Categories
Brand design lettering Typographic ephemera

Be seated – record covers and typography

Hello again. It has been a while since the last post for which I offer no explanation except for life getting in the way of blogging. I thank all readers, regular and irregular, for continuing to step by on their way through the swamp that is the internet.

Recently, while at a local cafe, I came across this record sleeve (undated) among bric-a-brac for sale in a back room. I think it terrific. See how many typefaces you can identify. (Note – I have yet to play the record on my new Sherwood PM-9805 turntable.)

Typography
Typography

 

Categories
Brand design Elements of Lettering lettering printing typography

Ashley Havinden, Ashley Crawford and Neuland

A reader recently identified the typeface I commented upon in this post as being Ashley Crawford, and not Neuland as I had then speculated. Thank you Marvin.

The face was designed by Ashley Havinden, Ashley Havindena noted designer of that period and produced by Monotype as Series 238 and 279 (the later for the plain font). Image from Encyclopaedia of Typefaces, Ashley Havinden_0001Blandford Press, 1953 as in my copy of Specimens of the Type Faces, Borders, Ornaments, Rules and Other Material cast on ‘Monotype’ Type Composing and Casting Machines, The Monotype Corporation, n.d it is not included, although ‘single specimen sheets…may be obtained on application’.

This is another of his works for the London store Simpson, taken from Modern Publicity 1942-48, The Studio Publications.Ashley Havinden_0004

To correct the earlier misinterpretation here is Neuland used in another ad (taken from The Typography of Newspaper Advertisements, Meynell, F, 1929).

Ashley Havinden_0002Ashley Havinden_0003

Categories
alphabet lettering typographers

Barnbrook

Two images leapt out at me today while browsing typography now, the next wave (North Light Books, 1994 pbk edition). BarnbrookThe first one of machine-generated stone carving (naturally, being a stone carver); the second a font called Prototype, this because the illustration stated it was an amalgam of other typefaces including Perpetua and Bembo.

At the time I did not note the connection and it was only a few moments ago when reading Brnbrook’s entry in Typography, when who how (Konemann, 1998) that I came to realise he was behind both.

Barnbrook_0001Thanks Jonathan and merry christmas /happy new year (if you celebrate that is).

For more go to http://www.virusfonts.com

Categories
Thoughts on lettering Typographic ephemera

Pictured in type

Making pictures from type goes back a long way – how long I can’t answer and I haven’t done the research but believe me it is a long time.

On the occasion of the wedding of Prince Charles and Lady Diana Pictures from Type_0002Frances (as she was then) on 29 July 1981 I and a colleague put together this offering – the additional inscription The only safe fast breeder is a Royal (in Times New Roman, letterpress) added when the pregnancy was announced in 1982 (Prince William was born on 21 June 1982) and alludes to concerns over nuclear reactors – 1982 was also the year the UK went to war with Argentina over the Falklands.

Now McDonald’s have caught on.

Though Pictures from Type_0001they may show promise – and are clearly done on computer – compare and contrast (as my English teacher at secondary school used to say to us)  this 1953 effort by Dennis Collins of Queen Elizabeth II.

It comes from Typewriter Art, 1975, London Magazine Editions (another item to be added to your ever Pictures from Typelengthening Christmas wish list). This piece was done on a typewriter and Collins notes: ‘The Queen’s portrait … [was] done on an old portable on which spaces could not be finely adjusted – this accounts for the horizontal white strips across the face…’ (For an earlier post on typewriter art see here.)Pictures from Type_0003

Collins (born 1912) was a notable cartoonist who did ‘The Perishers’ comic strip for the Daily Mirror from 1958 to 1983. If you know more about Collins please let me know.

Note – the lettering on the Charles and Diana card was done with Letraset.

Categories
History of Lettering typographers

Mr Frederic W Goudy’s ‘curves are perhaps too round and soft’

It’s always a joy to pick up a book, any book, and find a colophon describing the typeface used in the publication. This most recently happened to me when I bought a copy of Geoff Dyer’s novel Out of Sheer Rage (Canongate Books, 2012). The typeface selected for the edition is Goudy Old Style, Goudy lettering_0001designed, it is noted, by ‘Frederic W Goudy, an American type designer, in 1915. It is a graceful, slightly eccentric typeface, and is prized by book designers for its elegance and readability’.

OK. Slightly eccentric took me to my bookshelves to see what others have written about Mr Goudy. What does Updike have to say? He writes of Kennerley, Goudy lettering another of the designer’s faces commissioned in 1911 by Mitchell Kennerly: ‘[it] is a freely designed letter which has been much praised in many quarters. Its capitals are excellent but the lower case roman, except perhaps in 10-point, seems to “roll” a little; and, as was said of another of Mr Goudy’s types, “when composed in a body, the curves of the letters – individually graceful – set up a circular, whirling sensation that detracts somewhat from legibility. That is to say, the curves are perhaps too round and soft, and lack a certain snap and acidity”.’ (Printing Types, vol II. 2nd ed, 2nd printing, 1937.)

My Oh My. They were savage critics back in the twentieth century.

What has Carter to add? ‘Goudy died in 1947,’ he concludes, ‘heaped with honours…His faces are not widely used for the setting of books: they do not fulfil the customary demands of reticence for such purposes. But for displayed work and advertising design they have always been deservedly popular’. (Twentieth century Type Designers, 1987.) Carter also notes how Goudy made a new fount, that is cutting the matrices by hand and giving them to Updike the same day – Updike having called for lunch (this was 1933) and complaining he couldn’t find the right size or style for a title page he was then designing. Now that’s what I call a good lunch.

Another writer, BH Newdigate, says of Goudy’s Kennerley face (this written in 1920): ‘…[it] is perhaps the most attractive letter which has been placed within the reach of British and AMerican printers in modern times.’  Times change.

Categories
History of Lettering lettering

More architectural lettering from Australia

Having noticed recent interest in a post first made in September 2011, I belatedly follow up with another taken during my productive vacation the other month. Regular readers will have noted my comments on Dorrigo (click here if you missed them), but on the way to that township we went through the larger outpost of Bellingen (30.4333° S, 152.9000° E).

It was in this place that I spotted the rather wonderful cast-iron lettering shown here, Bellingen boots shoes signagewhich adorned, by the looks of it, a late-nineteenth Bellingen Ironmongeryhaberdashery shop (the sort of emporium that sold everything to the local population unable to make the trip with any frequency to a city).

bellingen emporiumNow I have been scouring my books, in particular Bartram’s The English Lettering Tradition from 1700 to the present day (Lund Humphries, 1986) and Nicolete Gray’s Lettering on Buildings (The Architectural Press, 1960) and XIXth Century Ornamented Types and Title Pages (Faber and Faber, 1938) and make the observation that what we have here is what the former describes as ‘decorative’ and the latter as ‘Tuscan style’, though most definitely Victorian in origin. (For more on Gray see here.)

Gray writes: ‘Like the Egyptian, the nineteenth-century Tuscan was at least as much an architectural as a typographical invention’.  This example shows a range of typefaces from the 1860s and 1870s.Gra and Tuscan lettering_0001

Gra and Tuscan letteringIts origin, she continues, may be traced to fourth century Rome and ‘one of the greatest of letterers, Furius Dionysius Filocalus. The name is undoubtedly a pseudonym and expresses the man’s attitude to his work: conscious, devoted and expressionist’. This example (below) comes from the Catacomb of St Calixtus, Rome and is taken from Lettering on Buildings – a must read for any serious student of typography.

The other images above are taken from Lettering and XXIXth Ornamented (another volume to add to the Christmas wish list).

So, from Bellingen to Rome in one fair sweep.

Filocalus lettering from 4th century Rome
Filocalus lettering from 4th century Rome
Categories
Thoughts on lettering

Something French for the weekend, oui?

This from Penrose 39 (1937). A beautiful example of French typography of that pre-war period.

debernu

Categories
lettering printing

Even more letterpress in Australia

Following my recent visit to Dorrigo (see here) and the last Australian newspaper still printed letterpress I have another discovery, and this time it is even closer to where I live, on the border between NSW and Queensland, Australia.

A news item in my local paper mentioned the Olive and Volcano press. The team of Jo and Andy print and publish a wide collection of letterpress. If you are in this part of the world do check them out.

2chokus

Categories
Brand design

You (still) have mail (just)

But for how long? In Australia we continue to have mail delivered (at least where I live) by posties riding a classic Honda CT110, though this institution is threatened by replacement by something greener – the Super Cub. Australia Post bike

Nevertheless, the logo will remain designed by Dutchman, Pieter Huveneers. Australia Post mail box

And how long a postal service? Probably longer than anyone imagines as we still need those items ordered over the internet to be physically delivered to the door.

Unless Google fills the sky with its drones…

Note – in the photo of the mailbox when enlarged you will see the postie accelerating away in the distance.

For earlier post on Australian stamps see here

Categories
Brand design lettering typography

Such poor typography, such poor design

This is truly appalling. The company behind this atrocity is The Coffee Club. How many indiscretions can you make out? It starts with the miserable lower case w, is exacerbated by the clumsy joining of the h and the m (this is most definitely the work of someone not trained in typography), and crowned by the (deliberate?) religious cross of the lc t. I will not even go there with the question mark, of which it must go down as probably the weakest example since moveable type was set rolling. Let me lay myself down in a darkened room….(Can a reader advise as to the name of this monstrosity of a font.)

coffee club signage

 

PS – there are many other issues with this signage. Feel free to add your comments. It might make a good assignment for a first year graphic design course: “In no more than 1000 words indicate the faults in this piece of typography and indicate how you would improve it”.