Mark’s Notebook - Page 30

Almost forgot to mention: I did an interview with LetterCult, the new website devoted to the art and culture of making letters. It just went up today. Link.

The site’s been up less than a week, but there’s already a ton of great stuff on it about lettering and type design.

Here is an example of what designers used to have to do in the days before desktop publishing:

All this for a few blocks of text. In this case, for a client’s stationery. It’s from about 1986 or so. I was already starting to use PageMaker for some jobs, but high resolution output was not available quite yet in Minneapolis, and 300 dpi LaserWriter output would not do for a job like this.

Note the note at the bottom: “Tuesday A.M. if possible.” It was probably sent out on a Monday (delivered via courier), and would have been considered a “rush” job. The markings in blue and light red were made by the typesetter to themselves. The others are mine. I don’t remember exactly, but it probably cost $75-$100 to have this copy typeset, including delivery charges.

There was never any question that the spacing and quality would be anything but perfect. None of this had to be stated in the “specs” unless something unusual was called for, like the note near the bottom that says “K 1/2 U” meaning “kern one half unit.” The finished “repro” would still need to be cut up and pasted into position on illustration board before it could be printed.

We are so spoiled nowadays. We can set the type ourselves, right at our desks (or laps), and instantly see what it will look like. No more spec’ing, or waiting, or paying big typesetting bills. On the other hand, you do have to know a lot more about setting type than you did back then to get the same level of quality.

(A possibly interesting footnote: The copy was printed out on a dot-matrix printer, an Apple Imagewriter II, using bitmapped fonts I made myself on my Mac, including one that mimics the look of a typewriter.)

My friend David Steinlicht recently posted a time-lapse movie showing the day-to-day progress of his award-winning entry to the seed art competition at the 2008 Minnesota State Fair. It depicts a scene from the video game Grand Theft Auto (of which he is an avid player) with a can of Festal sweet corn. In seeds. Not your typical seed art subject, but David is not your typical seed artist.

The speed at which the work progresses is highly misleading. To put things into perspective, David includes video of the process in real time after the time-lapse part.

I’m a long time fan of the work of Winsor McCay, including his hand-lettered titles. Blogger “Morpheus” has posted a big collection of title panels from McCay’s Little Nemo comics on his “Meeting McCay” blog. Amazing stuff. (Via Boing Boing)

The Back to the Future series is a long-time favorite of mine. And they did a good job with their period-specific props—lots of hand-painted signs in the parts set in the 1950s and 1880s, just as there would be. Nary a font in sight where fonts should not be. Or so I thought.

Yves Peters (of Unzipped and elsewhere) was recently watching the third installment in the series on TV when he spotted this and alerted me:

Great Scott!, indeed. It goes by pretty fast and I had to adjust the brightness to see it clearly, but there it is. How did Helvetica (1957, top) and Eurostile (1962, middle) end up on a tombstone in the year 1885? I guess we’ll have to wait for a fourth Back to the Future movie to find out.

I’ve finally had a chance to settle down after this year’s TypeCon, which was one of the best I’ve attended. As promised, here is the set of 3D postcards I contributed to the goodie bag for those who were not able to attend:

Of course, you will need a pair of anaglyphic glasses with red and blue filters to experience the illusion of depth.

In fact, these RGB images work even better than the printed postcards for the 3D effect, probably because the colors are made with pure light. On the other hand, they are not as easy to mail.