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Just My Type: A Book about Fonts Hardcover – October 1, 2010
| Simon Garfield (Author) Find all the books, read about the author, and more. See search results for this author |
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- Print length352 pages
- LanguageEnglish
- PublisherProfile
- Publication dateOctober 1, 2010
- Dimensions5.71 x 1.22 x 8.43 inches
- ISBN-101846683017
- ISBN-13978-1846683015
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Product details
- Publisher : Profile; 1st edition (October 1, 2010)
- Language : English
- Hardcover : 352 pages
- ISBN-10 : 1846683017
- ISBN-13 : 978-1846683015
- Item Weight : 1.17 pounds
- Dimensions : 5.71 x 1.22 x 8.43 inches
- Best Sellers Rank: #1,505,182 in Books (See Top 100 in Books)
- #617 in Typography (Books)
- Customer Reviews:
About the author

British writer Simon Garfield is the author or editor of 20 books of non-fiction, including the international bestsellers Just My Type, On The Map and Mauve. His latest book is Dog's Best Friend: The Story Of An Unbreakable Bond.
His other titles cover an appealingly diverse and unpredictable array of subjects, ranging from the award-winning history of Aids in Britain, The End of Innocence, to the hilarious oral history of the British entertainment The Wrestling. His celebration of letter writing, To The Letter, was one of the inspirations for the theatre show Letters Live with Benedict Cumberbatch, and spawned the BBC play My Dear Bessie with Cumberbatch and Louise Brealey.
His other labour of love is A Notable Woman, the edited lifetime journals of the remarkable Jean Lucey Pratt, whom readers first met (when she was named Maggie Joy Blunt) in Garfield's three popular collections of diaries from the Mass Observation Archive. Jean began her journal in 1925 when she was 15, and maintained it until a few weeks before her death in 1986. Throughout she wrote lyrically, comically and honestly about her world and her friends (and particularly well about the disappoints of men). She trained as a journalist and an architect, and ran a bookshop In Burnham Beeches for 20 years. Jean wrote well over a million words, and A Notable Woman, which contains about a quarter of her output, fulfils her long-standing dream that her writing would one day make it into print.
Much of Garfield's work reflects a desire to reinterpret human history in an unusual and addictively readable way, and to look askance at topics we may often take for granted. To this end, Timekeepers examines the history of our ever-accelerating world, and In Miniature looks at our desire to bring that world down to size so that we may better understand it.
His latest book is Dog's Best Friend: A Brief History Of An Unbreakable Bond, an engaging and moving investigation into our relationship with dogs. It begins with a simple question as he considers his own labrador - 'Why is he here?' - and examines the reasons for domestication, and how we have named, trained, depicted and written about dogs throughout our history. The books also looks at the ability of dogs to heal and comfort us, the merits of designer dogs and performing dogs, and explains how we may best train a dog to provide a lifetime of happiness and love. Ahead of publication, the book has been highly praised by John Bradshaw and Andy Miller, among others.
Simon Garfield was born in London in 1960. He lives with his wife Justine and dog Ludo near Hampstead Heath in London, and sometimes in St Ives, Cornwall. He misses live theatre and soccer, but still enjoys cycling and most things by Tracy Kidder, Ann Patchett, Elizabeth Strout, Nicholson Baker, Michael Chabon, Simon Armitage, The Kills, The National, Elvis Costello, Lloyle Carner and Jorja Smith.
www.simongarfield.com
Customer reviews
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I originally thought it was going to be a really boring book that would read exactly like a textbook. However, I have been pleasantly surprised with how cool it actually is. The author knows just how to set up each chapter and how to keep each subject interesting to the reader.
I'm only 10 chapters in but so far I feel like I have learned a lot and am coming to appreciate type a lot more than I did before. Definitely a great read for those in the graphic design field.
I listened to it on audio and was terrified that it would be useless without visuals, but it was still delightful. The only book on typography I recommend, for professionals or casual observers.
It jumps around a good deal, and abruptly introduces people and topics with little prelude. I think is is simply because it is fundamentally derivative. Read Simon Loxley's book Type: The Secret History of Letters . We read it for our reading group as well a few years before. Better written, better illustrations, more comprehensive, and even better designed. Garfield even used many anecdotes from that book which is cited in his bibliography.
I think Garfield's book benefited from the movie HELVETICA which came out after Loxley's and from excellent PR placement, including Amazon's best of the month, but if you have done much reading on recent Typographic history it is clearly standing on the shoulders of better works. Garfield's later ON THE MAP shows the same flaws, though more clearly.
2 stars because it did introduce the topic to a wider audience.
Perhaps, this is not the subject matter for absolutely any reader- and interest or curiosity in the subject matter at hand will definitely be useful, but it does not require one to be a die-hard about type in order to appreciate it. Though the author freely admits his hard-core enthusiasm for type, he does not present information in a way that discourages someone new to the subject from jumping right in. He has definite personal tastes- ones that you may disagree or concur with at your leisure without losing too much stake in the overall book. Your feelings on Comic Sans or Papyrus are left to you without an overbearing sense of judgement- though it is interesting to learn why they hold such notoriety in contemporary society. Overall a nice mix of history and contemporary views, blended with humor and a clear love for the topic. Not structured to be the kind of book that keeps me riveted for its entirety, but rather one that I can pick up at any point and feel enjoyment. A good casual read that I feel leaves you for the better at its end.
Just my type is just my type of book. The audience of this work will extend from typophiles to graphic design and technical communication students to your average Joe who probably has at least a splash of geek in him. Typeface is everywhere and whether the public at large realizes it or not, it is an integral part of modern existence. Throughout the course of an average day, most seeing individuals will encounter a multitude of different fonts, and these fonts will elicit, or carefully not elicit, automatic responses. Most street signs will just exist, the chosen typeface being carefully inconspicuous, while the t-shirt that says "Ciao Bella" will require a double-take because, due to its font and color choice, it was first thought to say "Coca-Cola." Garfield's first point in Just my type is this very fact, that fonts are everywhere. Using the Bible, comics, and TV show logos, Garfield does an excellent job of pulling the reader in with interesting examples from their current life. Just showing the inside cover of Just my type, which is a periodic table of typefaces, to a handful of my friends was enough to pique the interest of four out of five potential readers .
Garfield has an impressive grasp of the human attention span. Just my type grabs the reader's attention with an onset of images from contemporary life, to graphic and humorous typographic images, such as El Lissitzy's famous work "Beat the whites with the red edge" with the type changed to "El Lissitzy gave me a wedgie and I loved it." Garfield then delves into the advent of desktop publishing and how Steve Jobs's history in calligraphy influenced the early fonts that Apple created that changed the printing world entirely when they were released on his first Macintosh computer (p. 3). It takes Garfield a little while to get to the "meat" of the matter of typeface history, but he does eventually - although he retains his comedic edge. Garfield unifies his audience by declaring a common enemy: Comic Sans. He is careful not to disparage the font directly, but reveals the distaste for the font that has been noted loudly by both designers and the public, even showing how the dislike has entered pop culture in joke form: "Comic Sans walks into a bar and the bartender says, `We don't serve your type'" (p. 21). Only then, when the reader is a comrade at arms, does Garfield delve into the real history of typefaces.
Throughout Just my type, Garfield discusses the progression of type-technology. The arduous labor of creating metal and wooden types is portrayed, as well as IBM's Typeball which was the first easy way to change a font in personal printing; linotype and monotype are also discussed. Garfield mentions the Type Museum in London, where ancient techniques can be impressed upon modern minds and shares that there are a few true printing presses still in existence, like White's Books (p. 247). Garfield also addresses current trends and difficulties. Aside from corporate branding and patenting every individual character in a typeface, there is no way for designers to ensure credit for their work. Fonts are also often pirated, that is acquired and used without paying the proper licensing fees. And fonts are downright copied. Arial, in fact, is a considered a copy of Helvetica, although the differences between them can be seen to make the fonts as different "as pineapple is from mango" (p. 221). As the book progresses and the subject matter becomes more modern, so do the references. It is shockingly interesting to see YouTube referenced outside of colloquial conversation, as well as CollegeHumor.com. These references make Just my type feel as current as it can possibly be. New music and events are referenced, and the only significant details that are lacking, that have occurred since the publication of the book, are the deaths of both Amy Winehouse (yes, she is referenced) and Steve Jobs. The work is in no way invalidated by these omissions, it is just an interesting to note such changes when reading something so contemporary.
Between each chapter detailing different significant historical aspects of type-history, are "fontbreaks." The fontbreaks are akin to slowing during a run to preserve stamina for the rest of the journey. Garfield uses humor throughout all sections of his work, but the fontbreaks bring the reader back to recent times and showcase fonts that the user is at the very least cursorily aware of, i.e., Gill Sans, Futura, Verdana, etc. Another wonderful point that also keeps the reader turning the page is the anticipation for different typefaces appearing within the text itself. Just my type is about type - so of course examples of the different typefaces would be displayed, but the reader would not necessarily expect the differing fonts to be interspersed within the text itself. Garfield references Paul Felton's The ten commandments of typography at one point, and the first commandment is "Thou shalt not apply more than three typefaces in a document" (p. 255). However, typographers are rebellious artists, and Felton's work's "flip-side", Type heresy, begins with, "Thou shalt apply as many different typefaces as thou wanteth to!" (p. 257). Garfield displays fonts as an image sometimes, simply set apart from the verse, but often the font used changes within the sentence being read. Garfield is also very careful about this technique: all type changes are done for a clear purpose. Readers not familiar with an extensive variety of typefaces may wish for even more inclusive font changes, but the careful selection of altered fonts serves to maintain the cohesiveness of the work and can also inspire the reader to research the referenced fonts him/herself.
There are a few areas in which Just my type is lacking. Garfield has knowledge of all things typographic, but his reader may not. In addition to the reader potentially not being intimately familiar with a library of fonts, which can impede the value of references and general understanding, Garfield also makes assumptions of knowledge. While he is careful to explain some of the basics, such as ascenders, descenders, and x-height, he seems to assume that the reader has some knowledge of how a typeface is created and what makes them unique and works of art. The reader learns about the artist, about the inspiration and motivating factor of some fonts' creation, but not much about why these items, letters, which may seem so alike, are in fact very different. Garfield works to explain the ethos inspired by certain fonts, but not necessarily how those in the same "family" are related. While there is a general progression and line of continuity, there is also a certain disjointed haphazardness. Coming from a point of little knowledge, the reader would benefit from some items of instruction earlier in the work. The marked differences between typefaces, such as line thickness variance in a single character and the "key" letters of a typeface: g, a, s, and e, are not discussed until very late in the book (p. 293); it would benefit the reader to have this information at the start of the work in order to be able to aptly evaluate the fonts shown. Just my type feels like something of a teaser - a tool to pique interest and encourage further research for the ignorant, and a light and interesting read for those in the know.
Just my type is intended for informationally entertaining purposes. It is non-fiction and chock-full of information, but it is not to be used as a textbook. There is a table of contents and an index, tools of reference materials and quite useful within this text, but the chapter titles are clever instead of informative and the index is not cross-referential. Garfield presents information over a broad scope, but he does not completely explain any items. Just my type is a great tool to establish interest in typefaces; enough information is given to whet one's appetite and Garfield references easily accessible sources of information for further perusal. Overall it is a surprisingly exciting read. The end feels a bit hurried and provides more light commentary than meaty information, talking about the best and worst fonts, etc. However, Garfield's framing of the "heaviest" information by pop-data at both the start and finish of the book may be a sign of editorial brilliance - pulling the reader in and leaving the reader with a sense of pure entertainment, while delivering valuable information all the while.
Top reviews from other countries
Anyway, back to reality... today’s Graphic Designers – whatever was wrong with plain old graphic artist (without needing capital letters no matter where the words fell in a sentence) as a job title I’ll never know – will still enjoy the book, although some of the nuances of old may be lost on them.
I find it hard to imagine anyone without some professional involvement with typography would find it quite such a good read as I did, but if one has a serious interest in books and writing in general, or just wanting to read from curiosity, I think it will be just as easily accessible and if should be interesting to varying degrees.
The way the writer brings this rather humourous observation of historical views on type up to date is beautifully articulated and full of insightful descriptions and ideas on typefaces and their usage is really worth reading.
In case anyone is interested, I read this book from the point of view of one lucky enough to have seen a massive technological change in graphic art. I have added below a few of my own memories of working with type in the hope it may encourage more people to read this absolute delight of a book. Please just ignore the ramblings of an old git if you think I’ve gone too far…
I remembered many, many painful repetitions of Palace Script Letraset invitations to weddings or funerals (mostly) until I at last got the spacing correct and the baseline perfect. Then after mastering that, learning to use our wonderous IBM typesetting machine was a joy – it was so amazing… it could even store the galleys onto thin plastic cards that were about the size of the time-cards with which we clocked in and out, being monitored every second of our working days. But, oh, what excitement when I was finally presented, in a small manilla box and nestling inside amongst soft tissue paper, I found the 7pt Times medium golfball head I had been asking for for so long! I needed it join the 8pt, 10pt and 11pt golfballs (each size in light, medium *and* bold versions), it stayed with me for months! I thought myself very lucky because we had the same fount range – yes, that was how I was taught to spell it at the time – in Helvetica too!
Contrasting this ‘modern’ section of the art room were the sights, sounds and smells of long ago... the cabinets of seemingly ancient and mysterious bits of metal that only the oldest member of staff, past retirement age but the only one who knew what to do with it, and the terrifying, noisy, hot Linotype metal type casting machine growling in the corner as it prepared the type for the ancient Heidelberg letterpress.
I feel privileged to have been part of the last tradesmen to experience such a massive change in print technology. One of very few to have been taught to use the AppleMac SE (with a 5” square, black and white screen and I think I’m right in saying it had a 128k hard drive and 500k floppy discs), by the original team of instructors from America, who had to accompany the first sales team bringing them to the midlands in 1985 as there was nobody in the UK with experience to teach us early-adopters at that time.
By the way, I might not be as old as you think… I’m 51 now and my 17yr old nephew, himself recently having commenced an apprenticeship in computer engineering, thinks it’s cool to have an aunty who was one of the first to take on the Apple-Mac DTP system (as it was then known) in the UK.
For me, the content didn't quite live up to the presentation. The chapters cover the material in a random order (not chronological or any other sensible scheme), and many chapters are just a grab-bag of very loosely connected sections and anecdotes. The whole book is like a giant listicle with a hundred bullet points; the lack of structure makes it feel curiously unsatisfying.
Some of the stories are individually interesting. However, this material is counterbalanced by numerous rather dull sections in which Font X was created by Person Y for Purpose Z, and inevitably these become repetitive.
Throughout, the book pitches itself at the level of a breezy magazine article, with the consequent lack of depth and rigour. A few factoids about typography are sprinkled into the narrative, but there's no real introduction to the key technical facets. The book is fun to read, yet doesn't make you feel as if you've learned very much.
I was fascinated to discover that the producers of historical films do meticulous research on every aspect of the period they are representing only to slip up on a detail like an anachronistic font.
I particularly enjoyed the chapter called DIY, starting with the inky title. The John Bull printing outfit, DYMO tape, Letraset, the IBM Selectric – I remember them all. All of them great fun to use, apart from fiddling with the balls on the IBM typewriter every time you wanted to change from roman to italics to bold and back again. I’d forgotten all about the John Bull printing set – I loved the bit about the tiny letters getting lost in the carpet.
At the beginning of the 80s, I edited a little feminist magazine in Esperanto, of course using Letraset headings. (I loved selecting the appropriate font for each article.) My problem wasn’t the E, but O, which is the noun ending in Esperanto and always ran out long before the other letters.
Anyway, many thanks to Simon Garfield for these happy reminiscences, and also for the rest of this very informative and readable book.
In fact it is amazing! Simon Garfield reveals all sorts of fascinating details about all sorts of typeface fonts. There must be about 1,000 different fonts and font features that he discusses in the book. But it is not a slow technical read! It is informative, clearly written, and at a gentle pace so that you can ponder and take it all in... and it is very funny!
Simon has divided his 352 page book into 22 themed and lively chapters, dealing with all aspects of design and printing achievements, font fashions, etc. He draws attention to the 'message' of the various fonts! For example, he covers why Barack Obama chose Gotham, and why Amy Winehouse opted for 30s Art Deco! And why Germanic/Gothic fonts were once all the rage, but fonts changed, and do change, for various reasons.
It is well illustrated throughout, well-seasoned with interesting and amusing anecdotes. Photos and illustrations enhance the text at almost every page opening. Initial paragraphs of each chapter are printed in the landmark font(s) under discussion. Invaluable!
From Baskerville to Zapf, no lithographic stone is left unturned, including the role of Letraset!
The author's writing style is an easy read and very conversational -he has authored 12 books and is a Somerset Maugham prize winner. After rapidly devouring the book from the moment of purchase, I have deliberately stopped reading it at half-way, because I never want to finish it, it is so delightful!
Simon Garfield has composed an excellent detailed book about fonts. Reading it will make you think twice when choosing the appropriate font(s) for your next written work! With his guidance you'll be amazed at the insight you will have. Worth every penny!









