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My cover for The Good Fairies of New York was turned into a wallpaper, and is being given away for free (as in beer) on tor.com. Get over there and snag it, along with Eric Fortune’s beautiful cover art (one of my favourites, actually) for The Red Magician. Also, if you haven’t done so, sign up for tordotcom—still in the works, but so worth it once we go live in June (I think).

EDIT: According to PNH: tor.com‘s actual launch date is July 20. Lunar Landing Day. 

Comic Con this year was amazing. I had a blast, met so many people, saw so much kick-ass work, and learned so much! It was also a great opportunity to spend some time with the amazing people I work with, outside of the context of the day-to-day bustle of the work week. 

As opposed to last year (when I only had a day Saturday pass), this year, by virtue of volunteering to staff the Tor booth on Sunday afternoon, I was given a full weekend pass. It made a huge difference: I got to walk the entire floor on Friday afternoon, before the fans were all let in, so I could sort of get an overview of the entire Con, and was then in a better position to go and look at the particular things I wanted to check out in detail later on; I also got to attend a bunch of panels, relevant to me both professionally (Manga-related stuff for our Tor/Seven Seas collaboration) and personally (I got to see Neil Gaiman read from The Graveyard Book, w00t!); I also got to create a continuous thread of day-to-day interaction with some of the professionals I met, which hopefully will help establish more permanent relationships with my colleagues. In all, a wonderful experience. 

Highlights include:

I went to a panel titled Working Digitally, moderated by Dan Goldman, and featuring Frazier Irving, Héctor Casanova, and Lincy Chan. All four discussed their process, and showed us slides (or should I say screen shots, really?) of their work in progress. It was fascinating to see how the pros put it all together—as a person who favours an all-digital process as well, I found the session highly informative. One of the main points that came across while listening to them talk, and something that I discussed afterwards with both Héctor and Dan, is the fact that as the artist finds s/he has more control over the process, and faster tools at his/her disposal, there is a deliberate rejection of the old ‘division-of-labour’ workflow (penciller, to inker, to colorist, to letterer) of Marvel and DC -style comics production. In the words of Héctor Casanova (accompanied by a look of abject dismay): “I couldn’t imagine having someone else ink over my work. I just couldn’t imagine it!”. The only one caveat I would add to this, is that I don’t necessarily agree with the elimination of the role of the letterer. Coming from a typographic perspective, I can attest that a lot of artists (there are exceptions) who insist on doing their own lettering are doing themselves a huge disservice. Typographic communication/expression is its own craft and mode of communication, requiring skills and an eye rather different from that of an illustrator. Sometimes the two skill sets are present in the same person, more often than not, they aren’t.

On Friday night, my boss, Irene Gallo, was gracious enough to invite Theresa DeLucci and me to dinner with a bunch of illustrators, including Arkady Roytman, Steve Belledin, and Doug Cowan. The latter two being Pratt graduates (Doug and I actually graduated the same year, and were booth-neighbours at the Pratt Show), we had plenty to talk about. I had a particularly fascinating conversation with Steve about the state of art education at Pratt (and universally, to a certain extent), lamenting the fact that the curriculum is not set up to encourage the collaboration between Graphic Designers, Illustrators, and (to a lesser extent) Photographers. This then segue’d into yet another iteration of the e-books conversation, pieces of which can be found in the comments sections here and here. The clock is ticking—everyone’s thinking the same thing. It’s time to move on this before someone does it for me!

In all, a wonderfully positive experience. A weekend full of comics (I’ve doubled my to-read pile, ohnoes!), fun people, great times. The one shame is the lack of good images from my camera. I really must get myself a real camera. The crappy phonecam on the iPhone really is a poor substitute for the real thing. In the meantime, check out some pics from Irene here, along with her own Comic Con write-up; and from ignorancehere’s photoset here.

Typographica.org has a great interview with Cyrus Highsmith by Christopher Palino here. Highsmith is a senior designer at FontBureau, and a faculty member at RISD. As such, he rates.

More fodder for the paper fetishists: The Design Files has a wonderful interview with book-sculptor Nicholas Jones, chock-full of pictures of his studio in Melbourne. Well worth a look.

New print in the works, here’s a concept sketch, playing around with the layout. It’s inspired by the first chapter of Sly Mongoose, Tobias S. Buckell’s new novel, which can be found here. The book opens with Pepper, the main character, dropping like a stone into the atmosphere of Chilo, with only a handmade heatshield and an armored spacesuit to protect him. 

Found on digg.com: Alwayswatchng.org has put together a great collection of kinematic typography set to sound clips of great monologues from TV and film. 

Great Scenes from TV and Film, Told Using Only Typography (and Sound)

Very nice. Very smart. Via BoingBoing.

From the New Scientist:

A neckband that translates thought into speech by picking up nerve signals has been used to demonstrate a “voiceless” phone call for the first time.

This is what Geogre Dvorsky over at Sentient Developments calls ‘Techlepathy’: the simulating of telepathic communication brought about via technological means. Bring it on: anything that will cut down on people incessantly yapping into their mobile phones in public spaces–thereby inflicting the mundanity of their everyday lives upon any and all hapless bystanders–I’m all for.

Typographica has released their favourite typefaces of 2007, and I’m very pleased to see that they’ve changed the name of their event from ‘favourite fonts’ to ‘favourite typefaces’. The reason behind this seemingly trivial change, from the article: 

Yes, there is a difference.Mark Simonson explains it best:
“The physical embodiment of a collection of letters (whether it’s a case of metal pieces or a computer file) is a font. When referring to the design of the collection (the way it looks) you call it a typeface.”
Our feature is more accurately a celebration of new typefaces than new fonts. Keeping these two terms distinct may be a losing battle at a time when some have already declared the words interchangeable, but we’re going to go down fighting.    

Good for them. Words, terminology, semantics, and context matter. It’s been one of my pet peeves over the last few years that the terms ‘font’ and ‘typeface’ have either become interchangeable in the vocabulary of designers, or the former has replaced the latter in the lay vocabulary.  I’m glad to see someone taking a solid stance in this regard.