Typographie: A Manual of Design, 3rd edition 1977 by Emil Ruder

By Emil Ruder

Emil Ruder's Typography is the undying textbook from which generations of typographer and picture designers have realized their basics. Ruder, one of many nice twentieth-century typographers used to be a pioneer who deserted the traditional ideas of his self-discipline and changed them with new principles that happy the necessities of his new typography. Now in its 6th printing, this e-book has a hallowed position at the bookshelves of either scholars and comprehensive designers. size: 83/4 x eleven inches, over 500 examples, English, German & French textual content.

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By Emil Ruder

Emil Ruder's Typography is the undying textbook from which generations of typographer and picture designers have realized their basics. Ruder, one of many nice twentieth-century typographers used to be a pioneer who deserted the traditional ideas of his self-discipline and changed them with new principles that happy the necessities of his new typography. Now in its 6th printing, this e-book has a hallowed position at the bookshelves of either scholars and comprehensive designers. size: 83/4 x eleven inches, over 500 examples, English, German & French textual content.

Show description

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Extra info for Typographie: A Manual of Design, 3rd edition 1977

Example text

The typecannot be submined to these two processes without undergoing some chanaas and a certain coarsenin0 in the amearance of t h e t v ~ e the whole historyofprinting. ThetvDograPhermtjsttake intoaccounttechnical develop mentsof the presentand future. forsuch advancesmight bung aboutchangesoffoim Andapnnted wonk whichisto bea a 1 ddocumentof itslimesmust combine botntecnnicaland formalqualities. o ,I i n esd'ifiip,;meiie, . i t - f o r t e s . la oointe-siicne, dans les deux outils: la plume, e l le b m n d u 8 I r e d ' mprimeneest fonduedans "no matncequi peut la reprod, fftindefimmernet liirconfeiesoncafai-tbrcimm~abe La 1 6 d c 1 3tvpogranhter6s dcencetteimmutabilit6de toutes lesfettres, son essence, dansla repetition des types, repetitionque I'on retrouvedans le proc6d6 d'imprimer.

Ebcnfa Isan Prszision. die me rfoihwerreicht. Thetypecharactersoftheincunabuia of the 15thcentury weredesigned fortheverystrongly textured handmade paper. Ifthese faces were printed on glossy paper, their characterswould bedistorted. The typographer musttakethe printing process into account in preparing his work. The typecannot be submined to these two processes without undergoing some chanaas and a certain coarsenin0 in the amearance of t h e t v ~ e the whole historyofprinting. ThetvDograPhermtjsttake intoaccounttechnical develop mentsof the presentand future.

Sowareein Nachlassen r e I t e s f i i r d i e Form die iogische Folge. Jahrhundertv. Chr. schwedisch. Chr. Chr. Chr. ArabischeKufischriftausderZeitderSamanid-Dvnastie. Chr. Text: Der Herrist derGr6Kte,weIcherden Menschen die Schriftlehrtund ihn ausder Unwissenheit befreite. Unfamiliarwritingforms hold an appeal forus even ifwecannot i d them; we enjoythem as formal patternscomparabletoa workof art. C. 11thcenturv 3 ~unicwiiting,~wedish. C. C. C. 7 Arabic Kufic writino ofthe Samanid dvnastv. ..

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