![]() When we experience disappointment with the relationship with letters let's not be afraid to do what come naturally to us: Let's draw.Īs we say in Berlin, there are many ways to bake a parrot. Anyone who would letterspace lower case would steal sheep. Anyone who would letterspace blackletter would steal sheep. Spiekermann, Erik Ginger (Author) 38 ratings See all formats and editions Hardcover Paperback 10.32 - 39.40 58 Used from 1.62 10 New from 33.96 3 Collectible from 17. The great type designer, Eric Gill, is credited with saying he who would letterspace lower-case text, would steal sheep. As we don't use blackletter much these days and the reference to zoophilia would steal the focus from the typographic lesson to be learned, a cleaned up version is now the common one. When it is a good design, the reader has to feel comfortable because the letter is both banal and beautiful. The most common are fi and fl, others include ffi and ffl and there could be even more. Stop Stealing Sheep & Find Out How Type Works by E. From what I understand Goudy said that anyone letterspacing blackletter would be the kind of person who'd pull a Gill on the poor sheep. The spoon and the letter are tools one to take food from the bowl, the other to take information off the page. If you remember the shape of your spoon at lunch, it has to be the wrong shape. In the days of hot metal typesetting, letter-spacing required adding horizontal space between letters of words set in metal type, in increments of a minimum of ½ point. Goudys pronouncement inspired the title of Stop Stealing Sheep, 2 an introduction to typography that Spiekermann co-authored. ![]() Read honest and unbiased product reviews from our users. When quoted, 'shag' is often bowdlerised as 'steal'. Type well used is invisible as type, just as the perfect talking voice is the unnoticed vehicle for the transmission of words, ideas. Find helpful customer reviews and review ratings for Stop Stealing Sheep & Find Out How Type Works (2nd Edition) by Erik Spiekermann (July 15 2002) at. The good type-designer therefore realizes that, for a new fount to be successful, it has to be so good that only very few recognize its novelty. Type design moves at the pace of the most conservative reader. ![]() Typography for the Twentieth-Century Reader A type of revolutionary novelty may be extremely beautiful in itself but, for the creatures of habit that we are, its very novelty tends to make it illegible, at any rate to begin with.
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