small sizes low resolution rough paper limited space
The Problem
Meta : the solution
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These problems needed to be tackled and overcome with a new typeface. The special project was started by Sedley Place Design on a commission from the West German Post Office - Deutsche Bundespost. The typical fallback option, Helvetica, was not good enough this time. It is a popular typeface because of its neutrality, and its wide availablity. This, however, comes with the price of recognizability. Thre are an overwhelming number of adaptations of Helvetiva and none of them seem fit exactly. It also faces restrictions based on its age. Since it was made in the late fifties, it does not function well with the technological changes in typesetting.
The Deutsche Bundespost typeface needed to have a few important characteristics. It needed to be: legible, especially in small sizes to create lists and figures; neutral; identical on all tyepsetting systems; availible from all type suppliers quickly and cheaply; economical in the space it takes up; designed in easily distinguishible weights; distinsct; and technically updated. Erik Speikermann and the rest of Sedley Place Design knew there could be a solution. Theylooked at six specially designed typefaces for their common traits and went from there. By analyzing defining characteristics of Meta with a comparison to Helvetica we can understand how and why Meta looks the way it does.
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The x-height had to be large but the capitals on the cap height had to clearly mark the beginning of new words. The curves, indentations, and open joins were made to counteract bad definition and overinking, especially in small sizes. The tension created between smooth elliptical outer shapes and the rectangular interior counters helped maximise clarity.
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Note how much more space is left by the angled tail of the e as compared to the helvetica one behind. This is also used in the C. Meta uses a rounded dot while Helvetica keeps pointed square edges
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Within all of these guidelines, Meta also needed to be distinctive and friendly. Quirky details such as the hint of a serif, the angled endpoints and the rounded periods and dots help make the typeface friendly.
a b c d e vs
helvetica
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f g h i j k l m n o p n
double st ack ed
no l o
op
l bow en op
g
pse u
j
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ifs ser o-
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Meta designers took into consideration the science behind reading. It has been found that when we skim through large chunks of text, our eyes scan the x-height. By creating distinction there, designers can speed up this reading process.
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“Meta was deliberately created to be the antithesis of Helvetica... Helvetica was the ubiquitous German corporation - Erik Spiekermann
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p q r s t u v w x y z n
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offset jun ct i
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The design team wanted the main strokes to be heavy enough to stand up to printing on rough paper but also leave enough space between letters to identify characters. The line weight was intended to appear even throughout when read quickly in small sizes. In order for that to work they needed to adjust it in strategic places. This is evident in many of the curved letters and it is in contrast with Helvetica, which tends to have a much more standard line weight for every letter.
tl ya ng le
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d finials
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n typeface: everyone used it, and I couldn’t understand why. Its so boring and bland — thats how it was designed�
G E y no spu r
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G
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extende
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HELVETICA
META
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A B C D E F G H
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on on basel cti in n e ju
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Many of the capital letters have small details and nuances that are generally reserved for the more lively lowercase letters. These things give the typeface a humanistic feel while maintaining an overall modern readability. They also propel the eye forward, encouraging a quick scan of the information.
a il vy t a w
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I J K L M N O P Q
Z
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h ends bot n o
angled
W
fla tj
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fin ial
RWZ ed leg curv
n and base tio c un
m
m
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R S T U V W X Y Z
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The Meta family is a medium sized one. It consists of a regular and italic version, each with a bold weight and a set of small capitals. When creating the bold weight, the team strove to make bold and regular have the same width. And they succeeded.
Since Meta was going to be used for things like telephone books, directories, timetables and such, it was important that its use was very efficient and economical.
Note the space saved with Meta in just one word as compared to the more spread out Helvetiva version.
The Meta Family
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Meta Book Roman Meta Book Italic Meta Book Capitals Meta Book Italic Capitals Meta Bold Roman Meta Bold Italic Meta Bold Capitals Meta Bold Italic Capitals
References: Annand, Carolyn, Philip B. Meggs, Roy McKelvey, and Ben Day. Revival of the Fittest: Digital Versions of Classic Typefaces. New York: RC Publications, 2000. Print. Spiekermann, Erik. “Post Mortem Or: How I Once Designed a Typeface for Europe’s Biggest Company.” Web. Spiekermann, Erik, and E. M. Ginger. Stop Stealing Sheep & Find out How Type Works. Berkeley, CA: Adobe, 2003. Print. Sweet, Fay. MetaDesign: Design from the Word Up. London: Thames & Hudson, 1999. Print.
Gabrielle LaMarr LeMee is a Communication Design student at the Sam Fox School of Design & Visual Arts at Washington University in St. Louis For information please contact Gabrielle LaMarr LeMee at glamarr@go.wustl.edu. This book was set in Meta by the publisher for the Typography course and printed in the United States of America.