{"product_id":"142600","title":"33 Typefaces That Create Great Design ","description":"\u003ccenter\u003e\u003cdiv style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/tmgdisk01.cafe24.com\/images\/vs\/4172\/sv\/3jYG66eFFZlRJKuGM7GgYLYBEHRrkB.png?v=1765013829\" style=\"max-width:100%;max-height:10px\"\u003e\u003c\/div\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\u003ccenter\u003e\n\n\u003cdiv style=\"width:95%\"\u003e\n\n\u003cdiv style=\"text-align:center;font-size:30px;font-weight:bolder;line-height:1.6em\"\u003e 33 Typefaces That Create Great Design \u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"border-bottom:1px;border-bottom-style:dotted;border-color:;padding-bottom:20px\"\u003e\u003ccenter\u003e\u003ctable align=\"center\" width=\"100%\"\u003e\u003ctbody style=\"border:0px\"\u003e\n\n\u003ctr\u003e\u003ctd align=\"center\" style=\"line-height:1.2em;text-align:center;font-size:18px;color:black;font-weight:bold;padding-bottom:20px;\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\n\n\u003ctr\u003e\u003ctd style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/image.yes24.com\/goods\/112047010\/XL\" style=\"max-width:100%;height:auto\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\n\n\n\u003c\/tbody\u003e\u003c\/table\u003e\u003c\/center\u003e\u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"width:95%;{split_style6}padding-top:20px;padding-bottom:20px\"\u003e\n\n\u003cdiv style=\"text-align:left;font-size:16px;font-weight:bold;padding-bottom:20px\"\u003e Description \u003c\/div\u003e\n\n\u003cdiv style=\"text-align:left;word-break:break-all;font-size:14px;line-height:1.6em;\"\u003e\n\n\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eBook Introduction\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cdiv\u003e \u003cb\u003eA steady seller in the design and typography fields\u003cbr\u003e The very book that has been a guide for designers on typefaces for the past 15 years.\u003cbr\u003e Revised edition of \"33 Typefaces for Good Design\" published\u003cbr\u003e\u003c\/b\u003e \u003cbr\u003ePublished by Semicolon in 2007, \"33 Typeface Stories for Creating Good Design\" is an introductory book on typography written by a Korean author that has been consistently loved by many readers for a long time.\u003cbr\u003e This book, which selects 33 essential typefaces from the history of Western typography and tells the stories of their creation and the designers who created them, has firmly established itself as a must-read for design majors.\u003cbr\u003e In particular, it served as a guide for font selection for designers in typography-related fields such as visual design, advertising design, fashion, and branding, and provided knowledge and information to those interested in fonts.\u003cbr\u003e\u003cbr\u003e Fifteen years after the first edition, a revised edition of \"33 Typeface Stories for Creating Good Design\" is being published.\u003cbr\u003e In this revised edition, information has been supplemented to adapt to the changing design environment, and the contents of the first edition have been reviewed and errors corrected. \u003cbr\u003eThe revised edition retains the 33 fonts covered in the first edition, but adds a new type called '19th Century Display Font Styles' to the existing font classification.\u003cbr\u003e This is a very vibrant type in the history of typography, giving us a glimpse into the various exaggerated and decorative types that appeared in the advertising era of the 19th century.\u003cbr\u003e Additionally, the existing appendix containing basic font terminology and chronology has been supplemented with content related to 'punctuation marks' to help users utilize punctuation marks in English typography.\u003cbr\u003e\n\n\u003c\/div\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cul\u003e\u003cli\u003e You can preview some of the book's contents.\u003cbr\u003e \u003cspan\u003ePreview\u003c\/span\u003e\n\n\u003c\/li\u003e\u003c\/ul\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eindex\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e Preface to the Revised Edition\u003cbr\u003e Preface to the first edition\u003cbr\u003e\u003cbr\u003e 1.\u003cbr\u003e Feel the Italian Renaissance with the Centaur font\u003cbr\u003e 2.\u003cbr\u003e Bembo: The prototype of the Western Roman font created by the golden partnership\u003cbr\u003e 3.\u003cbr\u003e Garamond, the prototype of an elegant and dignified serif typeface\u003cbr\u003e 4. \u003cbr\u003eIn France there is Garamond, in England there is Caslon.\u003cbr\u003e 5.\u003cbr\u003e Goudy: A special Roman font born in the United States\u003cbr\u003e 6.\u003cbr\u003e Times Roman, an 'all-weather' font created for the newspaper\u003cbr\u003e 7.\u003cbr\u003e A gift from Sabon typography master Jan Tschichold\u003cbr\u003e 8.\u003cbr\u003e Palatino A Roman font characterized by the liveliness of penmanship.\u003cbr\u003e 9.\u003cbr\u003e Baskerville, a modern typeface that emerged in the 18th century.\u003cbr\u003e 10.\u003cbr\u003e Bodoni, a font from Italy, reminiscent of the Venus de Milo\u003cbr\u003e 11.\u003cbr\u003e Walbaum, the most original German Romantic typeface\u003cbr\u003e 12.\u003cbr\u003e Clarendon, a body typeface that emerged during the Industrial Revolution\u003cbr\u003e 13.\u003cbr\u003e Berthold City, the font that inspired the IBM logo\u003cbr\u003e 14.\u003cbr\u003e Century Schoolbook, a font created through the talent and effort of two generations.\u003cbr\u003e 15.\u003cbr\u003e Franklin Gothic: A font that preserves American modernism.\u003cbr\u003e 16. \u003cbr\u003eAkzidenz Grotesk, a font that continues the tradition of new typography\u003cbr\u003e 17.\u003cbr\u003e Helvetica, the official typeface of the 20th century\u003cbr\u003e 18.\u003cbr\u003e Universe Typographic Color Palette\u003cbr\u003e 19.\u003cbr\u003e Futura, a font that embodies the spirit of Bauhaus\u003cbr\u003e 20.\u003cbr\u003e Avant Garde A typeface born during the golden age of American magazine design.\u003cbr\u003e 21.\u003cbr\u003e Gill Sans, the most British typeface\u003cbr\u003e 22.\u003cbr\u003e Optima Optima: The optimal combination of serif and sans serif\u003cbr\u003e 23.\u003cbr\u003e Frutiger, a typeface created for the signage system at Paris Charles de Gaulle Airport\u003cbr\u003e 24.\u003cbr\u003e Perpetua, a sculpted serif typeface by sculptor Eric Gill\u003cbr\u003e 25.\u003cbr\u003e Lithos A font that expresses the inscriptions of the Greek era\u003cbr\u003e 26.\u003cbr\u003e Snell Roundhand, a handwritten font with a refined and emotional visual message.\u003cbr\u003e 27.\u003cbr\u003e Peignot, an Art Deco typeface by poster artist Cassandre\u003cbr\u003e 28.\u003cbr\u003e Cooper Black: A fluffy serif typeface you can't help but love.\u003cbr\u003e 29. \u003cbr\u003eBlock: A sans-serif typeface in the 'poster style' that ushered in the 20th century.\u003cbr\u003e 30.\u003cbr\u003e Oakland: A bitmap font that heralded the arrival of the digital age\u003cbr\u003e 31.\u003cbr\u003e Fette Fraktur: A typeface that became a symbol of the nation and its ideology\u003cbr\u003e 32. Fonts supporting OCR A and OCR B optical character recognition technologies\u003cbr\u003e 33.\u003cbr\u003e Rotis, a typeface by German master Otl Eicher\u003cbr\u003e\u003cbr\u003e Basic font terms\u003cbr\u003e punctuation marks\u003cbr\u003e font family\u003cbr\u003e Font chronology\u003cbr\u003e References\u003cbr\u003e Source of the illustration\u003cbr\u003e Search\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eDetailed image\u003c\/b\u003e \u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cdiv\u003e\u003cimg src=\"https:\/\/image.yes24.com\/momo\/TopCate3927\/MidCate004\/392634541.jpg\" border=\"0\" alt=\"Detailed Image 1\"\u003e\u003c\/div\u003e\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eInto the book\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e Garamond is still loved today as a beautiful and comfortable body text font, and as a title font that gives messages a dignified and soft tone.\u003cbr\u003e When typographer Jan Tschichold was commissioned by German type foundries in the 1960s to design a body typeface suited to the new era and technology, his choice was Garamond. \u003cbr\u003e---From \"Garamond, the prototype of an elegant and dignified serif typeface\"\u003cbr\u003e\u003cbr\u003e When The Times introduced Times New Roman on October 3, 1932, the new typeface immediately gained popularity among designers, and a year later in the United States, it began to be released and sold under the name Times Roman.\u003cbr\u003e Stanley Morrison, a typographer and historian, designed only one typeface in his lifetime, but its influence was immense, and the history of Times Roman continues.\u003cbr\u003e\u003cbr\u003e ---From \"Times Roman, an 'all-weather' font created for newspapers\"\u003cbr\u003e\u003cbr\u003e City is the font that served as the basis for the logo of IBM, the American company that pioneered and became synonymous with personal computers. \u003cbr\u003eIn 1956, legendary American graphic designer Paul Rand started with this typeface with a strong linear impression and created a logo that visually conveyed the values ​​of accuracy and trustworthiness, with an impressive space within the square of the capital letter B.\u003cbr\u003e However, as he watched the logo being used, he felt that it had some shortcomings and revised it again four years later. That is the 'stripe logo' that has contributed to building the brand identity of IBM without much change to this day.\u003cbr\u003e ---From \"Bertolt City, the font that became the basis for the IBM logo\"\u003cbr\u003e\u003cbr\u003e The irregular thickness and awkward curves of early sans-serif typefaces cannot be found in Akzidenz Grotesk.\u003cbr\u003e Fonts without serifs of a consistent thickness are basic forms that have eliminated all unnecessary elements, and the uneven width of letters is organized to ensure an even rhythm and space. \u003cbr\u003eAkzidenz Grotesk was chosen as the typeface for 'New Typography', one of the 20th-century modernist movements, because it is a sans-serif typeface with excellent form and the most universal form that does not reveal the personal inclination of the type designer.\u003cbr\u003e ---From \"Akzidenz Grotesk, a font that continues the tradition of new typography\"\u003cbr\u003e\u003cbr\u003e Helvetica was used extensively by multinational corporations, especially during the booming 1960s and 1970s, to build their visual identities.\u003cbr\u003e Helvetica's neutral, readable form, free of exaggeration, and associated with precision, sophistication, and trustworthiness, has been used in a wide range of applications, from subway signs in major cities like New York and Tokyo to the identity designs of airlines like Lufthansa and American Airlines. \u003cbr\u003eAmerican graphic designer Michael Vanderbyl said, “In the late 1960s and 1970s, Helvetica wasn’t just a typeface.\u003cbr\u003e “It was a lifestyle,” he said, which gives an idea of ​​the visual environment that Helvetica was occupying at the time.\u003cbr\u003e\u003cbr\u003e ---From \"Helvetica, the official typeface of the 20th century\"\u003cbr\u003e\u003cbr\u003e The typeface Avant-Garde existed only in uppercase until it was commercially released in 1970 by ITC, the typeface company founded by Herb Lubalin and Aaron Burns.\u003cbr\u003e Experts have pointed out that avant-garde fonts are being abused and misused in ways that go against their original design intent.\u003cbr\u003e In fact, when the uppercase and lowercase avant-garde letters are written without alternative letter pairs and with normal kerning, they fail to bring out the special characteristics of the avant-garde, such as tension and wit. \u003cbr\u003eHerb Lubalin focused on the visual impression of words or sentences formed by letters coming together, so he used minimal letter spacing and line spacing.\u003cbr\u003e In his work, we experience powerful typographic messages that put 'seeing' ahead of 'reading'.\u003cbr\u003e\n\n\u003c\/div\u003e\n\u003cdiv\u003e ---From \"Avant-garde, a typeface born in the golden age of American magazine design\"\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003ePublisher's Review\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e \u003cb\u003eTypography, a great legacy of 20th-century graphic design\u003cbr\u003e Why 33 fonts?\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e This book covers representative fonts according to the 'classification of fonts' method, which helps to understand and organize fonts.\u003cbr\u003e This book's classification method is based on Maximilien Vox's typeface classification, but has been redefined to include modern typefaces and typefaces born in the digital age. \u003cbr\u003eThus, the 33 fonts selected in this book are those that best exemplify the form of each category, and are also classics whose functionality and beauty have been proven in the history of Western typography.\u003cbr\u003e Even now, with the publication of this revised edition, each and every one of these fonts, without exception, possesses historical significance in its own right.\u003cbr\u003e\u003cbr\u003e This book faithfully conveys the formal characteristics and basic knowledge of each typeface, as well as the historical background and stories of the typographic geniuses who created them.\u003cbr\u003e Through this, general readers interested in design and typography can gain practical knowledge as well as the passion of the designers who created the typefaces. \u003cbr\u003eBy observing the interplay of the lives of various figures from different eras and cultures around a single typeface, we can reflect on the legacy of visual design and the endless creative possibilities it fosters.\u003cbr\u003e\u003cbr\u003e \u003cb\u003eValues ​​and importance that remain constant even in a changing environment\u003cbr\u003e Designer's creative thinking and use of typography\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e Typography is a Western cultural heritage that developed from Gutenberg's printing press, which began in 15th-century Europe, but its use is so widespread that it has deeply penetrated the lives of Koreans.\u003cbr\u003e It has now become commonplace for Korean companies to develop and communicate with Roman-specific fonts as an essential element of branding in order to compete in the global market.\u003cbr\u003e Recently, not only large corporations but also small and medium-sized enterprises are actively developing Roman-specific fonts for their global marketing needs.\u003cbr\u003e \u003cbr\u003eIn this context, in order for Korean visual designers to communicate visually to the world, it is necessary to have a certain level of understanding and ability in typography using the Roman alphabet.\u003cbr\u003e A visual designer must have a good understanding of typefaces to be able to choose the typefaces that best convey their ideas visually, and to think creatively to give their work a competitive edge.\u003cbr\u003e This book provides editorial design that allows designers to clearly understand the unique characteristics of each font, along with rich and colorful illustrations and information on the actual font sizes used, to help designers utilize them in their work.\u003cbr\u003e You can get inspired by the work of master designers such as Paul Rand, Herb Lubalin, and Jan Tschichold, and see how each typeface has been used in various fields.\u003cbr\u003e\u003cbr\u003e \u003cbr\u003eWith the proliferation of new technologies today, some predict that artificial intelligence will replace designers.\u003cbr\u003e Professor Kim Hyun-mi, author of this book, says, “Even amidst the changes in design tools and media brought about by technological innovation, the value that remains constant is the creative thinking that enables a design project to be properly understood, directed, and implemented.”\u003cbr\u003e To this end, I hope this book will serve as a source of creative inspiration for designers living in the 21st century. \u003cbr\u003e\n\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"width:95%;padding-top:20px;padding-bottom:20px\"\u003e\n\n\u003cdiv style=\"text-align:left;font-size:16px;font-weight:bold;padding-bottom:20px\"\u003e GOODS SPECIFICS \u003c\/div\u003e\n\n\u003cdiv style=\"text-align:left;font-size:14px;line-height:1.6em;\"\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003ePublication date:\u003c\/strong\u003e August 18, 2022\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003ePage count, weight, size:\u003c\/strong\u003e 364 pages | 814g | 180*230*20mm\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eISBN13:\u003c\/strong\u003e 9791192107653\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eISBN10:\u003c\/strong\u003e 1192107659 \u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003ccenter\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cspan\u003e\u003c\/span\u003e\n\n\u003c\/center\u003e\n\n\n\u003c\/center\u003e","brand":"LIBRAIRIE COREENNE","offers":[{"title":"Default Title","offer_id":43891663208490,"sku":"142600","price":41.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0683\/2750\/5962\/files\/a74de2dc1c4c062c939b77852e518c23.jpg?v=1765336930","url":"https:\/\/librairie.coreenne.fr\/en\/products\/142600","provider":"LIBRAIRIE COREENNE","version":"1.0","type":"link"}