Masonic fonts and the designer’s dark materials

golden_compass.jpg

The trailer for The Golden Compass turned up this week, the first part of Philip Pullman‘s His Dark Materials trilogy, and I can’t help but note that the film’s designers have chosen Jonathan Barnbrook’s Mason font for the titles and the rest of the typography. This isn’t so surprising given that Mason has been used on the covers of several editions of the books already but I wonder if this flush of even greater popularity will spell (as it were) the end of a stylish typeface.

hdm.jpgMason (originally named Manson) was one of Barnbrook’s earliest published type designs, appearing in 1992 via the Emigré foundry, and over the past fifteen years has been widely imitated and become the default font for fantasy works, especially book jackets. The attraction for the genre is obvious in the way the design uses elegant and traditional serif letterforms that have been amended slightly to give them a distinctive quasi-ecclesiastical flavour, with flourishes derived from Greek, Renaissance and Biblical letters. The Gothic arch of the letter A has also helped make the font a popular choice for New Age or occult books. Mason was designed as a set of serif and sans serif variations but it’s Mason Serif Regular which is used the most. (The cover for The Science of His Dark Materials shown here is using both the sans serif variation and Mason Regular Alternate.)

Distinctive fonts take a while to get around and I don’t recall seeing Mason until at least 1994. From 1995 to 2000 it began to appear everywhere, even in newspaper ads for a while, before finding a permanent place in the book world. The trouble with this kind of ubiquity is that the novelty the design once possessed quickly vanishes and it begins to runs the risk of becoming a design cliché. Many typefaces go this way, especially in the publishing world where the choice of typeface is often dictated by genre expectations. So Orbit-B and its variants used to signify “science fiction” or “the future” in the 1970s, Caslon Antique and Rubens have become associated with horror while FF Confidential has been over-used for crime novels.

Continue reading “Masonic fonts and the designer’s dark materials”

Calligraphy by Mouneer Al-Shaárani

shaarani.jpg

Beautiful work. Via growabrain.

Update: “A study of medieval Islamic art has shown some of its geometric patterns use principles established centuries later by modern mathematicians.” Full story here.

Previously on { feuilleton }
The Journal of Ottoman Calligraphy
Word into Art: Artists of the Modern Middle East

The Door in the Wall

Photographer Alvin Langdon Coburn (1882–1966) illustrates HG Wells’ wonderful short stories in a rare edition of The Door in the Wall and Other Stories, from 1911. More pictures here.

The Door in the Wall was a true three-way collaboration between the author, the photographer and the typographer, Frederic W. Goudy, who specifically produced his Kennerley Old Style typeface for this book. Designed in the elegant Arts-and-Crafts style, it was printed on French hand-made paper at Goudy’s Village Press in an edition of 600 copies. In fact, only 300 copies contain the full compliment of Coburn’s rich photogravures, due to some being damaged in shipment and being replaced by aquatones. The photographer personally prepared the gravure plates, pulled proofs and oversaw the printing of the edition.

coburn1.jpg

The Door in the Wall.

coburn2.jpg

The Lord of the Dynamos.

Previously on { feuilleton }
War of the Worlds book covers

The Times makeover

times2.jpg

The new masthead designed by Luke Prowse, with a coat of arms
by wood engraver Edwina Ellis.

So, in today’s Neville Brody news (no, I’m not intending on posting about him every day…) it seems the designer has been busy with colleague Luke Prowse making The (London) Times look better. Not before time (so to speak), it was starting to look very out-of-date beside the recent makeovers at The Guardian and Independent. Brody is evidently first choice for these kind of projects at the moment, confirming that he’s still one of our most important print designers.

Among the changes are a new typeface, Times Modern, which has been applied to a new design for the masthead. Considering that this is one of the most famous newspaper mastheads in the world, I hadn’t realised it had changed so much over the years. The Times website has a nice online gallery showing the development from its earliest days as “The Daily Universal Register” through to the present.

times1.jpg

An early edition from 1788.

Brody has said of the new typeface, “Times Modern is a contemporary answer to the needs of compact newspapers. With pinched proportions, it allows more copy in the headline without compromising legibility. It is both authoritative and elegant, while robust at smaller sizes.” Since he’s on record expressing his dislike for Times New Roman, he must have enjoyed being given the opportunity to supplant an ugly and over-familiar font with something more suitable.

Previously on { feuilleton }
100 Years of Magazine Covers