INTERNATIONAL INTERNATIONAL CORPORATION

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1993 International Typeface Design Ha .t;°ccn :o .c," :I 1: ; :E Competition, which was sponsored by ng E .7j: ; a Jcg - ! 4:2 . Morisawa & Co., Ltd. in cooperation with o _c -9 J3-2Lio Adobe Systems Incorporated, was Wa conducted in Tokyo on October 6 and 7, 1993. As a result of a strict screening process, 22 works from the 23 persons listed here were picked as prize winners. may be defined as the craft of rightly disposing A total of 378 works-225 in the category and 153 in the category so arranging the letters, distributing the and controlling the -were submitted from 25 countries comprehension of the tent. Typography is the efficient means to an around the world. By country, 176 entries were from Japan, 50 from the end, for enjoyment of patterns is rarely the readers chief aim. Therefore, , 91 from Western Europe, 37 from Asia (excluding Japan), and the whatever the intention, has the effect of coming between author and remainder were from other countries including Australia, Canada, Russia, books meant to be read there is little mom for 'bright" typography. Even Kenya, Peru. The next competition, The Morisawa are far less vicious to a reader than typographical eccentricity or Awards 1996, will have a similar rightly disposing printing material in accordance with specific purpose; of application procedure to that of this year's competition. the space and controlling the type as to aid to the maximum the reader's

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Circle 259 on Reader Service Card 8 30 TYPE OF THE WEEK ITC MOTTER CORPUS - Hans-Georg Othmar Molter creates a .--„or / if Pospischil uses type legible expressively with small serifs. for headlines and titles VOLUME TWENTY, in Frankfurter 33 NUMBER FOUR, SPRING 1994 Allgemeine Magazin. EXECUTIVE PUBLISHER: DETAILS, DETAILS, DETAILS CHARLES M. WILHELM In 48 EDITOR: MARGARET RICHARDSON good technique makes for MANAGING EDITOR: JOYCE RUTTER KAYE 22 HOW TO BOSS refined typography. CONSULTING EDITORS: SYMBOLS YOUR FONTS AROUND 4 EDWARD GOTTSCHALL The ubiquitous t-shirt is Robin Williams knows MESSAGE FROM ITC ALLAN HALEY the talk of the town. how to keep them in line. Mark Batty previews : Type 94 and PENTAGRAM requests your input SPECIAL TYPE 55 CREATIVE SERVICES DIRECTOR: in the planning. U&lc COLOPHON JANE DiBUCCI How this issue was ART/PRODUCTION MANAGER: CLIVE CHIU 24 ART/PRODUCTION: designed and produced. 6 ITC CYRILLIC SERIES JAMES MONTALBANO, SID TIMM ITC introduces typefaces in OPERATIONS: REBECCA L. PAPPAS THE DESIGNERS Allan Haley pauses the Cyrillic . PUBLIC & MEDIA RELATIONS: International Typeface to consider the SHARON BODENSCHATZ evolution of these Corporation would like to thank SUBSCRIPTIONS: ELOISE A. COLEMAN 28 Woody Pirtle, John Klotnia necessary and distinc- ADVERTISING SALES: HISTORY OF THE tive characters. and Ivette Montes de Oca CALHOUN & ASSOCIATES CYRILLIC ALPHABET of Pentagram for the design PHONE: (404) 594-1790 12 How these letters came to be. DESIGN IN MINIATURE of this issue of U&/c. FAX: (404) 594 -1849 Contemporary © INTERNATIONAL TYPEFACE postage stamp designs 35 CORPORATION 1994. have big . UTNE READER U&Ic (ISSN 0362 6245) IS Visuals add impact PUBLISHED QUARTERLY BY INTERNATIONAL TYPEFACE CORPORATION, to an insightful 866 SECOND AVENUE, 18 editorial mix. DESIGN ACROSS AMERICA , NY 10017. Four designers ITC IS A SUBSIDIARY OF create local projects with 38 ESSELTE LETRASET. U.S. SUBSCRIPTION RATES, global appeal. NEW TECHNOLOGY $30 FOR THREE YEARS;

FOREIGN AIRMAIL SUBSCRIPTIONS,

$60 U.S. FOR THREE YEARS;

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

- FOR ADDITIONAL INFORMATION DEAR READER: As I pen this note to you, M and have a cup of coffee, tea or wine and socialize with friends old and CALL (212) 371-0699. plans are being finalized for ATypI's Type new or just watch the type world go by. Near the Meeting Hall there will be SECOND-CLASS POSTAGE PAID AT 94, a three-day international conference c exhibitions involving type and typography. From this location, buses NEW YORK, NY AND ADDITIONAL MAILING OFFICES. POSTMASTER: SEND will depart for excursions outside the Village to fine book presses, mu- for the support, promotion and celebra- ADDRESS CHANGES TO tion of type to be held in San Francisco in seums and special events. • Finally, it is in the organizers' minds to try U&Ic SUBSCRIPTION DEPARTMENT, mid-September. If you are at all involved to put together a Village Marketplace, where visitors will find objects P.O. BOX 129, PLAINVIEW, NY 11803-0129. in the world of type and fonts, you will e for view and purchase which are specifically created for this event. In surely want to book a visit to this special a addition, everyone will be able to find items of typographic history, ITC OPERATING EXECUTIVE BOARD 1994 MARK J. BATH, new fonts, rare typographic antiques, as well as books and ephemera. event. Various activities, both formal and informal, participative and PRESIDENT AND CEO social are planned for the 700 type lovers from around the world who are 14 • This plan for Type 94 is the brainchild and undertaking of a few highly MAUREEN A. JACKSON, expected to attend. • This year's conference is to take place in what is dedicated and motivated members of the international type associa- CONTROLLER being developed as the Type 94 Village, to be situated in the center of G tion, ATypI. The plan also involves the support and organizational know- CHARLES M. WILHELM, how of the Seybold organization. • We would like to have your views as DIRECTOR, CORPORATE COMMUNICATIONS San Francisco. This village is being designed to contain such venues as ILENE STRIZVER, a Meeting Hall, a Village Green and a Marketplace. Here are a few fea- E we finalize events and ideas. Type 94 is for everybody, and the orga- DIRECTOR OF TYPEFACE DEVELOPMENT tures that you can expect to visit: • The Type Lab, first featured at the nizers want to learn of your interests and what the Type Village should ITC FOUNDERS: ATypI conference in Antwerp, Belgium in 1993, will be bigger, better and offer you, as well as what you may have to offer to make this a truly ex- AARON BURNS, HERB LUBALIN, more comprehensive. Much of the latest publishing technology includ- F citing place. To help this communication along, I have prepared a small EDWARD RONDTHALER ing hardware and software will be available in sufficient quantities for vis- questionnaire (found on 9) and I would appreciate it if you took a ITC, U&IC AND THE itors to try out. Participants will also have the opportunity to produce R moment to complete and return it to me. Your views and suggestions will U&Ic LOGOTYPE ARE REGISTERED TRADEMARKS OF INTERNATIONAL projects such as a daily newspaper, a magazine, and perhaps even a be very helpful toward making this event as rich and as memorable as it TYPEFACE CORPORATION. multimedia CD to commemorate this event. • Outside of the Type Lab 0 can be. • In the next U&/c due out in May we will summarize what you tell MICROFILM (16mm OR 35mm) there will be the Village Green. Here you will meet designers of type, us, profile the organizers, and publish finalized details about the Type 94 AND MICROFICHE (105mm) COPIES books and advertising; as well as publishers, stone cutters, carvers, pi program. If you want to be kept informed of developments as they OF U&IC ARE AVAILABLE FROM UMI, 300 NORTH ZEEB ROAD, progress, be sure to indicate your in- printers and other people who work in the world of letters. They will work ANN ARBOR, MI 48106-1346. on the Village Green, and discuss their area of expertise with Type Vil- terest on the questionnaire. • I per- PHONE: (800) 521-0600 lage visitors. • On the other side of the Village there is the Meeting Hall. sonally believe that this event will be OR (313) 761-4700. This is where we will all go for information about events. Village meet- I the best conference about type ever, FAX: (313) 761-3221. ings will take place here, and it will also serve as the main venue for ir and will surpass Type 87in New York speakers and prominent guests. • Near the Meeting Hall there will be I and Type 90 in Oxford, England. • I BPA MEMBER facilities where visitors can learn about typographic societies, associa- look forward to hearing from you. tions, publications and education programs. Here you may sit awhile C • Mark Batty, President and CEO, ITC 6

TABLE OF CONTENTS/MESSAGE FROM ITC: HEADLINES: ITC MOTTER CORPUS CONDENSED NUMERALS/TEXT . ITC OFFICINA SERIF BOOK, BOOK ITALIC, ITC ZAPF MASTHEAD: ITC FRANKLIN GOTHIC BOOK CONDENSED, BOOK CONDENSED ITALIC FRONT COVER: ITC FRANKLIN GOTHIC HEAVY THE INDEX TO ITC TYPEFACES APPEARS ON PAGE 48 4 r.YV LW/Call Put your own font creations to the test! Send us your best digital font(s)

An international jury will choose the winners Linotype-Hell in three font categories resents 1st Inter ational Digital pe Design Co test

Jury Adrian (Chairman) CH Allan Haley • USA Peter Matthias Noordzij • NL Prof. Friedrich Friedl • D Karin Popp-DrOgemuller D Alexander Branczyk • D

n

ones:

1. headline or experimental font

2. body copy type with variations

. experimental pi characters

For detailed deadline Winning award total of 20 000 DM contest information please contact: for entries Free Workshop Linotype-Hell AG with Font Marketing Dept. for first place winners Mergenthaler Allee 55-75 65760 Eschborn august 10 Germany

1994 Phone +49-6196-98 27 31 Fax +49-6196-98 28 11 Linotype-Hell Lord Timothy Dexter wasn't really a Lord—he was, I owever, a shrewd busi- nessman and a writer of . He was also more than just a little eccentric. He lived in Newbu ryport, Massachusetts, during the The top of a is nor- early part of America's history. Lord' imothy made a fortune by buying up mally similar to the period and the bottom is usually a ing the Revolutionary War, which he depreciated Continental currency dui stroke, reminiscent of a pen- later reclaimed at full value after the Br *tish were driven from American soil. 4 flick. In sans serif designs Dexter's best-known book is A Pickle for the Knowing Ones, and is remarkable for like ITC Avant Garde Gothic, the comma can be a simple its total absence of punctuation. In its se cond edition he added a page filled with parallelogram, while in faces periods, , semicolons and othe punctuation–so readers could "pepper like ITC Franklin Gothic and salt it as they please" A While w may think that Dexter's disregard for it reflects roman proper punctuation is part of his eccer tricity, it is absolutely in keeping with shapes. the heritage of our written . The earliest alphabetic inscriptions had no such symbols; no commas to indicate pauses, no periods between sentences–there weren't even spaces between words. 4 Early Forms In The exclamation dot their earliest stages, Greek and Ror an writing did not use any form of aligns with the period or centers on the height of the punctuation. Later, in some class : cal inscriptions the beginnings of period. The top of the char- word divisions were incorporatec as a dot centered between words. acter usually aligns with Later (probably out of expedienci ) a space began to replace the dot. the caps or falls slightly be- low the . By 600 A.D. spaces between woro s were the norm. 4 The dot was still used, however, to designat phrase breaks or full sentence stops. If the dot was aligned wi the tops of letters it indicated a sentence stop; if placed on the it was read as a An opening looks like a pair of upside- comma would be today. A dus Manutius, the Venetian down commas and the closing typographer and who gave us italic letters, also es- quote is normally just a ro- tablished the modern forms f the period, comma, semico- tated version of the opening quote. Quotes which are round Ion and question mark. The latter, it is said, was derived in design usually align with from the Latin word gum stio or "what;' which was the capital 0, and in a square PERIOD printed as a cap Q on top of a lowercase o, and was design, with the capital H-but there are exceptions. Some- In a Roman design, periods rk we use today. ktp The later simplified to the nh. times the opening quote will are usually round forms; Manutian system was ref fined in the 17th and 18th in sans serifs they can be align slightly higher than the either round, square or centuries with the additi on of the quotation mark, closing, so that they appear rectangular, depending on , and xclamation point. The the same in height; and on occasion (as in oldstyle type the design and proportions history of the exclama ion point (also called a of the face. In faces with a designs where the ascenders calligraphic style, they are "Bang" or "Screamer" I y old-time printers) is are taller than the caps) the often diamond-shaped, similar to that of the question mark. In its quotes will align with, or be positioned slightly below showing the influence of' the first uses a capital I was set over a lower- broad-edged brush or pen. the ascenders. The weight of the period is case o, and was late r simplified into its a critical design decision, present form. A Late Changes Not because it establishes the all punctuation ma rks have been used weight for many of the other punctuation marks. It also must be heavy enough to be consist( ntly. In easily noticed, but not so heavy that it stands out in the 16th and 17th centuries a page of text composition. parentheses and s uare were used for the ay we now use italics

QUESTION MARK and boldface. And as rec ntly as the 1960s, a new The question mark has the mark, called the Interroba ng, was suggested to punc- same dot and top alignment tuate sentences like: "You di d what?!" 41) The important as the exclamation point. thing to remember about punu tuation marks is that they are Normally the character is about one-half the width very much part of the typefac e design–not something to be of the capital 0 in Roman included as "pi" characters or tandard design forms. 40 The designs and is slightly wider question mark in ITC Anna" f r instance, could not be a part in sans serif faces. of a design such as ITC Hig Lander" or ITC New Basker- vine! Even the lowly period in a face like ITC Tiepolo® would look very much out f place in a design like ITC Franklin Gothic? A Or this page you will find some simple guidelin es for the creation of just a few of the n any punctuation marks. All an Haley

HEADLINE: ITC AMERICAN MEDIUM SUBHEADS: RC FRANKLIN GOTHIC HEAVY TER: ITC CHARTER REGULAR, ITALIC SIDEBAR-SUBHEADS: ITC HIGHLANDER MEDIUM TEXT: ITC MEDIUM CONDENSED, BOLD CONDENSED SPITZENQUALITAT The other type companies have been dreading this for i4o years

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Berthold and, er . Bodoni to and Univers — are 'Ordinary' Bembo. considered more faithful than all other Some shapes are more usable than others. interpretations. And look better, too. Interpretations are essential in adapting original metal type designs to digital letter- forms, and Berthold have well over thirty years experience in reworking original designs to provide the highest quality typography.

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Berthold Types for PostScript. Font Works UK Available from Berthold. And FontShop. Berthold Type Collection 10(071)490 5390 on CD-ROM. on floppy disk. 1400 fonts for Mac, FontShop US Typeface used: headline — Berthold Bodoni PC (Windows 3.x + ATM) Old Face Italic; text — Berthold AG Old Face'. ©(1) 800 36-FONTS or Unix (Solaris 2.1 t). Berthold Bodoni Old Face and Berthold AG Old o-ROM format provides Face are registered trademarks of H. Berthold H. Berthold Systeme GmbH pen low-res outline fo Systeme GmbH. Bembo is a registered trademark (D(49) 3 or presentations: 0-779 55 17 of Monotype Typography, registered in the U.S. Diamond (high resoluti Patent and Trademark Office; Futura and Venus fonts unlockable by phon are trademarks or registered trademarks of Berthold II available singly and Fundicion Tipografica Neufville S.A.: Optima and amily. Univers are trademarks of Linotype-Hell GmbH andlor its subsidiaries. All other trademark rights Circle 285 on Read MetaDesign Berlin acknowledged. HANS-GEORG POSPISCHIL PROJECTS HIS QUIET VISION IN

3'ratiffurterAllynteine

EDITORIAL DESIGNS FOR THIS WEEKLY MAGAZINE. BY HELGA TILTON

8 Each Monday, Hans-Georg Pospischil, the art director for the Frankfurter a means to create, because, "creativity cannot be conjured up with a push Allgemeine Magazin, performs a special magic trick—in total darkness and of a button:' without an audience. For the design of his weekend insert to the Frankfurter When developing his actual typographical treatments, Pospischil wants to Allgemeine Zeitung, a conservative daily newspaper with a 450,000 inter- tell a story—but not just retell the editorial content by typographical means. national circulation, he conjures up these award winning editorial pages. As a result, for example, he literally cut a title into two pieces for the story Instead of assembling traditional layouts by hand or on the computer, about the Kurds at war, and he used grotesque, massive, intertwined type he sets up slide projectors in his office where dummy shapes for a story about Sumo wrestlers. paper is taped to black cardboard on the back of his door. He In an article about artist Claes Oldenburg and his wife and turns off the lights and using a zoom lens enlarges the images collaborator Coosje van Bruggen, Pospischil echoed the artist's to the desired sizes onto the layout paper. Then he outlines work by dramatically enlarging the C and 0. In trying the contours of the images with a pen and fills the remaining to reflect the impact and stature of Oldenburg's partner, next spaces with dummy text for body copy and his chosen type to the large and straight lines of the Hadrian typeface for treatment for headlines. Oldenburg's name, Pospischil selected type specifically "Other designers tend to manipulate positive and negative for her name, using not only its pleasingly round shape, but forms to create a beautiful page," says Pospischil. "I'm a tradi- implying that it could stand on its own. To emphasize the con- tionalist, and graphic design per se does not interest me, and nection between these two, the art director placed an amper- the layout does not interest me. There is no need for a layout:' sand inside the 0. Pospischil believes in simplicity and honesty in graphic To complement or round out his designs, Pospischil fre- design. When designing, he feels it is necessary to treat the quently resorts to using popular typefaces such as Futura or photo or illustration "with humility" and not indulge in graphic . "With Futura you don't interpret anything any- games. If he finds a photo "breathtakingly beautiful; as was the more; he says. "It's so well-established that no one asks what case with the punk singer who was photographed very tradi- it means." And Helvetica, Pospischil quips, is God's gift to tionally in the reception area of a local hotel, the only thing to the insecure. "With Helvetica," he says, "you'll never do right. But you'll also do, he says, was "to be quiet, to step back and just try to center her name never do anything wrong:' under the photo." Pospischil frequently uses the same photographers Pospischil has been with the FAZ magazine since its inception in 1980. and illustrators on these pages. Some are well-known like photographer First he was the assistant to the legendary art director and teacher, Willi Arnold Newman and illustrator Seymour Chwast. Others are unknowns Fleckhaus, with whom he studied at the Folkwang School for Graphic hand-picked from art schools. Not surprisingly, he also prefers to work Design in Essen. Following Fleckhaus' death in 1983, Pospischil, then 27, with a select range of typefaces. was named the magazine's art director by editor-in-chief Thomas Schroder. In keeping with his philosophy of leaving well enough alone, he'll never The magazine's overall philosophy is one of understatement. "Our manipulate a typeface. "I do not succumb to the pressure of distorting stage appearance is quiet; Schroder says. Given the strong presence of sev- a given type by making it taller or fatter," he explains. "I have too much eral German news-driven magazines such as Quick, Stern and Bunte, the respect for the original designers who obviously thought in great detail FAZ magazine has chosen not to be especially timely. Since the daily FAZ about how their work looks best. I leave the typeface untouched, and I brings the news to its readers six times per week, Pospischil says his maga- only try to set it in the best possible way. This is why we use the computer. zine with its general human interest features is a kind of dessert. When we used to get our headlines back from the typesetters, the spacing He perceives Frankfurter Allgemeine Magazin's cover as a menu presenting between the letters was so horrible that we had to cut each letter apart to the reader what is on the inside. Pospischil insists on a balance between and repaste each word over again. "that which is promised on the cover and that which is actually delivered. "Then, as others did, I discovered the computer. Now, I no longer have I find it wrong to lure the reader with loud screams which are not followed to cut and paste, since all this can be done automatically." But Pospischil up. I'm a teller of stories, to be sure, but I'm not a teller of lies:' stresses that he uses the computer strictly as part of the process and not as Helga Tilton is a New York-based magazine editor

Type used in Frankfurter Allgemeine titles. Top of page, center cover: ; Center of page: . Above: Pogo Beat Star. 9 Latin Bold (drop shadowed by Pospischil) Berna Bold 10 • • • • • • • • • • • 0 • 0 11 11 11 0 11 11 0 fP 0 41 0 • • • • 11 11 0 0 4p MD 11 11 • • • • • • • 1111 • • • 11 • • • • • 0 41 11 • 11 0 11 • 11 • • • 11 • • • • •• • • • • • • • • • • • • • •• •• • • • • • • • •• • •• • • • •• • • • • • • 0 •• •• •• • •• • • • 00 % • 11 11 • • • • • • • • • • • •• • • • • • 11 • • • • • • • • • • • • • •• • • • •• • • • • • • • • • • • • • • • • • 110 • • o • •• • • • 5• • • 11 11 • • • • • • • • • • • • •• • • • • • • • • • • • • • • • • • • • • • lb • • • • • • • 4)• : •• • • •11• 0 • • • • • ••••• • • • • • • Pinball Steir • • •

die

Die Kiinstler, die seien die FleiBig- sten, hat ihm einmal ein Hausmei- ster gesagt, damals, in den Iiinfziger Jahren, als er noch nicht lange in Munchen wohnte, die Kiinstler, die wilrden den Augenblick „narrisch emst" nehmen. Der Satz hat Edgar Reitz so beeindruckt, daB er ihn mehr als dreiBig Jahre stater einer seiner schonsten Nebenfiguren in den Mund gelegt hat, dem Kohlen- josef, beilaufig, and dock wie ein Motto der eigenen Filmarbeit. Reitz nimmt den Augenblick so ernst, daB sein neues Werk die Ewigkeit von sechsundzwanzig Stunden dauert: „Die Zweite Hei- mat", das grate Epos der Filmge- sehichte, der Bildungsroman einer Generation, ein Panorama der sechziger Jahre, aber alter andere als monumentale Historic. Obst, Gemiise, Eingemachtes; Schtisselm Glaser, Packpapier — es sind Ge- brauchsgegenstande des Alltags, welche die Kamera im ersten tang- samen Schwenk festWt, es ill der Sinn Fur die „Schonheit der Neben- sachet)", der den Bildern Wahrhnf- tigkeit verleiht. Die Gegenstandc werden abgetastet. Wenn Edgar Reitz einen Film macht, fait er sich Flaubert verwandt. Dann haat er alle Filmtheorie sausen, seine H5nde bekommen Augen, in den Pingerspitzen steckt der Verstand. Aber anders als Flaubert licbt er die Dinge, die er beschreibt. Auch des- hnlh Wilt er ihnen Zeit. Der Slick Neimat

HEADLINE: (T) ITC MONA USA RECUT, (Y&H) at CHELTENHAM LIGHT, (P, T &E) ITC FRANKLIN GOTHIC DEMI COMPRESSED, DEMI X-COMPRESSED, (E& W) ITC GARAMONO LIGHT CONDENSED, (0 & ITC MO1TER CORPUS CONDENSED, (F) ITC LUBALIN GRAPH BOOK CONDENSED, (E) ITC AVANT GARDE GOTHIC BOOK CONDENSED SUBHEAD/BYLINE/TEXT/CAPTIONS: ITC NEW BASKERVILLE ROMAN, ITALIC 11 RE 26 '92 SEVILLA. MAGYARORSZAG (HUNGARIAN POSTAL SERVICE). DESIGNER: OROSZ ISTVAN. STAMPS DESIGNED IN HONOR OF THE SEVILLA WORLDEXPO TO COMMEMORATE WORLD EXPLORATION.

Postage std of offi-

FEBRUARISTAKING. PTT. DESIGNER: JAN VAN TOORN. cialdom. They hav med into o for excep- ART DIRECTOR: ROYAL PTT NEDERLAND ART & DESIGN tional design, striking and even b DEPARTMENT. COMMEMORATING A 1941 STRIKE AGAINST THE GERMAN satir se t becoming as e a OCCUPATION AND THE BEGINNING ta OF THE TRANSPORTATION OF JEWS TO CONCENTRATION CAMPS. e graphic desig bums in 70s and in the 198 er form o graphic des' crosanct or as in nation's charact it• gis,0 the possible exception flag and seal, ficial design is more politicize lection process. Postage stamps are than currency—the nation's most ubiquitous si ard. They celebrate t most sacred emble nd ico mmemorate the most important issues • sent the most significant cultural Since postage stamps are part of , and reproduced in quantities of millions,

DE VAKBEIVEGING. PTT. DESIGNER: WILD PLAKKEN. otent instruments for propaganda by carrying mes- ART DIRECTOR: ROYAL PTT NEDERLAND ART & DESIGN sages designed to influence, inspire and move. DEPARTMENT. STAMPS COMMEMORATING DUTCH LABOR UNIONS. Therefore, determining what subjects will appear on postage stamps is usually the function of a select com- mittee. In the United States, a citizens' advisory panel com- prised of experts in various areas of popular culture, sports and art advise the Postmaster General on which stamps to issue. Ideas are welcomed from the general public as well

FLORIADE NEDERLAND. as special interest groups who are known to lobby as vigor- PTT. DESIGNER: NEVILLE BRODY. ART DIRECTOR: ROYAL PTT NEDERLAND ART & DESIGN DEPARTMENT. ously for stamp recognition as for congressional legislation. STAMPS FOR A FLOWER EXHIBITION. New stamps must answer to stringent criteria: Who de- serves to be commemorated? What historical event requires recognition and celebration? Which cultural activity has be-

come a national treasure? Determining a theme's validity is influenced by public demand, political influence, and poten- tial sales—with emphasis on the latter. In addition to serving a national agenda, postage stamps are a big business.

PRIME COLLECTIBLES

The field of stamp collecting has become a major industry, and stamps are the most widely recognized collectible. Certain small countries such as San Marino, Andorra and

100 JAM EIJKSMUSEUM. others have built economies on these lucrative stickers by PTT. DESIGNER: MICHEL DE BOER, STUDIO DUMBAR. issuing hundreds of different designs annually to tempt the ART DIRECTOR: ROYAL PTT NEDERLAND ART & DESIGN DEPARTMENT. • NOLLAIG 1990. DESIGNED TO CELEBRATE THE voracious philatelist. The postal agencies of larger nations AN POST. CENTENNIAL OF THE RIJKSMUSEUM DESIGNER: BRIAN CRONIN. IN AMSTERDAM. THE CUT PAPER IRISH CHRISTMAS STAMPS FOR 1990. REVEALS THEN AND NOW. have also become veritable stamp dealers in order to either

13

DUNMORE. supplement their national budgets or subsidize their postal PTT. DESIGNER: ALEX SCHOLING. ART DIRECTOR: ROYAL PTT NEDERLAND ART & DESIGN DEPARTMENT. services. In those countries where the postal service is pri- COMMEMORATING A PEACE WALK IN NIJMEGEN. THE BAND-AID INDICATES THE BLISTERS RECEIVED vatized, such as the Netherlands, brisk sales can mean the DURING THE LONG MARCH. difference between the success or failure of the enterprise. DE VARBEWMOING. PTT. DESIGNER: WILD PLAKKEN. ART DIRECTOR: ROYAL PTT Like stocks and bonds, stamps can be profitable in- NEDERLAND ART & DESIGN DEPARTMENT. STAMPS COMMEMORATING vestments, but like other commodities, their supply can be DUTCH LABOR UNIONS. controlled so as to inflate their value. Philatelic shows abound with hundreds of thousands of stamps from all nations. The imagery runs the gamut from official portraits of presidents, kings and queens, to indigenous fish, fowl and insects, with a wide range of issues, events and information wedged in between. For example,

many nations have a tradition of issuing health awareness 41 EUROPA. PTT. DESIGNER: MARTEN JONGEMA. ASTRONOMY STAMPS. stamps that remind citizens of the dangers (and the ART DIRECTOR: ROYAL THE POST OFFICE. PTT NEDERLAND ART & DESIGN DESIGNER: JEFFERY FISHER. DEPARTMENT. SERIES HONORING victims) of dread diseases, such as polio, tuberculosis and ABSTRACT DESIGNS SUGGESTING ASTRONOMY IN GREAT BRITAIN. THE EXPLORATION OF SPACE. (SURROUNDING ART IDENTIFIED AIDS. Some countries donate the income from the sale of ELSEWHERE.) these stamps to research. Depending on the subject, thematic stamps are usually issued in limited quanti- ties and aimed at specific segments of the population.

STAMP DESIGNERS

While the quality of stamp design has been high, until re-

cently most designers of stamps have had a low profile. In some countries design is routinely carried out by anonymous engravers and artisans. In small countries, design and print-

BEATER & CLAUS 1966-1991. ing are contracted out to firms that specialize in stamps PET. DESIGNER: TOM VAN BRAGT, STUDIO DUMBAR. and bank notes. A few postal services hold competitions to de- ART DIRECTOR: ROYAL PTT NEDERLAND ART & DESIGN DEPARTMENT. THIS INNOVATIVE DIPTYCH CELEBRATES termine who will get their precious stamp commissions; oth- THE 2511I WEDDING ANNIVERSARY OF THE ROYAL COUPLE. ers have in-house art and design boards or studios that make

these decisions. Concurrent with a greater recognition of graphic design in recent years, well-known graphic designers and illustrators have been commissioned. In the Netherlands, the United States and England, designers and artists are rou- tinely drawn from a widening freelance talent pool. Designing postage stamps is not easy. With the eyes of a nation focused on the result, these Lilliputian images are scrutinized intensely. When the Croatian artist Boris Bucan designed his nation's first air mail stamp in 1993 he quickly came under fire for his satiric creation. Since this breakaway Yugoslav republic had few commercial airplanes at its dis- posal, his design showed a paper airplane against a blue sky. Although the stamp was published, his sarcasm was not ap-

KINDER POSTEIGEL Aril& PTT. DESIGNER: EVER MULLEN. preciated by those unamused countrymen who petitioned for ART DIRECTOR: ROYAL PTT NEDERLAND ART & DESIGN DEPARTMENT. its recall. Conversely there were few, if any, notes of displea- MESA ZS. DOMOVINU U FIRST DAY COVER AND PLATE BLOCK OF EATEDREAL. STAMPS CELEBRATING CHILDREN REPUBLIC HRVATSKA (CROATIA). AND MUSIC. THE PROCEEDS FROM THE sure about a design created by the Dutch designer Rick DESIGNER: BORIS BUCAN. STAMP ARE DONATED TO CHILDREN'S BLOCK OF STAMPS CELEBRATING AID SOCIETIES IN HOLLAND AND THE NATIONAL CATHEDRAL. OTHER COUNTRIES. Vermullen of Hard Werken Design of Rotterdam. Vermullen

15 1K NEB DE KRAAN ER ZAT OEM CENT MAAR. LATEN LOPEN. MEER IN DE SCHATKIST DAN KUNT U HET MAJESTEIT EN ZO

LEK GEMAKKELIJKER KOMT H1J N06 VAN PM. VINDEN

WEIMEEL11110

ALS 1K BELOOF NIET KUNT U ME SNEL

TE HUILEN, KRUG 1K LEREN SPELEN? 1

DAN EEN SNOENE 9 MORON IS MIJN MODER JAR1(7 EN 1K WIL HAAR. VERRASSEN

IJEDEELA/1111 was asked to design a stamp that appealed to the users of preprinted-paid postcards. After some research he found that

95% of those postcards were used by sweepstakes players and contestants for other quizzes and games. He therefore decided to show himself as a quiz master, bending over an KINDER POSTOEL118. PTT. DESIGNER BERRY VAN GERWEN. abstract TV screen that reveals the value of the stamp (70 ct). ART DIRECTOR: ROYAL PTT NEDERLAND ART & DESIGN DEPARTMENT. ANNUAL CHILD WELFARE STAMPS. THE ROYAL PTT NEDERLAND

POLLUTION PTT. DESIGNER: JAAP DRUPSTEEN. ART DIRECTOR: ROYAL PTT NEDERLAND Among the world's respected postal agencies, the Royal PTT ART & DESIGN DEPARTMENT. EHBO. FIGHTING POLLUTION ON LAND, IN AIR PTT. DESIGNER: FRANS OOSTERHOF. AND WATER. Nederland is one of the most progressive. Back in the ART DIRECTOR ROYAL PTT NEDERLAND ART & DESIGN DEPARTMENT. early 1930s its visionary director, Jean-Francois Van Royen, RECOGNIZING FIRST AID ORGANIZATION. commissioned avant garde designers Piet Zwart and Paul Schuitema to create advertisements and stamps that transcended convention by employing their distinctive use of typofoto (collage and New Typography). Currently, under Paul Hefting who is art director of the Art & Design Department,

the PTT continues to push the limits of the postage stamp tra- dition in terms of marketing, management and design. Since

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

been placed on increasing stamp sales by creating designs DUTCH BUTTERFLY SPECIES. PTT. DESIGNER IRMA BOOM. ART DIRECTOR: ROYAL PTT that people are compelled to buy, yet this art for the masses is NEDERLAND ART & DESIGN DEPARTMENT. STAMPS THAT RECOGNIZE THE by no means crass mass art. 76 SPECIES OF BUTTERFLIES IN HOLLAND. In addition to the conventional postage stamp themes, PTT

encourages a unique approach to commemorative, cautionary, and information stamps, and has commissioned graphic artists working in and outside Holland to push the

boundaries. French designer Pierre Bernard designed a series of Red Cross stamps; British designer Neville Brody designed stamps for a national flower exhibition; and American Robert Nakata designed stamps com- memorating 150 years of travel on the Dutch railways.

SPOORWIGEN. Nakata's design is indicative of the creative license afforded PTT. DESIGNER: ROBERT NAKATA, STUDIO DUMBAR. ART DIRECTOR: ROYAL PTT by the PTT. To suggest the idea of travel Nakata used "The NEDERLAND ART & DESIGN DEPARTMENT. TO CELEBRATE RAILROAD TRAVEL, Kiss" by Rodin to signify both arrival and farewell, and behind RODIN'S "KISS" IS USED AS A METAPHOR FOR ARRIVAL AND DEPARTURE. the sculpture the roof of a railway station is visible.

COMPETING IN THE INFORMATION AGE

That a plethora of distinctive stamps are designed indicates that the world's postal services understand their public's tastes. But it also suggests that with e-mail and other

• KINDER POSTZEGELS 1984. networks of communication, they, like any competitive busi- PTT. DESIGNER: JOOST SWARTE. ART DIRECTOR: ROYAL PTT NEDERLAND ART & DESIGN RED CROSS. ness, must struggle to retain old and to attract new cus- DEPARTMENT. PTT. DESIGNER: PIERRE BERNARD. THESE CHILDREN-STAMPS ART DIRECTOR: ROYAL PTT NEDERLAND tomers. As the information highway bypasses the traditional CELEBRATE "CHILD AND COMICS? ART & DESIGN DEPARTMENT. THE PICTURES SHOW THE CHILD AS STAMP RECOGNIZES THE RED CROSS AN ADULT AND THE ADULT IN THE NETHERLANDS. BERNARD'S routes, well-designed may be a way to divert AS A CHILD. THE PROCEEDS FROM SIGNATURE POSTER STYLE, USING stamps THE STAMPS ARE DONATED HANDLETTERING AND MYSTERIOUS TO CHILDREN'S AID SOCIETIES. IMAGERY IS KEY TO THIS DESIGN. some traffic back to the postal services.

HEADLINE: ITC AMERICAN TYPEWRITER MEDIUM SUBHEADS: ITC AMERICAN TYPEWRITER BOLD TEXT: ITC AMERICAN TYPEWRITER LIGHT, BOLD CAPTIONS: ITC AMERICAN TYPEWRITER MEDIUM CONDENSED, BOLD CONDENSED 17

Forth my 41, 81*040, 00. IM 7 5ol0ulml Nudely nt Bowdon hus fairoarted Ihe IMONO, Zoolneical Gardens' dlort• cupand madr 18VS1 on educational and nun. • nal rescorce to du. community 116,0849 lua uothrdlu build acv limn. for the Zoo's amide Ire prom.• lln• dais know,am comer,alwt nau6aec, ,090 to era, uinur undpction d Ow I Ifo..alaining rentarne• 0m orlach ell mdmala dup..] for 6o Oval

clu the 25lb amtveulary of flan Ykoloulual Society Of Houston, we reflect un the plea mum. , eculor, ix vital community mummer thai n Ow lion.. you today, and wr vision for tomorrow and beyond.

From Cleveland to California, design flair—and local savoir faire—has clients and designers creating partnerships closer to home.

Studies ,Imw that ICA of the US. oopoluluo uka6 arm inulitutlorn. but as as "il6 of 0,6;6466,i. visits tons and aqariums. An incr660nu nurnbur of If otcoallans may find thcir only oupor nutty to ommine the divcnity of uoimal Ill, and eswrictur O. wonder of nature at (hr 8,008 Zoological Garrliron.

he liaison Zeo wtoi Aoronlinu lo Anirrios Arnoriabou of Zoological Parka created 61920..4nm cal Aquarian. (AAZPA) claim.", use third or the Fulled Stales 443.490 ottl,c 113 million annul vintors to 00 Governs,* thinned III Houston Zoolosleal (66466 are uthool rue rhildrco. boon herds and me • la addition, S5,1/0 school childom arrow at elm Inne buffa6 lo ihr City of Hun... He was *curl In Ho.. Zoo ?ear on sulk.' sow6ored CAI trim So. llouuou Park and nameell6r1. addre,61 and 6.6 to explore their wind. on the world and Its enulunu. 'ruddy, il10 disown Zoo ormuies SO acres. de • outhcru end of Hermann Park- It is base In more than 111,11nmn 1,1o... Center and Childnues Zoo .600 animals, rayreuenting mom •h.+ "'Wt.., of pnwidc hands-on cunerieoel6 to atinlallalc n Cbild'S bird, mammal, reptiles. ambillaans and invettehra66 colioxiV. linowlcdueabk•ulunter lebehe00.11. ■■■■ .110,,ment owned, oncrami and mainudoeU by the CRY a Hol6toll Hot • • 1.0) Duce.. c.c. irec•active as a division of du- Parks and lieu... Duo-anneal. among Inamms of all ages and 00ml,, of all spn-k• n16 , klouta. Zoo artful, more than I.l.6 tnillon visi los, anna117, nuking. It one Mthe run. n tended In kola, uith its 4.atou as a major urban toolouical recreation] or eullund fad/ itirs in Southeast' I must. park th, liuouton %m hat become increasingly inuolvcd 6cuneeevation and bee actUitics lime Oyer the years, the nex.46. arms and fuuSlc ,ucc. of the carlv 197(6. 7.6 nu loot, 14, a 'Nulf•A,6" ilune who uktit Olc Hoo•lon blo have clusnucd annruads to collecting Mani... au,rcolatc signif6ant16 lu nuprue, du- 7au. ha. ubo ondcrgol R. so.-1.1 run,. aod aeldnus 6 eu66161 to the well-166u a drannuic evoluaon. For uanurations, the Bon. Lon and lomuully of animals in ,afMnrill, luld lluall au, has 66, a uotatior &gin.. for funk moio, today, bindivcraly and umuival ta their 6,666. Breedb. it 0 ,70 a sad Imir• — nut only krc animal. but Jut for loans limn mte too to another enhance {Lets to braed many fax, 'Union. rat, ad cndangr611,0ccies. • • • • • • • • • • • 044: 11114ledb/ • • •• 4, • • • . * Akt - • • • • • WILD AT HEART • • • 1f • • • . • • Purple might seem an unlikely • . .• • •• • • • • • color for an annual report for a • • • •• qb • Zoo, but not if you think of purple • • • as regal or believe that animals • live in a kingdom. When the Zoo - ••• • logical Society of Houston hired Houston-based Rigsby Design in 1991 to create its annual report and 25th anniversary review, Lana Rigsby used the occasion to wrap the report in violet paper as crinkly as a hippo's hide. Her most influential contribu- tion, however, was to link past and present through the use of illuminated letters that relate historical events to the Zoo's own achievements. She commissioned CLEVELAND CALLING * a photographer Arthur Meyerson Call it a cleansing of the palate: and illustrator Andy Dearwater to Zachary Bruell. owner of Z Con- work with her in overcoming the temporary Cuisine bid adieu biggest challenge: recognizing to the '80s glittery excess and 25 years of conservation leader- called in Mark Schwartz and ship without letting the brochure Joyce Nesnadny of Cleveland- digress into a sentimental scrap- based Nesnadny Schwartz to re- book of isolated Society events. design his restaurant. We knew An "immersion" zoo where ani- and loved the restaurant, so for mals roam freely within their us the project was a double win;' natural habitats, the Zoological says Schwartz. Society of Houston allows visi- Culinary sophistication has al- tors to feel as if they are pene- ways been plentiful at Z Contem- trating nature, underscoring the porary Cuisine. But now style has inextricable connection between taken a fresh new turn. "Our idea wildlife and their ecosystems. was for an identity system that This booklet aims to replicate could accommodate lots of inter- this intimate experience through pretations," explains Schwartz. the use of Meyerson's tightly The letter Z's clean, angular lines cropped, tactile images of ani- became the central motif from mals. The act as a which every visual element foil to the restrained, old world evolved. The team photographed elegance of the text pages, as do food arranged in a Z pattern, set Dearwater's lush illustrations. A up an on-site desktop publishing detailed timeline of the Society's system that prints out new menus history further highlights key and wine lists as needed and moments in the Zoo's growth and designed a cloth-bound portfolio- ties them to developments in the style menu folder. Vellum menu worldwide preservation effort. inserts echo glass blocks used in The Houston Zoological Society the restaurant's interior and, in employs design as activism, ele- a playful nod to the less preten- vating its identity from an annual tious '90s, brightly colored rubber report that summarizes a quarter bands stretched through metal century of efforts to one with a grommets into a Z shape hold the more urgent message. The strat- menu in place. egy appears to have worked. Since the budget was tight, all As Nancy William, the Society's work was assigned to local ven- executive director remarked, dors, with 83 percent of the costs "This elegant, sophisticated book arranged through trade. "In an has not only caught and held the effort to be economically and attention of our audience, but environmentally sound, we even also clearly conveys the magnifi- found a way to use up 20,000 cence and dignity of the earth's • boxes of old matches," explains wild creatures and the gravity of •• • •• Schwartz with pride, "We de- the conservation issuer • • • • • • 11 signed four different Day-Glo • • • • • • • colored labels, each containing • • • # • • • • • • • • • • • • • copy about recycling, that were • • •• 10 S■ • • • • • • • • • • • •• • • • • • • • • • adhered to the boxes until the • • • • • • • • • • • • • • • • • • • • • 9 inventory was depleted:' • • • • • • • • . • • • • . In yet another variation on the restaurant's theme, sinuous grapevines in the foyer were coaxed into a big meandering Z. "Instead of going to a sign maker, we went to a florist. The grape- vines subtly pick up on the menu. the stationery. It's there and it's not there:' Subtlety comes as a matter of course at Z Contemporary Cui- sine, with its 24-piece identity system that gradually reveals it- self over time. "Being obvious;' adds Schwartz, "is not our :'

• . • tg • • • • • * 40— 0 • • t•—• • • • • • • • .66 4•••••••• • • • . 14•••*•.••16.46.•••••.• 0*.•••••• ■ •; • *sr •••••••. • 0 • • • • • • • • • • • • • THE ART CENTER ESTHETIC , • ,• • 0 • • "What is the identity of this institu- /40 • • • • • tion?" wondered Rebeca Mendez, in a speech about her work as de- sign director of Art Center College of Design. Hundreds of different answers to her question—from sta- tionery, posters and invitations to brochures and catalogs—have been flowing out of the school's Pasadena, California location since Mendez took over in 1989. Though Mendez was charged with forging a cohesive identity for the 62-year old institution, the school's heritage and her own wish for an integrated visual language helped determine the open and organic direction in which Art Center's public image has moved. Instead of separating a mix of in- fluences into neat compartments, Mendez blends typography and pictures in an inventive marriage that expresses the school's archi- tectural and ideological heritage. "My intention is to include rather than exclude, to integrate rather than reject," says Mendez. Her frequently used long, horizontal format echoes the school's low, steel-and-glass building, while her layouts' free-flowing structures refer to an open-ended approach to learning. Rather than create a standard solution or conform to dominant • trends, Mendez evolved distinct visual cues into a consistent yet ▪ • • • • flexible system. Evolution in this case means appropriation—build- • • • • • ing on inherited iconography—and • st • • • • • s imbuing each solution with multi- • • • • • • - ple layers. She took existing formal ect.2 • • • • • • •• elements: a dark-orange color, the - • • • N* D• • s•• • circle or dot, the school's archi- • • • • • • • • . tectural environment and then ap- • • • • •• • • • O 66 a • •• • • - plied them to the basic tenets ••••••••. 1 .. • • 6 ••••••• • • e • • of Modernism. The school's color- .• . 4494•••• ■ •• • e • • • • •• red-orange—was chosen for its • • • • • • • • • . • . • 0 4 • • • • •• founder, Edward "Tink"Adams, • 0 0 A • • • • • • • • • • • go••••••••...• . • • who had a passion for Asian Art. • • .• Pala. ert4, ••••••• a Tour-de -Pell 8 • • • • • e• • • - • • ■• The circle, the symbolic image of a • • • • „ ounded. 1930 44 • • • • o 986 (Europe). '••••• **ettie •• "center," was lifted as a pure form nrollment. Appr •fr • • • re•••*• ^* .200 students • • •• • from the . Into this, Kit Ai ••••••• ** tudents (Euro 904*••••• ■ ••*wca s • 0,0. ; • •..„. Hinrich's Art Center word mark de- 4•61••40 4 . • • • signed in 1985 has been incor- •••41••••••••••• *i•{V•3•••• • a<•o. porated and reinterpreted. The 39 • • g • 4 414997044 C • • ol• layering of color, form and text cre- CM= 0 00 T. 0 • • o • • ,g 4 et) a..., ates a spatial depth that recalls 0*• • • • 4 • • • • 2 ., • ,r • A ea the school's physical space. "This 20*42•••• • ••• • t.s1.6•• so `modernist temple' designed by •••••••• ■••••• Craig Ellwood is a metaphor for O 4..44 .0.•.• • • .. 4•••••••s the educational process,' explains 0 • • * •• • • • • t∎ g3 o # w - • • • 0 • Mendez."1 have been inspired # ••• 2, 9 • 0 I • • • v 0 • • • • • • by the way light penetrates the • • • • • • • • • • •• • • • a • • 44 • space, creating • • * gb 6a, 2, that soften the hard materials • • • • • • • • g^ • •• • • • • they are formed by:' • • • • . • t 0 f, Allowing the organic to juxtapose • • • • • 4e. 01 • . • • • e with the school's rigid architec- t 4.0 < O .. , • tural form, Mendez has achieved O 4* • .• o r.. • clarity without forsaking sensu- ••••• ■ • ality. Uncoated paper, linen covers * *.r O -* • and heavy mesh bindings give • equal weight to the tactility of the

• • . • school's Southern California cli- 6. • • e • • • mate and the printed piece as an • • object to be held. • • .• • • • Art Center Access, a handsome • • black, orange and white brochure • • • • • • with a slit cut in the cover through O . • • • which the school's name appears, *eve • • • a* a • • • • is but one small example of how • • • • • • - • • • • • • • • visual richness, like an inspired • . • • • • • • •11, education, is always in style. . • it • 1, • .4 • • • • V • • • • • • • • • - 2 9 • b • * • • * * • • • • • , • e • • • • •, 0 * fe at • 0 • • 6 6 • • • • • • • Q • 90• • • • 111004i5 4 • .* 40•000**• • 0***0o* 11111000S0 04 01+0 . 119 *004g99*..o • • • 0 • • a • • i6 4 0 • .2 • SINGING THE PRAISES • OF SALT LAKE CITY a Salt Lake City, Utah is not the first place one would expect to find a clas- sic Modernist designer. Yet when Penna, Powers, Cutting and Hanes, he advertising agency chosen to create the city's for the 1998 Winter Olympics called in Adrian Pulfer to design the bid book, they could hardly have made a better choice. What they could not have predicted is that Pulfer's books would ultimately be toasted by an IOC representative as the finest he had ever seen. The books are two unusually hand- some volumes: wrapped in the same kind of buckskin used to make chaps, they come tucked in a quarter-sewn oak slipcase then placed into a saddle bag. The end sheets are made of pine needles mixed with pine oil. "All the materials reflect the environ- ment and the culture:" says Pulfer. "The ways I used to communicate who Salt Lake is are very subtle, authentic and, I think as a result, more powerful:' Pulfer decided to break the informa-

°` tion down into two books: a romance book that looks at Utah, and a second technical book that fulfills all the necessary IOC requirements, from venue facilities and demographics to topographic maps that chart snow capacity. "The romance book is a great cross section of our culture here: farmers, ballet dancers, chil- dren catching snowflakes on the tip of their tongues. the Mormon Taber- nacle Choir. I avoided the generic images of hotels, ski resorts, limou- sines, preferring to handle these requirements very quietly by placing several postage stamp-sized images at the back of the book:' Pulfer allowed the content to drive the design. The grid is simple. The for- mat is large, in keeping with the scale and grandeur of the local landscape. The materials appeal to all the senses. Instead of reproducing original blue- prints, Pulfer even redrew floor plans inspired by 18th century architectural renderings. "In those days they were done using a hand linework that had a beautiful quality to them, not as sterile and mechanical as today:' Despite his tall, elegant stature, Pulfer is a bit of a lonesome cowboy at heart. He has a particularly benign attitude toward the books' pacing, which he likened to a piece of music. "Visually, the images take you on a journey. It's a treat to walk through these pictures. There is a lyrical story being told here about the entire state, about who we are as Westerners." Still, for all the books' beauty, the Olympics have yet to come to Salt Lake. "The marketing approach was so fragmented and diluted. The books weren't reinforced by other materials," Pulfer says with regret. Still, Utah got further than expected, losing out by only two votes to Nagano, Japan and the books have a timeless beauty that's hard to overlook. "They create an identity for the state and freeze a moment in time. I think that is why they were so well received:'

HEADLINE/BYLINE, ITC OZWALD, ITC SUBHEADS/TEXT: ITC FRANKLIN GOTHIC DEMI CONDENSED T-SHIRTS PROVIDE A GRAPHIC STATEMENT ABOUT CITIES

You've been traveling at 30,000 feet for hours. You finally land. You emerge culture, how they express this visually is quite different. Not always does into the clean, anonymous airport and panic. Where are you? You're thousands a city choose the obvious . For those in the know, Seattle is the land of of miles from where you boarded. It's 3 p.m.—again. There are mountains in- the latte, that epicurean mixture of espresso and steamed milk. To express that, stead of beaches, pines instead of palms, snow instead of sun. Your first clue to Ross Hogin, Jon Cannel and Jeff Welsh very tastefully emblazoned a T-shirt your location is the rack of T-shirts in the gift shop: you're in (fill in the blank). with a silk-screened coffee bean for the local chapter of the American Institute In today's world of jet travel sometimes the first thing to bring you back to of Graphic Arts. The image may not communicate Seattle to the uninitiated as earth is seeing a T-shirt. True, this airport gift shop may look exactly like the quickly as seeing the Space Needle from the World's Fair, but anyone who has one in the airport you just left, but the T-shirts tell you where you are, which experienced the battalions of portable espresso carts deployed around the city sports teams play there, and what the city thinks is most important about itself or stopped at a service station for a tank of high-test gas and a "double shot for you, the visitor, to remember. Much Can be said about the uniquely decaf" (a double shot of low-test espresso with a small amount of milk) knows

American custom of wearing our beliefs on our chests: "Get Out of My Way, that Seattle and coffee are synonymous. A T- shirt from Santa Fe sports an - I'm Shopping" or "I c-4 broidered adobe with Support Greenpeace:' cactus done up in a T-shirts are veritable SYMINCI;\ post-modern palette walking billboards as for the sophisticated wearers provide free traveler. Seeing the promotion in motion. "Chili Dog with Onions" Specifically regional T-shirt with its South- dress has been replaced with dress-for-suc- western colors and coyote/dog, you might cess suits or, at the other extreme, some think it was Santa Fe. But anyone who has classless outfit like blue jeans and a T-shirt spent any time in Cincinnati, even in the carrying a message from home. That kind Delta Airlines , knows that Cincin- of T-shirt could be seen as a contemporary nati is famous for its own version of chili— attempt at regional style. T- shirts do made with a hint of dark chocolate and immediately proclaim who we are, what served "five-way" with the ground beef we believe in, where we come from or where mixture and kidney beans ladled over defi- we've been. Natives wear them to announce nitely-not-al-dente spaghetti with grated their roots when they travel. Tourists buy cheese and chopped onions. On the sur- them as souvenirs. T-shirts become the face, "Cincinnati, Home of the Flying Pigs" visual equivalent of the "Wish you were might not appear to be the best image to here" postcard: "My Grandparents Visited promote this town, either. But the porcine New York City and All They Brought Me Was putto on this T-shirt, who overlooks the this Lousy T-shirt:' Grandparents can visit BY KAREN S. CHAMBERS city's skyline boasting Riverfront Stadium, any number of cities and bring home only a "lousy T-shirt," as novelty T-shirt home of the Cincinnati Reds and Bengals, and the Michael Graves designed companies provide city-specific variations. T- shirts can also be a way for a headquarters for Procter & Gamble is cute and appealing. The flying porker city to distinguish itself. How they do so can say a lot about how the city feels refers to the city's earlier nickname of Porkopolis for its packing plants that about itself and how it shows it graphically. The message can be tacky or taste- shipped meat down the to the West. Sometimes the city's image ful, but it is always revealing, even if not always clear. For those familiar with focuses on the less savory aspects of the town. You can buy a T-shirt that says the Frank Sinatra song, everyone knows that " is my kind of town:' The "Be Nice to Me, I Have Friends in Detroit7 recalling when the city was the "mur- T-shirt bearing the Chicago skyline with its readily identifiable Sears Tower con- der capital" of the country. Sometimes the self-deprecating quality of a phrase firms it, but it's up to the wearer to explain what kind of town that is. Miami associated with a city can be turned around. The question "Will it play in Peo- Beach has restored its strip of Art Deco hotels and a stylized Deco illustra- ria?" originally meant a vaudeville act that didn't offend and was easily acces- tion on a T-shirt shows that aspect of the city. Another T-shirt version of Miami sible, not too risque or sophisticated. Today a sweatshirt from Peoria features is conveyed by a color montage of an expressway sign, sexy babe and hot red a riverboat and dice and announces that the wearer "Played in Peoria:' Even sportscar. On the other coast, San Diego plays up its surf and fluorescent sun- as the country becomes more homogenized, a city can claim its identity, sets in a T-shirt featuring Day-Glo colors. Although both cities have a beach and its T-shirts can communicate it to a T.

HEADLINE/BYLINE: ITC OFFICINA SERIF BOLD TEXT: ITC OFFICINA SERIF BOOK, BOOK ITALIC, BOLD 22

ITC " Cyrillic Ka6eAb

ITC New Baskerville Cyrillic HblObaCKepBUTIb ByumaHITC ' Cyrillic

ITC Cyrillic 41)31 RivAikNie LapamoHITC Garamond' Cyrillic

ITC Zapf Chancery' Cyrillic ifartg5 (Licatcepu,

ITC Avant Garde Gothic" Cyrillic ABaHrapA TOTV1K

ITC Studio Script Cyrillic Oftagaio 36pol/ft ITC Kabel Cyrillic A 6 B r A E

E >K 3 VI 1%1 K

A M H 0 [I P C T Y (1) X Li ITC CYRILLIC SERIES LI W lit -12. bl b

3 [0 SI a 6 B

r A e e >K 3 onsistently, International Typeface Corporation introduces typefaces which are useful and applicable to an inter- 14 N K A M H national audience. Every ITC typeface is released with o n p C T y the necessary characters to set a wide variety of lan- guages. Several libraries of non-Latin typefaces have (i) x I-1 LI w Ll.( also been created. In recent years, for example, six Ara- bic type families were introduced for the Middle East b bl b 3 10 q community. Now ITC is pleased to announce the release of the first of a series of Cyrillic typefaces. For some time, ITC wanted to make a number of its typefaces compatible with the many Slavic that exist. The problem was 51>K3U,b finding a suitable design team to undertake the challenge. Although the Cyrillic alphabet has common roots with the Latin, it also has its own distinct heritage

ITC Garamond Cyrillic and design conventions. Only a designer intimately familiar with the Cyrillic alpha- A b B F E bet could be expected to do a proper job of rendering the necessary characters. .HIJK NKPUDLAkE E )1( 3 H Il K In 1989, ITC had the opportunity to meet TO liaabcdef principals of International, a Russ- JI M H 0 Fl ian-American joint venture based in Moscow and Sunnyvale, California. ParaGraph's type C T Y (13 X ig

design group consists of seasoned typeface anc

II III 111 'b bI b design professionals who have formed one of the most respected type foundries lex A developing Cyrillic fonts and typographic tools for digital imaging. While Para- va 9 10 A a 6 B tso Graph is not alone in designing Cyrillic versions of popular Latin-based faces, Kuzne

they do have remarkable type design talents and an exceptional knowledge of v ✓ A e e xc 3 bo u Ly

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

H 1%i K .11 M H assigned to create Cyrillic characters which maintain absolute integrity to the mo fi Ye

original Latin ITC typeface designs while remaining consistent with the Cyrillic ir

O II p c T y dim type design conventions. To accomplish this goal, ITC worked closely with the a Y . ParaGraph design team in continually testing, editing and fine-tuning the Para- ) 4) X IA 4 III LB Graph renderings. The results are what ITC believes to be the most faithful wise oc bI b 3 10 translations of original ITC designs into a foreign script. (c ners rap •esig rap •ara

(The first series of faces includes over 20 individual designs: ITC Avant Garde Gothic®Cyrillic (Book, Book Oblique, Demi, Demi Oblique), ITC New Baskerville' Cyrillic (Roman, Italic, Bold, Bold Italic), ITC Bookman®Cyrillic (Light, Light Italic, Demi, Demi Italic), ITC Fat Face®Cyrillic, ITC Garamond®Cyrillic (Light, Light Italic, Bold, Bold Italic), ITC Kabel' Cyrillic (Book, Ultra), ITC Studio Script - Cyrillic, ITC Zapf Chancery*Cyrillic (Medium Italic). Future releases will include Cyrillic versions of ITC Anna;" ITC Benguiat Gothic ;. ITC Korinna ITC Machine; ITC Stoner; and ITC Tiepolo® typeface families. ITC Cyrillic designs are available in specific character sets to produce a variety of languages. Only licensed ITC Subscribers are authorized to reproduce, manufacture and offer for sale these and other ITC typefaces shown in this issue.

This license is your guarantee of authenticity. These new typefaces will be available to the 1-rrr 1 public on or after February 21, 1994, depending on each manufacturer's release schedule.

25 ITC Fat Face Cyrillic Mu 33 tio4)xxg fl zheh Aa, Gi en

ah Oo blblitb zeh oh beh lin 7

BB ee peh veh iiCu yehr' es ft qui 111 26 ehr eey gheh 43 1010 MI cheh eh r deh Ce IFTYy 1 kah ess shah Ee Ei ettlim yu yeh teh el shyah yo oo yah em AaBOBBITAA Eel'e>l<>1<33 VI cil

E .}K 3 H K

JI M H 0 II P

C T YcLo X

THE CYRILLIC ALPHABET shares the same roots 'el III I-4 1D bI b as the : both are derived from Greek script. However, Latin evolved from 3 10 ST a 6 B Greek historically, while Cyrillic was invented. The alphabet was named after the Greek monk r A e e 71£ 3 Constantine (also called Saint Cyril) who, in 862 AD, came to Moravia with his brother, St. H A K JI M H Methodius, to spread Christianity and to edu- cate Slays "in their own language:' C T Until the end of the 17th century, the Cyril- lic style used in most written and printed com- munications was row-USTAV, a distant relative of the Western medieval scripts. In the early 18th century a simplified, latinized version of the alphabet was introduced by Peter the Great, the reform-minded emperor of Russia. The character shapes of the new 'b bI b 3 10 style, called GRAZHDANSKY SHRIFT, or 'civil type; were largely based on the forms of the late 17th century Dutch faces, and the font included Western-style punctuation, lower case letters and figures. While civil type was then used in most Russian printed matter, religious texts continued to be set (or even handwritten) in POLU -USTAV. In the late 19th century a new name was coined for the latter: TSERKOVNO-SLAVYANSKIY, or 'Church Slavonic: It is still being used, and new typefaces are being created in that category. However, it was civil type which has become the foundation of all Cyrillic- based typography. About 60 languages, many of them not belong- ing to the Slavic group, use the Cyrillic alphabet in their written communications. The basic structure of a modern Cyrillic-based typeface is identical to its Latin cousin: it features both upper and lower case letters, , numbers, superior and infe- rior characters, punctuation marks, etc. Cyrillic type also comes in roman and italic, and in various weights and proportions. Most of the differences between Latin and Cyrillic relate to shapes of certain characters. There is also a similarity in the construc- tion of the upper and lower case versions of many Cyrillic letters. The number of letters in the basic Cyrillic alphabet is greater than in Latin, so the complement of a Cyrillic- based font is normally also larger. There are a few natural idiosyncrasies about punctu- ITC New Baskerville Cyrillic ation conventions and signs used in Cyrillic-based typography, just as there are in various Latinate languages. A B E Every existing Latin-based typeface can be more or less successfully 'cyrillized: Cyril- lic have the very same features as the Latin ones, such as main (normally E )K 3 H ICI K vertical) and connecting (normally horizontal) strokes, serifs, ascenders and , bowls, swashes, etc. Therefore, all style variations existing in the Latin-based type JI M H 0 H design are feasible in Cyrillic. There are Cyrillic typefaces which can be easily classifiable as oldstyles, transitionals, moderns, slab-serifs, or grotesques. In the absence of direct C T Y (I) X historical precedents, or similar Cyrillic designs, one has to"figure out" the respective letterforms, as if the style actually existed in . Such extrapolation may 11 III HA rb bI b yield perfectly credible results, or feel rather artificial: it depends not only on the skills and sensitivity of the type designer, but also on whether the typeface being cyrillized 3 n SI a 6 B has a rather clean look without too many idiosyncratic lettershapes in the font. The historical development of Cyrillic type design and typography followed the same T it e e )K 3 direction as type and typography in the West. Its esthetics evolved from classicism, through Empire and Biedermeier to the Victorian excesses, to , Art Deco, constructivism, neo-classicism, Swiss neo-functionalism and post-modern periods. H II K JI M H However, since the original type was first developed in the late 17th century, its basis can be classified as a sort of "pre-transitional" style. Therefore,"oldstyles," and many 0 H p c T y other conventional styles so familiar to the Western typographer, had no parallel in Cyrillic typographic history. 4) Straightforward styles, such as those shown here, are better suited to be adapted to crisp, contemporary Cyrillic letterforms for use in a wide variety of printed materials. 'b bI b 3

28 ITC Ga ramond Cyri llic 13P,EFICI(3. "hearing" isnotquiteaccurate,sincethecolorsensa- T1.10 HOM HO HO B npHilacTeH oxpacxa C.7IHBa1OTCA BBOCHpHRTHH6yKBIA Hee nirrbcsr so audition coloree—IABeTHLIM 6yKBbI 110313W-11 H nem, nparmaralo7113 JIaTHHCKI1c1 6binMHOIO ICZSPYCN. ripocmarcosaTh ee,AaThCII HO He OCR3aTeJII,HIDIM, 11314 nnernoe orukymenneco3pcaercA,no-moemy, nye", C1COM camoro nox.aaTtncroroturrareast,HOorpann- HeBepORTHbIMH while SisnotthelightblueofC,butacuriousmix- not merge,anddiphthongsdohavespecialcolors ture ofazureandmother-of-pearl.Adjacenttintsdo between soundandshape,IseeQasbrownerthanK, blue group,thereissteelyX,thundercloudZ,and huckleberry K.Sinceasubtleinteractionexists surface ofalcoholinasmallglass.Passingontothe my French mirror of0takecarethewhites. Oatmeal N,noodle-limpL,andtheivory-backedhand- (vulcanized rubber)andR(asootyragbeingripped). polished ebony.ThisblackgroupalsoincludeshardG me thetintofweatheredwood,butaFrenchAevokes have inmindfartherunlessotherwisestated)hasfor long AoftheEnglishalphabet(anditisthisI forming agivenletterwhileIimagineitsoutline.The tion seemstobeproducedbytheveryactofmyorally I presentafinecaseofcoloredhearing.Perhaps nogemy npupojte. ilio60nburrio, Ha 3ByKy, oripeAe.anTh oxpacxy6ymna, BKyCOBbIM e lkeiren pyccxam, HHarcomicHarr, y3op. lipemnagafino (117111, imageronopH,KaKHMo6pa3om TOJILKO opnrtmaae aron meHReir - cpannennto MIMI! H maaefimee neconna,Ttertneme)KLkypa3- 6yKBa ar.rmgaeTcsi on B pry, noxaBoo6paAcaioee3prrreab- itopma), mower HOHHTHIO < 13.7mAnmnp Ha6oKon. pemcon crenennTaxnammaemon which Iseeasthebrimmingtension caonamn opyccxoamtlaunre: nagepramnimn eAnno3nyintoti H Hyrem. LITO6bI Vladimir Nabokov. no,rkpo6nocrAmn ruBerosoe 'me 1 C JIaTHHCKOCI.• 1HIDIM, TyT KHHIII • CTpyKTypllbIX> Kpacox CJIOACHLIPI pa3o6pan ronopurrb oc.rty na6yxityri. CJIyXOM. TyTHmor ‘ITO 6hrrb Kax-HH6yuch ry6Hmm, Bocnanzunanufi. TyCKHOBaTbIM TO- HO HTCHTH‘IHHH He Speak, Memory. 6071bniefi =lac- I - garnet-me OCHOBaTeJIb- am puzzledby BOHpOC, 3Hal0, H B B36eCHTb 117111 ileptio6y- go.inicen ee Tb JIH 3ByK, Bnpo- H3ny- KaK - PyccKoe xe>>: 6bI OT English Jio-naneBbim MOH nnlnnam K gem mr ny c cm-noto, nepexomintytoB4mo.aerortoe, rpyn- 0JII.X0BbIM 10; 3e.aenytorpynnyCryanteummH, opamicenariam E,oxpinnamnaavinam 3ono-ti71aneaerimm M BHHIHeBO-KHplIH H o6pa3y1-or ro monoKa,cyxoti6y.incnHinnextcHoroxae6a. Tpynny MyTHbIXnpome.acyro'qmax nepminnean, cmonencicoilKamm,mmtAa.inilio- 3TOM rpynne pHnHeBoe, (ilyTh Acexree,gemV)B;AcearyiorpynnyC ropbKnfi nemno CprtammmR)P;xpenxoeKay pyio rpynny 1"; ?K,oramtatonkeecA cicoro in myprivatelanguagethehardlypronounceable: rainbow, aprimary,butdecidedlymuddy,is Maerz and at lastperfectlymatchedVwith"Rose painters, Misafoldofpinkflannel,andtodayIhave the browngroup,therearerichrubberytoneof among thereds, soft G,paler can expressonlyby"brassywithanolivesheen:'In creamy D,bright-goldenY,whosealphabeticalvalueI can doforW.TheyellowscomprisevariousEsandIs, green, combinedsomehowwithviolet,isthebestI leaf F,theunripeappleofP,andpistachio I aminterrupted.Inthegreengroup,therearealder- representation). •Ihastentocompletemylistbefore old astherushesofNile,influencesitsEnglish stemmed Russianletterthatstandsfor in someotherlanguage(thusthefluffy-gray,three- of theirown,unlessrepresentedbyasinglecharacter n3,Ticanne.01C11.IT1bP>, TaKoe version. Harper&Bros.,NewYork,1951 K a36ylmaR pa,zwra: HX JIaTHHCKHeOAHO3BrIHR);H )KeCTHHI,IM crreivrpy, HaxoAnm:KpacHylo nopswce, VIHHIAa, 6yKBLI Ace, HocripoAce.agrao,Ii1. HIOKOJIapc OTMOJI0 Paul's KJIHCTHpHOe TI, 4 H 1: J, ornoanponarmoe SI.B6e71ecoti 1 H, 6.aecTsnue-cnpeneuram 3. COCTaBJIRIOT: H and thedrabshoelaceof B A; A0110JILHO .TI, H,0,X,3 Dictionary ofColor. ,1IOBOJIbH0 nacremaimm has thetonecalledburntsiennaby 30JIOTHCTbIM KH. 1 1HLIM B , HI. Hbm-flopx, n71aActio-rony6Lim C,nep- OT 4)pamw3cKoro H po3oBaro-Teaecniam 6.71e,Ttiryto Anary nynicro-c143oe (ryirce, gemB),p0- rycTOe, 6e3ratan", 1 HpeACTaBJIRIOT, B ponnoe (nocpas- 1HOTO; TeMHO-KO- T (riceaimmire, Y H 1954 aaryneradm The wordfor sh, OTTeHKOB • rpynny c Quartz" in nalconen, H. Finally, - a letteras gyKosoe MAJIbI10- Ilepexo- TarcoBa T. Dull J, icatc CBeT- 113 III ITC ITC Motter Corpus was created to combine the display advantages of a sans serif extra bold design with the of a . Sans serif type styles generally make the most assertive display designs, but they present two inherent design problems: they are not normally as read- able as serifed types, and they do not combine well with other sans serif designs outside their family. s Othmar Motter, the designer of ITC Motter Corpus, decided to rectify this situation. He set a design goal for himself 1\1 OTTE CORPUS to create a typeface that was emphatic, readable SIZES TO BE SET WITH LITTLE LOSS OF and equally at home with serif or sans serif designs. LEGIBILITY. ALTHOUGH THE SERIFS ARE ■ ITC Motter Corpus is almost a sans serif design— SMALL, THEY RECEIVED SPECIAL ATTEN- but not quite. It has diminutive serifs that, along TION FROM THE DESIGNER. IN MOTTER'S with its modulated weight contrasts, WORDS, THEY ARE OVALS WITH DIAG- make the face remarkably readable for ONAL MIDDLE AXES. THEY THUS REMAIN a display design. Counters have been CLEARLY RECOGNIZABLE DESPITE THEIR kept open to allow for surprisingly small SHORTNESS:' ■ DIAGONAL STROKES IN

MOTTER'S DESIGN CAREER IS VARIED AND DIVERSE. HE IS AN AWARD-WINNING 30 letters like the A, V, W, V, etc. were also de- ■ OTHMAR MOTTER WAS BORN IN AUSTRIA IN 1927. signed convexed to decrease the white space AFTER GRADUATING FROM VIENNA'S GRAPHISCHE LEHR- between them and straight or round sided UND VERSUCHSANSTALT, HE FOUNDED VORARLBER- characters. For similar reasons, round letters GER GRAPHIK, A DESIGN STUDIO, IN THE TOWN WHERE were drawn with slightly Flat sides. The end HE WAS BORN. VORARLBERGER GRAPHIK IS STILL A result is a design that spaces with remark- VIBRANT AND ACTIVE DESIGN STUDIO TODAY-EXCEPT able consistency—even when set in all-caps. THAT NOW IT IS MANAGED BY TWO OF MOTTER'S SONS.

ITC Motter Corpus ABCDEFGHILIKLMINIOPQ RSTUVWXYZabedefghi jklmnopqrstuvwxyz12 345678901ME%90 /ECE Bcobeilefill"'`°°(:;,• 11?- it*M10§nut234567890]

Motter's design career is varied and diverse. He is an award-winning poster designer, a creator of logos and trademarks, the designer of many corporate identity programs—and an accomplished typeface designer. Both the letraset and Berthold type libraries include several different Motter designs. ■ ITC Motter Corpus is an extra bold design in normal and condensed variants.

POSTER DESIGNER, A CREATOR OF LOGOS AND TRADEMARKS, THE DESIGNER OF MANY 31 Oldstyle figures are available for both versions. Only licensed ITC Subscribers are authorized to reproduce, manufacture and offer for sale these and other ITC typefaces shown in this issue. This license is your guar- antee of authenticity. These new typefaces will be available to the public on or after February 21,1994, AL depending on each manufacturer's release schedule.

ITC Motter Corpus Condensed ABCDEFGHIJKLM NOPQRSTUVWX VZabcdef§hijkl nopqrstuvwxyz 12345618906/SC

ITC MOTTER CORPUS IS ALMOST MOECE11;041111 A SANS SERIF DESIGN-BUT

NOT QUITE. IT HAS DIMINUTIVE SERIFS THAT, ALONG WITH "'`°°(:;,•!?--""/#11t ITS MODULATED WEIGHT CON-

TRASTS, MAKE THE FACE

REMARKABLY READABLE FOR A DISPLAY DESIGN. /§Dui2345678901

CORPORATE IDENTITY PROGRAMS-AND AN ACCOMPLISHED TYPEFACE DESIGNER. 32 IN DESKTOP TYPOGRAPHY, SMALL THINGS COUNT

"Details" (Details) Details...

BY ALLAN HALEY Some think desktop typography is an oxymoron. They believe that it is impossible to create quality typographic communication with simple desktop publishing hard- ware and software. They are wrong. It is not only possible to create good typography on the desktop—it's also relatively easy. All that is needed is attention to the details. Mies van der Rohe once wrote, "God is in the details?' While he wasn't writing about desktop publishing—or even typography, for that matter, Van der Rohe was telling us that simple attention to detail is what separates art from hobby. Typography is also about the details. It is about taking the time to make those minute adjustments that insure that your final document looks as good as it can. It is also about making sure that software defaults and system mechanics are changed, when necessary, to create good typography rather than acceptable word processing. What follows is a list of the most commonly overlooked details in desktop publishing. They are divided into three categories: System Settings, Optics and Punctuation. SYSTEM SETTINGS System and software settings are about making things simple. They establish basic computer functions so most people don't have to worry about them. The problem is, they generally create these functions for the lowest common denominator—which is okay for word processing, but not when fine typogra- phy is the goal. The TM, ® and © symbols are too big when set in display sizes. Proportionally, they are sized to work best in text composition where they need to be large enough to be read easily. Sometimes as much as a 65 percent reduction in point size and/or even a font change is necessary to give them an optically pleasing look in sizes larger than 14 points. (figure 1) Default letter spacing does not generally take into account the needs of setting small type. Often letter spac- ing parameters must be increased to improve the read- ability of six, seven and even eight point type. (figure 2) Word spacing should also be adjusted to be consistent with the proportions and weight of the face being used.

33 1. Condensed typefaces should have tighter word spacing 6. than that which is appropriate for fonts of normal pro- portions. Bolder weights of type generally require a little ITC Motter CorpusTM more word spacing to improve . Type that (800) 862-0171 is reversed should also have a little more than normal word spacing. Bullets, boxes and dingbats are often too big when ITC Motter Corpus set at the same size as the surrounding text composition. (800) 862-0171 Many designs, especially light typefaces, condensed typefaces and fonts with small x-heights, all require more diminutive typographic road signs. (figure 3) OPTICS The first rule of typography is simple: If it doesn't look good, it isn't. Making things "look right" 2. typographically, however, may mean substituting opti- cal correctness for mathematical precision. Why are 6/7 ITC FRANKLIN GOTHIC BOOK 0 TRACKING Abraham Lincoln's writings eloquently reveal the deep divisions optical considerations so important? Because anything in race, morals and emotions which tore the country apart in his which detracts from the smooth, even flow of the nor- 7. lifetime. Those words have provided a wealth of inspiration for mal reading process not only makes your less illustrator Stephen Alcom. The dramatic black and white linocuts he created for Lincoln: In His Own Words literally reflect the con- appealing and more difficult to read, it also impairs "Censorship reflects society's lack trasts which characterized that period of American history. reader comprehension. Bolder weights of type, for example, generally require a little more word spacing of confidence in itself," Justice to improve readability. Type that is reversed should Potter Stewart once warned.

6/7 ITC FRANKLIN GOTHIC BOOK +3 TRACKING also have a little extra word spacing. (figure 4) Abraham Lincoln's writings eloquently reveal the deep divisions Line spacing on personal computers and laser print- in race, morals and emotions which tore the country apart in his ers is mathematically accurate—and often optically lifetime. Those words have provided a wealth of inspiration for "Censorship reflects society's lack illustrator Stephen Alcorn. The dramatic black and white linocuts incorrect. For example, if a brochure has four lines of he created for Lincoln: In His Own Words literally reflect the con- copy—three of them set in caps and lowercase, and of confidence in itself," Justice trasts which characterized that period of American history. another in —the all-caps line will appear to look Potter Stewart once warned. closer to the cap/lowercase line above it. (figure 5) Sometimes, because of ascending and descending char- acters, even lines set consistently in caps and lowercase will require some optical adjustment. Most fonts come with lots of kern pairs—but most 3. do not provide adequate for numbers. Unlike ■ Chardonnay ■ Chardonnay letters, numbers should have two sets of spacing values: ■ ■ Sauvignon blanc one for when they are set in columns, and a different Sauvignon blanc set for when they are used in normal composition. Num- ■ 8. ■ White zinfandel White zinfandel bers are supposed to line up in columns, so font devel- ■ Burgundy ■ Burgundy opers give them all the same width values. The problem Two do not equal an ■ ■ Pinot noir is that these uniform widths also make for uneven spac- Pinot noir ing when numbers are set in any other kind of situation. em dash--and they are not part The solution is to kern numbers when they are part of a of typographic communication. display headline or normal text composition. (figure 6) PUNCTUATION Typewriter punctuation often looks different from typographic punctuation. 4. are simple tools with limited keyboards, character sets Two hyphens do not equal an and font choices. Since personal computers were de- em dash—and they are not part signed to replace typewriters, many of the familiar type- Type designers walk a pretty narrow writer punctuation capabilities were incorporated into of typographic communication. path in their work. The letters of their software. That's fine for making the first personal our alphabet provide little room for computers "user friendly," but not so helpful when it much self expression when it comes comes to creating typographic communication. to defining their shapes. "Smart quotes," ones which are "demonstrative" to- ward their nearest characters, are available in almost all fonts, and most applications have simple preference tables to insure that they are used instead of the generic Type designers walk a pretty narrow characters which do double duty as "inch marks." If no path in their work. The letters of such preference setting is available, smart quotes can be 9. our alphabet provide little room for accessed by typing the option key, the open and much self expression when it comes shift or un-shift. It's a detail worth sweating. (figure 7) On your mark...get set...GO! True are also available in all fonts and can (PERIODS) to defining their shapes. be made a part of normal text composition through the setting of preference tables or by holding down the shift and option keys while typing the close bracket. On your mark...get set...GO! (ELLIPSES) Em are also available in virtually all fonts. They are accessed by typing the key while hold- ing down the option and shift keys. Two hyphens do not 5. equal an em dash—and they are not part of typographic communication. (figure 8) Act now Use the ellipsis rather than three periods. These are to get your set by striking the semicolon key while holding down the option key. (figure 9.) FREE SUBSCRIPTION; French spacing is putting two spaces after a period. 10. time is running out! French spacing is what we were taught in our freshman typing class. In spite of what you may have learned, Some think desktop typography is an they are not typographically correct. One space after oxymoron. They are wrong. Act now a period is plenty. (figure 10) to get your Some may think that working with desktop publish- ing tools precludes good typography. It doesn't. A little FREE SUBSCRIPTION; attention to the details can transform ordinary word pro- Some think desktop typography is an time is running out! cessing to effective typographic communication. oxymoron. They are wrong.

HEADLINE/NUMERALS: ITC GARAMOND BOOK SUBHEADS: BOLD TEXT: BOOK, BOOK ITALIC EXAMPLES: (1) ITC MOTTER CORPUS CONDENSED, (2 & 5) ITC FRANKLIN GOTHIC BOOK, (3) ITC CERIGO MEDIUM ITALIC, ITC ZAPF DINGBATS, (4 & 7) ITC LEGACY SANS MEDIUM, (6) ITC STONE INFORMAL SEMIBOLD, (8) ITC STONE SERIF REGULAR, (9) ITC CENTURY BOLD CONDENSED, (10) ITC HIGHLANDER BOOK 34 (Center) TERRY ALLEN 'S BLUE NOTE GRACE OCK 'N' ROLL HAS LOSTITS (Devil) ANN PICKARD, NOV/DEC 1 992 (Cone) SCOTT WRIGHT, SEPT/OCT 1993 (Adam & Eve) TERESA FASOLINO NOV/DEC 1993 "the bestofthealternativepress:"Foreachissue, ARTWORK ASFACILITATOR Because these topicsmustappealtoamass audience,artworkplays avital the workplaceillustratedwith amanwearingjockeyshortsmadeoflead? for example,areyoulikely toseeanarticleaboutmalefertilityhazardsin illustrations arenaturallyasdiverseandintriguingthe stories.Whereelse, to sex,healthandethics.Giventheeclecticmixoftopics ineachissue,the trends ineverysphere,fromenvironmentalism,money, familylifeandaging, package andreprint.Theirmissionistoroutoutemerging monthly digestwhichbillsitselfasaforumfor appearing inrecentissuesof bound baby,whoreachesupforherembrace. mother sailsthroughanethereal,starlitskytowardherearth- Utne Reader These areafewofthemanystrikingillustrations Spotted ChickenReport Review, ZPapers for provocativearticlestore- Garbage, HungryMind offbeat publicationslike editors skimsome2000 hold byhisham-handedemployer...A fist, thrusttriumphantlyskyward,clutchesasanitary gloriously nakedwomanstrikesamajesticpose.Her napkin...An officeworkerisheldinacomicalchoke- Utne Reader, and the a bi- THE MAGAZINE'SILLUSTRATIONSARE,TOO. "UTNE" MEANS"FAROUT"INNORWEGIAN. by JoyceRutterKaye 35 ing; andMichelleBarnes'dreamlikepastelofamother sailingacrossan publishing companytoredesign art directorKristiAndersonhaswitnessedaturn- role inthemix.SincejoiningMinneapolis-based around inthemagazine'sattitudeabout cover storyonpeople'semotionalrelationshipwitheat- the valueofagoodillustrationto help makethecontentmore ment withillustrators usingdifferingstyles from The diversityofstoriesallows Andersontoexperi- FROM 'BINSANDBASKETS' coming totermswithmotherhood. a wrenchingfirst-personaccountofwoman evening skyfor"WhereMommiesComeFrom," inviting, especiallywhenasubjectisparticularly dense orarcane."Theeditorshavestartedtorealize that theyneedartworktomakesomeofthestories a womansurroundedbyanarrayoffoodfor Karen Barbour'sMatisse-likecompositionof time inthemagazine'sten-yearhistory: more accessible,"saysAnderson. November/December 1993issuewhere Utne Reader full-page illustrationsappearedforthefirst This perspectivewasapparentinthe in 1990, 36 (Little Girl) STEVE JOHNSONWIT H LOU F MAY/JUNE 1993 (Your Body) HAYES HENDERSON, MAY/. 1992 (Paradise Found) NORAWI LDGEN, NOV/DEC 1989 (SexualRe on ) MATTHEW GIFT , JULY/AUG 1993 (Facing Death) JEAN-FRANCOIS FODEVIN, SEPT/OCT 1991 HEADLINE/DROP CAP/TEXT/CAPTIONS: ITCCASLONNO.224BOOK,BOOKITALIC BYLINE/SUBHEADS:ITCCASLONNO.224MEDIUM, BOLD ways tryingto findnewvoicesinthearticles theyrun,"saysAnderson. "I'mtryingtofindnew voices, too." AN ALTERNATIVE little moregrit.Thisoftenmeansfindingartistswhoseworkisnotrefined."Some- yuppie), Andersonlikestoincorporateedgy,freshartworkgivethemagazinea art directorwasopentoit," saysJohnson."Itwasnicetonothavedealwithrestrictions" to amoregraphiclook,but shedidnotobject."Wewereinterestedindoingsomething different,andthe Cares AbouttheKids?"forlastyear'sMay/Juneissue, theirworkwasgravitatingfromawhimsicalstyle defined bytheeditorsas"anythinginteresting")viewpoints.Providingaconve- the publicationwasfoundedtoprovideone-stopshoppingforalternative(loosely min Franklin's name withaninvestmentof8150,000fromeightinvestors.ModeledafterBenja- since 1984whenEricUtnestarteda25,000-circulationnewsletterofthesame The magazinehasbeenaforumformaterialinfluentialenoughtobereprinted bling SocialExperiment""WhoWasthisManJesus?""ProudtobeaHillbilly,"and"OhNo!I'mPC" tinues tobethetypicaltug-of-warbetweenartandeditorialdepartmentsover says."I'm tryingtogetthingsthatarequickanddirtywithalessboomer-ishlook." times Iliketogetthingsthatarecomputer-generatedormorefanzine-like,"she nient productlikethisinthetime-andmoney-strapped1990shasmademagazineasuccess: space. Whileplanningeachissue,editorsmeetinaconferenceroomwheretheybrainstormanddiscuss for "ParadiseFound,"anissueexploringhowtheenvironmentalcrisiscanactuallyimproveourlives. Although illustrationhasbecomemoreprominentinrecentissues,therecon- Having anopenmindforalternative viewpointsiswhatthemagazineallabout. "Theeditorsareal- Instead ofjustappealingtothemagazine'saveragereader,anaffluent,educated40year-old(read: Poor Richard'sAlmanac,I.F.Stone'sWeekly struation [which]denythepowerofwomen'snaturalcycles,""Daycare:ATrou- magazine. Thosestoriesareinvariablyquirkyandprovocative.Inthepastyear, number tobediscarded:onlyone-sixthofnominatedstoriesfindsaplaceinthe possible themes.Giventhevolumesofmagazinestheysiftthroughfortheirmater- Reader the magazinehasrun"ThatTimeofMonth,"whichdebunks"taboosmen- ial, andtheavailabilityofpublishedarticles,thereisalwaysanoverwhelming Death"; andNoraWildgen'slushdrawingofamanbaskingblissfullyinmeadow cois Podevin'shauntingportraitofawoman'stranquilfaceforthetheme,"Facing issue themed"ForLoveorMoney:MakingaLivingvs.Life";Jean-Fran- from thelastyearincludeGaryBaseman'swhimsicaloverburdenedfatherforan ples theysendher. across thecountryandCanada,findingthemfrom"binsbaskets"fullofsam- illustrator SteveJohnsonandpartner/wifeLouFancher todothecoverof"Who number ofadpagesperissuehasincreased52percentinrecentyears.Even tation, buttheyarequicktocreditAndersonforthatfreedom. Whenshecontacted President ClintonandtheFirstLadyarerumoredtobe loyalreaders. MALL Many illustratorsregardthemagazineasafertileenvironment forexperimen- now isaperfectboundmagazinewithcirculationof307,000,andthe Utne covers arealmostalwaysillustrative.Notableexamples and Reader's Digest, 37 L‘ Utne 1 800326TYPE Al 0 MK is QuantaBlack •BoxGothic•AmpersandsProsperaSmallCaps 0 a trademark. — b Manfred Multiple MasterTwoAxisWeight&OpticalSize F AlpfiabetsSamplers better, wellgiveyoubothof e this? Prospera IIRoman•OzPosterRegular•OzBrushltalic Dis B , INC mcc Compuserve: 73306,2703/Fax:7083281922 -ProsperaIIItalic•ParsonsMedium ally I riterNet:[email protected] Antique Condensed•FrenchXXXCondensed PO QuantaMedium •Painter•AlphaKidBlack 5124.95 Al Samplers justlikealittlevariety,tryour?°'‘. A*I Al EgyptianMM Circle Well giveyoubothoftheseforSS Ihrolig,/ (outside UScall*17083282733) Box 5448 Al BeforetheAlphabet-1 Neuland (incl.KochDingbats) GLaoW. Parsons Light-AlphaKidPlain ff sioW PictureFont MK544.95 Five WeightsPF574.95 PictureFont MK544.95 244 on Reg/Bold MK544.95 Reg/Ital MK$44.95 ParmaPetit MK 544.95 ES $44.95 Ampersands (also availableinSixstylesnotMM) Al Flighty Evanston, Reader ServiceCard LPH'l II> • Ma IL 60204USA y / 9 ddemarks ofAlphabetsInc thes 94 e ES—Ejaz Syed

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group communications capabilities; Kyocera Electronics, Inc. 0 QuarkCopyDesk; a word processing Kyocera Electronics, 0 and editing application specifically Inc. (Alameda, CA) and 0 designed for use in a Quark publish- International Typeface z ing workgroup; and QuarkXPress, Corporation (ITC) have the program. In addition, recently concluded C.) a licensing agreement three other applications enable which enables Kyocera sites to customize the Quark Pub- to provide ITC® typeface lishing System to meet their needs. designs on its ECOSYS a-Si page printers. Quark Dispatch Administrator lets Kyocera markets an managers configure the publishing environmentally sensi- system. QuarkDispatch Planner tive family of ECOSYS permits editorial managers to assign a-Si page printers. The ECOSYS a-Si 'cartridge- ro and track QuarkXPress layouts, free' design means there QuarkCopyDesk articles and other are no laser cartridges Software page elements. The QuarkDispatch to dispose of or fill up File Manager is used to archive and landfills. QuarkXPress 3.3 for Macs and PCs delete files created in QPS. Contact Kyocera Electronics, Inc. Quark, Inc. has announced the Quark for specific pricing and con- 1321 Harbor Bay Parkway Alameda, CA 94501 release of a new version of Quark- figuration information. Quark Inc., Phone: (510) 748-6666 XPress- that adds a variety of new 1800 Grant Street, Denver, CO Fax: (510) 748-6965 features and XTensions" to the pro- 80203. (303) 894-8888. For more Kyocera Corporation gram. Version 3.3 is the company's information, circle 402 on reader 2-14-19 Tamagawadai Setagaya-ku, Tokyo 158 first effort to synchronize the release service card. Japan of the Macintosh and Windows ver- Phone: 0813 3708-3111 Fax: 0813 3708-0423 sions. With this update, Quark is Corel Enhances Ventura Publisher commited to concurrent releases of Corel Corporation has completed all forthcoming revisions to Quark- the purchase of Xerox Ventura Soft- XPress. New features of version 3.3 ware and has announced a new ver- include: variable-shaped text boxes sion of its page layout program, Corel for unique and demanding design Ventura 4.2. The new version con- situations, automatic update of color tains two full-featured applications, scroll list when EPS pictures with CorelVentura Publisher and Corel Corel Corporation spot colors are imported, enhanced DataBase Publisher, along with Ven-

Corel Corporation (Ottawa, document layout palette function- tura Scan and Ventura Separator. ON) is a world leader in the ality, kern to space by specifying CorelVentura Publisher also creates development of graphics kerning pairs, undo grouped items, total electronic documents, with software and SCSI (small the addition of two color models, support for Adobe Acrobat" software. computer systems interface) software. Corel's growing Toyo and DIC, the ability to import In addition, the product includes line of software products in- JPEG and PhotoCD formats, and en- two CD-ROMs containing over cludes Core1DRAW 3 - and hanced PostScript Printer Descrip- 10,000 EPS images, over 600 Adobe Core1DRAW 4:" Corel Pro- tions for faster output and support Type 1 and TrueType fonts and 100 fessional Photos CD- ROM:" CorelVentura:" for dot printers and fax dri- royalty-free Kodak PhotoCD photos. Corel SCSI - version 2, vers. For Macintosh and Windows. For Windows. $249.00. Corel Cor- Corel Network Mana- $895. Quark Inc., 1800 Grant Street, poration, The Corel Building, 1600 ger'" and Corel CD Denver, CO 80203. (303) 894-8888. Carling Avenue, Ottawa, Ontario, PowerPak:" After signing a licensing For more information, circle 401 on Canada K1Z 8RZ. (613) 728-8200. agreement with reader service card. For more information, circle 403 on International Type- reader service card. face Corporation Quark Publishing System (ITC). Corel now fea- tures over 140 ITC' Coordinates Users Royalty-Free Professional typeface designs in Quark Publishing System"' (QPS) Photographs on CD its Core1DRAW4 version 1.1 enables writers, editors Corel Corporation has announced product. and layout artists to work on publi- a complete collection of high-resolu- Corel Corporation cations simultaneously through a tion, royalty-free photographs in fhe Corel Building single networked system. QPS can Kodak PhotoCD format. Each pho- 1600 Carling Avenue Ottawa, Ontario K1Z 8R7 track files using several industry- tograph is stored in five different Canada standard third-party software appli- resolutions from 128 x192 dpi for pre- Phone: (800) 77-COREL cations such as QuarkXPress, Adobe sentations up to 2048 x3072 dpi for Photoshop, , Multi- prepress use. The collection spans Ad Creator, Aldus FreeHand and over 100 titles with categories such Cachet by EFI. QPS consists of three as People, Places, Wildlife, Nature, core applications: QuarkDispatch," Activities, Airplanes, Automobiles, which controls the system and pro- Sailing, and more. For Macintosh and

vides file management and work- Continued on page 40 38 ITC fonts aso each! Now through March Does `lbare bore s' 31, 1994 FontHaus can sell you the entire Bitstream library on an OPEN CD-ROM for only $595! sc ibe -srcyaiur Bitstream TypeShop is a fully unlocked CD- ROM containing 1,085 world-class fonts for your Macintosh at an unbelievably low price. fonts budget? Acclaimed throughout the industry for its high quality and typographic authenticity, the Bitstream library contains hundreds of ITC and FontHaus other classic type designs including Bitstream is pleased to Originals & Exclusives. present aL new hada CompiessedillENIJI011111156111ficighjblItin Affordable fonts of Armada family includes several weights/styles. $35 per font. Family discounts apply. delivered in range minutes exciting and a3:1;rw5rIntere! Armada Condensed BEGHORS1234bcfgAlt Hate to wait until Monday to order a affordable Armada fam- includes several weights/styles. $35 per font. Family discounts apply. font you needed Friday night? Well wait type products. Burghley M m ADEGKQR52345abfhkIs no more. FontHaus fonts are now available on 9. Other weights available. Family discounts apply. CompuServe. With a computer, modem and CompuServe membership, you can review, select, Capone 110DtGKORS2345bfghjklqs fr buy and download FontHaus fonts from 4 eludes several weights/styles. $59 per font. Family discounts apply. '#-anywhere, anytime. Currently available is the entire ITC licensed library—from ITC Avant Garde Gothic through the newest Capone tl Condensed IIMIGKQRS2345bfghklq releases. Single fonts are only $29 and family family includes several weights/styles. $59 per font. Family discounts apply. purchases are offered at great discounts. In the coming months, FontHaus will release selected fonts from the libraries of FontHaus, E+F and Font Empi k IICIIIIMMISbdthjqs11345 Bureau. To learn more about CompuServe and weights/styles. $35 (i empire family includes several per font. Family discounts apply. how to get your FREE Introductory Membership, call CompuServe toll-free at 800 - 524-3388. )461WR61-4 Getting FontHaus fonts has never been easier. c:b4:>1 new fonts you laa,iiren't seen eiirerysisrlaere. urir Fulham Road ABE6115123456efskrnio To the left we've displayed a selection of new fonts including designs from Apply, Castle Systems, the Font Bureau, Mark van Bronkhorst, Hollywood Deco A6GICQRS235dbfghkIs Panache, Treacyfaces and Jim Spiece (to mention a few). These unique designs are priced affordably and can ship the day you place your order. Ett 13.7131CRIE423a.lbrgim Latin Wide. $59. c-height - now bigger & better. MAGNESIUM GRIME BCD&234 x-height Volume 3 Number 1 is now shipping. Magnesium Grime. $59. Bigger than ever, this 64-page magazine has earned an impressive Neue Neuland TF Book ADGHKMQRSbcfghkrs 23 reputation for its stories on Neue Neuland TF family includes several weights/styles. $59 per font. Family discounts apply. the development of type and revealing articles about the olidADGHWACIRbcfghkrs 23 people who make the type Neue 11 des several weights/styles. $59 per font. Family discounts apply. business tick. Featured in this issue is the recent work of Freda Sack and David Quercus k 611 GKMRS2.38bfghke'l . Qu. voik • Hard weights available. $59 per font. Quay. Other stories include • the ATF bankruptcy auction, the , the d development of a new Neuland family by Joe r Treacy and ATypI's TypeLab. Also included is the FontHaus Fonts Catalog Volume 5—over 40 pages N - AMII 111 — [1 of fabulous typefaces displayed in characters sets.

To get your new copy of x - height, call FontHaus toll-free at 800-942-9110. It's five bucks or FREE CDEIGHIJKLMNOPORT11233 with any font order. Subway. $59. Adobe fonts 40% OFF! All licensed Adobe fonts at FontHaus are 40% below tefAtif,•4441-`" Adobe's NEW list prices. Adobe fonts have never Castle Fleurons (partial showing, font includes over 160 fleurons). $49. been so affordable. Similar discounts are available on other major libraries as well.

4N4 No bones about it. FontHaus is probably your best place to shop for Damned Dingbats (partial showing, font includes 85 dingbats). $39. fonts. With over 7,000 fully licensed name-brand typefaces available at bare bones pricing, you may *A C/Al 13 h1, O be wasting your valuable time and Headline Helpers (partial showing, font includes 75 helpers). $39. Ei(r money calling elsewhere. Call FontHaus first: toll-free in the USA: — — €100.94.2-9110 a J or call 203-367-1993 or fax 203-367-1860. Deco Initials. $49. FontHaus Inc. North America 203 367 1993 Australia & New Zealand 61 3 747 9301 France, Belgium, FontHaus "KILO. Luxembourg, Spain & Portugal 31 1 48 89 60 46 Germany, Switzerland & Austria 49 40 789 2608 1375 Kings Highway East Sweden, Finland & Norway 46 8 16 81 00 United Kingdom 44 73 287 5111 or 44 71 251 3746 Fairfield, CT 06430 USA FONT

Dancing Skeleton and text illustrations 01994 Art Parts (see reader response card in this URIC for details). Text set in Stone Print! . FontHaus and the FontHaus logo are registered trademarks of FontHaus Inc. Product and company names are trademarks of their respective owners. Prices in SUS. Product programs, prices and availability are subject to change without notice. Some products may not be available from all FontHaus authorized agents, dealers and distributors. 01994 FHI. NAB(

Circle 223 on Reader Service Card Continued from page 38 and a Multi-Transform dialog box Windows. $49.95 each. Corel Corpo- offer multiple ways to preview the INTRODUCING ration, The Corel Building, 1600 results of an action before it is exe- Carling Avenue, Ottawa, Ontario, cuted. A new Partial Edit tool handles Canada K1Z 8RZ. (613) 728-8200. large images more efficiently by load- A PERMANENT ADHESIVE SYSTEM For more information, circle 404 on ing only a portion of an image into reader service card. memory for editing. Version 2.0 is YOU'LL WANT TO WITH tightly integrated with PageMaker 5.0 Award Winning Digital Photographs with support of the same color match- Available with Cataloging Software ing libraries, making it easier to work Now you can receive PhotoDisc's with standard process colors. Photo- award-winning digital photographic Styler also supports the TRUMATCH® images with a handy multimedia 4-Color Selector, with its more than cataloging tool, the Kodak Shoebox;" 2,000 proportionally gradated accent all on one CD. Shoebox allows Mac process colors for accurate and pre- and Windows users to organize and dictable matching of digital process search all types of files including color. For Windows. $795. Aldus Cor- image, audio, text and video. Color- poration, 411 First Avenue South, corrected and optimized for use in Seattle, WA98104-2871. (206) 622- color or black and white, PhotoDisc 5500. For more information, circle offers nine high-resolution volumes 407 on reader service card. DESKTOP APPLICATOR with categories such as Business & (12" & 24" MODELS) HAND APPLICATOR (2 1'2" ROLLER) Industry, Nature, Wildlife & Environ- Photorealistic Landscapes and Scenery ment, Science, Technology &Medi- KPT New World Explorer'® is a new Daige introduces ROLLATAQ; a revolutionary new cold adhesive system that cine, Holiday & Celebrations and Macintosh application that designs makes spray adhesives, rubber cement and double-sided film adhesives obso- Backgrounds & Objects. For Macin- and renders natural and supernat- lete. If you need to create presentations or mount photos, lithographs, labels tosh and Windows. $349 each CD. ural 3D landscapes, complete with and displays, you cannot afford to be without the Rollataq system. There are PhotoDisc Inc., 2013 Fourth Avenue, textures and reflective surfaces. For no fumes, no overspray, no Fourth Floor, Seattle, WA 98121. (206) example, New World Explorer can waiting and no waste with Just switch on 441-9355. For more information, create breathtaking skies with nat- Rollataq, so it preserves your the ROLLATAQ circle 405 on reader service card. ural cloud formations, humidity and desktop appli- environment, your schedule light refraction, plus astonishing cator, lift the and your budget. FreeHand 4.0 Upgrade landscapes with plateaus, rivers, hinged lid, and It's fast. Rollataq requires no feed your ma- Aldus Corporation has announced snowy peaks and desert floors. The heat, no warm-up time and terial through a major upgrade to its advanced program ships with numerous pre- takes just one second to apply a the rollers. graphic design and illustration pro- set skies, clouds and terrains that bump- and bubble-free coating. gram, Aldus FreeHand64.0 for the users can combine to create their It's permanent. Rollataq adhe- Mount your Macintosh. New capabilities in Free- own landscapes. HSC Software, 1661 material and sive forms a clear film that will Hand 4.0 include enhanced text Lincoln Boulevard, Suite 101, Santa roll to create a not bleed through even the controls, intuitive color controls, a Monica, CA 90404. (310) 392-8441. permanent thinnest paper. The coating is bond. The streamlined user interface, exten- For more information, circle 408 on not "sticky," making reposi- adhesive stays sive graphic capabilities and multi- reader service card. tioning easy. Once in position, positionablefir page layout functions. For Macintosh. burnishing the material creates ten minutes. $595. Aldus Corporation, 411 First PowerTools for Windows a strong bond that won't yel- Avenue South, Seattle, WA 98104- Kai's PowerTools'" (KPT), a collection low, crack or peel. The ROLLATAQ 2871. (206) 622-5500. For more in- of 33 powerful filters and extensions hand applicator It's safe. Rollataq adhesive is rolls a 21/2" strip formation, circle 406 on reader for Adobe Photoshop, is now avail- completely nontoxic, emits no of adhesive and service card. able for Windows and Silicon Graph- hazardous fumes or odors and requires no elec- ics workstations. KPT for Windows cleans with water. tricity—perfect Image Editing with Prepress Color and Silicon Graphics offers imaging for jobs in and It's economical. Rollataq can Management capabilities that let users create out ofthe ojfice. save thousands of dollars per PhotoSty/er'2.0 is a powerful image infinite varieties of complex blends, year over conventional adhe- editing program used to acquire, edit, textures, gradients, fractals and sives and self-adhesive labels. Refilling the applicator is as retouch and print color, grayscale special effects. The KPT user inter- The Rollataq system features easy as opening and black-and-white images. Photo- face was designed to entice explo- three applicators; Model 2400 the top and Styler is also the first desktop appli- ration of the effects that can be with a 24" width, Model 1200 pouring the cation that integrates the Kodak created, allowing users to preview with a 12" width, and Model adhesive— Precision Color Management Sys- effects and complex images. For 300, a convenient hand-held there's no mess tem, which eliminates the guesswork Windows and Silicon Graphics. $495. unit with a 21/2" width. or spillage. involved in achieving accurate and HSC Software, 1661 Lincoln Boule-

For more information or for a One Albertson Avenue consistent color from both input and vard, Suite 101, Santa Monica, CA Albertson, NY 11507 dealer near you, please call toll free output devices, including monitors. 90404. (310) 392-8441. For more Daige 516-621-2.100 1-800-645-3323 Inc. Fax 5 16-611-1916 PhotoStyler 2.0 has several new pro- information, circle 409 on reader fessional productivity enhancements. service card.

Continued on page 45 Circle 245 on Reader Service Card A Practice Pad, Multi-Preview feature 40 The Letraset Unlocking CD ROM contains the entire col- lection of Fontek Typefaces, 414t4 UNLOCK DesignFonts and Backgrounds & Borders.

Fontek Display typefaces are an exclusive collection of fonts in PostScript ° Type 1 and TrueType' formats. Each Oft font contains a complete IMAGINATION character set, alternatives, accents, and symbols. DesignFonts contain over "ii„ FOR s9925 .3 1,500 spot illustrations in font format. Backgrounds & Borders are WITH THE high quality textures, pat- terns, shapes, scenes, and borders. FONTEK These Fontek products are available on demand by calling Precision Type at 800 248-3668. UNLOCKING CI) Call now and unlock your imagination with the Fontek Unlocking CD from Letraset.

Precision Type

The Complete Font Software Resource FONTEK UNLOCKING 47 Mall Drive, Commack, CD $99.95 New York 1 1 725-5703 INCLUDES $340 WORTH OF 516 864-0167 FREE SOFTWARE Fax 516 543-5721 LETRASTUDIO 2 FREE TYPEFACES 800 248-3668 OF YOUR CHOICE LETRASET'S Circle 254 on Reader Service Card CHARACTER CHOOSER A COMPREHENSIVE Letraset 150 PAGE CATALOG ■

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Autologic Inc. PC ■ ■ ■ ❑ ■ ■■ ■■ ■ ■■ ■■ ■ ■ ❑ ■ ■ ■❑ •■ ■ Mac ■ ■ ■ D••• EN ■ •• •• ••0•••0 ■ ■ ■ ■ ■ Bitstream Inc. PC ■ ■ ■ •••• •• •• •• 0•• ■ ■ ■ ■ ■ ■ ■ (111) Mac •••• •• •• •• 0••

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International Typeface Image Club Pc ❑ ❑ Oil 0000 a• ❑ 00E1E0 ❑ 01E000 ■ Corporation (ITC) is Graphics Inc. pleased to offer the ITC° Mac ❑ ❑ a• DODD a• ❑ DOMINO ❑ 0•000 ■ Typeface Directory, which details all ITO° Linotype-Hell PC ■ ■ ■ D••• •• ■ •• •• ••0•• ❑ ■ typeface families avail- Company able for both IBM and ■ ■ ■ ❑ ■ Macintosh computer Mac ■ El••• •• •• •• ••D•• environments from ITC licensed Subscribers. Monotype PC ••• ••0••• •• ■ •• •• ••10•• ❑ ■ In the chart, squares indi- Typography **** cate that the Subscriber Mac ■ •• N ■ ❑ ■ offers the complete ITC ••• ••D••• •• ••D•• typeface family. Circles ❑ ❑ ❑ ❑ ❑ ❑ indicate a partial avail- WAS Inc. PC ability for that family. For more information, call Mac ❑ ❑ ❑ ❑ ❑ ❑ ITC Typeface Directory at (800) 634-9325 or Scangraphic PC ❑ ■ ■ •••• EN ■ ••••• ■ a•••0 ■ Fax (212) 752-4752.

International Typeface Mac ❑ ■ ■ ■ ■ ■ ■ ■ ■ Corporation operates under N N N • II•••• D•••0 this name domestically and inforeign countries and is known as "ITC' ITC URW Software PC ••• ••••••• ••••••••••• ••••••• ••••• and its typeface names are & Type GmbH & registered trademarks URW America ■ of International Typeface Mac •• II•••••• •••••••••••• ••••••• ••••• Corporation in certain countries. In addition, ITC° ■ ■ ■ ❑ ■ typefaces are protected Varityper Inc. PC •• 0••• •• • E •• ••01111 by design legislation and copy- rights in certain countries. ■ ■ ■ ■ ❑ ■ ■ (See ITC specimen books.) Mac • INI •••• •• • 1111 •• • 110

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Dorfstralk I•••••••••••••••••••••••••••••••••••••••••••••••• D- 25485 L angeln,12 b Germany Tel; 49 41 234 843 Fax: 49 41 236 027 1•• ■ •••• ■ •••••••••••••••••••••••••••••••••••••••• ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ 137Kings5 Highway East 1 IIII •• •••• •• Fairfield, CT 06430 •• • (800) 942-9110 I•••••••••••••••••••••••••• ■ ••••••••••••••••••••• ■ Ber mannstrafie 102 I M••••••••••••••••••••••••••••••••••••••••••••• D-1g0 00 Berlin 61 Germany 49 30 6900 6262 I ■ •••••••••••••••••••••••••••••••••••••••••••••••

■■ ❑ ■ ❑ ❑ ■ ❑ ❑ ❑ #5 , 1902-11 Street Southeast 111 CI 0 00 0000• El • ••000•0 Calgary, Alberta T2G 3G2, Canada ■ (403) 262-8008 3 ■ ■ ■ ❑ ❑ ❑ ■ El 0 ■ ❑ 00 0000• ■ ■ 0 ■ 000•0 ❑ ■ ■ ■ ■ ❑ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ 425 Oser HauppauHauppauge, Avenue NY 11788 (800) 633-1900 ■ ■ ■ ■ ❑ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■

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■ ■ ■ ■ ❑ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ RiBessener Stra, 112-114 II Postfach 220 D-2000 .. Wedel bei Hamburg Germany ■ ■ ■ ■ ❑ ■ ■ 11 • ■ ■ ■ ■ ■ ■ II • ■ ■ ■ ■ ■ ■ ■ 49 41 0380 1196 ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ Harsheiderk Stra Ae 102 1 ■ ••• 11•1111••••••••••••••• ••••••••• •• 22399 Hamburg,Germany 49 40 606 050 (URW America) 1 Tara Blvd. 1 ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ Nashua, NH 03062 (603) 882-7445 re ■ ■ ■ ■ ❑ ■ ❑ ■ ■ ■ ■ ■ ■ ■ ■ ■ 11 Mount Pleasant Avenue 1 ••••• • 0••••• E ast Hanover, NJ 0 7936 .. (800) 526-0767 I ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■

43

URW's exclusive letter spacing tool gives you the power to automatically URW Software & Type create over 1,000 point size specific kern- ing pairs in under 30 seconds for all Post- For over 20 years, URW has been making quality type and software Script Type 1 or TrueType fonts! Ideal for companies like Berthold, ITC, Miles Inc./Agfa Division, Linotype for designing headlines, or use Kernus and Monotype. Now you can get the same high quality, industry to optimize the clarity of text as small as standard typefaces for a of the price you're paying. 6 point. A built-in editor enables you to modify or adjust individual kerning pairs. You no longer need to spend valu- TypeWorks able time manually kerning fonts, and you'll save money by not buying pre- URW TypeWorks—choose Volume 1 or Volume 2. Each TypeWorks CD-ROM contains made kerning pair packages. 3,000 ultra-high quality typefaces. Select PostScript Type 1 or TrueType fonts. $499 All fonts are supplied with up to 1,000 kerning pairs. Also included is Includec Kernus, the industry's most sophisticated tool for precision letter spacing Kernus- and kerning. TypeWorks is supplied completely unlocked. All fonts and soft- ware are available for immediate access. Full type families, complete character sets, a professional library for the price of a single software pack- The world's best autotracing age. Includes a comprehensive 1,001 page Reference Guide software for the Macintosh keeps getting showing examples of all typefaces in text and display sizes. better. Using precise user definable para- URW TypeWorks Vol. 1 or Vol. 2 CD - ROM $979 meter controls, you can convert color, grayscale, or black and white scanned URW TypeWorks light—one-third the calories! TypeWorks artwork to outlines in either EPS or light CD-ROM contains 1002 PostScript Type 1 fonts, all IKARUS format. Color and grayscale are fonts supplied with up to 1,000 kerning pairs. Each URW incorporated into EPS files automatic- TypeWorks Light CD-ROM works on both Macs and PCs. ally! Contains an editing tool palette, It's the ideal solution for cross-platform compatibility. allowing fast and easy clean-up without Supplied completely unlocked, all fonts are available for having to buy or rely on additional illus- immediate access. A comprehensive 336 page Reference tration or draw Guide is included. Full type families and complete character programs. sets. An excellent value! Includes multi undo, 32 bit URW TypeWorks light CD - ROM $389 addressable and .„„ virtual storage management.

$349 The quintessential solution to multi-lingual and cross-platform require- ments. The EuroWorks CD-ROM contains 500 ultra-high quality PostScript Type 1 and TrueType fonts, all supplied with up to 1,000 kerning pairs. The URW EuroWorks CD works on both Macs and PCs. Each typeface contains the necessary accented charac- The professional's choice ters for all Western and Eastern European languages, such as Hungarian, Czech, for font, and logo-type produc- Polish and Slovenska. Special keyboard drivers are supplied to enable easy access on a tion. With a 15,000 x 15,000 units to the language basis. All fonts and keyboard em internal resolution, Ikarus-M for the drivers are supplied completely Macintosh packs all the power and deliv- unlocked and are available for immediate access. ers precision for the most demanding $1399 design and production tasks. Achieve accuracy to 1/100 mm with the URW point-on-curve method. No fumbling with bezier handles, no more guessing. The Ikarus outline moves where you want it, when you want it. Every indus- A must have for all book, magazine and newspaper designers and publishers. URW try format is PrintWorks contains 500 fonts made from 10 classic text typeface families, such as supported: Post- Garamond, Bodoni, Baskerville, , etc. All families contain up to 50 roman Script Type 1, and italic weights, ranging from condensed through black expanded. This is the most Type 3, EPS and comprehensive selection of text typefaces ever offered! All fonts are supplied with up TrueType. to 1,000 kerning pairs. The URW PrintWorks CD-ROM contains both PostScript and TrueType fonts, for both Mac and PCs. All fonts are supplied completely unlocked and $598 are available for immediate access. $119 Get both Ikarus-M URW Software & Type • the company that pioneered digital type and Linus-M for only $895 4 Manchester St., Nashua, NH 03060 • Phone 800-229.8791, Fax 603.882.7210

Circle 268 on Reader Service Card Continued from page 40 For more information, circle 412 on Photoshop Time Savers reader service card. PhotoMatic" is a Photoshop add-in This issue of U&Ic, like module that saves users time and Multimedia every one since the first money by automating repetitive tasks in 1973, was printed by that are applied equally throughout Help for Desktop Filmmakers YOU'RE us—Lincoln Graphics. many images. PhotoMatic places otion Works Multimedia" Every page tells you why a Record menu in Adobe Photoshop is a package of six power- we continually win awards which allows a user to save almost ful tools for creating and HOLDING for printing excellence from organizations such as any function. These functions are re- 0editing movies, graphics and audio. PIMNY, AIGA, and PIA. corded to a PhotoMatic script which The Motion Works utility package And if we print this well on may be executed automatically on includes the following tools: Movie OUR newsprint, imagine what a batch of images. To record a script, Edit–allows users to add titles, graph- we can do on top quality the user simply selects Start in ics and additional video to Quick- paper. the Daystar Record menu, performs Time movies; SoundMate–for editing SALES Whatever your printing the desired Photoshop actions to and adding special sound effects to needs—publications, cata- logs, brochures, inserts— a sample file and saves the script file audio files; MiniMorph–a program for we provide total service. by selecting Stop from the menu. morphing between images; Motion- BROCHURE From concept, through For Macintosh. $229. DayStar Digital, Paint–a 24-bit painting program production, to mailing. 5556 Atlanta Highway, Flowery to create animated eel sequences, When you've finished read- Branch, GA 30542. (800) 962-2077. which can be added, removed, reor- ing our sales brochure, call For more information, circle 410 dered and onionskinned; IQ–a util- us at 516-293-7600. on reader service card. ity that adds interactive hot spots to QuickTime movies; and CameraMan- Media Manager a program that records QuickTime ImagePals62.0 is a product that movies with voice-over annotation. offers complete storage and retrieval For Macintosh. $249. Motion Works management for all types of media USA, 524 Second Street, San Fran- Lincoln Graphics, Inc. including images, graphics, anima- cisco, CA. (415) 541-9333. For more 1670 Old Country Road Plainview, New York 11803 tion, sound and video formats. Image- information, circle 413 on reader

Pals 2.0 features expanded search service card. Circle 229 on Reader Service Card capabilities with keywords, subjects and marks, extensive file conver- Fonts sion for both raster and vector for- mats, additional special effects New Type Tools filters, inter-document cloning, a ixar has begun shipping an More than just great translations! global viewer and a complete multi- upgrade to its 3D type-ren- media slide show. For Windows. 0dering program. Typestry" We've also got $99. U-Lead Systems, Inc., 970 West 2.0 offers a wealth of new tools to cre- the in-depth type 190th Street, Suite 520, Torrance, ate three-dimensional type effects and graphics CA90502. (310) 523-9393. For more and animations. For example, users expertise to help you information, circle 411 on reader can edit the images and textures produce your foreign language service card. used as surfaces on 3D objects. The project more easily and program automatically creates re- economically... conventionally Natural Media Painting flections of every object in a scene, or through PostScript... from Dabbler' is a $99 16-bit color paint- and a rubber sheet feature lets users Arabic to Zulu. Ask for our free ing program from Fractal Design wrap flat type around objects. For brochure. Corporation that incorporates many Macintosh. $299. Pixar,1001West of the basic tools of their $399 top- Cutting Boulevard, Richmond, CA SPECTRUM end Painter product. Using a stream- 94804. (510) 236-4000. For more Multilanguage lined interface, users access paint- information, circle 414 on reader Communications ing tools such as pencils, chalk and service card. crayons arranged in four drawers. Based on the drawer selected, tools Hardware become available to the user. A unique feature of Dabbler not avail- Accelerate Your Graphics able in Painter is the ability to record eMansGT" is a new 24-bit a painting session and play it back display interface that with a different set of drawing tools. 0 benchmark tests prove is In addition, several prerecorded the world's fastest graphics acceler- drawing lessons are packaged with ator for the Macintosh. LeMansGT 225 West 39th Street • New York, New York 10018 the product. For Macintosh and has highly-optimized integrated cir- Tel: (212) 391-3940 • Fax: (212) 921-5246 Windows. $99. Fractal Design Cor- cuits designed to deliver ultra-fast poration, 355 Spreckels Drive, 32-bit QuickDraw acceleration. SPEC T R UM

Aptos, CA95003. (408) 688-5300. Continued on page 50 Circle 212 on Reader Service Card 45 ACCENT Software, Inc. Autologic, Inc. dada Indugu The Font Company GST Software Products 902 Veneto 1050 Rancho Conejo Boulevard 9095 Picasso 12629 North Tatum Boulevard Limited Irvine, CA 92714 Newbury Park, CA 91320 St. Leonard, Quebec H1P 31S Suite 210 Meadow Lane, St. Ives (714) 552-7672 (805) 498-9611 Canada Phoenix, AZ 85032 Huntington, Cambridgeshire High-Quality Graphics and and Laser (514) 526-6200 (602) 998-9711 PE17 4LG Typefaces for Use with Imaging System Photo Units, PostScript Publisher of the Font England Computer Aided Design/Drafting Digital Photo Units/Digital Dainippon Screen Mfg. Company Type Library for Mac, 44-480-496789 on Macintosh, IBM PC and Recorders, Laser Recorders, Co., Ltd. Next and PC (603) 329-5076 UNIX Platforms Headline Typesetters, Scanners Overseas Division Software for Typesetting on 12-2 Bohjoh-cho, Chudoji The Font Factory Personal Computers Adobe Systems Inc. Autologic SA Shimokyo-ku, Kyoto, 600 Japan 2400 Central Parkway 1585 Charleston Road 1030 Bussigny Pres Lausanne (81) 75/365-3131 Suite A Heidelberg-PMT P 0. Box 7900 Switzerland Color Scanners, Imagesetters, Houston, TX 77092 Co., Ltd. Mountain View, CA 94039-7900 021 89 29 71 Color Prepress Systems (713) 682-8973 3-21-4 Minami Oi (415) 961-4400 Bobst Graphic Products and and Graphic Arts Equipment Desktop Publishing Typefaces Shinagawa-ku, Tokyo Interactive Software Tools for Phototypesetting Systems for Ventura Publisher and Japan Graphic Arts THE Datafile Window/PageMaker (03) 763-4141 Bitstream Inc. 71 Anson Road Aim Graphics, Inc. Athenaeum House Locking FontHaus Inc. Hampstead 6 White Plains Drive 215 First Street Weston-Super-Mare 1375 Kings Highway East Computer Graphics Chesterfield, MO 63017 Cambridge, MA 02142 Avon BS24 7DQ Fairfield, CT 06430 378 Avenue (314) 536-2855 (617) 497-6222 England (203) 367-1993 Hampstead, NH 03841 Developer of AIM-3D Computer High Quality Digital Type for 011 44 934 823005 PostScript Font Resellers and Animation System for 80386 the Macintosh and IBM PC Software Developers Supporting Helix Limited and 80486 PCs Dawlex Software Macintosh and IBM Formats P. 0. Box 15 British Broadcasting Halesowan Lye Stourbridge Ampex Corporation Corporation West Midland B63 3XE FONTS West Midlands DY9 7AJ 401 Broadcasting House England Hardy-Williams (Design) Ltd. England Redwood City, CA 94063-3199 London W1A IAA 021 585 6897 300A High Street (0384) 424441 (415) 367-2011 England Sutton, Surrey AVA-3 (Video Graphic Art 01 580 4468 DIGI-FONTS, SM1 PQ England Dr.-Ing Rudolf Hell Generator) Video Fonts for the BBC 528 Commons Drive 01-636-0474 GmbH Golden, CO 80401 D-2300 Kiel 14 Anagraph, Inc. CADCAM PUNCH LTD. (303) 526-9435 FontShop International Grenzstrasse 1-5 3580 Cadillac Avenue 43, Arkwright Street Manufacturer of Scalable Bergmannstra8e 102 Germany Costa Mesa, CA 92626 Nottingham NG2 2JR Outline Fonts and Font Utility D-10961 Berlin (0431) 2001-1 (714) 540-2400 England Software for HP LaserJet Germany Digiset Phototypesetting Graphic Design Systems, 0602 862561 Family and PostScript Printers (30) 693 70 22 Equipment and Systems, Plotting and Cutting Systems CADCAM Textile Designing Digiset-Fonts Systems Digital Composition Font World, Inc. Apple Computer, Inc. Systems, Inc. 2021 Scottsville Road Hewlett Packard 20525 Mariani Avenue Carter & Cone Type Inc. 1715 West Northern Rochester, NY 14623-2021 Vancouver Division, Washington Cupertino, CA 95014 2155 Massachusetts Avenue Suite 201 (716) 235-6861 18110 S.E. 34th Street (408) 996-1010 Cambridge, MA 02140 Phoenix, AZ 85021 Supplier of Multiple Language Camas, WA 98607 Manufacturer of Apple's (617) 576-0398 (602) 870-7666 Publishing Systems (206) 944-8110 Macintosh Equipment Independent Type Designers Database Publishing Software and Font Makers for Microcomputer Users Fundicion Tipografica Hewlett Packard Applied Arabic Limited Neufville, S.A. Corporation Sales and Marketing Casady & Greene Inc. Digital Typeface Puigmarti, 22 Boise Division Pulse House, Bonny Street 22734 Portola Drive Corporation Barcelona-12 11311 Chinden Boulevard London NW1 9PG. U.K. Salinas, CA 93908-1119 9955 West 69th Street Spain Boise, ID 83714 (Tel) +44 (0) 71-485-0285 (408) 484-9228 Eden Prairie, MN 55344 219 50 00 (Fax) +44 (0) 71-267-1031 FAX: (408) 484-9218 (612) 944-9264 Poster Types HOUSEstyle Technical Division Manufacturer of Bitmap High-Quality Typefaces from 50-54 Clerkenwell Road Bradbourne House and PostScript Typefaces URW, ITC and Other World-Class GDT Softworks Inc. London EC1M 5PS East Mailing for Macintosh Type Libraries Suite 188 England Kent ME19 6DZ. U.K. 4664 Lougheed Highway 071 251 3746 Tel: +44 (0) 732-875-000 Color Image dtp Types Limited Burnaby Fax: +44 (0) 732-875-333 Products Company 13 Nurserylands Gossops Green British Columbia V5C 6B7 Image Club Designers and Manufacturers of 1116 Manheim Pike Crawley West Sussex RH11 8RH Canada Graphics Inc. Arabic Typefaces and Fonts. Lancaster, PA 17601 England (604) 291-9121 #5 1902 11th Street Southeast Suppliers of Digital Data in All (717) 393-2591 0293 615469 Developer of Macintosh Printer Calgary, Alberta T2G 2G2 Formats Manufacturer of Manufacturers of Software and Driver, Employs Outline Font Canada Dry Transfer Letters Font Products for Electronic Technology for HP Deskjet, HP (403) 262-8008 Apply Design Group Publishing and Graphic Arts Laserjet Series, and HP Laser Manufacturer of PostScript Am Gehrkamp 45 Computer Associates Compatible Printers Typefaces D-3160 Lehrte International, Inc. Dubner Computer Germany Great Valley Corporate Center Systems, Inc. General Parametrics Information 011 49 51 32 12 28 40 Valley Stream Parkway 6 Forest Avenue Corp. International, Inc. Supplier and Manufacturer of Malvern, PA 19355 Paramus, NJ 07652 1250 Ninth Street 5933 Slauson Avenue Digital Typefaces (215) 251-9890 (201) 845-8900 Berkeley, CA 94710 Culver City, CA 90230 Manufacturer of Graphic Broadcast TV Equipment (415) 524-3950 (213) 390-8611 Architext Inc. Software for Apple Macintosh Phototypesetting Systems 121 Interpark Boulevard Computer Font Genicom Corporation International Typeface Suite 1101 Technologies Genicom Drive International Business Corporation is a devel- San Antonio, T)( 78216 Computer Gesellschaft 1601 Trapelo Road Waynesboro, VA 22980 Machines Corporation Konstanz MBH Waltham, MA 02154 1 (800) 4-GENICOM Old Orchard Road oper and marketer (512) 490-2240 The Architext OmniFont Library Max-Stromeyer-Strasse 116 (617) 890-1288 (1 (800) 443-6426) Armonk, NY 10504 of high quality typeface & Digitization Services. Fonts D-7750 Konstanz Distribution of High Quality (303) 924-4807 designs that are applic- for HR IBM, Kodak, PostScript, Germany Image Printers/Fonts Genigraphics Electronic Printing Systems able to a wide variety Siemens and Xerox Laser (07531) 87-4433 (Standard/PostScript) Corporation LaserJet-Laser Typesetter 2 Corporate Drive International Digital of graphic communica- Printers. Custom Fonts for IBM & Okidata Desktop Printers OCR-Equipment Elsner +Flake Suite 340 Fonts tion needs. ITC has a Designstudios Shelton, CT 06484-6206 1431 6th Street Northwest professional understand- ASIBA GmbH Computer Output Dorfstra6e 12 b (203) 926-8808 Calgary, Alberta T2M 3E7 ing of both the esthetics Ostengasse 7 Printing, Inc. D-25485 Langeln Computer Generated Canada 8400 Regensburg 4828 Loop Central Drive Germany Graphic Production (403) 284-2288 and business of type. Germany Houston, TX 77081 Tel: 04123-4843 Digital Fonts for Laser Printers As a result, we have (0941) 52240 (713) 666-0911 Fax: 04123-6027 GeoPoint, Inc. Available in PostScript Type 1 established a business Letterplot 33 (Software for High End Electronic Printing High Quality Digital Type for 401 China Basin Street and TrueType Formats relationship with the Signage) Systems and Digital Fonts Apple Macintosh and IBM PC Suite 200 San Francisco, CA 94107 Izumiya Co., Inc. companies listed to Aston Electronic Coral Systems ETP Systems, Inc. Ebisu Subaru Building 4F the right of this . Designs Ltd. Corporation 2906 North East Glisen Street Gepeto Electronica Ltda 20-08, Ebisu 1-chome Purchasing fonts and 125/127 Deepcut Bridge Road 1600 Carling Avenue Portland, OR 97232 Praia de Botafog 440-16 andar Shibuya-ku, Tokyo 150 Rio de Janeiro CEP 22250 type imaging equipment Deepcut, Camberley, Surrey Ottawa, Ontario KZ 8R7 (503) 234-5522 Japan GU16 6SD England Canada Manufacturers of Laser Brazil 011 81 3 440 1531 from any of these com- (0252) 836221 Publishing Systems (021) 286-8284 panies assures authen- Video Character Generators Crosfield Incorporating Typesetting and Telex 021-33499 Kagema AG ticity of ITC typefaces Lightspeed Inc. Fonts into Unit Based Computer Digital Phototypesetters, Postfach 422 CH-8051 47 Farnsworth Street System Photocomposition Systems Zurich, Switzerland and optimal quality Boston, MA 02210 (1321) 0600 design representation. (617) 338-2173 Systems, Inc. These Subscriber com- Lightspeed Color Layout 2 Stevens Street panies are licensed Systems, Lightspeed Andover, MA 01810 Interactive Kerning Editor (508) 474-8087 to manufacture and sell ITC typefaces.

46 Kroy Mesac GmbH Pacific Data flume Corporation Synapsis Corporation VideoSoft, Inc. Scottsdale Airpark Saarstrasse 29 Products, Inc. 500 Yosemite Drive 5460 White Oak Avenue 2103 South Broadway 14555 N. Hayden Road 6360 Friedberg/H. 9125 Rehco Road Milpitas, CA 95035 Suite A336 P.O. Box 165920 Scottsdale, AZ 85260 Germany San Diego, CA 92121 1-800-223-2479 Encino, CA 91316-2407 Little Rock, AR 72206 (602) 948-2222 06031/3677 (619) 552-0880 Manufacture and Distribute (818) 906-1596 (501) 376-2083 UNI.LET (CAD-CAM System) Electronic Office Printing Electronic Forms Vendor Supplier and Manufacturer of Kyocera Corporation ParaGraph Systems Focusing in All CPU Hardware Digital Fonts for Electronic 2-14-19 Tamagawadai Micrografx, Inc. 1309 S. Mary Avenue Environments/50 Page Per Systems Setagaya-ku, Tokyo 158 1303 Arapaho Suite 150 Ryley Communications Minute/Below Non-Impact Japan Richardson, TX 75081-2444 Sunnyvale, CA 94087 Limited Printers Visual Graphics (214) 234-1769 (408) 522-3000 39 Haviland Road Corporation LaserGo, Inc. Femdown Industrial Estate Tegra, Inc. 5701 N.W. 94th Avenue 9369 Carroll Park Microtype ParaGraph Wimbome Dorset BH21 7SA Middlesex Technology Center Tamarac, FL 33321 Suite A 8 Faubourg St. Jean International England 900 Middlesex Turnpike (305) 722-3000 San Diego, CA 92121 21200 Beaune 32 Krasikova Street (0202) 871313 Billerica, MA 01821 Manufacturer of Photo Typositor (619) 450-4600 France Moscow 117418 Television Character Generators (508) 663-7435 and Original Typositor Film Fonts PostScript Interpreter Software Film Fonts Manufacturer, Russia Electronic Printing and GoScript, GoScript Plus, and Alphabet Designers (7095) 129-1500 Ryobi Limited Printing Imaging Systems Wang Laboratories, Inc. GoScript Select Developer of Equipment Division One Industrial Avenue Agfa Division, Recognition 762 Mesaki-cho Tektronix, Inc. Lowell, MA 01851 LaserMaster Miles Inc. Technology/Fonts (Including Fuchu-shi Wilsonville Industrial Park (508) 459-5000 Corporation 90 Industrial Way Cyrillic Fonts) and Type Hiroshima-ken 72 26600 S.W. Parkway Document Processing and 7156 Shady Oak Road Wilmington, MA 01887 Management Software Japan Wilsonville, OR 97077 Office Automation Specialist Eden Prairie, MN 55344 (508) 658-0200 03 257 1502 (503) 682-3411 (612) 944-9330 AgfaType CD ROM; ProSet" Phoenix Text Display Phototypesetters Jet Printers 4692/4695/ Xenotron, S.A. Manufacturer of Printer Series: 9400, 9550, and 9800 Technologies Ltd. 4696, Laser Printer 4636, 3, Rue Sandoz Conti-pliers/Typesetters for Laser Imaging Devices; 846 University Avenue Scangraphic Thermal Wax Printer 4693 B.P. 118 PC Compatibles/Macintosh SelectSet" 5000 Laser Imaging Norwood, MA 02062 Dr. Boger GmbH Models, Phaser Printer Card 93130 Noisy-le-Sec Device; StudioSer 2000 Plus (617) 551-4000 Rissener Strasse 112-114 4530 and Quick Draw Printer France Esselte Letraset Laser Imaging Device; 9000 Multiple Printer Language 2000 Wedel/Hamburg Driver (1) 48 91 78 33 Letraset Limited PS MAX Plus/J Kanji PostScript Interpreter and Operation Germany Manufacturer of Laser St. George's House RIP; 5000 and 9000 PS Star System for Laser Printer (04103) 6021-25 The Software Imagesetters 195-203 Waterloo Road PostScript RIPs; Agfa Color Manufacturer of the Scantext Construction Company London SE1 8XJ Scape" Color Electronic Polycutters Limited Phototypesetting System, 2900 B Longmire Xerox Corporation England Prepress Systems; Focus" 25 Bridge Street Frontend, Typesetter, Graphic College Station, TX 77845 Xerox Font Center 071 928 7551/3411 Scanner family; PostScript Rothwell, Kettering Page, Logoscanner, Interfaces 880 Apollo Street Dry Transfer Letters, TrueType Slidemakers Northants NN14 2JW and Digital Fonts TypeMasters, Inc. MS P2-83 and Type 1 Format Fonts England 15 Union Hill Road El Segundo, CA 90245 Monotype Typography (0536) 712627 Seaside Software West Conshohocken, PA 19428 (213) 333-6612 Letraset USA Inc. Monotype Typography Ltd. Incorporated (215) 834-7840 Fonts for Xerox Printing Systems 40 Eisenhower Drive Perrywood Business Park Presentation Clio Chigasaki 2-bankan #301 Full Graphic Services Paramus, NJ 07652 Honeycrock Lane Technologies, Inc. 1-21-3 Higashikaigan-minami Xerox Corporation (201) 845-6100 Salfords, Red hill 743 North Pastoria Avenue Chigasaki, Kanagawa Typesoft Limited Intran Operation Dry Transfer Letters, TrueType Surrey, RH1 5JP Sunnyvale, CA 94086 Japan 253 17 Willow Close 8400 Normandale Lake and Type 1 Format Fonts England (408) 749-1959 81-467-83-4372 Hamworthy, Poole Boulevard Tel: +44 737 765959 Image-Maker Slide-Making Dorset, England Bloomington, MN 55431 Lexmark Fax: +44 737 769243 System Simulation Excel A.S. (0202) 631590 (612) 831-0342 International, Inc. Dag Hammarskjolds vei 15 Digital Fonts, Xerox High-End 740 New Circle Road Monotype Typography Inc. PROSOFT Tesler Oslo 5, Norway TypoGabor Printing Systems Lexington, KY 40511 Suite 2630 Software Corporation 47-2-15 66 90 5 Rue Du Mai 1945 (606) 232-2000 150 South Wacker Drive 7248 Bellaire Avenue PAGEscan Digital Typesetter 92586 Clichy-Cedex Zenographics, Inc. Chicago, IL 60606 No. Hollywood, CA 91605 PAGEcomp Interactive Ad France 4 Executive Park Circle A. J. Lincoln & Co., Inc. USA (818) 764-4555 and Page Make-up Terminal 33 1 47 39 66 00 Irvine, CA 92714 29 Domino Drive Tel: (312) 855-1440 "Fontasy" Software (714) 851-6352 Concord, MA 01742 Fax: (312) 855-9475 SoftCraft, Inc. Typogram, Inc. Professional Graphics Software (508) 369-1441 Purdy and 227 N. El Camino Real #201 900 Broadway and Windows-Based Printing LincP age7 High-Speed NEC Corporation Associates, Inc. Encinitas, CA 92024 New York, NY 10003 Solutions Interpreter of PostScript for 7-1, Shiba 5-Chome 100 Perimeter Road (619) 944-0151 (212) 505-1640 Printing, Imagesetting, Fax Minato-Ku, Tokyo 108-01 Nashua, NH 03063 SoftCraft Conversion, and Other Japan (603) 883-9796 URW Software & Type Applications 0423 641111 Device Independent Computer SoftWood, Inc. GmbH Board for Printers 7776 Pointe Parkway West Harksheider Strage 102 Linotype-Hell Company NEC Information Suite 270 22399 Hamburg Linotype-Hell Company Systems, Inc. Purup Electronics Phoenix, AZ 85044 Germany 425 Oser Avenue 1414 Massachusetts Avenue 5 Sonderskowej (602) 431-9151 011 49 40 60 60 50 Hauppauge, NY 11788 Boxborough, MA 01719 DK-8520 Lystrup IKARUS-Digital Type Production (516) 434-2074 (508) 264-8000 Denmark Special Graphic SIGNUS-Type Setting with Foils Personal and Small Business 4586 222522 Systems Linotype-Hell Limited Computer Systems, Printers Pump PrePress Products: High Holland B.V. U.S. Lynx Chelham House and Peripherals Resolution Laser Image Setters, R O. Box 211 853 Broadway Bath Road Interactive Graphic Systems for 2160 AE Lisse New York, NY 10003 Cheltenham-Glos. GL53 7LR Neo-Visuals, Inc. Forms and Label/Packaging, The Netherlands (212) 673-3210 England 1200 Eglington Avenue E Pump Typeface Libraries, High 01718-26114/22871 Lynx Laser Plain-Paper (024 2) 222 333 Suite 404 Resolution PostScript: Purup Dry Transfer Lettering Proofing System Don Mills, Ontario Image Maker Linotype-Hell AG Canada M3C 1H9 Straightforward Varitronic Systems, Inc. Mergenthaler AI lee 55-75 (416) 443-9811 QMS, Inc. 15000 Halldale Avenue 300 Shelard Tower D-6236 Eschborn bei Frankfurt High End 3D Computer One Magnum Pass Gardena, CA 90249 600 South County Road 18 Germany Graphics and Animation Mobile, AL 36618 (213) 324-8827 Minneapolis, MN 55426 (06196) 982 260 (205) 633-4300 Z-Font Software (612) 542-1500 Typefaces and Fonts of Digital NewGen Systems Merlin Electronic Lettering Typesetters (CRT and Laser), Corporation QMS/Imagen Strata Inc. Systems for the Office and other Visual 17550 Newhope Street Corporation 2 West St. George Boulevard Communication Equipment Fountain Valley, CA 92708 2650 San Tomas Expressway Ancestor Square, Suite 210 Varityper Inc. (e.g. PostScript LaserPrinters). (714) 641-8600 Santa Clara, CA 95052-8101 St. George, UT 84770 A Tegra Company Linotronic Laser Imagesetters, (408) 986-9400 (801) 628-5218 11 Mt. Pleasant Avenue CRTronic Imagesetting Nippon Information Electronic Printing Systems East Hanover, NJ 07936 Equipment and Systems & Science Ltd. Sumitomo (201) 887-8000 Sumire Building 4F Qualitype Bakelite Co., Ltd. Electronic Prepress Systems Management 5-4-4 Koishikawa 630 Ninth Avenue 2-2, 1-chome, Uchisaiwai-cho Graphics, Inc. Bunkyo-ku, Tokyo 112 New York, NY 10036 Chiyoda-ku, Tokyo 100, Japan VCG Holdings 1401 79th Street East Japan (212) 765-7000 (03) 595-9391 Berkshire House Minneapolis, MN 55425 033 814 3201 Printwheels, Daisy Wheels and 56 Herschel Street (612) 854-1220 Digital Fonts, Latin and Quantel Limited Thimbles Slouth SL1 1PY Manufacturer of Non-Latin Alphabets, 31 Turnpike Road England Slide-Making System Including Kanji Characters Newbury Sun Microsystems/ (404) 956-0325 For further information Berkshire RG13 2NE 100 View Street Software Developers for write or call: Mec anorma Officine Simoncini s.p.a. England Suite 106 Presentation Graphics for International 14 Route de Houdan Casella Postale 776 (0635) 48222 Mountain View, CA 94042 Macintosh and IBM Systems Typeface 78610 Le Perray-en-Yvelines 40100 Bologna Designers and Manufacturers of (415) 960-1300 Corporation , France Italy Digital Television Broadcasting Technology for Digital 866 Second Avenue (1) 34 83 92 66 (051) 744246 Equipment; the Paint Box Typography New York, NY 10017 Dry Transfer Letters Hot Metal Composing Matrices (212) 371-0699 and Phototypesetting Systems Fax: (212) 752-4752

47 the driver should be loose in the System Folder. You should have current versions of your System software, ATM and your applications. You can't use new ATM with outdated software and Big Caslon RO expect it to work flawlessly. For now (if you're not using Suitcase or Mas- terJuggler) try storing your printer fonts loose in the System Folder, then restart. Display roman, ft ft If you've been using ATM for a while and this is a new problem, YOUR FON make sure the fonts in question are ..A.1t1)11UNIE10 open (loaded) and that their printer full ligatures & fonts are stored in the proper place, depending on how you have orga- A new book puts fonts in their place nized your fonts. Check the folder where you store your printer fonts- SmALL CAPS. is there a matching one for each In her new book, How to Boss Your bitmapped font? Fonts Around: A primer on font If you just installed new fonts, try technology and font management restarting the Mac. If you're using on the Macintosh (Peachpit Press, MasterJuggler, quit the application Mac & PC fonts 1994), Robin Williams shows read- and open it back up again. ers how to take control of their type- faces by empowering themselves HELP: ATM works on some fonts, but and learning about their technology, not others. installation, organization and more. Carter & Cone "Your fonts will behave just as you If ATM works on some fonts but not expect;' promises Williams in the others, it probably can't find the book's Introduction, "and if per- printer font for the jaggy ones. Make chance they kick up a fuss, you will sure the printer font is stored in the 800 952-2129 have the power to put them back proper place, depending on how you in their placer have organized your fonts. Make sure In this chapter titled, "Help!" you have a separate printer font for 617 576-0398: Fax 617 354 -4146 Williams trouble-shoots common each bitmapped style. questions relating to using fonts. Remember, most resident fonts (Avant Garde, Bookman, , New Century Schoolbook, Zapf Circle 267 on Reader Service Card HELP: When I type, the typeface shows Dingbats, Zapf Chancery) don't have up as a bunch of straight lines! printer fonts available for ATM un- less you have bought and installed HELP: When I double-click the screen them. font to display the typeface, or try to dis- play it in the Font/DA Mover, all I see is HELP: I want to remove the TrueType lines. Is the font damaged? screen fonts and replace them with the Typefaces screen fonts for my PostScript fonts No, the font is not damaged. Those (or vice versa), but I can't tell which ITC American Typewriter® Front Cover, 6, 13, 15, 17, 48 straight lines simply indicate that bitmaps are which. ITC Avant Garde Gothic® 8, 26 there are no lowercase letters; the 8, 26 ITC Avant Garde Gothic® Cyrillic font consists of all capital letters To tell if a bitmap is a bitmap for a ITC Bookman® 38 ITC Bookman°Cyrillic 24, 28 only. The font may also be a special TrueType font, click once on it, then ITC Caslon No. 224® 35-37, 38, 40, 45, 48-49, 50 set, such as an expert collection or press Command-I to see the Get Info ITC Century® 34 a display font, in which case there box. TrueType Get Infos are full- ITC Cerigo" 34 is not a character for every key. Use sized; all other bitmap Get Info ITC Charter 6 Key Caps (from the Apple menu) boxes are half-size. ITC Cheltenham® 8 to see which characters are really ITC Fat Face® 23, 25, 28, 38 HELP: I think a font must be damaged. ITC Fat Face®Cyrillic 23, 24, 26 available. ITC Franklin Gothic® Front Cover, 4, 6, 8, 18-21, 34, 48-49 What do I do? ITC Garamond® 8, 33-34 HELP: ATM [ Manager] ITC Garamond°Cyrillic 28, 30-31 doesn't seem to be working! My fonts After you have determined that it's ITC Highlander- 6, 34, 48 are all jaggy on the screen. not a problem with improper instal- Italia® 38 lation or anything else, then just 24-25 ITC Kabel® Did you just install ATM? Make sure throw out the screen and printer ITC Kabel°Cyrillic 24-25 ITC Legacy"Sans 34 you: have no older versions of ATM fonts that are on your hard disk and ITC LSC Condensed® 45 also installed; have not changed replace them with the originals from ITC Lubalin Graph® 8, 38, 45, 48 the names of any of the ATM files; your original disk. ITC Machine® 8, 38, 45, 48 check that both the files (the Con- ITC Mona Lisa Recut" 8 trol Panel and the driver) have the HELP: My PostScript fonts show up just ITC Motter Corpus" 4, 8, 23, 30-32, 34 same version number; installed the fine on the screen but they don't print. ITC New Baskerville® 8-11 ITC New Baskerville® Cyrillic 24, 28 proper and latest version for your ITC Officina Serif® 4, 22 computer and it's installed in the If they appear on the screen just fine, ITC Ozwald" 18,48 proper place (see next paragraph); it means they're installed properly. ITC Stone Informal® 34 have ATM turned on (use the ATM But some applications or printer dri- ITC Stone Serif® 34 ); have restarted your vers look for the printer fonts in the ITC Studio Script" Cyrillic 24 Mac since you installed ATM. wrong place. If you currently store ITC Stymie Hairline® 48 In System 6, all ATM files should your printer fonts in the Extensions ITC Uptight® 48 ITC Zapf Chancery°Cyrillic 24 be loose in the System Folder. In Sys- folder or in the Fonts folder, try mov- ITC Zapf Dingbats® 4,18,30-31,34,49 tem 7, the ATM program icon should ing them into the System Folder, be in the Control Panels folder, and just hanging around loose. This is

48 especially important if you're having style menu; you must instead choose Reprinted with permission of Peach- dethroning of the newspaper has trouble printing from PageMaker 4.0, the actual italic or bold font from the pit Press from the book How to Boss infused it with a new vitality. Gone or to an HP LaserJet printer or other font menu. You can usually tell on the Your Fonts Around. © 1994 is the old arrogant complacency printer with a special driver. screen if the computer is faking it. by Robin Williams. Peachpit Press: and tired, stodgy design. Gone too (800) 283-9444. are the days when King George's HELP: The spacing between words or HELP: I downloaded several fonts, but physician speeded the King's death letters on my printed page looks wrong. now they're missing from the printer. to ensure a position in the morn- CORRECTIONS ing's Times. Now has to If you try to print city-named fonts When you manually download fonts, fight with breakfast TV. It may be [such as Chicago or ] to Post- they go into the printer's random Due to a production error, the last humbling, but it brings out a news- Script printers, you will usually access memory, or RAM. Anything line was omitted from "Daily Design;' paper's true colors." get terrible letter and word spacing; in RAM disappears as soon as the an article by Peter Hall on British change the font to one without a machine loses power. So if you have newspaper design in Volume 20, city name. turned off the printer or if there Issue 3, of U&/c. The final paragraph In the same article, a caption on If you are using an application was some sort of power interruption should read: page 16 misidentified a typeface that can use fractional-width spac- or failure, all those downloaded fonts used in The Daily Telegraph. The ing, such as Word, be sure will be gone and you will have to "The quality British newspaper has word "taxes"is set in Telegraph to choose that option before you download them all over again. lost its crown. But in many ways, the New Face (Roman). print to a PostScript printer. You'll usually find that option in the Page Setup dialog box. A damaged bitmapped font can cause terrible spacing. If you suspect that to be the case, remove all those bitmaps and replace them with the originals from your original disk.

HELP: My font turns into .

When a font turns into Courier on the screen, it indicates the bit- mapped screen font is missing or damaged. If you use Suitcase or Mas- terJuggler, "missing" may mean that it just isn't opened. If you don't use those programs and this suddenly happened to your font, or if it really is loaded and still turns into Courier, H alf-for8oiten typefaces, many with expert and iaLular sets, from replace the font with the original from your disk. foundries in Europe and North America. What free words Lest HELP: My justified aren't aligned on the right side. describe Red Rooster? KRUNCHITATIOUS KERNING PAIRS!!!! Canterbury Oldstyle Bold If you are using an application that TF Forever Regular can use fractional-width spacing, Original typefaces that will have you such as , be sure to askingsking "Why am I still using Garamond choose that option. You'll usually cyfaces find it in the Page Setup dialog box. and Futura?" So saddle on up to some fresh & frisky Treacyface workhorses! If your application does not use frac- TF Habitat Condensed Regular and Bold tional-width spacing (which is then called "integer-width"spacing), then HEADLINE TYPEFACES THAT ARE BOTH GRAPHIC AND CLASSIC BEFORE 0-L Corvinus Bold Condensed Title install more bitmap sizes of the font. THEIR TIME. ART

HELP: The names of my fonts don't DIRECTORS LOVE appear in the menu. uENNIS 011.11-10P11 THIS STUFF! You Check to make sure your fonts are CAN SEE MANY OF DENNIS' FONTS IN ROLLING STONE MAGAZINE. installed properly. If you are using Franklin Gothic Wide Small Caps Regular

Suitcase or MasterJuggler, make Cafeteria Regular sure the fonts are open. If you are You've seen their Bodega Sans everywhere using Word, your font menu (as all other menus) are customizable and and for good reason. This foundry knows ont ea the fonts may not be added to the menu. Check the Character dialog how to do typefaces that are fun and accessible. Be bodacious, buy and try Bodega Serif! Bodega Sent Light with Bodega Sans Medium box (Command-D). Very old software (like PageMaker 3.0 or Word 1.5) cannot recognize new fonts. As I mentioned several times, the best way to avoid conflicts is to update your software. iili Oorttizs-Lopedz' I 1 Stonednedin eaand Pointy HELP: I choose my font and then select III ^P^IN [ I "Bold" from the menu. It looks bold on the screen, but doesn't print bold. e also like the BIGGIES.Youll find Adobe, Agfa, Bitstream, The Font Company, Linotype & Monotype at Phil's and our Most downloadable fonts (unless you use a font menu utility like ATR 5 CD bundle still can't be beat. Best of all you'll find folks who [Adobe Type Reunion] or WYSIWYG Locally: 101-318-4141 know and love great type and typography. Menus) cannot be changed into bold Font Bureau's Bodega Sans Black or italic from the keyboard or the 49 Circle 211 on Reader Service Card Continued from page 45 Get Your Mac Into the Fast Lane LeMansGT also includes 3 MB of DayStar Digital has unleashed two high-speed, on-board VRAM when new accelerators that run your Mac- airision 0 (0222) 523 29 46 3 WEIGHTS working with photorealistic images intosh applications in high gear. The ©© 0 (09) 220 65 98 (0 at high resolution. The result is an Quad 040 and Image 040 CPU accel- 9) 221 32 08 Ai kOna 0 (41) 44 326 26 interface that performs up to 230% erators are available to speed up the 2 WEIGHTS 0 (030) 69 58 95 faster than the standard video of following computers: Macintosh Cen- 0 (1) 42 99 95 61 a Macintosh Quadra. For Macintosh. tris 610, 650, 660AVand the Quadra Augustea 5 WEIGHTS 0 (071) 490-5390 $2999, Radius Inc., 1710 Fortune 610, 650, 660AV, 700, 800, 900 and 0 (02) 7010-0555 Drive, San Jose, CA95131. (408) 434- 950. The Quad 040 and Image 040 'Balance 1010. For more information, circle accelerate all applications on these 16 WEIGHTS (INCLUDING SMALL CAPS, ETC) 415 on reader service card. machines up to 30% faster than the Quadra 840AV, Apple's fastest Mac, Century 1 WEIGHT Nova Increase Designer Productivity without sacrificing compatibility. Erb es The PrecisionColor Pro 24XK" is a The Image 040 also provides speeds new graphics card by Radius Inc. up to 400% faster than a Quadra 6 AGES , PLUS DINGBATS Pig that offers increased productivity 840AV in Adobe Photoshop and other by enabling designers to work on imaging applications. Quad 040 Dee de images using large-screen monitors. $1699, Image 040 $2300. DayStar 5 WEIGHTS The PrecisionColor Pro displays 24- Digital, 5556 Atlanta Highway, bit images at resolutions up to 1024 Flowery Branch, GA30542. (800) `Harlem 962-2077. For more information, 4 WEIGHTS x 768. In addition, the affordable Pre- FF cisionColor Pro 24XK draws Quick- circle 419 on reader service card. Draw graphics using accelerated Humanist 2 WEIGHTS * 32-bit hardware. The graphics card Affordable Multimedia will drive virtually any large-screen Axion Corporation offers a suite of Franklin monitor. For Macintosh. $999. Radius low-cost video-capture and multi- 6 WEIGHTS Antigua Inc., 1710 Fortune Drive, San Jose, media products. iMovie"is a video ® CA95131. (408) 434-1010. For more and audio card that provides real- Isonorm 4 WEIGHTS information, circle 416 on reader time capture and compression service card. of video and 16-bit stereo sound 3'V E RFFs I OKN 0 2 WEIGHTS, S M FLIPPERS recording. iSpy is a color-video and GLYPH S Razor-Sharp Monitor still-image camera that includes ItiKRez!!:■ The PrecisionColor Display/17" is a -focus lens capable of captur- , a microprocessor-controlled Sony ing images with a maximum reso- Trinitrong monitor designed for the lution of 525 by 325 lines. iMail LyntpvITI most demanding creative applica- provides video mail services for tions in graphics and multimedia. recording, editing and playback of ®MNdonnA The monitor features an ultra-fine electronic mail messages. For Mac- 0.26 mm stripe-pitch, 17-inch flat intosh. $799. Axion Corporation, barrel screen with anti-reflective 1150 Kifer Road, Suite 203, Sunny- ®Plinirl4rs coating to provide razor-sharp focus. vale, CA94086. (408) 522-1900. In addition, the PrecisionColor Dis- For more information, circle 420 play/17 is compliant with the EPA's on reader service card. Poppl 6 WEIGHTS Energy Star initiative for reduced power consumption. For Macintosh. Important Reading Quadriga $1499. Radius Inc., 1710 Fortune Color Management Systems is a 6 WEIGHTS Drive, San Jose, CA95131. (408) 434- handy book for graphic designers 1010. For more information, circle who are interested in understanding ®Rt-VOLVO 417 on reader service card. color matching from the point of 2 WEIGHTS view of software and hardware devel- Fast 32-Bit Color Graphics opers such as Kodak, Electronics for Seneca The Windows market for fast, 32-bit Imaging, Agfa and Apple. $24.95. The FF -n graphics cards continues to heat up Color Resource, 708 Montgomery SOUP bone 0 with a new entry from Europe. The Street, San Francisco, CA94111. (415) 3 WEIGHTS + DINGBATS miroCrystal"32S graphics card, by 398-5337. For more information, CD4/ 4 I, le miro Computer, Inc. of Germany, circle 421 on reader service card. © A\ A\ emit' 2 WEIGHTS supports resolutions up to 1280x Ail exclusively from Font, f 1024, monitor refresh rates up to 100 Barry Zuber is a consultant and FontBook, and our new re I Hz and color depths up to 16.7 mil- computer instructor for the Elec- with 3 new weights and lion colors. For Windows. $899. miro tronic Publishing & Design Center In North America: 800 0 Computer, Inc., 3160 De La Cruz, based in Schenectady, NY He is

Santa Clara, CA 95054. (408) 727- also principal of Egeland Wood Only available in a combination pack. FF Balance, FFChild's Play, FF Harlem, FF Humanist, FF Booms, FF Kosmik, FF Lukrefia, FF Madonna, FF Minimum, FF Revolver, FF Soupbone and FF Yokkmokk are trademarks 1558. For more information, circle & Zuber Inc., a graphic design of FontShop Intentional GmbH.All other trademark rights acknowledged . 418 on reader service card. and advertising agency. Circle 260 on Reader Service Card

50 "It always excites me when Graphis arrives. All those brilliant people doing all that beautiful work. I want to go back and do something even better. So I do."

MASSIMO VIGNELLI DESIGNER

"The first time I ever saw Graphis, I was a design student in Scotland. It made me realize how much more I had to learn. When I see Graphis today, I feel the same way."

ALBERT WATSON PHOTOGRAPHER

In Advertising, Architecture, Illustration, Design and Photography, no other publication has given more inspiration to the world's greatest talents. For Graphis subscription information, call toll free 800-351-0006.

GRAPHIS

Circle 287 on Reader Service Card ITC Benguiat® ITC Cerigo'" ITC Esprit® ITC Garamond® z Book 23ook with Book Light O Book Italic Oook7talic with Swash Book Italic Light Italic Medium Book E-4 Medium Medium U Medium Italic Medium Italic Medium Italic Book Italic Cia Bold Bold Bold Bold Bold Italic Bold Italic Bold Italic Bold Italic Book Condensed Black Ultra 0 Book Condensed Italic ITC Charter'" Black Italic Ultra Italic U Medium Condensed Regular Light Narrow ITC American Medium Condensed Regular Italic Light Narrow Italic U Typewriter® Italic Bold Book Narrow 4 Light Bold Condensed Bold Italic Book Narrow Italic Light Italic Bold Condensed Italic Black Bold Narrow Medium Black Italic Bold Narrow Italic a. Medium Italic ITC Benguiat Gothic' ITC Cheltenham' Light Condensed Bold Book Light Condensed Italic Bold Italic Book Italic Light Book Condensed U Light Condensed Medium Light Italic 1-4 Book Condensed Italic Medium Condensed Medium Italic Book Bold Condensed Bold Condensed Bold Book Italic Bold Condensed Italic Bold Italic Bold ITC Fenice® Ultra Condensed Bold Italic IN Ali NV Heavy Light Ultra Condensed Italic Heavy Italic Ultra Light Italic ITC Avant Garde Ultra Italic Regular ITC Garamond Gothic® ITC Berkeley Oldstyle® Light Condensed Regular Italic Handtooled- Extra Light Book Light Condensed Italic Bold I old Extra Light Oblique Book Italic Book Condensed Bold Italic Bold Italic Book Medium Book Condensed Italic Ultra Book Oblique Medium Italic Bold Condensed Ultra Italic ITC Giovanni® Medium Bold Bold Condensed Italic Book Medium Oblique Bold Italic Ultra Condensed ITC Flora® Book Italic Demi Black Ultra Condensed Italic Medium Bold Demi Oblique Black Italic Bold Bold Italic Bold ITC Cheltenham Black Bold Oblique ITC Bookman'® Handtooled " ITC Franklin Gothic' Black Italic Book Condensed Light Bold Book Medium Condensed Light Italic old italic Book Italic ITC ® Demi Condensed Medium Medium Original Spring 1994 Bold Condensed Medium Italic ITC ® Medium Italic Bold Demi Regular Demi Black The typefaces Demi Italic Regular Italic Demi Italic Sans® shown on these Bold Bold Heavy ITC Goudy pages represent Bold Italic Bold Italic Heavy Italic Book the complete Heavy Book Condensed Book Italic Medium collection of ITC Heavy Italic Book Condensed Italic Black Medium Condensed Medium Italic typefaces as of Black Italic Medium Condensed Italic Bold February 21,1994 Demi Condensed Bold Italic ITC Cushing® Demi Condensed Italic Black Book Book Compressed Black Italic Book Italic Book Compressed Italic ITC Barcelona' Medium Demi Compressed Book Medium Italic Demi Compressed Italic Book Italic Bold Book X-Compressed Medium Bold Italic Demi X- Compressed Medium Italic ITC Caslon No. 224® Heavy Bold Book Heavy Italic Friz Quadrata Bold Italic Book Italic Friz Quadrata Heavy Medium Friz Quadrata Bold Heavy Italic Medium Italic Bold ITC New Baskerville® Bold Italic ITC Highlander`" Roman Black Book Italic Black Italic Book Italic Semi Bold ITC Century ® Medium Semi Bold Italic Medium Italic Bold Light Light Italic Bold Bold Italic Bold Italic Black Book Black Italic Book Italic ITC Elan® International Typeface Bold ITC ® Corporation operates Book ITC Bauhaus® Bold Italic under this name domes- Book Italic Roman tically and in foreign Light Ultra Medium Italic countries and is known Medium Ultra Italic Medium Italic Bold as "ITC' ITC and its type- Demibold Light Condensed Bold Bold Italic face names are regis- Bold Light Condensed Italic Bold Italic Black tered trademarks of Heavy Book Condensed Black Black Italic International Typeface Book Condensed Italic Black Italic Ultra Corporation in certain IT@ OCE$VNCC$ Bold Condensed Ultra Italic countries. In addition, Bold Condensed Italic ITC Eras ® ITC typefaces are pro- Ultra Condensed Light ITC Gamma® ITC Isadara® tected by design legisla- Ultra Condensed Book Book 7

53

ITC Avant Garde Gothic' Cyrillic ITC AKI LINES® ITO ABC:II-Mpg 101141< HOpM0AbHbIC4 Book Ihooterican ten' DM Out e ITC ABOHFCIAA FOTOK HOpMCIAIDHb10 HOKAOHHb11;1 Book Oblique ITC Bauhaus Heavy® ITC Asawarm rOTIIK nomonipHbik. Demi OA1&Gtl@® ITC ABOHrapA rOMIK nonywilpribtii HOKAOHHbla Demi Oblique 04,3 ffladmo ITC Bernase Roman® ITC Bookman' Cyrillic ITC Bolt Bold® ITC ByKman csemmii Light ITC/LSC Book Regular Roman® ITC Byx.mart cBeTabtfi icypcut3 Light Italic ITC/LSC Book Regular Italics ITC Byxmax no.nymnpmAil Demi ITC ByPcmait nartymcuptibul Kypcue Demi Italic ITC/LSC Book Bold Roman® ITC/LSC Book Bold Italic® ITC Fat Face' Cyrillic ITC/LSC Book X-Bold Roman® ITC OH *ale /TC/LSC Book X-Bold Italic® ITC Garamond' Cyrillic B o clhEcEeim OugMEE® gueige ITC I'apaMoH cBeTabh1 Light ITC Bookman Contour with trash® ITC Tapamon ceembiii Kypate Light Italic „1 (11Y1(1 hie ITC Tapamox xamnimfi Bold ITC PUSORAMA MEDIUM® ITC Fapamon ascupiturt icypcue Bold Italic ITC BUSORAIIA BOLD® ITC Kaber Cyrillic ITC Ka6ienb HOpMaAbHbM Book ITC Caslon Headline® ITC Ka611Ab ymapa Ultra ITC /I,SC Caslon Light No.223® ITC/LSC Cas lon Light 1\422,3 Italic® ITC New Baskerville' Cyrillic ITC/LSC Gaston Regular No.223® ITC HMOBaCKep1314.11, Hopmanbribdi Roman ITC/LSC Caslon Regular No.223 Italic® ITC M310 BacKepeaub xypcue Italic ITC HMO Bacxepsallb AcHimibiii Bold ITC/ESC Caslon Bold No.223® ITC TEM BaC1CePOUlib JIcupnblu hyPCU6 Bold Italic ITC/LSC Caslon Bold No.223 Itu ITC/LSC Caslon X-Bold No.223® ITC Studio Script- Cyrillic ITC/ LSC Caslon X-Bold No.223 Italic® ITO Onvygioo Oipaniv RTC Cheltenham OntRRne ITC Zapf Chancery Cyrillic IITC Cheltenham thatnne Thiw® ITC Jan afaucepu ITC Cheltenham Contour® ITC Boutros - ,) 1 6.) Light RTC CRearface Outline®

Light Italic ITC Clearface Contour®

72).42-64.6.4 oars Medium IITC amebae Outline 3111,Ide® BC foftde*sed® 3:11.4 Medium Italic

ITC LSC Contleased Italie 39.4411 .642.4a.4) 40,}06 , Bold ITC Didi® SAL4 bg-Lia\l„).)a-ue.■ ois.)-)04 Bold Italic 1-1Y Emo @u® - 1411 4 1 j u l Light ITC Boutros Kufic ITC Eras Contour® 310 Light Italic ITC Medium FM Fare® 4&-1495-0 Ly.94=L.1 ITC Firenze® Medium Italic 3a-0 Ae-1141-0 ol0=4 [17© FmnicRrin availlc ©Who® w9-141 T-4 9A Bold Gothic So-0 s-1111 JA)4=4 Bold Italic ITC Franklin Gothic Contour®

ITC Boutros Modern Kufic- ji3441.4u1=.1. ).1=L4 Light ITC Gorilla® ITC Grizzly® )=4:N Light Italic ITC Grouch® .6.augi0 jakON Medium ITC Honda® ACI 641410 44:14 Medium Italic DV@ Rabe Oahe ag.Alli J,IZ1 .40.‘ ,j11).64 Bold ITC Kobel Contour® Vitft &15.11a y11 SIS Aulia4 Bold Italic Norehm Bold 0 utItua

— ITC Boutros Rokaa- 1L•fido tip/ Medium ITC MACHINE® ITC BIOME BM® ITC Boutros Setting- ,..344J2_,-..0,_>0)-1=q Light /1St. Atir )1Vitt Light Italic ITC Milano Roman® Medium ITC NEON® 3SL, 1=.4.11.514 L41-3.-60 0,3.42i Medium Italic Lit 1.411.11212L. Jjrwl da-164.0 40,44 Bold ITC Ronda Light® SAto 494+A jb.a..+4, Bold Italic ITC Ronda®

ITC Lahr a!k 1 Light ITC Ronda Bold®

U647)\ Light Italic 117C ff i© Dada/1.0HW 13-wg:io t....4412J Medium ITC/L&C Stymie Hairline® Lkgal Medium Italic ITC Tom's Roman® 49.w1 aiterlia11 Bold ITC Uptight Regular® 4Ita A9.10,1% .:9+1D3 Bold Italic ITC Upright neon®

54 -

was output to film with APR on the Agfa AccuSet imagesetter. 18 Design Across America Hardware: Macintosh Quadra 700, Laser- THE DIRECTORY Master 1200XL printer, Linotype-Hell 341 color scanner, Fuji FujixScanart, Agfa Accu- Set imagesetter. OF NEW TYPEFACES Software: QuarkXPress 3.1. Comments: Large images were scanned to small sizes at 120 dpi on a Fuji FujixScanart, The then enlarged. Art was scanned with a Lino- Directory smac .N4 of New type-Hell 341 color scanner, saved as EPS Updated Quarterly Typefaces files and imported into QuarkXPress. The From All Major file was output to film, then the large images Foundries and Type 7a081.010.111.111NOPOOSIIIMOR were stripped in conventionally. Designers.

22 Text, Display & Image Font City Symbols specimen pages include: U&lc, Issue 20.4, Spring, 1994 Hardware: Macintosh Quadra 700, Laser- This colophon exists to share with readers Master 1200XL printer, Linotronic image- • Complete alphabet information about the electronic tools used setter. • Selections of symbols to produce this issue. The production team Software: QuarkXPress 3.1, Adobe Illustrator responsible for these pages includes: Jane 3.2. • Text blocks showing DiBucci, director of creative services; Clive Comments: Curved headline was created in various weights Chiu, production manager; and designer Adobe Illustrator, saved as an EPS file and • Text blocks showing and type consultant James Montalbano, imported into QuarkXPress. The T-shirt out- variety of TYPOG raphy Is president, Terminal Design, NewYork. line was created with type in QuarkXPress. S AP cr. r-anu The file was output to film on the Linotronic • Names of other faces imagesetter. in the family 1;4i3ORRPHY is th • Designer's name and rta COVER ♦ TYPOGRAPHY Is Hardware: Macintosh Quadra 900, Laser- SPECIAL TYPE SECTION technical data Master 1200XL0 printer, Linotype-Hell 341 Cover • Resource information color scanner, UMAX 840 scanner, Agfa Ac- Hardware: Macintosh Quadra 700, LaserMas- and 800 numbers to cuSet imagesetter. ter 1200XL printer, Linotronic imagesetter. call to get faces Current Participating Software: QuarkXPress 3.1, Adobe Illustrator Software: QuarkXPress 3.1, Adobe Illustra- Foundries Include: 5.0, Ikarus M 3.0. tor 3.2. • Distinguishing characters Comments: Postage stamps were scanned Comments: Large Cyrillic characters were to help you recognize Adobe Systems FontShop with a Linotype-Hell 341 scanner and saved created in Adobe Illustrator, saved as EPS the face Agfa The Font Bureau as EPS files. The handwriting artwork was files and imported into QuarkXPress. The Apply Design Group Image Club Graphics scanned with a UMAX 840 scanner at 1200 file was output to film on the Linotronic Bitstream Isis dpi and saved as an EPS file. The border, back- imagesetter. Carter & Cone Type Linotype - Hell ground and logo were assembled in Adobe Il- Casady & Greene Monotype lustrator; "cancellation mark" was antiqued 24 Club Type Panache in Illustrator; and the type inside the mark ITC Cyrillic Series Elsner + Flake Red Rooster was antiqued in Ikarus M. All were saved as Hardware: Macintosh Quadra 650, Macin- Emigre Stone EPS files and imported into QuarkXPress. tosh IIfx, LaserMaster 1200XL printer,UM_AX Esselte Letraset Treacyfaces The file was output to film with automatic 840 scanner, Fuji FujixScanart, Agfa Accu- FontHaus URW picture replacement (APR) on the Agfa Ac- Set imagesetter, Linotronic imagesetter. and many others cuSet imagesetter. Software: QuarkXPress 3.1, Adobe Illustrator 3.2, Adobe Photoshop 2.5. 4 Comments: was scanned using 7 Reasons This Directory Is Of Value To You Message from ITC; Table of Contents the Fuji FujixScanart, saved as an EPS file 1. Makes your job easier finding 4. Updated quarterly—You receive new Hardware: Macintosh Quadra 700, LaserMas- and imported into QuarkXPress. Large Cyril- specimen pages every 3 months ter 1200XL printer, Linotronic imagesetter. lic zhivehte (2C) was created in Adobe Illus- new and fresh faces Keeps you current with what's 5. Free binder, tabs and index listings Software: QuarkXPress 3.1. trator, saved as an EPS file and imported into 2. happening in new typefaces 6. There is no other industry- wide Comments: Type was created in QuarkX- QuarkXPress. St. Cyril image was scanned service that compiles for you all the Press. The file was output to film on the Lino- with the UMAX 840 scanner at 800 dpi, available from around the world 3. Indexed 6 different ways, including new typefaces from around the tronic imagesetter. saved as an EPS file and imported into world as- they are being released QuarkXPress. Page 25 was output with APR by designer, by classification, and 7. Special savings if you order now. 6 on the Agfa AccuSet imagesetter; all other by typeface name Punctuation pages were output to film on the Linotronic Hardware: Macintosh Quadra 900, LaserMas- imagesetter. Cut along the dotted line and return today to: ter 1200XLO printer, Linotronic imagesetter. r "1 Software: QuarkXPress 3.1, Adobe Illustrator 30 5.0. ITC Molter Corpus' ITC Directory of New Typefaces Comments: Exclamation point was created Hardware: Macintosh Quadra 700, LaserMas- c/o MMG 65 Commerce Road, Stamford, CT 06902 in Adobe Illustrator and saved as two EPS ter 1200XL printer, Linotronic imagesetter, ❑ Please send me the 4 quarterly issues of the 1994 ITC Directory of New files: one with drop-out type, and the other Fuji FujixScanart, Agfa AccuSet imagesetter. Typefaces for only $125, including the 3-ring binder and tabs. with black type. Both were imported into Software: QuarkXPress 3.1. QuarkXPress and "stripped" together. Head- Comments: Photograph was scanned with ❑ Please send me the 1993 ITC Directory of New Typefaces including the line and text were created in QuarkXPress. the Fuji FujixScanart, saved as an EPS file binder, tabs, 256 Specimen Pages, plus over 100 Opinion & Gallery and Index The file was output to film on the Linotronic and imported into QuarkXPress. All type Pages for only $125. Limited stock available. imagesetter. was created in QuarkXPress. Page 30 was out- Publisher's No -Risk Moneyback Guarantee put with APR on the Agfa AccuSet imageset- ter; all other pages were output to film on the Your satisfaction is guaranteed with the Directory. You may cancel at any time, 8 for any reason, and receive your money back for all the unmailed issues. Type of the Week Linotronic imagesetter. Hardware: Macintosh Quadra 650, Macin- tosh IIfx, LaserMaster 1200XL printer, Lino- 33 Name Title type-Hell 341 scanner, UMAX 840 scanner, Details, Details, Details Company Agfa AccuSet imagesetter. Hardware: Macintosh Quadra 700, LaserMas- Software: QuarkXPress 3.1, Adobe Illustrator ter 1200XL printer, Linotronic imagesetter. Address 3.2, Adobe Photoshop 2.5. Software: QuarkXPress 3.2. Comments: Magazine logo line art was Comments: All type was created in QuarkX- City State Zip lton scanned on the UMAX 840 scanner at 800 Press. The file was output to film on the Lino- Da dpi and saved as an EPS file; color artwork tronic imagesetter. Country Sean was scanned on a Linotype-Hell 341 color ion:

Please check the appropriate boxes t scanner and saved as EPS files. All EPS files

35 tra were imported into QuarkXPress. The file Utne Reader ❑ Check enclosed ❑ Please bill my credit card was output with APR on the Agfa AccuSet Hardware: Macintosh Quadra 650, LaserMas- ❑ Visa ❑ MasterCard Illus imagesetter. ter 1200XL printer, Linotype-Hell 341 color Exp. date scanner, Agfa AccuSet imagesetter. Account Number 12 Software: QuarkXPress 3.1. Name as it appears on the card Design in Miniature Comments: Color art was scanned using the I Hardware: Macintosh Quadra 900, Laser- Linotype-Hell 341 scanner, saved as EPS files Signature 0 Master 1200XLO printer, Linotype-Hell 341 and imported into QuarkXPress. Type was -a Or call today color scanner, Agfa AccuSet imagesetter. created in QuarkXPress. Film was output Software: QuarkXPress 3.2, Adobe Illustrator with APR on the Agfa AccuSet imagesetter. 1-800-634-9325 5.0, Ikarus M 3.0. In New Your State call 212-371-0699. Or FAX your order any time to 212 -752 - 4752. Comments: Postage stamps were scanned Compiled by Joyce Rutter Kaye with a Linotype-Hell 341 color scanner and All payments must be made on U.S. banks only. Canada add $14, Far East add $40, saved as EPS files. The "cancellation mark" Throughout this colophon, trademarks are and all others outside North America, please add $28 for shipping. U16 was antiqued in Illustrator, and the type in- used. Rather than place a trademark sym- El■ side the mark was antiqued in Ikarus M. bol at every occurrence of a trademarked L Both were saved as EPS files. All EPS files name, we state that we are using the names were imported into QuarkXPress, where in an editorial context with no intention of body copy and rules were created. The file infringement of the trademark. Circle 271 on Reader Service Card 55

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INTERNATIONAL TYPEFACE CORPORATION 2 Hammarskjold Plaza New York, NY 10017 Kerning easy as l•2•3 The URW gernus Solution MOMMOMOOMOMMOMPOMOOMPOMMIIMMIIMMOMMOOMMOOMOM 44 4441444441444444444444444444444444444444444444444441441444444444414444444444144444444444441

At URW, technology and common sense equal simplicity, which If you want great looking kerning and time to fish for new clients, is the shortest distance between two points. It's also the quickest consider URW Kernus. You can automatically create over 1,000 road to profitability, so forget about making kerning pairs manu- point size specific kerning pairs for any PostScript or TrueType font ally. You'll go insane before you're finished-or worse, you'll go in about 30 seconds! Thomas Roosevelt once said, "If you can't broke before you get a chance to use them. Manually kerning a finish the job, don't start it." Reality says, "You can't eat what font is like crocheting a fishing net. Not only is it senseless, it you can't invoice." doesn't guarantee you'll catch fish. Kernus by URW Hamburg Available for the Macintosh or PC. Also B Palatino Bold includes an editor to modify individual Open original font and choose BI Palatino Boldl... URMIgtmus I Palatino Italic o•Kerning on the Fly n, pairs. Kern an entire typeface library for • from the available styles. Palatino only $499. Style : gl Regular ❑ Bold

❑ Italic ❑ Bold Italic

Specify point size specific Pointsize: 18.00 116.851 4.38 mm capheight Calculate. The new Kernus kerning pairs and Kernstrength: 1.0 1 Designsize: 12.001 Pic a 3 • font(s) will be ready for use. 2. kernstrength for desired fit. Destination: 1PalatinoN18 Kernpai 1039 Kerning File: fl_1000.KRN

IMMOMOMMIIIIMMOMMDMIMMIIIMOMMOMMOOMMMDMMOMMIM)44444444441414444141444444444114444444444444444444444444444444444444444144444444444444444444444444

The beauty of a typeface lies in its restfulness an Adobe Palatino Typeset at 16 point with the d the way it seems to extract light from the paper. normal kerning pairs supplied This restfulness which makes a type beautiful ha with the font. s nothing lifeless or paralyzed about it, it might r Optimize the clarity of text as small ather be described as organized life. As in the oth as 6 point. Comparison showing er arts, it consists of a balance of movement. This Adobe Palatino with supplied kern- ing (top) versus kerning created by calm therefore has two components: life, and bal Kernus for use at 6 point (bottom).

The beauty of a typeface lies in its restfulness and the way it s ance or rhythm. The beauty of a typeface lies in it eems to extract light from the paper. This restfulness which ma kes a type beautiful has nothing lifeless or paralyzed about it, it might rather be described as organized life. As in the other arts, it consists of a balance of movement. This calm therefore The beauty of a typeface lies in its restfulness and Adobe Palatino has two components: life, and balance or rhythm. The beauty Typeset at 16 point with 1000 of a typeface lies in its restfulness and the way it seems to extra ct light from the paper. This restfulness which makes a type be the way it seems to extract light from the paper. Th URW kerning pairs created by autiful has nothing lifeless or paralyzed about it, it might rathe

Kernus. The beauty of a typeface lies in its restfulness and the way is restfulness which makes a type beautiful has no it seems to extract light from the paper. This restfulness wh ich makes a type beautiful has nothing lifeless or paralyze thing lifeless or paralyzed about it, it might rather d about it, it might rather be described as organized life. As in the other arts, it consists of a balance of movement. this calm therefore has two components: life, and balance or rh be described as organized life. As in the other arts, ythm. The beauty of a typeface lies in its restfulness and th e way it seems to extract light from the paper. This restfuln it consists of a balance of movement. This calm the ess which makes a type beautiful has nothing lifeless or pa refore has two components: life, and balance or rh ythm. The beauty of a typeface lies in its restfulne

Hamburgefonts72 point ITC Berkeley OldStyle Medium from Linotype, with supplied kerning

Hamburgefonts72 point ITC Berkeley OldStyle Medium from Linotype, with URW Kernus pairs

OPOMMIPOPOOMMOMMMMOMMOOMMOIMPOOMPIMIIIMMOMMOMPIMPOOM41414444444444444414444444444444444444444444444414144444444414444144444444444444441444444444444444 For more information about Kernus or other products, call 1.800.229.8791 or fax 603.882.7210. URW URW Software & Type • 4 Manchester Street • Nashua, NH 03060 Circle 269 on Reader Service Card