Volume 20–4.pdf - U&lc

UPPER AND LOWER CASE , THE INTERNATIONAL JOURNAL OF T YPE AND GRAPHI C DESIGN , PUBLI SHED BY I NTE RN ATIONAL TYPEFAC E CORPORATION . VO LUME 2 0 , NUMBER 4 , SPRING 1994 . $5 .00 U .S . $9 .90 AUD 

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Baskerville 2 

ABCDEFGHIJK&abcdefghijklmno 

Baskerville 2 Italic 

ABCDEFGHIJK&abcdefghijklmnopqr 

Baskerville 2 Bold 

ABCDEFGHIJK&abcdefghijklmn 

Bernhard Modern 

ABCDEFGHIJK&abcdefghijklmnopq 

Bernhard Modern Italic 

ABCDEFGHIJK&abcdefghijklmnop qrs 

Celestina Roman 

ABCDEFGHIJK&abcdefghijklmnop 

Celestina Italic 


CHAMP FLEURY TITLING 

ABCDEFGHIJK&ABCDEFGHIJKLMN 

Cheltenham Regular 

ABCDEFGHIJK&abcdefghijklmnopqrstu 

Cheltenham Regular Italic 

ABCDEFGH1JK&abcdefghijklmnopqrstuv 

Cheltenham Bold Condensed 

ABCDEFGHIJK&abcdefghijklmnopqrstuvwx 

Cheltenham Bold 

ABCDEFGHIJK8zabcdefghijklmnop 

Craw Modern 

ABCDEFGHIJK&abcdefg 

Craw Modern Bold 

ABCDEFGHIJK&abede 

TS Criterion Book 


TS Criterion Book Italic 


TS Criterion Bold 


NOR Else 

ABCDEFGHIJK8abcdefghijklmnop 

NOR Else Italic 


NOR Else Bold 


Franklin Gothic Extra Condensed 

ABCDEFGHIALMNOP&abcdefghijklmnopqrstuvw 

Franklin Gothic 

ABCDEFGHIJK&abcdefghijklm 

Gazettaz Roman 


Gazettaz Italic 


Kis Janson Medium 


Kis Janson Medium Italic 


Kis Janson Bold 


Media Roman 


Media Italic 

ABCDEFGHIJK&abcdefghijklmnopar 

Circle 286 on Reader Service Card

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International Typeface Design Competition 

Judging for the 4th Morisawa Awards 

1993 International Typeface Design 

Competition, which was sponsored by 

Morisawa & Co., Ltd. in cooperation with 

Adobe Systems Incorporated, was 

conducted in Tokyo on October 6 and 7, 

1993. As a result of a strict screening 

process, 22 works from the 23 persons 

listed here were picked as prize winners. 

A total of 378 works-225 in the Latin 

category and 153 in the Kanji category 

-were submitted from 25 countries 

around the world. By country, 176 

entries were from Japan, 50 from the 

United States, 91 from Western Europe, 

37 from Asia (excluding Japan), and the 

remainder were from other countries 

including Australia, Canada, Russia, 

Kenya, Peru. 

The next competition, The Morisawa 

Awards 1996, will have a similar 

application procedure to that of this 

year's competition. 

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Naoyuki Ta keshita (Japa n) 

[Bronze Prize] 

Kazu o Morosawa (Japan) 

Masa ki Koshiba (Japan) 

Wa ng Hong We i + He Sha (China) 

[Honorable Mention ] 

a a 

Kazu o Ka na i 

Hatsunori Shinohara 

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Typography may be defined as the craft of rightly disposing printing 

so arranging the letters, distributing the space and controlling the type 

comprehension of the tent. Typography is the efficient means to an 

end, for enjoyment of patterns is rarely the readers chief aim. Therefore, 

whatever the intention, has the effect of coming between author and 

books meant to be read there is little mom for 'bright" typography. Even 

are far less vicious to a reader than typographical eccentricity or 

rightly disposing printing material in accordance with specific purpose; of 

the space and controlling the type as to aid to the maximum the reader's 

d :km6ale) ugei ayl LAi azpd azuoig 

C) 

Typography may be defined as the craft of rightly dispos 

printing material in accordance with specific purpose; o 

Gold Prize in the Latin category: Joachim MUller-Lance 

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Bronze Prize in the Latin category: Shuji Yamanaka 

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Judge's Prize in the Latin catego ry : Minoru Kamono 

Typography may be defined as 

the craft of rightly disposing 

Silver prize in the Kanji category: 

Naoyuki Takeshita 

n the Latin Category 

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CIT 

CD 

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[Bronze Prize ] 

Friedrich G. Pete r (Ca nada) 

S huj i Yamana ka (Japan ) 

[Judge's Prize ] 

Dan ie le D i Lieto (Ita ly) 

[Honora ble Mention ] 

GOnter Jantsch (Germany) 

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Jean -Renau d Cu az ( u. s. A. ) 

Bo Bern da l (Sweden) 

MORISAWA 

Office of The Morisawa Awards 1993 

International Typeface Design Competition 

• 

do Morisawa & Company Ltd., 2 -6-25, Shikitsu -higashi, Naniwa -ku, Osaka 556, Japan 

Phone: +81 6 649-2156 Fax: +81 6 649 2154 


4 

MESSAGE FROM ITC 

Mark Batty previews 

Type 94 and 

requests your input 

in the planning. 

6 

PUNCTUATION 

Allan Haley pauses 

to consider the 

evolution of these 

necessary and distinctive 

characters. 

8 

TYPE OF THE WEEK 

Hans-Georg 

Pospischil uses type 

expressively 

for headlines and titles 

in Frankfurter 

Allgemeine Magazin. 

12 

DESIGN IN MINIATURE 

Contemporary 

postage stamp designs 

have big impact. 

18 

DESIGN ACROSS AMERICA 

Four designers 

create local projects with 

global appeal. 

22 

CITY SYMBOLS 

The ubiquitous t-shirt is 

the talk of the town. 

SPECIAL TYPE SECTION 

24 

ITC CYRILLIC SERIES 

ITC introduces typefaces in 

the Cyrillic alphabet. 

28 

HISTORY OF THE 

CYRILLIC ALPHABET 

How these letters came to be. 

DEAR READER: As I pen this note to you, M 

plans are being finalized for ATypI's Type 

94, a three-day international conference c 

for the support, promotion and celebration 

of type to be held in San Francisco in 

mid-September. If you are at all involved 

in the world of type and fonts, you will e 

surely want to book a visit to this special a 

event. Various activities, both formal and informal, participative and 

social are planned for the 700 type lovers from around the world who are 14 

expected to attend. • This year's conference is to take place in what is 

being developed as the Type 94 Village, to be situated in the center of G 

San Francisco. This village is being designed to contain such venues as 

a Meeting Hall, a Village Green and a Marketplace. Here are a few fea- E 

tures that you can expect to visit: • The Type Lab, first featured at the 

ATypI conference in Antwerp, Belgium in 1993, will be bigger, better and 

more comprehensive. Much of the latest publishing technology includ- F 

ing hardware and software will be available in sufficient quantities for visitors 

to try out. Participants will also have the opportunity to produce R 

projects such as a daily newspaper, a magazine, and perhaps even a 

multimedia CD to commemorate this event. • Outside of the Type Lab 0 

there will be the Village Green. Here you will meet designers of type, 

books and advertising; as well as publishers, stone cutters, letter carvers, pi 

printers and other people who work in the world of letters. They will work 

on the Village Green, and discuss their area of expertise with Type Village 

visitors. • On the other side of the Village there is the Meeting Hall. 

This is where we will all go for information about events. Village meet- I 

ings will take place here, and it will also serve as the main venue for ir 

speakers and prominent guests. • Near the Meeting Hall there will be I 

facilities where visitors can learn about typographic societies, associations, 

publications and education programs. Here you may sit awhile C 

30 

ITC MOTTER CORPUS- 

Othmar Molter creates a 

legible display typeface 

with small serifs. 

33 

DETAILS, DETAILS, DETAILS 

In desktop publishing 

good technique makes for 

refined typography. 

35 

UTNE READER 

Visuals add impact 

to an insightful 

editorial mix. 

38 

NEW TECHNOLOGY 

48 

HOW TO BOSS 

YOUR FONTS AROUND 

Robin Williams knows 

how to keep them in line. 

55 

U&lc COLOPHON 

How this issue was 

designed and produced. 

THE DESIGNERS 

International Typeface 

Corporation would like to thank 

Woody Pirtle, John Klotnia 

and Ivette Montes de Oca 

of Pentagram for the design 

of this issue of U&/c. 

and have a cup of coffee, tea or wine and socialize with friends old and 

new or just watch the type world go by. Near the Meeting Hall there will be 

exhibitions involving type and typography. From this location, buses 

will depart for excursions outside the Village to fine book presses, museums 

and special events. • Finally, it is in the organizers' minds to try 

to put together a Village Marketplace, where visitors will find objects 

for view and purchase which are specifically created for this event. In 

addition, everyone will be able to find items of typographic history, 

new fonts, rare typographic antiques, as well as books and ephemera. 

• This plan for Type 94 is the brainchild and undertaking of a few highly 

dedicated and motivated members of the international type association, 

ATypI. The plan also involves the support and organizational knowhow 

of the Seybold organization. • We would like to have your views as 

we finalize events and ideas. Type 94 is for everybody, and the organizers 

want to learn of your interests and what the Type Village should 

offer you, as well as what you may have to offer to make this a truly exciting 

place. To help this communication along, I have prepared a small 

questionnaire (found on page 9) and I would appreciate it if you took a 

moment to complete and return it to me. Your views and suggestions will 

be very helpful toward making this event as rich and as memorable as it 

can be. • In the next U&/c due out in May we will summarize what you tell 

us, profile the organizers, and publish finalized details about the Type 94 

program. If you want to be kept informed of developments as they 

progress, be sure to indicate your interest 

on the questionnaire. • I personally 

believe that this event will be 

the best conference about type ever, 

and will surpass Type 87in New York 

and Type 90 in Oxford, England. • I 

look forward to hearing from you. 

• Mark Batty, President and CEO, ITC 

. -„or 

/ if 

VOLUME TWENTY, 

NUMBER FOUR, SPRING 1994 

EXECUTIVE PUBLISHER: 

CHARLES M. WILHELM 

EDITOR: MARGARET RICHARDSON 

MANAGING EDITOR: JOYCE RUTTER KAYE 

CONSULTING EDITORS: 

EDWARD GOTTSCHALL 

ALLAN HALEY 

GRAPHIC DESIGN: 

PENTAGRAM 

CREATIVE SERVICES DIRECTOR: 

JANE DiBUCCI 

ART/PRODUCTION MANAGER: CLIVE CHIU 

ART/PRODUCTION: 

JAMES MONTALBANO, SID TIMM 

OPERATIONS: REBECCA L. PAPPAS 

PUBLIC & MEDIA RELATIONS: 

SHARON BODENSCHATZ 

SUBSCRIPTIONS: ELOISE A. COLEMAN 

ADVERTISING SALES: 

CALHOUN & ASSOCIATES 

PHONE: (404) 594-1790 

FAX: (404) 594 -1849 

© INTERNATIONAL TYPEFACE 

CORPORATION 1994. 

U&Ic (ISSN 0362 6245) IS 

PUBLISHED QUARTERLY BY 

INTERNATIONAL TYPEFACE CORPORATION, 

866 SECOND AVENUE, 

NEW YORK, NY 10017. 

ITC IS A SUBSIDIARY OF 

ESSELTE LETRASET. 

U.S. SUBSCRIPTION RATES, 

$30 FOR THREE YEARS; 

FOREIGN AIRMAIL SUBSCRIPTIONS, 

$60 U.S. FOR THREE YEARS; 

U.S. FUNDS DRAWN ON U.S. BANK. 

- FOR ADDITIONAL INFORMATION 

CALL (212) 371-0699. 

SECOND-CLASS POSTAGE PAID AT 

NEW YORK, NY AND ADDITIONAL 

MAILING OFFICES. POSTMASTER: SEND 

ADDRESS CHANGES TO 

U&Ic SUBSCRIPTION DEPARTMENT, 

P.O. BOX 129, 

PLAINVIEW, NY 11803-0129. 

ITC OPERATING EXECUTIVE BOARD 1994 

MARK J. BATH, 

PRESIDENT AND CEO 

MAUREEN A. JACKSON, 

CONTROLLER 

CHARLES M. WILHELM, 

DIRECTOR, CORPORATE COMMUNICATIONS 

ILENE STRIZVER, 

DIRECTOR OF TYPEFACE DEVELOPMENT 

ITC FOUNDERS: 

AARON BURNS, HERB LUBALIN, 

EDWARD RONDTHALER 

ITC, U&IC AND THE 

U&Ic LOGOTYPE ARE REGISTERED 

TRADEMARKS OF INTERNATIONAL 

TYPEFACE CORPORATION. 

MICROFILM (16mm OR 35mm) 

AND MICROFICHE (105mm) COPIES 

OF U&IC ARE AVAILABLE FROM 

UMI, 300 NORTH ZEEB ROAD, 

ANN ARBOR, MI 48106-1346. 

PHONE: (800) 521-0600 

OR (313) 761-4700. 

FAX: (313) 761-3221. 

6 

BPA 

MEMBER 

TABLE OF CONTENTS/MESSAGE FROM ITC: HEADLINES: ITC MOTTER CORPUS CONDENSED NUMERALS/TEXT . ITC OFFICINA SERIF BOOK, BOOK ITALIC, ITC ZAPF DINGBATS MASTHEAD: ITC FRANKLIN GOTHIC BOOK CONDENSED, BOOK CONDENSED ITALIC 

FRONT COVER: ITC FRANKLIN GOTHIC HEAVY THE INDEX TO ITC TYPEFACES APPEARS ON PAGE 48 

4

.YV 

LW/Call 

Linotype-Hell 

resents 

Put your own font 

creations to the test! 

Send us your best 

digital font(s) 

An international jury 

will choose the winners 

in three font categories 

1st Inter 

ational Digital 

pe Design Co 

test 

Jury 

Adrian Frutiger (Chairman) CH 

Allan Haley • USA 

Peter Matthias Noordzij • NL 

Prof. Friedrich Friedl • D 

Karin Popp-DrOgemuller D 

Alexander Branczyk • D 

n 

ones: 

1. headline 

or experimental font 

2. body copy type 

with variations 

. experimental 

pi characters 

deadline 

for entries 

august 10 

1994 

Winning award total of 20 000 DM 

Free Type Design Workshop 

with Adrian Frutiger 

for first place winners 

For detailed 

contest information 

please contact: 

Linotype-Hell AG 

Font Marketing Dept. 

Mergenthaler Allee 55-75 

65760 Eschborn 

Germany 

Phone +49-6196-98 27 31 

Fax +49-6196-98 28 11 

Linotype-Hell

PERIOD 

In a Roman design, periods 

are usually round forms; 

in sans serifs they can be 

either round, square or 

rectangular, depending on 

the design and proportions 

of the face. In faces with a 

calligraphic style, they are 

often diamond-shaped, 

showing the influence of' the 

broad-edged brush or pen. 

The weight of the period is 

a critical design decision, 

because it establishes the 

weight for many of the other 

punctuation marks. It also 

must be heavy enough to be 

easily noticed, but not so 

heavy that it stands out in 

a page of text composition. 

QUESTION MARK 

The question mark has the 

same dot and top alignment 

as the exclamation point. 

Normally the character 

is about one-half the width 

of the capital 0 in Roman 

designs and is slightly wider 

in sans serif faces. 

Lord Timothy 

really a Lord—he was, I 

nessman and a writer of sort 

little eccentric. He lived in Newbu 

early part of America's history. Lord' 

depreciated Continental currency dui 

later reclaimed at full value after the Br 

Dexter's best-known book is A Pickle for 

its total absence of punctuation. In its se 

periods, commas, semicolons and othe 

and salt it as they please" A While w 

proper punctuation is part of his eccer 

the heritage of our written language 

had no such symbols; no commas to 

sentences–there weren't even spaces 

their earliest stages, Greek and Ror 

tablished the modern forms 

Ion and question mark. The 

from the Latin word gum 

printed as a cap Q on top 

later simplified to the nh. 

Manutian system was ref fined in the 17th and 18th 

centuries with the additi on of the quotation mark, 

apostrophe, dash and xclamation point. The 

history of the exclama ion point (also called a 

"Bang" or "Screamer" I 

similar to that of the 

first uses a capital I 

case o, and was late 

present form. A 

all punctuation ma 

consist( ntly. In 

the 16th and 17th centuries 

parentheses and s uare brackets were 

used for emphasis the ay we now use italics 

and boldface. And as rec ntly as the 1960s, a new 

mark, called the Interroba 

tuate sentences like: "You di 

thing to remember about punu 

very much part of the typefac 

included as "pi" characters or 

question mark in ITC Anna" f 

of a design such as ITC Hig 

vine! Even the lowly period 

would look very much out 

Franklin Gothic? A Or 

Dexter wasn't 

owever, a shrewd busi- 

. He was also more than just a 

ryport, Massachusetts, during the 

imothy made a fortune by buying up 

ing the Revolutionary War, which he 

*tish were driven from American soil. 4 

the Knowing Ones, and is remarkable for 

cond edition he added a page filled with 

punctuation–so readers could "pepper 

may think that Dexter's disregard for 

tricity, it is absolutely in keeping with 

. The earliest alphabetic inscriptions 

indicate pauses, no periods between 

between words. 4 Early Forms In 

an writing did not use any form of 

punctuation. Later, in some class : cal inscriptions the beginnings of 

word divisions were incorporatec as a dot centered between words. 

Later (probably out of expedienci ) a space began to replace the dot. 

By 600 A.D. spaces between woro 

still used, however, to designat 

stops. If the dot was aligned wi 

a sentence stop; if placed on 

comma would be today. A 

typographer and printer who 

s were the norm. 4 The dot was 

phrase breaks or full sentence 

the tops of letters it indicated 

the baseline it was read as a 

dus Manutius, the Venetian 

gave us italic letters, also es- 

f the period, comma, semicolatter, 

it is said, was derived 

stio or "what;' which was 

of a lowercase o, and was 

rk we use today. ktp The 

y old-time printers) is 

question mark. In its 

was set over a lowerr 

simplified into its 

Late Changes Not 

rks have been used 

ng, was suggested to puncd 

what?!" 41) The important 

tuation marks is that they are 

e design–not something to be 

tandard design forms. 40 The 

r instance, could not be a part 

Lander" or ITC New Baskerin 

a face like ITC Tiepolo® 

f place in a design like ITC 

this page you will find 

some simple guidelin es for the creation of 

just a few of the n any punctuation 

marks. All an Haley 

The top of a comma is normally 

similar to the period 

and the bottom is usually a 

stroke, reminiscent of a penflick. 

In sans serif designs 

like ITC Avant Garde Gothic, 

the comma can be a simple 

parallelogram, while in faces 

like ITC Franklin Gothic 

it reflects roman character 

shapes. 

The exclamation point dot 

aligns with the period or 

centers on the height of the 

period. The top of the character 

usually aligns with 

the caps or falls slightly below 

the cap height. 

An opening quotation mark 

looks like a pair of upsidedown 

commas and the closing 

quote is normally just a rotated 

version of the opening 

quote. Quotes which are round 

in design usually align with 

the capital 0, and in a square 

design, with the capital H-but 

there are exceptions. Sometimes 

the opening quote will 

align slightly higher than the 

closing, so that they appear 

the same in height; and on 

occasion (as in oldstyle type 

designs where the ascenders 

are taller than the caps) the 

quotes will align with, or 

be positioned slightly below 

the ascenders. 

HEADLINE: ITC AMERICAN TYPEWRITER MEDIUM SUBHEADS: RC FRANKLIN GOTHIC HEAVY TER: ITC CHARTER REGULAR, ITALIC SIDEBAR-SUBHEADS: ITC HIGHLANDER MEDIUM TEXT: ITC AMERICAN TYPEWRITER MEDIUM CONDENSED, BOLD CONDENSED

SPITZENQUALITAT 

The other type companies 

have been dreading this 

for i4o years 

Berthold Univers 56 Medium Italic. 

'Ordinary' Univers 55 Oblique. 

Spot the real italic. 

Spot the sloped roman. No prizes. 

Univers 56 Italic BQ 

BemboBQ 

Berthold Bembo and, er . 

'Ordinary' Bembo. 

Some shapes are 

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this grew into the finest typographic heritage 

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G. G. Lange, Berthold's creative 

director since the '50's, has kept his eagle eye 

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Interpretations are essential in adapting 

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Typeface used: headline — Berthold Bodoni 

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HANS-GEORG POSPISCHIL PROJECTS HIS QUIET VISION IN 

3'ratiffurterAllynteine 

EDITORIAL DESIGNS FOR THIS WEEKLY MAGAZINE. BY HELGA TILTON 

8

Each Monday, Hans-Georg Pospischil, the art director for the Frankfurter 

Allgemeine Magazin, performs a special magic trick—in total darkness and 

without an audience. For the design of his weekend insert to the Frankfurter 

Allgemeine Zeitung, a conservative daily newspaper with a 450,000 international 

circulation, he conjures up these award winning editorial pages. 

Instead of assembling traditional layouts by hand or on the computer, 

he sets up Kodak slide projectors in his office where dummy 

paper is taped to black cardboard on the back of his door. He 

turns off the lights and using a zoom lens enlarges the images 

to the desired sizes onto the layout paper. Then he outlines 

the contours of the images with a pen and fills the remaining 

spaces with dummy text for body copy and his chosen type 

treatment for headlines. 

"Other designers tend to manipulate positive and negative 

forms to create a beautiful page," says Pospischil. "I'm a traditionalist, 

and graphic design per se does not interest me, and 

the layout does not interest me. There is no need for a layout:' 

Pospischil believes in simplicity and honesty in graphic 

design. When designing, he feels it is necessary to treat the 

photo or illustration "with humility" and not indulge in graphic 

games. If he finds a photo "breathtakingly beautiful; as was the 

case with the punk singer who was photographed very traditionally 

in the reception area of a local hotel, the only thing to 

do, he says, was "to be quiet, to step back and just try to center her name 

under the photo." Pospischil frequently uses the same photographers 

and illustrators on these pages. Some are well-known like photographer 

Arnold Newman and illustrator Seymour Chwast. Others are unknowns 

hand-picked from art schools. Not surprisingly, he also prefers to work 

with a select range of typefaces. 

In keeping with his philosophy of leaving well enough alone, he'll never 

manipulate a typeface. "I do not succumb to the pressure of distorting 

a given type by making it taller or fatter," he explains. "I have too much 

respect for the original designers who obviously thought in great detail 

about how their work looks best. I leave the typeface untouched, and I 

only try to set it in the best possible way. This is why we use the computer. 

When we used to get our headlines back from the typesetters, the spacing 

between the letters was so horrible that we had to cut each letter apart 

and repaste each word over again. 

"Then, as others did, I discovered the computer. Now, I no longer have 

to cut and paste, since all this can be done automatically." But Pospischil 

stresses that he uses the computer strictly as part of the process and not as 

a means to create, because, "creativity cannot be conjured up with a push 

of a button:' 

When developing his actual typographical treatments, Pospischil wants to 

tell a story—but not just retell the editorial content by typographical means. 

As a result, for example, he literally cut a title into two pieces for the story 

about the Kurds at war, and he used grotesque, massive, intertwined type 

shapes for a story about Sumo wrestlers. 

In an article about artist Claes Oldenburg and his wife and 

collaborator Coosje van Bruggen, Pospischil echoed the artist's 

work by dramatically enlarging the initials C and 0. In trying 

to reflect the impact and stature of Oldenburg's partner, next 

to the large and straight lines of the Hadrian typeface for 

Oldenburg's name, Pospischil selected Cochin type specifically 

for her name, using not only its pleasingly round shape, but 

implying that it could stand on its own. To emphasize the connection 

between these two, the art director placed an ampersand 

inside the 0. 

To complement or round out his designs, Pospischil frequently 

resorts to using popular typefaces such as Futura or 

Helvetica. "With Futura you don't interpret anything anymore; 

he says. "It's so well-established that no one asks what 

it means." And Helvetica, Pospischil quips, is God's gift to 

the insecure. "With Helvetica," he says, "you'll never do right. But you'll also 

never do anything wrong:' 

Pospischil has been with the FAZ magazine since its inception in 1980. 

First he was the assistant to the legendary art director and teacher, Willi 

Fleckhaus, with whom he studied at the Folkwang School for Graphic 

Design in Essen. Following Fleckhaus' death in 1983, Pospischil, then 27, 

was named the magazine's art director by editor-in-chief Thomas Schroder. 

The magazine's overall philosophy is one of understatement. "Our 

stage appearance is quiet; Schroder says. Given the strong presence of several 

German news-driven magazines such as Quick, Stern and Bunte, the 

FAZ magazine has chosen not to be especially timely. Since the daily FAZ 

brings the news to its readers six times per week, Pospischil says his magazine 

with its general human interest features is a kind of dessert. 

He perceives Frankfurter Allgemeine Magazin's cover as a menu presenting 

to the reader what is on the inside. Pospischil insists on a balance between 

"that which is promised on the cover and that which is actually delivered. 

I find it wrong to lure the reader with loud screams which are not followed 

up. I'm a teller of stories, to be sure, but I'm not a teller of lies:' 

Helga Tilton is a New York-based magazine editor 

Type used in Frankfurter Allgemeine titles. Top of page, center cover: Caslon; Center of page: Trajan. Above: Pogo Beat Star. 

9

Latin Bold (drop shadowed by Pospischil) 

10 

Berna Bold

• 

• 

0 

11 11 11 0 11 11 0 fP 

MD 

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0 41 0 11 11 0 0 4p 

11 

11 • 

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1111 

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• 

Pinball Steir 

die 

Die Kiinstler, die seien die FleiBigsten, 

hat ihm einmal ein Hausmeister 

gesagt, damals, in den Iiinfziger 

Jahren, als er noch nicht lange in 

Munchen wohnte, die Kiinstler, die 

wilrden den Augenblick „narrisch 

emst" nehmen. Der Satz hat Edgar 

Reitz so beeindruckt, daB er ihn 

mehr als dreiBig Jahre stater einer 

seiner schonsten Nebenfiguren in 

den Mund gelegt hat, dem Kohlenjosef, 

beilaufig, and dock wie ein 

Motto der eigenen Filmarbeit. 

Reitz nimmt den Augenblick so 

ernst, daB sein neues Werk die 

Ewigkeit von sechsundzwanzig 

Stunden dauert: „Die Zweite Heimat", 

das grate Epos der Filmgesehichte, 

der Bildungsroman einer 

Generation, ein Panorama der 

sechziger Jahre, aber alter andere 

als monumentale Historic. Obst, 

Gemiise, Eingemachtes; Schtisselm 

Glaser, Packpapier — es sind Gebrauchsgegenstande 

des Alltags, 

welche die Kamera im ersten tangsamen 

Schwenk festWt, es ill der 

Sinn Fur die „Schonheit der Nebensachet)", 

der den Bildern Wahrhnftigkeit 

verleiht. Die Gegenstandc 

werden abgetastet. Wenn Edgar 

Reitz einen Film macht, fait er 

sich Flaubert verwandt. Dann haat 

er alle Filmtheorie sausen, seine 

H5nde bekommen Augen, in den 

Pingerspitzen steckt der Verstand. 

Aber anders als Flaubert licbt er die 

Dinge, die er beschreibt. Auch deshnlh 

Wilt er ihnen Zeit. Der Slick 

Neimat 

HEADLINE: (T) ITC MONA USA RECUT, (Y&H) at CHELTENHAM LIGHT, (P, T &E) ITC FRANKLIN GOTHIC DEMI COMPRESSED, DEMI X-COMPRESSED, (E& W) ITC GARAMONO LIGHT CONDENSED, 

(0 & ITC MO1TER CORPUS CONDENSED, (F) ITC LUBALIN GRAPH BOOK CONDENSED, (E) ITC AVANT GARDE GOTHIC BOOK CONDENSED SUBHEAD/BYLINE/TEXT/CAPTIONS: ITC NEW BASKERVILLE ROMAN, ITALIC 

11

RE 26

'92 SEVILLA. 

MAGYARORSZAG 

(HUNGARIAN POSTAL SERVICE). 

DESIGNER: OROSZ ISTVAN. 

STAMPS DESIGNED IN HONOR OF 

THE SEVILLA WORLDEXPO 

TO COMMEMORATE WORLD 

EXPLORATION. 

FEBRUARISTAKING. 

PTT. DESIGNER: JAN VAN TOORN. 

ART DIRECTOR: ROYAL PTT 

NEDERLAND ART & DESIGN 

DEPARTMENT. 

COMMEMORATING A 1941 STRIKE 

AGAINST THE GERMAN 

OCCUPATION AND THE BEGINNING 

OF THE TRANSPORTATION OF 

JEWS TO CONCENTRATION CAMPS. 

it• gis,0 

Postage std 

cialdom. They hav 

tional design, striking 

satir 

e 

seta 

graphic desig 

in the 198 

crosanct or as in 

the possible exception 

design is more politicize 

Postage stamps are 

nation's most ubiquitous si 

of offimed 

into o for excepand 

even b 

t becoming as e a 

bums in 70s and 

er form o graphic des' 

nation's charact 

flag and seal, ficial 

lection process. 

than currency—the 

ard. They celebrate t most 

sacred emble nd ico mmemorate the most important 

issues • sent the most significant cultural 

Since postage stamps are part of 

, and reproduced in quantities of millions, 

DE VAKBEIVEGING. 

PTT. DESIGNER: WILD PLAKKEN. 



DEPARTMENT. 

STAMPS COMMEMORATING 

DUTCH LABOR UNIONS. 

otent instruments for propaganda by carrying messages 

designed to influence, inspire and move. 

Therefore, determining what subjects will appear on 

postage stamps is usually the function of a select committee. 

In the United States, a citizens' advisory panel comprised 

of experts in various areas of popular culture, sports 

and art advise the Postmaster General on which stamps 

to issue. Ideas are welcomed from the general public as well 

FLORIADE NEDERLAND. 

PTT. DESIGNER: NEVILLE BRODY. 

ART DIRECTOR: ROYAL PTT NEDERLAND 

ART & DESIGN DEPARTMENT. 

STAMPS FOR A FLOWER EXHIBITION. 

as special interest groups who are known to lobby as vigorously 

for stamp recognition as for congressional legislation. 

New stamps must answer to stringent criteria: Who deserves 

to be commemorated? What historical event requires 

recognition and celebration? Which cultural activity has become 

a national treasure? Determining a theme's validity is 

influenced by public demand, political influence, and potential 

sales—with emphasis on the latter. In addition to serving 

a national agenda, postage stamps are a big business. 

PRIME COLLECTIBLES 

• NOLLAIG 1990. 

AN POST. 

DESIGNER: BRIAN CRONIN. 

IRISH CHRISTMAS STAMPS FOR 1990. 

100 JAM EIJKSMUSEUM. 

PTT. DESIGNER: MICHEL DE BOER, 

STUDIO DUMBAR. 



DESIGNED TO CELEBRATE THE 

CENTENNIAL OF THE RIJKSMUSEUM 

IN AMSTERDAM. THE CUT PAPER 

REVEALS THEN AND NOW. 

The field of stamp collecting has become a major industry, 

and stamps are the most widely recognized collectible. 

Certain small countries such as San Marino, Andorra and 

others have built economies on these lucrative stickers by 

issuing hundreds of different designs annually to tempt the 

voracious philatelist. The postal agencies of larger nations 

have also become veritable stamp dealers in order to either 

13

DE VARBEWMOING. 

PTT. DESIGNER: WILD PLAKKEN. 



DEPARTMENT. 

STAMPS COMMEMORATING 

DUTCH LABOR UNIONS. 

DUNMORE. 

PTT. DESIGNER: ALEX SCHOLING. 



COMMEMORATING A PEACE WALK IN 

NIJMEGEN. THE BAND-AID 

INDICATES THE BLISTERS RECEIVED 

DURING THE LONG MARCH. 

supplement their national budgets or subsidize their postal 

services. In those countries where the postal service is privatized, 

such as the Netherlands, brisk sales can mean the 

difference between the success or failure of the enterprise. 

Like stocks and bonds, stamps can be profitable investments, 

but like other commodities, their supply can be 

controlled so as to inflate their value. 

Philatelic shows abound with hundreds of thousands of 

stamps from all nations. The imagery runs the gamut 

from official portraits of presidents, kings and queens, to 

indigenous fish, fowl and insects, with a wide range of issues, 

events and information wedged in between. For example, 

41 EUROPA. 

PTT. DESIGNER: MARTEN JONGEMA. 

ART DIRECTOR: ROYAL 

PTT NEDERLAND ART & DESIGN 

DEPARTMENT. 

ABSTRACT DESIGNS SUGGESTING 

THE EXPLORATION OF SPACE. 

(SURROUNDING ART IDENTIFIED 

ELSEWHERE.) 

ASTRONOMY STAMPS. 

THE POST OFFICE. 

DESIGNER: JEFFERY FISHER. 

SERIES HONORING 

ASTRONOMY IN GREAT BRITAIN. 

many nations have a tradition of issuing health awareness 

stamps that remind citizens of the dangers (and the 

victims) of dread diseases, such as polio, tuberculosis and 

AIDS. Some countries donate the income from the sale of 

these stamps to research. Depending on the subject, 

thematic stamps are usually issued in limited quantities 

and aimed at specific segments of the population. 

STAMP DESIGNERS 

While the quality of stamp design has been high, until recently 

most designers of stamps have had a low profile. In 

some countries design is routinely carried out by anonymous 

BEATER & CLAUS 

1966-1991. 

PET. DESIGNER: TOM VAN BRAGT, 




THIS INNOVATIVE DIPTYCH CELEBRATES 

THE 2511I WEDDING 

ANNIVERSARY OF THE ROYAL COUPLE. 

engravers and artisans. In small countries, design and printing 

are contracted out to firms that specialize in stamps 

and bank notes. A few postal services hold competitions to determine 

who will get their precious stamp commissions; others 

have in-house art and design boards or studios that make 

MESA ZS. DOMOVINU U 

EATEDREAL. 

REPUBLIC HRVATSKA (CROATIA). 

DESIGNER: BORIS BUCAN. 

BLOCK OF STAMPS CELEBRATING 

THE NATIONAL CATHEDRAL. 

KINDER POSTEIGEL Aril& 

PTT. DESIGNER: EVER MULLEN. 



FIRST DAY COVER AND PLATE BLOCK OF 

STAMPS CELEBRATING CHILDREN 

AND MUSIC. THE PROCEEDS FROM THE 

STAMP ARE DONATED TO CHILDREN'S 

AID SOCIETIES IN HOLLAND AND 

OTHER COUNTRIES. 

these decisions. Concurrent with a greater recognition of 

graphic design in recent years, well-known graphic designers 

and illustrators have been commissioned. In the Netherlands, 

the United States and England, designers and artists are routinely 

drawn from a widening freelance talent pool. 

Designing postage stamps is not easy. With the eyes 

of a nation focused on the result, these Lilliputian images are 

scrutinized intensely. When the Croatian artist Boris Bucan 

designed his nation's first air mail stamp in 1993 he quickly 

came under fire for his satiric creation. Since this breakaway 

Yugoslav republic had few commercial airplanes at its disposal, 

his design showed a paper airplane against a blue sky. 

Although the stamp was published, his sarcasm was not appreciated 

by those unamused countrymen who petitioned for 

its recall. Conversely there were few, if any, notes of displeasure 

about a design created by the Dutch designer Rick 

Vermullen of Hard Werken Design of Rotterdam. Vermullen 

15

1K NEB DE KRAAN 

MAAR. LATEN LOPEN. 

DAN KUNT U HET 

LEK GEMAKKELIJKER 

VINDEN 

ER ZAT OEM CENT 

MEER IN DE SCHATKIST 

MAJESTEIT EN ZO 

KOMT H1J N06 VAN PM. 

WEIMEEL11110 

ALS 1K BELOOF NIET 

TE HUILEN, KRUG 1K 

DAN EEN SNOENE 9 

KUNT U ME SNEL 

LEREN SPELEN? 1 

MORON IS MIJN 

MODER JAR1(7 

EN 1K WIL HAAR. 

VERRASSEN 

IJEDEELA/1111

was asked to design a stamp that appealed to the users of 

preprinted-paid postcards. After some research he found that 

95% of those postcards were used by sweepstakes players 

and contestants for other quizzes and games. He therefore 

KINDER POSTOEL118. 

PTT. DESIGNER BERRY VAN GERWEN. 



DEPARTMENT. 

ANNUAL CHILD WELFARE STAMPS. 

decided to show himself as a quiz master, bending over an 

abstract TV screen that reveals the value of the stamp (70 ct). 

THE ROYAL PTT NEDERLAND 

EHBO. 

PTT. DESIGNER: FRANS OOSTERHOF. 

ART DIRECTOR ROYAL PTT 


DEPARTMENT. 

RECOGNIZING FIRST AID 

ORGANIZATION. 

DUTCH BUTTERFLY SPECIES. 

PTT. DESIGNER IRMA BOOM. 


NEDERLAND ART & 

DESIGN DEPARTMENT. 

STAMPS THAT RECOGNIZE THE 

76 SPECIES OF BUTTERFLIES 

IN HOLLAND. 

SPOORWIGEN. 

PTT. DESIGNER: ROBERT NAKATA, 




DEPARTMENT. 

TO CELEBRATE RAILROAD TRAVEL, 

RODIN'S "KISS" IS USED 

AS A METAPHOR FOR ARRIVAL 

AND DEPARTURE. 

POLLUTION 

PTT. DESIGNER: JAAP DRUPSTEEN. 



FIGHTING POLLUTION ON LAND, IN AIR 

AND WATER. 

Among the world's respected postal agencies, the Royal PTT 

Nederland is one of the most progressive. Back in the 

early 1930s its visionary director, Jean-Francois Van Royen, 

commissioned avant garde designers Piet Zwart and Paul 

Schuitema to create advertisements and stamps that 

transcended convention by employing their distinctive use of 

typofoto (collage and New Typography). Currently, under Paul 

Hefting who is art director of the Art & Design Department, 

the PTT continues to push the limits of the postage stamp tradition 

in terms of marketing, management and design. Since 

the PTT was privatized less than a decade ago, emphasis has 

been placed on increasing stamp sales by creating designs 

that people are compelled to buy, yet this art for the masses is 

by no means crass mass art. 

In addition to the conventional postage stamp themes, PTT 

encourages a unique approach to commemorative, cautionary, 

and information stamps, and has commissioned 

graphic artists working in and outside Holland to push the 

boundaries. French designer Pierre Bernard designed a 

series of Red Cross stamps ; British designer Neville 

Brody designed stamps for a national flower exhibition; 

and American Robert Nakata designed stamps commemorating 

150 years of travel on the Dutch railways. 

Nakata's design is indicative of the creative license afforded 

by the PTT. To suggest the idea of travel Nakata used "The 

Kiss" by Rodin to signify both arrival and farewell, and behind 

the sculpture the roof of a railway station is visible. 

COMPETING IN THE INFORMATION AGE 

That a plethora of distinctive stamps are designed 

indicates that the world's postal services understand their 

public's tastes. But it also suggests that with e-mail and other 

• KINDER POSTZEGELS 1984. 

PTT. DESIGNER: JOOST SWARTE. 



DEPARTMENT. 

THESE CHILDREN-STAMPS 

CELEBRATE "CHILD AND COMICS? 

THE PICTURES SHOW THE CHILD AS 

AN ADULT AND THE ADULT 

AS A CHILD. THE PROCEEDS FROM 

THE STAMPS ARE DONATED 

TO CHILDREN'S AID SOCIETIES. 

RED CROSS. 

PTT. DESIGNER: PIERRE BERNARD. 



STAMP RECOGNIZES THE RED CROSS 

IN THE NETHERLANDS. BERNARD'S 

SIGNATURE POSTER STYLE, USING 

HANDLETTERING AND MYSTERIOUS 

IMAGERY IS KEY TO THIS DESIGN. 

networks of communication, they, like any competitive business, 

must struggle to retain old and to attract new customers. 

As the information highway bypasses the traditional 

routes, well-designed stamps may be a way to divert 

some traffic back to the postal services. 

HEADLINE: ITC AMERICAN TYPEWRITER MEDIUM SUBHEADS: ITC AMERICAN TYPEWRITER BOLD TEXT: ITC AMERICAN TYPEWRITER LIGHT, BOLD CAPTIONS: ITC AMERICAN TYPEWRITER MEDIUM CONDENSED, BOLD CONDENSED 

17

Forth my 41 ,81*040, 00. IM 7 5ol0ulml Nudely nt 

Bowdon hus fairoarted Ihe IMONO, Zoolneical Gardens' 

dlort• cupand madr 18VS1 on educational and 

nun. • nal rescorce to du. community 116,0849 

lua uothrdlu build acv limn. for the Zoo's amide 

Ire prom.• lln• dais know,am comer,alwt nau6aec, 

,090 to era, uinur undpction d Ow I Ifo..alaining 

rentarne• 0m orlach ell mdmala dup..] for 6o Oval 

clu the 25lb amtveulary of flan Ykoloulual Society 

Of Houston, we reflect un the plea mum., eculor, ix 

vital community mummer thai n Ow lion.. you today, 

and wr vision for tomorrow and beyond. 

From Cleveland to 

California, design 

flair—and local savoir 

faire—has clients and 

designers creating 

partnerships closer 

to home. 

Studies ,Imw that ICA of the US. oopoluluo uka6 

arm inulitutlorn. but as as "il6 of 0,6;6466,i. 

visits tons and aqariums. An incr660nu nurnbur of 

If otcoallans may find thcir only oupor nutty to ommine 

the divcnity of uoimal Ill, and eswrictur O. wonder 

of nature at (hr 8,008 Zoological Garrliron. 

he liaison Zeo wtoi 

Aoronlinu lo Anirrios Arnoriabou of Zoological Parka 

created 61920..4nm 

cal Aquarian. (AAZPA) claim.", use third or 

the Fulled Stales 443.490 ottl,c 113 million annul vintors to 00 

Governs,* thinned III 

Houston Zoolosleal (66466 are uthool rue rhildrco. 

boon herds and me • la addition, S5,1/0 school childom arrow at elm 

Inne buffa6 lo ihr City of Hun... He was *curl In 

Ho.. Zoo Inch ?ear on sulk.' sow6ored CAI trim 

So. llouuou Park and nameell6r1. 

addre,61 and 6.6 to explore their wind. on the 

world and Its enulunu. 

'ruddy, il10 disown Zoo ormuies SO acres. de 

• outhcru end of Hermann Park- It is base In more than 

111,11nmn 1,1o... Center and Childnues Zoo 

.600 animals, rayreuenting mom •h.+ "'Wt.., of pnwidc hands-on cunerieoel6 to atinlallalc n Cbild'S 

bird, mammal, reptiles. ambillaans and invettehra66 

colioxiV. linowlcdueabk•ulunter lebehe00.11. 

owned, oncrami and mainudoeU by the CRY a Hol6toll 

Hot •■■■■• 1.0) Duce.. c.c. irec•active .110,,ment 

as a division of du- Parks and lieu... Duo-anneal. 

among Inamms of all ages and 00ml,, of all spn-k• 

n16 , klouta. Zoo artful, more than I.l.6 tnillon 

visi los, anna117, nuking. It one Mthe run. n tended 

In kola, uith its 4.atou as a major urban toolouical 

recreation] or eullund fad/ itirs in Southeast' I must. 

park th, liuouton %m hat become increasingly 

inuolvcd 6cuneeevation and bee actUitics lime 

Oyer the years, the nex.46. arms and fuuSlc ,ucc. of 

the carlv 197(6. 7.6 nu loot, 14, a 'Nulf•A,6" 

ilune who uktit Olc Hoo•lon blo have clusnucd 

annruads to collecting Mani... au,rcolatc 

signif6ant16 lu nuprue, du- 7au. ha. ubo ondcrgol R. 

so.-1.1 run,. aod aeldnus 6 eu66161 to the well-166u 

a drannuic evoluaon. For uanurations, the Bon. Lon 

and lomuully of animals in ,afMnrill, luld lluall au, 

has 66, a uotatior &gin.. for funk moio, today, 

bindivcraly and umuival ta their 6,666. Breedb. 

it 0 ,70 a sad Imir• — nut only krc animal. but Jut for 

loans limn mte too to another enhance {Lets to braed 

many fax, 'Union. 

rat, ad cndangr611,0ccies.

• • 

• 

* Akt 

WILD AT HEART 

Purple might seem an unlikely 

color for an annual report for a 

Zoo, but not if you think of purple 

as regal or believe that animals 

live in a kingdom. When the Zoo - 

logical Society of Houston hired 

Houston-based Rigsby Design in 

1991 to create its annual report 

and 25th anniversary review, 

Lana Rigsby used the occasion to 

wrap the report in violet paper as 

crinkly as a hippo's hide. 

Her most influential contribution, 

however, was to link past 

and present through the use of 

illuminated letters that relate 

historical events to the Zoo's own 

achievements. She commissioned 

photographer Arthur Meyerson 

and illustrator Andy Dearwater to 

work with her in overcoming the 

biggest challenge: recognizing 

25 years of conservation leadership 

without letting the brochure 

digress into a sentimental scrapbook 

of isolated Society events. 

An "immersion" zoo where animals 

roam freely within their 

natural habitats, the Zoological 

Society of Houston allows visitors 

to feel as if they are penetrating 

nature, underscoring the 

inextricable connection between 

wildlife and their ecosystems. 

This booklet aims to replicate 

this intimate experience through 

the use of Meyerson's tightly 

cropped, tactile images of animals. 

The photographs act as a 

foil to the restrained, old world 

elegance of the text pages, as do 

Dearwater's lush illustrations. A 

detailed timeline of the Society's 

history further highlights key 

moments in the Zoo's growth and 

ties them to developments in the 

worldwide preservation effort. 

The Houston Zoological Society 

employs design as activism, elevating 

its identity from an annual 

report that summarizes a quarter 

century of efforts to one with a 

more urgent message. The strategy 

appears to have worked. 

As Nancy William, the Society's 

executive director remarked, 

"This elegant, sophisticated book 

has not only caught and held the 

attention of our audience, but 

also clearly conveys the magnificence 

and dignity of the earth's 

wild creatures and the gravity of 

• 

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the conservation issuer 

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CLEVELAND CALLING * a 

Call it a cleansing of the palate: 

Zachary Bruell. owner of Z Contemporary 

Cuisine bid adieu 

to the '80s glittery excess and 

called in Mark Schwartz and 

Joyce Nesnadny of Clevelandbased 

Nesnadny Schwartz to redesign 

his restaurant. We knew 

and loved the restaurant, so for 

us the project was a double win;' 

says Schwartz. 

Culinary sophistication has always 

been plentiful at Z Contemporary 

Cuisine. But now style has 

taken a fresh new turn. "Our idea 

was for an identity system that 

could accommodate lots of interpretations," 

explains Schwartz. 

The letter Z's clean, angular lines 

became the central motif from 

which every visual element 

evolved. The team photographed 

food arranged in a Z pattern, set 

up an on-site desktop publishing 

system that prints out new menus 

and wine lists as needed and 

designed a cloth-bound portfoliostyle 

menu folder. Vellum menu 

inserts echo glass blocks used in 

the restaurant's interior and, in 

a playful nod to the less pretentious 

'90s, brightly colored rubber 

bands stretched through metal 

grommets into a Z shape hold the 

menu in place. 

Since the budget was tight, all 

work was assigned to local vendors, 

with 83 percent of the costs 

arranged through trade. "In an 

effort to be economically and 

environmentally sound, we even 

found a way to use up 20,000 

boxes of old matches," explains 

Schwartz with pride, "We designed 

four different Day-Glo 

colored labels, each containing 

copy about recycling, that were 

adhered to the boxes until the 

inventory was depleted:' 

In yet another variation on 

the restaurant's theme, sinuous 

grapevines in the foyer were 

coaxed into a big meandering Z. 

"Instead of going to a sign maker, 

we went to a florist. The grapevines 

subtly pick up on the menu. 

the stationery. It's there and it's 

not there:' 

Subtlety comes as a matter 

of course at Z Contemporary Cuisine, 

with its 24-piece identity 

system that gradually reveals itself 

over time. "Being obvious;' 

adds Schwartz, "is not our forte:'

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THE ART CENTER ESTHETIC , 

"What is the identity of this institution?" 

wondered Rebeca Mendez, 

in a speech about her work as design 

director of Art Center College 

of Design. Hundreds of different 

answers to her question—from stationery, 

posters and invitations 

to brochures and catalogs—have 

been flowing out of the school's 

Pasadena, California location 

since Mendez took over in 1989. 

Though Mendez was charged 

with forging a cohesive identity for 

the 62-year old institution, the 

school's heritage and her own wish 

for an integrated visual language 

helped determine the open and 

organic direction in which Art 

Center's public image has moved. 

Instead of separating a mix of influences 

into neat compartments, 

Mendez blends typography and 

pictures in an inventive marriage 

that expresses the school's architectural 

and ideological heritage. 

"My intention is to include rather 

than exclude, to integrate rather 

than reject," says Mendez. Her 

frequently used long, horizontal 

format echoes the school's low, 

steel-and-glass building, while her 

layouts' free-flowing structures 

refer to an open-ended approach 

to learning. 

Rather than create a standard 

solution or conform to dominant 

• 

trends, Mendez evolved distinct 

• 

visual cues into a consistent yet 

flexible system. Evolution in this 

case means appropriation—building 

on inherited iconography—and 

imbuing each solution with multi- 

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a 

SINGING THE PRAISES 

OF SALT LAKE CITY 

Salt Lake City, Utah is not the first 

place one would expect to find a classic 

Modernist designer. Yet when 

Penna, Powers, Cutting and Hanes, 

he advertising agency chosen to 

create the city's pitch for the 1998 

Winter Olympics called in Adrian 

Pulfer to design the bid book, they 

could hardly have made a better 

choice. What they could not have 

predicted is that Pulfer's books 

would ultimately be toasted by an 

IOC representative as the finest 

he had ever seen. 

The books are two unusually handsome 

volumes: wrapped in the same 

kind of buckskin used to make chaps, 

they come tucked in a quarter-sewn 

oak slipcase then placed into a 

saddle bag. The end sheets are made 

of pine needles mixed with pine oil. 

"All the materials reflect the environment 

and the culture:" says Pulfer. 

"The ways I used to communicate who 

Salt Lake is are very subtle, authentic 

and, I think as a result, more powerful:' 

Pulfer decided to break the informa- 

°` tion down into two books: a romance 

book that looks at Utah, and a second 

technical book that fulfills all the 

necessary IOC requirements, from 

venue facilities and demographics to 

topographic maps that chart snow 

capacity. "The romance book is a 

great cross section of our culture 

here: farmers, ballet dancers, children 

catching snowflakes on the tip 

of their tongues. the Mormon Tabernacle 

Choir. I avoided the generic 

images of hotels, ski resorts, limousines, 

preferring to handle these 

requirements very quietly by placing 

several postage stamp-sized images 

at the back of the book:' 

Pulfer allowed the content to drive 

the design. The grid is simple. The format 

is large, in keeping with the scale 

and grandeur of the local landscape. 

The materials appeal to all the senses. 

Instead of reproducing original blueprints, 

Pulfer even redrew floor plans 

inspired by 18th century architectural 

renderings. "In those days they were 

done using a hand linework that had 

a beautiful quality to them, not as 

sterile and mechanical as today:' 

Despite his tall, elegant stature, 

Pulfer is a bit of a lonesome cowboy 

at heart. He has a particularly benign 

attitude toward the books' pacing, 

which he likened to a piece of music. 

"Visually, the images take you on a 

journey. It's a treat to walk through 

these pictures. There is a lyrical story 

being told here about the entire state, 

about who we are as Westerners." 

Still, for all the books' beauty, the 

Olympics have yet to come to Salt 

Lake. "The marketing approach was 

so fragmented and diluted. The books 

weren't reinforced by other materials," 

Pulfer says with regret. Still, Utah 

got further than expected, losing out 

by only two votes to Nagano, Japan 

and the books have a timeless beauty 

that's hard to overlook. "They create 

an identity for the state and freeze 

a moment in time. I think that is why 

they were so well received:' 

HEADLINE/BYLINE, ITC OZWALD, ITC ZAPF DINGBATS SUBHEADS/TEXT: ITC FRANKLIN GOTHIC DEMI CONDENSED

T-SHIRTS PROVIDE A GRAPHIC STATEMENT ABOUT CITIES 

You've been traveling at 30,000 feet for hours. You finally land. You emerge 

into the clean, anonymous airport and panic. Where are you? You're thousands 

of miles from where you boarded. It's 3 p.m.—again. There are mountains instead 

of beaches, pines instead of palms, snow instead of sun. Your first clue to 

your location is the rack of T-shirts in the gift shop: you're in (fill in the blank). 

In today's world of jet travel sometimes the first thing to bring you back to 

earth is seeing a T-shirt. True, this airport gift shop may look exactly like the 

one in the airport you just left, but the T-shirts tell you where you are, which 

sports teams play there, and what the city thinks is most important about itself 

for you, the visitor, to remember. Much Can be said about the uniquely 

American custom of wearing our beliefs on our chests: "Get Out of My Way, 

culture, how they express this visually is quite different. Not always does 

a city choose the obvious symbol. For those in the know, Seattle is the land of 

the latte, that epicurean mixture of espresso and steamed milk. To express that, 

Ross Hogin, Jon Cannel and Jeff Welsh very tastefully emblazoned a T-shirt 

with a silk-screened coffee bean for the local chapter of the American Institute 

of Graphic Arts. The image may not communicate Seattle to the uninitiated as 

quickly as seeing the Space Needle from the World's Fair, but anyone who has 

experienced the battalions of portable espresso carts deployed around the city 

or stopped at a service station for a tank of high-test gas and a "double shot 

decaf" (a double shot of low-test espresso with a small amount of milk) knows 

that Seattle and coffee are synonymous. A T-shirt from Santa Fe sports an em- 

I'm Shopping" or "I 

Support Greenpeace:' 

T-shirts are veritable 

walking billboards as 

wearers provide free 

promotion in motion. 

Specifically regional 

dress has been replaced with dress-for-success 

suits or, at the other extreme, some 

classless outfit like blue jeans and a T-shirt 

carrying a message from home. That kind 

of T-shirt could be seen as a contemporary 

attempt at regional style. T-shirts do 

immediately proclaim who we are, what 

we believe in, where we come from or where 

we've been. Natives wear them to announce 

their roots when they travel. Tourists buy 

them as souvenirs. T-shirts become the 

visual equivalent of the "Wish you were 

here" postcard: "My Grandparents Visited 

New York City and All They Brought Me Was 

SYMINCI;\ 

c-4 

broidered adobe with 

cactus done up in a 

post-modern palette 

for the sophisticated 

traveler. Seeing the 

"Chili Dog with Onions" 

T-shirt with its Southwestern 

colors and coyote/dog, you might 

think it was Santa Fe. But anyone who has 

spent any time in Cincinnati, even in the 

Delta Airlines terminal, knows that Cincinnati 

is famous for its own version of chili— 

made with a hint of dark chocolate and 

served "five-way" with the ground beef 

mixture and kidney beans ladled over definitely-not-al-dente 

spaghetti with grated 

cheese and chopped onions. On the surface, 

"Cincinnati, Home of the Flying Pigs" 

might not appear to be the best image to 

promote this town, either. But the porcine 

putto on this T-shirt, who overlooks the 

this Lousy T-shirt:' Grandparents can visit 

BY KAREN S. CHAMBERS city's skyline boasting Riverfront Stadium, 

any number of cities and bring home only a "lousy T-shirt," as novelty T-shirt 

companies provide city-specific variations. T-shirts can also be a way for a 

city to distinguish itself. How they do so can say a lot about how the city feels 

about itself and how it shows it graphically. The message can be tacky or tasteful, 

but it is always revealing, even if not always clear. For those familiar with 

the Frank Sinatra song, everyone knows that "Chicago is my kind of town:' The 

T-shirt bearing the Chicago skyline with its readily identifiable Sears Tower confirms 

it, but it's up to the wearer to explain what kind of town that is. Miami 

Beach has restored its strip of Art Deco hotels and a stylized Deco illustration 

on a T-shirt shows that aspect of the city. Another T-shirt version of Miami 

is conveyed by a color montage of an expressway sign, sexy babe and hot red 

sportscar. On the other coast, San Diego plays up its surf and fluorescent sunsets 

in a T-shirt featuring Day-Glo colors. Although both cities have a beach 

home of the Cincinnati Reds and Bengals, and the Michael Graves designed 

headquarters for Procter & Gamble is cute and appealing. The flying porker 

refers to the city's earlier nickname of Porkopolis for its packing plants that 

shipped meat down the river to the West. Sometimes the city's image 

focuses on the less savory aspects of the town. You can buy a T-shirt that says 

"Be Nice to Me, I Have Friends in Detroit7 recalling when the city was the "murder 

capital" of the country. Sometimes the self-deprecating quality of a phrase 

associated with a city can be turned around. The question "Will it play in Peoria?" 

originally meant a vaudeville act that didn't offend and was easily accessible, 

not too risque or sophisticated. Today a sweatshirt from Peoria features 

a riverboat and dice and announces that the wearer "Played in Peoria:' Even 

as the country becomes more homogenized, a city can claim its identity, 

and its T-shirts can communicate it to a T. 

HEADLINE/BYLINE: ITC OFFICINA SERIF BOLD 

22 

TEXT: ITC OFFICINA SERIF BOOK, BOOK ITALIC, BOLD

ITC Kabel" Cyrillic 

Ka6eAb 

ITC New Baskerville Cyrillic 

HblObaCKepBUTIb 

ByumaH 

ITC Bookman' Cyrillic 

ITC Fat Face Cyrillic 

41)31 Riv AikNie 

LapamoH 

ITC Garamond' Cyrillic 

ITC Zapf Chancery' Cyrillic 

ifartg5 (Licatcepu, 

ABaHrapA 

ITC Avant Garde Gothic" Cyrillic 

TOTV1K 

ITC Studio Script Cyrillic 

Oftagaio 36pol/ft

ITC Kabel Cyrillic 

A 6 B r A E 

E >K 3 VI 1%1 K 

A M H 0 [I P 

C T Y (1) X Li 

LI W lit -12. bl b 

ITC CYRILLIC SERIES 

3 [0 SI a 6 B 

r A e e >K 3 

14 N K A M H 

o n p C T y 

(i) x I-1 LI w Ll.( 

b bl b 3 10 q 

onsistently, International Typeface Corporation introduces 

typefaces which are useful and applicable to an international 

audience. Every ITC typeface is released with 

the necessary characters to set a wide variety of languages. 

Several libraries of non-Latin typefaces have 

also been created. In recent years, for example, six Arabic 

type families were introduced for the Middle East 

community. Now ITC is pleased to announce the release 

of the first of a series of Cyrillic typefaces. 

51>K3U,b 

For some time, ITC wanted to make a number of its 

typefaces compatible with the many Slavic languages that exist. The problem was 

finding a suitable design team to undertake the challenge. Although the Cyrillic 

alphabet has common roots with the Latin, it also has its own distinct heritage 

ITC Garamond Cyrillic 

A b B F E 

E )1( 3 H Il K 

JI M H 0 Fl 

and design conventions. Only a designer intimately familiar with the Cyrillic alphabet 

could be expected to do a proper job of 

rendering the necessary characters. 

In 1989, ITC had the opportunity to meet 

principals of ParaGraph International, a Russian-American 

joint venture based in Moscow 

.HIJK NKPUDLAkE 

TO liaabcdef 

C T Y (13 X 

II III 111 'b bI b 

9 10 A a 6 B 

✓ A e e xc 3 

H 1%i K .11 M H 

O II p c T y 

4) X IA 4 III LB 

bI b 3 10 

and Sunnyvale, California. ParaGraph's type 

design group consists of seasoned typeface 

design professionals who have formed one of the most respected type foundries 

developing Cyrillic fonts and typographic tools for digital imaging. While Para- 

Graph is not alone in designing Cyrillic versions of popular Latin-based faces, 

they do have remarkable type design talents and an exceptional knowledge of 

both Latin and Russian typographic traditions. The designers at ParaGraph were 

assigned to create Cyrillic characters which maintain absolute integrity to the 

original Latin ITC typeface designs while remaining consistent with the Cyrillic 

type design conventions. To accomplish this goal, ITC worked closely with the 

ParaGraph design team in continually testing, editing and fine-tuning the Para- 

Graph renderings. The results are what ITC believes to be the most faithful 

translations of original ITC designs into a foreign script. 

•ara rap •esig ners (c oc wise ). Y adim ir Yefi mov, Lyubov Kuznetsova Alexancig 

(The first series of faces includes over 20 individual designs: 

ITC Avant Garde Gothic®Cyrillic (Book, Book Oblique, Demi, Demi Oblique), ITC New Baskerville' 

Cyrillic (Roman, Italic, Bold, Bold Italic), ITC Bookman®Cyrillic (Light, Light Italic, Demi, Demi Italic), 

ITC Fat Face®Cyrillic, ITC Garamond®Cyrillic (Light, Light Italic, Bold, Bold Italic), ITC Kabel' Cyrillic 

(Book, Ultra), ITC Studio Script - Cyrillic, ITC Zapf Chancery*Cyrillic (Medium Italic). 

Future releases will include Cyrillic versions of ITC Anna;" ITC Benguiat Gothic .; ITC Korinna ITC 

Machine; ITC Stoner; and ITC Tiepolo® typeface families. ITC Cyrillic designs are available in specific 

character sets to produce a variety of languages. Only licensed ITC Subscribers are authorized 

to reproduce, manufacture and offer for sale these and other ITC typefaces shown in this issue. 

This license is your guarantee of authenticity. These new typefaces will be available to the 1- 1 rrr 

public on or after February 21, 1994, depending on each manufacturer's release schedule. 

25

ITC Fat Face Cyri llic 

Aa, Gi BB ft 1 Ee Ei 

ah beh veh gheh r deh yeh yo 

fl Oo 7 

tio4)xxg 

en oh peh 

qui 111 

cheh shah shyah 

es 

Mu 33 lin ii Cu ettlim 

zheh zeh ee eey kah el em 

Ce IFTYy 

ehr ess teh oo 

blblitb 43 1010 MI 

yehr' eh yu yah 

26

AaBOBBITAA 

Eel'e>l1

ITC Bookman Cyrillic 

A 

E .}K 3 H K 

JI M H 0 II P 

C T YcLo X 

THE CYRILLIC ALPHABET shares the same roots 

as the Latin alphabet: both are derived from 

Greek script. However, Latin evolved from 

Greek historically, while Cyrillic was invented. 

The alphabet was named after the Greek monk 

Constantine (also called Saint Cyril) who, in 

862 AD, came to Moravia with his brother, St. 

Methodius, to spread Christianity and to educate 

Slays "in their own language:' 

Until the end of the 17th century, the Cyrillic 

style used in most written and printed communications 

was row-USTAV, a distant relative of the Western medieval scripts. In the 

early 18th century a simplified, latinized version of the alphabet was introduced by 

Peter the Great, the reform-minded emperor of Russia. The character shapes of the new 

style, called GRAZHDANSKY SHRIFT, or 'civil type; were largely based on the forms of the 

late 17th century Dutch faces, and the font included Western-style punctuation, lower 

case letters and Arabic figures. While civil type was then used in most Russian printed 

matter, religious texts continued to be set (or even handwritten) in POLU - USTAV. In the 

late 19th century a new name was coined for the 

latter: TSERKOVNO-SLAVYANSKIY, or 'Church Slavonic: It 

is still being used, and new typefaces are being 

created in that category. However, it was civil type 

which has become the foundation of all Cyrillicbased 

typography. 

About 60 languages, many of them not belonging 

to the Slavic group, use the Cyrillic alphabet in 

their written communications. The basic structure 

of a modern Cyrillic-based typeface is identical to 

its Latin cousin: it features both upper and lower 

case letters, small caps, numbers, superior and inferior 

characters, punctuation marks, etc. Cyrillic type also comes in roman and italic, 

and in various weights and proportions. Most of the differences between Latin and 

Cyrillic relate to shapes of certain characters. There is also a similarity in the construction 

of the upper and lower case versions of many Cyrillic letters. The number of letters 

in the basic Cyrillic alphabet is greater than in Latin, so the complement of a Cyrillicbased 

font is normally also larger. There are a few natural idiosyncrasies about punctuation 

conventions and signs used in Cyrillic-based typography, just as there are in 

various Latinate languages. 

Every existing Latin-based typeface can be more or less successfully 'cyrillized: Cyrillic 

letterforms have the very same features as the Latin ones, such as main (normally 

vertical) and connecting (normally horizontal) strokes, serifs, ascenders and descenders, 

bowls, swashes, etc. Therefore, all style variations existing in the Latin-based type 

design are feasible in Cyrillic. There are Cyrillic typefaces which can be easily classifiable 

as oldstyles, transitionals, moderns, slab-serifs, or grotesques. In the absence of direct 

historical precedents, or similar Cyrillic designs, one has to"figure out" the respective 

letterforms, as if the style actually existed in Cyrillic script. Such extrapolation may 

yield perfectly credible results, or feel rather artificial: it depends not only on the skills 

and sensitivity of the type designer, but also on whether the typeface being cyrillized 

has a rather clean look without too many idiosyncratic lettershapes in the font. 

The historical development of Cyrillic type design and typography followed the same 

direction as type and typography in the West. Its esthetics evolved from classicism, 

through Empire and Biedermeier to the Victorian excesses, to Art Nouveau, Art Deco, 

constructivism, neo-classicism, Swiss neo-functionalism and post-modern periods. 

However, since the original type was first developed in the late 17th century, its basis 

can be classified as a sort of "pre-transitional" style. Therefore,"oldstyles," and many 

other conventional styles so familiar to the Western typographer, had no parallel in 

Cyrillic typographic history. 

Straightforward styles, such as those shown here, are better suited to be adapted to 

crisp, contemporary Cyrillic letterforms for use in a wide variety of printed materials. 

'el III I-4 1D bI b 

3 10 ST a 6 B 

r A e e 71£ 3 

H A K JI M H 

C T 

'b bI b 3 10 

ITC New Baskerville Cyrillic 

A B E 

E )K 3 H ICI K 

JI M H 0 H 

C T Y (I) X 

11 III HA rb bI b 

3 n SI a 6 B 

T it e e )K 3 

H II K JI M H 

0 H p c T 

y 

4) 

'b bI b 3 

28

ITC Ga ramond Cyri llic 

I present a fine case of colored hearing. Perhaps of their own, unless represented by a single character 

"hearing" is not quite accurate, since the color sensation 

seems to be produced by the very act of my orally stemmed Russian letter that stands for sh, a letter as 

in some other language (thus the fluffy-gray, three- 

forming a given letter while I imagine its outline. The old as the rushes of the Nile, influences its English 

long A of the English alphabet (and it is this alphabet I representation). • I hasten to complete my list before 

have in mind farther unless otherwise stated) has for I am interrupted. In the green group, there are alderleaf 

F, the unripe apple of P, and pistachio T. Dull 

me the tint of weathered wood, but a French A evokes 

polished ebony. This black group also includes hard G green, combined somehow with violet, is the best I 

(vulcanized rubber) and R (a sooty rag being ripped). can do for W. The yellows comprise various Es and Is, 

Oatmeal N, noodle-limp L, and the ivory-backed handmirror 

of 0 take care of the whites. I am puzzled by can express only by "brassy with an olive sheen:' In 

creamy D, bright-golden Y, whose alphabetical value I 

my French on which I see as the brimming tension the brown group, there are the rich rubbery tone of 

surface of alcohol in a small glass. Passing on to the soft G, paler J, and the drab shoelace of H. Finally, 

blue group, there is steely X, thundercloud Z, and among the reds, B has the tone called burnt sienna by 

huckleberry K. Since a subtle interaction exists painters, M is a fold of pink flannel, and today I have 

between sound and shape, I see Q as browner than K, at last perfectly matched V with "Rose Quartz" in 

while S is not the light blue of C, but a curious mixture 

of azure and mother-of-pearl. Adjacent tints do rainbow, a primary, but decidedly muddy, rainbow, is 

Maerz and Paul's Dictionary of Color. The word for 

not merge, and diphthongs do not have special colors in my private language the hardly pronounceable: 

ICZSPYCN. 

Vladimir Nabokov. Speak, Memory. English version. Harper & Bros., New York, 1951 

Haelkeiren B pemcon crenenn Tax nammaemon 

audition coloree—IABeTHLIM CJIyXOM. TyT H mor 6bI 

HeBepORTHbIMH no,rkpo6nocrAmn B36eCHTb 

camoro nox.aaTtncroro turrareast, HO orpannnye", 

TOJILKO caonamn o pyccxo amtlaunre: 

JIaTHHCKI1c1 6bin MHOIO pa3o6pan B 

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He BKyCOBbIM Hyrem. LITO6bI OCHOBaTeJIb- 

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so pry, noxa Boo6paAcaio ee 3prrreaby3op. 

lipemnagafino CJIOACHLIPI BOHpOC, KaK 

H nogemy maaefimee neconna,Ttertne me)KLky pa3- 

110313W-11-MIMI! nagepramnimn eAnno3nyintoti 

pyio rpynny COCTaBJIRIOT: rycTOe, 6e3 ratan", 

cicoro VIHHIAa, A; A0110JILHO ponnoe (no cpasnemno 

C prtammm R) P; xpenxoe Kay -gyKosoe 

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13.7mAnmnp Ha6oKon. Bocnanzunanufi. PyccKoe n3,Ticanne.01C11.IT1bP>, KH. HI. Hbm-flopx, 1954

ITC 

ITC Motter Corpus was created to combine the display advantages of a 

sans serif extra bold design with the legibility of a roman type. Sans serif 

type styles generally make the most assertive display designs, but they 

present two inherent design problems: they are not normally as readable 

as serifed types, and they do not combine well with other sans serif 

designs outside their family. s Othmar Motter, the designer of ITC Motter 

Corpus, decided to rectify this situation. He set a design goal for himself 

1\1 OTTE 

CORPUS 

to create a typeface that was emphatic, readable 

and equally at home with serif or sans serif designs. 

■ ITC Motter Corpus is almost a sans serif design— 

but not quite. It has diminutive serifs that, along 

with its modulated weight contrasts, 

make the face remarkably readable for 

a display design. Counters have been 

kept open to allow for surprisingly small 

SIZES TO BE SET WITH LITTLE LOSS OF 

LEGIBILITY. ALTHOUGH THE SERIFS ARE 

SMALL, THEY RECEIVED SPECIAL ATTEN- 

TION FROM THE DESIGNER. IN MOTTER'S 

WORDS, THEY ARE OVALS WITH DIAG- 

ONAL MIDDLE AXES. THEY THUS REMAIN 

CLEARLY RECOGNIZABLE DESPITE THEIR 

SHORTNESS:' ■ DIAGONAL STROKES IN 

MOTTER'S DESIGN CAREER IS VARIED AND DIVERSE. HE IS AN AWARD-WINNING 

30

letters like the A, V, W, V, etc. were also designed 

convexed to decrease the white space 

between them and straight or round sided 

characters. For similar reasons, round letters 

were drawn with slightly Flat sides. The end 

result is a design that spaces with remarkable 

consistency—even when set in all-caps. 

■ OTHMAR MOTTER WAS BORN IN AUSTRIA IN 1927. 

AFTER GRADUATING FROM VIENNA'S GRAPHISCHE LEHR- 

UND VERSUCHSANSTALT, HE FOUNDED VORARLBER- 

GER GRAPHIK, A DESIGN STUDIO, IN THE TOWN WHERE 

HE WAS BORN. VORARLBERGER GRAPHIK IS STILL A 

VIBRANT AND ACTIVE DESIGN STUDIO TODAY-EXCEPT 

THAT NOW IT IS MANAGED BY TWO OF MOTTER'S SONS. 

ITC Motter Corpus 

ABCDEFGHILIKLMINIOPQ 

RSTUVWXYZabedefghi 

jklmnopqrstuvwxyz12 

345678901ME%90 /ECE 

Bcobeilefill"'`°°(:;,• 1?- 

it*M10§nut234567890] 

Motter's design career is varied and diverse. He is an 

award-winning poster designer, a creator of logos and 

trademarks, the designer of many corporate identity 

programs—and an accomplished typeface designer. 

Both the letraset and Berthold type libraries include 

several different Motter designs. ■ ITC Motter Corpus is 

an extra bold design in normal and condensed variants. 

POSTER DESIGNER, A CREATOR OF LOGOS AND TRADEMARKS, THE DESIGNER OF MANY 

31

AL 

Oldstyle figures are available for both versions. Only 

licensed ITC Subscribers are authorized to reproduce, 

manufacture and offer for sale these and other ITC 

typefaces shown in this issue. This license is your guarantee 

of authenticity. These new typefaces will be 

available to the public on or after February 21,1994, 

depending on each manufacturer's release schedule. 

ITC Motter Corpus Condensed 

ABCDEFGHIJKLM 

NOPQRSTUVWX 

VZabcdef§hijkl 

nopqrstuvwxyz 

12345618906/SC 

ITC MOTTER CORPUS IS ALMOST 

MOECE11;041111 

A SANS SERIF DESIGN-BUT 

NOT QUITE. IT HAS DIMINUTIVE 

SERIFS THAT, ALONG WITH 

ITS MODULATED WEIGHT CON- 

TRASTS, MAKE THE FACE 

REMARKABLY READABLE FOR 

A DISPLAY DESIGN. 

"'`°°(:;,•!?--""/#11t 

/§Dui2345678901 

CORPORATE IDENTITY PROGRAMS-AND AN ACCOMPLISHED TYPEFACE DESIGNER. 

32

IN DESKTOP TYPOGRAPHY, SMALL THINGS COUNT 

"Details" 

(Details) 

Details... 

BY ALLAN HALEY 

Some think desktop typography is an oxymoron. They 

believe that it is impossible to create quality typographic 

communication with simple desktop publishing hardware 

and software. 

They are wrong. It is not only possible to create good 

typography on the desktop—it's also relatively easy. All 

that is needed is attention to the details. Mies van der 

Rohe once wrote, "God is in the details?' While he wasn't 

writing about desktop publishing—or even typography, 

for that matter, Van der Rohe was telling us that simple 

attention to detail is what separates art from hobby. 

Typography is also about the details. It is about taking 

the time to make those minute adjustments that insure 

that your final document looks as good as it can. It is also 

about making sure that software defaults and system 

mechanics are changed, when necessary, to create good 

typography rather than acceptable word processing. 

What follows is a list of the most commonly overlooked 

details in desktop publishing. They are divided into three 

categories: System Settings, Optics and Punctuation. 

SYSTEM SETTINGS System and software settings 

are about making things simple. They establish basic 

computer functions so most people don't have to worry 

about them. The problem is, they generally create these 

functions for the lowest common denominator—which 

is okay for word processing, but not when fine typography 

is the goal. 

The TM, ® and © symbols are too big when set in display 

sizes. Proportionally, they are sized to work best in text 

composition where they need to be large enough to be 

read easily. Sometimes as much as a 65 percent reduction 

in point size and/or even a font change is necessary to 

give them an optically pleasing look in sizes larger than 

14 points. (figure 1) 

Default letter spacing does not generally take into 

account the needs of setting small type. Often letter spacing 

parameters must be increased to improve the readability 

of six, seven and even eight point type. (figure 2) 

Word spacing should also be adjusted to be consistent 

with the proportions and weight of the face being used. 

33

1. 

ITC Motter CorpusTM 

ITC Motter Corpus 

2. 

6/7 ITC FRANKLIN GOTHIC BOOK 0 TRACKING 

Abraham Lincoln's writings eloquently reveal the deep divisions 

in race, morals and emotions which tore the country apart in his 

lifetime. Those words have provided a wealth of inspiration for 

illustrator Stephen Alcom. The dramatic black and white linocuts 

he created for Lincoln: In His Own Words literally reflect the contrasts 

which characterized that period of American history. 

6/7 ITC FRANKLIN GOTHIC BOOK +3 TRACKING 

Abraham Lincoln's writings eloquently reveal the deep divisions 

in race, morals and emotions which tore the country apart in his 

lifetime. Those words have provided a wealth of inspiration for 

illustrator Stephen Alcorn. The dramatic black and white linocuts 

he created for Lincoln: In His Own Words literally reflect the contrasts 

which characterized that period of American history. 

3. 

■ Chardonnay 

■ Sauvignon blanc 

■ White zinfandel 

■ Burgundy 

■ Pinot noir 

4. 

5. 

■ Chardonnay 

■ Sauvignon blanc 

■ White zinfandel 

■ Burgundy 

■ Pinot noir 

Type designers walk a pretty narrow 

path in their work. The letters of 

our alphabet provide little room for 

much self expression when it comes 

to defining their shapes. 

Type designers walk a pretty narrow 

path in their work. The letters of 

our alphabet provide little room for 

much self expression when it comes 

to defining their shapes. 

Act now 

to get your 

FREE SUBSCRIPTION; 

time is running out! 

Act now 

to get your 

FREE SUBSCRIPTION; 

time is running out! 

Condensed typefaces should have tighter word spacing 

than that which is appropriate for fonts of normal proportions. 

Bolder weights of type generally require a little 

more word spacing to improve readability. Type that 

is reversed should also have a little more than normal 

word spacing. 

Bullets, boxes and dingbats are often too big when 

set at the same size as the surrounding text composition. 

Many designs, especially light typefaces, condensed 

typefaces and fonts with small x-heights, all require 

more diminutive typographic road signs. (figure 3) 

OPTICS The first rule of typography is simple: If it 

doesn't look good, it isn't. Making things "look right" 

typographically, however, may mean substituting optical 

correctness for mathematical precision. Why are 

optical considerations so important? Because anything 

which detracts from the smooth, even flow of the normal 

reading process not only makes your graphics less 

appealing and more difficult to read, it also impairs 

reader comprehension. Bolder weights of type, for 

example, generally require a little more word spacing 

to improve readability. Type that is reversed should 

also have a little extra word spacing. (figure 4) 

Line spacing on personal computers and laser printers 

is mathematically accurate—and often optically 

incorrect. For example, if a brochure has four lines of 

copy—three of them set in caps and lowercase, and 

another in all caps—the all-caps line will appear to look 

closer to the cap/lowercase line above it. (figure 5) 

Sometimes, because of ascending and descending characters, 

even lines set consistently in caps and lowercase 

will require some optical adjustment. 

Most fonts come with lots of kern pairs—but most 

do not provide adequate kerning for numbers. Unlike 

letters, numbers should have two sets of spacing values: 

one for when they are set in columns, and a different 

set for when they are used in normal composition. Numbers 

are supposed to line up in columns, so font developers 

give them all the same width values. The problem 

is that these uniform widths also make for uneven spacing 

when numbers are set in any other kind of situation. 

The solution is to kern numbers when they are part of a 

display headline or normal text composition. (figure 6) 

PUNCTUATION Typewriter punctuation often looks 

different from typographic punctuation. Typewriters 

are simple tools with limited keyboards, character sets 

and font choices. Since personal computers were designed 

to replace typewriters, many of the familiar typewriter 

punctuation capabilities were incorporated into 

their software. That's fine for making the first personal 

computers "user friendly," but not so helpful when it 

comes to creating typographic communication. 

"Smart quotes," ones which are "demonstrative" toward 

their nearest characters, are available in almost all 

fonts, and most applications have simple preference 

tables to insure that they are used instead of the generic 

characters which do double duty as "inch marks." If no 

such preference setting is available, smart quotes can be 

accessed by typing the option key, the open bracket and 

shift or un-shift. It's a detail worth sweating. (figure 7) 

True apostrophes are also available in all fonts and can 

be made a part of normal text composition through the 

setting of preference tables or by holding down the shift 

and option keys while typing the close bracket. 

Em dashes are also available in virtually all fonts. 

They are accessed by typing the hyphen key while holding 

down the option and shift keys. Two hyphens do not 

equal an em dash—and they are not part of typographic 

communication. (figure 8) 

Use the ellipsis rather than three periods. These are 

set by striking the semicolon key while holding down 

the option key. (figure 9.) 

French spacing is putting two spaces after a period. 

French spacing is what we were taught in our freshman 

typing class. In spite of what you may have learned, 

they are not typographically correct. One space after 

a period is plenty. (figure 10) 

Some may think that working with desktop publishing 

tools precludes good typography. It doesn't. A little 

attention to the details can transform ordinary word processing 

to effective typographic communication. 

6. 

(800) 862-0171 

(800) 862-0171 

7. 

"Censorship reflects society's lack 

of confidence in itself," Justice 

Potter Stewart once warned. 

"Censorship reflects society's lack 

of confidence in itself," Justice 

Potter Stewart once warned. 

8. 

Two hyphens do not equal an 

em dash--and they are not part 

of typographic communication. 

Two hyphens do not equal an 

em dash—and they are not part 

of typographic communication. 

9. 

On your mark...get set...GO! 

(PERIODS) 

On your mark...get set...GO! 

(ELLIPSES) 

10. 

Some think desktop typography is an 

oxymoron. They are wrong. 

Some think desktop typography is an 

oxymoron. They are wrong. 

HEADLINE/NUMERALS: ITC GARAMOND BOOK SUBHEADS: BOLD TEXT: BOOK, BOOK ITALIC EXAMPLES: (1) ITC MOTTER CORPUS CONDENSED, (2 & 5) ITC FRANKLIN GOTHIC BOOK, (3) ITC CERIGO MEDIUM ITALIC, ITC ZAPF DINGBATS, 

(4 & 7) ITC LEGACY SANS MEDIUM, (6) ITC STONE INFORMAL SEMIBOLD, (8) ITC STONE SERIF REGULAR, (9) ITC CENTURY BOLD CONDENSED, (10) ITC HIGHLANDER BOOK 

34

Utne Reader 

"UTNE" MEANS "FAR OUT" IN NORWEGIAN. 

THE MAGAZINE'S ILLUSTRATIONS ARE, TOO. 

by Joyce Rutter Kaye 

(Devil) ANN PICKARD, NOV/DEC 1992 (Cone) SCOTT WRIGHT, SEPT/OCT 1993 (Adam & Eve) TERESA FASOLINO NOV/DEC 1993 

gloriously naked woman strikes a majestic pose. Her 

fist, thrust triumphantly skyward, clutches a sanitary 

napkin...An office worker is held in a comical chokehold 

by his ham-handed employer...A 

mother sails through an ethereal, starlit sky toward her earthbound 

baby, who reaches up for her embrace. 

These are a few of the many striking illustrations 

appearing in recent issues of Utne Reader, a bimonthly 

digest which bills itself as a forum for 

"the best of the alternative press:" For each issue, 

editors skim some 2000 

offbeat publications like 

Garbage, Hungry Mind 

Review, Z Papers and the 

role in the mix. Since joining the Minneapolis-based 

publishing company to redesign Utne Reader in 1990, 

art director Kristi Anderson has witnessed a turnaround 

in the magazine's attitude about 

the value of a good illustration to 

help make the content more 

inviting, especially when a subject is particularly 

dense or arcane. "The editors have started to realize 

that they need artwork to make some of the stories 

more accessible," says Anderson. 

This perspective was apparent in the 

November/December 1993 issue where 

full-page illustrations appeared for the first 

time in the magazine's ten-year history: 

Spotted Chicken Report 

Karen Barbour's Matisse-like composition of 

a woman surrounded by an array of food for a 

OCK 'N' ROLL HAS LOST ITS 

for provocative articles to repackage 

and reprint. Their mission is to rout out emerging 

trends in every sphere, from environmentalism, money, family life and aging, 

to sex, health and ethics. Given the eclectic mix of topics in each issue, the 

cover story on people's emotional relationship with eating; 

and Michelle Barnes' dreamlike pastel of a mother sailing across an 

evening sky for "Where Mommies Come From," 

(Center ) TERRY ALLEN 'S BLUE NOTE GRACE 

illustrations are naturally as diverse and intriguing as the stories. Where else, 

for example, are you likely to see an article about male fertility hazards in 

the workplace illustrated with a man wearing jockey shorts made of lead? 

ARTWORK AS FACILITATOR 

Because these topics must appeal to a mass audience, artwork plays a vital 

a wrenching first-person account of a woman 

coming to terms with motherhood. 

FROM 'BINS AND BASKETS' 

The diversity of stories allows Anderson to experiment 

with illustrators using differing styles from 

35

across the country and Canada, finding them from "bins and baskets" full of samples 

they send her. Utne covers are almost always illustrative. Notable examples 

from the last year include Gary Baseman's whimsical overburdened father for an 

issue themed "For Love or Money: Making a Living vs. Making a Life"; Jean-Francois 

Podevin's haunting portrait of a woman's tranquil face for the theme, "Facing 

Death"; and Nora Wildgen's lush drawing of a man basking blissfully in a meadow 

Ihrolig,/ 

/ 9 94 

• Ma y 

GLaoW. a 

Reg/Bold MK 544.95 

this? Well give you both of these for SS ° 

ParmaPetit 

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for "Paradise Found," an issue exploring how the environmental crisis can actually improve our lives. 

Instead of just appealing to the magazine's average reader, an affluent, educated 40 year-old (read: 

yuppie), Anderson likes to incorporate edgy, fresh artwork to give the magazine a 

little more grit. This often means finding artists whose work is not refined. "Sometimes 

I like to get things that are computer-generated or more fanzine-like," she 

(Little Girl) STEVE JOHNSON WITH LOU F 

MAY/JUNE 1993 (Your Body ) HAYES HENDERSON, MAY/. 1992 (Paradise Found) NORA WILDGEN, NOV/DEC 1989 (Sexual Re on ) MATTHEW GIFT , JULY/AUG 1993 (Facing Death) JEAN-FRANCOIS FODEVIN, SEPT/OCT 1991 

says."I'm trying to get things that are quick and dirty with a less boomer-ish look." 

Although illustration has become more prominent in recent issues, there continues 

to be the typical tug-of-war between art and editorial departments over L‘ 

space. While planning each issue, editors meet in a conference room where they brainstorm and discuss 

possible themes. Given the volumes of magazines they sift through for their material, 

and the availability of published articles, there is always an overwhelming 

number to be discarded: only one-sixth of nominated stories finds a place in the 

magazine. Those stories are invariably quirky and provocative. In the past year, 

the magazine has run "That Time of Month," which debunks the "taboos of menstruation 

[which] deny the power of women's natural cycles," "Daycare: A Troubling 

Social Experiment" "Who Was this Man Jesus?" "Proud to be a Hillbilly," and "Oh No! I'm PC" 

AN ALTERNATIVE MALL 

The magazine has been a forum for material influential enough to be reprinted 

since 1984 when Eric Utne started a 25,000-circulation newsletter of the same 

name with an investment of 8150,000 from eight investors. Modeled after Benjamin 

Franklin's Poor Richard's Almanac, I.F. Stone's Weekly and Reader's Digest, 

the publication was founded to provide one-stop shopping for alternative (loosely 

defined by the editors as "anything interesting") viewpoints. Providing a convenient 

product like this in the time-and money-strapped 1990s has made the magazine a success: Utne 

Reader now is a perfect bound magazine with a circulation of 307,000, and the 

number of ad pages per issue has increased 52 percent in recent years. Even 

President Clinton and the First Lady are rumored to be loyal readers. 

Many illustrators regard the magazine as a fertile environment for experimentation, 

but they are quick to credit Anderson for that freedom. When she contacted 

illustrator Steve Johnson and partner/wife Lou Fancher to do the cover of "Who 

Cares About the Kids?" for last year's May/June issue, their work was gravitating from a whimsical style 

to a more graphic look, but she did not object. "We were interested in doing something different, and the 

art director was open to it," says Johnson. "It was nice to not have to deal with restrictions" 

Having an open mind for alternative viewpoints is what the magazine is all about. "The editors are always 

trying to find new voices in the articles they run," says Anderson. "I'm trying to find new voices, too." 

HEADLINE/DROP CAP/TEXT/CAPTIONS: ITC CASLON NO. 224 BOOK, BOOK ITALIC BYLINE/SUBHEADS: ITC CASLON NO. 224 MEDIUM, BOLD 

37 

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Al Flighty 

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ALPHABETS, INC - 

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PO Box 5448 Evanston, IL 60204 USA 

I riterNet: alphabets@applelink.apple.com 

Circle 244 on Reader Service Card 

ES—Ejaz Syed 

ddemarks of Alphabets Inc

Kyocera Electronics, Inc. 

Kyocera Electronics, 

Inc. (Alameda, CA) and 


Corporation (ITC) have 

recently concluded 

a licensing agreement 

which enables Kyocera 

to provide ITC® typeface 

designs on its ECOSYS 

a-Si page printers. 

Kyocera markets an 

environmentally sensitive 

family of ECOSYS 

a-Si page printers. The 

ECOSYS a-Si 'cartridgefree' 

design means there 

are no laser cartridges 

to dispose of or fill up 

landfills. 

Kyocera Electronics, Inc. 

1321 Harbor Bay Parkway 

Alameda, CA 94501 

Phone: (510) 748-6666 

Fax: (510) 748-6965 

Kyocera Corporation 

2-14-19 Tamagawadai 

Setagaya-ku, Tokyo 158 

Japan 

Phone: 0813 3708-3111 

Fax: 0813 3708-0423 

0 

0 

0 

z 

C.) 

ro 

Software 

QuarkXPress 3.3 for Macs and PCs 

Quark, Inc. has announced the 

release of a new version of Quark- 

XPress- that adds a variety of new 

features and XTensions" to the program. 

Version 3.3 is the company's 

first effort to synchronize the release 

of the Macintosh and Windows versions. 

With this update, Quark is 

group communications capabilities; 

QuarkCopyDesk; a word processing 

and editing application specifically 

designed for use in a Quark publishing 

workgroup; and QuarkXPress, 

the page layout program. In addition, 

three other applications enable 

sites to customize the Quark Publishing 

System to meet their needs. 

Quark Dispatch Administrator lets 

managers configure the publishing 

system. QuarkDispatch Planner 

permits editorial managers to assign 

and track QuarkXPress layouts, 

QuarkCopyDesk articles and other 

page elements. The QuarkDispatch 

File Manager is used to archive and 

delete files created in QPS. Contact 

Quark for specific pricing and configuration 

information. Quark Inc., 

1800 Grant Street, Denver, CO 

80203. (303) 894-8888. For more 

information, circle 402 on reader 

service card. 

Corel Enhances Ventura Publisher 

commited to concurrent releases of 

Corel Corporation has completed 

all forthcoming revisions to Quark- 

the purchase of Xerox Ventura Soft- 

XPress. New features of version 3.3 

ware and has announced a new ver- 

include: variable-shaped text boxes 

sion of its page layout program, Corel 

for unique and demanding design 

Ventura 4.2. The new version con- 

situations, automatic update of color 

tains two full-featured applications, 

Corel Corporation 

scroll list when EPS pictures with 

spot colors are imported, enhanced 

CorelVentura Publisher and Corel 

DataBase Publisher, along with Ven- 

Corel Corporation (Ottawa, 

ON) is a world leader in the 

document layout palette functionality, 

kern to space by specifying 

tura Scan and Ventura Separator. 

CorelVentura Publisher also creates 

development of graphics 

software and SCSI (small 

computer systems interface) 

software. Corel's growing 

line of software products in- 

kerning pairs, undo grouped items, 

the addition of two color models, 

Toyo and DIC, the ability to import 

JPEG and PhotoCD formats, and en- 

total electronic documents, with 

support for Adobe Acrobat" software. 

In addition, the product includes 

two CD-ROMs containing over 

cludes Core1DRAW 3- and 

Core1DRAW 4:" Corel Professional 

Photos CD- 

ROM:" CorelVentura:" 

Corel SCSI- version 2, 

hanced PostScript Printer Descriptions 

for faster output and support 

for dot matrix printers and fax drivers. 

For Macintosh and Windows. 

10,000 EPS images, over 600 Adobe 

Type 1 and TrueType fonts and 100 

royalty-free Kodak PhotoCD photos. 

For Windows. $249.00. Corel Cor- 

Corel Network Manager'" 

and Corel CD 

PowerPak:" After 

signing a licensing 

agreement with 

$895. Quark Inc., 1800 Grant Street, 

Denver, CO 80203. (303) 894-8888. 

For more information, circle 401 on 

reader service card. 

poration, The Corel Building, 1600 

Carling Avenue, Ottawa, Ontario, 

Canada K1Z 8RZ. (613) 728-8200. 



Corporation 

(ITC). Corel now features 

over 140 ITC' 

typeface designs in 

Quark Publishing System 

Coordinates Users 

Quark Publishing System"' (QPS) 


Royalty-Free Professional 

Photographs on CD 

its Core1DRAW4 

product. 

version 1.1 enables writers, editors 

and layout artists to work on publi- 

Corel Corporation has announced 

a complete collection of high-resolu- 

Corel Corporation 

fhe Corel Building 

1600 Carling Avenue 

Ottawa, Ontario K1Z 8R7 

Canada 

Phone: (800) 77-COREL 

cations simultaneously through a 

single networked system. QPS can 

track files using several industrystandard 

third-party software applications 

such as QuarkXPress, Adobe 

tion, royalty-free photographs in 

Kodak PhotoCD format. Each photograph 

is stored in five different 

resolutions from 128 x192 dpi for presentations 

up to 2048 x3072 dpi for 

Photoshop, Adobe Illustrator, Multi- 

prepress use. The collection spans 

Ad Creator, Aldus FreeHand and 

over 100 titles with categories such 

Cachet by EFI. QPS consists of three 

as People, Places, Wildlife, Nature, 

core applications: QuarkDispatch," 

Activities, Airplanes, Automobiles, 

which controls the system and pro- 

Sailing, and more. For Macintosh and 

vides file management and work- 

Continued on page 40 

38

Does 

sc 

fonts 

FontHaus 

is pleased to 

present aL new 

range of 

exciting and 

affordable 

type products. 

`lbare bore s' 

ibe -srcyaiur 

budget? 

hada CompiessedillENIJI011111156111ficighjblItin 

Armada family includes several weights/styles. $35 per font. Family discounts apply. 

Armada Condensed BEGHORS1234bcfgAlt 

Armada fam - includes several weights/styles. $35 per font. Family discounts apply. 

Burghley M 

Capone 

Capone tl 

Empi 

m ADEGKQR52345abfhkIs 

9. Other weights available. Family discounts apply. 

family includes several weights/styles. $59 per font. Family discounts apply. 

k IICIIIIMMISbdthjqs11345 

)461WR61-4 

Fulham Road ABE6115123456efskrnio 

Hollywood Deco A6GICQRS235dbfghkIs 

Ett 

13.7131CRIE423a.lbrgim 

Latin Wide. $59. 

MAGNESIUM GRIME BCD&234 

Magnesium Grime. $59. 

Neue Neuland TF Book ADGHKMQRSbcfghkrs 23 

Neue Neuland TF family includes several weights/styles. $59 per font. Family discounts apply. 

Neue 11 

Quercus 

• 

6 

dr 

a 

Qu. 

olidADGHWACIRbcfghkrs 23 

des several weights/styles. $59 per font. Family discounts apply. 

k 11 GKMRS2.38bfghke'l. 

voik • Hard weights available. $59 per font. 

N - AMII 111 — [1 

CDEIGHIJKLMNOPORT11233 

Subway. $59. 

tefAtif,•4441-`" 

Castle Fleurons (partial showing, font includes over 160 fleurons). $49. 

4N4 

110DtGKORS2345bfghjklqs 

eludes several weights/styles. $59 per font. Family discounts apply. 

Condensed IIMIGKQRS2345bfghklq 

(i empire family includes several weights/styles. $35 per font. Family discounts apply. 

Damned Dingbats (partial showing, font includes 85 dingbats). $39. 

*A C/Al 13 h1, 

Headline Helpers (partial showing, font includes 75 helpers). $39. 

Deco Initials. $49. 

FontHaus Inc. North America 203 367 1993 Australia & New Zealand 61 3 747 9301 France, Belgium, 

Luxembourg, Spain & Portugal 31 1 48 89 60 46 Germany, Switzerland & Austria 49 40 789 2608 

Sweden, Finland & Norway 46 8 16 81 00 United Kingdom 44 73 287 5111 or 44 71 251 3746 

Dancing Skeleton and text illustrations 01994 Art Parts (see reader response card in this URIC for details). Text set in Stone Print!. FontHaus and the FontHaus logo are registered 

trademarks of FontHaus Inc. Product and company names are trademarks of their respective owners. Prices in SUS. Product programs, prices and availability are subject to change 

without notice. Some products may not be available from all FontHaus authorized agents, dealers and distributors. 01994 FHI. 


J 

O 

ITC fonts aso 

each! Now through March 

31, 1994 FontHaus can sell you the 

entire Bitstream library on an OPEN 

CD-ROM for only $595! 

Bitstream TypeShop is a fully unlocked CD- 

ROM containing 1,085 world-class fonts for 

your Macintosh at an unbelievably low price. 

Acclaimed throughout the industry for its high 

quality and typographic authenticity, the 

Bitstream library contains hundreds of ITC and 

other classic type designs including Bitstream 

Originals & Exclusives. 

Affordable fonts 

delivered in 

minutes 

a3:1;rw5rIntere! 

Hate to wait until Monday to order a 

font you needed Friday night? Well wait 

no more. FontHaus fonts are now available on 

CompuServe. With a computer, modem and 

fr 

CompuServe membership, you can review, select, 

buy and download FontHaus fonts from 

4'#-anywhere, anytime. Currently available 

is the entire ITC licensed library—from ITC 

Avant Garde Gothic through the newest 

releases. Single fonts are only $29 and family 

purchases are offered at great discounts. In the 

coming months, FontHaus will release selected 

fonts from the libraries of FontHaus, E+F and Font 

Bureau. To learn more about CompuServe and 

how to get your FREE Introductory Membership, 

call CompuServe toll-free at 800 -524-3388. 

Getting FontHaus fonts has never been easier. 

c:b4:>1 new fonts 

you laa,iiren't seen 

eiirerysisrlaere. urir 

To the left we've displayed a selection 

of new fonts including designs from Apply, Castle 

Systems, the Font Bureau, Mark van Bronkhorst, 

Panache, Treacyfaces and Jim Spiece (to mention a 

few). These unique designs are priced affordably 

and can ship the day you place your order. 

c-height - now 

bigger & better. 

x-height Volume 3 Number 1 is now shipping. 

Bigger than ever, this 64-page magazine has 

earned an impressive 

reputation for its stories on 

the development of type and 

revealing articles about the 

people who make the type 

business tick. Featured in 

this issue is the recent work 

of Freda Sack and David 

Quay. Other stories include 

the ATF bankruptcy auction, the Interrobang, the 

development of a new Neuland family by Joe 

Treacy and ATypI's TypeLab. Also included is the 

FontHaus Fonts Catalog Volume 5—over 40 pages 

of fabulous typefaces displayed in characters sets. 

To get your new copy of x -height, call FontHaus 

toll-free at 800-942-9110. It's five bucks or FREE 

with any font order. 

Adobe fonts 

40% OFF! All licensed 

Adobe fonts at FontHaus are 40% below 

Adobe's NEW list prices. Adobe fonts have never 

been so affordable. Similar discounts are available 

on other major libraries as well. 

No bones about it. 

FontHaus is probably your best place to shop for 

fonts. With over 7,000 fully licensed name-brand 

typefaces available at bare bones pricing, you may 

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or call 203-367-1993 or fax 203-367-1860. 

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FONT 

NAB(

INTRODUCING 

A PERMANENT ADHESIVE SYSTEM 

YOU'LL WANT TO STICK WITH 

DESKTOP APPLICATOR 

(12" & 24" MODELS) HAND APPLICATOR 

(2 1 '2" ROLLER) 

Daige introduces ROLLATAQ; a revolutionary new cold adhesive system that 

makes spray adhesives, rubber cement and double-sided film adhesives obsolete. 

If you need to create presentations or mount photos, lithographs, labels 

and displays, you cannot afford to be without the Rollataq system. There are 

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burnishing the material creates 

a strong bond that won't yellow, 

crack or peel. 

It's safe. Rollataq adhesive is 

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hazardous fumes or odors and 

cleans with water. 

It's economical. Rollataq can 

save thousands of dollars per 

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and self-adhesive labels. 

The Rollataq system features 

three applicators; Model 2400 

with a 24" width, Model 1200 

with a 12" width, and Model 

300, a convenient hand-held 

unit with a 21/2" width. 

For more information or for a 

dealer near you, please call toll free 

Daige 

Albertson, 

1-800-645-3323 Inc. Fax 5 


the ROLLATAQ 

hinged lid, and 

feed your material 

through 

the rollers. 

Mount your 

material and 

roll to create a 

permanent 

bond. The 

adhesive stays 

positionablefir 

ten minutes. 

The ROLLATAQ 

hand applicator 

rolls a 21/2" strip 

of adhesive and 

requires no electricity—perfect 

for jobs in and 

out ofthe ojfice. 

Refilling the 

applicator is as 

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the top and 

pouring the 

adhesive— 

there's no mess 

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One Albertson Avenue 

NY 11507 

516-621-2 .100 

16-611-1916 

40 

Continued from page 38 

Windows. $49.95 each. Corel Corporation, 

The Corel Building, 1600 

Carling Avenue, Ottawa, Ontario, 

Canada K1Z 8RZ. (613) 728-8200. 



Award Winning Digital Photographs 

Available with Cataloging Software 

Now you can receive PhotoDisc's 

award-winning digital photographic 

images with a handy multimedia 

cataloging tool, the Kodak Shoebox;" 

all on one CD. Shoebox allows Mac 

and Windows users to organize and 

search all types of files including 

image, audio, text and video. Colorcorrected 

and optimized for use in 

color or black and white, PhotoDisc 

offers nine high-resolution volumes 

with categories such as Business & 

Industry, Nature, Wildlife & Environment, 

Science, Technology &Medicine, 

Holiday & Celebrations and 

Backgrounds & Objects. For Macintosh 

and Windows. $349 each CD. 

PhotoDisc Inc., 2013 Fourth Avenue, 

Fourth Floor, Seattle, WA 98121. (206) 

441-9355. For more information, 

circle 405 on reader service card. 

FreeHand 4.0 Upgrade 

Aldus Corporation has announced 

a major upgrade to its advanced 

graphic design and illustration program, 

Aldus FreeHand 64.0 for the 

Macintosh. New capabilities in Free- 

Hand 4.0 include enhanced text 

controls, intuitive color controls, a 

streamlined user interface, extensive 

graphic capabilities and multipage 

layout functions. For Macintosh. 

$595. Aldus Corporation, 411 First 

Avenue South, Seattle, WA 98104- 

2871. (206) 622-5500. For more information, 

circle 406 on reader 

service card. 

Image Editing with Prepress Color 

Management 

PhotoSty/er'2.0 is a powerful image 

editing program used to acquire, edit, 

retouch and print color, grayscale 

and black-and-white images. Photo- 

Styler is also the first desktop application 

that integrates the Kodak 

Precision Color Management System, 

which eliminates the guesswork 

involved in achieving accurate and 

consistent color from both input and 

output devices, including monitors. 

PhotoStyler 2.0 has several new professional 

productivity enhancements. 

A Practice Pad, Multi-Preview feature 

and a Multi-Transform dialog box 

offer multiple ways to preview the 

results of an action before it is executed. 

A new Partial Edit tool handles 

large images more efficiently by loading 

only a portion of an image into 

memory for editing. Version 2.0 is 

tightly integrated with PageMaker 5.0 

with support of the same color matching 

libraries, making it easier to work 

with standard process colors. Photo- 

Styler also supports the TRUMATCH® 

4-Color Selector, with its more than 

2,000 proportionally gradated accent 

process colors for accurate and predictable 

matching of digital process 

color. For Windows. $795. Aldus Corporation, 

411 First Avenue South, 

Seattle, WA98104-2871. (206) 622- 

5500. For more information, circle 

407 on reader service card. 

Photorealistic Landscapes and Scenery 

KPT New World Explorer'® is a new 

Macintosh application that designs 

and renders natural and supernatural 

3D landscapes, complete with 

textures and reflective surfaces. For 

example, New World Explorer can 

create breathtaking skies with natural 

cloud formations, humidity and 

light refraction, plus astonishing 

landscapes with plateaus, rivers, 

snowy peaks and desert floors. The 

program ships with numerous preset 

skies, clouds and terrains that 

users can combine to create their 

own landscapes. HSC Software, 1661 

Lincoln Boulevard, Suite 101, Santa 

Monica, CA 90404. (310) 392-8441. 



PowerTools for Windows 

Kai's PowerTools'" (KPT), a collection 

of 33 powerful filters and extensions 

for Adobe Photoshop, is now available 

for Windows and Silicon Graphics 

workstations. KPT for Windows 

and Silicon Graphics offers imaging 

capabilities that let users create 

infinite varieties of complex blends, 

textures, gradients, fractals and 

special effects. The KPT user interface 

was designed to entice exploration 

of the effects that can be 

created, allowing users to preview 

effects and complex images. For 

Windows and Silicon Graphics. $495. 

HSC Software, 1661 Lincoln Boulevard, 

Suite 101, Santa Monica, CA 

90404. (310) 392-8441. For more 


service card. 

Continued on page 45

The Letraset Unlocking CD 

ROM contains the entire collection 

of Fontek Typefaces, 

DesignFonts and 

Backgrounds & Borders. 

Fontek Display typefaces are 

an exclusive collection of 

fonts in PostScript ° Type 1 

and TrueType' formats. Each 

font contains a complete 

character set, alternatives, 

accents, and symbols. 

DesignFonts contain over 

1,500 spot illustrations in 

font format. 

Backgrounds & Borders are 

high quality textures, patterns, 

shapes, scenes, and 

borders. 

These Fontek products 

are available on demand by 

calling Precision Type at 

800 248-3668. 

414t4 UNLOCK 

Oft 

IMAGINATION 

"ii„ FOR s9925 .3 

WITH THE 

FONTEK 

UNLOCKING CI) 

Call now and unlock your 

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Unlocking CD from Letraset. 

Precision 

Type 

The Complete Font Software Resource 

47 Mall Drive, Commack, 

New York 1 1 725-5703 

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Fax 516 543-5721 

800 248-3668 


Letraset 

FONTEK 

UNLOCKING 

CD $99.95 

INCLUDES $340 

WORTH OF 

FREE SOFTWARE 

LETRASTUDIO 

2 FREE TYPEFACES 

OF YOUR CHOICE 

LETRASET'S 

CHARACTER 

CHOOSER 

A COMPREHENSIVE 

150 PAGE CATALOG

ON 

■ 

NI 

(111) 

• 

Nil 

Q 


Corporation (ITC) is 

pleased to offer the ITC° 

Typeface Directory, 

which details all ITO° 

typeface families available 

for both IBM and 

Macintosh computer 

environments from ITC 

licensed Subscribers. 

In the chart, squares indicate 

that the Subscriber 

offers the complete ITC 

typeface family. Circles 

indicate a partial availability 

for that family. For 

more information, call 

ITC Typeface Directory 

at (800) 634-9325 or 

Fax (212) 752-4752. 


Corporation operates under 

this name domestically 

and inforeign countries and 

is known as "ITC' ITC 

and its typeface names are 

registered trademarks 

of International Typeface 

Corporation in certain 

countries. In addition, ITC° 

typefaces are protected 

by design legislation and copyrights 

in certain countries. 

(See ITC specimen books.) 

complete family 

❑partial family 

Bold Face denotes 

new release 

Adobe 

Systems Inc. 

Agfa Division, 

Miles Inc. 

Autologic Inc. 

Bitstream Inc. 

Digital 

Typeface Corp. 

Elsner+Flake 

Designstudios 

FontHaus Inc. 

FontShop 

International 

Image Club 

Graphics Inc. 

Linotype-Hell 

Company 

Monotype 

Typography 

WAS Inc. 

Scangraphic 

URW Software 

& Type GmbH & 

URW America 

Varityper Inc. 

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ITC Avant Garde GothleCyrillic 

ITC Barcelona® 

ITC Bauhaus ® 

ITC Beeslmeee 

ITC Benguiat® 

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ITC Bookman® 

ITC BookmareCyrillic 

ITC Caslon No. 224® 

ITC Century ® 

ITC Century*Handtooled 

ITC Cerigo" 

ITC Charter" 

ITC Cheltenham® 

ITC Cheltenham® Handtooled 

ITC Clearface ® 

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ITC Flora ® 

ITC Franklin Gothic® 

Friz Quadrata 

ITC Gaillard' 

ITC Gamma s 

ITC Garamond® 

ITC Garamond® Cyrillic 

ITC Garamond® Handtooled 

ITC Giovanni" 

ITC Golden Type" 

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ITC Leawood' 

ITC Legacy- Sans 

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ITC Lubalin Graphs 

ITC Mendoza Roman" 

ITC Mixage* 

ITC Modern No. 21e 

ITC Mona Lisa Recut " 

ITC Mona Lisa Solid" 

ITC Moller Corpus" 

ITC New Baskerville 

ITC New BaskervillV Cyrillic 

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ITC Stone Phonetic' Sans 

ITC Stone Phonetic" Serif 

ITC Stone Sans" 

ITC Stone Serif" 

ITC Studio Script- 

ITC Studio Script" Cyrillic 

ITC Symbol' 

ITC Syndor" 

ITC Tiepolo" 

ITC Tiffany 

ITC Usherwood" 

ITC Veljovic * 

ITC Weidemaruf 

ITC Zapf Book" 

ITC Zapf Chancery' 

ITC Zapf Chancery' Cyrillic 

ITC Zapf Dingbate 

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(800) 833-6687 

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90 Industrial Way 

Wilmington, MA 01887 

••• (508) 658-5600 

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9955 West 69th Street 

Eden Prairie, MN 55344 

(612) 944-9264 

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Dor 

D- 25485 L angeln, 12 b Germany 

Tel; 49 41 234 843 

Fax: 49 41 236 027 

■ IIII ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ •• ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ •••• •• ■ 

137Kings 5 Highway East 

Fairfield, CT 06430 

• • (800) 942-9110 

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49 30 6900 6262 

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#5 , 1902-11 Street Southeast 

El • ❑ ••000•0 ❑ Calgary, Alberta 

T2G 3G2, Canada 

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❑ 

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425 Oser 

Hauppauge, Avenue NY 11788 

(800) 633-1900 

Suite 2630 

■ ■ 0•• 0• ■ ■ ❑ III • ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ••••••••• ■ 150 South Wacker Drive 

.. Chicago, IL 60606 

Tel: (312) 855-1440 

■ ■ ❑ ■ ■ ❑ ■ ■ ■ ❑ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ Fax: (312) 855-9475 

❑ 

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ssener Stra, 112-114 

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Germany 

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1 

■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ Harsheider Stra A e 102 

■ ••• 11•1111••••••••••••••• ••••••••• •• 2239 k 9 Hamburg,Germany 

49 40 606 050 

(URW America) 1 Tara Blvd. 

1 ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ Nashua, NH 03062 

(603) 882-7445 

11 Mount Pleasant Avenue 

1 ■ ■ ■ ■ ❑ ■ ❑ ■ ■ ■ ■ ■ ■ ■ ••••• ■ • 0••••• ■ E ast Hanover, NJ 0 7936 

.. (800) 526-0767 

I ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ 

M- 

5* 

a 

G 

p 

re 

43

URW's exclusive letter spacing tool 

gives you the power to automatically 

create over 1,000 point size specific kerning 

pairs in under 30 seconds for all Post- 

Script Type 1 or TrueType fonts! Ideal 

for designing headlines, or use Kernus 

to optimize the clarity of text as small as 

6 point. A built-in editor enables you to 

modify or adjust individual kerning 

pairs. You no longer need to spend valuable 

time manually kerning fonts, and 

you'll save money by not buying premade 

kerning pair packages. 

$499 

The world's best autotracing 

software for the Macintosh keeps getting 

better. Using precise user definable parameter 

controls, you can convert color, 

grayscale, or black and white scanned 

artwork to outlines in either EPS or 

IKARUS format. Color and grayscale are 

incorporated into EPS files automatically! 

Contains an editing tool palette, 

allowing fast and easy clean-up without 

having to buy or rely on additional illustration 

or draw 

programs. 

Includes multi 

undo, 32 bit 

addressable and 

virtual storage 

management. 

$349 

The professional's choice 

for font, letterform and logo-type production. 

With a 15,000 x 15,000 units to the 

em internal resolution, Ikarus-M for the 

Macintosh packs all the power and delivers 

precision for the most demanding 

design and production tasks. Achieve 

accuracy to 1/100 mm with the URW 

point-on-curve method. No fumbling 

with bezier handles, no more guessing. 

The Ikarus outline moves where you 

want it, when you want it. Every industry 

format is 

supported: Post- 

Script Type 1, 

Type 3, EPS and 

TrueType. 

$598 

URW Software & Type 

TypeWorks 

For over 20 years, URW has been making quality type and software 

for companies like Berthold, ITC, Miles Inc./Agfa Division, Linotype 

and Monotype. Now you can get the same high quality, industry 

standard typefaces for a fraction of the price you're paying. 

URW TypeWorks—choose Volume 1 or Volume 2. Each TypeWorks CD-ROM contains 

3,000 ultra-high quality typefaces. Select PostScript Type 1 or TrueType fonts. 

All fonts are supplied with up to 1,000 kerning pairs. Also included is Includec 

Kernus, the industry's most sophisticated tool for precision letter spacing Kernusand 

kerning. TypeWorks is supplied completely unlocked. All fonts and software 

are available for immediate access. Full type families, complete character sets, a 

professional library for the price of a single software package. 

Includes a comprehensive 1,001 page Reference Guide 

showing examples of all typefaces in text and display sizes. 

URW TypeWorks Vol. 1 or Vol. 2 CD-ROM $979 

URW TypeWorks light—one-third the calories! TypeWorks 

light CD-ROM contains 1002 PostScript Type 1 fonts, all 

fonts supplied with up to 1,000 kerning pairs. Each URW 

TypeWorks Light CD-ROM works on both Macs and PCs. 

It's the ideal solution for cross-platform compatibility. 

Supplied completely unlocked, all fonts are available for 

immediate access. A comprehensive 336 page Reference 

Guide is included. Full type families and complete character 

sets. An excellent value! 

URW TypeWorks light CD-ROM 

.„„ 

$389 

The quintessential solution to multi-lingual typesetting and cross-platform requirements. 

The EuroWorks CD-ROM contains 500 ultra-high quality PostScript Type 1 and 

TrueType fonts, all supplied with up to 1,000 kerning pairs. The URW EuroWorks CD 

works on both Macs and PCs. Each typeface contains the necessary accented characters 

for all Western and Eastern European languages, such as Hungarian, Czech, 

Polish and Slovenska. Special keyboard drivers are supplied to enable easy access on a 

language basis. All fonts and keyboard 

drivers are supplied completely 

unlocked and are available for 

immediate access. 

$1399 

A must have for all book, magazine and newspaper designers and publishers. URW 

PrintWorks contains 500 fonts made from 10 classic text typeface families, such as 

Garamond, Bodoni, Baskerville, Clarendon, etc. All families contain up to 50 roman 

and italic weights, ranging from condensed through black expanded. This is the most 

comprehensive selection of text typefaces ever offered! All fonts are supplied with up 

to 1,000 kerning pairs. The URW PrintWorks CD-ROM contains both PostScript and 

TrueType fonts, for both Mac and PCs. All fonts are supplied completely unlocked and 

are available for immediate access. 

$119 

Get both Ikarus-M 

and Linus-M for only 

$895 

URW Software & Type • the company that pioneered digital type 

4 Manchester St., Nashua, NH 03060 • Phone 800-229.8791, Fax 603.882.7210 



Photoshop Time Savers 

PhotoMatic" is a Photoshop add-in 

module that saves users time and 

money by automating repetitive tasks 

that are applied equally throughout 

many images. PhotoMatic places 

a Record menu in Adobe Photoshop 

which allows a user to save almost 

any function. These functions are recorded 

to a PhotoMatic script which 

may be executed automatically on 

a batch of images. To record a script, 

the user simply selects Start in 

the Daystar Record menu, performs 

the desired Photoshop actions to 

a sample file and saves the script file 

by selecting Stop from the menu. 

For Macintosh. $229. DayStar Digital, 

5556 Atlanta Highway, Flowery 

Branch, GA 30542. (800) 962-2077. 

For more information, circle 410 

on reader service card. 

Media Manager 

ImagePals62.0 is a product that 

offers complete storage and retrieval 

management for all types of media 

including images, graphics, animation, 

sound and video formats. Image- 

Pals 2.0 features expanded search 

capabilities with keywords, subjects 

and marks, extensive file conversion 

for both raster and vector formats, 

additional special effects 

filters, inter-document cloning, a 

global viewer and a complete multimedia 

slide show. For Windows. 

$99. U-Lead Systems, Inc., 970 West 

190th Street, Suite 520, Torrance, 

CA90502. (310) 523-9393. For more 


service card. 

Natural Media Painting 

Dabbler' is a $99 16-bit color painting 

program from Fractal Design 

Corporation that incorporates many 

of the basic tools of their $399 topend 

Painter product. Using a streamlined 

interface, users access painting 

tools such as pencils, chalk and 

crayons arranged in four drawers. 

Based on the drawer selected, tools 

become available to the user. A 

unique feature of Dabbler not available 

in Painter is the ability to record 

a painting session and play it back 

with a different set of drawing tools. 

In addition, several prerecorded 

drawing lessons are packaged with 

the product. For Macintosh and 

Windows. $99. Fractal Design Corporation, 

355 Spreckels Drive, 

Aptos, CA95003. (408) 688-5300. 



Multimedia 

Help for Desktop Filmmakers 

0 

otion Works Multimedia" 

is a package of six powerful 

tools for creating and 

editing movies, graphics and audio. 

The Motion Works utility package 

includes the following tools: Movie 

Edit–allows users to add titles, graphics 

and additional video to Quick- 

Time movies; SoundMate–for editing 

and adding special sound effects to 

audio files; MiniMorph–a program for 

morphing between images; Motion- 

Paint–a 24-bit painting program 

to create animated eel sequences, 

which can be added, removed, reordered 

and onionskinned; IQ–a utility 

that adds interactive hot spots to 

QuickTime movies; and CameraMana 

program that records QuickTime 

movies with voice-over annotation. 

For Macintosh. $249. Motion Works 

USA, 524 Second Street, San Francisco, 

CA. (415) 541-9333. For more 


service card. 

Fonts 

New Type Tools 

0 

ixar has begun shipping an 

upgrade to its 3D type-rendering 

program. Typestry" 

2.0 offers a wealth of new tools to create 

three-dimensional type effects 

and animations. For example, users 

can edit the images and textures 

used as surfaces on 3D objects. The 

program automatically creates reflections 

of every object in a scene, 

and a rubber sheet feature lets users 

wrap flat type around objects. For 

Macintosh. $299. Pixar,1001West 

Cutting Boulevard, Richmond, CA 

94804. (510) 236-4000. For more 


service card. 

Hardware 

Accelerate Your Graphics 

0 

eMansGT" is a new 24-bit 

display interface that 

benchmark tests prove is 

the world's fastest graphics accelerator 

for the Macintosh. LeMansGT 

has highly-optimized integrated circuits 

designed to deliver ultra-fast 

32-bit QuickDraw acceleration. 

Continued on page 50 

45 

YOU'RE 

HOLDING 

OUR 

SALES 

BROCHURE 


This issue of U&Ic, like 

every one since the first 

in 1973, was printed by 

us—Lincoln Graphics. 

Every page tells you why 

we continually win awards 

for printing excellence from 

organizations such as 

PIMNY, AIGA, and PIA. 

And if we print this well on 

newsprint, imagine what 

we can do on top quality 

paper. 

Whatever your printing 

needs—publications, catalogs, 

brochures, inserts— 

we provide total service. 

From concept, through 

production, to mailing. 

When you've finished reading 

our sales brochure, call 

us at 516-293-7600. 

Lincoln Graphics, Inc. 

1670 Old Country Road 

Plainview, New York 11803 

More than just great translations! 

We've also got 

the in-depth type 

and graphics 

expertise to help you 

produce your foreign language 

project more easily and 

economically... conventionally 

or through PostScript... from 

Arabic to Zulu. Ask for our free 

brochure. 

SPECTRUM 

Multilanguage 

Communications 

225 West 39th Street • New York, New York 10018 

Tel: (212) 391-3940 • Fax: (212) 921-5246 

SPEC T R UM 



Corporation is a developer 

and marketer 

of high quality typeface 

designs that are applicable 

to a wide variety 

of graphic communication 

needs. ITC has a 

professional understanding 

of both the esthetics 

and business of type. 

As a result, we have 

established a business 

relationship with the 

companies listed to 

the right of this column. 

Purchasing fonts and 

type imaging equipment 

from any of these companies 

assures authenticity 

of ITC typefaces 

and optimal quality 

design representation. 

These Subscriber companies 

are licensed 

to manufacture and sell 

ITC typefaces. 

ACCENT Software, Inc. Autologic, Inc. dada Indugu The Font Company GST Software Products 

902 Veneto 1050 Rancho Conejo Boulevard 9095 Picasso 12629 North Tatum Boulevard Limited 

Irvine, CA 92714 Newbury Park, CA 91320 St. Leonard, Quebec H1P 31S Suite 210 Meadow Lane, St. Ives 

(714) 552-7672 (805) 498-9611 Canada Phoenix, AZ 85032 Huntington, Cambridgeshire 

High-Quality Graphics and Phototypesetting and Laser (514) 526-6200 (602) 998-9711 PE17 4LG 

Typefaces for Use with 

Computer Aided Design/Drafting 

on Macintosh, IBM PC and 

UNIX Platforms 

Imaging System Photo Units, 

Digital Photo Units/Digital 

Recorders, Laser Recorders, 

Headline Typesetters, Scanners 

Dainippon Screen Mfg. 

Co., Ltd. 

Overseas Division 

PostScript Publisher of the Font 

Company Type Library for Mac, 

Next and PC 

England 

44-480-496789 

(603) 329-5076 

Software for Typesetting on 

12-2 Bohjoh-cho, Chudoji The Font Factory Personal Computers 

Adobe Systems Inc. Autologic SA Shimokyo-ku, Kyoto, 600 Japan 2400 Central Parkway 

1585 Charleston Road 1030 Bussigny Pres Lausanne (81) 75/365-3131 Suite A Heidelberg-PMT 

P 0. Box 7900 Switzerland Color Scanners, Imagesetters, Houston, TX 77092 Co., Ltd. 

Mountain View, CA 94039-7900 021 89 29 71 Color Prepress Systems (713) 682-8973 3-21-4 Minami Oi 

(415) 961-4400 Bobst Graphic Products and and Graphic Arts Equipment Desktop Publishing Typefaces Shinagawa-ku, Tokyo 

Interactive Software Tools for Phototypesetting Systems for Ventura Publisher and Japan 

Graphic Arts THE Datafile Window/PageMaker (03) 763-4141 

Bitstream Inc. 

71 Anson Road 

Aim Graphics, Inc. Athenaeum House Locking FontHaus Inc. Hampstead 

6 White Plains Drive 215 First Street Weston-Super-Mare 1375 Kings Highway East Computer Graphics 

Chesterfield, MO 63017 Cambridge, MA 02142 Avon BS24 7DQ Fairfield, CT 06430 378 Emerson Avenue 

(314) 536-2855 (617) 497-6222 England (203) 367-1993 Hampstead, NH 03841 

Developer of AIM-3D Computer High Quality Digital Type for 011 44 934 823005 PostScript Font Resellers and 

Animation System for 80386 the Macintosh and IBM PC Software Developers Supporting Helix Limited 

and 80486 PCs Dawlex Software Macintosh and IBM Formats P. 0. Box 15 

British Broadcasting Halesowan Lye Stourbridge 

Ampex Corporation Corporation West Midland B63 3XE FONTS West Midlands DY9 7AJ 

401 Broadway Broadcasting House England Hardy-Williams (Design) Ltd. England 

Redwood City, CA 94063-3199 London W1A IAA 021 585 6897 300A High Street (0384) 424441 

(415) 367-2011 England Sutton, Surrey 

AVA-3 (Video Graphic Art 01 580 4468 DIGI-FONTS, SM1 PQ England Dr.-Ing Rudolf Hell 

Generator) Video Fonts for the BBC 528 Commons Drive 01-636-0474 GmbH 

Golden, CO 80401 D-2300 Kiel 14 

Anagraph, Inc. CADCAM PUNCH LTD. (303) 526-9435 FontShop International Grenzstrasse 1-5 

3580 Cadillac Avenue 43, Arkwright Street Manufacturer of Scalable Bergmannstra8e 102 Germany 

Costa Mesa, CA 92626 Nottingham NG2 2JR Outline Fonts and Font Utility D-10961 Berlin (0431) 2001-1 

(714) 540-2400 England Software for HP LaserJet Germany Digiset Phototypesetting 

Graphic Design Systems, 

Plotting and Cutting Systems 

0602 862561 

CADCAM Textile Designing 

Family and PostScript Printers (30) 693 70 22 Equipment and Systems, 

Digiset-Fonts 

Systems Digital Composition Font World, Inc. 

Apple Computer, Inc. Systems, Inc. 2021 Scottsville Road Hewlett Packard 

20525 Mariani Avenue Carter & Cone Type Inc. 1715 West Northern Rochester, NY 14623-2021 Vancouver Division, Washington 

Cupertino, CA 95014 2155 Massachusetts Avenue Suite 201 (716) 235-6861 18110 S.E. 34th Street 

(408) 996-1010 Cambridge, MA 02140 Phoenix, AZ 85021 Supplier of Multiple Language Camas, WA 98607 

Manufacturer of Apple's (617) 576-0398 (602) 870-7666 Publishing Systems (206) 944-8110 

Macintosh Equipment Independent Type Designers Database Publishing Software 

and Font Makers for Microcomputer Users Fundicion Tipografica Hewlett Packard 

Applied Arabic Limited Neufville, S.A. Corporation 

Sales and Marketing Casady & Greene Inc. Digital Typeface Puigmarti, 22 Boise Division 

Pulse House, Bonny Street 22734 Portola Drive Corporation Barcelona-12 11311 Chinden Boulevard 

London NW1 9PG. U.K. Salinas, CA 93908-1119 9955 West 69th Street Spain Boise, ID 83714 

(Tel) +44 (0) 71-485-0285 (408) 484-9228 Eden Prairie, MN 55344 219 50 00 

(Fax) +44 (0) 71-267-1031 FAX: (408) 484-9218 (612) 944-9264 Poster Types HOUSEstyle 

Technical Division Manufacturer of Bitmap High-Quality Typefaces from 50-54 Clerkenwell Road 

Bradbourne House and PostScript Typefaces URW, ITC and Other World-Class GDT Softworks Inc. London EC1M 5PS 

East Mailing for Macintosh Type Libraries Suite 188 England 

Kent ME19 6DZ. U.K. 4664 Lougheed Highway 071 251 3746 

Tel: +44 (0) 732-875-000 Color Image dtp Types Limited Burnaby 

Fax: +44 (0) 732-875-333 Products Company 13 Nurserylands Gossops Green British Columbia V5C 6B7 Image Club 

Designers and Manufacturers of 1116 Manheim Pike Crawley West Sussex RH11 8RH Canada Graphics Inc. 

Arabic Typefaces and Fonts. Lancaster, PA 17601 England (604) 291-9121 #5 1902 11th Street Southeast 

Suppliers of Digital Data in All (717) 393-2591 0293 615469 Developer of Macintosh Printer Calgary, Alberta T2G 2G2 

Formats Manufacturer of Manufacturers of Software and Driver, Employs Outline Font Canada 

Dry Transfer Letters Font Products for Electronic Technology for HP Deskjet, HP (403) 262-8008 

Apply Design Group Publishing and Graphic Arts Laserjet Series, and HP Laser Manufacturer of PostScript 

Am Gehrkamp 45 Computer Associates Compatible Printers Typefaces 

D-3160 Lehrte International, Inc. Dubner Computer 

Germany Great Valley Corporate Center Systems, Inc. General Parametrics Information 

011 49 51 32 12 28 40 Valley Stream Parkway 6 Forest Avenue Corp. International, Inc. 

Supplier and Manufacturer of Malvern, PA 19355 Paramus, NJ 07652 1250 Ninth Street 5933 Slauson Avenue 

Digital Typefaces (215) 251-9890 (201) 845-8900 Berkeley, CA 94710 Culver City, CA 90230 

Manufacturer of Graphic Broadcast TV Equipment (415) 524-3950 (213) 390-8611 

Architext Inc. Software for Apple Macintosh Phototypesetting Systems 

121 Interpark Boulevard Computer Electra Font Genicom Corporation 

Suite 1101 Technologies Genicom Drive International Business 

San Antonio, T)( 78216 Computer Gesellschaft 1601 Trapelo Road Waynesboro, VA 22980 Machines Corporation 

(512) 490-2240 Konstanz MBH Waltham, MA 02154 1 (800) 4-GENICOM Old Orchard Road 

The Architext OmniFont Library Max-Stromeyer-Strasse 116 (617) 890-1288 (1 (800) 443-6426) Armonk, NY 10504 

& Digitization Services. Fonts D-7750 Konstanz Distribution of High Quality (303) 924-4807 

for HR IBM, Kodak, PostScript, Germany 

Image Printers/Fonts 

Genigraphics 

Electronic Printing Systems 

Siemens and Xerox Laser 

(07531) 87-4433 

(Standard/PostScript) 

Corporation 

Printers. Custom Fonts for IBM LaserJet-Laser Typesetter 2 Corporate Drive International Digital 

& Okidata Desktop Printers OCR-Equipment Elsner +Flake Suite 340 Fonts 

Designstudios Shelton, CT 06484-6206 1431 6th Street Northwest 

ASIBA GmbH Computer Output Dorfstra6e 12 b (203) 926-8808 Calgary, Alberta T2M 3E7 

Ostengasse 7 Printing, Inc. D-25485 Langeln Computer Generated Canada 

8400 Regensburg 4828 Loop Central Drive Germany Graphic Production (403) 284-2288 

Germany Houston, TX 77081 Tel: 04123-4843 Digital Fonts for Laser Printers 

(0941) 52240 (713) 666-0911 Fax: 04123-6027 GeoPoint, Inc. Available in PostScript Type 1 

Letterplot 33 (Software for High End Electronic Printing High Quality Digital Type for 401 China Basin Street and TrueType Formats 

Signage) Systems and Digital Fonts Apple Macintosh and IBM PC Suite 200 

San Francisco, CA 94107 

Izumiya Co., Inc. 

Aston Electronic Coral Systems ETP Systems, Inc. Ebisu Subaru Building 4F 

Designs Ltd. Corporation 2906 North East Glisen Street Gepeto Electronica Ltda 20-08, Ebisu 1-chome 

125/127 Deepcut Bridge Road 1600 Carling Avenue Portland, OR 97232 Praia de Botafog 440-16 andar Shibuya-ku, Tokyo 150 

Deepcut, Camberley, Surrey Ottawa, Ontario KZ 8R7 (503) 234-5522 Rio de Janeiro CEP 22250 Japan 

GU16 6SD England Canada Manufacturers of Laser Brazil 011 81 3 440 1531 

(0252) 836221 Publishing Systems (021) 286-8284 

Video Character Generators Crosfield Incorporating Typesetting and Telex 021-33499 Kagema AG 

Lightspeed Inc. 

47 Farnsworth Street 

Fonts into Unit Based Computer 

System 

Digital Phototypesetters, 

Photocomposition Systems 

Boston, MA 02210 (1321) 0600 

(617) 338-2173 Glyph Systems, Inc. 

Lightspeed Color Layout 

2 Stevens Street 

Systems, Lightspeed Andover, MA 01810 

Interactive Kerning Editor (508) 474-8087 

Postfach 422 CH-8051 

Zurich, Switzerland 

46

Kroy 

Scottsdale Airpark 

14555 N. Hayden Road 

Scottsdale, AZ 85260 

(602) 948-2222 

Kyocera Corporation 

2-14-19 Tamagawadai 

Setagaya-ku, Tokyo 158 

Japan 

LaserGo, Inc. 

9369 Carroll Park 

Suite A 

San Diego, CA 92121 

(619) 450-4600 

PostScript Interpreter Software 

GoScript, GoScript Plus, and 

GoScript Select 

LaserMaster 

Corporation 

7156 Shady Oak Road 

Eden Prairie, MN 55344 

(612) 944-9330 

Manufacturer of Printer 

Conti-pliers/Typesetters for 

PC Compatibles/Macintosh 

Esselte Letraset 

Letraset Limited 

St. George's House 

195-203 Waterloo Road 

London SE1 8XJ 

England 

071 928 7551/3411 

Dry Transfer Letters, TrueType 

and Type 1 Format Fonts 

Letraset USA Inc. 

40 Eisenhower Drive 

Paramus, NJ 07652 

(201) 845-6100 

Dry Transfer Letters, TrueType 

and Type 1 Format Fonts 

Lexmark 

International, Inc. 

740 New Circle Road 

Lexington, KY 40511 

(606) 232-2000 

A. J. Lincoln & Co., Inc. 

29 Domino Drive 

Concord, MA 01742 

(508) 369-1441 

LincP age7 High-Speed 

Interpreter of PostScript for 

Printing, Imagesetting, Fax 

Conversion, and Other 

Applications 

Linotype-Hell Company 

Linotype-Hell Company 

425 Oser Avenue 

Hauppauge, NY 11788 

(516) 434-2074 

Linotype-Hell Limited 

Chelham House 

Bath Road 

Cheltenham-Glos. GL53 7LR 

England 

(024 2) 222 333 

Linotype-Hell AG 

Mergenthaler AI lee 55-75 

D-6236 Eschborn bei Frankfurt 

Germany 

(06196) 982 260 

Typefaces and Fonts of Digital 

Typesetters (CRT and Laser), 

and other Visual 

Communication Equipment 

(e.g. PostScript LaserPrinters). 

Linotronic Laser Imagesetters, 

CRTronic Imagesetting 

Equipment and Systems 

Management 

Graphics, Inc. 

1401 79th Street East 

Minneapolis, MN 55425 

(612) 854-1220 

Manufacturer of 

Slide-Making System 

Mec anorma 

14 Route de Houdan 

78610 Le Perray-en-Yvelines 

Paris, France 

(1) 34 83 92 66 

Dry Transfer Letters 

Mesac GmbH 

Saarstrasse 29 

6360 Friedberg/H. 

Germany 

06031/3677 

UNI.LET (CAD-CAM System) 

Micrografx, Inc. 

1303 Arapaho 

Richardson, TX 75081-2444 

(214) 234-1769 

Microtype 

8 Faubourg St. Jean 

21200 Beaune 

France 

Film Fonts Manufacturer, 

Alphabet Designers 

Agfa Division, 

Miles Inc. 

90 Industrial Way 

Wilmington, MA 01887 

(508) 658-0200 

AgfaType CD ROM; ProSet" 

Series: 9400, 9550, and 9800 

Laser Imaging Devices; 

SelectSet" 5000 Laser Imaging 

Device; StudioSer 2000 Plus 

Laser Imaging Device; 9000 

PS MAX Plus/J Kanji PostScript 

RIP; 5000 and 9000 PS Star 

PostScript RIPs; Agfa Color 

Scape" Color Electronic 

Prepress Systems; Focus" 

Scanner family; PostScript 

Slidemakers 

Monotype Typography 

Monotype Typography Ltd. 

Perrywood Business Park 

Honeycrock Lane 

Salfords, Red hill 

Surrey, RH1 5JP 

England 

Tel: +44 737 765959 

Fax: +44 737 769243 

Monotype Typography Inc. 

Suite 2630 

150 South Wacker Drive 

Chicago, IL 60606 

USA 

Tel: (312) 855-1440 

Fax: (312) 855-9475 

NEC Corporation 

7-1, Shiba 5-Chome 

Minato-Ku, Tokyo 108-01 

Japan 

0423 641111 

NEC Information 

Systems, Inc. 

1414 Massachusetts Avenue 

Boxborough, MA 01719 

(508) 264-8000 

Personal and Small Business 

Computer Systems, Printers 

and Peripherals 

Neo-Visuals, Inc. 

1200 Eglington Avenue E 

Suite 404 

Don Mills, Ontario 

Canada M3C 1H9 

(416) 443-9811 

High End 3D Computer 

Graphics and Animation 

NewGen Systems 

Corporation 

17550 Newhope Street 

Fountain Valley, CA 92708 

(714) 641-8600 

Nippon Information 

& Science Ltd. 

Sumire Building 4F 

5-4-4 Koishikawa 

Bunkyo-ku, Tokyo 112 

Japan 

033 814 3201 

Digital Fonts, Latin and 

Non-Latin Alphabets, 

Including Kanji Characters 

Officine Simoncini s.p.a. 

Casella Postale 776 

40100 Bologna 

Italy 

(051) 744246 

Hot Metal Composing Matrices 

and Phototypesetting Systems 

Pacific Data 

Products, Inc. 

9125 Rehco Road 

San Diego, CA 92121 

(619) 552-0880 

ParaGraph 

1309 S. Mary Avenue 

Suite 150 

Sunnyvale, CA 94087 

(408) 522-3000 

ParaGraph 

International 

32 Krasikova Street 

Moscow 117418 

Russia 

(7095) 129-1500 

Developer of Cursive 

Handwriting Recognition 

Technology/Fonts (Including 

Cyrillic Fonts) and Type 

Management Software 

Phoenix 

Technologies Ltd. 

846 University Avenue 

Norwood, MA 02062 

(617) 551-4000 

Multiple Printer Language 

Interpreter and Operation 

System for Laser Printer 

Polycutters Limited 

25 Bridge Street 

Rothwell, Kettering 

Northants NN14 2JW 

England 

(0536) 712627 

Presentation 

Technologies, Inc. 

743 North Pastoria Avenue 

Sunnyvale, CA 94086 

(408) 749-1959 

Image-Maker Slide-Making 

System 

PROSOFT Tesler 

Software Corporation 

7248 Bellaire Avenue 

No. Hollywood, CA 91605 

(818) 764-4555 

"Fontasy" Software 

Purdy and 

Associates, Inc. 

100 Perimeter Road 

Nashua, NH 03063 

(603) 883-9796 

Device Independent Computer 

Board for Printers 

Purup Electronics 

5 Sonderskowej 

DK-8520 Lystrup 

Denmark 

4586 222522 

Pump PrePress Products: High 

Resolution Laser Image Setters, 

Interactive Graphic Systems for 

Forms and Label/Packaging, 

Pump Typeface Libraries, High 

Resolution PostScript: Purup 

Image Maker 

QMS, Inc. 

One Magnum Pass 

Mobile, AL 36618 

(205) 633-4300 

QMS/Imagen 

Corporation 

2650 San Tomas Expressway 

Santa Clara, CA 95052-8101 

(408) 986-9400 

Electronic Printing Systems 

Qualitype 

630 Ninth Avenue 

New York, NY 10036 

(212) 765-7000 

Quantel Limited 

31 Turnpike Road 

Newbury 

Berkshire RG13 2NE 

England 

(0635) 48222 

Designers and Manufacturers of 

Digital Television Broadcasting 

Equipment; the Paint Box 

flume Corporation 

500 Yosemite Drive 

Milpitas, CA 95035 

1-800-223-2479 

Manufacture and Distribute 

Electronic Office Printing 

Systems 

Ryley Communications 

Limited 

39 Haviland Road 

Femdown Industrial Estate 

Wimbome Dorset BH21 7SA 

England 

(0202) 871313 

Television Character Generators 

Ryobi Limited Printing 

Equipment Division 

762 Mesaki-cho 

Fuchu-shi 

Hiroshima-ken 72 

Japan 

03 257 1502 

Text Display Phototypesetters 

Scangraphic 

Dr. Boger GmbH 

Rissener Strasse 112-114 

2000 Wedel/Hamburg 

Germany 

(04103) 6021-25 

Manufacturer of the Scantext 

Phototypesetting System, 

Frontend, Typesetter, Graphic 

Page, Logoscanner, Interfaces 

and Digital Fonts 

Seaside Software 

Incorporated 

Clio Chigasaki 2-bankan #301 

1-21-3 Higashikaigan-minami 

Chigasaki, Kanagawa 

Japan 253 

81-467-83-4372 

Simulation Excel A.S. 

Dag Hammarskjolds vei 15 

Oslo 5, Norway 

47-2-15 66 90 

PAGEscan Digital Typesetter 

PAGEcomp Interactive Ad 

and Page Make-up Terminal 

SoftCraft, Inc. 

227 N. El Camino Real #201 

Encinitas, CA 92024 

(619) 944-0151 

SoftCraft Font Library 

SoftWood, Inc. 

7776 Pointe Parkway West 

Suite 270 

Phoenix, AZ 85044 

(602) 431-9151 

Special Graphic 

Lettering Systems 

Holland B.V. 

R O. Box 211 

2160 AE Lisse 

The Netherlands 

01718-26114/22871 

Dry Transfer Lettering 

Straightforward 

15000 Halldale Avenue 

Gardena, CA 90249 

(213) 324-8827 

Z-Font Software 

Strata Inc. 

2 West St. George Boulevard 

Ancestor Square, Suite 210 

St. George, UT 84770 

(801) 628-5218 

Sumitomo 

Bakelite Co., Ltd. 

2-2, 1-chome, Uchisaiwai-cho 

Chiyoda-ku, Tokyo 100, Japan 

(03) 595-9391 

Printwheels, Daisy Wheels and 

Thimbles 

Sun Microsystems/Folio 

100 View Street 

Suite 106 

Mountain View, CA 94042 

(415) 960-1300 

Technology for Digital 

Typography 

Synapsis Corporation 

5460 White Oak Avenue 

Suite A336 

Encino, CA 91316-2407 

(818) 906-1596 

Electronic Forms Vendor 

Focusing in All CPU Hardware 

Environments/50 Page Per 

Minute/Below Non-Impact 

Printers 

Tegra, Inc. 

Middlesex Technology Center 

900 Middlesex Turnpike 

Billerica, MA 01821 

(508) 663-7435 

Electronic Printing and 

Imaging Systems 

Tektronix, Inc. 

Wilsonville Industrial Park 

26600 S.W. Parkway 

Wilsonville, OR 97077 

(503) 682-3411 

Ink Jet Printers 4692/4695/ 

4696, Laser Printer 4636, 

Thermal Wax Printer 4693 

Models, Phaser Printer Card 

4530 and Quick Draw Printer 

Driver 

The Software 

Construction Company 

2900 B Longmire 

College Station, TX 77845 

TypeMasters, Inc. 

15 Union Hill Road 

West Conshohocken, PA 19428 

(215) 834-7840 

Full Graphic Services 

Typesoft Limited 

17 Willow Close 

Hamworthy, Poole 

Dorset, England 

(0202) 631590 

TypoGabor 

5 Rue Du Mai 1945 

92586 Clichy-Cedex 

France 

33 1 47 39 66 00 

Typogram, Inc. 

900 Broadway 


(212) 505-1640 

URW Software & Type 

GmbH 

Harksheider Strage 102 

22399 Hamburg 

Germany 

011 49 40 60 60 50 

IKARUS-Digital Type Production 

SIGNUS-Type Setting with Foils 

U.S. Lynx 

853 Broadway 


(212) 673-3210 

Lynx Laser Plain-Paper 

Proofing System 

Varitronic Systems, Inc. 

300 Shelard Tower 

600 South County Road 18 

Minneapolis, MN 55426 

(612) 542-1500 

Merlin Electronic Lettering 

Systems for the Office 

Varityper Inc. 

A Tegra Company 

11 Mt. Pleasant Avenue 

East Hanover, NJ 07936 

(201) 887-8000 

Electronic Prepress Systems 

VCG Holdings 

Berkshire House 

56 Herschel Street 

Slouth SL1 1PY 

England 

(404) 956-0325 

Software Developers for 

Presentation Graphics for 

Macintosh and IBM Systems 

VideoSoft, Inc. 

2103 South Broadway 

P.O. Box 165920 

Little Rock, AR 72206 

(501) 376-2083 

Supplier and Manufacturer of 

Digital Fonts for Electronic 

Systems 

Visual Graphics 

Corporation 

5701 N.W. 94th Avenue 

Tamarac, FL 33321 

(305) 722-3000 

Manufacturer of Photo Typositor 

and Original Typositor Film Fonts 

Wang Laboratories, Inc. 

One Industrial Avenue 

Lowell, MA 01851 

(508) 459-5000 

Document Processing and 

Office Automation Specialist 

Xenotron, S.A. 

3, Rue Sandoz 

B.P. 118 

93130 Noisy-le-Sec 

France 

(1) 48 91 78 33 

Manufacturer of Laser 

Imagesetters 

Xerox Corporation 

Xerox Font Center 

880 Apollo Street 

MS P2-83 

El Segundo, CA 90245 

(213) 333-6612 

Fonts for Xerox Printing Systems 

Xerox Corporation 

Intran Operation 

8400 Normandale Lake 

Boulevard 

Bloomington, MN 55431 

(612) 831-0342 

Digital Fonts, Xerox High-End 

Printing Systems 

Zenographics, Inc. 

4 Executive Park Circle 

Irvine, CA 92714 

(714) 851-6352 

Professional Graphics Software 

and Windows-Based Printing 

Solutions 

For further information 

write or call: 

International 

Typeface 

Corporation 

866 Second Avenue 


(212) 371-0699 

Fax: (212) 752-4752 

47

Big Caslon 

Display roman, 

full ligatures & 

SmALL CAPS. 

Mac & PC fonts 

Carter & Cone 

800 952-2129 

617 576-0398: Fax 617 354 -4146 


Typefaces 

ITC American Typewriter® Front Cover, 6, 13, 15, 17, 48 

ITC Avant Garde Gothic® 8, 26 

ITC Avant Garde Gothic® Cyrillic 8, 26 

ITC Bookman® 38 

ITC Bookman°Cyrillic 24, 28 

ITC Caslon No. 224® 35-37, 38, 40, 45, 48-49, 50 

ITC Century® 34 

ITC Cerigo" 34 

ITC Charter 6 

ITC Cheltenham® 8 

ITC Fat Face® 23, 25, 28, 38 

ITC Fat Face®Cyrillic 23, 24, 26 

ITC Franklin Gothic® Front Cover, 4, 6, 8, 18-21, 34, 48-49 

ITC Garamond® 8, 33-34 

ITC Garamond°Cyrillic 28, 30-31 

ITC Highlander- 6, 34, 48 

Italia® 38 

ITC Kabel® 24-25 

ITC Kabel°Cyrillic 24-25 

ITC Legacy"Sans 34 

ITC LSC Condensed® 45 

ITC Lubalin Graph® 8, 38, 45, 48 

ITC Machine® 8, 38, 45, 48 

ITC Mona Lisa Recut" 8 

ITC Motter Corpus" 4, 8, 23, 30-32, 34 

ITC New Baskerville® 8-11 

ITC New Baskerville® Cyrillic 24, 28 

ITC Officina Serif® 4, 22 

ITC Ozwald" 18,48 

ITC Stone Informal® 34 

ITC Stone Serif® 34 

ITC Studio Script" Cyrillic 24 

ITC Stymie Hairline® 48 

ITC Uptight® 48 

ITC Zapf Chancery°Cyrillic 24 

ITC Zapf Dingbats® 4,18,30-31,34,49 

RO 

ft ft 

YOUR FON LS 

..A.1t1)11UNIE10 

A new book puts fonts in their place 

In her new book, How to Boss Your 

Fonts Around: A primer on font 

technology and font management 

on the Macintosh (Peachpit Press, 

1994), Robin Williams shows readers 

how to take control of their typefaces 

by empowering themselves 

and learning about their technology, 

installation, organization and more. 

"Your fonts will behave just as you 

expect;' promises Williams in the 

book's Introduction, "and if perchance 

they kick up a fuss, you will 

have the power to put them back 

in their placer 

In this chapter titled, "Help!" 

Williams trouble-shoots common 

questions relating to using fonts. 

HELP: When I type, the typeface shows 

up as a bunch of straight lines! 

HELP: When I double-click the screen 

font to display the typeface, or try to display 

it in the Font/DA Mover, all I see is 

lines. Is the font damaged? 

No, the font is not damaged. Those 

straight lines simply indicate that 

there are no lowercase letters; the 

font consists of all capital letters 

only. The font may also be a special 

set, such as an expert collection or 

a display font, in which case there 

is not a character for every key. Use 

Key Caps (from the Apple menu) 

to see which characters are really 

available. 

HELP: ATM [Adobe Type Manager] 

doesn't seem to be working! My fonts 

are all jaggy on the screen. 

Did you just install ATM? Make sure 

you: have no older versions of ATM 

also installed; have not changed 

the names of any of the ATM files; 

check that both the files (the Control 

Panel and the driver) have the 

same version number; installed the 

proper and latest version for your 

computer and it's installed in the 

proper place (see next paragraph); 

have ATM turned on (use the ATM 

Control Panel); have restarted your 

Mac since you installed ATM. 

In System 6, all ATM files should 

be loose in the System Folder. In System 

7, the ATM program icon should 

be in the Control Panels folder, and 

the driver should be loose in the 

System Folder. 

You should have current versions 

of your System software, ATM and 

your applications. You can't use new 

ATM with outdated software and 

expect it to work flawlessly. For now 

(if you're not using Suitcase or MasterJuggler) 

try storing your printer 

fonts loose in the System Folder, 

then restart. 

If you've been using ATM for a 

while and this is a new problem, 

make sure the fonts in question are 

open (loaded) and that their printer 

fonts are stored in the proper place, 

depending on how you have organized 

your fonts. Check the folder 

where you store your printer fontsis 

there a matching one for each 

bitmapped font? 

If you just installed new fonts, try 

restarting the Mac. If you're using 

MasterJuggler, quit the application 

and open it back up again. 

HELP: ATM works on some fonts, but 

not others. 

If ATM works on some fonts but not 

others, it probably can't find the 

printer font for the jaggy ones. Make 

sure the printer font is stored in the 

proper place, depending on how you 

have organized your fonts. Make sure 

you have a separate printer font for 

each bitmapped style. 

Remember, most resident fonts 

(Avant Garde, Bookman, Palatino, 

New Century Schoolbook, Zapf 

Dingbats, Zapf Chancery) don't have 

printer fonts available for ATM unless 

you have bought and installed 

them. 

HELP: I want to remove the TrueType 

screen fonts and replace them with the 

screen fonts for my PostScript fonts 

(or vice versa), but I can't tell which 

bitmaps are which. 

To tell if a bitmap is a bitmap for a 

TrueType font, click once on it, then 

press Command-I to see the Get Info 

box. TrueType Get Infos are fullsized; 

all other bitmap Get Info 

boxes are half-size. 

HELP: I think a font must be damaged. 

What do I do? 

After you have determined that it's 

not a problem with improper installation 

or anything else, then just 

throw out the screen and printer 

fonts that are on your hard disk and 

replace them with the originals from 

your original disk. 

HELP: My PostScript fonts show up just 

fine on the screen but they don't print. 

If they appear on the screen just fine, 

it means they're installed properly. 

But some applications or printer drivers 

look for the printer fonts in the 

wrong place. If you currently store 

your printer fonts in the Extensions 

folder or in the Fonts folder, try moving 

them into the System Folder, 

just hanging around loose. This is 

48

especially important if you're having 

trouble printing from PageMaker 4.0, 

or to an HP LaserJet printer or other 

printer with a special driver. 

HELP: The spacing between words or 

letters on my printed page looks wrong. 

If you try to print city-named fonts 

[such as Chicago or Geneva] to Post- 

Script printers, you will usually 

get terrible letter and word spacing; 

change the font to one without a 

city name. 

If you are using an application 

that can use fractional-width spacing, 

such as Microsoft Word, be sure 

to choose that option before you 

print to a PostScript printer. You'll 

usually find that option in the Page 

Setup dialog box. 

A damaged bitmapped font can 

cause terrible spacing. If you suspect 

that to be the case, remove all those 

bitmaps and replace them with the 

originals from your original disk. 

style menu; you must instead choose 

the actual italic or bold font from the 

font menu. You can usually tell on the 

screen if the computer is faking it. 

HELP: I downloaded several fonts, but 

now they're missing from the printer. 

When you manually download fonts, 

they go into the printer's random 

access memory, or RAM. Anything 

in RAM disappears as soon as the 

machine loses power. So if you have 

turned off the printer or if there 

was some sort of power interruption 

or failure, all those downloaded fonts 

will be gone and you will have to 

download them all over again. 

Reprinted with permission of Peachpit 

Press from the book How to Boss 

Your Fonts Around. Copyright © 1994 

by Robin Williams. Peachpit Press: 

(800) 283-9444. 

CORRECTIONS 

Due to a production error, the last 

line was omitted from "Daily Design;' 

an article by Peter Hall on British 

newspaper design in Volume 20, 

Issue 3, of U&/c. The final paragraph 

should read: 

"The quality British newspaper has 

lost its crown. But in many ways, the 

dethroning of the newspaper has 

infused it with a new vitality. Gone 

is the old arrogant complacency 

and tired, stodgy design. Gone too 

are the days when King George's 

physician speeded the King's death 

to ensure a position in the morning's 

Times. Now The Times has to 

fight with breakfast TV. It may be 

humbling, but it brings out a newspaper's 

true colors." 

In the same article, a caption on 

page 16 misidentified a typeface 

used in The Daily Telegraph. The 

word "taxes"is set in Telegraph 

New Face (Roman). 

HELP: My font turns into Courier. 

When a font turns into Courier 

on the screen, it indicates the bitmapped 

screen font is missing or 

damaged. If you use Suitcase or MasterJuggler, 

"missing" may mean that 

it just isn't opened. If you don't use 

those programs and this suddenly 

happened to your font, or if it really 

is loaded and still turns into Courier, 

replace the font with the original 

from your disk. 

HELP: My justified paragraphs aren't 

aligned on the right side. 

If you are using an application that 

can use fractional-width spacing, 

such as Microsoft Word, be sure to 

choose that option. You'll usually 

find it in the Page Setup dialog box. 

If your application does not use fractional-width 

spacing (which is then 

called "integer-width"spacing), then 

install more bitmap sizes of the font. 

HELP: The names of my fonts don't 

appear in the menu. 

Check to make sure your fonts are 

installed properly. If you are using 

Suitcase or MasterJuggler, make 

sure the fonts are open. If you are 

using Word, your font menu (as all 

other menus) are customizable and 

the fonts may not be added to the 

menu. Check the Character dialog 

box (Command-D). 

Very old software (like PageMaker 

3.0 or Word 1.5) cannot recognize 

new fonts. As I mentioned several 

times, the best way to avoid conflicts 

is to update your software. 

HELP: I choose my font and then select 

"Bold" from the menu. It looks bold on the 

screen, but doesn't print bold. 

Most downloadable fonts (unless 

you use a font menu utility like ATR 

[Adobe Type Reunion] or WYSIWYG 

Menus) cannot be changed into bold 

or italic from the keyboard or the 

H alf-for8oiten typefaces, many with expert and iaLular sets, from 

oundries in Europe and North 

f 

America. What free words Lest 

describe Red Rooster? KRUNCHITATIOUS KERNING PAIRS!!!! 

Canterbury Oldstyle Bold 

Locally: 101-318-4141 

Font Bureau's Bodega Sans Black 

I 

cyfaces 

TF Forever Regular 

Original typefaces that will have you 

asking 

"Why am I still using Garamond 

and Futura?" So saddle on up to some fresh & frisky Treacyface workhorses! 

TF Habitat Condensed Regular and Bold 

HEADLINE TYPEFACES THAT ARE BOTH GRAPHIC AND CLASSIC BEFORE 

u0-L Corvinus Bold Condensed Title 

ENNIS 011.11 -10P11 

THEIR 

TIME. ART 

DIRECTORS LOVE 

THIS STUFF! You 

CAN SEE MANY OF DENNIS' FONTS IN ROLLING STONE MAGAZINE. 

Franklin Gothic Wide Small Caps Regular 

You've seen their Bodega Sans everywhere 

and for good reason. This foundry knows ont ea 

how to do typefaces that are fun and accessible. Be bodacious, buy and try Bodega Serif! 

Bodega Sent Light with Bodega Sans Medium 

III ^P^IN 

Cafeteria Regular 

[ 

iil i Oorttizs-Lopedz' 

1 Stoned nedinaeand 

Pointy 

e also like the BIGGIES.Youll find Adobe, Agfa, Bitstream, 

The Font Company, Linotype & Monotype at Phil's and our 

5 CD bundle still can't be beat. Best of all you'll find folks who 

know and love great type and typography. 

I 

49 Circle 211 on Reader Service Card


LeMansGT also includes 3 MB of 

high-speed, on-board VRAM when 

working with photorealistic images 

at high resolution. The result is an 

interface that performs up to 230% 

faster than the standard video of 

a Macintosh Quadra. For Macintosh. 

$2999, Radius Inc., 1710 Fortune 

Drive, San Jose, CA95131. (408) 434- 



Increase Designer Productivity 

The PrecisionColor Pro 24XK" is a 

new graphics card by Radius Inc. 

that offers increased productivity 

by enabling designers to work on 

images using large-screen monitors. 

The PrecisionColor Pro displays 24- 

bit images at resolutions up to 1024 

x 768. In addition, the affordable PrecisionColor 

Pro 24XK draws Quick- 

Draw graphics using accelerated 

32-bit hardware. The graphics card 

will drive virtually any large-screen 

monitor. For Macintosh. $999. Radius 

Inc., 1710 Fortune Drive, San Jose, 

CA95131. (408) 434-1010. For more 


service card. 

Razor-Sharp Monitor 

The PrecisionColor Display/17" is 

a microprocessor-controlled Sony 

Trinitrong monitor designed for the 

most demanding creative applications 

in graphics and multimedia. 

The monitor features an ultra-fine 

0.26 mm stripe-pitch, 17-inch flat 

barrel screen with anti-reflective 

coating to provide razor-sharp focus. 

In addition, the PrecisionColor Display/17 

is compliant with the EPA's 

Energy Star initiative for reduced 

power consumption. For Macintosh. 

$1499. Radius Inc., 1710 Fortune 

Drive, San Jose, CA95131. (408) 434- 



Fast 32-Bit Color Graphics 

The Windows market for fast, 32-bit 

graphics cards continues to heat up 

with a new entry from Europe. The 

miroCrystal"32S graphics card, by 

miro Computer, Inc. of Germany, 

supports resolutions up to 1280x 

1024, monitor refresh rates up to 100 

Hz and color depths up to 16.7 million 

colors. For Windows. $899. miro 

Computer, Inc., 3160 De La Cruz, 

Santa Clara, CA 95054. (408) 727- 



Get Your Mac Into the Fast Lane 

DayStar Digital has unleashed two 

new accelerators that run your Macintosh 

applications in high gear. The 

Quad 040 and Image 040 CPU accelerators 

are available to speed up the 

following computers: Macintosh Centris 

610, 650, 660AVand the Quadra 

610, 650, 660AV, 700, 800, 900 and 

950. The Quad 040 and Image 040 

accelerate all applications on these 

machines up to 30% faster than the 

Quadra 840AV, Apple's fastest Mac, 

without sacrificing compatibility. 

The Image 040 also provides speeds 

up to 400% faster than a Quadra 

840AV in Adobe Photoshop and other 

imaging applications. Quad 040 

$1699, Image 040 $2300. DayStar 

Digital, 5556 Atlanta Highway, 

Flowery Branch, GA30542. (800) 



Affordable Multimedia 

Axion Corporation offers a suite of 

low-cost video-capture and multimedia 

products. iMovie"is a video 

and audio card that provides realtime 

capture and compression 

of video and 16-bit stereo sound 

recording. iSpy is a color-video and 

still-image camera that includes 

a fixed-focus lens capable of capturing 

images with a maximum resolution 

of 525 by 325 lines. iMail 

provides video mail services for 

recording, editing and playback of 

electronic mail messages. For Macintosh. 

$799. Axion Corporation, 

1150 Kifer Road, Suite 203, Sunnyvale, 

CA94086. (408) 522-1900. 

For more information, circle 420 

on reader service card. 

Important Reading 

Color Management Systems is a 

handy book for graphic designers 

who are interested in understanding 

color matching from the point of 

view of software and hardware developers 

such as Kodak, Electronics for 

Imaging, Agfa and Apple. $24.95. The 

Color Resource, 708 Montgomery 

Street, San Francisco, CA94111. (415) 



Barry Zuber is a consultant and 

computer instructor for the Electronic 

Publishing & Design Center 

based in Schenectady, NY He is 

also principal of Egeland Wood 

& Zuber Inc., a graphic design 

and advertising agency. 

FF 

4 WEIGHTS 

Humanist 

Franklin 

6 

®Isonorm 

WEIGHTS 

4 WEIGHTS 

3'V E RFF 

2 WEIGHTS, 

airision 

3 WEIGHTS 

Ai kOna 

2 WEIGHTS 

Augustea 

5 WEIGHTS 

'Balance 

16 WEIGHTS (INCLUDING SMALL CAPS, ETC) 

Century 

1 WEIGHT 

Erb es 

6 AGES , PLUS DINGBATS 

Dee de 

5 WEIGHTS 

`Harlem 

S M 

s I OKN 0 

FLIPPERS 

GLYPH S 

ItiKRez!!:■, 

LyntpvITI 

®MNdonnA 

®Plinirl4rs 

Poppl 

FF 

SOUP 

3 bone 

WEIGHTS + DINGBATS 

CD4/ 4 I, 

le 

© A\ A\ 

2 WEIGHTS 

Ail exclusively from Font, 

FontBook, and our new re 

with 3 new weights and 

In North America: 800 

2 WEIGHTS * 

6 WEIGHTS 

Quadriga 

®Rt-VOLVO 

6 WEIGHTS 

2 WEIGHTS 

Seneca 

Only available in a combination pack. FF Balance, FFChild's Play, 

FF Harlem, FF Humanist, FF Booms, FF Kosmik, FF Lukrefia, FF Madonna, 

FF Minimum, FF Revolver, FF Soupbone and FF Yokkmokk are trademarks 

of FontShop Intentional GmbH.All other trademark rights acknowledged . 

0 (0222) 523 29 46 

©© 0 (09) 220 65 98 

0 


(09) 221 32 08 

(41) 44 326 26 

0 (030) 69 58 95 

0 (1) 42 99 95 61 

0 (071) 490-5390 

0 (02) 7010-0555 

Nova 

Pig 

Antigua 

-n 

0 

emit' 

f 

I 

0 

50

"It always 

excites me 

when Graphis 

arrives. 

All those 

brilliant 

people doing 

all that 

beautiful work. 

I want to go 

back and 

do something 

even better. 

So I do." 

MASSIMO VIGNELLI 

DESIGNER 

"The first time 

I ever saw 

Graphis, 

I was a 

design student 

in Scotland. 

It made me 

realize how 

much more 

I had to learn. 

When I see 

Graphis today, 

I feel the 

same way." 

ALBERT WATSON 

PHOTOGRAPHER 

In Advertising, 

Architecture, 

Illustration, 

Design and 

Photography, 

no other 

publication 

has given 

more inspiration 

to the world's 

greatest talents. 

For Graphis 

subscription 

information, 

call toll free 

800-351-0006. 

GRAPHIS 


I 

z 

O 

E-4 

U 

Cia 

0 

U 

U 

4 

a. 

U 

1-4 

Spring 1994 

The typefaces 

shown on these 

pages represent 

the complete 

collection of ITC 

typefaces as of 

February 21,1994 


Corporation operates 

under this name domestically 

and in foreign 

countries and is known 

as "ITC' ITC and its typeface 

names are registered 

trademarks of 


Corporation in certain 

countries. In addition, 

ITC typefaces are protected 

by design legislation 

and copyrights in 

certain countries. (See 

ITC specimen booklets.) 

*Protected by United 

States patent Des. 317,621, 

324,535, 323,849, 322,985, 

325,042, 325,219. 

ITC American 

Typewriter ® 

Light 

Light Italic 

Medium 

Medium Italic 

Bold 

Bold Italic 

Light Condensed 

Medium Condensed 

Bold Condensed 

IN Ali NV 

ITC Avant Garde 

Gothic® 

Extra Light 

Extra Light Oblique 

Book 

Book Oblique 

Medium 

Medium Oblique 

Demi 

Demi Oblique 

Bold 

Bold Oblique 

Book Condensed 


Demi Condensed 


ITC Barcelona' 

Book 

Book Italic 

Medium 

Medium Italic 

Bold 

Bold Italic 

Heavy 

Heavy Italic 

ITC New Baskerville® 

Roman 

Italic 

Semi Bold 

Semi Bold Italic 

Bold 

Bold Italic 

Black 

Black Italic 

ITC Bauhaus® 

Light 

Medium 

Demibold 

Bold 

Heavy 

IT@ OCE$VNCC$ 

ITC Benguiat® 

Book 

Book Italic 

Medium 

Medium Italic 

Bold 

Bold Italic 


Book Condensed Italic 



Italic 


Bold Condensed Italic 

ITC Benguiat Gothic' 

Book 

Book Italic 

Medium 

Medium Italic 

Bold 

Bold Italic 

Heavy 

Heavy Italic 

ITC Berkeley Oldstyle® 

Book 

Book Italic 

Medium 

Medium Italic 

Bold 

Bold Italic 

Black 

Black Italic 

ITC Bookman '® 

Light 

Light Italic 

Medium 

Medium Italic 

Demi 

Demi Italic 

Bold 

Bold Italic 

ITC Caslon No. 224® 

Book 

Book Italic 

Medium 

Medium Italic 

Bold 

Bold Italic 

Black 

Black Italic 

ITC Century ® 

Light 

Light Italic 

Book 

Book Italic 

Bold 

Bold Italic 

Ultra 

Ultra Italic 


Light Condensed Italic 





Ultra Condensed 


Italic 

ITC Century 

Handtooled- 

Bold 

old Italic 

52 

ITC Cerigo'" 

23ook with Swash 

Oook7talic with Swash 

Medium 

Medium Italic 

Bold 

Bold Italic 

ITC Charter'" 

Regular 

Regular Italic 

Bold 

Bold Italic 

Black 

Black Italic 

ITC Cheltenham' 

Light 

Light Italic 

Book 

Book Italic 

Bold 

Bold Italic 

Ultra 

Ultra Italic 








Ultra Condensed Italic 

ITC Cheltenham 

Handtooled " 

Bold 

old italic 

ITC Clearface® 

Regular 


Bold 

Bold Italic 

Heavy 

Heavy Italic 

Black 

Black Italic 

ITC Cushing® 

Book 

Book Italic 

Medium 

Medium Italic 

Bold 

Bold Italic 

Heavy 

Heavy Italic 

ITC Elan® 

Book 

Book Italic 

Medium 

Medium Italic 

Bold 

Bold Italic 

Black 

Black Italic 

ITC Eras ® 

Light 

Book 

Medium 

Demi 

Bold 

Ultra 

ITC Esprit® 

Book 

Book Italic 

Medium 

Medium Italic 

Bold 

Bold Italic 

Black 

Black Italic 

ITC Fenice® 

Light 

Light Italic 

Regular 


Bold 

Bold Italic 

Ultra 

Ultra Italic 

ITC Flora® 

Medium 

Bold 

ITC Franklin Gothic' 

Book 

Book Italic 

Medium 

Medium Italic 

Demi 

Demi Italic 

Heavy 

Heavy Italic 




Medium Condensed Italic 


Demi Condensed Italic 

Book Compressed 

Book Compressed Italic 

Demi Compressed 

Demi Compressed Italic 

Book X-Compressed 

Demi X- Compressed 

Friz Quadrata 

Friz Quadrata 

Friz Quadrata Bold 

ITC Galliard® 

Roman 

Italic 

Bold 

Bold Italic 

Black 

Black Italic 

Ultra 

Ultra Italic 

ITC Gamma® 

Book 

Book Italic 

Medium 

Medium Italic 

Bold 

Bold Italic 

Black 

Black Italic 

ITC Garamond® 

Light 

Light Italic 

Book 

Book Italic 

Bold 

Bold Italic 

Ultra 

Ultra Italic 

Light Narrow 

Light Narrow Italic 

Book Narrow 

Book Narrow Italic 

Bold Narrow 

Bold Narrow Italic 








Ultra Condensed Italic 

ITC Garamond 

Handtooled - 

old 

Bold Italic 

ITC Giovanni® 

Book 

Book Italic 

Bold 

Bold Italic 

Black 

Black Italic 

ITC Golden Type® 

Original 

Bold 

Black 

ITC Goudy Sans® 

Book 

Book Italic 

Medium 

Medium Italic 

Bold 

Bold Italic 

Black 

Black Italic 

ITC Highlander`" 

Book 

Book Italic 

Medium 

Medium Italic 

Bold 

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ITC Isadara® 

7

ITC Isbell ® 

Book 

Book Italic 

Medium 

Medium Italic 

Bold 

Bold Italic 

Heavy 

Heavy Italic 

Italia 

Book 

Medium 

Bold 

ITC Jamille® 

Book 

Book Italic 

Bold 

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Black 

Black Italic 

ITC Kabel® 

Book 

Medium 

Demi 

Bold 

Ultra 

ITC Korinna® 

Regular 

Kursiu Regular 

Bold 

Kursiv Bold 

Extra Bold 

Kursiv Extra Bold 

Heavy 

Kursiv Heavy 

ITC Leawood® 

Book 

Book Italic 

Medium 

Medium Italic 

Bold 

Bold Italic 

Black 

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ITC Legacy- Sans 

Book 

Book Italic 

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Medium Italic 

Bold 

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Ultra 

ITC Legacy - Serif 

Book 

Book Italic 

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Medium Italic 

Bold 

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Ultra 

ITC Lubalin Graph® 

Extra Light 

Extra Light Oblique 

Book 

Book Oblique 

Medium 

Medium Oblique 

Demi 

Demi Oblique 

Bold 

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Book Condensed Oblique 



Oblique 



Oblique 



Oblique 

ITC Mendoza Roman® 

Book 

Book Italic 

Medium 

Medium Italic 

Bold 

Bold Italic 

ITC Mixage® 

Book 

Book Italic 

Medium 

Medium Italic 

Bold 

Bold Italic 

Black 

Black Italic 

ITC Modern No. 216® 

Light 

Light Italic 

Medium 

Medium Italic 

Bold 

Bold Italic 

Heavy 

Heavy Italic 

TIC Mona _ono, Recut 

ITC M. Lisd- Solid 

ITC Motter Corpus'" 

Regular 

Condensed 

ITC Newtext ® 

Light 

Light Italic 

Book 

Book Italic 

Regular 


Demi 

Demi Italic 

ITC Novarese® 

Book 

Book Italic 

Medium 

Medium Italic 

Bold 

Bold Italic 

Ultra 

ITC Officina Sans' 

Book 

Book Italic 

Bold 

Bold Italic 

ITC Officina Serif® 

Book 

Book Italic 

Bold 

Bold Italic 

ITC troz-sivailat" 

ITC Pacella® 

Book 

Book Italic 

Medium 

Medium Italic 

Bold 

Bold Italic 

Black 

Black Italic 

ITC Panache® 

Book 

Book Italic 

Bold 

Bold Italic 

Black 

Black Italic 

ITC Quay Sans ® 

Book 

Book Italic 

Medium 

Medium Italic 

Black 

Black Italic 

ITC Quorum® 

Light 

Book 

Medium 

Bold 

Black 

ITC Serif Gothic® 

Light 

Regular 

Bold 

Extra Bold 

Heavy 

Black 

ITC Slimbach® 

Book 

Book Italic 

Medium 

Medium Italic 

Bold 

Bold Italic 

Black 

Black Italic 

ITC Souvenir® 

Light 

Light Italic 

Medium 

Medium Italic 

Demi 

Demi Italic 

Bold 

Bold Italic 

ITC Stone Informal ® " 

Medium 

Medium Italic 

Semi Bold 


Bold 

Bold Italic 

ITC Stone 

Phonetic'" Sans 

[ar ti: si: staun 

fau'nEtik snz] 

ITC Stone 

Phonetic - Serif 

[at ti: si: staun 

fau'nEtik 'serif] 

ITC Stone Sans ® ° 

Medium 

Medium Italic 

Semi Bold 


Bold 

Bold Italic 

ITC Stone Serif®° 

Medium 

Medium Italic 

Semi Bold 


Bold 

Bold Italic 

OTO Etacao script ," 

ITC Symbol® 

Book 

Boots Italic 

Medium 

Medium Italic 

Bold 

Bold Italic 

Black 

Black Italic 

ITC Syndor'" 

Book 

Book Italic 

Medium 

Medium Italic 

Bold 

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ITC Tiepolo® 

Book 

Book Italic 

Bold 

Bold Italic 

Black 

Black Italic 

ITC Tiffany 

Light 

Light Italic 

Medium 

Medium Italic 

Demi 

Demi Italic 

Heavy 

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ITC Usherwood® 

Book 

Book Italic 

Medium 

Medium Italic 

Bold 

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Black 

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ITC Veljovic® 

Book 

Book Italic 

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ITC Weidemann® 

Book 

Book Italic 

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Black Italic 

ITC Zapf Book® 

Light 

Light Italic 

Medium 

Medium Italic 

Demi 

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Heavy 

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ITC Zapf Chancery ® 

Light 

Light Italic 

Medium 

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Demi 

Bold 

ITC Zapf International® 

Light 

Light Italic 

Medium 

Medium Italic 

Demi 

Demi Italic 

Heavy 

Heavy Italic 

53

ITC Avant Garde Gothic' Cyrillic 

ITO ABC:II-Mpg 101141< HOpM0AbHbIC4 Book 

ITC ABOHFCIAA FOTOK HOpMCIAIDHb10 HOKAOHHb11;1 Book Oblique 

ITC Asawarm rOTIIK nomonipHbik. Demi 

ITC ABOHrapA rOMIK nonywilpribtii HOKAOHHbla 

ITC Bookman' Cyrillic 

ITC ByKman csemmii Light 

ITC Byx.mart cBeTabtfi icypcut3 Light Italic 

ITC Byxmax no.nymnpmAil Demi 

Demi Oblique 

ITC ByPcmait nartymcuptibul Kypcue Demi Italic 

ITC Fat Face' Cyrillic 

ITC OH *ale 

ITC Garamond' Cyrillic 

ITC I'apaMoH cBeTabh1 Light 

ITC Tapamon ceembiii Kypate Light Italic 

ITC Tapamox xamnimfi Bold 

ITC Fapamon ascupiturt icypcue Bold Italic 

ITC Kaber Cyrillic 

ITC Ka6ienb HOpMaAbHbM Book 

ITC Ka611Ab ymapa Ultra 

ITC New Baskerville' Cyrillic 

ITC HMOBaCKep1314.11, Hopmanbribdi Roman 

ITC M310 BacKepeaub xypcue Italic 

ITC HMO Bacxepsallb AcHimibiii Bold 

ITC TEM BaC1CePOUlib JIcupnblu hyPCU6 Bold Italic 

ITC Studio Script- Cyrillic 

ITO Onvygioo Oipaniv 

ITC Zapf Chancery Cyrillic 

ITC Jan afaucepu 

ITC Boutros Calligraphy- ,) 1 6.) Light 

Light Italic 

72).42-64.6.4 oars Medium 

3:11.4 Medium Italic 

39.4411 .642.4a.4) 40,}06 , Bold 

SAL4 bg-Lia\l„).)a-ue.■ ois.)-)04 

ITC Boutros Kufic- 1411 4 1 j u l Light 

310 

4&-1495-0 

Bold Italic 

Light Italic 

Medium 

Medium Italic 

Bold 

Bold Italic 

Light 

Light Italic 

.6.augi0 jakON Medium 

ag.Alli J,IZ1 .40.‘ ,j11).64 

Vitft &15.11a y11 SIS Aulia4 

— 

ITC Boutros Rokaa- 1L•fido tip/ 

ITC Boutros Setting- ,..344J2_,-..0,_>0)-1=q 

3SL, 1=.4.11.514 L41-3.-60 0,3.42i 

Jjrwl da-164.0 40,44 

SAto 494+A jb.a..+4, 

Medium Italic 

Bold 

Bold Italic 

Medium 

Light 

Light Italic 

Medium 

Medium Italic 

Bold 

ITC Lahr a!k 1 Light 

U647)\ 

Ly.94=L.1 

3a-0 Ae-1141-0 ol0=4 

w9-14 1 T-4 9A 

So-0 s-1111 JA)4=4 

ITC Boutros Modern Kufic- ji3441.4u1=.1. 

)=4:N 

).1=L4 

ACI 641410 44:14 

13-wg:io t....4412J 

Lkgal 

Bold Italic 

Light Italic 

Medium 

49.w1 aiterlia11 Bold 

4Ita A9.10,1% .:9+1D3 

Medium Italic 

Bold Italic 

ITC AKI LINES® 

Ihooterican ten' DM Out e 

ITC Bauhaus Heavy® 

04,3 ffladmo OA1&Gtl@® 

ITC Bernase Roman® 

ITC Bolt Bold® 

ITC/LSC Book Regular Roman® 

ITC/LSC Book Regular Italics 

ITC/LSC Book Bold Roman® 

ITC/LSC Book Bold Italic® 

ITC/LSC Book X-Bold Roman® 

/TC/LSC Book X-Bold Italic® 

gueige 

B o clhEcEeim OugMEE® 

ITC Bookman Contour with trash® 

„1 (11Y1(1 hi e 

ITC PUSORAMA MEDIUM® 

ITC BUSORAIIA BOLD® 

ITC Caslon Headline® 

ITC /I,SC Caslon Light No.223® 

ITC/LSC Cas lon Light 1\422,3 Italic® 

ITC/LSC Gaston Regular No.223® 

ITC/LSC Caslon Regular No.223 Italic® 

ITC/ESC Caslon Bold No.223® 

ITC/LSC Caslon Bold No.223 Itu 

ITC/LSC Caslon X-Bold No.223® 

ITC/ LSC Caslon X-Bold No.223 Italic® 

RTC Cheltenham OntRRne 

IITC Cheltenham thatnne Thiw® 

ITC Cheltenham Contour® 

RTC CRearface Outline® 

ITC Clearface Contour® 

IITC amebae Outline 3111,Ide® 

BC foftde*sed® 

ITC LSC Contleased Italie 

ITC Didi® 

1-1Y Emo @u® 

ITC Eras Contour® 

ITC FM Fare® 

ITC Firenze® 

[17© FmnicRrin availlc ©Who® 

Gothic 

ITC Franklin Gothic Contour® 

ITC Gorilla® 

ITC Grizzly® 

ITC Grouch® 

ITC Honda® 

DV@ Rabe Oahe 

ITC Kobel Contour® 

Norehm Bold 0 utItua 

ITC MACHINE® 

ITC BIOME BM® 

/1St. Atir )1Vitt 

ITC Milano Roman® 

ITC NEON® 

Lit 1.411.11212L. 

ITC Ronda Light® 

ITC Ronda® 

ITC Ronda Bold® 

117C ff i© Dada/1.0HW 

ITC/L&C Stymie Hairline® 

ITC Tom's Roman® 

ITC Uptight Regular® 

ITC Upright neon® 

54

- 

U&lc, Issue 20.4, Spring, 1994 

This colophon exists to share with readers 

information about the electronic tools used 

to produce this issue. The production team 

responsible for these pages includes: Jane 

DiBucci, director of creative services; Clive 

Chiu, production manager; and designer 

and type consultant James Montalbano, 

president, Terminal Design, NewYork. 

COVER 

Hardware: Macintosh Quadra 900, Laser- 

Master 1200XL0 printer, Linotype-Hell 341 

color scanner, UMAX 840 scanner, Agfa AccuSet 

imagesetter. 

Software: QuarkXPress 3.1, Adobe Illustrator 

5.0, Ikarus M 3.0. 

Comments: Postage stamps were scanned 

with a Linotype-Hell 341 scanner and saved 

as EPS files. The handwriting artwork was 

scanned with a UMAX 840 scanner at 1200 

dpi and saved as an EPS file. The border, background 

and logo were assembled in Adobe Illustrator; 

"cancellation mark" was antiqued 

in Illustrator; and the type inside the mark 

was antiqued in Ikarus M. All were saved as 

EPS files and imported into QuarkXPress. 

The file was output to film with automatic 

picture replacement (APR) on the Agfa AccuSet 

imagesetter. 

4 

Message from ITC; Table of Contents 

Hardware: Macintosh Quadra 700, LaserMaster 

1200XL printer, Linotronic imagesetter. 

Software: QuarkXPress 3.1. 

Comments: Type was created in QuarkX- 

Press. The file was output to film on the Linotronic 

imagesetter. 

6 

Punctuation 


1200XLO printer, Linotronic imagesetter. 


5.0. 

Comments: Exclamation point was created 

in Adobe Illustrator and saved as two EPS 

files: one with drop-out type, and the other 

with black type. Both were imported into 

QuarkXPress and "stripped" together. Headline 

and text were created in QuarkXPress. 

The file was output to film on the Linotronic 

imagesetter. 

8 

Type of the Week 

Hardware: Macintosh Quadra 650, Macintosh 

IIfx, LaserMaster 1200XL printer, Linotype-Hell 

341 scanner, UMAX 840 scanner, 

Agfa AccuSet imagesetter. 


3.2, Adobe Photoshop 2.5. 

Comments: Magazine logo line art was 

scanned on the UMAX 840 scanner at 800 

dpi and saved as an EPS file; color artwork 

was scanned on a Linotype-Hell 341 color 

scanner and saved as EPS files. All EPS files 

were imported into QuarkXPress. The file 

was output with APR on the Agfa AccuSet 

imagesetter. 

12 

Design in Miniature 


Master 1200XLO printer, Linotype-Hell 341 

color scanner, Agfa AccuSet imagesetter. 


5.0, Ikarus M 3.0. 

Comments: Postage stamps were scanned 

with a Linotype-Hell 341 color scanner and 

saved as EPS files. The "cancellation mark" 

was antiqued in Illustrator, and the type inside 

the mark was antiqued in Ikarus M. 

Both were saved as EPS files. All EPS files 

were imported into QuarkXPress, where 

body copy and rules were created. The file 

was output to film with APR on the Agfa 

AccuSet imagesetter. 

18 

Design Across America 


Master 1200XL printer, Linotype-Hell 341 

color scanner, Fuji FujixScanart, Agfa Accu- 

Set imagesetter. 


Comments: Large images were scanned to 

small sizes at 120 dpi on a Fuji FujixScanart, 

then enlarged. Art was scanned with a Linotype-Hell 

341 color scanner, saved as EPS 

files and imported into QuarkXPress. The 

file was output to film, then the large images 

were stripped in conventionally. 

22 

City Symbols 


Master 1200XL printer, Linotronic imagesetter. 


3.2. 

Comments: Curved headline was created in 

Adobe Illustrator, saved as an EPS file and 

imported into QuarkXPress. The T-shirt outline 

was created with type in QuarkXPress. 

The file was output to film on the Linotronic 

imagesetter. 

SPECIAL TYPE SECTION 

Cover 




3.2. 

Comments: Large Cyrillic characters were 

created in Adobe Illustrator, saved as EPS 

files and imported into QuarkXPress. The 

file was output to film on the Linotronic 

imagesetter. 

24 

ITC Cyrillic Series 

Hardware: Macintosh Quadra 650, Macintosh 

IIfx, LaserMaster 1200XL printer,UM_AX 

840 scanner, Fuji FujixScanart, Agfa Accu- 

Set imagesetter, Linotronic imagesetter. 


3.2, Adobe Photoshop 2.5. 

Comments: Photograph was scanned using 

the Fuji FujixScanart, saved as an EPS file 

and imported into QuarkXPress. Large Cyrillic 

zhivehte (2C) was created in Adobe Illustrator, 

saved as an EPS file and imported into 

QuarkXPress. St. Cyril image was scanned 

with the UMAX 840 scanner at 800 dpi, 

saved as an EPS file and imported into 

QuarkXPress. Page 25 was output with APR 

on the Agfa AccuSet imagesetter; all other 

pages were output to film on the Linotronic 

imagesetter. 

30 

ITC Molter Corpus' 


1200XL printer, Linotronic imagesetter, 

Fuji FujixScanart, Agfa AccuSet imagesetter. 


Comments: Photograph was scanned with 

the Fuji FujixScanart, saved as an EPS file 

and imported into QuarkXPress. All type 

was created in QuarkXPress. Page 30 was output 

with APR on the Agfa AccuSet imagesetter; 

all other pages were output to film on the 

Linotronic imagesetter. 

33 

Details, Details, Details 




Comments: All type was created in QuarkX- 

Press. The file was output to film on the Linotronic 

imagesetter. 

35 

Utne Reader 


1200XL printer, Linotype-Hell 341 color 

scanner, Agfa AccuSet imagesetter. 


Comments: Color art was scanned using the 

Linotype-Hell 341 scanner, saved as EPS files 

and imported into QuarkXPress. Type was 

created in QuarkXPress. Film was output 

with APR on the Agfa AccuSet imagesetter. 

Compiled by Joyce Rutter Kaye 

Throughout this colophon, trademarks are 

used. Rather than place a trademark symbol 

at every occurrence of a trademarked 

name, we state that we are using the names 

in an editorial context with no intention of 

infringement of the trademark. 

55 

THE DIRECTORY 

OF NEW TYPEFACES 

Updated Quarterly 

From All Major 

Foundries and Type 

Designers. 

Text, Display & Image Font 

specimen pages include: 

r 

L 

• Complete alphabet 

• Selections of symbols 

• Text blocks showing 

various weights 

• Text blocks showing 

variety of leading 

• Names of other faces 

in the family 

• Designer's name and 

technical data 

• Resource information 

and 800 numbers to 

call to get faces 

• Distinguishing characters 

to help you recognize 

the face 

s mac .N4 

7a081.010.111.111NOPOOSIIIMOR 

TYPOG raphy Is 

SAP 

cr. r-anu 

1;4i3ORRPHY is th 

rta 

♦ TYPOGRAPHY Is 

Cut along the dotted line and return today to: 

ITC Directory of New Typefaces 

c/o MMG 65 Commerce Road, Stamford, CT 06902 

❑ Please send me the 4 quarterly issues of the 1994 ITC Directory of New 

Typefaces for only $125, including the 3-ring binder and tabs. 

The 

Directory 

of New 

Typefaces 

❑ Please send me the 1993 ITC Directory of New Typefaces including the 

binder, tabs, 256 Specimen Pages, plus over 100 Opinion & Gallery and Index 

Pages for only $125. Limited stock available. 

Publisher's No -Risk Moneyback Guarantee 

Your satisfaction is guaranteed with the Directory. You may cancel at any time, 

for any reason, and receive your money back for all the unmailed issues. 

Name 

Company 

Address 

Title 

City State Zip 

Country 

Please check the appropriate boxes 

❑ Check enclosed 

Account Number 

Name as it appears on the card 

Signature 

Current Participating 

Foundries Include: 

Adobe Systems 

Agfa 

Apply Design Group 

Bitstream 

Carter & Cone Type 

Casady & Greene 

Club Type 

Elsner + Flake 

Emigre 

Esselte Letraset 

FontHaus 

7 Reasons This Directory Is Of Value To You 

1. Makes your job easier finding 4. 

new and fresh faces 

2. Keeps you current with what's 5. 

happening in new typefaces 6. 

available from around the world 

3. Indexed 6 different ways, including 

by designer, by classification, and 

by typeface name 7. 

❑ Please bill my credit card 

❑ Visa ❑ MasterCard 

Exp. date 

Or call today 

1-800-634-9325 

In New Your State call 212-371-0699. Or FAX your order any time to 212 -752 - 4752. 

All payments must be made on U.S. banks only. Canada add $14, Far East add $40, 

and all others outside North America, please add $28 for shipping. 

U16 


FontShop 

The Font Bureau 

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Isis 

Linotype - Hell 

Monotype 

Panache 

Red Rooster 

Stone Type Foundry 

Treacyfaces 

URW 

and many others 

Updated quarterly—You receive new 

specimen pages every 3 months 

Free binder, tabs and index listings 

There is no other industry- wide 

service that compiles for you all the 

new typefaces from around the 

world -as they are being released 

Special savings if you order now. 

"1 

Illustration: Sean Dalton 

I 

0 

-a 

El■

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INTERNATIONAL TYPEFACE CORPORATION 

2 Hammarskjold Plaza 


Kerning easy as l•2•3 

The URW gernus Solution 

MOMMOMOOMOMMOMPOMOOMPOMMIIMMIIMMOMMOOMMOOMOM 44 4441444441444444444444444444444444444444444444444441441444444444414444444444144444444444441 

At URW, technology and common sense equal simplicity, which 

is the shortest distance between two points. It's also the quickest 

road to profitability, so forget about making kerning pairs manually. 

You'll go insane before you're finished-or worse, you'll go 

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font is like crocheting a fishing net. Not only is it senseless, it 

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Open original font and choose 

• from the available styles. 

B Palatino Bold 

BI Palatino Boldl... 

I Palatino Italic 

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If you want great looking kerning and time to fish for new clients, 

consider URW Kernus. You can automatically create over 1,000 

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Kernus by URW Hamburg 

URMIgtmus 

o•Kerning on the Fly n, 

Style : gl Regular 

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Available for the Macintosh or PC. Also 

includes an editor to modify individual 

pairs. Kern an entire typeface library for 

only $499. 

2. 

Specify point size specific 

kerning pairs and 

kernstrength for desired fit. 

Pointsize: 18.00 

Kernstrength: 1.0 1 

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Destination: 1PalatinoN18 

116.851 didot 

Designsize: 

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12.001 Pic a 

4.38 mm capheight 

Kernpai 1039 

Kerning File: 

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fl_1000.KRN 

3 

Calculate. The new Kernus 

• font(s) will be ready for use. 

IMMOMOMMIIIIMMOMMDMIMMIIIMOMMOMMOOMMMDMMOMMIM)44444444441414444141444444444114444444444444444444444444444444444444444144444444444444444444444444 

The beauty of a typeface lies in its restfulness an 

d the way it seems to extract light from the paper. 

This restfulness which makes a type beautiful ha 

s nothing lifeless or paralyzed about it, it might r 

ather be described as organized life. As in the oth 

er arts, it consists of a balance of movement. This 

calm therefore has two components: life, and bal 

ance or rhythm. The beauty of a typeface lies in it 

The beauty of a typeface lies in its restfulness and 

the way it seems to extract light from the paper. Th 

is restfulness which makes a type beautiful has no 

thing lifeless or paralyzed about it, it might rather 

be described as organized life. As in the other arts, 

it consists of a balance of movement. This calm the 

refore has two components: life, and balance or rh 

ythm. The beauty of a typeface lies in its restfulne 

Adobe Palatino 

Typeset at 16 point with the 

normal kerning pairs supplied 

with the font. 

Adobe Palatino 

Typeset at 16 point with 1000 

URW kerning pairs created by 

Kernus. 

Optimize the clarity of text as small 

as 6 point. Comparison showing 

Adobe Palatino with supplied kerning 

(top) versus kerning created by 

Kernus for use at 6 point (bottom). 

The beauty of a typeface lies in its restfulness and the way it s 

eems to extract light from the paper. This restfulness which ma 

kes a type beautiful has nothing lifeless or paralyzed about it, 

it might rather be described as organized life. As in the other 

arts, it consists of a balance of movement. This calm therefore 

has two components: life, and balance or rhythm. The beauty 

of a typeface lies in its restfulness and the way it seems to extra 

ct light from the paper. This restfulness which makes a type be 

autiful has nothing lifeless or paralyzed about it, it might rathe 

The beauty of a typeface lies in its restfulness and the way 

it seems to extract light from the paper. This restfulness wh 

ich makes a type beautiful has nothing lifeless or paralyze 

d about it, it might rather be described as organized life. As 

in the other arts, it consists of a balance of movement. this 

calm therefore has two components: life, and balance or rh 

ythm. The beauty of a typeface lies in its restfulness and th 

e way it seems to extract light from the paper. This restfuln 

ess which makes a type beautiful has nothing lifeless or pa 

Hamburgefonts 

72 point ITC Berkeley OldStyle Medium from Linotype, with supplied kerning 

Hamburgefonts 

72 point ITC Berkeley OldStyle Medium from Linotype, with URW Kernus pairs 

OPOMMIPOPOOMMOMMMMOMMOOMMOIMPOOMPIMIIIMMOMMOMPIMPOOM41414444444444444414444444444444444444444444444414144444444414444144444444444444441444444444444444 

URW 

For more information about Kernus or other products, call 1.800.229.8791 or fax 603.882.7210. 

URW Software & Type • 4 Manchester Street • Nashua, NH 03060

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