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The project continues....

Règles:Zéro project is still alive ! Here come the second issue, more than 6 month after the 1st one... I was very occupied and i would like to see if the first PDF will be a succes before launching issue #02. More than 65,000 downloads later, i decided to create this new PDF. I will try to publish every two month from now, with less pages but still with fresh types and interviews !

For the moment, there’s noone to translate reviews, articles and interviews in french / english like in the 1st issue. (as you can see i’m a french frog and my english is not so good... and i decided to write in english to be read worldwide, i apologize.... :)

Règles:Zéro is looking for active members for DTP and french/english trans- lating ! We are also looking for submissions : types to present, Interviews, articles, reviews, free types to distribute here, illustrations, photos, etc... Feel free to contact me to get more informations >> http://www.regleszero.com >> [email protected]

This magazine is a cooperative magazine and to keep the free spirit of it, we decided to give the readers a chance to grab some fonts from our website. Many of the fonts were designed by me for the magazine needs, so don’t expect to get masterpieces ! Sometimes only caps, sometimes missing accented letters, etc... But we all hope that you will have fun with them. We are always looking for free fonts to exclusively distribute here. So, if you are a junior or senior designer, think about placing a font of your own in our website ! It’s a totally open place for font lovers !

See you very soon !

--Stéphane Giner

CarlosSEGURAT26

interviewed the 09/22/2002 by S.Giner for Règles:Zéro magazine.

Hi Carlos Segura, you are my responsibilities (in addition the leader of T26, Segura-inc, to driving the truck and being the Segura interactive, 5inch and drummer) was promotions, and Thickface. WOW ! Can you when I left, I threw all that stuff present yourself, and tell us what I did to promote the band into you did before you became this a book and got my first job as a successful businessman everyone production artist at an envelope knows now ? company (my job was to design I don’t know about successful, the return-addresses for bank but I do try to do what pleases deposit envelopes). My first real me and the people who work for break was at an agency in New me. I shoot for “happiness” and Orleans, and after a few more job everything else will fall into place. changes, I moved to Chicago (always wanting to move here I was born in Cuba, and came to because I liked the way the name the United States in 1965 when I of the city sounded) in 1980. I’m was nine. I grew up in Miami, and glad I did because that’s where at a very early age (12) got into a I met my wonderful wife, Sun. I band as their drummer. I remained worked for advertising agencies, there until I was nineteen. One of such as Marsteller, Foote Cone & Belding, Young & Rubicam, Ket- done some very interesting work, chum, DDB Needham and more, met some fine people, and have both here and in Pittsburgh for had the opportunity to do some- eleven years until coming to the thing for a living that I really realization that I was not happy enjoy. creatively, so I quit and started Se- gura Inc. in 1991 to pursue design, Can you present your team? with the goal of trying to blend as (and the very important PET much “fine art” into “commercial DEPARTMENT ?) art” as I could. Our key members are, Sun Segura, Tnop, Dave Weik, Silas Dillworth, In 2000 we split Segura Inc. into Stacey Rex and me. We also work two dedicated companies and with a handful of off-site creatives formed Segura Interactive. on a regular basis as needed. In 1994, the [T-26] digital type foundry was born to explore the Be honest with me please, Car- typographical side of the business, los: how much time of your day and that too has been received does type really occupy? and with open arms. [T-26] Is now what is the part of types in your distributed throughout the world. business? In 1996 we started the independent This is a tricky question because, record label, “THICKFACE” with truthfully, type has always oc- our first release entitled “Mobile” cupied my full attention at varied by Deep, followed by “EVL”, degrees. The reality is that I’ve al- Aquagirl by “Everplastic”, “Micro- ways used type as “body language” naut”, “Ecohed”, “Jive Council”, in addition to the obvious vehicle (fusion jazz), Sister Machine Gun for words. I start everything with and a second effort by Micronaut. type. Ideas, thoughts, mindset, de- We’ve recently put this on the back sign, concept and even sound. I am burner a bit to focus on our new happy to report that I am still very venture, 5inchc.com In February active in the creative process. It of 2000, we founded 5inch.com”, becomes harder and harder every- which launched Setember 2001. day when you have companies to I have been very fortunate. I’ve run, and as if that wasn’t enough, I try to do more than “run” them, of the consequences to foundries I’d like to think that I am nursing and the designers they represent. them into something better. Most take it for granted that this work even exists. Is hard enough Carlos, in the last issue I in- to make ends meet. terviewed designers who try to distribute their fonts themselves. You should receive tons of type On the record some say that this samples every month from is the best distribution model, designers who wish to be distrib- but off the record some swear uted through T-26. And many that the whole business of sell- R:0 readers certainly dream to ing fonts is a big headache. have a type in your catalog... What can you tell What is the selec- me about your tion process, and experience with can you give some the advantages and advice for those disadvantages of who want to submit your font distribu- fonts? tion model? We have a submis- sions guileless The first thing I tell posted online to designers that want assist new members. to become part of the T-26 family Go to T26.com, then in the left is that if they are doing it to make menu bar, go to “policies” then money they should stop now. “submissions”. Once we get the That’s not to say that you won’t, fonts, we look at it and pass it but it is an understatement to say around to the entire shop. We then that it is difficult. judge on uniqueness, technical The obvious problem is theft. I achievement, similarity to other tried to search for a softer word fonts we have, usability and size than that, but it is just a fact. of family. We have become very Our industry is going thru a very selective because we have been uncertain time because it is so easy in the process of re-inventing our to copy a font, and nobody thinks collection, as we do every 2 to 3 years. In fact, we just dropped is to accept that because if you about 50 fonts that had been in don’t you’ll be pissed off all the our collection for some time that time. I addressed this in a question we felt needed to be removed to above, but I’ll add that it is like the achive our goals. MP3 category. We all copy them because we can and we don’t think Do you think designing fonts is a of the consequences. I don’t under- good way to pay the bills ? stand why our industry doesn’t No. speak about this more like the music industry. Perhaps because it If you had to choose only one is unpopular? font in your huge t-26 catalog wich one it will be ? To finish with the font part of I can’t answer that. In fact, I go this interview, can you present out of my way not to, because I your future t-26 projects and believe that it is dangerous to have your very last type ? a favorite. When you do, you tend Our current and largest project is to use it all the time and I think a 1oth anniversary book about the you should consider foundry. And my latest produced selection as part of the connecting font isn’t a font but a set of ding- phase of any assignment. Select bats called “PeePod”. It is made of the font that is appropriate for the men’s urinal filters. I just did it for strategy, not which one you like. fun and am surprised how well it sells. It actually is a good example Ok, and now if you had to of how I operate ( and I suspect all choose only one font in another creatives do as well) which is to catalog? say that we seem to be more aware same answer as above. of things that are generally taken for granted, but for us, they are Tricky guy ! Let’s talk about sources of inspiration. Even when font piracy plague : what is the peeing :-) best solution, in your opinion to Some of my current font projects fight against it? include a set of dignbats made of There is no solution. The first step sushi chopstick envelopes from around the world (send me some), For you and your design team, a font of dingbats of global race- wich is the best client profile? tracks, a font called TJ, which was A client that lets us do what they inspired by lettering that came in a hired us for. And I am sad to report auto part I bought for my Jeep. that they are very rare. In my 14 years of our design firm, we’ve I’ve visited www.5inch.com had 4 authentic believers of this and i must say i’m impressed. concept. The idea is great, the designs are neat, did the business really Carlos, you are the art direc- works? tor, is it easy with a young and This is very new, but yes it does, extremely creative team? and it is doing very well. I can’t I’m the art director, designer and believe no one else thought of it more, but to answer your question, before. It is so much fun! We are yes. It’s easy when you let your getting many magazines to write people do great work. Our problem features about it. The most recent has never been doing the work, it’s is Wired magazine. We are in the selling the work. Not because the current issue’s “gadgets” section. work fails in any way but because it is rare to find a client that is will- We can read in the FAQ section ing to take a chance and has the this hilarous sentence : “Our vision to back it up. “black” CDR must be burned with the black side down. The Many thanks again to give “silver” side is actually the top.” regles:zero a part of your time ! Really... people burn CD on the kisses to yuki ;) wrong side ? haha. Did you have Yuki is my buddy and she makes some others hilarous stories like everyday better. this at the Hotline Dept.? Our most ridiculous stories come from the “Segura Inc” side of the business... You could make a http://www.segura-inc.com magazine about this alone. http://www.segurainteractive.com http://www.5inch.com http://www.t26.com/thickface Finally, blank cdr’s and cases that are as unique as the data you put on it.

Shown are “DJ”, “Music”, “Design”, “Natural” and “Casual” collections, wich are just a few of the many pre-designed blank cdr choices available online. Call 773 862 0291 or email [email protected] for more information

You looks like fascinated by rough and used things, can you explain why ? Well, I find beauty on beat up things because its like if they carry a life baggage with it. But besides that, it is the most appropriate style to send the messages I try to speak in my work. It almost speaks for itself. And same thing goes for EDUARDO grunge type. But dont get me wrong, the thing is not that I dont like clean design “ RECIFE//www.misprintedtype.com or typefaces, but like I said, it depends a lot on what message you Hello Eduardo Recife, can you are trying to put in your work. present yourself ? Im 22 years old from Brazil. Got Who is your favorite Graphic interested in type/design/art a long designer ? Type designer ? time ago, and since that it become Its hard to select a favorite design- a passion.I went to advertise- er. I recently had the chance to ment school for 3 years and quit know some of Charles Wilkin´s” it. It was a bad choice; too much work (www.automatic-iam.com) hypocrisy... , and it just got me. His collage work is beautiful and not to men- Right now Im going to a design tion his typefaces. But as concern- school and also working. I learned ing tradition type, I will have to most things experimenting myself go with Frutigers and Berthold´s and I enjoy doing handmade things typefaces. as well... The work I do is almost a therapy for me, and its the best way I found to express myself, and If you have to select only one put all my anguish out. font from your collection, wich one will you choose and why ? I would keep “DinMittelschrift”, Are you planing to do commer- its a font that looks good no matter cial fonts one day ? what size you use it. And since Yes. I have some commercial type- it would be my only font, it is faces on the way. But that doesnt definately my choice. mean I will stop making freeware type... Prof. Brian J. Bonislawsky from www.astigmatic.com has Many designers are trying to been helping me out a lot with it. sell their fonts, you choosed to He also reviewed and updated all distribute your work for free on of the typefaces I had in the site http://www.misprintedtype.com, and made the font convertions to what’s your motivation? mac, etc... ( it should be online My motivation was that I never when v2.0 site launches). knew that people would actually enjoy my typefaces back then. I Did you plan to sell them by started creating fonts for myself. yourself like many designers And by that time I didnt have a choosed to do, or will you choose clue about what I was doing... It a big font dealer ? was just a hobby for me. But later I received some interesting invita- on, after I lauched tions about selling my typefaces, misprinted type and got all the and I think that is the way to go feedback from people, I decided for now... that it would be a good idea to give some typefaces for free on the net, Thanks a lot Eduardo, see you and continued to create some free soon in Règles:Zéro Magazine !!! type. It motivates some designers thank you. ;) that dont have enough money to buy typefaces, to work with some interesting type.

(R:Z note : if you want to help interview realised on august 2002 by S.Giner for Eduardo and give him types for Règles:Zéro magazine. doing great free designs, contact him ! :)

Oded Meet Meet Oded and Ezer Ezer and his discover discover his work. work. Meeting Oded Ezer Design Studio Born in Tel Aviv, Israel, Oded Ezer studied and graduated at the Bezalel Academy of Art & Design, Jerusalem, with a Bachelor degree in Visual Communication Design (1998), specializing in editorial design, type design and corporate identity design. In 2000 Ezer founded his own studio (Oded Ezer Design Studio) in Tel Aviv; In 2002 he founded, together with designer Michal Sahar, the first cooperative of Israeli font designers. He is teaching typography and magazine design at the Vital-Shenkar School of Design. Together with his commercial work, Oded runs (since September 1999) an experimental design project, Non Profit Item, exploring non conventional solutions in typographic design. He has won several prizes for his designs, among them a certificate of excellence in type design at the 4th annual competition of the Type Directors Club, and a certificate of excellence in type design at the Bukva:Raz! ATypI contest for his Hebrew font family Maya (2001), and Gold prize at the international design competition of the Nagoya Design Center, Japan, for his typographic poster Plastica (2000).

Hi Oded Ezer when and why have I will design some Roman alphabets in you started to design types ? the future. I can‚t remember when I’ve started You’ve won the BUKVA:RAZ Atypi playing with letters shapes... I think it contest with the MAYA type, did you has been my dream to design letters design it for the contest only ? from the very early childhood. As a Oh, no...I never design specially for child, I was fascinated by typefaces. I contests... The MAYA typeface was the used to stick my eyes in every street second typeface I designed (the first sign and magazines and to try to one was EDEN). The design of this understand why type looks the way it typeface had started while I was still looks. But the first time I‚ve designed a student at the Bezalel Academy of a complete set of a Hebrew alphabet Art & Design, Jerusalem, specializing was in 1998. in Hebrew Type Design at Prof. Yanek Iontef‚s course. Did you design Roman alphabets ? In the early stages, the design was Unfortunately I haven’t yet. But I think inspired by few old hand drawing letters I‚ve found on a book cover from ated, using an interesting combination the fifties, designed by an unknown of straight and curved outlines and a designer. I was fascinated by the perfect fill for inner spaces. angels of these letters, which reflected The Roman font will be probably the interesting attitude to Hebrew letters good old . Do I have to structure. explain? After simplifying and modernizing the samples, I continued to create the Who are your favorite Graphic rest of the alphabet and numbers, designers ? and added two more weights (Maya JOHN HEARTFIELD; KAREL MAR- Light, for body text, and Maya Bold, TENS; BARBARA KRUGER; NIKLAUS for headlines use). The design of the TROXLER; the early STUDIO DUM- three weights was completed one BAR; EDWARD FELLA; the early year after my graduation; The type- NEVILLE BRODY; DAVID TARTAK- face character was simple and quite OVER; PHILIPPE APELOIG; RALPH strong. The fourth style (Maya Stencil), SCHRAIVOGEL; MICHAL BATORY. had been added few months later, to reflect a more dynamic angel of this Who are your favorite font design- typeface. Using the bold weight as a ers ? starting point, I cut the characters at GIAMBATTISTA ; ERIC GILL; some places, to form instability and EDWARD JOHNSTON; SUZANA playfulness. LICKO; ZVI NARKIS; YANEK IONTEF.

What is your inspirations ? Let’s talk about font piracy plague : My main source of inspirations is my what is the best solution, in your wife... but I also get inspired by any opinion to fight against it ? good piece of contemporary archi- I’ve always paid very little thought tecture, fine art, music or even a good about the economical side of fonts conversation with a friend. I hardly get making... like all of us, I don’t like, of inspired by commercial graphics. course, the idea that someone will use my fonts without paying, or will copy If you had to choose one Hebrew most of it and sell it as if it was his and one Roman font only to install (and I saw it happening, unfortunately). on your macintosh, which ones it The thing that may will help, I think, is will be and why? to educate design students not to do The Hebrew font will be probably HA- these things. DASA HEBRAISCH, designed by the type designer, calligrapher and teacher Who is for you the best client profile HENRY FRIEDLANDER in 1958. I do to get the best of your design think this is one of the best modern studio? types for text and headlines ever cre- Open minded, willing to take risks, in- tellectually motivated, happy to pay for good design (can you fi nd me one?).

Héhé, no, i’m sorry ! What are your future projects ? can you show us a scoop ? a new font’s coming ? My next project is going to be... a recording of an electronic album ! I’m going to create it with my friends from the BATATOT interdisciplinary art group - SIGAL GOLDSOBEL and MAYA MAY. (I promise to design it as well !) If you need to contact Oded Ezer :

http://www.ezerdesign.com The last words are for you Oded ! Oded Ezer Design Studio thanks for answering our questions! 9/2 Bloch st. Givatayim 53229 Israel It really was my pleasure, Stephane. Telefax: +972 (0)3 6725489 Thanks and SHALOM! [email protected] EDEN fontset Oded Ezer MAYA fontset Oded Ezer [1] Oded canvas

[2] From Oded’s Sketchbook structuring and destructiring characters.

[3 next pages] Packaging designs and logotype study...

IHOF, aka P22 decided to send us spon- taneously a font to review. I immediatly agreed and asked some questions to Richard Kegler and Jim Chambers. We hope many other foundries and designers will do the same for future Règles:Zéro issues...

Let’s introduce P22 Company and pres- ent you “Dearest Script” font, a very nice piece from this foundry. animating Marcel Duchamp’s large glass, incorporating optical images in 3-D, creating a music program that produced a random note at a random interval (determined by a computer), and displaying quotes and idioms by Marcel Duchamp in a projection room. Richard needed the perfect font for this room of quotations. Finding nothing satis- factory, he enlisted help to digitize Marcel Duchamp’s handwriting. The result was the first font ever created by P22. P22 was first conceived in Buffalo, NY as an artist’s movement in the Later in the year, while Richard mid-1980’s. The founders created was showing his one-of-a-kind paintings, mail art (see http:// handmade books at the New York www.p22.com/projects/mail.html International Gift Show (something ) and poetry under the guise of a he had been doing since 1987), he single mysterious identity, “P22.” was approached by a buyer who As in all underground movements, asked, “What else do you have?” traces of legitimacy crept in: in Richard replied, “Well, I designed 1991, Richard Kegler produced the a font...and...I have an idea for “Buffalo Views Postcard Book.” packaging...and...it’s available for This elaborate book, which cele- the Mac, but I’m sure I can do it brated Buffalo’s heyday, introduced for Windows.” The buyer ordered a P22 Publications to the public and dozen copies. sold out its limited run of 7500 copies. With the foot in the doorway of the museum store and gift shop mar- P22 type foundry came into being ketplace, P22 continued to produce as a result of Richard Kegler’s its signature art fonts in conjunc- 1994 Digital Arts master’s thesis tion with many of the world’s most project. Richard’s thesis included renown museums and foundations. The Dearest Script was designed Today, the P22 catalog has re- by Christina Torre (US). This mained loyal to its unique, every- flowing script font was inspired by day customer- creating fonts and handwritten characters found in the making art and design accessible to 19th century german book chroni- every level of computer user.. cling a history of the middle ages. This font was Designed to simulate P22’s most recent ventures in- elegant handwriting. Let’s have a clude: look at the outlines... •2001- The creation of the Inter- national House of Fonts, or IHOF, a subsidiary that offers contempo- rary font designs from around the world, with a focus on historically relevant type. Download only at: international house of fonts.

• Fall 2002 - The Indie Fonts Book - a 409 page, hardbound type specimen containing the work of a variety of today’s hottest foundries such as Fountain, Carter & Cone, FontDiner, Ray Larabie, Chank, P22 and IHOF. The book was published by P-type Publictions, a subsidiary of P22.

We’re going now to present the Dearest Script and excellent IHOF font, then talk about “INDIE FONTS BOOK”, the last P-type publication. Including work of Larabie and Chank, two well know free fonts makers. R P22 Dearest Script P22Dearest-Script ! " # $ % & ' ( ) * + , - . / ! " # $ % & ' ( ) * + , - . / 0 1 2 3 4 5 6 7 8 9 : ; < = > ? 0 1 2 3 4 5 6 7 8 9 : ; < = > ? @ A B C D E F G H I J K L M N O @ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z [ \ ] ^ _ P Q R S T U V W X Y Z [ \ ] ^ _ ` a b c d e f g h i j k l m n o ` a b c d e f g h i j k l m n o p q r s t u v w x y z { | } ~ p q r s t u v w x y z { | } ~ Ä Å Ç É Ñ Ö Ü á à â ä ã å ç é è Ä Å Ç É Ñ Ö Ü á à â ä ã å ç é è ê ë í ì î ï ñ ó ò ô ö õ ú ù û ü ê ë í ì î ï ñ ó ò ô ö õ ú ù û ü † ° ¢ £ § • ¶ ß ® © ™ ´ ¨ ≠ Æ Ø † ° ¢ £ § • ¶ ß ® © ™ ´ ¨ ≠ Æ Ø ∞ ± ≤ ≥ ¥ µ ∂ ∑ ∏ π ∫ ª º Ω æ ø ∞ ± ≤ ≥ ¥ µ ∂ ∑ ∏ π ∫∫∫ ª º Ω æ ø ¿ ¡ ¬ √ ƒ ≈ ∆ « » …  À Ã Õ Œ œ ¿ ¡ ¬ √ ƒ ≈ ∆ « » … À Ã Õ Œ œ – — “ ” ‘ ’ ÷ ◊ ÿ Ÿ ⁄ ¤ ‹ › fi fl – — “ ” ‘ ’ ÷ ◊ ÿ Ÿ ⁄ € ‹ › fi fl ‡ · ‚ „ ‰ Â Ê Á Ë È Í Î Ï Ì Ó Ô ‡ · ‚ „ ‰ Â Ê Á Ë È Í Î Ï Ì Ó Ô  Ò Ú Û Ù ı ˆ ˜ ¯ ˘ ˙ ˚ ¸ ˝ ˛ ˇ  Ò Ú Û Ù ı ˆ ˜ ¯ ˘ ˙ ˚ ¸ ˝ ˛ ˇ Suitcase: P22 Dearest-Script.suit P22 Dearest Script

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I received this book some days f_aboutfontbook.html)... what is the ago. A nice and very well manu- difference between these two books factured red book, not the MAO ? well, if you want a font database book but a real font bible from buy the yellow one... but if you independent type designers. want to take a look at independent designer’s work and grab 33 font the red against the yellow... licensed and free to use, buy the The yellow Font Book from red one ! Indie Fonts comes with FontFont (take a look at a companion CD-ROM, worth http://www.fontfont.de/fffstuff/ far more than the retail cost of the book—featuring representative (Altered Ego, Astigmatic, Carter fonts from the book’s independent & Cone, Chank Company, Font foundries. (Not the best ones in my Diner, fontBoy, Fountain, Garage humble opinion, but...) Fonts, IHOF, Letterror, P22, Psy- Ops, Synfonts, Test Pilot Collec- What can i say is FontFont never tive, Typebox, Typeco, Typodermic, answered my emails... i think this Typotheque) repartited in 408 is normal for a giant megacorp pages. like them ! On the other side, P22 send me this book spontaneously to make a review…Two different spirits, two different books ! you will be glad to see, reading the IndieFonts Book, that some well know free types designers started new commercial foundries and produced some cool pieces of art. I noticed for example the nice “Wyvern” by Ray Larabie (http://www.typodermic.com/fonts/ 00.html) for Typodermic foundry. You can get more infos about this Chank Diesel have somes pages book by following this link : too and presented some pieces of http://www.p22.com/indiefonts/ his strange brain... The author said index.html : “The type styles range from the The price is $39.95- and all font best of Matthew Carter’s classic users, lovers, students, collectors designs to the latest irreverence of will find in it a good tool. Chank Diesel.” Classic lovers and experimental addicts will need this ______book. Règles:Zéro needs more material to publish issues more often. feel free to send your samples and fresh infos to You will be able to see 2000 “Regles:Zero - Stéphane GINER, 5 Impasse selected fonts from 18 foundries St Aubin, 31000 Toulouse, FRANCE. MilesNewlyn An interview for R:Z magazine - October 15, 2002.

Graduated from St Martins College of Art, London, in 1991. He first released Missionary, Sabbath Black, and Democratica through Emigré, and then designed a set of six typefaces for David Carson to use in Raygun. Newlyn quickly appropriated many of his ideas to the corporate sector, branding in particular. After some some years working with London agencies, and Wolff Olins in particular, he developed a style termed ‘white occult’, a blend of meta-organic forms and hi-tech typography. Newlyn continues to explore and expand this vision, and utilizes the results for corporate clients worldwide.

Source : www.myfonts.com Hello Miles, please tell us a short different business structure for the bio about yourself design industry. The new structure Born in Leicester, England, in is one of a network of small highly 1969, graduated from Central Saint Creative, specialized and efficient Martins in 1991. Freelance typedi- businesses. Some of these may be rector_designer ever since. individuals, some 3 or 4 persons, and some will be agencies special- What caused you to begin design- ising in contracts and managing the ing typefaces ? work between all. I see type design as choosing Outsourcing has been popular in me, I feel as though I’m merely a other industries for a long time channel through which ‘drawing’ now, but in design it requires a expresses itself. very highly educated management, something that I’ve yet to experi- Do you think a good typeface is ence in the UK, our managers are, something that the masses appre- on the whole, diabolical. ciate, or something that is won- This structure also requires a use- derful for designers and people ful legal system to help groups of with a trained eye ? freelancers and small companies, Having a trained eye is part of a often distributed around the globe, process called ‘taste’, a process to work together in a business like that allows the user to appreciate manner based on clear and imple- the efforts of mankind. A good ment able contracts. typeface is a typeface that feeds I’m excited to see illustration agen- and satisfies taste. cies becoming multidisciplined, and think it’s a growth area, but it How do you see the role of the all rests on improving communica- internet in presenting yourself as tion between designers, managers a type designer? and clients. I don’t think I’ve used the inter- net to present myself as a type Do you think that “typeboards” designer, though I hope to soon. such typophile.com and What excites me is that we (I typographi.ca have any influence hope) are seeing the beginning of a on the type design profession in general? The font’s out there now, but I’ve The best thing I’ve seen happen not been paid. Nuff said. on the type boards is the rise of Hrant H Papazian as a character I assume you are still with Wolff on the scene. He posts on every Olins (and been there a long typographic forum around the time as well!). How would you clock, and he’s incredibly knowl- describe your role there? edgeable. I enjoy the posts for their I worked with Wolff Olins on and ‘up-for-it-ness’, they enliven (but off between 1997 and 2001. I did have sometimes destroyed) a scene some great work there, met people that’s a little placid. that I’m still working with today, I met him at TypeCon2000 and and had some of the best days of quickly warmed to his enthusiasm my life. What made me leave was and passion. ‘Passion’ is a concept one company debrief in particular, that’s bandied throughout corporate where the MD said that The com- values all the time, but corporations pany wanted to move as far away need to realise that they don’t re- from LOGOs as possible. He’d just ally want a passionate work force; read NO LOGO… passion is unpredictable, and an often becomes dogmatic. Papazian Wolff Olins has been known to is one of the few whose passion is employ many great designers over real and evident, and some find that the years. Can you name some hard to deal with. of the best ones you interacted with over there ? Was work- I noticed that you have used ing with these guys looks like a Typophile.com forums to present competition or was it a wonderful your fresh types and get critique. example of team work? Some You received tons of critique outside designers that I think about the “Melior” font. Can have collaborated with Wolff you summarize and bring some Olins have otherwise described as closure here to the Melior issue? prima donnas. Others have been (the thread at typophile seemed described as inspirations. Could to die without getting wrapped you describe how working with up) some of them was? Very few type designers are team market since I don’t have the time players; I’m one of the few. Type to promote them. The thing with design is a solitary profession for boutique foundries is that graphic the most part; it requires concentra- designers have neither the time nor tion and focus. I’m continually torn the inclination to search for new between wanting to work on my typefaces. There are now a many own designs in my own studio, in great typefaces sitting in small peace, and working within a team boutiques all over the web, and on design projects in shit open plan very few people know about them. environments with phones con- It’s ironic that the people that the stantly ringing, tight deadlines and people that do know about them responsibilities for a whole pile of are probably web designers, and things. I’ve consistently chosen the they have the least use for them, latter. being restricted to core fonts for the most part. Who is for you the best type designer still alive? and why... Let’s talk about the issue of font Type design is not a competition, piracy. It seems there are three we all do typefaces of varying different types of piracy when I greatness, I’ve done good and bad, talk to other designers. The first what is important to me is that I’m area of concern seems to be theft learning from my peers rather than or outright unauthorized clon- teaching them. ing of a typeface design that is then resold. The second seems to You sell your types through your be when a graphic designer, ad own boutique online foundry agency or other type of commer- x&y. What caused you to do this cial enterprise uses a typeface and not use a conventional font without a proper license. And the distributor, or some of the folks third seems to be the constant you have worked with that are trading and file swapping by already in the business with their collectors and amatuer design- own foundry? ers that would otherwise not be I’m no going to sell them for much buying anyway. longer, I want to take them off the For each of these in your opin- now is nothing compared to what I ion, what is the best solution to hope will be implemented soon. I’d deal with it, and do you see the love to tell you more, but I can’t;-) issue getting larger and a greater problem? Many thanks Miles for answer- Piracy is a fact of life, Look at ing our questions ! Good luck for the music industry and the sharing your future projects ! of mp3s. It’s a much-needed kick up the arse for the big boys, and they will have to respond in ways we haven’t seen yet. From the to get more infos about Miles New- perspective of corporate identity, lyn and X-and-Y company, take a which is where the majority of look at my experience lies, piracy isn’t an issue, since the corporations are http://www.x-and-y.co.uk/ compelled to licence properly of face lawsuits. I’d like to see a world where designers had free access to all existing fonts, and their clients pay for what is used.

Do you have some hot typeface projects you would like to show our readers ? I’ve just finished an identity for Hutchison3g. We called it’s 3 and its live now (www.tre.se/english/). I designed the logos, the typefaces, and art directed the illustration. The most rewarding part of the project was doing the research for illustration. I looked at over a thou- sand portfolios, and what you see MilesNewlyn Logotype project for Hutchinson3g. see http://www.tre.se/english/ LeslieCabarga An interview for R:Z magazine - September 17, 2002.

has been a working illustrator and designer since 1970. He has authored over two dozen books on design including “A treasury of German Trademarks”, and “The Fleischer Story”. As an illustrator he has drawn covers for Time Magazine, Newsweek, Fortune, and National Lampoon. He has also worked as a designer in the art departments of Rolling Stone and San Francisco’s City Magazine. At the age of twelve an interest in lettering surfaced and he spent months copying logos and lettering out of magazines. At 17, he pieced together negatives of an alphabet he had drawn to create a font for a photo lettering Typositer. By 1975 Cabarga was offering hand lettering and logo design services under the nom de plume Handy Lettering Company. And by 1993 he had created the first of many successful computer fonts that are distributed by Agfa-Mono- type, The Font Bureau, and at his own Web site, www.flashfonts.com

Source : www.myfonts.com Hello Leslie, can you present show how lettering is done down yourself and explain how did you to the last detail. You can read started Typographic design ? about the book at I’ve always loved doing lettering. I http://www.flashfonts.com/flash- loved the old-fashioned signpaint- site/entries.html ing and collected old books of lettering styles. I started out work- At www.flashfonts.com we can ing with ink pens and compass, see your font works. All of them T-square and triangle on vellum are full of American style. is it a tracing paper. I am very glad marketing choice ? the computer came along and saved When I travel to Europe, I’m us from ink. When I was 14 years always amazed to see how the old I made a font for the Typositer people of Zurich have a certain photo typesetting machine which look and the people of Paris have a was before computers.. look, and Barcelona, Amsterdam, Actually that font was very similar etc. But if I asked any of them if to my font Kobalt Bold. When I got they thought they looked European Fontographer to make fonts in they’d probably not understand 1991 I made Cymbal, which is a what I meant. Being American I real crazy geometric font, BadTyp, can’t help design fonts that look which demonstrates the worst Americanish to you. Personally, examples of letters possible, and I’ve done a lot of German-style Grafitti which I researched by fonts like “Angle,” “Margarete,” taking photos of walls in New “Progressiv” so I can’t see what York City. I considered myself to you mean. However my chief influ- be an illustrator for the past 20 ence is old American sign painting years but I really love lettering and books so I guess my stuff looks so I always asked the art directors American. Don’t hate me for who hired me to do illustrations if George Bush, though. You might I could do the logo too. I’m writ- be surprised to learn how many ing a book now that will cover the Americans hate that asshole too. subject of Logos, Fonts and Icons more completely than any previous book has done. I’m really going to Do you plan to do some text fonts ? I’m not really familiar with every- There are so many text fonts thing in the font world, but I like already that I have mostly done some modern German guys like display fonts, the famcier fonts for Dirk Uhlenbrock. I also like Rian headlines. However, I do have sev- Highes of England. eral text fonts. They are “Straight”, I like all fonts that are well-drawn “Progressiv” and “Central Station.” and hate the ones that are sloppy.

Do you love the European style ? Which are the fonts we will Mainly I love European women. discover active on your computer They are so uneurotic and healthy. right now ? So I married a German girl. Two I basically have all my own fonts of my favorite fonts that I designed on my computer. But I also use are “Kobalt Bold” and “Kobalt , Caslon, Franklin Gothic, Black.” They’re based on the , Bodoni. And then when classic French and German poster I’m doing a logo I make sketches lettering of the thirties. Of course, I and don’t think about fonts, I come love A. M. Cassandre’s posters and up with new letter styles when I Donald Brun of Switzerland, sketch. That’s also the point of my Ludwig Hohlwein of Germany lettering and logo book: that we and many others (who are mostly shouldn’t be stuck to fonts, but dead). we should do more hand lettering (really it’s computer lettering). Who is, for you, the best Euro- pean Typographer ? Which fonts will never been I’m very fond of the font Auriol by deactivated ? George Auriol. But I think that’s Macintosh comes with some shitty the only one he did. People over fonts I hate like Chicago, , here love Zapf and Frutiger but etc. You can’t delete them from the they are too refined for me. It’s like system folder! But Palatino I just they’re designing with their little love as a text font and I use Frank- pinkie fingers up in the air. I like lin Gothic instead of Helvetica Rudolph Koch who had a funkier which makes me sick. style. It might surprise you that Can you present us the font Some others said it’s the only project you are working on at real problem in the font busi- this time ? ness... what is your feelings about I have a backlog of fonts that are this hot topic ? unfinished and they take so long to I wrote a page on my site that do I never can seem to do them. I made many people upset, so I took just finished Saber which I’m very it down. I said that free font sites proud of. And also I just did Casey were often pirate sites because I which is based on American adver- had seen my fonts on some of these tising script of the 1920s-30s. That sites from time to time. I will often is very American, as you said! send people some of my fonts for free because it is true that when a If you had to make a choice and font is seen it becomes in demand. take only one font you did, which However, that’s my choice to send font it will be and why ? it free, not a choice for someone Well, even though I’m getting a else to make. When I began on little sick of it myself, Magneto the computer twelve years ago, a has been my most famous font. It’s friend gave me a lot of Adobe fonts filled a certain spot in type that I for free, so I can’t be too righteous think will make it have a long life. about piracy. But people should re- Before Magneto there had never member that all fonts are designed been a connected, flat bottom by somebody and artists shouldn’t streamlined script as a font. rip off other artists. It’s like when you see a great wall mural, most This question is the last one, and grafitti guys won’t fuck up another i will ask it to all the designers i artist’s mural. They’ll respect it will interview in the future. I saw as they’d want their own stuff left in different web forums, bloggs, alone. So I don’t support piracy etc... some interesting messages because it literally takes away my about font piracy. Some design- work and denies me the ability to ers thinks it’s an interesting and make a living. alternative way to promote their designs and by the way catch Thank You very much Leslie ! more corporative identity works. CatherineMcIntyre An interview for R:Z magazine

I discovered the work of Catherine on a book called “PhotoGraphisme” This digital artist produce some awesome pictures coming right from our dreams... or nightmares ! Here comes a very short interview and of course some pictures ! College : Duncan of Jordanstone intyre/mcihome.html College of Art - 1992-1993 - http://www.zerozine.com/Issue4/ B.Des. (Hons) Illustration, First coverpage.html Class; Eckersley Book Prize http://www.triade.demon.nl/guests/ 1994 - M.Des. Illustration and cmcintyre/cmmenutop.html Photography http://www.alphaville.de/misc/ content.html# Books : ‘Deliquescence’, mono- http://www.ip.rsu.ru/~clone/mc- graph book, 96pp. hardcover, intyre/ published by Pohlmann Press in http://www.online-designs.co.uk/ 2000. interview.htm and contributions to : ‘View Tutorials : Artists and Illustrators, Camera Technique’ 7th edition, Dr Computer Arts Photoshop Spe- Leslie Stroebel, Focal Press, 1999 cial, New Masters of Photoshop, ‘Contemporary Nudes 2’, Artual Friends of Ed, England, Master S.L., Barcelona, Spain, June 1999 Digital Photographer. ‘Digital Photography’, by Tom Ang, Mitchell Beazley, 1999 Portfolios : Photon, The British ‘Photo-graphics’, by Steven Gilm- Journal of Photography, La Foto- ore, from the series Electronic grafia (Barcelona, Spain), Comput- Workshop, Rotovision, 1999 erFoto (Hamburg, Germany), IdN ‘Hedendaagse Naaktfotografie (The International Designers’ Net- deel 2’, UDYAT, Spain, 1999 work, Hong Kong), Digital Photo ‘Basic Photography’, 7th edition, FX (Britain), Digital Photographer by Michael Langford, Focal Press, (Britain), Amateur Photographer 2000 ‘Better Picture Guide to (Britain), Computer Arts (Britain), Photographing Nudes’, by David black + white (Australia), What Daye, Rotovision, 2001 ‘New Mas- Digital Camera? (Britain), Digital ters of Photoshop’, Friends of Ed, Photo Art (Britain), PEI magazine England, 2001 (Atlanta, Georgia, U.S.), Hotshoe International (Britain), Digital Web sites at : http:// Photo User (Britain), Photoshop www.intangible.org/Features/mc- User (US), FOTO ART (Hungary). Illustration clients : net magazine, you can then morph an image New Scientist, Pride magazine, along... the Liquefy option in Watson Guptill, Element Books, Photoshop is interesting, but not Bridgewater Book Company, controllable enough and doesn’t Godsfield Press, Dorling Kinders- work well on a large scale. ley, Ivy Press, Multiphase Records USA, Dorian Recordings USA, Al- Have you some short term phaville, Berlin, Demise Records, projects that you can present us ? Brazil. I have two book projects which I am presenting to publishers - both how did you get started in nu- of personal work produced over the meric touch up of the photograp- last four years. Called ‘Lay Fig- ies ? ures’ and ‘Body Image’, they use I was a graphic designer for the the nude and portraits in conjunc- University of St Andrews for some tion with landscapes and found years, and learned there how to use objects, particularly natural history Photoshop for illustration work; it specimens. I hope that someone became an obsession, and I soon will pick these up! had a computer at home which took over all my free time! If we want see more, have you a website ? The Types and the words are http://members.madasafish.com/ very present in your work, can ~cmci/ is my personal website; you explain that? there is also work at http:// Probably echoes of my graphic www.intangible.org/Features/mc- design days; I love mixing in dif- intyre/mcihome.html ferent ways of expressing ideas, and the verbal is a useful ally when i’ve heard you made a book, working visually. where can we find it ?

If you can add in photoshop the It’s on Amazon ! =) option of your dreams, what it would be ? Some way of drawing a path which Money Talks ¬ Fly Raduriel Lily Cetarari