The Problem

small sizes

low resolution

rough paper

limited space

Meta :the solution

These problems needed to be tackled and overcome with a new typeface. The special project was started by Sedley Place Design on a commission from the West German Post Office - Deutsche Bundespost. The typical fallback option, Helvetica, was not good enough this time. It is a popular typeface because of its neutrality, and its wide availablity. This, however, comes with the price of recognizability. Thre are an overwhelming number of adaptations of Helvetiva and none of them seem fit exactly. It also faces restrictions based on its age. Since it was made in the late fifties, it does not function well with the technological changes in typesetting.(Meta :

)The Deutsche Bundespost typeface needed to have a few important characteristics. It needed to be: legible, especially in small sizes to create lists and figures; neutral; identical on all tyepsetting systems; availible from all type suppliers quickly and cheaply; economical in the space it takes up; designed in easily distinguishible weights; distinsct; and technically updated. Erik Speikermann and the rest of Sedley Place Design knew there could be a solution. Theylooked at six specially designed typefaces for their common traits and went from there. By analyzing defining characteristics of Meta with a comparison to Helvetica we can understand how and why Meta looks the way it does. e

The x-height had to be large but the capitals on the cap height had to clearly mark the beginning of new words. The curves, indentations, and open joins were made to counteract bad definition and overinking, especially in small sizes. The tension created between smooth elliptical outer shapes and the rectangular interior counters helped maximise clarity.

L gibil tye

iL gibil ty

a b c d emeta

vs

dangled f nials

helvetica

n

d

Note how much more space is left by the angled tail of the e as com-pared to the helvetica one behind. This is also used in the C. Meta uses a rounded dot while Helvetica keeps pointed square edges

Within all of these guidelines, Meta also needed to be distinctive and friendly. Quirky details such as the hint of a serif, the angled endpoints and the rounded periods and dots help make the typeface friendly.

double stacked open bo

wl

j

j

no loop

l pseudo-serifs

l

nn

Meta designers took into consideration the science behind reading. It has been found that when we skim through large chunks of text, our eyes scan the x-height. By creating distinction there, designers can speed up this reading process.

Neutrality with Distin“Meta was deliberately created to be the antithesis of Helvetica... Helvetica was the ubiquitous German corporation typeface: everyone used it, and I couldn’t understand why. Its so boring and bland — thats how it was designed” - Erik Spiekermann

gn

double stacked open bo

wl

g

f g h i j k l m n o p q r s t u v w x y z

ww

n yn

y

The design team wanted the main strokes to be heavy enough to stand up to printing on rough paper but also leave enough space between letters to identify characters. The line weight was intended to appear even throughout when read quickly in small sizes. In order for that to work they needed to adjust it in strategic places. This is evident in many of the curved letters and it is in contrast with Helvetica, which tends to have a much more standard line weight for every letter.

Neutrality with Distin“Meta was deliberately created to be the antithesis of Helvetica... Helvetica was the upiquitous German corporation typeface: everyone used it, and I couldn’t understand why. Its so boring and bland — thats how it was designed” - Erik Spiekermann

f g h i j k l m n o p q r s t u v w x y z

slightly angled f nials

off

set

junc

tion

ction

EE GGm m

META

vs

HELVETICA

yNeutrality with Distin

f g h i j k l m n o p q r s t u v w x y z

A B C D E F G H I J K L M N O P Q

e

xten

ded

ba

se

n

o s

pur

R S T U V W X Y ZA B C D E F G H I J K L M N O P Q

K Mjunction on baselineKone junction

M

m

m m

Qwavy tail

QMany of the capital letters have small details and nuances that are generally reserved for the more lively lowercase letters. These things give the typeface a humanistic feel while maintaining an overall modern readability. They also propel the eye forward, encouraging a quick scan of the information.

Rcurved leg

m

R

Wf

at ju

nction and base

Zan

gle

d f

nial

s on both ends

m

R S T U V W X Y Zm

W Z

A B C D E F G H I J K L M N O P Qm

Qwavy tail

Q

The Meta family is a medium sized one. It consists of a regular and italic version, each with a bold weight and a set of small capitals. When creating the bold weight, the team strove to make bold and regular have the same width.

And they succeeded.

Since Meta was going to be used for things like telephone books, directories, timetables and such, it was important that its use was very efficient and economical. Z

Ang

led

Fini

al

s On Both Ends

EconomyNote the space saved with Meta in just one word as compared to the more spread out Helvetiva version.

Economy

{Meta Book Roman

Meta Book Italic

Meta Book Capitals

Meta Book Italic Capitals

Meta Bold Roman

Meta Bold Italic

Meta Bold Capitals

Meta Bold Italic Capitals

The Meta Family

Economy

References:

Annand, Carolyn, Philip B. Meggs, Roy McKelvey, and Ben Day. Revival of the Fittest: Digital Versions of Classic Typefaces. New York: RC Publications, 2000. Print.

Spiekermann, Erik. “Post Mortem Or: How I Once Designed a Typeface for Europe’s Biggest Company.” Web.

Spiekermann, Erik, and E. M. Ginger. Stop Stealing Sheep & Find out How Type Works. Berkeley, CA: Adobe, 2003. Print.

Sweet, Fay. MetaDesign: Design from the Word Up. London: Thames & Hudson, 1999. Print.

Gabrielle LaMarr LeMee is a Communication Design student at the Sam Fox School of Design & Visual Arts at Washington University in St. Louis For information please contact Gabrielle LaMarr LeMee at glamarr@go.wustl.edu.

This book was set in Meta by the publisher for the Typography course and printed in the United Statesof America.