The Helvetica Killer

QQ Q The Helvetica Killer

The Origin and Characteristics of Spiekermannâ&#x20AC;&#x2122;s Meta Typeface

T H E H E LV E T I C A KILLER

Designed by

Sang-Jin Lee

Sam Fox School of Art and Design 80 lb Starch W hite Speckletone Paper 2017

T H E ST ORY OF SPI EK ER M A N N

Erik Spiekermann, born in 1947, calls himself an information architect. He is equally comfortable and prolific as a writer, graphic and typeface designer, but type is always at the epicenter of this communication dynamo. Even as a child, Spiekermann was drawn to the typographic arts. “I had a little printing press and taught myself to set type when I was twelve,” he recalls. “Years later, when I went to university to study art history, I made a living as a 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 Information Design, president of the International Society of Typographic Designers and a board member of ATypl.

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Q His book, Stop Stealing Sheep, first published in 1993,

has sold over 150,000 copies and is currently in it’s

The tail A of the Q is wavy and the leg of the R is slightly curved.

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.

When it comes to the design of typefaces, Spieker-

mann sees himself as more of a problem solver than

an artist. His process for beginning a new typeface is simple and straightforward. “Identify a problem–like

space saving, bad paper, low resolution, on-screen use– then find typefaces that almost work but could be improved,” he explains. “Study them. Note the approaches and failings. Sleep on it, then start sketching without looking at anything else.” 1

1. Fonts.com, Available at www.fonts.com/AboutFonts DesignerPro les/ErikSpiekermann.htm Accessed November 1, 2005

A. Tail (n) In typography, the descending, often decorative stroke on the letter Q or the descending, often curved diagonal stroke on K or R is the tail. The descender on g, j, p, q, and y are also called tails. The back, last, lower, or inferior part of something.

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O RI GINS OF THE T Y PEFACE

“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”

In 1984, the German State Post Office, the Budespost,

In 1989, after design software made creating new fonts

was persuaded by Erik Spiekermann of MetaDesign

more efficient, MetaDesign redesigned the Bundespost

to commission a new, exclusive font for use on all of

type-face for its own exclusive use, renaming it Meta.

the Budespost’s printed material. The aim of the project,

Initially, Meta was just used for in-house projects, but

which began in 1985, was to develop a face that was

soon MetaDesign began to use it in mail-order catalogs

easy to read in small sizes, available in several weights,

for FontShop, a digital type foundry, confounded by

unmistakable as an identity, and technologically up-to-

Erik Spiekermann. FontShop encouraged the parent

date. Although the font was digitized, tested, and

company to license the face. Released as FF Meta, it has

approved in the summer of 1985, the project was canceled.

become one of the most successful typefaces available

The Bundespost returned to using one of its many

from FonFont, a subsidiary of FontShop.2

previous typefaces, Helvetica, assuming that digital type would not catch on.

2. Leland M. Hill. Revival of the Fittest: Digital Versions of Classic Typefaces (New York: RC Publications), 142-143.

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Meta Book Capitals Meta Book Roman Meta Book Italic Meta Book Italic Capitals Meta Bold Capitals Meta Bold Roman Meta Bold Italic

Meta Book Capitals Meta Book Roman Meta Book Italic Meta Book Italic Capital Meta Bold Capitals Meta Bold Roman Meta Bold Italic

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The K has one junctionB B. Junction (n) : The joint of a letter form where two strokes meet, usually at a sharp angle.

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E

The junction of the M rests on the baseline, like Helvetica, except the Meta stems are oblique. The junction and base of the W are both flat. The E has an extended base, while the base of the G has no spur and the J, no loop.

W M G 9

CHARACTERISTICS OF META

Several of Meta lowercase have particular traits that distinguish the face from other sans serifs. D.

The ascenders of the b, k, h, and l are slightly bent at the top.

E.

This feature of bent ascenders is carried through the stems of the m, n, and p.

F.

This feature can also be seen in the stem of the q...

G.

...and the spur of the u.

D.

E.

F.

G.

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Z

The Z has angled finialsH on both ends, unlike the lowercase z, which has an upright finial at the top and an angled one at the bottom. The finials of the v, w, and y are slightly angled, unlike the Meta family capital letters.3 Angled finials also occur in the top strokes of the E, F, G, and on both ends of the S.

H. Finial (n): The part of a letter known as a finial is usually a somewhat tapered curved end on letters such as the bottom of C or e or the top of a double-storey a. 3. Leland M. Hill. Revival of the Fittest: Digital Versions of Classic Typefaces (New York: RC Publications), 143, 144

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C The C in Meta has angled finials...

Other distinguishing features include the doublestoried g that has a highly unusual open bowl. This is a feature shared by the transitional typefaces Baskerville and Cheltenham; only a few other sans-serif typefaces, such as Kabel, have this feature. The l has a slight curved tail and the y has an offset junction. Overall, Meta is a more condensed face than Helvetica, and it has only a slightly lower x-height. Both Meta and Helvetica have thin shoulders. While the dots of Meta letterforms 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.4 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.

Meta was deisgned to be the Helvetica killer

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FUTURA

GILL SANS