Volume 12–4 (Low Res).pdf - U&lc
Volume 12–4 (Low Res).pdf - U&lc
Volume 12–4 (Low Res).pdf - U&lc
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UPPER AND LOWER CASE THE INTERNATIONAL JOURNAL OF TYPOGRAPHICS W PUBLISHED BY INTERNATIONAL TYPEFACE CORPORATION, VOLUME TWELVE, NUMBER FOUR, FEB 1986<br />
The first Herb Luba in Internctional Stuccnt Design Competition cchievec wor<strong>lc</strong><br />
wide interest cnc internctionc I acclaim, It crew entries reflecting the efforts of<br />
more thcn 900 cesign stucents on five continents. The jury, imoressec oy the<br />
crectivi -y anc civcrsi -y of the su omissions, chose 77 oboes, which inciucoc<br />
oosters, books, sculptures anc games, for cn cxhioit ct the ITC Center last foil.<br />
See page 38<br />
OF THE<br />
"IN WEIGHING THE FATE OF THE EARTH AND, WITH IT, OUR OWN FATE,<br />
WE STAND BEFORE A MYSTERY, AND IN TAMPERING WITH THE EARTH<br />
WE TAMPER WITH A MYSTERY. WE ARE IN DEEP IGNORANCE. OUR<br />
IGNORANCE SHOULD DISPOSE US TO WONDER, OUR WONDER<br />
SHOULD MAKE US HUMBLE, OUR HUMILITY SHOULD INSPIRE US TO<br />
REVERENCE AND CAUTION, AND OUR REVERENCE AND CAUTION<br />
SHOULD LEAD US TO ACT WITHOUT DELAY TO WITHDRAW THE THREAT<br />
WE NOW POSE TO THE EARTH AND TO OURSELVES!"<br />
—FROM THE FATE OF THE EARTH BY JONATHAN SCHELL<br />
ARIT
2<br />
VOLUME TWELVE, NUMBER FOUR, FEBRUARY, 1986<br />
EDITOR: EDWARD GOTTSCHALL<br />
ART DIRECTOR: BOB FARBER<br />
EDITORIAL DIRECTORS: AARON BURNS, EDWARD RONDTHALER<br />
ASSOCIATE EDITOR: MARION MULLER<br />
ASSISTANT EDITOR: JULIET TRAVISON<br />
CONTRIBUTING EDITOR: ALLAN HALEY<br />
RESEARCH DIRECTOR: RHODA SPARBER LUBALIN<br />
ADVERTISING/PRODUCTION MANAGER: HELENA WALLSCHLAG<br />
ASSISTANT ART DIRECTOR: ILENE STRIZVER<br />
ART/PRODUCTION: KIM VALERIO,SID TIMM<br />
SUBSCRIPTIONS: ELOISE COLEMAN<br />
C INTERNATIONAL TYPEFACE CORPORATION 1986<br />
U&LC (ISSN 0362 6245) IS PUBLISHED QUARTERLY BY INTERNATIONAL TYPE-<br />
FACE CORPORATION, 2 DAG HAMMARSKJOLD PLAZA, NEW YORK, N.Y. 10017.<br />
A JOINTLY OWNED SUBSIDIARY OF LUBALIN, BURNS & CO., INC. AND PHOTO-<br />
LETTERING, INC. U.S SUBSCRIPTION RATES 510 ONE YEAR: FOREIGN SUBSCRIP-<br />
TIONS, 515 ONE YEAR: U.S. FUNDS DRAWN ON U.S. BANK. FOREIGN AIR MAIL<br />
SUBSCRIPTIONS-PLEASE INQUIRE. SECOND-CLASS POSTAGE PAID AT NEW YORK,<br />
N.Y. AND ADDITIONAL MAILING OFFICES. POSTMASTER: SEND ADDRESS<br />
CHANGES TO U&LC, SUBSCRIPTION DEPARTMENT, 866 SECOND AVENUE,<br />
NEW YORK, N.Y. 10017.<br />
ITC FOUNDERS:<br />
AARON BURNS, PRESIDENT<br />
EDWARD RONDTHALER, CHAIRMAN EMERITUS<br />
HERB LUBALIN, EXECUTIVE VICE PRESIDENT 1970-1981<br />
ITC OFFICERS 1986:<br />
GEORGE SOHN, CHAIRMAN<br />
AARON BURNS, PRESIDENT<br />
EDWARD GOTTSCHALL, EXECUTIVE VICE PRESIDENT<br />
BOB FARBER, SENIOR VICE PRESIDENT<br />
EDWARD BENGUIAT, VICE PRESIDENT<br />
ALLAN HALEY, VICE PRESIDENT<br />
RICHARD CONWAY, CONTROLLER AND GENERAL MANAGER<br />
MICROFILM COPIES OF U&LC MAY BE OBTAINED FROM MICRO PHOTO DIVISION,<br />
BELL & HOWELL, OLD MANSFIELD ROAD, WOOSTER, OH 44691<br />
In this issue:<br />
Editorial<br />
For newcomers and old-timers—a recapitulation of ITC's<br />
purpose, policies and practices. Page 2<br />
J. M. Bergling<br />
A man who created, nurtured and wedded letterforms into<br />
artful monograms. Page 4<br />
Drawing Pens and Drumsticks<br />
This jazz buff improvises at the drawing board, as he does<br />
on his drums. Page 8<br />
Lou Myers<br />
Steve Heller dissects the art and the man. Page 12<br />
Typographic Milestones<br />
All about Aldus Manutius, the 16th century tycoon who<br />
gave us portable books, italics and much more. Page 14<br />
ITC Technology Update<br />
New hardware, new software, new capabilities and costs—<br />
digested for quick and easy consumption. Page 18<br />
Department of Weird, Wonderful and<br />
Useless Information<br />
Just for chuckles. Page 20<br />
FY(T)I (For your typographic information)<br />
A glossary of words and expressions for everyone who<br />
communicates in print. Page 22<br />
Lubalin H Contest<br />
A call for entries for the second annual Herb Lubalin<br />
Student Design Contest. Page 24<br />
Families to Remember<br />
A review of some notable families—both genealogic and<br />
typographic. Page 26<br />
Contest Winners, Lubalin I<br />
The winners of the first annual Herb Lubalin Student<br />
Design Contest. Page 38<br />
Alphabet<br />
The Alphabet with 29 "Eyes:' Page 53<br />
This issue of U&<strong>lc</strong> was mailed to 192,000 readers: 145,000 in the<br />
United States and Canada, and 46,500 abroad. It will be read by<br />
approximately 1,000.000 people.<br />
FRONT COVER: ITC AVANT GARDE GOTHIC EXTRA LIGHT MASTHEAD, ITC NEWTEXT REGULAR<br />
TABLE OF CONTENTS: ITC USHERWOOD BOOK ITALIC WITH BOLD ITALIC INDEX TO ITC TYPEFACES:<br />
ITC FRANKLIN GOTHIC BOOK WITH DEMI<br />
To some this will appear déjà vu; to<br />
others it will be interesting new<br />
information.<br />
Sixteen years ago, when ITC was founded,<br />
the best typeface designers were leaving<br />
the field and young new talents were<br />
avoiding it. Why? It didn't pay. The year<br />
or more they might invest in a new design<br />
simply wasn't worth the financial<br />
return, even if the design was accepted<br />
and marketed. The advent of ITC changed<br />
that. By paying a combination of an<br />
up-front fee for art and a lifetime payment<br />
of ten percent of the income that<br />
ITC received for the designs, ITC assured<br />
designers of a fair return for their work,<br />
established designers returned to the<br />
market, and some exceptional new talent<br />
was attracted to it.<br />
QWhy new typefaces?<br />
A: Companies or individuals starting to<br />
do their own typesetting need a basic<br />
library of typestyles to accommodate the<br />
design requirements of their communications<br />
and documents. Eventually they will<br />
add to that library as they become more<br />
sensitive to the specific suitability of different<br />
typefaces to different kinds of messages.<br />
Experienced typographic designers<br />
often want new typeface designs despite<br />
the large library of existing type families.<br />
The reasons are twofold:1) a sense of<br />
fashion, of wanting something new and a<br />
little different. This same sense of fashion<br />
drives much of our economy whether<br />
based on utilitarian objects or fashion<br />
merchandise. 2) The technological need to<br />
modify a given typeface or its image<br />
carrier so that it will perform optimally on<br />
new equipment. In such cases manufacturers<br />
can re-engineer their existing<br />
designs accordingly.<br />
For the user, switching machines and<br />
buying new fonts is much like what happened<br />
when the record industry moved<br />
from 78 rpm discs to 33 1/3 and now is<br />
shifting to CDs (compact discs). It would<br />
be ideal from the user's viewpoint if the<br />
new players were compatible with existing<br />
discs but often such compatibility can<br />
only be achieved by compromises that<br />
sacrifice more than they gain.<br />
How much is the ITC<br />
royalty?<br />
A: It varies, depending on how the typeface<br />
is output. On a transfer sheet it can be<br />
as little as 5 cents per sheet purchased. For<br />
the purchase of each lifetime film or digital<br />
font that can output a full range of<br />
sizes, in fine resolution, on a graphic arts<br />
quality typesetter or printer, the ITC royalty<br />
is a one-time payment of $30.00.<br />
INDEX TO ITC TYPEFACES<br />
ITC AMERICAN TYPEWRITER ® 22, 23, 30-33<br />
ITC AVANT GARDE GOTHIC® FRONT COVER<br />
ITC BOOKMAN9 22, 23, 34-37, BACK COVER<br />
ITC CHELTENHAM ® 24<br />
ITC CLEARFACE9 25<br />
ITC CUSHING9 20<br />
ITC ESPRIT'" 18, 19<br />
ITC FRANKLIN GOTHIC® 2, 24, 25, 38<br />
FRIZ QUADRATA 20<br />
ITC GALLIARD 9 53<br />
ITC GARAMOND* 4-7, 14-17<br />
But today, as the large library of graphic<br />
arts typefaces becomes increasingly<br />
available to laser printers and other output<br />
devices not dedicated to typography,<br />
nor part of the traditional typographic<br />
market, the raison d'etre for typeface<br />
royalties needs to be restated. Typeface<br />
royalties are the most efficient way to<br />
encourage and pay for the development<br />
and bringing to market of new designs,<br />
and the re-drawing and re-engineering of<br />
classic designs to meet the technological<br />
requirements of the computer age. The<br />
following questions and answers aim to<br />
make clear the why and how of typeface<br />
royalties. The information is based on our<br />
own experience at International Typeface<br />
Corporation (ITC) resulting from the international<br />
scope of ITC's operations, and<br />
because that is what we know best.<br />
0 Is that a lot? A little?<br />
A: To answer this question consider the<br />
following: In the era of metal typography<br />
text-type, the magazines for a family of<br />
type matrices used on a Linotype typesetter<br />
for example, cost approximately<br />
$7,500 to $10,000. And as the brass<br />
matrices in the magazine wore out they<br />
had to be replaced. Today's fonts cost<br />
about $150 or less, including the ITC royalty,<br />
and they don't wear out. (If a font is<br />
damaged accidentally, a replacement font<br />
can be purchased without paying a second<br />
royalty.)<br />
QWho pays the royalty?<br />
A: The purchaser of the font. There is no<br />
per-use fee. The one-time royalty, if paid<br />
by a typographic service for example, is<br />
often fully recovered on the first job done<br />
with it, so that font purchasers really pay<br />
nothing toward the royalty.<br />
0 -....<br />
--O What is the reason for<br />
a royalty?<br />
A: Type users build type libraries to meet<br />
their design for printing or electronic<br />
publishing needs. ITC is one of a number<br />
of companies that develop new designs<br />
and re-engineer existing ones to meet<br />
those needs. It costs ITC approximately<br />
$200,000 to design and introduce a new<br />
type family. This is true whether an original<br />
design or a redesign of an existing<br />
style is being introduced. Obviously, as in<br />
any business, that investmerit must be<br />
recovered and a fair profit realized. ITC<br />
feels that royalties rather than flat fees<br />
make the most sense.<br />
0 Why the royalty route?<br />
A: ITC's customers (the ITC Subscribers<br />
ITC GARAMOND CONDENSED ® 14<br />
ITC LEAWOOD"' 20<br />
ITC MIXAGE" 12, 13, 18, 19, 21, 39-52<br />
ITC NEWTEXT ® 2<br />
ITC NOVARESE9 26-29<br />
ITC SYMBOL.'" 24, 25<br />
ITC TIFFANY 22<br />
ITC USHERWOOD"' 2, 3, 21<br />
ITC VELJOVIC'" 8-11, 21, 38<br />
ITC WEIDEMANN'" 20
listed elsewhere in this publication) pay no<br />
money up front for the art supplied by<br />
ITC. No payment is made until they manufacture<br />
and sell their image carriers bearing<br />
ITC fonts. This is easy for them and<br />
payments are usually passed on as part of<br />
the font price, and are tied to actual sales.<br />
No one pays royalties for fonts that don't<br />
sell—that don't meet a market need or<br />
demand. As with book and record publishers,<br />
the popular typefaces compensate for<br />
the slower or poorer sellers. Throughout<br />
the industry this system has been accepted<br />
as the most equitable to all concerned.<br />
QWhat does ITC supply<br />
to its Subscribers?<br />
A: Subscribers to the ITC licensing plan<br />
get analog (black and white) art from<br />
which they can make their film or digital<br />
fonts. The art is of high quality and is<br />
engineered to be easily adapted to a wide<br />
range of machines. The art is critically<br />
sharp, consistent in size and detail, true in<br />
every stroke, serif and detail. This editorial<br />
is not the place to heavily detail what this<br />
involves, but some idea of the skill and<br />
care involved can be gleaned from the<br />
fact that from the time ITC receives a designer's<br />
art and starts to manufacture the<br />
master analog art for its Subscribers, it takes<br />
more than a year before the art will be approved<br />
for release by the manufacturers.<br />
QWhere does the<br />
royalty go?<br />
A: In addition to an up-front fee for preparing<br />
the original drawings the typeface<br />
designer is paid ten percent of all royalties<br />
the type family earns. The balance covers<br />
the marketing cost (including USLIc) and<br />
leaves a fair profit. When ITC was young<br />
and quite small, the royalty for a font, now<br />
paying $30.00, was much higher. Very few<br />
prices have fallen so dramatically in the<br />
past fifteen years. This became possible because<br />
the market for ITC faces expanded,<br />
and as it did ITC was able to bring its unit<br />
royalty price down in a series of steps.<br />
As volume of sales rose, royalty prices<br />
were reduced.<br />
0 -.....<br />
-....O Are typefaces protected<br />
legally?<br />
A: This is a complex subject but, in summary,<br />
here are the key facts:<br />
■ Typeface designs in the United States,<br />
with rare exception, are not protected.<br />
EDITORIAL<br />
ITC<br />
and typeface<br />
design-a<br />
restatement<br />
of principles<br />
and policies<br />
■ Typeface designs, new ones, including<br />
ITC's, are now protected in West Germany<br />
and in France.<br />
■ Typeface names are protectable in the<br />
United States and abroad. All ITC typeface<br />
names are registered in the United States,<br />
France, and Germany.<br />
■ Manufacturers protect their digital fonts<br />
from plagiarism by electronically linking<br />
each font to a specific output device.<br />
What is the connection,<br />
if any, between legal<br />
protection and royalties?<br />
A: None. As with anything else one buys,<br />
one pays for value received. In the case of<br />
ITC typefaces you may be buying a design<br />
you can't get elsewhere, or a restyled and<br />
redesigned version of a traditional face, or<br />
a more fully developed typeface family<br />
than is offered by another source. The<br />
added value that ITC typefaces offer is far<br />
greater than the one-time royalty which<br />
makes them possible.<br />
0 ■■ ■<br />
--O What is the real value<br />
of typeface design and name<br />
protection?<br />
A: To inhibit would-be copyists from<br />
unethically offering the creations of others<br />
as their own (and at lower prices since<br />
copying is much less costly than creating).<br />
The copyists add no value to the market,<br />
but they drive typeface designers out of<br />
the market, since they pay absolutely<br />
nothing to the artists who originate the<br />
typefaces. They can, if encouraged. dry up<br />
the creative source of this market. To see<br />
that this does not happen it is in the interest<br />
of type users as well as type manufacturers<br />
and vendors to be vigilant and wary<br />
of typeface copyists.<br />
0 Aren't typeface designs<br />
in the public domain?<br />
A: In the United States, most are. But, as<br />
noted above, the royalty for a specific<br />
design and name is not a by-product of a<br />
legal position. The presence or absence of<br />
legal protection has nothing to do with the<br />
value of a typeface or any product or<br />
service you purchase. What you pay is a<br />
straightforward marketing fact of life. You<br />
pay for value received.<br />
0 And so, what's in a name?<br />
--■....<br />
A: As we wrote in U&<strong>lc</strong> in the summer of<br />
1983:<br />
"Good name in man and woman,<br />
dear my lord,<br />
is the immediate jewel of their souls:<br />
"Who steals my purse steals trash;<br />
'tis something, nothing;<br />
"Twas mine,'tis his, and has been slave<br />
to thousands;<br />
But he that fi<strong>lc</strong>hes from me my good name<br />
Robs me of that which not enriches him,<br />
And makes me poor indeed:'<br />
Shakespeare, Othello, III,iii,155.<br />
Shakespeare's noble thought still applies<br />
today to those who "fi<strong>lc</strong>h" typefaces and<br />
names that belong to others; but it needs<br />
updating. Those who appropriate ITC's<br />
typefaces or, for example, hope to enrich<br />
themselves by using that which was developed<br />
by others deprive both the owner<br />
of the name and the designer of the typeface,<br />
of their just rewards.<br />
Edward M. Gottschall<br />
HEADLINE. ITC USHERWOOD BOLD ITALIC SUBHEAD' MEDIUM TEXT, BOOK WITH BLACK BYLINE. BLACK<br />
3
4<br />
John Mauritz Bergling's name has been set in ITC Garamond<br />
Bold Condensed' and superimposed on one of Mr.<br />
Bergling's hand-drawn illustrations.<br />
LETTERFORM INVENTOR, MASTER ENGRAVER, ONE OF AMERICA'S<br />
MOST PROLIFIC-AND LEAST KNOWN-DESIGNERS AND MAYBE,<br />
JUST MAYBE, A FATHER OF ART DECO!<br />
It's difficult to reconstruct the numerous<br />
details of a person's life and<br />
achievements some 52 years after<br />
the fact, even with the help of that<br />
individual's direct descendant.<br />
And yet, if the cause is important<br />
enough, you take what you can get<br />
and piece together some sort of<br />
documented record to make sure<br />
that the person's legacy is preserved<br />
for generations to come.<br />
In the case of John Mauritz Bergling<br />
the cause is more than important<br />
enough.<br />
You see, J. M. Bergling—the professional<br />
moniker he preferred—provided<br />
a design bridge between the<br />
traditional approaches of Victorian<br />
society of the 1800s and the emerging<br />
look of contemporary graphics<br />
from 1900 through today.<br />
Not only did he update and bridge<br />
the graphics designs of his day, he<br />
also created and constructed literally<br />
thousands of new letterforms,<br />
signets, monograms, ciphers and<br />
graphic devices, many of which still<br />
retain their dynamic appeal 80<br />
years later!<br />
The body of Mr. Bergling's work<br />
includes alphabets, variations on a<br />
theme, design studies and "applied<br />
cleverness" in type-as-an-art-tool.<br />
Several little-known facts about Mr.<br />
Bergling are worth noting at this<br />
point:<br />
First, John Bergling did not work<br />
in typography, as his daughter,<br />
Virginia, is quick to point out.<br />
Typography, as we know it, is the<br />
domain of people in the world of<br />
printing, that is, the world of type.<br />
John Bergling was a jewelry engraver,<br />
and his original designs were<br />
produced for hand-etching on the<br />
surface of each piece, one by one.<br />
A remarkable aspect of this whole<br />
story is the fact that Bergling, a<br />
right-handed craftsman, only had<br />
three fingers on his right hand—the<br />
result of a childhood accident.<br />
While that type of injury would<br />
have been a handicap to the average<br />
person, it might well have been the<br />
very inspiration behind the genius<br />
which fueled his craftsmanship for<br />
more than 30 years.<br />
He was born in southern Sweden in<br />
1866 and came to the United States<br />
as a young boy, settling in Chicago<br />
with his father. When he became a<br />
young man, the allure of California<br />
and the West drew him away from<br />
his family home.<br />
En route, he stopped for a time in<br />
Kansas City, where he worked for a<br />
watch-making company. It was<br />
there that John Bergling was first<br />
exposed to the craft of engraving.<br />
It may well have been his first introduction<br />
to illustration since he had<br />
no formal training in drawing up to<br />
then.<br />
According to Virginia, her father<br />
operated his own engraving business<br />
in Kansas City while continuing<br />
to work at the watch company.<br />
He did eventually reach California,<br />
and found himself in uniform in<br />
San Diego as America prepared for<br />
the Spanish-American War.<br />
Shortly after his military service, he<br />
returned to Chicago, married in<br />
1897, and went to work for the<br />
C.D. Peacock Company, the leading<br />
jewelry store in town, that same<br />
year.<br />
John Bergling continued to work<br />
for Peacock for the next 35 years,<br />
including his final year which was<br />
spent in bed due to a long illness.<br />
For most of those years, he was<br />
Peacock's Master Engraver, responsible<br />
for assigning work to the<br />
other people in his department,<br />
and for ensuring the high standards<br />
of the Peacock firm.<br />
While at Peacock—which is still in<br />
operation in Chicago—Bergling's<br />
renown as a designer and engraver<br />
spread far and wide.<br />
His personal touch was requested<br />
by dignitaries and the well-heeled<br />
from the Northeast, and Midwest<br />
and abroad. Many people came to<br />
Chicago just to order his designs<br />
and engravings for their fine jewelry<br />
and silverware.<br />
A dapper fellow, J. M. Bergling had a<br />
preference for stylish clothes and a<br />
neat, distinguished appearance. He<br />
fit in comfortably with the theatre<br />
crowd and cafe society which<br />
appreciated his work so much.<br />
Early in his career at Peacock, Bergling<br />
began to feel a strong empathy<br />
with other jewelry engravers<br />
who struggled for hours to make a<br />
particular design work.<br />
To help make their lives easier, he<br />
started saving his design sketches<br />
and letterform drawings. In 1908,<br />
he published the first edition of Art<br />
Monograms & Lettering, which<br />
sold for $2.50. Containing more<br />
than 300 designs, illustrations and<br />
examples of monograms, signets,<br />
ciphers, and letterforms within 28
pages, the book was an encyclopedia<br />
of engraving art.<br />
But John Bergling wasn't interested<br />
in helping only people in the field<br />
of jewelry engraving. He wanted to<br />
aid all designers and craftspeople<br />
who worked with letterforms and<br />
monograms, and artists of all styles.<br />
Therefore, the book included style<br />
samples of monogram and signet<br />
designs as well as alphabet variations<br />
on a theme—letters with filigree,<br />
letters with leaf-and-vine<br />
ornamentation, etc. It also incorporated<br />
many entertaining drawings:<br />
borders, mermaids, cowboys, birds,<br />
gargoyles, lions, dragons, dolphins<br />
and assorted flora.<br />
He explained it best in his own<br />
words, on the Introduction page:<br />
" ... While this book is in no sense a<br />
text book and does not partake of<br />
any of the 'dryness' characteristic<br />
of works of that kind, I have interpolated<br />
into the subject-matter<br />
many interesting things that will<br />
make a study of its pages both pleasurable<br />
and instructive. Students<br />
will find it of inestimable value, for<br />
the study of the severer part of the<br />
lettering will inspire higher and<br />
more artistic ideals."<br />
John Bergling fully understood how<br />
difficult and frustrating the work<br />
with letterforms could be, especially<br />
when a designer was faced with the<br />
task of making specific letters work<br />
together, such as in a monogram.<br />
Over the course of the years to<br />
follow, John Bergling produced<br />
and published three other books<br />
in addition to the first, as well as<br />
monogram/signet letterform style<br />
—sheets for engravers and other<br />
craftsmen who worked with letters<br />
in design.<br />
Bergling's books are: Art Alphabets<br />
& Lettering Art Monograms &<br />
Lettering Ornamental Designs &<br />
Illustrations and Heraldic Designs<br />
& Engraving.<br />
After his death in 1933, his daughter<br />
Virginia continued to publish<br />
and sell her father's books until<br />
1977, when she sold the publishing<br />
rights to a school specializing in the<br />
jeweler's arts. The books are still<br />
available.<br />
A _J<br />
John Bergling thought of himself as<br />
a letterform "inventor." By publishing<br />
his books he made his inventions<br />
available to other designers<br />
and engravers in the United States<br />
and Europe, where he had numerous<br />
ties, especially with engravers<br />
in England.<br />
It is possible that through this channel<br />
he influenced the graphic designers<br />
and artists who formed the<br />
ground force in the emerging Art<br />
Nouveau and Art Deco movements.<br />
Art Nouveau in the early 1900s, and<br />
Art Deco—which was officially<br />
launched at the Paris Exposition in<br />
1925—reflected the most modern<br />
styles-in art,-architecture, and for<br />
that matter, consumer products of<br />
the time. Bergling's first book, published<br />
in 1908, presented many<br />
styles we would consider Art Nou-<br />
veau and Art Deco—years before<br />
public notice. It may have provided<br />
designers in those other disciplines<br />
with the very thrust they needed to<br />
form their own bridges between<br />
yesterday and tomorrow.<br />
Now, years later, a question comes<br />
to mind: what could this one man,<br />
who was certainly a talented,<br />
skilled example of pure Renaissance<br />
Man at his best, have produced<br />
if he had ever turned his<br />
attention to areas of design completely<br />
outside of letterforms and<br />
alphabets, such as industrial design?<br />
We could be driving a Bergling 8, or<br />
jetting to London on a Bergling 757,<br />
or rocking in a Bergling Bentwood.<br />
For all we know, maybe we are!<br />
As for John Bergling, the man, we<br />
know that he loved plants and<br />
flowers and animals. At night he<br />
would study these beautiful examples<br />
of design from nature, sketching<br />
their delicate intricacies in order<br />
to incorporate that beauty in his<br />
work and preserve it for evermore.<br />
And so he has. And so he has.<br />
By Lee Sinoff<br />
A. Art Monograms & Lettering-1950 Special Edition.<br />
Originally published in 1908. Paper, 47 pages. Sold for<br />
$2.50 _ _ _ _ _ _<br />
B. Art Monograms and Lettering for the use of Engravers-<br />
Artists-Designers and Art Workmen. Published in 1920,<br />
paper, 96 pages. Sold for $3.75.<br />
C. Art Monograms and Alphabets (For Embroidery,<br />
Applique and Fancy Work). Published in 1938, paper,<br />
16 pages. Sold for 81.25.
HEADLINE, ITC GARAMOND BOLD CONDENSED SUBHEAD/BYLINE , BOLD TEXT - BOOK WITH BOOK ITALIC CAPTIONS: BOOK WITH BOLD<br />
7
8DRAWING<br />
PENS<br />
AND<br />
DRUM-<br />
siacKs<br />
Joe Ciardiello loves jazz and his<br />
drums almost as much as he<br />
loves illustration, so it's easy to<br />
understand his modus operandi<br />
at the drawing board. He goes to<br />
work with his drawing pens in<br />
much the same improvisational<br />
spirit as he does with his drumsticks.<br />
He starts with a theme, a<br />
small idea—sometimes just a<br />
whim—and then lets his mind<br />
and his pen roam free. He explores,<br />
extends, amplifies and<br />
complicates. Sometimes small<br />
whims grow into whammo drawings.<br />
Sometimes an illustration<br />
gets out of hand, and he has to<br />
start all over again to get it right.<br />
But he is always working for an<br />
expression that is sincerely felt<br />
and unpremeditated. He encourages<br />
his own spontaneity by<br />
plunging in directly with pen<br />
and ink, with no preparatory<br />
pencil drawings.<br />
Like all illustrators, Ciardiello's<br />
overriding objective is to find<br />
a form, so singular and so personal,<br />
that it will be immediately<br />
identifiable, even without his<br />
signature. It's the work of a lifetime.<br />
But even now he is a powerhouse<br />
in black-and-white and<br />
completely idiosyncratic in his<br />
use of color; injecting it in<br />
Illustrations ©Joe Ciardiello<br />
Invitation to Society of Illustrators exhibition.
limited areas and concentrated<br />
doses rather than overall. From<br />
the look of things, he seems to be<br />
well on the way to his goal.<br />
Aside from the musical influence<br />
on his work, Ciardiello credits<br />
two men with turning him into<br />
the illustrator he is today. First<br />
there was Murray Tinkelman.<br />
When Joe was a senior at the New<br />
York City High School of Art and<br />
Design, he was committed to becoming<br />
a cartoonist. But one day<br />
illustrator Murray Tinkelman<br />
appeared at the school as a guest<br />
lecturer. After hearing him<br />
speak, and studying his wild, inventive<br />
drawings, Ciardiello concluded<br />
that such drawing offered<br />
much broader scope than cartooning.<br />
When he enrolled in the<br />
Parsons School of Design, it was<br />
as an illustration major. It was at<br />
Parsons that he experienced the<br />
second profound influence on<br />
his work. In a figure drawing<br />
class with Jim Spanfeller he<br />
learned what it meant to let his<br />
imagination soar and how to<br />
courageously put it all down on<br />
paper.<br />
In a remarkably short time since<br />
his graduation from Parsons<br />
(1974), Ciardiello has made a<br />
name for himself as a freelance<br />
illustrator. His work has been<br />
exhibited and published by a<br />
number of organizations, including:<br />
The Society of Illustrators<br />
Annuals, The New York Art Directors<br />
Show, Graphis Annual,<br />
Society of Publication Designers<br />
(he was a Silver Medal winner in<br />
1979), Outstanding American<br />
Illustrators (Vol. 2, published in
10<br />
Japan); and he was the subject of<br />
a mini-profile in Print Magazine<br />
in June,1984. Exhibitions of his<br />
work have been seen at The<br />
Staten Island Museum, New York<br />
City, Mauro Graphics Gallery, and<br />
in a group Illustration show in<br />
Quebec,1985.<br />
Among his clients are: ABC Network,<br />
McCaffery & McCall, Sports<br />
Illustrated, Atlantic Monthly,<br />
Franklin Library, Business Week,<br />
Science '85, Exxon, New York Magazine,<br />
Changing Times, Ziff-Davis,<br />
The Runner, Fortune, Signature,<br />
Steve Phillips Design, Random<br />
House, The Progressive, Psychology<br />
Tbday and Reader's Digest Books.<br />
It seems only fair that he returns<br />
to his alma mater, Parsons School<br />
of Design, as a guest lecturer now<br />
and then—perhaps to motivate<br />
other would-be illustrators. He<br />
has also lectured at Montclair<br />
State College in New Jersey and<br />
the Fashion Institute of Technology<br />
in New York City.<br />
Ciardiello lives and works contentedly<br />
in Staten Island, just a<br />
ferry ride away from Manhattan.<br />
It offers him reasonable rent,<br />
surburban serenity and easy access<br />
to his clients across the bay.<br />
Marion Muller<br />
A.B. Illustrations for A Connecticut<br />
Yankee in King Arthur's Court, Reader's<br />
Digest Books.<br />
Portrait of John Houston.<br />
Magazine cover for Financial Executive.
Illustration for Creative Living magazine. Portrait of Norman Mailer for Notre Dame magazine.<br />
Head of a crow. HEADLINE/BYLINE: ITC VELJOVIC BOLD TEXT/CAPTIONS' MEDIUM WITH MEDIUM ITALIC<br />
11
12<br />
Like the wily medieval jester, who was<br />
always in peril of losing his head to the<br />
whim of a grumpy monarch, and so<br />
masked his courtly satires behind a<br />
comic facade, Lou Myers covers his<br />
intense vitriol behind seemingly naive<br />
brushstrokes. Combining the effortlessness<br />
of a child's scrawl with the conceptual<br />
strength of one of life's veterans,<br />
Myers hits the funnybone first, and the<br />
intelligence next, with hilariously scabrous<br />
renderings of the comedie humaine<br />
and the jokers, boobs and crooks of<br />
contemporary politics and culture.<br />
Though he looks like a youthful (albeit<br />
tall) Puck, Myers has been making images<br />
professionally for almost 50<br />
years. Cartooning is both serious fun<br />
and meaningful business. His finely<br />
tuned, emblematic drawing style is akin<br />
to Japanese or Chinese pictographs;<br />
each character is well balanced and<br />
evenly proportioned for just the right<br />
visual impact. But, drawing ability is not<br />
Myers' only strength; rather it is the<br />
communication of significant commentary<br />
through otherwise anarchic madness.<br />
Sometimes his statements are,<br />
without doubt, pure lunacies, understandable<br />
only to himself and a select<br />
few,but more often they hit the intended<br />
mark by breaking through all social<br />
Lou<br />
Myers<br />
by<br />
Steven<br />
Heller<br />
A<br />
Washington Post Book World<br />
pretense, producing uneasiness, and<br />
hence, revelation.<br />
Myers' vocabulary is simple, his symbols<br />
are recurrent, and his sphere of interest<br />
is expansive. In an informal study of<br />
100 recent drawings it was found that<br />
Myers most enjoys drawing nudity of all<br />
kinds, curly haired old ladies, broken<br />
television sets, subway stations, oil<br />
bearing Arabs, phallus-like missiles and<br />
doctors with mustaches. His non-sacred<br />
cows include war and sex, religion and<br />
advertising, psychiatry, perverts and<br />
other erstwhile taboos. In all his cartoons<br />
ambiguity is absent, leaving no<br />
need for the viewer to participate in any<br />
puzzle solving, since there are no puzzles<br />
to be solved. He often effectively<br />
wraps up a specific folly in a single<br />
panel, but sometimes broken-down<br />
walls of the classic comic strip serve his<br />
communicative purposes. His cartoons<br />
fall into two other categories as well:<br />
the pantomime and narrative. With the<br />
former, the two dimensional characters<br />
—be they man or beast—gesticulate<br />
as if animated in life; with the latter, an<br />
acerbic caption or snappy dialogue<br />
enhances the believability.<br />
Anger further sets Myers apart from<br />
most other "gag" cartoonists. Despite<br />
the comedy inherent in an MX missile,
B<br />
A, B, C. From The Coward's Almanac, or Yellow<br />
Pages, by Marvin Kitman.<br />
or a psychiatrist joke, the depth of his<br />
indignation is pungently articulated.<br />
About the latter, for example, he believes<br />
"They are the enemy, Before<br />
psychoanalysis, a comic or tragic play<br />
would help man see his foolishness—<br />
that was a Greek concept. Now all the<br />
fools remain idiots because psychiatrists<br />
merely adjust people to the<br />
system. Sometimes it's better to be<br />
radicalized?' Indeed, Myers has so many<br />
radical feelings about issues and currents,<br />
it is difficult to classify his output.<br />
Only his myriad advertising deadlines<br />
limit the exercising, or rather exorcising,<br />
of his feelings.<br />
It is certainly ironic that such a strident<br />
critic as he—particularly of the advertising<br />
game—gets as many advertising<br />
jobs as he does. But the agencies no<br />
doubt see Myers' beguilingly funny<br />
calligraphy as a convincing sales tool.<br />
Indeed, is not satire a form of propaganda,<br />
and isn't advertising a form of<br />
satire? For Myers (who did political<br />
cartoons for The New Masses in the late<br />
'30s, and never lost his innate rebelliousness)<br />
these assignments afford<br />
opportunity to expand on already existing<br />
creations—and perhaps to subtly<br />
subvert. Often a campaign will require<br />
Myers' direct creative input, which is<br />
decidedly an enjoyable activity for him.<br />
Mother Jones<br />
Poster for La Cage aux folles<br />
C<br />
Ultimately though, the most memorable<br />
Myers achievement is satire, but sadly,<br />
few outlets are open to the committed<br />
visual satirist these days. As if to compensate,<br />
as much as to open new creative<br />
territory, Myers has picked up<br />
another pen—the writing instrument.<br />
His witty and moving short stories,<br />
published in The New Yorker, about his<br />
late mother's nursing home experiences<br />
expose a remarkably human side<br />
of this comic visualizer. Once a portrait<br />
painter in the Navy, Myers weds the<br />
talent for realistic depiction with the<br />
comic frenzy that governs his cartoons,<br />
into a splendid, warm-hearted, descriptive<br />
prose. In the tradition of James<br />
Thurber, S. J. Perelman, and Alexander<br />
King—writers/artists all—Myers may<br />
soon be equally as well remembered<br />
for his writing.<br />
Today's jesters are not as susceptible to<br />
bodily harm or legal interference as in<br />
feudal times. The dwindling marketplace<br />
is now the major cause for worry<br />
in the marketing age—and no clever<br />
masking will alter that situation. However,<br />
despite the paucity of outlets,<br />
Myers shows us there is plenty of raw<br />
material to be churned into the satirist's<br />
grist, and if one has equal commitment<br />
to both art and commentary the word<br />
and image will definitely get out.<br />
Horizon<br />
Absent and Accounted<br />
HEADLINE' ITC MIXAGE BLACK<br />
13<br />
TEXT/CAPTIONS' BOLD
14<br />
It's an old problem: who owns the final<br />
product of a joint creative project?_Is it<br />
the person responsible for the initial<br />
creative idea? The one who transformed<br />
that idea into a reality? Or the person<br />
who marketed the product and established<br />
its value?<br />
Aldus Manutius faced this problem<br />
with Francesco Griffo da Bologna.<br />
They were a creative team who together<br />
produced some of the communications<br />
industry's most important and influential<br />
typeface designs. Like too many close<br />
and intensely creative relationships,<br />
however, they also quarreled—and eventually<br />
parted company over the issue of<br />
product ownership.<br />
The breaking of the affiliation<br />
between Griffo and Manutius was not a<br />
casualty of a clash of personalities, but of<br />
a rapidly changing commercial environment.<br />
At the time they worked, the typographic<br />
industry was evolving from the<br />
pioneer age of Gutenberg and Jenson<br />
(when one person normally directed<br />
every stage of the type design and production<br />
process, from initial idea to<br />
printed piece) to a more regulated and<br />
structured environment. The organized<br />
and somewhat reliable industry of Garamond<br />
and Plantin, when a number of<br />
recognized and skilled punch cutters<br />
supplied the needs of established clientele,<br />
still lay in the future. Aldus and Griffo<br />
fell between these two extremes, and the<br />
lack of an established work pattern eventually<br />
caused their split.<br />
Aldus was an entrepreneur; and<br />
his break with Griffo came as a result of<br />
his trying to insure the future of his<br />
company and its assets. The clumsy<br />
system of press-privileges popular in<br />
15th century Italy sought only to protect<br />
the interests of the investor, and that<br />
always meant the printer or publisher.<br />
Aldus was both; so when he tried to<br />
protect his company's substantial invest-<br />
ILESTONE<br />
TYPOGRAPHIC<br />
ment with a privilege that outlawed all<br />
imitation of his type, he effectively,<br />
though perhaps unintentionally, prevented<br />
Griffo from selling his best and most<br />
popular designs to other printers. It is no<br />
wonder that they quarreled. While there<br />
is no doubt about Griffo's creative genius,<br />
and that without his type designs Aldus'<br />
accomplishments would not have been<br />
nearly so important, Aldus created the<br />
environment that made Griffo's work<br />
possible, and the conditions that made<br />
his typeface designs necessary.<br />
Next to Gutenberg, Aldus was<br />
perhaps the most important printer of<br />
the Renaissance and the first of many<br />
great scholar-printers. A successful publisher<br />
and businessman, Aldus produced<br />
some of the most beautiful and technically<br />
accurate books of the 15th century.<br />
The Aldine roman, the most popular<br />
typestyle of its time, and the model for<br />
hundreds of other designs, was but one<br />
of his contributions to typography. The<br />
portable book and italic typefaces are<br />
both Aldus innovations. Before Aldus all<br />
books had been the much larger, oral-<br />
reading, size in the tradition of the scribes<br />
and illuminated manuscripts, and italics<br />
were used only as a writing style. Few<br />
have contributed as much or as widely<br />
to enrich our typographic heritage as did<br />
Aldus Manutius.<br />
To accomplish his many goals,<br />
Aldus gathered some of the most creative<br />
and talented members of the European<br />
printing and publishing community.<br />
People like Erasmus, the famous Dutch<br />
philosopher, were commonly drawn to<br />
his shop. Technicians and laborers were<br />
recruited with offers of high pay and<br />
exciting projects. Aldus went to extreme<br />
lengths to surround himself with the<br />
brightest and the best. It is therefore a<br />
little odd that he showed very little understanding<br />
of, or goodwill toward,<br />
those who worked so hard for him.<br />
Aldus rarely mentioned his co-workers<br />
or staff in any of his writing, even<br />
though they worked and lived on his<br />
premises. What little is written is certainly<br />
not laudatory. Once he referred to his<br />
workers, in the preface to one of his<br />
books, as his "damned runaway slaves,"<br />
and in another piece he complained<br />
that, "my hired men and workers have<br />
conspired against me in my own house<br />
...but with the help of God I smashed<br />
them that they all thoroughly regret their<br />
treachery" Whether it was with the help<br />
of "God," or that of his principal partner,<br />
the doge's nephew, it is well recorded<br />
that Aldus dealt harshly (and with little<br />
remorse) with those who stood in his<br />
way. On matters of personal or business<br />
ALDUS mANunus<br />
BYALLAN HALEY
.,yN'TT TVVENALTS ACty:INA<br />
T1S SA.TYRA PRImA<br />
EMPER EGO AVDTTOR<br />
tanturn?nunqutm ne re ponem<br />
v exatus tocs rdua thefigde<br />
c °chi ?<br />
m punt ergo nuhirentautrit the<br />
trpses?<br />
It is elegas?pmpune diem confirm pflrisingens<br />
elephus?aut rummi plena ram margine Itbri<br />
S crsplus,etintrrgonecdamrt finitus,orefirs?<br />
N otamagrsWillidonutsef1 fut,cram nuhi lung<br />
M anis ,et Lou ir uicisu‘mrupibus antrum:<br />
V :da ta quid apt ucntz,gwas torqueat 107:brdS<br />
A tants , undtaltus fifrbuee dcuehat durum<br />
P cl/i cub e,quantits Sandefur Monychus ornos „<br />
rontanis platani,amustlfaig; marmora clamant<br />
S emper,et afficluo ru ?tee teflon coluInnit<br />
E xpeeIrs calms 4frim mirsima'q; poets.<br />
E t nos ergo manum firulecfiduluximus,et nos<br />
C onfilium cleclimus Sylice,piiikttus ut altum<br />
ormiret flubs: eft clemenna,cum tot ubique<br />
V a tsbus ocrurras ,pertturx parcerc chartie<br />
C ur tanun hoc ltheat potuss clecurrere atm po,<br />
Aldus' italic (Venice 1501) cut by Francesco Griffo.<br />
interests, it is recorded that Aldus was<br />
capable of extraordinary insensitivity<br />
and malice.<br />
Many historians tell us that<br />
Aldus first invented the small book. He<br />
didn't. Some say that his work with small<br />
publications was out of an altruistic drive<br />
to supply learned text to the masses.<br />
These people are also wrong. Aldus was<br />
not altruistic; he was a shrewd and creative<br />
businessman driven by goals more<br />
pragmatic than benevolent.<br />
There were small books prior<br />
to Aldus', but the majority of printed<br />
material was large; the kind meant for<br />
libraries, bookstands, and reading aloud.<br />
When Aldus began his work, the printing-industry<br />
was less than 50 years old<br />
and still bound by the traditions of the<br />
scribes and manuscripts. Small books, or<br />
octavos (made from single sheets folded<br />
three times, each sheet forming eight<br />
leaves, or sixteen pages, of about 6x9<br />
inches) were published prior to Aldus. As<br />
early as 1470, over 30 years before Aldus'<br />
first work, Jenson had printed some<br />
small religious texts. There were others,<br />
but one very important aspect separates<br />
those earlier books from Aldus' small<br />
texts: all the previous editions were of a<br />
religious or devotional nature. It was felt<br />
that prayer was the only occasion which<br />
required an individual to carry a book<br />
on one's person. The scholar was expected<br />
to read from a large book sitting<br />
on a lectern. Aldus' originality lay in<br />
applying what had previously been a<br />
specialized book form-to a new and<br />
wider field. Aldus was a marketeer, not<br />
a humanitarian.<br />
The story has evolved that<br />
Aldus created the small book for those<br />
who could not previously afford literature.<br />
The logic is that his smaller books<br />
cost less to produce, and that these reduced<br />
costs were passed along to the<br />
consumer. Aldus never said that his<br />
books were cheap. He said on many<br />
occasions that they were beautiful, that<br />
they were technically perfect, and that<br />
they were convenient—but never that<br />
they were inexpensive or meant for a<br />
mass audience. It has been suggested<br />
that Aldus would probably "writhe in his<br />
grave" if he knew that many printing<br />
scholars heralded him as the originator<br />
of the paperback.<br />
Aldus worked for the wealthy<br />
and the successful. His octavos were<br />
intended for busy people of affairs; the<br />
kind who criss-crossed 15th and 16th<br />
century Europe on the errands of nobility<br />
and business of state. Aldus created his<br />
small books for the secular intellectuals<br />
of Renaissance Europe: the people who<br />
filled the growing number of universities<br />
to prepare for employment as government<br />
officials and public servants. These<br />
were the people of the "educational<br />
revolution" in 16th century Europe.<br />
Even though Aldus' small books<br />
were not intended to expand the knowledge<br />
of the masses, it still remains that<br />
they were a vital development in the<br />
emancipation of learning. The "fairy<br />
tale" of books for everybody may not be<br />
true, but the fact of his small books'<br />
importance, worth, and influence certainly<br />
is. For this alone Aldus could be<br />
remembered and revered. He made<br />
reading convenient and learning "user<br />
friendly." He set the precedence for<br />
personal books of high caliber. And he<br />
created texts which were portable, yet<br />
lacked none of the beauty, or quality, of<br />
the larger library editions.<br />
Directly tied to the typographic<br />
fairy tale of the invention of the portable<br />
book is the myth of Aldus' invention'of<br />
italic type. The story is told that Aldus<br />
paid Griffo to develop a cursive type that<br />
would save space in his small books. It is<br />
said that Aldus' goal was to cut paper<br />
costs and thus make his publications<br />
cheaper. Then, as now, paper was expensive;<br />
but saving paper was not Aldus'<br />
goal in creating italic type.<br />
Early 16th century printers<br />
spoke of "writing" a typeset page as if<br />
it were a letter to a friend. As this somewhat<br />
unusual terminology, by today's<br />
standards, implies, the<br />
typeface provided<br />
a much closer link<br />
between printer and<br />
15
16<br />
reader than it does today. Particular styles<br />
of type were reserved for particular<br />
groups of readers. Aldus was not so<br />
much trying to save space, as appeal to<br />
the educated, worldly and wealthy.<br />
Aldus italic evolved from a<br />
popular writing style of the educated. Its<br />
heritage can be traced back to Niccolo<br />
de Niccoli, an Italian scholar of the early<br />
15th century. De Niccoli started to<br />
oblique and add flourish to his letters<br />
when, it is said, "he wished to write in a<br />
faster, more relaxed fashion than usual."<br />
By mid-century other scholars began to<br />
imitate his writing style, and by the late<br />
1400s italic became the official writing<br />
style of the learned and professional<br />
scribes of southern Italy. In fact, it came<br />
to be called cancellaresca because of the<br />
amount of work done in this hand for<br />
the city chancelleries.<br />
The cursive style of writing had<br />
been developed by the same scholars<br />
and learned government officials for<br />
whom Aldus created his books. In adapt-<br />
ing it to print, he and Griffo were making<br />
their books more comfortable for their<br />
intended audience. Today, we would call<br />
this creative marketing. The important<br />
thing is that Aldus took a somewhat<br />
exclusive writing style (almost an art<br />
form) and turned it into a typeface—a<br />
product that would appeal to, and benefit,<br />
a growing and eager audience.<br />
Like any astute business person,<br />
Aldus was very aware of the potential<br />
value of this product. And in an effort to<br />
defend his exclusive right to use it, he<br />
sought the first known privileges on an<br />
entire type style. This was breaking new<br />
ground; previously only specific titles<br />
were protected, but Aldus had friends in<br />
high places. In 1502, the Venetian senate<br />
granted his italics official protection. Not<br />
satisfied, Aldus sought additional, and<br />
what he believed was maximum, security<br />
from theft. He even had his types<br />
protected by papal decree. Aldus was<br />
one of the best protected publishers and<br />
type developers of his time, and perhaps<br />
for all time.<br />
Unfortunately this was to little<br />
avail. Aldus' italics were almost immediately<br />
copied. First by Griffo, who felt that<br />
the design was, after all, his; and later<br />
by contemporary Italian and French<br />
printers. The Italians called the design<br />
`Aldino," at least referring to its originator.<br />
POLIPHILO INCOMINCIA IL SECONDO LIBR.0 DI<br />
LA SVA HYPNEROTOMACHIA . NEL 0,VALE PO ,<br />
LIA ET LVI DISER.TABONDI , IN QYALE MODO ET<br />
VAR.I0 CAS 0 NAR.R.ANO INTERCALARIAMEN-<br />
TE IL SVO INAMOR.AMENTO.<br />
NARRA czynn LA DIVA POLIA LA NOBILE ET<br />
ANTIQVA ORIGINE S VA,ET COMO PER LI NUDE<br />
CESSORI SVI TR.IVISIO FVE EDIFICATO.ET DI QV EL<br />
LA GENTE LELIA ORIVNDA . ET PER QyALE MO ,<br />
DO DISAVEDVTA ET INS CIA DISCONCIAMENTE<br />
SE INAMOR.OE DI LEI IL SVO DILECTO POLIPHILO.<br />
c EMIE DEBILE VOCE TALE 0 GR.A<br />
tiofe 8c diue Nymphe abfone peruenera'no &<br />
inconcine alla uoltra benigna audietia , quale<br />
laterrifica raucitate del urinante Efacho al fua ,<br />
tic canto dela piangeuole Philomela. Nondi<br />
meno uolendo io cum tuti gli mei exili co na,<br />
ti del intelleeto,& cum la mia paucula fu ffici6<br />
tia di fatifGre alle uoflre piaceuole petitions,<br />
non rift= al potere.Lequale femota qualaque hefitationc epfepiu che<br />
fi co ngruerebbe altro nde,dignamente meritan.o piu uberrimo fluuio di<br />
eloquentia,cumtroppo piu rotunda elegantia &cum piu exornata poli<br />
tura di pro n fitiato,che in me per a<strong>lc</strong>uno pa6to non fi troua, di e6feguire<br />
11 fuo gratiofo afl'eeto.Maauui Celibe Nymphe & adme alquato, quan.<br />
niche& co nfufa & incomptamete fringulti6te haro in qu a<strong>lc</strong>h e portiun'<br />
culagratificato affai. Quando uoluntarofa 8c diuota a gli defii uoflri &<br />
po flulato me preflaro piu preflo cum lanimo no mediocre prompt.) hu'<br />
mile parendo,che cum enucleataterfa,& uenuftaeloquentia plac'eclo.La<br />
prifca dung ue 8c ueterrima geneologia,& pro fapia,8c it fatale mio amore<br />
garrulando ordire.Onde giaeffendo nel uottro uenerando conuentu ale<br />
co nfpcdo,8c uedermeoeriIs & ieiuna di eloquio & ad tanto preftSte & di<br />
uo ceto di uui 0 Nymphe fed ule famularie dil accefo cupid ine.Et Iran,<br />
8c facro fito,di fincereaure 8c fiorigeri fpirami'<br />
to benign° & delefteuole<br />
ni affl ato.io acconciamente co mpulfo di afru mere uno uenerabileaufo,<br />
8c tramp& timore de dire. D unqueauanteiituto uenia date, o bellifiv<br />
me 8c bead ffi me Nymphe a queflo mio blgterare & agli femelli & terri ,<br />
geni,8c pufilluli Co nati,fi ad uenc che in a<strong>lc</strong>h una parte io incautamente<br />
Page of Hypnerotomacbia Pollphili. Aldus, Venice,1499<br />
ALDUS<br />
MANUTIUS<br />
By others it was called, after Italy, "italic"<br />
Where he could, Aldus fought those<br />
who copied his design; some through<br />
legal means, others through tough, aggressive<br />
business tactics.<br />
In both he was swift and ruthless.<br />
Unfortunately, he was also for the<br />
most part, unsuccessful. His italics became<br />
the model for generations of cursive<br />
designs. Aldus gave the typographic<br />
community one of its most important<br />
and beautiful tools—but not entirely<br />
willingly.<br />
For all Aldus' effort to protect<br />
his italic font it is interesting that he<br />
never sought to protect any of his roman<br />
fonts. In fact, from his lack of promoting<br />
the books that he set in these designs, it<br />
can be gathered that he cared little for<br />
them at all.<br />
Perhaps this was because, with<br />
few exceptions, in 15th century Italy<br />
little work of importance was printed in<br />
roman type. Most scholarly work was set<br />
in Greek. (Aldus was very proud and<br />
protective of his Greek type.)<br />
He used his roman types seldom,<br />
and only for pieces sponsored by<br />
wealthy clients or academic friends.<br />
Many of his roman types were, as a consequence,<br />
considered rather poor in<br />
design. All but one.<br />
In February of 1496, Aldus published<br />
an otherwise insignificant essay<br />
by the Italian scholar, Pietro Bembo. The<br />
type used for the text became popular<br />
instantly and so famous that it influenced<br />
typeface design for generations.<br />
Posterity has come to regard the Bembo<br />
type as Aldus' and Griffo's masterpiece.<br />
The design was lighter and<br />
more harmonious in weight than earlier<br />
romans, making text set in it inviting, and<br />
certainly easier to read. The basic design<br />
was further enhanced by the introduction,<br />
three years later, of a font of corresponding<br />
capital letters (the Bembo<br />
roman was initially produced as only a<br />
lowercase font with capitals pulled from<br />
other faces). The capitals are not quite as<br />
tall as the ascenders and blend exceptionally<br />
well with the lowercase. Bembo<br />
has a more pronounced weight stress<br />
than previous romans; it is more even in<br />
color, and the serifs are lighter and more<br />
delicate. Aldus' and Griffo's original Bembo<br />
design begins to look like the romans we<br />
use today. This face, which was modestly
enim id fcrutdclum nobis mad° eil.Poft H<br />
pietate fucceffir:fcelice hac hxreditate a pan<br />
coniunaus quum geminos genuifret<br />
dicitur abflinuiffe.Ab iflo natus e lacob qt.<br />
prouetum Ifraea etiam appellatus eft duobi<br />
uirtutis ufti.iacob eirn athlerd & exercetem<br />
(warn appellations primti prae<br />
pro pietate labores ferebat.Quum &lute iam<br />
fpeculationis fruebat'bonis: vac Maelem IF<br />
The Jenson face (1470).<br />
P hillyrides Chiron,A inythdonius'i; melampus.<br />
S uit et»: lueemfly Vs emtirttettebris<br />
P allidstTifiphone,morbos agrt ante,metum'T,<br />
I ilti; dies entichon fiagens at put dings<br />
B etlatu rrorwm,etcrebrismuribus amnes,<br />
A rentriq; jaunt ripe ,colles4; ji Tiflis<br />
I arnici; attrruaton dat itragem,aq; evrdtriplis<br />
I n finbglisviirpi dilapfitertebtuera tub°,<br />
launched in a 60-page favor to a friend,<br />
and which became eminently popular in<br />
Italy, soon found its way into France. The<br />
design was brought to the attention of<br />
Garamond, the famous French typefounder,<br />
and through his efforts to duplicate<br />
it the design eventually spread its<br />
influence into Germany, Holland and the<br />
rest of Europe. The Aldine roman was to<br />
become the foundation of new typeface<br />
designs for hundreds of years.<br />
Aldus entered printing rather<br />
late in life—after age 40. There is much<br />
conjecture among type scholars as to<br />
why Aldus left a life of comparative ease<br />
First italic typeface, cut by (intro for Aldus.<br />
as a successful scholar with a noble<br />
constituency, for one of toil, labor, and<br />
the financial uncertainty of establishing a<br />
printing press and publishing business.<br />
Little is said of Aldus in history<br />
books, except those dealing with a specialized<br />
field of Venetian or Italian life of<br />
the 15th and 16th centuries. Yet it is said<br />
that without him, or someone like him,<br />
the Renaissance in Italy and Europe<br />
would not have been so rapid. It was<br />
Aldus that put the classics into the hands<br />
of the new middle class, which had<br />
become wealthy and sought the same<br />
privileges and cultural opportunities for<br />
t<br />
Bembo<br />
abcdefghijklmnopqrstuvwxyz<br />
ABCDEFGH KLMNOPQRSTUVWXYZ<br />
1234567890 (&.,:;!?'""-*Scom/L)<br />
Bembo Italic<br />
abcdefghijklmnopqrstuvwxyz<br />
ABCDEFGHIJKLMNOPQRSTUVWXYZ<br />
1234567890 (&.,..,1?'«„_* '¢ oho<br />
Current design based on Aldus' and Griffo's Bembo.<br />
AB CDEFGHIJKLMNOPQRSTUV<br />
WXYZ 1234567890<br />
abcdefghij klmnopqrstuvwxyz<br />
AB CDEFGHIJKLMN OPQRSTUV<br />
WXYZ 1234567890<br />
abcdefghijklmnopqrstuvwxyz<br />
New design created by Hermann Zapf and named for Aldus.<br />
themselves as those possessed by nobility<br />
Aldus produced well over 1200 titles<br />
(some still in existence).<br />
If you were to ask Aldus, he<br />
would have told you that publishing the<br />
Greek classics was his most important<br />
accomplishment. Over 90 percent of his<br />
production was devoted to this area. It is<br />
even said that in his shop, he made a rule<br />
that nothing but Greek should be spoken<br />
during the working day in order to<br />
more completely create a classical atmosphere.<br />
Aldus' contributions to the heritage<br />
of printing and typography go far<br />
beyond the publishing of Greek texts.<br />
They are both numerous and conspicuous.<br />
He was an eminent scholar-printer.<br />
One of the first, and one of the most<br />
influential. There were others who were<br />
more commercially successful, but few<br />
that have had the lasting impact of his<br />
Dolphin Press. His prestige grew almost<br />
spontaneously. It survived attacks in his<br />
lifetime, and not only survived, but flourished,<br />
in the four and a half centuries<br />
since his death.<br />
His roman type, which served<br />
to inspire the work of Garamond, and<br />
countless other type designers must be<br />
recorded as a milestone in typographic<br />
achievement. Few typeface designs have<br />
had such a profound and long-lasting<br />
influence on succeeding typeface development<br />
efforts.<br />
The Aldine italic, although it is<br />
fashionable to criticize the design by<br />
current standards, became the model for<br />
most subsequent italic types. When first<br />
HEADLINE/BYLINE: ITC GARAMOND BOOK CONDENSED WITH LIGHT CONDENSED<br />
shown, it met with great and almost<br />
instant success. True, its creation was<br />
motivated more by business than altruistic<br />
reasons; but the final product displaced<br />
all previously designed cursives,<br />
and added an important, valuable tool to<br />
typographic communication.<br />
As an advocate of education<br />
and a catalyst of social improvement,<br />
Aldus holds a firm position. Even though<br />
his books were not produced as inexpensive<br />
volumes for the less fortunate<br />
reader, his decision to enter the printing<br />
and publishing trade, and to give up the<br />
secure and comfortable life of a wellpatronized<br />
scholar, must have been arrived<br />
at out of a goal to bring education<br />
and learning to a wider audience. His<br />
work meant that eventually students<br />
would no longer have to rely on manuscripts<br />
and libraries of the wealthy for<br />
inspiration and guidance. Because of<br />
Aldus' work that dependence became a<br />
thing of the past. The process of education<br />
became accessible to individuals on<br />
an individual basis. Prior to Aldus, students<br />
gathered around their "masters" to<br />
listen as manuscripts and large expensive<br />
books were read aloud. Aldus' legacy is<br />
students studying with their own texts<br />
or peopling a library, taking advantage of<br />
vast quantities of books; and ultimately<br />
making individual interpretations on<br />
what they read.<br />
Aldus died in 1515 at the age of<br />
65. It is said that when he lay in state<br />
his prized possessions, his books, were<br />
grouped around him.<br />
TEXT/CAPTIONS: ITC GARAMOND LIGHT<br />
17
18<br />
ITC's<br />
Technology<br />
Update<br />
PC composition systems with text/graphics merging capability, and by Edward M. Gottschall<br />
image-setter output devices signal us it's a new ballgame again.<br />
It is becoming increasingly obvious that the major graphic arts suppliers as well as software companies are offering<br />
PC-typesetter/printer linkages. A summary of the linkages follows.<br />
Code explanation<br />
A—Art/Design: facilitates visualization and composing of a full page using actual or simulated typefaces.<br />
E—Editorial: word processing capability plus such typographic abilities as hyphenation, justification, special coding.<br />
P—Production: input, storage, retrieval, editing as on a full typesetting device or system.<br />
Software Supplier Software Capabilities Typesetters/ Printers PC<br />
Alphatype/Berthold Multiset- E, P Alphatype CRS 8900, 9900 IBM<br />
Aldus PageMaker- A, P Apple LaserWriter Macintosh<br />
Allied Linotype Wordset7 E, P Linotron 101/Linotronic 300 Macintosh<br />
Series 100<br />
Series 200 Linotron 202 IBM<br />
Bestinfo SuperPage- A, P Most outputs IBM<br />
Compugraphic PCS- A, E, P Compugraphic 8000, 8400, 8600 typesetters, and<br />
EP308 laser printer<br />
Horizon G.O. Graphics E, P Compugraphic, Linotype, Varityper typesetters IBM<br />
Itek PTW- E, P Digitek IBM<br />
PagePlanner PagePlanner- A, E, P Linotron 202 IBM<br />
Penta Desktop E, P Most typesetters Data General<br />
Composition<br />
System""<br />
Studio Software Do It- A, P Most digital typesetters and Apple LaserWriter IBM<br />
Varityper Maxx- E, P Comp/Edit 6400, 6820 IBM<br />
Note: Some systems, including those using a Macintosh for input, also feature Adobe's PostScript software for enhanced typographic<br />
capability. Linotron 101 and Linotronic 300 typesetters are tied to Macintosh computers via Adobe's PostScript software and can utilize Aldus<br />
PageMaker software.<br />
It is now possible to assemble a low-end<br />
publishing system for under $10,000. It<br />
is also possible to use such a system as a<br />
front end for high quality output devices<br />
to build systems which, of course, cost<br />
more-depending on the output quality,<br />
speed, and options that are required.<br />
Four current and compatible innovations<br />
are advancing the state of the art<br />
as we move into the last half of the<br />
1980s: Digitizers that can scan line or<br />
tone graphics into the system, personal<br />
computers, personal computer-driven<br />
typesetting and composition software,<br />
and new output devices that merge and<br />
output text and graphics at both the<br />
low and high ends of the publishing<br />
spectrum.<br />
PC Composition Systems. A number<br />
of composition systems that can combine<br />
with a PC to electronically design<br />
and compose pages, often merging text<br />
and graphics, and capable of producing<br />
typographic quality when linked to a<br />
suitable output device, have attracted<br />
attention recently. These are WYSIWYG<br />
(what-you-see-is-what-you-get) devices.<br />
Some of them are:<br />
Aldus Corporation's PageMaker.-<br />
This software designs and produces<br />
pages for office-developed publications.<br />
It is a low-cost, fast way of assembling<br />
pages from stored word processing and<br />
graphics for newsletters, data sheets,<br />
manuals, proposals and presentations.<br />
It presently works with the Apple<br />
Macintosh XL" and the Macintosh<br />
512K" Output can go to an Apple<br />
LaserWriter" or Linotype's Linotronic<br />
300' or Linotron 1017<br />
Allied Linotype's Series 100 and<br />
200. The 100 series is a system teaming<br />
a Macintosh computer with PostScript"<br />
software and outputting to either an<br />
Apple LaserWriter or Linotype Linotron<br />
101 or Linotronic 300 typesetter. The<br />
text/graphics merge when output on the<br />
Linotronic 300 produces high quality<br />
type and halftones. Graphics can be created<br />
on the Macintosh or be scanned<br />
in. Allied Linotype's Wordset" links a<br />
Linotron 101, 202, or Linotronic 300 to<br />
IBM or Macintosh PCs.<br />
Bestinfo's SuperPager Merges digitized<br />
text and graphics into a page format.<br />
Working with a Datacopy 700<br />
scanner, for example, scanned images<br />
can be sized and cropped as well as<br />
positioned. At a recent demonstration<br />
pages were output on a 300 dpi,<br />
Hewlett-Packard Laserjet" printer. It<br />
can also drive the Xerox 2700, and Agfa<br />
P400 printers soon will be able to output<br />
to the LaserWriter and the Imagen<br />
printers. -<br />
Compugraphic's PCS. The Personal<br />
Composition System (PCS) ties in to<br />
Apple Lisa hardware and software. it is<br />
a most complete micro package with a<br />
two megabyte memory, comparatively<br />
rapid operation, quality typographic features,<br />
and a spelling dictionary. It drives<br />
Compugraphic 8000, 8400 and 8600<br />
typesetters as well as CG's EP308 laser<br />
printer for which some 700 type fonts<br />
are currently available. (See U&<strong>lc</strong>, Vol. 12,<br />
No. 3, p. 22-23.)<br />
Itek's PTW. The Personal Typesetting<br />
Workstation" (PTW) software teams<br />
with an IBM PC-XT or IBM AT for<br />
input and composition and a Digitek"<br />
typesetter for output. Naturally, it offers<br />
the Digitek type library. (See U&<strong>lc</strong>, Vol.<br />
12, No. 3, p. 22-23.)<br />
PagePlanner.'" This software merges<br />
text and graphics into multi-column<br />
page format. With its AdSet" program it<br />
can set type around irregular shapes.<br />
It includes a 30,000 word exception<br />
dictionary and ties into a line printer<br />
or a typesetter and a word processing<br />
program.<br />
Studio Software's Do It:" Runs an<br />
IBM AT computer and drives a PostScript<br />
equipped Apple LaserWriter. It's aimed<br />
at designers who want to electronically<br />
compose pages.<br />
Varityper's Maxxr This software can<br />
drive a Comp-Edit typesetter or can be<br />
bought separately to drive a PC. It runs<br />
on IBM PCs which can be obtained from<br />
Varityper. Maxx is a very capable typographic<br />
program but is not a graphics<br />
program. Varityper also offers the GTO"'<br />
(Graphics Text Organizer) which<br />
merges text and graphics into made-up<br />
pages. (See U&<strong>lc</strong>, Vol. 12, No. 3, p. 22-23.)<br />
Text/Graphics Composition Systems.<br />
While the combination of PCs<br />
and new software has given text and<br />
text/graphics composition capability to<br />
PC-typesetter/printer systems, a number<br />
of graphic arts oriented systems (not<br />
PC linked) are offering new or improved<br />
graphic/text merge capabilities.<br />
These can be considered in two categories,<br />
WYSIWYG and non-WYSIWYG.<br />
Leading WYSIWYG front end systems<br />
include those offered by American<br />
Printing Technologies, Bedford (Vision<br />
Network System), High Technology<br />
Solutions (HTS), Interleaf, Royce Data<br />
Systems, Texet, Varityper, View Tech,<br />
Xerox and Xyvision. Enhanced non-<br />
WYSIWYG systems have been introduced<br />
by CCI, Cybergraphics, Penta,<br />
and RayPort. Forms systems likewise<br />
offered new capabilities recently, notably<br />
those from Harris Graphics, Misomex,<br />
and Purup Electronics. Other text/<br />
graphics merge systems of interest<br />
include Linotype's Graphics System"<br />
Berthold's Magic System" and Kodak's<br />
new Keeps;" which is a full electronic<br />
publishing system and is still in a pre-<br />
marketing stage. Data Recording System's<br />
LaserScribe 8415 and Tegra's Genesis<br />
were reviewed in U&<strong>lc</strong>, Vol. 12, No. 3.<br />
Many of these systems can tie in to a<br />
number of input and output devices. For<br />
example, as this is being written Texet<br />
Corporation and Wang Laboratories, Inc.<br />
announced an agreement under which<br />
users of word processing equipment will<br />
be able to produce professional-quality<br />
typeset documents, with total integration<br />
of text and graphics, right in the office.
Image Setters. Just as front end systems<br />
are perfecting their text/graphics<br />
merge capabilities, so are output devices.<br />
Typesetters are increasingly becoming<br />
image setters with the ability to output<br />
text and graphics (sometimes line art,<br />
sometimes fine screen halftones) with<br />
all elements sized, cropped, positioned<br />
in a full-page format, and some offer<br />
plate output. Interesting new or improved<br />
output devices include the following,<br />
listed by manufacturer.<br />
Alphatype's CRS 9900 family of typesetters<br />
produces text and line graphics.<br />
It features higher speed than the 8900.<br />
It can condense type down to 25 percent,<br />
expand it up to 375 percent, slant or<br />
backslant up to 30 degrees in one-degree<br />
increments, set right or wrong reading,<br />
set line measures up to 106 picas.<br />
Apple's new LaserWriter was reviewed<br />
in the Computer Graphic Arts report in<br />
U&<strong>lc</strong>, Vol. 12, No. 2. Other devices of<br />
interest include the following:<br />
Autologic: Can team its Bit Blaster raster<br />
image processor (rip), APPS-1 pagination<br />
system and RayComp" terminal to<br />
feed text, graphics and composition<br />
instructions to its typesetters.<br />
Autologic's new Page Image Processors,<br />
the APS-55/200,300,400,500 and<br />
800 APS-6 CRT and APS-6 Laser Imagers<br />
divorce page building from output<br />
recording. The APS-55 line processes<br />
text and graphics into page form. The<br />
800 can build a newspaper page in as<br />
little as a minute. The APS-6 units<br />
record the page onto film or paper. The<br />
APS-55 can feed a variety of output<br />
devices, including platemakers. Fonts<br />
are resident in the Page Image Processors<br />
which can accept input from personal<br />
computers, composition systems<br />
or data processing systems. The laser<br />
printer output resolution is 300 x 300<br />
dots per inch. The Page Image Processor,<br />
when feeding a fine resolution printer,<br />
can process up to 2000 x 2000 dpi. APS-<br />
5 and APS-Micro 5 digital typesetters<br />
can also output graphics that have been<br />
scanned into the system.<br />
Compugraphic: The 8600 Imagesetter<br />
can output halftones and line art as well<br />
as type.<br />
Hewlett -Packard: The Laserjet" is a<br />
low-cost printer. It uses no chemicals, is<br />
easy to operate. As with most other lowcost<br />
laser printers, it can merge text and<br />
graphics, but with a limited number of<br />
fonts, and its output quality (300 dpi)<br />
while satisfactory for many purposes is<br />
not comparable to that of more expensive,<br />
finer resolution printers or<br />
typesetters.<br />
Linotype: At the high quality output<br />
end of the spectrum one must include<br />
the Linotronic 300. A mid-priced typesetter,<br />
it is capable of high quality halftone<br />
as well as line copy and typographic<br />
output. It handles tints or patterns and<br />
can be driven by a number of input<br />
devices including a PostScript supported<br />
Macintosh.<br />
Scantext, made by Scangraphic Dr.<br />
Boger, is being marketed in the United<br />
States. About 550 systems and 3,000<br />
workstations have been installed in<br />
Europe. Scantext 1000 is described as a<br />
low-end system that shows real fonts in<br />
actual size and position on its display.<br />
This WYSIWYG system has an input<br />
terminal, a CRT typesetter, a large font<br />
library, and can handle rules, logos and<br />
special signs (Scangraphic Dr. Boger, 50<br />
Cali Blvd., Woodcliff Lake, NJ).<br />
Standards and Media Conversion<br />
Devices. The full potential for quality<br />
output from low cost, easy-to-operate<br />
desktop systems, or even from the currently<br />
available high-quality output<br />
devices depends not only on fine resolution<br />
output and the development of<br />
input scanners, input devices with text/<br />
graphics merge software, and imagesetter<br />
output devices, but on printing<br />
standards for computers and on media<br />
conversion devices. Such devices will<br />
enable documents created on a variety<br />
of computers or input terminals to be<br />
printed on different types of output<br />
devices, such as laser printers or typesetters,<br />
from different manufacturers.<br />
The need is for a common language<br />
among devices at every step of the process<br />
and regardless of manufacturer.<br />
Addressing this problem is Adobe's<br />
PostScript:" a device-independent page<br />
description language, and the Interpress"<br />
page-description language developed by<br />
Xerox Corporation, as well as a number<br />
of media conversion devices.<br />
Interpress. Interpress can be used to<br />
interface almost any type of document<br />
creation device with virtually any type<br />
of document printing device. It is specifically<br />
designed to support faster pageprint<br />
engines including those handling<br />
high resolution text and graphics. It has<br />
commands for describing text, graphics<br />
and pictures, as well as commands for<br />
creating various shapes, and rotating<br />
and scaling them. It can handle multiple<br />
fonts, line and shaded graphics, halftones<br />
and continuous tone images as<br />
well as instructions about the page<br />
image and the assembling and finishing<br />
of a document. It is also suited to commercial<br />
printing applications and can<br />
create signatures for folding and binding.<br />
As of now 19 companies have said they<br />
will use the Interpress page-description<br />
language as a common electronic printing<br />
standard for computers.<br />
Multifunctionalism. Just a few years<br />
ago we were surrounded by devices dedicated<br />
to a single function, such as word<br />
processors, typesetters, data processors<br />
platemakers and printing presses. We<br />
are now moving into the era of the multipurpose<br />
device. The dedicated data<br />
processing computer, for example,<br />
became a general computer, much like<br />
the LP record player in your hi-fi system<br />
that will play whatever record you put<br />
on it. The "record" for the computer is,<br />
of course, the software disc. Put in word<br />
processing software, presto, you have<br />
a word processor. Put in spreadsheet<br />
software and you have a computer for<br />
an accountant or a bookkeeper. And<br />
so forth; so we have a multi-use computer.<br />
Now we have Lotus Symphony"<br />
(IBM PC oriented) and Lotus Jazz"<br />
(Macintosh oriented). This is multi-use<br />
software. It is five-function software<br />
including spreadsheet, word-processing,<br />
database, graphics, and communications<br />
ability all in one program. Each function<br />
can be used separately or in any combination.<br />
In output devices, too, multifunctionalism<br />
is the order of the day as<br />
the typesetter becomes an image setter,<br />
and a laser printer absorbs the functions<br />
of a platemaker, typesetter, page makeup<br />
device, and multi-copy printer.<br />
Where will all this lead us? Will we have<br />
one box or one system that does it all?<br />
Perhaps for a segment of the market that<br />
is in the offing, but considering the different<br />
output and quality requirements<br />
of various market segments it is more<br />
likely that a variety of multifunctional<br />
devices and systems will evolve, and that<br />
the traditional graphic arts suppliers<br />
and names new to the printing and publishing<br />
world will be offering their systems<br />
to the different market segments.<br />
So What? How will the new PC-based<br />
publishing systems affect users and vendors?<br />
Users will gain low-cost easy-tooperate,<br />
increasingly capable systems<br />
for their desktop publishing operations.<br />
While this tends to divert business from<br />
manufacturers and services of a specialized<br />
nature, it also encourages users to<br />
typeset and compose typographic pages<br />
of documents formerly typewritten and,<br />
although input may be done internally,<br />
new output work will likely flow to traditional<br />
suppliers. That is, at least, a<br />
likely near-future scenario. For the<br />
moment, the speed, page size limitation,<br />
and coarse resolution of many output<br />
devices put them in a different market<br />
than that serviced by graphic arts quality<br />
typesetters and commercial printers.<br />
Yet, by moving the typewritten document<br />
into the typographic world, a<br />
much broader base of personnel is<br />
becoming aware of typography's ability<br />
to compact information to effect production<br />
economies while making documents<br />
more attractive, more readable,<br />
more effective.<br />
Also Important. Xerox Corp. introduced<br />
two laser printers. The 4045<br />
Laser PC accommodates four PCs, prints<br />
ten pages per minute at 300 DPI. Can<br />
work with a variety of PCs and printer<br />
networks. It can take fonts from host<br />
computers. The 3700 is a higher speed,<br />
higher volume printer for distributed<br />
data processing systems and outputs 24<br />
pages per minute. The 3700 can interface<br />
to asynchronous and bisynchronous<br />
systems. It has a library of several<br />
hundred bitmaps and can print up to<br />
16 different typefaces on a single page<br />
as well as handling digitized custom<br />
fonts, company logos, letterheads and<br />
signatures...IBM is offering the 4201<br />
Proprinter" a low-end serial dot matrix<br />
printer designed to operate with IBM<br />
PCs and IBM compatible machines. The<br />
Proprinter is directly competitive with<br />
Japanese dot matrix printers now on the<br />
market. It can handle down-loadable<br />
fonts although only a sans serif font is<br />
resident. It generates NLQ (near letter<br />
quality) text on a single strike by jogging<br />
the paper for a second pass so that the<br />
white spaces between the dots are hit on<br />
the second pass...Matchmark" is a personal<br />
computer system to integrate<br />
design, layout, word processing, typography,<br />
and communication functions in<br />
a software/hardware package that small<br />
and medium size design groups can<br />
afford. (Matchmark, William J. Kircher<br />
& Associates, Inc., 1101 14th Street, NW,<br />
Suite 700, Washington, DC 20005)...<br />
MacDraw'" is new software from Apple<br />
Computer. For the Macintosh PC it<br />
offers the business user many powerful<br />
and easy-to-use features. It can be used<br />
to create presentations, charts, technical<br />
diagrams, maps, graphics, illustrations,<br />
rotate text, resize elements, reshape,<br />
reorder, delete objects. It differs from<br />
MacPaint in that the latter enables free<br />
hand drawing to be created and entered<br />
into the system, while MacDraw calls<br />
on a palette of graphic shapes. It can create<br />
documents as large as 8 x 10" and be<br />
combined with MacWrite:" MacPaint"<br />
and MacProject'" and be used with the<br />
Apple LaserWriter" and Image Writer""<br />
printers...The Comp/Edit' 6200 is a<br />
new low-cost digital typesetter. It sets<br />
up to a 46-pica line length, carries up to<br />
six fonts on-line, has a point size range<br />
of five to 72 points, automatic slanting<br />
and condensing of type. Outspeed is<br />
rated at 200 newspaper 1pm...The Scribe<br />
Document Production software of Unilogic,<br />
Ltd. now fully supports the Apple<br />
LaserWriter. The Scribe runs on a number<br />
of computers and can produce documents<br />
on many output devices including<br />
laser printers, photo-composers,<br />
high-resolution dot-matrix devices and<br />
letter quality printers. (Unilogic, Ltd.,<br />
Suite 240 Commerce Court, Four Station<br />
Square, Pittsburgh, PA 15219-1119)<br />
...ECRM's Autokon'" 2000 is a laser<br />
input scanner. It interfaces with many<br />
pre-press systems. A screen menu offers<br />
a choice of enhancements to be performed<br />
during scanning, including<br />
image sharpening, proportionate and<br />
anamorphic sizing, independent<br />
enhancing of midtone, highlight and<br />
shadow areas. It also has polarization,<br />
solarization, tint laying, and dropout<br />
capabilities. It has 14 special effects<br />
screens and halftone screens ranging<br />
from 55 to 144 lines per inch, and can<br />
scan at selectable resolutions from 200<br />
to 2,000 lines per inch. In addition there<br />
are other Autokon models as well as<br />
Compugraphic's Scanner 2000 and scanners<br />
from Imagetex, Xenotron's Art-<br />
Master and scanners from Datacopy, all<br />
of which feed a variety of typesetters.<br />
ThunderScan'" is a complete system that<br />
can digitize art for a Macintosh system.<br />
It can electronically enlarge, reduce,<br />
cut, copy, paste, edit, gray, enhance,<br />
and more. The original is rolled into<br />
an Imagewriter augmented with<br />
ThunderScan, to produce a high-resolution<br />
MacPaint document.<br />
Edward Gottschall is Executive Vice<br />
President of International Typeface<br />
Corporation (ITC) and Editor of its<br />
publication, U&<strong>lc</strong>.<br />
Consistent and non-intimidating commands.<br />
Easy-to-use operator interfaces make the Kodak<br />
Ektaprint electronic publishing system (KEEPS)<br />
easy to master. Most operations are invoked by use<br />
of a three-button mouse, screen icons, and popup<br />
menus, rather than special commands or multiple<br />
function keys. With the mouse, an operator<br />
simply points to an icon which pictures a desired<br />
function, such as a cabinet for filing, or a mailbox<br />
to send files to others on the KEEPS network.<br />
HEADLINE/BYLINE: ITC MIXAGE MEDIUM SUBHEAD: BLACK CHART: BOOK WITH BLACK TEXT/CAPTION: ITC ESPRIT BOOK WITH BLACK<br />
19
20<br />
Hefty hamburgers. Contrary to popular belief, hamburgers did not originate in Hamburg, Germany. The<br />
town of Hamburg, New York, claims credit for the invention and recently celebrated the 100th anniversary<br />
of the event by producing a 325-lb. specimen. Actually, as hamburgers go, that was not the most profound<br />
statement ever made. In March, 1975, a 440-lb. hamburger was concocted in Blackpool, England.<br />
It measured 14 ft. in diameter. Still, it was a midget compared with the 4,411-lb.<br />
whopper cooked up in Brussels, Belgium, in March,1983. After grilling, it was<br />
carved up into 7,440 portions.<br />
Conspicuous consumption. Guess who consumes the most calories per diem.<br />
An international survey revealed that Belgians, who net an average of 3,645 calories<br />
per person, per day, are among the highest. This comes as no surprise to anyone<br />
who has ever been exposed to Belgian chocolates, beer; beef and cooked-in-butter<br />
temptations, not to mention their national fast-food treat: a scoop of French fries<br />
doused with mayonnaise!<br />
An economical omelet. Company coming? Short of cash? You can throw a generous<br />
omelet party for 24 guests, using only one egg—provided it's an ostrich egg. Of all the<br />
birds known today, the ostrich lays the largest egg. It measures 6 to 8 inches in length,<br />
4 to 6 inches in diameter, and weighs, on the average, 3.7 lbs. Hearty appetite.<br />
■<br />
Department<br />
of<br />
weird,<br />
wonderful<br />
and<br />
useless<br />
information<br />
MIN<br />
HEADLINE' ITC CUSHING MEDIUM WITH BOOK BRACKETS TEXT, FRIZ QUADRATA WITH BOLD, ITC WEIDEMANN BOOK WITH BOLD, ITC LEAWOOD MEDIUM WITH BLACK
h .<br />
lAtitti' l: "ItiliAtW`i<br />
t1111 t<br />
' Ili it 0' 1<br />
I I I ,1<br />
( 41 il"L \A 'Y(3V<br />
60111.if* , IV.' IIIIIIL 01, P<br />
t , N,k<br />
( 4ti' ,0 . ,A1 141/(ittRitt" ::1( 1 (6 VI(<br />
t01 1 1 i lilL l \,, ; ; 1 ,i ,t, , i '5' 11 i . 1 ' ! \,,,v. ■!.s,b7 ititt . ''It1(11w7 1,i 11/ / Ice cream extravaganzas. Theo outrageous<br />
concepts were brought to fruition in the<br />
United States recently. During the Vermont<br />
Maple Festival in April, 1983, the town of<br />
St. Albans constructed a gigantic ice cream<br />
sundae. It consisted of 20,421 lbs. of ice<br />
cream, 300 lbs. each of whipped cream,<br />
strawberries, cherries, chocolate syrup and<br />
chocolate chips, 1,381 lbs. of maple syrup,100<br />
lbs. each of pistachios, walnuts and peanuts,<br />
1,500 lbs. of peaches and 2,000 lbs. of pineapple.<br />
The total weight was 27,102 lbs. and it<br />
stood 11 feet, 9 inches tall, including its bed of<br />
ice. For extravaganza number two, see below.<br />
ILLUSTRATIONS BY WALLY NEIBART<br />
One month later, in the town of Millburn, New Jersey,<br />
the Junior Class of Millburn High School took credit<br />
for assembling the longest-ever banana split. The<br />
ingredients included: 15,912 bananas, 950 gallons of<br />
ice cream, 919 lbs. of chocolate syrup, 297 gallons of<br />
whipped topping, 276 lbs. of nuts and 8,910 cherries.<br />
The entire concoction, measured end4o-end, stretched<br />
for 1.6 miles—a lot of ice cream in any country.<br />
Marion Muller<br />
A Bedouin banquet. At a traditional<br />
Bedouin wedding feast everything<br />
and everybody gets stuffed! The<br />
meal consists or cooked eggs<br />
stuffed into cooked fish, which are<br />
stuffed into cooked chickens, which<br />
are stuffed into a roasted sheep—all<br />
finally stuffed into a whole camel<br />
and barbecued! Hearty appetite.<br />
\‘)<br />
21<br />
TEXT: ITC MIXAGE BOOK WITH BOLD, ITC VELJOVIC BOOK WITH BOLD, ITC USHERWOOD BOOK WITH BOLD
22<br />
Justified Composition<br />
Lines of type that are flush at both the<br />
left and right edges.<br />
Kern<br />
lb space two letters closer together than<br />
customary in order to create visually<br />
consistent spacing between all letters.<br />
Layout<br />
Preliminary plan of the basic elements<br />
of a design shown in their proper<br />
positions.<br />
Leaders<br />
Row of dots, periods, hyphens, or dashes<br />
used to lead the eye across the page. Leaders<br />
are specified as 2, 3, or 4 to the em.<br />
Leading<br />
See Line Space.<br />
Leg<br />
The bottom diagonal on the uppercase<br />
and lowercase "k."<br />
Letterspacing<br />
Adding space between individual<br />
letters in a line.<br />
Ligature<br />
11,vo or more characters linked together<br />
as a single element.<br />
ff fi ffi CA<br />
A TY -)OGRA ICGT os<br />
Lightface<br />
A lighter version of a standard weight of<br />
the typeface.<br />
Line Space<br />
White space between lines of composition.<br />
Formerly referred to as "leading:<br />
Lining Figures<br />
Numerals the same height as the capitals<br />
in any given typeface: 1, 2, 3,4,5,6,<br />
7, 8,9,0. Lining figures align on the<br />
baseline.<br />
LINING 1234<br />
Link<br />
The stroke connecting the top and<br />
bottom of a lowercase "g."<br />
Loop<br />
The lower portion of the lowercase<br />
roman "g."<br />
<strong>Low</strong>ercase<br />
Small letters. The term is derived from<br />
hand composition of metal type. When<br />
type was set by hand, two cases were<br />
used to hold the individual pieces of<br />
metal type, with one case arranged<br />
higher than the other. The capitals were<br />
kept in the "upper case" and the small<br />
letters in the "lower case:<br />
Margins<br />
The unprinted areas around type and/<br />
or illustrative matter on a page: the top,<br />
bottom and sides.<br />
Markup<br />
In typesetting, to mark type specifications<br />
on the layout and copy for the<br />
typesetter.<br />
Measure<br />
The length or width of line to which<br />
type is set.<br />
Mechanical<br />
Camera-ready pasted-up assembly of<br />
all type and design elements mounted<br />
in exact position and containing instruc<br />
tions, either in the margins or on an<br />
overlay, for the printer.<br />
Minus Letterspacing<br />
The reduction of the normal space<br />
allocated between characters. Not possible<br />
with handset metal type.<br />
minus<br />
minus<br />
Mixing<br />
The combining of more than one style<br />
of typeface or point size in a word, line<br />
or block of copy.<br />
Modern<br />
Term used to describe a typestyle developed<br />
in late 18th century.<br />
Mutton<br />
Antiquated typesetting slang for an em<br />
space.<br />
Nut<br />
Antiquated typesetting slang for an en<br />
space.<br />
Old Style<br />
lbrm used to describe a typestyle developed<br />
in the early 17th century.<br />
Oldstyle Figures<br />
Numerals that vary in size, some having<br />
ascenders, and others descenders.<br />
These numbers normally correspond to<br />
lowercase proportions.<br />
oldstyle 1234567890<br />
Outline Characters<br />
Open characters made from solid ones<br />
by putting a line on the outside edge of<br />
a letter.<br />
Phototypesetting<br />
Also known as photocomposition and,<br />
erroneously, as cold type. The preparation<br />
of manuscript for printing, by pro-.<br />
jection of images of type characters<br />
onto photosensitive film or paper.<br />
Pica<br />
A measure of type equal to 12 points or<br />
approximately 1/6 of an inch. Derived<br />
from an old term for metal type of that<br />
size.<br />
6 picas<br />
Pi Characters<br />
Characters contained in a font that are<br />
not specifically typestyle oriented.<br />
Usually reference marks.<br />
Piece Fractions<br />
These come in three styles. Adaptable,<br />
which are made up of three separate<br />
characters: two large (text-size) numerals<br />
separated by a slash (3/4). Case,<br />
which are small-numbered fractions<br />
available as a single character (3/4).<br />
Piece, which are small-numbered fractions<br />
made up of three or more elements:<br />
nominator, slash or separating<br />
rule, and the denominator.<br />
Point<br />
Basic increment of typographic measurement,<br />
equal to 0.0138 inch.livelve<br />
points equal a pica.<br />
Point System<br />
The sizes of type cast by type founders<br />
are graduated on a uniform scale<br />
known as the point system.The unit of<br />
the system is a division of space called a<br />
point (.0138). Each size is described by<br />
its number of points, which refers to the<br />
height of the body on which it is cast.<br />
Ca<strong>lc</strong>ulations are simplified ordinarily by<br />
assuming the point as 1/72 of an inch.<br />
Quad (verb)<br />
lb space out the blank portion of a line<br />
to its full measure. Quad left (flush left)<br />
would require spacing out an incomplete<br />
line from the last character to the<br />
right-hand margin so that interword<br />
spaces remain consistent, and the left<br />
side of the text always starts at the left<br />
margin of the measure. Quad right<br />
means the opposite. Quad center would<br />
mean centering the line and adding<br />
equal space on the left and right to<br />
complete the measure. In metal typeset-<br />
ting, quadding is done by inserting less<br />
than type-high metal to fill out a line.<br />
The term is still used in phototypesetting<br />
by those familiar with metal typesetting<br />
terminology. Most people today<br />
simply say "flush left," "flush right,"<br />
"centered."
sARy BY<br />
Ragged (Unjustified)<br />
The setting of text type with an irregular<br />
appearance on either one or both<br />
margins, such as ragged right or ragged<br />
left. In ragged setting, interword spaces<br />
are not varied for justification.Ragged<br />
setting is the opposite of flush setting in<br />
which even margins are achieved on<br />
both sides of the text.<br />
Roman<br />
Name often applied to the Latin alphabet<br />
as it is used in English and European<br />
languages. Also used to identify<br />
upright, as opposed to italic or cursive,<br />
alphabet designs.<br />
Roman Numerals<br />
Roman letters used as numerals until<br />
the tenth century A.D.: l=1, V= 5, X=10,<br />
L=50,C=100,D= 500, and M=1,000.<br />
Rule<br />
A typographic element in the form of a<br />
line; used for a variety of typographic<br />
purposes.<br />
Runaround<br />
Type set to fit around an illustration,<br />
box or irregular shape.<br />
Running Head<br />
A book title or chapter head repeated at<br />
the top of every page in a book.<br />
Sans Serif<br />
Typestyles without serifs.<br />
Script<br />
Type designed to suggest handwriting<br />
or writing with a brush.<br />
Serif<br />
A line crossing the main strokes of a<br />
character. There are many varieties.<br />
Shoulder<br />
The curved stroke of the "h," "m," and "n:<br />
Small Caps<br />
Letters the approximate size of lowercase<br />
x-height characters, but in the<br />
design of the capitals. Normally available<br />
in text typeface designs only.<br />
Spine<br />
The main curved stroke of a lowercase<br />
or capital "S."<br />
Spur<br />
A small projection off a main stroke;<br />
found on many capital "G"s.<br />
Stem<br />
A straight vertical stroke (or main<br />
straight diagonal stroke in a letter<br />
which has no vertical strokes).<br />
Stet<br />
Proofreaders' mark indicating copy<br />
marked for correction should stand as it<br />
was before the correction was marked.<br />
Stress<br />
The direction of thickening in a curved<br />
stroke.<br />
Stroke<br />
A straight or curved line.<br />
Subscript<br />
A small symbol, numeral or letter that<br />
prints below or below and to the side of<br />
another character, as in H 20. Also called<br />
inferior letter or figure.<br />
Superscript<br />
A small symbol, numeral or letter that<br />
prints above the x-height and to the<br />
side of another character, as in 3 4. Also<br />
called superior letter or figure, particularly<br />
when used to refer to a citation<br />
source.<br />
Swash Letters<br />
Characters with fancy flourishes<br />
replacing a terminal or serif.<br />
Tail<br />
The part of a "Q" which makes it look<br />
different than an "0," or the diagonal<br />
stroke of the "R."<br />
Terminal<br />
The end of a stroke not terminated with<br />
a serif.<br />
Text<br />
The body copy in a book or on a page, as<br />
distinct from the headings.<br />
Text Type<br />
Main body type, usually smaller in size<br />
than 14 point.<br />
Thin Space<br />
Usually one-fourth to one-fifth of an em<br />
space.<br />
Transfer Type<br />
Type, carried on sheets, that can be<br />
transferred to a working surface by<br />
cutting out self-adhesive letterforms<br />
(cut-out lettering), or by burnishing<br />
(pressure-sensitive lettering).<br />
Transitional<br />
A typestyle that combines features of<br />
both Old Style and Modern; Baskerville,<br />
for example.<br />
Type<br />
The letters of the alphabet and all the<br />
other characters used singly or collectively,<br />
to create words, sentences, blocks<br />
of text, etc.<br />
Typeface<br />
One of the variations or styles in a typeface<br />
family, such as roman, italic, bold,<br />
ultra, condensed, expanded, outline,<br />
contour, etc.<br />
Type Family<br />
A range of typeface designs that are all<br />
variations of one basic style of alphabet.<br />
The usual components of a type family<br />
are roman, italic, and bold. These<br />
can also include variations in width<br />
(condensed or extended) and in weight<br />
(light to extra bold). Some families have<br />
many versions.<br />
BBB B<br />
"U. & L.C."<br />
Also written u/<strong>lc</strong>. Commonly used<br />
abbreviation for upper and lower case.<br />
Unit<br />
A fraction of an em. In an 18-unit system,<br />
for example, the em is divided into<br />
18 equal units of width. Many phototypesetting<br />
machines have 36-unit,<br />
54-unit and even finer unit values. The<br />
more units to the em, the more latitude<br />
the type designer has in assigning character<br />
widths.<br />
AT iT JAN AT ,IHY<br />
Unit Value<br />
The fixed unit width assigned to either<br />
side of individual characters.<br />
Uppercase<br />
Capitals; see <strong>Low</strong>ercase.<br />
Weight<br />
This term refers to the relationship<br />
between a letter's solid strokes and its<br />
open counters. A letter is said to be<br />
"lightweight" if the strokes are thin;<br />
"heavyweight" if thick.<br />
White Space Reduction<br />
The reducing of space allocated to the<br />
characters.<br />
Widow<br />
The end of a paragraph or of a column<br />
of reading matter that is undesirably<br />
short; a single, short word; or the end of<br />
a hyphenated word, such as "ing."<br />
Wrong Font (W.F.)<br />
A type character set in a face, style or<br />
size other than that specified.<br />
x-Height<br />
The height of lowercase characters<br />
excluding ascenders and descenders.<br />
axce<br />
HEADLINE . ITC AMERICAN TYPEWRITER LIGHT SUBHEAD: ITC TIFFANY HEAVY TEXT: ITC BOOKMAN LIGHT WITH DEMI Q, G: ITC BOOKMAN CONTOUR<br />
23
24<br />
A call for entries. Le concours.<br />
This is the second in a series of Herb<br />
Lubalin International Student Design<br />
Competitions to be sponsored by<br />
International Typeface Corporation, to<br />
honor and perpetuate the memory of<br />
Herb Lubalin, internationally famed<br />
graphic designer, a founder and principal<br />
of ITC, editor of U&<strong>lc</strong>, teacher, and concerned<br />
citizen of the world.<br />
The theme of this competition is<br />
printing and its three great privileges as<br />
expressed by Beatrice Warde, the<br />
scholarly advocate of fine printing and<br />
typography, on behalf of the Monotype<br />
Corporation Limited.<br />
Who can enter?<br />
Undergraduate, graduate or special<br />
students of bona fide art or graphic<br />
design schools or departments any place<br />
in the world.<br />
THE JURY:<br />
STUART ASH<br />
IVAN CHERMAYEFF<br />
COLIN FORBES<br />
APRIL GREIMAN<br />
GEORGE TSCHERNY<br />
PRIZES:<br />
FIRST PRIZE,<br />
THE HERB LUBALIN MEDAL<br />
AND $5,000.<br />
SECOND PRIZE, $2,500.<br />
EIGHT PRIZES OF $500 EACH.<br />
Certificates will be issued for all pieces<br />
selected for inclusion in the exhibition<br />
which will be held in the ITC Center in<br />
New York, in the Fall of 1986. A selection<br />
of the winning pieces will be featured in<br />
a special issue of U&Ic.<br />
School certification:<br />
Each entrant must submit a note from<br />
the school on the school's letterhead<br />
certifying that the entrant is a student.<br />
None.<br />
Entry/hanging fees:<br />
Format:<br />
Format is at the artist's/designer's<br />
choice—an advertisement, booklet,<br />
poster, blotter, game, sculpture, three<br />
dimensional piece or color slides or<br />
reproduction quality photographic prints<br />
of them—all are acceptable so long as<br />
the mandatory copy is included. Entries<br />
larger than 3' x 4' or heavier than 15 lbs.<br />
are not acceptable but color slides or<br />
photographic prints of them will be<br />
accepted, as will VHS format video and<br />
16mm film. All typeset reading matter<br />
must be set in an ITC typeface.<br />
Calligraphic or handlettered reading<br />
matter will also be accepted.<br />
Photographic entries should be shot<br />
against a black background.<br />
Copy:<br />
The following statement must appear in<br />
each piece submitted.The copy may be<br />
set in English or a language of the<br />
designer's choice.<br />
Stop! I want to think about that.<br />
"We (printers) have three great privileges<br />
which the spoken word cannot offer<br />
even now when it has the use of its own<br />
vast multiplication process. We have the<br />
privilege of turning back from the page<br />
on which we have found something<br />
debatable, in order to find and reread<br />
that point where the argument started...<br />
And we can turn forward to the end, or<br />
far enough ahead to see what conclusion<br />
the fellow is driving toward...And the<br />
third privilege is that of stopping short at<br />
any word or statement that seems to call<br />
for meditation, verification, or resort to<br />
the dictionary. Printing is on the side of<br />
the people who still have the courage to<br />
say 'Stop, I want to think about that..."<br />
(Beatrice Warde)<br />
Artist/designer releases:<br />
All artwork submitted to this competition<br />
cannot be returned. Students should<br />
make copies of their entries if they want<br />
a record of them. By submitting work,<br />
you are granting permission for ITC to<br />
use the art for publication in U&<strong>lc</strong> and<br />
for publicity for the exhibition. The<br />
designer/artist will receive proper credit<br />
for any piece that is reproduced.<br />
Deadline for entries:<br />
All entries must be received by May 12,<br />
1986.<br />
Entry form:<br />
Please make copies of the entry form<br />
and attach one securely to each entry,<br />
preferably on the back or in a margin<br />
safely away from the design. If the entry<br />
is a slide or a small piece or a sculpture,<br />
print your name and a key number on<br />
the frame or the back or under the base<br />
and key it by number to an entry form.<br />
Where to send your entry:<br />
ITC Center, 2 Hammarskjold Plaza, New<br />
York, New York 10017 USA<br />
Mailing/shipping:<br />
Costs to be borne by entrant. Please use<br />
protective mailers to ensure that artwork<br />
does not arrive damaged. All entries<br />
must be able to withstand handling by<br />
exhibit personnel, jurors, and press<br />
photographers.<br />
Postage/customs requirements:<br />
Please be sure the postage is adequate<br />
and that your package has the proper<br />
customs information and forms so that it<br />
will leave your country and be properly<br />
received in the United States. The phrase<br />
"Material for Contest. No Commercial<br />
Value." on the package normally will<br />
expedite it through customs.<br />
Francais<br />
Voici le second concours dans la serie<br />
Herb Lubalin International Student<br />
Design Competitions organisee par<br />
International Typeface Corporation en<br />
hommage a Herb Lubalin dont elle<br />
veut perpetuer le souvenir : parce qu'il<br />
etait un graphite celebre dans le<br />
monde ender; parce qu'il etait le fondateur<br />
et le doyen de ITC; l'editeur de<br />
U6t1c; un enseignant exemplaire et un<br />
citoyen responsable de la Planete Terre.<br />
Le theme de ce concours est l'imprimerie<br />
et ses trois avantages principaux<br />
tels qu'ils ont ete decrits par<br />
Beatrice Warde qui a defendu et<br />
illustre la cause de la typographie avec<br />
tant de chaleur et d'erudition au nom<br />
de la Monotype Corporation Ltd.<br />
Gui peut participer?<br />
Les etudiants, diplOmes ou non, et les<br />
boursiers inscrits aupres d'une ecole<br />
d'art ou dans la section graphique d'une<br />
kale n'importe ota dans le monde.<br />
LE JURY:<br />
STUART ASH<br />
IVAN CHERMAYEFF<br />
COLIN FORBES<br />
APRIL GREIMAN<br />
GEORGE TSCHERNY<br />
LES PRIX :<br />
LE PREMIER PRIX CONSISTE EN<br />
LA MEDAILLE HERB LUBALIN,<br />
PLUS $5,000.<br />
LE DEUXIEME PRIX, $2,500.<br />
VIENNENT ENSUITE HUIT PRIX<br />
DE $ 500 CHACUN.<br />
Des attestations seront donnees pour<br />
tous les envois qui auront ete retenus<br />
pour ('exposition qui se tiendra au ITC<br />
Center a New York en automne 1986.<br />
Ils seront egalement publies dans un<br />
numero special de U&Ic.<br />
Garantie :<br />
Tout envoi dolt etre accompagne dune<br />
attestation ecrite a l'en-tete de<br />
l'etablissement ota l'etudiant poursuit<br />
ses etudes.<br />
HEADLINES/SUBHEADS: ITC FRANKLIN GOTHIC DEMI TEXT: ITC CHELTENHAM BOOK WITH BOLD, ITC SYMBOL BOOK WITH BOLD, ITC CLEARFACE REGULAR WITH HEAVY ENTRY FORM: ITC FRANKLIN GOTHIC BOOK<br />
[Want.<br />
Droits d'inscription :<br />
Format :<br />
Le format et la presentation sont au<br />
choix du participant : annonce, brochure,<br />
affiche, agenda, sculpture ou<br />
tout autre objet tri-dimensionnel, peu<br />
importe, des ('instant oil le texte impose<br />
y figure. Les dimensions superieures<br />
a 90 x 120 cm, les poids superieurs<br />
a 7 kilos sont exclus. Mais on<br />
peut envoyer des reproductions sous<br />
forme de diapositives ou de photos en<br />
couleurs de bonne qualite. Tous les<br />
textes doivent absolument etre composes<br />
en caracteres ITC. Seront egalement<br />
accepter les textes calligraphies<br />
ou dessines. Pour les photos, un fond<br />
noir s'impose.<br />
Theme impose :<br />
Le texte suivant dolt figurer dans chaque<br />
envoi. II peut etre compose en anglais<br />
ou en toute autre langue au choix.<br />
Attendez! Je veux y reflechir.<br />
"Nous (les imprimeurs) nous avons sur<br />
la langue parlee trois avantages qu'elle<br />
n' pas, meme aujourd'hui, en Wit de<br />
tous les moyens de diffusion existants.<br />
Nous pouvons retourner a la page oil<br />
nous avons vu quelque chose de<br />
discutable, pour retrouver et relire le<br />
passage oil nous avons bronche. Nous<br />
pouvons aussi aller voir a la fin, ou<br />
assez loin pour voir ou l'auteur veut en<br />
venir...Le troisieme avantage, c'est que<br />
nous pouvons nous arreter a chaqUe<br />
mot, a chaque phrase qui demande<br />
reflexion, examen ou verification dans<br />
un dictionnaire. Limprimerie est au<br />
service de tous ceux qui ont encore le<br />
courage de dire : 'Attendez! Je veux y<br />
reflechir..: "<br />
(Beatrice Warde)<br />
Les droits :<br />
Aucune illustration soumise dans le<br />
cadre de ce concours ne pourra etre<br />
retournee. Les etudiants devraient<br />
faire des copies des illustrations qu'ils<br />
soumettent s'ils desirent les conserver.<br />
En soumettant votre travail, vous donnez<br />
a ITC la permission de publier les<br />
illustrations dans l'Ubdc et de les utiliser<br />
pour faire la publicite de l'exposition.Toute<br />
piece reproduite<br />
cornportera mention du nom du<br />
dessinateur et/ou de ('artiste.<br />
Delais :<br />
Tous les envois doivent nous parvenir<br />
pour le 12 mai 1986.<br />
Bulletin d'inscription :<br />
Veuillez faire autant de copies du bulletin<br />
d'inscription qu'il y a de travaux
que vous voulez nous faire parvenir.<br />
Fixez-en une de preference au dos de<br />
chaque envoi, ou bien en marge du<br />
projet. S'il s'agit d'une diapositive, d'un<br />
objet de petite dimension ou d'une<br />
sculpture, imprimez votre nom et un<br />
numero de code sur l'encadrement, au<br />
dos ou sur le socle, et ajoutez le numero<br />
de code a votre nom sur le bulletin<br />
d'inscription.<br />
Adresse :<br />
ITC Center, 2 Hammarskjold Plaza, NY,<br />
NY 10017 USA.<br />
Expedition :<br />
Les frais de port sont a charge des participants.<br />
Veillez au conditionnement<br />
afin que vos envois nous arrivent en<br />
bon etat. Tout envoi quel qu'il soit dolt<br />
pourvoir resister aux manipulations du<br />
jury, du personnel d'exposition et des<br />
photographer de presse.<br />
Frais de port. Douane :<br />
Veuillez affranchir correctement et<br />
n'omettez aucune des informations et<br />
des formalites douanieres qui permettront<br />
a votre envoi de quitter votre<br />
pays et de nous parvenir aux Etats-Unis.<br />
La formule :<br />
OBJET DE CONCOURS—SANS VA-<br />
LEUR VENALE, facilitera le passage en<br />
douane.<br />
Deutsch<br />
Dieses ist der zweite in einer Serie von<br />
internationalen Herb-Lubalin-Studentendesignwettbewerben<br />
unter der Schirmherrschaft<br />
der International Typeface Corporalion<br />
zum Gedachtnis an Herb Lubalin,<br />
den international bekannten grafischen<br />
Gestalter, Mitbegriinder und Vorstandsmitglied<br />
von ITC, Schriftleiter von U&<strong>lc</strong>,<br />
Lehrer und besorgten Weltbiirger.<br />
Das Thema dieses Wettbewerbs ist das<br />
gedruckte Wort und die drei daraus entspringenden<br />
Vorteile, wie sie Beatrice<br />
Warde, beramte Fiirsprecherin feiner<br />
Typografie und hervorragenden Drucks,<br />
einst fiir die Monotype Corporation Limited<br />
beschrieb.<br />
Wer kann teilnehmen?<br />
Studenten an Kunstschulen oder Hochschulen<br />
mit Abteilungen fur grafische<br />
Gestaltung in der ganzen Welt.<br />
DIE JURY:<br />
STUART ASH<br />
Einladung zum Wettbewerb.<br />
"Halt!<br />
Ich mochte<br />
dariiber<br />
nachdenken:'<br />
IVAN CHERMAYEFF<br />
COLIN FORBES<br />
APRIL GREIMAN<br />
GEORGE TSCHERNY<br />
PREISE:<br />
ERSTER PREIS IST<br />
DIE HERB-LUBALIN-MEDALLIE<br />
UND $5000.<br />
ZWEITER PREIS $2500.<br />
ACHT PREISE VON JE $500.<br />
Far jede Arbeit, die fur die Ausstellung im<br />
ITC-Center in New York im Herbst 1986<br />
auserwahlt worden ist, wird eine Urkunde<br />
ausgestellt. Aul3erdem wird eine Auswahl<br />
von angenommenen Arbeiten in einer<br />
Sonderausgabe von U&<strong>lc</strong> veroffentlicht<br />
werden.<br />
Beglaubigung der Schule:<br />
Jeder Teilnehmer mul3 eine Bescheinigung<br />
mit dem Briefkopf seiner Lehranstalt vorlegen,<br />
die bestatigt, daI3 der Teilnehmer<br />
ein Schiller/Student ist.<br />
Keine.<br />
Teilnahmegebiihren:<br />
Format der Eingaben:<br />
Die Art des Entwurfs steht dem Teilnehmer<br />
frei. Eine Anzeige, Broschiire, ein Plakat,<br />
Werbezettel, Spiel, eine Skulptur, ein dreidimensionales<br />
Stuck oder ein Farbdia oder<br />
eine reproduktionsfahige Fotografie davon<br />
...alle werden angenommen solange sie<br />
den vorgeschriebenen Text enthalten.<br />
Arbeiten, die groBer sind als 90 x 120 cm<br />
oder schwerer als 7 kg, konnen nicht angenommen<br />
werden. Diapositive, druckreife<br />
Fotografien, 16-mm-Film oder Videokassetten<br />
im VHS-Format sind jedoch<br />
akzeptabel. Gedruckter Text mu13 in einer<br />
ITC-Schrift gesetzt sein. Kalligrafische oder<br />
handgeschriebene Texte werden ebenfalls<br />
angenommen. Fotografische Eingaben<br />
miissen einen schwarzen Hintergrund<br />
aufweisen.<br />
Text:<br />
Das folgende Zitat mul3 auf alien eingereichten<br />
Arbeiten erscheinen. Der Text<br />
kann in Englisch oder in jeglicher, vom<br />
Entwerfer gewahlten Sprache gesetzt oder<br />
geschrieben werden.<br />
Halt! Ich mochte dariiber nachdenken.<br />
"Wir Drucker haben drei bedeutende Vorteile,<br />
die das gesprochene Wort nicht zu<br />
bieten vermag, selbst heute, wo es seinen<br />
eigenen riesigen VerbreitungsprozeB zur<br />
Verfugung hat. Wir haben den Vorteil, daB<br />
wir von der Seite, auf der wir etwas Debattierbares<br />
gefunden haben, zuriick blattern<br />
konnen, urn den Punkt zu finden und<br />
erneut zu lesen, an dem das Argument<br />
begann...Und wir konnen weiter blattern<br />
0<br />
bis zu seinem Ende oder weit genug<br />
voraus, um festzustellen, was der Schreiber<br />
im Sinn hat...Und der dritte Vorteil ist<br />
der, daB wir bei jeglichen Worten oder<br />
Behauptungen verweilen konnen, die zum<br />
Nachdenken anzuregen scheinen, die Bestatigung<br />
btnotigen oder die man in einem<br />
Lexikon nachschlagen mochte. Das gedruckte<br />
Wort kommt jenen Menschen<br />
zugute, die noch immer den Mut haben<br />
auszurufen: Halt, ich mochte darither<br />
nachdenken."<br />
(Beatrice Warde)<br />
Freigabe durch den Kfinstler:<br />
Alle fur diesen Wettbewerb vorgelegten<br />
kunstlerischen Entwiirfe konnen nicht<br />
zuruckgesandt werden. Wer einen Nachweis<br />
daftir braucht, sollte eine Kopie davon<br />
anfertigen. Durch die Vorlage Ihrer Arbeit<br />
geben Sie ITC die Erlaubnis, die ki.instlerischen<br />
Werke in U&Ic zu veroffentlichen und<br />
zur Werbung fur die Ausstellung zu benutzen.<br />
Fur jedes Stuck, das reproduziert wird,<br />
wird der Designerlkiinstlerische Gestalter<br />
ordnungsgemdf3 namentlich erwahnt.<br />
Annahmeschlul3:<br />
Alle Eingaben miissen bis zum 12. Mai<br />
1986 eingegangen sein.<br />
Wettbewerbsformular:<br />
Wir bitten darum, eine Kopie des Formulary<br />
anzufertigen und an jeder Eingabe zu<br />
befestigen, vorzugsweise an der Riickseite<br />
oder am Rande in einiger Entfernung vom<br />
Entwurf. Im Falle von Diapositiven oder<br />
Skulpturen, bitte Name und eine Identifizierungszummer<br />
am Rahmen, auf der<br />
Rack- oder Unterseite anbringen und diese<br />
Nummer auf dem Wettbewerbsformular<br />
wiederholen.<br />
Anschrift fiir Einsendungen:<br />
ITC Center, 2 Hammarskjold Plaza,<br />
New York, New York 10017 USA.<br />
Versand:<br />
Die Kosten des Versands sind vom Wettbewerbsteilnehmer<br />
zu tragen. Bitte sichere<br />
Verpackung benutzen, so daB die eingereichten<br />
Arbeiten beim 11-ansport nicht<br />
beschadigt werden. Alle Einsendungen<br />
miissen haufigem Anfassen und Herumreichen<br />
durch Austellungspersonal, Preisrichter<br />
und Pressefotografen standhalten<br />
konnen.<br />
PortolZollvorschriften:<br />
Bitte darauf achten, daB die Einsendungen<br />
mit genugend Porto und den erforderlichen<br />
Zollformularen versehen sind, damit<br />
sowohl beim Versand als auch beim Eintreffen<br />
in den USA keine Schwierigkeiten<br />
entstehen. Die Aufschrift "Material for<br />
Contest. No Commercial Value" ist normalerweise<br />
far die Erfordernisse der hiesigen<br />
Zollbehorden ausreichend.<br />
Attach at this edge only.<br />
Nur an dieser Seite befestigen.<br />
A fixer de ce cote seulement<br />
Entry Form / Teilnahmeformular / Bu lletin De Participation / Please ty pe o r p rint neatly / Bitte mit Masc hine oder in klarer Druckschrift schreiben / A tap e r ou a ecrire en caracteres d 'imp rimerie<br />
0<br />
'2<br />
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E<br />
-o<br />
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C<br />
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Entrant's complete home mailing address / Vollstandige Postanschrift / Adresse comp lete<br />
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„.<br />
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'Cr)<br />
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S Co Ea' in 15.<br />
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Size / Sc hr iftgrOsse / Dimensions ou force de corps.<br />
Typeface: I TC<br />
Instructor / Professor ! Professeur<br />
Schoo l / Lehranstalt / Ecole<br />
25<br />
Schoo l 's comp lete ma iling address / Genaue Adresse der Le hra nstalt / Adresse complete de l 'eco le
26<br />
FAMILIES TO REMEMBER<br />
HE BRUEGELS<br />
Artist's rendition of a Pieter (the Elder) Bruegel engraving .<br />
Every creative person walks a tightrope. With every new project comes the<br />
same old challenge: how to maintain a successful posture without falling into<br />
the trap of repeating yourself. Who doesn't have a few tried-and-true (slightly<br />
used) campaign ideas tucked away? Who isn't tempted to fall back on the<br />
same sure-shot photographer?...the hot illustrator?...the few agreeable<br />
typefaces that seem to work well for every occasion? It makes life easy.<br />
In the matter of typography, which is something we know a thing or two<br />
about at ITC, there seem to be a few typefaces that are inordinately popular.<br />
They so valiantly satisfy the needs and sensibilities of designers, you may<br />
wonder why we bother to offer such a vast variety of others. The reason is:<br />
to keep life from becoming too easy...too routine—too deadly.<br />
To be sure, typeface families, like human families, have their old "grandees."<br />
Names like Medici, Hapsburg, Windsor, Romanov, Astor, Vanderbilt,<br />
Ford, Rockefeller, Rothschild, roll off our tongues. But there are many grand<br />
old families, in both categories, whose names may not come to mind immediately,<br />
yet are nevertheless uncommonly interesting and worthy.<br />
To refresh your memory and, we hope, your creative appetite, the next few<br />
issues of U&Ic will present some of these notable families—both genealogic<br />
and typographic—that are deserving of your renewed attention.<br />
According to the record books, there were no fewer<br />
than twelve painters in this distinguished Flemish<br />
family. Without doubt, the best known of them is<br />
Pieter Bruegel, the Elder, who lived from 1525 to<br />
about 1569. By the time he was 26, he was admitted<br />
to membership in the Antwerp Academy. As was<br />
expected of any painter worth his salt in those days,<br />
he also made the mandatory trip to Italy to study<br />
the great Renaissance masters. Although he was<br />
deeply affected by what he saw, he did not go home<br />
and mimic the Italians' grandiose biblical and mythological<br />
themes in Roman architectural settings.<br />
Instead, he concentrated on one of the here-andnow<br />
problems of Flemish life. His country was<br />
desperately fighting off political and spiritual domination<br />
by Spain and the Catholic Church. Though<br />
Pieter Bruegel, the Elder, was not a blatantly religious<br />
painter, his works were preachy and moralizing<br />
in their own inimitable way. Instead of portraits<br />
of holy families and saints, he painted peasants.<br />
Instead of fantasies of heaven and hell, he painted<br />
country landscapes...the seasons...peasants at work<br />
and peasants at play. It earned him the nickname,<br />
"Peasant Bruegel." But what Bruegel meant to express<br />
in his pastoral scenes was his deep conviction that<br />
God was at work in nature and in man...and that<br />
God, nature and man were one.<br />
Pieter's eldest son, Pieter, the Younger, was known<br />
as Pieter "Hell" Bruegel. He lived from 1564 to 1637.<br />
He first learned to paint alongside his father, and he,<br />
too, became a member of the Antwerp Academy.<br />
Unlike his father, his religiosity was undisguised. He<br />
painted such fierce, diabolical versions of hell, with<br />
ghostly figures and raging fires, that he went down<br />
in history with the middle name,"Hell."<br />
A second son, Jan "Velvet" Bruegel (c.1568-1625)<br />
was born just a few months before the death of his<br />
father. Jan was brought up by his grandmother, who<br />
was the widow of the miniaturist Pieter Coecke. It is<br />
believed that she may have given him his first lessons<br />
in painting, but he eventually went to Antwerp<br />
also, to study, and then to Italy. He was fortunate<br />
to find a patron in Italy, and later served as court<br />
painter to the Archduke of Austria. When he returned<br />
home, he became a friend and assistant to Peter<br />
Paul Rubens. "Velvet" Bruegel was much in demand<br />
by Rubens and other figure painters for his skill in<br />
providing landscape backgrounds for their canvases.<br />
He was particularly ingenious in his handling of<br />
intricate animal, flower, shell, fruit and jewel forms.<br />
A grandson of Jan "Velvet" Bruegel, named Abraham,<br />
was born in Antwerp in 1631, but early on took
AND ITC NOVARESE<br />
off for Italy to pursue his painting career there. He<br />
worked under the patronage of Prince Antonio di<br />
Messina, and was known to have been in Rome from<br />
1660 to 1671, judging from paintings found there.<br />
Eventually he settled in Naples where he founded<br />
his own school.<br />
All in all, descendants of the Bruegel family<br />
continued to paint in Italy and Flanders well into<br />
the 18th century. The later generations established<br />
a reputation for their skill in flower painting.<br />
ILLUSTRATIONS BY JOE CIARDIELLO<br />
ITC Novarese® was the first ITC typeface<br />
designed by the distinguished<br />
Italian type designer, Aldo Novarese.<br />
Originally drawn for Haas'sche<br />
Schriftgiesserei AG of Switzerland,<br />
ITC Novarese was licensed by ITC<br />
and released in 1979.<br />
As a classic roman, ITC Novarese<br />
blends the design traits of several<br />
earlier typefaces with currently popular<br />
character proportions. The<br />
x-height is ample in the interest of<br />
legibility, and the descenders somewhat<br />
abbreviated for economy of<br />
space; contrast between thick and<br />
thin strokes is obvious but not<br />
extreme, giving text composition<br />
sparkle without loss of readability.<br />
To maintain classic character proportions,<br />
Aldo Novarese has used a<br />
traditional but not common design<br />
trait. He drew the lowercase ascenders<br />
just slightly taller than the capitals.<br />
The modified proportions of<br />
these six characters bring elegance<br />
and refinement to a typeface of ultimate<br />
practicality.<br />
Small capitals and oldstyle figures<br />
have been drawn for the Book and<br />
Medium weights. These were created<br />
to give versatility and the capability<br />
for perfect color in text composition.<br />
Unusual by current standards, but<br />
in keeping with the first italics drawn<br />
in the 16th century, ITC Novarese has<br />
upright capitals to accompany the<br />
chancery lowercase. The net result is<br />
a sense of drama and dynamics in<br />
italic copy without loss of compatibility<br />
with the roman designs.<br />
Few typefaces combine the qualities<br />
of strength, clarity, dynamics<br />
and elegance so well as does ITC<br />
Novarese.<br />
HEADLINE: ITC NOVARESE MEDIUM TEXT BOOK. BOLD<br />
27
28<br />
BOOK<br />
According to the record books, there were no fewer th<br />
an twelve painters in this distinguished Flemish fami<br />
ly. Without doubt, the best known of them is Pieter Br<br />
uegel, the Elder, who lived from 1525 to about 1569. B<br />
y the time he was 26, he was admitted to membershi<br />
p in the Antwerp Academy. As was expected of any p<br />
ainter worth his salt in those days, he also made the<br />
mandatory trip to Italy to study the great Renaissanc<br />
e masters. Although he was deeply affected by what<br />
he saw, he did not go home and mimic the Italians' gr<br />
andiose biblical and mythological themes in Roman<br />
architectural settings. Instead, he concentrated on o<br />
ne of the here-and-now problems of Flemish life. His<br />
country was desperately fighting off political and spir<br />
itual domination by Spain and the Catholic Church. T<br />
hough Pieter Bruegel, the Elder, was not a blatantly r<br />
eligious painter, his works were preachy and moralizi<br />
ng in their own inimitable way. Instead of portraits of<br />
holy families and saints, he painted peasants. Instea<br />
BOOK ITALIC<br />
According to the record books, there were no fewer than twelve pa<br />
inters in this distinguished Flemish family. Without doubt, the b<br />
est known of them is Pieter Bruegel, the Elder, who lived from 15<br />
25 to about 1569. By the time he was 26, he was admitted to m<br />
embership in the Antwerp Academy. As was expected of any pai<br />
nter worth his salt in those days, he also made the mandatory tri<br />
p to Italy to study the great Renaissance masters. Although he w<br />
as deeply affected by what he saw, he did not go home and mimic<br />
the Italians' grandiose biblical and mythological themes in Rom<br />
an architectural settings. Instead, he concentrated on one of the<br />
here-and-now problems of Flemish life. His country was despera<br />
tely fighting off political and spiritual domination by Spain and<br />
the Catholic Church. Though Pieter Bruegel, the Elder, was not<br />
a blatantly religious painter, his works were preachy and morali<br />
zing in their own inimitable way. Instead of portraits of holy fam<br />
ilies and saints, he painted peasants. Instead of fantasies of heav<br />
en and hell, he painted country landscapes... the seasons... peas<br />
ants at work and peasants at play. It earned him the nickname<br />
Peasant Bruegel." But what Bruegel meant to express in his pas<br />
TC NOS<br />
MEDIUM<br />
According to the record books, there were no fewer<br />
than twelve painters in this distinguished Flemish f<br />
amily. Without doubt, the best known of them is Pie<br />
ter Bruegel, the Elder, who lived from 1525 to about<br />
1569. By the time he was 26, he was admitted to me<br />
mbership in the Antwerp Academy. As was expecte<br />
d of any painter worth his salt in those days, he also<br />
made the mandatory trip to Italy to study the great<br />
Renaissance masters. Although he was deeply affec<br />
ted by what he saw, he did not go home and mimic t<br />
he Italians' grandiose biblical and mythological the<br />
mes in Roman architectural settings. Instead, he co<br />
ncentrated on one of the here-and-now problems o<br />
f Flemish life. His country was desperately fighting<br />
off political and spiritual domination by Spain and t<br />
he Catholic Church. Though Pieter Bruegel, the Eld<br />
er, was not a blatantly religious painter, his works w<br />
ere preachy and moralizing in their own inimitable<br />
way. Instead of portraits of holy families and saints<br />
MEDIUM ITALIC<br />
According to the record books, there were no fewer than twelve<br />
painters in this distinguished Flemish family. Without doubt, t<br />
he best known of them is Pieter Bruegel, the Elder, who lived fr<br />
om 1525 to about 1569. By the time he was 26, he was admit<br />
ted to membership in the Antwerp Academy. As was expected<br />
of any painter worth his salt in those days, he also made the m<br />
andatory trip to Italy to study the great Renaissance masters<br />
Although he was deeply affected by what he saw, he did not go<br />
home and mimic the Italians' grandiose biblical and mythologi<br />
cal themes in Roman architectural settings. Instead, he concen<br />
trated on one of the here-and-now problems of Flemish life. Hi<br />
s country was desperately fighting off political and spiritual do<br />
mination by Spain and the Catholic Church. Though Pieter<br />
Bruegel, the Elder, was not a blatantly religious painter, his w<br />
orks were preachy and moralizing in their own inimitable way<br />
Instead of portraits of holy families and saints, he painted peas<br />
ants. Instead of fantasies of heaven and hell, he painted countr<br />
y landscapes...the seasons...peasants at work and peasants at<br />
play. It earned him the nickname, Peasant Bruegel." But wha
ARESE<br />
BOLD<br />
According to the record books, there were no few<br />
er than twelve painters in this distinguished Flemi<br />
sh family. Without doubt, the best known of them is<br />
Pieter Bruegel, the Elder, who lived from 1525 to<br />
about 1569. By the time he was 26, he was admitte<br />
d to membership in the Antwerp Academy. As was<br />
expected of any painter worth his salt in those day<br />
s, he also made the mandatory trip to Italy to study<br />
the great Renaissance masters. Although he was d<br />
eeply affected by what he saw, he did not go home<br />
and mimic the Italians' grandiose biblical and myt<br />
hological themes in Roman architectural settings<br />
Instead, he concentrated on one of the here-and<br />
now problems of Flemish life. His country was des<br />
perately fighting off political and spiritual domina<br />
tion by Spain and the Catholic Church. Though Pie<br />
ter Bruegel, the Elder, was not a blatantly religiou<br />
s painter, his works were preachy and moralizing i<br />
n their own inimitable way. Instead of portraits of<br />
BOLD ITALIC<br />
According to the record books, there were no fewer than<br />
twelve painters in this distinguished Flemish family. W<br />
ithout doubt, the best known of them is Pieter Bruegel<br />
the Elder, who lived from 1525 to about 1569. By the ti<br />
me he was 26, he was admitted to membership in the A<br />
ntwerp Academy. As was expected of any painter worth<br />
his salt in those days, he also made the mandatory trip<br />
to Italy to study the great Renaissance masters. Althou<br />
gh he was deeply affected by what he saw, he did not go<br />
home and mimic the Italians' grandiose biblical and m<br />
ythological themes in Roman architectural settings. In<br />
stead, he concentrated on one of the here-and-now pro<br />
blems of Flemish life. His country was desperately fight<br />
ing off political and spiritual domination by Spain and<br />
the Catholic Church. T hough Pieter Bruegel, the Elder<br />
was not a blatantly religious painter, his works were p<br />
reachy and moralizing in their own inimitable way. Ins<br />
tead of portraits of holy families and saints, he painted<br />
peasants. Instead of fantasies of heaven and hell, he pa<br />
ULTRA<br />
According to the record books, there were<br />
no fewer than twelve painters in this distin<br />
guished Flemish family. Without doubt, the<br />
best known of them is Pieter Bruegel, the E<br />
'der, who lived from 1525 to about 1569. By t<br />
he time he was 26, he was admitted to mem<br />
bership in the Antwerp Academy. As was ex<br />
pected of any painter worth his salt in thos<br />
e days, he also made the mandatory trip to I<br />
taly to study the great Renaissance master<br />
s. Although he was deeply affected by what<br />
he saw, he did not go home and mimic the It<br />
alians' grandiose biblical and mythological<br />
themes in Roman architectural settings. In<br />
stead, he concentrated on one of the here-a<br />
nd-now problems of Flemish life. His countr<br />
y was desperately fighting off political and<br />
spiritual domination by Spain and the Cath<br />
olic Church. Though Pieter Bruegel, the Eld<br />
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ABCDEFGHIJKLMNOPQRSTUVWXYZ<br />
1234567890!$%C&*()<br />
c01ECE13coce<br />
abcdefghijklrnnopqrstuvwxyz<br />
ABCDEFGHIJKLMNOPQRSTUVWXYZ<br />
1234567890!$%(&*()<br />
cOlECEfhooece<br />
29
30<br />
FAMILIES TO REMEMBER<br />
HE BARRYMORES AND<br />
Either because of our classless society, or in<br />
spite of it, Americans have always been smitten<br />
by royalty. So there was universal approval<br />
when we finally found a family we could<br />
crown "The Royal Family of the American<br />
Theatre." The Barrymores deserved the title.<br />
Grandfather John Drew Sr. was a famous<br />
Irish actor. Grandmother Louisa Lane Drew<br />
was one of the most revered actresses and<br />
theatre managers of the 19th century. Both<br />
their children, John Jr. and Georgina went<br />
on stage. And after Georgina married the<br />
English actor, Maurice Barrymore (stage<br />
name, Herbert Blythe) they became the parents<br />
of Lionel, Ethel and John.<br />
Because the Barrymores were perpetually<br />
on tour, the children grew up in their<br />
grandmother's house. Their lives were<br />
clouded early on by Georgina's untimely<br />
death, and later, by Maurice's mental deterioration.<br />
So it was almost exclusively<br />
through their grandmother's influence that<br />
they found stability and direction. Though<br />
none of the Barrymore children wanted to<br />
act, out of necessity and their grandmother's<br />
connections they were eventually drawn<br />
to the theatre.<br />
Lionel (1878-1954) hoped to be an artist<br />
and actually spent four years in Paris studying<br />
painting. When he recognized there<br />
was no future for him in the art world, he<br />
returned home and to the theatre. He played<br />
opposite his brother John in "Peter Ibbetson"<br />
(1917), in "The Jest" (1919) and won acclaim<br />
for his performances in "Macbeth." But<br />
he is best remembered for his films: "Rasputin<br />
and the Empress" (1933) which starred all<br />
three Barrymores, "David Copperfield" (1934),<br />
"Captains Courageous" (1937) and countless<br />
"Dr. Kildare" pictures, in which he played<br />
the venerable Dr. Gillespie. He also created<br />
the quintessential Scrooge in the annual radio<br />
broadcasts of "A Christmas Carol."<br />
Ethel (1879-1959) fancied a career as<br />
a concert pianist, but wound up onstage as<br />
an actress instead. As a teen-ager she played<br />
small roles opposite her grandmother, but<br />
her first personal triumph came in "Captain<br />
Jinks of the Horse Marines" (1901), and<br />
later in "Alice-Sit-by-the-Fire" (1905), "Mid<br />
Channel" (1910), "The Constant Wife" (1920)<br />
and "The Corn is Green" (1942). Although<br />
she appeared in a few films, she remained<br />
tied to the theatre. Her devotion was rewarded<br />
with a Broadway theatre named for her in<br />
1928 and an honorary doctoral degree from<br />
New York University in 1952.<br />
John (1882-1942) with his celebrated<br />
profile and dazzling histrionics was a magnet<br />
at the box office. On Broadway he played<br />
record-breaking performances in demanding<br />
roles: "Peter Ibbetson" (1917), "Richard<br />
III" (1920) and repeated performances of<br />
"Hamlet ." Eventually Hollywood won him
ITC AMERICAN TYPEWRITER<br />
with plum roles in "Counselor at Law"<br />
(1933), "Romeo and Juliet" (1936), "Marie<br />
Antoinette" (1938) and "The Great Man<br />
Votes" (1939). But his personal traumas<br />
served to traumatize his career. His mother's<br />
early death, his father's mental deterioration,<br />
four chaotic marriages and his own<br />
a<strong>lc</strong>oholism took their toll. He died in spiritual<br />
and financial bankruptcy, despite his staggering<br />
early success.<br />
ILLUSTRATIONS BY JOE CIARDIELLO<br />
ITC American Typewriter' was<br />
released in 1974 to mark the<br />
100th anniversary of the invention<br />
of the office typewriter.<br />
The challenge for Joel Kaden<br />
and Tony Stan was to create<br />
a typeface design which would<br />
retain the immediacy, personalism,<br />
and familiarity of standard<br />
typewriter output while overcoming<br />
its inherent flaws of<br />
readability and legibility. ITC<br />
American Typewriter is the successful<br />
end result of their effort.<br />
In the years since its initial<br />
release, ITC American Typewriter<br />
has become a standard of<br />
typographic communication.<br />
When first released, the family<br />
was available only for use on<br />
photocomposition equipment.<br />
Today it has successfully made<br />
the transition to digital typesetters,<br />
and even come full circle<br />
to find itself back in the office—<br />
as part of the library of faces<br />
available on electronic printers.<br />
ITC American Typewriter<br />
strikes a happy compromise with<br />
its office forerunner. The typewriter's<br />
rigid spacing (which<br />
assigns the same amount of<br />
space to a lowercase "i" as it does<br />
to a capital "W") is done away<br />
with. The letterforms are<br />
unmistakably influenced by a<br />
typewriter font, yet they are far<br />
more legible, and ultimately<br />
more readable than any standard<br />
typewriter output.<br />
Offering the best of both<br />
worlds: friendly, familiar and<br />
at the same time sophisticated,<br />
ITC American Typewriter is<br />
certainly a typographic asset.<br />
"We<strong>lc</strong>ome Back!" to an old friend.<br />
HEADLINE: ITC AMERICAN TYPEWRITER MEDIUM<br />
TEXT. MEDIUM. BOLD<br />
31
32<br />
ITC AMERICAN<br />
LIGI- T MEDIUM<br />
Either because of our classless society, or in spite<br />
of it, Americans have always been smitten by roy<br />
alty. So there was universal approval when we fin<br />
ally found a family we could crown "The Royal F<br />
miry of the American Theatre." 'l'he Barrymores<br />
deserved the title. Grandfather John Drew Sr. wa<br />
s a famous Irish actor. Grandmother Louisa Lane<br />
Drew was one of the most revered actresses and t<br />
heatre managers of the 19th century. Both their<br />
children, John Jr. and Georgina went on stage. A<br />
nd after Georgina married the English actor, Ma<br />
urice Barrymore (stage name, Herbert Blythe) th<br />
ey became the parents of T lonel, Ethel and John<br />
Because the Barrymores were perpetually on tou<br />
r, the children grew up in their grandmother's ho<br />
use. Their lives were clouded early on by Georgin<br />
a's untimely death, and later, by Maurice's menta<br />
1 deterioration. So it was almost exclusively throu<br />
gh their grandmother's influence that they four<br />
LIGHT CONDENSED<br />
Either because of our classless society, or in spite of it, America<br />
ns have always been smitten by royalty. So there was universa_<br />
approval when we finally found a family we could crown "The<br />
Royal Family of the American Theatre." The Barrymores deser<br />
ved the title. Grandfather John Drew Sr. was a famous Irish act<br />
or. Grandmother Louisa Lane Drew was one of the most revere<br />
d actresses and theatre managers of the 19th century. Both the<br />
it children, John Jr. and Georgina went on stage. And after Geo<br />
rgina married the English actor, Maurice Barrymore (stage na<br />
me, Herbert Blythe) they became the parents of Lionel, Ethel a<br />
nd John. Because the Barrymores were perpetually on tour, th<br />
e children grew up in their grandmother's house. Their lives w<br />
ere clouded early on by Georgina's untimely death, and later, b<br />
y Maurice's mental deterioration. So it was almost exclusively t<br />
hrough their grandmother's influence that they found stabilit<br />
y and direction. Though none of the Barrymore children want<br />
ed to act, out of necessity and their grandmother's connection<br />
s they were eventually drawn to the theatre. Lionel (1878-195<br />
4) hoped to be an artist. As a teenager, he occasionally played s<br />
Either because of our classless society, or in spi<br />
to of it, Americans have always been smitten b<br />
y royalty. So there was universal approval whe<br />
n we finally found a family we could crown "Th<br />
e Royal Family of the American Theatre." The B<br />
arrymores deserved the title. Grandfather Joh<br />
n Drew Sr. was a famous Irish actor. Grandmot<br />
her Louisa Lane Drew was one of the most reve<br />
red actresses and theatre managers of the 19t<br />
h century. Both their children, John Jr. and Ge<br />
orgina went on stage. And after Georgina mar<br />
ried the English actor, Maurice Barrymore (of<br />
age name, Herbert Blythe) they became the pa<br />
rents of Lionel, Ethel and John. Because the Bo<br />
rrymores were perpetually on tour, the childre<br />
n grew up in their grandmother's house. Their<br />
lives were clouded early on by Georgina's unti<br />
mely death, and later, by Maurice's mental dete<br />
rioration. So it was almost exclusively throug<br />
MEDIUM CONDENSED<br />
Either because of our classless society, or in spite of it, Amer<br />
icans have always been smitten by royalty. So there was uni<br />
versal approval when we finally found a family we could cro<br />
wn "The Royal Family of the American Theatre." The Barry<br />
mores deserved the title. Grandfather John Drew Sr. was a f<br />
amous Irish actor. Grandmother Louisa Lane Drew was one<br />
of the most revered actresses and theatre managers of the 1<br />
9th century. Both their children, John Jr. and Georgina wen<br />
t on stage. And after Georgina married the English actor, Ma<br />
urice Barrymore (stage name, Herbert Blythe) they became<br />
the parents of Lionel, Ethel and John. Because the Barrymo<br />
res were perpetually on tour, the children grew up in their g<br />
randmother's house. Their lives were clouded early on by Ge<br />
orgina's untimely death, and later, by Maurice's mental dete<br />
rioration. So it was almost exclusively through their grandm<br />
other's influence that they found stability and direction. Tho<br />
ugh none of the Barrymore children wanted to act, out of ne<br />
cessity and their grandmother's connections they were eve<br />
ntually drawn to the theatre. Lionel (1878-1954) hoped to b
TYPEWRITER<br />
BOLD<br />
Either because of our classless society, o<br />
r in spite of it, Americans have always b<br />
een smitten by royalty. So there was uni<br />
versal approval when we finally found a<br />
family we could crown "The Royal Famil<br />
y of the American Theatre." The Barrym<br />
ores deserved the title. Grandfather Joh<br />
n Drew Sr. was a famous Irish actor. Gra<br />
ndmother Louisa Lane Drew was one of t<br />
he most revered actresses and theatre m<br />
anagers of the 19th century. Both their c<br />
hildren, John Jr. and Georgina went on s<br />
tage. And after Georgina married the En<br />
glish actor, Maurice Barrymore (stage n<br />
ame, Herbert Blythe) they became the p<br />
arents of Lionel, Ethel and John. Becaus<br />
e the Barrymores were perpetually on to<br />
ur, the children grew up in their grandm<br />
other's house. Their lives were clouded e<br />
BOLD CONDENSED<br />
Either because of our classless society, or in spite of it, A<br />
mericans have always been smitten by royalty. So there w<br />
as universal approval when we finally found a family we c<br />
ould crown "The Royal Family of the American Theatre."<br />
The Barrymores deserved the title. Grandfather John Dre<br />
w Sr. was a famous Irish actor. Grandmother Louisa Lane<br />
Drew was one of the most revered actresses and theatre m<br />
anagers of the 19th century. Both their children, John Jr.<br />
and Georgina went on stage. And after Georgina married t<br />
he English actor, Maurice Barrymore (stage name, Herbe<br />
rt Blythe) they became the parents of Lionel, Ethel and J<br />
ohn. Because the Barrymores were perpetually on tour, th<br />
e children grew up in their grandmother's house. Their li<br />
yes were clouded early on by Georgina's untimely death, a<br />
nd later, by Maurice's mental deterioration. So it was alm<br />
ost exclusively through their grandmother's influence th<br />
at they found stability and direction. Though none of the<br />
Barrymore children wanted to act, out of necessity and th<br />
eir grandmother's connections they were eventually draw<br />
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ABCDEFGHIJKLMNOPQRSTUVWXYZ<br />
1234567890!PAA&*()<br />
caeECEBc0ce<br />
abcdefghijklmnopqrstuvwxyz<br />
ABCDEFGHIJKLMNOPQRSTUVWXYZ<br />
1234567890!$%(0&*()<br />
cOACE1390wce<br />
33
34<br />
When it comes to violins, Stradivari is generally<br />
the first name that comes to mind. But<br />
the fact is, the violin was born long before<br />
Antonio Stradivari. It was a crude little instrument<br />
with a small and uninspired sound.<br />
However, in the mid-1500s, a few Italian families<br />
in the town of Cremona put their innate<br />
genius to work and turned the violin into the<br />
sublime instrument we know today.<br />
Either by instinct, divine inspiration or<br />
luck, these craftsmen knew exactly which<br />
woods to choose, the critical gradations for<br />
each section of the instrument, the ideal<br />
shape and size for the body, the perfect<br />
length and curve of the f-holes, the precise<br />
formula for varnish... and all those other elusive<br />
factors that made their instruments<br />
acoustically magical.<br />
The Amatis were the first notable family of<br />
violin makers. Of the two brothers, Andrea<br />
and Nicolo, Andrea (c. 1520-1580) receives<br />
particular credit for his contributions. He<br />
was wealthy enough to travel about Europe<br />
and acquire the finest, most appropriate<br />
woods. He also had a special gift for the<br />
FAMILIES TO REMEMBER<br />
HE AMATIS, GUARNERIS<br />
9 9<br />
details of construction. His earliest violin,<br />
labeled "Amadus," bore the date 1564.<br />
Two Amati sons, Antonio (1550-1638)<br />
and Geronimo (1556-1630) continued the<br />
family business. But it was a third generation<br />
Amati, Nicolo (1595-1694), son of<br />
Geronimo, who was the most eminent<br />
craftsman of them all. Although he was<br />
known for the small scale and quiet, delicate<br />
sound of his instruments, he also produced<br />
the famous "Grand Amatis." These expanded<br />
violins produced a profound sound and<br />
exquisite tone. Aside from his personal contributions<br />
to the craft, Nicolo Amati was also<br />
responsible for training the succeeding generations<br />
of brilliant violin makers, for among<br />
his apprentices were Andrea Guarneri and<br />
Antonio Stradivari.<br />
In truth, Andrea Guarneri himself was<br />
not a particularly accomplished violin<br />
maker. But his sons, Pietro (1655-1728) and<br />
Giuseppi (1666-1739), who took over the<br />
family business after Andrea's death, were<br />
masters. And by far the most celebrated artist<br />
of the entire Guarneri clan was Giuseppi's<br />
son, Giuseppi Antonio (1687-1745). He was<br />
known as "del Gesu," and his violins were<br />
unprecedented. They produced a prodigious<br />
masculine sound, and though the man himself<br />
was something of a scoundrel (he was<br />
imprisoned for certain immoral behavior), as<br />
a craftsman he was a phenomenon.<br />
Antonio Stradivari (1644-1737) brought<br />
the art of violin making to its zenith. His<br />
earliest instrument, dated 1666, was made<br />
while he was still apprenticed to Nicolo<br />
Amati. But his legendary violins were produced<br />
in his own workshop in the early<br />
1700s. He experimented with different<br />
woods, with a variety of sizes and shapes<br />
and with new varnish formulas. His violins
STRADIVARIS AND ITC BOOKMAN<br />
.Ps<br />
"s,71/.4.1.Ge<br />
..211/4<br />
.0karwle's<br />
-47:q<br />
are considered to be the most brilliant and<br />
powerful instruments ever produced, and<br />
they are exquisite in their ornamental detail.<br />
Aside from the quality of his instruments, he<br />
was unsurpassed in quantity. He produced<br />
over 1,000 violins, as well as dozens of violas and<br />
violoncellos. When he died, he left a number of<br />
unfinished instruments in his shop. They were<br />
completed by the two of his eleven children who<br />
carried on the family business.<br />
ILLUSTRATIONS BY JOE CIARDIELLO<br />
ITC Bookman" wears well. It is<br />
just as fresh, just as vibrant a design<br />
today, as when it was first introduced<br />
in the pages of U&<strong>lc</strong> over ten<br />
years ago.<br />
ITC Bookman is a revival of a typeface<br />
called "Old Style Antique"<br />
which was originally released about<br />
1860 by the Scottish type foundry<br />
of Miller & Richard. Old Style<br />
Antique was an immediate success,<br />
and within a very short time most<br />
type founders on both sides of the<br />
Atlantic had developed their own<br />
versions. When the American Type<br />
Founders Company was created<br />
through the merging of several<br />
United States foundries during the<br />
late 1800s, it acquired various<br />
designs of this type style. Only one<br />
was released, however, under the<br />
name Bookman.<br />
While there is a direct lineage and a<br />
clear family resemblance to previous<br />
designs, ITC Bookman is a<br />
distinct departure from other<br />
Bookmans. ITC Bookman was developed<br />
as a full and versatile type-<br />
face family. Designer Ed Benguiat<br />
created four roman weights with<br />
corresponding italic designs when<br />
he drew ITC Bookman. Another<br />
departure from earlier designs is in<br />
the italics. ITC Bookman has a<br />
true cursive form to its italic characters;<br />
earlier versions had just an<br />
inclined roman. ITC Bookman also<br />
has a significantly larger x- height<br />
and more contrast in stroke weight<br />
than the ATF version. The result<br />
is a beautiful yet sturdy design,<br />
ideally suited to a wide variety of<br />
typographic communication.<br />
We take great pleasure in re-introducing<br />
ITC Bookman!<br />
HEADLINE' ITC BOOKMAN LIGHT<br />
TEXT: LIGHT. DEMI<br />
35
36<br />
ITC BOO<br />
LIGHT<br />
When it comes to violins, Stradivari is generally<br />
the first name that comes to mind. But the fact<br />
is, the violin was born long before Antonio Stra<br />
divari. It was a crude little instrument with a s<br />
mall and uninspired sound. However, in the mi<br />
d-1500s, a few Italian families in the town of Cre<br />
mona put their innate genius to work and turn<br />
ed the violin into the sublime instrument we k<br />
now today. Either by instinct, divine inspiratio<br />
n or luck, these craftsmen knew exactly which<br />
woods to choose, the critical gradations for eac<br />
h section of the instrument, the ideal shape an<br />
d size for the body, the perfect length and curve<br />
of the f-holes, the precise formula for varnish<br />
and all those other elusive factors that made th<br />
eir instruments acoustically magical. The fact i<br />
s, many of their techniques remain undiscover<br />
ed secrets to this day. The Amatis were the first<br />
notable family of violin makers. Of the two brot<br />
LIGHT ITALIC<br />
When it comes to violins, Stradivari is generall<br />
y thefirst name that comes to mind. But thefa<br />
ct is, the violin was born long before Antonio St<br />
radivari. It was a crude little instrument with<br />
a small and uninspired sound. However, in th<br />
e mid-1500s, afew Italianfamilies in the town<br />
of Cremona put their innate genius to work an<br />
d turned the violin into the sublime instrumen<br />
t we know today. Either by instinct, divine ins<br />
piration or luck, these craftsmen knew exactly<br />
which woods to choose, the critical gradations<br />
for each section of the instrument, the ideal sh<br />
ape and sizefor the body, the perfect length a<br />
nd curve of thef-holes, the preciseformulafor<br />
varnish. . . and all those other elusive factors t<br />
hat made their instruments acoustically magi<br />
cal. Thefact is, many of their techniques rema<br />
in undiscovered secrets to this day. The Amati<br />
s were thefirst notablefamily of violin maker<br />
MEDIUM<br />
When it comes to violins, Stradivari is general<br />
ly the first name that comes to mind. But the f<br />
act is, the violin was born long before Antonio<br />
Stradivari. It was a crude little instrument wit<br />
h a small and uninspired sound. However, in t<br />
he mid-1500s, a few Italian families in the tow<br />
n of Cremona put their innate genius to work<br />
and turned the violin into the sublime instru<br />
ment we know today. Either by instinct, divin<br />
e inspiration or luck, these craftsmen knew e<br />
xactly which woods to choose, the critical gra<br />
dations for each section of the instrument, th<br />
e ideal shape and size for the body, the perfect<br />
length and curve of the f-holes, the precise for<br />
mula for varnish and all those other elusive fa<br />
ctors that made their instruments acousticall<br />
y magical. The fact is, many of their technique<br />
s remain undiscovered secrets to this day. Th<br />
e Amatis were the first notable family of violin<br />
MEDIUM ITALIC<br />
When it comes to violins, Stradivari is gener<br />
ally thefirst name that comes to mind. But t<br />
hefact is, the violin was born long before Ant<br />
onio Stradivari. It was a crude little instrume<br />
nt with a small and uninspired sound. Howe<br />
ver, in the mid-1500s, afew Italianfamilies in<br />
the town of Cremona put their innate genius<br />
to work and turned the violin into the sublim<br />
e instrument we know today. Either by instin<br />
ct, divine inspiration or luck, these craftsme<br />
n knew exactly which woods to choose, the c<br />
ritical gradations for each section of the inst<br />
rument, the ideal shape and sizefor the body<br />
the perfect length and curve of thef-holes, th<br />
e preciseformulafor varnish...and all those<br />
other elusive factors that made their instru<br />
ments acoustically magical. The fact is, ma<br />
ny of their techniques remain undiscovered<br />
secrets to this day. The Amatis were thefirst
DEMI<br />
When it comes to violins, Stradivari is general<br />
ly the first name that comes to mind. But the f<br />
act is, the violin was born long before Antonio<br />
Stradivari. It was a crude little instrument wit<br />
h a small and uninspired sound. However, in t<br />
he mid-1500s, a few Italian families in the to<br />
wn of Cremona put their innate genius to wor<br />
k and turned the violin into the sublime instr<br />
ument we know today. Either by instinct, divi<br />
ne inspiration or luck, these craftsmen knew<br />
exactly which woods to choose, the critical gr<br />
adations for each section of the instrument, t<br />
he ideal shape and size for the body, the perfe<br />
ct length and curve of the f-holes, the precise f<br />
ormula for varnish ...and all those other elusi<br />
ve factors that made their instruments acoust<br />
ically magical. The fact is, many of their techn<br />
iques remain undiscovered secrets to this da<br />
y. The Amatis were the first notable family of<br />
DEMI ITALIC<br />
When it comes to violins, Stradivari is gener<br />
ally thefirst name that comes to mind. But t<br />
hefact is, the violin was born long before An<br />
tonio Stradivari. It was a crude little instru<br />
ment with a small and uninspired sound. H<br />
owever, in the mid-1500s, afew Italianfamil<br />
ies in the town of Cremona put their innate g<br />
enius to work and turned the violin into the s<br />
ublime instrument we know today. Either by<br />
instinct, divine inspiration or luck, these cr<br />
aftsmen knew exactly which woods to choo<br />
se, the critical gradationsfor each section o<br />
f the instrument, the ideal shape and sizefo<br />
r the body, the perfect length and curve of th<br />
ef-holes, the preciseformulafor varnish an<br />
d all the other elusive factors that made t<br />
heir instruments acoustically magical T<br />
he fact is, many of their techniques remain<br />
undiscovered secrets to this day. The Amati<br />
BOLD<br />
When it comes to violins, Stradivari is gene<br />
rally the first name that comes to mind. But<br />
the fact is, the violin was born long before A<br />
ntonio Stradivari. It was a crude little instr<br />
ument with a small and uninspired sound<br />
However, in the mid-1500s, a few Italian fa<br />
mines in the town of Cremona put their inna<br />
to genius to work and turned the violin into<br />
the sublime instrument we know today. Eit<br />
her by instinct, divine inspiration or luck, t<br />
hese craftsmen knew exactly which woods t<br />
o choose, the critical gradations for each se<br />
ction of the instrument, the ideal shape and<br />
size for the body, the perfect length and cur<br />
ve of the f-holes, the precise formula for var<br />
nish ...and all those other elusive factors th<br />
at made their instruments acoustically ma<br />
gical. The fact is, many of their techniques r<br />
emain undiscovered secrets to this day. The<br />
BOLD ITALIC<br />
When it comes to violins, Stradivari is ge<br />
neraUy thefirst name that comes to min<br />
d. But thefact is, the violin was born long<br />
before Antonio Stradivari. It was a crude<br />
little instrument with a small and unins<br />
pired sound. However, in the mid-1500s<br />
afew Italianfamilies in the town of Crem<br />
abcdefghijklmnopqrstuvwxyz<br />
ABCDEFGHIJKLMNOPQRSTUVWXYZ<br />
1234567890!$%0&*()<br />
cOlECE8c0ce<br />
abcdefghijklmnopqrstuvwxyz<br />
ABCDEFGHIJKLMNOPQRSTUVWXYZ<br />
1234567890!$%08z,*0<br />
MECEJ3c0a2ce<br />
37
38<br />
The first Herb Lubalin International<br />
Student Design Competition was an<br />
international success. The jury selected<br />
77 posters, books, sculptures and<br />
games by students from nine countries.<br />
The pieces were displayed at the<br />
ITC Center last Fall, and a slide version<br />
of the show is available to travel. More<br />
than 900 students from 21 countries on<br />
five continents created graphic interpretations<br />
of a selected passage from<br />
Jonathan Schell's book "The Fate of<br />
the Earth," detailing the devastation<br />
that could occur in the event of a nuclear<br />
holocaust.<br />
Mr. Harry Zaverdas, a student at the<br />
Cooper Union for the Advancement of<br />
Science and Art, in New York City, was<br />
awarded first prize in the competition<br />
and received the Herb Lubalin Medal<br />
and a prize of $5,000. Second place,<br />
with a prize of $2,500, was awarded to<br />
Ms. Michelle Rossbach, a student at the<br />
Kansas City Art Institute, Kansas City,<br />
Missouri.<br />
Third prizes of $500 each were awarded<br />
to Ms. Claude Conyers (Ecole des Arts<br />
Decoratifs, Geneva, Switzerland),<br />
Mr. Jonathan Kremer (Tyler School of<br />
Art, Elkins Park, Pennsylvania), Mr.<br />
Albert Landa (Otis Institute of Parsons<br />
School of Design, Los Angeles, California),<br />
Ms. Claudia Moreno Peralta (Parsons<br />
School of Design, New York, New<br />
York), Mr. Paulo T Suzuki (Cooper<br />
Union, New York, New York) and Christine<br />
Tbmaszewski (Fachhochschule<br />
Wiesbaden, Wiesbaden, West Germany).<br />
Two additional third prizes were<br />
shared by Ms. Cecile Moos and Mr.<br />
Bruno Watel (Ecole Superieure des<br />
Arts Graphiques, Paris, France), and by<br />
Ms. Bridget Ann Ashley, Ms. Julie E.<br />
Elkins, Ms. Diane J. Jones, Ms. Joanne<br />
E. L. Mitchell and Mr. Paul Thompson<br />
(as a team of students at the Portsmouth<br />
College of Art and Design,<br />
Portsmouth, England).<br />
All ten prize winners are shown starting<br />
on page 39.<br />
Although the entrance requirements<br />
for this exhibition called for all type to<br />
be set in ITC typefaces, some entries<br />
used non-ITC typefaces. Though ineligible<br />
for the top 10 awards they were<br />
ruled eligible for inclusion in the show.<br />
The jury for the competition included<br />
Cipe Pineles Burtin, graphic designer<br />
and Director of Publication Design at<br />
Parsons School of Design; Richard<br />
Danne, principal of Danne & Blackburn,<br />
Inc., a design firm in New York<br />
City, Steff Geissbuhler, a partner in the<br />
New York City design firm of Chermayeff<br />
& Geismar Associates, George<br />
Lois, Chairman and Creative Director<br />
of Lois, Pitts, Gershon PON/GGK<br />
Advertising in New York City, and<br />
Bradbury Thompson, graphic designer<br />
and faculty member of Yale University.<br />
The judges praised the students' work<br />
and the valued experience of judging a<br />
show on a theme of such universal concern.<br />
Some of their comments follow:<br />
POWER AND INVENTION.<br />
"This judging provided a unique experience<br />
since the exhibition deals with a<br />
subject critical to all citizens of the<br />
THE FATE OF THE<br />
planet. There is a great amount of<br />
power and invention in the show—this<br />
indeed is important work!<br />
"These designs manifest the vitality<br />
and commitment of our young people.<br />
Their entries from around the world<br />
were exciting to judge and I am<br />
pleased to have been a part of this<br />
ambitious and meaningful exhibition!"<br />
RICHARD DANNE<br />
THE DIVERSITY OF WORK WAS<br />
SURPRISING.<br />
"The diversity of work submitted based<br />
on a single theme was surprising. Although<br />
the work of students, many of<br />
the solutions were quite professionally<br />
executed and presented. There was<br />
plenty of imagination and creative<br />
ideas, although little evidence of good<br />
typography. Overall, however, the ideas<br />
were better than the execution.<br />
Herb Lubalin Medal Student Competition draws from 21 countries.<br />
Left to right: Richard Danne, Cipe Pineles Burtin, Steff Geissbuhler, George Lois and<br />
Bradbury Thompson.<br />
"We were all very pleased to find<br />
among the winners lesser known<br />
schools and a fine cross section of<br />
countries was represented.<br />
"I was impressed by the response to<br />
this competition. Obviously there is<br />
great concern and interest out there<br />
for the fate of this earth!'<br />
STEFF GEISSBUHLER<br />
RENEWED FAITH.<br />
"The Fate of the Earth submissions<br />
gives me renewed faith in the talent,<br />
passion and humanity of the young<br />
people of the world!" GEORGE LOIS<br />
"I was astonished and encouraged by<br />
the fact that young people, far from<br />
avoiding such a vital and upsetting<br />
subject as extinction by atomic war,<br />
responded eagerly to this first Herb<br />
Lubalin International Competition!'<br />
CIPE PINELES BURTIN<br />
AN EXCELLENT VARIETY.<br />
"The Fate of the Earth project sponsored<br />
by the ITC provided a most<br />
worthwhile jury experience.<br />
"The young designers from 21 countries<br />
produced an excellent variety of<br />
graphic design work: small printed<br />
pieces, single sheets of remarkable<br />
calligraphy, booklets, books, posters,<br />
three-dimensional constructions and<br />
even complete corporate design<br />
programs!" BRADBURY THOMPSON<br />
The Herb Lubalin Medal will be<br />
awarded annually to the winner of a<br />
student design competition sponsored<br />
by International Typeface Corporation<br />
(ITC). Herb Lubalin was one of the<br />
founders of ITC and an internationally<br />
honored typographic and typeface<br />
designer, as well as the original editor<br />
and designer of U&<strong>lc</strong>. He was deeply<br />
concerned with students and with<br />
issues of human welfare and this show<br />
is a fitting first tribute to his memory.<br />
The theme of, and call for entries of,<br />
the second show, "Stop! I Want Tb<br />
Think About That;' was announced in<br />
the previous issue of U&<strong>lc</strong> and again<br />
in this issue.<br />
"The Fate of The Earth" exhibition at<br />
the ITC Center took place forty years<br />
after the bombing of Hiroshima and<br />
Nagasaki.<br />
HEADLINE: ITC FRANKLIN GOTHIC HEAVY TEXT: ITC VELJOVIC BOOK WITH SMALL CAPS CAPTIONS. BOLD, BOOK
Nicholas Castle, SouThsea, England<br />
David Elliot, Portsmouth, England<br />
Michael Fair, Portsmouth, England<br />
Sara Hannides, Portchester, England<br />
Jane Livermore, Southend-on-Sea, England<br />
Joseph Margiotti, Glasgow, Scotland<br />
Portsmouth College of Art,<br />
Design and Further Education<br />
Portsmouth, England<br />
ITC Century,16 5/8 x 11 5/8"<br />
Mercury<br />
Venus<br />
Mars<br />
Jupiter<br />
Saturn<br />
Uranus<br />
Neptune<br />
Pluto<br />
Karen Craig, Pennsylvania, USA<br />
Syracuse University<br />
New York, USA<br />
ITC American Typewriter,15 x 20"<br />
THE<br />
FATE<br />
THE<br />
EARTH<br />
Nicholas Taylor, New Jersey, USA<br />
School of Visual Arts<br />
New York, USA<br />
ITC Franklin Gothic &<br />
ITC Avant Garde Gothic, VI x 17"<br />
Vladimir Perlin, Moscow, USSR<br />
Moscow Printing Institute<br />
Moscow, USSR<br />
ITC Avant Garde Gothic,9 7/8 x 9 7/8"<br />
31.01.1, ovo.<br />
vami a. r■ min<br />
moo,. No aro. M.<br />
p.m* ... 04.191Pow.....<br />
at *PIM nun111.<br />
VW.. MEI J....own<br />
Jungron Chong, California, USA<br />
Otis Institute of Parsons School of Design<br />
California, USA<br />
ITC Avant Garde Gothic,17 x 22"<br />
The Fate Of The Earth<br />
Juan C. Rodriguez, California, USA<br />
Otis Institute of Parsons School of Design<br />
California, USA<br />
ITC Lubalin Graph,17 x 22"<br />
and<br />
39
40<br />
Paddy Lynch, New York, USA Olga Bogomolova, Moscow, USSR<br />
Fashion Institute of Technology Moscow Printing Institute<br />
New York, USA Moscow, USSR<br />
ITC Avant Garde Gothic,20 x LIO" ITC American Typewriter,19 x 33"<br />
Gloria M. Ayalde, Maryland, USA Jeffrey C. Batzli, Pennsylvania, USA<br />
American University Tyler School of Art of Temple University<br />
District of Columbia, USA Pennsylvania, USA<br />
ITC Avant Garde Gothic,13 x 40" ITC Avant Garde Gothic & ITC Century. 9 3/8 x 7 1/8"<br />
an and !new me Mum. and ‘Mn pC,35 in the time<br />
are burned lON ton bath it took to read<br />
this<br />
Susan Merrell, New York. USA Lydia Davidson, New York, USA<br />
Syracuse University University of Cincinnati<br />
New York, USA Ohio, USA<br />
ITC Isbe11,23 1/2 x 291/4" ITC Machine, 2 1/0 x 2 1/4 x 33/8"
"IN WEIGHING THE FATE OF THE EARTH AND. WITH IT. OUR OWN FATE,<br />
WE STAND BEFORE A MYSTERY, AND IN TEMPERING WITH THE EARTH<br />
WE TAMPER WITH A MYSTERY WE ARE IN DEEP IGNORANCE OUR<br />
IGNORANCE SHOULD DISPOSE US TO WONDER, OUR WONDER<br />
SHOULD MANE US HUMBLE, OUR HUMILITY SHOULD INSPIRE US TO<br />
REVERENCE AND CAUTION, AND _ _OUR<br />
REVERENCE AND CAUTION<br />
SHOULD LEAD US TO ACT WITHOuT DRAM WITHDRAW THE THREAT<br />
WE NOW POSE TO TER EARTH AND TO OURSELVES' .<br />
-FROM 11* FATE OF THE EARTH BY JONATHAN SCALD<br />
Pascal Pariselle, Paris. France<br />
Ecole Superieure des Arts Graphiques<br />
Paris, France<br />
ITC Avant Garde Gothic,16 5/8 x 11 5/8"<br />
Tracy Boyd, New York, USA<br />
University of Delaware<br />
Delaware, USA<br />
ITC Avant Garde Gothic, 31/4" diameter<br />
A. Thella Hall, Utah, USA<br />
Brigham Young University<br />
Utah, USA<br />
Palatino,14 x 48"<br />
TH<br />
Jackie Alzmann, New York, USA<br />
Syracuse University<br />
New York, USA<br />
ITC Avant Garde Gothic,103/4 x 36"<br />
Gail Hammond, New Jersey. USA<br />
Pratt Institute<br />
New York, USA<br />
ITC Avant Garde Gothic &<br />
ITC Machine, 16 x 22"<br />
Priscilla Henderer, Delaware, USA<br />
University of Delaware<br />
Delaware, USA<br />
ITC Avant Garde Gothic.8 1/2 x 5"<br />
Anne Buller, Ohio, USA<br />
University of Cincinnati<br />
Ohio, USA<br />
ITC Century Bold,9 1/4 x 3 1/4 x 1 7/8"<br />
41
42<br />
Janice Hogan, New Jersey, USA<br />
Parsons School of Design<br />
New York, USA<br />
ITC Lubalin Graph Bold.9 7/8 x 58 5/8"<br />
weighing<br />
the fat" of the ow* and.<br />
with it our was fatesse stand<br />
before a nrywiery,.anti in tam<br />
with the earthye tamper wfrh a toys<br />
tery.lie ore intim, ignorance. Our ignw<br />
ranee alsaold dispose to to wander,00r<br />
woodier timid sake*" lisedidemtehor<br />
*pity astoremesee stud<br />
imumml ear reverent* sad maim<br />
*mid kolas to act Mao* 4iday to<br />
eitioiraw the *real we as* post<br />
Mae earth and M astraches."<br />
Prime nelielitqftlithowa<br />
Ilryjandriskitil<br />
as *Pm<br />
Ales Najbrt, Prague, Czechoslovakia<br />
Vysoka Skola Umeleckoprumyslova<br />
Prague, Czechoslovakia<br />
ITC Garamond Ultra Condensed, 38 x 25 1/4"<br />
THE ATE<br />
FT<br />
INNIthl<br />
Manfred Duda, Bodenheim/Rhein, West Germany<br />
Fachhochschule Wiesbaden<br />
Wiesbaden, West Germany<br />
ITC Avant Garde Gothic &<br />
ITC Souvenir, 23'/4 x 16 1/2"<br />
Anna Godfrey, New York, USA<br />
Pratt Institute<br />
New York, USA<br />
Univers,19 3/4 x 14 3/8"<br />
00<br />
David Shavrick, New York, USA<br />
Parsons School of Design<br />
New York, USA<br />
ITC Machine & ITC Garamond, 20 1/4 x15 1/4"<br />
Sergey Nikolayev, Moscow, USSR<br />
Moscow Printing Institute<br />
Moscow, USSR<br />
ITC Serif Gothic, 8 1/4 x 8 1/4 x 85/8"
Ulrich Giebl and Monika Nattefort,<br />
Wuppertal, West Germany<br />
Bergische Universitat<br />
Wuppertal, West Germany<br />
ITC New Baskerville, 39 3/8 x 28"<br />
Albert Kapitonov, Moscow, USSR<br />
Moscow Printing Institute<br />
Moscow, USSR<br />
ITC Avant Garde Gothic,15 3/4 x 10 3/4"<br />
In thebeginhing,<br />
God created Aatim,<br />
in the end,<br />
Cheryl L. Oppenheim, New York. USA<br />
Pratt Institute<br />
New York, USA<br />
ITC Avant Garde Gothic,18 x 24"<br />
Man created Atom.<br />
Allyson Olivia Sawyer, North Carolina, USA<br />
Virginia Commonwealth University<br />
Virginia, USA<br />
ITC Avant Garde Gothic,16 x 20"<br />
Elly Kistler, Virginia, USA<br />
Virginia Commonwealth University<br />
Virginia, USA<br />
ITC Franklin Gothic, 23 7/8 x 12"<br />
Elaine Hogarty, Caulfield East, Australia<br />
Chisholm Institute of Technology<br />
Victoria, Australia<br />
Baskerville & Univers,241/4 x 161/2"<br />
43
44<br />
The<br />
Fate<br />
Of<br />
The<br />
Earth<br />
WM web Wax woo (0. iro,<br />
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to WOW ow rwrobro oVao<br />
us NOY.. oto tbobby tows)<br />
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THE. FATE<br />
OF<br />
THE EARTH<br />
000toryt O. by eb ank o wor<br />
oo ooy vt. ono... mob yabk.o. too,<br />
4. ..r.:1=j7S.r.'"'<br />
10.10<br />
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tale ad um. bombl o. oy ooloo,to ofRokn tOKO<br />
ot nor yos yob sot oo 000bto<br />
yy, wyyy<br />
Dominique Moliere, Ferney-Voltaire, France<br />
Ecole des Arts Decoratifs<br />
Geneva, Switzerland<br />
ITC Galliard,15 3/4 x 21 5/8"<br />
Sean McCafferty, Kansas, USA<br />
Northern Arizona University<br />
Arizona, USA<br />
Hand Lettered, Video<br />
Melanie <strong>Low</strong>e, Connecticut, USA Gary Alpern, Ohio, USA Sally Watt, Wyoming, USA<br />
School of Visual Arts Allgemeine Gewerbeschule Basel Kansas City Art Institute<br />
New York, USA Basel, Switzerland Missouri, USA<br />
Handwritten,10 x 13 3/4" ITC Avant Garde Gothic Oblique.17 x 24" . ITC Avant Garde Gothic,18 x 18"
First Prize and Winner<br />
of the Herb Lubalin Medal<br />
Harry Zaverdas, Elmhurst, New York, USA<br />
Cooper Union, New York, New York, USA<br />
ITC Franklin Gothic,12 x 12 x 18"<br />
FINAL ELTER<br />
ntt Tat Or THE MON 'IN<br />
OWN MI, WI STAND WORE A AIIITElly. THE SEE3_9mpot Fin TEll ItAET14 An. writs<br />
WAWA 1 Taaampin WITH it rui<br />
moose WITN A WrITIRT WT. Ant IN OW' ilimio<br />
THE EARTH WE<br />
t TO WONIXI. OUR WOADIA SNOuta MAAR oust Ull_vs/swm:a<br />
u<br />
stomp Kim US TO EVAutthe t<br />
um tours*. ituloal, OUR HtAUUTY<br />
ro b`<br />
ro<br />
wITHOUT DI LAY AND OUP niwwmt AND<br />
ro vernicoAvo mina.<br />
TO THE WON NW TO OURSALKS mom THE rare OFTHE EATITH TA THREAT JONA.THAN WE NOW SCHEU. MST.<br />
Second Prize<br />
Michelle Rossbach, St. Louis, Missouri. USA<br />
Kansas City Art Institute, Kansas City,<br />
Missouri, USA<br />
ITC American Typewriter,18 1/8 x 47 1/8"<br />
45 5
46<br />
zed<br />
019 Albert .<br />
ma aortae, aftV aat , m,rrm ant. traat<br />
haT4 telt% tow IT it aft Itaatata tbim<br />
ant Mr hat 7ta<br />
Fie die FAA 4.1aunum Sad<br />
Third Prize<br />
Paulo T. Suzuki, Brooklyn. New York. USA<br />
Cooper Union, New York, New York, USA<br />
ITC Cheltenham, 26 x 20"<br />
The Fate of the Earth<br />
theortal h.bark<br />
Third Prize<br />
Ms. Claude Conyers, Geneva, Switzerland<br />
Ecole des Arts Decoratifs<br />
Geneva. Switzerland<br />
ITC Galliard,21 5/8x 15 3/4"<br />
THE FATE CAF THE EARTH<br />
Thr [ATE of -ril l-.<br />
1:\R; \NI) \VITH 7,1 OUR<br />
\ vvE s-rAND B E FoRE<br />
A .0<br />
\ V\ Till THELASTH<br />
p R;NoikANcE<br />
OUR<br />
Third Prize<br />
Christine Tomaszewski, Wiesbaden, West Germany<br />
Fachhochschule Wiesbaden<br />
Wiesbaden, West Germany<br />
Calligraphy, 33 3/8 x 20"<br />
Third Prize<br />
Albert Landa, Pasadena, California, USA<br />
Otis Institute of Parsons School of Design<br />
Los Angeles. California, USA<br />
ITC Avant Garde Gothic,171/2 x 27"
MUD VP<br />
Oa* tr<br />
* IOW MO =MO *<br />
*** MN* VOW 1,<br />
Third Prize (shown above, 1 of 15 components)<br />
Bridget Ann Ashley, Rowlands Castle. England<br />
Julie Elkins, Portsmouth, England<br />
Diane Jones, Wrexham, Wales, England<br />
Joanne E. L. Mitchell, Southsea, England<br />
Paul Thompson, Doncaster, England<br />
Portsmouth College of Art.<br />
Design and Further Education,<br />
Portsmouth, England<br />
ITC American Typewriter &<br />
ITC Century,11 5/8 x 161/2"<br />
Third Prize<br />
Claudia Moreno Peralta, Mexico City, Mexico<br />
Parsons School of Design<br />
New York, New York. USA<br />
ITC Machine & ITC Avant Garde Gothic,<br />
21 3/8 x 12 7/8"<br />
Third Prize<br />
Jonathan Kremer, Havertown, Pennsylvania, USA<br />
Tyler School of Art of<br />
Temple University, Elkins Park,<br />
Pennsylvania, USA<br />
ITC Symbol, ITC Franklin Gothic,<br />
ITC Souvenir & ITC Machine,10 x 12 x 2"<br />
FA'<br />
Third Prize<br />
Cecile Moos, Annecy, France<br />
Bruno Watel, Paris. France<br />
Ecole Superieure d'Arts Graphiques<br />
Paris, France<br />
ITC Modern No.216 & ITC Avant Garde Gothic. Video<br />
t<br />
47
Lynnae Buxton, Minnesota. USA<br />
Brigham Young University<br />
Utah, USA<br />
ITC Clearface, ITC Franklin Gothic &<br />
ITC Ouorum,18 x 17"<br />
THE LAST SUPPER<br />
Hung Ky Nguyen, Perth, Australia<br />
Western Australian Institute of Technology<br />
Bentley, Australia<br />
ITC Serif Gothic,16 5/8 . x 211/4"<br />
Peter Thomas McKay, Illinois, USA<br />
The School of the Art Institute of Chicago<br />
Illinois, USA<br />
ITC Avant Garde Gothic, 24 x 16"<br />
Anna Catharina Smits, Darmstadt, West Germany<br />
Fachhochschule fur Gestaltung<br />
Darmstadt, West Germany<br />
Uniyers,12 1/4 x 19 3/4"<br />
Mary Cecile Gee, Texas, USA Anthony Holman, Texas, USA<br />
Austin Community College North Texas State University<br />
Texas, USA Texas, USA<br />
Assorted typefaces, 8 1/2 x 11" Handlettered,24 x 22'A"<br />
114 ran s *4 Es011'<br />
Ow as e■ Vio ,11,14. M*<br />
IN4mo .rpiWy. Ana<br />
:410 ,1014.7.444<br />
rtr40. 1/40■60*, nor<br />
W. ...cora e.makm,..0<br />
Ihnid Wm, ul *art 0,007114<br />
pg.gt mow poo Iho 01011. ,<br />
Mt (AU Cs rift WOW*,
Francine Blum, Virginia, USA Susan Raymond, New Jersey, USA<br />
Virginia Commonwealth University Pratt Institute<br />
Virginia. USA New York, USA<br />
ITC Souvenir,12 x 17" ITC Franklin Gothic, 7 3/4 x 51/2"<br />
Erica Honda, California, USA<br />
San Jose State University<br />
California, USA<br />
ITC Garamond,19" diameter<br />
Janet Butterworth, Pennsylvania, USA<br />
New England School of Art and Design<br />
Massachusetts, USA<br />
ITC Souvenir, 9 1/2" diameter<br />
, lbe 1.141k twth<br />
Artl 4 .41■<br />
1Ark.r.<br />
ItgoV.11.<br />
Donna DePaolis, New York, USA<br />
Pratt Institute<br />
New York, USA<br />
ITC Symbol,12 x 17"<br />
Arlene Ouintans, New York, USA<br />
Syracuse University<br />
New York, USA<br />
ITC/LSC Caslon No. 22 3 &<br />
ITC Avant Garde Gothic,15//8 x 183A"<br />
49
50<br />
The Fate 'Of The Earth<br />
0.1<br />
BS LW<br />
a ;ape, wensie=toramme Oar<br />
oternace 9atdi2zev rd. tater far<br />
water azalea* eattre, car<br />
9001.1i p.m,YS t. mums. .1 Lsgsm.<br />
tar eatr./ montadooes $¢e: tisi of- b art<br />
adamantly ontanientar tie. mem<br />
nr tee.* ati tteaAfas"<br />
sat<br />
-,..tom Ohe tale al tie<br />
tart*. wilt iLsor Me.<br />
we stead beim a syste-<br />
m mall at tan...riot area<br />
The eartb at latter intio<br />
a asysiere. Ile are in dent<br />
casemate_ ow itaterrave<br />
almildrapsfesstownaltc<br />
am amain goad ago as<br />
isable.ar Wane Amid<br />
1110¢e 116 Ita meremat awl<br />
IN WEIGHING THE FATE OF THE EARTH AND, WITH IT OUR<br />
OWN FATE. WE STAND BEFORE A MYSTERY. AND IN TAMPERING<br />
WITH THE EARTH WE TAMPER WITH A MYSTERY, WE ARE IN<br />
DEEP IGNORANCE OUR IGNORANCE SHOULD DISPOSE US 10<br />
WONDER. OUR WONDER SHOULD MAKE US HUMBLE OUR HUMILITY<br />
SHOULD INSPIRE US ID REVERENCE AND CAUTION AND OUR<br />
REVERENCE AND CAUTION SHOULD LEAD US TO ACT WITHOUT<br />
DRAY TO WITHDRAW DE THREAT WE NOW POSE 10 NE EARTH<br />
AND 10 OUSIVES<br />
—FROM THE THE FATE OF THE EARTH BY JONATHAN SCHTIL<br />
Andre de Castro, California, USA Scott Van Kampen, Utah, USA Douglas Edward Murphy, New Jersey, USA<br />
Otis Institute of Parsons School of Design Brigham Young University Montclair State College<br />
California, USA Utah, USA New Jersey, USA<br />
ITC Garamond,18 x 27 1/2" ITC Avant Garde Gothic,9 x 23" ITC Avant Garde Gothic,22 x 41 1/8"<br />
Liat Perry, New York, USA<br />
Pratt Institute<br />
New York, USA<br />
ITC Novarese,11 x 14"<br />
David Chiow, Missouri. USA<br />
Washington University<br />
Missouri, USA<br />
ITC Franklin GothiC,8 1/2 x 11"<br />
Kier Lienhart, Illinois, USA<br />
Otis Institute of Parsons School of Design<br />
California, USA<br />
ITC Avant Garde Gothic,173/4 x 281/4"
Antoinette Phillips, New York, USA<br />
Pratt Institute<br />
New York, USA<br />
ITC Avant Garde Gothic,12 3/4 x 17 3/4"<br />
THEATE OUTItit EAREEI<br />
^ -11..0iopt. tidy 41'..th,nsi wadt. k ostt own<br />
Wo<br />
014,..40.0 aboultVrtulte ono AA,<br />
qtr...<br />
Ii11.10101■41.....44 .610111,444, .01/4110.14111111110.<br />
ItoW e10,4<br />
.40 RM. :66.31.:<br />
Anne De Gloria, Geneva, Switzerland<br />
Ecole des Arts Decoratifs<br />
Geneva, Switzerland<br />
ITC Galliard,15 3/4 x 21 5/8"<br />
Peter Kraus, Darmstadt, West Germany<br />
Fachhochschule Darmstadt<br />
Darmstadt, West Germany<br />
ITC Avant Garde Gothic, 28 3/4 x 20"<br />
Olivier Pierre Louis Courtemanche,<br />
Coulommiers, France<br />
Ecole Superieure d'Arts Graphiques<br />
Paris, France<br />
ITC Avant Garde Gothic,17 3/4 x 11 5/8"<br />
Jane E. Murphy, Maryland, USA<br />
Maryland Institute, College of Art<br />
Maryland, USA<br />
ITC Franklin Gothic,18 x 21 1/2"<br />
Erin M. Marona, New York, USA<br />
Pratt Institute<br />
New York, USA<br />
ITC Avant Garde Gothic,16 3/8 x 11"<br />
51
52<br />
John C. Youngberg, Utah, USA<br />
Brigham Young University<br />
Utah, USA<br />
ITC Lubalin Graph & ITC Avant Garde Gothic,<br />
30 5/8 x 1978"<br />
Roman Werner, Gottwaldov, Czechoslovakia<br />
Vysoka Skola Umeleckoprumyslova<br />
Prague, Czechoslovakia<br />
ITC Avant Garde Gothic, 38 3/4 x 27"<br />
Louise Stever, Randwick, Australia<br />
Randwick College of Technical &<br />
Further Education<br />
Randwick, Australia<br />
ITC Avant Garde Gothic, 30 x 1978"<br />
THERE IS NO SHELTER<br />
Susan E. Conley, New York. USA<br />
Pratt Institute<br />
New York, USA<br />
ITC Franklin Gothic and<br />
ITC Avant Garde Gothic,11 x 16"<br />
THE<br />
FATE<br />
OF<br />
THE<br />
ri crirl<br />
b.. %I. I ■<br />
IP<br />
ifity went<br />
to Sc,1u,ol iocky<br />
it I earned About<br />
AfRICA<br />
, *AN,<br />
SSIA And the USA°<br />
He 0115 ib Know<br />
fiey MI<br />
n<br />
Patrick Dick, Ohio, USA<br />
University of Akron<br />
Ohio, USA<br />
Handwritten,14 x 17"<br />
Hugo Espinosa, California, USA<br />
Otis Institute of Parsons School of Design<br />
California, USA<br />
ITC Garamond & ITC Caslon No. 224,<br />
14 x 21 3/4"<br />
CAPTIONS: ITC MIXAGE BOOK WITH BOLD
Most young men in military service spend their free time pursuing the usual off-duty pleasures—beer, mavies,girls<br />
but Helmut Kruse of West Germany had other diversions. During his two years of service in the navy, he spent all his<br />
free hours working on this arcane alphabet. He calls it the "matschaugen" alphabet which, if our German is anywhere<br />
close to target, translates to "soft-eyes" alphabet. If it looks strange to you, imagine what his fellow servicemen<br />
thought. According to Helmut, whenever they saw him poring over his artwork, they stared and pointed and assured<br />
him there was something quite wrong with him. Right or<br />
wrong, he is obviously skillful, as anyone with normal eyes<br />
can see. Now, having completed his military obligations, he<br />
The alphabet with 29 "eyes"<br />
is enrolled in a program ingraphic design at a school in<br />
Munster, West Germany, where his imagination will no<br />
doubt be better appreciated than in the navy.<br />
HEADLINE: ITC GALLIARD BLACK ITALIC<br />
TEXT' ITC GALLIARD ITALIC<br />
53
54<br />
Specimen booklets for each text/display typeface can be purchased from ITC. The order form for these specimen booklets appears on page 86 of this issue of tlegD1c.<br />
The ITC<br />
'Fiji:Deface<br />
Collection<br />
The typefaces shown on these pages represent the complete collection of ITC Typefaces as of February 15, 1986.<br />
DISPLAY FACES<br />
ITC AKI LINES®<br />
aldgma, Typewritog 1301tE Chu<br />
ITC Bauhaus Heavy®<br />
043 @a5Cuuo C11@auw @drhe<br />
ITC &maw Roman®<br />
ITC Bolt Bold®<br />
ITC/LSC Book Regular Roman®<br />
ITC/LSC Book Regular Italic®<br />
ITC/LSC Book Bold Roman®<br />
ITC/LSC Book Bold Italic®<br />
ITC/LSC Book X-Bold Roman®<br />
ITC/LSC Book X-Bold Italic®<br />
gU© Dcoitamn (Dmamc; owiEgnl.<br />
ITC Bookman Contour with Swash®<br />
ITC 1MYYA I HGJ®<br />
ITC BUSORAMA MEDIUM®<br />
ITC BUSORAMA BOLD®<br />
ITC Caslon Headline®<br />
ITC/1,SC Caslon No.223®<br />
ITC/ LSC Caslon Light No.223 Italic®<br />
ITC/LSC Caslon Regular No.223®<br />
ITC/LSC Gaston Regular No.22.3 Italic®<br />
ITC/LSC Caslon Bold No.223®<br />
ITC / LSC Caslon Bold Nm223 Italic®<br />
ITC/LSC Caslon X-Bold No.223®<br />
ITC/ LSC Caslon X-Bold No.223 Italic-<br />
= Cheltenham Outtllhe®<br />
ITC chatellecom Outline Shadows<br />
ITC Cheltenham Contour®<br />
ilTC Clem-Ike Otllhi®<br />
ITC Clearface Contour®<br />
ITC Clearface Outline Shad M e<br />
ITC`LM' (widened®<br />
IT( LW' (Wend Mir®<br />
ITC Didi®<br />
Oiljg NT,K10 gMeillag®<br />
ITC Eras Contolir®<br />
ITC FM Face®<br />
ITC Firenze®<br />
ru© Ranknn &D'Ug (Doane<br />
Tr© PpartiE (oat At COIRIlir4<br />
in Franklin. Gothic Contour®<br />
ITC Gorilla®<br />
ITC Grizzly®<br />
ITC Grouch®<br />
ITC Honda®<br />
X43 Ambd gugh®<br />
ITC !label (*MAW<br />
EU© n@ThEDE Boild.ORMEDe<br />
ITC MACHINE ®<br />
ITC MACHINE BOLO®<br />
114 14 N to I - di ir<br />
ITC 31ilano Roman®<br />
IT fr EO<br />
ltd 1:(1.LC<br />
ITC Ronda Light®<br />
ITC Ronda®<br />
ITC Ronda Bold®<br />
duc 2corl ecAhEc Bad Ouanc ,®<br />
ITC/,&C_: Stymie Hatt -lirte'<br />
ITC lulls Roman®<br />
ITC Upright Regular®<br />
ITC Upright neon®<br />
TEXT/DISPLAY FACES B.<br />
NEW FROM ITC<br />
ITC Esprit"'<br />
Book<br />
Book Italic<br />
Medium<br />
Medium Italic<br />
Bold<br />
Bold Italic<br />
Black<br />
Black Italic<br />
ITC Elan<br />
Book<br />
Book Italic<br />
Medium<br />
Medium Italic<br />
Bold<br />
Bold Italic<br />
Black<br />
Black Italic<br />
ITC Mixage-<br />
Book<br />
Book Italic<br />
Medium<br />
Medium Italic<br />
Bold<br />
Bold Italic<br />
Black<br />
Black Italic<br />
ITC Leawood""<br />
Book<br />
Book Italic<br />
Medium<br />
Medium Italic<br />
Bold<br />
Bold Italic<br />
Black<br />
Black Italic<br />
ITC SymboV<br />
Book<br />
Book Italic<br />
Medium<br />
Medium Italic<br />
Bold<br />
Bold Italic<br />
Black<br />
Black Italic<br />
ITC VeljoviCT"<br />
Book<br />
Book Italic<br />
Medium<br />
Medium Italic<br />
Bold<br />
Bold Italic<br />
Black<br />
Black Italic
ITC American<br />
Typewriter ®<br />
Light<br />
Medium<br />
Bold<br />
Light Condensed<br />
Medium Condensed<br />
Bold Condensed<br />
ITC Avant Garde<br />
Gothic<br />
Extra Light<br />
Extra Light Oblique<br />
Book<br />
Book Oblique<br />
Medium<br />
Medium Oblique<br />
Demi<br />
Demi Oblique<br />
Bold<br />
Bold Oblique<br />
Book Condensed<br />
Medium Condensed<br />
Demi Condensed<br />
Bold Condensed<br />
ITC Barcelona®<br />
Book<br />
Book Italic<br />
Medium<br />
Medium Italic<br />
Bold<br />
Bold Italic<br />
Heavy<br />
Heavy Italic<br />
ITC Bauhaus®<br />
Light<br />
Medium<br />
Demi<br />
Bold<br />
ITC Benguiat ®<br />
Book<br />
Book Italic<br />
Medium<br />
Medium Italic<br />
Bold<br />
Bold Italic<br />
Book Condensed<br />
Book Condensed Italic<br />
Medium Condensed<br />
Medium Condensed Italic<br />
Bold Condensed<br />
Bold Condensed Italic<br />
ITC Benguiat Gothic'<br />
Book<br />
Book Italic<br />
Medium<br />
Medium Italic<br />
Bold<br />
Bold Italic<br />
Heavy<br />
Heavy Italic<br />
ITC Berkeley Oldstyle ®<br />
Book<br />
Book Italic<br />
Medium<br />
Medium Italic<br />
Bold<br />
Bold Italic<br />
Black<br />
Black Italic<br />
ITC Bookman'<br />
Light<br />
Light Italic<br />
Medium<br />
Medium Italic<br />
Demi<br />
Demi Italic<br />
Bold<br />
Bold Italic<br />
ITC Caslon No. 224 ®<br />
Book<br />
Book Italic<br />
Medium<br />
Medium Italic<br />
Bold<br />
Bold Italic<br />
Black<br />
Black Italic<br />
ITC Century'<br />
Light<br />
Light Italic<br />
Book<br />
Book Italic<br />
Bold<br />
Bold Italic<br />
Ultra<br />
Ultra Italic<br />
Light Condensed<br />
Light Condensed Italic<br />
Book Condensed<br />
Book Condensed Italic<br />
Bold Condensed<br />
Bold Condensed Italic<br />
Ultra Condensed<br />
Ultra Condensed Italic<br />
ITC Cheltenham<br />
Light<br />
Light Italic<br />
Book<br />
Book Italic<br />
Bold<br />
Bold Italic<br />
Ultra<br />
Ultra Italic<br />
Light Condensed<br />
Light Condensed Italic<br />
Book Condensed<br />
Book Condensed Italic<br />
Bold Condensed<br />
Bold Condensed Italic<br />
Ultra Condensed<br />
Ultra Condensed Italic<br />
ITC Clearface®<br />
Regular<br />
Regular Italic<br />
Bold<br />
Bold Italic<br />
Heavy<br />
Heavy Italic<br />
Black<br />
Black Italic<br />
ITC Cushing®<br />
Book<br />
Book Italic<br />
Medium<br />
Medium Italic<br />
Bold<br />
Bold Italic<br />
Heavy<br />
Heavy Italic<br />
ITC Eras ®<br />
Light<br />
Book<br />
Medium<br />
Demi<br />
Bold<br />
Ultra<br />
ITC Fenice ®<br />
Light<br />
Light Italic<br />
Regular<br />
Regular Italic<br />
Bold<br />
Bold Italic<br />
Ultra<br />
Ultra Italic<br />
ITC Franklin Gothic'<br />
Book<br />
Book Italic<br />
Medium<br />
Medium Italic<br />
Demi<br />
Demi Italic<br />
Heavy<br />
Heavy Italic<br />
Friz Quadrata<br />
Friz Quadrata<br />
Friz Quadrata Bold<br />
ITC Galliard®<br />
Roman<br />
Roman Italic<br />
Bold<br />
Bold Italic<br />
Black<br />
Black Italic<br />
Ultra<br />
Ultra Italic<br />
ITC Garamond®<br />
Light<br />
Light Italic<br />
Book<br />
Book Italic<br />
Bold<br />
Bold Italic<br />
Ultra<br />
Ultra Italic<br />
Light Condensed<br />
Light Condensed Italic<br />
Book Condensed<br />
Book Condensed Italic<br />
Bold Condensed<br />
Bold Condensed Italic<br />
Ultra Condensed<br />
Ultra Condensed Italic<br />
ITC Isbell'<br />
Book<br />
Book Italic<br />
Medium<br />
Medium Italic<br />
Bold<br />
Bold Italic<br />
Heavy<br />
Heavy Italic<br />
Italia<br />
Book<br />
Medium<br />
Bold<br />
ITC Kabel®<br />
Book<br />
Medium<br />
Demi<br />
Bold<br />
Ultra<br />
ITC Korinna'<br />
Regular<br />
Kursiv Regular<br />
Bold<br />
Kursk) Bold<br />
Extra Bold<br />
Kursiv Extra Bold<br />
Heavy<br />
Kursw Heavy<br />
ITC Lubalin Graph.<br />
Extra Light<br />
Extra Light Oblique<br />
Book<br />
Book Oblique<br />
Medium<br />
Medium Oblique<br />
Demi<br />
Demi Oblique<br />
Bold<br />
Bold Oblique<br />
ITC Modern No. 216 -<br />
Light<br />
Light Italic<br />
Medium<br />
Medium Italic<br />
Bold<br />
Bold Italic<br />
Heavy<br />
Heavy Italic<br />
ITC New Baskerville-<br />
Roman<br />
Italic<br />
Semi Bold<br />
Semi Bold Italic<br />
Bold<br />
Bold Italic<br />
Black<br />
Black Italic<br />
ITC Newtext®<br />
Light<br />
Light Italic<br />
Book<br />
Book Italic<br />
Regular<br />
Regular Italic<br />
Demi<br />
Demi Italic<br />
ITC Novarese®<br />
Book<br />
Book Italic<br />
Medium<br />
Medium Italic<br />
Bold<br />
Bold Italic<br />
Ultra<br />
ITC Quorum®<br />
Light<br />
Book<br />
Medium<br />
Bold<br />
Black<br />
ITC Serif Gothic®<br />
Light<br />
Regular<br />
Bold<br />
Extra Bold<br />
Heavy<br />
Block<br />
ITC Souvenir®<br />
Light<br />
Light Italic<br />
Medium<br />
Medium Italic<br />
Demi<br />
Demi Italic<br />
Bold<br />
Bold Italic<br />
ITC Tiffany<br />
Light<br />
Light Italic<br />
Medium<br />
Medium Italic<br />
Demi<br />
Demi Italic<br />
Heavy<br />
Heavy Italic<br />
ITC Usherwood-<br />
Book<br />
Book Italic<br />
Medium<br />
Medium Italic<br />
Bold<br />
Bold Italic<br />
Black<br />
Black Italic<br />
ITC Weidemanrf<br />
Book<br />
Book Italic<br />
Medium<br />
Medium Italic<br />
Bold<br />
Bold Italic<br />
Black<br />
Black Italic<br />
ITC Zapf Book'<br />
Light<br />
Light Italic<br />
Medium<br />
Medium Italic<br />
Demi<br />
Demi Italic<br />
Heavy<br />
Heavy Italic<br />
.TTC Zapf Chancery®<br />
Light<br />
Liyht5talic<br />
Medium<br />
Medium Nu&<br />
Demi<br />
Bad<br />
ITC Zapf International ®<br />
Light<br />
Light Italic<br />
Medium<br />
Medium Italic<br />
Demi<br />
Demi Italic<br />
Heavy<br />
Heavy Italic<br />
55
56<br />
MICHAEL BODMER-<br />
Marketwinning-Ayer<br />
Puma—Ploeger Lettering<br />
JOOP BOEZEMAN-<br />
McCann-Erickson<br />
Aegon—Ploeger Lettering<br />
JOOP BOEZEMAN—McCann-Erickson<br />
Aegon—Ploeger Lettering<br />
PAUL BOLEY—Leo Burnett USA<br />
Dewars White Label—RyderTypes<br />
SIMON BOWDEN-<br />
Scali, McCabe, Sloves, Inc.<br />
Volvo—Royal Composing Room<br />
EARL CAVANAH-<br />
&all, McCabe, Sloves, Inc.<br />
Volvo—Royal Composing Room<br />
ROBERTA COOPER—<br />
Kenyon & Eckhardt<br />
Boston Pops—Berkeley Typographers<br />
JOHN D'ASTO—Zechman & Associates<br />
Illinois Office of 7burism—RyderTypes<br />
JOHN D'ASTO—Zechman & Associates<br />
Illinois Office of 7burism—RyderTypes<br />
PAUL DEBES-<br />
Perri Debes Looney & Crane<br />
Shimando—Rochester/Mono Headliners<br />
SCOTT EGGERS-<br />
Richards, Brock, Miller & Mitchell<br />
Dallas Zoo—Southwestern Typographies<br />
DAN FAUVER—Wyse Advertising<br />
In House Job—Bohme & Blinkmann<br />
KATHY FLETCHER-<br />
Foote, Cone & Belding<br />
Sunkist—Andresen Typographies<br />
BONNIE HAZELTON—McCann-Erickson<br />
L'Oreal—Ad Agencies/Headliners<br />
IVAN HORVATH—N. W. Ayer<br />
Yamaha—Andresen Typographies<br />
IVAN HORVATH—N. W. Ayer<br />
Yamaha—Andresen Typographies<br />
JOE LA ROSA—Waring & LaRosa<br />
Cutex—Royal Composing Room<br />
JEAN MARCELLINO-<br />
Lord, Geller, Federico, Einstein<br />
IBM—Royal Composing Room<br />
BOB MEAGHER—Cramer/Krasselt<br />
Citicorp—RyderTypes<br />
BOB MEAGHER—Cramer/Krasselt<br />
Citicorp—RyderTypes<br />
They're the forty creative people who received an<br />
Award of Merit (or better) in ATA's 1985<br />
typographic competition.<br />
The competition was open to print advertising which<br />
appeared between August, 1984 and July, 1985. But we were<br />
really looking for something special. Namely, those print ads<br />
in which the use of typography clearly made a difference in<br />
the effectiveness of the selling message.<br />
Singled out by the judges were three particularly<br />
striking examples: Mike Schell's Lincoln-Mercury ad from<br />
Atlanta, Georgia Action Graphics, Inc. Bloomfield, Connecticut New England Typographic Service, Inc.<br />
Boston, Massachusetts Berkeley Typographers, Inc.; Composing Room of New England; Typographic<br />
House, Inc. Cedar Rapids, Iowa Type 2, Inc. Chicago, Illinois J.M. Bundscho, Inc.; RyderTypes, Inc.<br />
Cincinnati, Ohio Typo-Set, Inc. Cleveland, Ohio Bohme & Blinkmann, Inc. Columbia, South Carolina DG&F<br />
Typography Dallas, Texas Jaggars-Chiles-Stovall, Inc. Southwestern Typographics, Inc.; Typography<br />
Plus, Inc. Detroit, Michigan The Thos. P. Henry Company; Willens + Michigan Corp. Fort Worth, Texas<br />
Fort Worth Linotyping Co. Grand Rapids, Michigan Acraforms, Inc.; The Type Source Houston, Texas<br />
Typografiks, Inc. Indianapolis, Indiana Typoservice Corporation Kansas City, Missouri Uppercase, Inc.<br />
Los Angeles, California Andresen Typographics; Typographic Service Co., Inc. Memphis, Tennessee<br />
Graphic Arts, Inc. Miami, Florida Wrightson Typographics, Inc. Minneapolis, Minnesota Headliners<br />
of the Twin Cities/Graph-Tronics Inc.; Type House + Duragraph, Inc. Mission, Kansas. The Pica<br />
Place Newark, New Jersey Arrow Typographers, Inc. New Orleans, Louisiana Film-A-Graphics<br />
BOB MEAGHER—Cramer/Krasselt<br />
Citicorp—RyderTypes<br />
RAPHAEL MORALES—<br />
Waring & La Rosa<br />
Fisher-Price—Royal Composing Room<br />
CHRISTINE NEAL—Young & Rubicam<br />
Rust-Oleum—RyderTypes<br />
CHRISTINE NEAL—Young & Rubicam<br />
Rust-Oleum—RyderTypes<br />
CRAIG arro—Ketchum, Inc.<br />
Heinz—Headliners of Pittsburgh<br />
Advertising Typographers Association<br />
R.D. 3, Box 643, Stockton, New Jersey 08559. Walter A. Dew, Jr., Executive Secretary<br />
SEYMON OSTILLY-<br />
Lord, Geller, Federico, Einstein<br />
IBM—Royal Composing Room<br />
REX PETEET-<br />
Sibley, Peteet Design<br />
Valley View—Southwestern<br />
Typographies<br />
WOODY PIRTLE—Pirtle Design<br />
Infoworks—Southwestern Typographies<br />
HOWARD ROGERS-<br />
Alltypes (Needham, Harper)<br />
Kraft Peanut Butter—<br />
Cooper & Beatty Ltd.<br />
MIKE SCHELL—Young & Rubicam<br />
Lincoln-Mercury—<br />
Ad Agencies/Headliners<br />
BILL SCHWARTZ—Meldrum & Fewsmith<br />
Bekins—Bohme & Blinkmann<br />
BILL SCHWARTZ—Meldrum & Fewsmith<br />
Bekins—Bohme & Blinkmann<br />
BILL SCHWARTZ—Meldrum & Fewsmith<br />
Connections—Bohme & Blinkmann<br />
TOD SEISSER-<br />
Levine, Huntley, Schmidt & Beaver<br />
McCall's—Franklin/Arrow<br />
SUE SHIRK—Stockton, West, Burkhart<br />
The lams Company—Typoset Inc.<br />
TOM SMITH—Wyse Advertising<br />
Penton Publications—Bohme &<br />
Blinkmann<br />
TOM SMITH—Wyse Advertising<br />
Industry Week—Bohme & Blinkmann<br />
JOSE TAPIA—Ogilvy & Mather<br />
Wagner Tool Ca —RyderTypes<br />
OLIVER VERDON-<br />
Safronoff & Associates<br />
Puma—Societe de Creations Graphiques<br />
LLOYD WOLFE—Lawler Ballard Adv.<br />
Raleigh 7echnium—Typoset Plus Inc.<br />
Young & Rubicam, which took Best-of-Show honors. And<br />
Jean Marcellino's IBM entry for Lord, Geller, Federico, along<br />
with Simon Bender's Volvo ad for Scali, McCabe, Sloves,<br />
which were both medalists.<br />
You can see this trio of outstanding print pieces—plus<br />
the thirty-seven Merit-winners—later this year when the Top<br />
40 advertisements go on tour through North America, Europe<br />
and Australia. So watch for further details in these pages or at<br />
your ATA typographer. It may be your only opportunity to<br />
appreciate first-hand ATA's Greatest Hits of 1985.<br />
New York, New York Advertising Agencies/Headliners; Royal Composing Room, Inc. Philadelphia,<br />
Pennsylvania Armstrong, Inc. Phoenix, Arizona Morneau Typographers, Inc. Pittsburgh, Pennsylvania<br />
Davis & Warde, Inc.; Headliners of Pittsburgh, Inc. Portland, Oregon Paul 0. Giesey/Adcrafters, Inc.<br />
Rochester, New York Rochester Mono/Headliners San Francisco, California Mercury Typography, Inc.<br />
Seattle, Washington Thomas & Kennedy; Typographers, Inc.; The Type Gallery, Inc. St. Joseph, Michigan<br />
Type House, Inc. St. Louis, Missouri Master Typographers, Inc. Montreal, Canada McLean Brothers,<br />
Ltd. Toronto, Canada Cooper & Beatty, Ltd. Winnipeg, Canada B/W Type Service, Ltd. Amsterdam,<br />
Netherlands Ploeger Lettering BV Brisbane, Australia Savage & Co. Paris, France Societe De<br />
Creations Graphiques Gothenburg, Sweden Fototext/Typografen AB Solna, Sweden Progress<br />
Graphic Group AB Zurich, Switzerland Typopress AG Frankfurt, West Germany Typo-Gartner<br />
GmbH Stuttgart, West Germany Layout-Setzerei Stulle GmbH
To readers of 118,1c who employ design talent:<br />
We Invite Your Opinion<br />
This survey is aimed at the art departments of<br />
America and the thousands of U&Ic readers<br />
who are responsible for hiring and supervising<br />
entry-level art and design talent. It is our<br />
second survey and part of an ongoing effort by<br />
The Design Schools to better prepare students<br />
to meet the needs of the professional world.<br />
Knowledge and Skills:<br />
Rate the relative importance<br />
of the following<br />
skills and qualities in an<br />
entry-level job candidate.<br />
Enter a number next to each<br />
item, using the scale given.<br />
Essential<br />
Very Important<br />
Important<br />
Desirable<br />
Unnecessary<br />
Your participation allows you to play a role in<br />
planning the future of design education. So<br />
please complete the questions and mail this<br />
page back to us right away. The results of the<br />
knowledge and skills questionnaire will be<br />
published at a future date, and we will send<br />
you a complimentary copy.<br />
Board<br />
Skills<br />
Sketching/drawing<br />
Illustration —<br />
Roughs<br />
Layout cornping<br />
Paste-up/mechanicals<br />
Type specing<br />
Airbrush<br />
Marker rendering —<br />
Line art/spot drawings<br />
Technical<br />
Skills<br />
Stat machine<br />
Typositor<br />
Photography<br />
Darkroom<br />
Multimedia<br />
Video —<br />
Conceptual Design sense<br />
Ability Pictorial sense<br />
Color sense<br />
Typographic sense ___<br />
Conceptual thinking —<br />
Business sense<br />
Originality<br />
Copywriting<br />
Specialized Print advertising<br />
Training Brochures<br />
Corporate identity<br />
Magazines/publications<br />
Computer graphics<br />
TV storyboards<br />
Video production<br />
Displays/exhibits —<br />
Packaging<br />
Book design<br />
Product illustration<br />
Cartooning<br />
Other Other Other Other<br />
Personal Neat and accurate<br />
Qualities<br />
<strong>Res</strong>ourceful<br />
Accepts responsibility<br />
Works well under pressure<br />
Meets deadlines<br />
Punctual<br />
Accepts supervision<br />
Articulate<br />
Other<br />
General Art history<br />
Writing skills<br />
Graphic design history<br />
Knowledge of typefaces —<br />
Printing/production<br />
Business and marketing<br />
principles<br />
Generally well informed<br />
Knowledge<br />
Other<br />
Your Views and Comments: In the space below,<br />
please write your thoughts and observations about design education in America.<br />
Name<br />
Company<br />
Position<br />
Nature of your work:<br />
Number of employees Ad agency Printer<br />
Number in design department<br />
Design studio Publication<br />
Address<br />
City State Zip Other<br />
Please complete questionnaire and mail to:<br />
Edward A. Hamilton, Design Director<br />
The Design Schools, 101 Park Avenue, New York, NY 10178<br />
Corporate art dept.<br />
33<br />
Education<br />
Other<br />
Two-year<br />
associate degree<br />
(design skills and concepts)<br />
Liberal arts degree<br />
Skills/liberal arts combined —<br />
D The<br />
esign<br />
Schools<br />
Your<br />
Choice<br />
2.<br />
Art Institute of Atlanta<br />
Art Institute of Dallas<br />
Art Institute of Fort Lauderdale<br />
Art Institute of Houston<br />
Art Institute of Philadelphia<br />
Art Institute of Pittsburgh<br />
Art Institute of Seattle<br />
Colorado Institute of Art<br />
3<br />
57<br />
List three U.S. schools<br />
that you consider most<br />
outstanding in the<br />
teaching of graphic<br />
design/ad design/<br />
visual communications:<br />
The Design Schools are two-year, year-round art institutes that prepare students for the<br />
professional world of art, design and photography. At The Design Schools, educational<br />
programs are planned with the employer in mind. The schools, listed above, are together<br />
the largest single source of employable art talent in the United States, with a combined<br />
daytime enrollment of over 9,000 students.
@1985, AM International, Inc.<br />
AM and Varityper are registered trademarks<br />
of AM International, Inc.<br />
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John Gibson supervised fine typography at Young & Rubicam New York for many years.<br />
He is now VP-Manager of Graphic Services at MacLaren Advertising, Toronto.<br />
john Gibson<br />
offers ten suggestions<br />
on typography.<br />
Thou shouldst remember that<br />
words are meant to be read.<br />
Words are precious tools, capable of changing<br />
a stubborn mind or winning a reluctant heart. They<br />
are not merely a design element, or a good-looking<br />
block of grey.<br />
Thou shouldst READ thy copy<br />
before having it set.<br />
Only by doing so can you know what the words<br />
are trying to do. Are they trying to shout or cajole?<br />
Are they talking to punk rockers or geriatrics? All<br />
this affects what you do with those words.<br />
Thou shouldst consider the<br />
context of thy communication.<br />
Is it a full page, or is it competing with other<br />
ads on the same page? Is it going on white magazine<br />
stock or grey newsprint? Is the publication<br />
word-heavy or picture-heavy? Do you know? Do<br />
you care?<br />
Thou shouldst guide the eye, and<br />
allow it space.<br />
The eye moves back and forth more or less<br />
like an old typewriter carriage. It needs room between<br />
the lines to find its way back ; and it wants<br />
a firm left edge to the type, to get it started again.<br />
Thou shouldst not admire thy<br />
work from a distance.<br />
Most communication is meant to be seen from<br />
less than two feet the length of the human arm).<br />
Don't judge it by hanging it on a wall, unless it's<br />
meant to wind up there.<br />
Thou shouldst not fall in unseemly<br />
love with new faces.<br />
New type faces give vitality to communication.<br />
But remember, the human eye is a traditionalist.<br />
It is most comfortable with what it literally went<br />
to school with.<br />
Thou shouldst be prepared for a<br />
sea of revisions.<br />
Ads get Alf4ktkfevised- changed a lot.<br />
Make sure your typographer offers equipment<br />
which responds quickly to the need for change, as<br />
well as clarity and beauty.<br />
Thou shouldst treat thy typographer<br />
as a brother, and consult him early.<br />
His experience can save you from a thousand<br />
pitfalls. Does the font you want include SMALL<br />
CAPS? Are you trying to take a face that's exclusively<br />
ROMAN and slope it into italic? Did you<br />
know that an upside-down British pound sign<br />
makes an excellent swash Y? Your typographer<br />
knows, and what he knows will help you.<br />
Thou shouldst not make thy lines<br />
too long, nor too short, either.<br />
The eye is worn out by lines that go on and on and on and on and on and on and on and on and on and on and<br />
But too<br />
short<br />
Thou shouldst know all the rules,<br />
lines<br />
and then be prepared to break them.<br />
are ir-<br />
Nobody ever would have heard of Newton or<br />
ritat<br />
Galileo or Picasso or Einstein if they'd stuck to<br />
ing.<br />
what they were taught. But because they knew the<br />
rules, they knew where to look for something<br />
better.<br />
At Berthold-Alphatype we make typesetting<br />
equipment for those who will not settle for less<br />
than the best.<br />
We also offer the complete and exclusive<br />
Berthold Type Library, setting the standard for<br />
style and clarity throughout the world.<br />
Our goal is the proper combination of modern<br />
technology with old-fashioned virtues like<br />
reliability and good taste.<br />
We design and build our machines and our<br />
reputation in the same way. To last.<br />
Berthold-Alphatype<br />
FOR FURTHER INFORMATION ON OUR PRODUCTS AND SERVICES, PLEASE TELEPHONE: NORTHERN CALIFORNIA (415) 872-2924, GEORGIA (404) 449-5515,<br />
ILLINOIS (312) 965-8800, SOUTHERN CALIFORNIA (213) 217-0249, NEW YORK (212) 594-3970, TEXAS (214) 350-7891, VIRGINIA (703) 442-9555.<br />
IN CANADA, VANCOUVER (604) 684-2841, CALGARY (403) 276-5762, TORONTO (416) 475-8570, MONTREAL (514) 336-1440.<br />
61
62<br />
Aachen Medium .' Aachen Bold'<br />
Abbey Adroit Light' Adroit<br />
Light Italic' Adroit Medium'<br />
Adroit Medium Italic' Adroit<br />
Bold' Adroit Extra Bold'<br />
Aharoni Hebrew Aharoni<br />
Hebrew Mirrored Aharoni<br />
Hebrew Bold Mirrored<br />
Aharoni Hebrew Outline<br />
Mirrored Aldostyle Aldostyle<br />
Bold Aldostyle Extended<br />
Aldostyle Bold Extended<br />
Aldostyle Condensed Aldostyle<br />
Bold Condensed Alternate<br />
Gothic 1 Alternate Gothic 2<br />
Initial letter from Autologic's Champ Fleury<br />
Constructed Initials.<br />
Alternate Gothic 3 Amazonia<br />
American Gothic Light<br />
American Gothic Light Italic<br />
American Gothic Medium<br />
American Gothic Medium<br />
Italic American Gothic Bold<br />
ITC American Typewriter Light 3<br />
ITC American Typewriter<br />
Medium 3 ITC American<br />
Typewriter Bold 3 ITC American<br />
Typewriter Light Condensed 3<br />
ITC American Typewriter<br />
Medium Condensed 3 ITC<br />
American Typewriter Bold<br />
Condensed 3<br />
ITC American Typewriter<br />
Greek Medium 3 ITC American<br />
Typewriter Greek Bold 3 ITC<br />
American Typewriter Greek<br />
Medium Condensed 3 ITC<br />
American Typewriter Greek<br />
Bold Condensed 3 Antique No<br />
1 Antique No 1 Italic Arabic<br />
Simplified Light Arabic<br />
Simplified Bold Arabic<br />
Traditional Light Arabic<br />
Traditional Bold Artcraft<br />
Artcraft Bold Ascot Ascot Italic<br />
Ascot Book Ascot Book Italic<br />
Ascot Bold Ascot Bold Italic<br />
Ascot Extra Bold Aster Aster<br />
Italic Aster Bold Aster Bold<br />
Italic Aster Greek Aster<br />
Greek Italic Aster Greek<br />
Bold Athena Athena Italic<br />
Athena Medium Athena<br />
Medium Italic Athena Bold<br />
Athena Bold Italic Athena Black<br />
Athena Black Italic Athena<br />
Greek Athena Greek Italic<br />
Athena Greek Bold ITC Avant<br />
Garde Gothic Extra Light 3 ITC<br />
Avant Garde Gothic Extra<br />
Light Oblique 3 ITC Avant<br />
Garde Gothic Book 3 ITC Avant<br />
Garde Gothic Book Oblique 3<br />
ITC Avant Garde Gothic<br />
Medium 3 ITC Avant Garde<br />
Gothic Medium Oblique 3 ITC<br />
Avant Garde Gothic Demi<br />
Bold 3 ITC Avant Garde Gothic<br />
Demi Bold Oblique 3 ITC Avant<br />
Garde Gothic Bold 3 ITC Avant<br />
Garde Gothic Bold Oblique 3<br />
ITC Avant Garde Gothic Book<br />
Condensed 3 ITC Avant Garde<br />
Gothic Medium Condensed 3<br />
ITC Avant Garde Gothic Demi<br />
Bold Condensed 3 ITC Avant<br />
Garde Gothic Bold<br />
Condensed3
Ballardvale 2 Ballardvale 2<br />
Italic Ballardvale 2 Bold<br />
Ballardvale 2 Bold Italic<br />
Ballardvale 2 Condensed<br />
Ballardvale 2 Bold<br />
Condensed Balloon Extra Bold<br />
Bank Gothic Medium<br />
ITC Barcelona Book 3 ITC<br />
Barcelona Book Italic 3 ITC<br />
Barcelona Medium 3 ITC<br />
Barcelona Medium Italic 3<br />
3 ITC ITC Barcelona Bold<br />
Barcelona Bold Italic 3<br />
3 ITC ITC Barcelona Heavy<br />
Barcelona Heavy Italic 3 HAAS<br />
Basilia 2 HAAS Basilia Italic 2<br />
2 HAAS Basilia Medium<br />
2 HAAS Basilia Medium Italic<br />
Baskerville 2 Baskerville 2 Italic<br />
Baskerville 2 Bold Baskerville 2<br />
Bold Italic Baskerville 800 2<br />
2 Baskerville 800 Italic<br />
2 Baskerville 800 Medium<br />
2 Baskerville 800 Medium Italic<br />
2 Baskerville 800 Bold<br />
2 ITC Baskerville 800 Bold Italic<br />
New Baskerville Book 3 ITC<br />
New Baskerville Book Italic 3<br />
ITC New Baskerville Semi<br />
Bold 3 ITC New Baskerville<br />
Semi Bold Italic 3 ITC New<br />
Baskerville Bold 3 ITC New<br />
Baskerville Bold Italic 3 ITC<br />
New Baskerville Black 3 ITC<br />
New Baskerville Black Italic 3<br />
Bauen Schrift Bauen Schrift<br />
Medium Bauen Schrift Bold<br />
Bauen Schrift Black ITC<br />
Bauhaus Light 3 ITC Bauhaus<br />
Medium 3 ITC Bauhaus Demi<br />
Bold 3 ITC Bauhaus Bold 3 Belwe<br />
Light, Belwe Light Italic 4 Belwe<br />
Medium 4 Belwe Bold 4 Belwe<br />
Condensed 4 Bembo 2 Bembo<br />
2 Italic Bembo 2 Bold Bembo<br />
2 Bold Italic Bembo 2 Black<br />
ITC Benguiat Book 3 ITC<br />
Benguiat Book Italic 3<br />
3 ITC ITC Benguiat Medium<br />
Benguiat Medium Italic 3 ITC<br />
Benguiat Bold 3 ITC Benguiat<br />
Bold Italic 3 ITC Benguiat<br />
Book Condensed 3 ITC<br />
Benguiat Book Condensed<br />
Italic 3 ITC Benguiat Medium<br />
Condensed 3 ITC Benguiat<br />
Medium Condensed Italic 3<br />
ITC Benguiat Bold<br />
Condensed 3 ITC Benguiat<br />
Bold Condensed Italic 3<br />
ITC Benguiat Gothic Book 3 ITC<br />
Benguiat Gothic Book Italic 3 ITC<br />
Benguiat Gothic Medium 3 ITC<br />
Benguiat Gothic Medium Italic 3<br />
3 ITC ITC Benguiat Gothic Bold<br />
Benguiat Gothic Bold Italic 3 ITC<br />
Benguiat Gothic Heavy 3 ITC<br />
Benguiat Gothic Heavy Italic 3<br />
3 ITC Berkeley Old Style Book<br />
ITC Berkeley Old Style Book<br />
Italic 3 ITC Berkeley Old Style<br />
Medium 3 ITC Berkeley Old<br />
Style Medium Italic 3 ITC<br />
Berkeley Old Style Bold 3 ITC<br />
Berkeley Old Style Bold Italic 3<br />
ITC Berkeley Old Style Black 3<br />
ITC Berkeley Old Style Black<br />
Italic 3 Bernhard Tango Beton<br />
Bold Beton Extra Bold Beton<br />
Bold Condensed Binny Old<br />
Style Binny Old Style Italic Bison<br />
Bodoni 2 Bodoni 2 Italic<br />
Bodoni 2 Book Bodoni 2 Book<br />
Italic Bodoni 2 Bold Bodoni 2<br />
Bold Italic Bodoni 2 Bold<br />
Condensed Bodoni 2<br />
Campanile Bodoni B Bodoni<br />
B Italic Bodoni B Bold<br />
Bodoni B Bold Italic Bodoni<br />
B Black Bodoni B Black Italic<br />
Poster Bodoni Poster Bodoni<br />
Italic ITC Bolt Bold 3 Bookman<br />
Antique Bookman Antique<br />
Italic Bookman Antique Bold<br />
Bookman Antique Bold Italic<br />
ITC Bookman Light 3 ITC<br />
Bookman Light Italic 3 ITC<br />
Bookman Medium 3<br />
3 ITC Bookman Medium Italic<br />
3 ITC Bookman Demi Bold<br />
ITC Bookman Demi Bold<br />
Italic 3 ITC Bookman Bold 3<br />
3 ITC Bookman Bold Italic<br />
Boston Script Britannic<br />
Britannic Bold Broadway<br />
Broadway Engraved Brush<br />
Script Bulmer Bulmer Italic ITC<br />
Busorama Bold 3<br />
Initial letter from Autologic's Melencolia<br />
Constructed Initials.<br />
AUTOLOGIC<br />
63
64<br />
Candide Candide Italic<br />
Candide Medium Candide<br />
Bold Caslon 2 Caslon 2 Italic<br />
Caslon 2 Bold Caslon 2 Bold<br />
Italic Caslon 2 Black ITC<br />
Caslon No 224 Book 3 ITC<br />
Caslon No 224 Book Italic 3 ITC<br />
Caslon No 224 Medium 3 ITC<br />
Caslon No 224 Medium Italic 3<br />
3 ITC<br />
ITC Caslon No 224 Bold<br />
Caslon No 224 Bold Italic 3<br />
ITC Caslon No 224 Black 3<br />
ITC Caslon No 224 Black Italic 3<br />
Caslon<br />
Caslon 3 Caslon 3 Italic<br />
540 Caslon 540 Italic Caslon<br />
Antique Caslon Antique<br />
Italic Caslon Openface<br />
Catalina Catalina Italic<br />
Celestina Celestina Italic<br />
Celestina Bold Century 11<br />
Bold Century II Bold Italic<br />
Century II Bold Condensed<br />
Century Expanded Century<br />
Expanded Italic Century<br />
Expanded Bold Century<br />
Expanded Bold Italic<br />
Initial letter from Autologic's Geometrica<br />
Constructed Initials.<br />
AUTOLOGIC<br />
Century Nova Century Nova<br />
Italic Century Nova Bold<br />
Century Schoolbook Century<br />
Schoolbook Italic Century<br />
Schoolbook Bold Century<br />
Schoolbook Bold Italic ITC<br />
Century Light 3 ITC Century<br />
Light Italic 3 ITC Century<br />
Book 3 ITC Century Book<br />
Italic 3 ITC Century Bold 3 ITC<br />
Century Bold Italic 3 ITC<br />
Century Ultra 3 ITC Century<br />
Ultra Italic 3 ITC Century<br />
Light Condensed 3 ITC<br />
Century Light Condensed<br />
Italic 3 ITC Century Book<br />
Condensed 3 ITC Century<br />
Book Condensed Italic 3 ITC<br />
Century Bold Condensed 3<br />
ITC Century Bold<br />
Condensed Italic 3 ITC<br />
Century Ultra Condensed 3<br />
ITC Century Ultra<br />
Condensed Italic 3 Chaim<br />
Hebrew Chaim Hebrew<br />
Mirrored Chaim Hebrew<br />
Condensed<br />
Chaim Hebrew Condensed<br />
Mirrored Champ Fleury Titling<br />
Champ Fleury Initials Chapel<br />
Script Chelsea Light Chelsea<br />
Medium Chelsea Black<br />
Cheltenham Cheltenham Italic<br />
Cheltenham Medium<br />
Cheltenham Medium Italic<br />
Cheltenham Bold Cheltenham<br />
Bold Italic Cheltenham Bold<br />
Condensed Cheltenham Bold<br />
Condensed Italic Cheltenham<br />
Nova Cheltenham Nova Bold<br />
Cheltenham Old Style<br />
Cheltenham Old Style Italic<br />
ITC Cheltenham Light 3 ITC<br />
Cheltenham Light Italic 3<br />
3 ITC<br />
Cheltenham Book<br />
Cheltenham Book Italic 3 ITC<br />
Cheltenham Bold 3 ITC<br />
Cheltenham Bold Italic 3<br />
ITC Cheltenham Ultra 3 ITC<br />
Cheltenham Ultra Italic 3<br />
ITC Cheltenham Light<br />
Condensed 3 ITC Cheltenham<br />
Light Condensed Italic 3 ITC<br />
Cheltenham Book<br />
Condensed 3 ITC Cheltenham<br />
Book Condensed Italic 3 ITC<br />
Cheltenham Bold<br />
Condensed 3 ITC Cheltenham<br />
Bold Condensed Italic 3 ITC<br />
Cheltenham Ultra<br />
Condensed 3 ITC Cheltenham<br />
Ultra Condensed Italic 3<br />
Chelvet Greek Light Chelvet<br />
Greek Chelvet Greek Italic<br />
Chelvet Greek Bold Chelvet<br />
Greek Condensed Chelvet<br />
Greek Medium Demi<br />
Condensed Clarendon 2<br />
Clarendon 2 Oblique<br />
Clarendon 2 Demi Bold<br />
Clarendon 2 Bold Clarendon 2<br />
Black Clarendon 3 Light<br />
Clarendon 3 Clarendon 3<br />
Medium Clarendon 3 Bold<br />
Clarendon 3 Black Clarendon<br />
3 Condensed Clarendon 3<br />
Bold Condensed Clarinda<br />
Typewriter Clarizo Clarizo<br />
Italic Clarizo Bold ITC<br />
Clearface 3 ITC Clearface Italic 3<br />
3 ITC<br />
ITC Clearface Bold<br />
Clearface Bold Italic 3 ITC<br />
Clearface Heavy 3 ITC Clearface<br />
Heavy Italic 3 ITC Clearface<br />
Black 3 ITC Clearface Black<br />
Italic 3 Clearface Gothic<br />
Clearface Gothic Italic<br />
Clearface Gothic Demi Bold<br />
Clearface Gothic Bold<br />
Clearface Gothic Extra Bold<br />
Cloister 2 Medium Cloister<br />
2 Bold Cloister 2 Bold Italic<br />
Cochine Cochine Italic Cochine<br />
Bold Cochine Bold Italic<br />
Cochine Black Cochine Black<br />
Italic Commercial Script<br />
Computer Modern TEX Fonts<br />
Congress Congress Italic<br />
Congress Medium Congress<br />
Bold Congress Heavy<br />
Continental Script Cooper 2<br />
Black Cooper 2 Black Italic<br />
Copperplate Gothic<br />
Copperplate Gothic Bold<br />
Copperplate Gothic Extended<br />
Copperplate Gothic Bold<br />
Extended Copperplate Gothic<br />
Condensed Copperplate<br />
Gothic Bold Condensed<br />
Corvina Corvina Italic<br />
Corvina Medium Corvina<br />
Bold Cosimo Script Courier<br />
Typewriter Craw Modern Craw<br />
Modern Bold Criterion Light'<br />
Criterion Light Italic ,<br />
, Criterion<br />
Book<br />
Book Italic , Criterion<br />
Medium' Criterion Bold ,<br />
, ITC<br />
Criterion Extra Bold<br />
Cushing Book 3 ITC Cushing<br />
Book Italic 3 ITC Cushing<br />
Medium 3 ITC Cushing Medium<br />
Italic 3 ITC Cushing Bold 3 ITC<br />
Cushing Bold Italic 3 ITC Cushing<br />
Heavy 3 ITC Cushing Heavy<br />
Italic3
The ABC's of Autologic's<br />
typographic library represent<br />
only a fraction of the more than<br />
1,500 digital fonts available for<br />
use with our advanced<br />
imagesetting equipment.<br />
From Aachen 4 to ITC Zapf<br />
International 3 we offer the latest<br />
designs from sources including<br />
Alphabet Innovations, Haas<br />
Typefoundry, International<br />
Typeface Corporation, Letraset,<br />
TypeSpectra, and World<br />
Typeface Center. Exclusive<br />
Autologic designs include<br />
Media, Signa, Kis-Janson, and<br />
our recently introduced titling<br />
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Geometrica, Melencolia, and<br />
Champ Fleury.<br />
The goal of Autologic's<br />
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program is to produce an ever<br />
expanding range of digital<br />
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Science.<br />
' Under license from TypeSpectra.<br />
2 Under license from Haas Typefoundry.<br />
3 Under license from International<br />
Typeface Corporation.<br />
4 Under license from Letraset Limited.<br />
This advertisement was composed on the APS<br />
Microcomposer and imaged on the APS Micro-5<br />
using Haas Unica 2 Light, Regular, Bold, & Black<br />
and Signa Roman.<br />
NOW<br />
YOU<br />
KNOW<br />
OUR<br />
Ea<br />
AUTOLOGIC<br />
Corporate Headquarters<br />
1050 Rancho Conejo Blvd.<br />
Newbury Park, CA 91320<br />
Tel. (805) 498-9611-USA<br />
Fax: (805) 498-9611<br />
International Headquarters<br />
Av. des Boveresses 44<br />
Case postale<br />
CH-1010 Lausanne 10<br />
Switzerland<br />
Tel. 021 33 51 33<br />
Tx 459 539 auto ch<br />
Autologic Inc.<br />
A subsidiary of<br />
Volt Information Sciences, Inc.<br />
Autologic S.A.<br />
A subsidiary of<br />
Volt Information Sciences, Inc.<br />
65
66<br />
- ..II.<br />
111.1 71i11111111111111111111111111111111111111111111111111111111111111111111111111111111111111111I1111111111111111111111111111111111111111111111111111111111111i1111111111111111111011111111111111111111111111110'<br />
.<br />
ill<br />
Mergenthaler<br />
Every face reflects the character<br />
frieliglx)whaliand®<br />
ckezyrted .ffactizezo-eaptet,<br />
Jar-<br />
(%-e, LOA arL &yArA, toptthy maNtei- and<br />
aatitot-e`ghe (9-penz'd"<br />
named CAark8,tinell conducted cr virulent caztl'ati<br />
watizst t ove,--elanorate.On (01)/(ithig.<br />
glirifoetridee&ti,tAathit at the thne threatened<br />
the e&iveitejeomnitinicatioit. (ineitcukocateci<br />
stwnclawdraeOr yym iette/w, /vitas/ toitie4<br />
lat,erfacilitated (9,e..ot.<br />
_rz °Mei. e e cm. e neii<br />
tin cilia/1d tit a<br />
tirow-AotMe_fave.= gimt& 8 ,9ive,you the<br />
szinplie# that/weds/no e<strong>lc</strong>zoopatiovt tit( f;iell<br />
glwaralictia.<br />
ALLIED<br />
Memphis®<br />
designed by Rudolf Wolf<br />
for Mergenthaler<br />
The earliest modern revival of the<br />
Egyptian style typefaces, Memphis was<br />
designed by Rudolf Wolf for Mergenthaler<br />
between 1929 and 1933. The lower case<br />
features an adoption of the slab serif.<br />
There are optional a's, f's and t's, allowing<br />
a choice of slabs and serifs. Memphis is<br />
available in four weights, roman and italic<br />
and condensed versions.<br />
With Linotype Laser Fonts, Wolf's<br />
Egyptian classic is preserved in all its<br />
splendor as Mergenthaler Memphis.<br />
Mergenthaler, Linotype, Snell Roundhand, Memphis, Stempel Schneidler,
Masterpieces.<br />
of the world's finest type library.<br />
' MI111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111;11111111111111111111111111ii111111'<br />
Stempel Schneidler®<br />
based on the works of Ernst Schneidler<br />
for Mergenthaler.<br />
Born in 1882, Ernst Schneidler ranked<br />
among the most notable book designers,<br />
calligraphers and type designers of the first half<br />
of this century. He designed some twenty<br />
typefaces, including Schneidle,r-Mediaeval, a<br />
face felt to reflect the pure tradition of the<br />
humanist style. Based on careful study of this<br />
face and his Amalthea Italic, D. Stempel AG<br />
created a whole family for the Mergenthaler<br />
library. The Stempel Schneidler family lends<br />
itself to almost all typographic uses.<br />
And in Linotype Laser Font, the Stempel<br />
Schneidler family preserves the ideas and<br />
qualities which made the original typefaces<br />
dear to typographers.<br />
Spartan and Laser Font are registered trademarks of Allied Corporation.<br />
Spartan®<br />
designed by C.H. Griffith<br />
for Mergenthaler.<br />
The most widely used lineale in the United<br />
States, Spartan was designed in 1936 by designer<br />
C.H. Griffith. The face is a composite design of two<br />
other well known faces, Erbar Grotesk and<br />
Neuzeit Grotesk. Spartan is available in several<br />
weights.<br />
And Linotype Laser Fonts give you the basic<br />
beauty of Griffith's lineale with Mergenthaler<br />
Spartan.<br />
For more information on Linotype Laser Fonts,<br />
or the Linotype Mergenthaler Digital Typeface<br />
Directory, write to Linotype Company;<br />
425 Oser Avenue, Hauppauge, NY 11788.<br />
Or call toll free (800) 645-5764.<br />
(In New York (800) 832-5288.)<br />
Linotype Company<br />
67
68<br />
Aldus Type Studio<br />
Los Angeles, California<br />
213-933-7371<br />
GMF Incorporated/<br />
Letterworks<br />
Arlington, Virginia<br />
703-527-0934<br />
Monotype Composition Co.<br />
Boston, Massachusetts<br />
617-269-4188<br />
Skil-Set Typographers<br />
Los Angeles, California<br />
213-749-8066<br />
Typeworks of Dallas, Inc.<br />
Dallas, Texas<br />
214-631-7006<br />
Alphabet Shop<br />
Atlanta, Georgia<br />
404-892-6500<br />
Gorman's Typesetting, Inc.<br />
Bradford, Illinois<br />
309-897-4051<br />
Alpha-Graphix<br />
Los Angeles, California<br />
213-388-0401<br />
Granite Graphics Graphic Composition<br />
New York, New York Menasha, Wisconsin<br />
212-772-0364 414-739-3152<br />
Rutherford, New Jersey<br />
201-438-7398<br />
Arrow Typographers Better Graphics, Inc.<br />
Newark, New Jersey Crystal Lake, Illinois<br />
201-622-0111 815455-3830<br />
bid have to be<br />
nuts to go<br />
glace else.<br />
Mono Typesetting<br />
Bloomfield, Connecticut<br />
203-242-3006<br />
Spectrum Composition<br />
New York, New York<br />
212-391-3940<br />
Typographical Service<br />
Fort Lauderdale, Florida<br />
305-772-4710<br />
Newark Trade<br />
Typographers<br />
Orange, New Jersey<br />
201-674-3727<br />
Stamford Typesetting<br />
Stamford, Connecticut<br />
203-327-1441<br />
Typographic Service<br />
Los Angeles, California<br />
213-749-8383<br />
Omnicomp<br />
Palo Alto, California<br />
415-326-5960<br />
San Francisco, California<br />
415-398-3377<br />
Techni Process Limited<br />
Thronto, Ontario<br />
416-363-2493<br />
Typography Plus<br />
Dallas, Texas<br />
214-630-2800<br />
Bradford/Will Graphics<br />
Denver, Colorado<br />
303-233-9128<br />
Great Faces, Inc. Harlowe Typography, Inc.<br />
Minneapolis, Minnesota Cottage City, Maryland<br />
612-339-2933 301-277-8311<br />
Paul 0. Giesey/Adcrafters<br />
Portland, Oregon<br />
503-226-3943<br />
The Advertising<br />
Factory, Ltd.<br />
Las Vegas, Nevada<br />
702-382-9090<br />
Typotronics<br />
St. Louis, Missouri<br />
314-647-8880<br />
Perfect Type<br />
Tucson, Arizona<br />
602-327-3705<br />
The Firm of<br />
Christopher Wren<br />
Costa Mesa, California<br />
714-540-0801<br />
"N*1<br />
Typesettin' Inc.<br />
Wooddale, Illinois<br />
312-595-0966<br />
Typographers<br />
W<br />
For more information and a complete listing of all the characters in TIA contact Typographers International Association, 2262 Hall Place NW, Washington, DC 20007 (
Brooks Typography<br />
Lafayette, California<br />
415-284-2910<br />
Hi-Speed/Advertising<br />
Typography<br />
Los Angeles, California<br />
213-748-0411<br />
Phototype House<br />
Los Angeles, California<br />
213-933-9124<br />
11,<br />
The Typesetter<br />
Denver, Colorado<br />
303458-8973<br />
Central Typesetting<br />
Detroit, Michigan<br />
313-961-7171<br />
Holly Typesetting<br />
North Hollywood, California<br />
818-764-1868<br />
PolaGraphics<br />
Vancouver, B.C.<br />
604-685-6592<br />
The Type Gallery<br />
Seattle, Washington<br />
206-285-6333<br />
Chiles & Chiles<br />
Dallas, Texas<br />
214-690-4606<br />
Porter Graphics, Inc.<br />
Santa Ana. California<br />
714-558-1947<br />
Classic Typographers, Inc.<br />
Chicago, Illinois<br />
312-889-5700<br />
Marathon Typography<br />
Durham, North Carolina<br />
919-493-7445<br />
Trade Typographers<br />
Washington, D.C.<br />
202-667-3420<br />
Rapid Typographers<br />
San Francisco, California<br />
415-982-6071<br />
Communication Arts, Inc.<br />
Birmingham, Alabama<br />
205-251-6642<br />
Marchese Graphics<br />
Los Angeles, California<br />
213-937-1517<br />
Typesetting Service<br />
Cleveland, Ohio<br />
216-241-2647<br />
Metro Typography<br />
Santa Cruz, California<br />
408-429-1969<br />
ROC/SOC Marketing, Inc.<br />
New York, New York<br />
212-243-4982<br />
Type House + Duragraph<br />
Minneapolis, Minnesota<br />
612-588-7511<br />
Composition Systems, Inc.<br />
Falls Church, Virginia<br />
703-237-1700<br />
Computer Typesetting County Photo Compositing DeLine-O-Type, Inc. Design & Type, Inc. DG&F Typography Dix Type Inc.<br />
of Canada Southborough, Massachusetts Orange, California San Francisco, California Columbia, South Carolina Syracuse, New York<br />
Toronto, Ontario 617-480-0205 714-639-2562 415-495-6280 803-799-9140 315-437-9925<br />
416-593-6942<br />
Eastern Typesetting Elizabeth Typesetting etCetera Typography E B Typecrafters Fort Worth Linotyping Co.<br />
Hartford, Connecticut Kenilworth, New Jersey Orlando, Florida Denver, Colorado Fort Worth, Texas<br />
203-528-9631 201-241-6161 305-841-0384 303-294-9240 817-332-4070<br />
U.S. Lithograph, Inc.<br />
New York, New York<br />
212-673-3210<br />
Versa Type<br />
Torrance, California<br />
213-539-1611<br />
General Typographers<br />
Washington, D.C.<br />
202-546-1400<br />
Mobigraphics<br />
Chicago, Illinois<br />
312-944-5585<br />
Shore Typographers, Inc.<br />
Chicago, Illinois<br />
312-944-6650<br />
v„ry:<br />
Type & Stat Place<br />
Dallas, Texas<br />
214-951-0341<br />
Weimer Typesetting Williams Graphic Service Woodland Graphics York Typographers Inc.<br />
Indianapolis, Indiana Wakefield, Massachusetts Bedford, Massachusetts Don Mills, Ontario<br />
317-635-4487 617-246-1310 617-275-1600 416-445-3830<br />
International Association<br />
set the standards' (202) 965-3400. © 1985 Typographers International Association, Cartoon Characters © Polo
70<br />
If you like<br />
black 8z white,<br />
All illustrations are direct<br />
reproductions of output<br />
from the Lightspeed Qolor system.
you'll love<br />
b:ghtspeed Qolor.<br />
If you like our black and<br />
white images, you'll love<br />
them even more in Qolor.<br />
Call us for literature or a<br />
demonstration.<br />
Lightspeed<br />
303 Congress Street<br />
Boston, Massachusetts<br />
02210<br />
617 338-2173<br />
New York Area Sales<br />
407 Park Avenue South<br />
New York, New York<br />
10016<br />
212 213-0140<br />
It's simple. It's simple.<br />
Color is vital to the graphic<br />
arts. And the Lightspeed<br />
Qolor system is a necessity<br />
for the serious graphic<br />
designer. Qolor is the first<br />
full-color image design<br />
system to combine digital<br />
technology and traditional<br />
methods to produce slides,<br />
print, and video.<br />
Qolor cuts production costs,<br />
speeds up workflow, and<br />
shortens the time you need<br />
to turn the light bulb over<br />
your head into a finished<br />
project. Whether it's color<br />
comps, slides, illustrations,<br />
or reproductions, Qolor<br />
keeps you in the black.<br />
Qolor contains an infinite<br />
supply of the tools and<br />
materials you use every day:<br />
type, stats, color prints,<br />
paper swatches, masks,<br />
overlays, paints, brushes.<br />
And Qolor works the way<br />
you work, with features<br />
that let you cut, paste, scale,<br />
zoom, composite, and<br />
paint with dozens of<br />
typefaces, millions of colors,<br />
and high-resolution<br />
photographic images.<br />
Best of all, Qolor is as easy<br />
to use as it is versatile. You'll<br />
be able to produce useful<br />
and valuable full-color<br />
originals after a single day<br />
of training.<br />
It's simple.<br />
Finger—for selecting and using tools.<br />
Triangle—for horizontal alignment.<br />
Loupe—to magnify up to 400%.<br />
T-square—for vertical alignment.<br />
Tabouret— to store type, pictures, paint,<br />
gradations, grids...<br />
Copyright 1986 Lightspeed. All rights reserved.<br />
Qolor and the Lightspeed logo are registered<br />
trademarks of Lightspeed.<br />
71
72<br />
Color-proofing systems<br />
are basically alike.<br />
Aren't they? B D<br />
Well, yes and no.<br />
Yes, they're alike because inks and solvents and<br />
certain other materials are mainstays of every system.<br />
And no, they're not alike when you check out<br />
some of the intangibles. Not the least of which is<br />
quality of product.<br />
Like the quality of the multicolor proofing job you<br />
get from your neighborhood Identicolor studio. Now<br />
there's a product at the very top of its game. But how<br />
can this be so (you ask) in an industry where systems<br />
are supposedly alike?<br />
Well, this is so (we reply) because with this system,<br />
color-imaging is carried out by a skilled Identicolor<br />
technician operating from a uniquely-equipped<br />
Identicolor facility. Giving you the sure hand that<br />
only the best training and technology can buy.<br />
Of course, there are companies out there whose<br />
business it is to convince you to buy some of that<br />
technology for home use. Sort of an over-the-counter<br />
"kit" so you can do it yourself and save money.<br />
Well, an Identicolor franchise is not a kit. And it's<br />
not sold at your art supplies retailer with batteries<br />
not included. Nor can it be set up behind the water<br />
cooler in your office because the EPA has strict standards<br />
of ventilation relating to the use of toxic and<br />
sophisticated Identicolor materials.<br />
And just supposing you had such a set-up for private<br />
use, what could you get to take the place of an<br />
Identicolor professional? A set of instructions?<br />
And finally, what's the saving of a few dollars when<br />
weighed against the best multicolor transfers in<br />
the business?<br />
Identicolor. State-of-the-art proofing.<br />
Some things are just more equal than others.<br />
IDENTICOLOR<br />
All The Proof You Need<br />
Multicolor Direct Proofing Multicolor "Multi/cal" Transfers Multicolor "Multi/foil" Metallic Transfers<br />
Identicolor International franchise headquarters:<br />
720 White Plains Road, Scarsdale, N.Y. 10583, (914) 472-6640
BERTHOLD EXCLUSIVE TYPEFACES:<br />
Clever foxes<br />
will jump on<br />
Berthold's<br />
Bodoni Old Face<br />
real quick. FROM BERTHOLD ONLY.<br />
Bodoni Old Face<br />
is a modern<br />
design of the classic<br />
Bodoni styles specially<br />
adapted to phototypesetting<br />
and developed<br />
with great sensitiveness<br />
from a variety of original<br />
Bodoni prints.<br />
Giambattista<br />
Bodoni, "King<br />
among Printers and<br />
Printer of Kings" was<br />
one of the Western<br />
world's masterful creative<br />
artists.<br />
A new Bodoni dimension<br />
has opened up for<br />
phototypesetting with<br />
this new revision of his<br />
typeface carried out by<br />
Giinter Gerhard Lange,<br />
Artistic Director of<br />
H. Berthold AG, himself<br />
a creator of contemporary<br />
type families.<br />
nly Berthold has<br />
this exclusive<br />
Bodoni Old Face in the<br />
styles regular, italic,<br />
SMALL CAPS, ITALIC<br />
SMALL CAPS, semi-bold,<br />
italic semi-bold, bold<br />
and italic bold<br />
Please use the accompanying<br />
coupon to write and<br />
ask for the Berthold<br />
Exclusive Type Specimen<br />
No.11"Bodoni Old Face".<br />
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm<br />
Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz<br />
Please write to:<br />
H.Berthold AG<br />
Teltowkanalstrage 1-4<br />
D-1000 Berlin 46<br />
Federal Republic<br />
of Germany<br />
73<br />
or from overseas to:<br />
Alphatype Corporation,<br />
7711 N. Merrimac Avenue,<br />
Niles, Illinois 60648<br />
Address ......................<br />
berthold<br />
fototype
74<br />
Compugraphic Library Suppliers<br />
Calgary, Alberta 1<br />
Vancouver, BC 2<br />
Winnipeg, Manitoba 3<br />
Halifax, Nova Scotia 1<br />
Don Mills, Ontario 1<br />
Scarborough, Ontario 1<br />
Toronto, Ontario 7<br />
Montreal, Quebec 3<br />
Quebec, Quebec 1<br />
Town of Mt. Royal, Quebec . . . 1<br />
Anchorage, AK 1<br />
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Anaheim, CA 1<br />
Burbank, CA 2<br />
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Hollywood, CA 2<br />
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Long Beach, CA 1<br />
Los Angeles, CA 10<br />
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Sacramento, CA 1<br />
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aG he 11<br />
From coast to coast, more and more wpcsct<br />
ting shots arc offering viFt_ally - every design<br />
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for Bodoni in the Big Apple or 0:iiega in<br />
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oesigns in use today The Com-o-ugraphic<br />
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*Currently there arc well over 33,000 locations<br />
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Villa Park, IL<br />
1<br />
Manchester, NH<br />
1<br />
Youngstown, OH 1<br />
1 Brownsberg, IN 1 Clifton, NJ 1 Tulsa, OK 1<br />
1 South Bend, IN 1 Edison, NJ 1 Portland, OR 4<br />
1 Kansas City, KS 1 Glen Rock, NJ 1 Allentown, PA 1<br />
2 Overland Park, KS 2 Medford, NJ 1 Ardmore, PA 1<br />
1 Wichita, KS 1 Ridgefield, NJ 1 Camp Hill, PA 1<br />
1<br />
1<br />
2<br />
Fern Creek, KY<br />
New Orleans, LA<br />
Shreveport, LA<br />
1<br />
1<br />
1<br />
S. Hackensack, NJ<br />
Scotch Plains, NJ<br />
Santa Fe, NM<br />
1<br />
1<br />
1<br />
Kutztown, PA<br />
Philadelphia, PA<br />
Memphis, TN<br />
1<br />
1<br />
1<br />
1<br />
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7<br />
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Brooklyn, NY<br />
Buffalo, NY<br />
Huntington, NY<br />
Monsey, NY<br />
New York, NY<br />
Plainview, NY<br />
Rochester, NY<br />
1<br />
1<br />
2<br />
1<br />
1<br />
48<br />
1<br />
2<br />
Nashville, TN<br />
Amarillo, TX<br />
Austin, TX<br />
Corpus Christi, TX<br />
Dallas, TX<br />
Houston, TX<br />
San Antonio, TX<br />
Salt Lake City, UT<br />
2<br />
1<br />
1<br />
1<br />
1<br />
3<br />
2<br />
1<br />
2 Baltimore, MD 3 Schenectady, NY 3 Vienna, VA 1<br />
1<br />
7<br />
1<br />
1<br />
1<br />
1<br />
1<br />
Silver Spring, MD<br />
Berrien Springs, MI<br />
Birmingham, MI<br />
Detroit, MI<br />
Grand Rapids, MI<br />
Kalamazoo, MI<br />
Golden Valley, MN<br />
2<br />
1<br />
1<br />
1<br />
1<br />
1<br />
1<br />
Spring Valley, NY<br />
Syracuse, NY<br />
White Plains, NY<br />
Akron, OH<br />
Cincinnati, OH<br />
Cleveland, OH<br />
Columbus, OH<br />
1<br />
1<br />
2<br />
1<br />
2<br />
3<br />
1<br />
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Seattle, WA<br />
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Tacoma, WA<br />
Madison, WI<br />
Milwaukee, WI<br />
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1<br />
1<br />
1<br />
1<br />
1<br />
1<br />
3<br />
1<br />
1<br />
Minneapolis, MN<br />
St. Paul, MN<br />
Kansas City, MO<br />
3<br />
1<br />
3<br />
Dayton, OH<br />
Toledo, OH<br />
1<br />
2<br />
Oshkosh, WI 1<br />
2 St. Louis, MO 8<br />
1 Durham, NC 1<br />
1<br />
1<br />
High Point, NC<br />
Jamestown, NC<br />
1<br />
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Xerox *EP users became suspicious the week<br />
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incoherent messages had been found scattered<br />
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They surrounded the printer on<br />
Friday night, demanding the suspect<br />
to surrender peacefully. According<br />
to an eyewitness, "When<br />
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used tear gas to flush him out."<br />
Evidence of Baskerville's bizarre<br />
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im No me on en on mm mm moo m m -------r<br />
79
84:k<br />
a<br />
b<br />
C<br />
On South Walnut Street, just around the corner from Independence<br />
Hall in Philadelphia, the lights dimmed on the evening of February<br />
13, 1946 heralding another declaration of independence . . . this<br />
from the analog world of computing. ENIAC, the brilliant child of<br />
brilliant parents, began to take the first baby steps toward computing<br />
as we know it today.<br />
Weighing 30 tons, Mauchley and Eckert's baby sported 18,000 vacuum<br />
tubes, 70,000 resistors, 10,000 capacitors, 1,500 relays, 6,000<br />
manual switches and the usual number of fingers and toes. Something<br />
of a watt hog, she was powered by the equivalent of a small<br />
power house! That's why those city lights recorded the birth of<br />
ENIAC, an aquarian at that.<br />
And now the old girl is enjoying her fortieth, or her vanity obtaining,<br />
her second thirty-ninth birthday. Pres Eckert will tell us about the<br />
good old days. Kay Mauchley will talk about the women who "programmed"<br />
and "debugged" ENIAC in the Moore School Nursery.<br />
And there will be baby pictures! Where? At the beautiful new Computer<br />
Museum in Boston on the night it all began forty years ago.<br />
Celebrate with us. Call Big Birthday Party <strong>Res</strong>ervations at The<br />
Computer Museum (617) 426-2800 to get your invitation.<br />
d<br />
Without her
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1<br />
X<br />
ENIAC's declaration of independence made everything technically<br />
analog become digital. And with type, that's quite a trick. That's<br />
where the art meets the science head on. And it works so well at<br />
Bitstream that we make digital typefaces for most computers whose<br />
hearts now beat digital. As we usher in '86, in these 86 companies<br />
you'll find Bitstream® typefaces matched precisely to the digital<br />
technology:<br />
n<br />
Bitstream<br />
S<br />
▪ Symbolics, Inc.<br />
British Broadcasting Corporation<br />
The Fantastic Animation Machine, Inc<br />
Pacific Data Images<br />
Moore Business Forms, Inc.<br />
Purup Electronics A-S<br />
Ca<strong>lc</strong>omp<br />
InterCAD Corporation<br />
Intergraph Corporation<br />
Lightspeed Computers, Inc.<br />
Qubix Graphic Systems, Inc.<br />
American Data Systems Inc.<br />
Computer Graphics Lab, Inc.<br />
Cubicomp Corporation<br />
Data Innovations, Inc.<br />
DataPlotting Services Inc.<br />
Dynatech Corporation<br />
Megatek Corporation<br />
Precision Visuals, Inc.<br />
Via Video Inc.<br />
West End Film Inc.<br />
Matrix Instruments, Inc.<br />
Adobe Systems Incorporated<br />
Atex, Inc.<br />
Bedford Computer Corporation<br />
Camex, Inc.<br />
Conographic Corporation<br />
Dr.-Ing Rudolf Hell GmbH<br />
Imagitex Incorporated<br />
Misomex AB<br />
Raster Graphics, Inc.<br />
Scitex Corporation Ltd.<br />
SIM-X A.S<br />
System Integrators, Inc.<br />
Tegra, Inc.<br />
Xenotron PLC<br />
Foundation Computer Systems, Inc.<br />
AT&T — IS<br />
Data General Corporation<br />
Eastman Kodak Company<br />
Enfoprise Incorporated<br />
FileNet Corporation<br />
Hewlett-Packard Company<br />
Lasergraphics, Inc.<br />
OASYS, Office Automation Systems<br />
Xerox Corporation<br />
Apricot Computer p.l.c.<br />
Decision <strong>Res</strong>ources Corporation<br />
Digital <strong>Res</strong>earch Incorporated<br />
Graphic Software Systems<br />
Lotus Development Corporation<br />
Microsoft Corporation<br />
Advanced Label Technologies<br />
Anser Technology, Inc.<br />
Dataproducts Corporation<br />
Data Technology Corporation<br />
Delphax Systems<br />
Diconix, Inc.<br />
Genicom Corporation<br />
Impact Systems Ltd.<br />
Kentek Information Systems, Inc.<br />
Mannesmann Tally<br />
Minolta Corporation<br />
Okidata<br />
Printronix, Inc.<br />
Ricoh Corporation<br />
RP&P Engineering, Inc.<br />
Southern Systems, Inc.<br />
Talaris Systems, Inc.<br />
Cybermation Inc.<br />
MG Industries, Inc.<br />
Varitronic Systems, Inc.<br />
Audio Visual Laboratories, Inc.<br />
Dicomed Corporation<br />
Dunn Instruments, Inc.<br />
Genigraphics Corporation<br />
DocuGraphix, Inc.<br />
Interleaf, Inc.<br />
Omnicad Corporation<br />
One-For-One, Inc.<br />
ViewTech, Inc.<br />
Xyvision, Inc.<br />
Time Video Information Services, Inc<br />
(3) To Be Announced<br />
81
82<br />
What kind of a car would you buy if gasoline cost $40 per gallon?<br />
Probably one that didn't use gas at<br />
all. Because you'd spend more in a<br />
year on operating costs than you<br />
spent to buy the car. Doesn't sound<br />
like a good investment, does it?<br />
Yet with phototypesetting, that's<br />
the situation. You spend more operating<br />
your phototypesetter than you<br />
did buying it. And to stay competitive,<br />
you've got to buy another of<br />
these silver guzzlers and a new type<br />
library when your old one is obsolete.<br />
At Tegra, we think phototypesetting<br />
is too expensive.<br />
That's why we built Genesis, the<br />
total electronic imaging system that<br />
provides typographic quality on<br />
plain paper and plate material as<br />
well as on RC paper and film.<br />
Genesis has changed the<br />
rules of the road. The cost of<br />
owning a typesetter is more than<br />
just the purchase price; it's a combination<br />
of equipment cost, operating<br />
costs, productivity, compatibility,<br />
and future growth.<br />
Equipment cost is low. Genesis<br />
uses one imaging system and one<br />
typeface library to produce identical<br />
images on all output media. Genesis<br />
offers the highest throughput of any<br />
output device in the graphic arts<br />
industry, allowing you to do the most<br />
work with the least investment.<br />
Operating costs are reduced.<br />
Because Genesis offers typographic<br />
quality on plain paper, operating<br />
costs are dramatically lower than with<br />
a phototypesetter. You do most of<br />
your work on plain paper, so you<br />
eliminate or significantly reduce<br />
the costs of photographic supplies,<br />
chemicals, and the associated labor.<br />
Productivity is improved.<br />
Genesis turns jobs around quickly.<br />
High throughput—five original<br />
pages a minute—means no waiting<br />
for jobs. No darkroom. No cutting or<br />
copying galleys. Keyboard operators,<br />
proofreaders, and customers get<br />
output immediately. You produce<br />
more work in less time with the<br />
same manpower.<br />
Compatible with your system.<br />
Genesis emulates the most<br />
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Genesis is a trademark of Tegra, Inc. Linotron is a registered trademark of Allied Linotype. Compugraphic is a registered trademark of Compugraphic Corporation.
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Peoria, IL 61656-1901<br />
6000 N. Forest Park Drive<br />
—<br />
111111.MIENIMUMMIIMIIMMOMMM62AR.8600/1<br />
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CO1985 K.C.C.<br />
e Registered Trademark<br />
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Dick Blick<br />
Ems` 1986<br />
Art Materials Catalog<br />
After 75 years, Dick Buick<br />
is still a leader in Art Materials!<br />
You'll see why in this year's<br />
catalog — in its 448 pages<br />
you'll find all of your old<br />
favorites (Crescent, Pelikan,<br />
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Marsmatic, X-Acto, etc.), plus<br />
new tools, materials and projects<br />
for the graphic designer,<br />
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can expect Dick Blick quality<br />
and economy on every<br />
page! Send for your<br />
copy today!<br />
T<br />
DICK BLICK CO.<br />
Dept UL, Box 1267, Galesburg, IL 61401<br />
Please send me the 1986 Catalog. Enclosed is $2.00.<br />
Name<br />
Business<br />
City State Zip<br />
to make the most of a tough job.<br />
Kimberly-Clark Neenah Paper Division<br />
UL<br />
"lb succeed today a graphic designer or art Marcia must undenrkmd the melding of allphases of communications.He is<br />
a part of a total communications effmt thcrt starts,we hope,with a progressive client,cm effective image, cmd a<br />
knowledgeable product designer and ends in a consumer reaching Into Isis for money to that product- In<br />
between are the advertising copywriter, the art directomi_ padarOng seqrt, t-oteale and promotional people, and<br />
a dozen others. The problem has been that each poison bibbed in the bbl cormnunications effort thinks thathis own<br />
thing is the keytomarketing cmdsellingUsat produb.Theexpetts"within the communications lbstdon'tunderstand<br />
each other, and this causes a breakdown of communications between individuals who not only have a thorough<br />
knowledge of each other's function but a respect for each other's oontribution. Our success Ls due to the fact that we h<br />
made it our business to become imosviele in every area of communications. We know how important a ave d<br />
package design can be to the creators of .ve advertisin . If a stimulatinc; ad gets a customer into a , a<br />
poorly designed package can quickly kill the sale no what the ad accomplished. And, conversels a great<br />
package can make advertising look goad The day of specialists working in thelr vacuums is oveL111.met that in ten<br />
total communications teams within adveng agencies or retained by advertising agencies wW take over all the<br />
ctions —point of sale,cUsplagpackaga3 product design,corporate design,architectunalgraphics,etc.—thatwors once<br />
farmed out to spe ciaUsb and use their so phisticated methods to proftft<br />
- - a much more effective mai leeting job for<br />
their customers. I have been doing a good eal of thinking about youth lately—youth in ow business and youth as a<br />
consumer 1 have seluckmlly come to the conclusion that young designers today are so interested in getting rich<br />
that th s are not getting the background in all phases of communications and max , something that our qui filll<br />
demand . On the oilier -liand youth represents a gigantic buying public. Young aduBs 35% of our po<br />
We have to design for people 25 years old and under to sell. These young people are sharp, better educated Fhuicrn any.<br />
other generation in the history of man. They are changing all the rules for successful selling, Look at what's happened in<br />
the last several years to meris clothing, in the automotive industry, and in the entertainment industry because of youth.<br />
Designers, too, must understand the changes that are taking place in society today and be able to respond creative to<br />
them. We cannot settle tor one font of wisdom just as we cant settle for one font of type.We must be creatures of the chcmging<br />
times. Communicators today are talking to themselves, holding monologues, when they should be holding dialogues.<br />
There is little room today for a narrow perspective on graphic design. In fact, design has been 'wallowed up by<br />
communications, and that's the world we are all working in today" The above statement and prediction were made<br />
eWay by<br />
Herb Lubalin ten years ago, as president of the International Academy' of Communicating Arts and Sciences. On Tu<br />
night<br />
themsel<br />
,Jcm uary 20, 1981,while the Reagans gu.ssied themselve up for the Inaugunati on Ball ...while the hostages sweated out<br />
their ak eoff from 'Teheran .. . a few hundred tans, frie nds ad es family of Herb Lu balin tore ves away from those TV<br />
cles to witness, in person, the presentation of the AIGA (American Institute of Graphic Arts) medal. For the Reagcms,<br />
arInauguration Ball was a definite "MBE' For the hostages, that day in Iron was a merciful ' last" But for Lubalin, the<br />
award for excellence in graphics was number 573. Herb has become something of a Pied Piper to the young and a<br />
leader among his peers.lt is especiallyluncA21.desiRris and students that this profile is directed,to reveal that there<br />
are really no gods . . no supermen.. . In busIness.But once in a while a little guy comes along vrith a<br />
few extra creases in his brain (which niCrlesinigirthingli a unique and with a prodigious appetite for work.The<br />
consensus is that Herb is small, lean, elfin, prematurely while-haired cmd silent.He's a bare 5 ft., 7 inches tall<br />
(he carries his head tucked into his shoulders which robs him of an in or IWoh 0 weighs in at less than 140 lbs. He<br />
doesn't really walk; be shuffles. He doesn't really talk, he grunts,snorts ‘oloars tas lot moat a mid occasionally nods his<br />
head. He's a conscientiously casual dresser concenhuting on subtle taupes, preens and earth tones, guided by<br />
either a rare color sense or his congenital color-blindness. He's a sharp shot-at tennis at ping-pong, a graceful<br />
swimmer, a smooth dancer, a reluctant walker—he does none of these things "briskly.' He churns out mountains of work<br />
without ever looking ruffled, frantic or hurried. In fact, the only part of his body that really moves fast is his brain. It's clear,<br />
Lubalin's talent is unique.You can't learn it in sacol, from lectures, from texts or even by swallowing whole issues of 1.1841c.<br />
He has a special radar for zooming in on a problem. He trims away the fat—the extraneous—and works out solutions that<br />
are succinct, witty and elegant. Though h hati handled every design problem from letterheads to a loft interior, over the<br />
pears he has about seduced by and letter forms This man who hardly speaks a language<br />
lowly r. There's nothing new literary people ploryi-nal<br />
fiords<br />
hr woviiids is<br />
l,hat sou like what they an,i.e., screech , scratc<br />
ilite what<br />
td an, It wa s the beginning<br />
of a whole<br />
h,<br />
grizzly, clang, whisper... but when Herb Started to make 1 hey me<br />
new adventure in graphic design, His visualization of the Man-Way, with the double R's facing each other; his<br />
Mother & Child, with the ampersand and child nestled in liter 0, are the epitome of his wit. His solutions are so obviously<br />
right, they stunus,HerbisexasperatingtoyZeoplewhoproduceworkforhim butrpeverknowwhathethinksoftheirefforts.<br />
He is crushing to young designers and r over a portfolio, seekin a serious criti e, but hear only a few<br />
grunts, a mumble and a snort or two. If only theyriltrn IItat a t, a snort and a little nod of the head from Herb can be<br />
thunderous applause. He can be a to work for He and not given to endless revises; but he is<br />
stubborn to the extreme; his tenacity s driven ottiers to ra anti ation.As foris quickie decisions, at least two<br />
now-famous graphic artists have the distinction OS n " by Lubalin. People who know the meaning of<br />
"blocked" watch him work with envy- and murder In hearts. His powers of concentration are legend. I've<br />
personally seen him —with tracing pad balanced on hb<strong>lc</strong>mos,with football noises blasting from the TV set,with children<br />
wrestling underfoot with food passing overhead—implacably reel oftlissues with the regularity al copies shooting out of a<br />
word processor Before the Giants have made a first down., he has 15 solutions to a graphic problem. And he has crumpled<br />
up more good ideas than most people produce in a lifetime of trying hard He has no empathy for procrastinators,<br />
worriers or deliberators. What might be a "big deal" to the rest of us is a flash decision for himliotb has bought houses,<br />
formed partnerships, entered into business ventures in less time than most people take to decide on a pair of shoes. That's<br />
unnerving. no flood of compassion from him, not even a trickb,fOr your personal woes. You want to discuss a love<br />
affair your chi dren, your_pratessional crises,your doubts, fears,your psyche? Don't come to Herb. The whole Freudian<br />
has passed him He h no use forpsychology except, typographically, it has terrific potential— those<br />
ascenders ascen , descenders and os! ut Her is exas g onsistent; he keeps his own personal traumas and tragedies<br />
firmly locked behind the sluice gates, top. c has been ma o ence at work private<br />
world, Herb does talk. Dress him in a laxk a microphone,he sharpens up his everyday is and d's and<br />
becomes a veritable Demosthenes—only ?wader. has lectured widely In the States, in Canada, Europe and Japan,<br />
Informing and entertaining professionals and students with his devastating candor and humor. Or AI you should<br />
happen to touch on a topic that nettles him he will open up and deliver a diatribe he's had stored up for months. Di his<br />
work he is loose and open. He has no holed-up philosophies, no rigid imperatives. But in personal matters, he's a crazy<br />
aesthetic fanatic. He operates from a code of decency few people understand: He was an equal-opportunity-employer<br />
long before those words were invented. He hired women designers, artists and administrators before any one of them had<br />
her consciousness raised. He initiated the Ms. section of U&Ic as a showcase for women in graphics. But don't, unless you<br />
enjoy severe indigestion, get him started on Ylomen's Lib in the midst of a nice quiet dinner lb sum up, Herb Lubalin is: a<br />
bnlliant communicator and non-communicative...an iconoclast and a classicist...esoteric and earthy...uptight and<br />
casual...worldly and provincial ...turned off and turned on...unyielding and a pushover...embarrassed by small talk<br />
and poised on the podium...a lousy conversationalist and a great fishing pcfrtner... completely unpretentious...fiercely<br />
ethical . .. fiercely competitive... expensive. .. expansive . . exasperating... stimulating... concerned... a pleasure to work<br />
with... laconic... left-handed... funny... and lovable.<br />
Our congratulations to the design<br />
competition winners. Herb would<br />
have been proud of all entrants<br />
for their efforts and for the deep<br />
sincerity demonstrated in their<br />
submissions.<br />
(212) 6M 187-8840 FOGRAPI-IY P<br />
26 E 45 ST VAN YORK NY 10017
"I'm<br />
'Big Shot<br />
Type'<br />
I've got lots of<br />
faces. Lots of<br />
service. Everything<br />
you need ...<br />
heh, heh. But<br />
you'll pay<br />
through the<br />
nose or my nam<br />
ain't BS Type!"<br />
"I'm<br />
Arnold<br />
& Debel.<br />
I also have a lot<br />
of faces...and<br />
I'll have your<br />
type on your<br />
desk tomorrow<br />
morning. But<br />
you won't<br />
end up paying<br />
$200 for $120<br />
worth of type"<br />
ce%<br />
It's tough to make a buck...and the Big Shot type houses make it even<br />
tougher for you. They give you service... but they also give you a devil<br />
of a time with their prices. Bills that look like the national debt...and AA<br />
costs that can drive you bananas! So if you're serious about making<br />
money, you ought to try us Angels.<br />
We have 1200 faces on computer... and 3000 on typositor. Plus complete<br />
mechanical and custom rubdown transfer departments. And we work like<br />
`demons' round the clock–to give you early morning delivery. Every morning!<br />
Best of all, our prices for advertising quality type are absolutely heavenly<br />
–a whole lot less than those devils charge. So if your Big Shot type house<br />
has you between heaven and hell...call Ivan Debel at (212) 594-5494.<br />
We promise you a divine experience!<br />
© 1986 Ivan Debel<br />
AD<br />
ARNOLD & DEBEL INC<br />
TYPOGRAPHERS<br />
25 WEST 31 STREET<br />
NEW YORK, NY 10001<br />
(212) 594-5494<br />
Why spend twice as much for so little<br />
additional product?<br />
save up to<br />
$5.00<br />
a sheet<br />
We would like the opportunity to prove to<br />
you that Chartpak Velvet Touch is the best<br />
value in transfer lettering today.<br />
Lay a sheet of Chartpak Velvet Touch over<br />
one of Letraset's Instant Lettering® and<br />
compare the character density. In many<br />
instances you will find that the LetrasetTM<br />
sheet offers only 5% to 30% more characters<br />
(we counted). At the cost of $9.45 for Instant<br />
Lettering® ($9.95 for Letragraphica®) per<br />
sheet versus $4.95 for Velvet Touch it becomes<br />
obvious which sheet is the better buy.<br />
Since money isn't everything, let's talk about<br />
quality. Velvet Touch is printed with vinyl ink<br />
on a Mylar® sheet, which insures a perfectly<br />
smooth application with no cracking of the<br />
letters or distortion of the sheet.<br />
Prices shown are suggested retail prices as of 7/31/85.<br />
Letraset Instant Lettering and Letragraphica are trademarks of Letraset U.S.A., Inc.<br />
Mylar is a Dupont registered trademark.<br />
PRATT CENTER<br />
TRANSLATES<br />
COMPUTER GRAPHICS<br />
INTO YOUR LANGUAGE.<br />
So you can translate your creativity into dollars.<br />
Computer graphics is changing your profession<br />
. and your clients expect you to know about it.<br />
But don't worry. After all, Pratt has been educating<br />
creative professionals for almost 100 years. And<br />
since CG came into your world, Pratt Center for<br />
Computer Graphics in Design has dedicated itself to<br />
you — the non-technical creative professional who<br />
needs to know.<br />
Getting information to you about new technology<br />
. how to open doors to new ideas and new<br />
techniques ... how to work easier, be more creative,<br />
more productive. That's what Pratt Center seminars<br />
and exhibits are all about.<br />
PRATT CENTER 1986 CONFERENCES:<br />
COMPUTER GRAPHIC ARTS — The whole world<br />
of CG for Print, Video and Multimedia —<br />
April in San Francisco; December in New York.<br />
COMPUTER GRAPHICS FOR DESIGN — Focusing<br />
on your discipline; Graphic Design, Advertising<br />
Design, Publication Design, Animation and more —<br />
June in New York; October in San Francisco.<br />
For more information call or write: Perry Jeffe,<br />
Director, Pratt Center - Dept U, Nine Skyline Drive,<br />
Hawthorne, NY 10532, 914-592-1155.<br />
Try it for yourself<br />
Just mail in the coupon with $1.00 (for postage<br />
and handling) and a sheet or bottom<br />
strip of Letraset® or other transfer lettering<br />
and we will send you a full-size sheet of<br />
Velvet Touch (24 point, Helvetica Medium).<br />
Compare it to what you are using now. We<br />
think you will realize that Velvet Touch is<br />
better for you, your clients and your budget. II<br />
This offer can be honored only once per person.<br />
I .'<br />
,se<br />
'C‘<br />
chartpak # ,1/4 „1/44, ‘0<br />
ONE RIVER ROAD I<br />
‘.,xe 44b<br />
LEEDS, MASSACHUSETTS 01053-9732 46 e6 (.6p. gbc3.<br />
,b‘V Ot g4 teP<br />
e ,6„,0<br />
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4,% G,41<br />
4, 41%<br />
Is e 4,<br />
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c.%* C. C' '0%<br />
87
88<br />
The RapidType Computer<br />
is hardware-based<br />
on the Sharp PC1250A<br />
Pocket Computer.<br />
RAPIDTYPE COMPUTER<br />
SHARP.<br />
And increase accuracy as well. The RapidType Computer is not a modified ca<strong>lc</strong>ulator, but a<br />
genuine computer that prompts you through each step of the type specification process.<br />
The RapidType Computer determines type depth, character count or type size. Also<br />
programmed in are an electronic proportion scale and type-related measurement converter. The<br />
computer comes complete with type gauge, decimal conversion table, instruction manuals and<br />
limited warranty. Everything you need to start using it as soon as you open the box.<br />
Why not order a RapidType Computer today?<br />
Send to: THE WORKS/Computer Division, P.O. Box 1023, Aurora, 11 60507<br />
❑ Yes, I'm ready to start avoiding the drudgery of specing type.<br />
Please send me RapidType Model TS2A3 @ $149.95 each<br />
I am enclosing a check or money order for $ US Illinois residents please add 63/4% tax.<br />
Name<br />
Company<br />
Address<br />
City State Zip<br />
❑ Please send additional information.<br />
COMPUTER DIVISION<br />
Continue to work full time<br />
while you earn your MFA<br />
degree in Illustration or<br />
Advertising Design from<br />
Syracuse University. The<br />
most outstanding professionals in<br />
the business teach during the two-<br />
week summer residencies. Recent<br />
faculty have incuded Lou Dorfsman,<br />
Amil Gargano and Marty Pedersen in advertising<br />
design, and Ed Soyka, Don Ivan Punchatz and Barron<br />
Storey in illustration. Additional meetings for briefer<br />
periods are scheduled throughout the year in major<br />
cities. You must have at least three<br />
years of professional experience<br />
to qualify. Syracuse University,<br />
ISDP, 610 E. Fayette St., Syracuse,<br />
NY 13202, Phone:(315)423-3284<br />
THE ECSTASY OF<br />
O AGON<br />
You have all the elements of a great<br />
campaign. A brilliant creative concept.<br />
First-rate copy. Superb illustrations.<br />
All you're waiting for is your type.<br />
With deadlines to meet, there's no<br />
time for surprises. Like late delivery,<br />
PE's, wrong specs, no refinements...<br />
the agony of art directors.<br />
If typography, overnight service and<br />
attention to detail are what you're<br />
looking for look to Granite Graphics to<br />
deliver the ecstasy without the agony.<br />
We cater to creators who expect the very best.<br />
So you can stop agonizing over your type<br />
and get back to doing what you do best.<br />
Creating your next masterpiece.<br />
GIANITE GrAPHICS<br />
Fine Typography<br />
19 Franklin Place, Rutherford, N.J. 07070<br />
201-438:7398 212-772-0364<br />
This ad was typeset, then made up, in one piece, on VISION.
Don't<br />
leave English<br />
without us.<br />
We make your<br />
messages work<br />
in any language.<br />
Arabic to Zulu<br />
an unexcelled<br />
source for<br />
translation and<br />
typography.<br />
Ask for a<br />
complimentary<br />
subscription<br />
to our award-<br />
winning<br />
newsletter.<br />
SPECTRUM<br />
Multilanguage<br />
Communications<br />
225 W 39 Street<br />
New York 10018<br />
(212) 391-3940<br />
The world's first<br />
LIQUID INDIA INK<br />
ROLLERBALL GRAPHIC PEN!<br />
Introducing the Alvin<br />
Graphic Pen. Dense<br />
black liquid India Ink,<br />
combined with the convenience,<br />
flexibility<br />
and silk smooth performance<br />
of a fine<br />
rollerball pen! The<br />
name of this new ball<br />
game is perfection.<br />
■ Disposable car-<br />
tridges for quick,<br />
clean and easy<br />
ink supply.<br />
■ Dense, black<br />
liquid India<br />
Ink. ■ Durable,replaceable<br />
points.<br />
■ Silk<br />
smooth<br />
performance.<br />
■ Waterproof<br />
and<br />
non-fading.<br />
■ Crisp,<br />
clean renderings.<br />
ANNINNOMMINfot<br />
■ Perfect for document<br />
signing. s 0.5mm line<br />
width.<br />
For more information<br />
about the Alvin<br />
Graphic Pen, contact<br />
your local Alvin<br />
dealer or write to<br />
Alvin and Company.<br />
Corporate Headquarters<br />
P.O. Box 188UL, Windsor, CT 06095<br />
(203)243-8991<br />
Divisions in Dallas, TX and S<br />
Sacramento, CA. For 4/ po<br />
drafting, engineering -" t,<br />
and graphic arts supplies.<br />
ALVIN<br />
WE DRAW<br />
PERFECTION.<br />
TIME-SAVING TOOLS FOR<br />
LAYOUT, DESIGN & DRAWING<br />
BOARD-MATE- PUT—LINES°<br />
GRAPHIC<br />
PRODUCTS<br />
CORPORATION<br />
COMPANY<br />
ATTENTION<br />
STREET<br />
CITY<br />
STATE<br />
BOARD-MATE is a precision, plastic template for<br />
the quick ruling of mechanical boards for any page<br />
or spread size. Unique corner guides allow<br />
for precise ruling of trim and center<br />
marks. Full 1/16 inch scales<br />
are provided on all sides<br />
of the template.<br />
PLEASE SEND ME CATALOG SUPPLEMENT NO. 7A<br />
INCLUDING INFORMATION ON BOARD-MATE & PUT-LINES.<br />
MAIL TO: GRAPHIC PRODUCTS CORP. . 3601 EDISON PL . ROLLING MEADOWS IL 60008<br />
000000000 0000000 o i'o....o....<br />
ZIP<br />
PUT-LINES is a new, precisionengineered<br />
drawing tool<br />
for engineers, architects<br />
and graphic artists. The<br />
unique, precision rollers of<br />
PUT-LINES greatly aid in the<br />
drawing of parallel lines,<br />
center lines, lines at any<br />
angle, and accurate<br />
dimension lines. Inch,<br />
metric and engineering<br />
models are available.<br />
Plastic storage case<br />
included.<br />
89
90<br />
TEXT<br />
DISPLAY<br />
MECHANICALS<br />
SPECIAL EFFECTS<br />
HAND LETTERING<br />
COLOR<br />
Large enough to handle any job. Small enough to care about<br />
every job. We're a full-service type shop, providing expert composition<br />
over night in a wide selection of text and display fonts.<br />
Call us about your next project. We'll be happy to talk over your<br />
needs, and give you an estimate that might come as a pleasant<br />
surprise. Because at Paragon we believe that premium service<br />
needn't come with a premium price tag.<br />
Call or write Paragon for a free catalog and type gauge.<br />
PARAGON<br />
TYPOGRAPHICS INC.<br />
27 WEST 24 STREET, NEW YORK, NY 10010 (212) 255-4489<br />
F o RMNFILM"<br />
SELF-ADHESIVE VINYL FILMS<br />
FOR INDOOR & OUTDOOR GRAPHICS<br />
AVAILABLE IN ROLLS AND SHEETS<br />
ILLUMINATED SIGNS OUTDOOR SIGNAGE<br />
p,D W<br />
pLETE REPAIR SERV.I.CE<br />
helm<br />
WINDOW GRAPHICS<br />
VEHICLE GRAPHICS E XHIBITS & DISPLAYS SCREEN PRINTING<br />
MASKS & STENCILS PROTECTIVE COVERINGS VISUAL ART PROJECTS<br />
ALL FORM-X-FILM PRODUCTS ARE AVAILABLE IN:<br />
20" x 26" SHEETS 20" x 15' ROLLS 40" x 18' ROLLS<br />
❑ PLEASE SEND FORM-X-FILM FULL COLOR CATALOG<br />
COMPANY<br />
ATTENTION<br />
STREET<br />
CITY<br />
STATE ZIP<br />
MAIL TO GRAPHIC PRODUCTS CORP.. 3601 EDISON PL.. ROLLING MEADOWS IL 60008<br />
FORM-X-FILM<br />
SELECTION INCLUDES:<br />
MATTE & GLOSS<br />
TRANSPARENT COLORS<br />
MATTE & GLOSS<br />
OPAQUE COLORS<br />
CLEAR FILMS<br />
SPECIALTY FILMS<br />
The best work and writing of the pioneering graphic designer<br />
who almost single-handedly transformed commercial art into one<br />
of the fine arts.<br />
55 color plates, 153 duotones, $39.95. Yale University Press<br />
Dept. 927, 92A Vale Station, New Haven, CT. 06520<br />
You know<br />
wax is the better way<br />
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now<br />
all you<br />
d is<br />
What makes Slidex the best?<br />
is the only fully<br />
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-of-the-art way to save profitable time<br />
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WAX BOATER<br />
Call toll free 1-S00622-0400<br />
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What Slidex means to you .<br />
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Perfect Year after wax year of trouble-free<br />
which indicates<br />
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more in<br />
formation:<br />
or write for<br />
Slidex Corp.<br />
1<br />
40-19 23rd Street, LIC, NY 1110<br />
(718) 392-4042<br />
at-a-glance aft)!<br />
Slidex Corporation<br />
40-19 23rd Street, Long Island City, NY 11101<br />
Please send more information on: ❑ Slidex Waxmaster ❑ Slidex Adhesive Wax<br />
Name Phone( )<br />
Company<br />
Address<br />
City<br />
Present Waxer<br />
Art Supply Dealer<br />
State 7ip<br />
—<br />
UL0285
The ITC Center has prepared a variety of slide presentations<br />
based on past ITC Center exhibitions. These are available for twoweek<br />
rentals to schools, companies and design organizations<br />
throughout the world. Rental fees range from $40.00 to $50.00<br />
U.S. A refundable deposit is also required. (There is also a $25.00<br />
charge for slide shows shipped outside the United States.)<br />
Presentations currently available include:<br />
International Calligraphy Today<br />
This collection, from the 1980 calligraphy competition sponsored<br />
by ITC, represents the work of more than 100 calligraphers from<br />
five continents. (389 slides)<br />
Japanese Typography<br />
This slide lecture was delivered in New York City in 1983 by the<br />
Japan Typography Association. (85 slides)<br />
The Calligraphy of Friedrich Poppl<br />
An exhibition of the calligraphy of the late West German<br />
calligrapher and type designer. (90 slides)<br />
Typo &<br />
A 1983 exhibition of the work of nine contemporary Czechoslovakian<br />
designers. (225 slides)<br />
Typographica USSR<br />
A collection from the 1985 exhibition organized by the Artists<br />
Union of the USSR in Moscow, on Soviet typography, calligraphy<br />
and type design. (230 slides)<br />
Typographic Treasures 1: Herb Lubalin<br />
The graphic and typographic design of Herb Lubalin.This<br />
exhibition was formerly called "Lubalin in Paris." (150 slides)<br />
Typographic Treasures 2: Professor F. H. Ernst Schneidler<br />
"Der Wasserman," a portfolio of the graphic design and typography<br />
of the late German designer Professor F. H. Ernst Schneidler.<br />
(122 slides)<br />
Typographic Treasures 3: Paul Rand<br />
Fifty years of the typography and graphic design of Paul Rand.<br />
(392 slides)<br />
Typographic Treasures 4: Gudrun and Hermann Zapf<br />
Calligraphy, type design, and book design are featured in this<br />
exhibition of these West German designers. Also included are<br />
examples of bookbinding by Gudrun Zapf. (290 slides)<br />
For additional information and copies of the rental agreements,<br />
contact Laurie Burns, Director, Public Relations and Educational<br />
Activities, ITC, 2 Hammarskjold Plaza, New York, NY 10017, USA.<br />
Telephone: (212) 371-0699.<br />
"ONE STEP BEYOND OKDINAW TYPOGRAPHY"<br />
Artograph<br />
DB 300:<br />
The Graphic<br />
Design Tool<br />
for Visual<br />
Communication<br />
Professionals<br />
Speed up your creative production time and put<br />
an end to tedious scaling with the DB 300 opaque art<br />
projector. It mounts on your drawing board and<br />
projects down, directly onto your work surface.<br />
Scale range is 3 times enlargement and 40%<br />
reduction on your table top; 8 times on the floor or<br />
lower table, and with the side mount feature, 18 times<br />
onto the wall.<br />
Project in color and opaque copy, three dimensional<br />
object, as well as slides and tranparencies (accessory<br />
required).<br />
It's on display at your local art supply store. Ask for a<br />
hands-on demonstration.<br />
For complete details, call or write for a free brochure.<br />
Artograph, Inc.<br />
Dept. UL-2626 N. Second Street<br />
Minneapolis. MN 55411 612/521-2233<br />
artograp<br />
❑ Please send brochure with complete specifications and price .<br />
LAO<br />
Name Phone( )<br />
Title/Position<br />
Company<br />
Address<br />
Photo-Lettering, Inc. has become one<br />
of the most renowned typeshops in the world.<br />
And it's no wonder. Our 50 years of<br />
extraordinary capabilities have been praised in<br />
graphic design books and magazines.<br />
Our exclusive typestyles appear regularly<br />
on network television and in print.<br />
Yes! We're innovative and imitated many times,<br />
but we're never quite duplicated.<br />
PHOTO-LETTERING, INC.2161345ILI NYC10017. 212490 2345<br />
City State Zip<br />
Myart supplier dealer is Location<br />
Artograph, Inc., 2626 N. Second St.. Minneapolis, MN 55411<br />
91
92<br />
(101) Red on white<br />
stratorA<br />
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(116) Green on white<br />
designer<br />
(108)<br />
Blue on white<br />
ARTIST<br />
(110) Green on white<br />
Intil<br />
(117) Red on white<br />
ei '<br />
gi 04 .os<br />
6e 4.4 .0-toc"<br />
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Black on white<br />
(102)<br />
(Circle one letter for each design.)<br />
ABCDF.<br />
BCDF.<br />
A B C D F.<br />
ABCDF.<br />
ABCDF.<br />
A B C D F.<br />
BODYTYPE is a registered trademark of Arthouse Co.<br />
01985 Arthouse Company. All rights reserved. 03<br />
ALL ORDERS are via UPS. Please include your name with street address and<br />
$2.50 per order for shipping and handling charge. There is an additional $5.00<br />
charge for each order to Alaska and Hawaii. Please include N.Y.sales tax (if any)<br />
Use credit card or money order for prompt service (no C.O.D.'s accepted).<br />
THE FIRST<br />
COMPREHENSIVE<br />
LIBRARY OF<br />
OVER 1350<br />
DIGITAL<br />
TYPEFACES.<br />
DIGITAL<br />
TYPEFACE LIBRARY<br />
9" x 12"/ 760 pages/perfect<br />
bound. Printed on high quality,<br />
semi-gloss paper, the Digital<br />
Typeface Library shows over<br />
1,350 digital typefaces with a<br />
complete alphabet for every<br />
face. Text faces are shown 6 to<br />
36 point and display faces are<br />
shown 12 to 36 point in linespaced<br />
paragraphs. Character<br />
counts for every face and size<br />
and a character counter is<br />
included on every page. Front<br />
matter explains digitization,<br />
tracking, kerning and offers<br />
vital information on typeface<br />
identification complete with<br />
diagrams and examples. $80.<br />
r<br />
L<br />
PLEASE SEND ORDERS 10 ABOVE ADDRESS<br />
PLEASE SEND ME:<br />
)<br />
)<br />
Amt. Enclosed 3<br />
Sees<br />
Sites.<br />
Charge my: 0 Visa ❑ MasterCard<br />
Name<br />
Beet Number<br />
Est, Date<br />
Signature<br />
Ship to;<br />
Name<br />
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City<br />
1 T-ShIRTS ARE TOP-QUALITY<br />
PRE-SHRUNK 100% HEAVY<br />
WEIGHT COTTON. FOR COM-<br />
FORTABLE LEISURE AND<br />
ACFIVEWEAR. AVAILABLE<br />
IN WFS , S,M,L,XL.<br />
ta0C6<br />
...$5 ■00 each<br />
P.O. BOX 671<br />
F. D. R. STATION<br />
NEW YORK, NY. 10150<br />
State Zip<br />
Offer only good with this ad till June 30,1986<br />
DIGITAL TYPEFACE LIBRARY CO.<br />
3 West 36th St., New York, NY 10018<br />
Please send me _ copies of the Digital Typeface<br />
Library at $80 per copy. I have enclosed<br />
a check made payable to Digital Typeface<br />
Library Co. in the amount of $<br />
(Shipping and handling is included.) NY<br />
orders add local sales tax. All payments in<br />
US dollars. Thank you.<br />
NAME<br />
ADDRESS<br />
CITY<br />
STATE ZIP<br />
1<br />
1. TITLE OF PUBLICATION<br />
U&<strong>lc</strong> (Upper and lower case)<br />
3. FREQUENCY OF ISSUE<br />
Quarterly<br />
DIGITIZED TEXT PHOTOTYPOGRAPHY<br />
;PHOTO-TYPOSITDR MECHANICALS<br />
WORD PROCESSING CONVERSIONS<br />
U.S. POSTAL SERVICE<br />
STATEMENT OF OWNERSHIP, MANAGEMENT AND CIRCULATION<br />
(Required by 39 U.S. C. 3685)<br />
4. COMPLETE MAILING ADDRESS OF KNOWN OFFICE OF PUBLICATION<br />
(Street, City County State and ZIP Code) (Not printers)<br />
2 Dag Hammaxskjold Plaza, New York, NY 10017-2991<br />
A. PUBLICATION NO. 2. DATE OF FILING<br />
ISSN 03626245 12/2/85<br />
A. NO. OF ISSUES B. ANNUAL SUB-<br />
PUBLISHED ANNUALLY. SCRIPTION PRICE<br />
4<br />
S. COMPLETE MAILING ADDRESS OF THE HEADQUARTERS OR GENERAL BUSINESS<br />
OFFICES OF THE PUBLISHERS (Not printers)<br />
same as above<br />
6. FULL NAMES AND COMPLETE MAILING ADDRESS OF PUBLISHER, EDITOR, AND<br />
MANAGING EDITOR (This item MUST NOT be blank)<br />
PUBLISHER (Name and Complete Mailing Address)<br />
International 'typeface Corp., 2 Dag Hammarskjold Plaza, NewYork, NY 10017 -2991<br />
EDITOR (Name and Complete Mailing Address)<br />
Edward Gottechall — International Trpeface Corp., 2 Dag Hammarskjold Plaza, NewYork, NY 10017 -2991<br />
MANAGING EDITOR (Name and Complete Mailing Address)<br />
Aaron Burns — International typeface Corp., 2 Dag Hammarskjold Plaza, New York, NY 10017 -2991<br />
7. OWNER (If owned by a corporation, its name and address must be stated and also immediately thereunder the<br />
names and addresses of stockholders owning or holding 1 percent or more of total amount of stock. If not owned by<br />
a corporation, the names and addresses of the individual owners must be given. If owned by a partnership or other<br />
unincorporated firm, its name and address, as well as that of each individual must be given. If the publication is<br />
published by a nonprofit organization, its name and address must be stated.) (Item must be completed)<br />
FULL NAME<br />
International lypeface Corporation<br />
Stockholders-<br />
10. EXTENT AND NATURE OF CIRCULATION<br />
11. I certify that the statements made by<br />
me above are correct and complete<br />
PS Form<br />
June 1980 3526 (Page 1)<br />
SIGNATURE AND TITLE OF EDITOR, PUBLISHER, BUSINESS<br />
MANAGER, OR OWNER.<br />
Richard P. Conway, Controller<br />
(See instruction on reverse)<br />
COMPLETE MAILING ADDRESS<br />
2 Dag Harrunarsinold Plaza, New York, NY 10017-2991<br />
Lubalin, Burns & Co., Inc. 50% 2 Dag Hamrnars<strong>lc</strong>jold Plaza, NOW York, NY 10017-2991<br />
Electrographic Corp. 50% 812 W. Van Buren, Chicago, IL 80607<br />
8. KNOWN BONDHOLDERS, MORTGAGEES. AND OTHER SECURITY HOLDERS OWNING OR HOLDING 1 PERCENT<br />
OR MORE OF TOTAL AMOUNT OF BONDS, MORTGAGES OR OTHER SECURITIES (If there are none, so state)<br />
FULL NAME COMPLETE MAILING ADDRESS<br />
None<br />
9. FOR COMPLETION BY NONPROFIT ORGANIZATIONS AUTHORIZED TO MAIL AT SPECIAL<br />
RATES (Section 411.3, DMM only) The purpose, function, and nonprofit status of this organization<br />
and the exempt status for Federal income tax purposes (Check one)<br />
Non-applicable<br />
(I) (2) (If changed, publisher must submit<br />
HAS NOT CHANGED DURING HAS CHANGED DURING explanation of change with this<br />
L_1 PRECEDING 12 MONTHS L—I PRECEDING 12 MONTHS statement.)<br />
AVERAGE NO. COPIES ACTUAL NO. COPIES<br />
EACH ISSUE DURING OF SINGLE ISSUE<br />
PRECEDING PUBLISHED NEAREST<br />
12 MONTHS TO FILING DATE<br />
A. TOTAL NO. COPIES (Net Press Run) 194,500 201,000<br />
B. PAID CIRCULATION<br />
1. SALESTHROUGH DEALERS AND CARRIERS,<br />
STREET VENDORS AND COUNTER SALES<br />
none<br />
2. MAIL SUBSCRIPTION 178,726<br />
C. TOTAL PAID CIRCULATION (Sure of 1061<br />
and 1082)<br />
D. FREE DISTRIBUTION BY MAIL, CARRIER<br />
OR OTHER MEANS. SAMPLES, COMPLI-<br />
MENTARY AND OTHER FREE COPIES<br />
E. TOTAL DISTRIBUTION (Sum of C and D)<br />
F. COPIES NOT DISTRIBUTED<br />
1. OFFICE USE LEFT OVER, UNAC-<br />
COUNTED, SPOILED AFTER PRINTING<br />
G. TOTAL (Sum of E, Fl and 2—should equal net<br />
press run shown in A)<br />
178,726<br />
2,460<br />
181,186<br />
13,314<br />
2. RETURN FROM NEWS AGENTS none<br />
194,500<br />
none<br />
187,310<br />
187,310<br />
2,485<br />
189,795<br />
11,205<br />
none<br />
201,000
ABL Computer Technologies<br />
Ltd.<br />
43/44 Albemarle Street<br />
London W1X 3FE<br />
England<br />
01-499-9461<br />
Daisy Wheels and Thimbles<br />
Adobe Systems, Inc.<br />
1870 Embarcadero<br />
Palo Alto, Calif. 94303<br />
(415) 852-0271<br />
Interactive Software Tools for<br />
Graphic Arts<br />
Allied Linotype Company<br />
425 Oser Avenue<br />
Hauppauge, New York 11788<br />
(516) 434-2000<br />
Linoterm, V-I-P, Linotron, Omnitech<br />
CRTronic, Phototypesetting<br />
Equipment and Systems<br />
Aiphatype Corporation<br />
7711 N. Merrimac Avenue<br />
Niles, Illinois 60648<br />
(312) 965-8800<br />
AlphaSette and AlphaComp<br />
Phototypesetting Systems<br />
CRS Digital Phototypesetter<br />
AM International, Inc.<br />
Varityper Division<br />
11 Mt. Pleasant Avenue<br />
East Hanover, N.J. 07936<br />
(201) 887-8000<br />
Phototypesetters and Photolettering<br />
Systems<br />
Artype, Inc.<br />
3530 Work Drive<br />
P.O. Box 7151<br />
Fort Myers, Fla. 33901<br />
(813) 332-1174<br />
800-237-4474<br />
Dry Transfer Letters<br />
Cut Out Letters<br />
Aston Electronic Designs Ltd.<br />
125/127 Deepcut Bridge Road<br />
Deepcut, Camberley,<br />
Surrey GU16 6SD<br />
England<br />
0252 836221<br />
Video Character Generators<br />
Autologic, Inc.<br />
1050 Rancho Conejo Boulevard<br />
Newbury Park, Calif. 91320<br />
(213) 899-7400<br />
APS-4/APS-5 CRT Phototype-<br />
setter Composition and<br />
Typesetting Systems<br />
Autologic SA<br />
1030 Bussigny Pres Lausanne<br />
Switzerland<br />
021/89.29.71<br />
Bobst Graphic Products and<br />
Phototypesetting Systems<br />
H. Berthold AG<br />
Teltowkanalstrasse 1-4<br />
D-1000 Berlin 46<br />
West Germany<br />
(030) 7795-1<br />
Diatronic, ADS 3000, Diatext,<br />
Diatype, Staromatic,<br />
Staromat, Starograph<br />
Berthold of North America<br />
610 Winters Avenue<br />
Paramus, N.J. 07652<br />
(201) 262-8700<br />
Diatronic, ADS, Diatype, Staromat,<br />
Diasetter, Repromatic<br />
Camex Inc.<br />
75 Kneeland Street<br />
Boston, Mass. 02111<br />
(617) 426-3577<br />
SuperSetter Digital Imaging<br />
Systems for Text<br />
Cello-Tak Mfg., Inc.<br />
35 Alabama Avenue<br />
Island Park, L.I., N.Y. 11558<br />
(516) 431-7733<br />
Dry Transfer Letters<br />
Chartpak<br />
One River Road<br />
Leeds, Mass. 01053<br />
(413) 584-5446<br />
Dry Transfer Letters<br />
Compugraphic Corporation<br />
200 Ballardvale Street<br />
Wilmington, Mass. 01887<br />
(617) 944-6555<br />
EditWriters, CompuWriters,<br />
Text Editing Systems,<br />
MCS'" 8200, 8400, 8600,<br />
Accessories and Supplies<br />
Computer Gesellschaft<br />
Konstanz MBH<br />
Max-Stromeyer-Strasse 116<br />
D-7750 Konstanz<br />
West Germany<br />
(07531) 87-4433<br />
Laserset-Laser Typesetter<br />
OCR-Equipment<br />
Digital Visions, Inc.<br />
454 West 46 Street<br />
New York, N.Y. 10036<br />
(212) 581-7760<br />
Interactive Computer Graphics<br />
Software<br />
ETP Systems, Inc.<br />
10150 SW Nimbus Avenue<br />
Suite E-2<br />
Portland, OR 97223<br />
(503) 639-4024<br />
Manufacturers of Laser<br />
Publishing Systems incorporating<br />
typesetting and fonts into Unix<br />
based computer systems.<br />
Fllmotype<br />
7711 N. Merrimac Avenue<br />
Niles, Illinois 60648<br />
(312) 965-8800<br />
Film Fonts<br />
Fonts<br />
Hardy/Williams (Design) Ltd.<br />
300A High Street<br />
Sutton, Surrey<br />
SM1 PQ England<br />
01-636-0474<br />
Font Manufacturer<br />
Fundicion Tipografica<br />
Neufville, S.A.<br />
Puigmarti, 22<br />
Barcelona-12<br />
Spain<br />
219 50 00<br />
Poster Types<br />
Geographics, Inc.<br />
P.O. Box R-1<br />
Blaine, WA 98230<br />
(206) 332-6711<br />
Dry Transfer Letters<br />
Gepeto Eletronica Ltda<br />
Praia de Botafogo 440-16 andar<br />
Rio de Janeiro CEP 22250<br />
Brasil<br />
(021) 286-8284<br />
Telex 021-33499<br />
Digital Phototypesetters<br />
Photocomposition Systems<br />
Graphic Products Corporation<br />
3601 Edison Place<br />
Rolling Meadows, III. 60008<br />
(312) 392-1476<br />
Formatt Cut-out Acetate Letters<br />
and Graphic Art Aids<br />
Graphics, Inc.<br />
16001 Industrial Drive<br />
Gaithersburg, Maryland 20877<br />
(301) 948-7790<br />
Manufacturer of Dry Transfer<br />
Systems<br />
Harris Corporation<br />
Harris Composition Systems<br />
Division<br />
P.O. Box 2080<br />
Melbourne, Florida 32901<br />
(305) 259-2900<br />
Fototronic 4000, TXT, 1200, 600<br />
CRT 7400, 7450<br />
Dr.-Ing Rudolf Hell GmbH<br />
Grenzstrasse 1-5<br />
D2300 Kiel 14<br />
West Germany<br />
(0431) 2001-1<br />
Digiset Phototypesetting<br />
Equipment and Systems,<br />
Digiset-Fonts<br />
High Technology Solutions<br />
P.O. Box 3426<br />
Poughkeepsie, N.Y. 12603<br />
(914) 473-5700<br />
MPS Front End System and<br />
Fastsetter Typesetter<br />
Information International<br />
5933 Slauson Avenue<br />
Culver City, Calif. 90230<br />
(213) 390-8611<br />
Phototypesetting Systems<br />
International Business<br />
Machines Corporation<br />
Old Orchard Road<br />
Armonk, N.Y. 10504<br />
Electronic Printing Systems<br />
International Type Fonts ApS<br />
do Cooper & Beatty, Limited<br />
401 Wellington Street West<br />
Toronto M5V 1E8<br />
(416) 364-7272<br />
Type Discs for Harris 600,<br />
1200, 4000, TXT Typesetters<br />
Itek Composition<br />
Systems Division<br />
34 Cellu Drive<br />
Nashua, N.H. 03060<br />
(603) 889-1400<br />
Phototypesetting Systems and<br />
Equipment, Film Strips,<br />
Standard and Segmented Discs,<br />
and Digitized Fonts<br />
Esselte Letraset<br />
Letraset Limited<br />
St. Georges House<br />
195/203 Waterloo Road<br />
London SE1 84J<br />
England<br />
(01) 930-8161<br />
Dry Transfer Letters<br />
Letraset USA Inc.<br />
40 Eisenhower Drive<br />
Paramus, N.J. 07652<br />
(201) 845-6100<br />
Dry Transfer Letters<br />
Linographics<br />
770 N. Main Street<br />
Orange, California 92668<br />
(714) 639-0511<br />
Display Typesetters,<br />
2" Film Fonts<br />
ONLY THE FOLLOWING<br />
SUBSCRIBER COMPANIES<br />
ARE LICENSED TO<br />
MANUFACTURE AND SELL<br />
ITC TYPEFACES<br />
Mecanorma<br />
78610 LePerray-en-Yvelines<br />
Paris, France<br />
483.90.90<br />
Dry Transfer Letters<br />
MegaCom, Inc.<br />
3925 Coconut Palm Drive<br />
Suite 115<br />
Tampa, Florida 33619<br />
(813) 626-6167<br />
Non-Impact Page Printing Systems<br />
Metagraphics<br />
Division of Intran Corp.<br />
4555 W. 77th Street<br />
Edina, Minn. 55435<br />
(612) 835-5422<br />
Digital Fonts for Xerox 9700<br />
Microtype<br />
8 Faubourg St. Jean<br />
21200 Beaune<br />
France<br />
Film Fonts Manufacturer<br />
Alphabet Designers<br />
The Monotype Corporation Ltd.<br />
Salfords, Redhill, Surrey,<br />
England<br />
Redhill 6 5959<br />
Visual Communications<br />
Equipment<br />
NEC Information Systems, Inc.<br />
1414 Massachusetts Avenue<br />
Boxborough, Mass. 01719<br />
(617) 264-8000<br />
Personal and Small Business<br />
Computer Systems, Printers and<br />
Peripherals.<br />
Officine Simoncini s.p.a.<br />
Casella Postale 776<br />
40100 Bologna<br />
Italy<br />
(051) 744246<br />
Hot Metal Composing Matrices<br />
and Phototypesetting Systems<br />
PhotoVision Of California, Inc.<br />
P.O. Box 552<br />
Culver City, Calif. 90230<br />
(213) 870-4828<br />
Toll Free: 800-421-4106<br />
Spectra Setter 1200, Visual<br />
Display Setter, and 2" Film Fonts<br />
Pressure Graphics, Inc.<br />
1725 Armitage Court<br />
Addison, Illinois 60101<br />
(312) 620-6900<br />
Dry Transfer Letters<br />
Prestype, Inc.<br />
194 Veterans Boulevard<br />
Carlstadt, N.J. 07072<br />
(201) 933-6011<br />
Dry Transfer Letters<br />
Purup Electronics<br />
28 Jens Juuls Vej<br />
DK 8260 VIBY J<br />
Denmark<br />
Tel: 456-28 22 11<br />
Laser Forms Printer<br />
Quantel Ltd.<br />
Kenley House<br />
Kenley Lane<br />
Kenley, Surrey<br />
CR2 5YR<br />
England<br />
01-668-4151<br />
Designers and Manufacturers<br />
of Digital Television Broadcasting<br />
Equipment: the Paint Box<br />
Ryobi Limited<br />
762 Mesaki-Cho<br />
Fuchu-Shi<br />
Hiroshima-Ken 726<br />
Japan<br />
Text/Display Phototypesetters<br />
Scangraphic Dr. Boger GmbH<br />
Rissener Strasse 112-114<br />
2000 Wedel/Hamburg<br />
West Germany<br />
(04103) 6021-25<br />
Manufacturer of the Scantext<br />
Phototypesetting System,<br />
Frontend, Typesetter, Graphic<br />
Page, Logoscanner, Interfaces<br />
and Digital Fonts<br />
Simulation Excel A.S.<br />
Dag Hammarskjolds vei 15<br />
Oslo 5<br />
Norway<br />
Tel: 47-2-15 66 90<br />
PAGEscan Digital Typesetter<br />
PAGEcomp Interactive Ad<br />
and Page Make-up Terminal<br />
Southern Systems, Inc.<br />
2841 Cypress Creek Road<br />
Ft. Lauderdale, Fla. 33309<br />
(305) 979-1000<br />
Electronic Printing Systems<br />
Special Graphic Lettering<br />
Systems Holland B.V.<br />
Lijnbaanstraat 13<br />
P.O. Box 525<br />
2220 AM KATWIJK<br />
Holland<br />
01718-26114/22871<br />
Dry Transfer Lettering<br />
D. Stempel AG<br />
Hedderichstrasse 106-114<br />
D-6000 Frankfurt 70<br />
West Germany<br />
(069) 6068-0<br />
Typefaces and Fonts for Analog<br />
and Digital Typesetters and other<br />
Visual Communication Equipment<br />
Sumitomo Bakelite Co., Ltd.<br />
2-2, 1-chome, Uchisaiwai-cho<br />
Chiyoda-ku, Tokyo 100, Japan<br />
(03) 595-9391<br />
Printwheels, Daisy Wheels and<br />
Thimbles.<br />
Tactype, Inc.<br />
12 West 26th Street<br />
New York, N.Y. 10001<br />
(212) 924-1800<br />
Dry Transfer Letters<br />
Technographics/Film Fonts<br />
P.O. Box 552<br />
Culver City, Calif. 90230<br />
(213) 870-4828<br />
Toll Free: 800-421-4106<br />
Film Fonts, Studio Film Kits,<br />
and Alphabet Designers<br />
TypeMasters, Inc.<br />
29-31 E. Lancaster Avenue<br />
Ardmore, Pa. 19003<br />
(215) 649-2546<br />
2" Film Fonts<br />
URW Unternehmensberatung<br />
Karow Rubow Weber GmbH<br />
Harksheider Strasse 102<br />
2000 Hamburg 65<br />
West Germany<br />
(040) 602 1071<br />
IKARUS—Digital Type Production<br />
SIGNUS—Type Setting with Foils<br />
Varitronics Systems, Inc.<br />
9959 Valley View Road<br />
Eden Prairie, Minn. 55344<br />
(612) 944-5070<br />
Merlin Electronic Lettering<br />
Systems for the Office<br />
Visi-Graphics<br />
8119 Central Avenue<br />
Washington, D.C. 20027<br />
(301) 366-1144<br />
Dry Transfer Letters<br />
Visual Graphics Corporation<br />
5701 N.W. 94th Avenue<br />
Tamarac, Florida 33321<br />
(305) 722-3000<br />
Manufacturer of Photo Typositor<br />
and Original Typositor Film Fonts<br />
Xerox Corporation<br />
Corporate Font Center<br />
701 South Aviation Boulevard<br />
El Segundo, Calif. 90245<br />
Mail Stop A3-23<br />
(213) 536-9721<br />
Zipatone, Inc.<br />
150 Fend Lane<br />
Hillside, Illinois 60162<br />
(312) 449-5500<br />
Dry Transfer Letters<br />
AUTHORIZED SUPPLIERS<br />
OF ITC TYPEFACES IN<br />
DIGITAL FORM<br />
ADOBE SYSTEMS INC.<br />
BITSTREAM INC.<br />
COMPUGRAPHIC CORPORATION<br />
D. STEMPEL AG<br />
URW UNTERNEHMENSBERATUNG<br />
AUTHORIZED DISTRIBUTORS<br />
OF ITC TYPEFACES<br />
AGFA-GEVAERT<br />
BITSTREAM INC.<br />
CUBICOMP<br />
DATALOGICS INCORPORATED<br />
DELPHAX SYSTEMS<br />
DICOMED CORPORATION<br />
DIGITAL EQUIPMENT<br />
CORPORATION<br />
DIGITIZED INFORMATION<br />
SYSTEMS CORPORATION<br />
(GHENT, BELGIUM)<br />
EOCOM<br />
GENERAL OPTRONICS<br />
CORPORATION<br />
KANEMATSU ELECTRONICS<br />
LIMITED<br />
SCITEX CORPORATION LTD.<br />
FOR FURTHER INFORMATION WRITE OR CALL: INTERNATIONAL TYPEFACE CORPORATION 2 HAMMARSIUOLD PLAZA, NEW YORK, NEW YORK 10017 (212) 371-0699 TELEX: 669204<br />
93
94<br />
Name<br />
Company<br />
Title<br />
Street Address<br />
NEW:<br />
TO HELP YOU<br />
SPECIFY<br />
ITC ESPRIT<br />
City State<br />
Country<br />
Zip Code<br />
Quantity Unit Price Total<br />
ITC BOOKLETS:<br />
_ITC American Typewriter®<br />
$1.00<br />
ITC Avant Garde Gothic° with Oblique 1.00<br />
ITC Avant Garde Gothic° Condensed 1.00<br />
ITC Barcelona ® 1.00<br />
ITC Bauhaus ® ... 1.00<br />
ITC Benguiat° 1.00<br />
ITC Benguiat° Condensed 1.00<br />
_ITC Benguiat Gothic°<br />
1.00<br />
_ITC Berkeley Oldstyle°<br />
1.00<br />
ITC Bookman° 1.00<br />
ITC Caslon No. 224° 1.00<br />
_ITC Century ® with Condensed<br />
_ITC Cheltenham° with Condensed<br />
1.00<br />
1.00<br />
ITC Clearface° 1.00<br />
ITC Cushing- 1.00<br />
ITC Elarr 1.00<br />
ITC Eras® 1.00<br />
_ITC Esprit"<br />
1.00<br />
_ITC Fenice°<br />
1.00<br />
ITC Franklin Gothic° 1.00<br />
_Friz Quadrata<br />
_ITC Galliard-<br />
_ITC Garamond® with Condensed<br />
1.00<br />
1.00<br />
1.00<br />
ITC Isbell° 1.00<br />
Italia 1.00<br />
ITC Kabel° 1.00<br />
_ITC Korinna° with Kursiv<br />
1.00<br />
ITC Leawood- 1.00<br />
_ITC Lubalin Graph° with Oblique<br />
1.00<br />
_ITC Mixage- 1.00<br />
ITC Modern No. 216- 1.00<br />
ITC New Baskerville- 1.00<br />
ITC Newtext° 1.00<br />
ITC Novarese° 1.00<br />
_ITC Quorum°<br />
1.00<br />
ITC Serif Gothic° 1.00<br />
_ITC Souvenir°<br />
1.00<br />
_ITC Symbol-<br />
1.00<br />
_ITC Tiffany with Italic<br />
1.00<br />
_ITC Usherwood-<br />
1.00<br />
ITC Veljovie" 1.00<br />
ITC Weidemanrr 1.00<br />
ITC Zapf Book° 1.00<br />
ITC Zapf Chancery® 1.00<br />
ITC Zapf Dingbats° 1.00<br />
ITC Zapf International° 1.00<br />
U&Ic BACK COPIES: U.S. Price<br />
U&IC, V01.3, No.4 $1.50<br />
Vol. 4, No.4 150<br />
U&Ic, Vol. 5, No. 4 150<br />
_U&Ic, Vol. 6, No. 1 150<br />
_U&Ic, Vol. 6, No.3<br />
1.50<br />
U&Ic, Vol. 6, No. 4<br />
150<br />
_U&Ic, Vol. 7, No.2 2.50<br />
U&Ic, Vol. 7, No.3<br />
1.50<br />
U&Ic, Vol. 8, No. 3 150<br />
Vol. 8, No.4<br />
1.50<br />
U&Ic, Vol. 9, No. I 1.50<br />
U&Ic, Vol. 9, No. 2 1.50<br />
U&Ic, Vol. 9, No.4 1.50<br />
U&Ic, Vol. 10, No.1 1.50<br />
U&Ic, Vol. 10, No.2 1.50<br />
_U&Ic, Vol. 10, No. 3 1.50<br />
_U&Ic, Vol. 10, No. 4<br />
1.50<br />
U&Ic, Vol. 11, No. 1<br />
1.50<br />
U&Ic, Vol. 11, No.2 1.50<br />
_U&Ic, Vol. 11, No. 3 1.50<br />
U&Ic, Vol. 11, No. 4<br />
150<br />
U&Ic, Vol. 12, No. 1 150<br />
_U&Ic, Vol. 12, No.2<br />
1.50<br />
U&Ic, Vol. 12, No. 3<br />
1.50<br />
_U&Ic, Vol. 12, No. 4 1.50<br />
Total Order, in U.S. funds $<br />
Add postage, 10 0 per booklet $<br />
N.Y. <strong>Res</strong>idents add state sales tax $<br />
Remittance in U.S.funds enclosed $<br />
And-There's a most helpful typeface specifiers<br />
book for every ITC typeface family.<br />
Each 6" x 12" book includes:<br />
1 Text blocks plus alphabet showings for<br />
sizes 6, 7, 8, 9, 10, 11, 12, 14, 16, 18, 20<br />
and 24 points.<br />
2 Alphabet lengths in points for each text<br />
point size shown. These relate to an easyto-use<br />
copyfitting chart at the back of the<br />
book.<br />
3 Alphabet display showings in sizes 30,<br />
36, 48, 60 and 72 points plus 1" caps.<br />
4 Complete character showing of each<br />
ITC display font.<br />
5 Headline presentation in display<br />
size range.<br />
22<br />
ITC Esprit Bold<br />
....,,.:=1;,7=If”..6...<br />
6 ■ . .„..,.....„..„,....,<br />
....„<br />
`"7"*:' =6°'<br />
6 ■:,..... 6. ,.. . =====',". ,-<br />
ABCDXFOHISIMMEOPQRSIVVWXXXI2MISIMS*0<br />
ming me perfect integmoonadssigx .n<br />
en ...MO. ego.. emovE<br />
abcdefghijklmnopqraturiveye<br />
ABEDEFGHIJKLPINCIPQRSTUVWXVE1234587800<br />
x<br />
Excellence in typography is the result of nMhing more than an attitude. Its apps<br />
..............dttn,..noll utot. in it. vmmvs: the ems.... sum wuts<br />
contemporary advertieing the perfect integretion of design elements often dema<br />
nds unorthodox typography. It may require the us< of compact spacing, minus le<br />
main, unusual sixes and weights; whatever is needed to improve appearance an .1 ,<br />
abedefghijklmnopqrstuvwxyx<br />
AECDEPGHIJICLIcIPTOPQICSTIMIWXYZ 1234567890<br />
Excellence in typography le the result of nothing mom than an anitude. I<br />
ts appeal comes from the understanding used in its planning: the design<br />
er noun care. In contemporary advertising the perfect integration of desi<br />
gn elements of ten demands unorthodox typography. It may require then<br />
w of compact spacing, minus leading, unusual sixes and weights; whatev ;y<br />
abcdefghijkhunopqrstuvwxys<br />
ABCDEFGHIJKLMNOPQRSTUVWXYZI234567890<br />
Excellence in typography is the result of nothing more than an at<br />
titude. Its appeal comes from the understanding used in its plane<br />
sing: the designer must care. In contemporary advertising the pert<br />
act integration of design elements often demands unorthodox typ<br />
.. ography. It may require the use of compact spacing, minus leadin ,,.<br />
abcdefghijklmnopqrstuvwxyx<br />
ABCDEFGHUIECLMNOPQRSTUVWXYZ1234567890<br />
Excellence in typography is the result of nothing more than<br />
an attitude. Its appeal comes from the understanding used i<br />
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ITC Center Calendar of Events<br />
The ITC Center was established<br />
to introduce new and exciting<br />
typo/graphic arts experiences. It<br />
is a growing resource for students<br />
and professionals<br />
STA 100<br />
TYPOGRAPHIC<br />
TREASURES:<br />
THE DESIGN OF<br />
W.A. DWIGGINS<br />
January 22—March 14<br />
The eighth annual design competition<br />
sponsored by the STA, in<br />
Chicago includes 100 examples<br />
of graphic design, package design,<br />
book design, illustration<br />
and photography, selected from<br />
more than 2,000 entries submitted<br />
from throughout the United<br />
States, Canada, Mexico, Europe<br />
and the Far East.<br />
March 26—May 16<br />
William Addison Dwiggins was a<br />
printer, type designer, book designer,<br />
advertising artist, calligrapher,<br />
illustrator, author, critic<br />
and puppeteer. This exhibition,<br />
thefirst in almost 30 years,<br />
will feature a wide variety of<br />
his printed and original works.<br />
Typefaces designed for Mergenthaler<br />
Linotype Company, in-<br />
cluding Caledonia, Electra, Metro<br />
and others, will be shown in various<br />
stages of development—from<br />
sketch to proof to finish. Book<br />
design and illustrations for the<br />
collected Rabelais and Marco<br />
Polo will be trackedfrom their<br />
inceptions. A timeline will trace<br />
the life's work of this American<br />
designer.<br />
This exhibition, organized by<br />
Steve Heller, Louise Fili and<br />
Dorothy Abbe, was funded in part<br />
by the National Endowmentfor<br />
the Arts; materials are on loan<br />
from the Boston Public Library.<br />
Future Exhibition:<br />
June 4—August 28<br />
TDC32: The 32nd Annual Type<br />
Directors Club Exhibition<br />
Hours: 12:00 noon-5:00 p.m.<br />
Open Monday—Friday (Closed<br />
February 17 and March 28)<br />
Admission: Free<br />
ITC Center<br />
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