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Design with Type, by Carl Dair
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Design with Type was first published in 1952 and appeared in this multi–award-winning revised edition in 1967, which was the first Canadian work to be named Book of the Year by the American Institute of Graphic Arts (AIGA). Its author, Carl Dair (1912–1967) was one of Canada’s best-known and most celebrated type compositors and designers.
Discussing type as a design material as well as a means of communication, Dair argued that if type is understood in terms of design, the user of type will be better able to work with it to achieve maximum clarity and aesthetic pleasure. He guides the reader through a study of typography that starts with the examination of an individual letter and proceeds with words, lines, and masses of text.
Dair details the main design elements of type – size, weight, structure, form, colour, direction, and texture – and illustrates the applications of typography in books, advertising, magazines, and other printed forms. The various schools of typography are discussed and the book includes over 150 examples of imaginative typography from around the world.
Design with Type is a classic work in a field of design that continues to flourish. Dair’s influence on subsequent typographers and designers of print media is considerable and deserving of further study.
- Sales Rank: #1116182 in Books
- Brand: Brand: University of Toronto Press
- Published on: 1982
- Original language: English
- Number of items: 1
- Dimensions: 7.82" h x .51" w x 7.00" l, .73 pounds
- Binding: Paperback
- 162 pages
- Used Book in Good Condition
Review
“Imaginative and intelligent, it makes typography come alive …” (Graphis: The International Journal of Visual Communication)
“… absolutely stunning. Its imaginative and intelligent approach to what many might consider a prosaic subject should delight anyone who uses type as a craft, who finds enjoyment in the printed word, or pleasure in design.” (Montreal Gazette)
About the Author
Carl Dair was awarded numerous prestigious prizes in his field, including the Medal of the Royal Canadian Academy for distinguished achievements in the arts and a Silver Medal at the Leipzig International Book Exhibition. Among his prodigious designs is the Cartier typeface.
Most helpful customer reviews
11 of 11 people found the following review helpful.
An invaluable tool
By John D. Berry
There's a reason why Carl Dair's book has been continuously in print since it was first published in the '50s. It's one of the best introductions to the idea of contrast in design: contrast of size, contrast of weight, contrast of position, and so on. And it's visually inspiring itself, despite being a small, square, one- and two-color volume. Recent printings have unpleasantly tight bindings, but it's still a classic, and one of the best available tools for typographic design.
5 of 9 people found the following review helpful.
Nice introduction to type use
By D. A. Hosek
For some reason Canada seems to produce spectacular typographic writers. I'd never read this book before, but encountering it for CDN5.00 a few years back, I figured I may as well pick it up. Good decision. It's a very well-written book indeed.
0 of 0 people found the following review helpful.
The Justly Famous Typographer's Graphic Design Bible
By Stephen Mann
This book is, as everyone is saying, the acme of the study of design using type as a graphic element rather than just for making words. No we don't use type much any more but the lessons this book teaches are valued by thousands and I recommend the book to all would-be web designers as a valuable resource on layout.
However, I'm docking a star because of the following presentation issues:
The book is too small - it could easily have been reproduced at twice its size and saved the old eyeballs, which will be working overtime with this book as it is all about what things *look* like.
The binding should be a "lay flat" one, such as a spiral, rather than pefect binding which will require housebricks to keep the (small) pages open while you work.
The (tiny font) main text has been confined to a square that is laid out on the lower left of the page - acres of whitespace surround it that will eventually hold examples of typeface use. Unfortunately, this very 60s layout means on every other page the text will snuggle up to that binding. It looks awkward and is hard to read without breaking the spine if one's hands are both doing something else. Also, the hyphen used to continue words over multiple lines is vertical whereas hyphens used in the body of the text are horizontal, as usual. I found this to be annoying rather than eclectic. Your mileage will vary.
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