Sunday, August 30, 2015

Font Abuse at the NMRA show.

I quite liked a lot of the models at this exhibitor's booth at the National Model Railroad Association's show at the PDX Expo Center this weekend, but this particular roof stood out as the most egregious bit of font abuse I saw all day...


How could you spend all that time designing, building and detailing that building and then just slap COMIC SANS on it?

(UPDATE 5/22/16: I found a copy of Typography for the People: Hand-Painted Signs from Around The World (Plus 15 Free Fonts) by Daniel Bellon at a thrift store for under $5. I modified the image above with a font called Bellon Square, which has the kind of letters that might actually be used by someone who hand-paints signs like this...)


I have a few rules about fonts for model structures...

FONT RULE #1: Don't Use Comic Sans.
(There are lots of other fonts you shouldn't use on structure models, but just never use Comic Sans for anything, ever.)

Don't Confuse Print or Screen Fonts with Signage Fonts.
(Print fonts are designed so the ink won't blob up where the lines join. Screen fonts are designed to look nice on your computer. Signage fonts are designed to be read and understood instantly at a distance.)

Use All Caps.
(Names of businesses were almost never set in upper and lower case.)
Don't Use All-Caps With Script or Old English Fonts.
(Unless you're getting a prison tattoo.)

Don't Use a Curved Baseline to Make It Look "Old Time-y."
(Most old signs on buildings were designed to be legible at a distance, not fancy. Curved baselines were mostly used in print and on packaging, and only very, very seldom on signs.)

Don't Stretch a Line of Text to Make It Fit
(This changes the line weights, and makes the letters look all wrong. If you stretch side-to-side, the downstrokes get thicker; up-and-down stretching thickens the horizontal lines. Look for fonts that fit the space you want to fill without distortion.) 

The Fonts You Want: Sign Painter's Egyptian and Various Slab Serif.
(I've yet to find the former in a free font format, so I cut-and-paste from scans I've found online. The line weight doesn't change where the lines meet, and the reason for that is the technique sign painters used to paint letters: by rotating the brush as they went along. This makes the line weights different from calligraphic fonts, where the nib of the pen is typically held at the same angle while the letter is drawn, creating thick and thin lines. Slab Serif or "Block" fonts are used nowadays mostly for collegiate sports, but they were used for signs in the early 20th century.)  

From Henderson's Sign Painter by John G. Ohnimus

Read Antique Sign Painters' Guidebooks.
(See above.)

Signage from the Late 19th Century Always Ended with a Period.
(I don't know why; it just did. This trend lasted until about the 1920s. See the quote below, from Elements of Lettering and Sign Painting, 1899...) 

Do Look at a Lot of Old Photos. 
(Any book from Arcadia Publishing is a good starting point. Arcadia's books are photo-heavy, so you will almost certainly find examples of signs from whatever era you're modelling. As a bonus, they'll be specific to the area you're building.)

There Are Lots of Free Fonts Out There. Go Get Some!

Friday, August 28, 2015

Don's Radio Shop in N Scale

I started a couple days ago, after I finished the Gorre engine house.

The rusting green sign under the MERTZ ad is for Nesbitt's Lime Soda, another Negativland joke that doesn't have much to do with Don, but what the heck. I liked it better than putting a damn Pepsi logo on my model. I like making fictional signs, and Nesbitt's has never actually made a lime soda. I altered the colors of a Nesbitt's Orange sign.

The red and yellow "Don's Radio Shop" sign and metal supports turned out nicely.

I realized this model is small enough to fit in a very inexpensive display case designed to hold baseballs.

Sunday, August 23, 2015

Tuesday, August 18, 2015

Gorre Engine House Pt. V: Rafters

I finished the five center rafters on Clever Models' Gorre engine house. Each of these subassemblies consists of 11 pieces. Two more to go -- with 16 parts each -- for either end of the building. 

Believe it or not, this actually hurt my back a little. I assembled these on the kitchen table, which is lower than my work table, so I was hunched over for quite a while.

Monday, August 17, 2015

Stay Puft Ghost Sign

I saw the original Ghostbusters a couple days ago, and noticed a very subtle joke for the first time. In an nearly subliminal bit of foreshadowing, one of the shots shows a faded Stay Puft Marshmallow ad painted on the side of a building.

It's the second building on the left in the foreground.

I needed a break from the Gorre engine house, so I threw together a similar sign in The Gimp.

I went for a 1950s look, because I figured that was when Ray Stantz grew up. The sign in the movie looks a bit more 1930s, with a fatter version of Mr. Stay Puft. The slogan, "Stay Puft, Even When Toasted!" was apparently part of the original script, but it was cut out, and only appears in the film on the matte painting.

I'm tucking this away for future use.

Sunday, August 9, 2015

Gorre Engine House, Pt. IV, Clerestory

Assembled the clerestory of the Clever Models' Gorre engine house today. Built the interior and exterior. Rather than print an entire sheet of expensive transparency film just to get eight tiny windows, I turned some leftover windows from the rest of the building sideways, and they fit nicely.

Wednesday, August 5, 2015

Gorre Engine House, Pt. III, Shingles

In N scale, shingles are a royal pain, particularly when you're modelling in  cardstock. It's not just that you have to make hundreds and hundreds of tiny cuts, the problem is the white edges of those cuts are nearly impossible to darken with a marker or paintbrush.

Looking around the workspace, my eyes lit on a brown paper bag. PERFECT! I took my paper cutter and sliced one side of the bag down to 8.5" x 11", put it in the printer, and got a page of shingles that looks like wood through and through!

I've finished one side. When I got done, I used my tweezers to lift randomly chosen shingles here and there, hither and yon, higgledy-piggledy, to give the roof texture.

That clear plastic case, by the way, was thrown away by a vendor at an event where I was temping. It just happens to be the perfect size for this project. Score!