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PUBLISHED BY INTERNATIONAL CORPORATION. VOLUME FIVE, NUMBER THREE, SEPT. 1978 F

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55 5D 75 95 D5 65 9 96 25 59 X X X XX 85 9 B3 BE 88 517 7 EB 38 59 55 95 6 - 2 65 08 5F D7 59 5D 27 65 59 lE BB CB 82 BC C .0 79 9D 27 79 SE E7 75 79 92 87 79 98 67 79 99 9 F2 5C XX XXXX CF 53 E5 99 F5 B BE CO 83 3C EF FA 30 87 79 98 87 59 56 D5 8 A6 E8 FE 56 92 87 10 EE 60 18 O 6C AA FE C3 - AA AC AE AA 6 81 90 E5 7D 98 05 59 9F 21 48 08 DC 29 ID X CC OE 6 XXXX 89 83 EH 40 BO 38 D9 80 93 EC AA A6 AA 2A 58 1 5 AC 9A AA 69 IA 70 FB DE Cl 35 95 65 B2 EA 3C 77 10 3C C9 AA C 96 02 05 AD 86 XXX 47 55 55 76 B4 RB 28 C7 82

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VOLUME FIVE, NUMBER THREE, SEPTEMBER 1978

HERB LUBALIN, EDITORIAL & DESIGN DIRECTOR AARON BURNS, EDITORIAL DIRECTOR EDWAP D RON OTHALER, EDITORIAL DIRECTOR JACK ANSON FINKS, ASSOCIATE EDITOR TONY DiSPIGNA, LYDIA GERSHEY, MARGARET LUBALIN, LINDAINAUTER. ED VARTANIAN. JULIO VEGA, JUR EK WAJDOWIC2. ALAN WOOD, ART G PRODUCTION EDITORS JOHN PRENTKI, BUSINESS AND ADVERTISING MANAGER EDWAR DGOTTSCHALL, EDITORIAL ADVERTISING COORDINATOR

©INTERNATIONAL TYPEFACE CORPORATION 1978 PUBLISHED FOUR TIMES A YEAR IN MARCH, JUNE, SEPTEMBER AND DECEMBER BY INTERNATIONAL TYPEFACE CORPORATON 216 EAST 45TH STREET, NEW YORK, N.Y. 10017 A JOINTLY OWNED SUBSIDIARY OF A BRIEF HISTORY PHOTO-LETTERING, INC. AND LUBALIN, BURNS Sr CO., INC. CONTROLLED CIRCULATION POSTAGE PAID AT NEW YORK. N.Y. AND AT FARMINGDALE. N.Y. PUBLISHED IN U.S.A. OF

ITC OFFICERS: EDWARD RONDTHALER. CHAIRMAN AARON BURNS. PRESIDENT At the end of last year we were HERB LUBALIN, EXECUTIVE VICE PRESIDENT JOHN PRENTKI. VICE PRESIDENT. GENERAL MANAGER delighted to have received a cal- BOB FAR E'ER. SENIOR VICE PRESIDENT ED BENGUIAT, VICE PRESIDENT endar from Henry Brown, Presi- STEPHEN KOPEC, VICE PRESIDENT

U.S. SINGLE COPIES, 5I.S0 dent of Frederic Ryder Company, ELSEWHERE. SINGLE COPIES $2.50 TO QUALIFY FOR FREE SUBSCRIPTION. COMPLETE AND RETURN THE Advertising Typographers, in SUBSCRIPTION FORM IN THIS ISSUE TO ITC OR WRITE TO THE ITC EXECUTIVE OFFICE. Chicago, entitled "The Typo- graphic Year: '78 from A to 72 assumed the phonetic value of its pronounced by the Greeks. In This Issue: It was of utmost interest to us initial "a:' But the Greeks also realized the A Brief History of Typography since its purpose was not only to Proof of this can be found on an workability of the Phoenician alphabe inform type users about the his- obelisk bearing the cartouche of the and adapted and modified the charac. How many people who use type every day really tory of the letter form, but also Egyptian queen Cleopatra. Her name is ters to fit their own needs. know how type and letterforms developed? The to bring them up to date on the "spelled out" in hieroglyphic characters, By making scratch marks with a imaginative people at Frederic Ryder Company new technological developments two of which are eagles standing for the metal or ivory stylus in a soft wax table in Chicago have come up with a fascinating in typOgraphy.We have taken two "a's" in the name. the Greeks reproduced the characters answer. Pg. 2. liberties with the original graphics With this, our alphabet had a with short irregular lines. created by Wilburn Bonell, Ill to beginning. As time passed, the Greeks altered Pro.Files: The Great Graphic accommodate the page size of the letter forms and made necessary Innovators lAlc. However, the information modifications. For instance, the alphab compiled and written by Tom was made to read from left to right, Continuing our popular series of insights into Shortlidge is essentially the same. instead of right to left. Also, vowels the personalities and artistry of the industry were added. giants, this time highlighting the exceptional And no longer did "beta" signify a work of Cipe Pineles and Henry Wolf. Pg. 6. house, but it became only a name . symbolizing a letter. Lou Myers at Large All of this seems to have been fina One never knows what to expect from this zany ized around 700 B.C. cartoonist except that his drawings are always a combination of fun and revelation.Pg.12. Ms. Carol DiGrappa 1000 B.C. it is said that there is nothing new under the sun. Gradually other hieroglyphics and But along comes our featured female to give it their phonetic equivalents evolved into the lie and reveal to us an interior world of a series of"ideographs" and "phono- FROM AN EAGLE TO mystery, fantasy, and decadent beauty. Pg.14. graphs" representing sounds. A CATHODE RAY TUBE This abridged form of hieroglyphics Carol Wald Gives Us the Business Not long ago a type specifier was was used by priests and was known as Our favorite collector returns to grace our pages looking for a"new" look for an ad. He "hieratic" writing around 2500 B.C. selected . By 1200 B.C., the general populace with a handsome assortment of nineteenth He got his look —photocomposed of Egypt had begun to write with reed century artistry when business cards meant busi- with minus unit spacing —and we had pens on papyrus. This writing used a 114 A.D. ness.From discreet black-and-white engravings to smile a little. simplified form of the hieratic writing Several centuries before the birth to chromo-lithographed pictures, they delight- To get this contemporary look, he with "demotic" symbols. of Christ, was in the process of fully conjure up 'the good old days.' Pg.16. had used a 400-year-old typeface. This But it was left to the Semitic adopting the Greek alphabet. incident started us thinking. Phoenicians around 1000 B.C. to devise By the early Christian era, after fur The Swingin' 40s How many people who use type a true alphabet which relied on a single ther modifications and additions, the No.5 in our series of Very Graphic Crossword every day really know how type and symbol to represent a sound. Roman alphabet as we know it today letter forms developed? You can see part of this development was nearly complete. Puzzles goes nostalgic, as Al McGinley and Don And how many people use if you turn this page around so that the Around 114 A.D., an inscription wa McKechnie present us with an eye-opener to like Cloister, Garamond, Caslon, Basker- point of the A is pointing down. chiseled into the base of the Column i stretch the mind and stir old memories.Pg.20. vale, and Bodoni without realizing that It looks like a stylized ox head, 's Forum in Rome. these faces were significant stepping doesn't it? This inscription contains all of the Pretzel Face stones in a development that began as Probably because of a misinterpreta- Roman capital letters with the exceptio U&lc has published alphabets and alphabets, eagles, owls, snakes, and lions in Egyp- tion of an earlier Egyptian symbol for of H,J, K, U,W,Y, and Z. It is generally but this one (by Lou Klein, staff, family, and tian hieroglyphic writing and is now "d',' the Phoenicians used "aleph;' which regarded to be the finest example of being transformed by cathode ray tube in the Phoenician tongue meant "ox:' chisel-cut lettering from the highest friends) is an alphabet you can really sink your typesetting systems? So the original Phoenician sign was a period of Roman inscription-making. teeth into.Pg. 22. Not too many people, we suspect. So, stylized ox head, which over the next Besides being indicative of the herewith we are presenting a brief his- strength and order of Rome, these cap Something for Everybody couple of centuries was first turned on tory of 3,000 years of letters. its side and then completely over to tals, with their sense of form and pro Our popular feature is back with more worldly, Because it is brief, there are dozens form a recognizable A. portion, became the inspiration for waggish,whimsical outpourings illustrated in the of omissions. And several of the exam- Western letter forms. These Roman ca] affectionate hand of Lionel Kalish. Pg. 24. ples we've chosen were selected for itals also showed a new development- their visual interest rather than their serifs. Editorial historical significance. For centuries, it was believed that Why typeface royalties? Who pays them? How A student of this subject might take these serifs were necessitated by the exception to some of the examples stone chiseling technique to create , much do they cost? How do they affect you? we've chosen. clean, precise "stops" for the letters. This special U&lc editorial provides a full an- Scholars believe that the earliest More recent research, however, swer, at the same time explaining why a type known Egyptian hieroglyphics, dated seems to indicate that these serifs shop customer should pay nothing extra for 4200 B.C., were actually derived from developed as characteristics of the earlier Sumerian pictographic forms. "rough" lettering done by scribes with specifying an ITC typeface while supporting both Be that as it may, the hieroglyphics large reed brushes as a guide for the the ethics of an industry and the future of type- cut into stone by the ancient Egyptians stonemason. face design. Pg. 26. seem to be the graphic ancestors of The stonemason followed the our current alphabet. brush's inclination for thick and thin What's New from ITC Very early, the pictorial symbol for 700 B.C. strokes and the finishing strokes we ITC Cheltenham in nineteen distinguished type the name of an object began to assume If you have trouble pronouncing now know as serifs. styles, is featured in this article which pinpoints the beginning sound of the object. That words in a foreign language, you'll The chiseled inscriptions were later means if we were reconstructing this appreciate how the Greeks of the 7th filled with red paint to look like writ- its progressive history as well as presenting a system today, a coffee cup would repre- and 8th centuries B.C. felt about the ing. Time, the elements, and neglect to collection of typographic quotations redesigned sent the phonetic value of"c:' Phoenician "aleph" (ox) and' beth" their toll on all but minute particles by Herb Lubalin to show the broad versatility of So in early Egypt, the word for eagle (house), which became a more com- this paint, but the beauty of the letter this newly redesigned typeface.Pg.27. was "ahom:' So the symbol of the eagle fortable "alpha" and "beta" when forms remained. scribes with a square-edged pen with a national and regional characteristics. Carolingian hand had been were intended to resemble the best nearly vertical nib and held at a con- By early in the 8th century, an Anglo- adopted in other parts of Europe, and manuscript letters of the time. So the stant slant. Many of the small refining Saxon semiuncial that is now known as was undergoing the inevitable process Gothic Textura was used as a model. strokes of the square capitals were the Anglo-Saxon Round Hand had of regional modification. Especially in At first, only the text was printed, eliminated. Serifs were made with a turn emerged in secular writings. It is in this Germany, the Carolingian writing began and space was left for large decorated of the pen instead of a separate stroke. style that the Book of Kells and the to have a typically Gothic character. It initials to be drawn by hand. But as And, when practical, letters were joined Lindisfarne Gospels were produced. was written by holding the pen almost printing began its widespread growth together without lifting the pen. These two historic Celtic illuminated upright. The vertical strokes became at the end of the 15th century, punch , by successfully integrating excessively heavy, most curves disap- cutters departed more and more from elaborately ornamented letters with peared, as the letters became highly the manuscript forms of their day. illustration, created a form that would condensed, angular, black, and some- still be used by graphic designers twelve what hard to read. centuries later Because these "black letters" were made with great precision, and because 3RD-4TH CENTURY they were so evenly spaced that they The earliest manuscripts in Western resembled a woven fabric, they were handwriting are really nothing more appropriately called "Textura:' The than studied reproductions on vellum of black-letter style, because it was used the Roman lapidary capitals. predominantly for religious manuscript But just as the brush and chisel had writing, soon became unavoidably influenced the development of stone-cut linked with the church. It has retained letters, so the reed pens and quill nibs that association ever since. of the scribes began to influence the 5TH-6TH CENTURY Today, a variation of the German development of written letters. The decline of the Roman Empire black-letter style, though it is incor- In order to copy lapidary capitals, the seems to have been paralleled by the rectly referred to as Old English, is seen pen needed to be held nearly parallel continued disintegration of the Roman in church hymnals and on most wedding 1470 to the surface. Writing was slow. As a capitals. invitations. It has even surfaced in Not only was Mainz, Germany, the desire to write faster grew, the pens As Rome ceased to be the center 789 A.D. comic strips. To make it perfectly clear accepted birthplace of typesetting, but were turned more vertical, characters of the world and other nations rose in In 771, Charlemagne became the king that he is an animal "of the cloth;' the in an indirect way it also influenced the were simplified somewhat, greater importance, hand-lettering began to of the Franks. During his reign, a vast Deacon in Walt Kelly's Pogo always next significant phases of typesetting. display national and regional charac- contrast of thick and thin strokes and unwieldy empire was given struc- speaks in black-letter. In 1465, at Subiaco, Italy, two developed, and less rigid forms evolved. teristics. printers from Mainz cut a transitional These tendencies were magnified by The embellishments brought to let- ture and much was done to further the religious and cultural life of the time. type nearly Roman in form but Gothic varying degrees of viscosity in the inks ter forms by the Franks, Teutons, Anglo- in color and weight. and inconsistencies in the parchments. Saxons, and Visigoths were often in- To overcome the widespread con- fusion caused by the great diversity of Seven years earlier, in 1458, Nicolas Even human nature began to have an volved and complicated, but the unify- Jenson, an engraver at the French mint effect on the design of alphabet charac- regional writing styles within the ing feature of all these national scripts empire, in 789 Charlemagne decreed at Tours, had been dispatched to Mainz ters. Some men were meticulous, others was the "uncial" letter form. by Kmg Charles VII to bring back infor- careless. Scribes copying earlier writ- the use of a standardized copying style. Uncials were distinguished by their To supervise the revision of church mation on a new art called printing ings exaggerated the weaknesses of the roundness and diminished serifs. In the that had been developed by a man original. interest of saving time, scribes often material and the rewriting of many Greek and Latin manuscripts, Charle- named Gutenberg. By the end of the 3rd century, some combined strokes and rounded off On his return to France in 1461, Form of"book hand" was used almost magne appointed an English scholar, corners. Alcuin of York. Jenson met with a cool reception from exclusively for manuscript work. Many of the uncial characters today Louis XI, Charles' successor; who did The Roman "square" capital was the Alcuin had been trained to copy in appear to be lower case, but in fact they a northern Anglo-Saxon script. So, at not share his father's interest in print- first finished style to develop from this were capital letters. With the exception the Carolingian abbey of St. Martin of ing. Disillusioned at first, Jenson was trend toward writing and away from of some illuminated initials, sentences 1450 nonetheless determined to work with drawing. Tours, he encouraged the design and use were begun with the same uncial char- of a new alphabet based on the Anglo- At the beginning of the 15th century, this new art form. acters that were used in the rest of Saxon style to replace the prevailing the elements of many disparate calli- It is known that by 1469, Jenson was the sentence. Merovingian style. The flowing, efficient graphic styles were converging in two established as an engraver in Venice. letter forms that evolved became known dominant styles—the Gothic black-let- There he developed the first pure as the , although it ter and the Littera Antigua white letters. Roman typeface in 1470. did use both majuscules and minuscules. Both of these would soon serve as the In Jenson's type, there was very This new style had a great influence first models for movable printing types. little contrast between thick and thin on all the European calligraphic sub- Although the apparatus for casting strokes, the serifs were blunt, and the styles that developed from Charle- movable types is generally attributed to lowercase "e" had a distinctive slanted magne's time through the invention Johann Gutenberg, there is reason to cross-stroke. This type,which Jenson of printing and the early Renaissance. believe that Laurens Coster of Holland used in his famous Eusebius, today can So it can be said that the Carolingian had printed with movable types before be seen as the face Cloister Oldstyle. Minuscule was the direct ancestor of Gutenberg. the most basic type styles of today. Gutenberg can be given credit, how- ever, for improving the art and putting 4TH-5TH CENTURY it to practical use, because not only did About the time that the Roman he cast type in single pieces, but he de- iquare capitals had finally begun to 6TH-8TH CENTURY vised a chase to hold it, mixed suitable rain general acceptance for manuscript From the time of the Phoenicians inks, and perfected a technique for work, new letter forms were produced to the beginning of the 6th century all registering the page to make a good vhich came to be known as "rustic" letters had been capital or "majuscule" impression. :apitals. letters. But with the introduction of half The famous Gutenberg 42-line Bible The Latin word "rustic" was used in uncials or semiuncials, the foundation was printed sometime between 1450 he sense that this style was free and of lowercase or "minuscule" letters and 1456 in Mainz, Germany. Guten- my compared to the more carefully was established. berg's first actual printed work may :onstructed Roman square capitals. The It is hard to actually date the first have been a book entitled World iew "rustics" were viewed as country semiuncials. They probably evolved out Judgment, published 10 years before ousins to the refined Romans. of the "running hand" of mercantile his Bible. 1506 Once again, it was the wish to write scribes of the 5th century. Semiuncials The types of Gutenberg were black- Aldus Manutius was a scholar and aster that led to this new hand. began to appear in the 6th century. Like 13TH CENTURY letter in form. Even though these let- tutor. So he fast saw printed books as a The were written by the uncials, they soon began to develop By the end of the 12th century, the ters were cut by a punch cutter, they means of making classical manuscripts easily available. His later contributions eloquently referred to as the finest In the Bodoni type, the thick and tended primarily for books, and there- to printing, especially small capitals and vehicle for the printed conveyance of thin strokes were greatly exaggerated. fore tasteful "book faces" had pre- the first italics, continued this wish to English speech that the art of the punch- The round letters were narrow rather dominated. help scholars. cutter has yet devised:' than full, and the serifs were thin lines. But around 1820, the world, and In Venice, at the age of 40,Aldus 1530 When modern transitional types The fact that the delicate hairlines America in particular, was expanding began to print reference books which Looking back, it could be argued that began to appear 30 years later, Caslon's were reproducible at all is probably industrially and economically at a rate brought about a tremendous enlarge- the greatest contributions to typog- type fell out of favor. It was "redis- a testimonial to the success of copper never known before. To serve this com- ment of the conception and purpose raphy were made within a century of its covered;' however, in the 19th century engraving at the time. merce, advertising was already demand- of all books. beginning. because of its great readability. Bodoni's types were used in books ing more expressive, more obtrusive In 1495, he published De Aetna, The contributions were numerous — that were probably intended to be "display faces:'At first, this meant dis- by Pietro , using a calligraphic the old-style family of types, small capi- admired by the affluent rather than read tortion of available typefaces. Thick Roman of his own design. This is con- tals, italics, printer's marks, colophons, by the masses. strokes became thicker, and fine stroke sidered to be the first modern book the itself. Although the title pages were even finer in terms of typographic style. The contributors were people such as impressive and the margins were gen- But soon, the printers' racks began tt About 1506,with Francesco Griffo of Gutenberg, Coster, Fust, Koberger, erous, the text in these books was overflow with fancy fonts of grotesque Bologna,Aldus developed the first italic Ratdolt, Schoeffer, Jenson, Aldus Manu- undistinguished, and the editing and proportions. type. These italics were originally tius, Arrighi, Due Pre, DeWorde, Caxton, proofreading somewhat lax. The first shadowed and outlined intended to be independent book faces, Pynson, Tory, and . Despite its flaws and because of the letters soon appeared. Black letters, with no relationship to the Romans. Garamond's Romans were intro- technical achievements and visual style after a period of disuse, became popula: They were used for less important lines duced in Paris in 1530. of his typography, Bodoni gained a again as the Gothic Revival was im- on Aldus' title pages, to provide easier Compared to the Romans of Nicolas great deal of recognition and admirers. ported to America. reading and to give more emphasis to Jenson, Garamond's Romans had a One of these admirers was Napoleon, The most significant of the new form: the capital lines. greater contrast between thick and thin who undoubtedly responded to the were the types called "Egyptian" They The original italics were all lower- strokes, more upright round characters, classical, almost imperial, look of the probably acquired this name because case and were used with initial Roman a horizontal cross-stroke on the "e:' 1757 Bodoni types. of their "darkness" and the interest capitals, following the practice of callig- and serifs that angled sharply out from The transition from old-style to in the archaeological discoveries then raphy in the papal chancery. A quarter the stem to form crisp points. modern-style type design began rather going on along the Nile. They had stem of a century passed before sloping cap- These new letters gained great accep- abruptly with the publication of John and slab serifs of nearly equal weight, itals appeared in type. tance in France and were almost single- Baskerville's edition of Vergil in 1757. which made them especially visible in Baskerville had been dissatisfied • handedly responsible for displacing the giant advertising broadsides. Gothic black letters as the standard with existing types, so for his Vergil, The P T Barnum aura of type desigt printing type. he spent two years designing his own. continued throughout most of the 19t1 Curiously, many of the modern type- The result was a relatively heavy face century, as swollen, incised, decorated, faces that bear Garamond's name are with extreme thins and straight serifs. flowered, shaded, three-dimensional, not really closely related to his types These new letters had a near per- notched, and convoluted letter forms but are based on types that were mis- fection that was very unlike the cruder often screamed from the same page fo takenly attributed to him. Caslon type to which England had be- the attention of the buying public. come accustomed. Part of this perfec- If one type could stand for both tion had to do with the way the type the absurdity and the vitality of this was printed. 1816 period, it would have to be the alpha- Also dissatisfied with the quality bet called, appropriately, "Lapidaire of existing printer's inks, Baskerville The letters in the early Greek stone Monstre' made his own extremely black ink, even inscriptions were without serifs. But boiling the oil and burning the lamp- after the Romans added serifs, sans 1525 black itself. letters did not appear again until 1816. Stimulated by printing presses, the The available laid paper did not A single size of a sans serif type wider dissemination of books, and the suit him either, so he manufactured a appeared in the 1816 specimen sheet of Renaissance spirit itself, Western Eur- paper with a smoother surface, the first William Caslon IV, a descendant of 18th- ope showed a great preoccupation with woven paper ever. He used a harder century type founder William Caslon. writing and instructional copybooks packing on his press, and when the Caslon called his single size "sans syr- in the first part of the 16th century. sheets had been printed he pressed ruphs," but it soon became known as One of the subjects studied in these them between hot copper plates to "grotesque" because of its strangeness. books was the classical Roman lapidary 1720 dry and set the ink, thus giving the By 1832, Stephenson Blake of Eng- capitals. Not only was there an appre- After Garamond's death in 1561, paper a smooth and polished look. land was producing a broad range of ciation of these letters, but there were there was no real substantial change in grotesques. The influence of these "new" even attempts made to reduce them to type design for almost two centuries. letter forms quickly spread beyond a science. Which is not to say that printing went Europe to the type foundries of America, In his Divina proportione of 1509, into a decline. Quite the opposite was where they became part of an explosion 1829 Leonardo Da Vinci demonstrated the true. of typographic styles in the mid-1800's. Although it has since developed construction of the Roman capitals with Printing and printers flourished in distinct characteristics, the idea of the geometric elements. the 17th and early 18th centuries. The typewritten letter was at first inex- And in 1525, Albrecht Diirer wrote an romantic novel, newspapers, journals, tricably bound to the printed letter. essay entitled "Of the Just Shaping of and political pamphlets began to reach The first recorded patent for a primitiv Letters" as part of a treatise on applied the growing ranks of the middle class. typewriter was taken out by Henry Mi geometry. At the height of this printing fury, in in England in 1714. It was not until In this essay, Diirer constructed 1726, William Caslon arrived at his cut 1829, however, that a practical writing each letter by inscribing it in a square known as Old Face. machine—coincidentally called a of specific size, building the characters Caslon Old Face was not a new step in "typographer" —was patented by from elements of the square and arcs typography. It was just the final defini- William Austin Burt in the United of circles. The constructions were well tion of the old-style Romans begun by 1788 States. formed and were not distorted to con- Jenson and Aldus Manutius. Although he certainly pushed along The earliest models produced an form to some predetermined system. The individual letters were not, in the design of modern type, Giambattista embossed writing and were primarily Complete instructions and alternate themselves, very distinctive. But they Bodoni may have hindered its read- intended for the blind. Until a shift-ke' designs for each letter were given in the had the ability of combining into excep- ability in the process. model appeared in 1878, typewriters accompanying text. tionally legible words and pages be- The pseudo-classical Bodoni type 1820 permitted only capital letters. Dtirer, known for his woodcuts and cause no letter flourishs or details that was introduced in Italy in 1788 was The year 1820 could be regarded The early lettering for typewriters paintings, had made an important con- would distract the reader. strongly influenced by the types of as a kind of boundary line between the had a purely typographical quality am tribution to lettering craftsmanship As others had before, Caslon's type Baskerville in England and the Didots purposes of type. resembled the Bodoni type. But the with a single essay. became the standard of an era. It was in France. Up to that point, type had been in- delicately articulated forms and alter- 5

nating thick and thin strokes soon scott Press produced The Story of the also easily adaptable. In the most elab- than the "o" because the greater area of 'type was sharper and blacker or more proved unsuitable for a multiple num- Glittering Plain in 1891. For this book, orate neon typography, strokes were white around it made it seem optically as subtle, depending on the typeface. Type ber of copies. The care necessary to Morris designed a modeled very often doubled, tripled, and quad- broad as the "o:' The "u" was narrower could be enlarged as much as 500% reproduce something clearly prohibited after those of Nicolas Jenson. It later rupled to produce dramatic pieces of than the "n" because the white area at without affecting its integrity. any rapid speed. became known as Golden type, since it illuminated information in the midst the top of the "u" was more evident than And photocomposition could be more In order to accommodate both was used for The Golden Legend, of utter darkness. the white area at the bottom of the "n:' economical because it eliminated steps clarity and speed, designers began to printed in 1892. There were almost as many similar subtle in the production process. abandon Roman types in favor of letters Morris produced a version of Caxton's character changes as there were letters Phototypography allowed the people of a more uniform thickness. Recuyell of the Histories of ltoye, the in the alphabet. who work with type to control their The mechanics of the typewriter first book to have been printed in Eng- X X X XX The diversity of Univers is most medium, rather than being controlled created the identical space for a narrow land. For this, he designed a Gothic type dramatically shown in its original set- by it. letter like an "I" as it did for a wide known as Troy. XXXXXX up for the composing machine. If you letter like a "W"This was unsatisfac- All of the work of the Kelmscott counted the different variations in the tory because the letters then failed to Press is characterized by highly deco- 12 different point sizes, altogether achieve a fluent rhythm, and the legibil- rated title pages,woodcut illustrations XX there were 17,280 letters and punctua- ity of the typed text was impaired. To reminiscent of the 16th century, orna- tion marks at the disposal of the 0 07 59 65 137 overcome this obstacle, the lower bars mental initials that were inspireckby XXX machine. 67 79 0 57 79 0 CP 33 85 99 35 03 SC 24 VA 3C of narrow letters like "I" were empha- medieval manuscripts, and craftsman- SI 55 651. 56 95 57 10 5C AA 20 C3 sized in order to fill out the space they ship throughout. Morris' fastidious 56 61 10 3 53 91 55 90 21 f4 CC OR 03 AB AO 30 36 occupied. This new lettering created craftsmanship even extended to the 60 BC AA AA AA 2A 66 15 VA AA 09 IA 70 •5 96 05 82 eA specifically for the typewriter became paper of all his books, a linen rag which 1957 90 C9 AA C 86 known as "Pica:' was woven with a slight irregularity in Modern sans serif types are basically >5 HA Although many ornate letters and texture, just like the papers of the patterned after a face called Akzidenz variations on Pica were attempted, none earliest printers. Grotesk. This was first cut by the Bert- ever became serious rivals to Pica be- In retrospect, this revival had little hold foundry in Germany in 1898. Much cause none could ever achieve its clarity bearing on the course of typography, later, when it reached the American 1978 or manufacturing economies. but it did account for the proliferation market, it became known as Standard. Scientists and insurance companies It was only with the invention of the of private presses at the beginning of The legacy of Akzidenz Grotesk can NY( are fond of reminding us that "the electric typewriter around 1935 that the 20th century. be found in the faces created and popu- future is now' That couldn't be a truer type designers gained the freedom to larized by the Swiss school of design statement when you look at the future invent practical new letter forms for —Neue Grotesk (Helvetica), Folio, of typography. The typesetting equip- the typewriter. and Univers. 1960 ment for the next generation is already The regularity with which keys were Although Helvetica has become the For 500 years, the stern limits of in use. struck on an electric machine dis- most widely used type in modern com- metal governed the development of This Cathode Ray 'ffibe (CRT) sys- pensed with the necessity for letters munication, it can be argued that Uni- typography. But then, a new tool was tem begins by translating the image of of uniform thickness. vers —because of its extensive range of added that expanded the capabilities a type character into binary (off/on) Improvements in the electric type- weights and widths --is a more impor- and flexibilities of type —photography. code. This code in turn controls the writer allowed the carriage to shift vary- tant typographic landmark. Experiments in setting type photo- image that eventually is projected onto ing spaces. The new machines would allot The Univers family was conceived graphically had begun as early as 1876, the CRT screen or that is exposed onto to letters of different widths exactly the by Swiss-born designer Adrian Frutiger but it was not until the 1920's that a line- a photographic material such as paper space they required. With each subse- in 1957. Working in the atelier of the casting machine was successfully con- or film. quent improvement in the typewriter, Deberny and Peignot foundry in Paris, verted to a photographic typesetter. The CRT is made up of lines which the desire to create new types for it Frutiger adopted a rather unconven- At the same time, a revolving disk-type form a screen or grid of lines that nor- was stimulated. 1898 tional approach to type design. Instead character system on glass and a photo- mally ranges between 1,000 and 2,000 Seldom does a discovery in the of allowing the success of a typeface to graphic matrix system were developing. lines per inch. The areas between the field of science have a direct bearing dictate its later extension, Frutiger In 1936, the Uher-type machine, the lines of the screen create individual on the course of typography. But when created an entire range of variations granddaddy of modern photo type- squares that can be turned on or off, the element neon was discovered by at its inception. setters was introduced. And in 1946, depending on the binary code. Sir William Ramsay and M.W. Travers in Whereas variations in most other the Fotosetter, the first commercially The binary codes representing a type 1898, it would not be long before this typefaces are indicated by words such as acceptable photographic typesetting font are recorded on a storage media discovery gave birth to the most prev- "demi" or "bold;' the sheer volume of machine,was field-tested at the United such as a "floppy disk" When a typeface alent typographic communication in variations in Univers demanded another States Government Printing Office. is needed by the phototypesetter, it is modern cityscapes. system. This system became numerical. The Fotosetter, significant as it was, instantly transferred from the storage The first neon sign was created by Number 55—Univers 55 —was the had all the speed and spacing limita- media to the computer memory. When forcing a small amount of neon gas into norm, and all its variations were based tions of hot-metal equipment because it they are activated, digitized characters a partially evacuated clear glass tube. on units of 10. In terms of type "weight:' was manually operated and depended are transmitted to the CRT screen. This gas conducted a current of elec- the higher the 10's place in the num- on three-dimensional mats to create The characters form on the screen in tricity, naturally producing a bright ber, the bolder the type would be; for two-dimensional images. much the same way that dots form a 1891 reddish-orange glow. In order for the instance, Univers 75 is bolder than By the early 1960's, systems had been halftone in a printed picture. By the end of the 19th century, sign to glow other than red-orange, the Univers 55. invented that virtually eliminated ver- All of this happens with incredible commercialism and the Industrial Revo- tubing itself needed to be colored. In terms of type extension or con- tical and horizontal spacing limitations speed. CRT typesetting systems are lution had crept into almost all aspects Once the principle of the neon sign densation, the higher the unit's place in and that operated at dizzying speeds. capable of producing 8,000 characters of life in America and Europe. In its path, was understood, the complexity of the number, the more condensed the Photo lettering suddenly permitted new a second, and 150 to 300 lines of copy most of what was craftsmanlike, sensi- the signs themselves depended on the type would be; for instance, Univers 53 typefaces to be designed and produced every minute. tively created, and beautiful had been skill of the glassworkers to bend and is very extended and Univers 59 is very without the crushing cost of casting Any desired unit spacing can be fac- crushed.lypography was no exception. form the glass tubes into inventive new condensed. Odd numbers such as them in metal. tored into a setting, as well as condensa- A revival in typography made by shapes. Univers 57 signified roman, and even Photo display lettering could be tions or extensions of a specific typeface. William Morris was one attempt to stem As the 20th century progressed, numbers such as Univers 58 signified condensed, expanded, compressed, ex- A few years ago, a CRT system was the creeping blight ofindustrial ugliness. neon signs of humble and grandiose italic. tended, obliqued, or otherwise made to a magical, exotic piece of hardware. For inspiration, Morris looked to the first varieties were urging people to enter, By carefully altering characteristics conform to any desired space. Today, it's a widely accepted production printed books of the 15th century. exit, stop, or start and telling them which within a specific letter Frutiger ensured Photocomposition allowed character tool that will perform an important He would have preferred works of an way it was to the bathroom. Neon signs an even color and balance for an entire fitting in text to be sensitively control- role in typography. earlier, medieval vintage, but of course, identified Salvation Army missions as setting of Univers. For instance, the led with the use of plus or minus spac- Ultimately, the CRT could be replaced printed books were not available from easily as they did the liquor store right "free" ends of letters were slightly ing. Characters could be superimposed, by systems that record directly onto that period. next door. thickened, and connected ends were and even solid line spacing could be printing plates or even "plateless" print- After three years of study into the The flowing, continuous nature of the somewhat pinched, to lighten the effect subtracted from. ing presses.And maybe that could be arts of the book, papermaking, binding, glass tubing lent itself best to script of blackness and to prevent smearing With photocomposition, there were the subject of our appointment calen- and type design, Morris and his Kelm- letter forms, but sans serif styles were during printing. The "c" was narrower no broken letters and no misalignments. dar 25 years from now THIS ARTICLE WAS SET IN ITC GARAMOND BOOK CONDENSED 6 CHRONOLOGY Cipe and I have been friends for a long several agencies,but it was their policy lib.Perhaps I felt that way because I didn't time. At her Victorian house, lunch in not to hire women.It would inhibit the know I needed to be liberated.I had a hus- 1910: born in Austria laptrays,we talked warmly in front of an bullpen from making rude jokes. Fortu- band who introduced me with pleasure 1923: came to with younger sister and mother open fire which crackled punctuation.We nately Agha didn't feel that way. as a working wife and who took pride in 1924: attended Bay Ridge High School, Brooklyn; member sat deep in personal surroundings, dis- "It was shortly after Vogue got Agha my work.' didn't think I was unusual. of Arista Society; won 1st prize, Atlantic Monthly cussing personalities with only two overly that Harper's Bazaargot Brodovitch, and "Bill and I lived in Manhattan then. essay contest; awarded scholarship to Pratt Institute furred cats to overhear us.All around a whole new craft was born.The field of I could be home for lunch two or three 1927: attended Pratt Institute were sharpened pencils, proofs, pastepot editorial fashion was an area where the times a week.And we were lucky to find 1930: won scholarship to Louis Comfort Tiffany Foundation — tools of the trade of this first woman to most innovative photography, illustra- Roslyn, who not only cared for our son 1931: worked at 1st job, Contempora, an industrial be admitted to the Art Directors Club. tion type, drawings and layout were being Tom, but kept the apartment tidy, design studio Young, inexperienced Vienna-born published.At that time, editorial efforts shopped, cooked and took care of us, too:' 1933: became assistant to Dr. M. F. Agha, Conde Nast Cipe tiptoed into the pre-World War II were more avant garde than advertising:' Publications GS —What was it like to be married to world of creative professional design. She GS —Why did you leave Conde Nast? two celebrated designers—Bill Golden 1936: went to London as associate AD," ogue" has, ever since, kept the pace. 1938: became AD, "Glamour" CB —"I didn't leave.I was fired.They let and Will Burtin? 1941: married Bill Golden (widowed in 1959) GS—In the 30's,Dr.Agha hired you.You Agha go, and the new art director,Alex- CB —"It wasn't always easy, and we had 1945: went to Paris to be AD, "Overseas Woman' a were a legend's right-hand person.Were ander Liberman, got rid of the rest of us:' lots more things to quarrel about than do U.S. Army publication for servicewomen you aware of isolation as a woman? 1947: become AD "Seventeen" GS —Then you went to the new Seven- most couples, like: Why does that artist 1948: became 1st woman admitted to Art Directors Club CB —"Fashion magazines were filled with teen. Did you bring a new concept to it? do a decent job for you and never one as good for me? Or. Should you ever use 1950: was AD "Charm" women. A man was a rarity Myjob was so CB — "I came to it a year after it was born. 1951: Tom Golden was born anything but sans serif type, and if yes, wonderful because I was the only woman It was the brainchild of the editor, Helen 1959: was AD "Mademoiselle" when? Or How come they asked only you in the most brilliant man's office.Agha Valentine, who made me feel everything 1961: married Will Burtin (widowed in 1972); joined enjoyed working with women and had a to be a judge at the show, relegating me to 'Will Burtin Inc" as free-lance designer was possible on her magazine.I didn't profound understanding of their profes- socialize with the wives at the pool? 1963: joined faculty Parsons School of Design have to wait forever between the time I "When Bill and I married,we had been 1965: named Consultant and Graphic Designer for sional problems.I got the impression he presented an idea, and the okay to go Lincoln Center for the Performing Arts was trying to make me more aggressive. working independently and had to some ahead.With four stories a month, I estab- extent recognizable styles of our own. 1966: elected to Board of Directors of the American It was his idea, not mine, that I become a lished the then unheard-of idea that you Institute of Graphic Arts test case for the Art Directors Club. Each of us respected and admired the 1970: became Director of Publication Design, Parsons allow an artist to choose the image he other's work. We liked to compare daily "After I had met Mr. Conde Nast at a sees in a manuscript, not let a fiction 1972: adopted Carol Burtin Frrpp party, and was brought in by Conde Nast disasters, and often came up with better 1975: elected to Hall of Fame,Art Directors Club editor dictate a stock situation.I wrote to himself, there was little forAgha to do but solutions to problems by letting off 1977: admitted to membership,Alliance Graphique museums asking for artists who could hire me on the spot. stearrtI learned a lot from Bill; one was to Internationale; appointed Andrew Mellon Professor, paint and draw in such a way as to carry The Cooper Union "It was hard in those days to get a job. accept a raise and return it to the com- out a commission.I compiled a list of 50 1978: received Award for Excellence, Society of It had taken a year to find the previous pany the next day in exchange for a four- Publication Designers; invited by the Overseers of one, my first, at Contempora.We were artists to call upon. Some of them were day week. The other thing I learned was Harvard University to join than in visiting the , Richard Lindner, Doris Lee, Graduate School of Design ready to design everything from coffee- how to say 'no' to intrusive demands:' pots to world fairs, but it was coffeepots Philip Evergood, Lucille Coreos, Reginald "I look back on my time with Will Marsh, Kuniyoshi and Robert Gwathmey. SELECTIVE BIBUOGRAPHY ' that kept us going.I worked there for two Burtin with gratitude.Though Bill and years, for $25 a week, but it was usually GS —Anything else you'd like to do? Will shared the same profession, two Dougherty, Philip H,'A Lady Enters the Hall of Fame' owed to me.When I was hired at Conde CB —"As you're asking one question, I'm more dissimilar temperaments I can't New York Times, November 28,1975 Nast.I got a $5 raise.I was not only earn- imagine. Both had rigorous standards Eichenberg,Fritz,"The Golden Touc Journal, thinking of answers to previous ones... January 1959 ing more money,I was really getting it. Agha was the most fabulous boss to work of design.Will, perhaps because he was Lionni,Leo,"C.P"— a Pictorial Personality in Print, "I was already active in fashion on one of for. Nothing you did satisfied him. He was trained in Cologne, was more rigid,less Print, September 1955 • Contempora's accounts, a mill struggling always sending you back to out-do your- flexible in decision-making. Bill, equally Magazine: USA,AIGA exhibition catalogue 1965 to make cotton an acceptable fashion self, to go deeper into the subject.In view diamond-sharp in his philosophy, had a Stanton,Frank,Cipe Pineles, Art Directors Annual, fabric. My job was to set up stylish win- more fluid approach to a design solution. Hall of Fame 1975 of what's happening now to headline After Will and I married, I gave up my job "Seventeen's Fine Art Diet,' Studio News, dow displays with chic mannequins type, this is interesting: he assigned me March 1950 dressed in fabrics I designed.Cottons the task of selecting a different typeface to join his office.Will's commissions were pale and bland then.I put together for every headline in Vogue. I plunged required frequent trips here and abroad. dark grey and muddy yellow, dark blue into old typebooks and into the advanced He felt it urgent for designers to com- and purple, dark red and cerise,worked graphic publications from Europe. By the municate with designers, writers, philos- into geometries:' time you looked through five issues of ophers all over the world, and I was free Early conditioning left its mark.Cipe's Vogue, you had 100 typefaces to work to go with him.Will and I worked on sep- style is overwhelmingly personal.She from. I used to hate type.It scared me, but arate projects.The scientific data that became an early devotee of cottons — this process of searching for headlines stimulated him to design 3-D structures Marimekko (a full collection of dresses), made me see what makes one page look was a little much for me. Laura Ashley (kitchen wallpaper), Liberty good,why the same typeface, specified, On the other hand, he felt my attitude prints (for tablecloths and napkins). elsewhere by another person, looks poor:' on type was frivolous.I was pretty good `:..At Conde Nast Publications I was GS —What would you do differently? at type specifications, but sometimes Will really working for Agha. He made room would sit beside me and without a word ; for me in his large office where I was CB —"I never thought about it. Tell me redo them.It made me furious then, but given a variety of problems any of the about you:' I do them now the Will Burtin way." magazines faced—Vogue, Vanity Fair GS —I haven't finished with you. GS —What impact do you have on House & Garden. I had to design a 16- CB—"I haven't thought about it maybe students? page Christmas section for people who because I like my work and in hard times were bored with Christmas; make a CB—"It's a shock to find in what way in my life, I could forget myself and every- one influences young designers.What collage cover of President Roosevelt's thing around me by getting deep into a thousand newsprint faces; design pages impressed one talented student is that I job. Some had been started six months make everyone put away their coats and memorable in black and white and one previously and were waiting for me to get stuff before we get down to work.What a color, develop three themes for an eight- enough enterprise to tackle them. I got droll way to realize that graphic com- page beauty section; experiment with myself to work by bringing my tools and munication design has to do with mak- Munsell's Color System for original color papers down to the livingroom, lighting a ing order out of chaos:' schemes for interiors:' fire here, and starting: Casual words belie the depth of enthu- GS —Was it accidental that your career GS — It's been said all working women siasm Cipe has for the work produced by was primarily editorial and fashion? need a wife.How did you manage a two- her classes.She gives of her full past to CB — "It was absolutely an accident,I career household and a child? impart to the new generation her sense needed a job; any job in my field would CB —"I spent little time thinking about of style, her taste and perfectionism— have been okay.I sent my portfolio to that, too.At first,I was against women's larger standards innately her own.

THIS ARTICLE WAS SET IN ITC BOOKMAN AND ITC AVA, NT GARDE GOTHIC CONDENSED GERTRUDE SNYDER jerry-built room with a roll of white paper. The taupe-colored Ferrari is parked in by messenger. It's like working in 1984. CHRONOLOGY the enclosed driveway of the Fast-Side- You never hear about it. Maybe you find Then I built a studio like this, not as big, NewYork-converted-garage-studio, set- it in a magazine two months later. but well-equipped.The first year I had 1925: born in Vienna, Austria ting the tone for the sophisticated whirl "On the whole, I don't think it's a terrific that studio, I shot almost a quarter of the 1941: arrived in U.S.; served in U.S Army 1952: named AD, "Esquire" of the world of three-hatted HenryWolf- time for us as designers.We're lucky if ads the agency produced.The photog- raphers didn't like it. I'm still not fully 1954: joined faculty The Cooper Union, School of art director, agency head, photographer. there's a magazine out today which is as Visual Arts And sportscar owner. And Elitist. good as it was if it's been around for accepted as a photographer—almost as 1958: was AD, "Harpers Bazaar' and of "Show Magazine" Born in Vienna ("You can't miss my more than 10 years. If you look at McCalls, though I'm moonlighting as an art 1959: was chairman Annual Exhibition, Art Directors Club; accent") to a textile industrialist father at Holiday, at Esquire, nothing is as director. But the results are now good listed in Who's Who in America; became member good. It's all scaled down, all unified. enough that the label doesn't bother me. Alliance Graphique Internationale and a sculptor mother, droll Henry"was 1961: joined Jack Tinker and Partners as AD always drawing.After we left Vienna as They started in the late 60's as a kind "Then, we had several offers to be bought by big agencies. The idea of 1965: was AD at McCann-Erickson refugees" (the family odyssey to the of revolution against beauty and high- 1966: became Executive Vice-President/Creative Director United States was via two concentration level wit. A lot of stuff is junk. It's all very making quite a chunk of money at- Trahey/Wolf camps and France, Morocco, Cuba) "and much what happened to American cars. tracted me, but Jane didn't like the idea 1968: served as Vice President, Aspen Design Conference came here, I went to art school, then was In the 30's, they were wonderful. They of working for anyone, so I took my half 1969: was a member President's Commission for drafted, sent to Japan. Until 1946,1 had generally made their own motors — of the money and left. I set up a studio, Propaganda and we got clients from all sorts of un- 1970: elected Benjamin Franklin Fellow, Royal Society of not lived in one place longer than four Dusenberg, Pierce Arrow, Reo. Now they Illustrators, London; elected President, American months since I was 13. I've an army make one motor, and it fits the Chevrolet expected corners. It grew, and now it's Institute of Graphic Arts friend, very left-center, which I'm not, and Cadillac alike. a fairly large business. The problem is at 1971: formed Henry Wolf Productions, Inc. who calls me a Hapsburg, an elitist: "It's a narrowing down towards the what point you don't feel you have to 1973: was member of the executive board, Art Directors middle that's happening in everything. do everything yourself — the quandary Club, NewYork GS — Do you think you're an elitist? of the artist in business. 1974: was Vice President, Architectural League, New York; I consider what we do closer to General listed in Who's Who in Graphic Arts; named Mellon HW—"Yes. I haven't read enough to follow Motors than to Art. So I think it suffers. "With all this, teaching is a very satis- Visiting Professor, The Cooper Union, N.Y. a philosophy, but your feelings come out It's really the forefront of the industrial factory activity for me. Students get . 1976: received Gold Medal, American Institute of of the way you grew up. I grew up in an complex —advertising. It's the guy with you out of doing the same thing over and Graphic Arts, New York upperclass patrician family—yes, we took the trumpet in front of the herd:' over because they do a problem in a Awards: , Art Directors Clubs of a beating—which made it all the more way you never would have considered. Chicago, Los Angeles, Philadelphia, Washington, GS- Let's return to magazines that don't D.C., 50 Best Awards, RIGA; Society of Publication desirable:' It steers you — not by stealing their ideas, Designers; Society of Typographic Arts; from Art look as they used to. Did both form and but by seeing there is another way, a Directors Club of New York received 6 medals, GS — Now you're here, in this enormous content suffer? 30 Awards of Distinctive Merit. studio. different direction:' HW—"Form is the first to go. Then con- GS —What thoughts do you have about HW -LI have another floor, and a floor tent. In the best-looking magazines, BIBLIOGRAPHY below, where my mother, who's 81, comes your young women students who will be maybe content was never that serious. your youthful professional competitors? The following list is as clear as we can make it. Some every day to do sculpture. We do a lot of How serious can you be about fashion HIV—"I love women. I don't love Woman's of the articles are by Henry Wolf; some, about him things from beginning to end—pictures, Vogue in the 50's— Advertising Directions, 1959 copy? If you think of Lib because I hate fanaticism of any layout and produce the book.That's the Irving Penn and Avedon's Bazaars— they Ameryka Magazine *68, U.S. State Department kind — the marching, demori§trating. secret—get control as early as possible, were wonderful things. Aspen Journal, Aspen Design Conference 1966 I hate bra-burning the way I hated the and keep it as long as possible. Right "Now, a collusion has happened in C/A Magazine, 1967, 1970 SS on the streets of Vienna.The woman's now, I have a two-year engagement to redo advertising and magazines.In fashion Color PhotographyAnnual, Ziff Davis 1959 movement lacks what I love best, a sense House Beauty41. I design type, do the magazines, we do girls with a background Fitly Years, AIGA Anniversa ry Book of style and a self-deprecating humor. Graphic Designers in the U.S.A., volume 1, photographs that I want to, lay them out, of cars in order to get ads from Detroit. I'm all for women making as much Bijutsu, Japan send them to the printer so that every- Sometimes magazines credit a perfume money as they can. I'm happy that Mary Graphics Today, volume 2, *1, 1977 thing is cut (cropped) the right way and on the girl.Who the hell knows what Wells paid herself a $440,000 salary" Graphis Annual, 1959 the margins are right.We do several perfume she's wearing? It's a silly way of Graphis Magazine *109,149,188,193 things like that for Saks 5th Avenue giving credit to an advertiser to make GS -What kind of life do you lead? Are NewYorkArt Directors Annual, Hall of Fame 1973 and I. Magnin and all the magazines for him advertise.It used to be you could do surroundings important? Do you cook? Photo Magazine, 1973 B.F. Goodrich. Someone was here from something for the hell of it— photograph Collect? Photographis, Introduction, 1967, 1976 South Africa. He has 460 stores and the tiara of the Maharanee of Baroda HW —" My personal life hasn't been very Photography in the 20th Century Felix Gluck, wants to redo his whole direct-mail successful, but I have nice surroundings. London 1978 for two pages, just as a picture. Now, every Print Magazine 1975 thing.That's the part of the studio we page has to produce income. Whoring is I keep making surroundings for some- call 'Double Vision: Plus all the straight The Nikon Image Book maybe too strong a word.It's influence- thing that doesn't materialize—back- Type Talks 1958 photography where I only deliver the peddling, at least. There's less editorial grounds for no play. I never cook in town. pictures and they do with them as immunity of the kind of thing that Someone called my kitchen a virgin. they want. existed in, say, Vanity Fair." I have a place in the country, where I do "Since I've been an art director— and I've cook. I have a lot of art — things artists been in advertising as creative director, GS — Of your three levels, how did you move from each? did for Esquire. and I've owned an agency, and I've been "Collect? I've a great love for the best of a photographer who works for the same HW—"I did the magazines for 14 years its kind.I bought this watch.It's the best magazine I used to be art director of— I for seven, Bazaar for three, —Esquire in the world. Patek Philippe. I love Faberge have an idea of how I want to do the job. Show for four. Show was the last classy not the way it looks, but the perfection. But people often resent it when you want new American magazine.There hasn't I used to like jazz. Then I got myself a to give them too much, so I've learned been anotherall-over beautiful magazine really good stereo, and for the first time, not to get involved. I do a lot of role- that would hold up as design.When really listened to classical music:' playing, because otherwise they feel — Show failed, Mary Wells got me to join GS —What would you yet like to do? I don't get a lot of work for this reason her at Tinker. That's how I got started in —afraid to give me work because I might advertising.We started the Alka Seltzer HW —"It would be nice to be your own think it pedestrian, or that I would tell ads and commercials; did the Buick client — to do things for their own sake — them off. I don't, but it's the image. Riviera introduction. to do a magazine one would think is "It's art directors who feel competitive, "Later, Jane Trahey approached me to good, and try to sell it after the fact. To do more than photographers. To photog- say she'd be happy to give me half her posters. Or ideas for furniture, just to raphers, I'm an arriviste; to art directors, agency over a period of years. I've a big be a design function, to make prototypes. I'm an old man. But I've worked for romantic thing for things I've never It's all related. Art is communication. almost every advertising agency. Some done, so I tried it, and liked it.We did When it's well done, it's both. When it's come with their preconceived notions some very good advertising. One year, badly done, it's neither. I think a great and you can't contribute anything. Often in the 50 Best Ms Show, of the whole Italian lamp is a piece of sculpture. I get an assignment where they send a country, our little agency had nine ads. It's people who can't do either who make layout, and they want you to shoot ex- I did 200 ads a year, like an ad a day. the distinction:' actly what's on the layout. Anybody could "And I photographed a lot of them. GS - From an elitist, that's a great shoot it. They pay well. You send it back That's how I got into photography, in a closing line, Henry. GERTRUDE SNYDER THIS ARTICLE WAS SET IN ITC BOOKMAN AND ITC AVANT GARDE GOTHIC CONDENSED 9

Pro.FIle: Henry Wolf

DRAWING BY DIAN FRIEDMAN 10

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A ONE OF ONE-OF-A-KIND ASSEMBLAGE FOR A NAME -SAKE. B REGINALD MARSH PAINTING FOR "SEVENTEEN" MAGAZINE. C BEN SHAHN PAINTING FOR "SEVENTEEN: D EARLY WOMEN'S LIB PORTRAITS BY JOE KAUFMAN FOR "CHARM" MAGAZINE, 1952. E EARLY FRANK SCAVULLO PHOTO. F CIPE'S RECIPE PAGE FROM HER PRIVATE COOKBOOK. G JACOB LAWRENCE PAINTING FOR "SEVENTEEN:' H RICHARD LINDNER COLORED INK DRAWING FOR"SEVENTEEN" I COVER FOR LINCOLN CENTER JOURNAL. J GARBO FESTIVAL COVER FOR LINCOLN CENTER JOURNAL. K POSTER ANNOUNCING PARSONS SCHOOL OF DESIGN COMPETITION FOR HIGH SCHOOL STUDENTS. L BOOK COVER FOR PARSONS EDITORIAL DESIGN CLASS PROJECT A

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t 0 titii your fault that ilerr woocirowWilson wctS utterliqoken after The tie of Nations... YoLere Twt spohsiblt for the Soviet Ctrid cubgn mckesiot, Ent° pivri Cq or the vvegichess of the 4011cir or the slaughter 11:1:11,11 of bgb/ seals."

"You're not mipon5iblefor prisoherS flailed IA other countries.%

"1 ct ■cl-ht put poiiticctl pris- oners. it jail and I dictn't pcit socliqm riitrqte into bqcon. . It Isn'trnq fa4lt that Woodrow Wi I son W4S 0. broken Thar% after thg LeoLlqe of Nations and Im -not rfsponsible for the Soviet and Cqban incur- sion into Afrsect or the we•VOWSS of the aoticir " Ycl4 clieblit pot socii4rn or the S14 baby nitsate into bacon.. .n sews.% 13

You will soon be Secretary of State again."

C> "Nothing has changed in Communist ideology..:'Alexander Solzhenitsyn 14

3/IS • Cana DiGrappa

Carol DiGrappa is an incurable adventurer. When she is not exploring with camera and words the exotic likes of Fez or I got the message Venice, she reaches into the landscape of her fantasies and months before the call dreams to see what she can see. Here is her romantic side, that sent me mourning. but there is also the humanitarian who looks for dignified It came in midnight beauty in the back streets of an Italian village and for sordid highland dreams reality on 42nd Street. A freelance writer and photographer and one-act plays transmitted from who lives in New York, Carol is forever curious and will not our distant home. hesitate to knock on a strange door and then tell us what she At the end found: "The world that I love most is one of mystery, fantasy, I saw your shadow and decadent beauty. It is an interior world, a dream reality in Arlesian alleys where everything is at once frightening and alluring—where and tried to love, your corpse in Rome. one can sit back, as if in a deep sleep, and observe strange Even that night plays. The photographs you see here were taken in the ruins they slammed you of Villa Adriana near Rome after the death of my father. I in the steel box, wanted to make sense of my loss, come to terms with our re- I couldn't sleep lationship, and try to understand the clairvoyant dreams I for the morbid poems flowing from my pen, had before his death. I wrote poetry about love and death and though I hadn't the nuances of our life, which was like a timeless dance. Even- heard the truth tually losing myself for a while, I found continuity in my abil- (four words I knew) ity to understand and to laugh." from Mama.

A Message to a White Horse From your fig-eye I looked down to my swollen feet wondering who am I anyway. You left softening like ripe fruit just when I needed your reply but there was none. Just when I was sure to live you spun out jitterbugging with a bouffant filly and a fading pulse. Lady-killer you lost your hooves to Pan that night as your smile turned to a grimace and you slumped down on a barstool far from home. I looked for you in a porous remnant and a worn ideal. By the stage door I exposed myself o Teatro Greco in a seaside town I waited to recall walking bare-breasted your white-haired as you watched whisper from the Styx. blankly Instead I saw from the big house myself reflected while tourists in swanless pools shrunk back and opaque with slime some machos and a scarred impostor picked my nipples slouching like blackbirds in Venus' place. tasting pie.

At twenty-one I dreamed of you For years I fell in love resting limply I've been rewording still jealous luminous as my closing lines of those ladies a diffused moon my epitaph you preferred to me. upon a pyre to end our play. But after years of winter storm. When you repented of fearing my own On the horizon shooting the pale bird ambivalence below I hung and we feasted I wear white colorless on ambrosia silken feathers one dead mare head behind three walls and indulge no among legions while no wind blew need for you. of others. against the missing Like the oracle In unison fourth, I thought I know by rote voices called we'd closed the time-worn riddle for your descent the last act. we kept quiet. to our last But I'm still drifting ambiguous in this ancient celebration. landscape searching I was scared: for the sequence I remember to bind my selves turning to go together. and being blocked as my vision disintegrated and I congealed into a glacial reflection of you.

16

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SI)* CR DiStlIFITIFINII:SaiStODINC:01140 N T 7 7 7 Y r777777777 t OR MADMIRE 8i HMS MIS WARRANTED 200 YDS.

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When Itadesmen's Cards Meant Business Vohne Uth.CA109.

read somewhere that art is worthy of were understandably proud of their estab- respect even in its humblest manifesta- lishments and pictured them undoubtedly to tions. Perhaps one of the more humble remind us of their company's success and manifestations is the tradesman's busi- expansion— i.e., implied dependability /ness card. The business card today has for an attraction there must have been t the most part been seriously neglected, but grand sprawling edifice occupying acres of in nineteenth-century America, when indus- prime land or reigning majestically over try was embryonic, business cards had a busy urban center. It spelled success. Some- look of distinction. how, with or without the illustrations, early business cards dating from about 1820 to hey were brilliant, though small, - examples of the graphic arts. The 1870 are elegant, and they convey quality. variety in these little engraved cards y 1880 many of the discreet black is infinite.The designs may show a and-white engraved cards had Tdisplay of baroque and rococo motifs com- given way to chromo-lithographed bined with heraldic emblems, ornate borders picture cards, which had immediate and sophisticated monograms interlaced appeal.Their subjects were comical or, more with fancy typefaces. often, sentimental scenes with children, ociety at the time would not have animals and pretty girls. I venture to say that tolerated the sensational &ic eye- this is the trend which has continued until catching nature of present-day adver- today in advertising, while business cards, tising. It wanted something dignified, though still typographical, have lost their ma- refined and discreet.A"public announcement" gic. Ephemera collectors in the know place had to be what was considered tasteful and a much higher value on these subtle black- appropriate for the public.Thus, elegant typog- and-white cards of early date than they do raphy was the rule. Only rarely do designs on the glamorous, colorful chromolitho- include the display of the manufactured graph cards which were manufactured in goods that one might expect, but many cards great numbers after 1880. One wonders were embellished with an engraved illus- whether future generations will be collect- Ike Icadics trition of the store or factory. Proprietors ing the business advertisements of today ® CAROL WALD

CATALOGUE No 2 .

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SWINGIN'- )J1

i11111111•1111 Moonlight on the water and the Casa Loma Orchestra sparkling #' in the Glen Island Casino. Your fin r 11111111111111 est hour in college—a prom date for Jimmy Dorsey.A table up front at Frank Dailey's Meadowbrook, with Claude Thornhill doing "Autumn Nocturne:' Count Basie's big band thundering through the walls at 52nd Street's tiny 11111.11111 6 111111 Famous Door. The Hollywood Palladium, with room for 6,500 3111111111' 1111 9111111111111 dancers and 30 overworked boun- 111111119 cers.The Manhattan Room of the AIM MIME Pennsylvania Hotel, where the King 11111111111N111111111 I" v 111111111111111 himself held court. Harry James, Hal McIntyre, Charlie Spivak, lir 111111111 dIN111111111111111111111 Woody Herman,Artie Shaw, Bob irrnimmorr vs' a Crosby,John Kirby,The Duke, Bunny Berigan,Charlie Barnet, 1111111111111111111111 MM ' dill Gene Krupa,Vaughn Monroe.Jitter- dLIFIR1174 Illirr 11111911111111 bug, swingout, breakaway. Juke- mmiiiry box Saturday Night, and used 78s ■ at ten cents each. Remember? NM 7111111171111111111111111 N` vill1111111111111111111111111 II vill11111111111111111 MINIM lir 111111111111111111 21

No. 5 in a series of Very Graphic Crossword Puzzles At age 9, Tommy Dorsey was already DOWN ACROSS an accomplished trombonist. Both he Z. Bob of the"Bobcats" 1 " me Mamma with a and brother Jimmy 3. -Poor little Island" boogie beat' were taught by their 4. Lollobrigida. 4. Garbo coal-miner father, 5. Map abbreviation. 11. Blood type. and could play most 6. To subject to the 12. Kind of dancers of the '40s. brass and reed fumes of ether. 15. Benny (King of Swing). instruments. 7. Tullerium (chem. sym.) 17. Little ones. 8. Castle and his 18. Hallucinatory drug. "Castles in the Air." 19. Mental pictures. 9 " Saturday Night' 21. Lamp dweller. 10. Aide. 22. Ray or Bob ('40s singers). 12. Harry 24. Track system (abbr.). 13. Dance craze of the 40s. ZS. Ruth and Zaharias. 14. Chromosomes. 26. Big Apple city. 15. Island Casino. Z7. Smith and Jolson. 16. Glenn 28. Camp Assistant's position. 20. Glen and his 29. Sault Marie. Casa Loma Orchestra. 30. The last three in the alphabet. 23. Rate. 31. Military store. 25. Exist. 32. Like a lemon squeezin' at times. 29. Sudden stream of solar light. 35. Israeli airline. 30. phone. 38. Morrow 32. Louis Armstrong. 40. time (never). 33. Liq. meas. 41. The Matterhorn, e.g. 34. Labels. 43. WWII special services group. 36. Ford (car model). 45. Morton 37. " sweet mystery of life..:' 47. Initials for Russia's Georgia. 38. Attar. 48. Basie and Dracula. 39. Tommy or Jimmy. 51. Ruthenium (chem. sym.). 42. the driven snow. 52. Ascends. 44. Soviet Union. 54 Acuff. 46 Art (40s singer). 55. Blues singer of the '40s. 49. Win by a 57. "Three Hits and a 50. Cobb (baseball great). 59. Stereo listener's equipment. 52. Synghman 60. Young. (Baseball great). by Al McGinley and Don McKechnie 53. Greek letter. ' 61. Eight instrumentalists. 55. Brown and his 62. Hitler's elite corps. "Band of Renown:' 63. Norman Vincent 56. Snake. 58. BM (U.S. missile). ANSWERS ON PAGE 69

Glenn Miller combined impeccable style and silky rhythm in such classics as "String of Pearle:"Adios','"Ameri- can Patrol; and "Chat- tanooga Choo Choo:

The Swing Era had its own star vocalists, and these were two of the most indi- vidual stylists. Lena Horne (left) is shown singing Cole Porter's"Let's Do 1t' Bonnie Baker's baby-voiced version of"Oh Johhny," with Orrin Tucker's band, sold half a million records. THIS ARTICLE WAS SET IN ITC QUORUM SS . After a heavy day in the studio, I invited my staff upstairs for a drink. Mei Lou (my wife) put out some peanuts and a box of pretzels. Still wound up from work, I suggested that one of the pretzels made an interesting 13'.' My daughter, Leah, promptly challenged this observation and said that for such a big shot designer didn't know anything about design. She then proceeded to make an I! The rules for making an alphabet developed rapidly. Each letter had to be nibbled out of the original pretzel, no separate pieces put together and no dipping the pretzels into wine to soften them up. My son, Noah, claimed the 'N' and my secretary, Ruth, reserved the `1?.' I went straight for the ampersand! My daughter still thinks the 13' in its original state is a cop-out. The name is Pretzel face. The question being asked in London now is: Does this new nibbling method pose a real threat to the rubbing down system? BY LOU KLEIN, STAFF, FAMILY AND FRIENDS 28

LOU t,Sssi r‘rt) )6 fe e CEkQ5(e.cvor aesirDON kix.11 - 9 6433 24 .

Something For Everybody From U&lc

In 1642, Rembrandt painted "The Shooting Company of Captain Frans Banning Cocq:' in which 29 life-sized civic guards are shown leaving their armory at high noon, with the sun shining brightly upon them. Less than 200 years later, the picture had become so dingy and dark that someone facetiously called it "The Night Watch:' a nickname that has long since supplanted its true title. Bet you didn't know .that!

When the Mona Lisa was stolenfrom the Louvre in Paris, for two years there was an empty space on the wall. During those two years, more people entered the gallery to stare at the blank space than hadfor over twelve years come

to look at the masterpiece. •

A widely held misconception is that Welsh rabbit is just a vulgar One of the chief ingredients in do battle for a share of the con- form of Welsh rarebit. Actually, the success of an ad campaign is sumer pocketbook are the direct the opposite is true. Welsh rarebit a catchy slogan. Down through descendants of the war cries is merely a mannered and affec- the years — from "Ask the man with which Irish chieftains did ted corruption of a phrase that who owns one" to"Does she or battle. The word slogan comes dates back to Shakespeare's time doesn't she?"— many a product from the Gaelic words slaugh The great philologist H.W. Fowler has been lifted into the best- (army) and gairm (a shout) - the set the matter straight in his usua seller category by insistent repe- two being blended as a slaugh- brusque and trenchant manner: tition of a slogan. Amusingly gairm, meaning "battle cry," "Welsh rabbit:' he writes, "is amus- enough, the slogans with which from which the present spelling ing and right; Welsh rarebit,

./111/1. ' wttnrill;//im today's advertising geniuses was evolved. stupid and wrong:'

The word "bamboo" has contributed two colloquialisms to the English language. First, we owe to it the word "joint," mean- ing a disreputable gathering place, a dive. This is because the pipes used in opium dens were crafted of bamboo and had many "joints:' (Marijuana cigarettes are also known as joints because of their associa- tion with opium dens.) Second, there is the word"bamboozle," which means to fool or cheat. This traces back to the Chinese A bunch of animals custom of punishing swindlers by whack- The English language is replete with collective nouns to designatE ing them on the hands and back with groups of animals. You're probably familiar with a pride of lions anc bamboo poles. Any smart aleck so treated a gaggle of geese, but did you know such other colorful ones as: was a"bamboozler" —that is, one worthy cete of badgers; a muster of peacocks; an exaltation of larks; a mutt of being beaten with bamboo. of hounds; a nye of pheasants; a skein of ducks; and a skulk of foxes' ILLUSTRATIONS BY LIONEL KALISH 25 Abram Games, one of London's Hurry, hurry, hurry! leading graphic artists, sent us these You ore just in time handsome designs which he thought would be particularly interesting to to step right up and our readers who love . take your pick of Below left, is a motif for the New the glass pitch, the Prayer Book of Reform Synagogues glider, the kinker, of Great Britain. Beneath that is a or the high-striker, design of the Cover, spine and back The-grinder's in front cover for Encyclopedia Judaica pub- lished in Jerusalem. At the right is a of each pitch and the Memorial panel for the bally comes loud library at Hillel House, and fast.Will you B'nai B'rith, in London. end the day sick or well? Will the pitches be kifed or gaffed so the marks will be properly taken? Hurry, hurry, hurry!

AT, 0,7Cf$ Sogi *tl'-4;7

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Gibberish? Not bya longsight. Not ititk41;4E_ to anyone who has lived in the colorful, fast-paced world of the g;;,;11":;04 tt sideshow and corny. For these are all expressions common to the jargon of corny workers. Like all private languages (which we'll be continuing to present in forth- coming issues of this newspaper), this one exists so that members of the trade can converse in the presence of outsiders without be- ing understood by them. glass pitch: a familiar sideshow con- cession where the mark (customer) tries to win a prize by pitching coins into glassware. glider: the so-called chairplane- miniature planes suspended on chains from a revolving tower. kinker: a performer. high-striker: the heavy mallet used to strike the bell. grinder: the corny spieler. Long before Allen Funt started taking pictures of people "off guard," a man named Erich sick or well: corny operatives' way of asking, "Did you win or lose?" Salomon took a series of unposed pictures of world-famous statesmen at a League of Nations kifed: a pitch that is kifed or gaffed is a meeting in Geneva. The year was 1928, and he used one of the first Leica 35-millimeter game of chance whose wheel has been cameras. When published in the London Graphic, they created a sensation because they so rigged that the mark cannot possibly win—and an unkifed wheel is about were so unlike the customarily stiff and formal group photographs taken at such assemblies. as common as a nine-dollar bill. For the first time, the word candid was used to describe Salomon's photography. THIS SPREAD WAS SET IN ITC BOOKMAN. ITC SERIF GOTHIC. FRIZQUADRATA, ITC QUORUM. ITALIA, ITC AMERICAN TYPEWRITER, ITC ZAPF INTERNATIONAL 26 Only the following Subscriber Companies are licensed to manufacture and seU ITC typefaces:

Addressograph-Multigraph Dymo Graphic Systems, Inc. Mergenthaler Linotype Corp., Varityper Division 355 Middlesex Avenue Company 11 Mt. Pleasant Avenue Wilmington, Mass. 01887 Mergenthaler Drive East Hanover, N.J. 07936 (617) 933-7000 Plainview, N.Y. 11803 (201) 887-8000 Phototypesetting Systems and (516) 752-4197 Phototypesetters and Photo- Equipment, Film Strips, Linofilm, Linotron, Linocomp, lettering Systems Standard and Segmented Discs, V-I-P and Digitized Fonts TYPEFACE DESIGN Alphatype Corporation MGD Graphic Systems 7711 N. Merrimac Avenue Film Fonts International Rockwell International PROTECTION AND YOU Niles, Illinois 60648 225 Park Avenue South 2735 Curtiss Street (3,12) 965-8800 NewYork, NY. 10003 Downers Grove, Illinois 60515 (AN ITC OPEN FORUM) AlphaSette and AlphaComp (212) 533-2110 (312) 963-4600 Phototypesetting Systems Alphatype/AlphaSette Information Products Division Fonts and 2" Display Fonts Why royalties? American Type Founders 3M Company Co., Inc. Filmotype 3M Center Who pays them? 200 Elmora Avenue 7500 McCormick Boulevard St. Paul, Minn. 55701 Elizabeth, N.J. 07207 Skokie, Illinois 60076 (612) 733-1100 face. The type shop would not (201) 353-1000 (312) 675-7210 Promat Letter Compositor How much do Type Division Film Fonts pass on to you, the customer, his The Monotype Corporation Ltd. they cost? royalty chargefor ITC typefaces Artype, Inc. FONTS—Hardy/Williams Salfords, Redhill, Surrey, 3530 Work Drive (Design) Ltd. England because the one-time royalty he P.O. Box 7151 73 Newman St. Redhill 6 5959 or she paid is too small. The high- Fort Meyers, Fla. 33901 London WI England Visual Communications What are typeface royalties? (813) 332-1174 01-636-0474 Equipment est average ITC royaltyfor a type- 800-237-4474 Royalties are the monies paid to face such as ITC Avant Garde Dry Transfer Letters FotoStar International National 'Type Matrix. Inc. Cut Out Letters 15450 E. Valley Blvd. 126 Tenth Street typeface designers eitherfor the Gothic Bold,for example (which City of Industry. Calif. 91746 Brooklyn, NewYork 11215 use or sale of a typeface. on some machines can be used to Autologic, Inc. (213) 333-2600 or 330-5330 (212) 768-8600 1050 Rancho Conejo Blvd. FotoStar II Display Setting Metal Matrices Some typeface designers make set type sizesfrom 6 point to 72 Newbury Park, Calif. 91320 Machines. 2" Film Fonts arrangements with private proc- point) is only $30.And this isfor a (213) 889-7400 Officine Menta APS-4/APS-5 CRT Phototype- Geographies, Inc. Macchine Compositrici ess letteringfirms (such as singlefilmfont that can be used setter Composition and 1100 Seymour Street Via Mazzini 10/12 Photo Lettering, Inc.) orwith typog- Typesetting Systems Vancouver. B.C. 20032 Corrnano on hundreds ofjobs. Canada V6B 3N3 Milano, Italy raphers who hold afranchise in Iffor instance, only a penny H. Berthold AG (604) 685-8236 929-47-73 display headline design com- 1000 Berlin 61 Dry Transfer Letters Text Phototypesetters extra were to be charged by a type- Mehringdamm 43 panies such as Headliners, Inc., setting servicefor each dollar's Germany Graphic Products Corporation Optronics International, Inc. Alphabet Innovations, Inc. and (030) 69031 3601 Edison Place 7 Stuart Road worth of a specific typeface sold Diatronic, ADS 3000, Diatext, Rolling Meadows, Ill. 60008 Chelmsford, Mass. 01824 Lettergraphics,Int.The typogra- to a customer, the shop's outlayfor Diatype, Staromatic, (312) 392-1476 (617) 256-4511 Staromat, Starograph Formatt cut-out acetate letters Phototypesetting Systems phers usually charge slightly ex- the $30 would be returned with and graphic art aids trafor each word they set in the thefirst $3,000 worth of business Berthold of North America PhotoVision,Of California, Inc. 610 Winters Avenue Graphic Systems'World P.O. Box 552 specially prepared and exclusive- using it. That is why we state, Paramus. N.J. 07652 Trade S.A. Culver City Calif. 90230 ly commissioned typefaces. A por- emphatically, that ITC royalties (201) 262-8700 Tour Gallieni 1 (213) 870-4828 Diatronic, ADS, Diatype, 80 Avenue Gallieni Toll Free 800-421-4106 tion of this extra charge is paid to are not passed on to you, the type Staromat. Diasetter, 93170 Bagnolet Spectra Setter 1200, Visual the designer of the typeface. This shop's customer: Repromatic France Display Setter, and 2" Film is called a royalty. 360.1212 Fonts ITC typefaces are not exclu- Bobst S.A. Graphiset That's one way of paying type- Bobst Graphic Division Pressure Graphics, Inc. sive orfranchised designs. CH-1001 Lausanne Harris Corporation - 1725 Armitage Court face designers for their creative Switzerland Harris Composition Systems Addison. Illinois 60101 work. It is a satisfactory and ITC typefaces are licensed to 021/89.29.71 Division (312) 620-6900 Phototypesetting Systems P.O. Box 2080 Dry Transfer Letters acceptable way and customers any company in the world that Melbourne, Florida 32901 know that when they purchase wishes to subscribe to the ITC Dr. Boger Photosatz GmbH (305) 259-290 Protype, Inc. 2 Wedel in Holstein Fototronic 4000.TXT. 1200, 600 67 Main Street headlines set in special or exclu- plan and that agrees to two Rissener Strasse 94 CRT 7400, 7450 Warwick. N.Y. 10990 basic ITC principles: 1) the manu- Germany (914) 986-1166 sively prepared designs, the (04103) 6021-25 Dr.-Ing Rudolf Hell GmbH Visual Display Phototypesetting royalty paid to the designer is the facturer agrees to pay a one-time Manufacturers of Copytronic Grenzstrasse 1-5 Systems and Film Fonts royaltyfor each ITCfont that it Phototext Composing Machines. D2300 Kid 14 reason they are paying slightly Film Fonts. and Copytype Germany D. Stempel AG more thanforother non-exclu- sells. (No other payments are ever Photolettering Systems (0431) 2001-1 Hedderichstrasse 106-114 again made by the Subscriber/ and Fonts Digiset Phototypesetting Frankfurt am Main-Sud sive designs offered by the same Equipments and Systems, Germany typographers. manufacturer to ITC.) 2) The Cello-Tak Mfg., Inc. Digiset-Fonts (0611) 6068-1 manufacturer agrees not to make 35 Alabama Avenue Type Division ITC royalties are different— Island Park, L.I., N.Y. 11558 Information International an ITC typeface by copying (516) 431-7733 5933 Slauson Avenue Tactype, Inc. they are paid only once. Dry Transfer Letters Culver City, Calif. 90230 12 West 26th Street some other company's ITC type- 1213) 390-8611 New York N.Y. 10001 They are not paid on a per-word face image carrier and offering it Chartpak Phototypesetting Systems (212) 924-1800 One River Road Dry Transfer Letters basis. They are not paid by the for sale as its own product. Each Leeds, Mass. 01053 Itek Corporation Technographics/Film Fonts user/ specifier of the typeface. licensed ITC Subscriber must - (413) 584-5446 1001 Jefferson Road Dry Transfer Letters Rochester, NewYork 14603 P.O. Box 552 They are paid only by the owner manufacture according to its own (716) 244-5600 Culver City, Calif. 90230 typesetting machine such as quality standards. (ITC "similar-to" Compugraphic Corporation Phototypesetters (213) 870-4828 of a 80 Industrial Way Toll Free 800-421-4106 a typographic service company typefaces by non-ITC Subscribers Wilmington, Mass. 01887 Letraset International Ltd. Film Fonts, Studio Film Kits, company that does its own are not madefrom original art.) (617) 944-6555 St. George's House and Alphabet Designers or a EditWriters, CompuWriters, 195/203 Waterloo Road internal typesetting. Thus, the If you purchase your typefaces Text Editing Systems, London SE1 8XJ Visi-Graphics Accessories and Supplies England 8119 Central Avenue royaltyfor an ITC typeface is paid or typographyfrom ITC-licensed (01) 928-0488 Washington, D.C. 20027 only by the buyer of the grid,font, suppliers you will know that Degra Albert Deist Dry Transfer Letters (301) 366-1144 Postf. 114 D-3508 Melsungen Dry Transfer Letters strip or other image carrier,and you are supporting the ethics of West Germany Letraset USA Inc. it is paid only once, when it is pur- an industry, and that a percent- DisplayTypesetters. 2" Film Fonts 40 Eisenhower Drive Visual Graphics Corporation Paramus, N.J. 07652 5701 N.W. 94th Avenue chasedfrom an ITC manufacturer. age of the royalty paid to ITCfor Dymo Belgium NN. (201) 845-6100 Tamarac, Florida 33321 So the only royalty paidfor an the purchase of afont will go to P.O. Box 35 Dry Transfer Letters (305) 722-3000 St-Niklaas (B2700) Manufacturer of Photo Typositor ITC typeface is by an owner of a the designer of the typeface. Belgium Linographics and Original Typositor You will also be supporting the (03 76) 6980 10 1 770 N. Main Street Film Fonts typesetting machine when it is Visual Systems Division Orange, California 92668 purchasedfrom one of the ITC future of typeface design and (714) 639-0511 Zipatone, Inc. Display Typesetters. 150 Fend Lane Subscriber/ manufacturers listed will be encouragingfuture gener- 2" Film Fonts Hillside, Illinois 60162 on this page. ations of typeface designers. (312) 449-5500 Mecanorma DryTransfer Letters Type shop customers never More thanforty companies 78610 LePerray-en-Yvelines pay royalties when they specify throughout the world, represent- Paris. France (484 83 40) ITC typefaces. ing, byfar; the majority of type- DryTransfer Letters If you are an artist, art director; face manufacturers, are ITC Sub- graphic designer, type director; scribers. This is testimony to both For further information, write or call: production manager; or anyone the economic and ethical sound- International Typeface Corporation, who buys typographyfrom a ness of the ITC royalty arrange- 216 East 45th Street, NewYork, NewYork 10017 type shop, you should never pay ment. These ITC Subscribers are • (212) 371-0699 Telex: 125788 extrafor specifying an ITC type- listed in the next column. LIME 27 What's New from ITC?

ITC Cheltenham Light and Bold with Italics, and ITC Cheltenham Light, Book, Bold, Ultra Condensed with Italics are new typefaces from ITC. Only licensed ITC Subscribers are authorized to reproduce, manufacture, and offer for sale these and all other ITC typefaces shown in this issue. This license mark is your guarantee of authenticity.

LICENSED

ITC Cheltenham is another example of how a nuances were also incorporated into his designs. popular old typeface can be restyled and brought When completed, what he had drawn was up-to-date while still retaining the flavor and basic a different Century Cheltenham and Garamond. characteristics of its original design. Because of their large x-heights, these ultra weights In the early days of phototypesetting, almost all could not be matched or run together with correspond- typeface designs were drawn to look as faithful as ing point sizes and weights of the same families. possible to the original metal typeface designs. This Stan returned to the drawing board to was done so that no criticism would be made of the create companion light faces (book weights) that new typeface designs or of the typographic quality could be used harmoniously with the ultra weights. produced by the new phototypesetting machines. As a result, typefaces that had originally been In 1975 ITC introduced the three versions of ITC designed for metal-set typography very often looked Century Book with Ultra, ITC Cheltenham Book with anemic (thin, underweight) when they were con- Ultra and ITC Garamond Book with Ultra. Each series verted into film font alphabets. was drawn with corresponding italics. In the redrawing process, some type manufactur- It was not long before the ITC Review Board ers had the wisdom to heavy up (strengthen) some of realized that Stan had not gone far enough. A weight the weaker parts of certain characters where required, lighter than book weight and a weight between book and make the necessary adjustments to compensate and ultra, a bold weight, was required. for lack of ink spread, which is nonexistent in photo- Thus the decision was made by ITC to properly typesetting. Some did not. complete each of these series in all four weights and, Therefore, amongst competitive phototypesetting also recognizing the need for condensed typefaces for equipment manufacturers, there are, today, many dif- these families, create a series of condensed styles in ferent versions of Bodonis, Garamonds, Centurys, as each of the same weights of light, book, bold and ultra. well as—Cheltenhams. ITC Garamond and ITC Garamond Condensed was the first series completed in 1976. In 1974, ITC felt the absence of and the need for heavier weights than existed for some of these Now, in 1978, ITC introduces the ITC Chelten- popular classical typefaces. ITC undertook to create ham series in this same broad selection of styles. a series of ultra weight designs for three of the more In addition, an ITC Cheltenham Outline, ITC popular typefaces in common use—Century, Chel- Cheltenham Outline Shadow and ITC Cheltenham tenham and Garamond. Contour have also been created, primarily for dis- Tony Stan was commissioned to develop this play purposes. special series. The original intent was to create an Ed. Note: A major consideration that the new extra bold weight for each-of these faces, so that they ITC Cheltenham had to bear in mind was the fact could be used in harmony with any of the other exist- that today, most phototypesetting machines use one ing weights that were already available. master film font image carrier from which to achieve Unfortunately this was not possible. a wide range of point sizes. (This was not the case in In designing the extra bold weights, Tony Stan, an metal type where the design for each point size was expert letterform designer, drew the characters with usually a separate drawing.) the eyes of a 1970 designer; and with the freedom of This means that the design of the master al- modern film typesetting technology at his disposal. phabet has to compensate for a wide range of point Unrestricted by metal limitations, Stan sizes. Therefore the weights and proportions of each shortened the ascenders and enlarged the lower case character have to be designed to serve equally as "x"height for each typeface. Other subtleties and well for both text and display size ranges. 28

This is a major factor in present day photo- typesetting economics and technology and one that Other foundries and typesetting machine manufacturers presents a demanding design challenge for contem- developed their Cheltenham families. Ludlow brought out porary typeface designers. Cheltenham Cursive caps that were much more elaborate than All ITC typeface designs take this factor into the foundry italics but usable with the same lowercase letters. consideration and typophiles should bear this in Linotype and Monotype Cheltenhams appeared. The Intertype mind when comparing such film-redesigned classics version was known as Cheltonian. In England the face was to their original metal-designed counterparts. called Gloucester or Winchester; in Germany, Sorbonne; in It is our hope that the ITC Cheltenham typeface Italy, Bodonia. For the first three decades of the century, Chel- family of nineteen type styles will make as distin- tenham was one of the world's most popular faces. guished a contribution to the future of typographic At the turn of the century Cheltenham became the first communications as its original forebear has done extensive family of metal types. Today, with the completion of for more than three quarters of a century. the 19 ITC versions, it is one of the largest families available for photographic and electronic typesetting. The original Cheltenham Oldstyle was designed by If some metal type designs required thickening to Bertram Grosvenor Goodhue for and in collaboration with Ingalls achieve the same appearance when photoset and offset printed Kimball of the Cheltenham Press in New York. Morris Benton as they once had when cast in metal and printed by letterpress handled production of this face at ATF in about 1901; some his- Cheltenham seems to have anticipated today's technologies. It torians say 1903. Someone, probably Benton, did considerable avoided the very thin strokes of many typefaces of its era yet modification of the original drawings before the design was ready kept enough difference between light and heavy strokes to for use. As its success developed, it was natural that variations avoid monotony. should be added. Thus in 1904 Morris Benton designed Chelten- ham Bold and Italic; in 1905 Cheltenham Bold Condensed,. 1906 Tony Stan's ITC Cheltenham features the large x-height Bold Condensed Italic, Bold Extended, Bold Extra Condensed. and exquisite letterfit demanded today. It avoids the alternate lower At this time he also created Cheltenham Wide by drawing a new case "r" which was so misused. Designed for use only at the end of lowercase alphabet to go with the caps of Cheltenham Oldstyle. words, it was often found intruding awkwardly between letters. But More than a dozen other variations came from his draw - Stan retains the distinctive extended thick stroke of the capital A ing board in the following half-dozen years, to make-Cheltenham and the extended bottom right curve of the G. one of the most extensive and successful typefaces of all time. The extensive ITC Cheltenham family aims to meet It has become a basic American design, which has gone through the demands of those designers who like to design"in family," to perennial revivals without ever really being dead. achieve emphasis and set both text and display material within

Between 1907 - 1913 Benton added these versions to the one type family. It is also old enough, and off the stage long Cheltenham family: ? Bold Outline enough, to be new and fresh once more.This ITC Cheltenham 1907 Inline is a rare blend of fashion and utility, distinction and readability. 1907 Inline Extended It is truly a workhorse with style. 1907 Inline Extra Condensed 1909 Medium 1909 Medium Italic On the following pages U&lc presents a collection of 1909 Oldstyle Condensed typographic quotations taken from Hermann Zapf's classical 1911 Extrabold masterpiece, Manuale Zipographicum. Each statement has 1912 Bold Shaded been redesigned by Herb Lubalin using a different weight 1912 Bold Italic Shaded and style of the ITC Cheltenham family. This experimental 1912 Extrabold Shaded typographic exercise has been especially prepared to show 1913 Medium Expanded the broad versatility of this newly redesigned typeface. 1913 Medium Condensed 29

ALPHONSE DE IAMARTINE - ilLEITERS A 11 E SYMBOLS TuRN Architecture began like all scripts. Fiat there NIATIER INT() was the alphabet. A stone was laid and that

was a letter; ancleach letter was a hieroglyph, SP1Rfl: and on each hieroglyph there rested a group of ideas, like the capital on a column. Thus, until Gutenberg architecture is the chief and universarwriting" This granite book,begun in the East, continued by the Greeks and Romans—its last page was written by the Middle Ages.Until the fifteenth century, architecture was the great exponent and recorder of mankind. **In the 15th century everything changed. Human thought discovered a means of perpetuating itself which was not only more lasting and resilient than architecture, but also simpler and more struighfforwardArchitecture is supersecleciThe stone letters of Orpheus have been succeeded by the leaden ones of Gutenberg. The book will destroy the edifice. The invention of printing is the greatest event in history. It is the fundamental revolutio4Uncler the piinti g formthought THE TRADITIOA OF TYPE MUST BE becomes more imperishable than ever; t is CONSIDERED THE volatile, elusive and indestructible. Itmingles MOST ENDURING, QUIET AND EFFEC- with the very air Thoughtderives new life ta TIVE INSTITUTION OF DIVINE GRACE, from this concrete form. It passes from a life- INFLUENCING ALL span into immortality. One can destroy some- colour NATIONS THROUGH PULLIAM MASSE1 THE CENTURIES, thing concrete,but who can eradicate what& AND PERHAPS IN TIME FORGING A omnipresent? VICTOR HUGO CHAIN TO LINK ALL MANKIND IN BROTHERHOOD JOHANN GOTTFRIED HERDER

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Have you noticed how picturesque the letter Y is & how innumerable its meanings are? The A is the roof with its rafters and traverse-beam, tree is a Y, the junction of two roads forms a Y, two converging rivers, a donkey's head & that of an ox, the glass with its stem, the lily on its the arch, or it is like two friends who embrace stalk & the beggar lifting his arms are a Y. This observation can be extended to every- and shake hands. D is the back, and B is a D on thing that constitutes the elements of the vari- ous letters devised by man. Whatever there is in the demotic language has been instilled in- a second D, that is a"double back"—the hump; to it by the hieratic language. Hieroglyphics are the root of letters.All characters were orig- Cis the crescent, is the moon, E is the founda- inally signs & all signs were once images. Hu- man society, the world, man in his entirety is in the alphabet. Masonry, astronomy, philosophy, tion the pillar and the roof—all architecture all the sciences start here, imperceptible but real, & it must be so. The alphabet is a source. contained in a single letter. F is the gallows, the fork, G is the horn, H is the facade of a building with its two towers, I is the war-machine that throws projectiles, J is the plough, the horn of plenty K signifies one of the basic laws of geometry:(the angle of reflection is equal to the angle of incidence), Lis the leg and the foot, M is the moun- tain, or the camp within its tents, N is the door, closed with across-bar, 0 is the sun, P is the porter carrying a burden, Q is the croup and the tail, R signifies rest,the porter leaning on his stick, S is the snake,T is the ham- mer, U is the urn,V is the vase (that is why U and V are often confused). I have already said what Y. signifies X signifies crossed swords, combat— who will be victor? Nobody knows—that is why philosophers used"X" to signify fate , and the mathematicians took it for the unknown. Z is the lightning—is God. So, first comes the house of man, and its construction, then the human body, its build and deformities, then justice, music, the church,war, harvest, geometry; the mountain, nomadic life and secluded life, astronomy, toil and rest;the horse and the snake;the hammer and the urn which—turned over and struck—makes a bell; trees, rivers, roads; and finally destiny and God:This is what the alphabet signifies.vicroR HUGO

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After the bask necessities oflife there is nothingmore precious than books. The art oftypography which produces them thus renders countless vital services to society. It serves to instruct, to spread progress in the sciences and arts, to nourish and cultivate the mind and elevate the spirit; the duty oftypography is to be the agent and general interpreterofwisdom and truth—in short, it portrays the human spirit. One might therefore call it, above all others, the art ofarts and the science of sciences. PIERRE SIMON FOURNIER

Of Illy wales ancestry neither history nor relics remain. The wedge- shaped symbols impressed in plastic clay by Babylonian builders in the dim past, fore-shadowed me: from them, on through the hieroglyphs of the ancient Egyp- tians, down to the beautifulmanuscript letters of the mediaeval scribesi was in the makingWith the golden vision of the ingenious Gutenberg, who first applied the principle of casting me in metal, the profound art of printing with movable types was born. Cold, rigid, and implacable I may be, yet the first impress of my face brought the Divine Word to countless thousands. I bring into the light of day the pre- cious stores of knowledge and wisdom long hidden in the grave of ignorance. I coin foryou the enchanting tale, the philosopher's moralizing and the poet's phan- tastes; I enable you to exchange the irksome hours that come, at times, to everyone, for sweet and happy hours with books—golden urns filled with all the manna of the past. In books, I present to you a portion of the eternal mind caught in its prog- ress through the world, stamped in an instant, and preserved for eternityThirough me, Socrates andPlato, Chaucer and theBards, become your faithful friends who ever suffound& minister to you: I am the leaden armythat conquers the world;

iNEDERIC W GOUDY No otherart is morejustified than typography in looking ahead to future centuries; forthe creations oftypography benefit coming generations as much as present ones. GIAMBATTISTA BODONI

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, Geometry can produce legible letters, but art A alone makes them beautiful. Art begins wherere VE geometry ends, and imparts to letters a character transcending merere measurement. EDE BEGINNINGpAtI! - STANDARD OF LEITERS °Fmk). GRAPHICULWESD OM.TH AT LETTERS ARE THE KEY TO . , _ OUR C ULTURE, THEY CAN ALSO • BE A PICKLOCK TO OUR HEART. TERsIS As LnEBROR ZACHRISSON

l Civilization and hletters i homogeneous,RATURE th am IT AND concepts:t),..u jtuthsteasmtedeju dnelveofolpetmteersn, of ccivilizationdivilizwasathoen pisrouunthinkablegnresisnkhf onc,, mi civilization which gave the letter its full value as the bearer 1111 of th, ,i Ight, and raised it to universal importance MAX UF1ISCH 1ERSAS PHYSICAL ENTITIES HAVINGABsrmataun _ OF1IFIR OWNAPART FROM THE IDEAS THEY MAY EXP RESS ORME EMMONS

mEymAyEvovxoN•HRGGS M

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vore to silent flhe is one of the most eloquent means page Games of exrepssion in every epoch of style. of It thr0 the Next to architecture,it gives the most *FRIEDRICH characteristic portrait ofaperiod and centuries SCHILLER the most severe testimonyof IT CAN BE CONSIDEREDA SPECIAL MERIT OF OUR a nation's intellectual status. TIME THAT CREATIVE FORCES ARE AGAIN CON- CERNED WITH THE PROBI EM OF TYPE DESIGN which can be treated like an ornament rand the -A PROBLEM WHICH HAS BEEN FACED clear-cut and even shape of a letter is a decor- ative means of monu- BY11-E BEST ARTISTS OF EVERY AGE. mental form-should Words remain fulfill two properties, namely to transmit, impalpable ab- through the image of stract entities for the word,thoughts & ost people, but moods,knowledge and directions and r the lover and also to affect the senses thru its iorm, udent of typog- LETTERSERS HAVE and lend visible grace to the contents. phy they can ALWAYS BEEN

a ieve amore or THE IMMEDIATE EXPRESSION OF HUGO LAGERSTROM less perfect realization in the shape of let- A NATION'S ARTISTIC 1-EELING,& ters. For him it becomes constant need IN OUR CONTEMPORARY DESIGNS to delve into the o rolific realm of ALSO, THE LEVEL OF OUR CREA- TIVENESS IS PERHAPS MORE FOR CIBLE & LASTINGTYREPRESENTED THAN IN OTHER REALMS OFART. WALTER TIEMANN and thr o ugh familiarity with that w o rld he grows in- creasingly receptive to the myriad shades of meaning that can be expressed. It is only when he has succeeded in finding the most perfect embodiment fora partic- ular line of thought,that his quest is over.

GOTTHARD DE BEAUCLAIR

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•

Ali aMbaocuhti eF s oerxwi se ei ns tthheent exploitw t hht ceemn t no rycreateus b — a ut ayamd omdi b ea oyi whilend e aret it. t ; live u efrankly admit it and not tpretend w we live in the fifteenth.The work of the backward-looking hand-printers maybe excellent H wi n i. ti hts awha ; but ei dts hway eaan i ts yneoxt thes csi v o en toefmp orri y v nv at7 )1.T1e e i r booksb ahrie c ft hbeautiful,appe n t o but borrowed nothing hworld in which ho we happen live.. GOD BLESS COPPER,PRINTINGIANDALL OTHER REPRO- JOHANTsi THINGDU PROCESSES,WHICH ENSURE THATANYGOOD GOETHE OUSTS CAN NEVER BE WIPED OUT. fric-0*-44- The printer i the friend of intelligence, of thought; he is the friend of liberty, of freedom, of law; indee the printer is the friend of every man who is the friend of order—the friend of every man ho can read.Of all the inventions, of all the discoveries in science orart, of all the gre results in the wonderful progress of mechanical energy and skill,the prim- DI s ter is the onl product of civilization necessary to the existence of free man.00•0•0 Now this is what I call workmanship here is nothing on earth more GE exquisite than a bonny book,with w 11-placed columns of rich black ORGE writing in beautiful borders, and luminated pictures cunningly B cum inset. But nowadays, instead of loo ng at books, people read them. • FINE TYPOGRAPHY PRESENTS A KIND OF CHALL NGE TO WHICH WRITERS CAN SCARCELY wiliyoK HELP RESPONDING. I FEEL IT IS BOUND TO EVO E IN VVRITERS THE WISH TO WRITE REALLY WELL THAT IS LATENT AND SOMETIMES FORG TIEN BUT UNQUENCHABLE IN MOST OF THEM. FINE TYPOGRAPHY HAS A CURIOUS C RM FOR THE LITERARY MIND-PERHAPS A LITTLE LIKE THE CHARM IN THE AIR OF VIENNA HAT HAYDN FELT OR THE AIR OF THE OLD SALONS OF PARIS THAT MADE WRITERS EXAM G. BROOKS We learn to read,in various languag s,in various sciences;we learn the alphabet and letters of all mann r of Books.But the place where ITIOMAS we are to get knowledge, even th retie knowledge, is the Books themselves!.3he true University of t ese days is a Collection of Books.

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S. H. DE ROOS Apart from technical and practical factors,it is espe- cially the style of a period, the dominant expression of form,which is reflected in the character of a type lfilling it with the changing t of Hy fascinating' aspect country and period. ISA SERVANTIHE In all the alphabets yet created there lies a wealth, an abundance, of possible creative interpretations which we only perceive as we give them more in- tensive study. The letter was formed, and to form SERANT OF implies creation. This is a divine process even when it takes place within the four walls of a humble workshop. Once, there was someone working at each letter who felt the joy of creation pulsing in his veins. Whoever looks at letters with a receptive eye IHOUGHT& will therefore sense the miracle which occurs when- ever individual signs composing a group become the image of a language,and he will discover a meaning- ful life in this allegedly dead matter. MA R EA D The triumph of the LANGUAGEalphabet gave the ALFRED J. LUDWIG true impetus to our Western civilization; To WHICH IT it allowed a swiftdissemination of the humanistic spirit, which was followed by works on theology, philosophy and mathematics as well as a revival of scien- tific and literary learning.The alphabet made it possible to transmit all-embrac- ing concepts and truths to humanity WESVISIBLE atnhe a srtensiyepoingrwaphh icyhisAarnch aiittec Tthure at C is an is, they both come under the head 0 of "making or doing intentionally EXISTET. M. CLELAND with skill". . . . Every work of Archi- tecture,every work of Typography, depends for its success upon the clearconveyance of intentions, in words and otherwise, from one human mind to others: from the man who is supposed to know how the finished thing should look and function,ton concert of specialists who are responsible not only to master-designer but also to the public. BEATRICE WARDE

THIS PAGE WAS SET IN ITC CHELTENHAM LIGHT, BOOK, BOLD AND ULTRA CONDENSED ITALIC AND ITC CHELTENHAM BOLD CONDENSED CAPS (ABCDEF GIIIJKL/11 NOPQRST UVWXYZ) Letters these seemingly commonplace little signs, taken _e&agh ,Nimg for granted by so many, belong to the most momentous products of creative power. These forms, which we take in with our eyes a million times each day, embody the highest skill within their small compass .They are abstract refinementv ofthe creative imagination full of clarity, movement and subtlety. They combine two character- istics which must be inseparable: the precision of mathemati-

cal laws and the expressiveness of the animated stroke .These vital signs so full of meaning demand a true coordina- tion ofstructure, akin to architecture in the logical com- otemilmilOr bination of harmonious proportions, ajudicious surface distri- bution, and a sensitive feeling for the tonal values of black, white and grey. Books are our companions through life; they comprise the treasures of the human mind, a permanent en- richment for the reader. Yet few realize that type and typogra- phy ,lators which influence us Both serve the book but whoever studies them for their own sake will make the joyful discovery that they reveal a sovereign mastery in their own right. GUSTAV BARTHEL

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compugraphic Compugraphic Corporation, 80 Industrial Way, Wilmington, Massachusetts 01887 Telephone (617) 944-6555 41

You be the Judge.

A powerful agent is the Ultra Condensed Italic right word. Ultra Condensed Ultra Italic Ultra Bold Condensed Italic Bold Condensed Bold Italic Bold Book Condensed Italic Book Condensed O THE MAN Book Italic T with an ear for verbal delicacies—the man who searches Book painfully for the perfect word, and puts the way of saying Light Condensed Italic a thing above the thing said—there is in writing the Light Condensed constant JOY of SUDDEN DISCOVERY, Of HAPPY ACCIDENT Light Italic Light H.L. Mencken ITC Cheltenham Sabon with SMALL CAPS/Italic/Bold

Light/Light ltalic/M ed u m Medium Italic/Bold Bold Italic Clip coupon and mail to: Souvenir Compugraphic Corporation Gothic Type Division 66 Concord Street Wilmington, MA 01887 I am the voice of today, for more information on: the herald of tomorrow... EditWriter Series phototypesetters ❑

I coin for you the enchant- Sabon ❑

ing tale, the philosopher's Souvenir Gothic ❑ moralizing, and the poet's ITC Cheltenham ❑ visions... I am the leaden Name army that conquers the Company Title world! I am type! Address Frederic William Goudy City & State Zip 42

i/v/e(7,/(9'f2(i4.- -cj#44.9;6c/i(ri.#4'i- )(-:#4 0/,v/44y/it'we. «i/(.1(?ri/(j))//l(,/(7/I4/(ir.

...Mr Blechman is in a class by himself. . . The New York Times THE IDEAL CHRISTMAS GIFT FOR ANYONE WHO HAS EVERYTHING

witty and penetrating illustration 25 copies; $12.50 each. 25 to 100 by R.O. Blechman's pastel palette, copies; $10.00 each. 100 or more enhanced by the captivating design copies; $8.50 each. one has come to associate with the But don't wait. Act now Fill out name Lubalin. What Blechman did the coupon to be the first to avoid for the" talking stomach" through the last minute Christmas rat race. his popular TV series of Alka Seltzer MIN NMI =II MI IMO commercials; he is doing here for RatRace Books 217 East 28th Street the "racing rodent;' delightfully put- New York, N.Y. 10016 ting a cluster of them through their monthly paces over the obstacle ❑ I enclose my check for $ for R.O. Blechman and Herb Lubalin dar-appointment book containing course we call urban life. copy(s) of The Great American cordially invite you to buy their cal- 28 full page, full color, illustrations Buy a copy. Better still, buy Rat Race. for everyone in the office (New York City residents add sales tax.) endiary succinctly called "The Great and 84 black and white pages of mon- copies PLEASE PRINT American January Through De'cem- thly calendars and weekly diaries for relatives, clients. Anyone.—for friends, ber Nineteen Hundred and Seventy- appointments, phone messages and Reasonably-priced at only $15 per Name Nine Rat Race:' copious notes. copy, it's the perfect gift to delight Address What's a calendiary? Everyone who's lived in a big city the eye and provoke the brain. And City A beautifully illustrated, design- knows what the rat race is, and the substantial reductions are offered State Zip ed, printed and bound 11x8 calen- whole sweep of it has been put into for quantities of ten or more: 10 to 43 3 Compugraphic has ITC Cheltenham.

Compugraphic Corporation has the entire ITC Cheltenham family of typefaces. The sixteen designs introduced on the preceding pages are now available through your Compugraphic typographer.

compugraphic 80 Industrial Way, Wilmington, Massachusetts 01887 (617) 944-6555 44

CPS 320 PRODUCTION/BUSINESS SYSTEM

If you're looking for solutions to both text management and business system problems and you would like expanded backup features, you owe it to yourself to investigate the newest member of our CPS 300 family, the 320 ...a revolutionary dual system that gives you the capabilities of two separate full-scale systems—one used for composition production and the other for business. In addition to providing complete editorial, classified and display packages, the 320 automatically transfers relevant input data to the business system for procedures such as classified ad billing, updating account receivables, and maintaining statistical reports. Also, the CPS 320 dual system gives you these important options: use of both systems for production or business, or each used to back up the other operation. The 320 is the lowest priced, full-feature dual system on the market. For details write, or call toll free: 1-800-225-0945, except Mass.

EDITORIAL CLASSIFIED DISPLAY PRODUCTION BACK-UP CIRCULATION CONTROL CLASS AD BILLING DISPLAY AD BILLING PAYROLL ACCOUNTS PAYABLE GENERAL LEDGER

DYMO GRAPHIC SYSTEMS, INC. Wilmington, MA 01887 (617)933-7000 45

Make headlines on Madison Avenue. With the only headline-making machine the way you want. The size you want. When r of its kind. The VGC° Photo Typositor? You'll you want. Visual Graphics Corporation be able to make headlines on Madison Ave- So next time you have to send out for a VGC Park, 5701 N.W . 94th Ave. nue. On the beach. Or anywhere there's a headline, dial our toll-free number first. We'll Tamarac, Florida 33321 110 volt outlet (or a long extension cord!). show you how fast, how easy and how low- Because the Photo Typositor is unique. It cost it can be when you set headlines your- I want to know more about the doesn't need a darkroom or plumbing to pro- self with the Photo Typositor. For as little as Photo Typositor. duce beautiful camera-ready typography. $82 a month you can lease the Model 3100. ❑ Please contact me to arrange for a What's more, the Photo Typositor has Or for only $3250 you can own the only demonstration. ❑ features that no other machine has—at any machine that can do so much with headlines, Please send me more information. price. It has visual spacing. So you can look even in the desert. And that's pretty headline- at the words you're setting as you set them. It making in itself. Name can tight set. Bounce. Stagger. Overlap. Title Undercut. Expand. Condense. Italicize. All The VGC Photo Typositor without a darkroom. With a choice of more Address than 2,400 low-cost fonts. turns hours into minutes. Sound terrific? It is. But even more ter- Call us toll free: 800-327-1813. City - State Zip rific is the fact that you can save up to 80% of In Florida, call: 305-722-3000. the cost of headlines when you use the Photo In Canada, call: 514-739-3325. Phone Typositor. And the type will always come out Or send this coupon for more information. U&LC 9/78

Even Gutenberg, the master, would approve. So will you. No matter how fussy or finicky you are. ❑ Because no matter how you look at it, when it comes to character quality, Berthold wins hands down. ❑ Thanks to incredibly sophisticated optics and a chrome emulsion glass grid, rather than ordinary film emulsion, no one can better our quality. Which means that no one can better yours. ❑ In other ways, too, Berthold is phototype for perfectionists. You get all the faces you want — a total of eight at any given time — each in 15 different point sizes.111Character kerning, too. Reverse eading. 300 tabular positions. And continuous rules — both horizontal and vertical — of any weight. All of which allows you to bring every piece of work you do up to the quality of ad work. ❑ And yet all this still doesn't tell the whole story. With Berthold, you can set an entire job — to size and in position — in one simple step. No more time-consuming paste-up. No more costly camera work. No more need to draw rules by hand. ❑ At Berthold, we've gone out of our way to keep the art of typography alive. So you would no longer have to compromise your standards. ❑ Now you can enjoy all the advantages of today's technology without having to sacrifice the quality and craftsmanship of the past. ❑ And that's something worth taking a closer look at!

This unretouched "a" was enlarged nearly 5000" from an eight point diatronic grid with no fall-off.

L:3 ((-r.J BERTHOLD OF NORTH AMERICA The Spirit of Craftsmanship in Today's Technology.

CORPORATE OFFICE CHICAGO LOS ANGELES TORONTO 610 Winters Ave. 4415 Harrison St. 11222 La Cienega Blvd. 157 Bentworth Ave. Paramus _ Hillside Inglewood Toronto New Jersey 07652 Illinois 60162 California 90304 Ontario 1\46A 979 Tel: (201) 262-8700 Tel: (312) 449-5827 Tel: (213) 645-7112 Tel: (416) 789-5219 Telex: 710-990-6618

Text was set in Garamont Amsterdamer on the 'diatronic

At AM we reinvent the alphabet 80 times a year. From the moment a new Comp/Set type style is considered, until you see it in finished form, quality is our main consideration. We offer over 350 alphabets, from classic to contemporary, adding over 80 new faces each year. Each face is precisely rendered by skilled typographic artists. Then painstakingly transferred to film, with all the fine detail preserved for the best results in a wide range of sizes. With our Comp/Set 4510 phototypesetter, for example, you get 16 type styles and 70 type sizes (51/2 to 74 points) on-line. Our goal, like yours, is crispness of reproduction. Because, like you, we're sticklers for quality. The end result is quality type design. See how the Comp/Set Concept of quality can make a profitable system even more profitable for you. The proof is in the proof. We've prepared a demonstration that will let you see and judge Comp/Set quality for yourself. Call now toll free, (800) 631-8134, or your local AM Sales Office. (In New Jersey, call 201 887-8000, ext. 666). Or write VariTyper Division, 11 Mt. Pleasant Avenue, East Hanover, New jersey 07936. The type in this ad was composed on the Comp/Set phototypesetter. ADDRESSOGRAPH MULTIGRAPH 49

NEWSLETTER

SKILLS FOR HIRE*

ASPEN CONFERENCE GETS SUPPORT FROM THE DESIGN SCHOOLS ASPEN—The International Design Conference this year added The Design Schools to its list of sponsors. In June, some 1,100 designers traveled from all over the world to this old silver mining town. Among those attending the week- long conference were a number of students from Colorado Institute of Art. "'- They came to hear such innovators as Mil- ton Glaser, Paul Davis, Charles Eames and COLORADO GRADUATES Saul Bass brainstorm on the way design is DESIGN TOGETHER affecting our environment and daily life. Since it was founded in 1951, the • AT DENVER AGENCY International Design Conference in Aspen DENVER—Three of the five people who has been the world's major forum for ex- staff Advertising and Design Associates, ploring ideas about design. Supporting the here, share the same alma mater. The Conference and its ideals is part of agency, founded by Colorado Institute of The Design Schools' ongoing activity in Art graduate Rush Rhoads, above right, national programs. handles clients from all over the world, mostly in the science field. Besides Rhoads, two other staff members are Institute alumni: Art Director Randy Searls, at left, and his sister Karen, Production Manager. Rhoads, who graduated from the Institute five years ago, finds that the kind of training offered by the school produces versatile graduates. "We have only a small staff," he notes, "but most of the people who work here are multi-talented... one of the advantages of hiring Colorado graduates is that they are generally well- rounded artists."

At Aspen, Ron Seichrist, of Art Institute of Atlanta, talks with Lou Dorfsman, of CBS.

Maurice Sendak created this whimsical self-portrait in honor of his DESIGN STUDENT EARNS HONORS, MAKES PROFIT recent visit to the Art Institute of upstate New Yorker was honored recently Atlanta. Sendak spent a week working FORT LAUDERDALE—Artist Mark closely with the students, guiding them Hunziker is already in business—although by being chosen as one of a select group of students to attend the celebrated through the imaginative adventure of still in school. This ad design major at creating their own children's books. the Art Institute of Fort Lauderdale runs his Illustrators Workshop in Tarrytown, N.Y. own small graphics studio with a fellow At the Workshop, he met two of his AIFL student. Among his recent assign- heroes, high-powered illustrators Robert insri-nrrE ments: to design the logo for a skateboard Peak (Hunziker is shown in photo next to company. Hunziker has also designed the a Peak illustration) and Bernie Fuchs. This kONIA package for a computerized soil tester, experience, he says, buoyed up his dream marketed nationwide. of eventually becoming a successful An aspiring magazine illustrator, this magazine illustrator.

The Design Schools graduates have had 24 months of intensive, specialized preparation in a variety of skills, including: advertising design, typography, photography, illustration, drawing, perspective, lettering, airbrush, package design, multi-media, photo laboratory, animation, mechanicals, pre-separation and many others. They are prepared to work productively for you.

5 ART INSTITUTE OF ATLANTA Edward A. Hamilton, Design Director ART INSTITUTE OF FORT LAUDERDALE The Design Schools ART INSTITUTE OF HOUSTON Time & Life Building, Suite 777 1271 Avenue of the Americas ART INSTITUTE OF PITTSBURGH New York, N.Y. 10020 COLORADO INSTITUTE OF ART I would like to know more about The Design Schools graduates. ❑ I don't have immediate need, but please keep me advised. ❑ Include me on your invitation list for seminars and programs. ❑

A series of programs and seminars featuring noted designers, artists and Name: Position. filmmakers will be given this year in a number of key cities. Sponsored by Phone. ( ) The Design Schools and local art directors clubs, the programs will be Company. announced by mail in various local areas. Watch for your invitation. Zip. Address. City: State:

Skills of special interest to me. 50 The odds on just any typesetter becoming a member of the ATA are about the same as the odds on a basset hound vvinning the Kentucky Derby.

1 he odds on the average basset hound making it into the a typographer must meet an exceptionally high set of winner's circle at the Kentucky Derby are astronomical. standards that include typesetting technology, work quality and But the odds on the average typesetter making it into business ethics. the Advertising Typographers Association aren't much better. Of course, that doesn't mean working with someone In fact, with over 10,000 typesetters in the world, only 52 who isn't an ATA member will necessarily give you poor results. are ATA members today. So the odds are about 200 to 1 It just means that you'll be betting on a long shot to win. That's because, in order to become an ATA member; The ATA. We set standards for the people who set type.

ATA MEMBERS: ATLANTA GEORGIA ACTION GRAPHICS, INC. BENTON HARBOR, MICHIGAN TYPE HOUSE, INC. BLOOMFIELD, CONNECTICUT NEW ENGLAND TYPOGRAPHIC SERVICE, INC. BOSTON, MASSACHUSETTS BERKELEY TYPOGRAPHERS, INC.; COMPOSING ROOM OF NEW ENGLAND; TYPOGRAPHIC HOUSE, INC. CEDAR RAPIDS, IOWA TYPE 2 INC. CHICAGO, ILLINOIS J. M. BUNDSCHO, INC. FREDERIC RYDER COMPANY; TOTAL TYPOGRAPHY, INC. CINCINNATI, OHIO TYPO-SET INC. CLEVELAND, OHIO BOHME & BLINKMANN, INC. DALLAS, TEXAS COLUMBUS, OHIO YAEGER TYPESETTING CO., INC. JAGGARS-CHILES-STOVALL, INC.; SOUTHWESTERN TYPOGRAPHICS, INC. DAYTON, OHIO CRAFTSMAN TYPE INCORPORATED DETROIT, MICHIGAN GRAND RAPIDS, MICHIGAN W LENS + MICHIGAN CORP. CENTRAL TRADE PLANT OF GRAND RAPIDS HOUSTON, TEXAS THE TYPE HOUSE, INC. INDIANAPOLIS, INDIANA TYPOSERVICE CORPORATION KANSAS CITY, LE I I ERGRAPHICS/KANSAS CITY, INC. LOS ANGELES, CALIFORNIA ANDRESEN TYPOGRAPHICS; TYPOGRAPHIC SERVICE CO., INC. MIAMI, FLORIDA MEMPHIS, TENNESSEE GRAPHIC ARTS, INC. WRIGHTSON TYPESETTING, INC. MINNEAPOLIS, MINNESOTA DAHL & CURRY, INC.; DIJRAGRAPH, INC. NEWARK, NEW JERSEY NEW ORLEANS, LOUISIANA ARROW TYPOGRAPHERS GREATER TYPOGRAPHIC SERVICE, INC. NEW YORK, NEW YORK ADVERTISING AGENCIES/HEADLINERS; ARTINTYPE-METRO, INC.; FRANKLIN TYPOGRAPHERS, INC. ROYAL COMPOSING ROOM, INC.; TRI-ARTS PRESS, INC.; TYPOGRAPHICS COMMUNICATIONS, INC.; VOLK & HUXLEY, INC. ORANGE, CAUFORNIA DELI NE-0-TYPE, INC. PHILADELPHIA, PENNSYLVANIA WALTER T. ARMSTRONG, INC.; TYPOGRAPHIC SERVICE, INC. PHOENIX, ARIZONA MORNEAU TYPOGRAPHERS, INC. PITTSBURGH, PENNSYLVANIA DAVIS & WARDE, INC. HEADLINERS OF PITTSBURGH, INC. PORTLAND, OREGON PAULO. GIESEY/ADCRAFTERS, INC. ROCHESTER, NEW YORK ROCHESTER MONO/HEADLINERS ST. LOUIS, MISSOURI MASTER TYPOGRAPHERS, INC. SYRACUSE, NEW YORK DIX TYPESETTING CO., INC. TAMPA, FLORIDA CENTURY TYPOGRAPHERS MONTREAL, CANADA McLEAN BROTHERS, LTD. TORONTO, CANADA COOPER & BEATTY, LTD. WINNIPEG, CANADA B/W TYPE SERVICE, LTD. BRISBANE, QLD., AUSTRALIA SAVAGE & CO., PTY., LTD. SOLNA, SWEDEN TYPOGRAFEN AB ADVERTISING TYPOGRAPHERS ASSOCIATION OF AMERICA, INC., 461 EIGHTH AVENUE, NEW YORK N.Y. 10001. WALTER A. DEW JR., EXECUTIVE SECRETARY 51

Itt; Fun! Here's a chance to celebrate the joys of Entries can be black and white or color and, contemporary typography — and enjoy its rewards. except for First Prize, will be judged and awarded Just create an original lettering design using an prizes separately. You can extend, condense, Instant Lettering® or Letragraphica° typeface curve, underline or modify the typeface in any way sheet. You can use our phrase — The Liberated that enhances the design. Extra elements can be Letter — or come up with one of your own. As long added as long as the lettering remains the as it expresses a characteristic of contemporary dominant one. typography, it's fine.

Win a Trip to London. First prize is an all-expense paid trip to London. In addition to the main prizes, the following You can enjoy a week in one of the world's most awards will also be made: popular cities. Letraset will pick up the tab for 6 Pantond by Letraset Color Marker Art your hotel and meals. Director Sets 10 Instant Lettering Sheet Portfolios Two cash awards of $500 and $250 worth of Letraset 30 Sets of The Liberated Letter Coffee Mugs. Instant Lettering sheets will go to the runners-up. Third prize in both the black and white and color categories will be $150 and $300 worth of Instant Lettering sheets. *Pantone Inc:s check-standard trademark for color reproduction. color data and color reproduction materials. ■ The judges. IMI= 111111111 MIN II= =IN I 11 ISM Your work will be seen by three talented individuals I Letraset USA • Colin Brignall, head of Letraset's Type 40 Eisenhower Drive, Paramus, NJ 07652 I Development Unit and a successful type I I designer Name . • Gerard Huerta, a typographic ace and skilled I -110' I letterer Company • Herb Lubalin, graphic designer and type master I Address If you'd like to enter, return the coupon and we'll I1 City State I send full details. Or contact your Letraset Dealer — I he'll have details and entry forms. The deadline for Zip Telephone I entries is January 31, 1979. RIM NM MN I■ L .. _ - . __ - - 11 -J Letraset Letraset USA Inc. 40 Eisenhower Drive, Paramus, NJ 07652 52

Nobody really likes getting phone calls in time to make major corrections. And at 3 A.M. more and more clients select Ryder for their most the middle of the night. there's still time to even completely reset a job if demanding jobs, even if they don't select Ryder Not even a RyderTypes salesman like it doesn't come up to Ryder standards. for all their jobs. Tom Gray. So that at 9 A.M., there are proofs on a You see, like other people, Ryder salesmen But Tom Gray would rather get a 3 A.M. client's desk that don't require phone calls to don't really like getting phone calls in the middle call from the night foreman at Ryder to solve Tom Gray. of the night. But maybe Ryder salesmen, like a problem, than get a 9 A.M. call from a troubled Maybe it's that kind of concern that's Tom Gray, Al Garzotto, Peter Jones and client with lots of problems. made Ryder one of the largest advertising typog- Bob Benson care more about what their work

Because at 3 A.M. there's still time to raphers in the country. looks like, than what they DvDERTypEs clarify a client's request. At 3 A.M. there's still And maybe it's part of the reason why look like when they work HI Frederic Ryder Company, 500 North Dearborn, Chicago, Illinois 60610. Telephone (312) 467-7117. 53

#e

Typefaces are like human faces; no two are quite alike. Each human face reflects a unique personality; each typeface reflects a unique typersonality shaped by the skill, temperament, and times of the artist who designed it.

Mergenthaler, Linotype, Stempel, Haas now adds to its collection four of the most beautiful, exciting, and timely typersonalities, Life, Snell Roundhand, ITC Cheltenham Condensed, and Helvetica Extended.These new families are additions to the most comprehensive collection of authentic typersonalities, the library that sets the standard.

To complete each typersonality, we pioneered programmed typography. Our advanced typographic program, ATP 1/54, automatically kerns, tucking one letter closer to or beneath another with any of 432 letter combinations. Automatically sets tight, tighter, or tightest fittings, whichever you prefer. Automatically hangs punctuation for crisp, clean columns. Today, four new typersonalities, Life, Snell (X' Roundhand, ITC Cheltenham Condensed, and Helvetica Extended, are available throughout 4i, 4 00"S' the world from all the V-I-P typesetters ''*• 4 c\ subscribing to Mergenthaler's TypoPlus 3 program. TypoPlus 3 means availability. • Mergenthaler Linotype Company Mergenthaler Drive Nc.'S Plainview, NY 11803 USA O S.co ,(9.xte)7 cl 44' • '7>

Life "We really do bring you everything when we bring you Life and Times.. ."* Life was designed in 1965 by Francesco Simoncini in Bologna, Italy, and carries on the Simoncini tradition of quality in design. Mergenthaler, Linotype, Stempel, Haas licenses several faces from the Simoncini Library, the newest being Life, Life Italic, and Life Bold (licensed by Stempel). Life is an old style face, which, like Simoncini's Aster, was designed in the tradition of Times Roman. Aster was licensed by the Mergenthaler Linotype Group in 1972.

* Mike Parker

This article was set on the V-I-PIT, in Frutiger 45, Track 2, with automatic kerning and hanging punctuation.

Ask your V-I-P typesetter about Life.

54

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Snell Roundhand When Matthew Carter joined the Mergenthaler truly "typographic" script. As Matt says, "It is Linotype Group he took the opportunity offered precisely the disciplines that Snell imposed by photocomposition to reconsider traditional (perhaps over-zealously) on handwriting that are script letter forms. essential to type: clarity, regularity of rhythm, concentration on a single definite form for each He explored the history of formal script designs letter and avoidance of extraneous ornament." and decided to develop the "hand" of the writing What he designed is indeed legible, expeditious master, Charles Snell. Snell, 1667 to 1733, lived in and beautiful. England at the time British trade was in its ascendancy. The utilitarian roundhand style of The growing popularity of Snell among writing was Dutch in origin, but, with the rise of typographers led Matt to expand this "most British trade, it became known as the English useful" script into the first script family, Snell commercial script, used for all accounting —the Roundhand Bold and Snell Roundhand Black now "typewriter" face of its day. join Snell Roundhand on the V-I-P. Snell was an accountant as well as a calligrapher, This article was set on the V-I-PIT in Frutiger 45, and his practical side rebelled against the highly Track 2, with automatic kerning and hanging ornamented scripts becoming popular at the punctuation. time. He said, "Let your endeavours beta make your handwriting legible, expeditious and beautiful as you can; for these three qualities are Ask your V-I-P typesetter about Snell Roundhand. what will render it the most useful." Matt, himself a master type designer, works in sympathy with Snell's philosophies. He selected this script because he saw that the discipline and large x-height of Snell's hand would produce a U

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+V `( ■C`)4 of 41' s ■S Ofk43 ,o 06 e tt3.' Sql" 400 e4s1P ) + RP Helvetica Extended G a" scp4 de. Mergenthaler, Linotype, Stempel, Haas now if introduces four new members of the Helvetica family: Helvetica Extended Light, Helvetica Extended, ir1 Helvetica Extended Bold and Helvetica Extended Black. While various forms of Extended have been associated aea with Helvetica in the past, none had been designed 0 for the purpose; these four new extended weights are ec ":" 6 the true Helvetica design, and are now available on Mergenthaler Linotype equipment. 0 Since the original design was released in 1957, the 100 family has expanded several times. In March 1976, ‘0 Mike Parker, Mergenthaler Linotype's Director of Typographic Development, wrote an article "Everything You Ever Wanted to Know about Helvetica, But Were Afraid to Ask." At the time, we were offering the four new faces, Helvetica Thin with Italic and Helvetica Heavy with Italic. Edouard Hoffmann of Haas, Mike writes, felt that Akzidenz Grotesque, while good, was not the perfect expression of what we've come to think of as the contemporary Swiss sans serif. In the mid 1950's Hoffmann approached designer Max Miedinger, and the two of them worked out the new sans serif. It was introduced in foundry type as "New Haas Grotesque." In 1961, the parent company of Haas, D. Stempel AG, produced the face for the Linotype machine and renamed it Helvetica. ,c`) Confusion with the nomenclature of Helvetica in the United States stems from different translations of the 0-.qs weight names from German to English. However, the o.c? Mergenthaler Linotype Group (of which Stempel and 0C'%ebt)?) Haas are part), standardized on the English on all faces in their library to be roman, italic, bold, bold 0 italic, black, and black italic. And so the official nomenclature for the face is Helvetica, Helvetica Italic, ■ 41/ Helvetica Bold, Helvetica Bold Italic, Helvetica Black, ,‘e 4...■■ Helvetica Black Italic, etc. The words "Medium, Demi, <\' POGO ?'` Regular" are incorrect. 7.12 cie '` The Helvetica family now includes: Thin with Italic, Light with Italic, Helvetica with Italic, Bold with Italic, 66 'c Black with Italic, Extended Light, Extended, Extended ec‘ 6, e <0 Bold, Extended Black, Light Condensed with Italic, eP * ti< Nye Condensed with Italic, Bold Condensed with Italic, 0 X4, 5 Black Condensed with Italic, Compressed, Extra z mac Compressed, Ultra Compressed, Rounded Bold N(+ ON with Italic, Rounded Black with Italic, and Rounded ova (b1)(

44 464(' Name . Address .

City & State

Zip • 57

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IF YOU'RE INTO ALL TYPES, YOU'LL LIKE AUTOLOGIC. BESIDES OUR TOP-RATED APS-5 PHOTOTYPESETTING EQUIPMENT, WE'VE GOT A LOT OF INTERESTING CHARACTERS FOR YOU TO . MEET. SOME ARE SQUAT. SOME ARE BOLD. SOME ARE BOOKISH...IF YOU SEE SOME FACES THAT LOOK SHADY OR OBLIQUE, DON'T WORRY-YOU CAN KEEP THEM ALL ON-LINE WITH THE APS-5 CRT

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58 Alphatype /Alphasette®Users Now you can be the first with the best faces in town

TM Subscribe now to FON FIR The new program that offers you First generation art. All ITC you so much and saves you time and The Modular Font Layout all these,firsts. Alphatype/Alphasette® typefaces and money too. offers you newfontflexibility at ITC 2"display fonts are made from origi- WRITE OR CALL NOW minimal cost First to provide Alphatype/Alphasette® nal ITC art. This Fonts First' assures users with all the new ITC typefaces on you of the utmost typographicfidelity lb tell us about your requirements and to give us your ideas so we can serve you 1. This is a basic Film Fonts the ITC release date. With Fonts Firsts to the original design. International, Inc. Alphdtype/ you'll be the first shop in town with the better. We'd like to know: What faces you want Alphasettefont. It has 9 windowsfor best of the new faces. You need never First with the Modular Font System!'" each of the two alphabets on it. lose another job because you don't have (See accompanying illustrations.) The equipment you want them for the faces your customers demand. This Fonts First makes every typeface The font layouts you prefer The special characters you require 2. This standard overlay comes with instantly convertible to a book, the basicfont at no extra charge. First on the market with afull mathematical, fractions or foreign lb learn how you can be first with size-range offering of all Alphatype/ language layout. Customized layouts the best new faces in town, including: 3. There arefive specialty overlays- Alphasette® ITC typefaces. This Fonts can also be created. ITC fonts threeforforeign languages (not all FirsCeliminates the need for camera- Non-licensed fonts shown), onefor ligatures and alternate work to set jobs or specimen sheets. It's First with an Alphatype/Alphasette® Old style revivals characters, and onefor pi sorts. Any of a real profit-builder, too. font subscription program that offers Special purpose fonts these can replace a standard overlay to quickly adapt the basicfont to a ITC ITC BENGUIAT BOOK ITALIC BENGUIAT BOOK 18 wide range ofjob requirements. Every character on the specialty overlays is 00 -* • c. ' specifically designed to match the L design of the corresponding basicfont CN CD P. 0- 0) U-1 (1) (J1 — CO •••.1 Qom' Is You can also create your own custom- III ;F z%iii Pt ■ r- C)$' ized specialty overlays. A complimen- CO Z • N MCC CO '• N tary kit to help you do so, with com- • N M2+1)- 3 - XNC•.)-< a plete instructions, will accompany CO • 1:1 NJ Di "'CC yourfirst order. Any of the overlays 7>< III L- ' >< -1 III C) -1 cover and protect the image area of the ci) c n < a al y •- fin basicfontfrom scratches, dirt,finger- fert,n,x9onolim 2 Nrn f orty denalicnci prints, etc.

G1013 G1012 4. These are companionfonts. • I They can be mounted in one of the font positions of your E E ITC typesetter while BENGUIAT BOOK 18 retaining the basicfont in its position. SMALL CAPS, FRACTIONS BPI - a-- These companionfonts contain, on one • side, small caps, superiorfigures with 7 : C • - punctuation marlcs,fractions and ;73._ CD 'el-, 1,./ ' VI ■ alternatefigures. The other side of the r" " e • • font has windows on which specialty co 6 • NI II__ overlays can be mounted. 2 N C

1•7 — a CO fro9rierncttchlc 5. C) 1 "0 >< This is a double overlay carrier. You can mount it in one of thefont LA •-•-• a positions on your typesetter and • CO < • • thereby put math, foreign language or a a a special book characters on-line while 4 OVERLAY retaining the standard overlay on the basicfont ITC BENGUIAT BOOK ITALIC SMALL CAPS, FRACTIONS& PI Never before have you been offered suchfont quality; flexibility and w instant availability. Return the ,N a cr. th accompanying coupon today to put 4 Ro e ort,iemotbnol cc. Fonts FirstsTM to workfor you now. co 4, a • I =-11 N te, r • O N 5 0. 00 -I ■ Film Fonts International, Inc. • C) k .11 Z 225 ParkAvenue South, NewYork, NY 10003 (0?:7, ' El Please tell us more about your Fonts • • Firsts"program and your customized font services.

G1079 4 OVERLAY a 0 We'd like you to supply fonts for equip- ment of these manufacturers too: a II DOUBLE OVERLAY CARRIER • 3 Snkkremoncedhc • • • • • Name • • • • • ■ • Title a • Company Street Number • • • • City 01 ▪ 111 State Zip OVERLAY OVERLAY 4n6,97.999.99,70.9. 3 1)_ 3\4) 5 fin foto Viencliencil Inc

*PLEASE NOTE: Alphatype/Alphasette t is a registered trademark of the Alphatype Corporation. Film Fonts International, Inc. is a licensed ITC subscriber.ICEINCSED L3 FILM FONTS INTERNATIONAL, INC., 225 PARK AVENUE SOUTH, NEW YORK, NEW YORK 10003 • PHONE: 212-533-2110

The world's only stat camera with a buiitin RC phototypesetting processor.

Nita! Graphics new, improved Pos One' CP S 516. a switch, you can convert the unit into a one-step stat and It's a complete daylight stat and repro camera. It's a repro system complete with self-contained lighting and unique RC phototypesetting processor. And you get both automatic processor. Make enlarged, reduced or same- capabilities for the price of an RC processor alone! size extra proofs of your typesetting, on paper or film. Use this remarkable equipment Automatically processed in a matter of minutes. Repro- either as the primary or back-up portion type. Create reverses, screened veloxes, position RC processor for your Compu- stats, mezzotints and 28 other special effects, posteriza- graphic, Comp/Set, Mergenthaler, tions, color keys—and more. All operations take place in Quadritek or similar high quality normal room light, without a darkroom or plumbing. And phototypesetter. Process the resin- the 516 is so quick and easy to use, it requires no special coated material output speedily operator. In fact, the same person who sets your type and automatically in normal room can run it. light in the Pos One CPS 516. If you need both an RC processor and a stat camera, Then, with the simple flick of now is the time to seriously consider the advantages of acquiring the remarkable dual-purpose Pos One CPS 516. Think of the space you'll save by having one com- pact unit that will do the work of two. Think of the convenience of having such a versatile camera/processor on hand when you need it. To enhance your creativity and improve the quality of your artwork. And think of all the cost-savings—first, when you purchase a 516 and later, when you use it. Take that important initial step now. Call or send in the coupon for detailed information. We'll be pleased to show you all the good reasons why the CPS 516 belongs in your shop or office. Leases start at under $120 a month. CallUsibll-Free 800-327-1813 IN FLORIDA CALL (305) 722-3000. IN CANADA CALL (514) 739.3325.

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Gentlemen: I want to know more about your new Pos One CPS 516. Please contact me to arrange for a demonstration. Please send me more information. Name Title

Visual Graphics' Pos One CPS 516. A dual-purpose Zip camera processor at a single-purpose price. U&LC 71.1 44,Atitsw.: ° 4))°,"),), °),.• GO Joyce Philips doesn't know her ascenders from herclescenders

Two things. indents, rules that vary in thickness, settings like math, physics or science? fessional on a big heavyweight of She can type and has her kerned letters...and more. c5 a machine? By simply setting up our "Little Aiphie" (AlphaComp to those In a few words, a real test for the typist E =MC2 X5 + Mb2 direct-input, little lightweight (100 lbs) on a less familiar basis). and her "Alphie7 machine with the limits and require- With just a couple of hours To accent another feature, take Then there are those jobs that ments that govern the job and then instruction, a little practice and two a look at just a few of Alphie's foreign keep coming back with changes and just typing away while AlphaComp coffee breaks, Joyce was able to characters. corrections. AlphaComp has systems self-instructs all the fully-automated turn out this ad to show you how good aaaaeeeeiiiii6O6 that store original typing and then can decisions that were fed into it. It's that the AlphaComp is. update and correct—change formats of easy. No messengers, no waiting for We also gave her a lot of other And you can get special keyboard entire jobs—search out recurring words pick-ups and if you get a panic-job, tricky stuff to set. A few lines of flush arrangements to set type in 24 different to replace ...all without rekeyboarding. what's to stop you from doing it on left, flush right and centered—with languages. Mon Dieu! C'est magni- How did Joyce manage to turn Saturday or Sunday? It's like having initial caps, run-arounds, variable tabs, fique, Non? out a typographic job that matches the your own typographic service literally at change of headings in style and size, And how about other specialized looks and quality of the seasoned pro- your fingertips...or rather Joyce's. el So what makes her one of the worldt great typesetters?

There's so much more to say but believing. That's what the coupon let's get to the bottom line. is for. To see a d emonstration. ALPHATYPE CORPORATION This sounds good 11 If you walk in with a typist, 7711 N. MERRIMAC AVENUE Please 111 Economy? Savings? Reduced NILES, IWNOIS 60648 operating cost? Time? Convenience? you'll leave with a typesetter. (312) 965-8800 "SHOW ME" Simplicity? Quality? I Well, yes. But it really all adds NAME up to profit, something that's getting tougher and tougher to make. And your typist is the key. She and under $10,000 can be your new profit center. STATE ZIP But do you know something?

This ad was never meant to sell you an Please Print AlphaComp because we know people will say "show me" and seeing is .111 62

Compugraphic type specialists speak

your Electronic area/page composition language. Phototypesetting machines can do more than set type. Some can, literally, set pictures. Some can compose the type and/or even make up complete pages. Many of these capabilities are not confined to high- cost newspaper-level equipment. Low-cost, direct-entry phototypesetters, that any commercial typographic service and many in-office reproduction centers can ufodr g e afford, have or shortly will have at least area composition capability.

your- Alternative approaches... self. 1. Interactive Talk type with The editor or operator can, usually by means of a keyboard-directed cursor, define areas on the face of your local Tom Macdonald Ida SanAntonio Manager Rural South the cathode ray tube, call elements out of memory and type specialist. Type Specialist Program (617) 944-6555, ext. 2682 position them into the desired areas. The editor can see the results, can change them, then output the copy in the finally ok'd format. Of course, how this is done varies from machine to machine.

2. Formats in the memory of the system Just as digital machines can store information pertaining to data, words, or graphics, they can store commands concerning the typographic and format (layout) specifications. A choice of alternative formats Jackie Lindsey for each of a variety of graphic problems can be stored. Rural Central (617) 944-6555, ext 2682 3. Formats stored outside the system Digitized instructions or signals can be stored on magnetic tape, discs, or cards, for example. This approach is of great interest to the user of low-cost equipment including machines operated by typists. It does not require a large and expensive memory. It can be simple to use. For example, a "layout specimen book:' analogous to a type specimen book, can illustrate alternative solutions to a given problem... such as ways Carol Vitagliano Max Shoemaker to set a cross-reference index. The typist or office or Rural North South Central shop manager chooses one. Under each is a simple (617) 944-6555, ext. 2682 (513) 793-3503 code or signal that the machine operator can quickly keyboard after inserting into the machine the correct tape, disc, card or whatever medium the system uses. Variations and add-on commands are possible in such systems and are limited essentially by the capacity of the typesetting machine and the need and willingness of the user to employ them. Such off-line canned format libraries are rapidly approaching the market and offer the non-newspaper market high quality graphics that will be easy to choose Patti Schneider Scott Maid meat Jim Wollam Ed Scolamiero New England New York, New Jersey Atlantic Southeast and execute, economical to use, and compatible with (617) 944-6555, ext. 2381 (212) 736-4444 (703) 525-1678 (404) 981-9500 existing equipment. Although the lead in the develop- ment of electronic format systems is in the newspaper field and in high-cost machines, all users of word Our team of seasoned professionals really know how to talk type. Type like Sabon, processing and typesetting machines should keep Souvenir Gothic and ITC Cheltenham to mention a few. Their vocabulary includes abreast of these developments because, as noted above, counterparts of them for the commercial and the words availability, timely and contemporary office markets are coming with a rush. A large number of relatively low cost phototype- They're just a phone call away. setting systems, both direct-input and off-line, having a wide range of capabilities are available. Most of these are able to handle canned formats. compugraphic (Continued on page 65.) eg 80 Industrial Way, Wilmington, MA 01887 e•

48+

Every 3 months, 10 new display typersonalities will be joining the Mergenthaler, Linotype, Stempel, Haas library. The typographic refinements of the ATP 1 /54 program, with its options of tight fit and kerning, give beautiful V-I-P display (and text) setting. Ask your V-I-P typesetter for the TypoPlus 3 Display Program.

co 4Io Mergenthaler Linotype Company

64

GREAT FACES ITC Zapf Dingbats Dingbats are back and Dymo has them. Three assorted fonts designed by Hermann Zapf meet every need for decorative and attention-getting ornaments. With the availability from Dymo of many classical faces, as revived and modernized by ITC, comes renewed interest in the ancient skill of clever and artful use of the dingbat. Today's designers and typographers have rediscovered the need for tasteful use of a decorative or even an off=beat element to enliven a title page, an advertising brochure and a variety of other printed promotional material. Among the dingbats designed by Zapf are the right ones for that next challenging job. (7)1Ilip7ert( )A 77 -kne 44U ci(*CD-2 10 VIZ1*1") ra'<= 99♦: * 24K X • 4 A, A gothic adaptation of the successful 11-14 Yr [0] 7itr> oi yl,1;*-ii Souvenir series, plus examples of our exciting M.) BAUMWELLJ [WI 'V I CY Flex-O-Graphic 46181H AVENUE For more information on Dymo's Great Faces write: procedure. Send NEW YOW NY 10001 Typography Department, Dymo Graphic Systems, Inc., (212) 86&0515 355 Middlesex Avenue, Wilmington, Mass. 01887. for your copy. (Continued from page 62.)

Reverse leading is essential to the fullest use of formats, however software programs have been devel- oped, by independent companies, to permit machines without reverse leading to do area or page make-up. Area composition terminals (a few are currently available) will add a new dimension to the whole con- cept since they will display what an ad or area will look like and, in some cases, in a reasonably close facsimile to the size and style of typeface called for on the job. Most systems allow text to be edited prior to out- put. With the use of floppy disk storage media, literally endless amounts of text can be added or deleted from any job and at any place in the job. Stored formats from as few as ten to over a hundred can be stored and accessed with a few key- strokes. The capacity of each stored format varies widely from system to system ranging from a dozen to thousands of characters. Adding to the viability of canned formats is the prospect of systems soon to be introduced that store large numbers of characters and type fonts and allow complete intermixing of these fonts without impeding print-out speeds. These major manufacturers offer relatively low cost phototypesetting systems that can compose areas or pages: Addressograph Multigraph Corporation (Varityper Division), Alphatype Corporation, H. Berthold GREAT AG, J. Bobst et Fils SA, Compugraphic Corporation, Dymo Graphic Systems Inc., Graphic Systems, Inc., Itek Corporation and Mergenthaler Linotype Company. Not every system has every feature mentioned above at this moment but most likely most soon will, - FACES along with capabilities we haven't thought of yet. ITC Cheltenham The many expressions offered by the Cheltenham family give an expansive versatility in delivering the printed word. it kleine voorbeeld van The classic Cheltenham face, revamped and modernized Linoterm's werk is in by deSigner Tony Stan for contemporary phototypesetting het Nederlands geschreven. D equipment, has the characteristics of tighter letterfit and oor diegenen die geen word spacing; a range of weights; and large "x" height. Nederlands verstaan: U mist niet veel. Each member of the family—light, book, bold, and ultra—is V paired with a condensed roman, and all have companion oals gewoonlijk zijn woorden'niet belangrijk. italics. Waar het op aan komt is kwalitijt! The Dymo Library of Great Faces is one of the most com- Z prehensive available today. It is filled with traditional, con- TRANSLATION temporary, innovative type to help you deliver your printed message with meaningful expression. Dutch English Whether your typesetting requirements center on in- Voorbeeld Example house Pacesetter equipment, or you purchase.typesetting LINOTERM LINOTERM services, it will be to your advantage to learn about the Werk Output Geschreven Written Great Faces Library. *Photographs of model not that of linty Stun. Nederlands Dutch abcdefghijklmnopqrstuvwxyz Diegenen Those of you Niet Not ABCDEFGHIJKLMNOPQRSTUVWXYZ Verstaan Understand abcdefghijklmnopqrstuvwxyz Woorden Words ABCDEFGHIJKLMNOPQRSTUVWXYZ Niet belangrijk Not important Kwalitijt Quality abcdefghijklmnopqrstuvwxyz KOmt er op aan! Counts! ABCDEFGHIJKLMNOPQRSTUVWXYZ Now tell me: is Dutch all that difficult? abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ This copy was set and composed on a direct entry typesetter.

An editorial feature prepared for U&Ic by Edward M. Gottschall

men) For more information on Dymo's Great Faces write: Typography Department, Dymo Graphic Systems, Inc., J 355 Middlesex Avenue, Wilmington, Mass. 01887. 66 If we covered the world's longest snake with one of our graphic tapes to demonstrate its versa- tility and durability, we estimate that it would take approximately 33 rolls of 1" tape and a lot of tranquilizers for the snake. However, we know that you can use Chartpak Graphic Tapes for more important projects than snake wrapping, because they are manufactured for professionals who have graphic problems to solve and demand the highest quality materials. Over 6,000 color, pattern, decorative border, plant and office layout, statistical and production tapes are available for every application. By the way, the longest snake ever caught was a South American anaconda which measured an impressive 37 1/2 ft. Try Chartpak Graphic Tape on your next problem. It's not only impressive, but a bargain. chartpak A TIMES MIRROR COMPANY ONE RIVER ROAD LEEDS, MASSACHUSETTS 01053

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MIAMI HAS NEW YORK TYPOGRAPHERS MIAMI HAS NEW YORK FACES MIAMI HAS NEW YORK UALITY MIAMI HAS MIAMI PRICES

MIAMI HAS. BIRMY GRAPHICS 1 (305) 633-5241

BIRMY GRAPHICS OF AMERICA, INC./BIRMY PHOTO ENGRAVING COMPANY 2244 NORTHWEST 21 TERRACE, MIAMI, FLORIDA 33142 (305) 633-5241/635-0482

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110cFITED01 ANIMulm mom A11110•16•11I EN EMI FORMATT EADLINE-SETTS PROFESSIONAL MODEL NO.100

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FORMATT cut-out acetate lettering gives you design freedom with the ability to construct entire camera-ready ) headlines before applying them to your artwork. With the FORMATT Headline-Setter you can experiment with dif- ferent headline locations assuring you the best possible aboilt any sourCe NH' e can. create all types of visiials krorilthingsice art, design solution. do OT jU5k. raaterial into FORMATT cut-out acetate graphic art aids include a wide photographs,rrYasl ye, have. \Ne can. selection of lettering styles, arrows, borders, symbols, \j CO. blaCk-an_drvibite Library of Shapes, and shading mediums. All FORMATT nlaterial convertcolort and voi)S corabine tYpe vrith art, photos,predictable, items are repositionable, crackproof, scratchproof, and and hree-diniensional objects. e Sle Vogl' a:1-n. smearproof for greater design freedom. (P good ec so thatv0i0id Ask your art material supplier for a FREE copy of the Oio advancedthrWeseir(Yerik., ClatiV , alla FORMATT & FORMALINE Catalog No. 6 or write to: prokessional res,AtsCite 0 kor a I-nee:111g to us GRAPHIC PRODUCTS CORPORATION lake *allays v‘saalQua1itv Ca\l 3601 Edison Place eview y\O ro-ano.script and ecOrerrle0evic e DoT Tavbic 01C dset Rolling Meadows, IL 60008 Slides ascii! t the ol.v things we can & 0\0 koka\ \Vog"c:ag alogs, d adve&sing , ponloon, packing , and • Send me the new FORMATT & FORMALINE Catalog advantage of epdcts, 0-anills labels, an pi)b-lishIng 06;nd-0 national ads, cat • which includes information on the Headline-Setter. A V price lists, acro.-aal other co\lateral raaterial. My Name Company Street City State Zip Arrow Typographers Inc. Have you ever used FORMATT? ❑ Yes ❑ No 2-14 Liberty Street, Newark, N.J. 07102 Telephone (212) 571-0328/(201) 622-0111 Mail to GRAPHIC PRODUCTS CORPORATION 3601 Edison Place, Rolling Meadows, IL 60008 L

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#215 -The Grid; #216 - A faithful facsimile re- scriptions of each plate, issue, in two volumes, of and an almost incredibly Paper Basics: Forestry, The Iconographic Ency- complex index for locat- clopedia of Science. Liter- ing any subject—or any Manufacture, Selection, ature and Art published in individual picture under Philadelphia in 1851 —pre- that subject—immediate- Purchasing, Mathematics, senting in astonishingly ly. Pictures are of repro- Written by a designer detailed steel engravings ducible quality. and Metrics, Recycling. for the designer. Covers the scope of man's knowl- typesetting, printing, edge up to that time in 300 pages, 12 x 9%. #217 -Tabular Compo- paper, inks, binding/ every important field. Each volume, $27.50. folding/imposition, and Complementing the Boxed set, $55.00. sition. To order any of preparation of mechan- 11,282 steel engravings Vol. 1, # 156; Vol. 2, # 157; [cals. A basic fact book. reproduced are clear de- boxed set, # 158. Glossary of 1100 entries. these books, simply complete the order coupon Paper section lists papers by generic names, de- or a copy of it and send it with your payment scribes their character- A how-to especially istics and uses. Type #172 —Illustrators 18 helpful to offices and to the U&Ic Book Shop. specimens. An excellent Ed. by Robert Hallock personnel with duplica- table of-comparative ting and reproduction typesetting systems. centers. Explains func- Bibliography, index. tions and mechanics of 208 pages. 8% x 11. paste-up at three levels Over 400 illustrations. of complexity: office dup- $18.50. lication, professional #197—Speaking Out On # 214—Weapons 6r Armor A pictorial history of the it,A10113 10 and art production. In Annual Reports development of the cludes basic data on engines of warfare from #132— Designing With tools, materials, methods, ancient to modern times. Type and what the artist Covers automatic weap- by James Craig needs to know about ons, battle-axes, bows, typography and printing arrows, quivers, breast processes and such plates, bucklers, shields, special areas as assem- catapults, clubs and bly, markup, retouching cudgels, crossbows, dag- and lettering. gers, gauntlets, hand 132 pages. 200 illustra- weapons, helmets, knives, tions. 8 x 9%. $12.95. lances, linestocks, pikes, pistols, rifles, and more. This is one of the Hart #206—Artists' & Illustrators' Speaking Ow On Picture Archives series. Good-size illustrations, all in Encyclopedia, 2nd Ed. Annual Reports by John Quick the public domain, on glossy coated paper. More than 1,000 pictures, all captioned with identifica- tion and source. Indexed. The award winners and 192 pages. 9% x 12%. the almost 500 juried $23.95. selections of the Society of Illustrators Annual National Exhibition. A vis- A collection of 50 #193—Graphis Posters '78 ual guide to top talent, essays dealing with all Ed. Walter Herdeg source of ideas, a graphic aspects of annual record of the best con- reports, including per- temporary styles and sonal perspectives of techniques. Index in- leading designers, illus- cludes artists' addresses. trators, public relations Aimed at the design 320 pages, 8/87 x 11%, directors and account- educator and the student with 80 pages in color. ants. Some of the con- working with type, this $24.50. tributors are: R. 0. is at once a book and a Blechman, Seymour working tool. It is basic, # 210— Photographis '78 Chwast, Roger Cook, clear and contemporary Ed. Walter Herdeg James A. Cross, Louis in viewpoint and content. Dorfsman, Tom Geismar, As a book on this subject A one-volume guide to the Herb Lubalin, John V. should be, it is heavily techniques, tools and materi- Massey, Jim Miho, Paul visual, with over 180 typo- als of today's visual arts. Rand, Kenneth Resen, graphic illustrations. It is Its A-Z arrangement gives Arnold Saks and Gorge not simply a schoolbook instant access to more than Tscherny. but of much value to any- 4,000 terms. Many of the 112 pages. Paper. one in the graphic arts terms are not simply defined, 8 x 11. $15.00. who wants a clear con- as in a dictionary, but suc- cise understanding of cinctly explained. 275 illustra- typefaces, typesetting tions show tools, equipment, systems and procedures. #198—America's Great techniques. 800 new entries It has a good selection of bring this second edition up Illustrations display type showings by Susan E. Meyer A visual record of the to date with the new tools and in-depth coverage of and materials. Bibliography. world's best posters five basic text type fam- A survey of the latest arranged in four catego- Index. international trends in ilies. Design projects at 328 pages. 7% x 9% . $16.95. ries: advertising, cultural, end of each chapter. graphic design in architec- social and decorative. As ture. A presentation of the 176 pgs. 9 x12. Semi- with all Graphis publica- concealed Wire-0 Binding. innovative work being tions, beautifully done around the world. designed and printed. Glossary. Index. Bibliog- Covers pictograms, traffic 220 pages. 9% x 12. 759 raphy. $15.00. signage, signage systems, illustrations with 108 in building and shop front color. $49.50. #183— How to Establish a This new edition of the graphics, animated walls, Cold Typesetting International Annual of transportation graphics. Department & Train #200—Trades and Professions Advertising, Editorial and Over 600 illustrations. 56 Operating Personnel Television Photography pages in color. by Marvin Jacobs presents outstanding 236 pages. 9% x 9%. photographic achieve- $35.00. ments from all over the world in advertising: annual reports; book jackets; editorial photog- raphy; magazine covers; record covers; packaging: calendars; house organs; booklets and television. 264 pages. 9% x 12: about 800 illustrations (80 in color). $39.50.

A full graphic record of the # 159 —Pasteup work of ten of America's by Rod von Uchelen greatest illustrators during A most unusual type speci- the golden era of the late 19th men book.The x 11Y, and early 20th centuries. The pages are all ring bound text includes a time chart (inside a hardcover) and slit from 1850 to the present that into horizontal thirds. As you collates the artists' chro- Over 2,000 pictures in flip pages, or thirds of pages. nologies with contemporane- the public domain. This Hart you create new combinations ous events on the publishing Picture Archive Volume of display and text typefaces scene. The featured illustra- covers, among others, doc- on the right and new human tors are , N.C. tors, dentists, musicians, faces on the left. On the Wyeth, , priests, dancers, account- A management- upper strip of the type pages , Norman ants, lawyers as well as such oriented guide to plan- are examples of Letragraphic Rockwell, J.C. Leyendecker, tradespeople as bee keepers ning and operating a cold and Instant Lettering in sizes , Howard and carpenters, miners and typesetting department from 60-144 pt. The middle Chandler Christy, James blacksmiths, etc. All pictures or shop. Reviews objec- strip displays subheadlines in Montgomery Flagg and John Over 500 truly unique and ere a good size and clearly tives, work area, equip- sizes 36-48 pt. The lower strip Held, Jr. widely varied styles.They are reproduced on coated paper. ment. tools, supplies, shows body types to be 312 pages. 417 illustrations clearly printed, reproducible All are captioned with identi- selection and training combined with the display (186 in full color). Bibliog- and copyright-free. Indexed. fication and source. Indexed. of personnel. types above. All typefaces raphy. Index. 10 x 13. Hardbound. 416 pages. 9% x 12%. 280 pages. x 11. are identified. $42.50. 400 pages. 9%x12%. $39.50. $44.50. $34.50. $10.00.

71 #185 - Legal Guide for the # 217-Tabular Composition #150-The Picture #168, #169-The Picture Visual Artist by Frank Romano Reference File Volumel- Reference File, Volume 2- by Tad Crawford A Compendium Humor, Wit & Fantasy youna. illviPs THE \ THE Vf liT pic URL;itii j PI CTUTE )I( TABULAR t REFER'', NCR COnsiPOSMCIP I F I LE.:*44 7 015 III I..{ A handbook for pantors, sculptors, titu$taft(xS. onntroakers, photographer; and attother visual artists.

A Hart Picture Archives collection of public domain pictures of national and re- Tad Crawford ligious holiday festivities, scenes and paraphernalia. A handbook for designers, A monograph comprehen- illustrators, photographers sively reviewing all aspects The first in a 25-volume A fabulous collection of Large, easily reproducible series. A master swipe file pictures are printed on glossy and other artists. Covers tax of tabular typesetting. over 2,000 especially problems including deducting of reproducible art all in attractive pictures in the coated paper. All are identi- Includes a comparison of the public domain. Vol. 1 cost of working space and tabular capabilities for var- public domain. Culled from fied and the source is given. has 2,200 pictures culled materials as well as the new ious phototypesetters and 130 sources including Indexed. from 131 sources including copyright law, rights of the a large sampling of produc- private collections the 80 pages.9 x 12% • $12.95. private collections. Good- artist, sales problems, repro- tion techniques as well as world over. Collated into size illustrations, clearly duction rights, leases, estate efficiency hints. 70 categories for easy printed on 80 lb. glossy reference. Large size, planning, donations to 52 pages. 8% x 11 $20.00. coated paper. All pictures museums, contracts, artists clean pictures, almost all captioned with identifica- can be reproduced in line groups, etc. tion and source. Exten- #179- Layout 288 pages. 6Yex934. $9.95. # 215-The Grid and will take enlargement by Allen Hurlburt by Allen Hurlburt sively indexed. or reduction. Pictures run 400 pages. 9 /1 2 x 12%. gamut from whimsy to ,ot 211- Illustrators 19 $39.50. Ed. Howard Munce the grotesque. lenHuriburt 432 pages. 9 /1 2 x 12%. Hard cover, #168. $29.50. # 216-Paper Basics Looseleaf, #169. 11 x 12%. by David Saltman $45.00. This book is doubly exqui- site. It's exquisite to look at and exquisitely useful. De- A readable, practical signed by Herb Lubalin, 672 approach to understanding of its 730 photographs and paper-where it comes illustrations are in full color, from, how it is made, how all on glossy coated paper. A modular best to use it for maximum Alphabetical index makes it system for the efficiency. Book is for pro- easy to find the work of any duOnord LAY prothulloN fessionals in the graphic of 163 artists or photog- onag.rvnes, arts, is up to date and raphers. Photographers and explains how paper is artists are also listed by spe-' made and how its various cialty and geographical characteristics are built in. regions served and addresses Much data on paper and phone numbers are given OUT mathematics, how to esti- for all. mate, specify and buy. In- 226 pages. 9 , Presents the keys to /, x 111; . successful graphic design cludes charts, tables for #207, cloth-$29.95. calculating and for metric #208, paper-$19.95 by tracing the history of The grid, a modular sys- 20th-century design, tem used by graphic conversions. Recommends *184 -Creative Selling analyzing basic principles, designers, is explained and substitute grades when Through Trade Shows explaining content of the The best American illus- illustrated by internation- grade wanted is not avail- by Al Hanlon printed page and the tration in advertising, edi- ally renowned designer able. A real handbook for psychology of graphic torial pages, books and Allen Hurlburt. Mr. Hurlburt buyers and specifiers. 108 communications. Deals institutional literature. focuses on the application illustrations. with major art move- About 500 examples, all of the grid for the design 226 pages. 6 x 9. $10.95. ments, ways of dividing beautifully reproduced on and production of news- space on the page, from coated paper. These are papers, magazines and the Golden Mean of the jury selections in the books. The work of Greece to Le Corbusier's annual competition spon- eighteen top designers is modular system and the sored by the Society of shown and analyzed. Swiss grid system. Illustrators. It's a sumptu- Superbly illustrated. Lucid Relates content to ous book, an idea source, text. Book includes a tech- photography, illustration, and a record of the best nical appendix on the latest typography, and all to the illustrations of the year. hardware and a glossary communication's pur- Indexes includes artists' of terms. Inspiring and use- pose and to achieving the addresses. ful to artists, teachers and desired response. A 320 pages. 8% x 11%. students. 106 illustrations. thoughtful and articulate 100 pages in color. $26.50. 96 pages. 9 x 12. $16.95 analysis of applied graphics by a master practitioner. ILLUSTRATOR #213-Illustrator Still available: 160 pages. 8% x 10%. ILLUSTIULTED Ni Illustrated No. 1 200 illustrations. Bibli- talfleAM*1.4tt.. #104- Trademarks and Symbols, Vol. 1, Alphabetical ography. Index. $17.95. This is a beautifully Designs, $9.95. presented visual index to the work of hundreds of leading illustrators all over #105- Trademarks and Symbols, Vol. 2, Symbolical Designs, $9.95. A handbook telling how to the world...from the best known, such as Milton use trade shows to boost #153- Film & TV Graphics 2, $28.00 sales volume. Covers suiting Glaser and Seymour Chwast, to lesser-known the exhibit to the show, #180- Fundamentals of Modern Composition, $20.00 setting sales objectives, illustrators representing a increasing staff incentive, wide range of styles. Color #187- The Art of Advertising, $45.00 manning exhibits, booking and b/w pages show the orders, and creating exhibits work of the artist or studio represented and the #189- Florid Victorian Ornament, $3.50 in U.S.A., that will attract attention and $4.00 in Canada display the product effec- address, phone, special- tively. ties, list of artists (if a studio) and the artists' #190- Historic Alphabets and Initials, $4.00 in U.S.A., 224 pages. 5%.x8%. $10.00. $4.75 in Canada. representatives. . #201,202 -Type and Typefaces 350 pages. 8% x 12 3/4 . by J. Ben Lieberman $45.00. Alikknasopqrsennuxyx.Ifte dEPIEA11141Mktaahr "VIVA 17. A BCDEFGHIJKLMNOPQRSTU ihimnOpqrstuvwxyz12345 ostury;JWI LIK 4917TLIV \VUYZABCDEF , '"' KlEICLIG/301PLJ FJ

STL, 6c1c Book Shop XYZ 9909, 216 East 45th Street New York, N.Y. 10017 13C1)1:1, iiicLIANOPORSTU EFGHLIKI.M,,P bthcfglliirtmooKI , uvwxyz123456789. 2. 100/VIt2TI I \ I 156,7Vardefghilklmno, CDFEHHIJKLMFIC Please enter my order for the books whose numbers are circled below: BCDEFGHJJKLMNC 3-0m 44,414..\ ABCDER AllaiEFGHIJKLM This updated version of a 103 104 NOPQRSTUI FGH IJK LAM 105 132 150 153 156 157 158 159 long established copyfitting kl1(.1)1 .11 .RSTU\'22•51' 169 172 179 180 183 184 R.111J1.0.215 , \ POI< ..9.1,3 Pflug handbook alphabetically lists 185 187 189 190 444400 ■231:MVIC):0 OPOIISTOWM 4`4VCre'.41-VTA about 700 typefaces offered 193 197 198 199 200 201 SOMIaleld013C1)1iTABC1 202 205 206 207 1EDEFrIZIJKLAI IN .berghijk on the V-1-P, Linocomp, Lino- LKLVINOPQRSTUVWXYZE,1234 hijklmnopqrst term, Compuwriter, Uni- 209 210 211 212 213 214 215 216 217 er,e1)1A .G1/141,1,41: ..JEFGHIPGWN setter, Editwriter, Universal, VWXYZAIdegNiklm.i/grIllivwxpl.. abalarghijklmnaqq■ Comp/Set and Quadritek Enclosed is my check for $ All orders will be shipped postpaid. No COD's. EICDEFGABCbtF9HIJKLMNOPSASTUVWXYZ 1234 ;700y30:1■010J901701f0InIgnabeSeid,g,..o.1...vp 12 machines. Copyfitting data New York residents add sales tax. Shipments out of the United States, add 5%, payable in INOPQRSTUVWXYZABC1/Il 6901.1H for point sizes from 6-24 U.S. funds. Books are not on display at U&Ic's offices. 7.123456741CREFAWINGINIMISIVVWZMIN*12:1 points are keyed to applicable For those who want a read- scales on the accompanying able, heavily illustrated mix- plastic gauge. Explanatory ture of practical information text tells how to adjust for NAME concerning typefaces plus tighter than normal setting. highlights of the story of how Text also describes the sa- our letters and typesetting lient features of each of the systems evolved. Tells how to systems. This handbook recognize and classify type- supplements one covering ADDRESS faces, illustrates nearly 1,000 the Aiphatype, Linofilm, alphabets (mostly metal) and Fotosetter, Monophoto and defines over 600 terms in a Photon typesetters. The two unique running "glossary in books and the gauge are CITY context"- 3,000-entry index. STATE ZIP offered as a package. Please Print 142 pages. 8% x 11%. Table shows how to use *201, cloth-$14.95., system for newly issued faces. # 202, paper - $9.95. $15.00

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