The Null Device

I just watched the film Helvetica, a documentary about the eponymous typeface. In reality, it was more than just a film about a typeface, but rather one about visual design, aesthetics and ideology in the past half-century, seen through one element so ubiquitous that it is virtually a mirror. (Helvetica's ubiquity is the key; I imagine that one could as easily have made a film titled, say, "Water", ostensibly about the subject of its title, and had it encompass anything and everything.)

The film describes the typeface Helvetica and its origins in the Haas type foundry in Switzerland, as a cleaned-up version of German sans-serifs like Akzidenz Grotesk, and the way that, either by being in the zeitgeist or happening to embody an objectively optimal design, it caught the moment, being seen as fresh and clean compared to the mess of 1950s-vintage graphic design (which would now be considered "retro" and "groovy") and was propelled to ubiquity, becoming considered boring and/or corporate, mutilated by the grunge typographers of the 1990s, and rediscovered by a new generation of designers reclaiming modernism. The film puts forward multiple points of view (Helvetica was in the right place at the right time; Helvetica stumbled onto a timeless optimum; Helvetica carries with it the core values of the modern mindset; Helvetica is ideologically oppressive/corporate/right-wing (Paula Scher asserted that it was linked to the Vietnam War); Helvetica is beautiful; Helvetica is ugly), in the form of interviews with various key designers and figures, both young and old (these have included Matthew Carter, Neville Brody, David Carson, Hoefler and Frere-Jones and so on). (Other than shedding light—from various angles and of various colours—on the legacy of Helvetica, the interviewees tell us other interesting things; for one, I found Matthew Carter's description of his typeface design strategy quite informative.) All this is intercut with extensive stills and footage of Helvetica in the modern world, which drive home the full extent of its ubiquity. The soundtrack, containing the sort of tastefully minimal post-rock (Sam Prekop, El Ten Eleven and The Album Leaf) that one would associate with neo-modernist graphic design. Alas, there does not appear to be a soundtrack album available for this film.

¶ film typography helvetica design modernism postmodernism [no comments]

Things __ People Like + Democrat sympathies = Things younger than Republican Presidential candidate John McCain. Includes entries for things like nylon, Helvetica, The Grapes of Wrath, the Golden Gate Bridge, Kodachrome, both of Barack Obama's parents and various other notably old and cranky politicians.

And, via the Helvetica entry, various designers weigh in on McCain's use of the Optima typeface. The usual things come up (Optima being a bet-hedging typeface, the use of a bold weight outweighing any elitist connotations of the regular weight, Optima's association with the dental profession, and, of course, its resemblance to the inscriptions on the Vietnam War Memorial), but most interesting was type designer Matthew Carter's claim on how Optima McCain's choice of running mates:

I set the possible names in a bold weight of Optima caps and certain things became clear. HUCKABEE looks awkward in Optima, and ROMNEY is afflicted with the same difficult ‘EY’ combination that has plagued the current vice presidency. Perhaps because Optima is a German typeface, the word SCHWARZENEGGER looks predictably good.

Although it’s German, Optima took its inspiration from Quattrocento inscriptional lettering in the cathedrals of Florence and Siena, which may explain why GIULIANI looks so simpatico. In the end, however, my research suggests that the optimal running mate — so long as you don’t have to typeset her first name — is RICE.

(via tyrsalvia) ¶ barack obama history john mccain politics usa typography optima [1 comment]

Web toy of the day: FontStruct. A Flash-based web app which allows you to create your own geometric fonts from a selection of tiles.

Which is way cool, though I can't help but think that FontShop has just wiped out its market for geometric fonts. (Not that that was unexpected; with the rise of user-generated content and better authoring tools, content is no longer a seller's market, and the standard of user-generated content is rising to the point where, even if it's on average not as good as the professional stuff, it's often good enough.)

(via MeFi) ¶ web toys typography design nifty creative commons web 2.0 [no comments]

In US presidential elections, as in any mass-marketing exercise, typography and design are important. Most go for safely conservative, focus-grouped choices; Hillary Clinton has gone for New Baskerville, a typeface seemingly designed for hardcover self-help books and suburban real-estate agencies' signs. (The latter association may not be the most prudent, with the subprime crisis.) Republican war-hero John McCain has gone for Optima, which, coincidentally or not, is the typeface used on the Vietnam War Memorial in Washington DC. Both typefaces are decades old (and New Baskerville is based on 18th-century English book type), and published by huge type foundries that predate the computer age.

Barack Obama, however, has broken away from the typographical consensus, and gone for a new font named Gotham. Designed by Tobias Frere-Jones starting in 2000 and based on examples of vernacular signage and lettering, Gotham evokes the classic yet forward-looking appearance of 1930s modernism. And the Obama campaign's adoption of it has led some to call it the hot font of 2008:

Though a discussion of fonts may seem obscure, anyone who has agonised over the look of a wedding invitation or sweated over a resume knows that the shape of letters can say nearly as much about a person as the words they spell out. And in the computer age, the message conveyed by a font is no longer subliminal. It's overt.

¶ barack obama gotham hillary clinton john mccain politics typography usa design [2 comments]

Two artists have created a device for manipulating fonts as one would synthesiser sounds. The Meek FM Typographic Synthesizer consists of a box of synth-like knobs connected to a Mac running software which allows the user to tweak aspects of a font using the knobs. (The font is stored in a higher-level representation, consisting of strokes, though it's said to be able to import standard PostScript fonts.) There's a video of it in use here.

(via Engadget) ¶ tech art gadgets typography synths digital art [no comments]

This afternoon, I made my way to the Design Museum in London to see Friendly Fire: The Graphic Design of Jonathan Barnbrook. Barnbrook is probably best known for his fonts, particularly Ma(n)son Serif, a.k.a. "that 90s goth/metal/occult font" (last seen on a package of "sinfully delicious" cheesecake or somesuch; presumed dead of overexposure). He also did a lot of political/protest work, including design for Adbusters magazine and surreptitious flyposting during Bush's visit to London, and some of these works were on show at the exhibition, along with context.

There were examples of fonts he had designed, the influences he drew on (Barnbrook is a keen historian of vernacular design, and many of his fonts refer to bits of it — from Edward Johnston's Underground type to Yugoslavian Communist brand lettering to the Lindisfarne Gospels), along with related context (such as how Mason was originally named Manson, but Emigre renamed it after being deluged with letters of protest, and Barnbrook's surprise at how Exocet was used by a neo-Nazi group for its website). There were also examples of more recent typefaces, which included NixonScript (a "font to tell lies with"), Expletive (a cursive font with two sets of forms, one which goes above the base line and one below), Prozac (a font made up of just six shapes in various rotations) and the Shock & Awe series), and a set of alternative Olympic symbols named "Olympukes" (and free for non-commercial use), with symbols for things like bribery, reinforcement of oppressive regimes and ridiculous made-up sports. There was also a section of artwork riffing off North Korean propaganda art and mashing it up with Western commercial design (such as Kim Jong Il as Colonel Sanders; in some ways, this was a little like Banksy's "Santa's Ghetto" salon, only with better design/more thought/less punk-rock attitude).

The exhibition is on until the 10th of October, if you're interested in this sort of thing.

¶ design typography exhibition jonathan barnbrook [1 comment]

This year is the 50th anniversary of Helvetica, the sans-serif typeface which was designed by Swiss typographer Max Miedinger in 1957 and has since become ubiquitous, and synonymous with a very Swiss modernist aesthetic: clean, fastidious and businesslike, if perhaps somewhat bland:

As Wildenberg notes, its Swissness is part of the appeal. The land where clocks run meticulously and the streets are spotless carries the kind of cultural resonance that the logo makers and brand masters of the major corporations might like a bit of. For others, its neutrality is a platform for daring design.

"When people choose Helvetica they want to fit in and look normal. They use Helvetica because they want to be a member of the efficiency club. They want to be a member of modernism. They want to be a member of no personality. It also says bland, unadventurous, unambitious."

¶ typography helvetica design [no comments]

Charlie Brooker takes on another part of the blight affecting contemporary Britain: computer-generated shop signage, in particular singling out its crimes against typography and sensible use of colour:

[W]e live in a cluttered optical hell of carelessly stretched-and-squashed typefaces and colour schemes that clash so violently they give you vertigo. Stroll down the average high street and it is like being assailed by gaudy pop-ups on the internet. It makes your eyes want to spin inward and puke down their own sockets.

As if thoughtless font abuse were not enough, some signs even incorporate scanned photographs; a garish snap of some glistening meat surrounded by a yellow Photoshop "haze" effect, hovering over an electric blue background, flanked by the words KEBAB DUNGEON in bright red, foot-high Comic Sans crushed to 75% of its usual width. Jesus. Why not just punch me in the face and have done with it?

Something has got to be done because it is only going to get worse. You know what will be coming next: animated shop signs with moving "wallpaper" backgrounds. Storefronts resembling god-awful homepages from 1998. Row upon row of them. Visual bedlam wherever you turn. Two months of that and our cities are going to be over-run with screaming maniac gangs; hitherto law-abiding citizens driven insane without knowing why, like the demented hordes from 28 Days Later.

One frequent subcategory of offenders here are fast-food shops, a good proportion of which are fried chicken shops named after varying US states ("New Hampshire Fried Chicken", anyone?) or words associated with the idea of America, and more often than not feature anthropomorphised animal mascots, usually chickens in Wild West sheriffs' hats or some variant of the theme.

And then there is the "fish bar" phenomenon. Those two words feature in the name of every other fish-and-chips shop in Britain, though to the best of my knowledge, are never used as a common noun in regular conversation. Has anybody ever said, for example, "let's go to a fish bar"?

¶ charlie brooker uk typography commerce branding aesthetics [no comments]

AIGA Design Forum has an article taking the Whitehouse to task for its poor typographical taste:

While his handlers would never allow the leader of the free world to go out in public wearing a rayon leisure suit and white bucks, they nonetheless use clownish shareware typefaces with hokey beveled edges and cheesy drop shadows to represent his ideas.

The most persistent is the use of Roman-like faux intaglio and engraved letterforms to give an air of authority and truth--although the effect is more Las Vegas casino. To celebrate the fourth anniversary of the "No Child Left Behind" act, someone got a little creative and added a drop shadow to a font that fakes the look of chalk or crayon lettering. This is only one evolutionary step away from introducing the Lariat font (novelty letterforms made from rope) whenever W is speaking from Crawford, Texas.

Momus then goes on to find other political signifiers in the Whitehouse's aesthetic choices:

The meaning of Trajan in the contemporary US seems fairly unambiguous to me. Trajan makes an implicit metaphor between the imperial power of ancient Rome and the imperial power of contemporary America. Whether it's made to look as if it were chiselled, or whether the letters are themselves made of metal, it suggests sharp implements, which conjure both the image of monumental permanence and the image of martial hardness -- the two basic meanings of Trajan's column itself. Pure Trajan suggests "right wing"; Trajan with drop shadow, metallic glints or lurid colors suggests "populist". Put them together and you get: "right wing populist". You don't have to spell it out in text; the message is there in the texture.

The Nazis would have hated [Mies van der Rohe's Neue Nationalgalerie's] lightness and clarity the way the Bush administration seem to hate clear, clean Franklin Gothic or Helvetica layouts. They'd already forced Mies to close down the Bauhaus, a den, in their view, of socialists, communists, Jews and progressives. They rejected Mies' Modernist style as "un-German". I'm trying to imagine a parallel world where the Nazis build a Modernist Germania of light articulated glass curtain architecture, but it's almost impossible, just as it's almost impossible to imagine the Bush administration producing a banner or a publication I'd actually admire and want to hang on my wall.

There is no such thing as bad design or good design, the cultural relativist has to conclude, just their design and our design. The downside of that is that we lose the illusion that our taste has universal validity, or is inherently better than anyone else's. The upside is that we stop trying to preach and teach -- meaning, we become a little less imperialistic, perhaps. (Or do we become more imperialistic, and simply say "Our way is better because we have more power than you... and because we say so"?)

(via imomus) ¶ typography design politics aesthetics usa culture momus [no comments]

There's an interesting article in the International Herald Tribute about recent trends in typographical fashion, in particular, the revival of Microsoft's Georgia typeface as an increasingly popular web font, and the trend towards retro-styled typography after the 1990s grunge fad:

Georgia was well-received, but initially proved less popular than Verdana, which was hailed throughout the late 1990s as the defining typeface of the new digital era. By the early 2000s taste was changing. Just as fashion buffs were rummaging around vintage stores and product design was embracing romanticism, type designers were dusting down their history books. Among the most popular new fonts was the elaborate Mrs Eaves, created by the Californian designer Zuzana Licko and inspired by the glorious swirls of the 18th-century Baskerville. Mrs Eaves became so popular, even in junk mail, that typography blogs grumbled about it being over-exposed.

Designers continue to reinvent historic typefaces, but in a more restrained style. Again this reflects broader changes in visual culture. The typographic equivalent of the trend for fashion houses, like Lanvin and Balenciaga, to reinterpret vintage looks with advanced materials and technologies, is the development of computerized reinterpretations of elegant old serif typefaces, like Bodoni and the 15th century Bembo, for use in print. Among them are Farnham, developed for the art magazine frieze by the New York designer Christian Schwartz, and Guardian Egyptian, which he devised for the redesign of the British newspaper The Guardian, with the London-based designer Paul Barnes.

¶ typography design aesthetics [no comments]

The BBC is running a poll of British design icons. On the current page are 25 candidates; there are the usual design classics (Jan Tschichold's distinctive Penguin paperback covers, red phone boxes, Routemaster buses, the Mini (and the miniskirt!), and Harry Beck's Tube map), and also some more recent entries, including Peter Saville's cover for New Order's Power, Corruption and Lies, Neville Brody's design of The Face magazine, the Dyson vacuum cleaner (what about the Henry?), Lara Croft and Grand Theft Auto. Oh, and the World Wide Web, because the first form of it was developed by an English bloke.

Not to mention a few things I didn't know were British, such as the Chopper bicycle now ironically popular with SugaRAPE-reading hipsters (apparently it's not Californian, just a knockoff of Californian designs) and Microsoft's Verdana typeface (designed by British-born type designer Mathew Carter). In that case, I wonder why they didn't include the iMac or iPod (whose appearance was designed by Englishman Jonathan Ive).

And it's interesting to read that Britain's current system of road signage was (re-)designed in the 1960s. Which probably explains why Australia has entirely different (US-style?) signs.

(via london-underground) ¶ design bbc uk jan tschichold penguin routemaster london underground peter saville new order neville brody typography road signage [2 comments]

The designer of Comic Sans, possibly the most reviled typeface of recent times (mostly due to clueless people overusing it because it looks "cute", "fun" or otherwise endearing), explains himself and the origins of his disliked creation. Apparently Comic Sans was intended solely for internal use in Microsoft Bob (the cartoonish user interface originally intended for those who found the Windows interface too challenging), and the sole justification for its existence was that it looked more appropriate than Times New Roman in a speech balloon uttered by a cartoon dog. Then a Microsoft project manager noticed it and put it into Windows 95, and from then, there was no stopping its domination of notice boards, garage-sale/missing-pet signs and Geocities web pages made by the sorts of people who thought that animated GIFs and background MIDI files were very cool ideas.

(via found) ¶ comic sans typography [2 comments]

For the best part of a decade, the application for anyone who wanted to make their own fonts (PostScript or TrueType) was Fontographer. Then, sometime in 1997, Macromedia (who had recently acquired it) abandoned it. They kept selling it, but no new development took place, and advances in font technology (such as, say, Unicode and OpenType) passed it by. Even worse, the last version turned out to not work at all under MacOS X, presumably due to the programmers having used some sort of undocumented shortcut that the Classic environment couldn't handle.

Anyway, now Fontlab has acquired Fontographer from Macromedia Adobe (who have no font editing tools of their own on offer and no intention to change this; which is rather surprising from the inventors of PostScript), to integrate into their font-editing product. It'll take the mid-range niche, between basic font editing program TypeTool and the high-end FontLab package.

(via gths) ¶ software fontographer typography osx [no comments]

Need meaningless text for a layout? Sick to death of "lorem ipsum dolor"? Why not try the hillbilly version, available here:

Good fixin' sittin' shed mule drunk shiney, ails frontporch em pappy liar feathered. Rodeo trailer yer tarnation cowpoke quarrel water woman him nothin' fetched. Kickin', rottgut fit buy grandma hillbilly askin' guzzled jest bankrupt kinfolk cowpoke mashed catfight. Salesmen mobilehome over mashed poor shed. Simple him dumb and, thar nothin' liniment squalor jail catfight, farmer wuz said.

Muster bull, showed, skinned come fire. Tobaccee greasy work rat ass rightly penny far polecat. Where poker water gritts dogs me. Havin', up work fell salesmen soap. Throwed what his darn preacher java hobo jug no kinfolk give jezebel. Simple fat caboose last, had creosote spittin' it pigs up. Coonskin grandma lament woman crop penny dirt coonskin clan, wagon.

The site itself seems to be a viral-marketing campaign for some outfit that does something or other for webmasters.

(via bOING bOING) ¶ typography hillbilly redneck irony [no comments]

This looks cool; it's a web/DHTML-based bitmap font editor, like those ones they had in the 8-bit days. Once you've finished your font, press the button and it sends you a TrueType file of it.

¶ fonts typography pixel art web [no comments]

The Times' Weekend Review has an interesting piece on the influence of fonts:

Dr Sigman has studied the emotional impact of fonts and is convinced that they constitute a second dialogue. After analysing stern letters from bank managers, he concluded that they are increasingly using fluffy, friendly fonts in a vain attempt to humanise their message.

Font experts in the type-obsessed world of advertising advise against such obvious clashes between meaning and typography. I hate it when banks talk to youths in yoofy typefaces, says Julian Vizard, of the St Lukes agency. Its like William Hague turning up at the Notting Hill Carnival in a baseball cap.

The print edition also has a whimsical inset matching fonts to personality types. Apparently the font of choice of bloggers and web types is Verdana, Courier is used by embittered old journalists, people with an affinity for Gill Sans are "tasteful, design-conscious, probably gay or bi-curious and have a lot of brushed stainless steel in [their] kitchen" (umm...) and Comic Sans people desperately want to be loved. Oh, and the Prince of Wales is said to like Helvetica; that really says a lot.

¶ fonts typography design culture aesthetics [no comments]

Read Regular is a new typeface designed specifically to be dyslexic-friendly. Characters in the clean, modernistic sans-serif face have significantly unique shapes, and their shapes are simplified to reduce visual clutter, reducing letter-transposition errors associated with visual dyslexia.

¶ typography dyslexia [no comments]

A few days ago, on a whim, I decided to see if my old Windows version of Fontographer would run under Wine under Linux. Imagine my surprise when I found that (with a bit of hacking) it runs quite usably. (Some obscure dialogs lock it up, but that's a lot better than the Mac version runs under OSX's Classic mode; which is saying a lot.)

Consequently, I spent some time making another cheap and nasty geometric font, this time based on a type of alphanumeric display used in places like airports and trains. Then I got carried away, did a version based on a malfunctioning display (one that was on the train I caught to Reading on my way to Aberystwyth a few weeks ago, actually), and one showing random pixels, and so on, until I ended up with a five-font set. Which now appears on my rather underdesigned font page. Well, that and an even more dodgy-looking bitmap conversion I did a few years ago.

(This is the font appearing in the title graphic; incidentally, the photograph in the graphic is the view of the countryside out of the window of the train with the malfunctioning display.)

Anyway, enjoy my modest typographical efforts. If you find them useful, please consider making a donation to the EFF or the Free Software Foundation.

¶ typography personal fontographer [1 comment]

Whether the London Underground is the greatest public transport system in the world is debatable, but it certainly seems to be one of the most branded. The range of Tube-brand merchandise you can buy is astounding; it ranges from T-shirts and fridge magnets to saucy underwear and tea. The only thing that seems to be missing is Tube toothpaste.

Also, the mythology of the Underground extends beyond its history and famous ghost stations; in the London Transport Museum shop, there were not only books on the history of the Underground (quite a few of those, going all the way up to expensive coffee-table books), and books on the history of each line thereof, but books on the history of the famous Tube map, and of the typefaces used for signage. Not to mention a boxed PC/Mac version of the Tube font itself (Johnston Underground, from US type foundry P22), which appears in the new title graphic of this page).

¶ london underground typography fonts london transport museum london [5 comments]

The Alphabet Synthesis Machine, a Java applet which interactively evolves random alphabets and lets you download a TrueType font when you're finished. They don't look anything like any existing alphabet though. (ta, Ben)

¶ fonts typography genetic algorithms [no comments]

Useful: Identifont, a web-based tool for identifying fonts by answering questions. (via Meg)

¶ fonts typography [no comments]

Via Lukelog, this piece about typographical anachronisms in films, from newspapers being set in fonts which wouldn't exist for 20 years to bloopers like building sign in Tim Burton's Ed Wood which is made of great big metal TrueType Chicago letters. (That's the old Macintosh System 7 screen font.) Reminds me a bit of Kibo's USENET rants about typography and bad films.

And then there's this piece about the scourge of Arial, or how the ubiquitous font originated (designed not for its original charm but as a third-party drop-in replacement for Helvetica), how it got everywhere (on the back of the Beast of Redmond), and why it's more evil than Helvetica.

¶ typography anachronisms kibology arial fonts [no comments]

This looks really interesting: Alphabet Soup, a Python program which generates randomly strange-looking letterforms from elements and a grammar. Currently it works with fragments of bitmaps, but a vector-based version is planned. (ta, Toby)

¶ python typography [no comments]

Doovy! there's now an open source outline font editor for Linux/UNIX. Given that Fontographer has not been in development since 1996, perhaps open-source tools are the way to go. (ta, Toby!)

¶ typography linux software [no comments]

A psychological study commissioned by printer manufacturer Lexmark claims that the fonts you use reveal your personality. Courier is conservative, used by "old-school" journalists, Helvetica shows that you're "in touch with contemporary issues" and Times New Roman shows trustworthiness and compromise between old and new. And presumably all of the above show that the user is too apathetic to actually find and install some less overused fonts. (via Meg)

¶ psychology fonts typography [no comments]