- Paperback: 248 pages
- Publisher: Strathmoor Pr; Revised edition (March 1, 1995)
- Language: English
- ISBN-10: 0962489158
- ISBN-13: 978-0962489150
- Product Dimensions: 6.2 x 1 x 9 inches
- Shipping Weight: 12.6 ounces
- Average Customer Review: 10 customer reviews
- Amazon Best Sellers Rank: #813,322 in Books (See Top 100 in Books)
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Type & Layout: How Typography and Design Can Get Your Message Across-Or Get in the Way Paperback – March 1, 1995
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The proliferation of desktop publishing has reawakened interest in the presentational aspects of printed communication; that is, in what writing looks like. When picking a fonts package, the image-conscious self-expresser would do well to consult Wheildon on the ins and outs of typography and graphic design; indeed, for those in advertising, his book will serve as a layout primer. In measured, detailed language, and drawing on nine years of research, Wheildon discusses page layout, typefaces, reader behavior, and more. Further, given subject matter that lends itself to insightful illustration, he accompanies the text with graphics that enhance and underscore his points at every turn. His writing seems a bit technical, even dry, at first, but detailed and crisp exposition combine with apt illustration to impart as much depth about the technical aspects of presenting printed communication as many readers may want. Mike Tribby
Many established typesetting routines actually inhibit reading comprehension: Type & Layout is the message in a fine guide which should be required reading for any involved in pairing written words with art. Editors, designers, and a range of individuals will find this packed with ideas on page layout and typefaces proven to reach audiences. -- Midwest Book Review
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However, Wheildon is reworking and confirming, with academic style studies, what experts on mail order advertising and related fields have known for at least one hundred years. See, e.g., Sherbow's books and type charts. These principles and facts are no secret to those who have taken the trouble to learn their art. E.g., standard serif faces are easily readable; sans-serif faces are an excrescence and hard to read; line length must be kept reasonable; headline should be upper/lower, not all caps; limited color enhances results; too much color, especially in headlines, hurts results; and so on. Ogily in Confessions of an Advertising Man, touches on some of these things. It is sad that much of today's advertising shows not the slightest acquaintance with basic principles of layout and typography. Every time I open a business magazine and look at the ads, featuring weird layouts, unreadable sans-serif faces and blocks of reverse type, I am reminded of the millions of dollars being thrown away because the ad maker was in love with his cleverness and creativity. Although, truth to tell, the headlines and text are often so execrable that a sensible layout would not save matters.
Almost everything in the book applies equally to layout and typography of books and magazines as well as ads.
The book itself is pleasantly laid out and easy to read with good layout and typography, and constitutes an advertisement for its own wares. it would be a shame for it to be otherwise!
This book has been so helpful to me that I keep it at my desk for handy reference. For example, what kind of reader comprehension can I expect if I use 10 point font and 13 point leading? It's in the book. Where are serif and sans serif fonts best used? It's in the book . . . along with lots more.
Colin Wheildon conducted studies to determine the way type and layout affect a reader's comprehension -- and he suggests ways to use these results in order to produce better copy and layout. I know his results have helped me to do better work.