The Ten sses e Heir of phy a r g o p y T
a rsoesnof Ameriacgazines a C m tat id Dav United S d Roygun -, an 1956 : Surfer k r o W
d Fell 1938a ,U Work nited State : Fella s of A m Parts and O erica dy ee K utwes ey Jeffr t type of America faces 19568-, United States es Hard Tim Work: Keedy Sans, r ces and Lush US typefa meiste g a Reed S f Lou o r e Stefa, nAustria v Carlo co Look; 19621956-, s Segura de you ght Reeling a M : Cuba i of T26 Work et the Twil Work: S T album Squar 26 Font Fou e 45 ty n d r y , peface
Zuzana Licko of Emirge
1955-, The delans of Netherlan ds Work: Em irge magazi ne; Suburban typeface
1961-, Czechoslovakio Work: Emirge magazines; Matrix and Base typefaces
ton thing r o W hael dom
King s; United ndscape 1966-, ypographic La T Work:
book n Barnom a h t a n d Jo ed King
SATAN And His Fallen Angels
Phil Baine and s nit , Moson 1958-, Un 1966-, U s Font Foundry rojects; ited Kingd u p ir s r V om : te k s Work: Typ dbu Wor e & Typogra efaces; A ts p ty i phy; Pengu r B io o oks; Can Y Pr ojec in ou? typefa Hirst pr ce Domien Al 194 an K Wo 0-, U itc n Nevil Da rk: W ited hing z K 1957- le Brody cov ed & hy Ir ingd ,U Con aq? o er Work nited King fuse W m : Fuse and Ar dom d: t hy N Nike a ena ma he d v o erts wo w? gazine st om rd s; pos o r F i e s ; c t s d t s g e r n i e in u r v V United K ; Nike ad ; e 1964-, ig magazine Nick B t Work: Repor 1965- Bell D A & , Uni D a Work: B ted Kingdo c i r e rit m ecktates of Amand Lost & Founidsh Nuclear Fu D y el E e c i x S ye ma r gazine hibition tab screen anim Bar2-, Unitedlate Gotchpefaces lecloth ations ; s; 196 : Temp orph ty k r m Wo tic Bio s Cou
1. alt h s u Tho than re o a m n y i l s p e p c a not ee typefa ument thr doc
hree nly t be o f o to se s not the u ! d by tructed u ou desire e s o p s y n m i s i rs ya has lette man and k the th fonts so use as a e r B give asteful, lord w e h T s.
2. alt h s u Tho e and arg age. l s e p in l a d f a o e p e. f typ lay h t the to hy o t the c r a r ie ac a the h , will attr first. d by y ye er
p ce sedu dy co s be ize as bo e y e hine me s Let t at the sa n , eve fonts
We did you read first? For God’s sake, don’t say you read the headline first! How the hell has that happend? I thought headlines had to go at the top of the page and be huge in order to work? Here it is in 10pt, the recommended size for body copy according to the Ten Commandments, and placed at the bottom of a page, but you still read it first?
Christ! I don’t know what to say! It just goes to show that headlines can be put anywhere and at any size and still work. Anyway, who says that you have to read them first on every article? God help us if every designer stuck to this rule. Imagine what magazines would look like. Drab, I think the word is, Your copy of Baseline would look identical to Heat!
we put it down here and fairly small 7
3. alt h s u Tho r type he t o or o f n t p 10 oy l p o t m py. e t o p c 8 n dy a o h b t lain size e a p s. mak u r
an uo hey c dly sens for t e , k s c i e w iz ger s look r big cument o r e l do smal text sake
For Heaven’s sake! Why? Body copy is still legible and readable at this size and at this size, as well. If you were competing to a speed-reading competition maybe it would be best to abide by the Commandments, but let’s face it, that’s not going to happen. So stop boring your readers to death and give them some visual excitement. 9
4. a t a h t r e b ot em n s m i e R at h a t y e l c u a r f type is not t eface. le typ legib eak e
d br es an l fonts. c a f e a p ition ve ty ressi ty of trad p x e i nd ur ew a e sec ing n from th y r t o free d int
The white are you can see is part of a American Typewriter “a”. But you can’t read that is is an “a”, so it is not legible. If the commandments are to be adhered to, in this instance is American Typewriter no longer a typerface? Janus Moire, by contrast, is not strictly legible, but it portrays a sense of mazed letterforms, so it does communicated as a typeface.
5. so , g n rni ace e k y sp h t t a r h u t o ly l n a o u s H vi s e n e m e o w c be bet rs. d e z li te a c u a q r e cha the
se expo rms. d n a terfo nce vere ween let e r r i total e bet with ious spac g n i n v de t ker
Letterforms can be shy and deceiful, and certain combinations of characters will have cumbersome spaces between them. Words that are not kerned can suddest an amateur typographer; but words that have had thei kerning and tracking deliberately exaggerated can look develishly good, as Satan himself, David Carson, has proved in his work.
6. alt h s u Tho reetly isc d in s s h e t r i t lay s ements w text. el n o up e at th r wh . ce th
o sures xt. F ur te ll of plea o y f ts o an be fu eligh he d hidden c t e l p ts o sam ord wan der t L a e r e
Commandments are all very well and good for design beginners because, let’s face it, they do work. The old saying is true; you need to learn the rules and can demonstrate that can put them into practice, that’s where the fun begins. It’s just like being a child again; your parents teachs you the rules but it’s always for more fun breaking them! I’m sure even Joseph and Mary had their fair share of that when Jesus was a nipper; it’s part of growing up. So why should typography be any different? First, you learn the rules, and later you delight in breaking them. You might make a complete mess, like when you covered the walls with paint when you were young and your mother gave you a good hiding, but you learn from those mistaks and carry on breaking rules
break the rules
more successfully. It’s hard work to and succeed, but it’s better to fail in originally than to succeed in imitation. By sticking to Commandments, you are just copying other people’s rules, so why not make your own? One of the Fallen Angels, Michael Worthington, said: “True experimentation means taking risks. Not knowing the outcome but trying something that you think will be successful, but you have no proof. What happens if I mix element. A with element F? Could be gold, could be sulphur.” The age is upon us now when we have hardly any of the technical restraints that they had when the Commandments were rigidly practised. We have to thank such pioneers as Apple Computers, for designing the Macintosh, and such Fall Angels as Ruby VandeLans and Zuzana Licko for buying one in 1984 and teaching us to experiment, try new and unsualy things, and for
sake stop being so boring! 15
7. alt h s u Tho pitals a c y l n ast o v e g s n u not en setti copy. wh body e or th rgo
f e text, your ovide som s. n i h t r i e p w m n ls tco ca apita d ou rms e of c c letterfo cally goo s u l oli ibera eometri diab g the l
8. alt h s u Tho s and er t t e. e l n i l n e ig as l b a a s y s ere i alwa ords on ut th her. b , e t d o si w e by rom each d sid f an away to st rms ng lured o f r e i tt e eir b ed le esign arm in th d d r no h e Lo
do we have to be so rigid and dull
9. alt h s u Tho h-left, lus f e s ype u t t h g i r t. n d e e m g n rag alig
n to tatio
usu in un
> The account of Satan in the Bible implies that he turned one third of the angelic host against God. It’s not hard to imagine that Satan went among the angels, seeking to build support for his contention that they were far too good at typography to stick to God’s Commandments. It was thus that Satan became filled with violence against the rules. Eventually satan designed Surfer, a magazine that he must have felt would deliver him to position he believed should rightfully have been his in the beginning. He decided to deceive his readers with the psychological design of Surfer and by disobeying all God’s express Commandments. Now Satan was more cunning than ever. Through the design of Surfer, and later Raygun, he said to his readers that God’s almighty Commandments can successfully be broken. He proved that once the rules are broken, our eyes are opened toendless typographic possibilities. So when his readers saw that. Satan’s design work was pleasant to the eye, they too behan to flout the rules. Notice Satan’s tactics: he didn’t preach to his readers directly, but instead his design did the talking and led them to doubt God’s laws.
10. alt h s u Tho e lines ak m t oo t no r o t r g. o n h s o l too wn u
ead the r
h of lengt xt. e h t te ying your y var
me an so f
g ssa e am
fun ctio na sa
h ain ve m t ent n e . ty r p spa
e r nte
e ign as ot nt
er iew v e
r es siv et yp
of demand Why not you more of engage Why not
Normal line lengths just make life easier for the reader.
them mo re?
rs e n i