Формула / Пробел, Металлический набор, Подключка

Примеры формул со знаком интеграла из книги 41. Москва, 1929. Натуральный размер

В формульном выражении буквы и цифры участвуют наравне с их пространственной организацией.
Поднятые (оттиснутые) пробелы вполне могут символизировать эту особенность,
хотя в данном случае имелось в виду лишь наглядно продемонстрировать технические приемы набора.
Как видим, в металле это требовало ювелирной техники. Намного ли проще набирать формулы сейчас?

154 Формула

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CATALOG FOR LOS ANGELES-BASED ANDRESEN
TYPOGRAPHICS. HE CAME UP WITH A BINDER DESIGN
THAT SPELLS OUT THE COMPANY’S NAME
ON THE COVER IN HIS OWN VERY

6'V

PERSONAL INTERPRETATION OF лѴі'''

ANCIENT HIEROGLYPHICS. INSIDE. ,е'°Ѵ ¿Uri® .M&'

va'-0' j.atV-° s ь0\'0'

FOX CONTRIBUTED A GLIB WRITTEN в-E \\'cS‘

ACCOUNT OF THE DERIVATION OF \\»cVS>0*6
EACH LETTERFORM. “A LOT OF PEOPLE TOLD ME
THEY LIKED THE DESIGN BUT THEY DIDN’T GET THE
IDEA’,’ HE SAYS. “THEY WOULD HAVE UNDERSTOOD
IT IF THEY’D READ MY COPY. I GUESS TYPE CATA¬
LOGS AREN’T HIGH ON PEOPLE’S READING LISTS.”
FOX’S FLAIR FOR WORDPLAY SHOWS IN HIS
LATEST BROCHURE FOR ANDRESEN. ILLUSTRATIONS
LIFTED FROM AN OLD BOY SCOUT MANUAL ARE
ENLIVENED WITH THE DESIGNER’S OBSERVATIONS
ON WORKING WITH CLIENTS AND SUPPLIERS, PLUS
TIPS LIKE “COMMUNICATING WITH THE OPPOSITE
SEX.” “MEN—FEEL SILLY TALKING TO WOMEN?”

FOX WRITES. “WOMEN—FEEL LIKE SLAPPING THOSE
MEN SILLY? LET ANDRESEN SHOW YOU HOW!”

TEXT AND TYPE PLAY SUCH A LARGE ROLE IN
FOX’S WORK THAT IT’S NOT SURPRISING HE’S
RECENTLY MADE HIS DEBUT AS A TYPE DESIGNER
HIMSELF. PROPAGANDA, HIS

*0..

c°//;

*99jes/gntîe.Pi>/n(, FIRST REGISTERED FONT AND

c*/en*S/n,Psn foe S
Hj, епйаг. A„°nf>aD AN ANDRESEN EXCLUSIVE,

&oof(j 0//eSo° °r POINTEDLY DEMONSTRATES
^erCa^n°be/ef*}tfeSfe, THE DESIGNER’S CHARACTER1ST1-
°0Se’ //?c. CALLY CAGEY APPROACH TO HIS
MATERIAL. FOX SAYS HE SEES THE NAME AS “...A
POLITICAL STATEMENT. AFTER ALL, EVERYTHING IN
OUR BUSINESS IS ABOUT TRYING TO MANIPULATE
SOMEONE TO BUY A PRODUCT OR A SERVICE, ISN’T
IT?...” THE INDOCTRINATION SEEMS TO BE WORKING.
FOX’S MAIDEN TYPEFACE HAS ALREADY TURNED
UP ON A CAPITOL RECORDS ALBUM COVER.

WORD AND IMAGE FUSE TO DRAMATIC EFFECT
IN THE RIB-TICKLING LOGO FOX CONCOCTED FOR A
HIP NEW EATERY ON SAN FRANCISCO’S EMBARCA¬
DERO. "IT’S THE ONLY JOB I EVER GOT BY LEAVING
MY BUSINESS CARD" HE REMEMBERS. EMBLAZONED
WITH BLACKDOG’S MASCOT (GINGERLY TREAD¬
ING OVER BURNING COALS) FOX’S CALLING CARD
GRABBED THE ATTENTION OF JOE AND MARNI LEIS,
A COUPLE OF DOG LOVERS WHO HAPPENED TO
BE LOOKING FOR A GRAPHIC IDENTITY FOR

aV>'

THEIR LATEST DINING VENTURE.

THE RESTAURANT NEEDED
A NAME, TOO. FOX SUGGESTED „о*, сЭ'э'.„,

^ áp '

“EMBARKO,” WITTILY INCORPORAT- 'Vo.*pt-
ING A REBUS FOR THE MIDDLE SYL- * -y.0c°

LABLE THAT NEATLY ILLUSTRATES V*’

HIS ESTHETIC. “MY GOAL IS TO EDUCATE OR AMUSE
PEOPLE, OR BOTH,” HE SAYS. FOX’S OWN LOGO HAS

Форточка

Студия Pentagram.
Колонка из журнала Uàflc, vol. 18, № 2.

Нью-Йорк, 1991.
Натуральный размер, фрагмент

В виде форточек
даны блочки надписей
к иллюстрациям,
сопровождающим заметку.

Стало быть, тут -
типографический прием,
не выполняющий привычной
рубрикационной функции.
Возможно, именно поэтому
форточки разбросаны
по обоим краям колонки
и перекошены.

155 Форточка