PETER EARLS

I heard a voice that led me up the mountain

EMIGRE

AT

THE TYPOGRAPHY OFPRESENTS

PROG RAM

ELLIOTT

THE APOLLO

1998Typeface

THE APOLLO PROGR AMTypeface design

ELLIOT T PETER E ARLSSpecimen design & illustrations

ELLIOT T PETER E ARLS

Rr

Growing Spirochetesin Glass Dishes

Think of these fonts as my ”Vision Induced by a String Found on My Table“ or my”Pietà“ or ”Revolution by Night.“ The grotesque caricature of the post WorldWar One avant-garde, the ennui of the venetian-poser-skatepunk, all tools atour disposal. Like the half-wit Karel Appel, flung cannonballish at circus clowncanvas, I too paint (grunt) ”like a barbarian in a barbaric age.“ I’m thoroughlydisinterested in the eloquence and simulated profundity that lies betweenquotation marks, but for the sake of ritualized discourse, let me take astab at it:

Well played...I too cherish the suppression of logic and midnight games oflinguistic Chinese Checkers, but to what end? This question sweeps acrossmy cerebellum like some medieval bubonic plague. Leaving in it’s foul wakethe stench of value relativism and post-utopian thought. I’m the sad childof the lost tribe of ebola monkeys. Intellectually, environmentally andfinancially disenfranchised.

Therefore it would seem rather obvious:A. Like John Ruskin we place our hand to the plow, and

strive for the honesty of the hand.

B. It’s far better to cultivate malformed rare blue fungi in petridishes of our own design; Sprouted under the sublimeblack light of “love,” nourished in the musty dirt of

the subconscious, than to eat “Food Lion” white mushroomsin the prison yard of convenience.

C. We live in Harmony with nature. So too do all forms of ourexpression. {I’m referring to that most beautiful dissonant

harmony: The assonance of Coltrane. The polymetricimprovisation of Monk.} We ARE context.

Given this... (as an example) go and “contextualize”all forms of your typographic expression:

In QuarkXPress, Illustrator, or Freehand select a line of type that you wouldlike to alter (fig.1). Select “convert to paths” from the edit menu (fig.2). Shiftselect all the “dots” and then delete (fig.3). “Join” the remaining paths (fig.4).

“A PAINTER IS LOST IF HE FINDS HIMSELF” - Max ernst

THE FACT THAT HE HAS SUCCEEDED IN NOT FINDINGHIMSELF IS REGARDED BY ERNST AS HIS ONLY ‘ACHIEVEMENT. ’

Afig.1 fig.2 fig.3 fig.4

( WITHOUT SAFETY GLASSES )

TheApollo Program

I c a n n o t t e l l a l i e

Subluxation Perma

TYPHOID MARY 3d - LIGHT and DARKJIGSAW drop

shadowcirca 1998

SEVEN FONT PACKAGE: $149SINGLE FONTS: $39

(on-line only).

venus DIOXIDE + venus DIOXIDE outline

ELLIO

TTPETER

EARLS

THE

APOLLO PROG

RAM

THE APOLLO PROGRAM FONT SET IncludES:

abri

ef history of type design

at

NOTE: The fonts shown throughout this publication include highly modified versions ofthe base fonts which are not included in the seven Font Set. These mutations are customizedversions created in Freehand, StrataStudio 3d and Photoshop and are presented as examplesof the ways in which the user may modify the fonts.

circa 1993

circa 1997

circa 1997

circa 1994

booklet design: elliott

NOW ON SALE!

WHO THEHELL IS !?!*

I’d really likean answer

NO

BO

DY

UVULA

OBVIOUS LY,

SU G AR-R A Y

MY LOVEA L O N E

[NUMBER

9 FROM “8 STUDIES FOR A PORTRAIT OF HENRY MILLER”]

a

Is o m e t i m e s

he

r

1.

m

a g n e tic

s he ’s not simply

KEDFOR

m a k e t h e c o n n e c t i o n ?i s i t i n y o u ?

2.

seethe

FLAMES lick the sky?

solelymy love

r

sometimes we talk like bears

...BOLD

FURRY

AND GREEN

she’s not

So u L

Ta

BL

mes

Suddenly

he...bibliolater. he...hot-gospeler

TI

THI

NK

THE

PRE

PON

DE

RA

NC

EO

FH

AN

DD

RA

WN

[OP

EN

]MO

UTH

SI

NTH

IS

BO

OK

LET,

STE

MS

FRO

MA

JU

VEN

ILE

SEXU

AL

FIXA

TION

...T

AKE

ACL

OSER

LOOK

.

the

o nly s on of your great

enemy

U Y A M A U

!!“THE HORROR”!!...

losing...

WAS DYING CHILD

s u g a r

J Im i m i

K A , G Ek u d a r u

E Nh o n o

K Ih a d a

C H I K Uk i z u k u

b a m b o o

w o r k c o m m o n

WHO HAS THE IRON WILL?

actively rejecting your

CULTUR of

you’d be wise to consider this the [passive] PONTIF-ication of “el-roy”

no

uvu

la?

NEWBREAK TO

MU INY

f rom

exhibit A

T

david played

i t p l e a s e d t h e l o r d

e

HAERUSAKAERU

He spoke of a winged bull watched by four children

© 1937. Harryman.

1.

and today, when I hold youngbearcubs to my breast I suckle’m.

2.

We gothic American wield pitch fork likepick axe under ancient acid sun and prayfor rain. We take refuge in storm cellars,and make rain dance.

DREAM AND LIE OF ELLTHIS WOULD BE MY

I’ve always beenFascinated by the Uvula...

go ahead take a look...I won’t bite

SL(K

)OMP

RESS

OR

UN K

P IG

YOUa

s

AMN

always bi te m e

A

IN

LL

a

VI

am I (n)one

I’D RATHERBE A

HAMMER

THANa

NAIL

VILIFIED BY VILLAINS

OF THE BULLFIGHTER.

*!#! I MISS HIM *!#!

FEAR

I HAD TO

LET GO OFM

Y

t h e l e t t e r s a t t h e t o p o f t h i s p a g e f o r m t h e w o r d “ s t o l e n ”

Frankly, I find thisa bit Offensive

WITHOUT M ALICE

’VE

G U NGOT A PRETTY

SU N

F U N

DEVOURED

BYA

THECROW,THENWHITE... WASTURNEDBLACK

INHISANGER

I WAS

NO BIGGER THAN YOUR FIST

WNPR I NC

E

DEVINE

NOW

(3)

12

3

4

5

my kingdomfor a

(RUNAWAY) HORSE

the day is lost?

KYO

O

king

dog

THERE WERE DAYSI THOUGHT OFNOTHING BUT...

1917ZURICH

AS THE MONKEY-BOYS, FLUNKEYS AND YES-MEN OF MY GENERATIONINKED DEALS WITH THE DEVIL, I HELD BEARCUBS TO MY BREAST AND

STRODE STRAIGHT LIKE JOB THROUGH THE GAPING MAW OF BLACKHELL. SPIT FROM THAT SPERM WHALE AS A LATTER DAY AHAB (NAH

JONAH). LET ME RECALL FOR YOU NOW MY TIME IN THE BELLY OF THEARCHITECT...

I SAW SEVEN SEALS

AND I SAW THE DESERT

I HEARD WORDS FALL HEAVY LIKEHARMONY FROM THE MOUTHS

OF TRUMPUTERS WITH BROKEN TEETH.I HEARD THE SILENCE OF

DELTA BLUES MEN DRESSED LIKEGANG-STARS IN GREEN MOHAIR SUITS.

UN

K

Most of you knowI spent 4 of the mostdifficult years of my lifein complte seclusion, studyingthe ebola virus... I made noprogress... I learned nothingthat might benefit mankind.

yea, I ate a few locust...

Hey, who didn’t find it offensive...

a more dangerous engine

ofarbit rary gov ernment

- ATION

SELF

THE PATHOF LIFE

ANTI-FUNDAMENTAL

LEADS

TO

WAGES OF SIN?

WHEN YOU LOOK IN MY MOUTHCAN YOU SEE THE SEX?

exquisit

ef

arm

rais

edfu

ng

i

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnop

qrstuvwxyz

CIRCA 1998

1234567890

THE

APOLLO PROGRAM

FO NT S ET

dropshadow

circa 1993

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B L U E E Y E S H A D O W

1234567890

subluxation perma

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz

circa 1994

ABCDEFGHIJKLMNOPQRST

UVWXYZabcdefghijklmnopq

rstuvwxyz

p o t a t o e

A N H O M M A G E T O D O M C A S U A L . D E S I G N E D B Y P E T E R DOMBREZIAN I N 1 9 5 1 .

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmn

opqrstuvwxyz1234567890

circa

3DTYPHOID MARY

1997

circa 1997

Why can’t el-roy spell?

ABCDEFGHIJKLMNOPQRSTUVWX

YZabcdefghijklmnopqrstuvwxyz1234567890

V E N U S D I O X I D E

LIGHT

Typhoid Mary was based upon the design of Peter Dombrezian's typeface,Dom Casual, with permission from Kingsley Holdings.

(Dom Casual is a trademark of Kingsley Holdings Corp.)

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmn

opqrstuvwxyz1234567890

circa

3DTYPHOID MARY

1997

DARK

circa 1997

ABCDEFGHIJKLMNOPQRSTUVWXYZ

abcdefghijklmnopqrstuvwxyz

1234567890

V E N U S D I O X I D E O U T L I N E D

w h y c a n ’ t e l l i o t t r e a d ?

f I remember Correctly, The POPE made reference to America as “Theculture of Death.” Now I hate to disabuse you of the notion that I’m apapist (I’m not), but The moment I heard this statement it was as if allmy conceptual detritus, and years of partially formed aesthetic andethical notions coalesced instantaneously. The Leitmotif of AmericanAesthetic production was defined for me in these terms. When attemptingto understand my role, or the role of any (let’s use my preferred title)“cul-textural pipe fitter” (or alternately, “linguistic longshoreman”), mythoughts would often drift to Oliver Stone’s adaptation of Quentin Tarentino’s“Natural Born Killers.” AN obvious choice, and yet one that has confusedme for quite some time. This Meditation on violence and the media failsmiserably, and not merely on the most elemental and simplistic level;as irony. Nor does it redemptively resonate with the sublime pathos offrancis bacon, an obvious influence.. This quadrangular relationship,Stone:Tarantino:Film:society, is the exact opposite of the triangularrelationship; Ayn Rand:Howard Roark:society. Both proscribe relationshipsb e tw e en th e “ p i p e f i t t e r ” ( i . e . y o u a s wo rk mak e r )and society...

HE WHO IS WITHOUT SIN...

2

3