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Emigre music{[ sampler no.no. 11 Mr Eaves XL Sans Mr Eaves Sans Rr) EST. 1984 Hotel 2 Alpha INDIA 3 Juliet FREE CATALOG BRAVO WITH EACH TYPE Charlie kiloLIMA PURCHASE delta mike november Echofoxtrot PRINTED TYPE golf OSCAR SPECIMENS MR California State Assembly Available eaves Aldaalda RegulaR 95 pt MADE BY EMIGRE Mr Eavesa XL new Modern text typeface Minimum alda RegulaR 23 pt * DESIGNED BY Papa alda light 14 pt Instrumentalists VictorBErTon Quebecwhiskey alda bold 35 pt ROMEO ONTERRELEASED AND HASEBE DISTRIBUTED BY alda bold 54 pt Sierra XrayConceived and developed EMIGRE Yankee alda RegulaR italic 14 pt Tango at the renowned Sunsetalda light 16 pt Sound) Recorders TYPE & MEDIA Rr alda bold 24 pt ZU Environmentally Recycledwww.emigre.com Paper Products UNI- master course alda light italic 26 pt

www.emigre.com at the RoyalImpressed academy of aRt Mr Eavesform Modern lu alda RegulaR small caps 16 pt THE HaGuE, THE nETHErlandS alda boldTriumphantly small caps 10 pt RELEASED AND DISTRIBUTED BY EMIGRE ) narm Rr WEIGHTS www.emigre.com The logical outcomeA aofd perseverancel in art Unified Alda

Emigre.Eye.Alda.indd 7 6/5/11 9:13 AM 4 5 Rr V E N D E T T A A Type Specimen E .5 4 A New Series of Venetian Old Style Printing Types Designed by John Downer

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EMIGRE 48ENDUNTITLED Layout and Photography by Rudy VanderLans 8II

emigre fonts AVENUE

EMIGRE #70: THE LOOK BACK ISSUE | 307 | 1999 inspirational brilliant 6 fantastic7 FAB Authentic LONGERLASTING FANTASTIC Unequaled outstanding sensational Commendable Magnificent Quintessential AMAZING Genuine WINNER ApluS EXTRA TERRIFIC the complete mr & mrs eaves family of fonts Dependable now also available as web fonts free type specimens in print and pdf formats SUPERB www.emIgre.Com IKIKIKIKI BROADCAST 8H E new issue! 9 EMIGRE #19: 62 Starting From62 DESIGN IS j j CENTER GRAPHIC FROM THE FORTHCOMING PICTURE FONT

Price $7.95 J ZeroA GOODPrice: $7.95 IDEA

28 E FELLAPARTS

BY EDWARD FELLA. 3 EMIGRE #28 Featuring: SOMI KIM, LAURIE HAYCOCK MAKELA, BARBARA GLAUBER, SUE LaPORTE and others. (Edited and produced by Gail Swanlund) I sit in the shade of an ancient, 1 mdying juniper tree, cushioned on my (ABOVE) Mailer announcing Emigre #28 NO. 28 $7.95 1993, 11.25 x 8.25 (folded) Navajo saddle bla* nkets. On all sides, Emigre #28, Broadcast, Fall 1993 Front cover, 11.25 x 16.75 the burning sun beatsE down on Designed by Gail Swanlund o R EE 33 44 silent, empty deBrsert. To rigadht and left, long walls ofCAST 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 a0 vast valley, in which strangely eroded buttes of all delicate and intense shadings of vermilion, orange, and purple, tower into a cloudless EMIGRE #70: THE LOOK BACK ISSUE | 138 | 1993 turquoise sky.

VISTA: A FAMILY OF 36 FONTS DESIGNED BY XAVIER DUPRÉ 10 11 SAN BERNARDINO

will i return to san bernardino and would not let us part on our front steps. following the exhausted drift of palm trees in precognitive fits # 24 as they lead to the scene of the crime, i used to jerk off on church doors will i return to the valley saturday nights cursed by mormons in 1859 so my dried seed would glisten to learn that everyone is divorced in the palms of priests and going to aa meetings twice a week? sunday mornings, hello my name is san bernardino san bernardino and i am an alcoholic... you should not have tried to convert me.i was too young i come upon san bernardino to understand but you did not stop me that no one has left i sold acid to randy who jumped out of a car seeking adventure and disappointment, only to be discharged from the navy jeannette is still living with her mother. with a steel plate in his head. the language of san bernardino i am sorry, is the mouth of echolalia all my brothers died to live as sleepwalkers undulating in smog gray ripples but you did not stop me. across the split level phony ranchette rooftops. san bernardino from here dead or alive, a city of a hundred thousand half souls some of you went to vietnam to be killed living on the edge of a shadow, most of us stayed in san bernardino to be buried. the shadow of a sun eclipsed by police helicopters on patrol DESIGNthe caress of profanity, WILL san bernardino is the ancestral home i am not professional nor do i perform of studded wrist bands and peroxided hair, i am visible, hardly an american a storage tank of desert dreams evaporating i am still fresh off the boat

in a wealth of used car lots seething with desire and discontent. CAST CAST on machinatedEAT e street. ITSELFsan bernardino, if my birth is a debt to be paid with my life i grew up with the intellect of seconal then you can find me, and the public library, like so many brothers and sisters forging in me the will to survive in the neighborhood, C theNever worst mind friends, Paul Rand, here’s The Designersbarricaded Republic! inside my living room Ewhen the temperature is 107 degrees with a beer in my right frame of mind and theAN marijuana INTERVIEW is cut with tobacco, WITH IAN andANDERSON my twelve gauge resting in my lap. 9 san bernardino i remember you. i am gazing past the furniture to my love Above logo designed by D.R. for P.W.E.I. Apologies to P.W.E.I.our eyes meet we nod in unity INTRODUCTION PUBLISHED IN i had phenobarbital on doctors orders to the television feedback wailingEmigre #29, Winter 1994 and social workers from kansas and wait, Reconfigured to fit page Main type: Triplex to go through my empty but clean cupboards for the white man’s jesus to make good EMIGRE #70: THE LOOK BACK ISSUE | 140 | 1994 G san bernardino, i will come back to shoot you on the promises that built you, san bernardino because you did not like heavy metal PETER PLATE

POEM PUBLISHED IN Emigre #5, Fall 1986 Reconstructed Main type: Lo-Res

EMIGRE #70: THE LOOK BACK ISSUE | 40 | 1986

PRINTED TYPE SPECIMENS Mrs Eaves Roman, Italic & Small Caps 8.5:12 pt 12 Top: Mrs Eaves Smart Ligs Rom & ItalCalifornia & Sm Caps 20:24 pt Middle: Rom, Ital & Sm Caps 9:9State pt Bottom: Smart Ligs Assembly Rom 18:18 pt Available13

Aldaalda RegulaR 95 pt For most of the 1990s, contemporary Las Vegas has bÕn a new text typeface Minimum one vaÌ ÏÕway conÌruÀionalda RegulaR 23 pt s⁄e. Nothing has bÕn learned Ïom the dismal CaliforniaDESIGNED experience, BY not even the elementary lesson that ÏÕways increasealda light 14 pt Írawl andInstrumentalists consequently the demand for add⁄ional ÏÕways.BErT Whenon completed, the new Las Vegas alda bold 35 pt ÏÕway neÚork will allow moÌ local commuters to bypass the StrÔ entirely, but ⁄ will also centrifuge populationONTERRELEASED growth AND far- HASEBE DISTRIBUTED BY ther into the desert, aldaw⁄h bold 54correÍondingly pt high social coÌs for inÏaÌruÀure Conceivedand schools. and developed EMIGRE alda RegulaR italic 14 pt at the renowned Meanwhile, the Nevada Resortalda Association light 16 pt throughout Clark County. Despite the feverish boom, the sup- has 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 roomSunset tax is spent exclu- workers in Soundthe unionized core of the gaming) economy. Recorders The dif- sively on its own Resort Corridor Transportation Master Plan (the ference translates into a growing populationRr of marginal workers monorail). Having engineeredTYPE the financing &of the MEDIA new water trapped in minimum-wage service jobs, the nonunion gaming delivery system with regressive sales tax increases,alda bold the 24 gamingpt sector, the sex industry, and the drug economy. According to one industry has opposed all efforts by desperateEnvironmentally Clark County School estimate, Las Vegas’s homeless Recycled populationwww.emigre.com increased 750 Paper percent Products 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 taxmaster fights, school and welfare course advo- time, a larger percentage of Las Vegans lack health insurance than The most ambitious of Las Vegas’s “off worlds” is Summerlin. casinos, as well as five world-class golf courses, in addition to “restau- cates are strictly outnumbered by the resortalda lightassociation’s italic 26hired pt the inhabitants of any other major city. Likewise, southern Nevada Jointly developed by Summa and Del Webb corporations, and named rants and retail shops that will be the upscale alternative for Las Vegas.”@* 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,at the their coffersRoyal swollenImpressed withacademy the profits illness,of aR lungt cancer, epidemic illness, suicide, and – what no one after one of Howard Hughes’s grandmothers, it boasts of complete Las Vegas’s centrifugal urban structure, with such gravitationally of the boom, dominate the legislaturealda in Carson Regula City.R small The caps recent 16 pt wants to talk about – a compulsive gambling problem that is a self-sufficiency (it’s “a world within itself,” according to one billboard slo- powerful edge cities as Summerlin and Henderson-Lake Las Vegas, reinforces 69flood of retirees to Las Vegas’s suburbs has only reinforced the anti- major factor in family pathologies.#@ gan) with its own shopping centers, golf courses, hospitals, retirement a slavish dependence upon the automobile. According to trendy archi- tax majority. (Paradoxically, the Clark County electorate is aging, This obviously provides a poor setting for the assimilation of while the actual median age of TtheHE population HaGuE, –T thanksHE nETHE especial-rlandLasS Vegas’s new ethnic and racial diversity. Despite consent decrees community, and, of course, casinos. “Our goal is a total community,” ex- tectural theorists such as Robert Venturi and Denise Scott Brown, ly to young Latino immigrants and theiralda families-is bold small declining.) caps 10 #)pt and strong support for affirmative action from the Culinary Workers plains Summerlin president Mark Fine, “with a master plan embracing a unique whose Learning from Las Vegashas been a founding text of postmodernism, One index of the extraordinary power wielded by the resort Union, the gaming industry remains far from achieving racial or lifestyle where one can live, work, and play in a safe and aesthetic environment.” Las Vegas Boulevard is supposed to be the apotheosis of car-defined 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 annusTriumphantly mirabilis of 1995 more than earned its reputation as “Mississippi West.” While (Residents rather than the corporations pay for key infrastructural urbanism, the mother of strips. Yet the boom of the last decade has when hotel-casinoRELEASED construction broke AND all records. Yet the industry, African-American entertainers such as Sammy Davis, Jr., and Nat investments, such as the new expressway from Las Vegas, through made the Strip itself almost impassable. Las Vegas Boulevard is usually shaken by the local “Rodney King” riots in spring 1992, is not King Cole were capitalizing the Strip with their talent, blacks were DISTRIBUTED BY special assessment districts.) When Summerlin is finally completed in as gridlocked as the San Diego Freeway at rush hour, and its inter- unconscious that eroding education quality and social services will barred from most hotels and casinos,fgh except as maids, through eventually produce social pathologies that may undermine the city’s the 1960s. Indeed, a comparative study during that period of res- the early twenty-first century, a population of more than 200,000 section with Tropicana Road is supposedly the busiest street corner resort atmosphere. Their calculated solution, after months of top- idential discrimination across the United States found that Las living in twenty-six income- and age-differentiated “villages” will be in the nation.@( level discussion in the winter of 1996-97, has been to volunteer Vegas was the “most segregated city in the nation.”## hermetically sealed in Las Vegas’s own up-scale version of Arizona’s As a result, frustrated tourists soon discover that the ride from the room tax increaseEMIGRE – which is directly passed on to tourists and More recently, persistent high unemployment rates in the pre- then spent exclusively on the Strip monorail – as a “heroic” act of dominantly black Westside precipitated four violent weekends of leaky Biosphere.@& FILOSOFIAMcCarran Airport (immediately adjacent to the Strip) to their hotel social responsibility. This reduced the tax heat on the casino owners rioting following the Rodney King verdict in April 1992. The formerly gritty mill town of Henderson, southeast of the Strip, frequently takes longer than the plane flight from Los Angeles. The while conveying the clear message, scripted by resort association Interethnic tensions, exacerbated by a relatively shrinking public has also become a major growth pole for walled, middle-income sub- Brobdingnagian scale of the properties and the savage summer heat, lobbyists, that the time had come for homebuilders narmand small- sector, have also increased as Latinos have replaced African- business owners to make a contribution to school finance. As Americans as the valley’s largest minority group. Indeed, black divisions, and it is becoming Nevada’s second-largest city. (For optimal not to mention the constant assault by hawkers of sex-for-sale broad- columnist John SmithRr )pointed out, “By coming out first, they shift the leaders have warned of “creeping Miamization” because some advantage in its utility and tax obligations, Summerlin is divided between sheets, can turn pedestrian expeditions into ordeals for the elderly focus away from a potential gaming revenue tax increase [whichWEIGHTS would come out of casino owners prefer hiring Latino immigrants instead of local the city of Las Vegas and unincorporated Clark County.) On the edge and families with children. The absence of coherent planning for the their pockets] and raise the question of responsibility of Southern Nevada’s devel- blacks. Latinos, for their part, point to overcrowded schools opers and shopkeepers.”www.emigre.com#! (Latinos now constitute 40 percent of the elementary school pop- of Henderson is the larval Xanadu of Lake Las Vegas: a Wynnian fan- Strip as a whole (the inescapable consequence of giving the gaming In the meantime, the previous decade’s hypergrowth without ulation in the city of Las Vegas), police brutality, and lack of tasy created by erecting an eighteen-story dam across Las Vegas Wash. corporations total control over the development of their sites) has led counterpart social spending has increased economicThe inequality logicalrepresentation outcome in local government.#$ of perseverance in art “The largest privately funded development under construction in North America,” to a series of desperate, patchwork solutions, including a few new pedes- according to a 1995 brochure, Lake Las Vegas (controlled by the ubiq- trian overpasses. In the main, however, the Nevada Resort Association uitous Bass brothers of Fort Worth) is sheer hyperbole, including $2 – representing the major gaming corporations – is relying on new Nevada is the moÌ notoriously ant⁄ax Ìate in the country, and gaming million lakefront villas in a private gated subdivision within a larger freeways and arterials to divert cross-traffic from the Strip and a pro- Aadl induÌry lobbyiÌs, theirUnified co°ers swollen w⁄h the profits of the boom, guard-gated residential community. The Basses’ grand plan envisions posed $1.2 billion monorail to speed customers between the larger the construction of six major resorts, anchored by luxury hotels and casino-hotels. dominate the leÿslature in Carson C⁄y. Alda las vegas versus 16 nature mike davis 17

Emigre.Eye.Alda.indd 7 6/5/11 9:13 AM 2:39 THE EVERYTHING 1. Ahearn 7. One Hundred years 4:22 THE GRASSY KNOLL 14 IS FOR SALE ISSUE THE GRASSY KNO15LL 7. 95_ From Happily Ever After (ECD 022) 2002 From Happily Ever After (ECD 022) 2002 EMIGRE Released as part of Emigre #61 Released as part of Emigre #61 Produced and performed by Bob Green Produced and performed by Bob Green Published by Grassy Nolan Publishing (ASCAP) Chris Grady, trumpet Published by Grassy Nolan Publishing (ASCAP) 2. Program 3:54 SUPERCOLLIDER 8. Razor-Ribbon 4:18 From Supercollider (ECD 006) 1991 SUPERCOLLIDER Written and produced by Supercollider From Dual (ECD 013) 1993 Michael Horton, guitar, vocals; Phillip Haut, drums Written and produced by Supercollider Published by Orbitoons (BMI) Michael Horton, guitar, vocals; Phillip Haut, drums Published by Orbitoons (BMI) 3. Play With Toys 4:03 BASEHEAD 9. The Spheres 8:05 From Play With Toys (ECD 005) 1991 SCENIC Written and produced by Michael Ivey From The Acid Gospel Experience (ECD 023) 2002 x Michael Ivey, guitar, vocals; Brian Hendrix, live drums; Released as part of Emigre #63 E 49 Paul “DJ unique” Howard, scratches; Bob Dewald, bass; Bruce Licher, guitars, effects, moog, percussion; James Marco Delmar, feedback solo Brenner, bass, chamberlin; Brock Wirtz, drums, percus- Published by Colored Folk's Music (ASCAP) sion; Robert Loveless, keyboards, vibes, harmonica Mark Mastopietro, guitars, sitar, ebow, lap steel 5:25 4. King Papa Published by The Independent Project Music (BMI) ITCHY PET From Dreaming Out Louder (ECD 016) 1998 11. Pards 4:09 Produced and recorded by Erik Deerly HONEY BARBARA Published by Ekmus Music (BMI) From I-10 & W. AVE (ECD 020) 2001 Released as part of Emigre #60 5. For the Meadowlark 5:37 Written and produced by Honey Barbara EVERY GOOD BOY Ross Marlow, vocals, bass, keyboards; James Sidlo, From Baling Wire and Bubblegum (ECD 009) 1992 guitars, loops, atmospherics; Lisa Kuehl, drums Produced by Brian Deck, Erik Deerly, and Brad Wood Published by Floral Regulations (BMI) Brian Deck, drums; Erik Deerly, vocals, guitar; Glenn Girard, guitar; Doug McComb, bass fableQu XXII.ICKTIME M OThevIE Snipe Shooter. Published by Ekmus Music (BMI) — [ set inC amrstf ieavessh xl regular — 11/13 Point ] — 6. Invisible 3:30 ELLIOTT EARLS HONEY BARBARA Selections from the DvD film Catfish (EDvD 001) 2002 From I-10 & W. AVE (ECD 020As) 20 0a1 sportsman rangedReleased theas par tfields of Emigre #6with2 his gun, attended Released as part of Emigre #60 Produced and performed by Elliott Earls Written and produced by Hobyney Banarba rexperienceda old Spaniel, he happened to spring a > Ross Marlow, vocals, bass, keyboards; James Sidlo, guitars, loops, atmosphericsSnipe;; Lisa Kueh land, drum s almost atPub thelished b samey Gingko Pr instant,ess. Copyright 2 0a09 covey © Emigre, I nofc. Partridg- Published by Floral Regulations (BMI) es. Surprised at theAl l accident,rights reserved. and divided in his aim, he E let fly too indeterminately, and by this means missed them both. Ah, my good Master, said the Spaniel, you should never have two aims at once. Had you not been dazzled and seduced by the extravagant hope of Partridge, you would most probably have secured your Snipe. UNTITLED INCL. EMIGRE 45 DESIGN EMIGRE No.53 / WINTER 2000 PRICE 7.95 GRAPHIC

$7.95 0713654 j 16 17

Price Emigre 37 $7.95

Joint VentureEmigre music sampler

Winter 1996

DESIGNERS

ARE PEOPLE 69 TOO no.no. 11

EMIGRE D

$7.95 NO.43

PEOPLE ARE DESIGNERS TOO 1240 No. In the case of the w, 3, 5 and 7 we took an opposite approach and replaced the original Base 9 printer font design with more normalized versions. In the case of the w, since the overlap in the center strokes created a slightly jarring effect in smaller sizes, we actually traded uniqueness for legibility. 18TJANTING 19

Fig. 5.A Palm Springs: its Situation and Surroundings A Vendetta Medium Small Caps, and Vendetta Medium, 18/18 point SOJOURN The village lies at an elevation of 452 feet above sea-level, well toward the foot of the long gradient which runs, smooth as a waterline for league on league, from the sum- mit of San Gorgonio Pass—the gateway and dividing point between California Green and California Gray—down to the great depression where dreams the Salton, that pale, weird 0½½W 1,395,456,780 Lake-below-the-sea which came into being (whether for the tenth or hundredth time, who Fig. 5.B knows?) some ﬁfteen years or so ago when the Colorado River took a fancy to stretch his 1,395,456,780 watery limbs wider in the sun. Bounding this gradient on the north and east runs the level wall of the eastward extension of San Jacinto’s twin mountain, San Bernardino, beyond w w which wall there is a twin desert, the Mojave. The low narrow scoop, six to ten miles wide, woman woman Government Analysis of the Water of the Spring 8 Vendetta Bold, Vendetta Medium, Vendetta Medium Fractions, Vendetta Medium Small Caps, To match the width of the Base 9 printer font w to the screen font, the center strokes had and Vendetta Medium Fractions Tabular Figures, 8/16 and 10/16 point to be overlapped. For Base 900 the form was simplified. AWARD Metaboric Acid (BO™) Trace Silica (SiO™) 44.8 Fig. 5.C AWARD AWARD Sulphuric Acid (H™SO¢) 37.3 Carbonic Acid (H™CO£) 33.0 Bicarbonic Acid (HCO£) 36.6 Nitric Acid (HNO£) 0.1 Chlorin (Cl) 25.0 Iron (Fe) 1.9 Calcium (Ca) 2.5 Magnesium (Mg) 0.7 5037 Sodium (Na) 76.6 249.4 12 13 5037 Base 900 : Type Specimen Base 900 : Type Specimen

EMIGRE #70: THE LOOK BACK ISSUE | 310 | 1999 20 21

INTRODUCTION

Continued SPECIMENS

Tribute_booklet_Emigre.QXP 2/13/03 9:10 AM Page 9 E Reproduction

Making this book presented some unique challenges. First, Emigre magazine never had a set format. Over the years it morphed from a tabloid- SEE BACK COVER sized magazine, to an 8.5" x 11" journal, to a standard web offset printed trade magazine, to a cardboard wallet containing a music CDCenturies and inserts, ago, loose interpretations were easier to produce than close (faithful) inter- Introducing and ﬁnally a small pocket book. The magazine was printed pretationson a variety because the level of skill needed of presses, from a small one color Heidelberg press at a localto produce print punches shop was high. But late in the Typ 19th century, the use of the pantograph as in Berkeley, to a fully computerized, four color, heat-set,a toolweb in cuttingoffset punches and matrices by (LEFT, TOP TO BOTTOM) Emigre office, Berkeley machine eliminated the need for a punch- “� ribute”� press in Denver, Colorado. Reproducing this range of formats into a T California, 1990 cutter who worked by hand. The speed letter sized book while staying close to the original look andof replicatingfeel of theexisting typefaces increased. VanderLans magazine required some creative solutions. Phototype was yet another step in the direc- packing up orders tion oE fast copying, and digital type can be —a family oSacramentoE California, 2002 Second, recovering some of the material for reproductioncopied was in likean instant an by almost anybody. K archeological dig unearthing 25 years of various methods ofOur graphic ability to make de- digital facsimiles of types Second Emigre logo

{[ that were cut by hand centuries ago afords Mechanical art on sign production. The ﬁrst issues of Emigre were produced ususing a chance tradi- to render them as we see ﬁt. We 8 fonts;Bristol board, 1986 can make them look old, like the original tional paste-up techniques. Galleys of text were created andtypes, then or pastedwe can make them look fresh. We (RIGHT, TOP TO BOTTOM) Emigre warehouse

down on boards from which negative films were producedEMIGRE tocan’t, make however, alu- make them look identical to Emeryville, California, 2006 historical models, for digital type is not met- minum plates for printing. The galleys were produced eitheral type. by Theprofes- two are diferent creatures and Roman,Emigre catalog delivery they manifest separate identities. They each at Emigre warehouse sional phototypesetters, if ourmin budget allowed, or cobbled together by Emeryville, California, 2007 have their own idiosyncrasies. K Realiz- ourselves on an electric typewriter and copy machine. Startinging that digital with type can actually only simu- late the “look” of old type is an important Italic, issue #2, we combined these techniques with printouts from the Apple SEE PAGE 24 aspect of evaluating type revivals. Terms like why “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 Small Caps Soon after, around 1985, with the introduction of PostScriptpast without and relying the too heavily upon their design. K It is evident that Frank Heine’s Apple LaserWriter, the quality of printouts increased, but theTribute resulting possesses an element of “type carica- galleys still needed to be arranged on the page by hand and pastedture” in its drawing,down but this fact doesn’t� rele- gate it to that one category. Heine has really gone @ onto boards. beyond parody, well into an area of personal ex- When ReadySetGo!, one of the first page make-up programs,ploration. arrived He has challenged many traditional assumptions that we “connoisseurs” of hand- on the scene, it allowed us for the first time to create completecut type havelayouts maintained in our attitude toward Ordinals: the historical accuracy sought and loved and ex- on the computer omitting some of the cut and paste work.pected In addition, in “revivals.” The result is a unique com- the new Linotronic imagesetter was capable of printing outbination galleys of caricature, at a homage, alchemy, and must we wait for our clients to take the lead ? fanciful reinterpretation. K Tribute, I think, very high resolution of up to 2540 dpi, surpassing the quality of photo- recalls Guyot’s native French-learned style, $95 typesetting. Output was still generated onto photo paperprimarily and as athen point of departure for an original—albeit implausible—work of historical is there room in our partnershippasted down onto boards.with Images business were scanned separately andfiction, stripped with merits and faults of its own. S into the negative films. Issues #9 through #41, published between 1988- P 9 to play more than an ethically1997, were created neutral this way. role ? ][ While we were trying to incorporate the Macintosh as a design tool, Emigre magazine was often held up as the vanguard of computer gener-Call it What it is must we have a blind dedicationated design. But to our production growing tools at the time still included the X- Acto knife, masking tape, tracing paper, hot wax, Rubylith, Bristol board and a stat camera. Our desk top was a drafting table, and it would be a our client’s business, regardlesswhile before we finally the dismantled outcome our parallel rules. ?

EMIGRE #70: THE LOOK BACK ISSUE | 10 | 2009

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H� I� S� T� O� R� Y B� R� O� T� H� E� R� S & C� O� U� N� C� I� L %36 ^#5 B Y J� O� H� N� D� O� W� N� E� R BEDDIE-BYE BEAT AGAIN { [ {u[ BEDDIE-BYE THE GODDAMN DOG YOU WORKING�ON�THE EARTH WHAT’S IT WORTH? TIED UP IN BACK SPINNING HIS WHEELS WHEN THE EARTH IS JUST DIRT WHEN IT AIN’T YOURS MONTEREY CRACK OF DAWN COME THE LAWN MOWERS NO IT DON’T WASH OUT IT ONLY BURNS IN YOUR SKIN jij COMIC OPERA HEAR THE HOG SQUEAL OK OK YOU JUST BEAT AGAIN C O U N C I L FUCKING A it ’s LABOR DAY 5 O’CLOCK down at the icehouse MONTEREY BROTHERS JUST BEEN A RAISE IN MINIMUM WAGE AND SOON IT’S LOOKING LIKE A BIG SOFT BED ALL FOR THE GREATER GLORY there’s all this talk OF LOST ATLANTIS WHERE YOU COULD SLEEP FOREVER WITH HER LYING THERE LOCATION AN UPPER BUNK WITH CONJUGAL VISITS YOU LIE IN HER ARMS AND LEGScustom AND DARK HAIR house COUNCIL WAS INSPIRED by some capital letters, plano- THIS SERIES OF FACES, like Council, began as a font of cap- THE POOR SLOB’S psychic network SPREADING OVER YOU YOU JUST BEAT AGAIN WE FEEL SOMETHING SWEET something down here LA LA LA LA graphically printed, on a candy tin I bought at an antique ital letters in 1996 and was finished in 1999. The Bold all because of us BECAUSE WE BURN HIS TICKET OUTLET SO YOU’RE ANYONE AND EVERYONE’S BOY uYOU ALWAYS KNOCK AGAINST THOSE HARD THINGS u store. The tin is the size and shape of a hat box, and it was weight was the first to be designed. Its inspiration came PANICKY NERVOUS WRECKS IN YOUR BODY SOMETHING’S GIVING IN FFFFF political séance { [ WORRIED SICK AND SCARED SHITLESS OK OK YOU JUST BEAT AGAIN made in the early 1900s for John G. Woodward & D of from a bright chromolithographed letterhead designed PISS-TESTEES 4-WAY GRIDLOCK MAY WE REACH CRITICAL MASS STEEL-JAW LEGHOLD ALL GOD’S CHILDREN AND YOU GET PISSED ANDPLAZA THROW YOUR FITS MONTEREY COUNTY Council Bluffs, Iowa. The lettering is interesting to me around the turn of the century for the Cole Brothers trav- SIGNALING THROUGH THE FLAMES and suck our thumbs AND TOOT TOY TRUMPETS IT’S ALL LOST ON IT YOU CAN BREAK YOUR FIST both for its skillful design and because of its strong resem- eling shows, an extravaganza of acrobatic and circus acts WINDOW TELLERS WANNA CHANGE LANES POOR LITTLE BABY AIN’T BIG ENOUGH OF THE RAISING of THE AMERICAN FLAG DISLOCATED FACES MISSION CITY COUNCIL [OK OK OK { blance to wood type. The lettering is neither perfectly con- that included trained horses with bareback riders. There HELLISH COUNTRY GOTTA FINISH 1 CALIFORNIA YOU WORKING ON THE EARTH WHAT’S IT WORTH? F F one foot forward sistent nor slavishly executed, but it has the general look is a quality of boldness and daring in the letters that I WE DROP EVERYTHING the reason why THE WINTER SUN WHEN THE EARTH IS JUST DIRT WHEN IT AIN’T YOURS who do WHO IN THE WORLD DO WE THINK WE ARE? WITHOUT RECANTING TRACK IT INDOORS IN UNDER YOUR SKIN of being composed rather than drawn. Curiously, though, think accurately reflects the directness and bravado of cir- YOU GOT MIDNIGHT OIL TO BURN while this lettering style has many of the display attribut- cus performers. ALL BECAUSE OF US because we burn V V ALL BECAUSE OF US whereby the United States Navy es of wood type, it appears not to have been copied from transfer of funds {[ FFFFF any one known wood type font of its day. It is a meticulous - MONTEREY synthesis of typographic and lithographic sensibilities. In THE COLE BROTHERS STATIONERY has quite a bit of varia- OFFICIALLY CLAIMED POSSESSION OF my estimation, its dense, compact appearance seems to be tion in the letterform proportions, unlike the uniformity of STATE HISTORIC the result of a commercial lettering artist’s unabashed the lettering on which Council is based. The letters are not Gil Gonzales admiration of xylographic poster types. I regard it as an very typographic, nor are they very consistent. They were PERCUSSION example of mimicry in the best sense of the word. drawn on a lithography stone and were “cut-in,” meaning PARK that the lettering artist filled the panel background and - left the letters showing in reverse. A notable feature of MY WORK ON COUNCIL began in 1996 and concluded this work done in this manner is that it is relatively easy to get california year. I tried to develop the main font with as much fidelity sharp outer edges, such as the bevels on the corners of the 16 17 california to the proportions of the characters on the candy tin as octagonal O, but it is difficult (often, impractical) to try for baeba was reasonable, while adhering to certain established sharp corners on the counters, even where they should typeface production standards of today. (This typeface is appear square, as on the inside of an H. Thus, many of the kerned, for instance.) Of the full-size capitals in the face, the capitals are bracketed inside. There are some excep- on July 7th, 1846 JULY 7th, 2007 only those I found in the name and location on the candy tions, however, where strokes join at acute angles, as in A, California tin owe their shapes to one particular source. Thus, the A, K, M, N, V, W, X, Y, Z and Æ. The crotches of these letters HISTORICAL LANDMARK B, C, D, F, G, H, I, J, L, N, O, R, S, U, W, and & all have mod- contain “traps” that deepen the negative space for the els. I should mention that the D is unusual because it is the sake of keeping the letterforms crisp. Also, because the only letter with a convex side in my alphabet. This incon- lower case characters are expected to be used in a small- HISTORIA No. 4 COME AWAY AMBUSH CHORUS SOLID RETURNS sistency exists in the original and is one I decided to er range of sizes than the capitals, most of the bracketing aaaaaaaaa LIVING HERE ON TOP No. SHE DONE HER HOMEWORK 001truth is NUMBER FOUR IN A SERIES preserve. The S, by comparison, had a squarish form I did has been eliminated. COME AWAY NIGHT IS DAY ON TOP OF THE FAULTLINE truth is THE GROUNDWORK’S BEEN LAID P p SUN AND MOON APRIL FOOLS AT THIS STRETCH OF I-10 WEST SHE AIN’T BEEN�UPROOTED OF 13 LABELS not favor, so I deviated from it in my font. The balance of YAWN AND STRETCH START FROM SCRATCH CITY FATHERS CHRISTENED MCDERMOTT FREEWAY SHE IS INALIENABLE the upper case and small caps, plus the figures, punctua- - MORNINGS OFF ARE TO DIE for IT’S THE PERFECT SEND-UP sweetheart DON’T ACT ALONE MAY WE KEEP IN A COOL PLACE HERE’S TO THE HEAD HONCHO sweetheart AIN’T BEEN DISAPPEARED tion, monetary symbols and miscellaneous reference signs AS THE BROTHERS FONT SERIES GREW, I made several LIVING ROOM BEHIND THE BOOKCASE TO GAINFUL EMPLOYMENT truth is SHE’S SEEING THESE BREAKFAST NOOK AND ORANGE JUICE PSST! THE CONTRACT WAS WON seeing these SOLID RETURNS represent my attempt to fill out the font. alternate capitals for the Bold, then designed a Regular RAISIN BREAD HONEYMOON BY THE LOWEST BID SO truth is SHE DON’T DO KISSING COUSINS SISTER BROTHER YOU COULD SAY IMMINENT COLLAPSE IS BUILT RIGHT IN nothing NOTHING LESS THAN weight to match in style. Next came a lower case for the PLUMBERS CHILDREN SWEET AND SOUR MEANWHILE WE’RE HERE WITH ANNE FRANK calling FOR TOTAL BANKRUPTCY OVERLAP AND ENVELOP IN THE ATTIC WITH A SEISMOGRAPH calling FOR�A GENERAL STRIKE - Regular and a set of slightly smaller (about 90%) caps to FIGURE 8 HEAD TO TOE READING THE SMALL PRINT ACROSS THE BOARD boycott THE WORD LOGOS were added later. There are no stacked serve the full-size Bold Caps. These have the same alter- April evenings aching under WE LIKE TO KEEP THE WINDOWS BLACKED and then WE’LL SEE WHAT NEXT honeysuckle silver sickle IN LIEU OF MANDATORY INSURANCE letters to be seen on the candy tin, and just one raised let- nate forms found in the companion font. BAREFOOT BLONDE DEBUTANTES DUE TO THE NEIGHBORHOOD WATCH PROGRAM RENT IS SPENT COMING OUT WE WONDER WILL WE GROW UP AND ter, but given the narrowness of the characters in my font, Finally, I created a pseudo-italic version of the Regular. It WALK ACROSS WEST AVENUE WHAT’S IT LIKE TO MAKE LOVE OIL-N-LUBE BAR-BE-Q YOU CAN’T HEAR BUT SOMETIMES LATELY WE’VE BEEN I thought that short stacks or other arrangements of char- is actually more an extreme oblique than it is a legitimate BAREFEET BROWN DANCE-A-THON MAKE-BELIEVING OUR POOR FEET ARE HONEST INJUN IS GOING ON o our heroes TOM-TOM INVITATIONS acters would be useful as a companion set. Zuzana Licko italic (having fewer cursive-inspired forms than normal). I WORK THE EASEMENT POINT THE PLACE TO TO THE AMBUSH CHORUS OUR arranged them into two volumes. call it a “Super Slant.” It has alternates that match those BACK YOUR CAR IN PSST! YOU WANT A DATE? HEARTS BEATING STRONG ARMS HAMMERING m COME ON candy stripers work the snake pit in the Brothers Regular Alternates fonts, and a few extras all the sickroom loves a sno-cone SOFTER SOFTER CALLING ALL SOULS - as well. RSVP UP FROM BELOW IT’S A SURPRISE PARTY - •e|SO COME AS YOUR SUPERHEROES

BROTHERS WORD LOGOS are a hodge podge. They come in emigre various forms and from various sources – mainly from lith- Johnny Rodriguez Johnny Rodriguez Gil Gonzales ography, typography, and commercial lettering. These Word KEYBOARD EXTENDED�VOCAL,KEYBOARD PERCUSSION Gil Gonzales David Mollenauer James Cobb Logos were not inspired by the Cole Brothers stationery. PERCUSSION CELLO SAXOPHONE Ross Stephanie Key Stephanie Key Rather, they have grown as a collection of devices that I TAMBOURINE CLARINET LOOP CLARINET think will add nostalgia and utility to the digital repertoire of typographers and sign makers alike. - 24 25

ESSAYS PUBLISHED IN Emigre #49, Winter 1999 EMIGRE #70: THE LOOK BACK ISSUE | 405 | 2001 Original digital file Main type: Brothers, Council

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The “First Things First” manifesto (see opposite page) was initially published in January, 1964. This call to arms proclaimed the senti- ments of many creatives whose talents were quickly being mulched by the machinery of advertising agencies. Thirty-ﬁve years and three reprints later, “First Things First” has become more, rather than less, relevant. “The basis of [this] manifesto was to emphasize what we consider the false priority in spending,” stresses participant Ken Garland, “but we also wanted to encourage students, designers

# and photographers to think about the opportunities for graphic

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Emigre #61 Insert Pages 2-3, 10-11 HAPPILY EVER AFTER. 10.5 x 8.25 The Grassy Knoll. 11 Musical com- EMIGRE N0. 68 positions illustrated by THIRST. ALL PHOTOGRAPHS, COLLAGES, CALLIGRAPHY, ILLUSTRATIONS AND DOODLES BY RICK VALICENTI, UNLESS STATED OTHERWISE. AMERICAN6 1 1 : SOMETHING IS WAITING 7 DIGITAL RETOUCHING BY RICHARD PAUL. WWW.REALEYES1.COM 2 8 > MUTT 2 : The Trial 3 9 3 : AHEARN 4 BARKS10 5 IN THE 4 : SABBATH’S THEATER ILLUSTRATION BY CHAD JOHNSTON AND RICK VALICENTI.

11 5 : One Hundred Years YARD PORTRAIT OF HER HUSBAND BY LINDA VALICENTI. ISBN 1-56898-486-3 $12.00 2%45@™xHSLFQIy984865zv;:,:#:!:! 6 : Insect e DAVID BARRINGER1 7 : THE COMMON GOOD ECD022 ) 8 : Piano Loop THE GRASSY KNOLLRr 9 : THE INNOCENT CRIMINAL 10 : As Empty as Eric M 11 : END OF IT ALL Em O M EMIGRE #70: THE LOOK BACK ISSUE | 292 | 1999 64

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