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Weel done, Cutty-sark!

Brad David wrote last week asking about the picture I used on the recent Jack Rose poster design. I’d seen this engraving for years in various books but was unsure of its provenance so the enquiry made me curious as well. The picture in question is an illustration for the poem Tam O’Shanter by Robert Burns and since it’s a depiction of cavorting witches and warlocks it turns up frequently in occult encyclopedias.

After a bit of searching it transpires that the engraving is based on a series of six paintings illustrating the poem by Scottish artist John Faed (1819–1902). Here we’re seeing the moment just before drunken Tam (his face visible at the window) shouts “Weel done, Cutty-sark!” to the young witch in the centre, whereupon the lights go out and a shrieking horde of angry witches chase him home.

Elsewhere on { feuilleton }
• The etching and engraving archive

Design as virus 1: Victorian borders

There’s nothing new about drawing attention to the viral nature of design, whether in the repeated use of motifs and styles or the way in which typefaces breed and proliferate; Jonathan Barnbrook alludes to this process directly by calling his font house Virus.

The plate above comes from a Victorian book I bought several years ago, The Pictorial Cabinet of Marvels, a reasonably lavish volume for children concerning places and things of interest around the world. Since I like playing with excessive Victorian flourishes now and then I’m always on the look out for new examples and the border here immediately caught my eye. I have a decent selection of clip art books from Dover and Pepin containing this kind of thing but nothing quite like this particular design. When I was putting the Damnation and A Day album together for Cradle of Filth I took one of the corner pieces as a starting point for a border design I used on the front and back of the booklet and the tray.

The poor old Xaverian Brothers of Manchester’s Catholic Collegiate Institute would no doubt be mortified to see part of their prize bookplate being used to decorate such a blasphemous artefact. The album was released by Sony Music in 2003 so this little border motif has travelled the world by now. I seem to recall sending the record company the border design separated from the artwork so they could make up some posters.

And so we come to what I’m assuming is its latest manifestation, a poster design for Manifest Destiny, a Los Angeles music event organised by Tee Pee Records.

I say “assuming” since I’ve no idea whether this example is from my design or not. But it seems a safe bet seeing as the original is from such an obscure source. Not that I mind if it is, of course. I can’t very well complain when I swiped the thing in the first place, now can I?

Update: Tee Pee designer Sarah MacKinnon writes to say her Victorian motif is from one of Dover’s clip art books. Now I know that I wouldn’t mind finding the book for my own collection. This makes the occurrence of the original more unusual, at least from my point of view, since it’s the only time I’ve spotted one of these reprinted elements in its period setting.

Previously on { feuilleton }
• Masonic fonts and the designer’s dark materials

New things for July

Motorway City by Hawkwind, Flicknife Records single (1983).

This month’s issue of Record Collector magazine has a feature about Hawkwind which featured my Motorway City sleeve among its illustrations. It was odd seeing this again, being a single it doesn’t turn up so often and it has the distinction of being one of the oldest of my works in print. Although the single was released in 1983, the drawing was done in 1980 (I was 18 at the time) and it ended up with Dave Brock somehow.

The A-side is taken from the Zones album, which sports one of my more successful cover illustrations for the band, and the song is a Ballardian eulogy to driving on motorways at night. Despite their reputation for being a bunch of spaced-out hippies, Hawkwind were frequently drawn to the harder side of things (Lemmy used to shout “Die! Die!” at their tripping audience and was proud of freaking people out), and this song isn’t even science fiction, despite my flat futuristic cityscape in the background. Before he finished with the band for good, singer Robert Calvert wrote two songs based on JG Ballard books, High Rise and the punk- and Crash-derived thrash piece Death Trap, both on the PXR5 album from 1979. Motorway City was written around the same time and it’s a shame it didn’t have Death Trap on the B-side instead of yet another version of Master of the Universe. My drawing was done as black on white but the record company smartly (for once) reversed out the design which I always felt made it look a lot better, as well as fitting more with the night-driving theme.

Also this month, I’m in the process of reworking the website a bit which means making more prints of artwork available. I’ve started with some of the Lovecraft pictures, which is always the most popular stuff but I’ll gradually be working through everything and setting up PayPal facilities for other items. Many pictures and designs can already be had as prints at CafePress but that system is best for t-shirts and other goods, it lacks the personal touch which people often want from a signed print.

Previously on { feuilleton }
• Hawkwind: They’re still feeling mean
• Barney Bubbles: artist and designer

Masonic fonts and the designer’s dark materials

The trailer for The Golden Compass turned up this week, the first part of Philip Pullman‘s His Dark Materials trilogy, and I can’t help but note that the film’s designers have chosen Jonathan Barnbrook’s Mason font for the titles and the rest of the typography. This isn’t so surprising given that Mason has been used on the covers of several editions of the books already but I wonder if this flush of even greater popularity will spell (as it were) the end of a stylish typeface.

Mason (originally named Manson) was one of Barnbrook’s earliest published type designs, appearing in 1992 via the Emigré foundry, and over the past fifteen years has been widely imitated and become the default font for fantasy works, especially book jackets. The attraction for the genre is obvious in the way the design uses elegant and traditional serif letterforms that have been amended slightly to give them a distinctive quasi-ecclesiastical flavour, with flourishes derived from Greek, Renaissance and Biblical letters. The Gothic arch of the letter A has also helped make the font a popular choice for New Age or occult books. Mason was designed as a set of serif and sans serif variations but it’s Mason Serif Regular which is used the most. (The cover for The Science of His Dark Materials shown here is using both the sans serif variation and Mason Regular Alternate.)

Distinctive fonts take a while to get around and I don’t recall seeing Mason until at least 1994. From 1995 to 2000 it began to appear everywhere, even in newspaper ads for a while, before finding a permanent place in the book world. The trouble with this kind of ubiquity is that the novelty the design once possessed quickly vanishes and it begins to runs the risk of becoming a design cliché. Many typefaces go this way, especially in the publishing world where the choice of typeface is often dictated by genre expectations. So Orbit-B and its variants used to signify “science fiction” or “the future” in the 1970s, Caslon Antique and Rubens have become associated with horror while FF Confidential has been over-used for crime novels.

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The Adventures of Little Lou

People ask me now and then what I prefer working on the most, and the answer is always the same—book design. The Adventures of Little Lou, a short novel by Lucy Swan for Savoy Books turned up today from the printers and it’s a good example of why I find this kind of work so enjoyable. For a start, the printers, Anthony Rowe Ltd, always do an excellent job. One of the things which makes CD design aggravating at times is the lack of care from pressing plants when it comes to print quality. But most of all there’s the pleasure of being able to make a book a beautiful object in its own right.

For this title we used gold blocking on the pages again and endpapers patterned with a red marbling design. The gold and red complements the dust jacket, and the scarlet swirls correspond to a number of motifs in the book, from the delirium of the characters’ drug states to the quantities of blood spilled as the story progresses. Lucy’s book riffs on David Britton’s Lord Horror and Meng and Ecker characters in much the same way that some of the New Worlds‘ writers of the late Sixties riffed on Michael Moorcock‘s Jerry Cornelius character, taking prior creations as a starting point for something new. This won’t appeal to a general readership; it’s vicious, offensive, scatalogical, wonderfully imaginative, downright nasty in places, and frequently very funny. But that’s okay, it’s a Savoy book, not another clunker from Jonathan Cape.