Steven Heller - Type Speaks: A Lexicon of Expressive, Emotional, and Symbolic Typefaces

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Table of Contents

Guide

ABRAMS NEW YORK

SPEAKS

STEVEN HELLER

&

GAIL ANDERSON

E

Acknowledgments

This book comes with both thanks and apologies. It took a little longer than wed anticipated to wrap

things upokay, perhaps a lot longer. A huge thank-you to our trusted editor, Eric Himmel, who has been

an active collaborator and a superb counsel, and therefore has our deepest respect.

At Abrams, we would also like to thank Lisa Silverman, Rob Sternitzky, Zachary Greenwald,

Eli Mock, Sarah Masterson Hally, and Anet Sirna-Bruder.

Our thanks to our friends, colleagues, and families for their patience and assistance in working

through lifes inevitable speed bumps. We owe you time to binge-watch some series together, as well

as our overwhelming gratitude and a nice meal out.

Special thanks to the great Louise Fili, of course. And we tip our hat to Joe Newton, who took on

a tremendous amount of work and helped organize, design, and document what was turning into a

bottomless pit of letterforms, typefaces, and artwork. Joes tasty custom type specimens have made our

many, many pages extra-special.

Thank you to Noel Nez-Caba and Rena Sokolow for their tireless research and to Matt Iacovelli

and Martina Santos for jumping in to hunt, scan, and massage design elements (not massage the

authors, to be clear).

And as always, thanks to our employers at the School of Visual Arts, President David Rhodes and

Executive Vice President Anthony P. Rhodes. Youve always allowed us to carve out space for our book

projects over our many years at the college. We couldnt do it without you.

STEVEN HELLER and GAIL ANDERSON

Editor: Eric Himmel

Designer: Anderson Newton Design

Production Manager: Sarah Masterson Hally

Library of Congress Control Number: 2020931028

ISBN: 978-1-4197-3805-0

eISBN: 978-1-64700-169-8

Copyright Steven Heller and Gail Anderson

Cover 2021 Abrams

Published in 2021 by Abrams, an imprint of ABRAMS. All rights

reserved. No portion of this book may be reproduced, stored in

a retrieval system, or transmitted in any form or by any means,

mechanical, electronic, photocopying, recording, or otherwise,

without written permission from the publisher.

Abrams books are available at special discounts when

purchased in quantity for premiums and promotions as

well as fundraising or educational use. Special editions

can also be created to specification. For details, contact

specialsales@abramsbooks.com or the address below.

Abrams

is a registered trademark of Harry N. Abrams, Inc.

(Opposite)

If you use a brush that will make a sharp

clean line where the strokes start and

terminate, designer Ross F. George

wrote of this Speedball single stroke

Gothic, you will not find it necessary to

add the finishing strokes to these letters.

TITLE

Speedball Text Book: Lettering and

Poster Design for Pen and Brush

TYPEFACE

Rapid Brush Sho Card

DESIGNER

Ross F. George

CLIENT

C. Howard Hunt Pen Company of

Camden, New Jersey

YEAR

1941

ABRAMS The Art of Books
195 Broadway, New York, NY 10007
abramsbooks.com

(Previous) Stock cuts from the Garrison-Wagner Company of St.

Louis, Missouri (circa 1924), include price tags, paper streamers,

pennants, and circle cards, all designed to create standout

advertising. Fire Sale is truly smoking hot.

TYPE IS TO GRAPHIC DESIGN what speech is to ver-

bal communication. It can be as soft as a whisper

or as loud as a roar, lugubrious or happy, common

or elite, reserved or passionate. Languages, for the

most part, are not a problem, either: Most alpha-

bets are made into type. You name it and there is a

typeface for itor at least custom letterforms that

can be made to serve the needs of any rhetoric.

Type

Speaks

DESIGN TRAITS:

FEAR > ANGER > HAPPY > SAD/SORROWFUL > NOSTALGIC > SPIRITUAL

A typeface is voice, type style (italic, bold,

slab, with or without serifs) is accent, and typog-

raphy is locution.

Since the emergence in the fifteenth century

of variations in type styles, typefaces have signaled

certain covert and overt messages to readers;

consensus has developed regarding both personal

and public perceptions in relation to printed

matter. The more widely that type and lettering

styles are shared, the more embedded in everyday

expression they become. It is generally agreed, for

example, that italic type suggests an aside or prcis,

while roman type conveys the primary content.

(Italic can also indicate foreign words, unspoken

thoughts, or spoken dialogue.) In the early periods

of classical type designwhen typefaces were

based on ancient inscriptions and calligraphic

scriptsthe goal was simple: to project a message

in the clearest and most readable way possible.

Without a wide range of typefaces, there was

scant opportunity for nuanced choices, but there

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