16 Вгонка и выгонка
Вгонка и выгонка / Сплошной текст, Поле, Кегель
Ирма Бом. РаЗВОрОТ Годового отчета Совета по искусству iç88. Гаага, 1989. Формат страницы 30 х 25 см. Каждый раздел набран СПЛОШНЯКОМ И ТОЧНО ВПИСан В ПОЛОСу ИЛИ разворот.
Кегель, интерлиньяж и другие параметры набора меняются одиннадцать раз (соответственно числу разделов), оставаясь в едином соотношении между собой.
Пример наводит на далеко идущие размышления о новом подходе к вгонке и выгонке применительно к технике дигитального набора.
Innocent, naive design appeals to Oakland, CA designer Tony Ш am not a
Lane. These qualities can be found in the collection of contem- ■ 5»"s80;55^js3
porary packaging he purchases in Asian groceries around the Ш collector of Í. 3 | » j= i. 5 ? S? = 1 S' ■§ 3 1 <».
world.“These days, things are always slicker than they should ‘ephemera’. I just îl* ,'»3-Ь_-^о=?«оЭ
be," he says. “This is almost folk art. You know that these » g S 5 S. S |
designers have never heard of Bodoni or Futura.” His fav- happened to have some ™ jLrrH
orite piece is a baton of herbal tea balls wrapped in junh m щ office. It’s piled Upon 8 ? | S I 3 í 3 5 I
dried leaves.“lt’s bitter, awful tasting stuff, but the , ... red.«.” I J ^ £ о ^ Ä » 2 -
ultimate in functionalist packaging,” he says. toP of a flmg cabinet in the corner. | g ^ | ¿ ¡ 5 | o S -S о
“You just pop one off the end when you want That’s how Tibor Kalman ofM&Co., New York, 2- § s » 2 ™ S'3 3
1 |UJV к'-'Г * j/ntijiwu/ хи/i// uj inw uu., nt-u/ ^ q- -Q gj У, 3 < £ У* £2.
describes his non-collection collection. What interests *&§&f|i?s3ff|||;
career has been spent as art director Kalman about the cigarette and candy packages that he has g § ° J ^
tew4ffï^^ndudingrcBSma'0r singled out as prized possessions is their charm. “As a designer, I have''' l^|ra|§fi(R'5R(I'|
Rec^Mftihen making pur- faced the same kinds of problems these designers have and I think these are &«£?§§■! «12 t ‘7
hímind their usefulness*35 brilliant solutions. I toy with ideas about how they were presented at meetings. The g § ГД It | §• R f
as a reference tool: Kocmoc cigarette pack is Russian, from the ’50s or '60s—or more likely—the’70s. lean $ re R S' я. § 4 “
”*Г m'^day they at imagine the designer speaking ta theJinlitburo and explaining how the package represents the space ç | S, | | 3
will give me an advances, the future" For &gffi^^j№rhiera does not provide inspirationfor his own design: “My primary ' ™ g- | | g
ideä.”-J.R.K. interest is to understand not thresfhetics, but the process by which it could have such clarity. I’m against the notion g | R
of knocking off ‘good old fashioned quality -—that’s a business line and a cultural lie!’ And yet ephemera does have a pur- g. g
pose. “It’s just beautiful. That’s enough. I’m saving it from dustbins. It’s a pathetic social responsibility’.’-—K.C. (Page 13) =¡
Interest in collecting American flags began when Kit Hinrichs was a child. “We had a family ln his
heirloom, a flag from 1866 which was kept under my parents’ bed,” says Hinrichs, partner Bscrap-
of Pentagram, San Francisco. “I used to take it to school on Flag Day every year.” Although atдш^мдеі
he at one point “collected everything,” Hinrichs was so impressed by painter Jasper Johns’ Hoimes, graphics
flag series, he was inspired to focus on acquiring American flags. Now he has almost director of nme maga-
700. American flag imagery, according to Hinrichs, is ubiquitous and sometimes z¡ne ¡n New York, keeps an
surprising. Since he travels frequently, he continues to build his collection, and varieties of printed pieces,
others have contributed to it. “I tell people when I lecture that if they find a These are deliberately unfiied
and the scrapbook’s serendipity
flag for under $50, buy it and III reimburse them; if a flag is over that provides an ¡nsplring combination of
price I II ask for a polaroid. Hinrichs points out that until 1912 the images-“This book suggests things to me;
flag had no guidelines, so that the American people themselves ¡t reminds me that there are many different
redesigned the flag every time they made one. “These early ways of solving design problems.” Hoimes tends
things are magnificent, but flags anywhere are interesting.” flip throu9h the whole book even when |ookin9
я a , . . . for one specific image; he says it forces him see
Hinrichs dispi»|itm^flags in his office. He also has
° everything and tune in to it. Someone else
trunks filled Vmnflegs, end тэпу ЭГѲ often lent out ^ о might describe these c^ffl^ephem-
for exhibitions. Generally, Hinrichs interprets era, but I would ca^^SSmreference.
ephemera as the graphic energy which repre- ^ ^ e0 sometimes i win look at a particular
sents our culture, and, along with flags, <г piece and wish that 1 had done
he picks up various artifacts from because *'s simp'e’ c'ever’
, , . , 'ey »a V % bold or even obvious.” For
antique shops during his travels. Л/ѴѴѴЧ Holmes, his collection
“Collecting ephemera is collect- \ v or has served both as
ing what we do and what we ^ ^ ^ a design tool and
directions for me
Верстка / Набор, Сплошной текст, Инициал
WBMG Design, Inc. Полоса журнала Uàflc, vol. ід, № i. Нью-Йорк, 1992. Формат страницы 37>4 х 27'^ см
В облике полосы доминирует форма верстки, а набор играет всего лишь «инкрустирующую» роль.
Но в технологическом смысле - на первом месте именно набор, набор по заранее заданной схеме компоновки.
Парадокс, при котором верстка предшествует набору, случается довольно часто в типографике,
рассчитанной на заранее запланированный зрительный эффект.