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< style> <title>Lines & Splines< title> <meta name="keywords" content="andy crewdson, lines and splines, type design, typography, fonts"> < head> <body marginheight="0" marginwidth="0" style="MARGIN:0px " bgcolor=" #FFFFFF" link="#FF6600" alink="#CC6600" vlink="#999999" text="#000000"> <center><table border="0" cellspacing="0" cellpadding="0"><tr><td><img src="toplogo.gif" border="0">< td><td><img src="nothing.gif" width="20" height="1" border="0">< td>< tr>< table><table border="0" cellpadding="0" cellspacing="0" width="450"> <tr><td valign="top"> &nbsp &nbsp &nbsp &nbsp <font class="blogdate"><i>Wednesday, March 28< font>< i> <br><a name="2980412">< a> <font class="blogitem"> <a href="2001_03_01_archive.html#2980412"><font color="#FF6600">&para < font>< a> &nbsp From <a href="http: www.typomedia.com reporting kommentar greiman_e.html">the report< a> on April Greiman's talk at last year&#8217 s TypoMedia:&#8216 Her studies with Armin Hoffmann poster art in New York [and] Wolfgang Weingart in Basel led her to the opinion that typography was &#8220 disturbing&#8221 for her and that both instructors found her early works to be &#8220 dreadful.&#8221 &#8217 < font> <br><br> &nbsp &nbsp &nbsp &nbsp <font class="blogdate"><i>Tuesday, March 27< font>< i> <br><a name="2958863">< a> <font class="blogitem"> <a href="2001_03_01_archive.html#2958863"><font color="#FF6600">&para < font>< a> &nbsp Looks like <a href="http: www.boag.co.uk ">Andrew Boag's site</a> has been redesigned since I last saw it. I just found his <a href=" http: dspace.dial.pipex.com aboag down index.html">list of articles< a> going back to 1989 all made available in <font class="smallcaps">PDF< font> .There's an amazing range of topics covered &amp I look forward to reading them. Also take a look at <a href="http: dspace.dial.pipex.com aboag work rm.html">this page< a>, which discusses how they adapted the Royal Mail's <a href="http: www.myfonts.com FontFamily175.html">Stempel Garamond< a> to be more <font class="smallcaps">OCR< font>-able.< font> <br><br> <br><a name="2951797">< a> <font class="blogitem"> <a href="2001_03_01_archive.html#2951797"><font color="#FF6600">&para < font>< a> &nbsp Thanks to type designer Christian Schwartz for writing to clarify some things about the Chicago Tribune's new fonts see earlier post below .As I'd speculated, the <a href="http: www.fontbureau.com">Font Bureau< a> folks did draw the new headline cuts of Century three or four condensed versions, one normal width, and a bold italic .As for the body text face, a new one was never actually in the works I guess I was thinking of the LA Times .The Art Deco titling face Eclipse was done by <a href="http: www.typedesign.com">Jim Parkinson< a> but the swash alternates idea came from within the Trib makes sense .Also, apparently the paper had Montreal-based Lucie Lacava co&ouml rdinate the redesign. If I remember right, Lacava was responsible for the much-heralded design of the <a href="http: www.nationalpost.com ">National Post</a> &amp; is also an <font class=" smallcaps"><a href="http: www.snd.org ">SND</a></font> honcho. </font>
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    &nbsp; &nbsp; &nbsp; &nbsp; <font class=" blogdate"><i>Saturday, March 24< font>< i> <br><a name="2919939">< a> <font class="blogitem"> <a href="2001_03_01_archive.html#2919939"><font color="#FF6600">&para < font>< a> &nbsp P.S. to the Tribune redesign post:just found <a href="http: www.chicagomag.com chicagomag news 0401lipinski .htm">this <i>Chicago Magazine< i> piece< a> about Anne Marie Lipinski, the Trib editor who spearheaded the redesign. In the big picture of Lipinski in her office I think you can see samples of Tribune Eclipse posted on the wall behind her. If you look hard, you might be able to make out some of the font's different swash alternates. < font> <br><br> <br><a name="2918733">< a> <font class="blogitem"> <a href="2001_03_01_archive.html#2918733"><font color="#FF6600">&para < font>< a> &nbsp <a href="http: www.typeclub.com ">The Type Club of Toronto</a> is having 'An Evening of Type' on March 30 &#151; check their site for more information. There will be four speakers, including top Toronto type designer <a href=" http: www.shinntype.com ">Nick Shinn</a>.</font>
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    &nbsp; &nbsp; &nbsp; &nbsp; <font class=" blogdate"><i>Friday, March 23< font>< i> <br><a name="2909989">< a> <font class="blogitem"> <a href="2001_03_01_archive.html#2909989"><font color="#FF6600">&para < font>< a> &nbsp After hearing that The Chicago Tribune <a href="http: www.chicagotribune.com news metro chicago article 0, 2669, ART-50538, FF.html">redesigned< a>, I wasn't at all surprised to see <a href="http: chicagotribune.com news commentary printedition article 0, 2669, SAV-0103220133, FF.html">this article< a> a few days later. The one thing the readers complained about hadn't changed at all &#151 they're still sporting the <a href="http: www.myfonts.com FontFamily1702.html">Nimrod< a> at the same size. Maybe it was just wishful thinking, because they really should have changed their body text can anyone tell me what the difference is between Nimrod &amp Clarion, and why the latter has never been digitized? .Nimrod's not bad, but the Tribune really should have had something new &amp custom done up. I could have sworn that Font Bureau had drawn a new text face for the Trib some time ago. <br> &nbsp &nbsp &nbsp &nbsp Other changes:they've got a sharpened up nameplate by <a href="http: www.typedesign.com">Jim Parkinson< a>, who you might remember also helped fix the Berkeley paper's flag not too long ago. For headlines they're now using what they refer to as 'Tribune Century,' which I would guess is a customized version done by Font Bureau based on their <a href="http: www.fontbureau.com specimens century.html">Century Bold Condensed< a>. It definitely looks better than their old Century, which I think was <font class="smallcaps"><a href="http: www.adobe.com type browser P P_141.html">ITC< a>< font>'s. For their sans they've chucked newspaper mainstay <a href="http: www.adobe.com type browser P P_023.html">Franklin Gothic< a> &amp are now using <a href="http: www.adobe.com type browser P P_1706.html">Myriad< a>, which seems about as un-newspaperly as you get. Again, a pretty disappointing use of a super-common retail face they could've done much better I think. <Br> &nbsp &nbsp &nbsp &nbsp The other new font they're using is 'Tribune Eclipse,' which they employ for section heads banners. There are two weights of Eclipse along with some swash alternates as you can see in the Travel section banner .It's a high-contrast, Art Deco-ish sans that appears nicely crafted but thoroughly out of place in a newspaper way too elegant and really odd alongside the Century heads .Not sure what the rationale for this face was, except maybe to appear fresh or innovative.<br> &nbsp &nbsp &nbsp &nbsp &nbsp On the topic of newspaper design, a good site which I'm not sure I've mentioned before is <a href="http: www.ronreason.com ">Ron Reason's page</a> (his <a href=" http: www.ronreason.com people index.html">People< a> page is especially good for keeping track of who's up to what .I notice that in his most recent piece, Reason complains about the ubiquity of <a href="http: www.fontbureau.com specimens griffith.html">Griffith Gothic< a>, which is ironic since he uses it all over the place.< font> <br><br> &nbsp &nbsp &nbsp &nbsp <font class="blogdate"><i>Thursday, March 22< font>< i> <br><a name="2896332">< a> <font class="blogitem"> <a href="2001_03_01_archive.html#2896332"><font color="#FF6600">&para < font>< a> &nbsp Stanley Morison on being a 'townee' vs Gill's love of the countryside:'I never went to the country, nor do I now; except under compulsion. The result was I didn' t go to Pigotts unless there was some urgent necessity for it. [Gill] never came to London except when there was some urgent necessity for that. So we didn't meet half as much as we should have done. Had there been some half-way house at, say, High Wycombe, where we could have had some fine macaroni and some cheap Chianti, we could have talked and talked.' <br> &nbsp &nbsp &nbsp &nbsp Another SM quote involving macaroni:'I wouldn' t belong to this bunch of macaroni merchants for another second if it wasn't the way of laying hold on Christ' said in an attempt to explain why he remained a Catholic despite having constantly criticized the Church .< font> <br><br> &nbsp &nbsp &nbsp &nbsp <font class="blogdate"><i>Wednesday, March 21< font>< i> <br><a name="2881713">< a> <font class="blogitem"> <a href="2001_03_01_archive.html#2881713"><font color="#FF6600">&para < font>< a> &nbsp From <a href="http: www.myfonts.com Person183.html">Sem Hartz< a>' essay on Van Krimpen:'the development of Van Krimpen' s mental make-up is of a complex nature. A subtitle for an article on Van Krimpen could well be:"From Angry Young Man to Angry Old Man." This anger can be easily explained if one takes into consideration how circumstances in the [printing typography] trade developed during his lifetime.' Hartz also says he believes Roman&eacute e to be the finest roman Van Krimpen designed. This is also what I've thought ever since I first saw the font. I'm not sure what we need more:a digital Roman&eacute e or a digital Emergo. Both would be nice. Speaking of Van Krimpen, I recently found this page:<a href="http: home.pi.net ~johnf ">Preliminary checklist of the early work of Jan Van Krimpen</a>. Wish I'd seen it earlier.</font>
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<br><a name=" 2881555" >< a> <font class="blogitem"> <a href="2001_03_01_archive.html#2881555"><font color="#FF6600">&para < font>< a> &nbsp <a href="http: www.nofont.com ">nofont</a>: made by crazy Swedes with lots of <a href=" http: www.fontbureau.com specimens mantinia.html">Mantinia< a>. Don't miss 'The ergonomy of a book' &amp 'Everyday typography' via <a href="http: www.threeoh.com">THREE.OH< a> I think .< font> <br><br> &nbsp &nbsp &nbsp &nbsp <font class="blogdate"><i>Tuesday, March 20< font>< i> <br><a name="2865111">< a> <font class="blogitem"> <a href="2001_03_01_archive.html#2865111"><font color="#FF6600">&para < font>< a> &nbsp Another from the archives:Phan Nguyen points out an old <i>Adobe Magazine< i> piece by <a href="http: www.creativepro.com author home 951.html ">John Berry</a>: '<a href=" http: www.adobe.com products adobemag archive pdfs 9603lsjb .pdf">Going Dutch< a>.' Lots about perennial favorite <a href="http: www.fontfont.com cgi-bin showfont.pl?name=ff+quadraat">Quadraat< a>, which reminds me of something that keeps happening in my Dutch class. Periodically the professor will pass around something relevant to the day's discussion &amp often it's some sort of propaganda from one of the Dutch government's publicity organs. Though the pamphlets aren't especially well designed, they're always done in Quadraat. They use it for display &amp text, but they don't actually employ the display cut for display-sized type. As Berry writes, 'the effect at large sizes, where you can actually see the differences, is to make Quadraat look chunky and distinctive.' I always get distracted by the eccentricities you see at large sizes no matter how many times I see it &amp by the time I'm supposed to pass the thing to the next person, I of course haven't read one bit of it.< font> <br><br> <br><a name="2864042">< a> <font class="blogitem"> <a href="2001_03_01_archive.html#2864042"><font color="#FF6600">&para < font>< a> &nbsp 'Their influence on the type-making industry was far-reaching and of a significance still not truly appreciated.' Just found an old article from <i>Printing History< i> by Patricia Cost:'<a href="http://www.printinghistory.org/htm/journal/articles/31-32-Cost-Benton.pdf">Linn Boyd Benton, Moris Fuller Benton, &amp; Typemaking at ATF</a>.' < font> <br><br> &nbsp &nbsp &nbsp &nbsp <font class="blogdate"><i>Monday, March 19< font>< i> <br><a name="2854148">< a> <font class="blogitem"> <a href="2001_03_01_archive.html#2854148"><font color="#FF6600">&para < font>< a> &nbsp From John C. Tarr's <i>Penrose Annual< i> article 'What are the fruits of the new typography?':<ul>One of the interesting features about the advent of the new typography in England and America was the assocation of modern-face types with modernistic typographic arrangements. Possibly this was due to verbal confusion or some imagined simplicity about Bodoni and similar faces it was in any case diametrically opposed to Tschichold's teaching.< ul>Yup, that is interesting. I can't easily think of any examples of this, actually but I'll be on the lookout now .< font> <br><br> <br><a name="2854003">< a> <font class="blogitem"> <a href="2001_03_01_archive.html#2854003"><font color="#FF6600">&para < font>< a> &nbsp <a href="http: www.zeropointfive.co.uk ">zero.point.five</a> is looking for 'submissions [ranging] from articles and rantings on the subject of typography and usability, design and flash work and font designs of any kind.'</font>
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<br><a name=" 2852147" >< a> <font class="blogitem"> <a href="2001_03_01_archive.html#2852147"><font color="#FF6600">&para < font>< a> &nbsp Recently it was requested that I post a list of type-related mailing lists. Here are a few that come to mind:<a href="http: www.mediastudio.com typo_l ">TYPO-L</a> (general type-related stuff); TYD (type design &#151; send mail with 'subscribe' in the body to <a href=" mailto:type-design-request@p90.net">type-design-request@p90.net< a> <a href="http: www.topica.com lists opentype">OpenType< a> discussion about the <a href="http: www.microsoft.com typography faq faq9.htm?fname=%20&fsize=">OpenType format< a> <a href="http: www.joeclark.org screenfont.html">Screenfont< a> onscreen type <a href="http: palimpsest.stanford.edu byform mailing-lists bookarts ">Book_Arts-L</a> (book arts in general); <a href=" http: hermes.csd.unb.ca archives letpress.html">Letpress< a> letterpress printing .Let me know if I'm forgetting something.<br> &nbsp &nbsp &nbsp &nbsp &nbsp I'm truly grateful to the members of some of these lists particularly TYPO-L for sharing their knowledge so readily over the past few years. Their help has been invaluable.< font> <br><br> <br><a name="2851966">< a> <font class="blogitem"> <a href="2001_03_01_archive.html#2851966"><font color="#FF6600">&para < font>< a> &nbsp <a href="http: www.thetimes.co.uk article 0, 60- 100987, 00.html ">Will Carter's obit</a> says that he designed a font for Letraset called Dartmouth Titling while he was at the college in the late 1960s. I've never heard of it and wonder if it's ever been digitized. </font>
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<br><a name=" 2851385" >< a> <font class="blogitem"> <a href="2001_03_01_archive.html#2851385"><font color="#FF6600">&para < font>< a> &nbsp Those in the Bay Area with an interest in type design or the book arts won't want to miss this:<a href="http: www.peterkochprinters.com type_sym">The Parmenides Project< a> SF Public Library, June 10 &amp 11 .< font> <br><br> &nbsp &nbsp &nbsp &nbsp <font class="blogdate"><i>Saturday, March 17< font>< i> <br><a name="2823161">< a> <font class="blogitem"> <a href="2001_03_01_archive.html#2823161"><font color="#FF6600">&para < font>< a> &nbsp It's interesting reading early '90s issues of <i>Ampersand</i> (the <a href="http://www.sfcb.org/html/members.html">PCBA</a> publication edited by <a href="http://www.poltroonpress.com/">Alastair Johnston</a>). Amazing how much things have changed in a decade or so. Volume 10, Number 3, from 1990, has a review of some new (at the time) Adobe faces written by Johnston. Talking about <a href="http://www.adobe.com:82/type/browser/P/P_1719.html">Minion</a>:<ul>Slimbach' s new version [of Bembo] has the added lustre of <a href="http: www.adobe.com type browser P P_450.html">Dante< a> and also tips its hat to <a href="http: www.adobe.com type browser P P_302.html">Spectrum< a>, the classic Van Krimpen type which had a little too much personality for longevity. Minion is also sharper and slightly more condensed than the traditional Aldine roman &#151 a reflection of our times and the demands of the computer type market. It seems as though eventually all the new types will meet in the middle and we'll be back at Sabon. <i>yea, exactly... that's what I've always felt about Minion< i> ...From the name, it appears Adobe is going after <a href="http: www.linesandsplines.com 2001_ 02_ 01_archive .html#2550792">Galliard< a> like Galliard, Minion is a historical French name for a small size of type to wrest back that section of the market.< ul>On <a href="http: www.adobe.com type browser P P_520.html">Charlemagne< a>:<ul>[It] seems tailor-made for Sonoma Valley vinters. It has the elegant French manuscript look of some of Frutiger's recent work with exaggerated pointy serifs like winklepicker shoes and swelling bowls to the non-circular curves. Fruity but a little insouciant in the aftertaste!< ul>Then he really hits his stride:<ul>A type based on architect's handwriting <a href="http: www.adobe.com type browser P P_1704.html">Tekton< a> needs no comment. Architecture should not be considered a design discipline until architects learn first to design in two dimensions before dropping their monstorus garish boxes all over the landscape.< ul>I also found Johnston's review of the first paperback edition of <i>Elements< i>, which starts out positively &amp then launches into a pretty withering attack on The Canadian's way of describing fonts:<ul>Typography is a precise craft which requires clarity of thought and direction, not aery-faery guff. As a poet he loves to introduce metaphors so that a page becomes an "alpine meadow, or the purity of undifferentiated being," as he wanders into the "wilderness of letters." These "tribal customs of the magic forest" that appear from the first page send me running for an axe.< ul>Johnston sums it up best in his response to one of Bringhurst's flights of fancy his description of <a href="http: www.adobe.com type browser P P_465.html">Monotype Bell< a>, I think:'Say wut?!@#!' < font> <br><br> &nbsp &nbsp &nbsp &nbsp <font class="blogdate"><i>Thursday, March 15< font>< i> <br><a name="2801073">< a> <font class="blogitem"> <a href="2001_03_01_archive.html#2801073"><font color="#FF6600">&para < font>< a> &nbsp <a href="gill_initials.gif">Here's a rough version< a> of the Gill <strike>initials signature< strike> monogram that will be on the back of the shirt still needs a lot of work .< font> <br><br> <br><a name="2801054">< a> <font class="blogitem"> <a href="2001_03_01_archive.html#2801054"><font color="#FF6600">&para < font>< a> &nbsp Thanks to Mike Dimmick for sending in <a href="http: www.dvla.gov.uk vehicles regmarks reg_marks_newrules.htm">this page< a>, which contains specs and general information about the revised UK car plates I think the link was also floating around the type mailing lists a while ago .Apparently UK plates hadn't been anywhere near as regulated as American plates in the past, but now they're cracking down:'an increasing number of motorists use number plates that are difficult to read. The introduction of cameras for enforcement purposes means that it is more important than ever for number plates to be legible. The new regulations will ensure that there is clarity of numbers and letters through the use of a standardised mandatory font.' < font> <br><br> &nbsp &nbsp &nbsp &nbsp <font class="blogdate"><i>Wednesday, March 14< font>< i> <br><a name="2782269">< a> <font class="blogitem"> <a href="2001_03_01_archive.html#2782269"><font color="#FF6600">&para < font>< a> &nbsp Finally:the long-overdue <a href="http: www.nationalpost.com search story.html?f= stories 20010313 498422.html ">Mau backlash</a> may in fact be gaining momentum. I've been waiting, waiting for this. (via <a href=" http: www.textism.com">Textism< a> < font> <br><br> <br><a name="2782099">< a> <font class="blogitem"> <a href="2001_03_01_archive.html#2782099"><font color="#FF6600">&para < font>< a> &nbsp Ohhhh yea, about the shirts:after all that, we finally came to the realization that quotes on shirts really aren't that great. It would have been better if we'd realized this earlier, but ...I mean, you knew we weren't going to pick the dog one, right? And most of the others seem a bit too sanctimonious or high fallutin' to put on a shirt. At any rate, thanks to everyone who voted and thanks again to those of you who submitted quotes. <br> &nbsp &nbsp &nbsp &nbsp So, here's the new plan:the front will remain the same the rendering of Gill will look something like <a href="gill_shirt.gif">this< a> and the back will have a redrawn &amp enlarged version of Gill's signature glyph a calligraphic E which flows vertically into a G .You can see the glyph I'm talking about in many of Gill's drawings and woodcuts it's not the backwards 'EG' version .I'll post it up after I've redrawn it.<br> &nbsp &nbsp &nbsp &nbsp Also, to everyone who has enquired about the shirts:I'll be sending out an email to all of you in a week or so with the specifics. Thanks again &amp sorry for the delay school's been pretty hectic lately .< font> <br><br> <br><a name="2772473">< a> <font class="blogitem"> <a href="2001_03_01_archive.html#2772473"><font color="#FF6600">&para < font>< a> &nbsp Thanks to Rodolfo Capeto for following up my mention of the <a href="http: www.natwest.co.uk">NatWest< a> face by sending over an article which details the font's conception and execution. Apparently NatWest comissioned the face through <a href="http: www.wolff-olins.com ">Wolff Olins</a>, <a href=" http: www.thefoundrystudio.co.uk">Quay &amp Sack< a> did the original drawings &amp then <a href="http: www.daltonmaag.com">Bruno Maag< a> did the digitization and production. 'The brief was to make a design which would appear both modern and humanist, with warm and friendly qualities, yet still maintaining the authority of the bank.' A preliminary trial font was drawn by Quay &amp Sack and then <a href="http: www.urw.de english softw ik-set.htm">IKARUS< a>'d by Maag. More experiments and drawings were done finally two text variants and a display cut emerged. Maag did the final fonts in Fontographer but apparently 'considers IKARUS to be the best tool for capturing designs which exist as pencil drawings,' though he is 'scornful of the quality of PostScript type data it produces' I think this was in the mid-'90s &#151 I had previously assumed that by this time IKARUS had been abandoned by most .The article also says that at one point Maag considered doing Multiple Master versions of the font but rejected this idea mainly 'because designers are often not technical enough to know how to use [MMs]' a not infrequent criticism of the technology .< font> <br><br> &nbsp &nbsp &nbsp &nbsp <font class="blogdate"><i>Friday, March 9< font>< i> <br><a name="2711284">< a> <font class="blogitem"> <a href="2001_03_01_archive.html#2711284"><font color="#FF6600">&para < font>< a> &nbsp In case you haven't seen it, there's a short 'Point of View' piece from <a href="http: www.typography.net ">Jeremy Tankard</a> over at <a href=" http: www.threeoh.com ">THREE.OH</a>.</font>
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<br><a name=" 2709662" >< a> <font class="blogitem"> <a href="2001_03_01_archive.html#2709662"><font color="#FF6600">&para < font>< a> &nbsp <a href="http: www.mikecina.com">Mike Cina< a> reports that Weingart's talk in Minnesota last night was also excellent. And according to Cina, Weingart apparently had some things to say about David Carson, backing his comments up with visuals he created something like an impromptu graphic design timeline to show the relative unimportance of Carson in the grand scheme of things .I do remember him making one Carson crack at the beginning of the SF lecture:feigning bewilderment, he said something to the effect of, 'I thought only David Carson got crowds this big!' Mike has also posted some <a href="http: mikecina.com weingart ">Weingart pictures</a> (<a href=" http: mikecina.com weingart DSCN1709.jpg">this one< a> is great .<br> &nbsp &nbsp &nbsp &nbsp P.S. I just remembered another thing Weingart said during his talk, probably meant to rankle the crowd like the Carson comments .Best known for his use of Akzidenz Grotesk, he said something about why he chose Times for his book I don't remember what his justification was exactly .Then he went on to say that we certainly don't need any more typefaces &amp that the only reason more were being created was to make money. Now I've got no problem with the people in the three four five types are all we need camp. But there's no reason to constantly make an issue of this if you believe it, then abide by it &amp that's the strongest thing you can do to promote your view. Debating whether we 'need' more is a waste of time. Also, I think it's plainly ridiculous to say that making money is the present-day type designer's sole motivation or in most cases, a motivation at all .< font> <br><br> &nbsp &nbsp &nbsp &nbsp <font class="blogdate"><i>Thursday, March 8< font>< i> <br><a name="2700501">< a> <font class="blogitem"> <a href="2001_03_01_archive.html#2700501"><font color="#FF6600">&para < font>< a> &nbsp I enjoyed the Wolfgang Weingart lecture in San Francisco last week. I had never seen or heard him before, but he was pretty close to how I expected he would be demeanor, affect .He started out slowly &amp faltered a few times in keeping things on track, but the audience was held rapt the whole time at least I was .He used the sections of his big book which he repeatedly tossed on the projector, always making sure that it was placed askew, never neatly he did this with everything he put on the projector &#151 sort of a physical expression of his attitude toward the Ruder-ian grid? .The way he moved his 'props' around pictures, pieces of metal &amp wood type with precise imprecision again seemed to echo his typographic method.<br> &nbsp &nbsp &nbsp &nbsp I'd quickly looked through his book a few times before &amp lots of it seemed pretty impenetrable. Seeing him talk about it, though, put things in context &amp made me want to go look at it again more closely. These relationships between abstract forms patterns &amp typographic design always seemed hard to truly understand I think I'm getting a little closer now. I'm pretty sure his talk will also help the next time I read Ruder's <i>Typography< i> mainly in getting a better handle on the pages toward the end of the book .<br> &nbsp &nbsp &nbsp &nbsp I was a bit disappointed that no one asked a question at the end of the lecture. Seems like there are a million things that could have been asked not that I was going to ask any of them .I guess all of the black-clad design scenesters in attendance were a bit intimidated by the original Swiss Punk as they should have been .Despite the anti-climatic ending, it was still an excellent talk. <br> &nbsp &nbsp &nbsp &nbsp Thanks very much to Matt Desmond of <font class="smallcaps"><a href="http: www.testpilotcollective.com">TPC< a>< font> for sending <a href="wolfgang1.jpg">this picture< a>, taken with his Eyemodule. < font> <br><br> <p><center> <br><br><Font class="smallcaps">LASCIVIVS MATRIMONII?< font> <br><br><font class="blog2"><a href="mailto:crewdson@uclink4.berkeley.edu">Mail< a>, <a href="colophon.html">Colophon< a> & <a href="archive.html">Archives< a>.< font> <br><Br><a href="http: www.blogger.com"><img src="blogger_logo.gif" border="0">< a> < center> <p> < td> < tr> < table> < body> < html> { }
