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Type Rules!: The Designer's Guide to Professional Typography, 3rd Edition

ISBN: 978-0-470-63755-5
256 pages
August 2010
Type Rules!: The Designer
From principle to practice, get it all in the revised edition of the comprehensive introduction to typography.

Type Rules: The Designer's Guide to Professional Typography, 3rd Edition is an up-to-date, thorough introduction to the principles and practices of typography. From the fundamentals to cutting-edge applications, this edition has everything today's serious designer needs to use type effectively. Dozens of exercises reinforce authoritative coverage on such topics as how to select the appropriate type for the job, how to set type like a pro, how to avoid common mistakes, and how to design a typeface, as well as how to fully harness the power of major design packages such as InDesign? and QuarkXPress? -- with new coverage of their latest versions.

This edition includes:

  • New information on OpenType, font management utilities, font web sites, and interactive typography.
  • An expanded?history of type and an updated glossary of key terms.
  • Exercises throughout to help reinforce the concepts presented in the book.
  • A wealth of tried-and-true as well as recently developed type tips.
  • More in-depth type issues, including scaling logos.

"I've purchased and read just about every book on typography written over the last twenty-five years. Ilene Strizver's Type Rules is one of the best. It's a book that will prove its value time and again."
-- Allan Haley, Director of Words and Letters, Monotype Imaging

"Type Rules is a must-have book for students and professionals alike. I highly recommend it."
-- Prof. Ed Benguiat, world-renowned type designer and educator, School of Visual Arts

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Chapter 1 A Brief History of Type.

Sounds to Symbols.

Gutenberg and Movable Type.

The Industrial Revolution and the Mechanization of Type.


Into the Digital Age.

Herb Lubalin and Expressive Typography (sidebar).

Notable Type Designers (sidebar).


Design Guidelines (Nancy Sharon Collins).

Typographic Timeline (Ilene Strizver).

Historical Design (Ilene Strizver).

Type Poster (David Kadavy).

Chapter 2 From Metal to Mac: Understanding Font Technology.

What Is a Font?

Font Formats.

Type 1 (or PostScript) Fonts.

TrueType Fonts.

OpenType Fonts.

OpenType Features (sidebar).


Font Management Utilities.

Techtip: OpenType Font Identifiers.

Typetip: Long S.

Typetip: Font vs. Typeface.

Techtip: Style-Linked Fonts.


Identifying Your OpenType Fonts (Ilene Strizver).

Chapter 3 What Makes a Typeface Look the Way It Does?

Parts of a Character.

Type Categories.


Sans Serif.




Titling Fonts.

Opticals and Size-Sensitive Fonts.

Typetip: One- and Two-Storey Lowercase As and Gs.

Decorative and Display.

Typetip: Character vs. Glyph.


Think Like a Type Designer (Ilene Strizver).

Personal Type Specimen Book (Ilene Strizver).

Type Specimen Book and Typeface Analysis (Group Project) (Audrey G. Bennett).

On Beyond Zebra: The 27th Letter Assignment (Virginia Rougon Chavis).

Typeface Comparison Book (Joey Hannaford).

Real Signage Critique (Amelia Hugill-Fontanel).

Chapter 4 Selecting the Right Type for the Job.

Design Goals.

Legibility and Readability.

What Makes a Good Typeface?

Text vs. Display.

Script, Calligraphic, and Handwriting Fonts.

Super Families and Systems.

When the Best Font for the Job Isn’t a Font.

Typographic Illustration.

Mixing It Up.

Dos and Don’ts.

Typetip: Type Specimens.

Typetip: A Bodoni by Any Other Name?


Why Are All the Scary Typefaces Pointy? (Christopher Andreola).

A Garamond Is a Garamond Is a Garamond…or Is It? (Ilene Strizver).

Legibility and Readability Study (Peter Bain, Ilene Strizver).

Chapter 5 Formatting Your Type.

Type Size.

Line Length.

Line Spacing (Leading).

Techtip: Auto Leading.


Techtip: Style Sheets.

Indents and Other Paragraph Separators.

Techtip: Importing Copy.

Typetip: Standard Ligatures.

Typetip: Footnotes and Endnotes.


Typographic Hierarchy Study (Elizabeth Resnick).

Typographic Contrast (Kimberly Elam).

Chapter 6 Techniques for Emphasis.


Boldface (or Weight Contrast).


Cap vs. Lowercase.

Point Size.

Wide vs. Narrow.

Changing Typestyle.

Changing Color or Shade.


Currency Redesign (Jimmy Moss).

Expressive Typography (Stephanie Nace).

Chapter 7 Fine-Tuning and Tweaking Your Type.


Techtip: Discretionary Hyphens.

Hung Punctuation and Optical Margin Alignment.

Techtip: Hung Punctuation and Margin Alignment.

Visual Alignment.


Typetip: Breaking for Sense.

Techtip: Adobe Text Composer.


Techtip: Adjusting Tracking.

Typetip: Scaling Logos.

Techtip: Glyph Positioning and Baseline Shift.


Techtip: Adjusting Kerning.

Typetip: Type on a Curve.

Word Spacing.

Techtip: Adjusting Word Spacing.


Information Hierarchy Book (David Kadavy).

Spacing, Kerning, and Visual Alignment Exploration (Ilene Strizver).

Chapter 8 Finessing Your Type.


Techtip: Accessing Figures in OpenType Fonts.

Small Caps.

Techtip: How to Access True-Drawn Small Caps.

Initial Letters.

Swash Characters.

Alternate Characters.

Type and Color.


Concert Poster Design (Frank Armstrong).

Chapter 9 Typographic Typos (and How to Avoid Them).

Word Spaces.

Quotation Marks.

Techtip: Unwanted Smart Quotes.



Hyphen, En Dash, and Em Dash.

Widows and Orphans.

Computer-Generated Styling.

Poorly Justified Type.

Fake Small Caps.

Letterspacing Lowercase.


Editorial Design (Ilene Strizver).

Chapter 10 Fractions, Signs, Symbols, and Dingbats.


Techtip: Creating Fractions in OpenType Fonts.

Techtip: Fractions in QuarkXPress.


Techtip: Indenting Bulleted Lists.

Registered, Trademark, and Copyright Symbols.

Techtip: Circle P.

Accents and Accented Characters.

Typetip: Creating Accented Characters.

Parentheses, Brackets, Braces, and Angled Brackets.



End Marks.



Typographic Principles Card Set (Regina Rowland).

Spa Brochure (Ilene Strizver).

Chapter 11 Nonprint Typography.

Type on the Web.

Characteristics of Web Typography.

Web-Safe Fonts.

Smart Punctuation on the Web.

Cascading Style Sheets.

Font Embedding.

Type as Graphic.

Dos and Don’ts.

Type in Motion.

Combining Type and Motion.

Basic Guidelines.

How to Get Started.

Dos and Don’ts.


The Crystal Goblet Online: An Assignment in Two Parts (Laura Franz).

Four Squares: Text, Color, Motion (Heather Shaw).

enCODE / deCODE (Heather Shaw).

Chapter 12 Designing Your Own Typeface.

Handwriting Fonts: A Good Place to Begin.

Three Approaches to Designing a Typeface.

Professional Guidelines.

Techtip: Font Production Editors.


Introduction to Type Design: Symphony (James Montalbano).

Digitize Your Signature (James Montalbano).



Picture Credits.

Digital Font Foundries and Distributors.

Typographic Resources.


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Ilene Strizver is the founder of The Type Studio in Westport, Connecticut. She writes and teaches extensively on typography. During her career, she's been creative and production director of Upper & lower case (U&lc) Magazine and director of typeface development at Inter-national Typeface Corporation (ITC) in New York City, where she developed more than 300 text and display typefaces with respected type designers such as Sumner Stone, Erik Spiekermann, Jill Bell, Jim Parkinson, and the late Phill Grimshaw. Ilene writes the popular column, "fy(t)i: For Your Typographic Information" for fonts.com, as well as "TypeTalk" for creativepro.com. She conducts her widely acclaimed Gourmet Typography workshops internationally.
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"Type Rules! is a comprehensive source of information about the technicalities and art of typography. Strizver really knows her "type" and her expertise is clear as she ranges across topics from the history of typography and its nomenclature to recent developments in proprietary and computer generated typefaces. She has written this book for practitioners, positioning it as "the designer's guide to professional typography." She explains "what to do" with type and "how to do type". She unashamedly focus on MAC computers because that's what she uses, and that's what the design community mostly uses. It's a book with design in mind, not just because that's it's target market, but because its presented in a smart layout, with oodles of example of practical workman-like type, as well as type of the more artistic, original and intriguing variety." (webwombat, 8/6/10)
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