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Posts Tagged ‘Scott Dadich’

WIRED, GQ Rack Up Medals at SPD Awards

Wired nov08.jpgMedals, pencils, cubes, elephantine statuettes designed by Alexander Calder—spring always finds us buried in design awards, and we’re still in catch-up in mode. Last things first: On Friday, the Society of Publication Designers (SPD) held its annual awards gala at New York’s Hammerstein Ballroom to recognize outstanding design, photography, illustration, and online work. WIRED creative director (and outgoing SPD president) Scott Dadich was the Michael Phelps of the evening, taking home a whopping eight gold medals for the Condé Nast publication, including the coveted magazine of the year award and the top honor for overall design of the November 2008 “Future of Food” issue. WIRED also won five silver medals, in categories including feature design and info-graphic (also for the food issue).

Meanwhile, New York continued its domination of best magazine cover accolades with its unstoppable Barbara Kruger-ized depiction of Eliot Spitzer‘s brain, while The New York Times Magazine took home silver for its March 2008 “End of Republican America?” cover, which featured Andrew Bettles‘ photo of a deflated red elephant. The night’s other big winners included GQ (with 11 medals, including a silver for magazine of the year) and W, which cleaned up in the feature design categories (you go, Edward Leida!) and won gold for its May 2008 “Cairo” photo portfolio by Philip-Lorca DiCorcia. Click here for a full list of this year’s SPD winners, and if you missed the gala, check out the SPDtweets Twitter, which posted minute-by-minute updates from Friday’s festivities. “AARP art staff is in the house,” read an early tweet. “The only art staff that never gets carded for drinks.”

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Food Fight: WIRED Also Covered in Corn

NYT wired corn.jpgThe New York Times Magazine isn’t the only publication to have food on the brain—and the cover. Like Sunday’s NYT Magazine, fronted by German photographer Martin Klimas‘ smashing pumpkin (and apple and ear of corn), WIRED‘s November issue will tackle the “the future of food” and also opts for a corny cover. It’s a coincidence that “show[s] that it is clearly an issue becoming top of mind,” Wired Media publicist Christina Valencia tells us. The Society of Publication Designers’ new blog was the first to remark on the a-maizing similarity, noting on Friday that New York Times Magazine art director Arem Duplessis and WIRED creative director Scott Dadich were spotted “carousing together” at a recent SPD West event.

“Law of Optical Volumes” Finally Defined By Wired (And Guess What? It’s Kerning!)

kerning.jpg

A few months ago, we wondered what the hell Wired was talking about when discussing their redesigned logo:

“…it now adheres to the Law of Optical Volumes”

We went to the most trusted names in typography to inquire about this term that was so innovative we had never heard it before. As you may have guessed, we came up empty. Now, thanks to the keen eyes of John Gruber, we have an explanation from Wired, posted by senior editor Paul Boutin:

Here’s the skinny: The Law of Optical Volumes is Wired creative director Scott Dadich‘s term for a typography rule that governs the spacing of characters within a font. The theory behind it has been evident on newsstands for years now, thanks in part to typography guru Jonathan Hoefler, whose firm Hoefler & Frere-Jones designed Wired’s new typefaces used throughout the magazine.

So…the Law of Optical Volumes is defined as a typography rule that governs the spacing of characters within a font which has been evident on newsstands for years now thanks to Hoefler & Frere-Jones.

We don’t even know where to begin, but we’d probably start with the word “kerning.”

Boutin gives little credit to the typographers who have been slaving away for centuries by explaning that “the Law boils down to the science of kerning.” Then he offered this little gem of insight:

Unfortunately this advanced, scientific approach to font layout is still only available in ink on paper. Web fonts in 2007 still don’t have kerning pairs. We don’t know why. To see and appreciate the Law in action beyond our logo, you’ll need to pick up a copy of the magazine.

So not only is kerning no longer available on computers in 2007, you can only see examples of it in Wired magazine. Luckily, a few of you set him straight:

UPDATE: I’m completely wrong! See the comments below for Web-based solutions.

The funny thing is, if Boutin had just read down a little further in the Wikipedia article he linked to on kerning (you know, Wikipedia, a great tool for serious journalists everywhere) he would have seen this:

Kerning is implicitly part of digital type design, and advanced typographic systems allow the specification of kerning.