Monthly ArchiveAugust 2008
honors, awards, media & news Sunday August 31 2008 06:00 am
If anyone went to the celebration and has photos, PLEASE email them to Ray. Our camera broke and we only got two photos at the event. This was one of them.
Robyn Stern (’94), Ray Nichols, and Dave Laden (’95).
I thought the T-shirt made a nice statement about the evening.
. . .
On October 5, 2008 I had the honor of being awarded the title of Grandmaster by The Art Directors Club of New York. The ADC initiated the award to highlight people in the design education field. The ADCNY describes the ADC Grandmasters as educators whose teaching careers and mentoring have impacted generations of students and whose legacy is a far-reaching network of industry leaders and professionals in advertising and design.
The five honorees for this first exhibition include me, Ray Nichols (University of Delaware), Sheila Levrant de Bretteville (Yale), Carin Goldberg (School of Visual Arts), Mark Fenske (Virginia Commonwealth University / Brandcenter), and Jeffrey Metzner (School of Visual Arts). The award is a great honor in itself and also to be included with these important teachers from such important schools.
I’ve been blessed with the opportunity of working with a lot of great colleagues and students who worked hard, stood up well under the assault of critiques and all-nighters, and opened their minds to creative possibilities. While I had a great time in VC I envied every student when they graduated. I’ve often wished I could change places.
Maybe as many as 100 graduates attended the celebration or joined us afterwards at the Black Door. It was great to see both graphic design and advertising design graduates there, as I had only chosen from my advertising design graduates to be in the show, along with a sizable number of younger graduates. It was an astounding feeling seeing graduates spread over 25 years meeting each other, many for the first time. Two of the graduates, Ellen Steinberg (’90) and Nancy Miller Vonk (’79) said they had been emailing each other for two years and only were aware that they had me in common when I sent a note listing who was included in the exhibition. Graduates came from a lot of places, including San Francisco (2), Boulder, CO (2), Chicago, and Toronto.
Here is the other photos we got before our camera decided it didn’t want to work. Hmmm. A Nikon, also.
Eric Collins (’08), Joey Ellis (’08), and Ray.
The following creative directors, art directors, copywriters, and photographers were chosen to represent that “far reaching network.”
Nancy Miller Vonk / 1979 / Ogilvy / Toronto, Canada
Brad Tillinghast / 1980 / Produce Marketing Association / Newark, DE
Bill Oberlander / 1981 / McCann-Erickson / New York, NY
Mylene Turek Pollock / 1983 / Leo Burnett / Chicago, IL
Craig Cutler / 1983 / Craig Cutler Photography / New York, NY
Ann Lemon / 1984 / Freelance / New York, NY
Joe Johnson / 1985 / Ogilvy / New York, NY
Kirk Souder / 1985 / GMMB / Washington, DC
Kevin Moehlenkamp / 1986 / Hill Holiday / Boston, MA
Sean McCormick / 1986 / Caspari McCormick / Wilmington, DE
Rick Midler / 1988 / formerly of BBDO / New York, NY
Ellen Steinberg / 1990 / McKinney / Durham, NC
Franklin Tipton / 1991 / Goodby, Silverstein & Partners / San Francisco, CA
Libby Brockhoff / 1992 / Founding partner of Mother / London, UK
D.J. Pierce / 1993 / Crispin Porter + Bogusky / Boulder, CO
Marc Sobier / 1993 / Goodby, Silverstein & Partners / San Francisco, CA
Dave Laden / 1995 / Dave Laden Films / Ubër Content / San Francisco, CA
Tesia Farquhar Barone / 1997 / Philadelphia, PA
Bill Starkey / 1997 / STICK and MOVE, Philadelphia, PA
James Helms / 1997 / Slingshot / Dallas, TX
Brandon Henderson / 1999 / Y&R / New York, NY
Karl Lieberman / 1999 / Wieden + Kennedy / Portland, OR
Kat Morris / 2001 / Crispin Porter + Bogusky / Boulder, CO
Marco Kaye / 2002 / Wieden + Kennedy / Portland, OR
Amy Servidea / 2002 / BBH / New York, NY
A few more photos from the evening (hopefully, more to follow).
Bill Oberlander (’81), former president of the Art Directors Club of New York opening the event.
The certificates designed by Lizzy Ferraro (’05) ready to be served.
Left to right: Carin Goldberg, Sheila Metzner, a Metzner family member, Mark Fenske, and me. Sheila Levrant de Bretteville had to leave early and wasn’t there for the photo.
There were a couple of an added bonuses. The concept for the image, poster and certificates for the Grandmasters exhibition was designed by Lizzy Ferraro (’05) and it is wonderful to see what I believe is the impact from the program (and Hendrik-Jan Francke) in the visual concept. The photo was done at the studio of Craig Cutler (’83). Rick Boyko, director of VCU / Brand Center), who was supposed to introduce me couldn’t come, so they switched it to Nancy Miller Vonk (’79) who had some wonderful things to say and that made it so much more wonderful and personal.
Jill’s and my letterpress shop, Lead Graffiti, was asked to print the certificates which added another very nice, personal touch to the whole event.
It is worth mentioning the importance of a few colleagues in our program that contributed in very important ways to my own successes, both inside and outside of class, including Bill Deering, Martha Carothers, and Hendrik-Jan Francke.
And then there is Jill Cypher. Anyone who knows me knows how important she is to me.
And a photo of the three most important people in my life headed to the celebration from Brooklyn.
inventory / important type Saturday August 30 2008 09:00 am
A recent and mysterious addition to the Lead Graffiti type collection has been identified by some nice sleuthing on the part of several Briar Press TSI (Type Scene Investigation) agents. Here are my original photos of Pencraft.
Above: Three of the 36-point sorts showing the mortising. The M has both a top and bottom to the mortise. The P and T only have the top or bottom.
Above: a specimen sheet of the 36-point Pencraft mortised initials.
Above: a specimen sheet of the uppercase and lowercase 18-point Pencraft. Interesting that the uppercase is different from the 36 point. I’ll want to compare both uppercase and see if there is any logic. The 36-point initials would likely be used only a few times through a body of text.
Above: a bit of it set up in a composing stick showing the 36-point mortised ‘M’. You have to fill in above and below any of the 18-point type beyond the mortise with 9 points of leading.
Above: Showing the kerning at the top of the sorts.
Above: The MacKellar, Smiths & Jordan pinmark.
Above: Pencraft is displayed on page 56 in the Compact Book of Specimens: MacKellar Smiths & Jordan Company published in Philadelphia in June, 1892.
Pencraft was designed by Herman Ihlenburg (alternately spelled Ihlenberg) for McKS&J and was patented on September 29, 1885. The page lists the mechanical patent as March 31, 1885 (for the machine that casts their sorts?) and registered as number 22,315 (for Pencraft?). The prices listed were
- 8 A, 32 a, with 4 A initials - $5.25
8 A, 32 a, without initials - $3.50
32 a, lowercase only - $2.05
4 A, initials, separately - $1.75
“Ihlenburg was born in Berlin, Germany in 1843 where he studied art and worked for several German type foundries. He served apprenticeships with Trowitzsch & son and afterwards with Haase in Prague, Flinsch in Frankfurt, and Batten in Paris. He emigrated to the USA in 1866 and worked for the L. Johnson & Co. foundry, later MacKellar, Smiths & Jordan (which became part of American Type Founders). Ihlenburg died July 31, 1905 in Philadelphia.” (Typophile, Klingspor-Museum).
A list from the Klingspor-Museum in Germany lists 89 typefaces Ihlenberg designed for MacKellar, Smiths & Jordan and the American Type Founders between 1868 and 1902.
I notice the Pencraft specimen page from Compact Book of Specimens shows an accented é, but I don’t seem to have any. Anyone else out there have Pencraft?
Following is some of the information contributed on Briar Press.
“The face, I suppose, could antedate the purview of McGrew’s book. It appears that the face was cast on a pivotal caster and hand-dressed, rather than a later Barth-style machine, though I have never operated either,” - DBurnette
“According to Annenberg’s Type Foundries of America and Their Catalogues, MacKellar, Smiths & Jordan only operated from 1867-1892 (and then became part of ATF), so that would explain why this font doesn’t appear in McGrew.” - Gamewell Press
Now I’m excited about both this font and MS&J so I’m going to start doing some of my own digging. Special Collections in the University of Delaware Library seems to have a pretty nice selection of MS&J specimen books.
A nice history of MacKellar, Smiths & Jordon by Luc Devroye.