Field. It Has Been Estimated That Picasso Created Over Fifty Thousand Works of Art

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PUBLISHED BY INTERNATIONALTYPEFACE CORPORATION, VOLUME SIX, NUMBER THREE, SEPT 1979

The marvelous typographic portrait of Pablo Picasso was sent to us by Paul Siemsen in response to our"Put your bestface forward"request. We thought so much of the design that we decided to use it as our coverfor this issue. The idea was conceived, designed, researched, and written by Siemsen as a promotion poster for The Graphic Corporation, a studio-print house in Des Moines, Iowa. It uses four different size/ weight combina- tions of ITC Korinna• It is now available in posterform, silk-screened on rag paper, and is signed by the designer If you're interested, write to Paul Siemsen, The Word/Form Corporation, 130 Main Street, Box 508, Ames, Iowa 50010. Thanks, Paul, for certainly putting your best face forward.

When the name Picasso falls upon the eye, a portrait of a legend comes to mind. It's the legend in the world of art which surrounds a man who possessed and expressed many of the highest ideals of mankind. The popular legend is of the outward attributes: seclusion and gregariousness; wealth and love; abundance of works and extraordinary versatility in all facets of his field. It has been estimated that Picasso created over fifty thousand works of art. Pab-

lo Ruiz Rcasso was born into a family of art , so he naturally had a very early beginning in his cre,,tions . His life was long, ninety-one years, but when we do the arithmetic we still find that he averaged throughout his creative years almost two pieces of art per day. Considering the physical Size and the conceptual scope of many of his workS, these numbers bespeak a remarkable feat. How is it that a man could be so one-pointed and inventive that he would become, as one author describes him,"the. most prolific artist of all times?" Picasso's own words may reveal the answer: "Painting iS stronger than I am; alSO,"painting makes me do what it wants." Another of the components of the popular legend is that of his departure from tradition. Picasso is known by many as having been instrumental in founding and energiz- ing two new movements in art, cubism and surrealism; and to have inspired other movements including abstract art and pop art. His departure into cubism, which has become perhaps his best known realm, was met at the time with ridicule and contempt. The general attitude of those who saw this new trend was, at best, closer to endurement than to endearment. A very few had any awareness that in Picasso painting was giv- ing birth to truly Significant modes of seeing and expression. These few, and PiCasso himself, might have argued that his seemingly radical forms were logical outcomes or extensions Of the traditions of painting thus far, or at least of the spirit of painting. That same unbounded energy of art that had explored so many obvious and Subtle ways of seeing was, in this twentieth•century, Spaniard, continuing its exploration. The world has indeed marveled that so much of that energy was con- centrated through the eye hand of this one man. Those who have:known Picasso and have Written of him begin to reveal the inner, mystical legend whenthey independently ascribe this superconductivity to his unceasing wonderment- a Won- derment born of innocence and openness that had no need to look through the tinted glasses of dogma. Indeed, as his'own cubist movement became intellectually structured and dogmatic, he left its mainstream. In doing this, he kept himself in the main evolutionary stream of art itself, which adheres to principles of a more general and interaccommodative nature, Picasso was thus free to draw upon the principles he had discovered in several specific modes of painting to achieve an even more comprehensive vision. One needs to be careful not to think that he mixed some of this style and some of that to achieve something new. His art grew from within and manifested itself in the appearance of mixture. He elaborated, " Art is not the application of a canon of beauty, but what the instinct and the brain can conceive independentl y of that canon. When you love a woman you don 't take instruments to measure her body, you love her with your desires." His ability to create independently of the numerouS canons of beauty was witnessed by Gertrude Stein, One of his earliest patrons, who said,"He alone among painters did not set himself the problem of expressing tr uthS whi ch all the world can see, but the truth which only he can see." This internal truth must have been operative when Picasso painted his well-known portrait of Gertrude Stein, for without something of an inner vision his reflections on the portrait would seem absolutely baffling. As the story goes, he made miss Stein sit eighty times for the portrait, and then he wiped out her face a nd substituted a face with mask-like qualities. There were criticisms which he dismissed with "Everybody thinks that the portrait is not like her, but-never mind, in the end she will look like the portrait." Such a statement might seem impertinent, but it is hard to question his integrity, for his commitment to his work was absolute. Every work was born of desire and in deep Concentration. Every work was also born living its own life. A painting or sculpture or lithograph or whatever, would begin in impulse, in vague idea, in spirit. Then as art " made him do what it wanted it would evolve through the brush of its creator. Each stroke and each picture was an end, a breathing univerSe itself. Picasso seldom signed his works and never named them. He also customarily refused to explain them. It is perceived that such acts might hav e put too -definitive boundaries on the pieces, limiting the potential that con - tinues to exist within them. A father gives his child his,own autonomy, never acknowledging the moment he becomes adult and never saying to him this is the kind of person you are or that is the kind of influence you have because the child may become much more or may be seen to be much more For similar reasons, one hesitates to write of the legend Of Pablo Picasso, i e for fear of severely limiting, its fullness. Yet, even as the legend itself is found within the depths of the viewer's consciousneSS, So are these words found looking out of a piece Of paper. C THE WORD/FORM CORPORATION, 1978 VOLUME SIX. NUMBER THREE, SEPTEMBER, 1979

HERB LUBALIN, EDITORIAL & DESIGN DIRECTOR AARON BURNS. EDITORIAL DIRECTOR EDWARD RONOTHALER, EDITORIAL DIRECTOR JACK ANSON FINKE, ASSOCIATE EDITOR MICHAEL ARON, JASON CALFO, HAU-CHEE CHUNG. CLAUDIA CLAY. TONY DiSPIGNA, SHARON GRESH, LESLIE MORRIS. KAREN ZIAMAN, JULIO VEGA. _WREN WAJDOWICZ, ART & PRODUCTION EDITORS JOHN PR ENTKI, BUSINESS MANAGER, LORNA SHANKS, ADVERTISING MANAGER EDWARD GOTTSCHALL. EDITORIAL COORDINATOR, HELENA WALLSCHLAG. TRAFFIC AND PRODUCTION MANAGER

©INTERNATIONAL TYPEFACE CORPORATION 1979 PUBLISHED FOUR TIMES A YEAR IN MARCH, JUNE, SEPTEMBER AND DECEMBER BY INTERNATIONAL TYPEFACE CORPORATION 216 EAST 4STH STREET, NEW YORK, N.Y.10017 A JOINTLY OWNED SUBSIDIARY OF PHOTO-LETTERING, INC. AND LUBALIN. BURNS & CO., INC. CONTROLLED CIRCULATION POSTAGE PAID AT NEW YORK. N.Y. AND AT FARMINGOALE.NN. USTS PURL 073430 PUBLISHED IN U.S.A.

ITC OFFICERS . EDWARD RONDTHALER, CHAIRMAN AARON BURNS. PRESIDENT HERB LUBALIN. EXECUTIVE VICE PRESIDENT JOHN PRENTKI,VICE PR ESIDENT.GENERAL MANAGER BOB FARBER. SENIOR VICE PRESIDENT ED BENGUIAT.VICE PRESIDENT STEPHEN KOPEC.VICE PRESIDENT

U.S. SINGLE COPIES 51.50 ELSEWHERE, SINGLE COPIES 92.50 TO QUALIFY FOR FREE SUBSCRIPTION COMPLETE AND RETURN THE SUBSCRIPTION FORM IN THIS ISSUE TO ITC OR WRITE TO THE ITC EXECUTIVE OFFICE, 216 E. 45TH STREET, NEW YORK, N.Y. 10017 Editorial Copyright protection for typeface designs — an update. In line with previous promises to keep our readers When the new copyright law became effective in January 1978, it informed about various copyright protection intro- did not, as such, include protection for designs of new typefaces. It duced into law for typeface designs, the editors present did say, `: . the design of a useful article, as defined in this section, a detailed update, which includes the reason why typefaces are not yet included in the new law. Page 2. shall be considered a pictorial, graphic, or sculptural work only if, and only to the extent that, such design incorporates pictorial, Put Your Best Face Forward The first responses to our request for designs using ITC graphic, or sculptural features that can be identified separately typefaces have come in. Maybe this display will inspire from, and are capable of existing independently of the utilitarian our readers to keep them coming. Page 3. aspects of the article." An Assortment from Lou Myers A subsequent court decision held that typeface designs were Lou Myers has departed from a single topic to give us disqualified by this wording only because of the failure of Con- a variety of his insights. Page 6. gress to include specific provisions covering them in the new law. Ms.Joan Hall The decision held that butfor this fact the court would have consid- We are ever more amazed at the versatility and virtu- ered them to be copyrightable. The same decision held that type- osity of our Ms. ladies.Joan Hall— working largely with face designs which contained new and existing elements in a new collages and assemblages—creates the illusion of infinite depth within a limited space. Page 8. arrangement were works of art ordinarily entitling them to copyright Musical Characters protection. A useful article was defined as "having an intrinsic The success of Bramhall's Collection of Literary utilitarian function that is not merely to portray the appearance of Characters in a previous issue has prompted us to do the article or to convey information." a sequel. Page 10. Why were typefaces not included in the new law? Something for Everybody - Our ever-popular feature with its tantalizing trivia that As previously reported in U&lc, the bill, before it became law, had are at once paltry, picayune and pettifogging. Page 14. two major parts. The first part became the new law. The second part Across and Down dealt with protection for the design of useful articles. The House Time for our puzzle nuts to get cracking on number Judiciary Subcommittee considering the bill only got around to con- 9 of our Very Graphic Crossword Puzzles. Page 16. sidering the second part in June 1976. There were a lot of details anc Animal/Vegetable People controversial points to consider and the Subcommittee felt that It is common knowledge that pet owners come to taking them up so late in the session wouldjeopardize reaching resemble their pets, and vice versa. But how about vege- agreement in time to pass a bill. (A bill, to reach the President's desk table growers? See page 18. for signing into law, must be passed by both houses in the same ses- A Comic Alphabet by Gunter Hugo Magnus sion of Congress. The Senate had already passed the copyright bill.) So often are we caught up in the ingenuity of our American artists that we lose sight of the extraordinary Therefore, part two was separatedfor later consideration and work being done across the Atlantic. Page 24. part one was voted on and passed. Something from Everybody Incorrect assumptions. "Everybody" being all those good people who think It has been incorrectly assumed by some that the wording of the enough of U&Ic to spend their valuable time doodling fancy love notes on our behalf. Page 26. new law was intended to rule out copyright protection for useful articles, including typefaces. That was never the case. The reason fog Spanfeller's Divine Comedy Dante's masterpiece is updated by Jim Spanfeller, Sr. putting such articles into a separate section or law was that it and Jr., from the viewpoint of a harassed artist. Page 28. was felt they require a different kind and duration of coverage. Be-

. cause they were to be covered in a different section or law, they wert What's New from ITC? ITC Benguiat Gothic, in Book, Medium, Bold, Heavy not included in the law passed in 1976 and effective January 1, 197 and corresponding italics, is the new typeface from ITC that only licensed ITC subscribers are authorized Now what? to reproduce, manufacture and offer for sale. Page 32. When the subject of protectionfor the designs of useful articles was A Bunch of Characters set aside, in June 1976, the Subcommittee agreed to take it up again Take a fistful of our leading graphic artists.Add some at the earliest opportunity. Apparently that time is approaching. Ref limerick wordplay by Herb Lubalin.Caricaturize it all resentative Tom Railsback has introduced a bill, H.R 2706, that with sculpture by Rhoda Sparber, photographed by would restart consideration of expanding copyrights to cover the Carl Fischer. And you have our color feature.Page 36. designs of useful articles. At this time it is not known when that bill Julio Vega: Southpaw Calligrapher will be considered, how it will finally read or what its chances for As any working professional can tell you, art is not a passage will be. U&lc will keep in touch with its progress and will one-sided affair. It is both right-sided and left-sided, as Julio Vega so deftly points out here. Page 45. report all meaningful developments to its readers. 3

Put Your Best Face Forward

The initial response to our request for graphic designs created by our readers, using only ITC typefaces, has brought us examples of work from all parts of the world. The few pieces illustrated here are of the highest caliber; and we wholeheartedly congratulate their creators and thank them for helping us to get the ball rolling (as they say in the ad game). We sincerely hope that all of the rest of you, who receive U&lc, will be inspired to jump on the bandwagon (as they also say in the ad game) and send us your work for inclusion in a future issue. Please! Only send work set with ITC faces.

1 started in Paris, actually, back Strange as it may in '39.1had a marvelous gallery. There was one roo seem, this portrait m after another with beautiful velvet wall coverings, facing th was not done by e garden of the Ritz Hotel. I started out with a friend of mine, Eduard the designer of the Drouin, who designed Art Deco furniture; we didn't know it was Art Deco Picasso portrait on at the time. Then war broke out and there was the German blitzkrieg, so 1 had t the cover but was er Ogo somewhere else, and the placelgot to was America. Fora while I was consid created by Joseph an enemy alien, being an Italian citizen, after all. So I chose to beCOMe an Arne Amft, a typesetter rican Citizen, and therefore I got Inducted Into the Army. Whichldid very gladly; one felt that One had t with Scott, Fores- O do Something about Hitler. After the warlwent back to Paris and I found Drouin operating there. Fo r a While I IMO man & Company rked for him in New York. I liked it much better here. I found it much more Interesting. Nothing was going on in Europe in Glenview, Illi- after the war, but here very interesting things were beginning in the Abstract Expressionist school. But It took Mite a whil nois. Mr. Amft says e before I gotot _.,. the means and the courage to open a gallery, and a very modest one on the fourth floor at 4 East Seventy-SeV this portrait of Leo enth Stree , w_ erelalso lived. That was in '57-'58; It's the twentieth anniversary of the gallery, but almost the fortieth of InYaCti Castelli, based on vities in the art world.lwas born in Triesteand went to school there. I had a substantial course in art history, which stopped at 185 a textfrom Men by Francesco Scavullo, 0; Impressionists were not included. That was all of my art education. I was Interested In literature then. In Trieste there waS no art derived its inspira- conservatory, nno museum. There weren't many books on contemporary art to be found; anywhere in Italy, for that matter. But I read tionfrom the Paul what I could. e book that was very influential for me was Clive Bell's; he was one of the Bloomsbury g roup; SinceCezanne. That Was Siemsen Picasso the first serious a— rt booklread and it got me on the track of art.Istarted out with Jasper Johns and Bob Rauschenberg. And then the P head, which he -- - —stein,- Warhol, Oldenburg, Rosenquist. Pre-Pop, Pop and also Minimal Art are areas I would say that I dominate. A fe op artists: Lichta considers an extra- w years before I Opened my gallery, in '57,1 had gotten sick and tired of what was going on in the Abstract Expressionist field. There Were SOMethi ordinary piece of great masters there, De Kooning, Kline, Roth ko, Newman, but all the ones that followed them were just terrible. I was looking for typography. This ng new to handle. AnAn d the something new that happened was Rauschenberg and Johns. And Cy Twombly, don't forget him. Andy Warhol i '6 work was set in s still happening and J_ asper Johns is still happening and Robert Rauschenberg is still happen ing.Oh God, there is so much. Until around four weights of ITC 8everythup seemed______to be pretty clear and developing along certain understandable lines. Then a new groupof people came up; for lack of Thew Korinna. e tc de initiont they are called Conceptual ; and everything went haywire. Artists have gone in a thousand and one new directions. (ti _ILn g is ve interestin but o n't see anybody emerging who is really major. Some very good people have come up amOng the yo had any contact with but who are als dItStS1 11 1' e 1 man,Aseph Kossuth; also people that I have not ■ ka riAndre, Bryce Marden. probably the most important artist since thegreat ,Ilk . ts lik I or awn orJudd is not a painter, but a sculptor, Rchard Serra. He is probably t est artis liras corne arg a figure, as a persOnalitY. I heartily beieve that if soMething is gre Ill opinion'., suth:s ta kes a W lle for me to convince other o le• some critics, some museum curatOrS. I have tw now, Seventy-seven treet, and a Very large one in Soho. It's al s a difficult, uphill business hecaUse I spen IC amount of cash t 0 run them on a vnay ish and generous scale. instance, for each show; and the ShOws chan our Saturdays; I repaint the gallery compl et y. Everything is always pristine. And I have quite a number of people Working for e arearchives that must be kept. Eve Work of every artist that I've shown is photog raphed, a nd all the articles that appear on are Stashed away, so that when mu Urns or students need to know something about an artist they find all this material, a are wecome. It's Ilkea museum entiirprise. Whenldo a Show, I never think whether something will sell or not.As a matte r I frankly neverexpect anything to se But, somehow or other, they do sell. New York has very few great collectors now have to rely on a tremendous sp read across the country: museums, art dealers, in California and St. Louis and Mi lis, Wherever they are; in Eur , tcairswi:kspeaMilt that makes it possible to survive. And it's a lways a hand-t th AI ration. In the be ling it was a questiOn of a few thousand dollars. Now it's a question of a few ed n °Wa d dollars. B t% e trouble is still there. I still don't know from one month to the other wl will igt all that money tO the artists, to pay my personnel, to pay for advertising and U lose ings that you have to spend ney on if you run a gallery. I rarely sell paintings that I have in home, but there are many, many p a ntings that I do sell because they are there for that purpos e one sense I'm please, and then I'm very sad, too. It depends on to whom they go. If it is somebod 41 don t_particultare for, then it's particularly annoying. If it goes to a good friend or to a m useum where I can s L a air!, really pin touch with it, it's less painful; it remains in the family. My apartment is in a Fifth Avenue high-rise building. I S qtnielys s a very beautiful view of the Park that makes it seem larger. The furniture is ha If antique and half modern. There is a table by Roy Licht In. I have lift Tiffany things around, Art Deco things, a long beautiful Shaker table in cherry wood, some chair s that go back to Charles X of France; it's a mixture of thin I Sthat Iboughtfl C and there. T hereisabsolutel y nOii ghting . The paintings are all in the dark. Im very old , I'm ancient. I am incredibly enthusiastic about life. I'm v We. 1 love wh I o, not On_ ..ly what I do in the gallery but what I do in my private life. It's very exciting and it keeps me alive a live and in good shape. Also,lexercise every morning a lit I and I'm carefu out eating .1don't eat too much. No special diet, but I'm careful.lweigh myself every day and ill go beyond a c ertain weight, then I cut down. I drink. I do everything, but much of it.Clot es are difficult to find because unfortunately they don't have them in my size, but I do buy Turbull and Asser at B onwit Teller's. I worried about being small, especially when I bger. Therefore I indulged in sports. I wanted to be, if small, Strong. It's obviously played an important role in my life. I have more f un as l get older. I get much more out of life, out of people, than I . And also I feel more sure of myself. I feel less and leSS inhibited as I goalong. It's not only age but experience. I had quite a few pr oblems when I was young. I was very shy. I was shy when I began th But when you see so many people you get tO knOw so many people; from all walks of life; so I began to be more self-assured .1have been married just twice. But I've had many other relationship • T11 11 marriage was to Illeana Sonnabend, the f. amous art dealer, who has remained my great friend after a cooling-off perio d when we divorced. More recently I was married to Twoiny and we have a thirteen years old. my daughter from the previous marriage has three children, and she will be forty-two this y ear. Just imagine, my age, more or less—that's the agelfeelll don't see my g ren at all. They live in W— ashington, D.C., and I have no real contact with them. I am much too busy. But I'm ver y involved with my son, who is around and is young and is very charming. I love him • er ild and grandchild tome. I fall in love with women who are pretty tough and difficult. But my greatest pl easure comes from women who are really feminine. For some idiotic reason, everyone seen ." fall in love with these rejecting women. Fortunately, there are other ones who are not like that. As far as w omen artists go, there is Georgia O'Keefe, there's Louise Nevelson, who's a big personality, and there are all kinds of good young women coming up. But women have a different type of life cycle. Very few decid e to lead a life similar to that which men lead. They have to tend to various other things. They usually want to have children; they, generally speaking, are dependent. In spite of the women's-lib movement, I know qui tea few very independent women who are still women. They remain what they are, and thank God for that. A typical day for me starts at seven o'clock because the dog comes and wakes me up. I walk the dog for half an hour in the park. Then I spend one hour on breakfast and reading the papers. l pick up my mustard-colored station wagon and drive down to SoHo. I drive myself. I pick up my secretary, Susan, on the way, and we

THIS ARTICLE WAS SET IN ITC BOOKMAN Put Your Best Face Forward

This display was prepared A WONDERFUL 'THE ENGLISH 'LET A DUCK by Filmcomposition, London, THERE IS England, as a type speci- NO LOVE BIRD IS THE COUNTRY CERTAINLY men presentationfor ITC SINCERER PELICAN HIS GENTLEMAN BE SERVED UP Benguiat. It was designed by THAN THE BILL WILL HOLD GALLOPING WHOLE; Brian Brennan and John Tomlinson and the typo- LOVE OF MORE THAN AFTER A FOX-THE BUT IT IS TASTY graphics was by Ed Cleary. FOOD" HIS BELICAN. UNSPEAKABLE ONLY IN THE When it comes to type— or HE CAN TAKE IN IN FULL BREAST & NECK; food— Filmcomposition certainly knows how to serve HIS BEAK PURSUIT OF THE THE REST up afantastic spread. "EAT FOOD ENOUGH UNEATABLE: RETURN WHEN YOU'RE FOR A WEEK, OSCAR WILDE TO THE COOK" HUNGRY & BUT I'M DAMNED MARCUS BALERIUS MARTIAL DRINK WHEN IF I SEE HOW THE "SIT YOU'RE DRY" HELICAN7 DOWN & FEED "I EAT MY ROBERT BRIDGES DIXON LANIER MERRITT & WELCOME TO PEAS WITH HONEY OUR TABLE" I'VE DONE IT ALL "SIR, RESPECT TATLERS WILLIAM SHAKESPEARE MY LIFE; YOUR DINNER, RESTAURANT IT MAKES THE IDOLIZE IT, 'THE FRIENDLY PEAS TASTE FUNNY ENJOY IT COW ALL RED BUT IT KEEPS PROPERLY. 'NOT WITH & WHITE I LOVE THEM ON THE YOU WILL BE BY WHOM THOU ART WITH ALL KNIFE!" MANY HOURS IN BRED, BUT WITH MY HEART; ANONYMOUS THE WEEK, WHOM THOU SHE GIVES ME MANY WEEKS ART FED" CREAM WITH ALL "I WISH THAT IN THE YEAR, & MIGUEL DE CERVANTES HER MIGHT EVERY PEASANT MANY YEARS IN TO EAT WITH MAY HAVE A YOUR LIFE, 'NO MAN WILL APPLE TART:' CHICKEN IN HIS THE HAPPIER BE A SAILOR ROBERT LOUIS STEVENSON POT ON SUNDAY." IF YOU DO7 WHO HAS HENRY IV OF FRANCE WILLIAM MAKEPEACE THACKERAY CONTRIVANCE "BEING ENOUGH TO GET KISSED BY A TAKING "I'M NOT HIMSELF INTO MAN WHO DIDN'T FOOD & DRINK VORACIOUS; A JAIL; FOR WAX HIS IS A GREAT ONLY BEING IN A SHIP MOUSTACHE ENJOYMENT PECKISH' IS BEING IN A WAS-LIKE FOR HEALTHY MIGUEL DE CERVANTES JAIL, WITH THE EATING AN PEOPLE, & CHANCE OF EGG WITHOUT THOSE WHO DO THE EYE BEING DROWNED... SALT." NOT ENJOY CAN IT FEAST A MAN IN JAIL RUDYARD KIPLING EATING SELDOM WHEN THE HAS MORE ROOM, HAVE MUCH STOMACH IS BETTER FOOD, THEIR BEER CAPACITY FOR STARVING? & COMMONLY WAS STRONG; ENJOYMENT OR PRAY LESS FOR BETTER THEIR WINE USEFULNESS OF YOUR GILDING COMPANY." WAS PORT; ANY SORT." & MORE OF SAMUEL JOHNSON THEIR MEAL CHARLES ELIOT YOUR CARVING7 WAS LARGE; ROWLAND EGERTON-WARBURTON LAME IS AT THEIR GRACE THEY EAT, BEST AN WAS SHORT" THEY DRINK, TS AN ILL UNPERFORMING MATTHEW PRIOR & IN COOK THAT CHEAT; BUT 'TIS COMMUNION CANNOT LICK SUBSTANTIAL APPETITE SWEET QUAFF HIS OWN HAPPINESS COMES WITH IMMORTALITY FINGERS" TO EAT. EATING" & JOY." WILLIAM SHAKESPEARE ALEXANDER POPE FRANCOIS RABELAIS JOHN MILTON 5

A MAN "EAT ENOUGH In 'UNQUIET MAY FISH WITH & IT WILL MAKE COMPELLING MEALS MAKE ILL THE WORM YOU WISE7 MAN TO EAT DIGESTIONS' THAT HATH EAT JOHN LYLY THAT HE MAY WILLIAM SHAKESPEARE OF A KING, & LIVE, NATURE EAT OF THE "BUT GOOD GIVES AN "ONE CUT FISH THAT HATH DOG TRAY IS APPETITE TO FROM VEN SON FED OF THAT HAPPY NOW; INVITE HIM, & TO THE HEART WORM7 HE HAS NO PLEASURE TO CAN SPEAK WILLIAM SHAKESPEARE TIME TO SAY REWARD HIM" STRONGER THAN 'BOW-WOW!' BRILLAT-SAVARIN TEN QUOTATIONS "OTHER MEN HE SEATS FROM THE LIVE TO EAT, HIMSELF IN "LAZY FOLKS' GREEK7 WHILE I EAT TO FREDERICK'S STUMMUCKS JOHN WOLCOT LIVE7 CHAIR & DON'T GIT TIRED" SOCRATES LAUGHS TO JOEL CHANDLER HARRIS "EAT, DRINK & SEE THE GOOD LOVE; THE REST'S "I WENT THINGS THERE; AT TABLE NOT WORTH TO FRANKFORT, THE SOUP IT BECOMES NO A FILLIP." & GOT DRUNK HE SWALLOWS, ONE TO BE LORD BYRON WITH THAT SUP BY SUP- BASHFUL: MOST LEARN'D & EATS THE PLAUTUS THEY SAY PROFESSOR, PIES & FINGERS WERE BRUNCK; PUDDINGS UP." "I'LL EAT MY MADE BEFORE I WENT TO HEINRICH HOFFMAN HEAD!" FORKS, & WORTS, & GOT CHARLES DICKENS HANDS BEFORE MORE DRUNKEN "CLARET KNIVES7 WITH THAT IS THE LIQUOR TATLERS JONATHAN SWIFT MORE LEARN'D FOR BOYS; RESTAURANT PROFESSOR, PORT FOR MEN; 21 TOMBLAND, NORWICH A MAN TELEPHONE 21822 MONDAY-SATURDAY 6.00PM-11.30PM WHO EXPOSES RUHNKEN7 BUT HE WHO SUNDAY 700PM-1100PM RICHARD PORSON LUNCHES DAILY 12.00 NOON-2.30PM ASPIRES TO BE LICENSED BAR, DAILY HIMSELF WHEN 12.00 NOON-3.00PM & 6.00FT1-12.00PM A HERO MUST ALL PRICES INCLUDE VAT HE IS "IL FAUT DRINK BRANDY" INTOXICATED, MANGER POUR SAMUEL JOHNSON HAS NOT VIVRE ET NON THE ART PAS VIVRE MAN HATH HAE MEAT, & OF GETTING POUR MANGER: NO BETTER CANNA EAT DRUNK' ONE SHOULD EAT THING UNDER & SOME WAD SAMUEL JOHNSON TO LIVE, NOT THE SUN, THAN EAT THAT LIVE TO EAT. TO EAT, & TO WANT IT; "OLIVER TWIST JEAN BAPTISTE POQUELIN (MOLIERE) DRINK, & TO BE BUT WE HAE HAS ASKED FOR MERRY" MEAT & WE CAN MORE!" "BEFORE THE BIBLE EAT, & SAE CHARLES DICKENS THE ROMAN THE LORD BE CAME TO RYE A MAN THANKIT." 'ONE OR OUT TO SELDOM THINKS ROBERT BURNS FAT SIRLOIN, SEVERN STRODE, WITH MORE POSSESSES THE ROLLING EARNESTNESS THE WAY MORE SUBLIME, ENGLISH OF ANYTHING TO A MAN'S THAN ALL THE DRUNKARD MADE THAN HE HEART IS AIRY CASTLES THE ROLLING DOES OF HIS THROUGH HIS BUILT BY ENGLISH ROAD7 DINNER" STOMACH7 RHYME7 JOHN WOLCOT GILBERT KEITH CHESTERTON SAMUEL JOHNSON FANNY FERN The Ad Game 7

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THIS ARTICLE WAS SET IN ITC KABEL ULTRA constructions in a one-woman showing at famed Georges Pompidou cul- tural center in Paris—an honor of the first order for any artist For years, her •illustrations have appeared in the pages and on the covers of such out- standing publications as, among others, the NewYork Times Magazine, Vogue, Seventeen, and equivalent foreign books. French writer Gilles de Bure hit it squarely on the barrelhead 'JOAN when he properly said ofher: "Elle est aussi une artiste au sens habituel du terme." That is to say, she is an artist in the usual sense ofthe word. Usual and HAUL unusual, as ironic as that may sound. Joan Hall and her artistic career were For she draws from the colorful ico- born simultaneously in Brooklyn, New nography of images of our daily lives York, in 1939 and she hasn't gotten and, with scissors and glue, produces over it yet After an early apprentice- a miracle of mixture as humorous as it ship in theatre and stage design, she is esthetic. She is also the creator of attended Juilliard—which led both to those absolutely marvelous "little working with the American Mime boxes"—scrupulously detailed Theatre Company and to a teaching job studies ofvolurnetric organiza- at the American Academy of Dramatic tion.We are indeed pleased to pre- Arts. 'All my life,' she tells us, "I have sent a selection from the unique work been intrigued with the way people of our Ms. lady—collages, assemblages, view the world and differentiate be- mirrors, and trompe l'oeil which spell tween reality and illusion?' Since the out the sensitive vision upon our world late '60s/early '70s, she has been of an artist who artfully commands developing a technique which is an and leads our vision between that expression ofthis theme—creating the which has been lived and not lived, illusion ofinfinite depth within a limited between the imaginary and the real, space. Working largely with collages between the ordinary and the extra- and assemblages, her work struck ordinary, into the play of memory and such an unusual chord that she was its exceptional confrontation with invited to exhibit her mixed-media daily life. 9

CAUTION!!, COLORED PEOPLE: or •erseols, • to. Nitirmet ai rehrt neer, of Ite Kin.% ■ t'aulcherk% A Collection of Characters from The Musical Engagement Calendar by William D. Bramhall, Jr.

William Bramhall is a busy fellow, Last issue, we took a liking to the work in his Literary Engagement Calendar, offered a spread of his delightful caricatures for our readers' enjoyment, and had this to say about it: "Take caricature, surely an art form in itself. And, properly illustrated, a form that is heard and read as well as seen. In the fall of '78, Bramhall's work first appeared publicly in an edition of The Literary Engage- ment Calendar, quickly selling out 15,000 copies for its publisher, The Brandywine Press:' Now, Brandywine Press is putting out Bramhall's far more ambitious Musical Engagement Calendar, excerpts from which are seen in this spread. The range is vast and varied—from Sergei Rachmaninoff playing the piano for Leo Tolstoy, to Maurice Ravel making his American debut, to George Gershwin performing his Rhapsody in Blue, to the star- crossed lovemaking of George Sand and Chopin, to

SERGEI PROKOFIEV

ANTON BRUCKNER

SERGEI RACHMANINOFF

LUDWIG VAN BEETHOVEN 111111111111111 *tari 6666 11

GEORGE FREDERICK HANDEL

EDWARD ELGAR

BEDRICH SMETANA

PYOTR ILYICH TCHAIKOVSKY

JOSEPH HAYDN

JEAN SIBELIUS

WILLIAM GILBERT JOHANN SEBASTIAN BACH

ARTHUR SULLIVAN

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NICHOLAS RIMSKY-KORSAKOV 13

a virtually endless kaleidoscope of famed composers and associated music events. To our readers who enjoyed The Literary Engagement Calendar, we heartily recommend that they peruse The Musical Engagement Calendar. This spread is only a tease. If you find it as amusing and interesting as we do, perhaps you'll go all the way and get yourself a copy of the complete annotated work.We did, and we look forward to any and all future En- NICCOLO PAGANINI gagement Calendars that William Bramhall no doubt has in mind. "Caricature:' said Talfourd,"is a re flection of those who see you in your full-blown pride—knowing little of the wrongs which frenzy you and the affections crushed within:' William Bramhall seems to have this all down with a very capital "C'.' 14

Something for Everybody from U&lc

"I remember the face but, I can't place the name:'

The only case in entertainment history where a daughter filled FIANCES G her mother's shoes. Francis Coppola based his new movie Apocalypse Now on this man's Heart TEODOR J.K • of Darkness. KORZE MARION MORRISON This gritty performer had a couple of hundred pictures under his gun belt and an Oscar to boot. ALLEN srEw If this bright young man had chosen to stay a musician instead of whatever he is, the world would KONIGSBERG be less of a laughing matter.

1N0RMAJEAN FAKERNot Clara Bow, not Jean Harlow, not Raquel Welch. 'HUM) 4IMIF And not Zasu Pitts by a CECILIA long shot. Mario Lanza called her singing the sweetest music this side of ER heaven, although her emotional side left a little to be desired. FREDERICK AUSTERLITZ This ever-youthful-looking artist is known the world over for his charm and his LE sartorial splendor. This man was not particularly noted for his haute cuisine, but some THI I A ofhis neighbors were. No jeweler, he nonetheless had a better way with bracelets than anyone before or since. ENRICH Lillian and Dorothy were lifelong best friends of GIADYS S Gladys who? 15

Seems some of us have an absolute obsession for wanting to change our names. Listed on these pages are twenty famous people and the names they were born with, and clues of a sort, to lead you to their recognizable identities. The idea, of course, is to guess as many of these as you can and name the typefaces in which they are set, before you peek at the answers on page 77. If you name most of them you've taken a giant step towards a career as a pseudonymophile (pseudonymph, for short). If you getjust a few, go back to the drawing board DoRit um FF wniDFtIn'settaoroic;igis , ri,buot she renowned band. JEAN BAliTISTE Let's not beat about thisl: one of the 19IBIEUEN e= thinker/play-

At 75, he's as handsome as he was at Z. Mae West invited him to: "Come up ARC MIND LE and see me sometime: MARTHA WheneverMartha appeared on the scene it was instant disaster. From truck driver to movie star at 6' 5,"the guy is particularly fussed over ROY FITZGE by Susan Saint James.

FLORENCE- Beauty is as beauty does: love that soap!" Not the inventor ofthe cracker, but something far smoother Gl and far far more successful. Every statistic keeper had him down as"pound for pound the best fighter in WALKER SM11 the world." ERIC ARTHUR Not 2001. Not 1979.And not 1980. Enough with the numbers already, although this man was in the numbers game.

Alan Jay Lerner says his voice and his acting are the RICHARD JENK best in the business. He lived in a big white house and drove a car manufactured by his LESLIE KING namesake's competitor. 1$

MIXED NUTS:

The following facts are for people who go bananas over nuts. That little gizmo at the end of a violin bow, used for adjusting the tension of the hairs, is called— what else?—a nut. Pilgrim nuts, on the other hand, weigh 3,304 lbs. each and stand 433/2 inches tall.They're used for securing ships' propellers. In 1973, an English bloke set a nutty record by eating 100 peanuts (unshelled) singly in 59.2 seconds. And 25 years ago, a Texas pecan tree, lovingly known as "Number 735:' produced 1,000 lbs. of pecans. Ohio, the Buckeye State, is nicknamed for all the trees of that horse chestnut variety growing there. And Connecticut was originally known as the Wooden Nutmeg State—from the trick of local traders deceiving customers with wooden nutmegs. Dieting? Macadamia nuts have the most calories, chestnuts have the least. Looking for a nut bone? You'll find it in a horse's foot. The Van Eyck brothers,14th-century Flemish painters, were the first artists to mix oil (walnut) with paints. And finally, did you hear the one about the peanut who wanted to become a urologist? Sorry, that's an old chestnut! OK, puzzle nuts, it's time to get cracking!

The nuthatch climbs as well downwards as it does upwards. It is a successful species found from the Atlantic to the Pacific oceans and from Norway to Vietman. 17

Great profits from little A nutcracker's life isn't as nuts grow. Experts estimate dull as it's cracked up to be. that by the mid-1980s,Amer- The enchanted Nutcracker icans' annual consumption in Tchaikovsky's famous of edible pistachios will ballet led an army of toys be more than 60 million against the seven-headed pounds-a market value of Mouse King and his gang. well over $100,000,000. Turned into a handsome prince. And then flew away "Making the nut" is theater with his girl friend to an jargon for earning enough enchanted kingdom. money to pay weekly bills. Whew! The phrase comes from early theater days when acting troupes traveled in wagons. Hotel owners would take a "nue from a bolt holding one of the wagon wheels in place and hold it as security till all the bills were paid... thus preventing the troupe from trooping off in the dead of night.

Number 9 in a series of Very Graphic Crossword Puzzles by Al McGinley and Darryl Bridson ACROSS DOWN 1. roasted 58. Compass point 1. WW II wanderer 50. Lille native (abbr.) 4. Georgia peanut farmer 59. Antique finish 2. As to 52. Hostel 10. B-F connection 60. Peanuts served here 3. Sweet potato 54. Part of the psyche 13 vendor 61. Part of 4 Across 4. -ju (CLUE: African charm. 56. You know me. 15. Half a stringed toy 65. To pack or pound down amulet) 60. College degree 16. Little Peep 69. Kind of nut 5. "Out on " (reveling) 61. F.D.R. agency 17. Goes great with nuts 70. Debatable 6. Ogled . 62. Motor club , 18. Greek letter 72. Japanese sash 7. Aching Achilles to a Cockney 63. Hospital staffers' 19. Open: public 74. Kind of lettuce 8. The first two of the alphabet 64. Two apt., rv. view" Praise 21. Oak nut - . 76. Mamma or Peggy 9. What you do with chestnuts 65. 23. Ruthenium sym. 78. Peanut 10. Document (abbr.) 66. LaWyer (abbr.) 25. Also 80 Vaughn 11. Valleys (British) 67. Bard 27 ' gratias 82 nut 12. Hesitant sound 68. Note on the scale

28. Like some nuts • 85. Of the ear . 14. All in a (concise) 69. Two cents 30. Hernando De (explorer) 87. Plural suffix 17. Nuts and 71. Pre-natal care (abbr.) 32. al 88. Chit for debt 20 pole 73. Peanut 33. Explosive 90 . mill 22. Like some chair seats 74. Kind of nut 34. " be it!" 91 Simpson 24. Does a fall lawn job 75. "Either. Neither, nor" 35. Israeli town 92. Proofreader's inst. 26. Scoreboard numbers 77. Al Capp character 37. Syngman and family 93. Nutty ballet . 29. Extinct bird 79. April (quarterly) 40. Is in Latin 97. Golfing aid 31. Hospital room 80. Battle 42. She's Wright 98. Drowse 35. Catch-all (abbr.) 81. Basset is one 45. Kind of nut 99. " tu, Brute!" 36. In total disarray 83. haec, hoc 47. Military address 100. Old-womanish 38. Scot's "must" 84. Gravelly ridge Back in 1912, the Mills Novelty 49. He said "Nuts!" to the Germans 101. Have 39. Sun 86. American Indian Co. thought "Little Perfection" 89. Western state at Bastogne ...... , 102. Arabic letter 41 the slack was the nuts.Their ultra-modern Color (abbr.) 51. Rams 103. Male title 43. Relatives 90. peanut vendor boasted a new sani- 52. D.D.E. for short 104. "So long, puzzle nuts!" 44. Not many 91 " can you see..:' 53. Kind of nut 46. Space agency 94. Poetic time tary dustproof chute and cup 55. Less nutty ' 48. Saucy 95. Accountant plus stronger salt and a weather- 57. Group (abbr.) 49. Miss Farrow 96. Two in Rome proof mechanism. And for only ANSWERS ON PAGE 77 1C, your peanut cup overfloweth.

THIS ARTICLE WAS SET IN. ITC QUORUM 18 ANTHROPOMORPHICS BY CAROL WALD Anthropomorphism, according to one dictionary definition, is an interpretation of what is not human or personal in terms of human or personal characteristics. In art, it is attributing a human shape to a god, animal or inanimate ANIMAL thing. It is also the stuff of which so PEOPLE many mythological creatures and fairy- tale subjects are made, such as kind- hearted lions, big bad wolves and frogs that turn into princes. Even charming Miss Piggy of current Muppet fame is only the most recent, if not the dearest, of a long line of humanized animals. Animators, cartoonists and political satirists make extensive use of such subjects in their art. Walt Disney's bril- liance, for instance, imbued a mere goldfish with the most sensitive human characteristics in the film Pinocchio. My friend, National Lampoon artist Rick Meyerowitz, says he can "see a face with personality on a sock, a lamp or a marshmallow:' He says, "At times, all of the objects in my studio become per- sonified playmates:' He calls his art -a direct line back to childhood:' Children often personify toys or dolls into real playmates, and the child in each of us can continue to have such imaginary responses to animated films and Sunday comics as well as to anthro- pomorphic images like the delightful ones reproduced on these pages. Generally one notices these types of pictures on calendars or postcards. We

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•:-.gurgishing foods,<- TO■ LET ARTICLES, &c Main St., FREEHOLD. 21 often see them tacked on walls of shops and offices of the laboring class, and in places such as mechanics' garages. Per- haps among the most popular subjects are the illustrations of humanized monkeys and elephants which were reproduced on covers of the Saturday Evening Post during the 1940s and '50s. Other favorites would include those grand paintings of dogs dressed like VEGETABLE gentlemen, casually gathered around a PEOPLE table smoking pipes and playing cards. Two of a series of modern postcards shown here are like hundreds of similar ones still being made today. They are the only ones reproduced here in present-day environment: the cats in a beauty shop and the bathing beauties at a swimming pool.All the others are earlier versions made before the turn of the century. The farmer's life was of particular interest in those days and so the emphasis is on vegetables or farm- yard animals. We see elegant ladies wearing skirts of celery or lettuce ; potato- and cabbage-headed men. Pigs, goats, rabbits and chickens mimic people at games of baseball, families dining or children going to school. One family of foxes is seen on a leisurely Sunday stroll. The dreams and aspirations of people are projected onto these pets. We even think that sometimes pet owners come to resemble their pets.A perceptive artist of the 1880s must have suspected this when he made the delightful cari- .1 word to the wise is sr t t catures of owners with their dogs illus- USE THE BAY STATE FERTILIZER, SCA C , T. CC MIJI,INGOV, MANUFACTURED EST trated here. One could easily confuse THE CLARKS COVE GUANO COMPANY, the owner with the animal.

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THE CONIC ALPHABET

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This delight array of letterforms is our selection for this issue's comic alphabet. It comes from MUnica, Germany and was created by Gunter Hugo Magnus, a graphic designer and erstwhile Professor of Industrial Design at Ohio State University in Columbus. This alphabet is but one example of his e=aordin_ary talent. It was chosen from a prolific body of worm. — more of which we hope to bring to your attention in a future issue of U&lc. MeanWille, enjoy!

H. GUNNEWIG, G.H. MAGNUS, ET. AL., KOMBI-FIBEL (PRIMARY READER), CGEORG WESTERMANN VERLAG, BRAUNSCHWEIG, W. GERMANY, 1978. 25 26

Something from Everybody for U&lc

ox - 7)z-19., M '1 -ON ■ -1-14o) 4.'U. .42V°- 56. hou art a heavenly inspiration. b l'A•IIMII-ttCt • -) 9 Yea,typographic prophets in dis- 9 x a x +l0 777721..4c\ tl IT guise. .As a student at Brigham (00'V,-)`,2'etA Young University, and graphic design . 7 h -91" -6 (4-1)B-3 -1Aty °we ©en make besaifild des6grna.tDgether major, I find your magazine the rock of x L , ? ii;LART] my salvation. From the shadows of the 3 x everlasting bills of Utah the cry of re- X =`)/P. ,)% F21/45.] • )( - i'l.(LANDERMAN) 00OrnI4..1. pentance is going out to a world in need 4.4 - Mc# of your inspiring designs. I pray that K/I5 b. PAKK kE)7 A +1 c) y Gentlemen, stylish serfs will be as common as the y [LAlnL,M1) I( P+T)7L (o Kindly turn me on to your seagulls or salt lakes. At present I labor Y 1 H Z.t13.Z0B10) 4 ç X as the typesetter at BYUls“Grafiks"De - current publication. partment where we have sufficient ITC characters In stErff a tabernacle choir. Verilylverily my font overflowethwith joy because"Ueielc" displays more exciting typographic faces than'ol Brigham Young had wives. So upon reviewing thine mailing list I beseechthee to look at mine address and say to thyself as Brigham once sakl,"This is the place!" 851W. 1280N. humbly, Provo,Utah 84601 (Scott,cl'ggits

d SERB s viVAIVA F S. 0 ■° ■N ( X>cxxx x-XXXxXxxxxXXXAXXXX XXx,XXXXXX)tx,000CX, ‘14 .x.1

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r Ti HEY! I WANT _ TO BE ON 7s- '3•• YOUR MAILING T LIST TOO! I c' IS TERRIFIC AND 4'6 THINK U&LC . awl WOULD DEFINITELY BE AN / ASSET TO ME AND EVERYONE HERE AT WESTCHESTER ILLUSTRATED MAGAZINE. WE'RE WAITING FOR YOU!

Q. When is a VW not a \A>V? A. When it's a U&Ic.

Designer Bernhard Forth, of the H. Berthold AG type department, turned his bug into a U&Ic because he liked the design so much. Most delighted and not at all bugged are ITC Chair- man Edward Rondthaler,Vice President John Prentki, President Aaron Burns and Director of Information and Marketing Services Edward Gottschall.The scene: The parking area of Berthold's offices in Milnich, Germany.

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0! Could you, my frien s (I hope) at U&lc, see fit to send me and mine your marvelous magazine on as regular basis as you can possibly

managv? THANKS !r lose & best wishes from Sonia elise harris, space cadette & head peon. PLEASE send to: Srevirpv Amy, 4 Comj 77efe...; Mir, Pretty NM Productions/ 5r ft.A'Aaer toy c4.4 /../P *4 sonia elise harris ffer Ati pmecrymi Jrr.mikr De yea ro,, k. .4,14"T'" T 676 5th avenue .re.0,1 Mt 40 (.4 r 71,,mk,riaovid //'• rem, S San Francisco, California 7:4.004-r, - 94118

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THIS ARTICLE WAS SET IN ITC KABEL 28

"Integrity is "Bucks is everything? everything? Spanfeller'sJim

omewhere in the mid- dle of his life's journey, the illus- win trator found himself contemplat- ing the fading light of his studio. Though tired and overworked, he me was still looking for that elusive perfect assignment — one so right WRITTEN BY JIM SPANFELLER, JR. and so inspiring it would almost ART BY JIM SPANFELLER, SR. create itself. Unfortunately, the only things that did arrive were PART ONE: THE ASSIGNMENT notices of mortgage payments, taxes and the other unwelcome bills of everyday life.A straight line of survival...no poetry here. So it was in the fading light of that autumn day, while he me- thodically dotted a drawing of a rather strange submarine, that the illustrator came to the up- setting conclusion he was lost... lost in the complexities and dis- appointments that had made up his life. Looking up from the drawing board and out his studio window, he wistfully pondered the small motorcycle in his drive- way, and behind that a distant hill glowing in the last rays of sunlight. Escape! His face twisted in a wry smile. Escape... if only he could.There were just too many commitments. Slowly, the smile left his face. While these inner voices argued, the illustrator's telephone rang — a temporary reprieve. Tired from this now familiar strug- gle in his mind, he slowly picked up the receiver. The nasal voice of his sometime agent,A.G.Virgil, was at the other end. Agent: Hiya, Span. Hold up on gered a copy over, and after the dots a minute. Something big reading a few paragraphs right- has come up! away I thought of you. Kinda Artist: Who is this? bizarre...even a little sick if you Agent: Who is it! This is A.G. ask me. I suppose I'm too straight Virgil, world's greatest artists' rep. to appreciate this sorta thing. Artist: Oh, I didn't recognize Artist: But,A.G., that book is a your voice. It's been so long since great literary masterpiece. Dante I've heard from you. was a genius! Agent: Listen, pal,I rep a lotta Agent: OK, OK! So anyway, it's a people. You aren't the only pen- four-page centerfold, full color. pusher in my stable. You with your hunchback petu- Artist: A.G., it's been over a year, nias should be perfect for this. and by my last count you have Phil is now a little tight on time, over fifty"horses" in that "stable:' however; so like this is Monday, A. G. Virgil had spoken, and Agent: So, big deal — a year! and he needs the finish Friday again the illustrator had accept- Listen, Span, are you busy? 'Cause morning.l knew you'd wanna do ed an impossible assignment in I have got the perfect job for you. this, so I already accepted the job. the faint hope that some miracle Artist: Well, yes. I'm working on Artist: Any illustrator would might happen. Many centuries a transportation series. Right jump at this assignment, A.G. ago Dante had taken over a dec- now I'm drawing a submarine, the deadline is ridiculous. —but ade to write The Divine Comedy. a zeppelin, a rocket ship and.... Agent: Listen, pal, you're a pro, Typical of the modern illustration Agent: Hold it, hold it. I really and I know you'll come up with business, the artist now had only have something for you!! Phil something great. Bag that dumb three days to do the drawings Krotch from Big Boob magazine submarine drawing and get for it.What would William Blake called this morning. He had to started! Oh yeah, one last thing. have said? The artist again looked cancel a girlie spread with a Flor- We'll have to bite the bullet on out his window. entine G-string motif 'cause the this one; the budget is very tight The motorcycle parked in the model got a chest cold.One of the 'cause Phil already had to pay off driNT.looked more beckoning editors came up with a last- the photographer. OK? Give him than ever. Fortunately there was minute substitute. It's a heavy a call now, and you take care of another escape, of sorts. The think-piece by some old Eyetalian everything.T11 send the bill out illustrator got,up from his draw- named Dante.They're gonna next Monday. Oh, and Span, I ing table and went down to the translate and condense his book wanna dress up my image a bit, kitchen, where he grabbed a six- called The Divine Comedy in a so do it right, OK? Let's have pack of his favorite beer from the coupla spreads.Phil messen- lunch sometime, soon. Bye. iced-over freezer. "Life is a circle/ Drink Circle Beer," he sang weak- ly as he went back to his studio. Settling down with his paper- back copy of The Divine Comedy, the artist began to reread the great masterpiece. It wasn't until later that all the strange things began to happen. On his way back from the bath- room later that night, the illustrator stumbled over his dog's sleeping body and fell against a corner of his drawing table,striking his head on the third six- pack of beer. He landed in an unconscious heap next to his staring dog. 31

When he awoke, the illustrator found himself in a rather star- tling situation. He was in some sort of strangely familiar under- sea craft that was moving through the watery depths.A plaque on the wall proclaimed it the first solar-powered submarine. Could that be why it was suffocatingly hot inside? Where could he be heading? Suddenly, in a panic he raced to look out one of the many port- holes.An eerie glow of flames was visible dead ahead.lt looked almost like an inferno, he thought fearfully.

Next Episode: e 32

What's Mew from ITC? ITC Benguiat Gothic Book, Medium, Bold and heavy, and their corresponding italics, are new typefaces from ITC. Only licensed ITC subscribers are authorized to reproduce, manufacture, and offer for sale these and other typefaces shown in this issue. This license mark is your guarantee of authenticity.

Win

These new typefaces will be available to the public on or after October 15, 1979, depending on ITC each manufacturer's release schedule.

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BOOK, MEDIUM, BOLD 841-Invy, WITI-1 ITALICS ITC BENGUIAT GOTHIC MEDIUM ABCDEEfrGIIIJKLMNOPQRSTU VWXYZal?cdefghijklmnopqrstuv wxyz123456789086$10/019) tgActs defl(h.a4-atuit #*)[t§(0)12 567890]

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Through five long decades the gothic, or sans serif, faces have been finding their way slowly but ever so surely into text. With methodical perseverance the proponents of these basic shapes have overcome one prejudice after another, until finally text acceptance has not only been reached, but embraced. We look back with disbelief to the time when even the suggestion of setting page after page in a ten-point gothic would have been strictly taboo.Those ITC BENGUIAT GOTHIC BOLD ABCDEEFFGHIJKLMHOPQRST UVWMabcdefghijklmnopqrst yywxyzlpf4•567890804P/06 yDtt0FECEN0q4•08i"defiGhliM ..1.14#*§(0)32345678901

ITC BEHGUIAT GOTHIC BOLD ITALIC ABCDEEFFGHIJKLMHOPQR 5T UVWMabcdefghijklmnopqrst wwxyzg3456789086$4E%6

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days are behind us. The need now is for a sans serif with dramatic individuality, and ITC Benguiat Gothic ably fills the bill. It is available in Book, Medium, Bold and heavy, with corresponding italics. There are also small caps for the Book and Medium roman versions. ITC Benguiat Gothic was designed by Edward Benguiat, who has designed many typefaces, including the ITC Benguiat family, ITC Souvenir, ITC Tiffany, ITC Korinna and ITC Bookman. ITC BENGUIAT GOTHIC HEAVY ABCDEEFFGHIJKLMNOPQRS TUVWXYZabcdefghijklmnopq rstuvyxyz1234567890&$ft V/04cigt.(6iiCESgcle0Med fi(;;Iji7G•gat.7#1(t§“ ))1234567890]

ITC BENGUIAT GOTHIC HEAVY ITALIC ABCDEEFFGHIJKLMHOPQRS TUVWXYZabcdefghjklmnopq rstuvwxyz12345678908104" 0/01g•DgtOkadSteclet0Mie fi6;',02"2-0/#1(1)3(0)12345678901 36

Abu h in al "cal into the intrepid editor of U&Ic.Wheels in the THE RESURGENCE OF INTEREST turned. horns blared. Bells rang, and opulent remains of the great Pharaoh lights blinked on and off. I propositioned Tutankhamen has turned archaeological Ms. 5parber, the deal being this: if she attention to the third and fourth lines of could do to Saul Bass, Lou Dorfsman, an ancient limerick found on a mutilated Gene Federico, Milton Glaser, George wall of his tomb, roughly translated: SCULPTURES BY RHODA SPARB ER Lois, Cipe Pineles and henry Wolf what 5he had for her clients LIMERICKS BY HERB LUBALIN she had done to me, I would chew all Both pygmies and giants PHOTOGRAPHED BY CARL FISCHER the newsprint necessary to accomplish which some of the more enterprising this mammoth undertaking and would among you might care to reconstruct parties than to the pages of U&Ic. Let's give her a small stipend, on the side, to tide her over. Essential to the assign- in its entirety (four-letter words permis- change the subject to papier-mache. ment, of course, was my role: to provide sible), based on your own experiences THE DICTIONARY DESCRIBES this tasteful tidbits, intimate insights, as it and relationships with those whose ac- sculptural medium as"chewed paper." were, into the professional (and other- counts are responsible for your bread A hard and strong substance made of and butter, your ulcers, your migraines, paper pulp mixed with size, glue, rosin, wise) lives of this esteemed group. the innumerable vir- and your general feelings of malaise. and—in the case of Rhoda 5parber—pa- AS I EXTOLLED tues of these graphic giants, Rhoda was THE LIMERICK HAILS, of course, from tience, imagination, dexterity, ingenuity, caught up in a frenzy of creativity.The the sleepy Irish town of that name. In and a sense of humor. temptation to contribute my own re- actuality, Limerick—little more than a AND...INSPIRATION! The kind of inspi- sources to translating her visual images wide place along an Irish road—gave but ration supplied by the venerable bunch into verbal forms—to complete the pic- its name to this most pervasive of all of characters shown, in alphabetical ture, one might say—became irresistible. verse forms: an arrangement, often ' order, on the next eight pages. so, DRAWING UPON my long and nonsensical, of five anapestic lines. It RHODA AND I WERE SITTING around fruitful relationships with the above-men- was popularized by that famous"non- one evening chewing the fat (not sense gentleman Edward Lear, in his paper). 5he was busily involved in a tioned personalities to cull their most celebrated Book of Nonsense (1846), 3-dimensional doodle which, to my innate distinguishing characteristics, and became an entertaining subject surprise, turned out to be yours-truly I proceeded to write the words set on the next eight pages in ITC Benguiat for improvisation at convivial parties. spewing myriads of letterforms from Limericks gained their worldwide popu- a mouth concealed within a gray Gothic Book, Medium, and Bold. Carl Fischer for cap- larity with such thought-provoking beard. I must say I was fascinated by I WANT TO THANK turing the essence of these sculptures observations as: her incisive interpretation of my pro- photographically, and Pioneer-Moss for A wonderful bird is the pelican fessional character, in spite of the fact that vanity reared its ugly head the fine color separations. his bill will hold more than his belican; 5o much for and I complained bitterly of the years 50 MUCH FOR LIMERICKS. he can take in his beak papier-mache. 5o much for the syner- Food enough for a week, she had added to my youthful hi. And I'm damned if I see how the helican. countenance. gistic results. congenial corn- SOME OTHER MEANINGFUL DITTIES in our FROM AN EVENING'S COLOR SEPARATIONS BY PIONEER-MOSS

repertoire are more appropriate to stag panion I was immediately transformed THIS ARTICLE WAS SET IN ITC BENGUIAT GOTHIC 37

MIX. BASS There is a big fish named Bass; In his school he's head of the class; The name of his game: To design, frame by frame, Film titles for Hollywood brass. Another great claim to fame For this man with a fishy name: The design of a bell For American Tel. Which has brought him no end of acclaim. This Bass whose first name is Saul Has a lot more than this on the ball; Erudite and quite bright, His words tend to delight One and all with his Bronxian drawl. 38

LOU DO A clever designer named Lou, Alumnus of famed Cooper U.; With the cheers of his peers In his ears all these years, his motto:"5o what else is new?" When Lou was a budding young teen, Its efforts were heard but not seen; An inadequate drummer, he ruined people's summer— This scourge of the borscht circuit scene. Now creative VP in TV, His CBS confreres all agree: There is no debate That Lou Dorfsman is great, As far as their eye can see. 39

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MILTON GLASER A magazine mavin named Milt Never cries over milk that is spilt; But his stint with Esquire Made him lose all desire For magazines that need be rebuilt. When it comes to illustrative styling, h is work is always beguiling; he has clients galore Who want more and more— No wonder that Milton is smiling. Though Glaser is long past his prime As underground gourmet sublime ; He keeps sniffing the cork Though he gave up hew York And now eats above ground all the time. 40

GatiE FEDER/CO A famous A.D. named Gene Whose work, to be believed, must be seen Cooked up for New Yorker A campaign that's a corker— his perception's exceedingly keen. rederico's consistently seeking New ways, typographically speaking; his competitors feel he's a bit of a heel— for the most, from each word, he is eking. Gene's clothes have a no object price, not any old rag will suffice; A Times fashion story Shows the guy in his glory— A P.R. device that's quite nice. 41

- GEORGE I.015 When it's esthetic perfection you seek, It's prudent to look to the reek: According to Lois, It's time that he show us The earth shall inherit the meek. George Lois, though basically shy, Gets kicks out of guys he can fry; he believes that a client Should always be pliant— Or else it's"hello"and "goodbye! A new book that Lois has written Uses four-letter words that are fittin'; You'll find it quite charming Completely disarming— For George, after all, is a kitten. 42

11E111311J13 An avid alphabetical freak herb likes to take type that's oblique; And fill up the o's With buttons and bows— Or whatever makes sense out of Greek. In school where they go by the book his passion for o's was mistook; Words like fool, stool, and spool had caused him to drool- 50 they thought he was some kind of kook. Although o's are the name of his game There never ever were o's in his name; for this only regret Which shall remain ever stet— He has his father and mother to blame. CIPE FIIIELES A designer whose talents are vast, Cipe got to the top very fast ; At Vogue she was fired, At Seventeen was rehired— Alas! Your hard luck, Conde Mast. Ma-a-a-ahvelous, her favorite word Emanates from her mouth Ike a bird; fa-a-a-a-abulous, too Another word she can coo— To be believed, these words must be heard. Pineles, a name we can't rhyme Is bandied about all the time; By both student and pro And others who know That Cipe hasn't yet reached her prime. 4t

HENRY henry Wolf is a versatile guy Two trades he does ea ily ply; The photos he sho is Are based on his ro ts- In design, where his talents sky high. he shoots fabulous fema es galore Which for henry is never a bore; he loves making pictures Of femmes and their fixtures— he says:"This is a chore I adore'.' Henry's as wry as he's spry With a wit that's exceedingly dry; Of manner disarming His bon mots are charming— A Wolf, like a fox, he is sly.

... chaimip theyso- saACC sies-pamae coirgual7Pubde arneapepaom them corve.vIley - cbau 7Xockes iovmhehas Zeamiedl. wmdem paomhea.;cnai now he is to des-am:cc- deeds. bepouehagoeVi.ow- eveR,bepves heRhis Ran tosuasid ben cold she Sires him saanebeahoase mde.apteabiddm; hat panewett,he stem= claw. the maamixnaside white She Looks cEptesthandaameamaasoaceeeeeaeasaorvaaa 717 the psstsc att,51..nrchera,Imis op che -5161chuvis-mmdhrs „31st _ _-ea tutFanseAmoth ulswe d, ash COUTICIC th ear. tica.p. oRoonoR,TIca.amonmonss co sena:Rothe urut- 1-aa-92,1 COISM3e5 tuysthento coascaidetelms powea by maaagasbausysha.de. trymeauser_amcampotiosa,Siomined coca bens .teed Co part- 50a tin traide Mid was heapeatinstheans aetamsi poatas matea's hcrads. thaaveny momeat the hesaes holm cnalouvices Yns appraoachwhess meppmed. maaveshe woman?. wetcomed by the pmsrey,hcg ecnaise opIthera smcal..teak e.eamas 'mom 3,..5cFeedthavt.he .."49,,Kr"'” oFra:Mea'S pobi.homiehehadta- la= manse the tamihaltm, h babas la his beit,cold. themucwhich he has twos' to bRusauhiLde.summue songs siekurt place by oppe - With the powen op m scs aimakea ccaase- Min the dasalqche cam vereitrmiL.aptenchasiknal the pomay paean ct the quakty submits to tatmuset bew-mY atm 'names to bannnshiede ymaheaas the poU-OWThlt scene SvansuITILde &vas vlews pRom ben SiscaR.wert-' naccuze:thatwactaahas worsted the PodtlaelZ•theat. doom Is sea2.- ed.aueeSs batualhibrie weals ch. anartosilleahnsemcodmis. -whevi shesteruses eladnisiespemk.eveurinpa.Z.Ls and the summinabat praeS snow .paom the drstcoace stetpal• eat Julio Vega: Southpaw Calligrapher hams -calLisheccad appaoae bimmibsbrle baceus mid stapes -up debiphmaity.oeaaeaosaaaemaaa eeeamseeeeee batmairnble-meppmea. smspmedamasaisa.sythe sounds his caahrpharto meet hmilriatothe awns opinu sodYshe blames theutmost acqumaae to the ectte tnestock.i_tames rrseevaRe up.out- or which metrmed spimats auto cc n lyt•Ftoelr..at this the peamieS Tmmechatety Recede aud this omnific world of ours, there seems to be no end of nonconformists. sicrwburass aubirseambetow.aneurRied,weapoishis bead the tami heimwhich hides sicetphis eteavny, This is not by any means because they have deliberately set out to be so. 12dhssf-,CP't'.6.:P 'policed away 'tome ?. ,ew,;..aamm,amemeaalaimaimeee- Case in point. U&lc axemccnsnu motioutess theRock design director Herb Lubalin—self-deprecating in the bercicy-mannidccnatenr seus.mhitclehe specda mayiassumalae eyea- vome) bane! a sm.., has come whernyounpme and act every way—is nonetheless one of the better-known nonconformists, not the apparsht.thorve we. ycsalarawspe mi.L?ma me , battasint.dermaemberatmoleuttowhoisthe mcoa whohas usideataXeli whet ameseavect least of the visible symptoms being that he is sin istral.That is to say, he is mity ponthemschmesthe ir cRomst-Ittpx wirao syva., left-handed. 15ameljOlullippCOACeW.OVICW1 suoaueyouae baulashitole -Chewer, eth moustea has mounted this wocaMbi eariehas swooped INow this doesn't sound much like your ordinary attention-grabber.Yet, sooner down mateaRmatopieces!who CO2C-- dweevasirittneeiOCITIOMSCVUOW111SOMe pump hettathosedes or surhr.vg,tree.e. Siespivect-tambepaae,bevmast with or later, some curious stranger is bound to ask,"Who's the wise guy passing off cc SomeWhat-taemubous voice but be- eoMY it-pry:mew can crpachiascoud all this left-handed stuff as graphic art?" tuutheiteis theucane the beware whom youyrustpottow - trautaihae-ass desparayworaia,auth If approached personally, back to the wall, Herb then nimbly retreats to his LESS Vat ! mbia ‘sow I See' VIC 711000-1111 of my setrcesamelyou doom me to dem- moss mad chstaessa,paaaaeaaaaaaeav famed mumbled defense—incomprehensible in most languages—that everyone ed-tjumpS elowzni -che Ro cold daaws saearma. ht. ss.a ummabode is different and has his own signs of specialty and please excuse him while he decMoine!,miaaeesseeeema bamaihible ittmaxceimisty fmnit- gets back to work. a/rhea mutt° meppmed)staald back! pecarthmtoloesi!youcconset comp at vegiou tzthame soteat as this mu Not that he stands alone.Although left-handed people are distinctly in the slammed -by husbmad'strrpht must be tiveu 'tss.rcheit;withm you stas maaseed ramyo taisa, minority, there were and are a fistful of very famous folk so gifted, or afflicted, as bannsulutde-scaudberck bea.dethiepf uot come-uncut the case may be. me.thesms& makes me StRenit-OR than stecrZ•vievea shcr.a.st be suoimrpsom meaapeeeeeeeeee. moymeed-yymeousm ee 'wow to Harpo Marx, for example, was left-handed. Charlie Chaplin was left-handed. As make mpaam you lhettmows hanseitp ouhecethey meu‘-as; she ,aaas hease4 paeapLees were Judy.Garland, Leonardo da Vinci, and Cole Porter. Add Babe Ruth, Kim Novak, asm bey. as h e Sel2e3 hem aGoau,sh escape s, but he mxaches hem they sure- and George II of England. Harry Truman was so constructed. To turn to the present, igeehvio===he,,, y. there are such as Rod Laver, Paul McCartney, Rex Harrison, and Julio Vega. puomheaprusea.she scasams as she maim as ipcaushectuito ins aams,heaeyes tram...mus- Julio Vega? ty meet slew-al ed% he 2.eushea sin esryW..you to the smite beua, pRosre arVle cave,pucw Imam, Not so well known, granted, as the numerous counterparts mentioned, but a nitie,baurnahiede;Suuthea's pu tame wspe sitcom me youa Dave bmuiiihiZde -(scamaphopelasSty not-insignificant example nonetheless. Julio Vega calls himself the "Southpaw beroaehelyhow °Dual you depeud youase2p,waetcheel wossanansietpmed aarvesheapoawaadwah aria impemous gest-ape Calligrapher,"and his succinct analysis of what it's like to go through life lefty caembbvs esalwahmisteady steps she the cave Naczaaaeereseearemeemaaae a, Saipp sed-( daxawsim his swoad 1.10:CUR. is a fair enough statement of how it is. According to Vega: at voice) am,wit,.be WitaeSS Vhat.1111].,X, TM,- was chaSVe.keeprklr,r(1701 ,,,,tk bisoch on,sepaRaceme -mom "It isn't easy and it isn't hard. It just means learning how to do things differently— lvs bsade,Laceasaeaeren sideways. "Western writing wasn't exactly invented for the left-handed person.The basic

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THIS ARTICLE WAS SET IN ITC BENGUIAT CONDENSED 46

problem—how to write from the left side of the page to the right (without dragging your hand across what you just wrote )—was something I had to deal with long before I ever tried calligraphy. First I had to grapple with penmanship.

SORROW AND TROVBLE NEVER END FOR ME: MISERABLE EXCERPTED FROM AGT ONE OF S.,010 IVANTEVERWS "Probably like most left-handers, when I write from left to right, half the time OVEEMTHE AWAITED ONE. DOES NOT RETVEN SEETHE TEARS PASS fre,THE TIME OFTORM.NT ISALAS, TOO LoNRTHE ■SLAmE FOR wHOEvER.LIVES IN ANGWSH I don't get to see what I'm writing. Or worse, I tend to smear whatever it is I've just MOST FALSE HOPE, HOPES No LONGER GREEN BET II/ 0 HoARY,T0E NO LONGER RROMNE PEAK. NOR HEALING TO THE OLD PAINTWO DECADES HAVE PASSED SINGE written. And trying to twist my hand into a position above or below the letters THE DAY WH EN,THROWN THE ABDIMTION.THE PEEVE TROJAN PLV ORE. HIS oPASTRIOVS HOMELAND INTO REIN Tao,. BERNED IOCHTLY,FoR W‘FERE LovE,WH is. N m. OF FIRE,H PVIITEDBY FIRFEIET MOST ENRIGHT- is both unnatural and uncomfortable. w WHILE INNOCENT, FAM

it not only kept the lettering clean, but I was actually able to see what I was doing. • 4 41. I "Clearly, adapting this method to calligraphy is not simply a matter of turning the page and using a left-handed nib. It's more like learning to do everything differently—learning how to see letter forms at a 90-degree angle and translating that onto paper.Vertical strokes become horizontal and vice versa.

"As for instance: E. THERE NO ALTERNATION IN MY FATE: L.I. FORTUNE PERHAPS GRANGE THE EVER NRNING WHEEL FORA STATIONARY ONERAND HER CONK SAIL THAT BEARS EVERY HYMAN GAVSE THROWN CON- "While the minuscule letter 'm' consists of three downward strokes, I perceive TI WAD PHANGEVGATHERS NO BREATH OF WIND FOR PAE.TET FOR OTHERS THE PATTERN IN THE SKY OF THE WANDERING. AND FIXED it as made up of three horizontal strokes. Bizarre? Depends on whether or not STARS STANGE, REPERN, OH HET/RN oovSSEESRENEDEIRE A- WAITS DOD, THE INNOCENT ONE SIGHS, THE OFFENDED ONE GRYS. AND YET HARBORS NO ANGER AGAINST THE TENACIOUS OFF E N- you're left-handed.The italic letter(); as a second for instance, is a sloped verti- DER.THE DISTRESSED DO,. I PARDON AND PO NO T GALL

1111111110-.1111, 1 1, the way I do was somewhat difficult but, after a while—as with everything else— ItE:GrATIt H7=2 0-"TH'S°T°0"D-rVV:TTRL LL...... a. ---- A BRIEF SOJOER N. YOE ALONE HAVE MISSED THE you come to take it for granted. Fortunately, I was lucky enough to have a teacher ,SMAyoFVOER.:ETV

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M5evyeary- before oovalyero In ;nth ,,oOhohshos.hootos.O...1.5.1.1blaseshhohohnov . ttmot-ew.wkkyunot, why not r phstacts-wtrir OUR pa - hu .1dIerS cornett amuses F..0'1.4e ).M1U cMCMIOeSS, Ark tCie stem ...LSO 0 SALM yOrli .3.- ,-.ceRteswwat--tx-nxeLv-tc,,,sh Adam, but he u not efusuada halm asktohj mlvlrtar Lot,;(mt you haw,- cane p0ose-v.t..0 ,asisa.c .Kna her Chorgi ts, trthrethele, r.nmumyo think fron hah.11 so,Mt-M thC120.‘,--S 1,M1-(MC; tslsC. or,o4y1q1,10,14S. the of..uhte, ehe toaye tt ■ orders Ireshniehe ler ha i"ocxy, I ory>o,n; the komjims potoofmbthlocnodxmc r wear, nice vIten,edina am/ roWr tut, IA, he nvot Non. ow weV t,b ehoonea, huSdatn.40 air kit NaT thayin.y that itt ts drawn c,-,v .1. 50- atone they exchange a in: wigs. tents,fsevtin.s.th you ntL1,ktv:Inv tovetsvessanvavanensvaasnyan by Serve he =mot ,pluses. e.Sci.ndernethrtbe -s.LAS!flaseSetts, thsbeebss.smen Adma Low! nns, And 9ou nunt ' pAssset t ask; the Love, awanerasnarsewaasellemetanam.n. '10 etv 1,fse toes E5cLa,RelloNt.. -.LOVE vort-M om ',coon! tiht, Old to 4,910..9 y. lohrwoheo urol.p.hib,cotto-h- hUnsi hth tn.:est-Arne etsausschtnr,tossntheseuress•WAtonen: ASSI,th AQma-1>nr another. yin tan do that 0.01,f beornwtcno tHeICOANDLE, 1,1.O.O,CMCM.4.06CM));MA- .1itmarmo-Ah ne, that's lasabk, MARC, 130/ICOKIR 1:he LoolcamLbs o.AorIL,Max hos hoost.e. . v. tarsnole , prootatoossasew,ths0on en vewcs,,-1,hrochsvort,Lherr000ri eNrCokosoCob fitlsK 'amory SOUL,secs RoLattip I ,Olnyt - "The saw OW annoyance! ,Adia era ewe aiosirity suds madness, wootk seras vie • I r ,1,1",...kt,,A(.11,,Vhoof .ten4,1t4 The usual syis! (voted do better Iftssief:11,0sethast lave, VAM.T.LAW NE` 1:-.44cv to •att fur Knelt m thte fay, yaa c'totet: op Ole; nannveanavanvennvsnnsn r-thelj ., hes EQ,senotastly J1- here Al one ,ad 01-nm owl Xenwrno, Ho aim. u nothulg 3sid, Next toms e new foe dnwaow draw . yas way 1 feit:i 1,e rota thauartti trnas,.. ivrth _pleasure, aka way m y free.free Ads. - but d lie dus ondmaas another xenw,no• 0•11, c ho het, -Lu foeewtadt o,Jd night " day a. lemonno - what's the A/femme tOthef wf.re Alma- 9;neriefszistetNatlen, m mg heart yan later, 3.14. ro±m MA 4angetm yawn "vernonrw..Starvator. 3T boo—Le, the mi3 hi but nor., new, sat, no. new Same to me. on the first (ow (moo eh, heart. Dry type is only one way we've improved our line. And we've improved our Comp/Set 3500 and 4500 series by offering an At Graph Expo, Varityper announced a phototypesetting breakthrough. Dry optional 70 pica line length. That's more than 11 inches. Soyou can set mostfull type. Our new Dryex process gives you high quality type without any chemical page jobs, even financial reports, in one piece. processing. So you can set it up anywhere in your office. All Comp/Set and Comp/Edit machines Best of all, Dryex isn't limited to one or two machines. It's available on all new Word processing connection. Comp/Set and Comp/Edit phototypesetters. And it can be installed on all with a floppy disk unit can accept input directly from our AMtext word processors, without any expensive hardware. So you can go from secretarial Comp/Edit and most existing Comp/Set units. That's part of our program to typing to typeset copy without re-keyboarding. make sure you aren't faced with machine obsolescence. All our machines are backed by the largest service force in the industry. So you Only Varityper gives you the ability to interchange wet or dry processing in the get service when you need it, wherever you're located. If you're considering in- same machine. house type (and if you're not, you should be) talk to us. No one is doing more to New Comp/Set capabilities. We've also added power to our Comp/Set make in-house typesetting easy. 500 series. The new Comp/Set II software options give you: (1) Up to 12,000 character scrolling for faster editing. (2) Foreground/background operation so For more information on our systems write to: AM Varityper, 11 Mt. Pleasant you can use the keyboard to enter one job while the machine is setting another Avenue, East Hanover, N.J. 07936. Or call toll-free (800) 631-8134, except job. (3) Our 16 inch reverse leading option enables you to set multi-column jobs Alaska and Hawaii. In New Jersey, (201) 887-8000, extension 666. in one piece, eliminating time-consuming paste-up. Alit Varityper Comp/Set is a registered trademark and AMtext and Comp/Edit are trademarks of AM International, Inc. the Informationists. 1979 AM International, Inc. 49 NEWSLETTER

SKILLS FOR HIRE*

TOP GRAPHIC TALENTS VISIT DESIGN SCHOOLS NEW YORK—The Design Schools Information Offices, based in the "Big Apple," arranged for visits from a number of top-of-the-league pros this past summer. Seymour Chwast held a work- shop at the Fort Lauderdale institute and was commissioned to do a poster for the school. At the Colorado campus, Franklin McMahon showed students his illustrated film reportage, while Ogilvy & Mather's Robert S. Smith, at the Atlanta Mountain climbing perspective which school, talked about agency life and art suits poster or public information signage direction. Pittsburgh students spent two by Advertising Design student John days with New York Times/Playboy Revez of the Colorado Institute of Art. illustrator Brad Holland. These are but a Design School students concentrate on few of the "pros" who spent summer days the commercial applications of their work. at The Design Schools.

TAREYTON MAN FINDS HE'D RATHER SWITCH. NEW YORK —The "glamour of and typefaces, and at photography advertising" always attracted Laird Miller, sessions with the likes of Bert Stern and SAUL BASS AND WIFE CHAT WITH JOHN WINBERG OF THE ART INSTITUTE OF PITTSBURGH. a graduate of the Art Institute of .Les Underhill. But, unlike the typical Pittsburgh, and he was determined to "Tareytoner," Laird discovered he'd rather EDUCATION DIRECTORS MEET AT ASPEN reach the Madison Avenue mainstream switch —to Tatham-Laird (no relation) & with a minimum of way stops. He did. Kudner, where he's art director on Medley ASPEN—Each of the five Design Schools curriculum planning meeting. Discussions After a stint with a small Atlanta agency sent its director of education to this year's involved higher standards in design magazine. Laird credits his rapid rise in week-long International Design that had a piece of the Coke account, part to his Design School training and education. Sitting in on the meeting with Laird leapfrogged all the way to New York counseling. "The Institute set me up with Conference. Following the conference, ideas and guidance were Milton Glaser, City and the Daniel & Charles agency. these directors and other administrators Jack Roberts and Jivan Tabibian — all some good interviews," he says. "A lot of conducted an intensive, three-day There, he was assistant art director on the guys my age are still sweating it out in the board members of the Aspen conference. Tareyton account — working on layouts mail room, waiting for that first break."

ERRATUM: In the last issue, this page incorrectly credited Ken Trout with the creation of the MORE cigarette package design. The creator of the MORE package was Alvin H. Schechter, President of The Schechter Group, Inc. We regret this inaccuracy and any Art Institute of Atlanta inconvenience it may have caused. *Me Art Institute of Fort Lauderdale Art Institute of Houston Edward A. Hamilton, Design Director 9 esin The Design Schools Art Institute of Pittsburgh Pan Am Building, Suite 256, East Mezzanine SICshoge Colorado Institute of Art 200 Park Avenue New York, N.Y. 10017

I would like to know more about The Design Schools graduates. A series of programs and seminars featuring noted dekigners, artists and ❑ filmmakers will be given at intervals in key American cities. Sponsored by I don't have immediate need, but please keep me advised. ❑

The Design Schools and local art directors clubs, the programs will be Include me on your invitation list for seminars and programs. ❑ announced by mail in various local areas. Watch for your invitation. Name: Position.

The Design Schools Graduates have had 24 months of intensive, specialized preparation Company Phone• ( ) in a variety of skills, including: advertising design, typography, photography, illustration, drawing, perspective, lettering, airbrush, package design, multi-media, animation, mecha- Address nicals, pre-separation and many others. They are prepared to work productively for you. City: State Zip.

Skills of special interest to me. 50 Compugraphic's Will Make Your in the

COMPUGRAPHIC HAS ADDED A NEW LEVEL OF SOPHISTICATION to typography with the development of the UltraFont. Now for the first time ever, Compugraphic can offer you a full range of ligatures, true cut small capitals, old style figures, floating foreign accents, commonly used international characters, and a fitted number 1, all easily accessible on a single filmstrip. Ligatures What does the combination of TRUE CUT Floating Compugraphic provides a these features mean to you, SMALL CAPITALS Accents the type specifier? and Foreign Language full set of the most frequent- With this innovative tool, your True cut small capitals are ide- Characters ly used ligatures today: these Compugraphic typographer ally suited for business cards, time and space saving com- can offer you the highest cali- to accent the beginning para- The floating accents, a dotless bination letterforms improve ber typography and save you graphs in book composition, "1", and punctuation marks legibility and are an indica- time & money by eliminating to high-light brand names in for the most frequently used tion of quality typesetting. costly cut-ins and minimizing text and advertising copy, and foreign languages are includ- the non-productive operations to bring out the most impor- ed for occasional foreign fffiffiflffl that add to job costs. Your oc tant features in every kind language material or when "The first consideration for the casional needs for foreign ac- of composition. foreign language material is making of a flawless souffle cents, complex fractions and interspersed with English with minimum of effort is the technical settings are quickly ABCDEFGHIJKLMNOPQRSTUVWXYZ& language text settings. efficient organization of your UltraFont. and easily met with LANGUAGE IS THE AMBER in recipe file." This message was composed which a million subtle and AdAdAaAaAdcBif Lo» on an EditWriter 7500 with precious thoughts are safely «La societe provencale a la fin several typefaces available embodied and preserved... du moyen age...» library from the UltraFont MANAGEMENT BACKGROUND Antologia de poesia espanola... including Garth Graphic, ITC JOHN R. LEE Souvenir, English Times, Gemiitlichkeit, frohliche President of Engineering Musik, ein lustiges Spal3chen... Century Old Style, Goudy Mr. Lee joined the company Old Style, Helios II, Stymie in 1964... and Paladium. PAUL W JOY For a FREE booklet showing President of Finance UltraFont typeface availa- Mr. Joy has been with the bility please write to: Compugraphic Corporation company since 1961... Type Marketing 66 Concord Street Wilmington, MA 01887 51 New UltraFont Copy Stand Out Crowd

63/64

Old Style Numbers Fractions Superior and Fitted Number 1 The small caps complement con- A full complement of the Inferior Numbers The fitted number 1 in roman, tains a set of old style numbers. nine most common frac- Superior and Inferior num- italic, bold and bold italic com- The numbers are designed with tions in roman, italic and bers are included in the com- plements eliminates the wide ascenders and descenders. Their bold weights are another plement for use in footnotes, character spacing common to use creates an even tone within time saving function. specialty advertising, and tabular composition. text composition. technical material. A piece 1/8 3/8 5/8 7/8 1/3 2/3 1/2 1/4 3/4 fraction bar is included to al- 1 1234567890 Roman Fractions: low the construction of fractions and values not already Fitted Tabular RESTFULL INNS 3/4 cup flour available. 81915 81915 anywhere in the country and all 1/2 cup sugar 43121 43121 over the world. In major cities 2/3 cup butter 1234567890A 234567890 98516 98516 and many resorts. Call toll-free 1/3 cup light rum Fractions: 61194 61194 1-800-123-4567 or contact your 3/8 tbsp. salt 50216 50216 Fractions like ' 7/64 and 3/32 travel agent. The professional 5/8 tsp. baking powder are 11915 11915 answer to all of your leisure 2/3 cup ground nuts now easy to construct... needs —RESTFULL INNS. 1/8 cup sesame seeds Formulae: Fitted H2O 7/8 tsp. poppy seeds In 1914, Goudy completed his 02 116th type design... Italic Fractions: NH4C1 Combine 1/2 the sugar with C61-11206 Tabular 3/4 cup of flour in 2 1/2 quart CHC13 In 1914, Goudy completed his baking dish. Add 2/3 cup... Footnotes: 116th type design... Quotations from poetry are usually centered on the page and set line for line.'

compugraphic Compugraphic Corporation, 80 Industrial Way, Wilmington, Massachusetts 01887 Telephone (617)944-6555 52

THE ODDS ON JUST ANY TYPESETTER BECOMING A NEMBER OF THE ATA ARE ANNIT THE SANE AS THE OIMS %I A HOUND WINNING TH KENTUCKY DERBY The odds on the average basset hound making it into the winner's circle at the Kentucky Derby are astronomical. But the odds on the average typesetter making it into the Advertising Typographers Association aren't much better. In fact, with over10,000 typesetters in the world, only 56 are ATA members today. So the odds are about 200 to 1. That's because, in order to become an ATA member, a typographer must meet an exceptionally high set of standards that include typesetting technology, work quality and business ethics. Of course, that doesn't mean working with someone who isn't an ATA member will necessarily give you poor results. It lust means that you'll be betting on a long shot to win. The ATA. We set standards for the people who set type.

ATA MEMBERS: ATLANTA, GEORGIA ACTION GRAPHICS, INC. BENTON HARBOR, MICHIGAN TYPE HOUSE, INC. BLOOMFIELD, CONNECTICUT NEW ENGLAND TYPOGRAPHIC SERVICE, INC. BOSTON, MASSACHUSETTS BERKELEY TYPOGRAPHERS, INC.; COMPOSING ROOM OF NEW ENGLAND; TYPOGRAPHIC HOUSE, INC. CEDAR RAPIDS, IOWA TYPE 2, INC. CHICAGO, ILLINOIS J. M. BUNDSCHO, INC.; RYDERTYPES, INC.; TOTAL TYPOGRAPHY, INC. CINCINNATI, OHIO TYPO-SET, INC. CLEVELAND, OHIO BOHME & BLINKMANN, INC. COLUMBUS, OHIO YAEGER TYPESETTING CO., INC. DALLAS, TEXAS JAGGARS-CHILES-STOVALL, INC.; SOUTHWESTERN TYPOGRAPHICS, INC.; TYPOGRAPHY PLUS DAYTON, OHIO CRAFTSMAN TYPE INCORPORATED DETRIT, MICHIGAN HOS. P HENRY COMPANY; WI LLENS + MICHIGAN CORP. GRAND RAPIDS, MICHIGAN CENTRAL TRADE PLANT OF GRAND RAPIDS HOUSTON, TEXAS NAYLOR TYPE HOUSE O T KANSAS CITY, MISSOURI LETTERGRAPH ICS/KANSAS CITY, INC. LOS ANGELES, CALIFORNIA ANDRESEN TYPOGRAPH ICS; TYPOGRAPHIC SERVICE CO., INC. MEMPHIS, TENNESSEEINDIANAPOLIS, GRAPHIC INDIANA ARTS, TYPOSERVIC INC. MIAMI, EFLORIDA CORPORATION WRIGHTSON TYPESETTING, INC. MILWAUKEE, WISCONSIN PETER A. ALTENHOFEN TYPOGRAPHERS, INC. MINNEAPOLIS, MINNESOTA DAHL & CURRY, INC.; DURAGRAPH, INC. FRANKLIN TYPOGRAPHERS, INC.; ROYAL COMPOSING ROOM, INC.; NEWARK, NEW JERSEY ARROW TYPOGRAPHERS NEW ORLEANS, LOUISIANA GREATER TYPOGRAPHIC SERVICE, INC. NEW YORK, NEW YORK ADVERTISING AGENCIES/HEADLINERS; TRI-ARTS PRESS, INC.; TYPOGRAPHICS COMMUNICATIONS, INC.; VOLK & HUXLEY, INC. ORANGE, CALIFORNIA DELI NE-O-TYPE, INC. PHILADELPHIA, PENNSYLVANIA ARMSTRONG, INC.; TYPOGRAPHIC SERVICE, INC. PHOENIX, ARIZONA MORNEAU TYPOGRAPHERS, INC. PITTSBURGH, PENNSYLVANIA DAVIS & WARDE, INC.; HEADLINERS OF PITTSBURGH, INC. PORTLAND, OREGON PAUL. LOUIS,O. GIESEY/ADCRAFTERS, MISSOURI MASTER INC. TYPOGRAPHERS, INC. ROCHESTER, NEW YORK ROCHESTER MONO/HEADLINERS SAN FRANCISCO, CALIFORNIA TIMELY TYPOGRAPHY SEATTLE, WASHINGTON THOMAS & KENNEDY TYPOGRAPHERS, INC. ST McLEAN BROTHERS, LTD. TORONTO, CADANA COOPER & BEATTY, LTD. SYRACUSE, NEW YORK DIX TYPESETTING CO., INC. TAMPA, FLORIDA CENTURY TYPOGRAPHERS MONTREAL, CANADA TYPOGRAFEN AB WINNIPEG, CANADA B/W TYPE SERVICE, LTD. BRISBANE, QLD., AUSTRALIA SAVAGE & CO., PTY., LTD. SOLNA, SWEDEN ADVERTISING TYPOGRAPHERS ASSOCIATION OF AMERICA, INC., 461 EIGHTH AVENUE, NEW YORK, N.Y. 10001. WALTER A. DEW, JR., EXECUTIVE SECRETARY. 53 A New Face in the Crowd: Garth Graphic

THE INTRODUCTION OF GARTH GRAPHIC REPRESENTS ANOTH- Garth Graphic WITH SMALL CAPS er milestone in Compugraphic's short history. With a library of standard typefaces well established, close to 1000 text & Garth Graphicp Italic display typefaces in all, the company is at the forefront of Garth Graphic Bold typographic developments. Compugraphic will now direct its Garth Graphic Bold Italic resources toward establishing new standards of excellence in modern typography Garth Graphic is a new family of type- Garth Graphic Extrabold faces designed exclusively for Compugraphic Corporation at our Garth Graphic Condensed facility by designers Renee LeWinter and Constance Blanchard. Garth Graphic Bold Condensed Named for William VV. arth, Jr., co-founder of the Compugraphic Corporation, the Garth Graphic family is a great tribute to his role as a pioneer in the phototypesetting in- mduesdtiruymItw's sueigphetrbanledgiebvielinty, shading combine to make Garth Graphic adaptable to many uses. For a free twenty-four page specimen booklet on this family of typefaces, write to: Compugraphic Corp. ape Marketing, 66 Concord St. Wilmington, MA 01887 Tel: (617) 944-6555

compugraphic Cg Compugraphic Corporation, Wilmington, Massachusetts 01887 Display faces are shown large in full We know you'll enjoy the books. And we Since they were first introduced in 1972, hope you'll use them. Even if you can't read them. we've distributed thousands of sets of Ryder alphabets with caps, lower case, figures, and all type books. punctuation. r Hundreds of these have gone to places All text sizes from 4 to 36 point are Please send me sets of the 2-volume where they can't even be read. Places like Japan, shown set in four and five line paragraphs using RydeflWe books with the current supplements India, and Czechoslovakia. identical copy for exact visual comparisons. A, B, and C and register me for all future All photo text faces are shown in 10 point supplements. Why would someone in Japan be willing ❑ ❑ to pay a whopping $60 for books full of alphabets settings using normal, minus 1/2, and minus 1 Enclosed please find check money order he can't even understand? letterspacing. for $ ($60.00 per set). Probably because in the years since 1972, There's even information on spacing, the two-volume set of Ryder type books has enlarging, modifying, ordering, and saving money Name become something of a classic for people in the on type. Title graphic arts. Today, the original two-volume set has Company been updated with supplements A, B, and C. Not just because the books contain over Street 2500 photo display faces. Future supplements now in production will be And not just because they now contain sent to all registered owners of the type books. City State, Zip over 200 text faces. To become one of these owners yourself, all you have to do is fill out this coupon - Mail to: But probably because of the way all this RydeflWes, 500 N. Dearborn, Chicago, Ill. 60610. typography has been presented. and then fill out a check for $60. 55 Another New race in the Crowd: ITC Benguiat Gothic

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

Designer, Ed Benguiat has taken the basic design traits from his popular ITC Benguiat and combined them with round serifless stroke end- ings to create a very different family of typefaces—ITC Benguiat Gothic. These eight innovative type designs are available right now from your local Compugraphic Typographer.

compugraphic Cg Compugraphic Corporation, Wilmington, Massachusetts 01887

hal kursiv fett schragmager demi- bold italic demi- extra italique gras Eras@ Avant Garde Gothic iqueerT ° gr:u obl Bookman ® normal ai abbBoeuocukrh schrag regular 11=( normal Eras Avant Garde Gothi & Caslon Buch halbfett schrag normal medium medium oblique demi-gras Eras - Avant Garde Gothic oblique demi-gras Caslon Buch kursiv schrag halbfett re italic nr demi-oblique italique Fenice Avant Garde Gothic demi-gras Caslon Buch - kursiv schrag fett expanded italic bold oblique italique Fenice Avant Garde Gothic oblique gras Century Buch mager book light ilr romain labeur Fenice Bauhaus@ maigre Centuiy@ ultra normal ultra medium ultra Flyer normal Century ED Bauhaus schn Buch kursiv halbfett bold condi book italic etroi demi italique romain labeur Flyer demi-gras Century Bauhaus@ fe ultra kursiv tett bold c ultra italic gras bold ultra italique TC] Bauhaus@ gras Century @ extrafett schm. kursiv extra bold condensed r normal italic regular etrod extra gras italique TeRunic] ,/y, _ger normal Century Old Style Buch halbfett book medium romain labeur Amsterdamer Garamont .0e,d)a-Yert demi-gras Cheltenham ultra Bach ultra book c*i ultra Garamoncr Benguiat° romain labeur Cheltenham Buch kursiv normal book italic romain medium @ romain labeur italique Garamond@ Benguiat@ normal Cheltenham ultra kursiv halbfett ultra Ratio bold i* ultra italique Garamoncr Benguiat® demi-gras Cheltenham mager kursiv light medium italic maigre GaramondED Benguiat italique City kursiv halbfett Buck kursiv lig medium italique book italic demi-gras Garamoncic ) Benguiat ED romain.labeur italique City Buct fett bor kursiv halbfett bold romain labeur bold italic gras Garamondlo Benguiat° italique demi-gras City ku normal mager bo regular italigi light normal Garamond ° Bookman@ maigre aearface Gothic kun fell normal ult bold ultra medium gras Garamond @ Bookman@ normal aearface Gothic schmt extrafett halbfett light con ultra bold etroit demi-bold extra gras Garamond° Bookman@ demi-gras aearface Gothic Buch kursiv halbfett fett book con medium italic romain labe bold italique demi-gras Garamond@ Bookman ° gras Concorde sct mager kursiv mager bold con light eta light italic maigre Garamond® Bookman@ italique maigre Eras@ ultra Buch kursiv ultra cor book uli medium italic romain labeur Garamond® Bookman @ italique Eras@ kursiv schm, normal light condens kursiv halbfett medium italique &toil demi-bold italic normal Garamondc) Boolanano itaique demi-gras Eras@

, • • • .1.,..-1 ""i•—'6;A45t 7*;\J- e p;•3: (lb 1•11, \Os ir \°\ Berthold-Schrittenbibliothek. Berthold type faces library. 10781,1 40#•- type faces ever) foto A•4_, • • Jedes Jahr welt Ober 100 neue and aktuelle Over 100 new and up-to-date • ,. Schriften. Bisher welt fiber year. To date over 1000 type faces can be delivered ex stock. .• • 1000 Schriften ab Lager lieferbar. • 4.%•65-1 4-1-.,,e% 1,,•••,4 •

BERTHOLD ABS 3011 BERTHOLD ACS 3211 BERTHOLD CPS 2001 BERTNIILII API 3.111 BERTH.'" METTER BERTIMLI DIATIONIC BERTHS _D BIATROHIC S

Buch kursiv schmal book condensed italic halbfett kursiv mager bold Garamondc) romain labeur italique etroit light italic Away alti2P demi-gras Souvenir Gothic italique maigre kursiv schmalfett boldcondensed italic kursiv Garamond° italique etroit gras medium italic Toppi=&quisit II Souvenir Gothic italique demi-gras kursiv ultra schrnal mager ultra condensed italic kursiv halbfett light Garamond* ultra italique etroit demi-bold italic uorum@ maigre Souvenir Gothic italique demi-gras tett bold Buch normal book 3aramond gras regular Quorum@ romain labeur Syntax normal kursiv halbfett bold italic normal medium halbfett Gill italique demi-gras medium Sans. Quorum@ normal Syntax demi-gras ultra schmalfett ultra bold condensed halbfett extraf ett ultra etroit gras bold extra bold Sans Quorum demi-gras Syntax extra gras extrafett heavy face Black kursiv Doudy extra gras Black italic Quorum@ Black Syntax italique normal regular ultra mager forley *Old Style normal ultra light Romana ultra Zapf Buch icT3` maigre Buch book normal normal talia romain labeur regular medium Sabon-Antiqua normal Zapf Buchc) normal normal halbfett medium halbfett medium talia normal demi-bold Sabon-Antiqua demi-gras Zapf Buch c) demi-gras halbfett bold kurisv tett demi-gras italic heavy taliac) italique Sabon Zapf Such* gras normal regular normal kursiv mager normal regular light italic talian Old Style Sorbonne normal Zapf Buchc) italique maigre halbfett bold halbfett kursiv talian Old Style demi-gras medium italic Sorbonne demi-gras ZapfBuch° italique kursiv italic fett kursiv halbfett talian Old Style italique bold demi italic Sorbonne gras Zapf Buch° italique demi-ores Bach book kursiv italic kursiv fett :a bel romain labeur itharigaul igtara„ Sorbonne italique Zapf Such CD normal schmalhalbfett medium medium condensed mager :abel@ normal Sorbonne etroit demi-gras light Zapf Intern. maigre halbfett demi mager normal ;abelc) demi-gras light medium Souvenir Gothic maigre Zapf Intern. @ normal tett bold normal halbfett ;abet gras medium demi Souvenir Gothic normal Zapf Intern. @ demi-gras ultra halbfett lett ultra demi-bold Label@ ultra heavy Souvenir Gothic demi-gras Zapf Intern. ED gras mager extra light ubalin Graph@ maigre

Buch book ubalin Graph@ romain labeur • H. Berthold AG normal medium - Mehringdamm 43, D-1000 Berlin 61 ubalin Graph normal Berthold of North America, Inc. COUPO N Box 624, 610 Winters Avenue, Paramus, NJ 07652 halbfett Schicken Sie mir kostenlos berthold demi-bold ein Schriftenverzeichnis eller Text-Schriften. ubalin Graph@ demi-gras Please send me a list of all text faces. Veuillez me faire parvenir, titre gratuit, fin catalogue de tous les caracteres pour textes. fett bold Schicken Sie mir kOstenlos ein Schriftenverzeichnis a(ler Headline-Schriften. fototype iubalin Graph@ gras Please send' me a list of all headline type faces free-of charge. Veuillez me faire parvenir. titre gratuit, fin catalogue de tons les caracteres pour titres. Schicken Sie mir kostenlos Informationsmaterial fiber Berthold-Fotosatzgerate und -Systeme. Please send me complete d ocumentation on Berthold fotocomposing machines and systems. Veuillez me faire parvenir, a titre gratuit, une documentation sur les appareils et systemes Berthold •

Name and AnSchrift/Name and address/Nom et adresse 5Iiotheque de caracteres Berthold. Headline: Machine (ITC) halbfett Paque armee, plus de 100 caracteres nouveaux actuels. Jusqu'a present, plus 1000 caracteres livrables au depot.

VI IT CREATE OVER 55 DIFFERENT KINDS OF ARTWORK IN YOUR OFFICE FOR ABOUT 500* APIECE. Discover all the graphic mar- camera and a processor for vels you can produce in just resin-coated phototypesetting minutes with Visual Graphics' materials; there are even remarkable Pos several models One® 316 camera/ that deliver processor. Every- press-ready thing from simple offset plates, as ) enlarged or re- well as stats and ' duced line stats transparencies. and film trans- If you'd like parencies to all to learn more sorts of sophis- about our versatile line of day- ticated photo art effects. light camera/processors, and Mezzotints and 28 other line find out how inexpensive it conversions. Screened ve- would be to own or lease one, loxes. Slide enlargements. call or send in the coupon. Dropouts. Reverses. Type We'll send you a free descrip- modifications. And more. tive brochure—plus a com- All produced in a single-step, plimentary copy of our award- with pushbutton ease, in winning, three-color, fully normal room light. And at illustrated book "How to savings of up to 80% of what needs and price range.There's Create Striking FREE BOOK it would cost if you sent it out. the Pos One 720 that makes Reproduction Art Just as marvelous is the reproductions in black 85 with the Pos One fact that you can select a Pos white and full color; and the System." One model to suit your own Pos One 516 that's both a stat Call Us Toll-Free 800-327-1813 IN FLORIDA (305) 722-3000. IN CANADA (416) 533-2305.

VISUAL GRAPHICS CORPORATION VGC Park, 5701 N.W. 94th Ave., v39 Tamarac, FL 33321 ❑ Please send me more information on the Pos One ❑ 316 ❑ 720 ❑ 516 ❑ Platemaker models, plus the free award-winning book. ❑ Please arrange a demonstration.

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Built to bring you the best of both worlds. In the tradition of Swiss tech- another milestone in our commit- nology and U.S. ingenuity that ment to the graphic arts industry exemplifies Bobst Graphic Inc. we are dedicated to serve. phototypesetting equipment, We at Bobst Graphic are we are pleased to announce the further dedicated to continue to completion of our new 65,000- provide only the finest in high- square-foot engineering, manu- quality front-end terminals, facturing and assembly facility. phototypesetters and complete Designed and built to meet our composition systems. rapid growth and expected future When you buy Bobst you expansion, this ultra-modern know it was built to be the best corporate headquarters is but of both worlds.

BOBST GRAPHIC INC. BOBS VARISYSTEPAS DIVISION 4300 Veterans Memorial Highway Bohemia, New York 11716 Tel. 516-737-0200

...the best of both worlds 66

You can have a method for choosing your creative typography that is not only very efficient, but graphically appealing as well. The new Liberated Letter Wall Chart from Letraset. Its an up to date Instant Lettering chart with 394 type styles, from the classics to

today's most popular faces .

This chart is your reference for instantly locating type faces in the Letraset catalog. Your Letraset dealer has the Wall Chart in stock and is yours for the asking. And remember, when you want the best in creative typography it makes good design sense to use Instant Lettering by Letraset, the creative alternative. 67 IN THIS LAST-SECOND, SHORT-HANDED, OVER-BUDG1ET, THIRD EXTENSION, 2 AM. BUSINESS, THERE'S A MACHINE THAT GIVES BEAUTIFUL, BLESSED RELIEF

What looks for all the world like a typewriter is in fact an AlphaComp Word Com- poser or type setter so small it will fit on your secretary's cluttered desk. Right there between her best-seller and that squeaky panda somebody gave her. But AlphaComp not only looks like a typewriter keyboard, it works like one. In fact, nearly every function is automatically initiated at the touch of a button so your secretary can go to work composing sharp, clear type for your ads, brochures, publications, direct mail, everything. Immediately. That doesn't mean just rag right, either. It means justified and centered copy, run- arounds, rag left, indents, you name it. In every font size between 6 and 24 points. What all this means is a whole new profit center for your agency or studio. You see, chances are your AlphaComp will pay for itself in about 6 months; after that all the low- cost type you set, mark up and charge to your clients is gravy. So you take a larger piece of the profits from the whole job. AlphaComp also means time. Time to make that one last change your client called for. Time to compose razor sharp, perfectly spaced, perfectly perfect type every time, using a selection of fonts so inexpensive you can afford a whole font library. It means the ability to reset periodic jobs that keep coming back, at a fraction of the original time and cost. It means your own presentation and proposals will look as good as the ideas they communicate. It means a whole new way to bring peace to fussy art directors, harried production people and cost conscious accounting departments. Find out all about AlphaComp, the Word Com- poser. Send for a free brochure that tells exactly how AlphaComp will speed relief to your office.

AlphaComp by Alphatype

Alphatype Corporation 7711 N. Merrimac Avenue Niles, Illinois 60648 (312) 965-8800

This ad was set on an AlphaComp Word Composer e 68

C() lopedlc 'acycea C . e u.1 aid .\0101-‘• tool -\061'\.stocic s_b-000 that fot -c1`) rS1'.\:15 elk is a poserf coated ■ -1\-- -431),.t, ego ISola . . \n-ce t\fpog-capYile po .\n- leplo -co-c\.ti poots, heP\Ito ig t Ob p - O "Woglap' Sef -61\ • , \ IS@ pl\n-ted o-c\. a letelecce-. s .\00. loo:V love it ■ vsled a staggle \Iles -\es,\No-c\c 1 o\O' VA-ave like a to tecOsentOle -p'aecxe fol a. ac "&-ates -p1e copy oi t'ae -aev\I Pool", •\1"c\- at Title --- co-o.tess. e , tio-ey deseNe so I can learn 1ealooat yo expec\•se to p odo.ce t'als feel\coo fol NNe \Isf, \3,.s. 1). a pIoject, all.d. see a Ilk lepeated cv_stol-c)-elsticle vety loesf, ecav-se, of eNiefilll-g tto 13:ce , li yo,. pple6at a totalems -il appceciate P.,5oNNI. Company andyoo_ ce good ogcapYi ess ' l\ddI OD attet jdo, tl-)-e-cl. yo\ gv1a1 ckisto e : ,, `1\1' \is oc\- a fewjolos. '1'6 \35." \Nalco I-c\- eale to Cos Boolk C-113).

tell y°

Arrow 'Typographers Inc 2-14 Liberty Street, Newark, N.J. 07102 Telephone (212) 571-0328/(201) 622-0111 69 ,

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T. goes to the line forAlphatype quality. 5300 tittles every Sheet fed, designed for MaY:irourri reliability, versatility and economical use C\ makes it r filrn• r o -over p aPe step mns ntrodueing the Alphatype CRS:The CRStypesetter that gives you higher possible to set multiple colu providingpossible thegalley capacity associated vslith better productivity and its ever beenachine, 0 resolution , h uality roll fee . more versatility tha 0 Capable of utililinghigraterials reasonable to eY.pect from one n-

litho speed photo and menu \ ceac\1 engineering vents ere. s a the Plug 2,0*\l for 0 Highest in comp PAPV\alre CS ‘ system for iacturing standards. establishing a rievq standard and diagnostic programs to increase Unique — reliability and productivity ‘Nhile decreas- industry, due to its irl high qualiteve aracter resolutionsult le ing service dovsin-tirne arid expense. y inch.e Ring \ia i\°??1 image sharpness that \pias never possib s 5300 lines \n?ut t° theour CS nevg \ FDA'Sstero illl or on before! disk.lopy created Disk -Typesetting Sys SPECIAL CRS FEATURES your Plphat`peae/board/Editor. P\ us and A Point range in 1/2 8 points the l'Aultiset, ull-blown mini-CRS on Cl -Type sit is n line. computer system, drives thellig ent input increments from 5 too 4. raphic d styles d styles. 1-\P sizes an , thesesnte typog e crr( line. Either \Nay 0 UnlimitedUp to150 rni)6ng of sileS an systems offer unsurpsed 0 Preeise character fit and alignment. capabilities to take advantage of all th 0 "flpesett‘ng job parameters controlled special features bult into the CRS. ?NONE. Find out morei about Alphatype vv Ii i from input. feed CRS, quality and productivity, and ho haeY 1p your company. Attach the A/P 0 94 pica measure. today. reverse and forward n15il Corporato hey'll t your letterhead SYSte 0 Unlimitedncrements). t o roac. Wes, 6064 800/141-01 D\v‘s\ on oi PAptiatype 0 point coupon t ■ -17AA1n Conoect tA•Merf \cut ca\ 101/241-0751 70

THE NEW APS-5/C

At last! The phototypesetting system you've dreamed about at a price you can afford. It looks like a normal APS-5, but it's so much more... The APS-5/C is our Commercial Package that will enable the commercial typographer to enter the world of CRT Phototypesetting at a surprisingly low cost! The APS-5/C includes the world-famous APS-5 CRT Phototypesetter, the leader in reliability and speed; your choice of a composition program; an "instant library" of 200 digitized fonts, selected by YOU and always on-line to your APS-5; dramatically reduced follow-up font prices... and more! The APS-5/C proves that not all dreams are on the other side of the rainbow. Ask us; we'll be happy to tell you more about the extraordinary savings in store for you. When it comes to Phototypesetting... Autologic leads the way.

AUTOLOGIC, INCORPORATED 1050 Rancho Conejo Blvd., Newbury Park, California 91320 • (805) 498-9611 • (213) 889-7400 • TWX: 910-336-1541 A Subsidiary of Volt Information Sciences, Inc. INTRODUCING THE LAST WORD IN HEADLINE TYPESETTERS. VISUAL GRAPHICS' NEW TYPOSITOR'4000. IT SETS QUALITY TYPE JP TO 3 TIMES FASTER THAN ANY 2" FONT MACHINE - INCLUDING OUR OWN. You've heard of the Photo Typositor.® Ne introduced it over 20 years ago. Since hen it's become the world standard for excel- ence in display typography. Now we've invented something even )etter— the remarkable Typositor 4000. The Typositor 4000 is a unique phototypesetter that delivers headlines of unsur- Is the Typositor 4000 for you? Yes, )assed quality in sizes from 24 to 96 point. if you're using an IBM Selectric Composer, :t operates in normal room light, has a bright- and want quality headlines as well. Yes, if mage visual spacing system, and produces you own photocomp text equipment, and lisplay type quickly and economically. want a precision headline instrument to com- But that's where any resemblance to plement it. And yes, too, if you just want )ur 2" font machine ends. The "4000" will professional-looking display type for your in- ;et your type in 2/3 less time—thanks to plant or commercial print shop, art or design xclusive new VGC Microfont® masters, studio... or for any reason. automatic focusing, push-button electronic To receive complete detailed informa- xposure control, and high-speed random tion on the sensational new Typositor 4000 access character selection. call the toll-free number now, or send in Add solid state circuitry, precision the coupon below. )pint-size indicator lights, digital word- pace readout, audible exposure signal, Call Us Toll-Free 800-327-1813 IN FLORIDA (305) 722-3000. IN CANADA (416) 533-2305. xtremely simple operation, and a ;urprisingly low price. Then combine VISUAL GRAPHICS CORPORATION t all with a library of the most popular VGC Park, 5701 N.W. 94th Ave., Tamarac, Florida 33321 'aces, plus trim, contemporary [1] Yes. I'm interested in the new Typositor 4000. Have a ;tyling, and you can see why representative call. ❑ Give me the facts on leasing. we call the Typositor 4000 ❑ Just more information now, please. `the last word in headline Name Title ypesetters." Company Address New VGC Microfont shown City, State & Zip in compact library binder. Phone U&LC 9179 j 72 SWITCH TO A \EW \AME P1-10TO-YPESETTERS A\D COPY PROCESSI\G SYS I EVS WE DID!

As Dymo Graphic Systems we were an Now we're prouc to be oart of the Itek established leader in the development Corporation, one of the work's largest and marketing of advanced photo- marketers of pre-press ecuipment and typesetters and medium-to-large copy suoplies. Procucts cevelooed oy Dymo processing systems. will be sold anc serviced under our new Dymo anc its predecessors served the name: Itek Composition Systems. Anc, graphic arts industry for better than 50 backed by additional research anc years. We developed the first automatic financial resources, we will be oringing phototypesetter in 1949, and in 1971 in- you even better answers to your text trocuced the first comprehensive news- management and typesetting neecs. oaper text management system. Procucts like the new Mark VIII — one of A fast growing comoany, Dymo installec the most versatile high speed (600 Ipm) more copy orocessing, composition ohototypesetters on the market tocay, anc interactive business/oroduction and the first low-cost CRT typesetter systems in 1977 and 1978 than during able to set fully comoosed oages uo to all of the previous eight years. Deoenc 100 picas wide, able, easy to use, anc versatile enough If you would like to know more about to handle the widest range of language the Mark VIII, or about our other photo- recuirements anc typesetting stancards, typesetters or coo' processing systems, they are working for newsoapers, com- just call us toll-free at 1-800-225-0945. mercial puolishers anc typographers all We'll oe happy to answer cuestions, cis- over the worlc cuss applications, or senc free literature,

Itek Composition Systems A Division of Itek Corporation Itek 355 Middlesex Ave. Wilmington, MA 01887 (617) 933-7000 Formerly Dymo Graphic Systems, Inc. 73 NOW! PROFESSIONAI— HELP IN YOUR FIGHT AGAINST All-FLAT1ON

AMEAdvertising and promotion costs are soaringCA, out START CLIPPING of sight and the worst may be yet to come! Paper, printing, postage, typesetting, art and plates. But, we'll show you how to cut a small corner, beat a budget and look good in the bargain! You'll see how others - from modest one-man shops on up to those AD PRODUCTION COSTS SKYROCKET in the "Fortune 500" - save time and money with highly-professional illustrations from the original ...BUT VOLK CLIP ART HELPS KEEP DWINDLING DOLLARS IN YOUR POCKET!! "Clip Books of Line Art." 1111111•11111111111•1111MMEMIIMMINO AMIN So inexpensive it's almost ridiculous - and almost NIM•11111111111••••••••••MM■■■■■■■■■■■■■■ ■■■■■r AIM sinful to be without it! The cost averages about 0.4■■■■■■■■■■■■■■■■■■■■■ P .. ► AMEN. $3.00 a week - roughly an hour's work at the ...... M. , ENNENNE■■■■■ V ...... MM. minimum wage. Production costs have doubled and 11 - im MM. 4NE upri .;VIIMMErni mom ...:4( tripled but the "Clip Books" have undergone just one Lamm IIIN MM.■■■■■■ modest rate increase since 1973 and are, without MEE Iniiiiii ■■■■■ question, the biggest bargain in the graphic arts field. MUM M NOME 111.1.✓ MINIMUM IIIIIMII•11 /' IOU IIII••••••• =or mom m■■ nimmor ■■■■■■■■ The cost of original ■■■■■■■ .•■■■■=1M■■■MIIIMM 11■■■111111V AII■■■■■■■■■■■■■■ art is chopped fine 121 111111.1r AIIMIIIMMEIIMMIIIIIIMMIIM and shared by ■■MEWV 4 ■■■■■■■■■■■■■■■■■■■■■■■■■■4/1••••••1111111111M11111MINMEN subscribers... it's like an top firms - some for more than 26 years. They'd will- art co-op. ingly spend more (much more!) but there's no better ready-to-use art at any price! Our 27 years of leader- THIS ship in the field assure you of top creativity, taste IS HOW and quality. Many art studios, ad agencies and IT'S DONE! creative printers use the art profitably on custom jobs for individual clients. (The art, however, may not be resyndicated for multiple resale.) 10 DAY FREE TRIAL FIVE "CLIP BOOKS" FOR 5c NO OBLIGATION To prove a point, we'd like We'll ship your five nickel- It's all very simple! If you don't like it - don't keep to send you the current issue bonus-books along with an it! If you like it, keep it and get $30,000 in original art of four "Clip Books" and four invoice for $67.55. Then each for only $67.55. If you'll agree to clip out our art, miniature indexes for a ten- month for four months we'll we'll guarantee to cut down your costs. It's just like

day free examination. About mail your brand new issue clipping coupons - so clip the one below and start sav- $5,000 in original art for you until your five-month trial ing time and money! to examine right in your own subscription is terminateo. All in office. Dozens of fresh, im- all, you'll get ten eight-page books, aginative drawings (like the samples ten 12-page books, 20 match- shown here) from the busy boards ing index folders (250 pages of a dozen of America's top of art and about 500 differ- freelancers. We're strong on ent drawings) plus the five handsome realistic illustra- bonus books of your choice. tion - best in our field - plus All for less than you'd spend 10 - DAY EXAMINATION cartoons, borders, gimmicks on a single custom illustration. and design devices. I VOLK BUILDING I At the end of ten days, you'll Mr 7 decide for yourself. If you feel FOR INSTANT USE OF BOX 72 L • You'll clip and paste an art VAk the art is not all we said (and more!) proof just like an original illustration you'll simply pack it up and send it back • PLEASANTVILLE, N.108232 • (which it is) for each is pure black-and-white line, without cost or obligation. But, if you recognize Yes! We'll take a free ten-day look at impeccably lithographed on one-side of its time - and money-saving potential, keep it and your newest monthly issue of four "Kromekote" reproduction stock. Instantly ready for start clipping and pasting. Just let us know which "Clip Books of Line Art" and four a simple camera shot - no hard-to-handle halftones. five books (from our illustrated catalog of 240 miniature indexes. If not delighted, It's quite easy to work with the "Clip Books" and categories) you want as your bonus for an addi- we'll return them in ten days without the professionalism of your printed pieces will tional five cents. cost, obligation or hassle. delight you. But, if we decide to clip, paste and But please don't let the modest cost mislead save, we'll keep this first issue and The you! The art is used effectively in many ways by select five bonus books for five cents leading art directors and ad managers in America's 1*- "Clip Books" from the 240 in your catalog. You'll then bill us for $67.55 and during the next am packed with four months mail us the remaining r handsome realistic illustrations, issues of our five-month trial. cartnons, designs, gimmicks, borders and decorative spots1 Firm Name (Please Print)

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In the recent competition of the New York Composition Association, twenty gold and silver awards were won by M.J. Baumwell -one out of every four.

AD TYPOGRAPHY First place — MJ. Baumwell, Typography A mini-glossary of computer/typographic terms. Second place — MJ. Bauthwell, Typography Compiled by Paul Doebler and Edward M. Gottschall ANNUAL REPORTS First place — MJ. Baumwell, Typography ARTS, CRAFTS AND HOBBIES First place — MJ. Baumwell, Typography Centered Dot Familiarly called a "bullet': a centered dot can be of any point BUSINESS FORMS size and is usually centered on the lower-case "x" height of First place —MJ. Baumwell, Typography the typeface with which it appears. DIRECT MAIL & CAMPAIGN PIECES First place — MJ. Baumwell, Typography Central Processing Unit (CPU) Second place —MJ. Baumwell, Typography The main manipulatory section of a computer, which con- tains the arithmetic-logical unit, registers, etc.The abbrevia- FOREIGN LANGUAGES tion CPU is frequently used. First place —MJ. Baumwell, Typography Second place — MJ. Baumwell, Typography Chad HOUSE ORGANS The paper waste resulting from holes being punched in First place —MJ. Baumwell, Typography paper tape or cards. JOURNALS Chain Printer First place —MJ. Baumwell, Typography A computer-operated device used to type out material that Second place —MJ. Baumwell, Typography is in a computer. It prints on a continuous length of paper MANUALS using individual type characters that are mounted on an First place —MJ. Baumwell, Typography endless chain. As the proper character rotates to the point of impact, it is struck onto the paper. It operates at very high SELF ADVERTISING speeds compared to conventional typewriters. Second place —MJ. Baumwell, Typography SPECIALTY MAGAZINES Character Second place — MJ. Baumwell, Typography The actual or coded representation of a digit, letter or special symbol. STATIONERY Second place (2) —MJ. Baumwell, Typography Character Generation TECHNICAL PUBLICATIONS The construction or projection "drawing" of typographic Second place —Mj. Baumwell, Typography images on the face of a CRT by a moving electron or light beam, usually in association with a high-speed computer- TRADE MAGAZINES ized photocomposition system. First place —Mj. Baumwell, Typography TYPE SPECIMEN BOOKS Character Set Second place —MJ. Baumwell, Typography A font. See Font. Cobol Common Business Oriented Language. The name of a high- level programming language designed primarily for business or commercial use.

Code A symbol or set of symbols used to represent data or instructions to a computer; also the actual writing of source instruc- Thinking neatly done. tions to be translated to machine instructions. Color This term is often used synonymously with "weight: It may also be used in referring to the zest or flavor of a type design.

Command A code that can be keyboarded and entered in a computer's memory that will instruct the typesetter, editing terminal or other device concerning the handling and disposition of the text or graphics. Many codes used in typesetting are combi- nations of characters that form abbreviations for command mmb names.These are easily learned and quickly executed by an mJ BAUMWELI 1IPOGR4PHYINc. i operator. See also Mnemonics. 46181H AVENUE NEW VCR< W100D1 (212) 868-0515 75 Only the following Subscriber Companies are licensed to manufacture and sell ITC typefaces: Creative Solutions Require Versatile Art Products... AM International, Inc. Filmotype Mecanorma Varityper Division 7711 N. Merrimac Avenue 78610 LePerray-en-Yvelines 11 Mt. Pleasant Avenue Niles, Illinois 60648 Paris. France FORMATT Cut-Out Acetate East Hanover, N.J. 07936 (312) 965-8800 (484 83 40) Art Aids are scratchproof, (201) 887-8000 Film Fonts DzyTransfer Letters Phototypesetters and Photo- crackproof, and repositionable lettering Systems FONTS—Hardy/Williams Mergenthaler Linotype during their application to art- (Design) Ltd. Company work. For greater design free- Aiphatype Corporation 73 Newman St. 201 Old Country Road 7711 N. Merrimac Avenue London WI England Melville, N.Y. 11746 dom in your next job be sure Niles, Illinois 60648 01-636-0474 (516) 673-4197 to specify: (312) 965-8800 Font Manufacturer Linofilm, Linotron, Linocomp, AlphaSette and AlphaComp V-I-P Phototypesetting Systems Fonts Unlimited 34 Plaza Square MGD Graphic Systems F o RMATT Artype, Inc. Orange, Calif. 92666 Rockwell International CUT-OUT ACETATE GRAPHIC ART AIDS 3530 Work Drive Font Manufacturer 2735 Curtiss Street P.O. Box 7151 Downers Grove, Illinois 60515 Fort Myers, Fla. 33901 FotoStar International (312) 963-4600 (813) 332-1174 15450 E. Valley Blvd. Information Products Division 800-237-4474 City of Industry. Calif. 91746 Dry Transfer Letters (213) 333-2600 or 330-5330 3M Company Cut Out Letters FotoStar II Display Setting 3M Center Machines. 2" Film Fonts St. Paul, Minn. 55701 Autologic, Inc. (612) 733-1100 1050 Rancho Conejo Blvd. Fundicion Tipografica Promat Letter Compositor Newbury Park, Calif. 91320 Neufville, S.A. (213) 889-7400 Puigmarti, 22 The Monotype Corporation Ltd. Salfords, Redhill, Surrey APS-4/APS-5 CRT Phototype- Barcelona-I2 England setter Composition and Spain Redhill 6 5959 Typesetting Systems Poster Types Visual Communications H. Berthold AG Geographies, Inc. Equipment 1000 Berlin 61 1100 Seymour Street Mehringdamm 43 Vancouver, B.C. Ofilcine Marta Germany Canada V6B 3N3 Via Privata Venafro, 6 20154 Milano (030) 69031 (604) 665-8236 Italy Diatronic, ADS 3000, Diatext, DryTransfer Letters Diatype, Staromatic, (02) 38.42.08/39.43.65 Staromat, Starograph Graphic Products Corporation 'typesetting Machines 3601 Edison Place Berthold of North America Rolling Meadows, Ill. 60008 Optronics International, Inc. 610 Winters Avenue (312) 392-1476 7 Stuart Road Paramus, N.J. 07652 Formatt cut-out acetate letters Chelmsford, Mass. 01824 (201) 262-8700 and graphic art aids (617) 256-4511 Diatronic, ADS, Diatype, Phototypesetting Systems Staromat, Diasetter, Graphic Systems World Repromatic Trade S.A. PhotoVision Of California. Inc. Tour Galen' 1 P.O. Box 552 Bobst SA. 80 Avenue Galen' Culver City Calif. 90230 Bobst Graphic Division 93170 Bagnolet (213) 870-4828 CH-1001 Lausanne France Toll Free 800-4214106 Switzerland 360.1212 Spectra Setter 1200, Visual OLD 021/89.29.71 Graphiset Display Setter, and 2" Film Phototypesetting Systems Fonts Harris Corporation M I LL Dr. Boger Photosatz GmbH Harris Composition Systems Pressure Graphics, Inc. 2 Wedel in Holstein Division 1725 Armitage Court Rissener Strasse 94 P.O. Box 2080 Addison, Illinois 60101 Germany Melbourne. Florida 32901 (312) 620-6900 DryTransfer Letters LORISTS (04103)6021-25 (305) 259-2900 Manufacturers of Copytronic ir Fototronic 4000,TXT, 1200, 600 Protype, Inc. Phototext Composing Machines, CRT7400,7450 Film Fonts, and Copytype 67 Main Street Photolettering Systems Warwick, N.Y. 10990 e Dr.-Ing Rudolf Hell GmbH and Fonts (914) 986-1166 Grenzstrasse 1-5 Visual Display Phototypesetting D2300 Kiel 14 Cello-Tak Mfg., Inc. Systems and Film Fonts Germany 35 Alabama Avenue (0431) 2001-1 Island Park, LI, N.Y. 11558 Ryobi Limited Digiset Phototypesetting (516)431-7733 762 Mesald-Cho Equipments and Systems, Dry Transfer Letters Fuchu-Shi Digiset-Fonts Hiroshima-Ken 726 Chartpak . Japan Information International Text/Display Phototypesetters One River Road 5933 Slauson Avenue Leeds, Mass. 01053 Culver City, Calif. 90230 D. Stempel AG (413) 584-5446 (213) 390-8611 DryTransfer Letters Hedderlchstrasse 106-114 Phototypesetting Systems Frankfurt am Main-Sud Germany Compugraphic Corporation International Graphic 80 Industrial Way (0611) 6068-1 Marketing Type Division Wilmington, Mass. 01887 Rue des Bosquets 12 (617) 944-6555 Ch-1800 Vevey EditWriters, CompuWriters, 'Tactype, Inc. P.O. Box 33 12 West 26th Street Text Editing Systems, Switzerland Accessories and Supplies NewYork, NY 10001 Fbnt Manufacturer (212) 924-1800 Degra Albert Deist Dry Transfer Letters lick Corporation Postf. 114 D-3508 Melsungen 1001 Jefferson Road Technographics/Film Fonts West Germany Rochester, NewYork 14603 DisplayTypesetters. 2" FilmFonts P.O. Box 552 (716) 244-5600 Culver City, Calif. 90230 Phototypesetters Dymo Graphic Systems, Inc. (213) 870-4828 Toll Free 800-4214106 355 Middlesex Avenue Letraset International Ltd. Film Fonts, Studio Film Kits, Wilmington. Mass. 01887 7 Apple glee Yard (617) 933-7000 and Alphabet Designers London SW1 Y 6LD Phototypesetting Systems and Visi-Graphics Equipment. Film Strips, England (01) 930-8161 8119 Central Avenue Standard and Segmented Discs, Washington, D.C. 20027 and Digitized Fonts Dry Transfer Letters (301) 366-1144 Letraset USA Inc. Dry Transfer Letters 'Esselte Dymo N.V. 40 Eisenhower Drive PO. Box 85 Paramus, N.J. 07652 Visual Graphics Corporation Industrie Park-Noord 30 (201) 845-6100 5701 N.W. 94th Avenue B-2700 Sint-Niklaas DryTransfer Letters Tamarac, Florida 33321 Belgium (305) 722-3000 031/76.69.80 (10 1.) Linographics Manufacturer of Photo Typositor Visual Systems Division 770 N. Main Street and Original Typositor Send for free FORMATT catalog today! Orange, California 92668 Film Fonts Film Fonts International (714) 639-0511 225 Park Avenue South Display Typesetters. Zipatone, Inc. NewYork, NY. 10003 2" Film Fonts 150 Fend Lane Your name (212) 533-2110 Hillside, Illinois 60162 Alphatype/AlphaSette® (312) 449-5500 Fonts and 2" Display Fonts DryTransfer Letters Company

FOr further information, write or call: Street International Typeface Corporation, City State Zip 216 East 45th Street, NewYork, NewYork 10017 (212) 371-0699 I:3 Thlex: 125788 Mall to: Graphic Products Corporation, 3601 Edison PI., Rolling Meadows, IL 60008 CLICENSEDI

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NAME/TITLE business in China. You've got your clients. Your production COMPANY schedule worked out. Sales force primed. Now, how do you communicate? Who's I going to set Chinese type for your adver- ADDRESS tising? Your graphics? Think King Typo- graphic Service, of course. We'll set your type in modern Chinese. King specializes CITY/STATE ZIP in foreign languages. Clear, crisp type for I advertising, architectural graphics, audio- visual, brochures and more. We can actually set more than a thousand I PASTORE languages and dialects. King has a full range of sizes and faces, traditional and I DE PAMPHILIS modern. Call (212) 754-9595. If you want to talk to China, talk to us first. I RAMPONE" King Typographic Service COMPUTER TYPOGRAPHERS Talk to us. 145 EAST 32ND STREET NEW YORK, NEW YORK 10016 305 East 46th Street, New York, 10017 (212) 754-9595 (212) 889-2221 The foreign language division of TGC.

I PATONE ESIGNERS FONTS

New from Zipatone...wear our faces on your body. We have designed T-shirts using: Golly...Postscript ...Primavera...and Iguana Bold. Em- blazoned across the front is a slogan that will make headlines wherever you go. As you would expect from Zipatone, there's something more behind it. On the back, we've printed a full alphabet. Purchase five sheets or more of our new Designer Fonts You have a scenders. at any participating art materials thing for old For 50(G, you store and send proof of purchase to us. Zipatone will send you the type. You're into get a new catalog T-shirt of your choice free! This offer old broadsides and describing classic is good until October 31, 1979. line engravings. Your Kelsey hand presses hands itch just thinking ink and type -- crafted today as and paper, carefully and proudly as in gal ascenders your great-grandfather's and de- time. For a trip into nostalgia-send your name, address and 50T to Kelsey Company, Dept. ULC, Meriden, Conn. 06450. Kelsey Presses zipabne inc. 150 tend lane, hillside, illinois 60162

Some

Others might even call and General Drawing" it a warehouse. Either Supplies. We even way, we'd call it the have that whatcha-ma- most extensive selec- call-it you've been tion of graphic arts looking for. products ever assembled. So, why not visit your We, at Alvin, understand favorite art supply dealer your needs. That's why you'll and look over the ALVIN find a wide, wide range of quality line of art materials. Or art materials to choose from ... send for your free copy of this Instruments, Scales, Drawing big 212-page catalog today, Room Equipment, Pencils, and see what "complete" Pens, Markers, Transfer really means. Chances are Type and Films. "we've got it!" R egicitn imisook 'Roan imatierc minaick r ""ALVIN and COMPANY,INC." szt aria a Importers, Manufacturers, & Distributors ant ma u P.O. Box 188C, Windsor, Conn. 06095 N I I'd like to get a look at your warehouse. Send me your free catalog today. y E NAME TITLE COMPANY Answers to quizz— page 14, top to bottom: Judy Garland, ITC Souvenir Bold. Joseph Conrad, ITC American Typewriter I ADDRESS Bold. John Wayne, ITC Kobel Ultra.Woody Allen, ITC Quorum Black. Marilyn Monroe, ITC Benguiat Bold. Maria Callas, ITC Garamond Ultra. Fred Astaire, ITC Avant Garde Gothic Bold. Anatole France, ITC Tiffany Heavy. Harry Houdini, ITC Chelt- CITY STATE ZIP enham Ultra. Mary Pickford, ITC Korinna Heavy. Page 15, top to bottom: Doris Day, ITC Friz Quadrata Bold. Moliere, ITC Quality at the Right Price for over 25 years Century Ultra. Cary Grant, ITC Bauhaus Heavy. Calamity Jane, ITC Zapf Book Heavy. Rock Hudson, Italia Bold. Elizabeth U&Ic 9/79 Arden, ITC Zapf International Heavy. Sugar Ray Robinson, ITC Serif Gothic Black. George Orwell, ITC Bookman Bold. Richard Burton, ITC Lubalin Graph Bold. Gerald R. Ford, ITC Eras Ultra. 78 Show &all Chartpak's complete range of pre- press graphic products will help you solve just about any design problem. Color films and paper, 275 styles of Velvet Touch transfer lettering, graphic tapes and symbols are all made with the graphic designer in mind. Chartpak is helping the professional create.

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You hear a lot in the business these days about secret formulas This doesn't mean that some companies aren't better than and special processes, equipment modifications, unique ad- others, of course. With all due modesty, for example, we vancements in film and chemicals and machinery. think Birmy's better than anyone. One guy'll tell you he's put together an etching bath that Know what our secret is? People. gives the cleanest vignette halftones around. Somebody else At Birmy, we hire the best people we can, pay them well will brag about his one-of-a-kind kerning system and the per- and give them the time and materials they need to do the fect letter-fit it offers. best possible job. All right, maybe. Maybe they've discovered something we To us, this seems only fair. We work with some of the don't know about. But we doubt it. top designers and graphic artists in the country and we Seventy-five years ago, when Edward Birmingham was feel a responsibility to make sure their ideas come out setting up the engraving shop that eventually evolved into looking as good on paper as they did inside their heads. Birmy, every formula was a secret. (His grandsons still If a vignette halftone isn't smooth as silk, with soft fad- have Ed's original notebooks, one of which recom- ing-away edges, then we're not fulfilling our end of the mends a solution of chemicals and eggs that is prob- professional bargain. ably best left a secret.) The industry was new then, Equal parts dedication, professionalism and know- and people were just learning how to do many of the how: that's Birmy's formula. And, to anybody we've things we take for granted today. When they devised ever worked for, it's no secret. a process that was new or better, they kept it to themselves. Things are different today. Everybody has access 2244 NW 21 Terrace to the same equipment and chemicals and formu- Miami, Florida 33142 las. If they're willing to spend the money, they can (305) 633-5241/635-0482 get the best.

79 /3uclig Zinfon Xindo# Bulky Dundee Xurtuf Lindy Laser

We don't get annoyed when customers mangle our name. Some have been doing that since 1833.

Peoole may not always remember our full name. BULKLEY

But they never forget LINDE N the way we work to fill their paper neecs, LATHROP 295 Fifth Ave.,New York, N.Y.10016 (212 679-5050 300 Murray Hill Pkwy.,E.Rutherford,N.J.07073 (201)933-6400

BUSINESS CLASSIFICATION (Check one only) (a) Printer (Commercial, forms, etc.) (b) Typesetting, Composing (c) Advertising Agency, Art Studio, Design IF YOU ARE NOT NOW RECEIVING (d) Newspaper, Magazine (e) Book Publisher Mlle AND WOULD LIKE TO BE Packaging (g) Internal Printing (not for resale) PLACED ON OUR MAILING LIST, (h) Education (i) Libraries PLEASE COMPLETE THE (j) Government INFORMATION ON THIS FORM (k) Corporation advertising, design, promotion (I) Student AND MAIL TO U&LC, 216 EAST (m) Other

4 STREET, NEW YORK, N.Y. 10017. MY PRIMARY JOB FUNCTION IS: (Check one only) (n) Artist, Illustrator There is no charge for subscriptions within the United States. (o) Art Director, Creative Director (P) Pasteup Artist (9) Type Director (r) Graphic Designer I want to receive U&lc (s) Advertising Manager, Sales Promotion Manager yes no (t) Production Manager (u) Printing Buyer, Purchasing Agent NASIE (v) Principal, Officer (w) Other TITLE NUMBER OF PERSONS EMPLOYED IN YOUR ORGANIZATION COMPANY (1) 1-9 ADDRESS CITY STATE ZIP (2) 10-19 (3) 20-49 SIGNATURE (4) 50-99 (5) 100-249 (6) 250 and over

80 ■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■ ■ • • • • These handsomely designed, colorful ITC specimen • ■ booklets and back copies of U&Ic are available for • • your personal use and collection. To obtain them, • ▪ • • just complete this order form and mail it to us. A ll • UC Type Specimen Booklets • orders must be accompanied by a remittance. No • CODs, or purchase orders without remittances, can • and U&LC Back Copies for Sale '• ■• • be handled. Please make checks payable to ITC. ■ ■ Only checks payable in U.S. funds will be accepted. ■ • • • International Typeface Corporation • ■ 216 East 45th Street, New York, N.Y. 10017 ■ ■ ■ ■ ■ • ■• Name • ■ • ■ • ■ Company • • ■ ■ Title ■• ■• • Street Address ■ •■ • ■ •■ •■ City • • ■• State Zip Code • ■ • • ■ Country • ■ • ■ • ■ Qty. Unit Price Total • ■ •■ • ITC BOOKLETS: ■ ITC American Typewriter 75c ■ ■ ITC Avant Garde Gothic with Oblique . 75c • • • ITC Avant Garde Gothic Condensed 75c • ITC Bauhaus 75c • •■ • — ITC Benguiat 75c • 111 _ ITC Benguiat Condensed ...... 75c ■ ITC Benguiat Gothic 75c • • • ITC Bookman 75c ■ • ITC Cheltenham with Condensed 75c El ■• • ITC Clearface 75c ■ ITC Eras 75c 111 ■ Friz Quadrata 75c • • ITC Garamond with Condensed 75c • • • _ Italia . 75c ■ • 75c • ITC Kobel ■• • ITC Korinna with Kursiv 75c ■ ITC Lubolin Graph 75c • • • ITC Newtext 75c • • ■ ITC Quorum 75c • • ITC Serif Gothic 75c ■ ■ ITC Souvenir 75c ■ ■ ITC Tiffany 75c • • • ITC Zapf Book 75c • MI ___ ITC Zapf Chancery ' 75c • • 75c ITC Zapf Dingbats •■ • ITC Zapf International 75c _ ■ U&IC BACK COPIES:* • ■ U&IC, Vol. 1, No 3 . , $1.50 • • • U&Ic, Vol. 2, No. 1 $1.50 ••U&Ic, Vol. 2, No. 2 $1.50 ■ • $1.50 • U&Ic, Vol. 2, No. 3 ■• • U&Ic, Vol. 3, No. 2 $1.50 ■ U&ic, Vol. 3, No. 4 $1.50 • • • U&Ic, Vol. 4, No. 1 $1.50 • • U&Ic, Vol. 4, No. 2 $1.50 • • $1.50 • U&Ic, Vol. 4, No. 3" ■• • U&Ic, Vol. 4, No. 4" $1.50 ■ U&Ic, Vol. 5, No. 1** $1.50 • • — U&Ic, Vol. 5, No. 3 . $1.50_ ••• ■ — U&Ic, Vol. 5, No. 4 $1.50 • • — U&Ic, Vol. 6, No. 1 $1.50 • benguiat gothic ■ U&Ic, Vol. 6, No. 2 $1.50 111 ■ Total order ■ • Add postage for booklets only .50 • • • N.Y. residents add state sales tax ■ •■ • Remittance, in U.S. funds, enclosed *Outside U.S. $2.50 per copy. **Outside U.S. $4.00 per copy. • ■• • Remittance must be in U.S. funds • ■• • ■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■

r - MOVING? CHANGE OF ADDRESS: SEND THIS LABEL (OR COPY OF IT) WITH YOUR CORRECTIONS TO: U&LC 216 EAST 45 STREET NEW YORK N.Y. 10017