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A PADULY III Y GRAPH S | TYPO PROCES LE DOO Y PATRICK UTH SU

VORANO

ED N O D N ABA ED R E G N ENDA ED P O L E DEV ne era in

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A PADULY III Y GRAPH S | TYPO PROCES LE DOO Y PATRICK UTH SU

VORANO

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one // research materials

project synopsis As graphic designers we spend much of our time working with typographic application for a variety of two-dimensional surfaces from magazines to computer screens. There is however, a world of rich typographic experience both formal and informal in signs, graffiti, and other forms of lettering that inhabit our everyday environment.

Each student was asked to select a discrete sector of this environment and make a photo essay book about it. We also collected our own the photo material, wrote an essay to accompany it, and designed the entire book.

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one // research materials

INTRODUCTION Nostalgia describes a sentimental longing for the past, typically for a period or place with happy personal associations. Oftentimes, the typography of our past was encountered at the places our parents brought us to for amusement. However, we didn’t know it at the time and overlooked how it affected us in the long run. Typography that used to be inviting and happy may now have a sentimental sadness. As I explore different locations, I recall the feelings of happiness that also resonates with the typography at the time. Places that bring people together often provide rich signage and lettering.

These signs were meant to direct, capture, and inform us. Looking back into the past helps me realize that even decades after its arrival, industrialization and modernization had a huge affect on typography and our upbringing. Typography from the past will always haunt us even as technology moves forward; more people will grow aware of this nostalgia and want to restore its artistic merit.

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LEFT IN THE LURCH When you think of amusement parks, you don’t usually imagine yourself surrounded in desolation, desertion, or damage, but rather you place yourself in a setting that is decorated with flashing lights, cheerful tunes, and bold, fun typefaces. Joyland amusement park opened in the summer of 1949 and thrived for a consistent fifty-five years until the ‘joy’ was taken out of it in 2006. Since then, it remains frozen in a forgotten time. Today, the Joyland amusement park stands as a ghost, decaying over time and plagued with vandalism, litter, and overgrown weeds. Almost no one is allowed to view it because it is a dangerous place and is protected by the city of Wichita, Kansas. The current typography stands alone, and “without the reader, the text has no purpose (Myers 131).” All buildings, signs, and surfaces are covered with tagging from neighborhood gangs. Tagging, which is the simplest form of graffiti, restricts the area and marks a crew or person’s territory. Despite the struggles with vandalism, Joyland still possesses a sentimental beauty in its vintage and damaged form. “[flawed design] holds its own perfection of image and message and, in its own way, it might just be the perfect message for its time, place, and audience.” Before Joyland’s abandonment, the typography provided direction and caught the eyes of adventure seekers. Now “the lettering does not have to fulfill a utilitarian role but can simply exist as art and contribute to the quality of space (Baines 101).” Many of Joyland’s signs are vernacular, or unprofessional and hand done. In the attempt to appeal to children, this style of typography has a certain charm and piques interest because of its imperfections. It is personal and has character that is comforting because it is not made by a machine. Amusement parks have a variety of typefaces from serif to sans serifs, and even implement ornamental typefaces. Colors provide distinction and boldness, as amusement parks often choose bold and bright complementary colors.

To be successful, the rides and booths not only had to stand out from the competing environment, but also had to be eye-catching during the day and the night to lure its adventurers in at any time.

A SIGN OF HOPE Joyland’s vernacular typefaces are in danger of vanishing because the park is closed down. It would be a shame to lose a great piece of the 1950’s history, however there may be hope to save this once joyful amusement park. Alex East is taking steps to renovate Joyland by raising money to fund a ten million dollar project. Joyland is an asset to Wichita, however no one has money to fund it.

book copy SIDEBAR: DEATH AT JOYLAND While growing up, rumors spread of several deaths at the Joyland amusement park, however I never knew whether they were true or not. One rumor was of a kid who stood up while riding the roller coaster, and at the time the roller coaster did not have seat belts. The kid’s grandfather was looking around for his lost grandchild. However, it wasn’t until later that day that the kid was discovered somewhere underneath the roller coaster by a Joyland employee. Because of this, seat belts were built into the roller coasters. This story may have been a cautionary tale in order to cause people to act a certain way on the roller coaster, but it still sends a sad and scary image.

SAVING A PIECE OF HISTORY Drive-in theaters thrived directly as the U.S. car mania did in the 1950s. Now however, only a few screens remain lit with movies since the introduction of cable television and cassette players; industrialization and modernization changed the way drive-in theaters worked and nearly wiped out all of its business. Because drive-ins are becoming more rare, it is considered a nostalgic treasure of the past. The theater has a place in its heart for neon signs: the food center. The neon signs are placed in the food center in order to attract attention and to provide a quick read, especially in a dark setting. “in the late sixties, wichita had about nine drive-ins. Now there is only one.”

SIGNS AND LIGHTS Starlite Drive-in Theater is the last of its kind in Wichita, Kansas. It is restored and well-taken care of. However, the loss of business is still a threat. The drive-in brings nostalgia into the environment by staying true to the 1950’s feel. Many of the signs are lit up because its hours begin at night. The typography around Starlite brings us back to the Fifties before the worries of the new digital age. The typefaces around the drive-in are completely san serif with small details and titles in script. San serif type is known to be less formal and clean. It is friendlier and less authoritative than serif typefaces.

To display information on the next showings, Starlite Drive-in uses pronto marquee letters, which slide in and out of the board to easily change the showings every weekend. This gives it personality because it is a person’s job to change the type around and worry about the kerning and composition.

Typography is important in the food court. When you first walk into the food court, you’ll notice the ceiling is decorated with hanging signs. Majority of these signs are san serif and are created on the computer in a tacky or unpolished manner. The combinations of typefaces are typical to those found on any computer. The messages are inviting and concise, which causes the viewer to feel comfortable to serve themselves. The menu also reflects simplicity in its composition; everything is aligned in each column for a quick and easy ordering experience. Starlite Drive-in Theater attracts people from afar to experience watching movies under the night sky for a cheap price per carload. Tactfully placed colored lawn lights and lit signage leads cars toward the ticket booth. These signs are meant to be read quickly and be seen from a distance. Starlite’s signs are bold, yet polite.

ILLUMINATE THE NIGHT The Fifties has a place in its heart for neon signs. Neon signs were very popular from the ‘40s to its decline in the ‘60s. Conveniently placed in the food center in order to light up the night, these signs

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attract attention and provide a quick read. It was effectively used in barbershops, bars, diners, motels, and other urban settings. At first, neon lights were used for quick advertisement, but ended up as a mixture of art and advertisement. Furthermore, neon signs with clocks gained more exposure in attracting eyes and sending a message to the viewer.

CHANGING WITH TIME Bowling is essentially the same as it was in the ancient days. However, it was extremely popular during the ‘40s to the ‘60s and technology furthered the sport to be easy to track. Much of the typography within KC Bowl has been modernized “as the need for mass production grew, the use of hand lettering techniques such as painting and carving gave way to industrial processes such as casting or an increased reliance upon a modular means of generating signs (Baines 98).” However, I did find some typography left over from their vintage history. The original sign of Ranch West is done in an older style, and is designed for a cinema. However, after changing the owner and name of the bowling alley, Rick Thurber decided to keep the vintage vibe by incorporating the ornamental star into his sign and putting to use the pronto marquee letters.

one // research materials

SIDEBAR: HISTORY OF KC BOWL Originally, KC Bowl started as a bowling alley, changed into a movie theater, and eventually back into a bowling alley in 1977 known as Ranch West. Unfortunately, it burnt down in May 1992 and was later reopened in November of the same year. With this new building came new developments in technology.

Back in the 1950’s, each player would use a single ball per game, however now people use multiple balls that fill up the racks. This explains why bowling alleys have long ball return racks. The bowling environment also changed with the new age. Bowlers used to bowl in a darker, smokier setting; now, bowling centers are often very clear and bright, unless you cosmic bowl.

“Some of the most interesting urban lettering juxtapositions occur when the functions of the buildings change while the original lettering remains.”

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HIT THE SLOTTIES Bowling alleys usually have amusement arcades for added entertainment. Because of growing technology, arcades became popular in the late ‘70s to the ‘90s. Arcades are rich with a variety of type from neon lights to specialized decorated type. Most of the arcade games are flamboyantly lit up to capture attention and evoke feelings. When you start a game, you may experience a certain mood depending on the theme of the game and the type design associated with it.

SIDEBAR: THE LUCKY SIGN When I went to KC bowl to interview the owner Rick Thurber, I was surprised when he allowed me to photograph this sign, which is lit up with light bulbs. He explained that it was left over from the previous owners. The story behind the sign is that it was originally a part of a bowling show that aired in Kansas City in the 1980s. He didn’t know what the show was called, but said that it may have been called

book copy

“Strike it Lucky.” However, I looked up old bowling shows and it may have been a show called “Bowling for Dollars,” which aired around the same time. That would explain how the letter ‘S’ is a dollar sign.

The typeface in this sign is an exciting san serif because of it’s skewed thickness and mixture of sharp edges and smooth round curves.

MODERNIZED Added technology changed bowling centers for the better in various ways. Because bowling changed with the time and used technology to its advantage, it allowed for larger crowds from all different ages.

Like mass production, bowling centers increased their alleys from maybe four lanes to about twenty in order for groups and leagues to get in and get out. Many bowling chairs, bowling racks, balls, screens, and lane numbers are often san serif because it is casual and easy to read. One of the major distributers of bowling equipment is Brunswick, founded by Jonas Moses Brunswick from Switzerland.

Brunswick branded equipment has subtle influence from the International style, also known as the Swiss Style in its typography and graphic design. The designs are clean and simple, use geometric shapes, and are uniform. The Fifties bowling centers often differ from Swiss style by being influenced by the Art Deco and Kitsch period. Art deco promoted streamlined forms and futuristic designs. Most shapes were organic or dramatic geometric shapes, often found in Fifties business signs or neon signs.

Kitsch, on the other hand, was composed of outlandish and vulgar designs that people ended up ironically liking. Pop Art falls in this category because of its exaggeration and odd mixes of vernacular typefaces with informalities.

VERNACULAR MEETS TECHNOLOGY The snack bar at KC Bowl has rich vernacular and digital typography, which is juxtaposed to one another. This shows that the bowling alley is still changing and using technology to further drive their message. For instance, the television screen menus pair up the name of the food with a photo of it. The digital typefaces on the screens are also more organized and credible than the hand drawn type of the glowing marker board or labels.

CONCLUSION The typography from 1950’s local amusement parks, drive-in theaters, and bowling alleys are meant to be inviting, fun, and casual. Unlike now, the Fifties was a period of time that was not completely driven by technology. The current success of the business depends on money and whether new technology is integrated or not. The remaining typography of the past will be abandoned, endangered, or integrated. However, we won’t forget the mixture of vernacular type along with clean and inviting san serif typefaces and will still use them today. Before we know it, the typography of our present time will become the remains of the past.

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09.11 I had trouble coming up with subject. Some topics included: hand-drawn withered type, hole in the wall places: average to high end, different sized cities, bakeries.

09.18 Went to Dallas over the weekend, and came back with some photos.. However it wasn’t enough context.

one // research materials

09.25 Finally decided on childhood memories, including places like the abandoned amusement parks, drive-in theater, and bowling alley.

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09.27 The class had a lot of trouble with our moodboards, and we had to redo it.

10.2 May change title of “Nostalgia in Public Typography.” Try to find more interviews.

day by day synopsis 10.04 Need more photos. Go toward 50s theme.

Meeting with KC Bowl.

10.11 Meet with Gary Quick from Starlite Drive-in. Be playful with the fifties theme. Breaking of text is cool. Looking for more shapes that has to do with fifties. Incorporate patterns? Make one direction with light hand and one with fifties.

10.23 Needs something more, it is too simple, too sleek. However, I don’t want to have too much going on because the photographs are already very bright and bold.

10.25 Very small book, need to print out larger so we can see. Too ‘generic’ needs more texture or more movement. Too clean design.

10.16 Had trouble choosing typefaces. Maybe don’t keep shapes? Changing from fifties theme to simple and modern theme. Less saturation in photos.

10.30 Finally decided that what was making the book so disconnected had a lot to do with photos.

Added similar tints to photos based off the colors of the chapters.

10.18 Like the covers that has type on it instead of the popcorn one. Extreme close up of a sign was successful. Look for continuity within the story and the photos to match it.

11.01 Added more texture and pulled the book together because of the photos.

11.06 Sent book off with little preflight problems.

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TWO // PHOTOS

photograph

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THREE // DESIGN DEVELOPMENT

type studies

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moodboards

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portrait studies

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landscape studies

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cover studies

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38 public typography

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remains of the byg one era in public typograp hy

ABANDONED. ENDANGERED. FLOURISHED.

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FOUR// FINAL PROJECT

ABANDO NED ENDANGERED DEVELO PED of remains

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V O R A N O U T H S U PA D U LYA

concept statement In the fifties, entertainment places were thriving with vibrant and lit up signs. Nowadays, those same signs still linger, but have a slightly different effect. Typography that used to be inviting and happy now seems to have a sentimental sadness. This book explores our nostalgic past in the Fifties and the impact that the nearly forgotten typography has when visited later. Each section of the book describes how the typography and signs are doing in its present time, one place has been abandoned, another endangered, and one is developed because of its technological integration.

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FOUR// FINAL PROJECT

final spreads

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54 KC BOWL

sample spreads

vernacular meets technology THE SNACK BAR AT KC BOWL HAS RICH vernacular and digital typography, which is juxtaposed to one another.

This shows that the bowling alley is still changing and using technology to further drive their message. For instance, the television screen menus pair up the name of the food with a photo of it. The digital typefaces on the screens are also more organized and credible than the hand drawn type of the glowing marker board or labels.

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FOUR// FINAL PROJECT

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56 JOYLAND

left in the lurch WHEN YOU THINK OF AMUSEMENT PARKS, you don’t usually imagine yourself surrounded in desolation, desertion, or damage, but rather you place yourself in a setting that is decorated with flashing lights, cheerful tunes, and bold, fun typefaces. Joyland amusement park opened in the summer of 1949 and thrived for a consistent fifty-five years until the ‘joy’ was taken out of it in 2006. Since then, it remains frozen in a forgotten time.

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“THE LETTERING DOES NOT HAVE TO FULFILL A UTILITARIAN ROLE BUT CAN SIMPLY EXIST AS ART AND CONTRIBUTE TO THE QUALITY OF SPACE.”

JOYLAND

phil baines

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BEFORE JOYLAND’S ABANDONMENT, the typography

the attempt to appeal to children, this style of typography

provided direction and caught the eyes of adventure

has a certain charm and piques interest because of

seekers. Now “the lettering does not have to fulfill a

its imperfections. It is personal and has character that

utilitarian role but can simply exist as art and contribute

is comforting because it is not made by a machine.

to the quality of space (Baines 101).” Many of Joyland’s

Amusement parks have a variety of typefaces from serif

signs are vernacular, or unprofessional and hand done. In

to sans serifs, and even implement ornamental typefaces.

Colors provide distinction and boldness, as amusement parks often choose bold and bright complementary colors.

To be successful, the rides and booths not only had to stand out from the competing environment, but also had Typography from the Fifties is often filled with

to be eye-catching during the day and the night to lure its

small details from the drop shadows to the star within the letter O. The colors are vibrant and the

adventurers in at any time.

first letter of each word is enhanced and stylized.

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“IN THE LATE SIXTIES, WICHITA HAD ABOUT NINE DRIVE-INS. NOW THERE IS ONLY ONE.” gary quick

saving a piece of history DRIVE-IN THEATERS THRIVED DIRECTLY as the U.S. car mania did in the 1950s. Now however, only a few screens remain lit with movies since the introduction of

STARLITE DRIVE-IN

cable television and cassette players. Industrialization and

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modernization changed the way drive-in theaters worked and nearly wiped out all of its business. Because driveins are becoming more rare, it is considered a nostalgic treasure of the past.

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FOUR// FINAL PROJECT

reflection

Overall, I had a love and hate relationship with the project. I had a hard time throughout the process, but at the end it pulled together. One of the hardest decisions is choosing a subject. I had many ideas, however I knew for sure I wanted to make it something that I’d enjoy reading and be interested in. I found that Joyland amusement park peaked my interests, so I had to include it. I built the rest of my book around it because I was intrigued with it. One of the best aspects of this project is that I was able to create this book and take the photos myself (or at least majority of it due to legal issues). Writing the book was easier after I had all my photos taken, because I realized I had so much more that I wanted to talk about within my book. I think it is extremely appreciative when a designer is also the photographer and the writer. I believe that the best designers are those who can do more than just design. The designer hand is in every single process. It becomes more personal and makes me feel complete and whole, enough to say that this project is completely mine.

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