Aa Bb Cc Dd Ee Ff Gg1-11-11iJj Kk LI Mm Nn Oo Pp Qq RrSsTt UuVvWwXxYy Zz1234567890&/ECEW£70!?( )[] PUBLISHED BY THE INTERNATIONAL TYPEFACE CORPORATION. VOLUME ONE, NUMBER ONE , 1973 UPPER AND LOWER CASE, THE INTERNATIONAL JOURNAL OF TYPOGRAPHICS In this issue: Typography' and the Information, Typography and the New Technologies New Technologies Please A retrospective by Aaron Burns of the development of the emerging technologies in the 20th Century; the challenges, the opportunities. Information, Please a The New York Times Information Bank is a hen I went to uppose that you computerized system that can help you find out art school, I learned that many of my fel- wonted to find out... WHO is the new head of the low students had problems when it came Johnson Foundation? everything about anybody or anything— to drawing certain parts ofthe human ana- WHAT were the basic terms of the General Motors-Curtiss-Wright agreement for the Wonkel that was reported in a newspaper or magazine. tomy. They simply could not draw hands engine? Stop the "Perpetrators" or feet. WHEN was the Amchitka otomictestconducted? I first became conscious of their diffi- WHERE will Swindell-Dressler Company build a A scathing indictment by Edward Rondthaler of culties when I noticed that the people steel foundry in Russia? the unscrupulous typeface design pirate companies who appeared in their layouts never had WHY did Secretary Volpe sign a transportation which unconscionably copy for cut-rate sale hands or feet. Hands always seemed to research agreement with the Polish Government? the original work of creative artists. be behind peoples' backs or in pockets. HOW did Martha Mitchell come to blow the Feet were always out of view, either be- whistle on the Watergate? What's so Hot about Robert Indiana? Answer: hind a desk, or the people were cropped You'd merely consult the remarkable new In- New York Times Art Critic John Canaday at the waist or knees. formation Bank of The New York Times. with some biting observations on the work of this People, however, do have hands and This eminent newspaper has recently taken painter, with a comparison by a graphic designer feet, and very often they must be shown. a giant step into the 21st Century with the intro- The advertisements created by these stu- duction of the world's first computerized system of how"love" really should be. dents very often suffered as a result of for the storage and retrieval of the richly varied contents of newspapers and magazines. Art and Typography these simple but important handicaps. CONTINUED ON PAGE 11 Willem Sandberg, former Director of Amsterdam's CONTINUED ON PAGE 3 Stedelijk Museum, considers the function of the artist in society and in the shaping of new communications Stop the What's so Hot about patterns. "Perpetrators" Robert Indiana? Is Avant Garde avant garde? Presenting the story behind this ITC typeface, how it came to be designed by Herb Lubalin, and why he thinks maybe it should never have happened. anger. lot of friends in My Best with Letters This article has been labeled "Stop the advertising—talented designers all—have been Four famous designers offer their one"best" piece Perpetrators" for good reason. talking to themselves lately. "What," they want of typographic art. The alarm is genuine. to know, "is so hot about Robert Indiana?" No adequate law protects the type de- "What's he got that we haven't?" they want to Young Typography signer or photocomposing machine manu- know. "Look," they say, "we turn out designs facturer from unauthorized duplication of like his—only better—every day in the week." Featuring each issue the best, the most unusual, the machine's most vital part: the typeface the most significant work being done by students or font negative. Unauthorized contact "What's so special about Robert Indiana?" throughout the world. duplication of these critical negatives has What indeed. reached dangerous proportions, and the I was mulling this over the other day when The Spencerian Revival graphics industry can no longer afford, I came across an article by New York Times Tom Carnase, one of the foremost designers of ostrich-like, to disregard the demoralizing Art Critic, John Canaday. Mr. Canaday was effect it is having on creative talent. It is a exploring this very idea. He'd just been to a letterforms, has created a trend back to Spencerian blight on the industry's legitimate business recent new exhibition at the Denise Rene Gal- through his artful handling of this script form. practices, and bringing it under control is a lery in New York, which was presenting a one- worthy endeavor calling for the concerted O man show of Indiana's designs, and he hadn't Corporate Design is Big Business effort of all. But more about that later; here is And small business. Both are finding that the image the background: gotten over it yet. We operate in a free system where ethics For the uninitiated, Robert Indiana is the they present to the public is becoming more and more and law contribute mightily to the function- creator of LOVE, that cleverly-arranged four a factor in their successful growth. The first article CONTINUED ON PAGE 7 on corporate design is by Lou Dorfsman, Design CONTINUES:. ON PAGE 2 Director, Columbia Broadcasting System. The second by Ernie Smith, Proprietor of Port Jerry, a rustic resort. art and typography A Satire of Newspaper Logos let us consider first the function of the artist in society. The prominent illustrator and satirist, Chas. Slackman, the men who handle the antique furniture in my museum have depicts his graphic impressions of the nature of some developed a vocabulary of their own when they speak of styles. of our most prominent newspapers through the they call louis XIV: louis with the twisted legs louis X\/: louis with the bow legs redesign of their logotypes. louis louis with the straight legs Non-Communication • now the legs of these kings, i guess, actually did not differ so much from each other. Ed Sorel, one of America's foremost satirists, expresses but it was nor the kings who created these styles; it was the artists, the architects, the painters and sculptors, his views on the subject of non-communication in the musicians and the authors who tried to render the essence of no uncertain terms. These fascinating drawings will the epoch, who made the impact of a certain period visible, audible, perceptible. be a regular feature in "U&lc." the artist creates the face of society; his work enables us to revive the past. What's New from ITC to cite an example, the paintings and posters of toulouse-lautrec A first-time showing of the newest creations of ore for us the incarnation of Paris around 1900. typeface designers to be offered by ITC to the world how does this come into being? buying public through ITC Subscribers. PAGE 20 CONTINUED ON PAGE IS 2 VOLUME I NUMBER 1, 1973 HERB LUBALIN, EDITORIAL & DESIGN DIRECTOR AARON BURNS. EDITORIAL DIRECTOR ED RONDTHALER, EDITORIAL DIRECTOR JACK ANSON F1NKE, ASSOCIATE EDITOR JO YANOW, EDITORIAL ASSISTANT ELLEN SHAPIRO, ART & PRODUCTION EDITOR JOHN PRENTKI, BUSINESS AND ADVERTISING MANAGER - U&LC" COI, YRIGHT. 1973 AND PUBLISHED BY INTERNATIONAL TYPEFACE CORPORATION, 216 EAST 45TH STREET, NEW YORK, N.Y. 10017 AJOINTLY OWNED SUBSIDIARY OF PHOTO-LETTERING, INC. AND LUBALIN, BURNS & CO., INC. BOARD OF DIRECTORS EDWARD RONDTHALER, CHAIRMAN AARON BURNS, PRESIDENT HERB LUBALIN, EXECUTIVE VICE PRESIDENT JOHN PRENTKI, SECRETARY/TREASURER BOB FARBER. SENIOR VICE PRESIDENT ED BENGUIAT, VICE PRESIDENT STEPHEN KOPEC, VICE PRESIDENT y Ileac? Stop the "Perpetrators" But now a new technique has entered the CONTINUED FROM FIRST PAGE The world of graphic arts is alive today with industry. Photography. Phototypography ing of business. Business law has built our opens up new availabilities. Good and bad. new technological advances, so vast and Type pirating is no longer expensive, and as great economic machine, but it is our day- difficult to comprehend, that they strain the by-day ethic that provides the oil to keep long as the law lags behind technology, the giant from grinding to a halt. Some years type pirating will be legal. The develop- imagination of even the most knowledgeable ago a popular treatise on economics — aptly ment of photographic typesetting equip- and creatively gifted among us. New named "The Promises Men Live Br-pointed ment has sparked a rash of new machines out that law alone is not enough to keep our which use an inexpensive font negative materials, new tools, new ways to plan economy healthy. Widespread voluntary rather than the costly matrices of hot metal. work are becoming mandatory for efficiency, adherence to moral and ethical business Ironically, photography has been the tech- principles is the lubricant that makes the nological salvation of the typesetting busi- quality, economy—presenting problems for whole thing work. ness, but when used unethically it can rob all — printers, typesetters, artists, writers, Every enterprise needs ready access to the type designer of his livelihood. It can do the tools of its trade— in this case typefaces. worse than that. It is now threatening to throw advertisers, publishers — all the creative But if this need is satisfied through unethical the creative arm of the industry into chaos. people who have anything to do with prepa- means, particularly when there is an ethical The perpetrators of this situation are the alternative, then we are in trouble. When a unauthorized film font duplicators—better ration of the visual word. thief takes pennies from a newsstand, it's described as "contact-copiers." Their work called stealing.