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UPPER AND LOWER CASE. THE INTERNATIONAL JOURNAL OF TYPOGRAPHICS

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PUBLISHED BY INTERNATIONAL TYPEFACE CORPORATION, VOLUME TWELVE, NUMBER ONE, MAY 1985

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EDITORIAL
VOLUME TWELVE, NUMBER ONE, MAY, 1985 EDITOR: EDWARD GOTTSCHALL ART DIRECTOR: BOB FARBER EDITORIAL DIRECTORS: AARON BURNS, EDWARD RONDTHALER ASSOCIATE EDITOR: MARION MULLER ASSISTANT EDITOR: JULIET TRAVISON CONTRIBUTING EDITOR: ALLAN HALEY RESEARCH DIRECTOR: RHODA SPARBER LUBALIN ADVERTISING/PRODUCTION MANAGER: HELENA WALLSCHLAG ASSISTANT ART DIRECTOR: ILENE MEHL ART/PRODUCTION: KIM VALERIO, SID TIMM SUBSCRIPTIONS: ELOISE COLEMAN S INTERNATIONAL TYPEFACE CORPORATION 1985 U&LC (ISSN 0362 6245) IS PUBLISHED QUARTERLY BY INTERNATIONAL TYPEFACE CORPORATION, 2 DAG HAMMARSKJOLD PLAZA, NEW YORK, N.Y. 10017. A JOINTLY OWNED SUBSIDIARY OF LUBALIN, BURNS & CO., INC. AND PHOTOLETTERING. INC. U.S. SUBSCRIPTION RATES $10 ONE YEAR: FOREIGN SUBSCRIPTIONS, $15 ONE YEAR: U.S. FUNDS DRAWN ON U.S. BANK. FOREIGN AIR MAIL SUBSCRIPTIONS-PLEASE INQUIRE. SECOND-CLASS POSTAGE PAID AT NEW YORK, N.Y. AND ADDITIONAL MAILING OFFICES. POSTMASTER: SEND ADDRESS CHANGES TO 1.16LC, SUBSCRIPTION DEPARTMENT. 866 SECOND AVENUE, NEW YORK. N.Y. 10017. ITC FOUNDERS: AARON BURNS. PRESIDENT EDWARD RONDTHALER, CHAIRMAN EMERITUS HERB LUBALIN, EXECUTIVE VICE PRESIDENT 1970-1981 ITC OFFICERS 1985: GEORGE SOHN, CHAIRMAN AARON BURNS. PRESIDENT EDWARD GOTTSCHALL EXECUTIVE VICE PRESIDENT BOB FARBER, SENIOR VICE PRESIDENT EDWARD BENGUIAT, VICE PRESIDENT ALLAN HALEY, VICE PRESIDENT RICHARD CONWAY, CONTROLLER AND GENERAL MANAGER MICROFILM COPIES OF U&LC MAY BE OBTAINED FROM MICRO PHOTO DIVISION, BELL & HOWELL OLD MANSFIELD ROAD, WOOSTER, OH 44691

15 YEARS AGO 15 YEARS FROM NOW

anus was the Roman god of beginnings (hence January, the first month of the year). He was usually depicted with two heads so that he could look Forward and backward at the same time. Now, as ITC moves through its 15th year, it is appropriate to consider how the world of typography has changed since 1970 and where we believe it is heading by the year 2000. Let's narrow our focus and consider just one major change that computers, lasers, fiber optics, etc. have effected.

In this issue: Editorial On ITC's 15th anniversary, we celebrate the technological revolution in the typography and printing industries since 1970, and anticipate the reverberations in business offices in the next 15 years. Page 2. Thoughts The inseparability of passion and reason. Page 3. Typographic Milestones All about the American Point System of sizing type. and the man who devised it, Nelson Hawks. Page 4. Can Faust Play in Modern Dress? A handful of Czech designers apply their 20th century sensibility to a 16th century legend. Page 8. Man Bites Man The life and hard times of Andrej Czeczot. a Polish emigre, once imprisoned for the crime of making visual satire. Page 12. Japanese Sign Language The esthetic, psychological and practical aspects of kanban, Japanese shop signs. Page 14. Heraldry The true origins of logos, trademarks and corporate identity graphics. Page 20. Istvan Banyai The survival and flowering of a multifaceted Hungarian artist. Page 24. Puzzle: Mme. et Mlle. Cherchez les femmes in this assemblage of internationally famous names. Page 26. Serif vs Sans An age-old controversy explored in a thoughtful, thorough and succinct dissertation by Allan Haley. Page 28. What's New from ITC? ITC Mixage:" as the name implies is a mixture: there's something classic and some things new. It all adds up to a lively and legible addition to the sans serif family of typefaces. Page 30. Rules Our Editor and Art Director have some fun with words and graphics. Page 36. Bookshelf A browse through some new publications relevant to our crowd. Page 37

Vast areas of communications formerly considered outside the sphere of typographic design are now becoming typeface oriented. Computers plus software programs, low cost/high capability typesetters and a variety of printers now bring typesetting ability to the fast-growing office market. Hundreds of thousands, millions, of offices will soon be able to use typefaces such as Helvetica'or ITC Souvenir or ITC Garamond instead of conventional typewriter faces. The result will be documents that attract more readers and are more readable, that use about LI0` )/0 less space for a given message, and that are enriched by typography's many ways of achieving emphasis (change style, use bold type or italics, or a larger size, etc.). Today, to many, typefaces are something new. Too many people using type are not fully sensitive to its communication power, its beauty, its need to be handled with skill and with love. And too many of today's devices output in coarse resolution and otherwise fail to meet the needs of discriminating graphic designers. But all this will change. If the years 1970-1985 brought typographic capability to a vast new market, the years 1985-2000 will see these capabilities refined, and a new generation of users trained to create and produce fine typography on the new generations of typesetters and printers. At ITC we find it very exciting to be involved in this rapidly evolving expansion of the role of typography, and hope to make a significant contribution through the pages of U&Ic, the ITC Center, and in all that we do at ITC to ensure that industry's concern for high quality output and efficiency is matched by a similar concern for quality in esthetics and design. E.G.
INDEX TO ITC TYPEFACES ITC BENGUIAT CONDENSED ITC CENTURY ITC CUSHING' ITC FRANKLIN GOTHIC ITC GALLIARD' ITC GARAMOND ITC KORINNA ITC LEAWOOD" ITC MIXAGE" ITC MODERN NO.216' 28 28,29 1,47 2,4-7,26,28,29,42 44 42 44,48 14-19 2,3.30-35 46 ITC NEW BASKERVILLE" ITC NEWTEXT ITC QUORUM" ITC SOUVENIRS ITC SYMBOL ITC USHERWOOD' ITC VELJOVIC' ITC WEIDEMANN" ITC ZAPF INTERNATIONAL 26,27 2 8,9 42 12 13,36,48 8,9,37 20-23,41,43,45,46,48 24,25 40,41

Quilts
Born of necessity, this old folk art has achieved elevated status. Page 40.
A SPECIAL NOTE TO LIONEL KALISH TO SAY WERE SORRY WE NEGLECTED TO CREDIT YOU FOR THE ILLUSTRATION ON PAGE 22 OF VOLUME 11, NO. 4.

MASTHEAD: ITC NEWTEXT REGULAR TABLE OF CONTENTS: ITC MIXAGE BOOK WITH BOLD EDITORIAL: BOOK WITH BLACK INDEX TO ITC TYPEFACES: ITC FRANKLIN GOTHIC BOOK WITH BOLD HELVETICA AND OPTIMA ARE REGISTERED TRADEMARKS OF ALLIED LINOTYPE.

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THOUGHTS

PASSION WITHOUT REASON IS BLIND. REASON WITHOUT PASSION IS

WILL DURANT, PARAPHRASING SPINOZA (ETHICS)

ITC MIXAGE BOOK, MEDIUM, BLACK

Typographic Milestones

NELSON HAWKS

JohnThe Baptist of the American Point System

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This is really two stories. The story of a simple, practical man with a dream, and his unselfish drive to make the dream a reality; and the story of the evolution of the American Point System. One story cannot be told without the other. The man was Nelson C. Hawks. He is an unassuming figure in typographic history; a practical printer given to solving problems in a simple, straightforward way. Although trained as a typographer, Hawks' natural abilities enabled him to be creative in a variety of typographic endeavors. One of his creative solutions to a printing problem was the Iron Bracket Composing Stand. Most composing stands of the day held two job cases for convenience in typesetting; the problem was that the lower case often bumped the shins of the printer. Hawks' invention held only one case, above the shins. Hawks was also a philanthropist of sorts. It was his intention to give his concept of a point system to the printers of the day. Unfortunately, the type foundry for which he worked at the time did not share his philanthropic views. Its principal owners wanted to exploit Hawks' invention. They wanted to use it as a lever to build their company into the richest and most influential supplier of types to American printers. History portrays Hawks as a careful and competent printer, an accomplished typographer, a talented inventor, and a rather poor businessman. He gravitated toward entrepreneurship through his father's influence; and as a result, was an owner or partner in a number of businesses.The records do not account his success in any. Perhaps he lacked a shrewd or calculating mind. Perhaps he just preferred to tinker. His invention of the point system is an example. It is said that he spent many hours measuring different samples of type spread about his desk in an effort to find a key to the sizing problem.The picture of Hawks carefully measuring and re-measuring type scattered over his office desk is not exactly that of a high-powered executive. The logic and organization Hawks displayed in his creation of the American Point System and in his other inventions did not overlap into the business environment. The principal owners of the Marder, Luse and Company Type Founders, for whom he worked while inventing the system, never seemed to be quite pleased with his efforts. In an early letter to him while he was managing their branch office in San Francisco, A.P. Luse complained that "We are constantly getting mixed on your orders. You seem to make repetitious and duplicate orders and then your orders are not plain." Two years later the situation was still not resolved as evidenced by Luse's strict instruction: "What we want is a positive and specific order for what you must have:' Nelson Hawks was born in Milwaukee, Wisconsin, in 1840. His parents were influential people in the community and probably bordered on wealthy. Hawks' father was a successful businessman who, at various times, owned a flour mill,a hotel and a general store. He wanted his son to acquire a formal education and enter the business world. Nelson wanted to be a printer. By the time he was 18, Hawks had held a number of jobs as a printer, and was instrumental in the founding and operation of two small newspapers. At 25, he established a printing firm with Norman L. Burdick, where he worked contentedly for ten years prior to becoming a junior partner in the Marder, Luse and Company type foundry. The story of the evolution of the American Point System begins long before Hawks joined Marder, Luse and Company. In fact, it begins long before Nelson Hawks was born. In the beginning there was no need for a type sizing system; or at least there wasn't a perceived need. and a problem.There was no order to the new foundries' product offerings and nothing matched from one foundry to another. If printers limited themselves to one foundry's products, the situation was usually under control; but as soon as another foundry's type was introduced, havoc resulted. No type from any two foundries aligned the same, was the same size, or even consistent in height; nothing matched. Faces from different foundries simply could not be used together, and careful attention had to be paid not to mix various foundries' faces when storing type. Even spacing material did not match, which meant that printers had to purchase multiple sets of everything. The first technical book on the craft of printing, Joseph Moxon's Mechanick 0 rate occasions, within the same typeface. At best, the situation made typesetting difficult, time-consuming and tedious. Often it made typesetting impossible. Until almost the 20th century printers were forced to work with typefaces using names to denote approximate sizes. Minion, Brevier, Bourgeois, Long Primer, English, French Canon, Pica, Small Pica, and the like were romantic sounding but not a usable system. These names in many cases evolved from the first use of the type. Because the church was the first patron of printing, many names are derived from religious printing. Brevier got its name from this size's extensive use in printing Roman Catholic Breviaries, or prayer books. French Canon was a size commonly used to print the Canons of the church. As the printing and typefounding industry grew, so did the confusion over type sizes. The matter reached its worst proportions in the late 1880s when one industry writer complained, "It may be said without violation of the truth that practically there are no two foundries...whose body types, either in depth, or in width, are cast by the same standard." It wasn't that systems for type sizing had not been proposedmany had. The problem was that no single system was totally acceptable to everyone. The type foundries were especially unwilling to adopt any system (unless, of course, it was one they proposed). The earliest proposals for systems were arranged on arithmetic subdivisions and many were even based on the pica.That is, the pica was the basic building block for all type sizes, and it was divided into a number of smaller units. In 1882, one foundry tried a new approach; their system was based on geometric sizing. With their proposal each size of type was 12.2462% larger than the size immediately preceding it. Type doubled every seventh size. It took a royal decree to force type founders to take the first step toward solving the problem of type sizing. This occurred in France, in 1723.The monarchy ordered that the height of type be fixed, and established the relationships between various sizes of type. The shortcoming of this regulation was that it failed to specify the size of the smallest unit. Twelve years later Pierre Simon Fournier made the French regulation practical. He created the typographic point. Building on the basic guidelines set down, Fournier developed a system based on the concept that a point is the smallest typographic unit, each typeface size is equal to an exact number of points, and that point bodies are proportional to each other: 6 point type is half the size of 12 point type. In the Fournier system there are exactly 72 points to an inch. The trouble with Fournier's system was that it was not accepted by other type founders, and it did not conform to the official French measure for an inch. Approximately 50 years after the Fournier system was introduced, another French type founder, Didot, further refined the concept. He made a

'or PROCRESS OF AMERICAN TYPE FOUNDINC ! "PI

)larder, Luse & Company's Emancipation Proclamation to the Printers of the Forld, of the abolition of Irregular Type Bodies! Mammoth Undertaking for the advancement of the art Preservative! Perfection at last!
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EVERT printer, of any experience, knows the misery of a mixture of type bodies in an office. No perfect system of justification exists in this country, nor in Great Britain; every foundry varying, more or less, from the others, and the gradation of sizes being irregular with all of them. Our firm have resolved, cost what it may, to come to the rescue ; and for a year and nine months past the good work has been in progress. We are shouldering this enormous and expensive undertaking without aid ; believing that we shall receive from all printers a full appreciation and reward in due course of time. To illustrate this system, we show a Table of Sizes, and their Proportion to each other by twelfths of Pica, our present Pica being the standard. 1 American, 1% German, 2 Saxon, 2X Norse, 3 Brilliant, N' Ruby, 4 Excelsior, 43 Diamond, 5 Pearl,
534 Agate, 6 NONPAREIL, 7 Minion, B Brevier, 9 Bourgeois, 10 Long Primer, 11 Small Pica, 12 PICA, 14 English, 16 Columbian, 18 Great Primer, 20 Paragon, 22 Double Small Pica, 24 Double Pica, 28 Double English, etc.

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Each size is a factor. Three Nonpareils are a Great Primer ; three Breviers are a Double Pica ; a Nonpareil and a Brevier are an English, or Two-line Minion. That odd body, Bourgeois, is now a respectable size, being a Nonpareil-and-a-half exactly. Look over the figures, and you will understand how beautifully simple job composition will be in an office fitted up with MANDEB, Lusa & ComPANY's type! Type of the same series are cast to the same line; so that the different sizes are quickly and perfectly justified, without resorting to cardboard, paper, &o.
Sowa ADVICE, THAT IT vrtm, PAY To TAKE. Don't hang on to your old material too long; bnt work it off before this new system renders it totally unsaleable! Clean out the old founts, and sell them ; amateurs may be handy customers for you. Begin NOW to get ready for this wonderful change, for it is close upon us.

MARDER, LUSE & CO.

01410A00 AND SAN FRAN01900.

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Printers created type primarily for their own useand normally for specific jobs. For the first few decades of the printing profession, printers not only printed with type; they were also responsible for designing the faces, cutting punches, creating the molds, and for manufacturing the type itself. Type wasn't purchased, it was made. Gradually things changed. Type foundries grew out of the printing trade. In the 1600s printers began to offer their typefaces for sale. That was when type sizing became an issue

Exercises, printed in 1683 called attention to the problem. He tried to help the printer by identifying the ten most popular sizes of type used in England, and equated their sizes by listing the number of each fitting into a width of one foot. He then noted, "These are the bodies most used in England, but the Dutch have several other bodies but...I think they are not worth naming:'
Even if the products of one foundry were used exclusively the sizing often varied from typeface to typeface and at times, if it was ordered on sepa-

6
few small changes to Fournier's system, and one large one. Didot based his system on the legal foot measure of France. The Didot system became the standard among French type founders, and even though the basis of the foot measure was later changed, the Didot system continued to grow in popularity. It eventually became the standard in most of Europe, and is still used today. Unfortunately, as progress was being made in Europe, confusion reigned in Britain and the United States. This lack of progress was not due to disinterest or ignorance. It was because of the basis of power. In France the government was powerful enough to make a decree which set the wheels of typographic progress in motion. In Britain and the United States capitalism was, in many matters, a more powerful force than government. The formidable difficulties to the adoption of a type sizing system in the U.S. and Britain were based on sound capitalistic principles: Expensesfor re-tooling and casting of new type Supplythe disposition of type currently on hand Monopolythe unfair advantage that the adopted system would provide to its owner. Seeing no financially safe solution, the British and U.S. foundries chose to agree that no standard be adopted. (One foundry did, however, suggest that if printers bought type from only one supplier the problem of type sizing would cease to exist). If an act of government was not as powerful as the capitalistic drive of the foundries, an act of God certainly was. It was the Great Chicago Fire of 1871 which provided the momentum that eventually resulted in the adoption of a standard point system in the United States, and then Britain. The Marder, Luse and Company was burned to the ground in the Great Fire. Besides their building, all molds, matrices and stock were destroyed. In true capitalist tradition the type foundry was rebuilt. With this new beginning Marder, Luse and Company made two decisions which would figure significantly in the introduction of the American Point System. The first decision was to make new molds which would size pica type (later to become 12 point) exactly the same as that of the MacKellar, Smiths and Jordan foundry of Philadelphia the largest foundry in operation at that time. The second decision was to make certain sizes of type double that of others. This was becoming somewhat of a standard among American foundries in an attempt to establish proportional type heights. Thus two lines of Brilliant would equal one of Minion, two lines of Pearl would equal one of Long Primer, etc. Proportions were established, but not sizes; however, it was a start. And this is where Nelson Hawks comes back into the story. Marder, Luse and Company had been buying products (among them Hawks' Iron Bracket Composing Stand) from Hawks and Burdick Printing Company for some time. The principals at Marder, Luse had been impressed with Hawks and his products, and in 1874 they induced him to sell his interest it his firm and become a junior partner in Marder, Luse and Company. It became Hawks' responsibility to establish an agency for Marder, Luse and Company in San Francisco. Setting up this business put Hawks in an interesting position. One, although unfamiliar to him, was all too familiar to the printers of the day. To set up a competitive printing supply house, Hawks had to buy and stock type and composition equipment from many manufacturers, not just Marder, Luse and Company. Hawks was faced with the same problem of inconsistent type sizes that faced printers of the day. He had to stock, in addition to type, separate fonts of spacing, quads, borders, leads, and so on. This caused so much confusion and such inventory problems that Hawks began to question (from a capitalistic viewpoint) the present state of affairs. He spent many hours struggling with the problem, and when he did arrive at a solution, it was deceptively simple. Ir his own words "Finding our own pica to be one-sixth of an inch, the idea of adopting the mechanic's rule as a basis for measurement occurred to me. Then came the division of the pica parts. Nonpareil being one-half of the size of pica, the unit of measurement would have to be determined from the number of sizes above Nonpareil. These are Minion, Brevier, Bourgeois, Long Primer, Small Pica, and Picasix. Therefore, Nonpareil would be the other six, and pica would be twelve points:' That was the simple part. Now all that was left for Hawks to do was convince his partners, the other type foundries, and all the printers in America to adopt his simple and logical system. The first step was to discuss the matter with his partners. Hawks got his chance when John Marder visited California in 1877. Mr. Marder and Mr. Luse were concerned about Hawks' performance. They were sure that either he was overworked, in need of a change, or an incompetent businessman. In any case, in the spring of 1877, the senior partners decided that it was time to pay a visit to their western branch. Under certainly less than ideal circumstances, Hawks seized the opportunity and presented his idea to Marder. Although he was first met with understandably strong objections, Hawks was able to convince Marder of the merits of the idea. Nelson Hawks succeeded in his first effort at promoting his system. In typical modest fashion he noted in his diary recounting Marder's visit, "During his stay we agreed to bring out the new system of type bodies:' This is, however, where the agreement stopped. Hawks wanted to make the system available to all type founders as a "free gift for the benefit of the craft:' Marder had other plans. He wanted to exploit the system. It was his plan to quickly and secretly put the

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new system into production before Marder, Luse and Company's competitors were aware of what was happening. He even tried to patent the system to assure the competitive edge. Hawks was sworn to 'secrecy. After his return to Chicago, Marder wrote Hawks,"Keep the thing quiet...not a soul except Muller (another business partner) knows our plan here and you must keep quiet on it' Marder did indeed move swiftly and quietly.The first face created within the new system, Parallel Shaded, was released before the end of the year. Everything went according to schedule at the home office. Hawks, however, was not exactly a well-oiled cog in the machinery. His enthusiasm and altruistic spirit prevented him from keeping the new system secret. In fact, he vigorously promoted his new idea on the west coast.This resulted in frequent and increasingly severe warnings from the home office. Hawks had been having difficulties with his senior partners in Chicago over outside financial dealings and other personal matters for some time prior to 1877. The issue of the new point system just compounded the problem. Being a simple and practical man, Hawks decided that the best solution was to walk away from this complicated, and now onerous, business relationship. In 1882 he sold his interest in the company for $12,000. This allowed him to do something far more pleasurable and personally rewarding than run the branch office for two cantankerous midwest businessmen; and that was to promote his type sizing system. He traveled to Cincinnati, New York and Boston, and met with the owners of the major type foundries in each city; he took out ads in printing trade journals; he wrote letters to every type foundry in the United States.Time and money seemed to matter little to him in his quest to make his system the American standard. Hawks' vigorous, untiring, and totally honest activity in promoting the point system was ample reason for Henry L. Bullen, a renowned 19th century authority on typography to dub Hawks "undoubtedly the John the Baptist of the gospel of the point system in America:' In 1892, the American Type Founders Company was formed as a merger of 23 separate foundries. At an organizational banquet, Hawks was honored in a keynote address."There is a man sitting at this table who deserves a scoring at our hands as a body of American founders, for he is the cause of our clear loss of over millions of dollars, in the discarding of old moulds alone. I allude to the so-called point system. But I tell you, gentlemen, it is the grandest thing that has ever happened to typography, and marks a new era in the history of printing:' Nelson Hawks lived to see his system become the standard for both the United States and Britain. At 80, he noted,"The only benefit I have derived from it lies in the satisfaction of having been successful in giving the printing craft something useful and
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lasting:' Hawks died July 7,1929, at the age of 89. In a world of digital and laser technology, Hawks' contribution may seem outdated and even unnecessary. By current standards, the American Point System may be,to some, nothing more than a nuisance, but his contribution was that he enabled more people to communicate with type more easily and more effectively. Hawks' invention opened up a larger typographic spectrum to visual communicators. He made typesetting faster, easier and less expensive. Every training manual, textbook, and primer on type warns the neophyte that 72 points is almost, but not quite, a full inch. 1 point = .013838; 72 points (6 picas) = .996 inch. What happened to the last four thousandths of an inch? Why didn't the creator of the American Point System use a full inch as the basis for the standard? It certainly would have made typographic life easier; or at least more logical. It isn't that there was no choice; at the time Nelson Hawks developed the point system at least two picas were being used by type founders as their standard. One even measured exactly one-sixth of an inch. So what happened?

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The American Point System is based on what historians call the `Johnson pica." It was named for Lawrence Johnson, the owner and manager of the L. Johnson Type Foundry in Philadelphia. The L. Johnson Type Foundry was the direct successor to Binny and Ronaldson, America's oldest type foundry. It is believed that the standards for the molds and type casting equipment for Binny and Ronaldson can be traced to type founding equipment that Benjamin Franklin bought from Fournier early in the 18th century. At the time of Johnson's death, his foundry was purchased by his partners and became the MacKellar, Smiths and Jordan Foundry At the time the American Point System was developed, MacKellar, Smiths and Jordan was the largest and most influential type foundry in America.

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The first new body Molds on the Point or Unit System were made by the Chicago Type Foundry in 1878. The Cincinnati followed the next year; then New York, Boston and Philadelphia. After these the others fell into line slowly.
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S MANY readers of this little book may not be familiar with printing, an explanation of the Point System seems in order, and

may be of interest Briefly, type is now cast to multipies of an inch in body, thus rendering combination of the various sizes easy and certain. The standard inch is divided into 72 units or points, and all Type, Leads and Brass Rule made to point gauge. Space is too limited for fuller tables of sizes. Leads and Rule are graded by half-points from I to 6. The four sizes shown are sufficient to give an idea of their thickness and relative value.

Even before the point system was first considered by Hawks, the Johnson pica served as the standard for seven major type foundries, among them Marder, Luse and Company It was natural and logical then to base the new standard on the Johnson pica. And what about the missing four thousandths of an inch? It is believed that, even though Fournier's pica was based on an inch, four thousandths were lost as a result of active (and less than ideal) use of the original molds; and to the reproduction process, as new molds and equipment were made to replace that which had worn out. To Hawks and his contemporaries the difference of four thousandths mattered little anyway. The type founders and printers of the 18th and 19th centuries were working with type cast in metal that was subject to expansion and contraction. They also worked in dirty places where minute sizes were of little relevance.
HEADLINE / TEXT/ CAPTIONS: ITC FRANKLIN GOTHIC BOOK

Others have claimed to be inventors of the Point System. The Encyclopedia of Printing, soon to be issued, will give proper credit, and fullest particulars.

The bodies of Type given embrace only those required in usual commercial work. 6 8 9 1012 II 14 IS 18

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Pica or 12-point is one-sixth of an inch ; Great Primer or 18-point one-fourth ; Double Pica or 24point one-third, etc, Type of different bodies can be both lined and justified with 1- and 2-point Leads. The old-time printer had to even up with strips of cardboard and

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Origin o The American Point System by Richard L. Hopkins, Hill & Dale Press, Terra Alta, West Virginia. E is reprinted with permission from Typographic Journey Through the Inland Printer 1883-1900 by Maurice Annenberg, Maran Press, Baltimore, Maryland. G, H, I are reprinted from Explanation of the Point System by Nelson Hawks and presented to his friends in 1918.

A, B, C, D are reprinted with permission from

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In essence, that is the question graphic designer Oldrich Hlaysa, of Prague, posed to Aaron Burns, president of International Typeface Corporation. Hlaysa, in the process of preparing another volume in a series on Typography, had invited a number of his Czech contemporaries to submit their visions of a new edition of Goethe's Faust.

As anyone can see from the versions submitted, the designers had no difficulty extricating Faust from the past and depositing the work in the midst of the 20th century, typographically speaking.

JOHANN ' o,WOLFGANG t loCETHE

Johann Wolfgang Goetne

Odeon Praha

play in modern dress?

The exact question Hlaysa asked of Burns was: "What is your idea of a contemporary design for the cover, or even the complete volume, of Goethe's Faust?" To which Burns replied: "Goethe's Faust was written in the late 18th and early 19th century about a legend that had its origin in the 16th century. I am sure the 19th century designers, who planned the printed literature then, designed a contemporary interpretation...and so it must be that designers, of any era, should render the message of any age in the style of their day."

It's as valid for typography as for literature and all the arts: any work that unfolds the truth about human passions, human frailties and human behavior is timeless. It rings true in modern dress as well as in the accoutre. ment of its period of origin. That goes for Goethe's Faust... for Shakespeare's King Lear... and for the Holy Bible as well. Marion Muller

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12

man by steven heller

In 1981 Polish authorities arrested Andre] Czeczot for the crime of making visual satire. Being a popular cartoonist and a regular contributor to the independent Solidarity weekly newspaper, Czeczot (pronounced Chechot) was summarily confined to a detention camp for almost a year. When he was released, it was into a society turned inside out; in need, more than ever before, of the psychological lift his wit had offered in the past. But, like so many other writers and artists involved with Solidarity, he was prohibited by government decree from practicing. For Czeczot it was like suffering a stroke and regaining consciousness only to learn that the mind and body were no longer in synch. His frustration had no outlet, and his despair had only one release.
In August 1982, at the age of 49, Czeczot, with his wife and young son, came to the United States to begin life again. The decision, though determined by circumstance, was not an easy one. He was penniless and unable to speak Englishbut these were the least of his worries. The most difficult issue for this satirist was the leaving of Poland itself. It would be traumatic for anyone, but for the social critic it is a defeat. And for Czeczot, whose commentaries were not negations, but curatives for the ills of a beloved country, it was agony. Andrej Czeczot's early life in Poland was neither privileged nor exemplary. He was graduated from the Art Academy at Krakow in 1957 and for 12 years afterwards illustrated books for a small publisher in the Silesian coalmining town of Katowice. His unique, chiaroscuro drawing style was ignored by the Warsaw critics, and overshadowed by the "Polish Poster" phenomenon which had gained international attention. Czeczot carried on, though, as a journeyman, embellishing the texts of various Czechoslovakian authors for the Polish reader. In 1972 he was handed a rather special manuscript:Jaroslav Hasek's classic Good Soldier Schweik, a wry, anti-militarist novel, which was the inspiration for Czeczot's most striking series of drawings.Within months of its publication he won top prize at the international Graphic Art Biennale in Brno which catapulted "an obscure artist:' says his friend,Jan Sawka, "from a gray town nearly 200 miles away from Warsaw, into the limelight almost in a day."

man bites

whim, but on the fact that Poland was laden with heavy press censorship. The idea of regular opposition in the media was squelched at every turn. "Czeczot was an idol to Poles:' says Sawka, "because he was able to sneak in messages." His drawings lacked the bark of the German polemicists, but had its own special bite. "The messages he was passing" continues Sawka, "were more important than the way they were passed. Czeczot's weekly concoctions became our replacement for political cabaret." Into the Seventies, Czeczot continued illustrating booksof satire, mostly and in so doing further developed his wily, visual vocabulary. Compilations of his own cartoons were also published and quickly sold out. Czeczot's humor fit squarely, albeit uniquely, into the already rich treasury of Central European imagination that originated with Kafka and continues into the present. Czeczot's love of the peasants was a major element of his work. In numerous cartoons he cautioned against their forced assimilation into the emerging technocracy. He portrayed them hilariously as sly Davids at odds with, and triumphing over, the bureaucratic and ideological Goliaths of Poland and Russia. Curiously, Czeczot's expressive calligraphy was dubbed too ephemeral by the cultural pundits who rarely referred to him as an artist. Content and allusion were, hence, saluted at the expense of his drawing. By the mid-Seventies Czeczot was undisputedly Poland's most popular social critic. His voice was integral to the cautiously emerging protests for freedom. With each step across the censor's boundary his drawings became a little less allusivemordancy was the aim. One such step, though, was disastrous. In the late Seventies Czeczot was put on trial for making a scabrous caricature of Richard Filipski, the director of the regional theatre, and a rabid antisemite, who was supported wholeheartedly by the regime. The drawing, which showed him as King Richard IV, wearing a crown of ZyklonB (the gas used in the Auschwitz death chambers), was republished around the world. Czeczot lost the defamation trial, and with it his fragile sinecure in the national magazines. "Andrej was hounded by police and KGB for years after that:' recalls Sawka. Yet somehow he survived, making silk screen prints and working on animation shorts. When Solidarity became a force in 1980, he was triumphantly returned to the national forum. "He was a free speakeror sneakerin the national press:' says Sawka. "He was underestimated as an artist. But his power was his art." The victory was mournfully shortlived. With Solidarity's defeat, Czeczot's satire was abruptly ended. After a yearlong internment he and his family emigrated to the United States. Like Georg Grosz, who five decades earlier found a haven from Nazi tyranny in Queens, New York, Czeczot found safety in Brooklyn. But also like Grosz, once in New York, Czeczot's "native" vision was without context. For satire is hard enough to practice when the symbols and signposts are known; when

they are foreign (or when the society suggests nothing discernably negative) it is virtually impossible. Fortunately Czeczot had two things immediately in his favor: A group of previously settled Polish admirers and friends who generously offered invaluable aid; and, perhaps more importantly, the artist's own irascibility. For Czeczot was not going to succumb to self pity. He saw the pandemonium of the city as invigorating and he decided to take part. Within months of his arrival,Andrew Stasik, director of the Pratt Graphic Center, invited Czeczot to be a resident artist with the mandate to interpret what he sees. Ironically, the artistic quality of Czeczot's fantasies, overlooked for so long in Poland, was now appreciated by Stasik, and by Martin Sumers, who mounted Czeczot's first American one-man show of New York-inspired woodcuts. "He's an original" says Sumers. "He has indefatigable curiosity, a delightful sense of humor and a powerful line:' But, will this distinctive talent bring Czeczot success? "It's hard to digest the culture while worrying about eating," says Sumers. "It's even harder when you are already a mature artist attempting to interpret a foreign culture in a new format. What Czeczot did in Europe is not going to help here, because this is a city with a lot of talents. Moreover, contemporary art is at a stage in which there is no true measure of quality. Only trends, like the socalled neo-expressionism, succeed. Czeczot's vision is too honest:'Yet, historically, many immigrants have adapted and succeeded; and so, Sumers believes, will Czeczot. Despite the incalculable impediments, Czeczot works hard. For the Sumers' Gallery show he created a wonderful series of "Mexican" tiles, which exhibit the artist's own wry interpretations of biblical themes. With some newspaper and magazine illustration being his only publication work at this time, he has been making large block prints (primarily interpretations of New York scenes) which he hopes to sell in limited editions. Towards this goal he and one other emigre artist,Janusz Kapusta started a studio called "Visual Thinking."An apt title since it is their common bond. Czeczot's art is without artifice. His vision is fresh at a time when too much of yesterday's leftovers dominate illustration and cartooning. His accent is unmistakably Polish, but his language can be understood by those who will take the time.

Andrej Czeczot

This accomplishment altered Czeczot's life, but, moreover, signaled a new direction in Polish graphic art. Thematic and formalist repetitiveness was causing excitement in the poster to wane. Magazine illustration, once mired in the muck of Russian-styled symbolism, was becoming more pointed and acerbic. Polish magazines welcomed Czeczot, who, rising to the moment, developed a satiric vocabulary all his own. He addressed himself to the troubled past and present of his nation. He found satisfaction in word and image plays, relying on literary quotations and contemporary slang "Restricting himself almost entirely to black linear composition': says Sawka, "he cut down the ornament, dramatically played white against black, deformed his protagonists and constructed his own mad perspective." Czeczot has been aptly compared to German satirist Georg Grosz, whose sharp visual barbs ripped through the veneer of the Weimarian bourgeoisie. But, unlike Grosz, Czeczot's Polish humor was more beguiling, less overt, and masked by farce. His drawing style, though graphically powerful, had a storybook quality in which comically proportioned characters and childlike details were prevalent. This approach was not based on any idiosyncratic

13
KONIEC WAY Ni RODOWE)

Forward!

Libido.

Prog uel na

We talk as equals.

"The fable about a dragon, Kojak, a sleeping princess and Star Wars."
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14

JAPANESE SIGN LAN AGE

Tobacco pouch maker. Red leather pipe case and tobacco pouch.
Brass and silver fittings. Exact replica of pouches used in the late 19th century. 35 x 30 cm. (14 x 12 in.).

15
Considering the admiration yes, even envythe Japanese have inspired with their successful merchandising of autos, cameras and electronic products, it may be hard to imagine that, at one time in Japan, merchants were regarded as the lowest-of-thelow. But that was back in medieval Japan when the social pecking order was shino-ko-sho warrior, farmer, artisan, merchant. During centuries of infighting among Japanese feudal lords, the samurai warrior occupied the most honored position in society. The farmer, who provided rice, was a distant second. Even the humble artisan was appreciated for the products and services he contributed. But the merchants actually peddlers who carried their wares from village to villagewere despised. They were equated with beggars, for their obsequiousness, and thieves, for their huckstering and arbitrary price schedules. Even those merchants who operated in shops were considered tainted by their money-handling and profits. But the civil wars finally ended in the early 1600s when the powerful Tokugawa family dominated and unified the country. They created a small, commercial revolution in Japan by cutting off trade with the rest of the world and encouraging domestic business. During their reign of almost 300 years, the country enjoyed an era of peace and prosperity. But in a land at peace, samurai warriors were suddenly unemployed and adime-a-dozen. Since they were neither adept at farming, nor had acquired the special skills of artisans, the only occupation that remained for them was that of keeping shop. To establish an image of respectability, these new merchants paid meticulous atten-

Scissor shop. Actual old-style scissors, framed in a heavily grained board. 73 x 35 cm. (281/4 x 14 in.).

Miso (soy bean paste) shop. Carved wooden sign is a facsimile of the ceramic jars in which soy bean paste is fermented. Calligraphy reads: "red and white miso" 75 x 58 cm. (291/2 x 23 in.).

Kimono shop. Influenced by the popular 18th century woodblock prints of the era. 97 x 55 cm. (38 x 213/4 in.).

Coffee merchant. Addition of English words created excitement and an image of an up-to-date shop with imported goods. Late 19th century. 76 x 30 cm. (30 x 12 in.).

Arrow maker. Eight wooden arrows framed in a two-sided sign of the early 1800s. Samurai used arrows for archery, a popular sport. 103 x 65 cm. (401/2 x 251/2 in.).

Tea shop. Gold lacquer painting conveyed a sense of elegance and high quality. Calligraphy reads, "cha;' meaning tea. 19th century. 66.1 x 63 cm (26 x 241/2 in.).

Bucket shop. 19th century sign resembling three stacked buckets, end view. Wire banding added realistic touch. 38 x 43 cm. (15 x 17 in.).

Pharmacy sign. Inscription announced a drug for gynecological distress. Instructions read: "Women's hysteria medicine. Mix with water 19th century. 121 x 38 cm. (471/2 x 15 in.).

16

Photographs and text derive from the book, "Kanban, Shop Signs of Japan:' which provides a detailed history and description of the signs. Includes 24 color plates and 82 monochrome photos. Authored by Dana Levy, Lea Sneider and Frank Gibney, and published by John Weatherhill, Inc., New York and Tokyo.

17

Tea house in the gay quarter. Painted on wood, the figure mimics the style of the famous theatrical painter, Utamaro. Accompanying poem invites customers to enjoy the pleasure of the great rulers!' Diameter 79 cm. (31 in.).

tion to their shops, their business practices and the signs they hung out to identify themselves. The sign or kanban was as much a symbol of their merchandise as their character. Great pains were taken with the design and execution, as if they were family crests. And with typical Japanese flair, even these functional signboards became works of artistic expression. The earliest kanban were simple painted illustrations or carved models of the merchandise offered in the shops. It was the most obvious means of communicating with customers who were mostly illiterate. Two radishes, gracefully sculpted out of wood, identified a greengrocer's shop. A carved replica of a violin, a clock or a pair of eye glasses left no doubt as to the

Pipe shop. Oversized wood and metal replica of a typical 19th century pipe. Metal bowl and mouthpiece are attached by a wooden tube carved with alternating spirals of bamboo and cherry blossoms 124 cm. (49 in,).

18

Watch repair shop. Early 20th century. Reflects strong influence of Victorian

design. Diameter 60 cm. (231/2 in.).

Sock shop. Painted tin sign illustrating Fukusuke, the God of Fortune.

Also the brand name for the line of socks featured in the shop. Early 20th century. Diameter 184 cm. (73 in.).

proprietor's business. In an effort to have the kanban reflect the prestige of the business establishment, merchants commissioned lavish signs with gold and silver and mother-of-pearl embellishments. But the government promptly squelched such ostentation and restricted the size and expenditures permitted for signboards. To compensate for such limitations, the kanban became more complex in content. They incorporated visual and literal puns, folk and mythological figures and good luck symbols. A pharmacy, for instance, listed its products on a sign cut in the shape of a mallet. (The mallet, traditionally carried by one of the Seven Gods of Fortune, is considered a symbol of good luck.) Toy shops invariably displayed signs with a representation of Daruma, the legendary founder of Zen Buddhism. A Daruma figure, with a rounded, weighted bottom that bounces back to an upright position, is a favorite toy in Japan. (Besides, the blessing of a God couldn't hurt business.) The artisans who produced these signboards were generally anonymous, but their ingenuity and skills were admirable. The signs were usually painted on wood with metal embellishments, and they demonstrated all the traditional arts practiced in Japanlacquer painting, wood carving, fine carpentry and calligraphy. The addition of calligraphy, in particular, stimulated the development of new styles of lettering and encouraged artists in this new career opportunity. One of the important 20th century Japanese craftsmen, Kitaoji Rosanjin, started as a kanban artist. Though the kanban idea dates back centuries, there are contemporary versions still in use today. For a recent exhibition of kanban at Japan House Gallery in New York City, two signs were contributed by Japanese merchants who obligingly removed them from their store fronts. And though most shops in Japan today are illuminated in neon and incandescent lights, the tradition of kanban endures. A Japanese proprietor is still likely to signal closing time with the words, "kanban desu,' meaning, "it's time to take in the sign:' Marion Muller
Brush shop. Early 17th century, brush shops proliferated to serve calligraphers. This beautifully carved model is painted with red handled and realistic inktipped bristles. 91.4 cm. (36 in.). Hardware shop. Wrought iron samples of hardware fastened to wooden sign identify merchandise in the shop. Calligraphy advertises "assorted metal work for furniture!' Typical mid-19th century kanban. 150 x 34 cm. (60 x 131/2 in.).
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20

If you've had the notion that trademarks, logos and corporate identity graphics are modernday inventions, cast your mind back to the Old Tbstament and to the history of medieval heraldry.

In the official heraldic record books, the description of a coat-of-arms, the blazon, is recorded like a formula, in precise sequence and nomenclature. Since the language of blazonry is an arcane mixture of French and English, and understood only by specialists in heraldry, the following descriptions are edited, simplified versions of the authentic blazons. A. Ttvo red diagonals on gold with three red roundels (circles). B. A naval crown surrounded by four crossescrosslets, surrounded by a disjointed cross enclosing four more crosses-crosslets, all gold on a blue ground. C. A red saltire (diagonal cross), with engrailed (scalloped) edges, on silver. The chief (upper third of shield) is blue, also engrailed, with a gold fraise (strawberry flower). The fraise is a typical design element for the family name "Fraser." D. A black and silver shield divided two ways: per fesse (horizontally), by a jig-sawed type of line called nebule, and per pale (vertically). The three annulets (rings) are black on silver; the three animal heads are silver on black. E. Gold shield with three vertical pallets (bars) in red, each charged with a scallop design in gold. F. A combination of horizontal, vertical and diagonal divisions called gyronny, alternating gold and blue. The chief (upper third) is silver with a red fleur-de-lis between two red crescents. G. A red shield with two bars and three mullets (stars) in silver. H. A bend (diagonal bar) flanked by parallel indented lines, all in gold on a red ground, with three red mullets (stars) on the bend. I. A shield divided per fesse (horizontally) with a bend (diagonal bar) and three annulets (rings) in gold and black, all reversing colors at the divider.

21
The Evolution. The business of sorting people into groups and then identifying them by symbols is older than history. But we find the first written mention of such a practice is in the Old lbstament, where the 12 tribes of Israel are referred to by designated symbolsthe lion of Judah and the wolf of the tribe of Benjamin, for instance. But the sumptuous heraldic symbols we see on banners and flags, on logos and public buildings today, derive from a specific system of symbols that evolved in Europe during medieval timesan era of knights, tournaments, wars and armor. Heraldry was purely functional! Before the invention of armor, men went into battle in their everyday animal pelts or clothing, with their faces exposed. It was no problem for combatants to recognize their leaders. But when knights went into battle encased in armor from head to foot, with even their faces hidden from sight by helmets with visors, it was not always possible to distinguish friend from foe. Very ingeniously, knights started to paint their shields with identifying stripes or marks, by which their foot soldiers could recognize them and follow them into battle, rather than the enemy leader. The earliest marks painted on the shields were simple geometric designs. Eventually, inspirational symbols like menacing lions were used, no doubt to psyche-up the platoon and psyche-out the enemy. Obviously, as the practice grew, and the number of symbols multiplied, it became necessary to keep records of who was who.

E The job fell to the heralds, men employed by noblemen and knights, who served as clerks, historians and organizers of their masters' affairs. Among their duties were to keep records of their employers' accomplishments in battles and tournaments, and to announce those feats when introducing their masters at public ceremonies. It was certainly logical for the heralds to keep records of the distinguishing marks of allies and opponents. Hence the name "heraldry!' When the shield designs were repeated on the coats worn over the armor, the words "coat of arms" also came into the language. As the heraldic records became more complex, and feudal lands were centralized under the control of a single monarch, the material was centralized into a central library. In England, in 1484, Richard III incorporated the royal heralds into a body called The College of Arms. It may surprise you to learn that The College of Arms is still in existence today, and last year cosponsored a sumptuous exhibition of "heraldry" at The NewYork Historical Society in celebration of the 500th anniversary of the College. From its inception to this day, it has been the job of The College of Arms to be a clearing-house (in a sense, a

22

HERALDRY

J. Three silver crescents on a red chevron surrounded by three red annulets (rings) on a gold ground. K. Shield divided per pale (vertically) in green and blue. Four interlaced mascles (lozenge forms), in gold, sandwiched between silver crosses-crosslets. L. Gold and black shield, with chevron, divided per pale (vertically), with colors reversing at mid-section. M. A green cross surrounded by four red martlets (small birds) on a silver ground. The chief (upper third) is blue with a dovetailed edge. Coat of arms for a family named "Bird." N. A red cross surrounded by four red roundels (circles). Within the cross a central star is surrounded by four crescents, all in gold. 0. Three silver piles (wedges) on a black shield; the chief (upper third) is red with a gold lion passant (walking). P. A red cross of St. George on a silver ground. The small upright sword in upper left is also red. Coat of arms of the Corporation of the City of London.

24

Magyar vigjatek -nyitiny Herkulesfirdoi eigek Kiinnyn lovass,ig, nyitany Korcsolyazik Fahrsi fecskek Udvizlet Pestnek A schinbrunniak A gladiatorott bevonulasa

litgalliCht1.8StSpiel -Ouvertire

Souvenir de Herithlestiirde Leichte Kavallerie,Ouverture Les Patineucs Dorfsdhealbal aus Osterreich Gruss an Pesth Die Schinbrunner Einzug der Gladiatoren Hungarian State Orchestra

The survival & flowering of moveposto 'SWAN BANwItiAl

23

copyright office) for heraldic designs. It ascertains that no designs are repeated; who is entitled to use a coat of arms (only direct descendants from the male line of the family). They also help new applicants work out appropriate emblems, if permission for a coat of arms is granted by the reigning monarch. Although heraldry evolved out of military necessity in medieval times, it would be a mistake to assume it ended there. The invention of gunpowder and the end of hand-to-hand fighting, did not mark the decline of heraldry. During the Renaissance, in fact, it flourished. There was tremendous enthusiasm for the decorative symbols for personal aggrandizement, business prestige and pure decoration. Heraldic emblems were painted on stone walls of fine homes, engraved in wood, embroidered into garments and home furnishings, woven into tapestries, set in stained glass and painted on flags and banners. Many incorporated organizationstowns, universities, guilds and commercial establishments acquired coats of arms. Not only was it a mark that elicited respect, but for illiterate people it became a mark of the authenticity of certain documents.

Heraldic Designs. As the designs were originally intended for shields, it follows that all heraldic emblems are in shield form. The shield design itself is identified by three components. One, the tincture refers to the colors, metals or furs used: blue, red, black, green, purple, gold, silver, ermine or vair (a fur from a small squirrel-like animal). TWo, the field pertains to the graphic division of the area. There might be vertical, horizontal, diagonal or crossed bands each differentiated with a specific name. The third element, the charge, relates to decorative representationspeople, animals, birds, monsters, flowers, plants, natural or man-made objects, which had some significance for the owner of the shield. Knights who fought in the Crusades invariably included a cross design in their coats of arms. Often the charge had some relationship to the owner's surname. Obviously there were even families (with a sense of humor we presume) that were not above making pictorial puns. Coats of arms adapted for a long line of sons, included additional symbols: The eldest was identified by the symbol of a file, the second son by a crescent, the third by a star, the fourth by a small bird (a martlet), the fifth by a circle or ring, the sixth by a fleur-de-lis, the seventh by a rose, the eighth by a cross with curved extremities, the ninth by an ornamental eight-sided design. Dividing lines between segments of the field took a variety of formssome were undulating, some resembled crenelated battlements, greek key designs, dovetailing, and other decorative variations. Beyond the shield, coats of arms might also be embellished with two additional units: a crest, consisting of a helmet with plumes and adornments typically worn by knights in tournaments; and supporters genralynimalor ythlogicafuresonbth sides of the shield. These are not essential but add some artistic, prestigious flavor to the basic design.

Modern Usage. In England, The College of Arms and the royal Heralds still perform their ancient duties. They organize coronations, the opening of Parliament, state funerals and processions of a ceremonial nature. And they are still in charge of issuing coats of arms to applicants. In addition to direct line male descendants of previous owners, individuals or corporate bodies whose work has been of benefit to the community, may apply for a coat of arms. If the request receives royal approval, a Herald will work out the details of a unique coat of arms for the new recipient. While there are few countries in the world that still hold coronations and similar extravaganzas, there is no country, state, city, university, private school or club that doesn't have some identifying emblem deriving from medieval heraldry. So anyone undistinguished by a family crest should not despair. Wrap yourself in your country's seal, your school crest, your scout emblem or Cadillac trademark. Chivalry may be dead, but it has left a little mark on all of us. Marion Muller

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2
In his development as an artist, Istvan was heavily influenced by Euro peans and Americans he admired: Folon, Roland Topor, Milton Glaser, Heinz Edelmann and Tomi Ungerer. But unfortunately, with such a wealth of influences to draw on, Istvan found it difficult to establish a personal style. As it turned out, the pressures and frustrations of his life guided him to an art form decidedly his own: a melding of the comically absurd and grotesque. His style of work was a natural for animation. In 1980 he created an original six-minute film, involving 4,000 drawings, which was presented in Ottawa, Zagreb and Lille. (Recently, to his delight, he found it on American television, too. ) His freelance work also included posters for films, record covers, catalog designs and children's book illustration.Although his work was drawing attention, and he won prizes for posters as well as mention in Graphis and Gebrauchsgraphik, his career took a really dramatic turn when he was hired to paint backgrounds for an animated film co-produced by French and Hungarian interests. His association with the French director, Rene Laloux, prompted him to make his way to Paris, where he eventually settled with his family. There he met Roland Topor, who was extremely supportive. Istvan was able to obtain work in Paris, illustrating for Le Monde, L'Expansion and for a children's book. He was finally discovered by Evelyne Menasce, Pushpin's representative in Europe, who helped him make his way to the United States. In 1981 he arrived in Los Angeles and learned the sad but true facts about public transportationor the lack of itin those parts. Looking for jobs in Hollywood, when you lived in Santa Monica, meant fourhour walks to and from work. Perseverance paid off, however. He eventually landed a job with Rod Dyer, Inc., where he spent a year making movie posters, new contacts and strides in his mastery of English. Finally, in 1982, Istvan went out on his own, freelancing mostly on animation projects. He supplemented his work with commercial illustration and record covers for CBS, MCA and Capitol. In 1984, with Pushpin representing him, his work made its way into Atlantic Monthly, The New York Times, Discover, and a number of other such noteworthy publications. This year, he is participating in the Society of Illustrators 26th Annual Exhibition, his first American public showing. If anyone still believes that an uprooted seedling, in a hostile environment, subjected to frequent transplanting is doomed to disaster, just look to the life story of Istvan Banyai. He not only survived the struggle, but has managed to blosMarion Muller som as well.

stvan Banyai did not have what anyone would call a good start in life. He was born in Hungary, in 1949, when Europe was just picking itself out of the ruins of World War II. His mother, a teacher, died shortly after he was born. His father's job as a railroad engineer kept him away from home for long stretches of time. He was raised by his grandparents, and later by his stepmother, who owned a toy shop in downtown Budapest. As if his tender roots were not disturbed enough by personal upheavals, in 1952 all of Hungary was nationalized. The toy shop was expropriated, and the family was proletarianized. For Istvan, growing up in Hungary, there was no great Hungarian Dream on the horizon. He saw only two choices: to look back nostalgically on a decadent past, or to look out at the bleak landscape of the present, which offered a view of crumbling old buildings, military uniforms, bullet-riddled remains of the aborted revolution, and imported soviettype slogans plastered on walls. The future held no promise. Whatever interest he had in architecture or science fizzled. There could be no architecture without building materials; no biology without laboratories. Here was a case in which to face reality could mean disaster; to escape reality was the healthy solution. Istvan found his escape. He loved to draw, and drawing became the outlet for his frustration, his anguish and alienation from his own country. His interest in drawing led him to the Academy of Applied Arts in Budapest, a school that modeled itself after the German Bauhaus. He graduated in 1972 and, in the same year, married a young university student who later became a lawyer.

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26

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BUCK PEARL S. CABRINI FRANCES XAVIER CALLAS MARIA CHILD JULIA CHURCHILL JENNIE CLEOPATRA CURIE MARIE DARE VIRGINIA DAVIS BETTE DICKINSON EMILY DUSE ELEONORA EARHART AMELIA EDERLE GERTRUDE ELIOT GEORGE ELIZABETH QUEEN FERBER EDNA FITZGERALD ELLA FORD BETTY GANDHI INDIRA GARBO GRETA GREIMAN APRIL GWYN NELL HATSHEPSUT QUEEN HELD ANNA HOLIDAY BILLIE ISABELLA QUEEN JEZEBEL JOHNSON OSA KELLER HELEN

How to play: Find and encircle, in the puzzle body, the words appearing in the Puzzle Word List. They appear vertically, horizontally, diagonally and even backwards. Don't cross letters out they may be used again as part of another name! To give you a head start, we have shaded one of the puzzle words. While these words may be spelled differently in other languages, please follow the versions in our Puzzle Word List.

A Word Search by Juliet Travison

Losungsanweisungen: Sie miissen in dem Ratsel die in dem Worterverzeichnis angegebenen Worter finden und umkreisen. Diese konnen senkrecht, waagerecht, diagonal und sogar rackwarts vorkommen. Streichen Sic keine Buchstaben aussie konnten als Teil eines anderen Wortes gebraucht werden. Urn Ihnen zu einem Anfang zu verhelfen, haben wir eines der Ratselworter schattiert. Obwohl Worter in anderen Sprachen unterschiedlich geschrieben werden mogen, halten Sie sich bitte an die englische Schreibweise.

--Itemetrt

ROSE

KING BILLIE JEAN KIRSTEN DOROTHY LEHMANN LOTTE

4.11.1WeitAt'Aiit Q U E EN

LINCOLN MARY TODD LIND JENNY LOPEZ NANCY LOW JULIETTE LUCE CLARE BOOTHE MARTIN MARY MEAD MARGARET

Regle du jeu: Retrouvez dans le puzzle et entourez d'un trait les mots qui figurent dans le Puzzle Word List. Its se lisent verticalement, horizontalement, diagonalement et meme l'envers. Ne barrez aucune lettre! Chacune pent resservir dans un autre mot. Pour vous mettre sur la voie, nous avons teinte un des mots du puzzle. Les memes mots peuvent avoir des orthographes differentes selon les langues. Tenez-vous en a l'orthographe que donne le Puzzle Word List.

MME.ET MI
MEIR GOLDA MESTA PEARL MIRO JOAN MODJESKA HELENA MONTEZ LOLA MOSES GRANDMA NEFERTITI NEVELSON LOUISE NIGHTINGALE FLORENCE OAKLEY ANNIE ONASSIS JACQUELINE PARKER DOROTHY PERON EVITA PIAF EDITH PONS LILY PRICE LEONTYNE RAINIER PRINCESS RIDE SALLY ROOSEVELT ELEANOR ROSE TOKYO ROSENBERG ETHEL ROSS BETSY SAND GEORGE SANGER MARGARET SEYMOUR JANE SMITH BESSIE STARR BELLE TALLCHIEF MARIA TERESA MOTHER THATCHER MARGARET TISSI ROSEMARIE TRIGERE PAULINE TUBMAN HARRIET ULANOVA GALINA VICTORIA QUEEN WEBB BEATRICE WEST MAE YALOW ROSALYN

crFAR-177MOREJREL TSEWATA I ROTC

WEBBLAJDUUAD RRRLOLIESBWE I EERWLNPROUA ET M I F ISCE I L I RONHNOGJ NC CU H DN

E K I RSTEN C VDLEHOLE A AREGZT I F L

BTTNEUOE L AEVATBTR A LNRSNM I T S L I AGOAS I GNRRMNST A REDEPA I I R BPONSONN R

ONASSISTI JEALLFPRI

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EHDLIHC NT I AEOA E SM I THHPHOROE GN I KVSSM K KAAB I I PODU SEDSALENSN I R ANNLARTAPO ELCOEL I T THE A LNLFORDBRM VETYSKEHYOR P LEARHART I Y E T OCL_A)AMJG 0 ETBHREERCE L R N I PTDRaRC E BOLEYNSQES T I D U C I NBOOU AN I KZEPOL MG I HLM I ARSR SGWYNEOGR AEEOMMLE G S I I LLTRAJA.T RRHTEBAZ,I LE SESOMARRS
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Solution to puzzle on page 84.

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IC A I TEA Til$,AKEL:pU L

NKHEADNASOL U
ILLUSTRATION BY JIM SPANFELLER.

KEY RESEARCH SOURCE, FAMOUS AMERICAN WOMEN BY JOHN McHENRY, DOVER PUBLICATIONS, INC.. NEW YORK.

HEADLINE / TEXT. ITC NEW BASKERVILLE SEMI BOLD SUBHEAD. BOLD PUZZLE ITC FRANKLIN GOTHIC BOOK CLUES DEMI WITH BOOK SMALL CAPS

SERI f7,s SAN

BY ALLAN HALEY

Scripts look like handwriting. Serifs are the little feet at the tops and bottoms of letters. Typefaces without serifs are generally called sans serifs (without serifs). There are relatively few controversies which revolve around typographic usage (most problems can be solved with simple common sense). There is one aspect, however; which seems to have no simple guidelines and is, thus, the target of frequent and sometimes heated argument. That aspect is whether serif or sans serif designs are most conducive to effective typographic communication.

29
One faction of typophiles will tell you that serif typeface designs are more legible, and contribute to higher levels of readability than sans serif styles. Another will tell you that sans serifs are more functional and have greater clarity of form than serifed typestyles. Which faction is right? Both are. Then which is the better communicator, serif typefaces or sans serif? Read on. Serif typefaces make up the largest group in the typographic spectrum. Many of these styles date back to the 16th, 17th, and 18th centuries. Although there John Baskerville and William Caslon in the early 18th century. To this day we still use versions of the works of these men, even though their original designs are as much as 500 years old. There are many different kinds of serifs. Some are just simple horizontal strokes. These can vary in weight from very fine to quite heavy; the heavier

Futura
ITC Kabel ITC Avant Garde Gothic
storied "a" we were taught to draw in grammar school. Middle ground styles are the result of a natural evolution of the first 19th century grotesques. They tend to be patterned after Akzidenz Grotesk, a

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemporary advertising the perfect

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In
Early serif typestyles

being called square, or slab serifs. With some serifs there is a filling-in (or bracketing) between the character stroke and the serif. There are fullbracketed serifs, fine-bracketed serifs, and every stage in between. Serifs can be soft and round, long and pointed, irregular, subtly structured, highly stylized, calligraphic, chiseled, and in some cases almost not there. Some of the more popular serif typestyles of the last century were heavy square serif designs. They were used for headlines and advertising copy because it was felt that the fat and heavy designs

ITC Franklin Gothic Helvetica Akzidenz Grotesk

typeface developed by the German typefoundry of Berthold in 1898. ITC Franklin Gothic and Helvetica are perfect examples of this style. These typefaces have a more pronounced contrast in stroke weight, and more curved strokes than does the geometric style of sans. The Roman, or calligraphic, sans is typified by Optima! The designer of this typeface, Hermann Zapf,

are several theories, no one is exactly sure how the serif originated. Some feel that serifs were a natural outgrowth of calligraphy. Others contend that they were a deliberate and contrived addition put on letters by the ancient Roman stonecutters. (To this day, typefaces with serifs are often called Roman designs, after the originators of the serif.) Since it is

I-10311.A1C1

main
Nineteenth Century square serifs

difficult to cut square-edged letters in stone, some have suggested that serifs were invented to give the stonecutters an established baseline and a little "cheating room" at the edges of each character stroke. Those who subscribe to the calligraphic theory also give the Roman stonecutters credit, but the story they tell is somewhat different. They believe that the

attracted the reader's attention. As the popularity of these designs increased they were designed still bolder (to attract more attention), and more condensed (to allow more words per line). But the bolder and more condensed they became, the more difficult it was to incorporate serifs into the design. In order to retain the tight and heavy image of the typeface, serifs had to be shortened. This tendency, together with the search for new alphabets, were two of the main reasons sans serif typestyles were born. The first version of a typeface without serifs was introduced in 1816 by William Caslon IV (a descen-

Optima
turned back to Roman. lapidary inscriptions for his proportional inspirations. Here the letters have a more hand drawn style as contrasted with the grotesque or geometric sans serif typefaces. They almost appear to be Roman typestyles. Optima is sometimes even classified as a Roman. Since their beginnings, sans serif typefaces have been typographic underdogs and are still criticized by many experts. The criticisms fall into two general areas. First, and most obvious, sans serif typestyles have no serifs to guide the eye across the page. Second, some feel that the apparent monotone weight in many sans serif typefaces tends to tire the eye in lengthy text composition. Despite the criticisms, sans serif typefaces are used increasingly. The reason? Primarily clarity of form. While the criticisms are based on fact, sans serif typefaces tend to have simpler and more recognizable letterforms than their serifed counterparts. Sans serif typefaces, therefore, can be ideal choices for typography which must be legible under adverse conditions: where space is at a premium, or at very small sizes. Also, because the numbers in

W CASLON JUNR
Caslon sans serif

MV

Calligraphic serifs

stonecutters first drew their letters with a brush before cutting them in the stone. The calligraphic brush strokes would leave serif-like terminals which were incorporated into the final work. Regardless of how they evolved, serifs can serve a vital typographic function: they can increase the ease with which words can be read. The human eye tends to be a very lazy organ and very susceptible to the rules of gravity. The natural tendency, when looking at almost anything, is for the eye to drop to the ground not the best trait when you consider that in most of

dant of the William Caslon who designed the important serif typestyle bearing his name). Because of the strangeness of the new style, it soon came to also be called "grotesque;" a name that still survives today in England. The influence and popularity of this new typestyle spread and soon typefounders of Europe and America were developing similar designs. There are three basic designs of sans serif letters:

abgh
Letters based on geometric shapes Letters based on roman letter forms

legibility
Serifs as guidelines for the eye

the world we read on a horizontal axis. Serifs can serve as a guideline for the eye, connecting letters to make words, and words to make lines of copy. This guideline can increase our ability to read faster and more efficiently. Nicolas Jenson is generally credited with creating the first serif design for type. This was in the late 15th century. Other important early serif typestyles were created by Claude Garamond in the mid 16th century;

abgh abgh

1234567890 1234567890 1234567890

Highly legible sans serif numbers

sans serif typefaces are usually exceptionally legible,

these designs are often the best choices for typography which is scientific or technical in nature. Parts lists and directories are additional natural applications for sans serif typestyles. And finally, to create a mood or a graphic effect, more and more text composition, normally dedicated to serif typestyles, is set in sans serif designs. Serif and sans serif typestyles make up the bulk of the typographic resource available to the graphic communicator. They can both be effective tools if used properly, and a well-rounded type library should have examples of each. Whether they have serifs or not, the great variety of letterforms is one of the key ingredients to vitality in typography. Breadth of typographic resource is an important part of effective graphic communication.

Sans serif between geometric and roman letter shapes

ITC Garamond ITC New Baskerville" ITC Gaston No. 224

those based on strict geometric forms those which have their roots in Roman letter shapes those which are somewhere in between the two Sans serif typestyles based on geometric forms grew out of the experimental designs created at the Bauhaus in the 1920s. These are faces like Futura, ITC Kabel and ITC Avant Garde Gothic! Sans serif designs based on geometric forms tend to be some of the most visually simple typefaces. Their weights appear to be monotone, and characters are created out of the most basic elements. Many have the single-

HEADLINE: ITC BENGUIAT BOOK CONDENSED, ITC FRANKLIN GOTHIC BOOK

BYLINE ITC BENGUIAT BOOK CONDENSED TEXT: ITC CENTURY BOOK WITH ITALIC CAPTIONS: ITC FRANKLIN GOTHIC MEDIUM

31

ITC Mixage is available in Book, Medium, Bold and Black weights with corresponding italics. Small caps have been created for the Book and Medium weights. Oldstyle figures are available for the roman and italic designs in all weights. 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: IIC_ ED

ca l%

These new typefaces will be available to the public on or after May 15,1985, depending on each manufacturer's release schedule. ITC Mixage- is a sans serif in the tradition of Optima' and Pascal. It is a design which mixes classic 19th century sans serif character proportions with a strong calligraphic influence. There is a subtle flair to character strokes which creates a warmth not usually found in sans serif typefaces. In text sizes the flair is almost imperceptible, while in display applications it provides the typeface with distinctive character and personality. A careful examination of ITC Mixage will also reveal character shapes and proportions reminiscent of typefaces such as Syntax and Antique Olive. The capitals are minutely heavier than the lowercase letters to add variety to text composition without disturbing color. Some sans serif typefaces have authority and order implied by geometric forms and a consistent line weight: ITC Mixage has a lively grace and subtlety that can only come from a calligraphic influence.
Of particular note in ITC Mixage are the single sided "f" and "t." Extensive tests were performed prior to the inclusion of these designs to ensure that they do not detract from typeface legibility. They can, in fact, contribute to improved levels of readability in many cases because of the improved inter-character spacing relationships they permit.

WHAT'S NEW FROM ITC

As with all ITC typefaces, the italics of ITC Mixage are not mere obliquing of roman character forms.
ITC Mixage is made available under a license from the Haas Type Foundry in Switzerland, and is the fourth ITC typeface family designed by Aldo Novarese of Turin, Italy. His previous ITC typefaces are ITC Novarese; ITC Fenice; and ITC Symbol Mr. Novarese has also created such important designs as Eurostile, Torino, and Nova Augustea among more than 160 typefaces.

BOOK

MEDIUM

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BOOK ITALIC

MEDIUM ITALIC

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BOLD

BLACK

ABCDEFGHIJKL MNOPORSTUVW XYZabcdeighijkl mnopqrstuvwxyz 12345678906i123 456789(4(1V/0c 0/ECEf34odiiiii flffi"(.,:;!? 2 =/#

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BOLD ITALIC

BLACK ITALIC

ABCDEFGHIJKLM NOPORSTUVWX YZabcdefghijklm nopqrstuvwxyz12 345671390&12345 6789o$qf %c*Ci A/ECEf301ee defffi fl ffiffr'(.,:;!?-r-ft"-/ #*)11- #V2345678
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M(12345678901 aeilmnorst

34

ITC MIXAGE"

BOOK
Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemporary ad vertising the perfect integration of design elements often d emands unorthodox typography It may require the use of c ompact spacing, minus leading, unusual sizes and weights; whatever is needed to improve appearance and impact. St ating specific principles or guides on the subject of typogra 6 POINT

MEDIUM
Excellence in typography is the result of nothing more th an an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemp orary advertising the perfect integration of design eleme nts often demands unorthodox typography. It may requi re the use of compact spacing, minus leading, unusual si zes and weights; whatever is needed to improve appear ance and impact. Stating specific principles or guides on

BOLD
Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understan ding used in its planning; the designer must care. In co ntemporary advertising the perfect integration of desi gn elements often demands unorthodox typography. I t may require the use of compact spacing, minus leadi ng, unusual sizes and weights; whatever is needed to i mprove appearance and impact. Stating specific princi

BLACK
Excellence in typography is the result of nothing mo re than an attitude. Its appeal comes from the under standing used in its planning; the designer must car e. In contemporary advertising the perfect integrati on of design elements often demands unorthodox ty pography. It may require the use of compact spacing minus leading, unusual sizes and weights; whatever is needed to improve appearance and impact. Statin

Excellence in typography is the result of nothing mo re than an attitude. Its appeal comes from the unde rstanding used in its planning; the designer must ca re. In contemporary advertising the perfect integrati on of design elements often demands unorthodox t ypography. It may require the use of compact spaci ng, minus leading, unusual sizes and weights: whate ver is needed to improve appearance and impact. St
7 POINT

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemporary advertising the perfec t integration of design elements often demands u northodox typography. It may require the use of c ompact spacing, minus leading, unusual sizes and weights; whatever is needed to improve appeara

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from th e understanding used in its planning; the design er must care. In contemporary advertising the p erfect integration of design elements often dem ands unorthodox typography. It may require the use of compact spacing, minus leading, unusual sizes and weights; whatever is needed to impro

Excellence in typography is the result of nothi ng more than an attitude. Its appeal comes fr om the understanding used in its planning; th e designer must care. In contemporary advert ising the perfect integration of design elemen ts often demands unorthodox typography. It may require the use of compact spacing, minu s leading, unusual sizes and weights; whateve

Excellence in typography is the result of nothi ng more than an attitude. Its appeal comes fro m the understanding used in its planning; the designer must care. In contemporary advertis ing the perfect integration of design elements often demands unorthodox typography. It ma y require the use of compact spacing. minus I eading, unusual sizes and weights; whatever i
8 POINT

Excellence in typography is the result of no thing more than an attitude. Its appeal corn es from the understanding used in its plann ing; the designer must care. In contemporar y advertising the perfect integration of desi gn elements often demands unorthodox ty pography. It may require the use of compac t spacing, minus leading, unusual sizes and

Excellence in typography is the result of n othing more than an attitude. Its appeal co mes from the understanding used in its pl anning; the designer must care. In contem porary advertising the perfect integration of design elements often demands unorth odox typography. It may require the use o f compact spacing, minus leading, unusual

Excellence in typography is the result of nothing more than an attitude. Its appea I comes from the understanding used in i ts planning; the designer must care. In c ontemporary advertising the perfect int egration of design elements often dema nds unorthodox typography. It may requ ire the use of compact spacing, minus le

Excellence in typography is the result of n othing more than an attitude. Its appeal c omes from the understanding used in its planning: the designer must care. In cont emporary advertising the perfect integra tion of design elements often demands u northodox typography. It may require th e use of compact spacing, minus leading
9 POINT

Excellence in typography is the result o f nothing more than an attitude. Its app eal comes from the understanding use d in its planning; the designer must car e. In contemporary advertising the perf ect integration of design elements ofte n demands unorthodox typography. It may require the use of compact spacin

Excellence in typography is the result of nothing more than an attitude. Its a ppeal comes from the understanding used in its planning; the designer mus t care. In contemporary advertising th e perfect integration of design eleme nts often demands unorthodox typog raphy. It may require the use of comp

Excellence in typography is the resul t of nothing more than an attitude. I ts appeal comes from the understan ding used in its planning; the design er must care. In contemporary adver tising the perfect integration of desi gn elements often demands unortho dox typography. It may require the u

Excellence in typography is the resul t of nothing more than an attitude. Its appeal comes from the understandin g used in its planning: the designer m ust care. In contemporary advertising the perfect integration of design elem ents often demands unorthodox typ ography. It may require the use of co
10 POINT

Excellence in typography is the res ult of nothing more than an attitud e. Its appeal comes from the under standing used in its planning; the d esigner must care. In contemporary advertising the perfect integration o f design elements often demands u northodox typography. It may requi

Excellence in typography is the re suit of nothing more than an attitu de. Its appeal comes from the und erstanding used in its planning; th e designer must care. In contempo rary advertising the perfect integr ation of design elements often de mands unorthodox typography. It

Excellence in typography is the r esult of nothing more than an att itude. Its appeal comes from the understanding used in its planni ng; the designer must care. In co ntemporary advertising the perf ect integration of design elemen ts often demands unorthodox ty

Excellence in typography is the re suit of nothing more than an attitu de. Its appeal comes from the und erstanding used in its planning; th e designer must care. In contemp orary advertising the perfect integ ration of design elements often d emands unorthodox typography. I
11 POINT

Excellence in typography is the r esult of nothing more than an att itude. Its appeal comes from the understanding used in its planni ng; the designer must care. In co ntemporary advertising the perf ect integration of design elemen ts often demands unorthodox ty

Excellence in typography is the result of nothing more than an a ttitude. Its appeal comes from t he understanding used in its pl anning; the designer must care In contemporary advertising th e perfect integration of design e lements often demands unorth

Excellence in typography is th e result of nothing more than an attitude. Its appeal comes f rom the understanding used i n its planning; the designer m ust care. In contemporary adv ertising the perfect integratio n of design elements often de

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its pl anning; the designer must care In contemporary advertising th e perfect integration of design e lements often demands unorth
12 POINT

Excellence in typography is th e result of nothing more than an attitude. Its appeal comes f rom the understanding used i n its planning; the designer m ust care. In contemporary adv ertising the perfect integratio n of design elements often d

Excellence in typography is t he result of nothing more tha n an attitude. Its appeal corn es from the understanding u sed in its planning; the desig ner must care. In contempor ary advertising the perfect in tegration of design elements

Excellence in typography is the result of nothing more t han an attitude. Its appeal c omes from the understandi ng used in its planning; the designer must care. In cont emporary advertising the p erfect integration of design

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understan ding used in its planning: th e designer must care. In co ntemporary advertising the perfect integration of desig
14 POINT

Excellence in typography i s the result of nothing mo re than an attitude. Its ap peal comes from the unde rstanding used in its plan ning; the designer must c are. In contemporary adv ertising the perfect integr

Excellence in typography is the result of nothing m ore than an attitude. Its a ppeal comes from the un derstanding used in its p lanning; the designer mu st care. In contemporary advertising the perfect in

Excellence in typograph y is the result of nothin g more than an attitude Its appeal comes from t he understanding used i n its planning; the desig ner must care. In conte mporary advertising th

35

BOOK ITALIC
Excellence in typography is the result of nothing more than a n attitude. Its appeal comes from the understanding used in its planning: the designer must care. In contemporary adver tising the perfect integration of design elements often dem ands unorthodox typography It may require the use of com pact spacing, minus leading, unusual sizes and weights; who tever is needed to improve appearance and impact Stating specific principles or guides on the subject of typography is di 6 POINT

MEDIUM ITALIC
Excellence in typography is the result of nothing more th an an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contempo rary advertising the perfect integration of design elemen ts often demands unorthodox typography. It may require the use of compact spacing, minus leading, unusual sizes and weights; whatever is needed to improve appearance and impact. Stating specific principles or guides on the su

BOLD ITALIC
Excellence in typography is the result of nothing more than on attitude. Its appeal tomes from the understan ding used in its planning; the designer must care. In co ntemporary advertising the perfect integration of desi gn elements often demands unorthodox typography. I t may require the use of compact spacing, minus leadi ng, unusual sizes and weights; whatever is needed to i mprove appearance and impact. Stating specific princ

BLACK ITALIC
Excellence in typography is the result of nothing mor e than an attitude. Its appeal comes from the underst anding used in its planning; the designer must care. I n contemporary advertising the perfect integration o f design elements often demands unorthodox typogr aphy. It may require the use of compact spacing, minu s leading, unusual sizes and weights; whatever is nee ded to improve appearance and impact. stating speci

Excellence in typography is the result of nothing mor e than an attitude. Its appeal comes from the underst anding used in its planning; the designer must care. I n contemporary advertising the perfect integration o (design elements often demands unorthodox typogr aphy. It may require the use of compact spacing, min us leading, unusual sizes and weights; whatever is ne eded to improve appearance and impact. Stating sp 7 POINT

Excellence in typography is the result of nothing m ore than an attitude. Its appeal comes from the u nderstanding used in its planning; the designer m ust care. In contemporary advertising the perfect i ntegration of design elements often demands uno rthodox typography. It may require the use of cam pact spacing, minus leading, unusual sizes and we fights; whatever is needed to improve appearance

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from th e understanding used in its planning; the design er must care. In contemporary advertising the p erfect integration of design elements often dem ands unorthodox typography. It may require th e use of compact spacing, minus leading, unusu al sizes and weights; whatever is needed to imp

Excellence in typography is the result of nothin g more than an attitude. Its appeal comes from the understanding used in its planning; the des igner must care. In contemporary advertising t he perfect integration of design elements ofte n demands unorthodox typography. It may req uire the use of compact spacing, minus leading unusual sizes and weights; whatever is needed

Excellence in typography is the result of nothin g more than an attitude. Its appeal comes fro m the understanding used in its planning; the d esigner must care. In contemporary advertisin g the perfect integration of design elements o ften demands unorthodox typography It may r equire the use of compact spacing, minus lead ing, unusual sizes and weights; whatever is nee
8 POINT

Excellence in typography is the result of not hing more than an attitude. Its appeal come s from the understanding used in its plannin g; the designer must care. In contemporary advertising the perfect integration of desig n elements often demands unorthodox typo graphy. It may require the use of compact s pacing, minus leading, unusual sizes and we

Excellence in typography is the result of n othing more than an attitude. Its appeal c omes from the understanding used in its p lanning; the designer must care. In contem porary advertising the perfect integration of design elements often demands unorth odox typography. It may require the use o f compact spacing, minus leading, unusua

Excellence in typography is the result of nothing more than an attitude. Its appea I comes from the understanding used in i ts planning; the designer must care. In co ntemporary advertising the perfect integ ration of design elements often demands unorthodox typography. It may require t he use of compact spacing, minus leading

Excellence in typography is the result of n othing more than an attitude. Its appeal c omes from the understanding used in its p tanning,. the designer must care. In contem porary advertising the perfect integration of design elements often demands unorth odox typography It may require the use o f compact spacing. minus leading, unusua
9 POINT

Excellence in typography is the result of nothing more than an attitude. Its appe al comes from the understanding used i n its planning; the designer must care. I n contemporary advertising the perfect integration of design elements often de mands unorthodox typography. It may r equire the use of compact spacing, min

Excellence in typography is the result of nothing more than an attitude. Its a ppeal comes from the understanding used in its planning; the designer mus t care. In contemporary advertising th e perfect integration of design eleme nts often demands unorthodox typog raphy. It may require the use of comp

Excellence in typography is the resul t of nothing more than an attitude. It s appeal comes from the understand ing used in its planning; the designer must care. In contemporary advertisi ng the perfect integration of design e lements often demands unorthodox t ypography. It may require the use of

Excellence in typography is the result of nothing more than an attitude. Its a ppeal comes from the understanding used in its planning; the designer mus t care. In contemporary advertising th e perfect integration of design eleme nts often demands unorthodox typog raphy. It may require the use of comp
10 POINT

Excellence in typography is the resu It of nothing more than an attitude Its appeal comes from the understa nding used in its planning; the desig ner must care. In contemporary adv ertising the perfect integration of d esign elements often demands uno rthodox typography. It may require

Excellence in typography is the re suit of nothing more than an attitu de. Its appeal comes from the and erstanding used in its planning; th e designer must care. In contempo rary advertising the perfect integr ation of design elements often de mands unorthodox typography. It

Excellence in typography is the re suit of nothing more than an attit ude. Its appeal comes from the u nderstanding used in its planning the designer must care. In contem porary advertising the perfect int egration of design elements ofte n demands unorthodox typograp

Excellence in typography is the res ult of nothing more than an attitud e. Its appeal comes from the unde rstanding used in its planning; the designer must care. In contempora ry advertising the perfect integrati on of design elements often demo nds unorthodox typography It may
71 POINT

Excellence in typography is the r esult of nothing more than an at titude. Its appeal comes from the understanding used in its planni ng; the designer must care. In co ntemporary advertising the perf ect integration of design elemen ts often demands unorthodox ty

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its pl anning; the designer must care In contemporary advertising th e perfect integration of design elements often demands unort

Excellence in typography is the result of nothing more than an attitude. Its appeal comes fro m the understanding used in it s planning; the designer must c are. In contemporary advertisi ng the perfect integration of d esign elements often demands

Excellence in typography is the r esult of nothing more than an a ttitude. Its appeal comes from t he understanding used in its pla nning; the designer must care. I n contemporary advertising the perfect integration of design ele ments often demands unorthod
72 POINT

Excellence in typography is th e result of nothing more than an attitude. Its appeal comes f rom the understanding used i n its planning; the designer m ust care. In contemporary adv ertising the perfect integratio n of design elements often de

Excellence in typography is t he result of nothing more tha n an attitude. Its appeal com es from the understanding u sed in its planning; the desig ner must care. In contempor ary advertising the perfect in tegration of design elements

Excellence in typography is t he result of nothing more th an an attitude. Its appeal co mes from the understanding used in its planning; the des igner must care. In contemp orary advertising the perfec t integration of design elem

Excellence in typography is Excellence in typography i Excellence in typography the result of nothing more t s the result of nothing mor is the result of nothing m han an attitude. Its appeal c e than an attitude. Its app ore than an attitude. Its a omes from the understandi eal comes from the under ppeal comes from the un ng used in its planning: the standing used in its plann derstanding used in its p designer must care. In cont ing; the designer must car lanning; the designer mu emporary advertising the p e. In contemporary adver st care. In contemporary erfect integration of design tising the perfect integrati advertising the perfect in
14 POINT

Excellence in typograph y is the result of nothing more than an attitude. I ts appeal comes from th e understanding used in its planning; the designe r must care. In contempo rary advertising the perf

36

ules are made to be broken. Well, sometimes. With purpose. With care. Some rules are decreed by kings. Others are passed by legislatures. And some just grow out of customs. Like the rule that says thou shalt set type in columns, running parallel to each other so they can be read top to bottom, left to right. But sometimes we break rules. Sometimes to defy. Sometimes for profit. And sometimes just for fun, or to get attention, or to make a point. After all, rules are made by people, so who can better break them than people? Writers and philosophers have had their say about rules. One Berton Braley wrote, "The grammar has a rule absurd which I would call an outworn myth: A preposition is a word you mustn't end a sentence with." Poet William Wordsworth wrote of a rule that seems to endure. "The good old rule sufficeth them, the simple plan, that they should take who have the power and they should keep who can." Alexander Pope gave thought to what happens when passion rules: "The ruling passion, be it what it will, the ruling passion conquers reason still." Stendahl once, replying to a criticism by Balzac, observed, "I see but one rule: to be clear. If I am not clear, all my world crumbles to nothing." Between them Herodotus and Ovid put mortals and gods in perspective. The former commented that "Circumstances rule men; men do not rule circumstances." And in Metamorphoses Ovid wrote, "The gods have their own rules." Has your conscience been troubling you recently? Perhaps you've broken some rules." In Of Human Bondage William Somerset Maugham wrote, "Conscience is the guardian in the individual of the rules which the community has evolved for its own preservation:' But George Ade saw things differently. He advised "To insure peace of mind ignore the rules and regulations." And so, your art director and

editor, seeking peace of mind and devoid of conscience have here indulged themselves by breaking some rules. No straightforward columns here. Sentences without verbs. Lines are too long. No paragraph indents. Now, ask yourself, if you have read this far, why did you? Did unconventional typography lure you? Did the words grab you so that you read on and on in spite of the presentation? Was there nothing better to do? Does it matter? In a way, it does matter. The typographic facet of our lives is daily pushed and pulled by advocates of graphic excitement and vitality on one side and on the other by those who revere clarity and order and controlled emphasis. Is there such a thing as a golden rule that says equal parts of vitality and clarity in design, the best of both worlds, is always the goal? Or does some pragmatic non-rule advise that there be no rules other than those that are appropriate to the problem, the message, the audience, the medium, the purpose? Is this a case of the end justifying the means; and if so, why not! No doubt all of us in the world of typographic communications have our own ideas about what's right, what works best. Perhaps a good rule to consider is: Let rules be a guide but not a rigid bond. If rules should not be followed blindly, neither should they be ignored without good reason. E.G.

TEXT: ITC SYMBOL BOOK, BLACK INITIAL: ITC FRANKLIN GOTHIC HEAVY

37

UCAC DC1DK
ALGA Graphic Design USA5
by Steven Heller and David R. Brown The work presented in the 1983-84 Annual of The American Institute of Graphic Arts has been selected from the Institute's competitive exhibitions. Included in this volume are: The Cover Show, The Book Show, The Bookjacket and Paperback Cover Show, Communication Graphics, AIGA Medalist Herbert Matter, and Cummins Engine Company graphics. The Annual serves as a professional reference: an index of designers, illustrators, photographers, typographers, printers, and others involved in the creation and production of graphic design. Watson-Guptill Publications, Inc., 1515 Broadway, New York, NY 10036. 432 pages. 9 x 12'.' Approximately 250 color plates and 300 b/w illustrations. Index. $49.95.

International Center of Photography Encyclopedia of Photography

Artist's Market-1985
A newly updated guide to selling commercial art with 2,500 art buyer listings. Listings for each market are prefaced with general market data, methods of buying and selling, contract terms, trade practices, plus appendix information on sampling, labeling, mailing, pricing, record keeping, taxes, copyright and reproduction rights. Writer's Digest Books, 9933 Alliance Road, Cincinnati, OH 45242. 548 pages. 61/4 x 9 Y8". $15.95.

The U&Ic Book Shelf reviews new books believed to be of interest to U&Ic readers and lists the publisher, with address, and the price of the book so that the books may be ordered directly. All prices are for delivery within the U.S.A. or Canada. Prices listed are based on payment accompanying order. If payment is not included, you will be billed for handling and shipping charges. Please add your local and state sales tax wherever applicable. For books to be delivered outside the U.S.A. or Canada, please request the price and shipping charges from the publisher.

Editor: William L. Broecker Editorial Director: Cornell Capa A major, up to date, one-volume work that combines the historical, artistic, technical and commercial aspects of photography. Documents the history and development of photography since its invention. Some 250 entries profile photographers who have invented, created, and provided something unique to photography. Included are Daguerre, William H. Talbot, Matthew Brady, Alfred Stieglitz, Edward Steichen, Ansel Adams, Diane Arbus, Richard Avedon, Herbert Bayer, Ernst Hoas, Irving Penn and Henri Cartier-Bresson. There is, in addition, a listing of over 2,000 other photographers. There are essays on aesthetic considerations, as well as technical entries on dye transfer prints, densitometry, holography, motion study, image enhancement, depth of focus and hundreds of other headings. Appendix lists national and international photographic societies and associations. Bibliography. Crown Publishers, Inc., One Park Avenue, New York, NY 10016. 672 pages.1,300 entries. 400,000 word text, 64 pages of full color photographs, 200 duotones, over 100 technical diagrams and charts. 9 x 111/4 $50.00.

Please note: U&Ic does not sell books. All orders should be placed directly with the publisher(s) concerned.
San Francisco Museum of Modern Art The Painting and Sculpture Collection
by Diana C. duPont, Katherine Church Holland, Garna Garren Muller and Laura L. Sueoka. It is impossible to capture the collection of an entire museum between the pages of a book, but within the pages of this book are more than 100 of the most important and best-loved works from the museum's collection. Each is discussed and supported by documentation. Every one of the 1,060 works in the collection is catalogued and reproduced in a complete checklist. An Introduction by Katherine Church Holland presents the history of the San Francisco Museum of Modern Art. Also elaborated upon is the museum's growth, selection of painters and sculptors, activities. Contains an Index and Index of Donors. Hudson Hills Press, Inc., 220 Fifth Avenue, Suite 301, New York, NY 10012.9 x 12'.' 404 pages.103 color plates, with double gatefold. 1,060 b/w illustrations. $75.00.

Cmft te d e ." 4^ ' OMNI gr*Phi drawings anknation advertising art greeting cards product designs technkal art and renderings!

NTEPNAM CENTER

Using Charts and Graphs

by Jan V. White This book claims 1,000 ideas for visual persuasion. It explains how to communicate visual statistics clearly, effectively, from how to think through data, how to decide on the kind of chart to use, how to organize and execute a wide variety of charts, graphs, maps and symbols. Readable. Practical. Customer Service, R. R. Bowker Co., P.O. Box 1807, Ann Arbor, Ml 48106. 202 pages. Index. 81/2 x 11". Paper. $24.95 plus shipping and handling.

OF 'HOT( VIRAPHY ENCYCL(TEDIA I N 141

PHOTOGMPHY

63rd Art Directors Annual

Designed by Chris Hill who carried the Statue of Liberty theme throughout this eye-stopping volume. A visual record of the best art and graphics from advertising, editorial, promotion, books and jackets, posters, art and illustration, photography and television. Spotlighted are the 1984's Hall of FamersCharles Eames, Wallace Elton, Sam Scali and Louis Silverstein. Fully illustrated. Robert Silver Associates, 95 Madison Avenue, New York, NY 10016.8 x 11 Y8" Membership list, indexed. $39.95. hstrd HT DIM TORS WWII
U.S. POSTAL SERVICE

STATEMENT OF OWNERSHIP MANAGEMENT AND CIRCULATION

(Required by 39 U.S. C. 3685)

1. TITLE OF PUBLICATION

A. PUBLICATION NO.

2. DATE OF FILING

U&Ic (Upper and lower case)

3. FREQUENCY OF ISSUE
Quarterly
(Street, City County State and ZIP Code) (Not printers)

ISSN 03828245
A. NO. OF ISSUES PUBLISHED ANNUALLY.
4

9/14/84
B. ANNUAL SUBSCRIPTION PRICE

4. COMPLETE MAILING ADDRESS OF KNOWN OFFICE OF PUBLICATION

2 Dag Hammarskjold Plaza, New York, NY 10017

5. COMPLETE MAILING ADDRESS OF THE HEADQUARTERS OR GENERAL BUSINESS
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MAILIN G ADDRESS OF PUBLISHER, EDITOR,.AND COMPLETE OMPL 6. FULL NAMES NOT be blank) MU SAND C (This ETE R MANAGINGEDITOR PUBLISHER (Name and Complete Mailing Address) International Typeface Corp., 2 Dag Harnmarskjold Plaza, New York, NY 10017 EDITOR (Nameand Complete Mailing Address)

Graphis Annual 84/85

Edited by Walter Herdeg With cover design by Milton Glaser and Preface by Phillip Meggs this edition of the Graphis Annual starts you off with a charge of electricity that increases as you turn each page. A showcase of graphic design and illustration as used in advertising and editorial assignments around the world. Fifteen categories are covered; including advertisements, annual reports, letterheads, magazine covers and illustrations and trademarks. Thirty-six countries are represented, from Argentina to the West Indies. This truly inspirational book is for all involved in the creative arts. Watson-Guptill Publications, Inc.,1515 Broadway, New York, NY 10036. 260 pages. 9 x 12.' Hundreds of b/w plates and 120 in color. Index to artists, designers, art directors, publishers, agencies, studios, producers and advertisers. $59.50.

Edward Gottschall - International Typeface Corp., 2 Dag Hammarskjold Plaza, New York, NY 10017
MANAGING EDITOR (Name and Complete Mailing Address)
Aaron Burns -

International lypeface Corp., 2 Cog Hammarslsjold Plaza, New York, NY 10017

must be stated and also immediately thereunder the 7. OWNER (If owned by a corporation, Its name and address 1 percent or more of total amount of stock. If not owned by names and addresses of stockholders owning or holding a partnership or other a corporation, the names and addresses of the individual owners must be given. If owned by unincorporated firm, Its name and address, as well as that of each individual must be given. If the publication is published by a nonprofit organization, its name and address must be stated.) (Item must be completed)

FULL NAME
International

COMPLETE MAILING ADDRESS

'typeface Corporation 60% 50%

2 Dag Ham.marslijold Plaza, NewYork, NY 10017 2 Dag Harnmarskjold Plaza, NewYork, NY 10017 812 W. Van Buren, Chicago, IL 60607
COMPLETE MAILING ADDRESS

tY^ k
1

Stockholders. Lubalin, Burns & Co., Inc. Electrographic Corp.

FULL NAME
None

OR HOLDING 1 PERCENT 8. KNOWN BONDHOLDERS, MORTGAGEES, AND OTHER SECURITY HOLDERS OWNING OR MORE OF TOTAL AMOUNT OF BONDS, MORTGAGES OR OTHER SECURITIES (If there are none, so state)

Typography 5
Presented in a beautifully designed book by B. Martin Pedersen are the 200 recipients of the Type Directors Club of New York's "Certificate of Excellence" for work produced in 1983. Over 3,500 entries were submitted from the USA and nine other countries around the world for this competition. Many fields within the industry are represented: packaging, advertising and promotion, logotypes, corporate graphics, editorial design, as well as many unique pieces.The jury (Olaf Leu, John Gibson, Minoru Morita, Ed Benguiat, Bob Czernysz, B. Martin Pedersen, Jessica Weber, Andy Kner and Victor E. Spindler) were hard-pressed to choose the,best of highquality typography from all over the world. Watson-Guptill Publications, Inc.,1515 Broadway, New York, NY 10036.8 1/4 x 11.' 40 color pages. More than 160 b/w photos. Indexed. $27.50.

9. FOR COMPLETION BY NONPROFIT ORGANIZATIONS AUTHORIZED TO MAIL AT SPECIAL RATES (Section 411.3, DMM only) The purpose, function, and nonprofit status of this organization and the exempt status for Federal income tax purposes (Check one)
(1) HAS NOT CHANGED DURING 1.2tI PRECEDING 12 MONTHS

Non-applicable

(2) 1-1 HAS CHANGED DURING K PRECEDING 12 MONTHS

(If changed, publisher must submit explanation of change with this statement.)

10. EXTENT AND NATURE OF CIRCULATION A. TOTAL NO. COPIES (Net Press Run) B. PAID CIRCULATION 1. SALESTHROUGH DEALERS AND CARRIERS, STREET VENDORS AND COUNTER SALES 2. MAIL SUBSCRIPTION C. TOTAL PAID CIRCULATION (Sum of 1081
and 1082)

AVERAGE NO. COPIES ACTUAL NO. COPIES OF SINGLE ISSUE EACH ISSUE DURING PUBLISHED NEAREST PRECEDING TO FILING DATE 12 MONTHS

179,104
none

181,665 none 166,329 166,329 5,735 172,065 9,800 none 181,685

163,242 163,242 7,475 170,717 8,387 none 179,104

D. E.

FREE DISTRIBUTION BY MAIL, CARRIER OR OTHER MEANS. SAMPLES COMPL1MENTARY AND OTHER FREE COPIES TOTAL DISTRIBUTION (Sum of C and D)

F. COPIES NOT DISTRIBUTED 1. OFFICE USE LEFT OVER, UNACCOUNTED. SPOILED AFTER PRINTING 2. RETURN FROM NEWS AGENTS
of E. Fl ,..n urns h oE G. TOTAL ''.5 pres s 2-should equal net

11. I certify that the statements made by me above are correct and complete PS Form June 1980 3526 (Pa ge I)

SIGNATURE AND TITLE OF EDITOR, PUBLISHER, BUSINESS MANAGER, OR OWNER.

Richard P. Conway, Controller

(See instruction on reverse)

TEXT. ITC USHERWOOD BOOK WITH BLACK

38
Specimen booklets for each text/display typeface can be purchased from ITC.The order form for these specimen booklets appears on page 86 of this issue ofli&lc.

The ITC Typeface Collection

The typefaces shown on these pages represent the complete collection of ITC Typefaces as of May 15, 1985.

TEXT/DISPLAY FACES

3)--*

DISPLAY FACES

NEW FROM ITC

ITC MCI LINEY ontgem Ty ewritez1301,c1 ITC Bauhaus Heovy 1143 fflaulhug GBicawQrri (1)QuUldae ITC Bernase Roman ITC Bolt Bold ITC/LSC Book Regular Roman ITC/LSC Book Regular Italie ITC/LSC Book Bold Roman ITC/LSC Book Bold Italic ITC/LSC Book X-Bold Roman ITC/LSC Book X-Bold Italic E7r DoolffEEm allUaG \wfiql 0. ;Yalgle ITC Bookman Couto r with Swag"'
-

ITC/ISC ITC/iSC endeared Italy ITC Didi gffg lAcmo gmenix ITC Eras Contour ITC FM FAer ITC Firenze FTeinkh aomri Bane
Franklin Gothic Outline Shadow

ITC MixageT" Book

Book Italic

Medium
Medium Italic

Bold
Bold Italic

Black
Black Italic

C 3USOYIY LG--- *

rric/Lsc Gaston Regular No.223 Italic

ITC/LSC Caslon Bold No.223 ITC/ LSC Gaston Bold No.223 Italic ITC/LSC Caslon X-Bold No.223 ITC/ LSC Caslon X-Bold No.223 Italic ITC CI eiltarmliam 011 ITC Cheltenham Ontlint Shadow ITC Cheltenham Contour llTO CIleargke Outae ITC Clearface Contour ATC Cc le Outline i1

ITC DUSORtilti MEDIUM ITC BUSORAMA BOLD ITC Caslon Headline ITC /LSC Caslon Light No.223 ITC/ LSC Caslon Light No.223 Italic ITC/LSC Caslon Regular No.223

ITC Fearddin Ic ITC Gorilla ITC Grizzly ITC Grouch ITC Honda [141 Emb211 CDV[Ihg ITC Ube, Co tour MDTEEEM Bolld, anartn
-

ITC Leawood Book

Book Italic
Medium Medium Italic

Bold
Bold Italic

Black
Black Italic

ITC MACHINE ITC MACHINE BIN

ITC Symbol -

111471St Mczatcattir ITC Milano Roman ITC NEON Vat 1.4111.1Ltik ITC Rondo Light ITC Ronda ITC Ronda Bold dUC 5@lltY 6WhOc aid WNW I CAW Stymie Hairline ITC Tom's Roman ITC Upright Regular ITC Upright neon

Book
Book Italic

Medium
Bold

Medium italic Bold Italic

Black
Black Italic

ITC Veljovic" Book

Book Italic
Medium

Bold

Medium Italic

Bold Italic

Black
Black Italic

39

ITC American Typewriter'

Light

ITC Bookman'
Light
Light Italic

ITC Eras
`

Medium

Medium
Medium Italic Demi Demi Italic

Bold
Light Condensed

Book Medium Demi

Bold Ultra

Light

ITC KabeI Book

Medium Demi

Bold
Ultra

ITC Serif Gothic Light Regular Bold Extra Bold

Heavy Block

Medium Condensed

Bold Condensed ITC Avant Garde Gothic

Extra Light Extra Light Oblique

Bold
Bold Italic

ITC Korinna" ITC Fenice

Light

Regular
Kursiv Regular

ITC Souvenir
Light Light Italic

ITC Caslon No. 224

Book Book Italic

Light Italic Regular Regular Italic

Bold

Bold Kursiv Bold Extra Bold

Kursiv Extra Bold Heavy

Medium
Medium Italic

Book Book Oblique

Medium Medium Oblique Demi Demi Oblique
Bold

Medium
Medium Italic

Demi
Demi Italic Bold Bold Italic

Bold
Bold Italic

Bold !talk Ultra Ultra Italic

Kursw Heavy

Black
Black Italic

ITC Lubalin Graph"

ITC Franklin Gothic
Book
Book Italic Book Oblique Medium

Bold Oblique

Book Condensed
Medium Condensed Demi Condensed Bold Condensed

ITC Century'
Light

Extra Light Extra Light Oblique Book

ITC Tiffany
Light Italic
Medium
Medium Italic

Light

Medium
Medium Italic

Light Italic Book Book Italic Bold

Bold Italic Ultra

Demi
Demi Italic
Heavy

Medium Oblique
Demi Demi Oblique
Bold

Demi
Demi Italic

Heavy
Heavy Italic

ITC Barcelona"
Book
Book Italic

Heavy Italic
Friz Quadrata Friz Quadrate

Bold Oblique

Ultra Italic
Light Condensed

Medium
Medium Italic

Light Condensed Italic

Book Condensed Book Condensed Italic Bold Condensed Bold Condensed Italic

ITC Modern No. 216"

Light Light Italic
Medium
Medium Italic

Bold
Bold Italic

Friz Quadrata Bold

Heavy
Heavy Italic

ITC GalliardRoman Roman Italic Bold Bold Italic

Ultra Condensed
Ultra Condensed Italic

Bold
Bold Italic

ITC Usherwood" Book Book Italic Medium Medium Italic Bold Bold Italic

Black
Black Italic

ITC Bauhaus"
Light

Heavy
Heavy Italic

Medium

ITC Che1tenham
Light

Black
Black Italic

Demi
Bold

Light Italic
Book
Book Italic

Ultra
Ultra Italic

ITC New Baskerville"

Roman Italic Semi Bold Semi Bold Italic

ITC Weidemanti"
Book

Book Italic
Medium Medium Italic

ITC Benguiat
Book
Book Italic

Bold

Bold Italic
Ultra

ITC Gararnoncr
Light Light Italic Book Book Italic

Bold
Bold Italic

Bold
Bold Italic

Medium
Medium Italic

Ultra Italic Light Condensed

Black
Black Italic

Black
Black Italic

Bold
Bold Italic Book Condensed Book Condensed Italic

Light Condensed Italic

Book Condensed
Book Condensed Italic

Bold
Bold Italic

Bold Condensed
Bold Condensed Italic

Ultra
Ultra Italic Light Condensed Light Condensed Italic Book Condensed Book Condensed Italic

ITC Newtext'
Light Light Italic Book Book Italic Regular

ITC Zapf Boole

Light Light Italic

Medium Condensed
Medium Condensed Italic

Ultra Condensed
Ultra Condensed Italic

Medium
Medium Italic

Bold Condensed
Bold Condensed Italic

Demi
Demi Italic

ITC Clearface
ITC Benguiat Gothic' Book Book Italic
Medium Medium Italic Bold Bold Italic Heavy Heavy Italic

Bold Condensed
Bold Condensed Italic

Regular Italic
Demi

Heavy
Heavy Italic

Regular Regular Italic

Bold Bold Italic

Ultra Condensed
Ultra Condensed Italic

Demi Italic

Heavy
Heavy Italic Black

Black Italic

ITC CushingITC Berkeley Oldstyle

Book Book Italic Medium Medium Italic Bold Bold Italic

ITC Isbell Book Book Italic Medium Medium Italic

ITC Novarese Book Book Italic

Medium
Medium Italic

YTC Zapf Chancery

Light Light italic Medium Medium italic Demi

Bold
Bold Italic

Bold

Bold
Bold Italic

Book

Ultra

Book Italic
Medium
Medium Italic

Heavy
Heavy Italic

ITC Quorum"'
Light Book Medium Bold
Black

ITC Zapf International Light Light Italic

Medium
Medium Italic

Bold
Bold Italic

Italia
Book Medium

Heavy
Heavy Italic

Demi
Demi Italic

Black
Black Italic

Bold

Heavy
Heavy Italic

bits and pieces about

41

What's behind the recently aroused ardor for old-time patchwork quilts? American women have been sewing them for over 300 years without much ado. But lately there has been a good deal of celebration and hoopla over those admirable handiworks. Different devotees have different reasons: Women's groups have taken a proprietary interest in quilt-making because they see it as a historically feminine domain, and they interpret the quilting bee as the first form of feminist networking in this country. Collectors, antique dealers, curators of muse-

A. Feathered star Mennonite pieced quilt; 16 red and yellow stars alternate with dark squares and diamonds, all edged in sawtooth pattern which gives "feathered" effect. Berks County, Pennsylvania. c.1890.

urns and craftspeople all passionately acclaim the quilts, once considered to be strictly a craft, as the equal to fine art. Americans with very red-white-and-blue blood are warmed by the general consensus that the patchwork quilt is a uniquely American cultural contribution. Speaking for myself, I have no lofty causes to espouse in the name of "quilts," but I love patchwork quilts for a number of reasons: for their unpretentiousness, for their total usefulness, for their surprising patterns and color combinations; but most of all, because they are totally comprehensible. In a world of scientific, technological and electronic marvels I must accept on faith,but don't begin to understand; in the midst of a new wave of art and music and dance that defies deciphering, the patchwork quilt is a human creation I can understand from concept to the finest detail. It is based on the simplest of principles, constructed with the most elementary materials snips of fabric, a needle and threadand it serves the most essential of purposes. For works of such exquisite beauty to have evolved from such an economy of means is surely worth the attention and admiration heaped upon them. The concept of quilting. The idea of a quilt goes back to the first time a man turned an animal skin fur-side-in and discovered the insulating properties of a three-layered fabric. His own skin provided the body heat; the middle layer of fur trapped the warm air, and the outer animal hide kept the warm air from escaping.

A
HEADLINE ITC ZAPF INTERNATIONAL MEDIUM. HEAVY TEXT: LIGHT WITH HEAVY CAPTION ITC VEUOVIC BOOK WITH BOLD

42
for show and warmth, and rare creations of extraordinary fabrics, embroidered by professionals, in ecclesiastic motifs. The latter were treasured as works of art and were not intended for human comfort. In the 16th century in Europe, an emerging middle class created an increased demand for decorative home furnishings patterned after upper class possessions, and a new amateur class of embroiderers was nurtured into existence. For the most part, linen, wool and silk were the fabrics used. Cotton was a foreign crop, and the cottons most eagerly sought were the glazed chintzes in opulent patterns that were produced in India. Not only were they favored for their exotic patterns of flowers, birds, vines, fantastic animal and human forms, but the Indians had perfected a system of dyeing that produced colorfast fabrics of intense colors. The fabrics were highly desirable for quilt coverings as well as other home furnishings. But the popularity of Indianmade cottons did not sit well with the British, whose domestic cottons were no match for the

in frigid castles, they supported the weight of jewels and heavy decorative trimmings with which the clothes were bedecked. There is no exact date to pinpoint the invention of the quilt as we know it. It is almost certain to have preceded written records. The idea of decorative quilted fabrics seems to have been born in the East and was brought back to Europe by the Crusaders. In the northern countries of Europe they evolved into the puffy featherbeds filled with soft down and feathers. In other countries of Europe, three main types of quilt were produced: common quilts of plain materials that were strictly for warmth; quilts of imported sumptuous fabrics intended
Aside from such ready made coverings for their bodies, primitive people made primitive mattresses to sleep on by filling sacks with leaves, twigs, featherswhatever loose materials they could find. When a similar sack was used on top of the body, it became the forerunner of what we call a quilt. The actual word derives from the Latin word for stuffed sack, culcita. Naturally all the loose filler in such sacks might easily migrate to one end of the bag, but some ingenious person devised a system of tacking or knotting the filler in placea system which persists to this day. The concept of quilting, or sandwiching a filler layer between two pieces of cloth, has produced more than just bed clothes. It has been used to produce protective fabrics for all sorts of purposes: for clothing that protects against the cold, as a lining for armor to protect against blows, for curtains and drapes to protect against drafts, for pot holders to protect against heat, for carpet matting to protect against wear. And in the case of opulent royal garments of past centuries, quilted fabrics not only kept people warm

imports in color, pattern or quality of dye. To protect its home industry, Parliament passed restrictive laws forbidding the import of foreign cottons. The laws caused great consternation, and they were defied wholesale. Eventually they were repealed, but protective tariffs were levied on foreign cottons which made them attainable but unapproachable in price. The long and short of it was that women started to squirrel away bits and pieces of old, cherished

43

B. Moon and stars

A pieced Mennonite crib quilt made of full and half circles composed of pie-shaped wedges. Handling curved shapes was a test of a wornan's needlework skills. Unlike the Amish, Mennonites used patterned fabrics in their quilts. Pennsylvania. c.1890.

D. Fan
The pattern became popular in the early 1880s, possibly because of the discovery and interest in Japanese motifs. It was revived in the early 1920s and '30s, especially by Amish quiltmakers. Holmes County, Ohio. c.1920.

C. Acorn and mariner's compass

A combination pieced and appliqud quilt. Blue and white diamonds and sawtooth border are pieced together; the acorn (a relatively rare pattern) and the compass (a familiar one) are appliqud on the white blocks. Ohio. c.1870.

E. Diamond in the square

A typical Amish pieced quilt; the central diamond a symbol of Christ. The simple geometric design and dark, quiet colors belie the lavish, intricate quilting patterns. Lancaster County, Pennsylvania. c.1900.

TEXT ITC FRANKLIN GOTHIC DEMI, ITC SOUVENIR LIGHT, ITC GARAMOND BOLD CAPTIONS ITC VEUOVIC BOOK WITH BOLD

In the colonies, time was not a factor in the evolution of quilt design.The patterns and quality of the quilts that were produced were more a matter of geography and social status of the women who worked them. During the 18th and 19th centuries, exquisite medallion quilts were produced in the parlors of Boston and Philadelphia at the same time that simple, primitive crazy quilts and one-patch designs were being stitched in the back country of Kentucky and Virginia. In the 1840s a group of immigrants from Germany and Switzerland settled in the new world,

fabrics. When newgarments were cut, they salvaged the fallout. The practicegave rise to a new style of quilt, made, not from whole lengths of patterned fabric, but from cutout designs stitched onto solid backgrounds. Such designs are called appliqu6, or "applied" patterns. Quilting in the colonies. The restrictive laws and tariffs on cotton goods that inconvenienced English ladies back home, worked even more hardship on the English colonists who first settled in America. As everyone knows from their basic American History, the settlers were not affluent middle class people, but desperate folks searching for an escape from debtors' prisons and political and religious harassment. Everything they needed for survival in the harsh climate of the new world had to be coaxed out of the earth, produced by their own hands or imported from England. Not only were the colonists forbidden to import fabrics from any country but England, they were denied the right to raise their own flax for linen, or sheep for wool. And if the price of cotton goods was high for British ladies, it was four times higher for the colonists. (It was not the tax on tea alone that raised the hackles of the settlers.) Of course the laws were defied. The colonists raised flax and sheep and created their own domestic fabric, linsey-woolsey, a coarse material with a linen warp and a woolen weft. They used it for clothing and home furnishings, and salvaged leftover scraps of oldgarments which they cut up into small pieces and stitched together for quilts. It was generally a motley assortment of dull colors in haphazard shapes, intended for warmth and not beauty. But this crazy-quilt was the forerunner of the typical American patchwork quilt. Some colonists whose fortunes raised them to middle class status hankered for the niceties of clothing and furnishings they remembered from home. But local ministers railed against profligate and ostentatious behavior, and it was decidely in bad taste to ape the British oppressors. So middle class ladies also took to salvaging fabrics from their old clothes and from every scrap that fell from the yardgoods purchased for newgarments. It was these scraps that worked their way into the quilts that were uniquely American. Aside from the scarcity of fabric, there was another condition of colonial life that contributed to the evolution of the patchwork quilt. The small rooms of their cabins did not allow fora permanent quilting frame to be erected and available for continuous use. So instead of working on a quilt in full size, the quilt tops were constructed in small squares that a woman could work in her lap. Only when all the necessary squares were completed and joined, was the quilting frame set up to complete the job.

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staking out rich farmlands in Pennsylvania, Ohio and Indiana. They were the Amish people, a religious sect that scrupulously excluded itself from the rest of society, but which nevertheless exerted a powerful cultural influenceespecially in American folk art. The Amish people submit to a strict code of behavior that is tightly controlled by their religious teachings. They work in close harmony with nature, eschew modern conveniences and any technology powered by electricity, and follow a set of personal rules called Ordnung. The rules, set by the local community, generally prohibit the use of bright, showy, patterned, decorative and form-fitting clothes. Everything worn must be functional; never attention-getting. Their compliance with these restrictive rules eventually earned them the nickname, "plain people." When the Amish women en-

45

F. Brick wall Rectangles of fabric pieced together in continuous bands around a 9-patch center square. The placement of the solid blue patches to form the "X" is a variation of the traditional brick pattern. Ohio. c.1920. G. Album quilt Generally, album quilts were assembled from pieced and appliqud blocks contributed (and signed) by different people. This appliqu "Black Family Quilt" is unique because of the human figures represented, and because it is the work of one woman, Sarah Ann Wilson. Eastern U.S.A. c.1854.

H. Split bars An Amish pieced quilt typical of the early 20th century, when women started to purchase brightly colored, commercially dyed fabrics instead of using subdued home-dyed cloth. Lancaster County, Pennsylvania. c.1910. J. Bar pattern An Amish quilt with seven central bars; typical simple pattern, but lavishly quilted in swag, chevron, floral, diagonal, feathered and rope motifs. Lancaster, Pennsylvania. c.1890.

TEXT: ITC GALLIARD ITALIC WITH BOLD ITALIC, ITC KORINNA REGULAR CAPTIONS, ITC VEUOVIC BOOK WITH BOLD

46

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K.Flags Although ready-made flags were sometimes used for patriotic quilts, in this quilt each square was pieced together of red and white stripes and white stars on tiny blue squares. New York State. c.1910. L.Dolls An unusual pieced quilt, as figures are rarely represented in quilt designs. The white squares placed diagonally against brown ground create a streak of lightning effect. The doll-like figures are pieced in primary colors. Southern Missouri. c.1900. M.Broken star A Mennonite pieced quilt composed of squares, diamonds and triangles that radiate from an 8-pointed star. The intricate pattern and quilting stitches indicate rare needlework skills. Pennsylvania. c.1890.

gaged in making quilts, their constrained lifestyle inspired a peculiarly expressive and vibrant style of quilt. For one thing, the women were never schooled in reading, writing, and certainly not color theory. Their instinct for color and shapes seemed to come from their experience with arranging and tending their flower gardens. Working with the dark, somber colors permitted for their clothing, they seemed to have a built-in sensibility for placing a touch of bright color just where it was needed. Without any knowledge and pedantic rules of color harmony, they created daring combinations that are breathtaking in their unexpectedness and beauty. Pieced quilt patterns. As anyone who has ever sewed a seam will attest, it is simplest to join and match straight edges. For people who were also trying to utilize every fraction of an inch of fabric, the elementary shapes of square, rectangle, triangle
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and diamond were the least wasteful.And so, with a few exceptions, almost all the pieced quilts made in America were based on those geometric patterns. Many designs were copied outright from established patterns exhibited at fairs. Women often exchanged their templates with each other, and in time, patterns were offered in books and magazines

N. House and tree In some versions of this pattern the houses and trees are alternated, checkerboard fashion. In this variation, all 21 houses are different in design; they fill the entire center of the quilt, and the trees occupy the four corners. Virginia. c.1900. 0. Pieced star design The four large star patterns are pieced together from an assemblage of smaller 9-patch squares and triangles. An everyday quilt of homespun cloth. New England. c.1820.
TEXT: ITC MODERN NO.216 LIGHT WITH BOLD CAPTIONS. ITC VELIOVIC BOOK WITH BOLD

47
devoted to needlework designs. Some quilts were created like a mosaic, with tiny modules of squares, triangles or hexagons joined to each other, piece-afterpiece, until the desired quilt size was reached. The Amish, who came upon the quilt-making scene well into the late 19th century, could afford to be more expansive with their fabrics. Their quilts often were designed with large central squares of a solid color or alternating colored stripes, augmented with strips of varying color and surrounded by broad borders. Many pieced quilts, sewed by nimble, experienced hands, were embellished with appliqus on top of the patchwork designs. But the typical patchwork quilt was designed in a series of squares or patches which a woman could conveniently work in her lap. Each square contained a basic unit which could be repeated throughout the quilt or alternated with other patterns. The squares could be oriented in the same direction, or flopped, or arranged at right angles to each othercreating a vast potential for diversity. The patterns themselves were limitless: checkerboards on a vertical-horizontal axis, checkerboards on a diagonal; triangles arranged in a star format, or triangles arranged like pinwheels; geometric shapes arranged to suggest flower baskets, houses, fences, furrows, flowers, trees, birds in flight ...the combinations and permutations permitted infinite variations. Color variations too created three-dimensional effects. Many patterns were such favorites, they were copied and repeated endlessly without apology. There were certain patterns, however, that did not appear too frequently, because they could only be worked by the most skillful hands or because of symbolic or superstitious associations with them. Curved shapes, like the fans and doublewedding ring pattern, were extremely difficult to execute. Besides, the double wedding ring pattern, a complicated pattern of interlocking rings, was reserved only for dowry quilts. Neither did anyone sew hearts or lovers' knots into a quilt unless it was intended for a bride. An intricate pattern called wandering foot was considered too suggestive for a young person who might be influenced to wander away from the family and never return. And among very devout people, it was considered a sign of arrogance and an offense against God to attempt to make a perfect quilt. Consequently, a woman would deliberately create
-

TEXT: ITC CUSHING BOLD

48
an error in the quilt by upending one of the squares or introducing an unrelated color. In the late 19th and 20th centuries, when quiltmaking became less of a necessity and more of a leisurely activity, women indulged their whims and fancies in their designs. They embellished quilts with appliques, with figures and with personal memorabilia. But however personal and singular a woman's efforts were in the construction of the top of the quilt, it was put together in a communal effort that came to be called the quilting bee. The quilting bee. In the early settlements, and even in the later periods of expansion to new frontiers, the quilting bee was as much a necessity for women as a luxury. It was a communal effort to do a job that would otherwise be tedious and waste an inordinate amount of time for a busy housewife to do alone. It was also a much needed socializing occasion for women isolated in their homes over long periods of bad weather. The purpose of the quilting bee was to finish the quilt by joining the top layer, filler and backing. In preparation, a quilting frame was set up in the largest room of the house, and chairs were set around for all the women who might participate. At least one woman worked each side of the quilt, and often two or more could fit comfortably on each side. The liner, or bottom layer was stretched across the frame; the filler spread evenly over its surface, and finally the decorative top was laid across the whole. The three layers were joined together by a pattern of quilting stitches, tiny running stitches, executed in a predetermined pattern. The pattern of the quilting often was at least as intricate as the pattern of the comforter itself. The simplest designs crisscrossed the surface of the quilt in parallel close-together lines to hold the filler firmly in place. Experienced sewers indulged their imaginations in complex quilting patterns that took the form of elaborate flower garlands, sheaths of wheat and floral wreaths. The patterns were transferred to the cover with chalk or with pinpricks, and were executed with tiny running stitches, accompanied by running conversation. Skill was measured in the number of stitches one could take to the inch (14 was an admirable number), and there was much pride in announcing the number of spools of thread used to complete the job. When all the quilting was done, the raw edges were finished with a binding material. The hostess of the quilting bee provided food and other amenities for as long as the quilting lasted. Women who lived close by might return for several hours on consecutive days. People who came from a distance might spend a few days, but generally, with enough pairs of willing hands, a experimental, more expressive and more self-indulgent. In the late 19th century, the raging fashion in England and America was the Victorian Crazy Quilt. It was lightyears away from its misbegotten ancestor, the dreary, colorless crazy quilt made of discarded clothes in colonial times. The Victorian Crazy Quilt was a kaleidoscope of sumptuous silks, velvets and brocades in jewel colors, stitched together with elaborate embroidery stitches in yarns of colored silk. These were not filled quilts, as they were intended for decoration, not for warmth. The sewing machine, the fabrication of rayon and synthetic fabrics, all had their effect on the patterning of patchwork quilts. Amish women, who were especially adept at making quilts, found their designs to be highly marketable. They created many for commercial use, indulging in brighter colors than the restrained somber tones they used in their own homes. New dyes, new fabrics and the development of smooth dacron filler enlarged the vistas of quitters and simplified the process. Today many craftspeople are using the quilt as a purely esthetic form. They are developing original patterns, combining unusual textures and colors, expressing social, political, personal and abstract themes, much as painters do. They work with sewing machines instead of quilting needles; they hang their work on walls instead of beds. But they use two layers of fabric with a filler in between, and a quilt is a quilt for all that. Marion Muller

The quilts shown here are in the collection of America Hurrah, New York City, and are reproduced with the gallery's permission.

P. Whigs' defeat Women often expressed patriotic fervor or alluded to historic events in their quilt designs. This red, white and blue appliqud quilt celebrated the defeat of the Whigs, a political party (forerunner of the Republicans) that was active from 1834 to 1855. c.1860. Q. Rings A pieced quilt of striped fabric squares intersected by arcs comprised of tiny wedges. Rings were formed by arranging squares at right angles to each other. Mennonite, late 19th century, Pennsylvania. R. Bar quilt An Amish quilt with typical central bars and 9-patch squares in corners of inner border. The Amish and Mennonites, known as the "plain people" restricted themselves to dark, subtle color combinations. Amish never used patterned fabrics except for underside of quilt. Lancaster County, Pennsylvania. c.1890. S. Double 9-patch An Amish pieced quilt. Each of the 16 large squares is composed of nine smaller squares. Alternate squares in each block are, in turn, a composite of nine small squares. The breakdown into these tiny sections afforded women the opportunity of using the tiniest scraps of leftover fabric. Lancaster, Pennsylvania. c.1900.

quilt could be finished in a day, after which the feasting and frolicking commenced. The quilting bee was as much a part of early American country life as barn raisings and harvesting bees. Patterns of change. As with all things, the Industrial Revolution turned the quilting business around. Once blankets, quilts, comforters and bed clothes of all sorts could be manufactured with great speed and at accessible prices, handmade quilts became a project of personal fulfillment rather than necessity. Designs were more

TEXT ITC SYMBOL BOOK WITH BOLD, ITC KORINNA BOLD WITH HEAVY

CAPTIONS: ITC VELJOVIC BOOK WITH BOLD

49

DESIGN
Making the Message Memorable
How do companies add some zip and zing to their corporate meetings? Many turn to Meeting Environments, a multimedia presentation studio in New York City. There, Richard Decker, a graduate of the Art Institute of Pittsburgh, creates special computer graphic effects for major multimedia presentations. Since joining Meeting Environments, Richard has perfected his skills in this new field. (The basics in computer graphics are taught at all The Design Schools.) By programming, Richard can make specially prepared artwork streak, spin or even appear to be animated. Then it's all captured on slides. Using up to 21 projectors, presentations created for Johnson 86 Johnson and Bristol Myers have involved designing and coordinating a vast number of slides. The results are dramatic, the message always memorable.

Tempting tourists to Texas

is one of the assignments from Montgomery County for Nancy Parsons and her Graphic Design Group. An Art Institute of Houston graduate, Tiancy (at right) reviews a slide.

And Miles to Go
This pen-and-ink poster illustration was done by Shawn Berlute-Shea for Minnesota Finlandia's ski marathon. He and his wife, Kristen, founders of Amber Sky Illustrators in Lakeland, Colorado, met at the Colorado Institute of Art and often visit the school to meet with students.

Sharing a Bite In the Big Apple

Six Design Schools alumni who work in Manhattan met for lunch at the Museum of Modern Art. From left to right are freelaPce photographers Kevin Mitchell and Morris Lane, studio owner Marie Guard, production coordinator Nancy Potter, illustrator Lee Corey and production artist Gary DiLuca.

No Fear Of Flying
Kurt Hollomon, a graduate of the Art Institute of Seattle, is a busy freelancer in Seattle. One of his major accounts in this Washington seaport is Airborne Freight. Lately, he's finding the time to get his illustration career airborne, too. His work has a whimsical style and will soon make the rounds with publishers.

We teach our students more than design and art. We teach work.
Career preparation: That's what The Design Schools are all about. Students here
receive intensive classroom instruction, including professional-level assignments that challenge them to solve art, design and production problems under deadline pressures. Students attend classes five days a week, all year round. After two years, they graduate, fully prepared to work productively for you the first day on the job. The Design Schools Employment Assistance Offices in eight cities are ready to help fill your staffing needs. Fast. Call the toll-free number or mail the coupon.

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For immediate attention to your staffing needs, call Toll free

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50

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" Precision letterforms from Switzerland. Imported only by Autologic.

MEDIA
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The heritage of Swiss typographic excellence dates back to the beginnings of printing and continues in the 20th century. The sans serif designs created in
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Frutiger, instrumental in establishing the logical rationale of modern Swiss letterform design, are especially noteworthy contributions. Autologic offers a continuation of that heritage in
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MEDIA MEDIUM

typify the Swiss traditions of precision and beauty. In 1975, the typographic department of Autologic SA in Lausanne, Switzerland commissioned the design team of Andre - Gschwind to develop a text face for use on its phototypesetters. Development and testing of design proposals involved more than a year of exhaustive studies. The final result was the creation of
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1982, condensed versions of roman and medium and a bold weight were added when Media was adapted for use on Autologic's APS-5 and APS-Micro 5 imagesetters. A bold condensed was
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complete the series in mid-1985. Media is an innovative serif design offering an attractive alternative to such standards as Times, Baskerville, and Garamond. It achieves excellent
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in x-height common to many contemporary text faces. The stem to serif transitions, the contrasts of thick and thin, and the assymetric serifs create a dynamic form without srle. ciug,the e n Color essential to good legibility. Media embodies an understanding of the delicate balance between tradition and innovation in letterform design.

MEDIA BOLD CONDENSED

With Signa, Gurtler, Mengelt, and Gschwind created a free-form, almost calligraphic letterform. The design of Signa was in response to the Lave d'Or (Letter of Gold) competition held in Lausanne in 1977-78. Designers were invited to submit letterforms which were legible, original in design, suitable for text and display, and free from the concepts of traditional sans serifs. Signa, the winner of first prize in the competition, met and exceeded all of these expectations. Signa blends a simple sans serif form with calligraphic fluidity and a suggestion of pen-formed serifs in the oblique flares of the stems. These qualities produce a letterform suitable for text and distinctive display. Signa is also a beautiful counterpoint to Media. Its calligraphic embellishments and balanced stroke contrasts perfectly compliment the textural qualities of Media. Both exhibit the same rhythmic form which is at once mannered and yet graceful and free from convention. Media and Signa are part of Autologic's continuing typographic development program. In the United States and in Switzerland we employ the science of computer based production systems to facilitate the art of letterform design. Our commitment is to provide a range of innovative, high-quality digital letter forms for use on Autologic's unsurpassed imaaesettina eauipment. In short, a fusion of Typographic Art Et Science for graphic communications.

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SIGNA ROMAN

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abcdefghijklmnopqrstuvwxyz

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SIGNA ITALIC

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SIGNA MEDIUM ITALIC

SIGNA MEDIUM CONDENSED

AUTOLOGIC
Autologic, Inc. Autologic SA 1050 Rancho Conejo Boulevard CH-1030 Bussigny Newbury Park, California 91320 Lausanne, Switzerland (805) 498-9611/(818) 889-7400 (027) 89 29 71 Subsidiaries of Volt Information Sciences, Inc.
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SIGNA BOLD

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56

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57

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Omnicomp Pearson Typographers San Francisco, California Chicago, Illinois 415-398-3377 312449-5200

Phil's Photo Washington, D. C. 202-293-2214

Photocomp RB Montreal, Quebec 514-933-6789

Phototype House Los Angeles, California 213-933-9124

PM Typography Campbell, California 408-374-0743

(Thl Set to Fit Stamford, Connecticut 203-325-8800 Kansas City, Missouri 816-931-1683
sharpgraphics

Shore Typographers Chicago, Illinois 312-588-4383

Southwestern Typographies Dallas, Texas 214-748-0661

Spectrum Composition Stamford Typesetting New York, New York Stamford, Connecticut 212-391-3940 203-327-1441

00

cLL-1-

Typesetting Service Typesetting Service Cleveland, Ohio Providence, Rhode Island 216-241-2647 401-421-2264

Typeware Austin, Texas 512-346-4331

Typographical Service Fort Lauderdale, Florida 305-772-4710

Typographic Service Los Angeles, California 213-749-8383

Typography Plus Dallas, Texas 214-630-2800

For more information and a complete listing of all the characters in TIA contact Typographers International Association, 2262 Hall Place NW, Washington, DC 20007 (202) 965-3400.

59

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I
Better Graphics Bold Faces Chiles & Chiles
Dallas, Texas 214-690-4606

Cliff Typographers Composition Systems

Los Angeles, California Falls Church, Virginia 703-237-1700 213-487-4452

Connell Typesetting
Kansas City, Missouri 816-842-1484

Crystal Lake, Illinois Santa Monica, California 213-393-0069 815-455-3830 V-00-W

Continental Composition
Chicago, Illinois 312-332-1800

County Photo Compositing

Southborough, MA 617480-0205

DeLine-O-Type
Orange, California 714-639-2562

Design Typographers
Chicago, Illinois 312-329-9200

Design & Type

DG&F Typography

San Francisco, California Columbia, South Carolina 803-799-9140 415-495-6280

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Eastern Typesetting Hartford, Connecticut 203-528-9631

E B Typecrafters Denver, Colorado 303-294-9240

Composition Kenilworth, New Jersey Blue Bell, Pennsylvania 201-241-6161 215-542-7790

Elizabeth Typesetting

Estelle Bair

etCETERA Typography Fort Worth Linotyping

Orlando, Florida 305-841-0384 Fort Worth, Texas 817-332-4070

kLLS,:k\
Mono Typesetting Monotype Composition Morneau Typographers Newark Trade Mercury Typography J&L Graphics Typographers Phoenix, Arizona Bloomfield, Connecticut Boston, Massachusetts Northbrook, Illinois San Francisco, California Orange, New Jersey 602-258-5741 617-269-4188 203-242-3006 415-864-1338 312-272-8560 201-674-3727
00

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PolaGraphics
Vancouver, B.C. 604-685-6592

Porter Graphics
Santa Ana, California 714-558-1947

Queen City TypeGraphics

Cincinnati 513-621-4480 Louisville 502-589-1851

Rapid Typographers

San Francisco, California Rochester, New York 415-982-6071 716-546-1690 c "?'

Rochester Mono/ Ruttle Shaw & Wetherill Philadelphia, Pennsylvania Headliners

215-627-5710

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Total Typography
Chicago, Illinois 312-421-4313

Techni Process Limited

Toronto, Ontario 416-363-2493

The Firm of Christopher Wren

Costa Mesa, California 714-540-0801

The Type Gallery Seattle, Washington 206-285-6333

The Type House +

Trade Typographers
Washington, D. C. 202-667-3420

Duragraph
Minneapolis, Minnesota 612-588-7511

V's00 -Ar f

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Typotronics
St. Louis, Missouri 314-647-8880

U. S. Lithograph Inc.
New York, New York 212-673-3210

Weimer Typesetting Woodland Graphics

Indianapolis, Indiana Bedford, Massachusetts Newton, Massachusetts 617-275-1600 317-635-4487 617-926-9600

Wrightson Typographers

Dwight Yaeger Typographer

Columbus, Ohio 614-294-6326

Typographers International Association. We set the standards.

60

a new generation!
Helvetica 25 Ultra Light
Helvetica 26 Ultra Light Italic

Helvetica...
abcdefghijklmnopgrstuvwxyz ABCDEFGHIJKLMNOPQRSTU 1 234567890 .,;:"Sdn
Helvetica 35 Thin

Helvetica 27 Ultra Light Condensed

abcdefghjklmnopgrstuwwxyz ABCDEFGHIJKLMNOPQRSTUV 1234567890 ..:"&!?$

Helvetica 36 Thin Italic

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1 234567890 ,,;:'&2$

Helvetica 37 Thin Condensed

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTU 1 234567890 .,;:"&!?$

Helvetica 45 Light

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 .,;:"&!?$

Helvetica 46 Light Italic

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1 234567890 .,;:"&!?$

Helvetica 47 Light Condensed

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 .,;:"&!?$

Helvetica 55 Roman

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 .,;: "&!?$

Helvetica 56 Italic

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1 234567890 .,;:"&!?$

Helvetica 57 Condensed

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 .,;:"&!?$

Helvetica 65 Medium

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 ..:"&!?$

Helvetica 66 Medium Italic

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 .,;:"&!?$

Helvetica 67 Medium Condensed

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 .,;:"&!?$

Helvetica 75 Bold

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 ..:"&!?S

Helvetica 76 Bold Italic

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 .,;:"&!?$

Helvetica 77 Bold Condensed

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 .,;:"&!?$

Helvetica 85 Heavy

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 .,;:"&!?S

Helvetica 86 Heavy Italic

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 .,;:"&!?$

Helvetica 87 Heavy Condensed

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 .,;:"&!?$

Helvetica 95 Black

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 .,;:"&!?$

Helvetica 75 Bold Outline

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 .,;:"&!?$

Helvetica 96 Black Italic

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 .,;:"&!?$

Helvetica 97 Black Condensed

bcdsffg kd[rinnopgPetOnMn ABCDIEFUMMILNKOPC)NOMWMKM 2M667960 0,;"Bn

Helvetica 75 Countour abCIAPIIIIICBITalaMW11111WWWK

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 .,;:"&!?S

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 .,;:"&!?$

Helvetica 107 Extra Black Condensed

AB DEFRNEMINIMOMMOU UVWXYZ cj 24456 7890 .9rezat

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 .,;:"&!?$

61 The NEW numbered Helvetica series:

Its timeless quality and universal range of applications have made Helvetica the most widely used typeface of any composing room or typeshop. It has become a standard. Originally designed in 1957 for hand composition, it has been adapted over the years for all methods of composition, from hot metal line composition and opto-mechanical phototypesetting of the first generation to modern digital typesetters. The new possibilities offered by CRT and Laser technologies have prompted us to create a new series of Helvetica the new numbered Helvetica series drawing on the existing complete Helvetica series and resulting in a pleasant synthesis of aesthetic and technical aspects.

There are subtle changes in many details

M
tf

When first applying hot metal Helvetica to

photocomposition, corresponding character widths were maintained in both the regular and the bold versions even for the wider characters. When adapting Helvetica to the 54-unit system, which allows for delicate refinements, a number of characters in the bold version, such as capital M, have been given an extended width, for aesthetic reasons.

Wider bars in lower case t and f throughout the whole family add to their legibility, especially in the smaller sizes.

Helvetica 23 Ultra Light Extended

abcdefghriklmnopqrstuvvvxyz ABCDEFGHIJKLMNOPQRSTU 1234567890 .,;:"&!?$

Helvetica 33 Thin Extended

Lower case r ends in a longer curve for easy recognition even in such critical character combinations as narrow-set rn.

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 .,;:"&!?$

Helvetica 43 Light Extended

rr rr

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 .,;:"&!?$

Helvetica 53 Extended

rr
E /E

Character shapes, for instance lower case r in the black extended, which differed from those in the other versions, have been redrawn.

abcdefghijklmnopqrstuvwxyz ABCDEFGH IJKLMNOPQRSTUVWXYZ 1234567890 .,;:"&!?$

Helvetica 63 Medium Extended

We have also redesigned such difficult combinations as k and CE.

cE

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 .,;:"&!?$

Helvetica 73 Bold Extended

For increased harmony with the overall appearance of the Helvetica face, round characters have been given softer curves.

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The more generous width of the figures better reflects the characteristic style of Helvetica.

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 .,;:"&!?$

Helvetica 83 Heavy Extended

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 .,;:"&!?$

Helvetica 93 Black Extended

23580 23580

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 .,;:"EAMS

LLIED Linotype

...a timeless selection!

62

1.Tc.)M
TYPE CLASSIFICATION CLASSIFICATION DES POLICES DE CARACTERES SUDDIVISIONE PER CARATTERE KLASSIFIKATION DER SCHRIFTEN
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Building a strongly competitive working type library is one of the most important decisions a typographer has to make. Whether you operate your own typesetter or specify type, Compugraphic Corporation offers one of the largest digital type libraries in the industry. You can choose from over 1,500 of the most versatile and accepted

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typefaces in use today: the industry favorites, newer families that are in demand, as well as ITC typefaces and licensed designs fromfoundries throughout the world. To learn how Compugraphic's specially priced typeface packages can be a revenue generator for your business, contact your Cornpugraphic Type Specialist or call today at 1 (800) 225-0924.

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Compugraphic Corporation, Type Division, 66 Concord Street, Wilmington, MA 01887

63

VGC INTRODUCES ITS NEWEST "10-IN-1" DAYLIGHT STAT CAMERA FOR ART DEPARTMENTS.
Total Camera II. Now with microprocessor control and programmable memory.
When you're up to your neck in artwork there's nothing like VGC's new Total Camera II to lend you a helping hand. It's fast and simple to use, works in full room light, and saves you time and money, too. The basic black & white stat camera unit will deliver a wide variety of one-step reproductions on paper or film including enlargements, reductions, screened halftones, reverses, even special effects such as mezzotints. Add modular components as you need them and gain any or all these capabilities: Full color sized prints or transparencies; RC photocomp processing; photos of 3-D objects; enlargements from slides; graphics modification (create all sorts of borders, unusual typographyand more); plus book copying, backlighting, production of 3M Color Keysthe list goes on. To find out how VGC's Total Camera II can help you run a more cost-efficient, creative, and productive department, write or call now.

I I a. 11111111._.111111111111111111
\59
Call Us Toll-Free
VISUAL GRAPHICS CORPORATION
VGC Park, 5701 N.W. 94th Ave., Tamarac, FL 33321

Please tell me more about Total Camera II. Name Organization Address City/State/Zip Phone
U&Ic 5/85

1-800-327-1813.
IN CANADA (416) 533-2305.

Title

One promo. urs. One print.11/01. One proof. Color. One prpmise.Quality. One prize.Service. One prosh I. Ours.
HEADLINERMENTICOLOR
Amsterdam (Hill 31-20 276-4510 Atlanta (H) 404-892-65004 Atlanta (I) 404-953-3252Auckland (I) 64-9 778-990 'Austin (H) 512-447-5096 Baltimore (I) 301-687-1222 Berlin (I) 49-030 261-4203 Boston (H/I) 617-742-4866 Brussels (H) 32-2 538-9005 Brussels (H) 32-2 524-0070 Cedar Rapids (H) 319-366-6411. Chicago (H/i) 312-467-7117 Cincinnati (H) 513-751-51160 Cleveland (H) 216-621-5388. Cologre (H/I) 49-211 403-028 Copenhagen (H) 45-1 151-134 Dallas (H/I) 214-363-5600 Dayton (H/I) 513-223-6241* Denver (H) 303-233-9128 Denver (I) 303-832-7156 Detroit (H) 313-567-8900 Dusseldorf (H/I) 49-211 370-943 Edinburgh (H) 44-31 225-1030 Essen (H/1) 49-201 775-057 Frankfurt (H) 49-611 724-651 Gothenburg (H) 46-31 421-417 Hamburg (H/I) 49-40 234-141. Helsinki (H) 358-0 136-95 Houston (H/I) 713-861-2290 Indianapolis (H/I) 317-634-1234 Kansas City (H) 913-677-1333Little Rock (H) 501-375-5395 London (H/I) 44-1 580-7045Los Angeles (H/I) 213-938-3668. Louisville (H/I) 502-451-0341 Melbourne (H/I) 61-3 690-6788 Milwaukee (H) 414-352-3590 Minneapolis (H/I) 612-339-06150 Montreal (H/I) 514-861-7231 Munich (H) 49-89 295-047New York (H/I) 212-687-0590. Omaha (H/I) 402-556-6333. Orange County (H) 714-541-3341 Oslo (H) 47-2 330-019 Paris (HA) 33-1 337-8000 Philadelphia (H/I) 215-592-7474 Philadelphia (I) 215-568-6310 Pittsburgh (H/I) 412-391-3778Portland (H) 503-226-3943 Rochester (H) 716-546-1694 Rochester (I) 716-337-0483 San Diego (H/I) 619-234-6633 San Francisco (H/I) 415-864-1338 Seattle (H/I) 206-285-6333 St. Louis (H) 314-644-1404. Stockholm (H) 46-8 349-255 Stockholm (I) 46-8 109-816. Stuttgart (H/I) 49-711 613-075Sydney (H/I) 61-2 290-1122 Toronto (H/I) 416 593-7272Washington [H/I) 301-277-8311 Wiesbaden (H/I) 49-6121 444-267Zurch (I) 41-1 351-120

65

Berthold's quick brown fox iliMPs over the lazy dog 8 seems to hear his own Laudatio now.
After the fox became our beloved champion of typographical display, we decided to name a whole new generation of machines in its honor: Berthold Fox is a new multi-computerintegrated-system.

Poppl-Laudatio italic abcdefghijklmnopqrstuvwxyza ABCDEFGHIJKLMNOPQRSTUV 1 234567890% ( ; ! i ?/-). "",Poppl-Laudatio medium abcdefghijklmnopqrstuvwx ABCDEFGHIJKLMNOPQRST 12345678900/(.,-;11 ?/-).[""" Poppl-Laudatio medium italic, abcdefghijklmnopqrstuvwxy ABCDEFGHIJKLMNOPQRSTU 1234567890%(.,-;11?/-).r,"" Poppl-Laudatio bold abcdefgh ijklmnopqrstuvw ABCDEFGHIJKLMNOPQRS 12345678900/0(.,-;H?/-).1"""

Poppl-Laudatio bold italic abcdefghijklmnopqrstuvw ABCDEFGHLIKLMNOPQRS 1234567890%(.,-;11?/-).1"1, Poppl-Laudatio light condensed abcdefghijklmnopqrstuvwxyzaao ABCDEFGHIJKLMNOPQRSTUVWXY 1234567890 0/0(.,-;li ?/-)-[""".]+Poppl-Laudatio condensed abcdefghijklmnopqrstuvwxyzaa ABCDEFGHIJKLMNOPQRSTUVW 1234567890%(.,-;!i?/-)[""".] +

Poppl-Laudatio medium cond. abcdefghijklmnopqrstuvwxyzaa ABCDEFGHIJKLMNOPQRSTUV

1234567890 0/(.,-;Ii?/-).[""".a]

Poppl-Laudatio bold condensed abcdefghijklmnopqrstuvwxyzia ABCDEFGHIJKLMNOPQRSTUV 1234567890 0/0(.,-;11?/-).["""01 POPPL

AU DA I 0
BERTHOLD

fototype

berthold

Berthold Exclusive Typefaces are a range of designs for photosetting which you will find nowhere else. Our unique program now comprises 25 type families with total of 125 fonts, and Poppl-Laudatio is among them. A free specimen is as near as your nearest mailbox. Please write to: H. Berthold AG, TeltowkanalstraBe 1-4, D-1000 Berlin 46, West-Germany Or from overseas to: Alphatype Corporation, A member of the Berthold group 7711 N. Merrimac Avenue, Niles, Illinois 60648

66

Monotype Typography Typographical and Technological Leaders since 1897

Monotype introduced the first typesetter in 1897 with advanced technology. Today we lead the graphic arts with the advanced technology of Lasercomp.
MonoI YR Manoql. mono, Manotype Monotype Monotype

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Monotype

Monotype

Monotype Typography for Newspapers

We have supported the newspaper industry since 1933. Monotype now leads with NIMROD, the typeface developed specifically as digital type for modern newspaper print technology.

Monotype Monotype

typography

Monotype

Monotype Monotype

typography

typography

typography

typography

Monotype Typography for Books and Magazines

Our high reputation has been built on the long-standing mastery of typographic excellence.

Monotype Monotype

typography typography

Monotype

Monotype

typography

typography

typography Monotype typography

Monotype Typography for Business Equipment

Our skillfully modified low resolution output enhances computer and electronic media in today's competitive business machine market.

Monotype Typography for Language Setting

We pioneered typesetting in non-Latin alphabets, helping to spread literacy in cultures outside the Western World.

erican Typewriter & American Typewriter & American '1 writer & American Typewriter & Amencewritel' & 11 r i I bion & American Typewriter & Apollo & Apollo Apollo & Ashley Script & Avant Garde Gothic & Avant Gar ie Gothic & Avant Garde Gothic & Av Avant Garde Gothic & Avant Garde othic & Avant Garde Gothic& Avant Garde Gothic Avant Garde Gothic & Avant Garde Garde Gothic & Avant Garde Gothic & Avant Garde Gothic & Avant Garde Gothic & Avant G de Gothic & Avant Garde Gothic as ervi Baskervi le & Basker ,ille & Baskerville& askerville & Baskerville & Baskerville &Bell Got c & Bell Gothic & Bembo& B , mbo& Bem enguiat Gothic &13onguiat GotlBembo Bembo& aenguiat&Benguiat& :,enguiat & Benguiat & Benguiat & Benguiat& Benguia Gothic todoni & 11,1 oni & Bodoni & Bo okman & Bc Blado &Bodoni & Bodoni & Bodoni& Benguiat Gothic & We guiat Gothic & Ben mat Gothic & an& eitud4 Svtot & C 11 edo nia & C Bookman & Bookm &Boo Bookma & Book n of n &Bookman & eokman & Bookman & & Calvert & Candida & & Candi a Candida & Cand Ida & Centu Candid Caledonia & Caledo &Caledonia &Cale nia & Calvert oolbook & Century .,choolbook 8 Century Schoolbook Schoolbook & Century century Century Century. Ce. tury & Century & ,riorz & Clarion & Chrendon & CI Century Sch olbook Schoolbook & tury Schoolboo ' & Century Century choolbook &Clearf ce & Cle rfa e & Clearface Gothic Clearface Clearface &Clearface Clarendo &Clearfa ,earface&Clearface & Clearface& tienne 'F' & Egyp Jenne 'F' & &Egypt enne 'F' s, T / & Egyptian & Egyptienne 'F' r Black & ntnru.,irr Clearfac.-: Gothic & I.00p Era & Eras & Eras & Er( s &Euro; cos & Era. & Engravers MO Englislt & Ehrha t & Ehrhardt & Egyptie ne'F' & hrhard & Ehrhardt & Euros ile & Eui casts & Excelsior & Ex oelsior & Excelsior & Falstaff' & F mice & Fi nice & F nice & Fenice &Fe ice & Fenict Fenice & enice & Fenice & Figaro & Folio & Folio Folio &Forte & Fournier & Fournier & 'ranklin othic & ranklin Gothic & Fr. nklin Gothi Franklin I othic &F G thic & Franklin Got is & Franklin Gothic & Franklin thic &F anklin othk & I'rench Round Face & French R nind Face Futura & rutura & Futura & Futu & Futura & Futura & Garamond Garagrollo' & Garamo rd &Garamond & G ramond & G Gill Sans Gill Sons &Gill Sans:, Gill Sans & Gill Sans & Gill Sans &Gill Sans & Gill San. & Gill S;!: ns & 61IL S'AN5 & Gloucester Id Style & G Gloucestt r &Glo cester & t oucester & Gloucester & iJoudy Modern & Goudy Modern (300110 t t & Goudy &Goody& Goudy Old Style & Goudy Old Style &Grotesque & otesque & Grotesque i Grotesque & Grotesq ue &1 rotesque& Grotesq ie &Grotesque &He dline&Helv Helvetica &Helvetic,: &Helvetica elvetica & Helvetica & Helvetica & Helvetica & elvetica (: Helvetica & H.Intice & Helvetica . Helvetica Helvetic & Helveti a & Helvetica .4 Helvetica & H tIvetica & Helvetica & Hely tics & Hely tics & Helvetica & Helvetica Inserat & NEAVSUCS & lc CishmUa- & lcone & lcone & Impri t & Imprint &Impr. nt & Imprint & Ionic & Ionic 6 Isbell & Isbel &Isbell &Isbell& talia & Italia Italia & It lia & Italit & Italian Old S le &Italian Old Styl & Italian Old Style Italian ld Style & KIa g & Korinna &Korinia&Korinne dirndl &Lightline Got' is& Meliur &Melior&Me ior &Mercurius Bold Script &. Korinna oKorinna.kKorinna & Kon a & Korinna & ,ern & Medd] Meridien & Meridie & Meridien & N eridien & Alodern & llodern &Moder &Moder n &Modern &M, dery &Modern & Morwlinz .'.c.tip & N uzeit'S' & Neuzeit 'S' &New Clarendo &New Clareno on & Ne s Gothic & Ne s Gothic & News Got lic &News C News Gothic & Ne s Gothic &News Pla. tin & News Plantin ' News Plantin News P'antin & Newtex & Newtext & Ne text & Ne' Cn Newtex - & Newt -,xt & Newtext & Ne \ text & Newtext Nimrod &A imrod & imrod & Nin - s d& Octavian & Octav an & 7,0/ & Pal tino & Palatin engl Text & )1d Style &Old Style Old Style &Gild tylle & Optir a & Opti la &Optima &Optim & Palatino & alatino & ' alatino&pep44 &Pcrp 'tua & Perpctua & Perp- tua & Perp: tua & Ph tina & Photina & Pho ina &Photina & Ph tina &Plum RCN & Pit card & Pla: tin & Plantin & Planti & Plantin & Planti & Plan an & Pla rain & Plantin & Pla tin & Poliphilus & Qu rum & Quort. Quorum N. Quorum O. Rockwell & Rockwel &Rockwell & Rock yell& '.ockwell & ockwell & Rockwe 1 & Rockwell & Roc well & Sa G thic & Seri Gothic & Serif Gothic .. Serif Gothic &Souvenir & Souver Sabon &Sabon & Sabon & Svapt mold & Serif G chic &Serif Gothic & S Souvenir. Souveni & Souvenir & Souvenir o , Souvenir& Souve ir zSouve ir&SPARTAN&SP RTAN&SPART' N&SPAR iffany & iffany Tiffany & Time New. Roman & Tin es New Ron SPAR AN &Spe trum &Spectrum & Spectrum , z.c,4.441.9. 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Monotype

'Monotype'. 'Lasercomp . and 'Nimrod' are registered trademarks of the Monotype Corporation Ltd

ENGLAND Monotype Typography A division of The Monotype Corporation Limited Saffords, Redhill RH1 5JP Telephone 0737-65959 Telex 917125

FRANCE Societe Anonyme Monotype 127, Avenue de la Republique 92129 Montrouge Telephone 1-6541054 Telex 270516

GERMANY Monotype GmbH Postfach 60 05 80 Amsburger Strasse 68-70 6000 Frankfurt 60 Telephone 069-490016 Telex 412687

USA Monotype, Inc. 509 W. Golf Road Arlington Heights Illinois 60005 Telephone (312) 593-5262 Telex 206583

Worldwide subsidiaries and agents in all major countries

t9A9 The ManotypeC.V......,-d

67

FORYEARS,YOURATA ADS HAVE BEEN WINNING MEER AWARDS. NOW THEY CAN WIN ONE OF OURS.
For over 58 years, discriminating advertising people have been awarding us with some of their finest printed pieces to set. And, in return, our fine typography has helped them collect any number of certificates, plaques and statuettes. But now, we'd like to bestow a more direct honor on some of the most talented people we know, our clients. And what's more, an exhibition of the fifty best ads will be shown throughout the United States, Canada, Europe and Australia. Each will receive an Award of Merit Certificate. In the end, we hope this 1985 competition just underscores something you've felt a along: that setting type with an ATA shop can be an extremely rewarding experience.

ANNOUNCING THE 1985 ATA AWARDS OF MERIT

These international awards are designed to identify and reward those individuals whose work best reflects superior judgement and taste in advertising composition, wherever it might have appeared. However, entries will be limited to consumer, industrial or institutional ads published between August 1, 1984 and July 31, 1985. Only advertisements, please. No annual reports, newsletters, stationery, brochures, posters, books, et. al. There's only one other ruleall typography contained within the piece submitted must have been produced at a member shop of the Advertising Typographers Association. These are the companies which since 1927, have set the standards for people who set type. And these high standards will be used in evaluating your entry. Judging will be conducted by an esteemed group of print advertising professionals. Entries will be selected for awards on the basis of typographic content, as well as how that typography relates to the overall design of the advertisement. Then, of course, there are the awards. The First Place winner will receive an all-expense paid trip for two to Carmel, California, where he or she will be invited to participate in ATA's Annual Meeting, the second week of October. We have also commissioned specially struck medallions to honor the top three ads.

CALL FOR ENTRIES

Ads may be any dimension, black and white or color. Entries must be trimmed to original specs, and mounted on black matte board, with 1/2" border top and side, 2" border bottom. Entry form or facsimile must be permanently affixed to the back of each entry. Mail entries to: ATA Awards of Merit 1905 Boulevard of the Allies Pittsburgh, PA 15219. Include a $20.00 entry fee for each ad. Make checks or money orders payable to Advertising Typographers Association. Should you require additional information please contact your ATA Typographer, whose name you'll find listed below.
P
Name Company Address City State Zip Phone( Title

ATA Company that produced typography herein:

A twenty dollar ($20) entry fee payable to Advertising Typographers Association must accompany each ad. Deadline for Entries August 16, 1985. Mail all entries to: ATA Awards of Merit, 1905 Blvd. of the Allies, Pittsburgh, PA 15219.

Advertising TVpographers Association

5 Penn Plaza, New York, New York 10001. Walter A. Dew, Jr., Executive Secretary
Atlanta, Georgia Action Graphics, Inc. Bloomfield, Connecticut New England Typographic Service, Inc. Boston, Massachusetts Berkeley Typographers, Inc. Composing Room of New England Typographic House, Inc. Cedar Rapids, Iowa Type 2, Inc. Chicago, Illinois J.M. Bundscho, Inc. RyderTypes, Inc. Total Typography, Inc. Cincinnati, Ohio Typo-Set, Inc. Cleveland, Ohio Bohme & Blinkmann, Inc. Columbia, South Carolina DG&F Typography Dallas, Texas Jaggars-Chiles-Stovall, Inc. Southwestem Typographics, Inc. Typography Plus, Inc. Detroit, Michigan The Thos. P Henry Company Willens+Michigan Corp. Fort Worth, Texas Fort Worth Linotyping Co. Grand Rapids, Michigan Acraforms, Inc. Houston, Texas Typografiks, Inc. Indianapolis, Indiana Typoservice Corporation Kansas City, Missouri The Pica Place Uppercase, Inc. Los Angeles, California Andresen Typographics Typographic Service Co., Inc. Memphis, Tennessee Graphic Arts, Inc. Miami, Florida Wrightson Typographics, Inc. Minneapolis, Minnesota Dahl & Curry, Inc. Type House+ Duragraph, Inc. New Orleans, Louisiana Film-A-Graphics, Inc. New York, New York Advertising Agencies/Headliners Royal Composing Room, Inc. Philadelphia, Pennsylvania Armstrong, Inc. Phoenix, Arizona Morneau Typographers, Inc. Pittsburgh, Pennsylvania Davis & Warde, Inc. Headliners of Pittsburgh, Inc. Portland, Oregon Paul 0. Giesey/Adcrafters, Inc. Rochester, New York Rochester Mono/Headliners San Francisco, California Headhners/Identicolor, Inc. Mercury Typography, Inc. Seattle, Washington Thomas & Kennedy Typographers, Inc The Type Gallery, Inc. St. Louis, Missouri Master Typographers, Inc Montreal, Canada McLean Brothers, Ltd. Toronto, Canada Cooper & Beatty, Ltd. Winnipeg, Canada B/W Type Service, Ltd. Brisbane, Australia Savage & Co. Paris, France Societe de Creations Graphiques Gothenburg, Sweden Fototext/Typografen AB Stockholm, Sweden Typografen AB Frankfurt, West Germany Layoutsetzerei Typo-Gartner GmbH Stuttgart, West Germany Layout-Setzerei Stulle GmbH

Newark, New Jersey

Arrow Typographers, Inc.

St. Joseph, Michigan

Type House, Inc.

Brussels, Belgium
Graphiservice

Amsterdam, The Netherlands

Ploeger Lettering

WANT A NEW WAY TO MAKE IDEAS POP?

ALPHATYPE'S EXCLUSIVE IS JUST YOUR TYPE

7 1985, Alphatype Corporation

POPPL-LAUDATIO

Clean, open, and uncomplicated, Poppl-Laudatio wins praise for combining classic elegance with a very contemporary style. It's available from your local CRS Type Master, a member of a select group that uses the Alphatype CRS digital typesetter. This state-of-the-art typesetting system boasts size-for-size type design that produces optimal letterform quality and unequaled type clarity. Working with a Type Master also gives you access to something you can't get anywhere else: the enormous CRS Type Font Library. Poppl-Laudatio is just one of an ever-growing library of new and exclusive faces that are just your type. For sample sheets and a list of our Guild Members, drop us a note on your letterhead and include your typographer's name.

alphatype. WE'RE JUST YOUR TYPE.

Alphatype Corporation, a member of the Berthold group, 7711 N. Merrimac Avenue, Niles, IL 60648, 312/965-8800. Alphatype Canada, Inc., a member of the Berthold group, 190 Amber Street, Markham, Ontario L3R 318, 416/475-8570.
Type Master 3:1978 Alphatype Corporation

POPPL-LAUDATIO LIGHT This is Poppl-Laudatio, the new face that m akes ideas pop, available only from Alphat ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 (.,;:!?-") POPPL-LAUDATIO MEDIUM This is Poppl-Laudatio, the new face t hat makes ideas pop, available only fr ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01 23456789 (.,;:1?-") POPPL-LAUDATIO LIGHT CONDENSED This is Poppl-Laudatio, the new face that makes ide as pop, available only from Alphatype. This is Poppl ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 (.,;:P-") POPPLIAUDATIO MEDIUM ITALIC This is Poppl-Laudatio, the new face th at makes ideas pop, available only fro ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 (.,;:1?-") POPPL-LAUDATIO CONDENSED This is Poppl-Laudatio, the new face that makes ideas pop, available only from Alphatype. This i ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 (.,;:!?-")

POPPL-LAUDATIO This is Poppl-Laudatio, the new face that makes ideas pop, available only from Al ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 (.,;:!?-") POPPL-LAUDATIO BOLD This is Poppl-Laudatio, the new face that makes ideas pop, available only ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 I ,, ;:!?-") POPPL-LAUDATIO MEDIUM CONDENSED This is Poppl-Laudatio, the new face that ma kes ideas pop, available only from Alphatyp ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 (. , ;:!?-")

POPPL-LAUDATIO ITALIC This is Poppl-Laudatio, the new face that m akes ideas pop, available only from Alphat ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 (.,;:1?-") POPPL-LAUDATIO BOLD ITALIC This is Poppl-Laudatio, the new face th at makes ideas pop, available only fro ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 (.,;:!?-") POPPL-LAUDATIO BOLD CONDENSED This is Poppl-Laudatio, the new face that ma kes ideas pop, available only from Alphatyp ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 ( -1?-")

Subscribe to HOW and see how Alan E. Cober finishes this cover
HOW, a new magazine from the publishers of PRINT

69

The Magazine of Ideas &Technique in O grIAP Graphic Design

Enclosed is my check for $15.00.

Mail to: How . . ., 6400 Goldsboro Road, Bethesda, MD 20817 Your subscription will start with the Sept/Oct issue; Volume One, No. 1. Published bi-monthly.

70

48 years ago,wepinned all our hopes on a rumpled Effie piece of paper.

It was hot in the summer of 1 And walking up and down a s Michigan Avenue was not exactly Fred Ryder's idea of what he'd like to be doing. But when some production manager finally consented to hear this upstart typesetter's story, Fred was ready. He'd pull a little piece of paper out of his Palm Beach suit and start talking. Back then, most advertising typography was hand set. Although linotype was being used for newspaper and publishing work, it just wasn't considered classy enough for advertising work. That production man Fred was talking to would swear that people could see the difference between hand set type and linotype. Fred would hand him the piece of paper and ask him how the type on it had been set. "This was hand set" was the inevitable answer. Well, what Fred had done was to set alternating lines by hand and with a linotype machine. The first was linotype, the second was hand set, the third was linotype, etc. And no one could tell the difference. The linotype lines had all the finesse and cleanliness of the hand set lines. Only a type craftsman could have pulled that off. As a result, the fledgling Frederic Ryder Company got some business.

Fred pinned the hopes of his new company on the single linotype machine that he'd been able to afford and the little piece of paper that was slowly getting dog-eared in his pocket. Fred believed linotype should be a valuable tool for advertising typography. It was less expensive and it was faster (they had unreasonable deadlines even in 1937). But linotype was good only if it looked as good and had the craftsmanship of hand set type. Today, Fred Ryder has been retired for over twenty years. And today, none of the work we do is done on a linotype machine. All of it is done on phototypesetting equipment that would have taxed the imagination of even an avid Buck Rogers fan like Fred Ryder. We think that Fred is probably amazed when he hears that entire ads, not just type, are assembled at the company in a matter of hours. We think that Fred's eyebrows probably shoot up a bit when he hears that we have 3500 more typefaces at our disposal now than he had in his specimen book in 1937. And, we think that Fred is probably proud that, even after 48 years, his fierce sense of craftsmanship hasn't been forgotten. But then how could we forget the standards of someone who would pin all the hopes of a new company on a rum- Ryel pled piece of paper?

erTypes

RyderTypes, Inc., Advertising Typographers. 500 North Dearborn, Chicago 60610. Phone (312) 467-7117.
Exclusive Chicago area agents for Headliners and Identicolor processes. Member: Advertising Typographers Association.

71

all 4. theyoyurt5ays want a new waiter typestyle to fresgen things gam agaut _,g'etraset'st_Vrastangury?

Use Times Bold 1

Here's ofre...ibli casaal and ifremeaVte ke with good legbity,

(

Use Times Bold

Chesterfield is a little more copservative but there's a softioess...j

alter. ou like initial caps C4(ow about almoral and a clean serif like VIII ans.

Use Times Bold

..}

Use Times Bold

Belwe took 3 golds in the last type show...

Sometimes the classics aren't the answer. The right type style can control the visual tone of your design. Letraset has built their type range on that philosophy. That's why we design so many typefaces ourselves over 180 at last count. On average, we introduce more original typefaces per year than just about anybody else. The next time you need a fresh type solution, look to Letraset Instant Lettering for the answer.

Your words deserve our le

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73

NOW AT TOP ART SUPPI.

126

SPRING & SUMMER

SPORTS
ILLUSTRATIONS

GRAPHIC BORDERS
72 LOOSE-LEAF PAGES

1050

Just out! Superb collection of 126 ready-to-print art proofs covering all spring and summer sports. Everything you'll ever need from archery to water skiing all rendered in the inimitable Volk manner. No old "public domain" junk all art created expressly for Volk.
Choice of professionals for 32 years!

READY TO CLI P, PASTE & PRINT

10"

Borders on the fantastic! The third generation of the greatest border collection of all time. Bigger, Better, Newer and, like the first two editions, we predict another sellout. Now this third edition has been enlarged to 72 loose-leaf pages in a sturdy, durable 3-ring binder. And the quick-find index reproduces each 81/2x11 page in one-third size for your ease in locating the border you're looking for. Each page is faultlessly lithographed on one side of "Kromekote" cast-coated reproduction stock. Each border is complete, finished and ready to use no mitering to do unless you wish to change proportion. All borders are
hand-drawn or photo composed.

Best of all, it's available right now at your leading art supply store. Examine it! Buy it today!Clip and print tomorrow. Use just one of the 126 illustrations and you've more than paid for the entire book! With many, many more to save you time and money down the road. Don't let the big bargain fool you this is top quality art, largely handsome black-and-white line illustrations. Plus some great cartoons and design pieces. All impeccably lithographed on quality "Kromekote" reproduction stock. The 126 illustrations fill the 16 one-side 8 1/2x11 pages. Sturdy
cover.

Everything you'll ever need: Archery, Auto Racing, Baseball, Bike Racing, Canoeing, Crew, Diving, Equestriennes, Fishing, Golf, Hang Gliding, Harness Racing, Horse Racing, Jogging, Little League, Marathon, Moto-Cross Racing, Parachuting, Rafting, Snorkeling, Soccer, Softball, Surfing, Swimming, Tennis, Track & Field, Volleyball, Water Skiing. Ask for it and look it over at most larger art supply stores. Or order
direct by mail or phone.

No commonplace metal rules. Ten pages with more than 50 ornate and detailed certificates use just one and you've paid for the entire collection. Art deco, art nouveau, classic, geometric, contemporary. Seasonal, holidays, thrift, money. Ovals, circles, squares, rectangles. Frames, boxes, cartouches, coupons. There are enough borders in these 72 pages to last you forever. A real bargain
at $49.95.
Ask for it and look it over at most

larger art supply stores. Or order

direct by mail or phone.

Send for sample book & illustrated catalog of 180 books

Now! Those who use camera-ready art only occasionally or whose art needs are confined to only one or two categories, may now order individual "Clip Books"! If you're big into sports, we've eight different "SPORTS" books for you. Best of all, we offer 180 different "Clip Books" everything from "Announcers"to "Zanies" for as little as $4.50 each. Choose from many hard-working titles such as Holidays, Food, Menu, Symbols, Design Devices, Graphic Arts, Ad Starters, Communications, Education, Drop-Ins, Executives, Industry, etc., etc. All with typically fine Volk Art and impeccably lithographed on one side of "Kromekote"

NOW! BUY 5x8 CLIP BOOKS INDIVIDUALLY!

reproduction stock. Naturally, they're all in the easily filed 5x8-inch size. The current books are, of course, reserved for subscribers only. But your selection is vast and each illustration is quite valid and the price is right! An entire book of illustrations for less than you'd pay for a sheet of rub-down lettering. So send for your free sample book and the list of 180 others right now. Please enclose $2.00 in a check or cash which will be credited on your first purchase. This is to cover handling and first class postage. You've really nothing to lose but a long look, so send today!

CLIP THIS ORDER FORM & MAIL TODAY!

VOLK CLIP ART, BOX 72L PLEASANTVILLE, NJ 08232
Please rush us the "Clip Books" checked herewith. Our covering purchase order is enclosed. Charge to our active, established account and invoice us at rates below plus UPS shipping charges. K Our check is enclosedyou absorb all shipping charges. (Outside USA: payment in US funds with order. In N.J. include 6% sales tax.)
K SPRING & SUMMER SPORTS K KING-SIZE BORDERS K FREE SAMPLE BOOK & LIST Handling & Postage Costs $1 $49.95 $ 2.00

Firm Name

Please Print Clearly

Authorized by

Street Address Please for UPS

City, State, Zip Code

74

ILLUSTRATION BOARD

MOUNTING BOARD

BRISTOL BOARD

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Your CR SC NT Co ecto

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Pay More he Best Is Less

Senc for FREE Information Guice anc Samoler

eitate-eat
Crescent Cardboard Company P.O. Box XD 100 W. Willow Road Wheeling, Illinois 60090
,

75

JAMES MCMULLAN, A.I.G.A.

44 When I work, it is impossible for me to separate what is purely illustrative from what is purely design; it all feels like one intertwined activity. I like the AIGA cause it celebra this basic connectedness of graphic thinking and because it s community of artists is joined by excellence rather than by job description. Y1
ne of America's foremost illustrators, James McMullan has brought his personal vision to a broad spectrum of interpretive work ranging from illustrations for Esquire and Sports Illustrated to an animated film for PBS, now a classic, and posters, such as this for Anna Christie. McMullan's contribution to the graphic arts has included not only his insights as illustrator, designer, and author, but also his ongoing contribution of time and expertise to the A.I.G.A., America's national graphic design organization. Through an active, interrelated program of competitions, publications, and services to designers, AIGA fosters excellence in graphic design. AIGA members receivefree of charge AIGA Graphic Design USA, a 384-page annual (retail $50.00) that presents the year's best design work, the quarterly Journal of Graphic Design with articles of interest on designers, design issues and design practice, and the Code of Ethics for Graphic Designers. There are discounts on entry and hanging fees to AIGA competitions and eligibility for AIGA group health, life and disability insurance. Members will also be eligible for discounted rates for our National Conference which will be held at the Massachusetts Institute of Technology in Boston in September 1985. The AIGA is national. Committed professionals have formed AIGA chapters in Boston, Cleveland, Los Angeles, New York, Philadelphia, San Francisco, Texas and Washington. Additional chapters are being formed. We're hoping to growand grow strongerby inviting graphic design and graphic arts professionals to join us.

Join America's National Graphic Design Organization.

r
K YES, I am interested in joining the AIGA. Please send membership information and an AIGA application form.

NAME

ADDRESS

CITY Mail to:

STATE

ZIP

AIGA
L

The American Institute of Graphic Arts 1059 Third Avenue, New York, New York 10021 Tel. 212-752-0813
Ull

76

WHAT OU WO TB GOES ON BEHIND THESE WALLS.

THE DIE IS CAST.
In this plain, ordinary-looking building, some amazing things are happening. The story didn't start here though. In the steel town of Pittsburgh, TypeMasters was forged. After several years, they outgrew their mold and moved to a larger studio just outside Philadelphia. de resistance': the Big Books. Four years in the making. Released in May 1984, this 2-volume set is already being used by 13 major typographers around the USA.

POLISHED.
And now, they are feverishly at work on their biggest project yetthe world-renowned Letraset Collection. Using the original drawings from England, al your favorites wil be available for the first time in photolettering. Exclusively from TypeMasters, this summer. Of course if you are looking for all the old standards, such as Helvetica, Goudy, Times, etc. or anything from the (ITC) library, they are available from TypeMasters, too.

So the next time you see an ordinarylooking buildingremember, appearances can be deceiving. If you would like more information, please fill out and mail the coupon below. TypeMasters/29-31 E. Lancaster Ave., Ardmore, PA 19003. USA.
Please Print

THE, RAW MATERIALS.

In their wildest dreams, people never envisioned that this young company would make such an impact on the typography world. While everybody else was resting on their laurels, TypeMasters was busy licensing the latest typefaces from some of the world's premiere type foundries, and making them into 2" film fonts. Naturally, the first exclusive collection released was called the TypeMasters Collection. A stunning cache of some of the best typefaces from Europe. Then came the exclusive Heads Collection from Canada. The legacy of one man's workLes Usherwood.

Name/Title/Company Address (Street, not P0. Box)

City State/Zip/Postal Code/Country Area Code/Phone Number

U685

THE SHEEN.
But this is just the beginning of the story. At this time, TypeMasters services typographers on 3 continents. With a library of some 6,000+ typefaces, they are fast becoming the number one choice of quality-conscious type studios worldwide. They also offer a special typeface design service and can supply original unitized typestyles for the various Body Composition equipment.

Please send me information on:

K TypeMasters Collection K Heads Collection K Big Books K Letraset K Please contact me ASAP K Put me on your mailing list

HONED.
Immediately following came their "piece

TypeMasters. One of the most respected, least known quality typefrDunders/designers.

But not for long.

77

19 64
Franco Maria Ricci falls in love with Giambattista Bodoni and publishes his Manuale Tipografico.

i9 84
Franco Maria Ricci creates the most beautiful magazine in the world, printed in Bodoni type.

Opulent, Brilliant, and Beautiful

About FMR

Subscribe by telephone, calling toll-free:

FMR is a distillation of Franco Maria Ricci's decades of producing fine art books. And indeed FMR is like no other magazine you have seen. It is an exquisite collection of unknown or forgotten masterpieces flawlessly reproduced along with brilliant texts by today's most renowned authors and art historians. FMR is set in Bodoni type on heavy paper with a luxurious black cover and sewn binding. It is printed in Italy in five colors with the perfection that only great master printers can achieve. And every page from cover to cover is a model in contemporary graphic design. Subscription and Benefits As a subscriber you receive membership in the Ricci Collector's Club and are entitled to a 20 percent discount on all Ricci books. You also receive as a gift an elegant desk address book printed on handmade Fabriano paper, designed by Franco Maria Ricci expressly for his friends and collectors.
K 1985 subscription (10 issues) and membership, $ 60.00.* K Additional (gift) subscription(s), $ 54.00 each.* Before subscribing I would like to have a taste of FMR's quality and style. K Please send me a free back issue of FMR. ( I enclose $3.00 check to cover handling and postage.)

1-800-FMR-CLUB
or send in the order form today to: FMR, 6869 West Grand River Avenue, Lansing, Michigan 48906

Franco Maria Ricci: Italy's magazine aristocrat, storming ashore in America. Washington Post Franco Maria Ricci's new art magazine is elegantly packaged, deliciously rich, and sensuously Italian. New York Times The unexpected on a grand scale, lushly illustrated. Chicago Tribune Heavy and sleek, perverse and beautiful, FMR. New York Magazine An invitation to tempting, imaginative voyages of discovery, studded with lustrous images. Connoisseur FMR is beautiful. The 75-pound, mattecoated paper, the black cover stock and the color reproductions give it the look and feel of the best art books. Wall Street Journal His formula for success is based on two factors: elegance and quality. His flow of images is always unexpected and stimulating. London Sunday Times

FM R14
Subscription Form

Total due $
K Check enclosed, payable to FMR CLUB

4614Franco Maria Ricci*

Collectors Club
DIANA VREELAND 38214

Charge to my credit card: K American Express K Diner's Club K Mastercard K Visa Acct. no. Signature Exp date

Milano

'Nfr
PW7S

New 'brie

IAddress
I
City

My name.

I
State Zip

I
I

I Phone ( I

*Prices valid in U.S. and Canada.

I I I

FMR may just send us on a more adventurous esthetic voyage than any package tour we have yet to take. Christian Science Monitor

78

Imagine getting art like this for about

Clipper Creative Art Service means art of exceptional quality created by top professionals at only a small fraction of the price you'd pay if it were custom created for you.
Every illustration, symbol, and design shown here is from recent issues of Clipper. Of course, Clipper is more than topnotch ready-to-use art. Each issue contains dozens of idea-inspiring demonstrations and suggestions for using the art. Plus Clipper never repeats itself. You get fresh material in a wide variety of styles and techniquesmonth in and month out. You'll have many more creative alternatives with Clipper.

World's largest commercial art library always at your service

If you can't locate an illustration you need in your current issues of Clipper, simply use your Clipper Cross Reference Index to locate the art you need. (There are more than 10,000 subjects listed.) Then call or write our Special Services Dept. for help. This subscriber service is free. You pay only postage and handling for any art ordered. How do you know you'll like Clipper? Try a FREE TRIAL ISSUE and look us over. If you decide Clipper is not for you, cancel your order within 15 days and owe us nothing. You need send no money now to receive your FREE ISSUE. Simply complete and mail the coupon below.

12 issues a year, 24 big pages in each

Clipper arrives on your desk or drawing board about the 20th of
each month. In it are 24 big pages (12 1/2" x 19") containing scores of individual illustrations, cartoons, borders, layout frames, headings even a color separation. You'll also find suggested applications with headlines, art and copy in position. They're great idea starters that you can adapt to your own needs with appropriate copy and logo changes.
Your Clipper annual subscription includes 12 issues of Clipper and "CLIP BITS", 3 monthly pictorial indexes, a Cross Reference Index (of our 10,000-plus listing art library) and vinyl binders for both issues and indexes.

Seasonal art for instant solutions

Clipper anticipates the seasons, national and promotional holidays, well in advance. You'll have the art you need with ample lead time to develop projects. Three pictorial indexes come with each issue of Clipper. These indexes give you a quick reference so you can locate the art you need. You also get two binders to protect your valuable issues of Clipper and to store your small indexes and "Clip Bits," the 20-page monthly "how to" magazine filled with professional tips and timely articles.

O.K. I'd like to take a look at a free

trial issue of Clipper.
So enter my order for a one-year, 12-issue subscription to the Clipper Creative Art Service at $29.50 a month, plus $2.15 postage and handling ($3.90 per month in Canada, payable in U.S. funds) beginning with the current issue. After the first 12 issues, continue to ship monthly, subject to my written cancellation notice 30 days prior to publication (20th of every month). However, first send me the FREE TRIAL ISSUE, which I may review and use. If I decide that Clipper is not for me, I may cancel this order within 15 days, keep the FREE ISSUE and owe nothing. (Note: this offer applies in North America only.) Otherwise I agree to complete payment as follows: K I prefer to SAVE 3% of the subscription price by prepaying. Please bill me now 'Terms are net 10 days. K Please bill me monthly as the year's issues are shipped. Terms are net 10 days. IMPORTANT: Coupon must be completely filled out and future payment option checked before we can send your trial issue.

MAIL THIS COUPON TODAY FOR FREE TRIAL ISSUE

MAIL TO:

c A Dynamic Graphics, Inc. 6000 N. Forest Park Dr., P.O. Box 1901 Peoria, IL 61656-1901

79

5 PLY MEANS IT'S SELF-HEALING, PLIABLE, SUPER SMOOTH.

VYCO vinyl drawing board covers . . . they're tops in quality and durability. 5 ply strength makes the difference. Surface bounces back from tack and instrument damage. VYCO ... there's no better protection. From Alvin .. . the name that tops the competition. Write or call for FREE sample and literature TODAY.
Corporate Headquarters P.O. Box 188UL Windsor, CT 06095 (203) 243-8991

AunN

You might be thinking, "That's right, Photo-Lettering is the place that does all that great fancy stuff." What you may not realize is that we are one of New York's leading advertising typographers. We presently have over 700 text faces (many exclusive), including every ITC face, and this list is constantly growing. In addition to having the largest collection of display alphabets in the world (over 10,000, many exclusive), we have the technical skill and expertise to convert these headline alphabets to text fonts for use on our new 8600 digital typesetters. So, when you think of Photo-Lettering, Inc., think of us as a full-service advertising typographer!

Divisions in Dallas, TX and Sacramento, CA. For drafting, engineering & graphic arts supplies.

ALVIN WE DRAW PERFECTION.

DISPLAY: ADVERTISERS GOTHIC 13170: TEXT: TIMES ROMAN SEMI-CONDENSED LIGHT 9706. AN EXCLUSIVE PHOTO-LETTERING FACE.

WHO WAS HERB UUBALIN?

Pr
DIRECTOR, GRAPHIC DESIGNER, ANDlYPOGERTRUDE SNAE IDE r

These laughable anecdotes and more about the genius responsible for U&Ic's editorial and design for over 20 years are revealed in Herb Lubalin:
Art Director Designer and Typographer.

"The magnitude of Herb Lubalin's achievements will be felt for a long time to come.... I think he was probably the greatest graphic designer ever."
Lou Dorisman, Vice President, Creative Director, Advertising and Design, CBS Inc.

is deception in calligraphy class helped him cheat his way into the art profession. And long before he established his reputation, the Display Guild told him he "had no talent for such work," and fired him from a job that paid a mere five dollars a week!

The definitive book about the typographic impresario and design master of our time, Herb Lubalin was written by Gertrude Snyder and designed by Alan Peckolick. It is illustrated with more than 360 examples of Lubalin's awardwinning work for editorial and book design, logos and letterheads, advertising and sales promotion, plus the best of U&Ic. 184 pages 9" x nve Clothbound 360+ illustrations (184 in color)

SPECIAL PRE-PUBLICATION OFFER FOR U&lc READERS Publication Date: May 1985. Retail Value: $39.95 Reserve your copy(ies) of the definitive Herb Lubalin now and

pay only $35.00* per copy. Postage and handling are FREE in the U.S. and Canada. Please reserve book(s) at $35.000 each (price includes shipping) for a total of $
*(new York residents, please add appropriate sales tax.) K My check or money order (U.S. currency only) payable to American Showcase is enclosed. Charge my K AMEX K Visa K MasterCard Or call: (212) 245-0981. Account # Credit Card Signature Name Company Address City State Zip AMERICAN SHOWCASE 724 Fifth Avenue New York, NY 10019 Expires

80

NEW TOOLS AND PRODUCTS FOR LAYOUT, DESIGN AND DRAWING

Graphic Products Corporation

il
\,, SIATRAIRRY BOARD
-..

NEW GRAPHIC PRODUCTS CORPORATION CATALOG SUPPLEMENT FEATURES TOOLS AND PRODUCTS WHICH WILL TURN YOUR CREATIVE DESIGN IDEAS INTO FINISHED ARTWORK.

TOE DESIGN TION IN DESIGN iiLS GRAPHICS OFVOLU ES! FOR PROCN ONTINU PROGRAM PRATT CENTER FOR COMPUTER C OF01101011Pwro COMPUTER GRAPHICS
HOPKIN colP10111 MAY 18-19, GRAND HYAir NEW YORK MARK OCTOBER 19-20, Fifty experts in ten half-dy senlinars point th S, SAN FRANCISCO
e way! e sign , D
Design, ss Advertising Adverb s Computer Graphics for Graphic Design, Design. Video Graphics, PublicationPublishing, Design, Animation, Busine Industrial

num
1 DIARDISA BOARD ...
,!1!.. ..

PROFESSIONAL PRODUCTS AND TOOLS FOR

LAYOUT DESIGN DRAWING

e cl
-

CATALOG SUPPLEMENT No. 7A

PICK UP YOUR FREE COPY AT YOUR LOCAL ART DEALER OR MAIL IN COUPON TODAY.

32 NEW BORDER BOARDS have been added to the popular line of preprinted borders with 8 1/2 x 11 inch non-repro blue paste-up grid. Ideal for quick creative solutions to many design projects.

Packaging Design, rchitecture/Interior Plus thirty-six manufacturer handson tutorials.

YORK

, MARRiorr mARouls,
rs d use ion of and applicat DECEMBER 8-1 and Multirnedia Thirty top conultants, vendors impact an Video conference. of exhibit discuss major tredto Print graphics computer in this pace-setting fifth annual Includes introductory tutorials and an advanced CG equipment for the graphics arts.

__ tieCei .,, 1361461

-

SPE...

_------

For free brochure call or write-Perry Jeffe, Director Dept L) Center Pratt 9 Skyline Drive Hawthorne, NY 10532 92-1155 914-5
-

"___----

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STATIONERY BOARD is a complete artwork production board and guide for business stationery. Non-repro blue grids provided for letterhead, envelope, shipping label and business cards.

PUT-LINES is a new drawing tool with precision-engineered rollers for the accurate drawing of parallel lines, center lines, and angles. Inch, metric and engineering scales available.

PRATT CENTER FOR COMPUTER GRAPHICS IN DESIGN

State of the Art Equipment for High Quality

eRAP,D.

' :.. K lekrla

159

Computerized Arabic Typesetting

LAYOUT PLANNERS are innovative new layout pads with miniature spreads for quick visualization of brochures and catalogs. Two sizes available: 8 1/2 x 11 and 11 x 17 inches.

AON' A '

AL
BOARDMATE is a precision, plastic template for quick and consistent ruling of crop marks and keylines for production art for any page or spread size.

Utilizing the latest in computerized Arabic photocomposition equipment, complicated jobs such as books, annual reports, contracts and other large volume text are handled with the highest degree of accuracy in the shortest time possible, at competitive prices.

rIpq CO ON VEL Lic - la PAP , GOTT oe siGNE

Authentic Arabic Translation

Technical and scientific literature, manuals, ads, books brochures and annual reports are translated by a professional team of native Arabic translators.

VL

Calligraphy and Display Type

VELART Cotton Velour Designer Papers have a richly textured surface for creating unique visual presentations and illustration. Paper size is 20 x 26 inches. 16 colors available. NEW FORMALINE Tapes added to the existing tape line include new point size corners, matte printed border tapes and pattern tapes. Useful for keylining artwork and visual presentations.

More than 15 new Arabic typefaces designed exclusively for Albert Graphics by the leading calligraphers in the Middle East. And the latest trends in display type, plus in house calligraphy.

PLEASE RUSH MY FREE COPY OF NEW CATALOG SUPPLEMENT NO. 7A

Company Attention Street City State Zip

8510 5185

Mail to: GRAPHIC PRODUCTS CORPORATION, 3601 Edison Pl., Rolling Meadows, IL 60008

Albert Graphics Inc.

One West Baltimore Ave., Lansdowne, Pa. 19050 (215) 259-6878

81

"I'm 'Big Shot Type'

I've got lots of faces. Lots of service. Everything you need... heh, heh. But you'll pay through the nose or my nam ain't BS Type!"

" I 'm Arnold & Debel.

I also have a lot of faces...and I'll have your type on your desk tomorrow morning. But you won't end up paying $200 for $120 worth of type!"

We'll sell it to you for $90 ...but we'd rather give it to you.
We're Characters. We're a state-of-the-art typographer, featuring computerized digital typography, color proofing, telecommunications, and the first comprehensive digital type specimen book. Characters is the first typographer to provide a complete display of all the Mergenthaler 202 and ITC faces. Our unique catalog has 760 pages showing over 1,350 digital typefaces. Contained in a handsome silver binder our catalog features complete alphabets for every face. Text faces are set 6 to 36 point and display faces are set 12 to 36 point in line-spaced paragraphs. We've included a character count for every face and size and a measuring counter on every page. We've also included explanations of digitization, tracking and kerning. There's information on typeface identification, complete with illustrations, as well as selected quotes to keep life interesting. Frankly, we're proud of our work and we're proud of our new "Digital 'Typeface Library"so proud in fact that we'd like to show it to you in person, do a little bragging and maybe even leave it with you. Or, you could just buy it for $90.

It's tough to make a buck...and the Big Shot type houses make it even tougher. They give you service... but they also give you a devil of a time with their prices. Bills that look like the national debt...and AA costs that can drive you bananas! So if you're serious about making money, you ought to try us Angels. We have 1000 faces on computer...and 3000 on typositor. Plus complete mechanical and custom rubdown transfer departments. And we work like 'demons round the clockto give you early morning delivery. Every morning! Best of all, our prices for advertising quality type are absolutely heavenly a whole lot less than those devils charge. So if your Big Shottype house has you between heaven and hell... call Ivan Debel at (212) 889 3711 or (800) 232 3312. We promise you a divine experience!
-

Dear Characters, K Your new digital typeface catalog sounds great and I want it. Call me and let's get together. K Your catalog sounds great but I'm very busy, so here's $90send me The Digital Typeface Library pronto.
Name Address City State Zip

I I I I

AD
ARNOLD & DEBEL INC.

TYPOGRAPHERS
270 MADISON AVENUE NEW YORK, N.Y. 10016 (212) 889-3711

rs
5 W. 36 St., New York, N.Y. 10018

I I I

0 1985 Ivan Debel

The Best Value, at $4.95 Vetoet Toad

300 CONTEMPORARY STYLES AND SYMBOLS LETTER DENSITY PROVIDES OUTSTANDING PRODUCT VALUE EXCELLENT SHELF LIFE CRACK RESISTANT VINYL INK

ON*

CONVENIENT TO USE 81/4" x 11 1/4" SIZE

chartpak
LEEDS, MASSACHUSETTS 01053 DIDCOT, ENGLAND OX11 7NB MISSISSAUGA, ONTARIO L4W 2V6

82

INTRODUCING THE FIRST COMPREHENSIVE

I don't like your face, suit, boss or company. But your proposal is on Classic Linen so we'll talk

The Digital Typeface Library is the first and most comprehensive showing of over 1,350 digital typefaces assembled for the art director, designer or serious student. Technology has outpaced type booksno other single source currently shows the full availability of type being produced on today's state-of-the-art digital typesetting machines. To keep yourself and your studio in touch with today's typography, we strongly urge you to buy this valuable book.
DIGITAL TYPEFACE LIBRARY
9" x 12"/760 pages/perfect bound Printed on high quality, semi-gloss paper the Digital Typeface Library shows qver 1,350 digital typefaces with a complete alphabet for every face. Text faces are shown 6 to 36 point and display faces are shown 12 to 36 point in line-spaced paragraphs. Character counts for every face and size and a character counter is included on every page. Front matter explains digitization, tracking, kerning and offers information on typeface identification complete with diagrams.

DIGITAL TYPEFACE LIBRARY CO.

3 West 36th St., New York, NY 10018 Please send me copies of the Digital Typeface Library catalog at $90.00 per copy. I have enclosed a check made payable to Digital Typeface Library Co. in the amount of $ (Shipping and handling is included in the book price) NY orders add local sales tax. Thank you.
Name Address City State Zip

1
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Neenah Paper
(r) 1985 K.C.C. a Registered Trademark of Kimberly-Clark Corporation

Classic Linen a good paper to make the most of a tough job.

Kimberly- Clark Neenah Paper Division

J Artograph DB 300:

THREE WAYS TO MAKE MONEY

with P&P a Color Proofmg System from Europe

The Graphic Design Tool for Visual Communication Professionals

Speed up your creative production time and put an end to tedious scaling with the DB 300 opaque art projector. It mounts on your drawing board and projects down, directly onto your work surface. Scale range is 3 times enlargement and 40 /0 reduction on your table top; 8 times on the floor or lower table, and with the side mount feature, 18 times onto the wall. Project in color and opaque copy, three dimensional object, as well as slides and tranparencies (accessory required).

ver the last few years, transfer techniques have brought about a silent but farreaching revolution in the work of designers and typographers, comparable with the impact of felt-tip pens and photosetting twenty years ago. Like all innovations, the color proof systems available today exhibit a wide range of variation, both in the details of their application and in the quality of the results. We put years of steady work into developing a color proofing system that enables designers and typographers to take black and white originals and rapidly produce colored version in the exact shades specified by creator or client The colors can be transparent, opaque, fluorescent or metallic -with effects extending to mirror-finish gold and silver, airbrush color transitions and relief effects. The European success of this system is due to the outstanding color quality, with hitherto unattainable depth, the quality of the equipment itself with its attractive, professional design was developed and

manufactured in Switzerland and, of course, the intrinsic simplicity and reliability of the system itself. The simplest way of making money with our system is to use it yourself. The equipment costs little more than a photocopier and there are no royalties to pay. The technique is easy to learn, and your roughs packaging, advertisements, complete campaigns for presentations can look like the final printed versions, right from the start, eliminating the need to subcontract.
1 Mail coupon to:

As a typesetter; printer or artwork studio, you can make a lot more money by providing a color proofing service to other designers, advertising agencies or publishers. Finally, you can really make money by becoming a national distributor for our system. If you're interested in one (or more) of these, just fill in the coupon below and send it to us we'll get in touch right away.

It's on display at your local art supply store. Ask for a hands-on demonstration. For complete details, call or write for a free brochure.
Artograph, Inc.
Dept. UL-1184, 2626 N. Second Street Minneapolis, MN 55411 612/521-2233

artograph

Groben& AG, Schaffhanserstr. 491, CH-8052 Znerich, Schweiz

K I would like information about your system: please send me literature, samples and price list. Current position Current color proofing system (if any K I am interested in using your color proofing system to provide a service to designers, advertising agencies and publishers: please send me further information. Current position K I am interested in becoming the distributor for your system in the following region: Please contact me at the following address:

K Please send brochure with complete specifications and price. Name

Title/Position Company Address City Myart supplierdealeris State Location
Artograph, Inc., 2626 N. Second St., Minneapolis, MN 55411 U8dc 5/85

Phone(

Zip

83

FMEIIPOGRAPHY IS NOTAN ILLUSION whatever is needFine twogvaphy

the result of nothed to improve the ing more than an design appearance attltudeAks appeal and impact. Stating would come lvorn specific principles the understanding or guides on the one uses in plansubject of typogravi^ng-, the de signer phy is difficult bemusk cave. VA concause the principle temporary ad.] er that applies to one klslng the perfect job may not fit the integration of clenext. No two jobs v:An elements lveare identical even queTAVI demands if the same point unorthodox Vilog- sizes are used. It is rapt% lt oxen may worthwhile to em%%Ave the use olphasize here that compact spaCtng, in modern typogm'Inus \eadVva, raphy almost all unusual saes typefaces, old and weights, and new, are using employed.

MAKE TYPE SPECIFICAT SIMPLE

!

111

The RapidType Computer is hardware-based on the Sharp PC1250A Pocket Computer.

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WITH

.YPE COMPUTER

And increase accuracy as well. The RapidType Computer is not a modified calculator, but a genuine computer that prompts you through each step of the type specification process. The RapidType Computer comes in two models to suit your particular needs. Model TS2 computes type depth, character count and type size, and includes an electronic proportion scale as well. Model TS2A3 does everything the TS2 does, and also adds a measurement converter. Both models come complete with type gauge, instruction manual and limited warranty. Why not order a RapidType Computer today?
Send to: THE WORKS/Computer Division, P.O. Box 1023, Aurora, IL 60507

111 Yes, I'm ready to start avoiding the drudgery of specing type.
Please send me RapidType Model TS2A3 @ $160.00 each I am enclosing a check or money order for $ Name Company Address US

THE WORKS

COMPUTER DIVISION

Illinois residents please add 61/4% tax.

COMPUTER TYPOGRAPHY HEADLINERS ALPHABET INNOVATIONS TYPE SPECTRA IDENTICOLOR

City
K

State

Zip

Please send additional information.

Dick Blick's new catalog brings art & design together

Before now, we had a catalog for fine artists and another catalog for graphic designers. This year there is just one Dick Blick catalog, a completely revised, large-format, 448-page book, one-third in 4-color. It features the finest oil paints and the newest in technical pens, tools for ceramics and weaving, as well as sign paints and airbrushes. This catalog just may be the best you'll see all year for the art materials you need for your job and your hobbies. It's worth more than $2.00, but that's all we're asking.
C;\,

(212) 687-8840 WPOGR4PHY 216 E 45 ST NEW YORK NY 10D17

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84

We cater to creators.
It's tough for art directors to come up with the great idea. Not to mention execute itunder deadlines that could put you under. The last thing you need to worry about is getting the type you ordered last night delivered on time this morning. Only to find you have to send it back. If fine typography, overnight service, dependability and attention to detail are what you are looking for, look to Granite Graphics to deliver. Some of the best in the business give Granite their business. Because part of being creative is knowing a good thing when you see it.

R YMOR ER , TA I R

WW1 R
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TN E U VA T B S N M G 0 A M N S T A P A R

I J C U N A GNRR H REDE E D U E A BPON C R P R H D C 1 K. C A N T 0 1 N ET TE G N1K M THH P H 0 R 0 E U S E D SALE A AB 1 I P 0 0

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A E 0 A E V S S M K N S N R C OEL I T T H E A 0 R P YSKE H O CL A A M J G 0 N I P T D R B R C E U CIN B 0 0 U A H LM 1 A R S R V

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GRANITE GRAPHICS
19 Franklin Place Rutherford, N.J.
07070 201-438-7398 212-772-0364

Fine Typography
This ad was typeset, then made up, in one piece. on VISION.

Parsons School of Design

Graphic Design in Japan
July 26-August 26, 1985
Recognizing the impact of Japanese designers on the areas of advertising and graphic design, Parsons has organized a month-long intensive study program for students and professionals. With internationally known designers serving as teachers and guest lecturers, the program combines workshops with seminars, presentations and visits to museums, galleries and studios in Tokyo and Kyoto. The quality and range of Japanese designs and their sources of inspiration are examined, along with the conditions of Japanese life and history which contribute to a unique visual sensibility. The program includes round trip transportation from New York or Los Angeles, land transfers and hotel accommodations. Undergraduate and graduate credit is available to qualified students. For more information, mail the coupon or call the Office of Special Programs: (212) 741 8975.
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1985 Arthouse Co. al

85

LICENSED

ONLY THE FOLLOWING SUBSCRIBER COMPANIES ARE LICENSED TO MANUFACTURE AND SELL ITC TYPEFACES

ABL Computer Technologies

Ltd. 43/44 Albemarle Street London W1X 3FE England 01-499-9461 Daisy Wheels and Thimbles AM International, Inc.
Varityper Division

Camex Inc. 75 Kneeland Street Boston, Mass. 02111 (617) 426-3577 SuperSetter Digital Imaging Systems for Text Cello-Tak Mfg., Inc. 35 Alabama Avenue Island Park, L.I., N.Y. 11558 (516) 431.7733 Dry Transfer Letters Chartpak One River Road Leeds, Mass. 01053 (413) 584-5446 Dry Transfer Letters Compugraphic Corporation 200 Ballardvale Street Wilmington, Mass. 01887 (617) 944-6555 EditWriters, CompuWriters, Text Editing Systems, MCS'" 8200, 8400, 8600, Accessories and Supplies Digital Visions, Inc. 454 West 46 Street New York, N.Y. 10036 (212) 581.7760 Interactive Computer Graphics Software Filmotype 7711 N. Merrimac Avenue Niles, Illinois 60648 (312) 965-8800 Film Fonts Fonts Hardy/Williams (Design) Ltd. 300A High Street Sutton, Surrey SM1 PQ England 01-636-0474 Font Manufacturer Fundicion Tipografica Neufville, S.A. Puigmarti, 22 Barcelona-12 Spain 219 50 00 Poster Types Geographics, Inc. P.O. Box R-1 Blaine, WA 98230 (206) 332-6711 Dry Transfer Letters Graphic Products Corporation 3601 Edison Place Rolling Meadows, III. 60008 (312) 392-1476 Format Cut-out Acetate Letters and Graphic Art Aids Graphics, Inc. 16001 Industrial Drive Gaithersburg, Maryland 20877 (301) 948-7790 Manufacturer of Dry Transfer Systems

Harris Corporation Harris Composition Systems

MegaCom, Inc.

Ryobi Limited

URW Unternehmensberatung

Division P.O. Box 2080 Melbourne, Florida 32901 (305) 259-2900 Fototronic 4000, TXT, 1200, 600 CRT 7400, 7450 Dr.-Ing Rudolf Hell GmbH Grenzstrasse 1-5 D2300 Kiel 14 West Germany (0431) 2001-1 Digiset Phototypesetting Equipment and Systems, Digiset-Fonts High Technology Solutions P.O. Box 3426 Poughkeepsie, N.Y. 12603 (914) 473-5700 MPS Front End System and Fastsetter Typesetter Information International 5933 Slauson Avenue Culver City, Calif. 90230 (213) 390-8611 Phototypesetting Systems International Business Machines Corporation Old Orchard Road Armonk, N.Y. 10504 Electronic Printing Systems International Type Fonts ApS c/o Cooper & Beatty, Limited 401 Wellington Street West Toronto M5V 1E8 (416) 364-7272 Type Discs for Harris 600, 1200, 4000, TXT Typesetters Itek Composition Systems Division 34 Cellu Drive Nashua, N.H. 03060 (603) 889-1400 Phototypesetting Systems and Equipment, Film Strips, Standard and Segmented Discs, and Digitized Fonts Esselte Letraset Letraset Limited St. Georges House 195/203 Waterloo Road London SE1 84J England (01) 930-8161 Dry Transfer Letters Letraset USA Inc. 40 Eisenhower Drive Paramus, N.J. 07652 (201) 845-6100 Dry Transfer Letters Linographics 770 N. Main Street Orange, California 92668 (714) 639-0511 Display Typesetters, 2" Film Fonts Mecanorma 78610 LePerray-en-Yvelines Paris, France 483.90,90 Dry Transfer Letters

3925 Coconut Palm Drive Suite 115 Tampa, Florida 33619 (813) 626-6167 Non-Impact Page Printing Systems Metagraphics Division of Intran Corp. 4555 W. 77th Street Edina, Minn. 55435 (612) 835-5422 Digital Fonts for Xerox 9700 Microtype 8 Faubourg St. Jean 21200 Beaune France Film Fonts Manufacturer Alphabet Designers The Monotype Corporation Ltd. Salfords, Redhill, Surrey, England Redhill 6 5959 Visual Communications Equipment NEC Information Systems, Inc. 1414 Massachusetts Avenue Boxborough, Mass. 01719 (617) 264-8000 Personal and Small Business Computer Systems, Printers and Peripherals. Officine Simoncini s.p.a. Casella Postale 776 40100 Bologna Italy (051) 744246 Hot Metal Composing Matrices and Phototypesetting Systems Photo Vision Of California, Inc. P.O. Box 552 Culver City, Calif. 90230 (213) 870-4828 Toll Free: 800-421-4106 Spectra Setter 1200, Visual Display Setter, and 2" Film Fonts Pressure Graphics, Inc. 1725 Armitage Court Addison, Illinois 60101 (312) 620-6900 Dry Transfer Letters Prestype, Inc. 194 Veterans Boulevard Carlstadt, N.J. 07072 (201) 933-6011 Dry Transfer Letters Purup Electronics 28 Jens Juuls Vej DK 8260 VIBY J Denmark Tel: 456-28 22 11 Laser Forms Printer Quantel Ltd. Kenley House Kenley Lane Kenley, Surrey CR2 5Yr England 01-668-4151 Designers and Manufacturers of Digital Television Broadcasting Equipment; the Paint Box

762 Mesaki-Cho Fuchu-Shi Hiroshima-Ken 726 Japan Text/Display Phototypesetters Scangraphic Dr. Boger GmbH Rissener Strasse 112-114 2000 Wedel/Hamburg West Germany (04103) 6021-25 Manufacturer of the Scantext Phototypesetting System, Frontend, Typesetter, Graphic Page, Logoscanner, Interfaces and Digital Fonts Simulation Excel AS Dag Hammarskjolds vei 15 Oslo 5 Norway Tel: 47-2-15 66 90 PAGEscan Digital Typesetter PAGEcomp Interactive Ad and Page Make-up Terminal Southern Systems, Inc. 2841 Cypress Creek Road Ft. Lauderdale, Fla. 33309 (305) 979-1000 Electronic Printing Systems Special Graphic Lettering Systems Holland B.V. Lijnbaanstraat 13 P.O. Box 525 2220 AM KATWIJK Holland 01718-26114/22871 Dry Transfer Lettering D. Stempel AG Hedderichstrasse 106-114 D-6000 Frankfurt 70 West Germany (069) 6068-0 Typefaces and Fonts for Analog and Digital Typesetters and other Visual Communication Equipment
Sumitomo Bakelite Co., Ltd.

Karow Rubow Weber GmbH Harksheider Strasse 102 2000 Hamburg 65 West Germany (040) 602 1071 IKARUSDigital Type Production SIGNUSType Setting with Foils Varitronics Systems, Inc. 9959 Valley View Road Eden Prairie, Minn. 55344 (612) 944-5070 Merlin Electronic Lettering Systems for the Office Visi-Graphics 8119 Central Avenue Washington, D.C. 20027 (301) 366-1144 Dry Transfer Letters Visual Graphics Corporation 5701 N.W. 94th Avenue Tamarac, Florida 33321 (305) 722-3000 Manufacturer of Photo Typositor and Original Typositor Film Fonts
Xerox Corporation Corporate Font Center

11 Mt. Pleasant Avenue East Hanover, N.J. 07936 (201) 887-8000 Phototypesetters and Photolettering Systems Adobe Systems, Inc. 1870 Embarcadero Palo Alto, Calif. 94303 (415) 852-0271 Interactive Software Tools for Graphic Arts Allied Linotype,Company 425 Oser Avenue Hauppauge, New York 11788 (516) 434-2000 Linoterm, V-I-P, Linotron, Omnitech CRTronic, Phototypesetting Equipment and Systems Alphatype Corporation 7711 N. Merrimac Avenue Niles, Illinois 60648 (312) 965-8800 AlphaSette and AlphaComp Phototypesetting Systems CRS Digital Phototypesetter Artype, Inc. 3530 Work Drive P.O. Box 7151 Fort Myers, Fla. 33901 (813) 332-1174 800-237-4474 Dry Transfer Letters Cut Out Letters Aston Electronic Designs Ltd. 125/127 Deepcut Bridge Road Deepcut, Camberley, Surrey GU16 6SD England 0252 836221 Video Character Generators Autologic, Inc. 1050 Rancho Conejo Boulevard Newbury Park, Calif. 91320 (213) 899-7400 APS-4/APS-5 CRT Phototypesetter Composition and Typesetting Systems Autologic SA 1030 Bussigny Pres Lausanne Switzerland 021/89.29.71 Bobst Graphic Products and Phototypesetting Systems H. Berthold AG Teltowkanalstrasse 1-4 D-1000 Berlin 46 West Germany (030) 7795-1 Diatronic, ADS 300o, Diatext, Diatype, Staromatic, Staromat, Starograph Berthold of North America 610 Winters Avenue Paramus, N.J. 07652 (201) 262-8700 Diatronic, ADS, Diatype, Staromat, Diasetter, Repromatic

701 South Aviation Boulevard El Segundo, Calif. 90245 Mail Stop A3-23 (213) 536-9721 Zipatone, Inc. 150 Fend Lane Hillside, Illinois 60162 (312) 449-5500 Dry Transfer Letters

2-2, 1-chome, Uchisaiwai-cho Chiyoda-ku, Tokyo 100, Japan (03) 595-9391 Printwheels, Daisy Wheels and Thimbles. Tactype, Inc. 12 West 26th Street New York, N.Y. 10001 (212) 924-1800 Dry Transfer Letters Technographics/Film Fonts P.O. Box 552 Culver City, Calif. 90230 (213) 870-4828 Toll Free: 800-421-4106 Film Fonts, Studio Film Kits, and Alphabet Designers TypeMasters, Inc. 29-31 E. Lancaster Avenue Ardmore, Pa. 19003 (215) 649-2546 2" Film Fonts AUTHORIZED SUPPLIERS OF ITC TYPEFACES IN DIGITAL FORM ADOBE SYSTEMS INC. BITSTREAM INC. COMPUGRAPHIC CORPORATION D. STEMPEL AG URW UNTERNEHMENSBERATUNG AUTHORIZED DISTRIBUTORS OF ITC TYPEFACES AGFA-GEVAERT N.V. BITSTREAM INC. DATALOGICS INCORPORATED DELPHAX SYSTEMS DICOMED CORPORATION DIGITAL EQUIPMENT CORPORATION DIGITIZED INFORMATION SYSTEMS CORPORATION (GHENT, BELGIUM) EOCOM GENERAL OPTRONICS CORPORATION KANEMATSU ELECTRONICS LIMITED SCITEX CORPORATION LTD.

FOR FURTHER INFORMATION WRITE OR CALL: INTERNATIONAL TYPEFACE CORPORATION 2 HAMMARSKJOLD PLAZA, NEW YORK, NEW YORK 10017 (212) 371-0699 TELEX: 669204

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87

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Please Print

SURNAME

GIVEN NAME

NOM

PRENOM

ZUNAME

VORNAME

TITLE

FONCTION

BERUF

COMPANY

FIRME BUSINESS
HOME

FIRMA TRAVAIL RESIDENCE PRIVEE LIEFERUNG AN FIRMA

PRIVAT

DELIVERTO:

DELIVREZ A

ADDRESS

ADDRESSE

STRASSE

CRY

VILLE

CODE POSTAL

POSTLEITZAHL UND ORT

STATE

ZIP CODE

PAYS

LAND

SIGNATURE

SIGNATURE

UNTERSCHRIFT

DATE

DATE

DATUM

My organization and/or I am involved in the visual communications field yes no I am a student yes no

Mon organization et/ou je fais partit de communications visuelles oui non Je su is etudiant oui non.

Meine Firma und/oder ich sind auf dem Gebiet der visuellen Kommunikation tdtig ja nein. Ich bin Student _ja nein.

BUSINESS CLASSIFICATION: (Check One Only)

(a) (b) (c) (d) (e) (f) (g) (h) (i) (j) Printing (Commercial, Instant, etc.). Typesetting (Commercial). Advertising Agency, Art Studio, Design, Freelance. Newspaper, Magazine, Book Publishing. In-plant or corporate typesetting and other reproduction services. Education and/or Libraries. Government. Corporation Advertising, Design, Promotion. Communication and information processing. Other.

CLASSIFICATION PAR PROFESSIONS (Ne cocher qu'une seule fonction)

(a) Impression (Commerciale, Instantanee, etc.). (b) Composition (Commerciale). (c) _____Agence de publicite, Studio dart, Conception, Independant (d) lournal, Revue, Edition de livres. Composition faite sur place ou par une societe (e) et autres services de reproduction. Enseignement et/ou bibliotheques. (f) Government. (g) (h) Publicite de societe, Conception, Promotion. Traitement de communications et d'informations. (I) Autres. (j)

FIRMENKLASSIFIZIERUNG (Biffe eine ankreuzen)

(a) (b) (c) (d) (e) (f) (g) (h) (i) Ii) Druckerei (Akzidenzdruck, Schnelldruck, usw). Schriftsetzerei (Work- oder Layoutsatz). Werbeagentur, Grafikdesignatelier, Freischaffender. 7eitungs-, Zeitschriften- oder Buchverlag. Firmeneigene Schriftsetzerei, Reproduktion oder Druckerei. Bildungsanstalt oder Bibliothek. Behdrde. Werbe-,VerkaufsfOrderungs- oder Designabteilung von Industrie- oder Handelsfirma. Kommunikation und Datenverarbeitung. Sonstiges.

MY PRIMARY JOB FUNCTION IS: (Check One Only)

(k) (I) (m) (n) (o) (p) (q) (r) (s) (t) (u) (v) (w)
(x)

Artist, Illustrator. Graphic Artist, Art Director, Creative Director Display and Package Design. Pasteup Artist,Typographer, Keyboarder Type Director, Type Buyer Advertising Manager, Sales Promotion Manager Production Manager, Office Manager. Printing Buyer, Purchasing Agent. Editor, Writer Teacher, Instructor Audio Visual. Principal Officer Secretary, Typist, etc.
Other.

MON ACTIVITE PRINCIPALE EST: (Ne cocher qu'une seule fonction)

(k) _Artiste, Illustrateur. Artiste graphique, Directeur artistique, Directeur (I) de creation. Conception de ('exposition et de rempaquetage. (m) (n) Metteur en pages,Typographe, Claviste. (o) Directeur de composition, Acquereur de caracteres d'imprimerie. (p) Directeur de publicite, Directeur de la promotion des ventes. Directeur de production, Directeur de bureau. (q) (r) Acquereur de produits d'imprimerie, Agent propose 6 l'achat. (s) Reclacteur, Auteur (t) Professeur, Instructeur. (u) _Audio-visuel. (v) Agent principal. Secretaire, Dactylographe, etc. (w) (x) Autres.

MEINE HAUPTBERUFSTATIGKEIT: (Bitte eine ankreuzen)

(k) (I) (m) (n) (o) (p) (q) (r) (s) (t) (u) (v) (w) (x) KUnstler, Illustrator Grafiker, Art-Direktor, Kreativ-Direktor Entwurf von Verpackungen oder Auslagen. Reinzeichner, Schriftsetzer Typograf,Type-Direktor, Einkdufer von Schriftsatz. Werbe - oder VerkaufsfOrderungsleiter Produktionsleiter, BOrovorsteher Drucksacheneinkdufer Redakteur, Texter Lehrer, Ausbilder Audio-visuell. FirmeneigentUmer leitender Angestellter Sekretarin, Stenotypistin, usw. Sonstiges.

NUMBER OF PERSONS EMPLOYED IN YOUR ORGANIZATION

(1) (2) (3) (4) (5) (6) 1-9 10-19 20-49 50-99 100-249 250 and over

ZAHL DER BESCHAFTIGTEN MEINER FIRMA ODER BEHORDE:

(1) (2) (3) (4) (5) (6) 1-9 10 - 19 20-49 50-99 100-249 Ober 250

NOMBRE DE PERSONNES EMPLOYEES DANS VOTRE FIRME

(1) (2) (3) (4) (5) (6) 1-9 10-19 20-49 50-99 100-249 250 et plus

Act 5/85

Ale 5/85

U&IC 5/85

88
ITC Center Calendar of Events The ITC Center was established to introduce new and exciting typo/graphic arts experiences. It is a growing resource for students and professionals. Seventy-five pieces are included in this retrospective exhibition of the work of German calligrapher, type designer and teacher, Friedrich Poppl. Prior to his death in 1982, Friedrich Poppl designed more than forty text and display typefaces for the German foundry, H. Berthold AG, the organizers of this exhibition. Mr. Poppl was also a teacher at the Weisbaden College of Applied Art for twenty-five years.Typographic Treasures: The Calligraphy and Type Design of Friedrich Poppl was originally exhibited in 1983 at H. Berthold AG, in West Berlin. June 5-August 30 TDC 31-The 31st Annual Type Directors Club Exhibition More than two hundred examples, representing some of the best typographic work of 1984, include outstanding typographic and calligraphic work by leading designers, artists and type directors throughout the world. Hours: 12:00 noon-5:00 p.m. Open Monday-Friday (Closed July 4 and 5) Admission: Free ITC Center 2 Hommorskjold Plaza (866 Second Avenue, between 46th and 47th Streets) 3rd Floor New York, New York 10017 For more information and group reservations call (212) 371-0699.

Typographic Treasures: The Calligraphy and Type Design of

Friedrich

April 10-May 24
IL

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