Redactions: Poetry & Poetics issue 14 is at the printer. Rather, I just received the proofs today. So now is a good time to share the cover. Below is the whole cover and the spine.
Originally, I used an I-90 sign, puffed it up, and made a gleam or shine, both of which still exist. However, that was the whole cover, aside from the words. It looked too much like Superman, so something had to be done. I decided to add a map of the United States and draw I-90 on it. That seemed to do the trick.
I also wanted to invoke a revolutionary spirit, so I drew on two great revolutions: Vorticism and the Terminator movies. You can see that in the letters, which are discussed below.
Below is the front cover. I’ll quote from the Editor’s Page of issue 14:
The I-90 Manifesto began in the lungs of guest editor Sean Thomas Dougherty back in October 2010. Since then, it grew into a solid movement as evidenced by the poems in this issue and by the number of times the manifesto was viewed – over 4,500 times on the Redactions: Poetry & Poetics website (www.redactions.com) and at the editor’s (Tom Holmes’) poetry and wine blog: http://thelinebreak.wordpress.com. You can also read the entire manifesto in this issue.
To help build on the revolutionary spirit of this literary movement and to show tribute to the past, I drew on one of the 20th century’s most significant movements in the arts – The Vorticists. As a result, the typeface used for the front cover and the section breaks is Grotesque No. 9, which is a very reasonable facsimile to the typeface used in theVorticists’ “great MAGENTA cover’d opusculus” – BLAST. The typeface was then altered into the Tominator style to recall another revolution started by John Connor in the Terminator movies. The Tominator style was created by Kenny Lindsay. (Thank you, Kenny.) For more information about Grotesque No. 9 see the colophon.
I had tried to make a similar style to the Tominator style and did, but whenever I flattened the image, I would lose all of the effects. Kenny, in all his genius, figured out a style that would retain the feel I was looking for. (Thank you, Kenny.)
Here’s the part of the colophon that applies to front-cover text:
The typeface used for the front cover and the section titles is Grotesque No.9. The sans serif face in Blast was the (then) new Stephenson Blake No. 9. Theface was called Grotesque by the type-founder after the many forms of sans serif font that had been produced in the Victorian era, and was unloved by the aesthete of the time due to its utilitarian appearance. The Victorian (and post-Victorian) aesthete would have chosen a serif face (like Caslon) every time. No.9 was Stephenson Blake’s own version of the genre, and it appeared about 1909. Once again, it is revealing that Blast, even in its typeface choice, is confronting orthodox tastes of its time. Such a face as this would have beenused exclusively for advertising; never for a periodical about art before the publication of Blast. However, the movement was influential, and its impacthelp shape the 20th century’s Modernist movements. For more about Grotesque No. 9, visit http://www.vorticism.co.uk/press/fonts.html, where I found all this information and more about this typeface.
The back cover may have been the most fun part. Each pin in the map represents a contributor. I used Google Maps to locate every address and stuck a pin at the location of where the person lived. The pin placements are quite accurate, except where a number of people lived, like in the Rochester, NY, area; the Erie, PA, area; and the Long-Island-Brooklyn-New-Jersey area.
For the back cover, I wanted to use a different typeface, and I didn’t want to continue the Tominator style any more, especially when the style became illegible at a smaller size. So I went with Cardo, which is what I used for the text pages. I originally wanted to use Bembo, but I couldn’t find a free or affordable version, so I used Cardo.
Here’s the part of the colophon that applies to the Cardo typeface:
“Cardo is the typeface used for the text pages and the back cover. This typeface is David J. Perry’s version of a typeface cut for the Renaissance printer Aldus Manutius and first used to print Pietro Bembo’s book De Aetna. This typeface has been revived in modern times under several names, such as Bembo, Aetna,and Aldine 401.”
Here’s more information:
It is a classic book face, suitable for scholarship, and also because it is easier to get various diacritics sized and positioned for legibility with this design than with some others. I [David J. Perry] added a set of Greek characters designed to harmonize well on the page with the Roman letters as well as many other characters useful to scholars. The Hebrew characters are designed to match those used in the Biblia Hebraica Stuttgartensia as closely as possible and so have no claim to originality.
To learn more about Cardo and to download the typeface, go here: http://scholarsfonts.net/cardofnt.html.
Oh, and, no that white pin above Washington state is not a mistake. There was one contributor from West Bridge, British Columbia, Canada.
If you want to order an issue of the copy, go here: http://etsy.me/ocOdpN.
This article first appeared on Behance.net account.//