daidala: words on letters

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in dribs and drabs
September 2003
August 2003
July 2003
June 2003
May 2003
April 2003
March 2003
February 2003
January 2003
December 2002
November 2002
October 2002
September 2002
August 2002
July 2002
June 2002

type types, mostly
Aimee Bender
Dyana Weissman
Mike Abbink
Jonathan Hoefler
Sebastian Lester
Jessica Helfand
Evert Bloemsma
Eric Olson

twenty (almost) more
01 Angie
02 Pastonchi
03 Ehrhardt
04 Avenir
05 Mendoza
06 Celeste
07 Syntax
08 Mrs Eaves
09 Meta
10 Eureka
11 TheMix
12 Loire
13 Columbus
14 Apollo
15 Super Grotesk
16 ITC Bodoni

great faces
Kievit
Requiem
Scene
Avance
Scala/Seria
Pastonchi ff
LT/MT Sabon
Aetna

litterae recentiores
prologue
the conference
pas de blog
font recommendations
junk english
psychic squabble
exceptions
confession...
three canonical responses...
well, what do you talk about?
alpha to omega
interesting?
homage...

texnically
tex ramblings...
slightly more concrete
from tex to typography
alcuin and euler

© Jon Coltz, 2003

requests for font recommendations get me a little excited

You say you need a sans and a serif for your students one for book work and the other for poster work well you’ve come to just the right person for I’m nothing if not decisive on these matters now let’s see beginning with the sans I really do like Solex though it hasn’t got the small caps and I do like fonts with all the parts but that may be moot for poster work geez is it good however and darn thoughtful of Gunnar to put Licko at the top what a long thread too right gutsy of him I daresay but it is true she keeps advancing the field and deserves more nods than she gets although selling her pottery online was truly sad but then there’s possibly the most underrated sans of them all which is Academia Jesus Christ I just remembered that the Tiro boys have basically shut down shop for awhile but maybe if you beg pitifully they might bend the rules and sell it to you on the QT and oh shit that means their serifs Plantagenet and Manticore are no longer in the running why oh why did I not act on time major regret then there’s Syntax of course and no I don’t mean the Adobe version I mean that CD with the newly-issued small caps and text figures say what is the difference between the cheaper version and that gold edition they sell for about $300 more is it like those gold albums once-upon-a-time that were remastered now Kievit there’s a typeface six weights all the f-ligatures and text figures it may be the most complete sans of them all more to say about this later oh my God Gill Sans why did I not mention this one first and here again you have to be choosy and go with Monotype because there’s text numerals and small caps to consider but Meta is really comprehensive too and just keeps getting bigger but it is rather ubiquitous isn't it which is perhaps a solid argument for Info that’s a beautiful typeface although I’m not crazy about the Info Office stuff they’ve done recently now Jonathan’s unbelievable Knockout who can argue with that for your sans choice one for the ages Gotham too Tobias is a fucking machine emphasis on machine you silly-billy and he’s pretty smart I’d like to hear his music send me some of your tunes Tobias and Scala Sans is timeless high on the omnipresence factor though with a bit more character than most of these Avenir has a little less character but more true grace than almost any sans I know it's just blissful Scene is striking but then you know how I feel about that one Sebastian Lester is about as nice and skilled as they come speaking of skilled Christian Schwartz’s Bau is stunning I remember oh so well seeing Lines & Splines set in it and wondering what the hell it was and good thing Andy had an About section because it told me then and there you know he still uses it on New Series do you care for Quadraat Sans I sure do quirky as all get out and Bringhurst praises it to the heavens in version 2.5 you know he likes Charlotte Sans an awful lot and so do I but have you ever tried to use Charlotte Serif in text I just can’t make it work for me they used to use it on the menu board at Caribou Coffee and I said to the dour barista there oh you changed your typeface on the menu board and he just gave me a funny sort of look and I said yes it used to be in a font called Charlotte Serif which really looked quite good at 200 pt but now you use one called Agency and it does condense real nicely he just asked if I’d like whipped cream on my white chocolate mocha but while I’m thinking Font Bureau I should mention Agenda it’s incomplete too why can’t they issue text numerals but it’s grown bigger recently and has a bit of that Gill Sansiness to it oh is price an issue because Caspari is a thing of beauty but wait before I move on to the serifs I would be entirely remiss if I did not mention the sans of 2002 which you know to be Neutraface can I have that in OpenType format with a pillow and a chair please okay switch gears a good seriffed text face you know who uses Clifford well somebody should I mean optical scaling and the borders and all my goodness someday and that’d better be soon it will get the recognition it deserves along those stylistic lines you’ve got Hoefler Text heck if you’re going to use the text weight you could get the display weight too for the bigger stuff but perhaps I’m getting carried away you know Janson Text fits neatly into that category as well and you could make your own double f-ligatures if you’re fussy and have some time on your hands why does Linotype have so few digitizations with double f-ligatures is it just laziness I’ll have to say I’m underwhelmed by the digitized Monotype serifs Garamond Fournier VanDijck Walbaum they’re just too light on the page but Dante is one exception there’s something funny about the way the small caps work with the rest of the font but I suppose I could get over that did I say optical scaling well then Celeste fits the bill too with that new small text weight but how’d that kerning snafu get into the FontFont 2000 catalog well I just looked and I saw that it was fixed for 2002 and Matthew Carter’s Miller is breathtaking you know I heard he draws right in Fontographer oh I just thought of one more sans Angie Sans darn nice just two hairs away from regular ol’ Angie now is that one a sans or a serif on the fence I suppose I hear they call them hybrids and now that I’m thinking of JFP I demand to know why the hell no one uses Apolline in this country it’s wonderful I’ve worn out his specimen book ogling it do you think he’d send me a new one and Sabon but should you buy Monotype or Linotype or Linotype-Porchez gosh do you think Linotype will ever sell those gold editions at a lower price or will they sell the faces in single weights how long I repeat how long will they hold these fonts hostage okay I’ve calmed down now of course Scala and Quadraat and oh now that Fred’s on my mind once again will Arnhem ever become available is it available now and then if you have the cash there’s Renard full sample in Counterpunch you know Dean Allen called it something like the first fully realized typeface of the PostScript era I think I know what he meant but I’m not completely sure maybe something about that three-dimensionality say if you write to Peter Matthias Noordzij he’ll send you gorgeous samples of all that TEFF stuff and you get Peter’s own handwriting on the big envelope and it’s really nice he actually writes text figures mine’s so shitty by comparison should we petition him to release Romanée and at the other Dutch foundry one of my absolute favorites is Dorian again pricey but may be worth it for the italic alone print those PDFs and dream away baby Fedra Serif I like the B myself but I’ve always been big on generous ascenders I think they’re sexy maybe I should read some of that Steven Heller typoerotica and get it out of my system and did you see Fedra Greek my he publishes a journal runs a downright scholarly website and makes superbly crafted typefaces did the Raelians clone him too hey what do you think of Eidetic Neo Rod designed it in a car darn novel face and that unicase might offer all kinds of possibilities the tragically underused Stone Cycles Sumner still has no website but Gerard Unger does anyhow you can see it in Type 2 Number 1 kind of a wider Stone Print oh yeah Andy already said that wait what do you think of types by The Foundry for some unknown reason I overlook them but Foundry Wilson is especially pretty the Thesis family sure is versatile serif and sans and half-and-half Hi Luc(as) I’m Jon(athon) nice to meet you but now I’m also overlooking the truly ubiquitous that must be my word of the day Adobe Garamond and Caslon and Minion those relatively transparent faces could really challenge the kids to be creative no I don’t mean to be insulting to Robert and Carol where are you Carol you saw Jeremy Tankard’s project Adobe Caslon from beginning to end yet just completely wowed me and I really liked Warnock too when it first came out it’s got everything and more but I’m still peeved at Adobe for no upgrade deals on their OpenType fonts which is why in the final analysis the faces you need to use are Locator and Proforma I hope I’m being clear but I may change my mind tomorrow.

24-May 2003

daidala?

A few months ago, a colleague asked me, “What is the basis for your interest in typography?” Two thoughts immediately and simultaneously raced through my mind: (1) My basis? What the fuck does he mean by that? (2) This is a question, once I get around to figuring out what he’s asking, that I should perhaps think long and hard about. Well, I thought, and then I thought some more, and I’m happy to announce that the time is nigh; I have an explication, and while I’m at it, I may as well say something about this daidala business as well. Why daidala, and what the heck does it mean?

As you shall shortly see, I’m letting the original sources handle the job; no middleman wanted or needed here. Run a Google search on daidala and you may learn that we link this term denoting artful or skillfully wrought works with one, particular legendary character called Daedalus, the Greek artist and craftsman of archaic times. But I prefer to assign equal, if not greater, weight to a Daedalus – nay, to spell it out properly, a Dedalus – of our time.

As for the former, an entry from Robert Graves, The Greek Myths, 92a–l:

a. The parentage of Daedalus is disputed. His mother is named Alcippe by some; by others, Merope; by still others, Iphinoë; and all give him a different father, though it is generally agreed that he belonged to the royal house of Athens, which claimed descent from Erechtheus. He was a wonderful smith, having been instructed in his art by Athene herself.

b. One of his apprentices, Talos the son of his sister Polycaste, or Perdix, had already surpassed him in craftsmanship while only twelve years old. Talos happened one day to pick up the jawbone of a serpent or, some say, of a fish’s spine; and, finding that he could use it to cut a stick in half, copied it in iron and thereby invented the saw. This, and other inventions of his – such as the potter’s wheel, and the compass for marking out circles – secured him a great reputation at Athens, and Daedalus, who claimed himself to have forged the first saw, soon grew unbearably jealous. Leading Talos up to the roof of Athene’s temple on the Acropolis, he pointed out certain distant sights, and suddenly toppled him over the edge. Yet, for all his jealousy, he would have done Talos no harm had he not suspected him of incestuous relations with his mother Polycaste. Daedalus then hurried down to the foot of the Acropolis, and thrust Talos’s corpse into a bag, proposing to bury it secretly. When challenged by passers-by, he explained that he had piously taken up a dead serpent, as the law required – which was not altogether untrue, Talos being an Erechtheid – but there were bloodstains on the bag, and his crime did not escape detection, whereupon the Areiopagus banished him for murder. According to another account he fled before the trial could take place.

c. Now, the soul of Talos – whom some call Calus, Circinus, or Tantalus – flew off in the form of a partridge, but his body was buried where it had fallen. Polycaste hanged herself when she heard of his death, and the Athenians built a sanctuary in her honour beside the Acropolis.

d. Daedalus took refuge in one of the Attic demes, whose people are named Daedalids after him; and then in Cretan Cnossus, where King Minos delighted to welcome so skilled a craftsman. He lived there for some time, at peace and in high favour, until Minos, learning that he had helped Pasiphaë to couple with Poseidon’s white bull, locked him up for a while in the Labyrinth, together with his son Icarus, whose mother, Naucrate, was one of Minos’s slaves; but Pasiphaë freed them both.

e. It was not easy, however, to escape from Crete, since Minos kept all his ships under military guard, and now offered a large reward for his apprehension. But Daedalus made a pair of wings for himself, and another for Icarus, the quill feathers of which were threaded together, but the smaller ones held in place by wax. Having tied on Icarus’s pair for him, he said with tears in his eyes: ‘My son, be warned! Neither soar too high, lest the sun melt the wax; nor swoop too low, lest the feathers be wetted by the sea.’ Then he slipped his arms into his own pair of wings and they flew off. ‘Follow me closely,’ he cried, ‘do not set your own course!’

As they sped away from the island in a north-easterly direction, flapping their wings, the fishermen, shepherds, and ploughmen who gazed upward mistook them for gods.

f. They had left Naxos, Delos, and Paros behind them on the left hand, and were leaving Lebynthos and Calymne behind on the right, when Icarus disobeyed his father’s instructions and began soaring towards the sun, rejoiced by the lift of his great sweeping wings. Presently, when Daedalus looked over his shoulder, he could no longer see Icarus; but scattered feathers floated on the waves below. The heat of the sun had melted the wax, and Icarus had fallen into the sea and drowned. Daedalus circled around, until the corpse rose to the surface, and then carried it to the near-by island now called Icaria, where he buried it. A partridge sat perched on a holm-oak and watched him, chattering for delight – the soul of his sister Polycaste, at last avenged. This island has now given its name to the surrounding sea.

g. But some, disbelieving the story, say that Daedalus fled from Crete in a boat provided by Pasiphaë; and that, on their way to Sicily, they were about to disembark at a small island, when Icarus fell into the sea and drowned. They add that it was Heracles who buried Icarus; in gratitude for which, Daedalus made so lifelike a statue of him at Pisa that Heracles mistook it for a rival and felled it with a stone. Others say that Daedalus invented sails, not wings, as a means of outstripping Minos’s galleys; and that Icarus, steering carelessly, was drowned when their boat capsized.

h. Daedalus flew westward until, alighting at Cumae near Naples, he dedicated his wings to Apollo there, and built him a golden-roofed temple. Afterwards, he visited Camicus in Sicily, where he was hospitably received by King Cocalus, and lived among the Sicilians, enjoying great fame and erecting many fine buildings.

i. Meanwhile, Minos had raised a considerable fleet, and set out in search of Daedalus. He brought with him a Triton shell, and wherever he went promised to reward anyone who could pass a linen thread thorough it: a problem which, he knew, Daedalus alone would be able to solve. Arrived at Camicus, he offered the shell to Cocalus, who undertook to have it threaded; and, sure enough, Daedalus found out how to do this. Fastening a gossamer thread to an ant, he bored a hole at the point of the shell and lured the ant up the spirals by smearing honey on the edges of the hole. Then he tied the linen thread to the other end of the gossamer and drew that through as well. Cocalus returned the threaded shell, claiming the reward, and Minos, assured that he had at last found Daedalus’s hiding-place, demanded his surrender. But Cocalus’s daughters were loth to lose Daedalus, who made them such beautiful toys, and with his help they concocted a plot. Daedalus led a pipe through the roof of the bathroom, down which they poured boiling water or, some say, pitch upon Minos, while he luxuriated in a warm bath. Cocalus, who may well have been implicated in the plot, returned the corpse to the Cretans, saying that Minos had stumbled over a rug and fallen into a cauldron of boiling water.

j. Minos’s followers buried him with great pomp, and Zeus made him a judge of the dead in Tartarus, with his brother Rhadamanthys and his enemy Aeacus as colleagues. Since Minos’s tomb occupied the centre of Aphrodite’s temple at Camicus, he was honoured there for many generations by great crowds of Sicilians who came to worship Aphrodite. In the end, his bones were returned to Crete by Theron, the tyrant of Acragas.

k. After Minos’s death the Cretans fell into complete disorder, because their main fleet was burned by the Sicilians. Of the crews who were forced to remain overseas, some built the city of Minoa, close to the beach where they had landed; others, the city of Hyria in Messapia; still others, marching into the centre of Sicily, fortified a hill which became the city of Enguos, so called from a spring which flows close by. There they built a temple of the Mothers, whom they continued to honour greatly, as in their native Crete.

l. But Daedalus left Sicily to join Iolaus, the nephew and charioteer of Tirynthian Heracles, who led a body of Athenians and Thespians to Sardinia. Many of his works survive to this day in Sardinia; they are called Daedaleia [or Daidala].

And the latter, you may already know, was James Joyce’s Dedalus – Stephen Dedalus, that is – whose canvas and clay were simply his own mind and body.

In A Portrait of the Artist as a Young Man (Viking Centennial Edition), we see the chalk applied to Stephen’s blank slate from first thoughts...

When you wet the bed first it is warm then it gets cold. His mother put on the oilsheet. That had the queer smell. (p7)

Through the confusion, unfairness, and isolation that accompany childhood...

— Tell us, Dedalus, do you kiss your mother before you go to bed?

Stephen answered:
— I do.

Wells turned to the other fellows and said:
— O, I say, here’s a fellow says he doesn’t kiss his mother before he goes to bed.

They all laughed again. Stephen tried to laugh with them. He felt his whole body hot and confused in a moment. What was the right answer to the question? He had given two and still Wells laughed. But Wells must know the right answer for he was in third of grammar. He tried to think of Wells’s mother but he did not dare to raise his eyes to Wells’s face. He did not like Wells’s face. It was Wells who had shouldered him into the square ditch the day before because he would not swop his little snuffbox for Wells’s seasoned hacking chestnut, the conqueror of forty. It was a mean thing to do; all the fellows said it was. And how cold and slimy the water had been! And a fellow had once seen a big rat jump plop into the scum.

The cold slime of the ditch covered his whole body; and when the bell rang for study and the lines filed out of the playrooms, he felt the cold air of the corridor and staircase inside his clothes. He still tried to think what was the right answer. Was it right to kiss his mother or wrong to kiss his mother? What did that mean, to kiss? You put your face up like that to say goodnight and then his mother put her face down. That was to kiss. His mother put her lips on his cheek; her lips were soft and they wetted his cheek; and they made a tiny little noise: kiss. Why did people do that with their two faces? (pp14–15)

Through Stephen’s transgression and associated guilt...

His blood was in revolt. He wandered up and down the dark slimy streets peering into the gloom of lanes and doorways, listening for any sound. He moaned to himself like some baffled prowling beast. He wanted to sin with another of his kind, to force another being to sin with him and to exult with her in sin. He felt some dark presence moving irresistibly upon him from the darkness, a presence subtle and murmurous as a flood filling him wholly with itself. Its murmur besieged his ears like the murmur of some multitude in sleep; its subtle streams penetrated his being. His hands clenched convulsively and his teeth set together as he suffered the agony of its penetration. He stretched out his arms in the street to hold fast the frail swooning form that eluded him and incited him: and the cry that he had strangled for so long in his throat issued from his lips. It broke from him like a wail of despair from a hell of sufferers and died in a wail of furious entreaty, a cry for an iniquitous abandonment, a cry which was but the echo of an obscene scrawl which he had read on the oozing wall of a urinal.

He had wandered into a maze of narrow and dirty streets. From the foul laneways he heard bursts of hoarse riot and wrangling and the drawling of drunken singers. He walked onward, undismayed, wondering whether he had strayed into the quarter of the jews. Women and girls dressed in long vivid gowns traversed the street from house to house. They were leisurely and perfumed. A trembling seized him and his eyes grew dim. The yellow gasflames arose before his troubled vision against the vapoury sky, burning as if before an altar. Before the doors and in the lighted halls groups were gathered arrayed as for some rite. He was in another world: he had awakened from a slumber of centuries.

He stood still in the middle of the roadway, his heart clamouring against his bosom in a tumult. A young woman dressed in a long pink gown laid her hand on his arm to detain him and gazed into his face. She said gaily:

— Good night, Willie dear!

Her room was warm and lightsome. A huge doll sat with her legs apart in the copious easychair beside the bed. He tried to bid his tongue speak that he might seem at ease, watching her as she undid her gown, noting the proud conscious movements of her perfumed head.

As he stood silent in the middle of the room she came over to him and embraced him gaily and gravely. Her round arms held him firmly to her and he, seeing her face lifted to him in serious calm and feeling the warm calm rise and fall of her breast, all but burst into hysterical weeping. Tears of joy and relief shone in his delighted eyes and his lips parted though they would not speak. (pp99–101)

Every word of it was for him. Against his sin, foul and secret, the whole wrath of God was aimed. The preacher’s knife had probed deeply into his diseased conscious and he felt now that his soul was festering in sin. Yes, the preacher was right. God’s turn had come. Like a beast in its lair his soul had lain down in its own filth but the blasts of the angel’s trumpet had driven him forth from the darkness of sin into the light. The words of doom cried by the angel shattered in an instant his presumptuous peace. The wind of the last day blew through his mind; his sins, the jeweleyed harlots of his imagination, fled before the hurricane, squeaking like mice in their terror and huddled under a mane of hair.

As he crossed the square, walking homeward, the light laughter of a girl reached his burning ear. The frail gay sound smote his heart more strongly than a trumpetblast, and, not daring to lift his eyes, he turned aside and gazed, as he walked, into the shadow of the tangled shrubs. Shame rose from his smitten heart and flooded his whole being. The image of Emma appeared before him and, under her eyes, the flood of shame rushed forth anew from his heart. If she knew to what his mind had subjected her or how his brutelike lust had torn and trampled upon her innocence! Was that boyish love? Was that chivalry? Was that poetry? The sordid details of his orgies stank under his very nostrils: the sootcoated packet of pictures which he had hidden in the flue of the fireplace and in the presence of whose shameless or bashful wantonness he lay for hours sinning in thought and deed; his monstrous dreams, peopled by apelike creatures and by harlots with gleaming jewel eyes; the foul long letters he had written in the joy of guilty confession and carried secretly for days and days only to throw them under the cover of night among the grass in the corner of a field or beneath some hingeless door or in some niche in the hedges where a girl might come upon them as she walked by and read them secretly. Mad! Mad! Was it possible he had done these things? A cold sweat broke out upon his forehead as the foul memories condensed within his brain. (pp115–116)

Could it be that he, Stephen Dedalus, had done those things? His conscious sighed in answer. Yes, he had done them, secretly, filthily, time after time, and, hardened in sinful impenitence, he had dared to wear the mask of holiness before the tabernacle itself while his soul within was a living mass of corruption. How came it that God had not struck him dead? The leprous company of his sins closed about him, breathing upon him, bending over him from all sides. He strove to forget them in an act of prayer, huddling his limbs closer together and binding down his eyelids: but the senses of his soul would not be bound and, though his eyes were shut fast, he saw the places where he had sinned and, though his ears were tightly covered, he heard. He desired with all his will not to hear or see. He desired till his frame shook under the strain of his desire and until the senses of his soul closed. (p137)

And, upon his confession and absolution, his misguided drive toward self-perfection...

Each of his senses was brought under a rigorous discipline. In order to mortify the sense of sight he made it his rule to walk in the street with downcast eyes, glancing neither to right nor left and never behind him. His eyes shunned every encounter with the eyes of women. From time to time also he balked them by a sudden effort of the will, as by lifting them suddenly in the middle of an unfinished sentence and closing the book. To mortify his hearing he exerted no control over his voice which was then breaking, neither sang nor whistled and made no attempt to flee from noises which caused him painful nervous irritation such as the sharpening of knives on the knifeboard, the gathering of cinders on the fireshovel and the twigging of the carpet. To mortify his sense of smell was more difficult as he found in himself no instinctive repugnance to bad odours of the outdoor world such as those of dung and tar or the odours of his own person among which he had made many curious comparisons and experiments. He found in the end that the only odour against which his sense of smell revolted was a certain stale fishy stink like that of longstanding urine: and whenever it was possible he subjected himself to this unpleasant odour. To mortify the taste he practised strict habits at table, observed to the letter all the fasts of the church and sought by distraction to divert his mind from the savours of different foods. But it was to the mortification of touch that he brought the most assiduous ingenuity of inventiveness. He never consciously changed his position in bed, sat in the most uncomfortable positions, suffered patiently every itch and pain, kept away from the fire, remained on his knees all through the mass except at the gospels, left parts of his neck and face undried so that air might sting them and, whenever he was not saying his beads, carried his arms stiffly at his sides like a runner and never in his pockets or clasped behind him. (pp150–151)

Finally, his release from self-imprisonment and his freedom to love...

She was alone and still, gazing out to sea; and when she felt his presence and the worship of his eyes her eyes turned to him in quiet sufferance of his gaze, without shame or wantonness. Long, long she suffered his gaze and then quietly withdrew her eyes from his and bent them towards the stream, gently stirring the water with her foot hither and thither. The first faint noise of gently moving water broke the silence, low and faint and whispering, faint as the bells of sleep; hither and thither, hither and thither: and a faint flame trembled on her cheek.

— Heavenly God! cried Stephen’s soul, in an outburst of profane joy.

He turned away from her suddenly and set off across the strand. His cheeks were aflame; his body was aglow; his limbs were trembling. On and on and on and on he strode, far out over the sands, singing wildly to the sea, crying to greet the advent of the life that had cried to him.

Her image had passed into his soul for ever and no word had broken the holy silence of his ecstasy. Her eyes had called him and his soul had leaped at the call. To live, to err, to fall, to triumph, to recreate life out of life! A wild angel had appeared to him, the angel of mortal youth and beauty, an envoy from the fair course of life, to throw open before him in an instant of ecstasy the gates of all the ways of error and glory. On and on and on and on! (pp171–172)

A glow of desire kindled again his soul and fired and fulfilled all his body. Conscious of his desire she was waking from odorous sleep, the temptress of his villanelle. Her eyes, dark and with a look of languor, were opening to his eyes. Her nakedness yielded to him, radiant, warm, odorous and lavish-limbed, enfolded him like a shining cloud, enfolded him like water with a liquid life: and like a cloud of vapour or like waters circumfluent in space the liquid letters of speech, symbols of the element of mystery, flowed forth over his brain.

Are you not weary of ardent ways,
Lure of the fallen seraphim?
Tell no more of enchanted days.

Your eyes have set man’s heart ablaze
And you have had your will of him.
Are you not weary of ardent ways?

Above the flame the smoke of praise
Goes up from ocean rim to rim.
Tell no more of enchanted days.

Our broken cries and mournful lays
Rise in one eucharistic hymn.
Are you not weary of ardent ways?

While sacrificing hands upraise
The chalice flowing to the brim,
Tell no more of enchanted days.

And still you hold our longing gaze
With languorous look and lavish limb!
Are you not weary of ardent ways?
Tell no more of enchanted days.
(pp223–224)

But what has any of all this to do with type? Well, the answer lies, I believe, on a continuum bounded by everything and nothing. Beginning with the latter, type lives hidden away, for the most part, in the workaday world, whether our work be in the more traditional sense or merely in the work of living. (One ponders, for a moment, the incredible irony in the theme of this year’s St. Bride’s Conference, for surely to the vast majority of people, all typography is hidden!) There, type is ultimately literal, and it pulls few punches. It tells us how late we are for meetings, the number of fat grams in our ice cream, and if a crash is currently blocking the left lane. It is the symbolic manifestation of language, and in using it, we transcend the linearity and temporal confinements of oral communication; type enables us to “speak” with many at once, and to a certain extent, therefore, enables us to cheat time and space.

But on the other hand, type is much more than printed or pixellated language; type and art – whether it be the ancient objets d'art of Daedalus or the corporeal reinvention of his literary namesake – are inextricably intertwined. Indeed, type is art; or at least there is much art to be found in type. In a material sense, it is all there in the stems and serifs, the counters and bowls, and, in the digital era, in the hinting and the kerning pairs.

I don’t make type myself, at least not yet. Oh, I do try; I have Illustrator and Fontographer, and I’ve spent many an hour attempting to draw letterforms, but I entirely lack the skill of a Daedalus. To say the truth, I suck. Others do possess such talent, however, and their output is quite often the subject of daidala.

Given this, then, wherefore Stephen Dedalus? Well, Stephen was an artist of a very different kind. His art lay in the journey of his life – in his tortuous, and sometimes, torturous – search for himself. A weblog is the very diary of a personal journey, too, albeit a very public one, and this is why daidala might derive more from Dedalus than from Daedalus. Indeed, our lives comprise a parallel series of such journeys, and one of mine focuses on type.

The long and the short of it – and, an answer to my colleague’s question – lies in two statements to which I strongly subscribe. The first is Spiekermann’s and Ginger’s, “There is no bad type.” Truly, I detest such sweeping declarations as “Helvetica sucks.” What a waste of words! There is only type that is inconsistent with the content it conveys. The second is Tobias Frere-Jones’s thoughtful pronouncement, “The day we stop needing new type will be the same day that we stop needing new stories and new songs.” This implies progress and permanence, both of which are inherent traits of typography. Type continually evolves, and it is immortal; Gotham will long outlive you and me.

And so, from Daedalus and Dedalus to this, or at least its moniker. My attempt to learn something about – and to tell others about – the typographic arts. Sometimes successfully, other times not, and more than occasionally, straying far from the subject. But always about finely-wrought or well-made work. Always another step on the way. Always about...daidala.

06-May 2003

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