Pictorial Paste-ups

It took many years of patience, luck, and persistence (and more than one ill-advised outrageous price), but I have managed to collect just about every issue of Bob Mizer’s Physique Pictorial. (Vol. 2 no. 1, I know you’re out there somewhere, but I probably can’t afford you anymore.)

Mizer is best known for his photography and filmmaking, but less so for the design and typography of Physique Pictorial. In fact, the magazine always had a fairly crude, almost punk approach to its layout. Text and labels were often set with a typewriter, and you can see the evidence of its cost-and-paste production methods, from the first issue in 1951 all the way through to Mizer’s last in 1990. Even though his last couple of issues feature cover titles made with crude digital fonts, the magazine’s layout was very much an analog process.

When looking at the entire run of Physique Pictorial, it’s clear that Mizer was pretty economical in his use of materials. That’s not to say that the magazine looked cheap. In fact, I’ve always been quite fond of the immediacy of the type and layouts, and Mizer’s emphasis on the photography and illustrations. Over the years, though, Mizer used a handful of pieces of artwork for the cover masthead over and over again. Whether he did it for thrift or for variety in the covers, the same few title treatments appear periodically throughout the entire 40-or-so years of the magazine’s run. Knowing that the magazine was assembled by hand, the reuse of these art elements suggest that Mizer kept the artwork on hand for decades, applying it as he saw fit.

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Going to the Chappell

My friends at Type Network wrote a lovely little article about the past Summer’s exciting discovery that Chappell Roan’s tour featured some giant-sized Ringold Sans in the stage graphics for her song “Naked in Manhattan”.

Chappell Roan’s bold and theatrical style has quickly made her a standout in the music industry, and her performances at Outside Lands and Coachella in 2024 were no exception. The visual identity of her set was highlighted by the use of Ringold Sans, a font from partner Bijou Type that perfectly captures the spirit of her performance. Clean and striking, yet warm, Ringold Sans added a modern yet approachable touch to the event, aligning seamlessly with Roan’s emotive and genre-defying music.

Titans of Transfer Type

Recorded at ATypI in Paris on May 13, 2023, this overview of the production of transfer type between the 1960s and the early 1990s looks at the most prominent brands (Chartpak, Letraset, Mecanorma, Zipatone, et al.) and the various licensed and original typefaces that they distributed. Details include the challenges and advantages of working with transfer type, the prominence of certain typefaces across multiple brands, the development of original designs by certain brands, and the spread of designs and genres across international markets.

Welcome to Bijou Type!

At last, I have finally launched my tiny little type foundry, Bijou Type. To mark the occasion, My distributor/employer Type Network wrote a nice little feature about me and the work.

When Dan Rhatigan joined TN in 2021, he teased a potential return to type design: “If I can manage my time well, there should finally be some more of my own work making its way into the world.” That finally is here, in the form of Bijou Type. With the foundry’s launch, Rhatigan shares how Letraset helps him focus on end users, why Bijou’s fonts look so Dan, and the three meanings behind Bijou.

Type Network

Punk as footnote

The folks as Pavement Licker zine and Verdant Brewing have just announced a packaging collaboration — a limited set of beer cans featuring artwork taken from the zine’s archives. The really cool bit is that one of the cans features a piece I did for Pavement Licker #9 — a composition of clip art and Letraset typesetting I tinkered with for Pink Mince #9 — Punk Mince — but never used.

Verdant Brewing 1Verdant Brewing cans

The cans (all of them, not just mine) look great, but photos make it hard to see the full image that wraps around the can. Here is my “Punk as fuck” art, as shown in Pavement Licker in all its glory:

Punk as Fuck

In true zine-like cut-and-paste spirit, though, the pieces each have a background of their own.

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Physique Pictorial, embellished

The earliest issues of Bob Mizer’s Physique Pictorial — those published between 1951 and 1953 — are maddeningly difficult to track down. (I believe Mizer was ordered to destroy copies after one of his run-ins with the law, but that bit of trivia is a hazy memory I still need to confirm somewhere.) Outside of Taschen’s 3-volume set of reprints, and a couple of stray issues in a stack at the Tom of Finland Foundation, I’ve never seen any of the first dozen issues.

When a couple of issues from 1953 appeared on eBay, I snapped them right up, despite an eyebrow-raising price and what seems like some unfortunate embellishments added by a previous owner. (Such is my desperation to complete my collection.) At some point in the past, whoever owned these two issues drew beards, tattoos, and dicks on top of the Mizer phots and the Quaintance illustrations. My first thought was gratitude that the marks were made with pencil, and might be removed with some care, but on closer inspection I quite loved the effect.

When I went to check the Taschen reprints to see what the unadorned images looked like, I made a happy discovery. I hadn’t noticed before that the Taschen set was not actually a complete one, missing volume 3 number 2 — one of the issues I now own! (Also missing, it seems: volume 1 number 1, and volume 2 number 4, a copy of which is in that stack at the ToF Foundation.) So, for the sake of posterity, here are the pages of Physique Pictorial volume 3 number 2, as adorned by the mystery draughtsman.

The BCC Quarterly

Very exciting to get my copies of The Book Club of California Quarterly (vol. LXXXIV, no. 3, Summer 2019), featuring my essay “Hot Type of the Cold Type Era”.

I particularly appreciate this comment in editor Kathleen Walkup’s introduction: “This essay is a critical addition to the current scholarship on queering the book, and the Quarterly is proud to have a role in contributing to this important work.”

Gay moments in advertising

From Drum #30, December 1968

This is a cute ad, but more relevant is that it’s an openly gay-themed ad from a type shop, the only one I’ve come across so far. Once in a while I’ve seen typesetter credits in a colophon. Occasionally, there’ll be small, plain in-trade ads for printers. I assume in both those cases they would involve businesses untroubled by the association with gay content. But good for Boro Typographers of (I deduce) Philadelphia, PA! (That’s where Drum was published.)

Spatial representation

I recently gave in and started watching Star Trek: Discovery, after two seasons of waiting in vain for it to show up somewhere other than the CBS subscription service. I’ve been following along and reading caps, though, and my curiosity finally got the better of me. And I really like it so far!

Even though I’ve already read spoilers and know who the characters are in general terms, I was deeply moved this morning as I watched the end of “Choose Your Pain”, one of the earlier episodes. Even though I already knew that the show is the first in the Trek franchise to include a gay couple, they way it presented Culber and Stamets in their quarters at night touched me so deeply. It was just so…normal.

Culber and Stamets brushing

They were just talking about the day’s big events while brushing their teeth. There was no melodramatic declaration of identity. No romantic grandstanding. Not even a clear mention that they were a couple, or married. Looking back on the episode, it seems clear that others understood their relationship, and thought little of it.

The couple didn’t even kiss in this scene. But yet it was so intimate! A familiar and moving interaction between two people who shared a life. I was floored. It turns out this was the representation of gays I’ve been waiting for all these years, especially in something that I love the way I love Star Trek. The gayness was incidental, yet unmistakeable. Inherent to the characters and their interaction, but not a plot point in itself. It just felt like it was part of their lives — clearly important, but one element of many. I hadn’t realized how badly I’d want to see it this way. Where no one has gone before, indeed.

Culber and Stamets bein’ sweet