All in all an entertaining and accessible book on an unusual but surprisingly delightful topic. But, after all, you are reading a review for a book about fonts, so you might be interested. The book opens with the tale of Comic Sans, its original design, subsequent flagrant misuse, and the move to ban it. And-- I found this book entertaining, informative, and visually enjoyable. The difference between legible and readable? Book Information: Genre: Nonfiction, typography Recommended for: People interested in the typography that surrounds us. If every book on type was technical they would have an extremely small readership. All the same, there are so many fonts and all quite different from each other.
I am definitely fond of zaftig with strokable, curvy edges, sometimes I prefer something a bit more conservative, upright, familiar. If any of this sounds interesting, you might enjoy this witty book as much as I did. John Baskerville designed the font that was named for him, but there was no mention of his dog. I think anyone who liked the idea of this book would enjoy it. Patrick Barber is a and living in Portland, Oregon.
I think anyone who liked the idea of this book would enjoy it. Instead, it skims the surface on most aspects with a little more attention devoted to the personal history of font creators. It wasn't written as a dry textbook-like tome, but rather as a narrative-driven, real world-connected, conversational history. Some — like comic sans — even have hate sites on the internet devoted to them We all know far too much and far too little about fonts. Which then brings us to the question, what is a character? What those books are really doing is alerting the general reader that this stuff exists! The book is lavishly endowed with anecdotes, humorous asides, historical details, examples of various typefaces and illustrations depicting their use.
A light and fanciful book about type, especially for beginners, is not going to be the same as something by Robert Bringhurst and it would be a failure if it was. Fonts surround us every day, on street signs and buildings, on movie posters and books, and on just about every product we buy. Just think - Garfield reminds us - before the personal computer most people knew next to nothing about typeface. He goes on to investigate a range of modern mysteries, including how Helvetica took over the world, what inspires the seeming ubiquitous use of Trajan on bad movie posters, and exactly why the all-type cover of Men are from Mars, Women are from Venus was so effective. Simon Garfield, not a first-time writer apparently though one couldn't prove it by me, is the perfect cicerone into the mysteries of typefaces, fonts, and typography three separate things ; he's as nutsy about the subject as one can get did you know there's a type museum? So, ultimately a bit frustrating. Furthermore, I presumed the only utility of choosing between 'Word' fonts was to come in just below, or right at, the page limit of my high school and college assignments.
The entire made world relates to us through type at some level. This really is an achievement, because lets face it, to the uninitiated typography can come across as immensely dull, and many of the books about it can also seem that way. Who is responsible for the staid practicality of Times New Roman, the cool anonymity of Arial, or the irritating levity of Comic Sans and the movement to ban it? One thing I would have loved to have seen was a section that showed the various fonts side-by-side — sure, there were words and letters in the different fonts here and there — even entire chapters written in a different font while its history was told — but not a section dedicated to showing as many of the fonts as possible side-by-side. Such an unfortunate would, under the onslaught of type in which we live, soon be reduced to a quivering mound of jelly. Although it kind of goes astray at the end, the vast majority of this overview of fonts, typefaces, and typography is immensely entertaining and informative. And it seemed to have mostly skipped over typewriters in general.
Garfield The End of Innocence surveys fonts from Gutenberg's dour Gothic and the elegant classicism of Garamond to the childlike faux-naïveté of Comic Sans, now so widely used for everything from medical brochures to tombstones that a movement has arisen to ban it. Colophon Founded in 2002, Typographica is a review of typefaces and type books, with occasional commentary on fonts and typographic design. Doctor Seuss would be thrilled. 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? You Hard to believe, perhaps, but this book about fonts, typefaces, the shapes of the letters that make up the text we read every day, is lively and entertaining in a way that defies its only apparently trivial topic. The name Wynkyn de Worde, for example. But where do fonts come from and why do we need so many? As I would imagine that most others of my generation have done, I simply took these items for granted.
Which is an obvious idea that no one does. From the following ten fonts the designers used most as revealed in a 2007 study published by Anthony Cahalan pp. It was made for Helvetica's 50th anniversary in 2007. Ok, so this can be a fun book for us reader-sorts. I really wanted to like this book. Why are there so many? I think Garfield strikes a perfect balance between making this accessible to the lay reader and still meaty enough for the typophiles out there.
But where do fonts come from, and why do we need so many? Some are bluntly informative Times New Roman, Baskerville and others whimsically amusing Papyrus, the loathed Comic Sans. I kid you not… There is a lovely distinction made in this book between legibility and readability. This is actually really interesting. Is global proliferation of the very Swiss, clean, antiseptic Helvetica a welcome phenomenon, or is Helvetica the weedy, unstoppable kudzu of the design world? Garfield takes you on a journey through the history of printing and the font revolution Steve Jobs created when his Apple software came preloaded with a number of fonts. Unsurprisingly, I own almost no books from that era.
If there is a fault with the book, it would be the one I find in most non-fiction books: some information is repeated ad nauseam and there are occasionally abrupt shifts in topic. I loved learning the history of fonts in general, and of specific fonts. Packed to the brim with interesting stuff about all areas of the field of typography. And they show off tribal symbols. Walking down a street with no fonts on display might lead one to suspect involuntary transport to an unintended time and location, say Soviet era Moscow, or worse, Siberia. And he offers some intel on how this or that locality selected the font to be used across their cities, for things like airport or street signage. Years ago I read an article by Stephen J did you know J was the last letter added to the alphabet? Garfield takes fonts by type oops! Somehow this manages to be a loose survey of typefaces, a typographic history, and a look at how type functions in our lives without feeling too long or too brief.
Moreover, we would know another two font categories in the study, namely, 8 Highly Visible and 11 Least Favorite p. With the advent of desktop publishing came an explosion of do-it-yourself fliers, posters, invitations, zines and books, many of dubious aesthetic quality. . He goes on to investigate a range of modern mysteries, including how Helvetica took over the world, what inspires the seeming ubiquitous use of Trajan on bad movie posters, and exactly why the all-type cover of Men are from Mars, Women are from Venus was so effective. Perhaps the most delicious name in the book belongs to a printer from the 1500s. He jumps from one font to the next and from one technology to the next without giving us much depth. Fonts surround us every day, on street signs and buildings, on movie posters and books, and on just about every product that we buy.