Tipografija in oblikovanje pisav

  • BAINES, P. in HASLAM, A., 2005. Type and typography. London: Laurence King.
  • BEIER, S., 2012. Reading letters : designing for legibility. Amsterdam: BIS.
  • BIEGELEISEN, J. I., 1995. Classic Typefaces and How to Use them. New York: Dover Publications.
  • BRINGHURST, R., 2002. The elements of typographic style. Point Roberts (WA): Hartley & Marks.
  • CARTER, H., 2005. A view of early typography up to about 1600. London: Hyphen.
  • CHENG, K., 2005. Designing type. New Haven: Yale University Press.
  • COLES, S., 2006. The anatomy of type : a graphic guide to 100 typefaces. New York: Harper Design.
  • DODD, R., 2006. From Gutenberg to opentype : an illustrated history of type from the earliest letterforms to the latest digital fonts. Lewes: Ilex.
  • DONALDSON, T., 2008. Shapes for sounds : (cowhouse). New York: Mark Batty.
  • DOWDING, G., 1998. An introduction to the history of Printing Types. London: The British Library.
  • GORDON, B.,2001. Making Digital Type Look Good. London: Thames and Hudson, 2001.
  • HALEY, A. 2012. TYPOGRAPHY referenced : a comprehensive visual guide to the language, history, and practice of typography. Beverly: Rockport Publishers.
  • HOCHULI, J., 2008. Detail in typography : letters, letterspacing, words, wordspacing, lines, linespacing, columns. London: Hyphen Press.
  • KINROSS, R., 2004. Modern typography : an essay in critical history. London: Hyphen Press.
  • KORGER,H., 1986. Schrift und Schreiben : ein Fachbuch für alle, die mit dem Schreiben und Zeichnen von Schriften und ihrer Anwendung zu tun haben. Leipzig : Fachbuchverlag.
  • LAWSON, A.,1990. Anatomy of a Typeface. Boston: David R. Godine Publisher.
  • LUPTON, E., 2010. Thinking with type : A critical guide for designers, writers, editors & studentsNew York: Princeton Architectural Press.
  • MIDDENDORP, J., 2012. Shaping text. Amsterdam: BIS Publishers.
  • MIDDENDORP, J., 2011. Type navigator : the independent foundries handbook. Berlin: Gestalten.
  • MORISON, S., 1997. Letter Forms: Typographic and Scriptorial. Vancouver: Hartley & Marks.
  • MOŽINA, K., 2009. Mikrotipografija. Ljubljana: Naravoslovnotehniška fakulteta.
  • NOORDZIJ, G., 2009. The Stroke, Theory of Writing. London : Hyphen Press.
  • NOORDZIJ, G., 2000. Letterletter : an inconsistent collection of tentative theories that do not claim any other authority than that of common sense. Point Roberts, WA: Hartley & Marks.
  • RUDER, E., 2009. Typographie (8th edition). Zurich: Verlag Niggli AG.
  • SMEIJERS, F., 1996. Counterpunch : making type in the sixteenth century, designing typefaces now. London: Hyphen Press.
  • SPIEKERMANN, E., 2014. Stop Stealing Sheep & find out how type works (3rd edition). San Francisco: Adobe Press.
  • TRACY, W., 2003. Letters of credit : a view of type design. Boston: David R. Godine.
  • UNGER, G., 2007. While you’re reading. New York: Mark Batty.
  • UNGER, G., 2018. Theory of Type Design. Rotterdam: nai010 publishers.
  • WITTNER, B., THOMA, S. & HARTMANN, T., 2019. Bi-Scriptual: Typography and Graphic Design with Multiple Script Systems. Salenstein: Niggli.
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