Arnett Phillips, N. Form'd. (2004)

Baines, Phil, & Haslam, Andrew. (2002). Type and typography. London: Laurence King. Includes 2 extensive timelines, one on type designers, one on the evolution of writing and printing.

Blackwell, L. (1998) 20th century type : remix. London, Laurence King. A visual survey of 20th-century type, taking into account the enormous influence of digital technology and the Internet on visual design and communication.

Bringhurst, R. (2012). The elements of typographic style. Seattle: Hartley & Marks, Publishers. Herman Zapf called this book the Typographic Bible... Renowned typographer and poet Robert Bringhurst brings clarity to the art of typography with this masterful style guide. Combining the practical, theoretical, and historical, elements of typography.

Cheng, K. Designing Type Paperback (2006) One of the most essential tools of graphic design, typography influences the appearance of visual print materials perhaps more than any other component. This essential book explains the processes behind creating and designing type. Author Karen Cheng discusses issues of structure, optical compensation, and legibility, with special emphasis given to the often overlooked relationships between letters and shapes in font design.

Chimero, F. The Shape of Design The Shape of Design is a book that investigates the influence of design on our lives and this world. It looks at design as a practice we use to shape our world.

Coles, S. The Anatomy of Type: A Graphic Guide to 100 Typefaces. A visual treat for anyone who loves fonts and typographic design. The Anatomy of Type explores one hundred traditional and modern typefaces in loving detail, with a full spread devoted to each entry. The full character set from each typeface is shown, and the best letters for identification are enlarged and annotated, revealing key features, anatomical details, and the finer, often-overlooked elements of type design. Containing in-depth information on everything from the designer and foundry, the year of release, and the different weights and styles available, The Anatomy of Type is more than a reference guide to the intricacies of typeface design. It is a visual send-up of some of the world's most beloved typefaces, beautifully displayed in vibrant color.

Jury, D. About Face: Reviving the Rules of Typography Paperback – September, 2004 The computer has made some typographic rules obsolete while others, previously known only to typesetters, have also been forgotten. Despite this, typography remains a fundamental element of graphic design. About Face presents and explains the typography basics required by all graphic designers, from the names of the different parts of characters, typeface styles and their function, to type measurement, typeface families, and type manipulation on the computer. It also looks at typography at work and features a wealth of applied examples by leading designers from around the world, who use, and considerably extend, the rules to create effective, communicative design.

Jury, D. Graphic Design before Graphic designers. A comprehensive retelling of the history of printing from 1700 to 1914 and a cornucopia of visual and technical extravagance

Jury, D. (2011). Letterpress: the allure of the handmade. Mies: RotoVision. Contemporary graphic designers, particularly those who have grown up with the computer, are re-discovering the creative potential of letterpress as a medium. Letterpress has unique visual and tactile impact, thanks to its physical presence on the page, and offers a powerful means of expressing ideas through a more thoughtful and intelligent use of type.

Hische, J. In Progress: See Inside a Lettering Artist's Sketchbook and Process, from Pencil to Vector Hardcover – September 15, 2015 This book will change how you approach lettering and type design projects. Through step-by-step instruction, you'll learn how to sketch distinctive letterforms and turn those sketches into finalized vector artwork.

Hochuli, J. (2008) Detail in Typography. Hyphen Press Hochuli’s focus is the details of text typography, or “microtypography.”  The fundamental elements that he writes about are the letter, the word, the line, linespacing, and the column, with a bit at the end that he calls “the qualities of type.”

Hyndman, S. (2016). Why Fonts Matter. Sarah Hyndman brings a frisky mix of art and science to her multisensory analysis of typography and communication

Kane, J. (2002) A type primer. Laurence King. A practical introduction to typography, this book analyses the basic principles and applications of type. From measuring type and classifying typefaces to organising text on a page and understanding grid systems, the author covers everything that the beginning student of graphic design needs to know.

Kincross, R. Modern Typography, 2nd Edition 2nd ed. Edition Modern Typography is the book that tells "how modern typography got to be the way it is.

Kincross, R. Unjustified texts: perspectives on typography. A book of writings from twenty-five years ofjournalism and academic life,themes include: editorial typography, the emergence of graphic design in Britain, emigré designers, Dutch typography, the work of critical modernist designers

Kunz, W. (1998) Typography: macro- and microaesthetics. Switzerland, Niggli. Typography - that is, typography the reader can comprehend and understand - is based on certain fundamental principles. As long as letters, words, and sentences are used to transmit information, these same principles will remain valid - even in electronic media.

McLean, R. Typographers on Type. Brought together for the first time in a single volume, the writing is drawn from an international array of books and periodicals, and have been selected for their expression of something “important, interesting and/or amusing about typography.”

McLean, R. Thames & Hudson Manual of Typography (The Thames & Hudson Manuals) Paperback – November 1, 1980. Typography - the art, or skill, of designing printed matter, especially printed words - has a history stretching back five hundred years. Ever since its invention in the fifteenth century printing has been based on the movable types, and this technology has conditioned the design of everything from pamphlets to newspapers, books and magazines. But in the last quarter of the twentieth century a revolution has taken place. Printers and designers throughout the world have jettisoned the old technology in favor of contemporary systems, which introduce new problems and open up exciting possibilities for typographers.

Müller-Brockmann, J. (4th ed.1996) Grid Systems in Graphic Design: a visual communication manual for graphic designers. A.Niggli. From a professional for professionals, here is the definitive word on using grid systems in graphic design.



Noordzij, G. The stroke: theory of writing. Noordzij starts from basic principles, and gives his attention first to the space around the letters: the white space that serves to define and distinguish what any letter is. He describes in minute detail how the strokes of writing can be formed. Here he uses simple geometrical concepts to underpin his descriptions. So the book is far from a work about art calligraphy and beautiful forms. Rather it is a sustained description of the phenomenon of letters and how they are made in writing.

Phillips, N. Rulemaker. (2013)

Pohlen, P. Letter Fountain Flexibound (2015) examining the form and anatomy of every letter in the alphabet, punctuation marks, and special characters, the book examines over 150 typefaces, their origins and font characteristics, with full page tables including scale, weight, and useful alternatives.

Rich, Micah. ‘15 minute guide to making sense of Font Licensing’ The League of Moveable Type.

Rich, Micah. ‘The Common Question Guide to Burning Font License Questions’ The League of
Moveable Type.

Ruder, E. (7th ed. 2001) Typography: a manual of design. A.Niggli. Emil Ruder's Typography is the timeless textbook from which generations of typographer and graphic designers have learned their fundamentals. Ruder, one of the great twentieth-century typographers was a pioneer who abandoned the conventional rules of his discipline and replaced them with new rules that satisfied the requirements of his new typography.

Samara, T.  Making and Breaking the Grid. For designers working in every medium, layout is arguable the most basic, and most important, element. Effective layout is essential to communication and enables the end user to not only be drawn in with an innovative design but to digest information easily.

Smeijers, F. Counterpunch: making type in the sixteenth century, designing typefaces now Counterpunch is packed with ideas. It is both an investigation into the technics of making metal type by hand, and a consideration of present questions in type design. The discussion takes in the fundamentals of designing and making letters, so that the book can be read as a guide to type and font construction in any medium. Lively, pointed drawings and photographs complement an equally fresh text.

Spencer, H. (2004). Pioneers of modern typography. London: Lund Humphries. Since its first publication in 1969, Pioneers of Modern Typography has been the standard guide to the avant-garde origins of modern graphic design and typography.

Spiekermann, E. (2014). Stop stealing sheep & find out how
type works. San Francisco, CA: AdobePress.
The third edition of Stop Stealing Sheep offers an engaging, common-sense look at how to work with type, choose the best typeface for the message, and express oneself more effectively through design.


Tschichold, Jan. The New Typography: A Handbook for Modern Designers. University of California Press, 1995 Since its initial publication in Berlin in 1928, Jan Tschichold's The New Typography has been recognized as the definitive treatise on book and graphic design in the machine age.

TypographJournals vols 01-04. Written by designers for designers TypographJournal balances both practice and theory with visual exemplar and design thinking in concise articles written in accessible language.

Warde, B. (1900 – 1969) The Crystal Goblet, or ‘Printing Should Be Invisible’ The essay was first delivered as a speech, called "Printing Should Be Invisible," given to the British Typographers' Guild at the St Bride Institute in London, on October 7, 1930. The essay is notable historically as a call for increased clarity in printing and typography. It is now significant as a common reading in the study of typography and graphic design. The essay has been reprinted many times and is a touchstone for the concept of "clear" typography and the straightforward presentation of content.



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Alphabet is Code

Brush Lettering


Get Inky


Old School New School

Out of Sorts


3/4 words

Type By Hand

Online Resources

Thinking with type.






Design Assembly


Hamilton woodtype Museum


St Brides


The league of moveable type.




Typography Guru