Meta Typeface by Lauren Blackburn

aking Meta

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1234567 890!@# $%^&*() :;,.?“ Meta Book Roman at point size 56

Introducing Meta

n 1984, the German State Post Office, the Budespost, was persuaded by Erik Spiekermann

of MetaDesign to commission a new, exclusive font for use on all of the Budespostâ&#x20AC;&#x2122;s printed material. The aim of the project, which began in 1985, was to develop a face that was easy to read in small sizes, available in several weights, unmistakable as an identity, and technologically up-to-date. Although the font was digitized, tested, and approved in the summer of 1985, the project was canceled. The Bundespost returned to using one of its many previous typefaces, Helvetica, assuming that digital type would not catch on. In 1989, after design software made creating new fonts more efficient, MetaDesign refined the Bundespost typeface for its own exclusive use, renaming it Meta. Initially, Meta was just used for inhouse projects, but soon MetaDesign began to use it in mail-order catalogs for FontShop, a digital type foundry, confounded by Erik Spiekermann. FontShop encouraged the parent company to license the face. Released as FF Meta, it has become one of the most successful typefaces available from FonFont, a subsidiary of FontShop. Origins

Erik Spiekermann

rik Spiekermann, born in 1947, calls himself an

When it comes to the design of typefaces, Spieker-

information architect. He is equally comfortable

mann sees himself as more of a problem solver than

and prolific as a writer, graphic and typeface design-

an artist. His process for beginning a new typeface is

er, but type is always at the epicenter of this com-

simple and straightforward. “Identify a problem–like

munication dynamo. Even as a child, Spiekermann

space saving, bad paper, low resolution, on-screen

was drawn to the typographic arts. “I had a little

use–then find typefaces that almost work but could

printing press and taught myself to set type when I

be improved,” he explains. “Study them. Note

was twelve,” he recalls. “Years later, when I went to

the approaches and failings. Sleep on it, then start

university to study art history, I made a living as a

sketching without looking at anything else.”

letterpress printer and hot metal typesetter.” In 1988, Spiekermann started FontShop, a digital typeface foundry and distributor of fonts. Spiekermann currently holds a professorship at the Academy of Arts in Bremen, is vice president of the German Design council, president of the International Institute of Information Design, president of the International Society of Typographic Designers and a board member of ATypI. His book, Stop Stealing Sheep, first published in 1993, has sold over 150,000 copies and is currently in its second edition. He withdrew from the management of MetaDesign in 2000 to work on a new project: The United Designers Network, a collaboration of many designers he has worked with over the years.

Designer

“Identify a problem–like space saving, bad paper, low resolution, on-screen use–then find typefaces that almost work but could be improved,” Designer

Making Meta

s for the construction of the letter forms, Meta

are both flat. The Z has angled finials on both ends,

has capitals with flat apices, similar to those

unlike the lowercase z, which has an upright finial

of Helvetica. It has a wider opening in the C, which

at the top and an angled one at the bottom. Several

also has angled finials. Angled finials also occur in

of Meta lowercase have particular traits that distin-

the top strokes of the E, F, G, and on both ends of

guish the face from other sans serifs. The ascenders

the S. The E has an extended base, while the base of

of the b, k, h, and l are slightly bent at the top, a

the G has no spur and the J, no loop. The K has one

feature that is carried through the stems of the m,

junction. The tail of the Q is wavy and the leg of the

n, p, q, and the spur of the u. The finials of the v,

R is slightly curved. The junction and base of the W

w, and y are slightly angles, unlike the Meta family

capital letters.

Apex

Junction

Characteristics

Finial

Cap Height

X-Height

Baseline

k E Curved Leg

No Spur

Wavy Tail

Angled Finials

Single Junction

Angled Top Final and Extended base

Bend Ascender

Top Angled finial only in capital

Characteristics 5

Me Pt 680

was des Pt 200

so that it could Pt 90

be easily read at Pt 36

many different sizes Pt 4

eta

signed

The New Helvetica

eta was created to replace Helvetica. One of

Other distinguishing features include the double-

Spiekermannâ&#x20AC;&#x2122;s goals was to create a typeface

storied g that has a highly unusual open bowl. This

that could be read at a variety of small sizes, es-

is a feature shared by the transitional typefac-

pecially since it would be used mostly for in house

es Baskerville and Cheltenham; only a few other

documents. The letters were created to be highly

sans-serif typefaces, such as Kabel, have this fea-

individualized and more spread out than Helvetica.

ture. Most san serif fonts, such as Helvetica do not

This is what makes it easier to read at smaller

approach a bowl at all.

point sizes.

Both Meta and Helvetica have thin shoulders. Overall, Meta is a more condensed face than Helvetica, and it has only a slightly lower x-height, meaning that Meta takes up less space. This makes it more cost and space efficient.

While the dots of Meta letter forms and punctuation are rounded, Helvetica has square dots.

The nuanced construction of the Meta typefaces sets it apart from Helveticaâ&#x20AC;&#x2122;s regularized structure, creating the faceâ&#x20AC;&#x2122;s appealing personality.

Unique Unique 8

Comparison

Meta Helvetica

g g Helvetica