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Stop Stealing Sheep & Find Out How Type Works Subsequent Edition
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- ISBN-100201703394
- ISBN-13978-0201703399
- EditionSubsequent
- PublisherAdobe Pr
- Publication dateJuly 25, 2002
- LanguageEnglish
- Dimensions0.45 x 5.5 x 8.5 inches
- Print length188 pages
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Editorial Reviews
From the Publisher
Because type reaches across all boundaries and continually evolves, this edition is revised and updated to include new chapters on Web typography and other forms of online text display. You need no previous knowledge of typography to enjoy this book and apply its tenets to your daily work. A perennial bestseller since the first edition was published in 1993, Stop Stealing Sheep will draw you in with its beautiful design and layout, which makes liberal use of more than 200 illustrations and photographs.
From the Back Cover
An updated new edition of the classic guide to typography.
A unique, entertaining, and educational tour through the most basic unit of human communication: type. This book, a perennial seller since 1993, draws in the reader with its beautiful design and layout, making liberal use of more than 200 illustrations and photographs. The author explains in everyday layman's terms what type is and how you can use it to enhance legibility, meaning, and aesthetic enjoyment. This edition is revised and updated to include new chapters on Web typography and other forms of online text display.
About the Author
Erik Spiekermann is an internationally renowned graphic designer and the founder of MetaDesign. He wrote the bestselling first edition of this book and many articles on type and typography, as well as Rhyme and Reason: A Typographic Novel. He is also the designer of typefaces such as FF Meta and ITC Officina. He lives and works in Berlin.
E.M. Ginger is a typographic consultant, editor, and freelance writer in the San Francisco Bay Area. She has worked with type and typography for two decades. She was managing editor of the journal Fine Print for twelve years and the editor of several bestselling cookbooks.
Product details
- Publisher : Adobe Pr; Subsequent edition (July 25, 2002)
- Language : English
- Paperback : 188 pages
- ISBN-10 : 0201703394
- ISBN-13 : 978-0201703399
- Item Weight : 13.1 ounces
- Dimensions : 0.45 x 5.5 x 8.5 inches
- Best Sellers Rank: #758,026 in Books (See Top 100 in Books)
- #80 in Electronic Documents
- #99 in Desktop Publishing
- #330 in Typography (Books)
- Customer Reviews:
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I feel like the book has a strange format, but I was pleasantly surprised - It continuously compares typography to various things such as traffic, rooms in a house, facial expressions, etc. I was expecting a direct (and perhaps more boring) approach to learning more about typography. I expected definitions, examples, and a simple tool for learning how to use type on web pages. Instead, what I got was a much less traditional approach. I feel more inspired and aware of type and how it works in the world as a whole rather than for a specific medium.
Background
I am a web designer and front-end developer. I love to design and am adept at slicing those designs into html and css. But I needed to dig a bit deeper into the core of design, which I believed, and now know is type. A co-worker recommended this book and despite mixed reviews, I bought it. I expected to have a direct approach to learning type, but instead I felt like I learned type backwards or indirectly somehow.
The Book
I was disappointed at first as I read through several pages. I was eager to dive in and start learning the technical side of typography, but the book seemed to have other plans for me. Instead, it addresses how type works in various sectors of society: business, travel, shopping, etc. It explains how type has elements that convey emotion and how you can use it. It gives examples of how one might solve old problems simply by using type. The book really provides a foundation for solving problems. By the end of the book, I somehow knew how type worked and as I skim back through I have somehow grasped the concepts more than I thought.
The Format
There are many comments about the layout / format of the book. The small red text on the side of the pages is optional, but quite often where you find some great tips and information. I didn't find it terribly difficult to read - it's small and red but very short. The book is well-designed, showing how designers use grids and adjustments to improve readability. It's short, easy to read, and yet packed full of interesting and useful information.
This book certainly wouldn't hurt to own - it's a great resource for going back and getting a quick tip or piece of inspiration: four stars for me.
- Cruel sidenotes: Bright red, teeny tiny sidenote font is hard to read, though it makes up a large portion of the book's actual content (perhaps half?). This goes against everything the book is trying to tell us. I have newly prescribed, very good glasses and I had a very hard time reading it. At least use a color of font that is not distressing (throughout the entire book). Honestly, this is my 2nd biggest gripe and it would prevent me from recommending the book to others, if it wasn't for my biggest gripe altogether:
- Sprawling content: I write and edit technical content for a living and the presentation of this content was sprawling and more editorial than instructive. The instructive content was painfully basic and could really have used graphic information guru Tufte's guidance. So much was presented in words that would've made SO much more sense in graphs, images, etc. I know this is a book on font, but place user digestion first, please.
- Use Index: There was no index for type uses, such as forms, faxes, neon gas signs, etc. The book includes all sorts of type usage examples and then utterly fails to index them anywhere. This would've been perhaps the most useful index of all, or maybe on par with the type index itself.
- Religious message (not kidding): And thanks SO much (sarcasm) for the gratuitous religious lesson on pg. 127. What the H E double toothpicks did we do to deserve that? Oh right, we PAID you to preach at us. /cringes Even though this isn't my biggest gripe about the book as a whole, why do you assume your audience buys into the concept of "intelligent design"? ugh!
- A timeline with the creation of the fonts strung along on it would probably be asking too much, but it sure would be cool.
Some nice things about the book were:
- The lovely, and sometimes instructive, historical details about the fonts and their inceptions.
- All the usage examples, though an index (or even appendix table with reference to the page numbers where the usages were described) would be fabulous.
- The surface presentation was attractive and hip.
- The authors used metaphors and examples (sometimes quite extraneously) to provide users a sense of context or understanding for font usage, though I think perhaps this feature, more than anything, may be what makes your reviewers scream "simplistic!" because it was totally unnecessary for many of us, though I've never studied font in this way before. (Assume your readers are smart...er.)
Created for a European audience, the book has smaller sized text and a column of red footnotes on most, if not all pages. This could distract, annoy or put off many who are not used to smaller sized fonts in a book.
Overall, I enjoy looking through this well designed, informative book and would definitely keep it for reference in the future.
So, after recommending it to my print manager here in NYC, I figured I'd buy a copy after all these years - it's still a nifty wee book, very much worth the money.
It is a great book, although some people may need a guide of how to understand it.
Imagine you go to a cocktail party hosted by Erik Spiekermann. He introduces you typography and the people who made it.
Then you can take you time knowing about them, the time and the purpose why a certain typography was created.
It makes you understand typography, and of course, this book makes you adequate for further readings.









