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Our New Typography
Text in a Gif-y (or pictures of a thousand words)
<font face="verdana">This is some text!</font> And then there was ‘face’ (as of HTML 3.2)
p { font-family: Arial, Helvetica, sans-serif; } <p>This is some text!</p> Styles! (of sorts)
:( The sIFR & Cufon Years
2009 Typekit Google Web Fonts Fonts.com Cloud.Typography MyFonts and many many more Finally font-ly!
—62 —59 e —63 d g a e m t n “The character of things like this is essentially ephemeral, I i a . n p The point at which ghostsigns assume value is subjective o and it is the fact that such things survive only rarely and d v k n A u and, currently, a matter of debate. By contrast, most would a . accidentally that gives them their charm and fascination. y g , n r g o o agree with the preservation of the 2,000-year-old remains n . h Although their loss may be regretted, perhaps it is i s s t d i n t a of painted advertising in Pompeii and Herculaneum. A r t necessary to allow such changes to happen, untouched by e a : v h h Likewise, the painted caves of the Ardèche in France, and d p “In 1960 Howard , a regulatory framework, so that in another hundred years’ a a t s n r u the rock art of Australia. While not explicitly advertising, g g r time, people may be able to look at difgerent but equally o i T s t o s they also served some communicative purpose and hold g Gossage observed that i h n curious survivals – of early 21st century ephemera.” h P i t s obvious value as cultural relics. Ghostsigns are one n . i y t o e r r e ’ s among many examples of humankind’s desire to leave a r v billboards exist ‘for r u d There is much to commend in this response, although the e S A n mark, whether for commercial, community or individual r , f n longevity of today’s billboards and digital displays is clearly o o o c y d ends. The age at which they assume the same value as p r the sole and express y inferior to that of the ghostsigns that have survived. Further, o o o t l r l s these older inscriptions is arbitrary and disputed. a C i H it is interesting that the value placed upon the signwriting c . s e ‘ f v o e purpose of trespassing e craft is in some way less than crafts which create more v y e i s t R c e permanent artefacts such as furniture, jewellery and books. n t . E r i t u s , on your fjeld of vision’, o y Many of these signs are antiques, yet the skills involved i “Ghostsigns D c b in producing them aren’t celebrated in the same way as representing widespread those of jewellers, cabinet makers and book binders. are one among In Butte, Montana, a debate currently rages over what to do with the city’s many ‘ghostsigns’: the fading remains of resentment of overbearing Their commercial intent is the main point of difgerence many examples advertising painted on walls. Jim Jarvis and the Historic between ghostsigns and these other crafts, making the outdoor advertising.” motivations of those passionate about them even more Preservation Offjce have proposed having these repainted of humankind’s would have resulted in the demolition of the ‘host’ building. Oxford. Photograph: intriguing. There isn’t a comparable lobby arguing This sign was ‘saved’ in 2010 with the rejection of a planning application that by the contemporary collective of mural artists and for the protection and restoration of contemporary desire to leave a sign painters known as ‘The Walldogs’. However, local Isisbridge. Image courtesy of History of Advertising Trust, hatads.org.uk billboards, yet ghostsigns once served exactly the same opposition has surfaced, objecting to what is perceived as the advertising purpose. In 1960 Howard Gossage observed mark, whether ‘Disneyfjcation’ of the town and a lack of public consultation. that billboards exist ‘for the sole and express purpose of trespassing on your fjeld of vision’, representing for commercial, This debate is not unique to Butte, which is just one example widespread resentment of overbearing outdoor advertising. of attempts around the world to resolve the question of what, Further back, in 1855, the ‘One Who Thinks Aloud’ community or if anything, should be done about ghostsigns. The repainting lamented the form, although on very difgerent grounds, individual ends.” of a sign for Bile Beans in York, England, provoked reactions both extreme (‘an act of public vandalism’) and acerbic (‘like an old friend having bad plastic surgery’), in addition “The character to widespread praise for the job done. In the absence of any comprehensive and authoritative guidance in this relatively of things like new area of historical interest, the decisions taken are typically at a local level. Community groups and property this is essentially owners adopt approaches that they believe are right, often gaining support and inciting opposition in equal measure. ephemeral, and Photograph: Brian Stubley Given their ambiguous value, ghostsigns currently fall it is the fact that As the evidence from Butte and York shows, these signs outside of approaches taken to preserving cultural heritage exist at an intersection of public and private interests. artefacts. They are not architectural features of note and are, such things survive They are typically ‘hosted’ on the walls of private ultimately, just advertising ephemera. In addition, unlike Restoration Period properties, and subject to the whim of building owners. other forms of advertising and printed matter, they cannot only rarely and However, the reactions to proposed or actual changes to be collected and displayed in archives and museums, at least Restoration Period their appearance demonstrate a parallel sense of public not in their original form. Photographic archiving projects, ownership. The signs serve as way markers – often perceived such as the UK-based History of Advertising Trust Ghostsigns accidentally ‘Amid all the changes which this changing age has Archive, do catalogue and document material, but say as ‘public art’ – and are records of local advertising and produced, that of the walls superceding the town’s nothing about how ghostsigns ‘in the wild’ should be treated. that gives them craft history. Confmict between these difgerent groups, bell-man is perhaps the most melancholy.’ Attempts to develop systematic approaches to protection and Restoration Period with their respective claims to ownership, is brought restoration all face the problem of defjning which signs have their charm and The age of ghostsigns (most are from the early 20th about when decisions are taken that afgect the signs. merit: one person’s artwork is another’s eyesore. Further, century) triggers a similar nostalgia which, in turn, ghostsigns often exhibit multiple layers of text, known These contentious interventions vary in degrees of extremity, leads people to cherish them. However, in their day, fascination.” as ‘palimpsests’, with some seeing a beautiful historical they provoked opposition similar to that of Gossage from doing nothing, through to plans to repaint the signs ‘onion’ , while others perceive nothing more than a mess. and the One Who Thinks Aloud. Although they are en masse as in Butte. Some actions lead to the loss of often resented now, it is entirely conceivable that the The signs often fall victim to today’s graffjti and street ghostsigns; the demolition of buildings, whitewashing and revealing of a printed billboard in 50 years could provoke artists, getting whitewashed in efgorts to ‘clean up’ this more sandblasting of walls are all more fjnal than the gradual a similarly nostalgic response, and calls for protection, contemporary work. In some instances this coverage is only weathering that usually takes them away. A whitewashing in a future world dominated by digital advertising. partial. In Stamford Hill, London, advertising for a cigarette in Clapham led to a question being asked of London’s Mayor about what he was doing to protect these pieces of cultural and commercial history. His response delegated Recorder 01 / Summer 2014 responsibility to local council level and, in this case, Michael Recorder 01 / Summer 2014 Kate Hoey MP, responded that:
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