Interviewed: Tobias Frere-Jones

The QuintessentialType Designer

H&FJ New Sans Serif Has A Cult Following:

FUTURE OFWEB TYPOGRAPHY?We Examine Some Of The Best Proposed SolutionsGOTHAM

Arcane issue # 1 | fall 2009 | Savannah, Georgia | usa $8.50 | canada $12.75

Typography Existing In The Moment | ©

Editor In-Cheif:Steven Edward Zimmerman

Creative Director:Prof. Joseph DiGoia

Art Director/Designer:Steven Edward Zimmerman

Contributors:Savannah College of Art & Design, Flickr,

Getty Images, Adobe CS4, Print Magazine,

Ars Technica, The TypeKit Blog, Hoefler &

Frere-Jones, AIGA, FontHaus

Arcane Is...a magazine designed for further education on

typography. Because type is such an immense

subject matter Arcane will focus on the state

or typography now. There are many interesting

things happening with type today. The world of

the web as well as digital type are creating new

challenges to the world of type design. Arcane

looks to present its information in a fresh and

interesting way.

Sorces for Info–The information in this magazine was ob-

tained from several sources. Arcane would

like to thank the following.

Interview With Tobias:Hoefler & Frere-Jones | Interviewed For Print

Magazine | AIGA

Gotham Article:Hoefler & Frere-Jones | Gotham, What Letter

Look Like | Carleen Borsella

Future of Web Typography:Ars Technica | The Hazy Future of Web Typog-

raphy | By Chris Foresman

Book Review:Mantex | Twentieth Century Type, New &

Revised | Johnathan Simkins

Note from Steven E. Zimmerman:Arcane Magazine was produced in a class-

room setting. Concept, development, layout

and production were produced by Steven E.

Zimmerman during Typography II at The Sa-

vannah College of Art & Design.

Arcane Magazine | Issue: Fall 2009 | Number: 1 | 541 Nicoll Street Savannah,GA

Typography Existing In The Moment | ©

TABLE OF CONTENTS3

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Interview: TOBIAS FRERE-JONESThe Quintessential Type Designer

H&FJ Answers Back At Subway Signage With

Their New Sans Serif:

FUTURE OF WEB TYPOGRAPHY?

New Book Review of:

We Examine Some Of The Best Proposed Solutions

20th Century Type, New and Revised Edition

GOTHAMEvery designer has admired the no-nonsense lettering of the American vernacular, those letters of paint, plaster, neon, glass and steel that figure so prominently in the urban landscape. From these humble beginnings comes Gotham, a hard-working typeface for the ages.

Current technology can break Web type free from the Georgia/Verdana prison, but getting all the stakeholders, Web designers, type designers, font vendors, and browser vendors, to agree on a standard may be a bigger challenge than the technology.

Reproduced in large sizes and beautiful color, 20th Century Type presents typography in its various guises, from typeface design to type in use to hand lettered type, in a visually extensive manner providing an in-depth glimpse into the evolution of typography.

Frere-Jones is perhaps best known as the designer of Interstate, a sans serif typeface with in-dustrial roots. First released in 1994, Interstate was based loosely on the font family Highway Gothic, used by the United States Federal Highway Administration for road signs.

Frere-Jones is perhaps best known as the designer of Interstate, another sans serif typeface with industrial roots. First released in 1994, Interstate was based loosely

on the font family Highway Gothic, used by the United States Federal Highway Administration for road signs. Despite the specificity of its origins, Interstate was embraced universally by graphic designers and has been used on most everything, including the 2000 U.S. Census. It is the most prominent result of the designer’s continuing interest in what he calls work-ing class lettering. This interest began while he was a student at the Rhode Island School of Design where he designed the typeface Garage Gothic based on the typography of parking garage tickets. After graduating, Frere-Jones joined the digital type-foundry Font Bureau who had already released Garage Gothic. There he designed typefaces in every style, but contin-ued his exploration of vernacular lettering with Interstate and another typeface, Pilsner, based on a French beer label. With these typefaces Frere-Jones preserves the humble letters that

inspire them and creates type that resonates with life outside of typography and graphic design. A native New Yorker, Frere-Jones’s work is as connected to his hometown as the name of his latest design. In fact, he has undertaken the task of ‘documenting anything extant and noteworthy’ in Manhattan. Gotham was inspired by a variety of unassuming, often derelict signs originally carved, painted, rendered in neon, and cast in steel or bronze on the facades of buildings throughout New York. It took an intimate knowledge of the city to see the formal and historical connections between these varied letterforms, but also a humble respect for metro-politan history to focus on such an unglamorous aspect of New York. By focusing on the mundane – even decrepit – corners of his environment with Gotham, Frere-Jones has created a typeface that carries with it the disorienting bustle of a walk in the city – the sense of being engulfed by a history that remains just out of reach.

Talks about typography from an interesting stand point. His development of the now

famous face, Gotham, and how he views typography today. Where does Tobias see

type going? and where has all his inspiration come from?

3 | Arcane Magazine

ARCANE presents an in-depth look into the mind of influential type designer:

q&AWhy did you choose to focus on such a blue-collar form of New York lettering?

I suppose there’s a hidden personal agenda in the design, to preserve those pieces of New York that could be wiped out before they’re appreciated. Hav-ing grown up here, I was always fond of the ‘old’ (or just older) New York and its lettering. After watching one of the most distinctive features of the city being destroyed last fall, it seemed more urgent to protect the original ‘character’ of the city, both in the sense of letters and personality. After collecting material for Gotham, I set myself the task of walking every last block of Manhattan with a camera, and recording anything extant and noteworthy.

What piece of music most closely resembles the process of type design?

Yow. Hm. While I’m not sure I could pick out a single piece, I think most anything by Autechre would come pretty close, as those guys seem to work on very large and very small scales simultaneously. And even their most startling and disorienting pieces sound deliberate and carefully planned. I could also have an unfair bias, as I lis-ten to them quite often while drawing.

How does designing a typeface that is self-initiated differ from de-signing one that is commissioned?

Two of the designs that I’m most pleased with – Whitney and Gotham – wouldn’t have happened if somebody hadn’t asked for them. Those parts of the spectrum – the humanist and the geometric – had already been thoroughly staked out and developed by past designers. I didn’t think that anything new could have been found there, but luckily for me (and the cli-ent), I was mistaken. The best custom jobs will push me to take on a problem that I hadn’t considered before, or to reexamine what I had regarded as the final word for a given motif.

What sort of creative or research projects do you work on outside of type design?

Music (or sound, generally) is defi-nitely the largest activity aside from design. It gets sidelined by work now and then, but I like to stay close to that way of thinking.

INTERVIEWEDHow did the process of design-ing Gotham relate to some of the other projects HFJ has done related to New York City?

The projects for Grand Central and Lever House had what we some-times call a ‘ forensic’ aspect, in that they called for the reconstruction of something lost, or the completion of something partial. In these cases, we used historical photos and records to suss out the original motives we’d need to follow. (Not unlike those serial killer profilers, but without all the, you know, killing and stuff.) Jonathan’s work for the Guggenheim and for Radio City certainly started with existing forms, but weren’t quite as obligated to them, as their new application had to go well past the original. The typefaces for The Wall Street Journal and The Whitney Museum were outright new construc-tions, but both meant to acknowledge what had existed before them.

How would you approach creating a typeface based on typography and graphic design of the recent past – say the mid-1990’s?

Given how quickly Interstate gained currency with designers, I’m really not sure how I’d handle that. My first thought is that it would be like trying to call myself on the telephone: ‘What? How come I always get a busy signal? Who could I possibly be talking to?

At what point in the process did the inspiration for Gotham assert itself? Do you study the source material only initially or is it a con-stant resource?

It was always close by, and required a lot of legwork as we moved through the character set. We were pretty well informed about the caps, needed to search around to understand the fig-ures, and went searching for lowercase sources. This was the start of the photo excursions that I make almost every weekend now.

Tobias Frere-Jones | 4

Every designer has admired the no-nonsense lettering of the American vernacular, those letters of paint, plaster, neon, glass and steel that figure so prominently in the urban landscape. From these humble beginnings comes Gotham, a hard-working typeface for the ages.

IS WHAT LETTERS SHOULD LOOK LIK E

GOTHAM

Gotham| Is What Letters Should Look Like

Long before the emergence of a pro-fession called “graphic design,” there was signage. Up until the mid-twen-tieth century, the job of providing ar-chitectural lettering often fell to en-

Gotham celebrates the attractive and unassuming lettering of the city. Public spaces are teeming with handmade sans ser-ifs that share the same underlying structure, an engineer’s

idea of “basic lettering” that transcends both the characteristics of their materials and the mannerisms of their craftsmen. These are the cast bronze numbers outside office buildings that speak with authority, and the engravings on cornerstones whose neutral and equable style defies the passage of time. They’re the matter-of-fact neon signs that announce liquor stores and pharmacies, and the proprietors’ names painted majestically on the sides of trucks. These letters are straightforward and non-negotiable, yet possessed of great personality, and always expertly made. And

although designers have lived with them for half a century, they remarkably went unrevived until 2000, when Hoefler & Frere-Jones introduced Gotham.Gotham is that rarest of designs, the new typeface that some-how feels familiar. From the lettering that inspired it, Gotham inherited an honest tone that’s assertive but never imposing, friendly but never folksy, confident but never aloof. The inclu-sion of so many original ingredients — a lowercase, italics, and a comprehensive range of weights — enhances these forms’ plainspokenness with a welcome sophistication, and brings a broad range of expressive voices to the Gotham family.

gineers or draftsmen, most of whom worked outside of the typographic tradition. The shape of facade letter-ing was often determined by the prac-tical business of legibility, rather than

any sort of stylistic agenda although inevitably, even the draftsman’s vi-sion of “basic building lettering” was influenced by the prevailing style of the time.

7 | Arcane Magazine

Like most American cities, New York is host to a number of mundane buildings whose facades exhibit a distinctively American form of sans serif. This kind of lettering occurs in many media: the same office buildings whose numbers are rendered in this style, in steel or cast bronze, often use this form of lettering for their engraved cornerstones as well. Cast iron plaques regularly feature this kind of lettering, as do countless painted signs and lithographed posters, many dating back as far as the Work Projects Administration of the 1930s. (And judging by how often it appears in signs for car parks and liquor stores, this might well be the natural form once followed by neon-lit aluminum channel letters.) Although there is nothing to suggest that the makers of these different kinds of signs ever consciously followed the same models, the consistency with which this style of letter appears in the American urban landscape suggests that these forms were once considered in some way elemental. But with the arrival of mechanical sign making in the 1960s, these letters died out, completely vanishing from production. During the first months of their collaboration, Hoefler and Frere-Jones discovered their mutual affection for this disappearing species of lettering. In 2000, a com-mission to design a signature sans serif for GQ afforded them the chance to explore the style, for which Frere-Jones undertook a massive study of building lettering in New York, starting with a charming but rarely examined sign for the Port Authority Bus Terminal. Though Frere-Jones wanted his drawings to exhibit the

“mathematical reasoning of a draftsman” rather than the instincts of a type designer, he allowed Gotham to escape the grid wherever necessary, giving the design an affability usually missing from ‘geometric’ faces. Unlike the signage upon which it was based, Gotham includes a lowercase, an italic, a full range of weights, and an extended range of widths: a Narrow, an Extra Narrow, and a Condensed.

Gotham Is What Letters Should Look Like | 8

Gotham is that rarest of designs, the new

typeface that somehow feels familiar

Thankfully, CSS allows designers to specify fallback fonts, and the browser will es-sentially go through the list specified in the stylesheet until a match is found among the installed fonts. CSS even allows a generic fallback such as “serif” or “fixed-width,” and the browser will use whatever fonts are specified in its preferences for each of these generic classes.Microsoft also decided to help by creating a set of fonts that it hoped would be widely distributed with operating systems. Known as the core “Web fonts,” these are included with Windows and Mac OS X, and they are freely downloadable for Linux. These typefaces were specifically designed for screen use, and have since become the most commonly used type on the Web. The collection includes 10 typefaces: the popular Verdana and Georgia, reworked versions of Times and Courier, Trebuchet MS, Andale Mono, Impact, the Helvetica-esque Arial, the Webdings dingbat font, and the generally-reviled Comic Sans. While the collection is certainly serviceable—especially Verdana and Georgia—it doesn’t leave a whole lot of room for creativity and variety.Designers can specify other fonts if the target audience can be reasonably expected to have those fonts installed. For instance, a blog about using Adobe Creative Suite software might reasonably assume that readers have Myriad Pro installed, since it comes with most Adobe design software. A Mac-centric website might specify Lucida Grande, Zapfino, or Helvetica, since those fonts are included with Mac OS X. As long as fallback fonts are defined, the page can be displayed on any computer, though it may lose some of the flair that the designer intended.Designers have also developed a number of workarounds that allow them to design with whatever fonts they want. The simplest is to simply convert the type into static graphics—though that method can quickly eat up bandwidth, and prevents the type

from being scaled. Another involves converting type into small Flash files in a method known as sIFR. These methods share some drawbacks, however. Usability can be compromised, especially for those that rely on screen reading software. Users that either can’t or don’t have Flash installed won’t be able to view all of the content as intended. As a result, the use of these methods is gen-erally limited to headlines and banners, while the bulk of the text uses one of the common Web fonts.More recently, a method known as Cufón text replacement has been implemented. This uses only HTML and JavaScript, dis-plays type in whatever font a designer de-sires, and is still accessible to those with visual impairments. It works with most browsers, but it does require fonts to be converted to a special format, and the JavaScript is more complex than simply specifying a typeface. The rendering is also much slower than that of the brows-er’s built-in text handling.

FUTURE OF WEB TYPOGRAPHY

The Problems As They Currently AreAnd What The Solution May Be

No. 1 Typography, TypeKit, sIFR, @font-face

Web designers have over a decade of experience using CSS to specify what fonts should be used when displaying a webpage. While a designer can specify any font by name, there’s no guarantee that the viewer has that particular font installed.

9 | Arcane Magazine

Latest method: @font-face

The most flexible method would be a way for a designer to link to a specific font file, have the browser download it once, and then use it as needed. The great thing is that this capacity already exists: the @font-face rule. This was originally part of the CSS2 spec, and Internet Explorer and Netscape initially supported it. However, both brows-ers used differing, proprietary font formats, so it was not widely adopted, and ended up being dropped from CSS2.1.The @font-face rule is still a part of the expanded type specifications for CSS3, and Safari and Firefox have re-cently added support for @font-face use with standard TrueType and OpenType fonts. It’s relatively trivial for designers to take advantage of @font-face—all that’s needed is to host the font file on a Web server and add a link to it in a style sheet. Two Tokyo-based designers were commissioned to design a webpage that shows off Firefox 3.5’s support for the feature, but you can also see @font-face in action for yourself if you have a recent ver-sion of Safari or the latest beta of Opera.Unfortunately, there are two problems with @font-face. The first is that support for standard font formats isn’t included in Internet Explorer, which still command a large percentage of the desktop browser market. Second, fonts are software, and software generally comes with licenses. While some fonts are freely licensed for Web use (for instance, the Open Font Library), many font distributors expressly forbid putting fonts on a Web server. Mozilla had to license the fonts used in its @font-face example specifically for that page alone. One proposal involves standardizing Microsoft’s EOT format, though you can be sure none of the browser vendors except for Microsoft are too keen on that idea. Another solution from The Font Bureau’s David Berlow amounts to including a table of per-missions within the metadata of a font file that could control their use on the Web. Font vendor Ascender has even proposed creating yet another format specifically for fonts to be used on the Web.

No. 2 Typography, @font-face, SolutionFonts which specifically al-low @font-face embedding:Graublau Sans Web, Junction, Sniglet, Chunk, Blackout, Aniv-ers, Delicious, Fontin (sans), Fer-tigo, Tallys, Diavlo, Pykes Peak

Zero, CA BND Bold WEB, AxelFonts with an OpenFont License:Gentium, Doulos SIL, Charis SIL, Andika Design Review, Linux Libertine, Century Catalogue, In-consolata, Old Standard Covers, Briep, CM Unicode, Heuristica (based on Adobe Utopia), TitilliumFonts with a Creative Com-mons Attribution 2.0 Licence:Tagesschrift, Kaffesatz, Vollkorn-Brotschrift

The Future or Web Typography | 10

The latest idea is from a company called Small Batch, which has developed a tool called TypeKit. TypeKit relies on fonts that it hosts itself, and designers use the fonts by adding some JavaScript to their code. It’s designed to abstract all the hard stuff away from the developer, and even uses Cufón or sIFR as fall backs for browsers that don’t support @font-face. Small Batch is working with foundries to develop a Web-specific license for the fonts it hosts, and the company has recently secured a round of funding from venture capital firms and several new media luminaries.So far these solutions have generated a lot of debate, but very little consensus. Design-ers aren’t really keen on new font formats. Adding support for @font-face using standard TTF and OTF fonts is appealing to browser vendors, since they can simply tie into an OS’s built-in font handling. And type designers and font foundries are left worrying that their creative work will end up be-ing given away. (Although anyone who would go through the trouble of finding a font file in a browser’s cache or pulling the URL out of a CSS file isn’t likely the sort to care much for a font’s EULA in the first place.) TypeKit seems to show the most promise, but designers might not want to rely on a third party’s servers to make sure the fonts they specified actually display for an end user.You can be sure designers will continue to push the envelope by using @font-face for browsers that support it and other solutions like Cufón for those that don’t. Until there is one solution that everyone can agree on—whatever it is—expect to still see lots of Verdana, Georgia, and Arial on the Web. For now, it seems, we’re just left with the promise of better, more varied typography.The first step is to get the fonts to the browser as quickly as possible. To do this, Ty-pekit has servers on each continent, ensuring that all users have the fastest possible connection to our fonts. This gives our service a consistent starting point, it then comes down to an individual user’s geography, internet connection, browser, and operation system to determine their final experience.But, we’re working on some tricks to make the perceived delay less apparent. That’s

one of the reasons we use Javascript to load fonts, it provides a powerful level of control to designers. We recently rolled out an upgrade to that Javascript which improved compatibility, rendering per-ception and reduced the file size tenfold. There’s more to come, for example, we’re adding hooks which tell you when the

fonts have loaded.As designers start ex-perimenting with CSS web fonts, the pros-pects look exciting. We’ve already seen folks grab a few free fonts and start experi-menting, with great results. Those initial forays have inspired lots of posts that out-line the technical and qualitative limitations

of some free fonts, but not a lot of infor-mation on the legal limitations.The Typekit team has been running ex-periments with web fonts, so we’ve spent a few days reading through End User Li-cense Agreements (EULAs), and we’ve been surprised at how inconsistent they are. In fact, they’re all over the map. The main thing we’ve discovered is that free isn’t always free, there are often all kinds of restrictions on what you may and may not do with “free fonts.”

The TypeKit OptionNo. 3 Typography, TypeKit, Solution

11 | Arcane Magazine

Twentieth-Century Type sur-veys the significant issues that have shaped the history and

evolution of typography and graphic design, showing how current typo-graphic trends are part of a con-tinuously changing movement that can be plotted through the decades. Generously illus-trated with over three hundred examples—more than two hun-dred of which are in color—the book charts significant topics including the arrival of mass-production; the birth of the art director; the appearance of the grid (and its subsequent rejec-tion); the coming of non-print me-dia; and the launch of the Macintosh computer and its ushering in of a new generation of designers enfranchised by digital technology. There are a handful of books that should be required to sit on designers’ bookshelves from Robert Bringhurst’s The Elements of Typographic Style to Philip B. Meggs A History of Graphic Design and, undeniably, to Lewis Black-well’s 20th Century Type. Now in its third

edition this book is a testament to the im-portance of typography in the twentieth century, not only for graphic designers but for culture as well, as the author con-sistently places typography, and its most

arduous proponents, within the realm of world events, cultural shifts and techno-logical advancements. Reproduced in large sizes and beau-tiful color, 20th Century Type presents typography in its various guises — from typeface design to type in use to hand lettered type — in a visually extensive manner providing an in-depth glimpse into the evolution of typography from the Arts and Crafts movement, to the psychedelic 60s, to the postmodern 80s,

20th Century Type, New and Revised Edition

Book Review:

Book Review | 12

to the as-yet-unlabeled late 90s. Likewise, the book is dense with information, pro-viding an equally stimulating view of the relevance of typography.The third edition literally picks up where

Remix ended — with J. Abbott Miller’s Dimensional Typography project — and goes on to include the propagation of hand-scribbled typography by highlighting Kyle Cooper’s titles for Seven, as well as Stefan Sagmeister’s infamous hand-carved poster for an AIGA lecture. It also showcases the sim-plistic approaches taken by Bruce Mau and the return of Helvetica, exemplifying the stylistic confu-

sion and differing duality of the late 90s. The additions to this third edition aren’t many and perhaps it would have served the author and publisher better to wait another five years to make a more thor-ough addition to an already impressive compendium. In this instance, a literary upgrade does not seem warranted if you already own the second edition, but if 20th Century Type is missing from your collection, this is a perfect excuse to make the addition.

Just as Trajan signifies the Roman Empire, Broadway signifies Art Deco. The type-face—designed by Morris Fuller Benton for American Type Founders in 1927—is authentic, but it has become a cliché, used by numerous landlords to tart up their Art Deco–era buildings. This mindless approach to signage is now being chal-lenged. The Empire State Building is undergoing a major renovation, and as part of that makeover, Broadway will exit stage left. Designer Laura Varacchi, of the New York–based firm Two Twelve Associates, which is handling the signage and wayfinding for the lobby renovation, searched for an alternative to the ubiqui-

tous Broadway before asking Schwartzco Inc. to design a custom font for the iconic skyscraper. The handsome result is a pair of proprietary fonts derived from metal lettering used in the building’s lobby mural and in the Empire State Crafts-manship Awards plaque down the hall honoring the top worker in each of the various building trades.Christian Schwartz and Paul Barnes, the designers of the Empire State Building font family, balanced a reverence for history with an understanding of the demands imposed on a face intended for signage. They harmonized the Deco-style sans-serif capitals of the plaque, concoct-

ed a complementary lowercase, and then, to accommodate long texts on signs, cre-ated a condensed variant. Not only does Empire State Building meet the require-ments of the Americans with Disabilities Act, but it has also been approved by the New York City Landmarks Preservation Commission. A star is born.

— Paul Shaw, Print Mag

ARCANE | Opinions

Devkick is a source of ingenious thinking for developers seekng plug-ins and extensions to beautiful interfaces. DevKick contributors offer plug-ins such as a full screen Flickr gal-lery and iPod-like drill down menus. devkick.com

Andre Michelle has created a simple tool that illustrates the concepts behind sequenced music. A flickering, lit grid becomes a song as squares turn off and on. This supports basic ideas inside a related product, the AudioTool- a synthesizer operating entirely within your browser window. lab.andre-michelle.com/tonematrix

Bldg Blog a place to read about archetecture, hosts a look at the visual language of the evil lair. In this post, author Geoff Manaugh examines visions of bad guys’ hideouts. bldgblog.blogspot.com/2009/05/evil-lair-on-architecture-of-enemy-in.html

ObsessionsWhat two web mad developers are book marking

GreenBox is a smart, simple reeinvisioning of the common pizza dilivery box for a less wasteful world. Each recyclable box tears down into four square plates and a stor-age container for leftovers. vimeo.com/3769370

Hiroyuki has created a utilitarian site documenting his scrips for Adobe Illustrator. Scripts are available for simple operations that are missing for Illustrator, such as adjusting gaps and dashes in lines, park12.wakwak.com/~shp/lc/et/en_aics_script.html

We Love You So is an intriguing blog that supports Spike Jonze’s film adapta-tion of Maurice Sedak’s “Where The Wild Things Are.” The blog, which never refers directly to the movie, was created to shed light on the film’s many influences. weloveyouso.com— Patric King and SU

Type Applied:

Empire State Building

13 | Arcane Magazine

Milton Glaser called the typeface he de-veloped for his 1966 Bob Dylan poster

“Baby Teeth.” The stair-step—so-called because of the setbacks in the E—was an emblematic face during that period, but the alphabet actually derives from a Futurist typeface used in advertising and propaganda in Fascist Italy during the 1920s and ’30s. It was sometimes labeled “Futurist” or “Futuristic” in type catalogs

at the time, representing both speed and the mechanistic aspects of modernity. It was eventually exported to other countries: Glaser apparently first saw it used on Art Moderne printed materials in Mexico. But when he adapted it to spell out “Dylan” on the poster he designed for CBS Records, Baby Teeth took on a new life in the psychedelic era. It would have stayed in that period had not so many

Baby Faces

1932 Cover of the magazineGioventu Fascista

Cesare Gobbo

1966 Milton Glasher designsthe Bob Dylan poster

using Baby Teeth

1993 Bebit, inspired by Baby Teeth, is designed

at TypeMarket by Alexey Kustov

2008 Poster of halftone type experiments by Richard Parez

2008 Michael Bierut’s logo for the Museum of Arts & Design in NYC

contemporary designers revived it in var-ious forms. The most recent high-profile iteration is the logo designed by Michael Bierut for the Museum of Arts and De-sign in New York City, which, though not exactly Baby Teeth (in fact, it mirrors the Palladian arches of the building), sits firmly within the continuum.

— Steven Heller, Print Mag

Opinions | 14

ARCANE MAGAZINE:

was designed by Steven Edward Zimmerman using an Apple MacBook Pro running OSX. Adobe InDesign was used for page layout, Adobe Photoshop & Illustrtor

were used to modify and create imagery throughout Arcane.

The body copy of this magazine was set in Warnock Pro at a size of 9.5 points with 15 points of leading. The headlines are set in Gotham in varing styles and sizes. ITC Tiffany was used as an

accent typeface choice as well as for folio numbering.