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A must-have for designers, not to mention that quirky group in love with type for type’s sake (you know who you are), Typology is the most visually dynamic compendium of typefaces on the market. Steven Heller and Louise Fili, two of the most admired and respected designers working today, cover everything from the classic elegance of the late 19th century to the fractured hypermedia of today. Organized by historical era and country of origin, each section introduces the culture and aesthetic of the period, discusses how individual styles developed, and offers insights into the artistry of key typographers and foundries. Expertly assembled and thoughtfully written, no other book encompasses this wealth of type styles in historical context. Its pages are profusely illustrated with hundreds of complete alphabets, and such original artifacts as typesheets, catalogs, broadsides, posters, and many other primary source examples. In all, Typology is the long-awaited type encyclopedia destined to be a standard reference work for years to come.
- Sales Rank: #405727 in Books
- Brand: Brand: Chronicle Books
- Published on: 1999-06-01
- Original language: English
- Number of items: 1
- Dimensions: 11.00" h x .60" w x 8.60" l, 1.80 pounds
- Binding: Paperback
- 196 pages
- Used Book in Good Condition
From Library Journal
Heller, the New York Times's senior art director, and Fili, an independent designer, have authored an attractive but hard-to-categorize guide to type. One finds brief (approximately 300-word) overview essays of seven time periods of typography: pre-modern, early modern, avant-garde modern, commercial modern, late modern, electric modern, and postmodern. Following these essays are shorter sidebar essays that discuss the various international influences within each time period (e.g., "Art Nouveau in Germany, France, The Netherlands, and Austria"). The essays are well written but require some knowledge of artistic and architectural trends. Hundreds of black-and-white and color illustrations from primary sources enrich the text, but, unfortunately, references to their sources are incomplete. The volume concludes with a bibliography of 55 books from the mid-1950s through the early 1990s. All in all, it is difficult to establish the audience for this book: The text is beyond the level of high school and lower-division undergraduates, but there is not enough scholarly apparatus to interest advanced scholars. Recommended for libraries that regularly receive requests for illustrations of historical typefaces or examples of display type.AP. Steven Thomas, Central Michigan Univ. Lib., Mt. Pleasant
Copyright 1999 Reed Business Information, Inc.
Review
Readers familiar with Heller and Fili's numerous books for Chronicle, particularly in the Art Deco Series, may be worried that this latest book covers the same material. In fact, it is much larger in scope (as well as in size), covering commercial type designs, especially display type, form the last 100 years. As the authors state, Typology is not so much a formal history as a visual survey, and yet it is more than just a type timeline; each section has a brief essay that places the typefaces of that period within the contest of cultural, societal, economic and technological forces. Also, each period is subdivided by country; it is very useful in educating one's eye to be able to flip back-and-forth between, for example, Art Nouveau types in France and those in Germany (or The Netherlands or Austria). Typology certainly delivers its promise of visuals; there's an abundance of type specimens, broadsheets, catalogs and posters, most of which will be new to the reader, and all of which are beautifully reproduced and identified by year and designer. One would have to doggedly scour the used bookstalls of the world to accumulate this amount of material. Aren't we all lucky that we have Heller and Fili to do it for us?
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About the Author
Steven Heller is the art director of the New York Times Book Review. He is the author of over ninety books on graphic design, popular art, and satiric art. He lives in New York City.
Louise Fili is principal of Louise Fili Ltd., and the recipient of numerous design awards.�She lives in New York City.
Most helpful customer reviews
5 of 6 people found the following review helpful.
Excellent resource book
By Erich Shelton
As a grad student in Graphic Design, one assignment was to explore typography at a higher level than from my undergraduate studies. This book is a treasure find and definitely worth the money. The book not only provides concise information about how type has transformed our world, but the colour examples are brilliant. From Pre-modern Victorian England, throughout Europe and the United States, the reader is taken on a delightful journey of experimentation in an often misunderstood or under appreciated topic. Till the last page ending in late Modern I was capivated. The authors did a very good job in balancing facts with inspiring illustrations. The only warning is that there is a great possibility that nothing else will get accomplished if you purchase this book. I couldn't put it down!
13 of 17 people found the following review helpful.
A typographic abomination
By Jon Pastor
It's pretty clear that the other reviewers of this book share the authors' fascination with type as a design element rather than as a means of communication.
If it were only a matter of taste, however, I'd be able to shrug it off. In fact, the authors display in the design of the text of this book their indifference -- or hostility -- to what most typographers regard as good type design for readability.
The Introduction, and the intros to each section, are set in what appears to be about 14/28 on a 7-inch measure -- far too long for comfortable reading, even with that much leading.
Worse, given such a generous measure, the text is still spaced abominably -- e.g., page 10, where a hyphen break leaves two letters from "typehouses" at the beginning of a line. Even the spacing in the narrow columns that accompany the illustrations in each section is atrocious; for people who are so concerned with the way type looks, they seem totally unconscious of the way that spacing affects color.
In many places, it's clear that the text was padded (with circumlocutions) to fit the space allotted to it on a page, and in others it appears that the spacing was adjusted to fill out the page. I won't even mention the typos...
Unfortunately for these authors, I had recently bought and read "The Complete Manual of Typography" by James Felici and "Thinking With Type" by Ellen Lupton, both of which are real books on typography that are eminently readable -- and practice what they preach. The Felici book, in particular, is a treasure.
Jan Tschichold, one of the leaders of Die Neue Typografie, ultimeately recanted and became one of the masters of classical typography. The authors of "Typology" should follow his example, and you should not buy this book if you're anything but a graphic designer who's looking for ways to use type that have nothing to do with actually reading it.
Because this is not a book to be read: it's a book to be looked at. If I'd had the opportunity to preview it in detail, I'd never have wasted the money; and the chances that I'll ever open it are slim to none, while the Felici book I mentioned earlier will be at my side whenever I set type.
2 of 3 people found the following review helpful.
Not to be taken too seriously
By L. Niles
This book is unfortunately popular in many Typology and Type and Image courses. This was a required read in one of my early core classes.
The book is mediocre all around. The beginning chapters give the reader a crash course in type through the ages, while the later chapters, commenting on the current age, are heavily opinionated and overwhelmingly biased. It is difficult to take in information while the authors allow their personal tastes and preferences to slip through so regularly.
While I suppose this book is fine for a student who is just looking to pass a quiz, or an individual who wants to dapple in typographic history to impress their friends, it isn't a resource to be taken very seriously. The book does a fairly good job in explaining the history of type setting from hot metal to the digital age and the spread of styles through different European countries but anyone truly interested in expanding their knowledge on the subject should look towards another source.
Design wise this book also lacks. While it offers a fair amount of full color large examples from each era the page set up is rather confusing and disjointed. The first page of every chapter has extremely leaded, open kerned type and an awkward image smack dab in the middle of the page. Since the text is not set in columns you must read through the image and across the page. Not too easy on the eyes since the type is so open.
This shouldn't be hailed as an excellent type resource. It is a decent illustration of various type styles explained in layman's terms.
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