#149 Every Now & Then

149 Every Now & Then
#149 Every Now & Then
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You know how the phrase ends…

Every now & then the sun breaks through the clouds.

Every now & then you get a lucky break.

Or just…

Every now & then some­thing sim­ply breaks.

All of the above occurred dur­ing the month of May.

My com­put­er kept shut­ting down every now & then for appar­ent­ly no rea­son. The lucky break is that my broth­er Rob, a com­put­er genius, fig­ured it was sim­ply over­heat­ing. He talked me through the repair & it’s run­ning nice & cool again.

As for the weather…it was all over the place in Los Ange­les dur­ing May. Sun, rain, hot, cold. Memo­r­i­al Day week­end was espe­cial­ly unusu­al. Nor­mal­ly sun­ny all three days, Sat­ur­day was hot & clear but the very next day it was cold & rainy. On Mon­day, Memo­r­i­al Day itself, every now & then the sun broke through the clouds.

Every now & then I hope an amper­sand puts a smile on your face.

Concept & Design

Quite sim­ple. The com­put­er crashed & I explod­ed.

 Please comment here.

Production notes for #149 Every Now & Then:
Original size: 20x30 inches

Program: Adobe Illustrator
Fonts: Professor Minty (modified), Variex OT Light, Freestyle Script

Ampersand: Professor Minty (modified)
&” replaces “and” in all text, including quotations, headlines & titles.
You may repost the image & article. 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!

#141 Cinematography & Editing

141 Cinematography & Editing
#141 Cinematography & Editing
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Find printing tips & framing ideas here.

Cinematography & Editing is filmmaking. Oscar finally decided to include these important awards in the live telecast.

On Feb­ru­ary 12 the Acad­e­my announced it would not show four award cat­e­gories to home view­ers (to be pre­sent­ed dur­ing com­mer­cials at the event):

  • Cin­e­matog­ra­phy & Edit­ing
  • Live Action Short
  • Make­up & Hair

As Nick Mur­phy (@nickmurftweets) tweet­ed:

By cutting Cinematography & Editing from the show, the Oscars declare themselves as nothing more than a celebrity & marketing circus.
Photography & editing is filmmaking. It’s as simple as that.

And from Alfon­so Cuarón (@alfonsocuaron), who is nom­i­nat­ed for pro­duc­ing, direct­ing, writ­ing & cin­e­matog­ra­phy for his film Roma:

In the history of CINEMA, masterpieces have existed without sound, without color, without a story, without actors & without music. No one single film has ever existed without CINEMAtography & without editing.

More tweets here, some clever & amus­ing.

Mr. Cuarón has just described SILENT CINEMA!

We inter­rupt this arti­cle to take you back 100 years…

Alfon­so Cuarón just described the basic ele­ments of all film­mak­ing — cin­e­matog­ra­phy & edit­ing — & my friend Joe Rin­au­do would agree that if you take away the cam­era & the edit­ing block, you don’t have a film! In silent cin­e­ma there is no sound, there is no col­or, & some­times there’s hard­ly a plot or sto­ry. But it is film­mak­ing, because there is cin­e­matog­ra­phy & edit­ing. (Sim­ply decid­ing where to start a film & where to end it, even if it is one con­tin­u­ous scene, is edit­ing.)

Joe is the founder of Silent Cin­e­ma Soci­ety. His vast col­lec­tion of silent films, which he metic­u­lous­ly restores & presents to audi­ences on his 1909 hand-​crank Pow­ers Cam­er­a­graph Mov­ing Pic­ture Machine, is tes­ta­ment to the truth of Mr. Cuarón’s state­ment. 

Silent Cinema SocietyThat’s Joe Rinaudo with his 1909 Powers Cameragraph, and to the right his American Fotoplayer

Joe Rin­au­do’s pas­sion & pur­pose is to keep silent cin­e­ma alive. It’s amaz­ing how enter­tain­ing silent films are…& how dan­ger­ous the stunts were — in my opin­ion, that’s half the dra­ma right there! Joe is thrilled when the younger mem­bers of the audi­ence come up to him to ask about the films & check out his pro­jec­tor. (He also shows authen­tic glass lantern slides dur­ing reel changes.) This means he’s got future gen­er­a­tions inter­est­ed in the begin­nings of Hol­ly­wood before there even was Hol­ly­wood.

Visit SilentCin​e​maSo​ci​ety​.org & subscribe — it’s free.

Spend some time on the web­site, as it is full of fas­ci­nat­ing his­to­ry & enter­tain­ment. Be sure to lis­ten to Joe play­ing the Amer­i­can Foto­play­er—bet­ter turn down the vol­ume first!

For anoth­er treat, take a look at this clip from last year’s Oscars. Joe Rin­au­do was asked to set up a recre­ation of an itin­er­ant mov­ing pic­ture show, which were shown in small town halls, church­es & tents. This was a tent. (An elab­o­rate one, of course, host­ed by the Acad­e­my.) Joe hand-​cranked sev­er­al shorts through­out the evening, and a few celebri­ties took their hand at crank­ing the 1909 Pow­ers Cam­er­a­graph.

Here’s Joe Rin­au­do crank­ing & Robert Israel accom­pa­ny­ing:

Next is Gary Old­field crank­ing the vin­tage Pow­ers Mov­ing Pic­ture Machine:

Back to the present: the 2019 Academy Awards

On Feb­ru­ary 12 the Acad­e­my announced it would not show four award cat­e­gories to home view­ers (pre­sent­ed dur­ing com­mer­cials at the event):

  • Cin­e­matog­ra­phy
  • Edit­ing
  • Live Action Short
  • Make­up & Hair

After the Acad­e­my’s announce­ment to exclude the four cat­e­gories from the live tele­cast, there was quite an uproar—read these tweets, some of which are quite fun­ny — which lead to the Acad­e­my to reverse its deci­sion & include all the awards in the tele­cast.

I am glad Oscar decid­ed to broad­cast live, the pro­fes­sion­als who bring movies to life through their tech­ni­cal & artis­tic exper­tise, not to men­tion their pas­sion. Their fam­i­lies & friends can rev­el in pride (whether they win or not) as they watch along with mil­lions of view­ers who enjoy the fruits of their labors.

All of the awards are impor­tant, as they each add to the final pro­duc­tion of the phe­nom­e­non­al cat­e­go­ry of enter­tain­ment called cin­e­ma. But how—just how!—could they think to exclude cin­e­matog­ra­phy & edit­ing?

(It would be akin to my indus­try, graph­ic design & adver­tis­ing, leav­ing out pre­sen­ta­tions for lay­out & copy­writ­ing in our award pre­sen­ta­tions — the Clios & Beld­ings. I woud­n’t feel my work was worth any­thing, even if I did­n’t have some awards already.)

I hope the win­ners & nom­i­nees at this year’s Acad­e­my Awards are proud of their achieve­ments — includ­ing those who will be accept­ing the Oscar live on TV for Cin­e­maog­ra­phy, Edit­ing, Live Action Short, & Make­up & Hair.


Full list of winners & nominees, 2019 Academy Awards

The 2019 Oscars aired live on Sun­day, Feb. 24 at 9/​8c on ABC

Best Picture

Green Book (Jim Burke, Charles B. Wessler, Bri­an Cur­rie, Peter Far­rel­ly and Nick Val­le­lon­ga, Pro­duc­ers) 
Black Pan­ther
 (Kevin Feige, Pro­duc­er)
BlacK­kKlans­man (Sean McKit­trick, Jason Blum, Ray­mond Mans­field, Jor­dan Peele and Spike Lee, Pro­duc­ers)
Bohemi­an Rhap­sody (Gra­ham King, Pro­duc­er)
The Favourite (Ceci Dempsey, Ed Guiney, Lee Magi­day and Yor­gos Lan­thi­mos, Pro­duc­ers)
Roma (Gabriela Rodriguez and Alfon­so Cuaron, Pro­duc­ers)
A Star Is Born (Bill Ger­ber, Bradley Coop­er and Lynette How­ell Tay­lor, Pro­duc­ers)
Vice (Dede Gard­ner, Jere­my Klein­er, Adam McK­ay and Kevin Mes­sick, Pro­duc­ers)

Actress in a Leading Role

Olivia Col­man (The Favourite
Glenn Close (The Wife
Yal­itza Apari­cio (Roma)
Lady Gaga (A Star Is Born)
Melis­sa McCarthy (Can You Ever For­give Me?)

Actor in a Leading Role

Rami Malek (Bohemi­an Rhap­sody)
Chris­t­ian Bale (Vice)
Bradley Coop­er (A Star Is Born)
Willem Dafoe (At Eter­ni­ty’s Gate)
Vig­go Mortensen (Green Book)

Actress in a Supporting Role

Regi­na King (If Beale Street Could Talk
Amy Adams (Vice)
Mari­na de Tavi­ra (Roma)
Emma Stone (The Favourite)
Rachel Weisz (The Favourite)

Actor in a Supporting Role

Maher­sha­la Ali (Green Book
Adam Dri­ver (BlacK­kKlans­man)
Sam Elliott (A Star Is Born)
Richard E. Grant (Can You Ever For­give Me?)
Sam Rock­well (Vice)


Alfon­so Cuaron (Roma
Yor­gos Lan­thi­mos (The Favourite)
Spike Lee (BlacK­kKlans­man)
Adam McK­ay (Vice)
Pawel Paw­likows­ki (Cold War)

Animated Feature Film

Spider-​Man: Into the Spider-​Verse (Bob Per­sichet­ti, Peter Ram­sey, Rod­ney Roth­man, Phil Lord and Christo­pher Miller)
Incred­i­bles 2 (Brad Bird, John Walk­er and Nicole Par­adis Grindle)
Isle of Dogs (Wes Ander­son, Scott Rudin, Steven Rales and Jere­my Daw­son)
Mirai (Mamoru Hoso­da and Yuichi­ro Saito)
Ralph Breaks the Inter­net (Rich Moore, Phil John­ston and Clark Spencer)


Roma (Alfon­so Cuaron)
The Favourite (Rob­bie Ryan)
Nev­er Look Away (Caleb Deschanel)
A Star Is Born (Mat­ty Liba­tique)
Cold War (Lukasz Zal)

Costume Design

Black Pan­ther (Ruth E. Carter)
The Bal­lad of Buster Scrug­gs (Mary Zophres)
The Favourite (Sandy Pow­ell)
Mary Pop­pins Returns (Sandy Pow­ell)
Mary Queen of Scots (Alexan­dra Byrne)

Documentary (Feature)

Free Solo (Eliz­a­beth Chai Vasarhe­lyi, Jim­my Chin, Evan Hayes and Shan­non Dill) 
Hale Coun­ty This Morn­ing, This Evening (RaMell Ross, Joslyn Barnes and Su Kim)
Mind­ing the Gap (Bing Liu and Diane Quon)
Of Fathers and Sons (Talal Der­ki, Ans­gar Frerich, Eva Kemme and Tobias N. Siebert)
RBG (Bet­sy West and Julie Cohen)

Documentary (Short)

Peri­od. End of Sen­tence. (Ray­ka Zehtabchi and Melis­sa Berton)
Black Sheep (Ed Perkins and Jonathan Chinn)
End Game (Rob Epstein and Jef­frey Fried­man)
Lifeboat (Skye Fitzger­ald and Bryn Moos­er)
A Night at the Gar­den (Mar­shall Cur­ry)

Film Editing

Bohemi­an Rhap­sody (John Ottman) 
BlacK­kKlans­man (Bar­ry Alexan­der Brown)
The Favourite (Yor­gos Mavrop­saridis)
Green Book (Patrick J. Don Vito)
Vice (Hank Cor­win)

Foreign Language Film

Roma (Mex­i­co)
Caper­naum (Lebanon)
Cold War (Poland)
Nev­er Look Away (Ger­many)
Shoplifters (Japan)

Makeup & Hairstyling

Vice (Greg Can­nom, Kate Bis­coe and Patri­cia DeHaney)
Bor­der (Goran Lund­strom and Pamela Goldammer)
Mary Queen of Scots (Jen­ny Shir­core, Marc Pilch­er and Jes­si­ca Brooks)

Music (Original Score)

Black Pan­ther (Lud­wig Gorans­son)
BlacK­kKlans­man (Ter­ence Blan­chard)
If Beale Street Could Talk (Nicholas Britell)
Isle of Dogs (Alexan­dre Desplat)
Mary Pop­pins Returns (Marc Shaiman)

Music (Original Song)

Shal­low” (A Star Is Born
Music and Lyrics by Lady Gaga, Mark Ron­son, Antho­ny Rosso­man­do and Andrew Wyatt

All the Stars” (Black Pan­ther)
Music by Mark Spears, Kendrick Lamar Duck­worth and Antho­ny Tiffith
Lyric by Kendrick Lamar Duck­worth, Antho­ny Tiffith and Solana Rowe

I’ll Fight” (RBG)
Music and Lyric by Diane War­ren

The Place Where Lost Things Go” (Mary Pop­pins Returns)
Music by Marc Shaiman
Lyric by Scott Wittman and Marc Shaiman

When a Cow­boy Trades His Spurs for Wings” (The Bal­lad of Buster Scrug­gs)
Music and Lyric by David Rawl­ings and Gillian Welch

Production Design

Black Pan­ther (Han­nah Beach­ler and Jay Hart) 
The Favourite (Fiona Crom­bie and Alice Fel­ton)
First Man (Nathan Crow­ley and Kathy Lucas)
Mary Pop­pins Returns (John Myhre and Gor­don Sim)
Roma (Euge­nio Caballero and Bar­bara Enriquez)

Short Film (Animated)

Bao (Domee Shi and Becky Neiman-​Cobb)
Ani­mal Behav­iour (Ali­son Snow­den and David Fine)
Late After­noon (Louise Bag­nall and Nuria González Blan­co)
One Small Step (Andrew Chesworth and Bob­by Pon­til­las)
Week­ends (Trevor Jimenez)

Short Film (Live Action)

Skin (Guy Nat­tiv and Jaime Ray New­man)
Detain­ment  (Vin­cent Lambe and Dar­ren Maho)
Fauve (Jere­my Comte and Maria Gra­cia Tur­geon)
Mar­guerite (Mar­i­anne Far­ley and Marie-​Helene Panis­set)
Moth­er (Rodri­go Soro­goyen and María del Puy Alvara­do)

Sound Editing

Bohemi­an Rhap­sody (John Warhurst and Nina Hart­stone) 
Black Pan­ther (Ben­jamin A. Burtt and Steve Boed­dek­er)
First Man (Ai-​Ling Lee and Mil­dred Iatrou Mor­gan)
A Qui­et Place (Ethan Van der Ryn and Erik Aadahl)
Roma (Ser­gio Diaz and Skip Lievsay)

Sound Mixing

Bohemi­an Rhap­sody (Paul Massey, Tim Cav­a­gin and John Casali) 
Black Pan­ther (Steve Boed­dek­er, Bran­don Proc­tor and Peter Devlin)
First Man (Jon Tay­lor, Frank A. Mon­taño, Ai-​Ling Lee and Mary H. Ellis)
Roma (Skip Lievsay, Craig Henighan and Jose Anto­nio Gar­cia)
A Star Is Born (Tom Ozanich, Dean Zupan­cic, Jason Rud­er and Steve Mor­row)

Visual Effects

First Man (Paul Lam­bert, Ian Hunter, Tris­tan Myles and J.D. Schwalm)
Avengers: Infin­i­ty War (Dan DeLeeuw, Kel­ly Port, Rus­sell Earl and Dan Sudick)
Christo­pher Robin (Christo­pher Lawrence, Michael Eames, Theo Jones and Chris Cor­bould)
Ready Play­er One (Roger Guyett, Grady Cofer, Matthew E. But­ler and David Shirk)
Solo: A Star Wars Sto­ry (Rob Bre­dow, Patrick Tubach, Neal Scan­lan and Dominic Tuo­hy)

Writing (Adapted Screenplay)

BlacK­kKlans­man (Char­lie Wach­tel, David Rabi­nowitz, Kevin Will­mott and Spike Lee)
A Star Is Born
 (Eric Roth, Will Fet­ters and Bradley Coop­er)
The Bal­lad of Buster Scrug­gs (Joel Coen and Ethan Coen)
If Beale Street Could Talk (Bar­ry Jenk­ins)
Can You Ever For­give Me? (Nicole Holofcener and Jeff Whit­ty)

Writing (Original Screenplay)

Green Book (Nick Val­le­lon­ga, Bri­an Hayes Cur­rie and Peter Far­rel­ly)
The Favourite (Deb­o­rah Davis and Tony McNa­ma­ra)
First Reformed (Paul Schrad­er)
Roma (Alfon­so Cuaron)
Vice (Adam McK­ay)

Here’s anoth­er cat­e­go­ry that has been exclud­ed every sin­gle year — ever since its one & only pre­sen­ta­tion at the first Acad­e­my Awards:

Best Unique and Artistic Quality of Production

The Acad­e­my Award cer­e­mo­ny was orga­nized for the first time in the year 1929. Lat­er on, with the pass­ing time, it under­went many changes. “Oscar for Best Unique and Artis­tic Qual­i­ty of Pro­duc­tion” is one of the cat­e­gories of awards that had a very short exis­tence in the award cer­e­mo­ny. This cat­e­go­ry was also known as “Best Artis­tic Qual­i­ty of Pro­duc­tion.” It was only award­ed, for the first and last time, dur­ing the first Oscar cer­e­mo­ny, and may be regard­ed an unnec­es­sary vari­a­tion of Best Pic­ture.

In 1929, “Oscar for Best Unique and Artis­tic Qual­i­ty of Pro­duc­tion” was giv­en to Sun­rise: A Song of Two Humans, also known as Sun­rise, an Amer­i­can film direct­ed by Ger­man film direc­tor F. W. Mur­nau. The cen­tral idea of the movie was adapt­ed by Carl May­er, from the short sto­ry Die Reise nach Tilsit — by Her­mann Sud­er­mann. In 1989, this film was reck­oned “cul­tur­al­ly, his­tor­i­cal­ly, or aes­thet­i­cal­ly sig­nif­i­cant” by the Unit­ed States Library of Con­gress and cho­sen for preser­va­tion in their Nation­al Film Reg­istry. In 2002 crit­ics’ poll for the British Film Insti­tute, Sun­rise was named the 7th-​best film in the his­to­ry of Motion Pic­tures.

—article from Awards & Shows where you’ll find information about Oscar Awards, Filmfare Awards, Zee Cine Awards, Star Screen Awards, Grammy Awards, IIFA Awards, and Golden Globe Awards


Concept & Design

This poster was a lot of fun! I was able to pull from my col­lec­tion of “Gold­en Age” movie titles which were, for the most part, hand-​lettered, & when col­or was intro­duced, shown in vivid hues. I select­ed a peri­od font, Arca­dia, and paired it with my own hand-​lettered ver­sion of a “cin­e­mat­ic title amper­sand”— based on what would nor­mal­ly be writ­ten as “Pro­duced by” or “Direct­ed by” in hand-​lettered script.

I added a bit of motion blur to the back­ground, and over-​saturated the col­ors in true Tech­ni­col­or style.

As you can see, the back­ground image is inspired by a hor­ror scene — a typ­i­cal high­way in rush-​hour traf­fic.

Enjoy the Oscars

 Please comment here.

Production notes for #141 Cinematography & Editing:
Original size: 20x30 inches

Program: Adobe Photoshop
Font: Arcadia

Ampersand: Chaz DeSimone, hand-​drawn (Photoshop)
Stock image: aerial view of I‑40 highway in N. Carolina from Blue Ridge Parkway by digidream /​ deposit​pho​tos​.com  (altered by Chaz DeSimone)
Twitter feeds: article at Time​.com
Other editorial credits as noted in article.
&” replaces “and” in all text, including quotations, headlines & titles.
You may repost the image & article. 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!

#103 Long & Short

103 Long & Short
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.

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
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!