Oh man what a list. 1 pt. 2 pt register mark tape. . I'll embelsih a little. Rubber cement boogas, T-square fights. Retractable Xacto blades. Stat cameras and the lucy. How about P.M.T.s?. And don't forget non-repro blue. <br><br>
Rubber cement pick-ups. Burnishers. Rubber cement booger fights — thwap! 3M Color Keys. Progs. Red grease pencils. And I still have a couple of non-repro blue pencils in my "museum drawer". <br><br>I've even phased out good ol' 3M 6065 spray mount now in favor of Studio Tac<br><br>
Loc: Lancaster PA USA
See, that's where I lucked out.<br><br>I wasn't in the business during the rubylith/Exacto days. Well, all those tools were still being used in the prepress departments at places I worked, but I was just a lowly Docutech operator. Since cut my teeth on Pagemaker, Photoshop and Illustrator (all fully self-taught), (and occasionally QuackXPense), there's no love lost for me in pining for the "old days."<br><br>I had Rapidographs and used Letraset letters strictly for fun, for doing pointillistic drawings and to create photocopyable band flyers.<br><br>
Lucked out? You pathetic girlyman! I'll bet you never experienced the joy of an outhouse in the middle of January, either! <br><br>Hell, when I was your age, "Photoshop" was a guy named Deek — with a killer airbrush! <br><br>Typography and airbrush retouching are two of the trades who's near extinction I truly lament. Granted, their are many insanely talented digital craftsmen who match "Deek" pixel for ink drop. But IMHO typography is a casualty of the digital age. <br><br>
Loc: Lancaster PA USA
As much as I can appreciate the skills of men like my Granddad who could build a barn from trees—sawyering, milling, hewing, carving, jointing, doweling, etc, all with primitive tools—even he admits that life became a whole lot easier the better power tools became. His work was faster, and more accurate. But that's not to say that he didn't carry along a lot of the knowledge he learned growing up, such as why one would turn hickory for the rungs of a chair made of maple, for example.<br><br><a href=http://www.bancomicsans.com/home.html><img src=http://home.comcast.net/~phoz/bbs/bancomicsans.jpg align=left hspace=4></a>When it comes to typography, there are certain levels of tedium that some folks take to the extreme. We can hope that when we buy professional-grade fonts that they'll be well-stocked with proper kerning pairs, a proper complement of extended characters and a family of which will include the proper instances of weights and oblicities (HEH! I love neologisms! Especially my own! ). Sure, there are times when manual kerning is important —like when using display-face headlines—but it ain't my job to rejigger an entire font set just to make sure that a few paragraphs of body text looks pefect down to the very last em-spacing. The point though, is to at least have a decent understanding of <B><I>why</B></I> one might need to do some manual kerning, how to <B><I>see</B></I> the need for it, and how to choose complementary font families when using more than one.<br><br>And I still say that any professional designer who uses ComicSans in any job should have the stripes viciously torn off the sleeves of their uniforms! It's one of the few fonts I can think of that have absolutely NO business being used, anywhere, any place or any time. <br><br>
Technology makes any job easier/faster/more efficient... But it's the craftsmanship that makes all the difference. Someone accustomed to hand-turning balusters will make an equally exquisite product using power tools. A hack who's never done it the hard way will likely lack the appreciation of form, proportion, and finish required to optimize the technology. Same with typography. I see way too many otherwise well-designed pieces with haphazardly set type. An d it makes me kwazy! <br><br>
I am NOT a watch. <br><br><br>And you're just jealous because I've been a part of the problem longer than you. <br><br> <P ID="edit"><FONT SIZE=-1><EM>Edited by steveg on 12/23/06 06:53 PM (server time).</EM></FONT></P>
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