Free PDF Just My Type: A Book About Fonts, by Simon Garfield
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Just My Type: A Book About Fonts, by Simon Garfield
Free PDF Just My Type: A Book About Fonts, by Simon Garfield
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Fonts surround us every day, on street signs and buildings, on movie posters and books, and on just about every product that we buy. But where do fonts come from and why do we need so many? Who is behind the businesslike subtlety of Times New Roman, the cool detachment of Arial, or the maddening lightness of Comic Sans (and the movement to ban it)? Simon Garfield embarks on a mission to answer these questions and more, and reveal what may be the very best and worst fonts in the world.
Typefaces are now 560 years old, but we barely knew their names until about twenty years ago, when the pull-down font menus on our first computers made us all the gods of type. Beginning in the early days of Gutenberg and ending with the most adventurous digital fonts, Garfield unravels our age old obsession with the way our words look. Just My Type investigates a range of modern mysteries, including how Helvetica took over the world, what inspires the seemingly ubiquitous use of Trajan on bad movie posters, and what makes a font look presidential, male or female, American, British, German, or Jewish. From the typeface of Beatlemania to the graphic vision of the Obama campaign, fonts can signal a musical revolution or the rise of an American president. This book is a must-read for the design conscious that will forever change the way you look at the printed word.
Product details
Paperback: 384 pages
Publisher: Avery; Reprint edition (September 4, 2012)
Language: English
ISBN-10: 1592407463
ISBN-13: 978-1592407460
Product Dimensions:
5.4 x 0.9 x 8.3 inches
Shipping Weight: 10.4 ounces (View shipping rates and policies)
Average Customer Review:
4.3 out of 5 stars
191 customer reviews
Amazon Best Sellers Rank:
#114,470 in Books (See Top 100 in Books)
We read this book for a history of books and printing reading group. We've read other typographic history works as well, and this was one of the more disappointing.It jumps around a good deal, and abruptly introduces people and topics with little prelude. I think is is simply because it is fundamentally derivative. Read Simon Loxley's book Type: The Secret History of Letters. We read it for our reading group as well a few years before. Better written, better illustrations, more comprehensive, and even better designed. Garfield even used many anecdotes from that book which is cited in his bibliography.I think Garfield's book benefited from the movie HELVETICA which came out after Loxley's and from excellent PR placement, including Amazon's best of the month, but if you have done much reading on recent Typographic history it is clearly standing on the shoulders of better works. Garfield's later ON THE MAP shows the same flaws, though more clearly.2 stars because it did introduce the topic to a wider audience.
I had to get this book because I'm taking a fundamentals of graphic design course this semester. And that means apparently that I need to learn a lot about typefaces and fonts.I originally thought it was going to be a really boring book that would read exactly like a textbook. However, I have been pleasantly surprised with how cool it actually is. The author knows just how to set up each chapter and how to keep each subject interesting to the reader.I'm only 10 chapters in but so far I feel like I have learned a lot and am coming to appreciate type a lot more than I did before. Definitely a great read for those in the graphic design field.
I recently took a printmaking class with emphasis on letterpress and text, so I wanted to get some background on the cultural heritage of type and print media so I could better map out what pitfalls lay before me in terms of choosing a particular typeface. This is a fascinating read about a topic that is entirely pervasive yet so often unnoticed in our culture. That the shapes of our letters convey as much meaning as the content is something that we take for granted- this book was certainly enlightening.Perhaps, this is not the subject matter for absolutely any reader- and interest or curiosity in the subject matter at hand will definitely be useful, but it does not require one to be a die-hard about type in order to appreciate it. Though the author freely admits his hard-core enthusiasm for type, he does not present information in a way that discourages someone new to the subject from jumping right in. He has definite personal tastes- ones that you may disagree or concur with at your leisure without losing too much stake in the overall book. Your feelings on Comic Sans or Papyrus are left to you without an overbearing sense of judgement- though it is interesting to learn why they hold such notoriety in contemporary society. Overall a nice mix of history and contemporary views, blended with humor and a clear love for the topic. Not structured to be the kind of book that keeps me riveted for its entirety, but rather one that I can pick up at any point and feel enjoyment. A good casual read that I feel leaves you for the better at its end.
Simon Garfield has a way of taking something you never think about into an engaging read that makes you wonder how that ever escaped your notice. This time it is fonts. Gutenberg printed and now I have a million choices in my word processor and maybe sometimes I think a book or sign looks funny and that is it. But no fonts are so much more than that they have genders and nationalities and personalities and rules. Small chapters look at different fonts, families, or the people who made them. I think I am also sad that I never had a John Bull printing kit. Very interesting and made me look around and think about the text in a way it is never meant to be noticed if it is doing its job
Just My Type is a "litte book" on typefaces and printing directed to the layman, not the professional or type aficionado. For example, the author tells you where the terms "lower case" and "upper case" originated -- I never knew that. I also found the brief discussions of the legal issues faced by type designers educational. Now I know why Helvetica is not widely available on computers. On the other hand, without at least a minimal interest in typefaces, I doubt the reader would get very far before setting the book aside. Fortunately, I have a sufficient background in "printing" (predating the choice of fonts to select on the computer -- not including Amazon reviews) that I made it to the end. The most frustrating thing to me was the absence, in a significant number of situtions, of actual examples -- printed in the book -- of the typefaces, and their nuances and their differences, that the author was discussing.
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