Logo, Font & Lettering Bible Hardcover – March 1, 2004
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About the Author
- Item Weight : 2.7 pounds
- Hardcover : 240 pages
- ISBN-13 : 978-1581804362
- Product dimensions : 8.5 x 0.9 x 11 inches
- Publisher : How Design Books; 1st Edition (March 1, 2004)
- Language: : English
- Best Sellers Rank: #191,632 in Books (See Top 100 in Books)
- Customer Reviews:
Top reviews from the United States
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Nevertheless, after giving this book a second shot, I've found it really invaluable. Apparently it's one of the few books (only book?) out there that teaches you, step by step, how to digitally modify and create type . He has some great illustrator tricks and teaches you how to do different lettering effects. It's really broken me out of my comfort zone--before I was stuck using existing typefaces, and now I can pretty effectively knock out hand-done lettering.
Leslie Cabarga, a talented illustrator and designer in his own right, does not limit examples to his own. World-renowned artists such as Gerard Huerta, Michael Doret, Tim Nikosey, Tony DiSpigna, and Seymour Chwast -- four dozen in all -- contribute to the wealth of inspiration. In the 1980's I had the privilege of working with uncles for one of these typography leaders -- producing over 200 hand-lettered packaging logos. It was there that I first saw an original triple outline inking of flourished letters by Gerard Huerta and was privileged to study a fraction of the techniques used.
Cabarga urges readers to become critics of their own work. This also reminds me of employment at the Huertas. A bulge could occur when joining curves using technical pens. After working on it for a while and thinking to myself "It's good enough," this infinitesimal area would be the first thing the creative director would point out. After admitting that I saw it too, he remarked, "If you saw it, why show it to me?" I quickly learned to be obsessively concerned about adjoining curves. Ink bulges may not be a problem today with digital lettering but there are other telltale signs of an amateur. Cabarga shows what to look for.
Your eyes are in for a tasty treat. Beautiful examples of calligraphy, and their influence on Roman font characters, are well demonstrated and discussed. But the book is by no means limited to calligraphy. Cabarga patiently differentiates cartooning, illustration, logo design, icon artwork, trademarks, and font design. LOGO FONT & LETTERING BIBLE compares digital tools such as the now defunct Macromedia FreeHand (my past favorite), Adobe Illustrator (which has supplanted the former), the seemingly forgotten Mac OS 9 version of Macromedia Fontographer (which in 2005 was integrated into the FontLab line of digital typography tools and updated to Mac OS X -- hooray!), and the preeminent FontLab.
LOGO FONT & LETTERING BIBLE covers the history of typography and encourages users to build a library of signage photos and magazine scraps for inspiration. Each subject I thought might be overlooked was eventually covered. Even esoteric techniques such as what I refer to as character ink reservoirs (called clog reduction on page 115) are here. Skeleton Strokes on page 152 demonstrates wonderful timesaving suggestions for digital lettering. Optical character spacing and stroke widths are discussed in detail beginning on page 112. Do you want to learn how to clean up the best scans for converting drawings to vector art? Jump over to page 158. Everything you want to know about Bezier (pronounced "Bez-zee-ay," thank you) curves but were afraid to ask is, well, practically everywhere but particularly in the section Bezier Curves for Cowards that begins on page 140.
Mississippi readers will approve. Just as I was thinking, the author needs to demonstrate how to arch text on a path (FreeHand did a better job than Illustrator), I turned to page 191 and, bam! There it is. The comparison on page 226 of residual shape differences in Illustrator and Fontographer after Bezier points are removed from a path is insightful. Not to leave you hanging, the book concludes with suggestions for getting work, building a portfolio, and negotiating fees. Additional resources and a helpful index rounds out 240 pages, which, like all trips to a candy store, seem to end too soon.
Beautifully designed and fabulously written, typography and lettering is explained thoroughly and creatively: tons of examples, high production values, explanations of concepts in terms of "antique" tools as well as industry standard computer tools, and even a section on business tips for freelancers.
Leslie Cabarga is a very gifted designer and communicator (and is quite witty besides), and he takes you from understanding the most rudimentary font concepts all the way up to how to create and design fonts on a professional level.
If you've ever thought, "The lettering on the project doesn't look quite right, but I can't figure out why..." then this book will give you the tools to whip your designs into shape.
I have no desire to design fonts, but understanding what goes into the making of a font has done wonders for my ability to use type more effectively and creatively.
If you're a designer, you know what it's like to shell out big bucks for design books which only have a few useful concepts or ideas in them. This book, however, is a bargain at twice the price. It truly is comprehensive, and has quickly become one of the design books on my very small "absolutely essential" shelf.
Before ordering this book, I worried that it was going to have to much of an emphasis on lettering "from scratch," or on font creation. Now, though, I'd say that if you use type at all in your designs, you will find this book to be an invaluable part of your design library.
I love this book because it makes type interesting. The book is beautiful and it inspires me to create work on the same level. It also helps me understand how to create the work to which I aspire.
One reviewer wrote that the cover is "aweful". I disagree. I love the cover. I love the design of the stretched mesh, the embossing, the spot coating, the colors and how it all contrast while remaining one united piece of work. The texture, colors, techno(mesh), modern(logo), hard(dies), and soft (script text) elements are individually interesting and combine wonderfully.
Bob in NJ
Top reviews from other countries
The layout of the book it's amazing and the quality of the information the author give to the lector is incredible.
I've never tryed before to design type but right after having finished the book I felt that I was "ready" to try.
It gives all the tips and history necessary to the junior type designer to grow up and start designing.
Doch dieser überzeugt mich völlig! Auch wenn die (Logo-)Beispiele oft sehr amerikanisch sind, kann man an der Analyse dazu sehr viel über die Gestaltung von Logos, Lettering und Schrift lernen!
In dieser Hinsicht ist es sehr gut, dass sooo viele Bilder und Grafiken eingebaut sind.
Die Autorin schreibt in einem lockeren, fast freundschaftlichem Ton und in einer angenehm zu lesenden englischen Sprache. Sie erzählt von Fehlern, die ihr und anderen oft passiert sind, und erklärt, wie sie vermieden werden können. Sie gibt Tipps für effektives Arbeiten und regt zwischendrin auch mal zu kleinen Mitmach-Übungen an.
Für Anfänger im Logo-/Typedesign und für Fortgeschrittene sehr zu empfehlen!