AINT

HAVIN

By Steven Heller

I am not a maniac about

knowing who cut whatface or if it’s true
to the original drawing’,’says Stephen Doyle, the

34-year-old co-founder of Drenttel Doyle Partners in New York,

who was also chief designer di
nal SPY magazine andari dirçj
first four issues. “/ am a mania ш
legibility and whether somethin
esting enough to be set into
first place. With all the-ехрещ
involved in typesetting one
had better be absolutely
sure that a manuscript is
worthwhile.''Rather than
call himself a typographic
designer. Doyle say s."I'm more liJJ
translator who believes in Лещ
typography to induce readers щ
So I feel a responsibility to паду
pie by making them read smnetljj
trivial or uninteresting. There Л
many demands on our rime and*
for that.''

While this may sound sometiki
genuous coming from a designerid*
promoted typographic anar¬
chy. encouraged the use of
4-point text type, and has
bled copy blocks offa page,
it is consistent with his faith*
fulness to content. When on the
title page of the book View From Span
American Astronaut Photography,Щ
ran the subhead upside down, itan
just to misbehave: rather, logicdem
topsy-turvy type in zero gravity Siiti
when he designed the stories in SPY*
set in multiple textfaces of varying!
weights, some on excruciatingly tigli
umn widths, he was faithfully respa
ing to the demands of the magami
“SPY had many different voices"
explains Doyle. “So we kept *
flipping type styles to reflect L
that. The editors preferred
sidebars, so we used them V».
everywhere and even gave
the sidebars their own sidebars. Щ
type be the messenger for the тапш
So the type misbehaved because tliei
scripts misbehaved. It was as thorn
let the writers design the magarne
Doyle's design is based on a deep ti
for content and a healthy rejectionо/
oration for its own sake. This goes bt
his formative, early jobs at Esquire iii
1970s. where, under Robert Priest, hh
learned to enhance the written 4
word, and subsequently at
M&Co.. where Doyle was
tutored by Tibor Kalman
in the art of excess infor¬
mation. About one of hisfirst
pieces of typographic experimentada
a Thelonious Monk album design doti
in collaboration with Kalman. Doylt
recalls that the decorative elementsti
removed in favor of more facts. №*

116 Прописные и строчные знаки

122

Прописные и строчные знаки /

Рубрика, Блочный набор, Перенос слов

Студия Pentagram. Заголовочная полоса (фрагмент)

из журнала U&lc, vol. 12, № 2. Нью-Йорк, 1991. Формат страницы 37,4 х 27,6 см

Пример демонстрирует свежий подход к старой традиции

разделения ролей прописных и строчных (сравни с примером 112).

При переходе от крупного заголовка к зачину текста

прописные сменяются строчными.

При переходе от зачина к «основному» тексту
постепенно достигается размер текстового шрифта.

Слово misbehavin’, как подобает чистому блоку из крупных букв,
разбито на строки без знаков переноса.

Berthold

ад аа і8 14 аб as іа

[B|e|r^hloP)d|

30 аз 19 15

аб 13

Pe(r|t|h]o|l^l|

а8 а7 14

Пункт / Межбуквенный пробел, Разрядка, Фотографический набор
Ян Вотерман. Шрифтовая иллюстрация из книги 189. Амстердам, 1987. Натуральный размер
Иллюстрация поясняет понятие относительной единицы ширины шрифта.
Название фирмы выполнено фотонабором с разным трэкингом: -і, о (норма), +і.
Микроскопические различия налицо.

При шрифте 48-го кегля единица ширины равна пункту.

Как иначе продемонстрировать столь мелкую единицу измерения?

123

117 Пункт