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Production Narrative

by W. Lehrer

French Fries (the book) employs many of the same typographic and notational devices used in i mean you know. In addition to typography, FRENCH FRIES uses photographic images and icons forming a typo-pictorial translation of scenarios and characters. In addition to each character being set in his or her own typeface and typographic arrangement, an individual artist grant from the NEA (no longer available to visual artists) gave me the opportunity to have each character set in their own color as well. The book is printed in three non-process colors. All three colors were mixed in various combinations of tint values to create dozens of other colors. Some of the densest, multi-layered pages (in the climactic height-of-the-cold-war political argument scene) had as many as 116 exposures onto each plate. Phil Zimmermann did all the painstakingly careful press-press film and platemaking work for this book which was done prior to the personal computer/McIntosh revolution. My process involved writing the text with Dennis with a visual/musical structure in mind; laying out the book through drawings on paper; then setting the type myself with a photo-typesetter; doing the drawings, photography, photocopying, image construction; then cutting and pasting it all up (some characters involved cutting up every line, sometimes every letter) as “mechanical” paste-ups with multiple acetate overlays each with their own tracing paper overlay specifying tint combination percentages; going back and forth to Rhinebeck to look at Phil’s proofs and going up to Rochester to check on the printing. Additional influences include Kevin Osborn’s colorful and active Real Lush, Phil Zimmermann’s Civil Defense, a 3-color John Cage Great Bear pamphlet published and produced by Dick Higgins, Massin’s book design of Ionesco’s Bald Soprano, and fast food graphics everywhere.

Critical Analysis

by

Design Features

typographic:

imagery:

graphical:

openings:

turnings:

development:

sequence:

textual:

structure:

conceptual:

intratextual:

scultpural features:

temporal features:

other features:

Critical Discussion

Detailed Analysis

General Comments

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French Fries

Agents

Warren Lehrer

type: initiating

role:
artist
author
designer
typographer

dates:
publication: 1984-00-00


Dennis Bernstein

type: initiating

role:
author


ear/say

type: initiating

role:
publisher


Visual Studies Workshop Press

type: other

role:
printer


Measurements

vertical: 11 inches closed

horizontal: 8 inches closed

Production Information

production means:
offset (local)

binding: smyth sewing (AAT)

substrate:
bookBlock: paper

media:
ink (local)

Appearance

general description: FRENCH FRIES, written by Warren Lehrer and Dennis Bernstein, designed by Warren Lehrer, 1984, published VSW press and earsay, printed at VSW in three colors on acid-free Mohawk Superfine, 8”x11”x104 pages, hardcover (cover printed on ketchup-resistant faux-leather menu material over boards), pre-press work by Phil Zimmermann.

format: codex (AAT)

cover: Hardcover (cover printed on ketchup-resistant faux-leather menu material over boards).

color: yes

pagination: paginated 104

Colophon

This edition is limited to 700 copies signed and numbered by the authors. The book is smythe sewn and encased in a die-cut hardbound wrap around cover. All photo-typesetting was set by Warren Lehrer on a berhold acs 3200 compugraphic 7500 and an itek quadritek 1200. Esther rothschild is set in Century Schoolbook Bold Italic. Carmen is set in Univers 75 (reversed). Flash is set in Clarendon Bold (bounce). Walley Dugan is set in Stymie Light and Bold. Jack Murphy is set in Helvetica Bold Condensed. Jo Jo is set in Bembo Roman. Louise Giallanza is set in Kabel Medium. The stage directions are set in Univers 55. News updates are set in Univers 67. The introduction, menu and colophon are set in Century Schoolbook Roman, Italic, Bold and Bold Italic. Other typefaces used throughout the book: Bodoni Bold Italic, Windsor Elongated, Optima Roman, Cooper Black Italic, Helvetica Condensed Light, Futura Bold, Graphique Overlapped, Craw Clarendon, Umbra Caps, Jim Crow Caps, and Orplid.

Exhibition Information

exhibition history:

reception history:

Related Documents

manuscript type: other

location: artist's archive

note:


General Comments

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