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EICIILIO, ORNAMENTED LETTERING<br />
BEICH<br />
ERUU<br />
BY MCA MUELLER<br />
CORRSSTTUu<br />
VVWW) xcosaz<br />
&Pi in@fftrntiESO<br />
(11I??4,vm...<br />
127Y567890<br />
rekflith<br />
ITC BUCKEROO MAKES NO<br />
BONES ABOUT ITS ORIGINS:<br />
NOT ONLY DOES IT LOOK LIKE<br />
THE BOLD, ORNAMENTED LET-<br />
TERING FOUND ON SALOONS<br />
IN THE OLD WEST, BUT, WITH<br />
THE NOTCHES CUT OUT OF THE<br />
ENDS OF THE LETTERS, IT EVEN<br />
APPEARS AS THOUGH SOMEONE<br />
HAD TAKEN OUT HIS SIN-GUN<br />
AND SHOT THE SIGN FULL OF<br />
HOLES. RICK MUELLER'S INSPI-<br />
RATION FOR Buciusium WAS A<br />
BOOK TITLE THAT HE SAW SEV-<br />
EMAIL. YEARS AGO, SET IN A VERY<br />
BLACK DECORATIVE TYPEFACE.<br />
FROM THAT STARTING POINT,<br />
RE CREATED HIS OWN DISPLAY<br />
TYPEFACE. "I DREW THE BASE<br />
SHAPES DIRECTLY IN ILLUSTRA-<br />
TOR, THEN MOVED THEM TO<br />
FONTOGRAPHER TO BUILD THE<br />
ALPHABET AND THE REST OF<br />
THE CHARACTERS;' HE SAYS.<br />
FT4 DRIMUT ITC Outback<br />
ITC DRYCUT, LIKE ITC OUTBACK, IS DV Sellbt PICHII<br />
BASED LOOSELY ON THE TRADITION<br />
OF HEAVY "WOOD-CUT" TYPEFACES,<br />
BUT IT TAKES THE OPPOSITE TACK: A ADUCCDDie<br />
SHARP, CLEAN EDGES, EVEN THE<br />
WHITE CUT MARKS AND BLACK SLIV-<br />
(RS LOOKING LIKE SHARDS OF GLASS.<br />
"THE SLIVERS AROUND THE EDGES<br />
SUGGEST TRACES LEFT AFTER AWK-<br />
WARD MOVEMENTS OF A KNIFE,<br />
WHICH ARE OFTEN VISIBLE ON OLD<br />
WOODCUTS;' SAYS VANCOUVER-<br />
BASED DESIGNER SERGE<br />
"FOLK ARTISTS OFTEN DIDN'T CARE<br />
MUCH ABOUT REFINING THEIR<br />
CARVINGS—THE SLIVERS WOULD<br />
HAVE BEEN LEFT AS LON6 AS THE<br />
LETTERS REMAINED READABLE:'<br />
THE LETTERS ALL HAVE A SLIGHTLY<br />
DIAGONAL MOTION, ACHIEVED BY<br />
COMBINING A SLIGHT INCLINATION<br />
WITH THE DANCING SLIVERS.<br />
M 0 0 P P<br />
ITC Outback comes out of Bob Atom's<br />
background at Photo-Lettering in New<br />
York, where he has worked for a total of<br />
)) years. Outback is a contemporary type-<br />
face in the "distressed" mode, crude and<br />
rough, but embodying Alonso's long expe -<br />
rience of how a display typeface works.<br />
It's condensed, very economical of space,<br />
and quite bold. In a way, it weds the rus-<br />
tic '105 feel of Rudolph Koch's Neuland<br />
with the proportions of a '60s headline<br />
face, then roughs up the edges '90s style<br />
with a coarse wood-file. Outback is clearly<br />
intended for display, but it reads surpris-<br />
ingly well at sizes as small as 18 point.<br />
A tOti<br />
By Bob Alonso<br />
AaBbCcDdLe<br />
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RrIsTtlluilv<br />
WwXxYyZz<br />
&1111@*.# 0/0StiY<br />
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