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Stop Stealing Sheep & find out how type works Erik Spiekermann Third Edition

1 Stop Stealing Sheep

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3 Stop Stealing Sheep & find out how type works Third Edition Erik Spiekermann

tRademaRks Adobe, Photoshop, Illustrator, PostScript, and CoolType are registered trademarks of Adobe Systems Incorporated in the United States and/or other countries. ClearType is a trade mark of Microsoft Corp. All other trademarks are the property of their respective owners. Many of the designations used by manufacturers and sellers to dis tinguish their products are claimed as trademarks. Where those designations appear in this book, and Peachpit was aware of a trademark claim, the designations appear as requested by the owner of the trade mark. All other product names and services identified throughout this book are used in editorial fashion only and for the benefit of such companies with no intention of infringement of the trademark. No such use, or the use of any trade name, is intended to convey endorsement or other affiliation with this book. isbN 13: 9780321934284 isbN 10: 0321934288 9 8 7 6 5 4 3 2 1 Printed and bound in the United States of America Stop Stealing Sheep & find out how type works Third Edition Erik Spiekermann This Adobe Press book is published by Peachpit, a division of Pearson Education. For the latest on Adobe Press books, go to www.adobepress.com. To report errors, please send a note to errata@peachpit.com. Copyright © 2014 by Erik Spiekermann Acquisitions Editor: Nikki Echler McDonald Production Editor: David Van Ness Proofer: Emily Wolman Indexer: James Minkin Cover Design: Erik Spiekermann Notice of Rights All rights reserved. No part of this book may be reproduced or transmitted in any form by any means, electronic, mechanical, photocopying, recor ding, or otherwise, without the prior written permission of the publisher. For information on getting permission for reprints and excerpts, contact permissions@peachpit.com. Notice of LiabiLity The information in this book is distri buted on an “As Is” basis without warranty. While every precaution has been taken in the preparation of the book, neither the author nor Peachpit shall have any liability to any person or entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the instructions contained in this book or by the com puter software and hardware products described in it.

5 Page 8 Chapter 1 Type is everywhere. Type exists. It is a fundamental part of our lives. These simple facts are essential to under stan ding how to communicate more effectively. 26 38 60 78 2 What is type? Between type’s past and its future, our present understanding of type is rooted in who we are and how we communicate. Type is a living enti ty integrated into society’s moods and trends. Looking at type. Training the eye to recognize type begins with familiar elements on the page. Looking at type from the basic shapes to the finest details is the first step toward understanding how type works. Type with a purpose. Choosing typefaces for a particular purpose need not be more intimidating than planning your ward robe. Matching an appropriate typeface with the right task is easy. Type builds character. Understanding the tone, or feeling, of text is essen tial in determining what typeface to use, and how it might be arranged on the page. 3 4 5 102 6 134 7 154 8 172 9 Types of type. Once understood, basic characteristics of typefaces can eliminate difficulty with typeface identification. Simple distinctions among typefaces are best understood by analogy to human counterparts. 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. Putting it to work. Considering where type is going to live and work will determine its effectiveness. Follow simple rules of placement to create practical page layouts. Type on screen. Type on screen used to be the poor sister of type for print. While technical restraints remain, there are no more excuses for choosing an inappropriate typeface for any project that will appear on a screen. 180 10 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. 196 11 Final form. Bibliography, list of typefaces, index.

7 This is a sidebar. As you can see by the small type, the copy here is not for the faint of heart, nor for the casual reader. All the infor mation that might be a little heady for novices is in these narrow columns; it is, however, right at hand when one becomes infected by one’s first attacks of typomania. For those who already know some thing about type and typography and who simply want to check some facts, read some gossip, and shake their heads at my opinion ated comments, this is the space to watch. In 1936, Frederic Goudy was in New York City to receive an award for excellence in type design. Upon accepting a certificate, he took one look at it and declared that “Anyone who would letter space black letter would steal sheep.” Goudy actually used another expression, one unfit for print. This was an uncomfort able moment for the man sitting in the audience who had hand lettered the award certificate. Mr. Goudy later apologized profusely, claiming that he said that about everything. You might have noticed that my book cover reads “lower case,” while here it reads “black letter”– two very different things. Lower case letters, as opposed to CAPITAL LETTERS, are what you are now reading; black letter isn’t seen very often and looks like this. I’m not sure how “black letter” in this anecdote got changed to “lower case,” but I’ve always known it to be the latter; which ever way, it makes infinite sense. By the time you finish this book I hope you will understand and be amused by Mr. Goudy’s pronouncement. steaLiNg sheep? Letterspacing lower case? Professionals in all trades, whether they be dentists, carpenters, or nuclear scientists, communicate in languages that seem secretive and incomprehensible to outsiders; type designers and typographers are no exception. Typographic terminology sounds cryptic enough We see so much type that we sometimes stop looking. This is not necessarily a bad thing, as in the case of this sign, which tells us that we may not enter this street between eleven and six, nor between eleven and six, and certainly not between eleven and six. to put off anyone but the most hard nosed typomaniac. The aim of this book is to clarify the language of typography for people who want to communicate more effectively with type. These days people need better ways to communicate to more diverse audiences. We know from experience that what we have to say is much easier for others to understand if we put it in the right voice; type is that voice, the visible language linking writer and reader. With thousands of typefaces available, choosing the right one to express even the simplest idea is bewildering to most everyone but prac ticed professionals. Familiar images are used in this book to show that typography is not an art for the chosen few, but a powerful tool for anyone who has something to say and needs to say it in print or on a screen. You will have ample opportunity to find out why there are so many typefaces, how they ought to be used, and why more of them are needed every day. See the changes made to the sign in the last two decades: the small picture on the right is from this book’s first edition, printed in 1992; the one on its left is from the second edition in 2003.

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