E M I G R E

PR ES EN T S
T Y PO GR A P H Y O F

1998 T H E
Typeface

THE APOLLO PROGRAM

Typeface design

ELLIOTT PETER EARLS

Specimen design & illustrations

ELLIOTT PETER EARLS

Rr

ELLIOTT
P E T E R E AR L S
AT
T HE APOLLO
PROG RAM
I he
ain
ard a voic oun t
e that led me up the m
 P ET E R
Growing Spirochetes TT E

IO

A
in Glass Dishes

RL
ELL

S
( WITHOUT SAFETY GLASSES )
I cannot tell a lie
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 World

M
TH
War One avant-garde, the ennui of the venetian-poser-skatepunk, all tools at
our disposal. Like the half-wit Karel Appel, flung cannonballish at circus clown

RA
canvas, I too paint (grunt) ”like a barbarian in a barbaric age.“ I’m thoroughly

E
disinterested in the eloquence and simulated profundity that lies between
quotation marks, but for the sake of ritualized discourse, let me take a A
PO

G
stab at it:
O
“ A PAINTER IS LOST IF HE FINDS HIMSELF”
THE FACT THAT HE HAS SUC C EEDED IN N O T F I ND I NG
- Max ernst L LO PR
H IM SE LF IS R E GARDED B Y ERN ST AS HIS O N LY ‘ A C H I EV EMENT . ’

Well played...I too cherish the suppression of logic and midnight games of
linguistic Chinese Checkers, but to what end? This question sweeps across
my cerebellum like some medieval bubonic plague. Leaving in it’s foul wake
the stench of value relativism and post-utopian thought. I’m the sad child
of the lost tribe of ebola monkeys. Intellectually, environmentally and
financially disenfranchised.
ry of type de
histo ll o
e f po Prog r sign
bri he A am at
a T
Therefore it would seem rather obvious: NOW ON SALE!
A. Like John Ruskin we place our hand to the plow, and
strive for the honesty of the hand. THE S:
A POL udE
Incl
LO PROGR AM FON T SET
B. It’s far better to cultivate malformed rare blue fungi in petri
dishes of our own design; Sprouted under the sublime
black light of “love,” nourished in the musty dirt of
the subconscious, than to eat “Food Lion” white mushrooms circa 1993

in the prison yard of convenience. Subluxation Perma

circa 1994

C. We live in Harmony with nature. So too do all forms of our

expression. {I’m referring to that most beautiful dissonant venus DIOXIDE + venus DIOXIDE outline circa 1997

TYPHOID MARY 3d - LIGHT and DARK

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

JIGSAW drop
circa 1997

circa 1998

Given this... (as an example) go and “contextualize” shadow

all forms of your typographic expression:

A
SEVEN FONT PACKAGE: $149
fig.1 fig.2 fig.3 fig.4 SINGLE FONTS: $39
(on-line only).

NOTE: The fonts shown throughout this publication include highly modified versions of
In QuarkXPress, Illustrator, or Freehand select a line of type that you would the base fonts which are not included in the seven Font Set. These mutations are customized
like to alter (fig.1). Select “convert to paths” from the edit menu (fig.2). Shift versions created in Freehand, StrataStudio 3d and Photoshop and are presented as examples
select all the “dots” and then delete (fig.3). “Join” the remaining paths (fig.4). of the ways in which the user may modify the fonts.

booklet design: elliott

 U DIES FOR A PORT RAIT OF
M “8 ST HENR

U S
O

O
9 FR Y M

I LY,
BER ILL

V
M ER ”
[N U ]

O B
MY LOVE A L O N E

UVULA
I’d really like
an answer a
U

Y
G A -RA
S

WHO THE R
HELL IS !?!*
NOBODY
 some
ti
FOR FLAMES lick th
I
m
e e
e th KED es
ky
se ?

s
make the connection?
is it in you?

sometimes we talk like bears

1. ...BOLD

FURRY

e r
AND GREEN

h
2.
c
ti
m

he
a lov
er

gne
s h e ’ s no
s

’s t m y
no t si m pl y sole ly
S L

o
u
 B
L Sud

a
T
den
he
...

ly
b ibl
iol ate r. h e
...
ot h

-g
os
pel
er
m
e
s

T
S IN THIS BOOKLE
T,
[OPEN]MOUTH STEMS FR
DRAWN OM A JU
CE O F HAND VENI
AN LE
NDER SEXUA
RE P O L FI
HE P X AT I
I NK T O N. .
I TH .TAK
EA
CLO
SER
LOO
K.

th
e
o
nl
y
so

UYAMAU
n of yo u r g r
ea
t

en
em
y
 HAS THE IRON WILL?
W HO

JI
mimi

bamboo

work common

CHIKU
kizuku

KI EN
hada KA, GE hono
kudaru

!!“THE HORROR”!!
...

losing sugar
...
WAS DYING CHILD
 exhibit A

y rejecting you
om

i v e l fr

a ct r
a?
ul
uv
no

R EAK T O
B
NEW

y ou ’ d
CULTUR

be w is
e t o c o ns i de
of

r t hi s th e [p as siv e] PON T I F-ic at io

n of “ e
l- ro y ”
MU TINY
 THIS WOULD BE MY

DREAM AND LIE OF ELL

R

O
SS
RE
H e s po ke o f a w in ge d bu ll w at c h ed b y fo ur ch il dr en

OM P
SL(K)
d avid p l a y e d

it pleased the lord

U
go ahead take a look...

N
I won’t bite

K
SAKAERU HAERU

I’ve always been

Fascinated by the Uvula...

We gothic American wield pitch fork like

pick axe under ancient acid sun and pray
for rain. We take refuge in storm cellars,
and make rain dance. 2.

© 1937. Harryman.
and today, when I hold young
bearcubs to my breast I suckle’m.

1.
Y O U I’D RATHER
BE A
THAN
a

A
HAMMER NAIL

AMN

LL
a
a

VI IN
am I (n)one

P IG
s V IL IF I ED BY VIL LA IN S

a l wa ys bi te m e
 H A D TO
I

LET GO
OF
M

F
Y
OF .
EA
TH E R
E B U LL F I G H T
*!#! I MISS HIM *!#!
 ’VE

Frankly, I find this

a bit Offensive

GO
T A PR E TT Y

GUN
U N
the letters at the top of this page form the word “stolen”
WI

H C S
E
T

OU L I U N
T MA
 W AS
DE
V O URE D
BY
I A 3

W
4

2
1

N 5

E
PR I NC

ER
IN HIS ANG
K
LA C
..

W AS B
TURNED
E.

HE I T
CROW H
, THEN W

KYO

O
DEVINE

dog NOW
king

(RUNAWAY) HORSE

NO BIGGER THAN YOUR FIST the day is lost? for a

my kingdom
(3)
 ANTI-FUNDAMENTAL
AS THE MONKEY-BOYS, FLUNKEYS AND YES-MEN OF MY GENERATION
INKED DEALS WITH THE DEVIL, I HELD BEARCUBS TO MY BREAST AND

SELF
STRODE STRAIGHT LIKE JOB THROUGH THE GAPING MAW OF BLACK
HELL. SPIT FROM THAT SPERM WHALE AS A LATTER DAY AHAB (NAH
JONAH). LET ME RECALL FOR YOU NOW MY TIME IN THE BELLY OF THE
ARCHITECT...

THERE WERE DAYS

I THOUGHT OF
NOTHING BUT... U
N
ZURICH K

1917

L E AD S T O
- ATI O N AND I SAW THE DESERT

yea, I ate a few locust...

THE PATH
I HEARD WORDS FALL HEAVY LIKE
HARMONY FROM THE MOUTHS

OF LIFE
OF TRUMPUTERS WITH BROKEN TEETH.
I HEARD THE SILENCE OF

SEVEN SEA
DELTA BLUES MEN DRESSED LIKE

AW
GANG-STARS IN GREEN MOHAIR SUITS.
LS
WHEN YOU LOOK IN MY MOUTH IS
CAN YOU SEE THE SEX?

a more dangerous engine

of

rb
en

m
a

it
r ar y gov e rn
Most of you know
I spent 4 of the most
difficult years of my life
in complte seclusion, studying
the ebola virus... I made no
progress... I learned nothing

WAGES OF SIN?
that might benefit mankind.

Hey, who didn’t find it offensive...

 O L L O P RO
P
A BLUEEY
ESHADOW

GR
THE
ABCDEFGHIJK

AM
LMNOPQRST
UVWXYZabcde
fghijklmnopq
O rstuvwxyz
F

NT S E T 1 23 45 67 89 0
circa 1993
p o t a t o e

n gi
fu
ed
is
ra
m
ar

ex
qu
i si
te

subluxation perma
ABCDEFGHIJKLM
dropshadow CIRCA 1998
NOPQRSTUVWXY
ABCDEFGHIJKLMN Zabcdefghijklm
OPQRSTUVWXYZab nopqrstuvwxyz
cdefghijklmnop 1234567890
qrstuvwxyz circa 1994

1234567890
 HOID M AR Y
L. DESIGNED BY PE

HOID M AR Y
UA
M CAS TER
TO DO

T YP 3
DOMB

T YP 3D
GE REZI
MA AN
IN
HOM 19
AN

D
51
.

LIGHT DARK

ABCDEFGHIJKLM ABCDEFGHIJKLM
NOPQRSTUVWXY NOPQRSTUVWXY
Zabcdefghijklmn Zabcdefghijklmn
opqrstuvwxyz opqrstuvwxyz
1 2 3 45 6 7890 1 2 3 45 6 7890
cir c a cir c a
1997 1997
Typhoid Mary was based upon the design of Peter Dombrezian's typeface,
Dom Casual, with permission from Kingsley Holdings. why can’t elliott read?
(Dom Casual is a trademark of Kingsley Holdings Corp.)

VENUS DIOXIDE
circa 1997

ABCDEFGHIJKL
circa 1997

VENUS DIOXIDE OUTLINED

MNOPQRSTUVWX ABCDEFGHIJKLM
YZabcdefghijklm NOPQRSTUVWXYZ
nopqrstuvwxyz abcdefghijklmnop
qrstuvwxyz
1234567890 1234567890
Why can’t el-roy spell?
f I remember Correctly, The POPE made reference to America as “The
culture of Death.” Now I hate to disabuse you of the notion that I’m a
papist (I’m not), but The moment I heard this statement it was as if all
my conceptual detritus, and years of partially formed aesthetic and
ethical notions coalesced instantaneously. The Leitmotif of American
Aesthetic production was defined for me in these terms. When attempting
to understand my role, or the role of any (let’s use my preferred title)
“cul-textural pipe fitter” (or alternately, “linguistic longshoreman”), my
thoughts would often drift to Oliver Stone’s adaptation of Quentin Tarentino’s
“Natural Born Killers.” AN obvious choice, and yet one that has confused
me for quite some time. This Meditation on violence and the media fails
miserably, and not merely on the most elemental and simplistic level;
as irony. Nor does it redemptively resonate with the sublime pathos of
francis bacon, an obvious influence.. This quadrangular relationship,
Stone:Tarantino:Film:society, is the exact opposite of the triangular
relationship; Ayn Rand:Howard Roark:society. Both proscribe relationships
between the “pipe fitter” (i.e. you as work maker)
and society...

I S WIT HOUT SI N
HE WH O ...