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I T C 0.1,matk y peto

UPPER AND LOWER CASE

THE INTERNATIONAL JOURNAL OF GRAPHIC DESIGN AND DIGITAL MEDIA

PUBLISHED BY INTERNATIONAL TYPEFACE CORPORATION

VOLUME 23, NUMBER 2, FALL 1996

$5.00 US, $9.90 AUD, 4.95


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Hey The entire FONTEK and ITCtype libraries featured throughout this

issue of U&lc are availablefrom Image C lub.

Call 1-800-661-9410 to order

The Image Club's free monthly catalog is the essential design tool for today's creative masters. Over 800 fontsfrom the best foundries, thousands of stock photos on CD ROM (royalty free ) and tons of

cool digital art, along with ideas, solutions and tips & tricks from other designers.New for you every month

Order your atalog:

call 1.800.387.9193 ax 1.403.261.7013 ttp://www.imageclub.com/

Image Club Graphics is a division of Adobe Systems IncorporatedA d o b e ucLo8

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ATypI I Typelab

oit) The Hague 1996The H ague, The N etherlands,October 24-28, 1996

The A ssociation Typ ograph ique Internationa le (ATyp1), The

Royal Academy of Art and The Royal Conservatory of Music

Typography &... is a conference gathering of Art Directors, Graphic Designers,

Type Designers, Musicians, Filmmakers, Business and Legal Executives, Users and

Developers of Software, and anyone to whom type and typography are essential.

Typography &... focuses on how typography is developing, evolving and changing with a speakers'program, debates and discussion groups, exhibitions, studio visits, special museum programs,

and TypeLab, an interactive, experimental environment for typography, type design and graphic design.Speakers and participants include:

David Carson, Neville Brody, Ed Benguiat, Gert Dumbar, Just van Rossum and Erik van Blokland, Matthew Carter,

Gerard Unger, Jeff Keedy, Petr van Blokland, Tobias Frere-Jones, Lucas de Groot, Gene Gable,

David Berlow, Roger Black, Frank Blokland, Colin Brignall, Martin Majoor, Christopher Noordzij, Gerrit Noordzij,

Peter Matthias Noordzij, Michael Twyman, Margaret Richardson, Fred Smeijers, Erik Spiekermann,

Sumner Stone, Peter Verheul, David Farey, Jonathan Hoefler, Jost Hochuli, Frank Martinez, Mark Batty and many more.

Registration fees:

ATypI members: NLG 610. Non-members: NLG 730. Student members: NLG 225. Student non-members: NLG 250

To register for the ATypI 1996 conference, contact:

Holland Organizing Centre, Delegate Support Dep't (DSD), Parkstraat 29, 2514 JD The Hague,

The Netherlands. Telephone: (+31) 70 365 78 50 Fax: (+31) 70 364 57 48. E-mail: [email protected].

For hotel reservations, contact:

Holland Hotel Services, PO Box 82000, 2517 JW The Hague, The Netherlands.

Telephone: (+31) 70 364 06 70 Fax: (+31) 70 365 78 90. E-mail: [email protected]

For further information contact Anita Garay @ ITC (212) 371-0699, Fax: (212) 752-4752 or e-mail: [email protected]

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ITC FOUNDERS:

AARON BURNS, HERB LUBALIN,

EDWARD RONDTHALER

' ITC. U&IcAND THEU&IcLOGOTYPE

ARE REGISTERED TRADEMARKS OF

INTERNATIONAL TYPEFACE CORPORATION.

MICROFILM (16mm OR 35mm)

AND MICROFICHE (105mm) COPIES

OF U&Ic ARE AVAILABLE FROM

UMI, 300 NORTH ZEEB ROAD,

ANN ARBOR.MI 48106-1346

PHONE: (800) 521-0600

OR (313) 761-4700.

FAX: (313) 761-3221ol HME 73. NOMRFR 7, FAI I 1996

4

1 4E -FORM FREE FORMSSMALL DIGITAL TYPE FOUNDRIES ISSUE

NEW RELEASES IN PROVOCATIVE SPECIMEN

SHEETS THAT ARE STATEMENTS OF STYLE,

WRITES STEVEN HELLER.

nQ ON 1 YPEESSENTIAL BOOKS ON TYPE DESIGN ANDHISTORY ARE CHOSEN BY D. A. HOSEK.

GRAPHIC DESIGN:

MICHAEL IAN KAYE

11/PE, IYPE, IYPEAS EVERY NEW FONT FAMILY, DISPLAY

FACE OR PICTURE FONT APPEARS, THE

OPPORTUNITY FOR MORE EXPRESSIVE ANDEXPANSIVE USES OF TYPE BECOMES EVI-

DENT, WRITES MARGARET RICHARDSON.

P IE MACKINTOSH:THE INFLUENCE OF THIS LEGENDARY SCOTS

ARCHITECT AND DESIGNER IS CAPTURED

IN EXHIBITIONS OF HIS WORK AND IN A

NEW ITC TYPEFACE. BY MICHAEL HEALEY.

L FROM ENGLANDYOUNG BRITISH DESIGNERS FUSE PAST

AND PRESENT TYPE TECHNOLOGIES IN

CONTEMPORARY EDITORIAL DESIGN.

BY LEWIS BLACKWELL.

Q BY DEFINITIONA DICTIONARY OF TYPE-RELATED WORDS,

PHRASES AND TERMINOLOGY FOR THE

COMPUTER ERA. BY GENE GABLE.

r7 SIX NEW, DISTINCTIVE ITC TYPEFACE

RELEASES SPRING FROM THE IMAGINATIONS

OF COMMERCIAL LETTERING ARTISTS.

4 1171PE N THE TABLEA RECENT ROUNDTABLE DISCUSSION ON

CONTEMPORARY TYPE ISSUES REVEALED

PERTINENT CONCERNS ABOUT ESTHETICS,

TECHNOLOGY AND COMPENSATION.

BY PETER HALL.

Ir7 Ir9 1996-1997ITC TYPEFACE COLLMI EIONA SPECIAL 64-PAGE U&/cSUPPLEMENT FEA-

TURING CHARACTER SAMPLES OF MORE

THAN 1000 TYPEFACES FROM ITC, LETRASET

AND FONTEK, INDEXED BY STYLE, INCLUD-

ING: SERIF, SANS SERIF, DISPLAY AND

ORNAMENTS & ILLUSTRATIONS.

EXECUTIVE PUBLISHER:

MARK J. BATTY

- -,EDITOR/PUBLISHER. MARGARET RICHARDSON

MANAGING EDITOR: JOYCE RUTTER KAYE

CONTRIBUTING EDITORS:

PETER HALL,

KAREN S. CHAMBERS

CREATIVE SERVICES DIRECTOR:

JANE MUCCI

ART/PRODUCTION MANAGER: CLIVE CHID

ART/PRODUCTION:

JAMES MONTALBANO

INTERN: CLARE DELLE GRAZIE

DISTRIBUTION: EDWARD WORMLY

SUBSCRIPTIONS: ELOISE A. COLEMAN

FOR INFORMATION ON

EXISTING SUBSCRIPTIONS,

FAX (516) 7562604

LIST RENTAL OFFICE:

CMG INFORMATION SERVICES

(800) 677-7959

,suTERNATIONAL TYPEFACE CORPORATION 1996.

Mc (ISSN 0362 6245) IS

PUBLISHED QUARTERLY BY

INTERNATIONAL TYPEFACE CORPORATION.

866 SECOND AVENUE,

NEW YORK. NY 10017.

ITC ISA SUBSIDIARY OF ESSELTE LETRASET.

U.S. SUBSCRIPTION RATES.

$30 FOR THREE YEARS:

FOREIGN AIRMAIL SUBSCRIPTIONS.

$60 U.S. FOR THREE YEARS:

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

TO CONTACT ITC

CALL: (212) 371-0699

FAX: (212) 752-4752

E-MAIL

GENERAL: intItypco@aoLcom

EDITORIAL/PRODUCTION:

[email protected]

CIRCULATION: UlcRPappasgaol.com

ADVERTISING: [email protected]

PERIODICALS POSTAGE PAID

AT NEW YORK, NY AND ADDITIONAL

MAILING OFFICES. POSTMASTER:

SEND ADDRESS CHANGES TO

U&IcSUBSCRIPTION DEPARTMENT.

P.O. BOX 129.

PLAINVIEW, NY 11803-0129.

ITC OPERATING EXECUTIVE BOARD 1996

MARK J. BATTY.

PRESIDENT AND CEO

RANDYS WEITZ,

CONTROLLER

ILENE STRIZVER,

DIRECTOR OF TYPEFACE DEVELOPMENT

lkE1Aa aal ASSOCIATE PUBLISHER:REBECCA L. PAPPASADVERTISING SALES:BARBARA H. ARNOLDBHA ASSOCIATES INC.PHONE: (617) 259-9207FAX: (617) 259-9883

TABLE OF CONTENTS/FRONT COVER: HEADLINE/NUMBERS: ITC AMERICAN TYPEWRITER MEDIUM SUBHEADS/TEXT: ITC OFFICINA SANS BOOK, BOLD, BOLD ITALICMASTHEAD: ITC FRANKLIN GOTHIC MEDIUM, MEDIUM CONDENSED, MEDIUM CONDENSED ITALIC, BOLD CONDENSED

ITC OLDEN COCKEREL'ERIC GILL'S FIRST INDEPENDENT TYPEFACE

DESIGN FOR THE GOLDEN COCKEREL PRESS

IS REVIVED IN A CLASSICALLY STYLED

DIGITAL FAMILY.

r7

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C N A R L E S R E N N I N

S 0 DESIGN LEADERS HAVE PROTESTED THAT THE PROLIFERATION OF DIGITAL TYPEFACES IS EXCES-SIVE. IN FACT, IN A RECENT NEW YORK TIMES ARTICLE TITLED "CREATING. ENERATION OF VIVIDTYPEFACES:'T H E N U M B E R O FTYPEFACES IN USE IS ESTIMATED TO BE BETWEEN 50,000 AND 60,000. THIS AMOUNT SEEMS PARTICU-LARLY MONUMENTAL WHE N YOU CONSIDER THAT A FEW PUNDITS HAVE SUGGESTED THAT TWO STANDARDTYPEFACESARE PERHAPS ALL ANY DESIGNER WOULD EVER NEED . MOSTTYPEUSEESMOWER, AND THAT INCLUDES ANYONEWHO WORKS ON A COMPUT ER, DEFY THIS NOTION BY FINDING NEW ANDApPIAP T Y P EFACES FOR EACH SPECIFIC

C . AS EVERY NEW FONT

OPPORTUNTYFOR ANDEXPANSI VEUSES OF

a BECOMES EVIDENT. TYPOGRAPHY HAS BEEN TRANSFORMED BYTHE ENDLES AR IAT1ONS OF INNOVATIVE ANDCREATIVE T Y P EFACES.

THOUGH NOT ALL NEW FAMILIES AND RANGES OFTYPEFACES ARE TRENDY OR BASED ON FASHION, NOVEL ANDCONTE MPORARY DESIGNS HAVE AN IMMEDIATE IMP ACT. AS THETIMES ARTICLE POINTS OUT, "THET Y P EFACE BUSI-NESS, AFTER ALL, IS A FASHION BUSINESS." A RANGE OF CLASSIC AND CLASSICAL T Y P EFACES ALSO CONTINUES TOBE REINVENTED IN DIGITAL F ORM . FOR EX AMPLE, ITC BOD ONI HAS NOW BEEN AVAI L ABLE F OR TWO YEARS, AND SUM

STONE CONTINUES TO SUPPLEME NT THIS FONT WITH EMBELLISHMENTS LIKE INITIAL CAPS AND ORNAMENT S. THE NE

NEW CLASSICT Y P EFACE DESIGNED FOR ITC BY DAVE FARE Y IN ENGLAND IS ITC GOLDEN COCKE REL, A DIGITAL RENDERING OF ERIC GILL'S MASTERLYT YPEF OR TH E GOLDEN COCKER E L PRESS. THE DO CUM E NT IN G OF TH E RESEA R CHAND DEVELOPMENT OF THIS TYPEFACE BEGINS IN THIS ISSUE ON PAGE 24.

ALSO BEING LAUNCHED ON THESE PAGES IS AN INTERPRET ATION OF CHARLES RENNIE MACKINTO SH

LETTE RING RENDERED AS A DIGITAL TYPEFACE. THIS COINCIDES WITH A WAVE OF MACKINTOSH INTERES

MAJOR EXHIBITIONS OF HIS LIFE'S WORK INCLUDE ONE OPE NING IN NOVEMBER AT T HE METR OPOLITAN

MUSEUM OF ART IN NEW YORK. STEVEN ZANE, A DESIG NER AT T HE MET R O POLITA N, P ROVIDED US WITH A

PREVIEW O F THE EX HI BITION POSTER D E SIG NED USING T HE ITC FONT. IT C REN N IE M ACKINTOSH, LIKE IT

GOLDEN COCKERE L, ALLOWS DESIGNERS TO EXPRESS A TOTAL AMBIANCE, AN ADAPTATION CAPTURING AN

ENTIRE STY L E AN D E RA . T HI S I S SE E N O N T HE FO L L O WI NG PAG E S IN T HE DE S IGN S OF MICHAEL IAN KAYE

IN THIS ISSUE, WE ALSO PAY TRIBUTE TO THE INDEPENDENT AND SMALL T Y P EFOUNDRIES THATH AV E C H A N G E D T H E WAY W E P E R C E I V E A N DUSE TYPE.STARTING WITH THE EMIGRE RE VOLUTION, INDI-VIDUALS AND SMALL TEAMS OFTYPEDESIGNERS HAVE ADDED A PERSONAL FLAIRTOTYPEFACES,WHICH AGAIN ARE USED EXPRESSIVELY BY DESIGNERS. EXAMPLES OF BRITISH DESIGNERS USINGT YPE

IN DISTINCTIVE WAYS ARE PRESENTE D IN A FEATURE BY LEW IS BLACKWE LL.

AND, FOR THE FIRST TIME IN Uctic, WE AR E P RESEN T IN G T HE E NTI RE I T CT Y P EFACE COLLECT ION. SINCE ITCHAS BEEN ACQUIRING NEWT Y P E FA C E S ,EXPANDING ITS T Y P EFACE LIBRARY AND IS NOW DISTRIBUTING AND M AR-KETING THE ENTIRE FONTE K RANGE ORIGINALLY DEVELOPED BY LET RASET, THE TIME HAS COME TO SHOW THEM ALL

A T Y P ESPECIMEN FORMAT THAT CAPTURES THE QUALITY AND THE DIVERSITY OF INTERNATIONAL TYPEFACE CORP ORATION'S COMMITME NT TO CLASSIC AND CONTEMPORARYTYPEAND DESIGN.

CONTINUING THETYPETHEME , THE MAIN FORUMFOR TYPOPHILES CONVE NES IN OCTOBER. THE ASSOCIATIONTYPOGR APHIQUE INTERNATIONALE (ATYPI) CONFERENC E IN THE HAGUE TAKES PLACE FROM OCTOBER 24-28. SINCE TH

NETHERLANDS HAS MANAGED TO PRODUCE MASTERS OFTYPEAS WELL AS REVOLUTIONARYT Y P EDESIGNERS ANDTYP OGRAPHERS, THE VENUE IS IDEAL FOR THE PLANNED DISCUSSIONS ON TYPOGRAPHY AND ART, TYPO GRAPHY AND

AND MORE. FOR FURTHER INFORMATION, E-MAIL MARK BATTY, PRESIDENT OF ATYPI (AND ITC) AT [email protected],

OR CONTACT ANITA GARAY AT (212) 371-0699 OR FAX (212) 752-4752. FOR DETAILS ON THE EVENT AND REGISTRATION AND

ACCOMMODATION, SEE THE ATYPI ADVERT ISEMENT ON PAGE 3.

T Y P EAS A MEDIUM AND T Y P EUSED IN EVERY ASPECT AND AREA OF DESIGN IS THE SPECIFIC FOCUS OF THISISSUE OF Mc AND PART OF OUR ONGOING COMMITME NT TO PRESENT INGT YP EEFFECTIVELY THROUGH CONTENT ANDDESIGN. Mc EXPRESSES ITS GRAT IT UD E TO TH O S E OF Y OU W H O H AV E C ON TACTE D U S W I T H Y OU R COMMENT S AND VI

WE ARE ALSO PLEASED TO HAVE RE CEIVED AN AWARD FROM T HE 1996 BRNO BIENNALE FORthfic, AND TO HAVE TWO COM-

PLETE ISSUES (FALL, 1995 AND SUMMER, 1996) INCLUDED IN THE EDITORIAL DESIGN CATEGORY OF THE 1996 APPLIEDARTS AWARDS ANNUAL.

MARGARET RICHARDSON

6


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M A C K I N T 9 S1 1 C H A I R S '? L D ATS 9 T H C B T Sr9R $13,00. NNE

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12/112

IT C R E N N IE

M A C KI N i6

NHARLES RENNIE MACKINT9SH IMPECCABLY

HANDLETTERED HIS ARCHITECTURAL RENDER-

INGS AND CREATED P9STERS, 599K JACKETS,

LEAFLETS AND EVEN DANCE INVITATI9N5 W ITH

HIS DISTINCTIVE LETTERS, 5UT T HERE IS 11? rvi-

DrNCE THAT HE EVER DREW 9UT AN ENTIRE

ALPHABET. MACKINT9SH'S 9WN HANDWRITING

WAS rLUID, CURSIVE AND sN9wr-D THE R99TS

yr A ryRmAL VICT9RIAN EDUCATI9N, 5UT THE

H A N D- DRAWN LETTERING ? N HIS ARCHITECT-

URAL DRAWINGS W AS CHARACTERISTICALLY

I N C ' S T Y L E . J A M E S M U R R A Y, A L E C T U R E R-

ICS AT THE GLASCPW 50199L 9r ART, MAD [MEN

RESEARCHING MACKINT9511'S LET TERING AND

RELATED DEC?RATIVE CL?UR1511E3r.Y R M A N YYEARS. MURRAY STUDIED THr SCH99LS EXTRA-

9RDINARY MACKINT9511 C9LLECTI9N AND HAD

DRAWN MANY LETTERING SAMPLES THAT WLRL

E S S E N T IA L L Y M A C K I N-MN INCLUDING MIS ALTER-

N AT I V E V E R S I 9 N S P L E T T E R S . 5 R I C IN A L L

THE C99PERATI9N Yr TrINLASCPW SCH9 9L

ART AND LULL ACCESS-( 1 , M U R R AY 'S R E S E A R C

A C I N I M E 1 1 1 1 1 1 1 1 E 1

1111 I I :::: I I r.

e i u / l wm

NOMEME MEMN

N -.dm

:

9 P MN" 11 :11

O R N A N OFillnIEEMINI P41

I I l NSfp*,I1ill MENT6

8

MUCH M9RE C9NTRYLLED. THE-SE LETTER-

E9Rm.s, LIKE EVERY ?PIER ELEMENTy r-MISAPPR9ACH, WERE DESIGNED T? C?NVEY T HE

SPECIEIC AMBIANCE AND 1199D P EACH PR9-

JECT. MACKINT9511 MAD APASSPN T?DESIGN

AND T? C9NTRYL EVERY rACET yr HIS W9IRK.

IN 1995, C9LIN 5RIGNALL, ITC'S EUR9PEANTYPE C9NSULTANT AND AN ADMIRER yr MACK-

INT9Stl, C9NTACTED T HE GLASG9W SCH99L 9r

ART WITH T HE INTENTIYN SUGGESTING A

DIGITAL r9NT EASED 9N MACKINT9SH'S LETTER-

T Y P E D E S IG N E R P H I L C R I M S M AW WA S R

AND, UNDER 5RIGNALLS ART DIRECTI9N, T??1(

MURRAY'S INITIAL W9RK AND DEVEL9PED T INT?

LULL TYPLLACL E9NTS IN 59LD AND LIGHT

WEIGHTS, W HICH MAINTAIN THE SPIRIT AND

INTEGRITY P MACKINT9SITS LETTERING. 595

TRLMALL? L ITC USED HIS TraNicAL LXPLR-

TISL T9 RNESSE THE E9NT IN 9RDERo ACC9M-M9DATE THE ALTERNATE LETTERS 5? TY PICAL

yr MACKINT?51=1, AND T. INC9RP9RATE THE

VARI9US LIGATURES THAT GRIMSHAW HAD

1 2


13/112

IT C R E N N IE

D E S I G N E DBASED NINC 5 C 9 T 5 D E S I G N E R ' S

I G N AT U R E S T Y L E .

RIGNALL BELIEVE DINC A R C N I T E C T U R A L

D E T A IL S A N D 9 R N A M E N T A LD E S I G N SIN MACK-

N T 95 1 1'S W 9 R K ( E S P E C I A L LY N 9 T A B L E I N T H E

GLASG9W SCH??Lor ART BUILDING) W9ULD

MAKE A STRYNG GRAPHIC 9RNAMENT r?NT.

HE HAD CIRIMSHAW INTERPRET AND CREATE

RNAMENTS AND REFINEINCS TA I N E D G L A S S

mows A S C 9 M P L E M E N T A R Y E L E M E N T S * T HE

E T T E R I N G r 9 N T S .

M A C KIN T 6 M

WITH 51199TH EDGES,I N CTYPE WAS THUS

D E S I G N E DWITH SM??-1 1 1 E D G E S T ? B E T T E R F I T

I N W I T H T HE ? R N A M E N T S T

"1199KING ATINC R N A L R E S U LT Sor INC NEW

TYPEFACE, IT bE C9MESE V I D E N TT H AT T N E Y

R E A L LY D ? R E P R E S E N TI N CS P I R IT F C H A R L E S

R E N N I E M A C K I N T 9 S K S ? R I Q I N A L L E T T E R

A LT E R N AT I V E L E T T E RroRms,T H E L IG AT U R E S A N D

T H E S I V R T W 9 R D C ? M b I N AT I? N S T N AT M-

T 9 S 1 1 U S E DW N L NR E S T R I C T E DroRS PA C E-W E R E

INCLUDED INroRmuLATINQT H E S E D E S I G N S .

T H EE X I S T E N C E?r Trur D E TA I L E D E L E M E N T S

M E A N S T r IAT S ? M E 9 N E U S I N G T H I S I T C r

C A P T U R E T H EV E RYS P I R I Tor T H E 9 R I C I I N A L

L E T T E R IN G : ' S AY S b R I G N A L L .

i u ri E U N I F Y I N GENERGY TUT 59UNDINC I T C

T E A M I N T H I S U N I Q U E P R ? J E C T WA S ,CURSE,

M A C K I N T 9 . 5 11mirsnrT H IS A R T I S T WA S A N I N N-VATR CNTINUEST oucmAND I. INFLU-

E N C E A L L W N ?S E E M I SE X T R A R D I N A R Y W 9 R K

N9W HIS LEGACYLIVES oN D I G I TA L LY I N I T C

R E N N I E M A C K I N T 9 S H .

Mir D E C I S I 9 N T Y C R E AT E T H E ? R N A M E N T r 9N T

? S E D A N E S T H E T I C D I LE M M A R E L AT I N G b T H E

N T E G R I T Y F T H E L E T T E R I N G r 9 N T. A C C ? R D I N G

T? BRIGNALL," I F W E W E R E T ? A C C U R A T EL YN TE R P R E T M A C K I N T ?S H ' S P E N-A N D- I N K R E N-

D E R E D L E T T E R I N G , T H E N T H ETyprrAcrsP R ?-

bAbLY VULDBEDESIGNEDINC?RP RATING

A R ? U G H E D G E : N C E X P L A IN S AV W E V E R , S I N C E

THE 9RNAMENTS W9ULD M9STLY BEU S E DIN

C ? N J U N C T I 9 N W I T H T H E T Y P E , 6 S I N C E R E S E A R C H

N ? W E D T H ATI N C? R N A M E N T S W ? R N E D BE T T E R

ABCPCNMIJKLI1119PQRSTUVWXYZ

AbCDENTHIJKLMNOPTIZSTUVWXYZ

1234567899AAAAAAktcarLfigI I M P 11 - 0 0 G D C E 9 "(6 13ORRS6SSTrn-

BoLDflA-rwarincr-A B C D E r C i l l I Av {}(iL M N ? P Q R : TSUI IXY(Z) o LICIMTAMDUCTIIIJKLMNOPYRSTUVWXYZ12)4567899AAAAALCCUMITIFl A I E 1 1 0 0 a D C C c)(? C ' Q D F O R R S 6 3 S T r a r

fr i AT N--FrINCr+? {}[]()1 #$%10 10

HEADLINE/INTRO/BYLINE: ITC RENNIE MACKINTOSH BOLD TEXT/DROP CAPS: ITC RENNIE MACKINTOSH LIGHT, BOLD, ITC RENNIE MACKINTOSH ORNAMENTS

13


14/112

r E e E e F f O o R r M m S s

S m a 1 1 d ig ita l T Y P E F O L Aissue new releases IN PROV OC ATIVPRINTED PIECES that reveal their des igne

uni q u ePMSPECTIVES:CONTEMPORARYTYPEspecim ens, w hether in theFORM O F FULL-COLOR BRO ADSIDESo r precious, pristine bo o klets, exude an exu-berance and inventiveness not seen since

T HE 1930s. DURING T HAT DECADE, TYPEFACESwere announced with the same flourish and fanfare

as popular songs. But by the 194os, ow ing to w artimeshortages of ho t m etal, type specimens b ecame austere

AND BY TH E '505, TH I;17were densely packedlineOfWORD SHOWINGSTHEBUO YANT PRE-war spirit resurfaced somewhat in the '6os,when Photo-Lettering Inc. introduced its

ALPHABET ENCYCLOPEDIAS STUFFED WITHhundreds of new photofaces on pages that approxi-

mated o ld Victorian theater bills. For m ost o f the'7as andearly'8as;type ,speci nzens were more o r less functional B ut

the daw n o f ty pe's digital age in the m id28os markeda new inv entiven ess, as a handful of sm all digital fo undries

started to compete for market share.

o r

by Steven H eller


15/112

r-any of today's typefaces appear to

be designed with the screen inmind, which is probably why the

next generation of innovative type speci-

mens will not be found on paper. Follow-

ing Fuse magazine's pioneerin g efforts ofdistributing disks with samples ofmoving

type, Emigre Fonts already has a large col-lection of entertainingly animated show-ings on its First C lass software and Website locations. ElliouEarls recently- addeda CD-ROM to his repertoire that offers pic-

tures of types in motion. Jeff Keedy in Los

Angeles willsoonpremiere his CipherType

exclusively online, and in The Hague,Erik van Blokland and Just van Rossum

display their designs in computer-gener-ated type animations. Oddly, this bringsthe art of modern type specimens back to

its splashy starting point in the early

twos, whe n typefaces had a unique ca-chet and the sheet music style provideda suitable context for d isplay. Today, itisn't enough simply to show elegantly setline samples. Due to the proliferation ofscreen-based media, type marketing issuch a high ly competitive activity that alarger stage is required on which to audi-tion type and see it perform.

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Emigre http: //wwwemigre.com

16

Plazm [email protected]

Elliott Earls http://wwwtheapolloprogram.com


17/112

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HEADLINE/INTRO/BYLINE/A-F: ITC BODONI SEVENTY-TWO BOOK, BOOK ITALIC TEXT: ITC BODONI TWELVE BOOK. BOOK ITALIC, BOLD. BOLD ITALIC CAPTIONS/CREDIT: ITC BODONI SIX BOLD, BOOK


18/112


19/112

elix na &roese rnhar

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1 Cov ers from exhibi t ion catalogues for the Goethe-Inst i tut, London, 1995.2 Spreads from the catalog of a typography exhibition at Central St. Martin's College, Londo n, curated and designed by Baines and Graham W ood, 1992.3 Spreads fromRaw Creation,a book on Outsider Art by John Maizels, published by Phaidon, 1996.4 You Can (Read Me) , a revised version o f an experimental font fo rFusemagazine, 1995.

5 Poster related to a bo ok produced fo r specialist press Northern Heights, 1996, showing Baines' Horncastle typeface.

re. The result w as his font Can Yo u...?. He still often prefers to sketch out ideas on gridded no tepaper, howev er. "It 's not a philoso phical thing, but m orwhen I am not at the Mac:'ason Baines eschews getting deep into type design is that he is mo st attracted to the ro le of the designer as problem -solver, rather than as lo ose creativHorncastle only cam e about w hen Baines needed a heavy san s serif and couldn't find any thing suitable.

ility to respond to the intricacies of letterform as w ell as to the broader requirem ents of art direction has undo ubtedly helped his work in co m m ercialsr To ny Kaye. Despite being uninterested in the fashionable end of graphics, he has ended up crafting type o n so m e of the coo l spots of the decade, with

ag Heuer to Volvo toThe Guardian,for w hich he recently drew up77 sheets ofA4 paper in order to devise a 10-second sequence. That said, he ob jects to "gratuitoument"of screen type and insists the main difference to think about betw een print and screen is "to respond to ho w the type com es up and how it goes awnses his approach is in a late m odernist tradition, loo king for big rules to apply, believing in the rational. "I have alw ays liked things like bridges, wherv ery m uch a result of w hat they do. I like things that are engineered, rather than styled: ' How the eye m ov es and falls in reading is the quarry that Bainr in print, in film o r in the intricacies of character design. In this, his w ork reaches bey on d the imm ediate fashionab le concerns o f the 1990s, bey ond tand its technology and to so m ething a little more tim eless. The sem inary m ade its mark, even if Baines did get the calling to design.


20/112

S TAT E Y.*

C AT E 0th,11 very many of the

perpenato ,s of mu Arp are wry ycrangblack ;amok: verge Se Paul Condon.Iletropoltan Pole, Comomponx n hsletter Weeen:nay leadorsc,rter thsrhohMANhlt can a btr(k man make d daltr 4 even posob,e ttvg Dart of a colouredEntand-lotted ptove feel sals'actIon(perhaps soixonwoo) at seeing England

hvmhated because of poet...mm.11 mythsof opprewon and explortatem: wroteRobert Heideman 0this morths osueOf Madan Wet Mond#ANhisal does a black

make of thatrYou Vow. a tot abackpeopfmtheire not made to feet that they report ages country: maatoded UnloadOmebe on teloyoon last month Whata Ole* man to make of MeV Interne*,by IkItY Vxtor. Ptryrat: by Ma-tal Mo-rt

VfI el o d typ " says V' ce F ies of publications he has been asked to devise for the photographers' collective Magnum .N tter s is t art awards internat ional ly for his w ork o nBigm agazine, until he quit at the end of 1995 w hen

t e publisher as e im to break away om is use of wood type for headlines. This is the client who is talking to me after spending five weeks at theLondo n printers House o f Naylor grinding out a wo odletter and hot-metal publisher's catalog that could have b een done in a fraction o f t

conv entionally. T his is the son w hose father's wo rk as a letterpress printer left a heavy impression o n his yo uthful im"I really do n't think to use wo od letter all the time.In a waythis catalog was m y taking that part of m y w ork to a lo gical con clusion: ' The 46-page black-andtion for the publisher 4th Estate saw Frost ab leto go bey ondwhat he achieved withBig. For that m agazine he had assemb led wo od-letter constructions for

but ended up reproducing the results in o ffset litho. W ith 4th Estate, he decided to rediscover the full joy of letterpress, printing direct from 50-year he had ingeniously m ade into illustrations. Alongside these constructions, Frost o pted to hav e all the text set (in Gill) on the Mono type. "You for

it is now in som e respects; ' he ruefully adm its. "Yo u get so used to just being able to run the cursor ov er som ething, highlight it and change the spfont just like that:' But still he believes "som ething com es through this process that yo u can't get otherwise. T here is a spirit in this...

In the bo ld, punning illustrations one can see the influence of Hendrik W erkman (1892-1945), the Dutch printer w ho self-consciously revealed th

(20


21/112

La couturetr,,e

0 ."Y MCA...v.10 ea. red amtnewataro es..se work , twtovocva 43.'43 v.".44bute. uswaitig. ft vs. *am taro, Osn....

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Core.

T H E C O V ES H IV E R I N G C L

vers and related spreads from two issues of Frost's award-winning redesig n ofThe Independent M agazine ,1995-96.fr om a catalog for 4th Estate publish ers, London, 1996. All illustrations are in wood letter, and all text is set in hot metal purported to be the large st commercial letterpress project in London for20 years.

T H E H AT O FV IC T O R N O IR

T H E G L A D EW IT H IN T H E G R O V E

P.. 1 ken

M O D E R N B A P T IS T Sr

*****

**

onal art pieces, and El Lissitsky (1890-1941), who explored the dynam ic quality of letterform s and related them to bo th abstraction and pictograms. Intions com e from the core of20th entury design history , one can perhaps detect Frost 's ow n journey : his path took him early in his training to the center ofablishment w ith an apprenticeship of som e years at Pentagram . Now he is finding his ow n vo ice with wo rk that seems to deliberately rough-up the "sli

porate design. Frost 's typography is alway s imm aculate, alway s coo lly readable at the important points. But he steps bey ond the polite grids of the corpwith his emb race of w oo d letter in all its distressed, aged state, or in his advocacy of a particularly dry m inimalist route at times, and also in his pow erfges. For his wo rk onThe Independentnew spaper's m agazine (also aw ard-winning, also using G ill for its "Englishness," also ended earlier this year), he m anagthrough a mo re considered, conceptual approach to m any o f the layouts than is typical (and current) for such a magazine. While never at any point b eilist or n ostalgic, Frost seem s to b e fighting the ephem eral, the transitory aspect of m ass m edia.ress attracts w ith its requirement that the designer obey certain limitations. "There is the incredible craftsmanship in each o f the wo od letters, each cu

There is also an incredible restriction com pared with digital technology: letters print the size they are cutyo u can't just play w ith the size: ' At a time wers can m ake num erous typographic decisions on the Mac, but often with no clear philoso phy behind the choice, Frost is putting a marker dow n for a m

d approach that learns from the past, but never apes it .

21


22/112

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Until ec tl is s wo h a il coul make a good claim to being two of the most productivde pa L do an f . l wo rk or a diverse range of cl ients , from the club scene to m

But, thanks to the dearth of ads in the launch issues o fBlah Blah Blahm agazine, a U.K. music and style pubAshw orth and Fletcher had almo st too m uch of a good thing: a magazine unencum bered by ugly ads.. .but alcam e to a sticky end recently w hen the publisher shifted fromRay Gunto a com pany invo lved in teenage titl

going to fit w ith the new b usiness tactics. Their approach had signaled restless change, rather than form ula phis wo rk on the parent magazine,Ray Gun,Substance pushed free-form graphic design right into the faces

have struggled to decipher a few wo rds here and there, even given up on the o dd sentence if yo u w ere iAshw orth and Fletcher are conscious, perhaps slightly n ervous, o f the fact that the magazine gave them a h.

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it of a problem for us at the mom ent that a lot o f what w e do is 'of the tim e' rather than timeless," admits Fletcher. Their contempo rary heroes are the likes and Peter Savillecuriously designers whose coo l, m inimal typography is far from the hot and busy w ork Substance pumped out inBlah Blah Blahor, previously, for

Europe, w here they spent time as in-house print designers.the pieces of wo rk they are happiest w ith is an album co ver created for Ultramarine. The m inimal use of sans serif type on a m ysterious image (by phot

n) was for Ashwo rth "one job where we do seem to have done som ething mo re timeless." A forerunner to that might beInterference,the 1995 bo ok of Holden's photo-on surv eillance technolo gy. Here, Substance's m ix of type w ith digital detritus operates as a carefully placed counterpo int to the out-of-focus and curiou

usic industry and related fashionab le clients perhaps disguise the firm ro ots to Ashw orth and Fletcher's w ork. T hey see them selves as wo rking in a Eurolarly Sw iss. "But when we draw o n Sw iss, it 's m ore W eingart than Ruder or Hofm ann:' suggests Ashworth. (Wo lfgang W eingart's early deconstructed ideand '7os m ocked the rules that Swiss designers such as Armin Ho fmann and Em il Ruder had wo rked up in the 1950s and '60s.) All this might sound amb iand Fletcher have already achieved a high profile, have a style that gets copied by students, have new clients calling them since they leftBlah Blah Blah ...and they

l only in their mid-2os. We can wait a little longer for the full manifesto.

Mve. garEpan anew

From the MTV Music Awards publicity pack, Berlin, 1994. Substance had imagery printed on both sides of the translucent sheets, With contrasting fonts for the English and German texts.Covers and spreads from Blab Blab Blab magazine, London, 1995. There is a deliberate attempt to incorporate manual processes inthe layouts, including Letraset headlines, plus extensive use of the fax machine to degrade the art.

FromInterference, a book on the intrusion of surveillance photography in everyday life, by John Holden, Sheffield, 1994, Found imagery provides much o f the type,which exists as mostly incoherent background "noise" against which the images are set.

HEADLINE/INTRO/NAMES: ITC OFFICINA SANS BOOKLARGE NAMES: ITC E DWARDIAN SCRIPT REGULARTEXT: ITC OFFICINA SERIF BOOK, BOOK ITALIC


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t tI a w r B

EFORE ST ART ING T HE PROJECT IN 192Gill had already earned a w ide reputation in En gland as a sculptor, ston ecutterwood-engraverand also as a controversial socialist, pacifist and liberal Catconv ert . T he Go lden Cockerel typefaces, com m ission ed specifically for a speedition of the Fo ur G ospels, were his first efforts as a full-fledged type designer.t ial ly, with the encouragem ent of Stanley M orison at Mo no type, he had prov

letter draw ings for the Perpetua and G ill Sans typefaces to the foundry , who se drawing and engineering staff mo dified them to suit the hot-m etal technolo gy.

* .A Heavy, Closely-Massing Type'AW ith the Go lden Cockerel series, Gill imm ersed him self com pletely in the production typefaces, assuming the responsibil i ty of ensuring that his drawings w ere con verted to sized on the bo dy, spaced correctly and tested in page form ats. By emb racing the technolthe day, Gill w as m aking a personal philoso phical leap. Previou sly, the designer had turneback o n m etal typecasting technolo gy, adopted a reclusive, mo nastic l ifestyle in rural Enand settled o n engraving in w oo d, he said "for the sake of lettering"

But Gill w as passionate abo ut the Golden Co ckerel project and becam e absorb ed in aing technical precision w ithout com prom ising his esthetic. In the late 192os, m ost private pin England routinely used Caslon Old Face in text settings. Gill and his collabo rator Ro bbings, the ow ner of the Go lden Co ckerel Press and a fellow w oo d-engraver, decided theGo spels edition needed a typeface that wo uld be rob ust enough to m atch the strong, illusim ages they w ere wo rking on So on after start ing the project, the nov ice type makers raseveral technical snags. The first w as the practical prob lem o f adjusting the large-scale drawto their eventual reduced size for use. Gill con veyed his problem to M orison in co rrespon

"I have made drawings to large scale, but how am I to tell what they'll look like sm all?" He "I have m ade a drawing of Lo rd's Prayer actual size of i8 point (b ody ). But neither my ham y ey e is capable o f wo rking so sm all. Still the general effect is w hat I want colo ur, chaetc:' Gill solved his dilemm a w ith characteristic ingenuity: b y getting his small sketch pgraphically enlarged, wo rking ov er the detail and having i t reduced again, he began to acw hat he wanted, which he expressed to M orison as "a heavy , closely-m assing type suitabuse w ith m odern wo od engravings7

Further prob lem s were enco untered when a larger point size than the i8-po int text wafor the titling fon t. As Gibb ings put it "One o f the greatest changes yo u can m ake to a desto alter i ts scale" Gill rewo rked the drawings to m ake a t i t ling font in 24 point and 36 poGill said "reducing the weight of the ho rizontals in proportion to that o f the verticals, aretrieving the lost elegance o f the design7

From M etal to DigitalThis sam e kind of scrutiny and care was applied this y ear by International T ypeface Corpow hen b ringing Gill 's classic typeface to digital form . In researching the Go lden Coc kerefaces, English type designer Dav e Farey co ntacted Sebastian Carter, who w ith his fatherCarter at the Ram pant Lions P ress in Cam bridge, has had exclusive use o f the original m

Ns*

ITC GOLDEN COCKEREL,'" ORNAMENTS

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( T )

type since 1977. The younger Carter had been sparingly and lovingly using the typeface in 18point for book and pamphlet settings. Seeing the ingenuity and variety of its contemporary useconfirmed to both Farey and Colin Brignall, ITC's European type consultant, that Golden Cock-erel types would be esthetically valuable and an important contribution to the type collectionwhen launched in a digital format. Prints of the type in Carter's possessionthe roman andtitling fontswere pulled on a variety of papers for study and comparison with the original let-terpress printing, and enlarged drawings and photographic reductions were made.

Research then continued at London's St. Bride Printing Library, where librarian JamesMosley showed Brignall and Farey a copy of Gill's experimental drawing of the Lord's Prayerand the original enlargements of it. Almost unnoticed in the library's collection was a small caseof 14-point italic lowercase, which was attributed to Gill but had not been used by the GoldenCockerel Press in the production of the Four Gospels. Letterpress proofs of the lowercase italicwere taken for further reference. Additional examples of the italic were located at ThomasYoseloff's Golden Cockerel Press bookshop in London, which houses the complete works of theGolden Cockerel Press.

Consulting with printing historian John Dreyfus, the ITC development team discoveredthat the original Golden Cockerel patterns and matrices of the type, manufactured by H.W.Caslon Letter Foundry, were kept in the vaults of the Cambridge University Library in the Stan-ley Morison collection. There Farey examined and measured the metal masters and made visualcomparisons with the letterpress references before beginning the first-stage drawings of theITC Golden Cockerel faces.

Co mpleting the FamilyCapitals for the italic were then devised by studying Gill's other types and alphabets, along withhis numerous lettering projects, including stone engravings, to ensure that the set of capitalswould complement the lowercase and relate well to the existing roman. In tandem with theroman and italic and the separate titling font, a set of ornaments and original initials were devel-oped to give a full span to Gill's expressive wood engravings, etchings and carvings carrying themaster's fingerprint. Essentially, the ITC Golden Cockerel initial alphabet represents Gill's styleof wood letters, including the exuberant flourished serifs and splendid lombardic stressesfound in commissions from the Golden Cockerel, St. Dominic's and Curwen Presses and simplebookplates and devices developed throughout his life with letters.

ITC also added ITC Golden Cockerel ornaments, which interpret and celebrate Gill's skillsas an illustrator. The ornaments were selected by Brignall from research at the British Libraryand the Victoria and Albert Museum in London, along with published references that includeborders, tailpieces and typographic devices. Gill's ecclesiastical style is well represented, bal-anced with embellishments taken from nature and mythologyincluding the three-leaf clover,the mulberry tree, the Welsh Dragon, and the motif used in The Canterbury Tales,described byGill as "the inadequate fig leaf." These decorations are suitable for use with all roman or sansserif styles, but more appropriately have been chosen, as Gill would say, "to be fit for their pur-pose: relating to the ITC Golden Cockerel typefaces, the unique, digitally created versions ofEric Gill's classic first independent type designs.

Contributors: Joyce Rutter Kaye,

James M osley and

Dave Farey

ITC GOLDEN COCKEREL ORNAMENTS

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aAA No, not where you go to dry out, but short for Author's Alterationsto typeset text. As opposed to PE, or Printer's Error.

AFM Files Adobe Font Metrics. You still get these with your Mac Type1 fonts, but you don't need them for day-to-day use. It's been a whilesince any programs required them.

Accent Marks You see them all the time, but did you know their names?

,Acute k Asclitilde - ) Breve ( v ) Car on ( )

Cedilla ( ) Circumflex ( ) Dieresis ( ) Dotaccent( )

Grave C Hungarumlaut(")

Macron ( )

,Ogonek , ) Rng k ) Tilde CI

Agate Not used much in the electronic era, but still a measurement ofchoice at some newspapers. It's both 51/2 point type, or an ad-space mea-surement of 1A4 of an inch high by one column.

Alphabet Len gth At any size, the length of all 26 lowercase characters.Some once thought 11/2 the alphabet length (39 characters) was the per-fect width for a text column at the set size.

Anti-Aliased Type Type outlines are vector-basedobjectsthey're madeup of straight lines and curves that stay smooth no matter how large they

get (resolution independent). Halftone images are pixelbased-they'remade up of tiny bits of color that, if you blow them up large enough, youcan see them (resolution dependent). When you combine the two, suchas adding type over an image in Adobe Photoshop, the intersection ofthe perfect lines of the type, with the jagged dots of the image, can createa stair-stepped, uneven look to the type called aliasing. For this we do anti-aliasing, a computer routine that sort of "blurs" the lines between the two,resulting in what should be more readable type. Some programs are betterthan others in how they anti-alias type and other vector art.

Ascende r Height Officially the distance from the top of the lowercase x(x-height)to the top of lowercase letters with ascenders, like f, d or k.

X-Height

ATM Some think it's where you get your cash. Others say it's short forAsynchronous Transfer Mode. But in the type world, it stands for AdobeType Manager, a nifty little program everyone should have that allowsMacs and PCs to display bitmap typefrom Type 1 outlines. ATM also letsyou use PostScript fonts on non-PostScript printers. In its current Deluxeversion 4.0, ATM is more of a font utility, like Suitcase or Master Juggler.And even though with ATM your screen fonts are rasterizedfrom theprinter outlines, you still need to install at least one bitmapfont, whichis contained in the font suitcase.

TYPE BY

dertni.tionCAN YOU TELL A FLUBDUB FROM A FLEURON? A FOND

FROM A FONT? GENE GABLE BRINGS US UP TO DATE WITH A

DICTIONARY OF TYPE-RELATED WORDS FOR THE COMPUTER ERA.

In his Devil's Dictionary, Ambrose Bierce defines type as "pestilent bits of metal suspected of destroying civilization and enlightenment, despitetheir obvious ag ency in this incompa rable work." There is something abo ut type that makes peo ple want to invent unique words and ph rases todescribe it and the process of setting it. Som e type phrases, like "lock up" and "dry transfer," make sense only in light of the technolog y used at the timethey were coined. And others, like "leading" and "case," have survived, despite having no actual relevance to m odern technolo gy. Thanks to the dread-ful influence of the techno-babble that so permeates the com puter industry, entirely new words are cropping up almost daily to describe type andtype-related things. So metimes, it 's hard to keep track.

While no means exhaustive, here is an updated list of important type terms and type technology in the computer era. And while some of you mayfind some entries obvious below , remember that the M acintosh has been around for 12 years-long enoug h to have inspired a generation with noexposure to traditional typesetting terminolog y.

BY GENE GABLE

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Baseline Seems pretty obviousit's the line on which letters stand. Butdid you realize that mo st curved-botto m letters (like S, C or G ) extendslightly below the baseline?

Bad Break Some people think these disappeared when computers beganm aking line-ending decision s. But any break in text that violates an estab-lished typesetting or gramm atical rule is still a bad break, even if it passesQuark's default m uster.

Bastard Title Yo u've seen this page in every b oo kit's the one w ith justthe bo ok n ameusually just before the m ain tit le page. Sometimes calledthe half-title page.

Bitmap/Scree n Font WithType 1 fonts, yo u need a different font forscreen display than for printing, thus the bitmap, unless yo u useAdobeType M anager,of course, which creates screen fonts fromoutlinefonts.But even then, you need to install at least one b itmap font (w hich arecontained in fontsuitcases),at least on the Mac. Whew

Blad You know about greeking text. But did you know this term fordummy book pages that appear in pre-release promotional materials?

Bounce When the baseline of a wo rd gets all goofy, call it this. Some-times referred to asasymmetrical or off the line.

Brace This is the character used to co nnect o r emb race lines, particu-larly in math{} Not the same asbrackets, which are square [ ], exceptin Britain, where they refer toparenthesis () as b rackets.

Built-in Fonts All fonts have to m ake their way to the printer beforeyour job can print (at least with PostScript printers). Most printers comewith som e fonts permanently b uilt in-these generally m atch the onesthat ship with the Apple Mac and Window s operating systems. Som e-times they're calledresident fonts. All fonts that are not built in have tobe downloaded to the printer from yo ur com puter during the printingprocess. This happens automatically when you hit the "print" button.

Bullet Of course yo u know this is a solid, roun d dot. But are you alsoaware that it's sometim es called ameatball?

C

Case It shouldn't surprise yo u that in ho t metal tim es, the capital letterswere kept in the upper drawer (o r case), and the non-capitals were storedin the low er drawer.

Center Point No t quite a bullet, no t quite aperiod. It's the dot that appears between lettersto indicate syllable breaks. ableCharacter Sets Every fo nt has a limited set of characters that it con-tains-and they aren't always located at the same keyboard address (a keyor co mb ination of keys that make the character appear on y our screenand on the printer). Unfortunately, a number of standards have emergedfor character sets, so fonts can be different from system to system (o reven on the same system ). All of this is a bit confusing, so try not to w orryabout itw hen in doub t, consult a keyboard layout chart or use a charac-ter-choosing utility.

ASCII Most fon ts are based on this American Standard Code for Infor-matio n Interchange, which is limited to 128 characters, but in itsextended form , covers up to 25 6 separate items (see ANSI below) .

ANSI The Am erican National Standards Institute character set of 25 6characters (the first 128 are ASCII).

Double-Byte for extremely large character sets, like those used inKanji or Chinese, 256 characters is simply no t enough (they can haveup to 20,000 characters). Double-byte software supports a system-level way of accessing more than the usual 25 6 (single-byte) characters.A byte, by the way, is a com puter numerical representation o f a char-

acter or numb er made up of zeros and ones (calledbits). There areeight bits in one b yte, or 16 bits in a double-by te.

Expert Not a firm standard, but a comm on layout that generallyincludes small caps, oldstyle figures, superior and inferior num bers,additionalligatures,and m iscellaneous special characters. Adob epretty m uch set this standard with their expert collection s. Som e-times referred to asS C O S F (small caps, oldstyle figures).

ISO Latin Sort o f the international v ersion of the ASCII set as dic-tated by the International Standards Organization.

Circus Makeup Once referred to lots of ty pefaces on a single page. Nowit seems pretty com mo nplace.

Cicero A measurement preference choice in XPress and PageMaker-mo re popular in Europe than in the U.S. An o ld printer's term, a cicero isslightly larger than a pica (0.1776 in ches). The sub -unit of the cicero isthe didot pointthere are 12 of them to each one cicero.

Classification Systems The advent of electronic type design has madeit even harder to classify ty pestyles by design attributes. Type ob servershave dreamt up all kinds of type categories, from Neo Gro tesque SansSerif (Akzidenz, ITC Franklin Go thic, Helvetica) to Hum anistic (ITC Eras,Gill Sans, Optima) , to Glyphic (ITC B arcelona,ITC Serif Go thic, Friz Quadrata). In the late1950s, Adrian Frutiger proposed a tw o-digitnum bering system for type which first appearedwith his Univ ers family. T he first digit denotedweight (from 3-light to 8-heavy), the secondwidth (from 3-extended to 9-condensed). Lino-type ultim ately released a Helvetica series withthese numerical designations, but it is rarelyseen today.

David Berlow o f The Font Bureau proposed asimilar type numb ering system in recent times,only in his scheme, w eights and widths go from1 to 9, and italics are all even num bered. BenBauermeister of ElseWare Corpo ration came upw ith thePANOSE System, which is one o f the 5 7 R o m a n C o n d e n s edmost ambitious ways of identifying type styles,65 Mediumand one used by Microsoft Windows to affecttype substitution s. The 7-digit classification 6 Medium Italicnumber covers serif style, proportion, contrast,67 Medium Condensedstroke variation , letterform , midline height and75 Boldaxis, and x-height. Using the Panose system,fonts can be mathematically com pared, sorted76 Bold Italicor m atched by sty le. 7 Bold Condensed

Maximillian Vo x (1894-1974), a French typo-85 Heavygrapher, developed theVox Type ClassificationSystem in early 1950s it consists of nine gen-86 Heavy Italiceral type categories and is used primarily in 7 Heavy CondensedEurope. None o f the proposed type classification95 Blacksystems has ever caught on widely in the elec-tronic type com munity, where the number and96 Black Italicvariety o f type designs is at an all-time high. 7 Black Condensed

Contrast Not just an adjustment on yo ur mo nitor,but ho w w e refer to the difference betw een the thickand thin parts of a particular ty pe design.

dDead Font Formats Before AdobeType 1 and TrueTypebecame the win-ning standards in electronic type form ats, others made a valiant effort:

Chameleon from Ares was a prom ising format that created small, flex-ibledescriptorfiles that were applied to m aster type outlines, allowin g

"morphing" of type stylesit's since been bought by Adobe and willlikely be used only as a font com pression sy stem for printer manufac-turers.MoreFonts from M icrologic never gained much ground o n theWindow s platform.Nimbu s Q from the Digital Type Co rporation w asdeveloped by URW in Germanyit made its way into a few W indowsprograms b efore its ultimate dem ise.Speedo was a font format fromBitstream that was used on the Window s platform prior to the w ide-

25 Ultra Light

26 Ultra L ight Italic27 Ul t r a L ign t Con densed35 Thin36 Thin Italic3 7 T h i n C o n d e n s e d45 Light46 Light Italic4 7 L i g h t C o n d e n s e d55 Roman56 Italic


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spread adoption of TrueT ype. Type 3 was the poor man's version o fTy pe 1 fonts before Adobe o pened up its specification fo r others touse. If yo u have any of these formats today , relegate them to the trashwhere they belon g.

Descender Depth The o pposite ofascender height,it refers to the dis-tance between the bottom of the lowercase x and the southernm ostpoint o f descending characters like g or y.

Descriptors For a b rief time it seemed like fonts were headed in thisdirection, where a master font file existed on yo ur system, which w ouldthen be "mo dified" on the fly into a specific type design by descriptorfiles (containing specific design guidelines). Efficiency of space and flex-ibility in distribution w as the point here. It appears that mo st of thesesystems have lost favor.

Dieresis When y ou need to help som eone prono unce cooperate, it 'swhat appears ov er the second o. Same as the German um laut, by the way.Seeaccent marks.

Dingbats Yo u know these odd characters thanks to ITC Zapf Dingbatsand WingDings. But do you know that fun typographic ornaments aresometimes calledflubdubs? Others still insist onsorts.

66 ')IE 71 4 )=- tr-w "4" "

i ipthong Not som ething for walking on the b each,but rather the ligature formed by two vow els coming .together to form one character. CeDiscretionary Hyphen Som etimes called asoft hyphen, it's really an

"optional" word break that you put in to let the program kno w that ifa break needs to b e made, this is where you w ant it to occur (usually bytyping co mm and + -). If the text is reformatted and the line endingschange, a discretionary hyphen goes away autom atically, as opposed toa hard hyphen, which stays until it is deleted. You should almo st alwaysuse discretionary hyphensyou get into less troub le that way.

Display Type Back in the good old day s, typewas designed and cut to appear at a specificsize. Technology now allows any font to b e ABdset in any size, rendering the con cept of specific display ty pe much lesspopular. But certain designs still look best w hen cut for use at larger sizes.Fortunately, fonts like ITC Bodo ni and Big Caslon from Carter and Cone(amo ng many others) are designed to b e used at specific sizes. In case youdon't think it m atters, loo k at thecontrastof a display version v ersus a textversion o f the same font. Generically, display ty pe sometim es refers sim-ply to type designs that are hard to read at sm all sizes. But a true displayfont is designed to be set large (generally abo ve 24 pt).(see page 52)

e

Ear Tho se little bo xes of type on either side of a newspaper or m agazinetitle. Often contain the weather or inside previews. Not to be mistakenfor a letter'sear (see Parts of a letter).

Embedded Fonts This is w here fonts get saved and distributed auto-matically with a document so yo u can view them correctly on anothermachine. The font companies don't like this idea since it allows thereceiver of a document to capture and then use the document creator'sfonts. Some font em bedding routines, l ikeTrueDocand OpenType,cap-ture enough font inform ation to render type properly w hen opened, butnot eno ugh to re-create who le fonts illegally.

Even Smalls is the term to use when y ou set in all small caps (with nofull-size caps).

fFace We use this syno nym ously w ith type style. But it once m eant thesurface of a letter that gets inked.

Fixed Spaces Mo st spaces between w ords in a com puter are variablespacesthey adjust in size to fit the circumstances and to m ake betterjustifications. But sometim es you w ant a fixed amoun t of space, whichgenerally com es in three sizes: anem space (ormutt) which is equal tothe point size of the type bein g used; anen space (ornutt), which is halfan em space, or athin space (no, no t a thutt) which is generally o r Vsof an en space. Most page-layout applications have keybo ard com mandsfor these standard spaces. The use of fixed spaces is invaluable when lin-ing up numbers in column s.

Fleuron Yo u've seen lovely flow er ornaments for sep-arating sections of type. Now you know what they arefft kcalled.

Folio is, of course, the page numb er in a docum ent. But did yo u knowthat ablind folio is a page with no numb er? And that adrop folio iswhen the numb er appears at the bo ttom of the page? Any printed foliois said to b e anexpressed folio .

FOND From Font Fam ily Descriptor, it's Apple's way o f defining therelationship between styles in a type family , like bo ld, bold italic anditalic, and it links thebitmap fontto theprinter fontthrough a num -bered ID system.

Font Not as sim ple as it seems. Once m eant an individual size of a spe-cific type style. Then it m eant the actual physical device you installed in

a typesetting machine. Now it generally means a single typestyle outline.Som e insist on calling the whole typefamily a font, but you should con-sider each individual weight or style o f a type family a separate font.

O

rammalogue Now y ou know w hat to call a wordrepresented by a sy mb ol, such as & or @ .

Hairline Not actually the size of a human hair, of cou rse, but generally

the smallest available rule in any system. Should technically be Y2 point.

Headlines Of course yo u know what a headline is, and asubhead, andmaybe even arunning head. But less comm only kno wn is that astub-head appears in the left-hand colum n o f a chart, and aspanner headstraddles more than one column? And no w yo u must know w here asub-spanner head goes.

Hints/Hinting One o f the hidden quality issues in ty pe design, espe-cially with TrueType. Hints are computer algorithms that improve thedisplay of type (particularly at small sizes) on y our screen. Better hintsequal better type display at low resolutions. Go od hints are done byhand on a face-to-face basis.

Inferior Don 't feel sorry it's just those little letters andnumb ers that appear below the baseline. Andsuperior, H ,0of course, are on top.

Inline Starts at the edge of a letter and goes in.Outline, of course, startsat the same edge and goes out fro m the letter.Online, therefore, is half inand half out.

Intellifont Developed by Agfa for use in Hewlett-Packard printers, Intel-lifont is a scalable font format that you really don't have to kno w anythingabo ut because it is invisible to the printer user.

Intercap Giving som ething a name do esn't make it more acceptable, butthese are here to stay. T his is the official name for the practice of having

capital letters in the m iddle of proper nam es, like PostScript, QuarkXPress,and ObnoXious.

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Justification There are lots of termsto specify this: flush left is the same asragged right. Flush right will get yo uragged left. And flush left and rightwill get you justified columns.

Excellence in typography is the

result of nothing more than anattitude. Its appeal comes from theunderstanding used in its plan-ning; the designer must care. Incontem porary advertising the per-fect integration of the design

Justification Zone Mo st people don 't set this preference in their page-layo ut program, bu t should. It's the definable area tow ard the end ofa text line in which yo u will accept a line break or hyphenation. Yo ushouldn't let the program make this decision for you.

Interrobang A sym bo l that had a brief life in the late 1960s.It was to b e used to express both a question and an exclama-tion at the same time, like in "What the ? or W ho n eeds it ?"Martin Spector is said to have invented the interrobang.

Kerning Simply put, kerning is theadjusting of space between letters (par-ticularly those that don 't fit togetherwell like Yo o r AW) to m ake for betterloo king wo rds. But that's a little likesaying you bang on piano keys to m akemusic. Kerning is an art that you are either born with, or y ou master afteryears of painstaking practice. Techno logy has helped greatly herekern-ing used to be all done b y hand. Now a type designer can build kerningpairs into the font so certain letter combinations are kerned automati-cally. Yo u can add to kerning tables in either a type design program likeFontographer, or in your page-layout application. But please don't belulled into thinkin g kerning is all automaticthere are hun dreds of thou-sands of possible letter comb inations, and kerning needs to be done incontext of w hole w ords, not just letter pairs. Not to be co nfused w ithtracking, which is universal adjustment of space between letters (mak-ing wo rds tighter or loo ser overall).

1Ligature You know this is when two letters are com bined to form o ne,like in fi or fl. But did you kn ow that all type that is connected, such asmo st scripts, is said to b eligated?

fififfiffidftLining Figures are num bers that all have the same o ptical baselinethat's the oppo site ofoldstyle figures.

234562 3 4 5 6

Metrics All of the information abo ut how a font fits together, like kern-ing information and character widths.

Microtype A font com pression/form at technology from Agfa that is usedto m ake fonts very, very sm all in equipment that ships with built-in fonts,

like laser printers. It's part of Agfa'sUniversal Font Scaling Technologyw hich is used by m any printer m anufacturers for handling internal font

Not Kerne d

Type TypefaceKernedType Typeface

generation. If you're Hewlett-Packard and you ship millions of printersa year, every little bit of information represents a manufacturing cost,so the smaller the font, the less m emo ry y ou have to build in to the prin-ter. MicroType Express is a version o f the technology for electronic do c-ument distribution that has caught the eye o f Microsoft, amo ng others,who have licensed it for possible use in future products. Everyone wantsto have the type-com pression technology o f the future (seeTrueDoc,OpenType, Intellifont).

Modifier Key Since keyb oards aren't big enough to dedicate a single

key to every letter, symb ol or num ber, mo difier keys exist to access sin-gle characters by deploying tw o (o r mo re) keys in sequence or in tandem.The shift key is the most basic m odifier key. On the Mac, the mo st com-mo n m odifier key is theoption key or thecontrol key. On a PC keybo ard,the option key is generally called thealternate key orescape key. Some-times called theeffector key, and if you have any old typesetters aroundthe office, yo u may still hear them refer to the option key as thebell key.

Mouse Yo u think it 's just that pointing device next to y our keyb oard.Well, it's also the rubber cem ent pickup device from o ld paste-up days.

Multiple Masters Developed by Adobe, these fonts consist of at leasttwo (and up to four) master outlines that can be com bined to form analmo st endless variety of w eights, widths and heights of a particulardesign. They are not as popular as Adobe had hoped, but are a good betif you w ork quite a bit with the same type style. Gives y ou lo ts of flexi-bility in copyfitting and design.

Oblique Rom an type that has been artificially slanted to look italic. Theopposite oftrue italic.

OpenType Just in case yo u didn't think Ty pe 1 and TrueT ype wereenough, Adobe and Microsoft (with support from Apple, Netscape andothers) have gotten together and com e up with OpenType, mo stly toanswer font problems on the Wo rld Wide Web. The OpenTy pe specifica-tion allows for the com pression, embedding and decompression of fontinformation so it can easily travel w ith a document and display properlyon any com puter platformsort o f where TrueTy pe and Type 1 put aside

their differences and unite for the com mo n goo d of all docum ents. Don'two rryy our current fonts should be com patible with the new format,which w ill take a while to catch o n and be supported.

Ornaments As opposed to pi characters, which generally serve a specificpurpose, orpicture fonts,which are drawings set in a font format, orna-men ts are typographic devices that are used to emb ellish text. There aremany types of ornaments.(see pages 95-100)

Orphan When y ou're setting a boo k and the first line of a new paragraphfalls at the bo ttom line of a page, or the last line of a paragraph winds upat the top o f a page (also called a pagewidow).Either way, orphans are tobe avoided.

Outline This is the part o f the type softw are that actually creates theprinted characters. It is, technically, just a description o f the type's ou t-

lineit w ould take up too m uch space to describe all the solid stuff inbetw eenthat's done in the Po stScript interpreter during printing.

pParts of a Letter

Apex: The point w here two diagonal strokes meet, as in the top ofthe uppercase A o r M.

Arm: Horizo ntal strokes on letters like T or E.

Bar: The cross horizontal piece connecting two strokes.

Beak: A serif at the end of a horizontal stroke.

(Continued on page 104)


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IB MIPPEPP 1began as a small piece of lettering for which the

California designer Jill Bell wanted the feel of some-

thing organic and earthy, yet exotic and tall like a

palm tree. Bell's experimental nature comes through

in ITC Caribbean, where she combines angles and

curves, pairs heavy lines with open work, and evinces

the sway of the palm in an island breeze. The typefaceincludes both uppercase and small caps. The design

is informed by Bell's broad artistic background,

which ranges from portrait painting to calligraphy.

She has pursued many lettering forms and meth-

ods, inc luding Eastern calligraphy, Chinese painting

and Kanji. Eastern styles, she says, incorporate the

natural flow of the hand. This approach has a special

appeal to Bell, who feels clients now desire a more

human touch in their designs. "About five years ago, I

noticed that requests for lettering design were veer-

ing away from tight, perfect letterforms and m oving

toward a looser, hand-drawn style she says.

111J1IFTandlitplintiltare adventurous and energetic display designs from

the hand of Frank Marciuliano, a New Yorker with

an extensive background in commercial design for

consumer packaging and corporate identities. ITC

Jaft began six years ago when Marciuliano created

a series of posters for the New York Times. The letter-

ing was drawn with a bamboo pen and then filledin to form the unusual angles that give ITC Jaft its

buoyant tempo.

For the very spirited ITC Jambalaya and ITC

Jambalaya Too, Marciuliano decided to treat each

letter as an individual piece of art. The result is at

once an eclectic assemblage of graphic elements

and an effervescent typeface that holds together

for upbeat display uses.

IT C E L L IP S Eis a typeface that reflects a contemporary esthetic,

explains designer J.R. Cuaz. Cuaz, who specializes

in creating visual identity programs by combining

graphic and typographic design, contends that the

ellipse has become prevalent in current design as a

result of new graphics software that makes it easy

to manipulate the circle. The ellipse has even moved

beyond print and has come to be integrated into

many other facets of design, just as the trend of

any era reverberates through architecture, fashion,

interior design and lettering. ITC Ellipse holds its

own as a display face, yet its classical structure and

familiar proportions allow it to be used across a

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Volume 23-2 (Low Res).pdf