Volume 21–2.pdf

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ORESPEARE PROJECT n9,10...2 %V 1.154 go Pico ✓ k,, eu- 7, BY STEVEN HELLER JAMES VICTORE: His casual lettering for this Romeo and Juliet poster for The Shakespeare Project theatre company is so understated that it jumps off the page. Graphic designers are increasingly turning to hand-drawn letterforms as a fresh way to add expressiveness and individuality to their work. 32
tIlly %Ida aptelt, 6 (,. ..11■W Mina naio is timi t Apar ilk: roil Ilie Mvkidinurui luicand,and.futpshA 76 (eAttrol oarra is banned `thr beS°: LIL 0114ictof 4c 1:4 iitAboato udeft,ity c.; faCI , UAW:7 , au mosalikaar woutatilin CIEJaclatlatlatovinnittle r. aaattsham: *7.1.111.1 JEFFREY FISHER: For the Bloomsbury Poetry Classics Fisher brilliantly and stylishly interprets through his handwriting the classic cover and jacket designs of the King Penguin series. AT ONE TIME, formal typography was the mainstay of all printed work. The computer, of course, changed all that to the point where modern typography became loose, unstructured and available to the masses. As a result, many graphic designers today are increasingly using handwriting as a contrast to computermanipulated type and as a new way to show expressive graphics. This is not simply a reactionary return to script for its own sake but a means of achieving color, texture and contrast in layouts that require individuality. One needn't return to the pre-Gutenberg days of illuminated manuscripts to find the influence of handwriting in graphic arts. In fact, more recently when type was hot, heavy and expensive, handwriting was a way to squeeze a few extra dollars from tight produc- JAMES VICTORE: The lettering for Racism is a doodle with such power and strength that it translates not only the word, but the emotion. /I.A 1S Irt p dents tfss Ziltaiumtu IC SCAM. /51.10S.: OCNIDINCI 111061USD* *Ct111000013 * 11/04*13/110 r 110801113110 *01.0100. * ii0i0 1.0 10 ,..-aci sacts. 0 0 ... 01UALinallialw.... o 9 pltsiimugaltatitt2 *;111101111D44SUIllf111 f 0 suillialliCtltil Angela Carter Sharon rnesen filbert Wendt Jinn lorp holelt Vine 0 Snaivan avieo il alyn axwell Margaret Malty Pl'agergZ rt Gr ie nec;i avgrel t 4¢amfet Teaney Lisald'ittea Simeon Damflom Jr Owen Marshall Philip salt?' JEFFREY FISHER: His Soho Square book jacket is a veritable painting wherein handwriting is both type and texture. Lion budgets. In the early ig4os, for example, ALEX STEINWEISS, the designer of Columbia Records' album covers, wrote out his headlines in sinuous curlicues to save both time and money. His distinctive lettering was later called Steinweiss Scrawl and was ironically issued as a Photo-Lettering, Inc. typeface. Likewise when PAUL RAND designed covers for Direction magazine during this same period, he too used handwriting to express immediacy and to eliminate expenses. In the early 195os when playwright and artist EDWARD GOREY was a young book cover designer at Doubleday, he also saved typesetting costs by writing out all his text, from headlines to credits. Although larger words were drawn to roughly approximate existing type, the rest was stylized handwriting which over time developed into his signature style. 33 Getting Personal Unlike calligraphy (or hand lettering, for that matter), handwriting has no claim as art, craft or science but is rather an ad hoc means for creating cheap yet expressive design. Handwriting did come close to being art when used in Polish and Czech posters in the early 196os and '7os, when typesetting was restricted by government decree and handwriting in design was a way of both circumventing officialdom and signaling defiance. During the 197os handwriting also enjoyed a revival of sorts in American and British record album design where it was used to suggest the autograph of the recording artist pictured on the front or back. Handwriting appeared in publication design as headings for stories or columns, such as letters to the editor, to imply a personal relationship with the reader. In the late 198os hand- JOSH GOSFIELD: Blends painterly lettering— a mixture of naïf and modern form—with his narrative painting in a totally integrated composition.
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