Aa - Emigre

Transcription

Aa - Emigre

EMIGRE
{[
FONTS
E
TypE S
sampler
2
Hotel
Alpha INDIA
BRAVO
Charlie
delta
Juliet FREE
kilo
mike
3
CATALOG
WITH EACH
TYPE
PURCHASE
Echo
november
foxtrot
OSCAR
MR
eaves
golf
California S
Alda
M
alda RegulaR 95 pt
MADE BY EMIGRE
*
LIMA
Papa
a new text typeface
Mr Eaves XL Modern
Victor
whiskey BErTon
Quebec
O
ROMEO
HASEBE
Xray
Sierra
Yankee
Tango
alda RegulaR 23 pt
DESIGNED BY
alda light 14 pt
Inst
alda bold 35 pt
ZU
UNI-
alda bold 54 pt
Conceived and developed
alda RegulaR italic 14 pt
Sunset
So
TYPE & MEDIA
at the renowned
alda light 16 pt
Environmentally
alda bold 24 pt
4
48
8
E .5 4
THE LAST WAVE
T HE
END
EMIGRE
VENDETTA
VENU
Rr
5
UNTITLED
II
A Ty p e S p e c i m e n
A New Series of Venetian Old Style Printi
{[
Designed by John Down
EMIGRE
TypE S P
here first used in an adaptation of:
Our Araby
Palm Springs and the Garden of t
by J. Smeaton Chase
first published in 1920
L a y o u t and P h o t o g r a p h y by R u d y Va n d e r L a n s
inspirational
6
fantastic
7
FAB Authentic
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outstanding
sensational
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the complete mr & mrs eaves family of fonts
now also available as web fonts
m
8H
E
28J
9
new issue!
Price $7.95
E
MIGRE #28
0
I sit in the shade of an ancient,
dying juniper tree, cushioned on my
*
Navajo saddle blankets.
On all sides,
E
the burning sun beats down on
silent, empty desert. To right and
left, long walls of sandstone mesas
reach away into the distance, the
shadows in their fluted clefts the
color of claret. Before me, the
desert drops sheer away into a vast
Mailer announcing Emigre #28
1993, 11.25 x 8.25 (folded)
Emigre #28, Broadcast, Fall 1993
Front cover, 11.25 x 16.75
Designed by Gail Swanlund
31
EMIGRE #19:
Starting
DESIGN IS From
A GOOD IDEA
Zero
E
Featuring: SOMI KIM, LAURIE HAYCOCK MAKELA, BARBARA GLAUBER, SUE LaPORTE and others.
(Edited and produced by Gail Swanlund)
(ABOVE)
j
6
j
AST
Broad
NO.
28
$7.95
CAST
Price: $7.95
RE 3 4
# 24
C
9
G
11
SAN BERNARD
will i return to san bernardino
following the exhausted drift of palm tre
as they lead to the scene of the crime,
will i return to the valley
cursed by mormons in 1859
to learn that everyone is divorced
and going to aa meetings twice a week?
hello my name is san bernardino
and i am an alcoholic...
i c o m e u p o n s a n b e r n a r d i n o t o u n d e r s ta n d
that no one has left
seeking adventure and disappointment,
jeannette is still living with her mother.
the language of san bernardino
is the mouth of echolalia
undulating in smog gray ripples
across the split level phony ranchette ro
from here dead or alive,
some of you went to vietnam to be killed
m o s t o f u s s ta y e d i n s a n b e r n a r d i n o t o b e
CAST
10
DESIGN
EAT IT
t h e c a r e s s o f p r o fa n i t y ,
san bernardino is the ancestral home
of studded wrist bands and peroxided hai
a s t o r a g e ta n k o f d e s e r t d r e a m s e v a p o r a t
in a wealth of used car lots
on machinated e street.
i grew up with the intellect of seconal
and the public library,
forging in me the will to survive
t h eNever
w o r s tmind
f r i e nPaul
d s , Rand, her
when the temperature is 107 degrees
and the marijuana is cut with tobacco,
san bernardino i remember you.
EA N I N T E R V I E W W I
Above logo designed by D.R. f
EMIGRE # 70: THE LOOK
i h a d p h e n o b a r b i ta l o n d o c t o r s o r d e r s
and social workers from kansas
to go through my empty but clean cupboa
BACK ISSUE | 14 0 | 1994
san bernardino, i will come back to shoot
12
Alda
California State Assembly
Top: Mrs Eaves Smart Ligs Rom & Ital & Sm Caps 20:24 pt
Middle: Rom, Ital & Sm Caps 9:9 pt
alda RegulaR 95 pt
Bottom: Smart Ligs Rom 18:18 pt
Minimum
TYPE
SPECIMENS
13
Available
For most of the 1990s, contemporary Las Vegas has bÕn
a new
text typeface
one vaÌ ÏÕway
conÌruÀion
s⁄e. Nothing has bÕn learned
Ïom the dismal California
not even the elementary
DESIGNEDexperience,
BY
lesson that ÏÕways increase Írawl and consequently the demand
for add⁄ional ÏÕways. When completed, the new Las Vegas
ÏÕway neÚork will allow moÌ local commuters to bypass the
StrÔ entirely, but ⁄ will also centrifuge populationRELEASED
growthAND
farDISTRIBUTED BY
ther into the desert, w⁄h correÍondingly high social
coÌs for
and developed
inÏaÌruÀure Conceived
and schools.
EMIGRE
alda RegulaR 23 pt
alda light 14 pt
Instrumentalists
BErTon
ONTER
HASEBE
alda bold 35 pt
69
alda bold 54 pt
alda RegulaR italic 14 pt
fgh
A
a
dl
)
Sunset
Sound
Recorders
Rr
TYPE & MEDIA
at the renowned
M e a n w h i l e , t h e N e va d a R e s o ralda
t A slight
s o c 16
i apt
tion
throughout Clark County. Despite the feverish boom, the suphas concentrated its overwhelming political clout to ensure that
ply of jobless immigrants has far outpaced the demand for new
a proposed increase in the 8 percent hotel room tax is spent excluworkers in the unionized core of the gaming economy. The difsively on its own Resort Corridor Transportation Master Plan (the
ference translates into a growing population of marginal workers
monorail). Having engineered the financing of the new water
trapped in minimum-wage service jobs, the nonunion gaming
alda bold
24 gaming
pt
delivery system with regressive sales tax increases,
the
sector, the sex industry, and the drug economy. According to one
www.emigre.com
industry has opposed all efforts by desperate Clark County School
estimate, Las Vegas’s homeless population
increased 750 percent
District officials to divert part of the room tax increase to school
during the superheated boom years of 1990-1995. At the same
construction. As in previous tax fights, school and welfare advotime, a larger percentage of Las Vegans lack health insurance than
alda light
italic 26
pt
cates are strictly outnumbered by the resort
association’s
hired
the inhabitants of any other major city. Likewise, southern Nevada
guns. Nevada is the most notoriously antitax state in the country,
is plagued by soaring rates of violent crime, child abuse, mental
and gaming industry lobbyists, their coffers swollen with the profits
illness, lung cancer, epidemic illness, suicide, and – what no one
of the boom, dominate the legislaturealda
in Carson
City.
Thecaps
recent
RegulaR
small
16 pt wants to talk about – a compulsive gambling problem that is a
flood of retirees to Las Vegas’s suburbs has only reinforced the antimajor factor in family pathologies. #@
tax majority. (Paradoxically, the Clark County electorate is aging,
This obviously provides a poor setting for the assimilation of
THE
HaGuE,
THE
nETHErlandS
while the actual median age of the population – thanks especialLas Vegas’s new ethnic and racial diversity. Despite consent decrees
alda
bold small
caps 10 pt
ly to young Latino immigrants and their
families-is
declining.)#)
and strong support for affirmative action from the Culinary Workers
One index of the extraordinary power wielded by the resort
Union, the gaming industry remains far from achieving racial or
association is the fact that the relative contribution of gaming taxes
gender equality in hiring and promotions. In the past, Las Vegas
to state revenue actually declined during the annus mirabilis of 1995
more than earned its reputation as “Mississippi West.” While
when hotel-casinoRELEASED
construction broke
all records. Yet the industry,
African-American entertainers such as Sammy Davis, Jr., and Nat
AND
shaken by the local “Rodney King” riots in spring 1992, is not
King Cole were capitalizing the Strip with their talent, blacks were
BYand social services will
unconscious thatDISTRIBUTED
eroding education quality
barred from most hotels and casinos, except as maids, through
eventually produce social pathologies that may undermine the city’s
the 1960s. Indeed, a comparative study during that period of resresort atmosphere. Their calculated solution, after months of topidential discrimination across the United States found that Las
level discussion in the winter of 1996-97, has been to volunteer
Vegas was the “most segregated city in the nation.”##
the room tax increase – which is directly passed on to tourists and
More recently, persistent high unemployment rates in the prethen spent exclusively on the Strip monorail – as a “heroic” act of
dominantly black Westside precipitated four violent weekends of
social responsibility. This reduced the tax heat on the casino owners
rioting following the Rodney King verdict in April 1992.
while conveying the clear message, scripted by resort association
Interethnic tensions, exacerbated by a relatively shrinking public
lobbyists, that the time had come for homebuilders and smallsector, have also increased as Latinos have replaced Africanbusiness owners to make a contribution to school finance. As
Americans as the valley’s largest minority group. Indeed, black
columnist John Smith pointed out, “By coming out first, they shift the
leaders have warned of “creeping Miamization” because some
Environmentally Recycled Paper Products
master course
Impressed
at the Royal academy of aRt
Triumphantly
OFIAnarm
EMIGRE
)
Rr
EMIGRE
7.95_
THE EVERYTHING
IS FOR SALE ISSUE
Ex49
INCL.
DESIGN
GRAPHIC
E M I G R E 45
$7.95
E
EMIGRE No.53 / WINTER 2000 / PRICE 7.95
>
UNTITLED
14
1. Ahearn 2: 39
7. One Hundred years 4: 2 2
15
THE GRASSY KNOLL
From Happily Ever After (ECD 022) 2002
Released as part of Emigre #61
Produced and performed by Bob Green
THE GRASSY KNOLL
From Happily Ever After (ECD 022) 2
Produced and performed by Bob Gr
Chris Grady, trumpet
Published by Grassy Nolan Publishing (ASCAP)
Published by Grassy Nolan Publishing (ASCAP)
2. Program 3: 54
8. Razor-Ribbon 4: 18
SUPERCOLLIDER
From Supercollider (ECD 006) 1991
Written and produced by Supercollider
Michael Horton, guitar, vocals; Phillip Haut, drums
SUPERCOLLIDER
From Dual (ECD 013) 1993
Written and produced by Supercolli
Michael Horton, guitar, vocals; Phill
Published by Orbitoons (BMI)
Published by Orbitoons (BMI)
3. Play With Toys 4: 03
BASEHEAD
From Play With Toys (ECD 005) 1991
Written and produced by Michael Ivey
Michael Ivey, guitar, vocals; Brian Hendrix, live drums;
Paul “DJ unique” Howard, scratches; Bob Dewald, bass;
Marco Delmar, feedback solo
Published by Colored Folk's Music (ASCAP)
4. King Papa 5: 25
11. Pards 4: 09
Published by Ekmus Music (BMI)
5. For the Meadowlark 5: 37
EVERY GOOD BOY
From Baling Wire and Bubblegum (ECD 009) 1992
Produced by Brian Deck, Erik Deerly, and Brad Wood
Brian Deck, drums; Erik Deerly, vocals, guitar; Glenn
Girard, guitar; Doug McComb, bass
6. Invisible 3: 30
HONEY BARBARA
From I-10 & W. AVE (ECD 020) 2001
Written and produced by Honey Bar
Ross Marlow, vocals, bass, keyboard
guitars, loops, atmospherics; Lisa K
Published by Floral Regulations (BMI)
fableQu XXII.
The Snipe Sho
ICKTIME MOvIE
— [ set in
mrs eaves xl regular — 11/13 Poin
Catfish
HONEY BARBARA
From I-10 & W. AVE (ECD 020) 2001
Written and produced by Honey Barbara
Ross Marlow, vocals, bass, keyboards; James Sidlo,
guitars, loops, atmospherics; Lisa Kuehl, drums
Published by Floral Regulations (BMI)
SCENIC
From The Acid Gospel Experience (EC
Bruce Licher, guitars, effects, moog,
Brenner, bass, chamberlin; Brock W
sion; Robert Loveless, keyboards, vi
Mark Mastopietro, guitars, sitar, eb
Published by The Independent Project Music (BM
ITCHY PET
From Dreaming Out Louder (ECD 016) 1998
Produced and recorded by Erik Deerly
Published by Ekmus Music (BMI)
9. The Spheres 8: 05
ELLIOTT EARLS
Selections from the DvD film Catfis
Produced and performed by Elliott E
As a sportsman ranged the fields with
by an experienced old Spaniel, he happ
Published
Gingko Press.
Copyright 2009
Snipe; and almost at
thebysame
instant,
a
All rights reserved.
es. Surprised at the accident, and divid
let fly too indeterminately, and by this m
both. Ah, my good Master, said the Spanie
er have two aims at once. Had you not
seduced by the extravagant hope of Part
most probably have secured your Snipe.
071365
j
16
17
Price
$7.95
6
D
Emigre 37
Joint
Emigre
Venture
music sampler
Winter 1996
No.
DESIGNERS
ARE PEOPLE
TOO
EMIGRE
$7.95
PEOPLE
ARE DESIGNERS
TOO
1240
no. 1
NO.43
TJANTING
SOJOURN
18
1,395,456,780
1,395,456,780
AWARD
AWARD
AWARD
13
5037
5037
Base 900 : Type S pecim en
19
Palm Springs: its Situation and Surroundings A Vendetta Medium S
The village lies at an elevation of 4
of the long gradient which runs, smooth as a wa
mit of San Gorgonio Pass—the gateway and di
California Gray—down to the great depression
Lake-below-the-sea which came into being (wh
knows?) some fifteen years or so ago when the
watery limbs wider in the sun. Bounding this gr
wall of the eastward extension of San Jacinto’s
which wall there is a twin desert, the Mojave. Th
Government Analysis of the Water of the Spring
Vendetta Bold, Vendetta Medium, Vendetta Medium Fractions, Vendetta Medium Small Caps,
and Vendetta Medium Fractions Tabular Figures, 8/16 and 10/16 point
Metaboric Acid (BO™)
Trace
Silica (SiO™)
44.8
Sulphuric Acid (H™SO¢)
37.3
Carbonic Acid (H™CO£)
33.0
Bicarbonic Acid (HCO£)
36.6
Nitric Acid (HNO£)
Chlorin (Cl)
0.1
25.0
Iron (Fe)
1.9
Calcium (Ca)
2.5
Magnesium (Mg)
0.7
Sodium (Na)
76.6
249.4
TypE S P EC I
min
why
20
I N T RO D U C TIO N
Continued
Reproduction
{
Tribute_booklet_Emigre.QXP
21
2/13/03
9:10 AM
EMIGRE
Making this book presented some unique challenges. First, Emigre magS E E B AC K COVE R
azine never had a set format. Over the years it morphed from a tabloidsized magazine, to an 8.5" x 11" journal, to a standard web offset printed
ago, loose interpretations were
trade magazine, to a cardboard wallet containing a music CDCenturies
and inserts,
easier to produce than close (faithful) interand finally a small pocket book. The magazine was printedpretations
on a variety
because the level of skill needed
to
of presses, from a small one color Heidelberg press at a localproduce
printpunches
shopwas high. But late in the
19th century, the use of the pantograph as
in Berkeley, to a fully computerized, four color, heat-set,a tool
web
offset
in cutting
punches and matrices by
machine eliminated the need for a punchpress in Denver, Colorado. Reproducing this range of formats
into a
cutter who worked by hand. The speed
letter sized book while staying close to the original look and
feel of the
of replicating
existing typefaces increased.
Phototype was yet another step in the direcmagazine required some creative solutions.
tion oE fast copying, and digital type can be
an instant
Second, recovering some of the material for reproductioncopied
wasinlike
an by almost anybody. K
Our ability to make digital facsimiles of types
archeological dig unearthing 25 years of various methods ofthat
graphic
dewere cut by
hand centuries ago afords
a chancetradito render them as we see fit. We
sign production. The first issues of Emigre were produced ususing
can make them look old, like the original
tional paste-up techniques. Galleys of text were created andtypes,
then
or pasted
we can make them look fresh. We
can’t,
however,
make them look identical to
down on boards from which negative films were produced to make aluhistorical models, for digital type is not metminum plates for printing. The galleys were produced either
by The
profesal type.
two are diferent creatures and
they manifest separate identities. They each
sional phototypesetters, if our budget allowed, or cobbled together by
have their own idiosyncrasies. K Realizing that digital
type can actually only simuourselves on an electric typewriter and copy machine. Starting
with
late the “look” of old type is an important
S E E PAG E 2 4
issue #2, we combined these techniques with printouts from
the Apple
aspect of evaluating type revivals. Terms like
“digital
homage” or “historical fiction” can
Macintosh computer. These text settings were composed with
self-made,
be used to describe what we attempt to do
low resolution typefaces printed on a 72 dot per inch Apple Imagewriter.
when we pay tribute to types of the distant
past without
Soon after, around 1985, with the introduction of PostScript
andrelying
the too heavily upon their
design. K It is evident that Frank Heine’s
Apple LaserWriter, the quality of printouts increased, but the
resulting
Tribute
possesses an element of “type caricature” in its drawing, but this fact doesn’�t relegalleys still needed to be arranged on the page by hand and pasted
down
gate it to that one category. Heine has really gone
onto boards.
beyond parody, well into an area of personal exploration. He has challenged many traditional
When ReadySetGo!, one of the first page make-up programs,
arrived
assumptions that we “connoisseurs” of handcut
type
have
maintained in our attitude toward
on the scene, it allowed us for the first time to create complete layouts
the historical accuracy sought and loved and exon the computer omitting some of the cut and paste work.pected
In addition,
in “revivals.” The result is a unique comof caricature,
the new Linotronic imagesetter was capable of printing outbination
galleys
at a homage, alchemy, and
fanciful reinterpretation. K Tribute, I think,
very high resolution of up to 2540 dpi, surpassing the quality
ofGuyot’s
photorecalls
native French-learned style,
t we wait for our clients to take the lead ?
Page 9
Introducing
“�Tribute”�
(LEFT, TOP TO BOT
Emigre office, Ber
California,
—a family oE
Vande
packing up o
Sacram
California,
8 fonts;
Second Emigre
Mechanical a
Bristol board,
(RIGHT, TOP TO BOT
Roman,
Emigre wareh
Emeryville, California,
Emigre catalog de
at Emigre wareh
Emeryville, California,
Italic,
Small Caps
@
Ordinals:
$95
44
22
NUDGING
GRAPHIC
DESIGN
E.46
If
we’re standing
on the
E.47
SHOULDERS
of giants,
what are we
REACHING
for?
Type 23
PIERRE D
Phil
E R I K VA
X
J U ST VA
Madam
%3
etters, planoat an antique
ox, and it was
ward & D of
resting to me
strong resemperfectly congeneral look
ously, though,
play attributn copied from
a meticulous
nsibilities. In
e seems to be
s unabashed
gard it as an
word.
oncluded this
much fidelity
candy tin as
n established
is typeface is
ls in the face,
on the candy
e. Thus, the A,
all have modcause it is the
t. This inconI decided to
ish form I did
he balance of
res, punctuaference signs
re no stacked
ne raised letrs in my font,
ments of charZuzana Licko
25
migr
24
BEDDIE-BYE
BROTHERS
THIS SERIES OF FACES, like Council, began as a font of capital letters in 1996 and was finished in 1999. The Bold
weight was the first to be designed. Its inspiration came
from a bright chromolithographed letterhead designed
around the turn of the century for the Cole Brothers traveling shows, an extravaganza of acrobatic and circus acts
that included trained horses with bareback riders. There
is a quality of boldness and daring in the letters that I
think accurately reflects the directness and bravado of circus performers.
-
THE COLE BROTHERS STATIONERY has quite a bit of variation in the letterform proportions, unlike the uniformity of
the lettering on which Council is based. The letters are not
very typographic, nor are they very consistent. They were
drawn on a lithography stone and were “cut-in,” meaning
that the lettering artist filled the panel background and
left the letters showing in reverse. A notable feature of
work done in this manner is that it is relatively easy to get
sharp outer edges, such as the bevels on the corners of the
octagonal O, but it is difficult (often, impractical) to try for
sharp corners on the counters, even where they should
appear square, as on the inside of an H. Thus, many of the
the capitals are bracketed inside. There are some exceptions, however, where strokes join at acute angles, as in A,
K, M, N, V, W, X, Y, Z and Æ. The crotches of these letters
contain “traps” that deepen the negative space for the
sake of keeping the letterforms crisp. Also, because the
lower case characters are expected to be used in a smaller range of sizes than the capitals, most of the bracketing
has been eliminated.
-
AS THE BROTHERS FONT SERIES GREW, I made several
alternate capitals for the Bold, then designed a Regular
weight to match in style. Next came a lower case for the
Regular and a set of slightly smaller (about 90%) caps to
serve the full-size Bold Caps. These have the same alternate forms found in the companion font.
Finally, I created a pseudo-italic version of the Regular. It
is actually more an extreme oblique than it is a legitimate
italic (having fewer cursive-inspired forms than normal). I
call it a “Super Slant.” It has alternates that match those
in the Brothers Regular Alternates fonts, and a few extras
as well.
BEDDIE-BYE THE GODDAMN DOG
TIED UP IN BACK SPINNING HIS WHEELS
CRACK OF DAWN COME THE LAWN MOWERS
COMIC OPERA HEAR THE HOG SQUEAL
FUCKING A it ’s LABOR DAY
JUST BEEN A RAISE IN MINIMUM WAGE
ALL FOR THE GREATER GLORY
AN UPPER BUNK WITH CONJUGAL VISITS
WE
all
5 O’CLOCK down
PANICKY NERVOUS WRECKS
WORRIED SICK AND SCARED SHITLESS
PISS-TESTEES 4-WAY GRIDLOCK
STEEL-JAW LEGHOLD ALL GOD’S CHILDREN
SIGNALING THROUGH THE FLAMES
WINDOW TELLERS WANNA CHANGE LANES
DISLOCATED FACES
HELLISH COUNTRY GOTTA FINISH
u
[ P L A Z1A
V{[
at the icehouse
THE POOR SLOB’S psychic
here LA LA LA LA
network
political séance
MAY WE REACH CRITICAL MASS
and suck our thumbs AND TOOT TOY TRUMPETS
MISSION
ALL
ALL
CITY COUNCIL
one foot forward
who do
WITHOUT RECANTING
BECAUSE OF US because
BECAUSE OF US transfer
AND SOON IT’S LOOKING LIKE A BIG SOFT BED
WHERE YOU COULD SLEEP FOREVER WITH HER LYING THERE
YOU LIE IN HER ARMS AND LEGS AND DARK HAIR
SPREADING OVER YOU YOU JUST BEAT AGAIN
custom house
SO YOU’RE ANYONE AND EVERYONE’S BOY
YOU ALWAYS KNOCK AGAINST THOSE HARD THINGS
IN YOUR BODY SOMETHING’S GIVING IN
OK OK YOU JUST BEAT AGAIN
HIS TICKET OUTLET
DROP EVERYTHING the reason why THE WINTER SUN
WHO IN THE WORLD DO WE THINK WE ARE?
WE
YOU WORKING� ON� THE EARTH WHAT’S IT WORTH?
WHEN THE EARTH IS JUST DIRT WHEN IT AIN’T YOURS
NO IT DON’T WASH OUT IT ONLY BURNS IN YOUR SKIN
OK OK YOU JUST BEAT AGAIN
there’s all this talk OF LOST ATLANTIS
FEEL SOMETHING SWEET something down
because of us
BECAUSE WE BURN
ji
BEAT AGAIN
AND YOU GET PISSED AND THROW YOUR FITS
IT’S ALL LOST ON IT YOU CAN BREAK YOUR FIST
POOR LITTLE BABY AIN’T BIG ENOUGH
OK OK OK
YOU WORKING ON THE EARTH WHAT’S IT WORTH?
WHEN THE EARTH IS JUST DIRT WHEN IT AIN’T YOURS
TRACK IT INDOORS IN UNDER YOUR SKIN
YOU GOT MIDNIGHT OIL TO BURN
we burn
MONTEREY
of funds
S TAT E H I S TO R I C
PA R K
Gil Gonzales
PERCUSSION
abeab
16
COME AWAY
COME AWAY
SUN AND MOON
YAWN AND STRETCH
MORNINGS OFF
MAY WE KEEP
LIVING ROOM
BREAKFAST NOOK AND
RAISIN BREAD
KISSING COUSINS
PLUMBERS CHILDREN
OVERLAP
FIGURE 8
m
NIGHT IS DAY
APRIL FOOLS
START FROM SCRATCH
ARE TO DIE for
IN A COOL PLACE
BEHIND THE BOOKCASE
ORANGE JUICE
HONEYMOON
SISTER BROTHER
SWEET AND SOUR
AND ENVELOP
HEAD TO TOE
April evenings aching under
honeysuckle silver sickle
BAREFOOT BLONDE
RENT IS SPENT
WALK ACROSS
OIL-N-LUBE
BAREFEET BROWN
IS GOING ON
WORK THE EASEMENT
BACK YOUR CAR IN
DEBUTANTES
COMING OUT
WEST AVENUE
BAR-BE-Q
DANCE-A-THON
California
HISTORICAL LANDMAR
AMBUSH CHORUS
No. 001
•e|
o our heroes
POINT THE PLACE TO
PSST! YOU WANT A DATE?
candy stripers work the snake pit
all the sickroom loves a sno-cone
SOLID RETURNS
LIVING HERE ON TOP
truth is SHE DONE HER HOMEWO
truth is THE GROUNDWORK’S BEE
ON TOP OF THE FAULTLINE
AT THIS STRETCH OF I-10 WEST
SHE AIN’T BEEN� UPROOT
CITY FATHERS CHRISTENED
MCDERMOTT FREEWAY
SHE IS INALIENABLE
sweetheart DON’T ACT ALONE
IT’S THE PERFECT SEND-UP
sweetheart AIN’T BEEN DISAPPEARE
HERE’S TO THE HEAD HONCHO
truth is SHE’S SEEING THESE
TO GAINFUL EMPLOYMENT
seeing these SOLID RETURNS
PSST! THE CONTRACT WAS WON
truth is SHE DON’T DO
BY THE LOWEST BID SO
nothing NOTHING LESS THAN
YOU COULD SAY IMMINENT COLLAPSE
IS BUILT RIGHT IN
calling FOR TOTAL BANKRUPTCY
MEANWHILE WE’RE HERE WITH ANNE FRANK
calling FOR� A GENERAL STRIKE
IN THE ATTIC WITH A SEISMOGRAPH
boycott ACROSS THE BOARD
READING THE SMALL PRINT
and then WE’LL SEE WHAT NEXT
WE LIKE TO KEEP THE WINDOWS BLACKED
IN LIEU OF MANDATORY INSURANCE
DUE TO THE NEIGHBORHOOD WATCH PROGRAM
WE WONDER WILL WE GROW UP AND
WHAT’S IT LIKE TO MAKE LOVE
YOU CAN’T HEAR BUT SOMETIMES LATELY WE’VE BEEN
MAKE-BELIEVING OUR POOR FEET ARE HONEST INJUN
TOM-TOM INVITATIONS
TO THE AMBUSH CHORUS OUR
HEARTS BEATING STRONG ARMS HAMMERING
COME ON
SOFTER SOFTER
CALLING ALL SOULS
RSVP
#30
>
1 64
Ken Garland, “but we also wanted
and photographers to think abo
design and photography outside a
Emigre No.61 & ECD022. Winter 2002.
26
27
06
Editor&Designer: RUDY
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EMIGR E N 0. 6 8
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ISBN 1-56898-486-3
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4
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AM ERI CAN
MUT T
BARKS
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IN T H E
YARD
11
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DAVID BARRINGER
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THE GRASSY KNOLL
HAPPILY EVER AFTER.
The Grassy Knoll. 11 Musical compositions illustrated by THIRST.
ALL PHOTOGRAPHS, COLLAGES, CALLIGRAPHY, ILLUSTRATIONS AND DOODLES BY RICK VALICENTI,
UNLESS STATED OTHERWISE.
1 : SOMETHING IS WAITING
DIGITAL RETOUCHING BY RICHARD PAUL. WWW.REALEYES1.COM
2 : The Trial
3 : AHEARN
4 : SABBATH’S THEATER
ILLUSTRATION BY CHAD JOHNSTON AND RICK VALICENTI.
5 : One Hundred Years
PORTRAIT OF HER HUSBAND BY LINDA VALICENTI.
6 : Insect
7 : THE COMMON GOOD
8 : Piano Loop
9 : THE INNOCENT CRIMINAL
10 : As Empty as Eric
11 : END OF IT ALL
Atten48
E.
tion
Record
Fact TwentyTwo / Energy, Work & P
No.67
29
j
“This is a very strong album.” Alternative Press.
“Sounds like Depeche Mode-style electropop slamming into a wall
factory parts and shortwave radios.” Pulse.
“Fact TwentyTwo has a distinct and undeniable similarity to
Depeche Mode, both in synthesizer and lyrical style, but with an
EMIGRE
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twist.” Alternative Press
No.63, Summer 2002
Every Good Boy / Social Graces
“It’s probably best to simply say this is a one-of-a-kind disc for th
cally adventurous. Dig the new breed!” Illinois Entertain
j
typography
“You end up liking them when you discoverGood
that you’re
singing is
al
selection of typefaces wh
Option.
are feelingly expressive o
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pace of the Twin Peaks soundtr
twists to each song to give thi
feeling, almost as if Rod Sterling
Alternative Pr
Stephen Sheehan
both caption and copy; th
choice of borders in whic
/ Innocence
lurk
a seemly motive at
and
meaning; ornamen
“It’s about time his innovative work issilent
available
in the U.S.”
if necessary, which fit th
thinkinkinkink
The Hard Report. “I find this albumtheme
brilliant.”
Manifes
just as felicitously
a scrolled scabbard fits it
bright blade; and intellig
/ Fits
and Starts.
distribution
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Binary Race
$7.95
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Kk
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RANT
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30
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ISBN 1-56898-467-7
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Slab Package
Three
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desert breeze, and follow the fragrance to the late ox it emanated serve as a source for d
from a bitmap, to a res
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off and dig out everything edible, and walk off with it. Then he and
possible by a high reso
clouds, a cle
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The lineage
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in
that
serve
as
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for
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they live together in the waste places of the earth on terms of per- from a bitmap, to a re
fir trees. The snow water
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its rocky
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made
dred miles to breakfast, and a hundred and fifty to dinner, because
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morphed from a bitm
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the coysunshaft
pierced
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LIGHT 8/12 POINT
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among the mail sacks; and remembering his forlorn aspect and his updated, more refine
hard fortune, made shift to wish him the blessed novelty of a long
VISTA SLAB REGULAR 22 POINT
day’s good luck and a limitless larder the morrow.
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where overhead, stretching in long li
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Index of fonts used in the collages shown on pages 1 (Cover) through 33.
Fonts are listed in the order they appear on each page (top to bottom,
back to front).
P.
Fonts
P.
Fonts
P.
Fonts
P.
Fonts
1
Program
Dalliance
Matrix II
9
Typhoid Mary
Base 9
Template Gothic
Modula Ribbed
17
Matrix II
Program
25
18
Base 900
Arbitrary
OutWest
Lo-Res
NotCaslon
19
Vendetta
20
Oblong
Fairplex
Council
Brothers
Solex
Tribute
Dalliance
Council
Triplex
Filosofia
NotCaslon
26
Dead History
Fairplex
27
Los Feliz
Council
28
Los Feliz
Template Gothic
29
Typhoid Mary
Cardea
30
Fairplex
Los Feliz
Arbitrary
Dogma
Lo-Res
31
Malaga
Vista Slab
Base 900
32
Mr Eaves
2
Mr Eaves
10
3
4
5
Mr Eaves
Alda
Dalliance
Solex
Typhoid Mary
Matrix II
Fairplex
Base 9
Program
Vendetta
11
12
Lo-Res
Narly
Mrs Eaves
Fairplex
Filosofia
22
13
Alda
Mr Eaves
Mrs Eaves
Oblong
14
Brothers
Base 9
Lo-Res
7
Mrs Eaves
Mr Eaves
15
8
Outwest
FellaParts
Triplex
Vista
6
21
16
Dalliance
Fairplex
Mrs Eaves
Program
Base 9
Fairplex
Base 12
Base Monospace
Mr Eaves
Dalliance
Program
Tribute
Base 9
Council
Base Monospace
Tarzana
Filosofia
Eidetic
Dalliance
Fairplex
Mrs Eaves
Tribute
Vendetta
23
Matrix II
24
Brothers
pArm
g
P.
Fonts
33
Mr Eaves
Program
o
33
R
Alda
> Featured on pages 3, 13
Designed by berton hasebe in 2008
A
Typography
20/24
11/13
Good typography is the
selection of typefaces which are
feelingly expressive of both caption
and copy; the choice of borders in
which lurk a seemly motive and
a silent meaning; ornaments, if
necessary, which fit the theme just
as felicitously as a scrolled scabbard
fits its bright blade; and intelligent
distribution of ample white space.
Good typography is the selection of typefaces which are
feelingly expressive of both caption and copy; the choice of
borders in which lurk a seemly motive and a silent meaning;
ornaments, if necessary, which fit the theme just as felicitously
as a scrolled scabbard fits its bright blade; and intelligent
Aa Aa Aa Aa Aa Aa
www.emigre.com | 34
Arbitrary
Designed by barry deck in 1990
A
NATION
Wondermints
Entourage
Base 9
> Featured on pages 4, 9, 14, 16, 22
Designed by zuzana licko in 1995
banana
Imitation
B
final
Mannequin
emigre fonts type sampler | 35
Base 12 Sans
> Featured on page 16
B
Base 900
Marimba
minimal
16/22
Tradition
kitchenette
omen
Printing
www.emigre.com | 36
B
Typography
Aluminum
Base 12 Serif
10/13
Good typography is the selection of
typefaces which are feelingly expressive
of both caption and copy; the choice of
borders in which lurk a seemly motive and
a silent meaning; ornaments, if necessary,
which fit the theme just as felicitously as
a scrolled scabbard fits its bright blade;
and intelligent distribution of ample
white space.
Aa Aa Aa Aa Aa
Base Monospace
B
Cardea
GERONIMO
Brothers
20/24
> Featured on pages 14, 24, 25
Designed by john downer in 1999
California
RAIDERS
Anthropology
11/13
feelingly expressive of both caption and copy; the choice
of borders in which lurk a seemly motive and a silent
meaning; ornaments, if necessary, which fit the theme just
as felicitously as a scrolled scabbard fits its bright blade;
and intelligent distribution of ample white space.
+CLNvA3IMz?
www.emigre.com | 38
C
Typography
Chromolithography
Anthropology
Designed by david cabianca in 2006
12/14
Good typography is the
selection of typefaces which are
feelingly expressive of both caption
and copy; the choice of borders in
which lurk a seemly motive and
a silent meaning; ornaments, if
Good typography is the selection of typefaces which
are feelingly expressive of both caption and copy; the choice
Aa Aa Aa Aa Aa Aa
Council
> Featured on pages 20, 22, 25, 27
Designed by John Downer in 1999
northwestern
C
WINNETOU
GIANTS  CUBS
Dalliance
> Featured on pages 1, 4, 15, 21, 22, 25
Designed by P. Scott Makela in 1990
national
D
ANTHROPOLoGy
Arrow
Environmental
WANTED
ANTHROPOLOGY
MANHATTAN
Graphics
Chromolithography
www.emigre.com | 40
V
D
Orange
grand
Dogma
Water
Kitchenette
Designed by frank heine in 2000
Dead History
QUICK
Fairplex
> Featured on pages 4, 12, 15, 16, 20, 22, 26, 30
F
FellaParts
TYPOGRAPHY
20/24
11/13
GOOD TYPOGRAPHY is the
selection of typefaces which
are feelingly expressive of both
caption and copy; the choice of
borders in which lurk a seemly
motive and a silent meaning;
ornaments, if necessary, which fit
the theme just as felicitously as
a scrolled scabbard fits its bright
blade; and intelligent distribution
of ample white space.
G O OD T Y PO G R A PH Y is the selection of typefaces which are feelingly
expressive of both caption and copy; the choice of borders in which lurk a
seemly motive and a silent meaning; ornaments, if necessary, which fit the
theme just as felicitously as a scrolled scabbard fits its bright blade; and
intelligent distribution of ample white space.
Aa Aa Aa Aa Aa Aa Aa Aa
www.emigre.com | 42
Designed by edward Fella in 1993
F
c g hi k l
Filosofia
Typography
18/20
11/13
GOOD TYPOGRAPHY is the selection of
typefaces which are feelingly expressive of
both caption and copy; the choice of borders
in which lurk a seemly motive and a silent
meaning; ornaments, if necessary, which fit
the theme just as felicitously as a scrolled
scabbard fits its bright blade; and intelligent
Good typography is the selection of typefaces which are feelingly
expressive of both caption and copy; the choice of borders in which lurk
a seemly motive and a silent meaning; ornaments, if necessary, which fit
the theme just as felicitously as a scrolled scabbard fits its bright blade;
Aa Aa Aa
Lo-Res
L
Malaga
random
Designed by Zuzana licko in 1985 and 2001
WORLDWIDE
Pattern
Los Feliz
Typography
18/24
Designed by christian schwartz in 2001
funny
ANTHROPOLOGY
Indianapolis 500
Diamond
Chromolithography
Indigenous
www.emigre.com | 44
Designed by xavier duprÉ in 2007
10/12
M
Good typography is the selection
of typefaces which are feelingly
expressive of both caption and copy;
the choice of borders in which lurk
a seemly motive and a silent meaning;
ornaments, if necessary, which fit
the theme just as felicitously as a
scrolled scabbard fits its bright blade;
and intelligent distribution of ample
white space.
expressive of both caption and copy; the choice of borders in which
lurk a seemly motive and a silent meaning; ornaments, if necessary,
which fit the theme just as felicitously as a scrolled scabbard fits its
bright blade; and intelligent distribution of ample white space.
Matrix II
M
Mr Eaves
Typography
Planographic
QUALITY
TYPOGRAPHY
Alluminum
Chromolithography
INFLUENTIAL
HOLLYWOOD
Modula Ribbed
TYPOGRAPHY
www.emigre.com | 46
14/14
M
SANS | Good typography is the selection of typefaces
which are feelingly expressive of both caption and copy; the
choice of borders in which lurk a seemly motive and a silent
meaning; ornaments, if necessary, which fit the theme just as
felicitously as a scrolled scabbard fits its bright blade; and
SANS ALTS | Good typography is the selection of typefaces
modern | Good typography is the selection of typefaces
modern alts | Good typography is the selection of
typefaces which are feelingly expressive of both caption and
copy; the choice of borders in which lurk a seemly motive and
a silent meaning; ornaments, if necessary, which fit the theme
just as felicitously as a scrolled scabbard fits its bright
blade; and intelligent distribution of ample white space.
Aa Aa Aa Aa Aa Aa
Mr Eaves XL
> Featured on pages 2, 3, 6, 7, 21
M
Mr Eaves XL Narrow >
SANS | Good typography is the selection of typefaces which
are feelingly expressive of both caption and copy; the choice of
SANS ALTS | Good typography is the selection of typefaces
modern | Good typography is the selection of typefaces
modern alts | Good typography is the selection of
typefaces which are feelingly expressive of both caption and
copy; the choice of borders in which lurk a seemly motive and
a silent meaning; ornaments, if necessary, which fit the theme
just as felicitously as a scrolled scabbard fits its bright blade;
14/14
SANS | Good typography is the selection of typefaces which are
feelingly expressive of both caption and copy; the choice of borders
in which lurk a seemly motive and a silent meaning; ornaments, if
necessary, which fit the theme just as felicitously as a scrolled scabbard
fits its bright blade; and intelligent distribution of ample white space.
SANS ALTS | Good typography is the selection of typefaces which
are feelingly expressive of both caption and copy; the choice of borders
modern | Good typography is the selection of typefaces which
are feelingly expressive of both caption and copy; the choice of borders
modern alts | Good typography is the selection of typefaces
which are feelingly expressive of both caption and copy; the choice
of borders in which lurk a seemly motive and a silent meaning;
ornaments, if necessary, which fit the theme just as felicitously as a
scrolled scabbard fits its bright blade; and intelligent distribution of
ample white space.
Aa Aa Aa Aa Aa Aa Aa
Aa Aa Aa Aa Aa Aa Aa
www.emigre.com | 48
M
Typography
Typography
12/14
Featured on pages 2, 3, 6, 7
Mrs Eaves
Typography
21/21
M
the choice of borders in which lurk a
seemly motive and a silent meaning;
ornaments, if necessary, which fit the
theme just as felicitously as a scrolled
scabbard fits its bright blade; and
intelligent distribution of ample
white space.
Mrs Eaves XL
Good typography is the selection of typefaces which
are feelingly expressive of both caption and copy; the choice
as felicitously as a scrolled scabbard fits its bright blade; and
Aa Aa Aa Aa
www.emigre.com | 50
M
Typography
18/21
12/14
13/14
Good typography is the selection of
typefaces which are feelingly expressive
of both caption and copy; the choice of
borders in which lurk a seemly motive
and a silent meaning; ornaments, if
meaning; ornaments, if necessary, which fit the theme
just as felicitously as a scrolled scabbard fits its bright
blade; and intelligent distribution of ample white space.
Aa Aa Aa Aa Aa Aa
Mrs Eaves XL Narrow
Typography
20/21
12/14
M
the choice of borders in which lurk a
seemly motive and a silent meaning;
ornaments, if necessary, which fit the
theme just as felicitously as a scrolled
scabbard fits its bright blade; and
intelligent distribution of ample white
space.
Aa Aa Aa Aa Aa Aa
www.emigre.com | 52
Narly
iconic
type
Not Caslon
sTory
YoseMite §
SuNny
Designed by mark Andresen in 1991
GirL
†doG
N
Oblong
Designed by rudy vanderlans and Zuzana licko in 1988
O
Program
17/20
WORLDWIDE
OutWest
Designed by edward fella in 1993
Cowboy
RODEO
Chromolithography
INDIAN
Autonomy
www.emigre.com | 54
P
Typography
Anthropology
ENVIRONMENT
12/13
GOOD TYPOGRAPHY is the selection of
typefaces which are feelingly expressive of
both caption and copy; the choice of borders
in which lurk a seemly motive and a silent
meaning; ornaments, if necessary, which fit
the theme just as felicitously as a scrolled
GOOD TYPOGRAPHY is the selection of typefaces which are
GOOD TYPOGRAPHY is the selection of typefaces which are
feelingly expressive of both caption and copy; the choice of borders
in which lurk a seemly motive and a silent meaning; ornaments,
if necessary, which fit the theme just as felicitously as a scrolled
scabbard fits its bright blade; and intelligent distribution of ample
white space.
Solex
Designed by Zuzana licko in 2000
S
Template Gothic >
wonder
Anthropology
ENVIRONMENT
Minimalism
Tribute >
Featured on pages 21, 22, 25
Designed by frank heine in 2003
Typography
T
aeijieb
Antecedents
California
14/17
GLOBALIZATION
MILLIONS
T
CALIFORNIA
International
Tarzana
Featured on pages 9, 28
Designed by barry deck in 1990
8/10
GOOD TYPOGRAPHY is the selection of typefaces which
are feelingly expressive of both caption and copy;
the choice of borders in which lurk a seemly motive
and a silent meaning; ornaments, if necessary, which
fit the theme just as felicitously as a scrolled scabbard
fits its bright blade; and intelligent distribution
of ample white space.
GOOD TYPOGRAPHY is the selection of typefaces which are feelingly expressive of both
caption and copy; the choice of borders in which lurk a seemly motive and a silent meaning;
ornaments, if necessary, which fit the theme just as felicitously as a scrolled scabbard fits its
bright blade; and intelligent distribution of ample white space.
ANTHROPOLOGY
{
www.emigre.com | 56
Triplex
T
Vendetta >
Typography
Anthropology
ENVIRONMENT
18/19
International
Minimalism
Typhoid Mary
Designed by Elliott Peter Earls in 1993-98
T
California
MILLIONS
ANTHROPOLOGY
www.emigre.com | 58
V
Good typography is the selection of typefaces
which are feelingly expressive of both caption
and copy; the choice of borders in which lurk a
seemly motive and a silent meaning; ornaments,
if necessary, which fit the theme just as felicitously
as a scrolled scabbard fits its bright blade; and
Good typography is the selection of typefaces
which are feelingly expressive of both caption and
copy; the choice of borders in which lurk a seemly
motive and a silent meaning; ornaments, if necessary,
which fit the theme just as felicitously as a scrolled
Antecedents
GLOBALIZATION
Featured on pages 5, 19, 22
Designed by John Downer in 1999
12/13
the theme just as felicitously as a scrolled scabbard fits its bright blade; and
Aa Aa Aa Aa Aa
Vista Sans
V
Vista Slab >
11/15
ALTS | Good typography is the selection of typefaces which
are feelingly expressive of both caption and copy; the
8/12
Good typography is the selection of typefaces which are feelingly expressive of both
caption and copy; the choice of borders in which lurk a seemly motive and a silent
meaning; ornaments, if necessary, which fit the theme just as felicitously as a scrolled
scabbard fits its bright blade; and intelligent distribution of ample white space.
Alts | Good typography is the selection of typefaces which are feelingly expressive
of both caption and copy; the choice of borders in which lurk a seemly motive and a
silent meaning; ornaments, if necessary, which fit the theme just as felicitously as
a scrolled scabbard fits its bright blade; and intelligent distribution of ample white
space.
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ALTS | Good typography is the selection of typefaces which
are feelingly expressive of both caption and copy; the
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Alts | Good typography is the selection of typefaces which are feelingly
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D
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mr eaves type specimen
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MR EAVES XL NARROW
featuring fonts from the
The lineage of Base 900 is an example of how technological restraints can serve as
a source for design inspiration and exploration. The design morphed from a bitmap, to
a restricted outline, to a full, high resolution typeface. The resulting Base 900 fonts still
convey a modular, geometric style, reminiscent of the early computer technology era,
but with an updated, more refined look made possible by a high resolution grid.
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· l.a. express L.A. ExPRESS · Joni miTChell
jLADIES
OF THE CANyON · BLUE · COURT
AND SPARk · THE HISSINg OF SUMMER
LAWNS · HEjIRA · DON jUAN’S
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pasTorius WORD OF
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SHELTER PEOPLE · simple minDs SPARkLE IN
THE RAIN · Gino Vannelli CRAzy LIFE
Mr Eaves XL Sans and Modern Narrow
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Licensed and distributed by Emigre
One • BoB welch C
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Overboard
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JOHN THE
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TRIPPER
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Designed by Zuzana Licko. Licensed and distributed by Emigre.
HISTORIA
These albums, or parts thereof, were recorded at A & M Studios.
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PET SOUNDS C
Bad Habit
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A R E DE S IG N BY ZUZANA LICKO
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These albums, or parts thereof, were recorded at Wally Heider Studio.
Crosby, stills & Nash Crosby,
stills
& thereof,
Nash
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stills,
These albums,
or parts
werej
recorded
at Capitol Studios.
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FEATURING FONTS
FROM THE
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library
RUSSELL
LEON RUSSELL C
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