The approach will be to give visual aid (illustrated) and written reference to young designers who are either launching their careers or taking their first stab at designing letterforms for a logo, lettermark, signage, advertising or an alphabet. The book will focus on the roots of each letterform and give the designers the knowledge of why weight variations (stress) exist and how to correctly apply them to their designs.
Table of Contents
Chapter 1: A
Chapter 2: B
Chapter 3: C
Chapter 4: D
Chapter 5: E
Chapter 6: F
Chapter 7: G
Chapter 8: H
Chapter 9: I
Chapter 10: J
Chapter 11: K
Chapter 12: L
Chapter 13: M
Chapter 14: N
Chapter 15: O
Chapter 16: P
Chapter 17: Q
Chapter 18: R
Chapter 19: S
Chapter 20: T
Chapter 21: U
Chapter 22: V
Chapter 23: W
Chapter 24: X
Chapter 25: Y
Chapter 26: Z
Chapter 27: Letter Frequency
Chapter 28: Numerals
Chapter 29: Designskolen Kolding
Chapter 30: Interviews
Chapter 31: Glossary and Resources
Chapter 32: Bibliography
Stephen Boss began making letterforms as a child, using pencils, brushes and calligraphy pens; next, a mouse and Bezier points; and
now a mixture of media when designing new fonts. While studying at the Center for Creative Studies, Detroit, in the days of hand
rendering type, Stephen was fortunate to have Richard Isbell as his type instructor.
Interested in developing typefaces with a unique vernacular, Stephen started Emboss Fonts in 1995. He has consulted on type design
project for Fairchild, JP Morgan Chase, Bumble & Bunble and Osh Kosh. He has also worked on more traditional design projects for
the UN, Pfizer, Verizon, Walt Disney, Bank of America and many more.
His work has been internationally recognized in juried shows, and featured in such publications as Japan's Timing Zero, Publish
Magazine, and mass HiTech. He recently coatuhored the book The New Web Typography by CRC Press/Chapman & Hall.
Featured Author Profiles
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