Love letters and various type catalogs

Type catalogs and color guide book circa 1991 and 2004. These artifacts of graphic design history turned up in the garage while I was searching for something else. These catalogs reminded me of a certain passion for the stories behind the creation of specific typefaces. As a young designer, I looked forward to receiving type catalogs from T26 and Émigré.

Émigré often featured text about what inspired the type designer to craft the typeface. For example, Frank Heine wrote in the catalog Various Types:

“I’ve always had a desire to design a typeface based on a Renaissance Antiqua. There are two reasons. First, the Renaissance Antiqua can be considered the prototype for most of today’s typefaces. . . . Second, I am particularly attracted to its archaic feel, . . . “

I read those catalog pages the way, I imagine, a chef may read a sommelier’s writings on viticulture, enology, and food pairing.

A quiet love developed for the work of type designer Zuzana Licko. She created the typefaces Mrs. Eaves and Matrix II. Both typefaces were and still are my favorite typefaces to use in editorial projects.

If my digital tool box were restricted to only five typefaces, Helvetica, Baskerville, Mrs. Eaves, Matrix II and Gotham would be there. I thought briefly about Butler. But I know that is a passing phase. Ten years from now designed material that features Butler will look dated to this time period in the same manner that Copperplate of FF Trixie will always remind me of the late 1990s.

 

Step-by-Step Graphics magazine

Young creatives—back in the transitional years of the digital revolution in design—coveted Step-by-Step Graphics magazine. One reason, the price of the publication was expensive for university students. Not as expensive other trade journals, but college students did not have a lot of disposable income. The cost of art supplies ate up most of the budget. Another reason, there was one copy of the latest issue for twenty students. Magazine copies were placed in the fine arts building’s library. The main reason is obvious, university students devoured each issue in hopes of creating work inspired by the amazing artists and illustrators featured in each publication. That was the goal. Graduate and earn a living creating graphic and commercial art.

I used to enjoy reading articles in Step-by-Step Graphics magazine. The editorial content was one part inspiration, one part innovation and a healthy dash of technical craftsmanship. The periodical was the inspiration and trend source for many Gen X graphic design student. Of course, we were never called, labeled nor pursued as Gen Xers at the time. We were simply called students.

One memorable story—for me, at least—was the 1992 feature of a medical illustrator. There was a page devoted to perspective and painting—airbrush painting. What does a 30/60 prospective grid mean, and will I learn about it in this semester, I pondered many winters ago. I marveled at the color photos of the artist pencilling arrows on a perspective grid and drawing ellipses with a template. And all the tracing paper required to pull off one truly amazing image about how a pharmaceutical product responds to cholesterol molecules.

Rabbit trail. There used to be an old bookstore in Milwaukee’s downtown area that had back issue copies of Step-by-Step Graphics and other resources like Communcation Arts and Émigré. I bought these back issues and toted them back to university. Some of you may remember when Step-by-Step Graphics magazine’s cover logo design changed—sometime in the late 1980s—from the rectangle black box with “graphics” in script font under the words “Step-by-step” to the square reflection logo.

When I graduated, the digital revolution in design matured. The need for hands-on technical skills that I spent years learning dissipated as computer hardware and software flooded ad agencies and publishing houses. New digital skills were learned on the job. Learn quick or go hungry was the unwritten motto.

Step-by-Step Graphics magazine disappeared sometime around the appearance of the iPod. Today, if you are searching for pro tips on graphic design and illustration, you search for YouTube videos on the topic. Imagine the graphic design profession without the internet. Without YouTube. How did graphic arts and designers work before 2005?