Mark’s Notebook - Page 27
I spend a fair amount of time (too much, probably) helping to identify fonts at Typophile.com’s Type ID Board. One thing that comes up over and over is when someone offers a photo or sample of a sign or advertisement from before the 1960s or 1970s, and they want to know what font it is. Except it’s not a font, it’s lettering or sign painting or some other sort of custom-made letters.
Handmade sign in San Francisco, photographed April 2, 2008.
It’s not surpising that most people (including younger designers) assume that any letters they see out in the world were made using some sort of font. In the modern world, they are usually right. Computers have made it possible to set type at any scale, from the tiniest footnote on the back of a credit card to letters several stories tall on the side of a building. This was not always so.
Vintage painted sign on the side of a building during restoration, Beloit, Wisconsin, August, 8, 2004.
Type did not used to be so flexible. It existed as raised images on small bits of metal (or sometimes wood). It came only in certain sizes. The number of styles available was small—a few thousand at the most, and most typesetting houses offered only a dozen or two of the most popular typefaces. You couldn’t reverse it, change its size, print it over a photograph, make it multi-colored, change its porportions, distort it, make it follow a curve or a wavy line, or even set it at an angle.
Machine-set metal type for a newspaper page.
However, there was a simple solution: The lettering artist.
Ad for sign painting how-to book, 1957.
Because of the inflexibility of type, sign painters and lettering artists flourished. Lettering could go where type could not: Large signs and posters, over photographs and illustrations in magazines and advertisements, on windows and billboards, on the sides of automobiles and appliances, on clocks and watches, on packages and movie titles. Lettering was ubiquitous because it was practical. It was easier, cheaper and more flexibile than trying to do the same thing with type.
Nameplate on an automobile.
As phototypesetting began to replace metal type in the 1950s, type started getting more flexible. It was no longer limited to fixed sizes. With cheap photo-based headline setting machines, the number of styles available exploded in the 1960s, and demand for lettering began to decline. By the mid-1970s, type had become so flexible, the role of lettering was greatly reduced. Digital type and large-output devices in the 1980s all but killed it.
Today, lettering is very much a specialty area, used mainly when a unique design solution is desired, or when the few remaining limitations of type are still encountered.
But, the next time you see a “font” in an old movie or on the cover of an old magazine, remember: It’s probably not a font.
Hand-lettered title from Paths of Glory, 1957.
Postscript: The topic of this item was suggested by San Francisco sign painter Bill Stender, who has created hand-lettered signs and other props for period movies. Bill pointed out that, in my discussion of the use of Helvetica in the movie Tucker, not only would Helvetica not have been available in 1949, type would not have been used for such a large sign. It would have been designed and built by hand.
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MyFonts has been doing interviews of typeface designers for the last year or two in their Creative Characters series. Yesterday, they posted one featuring yours truly.
AIGA New Orleans has posted a really cool video on Vimeo: A slide show from 1962 created by the Art Directors and Designers Association of New Orleans (now an AIGA New Orleans). The pace is almost painfully slow by today’s standards, but patience yields a fascinating glimpse into the design world of the early 1960s.
Several things caught my eye as I watched it, including two Filmotype typefaces I recently revived: Ginger (at 4:43) and Glenlake (at 14:16). But I did a double take, and then a triple take when I saw this slide (at 30:52):
First of all, it looks like a White Stripes CD cover.
Second, the gizmo in the guy’s hand is a Scaleograph, an aid for sizing photos and art that was commonplace before computers made their way into design studios.
Third, according to the narrator, the guy in the photo, New Orleans designer Bob Brandt, invented it.
I still have one of these once handy gizmos hanging in my office for sentimental reasons. Sure enough, in small print it says: MFD. BY THE BRANDT CORP., NEW ORLEANS, LA.
Cool.
In 2003, I released my interpretation of China, an old VGC face, which I called Changeling. I redesigned many of the characters for more even type color. I also added lowercase-style variants to nearly all the uppercase forms, for endless “unicase” combinations, alternate forward- and back-slanting characters for A, M, V, and W, and a more complete character set. I spaced it to emulate the “tight, but not touching” style of spacing popular in the ’70s. Finally, I created four new styles—Light, Regular, Stencil, and Inline.
Changeling Neo (2008) builds on this with even more alternate characters (including a few from VGC China I had previously left out), extensive language support, and lots of improvements in fit and finish. Changeling Neo is available exclusively in the OpenType format. Alternate characters are accessed using OpenType Stylistic Alternates and Stylistic Sets features. Standard characters that were “hijacked” in Changeling (to make room for alternate characters) have been reinstated. Changeling Neo also includes support for fractions, superscript and subscript, as well as tabular figures.
For more information, I’ve made two PDFs you can download:
Changeling Neo is available now.
Long-time friend and colleague Eric Hanson has a blog now (ER-H Blog). Eric is an illustrator and writer. I used to hire him quite a lot to do spot illustrations back in my art director days. He just published a wonderful book called A Book Of Ages this last Fall.
Refrigerator dates back to 1988 as one of my earliest PostScript typefaces. The concept was very simple: A blocky, condensed sans serif with rigidly geometric forms. I was inspired partly by Neville Brody’s Industria, but very quickly it veered toward more of a mid-20th century vernacular appearance. It wasn’t based on anything specific. Rather, it seemed to come from memories of block-style lettering from when I was young.
Refrigerator Deluxe (2008) extends the family from a specific vernacular style to an anthology of vernacular styles through the extensive use of alternate characters, nearly doubling the character count. (The alternate characters are accessed either through OpenType Stylistic Sets or the Glyph palette, depending on your software application). These range from squared off, closed shapes, with a minimum of angled strokes, to open, stylized shapes with more of an Art Deco feel. Using different combinations of these alternates, Refrigerator Deluxe can take on an endless variety of appearances from basic block to high style.
Also new in Refrigerator Deluxe is the addition of a fourth weight (Regular), improvements in many small details, like spacing, kerning, hinting (for better on-screen display), character design refinements, extensive language support (most Western and Central European Latin-based languages), fractions, case-sensitive forms, and lots of “f” and “t” ligatures.
For more information, I’ve made two PDFs you can download: