Stardust Memories

When I was ten, my dad took a couple of friends and me to see a movie. My friends and I had the choice of watching Rollercoaster, which was about a terrorist attempting to extort money from amusement parks by blowing up sections of rollercoaster track just as the coaster gets to them, or this new science fiction film that had recently opened and was getting good notices. As you've no doubt guessed, we chose poorly, while my dad went to the other film, which was (as you've probably also guessed) Star Wars. Meanwhile, one of my friends threw up on the car ride home.

I saw Star Wars in the theater four times, which to this date remains the last time I ever saw a film multiple times in the theater. Early in the film, right after the text crawl, but before the rebel ship comes on screen, you're treated to a view of a star field. In fact, here it is (click to enlarge):

When I saw the film again recently, there was something vaguely unsettling and unnatural about the look of the stars in this scene. For the sake of comparison, here's a real star field, with roughly the same level of detail (again, click to enlarge):

What strikes me now (although I was oblivious to it back in 1977, at least consciously) is how much more regular the star field is in the Star Wars frame than it is in the real photograph. There isn't much variation in the stars in the movie frame, with the top fifty or so being about the same brightness; in contrast (no pun intended), there are many more dim stars in the real photograph, and they fade out gradually, suggesting that there are plenty of stars that are in the field of view, but just beyond the limits of detectability, in this photograph at least. And there are, in fact. For some reason, that sense of infinity, which isn't in the movie frame, appeals to me greatly.

You can sort of see the reasoning behind this if you imagine for the moment that all stars are of the same intrinsic brightness, and that the only reason that some appear brighter and some appear dimmer is that they're closer or further away. (Sort of the way that most adults are of about the same height, but appear to be different sizes because they're at different distances.) And because there is more space far away than there is close up, there are more stars that are far away and therefore dim than there are stars that are close up and therefore bright.

Now, as it happens, stars do vary in actual brightness—sometimes dramatically—but the basic explanation still holds, and is supported by actual counts of bright stars versus dim stars. And I think that through long association with the night sky, we gain an appreciation for that kind of aesthetic. Once upon a time, every human on the planet with reasonably good vision had that association. Nowadays, it's less common. But the potential is still there within each of us, and in my case, it expressed itself in, among other things, my preference for the real star image rather than the Star Wars movie frame.

And this set me to wondering whether a sense for this kind of aesthetic could be mechanized in any way. In a very naïve way, it surely could. The way that the star counts vary by brightness follow a fairly well-understood formula, and a star field could easily be scanned for how well it matches that formula. But I think it's a common feeling that that would fall well short of a genuine sense of aesthetics. There would have to be a larger framework for that kind of aesthetic sense.

Could such a framework lie in fractals? Fractals are, generally speaking, patterns that are self-similar; that is, the appearance of the whole at a large scale is repeated in small parts of the pattern at smaller scales. Examples of fractals range from prosaic snowflake patterns:

to the sublime Mandelbrot set:

Fractals have been used to describe natural patterns as varied as the sound of wind through trees and the coastline of Great Britain. And they can be used to describe the appearance of star fields as well. A star field looks quite the same if you zoom in and increase the brightness. The details are different, so in that sense it is not quite like the snowflake fractal or even the Mandelbrot set. But statistically, the close-up shot and the wide-angle shot are essentially identical.

I cannot say exactly what it is about the "fractality" of these patterns that is appealing. And it does seem as though a certain sense of variation (absent in the snowflake, present to an extent in the Mandelbrot set, and rampant in real star fields) is vital to maintaining visual interest. But I can't escape the notion that self-similarity is something that people generally find captivating and inviting, once they recognize it, and is a large part of why looking up at the night sky is such a natural thing to do.

Do Not Pass Text Design, Do Not Collect $200

A long time ago (I won't say just how long, but it'll soon become fairly obvious), I worked my first summer job at a computer-controlled font engraving place in Mountain View called Xybergraphics. Lots of stories from that summer, which I'll eventually get to when I want to talk about what happens when a 95-pounder drinks 42 ounces of caffeine-laden soda pop, or the beginnings of my fascination with the Police, or what a cubic spline is.

At any rate, my job, which paid me the princely sum of $2.85 each hour (workers under 16 could be paid somewhat under minimum wage), required me to encode fonts for the aforementioned computer-controlled engraver. Typically, the engraved letters would be in the neighborhood of an inch or two in height, but for better precision, the letterforms I worked from, designed by my immediate supervisor, were about 14 inches tall and drafted in pencil on vellum. My job was to take a mouse (this was before the Mac, mind you), and trace along the letterforms, clicking at appropriately spaced points, until the letter was entirely traced. A simple letter, like a capital I, might require 50 points; a more involved letter, such as lower-case m, might require as many as 150. This was a tedious and time-consuming job, you could well imagine.

But I'm nothing if not efficient at boring tasks, especially if I've got my tunes in the background, and in the meantime, I learned quite a lot about fonts—what they should look like, how features are shared in common by various letters, what design rules not to break, and so forth. All this that I learned is both fascinating (to me) and almost entirely useless, which means that it has lodged tight in my memory banks and won't budge.

As a result, I'm exceptionally sensitive to bad typography. For example, I was walking one day in the Denver airport, waiting for my next flight, when a store sign caught my eye. Bad Typography Alert! The capital A in the sign was reversed; its broad stroke went down to the left, rather than to the right, as it should in traditional serifed fonts. And this on the sign for a stationery store! I think you will properly apprehend the depth of my mania when I tell you that I actually reported it to the clerk. She seemed quite receptive to my complaint, although she probably promptly forgot about/rejected it as soon as I turned my head.

There's a similar problem with one of the signs where I work—the name of the building has a capital V in it, with its broad stroke, again, going down to the left. Alas, this is welded on and probably unmulliganable.

But my encounter with the very bottom, the absolute worst, came when I began frequenting a supermarket that opened near our house. There was little wrong with the typography at the supermarket, but across the street was this abomination:

This signage is simply staggering in its wrongness. It's hard for me to convey just how staggering, but the fact that you're reading this post is some indication. Click on the image to see an enlarged version and look at this tangle of thorns.

Practically any letter that could have been misplaced, was, and those that weren't, seem to have been correctly placed to highlight how wrong their identical partners were. To wit: The E in GERMAN is upside-down. The M and A in the same word are backwards. Unbelievably, the N is correctly placed. A mistake must have been made.

In CAR, the C is upside-down. The A is backwards. After the bad E in GERMAN, the E's in SERVICE are right, but the S and the C (again!) are upside-down, and the V is backwards.

The M in BMW is backwards. The W is very strange, it seems to have been made with a pair of leftover V's, both with one stroke broken in half. If so, they should have broken the other stroke on the right half, but I'll give them credit for showing some resourcefulness.

The horror continues in Volkswagen. This V is correct (what happened to the V in SERVICE?), but the l is backwards, the s is upside-down, and the w and even the g (!) are backwards again. How do you screw up the g? The lower-case s is upside-down again in Porsche, and the lower-case c joins its capital brethren in being inverted also.

The Audi is correct, but is set in a narrower font. Must have been added on later.

Considering that many of the letters couldn't have been placed incorrectly (either because they're totally symmetrical or totally unsymmetrical), the percentage of letters placed incorrectly runs at about 15/22 = 68 percent, by my reckoning. A dolphin without opposable thumbs flinging letters up randomly with its tail could have done better.

OK, I realize that I'm probably clinically unhinged on this point, but can we agree that someone screwed up royally here? I mean, please.