New West, September 10, 1979
Contributed by Stephen Coles on Apr 22nd, 2013. Artwork published in
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Image via Roger Black. License: All Rights Reserved.
It is possible that this custom Kennerley, originally designed by Frederic Goudy, was adapted for phototypesetting by Jim Parkinson for Roger Black.
7 Comments on “New West, September 10, 1979”
Oh, this is a classic. Couldn’t get it in color?
Found it at the AIGA Design Archives. They had only black and white. If you have a copy it is most welcome!
I could swear I remember seeing it in color. The only thing I could find was also in black and white, in the AIGA USA: 1 design annual. I have the feeling that the stuff they’re posting was scanned from those old annuals.
There’s another Roger Black design on the same spread, a Rolling Stone cover also drawn by Jim Parkinson, also shown in black and white. But I have a copy of that and it’s printed in at least three colors, including bright red and silver.
I’ll let you know if I find it.
Replaced the image with a color one, courtesy Roger Black.
Was just talking to Parkinson about this version of Kennerley. He did four styles for New West, and we made two-inch film fonts for the Phototypositor starting with a paste-up of PMT copies of Jim’s drawings. We worked double size, with guides for the trim, so that the baselines were preserved. Then we made a 50 percent litho film of the whole thing, cut it up, and taped it together with that red stripping tape.
The spacing was up to the operator of the VGC machine. Hey, it was the 70s!
“It is possible that this custom Kennerley, originally designed by Frederic Goudy, was adapted for phototypesetting by Jim Parkinson for Roger Black.”
The two lines at the top of this cover is set in the Parkinson version. The headlines in the illustration were set in Monotoype Kennerly by MacKenzie & Harris in San Francisco. The funny backstory is that I was bicoastal at that time, doing New York magazine and New West simultaneously. I had ordered the type, and said to an (unnamed) assistant, “When it comes in, just 'stat to width.'” Then flew back to New York.
In paste up, the headlines were transposed so they read, The Politics of Lakes / The Vanishing Water. We were on deadline, but somehow I convinced the airbrush artist who did the water drops to do it over that weekend. A courier ran the artwork from Vegas to the printer, and we made the press date.
Ed Scarisbrick was the artist. (Already credited.)