I was just reading “Why Bembo Sucks” over on I Love Typography, and I was led to wondering why Opentype doesn’t allow for alternate glyphs based on size, at least, that’s how I understand this. After all, as Kris Sowersby points out, fonts were cut for a specific size, with variations in the glyph forms created as a result of aesthetics and practicality. Looking at the Opentype font I have with the most optical weights (Arno Pro) and what options Photoshop offers for Opentype, there isn’t anything in the OT menu or the application itself to set the optical weight based on size.

So why not? Of course, if it does and I’m misreading the spec, do let me know. Mind, I’ll then have to ask why no-one is doing it yet.

And, for comparison, Arno Pro Caption (left) and Arno Pro Display (centre) scaled to the same point size and overlaid on each other (right). Wouldn’t it be nice if the software could switch between the weights automatically?

Here’s a good collection of photos of Graphis Magazine from between 1965 and 1982 which might be useful for inspiration. I’ve moaned about Flickr before, but I still wish that people would take the opportunity to write something about the pictures they dump there. Still, I shouldn’t complain too much, as I’d rather people put them there at least than not share them at all! I’ve assembled a few of my favourites, and at right is a particularly nice logo - I’ve played around with fitting a J into a round letter (an ‘O’ I recall), and it can be hard to get it just right.

This one’s a bit of a “Fancy that!” post. I came across this interesting post on Kit-Blog about the remarkable typographic consistency of Woody Allen’s film titles. For pretty much all his films, the titles are set in Windsor-EF Elongated, by Elsner+Flake. Not having seen a great deal of his films, I’d not noticed, but looking at these images, they just say “Woody Allen film”. How about that for brand identity?

Go and read the full article for more info and images.

I’ve had this page of manhole covers open in the browser for the past few days, one of those things in the should-look-at-more-closely category. I’ve had a better look now, and I was reminded of seeing Japanese manhole covers, and they come in a much greater variety of designs (and colours!), so I was wondering why manhole covers are often so dull. I watched a How it’s Made on manhole covers the other day, and there’s no real reason why a city, region or département (say) shouldn’t have its own design.

This site has a good collection of images of Japanese manhole covers, four of which I’ve cut out below.

I saw this great little image over on James Squire (via 1+1=3). Unfortunately I can’t find a higher resolution version for closer type-ogling. There are some larger versions overlaid on images of the beer itself, but I like these type-only ones better.

I’m a bit loath to post another article on something to do with the Bible, after the flood of mostly offensive, illiterate and incomprehensible emails I got the last time I posted on the subject. However, needs must, and I think this is remarkable enough to post on. Researchers at Israel’s Institute of Technology, Technion, have enscribed the entire Hebrew Bible onto a silicon surface smaller than the head of a pin.

I could quip that, of course, the kerning’s all wrong but I suspect these letters were created by a process akin to dot-matrix printing. I think it’s amazing. Beat that, microfilm!

I can’t quite recall why I’ve not blogged this before. For the life of me I can’t recall where I found it (I’ve had it on my hard drive for a while), but it was made by the “United Designers Network - Berlin”, a search for whom redirects to Spiekermann Partners.

Now and again I look at it and marvel how two entirely different types work so well on the same page. Viewed scaled down (below, in positive and negative) you can see that the whole piece has an even colour, and yet a closeup (right) shows that it’s set in Adobe Caslon and Wittenberg Fraktur (OK, I cribbed the name of the blackletter from the original PDF). I’d never have thought the two faces could have the same colour like that. I love it, it’s a really nice bit of inspiration.

UPDATE: I guess I should have had a closer look through the Spiekermann Partners site! Alessandro Segalini mailed me with the blog entry describing the design motivation of the poster, apparently by Erik Spiekermann himself. Excerpt here:

The poster designed itself: the English text is set in Caslon, the typeface that George Bernard Shaw always specified for his writings; the German copy is set in Fraktur, the typeface used for setting German and other northern languages since Gutenberg. If it hadn’t been for the Nazis misusing these faces for their sinister purposes, we would still be reading Fraktur. It is the typeface of Goethe, Martin Luther, Karl Marx and Hegel. And it is perfectly suited to set our long words and interminable sentences, still evoking Gothic cathedrals and narrow streets with timbered houses. The one used is called Wittenberg Fraktur, after the town where Luther nailed his theses on a church door in 1517.

Incidentally, Spiekermann Partners developed the Deutsche Bahn brand system which I’ll no doubt blog about some time in the future.

Discovered over on Fubiz, this beautiful animation from zero to ten using imagery from the arts of bonsai and ikebana. This really is a beautiful short film, and it reminded me of something I’d seen before, so a little bit of checking through my saved files and links I realise I saw some of the preparatory work on artless. In fact, I wrote about it here. The artwork is by Shun Kawakami, Illustration, Suibokuga, Drawing by Tadashi Ura and the photography (?) by Taisuke Koyama

The first picture here is from artless, the remainder are stills from the animation.

This sign on Brighton’s seafront (click for a larger view) is one of the worst, if not the worst bit of information ‘design’ I have ever come across. I am a long-time resident of Brighton, and most of my time here has been spent living very close to the seafront. I am also very familiar with maps of the place (being obsessed with maps in general). When I first saw this sign, I had to look closer to see what it was about, as I hadn’t recognised that it was a map of Brighton seafront!

So what’s wrong with it? Let’s look at some properties of it in turn.

• The orientation
  There are two usable ways to orient a map. The first is to place the ‘You Are Here’ point at the bottom of the map, and have everything that lies in front of the person looking at the map above that point. The further away it is, the closer to the top of the map it is. This is the most usable orientation for a map where you know the position and orientation of the person reading it. The second, and most usual, way is to honour the generally-accepted global convention of having north at the top, and south at the bottom. This is a good idea for maps that may end up being moved around, or duplicated and placed in different locations you don’t know or can’t control.

  This map does neither. It places south at the top of the map, and yet if you look at what you see when facing towards the map, south is to the left.

• Landmarks
  A look at this map shows that it has various landmarks marked on it, most prominently the Brighton Pier and the West Pier. The problem here is that the broken south-at-the-top orientation of the map gives the impression of a skyline, rather than the top-down view of a map, and as you can see from the actual view below, for Brighton this represents a different idea. Brighton has two prominent tall buildings on the seafront - Sussex Heights and Chartwell Court. Showing the piers sticking up like that is more likely to evoke these two buildings, even for a local resident who is familiar with the two piers. For a visitor, they would look out from this position and see one pier, the West Pier having burned down and largely collapsed into the sea (I must point out that this happened long before these signs appeared) and two tall buildings. Despite the names on the map, it would be enough to trigger doubt in the reader regarding whether they were reading it correctly.

• The typography
  While much of the type on the sign is perfectly readable and reasonably well-set, it is again the map that has the problems. The lettering on the labels for the Marina, the two piers and the other landmarks is pointlessly, and needlessly, excessively casual and hard to read. I wonder sometimes if the mantra to ‘make it look friendly’ doesn’t get so locked into people’s minds that they lose sight of what the purpose is of what they’re designing. After all, surely it is far friendlier to make signs informative and easy to read?

• Drop shadows
  One of the pitfalls for a computer-based designer working for print is to be distracted by the benefits and limitations of screen display technologies. In other words, things look different on screen than they do in print. Colours on screen are made by generating light, colours in print are made by selectively absorbing and reflecting ambient light. Drop shadows are a boon to a screen designer, outlining and adding definition to otherwise indistinct or low-contrast images, whereas in print, a drop shadow will come out as incredibly dark and heavy. Quite often you don’t see this until the final print proof has been made, if you get one. Printing workflows are so quick and easy now that often a obtaining a proof is considered in the same the way that maintaining a effective and robust backup strategy for your hard drive is, i.e. a chore to be put off, if possible. Printing a copy out on an inkjet photo printer doesn’t make an effective proof either, as these printers tend to be a lot more forgiving. On this sign, the designer has fallen right into the trap. Almost all the graphical elements have drop shadows, and the label for ‘Hove Lawns’ is barely readable thanks to the great blob of black ink surrounding it. The label with the fish jumping over it… I can only guess that that says ‘Fishing Museum’, and only then because I know that it’s there. Any tourist looking at this wouldn’t have a clue!

• The roads
  I’m at a bit of a loss over the choice of roads chosen as landmark routes. It shows ‘East Street’ just to the right of the roundabout, but the main road that any visitor could identify in Brighton (after the seafront) isn’t shown - The Steine. Just take a look at a real map of Brighton to get an idea of how strange the omission is. I wonder whether they thought that for a map promoting walking it shouldn’t show main roads, despite them being obvious and easy to identify? The other roads are a bit odd too - why Seafield Road? I’ve never actually heard of the place, and yet just two streets along is Hove Street, leading to Sackville Road, very much main roads and easy to identify. A poor map indeed.

• The graphics
  This is more of a personal dislike. I detest ugly things, and the graphics on this sign are relentlessly hideous. Poorly drawn, garishly coloured, artless, unpleasant abominations mocking everything that is beautiful and graceful about the human form and the world in general, these little icons would be best left off this sign. It doesn’t help that they have strong drop shadows under them too - the blue blob under the ‘West Pier’ label is, I assume, a pool of water, and yet it has a shadow under it. Since when did a pool of water have a shadow? And one so dark?

• The route itself
  Yes, the very point of this map, is in essence, wrong! It shows you having to cross the roundabout by the Brighton Pier, when in fact you pass around it. The colours of the background too, they imply that you’re nowhere near the beach on your walk, and yet in actuality, you’ll be right on the beach.

• The logotype
  Last, but by no means least, what is going on with the italicised ‘walk’? Perhaps they thought they needed to add some ‘dynamism’ to the name, but this really is not the solution.

In short, I detest this sign. Whoever did it should be placed in remedial graphic design training.

Nothing to do with type! I was looking for an emulator to run Lander, or a port of it, then only an hour later I came across this image of a sculpture by Stéphane Sautour here. Nice similarity…