Art Imitates Life…Imitates Art (Canter’s Truck #3 of 3)

SignQuest was the company that RoadStoves had recommended to “wrap” the truck with the graphics I had designed. They produce large scale banners and signs as well as vehicle wraps. One interesting project they were recently involved with was wrapping the Hollywood Sign for the “Save the Peak” campaign. The goal of this campaign is to raise funds to purchase the land adjacent to the Hollywood sign. Hopefully this would prevent commercial development that would permanently mar the view of the iconic sign and the world-famous silhouette of the hills that frame it. Wrapping the Hollywood Sign was a complex project, but wrapping a truck properly is also difficult and time consuming.

Getting it right means placing the many strips of 3M Controltac vinyl film in the right positions:

Louie Navarro is seen above carefully positioning the vinyl on the service side (the side from which the food will be served) of the truck. He must carefully gauge where to position the film at the back of the truck so that the graphics end up at the right spot by the time they reach the front.

Over on the driver’s side, Louie positions the main graphics. There are many ins and outs to the truck surface, and the Controltac film is flexible enough to conform to them all, ending up looking very much as if it had been painted on. It’s pretty amazing.

Here’s one photo of the driver’s side. I’ll post more photos from different angles as they become available.

In the meantime the  Canter’s Truck has begun cruising the streets of LA with Bonnie Bloomgarden at the helm. To find out when they’re going to be in your area you can follow them on Twitter.

Photo: Adam Stein

Coming Soon . . . Canter’s Truck Post #3 of 3

Due to my inability of being able to get good photographs of the completed Canter’s truck, I’m holding up posting the final chapter in this saga. I hope to be able to get some better shots by the end of this week. If not I’ll just post what I’ve got.Thanks for your patience!

Above: Careful placement of my credit below the trash receptacle.

Deliscript Critique on FontFeed

Belgian designer and writer Yves Peters has been posting his comments and critiques about the winners of the TDC² 2010 Typeface Design Competition, and has finally reached the Display Type category—the one in which Deliscript was selected. While Yves’ comments are considered and thoughtful—and with regard to Deliscript were for the most part on target—I feel as if I would like to comment on a couple of his remarks.

Yves mentioned the “Word Logos” I have thrown in, and mentions that they’re only in English and that there aren’t that many. I agree with this. I probably shouldn’t have put them in at all. I had literally been working for months on Deliscript, and really wanted to get it out for release, so I guess I rushed through their creation, thinking of them as just a small extra feature to include. They probably don’t add that much to the font, and I should have thought of the European market as well. The next time I do a feature like that I’ll definitely try to do it in a much more expansive manner.

Yves also mentions that he is “unsure about the finer details in the character shapes”, citing that “some curves and joins seem rather stiff, and the weight distribution and contrast in the character strokes appear a little off in some parts”. I’m not sure, but I think this perception on his part may stem from cultural differences that we share, and from a possible misunderstanding of what I’m referencing. What I’m going for is not really in the lexicon of classical font design—rather it is from the American pop culture vernacular—from all the (traditionally) untrained eyes that created all the wonderful signage and ephemera that I grew up with.

Coming to font design from that background, I can totally understand how what I’m trying to do can seem foreign to those who are trained to look at fonts from a traditional perspective. While I’m sure we all share some of the same font heroes (such as Morris Fuller Benton) I also celebrate those whose work joyously displayed a flagrant lack of regard for what some would consider to be “the formal rules of design”. It is to these designers whose names we’ll probably never know—and to their typographic “mistakes” and flourishes that I find so engaging—that I try to pay homage to in my lettering and font design work.

Signed Prints Available on Illogator

I have 7 different signed prints available for purchase on the Illogator website. They range from silkscreens to giclées, to lithographs. There are 2 different silkscreens that I did to promote my fonts Metroscript and PowerStation. The giclées include work I did for two musical groups—the “Squirrel Nut Zippers” and the “Blue Hawaiians”, plus a design I did of the Tribeca Film Festival. The lithographs include a print of the signage I did for “Le Train Bleu” restaurant for NYC’s Bloomingdales, and a press proof of my first album cover design for KISS – “Rock and Roll Over“. The press proofs from 1976 I recently found tucked away in storage, and are in the same condition as they day I received them for approval of color—they’re absolutely mint. I’ve decided to sign and sell a few of them and keep the rest.

Alphabet Soup Fonts In Use

From time to time people send me (or I find on my own) examples of how other designers have used my fonts. Sometimes these samples are really wonderful. So when I come across examples that I feel are unusual, different or extremely well-done, I’d like to post them here. Recently I posted an example of how Metroscript was used in the movie “The Hulk“. I would welcome submissions from anyone who would like to email them to me.

My first posting in this series comes from Switzerland and was sent to me by its designer. The font is again Metroscript. Usually I’m not a big fan of extruding type dimensionally—I’m kind of a type “purist”. But I thought that this one was done really well, keeping it simple and avoiding the temptation to just keep going and going. I love its simple colors and clean lines. Somehow the designer has taken what I feel is a very “American” font and imbued the design with a very European flavor.

It was sent to me by Bernhard Huber who asked that the credit read as follows— Design: Medienbau, Agentur für Konzept und Design, Switzerland

“Deliscript” Font Preview: Followup

A huge Thank You to those who took the time to take a look at my preliminary ideas for “Deliscript”. A few of you confirmed some thoughts that had already entered my mind about how to approach this font:

The biggest stumbling block for me was that with the large caps that I initially conceived this font as having, there was a problem if one chose not to set an underscore (such as when setting more than one word): the caps would then appear too large. José and Marcus both suggested reducing the cap size to align with the baseline. Initially I thought that might make the caps too small. But when I tried it out it seemed to work fine—admittedly it took some getting used to after seeing the cap so grandiose at the beginning of the word:

And it seems to work fine if one chooses not to set the underscore:

Or even without the extended crossbars on the “t”:

I think that doing it this way will give the font more flexibility. Perhaps I could still include a set of the larger caps as an extra for more dramatic effect. I haven’t yet figured out what I’ll do about the lighter weight. I’m not that crazy about it, so I was kinda surprised to see both Norman and Marcus commenting that they were partial to it. I’ll have to think on that, but any more comments on any of this would really be welcome!

“Deliscript” Font Preview: Your Feedback, Please!

I’m not the most prolific of font designers—perhaps I come up with one a year—but when I do one I try to do a design that’s not only uncompromising, but also one that is usable by people with a wide variety of tastes. For the last several months I’ve been working on a new design that was loosely inspired by one of the signs at Canter’s Deli here in Los Angeles. I’ve been vacillating on several points with regard to the design of this font, and also how many fonts should go into this package. So I thought I’d put it out there to you, my friends and fans, to take a look, read my remarks, and give me your considered opinions via the comments section below.

Above is my original concept for this font which I’m calling “Deliscript”. It started out as a straight up and down script, but then I decided to also include a variation that was italicized. In the same fashion as my highly successful Metroscript I thought that having underscore “tails” that would emanate from either certain cap letters or from the last letter of the word in lowercase would be a nice idea.

As you can see above, I immediately ran into a problem: if one choses not to set copy with an underscore (a very likely occurrence), then the caps end up looking much too large for the lowercase.

The solution, of course, was to reduce the size of the caps (above). But then the question arises, do I create two sets of fonts—one with larger caps and underscores (Deliscript Special and Deliscript Special Oblique), and another with smaller caps and no underscores (Deliscript and Deliscript Oblique)? Or do I eliminate the Deliscript Special fonts altogether and just have the more normal versions?

Another question that arises is whether or not it’s worth it to have features like the extensions on the “t”s. Part of me likes things like that, but another part says it may not be worth the trouble. It looks perfectly fine without (above). Opinions, anyone?

Finally, I had originally conceived this design as having a lighter weight as well, but I’m not sure it will be worth it. Aesthetically I much prefer the chunkier, heavier versions, and I don’t want to go to the trouble of doing this weight just to create a larger font family. So feedback on this question would also be appreciated! Comments?

Barack Obama & JFK

Today is history. I cannot remember ever feeling this thrilled or so hopeful about a new president. The closest thing I can associate with this was the tenor of the nation during the years before the Kennedy assasination. The country was unified behind him and he was beloved by almost everyone. When he was shot I was in school, and I remember students were either stunned or openly weeping. My daughter Wenonah reminded me this morning that once many years ago I spoke to her about the Kennedy years, about how he was loved, how everyone was so positive about—and supportive of—our government. She had told me that she just couldn’t imagine ever feeling that way, or even relate to that experience. After the inauguration this morning she told me that now she understood what I meant.

After November 22nd, 1963, our country entered a long dark era, from which only now it may be emerging. I never thought a day like this would be possible in my lifetime. After all the US has been through I never imagined that we could again elect a person of such intellect and potential as Barack Obama. I believe he is capable of being one of the greatest leaders this nation has ever had. We will all need to re-evaluate what is truly important in our lives, and he and his administration will need the support of all of us to tackle the monumental challenges that lie ahead.

Set the Wayback Machine: “Viva” Astrology

I thought it would apropos and an interesting idea to start the New Year off by initiating a series of posts that looks back at some of my work from times gone by. Much of this work will be pre-digital—done the old fashioned “analog” way, with pen and ink. Most was done as pre-separated art: I inked my art on multiple cells of frosted mylar using a Rapid-O-Graph technical pen. Basically the areas of black ink on each cell could be designated to print either with CMYK callouts or with Pantone numbers. It was a very laborious process that was easily duplicated after the first few versions of Adobe Illustrator had come out.

Four Astrology Sign “Logos” for VIVA Magazine

So right now let’s set the Wayback Machine for the mid ’70s and VIVA magazine published by Penthouse (a kind of Playboy for women). The Art Director—the late Rowan Johnson—asked me to design logos for their monthly astrology column which would change with each issue. Even though at the time I was paid quite a paltry sum for my efforts, this was a great ongoing project for me. Much like my recent “Jewish Zodiac” project, I saw this assignment as an opportunity to create a portfolio of distinct yet related logos. I think they really highlight the possibilities of using letterform design not as an end in itself, but as part of a total design concept where letters are treated as one of several related illustrative elements, and integrated into an expressive whole.

Overspray

At the very beginning of my career I hooked up with airbrush wiz Charles White III. He rented me deskspace in his studio on Lexington & 26th Street in Manhattan, and helped give my career the push it needed. We did quite a bit of work together in those days—work that I’d like to think was groundbreaking illustration work. Rather than have typography slapped over an illustration, we tried to figure out new and inventive ways of integrating letter and image. This is evident in pieces like the Chubby Checker album cover where the title was part of the illustration—contained in the Checker Cab-like decal I created—or the Gentle Giant cover where I painstakingly figured out what dimensional lettering would look like as it wrapped around a glass jar. One of our first collaborations was the incredibly complex Screaming Yellow Zonkers poster which took a more traditional approach to the integration of letterforms and illustration.

Charlie is finally getting the recognition he deserves for that early work in the just released book Overspray by Norman Hathaway. The book features Charlie who, along with fellow artists Dave Willardson, Peter Lloyd and Peter Palombi, formed a quartet of California artists that transformed the illustration landscape in the ’70s. Charlie, Dave and Norman together with legendary designer and art director Mike Salisbury (who contributed an essay to the book) were all in attendance at a book signing at FAMILY in Los Angeles on 11/12/08. To see photos from the FAMILY booksigning (which includes the back of my head) and some discussion from Norman Hathaway about the process and problems he encountered putting together this book, check out his Overspray Blog. To see more of Charlie’s work from this period, I’ve put together a PDF of images (not currently available) culled from his website. Throughout his career Charles White III has been consistently one of the most interesting talents around. Visit his Olio website to see what he’s been up to.