INDENT Steven Heller talks with David Senior about THE ELECTRO-LIBRARY
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Interview with David Carson
A Type House Divided
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KEEPING UP WITH CARSON David Carson rewrote the rules of graphic design. text by jamie brisick
David Carson is an internationally acclaimed graphic designer who hit hard in the early nineties with Beach Culture and Ray Gunmagazines. His work was intuitive, daring, loose. He revolutionised the font game and turned traditional typographical design theory on its head. And by fusing sophisticated, conceptual ideas with child-like simplicity, he became an art star in a medium that’s generally considered background. His first book, with Lewis Blackwell, The End of Print, is the top-selling graphic design book of all time.Newsweek wrote that he “changed the public face of graphic design.” London-based Creative Review called him “the most famous graphic designer on the planet”. And David Byrne, Nine Inch Nails and Bush contracted his unique eye to design their wares, as did Pepsi, Toyota and Microsoft. But his visual work is only part of it. He lectures internationally, and has garnered a cult following. He is a lifelong surfer and doting father. I met him in 2001 when we worked together on Big Surf, an NY-spawned single-issue magazine. His downtown studio was a mess. Never in my life had I seen so many icons on a single computer screen. He seemed to be juggling fifty jobs. I was concerned about our deadline, the precious art sent in by contributors that lay scattered haphazardly about his floor, whether he even cared. We were a couple of month’s late with the issue, but of course it won design awards, and is still talked about today. Which is to say that there is a lot of chance and chaos theory in Carson’s work, but somehow the chips or the cards or the drops of coffee fall in perfect disorder. Some years back he moved his business into a small studio on Pacific Coast Highway in Indent 1
“I read the description and thought, ‘Wow, that’s a profession? You can be creative, have fun, make stuff and get paid?’” Malibu. A few yards down the road was a peculiar sign: it read ‘DRUNK DRIVER’ in black, block text, with ‘CALL 911’ just below. Carson marvelled at it. When it came time to put up a sign of his own he copied the exact font, colour, shape and scale: ‘GRAPHIC DESIGNER CALL 457-5652’. HUCK: You were a teacher before you were a graphic designer. How did you make the shift? David Carson: I was teaching my first year at a strange little cult religious school in Oregon. I had grades one through twelve all day, in one room. When they had a question to ask they either raised an American flag or a Christian flag, depending on what kind of question it was. Strange experience! Anyway, I got a postcard announcing a two-week graphic design workshop during the summer, and it described what they would be studying. It was for high school seniors. I read the description and thought, ‘Wow, that’s a profession? You can be creative, have fun, make stuff and get paid?’ So I called and asked the school, University of Arizona in Tucson, if I could come, and they said, ‘Sure.’I returned to Southern California when I was done teaching, where I had secured a job with Nancy Katin [Katin surf trunks]. Indent 2
I worked for a few weeks, not positive if I was really going to the graphic design workshop or not. Finally I told my boss, Nancy Katin, that I needed two weeks off in the middle of the summer to attend this workshop. She told me if I left for the workshop, I would not have a job when I returned. That made the decision a bit more difficult, but somehow I felt I had to try this graphic design thing. And I did. Luckily, I had a very cool, funny and good guy instructor, Jackson Boelts. It’s hard to say if I would have been as interested had I had a loser teacher. But at the end of those two weeks it was so clear to me: That’s what I wanted to do. What do you consider to be your career highlights? In terms of work I would really say Beach Culture magazine, for a number of different reasons. It was the first time all my earlier training had a chance to come together. I had done Transworld Skateboarding, I had moved to the East Coast to do Musician and Billboard, and then after I got fired for the design being too radical. I’d heard that Surfer Publications were talking about doing this more experimental magazine, and I flew out to California to interview for the job. Beach Culture was never intended to be a surf magazine. It was loosely hung on this idea that people at the beach also enjoy other things — it was an attitude. It was myself and the editor, Neil Feineman, in the back of the Surfer offices, literally in the warehouse, just doing our thing. I look back now and it was so pure. I was living with it around the clock. We did every issue like it was our last. I was so broke I was scrounging for gas or lunch money half the time, but it didn’t matter. We were experimenting. My thing had yet to take off Indent 3
at that time, but the issues still hold up well. They shut it down about a year before the whole street culture thing kicked in, which was a shame. And then much later the work I did for Nine Inch Nails, packaging and posters and everything. Trent Reznor was a really interesting person to work with. We hit it off, just a great working relationship. Just the idea that you could interpret somebody’s music and lyrics in a way that they’re happy with was really satisfying. I remember getting an email from Trent when we were done saying that he was really happy about the work. I put it up on my office wall. I’m also most proud of — I think it was within a year of each other — getting listed in The Encyclopedia of Surfing and A History of Graphic Design. Your graphic design work soon expanded into giving talks and lectures. Now it seems your renowned for both. And the talks seem to attract far more than just the visual arts crowd… My next book is called The Rules of Graphic Design, but it’s really much more than that. I think it’s about creativity and trusting yourself and using who you are in your work, whatever that work is. One of the early criticisms of my work was that it was ‘self-indulgent’ and I’d say, ‘Hell yeah it is, I’m totally into it, I’m totally absorbed in it, and part of me hopes it gets recognised and I wouldn’t want somebody working for me who
wasn’t just as into it. ’Early on in my career someone wanted me to talk to this group of high finance, venture capitalist people, and I was just kind of dreading it, thinking, ‘What will I have in common with these people?’ And what struck me afterwards is how almost all of them came up to get a book signed or to make a comment and I thought, ‘Whoa, there is a bigger message here than just putting type on top of type!’ What is it you like most about magazines? Unlike the web, mags are surprisingly social. When I travel, I make a plan to go into the part of the city with the coolest mag store, also visit the CD store and buy some new stuff ‘cause I like the covers, maybe pick up a few clothes, shoes, whatever, have a coffee and watch the world. It’s social; it’s an event. What artists have inspired you? I always have trouble with that question, and some of it comes from not having schooling and never learning who specifically the people were, the schools of thought, etc. I hate to come off like I don’t follow anyone, but there’s no one person. Growing up, I memorised all the surf mags — I can pick photos in the old mags and tell you the caption. [Miki] Dora was always my number one hero in that world.
I know you travel often, so a ‘Day in the Life’ might be tough. But what’s, say, a month in your life like? Just in the last few months I lectured to 1,200 people in Ireland, and then I was surfing in the Caribbean, and then I gave a lecture to the graduate programme in architecture at Penn State, and now I’m in New York seeing about moving my business here. I don’t cook. People ask where I’m based and I say, ‘I’m not sure.’ I’m kind of homeless right now. I love Europe. I was thinking of moving to Biarritz… But boy – typical day? Sometimes I wish I had one. I feel myself wanting for more of a base. I probably spend too much time dealing with email stuff. I get a lot of students doing assignments on me. Indent 4
Type tips
13 Typographic Faux Pas
Avoid bad punctuation and type-crimes at your new job, who needs that type of attention?
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Special Effects: Transparency effects, warping, and other text treatments can be fun, and useful in certain situations, but also easy to misuse. Sometimes we can get so caught up in the design process that we make choices that achieve a certain look, but aren’t very practical.
Observe & Practice One of the best ways to improve your typography is pay attention to how other designers use type in their work. This is a skill that takes practice and developing an eye for what works and what doesn’t, so keep a lookout for great typography—you never know where you’ll find it, from subway signs to supermarket shelves.
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Avoid Common “Type Crimes” • Don’t stretch words or letters, forcing them to fit into a space. When you stretch out typography vertically or horizontally, it distorts its proportions and letter shapes. A better alternative is to scale the type proportionally to preserve its original appearance.
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Limit Your Number of Typefaces & Weights / Styles We all love our fonts, but you can have too much of a good thing. Too many different typefaces in one design can look messy and amateurish.
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Learn to Kern There’s one more type of spacing that’s often overlooked: kerning. Kerning is sometimes confused with tracking, but it’s different—it’s the amount of space between a single pair of letters or other characters.
Check for Clashing Colors or Backgrounds Typography rarely stands alone in a design. It interacts with other design elements, particularly the background. For type that has good visibility, it’s important that the text has sufficient contrast with the rest of the design. But there are a couple things that can tone down contrast
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Don’t Neglect Spacing and Alignment The details can make (or derail) a design. And some of the details that have the most impact in a design are spacing and alignment. They can make the difference between a confusing, cluttered design and a clean, orderly one.
Don’t fake italics. If a font doesn’t come with an italic style, it’s pretty easy in most design programs to apply a slant effect to the font and make it look (kind of) italic—Lupton calls these “pseudo-italics.” However, this technique actually distorts the letters and generally looks pretty bad. True italics are designed separately to complement the regular style of the font and are always a better choice.
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Set Up a Hierarchy When a design has good hierarchy, it’s well organized, easy to navigate, and simple to find the information you need. Typographic hierarchy is particularly important for text-heavy designs such as newsletters, magazines, books, and other traditional print publications, as well as some websites.
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Match the Font’s Point Size to the Design Context When choosing and arranging fonts in a design, good readability should be one of your first concerns. You don’t want to frustrate your audience by making text too small to read easily—or annoyingly large, for that matter. As a general rule of thumb, body text should be between and 10 and 12 points for print projects, and 15 to 20 pixels on the web (most browsers’ default text size is 16 pixels). The ideal size may fluctuate a bit depending on the characteristics and structure of a particular typeface.
Don’t use dumb quotes. Dumb quotes, the kind that are straight hatch marks, are commonly substituted for true typographic quotation marks, the curved or sloped kind otherwise known as smart or curly quotes. Most design and word processing programs can be set to use smart quotes, or you can use keyboard shortcuts.
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Match the Mood to Your Audience So you’ve picked out a font that you think perfectly complements the purpose of your design. Great! There’s only one problem… not everyone will interpret the mood of a font in the same way. After picking a font that suits your design, you’ll want to also make sure that it’s a match for your audience.
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Match the Mood to the Message Think one font looks more or less like the next? Or maybe you have a favorite font that you use every chance you get. In either case, you may not be getting the most out of your font choices.
Heroes
Ed Benguiat, a man of letters Ed Benguiat (pron. [ben-gåt]; born Ephram Edward Benguiat, October 27, 1927) is an American typographer and lettering artist. He has crafted over 600 typeface designs including Tiffany, Bookman, Panache, Souvenir, Edwardian Script, and the self-titled Benguiat and Benguiat Gothic.
Some fonts he’s made: • • • • • • • • • • • • • • • • • • • • • •
ITC Barcelona ITC Benguiat ITC Benguiat Gothic ITC Bookman ITC Caslon No. 224 ITC Century Handtooled ITC Edwardian Script ITC Modern No. 216 ITC Panache ITC Souvenir ITC Tiffany ITC Avant Garde (condensed styles only) ITC Bauhaus (with Victor Caruso) ITC Cheltenham Handtooled (with Tony Stan) ITC Korinna (with Victor Caruso) ITC Lubalin Graph (with Herb Lubalin) Ed Brush Ed Gothic Ed Interlock Ed Roman Ed Script PL Benguiat Frisky
He is also known for his designs or redesigns of the logotypes for Esquire, The New York Times, Playboy, McCall’s, Reader’s Digest, Photography, Look, Sports Illustrated, The Star-Ledger, The San Diego Tribune, AT&T, A&E, Coke, Estée Lauder, Ford, and others.[1] Other notable examples of Benguiat’s work are the logotypes for the original Planet of the Apes film, Super Fly, and The Guns of Navarone. Ed Benguiat was one of the Indent 7
most prolific lettering artists and became typographic design director at Photo-Lettering, known as PLINC. In the early 1970s he began teaching at the School of Visual Arts in his native New York and continues to work there. The Ed Benguiat Font Collection is a casual font family named after the designer. Designed by Ed Benguiat and House Industries, the CD includes 5 Benguiat-inspired typefaces and a series of whimsical icons, dubbed “bengbats,” an exclusive interview by the House Industries staff, and Benguiat’s own jazz percussion in the background. Unlike Benguiat’s earlier, pre-computer work, the family uses extensive OpenType programming to replicate the hand-made, custom feeling of custom lettering, similar to classic film posters and record sleeves.
Benguiat grew up in Brooklyn, New York. He was once a very prominent jazz percussionist playing in several big bands with the likes of Stan Kenton and Woody Herman. In an interview Benguiat stated this of his chosen career as a designer: “I’m really a musician, a jazz percussionist. One day I went to the musician’s union to pay dues and I saw all these old people who were playing bar mitzvahs and Greek weddings. It occurred to me that one day that’s going to be me, so I decided to become an illustrator.”[4] Benguiat is an avid pilot and enjoys flying his personal airplane.
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Heroes
with over 600 typefaces to his credit, including ITC Tiffany, ITC Bookman, ITC Panache, and the eponymous ITC Benguiat, as well as logotypes for The New York Times, Playboy, and Sports Illustrated. He is also credited with playing an important role in the establishment of ITC. His work has won him acclaim, including a gold medal from the New York Type Directors Club and the prestigious Fredric W. Goudy Award. An avid pilot with his own personal plane, he currently teaches at the School of Visual Arts in New York. He also lectures and exhibits internationally.
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30 under 30 Sean McDermott
Top young graphic designers to watch for Sean McDermott was born on long island, March 11, 1995 and has grown quite popular over the trials and tribulations this semester. His most notable work is that in typography two. Many were surprised in this sudden change in direction, with many in type one and most notable himself believing his type one to be flawed work. Though there are dedicated fans that even enjoy his type one designs, not many can denote his acclimation in type two design. His type two work has staggered the masses using actual design principles in contrast, repetition, alignment and proximity. He’s found other such success in his other works as well with a popular well written and designed book on gestalt theory which has been best seller in the universe for the past sixty seven years, that’s right sixty seven! It was such a well-illustrated book it defied all laws of space time! Popping up and inspiring other famous designers and artists such as Van Gogh, and Kandinsky
He notes that a lot of inspiration is inspired by the pop culture he sees everyday such as movies and video games, comics and other art he’s seen. In a private interview he stated: “This semester has been difficult… I’m really getting tired of all these classes. And I have my fair share of gripes, but I use design and music as a means to escape these overall bad times.” Time will tell where Sean’s designs will take him but we are eagerly looking forward to his next work. Indent 11
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San Serif Sans Serif (Helvetica 1957) Any typeface without a serif.
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Slab serif (Century 1894) An almost brick like serif with minimal variations of thick and thin lines.
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Modern (Bodoni 1788) Flat serifs with a vertical stress.
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Do not dispute with us! Obey without question!
Transitional (Baskerville1757) has thin and thick strokes that contrast each other in the typeface. They have hardline serifs without bracketing.
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Old style (Garamond 1615) Is a serif typeface with a continuous stroke between thin and thick and diagonal stress.
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Indent 12
New type
Typefaces or fonts? Some new designs with an old twist
A more recent up start designer is Sean McDermott famous for many pieces, but very popular in the world of font for his creation of a sharp german desplay font. Commenting on his work “Well, we all had to make typefaces for Simone’s typography 2 class, and i had recently enough played and have been inspired by some german typefaces due to their strict and solid forms. “ Either way, his font has proven to be outstanding. Used for many things from movie posters to band covers.
MONOSPACED FONT A monospaced font, also called a fxed-pitch width or non-proportional font, is a font whose letters and characters each occupy the same amount of horizontal space. This contrasts to variable-width fonts, where the letters differ in size to one another. The frst monospaced typefaces were designed for typewriters, which could only move the same distance forward with each letter typed.
altes blut my monospaced uicase type face and font.
a k t 4
b l u 5
c d e f g h i j m n o p q r s v w x y z 1 2 3 6 7 8 9 ! ? Designed by Sean McDermott
Sean McDermott’s unicase monospaced typeface: Atles Blut, German for “old blood” Indent 13
Indent 4
uN solveD my moNospaceD unicAse ty pe Face and foNT
ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 0123456789
UNICASE FONT A unicase font is one that has no case, the glyps from upper and lower case are combined to form one alphabet. It is believed that all alphabets were once unicase. Bradbury Thompson’s plan for simplifying and improving our alphabet was, “Alphabet 26”, his project to combine upper and lowercase letters into one consistent set of letters, eradicated most of the lowercases, except for a, e, m and n.
desiGneD By ChRistiNa OkuLA
WANTED DEAD OR ALIVE MONOSPACE UNICASE TYPE FONT AND FACE
THE OLD WEST ABCDEFGHIJKLM NOPQRSTUVWXYZ 1234567890 abcdefghijklm nopqrstuvwxyz !?,."" DESIGNED BY ALEXIS DEMETRIOU
Indent 3