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Via Waxy, we are referred to an expansive and growing and searchable collection of graphic design related items, materials and resources organised from and available at the Internet Archives (previously) by curator Valery Marier. Categories include font specimens, annuals, style guides, book jackets, infographics, data visualisations, various advertising ephemera and vintage branding devices. 

 

 

 

8x8

testi stampati: the riotous typographical illustratrations of Lorenzo Petrantoni  

painterly realism: Nathan Shipley trained a neural network to turn portraiture into convincingly true-to-life photographs 

civilian climate corps: a vision of how putting people to work on conservation projects can help save both the environment and the economy  

narratology: a purportedly exhaustive list of dramatic situations—see also here and here  

stonx: a long thread explaining the GameStop short-squeeze—via Miss Cellania  

paradoxical undressing: National Geographic forwards a new theory to account for the Dyatlov Pass Incident (previously) of 1959  

butler in a box: before digital assistants there was domestic aid in the late 1980s 

will success spoil rock hunter: Art of the Title looks at the opening montage of the 1957 CinemaScope classic

тысячи

First articulated out the Cyrillic script (see previously) in the Bulgarian Empire in the tenth century following a long established Greek, Ionian convention to differentiate numerals from letters when context was not exactly clear with spacers, dots and a diacritic over the glyphs called a titlo ҃ or as a prefix signalling a long string of numbers to follow ҂, like a tilde or macron. Still sometimes seen in Slavonic Church publications and in old monuments and coinage, the system was in use until the civil reforms (see also) of Peter the Great in the early seventeen hundreds when Hindu-Arabic representations were introduced and because of this centuries-long custom continued well into the early modern era, elaborate signs were developed to express powers of magnitude and in terms of both a long and short scale (lesser and greater count multiplier) for accounting and scientific purposes. Align with the Greek (rather than alphabetically), one through ten, correspond with the Cyrillic letters: А, В, Г, Д, Е, Ѕ, З, И, Ѳ and І. The pictured powers of ten using the older alpha form, with the Myriad (Тьма) encircled    ⃝   either ten-thousand or a million and Many Myriad   ꙲   either one billion or 10⁵⁰.

monogrammed

The comprehensive rebranding—new uniforms, colour scheme, packaging, signage plus digital assets and merchandising (see also here and here) returning to the fast food franchise’s corporate branding circulated and experimented with from 1969 through 1999. Especially brilliant is the letterform, a double-struck B and K in a bun for Burger King by Jones Knowles Ritchey.  The mascot and monarch are not featured in this new roll-out but we are assured that he has not abdicated or been otherwise dethroned.

7x7

forty winks: this Pokémon Gengar sleeping companion 

flair: the outsized legacy of a 1950 graphic design magazine  

per my previous tweet: Trump silent on continued damage and defacement of federal monuments 

nangajo: ushering in the Year of the Metal Ox with this blended Japanese New Year’s tradition—previously  

👍: anti-social media removes ‘like’ feature (see also) from public-facing sites—via Slashdot

r/obscuremedia: enjoy this soothing VHS tape from 1984 “Escape to Nature’s Beauty” 

witchfinder general: King James’ other book—Demonology

schrifterlaß

On this day in 1941 in a directive circulated by head of the party chancellery and private secretary to Adolf Hitler, Martin Bormann settled the long-standing Fraktur-Antiqua Dispute (see previously) by declaring the former “undesirable” and the latter Latin script influenced by printing and automation to be in align with the ideals of Nazism. Although a typographical debate in the nineteenth and early twentieth centuries, the blackletter and calligraphic typefaces coexisted. Originally seen as un-German when the Antiqua font came in after the 1806 dissolution of the Holy Roman Empire and scholastically used for parsing Germanic tradition and terminology from foreign influences, supporters and proponents on both sides extolled the virtues of their preferred over the alternative, citing one was better for compact printing, higher legibility—did not contribute to myopia and blindness, more universal, less ornamental, and so on. Eventually these arguments began to carry ideological and political weight, with the Führer denouncing its continued use in 1934 in a speech before the Reichtag: “Your alleged Gothic internalisation does not find a place in this age of iron and steel, glass and concrete—of womanly beauty and manly strength—of headraised high with defiance…” The probable motivation for this edict was for ease in distributing propaganda material to countries being occupied and attacked in a typeface that the besieged were familiar with.

sōsaku kanji kontesuto

Language Log shares some of the top entrants for this eleventh annual Kanji Creation Contest submitted from the general public and school age participants during this past year. Many of these modified character forms—absolutely brilliant in their subtle transformation to imbue them with more meaning—are of course informed by the year’s course of events, like the overall winner, a reworking of the standard glyph 座 (za—to sit). 

With social distancing in mind, the 人 elements are spaced further apart. Similarly, for 会 (kai—to meet), the bottom supporter has been replaced with a Z for Zoom. See more at the link up top, including some non-pandemic-related words that could be classified as sniglets—words (see also here and here) and symbols to convey concepts that ought to already exist yet don’t, leaving a lexical gap for the filling.

‽

Via ibidem, we are directed towards a modest proposal from Fast Company contributing correspondent Dylan Mulvaney suggesting that a mostly forgotten punctuation mark, the interrobang (see previously here and here), that had its moment in the mid-60s to early 70s might be enlisted as we go boldly, flummoxed into 2021 and might be due for a revival. What do you think? A well-placed Madison Avenue adman called Martin Speckter who represented some of the biggest corporations at the time also happened to be the editor of a trade paper called TYPEtalks and proposed in a March 1962 magazine article entitled “Making a New Point—Or How About That…” his pitch for a new punctuation mark, arguably the first in centuries, his versatile, emotive interrobang. What do you think? There’s quite a bit to be said for consistency for adoption and though added to typewriters back then and included in Unicode today so it’s at one’s disposal, but there’s also a bit of a touch of trying too hard to it.

♃

Though we told that the astrological sign for the planet Jupiter is supposed to symbolise his thunderbolt or eagle, I’ve always thought it was a stylised number four for the fourth heavenly body in the firmament and just today learned that—unconnectedly—that in the subtractive notation for Roman numerals IV (four) is also an abbreviation for IVPITTER. To avoid blasphemy in inscriptions, it is postulated that the convention of additive notation (IIII) is used instead and preserved on most modern clock and watch faces and dedication, though by no means is this universal. The value 499, for instance, occurs as either ID, XDIX, VDIV, LDVLIV or CDXCIX and sometimes the Latin numerological terms—99 as undecentum—that is, one from a hundred or IC, set the standard.

vèvè

Either derived from a common cosmogram or schema representing the constellations or from the Nsibidi syllabary used by some peoples of West and Central Africa taken to the Americas by enslaved diaspora (or a bit of both), the religious symbols used in voodoo ceremonies and rituals is comparable to our extensive vernacular of signs and sigils employed in demonology and serve a similar purpose—which makes the later magicking seem like fanboy appropriation. Described as a beacon, vèvès represent astral forces and compel the loa, lwa—that is the intermediary or medium—to do the bidding of the summoner, provided adequate sacrifice is offered. As with creating a mandala, the symbol is drawn on the flood with a mixture of sand and ash.

8x8

сара́тов-2:some urban spelunking leads to a Soviet computer graveyard (previously) with some early machines thought lost to the ages 

indented writing: this case of an invisible will recalls some more recent forensic intervention to retrieve the words of a blind novelist 

parallel dimensions: one-hundred twenty-five artists render different computer-generated environments on one basic template of a character walking towards a mountain  

starfleet bold extended: the typography created for Star Trek: The Motion Picture (see previously, premiering on this day in 1979)

 ♚: the real-life Queen’s Gambit in Georgian chess champion Nona Gaprindashvili  

the panoply of digital phrenology: the coming subprime attention crisis and the bursting of the ad-serving bubble  

petroglyphs: more on the amazing expanse of pre-Columbian art discovered in the Amazon 

κουμπωμένο με κουμπιά: exploring an abandoned factory in Patisia Greece

alfabeti shqip

With the conclusion of the Congress of Manastir—now called Bitola, on this day in 1908 academicians from around the country met and achieved their goal of standardising the national language and script for the native population and the diaspora aboard and in neighbouring Kosovo and North Macedonia—who commemorate this Dita e Alfabetit—whereas prior to the democratic, deliberative and well-considered process the language was expressed in no fewer than six distinct scripts that drew from Greek, Cyrillic, Ottoman and Arabic. There was great potential for confusion between rho and pi, aitch and kha. The outcome was a variant of the Latin alphabet (see also) with thirty-six letters to best represent the phonology of Albanian with diagraphs including dh, gj and nj.

twinkle, twinkle

We are treated to an albeit abridged but nonetheless thoroughgoing history of the asterisk from Keith Houston’s Shady Characters, beginning with a frustrated librarian of Alexandria called Zenodotus who was determined to make a version of the epics of Homer as close to their original form as possible before centuries of editing, commentary and poetic license had turned the text into the unruly document that Zenodotus and colleagues were now heir to. In order to pare down the Iliad and the Odyssey, Zenodotus devised tracked-changes and version control, first introducing a range of proofreading or editor’s marks, to begin with a dash (—) in the margins to indicate a line to be excised, later named the obelos—that is, a roasting-spit. 

Having left us the literary legacy of dividing the poems into books, glosses of unusual words, a form of labelling and alphabetical indexing so scrolls did not need enrolling to know the contents, many duplicate verses obelised and a calculation of the time that passes in the course of the war and homecoming, a century later, grammarian Aristarchus of Samothrace took up the mantle of Homeric scholarship and stewardship and expanded the vocabulary of the critical symbols, with his asteriskos—little star and not to be confused with the asterism, to signal duplicate lines or something appearing elsewhere. With the conditional, footnoted sense developing over the millennia, the subtext was that for a a line with an * attached, there was more to the story. Other marks in the system which also indicated punctuation, breath and pronunciation, the sigma and antisigma (Ϲ, Ͻ) for what’s interchangeable, a dotted diple (>·) or an asteriskos/obelos combination to indicate an editorial disagreement and spurious authenticity. Our comic Gallic heroes are of course named in reference to these annotations. Much more to explore at the link up top.

putt putt to the pizza hut

We rather enjoyed the brand-recognition and the now expanded font specimen associated with the franchise Pizza Hut—which until recently was restricted to the seven letters under that red roof, in this brief appreciation from Print Magazine. Since the first restaurant opened in 1958 in Wichita, Kansas, their logo and corporate image has gone through quite a few permutations and experiments (see also here and here) that reflected the aesthetic of the times but the classic, iconic hut was used from 1967 until 1999—only to be reprised last year.

the past is another country

Two years ago—after the mid-terms—the Centre for American Politics and Design conducted a meta-survey of recently concluded political races and challenges for all types of public office to better understand the role of typography and graphic design in voting and campaigning, and are doing the same for every jurisdiction and elected official on the tickets for 2020. Explore some of the data and sample the logos (from president to dog-catcher and everything in between) included at Print Magazine at the link.

8x8

bongo cat: a joyous, simple noisemaker—via Boing Boing  

der orchideengarten: Austrian fantasy-horror revue that prefigured and informed Weird Tales and related properties  

backscatter: spooky, simple photography techniques and visual effects to haunt one’s Halloween picture portfolio 

porto-potty: Austrian postal service issues a special, rather expensive toilet-paper stamp whose proceeds go to charities benefiting those impacted most by COVID-19 

llama glama: a llama-based webfont—via Pasa Bon!  

smitten kitchen: for this US Food Day (made-up as a counterpart to Earth Day but never really took off) a look into the recipe library of Georgia O’Keeffe plus others  

clean up on aisle four: glass-floor of a supermarket in Dublin reveals a millennium old glimpse of Hiberno-Norse history (see also here and here) 

flags and drums: young brothers in Pakistan play BBC News theme on the table

font specimen

Boing Boing brings us a nice retrospective appreciation of the life and work of the recently departed typographer Ephram Edward (Ed) Benguiat (*1927), whose expansive family of fonts every one of us has surely encountered and used—Bookman, ITC Avant Garde, Panache, Souvenir—plus his formatting, layout and logotype for periodicals including Esquire, Playboy, Reader’s Digest, the San Diego Tribune newspaper and Sport Illustrated.

Beginning his work in graphic design just after World War II as a so called “cleavage retoucher,” Benguiat was part of a team assigned to airbrush out nudity or otherwise suggestive images in film and magazines to comply with Hays Code impositions, however by the 1970s his signature aesthetic for display typefaces and titles was in the kerning—regarded as “sexy spacing” between letters, flirtatiously not quite touching. Aside from movie posters and corporate campaigns for Super Fly (1972), Planet of the Apes (1968) and Foxy Brown (1974, ITC Caslon, № 224), Benguiat also was responsible for the opening credits sequence for the prestige television series Stranger Things. Learn more at the links above.

sm;)e

Navigating the countercultural and often contradictory notation and expression of graphic designer Harvey Ball’s (*1921 – 🙂2001) enduring and pervasive icon, with precedents and antecedents—never trademarked and it earning Ball a commission of forty-five dollars—the smiley has enjoyed a duplicitous career as no other symbol and is certainly a subject ripe for exploration as it was enlisted, never exclusively, for the commercial and corporate as well as for the subversive and sublime. Via Colossal, this history with relevant touchstones and points of departure are the subject of an upcoming coffee table volume from DJ DB Burkeman and Rich Browd. Much more to discover at the links above.

9x9

patim, patam, patum: font specimens of Patufet, a typeface inspired by the Catalonian Tom Thumb 

ace of cups: Summer of Love all-female band that played the Avalon Ballroom and appeared with Jefferson Airplane, Jimi Hendrix and the Grateful Dead release a new double-album 

leaf-peeping: Swiss fall foliage map 

franking privileges: Finnish studio mints climate change stamps with heat-reactive ink 

backyard safari: highly detailed journal documenting encounters with wildlife—via Nag on the Lake 

space 1999: scenes from the sets of the iconic British scifi series that ran from 1975 to 1977—via Messy Nessy Chic 

pacomobile: a modified VW snail camper—via Things magazine  

sălaj county: a brilliant assortment of flag redesigns for Romania’s forty-two regions to celebrate the country’s diversity 

 cannonball aderley: jazz record sleeves from Reagan Ray (see previously) feature the typography of the artists’ names—via Kottke

palabra jot

Probably at least a semi-legendary figure though charged with an onerous task nonetheless, court historian, secretary and studious bureaucrat Cangjie (倉頡) was tasked with the job of inventing written language around forty-six centuries ago when the Yellow Emperor expressed his dissatisfaction with the available method of recording information—that is, knots in string.
Though gifted and determined, Cangjie was at a loss until he began to contemplate the tracks and footprints left by animals and humans. Encountering an unfamiliar impress, Cangjie inquired with a hunter what sort of animal could leave such a mark. On learning it was the print of a Pixiu (貔貅, the equivalent of a chimera), Cangjie was inspired to create a set of logograms that would become written Chinese. Traditionally depicted with four eyes, it is said that at his eureka moment, the deities and ghosts wailed and wept as the living could be duped no longer thanks to a written record and the heavens rained down millet and grain. This figure is the namesake of the first Chinese language dictionaries and the method for adapting Chinese for Western keyboards.