Fanta’s Zine No. 2

Bryson Stohr — Sun, 27 Feb 2022 21:52:07 +0000

Contributed by Bryson Stohr

Source: archive.org License: All Rights Reserved.

Fanta’s Zine was the official organ of the Cartoon/Fantasy Organization. This is the second issue, edited and published by Fred Patten from Culver City, and printed on the LASFS Rex Rotary mimeograph, 19 October 1979. The cover illustration is by Chris Balduc, inspired by the “Kimba, the White Lion” episode. Interior illustrations by Wendell Washer and Mark Merlino.

The front cover kicks things off typographically with Legende, used here for the name of the publication.

The following page uses Huxley Vertical for its header, with the bodies in Orator (IBM) and Courier.

The Space Giant program titles page features an unidentifiable seriffed font for the summary of the show.

“A Comment to Tom Minton” uses Futura (or a very similar clone of that font), an all-caps Murray Hill, and Prestige Elite.

I can’t exactly identify the face used for the editorial, but some of its letterforms could give out a few indicators.

Source: archive.org License: All Rights Reserved.

Source: archive.org License: All Rights Reserved.

Source: archive.org License: All Rights Reserved.

Source: archive.org License: All Rights Reserved.

This post was originally published at Fonts In Use

New Mimeo Revolution

Dingpress — Sat, 21 Mar 2020 22:12:00 +0000

Contributed by Dingpress

Plaktur (Sample unavailable)

“This is the new mimeo revolution!” — installation with the 100 pamphlets plus protest signs at the HBKsaar.

This is my graduation project made at HBKsaar, titled New Mimeo Revolution. In addition to writing a thesis, I printed one hundred pamphlets on the mimeograph and set up an exhibition. For this, I created a visual identity with Hobeaux as display typeface and Pitch for text uses. I combined those with a very direct and emotional language of forms and symbols.

Invitation to the exhibition of graduation projects, printed on paper of various colors. Hobeaux is used in all caps and paired with Pitch for the smaller text.

This post shows several images of the project as a whole, followed by a selection of the individual pamphlets. From the project website:

The Mimeo-Revolution was a movement of young American artists during the 50s and 60s, who spread their art and thoughts amongst the people through personal commitment and the use of a stencilprinter, also called a mimeograph.

The mimeograph was invented at the end of the 19th century, when ever-increasing bureaucracy also intensified the demand for copying documents. Shortly after the mimeograph revolutionized office work, the cheap and simple process also conquered the streets: schools, churches, subcultures and parties printed their own documents independently from professional printers or major publishers. This led to the rise of student groups like “Weiße Rose”, which allied itself against the Nazi regime during the Second World War; or students during the ’68 Revolutions, who resisted rigid structures, oppression, the Vietnam War, and conservative sexual morality all over the world.

Nowadays, I choose to print pamphlets with this traditional technique, because I want to continue to build upon what the generations before me have been able to achieve. It’s important for me to engage myself and get my hands dirty during the process of making a difference.

I am currently interested in topics related to environmental protection, democracy, gender equality and human rights. In addition to political topics, I also deal with artists who use words in a particularly eloquent or emotional manner, or who criticize or speak from the heart.

During my final year at the Hochschule der Bildenden Künste Saar, I printed 100 different pamphlets on the previously mentioned and other topics, on a 1967 ideal stencilprinter and a Gestetner printer from the 1950s.

View of the exhibition.

Leaflets are being flung from the top of the building.

Project website.

“We buy things we don't need, with money we don't have, to impress people we don’t like.” The featured quote by Chuck Palahniuk is shown in caps from Obviously, with a psychedelic distortion effect.

Route barée means “road closed” and is the perfect metaphor for the hopelessness of the situation and the French people during the strike of the yellow vest movement. The rotated lines are set in Combat.

Das Wasser stieg (“The waters increased”) is a quote from Genesis 7:17, here referring to the implications of global warming.

Contrary to what one can usually read on plastic bags, the text (in Bookman) here says “Thank You for NOT Using Me!”. The small text below explains that the bag will stay around in the environment for twenty years.

This pamphlet with an excerpt from Ronald Reagan's famous speech held in Berlin in 1987 is more actual than ever; a response to Trump’s plan to build a wall between the USA and Mexico. The font on this is Sporting Grotesque.

The “Hymn to the Mimeograph Revolution” from Ed Sanders, set in ITC American Typewriter Condensed Bold and Pitch.

Treffen sich zwei Kinder mit Interkontinentalraketen … (“When two children meet with intercontinental missiles …”) could be the beginning of a good joke, but it was reality. Friendly Gooper, set on a wavy line, on a pink background, underlines the comedy of this meeting between Donald Trump and Kim Jong-Un.

The European Union is tolerant and diverse just as this draft of the Second Article of the Treaties of the European Union. The fonts used (from top to bottom) are: Folio Condensed Bold, Tango, Vulf Mono Bold and Pitch Regular.

“Macht kaputt, was euch kaputt macht” is a famous song from Ton Steine Scherben and a great reminder to fight all our inner and outer demons! The message is set in historical Eckmann, which fits perfectly with its slighty psychedelic feeling.

I always loved the Refugees Welcome illustration of the running family with its roots in 1990. But the font could use a makeover: How about Cooper Black? Maybe it is that simple.

Grundgesetz für die Bundesrepublik Deutschland Art. 20a set in Ouroboros, Octopuss Outline, Cooper Black Italic and Pitch Regular.

Good use of VTF’s Résistance for Article 5 of the German Grundgesetz: “There will be no censorship”.

Rhetoric of the evil: Hate (Old English), Sex (Cooper Black), Fear (Combat).

This pamphlet featuring BioRhyme Light, Gill Sans Ultrabold, Gooper in various styles, and Protocol is about the sexism in German football between 1955 and 1970.

My grandpa says “In the past there was meat only once a week”. Meanwhile he eats it every day. The font used is Plaktur (a modern and groovy interpretation of a fraktur font, still in progress, by Max Holl).

This is the 100th pamphlet of the series which draws the conclusion from the project. It is made with Letraset in Bookman. “Jan Norling” is added from ITC Bookman Italic [thanks, Jay].

This post was originally published at Fonts In Use

hoch, tief, durch 2019

Dingpress — Tue, 03 Mar 2020 21:17:44 +0000

In 2019, for the first time, we celebrated the International Day of Printing Art. The HBKsaar (University of Fine Arts in Saarbrücken) organized a small exhibition including workshops and lectures; kind of an open printshop, where you can exchange and learn about the art of printing.

The German title “hoch, tief, durch” (high, low, through) stands for three types of printing that we use in our workshops at HBKsaar: Hochdruck means relief printing, Tiefdruck means intaglio and Durchdruck is for screenprint/stencilprint.

The poster is printed on a mimeograph from 1967 in eight runs. Mimeography is a more or less extinct stencilprint technique and a predecessor of risography. Although the process is more complex, you can do things that the Riso cannot do, such as printing on folded paper, cardboard and textiles, or creating gradients.

Cooper Black and Superclarendon are great historic typefaces with roots in print, which is why it was not very difficult for us to choose these two.

mimeography

Fanta’s Zine No. 2

New Mimeo Revolution

hoch, tief, durch 2019