Book Description

So you have a great concept and all the fancy digital tools you could possibly require—what's stopping you from creating beautiful pages? Namely the training to pull all of these elements together into a cohesive design that effectively communicates your message. Not to worry: This book is the one place you can turn to find quick, non-intimidating, excellent design help.

Reviews (133)

Little book with BIG impact!
Don't let the small size of this book fool you... in here is all the information you need to start improving the way you design. Composition, positioning, alignment, font usage, and a host of other topics are concisely and simply explained. A section on color usage would have been appreciated, but would probably price the book out of its target audience. Williams's sense of humor may not be for everybody, but the information she presents is absolutely invaluable. Williams presents good design, bad design, and works to explain what elements make the former work. After reading this book, I started sub-conciously analyzing almost everything around me, from web sites to advertisements, and was able to identify well-designed ones from poorly-designed ones, and what they did right or wrong.

No, you will not become an award-winning graphics designer after one read, but your understanding of principles, and your ability to apply them will increase dramatically. An extremely worthwhile investment for the beginner who needs to suddenly improve his design skills.

Great gift book! Should be required reading in the office.
I won't bore you with detailed analysis of the book... many other reviews mention RW's elegant descriptions of the four page layout elements (proximity, alignment, repetition, contrast). What I will share with you is that I have given this book as a gift a dozen times. Because it is so clearly written and the principles are backed up with easily understandable examples, I give it to folks who don't have a lot of time to study page layout design, but who can benefit from knowing the four principles.

As more and more laypeople put words on paper (in newsletters, brochures, and especially websites), knowing these basic guidelines for why certain pages look better than others and how one can quickly improve a particular layout is timely and essential knowledge. If you need a little help communicating more effectively with your publications (of any kind) or know someone else who does, this would be the first book I'd hand to you. (The next would be RW's The Mac (or PC) is Not a Typewriter.)

Good
This is one of the basic books needed in any designer's collecion. Buy it today!

Terrific Book for Non-Designers
IÕm beginning to wonder if Robin Williams ever sleeps. She seems to have a new title out every couple of weeks. This is Ms. WilliamsÕ second offering of this title.

I have long said that the best thing about DeskTop Publishing is that it puts it in the hands of everybody and the worst thing about DeskTop Publishing is that it puts it in the hands of everybody. Some people just donÕt have an eye for design.

The fact is, because of DeskTop Publishing, many people with no formal training in publishing or design end up having to design something. They find they must create an advertisement, a newsletter, a brochure, a business card or a poster. Panic sets in for those who have no idea where to start, or donÕt understand the fundamentals of good design.

If any of this sounds familiar to you, The Non-DesignerÕs Design Book is your Ôrescue in a book.Õ I really like the many before and after examples she shows of web pages, brochures, business cards, etc. There is an amazing example of a tri-fold brochure before and after on pages 106-107, and a newspaper ad on pages 114-115.

She explains the use of typography very nicely, and explains when to use different kinds of typefaces. (Did you know that most people make the type on their home made business cards too big?)

This book is not a big, heavy tome that goes on forever on its topics. ThatÕs a good thing. It keeps things simple and easy to understand. Each topic is covered well and in an interesting manner. Pick it up at Peachpit with your User Group discount!

A Must Have Book
This is an invaluable reference for everyone. If you are a designer you should read this little book at least once a year. Without a doubt you have forgotten or not used many of the rules and precepts that are in this book. If you are new to design, learn it here and you will be set. The only thing you have to do is not fight your own urge to violate the ideas set out here and you can design print items that rule the world! The best best best book. ... Read more

Book Description

Critical acclaim for previous editions of A History of Graphic Design

"I expect it to become a foundation and keystone of serious study . . . it is a fortress work." -Communication Arts

"[It] traces the role of the designer as a messenger of culture." -STA Journal

"Now . . . a hefty, yet concise, documentation of the entire field exists." -Print

"It is a noble and formidable undertaking." -he Artist's Magazine

"An excellent and invaluable work." -Library Journal

"This is a reference work that reads like a novel. It's comprehensive, authoritative, graphic, and exciting." -U&lc: The Journal of Typographics

"[This book] establishes graphic design as a profession. Bravo!" -Design Issues

"A significant attempt at a comprehensive history of graphic design . . . it will be an eye-opener not only for general readers, but for designers who have been unaware of their legacy." -The New York Times

"Mr. Meggs enthusiastically conveys these excitements to us, from the invention of photography and 'popular graphics of the Victorian era' through the Arts and Crafts movement, Art Nouveau, the Secession, the isms . . . to the Modern Movement. . . . More importantly, he shows us the joins as well as the parts."-rinting World

After a decade of research by the author, the first edition of A History of Graphic Design was heralded as a publishing landmark by the Association of American Publishers, who awarded it a coveted award for publishing excellence. Now, after fifteen years of development in graphic design, this expanded and updated Third Edition includes hundreds of full-color images and new material in many areas, including alphabets, Japanese and Dutch graphics, and the computer revolution which has impacted all aspects of contemporary design and communications. With its approximately 1,200 illustrations, lucid text, and interpretive captions, the book reveals a saga of creative innovators, breakthrough technologies, and important design innovations.

Graphic design is a vital component of each culture and period in human history, and in this account, an extraordinary panorama of people and events unfolds, including:
* The Invention of Writing and Alphabets
* Medieval Manuscript Books
* The Origins of Printing and Typography
* Renaissance Graphic Design
* The Arts and Crafts Movement
* Victorian and Art Nouveau Graphics
* Modern Art and Its Impact on Design
* Visual Identity and Conceptual Images
* Postmodern Design
* The Computer Graphics Revolution

A History of Graphic Design is recognized as a seminal work; this Third Edition surpasses in detail and breadth the content, design, and color reproduction of previous editions. It is required reading for professionals, students, and everyone who works with or loves the world of graphic design. This comprehensive reference tool is an invaluable visual survey that you will turn to again and again. ... Read more

Reviews (12)

Must have reference book for graphic designers
In my opinion, this 3rd Edition "A History of GD" is the best reference book written about graphic design. This 500 plus pages book/bible is simply divided into 5 sections, 1) The Prologue to Graphic Design, 2) A Graphic Rennaissance, 3) The Industrial Revolution, 4)The Modernist Era, and 5) The Age of Information. The topics range from the invention of writing to, creation of new typogrphic styles to, the digital revolution and computer art. There are plenty of graphics and photos on every page to accompany the wonderfully written text. If you study art history or graphic design, I think this would be a great reference book to have. It will take some time to read the entire book. But this is like a text book, so, reading only part of the chapters would be quite informative as well. Once you are done, you will definitely appreciate graphic design/graphic designers.

A History of Graphic Design by Phillip Meggs 3rd Ed.
This is an excellent text for first year Design Majors. It teaches the beginnings of graphics and typography from the very basic elements of cave paintings to the electronic graphic era. There is an enormous amount of information in this book. A benefit to anyone interested in the area of design.

A History of Graphic Design by Philip Meggs
I am a student of Graphic Design, and was assigned this book as a supplementary text for my class of the History of Graphic Design. I am impressed with his well-written and considerable text as well as accompanying pictures. This is is a well-researched and thorough compilation of information which starts at 6000BC. I would consider this to be the bible to any graphic design student.

Who chose the typeface for this book?
As much as I admire Phillip Meggs for the historical content and the wealth of images in this book, I have one criticism-the text is not readable. Speaking as a designer and as a college instructor, this book would be more readable had the publisher used a serif typeface. What good is clean design and excellent content if the text puts the reader to sleep?

A very good book for introductory design
This book gives a concise background on the history of graphic design. It incorporates how graphic artists react to the times and societal issues they are faced with, and how they influence the world around them with their innovations. The collection of images is quite spectacular! A must have for every graphic designer and/or art lover! ... Read more

Book Description

Approach page design in a revolutionary new way! Unlike other graphic design books, The Elements of Graphic Design reveals the secrets of successful graphic design from the unique perspective of the page’s "white space." With the help of carefully selected examples from art, design, and architecture, the role of white space as a connection between page elements is thoroughly explored. Clear, insightful comments are presented in a dynamic page design, and interactive design elements, thought-provoking captions, and scores of illustrations challenge designers to "think out of the box." This unique resource is guaranteed to inspire more creative and thorough thinking. ... Read more

Reviews (4)

A Strategic Communication Tool!
If you have an intuitive sense of what makes a design good or bad and yet have difficulty conveying that understanding in terms that others can readily grasp, this book is for you.

The Elements of Graphic Design is a great resource not only for qualifying intentional design, but it will also help a designer effectively communicate the necessity of well-thought-out design to the stakeholders of a project. I think most creatives have, at some point, had to justify the design process to people who think of design simply as pretty pictures rather than a strategic marketing platform. While every designer has-or should have-intuitive understanding of the concepts White discusses in this book, his approach gives a very logical framework to follow in explaining why good design processes and planning are necessary. The Elements of Graphic Design is very clear, succinct and densely packed with the most relevant and fundamental aspects of design, which makes this book an excellent resource.

White discusses the concept of negative space (for those of us with formal art training, or simply white space for those with graphics training), the imperative function of truly "seeing" the elements of design and arrangement, and the difference between style and fashion. He also outlines the basics of Purism, simplicity and elegance in design and the communication strategies behind achieving these states of implicit, visual meaning (ie: communicating much in the little). He also delves, briefly, into the way the human brain processes visual information and why certain elements of planned design are effective. In relation, he discusses wayfinding, a concept dealing with how people maneuver through information on a page via visual pathways. Again, a concept as intuitive to an artist as the spring breeding of a hare, but White presents the material in a way that can help designers or artistic directors bridge the gap between the strategic marketing plan and the platform. It will also help you objectively and diplomatically deliver the unfortunate but necessary negation of the ugly, confusing, counterproductive but well-meaning ideas that plague the "idea factories" of many organizations.

A GOOD SOLID BOOK FOR DESIGNERS
Very solid book (but short) packed with examples of why one strategy or tactic might be better than another. I learned a lot and intend to reread the book to make sure I get as much of it absorbed as I can. Very good discussions on type with discussions on line spacing, type size, small caps, grids, symmetry vs. asymmetry, negative and positive space.

Wish I would have read this book before I went to design school. I would have learned a lot more. I also would have been able to speak more intelligently. I learned a lot of terminology that will help me. I'm a better designer now. It's given me more confidence.

Highly recommended for beginners and intermediates. Might be a little thin for experts.

A solid primer for graphic design students
Alex White has hit a home run with his book The Elements of Graphic Design. This definitive introduction to the basics of what makes a succesful visual composition should be in every design classroom and student backpack. The writing is clear and the principals easy to understand and apply. I especially liked the examples and advice on the use of "negative space" and typography. Although the book is geared toward the beginning designer, there are enough advanced concepts and examples to make this a worthwhile reference for designers at all levels. A fine addition to design literature.

Wonderful - An Instant Classic!
A fantastic overview of the principles of layout and how to understand space and "the page", with special concern for the issue of functional white space and learning how to activate it, sculpt it, and not waste it. In a milieu of visual clutter, this gift to the design world (if its message is taken to heart) will help restore order and readability in the communications that surround us. ... Read more

Reviews (1)

How to find more reviews
This is a great book. I found it much easier to read than the other LaTeX books I looked at, most of which, in my opinion, are very poorly written. I came to rely on it very heavily as I wrote my thesis, and am very glad that I bought it. For more reviews on the book, do a search for "kopka daly latex" in the standard amazon search box. There are 23 reviews for the third edition, which should be relevant to this edition. ... Read more

Book Description

The organization of letters on a blank sheet -- or screen -- is the most basic challenge facing anyone who practices design. What type of font to use? How big? How should those letters, words, and paragraphs be aligned, spaced, ordered, shaped, and otherwise manipulated? In this groundbreaking new primer, leading design educator and historian Ellen Lupton provides clear and concise guidance for anyone learning or brushing up on their typographic skills.Thinking with Type is divided into three sections: letter, text, and grid. Each section begins with an easy-to-grasp essay that reviews historical, technological, and theoretical concepts, and is then followed by a set of practical exercises that bring the material covered to life. Sections conclude with examples of work by leading practitioners that demonstrate creative possibilities (along with some classic no-no's to avoid). ... Read more

Book Description

[Testimonials]
"The ultimate typographic tool: a concise, beautiful book that pulls together everything you need to produce great typography."
--Frank Romano, RIT School of Print Media

"Clear and elegant...There's no better or more useful introduction to the whole craft of typography."
--Roger Black, Danilo Black, Inc.

"All you've always wanted to know about type and typography but never dared to ask. Jim Felici brings together a vast amount of knowledge in this book. Must-have!"
--Erik Spiekermann, author, Stop Stealing Sheep (and Find Out How Type Works)

This book is about how type should look and how to make it look that way; in other words, how to set type like a professional. It releases the craft knowledge that used to reside almost exclusively in the heads of people working in type shops. The shops are gone, the technologies have changed, but the goal remains the same. This book explains in very practical terms how to use today's computerized tools to achieve that secret of good design: well-set type.

Beautifully designed and richly illustrated, The Complete Manual of Typography is an essential reference for anyone who works with type. Designers, print production professionals, and corporate communications managers can go straight to the index to find focused answers to specific questions, while educators and students can read it as a textbook from cover to cover. You'll find:

• History, basic concepts, and anatomy of good typography, concisely presented and indexed for quick reference by busy professionals.
• Straight-ahead instructions for how to manage fonts, handle corrupted or missing fonts, and find the characters you need.
• Clear, useful explanations of what makes good type good (and bad type bad) .
• Detailed guidance on controlling the fundamentals of type, including measure, point size, leading, kerning, and hyphenation and justification.
• Practical advice on how to fix and avoid composition problems such as loose lines, bad rags, widows and orphans.
• Hard-to-find rules for managing indents and alignments, skews, wraps, expert-set characters, and tables.
• Scores of workarounds that show how to wring good type out of uncooperative word-processing and layout programs.

Reviews (7)

It's good, even being in English.
After a lot of researching, I decidded it was the best buy and bought it.
It got down here real fast and no import taxes (books under U$50 don't pay tax).

Started reading, and it was, obviously, in english. That's when I reallized how hard it is to read in english. So much information so hard to get.
It's tiring. After reading 4, 5 pages I feel exausted. But I keep reading. Three days after I get back on reading in English. Great investment.
Oh, of course, my layouts look better since I started reading it.

Great Book
I am writing a computer program on typography, and I have been reading one book after another on typography.
Out of all, I think Felici's 'The Complete Manual of Typography' is one of the best in its correctness and clarity.
It handles often misunderstood topics such as "em" very well. Not only does it define the concept, but it also tells you what the concept is not.

Great book, but a little wordy
This is a really excellent book for learning typography. He tells you everything you need to know. I just finished self-publishing a book (ISBN 0974953652) and Mr. Felici's book was tremendously helpful. I also used Aaron Shepard's ebook on publishing with MS Word ("Books, Typography and Microsoft Word") and saved myself of ton of headaches trying to learn PageMaker or QuarkExpress.

The one downfall of Felici's book is that is so verbose. He tells you the entire history of typography from every aspect. When I finally finished reading the book I realized that there were only three chapters that I really needed. I could have saved myself a lot of time if I could have just been able to read how to do what I needed without reading how the original printing presses were setup. However, this is minor complaint for a book that is so well written that a novice like me was able to understand and implement quality typesetting. I highly recommend this book for all self-publishers.

From word to paragraph to page -- beautifully
When type is set badly enough, it can give you a headache -- and type is often set badly enough to be an ongoing annoyance. When it's set well, it becomes transparent, allowing the content to come through without distractions. And when it is set very well indeed, it enhances the content as good music enhances a movie. This book illuminates the interlocking problems involved in maximizing the ease and enjoyment of the reader. It's directed to writers, editors, proofreaders, designers, typesetters, and buyers/managers of their work -- but general readers who appreciate good design will also enjoy it.

A Treasure Trove of What Goes into Great Looking Type
I always buy books with the idea of reselling on Amazon.com after I'm finished. It's not working in this case: My Felici looks like it's been left out in the rain and attacked by our dog. That's because I've dragged it everywhere while carefully making my way through it, a few enjoyable pages at a time. Very few books get that kind of time and attention. One measure of a technical book, I've found, is the completeness of its index. Felici's runs to fully 35 pages, in addition to a glossary of similar length! What's not there is also telling. Felici doesn't pad his book with type specimen pages or with machine- or software-specific how-to-do-it steps. This one is a winner! ... Read more

Book Description

Although grid systems are the foundation for almost all typographic design, they are often associated with rigid, formulaic solutions. However, the belief that all great design is nonetheless based on grid systems (even if only subverted ones) suggests that few designers truly understand the complexities and potential riches of grid composition. In her best-selling Geometry of Design, Elam shows how proportion, symmetry, and other geometrical systems underlie many of the visual relationships that make for good design. Now, Elam brings the same keen eye and clear explanations to bear on the most prevalent, and maybe least understood, system of visual organization: the grid.Filled with extensive research and more than 100 informative examples from the Bauhaus to Nike ads, Grid Systems provides a rich, easy-to-understand overview and demonstrates a step-by-step approach to typographic composition. It suggests design strategies that transcend simple function and reductionist recipes to allow grids to become a means of truly dynamic communication. Any designer, educator, or student will benefit greatly from this elegant slim book, chock-a-block full of colorful examples, helpful vellum overlays, and Elam's insightful analysis. ... Read more

Book Description

Read the Prose.Study the illustrations.And apply what you have learned to design your own pages.It's easy with Basics of Design; Typography and Layout for Beginners!This heavily illustrated, compact guide is ideal for readers with no graphic design or art education background who need to create first-rate visual page designs.Entrepreneurs challenged with designing their own business cards, and administrative assistants suddenly put in charge of producing newsletters and fax cover pages, are just two examples of readers who benefit from the information in this primer.Its uniquely conversational tone - combined with numerous "before" and "after" illustrations- provides everything needed to design pages as effective as those of professional designers.Part One introduces readers to important design principles, as well as how to use color and images to add impact to designs.Part Two concentrates on the basics of typography.Part Three features a number of common design projects of the variety frequently assigned to non-designers (.., company business cards, fax cover letters, graphical and statistical reports, and more).To further aid readers, each project is accompanied by a brief listing of some of the special considerations involved in that type of visual page design.The final chapter of the book lists useful design books and resources for readers interested in advancing their typography and layout skills. ... Read more

Reviews (4)

Coherent and Accessible
A friend of mine recommended this book as a solid introduction to graphic design. The author, Lisa Graham, covers the principles of design effectively and even throws in some unexpectedly funny explanations that really make the point. For example, the beginning of the Balance chapter is hilarious and made me realize that a page really can make a person feel weird, if it isn't designed using the design principles. Once I read that balance chapter, I realized that many of her illustrations also were surprisingly humerous, and reveals what must be a delightful sense of humor.

If you buy this book, keep in mind that the humor is used to support the points Graham makes, and is not the sole focus of the book. This is after all a design book and makes some serious and informative points.

Perhaps what is most effective about this book is the thorough explanations she gives on why a design works and why it doesn't work. This is a refreshing change from many other introductory design books that I looked at where the primary focus of the text seemed to be to show off pretty pictures. Pretty pictures are nice, but WHY do the designs work? WHY don't they work. Basics of Design tells you why, and in such a wonderfully understandable way that you remember, and easily apply what Graham teaches.

Good job Lisa. When are you going to write more books on graphic design? I'll be sure to keep an eye out for more of your work!

Excellent for Beginners
Having wasted much time looking through a number of other books supposedly covering the same subject, this book is a welcome relief.

This book covers in adequate detail the essentials and the basic principles of design, including emphasis, contrast, balance, alignment, repetition, flow, the use of images, color, typography, etc. It gives enough explanation with examples for one to get a good grounding on the subject, without getting too technical, keeping the book highly readable. A part of the book also focuses on specific design situations, including logos, flyers, newsletters, resumes, etc.

Perfect for anyone with no formal training in design, but would like to improve his/her understanding of design.

Absolutely Wonderful
I am a complete dunce at design (or at least I was). Whatever the optical equivalent to a "tin ear" is, I have it. In this book Ms. Graham gives step-by-step simple and yet logical and practical instruction on how to make one's designs both attractive and effective. Her writing style often made me feel as if I were being given advice by a "friend in the design business." I began using the principles that she teaches in my web pages and flyer designs before I was even half-way through the book. The improvements that I saw in my abilities were amazing.

This book has (the basics of) everything: typography, contrast, color, flow, emphasis, etc. Most of the books I had examined prior to finding this little gem were nothing more than over-sized "picture books" with writing in the margins, I couldn't bring myself to spend the money on so little information (but they sure were pretty). This book, on the other hand, is mostly text with small, well-selected illustrations, and at the end of every chapter the author gives several "case-studies" of the current topic and walks the reader through each one.

I cannot imagine a better book for someone new to design.

Easy to Understand
This book makes it easy to understand typography and layout. The author gives the reader a good grounding in typography and the basic principles of design, making it easy to improve your own designs and pages. Her explanations makes it a lot easier to pick the right type to go with the image and the topic. My designs have improved after reading this book. ... Read more

Book Description

This book provides comprehensive, up-to-the-minute coverage of today's digital tools from scanners to sophisticated software for preparation of artwork to film and plates for printing. A broad overview of the reproduction process introduces the many other integral variables as they relate to production. Topics such as camera-ready and computer-ready art, pagination, color reproduction, hardware and software, press technology, work flow issues, output and service bureaus, on-demand technology and the latest applications of media technology are discussed and placed into this logical approach to prepress processes. ... Read more

Reviews (4)

usefull but outdated
expected:
an up to date explanation of the digital prepress process, tools and applications in simple terms.

got:
an outdate but thorough explanation of digital prepress written like a stereo manual. Alot of things were left unexplained and the writing was repetitive due to the "poket guide" style i suppose.
While i did learn some tips and got some detail (sometimes much more than i needed) the material is needs alot of updating. Some areas were better written and fully explained than others and the use of diagrams and tables was OK but they did not tie in well with the text..they would just appear.

One other BIG complaint is the horrible quality of the diagrams and the fact that they were all in black and white/greyscale. How can you try to explain color processing and printing using black and white diagrams?

Bottom line:
may make a good quick reference for older processes, but does not do a great job at emplaining some important stuff.
The author needs to update the material and GET COLOR into the book, even if it's just some pages with color plates. also he needs to use a better drawing program to illustrate points, b/c it looks like he used MS Word's drawing tools.

All what you need to know
I started a graphic design Department out of my love for design and printing, but I had no knowledge of the "REAL" Graphic Art Business until I read this Book. It has all the information you need starting from working your files on the computer, how to save them, problems encountered with saving files in the wrong format, as well as information on AM and FM screening, dot gain, banding, exposure,... and all the information one needs to know about the business and ART of Digital printing. If you are a biginner or a professional, this book will satisfy you since it has all the answers to your "UNASWERED" questions. It will guide you through all the process as well as the "SECRETS" of Prepress. This is a MUST READ AND HAVE BOOK.

Good, but now outdated
This was a great book for the time it was written [1996], but is now pretty much outdated. Worth picking up to get some background on the early history of PostScript and imagesetting, but for a greater understanding look for more current sources.

It covers virtually every aspect of digital prepress process
A compact yet weighty volume covering virtually every aspect of the digital prepress process. The author provides an historical base for the latest technologies. This authoritative work, written by renowned expert Frank Romano, provides a clear and understandable treatment of the technology applied to each step in the prepress process. ... Read more

Book Description

The computer has made some typographic rules obsolete while others, previously known only to typesetters, have also been forgotten. Despite this, typography remains a fundamental element of graphic design. About Face presents and explains the typography basics required by all graphic designers, from the names of the different parts of characters, typeface styles and their function, to type measurement, typeface families, and type manipulation on the computer. It also looks at typography at work and features a wealth of applied examples by leading designers from around the world, who use, and considerably extend, the rules to create effective, communicative design. ... Read more

Reviews (1)

Beautifully presented with many historical examples
In an era when many books about typography principles focus on the ins and outs of specific computer programs, here is a beautiful book for beginners that focuses on principles, theory, and examples.

Not as densely written as Bringhurst's classic "Elements" book, this book nonetheless has the advantage of being more quickly scannable, and it features many spreads that present actual book designs at full size or nearly so, giving a very tactile look to the book.

Other concepts about leading, word spacing, letterforms, and so on are presented with large visual displays specifically constructed by the author.

I would recommend this book for beginning graphic design students or for libraries interested in visual arts literacy. ... Read more

Reviews (2)

A necessary part of every LaTeX user's library.
If you use LaTeX --- and if you want to create nice looking documents you probably should --- then you'll want this book.

This book is well organized and well written. The information is presented very clearly and with many examples. While it is fun to browse through, it is also easy to find any specific information that you're looking for. And any information on LaTeX that you want will almost certainly be in here; the book is quite comprehensive. I had expected the book to cost much more than it does, particularly given how much it covers; I was pleasantly surprised at how inexpensive it is.

While it isn't a tutorial for someone who's never used LaTeX before, anyone who uses LaTeX for non-trivial documents will find themselves leafing through this book

Finally here - GET YOURS TODAY
I have been a TeX/LaTeX user since 1982, and have authored several classes and styles (newlfm). I just got my copy of the new The LaTeX Companion (2nd Edition). I just love it!! Why? 942 pages of text, 94 pages of the index (YEP!), wonderfully clear examples, 136 pages on fonts, a whole appendix on debugging, 72 pp on mathematics, etc. The book is well-written and uses clearly distinct fonts for user commands, internal commands, etc. There are 138 pages about fonts. In the mathematics chapter, there are 104 examples in the Math chapter alone; one REALLY COOL section shows 10 different font choices and their impact on the typesetting of a small page of mathematics. HOT STUFF!!

In short, there is only 1 limitation to the book: It does not have LaTeX/TeX lion on the front. That is hard to accept. However, everything else is really good. I highly recommend this. ... Read more

Reviews (29)

Awesome!
Why didn't anyone think of this before? There's no shortage of "how to" books, but there are VERY FEW books that actually help you come up with the concepts and "looks" for those images and designs. You've probably got shelves full of books that help you use your computer better and faster, what you need now is a book that will help you use your brain better, faster and more creatively. I can guarantee this book won't end up on your shelf...it'll be parked next to your sketchpad or keyboard at all times!

This fat little plastic-bound book has hundreds of well organized and cleverly illustrated images on the right-hand side of each spread, and short topic-relevant sentences on the left. I'm amazed at how quickly it helps me not only run through potential concepts and styles for new projects, but also how it helps me find ways of giving my own not-quite-ready ideas the extra "tweak" needed to bring them up a notch. I can't imagine not having it next to my computer and/or in my carry-all at all times. My advice for freelancers: get one. My advice for agencies and studios: get one for everybody.

DO NOT LEAVE HOME WITHOUT IT!
Jim Krause is a genius. This little book is capable of inspiring any graphic designer. The Idea Index is a small book and could fit in most people's pockets. The cover is even durable. Krause knew what he was doing when he created this book.
I am just getting started with graphic design (I am a college student pursuing a degree in graphic design). I have brought this book along with my to my intro graphics class and it never fails me. This is an excellent resource for brainstorming ideas. It is divided into two parts: design ideas in general and also features creative approaches to typography.
Don't leave home without this book.

Don't be fooled by the size of this Book
I have to say that when I saw this book at the bookstore I was curious to see what could a tiny plastic cover book can offer. To my surprise: A LOT!

To begin with: printing quality is the BEST (full black pages, silver pages, etc) plus the paper that is almost heavy weight paper, and the old look that plastic cover gave it... I can't think of a better way to go.

Then, the book is divided into 2 sections: graphic ideas and text ideas. Both of them great inspirational material and also you can learn few nice tricks, so thats a plus.

I strongly recomment you take a look at the others "Index" books by Jim Krause. They're a must for GD's.

To sum up: this is a Great Tiny Book of Ideas.

Grossly Overrated; Not For Professionals
Given the reputation of Jim Krause and the number of positive reviews praising his booklet 'Idea Index' I did expect a lot. I was greatly disappointed: (1) the text is by far too superficial to even touch upon the real problems hidden behind a given idea, and; what is most unpleasant, (2) the illustrations simply do not play in the pro's leage.

Everyone finding inspiration in in 'Idea Index' will equally love the infamous Corel Draw Clipart Collection. The rest of us would get more ideas in any Graphis periodical or simply on a walk in the park.

geezum!
this is a NICE book.

This is book for those who are at least somewhat aquainted with the principals of graphic design (and are maybe too busy to have the time to actually read technical wordy book.. this is a picture book. You see and draw your own conclusions and decide your own methodology)

Jim Krause is a brilliant designer... and just seeing all the "variations on a theme" (diffrent ideas for one concept or word) he does all in one organised place; its a beautiful thing. Even on the occassions when I didnt like the design, I usually found it impressive; aside from that.. well... you cant win them all, can you?! ^_~

If you can conceptualize and execute designs, but need a little nudge or a fresh outlook now and again this is a great book; full of "now why didn't *I* think of that?" ideas. ... Read more

Book Description

While QuarkXPress is the most-widely used page-layout program in the world, Adobe InDesign is rapidly gaining ground with better typography and transparency features, speedier performance, and more overall control. Plus, InDesign 2 is Mac OS X native, QuarkXPress 5 isn't.But if you're a QuarkXPress user thinking of making the switch to InDesign, you know you can't afford to lose time and productivity at the office while learning a new program. Thanks to InDesign for QuarkXPress Users, you don't have to.

InDesign for QuarkXPress Users is the only book on the market that shows experienced graphic designers how to use InDesign from a QuarkXPress user's perspective. Using an easy-to-read and easy-to-digest style, this unique title focuses on common tasks, giving you quick solutions rather than bogging you down with lengthy theory. Written by well-known experts in the field, the book is abundantly illustrated and covers topics such as using InDesign's transparency features (possible in QuarkXPress only by unwieldy workarounds), and making the most of master pages and style sheets. It's also loaded with real-world tips on how you can apply your QuarkXPress know-how to this up-and-coming software.

Reviews (1)

Straightforward instruction
The collaborative effort of QuarkXPress experts David Blatner, Christopher Smith, and Steve Werner, InDesign For QuarkXPress Users is an impressive reference tool for those who are already basically proficient in QuarkXPress software and want to learn Adobe InDesign for the creation of professional graphics. Straightforward instruction, numerous screenshots and examples, and an easy-to-follow language makes InDesign For QuarkXPress Users an excellent and thoroughly "user friendly" informational and reference resource for a very rapid learning curve. ... Read more

Book Description

This latest addition to Robin Williams' Non-Designers line of books not only defines the principles governing type but explains the logic behind them so readers can understand and see what looks best and why. Armed with this knowledge, and putting into practice the secrets Robin reveals for making type readable and artistic, readers can then go on to create beautiful, sophisticated, professional-looking pages on their computers for output as hard copy or for use on Web pages.

Each short chapter explores a different type secret including use of evocative typography, tailoring typeface to project, working with spacing, punctuation marks, special characters, fonts, justification, and much more. It is written in the lively, engaging style that has made Williams one of the most popular computer authors today. And it uses numerous examples to illustrate the subtle details that make the difference between good and sophisticated use of type. The non-platform specific, non-software specific approach to the book makes this a must-have for any designer's bookshelf - from type novices to more experienced graphic designers and typesetters.

Please note! If you've read Beyond the Mac is not a typewriter then you don't need this book. This book is almost exactly the same as Beyond the Mac is not a typewriter. ... Read more

Reviews (14)

Excellent book for beginner to mid-weight Graphic Designers
Robin Williams covers just what you really need to know in this short book. No useless chatter, just important information in a what-to-do and what-not-to-do manner with just the perfect dash of sarcasm and humour to create a relaxed atmosphere for learning.

The book begins with a bit of the history and structure of fonts. Very important information for beginners. But it immediately gets into information which results in an immediate improvement in your work whether you are a typesetter or graphic designer. You would now know what makes for tacky typography and what rules you could break to create a more artistic, daring, and edgy piece of work.

Every topic is accompanied by an illustration of the wrong way and the right way to do things and a list of the fonts used in the illustration (VERY HELPFUL!)

This is definitely a must-have book for anyone in the world of print media.

The First Book to Buy for Anyone Entering the World of Type
While the title suggests it's a weak primer for amateurs it is actually an excellent read for all those needing to review the basics of typography. Your work will look better and your confidence will improve after reading this book. Williams style is casual, often humorous, and always easily understood.

Too bad it's just a repackaging of Beyond the Mac is Not a Typewriter. I bought it cluelessly as there is no indication on the cover. A bit of a sales scam behind a generally good book.

I don't love typography
I generally find typography one of those dry, tedious details I have to know to as part of my job. But THIS book makes it approachable, understandable, interesting, and even entertaining. As titled, this is a book for NON-designers - people who aren't usually interested in this stuff unless compelled to be, and who don't have a lot of time to learn it. If you're looking for something edgier or for "breaking the rules," this is not the book to start with. However, if you're one of those people with a thousand fonts on your computer and only about 3 you ever use, this book will open your mind to the possibilities.

NOT for type lovers
When I picked up this book, I figured that the title, "The Non-Designer's Type Book," meant that it was a book about type, FOR non-designers. After reading it, from cover to cover, I now wonder if the title refers to the author's credentials rather than the book's target audience. I love typography. I sit in theaters and watch every minute of the rolling credits if the font used is well chosen and well displayed. I have a Caslon 540 lower-case "g" pinned to the wall above my Mac instead of swimsuit pics. If you love type, you know what I'm talking about. If you love type, avoid this book and do not recommend it to anyone who hopes to someday love typography and master its use. Robin Williams' cutesy and heavy-handed text, while sometimes informative, is loaded with irritating "insights" as well as written-in-stone directives that are passed off as law. For instance, in at least two places, she states that type should NEVER, EVER be underlined. She says that it's a "law" that should "never" be broken. C'mon Robin! I mean yes, underlining is very often misused, but have you looked at the latest PRINT or CA Annual? There is a time and a place for underlining and the sensitive, savvy designer knows when and how to do it. She outright trashes one of the most elegantly designed faces in the history of the printed word, Helvetica, and glibly states that it will be out of style for the "next two hundred years." What?? Again, has Ms. Williams even looked at what contemporary (and effective) designers are doing these days? Helvetica is alive and flourishing. And, at the same time she is trashing Helvetica, she calls "rendered" type (such as 3D effects, letters that appear to be chiseled from stone or made of, say, salad greens) typography's "most beautiful" trend. She's killin' me!! If you want to fulfill and expand your appreciation for typography, buy Robert Bringhurst's exquisite manual, The Elements of Typographic Style.

For professional designers too!
Designers, don't let the title scare you. This is not a dumbed-down guide for amateurs. Yes, it's a great resource for amateurs and they will understand it, but it's also a wonderful guide for professional designers who need to review professional-level typography. It's a must-have reference in my library. Includes lots of ideas on layout, fonts you can use in different situations, fonts that complement each other, increasing legibility and special typographic effects. ... Read more

Book Description

Renowned typographer and poet Robert Bringhurst brings clarity to the art of typography with this masterful style guide. Combining the practical, theoretical, and historical, this edition is completely updated, with a thorough exploration of the newest innovations in intelligent font technology, and is a must-have for graphic artists, editors, or anyone working with the printed page using digital or traditional methods. ... Read more

Reviews (50)

I can't remain in my profession without this book.
As a designer, I am always looking to hone my skills. I thought I was adept at setting type until I found this gem. Bringhurst's study of type covers the obvious to the arcane. Beautifully designed, it illustrates type and their families, page geometry, philosophies of design, and typesetting rules. Master Craftsman, Hermann Zapf (you know -- his faces are in your computer) said himself that "he wishes to see this book become the Typographers Bible". This book is a must for the writer, publisher, designer, and editor because it covers a multitude of topics and rules vital and common to each sector. This is the "Manual of Style" for typesetting. It requires us to think more carefully about the setting of words and its impact on writing: "Typography is to literature what musical performance is to composition -- full of endless opportunity for insight OR obtuseness." I recommend this for anyone even remotely interested in the artform of letters. I highly recommend it for writers considering designing their own books.

Only five stars?
How can I possibly only give this work five stars? Robert Bringhurst's "Elements of Typographic Style" is more than a list of prescriptions. It is a definitive reference which explores the history behind typography, and uses that history to explain in its clear, lucid way why rules exist. Where the antiquated rules have no practical basis, Bringhurst is quick to dispell their necessity - but he neither dismisses them nor rejects them.

The visual beauty of this book is apparent upon opening it - it is a model of all it preaches. It addresses ongoing issues of basic formatting and page shaping, but also modern needs such as setting more than one language in one text - including those that read right to left (e.g., Arabic scripts). The simple yet elegant writing style makes reading this work a pleasure in itself. Anyone who deals with type - and this now means most everyone - should read this book; its advice is complementary, or even superior, to a style manual.

The Amazon editorial above lays out its sections, and as that shows, the book covers the full breadth of modern typography and page composition.

I strongly recommend this book. It is an honour to read it.

One of the Few Really Fine Works on Classic Typography
Along with the later book by James Felici, called "The Complete Manual of Typography" from Adobe Press, Bringhurst's book is a landmark work in English for any level of typgographic study.
Read it slowly and carefully for all the nuggets he leaves in a trail for us to follow. An amazing, brilliant effort no graphic design person should omit from his or her typographic education.

The book to own
If you were allowed only one book on typography, it should be this one. Bringhurst is a poet. He loves language, written language, and all its parts. That love comes through in the text and the visual presentation of every page.

Bringhurst advocates a subdued typographic style. This makes good sense in the vast majority of cases, since typography is the servant of the text that it carries. Like any good servant, it should be unobtrusive, well dressed, and competent to handle every task it is given, quietly and promptly. Bringhurst demonstrates nearly everything he says, starting first with this book itself.

The book is a beautiful artifact, with an elegant and informative page layout. Body text, side- and foot-notes, references, running titles, and more - they all fit together well on the page. Each kind of information is set off only slightly, but clearly and predictably. The content is well organized: prose in the early chapters, reference material in the later chapters and appendices, and all the intermediates in the middle of the book. Diagrams and tables are minimalist and communicative.

The text spans centuries, from ancient Egyptian page layouts to the rationale behind Unicode. Bringhurst is passionate about typography's history, and insists that it inform every modern decision about print and printing. He embraces the new just as much, and is careful to note the strengths and weaknesses of each typographic technology.

Bringhurst discusses far too many topics to touch on here. In every case, though, he brings his poet's sense to all of the writing, using witty, descriptive language for even the most mundane of technical issues. The one weakness I saw was in the geometry of page layouts. I like his mathematical rigor and esthetic practicality. Still, I think that the number of different constructions was more a tribute to what can be done than to what serves a real need.

This is the best, most complete text I know on book design. As Bringhurst points out, there are lots of other uses for type than books, but he chose books as his subject - I have no problem with that limitation. The only problem I saw, and not really a problem with the book itself, is its subtlety. The nuances (well, most of the nuances) he discusses are important. Beginners, however, may not see the significance of small matters. Once a reader's eye it tuned to the fine detail, however, this book is the most helpful I know.

An anal examination of type.
If you are into fonts in a big way you'll like this book. If you design fine books you'll enjoy it. Much on history. The section equating musical scales seemed insane to me. The derivations of the names of the fonts (obscure mythological or operatic characters) is interesting but useless. Most of the book is useless to me at this point in my design career. I'm looking for something more concrete. Something that compares the legibility and usability of various fonts or gives examples of why a designer would choose one font over another for which type of job. I was looking, perhaps, for a discussion on the relative merits of slab serifs vs. other types of serifs, or x-height and usability, or think and thin strokes on serif type. I just finished reading "The Elements of Graphic Design" by Alex W. White which, for me, was much more instructive, giving me concrete reasons for using various styles. Not to say I didn't learn something. The section on analphabetic characters was enlightening as was the comparison of different fonts that really aren't what they seem to be (two entirely different fonts named Garamond). I now know that when people speak about the relative excellence of Garamond they probably don't know what they are talking about. Two stars may seem low but I think people here generally overrate things. I didn't find it very readable either. Still I'd like to have it in my library, good reference on rare occasions. If you are a font fanatic, go for it. ... Read more

Book Description

This completely updated edition of an industry classic shows a new generation of editors and designers how to make their publications sing! Readers will find a treasury of practical tips for helping story and design reinforce each other and create powerful pages that are irresistible to readers. Brimming with hundreds of illustrations, Editing by Design presents proven solutions to such design issues as columns and grids, margins, spacing, captions, covers and color, type, page symmetry, and much more. A must-have resource for designers, writers, and art directors looking to give their work visual flair and a competitive edge! ... Read more

Reviews (2)

The Reader-Friendly Revolution Continues
No one has done more to rationalize the design process than Jan V. White. For over twenty-five years, previous editions of Editing by Design has mentored a generation of designers, editors, advertising managers, and business owners in the ways of rational, results-oriented, reader-friendly design.

As an enthusiastic reader from the early days, I was initially somewhat apprehensive when Jan White first announced a new edition of his classic book.

But, I needn't have worried. Everything that was great about the earlier versions is still there, but so much more has been added. New examples, new illustrations, and new ideas about designing attractive, easy-to-read publications.

Jan's distinctive writing style is complemented by literally hundreds of illustrations which bring his words to life in a clear and unambiguous way.

If you're responsible for creating print materials that succeed, Editing by Design belongs belongs next to your bed and next to your computer.

The Revolution Continues
No one has done more to rationalize the design process than Jan V. White. For over twenty-five years, previous editions of Editing by Design has mentored a generation of designers, editors, advertising managers, and business owners in the ways of rational, results-oriented, reader-friendly design.

As an enthusiastic reader from the early days, I was initially somewhat apprehensive when Jan White first announced a new edition of his classic book.

But, I needn't have worried. Everything that was great about the earlier versions is still there, but so much more has been added. New examples, new illustrations, and new ideas about designing attractive, easy-to-read publications.

Jan's distinctive writing style is complemented by literally hundreds of illustrations which bring his words to life in a clear and unambiguous way.

If you're responsible for creating print materials that succeed, Editing by Design belongs belongs next to your bed and next to your computer. ... Read more

Book Description

Provides a definitive visualsurvey of type to help the typographer use type tobest effect.It features:profiles of influential designers; the qualitiesthat make a type design effective; characteristics, applications, and creative uses of each of theseven major typeface groups; special typographiceffects; and advantages and disadvantages of desktop publishing typography.A hands-ondesign guide for typographers, graphic artists,desk top publishers, and advertising productionpeople who want to sharpen their attention todetail and develop a sensitive typographical eye. ... Read more

Reviews (2)

Worths to read again and again
To those who wants to know more about typography, this book teaches you enough required knowledge so you can study more advanced subjects. It offers a brief but useful introduction on the history of typography. I'll recommend this book to anyone who is interested in typography.

Time for an update.
I have reviewed and ordered this book as a text for my Typography students. It is very encompassing and thorough, providing many examples of typefaces and type usage. I probably would have given this review 5 stars if this was not the same publication that appeared in 1992. This book is worth keeping refreshed. The authors have gone to great lengths to provide excellent "contemporary" examples, so after 8 years it is time to address the issue of contemporary. Still, it is the best I could find out of many, and have adopted it for my course. ... Read more

Adobe Press

Stop Stealing Sheep, Second Edition is a unique, entertaining, and educational tour through the most basic unit of written communication: type. World-renowned type experts Erik Spiekermann and E.M. Ginger explain in everyday laymen's terms what type is and how you can use it to enhance the legibility, meaning, and aesthetic level of your work. They elegantly touch on all aspects of typography, including the history and mechanics of type, how to train your eye to recognize and choose typefaces, and how to use space and layout to improve overall communication. Because type reaches across all boundaries and continually evolves, this edition is revised and updated to include new chapters on Web typography and other forms of online text display. You need no previous knowledge of typography to enjoy this book and apply its tenets to your daily work. A perennial bestseller since the first edition was published in 1993, Stop Stealing Sheep will draw you in with its beautiful design and layout, which makes liberal use of more than 200 illustrations and photographs. ... Read more

Reviews (26)

An inspiring definition on the art of today's typography.
If you like the art of the printed page and wondered about typography, this is a good book to lay your hands on. With information presented in a well laid out, sophisticated package, Erik Spiekermann and E.M. Ginger justifies the need for knowing typography by showing you what type and layout can do for information in the 90's. For the educated designer the content inside offers nothing new. However, for a budding design artist who has wondered what "good" typography really means, "Stop Stealing Sheep & Find Out How Type Works" is an inspiring definition.

WAY too basic
Spiekermann and Ginger have, essentially, nothing to say. Unfortunately, they spend over 150 pages saying it. The worst of it is that there are all kinds of color photos, headings, etc., so the book is printed on heavy, glossy paper. This is bad because (a) glossy paper is hard to read text on (as ANY designer should know) and (b) both heavy/glossy paper and color inks are expensive. Thus, you must pay $20 for a book that could very easily be condensed into a $1.50 pamphlet. The book is often touted as an introduction into type because it is basic and easy to access. The problem is that it is TOO basic. If you know what a serif is, this book is too basic for you. If you know that it is possible to adjust the spacing between letters, words, or lines of type, then this book is WAY too basic for you--even if you aren't familiar with terms like letterspacing and leading. Get a book that will be a real introduction--if you're going to learn about type, learn enough that it will make a difference. Pick up something by Robin Williams, or if you really want to learn then get "The Thames and Hudson Manual" or Bringhurst's "Elements". Whatever you do, pass this book up. You could learn more, cheaper, from a high-school yearbook instructor.

Covers lots of basics in an accessible manner
I'm a typography novice. Before reading this book, I thought the font Gaudi was named after the architect of La Sagrada Familia.

The book is written in a down-to-earth tone of voice that held my interest. It gives a good introduction to the use of grids in layout and why they are so important. Basics such as x-height, linespacing, letterspacing and ligatures are covered. Some intriguing typographical history is worked in to give explanation to the current state of type. Most pages give samples of popular fonts.

You'll probably have to do a lot more reading and practicing before becoming a typographic expert, but this little book covers a lot of relevant information for the novice in an accessible manner. Several times, the author makes mention of today's cheap paperback novels that are produced without any thought to good design. This book isn't one of those. Each page has been painstakingly well designed, and the price tag shows it.

A guide, not a manual . . .
I remember reading the first edition of this excellent book more than a decade ago, when I was just getting into desktop publishing, and learning a great deal from it on the theory (i.e., art) and proper use of typography. I've followed the author's advice (most of it, anyway) ever since and I was pleased to find that a revised edition had been issued. Spiekermann is a type designer as well as a philos