Selected by the world's most knowledgeable and well-connected graphic-design commentator, Steven Heller, this survey gets into the minds of designers who create typefaces, word-images and logos through their private sketchbooks. Arranged by designer, this collection of typographic explorations intimately reveals how nearly 120 of the worlds leading designers and typographers continually strive to find new and exciting ways of communicating through letters and words, and provides fascinating insights into their work. Aimed at all those who use type, whether by hand or on screen, this revealing compendium stresses the importance of good typography at a time when reading habits are changing, and celebrates a craft that has endured for centuries.
【editorial reviews】
"A fine new addition to both the 10 finest books on typography and our favorite peeks inside the notebooks of great creators: Typography Sketchbooks is like a visual window into the minds of the worlds most exciting type designers and, in turn, into the intricate art-science of typography itself a medium both creative and practical that has to walk the tightrope between centuries-old tradition and bleeding-edge innovation with equal parts grace and agility in an era of changing reading habits and design expectations." --Brain Pickings
"Know someone who loves design? A devotee of letter forms or ABCs? Then this celebration of type should be on your list. This book peeps into the private sketchbooks of talented typographers like Emek Golan, Andy Smith, Tom Schamp, Daniel Pelavin, Bernard Maisner, Katie Lombardo, Jonny Hannah, and so many more. This book is bursting with amazing, colorful, often whimsical, imagery." --Fine Books & Collections
"Typography Sketchbooks is like a visual window into the minds of the world's most exciting type designers and, in turn, into the intricate art-science of typography itself." -- TheAtlantic.com --This text refers to an out of print or unavailable edition of this title.
Steven Heller, author and editor of over 130 books on graphic design, satiric art and popular culture, is the co-founder and co-chair of the MFA Designer as Author program at the School of Visual Arts, New York. He is also co-founder of the MFA in Design Criticism, MFA in Interaction Design, MFA Social Documentary Film and MPS Branding programs. Although he does not hold an undergraduate or graduate degree he has devoted much of his career to fostering design education venues, opportunities and environments.
On the editorial side, for over 40 years he has been an art director for various underground and mainstream periodicals. For 33 years he was an art director at the New York Times (28 of them as senior art director New York Times Book Review). He currently writes the "Visuals" column for the Book Review and "Graphic Content" for the T-Style/The Moment blog (http://tmagazine.blogs.nytimes.com/author/steven-heller/). He is editor of AIGA VOICE: Online Journal of Design, a contributing editor to Print, EYE, and Baseline, and a frequent contributor to Metropolis and ID magazines. He contributes regularly to Design Observer and writes the DAILY HELLER blog for Print Magazine (http://blog.printmag.com/dailyheller/). His 135 books include "Design Literacy, " "Paul Rand," "Graphic Style" (with Seymour Chwast), "Stylepedia" (with Louise Fili), "The Design Entrepreneur" and "Design School Confidential" (both with Lita Talarico), "Iron Fists: Branding the Twentieth Century Totalitarian State", and the most recent, "Born Modern: The Life and Design of Alvin Lustig."
He is the recipient of the 1999 AIGA Medal for Lifetime Achievement. His website is www.hellerbooks.com and his blog, The Daily Heller sponsored by Print magazine is http://imprint.printmag.com/daily-heller/
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我一直以为自己对版式设计已经有了一定的把握,直到我遇到了这本书,才发现自己过去的工作可能只是在“堆砌”文字,而非真正的“编排”视觉语言。这本书最让我耳目一新的是它对“留白”哲学的深刻阐述。它没有用那些晦涩难懂的术语,而是通过大量对比强烈的案例,直观地展示了空间在视觉传达中的决定性作用。书中的排版实验简直是教科书级别的展示,它教会我如何让信息在页面的布局中“舞蹈”,而不是僵硬地站立。我尤其喜欢作者处理复杂信息时的那种克制与张力,知道何时该放,何时该收,那种游刃有余的掌控感,是通过无数次精准的微调才能达到的。读完后,我立即回去重做了几个正在进行的项目,仅仅是调整了行高和字母间距,整体的阅读体验就有了质的飞跃,客户的反馈也异常积极,这直接证明了书中所传达理念的实用性和高效性。
评分坦白说,这本书的阅读门槛并不低,它假设读者已经具备一定的设计基础,如果你是完全的新手,可能会觉得有些内容过于深入或跳跃。但对于我这种有几年经验的设计师来说,它就像是一个高水平的进阶训练营。作者大胆地挑战了许多行业内的“潜规则”和约定俗成的做法,并用令人信服的视觉论据来支撑自己的观点,这种勇于质疑的精神非常鼓舞人心。我特别喜欢书中对“不完美”的探讨,它展示了如何有意地引入“失调”来打破视觉的沉闷,创造出更具人情味和个性的设计。书中许多尝试性的布局,比如那些打破常规网格的探索,都让我反思自己是否过于依赖模板和安全区。它鼓励我多做“坏”的设计,只有尝试了无数种错误的组合,才能真正找到最优解。
评分这本书的装帧本身就是对排版艺术的一种致敬,拿在手上沉甸甸的,纸张的选择和印刷的墨色都体现出一种对质感的极致追求。虽然内容是关于设计方法的,但阅读过程本身就成为了一种审美享受。它没有过多地探讨现代数字工具的使用技巧,而是将焦点拉回到最基础、最本质的设计原则上——比例、对齐、层级。这对于我们这些长期沉浸在软件操作中的人来说,是一种非常必要的“回归本源”。我发现自己开始对手写体和不同字体的历史背景产生更浓厚的兴趣,因为作者似乎总能在介绍设计技巧的同时,巧妙地植入一些历史渊源,让你理解为什么某些设计范式会沿用至今。这不仅仅是一本操作指南,更像是一部浓缩的西方平面设计史的侧面观察,让我对字体设计有了更深层次的文化理解,而不是停留在单纯的美学层面。
评分我更倾向于将这本书看作是作者个人设计思维导图的公开展示。与其说它是一本结构严谨的教材,不如说它是一场思想的漫游。其中许多跨界的联想和跳跃式的思维路径,极大地拓宽了我对信息视觉化的理解。例如,作者在讨论如何构建易读性时,竟然引入了音乐的节奏和建筑的结构作为类比,这种跨学科的视角让人豁然开朗,原来文字的组织和节奏感是可以从完全不同的领域借鉴灵感的。我喜欢它那种“工作日志”般的记录方式,仿佛能听到作者在构思每一个案例时内心的挣扎与最终的释然。这本书的价值不在于教你“怎么做”,而在于教会你“为什么”要这么做,以及如何形成自己独特的视觉语言体系。它带来的启发是持续性的,每当我在工作中遇到瓶颈时,翻开其中任意一页,总能找到一个意想不到的角度来重新审视问题。
评分这本书简直是设计师的“视觉圣经”!我拿到它的时候就被那种扑面而来的设计感震撼到了。它不仅仅是一本关于字体设计和排版的书,更像是一本记录了无数个灵感瞬间的私密手稿。作者似乎毫不保留地将他/她多年来在各个项目中积累的经验、那些反复试验的草图、甚至是一些“走弯路”的探索过程都倾囊相授。我特别欣赏那种粗粝的真实感,那些铅笔的痕迹、咖啡渍的印记,仿佛都能透过纸张感受到创作者在案头奋战时的心境。每一次翻阅,都能在那些看似随意的线条中捕捉到严谨的逻辑和对细节的执着。它不是那种干巴巴的理论堆砌,而是充满了实践的温度,每翻开一页,都像是在进行一场深度的工作坊对话,引导我跳出固有的思维定势,去重新审视每一个字形、每一个间距、每一段落的呼吸感。对于那些总觉得设计灵感枯竭的同行来说,这本书提供了一个绝佳的“精神按摩”,让你重新找回对文字美的敬畏与热情。
评分买的第一本关于TYPO的书,基本上就是一些设计过程和构思,值得一读.
评分买的第一本关于TYPO的书,基本上就是一些设计过程和构思,值得一读.
评分买的第一本关于TYPO的书,基本上就是一些设计过程和构思,值得一读.
评分买的第一本关于TYPO的书,基本上就是一些设计过程和构思,值得一读.
评分买的第一本关于TYPO的书,基本上就是一些设计过程和构思,值得一读.
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