Just My Type is not just a font book, but a book of stories. About how Helvetica and Comic Sans took over the world. About why Barack Obama opted for Gotham, while Amy Winehouse found her soul in 30s Art Deco. About the great originators of type, from Baskerville to Zapf, or people like Neville Brody who threw out the rulebook, or Margaret Calvert ...Read MoreJust My Type is not just a font book, but a book of stories. About how Helvetica and Comic Sans took over the world. About why Barack Obama opted for Gotham, while Amy Winehouse found her soul in 30s Art Deco. About the great originators of type, from Baskerville to Zapf, or people like Neville Brody who threw out the rulebook, or Margaret Calvert, who invented the motorway signs that are used from Watford Gap to Abu Dhabi. About the pivotal moment when fonts left the world of Letraset and were loaded onto computers ...and typefaces became something we realised we all have an opinion about. As the Sunday Times review put it, the book is 'a kind of Eats, Shoots and Leaves for letters, revealing the extent to which fonts are not only shaped by but also define the world in which we live.' This edition is available with both black and silver covers.Read Less
Filled with glimpses of history and many of the key figures in the world of typography, and occasionally witty and insightful by turns. Mr. Garfield's diverting romp through its topic too often bounces about: one more editorial pass would have made a more coherent and lasting job of work.
Apr 16, 2012
It's great to read about the fonts and the geeks who designed them .As an amateur calligrapher I had only a passing knowledge of print fonts. The book widened my interest a great deal.
Publishers Weekly, 2011-05-23 Printed type is no mere neutral conveyor of ideas but an artistic medium in its own right, with psychological, social, and even sexual overtones, according to this lively romp through the history of fonts. Garfield (The End of Innocence) surveys fonts from Gutenberg's dour Gothic and the elegant classicism of Garamond to the childlike faux-naivete of Comic Sans, now so widely used for everything from medical brochures to tombstones that a movement has arisen to ban it. Along the way he revisits the sometimes lurid lives of the great typographers-incest and bestiality included-and explores the legibility of highway signs and the subliminal messaging of presidential campaign fonts. There's much pop psychology here-heavy, angular fonts seem male, apparently, while thin, curlicued ones are female-and a lot of engaging connoisseurship that occasionally goes overboard, especially when comparing look-alike modern sans serif fonts: you have to strain at gnats to distinguish the ubiquitous corporate cordiality of Helvetica from the "slightly softer and more rounded tone" of Arial. Regardless, Garfield's evocative prose-Cooper Black is "the sort of font the oils in a lava lamp would form if smashed to the floor"-entices us to see letters instead of just reading them. Photos. (Sept.) (c) Copyright PWxyz, LLC. All rights reserved.
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