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Baseline Cover Issue 17


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Cover: ‘Pause here then go’, xerëgravitè – photography by Everald Williams Jr.


Editorial Mike Daines

Whilst essentially, a vehicle for the typographic thoughts of others Baseline has stopped in its tracks and taken a new look at itself. We have made a conscious effort to create a little more space in which to show work from around the world and allow it to speak for itself. At the same time our typographic prospectors have found much that is stimulating and fresh.

While the world of type manufacturers looks gloomily unto the black hole, which is its future the design practitioners find new stimuli in the mixture of type and images. Everyone can find elements to enjoy in the design approach of groups like eG.g and Orange in the UK, Cyan, in Germany, and Work-sight in the USA.

You’ll find experimentation, the search for new ways of presenting ideas and some hints of gradual return to a simpler typography? And, as balance, the solid design craftsmanship of Daniel Pelavin and Morris Fuller Benton, and an educational tour through the history of letterforms.
Enjoy your typographic journey!

Mike Daines

New work and Events Hans Dieter Reichert & Mike Daines
Daniel Pelavin Karen Chambers
Morris Fuller Benton Mike Daines
Young Design, Germany, America and England Hans Dieter Reichert & Mike Daines
From Cuneiform to dtp – is there a pattern? Martin Ashley
Fonts – where to now? James Lesley
How to hold your chopsticks Tilly Northedge
American Magazine Design Peter Hall
Film titles Peter Hall
Image from article Image from article Image from article

The subsequent history of film titles is strangely, undocumented. Bass’s influence is frequently cited by designers who have dabbled in the genre, but by no means has the discipline gained public recognition. In 1962 designer Steve Franfurt’s lyrical title sequence ‘To Kill a Mockingbird’ was nominated for an Academy Award, but it failed to win anything because there is no category in the Oscars for film titles. It’s a peculiar job for a designer, to be subject to all the pressures and concerns of the multi-million dollar industry, to the director’s whims and the practical constraints of the medium, and then see your work float by unnoticed.

And notably, the three American designers I spoke to who have left a mark on the title design genre all found success and financial reward elsewhere. Bass (Bass/Yager Associates) in corporate identity and film-making; Richard Greenberg (R/Greenberg Associates) in film-making and special effects; Steve Frankfurt (Frankfurt Gips Balkind) in advertising and graphic design…

Peter Hall

Reviews Editorial team

©1994 Published by Esselte Letraset Ltd.