“WE KNOW A FAB CROSS-DRESSING PRIEST.
HE’S STRAIGHT, BUT HE IS H.I.V., SO THAT’S SOMETHING

The formerly smashingly cute Mr. MATTHEW BUTTERICK, on Once Upon a Time in Hollywood: “Hated it. A rancid reactionary fantasia of pre–Baby Boomer American masculinity.” (He misrendered that adjective chain.)

Few now recall how, as a young/hung/full-of-cum designer, Mr. BUTTERICK slaved away in Roger Black’s hothouse. The consternatingly dapper and accomplished Mr. BLACK is of course one of the few homosexualist graphic designers, said profession being as hetero as roofing but with less of a raison d’être. Like John Du Pont, about whom I wrote a “Talk of the Town” piece for the New Yorker that Brendan Lemon couldn’t quite manage to run, Mr. BLACK operated a flat-out harem in the 1990s, with a staff made up of cute young things like Mr. BUTTERICK – and the dyspeptic Michael Goff, whose looks have fallen off a cliff but whose editing skills were always in the gulley alongside the flattened corpse of Wile E. Coyote, whom he indeed now resembles.

Given the history, Mr. BUTTERICK’s post-teenage-girl American self-hatred disqualifies him from passing judgement on men. The name “Butterick” is a masculinity disqualifier on its face. Remind us again how important it is, in the Drumpf era, to centre Black trans wymmynz’ lives in American discourse, and how some men have vaginas.

Why do I bother promoting his book Typography for Lawyers, which I did as recently as a fortnight ago?

The foregoing posting appeared on Joe Clark’s personal Weblog on 2020.03.09 12:26. This presentation was designed for printing and omits components that make sense only onscreen. (If you are seeing this on a screen, then the page stylesheet was not loaded or not loaded properly.) The permanent link is:
https://blog.fawny.org/2020/03/09/butterface/

Our great lodestar of digital accessibility is Apple, which makes computers and screenphones that blind people can use, except for my blind friend of 30 years who couldn’t dial voicemail for months, and who still cannot read Web content embedded within apps, and who could not even manage to reliably tell the time with an Apple Watch, which he had no choice but to return.

Further, “[t]he Apple Park Visitor’s Center is a demonstration of an accessible building when cost is no object,” unless you need to press an elevator button.

One manager at an Apple Store good-naturedly griped that he was constrained in hiring persons with mobility impairments of nearly any kind (certainly including wheelchair usage) because the staff breakroom was up a flight of stairs. (No longer true, it is said.) At no time did I have the heart to tell him that somebody in a wheelchair simply could not work at his store – until news broke of Robert Shaw’s lawsuit against Apple, at which point I did tell the manager that I had known that fact all along.

By my reading, Apple was inaccessible to Robert Shaw. But his lawyer’s pleading and Apple Canada’s response are both rather half-assed. [continue with: Apple Store accessibility lawsuit (Robert Shaw vs. Apple) →]

The foregoing posting appeared on Joe Clark’s personal Weblog on 2020.02.20 13:20. This presentation was designed for printing and omits components that make sense only onscreen. (If you are seeing this on a screen, then the page stylesheet was not loaded or not loaded properly.) The permanent link is:
https://blog.fawny.org/2020/02/20/shawvapple/

The older boys, Rhyan and Dustin, were athletes and hunters. While they were out chopping wood with their dad, Chasten says, “I would be inside reading Harry Potter or singing Céline Dion at the top of my lungs while my mom and I were dusting the cabinets.”

For the love of God, take your sons hunting.

(Q.v.; q.q.v.)

The foregoing posting appeared on Joe Clark’s personal Weblog on 2020.02.10 20:57. This presentation was designed for printing and omits components that make sense only onscreen. (If you are seeing this on a screen, then the page stylesheet was not loaded or not loaded properly.) The permanent link is:
https://blog.fawny.org/2020/02/10/chasten/

And most people have to choose between those things at the very outset of their work. Um and so in a sense like it’s like OK say you’re you’re you’re Aimee Terese. You have to basically tell the story of how the um progressive movement um you know considered in its whole as a century-long American phenomenon – of course it existed before the Soviet Union as well as after it. Um and you have to basically tell the story of how um uh the uh professional/managerial class – have I got the terminology right? – uh how the professional/managerial class basically um um you know takes over from the workers and does these bad things. […]

Um you know and so, the fact that this revolution, which was never about the goddamn workers, then threw the workers under the bus and decided it would be about identity politics is in fact completely consistent with its entire nature from beginning to end! It’s not even surprising at all, and so basically [laughs] you know for someone like Aimee who I’m sure is crazy and wonderful um not to mention big and natural um [laughs] you know haha it’s um um the um um um um I apologize for that, uh, Aimee, if you’re listening um um uuum uuum the um I’m repeating a comment that someone else made um and and the um um the um uh this is not my joke and and I don’t even – I have no even knowledge at all of the subject and and the um um

Ladies and gentledykes, your thought leader of the New Right (cf. Malice’s The New Right, pp. 138–139 inter alia).

Then, of course, there’s how he writes.

The foregoing posting appeared on Joe Clark’s personal Weblog on 2020.02.09 13:05. This presentation was designed for printing and omits components that make sense only onscreen. (If you are seeing this on a screen, then the page stylesheet was not loaded or not loaded properly.) The permanent link is:
https://blog.fawny.org/2020/02/09/mencius-um-uh-moldbug/

I banged out this whole list entitled “Here’s what Windows users think they know about typography”:

  • Typography does not exist. How can it exist? I’ve never heard of it.

  • Even if typography might exist, it can’t be important. Now that I think of it, I know typography isn’t important. I knew that all along.

  • Even if it might be important, I already know everything anyone needs to know about it.

  • If somebody else shows up claiming to be an expert on typography, well, I am just as much of an expert. I use Microsoft Word and I can make jokes about Comic Sans.

  • I have a right to be angry at anyone who questions my skills in typography or how much I know about it. (How dare you.)

  • Apart from Comic Sans, which I can make jokes about, no font can ever be better than any other font.

  • No layout can ever be better than any other layout.

  • Typography is just “aesthetics.”

  • Microsoft Word documents do not have “typography” and don’t need it.

Waaay too long. As I wrote before: “I do not know how to explain to Windoids, NPCs, basic bitches, and other nonentities who have so little going for them that I can sum them up in catchphrases that beauty has value.”

So I boiled everything down to this:

Typography doesn’t exist,
it isn’t important,
and I’m really good at it anyway

Use that as a cudgel. I do.

The foregoing posting appeared on Joe Clark’s personal Weblog on 2020.01.25 19:19. This presentation was designed for printing and omits components that make sense only onscreen. (If you are seeing this on a screen, then the page stylesheet was not loaded or not loaded properly.) The permanent link is:
https://blog.fawny.org/2020/01/25/typecudgel/

…as one of the previous century’s greatest type designers, Eric Gill, was.

Still, this plucky Norwegian, who runs a small-batch-artisanal type-design atelier that would be non-viable without 333,000 kroner in government funding in 2016 and 2018 ($48,000), operates within the same colourspace of opprobrium as Gill.

Stefan seeks to limit the words one may typeset in his boutique fonts. Licenses for commercial and demo (“test”) fonts both contain this wording (at ¶3[d]):

The Fonts may not be used in a manner or in combination with material that is offensive or punishable. This includes (but is not limited to) expressions of racism, xenophobia, homophobia, sexism, gender discrimination or other expressions of intolerance violating human dignity and well[‑]being.

Hence that American homosexualist writer married to a Norwegian, Bruce Bawer, is now illegal. Yes, the value proposition here is you pay money to license a typeface and a foreigner will try to stop you from writing certain words in that font.

I did the obvious thing: I downloaded Stefan’s test fonts, fired up my licensed copy of InDesign (lovingly coded by non-Whites), and typeset a PDF.

What might it take to equate a living designer with a deceased pedophile? Some of us are big on principle and know WRONG when we see it. Here Ellmer Stefan is about to go full Breivik. Never go full Breivik.

Don’t write cheques for 333,000 kroner that you cannot cash

“Any dispute arising from this License Agreement is governed by Norwegian law, and shall be settled by the City Court of Oslo,” Stefan’s licence “agreement” threatens. (“So if you want to set your hate speech in e.g. Vulture, I am gonna send my birds after you!”)

See you in court, then. I’ll be needing halal food on the plane ride over.

The foregoing posting appeared on Joe Clark’s personal Weblog on 2020.01.24 17:19. This presentation was designed for printing and omits components that make sense only onscreen. (If you are seeing this on a screen, then the page stylesheet was not loaded or not loaded properly.) The permanent link is:
https://blog.fawny.org/2020/01/24/ellmerstefan/

Mr. RUSSELL HARVARD is plausibly the most interesting man in America.

Russell Harvard, in mirrored yellow shades and a hat, behind the wheel

Mr. HARVARD is a sky-high deaf gay actor and former drunk. He can claim deaf royalty as a deaf child of deaf parents. (They’d write that with majuscules. I do that only with “White.”) But he can hear and speak and he loves music. He also doesn’t resent the English language.

I have noticed a few waves of signing deaf people over the centuries. There was a brief period when the combined onslaught of interpreters in classrooms (or even deaf teachers), captioning everywhere, and TTYs, and later pagers (and later still all forms of electronic messaging), forever remedied the ostensibly permanent deaf illiteracy that was the false justification for heavily edited captioning, which abomination I fought from my teen years.

These deaf people were well accustomed to hearing people in their lives. The deaf gay ones all had hearing boyfriends and this was considered normal on both or all sides. You could – I could – deal with deaf people one-to-one or even in small groups. I have certainly personally experienced the truth of the stereotype that a deaf person will always, given enough time, make himself or herself understood to you. It is an actually amazing capacity. I have, moreover, known a few oral deaf people, each of them very distinct and certainly not what I am talking about here.

But my direct lived experience of big-D deaf people now is they have become like blacks in South Africa – racist harridans who misuse the system against their former tormentors (q.v.). As an example, at a public meeting where anyone could sit anywhere, I have had multiple deaf people use the two interpreters seated at that table to tell me I had no right to sit with them. They were not expecting me to talk back at them and stand my ground. Every single one of them was a total cunt to me for the next half an hour, and talked among themselves about me in ways they thought I could not recognize.

I believe if I met Mr. HARVARD, he would treat me as an individual just as I would with him. We would have a real conversation by any available means. I would be less self-conscious than usual about my actually horrendous and embarrassing ASL “ability.” (A complex and chaotic ginger mound of muscle whom I know, a hearing child of deaf adults, separately explained to me that even my degree of dysfluency makes a deaf person’s day when I use it.) I was nothing less than amazed to be at the right place at the right time and witness an online electronic Internet video of Mr. HARVARD’s baptism.

Beyond the status of most interesting man in America, Mr. HARVARD seems to be good people.

The foregoing posting appeared on Joe Clark’s personal Weblog on 2020.01.05 13:34. This presentation was designed for printing and omits components that make sense only onscreen. (If you are seeing this on a screen, then the page stylesheet was not loaded or not loaded properly.) The permanent link is:
https://blog.fawny.org/2020/01/05/russellharvard/

By which I mean the only non-progressives or anti-progressives with a brand: Europa Invicta (Flickr album thereof).

  • Conservatives still cannot design

    Sweatshop workers assemble TRUMP 2020 banners typeset in Arial

    – but Europa Invicta has done well more than the bare minimum here:

    Four posters from Europa Invicta, including armed solder captioned EUROPEANS DON’T APOLOGIZE
    1. Images from European or White antiquity

    2. Consistent typography (Gotham – no doubt Jonathan Hoefler, our Whitest type designer, will be mortified), and indeed consistent translucency to such type

    3. Square format that the kids prefer these days

  • Then Europa Invicta, who are not Identity Evropa (“Ev”ropa), go and spoil it all by doing something stupid with their best slogans.

    Young man and woman on poster: WHEN YOU’RE WHITE, THERE’S NO UPGRADE. DON’T MIX
    1. Type and layout are wrong

    2. Type is fundamentally incorrect in embarrassing ways (neutral apostrophes that collide with nearby letters)

    3. Cannot decide whether linebreak, comma plus linebreak, or no apparent linebreak are meant to break up clauses

  • Then there’s using the wrong frigging quotation marks:

    Poster uses « and » in Winston Churchill quotation

All told, though, wildly superior (these people are all about hierarchy) than Æsthetica Europa.

Next I will discuss the anti-progressive meme æsthetic of severely saturated red/green/blue gradients, reminiscent of the absolute greatest 1980s lighting and interiors (and indeed key to the Æsthetica Europa vocabulary).

The foregoing posting appeared on Joe Clark’s personal Weblog on 2020.01.01 14:44. This presentation was designed for printing and omits components that make sense only onscreen. (If you are seeing this on a screen, then the page stylesheet was not loaded or not loaded properly.) The permanent link is:
https://blog.fawny.org/2020/01/01/europainvicta/

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