Typographic mayhem at The New Yorker. From top to bottom: issues of 11 May 2020, 18 May 2020, 25 May 2020, 8-15 June 2020 (Fiction Issue), 22 June 2020. Is it all an A/B test gone horribly wrong? #freeIrvin
Birds, habitat, coffee agriculture—and 10 ways of looking at Northern Virginia.
- Rex Graham summarizes the research of Daniel Karp, who established the link between insectivorous birds on coffee plantations and control of the Coffee Berry Borer (Hypothenemus hampei).
- Ted Floyd goes birding at Bon Secour NWR and reminds us of the differences between National Parks and National Wildlife Refuges.
- Alonso Abugattas gives a shout-out for the most awesomest North American anatid, the Wood Duck.
Sandbox John gave me the tip that signage was in place at the Wiehle station. The typography appears to be a mix of the heavier-weight Helvetica that has been used in the system from the start (over the station entrance) and a lighter weight on the pylon. I’m also seeing this fresh-looking lighter weight in new platform location signs along the Blue and Orange Lines downtown; the signs set aside empty space for the Silver Line route information to be added when the Line goes live.
John also reports:
The north end of the pedestrian bridge at the Wiehle-Reston East station is a little interesting. It just ends at the corner of the plaza of the Comstock Partners Reston Station property. No sloping canopy like at the bottom of the escalators at the entrance pavilions. There also is no entrance pylon marking its purpose. Adjacent to the end of the pedestrian bridge is a set of stairs that descend to the loading dock access road to the buildings that have not been built yet. Not sure why it is there, best guess is it there to allow access to the north side of the station from the location where the fire trucks would connect fire hoses from the fire hydrant to the dry standpipe.
When reality gives way to art: somewhat fanciful behavior is pictured in a splendid poster (ca. 1926) by Oscar Rabe Hanson promoting commuter rail service in Chicago, part of a long article by J. J. Sedelmaier. The ducklings following the adult Wood Duck would more likely be single file, and more closely bunched. More critically, the little ones would be following a hen, not a drake.
Via DCist, Lydia DePillis reviews options for Metro’s rail map redesign in anticipation of Silver Line service. I like Cameron Booth’s proposal, a Vignelli-ish elongation of the design elements that also incorporates connections to commuter rail. DePillis touches my hot button:
…the most infuriating part of the map for graphic designers are the absurdly long station names that have crept into the system over the years, like “U St./African-Amer Civil War Memorial/Cardozo” and “Woodley Park-Zoo/Adams Morgan.” They have to be squished in diagonally and even break over route lines—a no-no to transit design purists. … just a brief glance at the now-barely-readable fare charts in stations, after “peak of the peak” pricing debuted, shows how confusing signage gets when it tries to convey too much.
On my last trip to California, I was dealing with family business, so I didn’t in get much sightseeing or birding—none, really. But I did start building my collection of West Coast street name signs with this easy-to-read example from Arden Arcade, an unincorporated suburban area of Sacramento County. The arrows (which don’t appear consistently) indicate the direction in which street numbers increase.
Via The Morning News, Paul Shaw tells “The (Mostly) True Story of Helvetica and the New York City Subway” in a deliciously-illustrated nine-page essay, which includes digressions into the history of the system map, the Chrystie Street Connection snafu, and a refresher on 1970’s-era type technology.
Christoph Niemann tiles the bathrooms of his renovated home with renderings of 20th-century icons of art and graphic design.
“I wanted a Titian and all I got was a lump of lard,” Lisa gasped.
The street name signs in Fairfax City constitute the most egregious mess of colors and styles in the metropolitan area.
There is a pinched condensed font that suggests credits on a movie poster. (Unfortunately, an example or two of this developer-friendly sign can be found in Reston, too.) The contrast with the white on green is particularly ugly.
But the worst specimens accrue to the recent dual-designation within the city of U.S. Route 50, which follows Arlington Boulevard, Lee Highway, and Main Street, as “Fairfax Boulevard.” This led to the creation of these red-white-and-blue decorative contraptions. Notice the oops-addition of a sign for Blake Lane, which was extended to this intersection about 20 years ago.
I scored 25 out of 34 in The Rather Difficult Font Game. Not good enough to make it on to the leader board.
Joshua Yaffa explains Clearview, the replacement typeface for highway signs, for the magazine section of the New York Times.
The timing of the piece is interesting, coming as it does in the first Sunday edition of the new, smaller 12-inch “broadsheet” format for the newspaper. Not all the sections have been redesigned to fit the new page size. The leading for the inside pages of the book review is particularly ugly, and there’s a subtle alignment flaw around around the illustration for Christoper Hitchens’ review of the last Harry Potter.