#103 Long & Short

103 Long & Short
#103 LONG & SHORT
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In a nutshell
The gist
Summing it up
The long & short of it

I’m sure schol­ars of the Eng­lish lan­guage have writ­ten lengthy essays on the ori­gin & evo­lu­tion of the phrase “the long & short of it” but here, sim­ply, is the long & short of it:

This expres­sion, orig­i­nal­ly stat­ed as “the short & long of it,” dates from about 1500; lat­er “the long & short of it” was estab­lished by the end of the 1600s. It is also stat­ed “the long & the short of it.”

Source: The American Heritage® Idioms Dictionary

The long & short & condensed & italic

Amper­Art #103, Long & Short, fea­tures typog­ra­phy set in just one type fam­i­ly, Bodoni, but with many styles. It is a beau­ti­ful & ver­sa­tile type­style, hav­ing many vari­a­tions designed by sev­er­al foundries over the years. This piece has pur­pose­ly been set with fonts from four dif­fer­ent foundries.* (See type ter­mi­nol­o­gy below.) 

Demon­strat­ing just how ver­sa­tile Bodoni is — how one type fam­i­ly can ren­der so many per­son­al­i­ties — Long & Short was set as fol­lows, indi­cat­ing style (fol­lowed by design­er or foundry):

103 Long & Shortthe, of it set in Bodoni Con­densed Ital­ic (Berthold)

LONG set in Bodoni Poster Com­pressed (Adobe)

SHORT set in Bodoni Black (Bauer)

& set in Bodoni Old­face Ital­ic (Berthold)

 

When type is set to resem­ble the mean­ing of the words, it is called a typogram. Parts of this Amper­Art piece fit that descrip­tion: the words “long” & “short.” Oth­er exam­ples are “addddi­tion” and “scrma­beld.”

Bodoni, typographer

1818 Manuale-Tipografico, Bodoni
The 1818 Manuale-​Tipografico spec­i­men man­u­al of Bodoni’s press, pub­lished after his death.

Bodoni is the name giv­en to the serif type­faces first designed by Giambat­tista Bodoni (1740 – 1813) in the late eigh­teenth cen­tu­ry & fre­quent­ly revived since. Bodoni’s type­faces are clas­si­fied as Didone or mod­ern. Bodoni had a long career & his designs changed & var­ied, end­ing with a type­face of a slight­ly con­densed under­ly­ing struc­ture with flat, unbrack­et­ed ser­ifs, extreme con­trast between thick & thin strokes, & an over­all geo­met­ric construction.

When first released, Bodoni & oth­er didone fonts were called clas­si­cal designs because of their ratio­nal struc­ture. Bodoni’s lat­er designs are right­ful­ly called “mod­ern” but the ear­li­er designs are now called “tran­si­tion­al.”

In the English-​speaking world, “mod­ern” serif designs like Bodoni are most com­mon­ly used in head­ings & dis­play uses & in upmar­ket mag­a­zine print­ing, which is often done on high-​gloss paper that retains & sets off the crisp detail of the fine strokes. In Europe, they are more often used in body text.

Bodoni, printer

Bodoni page decorations
Proofs of page dec­o­ra­tions from the Bodoni print­ing house

Although to a mod­ern audi­ence Bodoni is best known as the name of a type­face, Bodoni was an expert print­er who ran a pres­ti­gious print­ing office under the patron­age of the Duke of Par­ma, & the design of his type was per­mit­ted by & show­cased the qual­i­ty of his com­pa­ny’s work in metal-​casting, print­ing & of the paper made in Parma.

Writ­ing of meet­ing him in the year 1786, James Edward Smith, Eng­lish botanist and founder of the Lin­nean Soci­ety, said:

A very great curios­i­ty in its way is the Par­ma print­ing office, car­ried on under the direc­tion of Mr. Bodoni, who has brought that art to a degree of per­fec­tion scarce­ly known before him. Noth­ing could exceed his civil­i­ty in show­ing us num­bers of the beau­ti­ful pro­duc­tions of his press…as well as the oper­a­tions of cast­ing & fin­ish­ing the letters…his paper is all made at Par­ma. The man­ner in which Mr. Bodoni gives his works their beau­ti­ful smooth­ness, so that no impres­sion of the let­ters is per­cep­ti­ble on either side, is the only part of his busi­ness that he keeps secret.

Dazzle (not what you think)

The effec­tive use of Bodoni in mod­ern print­ing pos­es chal­lenges com­mon to all Didone designs. While it can look very ele­gant due to the reg­u­lar, ratio­nal design & fine strokes, a known effect on read­ers is “daz­zle,” where the thick ver­ti­cals draw the read­er’s atten­tion & cause them to strug­gle to con­cen­trate on the oth­er, much thin­ner strokes that define which let­ter is which. For this rea­son, using the right opti­cal size of font has been described as par­tic­u­lar­ly essen­tial to achieve pro­fes­sion­al results. 

[And for oth­er rea­sons as well, fine typog­ra­phy should be entrust­ed to a pro­fes­sion­al design­er. Yeah, that would be me. —Chaz]

Bodoni, busy

Bodoni has been used for a wide vari­ety of mate­r­i­al, rang­ing from 18th cen­tu­ry Ital­ian books to 1960s peri­od­i­cals. In the 21st cen­tu­ry, the late man­ner ver­sions con­tin­ue to be used in adver­tis­ing, while the ear­ly man­ner ver­sions are occa­sion­al­ly used for fine book printing.

  • Poster Bodoni is used in Mam­ma Mia! posters.
  • Bodoni is one of the two type­sets that is used by Hilton Hotels for restau­rant or bar menu content.
  • Sony’s Colum­bia Records (owned by CBS from 1938 to 1989) also uti­lizes Bodoni for their wordmark.
  • Nir­vana’s logo is writ­ten with Bodoni (specif­i­cal­ly Bodoni Poster-Compressed).
  • Bauer Bodoni Black is used for Carnegie Mel­lon Uni­ver­si­ty’s word­mark.
  • Bauer Bodoni Roman is used for Bran­deis Uni­ver­si­ty’s word­mark.
  • Tom Clan­cy used Bodoni font for the art­work of all his affil­i­at­ed works until his nov­el Dead or Alive.
  • A vari­a­tion of Bodoni called “Pos­toni” is the pri­ma­ry head­line font for The Wash­ing­ton Post newspaper.
  • Bodoni was the favorite type­set of Ted Hugh­es, UK Poet Lau­re­ate, 1984 – 1998.
  • Roman Bauer Bodoni is used in Slow Food’s logo­type.
  • Bodoni has been used in Mani­la Bul­letin’s head­line text until the ear­ly 2000s.
  • Bodoni is used for the Eng­lish trans­la­tion of the logo for the Ghost in The Shell series.
  • Bodoni is used for the cur­rent logo of Time Warn­er.
  • Bodoni is used in THX’s ear­ly trail­ers like Broad­way & Cimarron.
  • The logo for the Cana­di­an teen dra­ma series Ready or Not is in Bodoni Poster-Compressed.
  • Book cov­ers by Chaz DeS­i­mone for Piano Pron­to (see next headline).
Source: Wikipedia

Bodoni by Desimone for Piano Pronto

A few years ago I was com­mis­sioned by Jen­nifer Eklund, a charm­ing client, to design her Piano Pron­to logo & piano instruc­tion books. Tal­ent­ed in her own right as a pianist & pub­lish­er, Jen­nifer also has a keen sense of design & visu­al style. She fell in love with the type­face Bodoni when I pre­sent­ed it as a com­ple­ment to her logo­type and as the main title font for her books. The front and back cov­ers of her Primer are shown here. Two fonts are used for the cov­er, one being Bodoni Black. The back text is pri­mar­i­ly Bodoni, show­cas­ing bold, reg­u­lar and italic.

 

 

 

 

 

 

 

If you have ever wanted to learn piano, Jennifer’s course is one you’ll really enjoy. It features“accelerated learning for all ages & all stages.” See all her piano instruction books and listen to some beautiful piano music at her website, pianopron​to​.com.

 

 

*Type terminology

Foundry” of course is usu­al­ly asso­ci­at­ed with met­al works, & that’s exact­ly how type was pro­duced for the first cou­ple hun­dred years after move­able type was invent­ed by Guten­berg. The term “foundry” is still used to des­ig­nate a font publisher.

The term “font” used to mean some­thing very spe­cif­ic, not just a type­face. It was the pack­age of met­al type that was one type fam­i­ly (Bodoni, Gara­mond, Hel­veti­ca, etc.), one weight (reg­u­lar, light, book, bold, black), one style (roman — mean­ing upright, ital­ic, small caps, etc.), & one size (6, 8, 10, 60, 72 point). That was a sin­gle font; i.e. Hel­veti­ca | bold | ital­ic | extend­ed | 36pt.

Lead­ing” is the space between lines of text. In the days of hand-​set type & met­al linecast­ing machines, strips of met­al rang­ing from 14 point to 36 points (approx. 12 inch) or more were insert­ed between lines of type. (Any­thing thick­er was usu­al­ly spaced with wood blocks.) The met­al strips were actu­al­ly lead, & result­ed in lead poi­son­ing for many type­set­ters & printers.

Cut & paste,” one of the most famil­iar terms asso­ci­at­ed with com­put­ers, used to mean lit­er­al­ly cut the sheet of text, image or cli­part with an X‑acto blade & paste it in the lay­out with rub­ber cement or hot wax, to be pho­tographed by the cam­era for off­set platemak­ing. (& hold your breath to see if any­thing shift­ed around or fell off com­plete­ly as the print­ing emerges from the press.)

Please comment here.


chaz sez ...

Check out the new “chaz sez” blog at Des​i​moneDesign​.com, my com­mer­cial graph­ic design web­site. It’s most­ly about design, typog­ra­phy, print­ing, pub­lish­ing & mar­ket­ing, but on occa­sion I’ll divert to a side­ways top­ic that just can’t escape my rant­i­ng & raving.


Production notes for #103 Long & Short:
Original size: 20x30 inches

Program: Adobe Illustrator
Font family: Bodoni
Ampersand: Bodoni Oldface Italic
Credits:
Reference text: Wikipedia (verbatim & edited)
Manuale-​Tipografico specimen: Wikipedia (public domain)
Proofs of page decorations: TypTS 825.18.225, Houghton Library, Harvard University (public domain)
You may repost the AmperArt image. Please credit Amper​Art​.com.
To download a full-​size high-​resolution 11x17-​inch poster, click on the image.

For pro­fes­sion­al graph­ic design, please vis­it Des­i­mone Design.

Desimone? Damn good!

#101 One Hundred & One

One Hundred & One

 #101 One Hundred & One
Click image to view full size or download poster for gallery-​quality printing & framing.
This is a high-​resolution pdf & may take a few minutes to download.
Find printing tips & framing ideas here.

Do you see spots?

The idea for Amper­Art #101, One Hun­dred & One, was eas­i­er than giv­ing a dog a bone. After strug­gling with a con­cept for #100, this one was fun & easy.

One of my fond­est child­hood mem­o­ries is sit­ting in the Alex The­ater (Glen­dale, Cal­i­for­nia) with my fam­i­ly, enjoy­ing this humor­ous, enter­tain­ing, upbeat movie by Dis­ney, One Hun­dred and One Dal­ma­tions. We sure laughed at the antics of ever-​hungry Rol­ly, the chub­by dal­ma­tion pup­py. Even as a young­ster, I could tell there was some­thing unique & con­tem­po­rary about the styling of the ani­ma­tion. It was sketchy in a con­tem­po­rary fash­ion due to the first-​ever use of scan­ning the pen­cil sketch­es direct­ly onto ani­ma­tion cels with the Xerox process. The col­or was still brushed in by hand between the lines, but the tedious trac­ing of the ani­ma­tors’ pen­cil lines with pen & ink was removed from the process. 

This process could eas­i­ly have been used as an exam­ple for the pre­vi­ous Amper­Art #100, Mile­stones & Goals. But the movie itself is the mile­stone, so I saved the art­work for #101 One Hun­dred & One.

Please comment here.

 Incongruent styles.

One Hundred and One Dalmations Movie PosterI was intrigued by the inno­v­a­tive Xerox process & the sketchy style it ren­dered for this movie. Not only did the rev­o­lu­tion­ary process cre­ate effi­cien­cy, it ren­dered a whole new style of art­work. Research­ing the let­ter­ing for the movie title, I was not so impressed with the col­ors for the poster. While the movie’s styling of char­ac­ters & back­grounds was snap­py & con­tem­po­rary, the poster was not. It was all pri­ma­ry col­ors & a less-​than-​cohesive assem­blage of visu­al ele­ments. But I did go ahead & trace the let­ter­ing (orig­i­nal­ly hand-​drawn) & designed an amper­sand to match, for the Amper­Art #101 One Hun­dred & One edi­tion. The edges of the spots & shad­ows are just slight­ly blurred, to retain the most­ly hard-​edge style (due to tech­ni­cal lim­i­ta­tions) of the period.

If you wish to study the styling of the dal­ma­tions & oth­er char­ac­ters, this thumb­nail will enlarge to a size­able image.

Image shown for ref­er­ence & edu­ca­tion­al pur­pos­es only. ©Dis­ney 

Sacrilegious?

Many crit­ics boo-​hooed the rough-​hewn look of Dis­ney’s One Hun­dred and One Dal­ma­tions. They said the lush­ness of hand-​inked line had van­ished. Well, yes, it did. But it was replaced by a snap­py new look, akin to jazz vs clas­si­cal. They each have their place, & they each have their fans & fol­low­ers. I real­ly like the look of this film, & the new Xerox process made ani­mat­ing all those spots pos­si­ble. It was the per­fect sto­ry con­cept to make use of the inno­v­a­tive imag­ing tool.

Who is to say ani­ma­tion must be hand-​inked & hand-​painted? Some of the finest ani­ma­tion today has nev­er been near a brush, pen or even acetate cel & it blows away the crude ani­ma­tion of even the finest ear­ly Dis­ney clas­sics. I will admit, though, that I will always pre­fer to watch the orig­i­nal 1938 Snow White & the Sev­en Dwarfs to the most incred­i­ble CGI remake.

 Please comment here.


chaz sez ...

Check out the new “chaz sez” blog at Des​i​moneDesign​.com, my com­mer­cial graph­ic design web­site. It’s most­ly about design, typog­ra­phy, print­ing, pub­lish­ing & mar­ket­ing, but on occa­sion I’ll divert to a side­ways top­ic that just can’t escape my rant­i­ng & raving.


Production notes for #101 One Hundred & One:
Original size: 20x30 inches

Programs: Adobe Illustrator, Photoshop
Lettering: Traced from original movie poster
Ampersand: Designed to match style of original movie poster lettering
Credits:
Movie poster: ©Disney (shown for reference & educational purposes)
You may repost the AmperArt image. Please credit Amper​Art​.com.
To download a full-​size high-​resolution 11x17-​inch poster, click on the image.

For pro­fes­sion­al graph­ic design, please vis­it Des­i­mone Design.

Desimone? Damn good!

#85 Hymns & Carols

Click image to view full size or download poster.
85 Hymns & Carols
 #85 Hymns & Carols
Click image to view full size or download poster for gallery-​quality printing & framing.
This is a high-​resolution pdf & may take a few minutes to download.
Find printing tips & framing ideas here.

:::

BEST WISHES FOR THE HOLIDAY SEASON

:::

Production notes for #85 Hymns & Carols:
Original size: 20x30 inches

Program: Adobe Photoshop
Font: Old English
Ampersand: Montage by Chaz DeSimone
Credit: Candle image Graph​ic​Stock​.com
You may repost the image. Please credit Amper​Art​.com.
To download a full-​size high-​resolution 11x17-​inch poster, click on the image.

For pro­fes­sion­al graph­ic design, please vis­it Des­i­mone Design.

Desimone? Damn good!