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(of sorts) :( The sIFR & Cufon Years Typekit Google2009 Web Fonts Fonts.com Cloud.Typography MyFonts and many many more Finally font-ly! —59 —62 “The character of things like this is essentially ephemeral, and it is the fact that such things survive only rarely and accidentally that gives them their charm and fascination. —63 Although their loss may be regretted, perhaps it is necessary to allow such changes to happen, untouched by The point at which ghostsigns assume value is subjective “In 1960 Howard a regulatory framework, so that in another hundred years’ and, currently, a matter of debate. By contrast, most would Gossage observed that time, people may be able to look at diferent but equally agree with the preservation of the 2,000-year-old remains curious survivals – of early 21st century ephemera.” of painted advertising in Pompeii and Herculaneum. billboards exist ‘for Likewise, the painted caves of the Ardèche in France, and There is much to commend in this response, although the the rock art of Australia. While not explicitly advertising, the sole and express longevity of today’s billboards and digital displays is clearly they also served some communicative purpose and hold inferior to that of the ghostsigns that have survived. Further, obvious value as cultural relics. Ghostsigns are one among many examples of humankind’s desire to leave a courtesy of History of Advertising Trust,courtesyof hatads.org.uk History ofAdvertising by, E. Reeve. Croydon, Surrey. Photograph: Anthony Avon. Image Image Avon. Anthony Photograph: Surrey. Croydon, Reeve. E. by, Distinctive ‘scallop corners’ on this sign advertising, and painted painted and advertising, sign this on corners’ ‘scallop Distinctive it is interesting that the value placed upon the signwriting purpose of trespassing mark, whether for commercial, community or individual craft is in some way less than crafts which create more ends. The age at which they assume the same value as permanent artefacts such as furniture, jewellery and books. on your feld of vision’, these older inscriptions is arbitrary and disputed. Many of these signs are antiques, yet the skills involved In Butte, Montana, a debate currently ragesrepresenting over what to widespread in producing them aren’t celebrated in the same way as do with the city’s many ‘ghostsigns’: theresentment fading remains of of overbearing those of jewellers, cabinet makers and book binders. advertising painted on walls. Jim Jarvis and the Historic Their commercial intent is the main point of diference Preservation Ofce have proposed having these repaintedoutdoor advertising.” between ghostsigns and these other crafts, making the by the contemporary collective of mural artists and motivations of those passionate about them even more “Ghostsigns sign painters known as ‘The Walldogs’. However, local intriguing. There isn’t a comparable lobby arguing opposition has surfaced, objecting to what is perceived as the for the protection and restoration of contemporary are one among ‘Disneyfcation’ of the town and a lack of public consultation. billboards, yet ghostsigns once served exactly the same advertising purpose. In 1960 Howard Gossage observed many examples that billboards exist ‘for the sole and express purpose This debate is not unique to Butte, which is just one example of trespassing on your feld of vision’, representing of humankind’s of attempts around the world to resolve the question of what, widespread resentment of overbearing outdoor advertising. if anything, should be done about ghostsigns. The repainting Further back, in 1855, the ‘One Who Thinks Aloud’ desire to leave a of a sign for Bile Beans in York, England, provoked reactions lamented the form, although on very diferent grounds, “The character both extreme (‘an act of public vandalism’) and acerbic mark, whether (‘like an old friend having bad plastic surgery’), in addition of things like to widespread praise for the job done. In the absence of any for commercial, comprehensive and authoritative guidance in this relatively community or this is essentially new area of historical interest, the decisions taken are typically at a local level. Community groups and property individual ends.” ephemeral, and owners adopt approaches that they believe are right, often it is the fact that gaining support and inciting opposition in equal measure. As the evidence from Butte and York shows, these signs This sign was ‘saved’ in 2010 with the rejection of a planning application that would have resulted in the demolition of the ‘host’ building. Oxford. Photograph: such things survive exist at an intersection of public and private interests. Isisbridge. Image courtesy of History of Advertising Trust, hatads.org.uk They are typically ‘hosted’ on the walls of private properties, and subject to the whim of building owners. only rarely and Given their ambiguous value, ghostsigns currently fall However, the reactions to proposed or actual changes to outside of approaches taken to preserving cultural heritage their appearance demonstrate a parallel sense of public artefacts. They are not architectural features of note and are, accidentally Period Restoration ownership. The signs serve as way markers – often perceived ultimately, just advertising ephemera. In addition, unlike as ‘public art’ – and are records of local advertising and other forms of advertising and printed matter, they cannot that gives them ‘Amid all the changes which this changing age has Photograph: Brian Stubley craft history. Confict between these diferent groups, be collected and displayed in archives and museums, at least produced, that of the walls superceding the town’s not in their original form. Photographic archiving projects, with their respective claims to ownership, is brought their charm and bell-man is perhaps the most melancholy.’ such as the UK-based History of Advertising Trust Ghostsigns about when decisions are taken that afect the signs. Archive, do catalogue and document material, but say fascination.” The age of ghostsigns (most are from the early 20th nothing about how ghostsigns ‘in the wild’ should be treated. century) triggers a similar nostalgia which, in turn, Restoration Period Restoration These contentious interventions vary in degrees of extremity, Attempts to develop systematic approaches to protection and from doing nothing, through to plans to repaint the signs leads people to cherish them. However, in their day, restoration all face the problem of defning which signs have they provoked opposition similar to that of Gossage merit: one person’s artwork is another’s eyesore. Further, en masse as in Butte. Some actions lead to the loss of Restoration Period and the One Who Thinks Aloud. Although they are ghostsigns often exhibit multiple layers of text, known ghostsigns; the demolition of buildings, whitewashing and often resented now, it is entirely conceivable that the as ‘palimpsests’, with some seeing a beautiful historical sandblasting of walls are all more fnal than the gradual revealing of a printed billboard in 50 years could provoke ‘onion’ , while others perceive nothing more than a mess. weathering that usually takes them away. A whitewashing a similarly nostalgic response, and calls for protection, in Clapham led to a question being asked of London’s in a future world dominated by digital advertising. The signs often fall victim to today’s grafti and street Mayor about what he was doing to protect these pieces of artists, getting whitewashed in eforts to ‘clean up’ this more cultural and commercial history. His response delegated contemporary work. In some instances this coverage is only responsibility to local council level and, in this case, Michael partial. In Stamford Hill, London, advertising for a cigarette Copeman, on behalf of Kate Hoey MP, responded that: Recorder 01 / Summer 2014 Recorder 01 / Summer 2014 Recorder 01 / Summer 2014 http://rwt.io/code-samples/typober/ Real Fonts on the Web need screenshots of searching for fonts need screenshots of searching for fonts need screenshots of searching for fonts need screenshots of searching for fonts To Service or Self-host Services Self-hosting • Variety/Cost • Cost/specifc • Hosting infrastructure • Control • Updates • Consolidation • Support Putting Fonts to Use & Managing the UX <link href='https://fonts.googleapis.com/css?family=Alegreya: 400,900,400italic,700italic,700' rel='stylesheet' type='text/css'> p { font-family: 'Alegreya', Georgia, serif; } h1 { font-family: 'Alegreya', Georgia, serif; font-weight: 900; } CSS Loading: one line to link up 12.15 sec Sad trombone (no correction, typical 3G) <script type="text/javascript"> WebFontConfig = { google: { families: [ 'Alegreya:400,900,400italic,700italic,700:latin'] } }; (function() { var wf = document.createElement('script');