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Stop Stealing Sheep &Find out How Type Works Second Edition

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Stop Stealing Sheep &Find out How Type Works Second Edition Stop Stealing Sheep &find out how type works Second Edition Erik Spiekermann & E.M.Ginger Adobe Press Berkeley, California Page ................8 Chapter l: Type is everywhere Type exists. It is a fundamental part of our lives. These simple facts are essential to understanding how to communicate more effectively. 24................ Chapter 2 : What is type? Between type's past and its future, our present under- standing of type is rooted in who we are and how we communicate. Type is a living entity integrated into society's moods and trends. ' 1 36................ Chapter 3 : Looking at type Training the eye to recognize type begins with familiar elements on the page. Looking at both a typeface's basic shape and its finest details is the first step toward understanding how type works. Y 58................ Chapter 4 : Type with a purpose Choosing typefaces for a particular purpose need not be more intimidating than planning your wardrobe. Matching an appropriate typeface with the right task is easy. 74................ Chapter S : Type builds character Understanding the tone, or feeling, of text is essential in determining what typeface to use, and how it might be arranged on the page. 96................ Chapter 6 : Types of type Basic characteristics of typefaces, once understood, can eliminate difficulty with typeface identification. Simple distinctions among typefaces are best under- stood by analogy to human counterparts. 122................ Chapter 7: How it works Legible, readable type depends on a few basic principles: space between individual letters and around words. Choosing the right typeface for the right text also means using the right spacing. 142................ Chapter 8: Putting it to work Considering where type is going to live and work will determine its effectiveness. Simple rules of placement create practical page layouts. 156................ Chapter 9: There is no bad type Type is a basic element of communication. As the means of communicating changes, type evolves in unique and lively ways. 174................ Chapter10 : Final form - .. Bibliography, list of typefaces, index. A E Index accents, 13,57 expert sets, 107 Adobe Illustrator, l7 F advertising, 79,83,89, fonts. See also type; 92,149,163 typefaces Aicher, Otl, 109 bitmap, 57,159 alphabets, 27,31,39,107,125 creation of, 159,163 architectural type, 73 cursive, 63,161 ascenders, 55,101,107 described, 21,55 B digital, l59 Bankhead, Tallulah, 24 formal, 69 baseline, 55 forms, 85 Benton, Morris Fuller, 87 jobbing, 89 Berlow, David, 89 monospaced, 125 Bigelow, Charles, 67 proportional spacing, 125 bitmap fonts, 57,159 screen,21,35,57,73,155. bitmaps, 35,39,71,121 size, 65, l l9 black typefaces,45,51 forms, 18,19,84-85,155 Blokland, Erikvan, l59 fraktur, 29 Bodoni, Giambattista, 65 Franklin, Benjamin, 76,77 boldtype,67,91,92,113 Frere-Jones, Tobias, 61,63,71 books, 38,77,145-151 Freud, Sigmund, 36 boxes, 153,155 Frutiger, Adrian, 65,85,111 brushstroke typefaces, 163 G business communications, Germanic typefaces, 29 19,65,83 Gill, Eric, 96 business forms, 18,19, Gillespie, Joe, 57 84-85,155 Goudy, Frederic, 122 Butterick, Matthew, 89 graphic design, 81 C Greek inscriptions, 49 cap height, 55 grids, 147,149,153 captions, l49 Griffith, Chauncey H., 61 Caslon, William, 77 Gutenberg,29,31 catalogs, l47 H coffee table books, 145 Hamburgefons, 39 color Handgloves, 39 monitors and, 81 handwriting, 29,47,63,85,163 text, 137 Harvey, Michael, 63 tips for, 92 headlines, 79 columns, 15,77,145,151 hinting, l21 computers, 81,121,125,135, Holmes, Kris, 67 153 Holmes, Sherlock, 74 condensedfonts, 91,113 copperplates, 69,159 I corporations, 83 illustrations, 147,151 counters, 55 italics, 63 cursive,63,161 J D jobbing fonts, 89 daVinci, Leonardo, 55 K de Groot, Lucas, 67 Keere, Hendrikvan den, 61 descenders, 55,57,101,107 kerning, 55,127 design axis, l l7 digital fonts, 159 L dingbats, 95 landscape format, 92 drawings, 147,151 laser printers, l53 Dwiggins, William Addison, 142 LCD screens, l21 R classic, 33,38,71,117 Le Corbusier, 33 reading, 31,145-149 condensed, 91 leading, 15,55,92 Renner, Paul, 79 creation of, 159,163 legibility,61,77,99,101,119 Rickner, Tom, 89 described, 55 letter shapes, 73,81,113,119 Roman alphabet, 27,31 emotions and,44-52 letterforms, 49 Roman typefaces, 29 future of, 35 letterpress printing, 89 Rossum, Just van, l59 history of, 29-32,125 letters italic, 63 history of, l25 5 sans serif, 51 legibility, 61,77,99, Sauerteig, Steffen, 73 101,119 multiplemaster, 117,119 tools for, 159 Schneidler, Stempel, 63 screen displays, 57,73, newspaper, 13,15,38,61,91 Licko, Zuzana, 69 product association and, 163 ligatures, l07 121,155 screen fonts,35,57,73 for reading, 31,145-149 lines Roman, 29 in forms, 85 script, 69 serifs,49,51,55,63 size, 65,119,145,147 horizontal, l53 stencil, l59 length of, l49 Shaw, George Bernard, 77 signs, 22,23,95,99,161,163 trendy, 71,87 long, 137 weight,67,111,113,115,117, short, 131,133,149 Slimbach, Robert,67,105 Smeijers, Fred, 87 119 spacing, 15,55,77,129, "workhorses," 67 133,135 spacing letters, 125,127,129, typewriter faces, 71,73 vertical, l53 typewriters, 107,125,153,159 Linotype, 61,85 135,137 lines, 15,77,129,133,135 typographicpurpose,40-45 M proportional, l25 magazines, 87,147,149 white typeand, 140 r, Gerard, 61,63 Majoor, Martin, 69 words, 129,133,135, margins, 77,147 137,141 Marx, Groucho, l56 stencil typefaces, l59 van Blokland, Erik, 159 Mergenthaler Linotype, 61 symbol sets, 95 van den Keere, Hendrik,61 metal type, 57,89,163 symbols, 95 van Rossum, Just, l59 Middleton, R. Hunter, 159 VanderLans, Rudy, 69 T Miedinger, Max, 111 W text monitors, l21 Watzlawick, Paul, 8 color, 137 monospaced fonts, 125 web pages, 92,155 reversed-out, 140 Mulligan, Gerry, 58 weight,67,111,113,115,117,119 whitevs. black, 140 multiple master typefaces, Wenzel, Martin, 67 tracking, 127,131,135, 117,119 white space, 113 137,141 word spacing, 129,133,135, N Twombly, Carol, 67,77 137,141 newspapers, 12-15,38,61, type. See also fonts; writing utensils, 31 91,92 typefaces nostalgia, 89 in books,38 numerals, 107 described, 55 P importance of, l1 metal, 57,89 2. Page, William Hamilton, 89 Zapf, Hermann,65 paperbacks, 38,77,145 type classification, 53,61 photographs, l51 type families, 105,107,109, pixels, 57,121 115 point size, l45 typefaces. See also fonts: portrait format, 92 type Postscript, 65,81 black, 45,51 Powell, Gerry, 159 bold,67,91,92,113 printers, laser, 153 brushstroke, l63 printing, letterpress, 89 business communica- tions, 19,65 choosing, l7,55,61, 103,131 180 Bauer Bodoni Bauer Courier Bud Kettler, 1945: Typeface index Typefoundry, 1926: 69,83 19,109,165,169,171 Berthold Bodoni Berthold, Critter Craig Frazier, 1993: 31 1930: 83 FF Din,Albert-JanPool, ITC Bodoni Janice Fishman, 1995: 71,99 Holly Goldsmith, Jim DIN Mittelschrift Aachen Colin Brignall, Parkinson & Sumner (~~~-Schrift):22,23 1968: 91 Stone,iygq: 53,65,83 Dizzy Jean Evans, 1995: 47 Akzidenz Grotesk Berthold, FF Bokka John Critchley Dogma Zuzana Licko, 1896: 81 &Darren Raven,lyy7: 95 1994: 47 Alternate Gothit Morris Fuller Brush Script Robert E. Smith, FF Dot Matrix Stephen Miiller Benton, 1903: 51 1942: 21,163 & Cornel Windlin, 1992: ITCAmericanTypewriter PMN Caecilia Peter Matthias 21 Joel Kaden &Tony Stan, Noordzij, 1991: 165 Eagle David Berlow, 1989: 51 1974: 159 Cafeteria Tobias Frere- Jones, Eagle Bold Morris Fuller Andale Mono Steve Matteson 1992:63 Benton, 1933: 51 1997:2l,l69 Caledonia William Addison Egyptienne F Adrian Frntiger, Angst Jurgen Huber, 1997: 51 Dwiggins, 1938: 142 1956: 167 Antiqueolive Roger Excoffon, Californian Lanston Mono- Electra William Addison 1962:39,47,51,91,101 type Corporation, 1957: 81 Dwiggins, 1935: 142 Arial Robin Nicholas & Campus Mecanorma: 41,42 Ellington Michael Harvey, Patricia Saunders, Carta Lynne Garell, 1986: 1990: 63 1998: 155 52,95 Empire Morris Fuller Arnold Bocklin 0.Weisert, FF Care Pack Johannes Erler, Benton, 1937: 45 1904: 41,42 1992: 95 Bureau Empire David Berlow, FF Atlanta Peter Bilak, Adobe Caslon Carol Twombly, 1989:45 1995: 21 1990: 39,77 FF ErikrighthandErikvan ITCAvant GardeGothic Caslon William Caslon, Blokland, lyyl: 163 International Typeface 1725: 38,77,165 Excelsior Chauncey H. Corporation, 1970: 99 FF Catchwords Jim Parkinson, Griffith, 1931: 61 Banco Roger Excoffon, 1996: 89 Ex Ponto JovicaVeljovit, 1951: 47 Centaur Bruce Rogers, 1yy5:53 Base 9 Zuzana Licko, 1928: 53 FF Fago OleSchafer,zooo: 91 1995: 19,71 Centennial Adrian Frutiger, ITC Fenice Aldo Novarese, Baskerville John Baskerville, 1986: 85 1977: 69 1757: 38 Charlemagne CarolTwombly, ITC Flora Gerard Unger, Bell Centennial Matthew 1990: 53 1980: 63 Carter, 1978: 39 ITC Charter Matthew Carter, Flyer Konrad Bauer & Bell GothicChauncey H. 1993: 167 Walter Baum, 1962: Griffith,iy38: 167 ITCCheltenham Morris Fuller 51,91 Bembo Monotype Benton,iyoz: 43 FF Fontesque Nick Shinn, Corporation,~yzy:29 Choc Roger Excoffon, 1955: 47 1994: 63 ITC Benguiat Ed Benguiat, FF Confidential Justvan Formata Bernd Mollenstadt, 1977: 103 Rossum,iygz: 159 1984: 91 BerlinerGroteskErik Cooper Black Oz Cooper, 1926: Foundry Form David Quay & Spiekermann, 1979: 89 41,42,43 FredaSack,iyyy: 167 Bickham Script MM CopperplateGothic Frederic Franklin Gothic Morris Fuller Richard Lipton, 1997: 31 Goudy,lyo1:21,69 Benton, 1904: 91 Block H. Hoffmann,lyo8: Coranto Gerard Unger, ITC FranklinGothicVic 45,51,89,91 1999:6l Caruso,iy80: 51,67,87 Bodega Greg Thompson, Corona Chauncey H. Griffith, Franklinstein Fabian Rottke, 1990: 45 1940: 61,167 1997: 51 Bodoni Giambattista
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