Upper & lower case: Volume 11—Issue 2

8/13/2019 Upper & lower case: Volume 11—Issue 2

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TYPOGRAPHICS PUBLISHED BY INTERNATIONAL TYPEFACE CORPORATION, VOLUME ELEVEN, NUMBER TWO, AUGUST 1984



2

VOLUME ELEVEN, NUMBER TWO, AUGUST, 1984

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

BUSINESS MANAGER: JOHN PRENTKI

ADVERTISING/PRODUCTION MANAGER: HELENA WALLSCHLAG

ASSISTANT ART DIRECTOR: ILENE MEHL

ART/PRODUCTION: TERRI BOGAARDS, SID TIMM

SUBSCRIPTIONS: ELOISE COLEMAN

C INTERNATIONAL TYPEFACE CORPORATION 1984

U&LC (ISSN 0362 6245) IS PUBLISHED QUARTERLY BY INTERNATIONAL TYPE-

FACE CORPORATION, 2 DAG HAMMARSKJOLD PLAZA, NEW YORK, N.Y. 10017.

A JOINTLY OWNED SUBSIDIARY OF LUBALIN, BURNS & CO.. INC. AND PHOTO-

LETTERING, INC. U.S SUBSCRIPTION RATES S10 ONE YEAR: FOREIGN SUBSCRIP-

TIONS. S15 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 ADDRESSCHANGES TO U&LC. 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 1984:

GEORGE SOHN, CHAIRMAN

AARON BURNS, PRESIDENT

EDWARD GOTTSCHALL, EXECUTIVE VICE PRESIDENT

BOB FARBER. SENIOR VICE PRESIDENT

JOHN PRENTKI, SENIOR VICE PRESIDENT AND GENERAL MANAGER

EDWARD BENGUIAT, VICE PRESIDENT

ALLAN HALEY. VICE PRESIDENT

MICROFILM COPIES OF U&LC MAY BE OBTAINED FROM MICRO PHOTO DIVISION.

BELL & HOWELL, OLD MANSFIELD ROAD, WOOSTER, OH 44691

In this issue:

Editorial

A preview of U&Ic fu ture p lans to he lp novice and exper ienceddesigners embrace the new technologies w ithout sacr i f ic ingesthetics. Page 2

Thoughts

Some sage observations about Youth and Age. Page 3

The Genie in the Tiffany Lamp

One m ore look at the fabulous lamps, with special attention totheir luminous, multi-faceted creator, Louis Comfort Tiffany.Page 4

Lampshades to Wear

A contemporary jewelry designer makes wearable ar t insp iredbyTiffany lamps. Page 8

Saul Mandel

This to ta l ad-man charges in to h is four th decade in the businesswith youthful vigor, irrepressible good humor and a crop of newimages. Page 10

Quon & Quon

Father and son il lustrators shrink the generation gap. Page 14

Tom ChristopherThe fast, fascinating career of a courtroom artist. Page 16

Man Bi tes Man

...but this time it's a woman. Caricaturist Irma Selz' l ife andcontr ibutions are docum ented in a detai led and perceptive bio-graphical sketch by Steven Heller. Page 18

Puzzle: A Dog's World

A word search to keep you occupied through the dog days ofsummer. Page 24

Report from Technopolis -

From out in computer w onder land, David Henry Goodste inrepor ts on improved techniques in co lor graphics and new prod-ucts like video jukeboxes, video camera/recorders, and more.Page 26

Two Alphabets

Elfabet and Action Alphabet are two com pletely di fferentapproaches to alphabet design — typical of the variety of ideassubmitted by our readers. Page 28, 29

What's Ne w from ITC: ITC Symbol""

This third design created by Aldo Novares e for ITC is a simplestra ightforward design of understated e legance. Page 30

Clowns

Behind the greasepaint, baggy pants and fr ight wigs of real peo-ple engaged in the serious and historic art form, clowning.Page 36

Book Shel f

A browse through the new publ ications re la t ing to ar t , graphics,technology and communicat ions in genera l . Page 45

B. Mar t in Pedersen designed th is issue of U&Ic whi le U&Ic Ar tDirector Bob Farber was on a leave of absence. Readers mayrecall the Flight story and cover of U&Ic in March, 1982. It wasdesigned by Mr. Pedersen and won m any awards throughoutthe industry. His biography appears on page 36 of that issue.

The do do is an extinct, flight-less, unga inly bird. Its foolishappearance gave rise to the

Portuguese word doudo, or fool.Legend also would have us

believe that the dodo flew back-wards because i t was more inter-ested in where it came from thanin where it was going.

Today there is a bit of reversedodo in all of us. We are so in love

with the new techn ologies, bitsand b ytes, lasers, fiber optics,biogenetic discoveries, man inspace, etc., that we overlook thelessons of the past. We are sopreoccupied with where we aregoing that we forget that thosewho ignore history are doomed torepeat errors of the past.

Thousands, hundreds of thou-sands, and s oon m illions ofpeople with no knowledge of, norsensitivity for, typography orgraphic design wi l l be makingtypographic and design decisions.

We w ould remind them, and

the bottomline-minded people towhom they report, that communi-cation effectiveness is their goaland that the lessons learned bytypographers and designers,when ap pl ied to today's commu-nications, make their messagenot only more p leasing butmore effective—m ore likely to be

COLOPHON

ITC AMERICAN TYPEWRITER* 6 , 17, 39

ITC A V A N T GA RDE GO THIC° 4, 15, 26, 27, 44

ITC BENGUIAT CONDENSED. 4

ITC BERKELEY OLOSTYLE" 8, 19, 20.23

I T C B O O K M A N • 8, 29

I T C C H E L T E N H A M . C O N D E N S E D 1

ITC CUSHING' 4, 25

ITC FRANKLIN GOTHIC. . 12, 18, 19, 36, 37, BA C K C OV ER

ITC GALLIARD" 8

noticed, read, understood,remembered, acted upon.

U&lc plans to do its share ininforming and sens itizing thosenew to the w orld of typograph ics.Our present 'Typog raphic Mi le-stones series is one small step inthis direction. Soon the FY(t)I (ForYour T ypographic Information)series will commence an d, in thenear future, T ypography Today

will, we hope, inform, sensitize andst imulate both experienced andnovice designers. This series ofarticles w ill focus on the art,design and typographic develop-ments of the tw entieth century,and their significance as the cen-tury nears its end. Of course, ourReports from TechnopolisTm andcoverage of com puter graphicswill blend with them to give abalanced picture of where w eare, and where we are going.

We at U&lc hope these serieswill help all our reade rs to betterunderstand how typographic

design developed through the1900s, and thus to have a keenersense and warmer feeling of howto practice it today and tomorrow.

We ll do our best to help pre-vent the explosively expandinguniverse of design decision mak-ers from becoming either dodosor reverse dodos.

I T C M A C H I N E * FRONT COVER, 36, 37

ITC NEWTEXT• 2

ITC SOUVENIR* 43

ITC SYMBOL' 2 3 30-35

ITC TIFFA N Y 5-7 , 9

I T C U S H E R W O O D " 10, 1_1, 45

ITC VELJOVIC" 40, 41

ITC ZAPF BOOK* 26, 27

EDITORIAL

ONCE AGAIN

W H A T ' SP A S T I SPROLOGUE.R OLOG OS I (_ ,R EEK) IN TR OD t C L ION TO A P LA Y OR S P EECH

MASTHEAD: ITCNEWTEXT REGULAR TABLE OF CONTENTS: ITC SYMBOL BOOK BOLD

HEADLINE/INITIAL: MEDIUMSUPRAHEADS: BLACK TEXT: MEDIUMITALIC

COLOPHON: ITC FRANKLIN GOTHICBOOK FOOTNOTE: HEAVY, HEAVY ITALIC

Please note: The date of this issue of Ualc,Vol.11, No. 2,Is August 1984. It Is being distributed at the

usual time for the June Issue which it replaces. U&Ic will continue to reach you on the customary date,

but issues will be labeled February, May, August, November.



3

T H O U G H T S

Y ou n g m en ar e fitte r

to in ven t th an to ju d ge ,fitter for ex ecu tionth a n fo r c Q u n se l-m e n

o f a g e o bje c t t o o u c h ,co n su lt to o lo n g , \or

a d v e n tu r e to o 4 7 1 p b

lit tle , rep en t toosoon Francis Bacon, "Of Youth and Age"

I LLU ST R A T IO N B Y WA LK NE I B A R T

TEXT 'CREDIT: ac SYMBOL BOOK. BLACK SUPRAHEAD: BLACK





5

GE 1EIli

'r1i EIFIfi lkAW

LAMI'

One hundred

and

thirty-two

magical

Tiffany lamps

are now in

the permanent

collection of

The New-YorkHistorical Society,

agiftof

Dr. and Mrs.Egon Neustadt

COURTESY OF THE NEW-YORK HISTORICAL SOCIETY, NEW YORK CITY.



Anyone who had the fore-

sight, or just the plain

good luck, to invest in

even one Tiffany leaded-

glass lamp (not to mention a collec-

tion) is entitled to feel complacent.

The lamps are treasures today. So

it's ironic to learn that, fifty years

ago, they were so out of favor you

could pick one up for a song at a

thrift shop or auction. Worse still,

in 1932, when Tiffany Studios went

into bankruptcy, countless lamps

were slaughtered at the Corona,

New York plant, to retrieve the

bronze which was considered the

only thing of value in the lamps.

In a strange and poetic way, those

jewel-like lamps are a metaphor for

the luminous, iridescent, multi-

faceted, super human being, Louis

Comfort Tiffany, himself.

He was born in 1848, into thatwealthy Tiffany family that founded

the esteemed silver and jewelry

emporium, Tiffany & Company, in

New York City. To his father's regret,

Louis rejected a place in the family

business and opted to study art

instead. After a number of years

devoted to painting, his esthetic

interest shifted to decorative ob-

jects and interior design. His social

position opened doors to some of

the most prominent and opulent

homes in America. He had no trou-

ble attracting such affluent and

notable clients as Cornelius Van-

derbilt, Lily Langtry, President

Chester A. Arthur and even Mark

Twain. He also received commis-

sions to help in designing the inte-

riors of several New York theaters.

The more he involved himself in

interior design and decoration, the

more obsessed he became with the

need to control the entire esthetic

environment of a home; from the

smallest lamp to the large cathe-

dral windows which were all the

rage in the late 19th century. To

that end, in 1885, he established his

own design studio to manufacture

the stained-glass windows, lamps,

jewelry, mosaics and bronze art ob-

jects. Althoughhecalled his enter-

prise The Tiffany Glass Company,

the glass was purchased from out-

side suppliers. The innocuouscharacter of commercial glass,

however, and the prevailing taste

for painted glass were anathema to

him. None of the glass available had

the luminous, jewel-like quality of

the stained-glass used in true cathe-

dral windows. That was what he

was after, and with typical Tiffany

tenacity, he took steps to solve the

problem. He immersed himself in

studying the chemistry of glass.

He also imported specialists from

Europe to help him and, in 1893,



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7

perimentation

under his direction,

and variegated colors and tex-

lightbehind them, they

It was with such

Pyrite, that he cre-

amps that were a

in every fashionable home.

The leaded-glass shades were

introduced in 1899. The metal

erent craftsmen worked on the

re exactly alike.ut there were six basic designs

First came thegeometric

ided and

etrical, with simple repeti-

t, more elaborate design,

theflowered geometric. The

s still geo-

tural flowers.

Though the

The

n these shades

the abstract. It was

his cone shaped shade that

Theflowered

which iscurved ver-

and horizontally, was a tow-

ent, since it is ex-

glass onto a curved sur-

ical and artistic triumph,

worked in harmony with

s. Finally, the

ts were the

irregular lower

andirregular upper and

ers. The open-ended

t natural flower,

tree and shrub forms.

These leaded-glass shades have

s with the name

too often, the

name is used generically, and Louis

Comfort Tiffany would rise from

his grave, if he could, to smash the

monstrous imitations. He was not

only a purist who wanted just his

best work preserved, hewas also

an elitist, who wanted his work only

in the best homes. In the factory,

pieces with the slightest imperfec-

tion were destroyed; no irregu-

lars or seconds ever left the

plant. He also controled the dis-

tribution by selling merchandise

only to select stores, and only on

consignment. If an item didn't sell

in one shop, it was called back to

the factory and offered to another

dealer. If after three attempts, the

item was not sold, it would goback

to the factory and be smashed. He

was so vigilant that the name

Tiffany not be compromised, he

sent representatives to search outand buy up any Tiffany wares that

wound up in second-hand stores.

In the high-flying, exuberant era

of the early 1900s, the Tiffany

workshop prospered. But in the de-

pressed economy of the early '30s,

the romantic, sinuous Art Nouveau

designs of Tiffany were out of

place. The energetic, streamlined,

no-frills Art Deco movement was

more in step with the industrialized

nation that had tightened its belt

and its purse strings. Tiffany de-signs were ridiculed and rejected.

Although he had withdrawn from

the company in 1928, he lived to see

its demise in 1932, just one year

prior to his own death.

Fortunately, collectors like Dr.

Egon Neustadt and his wife, Hilde-

garde, have helped to preserve the

Tiffany legend. They started their

collection in 1935, when the lamps

were out of favor, and have since

acquired over three hundred, rep-

resenting almostevery style made

between 1899 and 1920. They also

own forty stained-glass windows in

landscape, floral and ecclesiastic

designs. Recently, one hundred

thirty-two lamps and five windows

were presented to The New-York

Historical Society by the Neustadts.

The lamps are a joyous sight for

visitors to behold, and it would

gladden the heart of Louis Comfort

Tiffany to see his creations installed

at such a distinguished address:

170 Central Park West, New York City.

Marion Muller

HEADLINE/SUBHEAD/TEXT: ITC TIFFANY HEAVY CREDITS: LIGHT





9

elry designer creates...

A M PSI 'A D E SO W E A R

"... and this is the moment when you pray a lot... or swear a lot,"fessed Marilyn Fischer. She was describing a crucial step in

It's no news that designers ransack the past for ideas. But we

ing, the jewelry is only half-round, so it can lie flat

r jewelry, Mrs. Fischer uses an old, elaborate enamelingplique-ajoun It is a painstaking process, not to

attempted by the fainthearted or casual craftsman. The acci-nts and failures, inherent in the process, require great reserves

few people work in this technique nowadays.Briefly, here's how it's done: She starts with a flattened out line

ensional one. From this plate, the design is etched and cast in

-precious metals. The resultant casting is a lacework of metal,

r coming with a new project. The annealing process, how-

A C H A R L E S B A R B A R A E N G L I SH , W I L H E L M I N A M O D E L S , I N C .

ever, toughens the metal and makes it malleable so she can pressit onto a wooden die to shape the shade. This shaped matrixis then lined with a thin sheet of copper in preparation for theintricate enameling work. Here's where much of her personal art-istry comes into play, because it is with glazes of translucentenamel that she emulates the varied color and textural effects ofTiffany glass. After the enameling, the piece is fired to bake the

colors and fuse the metal and paint Finally, the copper backingmust be gently pulled away, leaving the piece on its own and in-tact, you hope. This is the moment of truth (when you pray a lotor swear a lot, according to Mrs. Fischer) because it sometimeshappens that sections of enamel peel away with the copper, leav-ing your work and you undone. However, if all has gone well, the

piece is subjected to a final series of firings and polishings whichbring out the brilliance of the enamel to the point you believe

there's actually a tiny light behind each little shade. Pieces in-tended to be worn as pins are fitted with metal bases, also fabri-

cated by Mrs. Fischer, to resemble miniature table lamps.As you might imagine, this unusual jewelry caused quite a stir

at the recent Accessories Show in New York City; as it doeseverywhere it's seen. Mrs. Fischer is currently making arrange-ments to increase her production so the pieces will be more read-

ily available. Meanwhile, inquiries may be addressed to: FischerJewelry Designs, 121 East 83rd Street, New York, NY 10028.

Marion Muller

HEADLINE/TEXT: ITC TIFFANY LIGHT





11

His parents wanted him to be a do ctor,

but h e chose art. He hop ed his children

would study art, but two ou t of fo ur

cho se medicine, so far. Not even that

disappointment nudges Saul Mandelout of h is good hu mo r. Well, how

many peo ple can you name who get areal high from their work, have noth-

ing bu t kind words for th eir clients,think lecturing and teaching are fun,and at the age of fifty-eight—afterthirty-odd years in the communica-

tions bu siness— still think it's all"wonderful."

No wo nder, when S aul Mandel was

called in to re-create the fam ou s Green

Giant symb ol for an ad in T h e N e w

Y o r k e r he m ade him in his ownimage — taller and skinnier, true, but

a jolly, smiling, good-natured guy likeSaul, himself.Although Mandel is fond

of his Giant (it goes back twentyyears) he wishes peop le would notstay fixated on it, considering thediverse nature and quantity of workthat has flowed through his handssince then.

The only way to describe all his

activities is to call him a to tal creativeforce. He has done it all: concepts,design, illustration, ph otograp hy, news-

pap er ads, posters, cartoons, trainingfilms, TV commercials, brochures,

po int-of-sale prom otional pieces— and

he has coordinated and art-directedall of the abo ve. His list of clients

stretches from Bank of Am erica to

W o m a n s D a y M a g a z i n e , with dozensof equally prestigious nam es in between.

But whoev er calls him in on a project

knows that h is solution will surely beunique, cheery, brightly colored andunfailingly optimistic.

Considering his accom plishments

and awards from such as The So cietyof Illustrators,Art Directors Clubs,CA Exh ibitions and many feature stories

in G r a p h i s , I d e a M a g a z i n e , M o d e r n

P u b l i c it y A r t D i r e c ti o n , P r i n t a n d C A

M a g a z i n e , you'd think Mandel would

slow down and rest on his laurels. Buttime and fame haven't dimm ed hisenergy for work. He continues to probe

for a contemp orary, vigorous exp res-

sion for his old-fashioned "friendly"folk. Sho wn on these pages are someselections from his recent exhibitionat The Society of Illustrators. Coming

soon: Mandel's design for a new U.S.postage stamp.

M . M .

1 V I A I N D E LTEXT: ITC CHELTENHAM LIGHT CONDENSED HEADLINE: ITC USHERWOOD MEDIUM CAPTION: ITC FRANKLIN GOTHIC HEAVY


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"Running Man" appeared In the July 1982 Issue of Colloquy magazine and Is

reprinted with their permission.



* * * C



ONE PLANS T H E OTHER PLUNGES

Why do som e ch i ldren fa l l r ight in l ine a ndfol low a paren t's career, while othersm ove in d iame trica ll y oppos i te d i rec-

t ions? I f we tr ied to ana lyze the ca se of fatherand son , M ilton and M ike Quon,we w ou ld beup the proverb ial tree. Milton, the father, unti l heret ired rece ntly, was a n a rt ist, art director, pack-

age des igner and teacher in the Los Ang e lesarea. He h ad been assoc ia ted w i th W al t D isneyStudios and the BB D& O adve rtis ing agency ,am onc others. Vike, on the other han d, set outfor a career in m edicine. He wa s a lready up tohis eyebal ls in chem is -ry and phys ics, when hereal ized i t would be a m istake. H e ext r icatedh imse l f from the wor ld o f sc ience an d depo s-i ted h imself in the Art Dep artmen t, to his eve rlast-ing relief. Now Mike works as an i l lustrator,des igner, art director and teach er, fol lowing h isfather's career almost to the letter.

Though fa ther and son are three thousand

m iles apart (Mike's design studio is in Ne wY ork)they are alm ost of one m ind in their p leasures,as w el l as their work. Bo th l ike to travel, and bothcarry sketchbooks wh erever they go. W henMilton Quon vis ited New Yo rk a few yea rs ago, heand M ike comp ared sketchbooks. It tu rned outthat in m any ins tances both had recorde d the

sam e locale in the city, but w ith dif ferent inter-pretat ions. W e have to conc lude that thoughthe pred i lection for art is in the g enes, the s tylecom es out of environmen t . Sa ys Mike / 1\Nfather 's tra in ing w as m ore disc ipl ined and st ruc-tured than m ine. I see him start off with a plan forthe w hole pa ge; I just p lung e r ight in."

H owe ver, since his father's ret irem ent, Mike ob-serves that V I ton is avidlyfi ll ing m ore an d m orenotebooks . .. he i s abandon ing con cerns abou tperspective and is working in a freer,flalter, morecontem porary fo rm. Cou ld i t be a case o f " like

son, l ike father"? W el I,turnab out is fair play.

M ar ion M ul le r



15

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A N D B R O A D W A Y , S O H O . M I K E Q U O N

TEXT: ITCAVANT GARDE GOTHCX -L I G H T HEADLINE/CAPTIONS: BOLD SUPRAHEAD: BOOK AMPERSAND: ITC BENGUIAT BOOK CONDENSED



PROSECUTOR QUES TIONING WITNESS DURING CRAIG CRIMMONS TRL

SE NATORS LISTENING AT SENATOR HARRISON WILLIAMS'EXPULSION HEARING.

TOM CHRISTOPHERthe fastest "draw" in the East.

Ideally, he should work quickly,

quietly and unobtrusively.

But it's almost impossible for

rIbm Christopher not to attract

an audience. Attorneys, visitors,

and even judges feel compelled

to peek over his shoulder. 'IbmChristopher is a courtroom art-ist, doing with magic markers

what cameras would do if they

were permited in the courtroom.

C hristopher came out of Los

Angeles, where he studied at

The Art Center. Though he con-

siders painting to be his serious

work, painters must eat, so he

turned his special talent for

quick studies into a career that

pays. He started on the west

coast, working for NBC News,

and covered the celebrated

Marvin vs. Marvin case there.

However, in 1979, when Califor-

nia lifted the ban on cameras in

the courtroom, he moved to New

York where the ban still prevails

Now, on the east coast, he works

for CBS News, and has sat in on

the most notable trials, including

the Jean Harris murder case,

the Craig Crimmons case, the

Abscam trial, Rev. Moon's tax eva-

sion trial and the Brinks case.

The courtroom drawings we

see flashed on a television

screen look so facile, they beliethe complexity of the job. When

you consider that the subjects

are often in motion, that a dra-

matic moment may involve not

just one person but a whole

group, that the artist must cap-

ture the gesture and likeness of

his subject without injecting per-

sonal bias, and that a complete

set of drawings must be turned

into the newsroom by two p.m.

to be readied for broadcast on

the evening news, the job is not

quite as breezy as it looks.

Sin.ce TV cameras are now

permited into courtrooms in

thirty-seven states (and the num-

ber keeps rising steadily), the

courtroom artist may become

extinct. However, 'Ibm Christo-

pher's talents have served him

well in a number of other fasci-

nating assignments. He has cov-

ered the T.a-s Vegas Grand Prix

for Motor Trend Magazine, has

traveled and supplied pictures

and text for the National Foot-

ball League, the National Hockey

League and the Philadelphia

Flyers. He has also secreted him-

self in the corridors of St. Eliza-

beth's Hospita l in Washington,

D.C. to make studies of mental

patients for Psychology Thday.

Obviously, Christopher has

had his share of excitement.

But the one assignment he cov-

ets is a trip into space with the

astronauts. You may wonder

why an artist might be needed

in a space capsule when so much

sophisticated camera equipment

is available. According to rIbm,though cameras are incredible

for shooting from the window

of a space craft, we don't get very

clear, detailed pictures of activi-

ties inside the capsule. He hopes

someday to hitch a ride. Is any-

one at NASA listening?

Marion Muller



TEXT/CAPTIONS: ITC AMERICAN TYPEWRITER MEDIUM HEADLINE/INITIALS: BOLD

17



The artist takes liberties with Milton Berle, 1939

NEW YORK POST

fr iek-Lnd M A G A Z I N E

Ime

1 0

Selz' conception of Roy Cohn and

See fAcCerthy of the heorinqt More

drowtnqs by Selz oppeor <'^ Poae6M

MAN BITES MAN

NEW YORK'S GIRL CARICATURIS T:

IRM A SELZBY STEVEN HELLER

W ho are the impor tan t women car ica-

turists and cartoonists of the past?

Actually , only a han dful seriously practiced

the ar t , and even f ewer are remembered

for i t . Only four exemplars f rom the '30s

and '40s immed ia te l y come to m ind: they

are M ary Pet ty and Helen Hokinson , bo th

o f whom urbanely satirized their epoch in

The New Yorker, a n d E v a H er m a n a n dPeggy Bacon, known for their unique ap-

proaches to caricature. Al l have added muchto the legacy of American visual humor.

I f a woman pursuing a career , o ther thanhomemaking, was virtual ly a social out-

cas t in the decades be fore World War II,

then those engaged in car toon ing were

involved in a mo st demeaning , taboo occu-

pat ion . A l though t imes and mores have

changed , and today many more women are

successful ly working in the cartoon trade

(notab ly Roz Chast , Nicole Hol lander ,

Trina Robbins, Claire Bretecher, M.G. Lord

and M imi Pond), only t ime will definit ively

te l l how impor tan t they are to th i s genera-

tion and, more importantly, to the art in

general . But neither t ime nor the historianswho record i t s events are good enough

measures. For the latter have failed to be

f a i r o r generous to the wom en car toon i s tsof the past.

I rma Se lz i s one such i l l -treated artistwho, by all measures, was one of the most

prol i f ic graphic humorists of the '30s, '40s

and '50s. Today she is ignored by h is tor ians

and af ic ionados a l ike . Regardless o f the

fact that she contr ibuted m ult itudinoustheatrical and pol i tical caricatures to over

f i f ty publications, including The New York

Times , The Herald Tribune, The NewYork Post, The Daily News, The Broo klyn

Eagle, The New Yorker, Vogue, Glamo ur,

Stage and Cue, to name but a few—produced

scores of signed i l lustrations or influential

advertising agencies; i l lustrated and wrote

f ive children's books and illustrated an equa lnumber of adul t books— her c i ta tion does

n o t a p p ea r in the recently published

Chelsea House Encyclopedia of Car-toons o r Masters of Caricature. In fact,she gets only scant mention in Stephen

Becher's excellent Com ic Art in America,publ i shed in 19594not for her own ex ten-

sive collection of clips and photostats, and

a ha l f scr ib ed autobiography in i t ia ted

shor t l y be fore her dea th in 197Z I rma

Selz might never have existed for us. Thanks

to her son , Tom Enge lhardt , who recent ly

d iscovered boxes contain ing her work o f a

lifet ime, the oeuvre of this consummate

caricaturist is now available for study.

Known affectionately to her male counter-par ts as Ne w York's girl caricaturist, a

title she proudly accepted, Irma Selz 's life

story is, no doubt, shared by many other Roy Cohen and Senator Joseph McCarthy, The New York Post, 1955

pioneer career women in numerous f i e lds

who, in the face of sexual and social ob-

stacles, blazed independent paths. Selz's

part icular pass ion was cartooning. H o w -

ever, in the '30s, when her work came o f

age, cartooning was a men's club, as it was

i n the cen tury be fore and fo r years after-

ward. For the dauntless Selz however, it

was a lso a profess ion that beckoned.

A native of Chicago, I llinois, Selz at-

tended the Universi ty of Chicago and the

Chicago Art Institute. While in school she

toyed with the plastic arts, but caricaturesoon became a passion and compulsion thelikes o f which her c ronies could no t fa thom.

Upon g raduat ion she sough t an act i ve

career , ra ther than d i l e t tan t i sh dabbl ing in

t he arts. Two local journals with impres-

sive followings, The Chicagoan a n d TheChicago Tribune, commiss ioned her to

do theatrical caricatures, sketches and

cartoons—an exce llent proving ground , bu t

the Windy Ci ty proved to be too provincial

for the aspir ing satirist. Fo r Selz, l ine so

m any others, New Yo rk was Mecca.

Of course everyone to ld me that a girlcouldn't make a l iving doing caricatures,

she wrote in her u nfinished autobiography .

Bes ides , the G reat Depress ion wasn ' t thebest t ime to start out." However, in spite of

the breadl ines, soup ki tchens and hungermarches endemic to the e ra , Se lz be l ieved

that a new way of life for women was taking

form. "A lot of interesting things were hap-

pening, she wrote. G irls started to earn

their own money. A lso, while the early

'30s was a t ime of general disaster, by some

odd paradox , i t was a peak o f en ter ta in -

men t by w it and humor . The be l eaguered

populace took refuge in theaters and mov ie

ho uses. It was the heyday o f the grea t

Broadway com ed ians: The M arx Bro thers ,

W.C. Fields, Fanny Brice and A l Jo lson;

and N ew York was the theater capita l o f the

world. Since theatrical caricature wasSelz's forte, it was logical that the prestig-

ious New York Times drama section would

be her first stop.

What lunacy caused me to think I couldearn m y l i v ing as a car icatur i s t in N e w

York? I 'm not certain, Selz wrote about her

ini tial tr ial . Whatever the impetus, she had

the temerity to walk bo ld l y and wi thou t

an appointment in to the o f f ice o f the Times'

drama cri tic. Perhaps, she thought, he

would l ike her work and of fer an assign-

ment . When I arrived, the proverbia l big

city office boy, seated at the large reception

desk , looked down h is nose at me wh en I

asked to see the drama crit ic . He said that it

was John Byram, the drama ed i tor, whohandled such matters, and that he was busy.

`That 's okay' I said withou t skipping a beat,

`I ' l l wait . ' An d so she did—patiently ,for



Sa

SENATOR JOSEPH MCCARTHY R A N C I S C O F R A N C O

D E A N A C H E S O N

J . E D G A R H O O V E R

NIKITA KHRUSHCHEV

T A L L U L A H B A N K H E A D

C L A U D E T T E C O L B E R T

E z R A P O U N D

19

any hours with hardly a glimmer of hope

new s room t o e n -

her se nse s . In t ime howe ve r , e ve n S e l z

c o u r a g e d : I w a s just about

n t he o f f i c e b oy c a l l e d me .

p u m p s a n d f o l l o w e d h im

desk, where I m e t J o h n

a d a p p e r , sharp featured, m a n -

in

his grey, pinstriped suit, I

y p o r t f o l io . H e l o o k e d q u i e t l y . M y

use

— Selz was

astounded. Not only was she awarded an

assignment on her f irst venture out , but

such a grand assignment it was: to render

N e w York's most important "literary

arbiter, and social gadfly. From that time

o n , t h e g i r l car icatur is t was never wantingfor w o rk .

I n t h o s e curiously h a l c y o n y e a r s b e t w e e n

t h e e n d o f t h e depression and b e f o r e t h e

outbreak of the war, New York was indeed

a publishing wonderland spewingforth

as many as twelve daily newspapers and

scores of art and other culture magazines.

Caricature was at the pinnacle of h e h u m-

orous arts, practiced by many graphic

m a s t e r s : A l H i r s c h f e ld , t h e T i m e s ' v e t e r a n

king of theatrical caricature, was on con-

tract with The Herald Tribune; William

Auerbach-Levy drew for The New York

Post; Miguel Covarrubias was the satirical

force at Vanity Fair; and Al Frueh created

his singular s t y le fo r The New Yo rker.

I t was from the latter that Selz derived her

inspiration and style. The brevity of line

and pronounced attention to the subject's

most emblema tic,physicaldetail typified

her m entor's work, and was applied with-

ou t a fault to Selz's caricatures. Herwork

e vo lve d from a detailed narrative style—

use d in her T i m e s t a b l e a u x— t o a n e c o n o m i -

cal , single figure m o d e — u s e d in t h e Po s t

and New Yorker. The minimal brush line,

drawn with max imum energy was S e l z ' s

trademark.

By the late '30s Selz's career was estab-

l i s h ed . Sh e w as ev en sent t o H o l l y w o o d b y

theJournal American Magazine to record

t h e tinsel and glitter in her inimitable

fashion (the photograph shows M i l to n B e r l e

with Selz in a typical pose). Instilled with

suc c e ss ; c on f ide n t with her working life, shed ec id ed t o m arry. A f t e r t o o short a t i m e , t h e

great conflagration came, her husband

went t o w a r , a n d S e l z w e n t t o work for the

U S O , d r a w i n g c o m i c c a r i c a tu r e s o f s e r v i c e -

m e n . S h e was highly commended for her

w ar e f fo r t s , an d her work c o n t i n u e d t o b e i n

demand. After the war she tried her hand

at o th er as pec t s o f t h e co mic ar t s . Se l z lo v ed

t h e c o m i c s , a n d s o a t t e m p t e d t o sell her

own—a semi-autobiographical strip about

a young, pert girl looking for art employ-

men t in t h e b ig c i t y . I t went nowhere—

although beautifully drawn, it lacked wit.

A n d , e v e n t hough Th e New Yorker c o m -

missioned her to render over a hundred

caricatures for their distinguished P r o -f i l e s c o l u m n , t h e y didn't buy a single cap-

t i o n e d , g a g c a r t o o n . S h e m a s t e r e d the

expressive l in e , but written wit was elusive.

Years later she a c h i e v e d success with t h e

first of f ive children's bo o ks . An d , as Wal t

K e l l y , c r e a t or o f P ogo , wr o t e in The New

York Times B o o k R e v i e w : T h o s e w h o h a v e

seen the biting wit of Miss S e l z r e v e a l e d in

her political and social line portraits will

b e a b i t surprised at the kindliness with

which she here treats anim als and children."

Although children's b o o k s , s c u l p t u r e a n d

printmaking absorbed Selz in the final

d e c a d e o f her l i f e ,po l i t ica l an d s o c ia l car ica-

t u r e , a s K e l l y r i g h t f u l l y p o i n t e d o u t , w e r e

th e primary means of creative output. Herbites and nibbles out of the body politic,

b e g u n in earnest during t h e M c C a r t h y p e r -

i o d , w e r e n o t c o n c e p t u a l l i k e H e r b l o c k o r

Osborn, but rather emotional, relying o n

the ability to capture and interpret the tar-

get 's self-incriminating idiosyncrasies.

While s h e w a s cont inuously b e i n g c a l l e d

upon for non-acrimonious drawings, she

w o u l d , a t just the p r o p i t i o u s m o m e n t , with a

flick of t he brush e x t e n d a n e y e b r o w , e x a g -

gerate a sneer, or enlarge an appendage n

order to ridicule some morally question-

able po l i t ico . Se l z ' s ' 5 0s v in tag e car icatures

o f t h o s e birds o f a f e a t h e r , R e p . R i c h a r d

N i x o n a n d S e n . J o s e p h M c C a r t h y a c c u r a te l y

capturedtheir inner spirits.Selz temporarily called a halt to carica-

turing in the mid-'50s apparently because

o f f a m i l y difficulties. When sh e resumed

years later, caricature s she had practiced

it was an anomaly. The major m arkets had

closed, and a new breed of passionately

acerbic cartoonists (such as D a v i d L e v i n e ,

J u l e s F e i f f e r a n d E d w a r d S o r e l ) w a s e m e r g -

i n g . S h e d e v o t e d herself instead to chil-

dren's book illustration, lithography and

sculpture. Although she exhibited all her

variegated arts in num erous gallery shows,

Selz's cartooning—inexorably wedded to a

spe c i f i c pe r iod o f t ime — fade d in the popular

m e m o r y . B u t r e g a r d l e s s , and in spite, o f t h e

forgetful historians, S e l z p l a y e d a d e c i d e d l y

significant r o le in the c omic v i sua l l e gac y

o f N e w York City, and probably that of the

nation as well.

TEXT: ITC BERKELEY OLDSTVLE BOOKITALIC NITIAL: MEDIUM ITALIC EADLINE. BYLINE: BOOKSUPRAHEADS: BOOK BOLD APTIONS: ITC FRANKLIN GOTHC B OOK HEAVY



REDEJUDY

BY ALLAN HALEY



Goudy Oldstyle4A 6a

RICSpir i t s

M O D EHighest48Point A9 a

N O T I C EBr ig h t la dle a ds c la s s

DANCEDCelebratedb ig ho liday

36 Point A10 a

HOMEQuaint90 Point A 14a

FOUND

Musiciandelighted24 Point BA 16a

NOTICESUnfinishedframework

18Pogat 2A 23a

MECHANIC

GIVES experts

usual warning

14Point 7A 34a

EXPERIMENTSBRIGHT m agicianspent much time

unraveling tr icks

12P oint 1A 40 a

GRAND PICTURERECENTphotographs

inspire many leading

theatrical promoters

10 Point 4A 48a

PERFECT SPECIMEN

SIMPLE design exhibited

considered very art istic

for modern typography

8 Point 7A54a

CUT-COST EQUIPMENT

MODERNcabinets containing

leads and quads reduce labor

costs considerably. Efficiency

material creates large profits

6 Point 9A 58a

STIMULATINGPRODUCTION

PROOIMSIVII printers recognisethe

fact that economy lies In equipping

theirplants withmodernmaterials

andmachinery. Nowis the time..

every mnutelost swells thepay roll

Characters InCompleteFont

ABCDEFGHIJKLM

NOPQRSTUVWX

YZ&$1234567890

abc de f ghijklmnopq

rstuvwxyzfffiflffiffi

Sm.,. Can from 6 to 18P oint, and OldsrvI• Figure.

L1306289° in all rises, areput up Inseparatefontsandfurnished

onlywhensp ecially ordered

AseiBCDEFGHIJKLMNOPQ

RRSSTCLIVWXYZE7.,%:!?-

aabcdeEfghijklmnopqrstu

vwxyzfiffffiflffl$1234567890

S pe ak i n g o f e a r l i e r t ype s ,G o u d y says: The old fellows

stole all of our best ideas.E

ABCDEFGHIJKLMNOP

QRSTUVWXYZEIACECI

abcdefghijklmnopqrstuvwxyz

cefiffffiflffletst.;;: ?-$1234567890

S p e a k i n g o f e a r l i e r ty p e s ,

Goudy says: The old fellows

s t o l e a l l o f o u r b e s t i d e a s .

F

TYPOGRAPHR NM IONLS

21

or som e, success com es easily;fo r others it is a long and diff i-cult process. Frederic Goudy'ssuccess falls into th e latter cate-gory. At a time when m ost are

firmly established in th eir careers, Gou dywas "just getting by" In fact, there werem any times when he and his wife, Bertha,were not even "getting by"

The story is told that once, after work-ing all day and early into the ev ening atthe Village Press, the Go udys were treatedto a late dinner by a custom er who pu r-

chased a $15 boo k. The prospect of thefood that the money wou ld buy was sowelcome that the Go udys ran down thetwelve flights of stairs from their offices—and reached the street ahead of the cu s-tom er who h ad waited for the elevator

Undaunted, is perhaps th e best singleword to describe Fred Goudy. He came tohis position of em inence in the typo-graphic wo rld only after years dogged bym isfortune and lack of su ccess. His careerwas marked by unp rofitable work as aboo kkeeper, cashier, private secretary andcop ywriter. Goudy h ad unrewarded spellsas a free-lance graph ic designer, printer,teacher and typograph er. He started twom agazines, both o f which failed; and var-ious printing b usinesses, which also failed.It wasn't until Goudy was past the h alfwaypoint in his life that he go t his first bigbreak and began to receive the recogni-tion he deserved.

Twice, virtually everything Goudy pro-duced: his preciou s matrices, his m asterdrawings and prelim inary sketches, wereall destroyed b y fires. The first was in theearly part of 1908.

The Gou dys had finally begun to sellsom e work from the Village Press—itlooked like they were abou t to turn thecorner of success. They had reached apoint where wo rk long into the eveningwas no longer necessary to m ake endsm eet. On January 10th the Gou dys werespending the evening at hom e. Bertha wassewing and Fred was reading. At 8:30 thetelephone rang; Bertha answered. After a

conv ersation wh ich lasted only seconds,she calm ly repo rted, "Th e Parker Buildingis on fire, you'd b etter hurry do wn."

Gou dy dressed rapidly and too k thedowntown sub way from near their apart-m ent to the bu i lding which housed theVillage Press. He em erged from an exitwithin the firelines and the police wereforced to usher h im to safety. The "fire-proo f" Parker Building was a veritable fu r-nace. Its brick walls effectively trapp ed thewhite hot interior. Gou dy stood on thecorner and watch ed the Village Press dis-app ear. All the bo oks, the equipm ent, hisdrawings and sketches were gone.

In 1939, fire once again devastated theGou dys' life wo rk. It was on a frostym orning, again in January, that their m ill

(the focal po int of the Deepdene Press)which co ntained their m achinery, thepress, Goudy's matrices and many price-less drawings, burned. Everything settledinto the m ill stream— leaving intact, ironi-cally, only an unu sed brick vault whichhad been bu i lt to p ro tect m any o f thethings that were destroyed. Once again,Goudy was forced to stand by and watchfire ruthlessly destroy the produ cts ofhis labo rs.

Undaunted— it was characteristic ofGou dy that he turned the adv ersities lifeimp osed upon h im into a benef i t: h isdesign ability and lov e of the boo k arts

the earlysiness failures in his mo re pedestrian

endeavors. Goudy tu rned to type designand typefou nding when the 1908 firedeprived him of h is printing plant. Thefinal, and mo re disastrous, fire whichdestroyed the workshop where he laboredfor m any years, enabled Goudy to devo te

A. GOUDY AT WORK IN HIS S TUDIO. B. YOUNG FREDERIC AT AGE EIGHT. C. A DASHINGGOUDY AT TWENTY-SEVEN. D . GOUDY OLD STYLE. E. SANS S ERIF LIGHT— GOUDY'SONLY SANS. F. KENNERLEY— GOUDY'S FIRST BIG BREAK.

m o r e o f h i s t i m e t o w r i t in g a n d t e a c h i n g .I t w a s n ' t u n t i l h e w a s f o r t y - t h r e e t h a t

G o u d y ' s t yp e d e s i g n s b e g a n t o s h o w t h em a r k o f h i s g e n i u s . H i s e a r l i e r t y p e f a c e ss u c h a s C a m e l o t , P a b s t a n d P o w e l l w e r egood designs, b u t n o n e a c h i e v ed t h e p o p -u l a r i t y o f h i s l a t e r w o r k . H i s f i r s t w o r ka f t e r t h e 1908 fire was the No. 38E seriesfor the Lanston Monotype Mach ineCompany. It was the first d e s i g n w h i c hb e g a n to reflect Goudy's capability as atype designer.

In 1910 an incident occurred that

brought Goudy international recognitionalmo st overnight. Late in the winter ofthat year he was asked by M itchell Ken-nerley, the pub lisher, to design a vo lum eof short stories by H.G. Wells. Goudym ade layouts for the pages and haddum m y copies set in 18 point Caslon.When he received the dumm y pages ,Gou dy was disappointed. They just didn'tlook q uite the way he wanted. There was afeeling of "op enness" which disturbedhim . Goudy exp lained to Kennerley thathe wanted, "the app earance of solidity andcom pactness, but o f the sam e co lor asCaslon:' Neither he nor Kennerley knewof such a type. Existing typefaces wereeither too " form al or too refined, or toofree and undignified," for use in a bo ok ofthe kind Go udy was designing.

No o ther so lut ion to the p rob lem beingat hand, Gou dy suggested to Kennerleythat he create a new face which wouldmeet his requirements. Kennerley agreedand work was begun im m ediately onKennerley Old Style.

It took o nly a week to draw the com -plete alphab et: lowercase, capitals andpunctuation. The italic was com pletedshortly after, and a com plete font of 16point type had b een cut and cast by lateMarch of the fo llowing year. It had takenless than five m onths from start to finish.

Wh en Kennerley Old Style was offeredto printers, it was met with su ch enthu si-asm that Goudy soon b ecame the premierAm erican type designer. The release ofthis type style marked the turning po int in

Go udy's career. It was the start of a grow-ing fame for the m an whose wife-to-behad been warned that he would "nev eramo unt to anything"

Goudy's achievem ents are even mo reremarkable in that h e was self-taught,m aking his first designs at the age ofthirty, and m anufacturing his own typeafter sixty.

The work m ethod which Goudy devel-oped was designed for speed. He ruled offthe page to be filled, and sketched charac-ters swiftly with a p encil. Then with a penhe began the f inal version, mo difying thepencil sketch when necessary as he wentalong. Only the letter form s were pennedin at first. Wh en a line of letters was fin-ished, the sheet was turned o n its side

and the serifs were drawn in qu icklyalong the ruled lines. So m e say this speedof ex ecution gave h is letters vigor, life andmo vem ent which would have b een lack-ing with a m ore studied technique.

Unfo rtunately, later in Gou dy's career,not all printers were equ ally imp ressedwith the vigor and life in his work. Withthe advent of the p ost-World War II

"m odern" style of typo graphy, type facesf rom Europe seem ed m ore at tract ive thanthe work of Am erican designers. So m econsidered Goudy's work old-fashioned.But, fortunately for the design com m unitythose "o ld-fashioned" Gou dy designs arenow described as "classic" and are usedm ore today than at any previou s time.

Frederic W. Gou dy was born in Bloom -ington, Illinois, on March 8th, 1865, into afamily of Scottish origin. His father was atone tim e a teacher, a real-estate broker,and a Judge of the Probate Cou rt.

The Goudys m oved abou t a good deal.



T Y P O G R A P H I C M I L E S T O N E S

10 Point 6A 38 •

CONTENTMENT

Many inhabitants of this

town feel greatly relieved

because income taxes were

not increased as erected

Pabst Italic

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B e t w e e n 1 8 6 5 a n d 1 8 7 6 h i s fa m i l y li v e d " i nf o u r d i f f e r e n t to w n s , a n d i n o n e o f t h e mt w ic e ' B y 1 8 8 4 t h e f a m i ly h a d l o c a t e d i nt h e D a k o t a t e r r i t o r y . It w a s h e r e t h a ty o u n g F r e d e r i c d i d m o s t o f h i s g r o w in g u p .

A n d i t w a s f r o m t h e r e , a t th e a g e o ft w e n t y -t h r e e , t h a t h e s e t o u t o n h i s o w nc a r e e r o f c h a n g e a n d c a p r i c e .

G o u d y w a s d r a w n t o l e t te r s a l m o s tf r o m t h e s t a r t . T h e r e i s t h e s t o r y o f h i sd e c o r a t i n g t h e l o c a l S u n d a y S c h o o l w it hB i bl e t e x t s m a d e u p o f l e t te r s c u t f r o m c o l -o r e d p a p e r a n d p a s t e d t o t h e w a ll s . G o u d y

s a i d t h a t h e c u t o u t o v e r t h r e e t h o u s a n dl e t t e r s

G o u d y a l s o t r i e d h i s h a n d a t s i g n p a i n t -i n g i n h i s y o u t h . H i s f i r s t jo b i s s a i d t oh a v e b e e n t h e l o c a l b a k e r 's n e w w a g o n .G o u d y t o o k g r e a t p a i n s t o m a k e e a c h l e t -t e r o f a n e q u a l w id t h , a n d a t a n e q u a l d i s -t a n c e f r o m e a c h o t h e r . Th u s t h e p a s s i o nf o r t y p o g r a p h y , if n o t i t s p r i n c i p l e s , be g a nt o d e v e l o p e a r l y .

G o u d y ' s e a r ly e m p l o y m e n t w a s a s ab o o k k e e p e r , b u t h i s m i n d w a s o n l e t t e r s .I t w a s , t h e r e f o r e , n a t u r a l t h a t h e a n d af r i e n d s t a r t a p r i v a t e p r e s s . T h e C a m e l o tP r e s s o f C h i c a g o o p e n e d i n 1 8 9 5 w it h t h eg o a l o f p r i n t i n g a t t r a c t i v e a d v e r t i s i n g .U n f o r t u n a t e l y i t d i d n o t l a s t l o n g .

I n 1 8 9 7 G o u d y d r e w h i s f i r s t a l p h a b e t

a n d s u b m i t t e d i t to t h e D i c k i n s o n T y p eF o u n d r y i n B o s t o n . H e m o d e s t l y a sk e d f o rf iv e d o l l a r s a s a d e s i g n c o m m i s si o n a n dw a s q u i te s u r p r i s e d w h e n h e r e c e i v e d ac h e c k f o r t e n . M a n y d e c a d e s l a t e r , t h eC o m p u g r a p h i c C o r p o r a t i o n , in s e a r c h o fa n o l d a l p h a b e t t o t e s t t h e ir n e w l y p u r -c h a s e d I k a r u s s y s t e m , c h o s e G o u d y ' s f ir s td e s i g n . B e c a u s e o f C o m p u g r a p h i c 's s e a r c h ,G o u d y ' s f i r s t t y p e f a c e , C a m e l o t , i s s t il l i nu s e t o d a y — a n d i s a v a i l a b le i n c o n s i d e r -a b l y m o r e w e i g h t s th a n G o u d y w o u l d h a v ee n v i s i o n e d .

G o u d y ' s e a r l y t e n d o l l a r s u c c e s se n c o u r a g e d h i m t o d e v o t e m o r e t i m e t ol e t t e r i n g . Se v e r a l o t h e r a l p h a b e t s w e r es o l d . M o s t w e r e o f t h e a d v e r t i s i n g d i s p l a yv a r i e t y , a n d a f e w a r e s t i l l u s e d o c c a s i o n -a l l y ; P a b s t R o m a n , c r e a t e d f o r t h e b r e w e r y ,a n d P o w e l l , d r a w n f o r a m a j o r C h i c a g od e p a r t m e n t s t o r e , a r e ty p i c a l .

I n 1 9 03 G o u d y a n d W i l l R a n s o m e s t a b -l i s h e d t h e V i l l a g e P r e s s i n P a r k R i d g e ,I l li n o i s . B e r t h a G o u d y j o i n e d h e r h u s -b a n d ' s a n d h i s f r i e n d ' s v e n t u r e , a n d s e tt h e t y p e f o r m o s t o f t h e b o o k s p u b l is h e da t t h e p r e s s .

A y e a r l a t e r t h e p r e s s w a s m o v e d t oH i n g h a m , M a s s a c h u s e t t s . W i l l ia mD w i g g i n s (w h o s t u d i e d u n d e r G o u d y i nC h i c a g o ) a n d h i s w if e , m o v e d t o H i n g h a ms h o r t l y a f t e r G o u d y d i d , t o s h a r e i n t h ew o r k . W h e n G o u d y m o v e d t h e V i l la g eP r e s s o n c e a g a i n , t wo y e a r s l a t e r , D w i g -g i n s s t a y e d o n i n t h e B o s t o n a r e a . H e h a df o u n d h i s h o m e .

T h e V i l l a g e P r e s s f i n a l l y s e t t le d i n N e w

Y o r k C i t y , w h e r e i t o p e r a t e d f o r t w o y e a r sb e f o r e i t b u r n e d .

I n 1 9 07 th e L a n s t o n M o n o t y p eM a c h i n e C o m p a n y c o m m i ss io n e d t h e i rf i r s t ty p e f a c e f r o m G o u d y . T h e d e s i g n w a sc r e a t e d f o r t h e a d v e r t i s i n g o f a n e w N e wY o r k d e p a r t m e n t s t o r e : G i m b e l s . T h e f i n -i s h e d d e s i g n i s a d e l i c a t e f a c e , b a s e d o nF r e n c h O l d S t y le c h a r a c t e r t r a i t s . W h i l em a n y d o n o t f e e l it i s o n e o f G o u d y ' s b e t -t e r d e s i g n s , i t w a s h i s f ir s t t o f i n d g e n e r a la c c e p t a n c e . Th e d e s i g n c a m e t o b e k n o w na s M o n o t y p e 3 8 E .

G o u d y e v e n t u a l l y b e c a m e t h e a r t d i r e c -t o r o f L a n s to n M o n o t yp e M a c h i n e C o m -p a n y , w h i c h m a d e h i s w o r k a v a i l a b le t o am u c h w i d e r u s e r sh i p . G a r a m o n t , K e n n e r -l e y , I t a l ia n O l d S t yl e a n d D e e p d e n e w e r e

a l l r e le a s e d b y L a n s t o n M o n o t y p e .I n 1 9 25 G o u d y o p e n e d h i s o w n t y p e -f o u n d r y ; s o m e t h i n g n o t y p e d e s i g n e r h a dd o n e s i n c e t h e e i g h t e e n t h c e n t u r y . F o r t h en e x t f o u r t e e n y e a r s G o u d y w o r k e d o u t o f

t h e o l d m i l l o n h i s p r o p e r t y n e a r M a r l b o r -o u g h , New York. The m atrices for hisdesigns were originally cut by Ro bertWeibking; but when h e died after twoyears of collaboration, Goudy undertookthe unp recedented: at the age o f sixty-twohe secured the necessary equipm ent andlearned the difficult art of engraving.Never befo re in the history of the graphicarts had a type designer owned andop erated the m achinery necessary totranslate typef ace designs into type. Thefirst face created entirely by Go udy was

Com panion Old Style.It is a testimony to Goudy's ability thatso m any of his designs are in active u setoday. Kennerley is available from vir-tually every s u p p l i e r o f g r a p h i c a r t s e q u i p -m e n t . Go u d y O l d S t y le i s a m o d e r nc l a s s i c . I t a l ia n O l d S t y l e , N a t i o n a l O l dS ty l e , G a r a m o n t , D e e p d e n e , a n d evenGoudy S ans are still available on pho toand digital comp osi tion equipm ent . Cop-perplate Gothic which was Am erican TypeFou nder's all-tim e best-seller, and is stillused fo r bu siness cards and stationery,was a Gou dy design. And finally ITCBerkeley Oldstyle, the typeface u sed fo rsetting this article, released by ITC in1983, is based on Goudy's University ofCalifornia O ldstyle.

Goudy's typefaces, according to onecritic, are "beautiful because they are sim-ple; they are dignified, sturdy, ho nest andstrong:' His faces stand up well whetherthey are used in display h eadlines ormassed on a bo ok page.

To the end o f his eighty-two years,Gou dy found p leasure in his work. Hehad the cou rage and the drive to do pre-cisely what he wanted, in the way hewished. If people used and purch ased hisfaces, that was fine. If they did not, hekept r igh t on— emp ty pockets o r no t .

Perhaps Goudy was able to do so m uch.to design so m any faces, to create som uch b eaut iful typography because hedid not work alone: Bertha, his wife, wasalm ost always at his side. It would b e diffi-cult to estim ate the im po rtance of the p artBertha Goudy p layed in the life and workof h er husband. From Fred, and f rom theGou dy's many friends, we learn that herinfluence was vast. Goudy him self said,

"Bertha has aided and encouraged m e withconstant devotion fo r ov er thirty-five years,and withou t her help I should no t haveaccom plished a tithe of what I have b eenprivileged to perform . She has been thestaff that I have leaned upon so m anytimes, the courageous partner who smiledand gritted her teeth when we had nofunds, the one who renewed m y faith andrevived m y spirits when they sagged sooften. In the m any activities of the Pressher work ranks in actual accomplishmentabov e my own. I could not, probablywou ld not, hav e attem pted the details of

type com po sition for which sh e is, infact. celeb rated:'

As a designer, Frederic Goudy dis-played o riginality and great tech nical skill.As a p rinter, he develop ed a distinct per-sonal style. First and fo remo st, Goudyrealized that type design is not the render-ing of individual letters, but the creation ofthe most versat ile fo rm o f visual com m u-nication. He was also prepared to m asterall the intricacies of type m anufacture to en-sure that h is intentions as a designer weretranslated into a com m unications tool.

In an age of electronic and highly so-ph isticated typesetting, the m ost success-ful type designers are those who em ulateGoudy's drive and amb ition. They delvedeeply into the technical prob lems of m od-

ern printing and press the techniciansto p rovide the m ost versatile and effectiveinstruments to compose typography.

The fo llowing is a list of the typefacescreated by Frederic Goudy.



TYPOGRAPHIC \III I S IONA S

23

ABCDEFGH I JKL

MNOPQRSTUVW

fiffffiflfflabcdefghijklmnopqrstuvwxyzaeoeE$123456

7890

Sp e a k in g o f e a r l ie r t y p e s ,Goudy says: The old fellows

s t o l e a l l o f o u r b e s t id e a s :

G. PABST ITALIC—DRAWN FOR THE PABST BREWERY. H. GOUDY WITH AN OLD FRIEND.

I. THE GIMBELS FACE. J. PRELIMINARY SKETCHES. K . PRELIMINARY SKETCHES. L. MA RL-BOROUGH TEXT—GOUDY'S LAST DESIGN.

a r a f t c a t e o f o o n o r N p 5 vA LIST OF GOUDY TYPES

Year No. Year No. Year No. Year No.

1896 1 Camelot 1917 31 Advertiser's Roman 1927 60 Goudy Uncials 1933 89 Goethe Italic

1897 2 Unnamed 1917 31A An Unnam ed Design 1928 61 Deepdene Italic 1933 90 Deepdene Bo ld Italic

1897 3 A "Display" Rom an 1918 32 Kennerley Italic 1928 62 Goudy Text 1934 91 Saks Goudy

1898 4 DeVinne Rom an 1918 32A Cloister Initials 1929 63 Strathmo re Title 1934 92 Saks Goudy Italic

1902 5 Pabst Roman 1918 33 Hadriano Title 1929 64 Lom bardic Capitals 1934 92A Saks Goudy Bold

1903 6 Pabst Italic 1918 34 Goudy Open 1929 65 Sans Serif Heavy 1934 93 Hadriano Stone Cut

1903 7 Powell 1918 35 Goudy M odern 1929 66 Kaatskill 1934 94 Village Italic

1903 8 Village 1919 36 Collier Old Style 1929 67 Remington Typewriter 1934 95 Textboo k Old Style

1904 9 Cush ing Italic 1919 37 Goudy Modern Italic 1930 68 Inscription Greek 1934 96 Hasbrouck

1904 10 Boston News Letter 1919 38 Goudy Open Italic 1930 69 Trajan Title 1935 97 Tory Text

1904 1 1 Engravers ' Rom an 1919 39 Goudy Antique 1930 70 Sans S erif Light 1935 98 Atlantis

1905 12 Copperplate Gothics 1 9 2 1 40 Nabisco 1930 7 1 Mediaeval 1935 99 Millvale

1905 13 Caxton Initials 1 9 2 1 41 Lining Gothic 1930 71A H adriano Lo wer-case 1936 100 Bertham

1905 14 Globe Gothic Bold 1 9 2 1 42 Garam ont 1930 72 Advertiser's Modern 19361 0 1

Pax1905 15 Caslon Revised 1 9 2 1 43 Garam ont Italic 1930 7 3 Goudy S tout 1936 102 Mercury

1908 16 Monotype No. 38E 1 9 2 1 44 Goudy Newstyle 1930 74 Truesdell 1936 103 Sketches Unnamed

1908 1 7 Monotype No.38E I talic 1924 45 Goudy Italic 1 9 3 1 75 Truesdell Italic 1936 104 Sketches Unnamed

1910 18 Norm an Capitals 1924 46 Italian Old S tyle 1 9 3 1 76 Deepdene Open Text 1937 105 Friar

1 9 1 1 19 Kennerley Old Style 1924 47 Italian Old Style Italic 1 9 3 1 76A Deepdene Text 1938 106 University of CaliforniaOld Style

1 9 1 1 19A Kennerley Open Caps 1924 48 Kennerley Bold 1 9 3 1 77 Ornate Title107 University of California

Italic9 1 1 2 0 Forum Title 1924 49 Kennerley Bo ld Italic 1 9 3 1 78 Sans S erif Light Italic 1938

1912 2 1 She rman 1925 50 Goudy Heavyface 1 9 3 1 79 Deepdene Medium1938 108 New Village Text

1912 2 2 Goudy Lanston 1925 51 Gou dy Heavyface Italic 1932 80 Goethe1938 109 Murchison

1914 2 3 Goudy Roman 1925 52 Marlbo rough 1932 8 1 Franciscan1939 109A Bulmer

1914 24 Klaxon 1925 53 Venezia Italic 1932 82 Deepdene Bold1941 1 1 0 Scripp s College Old Style

1915 25 Goudy Old Style 1926 54 Aries 1932 83 Mostert1942 111 Goudy "Th irty"

1915 2 6 Gou dy Old Style Italic 1927 55 Goudy Dutch 1932 84 Village No.21943 112 Spencer Old Style

1916 27 Goudy Cursive 1927 56 Com panion Old Style 1932 85 Quinan Old Style1943 113 Sp encer Old Style Italic

1916 2 8 Boo klet Old Style 1927 57 Com panion Old Style Italic 1932 86 Goudy Bold Face 1944 114 Hebrew1916 2 9 National Old Style 1927 58 Deepdene 1933 87 Goudy Book

1944 115 Scripp s College Italic1916 30 Goudytype 1927 59 Record Title 1933 88 Goudy Hudson

1944 116 Marlborough Text

A B ,C, E, F, H I, J, K & L reprinted with permission of the Carnegie Mellon University. EADLINE: ITC BERKELEY OLDSTYLE BOOK TEXTANITIAL/CAPTIONS: BOLD SUPRAHEADS: BLACK



WORD S EARCH BY JULIET TRAVISON LLUSTRATION BY SCOTT REYNOLDS



25

Ho w t o p l a y : F in d a n d e n c i r c l e , in t h ep u z z l e bo d y , t h e w o r d s a p p e a r i n g i n t h eP u z z le W o r d L i s t . Th e y a p p e a r v e r t i -

c a l l y, h o r i z o n t a l ly , d i a g o n a l l y a n d e v e n b a c k -w a r d s . D o n ' t c r o s s l e t te r s o u t — t h e y m a y b eu s e d a g a i n a s p a r t o f a n o t h e r n a m e

T o g i v e y o u a h e a d s t a r t , w e h a v e s h a d e d o n eo f t h e p uz z l e wo r d s .

W h i le t h e s e w o r d s m a y b e s p e l l e d d i f fe r -e n t l y i n o t h e r l a n g u a g e s , p l e a s e f o l l o w th ev e r s i o n s i n o u r P u z z le W o r d L i s t .

L o s u n g s a n w e i su n g e n : S i e m f is s e n i n d e mR i ts e l d ie i n d e m W o r t e r v e r z e ic h n i s a n g e g e -b e n e n W o r t e r fi n d e n a n d u m k r e i s e n . D i e s ek o n n e n s e n k r e c h t , w a a g e r e c h t , d ia g o n a l a n ds o g a r r i i c k w a r t s v o r k o m m e n . S tr e i c h e n S i ek e i ne B uc h s t a b e n a u s — s i e k ii nn t e n a l s Te i le i n e s a n d e r e n W o r t e s g e b r a u c h t we r d e n .

U m I h n e n z u e i n e m A n f a n g z n v e r h e l f e n ,h a b e n w i r e i n e s d e r R a t s e l w o r t e r s c h a t t i e r t .

O b w o h l W o r t e r i n a n d e r e n S p r a c h e n u n t e r -s c h i e d li c h g e s c h r i e be n w e r d e n m o g e n , h a l t e nS ie s i c h b i t t e a n d i e e n g l i s c h e S c h r e i b w e i s e .

R e g l e d u j e n : R e t r o n v e z d a n s l e p u z z le e t e n -t o u r e z d ' u n t r a i t le s m o t s qu i f i g m e n t d a n s l eP u z z l e W or d L i s t .

I ls s e li s e n t v e r t i c a l e m e n t , h o r i z o n t a l e m e n t ,d i a g o n a l e m e n t e t m e m e a l' e n v e r s . N e b a r r e za u c n n e l e tt r e C h a c n n e p e n t r e s se r v i r d a n s n na u t r e m o t .

P o u r v o n s m e t t r e s n r l a v o i e, n o u s a v o n st e i n t e u n d e s m o t s d u p u z zl e .

L e s m e m e s m o t s p e n v e n t a v o i r d e s o r t h o -g r a p h e s d i f f e r e n t e s s e l o n l e s la n g u e s . T e n e z -v o u s e n a l 'o r t h o g r a p h e q u e d o n n e l e P u z z leW o r d L i s t .

AFFENPINSCHER

AFGHAN

AIDI

AIREDALE

B AR B ET

BARBONEBASENJI

BASSET

BEAGLE

BERGAMASCO

BILLY

BORZOI

BOULET

BOXER

BRIARD

BRIQUET

BULLDOG

BULLMASTIFF

CAIRN (TERRIER)

CHIHUAHUA

CHIEN

CHIN

CHOW CHOW

C OC K ER S PANI EL

COLLIE

CORGI

DALMATIAN

DEERHOUND

DOBERMAN PINSCHER

DOG

DR EVER

DUNKER

GREAT DANE

HARRIER

HUND

IRISH (SETTER)

KERRY BLUE

Solution to puzzle on page 74.

KUVASZ

LABRADOR RETRIEVER

LAWERACK

L HAS A APS O

MALAMUTE

MALTESEMASTIFF

MUDI

MUT T

PAPILLON

POINTER

POMER ANI AN

POODL E

PUG

PULI

PUMI

RETRIEVER

ROTTWEILER

SALUKI

SAMOYED

S ANS HU

SETTER

SHIH-TZU

SKYE TERRIER

SPANIEL

SPITZ

TAZI

TECKEL

TERRIER

T OS A

TRAN S YLVANIAN HOUND

VI Z S L A

WATER SPANIEL

WHIPPET

WOLFHOUND

XOLOITZCUINTLE

YORKSHIRE TERRIER

CAUHAUHI HCHOWCHOWOLFHOUND

O SWATERSPANI ELAWERACKLINA

COESELADERI ABARBETFREKNUD

K TEALUZTHI HSQURRELI EWTTOR

E DALMATIANJDTEILLOCXPUGEU

R 0 L U U T N E I H C N R R E T T E S 0 P P•V L E

S BRKDEPANDLUAORWERCBAEI TR

P EST BSBARBONESPI TZEI RZNE

AREI RRETERI HSKROYUSREESI T

N MNSSANRI ACRYMUTTETTCVLUR

IAAIGBCQMHTELUOBTENMGEACI

E NI LDKUTUBTEVAULRI DONRI ZE

L PEOAEYI PEI DALAROEDANDATV

P IGTTMORLOENMOPSLDRRTI I E

ANDMARURBHZA ALTECKELORR

P SNTITI THAREAWNUAM TCBXLN

I COSAEWAESORNSBERGAMASCOA

L HHCRAEHBABGHARCHI NSAAZXI

L ESAOLAAIAUUOGLUPEMTSATN

O RRAGRNALPAAUDAAMNOEAIEAA

N NEASAGBLSPENNRSJ YRVTSFGR

FRETHENI YODEDUDI ERUDSOEFE

B BKGRLEI NAPSTHODI KSADAHMM

AAFFENPINSCHERREULBYRREKO

CAI BULLMASTI FFRPREFELDOOP

HEADLINE/TEXT ITC CUSHINGHEAVY SUBHEAD/PUZZLE/CLUES: BOLD



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."

0 01.Y DAVID HENRY GOODSTEIN & THE STAFF OF INTER/CONSULT

NG OUR MINDSET

urely the most amazing development of

the last few months for Dchnopolists is

the stirring announcement of the exist-

Business

it really made our year. Mindset, an

ld-startup, could be on the verge of

the artist/illustrator world on its ear.

the company

on, high-performance color

anddone by the pro-

mers who worked on high-priced graphic

all is thefact that according to

is Berg the Mindset

tentially at least,since at this

s the likes of

m tofeel that Mindset may be

's background at Intel

totype machine was ever constructed.

Predictions by industry experts that as many

as 40% ofall microcomputers will be equipped

with color and/or graphics software by 1986undoubtedlyfueled the investmentfever. If the

Mndset machine is as good as the paper spec-

cation suggests it may become the de rigueur

accessoryfor well-equipped designer desktops.

Our hope is that it hastens the day when we all

speak in pictures as well as we do in words.

BREAKING THE E LECTRONICPRINTING IMPASSE

Availability offonts and of device specific soft-

ware control programs (or drivers) have long

been the bottlenecks to widespread use of elec-

tronic or laser printers (ELPs).A scarcity of

fonts, limitations on the number ofsizes and

faces and mind-boggling complexities in the

formatting of mixed type and pictures into ready-

to-record raster data formats kept even the

best-intentioned printer manufacturers like

Canon dealing with a trickle of users rather

than the anticipated gush.

Now the artificial intelligence of computers

and the real smarts of some of the best com-

puter scientists in the USA are providing a set of

solutions which will unleash the ELP's tremen-

dous potential. The digital font side of the solu-

tion will come from master-makers such as

those at Bitstream, Inc. In conjunction with

Symbolics, the Artificial Intelligence computer

builders, they have developed a program which

creates font bit-maps from outline masters. The

program operates on the Symbolics 3600 or

Lisp language computer.

Production of a single character bit-map now

takes seconds rather than the three to eighthours it did when done by expert human hands.

The program was developed with Symbolics by

Bitstream, Inc. under the supervision of Mike

Parker. The thinkware and machinery cost about

$160,000,a bargain by anyfont library develop-

ment budget standards. Font outlines are then

separately licensed to end users.

A more comprehensive approach is pre-

sented by the Postscript' page image descrip-

tion language from Adobe Systems of Palo Alto,

CA. Postscript is the brainchild ofJohn Warnock,

former Chief Scientist at Xerox's Palo Alto Re-

search Center. What he and his team have built

is the kind of smartware program that com-

puter pros call a Virtual Machine. This is a mite

hard to understand at first. Its revolutionary

potential soon becomes clear, however.

Imagine that you speak only English. You have

a desperate need to communicate to someone

who only speaks Etruscan. This problem can

only be solved by a translator who understands

ADOBE SYSTEMS POSTSCRIPT' OUTPUT

not only both languages but also the limita-

tions of each. The Virtual Machine (VM) is such

a translator.Adobe has developed it in such a

way that it can link any color or monochrome

screen with any output recorderfrom ELP to

35mm colorfilm recorder.

Most importantly, the Adobe VIII produces the

required type, processes the pictures and deals

with all specifics of the output device. It can

even be used to drive the screen display. Pricing

for the Adobe will almost certainly be built in by

the system or output device supplier and is

reasonable at a level unanticipated even a few

short months ago. Because of the nature of theVirtual Machine, all systems which can speak to

Adobe will be able to speak to each other. This

is the aspect which could make Postscript an

industry standard,allowing even the humblest

of micros to have a common language with the

mightiest of image processing systems.

IMAGITEX FLATBED COLOR PREVIEWED

Imagitex, who now have almost 40 units of their

monochrome scanning systems placed with

OEM customers, wowed the audience at the

fourth annual Seybold seminar in California, in

mid-March, by showing a prototype of a one-

pass 4-color flatbed scanner which took about

30 seconds to do its contone input work. While

President Paul Schmitz says that no immediate

price or delivery dates arefirm, the demo gives

an indication that they are seriously moving

towards bringing a low-cost Eikonix-like

system to market posthaste.



COMPUGRAPHIC PERSONAL COMPOSITION SYSTEM

27

$300,000 Dicomed or Genigraphics output

recorders, al for 9,850. Throughput of 30full-

color slides per minute makes it appear to be a

tremendously cost-effective device. Hooked to

some of the hot new IBM PC softwarefor cre-

ation of business graphics images and typogra-

phy programs, it could put a lot of small type-

setting shops into the Information Repackaging

business we've been touting for some years.

JU KE FOR THE EYES

Video jukeboxes are on the way. While UK pub

owners will have to get a cinema license in orderto install the devices, Japanese and American

companies have already got the VCR machines

installed. The Japanese version allows pub pa-

trons to sing along on microphones, providing

the first automated piano bar in the world.

American ingenuity rears its head here, with

video jukes that play commercials continuously

until patrons deposit their 50 cents to call

out one of the 40 music segments on the tape

carousel. As an unpleasant footnote on rock &

roll video, a recent study by the Canadian Coali-

tion Against Violent Entertainment indicates that

they contain 18 acts of violence per hour and

that 35% of the videos contain sexual violence.

KODAK TO INTRO VIDEOCAMCORDER FOR XMAS

In what may be the final death-knell for silver

film as the home movie recording medium of

preference,Kodak will introduce a video cam-

era/ recorder with a distinctive newformat for

sale in U.S. retail stores thisfall. Matsushita will

provide the equipment and tape in the new

8mmformat.The 1,500 price tag should not

scare off the generation who are now paying

three to ten times that muchforhomecomputers.

Moreover, thefirst camera at 5.3 pounds is

light enough to be usefully portable, with later

camera hardware rumored to be even lighter.

Many advantages make this unit a highly desir-

able alternative for the family moving picture

album. There is no development delay, the tapes

are the size ofa standard audio cassette, tape

costs about 5% of what silverfilm does and

perhaps most importantly, the cassette allows

one hour of uninterrupted exposure, a far cry

from the three minutes contained on the old

Kodak 8mm loops.

As a final consumer costjushfication, the

Camcorder's mechanism will double as a stan-

dard VCR, i.e. allow recording and playback of

broadcast TV signals. The U.S. Supreme Court

recently upheld the constitutional rights of all

Americans to copy signals in the air onto tape

in the privacy of our own homes. The installed

number of VCRs in U.S. homes is expected to

zoom from 4.5 million at the end of 1983 to

over 13 million by the end of1984.All we need

now is an interface to our IBM PC and Apple

Macintosh,and we're in the business of gather-

ing source art digitally.

PERSONAL IMAGE COM POSITIONFROM COMPU GRAPHIC

Although the system has been in the wind (and

the press) for some time, ourfirst good look at

the CG Personal Composition System, in which

the Apple Lisa and 8400 typesetter are married,

was at the Imprinta '84 show in Diisseldorf.The

PCS seems to us to have been rather carefully

positioned and priced so as not to get in the

way of the regular MCS text system.

The PCS links Lisa to the 8400 CRT typesetter

directly. Product salesnien were careful to point

out that the type handling capabilities of the

Lisa are not the reason to buy the system. Rather,

this is being billed as thefirst micro-based

system for digital production of charts, view-

graphs and overhead transparencies. As such,the user concentrates on a singleframe at a

time, using standard LisaDraw and Lisa Graph

programs to create images on the screen. A

CG-developed driver program translates these

into typeset output using some standard fonts

and some special picture-setting graphic li-

brary characters.

What is lacking for the present (and may be

solved in the nearfuture) is the standard CG

font master with its superb quality. Text setting

is not accentuated in the demonstrations and

when text is output it appears in a font which

apparently emulates the low-resolution dot

matrix appearance of the Lisa screen represen-

tation. On the other hand, there appear to be a

fair number of people who can cost just the

unit's $39,000 price since private sources indi-

cate that over 100 PCS units have been shipped

since its introduction in latefall of last year.

The CG PCS appears to have all the makings of

a product which will grow with time. It could

well establish a position of dominance in the

low-range market segments where typograph-

ies and reprographics overlap. It only remainsto see what specific strategy they take in terms

of expanding the product's configuration and

capabilities over the nextfew years.

COLOR HARD COPY PROGRESS

One of the most tenacious obstacles to wide-

spread acceptance of color imagery, especially

utility-grade information generated by com-

puters, is the dculty in getting cheap, quick,

reliable hard copy. Linked to this is the cost

and/or poor quality of available color repro-

graphics techniques.7ivo recent announce-

ments may help to ease the color output crunch.

Mead Corporation announced a new paper

coating which seems to be most revolutionary

indeed. Ordinary paper or mylar are coated

with a special resin and 3 jackets' of colorless

dyes which turn magenta, cyan or yellow when

exposed to acid contained in the resin. Multiple

exposures determine intensity and saturation

for each primary color, after which the paper

is passed through a pressure rollerfor

development.

The roller's pressure pops micro-encapsu-

lated developer particles, giving instant half-

tone or contone results at resolutions of 1400

lines per inch. Best of all is the price, about 15

to 25 cents per A4 sheet, a fraction of present

photographic color output materials from

Kodak or Polaroid.

Image Resources (partly owned by Polaroid)

has introduced a 35mm high-quality digital film

recorder. The system features 4096 element

bi-directional add essability and IBM PC inter-facing. It has built-in anti-aliasing and image

enhancement software which yield output re-

puted to be as good as any ever produced on

COMPUTER QUOTAS

For the last few years, we'vejokingly told ourfriends that by 1990 everyone would have a sili-

con quota,a certain number of computers which

would have to be consumed per year. Now some-

one agrees with us.JeffreyHallett, President of

the Naisbitt ( Megatrends) Group believes that

within the next 18 months companies like AT&T

may already be giving free computers with the

purchase of the software that runs on it.AT&T

would probably be most interested in getting

the computer in its manifestation as super-

smart phone into the consumer's home.As an

attachment to the TV and phone line, it would

probably support programming, chart and

graph production and perhaps play some

games (Monopoly, maybe?)

TECHNOPOUS,As ofApril I, 1984, thefirst steps have been

taken towards the creation ofa real Technopolis.

A non-profit corporation has been founded to

help develop a public-access computer graph-

ics facilityfor working artists, art educators

and art students. While thefacility will be small,

it will, we hope, be an environment where seri-

ous work in the new digital art forms can begin

to be done.

Technopolis will be member and donor sup-

ported,and will help itself out with publica-

tions and seminars.Thefirst scheduled prod-

ucts will be a monthly newsletter and a hand-

book on image-making computer technologies

and systems. The newsletter, which with the kind

permission of U&le editors will also be called

REPORT FROM TECHNOPOLIS7 will appear in

June, with The Technographees Handbook due

later in the summer.

This column will continue as it has, with the

monthly version bringing more timely news,

especially related to systems, equipment,shows

and supplier news. Information on Technopolis

Electronic Graphics Studio program or publica-

tions can be had from the Technology Center

address below.

ABOUT THEAUTHOR: David Henry

Goodstein is Director of Inter/

Consult and of Technopolis

Incorporated. He is also Research

Affiliate at the Visible Language

1,4/orkshop at MITComments or

inquiries can be directed to himat:

Technology Center, 21 Notre Dame

Avenue, Cambridge, MA02140, USA.

David Henry Goodstein

TEXT: ITC ZAPF BOOKDEM ITALIC NITIAL: MEDIUM ITALIC CAPTIONS/BIOGRAPHY: LIGHT HEADLINE: ITC AVANT GARDE GOTHIC BOOK, BOOK OBLIQUE, BOLD BYLINE: MEDIUM SUBHEADS: BOLD



ELFABETby Jack

iams of Richmond.

one of a num-

f elf-inspired alpha-

o come our way.

robots—we

comes froman

een

tions of his own, career-

wise. Froma stint in the

US. Marine Corps he

went on to the Maryland

Institute College of Art,

to jobs in ad agencies,graphic studios, a bank,and finally his own free-

lance business. His latest

venture is a partnership

in a rubber stamp busi-

ness called Elbow GreaseManual Printing. (No, the

elves do not come out atnight to do the work.)

TEXT: ITC BOOKMAN LIGHT LEAD-IN: MEDIUM



Gg : Gift Hh : Hang Ii : Ice Skate Jj : Jump

Cc:Crack Ee : Eatd Drip

Am......

1: Ol ive Pp : Piano Qq : Quick

Vv : Vampire

41

V V

Ss : Sm al l

S SIt : Twist T U u : Up

rstInon.

Xx : X-rayw : Walk

c N E UM E IE R DE SIGN T E AM

Zz : Zigzag

TEXT: ITC BOOKMAN LIGHT LEAD-IN: MEDIUM

29

Aa : Acrobat

T H E A C T I O N A L P H A B E T ,as anyone can see, is a

giant step beyond yourusual A-is-for-Apple ABC.The design team thatcreated it had in mind an

alphabet in which the let-terforms themselves — not

extraneous objects — were

the illustrations. Theyalso had in mind to mar-ket their alphabet as achildren's book. From

where we sit, it would

take a four-year-old, going

on forty, to appreciatethe subtleties and sophis-ticated nuances theybrought to their project.But we admire the dar-

ing and the inventivenessof this original concept.

The alphabet book was

created by Byron Glazer,

designer, and MartyNeumeier, art director,

of The Neumeier DesignRam of Santa Barbaraand Palo Alto, California

MM

Kk : Kite LI : Letter Mm : Mistake Nn : Nothing



ALDO NOVARESE

ITC SYMBOL is made available in Book,

Medium, Bold and Blackweights with cor-

responding italics. SMALL CAPS have been

created for the BOOK and MEDIUMweights.

Oldstyle figures are available for the roman

and italic designs in all weights.

Only licensed ITC Subscribers are author-

ized to reproduce, manufacture, and offer

for sale these and the other ITC typefaces

shown in this issue. This is your guarantee

of authenticity: C _1 . 1 C u i s E D

These new typefaces will be available to

the public on or after August 15, 1984.

ITC Symbol is a simple straightforwarddesign of understated elegance. It has just

the hint of a serif to aid readability in less

than ideal typographic conditions, and

somewhat condensed character propor-

tions to ensure economy of space. The Book

and Medium weights have a light, even

color which provides inviting and legible

text composition. The Bold and Black

weights complement the lighter designs

perfectly and should prove, to be valuable

additions to any typographic palette.

There is a quiet, classic beauty to ITC

Symbol. Clearly, it is the kind of design

Beatrice Warde (the late scholar and print-

ing historian) referred to when she wrote

that a typeface should be like a crystal

goblet which lets its contents be seen and

enjoyed without distraction. No design trait

conflicts with the communicative power ofthis typeface.

ITC Symbol's italics are a perfect match

to the roman. They are clear and unencum-

bered, in addition to being a subtle and

comfortable companion to the roman.

ITC symbol is the third ITC typeface from

the gifted hand of Aldo Novarese of Turin,

Italy. His two previous ITC releases are ITC

Novarese® and ITC Fenice® Mr. Novarese

has also created such important designs as

Eurostile, Torino and Nova Augustea. In all,

more than 166 designs are the result of his

design prowess.

WHAT'S NEW FROM ITC



31

HEADLINE: ITC SYM BOL BOLD TEXT: MEDIUM ITLE/LEAD-IN . BLACKCAPTION: ITC FRANKLIN GOTH C BOOK SMALL CAPS



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BOLD ITALIC

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567890&123456789o$4ff%

COIECEIJOigaifffiflffiffl Y.,:;

?•volfiLitt*MtrAt§Dg1 2 34 5 678 9 Oil

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ITC SYMBOL



I T C S Y M B O L

B O O KExcellence 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 unorthodox typography It may require the use of compact spacing. m

inus leading, unusual sizes and weights; whatever is needed to

improve appearance and impact. Stating specific principles or guides on the subect of typography is difficult because the princ

6 POINT

Excellence in typography is the result of nothing morethan an attitude. Its appeal comes from the understanding used in i ts planning; the designer must care. In co

ntemporary advertising the perfect integration of desi

gn elements often demands unorthodox typography. It m ay requ i re the use o f com pact spac ing , m inus l ead i

ng, unusual sizes and weights; whatever is needed to i

mprove appearance and impact. Stating specific princ7 POINT

Excel lence in t ypography i s the resul t o f noth ing

more than an att i tude. I ts appeal comes from the understanding use d in i t s p lanning; the design

er must care. In contemporary advert ising the per fec t in tegra t ion o f des ign e lements o f ten dem

ands unor thodox typography . I t may requ i re theuse of compa ct spacing, minus leading, unusuals izes and weights; whatever i s needed to improv8 POINT

Excel lence in typography is the resu l t o f noth ing more than an at t itude. I ts appeal come

s f rom the un derstanding used in i ts p lann in

g; the designer must care. In contemporary

advert ising the perfect in tegrat ion o f design

e lements o f ten demands unor thodox t ypography. I t may requi re the use of compact s

pacing, minus lead ing, unusual sizes and w9 P O I N T

Excel lence in typography is the resul t of noth ing more than an at t i tude. I ts appeal comes f rom the unders tanding used in i ts planning; the designer must care

In contempo rary adver t is ing the per fect integration of design elements often demand s unor thodox typography . I t may require the use of compact spacing, m10 POINT

Excellence in typography is the result of nothing more than an atti tude. Its appeal comes from the understanding used in i ts planning; the designer must care. In contemporary advertising the perfect integration of design e lements of ten demands unorthodox typography. It may require the11 POINT

Excel lence in typography is the resuit of nothing more than a n at t i tu

de. I ts appeal comes from the understanding used in i ts planning; the designer must care. In contemporary advert is ing the perfect in tegrat ion of design elements of ten

demands unor thodox typograph12 POINT

Excellence in typography is the result of nothing more than an att itude. I ts appe al comes f rom the understanding used in i ts planning; the designer must care. In contemp orary advert ising the perfect integrat ion of design elements of

M E D I U M

Excellence in typography is the result of nothing more than a

n attitude. Its appeal comes from the understanding used in i

ts planning; the designer must care. In contemporary adverti

sing the perfect integration of design elements often demands unorthodox typography It may require the use of compac

t spacing, minus leading, unusual sizes and weights: whateve

r is needed to improve appearance and impact.Stating spec i

fic principles or guides on the subject of typography is difficul

Excellence in typography is the result of nothing mor

e than an attitude. Its appeal comes from the unders

tanding used in its planning; the designer must care. I

n contemporary advertising the perfect integration o

f design elements often demands unorthodox typog

raphy. It may require the use of compact spacing, mi

nus leading, unusual sizes and weights; whatever is needed to improve appearance and impact. Stating s

Exce l lence in typography is the resu l t o f no th ing more than an a t t itude. I ts appea l comes f romthe understanding used in its planning; the de

signer must care. In contemporary advertising

the perfect integration of design elements ofte

n demands unorthodox typography. It may requ i re the use o f compact spac ing , m inus lead ing

unusual s i zes and weights; whatever is needed

Excel lence in typography is the resul t 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 integra

tion of design elements often demands u

northodox typography. It may require theuse o f compa c t spac ing , m inus l ead ing , u

Excel lence in typography is the resu l to f noth ing more than an a t t itude. I ts appeal comes from the understandingused in i ts p lanning; the des igner m us

t care. In contemporary advertising the perfect integration of design elements often demands unorthodox typography. I t may requ i re the use o f corn

Excel lence in typography is the resul t of nothing m ore than an at t i tude. I ts appeal com es f rom the understanding used in i ts planning; the des igner must care . I n contemp orary advertising the perfect integrati

on o f des ign e lements o f ten dem ands unor thodox t ypography . I t ma

Excellence in typography is theresu l t o f no th ing more than an attitude. Its appeal comes from t

he unde rs tand ing used in i ts p lanning; the designer must care. I

n contemporary advertising the

perfect integration of design elements often demands unorthod

Excel lence in typography isthe resu l t o f noth ing m ore than an attitude. Its appeal

comes from the understan

ding use d in i ts p lanning; the des igner m ust care . In contemporary advertising th

e perfect integration of des

BOLD

Excellence in typograp hy is the result o f nothing more th

an an at titude. Its a ppeal comes from the understanding

used in its planning; the designer must care. In contemp

orary advertising the perfect integration of design elements often demands unorthodox ty pography. It may requi

re the use of compact spacing, minus leading, unusual si

zes and weights; whatever is needed to improve appeara

nce and impact. Stating specific principles or guides on t

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 pe

rfect integration of design elements often dema

nds unorthodox typography. It may require the u

se of compact spacing, minus leading, unusual s

izes and weights; whatever is needed to improve

Excellence in typography is the result of no

thing more than an attitude. Its appeal corn

es from the understanding used in its pla nn

ing; the designer must care. In contempora

ry advertising the perfect integration of de

sign elements often demands unorthodox typography. It may require the use of compa

ct spacing, minus leading, unusual sizes an

Excellence in typography is the result o

f nothing more than an attitude. Its ap

peal comes from the understanding us

ed in its planning; the designer must c

are. In contemporary advertising the p

erfect integration of design elements o

ften demands unorthodox typography

It may require the use of compact spac

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 contemporar

y advertising the perfect integratio

n of design elements often demand

s unorthodox typography. It may re

Excellence in typography is the r

esult of nothing more than an at

titude. Its appeal comes from th

e understanding used in its plan

ning; the designer must care. In

contemporary advertising the p

erfect integration of design ele

ments often demands unorthod

Excellence in typography is the result of nothing more than

an attitude. Its appeal comes

from the understanding used

in its planning; the designer m

ust care. In contemporary ad

vertising the perfect integrati

on of design elements often d

Excel lence in typographyis the resu l t o f noth ing more than an attitude. Its aappeal comes from the understanding used in its

planning; the des igne r must care. In contemporar

y advertising the perfect

BLACK

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 integration of design elements often demands unorthodox

typography. 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

Excellence in typography is the result of noth

ing more than an attitude. Its appeal comes f

rem the understanding used in its planning; t

he designer must care. In contemporary adve

rtising the perfect integration of design elem

ents often demands unorthodox typography

It may require the use of compact spacing, mi

nus leading, unusual sizes and weights; whate

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. 1

n contemporary advertising the perfect

integration of design elements often demands unorthodox typography. It may r

equire the use of compact spacing, minu

Excellence in typography is the resu

It 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 adve

rtising the perfect integration of de

sign elements often demands unort

hodox typography. It may require th





ning; the designer must care. In c

ontemporary advertising the pe

rfect integration of design elem

ents often demands unorthodox

Excellence in typography is th

e result of nothing more than

an attitude. Its appeal comes

from the understanding usedin its planning; the designer m

ust care. In contemporary ad

vertising the perfect integra

tion of design elements often

Excellence in typography isthe result of nothing morethan an attitude. Its appeal

comes from the understanding used in its planning; the designer must care. In c

ontemporary advertising te perfect integration of de

Excellence in typograph

y is the result of nothin

g more than an attitudeIts appeal comes from t

he understanding usedin its planning; the desi

gner must care. In cont

emporary advertising t14 POINT



BOOK ITALIC

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

perfect integration of design elements 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 gui

des on the subject of typography is difficult because the principl

6 POINT

Excellence in typography is the result of nothing more than an attitude Its appeal comes from the understand

ing used in its planning; the designer must care. In cantemporary advertising the perfect integration of design

elements often demands unorthodox typography. I t ma

y require the use of compact spacing, minus leading. u

nusual sizes and weights; whatever is needed to impro

veappearance and impact. Stat ing specif ic pr inciPleso7 POINT

Excellence in typograph y is the result of nothing

more than an attitude. Its appeal comes from the understanding used in its planning; the design

er must care. In contemporary advertising the perfect integration of design elements often demo

nds unorthodox typography. It may require the use of compact spacing, minus leading, unusual sizes and weights; whatever is needed to improve8 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 contemporaryadvertising the perfect integration of designelements often demands unorthodox typography. It may require the use of compac t spacing, minus leading, unusual sizes and wei9 POINT

Excellence in typography is the result ofnothing more than an a ttitude. Its appea

I comes from the understanding used inits planning; the designer must care. In c

ontemporary advertising the perfect integration of design elements often demands unorthodox typography. It may require the use of compa ct spacing, minus I10 POINT

Excellence in typography is the result of nothing more than an attitude. Itsappeal comes from the understanding used in its planning; the designermust care. In contemporary advertising the perfect integration of designelements often demands unorthodox typography. It may require the useI I POINT

Excellence in typography is the resuit of nothing more than an attitude. Its appeal comes from the anderstanding used in its planning, the designer must care. In contemporary advertising the perfect integration of design elements often demands uno rthodox typography. I12 POINT

Excellence in typography is the result of nothing more than an attitude. Its appeal cornes from the understanding used in its planning; the designer must care. In contemporaryadvertising the perfect integration of design elements ofte

MEDIUM ITALIC

Excellence in typography is the result of nothing more than anattitude. Its appeal comes from the understanding used in its p

lanning; the designer must care. In contem porary advertising t

he perfect integration of design elements often demands unorthodax typography. It may require the use of compact spacingminus leading, unusual sizes and weights; whatever is neededto improve appearan ce and impact. Stating specific principlesor guides on the subje ct of typography is difficult because the

Excellence in typography is the result of nothing mor

e than an attitude. Its appeal comes from the underst

onding 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, min

us leading unusual sizes and weights; whatever is ne

eded to improve appearance and impact. Stating sp

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

he perfect integration of design elements often

demands unorthodox typography. It may require the use of compact spacing, minus leading

unusual sizes and weights; whatever is needed

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its pfanning; the designer must care. In contemporary advertising the perfect integrationof design elements often demands u northodox typography. It may require the use of compact spacing, minus leading, unusu

Excellence in typography is the msultof nothing more than an att itude. Its appeal comes from the understanding used in its planning; the designer must

care. In contempo rary advertis ing theperfect integration of de sign elementsoften demands unorthodox typography. It may require the use of compact s

Excellence in typography is the result of nothing more than an a tt itude. 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 demands un orthodox typography. It may r

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

ect integration of design e l e m e nts of ten demands unorthodox ty

Excellence in typography isthe result of nothing more than an attitude. Its appeal comes from the unde rstanding used in its planning; thedesigner mu st care. In contemporary ad vertising the peffect integration of des ign

BOLD ITALIC

Excellence in typography is the result of nothing more tha

n an attitude. Its appeal comes from the understanding u

sed in its planning; the designer must care. In contempor

ary advertising the perfect integration of design elementsoften demands unorthodox typography. It may require th

e use of compact spacing, minus leading, unusual sizes a

nd weights; whatever is needed to improve appearance a

nd impact. Stating specific principles or guides on the sub

Excellence in typography is the result of nothing m

ore than an attitude. Its appeal comes from the un

derstanding used in its planning; the designer mu

st care. In contemporary advertising the perfect i

ntegration of design elements often demands uno

rthodox typography. It may require the use of com

pact spacing, minus leading, unusual sizes and w

eights; whatever is needed to improve appearanc


ing more than an attitude. Its appeal comes

from the understanding used in its planning

the designer must care. In contemporary a dvertising the perfect integration of design el

ements often demands unorthodox typography. Itmay require the use of compact spac

ing, minus leading, unusual sizes and weigh

Exce l l ence in typography i s the res u l t o

(noth ing more than an a t t i tude . I ts appe a l c o m e s f r om t h e u n d e r s t a n d i n g u s e din i ts p lanning; the des igne r m ust care . In c o n t e m p o r a r y a d v e r t i s i n g t h e p e r f e c tintegrat ion of des ign e lemen ts of ten de

mands unorthodox typography. It mayreq ui re the use o f compact spac ing , min

Excellence in typography is t he r e suIt of nothing m ore than an a t t i tude. It s appe a l co me s f ro m t he un de rs t anding used in i ts p lann ing; the des ign

e r mu st care . In co n t e mpo rary adver t i s ing th e pe r fect i n t eg ra t ion o f des ign e l e me n t s o f t e n de man ds un o r th odox t ypog rap h y . It may requ i re t

Exce l lence in typography is the resu l t of noth ing more than an a t ti tude . I ts appe al come s f rom theunderstanding used in i ts p lann ing; the designer mu st care. In contem porr i fy advert is ing the perfect in tegrat ion of design e lem ents o f te n d e m an d s u n or th od ox ty

Excel lence in typography is the resul t of noth ing more than an a t ti tu de . I ts ap pea l com es f rom t h e u nders t and ing u sed ini ts p l a nn ing ; the des ig ne r m ust ca re . In con t em pora ry adve rr t is ing t h e per fec t in t egra t iono f d e s ig n e l e m e n t s o ft e n d e m

Excel lence in typography is t he r es u l t o f n oth in g more than an a t t itude . Its appe a l c o m e s f r o m t h e u nd e rs tand ing used in i ts p lanni n g ; t he des ig n e r m us t ca re . In con tem pora ry adv er ti s ing the p e r fec t in tegra t i

BLACK ITALIC

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 Integraflan of design elements often demands unorthodox

typography. It may require the use of compact spat

ing, minus leading, unusual sizes and weights; what

ever is needed to improve appearance and impact. S


Ing more than an attitude. I ts appeal comes f

rom the understanding used in its planning; t

he designer must care. In contemporary adve

rtising the perfect integration of design elem

ents often demands unorthodox typography

It may require the use of comprct spacing, m

inus leading, unusual sizes and weights; wha

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 demands unorthodox typography. It may r

equire the use of compact spacing, minu

Excellence in typography is the result of nothing more than an attitud

e. Its appeal comes from the unders

tanding used in its planning; the de

signer must care. In contemporary

advertising the perfect integration

of design elements often demands

unorthodox typography. It may req





ning; the designer must care. In c

ontemporary advertising the perfect integration of design elem

ents often demands unorthodox

Excellence in typography is t

he result of nothing more tha

n an attitude. Its appeal corn

es from the understanding us

ed in its planning; the design

er must care. In contemporary advertising the perfect inte

gration of design elements of

Excellence in typography is the result of nothing more

than an attitude. Its appeaI comes from the understan

ding used in its planning; the designer must care. In contemporary advertising the perfect integration of d

Excellence in typograp

by is the result of nothi

ng more than an attitud

e. Its appeal comes fro

m the understanding u

sed in its planning; the

designer must care. In c

ontemporary advertisi

a

14 POINT



" It may sound funny to some of us, but

and

T O R Y

self, as the case may be). The whole idea of

ration of the harvest, a plea for rain, or in supplication

bly included several

uish characters who represented all that was

rightening and devilish. Similar roles were later

ancient Greek and Roman folk plays and into

lays of medieval times. In all of these theatri-s, the actors playing the devil's disciples

ical costumes,fright wigs, exaggerated noses and

l appendages, menacing painted faces or grotesque

nd bested by the forces of "good." Inose was to make light of the devil's nefar-

arves, hunchbacks and demented people at court

hat benighted custom, it's easy to see how the role

ctors, weary of traveling around Europe

t was a potentially rewarding profession. In ex-his entertaining skills, his willingness to affect

ourt life. He alsolar privilege of tossing off witticisms and

I L L U ST RAT IO N BY W AL L Y NE I BART





ILLUSTRATION BY WALLY NEIBART

ANNIE FRATELLINI b e l i e v e s t h a t cl o w n i n gi s i n t h e g e n e s . S h e d e s c e n d s f r o m a f a m o u sf a m i l y o f c l o w n s ; s h e i s a r e s p e c t e d p e r f o r m e ri n t h e c i r c u s w o r l d o f F r a n c e , a n d s h e i s a l s othe director of the Ecole Nationale du Cirque,the circus school that she runs in Paris. But

i n a s m u ch a s s h e b e l i e v e s t h a t c lo w n s a r e b o r n ,not taught, her training program includes all

t h e t ra d i t i o n a l c i r cu s s k i l ls e x c e p t c l o w n i n g .Most master clowns agree that a clown dis-guise and act are things you work out intui-

t i v e ly , o n y o u r o w n , a n d s p e n d t h e r e s t o f y o u rl i fe per fec t ing .

In her awn performance, Annie Fratellinic o m b i n e s t h e auguste t y p e o f c l o w n w i t h t h e

street urchin character. Her makeup is soulfuland endearing. She wears a scruffi , r e d w i g ,h e a v y b l a c k e y e b r o w s , t w o b l a c k t e a r d r o p s u n d e r

her eyes ,y e s , a b u l b o u s r e dnose and a painted, sadlys o u l f u l s m i le a b o u t h e r l i p s . H e r co s t u m e i sC h a p l i n e s q u e — a d e r b y , a l o n g , l o o s e o v e r c o a t ,baggy pants that stop short of her wrinkled

s o c k s a n d o v e r s i z e d h o b o s h o e s . S h e w o r k s h e ract in tandem with her husband who is a

w h i t e fa c e c l o w n a n d c o n j u r e r . A s h e p e r f o r m s

his magic tricks, she appears behind him in ac h e e k y , m o c k i n g w a y , p a r r o t in g h i s a c t . S h epicks up a bottle of milk he has brought intothe arena and pours it into an invisible tum-

bler. (She is working with a trick bottle thatc o n c e a l s th e m i l k w h e n i t i s t il t e d . ) S h e t h e nproceeds to mime drinking the milk from the

i n v i s ib k g l a s s . W h e n t h e co n j u r i n g c l o w n d e m -onstrates a few rope tricks,Annie intrudes,

holding a dog lead with no dog at the end.

She parades the invisible dog around the arenauntil "it" pulls her toward the ringmaster's

t o p h a t ly i n g u p s i d e d o w n o n t h e g r o u n d . T o t h eaudience's anticipated delight, the invisible

d o g t h e n d e p o s i t s a n i n v i s i b l e o f fe r i n g i n t o t h eelegant hat.

Female clowns like Annie Fratellini are not

u n i q u e . I n f a c t t h e c i r cu s w o r l d w a s w a y a h e a do f t h e r e s t o f th e w o r l d i n b e s t o w i n g e q u a lo p p o r t u n i t i e s f o r w o m e n . F e m a l e c l o w n s g o a s

f a r b a ck a s 1 86 0 , a n d t o d a y w o m e n a re a p p e a r -ing quite frequently in training programs.Y o u m a y n o t , h o w e v e r , b e a b l e t o d i s t in g u i s hm a l e f r o m f e m a l e c l o w n s b y t h e i r m a k e u p o rd i s g u i s e s . I t i s p a r t o f t h e m y s t i q u e o f c l o w n s

t h a t t h e y r e m a i n s e x l e s s , a n o n y m o u s — a c t u a l lynon-human—so audiences relate to their per-formance and not to their person.

TEXT: ITC GALLIARD BLACK ITALIC



39

OU JACOBS' face is the one thatcomes to mind whenever we

think "circus." Probably wehave been programmed to visu-

C postage stamp commemorating the

d to the Ringling Brothers. Barnum & Bailey Circus, The

Show on Earth.Although his makeup derives from

His act, as well as his costume, is

Aside from his own carefully chore-

ingling Brothers' outstanding pro-

NITIAL: BOLD CONDENSED I LLUS T R A T IO N B Y L IO N EL KA LIS H



O R Y BALLANTINE's

middle name is Circus,

literally and figuratively.

His mother was a showgirl,

and his father was a clown

with the Ringling Brothers

and Barnum & Bailey

Circus. As a matter of fact,

his father, Bill Ballantine,

was the first dean of RBBB's

Clown College, established

in 1970, in Venice, Florida.So, as they say on the cir-

cus lot, Toby had saw-

dust in his shoes from the

start, and it was no sur-

rise that he chose to go

into clowning.

What he didn't learn from

his father, he mastered in

ten years of touring with

every kind of circus

known: small mud shows,

one-ring European style

circuses, and three-ringextravaganzas. The clown

character he developed

for himself is that of an

auguste redface, a mixture

of pathos and pixie, with

a specialty in stilt-walking.

Since Toby is a six-footer

standing on his own two

feet, on stilts he is sixteen

feet tall, which makes him

the world's tallest stilt-

walking clown. This is no

small distinction when

you know the logistics and

dangers inherent in walk-

ing on stilts. You mount

them from a ladder, and

dismount the same way.

There is no body harness,

nor hand grips to keep you

safely connected; the stilts

are fastened directly to the

legs at mid-calf. Learning

to walk on them takes

courage and concentra-

tion, and it is equally

important to learn to fall



ILLUSTRATION BY JIM SPANFELLERSA

EXT: ITC VEUOVIC BOLD ITALIC INITIAL: BOLD

4 1 , 1 4 41"V •

41

properly, when necessary

to avoid serious injury.

In 1975, when Toby was

only 25, he was already

an experienced clown and

was invited to teach at

Clown College between his

regular circus tours. Aside

from stilt-walking his other

specialties include jug-

gling, ice skating, fire eating,

western rope spinning,wire walking, training pigs,

and makeup. Add to that

such additional accom-

plishments as playing the

blues harmonica, wood-

carving and foam rubber

sculpting, and you still get

only a partial picture of

his remarkable talents.

At 34,119by Circus Ballan-

tine is not only a master

clown in his own right, but

a much-in-demand pro-ducing clown. Working out

of New York City, he cre-

ates and directs clown acts

for industrial shows, for

television, for nightclub

acts, theme parks and com-

mercials. Among his

many clients are IBM, Sony,

the Philadelphia Phillies

and Caesar's Regency in

Atlantic City. In addition

to his personal clown act

and production work,'Ibbyalso serves as ringmaster,

announcer, promotional

director and publicist

for many of the programs

he creates.

Above all, he has taken a

special interest in teaching

workshops and seminars

at schools, colleges and

theme parks. In his own

words, he hopes to pass

along the very ancient and

traditional art of clowning.





43

EM M E T T KELLY was a midwestern farm boy who had

a talent for cartooning, but a penchant for showbusiness.At the age of 19, he left the farm for Kansas

City, where he found work in a vaudeville show, executinglightning-quick caricatures and cartoons. To add color tohis act, he performed in a silly, country bumpkin costume—white wig, white shirt and short,baggy pants. Butvaudeville was not steady work, and he supplementedhis show business earnings doing artwork for advertis-ing agencies. While working on a cartoon film, he con-cocted the character of a forlorn, melancholy tramp whofailed at everything he did, but never lost hope. It wasan image that Kelly filed away in his memory bank, butnot for very long.

Still drawn to show business, he worked up a trapezeact and found a place in a small circus company, wherehe also met and married one of the trapeze artists.Together they produced a double trapeze act. Kelly alsoperformed as a whiteface clown. But, unfortunately, per-sonal differences and a clash of careers broke up the

marriage. In the aftermath of his shattered domestic life —the separation from his wife and children—Kelly stronglyidentified with the forlorn sad-sack hobo character hehad dreamed up, years before, at the drawing table.

Emmett Kelly's hobo clown, Weary Willie, was contraryto everyone's conception of the zany, fun-loving, prank-ster clown. He was dirty, unshaven, ragged and inept. Incontrast to the auguste clowns who played "high,' reach-ing out to the entire audience for laughs, Kelly was acarpet clown. He played "low," addressing himself to theaudience in the first few rows, wandering disconsolatelyamong them and chewing on leaves from a wilted cab-bage. His acts were simple, but touching. He would try tosaw a board in half, diligently consulting a blueprint ashe worked. He tried to crack a peanut with his teeth, butfailing in that, he'd grab a sledge hammer and smash itto :smithereens. Every move he made produced compas-sionate laughter, because everyone in the audience hadexperienced failure at one time or another.

His "spotlight" routine was probably his most mem-orable and endearing. Dressed in his usual tramp outfit,he would amble into the arena with a broom and startsweeping the floor. Before long, a spotlight would appear

at his feet. Perplexed, he would contemplate it, then deter-minedly try to sweep it away. To no avail. He would approachfrom another direction. No go. Finally, he would give up,lean on the broom and gaze mournfully at the crowd.

But the inept Weary Willie was no whimp in real life.He worked on his acts and his career assiduously, hireda publicist to promote him, and eventually landed a placewith the Ringling Brothers and Barnum & Bailey Circus.Not only did he become a star clown, commanding a topsalary of $1500 a week, but he was excused from themulti-clown production numbers, so as not to destroy

the image of his solitary sad-sack role. Emmett Kellydied in 1979 at the age of 81, but he remains, to this day,the quintessential hobo clown.



ELIX AD LER's career in the c i rcus corroborates our rom ant ic ,storybook notion about clowns and circuses. Unlike many of hisfellow clowns who were born into circus families, Adler actuallyran away from home to join a circus when he was still a young

boy. Born in 1895, he was already a mature performer when thercus entered its golden years in the 1930s. With the introduction of

m s an d f ill the arena w i th act iv i ty . Bes ides the indiv idual c lownts, they wanted production numbers that would involve a troupea dozen or more acting in ensemble. Felix Adler was one of the

rst of the so-called "producing" clowns who created the ideas forand directed them, as well.

For his own disguise, he devised a costume in contrasts. He pad-xtaposed those oversized garments with a ridiculous, minute hatd an equally minuscule umbrella,which he carried rain or shine.

lthough his gags were extremely simple, he was sophisticated andalytical about clowning. He was acutely aware of the double

d of menace and mirth, fear and farce, grotesqueness andiety that is the essence of clowning.Above all, he invoked the

ent of surprise. In one of his acts (the disappearing clown) he

d a fellow clown climb into a box. He then mimicked the tradi-l disappearing-person-act by having sidekicks thrust swordsough slots in the box to prove it was empty; however,when the

oment of truth arrived—when the missing clown was to reappear

Adler was most frequently identified with his trained pigs. He wouldrry one around in a blanket, feedingit from a baby's bottle. He

Walt Disney's production of The Three L it tl e P igs

of his pigs to chase him around theena. In all, he is said to have trained 500 pigs in

ction numbers and his own popularity won him

tinction of performing for three American Presi-

RDE GOTH C BOLD INITIAL: BOLD CONDENSED

ILLUSTRATION BY BILL BALLANTINE



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45

use, quick reference source for

roduction technical working informa-

completely updated

on mask, metric tables, paper

velope sizes,and more.

1984

x.

314, Brooklyn, NY 11205.

Volume 7

top

raphers. Scores of a rticles by art

with phone numbers and ad-

19.533 pages. 914 x 113/4" . Two

spaper Layout and Design

tful. up-to-date, easy-to-read, well

ted presentation of the whys and hows

f

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y, redesign. and more.

Fine Print

Vol.10, No.1,1984

Type lovers will enjoy the learned and well-

illustrated article on the history of Janson-

Antigua types in this issue of Fine Print.

Written by Horst Heiderhoff it explains that

the designer was not the Dutch Anton Janson

but a Hungarian, Miklos Kis. Also of interest to

typophiles, the report on the Fifth WorkingSeminar of Association Typographique Inter-

nationale on "The Computer and the Hand in

Type Design."

Fine Print, P.O. Box 3394,San Francisco, CA

94119. Single issue $9.00, add $2.00 for first

class mail.

The TEXbook

byDonald E. Knuth

TEX is,a software system that facilitates page

and area composition of typeset matter. It was

developed to aid in the creation of beautiful

books, especially those that contain a lot of

mathematics. It enables one to tell a computer

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people who have never before used TEX, as

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Addison Wesley Publishing Company. Inc.,

Reading, MA 01867.483 pages. 7 1 / 2 x 91/4Plastic bound. $14.95.

Ames Compendium of Practical

Ornamental Penmanshipby Daniel T. Ames

Originally published in 1883. this paperback

version should appeal to those intrigued by

calligraphy, penmanship, flourishes, engross-

ing and the graphic flavor of 100 years ago.

ST Publications, 407 Gilbert Avenue.Cincin-

nati3OH 45202.64 Pages.81/2 x I r Paper. $7.95.

Illustrators 25

Edited by Art Weithas and designed by

Robert Anthony

A truly beautiful book worthy of representing

the Silver Anniversary of the Society of Illus-

trators Annuals. Examples of over 500 current

works in the editorial, book, advertising and

institutional categories. Completely captioned

and indexed. The first Annual to be printed

entirely in color.

Distributed in USA by.Robert Silver Associ-

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For distribution outside of the USA. contact

Fleetbooks, S.A., c/o Feffer and Simmons. Inc..

100 Park Avenue, New York, NY 10017.9 x 12

$49.95.

Handbook of Graphic Presentation

2nd Editionby Calvin F.Schmid & Stanton E. Schmid

A working manual for all concerned with clear

presentation and interpretation of statistical

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techniques, rectilinear coordinate charts, bar

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John Wiley & Sons, Inc., One Wiley Drive,

Somerset, NJ 08873.308 pages. 81/2 x 11 Paper.

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Pricing & Ethical Guidelines5th Edition

The Graphic Artists Guild offers this compila-

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Robert Silver Associates,95 Madison Avenue,

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Treasury of Japanese Designs and Motifs

by Carol Belanger Grafton

This versatile collection of traditional Japanese

designs and motifs presents the working artis t

with a treasury of 360 copyright-free designs.

All have been especially adapted for ready

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Dover Publications, Inc., 31 East Second

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illustrations. 81/4 x 11' Paperbound. $3.95.

Graphis Posters 84Edited by Walter Herdeg

Beyond its commercial value, today's poster is

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Watson-G uptill Publ ications,Inc.1515 Broad-

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Visual Awareness and Designby Philip Thiel

This is an introductory program in concep-

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University of Washington Press, Seattle, WA

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GRAPHICDESIGN

Graphic Designby Elizabeth Resnick

Letterform collage. the relationship of letters.

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Prentice-Hall. Inc. Englewood Cliffs. NJ

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design students. Bibliography and index.Cloth

$15.95. Paper $8.95.

Microcomputer Graphics andProgramming Techniquesby Harry Katzan, Jr.

In easy-to-understand terms Mr. Katzan gives

you a guided tour through the mysteries ofthe graphic opportunities of computer graph-

ics in both personal and home computers .

Offered to you are the essentials you need to

know: basic computer concepts, computer

programming fundamentals and applications.

the BASIC computer language: all in sufficient

detail for you to do graphics programming.

More than 20 practical and ready-to-use

graphics programs are included.

Van Nostrand Reinhold Company, Inc.. 135

WeSt 50th Street, New York, NY 10020. 229

pages. 6 x 9' Indexed. $22.50.

Typos 6

Every issue of Typos is a collectors item.A

wonderful blend of thoughts, applications,

graphics. This issue includes a discussion of

free drawn, non-typographic lettering and its

role in architecture and other fields of lettering;the approach to graphic design of Rolf Muller;

a review of the career of Hendrik Nicolaas

Werkman; The Polish Poster: Allen Hutt's

influence on newspaper design; the story of

His Nibs (Mr. Poole's Pen Shop in London); a

review of subway maps around the world;

The Art of The Book in India: and an article on

typefaces for Videotex. Color pages. Variety of

stocks used. Die-cut cover. Limited supply.

The Joumeyman Press. 97 Ferme Park Road,

Crouch End, London N8 9SA, England. 54

pages. 9 x 12 $10.00.

Optical Color & Simultaneity

by Ellen Marx

Every aspect of color theory is open to inter-

pretation and the investigations outlined by

the author are the result of a painstaking and

systematic series of experiments. The reader

is invited to enter into a dialogue with the

demonstrations and to observe first-hand the

relationship of optical color to the phenome-

non of simultaneity.The studies. though

logical and based on scientific understanding,

do not slight the importance of intuition.You

can discover both accurate and precise inter-

actions of primary colors while at the same

time delving into your hidden personal world.

Van Nostrand Reinhold Company.135 West

50th Street. New York, NY 10020.152 pages.8 x 8 References.six screens for the projec-

tion of successive images. $32.50.

TEXT: ITCUSHERWOODBOOK BLACK



46

Specimen booklets for each text/display typeface can be purchased from ITC. The order form for these specimen booklets appears on page 82 of this issue of U&lc.

D I SP L A Y F A C E S

I T C A K I L IN E S ®

giff0 ne wr it or E 3 C 2 C a Qom

ITC Bauhaus Hoary®1 1 0 3 Li3aubwo Do[dua®

tic Be r na s e R o m a n®

ITC Bolt Bald'ITC/LSC Book Regular RomanITC/LSC BookReguktr Italic

ITC/LSC Book Bold Roman'

ITC/LSC Book Bold ItalicITC/LSC Book X-Bold Roman'ITC/LSC BookX-Bold Italic'

B 0 o na m , s m . © T a E f i f f ig u f i q l g 3 ®ITC Bookman Contour with Swash®

I L l o K , P o W J I + 1 a

I T C D US O R A M A M E D IU M ®

I T C B U S O R A M A B O L D ®

IT C C as l on He ad l i n e ®

I TC / 1 ,SC Ca s lo n L ig h t No 223 ®

aslonLightNb.223

I T C /L S C C a s l o n R e g u l a r N o . 2 23 ® 'ITC/LSC Caslon Regula r No . 2 2 . 3 I ta l ic®

I T C / L S C C a s l o n B o l d N o . 22 3 *ITC/LSC Caslon Bold No.223 Italic®

ITC/LSC Caslon X-old No.223 ®

I T Caslon X-Bold No.223 Italic®

TEZ Cheltenham °table ®NMCheltenhamandine Shadow'

I TC C h e l t e n h a m C o n t o u r ®

I I T C Clearface altheaI TC C l e a r f a c e C o n t o u r ®

IITC Ceram OWN= S k d u l o w e

I f f L S Camel®

IS f f o s i d a t t a I t a l i e *

ITC Did i®

C r a g I I m o afraraG®ITC Eras Contour®

F I T F M F a c e ®

I T C F i r e n z e ®[ l am Frankl in

an mud&Gothic Outline Shadow ®

IT C F r a nk l in G o t h i c C o n t o u r ®

IT C Gor i l la®

ITC Grizzly 8ITC Grouch'

ITCTM

gooll6m ®I T C K o b e l C o n t o u r ®natritEM 1 3 okl Oahe

I T C M A C H I N E

R C M A C H IN E

lit /1St 44I TC M i l a n o R o m a n ®

ITC NEON ®

ftl L l FI iH ;®ITC Rondo Light"

ITC Rondd"

ITC Ronda Bo ld

1 1 4 0 g G e o g &A(*Bold outorwITC/L&C Stymie Ha ir line®

I TC T o m ' s R o m a n ®I TC U p r i g h t R e g u l a r ®

I TC U p r i g h t n e o n ®

TEXT/DISPLAY FACES

TH E ITCT Y P E F A C E

CO T A EC TIO NThe typefaces shown on these pages represent the c o m p l e t e collection of ITC Typefaces as of May 14, 19

NEWFROMITC

ITC Symbol'

B o o kBook ItalicMediumMedium Italic

B o l dBold Italic

Black

Black Italic

ITC Veljovie

Book

Book ItalicMedium

Medium ItalicBoldBold Italic

BlackBlack Italic

Gothic



47

C A m e r i c a n

LightMediumBoldLight CondensedMedium CondensedB o l d C o n d e n s e d

ITC Avant GardeGothic®

Extra LightExtra Light ObliqueBookB o o k ObliqueM e d i u mMedium ObliqueD e m iDemi ObliqueBoldBold ObliqueBook CondensedMedium CondensedDem i C o n den s edB o l d C o n d e n s e d

I T C B a r c e l o n a 'BookBook ItalicMediumMedium I ta l icBoldBold ItalicHeavyHeavy Italic

I TC Bau h aus"LightM e d i u mD e m iBold

I TC B e n g u i a t "BookBook ItalicMediumMedium ItalicBoldBold ItalicBoo k CondensedB o o k C o n d e n s e d I t a l icM e d i u m C o n d e n s e dM e d i um C o n d e n s e d I t a l i cBold CondensedBold Condensed Italic

ITC Benguiat Gothic'BookBook ItalicM e d iumMedium I ta l icBoldBold ItalicHeavyHeavy Italic

ITC Berkeley Olds le-

BookBook ItalicMedium

M edium I ta lic

BoldBold ItalicBlack

Black Italic

ITC BookmanLightLight ItalicMediumMedium ItalicDemiDemi ItalicBoldBold Italic

ITC Caslon No. 224-

B o o kB o o k I t a l icMediumMedium Italic

BoldBold ItalicBlackBlack Italic

ITC Century"LightLight ItalicBo o kBook ItalicBold

Bold ItalicUltraUltra ItalicLight CondensedL igh t Cond ens ed I ta l icBook CondensedB o o k C o n d e n s e d I ta l icB o l d C o n d e n s e dBold Co n d en sed Italic

Ultra CondensedUltra Condensed Italic

IT C C he l t e n ha m 'LightLigh t I ta licBookBook Italic

BoldBold ItalicUltraUltra Italic

Light Co ndensedLight Condensed ItalicBook CondensedB ook C ondens ed I ta l icB o l d C o n d e n s e dBold Condensed Italic

Ultra CondensedUltra Condensed Italic

ITC Clearface"

RegularRegular ItalicBoldB o l d Italic

HeavyHeavy ItalicBlackBlack Italic

ITC Cushing-

BookB ook I t a li cM e d i u mM edium I t a l icBold

Bold ItalicHeavyHeavy Italic

ITC Eras*L ght

BookMediumDemi

BoldUltra

ITC Fenice®

LightLight Italic

RegularRe gular ItalicBoldBold I tal icUltraUltra Italic

ITC Franklin Gothic'

B o o kB o o k I t a li cMediumMedium ItalicDemi

Dem i Ital icHeavy

Heavy Italic

Friz Quadrata

Friz QuadrataFriz Quadrata Bold

ITC Galliard-

RomanR o m a n I t a l icBoldB o l d I t a l i cBlackBlack ItalicUltraUltra Italic

I T C G a r a r n o n d 'LightLight ItalicBookBook ItalicBoldBold ItalicUltra

Ultra Italic

Light Co ndensedLight Condensed I ta l icBook CondensedBo o k C o n d en sed I t a l i cB o l d Condensed

B o ld Co n d e n s e d I t a l icU lt r a C o n d e n s e dUltra Condensed Italic

ITC Isbe l l"BookBook ItalicMediumMedium ItalicBoldBold ItalicHeavyHeavy Italic

ItaliaBookMediumBold

ITC Kabel®

BookMediumD e m iBold

U l t r a

ITC K o r i n n a 'RegularKursiv RegularBold

Kursiv BoldExtra BoldKursiv Extra BoldHeavyKursw Heavy

ITC Lubalin Graph'

Extra LightE x t r a L i g h t ObIlqueB o o kB o o k ObliqueMediumMedium ObliqueDemiDemi Oblique

BoldBold Oblique

I T C M o d e r n N o . 21 6 '"LightLight ItalicMediumMedium ItalicBoldBold ItalicHeavyHeavy Italic

ITC New Baskerville'"

Roman

I tal icSemi BoldS em i B o ld I ta l icBoldB o l d I t a l icBlackBlack Italic

ITC Newtext

Light

Light Italic

Book

Book Italic

Regular

Regular Italic

DemiDemi Italic

ITC Novarese'

B o o kBook I ta l icM e d i u mM e d i u m I t a l icBoldBold ItalicUltra

ITC Quorum

LightB o o k

Medi umB o l dBlack

ITC Ser i f Gothic"LightRegularBoldExtra BoldHeavyB l a c k

ITC Souvenir'

LightLight I ta l ic

MediumMedium ItalicDemiDemi Italic

BoldBold Italic

ITC TiffanyLightLight ItalicMediumMedium ItalicDemiD e m i ItalicHeavy

Heavy Italic

ITC Usherwood-

BookB oo k I ta l icMediumMedium ItalicBoldBold ItalicBlackBlack Italic

ITC Weidemann-

BookBoo k I ta l icMediumM e d i u m I t a l icBoldBold Italic

Black

Black Italic

I TC Z a p f B o o k 'LightLight I ta l icMediumMedium Italic

DemiDemi Italic

Heavy

Heavy Italic

Y T C Z a p f C h a n c e r y '

Light

Light_7talic

MediumMedium 9talicDemiBad

ITC Zapf International"

LightLight ItalicMediumMedium Italic

DemiDemi ItalicHeavy

Heavy Italic



8

O N L Y T HE F O L L O W I NGS UB S C R IB E R C O M P A N I E S A R E

L I C E N SE D T O M A N U F A C T U R E A N D S E L L

IICY P E F A C E S

AM International, Inc.V a r i t y p e r D h i s i o n

Digital Visions, Inc. International type F o n t s A p S Offlcine Simoncini s. p. a. D . S te m p e l A G454 West 46 St.New York, N.Y. 10036

(212) 581-7760

Interactive Computer Graphics

Software

Filmotype

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 CompositionSystems Division

Casella Postale 776

40100 Bologna

Italy

(051) 744246

Hot Metal Composing Matrices

and Phototypesetting Systems

P h o t o V i s i o n O f C a l i f o r n i a , I n c .

Hedderichstrasse 106-114Frankfurt am Main-70

West Germany

(0611) 6068-1

Dry Transfer Letters

Tactype, Inc.

11 Mt. Pleasant Avenue

East Hanover, NJ. 07936

(201) 887-8000

Phototypesetters and Photo-

lettering Systems

Adobe Systems, Inc. 7711 N. Merrimac Avenue

Niles, Illinois 60648

(312) 965-8800

Film Fonts

Fonts

12 West 26th Street

New York, N.Y. 10001

( 2 1 2 ) 924-1800


Technographics/FlimFonts

1870 Embarcadero

Palo Alto, Calif. 94303

(415) 852-0271

Interactive Software Tools forGraphic Arts

A l p h a t y p e C o r p o r a t i o n

P.O. Box 552

Culver City, Calif. 90230

(213) 870-4828

Toll Free: 800-421-4106Spectra Setter 1200, Visual

Display Setter, and 2' Film Fonts

Pressure Graphics, Inc.

34 Cellu Drive

Nashua, N.H. 03060

(603) 889-1400Phototypesetting Systems and

Equipment, Film Strips,

Standard and Segmented Discs,

and Digitized Fonts

Esselte LetrasetLetraset Limited

Hardy/Williams (Design) Ltd.

300A High St.

Sutton, Surrey

SM1 PQ England

01-636-0474Font Manufacturer

Fundicion TipogridicaNeufville, S.A.

P.O. Box 552

Culver City, Calif. 90230

( 2 13 ) 870-4828

Toll Free: 800-421-4106

Film Fonts, Studio Film Kits,

and Alphabet Designers

URWUntemehmensberatung

7711 N. Merrimac Avenue

Niles, Illinois 60648

(312) 965-8800

AlphaSette and AlphaComp

Phototypesetting Systems

CRS Digital Phototypesetter

A r t y p e , I n c .

1725 Armitage Court

Addison, Illinois 60101

(312 ) 620-6900


Prestype, Inc.

St. Georges House

195/203 Waterloo Road

London SE1 84J

England

(01) 930-8161


Letraset USA Inc.

Karow Rubo Weber GmbH

Harksheider Strasse 102

2000 Hamburg 65

West Germany

(040) 602 1071

IKARUS—Digital Type Production

SIGNUS—Type Setting With Foils

V i s i - G r a p h i c s

Puigmarti, 22

Barcelona-12

Spain

219 50 00

Poster Types

Geographics, Inc.

194 Veterans Blvd.

Carlstadt, NJ. 07072

(201) 933-6011


Pump Electronics

3530 Work Drive

P.O. Box 7151

Fort Myers, Fla. 33901

(813) 332-1174

800-237-4474


Cut Out Letters

Autologic, Inc.

40 Eisenhower Drive

Paramus, N.J. 07652

(201) 845-6100


Linographics

28 Jens Juuls Vej

DK 8260 VIBYJ

Denmark

Tel: 456-28 22 11

Laser Forms Printer

Q u a n t e L t d .

P0. Box R-1

Blaine, WA 98230

(206) 332-6711


Graphic Products Corporation

8119 Central Avenue

Washington, D.C. 20027

(301) 366-1144


V i s u a l G r a p h i c s C o r p o r a t i o n

1050 Rancho Conejo Blvd.

Newbury Park, Calif. 91320

(213) 889-7400APS-4/APS-5 CRT Phototype-

setter Composition and

Typesetting Systems

Autologic SA

770 N. Main Street

Orange, California 92668(714) 639-0511Display Typesetters,

2' Film Fonts

Mecanorma

3601 Edison Place

Rolling Meadows, 111. 60008

(312) 392-1476Formatt Cut-out Acetate Letters

and Graphic Art Aids

Graphics, Inc.

Kenley House

Kenley Lane

Kenley, Surrey

CR2 5Yr

England

01-668-4151

Designers and Manufacturers

of Digital Television Broadcasting

Equipment; the Paint Box.

R y o b i L i m i t e d

5701 N.W. 94th Avenue

Tamarac, Florida 33321

(305) 722-3000

Manufacturer of Photo Typositor

and Original Typositor

Film Fonts

X e r o x C o r p o r a t i o nCorporate Font Center

1030 Bussigny Pres Lausanne

Switzerland

021/89.29.71

Bobst Graphic Products and


H . B e r t h o l d A G

78610 LePerray-en-Yvelines

Paris, France

483.90.90


MegaCom, Inc.

16001 Industrial Drive

Gaithersburg, Maryland 20877

(301) 948-7790Manufacturer of Dry Transfer

Systems

H a r r i s C o r p o r a t i o nHarris Composition Systems

D i v i s i o n

701 South Aviation Blvd.

El Segundo, Calif. 90245

Mail Stop A3-23

(213) 536-9721

Zipatone, Inc.

3925 Coconut Palm Drive

Suite 115

Tampa, Florida 33619

(813) 626-6167

Non-Impact Page Printing Systems

Mergenthaler Linotype

Company

762 Mesaki-Cho

Fuchu-Shi

Hiroshima-Ken 726

Japan

Text/Display Phototypesetters

S c a n g r a p h i c D r . B o g e r G m b H

Teltowkanalstrasse 1-4

D-1000 Berlin 46

West Germany

(030) 7795-1

Diatronic, ADS 3000, Diatext,

Diatype, Staromatic,

Staromat, Starograph

Berthold of North America

P.O. Box 2080

Melbourne, Florida 32901

(305) 259-2900

Fototronic 4000,TXT, 1200, 600

CRT 7400, 7450

D c - i n g R u d o l f H e ll G m b H

150 Fencl Lane

Hillside, Illinois 60162

(312) 449-5500


AUTHORIZED DISTRIBUTORSO F IT C T YP EFA C ES

Rissener Strasse 112-114

West Germany

(04103) 6021-25

Manufacturer of the Scantext

Phototypesetting System,

Frontend, Typesetter, Graphic

Page, Logoscanner, Interfaces

and Digital Fonts

Simulation Excel A.S.

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.

201 Old Country Road

Melville, NY.11747

(516) 673-4197

Linoterm,V-I-P Linotron, Omni-

tech CRTronic, Phototypesetti- 'gEquipment and Systems

MetagraphicsD i v i s i o n o f in t r a n C o r p .

610 Winters Avenue

Paramus, N.J. 07652

(201) 262-8700

Diatronic, ADS, Diatype,

Staromat, Diasetter,

Repromatic

C e l l o - T a k M f g . , I n c .

Grenzstrasse 1-5D2300 Kiel 14

West Germany

(0431) 2001-1

Digiset Phototypesetting

Equipments and Systems,

Digiset-Fonts

information international

4555 W. 77th St.

Edina, Minn. 55435

(612) 835-5422

Digital Fonts for Xerox 9700

Microtype

8 Faubourg St. Jean

21200 Beaune

France

Film Fonts Manufacturer

Alphabet Designers

T h e M o n o t y p e C o r p o r a t i o n L t d .

Salfords, Redhill, Surrey,

England

Redhill 6 5959

Visual Communications

Equipment

35 Alabama Avenue

Island Park, L.I., N.Y. 11558

( 516) 431-7733


C h a r t p a k

5933 Slauson AvenueCulver City, Calif. 90230

(213) 390-8611


international BusinessMachines Corporation

AGFA-GEVAERT N.V.

BITSTREAM, INC.

DATALOGICS INCORPORATED

DELPHAX SYSTEMS

DICOMED CORPORATION

DIGITAL EQUIPMENT CORPORATION

DIGITIZED INFORMATION SYSTEMSCORPORATION (GHENT, BELGIUM)

EOCOM

GENERAL OPTRONICS

CORPORATION

KANEMATSU ELECTRONICS

LIMITEDSCITEX CORPORATION LTD.

One River Road

Leeds, Mass. 01053(413) 584-5446


Compugraphic Corporation

2841 Cypress Creek Road

Ft. Lauderdale, Fla. 33309

(305) 979-1000

Electronic Printing Systems

Old Orchard Road

Armonk, N.Y. 10504

Electronic Printing Systems00 Ballardvale Street

Wilmington, Mass. 01887

(617) 944-6555

EditWriters, CornpuWriters,

Text Editing Systems,

MCS 8200, 8400, 8600,Accessories and Supplies

FOR FURT HER INFORMA T ION WRIT E OR C A LL: INTERNATIONALTYPEFACECORPORATION2 HAMMARSIUOLDPLAZA, NEWYORK, NEWYORK W017 (212 ) 371-0699 TELEX: 669204



O n e s h o w , m a n y t a l e n t sY o u r P o r t fo l i o R e v i e w s a r e a g r e a t w a y t o

see a lot of talent in a short time."

Arch Unruh, Manager of Creative RecruitingHallmark C ards Inc., Kansas City

G ood w or k e th i c"I have found your grads dependable and

sensitive. They have a good work ethic."

Frances Heaney, Art DirectorCNN Headline News

Turner Broadcasting System , Atlanta

Se n d m e m o r eI have four of them working now, and in

nine years I have hired about 20. -

Don Weston, PresidentWeston Gano ff M arini Inc. , Fort Lauderdale

G o o d c o n c e p t s, c o m m o n s e n s e"Your grads have good design concepts and

common sense. They know what works."

Barbara Pratt , Produ ction S up ervisorLivingston & Com pany, Seatt le

G r a d u a t e s k n o w r e a l w o r ldThe good thing about your schools is they

prepare grads to deal with the work world. -

Rob ert Cunningham , National Creative DirectorTho m pso n Recruitment Advertising

Su bsidiary of J. Walter Tho m pson, Baltimo re

W o r k w e ll o n t h e i r o w nWe like your graduates because they tackle

problems with minimum supervision. -

Jim Lauteri, Production ManagerGenigraph ics Corpo ration, Pittsburgh

rF o r i m m e d i a t e a t t e n t io n t o y o u r s t a f f in g n e e d s , c a l l

Tol l fr ee (800) 245-0660(In Pennsylvania. call collect 412-263-6600.)

P l e a s e c o n t a c t m e — I h a v e a c u r r e n t( o r f u t u r e ) j o b o p e n i n g .

P l e a s e s e n d t h e f r e e b u l l e ti n a b o u tT h e D e s i g n S c h o o l s g r a d u a t e s a n d y o u r t a l e n t p o o l .

N A M E

CO M P AN Y

A D D R ESS

BU S. PH O N E

CITY TATE IP

Send to: Edward A. Ham ilton, Design DirectorT h e D e s i g n S c h o o l s101 Park Avenue, New York, NY 10178 7

49

Q U E S TI O N # 3

W h o c a n t e l l y o u

th e s tr a ig h t s to r y a b o u te n tr y -le v e l a r t ta le n t a tTh e D e s ig n Sc h o o ls ?

A n s w e r : T h e s e e m p l o y e r s, a m o n g h u n d r e d s o f o t h e r s ...

W e te a c h o u r s tu d e n t s m o r e t h a n d e s ig n a n d a r t .W e te a c h w o r k.

More than eight out of ten o f o u r g ra du a t e s l a n d a j o b i n t he i r f i e l d i ft hey a r e a v a i l a b l e f o r emp l o yme n t . O n e r ea so n : They s t a r t w i t h r e a l i s ti ce x p e c t a t i o n s , k n o w i n g t h a t t h e n e x t s t e p i s a n e n t r y - le v e l j o b w h e r e t f - e ym u s t b e p r o d u c t i v e f r o m t h e v e r y f i r s t d a y .

S t u d e n t s r e c e i v e i n t e n s i v e c l a s s r o o m i n s t r u c t io n , p r o f e s s io n a l - l e v e la s s i g n m e n t s , a n d w o r k u n d e r d e a d l i n e p r e s s u r e s . E x a c t ly a s t h e y m u s t i n

t he r e a l w o r l d . F i v e da y s a w eek , a l l y ea r r o u n d .T h e D e s i g n S c h o o l s E m p l o y m e n t A s s i st a n c e O f f i c e s i n s e v e n c i t i e s a r e

r ea d y t o he l p yo u f i l l y o u r s t a f f i n g n e e ds . Fa s t . C a l l t h e t o l l - f r e e n u m bera t t h e r i g h t o r m a i l t h e c o u p o n t o d a y .

1111e Art Institute o f At lantaArt Inst i tute o f Fort Lauder dale

gzArt Inst i tute o f HoustonArt Inst i tute o f Phi ladelphiaArt Inst i tute of Pi t tsburgh

Art Institute o f Sea t t l eCo lo ra do In s t i tu t e o f Art

The la rges t s ing le source for en t ry - leve l a r t ta len t in Amer ica today .



0

W A N T A

W A Y TOM A K ETHOUGHTSR ISE TON E W

HEIGHTS?

IN THE UNITED STATES

ArizonaArizona Typographers, Inc./Phoenix (602) 263-1166Morneau Typographers/Phoenix (602) 258-5741Progress Litho Service/Phoenix (602) 258-6001

ArkansasPrestige Composition Inc./Little Rock (501) 375-5395

CaliforniaAldus Type Studio Ltd./Los Angeles (213) 933-7371Alfa Type Studio/San Francisco (415) 885-0553Arrowgraphics Inc./San Francisco (415) 543-5700A.T. Composition/Berkeley (415) 548-3192Blakeley Graphics/Santa Clara (408) 739-8202Bold Faces/Los Angeles (213) 938-9160Brekas Typesetting, Inc./Berkeley (415) 849-4900Cass Montgomery Typography/San Francisco (415) 398-2395

Context/Sunnyvale (408) 747-1055D & J Typographers, Inc./Santa Clara (408) 727-0991Display Lettering And Copy/San Francisco (415) 777-0831Future Studio/Los Angeles (213) 660-0620Headliners/Identicolor/San Francisco (415) 781-0463Hester Typography/San Francisco (415) 861-4538Koala-T Typesetting/Lafayette (415) 283-5360Lance Graphics/Oakland (415) 653-1758Linda Graphics/Santa Barbara (805) 962-2142Nicholas Composition/Los Angeles (213) 385-3258

Omnicomp/San Francisco (415) 398-3377PM Graphics/Costa Mesa (714) 556-2890Rapid Typographers/San Francisco (415) 982-6071Reardon & Krebs Typography/San Francisco (415) 986-1725Repro Typographers/San Francisco (415) 362-3971

Santa Barbara Typography, Inc./Santa Barbara (805) 962-9128Taurus Phototypograp hy/Los Angeles (213) 382-8244Typografx/Chico (916) 895-3280Waldo Graphics/Redwood City (415) 365-8700

ColoradoPhotocomp Phototypographers/Colorado Springs (303) 475-1122

ConnecticutFairfield County Typograp hers Inc./Westport (203) 226-9338Production Typographers Inc. (Pro Type)/Greenwich (203) 531-4600Professional Type Service/Greenwich (203) 629-4365

Type Source Inc./South Norwalk (203) 852-9262

District of ColumbiaGraftec Corporat ion/D.C. (202) 337-1555

FloridaCommercial ArtType, Inc./West Palm Beach (305) 684-8752etCETRA/Stuart (305) 628-2476International Typography Service/Ft. Lauderdale (305) 563-7667Typographical Service/Ft. Lauderdale (305) 772-4710

GeorgiaAction Graphics, Inc./Atlanta (404) 351-1753Phototype/Atlanta (404) 873-1209Swift Tom & His Electric Type Shop Ltd./Atlanta (404) 874-1634Type Designs, Inc./Atlanta (404) 355-2135

Illinois

A-I Composition Co., Inc./Chicago (312) 236-8733Alpha Design Ltd./Springfield (217) 544-2400

Character Composition, Inc./Chicago (312) 648-9896Decatur Typesetting/Decatur (217) 429-9740House of Typography/Chicago (312) 263-1532

J . M Bundscho Inc./Chicago (312) 726-7292Master Typographers, Inc./Chicago (312) 661-1733

Mobi Graphics/Chicago (312) 944-5585

N & F Typographers, Inc./Elk Grove Village (312) 364-0722Publishers Typesetters Inc./Chicago (312) 283-3340RyderTypes, Inc./Chicago (312) 467-7117

Shore Typographers, Inc./Chicago (312) 676-3600Superior Typesetting/Champaign (217) 352-4226The Typesmiths/Chicago (312) 787-8200The Typographers/Chicago (312) 644-7768Total Typography, Inc./Chicago (312) 421-4313

Typeworks, Inc./River Grove (312) 625-2551

IndianaJackson-Zender Studios/Indianapolis (317) 639-5124

KentuckyAction Print, Inc./Louisville (502) 585-3727

LouisianaForstall Typographers/New Orleans (504) 524-0822Martin/Greater Film Graphics, Inc./New Orleans (504) 524-1741

MarylandHarlowe Typography, Inc./Brentwood (301) 277-8311

Hodges Typographers, Inc./Silver Springs (301) 585-3601MassachusettsFenway Photocomposition, Inc./Revere (617) 286-1314

MichiganAcra Forms, Inc./Grand Rapids (616) 458-1161Alpha 21/Detroit (313) 532-9114A-Type, Inc./Dearborn (313) 336-2466Rudy Carr Co./Detroit (313) 535-2960The Thos. P. Henry Co./Detroit (313) 875-1950Marino & Marino Typographers/Detroit (313) 962-1777

MinnesotaGraph-Tronics/Minneapolis (612) 338-7171

Great Faces, Inc./Minneapolis (612) 339-2933P & H Photo Composition/Minneapolis (612) 374-3213Type Tronics, Inc./Minneapolis (612) 339-5563

MississippiPrestige Typography/Jackson (601) 982-5525

MissouriCommerce Litho Services Inc./St. Louis (314) 781-7702Master Typographers, Inc./St. Louis (314) 645-2878National Typographers, Inc./St. Louis (314) 241-8297Type House, Inc./St. Louis (314) 644-1404

NevadaAlpha Typographers/Reno (702) 825-8677

The Advertising Factory, Ltd./Las Vegas (702)733-7294

NewHampshirePhototype N.E./Pelham (603) 898-7440

NewJerseyComputype Co./Garfield (201) 546-9267

Tristin Typ ographers/Monmouth Junction (201) 329-8855

NewYorkAble Phototype Systems/White Plains (914) 946-5207M J. Baumwell Typography, Inc./New York (212) 661-8787Boro Typographers, Inc./New York (212) 475-7850

Centers Composition/Pine Bush (914) 733-1063City Typograp hic Service, Inc./New York (212) 686-2760

Composition Corpora tion/Albany (518) 465-7575Cresset, Baxter & Spence; Inc./New York (212) 766-9432Euramerica/New York (212) 777-7878

Farrington & Favia, Inc./New York (212) 431-9700Fototype Factory, Inc./New York (212) 889-7995Gryphon Typographers/New York (212) 697-2259

Lincoln Typographers/New York (212) 679-7933

Marvin Kommel Productions, Inc./New York (212) 682-3498Primar Typographers, Inc./New York (212) 269-7916

Sheridan Associates/The Slide Center/Ossining (914) 941-4981Thorner-Sidney Press, Inc./Buffalo (716) 856-4500

Total Typographers Inc./Mamaroneck (914) 381-2659Tri-Arts Press, Inc./New York (212) 686-4242Tribeca Typographers, Inc./New York (212) 925-8080

Type/Graphics/Syracuse (315) 437-1101

Typographix/Albany (518) 462-2923Unicomp/Albany (518) 463-2972

M A. White Typographers/Larchmont (914) 834-7389Word Management Corp./Typography Services/Albany (518) 482-8650

North CarolinaTypEsthetics/Raleigh (919) 832-1042

OhioBohme & B l i n k m a n n , Inc./Cleveland (216) 621-5388

Mid East Color Graphics/Marietta (800) 848-9752PhotoComp 2/Toledo (419) 243-6196Typo-Set/Cincinnati (513) 751-5116

OklahomaAlphasource, Inc./Oklahoma City (405) 521-0310ED-BE Incorporated/Oklahoma City (405) 943-2391

PennsylvaniaADVenture Inc./Allentown (215) 435-3233

Armstrong Inc./Philadelphia (215) 574-8600Composing Room Inc./Philadelphia (215) 563-3440Davis & Warde/Pittsburgh (412) 261-1904

Estelle Bair/Blue Bell (215) 542-7790Headliners of Pittsburgh/Pittsburgh (412) 391-3778Leon Segal Typesetting/Philadelphia (215) 236-5585Stallone Typography Service Inc./Philadelphia (215) 568-6310UniComp/Wynnewood (215) 642-6355

South CarolinaD G & F Typography/Columbia (803) 799-9140

TennesseeGraphic Arts Associates, Inc./Memphis (901) 345-8973House of Typography, Inc./Memphis (901) 726-6961

Lettergraphics Memphis/Memphis (901) 458-4584

TexasCandlelight Type Print Corp./Austin (512) 476-0732Piz Graphic Arts/Beaumont (713) 842-2122

Robert J. Hilton Co., Inc./Dallas (214) 637-2000

VirginiaRiddick Advertising Art/Richmond (804) 270-1811



MAGNA CARTA AND I T A L I C

This is Magna Carta, a magnificent face available onlyfrom Alphatype. This is Magna Carta, a magnificent

ABCDEFGHIJKLMNOPQRSTUVWXYZ

abcdefghijklmnopqrstuvwxyz

0123456789 (.,;: ?-"—/ 0 -1-=©•@#$%4&*)

This i s Mag na Car ta , a magni f i cent face av ai lab le only

f rom A l pha ty pe . T h i s is M agna C ar ta , a m agn i f i ce n t face

A B C D E F G H I J K L M N O P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q r s t u v w x y z

0123456789 (.,;: ?-" — §$±110 $'" 6 ® )

MAGNA CARTA SMALL CAPS

THIS IS MAGNACARTA, AMAGNIFICENTFACEAVAIL-

ABLEONLYFROMALPHATYPE. THISISMAGNACARTA



0123456789 (•,;: ?-"—/ ±±/10/32h$/5/6406)

M A G N A C A R T A D E M I B O L D A N D B O L DT h i s is M a g n a C a r t a , a m a g n i f i c e n t f a c e a v a i l a b leo n l y f r o m A l p h a t y p e . T h i s is M a g n a C a r t a , a m a gA B C D E F G H I J K L M N O P Q R S T U V W X Y Zabcdefghijklmnopqrstuvwxyz0123456789 (.,;:!?-"—+•$%(P&*)

T h i s is M a g n a C a r t a , a m a g n i f i c e n t f a c e a v a i l a b l eo n l y f r o m A l p h a t y p e . T h i s i s M a g n a C a r t a , a m a gA B C D E F G H I J K L M N O P Q R S T U V W X Y Zabcdefghijklmnopqrstuvwxyz0123456789 (.,;: ?-"— +. $%&*)

A L P H A T Y P E ' S With its time less styling and strong ch aracter strokeweight, M agna Carta is truly a wo rld-class face. It 's

E X C L U S I V Eavai lable only f rom your local CRS Type M aster , a m em ber

of a v ery select grou p that uses the Alphatyp e CRS digital

M A G NA C A R T A

phototypesetter. This state-of-the-art typesettingsystem bo asts size-for-size type design that pro -

duces optimal letterform quality and unequalled

IS JUST type clarity. Working with a Type Master also gives you access tosom ething you can ' t get anywhere else: the enorm ou s CRS Type Font Library.

T Y P EYOUR

Magna Carta is just one o f an ever-grow ing l ibrary of n ew andexclusive

tfaces that are just your type. For sample sheets, drop us a note on

you r let terhead, include yo ur typo graph er 's nam e, and mail i t to Alph atype.• Or better yet, call your CRS Type Master today.

alphatype. WERE 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 memberof the Berthold group, 190 Amber Street, Markham Ontario L3R 318, 416/475-8570.

Typography/Seattle (206) 622-0218

Service Ltd./Winnipeg (204) 947-0538

Graphics Ltd./Toronto (416) 961-5600

Composition/Toronto (416) 863-0742

Typographers Inc./Toronto (416) 465-7541Typographers Ltd./Toronto (416) 532-2818

to (416) 274-6395

to (416) 482-2599

osit ion Quebec Inc./Quebec (418) 529-4927

H Typography, Ltd. (Mont.)/Montreal (514) 866-6736

ontreal PAT. (514) 642-2710

GesmbH/Wien 222-55-4628

0-80-80

russels 640-25-53

Alfabet/Copenhagen 1-116320

N o r w a yNorske Typografen AIS/Oslo 420230

SpainFotocomposici Tharrats S. L./Barcelona 2543990Ormograph/Barcelona 2252500

S w e d e nTypografen AB/Malmoe 040-112650

Typografen 2/Stockholm 08-349255

U n i t e d K in g d o mApex Photosetting Ltd./London 01-837-9369

Apt PhotoSet/London 01-701-0477

Baird Harris Ltd./London 01-437-6373

Billington Press Ltd./London 01-987-8118

Composite Graphics Ltd./London 01-242-9586

Film Fount Services Ltd./Southampton 0703-332686Focus Photoset Ltd./London 01-251 -4911

H & P Graphics, Ltd./London 01-639-2828Headliners (UK) Ltd./London 01-580-7045Heavyweight Graphics/London 01-388-5451

Image Communications Ltd./London 01-580-7017Image Services (Edinburgh) Ltd./Edinburgh 031-229-6345lnline Graphics Ltd./London 01-251-4341

KAB Ltd./London 01-600-4391

Libra Press/London 01-928-7081

Modern Text Typesetting/Prittlewell/Essex 0702-45195

Montage Filmsetting Co./London 01-251-3771

Nova Graphics Ltd./London 01-251-3591

Premlux Reproductions Ltd./London 01-236-6991

Pressdata Ltd./London 01-251-6562Progress Filmsetting Ltd./London 01-729-5000

PRT Offset/London 01-607-7535

Sabrebrook Ltd./London 01-658.7336

Sans Serif Ltd., Deritend/Birmingham 021-773-8466Sellars Phototype/Macclesfield 0625-612075Studio Press (Birmingham) Ltd./Birmingham 021-359-3151

Text Typographics Ltd./London 01-251-3771

The Setting Room/Tunbridge Wells, Kent 0892-39625

Verbatim/London 01-837-2176

Word Machine Ltd./London 01-609-1140

W e s t G e r m a n yRudolf Eimannsberger/Munich 089-555765

Frankische Landeszeitung GmbH/Ansbach 0981-5711

Klaus Grimm-Fotosatz/Grafing near Munich 08092-6748Hans-Soldan-Stiftung/Essen 0201-231140

Kreuzer/Munich 089-6372771Schmidt + Co./Weinstadt-Grossheppach 07151-64058Schmidt & Klaunig/Kiel 0431-62095

AND MORE TO COME

Alphatype Corporation 1984



2

Ready for gr

Comp/Edit and Varityper are registered trademarks andSpirascan and "type" are tradem arks of AM International. Inc.

81 9 8 4 ANOnternat ional, Inc.



53

There is a unique reaso n why V arityper digital type

trys the highest qua lity in the world.

The reason is the Spirascan technology. Thispatented process is based on the innovat ive Purdy &McIntosh spiral development. I t assures the creation of

aiiigh-precision images that are essen tial to perfectly

liformed characters in every size and style.

And w ith Varityper digital, there are a lot of sizes

aL711‘nd styles to choose from: 163 standard on-l ine sizes

kNrrom 4 to 85 p oint (characters without descenders can

AL

V

be set as large as 99 point). Today, the growing Varityperdigital l ibrary is one o f the largest in the wo rld.

litli

You g et tremendous design versati li ty, too. You

0 an expa nd or cond ense type, an d slant i t to the left or

r ight in one-degree increments up to 4 5 degrees.With Varityper digital, the possibilities for outstanding

work go to the very l imits of your creative imagination.

‘1rcoupon or ca l l to l l- f ree 80 0-526-0709 or 800 -526-0767;

We'd l ike you to see for yourself just how outstand-ing Varityper digital is. For an actual sample, return the

. M i l l M . .M M i ll M 1 1 I M M i l l 1 1 1in New Jersey, 800-452-9763; Canada, 416-298-2700.

M7coupon

I Varityper, 11 Mount Pleasant Ave. East Hanover, NJ 07936.

lease send m e an actual sam ple of Vari typer digi ta l type.

1 lease send me more informat ion on Vari typer digi ta l typesetters. I

I0 I 'd l ike a demonstrat ion on the V ar i typer d ig i ta l typesetters.

I

I Name I

I Company II Address II City/State/Zip I

I Phone ( & I c 8 84

J= 11 MM MII 11=



Co m p u g r a p h i c C o r p o r a t io n ' st yp e l ib ra ry j u s t k eep s g row -

ing a nd g row ing . In the p a s tf e w m o n t h s , w e ' v e a d d e dsevera l des igns t o ou rl ibra ry , i nc lu d ing t heserecen t ITC fami l i es .. .

ITC

UsherwondTM

B o o k oo k I tal icM e d i u mB o l dBlack

M e d iu m Italic

BoldItalicBlack Italic

ITC

New BaskervilleRoman talicSe m i B o l d e mi Bold Ital ic

Bold old Italic

Black lack Italic

ITC

WeidemannTMBook Bo ok Italic

M e d i u m M e diu m I ta l icB o l d old Ital ic

B l a c k lack Italic

Cg compugraphic"Compugraphic Corporation, Type Division, 66 Concord Street, Wilmington, MA01887

T here w ere ma n y new t yp e fa mi l ie s a dded t h i s yea r .S o m e y o u m a y h a v e se e n a n d s o m e y o u m a y h a v e m i s se d —

s u c h a s CG B o don i , F e i nen , CG T r i u mv i ra te E x t ended a nd C om p u gra p h i c 'sexc lusive N ovus ser i es o f d ig i ta l type .

To l e ar n ab o u t t h e s e d e s i g n s an d m an y m o r e r e ce n tre l ea ses , con t a c t you r l oc a l Co m p u g ra p h ic t yp e su p p l ie r

or wr i te to the ad dress be low.FEINENPANOVUSTM AND CG TRIUMVIRATETM ARE TRADEMARKS OF COMPUGRAPHC CORPORATION. ITC USHERWOOD, IT C NEW BASKERVILLE AND ITC WEIDEMANN ARE TRADEMARKS OF INTERNATIONAL TYPEFACE CORPORATION.



ce ss

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55

3 N E W R E A S O N ST O K E E P S W I T C H I N G T O

LETRAMArART BOARDSL e t r a M a x

( Ac_)O L D P R E S S

I L LU ST RA T ION BOA R D

Rag con ten t p rov ides even ab sorp t ionof wet media for better contro l

Super w h i te su r face enhances co lo rin tensity and f ide l i ty

Designed for gouache, tempera,watercolor, a irbrush, markers,charcoal, paste ls, penci ls , e tc

L e t r a M a xcit.1 incur%VILA-1 1 - 1 1-1

PR E S E N T A T IO N M O U N T IN G BO A R D

Sol id black middle means black bevels,black edge s to heighten v isual ef fect

Super deep black surface enhancesal l types of ar t and photographic

presentations

Toothy, matte surface to el iminatedistracting sheen and minimize scuff ing

Surface accepts al l types of wet anddry moun t ing adhe s ives

L e t r a M a xi s i t 1 f 1 i %rholaw

A L L PURPOSE HOT PRESS

Ideal for al l cutt ing, posi t ioning an dpas t ing needed to produce good

mechanica ls

The du rable, whi te surface keeps i tsoriginal qual i ty even a fter erasure, tape

pick ing and sc raping

Designed especial ly for technical pens,transfer type, penci ls and al l types of

adhesives.



6

Some people seem to th inki t 's sti l l the N ineteen-S iKies. Sothey're stil l using the sametypefaces that were styl ish backthen. Type faces like BikiniBeach Bold. Goudy A G o-Go.And Psyche delic I tal ic.

At the mem ber shops of theATA , we'll set your ad in any styleof type you choose. (Including

the styles mentioned abov e.)And naturally, we'll set itexactly the way you want it.Dow n to the letter.

But we're also will ing to

do one thing m ore. If you ask,we 're will ing to suggesttypefaces that we consider themost appropriate. The mostaesthetically pleasing. And the

least l ikely to becom e"dated:

At the ATA, you see, webelieve your print work reflectsupon us as w ell as yourself.

And w e don' t want anyone—tomorrow or tweny years fromtomorrow — to treat your ads l ikerelics from another era, se t inBikini Beach Bold.

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, Ill inois J.M Bundscho, Inc.; RyderTypes, Inc.; Total

Typography, Inc. Cincinnati, Ohio Typo-Set, Inc. Cleveland, Ohio Bohme & Blinkmann, Inc. Columbia,

South Carolina DG&FTypography Dallas, Texas Jaggars-Chiles-Stovall, Inc.; Southwestern

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 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. Newark, NewJersey

Arrow Typographers, Inc. New Orleans, Louisiana Film-A-Graphics New York, New York Advertising

Agencies/Headliners; Royal Composing Room, Inc. Philadelphia, Pennsylvania Armstrong, Inc. Phoenix

Arizona Morneau Typogra phers, Inc. Pittsburgh, Pennsylva nia Davis & Warde, Inc.; Headliners c

Pittsburgh, Inc. Portland, Oregon Paul 0. Giesey/Adcrafters, Inc. Rochester, New York RochestE

Mono/Headliners San Francisco, California Headliners/Identicolor, Inc.; Mercury Typograp hy, Inc_ Seattle

Washington Thomas & Kennedy; Typographers, Inc.; The Type Gall ery, Inc. St. Joseph, Michigan Typ

House, Inc. St. Louis, Missouri Master Typographers. Inc. Syracuse, NewYork Dix Typesetting Co., IncTampa, Florida Century Typographers Montreal, Canada McLean Brothers, Ltd. Toronto, Canad

Cooper & Beatty, Ltd. Winnipeg, Canada B/W Type Service, Ltd. Brisbane, Australia Savage & Ct

Brussels, Belgium Graphiservice London, England Filmcomposition Paris, France Societe D

Creations Gaphiques Gothenburg, Sweden Fototext/Typografen ABStockholm, Swede

Typografen AB Frankfurt, West Germany Typo-Gartner GmbH Stuttgart, West German

Layout-Setzerei Stulle GmbH

Advertising Typographers Association5 Penn P laza, New York, New Y ork 10001 . Wal ter A. Dew, J r ., Execut ive Secretary



57

r t h o ld s qu ic k

r o wn f o xu m p s o v e r th e

a zy d o g a seemso h e a r h i s o w n

u d a t io n o w.

After the fox became our

beloved champion of typogra-

phical display, we decided to

name a whole new generation of

machines in its honor: Berthold

Fox is a new multi-computer-

integrated-system.

Berthold Exclusive Typefaces are a range ofd e s i g n s f o r p h o t o s e t t i n g w h i c h y o u w i l l f i n d n o w h e r ee l se . O u r u n i qu e p r o g r a m n o w c o m p r i s e s 25 t y p e f a m i l ie sw i t h t o ta l o f 1 2 5 f o n t s , a n d P o p p l - L a u d a t i o i s a m o n g t h e m .A f r e e s p e c i m e n i s a s n e a r a s y o u r n e a r e s t m a i lb o x .

P l e a s e w r i t e t o : H. B e r t h o l d A G ,

T e l to w k a n a l s t r a B e 1 - 4 , D - 1 0 00 B e r l i n 4 6 , W e s t - G e r m a n yO r f r o m o v e r s e a s t o :A l p h a t y p e C o r p o r a t i o n , — A m e m b e r o f t h e B e r t h o l d g r o u p —7711 N . Merrimac Avenue, Niles, Illinois 60648

Poppl-Laudat io i ta l ic

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ABCDEFGHIJKLMNOPQRSTUV

1234567890%(.,-;li ?/-).1"„""

Poppl-Laudatio medium

a bcdefghijklmnopqrstuvwx

ABCDEFGHIJKLMNOPQRST

1234567890%(.,-; I ?/-)1"„"".“

Poppl-Laudatio medium italic

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1234567890%(.,-; 0/41"„"") ,, e

Poppl-Laudatio bold

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ABCDEFGHIJKLMNOPQRS

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Poppl-Laudatio bold italic

abcdefghijklmnopqrstuvw

ABCDEFGHIJKLMNOPQRST

1234567890%(.,-;10/-).1"„""

Poppl-Laudatio light condense d

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12345678 90% (., - ; I i ?/- ).["„"".«1+-

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POPPL

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and Pragnanz

I 0r="MI1 1 1 7 . 1 = 1 1 1 1

Name

A d d r e s s



Drawl ng Boards & P apas

o rS o m p ler

Crescent Cardboard Company. P.O. Box XD 100 W. Willow Road. Wheeling. Illinois 60090



• • •

•..0 ." 0 ' '4 1 .. 0 • • • • • • 41 ' 0 41 * .0 ,41 4 ,0 4

•* : * •4, 0* : * 1111- . --

1 1 1 1 1 1 VISU L GR PHICS CORPOR TION

v G Park. 5701 N.W. 94th Ave, Tamarac, FL 33321

Please tell me more about the new Total Camera II.

Name itle

Organization

Address

City tate ZipLPhoneU&Ic 8 84

59

Visual Graphics introduces the world'smost versatile daylight stat camera.

N e w T o t a l C a m e r a II .

N O W W I T H PROGRAMMABLE MEMORY

AND MICROPROCESSOR CONTROL.

Visual Graphics brings you Total Camera the most

com plete daylight graph ic reproduct ion system avai labletoday.

With plug-in m odu lar com po nents that enable you toadd the capab ilities you need, one at a tim e, as you need them .

Plus new pr og ramm abl e mem ory , m i cr opr ocessorcont rol , and other advances designed to s im pl i fy cam era

op eration and take the gu esswork ou t of m aking s lats .The h ear t of t he system is a precis ion black & wh i te

stat cam era with self-contained lighting, auto m atic fo cusingand p rocessing, and so ph isticated electronic circuitry.

I t operates in ful l roo m l ight in every m ode and usesVGC's famo us Pos One® single-step, positive-to-po sitiveprocess for bo th RC papers and f i lm s ,which co m e in a var ie tyof econom ical cut -sheet s i zes .

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Member. Advertising Typographers Association

" I m is s o r d e r i n g p izza f r o m U n o 's a n d t yp ef r o m R y d e r ."

Dav e Kennedy worked in Chicago f o r 10 years. During th attim e, h e wo n every award an art director wo uld want to w in.

"I t 's been three years s ince I m o v ed from Ch icago, and Instill not used to the p ace.

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V I S U A L G R A P H I C S I N T R O D U C E ST H E R E M A R K A B L E N E W

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U&Ic 8 84

61



Mergenthaler

typographic

M e r g e n t h ale r ' s E ld o r a d o 'no t es f r o m a m e mo : W A D o n t h e de v e lo p m e nt o f E l do rado —

"On th e subject of so urces and intentions Mr. C. H. Grif f i th wrote, under date of

March 24, 1951: 'T he re i s no th i ng o f a docum e n tary na ture in my f i les regarding the

de ve l opm e n t o f E l dorado , nor any corre sponde nce b e ar i ng on the sub je ct . T he

pre l i m i nary de ta i l s o f the pro je ct we re hand l e d th rough pe rsona l o r t e l e phone con tact

wi th WA D. T he o n l y da ta I have are a f e w f ragm e n ts o f p roo f s wi th cr i t i ca l no ta t i ons .

T he de ve l opm e n t o f E l dorado or i g i na te d i n the e ar l y par t o f 1942, i m m e d i a te l y

f o l l owi ng our e n t ry i n the wor l d war . T he G ove rnm e n t had i s sue d re gu l a t i ons f o r the

conse rva t i on o f pape r an d o the r e sse n t i a l m ate r i a l s . Pub l ishe rs we re cas t i ng ab o u t f o r

sm al l t y pe s tha t wou l d e nab l e the m to com pl y w i th the se re s t r i c ti ons . I t was our

ob je ct to de ve l op a t y pe tha t wou l d prov i de the m a x i m u m de gre e o f spaci a l e conom y

wi thou t i m pa i r i ng l e g i b i l i ty o r re ad i ng com f or t to a m ate r i a l e x te n t . T h i s nu tshe l l is

the m ot i va t i ng i n f l ue nce re spons i b l e f o r E l dorad o .

I t tu rne d ou t tha t sub se que n t re s t r i c t ions on the use o f b rass and o the r raw m ate r i a l

use d i n the m anu f acture o f m atr i ce s dur i ng the war y e ars and f o r som e t i m e the re a f te r

pre ve n te d an e ar l i e r com pl e t i on o f the se r i e s . I t so happe ns , how e ve r , tha t th i s f acef i ts i n to the i m m e d i a te e conom i c p i c ture jus t as e f f e c t ive l y as i n to tha t f o r wh i ch i t

was de s i gne d i n the f i r s t i n s tance .

A t the t i m e E l dorado was unde r cons i de ra t i on La t i n A m e r i can pub l i she rs , he ade d

b y the l a te Mr . T e odor B e cu , o f B ue nos A i re s , we re urg i ng us to de ve l op a b oob ty pe

o f d i s t inct i on wh i ch w ou l d re f l e c t in an au the n t i c m ann e r som e o f the f lavor o f

Span i sh t y pog raph i c t rad i t i on i n the i r l i t e ra ture . T h i s was d i scusse d a t l e ng th wi th

WA D , and he h i t upon the idea that the es the t i c r equi r ements o f Lat in American

pub l i she rs and the f unct i ona l ne ce ss i t i e s o f the dom e s t i c t rade cou l d b e co nso l i da te d

i n a f a c e m o d e l e d o n a r o m a n l e t t e r cu t b y D o n G e r o n i m o G i l , M a d r i d , a b o u t 1 7 87 . 1

The E ldorado i talic, duplexed with the rom an, is an original ef fort of the

designer— an attem pt to evolve i talic form s that wou ld be in harmo ny with the

rom an. The name of the face was chosen as an echo of S panish adventures in the

western world.

W. A. Dwiggins"

'Gil was talked about, but the Gil face was rounder and m ore op en in ef fect than

was wanted for Eldorado. One sacrif iced the m ore pro noun ced characterist ic of the

Whether the year is 1900 , 1940 or 1984, M ergenthaler typography, as wel l

as Mergenthaler typesetters, set the world's standard of excellence.

When you specify Mergenthaler type, you are selecting the world-famousMergenth aler, Linotype, Stempe l, Haas T M library. With our roots dating

back to 188 6, we are the only typesetting equ ipment man ufacturer in the

U nited States regularly commissioning new typeface designs. We hav eenlisted the services of the world's top typographic designers to enlarge

our l ibrary and increase your productivity and creativity, names like

Matthew Carter who designed ITC Galliard T M and Snell Roundhand T M . In

addit ion, we l icense the best typefaces from s tudios and foundries

throughout the world. We offer original designs from Be nguiat , Benton,

Cassandre, Dwiggins, Excoffon, Gill, Goodhue, Goudy, Griffith, &idler,

Hollenstein, Lubalin, Miedinger, M orison, Novarese, Renn er, Ruzicka,

Tracy, Tschichold, Weiss, Z apf and many m ore.

It was a Mergenthaler Linotype product that established the art istic

credentials of each new typese tt ing technology. The Linotype, for

example, convinced typographic purists that machines could indeed set

Gil in order to get a condensed and econo m ical set , and so cast back to the deSancha m odel . .

In 1983, we at Mergenthaler decided to add the b older rom an weights and their

com panion i talics to Eldorado, and release i t for digital typesetters. John Quaranta,

who worked on the Linotype Eldorado , as wel l, ou t l ined the deve lopm ent o f

Eldorado into i ts current four ro m an weights with i talics. The results are shown

here. After the Light and Ex tra Bold versions were drawn, the Medium and Bold

weights were specif ied, and then generated by a com puter.

We are proud to add E ldorado to the Linotype l ibrary.

EldoradoT M


abcdefghi jklmnopqrs tuvwxyz 1234567890

Eldorado Italic

ABCDEFGHIJKLMNOPQRSTUVWXYZa b c d e f g h i j k lm n o p q r s t u v w x y z 1 2 3 4 5 6 7 89 0

Eldorado Medium


a b c d e f g h i j k l m n o p q r s t u v w x y z 1234567890

Eldorado Medium Italic

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

abcdefghijklmnopqrstuvwxyz 1234567890

Eldorado Bold


abcdefghijklmnopqrstuvwxyz 1234567890

Eldorado Bold Italic

A B C D E F G H I J K L M N O P Q R S T U V W X Y Zabcdefghi jk lmnopqrstuvw xyz 1234567890Eldorado Extra Bold


abcdefghijklmnopqrstuvwxyz 1234567890Eldorado Extra Bold Italic

A B C D E F G H I J K L M N O P Q R S T U V W X Y Zabcdefghijklmnopqrstuvwxyz 1234567890



63

Mergenthaler's Eldorado, Joseph Treacy's Bryn Mawr,

awrT M

a fresh, new serif typeface led designer Joseph Treacy back

gh studies of 19th Century European letterforms. He blended

forms together with completely new design ideas to create Byrn

awr: an exciting, original typeface as perfectly suited to contemporary

it is to period work. There's a rhythm and gracefulness in both

TM Light

nopqrstuvwxyz 1234567890

cdefghijklmnopqrstuvwxyz 1234567890

awr Book Italic

Medium

1234567890

Mawr Bold Italic

mnopqrstuvwxyz 123456789

was set on a Mergenthaler typesetter. Mergenthaler, Linotype, Stempel, Haas, Linotron,

on.

ITC Symbol

Mergenthaler Linotype manufactures each new ITC typeface for its line of

digital typesetters. ITC Symbol is the latest ITC release. ITC Symbol is the

third ITC typeface release designed by Ado Novarese of Turin, Italy. The

other two are ITC Novarese and ITC Fenice, each is available from

Mergenthaler. ITC Symbol is slightly condensed, thus giving economy of

space. The semi-serifed desigh treatment of the letterforms helps

readibility, even under the most difficuly printing situations. Mergenthaler

is glad to add ITC Symbol to the Mergenthaler, Linotype, Stempel, Haas

type l ib rary .

ITC Symbol, is shown in an earlier section of this edition of U&Ic.

Mergenthaler Linotype Company

201 Old Country Road

Melville, New York 11747

^WED M e r g e n t h a l e rLinotype



TheOri final

And

m ill The

•hen we introduced Identicolor back in 1964 our optimism

blazed. But if someone had said that plateless color proofing would be

an industry byword 20 years later, we'd have arched our collective

eyebrow.

Well, here we are in 1984, no longer doubtful but enormously

delighted. Our creation has become the state of the art.

Yet in the early years we were far from overnight sensations. How

to make people understand what we were all about was a major task.We had to field the same relentless questions again and again: "What is

it for?" and "Where do I use it?"

And answering those questions was sometimes not enough. We

had to hand-hold some early customers through every operation. We

produced jobs on spec. We gave money-back guarantees.

And of course we all grew up together.

Today, art directors, designers and graphic arts people of every

stripe know what a revolutionary tool color proofing is. And few can

live without it. But no one rea lly has to.

Identicolor operations are available in every major market in the

wor ld . Each is an exclusive f ranch ise, a t tached to a top serv ice organ ization .

Each is a self-contained sub-division with techniques and modalities

that are uniquely Identicolor. And each is squired and fussed over by

trained professionals.

And behind everything, always there and quietly reassuring, are

those 20 years of color proofing expertise.Which reminds us of some new "systems" that keep springing up

every now and then. They claim to have "re-invented" the art. Some

say they're "the ultimate".

In point of fact, that "re-invented ultimate" is just slogan-ese for

an imitation of Identicolor. And without the 20 years of experience

to go with it. Well, it's flattering to be copied, as someone said a mil lenium

ago. But in color proofing, Identicolor is the dynamic original.

And still the best.

Identkolor/IdenticalAmsterdam • Atlanta • Auckland • Baltimore • Berlin • Boston • Chicago • Cologne • Dallas • Dayton • Denver

Dublin • Dusseldorf • Essen • Hamburg • Houston • Indianapolis • London • Los Angeles • Louisville • Melbourne • Minneapolis • Montreal

New York • Omaha • Paris • Philadelphia • Pittsburgh • Rochester • San Diego • San Francisco • Seattle • Stockholm • Stuttgart

Sydney • Toronto • Washington D.C. • Wiesbaden • Zurich

DISPLAYTYPE WAS SET IN HEADLINERS' neo.GILL SANS BLACK



HEALTH CARE O FFI CE s u m E w EllTEPTAIrlMerlT

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K E 5 A N D G E T 1 2 F O R O N L Y 5 °OUTDOORSI G $ 4 5 V A L U E - Y O U R S W I T H A T R I A L S U B S C R I P T I O N C O N R A D Z I L C H II OLIDAYS

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help you cut corners without cut-

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You'll clip and paste an art proofjust like an original illustration(which it is) for each is pureblack-and-white line. Ready for a

simple camera shot—no hard-to-handle halftones. Reduce, en-

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G R A F I K L IN E S O U R S A L O N EPease note the examples of our

exclusive photo-conversion pro-

cess below. These were continu-

ous tone photographs which we

conve rted to foolproof l ine pr int ingmater ia l wi thout using a mezzot intor ha l f tone sc reen . Each examp lewas c l ipped f rom the or ig ina l bookand used here same size.

But our strong point is our hand-

som e real ist ic il lust rat ion drawn bytop artists in the field. And the art

ref lects today's fashions , hai r , etc.since it's drawn for each month's

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pen & ink, dry brush, scratch-board, litho crayon, photoconver-sion, etc.

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But please don't let the low pricemislead you The art is used in

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When you've dreamed up a layout thatrequires an unusual typographic treatment, the first

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This ad is sponsored by the following TI A mem bers: California: Castro Valley, VeraA l l e n C o m p o s i t i o n . I n g l e w o o d , B U M S T y p e s e t t i n g Service. Los A ngeles, A ndresenT y p o g r a p h i e s , P h o t o t y p e H o u s e , I n c . , T y p o g r a p h i c S e r v ic e C o . , I n c . M o u n t a i n V i e wFrank's Type. N ewport Beach, The Finn of C h r i s to p h e r W r e n . O r a n g e , D e l i n e - O - T y p e ,I n c . P a l o A l t o , Atherton's T y p o g r a p h y . S a c r a m e n t o , A d T y p e G r a p h i c s . S a n Francisco,M e r c u r y T y p o g r a p h y , I n c . , O m n i c o m p , R a p i d T y p o g r a p h e r s . C o l o r a d o : D e n v e r . E r n i e B r a m eT ype crafter C o. C onne cticut: Stamford. Stamford T ype setting. Districtof C olumbia: Ge ne ralT y p o g r a p h e r s . F l o r i d a O r l a n d o , e t C E T E R A T y p o g r a p h y . I l l i n o i s : B e r k e l e y , P e a r s o n T y p o g r a -p h e r s C o r p . C h i c a g o . . P i c a T y p e I n c . . S h o r e T y p o g r a p h e r s . I n c . , T o t a l T y p o g r a p h y , I n c . N o r t h b r o o k ,

J & L G r a p h i c s . I n d i a n a : I n d i a n a p o l i s . W e i m e r T y p e s e t t i n g C o . , I n c . M a r y l a n d : H y a t t s v i l l e . V a l l e yTypesetting. Massachusetts: Boston. Composing Room of New England. Jefferson, CountyPhoto C ompositing. New ton, Wr ightson T ypographers. Minn esota: Minn eapolis, The T ypeHouse + Du r a g r a p h . M i s s o u r i : K a n s a s City, Connell Typesetting Co., sharpgraphics. St. Louis,Typotronics I n c . N e w Jersey: Kenilworth. Elizabeth Typesetting. Newark, Arrow Typographers. Ruther-ford, Granite Graphics. New York: Ne w York, Artintype -Metro, , = rum Composition Services.Rochester, Rochester Mono/Head line rs. Syracuse, Dix T ype, lac orth Carolina: Raleigh,Typo/Graphic S e r v i c e s . Ohio: C leve land, T ypesetting Service, -Pen nsylvania: Blue Bell,E s t e l l e Bair C omposition. Philade lphia: Ruttle S haw & Wethe hode Island: Providence,Typesetting Ser vice C orp. South C arolina: C olumbia, DG + F ypography & CommercialA rt. Texas: Dallas C hiles & C hiles, Inc., Typ ography Plus. Washington: We , The T ype Gallery, Inc.

Wisconsin: Men asha, Graphic Composition, Inc. Canad a: Pron to, Ontario, T hchni-Pr ocess Ltd. Vancouver ,British C olumbia, POLA/graphics. For more inf ormation and a comple te li sting of 77A p rofessional typog-raphers, contact T M He adquarters, 2262 Hall Place N.W., Washington, D.C. 20 007 . (202) 965 -3400.



o• qrstuvwxyz67890Sc°

Address (Street not P0. Box)Full-font showings that are easy to use.

Alternate characters, such as swash,oldstyle figures, etc., are clearly marked. City

State/Zip/Postal Code/Country

67

1 3 p o u n d s . 2 0 0 d o l l a r &

Seven rings and overdrilled holes keep

pages quick-turning and enduring. High-quality binders

lay as flat as your drawing board will allow

TypeMasters. One ofthe most respected,

least known quality

typefounders/designers

But not for long.

• RictimarlI4ht

tRicianorftl

Rktraord &id

•Ricluiond Extra

RichmondBlacA

NCR

The beautiful new two-volume set of display

typeface catalogs fro m TypeMasters.

More than just incredibly

stunning specimen

books, they're designedto be ready fora workout

whenever you are.

Th ey're so u seful , in

fact , that five m ajor typo graph ers

adopted them for their own use.

Ev en befo re we hit the presses.

928 pages. Four years ' work.

1600 alphabets. The good stuff All the

popular ITC designs, plus many other

licensed and redrawn styles and fam ilies.

Dozens of brand new alphabets peppered

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Only the s trongsurvive .

Because you're bound to

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S even slant-D rings

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Mir

MINOLTA

W H A T T H I SPRINTER'S CAM ERA

U S E D T O D O F O R $ 9 3 9 ,T H E M I N O L T A

B E T A C O P I E R D O E SF O R 4 4 .

The copier is the Beta 450Z from Minolta.And it'srevo lutionizing th e way printers all o v er th e cou ntrysize type and artwork for layouts, paste-ups, mechan-icals and more. Because they don't have to go to thecamera nearly as often.

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Yellow P ages under the Mino lta tradem ark. Or calltoll-free 800-526-52 56.In New Jersey, 201-342-67 07 .

Th e Mino lta Beta 450Z.The f irst cop ier in th eworld that sizes like a camera.

r

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IName

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ll ompany

I Address ity

I tate Zip elephone

I ail to Minolta Corporation, Business Equipment

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•B E T A . T H E R E ' S NO O T H E R PIE RO N EARTH LIKE IT.

Please have my dealer contact me for a demonstration of the Minolta Beta 450Z'ssizing capabilities.

Please send me more information.

1

© 1984 Minolta Corporation



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available in 60 colors and can be diluted

with distilled water to produce graduated

tones. Each dye is fitted with a conve-nient dropper cap to eliminate mess and

provide quick and easy usage. The new

clear package allows for ease in select-

ing the colors of your choice. Dyes aresold individually in 1 oz. bottles..

•

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11

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BREWERTEXT..Especially

digitized.for

o u r system .

LIGHT Fine typo graph y is the result of nothing more than an attitude. Its app eal com es from the understanding used in its planning ; the designer must careIn contemporary advertising the perfect integration ofdesign elements often dem ands uno rtho dox typography. It m ay requ ire using wrong fo nts, cutting hyp hen

FINE TYPOGRAPHY IS THE RES ULT OF NOTH

ME DIUM Fine typo graph y is the result of nothing m ore than an attitude. Its app eal com es from theunderstanding used in its planning ; the designer m ust care. In contem p o rary advertising th e p erfect integration o f design elem ents of ten dem ands unortho dox typograph y. It m ay requ ire using wrong fo nts inFINE TYPOGRAPHY IS THE RES ULT OF NOT

DEMIBOLD Fine typography is the result of not

hing more than an attitude. Its appeal comes fromthe understanding used in its planning; the design

e r m u s t c a r e . I n c o n t e m p o r a r y a d v e r t is in g t h e p e r f e

ct integration of design elements often demands un

orthodox typography. It may require using wrong f

FINE TYPOGRAPHY IS THE RESULT OF NOT

BOLD Fine typography is the result of nothing

more than an attitude. Its appeal comes from the u

nderstanding used in its planning; the designer m

ust care. In contemporary advertising the perfect in

tegration of design elements often demands unort

hodox typography. It may require using wrong fon

FINE TYPOGRAPHY IS THE RESULT OF NOTH

MDJ BAUMW ELL IYFCGR4FHY352 PARK AA \UE SOUTH

NEW YORK NY 10010( 2 1 2 ) 6 9 6 - 4 7 1 1

(704) 375-6805 /2132 Chesterfield Ave. /Charlotte, N.C. 28205

6

L o o k g r e a t w i t h o u rF a s h i o n C l i p A r t .

B e a u t i f u l il lu s t r a t i o n s o ff a c e s , f ig u r e s , c l o t h i n g a n dh a i r t h a t s e l l , . . . a n d

c u s t o m t y p e h e a d l in e s a d d f l a ir a n d p u n c ht o a n y a d . Gr e a t q u a l i t y a n d c l i p a r t p r i c e s . S e n d u s y o u rn a m e a n d a d d r e s s a n d w e 'l l s e n d y o u f r e e s a m p l e s a n di n f o r m a t i o n . . . Q u e s t i o n s ? C a l l o u r a r t d i r e c t o r , P a u l B e c k ,

at (704) 375-6805.

U n i v e r s it y a n d College D e s i g n e r sA s s o c i a t i o n gives designers from coastto coast the op portunity to exchange in-form ation and ideas about their professionand their po sition in h igher educationthrough an annual conference, a juriedcom petition, and a qu arterly pub lication.

If you've attended past UCDA conferences,you 've m et Milton Glaser, Herb Lub alin,Heather Coop er, and m any others.

U Join us in B o s t o n S e p t e m b e r 2 3 -2 71984 for UCDA's 14th annual conference.Sp eakers to date include A r n o l d S a k s ,M u r r a y T in k e l m a n , a n d R i c h a r d H e s s.

Nam e & Title

Address

City, State, Zip

Telephone

University /College /Com pany

UIc

For information on mem-

bership, the conference,

and the competition fil l out

and send the information

form to U C D A , 2 8 1 1

Mishawaka Avenue,South Bend, IN 46615,or call 219-288-UCDA.



Visa Mastercard

)

I nave enclosed. Check

Amt. Enclosed $

Charge my

Name

0551 Number

Fop Date_

Center was established to introduce new and exciting

nts and professionals.

International Calligraphy lbday

Japanese 'typography

Lubalin in ParisLubalin's design studio. $50.00 rental and

'Hype and lbchnology

Design and Typography. $25.00 rental

' H y p o t oslides of the work of nine Czechoslovakian typographic designers.

to the rental

agreement, contact

marsljold Plaza, New York, NY 10017.212-371-0699.

NowAPIDOGRAPH•

50%0FF

IRV

S

Money Order

Signature

Ship to,

Name

Aodress

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K O H - M O O R

3165 S P • 7Technical Pen Set

Contents: Seven compete pens

stainless steel points: 3 x 0, 00,

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INEIZE askintll ill.3 =1

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Castel TG Professional4•pen set S1184/4.Contains 4 complete pens00.0 1.2 one cone extractor.a bottle of ink. a hinged box& instruction manual

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STAEDTLERmarsmatic 700 S7 pen setContains 7 pens oneeach of 030 thru 100,plus one bottle of ink.

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Lst Price, $75.00

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Pyramid Electric Nandi-WaxerPus the followng free items

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PLEASE SEND ME:

T ORDER,: Please include a postage-handling fee of 2.50 per item and N. y tax ( if any). Include your

names and addresses for UPS. shipping. For fast delivery use MasterCard, Visa, or money order. NO C. O. D.

77

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B L A N C



Now You can order theseITC Type Specimen Booklets

Name Nom

Company ume irma

Title onchon eruf

Street Address ue et n° trasse

City ille ostleitzahl und Orf

Country ays and Code Postal ip Code

Quantity Unit Price otal

Quantite Prix uni tai re otal

Anzahl Einzelpreis Gesamtpreis

ITC BOOKLETS:ITC American Typewriter• $1.00

ITC Avant Garde Gothic' with Oblique 1.00

Avant Garde Gothic ' CondensedITC 1.00

Barcelona'ITC 1.00

Bauhaus"ITC 1.00

Benguiat"ITC 1.00

Benguiat* CondensedITC 1.00Benguiat Gothic'ITC 1.00

Berkeley Oldstyle"'ITC 1.00

Bookman'ITC 1.00

Caslon No. 224'ITC 1.00

Century' with Condensed.ITC 1.00

Cheltenham' with CondensedITC 1.00

Clearface*ITC 1.00

Cushing'ITC 1.00

Eras'ITC 1.00

Fenice"ITC 1.00

Franklin Gothic"ITC 1.00

QuadrataFriz 1.00

Gaillard'ITC 1.00

Garamond• withCondensedITC 1.00

ITC Isbell' 1.00

Italia 1.00

Kabel"ITC 1.00

Korinna" with KursivITC 1.00

ITC Lubalin Graph' with Oblique 1.00

Modern No.216'ITC 1.00

New Baskerville"ITC 1.00

Newtext"ITC 1.00

Novarese'ITC 1.00

Quorum'ITC 1.00Serif Gothic'ITC 1.00

ITC Souvenir' 1.00

ITC Symbol" .1.00

ITC Tiffany with Italic 1.00

UsherwoodITC 1.00

ITC Vel jovic" 1.00

ITC Weidemann' 1.00

Zapf Book•ITC 1.00

ITC Zapf Chancery• 1.00

_ITC Zapf Dingbats• 1.00

ITC Zapf International• 1.00

U&Ic BACK COPIES: ore ign U.S. Price

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En vente Ces brochures-specimensITC sont livrables de stock

Pour obtenir ces jolies brochures-specimens ITC, it suffit de remplir ce bon

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Nunmehr konnen Sie dieseITC-Schriftmusterhefte bestellen

Wenn Sie diese attraktiv entworfenen, farbvollen ITC-Schriftmusterhefte

erhalten mochten,fulIen Sie bitte den Bestellschein aus.Ale Bestellungen

mussen vorbezahlt werden. Senden Sie Ihre Zahlanweisung (in U.S.-

INahrung und zahlbar an ITC) zusammen mit dem Bestellschein an:

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Notice to typo graphers: for pu rchases of 50 or more ITC specimen booklets.contact Mr. John Prentki for special typograp her's price.C

8



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0

ITC Center Calendar Of Even ts

The ITC Center was established to introduce new and exciting typographic

arts experiences. It is a growing resource for students and professionals.

September 12—November 16

Typ o g r a p h i c Tr e a s u r e sFifty years o f typography and g raph ic des ign by

A retrospective exhibition of one of the world's foremost

graphic designers. Considered by international design

authorities to be America's leading pioneer in graphic

design and typography. The exhibition covers the work of

Paul Rand from 1934 to 1984.

America's contribution to genius in the field of advertising

design and publishing, the "man who made graphic design

happen, who fathered an entire school of thought:'

Louis Dorfsman,U&Ic, March 1977

The man whose "ideas have shaped contemporary design:'

Jerome Snyder,

U&Ic, March 1977

December 5—January 25, 1985

The Calligraphy ofFriedrich N eugebauer—a Retrospective Exhibition

The work of Austrian calligrapher and teacher, Friedrich

Neugebauer, is documented in this exhibition of one

hundred paper and vellum broadsides and manuscripts.

Continuing Through August 31

TDC 5:the 30th Annual Type Directors Club Exhibition

More than 200 examples, representing some of the

best typographic work of 1983, include outstanding

typographic and calligraphic work by leading designers

artists and type directors throughout the world.

•

I T C Center

2 Hammarskjold Plaza(866 Second Avenue, between 46th and 47th Streets), 3rd Floor,

New York, New York 10017.

Hours: 12:00 Noon - 5:00 PM.

Admission: Free

Open Monday—Friday (Closed September 3, 27, and October 8).

For more information or group reservations call (212) 371-0699.

Documents

Upper & lower case: Volume 11—Issue 2