Classic Movie type

The Quiet Man.***

Since my introduction to the entrepreneurial world (which involves some hunger, a lot of anxiety, and much freedom), I've been cutting costs like a store having a fire sale the day after Christmas. All items must be sold! Bargain prices! SELL SELL SELL! 

I solved my "watching t.v. on a budget" dilemma through the acquisition of a cheap digital antenna and converter hooked into the back of my flat screen and...voila! There it was; the moving images we've come to know as modern t.v. The baddest part was the first channel it tuned in: a bitchin' classic movie channel aptly named "Movies!" with a capital "M" for a logo (which suits me just fine), airing a "Sinbad" movie with original Ray Harryhausen* stop-motion animation. WOW!

It's given me access to a host of golden oldies I wouldn't have found before, enhancing my education through the knowledge that humans really haven't changed all that much since the invention of modern cinema, because we really haven't. Families still struggle with dysfunction, powerful addictions, cycles of poverty, illness, and other dastardly things, albeit played by handsomer folk than that girl next door, but that's not very different than any other type of storytelling. 
If you're going to see a show, why not look at some pretty people? 
It'll make the time go faster.

The artist in me especially loves the opening credits, like a beautifully illustrated book with a gorgeously set title page. I've always preferred trailers over a full-length feature (for obvious reasons, like my time), and classics are no different. Check out some typesetting from back in the day, and bask in the knowledge that artists have always lead the way, whether you've realized it or not. You're welcome!

From the original 1943 version of "Heaven Can Wait".**

*     http://www.rayharryhausen.com/
**   http://www.imdb.com/name/nm0523932/bio?ref_=nm_ov_bio_sm
*** http://en.wikipedia.org/wiki/The_Quiet_Man

Type: New England Gravel

New England Gravel

Check out this rusty, crusty logo from the old days of hand painted signs and work trucks. You're welcome, antiques fans.

Sticker Art: Crazy Cats & Headbangers' Balls

"Crazy Cat!',  coming at you from the back bumper, baby.

The Headbangers Ball with some politics, religion, and $$$ thrown in.

Type: Movies, Mad Men, and Lemonade Stands

The "Mysterious Mr. Moto", in an American kind of Chinese.

Today's post is a set of shots I've been collecting over the past few weeks, so I decided to post them in one, big, fat, font post. Yay! 
The first example comes to you via the Movies! channel, courtesy of the classic movie Mysterious Mr. Moto (1938), with Peter Lorre. I'm a sucker for cheesy pseudo-Asian fonts, especially authentically retro ones like these, redolent of a white guy made up in poorly drawn Chinese eye makeup; it fools no one. A fine specimen of typecasting gone wrong, and cultural appropriation. Please to enjoy!

Uh oh. "Devil's Island". That sounds bad, in a good way.

The map is cartography perfection, though. Nothing wrong or off here. A gorgeous movie opener, overall.

Good advice!

The next type sample comes off the back of a coupon I clipped, now expired, and then flipped over to reveal this gem of a tagline from your friendly neighborhood advertiser. Sage advice, indeed.

Organic is just good all around, type included.

This fontography sample came to me from the fridge one fine morning, friendly and inviting, with the perfect cheerful "Good Morning, Sunshine!" message facing me from the back of a hastily placed half and half carton sitting on the top shelf. It really is a beautiful piece of typesetting, a complete type block set right, and it's interesting, too. That's how you do "inviting" and "pretty" with black display type: it's a gorgeous piece of work on it's own that also fits the artwork just so. The former (M)ad Man in me is pleased. I'm not alone in my cause for good, healthy products, and you can see that the designer cared enough to take the time to craft a package the consumer can enjoy and also feel proud of, through an organic purchase that can feel unjustly costly at times. Nice job!

Classic Americana: the homemade lemonade stand sign, now discarded on the sidewalk, like a kid's dreams about money and enterprise

Like a children's toy abandoned in a yard, this discarded lemonade sign I saw on the sidewalk one afternoon took me back to my own childhood in the country, boringly slow and stingy when it came to money and Scout badges. We never earned enough to justify the time we spent on our pursuit, because there's one car every hour or so on Hudson Valley back roads, which is a good lesson in of itself. It served me and my brother's well when we entered the supposedly hallowed and sacred halls of Big Business in the Big Apple, which is actually our second home, thanks to our very own "Mad Man", our Dad (shhh...don't tell anyone our big "secret"). We don't waste time, because time is a commodity you can't buy or get back once it's gone, like your health. Clever, right?

The infamous Saul Bass, in movies now and forever.

I grabbed my fine, photo-taking device when this famous Saul Bass opener flashed across the t.v. screen, again from the classic movie channel. It's simply one of the best graphics I've ever seen in my life, and you should see it very, very soon. Google Anatomy of a Murder, and be dazzled. It's a humbling piece of art because it really is perfect: on posters and packaging, as motion art, as a set of static images, and a shining example of the power a great graphic has: simple and unforgettable.

"Bye bye", translated into jazz hands and Oscar worthy graphics.

Many a graphic design student feels awe seeing it for the first time, which is why I'm so glad I was technically an Illustration major while at R.I.S.D.: "flawless" can be so very daunting to a youngster taking it all in, trying to learn and keep up at the same time you're desperate to figure it all out: how can I be an artist? What is my style? Will I ever be capable of doing something like that? Dare I hope and dream, even with hours of studio time and practice? What about all that money spent? IS it (and am I) worth it?! We didn't know what awaited us in the world or how it comes together for us as designers, thinkers, intellectuals, and dreamers, and that's a scarier prospect than any business meeting could ever be, on any given day of the week.

The oft-avoided bestseller (for obvious reasons), but the book is set well.

Finally, here's a nicely done chapter opener, something I don't often do as a book designer and art director, because covers are huge, colorful and expensive marketing pieces that take up most of my time, but I appreciate their quiet strength when I see them just the same. When I do find myself in a position that affords me the time to typeset a page that goes with my cover design, I relish it for the synchronicity I so often don't find in business, because of the conflicting production schedules we have in trade publishing. Sigh....oh, well.

Design is hope made visible.

 That's it for now. See ya next time. Y'all come back now, ya here? 

Street Signs: Below Poverty Levels

On the other side of the tracks.

Type: Seasons Greetings and Holiday Reunions

I hope so! It was my Christmas gift to myself!

For Holiday Blues, Post-Holiday Blues, and Other Familial Horrors.

Cards from a recent trip to the city.

I'm writing about type again (so soon?!) because I built up a nice collection of examples over the holidays that I've been wanting to post: big, bold white type on a cheerful red package that was a gift I gave myself, a really nice book cover atop a table at the local library, and a couple of cards I picked up on a recent trip to the city to see an old college friend. Good times ;)

Type: Black and White

Not subtle.

Today's type selections are lessons in contrast, in more ways than one. Black and white is the first typesetting we know of: black ink rolled onto type blocks and then pressed onto paper. Simple. Or is it? 

I don't know the characters, but....

Just as there are many ways to print a book, so there are many ways to render letters, due to the natural complexity of human vision. We see an enormous range of information quickly and very well, just like any predator with eyes set in the front, creating an unobstructed field of vision, which is great for fighting. And other pursuits.

....I know an arm bar when I see one.

Enjoy the fights tonight, battle hounds.

Hudson Valley: Store Signs

....unless you're a Mixed Martial Artist.

I love store signs, especially the antiques, the more retro, the better: neon ones, hand drawn ones, and those tall peeling paint signs from the last century. There's an abundance of great store fronts in my town. Have a look for yourself.

Peckman's Wines & Liquors.

Sneaking down the alley...

A small town sign: the homegrown militia.

Type, glorious, type, of all shapes, colors, and sizes.

http://www.pinterest.com/mariedoucette/type/

Type: Ye Olde Printers' Shop

Foundry type.

Years ago, printers set type by hand, using complicated blueprints from designers as a guide. It seems like something from the 18th century now, because that's how fast technology moved has forward, but when I first became an apprentice in publishing, I still did some mechanicals (the schemata for books that go the printer: http://astoundingartifacts.blogspot.com/2011/03/original-science-fiction-artwork-pt-4.html) by hand. We used "stat cameras" (http://en.wikipedia.org/wiki/Stat_camera) that made "repro", terms from graphic arts from a time gone by the was only in the 90s. Some people are nostalgic for hand set type, but rest assured, it was a long, slow, tedious, repetitive process best suited for temperaments that didn't change quickly. I wouldn't design today if I had to do it.

Plates for printing.

We separated into cover designers and interior designers for books because the rapid progress sorted out brains into those who could absorb computers well and those would couldn't, and most of the time it became the difference between the flash of art on the cover that drew in buyers in 3-5 seconds (which is how fast we take in information visually), and those we preferred the pace of turning a page slowly one by one. Oh, I know crossovers who can do both (yes, I can), but for me, this type of nostalgia has become about those who can merge left and right brain tasks, with the stereotypical "artist" or "designer" who thought our work was really about one task, and one task only, in the dust. For masters, it never really was. Welcome to the new world, global thinkers. Stretch out and grow (and think), because this is our time to shine (once again). 

Read it and weep....for joy:

http://www.pinterest.com/mariedoucette/reading-writing-books/.

Type: Book Design

A little ramble.

So much of my design life has been the domain of books, that I forget it as a genre of typography sometimes. I'm mostly an image-based designer, and they typically send folks like us to the art department to design the covers, which are usually photographic or illustrative in nature. I began my apprenticeship as a production assistant to learn the ropes, and in the process of doing so, I learned what each and every department does, because that was my job, and that's exactly what my boss (and first professional mentor) wanted, because we discussed it at my hiring. 

Pieces of string.

I spent my time at night teaching myself the requisite software that I did not learn to design with at school. I had one extremely basic computer class for illustration, a touch of Photoshop onscreen in a photo journalism class, and that was it. In fact, we started a petition for desktop publishing classes that so threatened the old guard teachers in the ivory tower, my mentor there told me some profs put us on a blacklist. None of them are working art directors or designers today ;)

BAM!

One of the first designers I met at St. Martin's Press many moons ago is the incredible Judy Abbate. She worked in the Design department as an interior designer. In books, that doesn't mean carpets and drapes; that means the designers who estimate the manuscript's page count, design the style guides and chapter headings, and work with the typesetters. It's an art of its' own. Fortunately for me, Judy's also an illustrator, and she knew the big distance that existed between my degree and the working world. She gave me use of her work computer for me to learn on after hours at night, when the other designers left for the day, so I did. I bought myself a set of Peachpit Press books (http://www.peachpit.com/), and I taught myself the reigning creative suite trilogy of the times, QuarkXpress, Illustrator, and Photoshop.

Kara Walker.

Because of my imaging skills as a photo minor in school (I was a teaching assistant and darkroom technician for b&w photography), I went upstairs to the Art department, to learn about book cover design. That's where types like us go because we have the same skills as the freelancers we hire, so it's essential we speak their language. My first two interviews were with photographers, both women of world renown; Rosalind Solomon and Annie Lebowitz, and both were for darkroom assistants. I didn't get those jobs, because I had a portfolio with a defined style and my own P.O.V., but I did get my third interview in publishing. A friend of a friend from high school worked in PR at SMP. He walked me to meet my first boss after I went through HR, and said "Hire her!". I was the only person in my graduating class with a job at our commencement ceremony, because I graduated mid-session before my classmates, because I tore through my studio requirements after leaving my SUNY school so I could leave school to work. I worked three jobs while at RISD (the third was making pizza), and my father only paid for a year and a half worth of schooling for our educations, which was a phenomenal bargain for a guy with four kids. There was one scholarship available from Hallmark Cards for Illustration Majors at the time (for about $1000/semester), and my married friend who'd already worked as a graphic designer prior to RISD got it.

Q&A a day.

It's funny, but after my springtime trip to MoMa, I found myself more excited in the bookstore than I did with the work on the walls, yet another indication to me of the solidity of my abilities, how deeply rooted they are to who I am. Books are not just what I "do" for a living, they are parts of me: I read, I write, I illustrate, I photograph, I design, I publish, I edit, and I'm hungry for more (nod to the Tony Bourdain "No Reservations" intro). It's our vocation. Looking back, I see I captured one of Judy's books on the tables at the NY Public Library, Q&A a day, and as always with her work, it stood out for perfectly balanced classicism that's never dull. That's the mastery of it, and that's what keeps us coming back for more. Stay strong, Judy. This one's for you: http://www.youcaring.com/medical-fundraiser/big-surgery-for-my-love/71246.

By Judith Stagnito Abbate.

Art: MoMa, Oldenburg, and Other Works

Did you like Mickey Mouse as a kid? OK, I'll ruin that for you.

I was cleaning off my iPhone to make room for the new iOS update, when I found a bunch of old pics from a trip to MoMa (http://en.wikipedia.org/wiki/Museum_of_Modern_Art), back in the Spring. I'd gone to see the infamous painting "The Scream", by Edward Munch (http://mariedoucette.blogspot.com/2013/05/the-scream.html). It sucked. So did this big weird Mickey Mouse flag (totally creepy) and an installation piece by Claes Oldenburg (http://en.wikipedia.org/wiki/Claes_Oldenburg. Useless, and so much time and money spent on it! I'm no snob, and I have a wide range of artistic tastes, but I'll admit I have a bias towards beauty. That's the nature girl in me.

For weird stuff, I'm usually looking for a sense of humor, but all I found in the big dumb Mickey Mouse head installation that I walked through were a bunch of sandwiches made out of clay and stuff, painstakingly recreated for God Knows What, when a real sandwich would have made me so much happier. Not big on the whole tongue-in-cheek hipster rich kid Pop Art scene. I don't get it. Why blow your time and money on this?!

Barbara Kruger and The American Identity. Who the @$ck are you?!

Other works were as powerful as the first time I discovered them, like designer/artist Barbara Kruger (http://en.wikipedia.org/wiki/Barbara_Kruger#Career_in_magazine_design), and her graphic works that take a searing bite out of American Commercialism. Now that's irony I understand because, you know, it actually says something meaningful.

Riffing off type. Cool! I dig it.

Years ago, I did a freelance stint for a museum, and it gave me a keen appreciation for exhibition graphics. The coolest shots I got were abstractions based on wall graphics for various shows. And that's why I design books, I guess.

Oldenburg exhibit wall graphics.

What jazzes you? 

Take and look and see: http://www.pinterest.com/mariedoucette/art/.

This week in TYPE

It was a rich week for me with type. 
I found great examples almost everywhere I went: the label on a cute stuffed animal, crafts displayed at the local library, the nameplate of a dentist at a professional office building, and 
a killer edition of ESPN magazine devoted to the sports of boxing, MMA, and wrestling. What's NOT fun about Lucha Libre?!

 

What kind of 
visual week did you have?

 
Yo, check it: http://www.pinterest.com/mariedoucette/type/.

Type: Everyday, People.

Exit, stage left.

Every day you see intelligent typography and sophisticated typesetting, from the lowly sign to the most rarefied art book in a museums' collection. If you can read text, you're looking at graphic design. Well done!

If you also enjoy type and typesetting, from the rare and divine, to the humble and working class, join me in my quest on Pinterest: http://pinterest.com/mariedoucette/type/.

Around the Way: 98 and the B63

Street signs on 5th