" of typography.
Jason Tselentis teaches graphic design and typography at Winthrop University in Rock Hill, South Carolina. He is the author of Type, Form, and Function by Rockport Publishers.
Allan Haley is Director of Words & Letters at Monotype Imaging, based in Woburn, Massachusetts. He is responsible for strategic planning and creative implementation of just about everything related to typeface designs, and editorial content for the company's type libraries and websites.
Richard Poulin is cofounder, design director, and a principal of Poulin + Morris Inc. (http://www.poulinmorris.com), an internationally recognized, multidisciplinary design consultancy located in New York City. His work has been recognized by major design organizations, competitions, and publications including the American Institute of Graphic Arts (AIGA), Communication Arts, Graphis, Library of Congress, Type Director Club, and the New York Art Directors Club. Richard is a Fellow of the Society for Environmental Graphic Design, the organization's highest honor, and is a past President and board member of the New York Chapter of AIGA. He is the author of Design School Type (Rockport Publishers, 2017) and Design School Layout (Rockport Publishers, 2018).
Tony Seddon’s longstanding career as a graphic designer has taken him from his native Cornwall, via London and several publishing companies, to East Sussex where he now works as a freelance designer and writer. He has authored and co-authored multiple books, including Graphic Design for Non-designers; Art Directing Projects for Print; and Thou Shall Not Use Comic Sans. Visit him online at http://www.tonyseddon.com.
Gerry Leonidas is a Senior Lecturer in Typography at the University of Reading, UK. He teaches typographic design and typeface design at under- and postgraduate levels.Ina Saltz is an art director, designer, and author of numerous articles on design and typography. She is the author of Typography Essentials by Rockport Publishers. She lives in New York City.Kathryn Henderson is a writer, editor, and designer interested in the convergence between design and pop culture. Currently, you can find her at Pentagram Design obsessing over new design work and assisting with daily communications as deputy editor of Content Development for http://www.pentagram.com.
Ina Saltz is an art director, designer, writer, photographer and professor (of Electronic Design and Multimedia at The City College of New York) whose areas of expertise are typography and magazine design. For over 22 years, Ina was an editorial design director at Time Magazine (International Editions), Worth Magazine, and other magazines including Golf Magazine, Golf for Women Magazine, and Worldbusiness Magazine. Ina frequently lectures on topics related to magazine design and typography, including Toronto, Atlanta, Denver, Moscow, Amsterdam and Calgary.
Kathryn Henderson is a writer, editor, and designer interested in the convergence between design and pop culture. Currently, you can find her at Pentagram Design obsessing over new design work and assisting with daily communications as deputy editor of Content Development for http://www.pentagram.com. She resides in Brooklyn, NY.
Tyler Alterman is a fourth-year student in The City University of New York's Macaulay Honors College studying creative behavior change. His obsessions include the science of persuasion, cognitive neuroscience, graphic design, cinnamon pita chips, and any fine type with high contrast, ball terminals, or geometric forms. He lives in New York City.
By Ina Saltz
Type History and Timeline
By Allan Haley with Kathryn Henderson
Type Design and Development
By Gerry Leonidas
Type Classification and Identification
By Allan Haley
By Richard Poulin
By Kathryn Henderson with Ina Saltz
Typefaces and Specimens
By Jason Tselentis
By Jason Tselentis
Contemporary Usage: Designing with Type
By Jason Tselentis with Ina Saltz
Typography Terminology and Language
By Tony Seddon with Ina Saltz
By Ina Saltz, Jason Tselentis, and Tyler Alterman
By Tony Seddon
—Schools of Typography
—Type-Specific Conferences and Events
—Type-Specific Films and Documentaries
—Type-Specific Institutions and Collections
—Blogs, Links, and Online Resources
About the Authors
"The many authors who worked on this volume—Haley (ABC’s of Type), Richard Poulin (typography, Sch. of Visual Arts NY; The Language of Graphic Design), Jason Tselentis (Type Form and Function), Tony Seddon (Graphic Design for Non-Designers), Gerry Leonidas (typography, Univ. of Reading, UK), Ina Saltz (electronic design & multimedia, City Coll., CUNY), Kathryn Henderson (Online and on Paper), and Tyler Alterman—have created an attractive, informative book with an uncertain purpose. The introduction pitches the title as something between a reference and a book for casual perusal (likening it to Judy Jones and William Wilson’s An Incomplete Education). A later section, ostensibly on designing with type, provides plenty of color pictures of modern applications but little textual analysis, making this section like part of a coffee-table book. However, the overall breadth of material, both conceptual and practical—including information about existing typefaces and how to work with them—and a section at the end listing schools, periodicals, conferences, museums, and websites related to typography, make it suitable as a textbook for an introductory college class on typography. Unsurprisingly, the book is also well designed. VERDICT: This title is somewhat technical for average readers, and the number of authors leads to uneven writing. Still, high school seniors and college students beginning their path toward careers as graphic designers or commercial artists will find this guide invaluable." — Library Journal