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Just my type : a book about fonts

Auteur : Simon Garfield
Éditeur : New York, New York : Gotham Books, [2011]
Édition/format :   Print book : AnglaisVoir toutes les éditions et tous les formats
Base de données :WorldCat
Résumé :
A romp through the history of fonts and the lives of the great typographers, revealing the extent to which fonts are not only shaped by but also define the world in which we live.
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Détails

Format : Livre
Tous les auteurs / collaborateurs : Simon Garfield
ISBN : 9781592406524 1592406521
Numéro OCLC : 706017795
Notes : "First published in Great Britain in 2010 by Profile Books"--Title page verso.
Description : 356 pages : illustrations ; 22 cm
Contenu : Foreword / by Chipp Kidd --
Introduction : Love letters --
We don't serve your type --
Capital offence : Gill Sans --
Legibility vs readability : Albertus --
Can a font make me popular? : Futura v Verdana --
The hands of unlettered men : Doves --
The ampersand's final twist --
Baskerville is dead (long live Baskerville) : Mrs. Eaves & Mr. Eaves --
Tunnel visions --
What is it about the Swiss? : Frutiger --
Road Akzidenz --
DIY --
What the font? --
Can a font be German, or Jewish? : Futura --
American Scottish : Moderns, Egyptians, and fat faces --
Gotham is go --
Pirates and clones : Optima --
The clamour from the past : Sabon --
Breaking the rules : The interrobang --
The Serif of Liverpool : Vendôme --
Fox, gloves --
The worst fonts in the world --
Just my type.
Responsabilité : Simon Garfield.

Résumé :

A romp through the history of fonts and the lives of the great typographers, revealing the extent to which fonts are not only shaped by but also define the world in which we live.

Fonts surround us every day, on street signs and buildings, on movie posters and books, and on just about every product that we buy. But where do fonts come from and why do we need so many? Who is behind the businesslike subtlety of Times New Roman, the cool detachment of Arial, or the maddening lightness of Comic Sans (and the movement to ban it)? Simon Garfield embarks on a mission to answer these questions and more, and reveal what may be the very best and worst fonts in the world. Type faces are now 560 years old, but we barely knew their names until about twenty years ago, when the pull-down font menus on our first computers made us all the gods of type. Beginning in the early days of Gutenberg and ending with the most adventurous digital fonts, Garfield unravels our age old obsession with the way our words look. This book investigates a range of modern mysteries, including how Helvetica took over the world, what inspires the seemingly ubiquitous use of Trajan on bad movie posters, and what makes a font look presidential, male or female, American, British, German, or Jewish. From the typeface of Beatlemania to the graphic vision of the Obama campaign, fonts can signal a musical revolution or the rise of an American president. This book is a must-read for the design conscious that will forever change the way you look at the printed word. -- Book Jacket.

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