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Preface & acknowledgements | 9 | |
1 | Why this book? | 13 |
2 | Terminology | 16 |
3 | The three ways of making letters | 19 |
4 | Type: a game of black and white | 24 |
5 | Comparing typefaces | 33 |
6 | Letters and the Italian intellect | 43 |
7 | The place of the punch in type production | 55 |
8 | The punchcutter and the historians | 56 |
9 | Where does the punchcutter come from? | 59 |
10 | The rise and fall of the punchcutter | 63 |
11 | Punching and digging | 75 |
12 | The delights of steel | 83 |
13 | Fournier on punchcutting | 87 |
14 | How did they really do it? | 115 |
15 | Fixing the image | 121 |
16 | Sequence of design and production | 123 |
17 | One punch a day? | 124 |
18 | Where are the counterpunches? | 126 |
19 | Hendrik van den Keere and outlines | 128 |
20 | Linearity | 133 |
21 | Does technique influence form? | 143 |
22 | The unconscious eye | 150 |
23 | Punchcutting in the digital age | 159 |
24 | Type design and language | 165 |
25 | The limits of roman | 170 |
26 | Openings and changes | 175 |
Hendrik van den Keere | 184 | |
Renard | 185 | |
Literature | 186 | |
Illustration sources | 188 | |
Index | 190 |
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Add Counterpunch : Making Type in the 16th Century, Designing Typefaces Now, Counterpunch is both an explanation of the 16th-century method ofcutting metal type and an impassioned plea for contemporary designers to incorporate the lessons of history as a means of creating typography in our digital age. Smeijers sees the cou, Counterpunch : Making Type in the 16th Century, Designing Typefaces Now to the inventory that you are selling on WonderClubX
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Add Counterpunch : Making Type in the 16th Century, Designing Typefaces Now, Counterpunch is both an explanation of the 16th-century method ofcutting metal type and an impassioned plea for contemporary designers to incorporate the lessons of history as a means of creating typography in our digital age. Smeijers sees the cou, Counterpunch : Making Type in the 16th Century, Designing Typefaces Now to your collection on WonderClub |