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The Anatomy of Type: A Graphic Guide to 100 Typefaces, by Stephen Coles
Free PDF The Anatomy of Type: A Graphic Guide to 100 Typefaces, by Stephen Coles
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A visual treat for anyone who loves fonts and typographic design.
The Anatomy of Type�explores one hundred traditional and modern typefaces in loving detail, with a full spread devoted to each entry. The full character set from each typeface is shown, and the best letters for identification are enlarged and annotated, revealing key features, anatomical details, and the finer, often-overlooked elements of type design. Containing in-depth information on everything from the designer and foundry, the year of release, and the different weights and styles available, The Anatomy of Type is more than a reference guide to the intricacies of typeface design. It is a visual send-up of some of the world's most beloved typefaces, beautifully displayed in vibrant color.
- Sales Rank: #109550 in Books
- Brand: Brand: Harper Design
- Published on: 2012-11-13
- Released on: 2012-11-13
- Original language: English
- Number of items: 1
- Dimensions: 10.00" h x 8.00" w x .75" l, 2.42 pounds
- Binding: Hardcover
- 256 pages
- Used Book in Good Condition
Review
Coles does a wonderful job of initiating the layman to the field of modern typography. -- Michael Stasiak,�Print�Magazine
The Anatomy of Type�provides a glorious opportunity to taxonimize another everyday visual encounter. As your knowledge accumulates, and your vocabulary grows, you, too, will begin to appraise these fonts with a critical eye. You will gaze at them alongside Coles, nodding at his insights.�--�Slate
The Anatomy of Type�is a surprisingly accessible book that will appeal to anyone with even a passing interest in typography. An easy-to-use guide that rewards both light browsing and intensive study. -- John Peck, Diesel's "Beautiful Gift Books 2012"
... a down-to-earth but playful and helpful tool for users in search of a distinctive typographic tone - a cautiously plotted but worthwhile attempt to shake type classifications to the core. --�S�bastien Morlighem, Eye Magazine
The Anatomy of Type does for type users what Gray's Anatomy does for pre-med students: it explains characteristic differences in body language -- in this case the Western alphabet's most muscular typefaces. -- Steven Heller,�The New York Times
From the Author
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.
From the Back Cover
A visual treat for anyone who loves fonts and typographic design.
The Anatomy of Type explores one hundred traditional and modern typefaces in loving detail, with a full spread devoted to each entry. The full character set from each typeface is shown, and the best letters for identification are enlarged and annotated, revealing key features, anatomical details, and the finer, often-overlooked elements of type design. Containing in-depth information on everything from the designer and foundry, the year of release, and the different weights and styles available, The Anatomy of Type is more than a reference guide to the intricacies of typeface design. It is a visual send-up of some of the world's most beloved typefaces, whimsically displayed in vibrant color.
Most helpful customer reviews
11 of 12 people found the following review helpful.
A Beautiful Display of How Typefaces Work
By Rob Hardy
It used to be that people who used machines for written communication were using typewriters, and the letters that came out on the page all looked the same. There was some variation when IBM introduced the "Selectric" typewriter in 1961, with a "golf ball" full of letters that struck the ribbon and printed on the page. You could change your golf ball from a "Courier" typeface, which looked just like typing, to a "Letter Gothic" face which was straighter and without serifs for decoration. With computers, we get a lot more choices; unless you leave everything to default, you get to select, for instance, what letters you want used when you are reading e-mail. This has made typefaces more interesting to a lot of people, the type of people who were happy to read Simon Garfield's fine book of typeface stories, _Just My Type_, a couple of years ago. If you liked that, and you want to dig a little deeper, and also want a good-looking book for your coffee table, I strongly recommend _The Anatomy of Type: A Graphic Guide to 100 Typefaces_ (Harper Design) by Stephen Coles. It is enormous fun to look at the variation of the strange shapes of letters here, most of which are not exuberant show faces, but are working letters meant to be read. For any job, you want to get the right worker, and this book will help get a typeface that will do a particular job, but the book is also simply an enjoyable display of useful and attractive design.
As befits a book about typefaces, the displays here are clear, with a happy use of color and a two-page spread for each typeface. In his introduction, Coles says the hundred typefaces have been chosen because of their versatility and practical use. He begins with a glossary, which includes many terms that have to do with parts of letters, important because they will have much to do with the taxonomy which Coles lays out in the display pages that are the main part of the book. Each two-page spread of the hundred typefaces here gets uniform treatment. The main part of the display is spread across the two pages, specimen words and letters in big print, with arrows and notes to show what it is about the typeface that gives it its character and how to tell it from others. Learning the sources of the typefaces presents some surprises. Lexicon was introduced in 1992 specifically for dictionaries, and the pages here show how it has maximum legibility within minimum space. Melior was designed by Hermann Zapf, and released in 1952; its curves are based on the "superellipse," a shape midway between a rectangle and an ellipse. Interstate is a typographic adaptation of signs you see on the highway. The Grotesque family of letters look sensible now (and include the famous and ultra-orderly Helvetica), but when these typefaces came out in the early 1800s, people found them so odd they called them grotesque, and the nickname has stuck.
_The Anatomy of Type_ is a handsome object. It will serve as a reference guide for those who want to make good choices of typefaces for particular jobs, and it will appeal to the growing number of font geeks. Best of all, for those of us who take for granted the irregular blobs of ink or pixels that enable written communication, it instills an appreciation for artistry within a circumscribed but vital field.
10 of 11 people found the following review helpful.
Interesting but incomplete
By Goffredo Puccetti
A very interesting reading. A must-have for typomaniacs. As resource book I cannot give more than 3 stars, though:
I would have appreciated a more exhaustive list of terms related to type anatomy. I think I understand the rationale of the author to stick to the terms that are widespread but still, I would have welcome to see the book live up to its cover promise where it reads: examining Shoulders, Spines and Tails in Detail. In example: there is no mention of what a shoulder is in the Anatomy of Type double page spread and, if I am not mistaken, in the whole book! Similarly a book on the anatomy of typeface, meant to be used as a reference guide, cannot, in my opinion, ignore fundamentally important concepts such as the contrast, a term which again is absent in the book.
In the part of the book devoted to in detail examination of typefaces, a quick fine-tuning of the - otherwise beautiful - double page layout will vastly improve the usability of the book: the body-text in the right page should be visually self-explanatory and be set in the actual typeface under scrutiny.
The choice of typefaces is, of course, a matter of personal taste and it is quite impossible to have two designers agree on any type list: I personally have enjoyed it a lot even if I could have lived with a couple of modern slab serifs less! :-)
8 of 10 people found the following review helpful.
Nice book for students
By Jeremy
This material is covered in practically every type book, but this one stands out in how deeply it dives into the subject. There also seems to be some innovation in how typefaces are described. I like the idea of a "rational serif" which seems to be a very adequate description that I had not run across until this book.
The book goes into 5 examples from each classification, highlighting characteristics of each font, so in that way it is a glorified marketing piece, but still very useful.
The price is right, so it is recommended.
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