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I work with type—the kind of type actually cast in metal or
carved from wood.
My design process involves taking a quick sketch or mental
picture down to my press room, where I'll open drawers and cases,
set type in a composition stick, move things around on the bed of
the press and pull proof after proof. After a while, if I'm lucky,
I start to get somewhere—usually after I've thrown out the sketch,
the mental picture and several rounds of type.
In the many years that I've been involved, one way or another,
in letterpress, I've had many conversations with designers about
working with wood and metal type. Some of them start to take on a
hallowed, reverential tone. Often one of us (not me) will get a
faraway look in their eyes, and words like "wonderful," "craft,"
"art" and "beauty" start coming up.
I try not to give into the urge to snort a sardonic laugh. At
this point in the conversation, I, like most letterpress people I
know, will quickly trot out my excess equipment and ugly
broken-down type, and try to make a quick sale before the mood
fades—we all recognize the signs of someone who is teetering on the
edge and who only needs a nudge to fall deeply into the dream of
letterpress. It's not every day you get a chance to unload all
those cases of Park Avenue and Ultra Bodoni.
And just as many other letterpress people I know, I have also
happily cleared the dusty type and rusty presses out of the
basements of many designers and experimentalists who have flirted
with letterpress, only to come to the slow realization that it
ain't all it's cracked up to be. Usually those people sit upstairs,
slumped in a rocking chair, staring out the kitchen window with a
distant expression, while a couple of sweaty, dirty, true believers
haul the offending lead out of the bowels of their house.
I don't mean to say that letterpress isn't about art or craft or
beauty—but those things can often come at the cost of many hours of
almost soul-crushing disappointment and maddening frustration.
Every successful letterpress piece I manage to pull off—every card
or broadside or poster or letterhead or jam label—is almost always
the end result of a few compromises, dead ends and workarounds.
It's rare that my "vision" of a beautiful piece hasn't been ground
under the heels of the many little failures along the way.
Often the "perfect" font is too big or too small, or won't fit
in the measure, or is a figment of your imagination that you have
been looking for, unsuccessfully, for years. On a computer, a
couple of key strokes will take care of most problems like that.
There aren't many designers these days who have to try to figure
out ways to deal with the fact that the font they want to use
doesn't have enough E's (that's where the expression "out of sorts"
actually originated) or that a field mouse just had babies in the M
quad compartment. Also, some early-19th-century display fonts were
designed without figures and sometimes without punctuation. Many
have been used so often (or pounded half to death, as I like to
say) that the characters are worn, broken, gone or crushed to the
extent that they are no longer type height and won't print. And of
course, there's no way of knowing any of these things without
actually setting the type first.
When I work on a piece, designing on the bed of the press as I
go, a pile of failed attempts accumulates on the stone, lines of
type that wouldn't work for one reason or another. I've learned to
leave them there until after I'm done because I can make so many
attempts that I'll sometimes forget which fonts I've already tried,
and then reset the same line over and over in the same damned font.
Maybe one part of my brain is hoping that this time it'll fit!
Those who don't learn from their failures are doomed to reset
The letterpress person who hasn't found herself bent over a comp
stick at 3:00 a.m. with tears streaming down her face just isn't
trying hard enough.
I think that's one of the reasons why so many letterpress people
have fallen for the false god of computer-generated photopolymer
type—and although it saddens me, I can't really blame them. It
takes a certain kind and depth of mania to put up with "real"
But having to work around the many failures has led to places I
wouldn't otherwise have found. It forces you to try things and
think in ways that you wouldn't have to if you could use any font
you wanted in any size. The limits and frustrations and problems of
trying to make the type work has sometimes led to beautiful,
elegant solutions that I would never have found on my own. And I
have rarely ended up with a piece that I didn't like more than my
The photopolymer crowd tends to write off us type fanatics as
Luddites. While they opt for the clean, easy way out, we sweat and
swear over wood and iron, going blind from fiddling with six-point
thin spaces—our lead-stained fingers digging down into the crannies
of old type cases, scrabbling through the dusty mouse turds to fish
out the last comma, our breath smelling of type wash fumes and that
spicy wood mold that infects ancient type cabinets, and our feet
numb from long hours of standing on cold concrete basement and
garage floors, only to run out of lowercase A's three words from
the end of the paragraph. Yet we love every minute of it.
Is calligraphy a dying art? Heller finds it alive and well in the capable hands of Bernard Maisner, Hollywood’s man of letters.
Section: Inspiration -
typography, interview, Voice
In August 2012, AIGA and PepsiCo Nutrition Ventures convened at the School for Visual Arts in New York City for a two-day summit. Participants—including designers, community advocates, physicians and health specialists—focused on using creative methods to identify and address environmental and community factors that affect nutrition and promote chronic diseases.
Section: Why Design -
design thinking, Design for Good, health, problem solving, social responsibility, sustainability
Steven Heller has immortalized our graphic past and made coherence of our present. He is the author, co-author, or editor of more than 60 books on design-related topics. A journalist, critic, and commentator, he has written for a wide array of publications and has been the editor of AlGA's journal of graphic design, Voice, since its inception in the early '80s. In addition, for 33 years he was an art director at the New York Times, originally on the OpEd Page and for almost 30 of those years with the New York Times Book Review. Currently, he is co-chair of SVA's “MFA Designer as Author” department and a special consultant on new programs to the president of SVA, and writes the Visuals column for the New York Times Book Review. In recognition of his role as the ubiquitous, tireless chronicler of our design times, he was awarded an AIGA Medal in 1999.
Section: Inspiration -
print design, AIGA Medal, writing, criticism
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