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AaBbCcDdEeFfGgHhliJjKkLIMmNnOoPp 2345 67890&fECES“£%!?0[1 PUBLISHED BY INTERNATIONAL TYPEFACE CORPORATION, VOLUME TEN. NUMBER THREE.SEPT 1983 UPPER AND LOWER CASE. THE INTERNATIONAL JOURNAL OF TYPOGRAPHICS Thoughts "The way to simplicity is hard labor, VOLUME TEN, NUMBER THREE. SEPTEMBER, 1983 but it must never seem like hard labor."
EDITOR: EDWARD GOTTSCHALL ART DIRECTOR: BOB FARBER "There are three kinds of memory: EDITORIAL DIRECTORS: AARON BURNS, EDWARD RONDTHALER ASSOCIATE EDITOR: MARION MULLER visual, aural, and memory of the fingers. ASSISTANT EDITOR: JULIET TRAVISON CONTRIBUTING EDITOR: ALLAN HALEY Mine was visual and performed best RESEARCH DIRECTOR: RHODA SPARBER LUBALIN BUSINESS MANAGER: JOHN PRENTKI while playing, when I would actually ADVERTISING/PRODUCTION MANAGER: HELENA WALLSCHLAG ASSISTANT ART DIRECTOR: ILENE MEHL see the printed music and turn the ART/PRODUCTION: TERRI BOGAARDS, SID TIMM SUBSCRIPTIONS: ELOISE COLEMAN pages in my mind." U&LC (ISSN 0362 6245) IS PUBLISHED QUARTERLY BY INTERNATIONAL TYPE- FACE CORPORATION, 2 DAG HAMMARSKJOLD PLAZA, NEW YORK, N.Y. 10017. A JOINTLY OWNED SUBSIDIARY OF LUBALIN BURNS & CO., INC. AND PHOTO- "I was determined not to marry. My LETTERING, INC. U.S. SUBSCRIPTION RATES $10 ONE YEAR: FOREIGN SUBSCRIP- TIONS, 515 ONE YEAR: U.S. FUNDS DRAWN ON U.S. BANK. FOREIGN AIR MAIL long experience with women proved SUBSCRIPTIONS-PLEASE INQUIRE. SECOND-CLASS POSTAGE PAID AT FARM- INGDALE, N.Y. 11735 AND NEW YORK, N.Y. POSTMASTER: SEND ADDRESS to me that a lover has the advantage; CHANGES TO U&LC, SUBSCRIPTION DEPARTMENT, 866 SECOND AVENUE, NEW YORK, N.Y. 10017. he shows himself to the object of his ITC FOUNDERS: love in the best light and only at AARON BURNS, PRESIDENT EDWARD RONDTHALER. CHAIRMAN EMERITUS HERB LUBALIN, EXECUTIVE VICE PRESIDENT 1970-1981 moments chosen by himself He ITC OFFICERS 1983: need stay with her neither too long GEORGE SOHN, CHAIRMAN AARON BURNS, PRESIDENT nor too little; his courtship can EDWARD GOTTSCHALL, EXECUTIVE VICE PRESIDENT BOB FARBER, SENIOR VICE PRESIDENT remain fresh, he sends her flowers at JOHN PRENTKI, SENIOR VICE PRESIDENT AND GENERAL MANAGER EDWARD BENGUIAT, VICE PRESIDENT the right time. He succeeds by being MICROFILM COPIES OF U&LC MAY BE OBTAINED FROM MICRO PHOTO DIVISION, discreet, and, whenever the right BELL & HOWELL OLD MANSFIELD ROAD, WOOSTER, OH 44691 moment comes, passionate. Wow look at the fate of a husband. In this issue: He is always around even if she Thoughts wants to see less of him. Or else he is Comments on Labor and Love by noted pianist Arthur never home when she needs him Rubinstein. Page 2 most. Perhaps he snores at night, or looks tired and disheveled in the Editorial morning, or has bad bathroom man- It will all be resolved. Some reassuring observations on the ners. He has to share with her her eventual synthesis of personal creativity and computer tech- worries, make her share his own; nology. Page 3 they have to discuss money matters, The Kalishes the cost of living, children, servants, A story of life imitating art... and art that imitates no one. etc. I see love and married life in Page 4 this way." Arthur Rubinstein, MY MANY YEARS Mechanimals, II The most amazing creations since Genesis—Murray Tinkel- man returns with a new flock of mechanimals. Page 8 Feliks Topolski Steven Heller continues his chronicle of satiric art with a perceptive account of the life, the philosophy and the work of this Polish-born artist. Page 12 Typographic Milestones: Morris Fuller Benton To provide a link with the past, this new feature will review the lives and contributions of our foremost type designers. Page 16 The Subject Is Spectacles If you don't already wear them, you're likely to need them eventually; so learn some fascinating facts about this indis- pensable item of modern life. Page 20 Reportfrom Technopolis - A review of the up-to-the-minute automating devices and sys- tems that will affect everyone in graphic communications. Page 22 Puzzle: Once Upon a Time The search is on for authors' names, but Arthur Conan Doyle, alas, is not here to help. Page 24 COLOPHON PAGE NO.
What's Newfro•ITC: ITC Weidemann"' ITC AMERICAN TYPEWRITER® 41 ITC BENGUIAT. CONDENSED 46 This typeface design, created for Bible printing has been ITC BERKELEY OLDSTYLE 9 39 converted for contemporary use. Originally called Biblica, ITC BOOKMAN 8 8-11 FTC has conserved its legibility and economy, and given it the ITC CASLON NO. 224' 40 ITC CENTURY® 12-15 name of its originator, Professor Kurt Weidemann. Page 26 ITC CHELTENHAM' CONDENSED FRONT COVER ITC CLEARFACE 8 36 Masks of Mexico ITC CUSHING8 12, 44 ITC ERAS• 40 Mysteries, myths, magic and meaning of Mexican masks, ITC FENICE. 38 revealed in eight exotic color pages. Page 36 ITC FRANKLIN GOTHIC® 39 ITC GALLIARD" 4-7 An Alphabet that Started with "T" ITC GARAMOND" BACK COVER ITC GARAMOND" CONDENSED 24, 25 How a personal logo inspired a design for a whole alphabet. ITC KABEL. 41 Page 45 ITC KORINNA8 20, 21, 38 ITC LUBALIN GRAPH® 36, 45 Beer Case, Lower Case ITC NEW BASKERVILLE" 36-42 ITC NEWTEXT" 2 A designer presses a public nuisance into respectable service. ITC QUORUM. 36 ITC SERIF GOTHIC® 36, 37 Page 46 ITC SOUVENIR. 40, 42 ITC TIFFANY 34, 35 This issue of Uffic was mailed to 210,000 readers: 172,000 in the United States and ITC WEIDEMANN" 2, 3, 26-33 Canada, and 38,000 abroad. It will be read by over 700,000 people. ITC ZAPF BOOK. 36 ITC ZAPF INTERNATIONAL. 22, 23
MASTHEAD SET IN ITC NEWTEXT. (REDUCED). TABLE OF CONTENTS SET IN ITC WEIDEMANN." THOUGHTS SET IN ITC WEIDEMANN.. COLOPHON SET IN ITC FRANKLIN GOTHIC.. 3
Editorial
ialectic and Design his Hegelian concept applies to all of D life—to politics and to economics to law and to ethics, to science and religion, and to art.
ome of the current shock being encountered by artists and designers is noth- ing more than dialectic at work. In our dy- namic society, periods of harmony, tranquil periods when dialectic clash is muted, are static pauses, periods of little change or growth.
ialectic is a process of change ramatic evidence of dialectic whereby an entity (thesis) is transformed forces in graphic design is in the effects of into its opposite (antithesis) and preserved bits and bytes, electronic pens and lasers, hard- and extended by a blending of thesis and ware and software, upon art and design, crea- antithesis into a higher form, synthesis. tivity and productivity, talent and thinking.
truggle, history and Hegel tell us, is the law of growth. Change is the cardinal principle of life. Nothing great in life is accom- plished without passion. The great artists and designers of tomorrow will be those who can passionately embrace both the thesis of personal creativity and the antithesis of computer-enhanced tools to reach new and higher esthetic levels; a new synthesis that in turn will be a thesis to another generation and the platform for the next round in the dialectical evolution of esthetics.
THIS PAGE WAS SET IN ITC WEIDEMANN . 4
Lionel Kalish Doll's Head,Yellow Vase,1981. Oil on canvas.28x32."Courtesy: Galerie Brusberg, Berlin.
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A story of life imitating art ...and art that imitates no one
Muriel Kalish Nude With Boston Terrier, 1983. Oil on canvas. 40x48." 5
stuck on legs; human and animal forms botanical and.animal forms are explicit to be seen and felt emotionally, and Lionel Kalish, the illustrator, is familiar to words don't make them better or worse. people in thegraphic arts, and his work has were flat and undimensional. She and convincing, and her architectural wanted things to look better and more details are all in correct perspective. Only your eyes tell you the truth..." appeared frequently in issues of Uelc. Now Such statements sum up Muriel's we thought it would be interesting for our correct, and rather than setting off for But it is the sum total of her paintings— art classes, she proceeded to study the the strange juxtapositions of objects, philosophy and motivation. readers to become acquainted with Lionel When you see Lionel's and Muriel's Kalish, the painter, and his wife Muriel, masters on her own. Even her taste in the sublime light and the mysterious mentors showed she was no innocent. plots of her pictures that make them paintings side-by-side, it is almost im- who also paints—and to know the romantic possible to believe that they work story of their careers. She studied Memling, Holbein, haunting and inexplicably important. Rembrandt, and the like, for guidance. She has no patience with people who independently. (Muriel's figures could • sit convincingly in Lionel's landscapes.) ------04- work in separate rooms. He deliberately ... and the time seems like daybreak. avoids commenting or critiquing her While Muriel's visions are strictly work, even though it seems they work from inside her head, Lionel's are re- out of the same esthetic sensibility. created memories of places and things. Although they follow no leaders or fash- His houses have no addresses, his is- ionable school of painting, he admits lands have no latitudes and longitudes, they were both struck by the landscape his roads have no route numbers, but of Italy when they visited there, and they give us, nevertheless, a convincing their work has a decided European sense of place. His lonely figures and flavor. Lionel's feels Italian... Renais- still life arrangements are filled with the sance...and has the look of twilight. silence of centuries and with mysteri- Muriel's feels more like early Flemish ous importance. Muriel Kalish Nude In Dressing Room With Boston Terrier, 1982. Oil on canvas. 35x45." Muriel Kalish Still Life With Moon,1983. Oil on canvas. 24x32." Muriel Kalish The Dog,1983. Oil on canvas. 34x46." 7 Although their work has this poetic, who have just discovered each other enigmatic quality, there is nothing and have much to share. The fact that mystical about the way they work. They they have shared their lives for a quar- put in long hours each day in their ter of a century has apparently not studios. They have not too much social diminished their enthusiasm for either life, according to Lionel, because, as their work or each other. Which is a everyone knows, art is long and time is lovely state of things. Marion Muller fleeting. But when they do come out for air, a friend who lives in their neighborhood, has observed that they Lionel Kalish is represented in New York City by walk hand-in-hand, in deep, animated the ACA Gallen ,. Muriel and Lionel are both conversation, like two young people represented by the Galerie Brusberg, in Hannover: Lionel Kalish Nude Fixing Hair, 1981. Pencil drawing. 101/2x121/2." Courtesy: Galerie Brusberg,Berlin. Lionel Kalish Dress Form In Green Room,1980. Oil on canvas. 26x30 "Courtesy: Galerie Brusberg,Berlin. Lionel Kalish Young Juggler Rehearsing, 1981. Oil on canvas. 24x26. Study for Jack-In-The-Box And Doll's Head,1981. Pencil Drawing. 11%x13."Courtesy: Galerie Lionel Kalish The Ring Juggler, 1982. Oil on canvas. 20x22." Courtesy: Galerie Brusberg,Berlin. Lionel Kalish Brusberg, Berlin. Without ever laying eyes on trates on the visual delights of chews the rational... the here- his beloved creations, and he him, you have to love Murray technological graphics. Even as and-now... and embraces the has provided us with this new Tinkelman for his disarming a child, he reports, he was fantasy world. In his private album — descendants of mech- honesty... for his wit... and for mesmerized by the intricate, time, he creates his fantastic animals 1— including a cycle his exuberance. It all comes out exquisite steel engravings of mechanimals in meticulously steered chicken and a steam in his work. complicated machinery found rendered detail. Although the driven gefilte fish. By his own admission, he in dictionaries and encyclope- technology is strictly Mickey Aside from his major is, and always has been, me- dias. And that is the clue to Mouse, invested with Tinkel- career as an illustrator and chanically illiterate — terrified Tinkelman's style of illustration. man's precise drawing, they teacher (he has been teaching and intimidated by blueprints For the most part, he is an have compelling authority. Illustration at Syracuse Univer- and analytic drawings of illustrator of science fiction This is Murray Tinkelman's sity for four years) there is yet machinery. Right off the bat paperbacks. In his work, he es- second appearance with mech- another side to Tinkelman. (unless you're a mechanical animals in U&lc. With regard He is also a photographer and engineer) you feel a kinship to his return, Tinkelman con- illustrator of Western themes. with the man. But Tinkelman fessed that some well-meaning Recently, the Peekskill Museum is no coward. He doesn't run ( THE friends advised him to forget and the White Plains Museum from what he fears. Leaving RETURN his mechanimals (already a Gallery, both in Westchester torques, axles, pistons and OF successful stunt) and explore County, N.Y., honored him with valves to those better equipped TINKELMAN new terrain. Fortunately for us, a one-man show of his photo- to handle them, he concen- he didn't feel ready to abandon graphs. Attentive readers may MECHANI1VIALS, II Steam driven gefilte fish ... , . ,,,..., . % - , ....7 4.--.7 -.•:1,':,-.%-rr,-;.:,-.7j;-:, fo,.."--1.-_- ,::-..?:-_—___„_-t-•,_•_,....._, =, — .,:: ,,- • :,s,— _,i, , _- - ..„ • - •,.., - ' -... ...... --',..:-__ --...z.--1.--...... ,....41.,:z. ,, .., ■■■ -.....":2"..-- Z7-47.----4 ...._-....," 7,• ...... :•--"2:-:Z - .±...... _.. -"= .-1 "' r?„._—-_. 4 -_.. _ ...... ,..... ‘.... :, • -.....,___,..".. ..• - — _,..,,-;-_-_ -..-"!7--_-:,--",,;•••••,---..- also recall his copiously illus- known are both frontiersmen, trated story about rodeo riders, lured by the seductive thrill of "Wild, Wild East," which ap- danger, thrusting themselves peared in U&lc in September, into unpredictable adventures. 1981. They're parallel experiences for People who like to tie macho types, whether they sad- things up in neat little pack- dle up on a horse or in a space ages, with no loose ends, may ship. As for Murray Tinkelman, want to understand Murray the Brooklyn-born, New York Tinkelman's ambivalent passion City-educated artist, he can for two seemingly unrelated enjoy the best of both worlds in themes — the world of cowboys the safety of his studio in Peeks- and the West, and the world of kill, New York. There, with pen science fiction and outer space. in hand, he can let his imagina- In discussing the matter with tion lead him—with equal plea- him, we concluded that those sure — into the Western setting worlds were not so far apart as sun... or into the wild blue they seem. Cowboys riding the yonder. open range and space explor- ers flying into the great un- .."--.3.,=f-=:-., ----",, --_,-..---,,,------... ------.---- -„,.,,------,-----,,%---- -___ , .."----.:---....,-'-'1,,,.- ----..„ ---'" '------r-=-- - -='---.--'-- --_ ■ -,-, ,--."----..-,------".--,,,"--,--.----,"=',.----1 ,,.„. ...."-....:;--.7-:.:-.....-. --7 ----,---...7.--"1. -i=--- -,-, ------ •-•.::-,.., :S."--- - -:----:'>,.---..---,------z§,--.-- "--r..---.,:-- - --,-..', -',--,-:=.:' --,,--- - --".r."- ■-''''''-' '---, ---= -•,---. ------,.._—_-_-_-= -,-::=------z-,---.— ,-Z.11....- ■ .,..,-,.r:":41....?...Z7N.--'::::------...,,----s___'-'--- ..,..."--- ,-...... „,-----:--..--,---,--=--- ,--,' '-"---", ---., -".-.._ •--.1"---',--",, ...------ .s.,-,:------:--,.... -,-"----, ...---, .:,-,..,--"--- ->--.'',--"----="-.,,,:,-..- -,",:=_.‹.,■r_ -:.- ----Tits Lo-calmootive THIS ARTICLE WAS SET IN ITC BOOKMANOI. 12 Under the Piranesi-like arches of London's Waterloo railroad bridge,in the cavernous chamber that serves as MEMOIR his studio and gallery Feliks Topolski OF THE has, for many years, been construct- ing his opus painting, "Memoir of the CENTURY Century."Although dwarfed by mam- moth canvases—if stretched end to end they would total 600 feet (and are still growing), varying between 12 and 20 feet high (including some suspended compositions)—the painter is unquestionably in com- mand of this, the ultimate display of BY his concern for mankind. "Memoir" is the synthesis of his recorded ob- servations of such unforgettable HELLERLER events as the bombing of London, L the liberation of Belsen and the civil war in the Congo, and such in- spiring encounters as those with Gandhi and Pope Paul VI, from over forty years of investigative global travels. Like the earliest cave paint- ings, which chronicled the lives of primitive men, the labyrinthian "Memoir,"when reduced to its basic components, is decidedly void of the entanglements and estrangements of modern art. It is a uniquely expressionistic autobiography in which a lifetime of humanism is communicated, rather than merely commemorated. Feliks Topolski grew up in Poland during the First World War, under German occupation, and then during times of great social turmoil. His mother, a passionate social acti- vist, encouraged his creative impulse while his father, an inflammatory orator and unsuccessful thespian, instilled in him an actor's sensitivity to life. His stepfather, a bemedalled army officer, was the perfect foil. Living through the tensions of war-torn Poland, having a fascina- tion with military regalia, or as he puts it"costume,"and admiration for his two exceedingly different patriar- chal influences resulted in Topolski's curious perception of life as a sort of high theatre with ranking officers in the starring roles—a notion that continues to be his philosophical underpinning. He served as a cadet at the Artillery Officers School where he was a superb horseman. But above all he wanted to be an artist. While a student, Topolski was asked to do satirical drawings for the weekly Warsaw Barber. And, just out of the Polish Institute for the Promotion of Modern Art, he was commissioned by the Institute of Propaganda Art to paint two elon- gated murals for their meeting hall and gallery buildings. The resulting panoramic parade, including ren- derings of his own political and cul- tural heroes, was painted reveren- tially but with an undercurrent of satire. This was to be the first of many visual chronicles. In the early 1930s Topolski was a peripatetic artist, exploring the far corners of Europe, residing in Paris for a while, and finally arriving in England. Of London he says: "After the Continent's spreading monotone, England seemed to me, then, exotic in the sense of customs and cos- tumes, topped by the Royal Jubilee celebrations, arrested in an earlier era. I found in it all a perfect subject matter for my bent at that time, social satire."He returned briefly to Poland in 1933, driving through a menacing Germany: Hitler had taken power, the German army was in its ascendancy and the fog of doom was beginning to cover the Continent— a force that influenced many of his contemporaries. 13 Returning to England he pub- lished his first book of"journalistic" drawings entitled, "The London Spectacle,"and contributed politi- cal cartoons to the News Chronicle. In 1937 he became a regular on the staff of Night and Day, a satirical journal that included a coterie of young writers who would soon reach the peaks of their profession: Graham Greene, Evelyn Waugh and Anthony Powell. At this same time George Bernard Shaw took favorable notice of Topolski's drawings, com- menting that here was"an astonish- ing draughtsman ...perhaps the greatest of all the impressionists in black and white."Topolski became an intimate of G.B.S., rendering stage sets and illustrated special edi- tions of the playwright's works. But his"dominant urge for on-the-spot drawing... driven on by curiosity for distant places and happenings, as- serted itself, and publications like HarperS Bazaar; and both Ameri- can and British Vogues responded." The war stopped short this as- pect of his pursuit. Topolski became an official war artist for the English and the exiled Polish governments. His on-the-spot caricatural ap- proach—a confident eye-to-hand graphic shorthand—was the perfect medium for dealing freely with the subject matter. He recalls that" the war enlarged dramatically and cry- stallised and heightened the mean- ing of my 'inaction' participatory witnessin,g"He was to be`inactive' no longer. Topolski was present on every major battlefront in the Euro- pean theater. His book,"Russia in War,"like Goya's eyewitnessed ac- counts, and Masereel's heartfelt critiques, remains one of the most poignant artistic evidences of the horror of war. He was wounded in England during the blitz and later covered actions on a cruiser in the Arctic; he saw fighting against the Japanese in Burma; and he was in the Allied advance into Germany. He was present at the liberation of Belsen death camp and attended the trials of Nazi war criminals at Nuremberg. Only a fraction of his entire output at the time was pub- lished in magazines—such as Picture Post, Life and Fortune. The war hardened his resolve to fulfill his youthful idea to paint: "painting throughout my life the same panorama—varying/enlarging/ broadening in themes/experience- U. from the Warsaw fourteen-metres- INTERNATIONAL POETRY long parade of personages to the present attempt at an overall summa- AT THE ROYAL 1ALBERT HALL LONDON FEE.r.. 5ISS5217i tion zig-zagging 600 feet." He began •■•111111.11111M ■11=1.11TAL AhM111.411.7 to travel incessantly: to India, Indo- china, Cuba, Algeria and other hot- spots, drawing in journal after journal, • accumulating and recording experi- ences for the larger tableaux. His affinity with the comedie humaine kept him in close contact with vari- ous aspects of popular culture. Later his fascination with life's theatre and its costumed populace brought him close to rock 'n rollers, freaks and hippies, Elvis and Dylan. His fascina- tion with political farce drew him to the absurdist political theatre: Watergate. Jumping back in time: Eight years after the war, in 1953, Topolski decided to_assemble his thematic sets of drawings and published the first of his Chronicles (which contin- ued until 1965). This was a privately printed, deliberately styled, rough- and-ready broadside with inelegant type (now very fashionable, but not so during the age of the Bauhaus) 14 on coarse wrapping paper. It was low priced"to keep away from the chic art print image."He produced almost twenty-four issues a year covering his travels and encounters. They were initially distributed in the streets and in Picadilly Circus by young students dressed in nine- teenth century garb (pre-dating the hippie explosion but reminiscent of an earlier age when broadsides were the means of mass communi- cation), and displayed in bookshop windows in the manner of the early printshops. To his deep regret, subscriptions became a necessary means of ob- taining needed revenue. Circulation increased to include devotees in America, Europe, and even Russia. For the American subscribers who anxiously anticipated every sheet, it was akin now to receiving a new wave journal filled with never- before-seen content—an"under- ground"graphic sensation years before there were"underground 15 1 graphix."Furthermore his travel- ment a synthesis; there may come, ogues, if such a banal term can be on the way, single images, but be- applied to these graphic diaries, pre- cause of my theme's vastness and date our best known contemporary ever present awareness of global graphic journalists—Steadman, oneness, the correct form evolves it- Ungerer, et al. self best in uninterrupted continuity." The Chronicle was, first and In all his work Topolski searches, foremost, a vehicle that satisfied and often finds, reality behind the Topolski's "appetite for being there, facade. In the realm of satire, which for collecting globally, not the tour- penetrates all he does, he is not a isty sights, but the history of our biter—or a quick, shoot 'em and run time." The art is, at first glance, artist—but, rather he is a builder, deceptively objective, but with with foundations based on exposed 1. 14 /4,,,k tJbr.14:., AS, closer scrutiny nothing is objective myth and betrayed folly, and whose 9.4 at all.Topolski's art—even his mural- ultimate result is truth. ) like" Panoramas" of the coronation, Next issue: erjWk. Areot4.., Ii‘erLgrr hanging in Buckingham Palace—are rivek P' 43.4. seen with a Balzacian eye. About his David Suter own perception of journalistic dis- tancing,Topolski says: "I thought at one time that the rapid transition from, the observing eye to hand holding a pencil,with no time for conscious conditioning, is the near- est to resulting in objective drawing. I even used for some years at the head of my Chronicle a line by Sir Philip Sidney, dated 1580,'nothing affirmeth and therefore never lyeth.' But I never did and never will curb my responses, thus having to con- clude that although not being a deliberate propagandist, my in- grained preferences and prejudices osmose by means of subconsciously suppressed or emphasised details even in a scribble of a rushing crowd done from a moving vehicle.' Topolski's work is satiric, for he is obsessively concerned with the stuff of contemporary life. As one of his admirers points out, he is at times"fiercely polemical, with a sense of anger at the suffering which nature and history can inflict on man."About satire Topolski is quick to emphasize that it is, for him, "...never (or almost never) a deliber- ate forcing of a point of view through distortion, both of cartooning compo- sition and shapes-faces; what comes out, though, is an overall natural bent towards overemphasis in my vision and rendering, let's say: the inbuilt satirical view, that is digging into the fullness of the character of humans and their conflicts/confron- tations goes beyond the objective (photographic) copying into the realm of intensification, ergo exag- gerations, ergo non-didactic satire." Since suspending publication of the Chronicle, Topolski has im- mersed himself in the work that has been shaping in his mind for many years. Having seen, he says, "the Hyderabad's Ajanta Caves with their continuous painted progression of gods,humans and animals,"he found the"archetype and pointer of my destination." The resulting"Memoir of the Century"ignores the dictates of classical art and defies the defini- tion of modern art.It is not art for art's sake, it is not art for artists' musing, it is art with the purpose of conveying decades of history extrap- olated and translated with intense emotionality. Of the painting and his process, Topolski adds: "My draw- ing being 'natural' serves as the har- vesting means for storing-gathering my peregrinations'reality—so that my painting feeds on it, not by copying/enlarging a single sketch, but by squeezing out of their amass- All of the illustrations above (except where noted otherwise) are from Topolski's Chronicles 16 TYPOGRAPHIC MIT ESTONES Those who built our industry were dynamic, frequently outspoken, and, at times, eccentric individuals. John Baskerville refused a Christian burial and built his own mausoleum in the back yard. Lucian Bernhard was a devoted tango dancer, admirer and interpreter offeminine beauty, and reformer of our spelling system. Eric Gill preferred to wear red silk underpants. 0 This streak of individualism is perhaps what enabled the typographic masters to accomplish what they did. 0 The typographic milestones they created were almost never reached easily. Their work was often hindered by adverse business conditions, technological restrictions, and even antagonistic peer pressure. It took afire that destroyed the inventory of a major typefounder to give the American point system its start; and even then it was decades before the system was accepted. Ottmar Mergenthaler's Linotype was doomed to failure until a tool originally developed to improve production of handset type saved the invention—and ultimately spelled the end of handset text typography. • :111 Ours is an industry of passionate advocates who are unwilling to take "no"for an answer. If they did, we would not have the resources and capabilities we now enjoy. There is a direct correlation between what is happening to typographic communication today and the work of this extraordinary group of talented personalities. 0 Thus, the purpose of Typographic Milestones: to provide a link between the past and the present, and during the process, to supply some insight into the vitality, dedication, charm, and even fragility of our typographic predecessors. 0 Future Milestones will be devoted to people such as John Baskerville, Frederic Goudy, Eric Gill, and William Dwiggins. I hope you will enjoy reading them as much as I look forward to writing them. MORRIS BE BY ALLAN HALEY 17 First, the point system for sizing type was a very recent concept. Only a few of the ATF foundries had adopted it at the time of the merger. Most of the acquired ABCDEFGHI faces went back to old standards which were at best imprecise, and often con- JKLMNOPQR flicting. Second, and more important to the future of type design, there was a STUVWXYZ&$ tremendous amount of typeface dupli- cation among the ATF foundries.To fur- 1 2 3 4 5 6 7 8 9 0 ther complicate matters, the offerings abcdefgh from each foundry were frequently inconsistent in family size, weight desig- ijklmnopq nations and design variations. rstuvwxyz As a result of the process of sorting out the typographic mess confronting him, .,-:;!?"() Benton firmly established the concept of typeface families and family develop- ment. Ultimately the proliferation of STYMIE this concept improved typographic communication.Today we benefit from many carefully conceived typeface families that provide typographers and type specifiers with designs which bring harmony, continuity, and struc- g Even seven faces usually attributed to ture to graphic communication. Benton Clic q5torp Goudy are the result of Benton's work. created order out of chaos for ATF and He made typefaces for handset foundry gave the typographic industry the abil- of (1)iiliarii type over 70 years ago, and his designs ity for efficient communication. This live on, transcending typographic trends was the first of Benton's typographic and technological developments. successes. Many more were to follow—in anb (1)arp the form of typeface designs. It was natural that Benton be involved with type in one way or another. His As a typeface designer Benton brought father, Linn Boyd Benton, invented the two seemingly diverse qualities to his (15ritten in f tatian in the matrix cutting machine and was one of work. He was both artist and pragmatist. the founding directors of the American His typefaces were almost always the pear 1422, trangtateb into Type Founders Company. Like many combined product of artistic inspira- jfrenclj by Raoul georgeci small boys, Benton wanted to grow up to tion and organized, systematic research. a pear later, anb noth bone in be like his father, and spent many of his Added to this was his deep and enthu- free hours at the elder Benton's foundry. siastic love of the letterform.The results Crigti5b by jobn at5on In fact, the younger Benton's first job can be seen in all his designs. anb ftlarp Oroberipinttair was working under his father at ATE There is also a diversity of style found /11(0130E3V Like the two Bentons, ATF also holds in Benton's work which is uncommon a special place in the history of our in- among typeface designers. The range of dustry. The company was formed as a his creations extends from the elegant CLOISTER BLACK merger of the major independent type designs of Sterling and Bulmer to the founders operating within the United structured faces of Franklin Gothic and Stymie. He successfully created black- States in the late 1800s. ATF then went lY/f/('{' on to become one of the most influen- letter faces like Wedding Text and 9;/ (.7"ifitai tial forces in the typesetting and print- Cloister Black, and was also perfectly When the greats of American type ing industry during the first half of this capable of creating scripts such as Ad design are discussed, some names are century—but that is another story and Typo Script. Souvenir is generally inevitably brought up: considered to be friendly. Phenix could ci„„e4a Although his greatest achievements be called austere, and Hobo and Motto FREDERIC GOUDY were in typeface development, Benton show a sense of humor. Sra OZ COOPER wasn't trained to be an artist or designer. He was educated as a mechanical en- ED BENGUIAT gineer, and was first hired in that capac- WILLIAM DWIGGINS ity at ATE This mechanical interest and TYPO SLOPE aptitude reflected itself in almost all c6he Rarely is the name Morris Fuller Benton aspects of Benton's life. Many of his mentioned. Yet he belongs in the com- children's toys were made by him and pany of these other greats. He was respon- his father, and his love for one of the (Redfern Watch filICDUGH1118L sible for more faces than Frederic Goudy, mechanical marvels of his age, the and his work was issued by one of the automobile, is well-documented. The most influential companies in American 111110PQRSTUVUJXYZ& Bentons' first family car was a Stanley VERY piece of work should typographic history. Steamer, a unique and exotic piece of machinery even by today's standards. (9 reflect some of the spirit of 1234561890 Who was Morris Fuller Benton? He has its maker—that spirit of crafts- been called the unknown father of Perhaps his employers felt that his me- manship which in former days American typeface design. A list of just chanical ability endowed Benton with a !?$:;""-,. a few of his designs shows the magnitude systematic, organized mind; or perhaps exalted the masters of the trade guilds. cRedfernWatches fully of this man's contribution. the young engineer displayed a creative PHENIX ability; possibly he just poked his head reflect this spirit and meet every To see the humor and vitality in Benton's CENTURY SCHOOLBOOK in his father's office at the right moment. necessary requirement so far as work, one need only look at the designs For whatever reason, ATF reassigned craftsmanship, beauty and real CHELTENHAM of Roycroft, Hobo, Broadway or Novel Benton early in his career from his engi- service are concerned Gothic. Clearly someone with a sense of FRANKLIN GOTHIC neering duties to typeface development. humor created these typefaces. In addi- This simple corporate personnel change eSold by the ,heading ewelers tion, the designs have a warm and STYMIE has benefited the typographic industry friendly look; and while they may not NEWS GOTHIC for decades. be considered particularly graceful or CENTURY OLDSTYLE It became Benton's task to standardize elegant, they have a design refinement and consolidate the thousands of type Calder & 97acobsea seldom found in novelty typestyles. HOBO Perhaps this is why they have survived matrices which were acquired when cPhiludelphia. ILUCAIDWAY ATF was formed. With his new respon- the test of time better than many other sibility came a raise, and two major similar faces. All are currently used by ALTERNATE GOTHIC NO. 2 problems. typographic communicators. STERLING CURSIVE 18 fully melded into a cohesive typographic unit. The Cloister Oldstyle family is a classic example of something in which the total unit is greater than the sum of WANDELING its parts. AUTO TIRES Ac/IB'BCCDDE Manufactured to satisfy the natural demand for 6FGgHIJ7K service and for mileage. two important elements LMOVINNOP that determine the very cPQR 61(STTU life of a tire. Wandeling tires give You service of VVWXYTZ& a kind that is peculiarly I 2 satisfying. with unusual $ 3 4 5 67 8 9 o a freedom from troubles. abcdefghij Manufactured by the kklmnopqrst WANDELING TIRE COMPANY uv-vw-wxyziffi CHICAGO. ILLINOIS ffi a .2 () [ 1 HOBO CLOISTER ITALIC Souvenir was a Benton design which Typefaces like Ed Benguiat's ITC Ben- Several of Benton's designs were also showed his ability to create a friendly guiat Gothic,'"Milton Glaser's Baby Teeth, re-creations of classic typestyles revived ABCDEFGHIJ design that went beyond the limits of and ITC American Typewriter' follow to be current with contemporary type- headline and display typography. Sou- in this tradition. Benton did more. setting and typographic standards. His KLMMNOPQRR. venir, however, unlike many Benton Bodoni and Garamond have become two designs,was not an instant success. As ITC BE riGUIAT GOTHIC of the most successful revivals in typo- friendly as Souvenir is accredited to be, graphic history While both design pro- STUVWXYZa it wasn't very popular when first issued. BABY MTN grams involved extensive research into Released as a single weight, with no ITC AMERICAN TYPEWRITER the original masters' typefaces and de- $1234567890 italic, in 1914, its only major showing ITC SOUVENIR sign philosophy, neither is just a copy. appeared in the classic 1923 edition of aabcd efgh hi the ATF specimen book. Very little He also made research and a respect of Souvenir was sold and ATF never for typographic tradition part of his THE ADMIRABLE jklmmnnopq showed it again. development programs. Cloister Oldstyle ARAMOND is a perfect example. It is based on the rsttuuvwxyz roman design of Nicolas Jenson which FAMILY was first used in 1470. Benton's inter- AN ANCIENT CLASSIC TYPE DESIGN WV° pretation of the original is the product fiflVedffhfillft of extensive research into Jenson's Recital of work.The result is one of the finest ex- ROYCROFT amples of traditional typeface design. FOR PRINTING OF MERIT Roycroft and Hobo are well over 70 years Romantic Italian Music Many typefaces have been based on (ere) old, yet they are both available and used Given by Jenson's original designs—both before GARAMOND today—in phototype, on dry transfer MR. JOHN M. LIVERMORE and after Benton's effort—but author- They are careful interpretations of the Under the auspices and direction of the Sophomore ities generally agree that Cloister Old- sheets and even in digital form; Hobo Class of Bellwood University original work. In the case of Bodoni, by its original name, Roycroft as ITC November twenty-seventh at eight-thirty style is one of the most successful. And Benton tried to choose the best quali- Gorilla. Not to be overshadowed, Novel Music Hall ties from the 18 variations of Bodoni Gothic and Broadway are still versatile This A the 00 of a series of so f 000 in be on., by Mn Lfverrnore durfog the wooer created and used by their originator. headline faces seen in a variety of Benton must have made the correct advertising. SOUVENIR ABCDEFGH decisions, because his version of Bodoni That probably would have been the end has become the American standard of Souvenir, if it wasn't for Ed Benguiat. IJKLMNO for this style. The same is true of his ABCDEFGHIJKLM In 1971, he revived the design as ITC Garamond,which was further refined in NOPQRSTUVWXYZ& SouveniteIn the process he developed PQRRSTT 1976 by Tony Stan, when it provided much of the basis for the development abcdefghijklm UVWXYZ& of ITC Garamond.' nopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ $1 2 3 4 5 6 7 8 9 0 1234567890 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghij NOVEL. GOTHIC ABCDEFGHLIKLIKNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ klmnopqrst ABCDEFGHIJKLMNOPQRSTUVWXYZ uv wxyziffi'fl ABCDEFGHIJKLMNOPQRSTUVWXYZ ffifilQu ( ) [ ABCDEFGHIJKLMNOPQRSTUIVWXYZ three additional weights to fill out the CLOISTER OLDSTYLE Evelyn cars ride one these ticket family and created the italic designs which now complement the roman. since Jenson lived before italic type two aboard New York all Donald Today this friendliest of Benton's de- was introduced, Benton had to turn to Characters. MAT, Goaci, EVELYN, Geoaog, Denote. other sources for the design of Cloister Joe., WEL, FRANK, TICKET MAN signs is used on all kinds of composing ( Arrange chairs for a Sole of cars, and have one chair with Oldstyle Italic. For this design Benton a table or a desk for a ticket office. Let the children make equipment—from sophisticated laser tickets for busy work) also based his , typesetters used by advertising typogra- work on the results of phers to on-demand publishing systems research. Cloister Oldstyle Italic was de- DONALD Do you wish to ride in my found in the office environment. rived from a careful study of the first cars? italic letters developed in the early If Benton were just remembered for his 1500s. Not only are Cloister Oldstyle EVELYN. Yes, thank you. I wish to friendly, warm, sometimes funny designs, and Cloister Oldstyle Italic exceptional ride in your cars. it would be an important legacy to the examples of reviving a past master's tradition of American typeface design. work, the two designs were also success- CENTURY SCHOOLBOOK 19 Benton's research into eyesight and BODONI 1909 ENGRAVERS TEXT 1930 reading comprehension led to the devel- BODONI ITALIC 1909 FRANKLIN GOTHIC 1905 BODONI BOLD 1912 FRANKLIN GOTHIC CONDENSED 1906 opment of Century Schoolbook. A type- BODONI BOLD CONDENSED 1933 FRANKLIN GOTHIC CONDENSED SHADED 1914 face originally conceived (as the name BODONI BOLD ITALIC 1913 FRANKLIN GOTHIC EXTENDED 1906 implies) for the setting of schoolbooks, BODONI BOLD SHADED 1913 FRANKLIN GOTHIC EXTRA CONDENSED 1906 Benton's results were so successful that BODONI BOOK 1911 FRANKLIN GOTHIC ITALIC 1913 BODONI BOOK EXPANDED 1924 (non - Keming) the design has become a standard for U UU uu BODONI BOOK ITALIC 1911 FREEHAND 1919 text typography. In fact, Benton's Cen- BODONI OPEN 1925 GARAMOND 1917 tury Schoolbook has provided the foun- BODONI SHADED INITIALS 1914 GARAMOND BOLD 1920 UU UUUU GARAMOND BOLD ITALIC 1923 BOW ANTIQUE 1904 dation for virtually every "legibility" (renamed Whitin Black) GARAMOND ITALIC 1918 typeface design developed since its U UU UU BOLD ANTIQUE CONDENSED 1908 (with T. M. Cleland) introduction. If for no other reason, BOLD ANTIQUE EXTRA CONDENSED 1912 GARAMOND OPEN 1931 Morris Fuller Benton should be remem- BOLD ANTIQUE ITALIC 1904 GLOBE GOTHIC BOLD 1907 BOOK TITLE 1926 GLOBE GOTHIC BOLD ITALIC 1908 bered for his contribution to the develop- uuu BROADWAY 1926 GOUDY BOLD 1918 ment of high legibility typeface designs. BROADWAY CONDENSED 1929 (after basic design by F W Goudy) BROADWAY NOS. 2 AND 3 1928 GOUDY BOLD ITALIC 1920 Today Century Schoolbook is available, BULMER ROMAN 1926 GOUDY CATALOGUE 1921 in one form or another, from every BULMER ITALIC 1927 GOUDY CATALOGUE ITALIC 1921 CAMBRIDGE 1934 GOUDY EXIRABOLD 1927 manufacturer of typographic composing UNIVERS (renamed Benton, renamed Whitehall) GOUDY EXTRABOLD ITALIC 1927 equipment. It has become a typographic carefully organized sans serif typeface CAMBRIDGE ITALIC 1934 GOUDY HANDTOOLED 1922 requirement. As a further extension of family. Type families like Univers, Unica, CANTERBURY 1928 (with Wadsworth A. Parker) CARD BODONI 1915 GOUDY HANDTOOLED ITALIC 1922 this style, many of its design traits have (with Wadsworth A Parker) and Gerstner Program follow in its CARD BODONI BOLD 1917 GOUDY TITLE 1918 been combined with another Benton tradition. CARD LITHO 1917 GRAVURE 1927 design, Century Expanded, to create CARD LIGHT LITHO 1917 GREETING MONOTONE 1927 Benton spent his life creating typeface CARD ROMAN 1925 ITC Century® GROUER 1934 designs. More than most; better than CASTILE 1931 HEADLINE GOTHIC 1936 CENTURY BOLD 1906 most. We reap the benefits. HOBO 1910 CENTURY BOLD CONDENSED 1909 (introduced in 1912) CENTURY BOLD CONDENSED TITLE 1924 His contributions to American typogra- HOBO SHADED 1914 CENTURY BOLD EXTENDED 1910 CENTURY EXPANDED phy and typeface design were all en- INVITATION 1917 A TYPE WITHOUT HAIRLINES CENTURY BOLD ITALIC 1906 INVITATION SHADED 1914 compassing, and the body of his work is CENTURY CATALOGUE 1922 LIGHT HOBO 1917 Unsurpassed for use in textbooks, directories, CENTURY CATALOGUE ITALIC 1922 unparalleled.The majority of the faces LIGHTLINE GOTHIC 1908 catalogues and commercial work in general CENTURY EXPANDED 1900 he created live on today, surviving trends LIGHTLINE TITLE GOTHIC 1921 (with Linn Boyd Benton) LIGHT OLDSTYLE 1916 in typographic fashion and technologi- CENTURY OLDSTYLE 1906 AMERICAN TYPE FOUNDERS COMPANY, Make.. LINCOLN 1935 cal changes in type composition. CENTURY OLDSTYLE ITALIC 1906 LOUVAINE BOLD 1929 CENTURY OLDSTYLE BOLD 1910 But what is more important, Benton's LOUVAINE BOLD ITALIC 1929 CENTURY OLDSTYLE BOLD ITALIC 1910 CENTURY EXPANDED designs have become the foundation for LOUVAINE LIGHT 1929 CENTURY OLDSTYLE BOLD CONDENSED 1916 LOUVAINE LIGHT ITALIC 1929 It was Benton's dedication to aiding typeface design in the United States.The CENTURY SCHOOLBOOK 1920 LOUVAINE MEDIUM 1929 tradition of combining the pursuit of CENTURY SCHOOLBOOK ITALIC 1920 the typographic communicator which LOUVAINE MEDIUM ITALIC 1929 CENTURY SCHOOLBOOK BOLD 1924 excellence with a sense of humor, and MIEHLE EX'TRA CONDENSED 1906 prompted the development of one of CHELTENHAM BOLD 1904 MIEHLE EXTRA CONDENSED TITLE 1907 the first systematically designed sans maintaining classic design attributes in CHELTENHAM BOLD BLACK OUTLINE 1913 MODERNIQUE 1928 the search for Originality, began with the CHELTENHAM BOLD CONDENSED 1905 serif typeface families: Alternate Gothic. MONOTONE GOTHIC 1907 CHELTENHAM BOLD CONDENSED ITALIC 1905 work of Morris Fuller Benton. He made MONOTONE TITLE 1908 CHELTENHAM BOLD EXTRA CONDENSED 1906 a major impact on current typographic MOTTO 1915 CHELTENHAM BOLD EXTRA CONDENSED TITLE 1907 NEWS GOTHIC 1908 communication and, in doing so, accom- CHELTENHAM BOLD EXTENDED 1906 NEWS GOTHIC.CONDENSED 1908 plished what most designers achieve CHELTENHAM BOLD INITIALS 1912 NEWS GOTHIC EXTRA CONDENSED 1908 ABCDEFGHI CHELTENHAM BOLD ITALIC 1905 only in their dreams. NEWS GOTHIC EXTRA CONDENSED TITLE 1908 CHELTENHAM BOLD ITALIC SHADED 1915 NORWOOD ROMAN 1906 What follows is, as accurately as possi- CHELTENHAM BOLD OUTLINE 1905 (design suggested byJ. S. Cushing) JKLMNOPQRS CHELTENHAM BOLD SHADED 1913 ble, a list of Benton's typeface designs. NOVEL GOTHIC 1928 Notice the familiar typefaces and how CHELTENHAM BOLD SLOPE 1905 (with Charles Herman Becker) (renamed Bold Italic) ONE-TONE GOTHIC 1912 TUVWXYZ&$ many there are. Credit where it is due. CHELTENHAM EXTRABOLD 1911 OTHELLO 1934 CHELTENHAM EXTRABOLD SHADED 1914 (revision of 1884 Central Type Foundry face) CHELTENHAM INLINE 1907 PACKARD BOLD 1917 12345678 9 0 CHELTENHAM INLINE EXTENDED 1907 (with Oswald Cooper) CHELTENHAM INLINE EXTRA CONDENSED 1907 PARAMOUNT 1930 CHELTENHAM MEDIUM 1910 PARISIAN 1928 abcdefghijkl CHELTENHAM MEDIUM ITALIC 1910 PEN PRINT OPEN 1921 CHELTENHAM MEDIUM CONDENSED 1914 PHENIX 1935 CHELTENHAM MEDIUM EXPANDED 1914 PIRANESI BOLD 1933 CHELTENHAM MONOTONE 1907 (after basic design by W. T. Sinn) mnopqrstuvw CHELTENHAM OLDSTYLE CONDENSED 1910 PIRANESI BOLD ITALIC 1931 CHELTENHAM RIMMED 1907 PIRANESI BOLD ITALIC PLAIN CAPS 1932 CHELTENHAM WIDE 1905 PIRANESI ITALIC 1930 ? x y z.,-'••• , I• • CHIC 1927 PIRANESI ITALIC PLAIN CAPS 1930 CIVILITE 1923 POSTER GOTHIC 1934 CIVILITE NO. 2 1924 RALEIGH GOTHIC CONDENSED 1934 ALTERNATE GOTHIC CLEARFACE 1907 RIALTO 1930 The original intention for the Alternate CLEARFACE BOLD 1908 RUGGED ROMAN 1912 CLEARFACE BOLD ITALIC 1908 SCHOOLBOOK OLDSTYLE 1924 Gothic family was to aid the printer in CLEARFACE GOTHIC 1909 SHADOW 1934 setting justified lines of copy. Before CLEARFACE HEAVY 1909 SOUVENIR 1914 automaticjustification,making multiple CLEARFACE HEAVY ITALIC 1909 STYMIE BOLD 1931 CLEARFACE ITALIC 1908 STYMIE MEDIUM 1931 lines of typography end flush left and CLOISTER BLACK 1904 STYMIE LIGHT 1931 right was a difficult task which involved (with Joseph W Phinney) STYMIE LIGHT ITALIC 1932 inserting space, by hand, between each CLOISTER BOLD 1913 STYMIE MEDIUM ITALIC 1932 word, or even every letter within a line. CLOISTER BOLD CONDENSED 1919 STYMIE BOLD ITALIC 1933 CLOISTER BOLD ITALIC 1915 STYMIE BLACK 1935 Benton's idea was to create a series of CLOISTER BOLD TITLE 1915 STYMIE BLACK ITALIC 1935 typefaces that had the same optical TYPEFACE NAMES IN ALPHABETICAL ORDER YEAR CLOISTER CURSIVE 1922 THERMO 100 SERIES 1931 stroke width, but different proportional ACQUITAINE 1935 CLOISTER CURSIVE HANDTOOLED 1923 THERMO 200 SERIES 1931 character width.The typographer could (name changed to Phenix) (with C. H. Becker) THERMO 300 SERIES 1931 ADSCRIPT 1916 CLOISTER OLDSTYLE 1913 TOWER 1934 use the condensed design to pack a AGENCY GOTHIC 1933 CLOISTER ITALIC 1913 TOWER BOLD 1936 larger number of words or characters AGENCY GOTHIC OPEN 1934 CLOISTER LIGHTFACE 1924 (abandoned in favor of Stymie Bold Condensed, into a line, and the expanded design to ALTERNATE GOTHIC NO. 1 1906 CLOISTER LIGHTFACE ITALIC 1924 designed by Gerry Powell) CLOISTER TITLE 1915 TWO TONE ITALIC 1930 help fill out otherwise short lines. ALTERNATE GOTHIC NO. 2 1906 ALTERNATE GOTHIC NO. 3 1906 CROMWELL 1916 TYPO ROMAN 1926 Whether or not the Alternate Gothic ALTERNATE GOTHIC TITLE NO. 1 1906 CUSHING ANTIQUE 1905 TYPO ROMAN SHADED 1924 AMERICAN BACKSLANT 1934 (design suggested byJ. S. Cushing) TYPO SHADED 1906 1907 family was used for its original inten- AMERICAN TEXT 1932 CUSHING ANTIQUE ITALIC TYPO UPRIGHT 1905 CUSHING ROMAN 1906 tion is not well documented; but typog- ANTIQUE SHADED 1911 TYPO UPRIGHT BOLD 1911 (renamed Norwood Roman) BANK GOTHIC BOLD 1932 ULTRA BODONI 1929 raphers did purchase enough of the DELLA ROBBIA LIGHT 1918 ULTRA BODONI CONDENSED 1933 design to make it one of the most suc- BANK GOTHIC CONDENSED BOLD 1933 (design originally by T. M. Cleland) BANK GOTHIC CONDENSED LIGHT 1933 ULTRA BODONI EXTRA CONDENSED 1933 cessful sans serif typestyles of the time. DYNAMIC MEDIUM 1928 ULTRA BODONI ITALIC 1928 BANK GOTHIC CONDENSED MEDIUM 1933 EAGLE BOLD 1934 And like so many other Benton creations, BANK GOTHIC LIGHT 1932 VENETIAN 1913 ENGRAVERS BODONI 1926 VENETIAN BOLD 1917 BANK GOTHIC MEDIUM 1932 (introduced in 1933) Alternate Gothic is still produced and VENETIAN ITALIC 1913 BASKERVILLE ITALIC 1915 ENGRAVERS BODONI OPEN 1926 used today. But what is more important, WEDDING TEXT 1901 BENTON 1934 ENGRAVERS SHADED 1926 it was the first systematically planned, (renamed Whitehall) WEDDING TEXT SHADED 1916 THIS ARTICLE WAS SET IN ITC AVANT GARDE GOTHIC® CONDENSED,ITC CENTURY®, ITC FRANKLIN GOTHIC* 20 If you're over 45, you probably wear them now If you're under 45, you're likely to need them eventually. The subject is SPECTACLES One out of five schoolchildren... two out of five col- Polo, who saw them in China in the late 13th century. However, the invention of the printing press in lege students... and 95% of the over-45 population At the same time, Roger Bacon, in England, men- the 15th century changed the picture. With the dis- wears spectacles. With such impressive statistics,we tioned the use of lenses for optical purposes in his semination of the printed word, and the emphasis on thought it might be a good idea to put on our own writings, and he is sometimes credited with their reading — especially the Bible — the demand for vision eyeglasses and take a closer look at the origins and invention. But there is too much evidence of wide- aids multiplied. Germany, along with Italy, became a evolution of this indispensable item. spread knowledge of magnifying lenses to give any major manufacturing center for glasses. How and where eyeglasses were invented, no one person or civilization sole credit for the discovery. Early on, from 1300 to 1700, spectacles were one knows for sure. The Ancient Chaldeans had mag- In the 1300s, Italy — with its established glass produced in a trial-and-error, experimental way. But in nifying lenses as far back as 4000 B.C. The Ancient industry — became the manufacturing center for spec- the 1700s, scientific discoveries about light refraction Greeks, also, knew that a water-filled glass had enlarg- tacles. But don't imagine there was a mass market for and optics turned lens grinding into a highly special- ing power. The Roman Emperor, Nero, had precious eyeglasses in those days. Only a handful of intellec- ized technology. Nearsightedness, farsightedness, stones mounted in rings to aid his vision; and this tuals,the clergy and aristocrats could read,and in that astigmatism and other visual disabilities could be practice of using topaz, emeralds, quartz and rock milieu, eyeglasses were a mark of distinction and corrected with properly ground lenses. And as almost crystal as magnifiers, was common throughout the "class." In other social circles, however, it was con- everyone knows, Benjamin Franklin introduced the civilized world at the time. The first eyewitness report sidered blasphemous to attempt to improve on God's idea of bifocals, which could ameliorate two different of spectacles, as we know them, came from Marco handiwork by wearing them. vision problems in one pair of spectacles. 21 Old Chinese spectacles with enormous "bifocal" type lenses and hinged sides. Collapsible glasses had a joint in the middle of the bridge so that they could be Sunglasses made of green glass; were worn in England as early as 1561. Center of lens magnified — edge of lens did not. folded and the lenses lay one above the other. Circa 17th century Pince-nez ("nose-pinchers" in French) were first worn in the 1840s by both men Inexpensive glasses made of window glass."X"-bridge.Circa 1825. and women, including famous people like Louis Pasteur and John Philip Sousa. Classic pince-nez. These blinker spectacles with hinged side pieces to protect peripheral vision A reversible nosepiece was one special feature of these Chinese spectacles. Lorgnette with telescoping handle. Double lens was opened with button-spring were the forerunners of our sunglasses. The lenses were tinted azure blue. The loops on the frames were tied with string weighted on ends and suspended release. Circa 1880. Circa 1830. over the wearer's ears. 0 II. . Old French pince-nez, rimmed with silver. Cork nose guards and intricate spring "X"-bridge. Circa 1830. bridge added to the wearer's comfort. Pince-nez style tinted glasses with a special serrated nose grip. Circa 1860. Lenses, however, are only half the story. What clamped against the sides of the head. 60s... the "aviator" specs inspired by fighter pilots of really turned eyeglass-making into big business was From France in the late 19th century came such WW II, and still going strong? the styling. One of the earliest eyepieces, invented in innovations as lorgnettes— hand-held binocular You might expect that with the perfection of about 1280,was the monocle — a single lens mounted spectacles with ornate frames and carrying cases. invisible contact lenses, eyeglass wearers would toss on a handle. The monocle remained popular well They were often used for reading menus,theatre pro- their spectacles into the nearest dump. On the con- into the 19th century. It was an aristocratic-looking grams and for coquettish ogling.Also from France, trary. Big name designers have been mobilized... appendage. Minus the handle, it was worn couched came the popular pince-nez, neat little frameless fashion magazines spew forth advice on the proper in the socket of one eye, giving the wearer an awe- glasses that clamped onto the bridge of the nose. selection of frames to enhance the physiognomy... in some, as well as fearsome, look. The monocle event- By the mid-19th century, the word "fashion" en- short, the eyeglass business is booming. No longer ually went out of favor when it became associated tered the eyeglass business. Spectacle wearers were do we hear the epithet, "four eyes," tossed disdain- with evil-looking Nazi generals in World War II movies. offered variations in shape, in color and in materials. fully at spectacle wearers. The world is a rosy-looking Early binocular glasses were hinged at the Lenses could be round, oblong, oval or octagonal. place for myopics, hyperopics and astigmatics, center, scissors-fashion, and held by hand up to the Frames were fashioned in wood, tortoise shell, horn, these days, as they peer through their glamorous eyes. Later versions came equipped with cords which wire, silver, gold, and currently in plastic. Who doesn't Christian Dior, Pierre Cardin, Anne Klein and Yves fastened around the head or looped over the ears. remember the "harlequin" craze of the 50s... the St. Laurent frames. Still others were designed with sidepieces which "granny" glasses popularized by the Beatles in the Marion Muller Spectacles courtesy of Better Vision Institute, Inc., New York, NY. Photographed by Greig Cranna. THIS ARTICLE WAS SET IN ITC KORINNAg 22 Rise ofthe Image Setter Only months after Carnet announced the table creation. Speed is dependent on the possible implications of automation in the world's first image setter,it has been joined resolution selected. At 70 picas, the 101 re- IBM's 4250 graphic designer's life. Vista and ProEdit are by a veritable crowd including the likes of cords one inch in 20 seconds,10 seconds and extremely expensive and mostly address the Autologic,Mergenthaler and IBM, in offering 5 seconds according to the resolution selected. production of electronic mechanicals rather the ability to record merged text and graph- This makes the full quality page recording Perhaps the most significant (bad) news for than supporting the more creative tasks ics at a reasonable price. This mini-wave of time about 4 minutes. However, there is a the typesetting industry was IBM's recent of conceptualizing, sketching or producing new products sanctifies the trend towards quicker galley setting mode which reduces introduction of the 4250 printer. This is the detailed thumbnails. all-digital prepress production. It also gives a the laser sweep from 70 to 15 picas, upping production version of a prototype shown at However, editorial use of digital electronic meaningful set of output alternatives to the the speed to a very acceptable 140 lines/ DRUPA '82. It employs an image recording color is now the focus of a large amount of rapidly evolving group of new suppliers minute.At $20,000 the M-101 should prove to technique called Electro-Erosion. In this research and will soon be the subject of a (Penta,lexet,Xyvision,Qublic and Impres) be a smashing success for Mergenthaler in the process, a special material composed of a great deal of marketplace activity. This will offering interactive typographic composition commercial typography marketplace. paper base coated with layers of ink and result in development of new computer front ends. Each device employs a different then aluminum is needed. graphic tools for the designer. Such systems imaging technology, and each offers unique Autologic's Nano-5 `Recording' is done by a moving head with 32 have been the subject ofintensive and produc- benefits to users. wires or electrodes, each 1/600th of an inch tive research at the Massathusetts Institute in diameter. These are in direct contact with of Technology's Visible Language Workshop, Mergenthaler's 101 Autologic's long-awaited down-market ma- the aluminized material.At any point where the New York Institute of Technology, Brown chine appeared atJune's ANPA show in Las images are to be shown, an electrical charge University's Interactive Documents Project, Vegas. The Nano-5 (and quickly dubbed the is sent down one of the wires. This zap is the University of Nebraska's Videotex Labs Most important of the new bunch, for the Nanu-Nanu) is the new addition to the APS conducted and turned into heat by the con- and many other places in the U.S. and Europe. top-quality designer marketplace,is the new family. The APS Nano-5 is a 70 pica,300 line ductivity of the aluminum coating. The Mergenthaler 101. The distinguished tradi- per minute CRT typesetter with a maximum selected spot heats up and the aluminum The migration of technologies and tech- tion started by the Mergenthaler 1010,world's 2892 line per inch resolution (variable accord- face vaporizes, revealing black ink beneath. niques in electronic color,from the platemak- first CRT typesetter, is admirably carried on ing to type size). It has complete font and ing production area where it first appeared Output of a full 81`2"x 11" page takes under in the 101. Based on the Omnitech 2000 laser driver code compatibility with its larger in the form of products like the Hell Chroma- 2 minutes. There is no chemical development, imaging system, the laser powered Linotron siblings, the Micro-5 and APS-5 systems. Based corn,Scitex Response and Crosfield 860,into making the device truly acceptable for office 101 is one of the best price/performance de- on speed and cost,it is a potent competitor the editorial/creative arena,is now well environments. The IBM 4250, or Zapper, as vices in the quality end of the market at pres- to the Compugraphic 8400 and AM 6400 for underway. Experience in technology evolu- we have affectionately named it, records text ent. It allows recording at three resolutions: the majority of typesetting applications. tion in the newspaper and typesetting indus- 1400,762 and 358 Ipi.At lower resolutions, fonts and line or picture graphics at a resolu- tries since the mid 1960s has shown that the horizontal scan remains 1400; only the The Nano-5 uses a three inch CRT screen tion of600 lines/inch. The type fonts,digitized computerization almost invariably first ap- vertical resolution is degraded. Importantly, with a moving mirror assembly and can by Monotype for 1BM,are from several sources, pears as a solution to production-related the 101 includes a complete raster image store 40 full fonts (4 range masters each) on including International 'Typeface Corpora- problems. Young technologies are frequently processor which merges graphics and line art its 5 megabyte diskA much larger 13.2 mega- tion, Monotype, Mergenthaler, and Fundicion immature and inefficient,but traditional pro- for full page output. byte disk is optional. The Nano-5 price is Tipografica Neufyille,SA This doesn't make duction methods are so arcane and costly in under $30,000. it a device of any interest to quality typo- human and material resources that savings The 70 pica-wide M-101 holds up to 70 digi- graphic markets. This is especially true when are no problem to achieve. Many newspapers tal fonts on line. Sizing from 4.5 to 127 points one considers that it takes a large-sized IBM replacing hot metal in their production areas is available as are kerning, letterspacing, computer and the rather elaborate Docu- recovered several million dollars in less than vertical/horizontal rules, digitally expanded, ment Composition Facility (DCF) program a year. condensed and slanted type,inferior/supe- to drive the Zapper. However,for the thou- rior/fraction setting and reverse video. Input sands of companies with installed IBM main- Unfortunately, the automation of production is in Mergenthaler's standard CORA coding, frames producing numerous quantities of tasks,while more cost effective, often places giving instant compatibility to many exist- documents for internal and external distribu- a new set of constraints on the creators in ing front end text systems. tion, the $21,000 price of the Zapper will be the process. Optical character recognition The M-101 is also unique in its ability to attractive indeed. This spells the start ofyet systems installed in editorial departments of transmit font width and kerning data to any more trouble for beleaguered typesetting ser- newspapers are one good example of econo- front end system via a standard interface, vice houses, and perhaps signals the start of mies in production"throughout" that were eliminating the tedious task of font kerning the era when everyone (or their computer) is paid for by punitive restrictions placed on their own typographer. Will "Quality" go out the nonparticipants. the window? We think not. It will simply Preparation of illustrations using the new have become another little part of the generation of all-digital color prepress sys- system's software. Recording of images was also made easier tems requires thinking through a design prob- for the APS family with introduction of the lem using the vocabulary of a graphic arts Autologic BitBlaster. The BitBlaster is a raster stripper. Direct use of these systems (if image processor option which attaches to a affordable) requires a strong production standard APS-5 or Micro-5. Normally coded Advent of orientation. This dictates a mindset,rules APS data sent to the device is digested by the and terminologies alien to the creative task raster image. Text is then added using the the Artist/ As technologies mature,bringing better typesetter's font engine. Results can be out- Illustrator price/performance ratios and more stable, put to a paper proofer like the Xerox 2700 reliable equipment, they inevitably bring Laser Printer or sent to the APS for high- Terminal migrations of functionality. This basically quality recording. We observed the BitBlaster means that the encounter between human producing good quality output at 300 lines endeavor and computer systems, which per inch. The BitBlaster with a Xerox 2700 results in electronic data, tends always to sells for $35,000. Thirty units were reportedly move closer to the point of origin. ordered on the first day of the show. This Commercial acceptance of the Scitex Vista at would seem to indicate the beginning of the Time Incorporated,marked by an order for 9 In the time from 1974 to 1978, commercial end for proofing on RC paper,a trend which more units,and the debuts of a number of typesetters were pioneering purchase of text will be less costly for the typesetter and be no new products like the Crosfield ProEdit and editing and composition equipment to drive Mergenthaler-Linotype's New Linotron 101 Imagesetter less convenient for the majority of customers. Slidetek prompt much consideration of the the new generation of digital CRT typesetters. Report 23 By 1979, a new emphasis on word processing which challenge both personal and public tinuous real-time interaction. The former the part of production people. The lead time interfaces surfaced. This allowed authors to print communication modes.As we shift means that ouput devices ranging from low- to go from concept to print could be dramati- capture keystrokes on word processors,plac- from a mechanical to an informational quality ink-jet to 4000 x 4000 pixel color film cally reduced.The time available for designers ing responsibility for text perfection back on society, new communication processes, new recorders can be used with ease.The latter to perfect their concepts could be dramati- the originator of the copy. Typographic termi- visual and verbal languages, and new rela- means that changes are continuously shown cally increased. Social relationships among nals like the Xerox Star take the next logical tions of education,practice and production to the user as they are performed, allowing designers, typesetters, color separators, plate- step, making the originator responsible for must evolve?' aesthetic judgments to be made instantly. makers, and printers could be dramatically improved. Multiple iterations of solutions both form and content in the document Several commercial versions of the VLVV con- Bar, line,pie and area chart generation is being created. Now our industry seems about would be simpler to produce. Visualization cepts will be entering the market later this instant,with the image being generated would become simpler and more immediate. to witness a similar migration in the area of year with prices ranging from $50,000 to mathematically from numeric inputs. Color color technology. $150,000. Some will address the needs of the manipulations of over 16 million shades are Is there a bottom line to this? Ibp officials at A horde of companies with names unfamil- individual designer, others will focus on the supported, with precise color matching also Avon Products, Inc., the largest user of com- iar to the graphics community— Microangelo, needs oflarge design groups or ad agencies. supported.A video camera allows input of mercial color printing in the world,indi- layouts and images which can then be traced cated that reductions in time from concept Digital Effects,Applicon, Computervision, The VLW has varied capabilities for creating Interactive Picture Systems,and Dicomed- to become part of the picture.An elegant to printing press could result in savings or images with electronic versions of tradi- program for fitting of complex curves helps increased revenues of as much as $26 mil- have been working busily to perfect terminals tional painterly tools, merging and manipula- for their own industry applications. Now eliminate the primitive 'digital' look which lion per year. Incentives for newsmagazines— tion of scanned multiple images and genera- was the trademark of earlier systems.A full Time, U.S. News and World Report, and these companies, most of which have been tion of images by purely mathematical working with lower-cost and lower-perform- range of type fonts will be part of the system. Newsweek— to include last minute color ads processing. The system also has a feature and editorial matter are at least as great. Both ance equipment than Crosfield,Hell, and called The Big Picture which emulates the SlidefIek claims that the availability of graphic Scitex, are about to invade our industry. time and creative potential are issues for ad- pushpin board, allowing the designer an over- arts quality output sharply differentiates it vertising agencies, many ofvvhich axe already view of component images and multiple from competitors like Via Video, Quantel, experimenting with color graphics terminals pages (up to 16) of work in progress.This Artronics,Morgan-Fairchild and New England for in-house use by their art directors. News uniquely addresses the question of manage- Technology. These suppliers offer paintbox graphics for television and for videotex are The Artist/ ment of the digital creative process,a critical capabilities but can only record at TV resolu- both areas with strong need for high-quality, issue not dealt with by other products or tion. These are primarily used in image- low-cost image origination in a time fashion. Illustrator's prototypes to date. making for television broadcast or animation. The FilinStation offers a price ratio of about Workstation 8-1 over competitive output units like the Growing Color slides Dicomed and a resolution ratio of as much designer receptivity as 36-1 over commercially available paintbox Perhaps most familiar as a graphic applica- systems' output. Is there potential acceptance of the concept From the large number of research and in- tion (and the source of most A/I workstation We have already witnessed the appearance of the designer's workstation in the general research now) is the electronic composition dustrial products intended to utilize image of the first of a thundering herd ofArtist/ printing and publishing community? Our processing in some way,perhaps the most of color business graphic slides. Pioneered a Illustrator workstations. Future units will personal experience teaching in workshops decade ago by General Electric's Genigraphics interesting for the designer community is the offer a wide range of features, sophistication, for graphic designers over the last few years research project underway at the Visible Lan- Division, there has been a rapid acceptance input capabilities, and output alternatives. indicates that they are eagerly awaiting the guage Workshop in Cambridge, Massachu- and proliferation of devices capable of mak- There will likely be several kinds of tools. arrival of new tools. Moreover, the ability to setts.VLW has had an experimental computer ing bar charts,pie charts, and similar color The simplest will be software packages work in both print and the new electronic system (VLWMAC) operating since 1978. The presentation graphics. These have been tradi- for microprocessors. The most sophisticated media ofvideodisk and videotex is very focus is automation of the designer's tasks tionally output in 35mm or 70mm slide will be workstations able to communicate attractive. Within the next few months, We through the provision of a terminal capable formats, on overhead transparencies or as directly to a color image assembly system can expect the start of a new era for graphic of capturing and manipulating images and low-resolution color inkjet plots. for output of color plates from a digitally design; one in which the editorial use of mixing them with full-quality typographic A tremendous amount of activity in this prepared mechanical. electronic color should provide us with a representations of text on a single interactive area has resulted in a drop from the initial dazzling,vibrant,and chromatic palette of screen. The prototype consists of a powerful, $500,000-plus investment to microcomputer- Digital storage of ideas experiences,and hopefully,a bright bouquet interactive computer (a 32-bit Perkin-Elmer based software packets costing as little as of profits. main frame CPU),a 300-megabyte disk,mag- $6,000.The potential market for these devices netic tape,line printer,a 512x512x28-bit frame and for the services of such devices is tremen- There will also be simpler terminals that buffer with video frame grabber, and a CCD- dous. Already, a number of commercial designers will use to sketch and store ideas. Reticon digitizing scanner. typesetting installations,including Mercury While microprocessor packages will have Typographers in San Francisco,have installed novelty appeal,it is likely that only a more color slide making equipment as a service sophisticated repertoire of functions, includ- to their graphic designer customers. ing scanned picture input and manipulation will really start to change the way designers The most promising new development in work this cluster of companies seems to be San Francisco-based Slider& (Ft. Cronkhite, Sausalito, CA 94965; 415-221-4164).This Time and money saved, enterprising young group is headed by quality controlled computer prodigy Paul Sawyer. His group Report l'rom 7i9chrropolis° is a quarterly report on developments and perspectives in the new emerging recently introduced their ArtStation ($27,000) What effect will all of the above have on the graphic communications technologies. Readers' and FilmStation ($34,000) at the Visual Com- graphic design industry? Certainly, there are comments or inquiries are encouraged. Mr. Good- munications Congress in NYC.The system is great benefits to be reaped from the reduc- stein is Director of Inter/Consult, Incorporated, and designed for high-volume graphic slide pro- According to VLW Director Professor Muriel tion of time and money presently spent in the Experimental 7jrpographics Laboratory in duction but contains almost all of the real multiple iterations of design concepts. The Cambridge, MA (Rchrialogy Center, 21 Notre Dame Cooper,"The electronic revolution has Avenue, 02140). He is also Research Affiliate in the features needed by the dream Artist Work- divergence between concept sketches and broken traditional definitions of the disci- station of the future. Visible Language Workshop at MIT and a Member plines of photography, printmaking, graphic final product could be reduced, simplifying in Residence of The Cambridge Institute. design,and graphic arts. New technologies Most important of these are resolution- designer/client communications. Attendant and media proliferate and merge in ways independent image manipulation and con- savings will be made in time and energy on THIS ARTICLE WAS SET IN ITC ZAPF INTERNATIONALS by David oHenry Goodsteinl is ANDERSON ASCH AUSTEN BABEL BALDWIN BARRIE BECKETT BOCCACCIO BRONTE BUCK BULGAKOV BURROUGHS CAMUS CARROLL CERVANTES CHESTERTON CONRAD COOPER DEFOE DOSTOYEVSKY DREISER DUMAS FAULKNER FERBER FITZGERALD FIAUBERT FRANCE GALSWORTHY GARDNER ghlif4;! 1, , GORKY f:110!0qicf,,. .,, It.,Witfi/tii'l‘Vift r ,,,,1 0„ GRASS 1, m,.', ,,e; Ope ," ■ GRIMM fOlpj1/4):#1.,' ' ,/11 ,,.., , „OOPS* Ofr,t 41,::::.%.4$1, ° WWII-LORNE Al Att#IikOedte Answer On Page 74. It1,,V,::•,w00,,,,,,.!$.11: HUGO 4, '1t, CHEST RTO NAU EN KAFKA EAKF A TTOCLAUMGI IAWRENCE RWRTU T SAL A TMH AS LONDON RKY I KWA L LT MACHIAVELLI AHIU O FSSEHICTSE MALAMUD NOH CD SAA TN WI MANN TRLN O LRDA I IANON MAUPASSANT ATESNRHORB MICHENER RROUGH SWTE MN FEDIBEAIHC OATES UA ETC O'HARA CNUEANGLYK PASTERNAK ACMUWM A D K A PIRANDELLO DPAEAONESA POE &NE NT HI SCOTTCVR REMARQUE KRRDT F THMC LH SEA RUNYON DEl A RI ELM! E P YH SADE VTZ EN AKE IMIOEOO SAGAN SO RH NLCTLORETE SAND C HMU C ORG ST SARTRE P A L I E Z O A B O N, 5 OW SCOTT A R I P L I N D DA SINCLAIR FIERE DRAGKAAROI SNOW NB 0 T EQ R Q UMO AN STEINBECK I N A U S I R U ND STOUT EBRE ITZGER A L DX STOWE STRINDBERG THIS ARTICLE WAS SET IN ITC GARAMOND. CONDENSED TARKINGTON TOLKIEN TWAIN URIS VERNE WEST WHITE WILDE WOOLF WYSS ZOLA 25 ILLUSTRATION BY WALLY NEIBART How to play: Find and encircle, in the puzzle body, the words appearing in the Puzzle Word I List They appear vertically, hori- zontally, diagonally and even backwards. Don't cross letters out — they may be used again as part of another name! To give you a head start, we have shaded one of the puzzle words. While these proper nouns may be spelled differently in other languages, please follow the versions in our Puzzle Word List. LOsungsanweisungen: Sie mussen in dem Ratsel die in dem Worterverzeichnis angege- benen WOrter finden und um- kreisen. Diese konnen senkrecht, waagerecht, diagonal und sogar dickvvarts vorkommen. Streichen Sie keine Buchstaben aus — sie konnten als Tell eines anderen Wortes gebraucht werden. Um Ihnen zu einem Anfang zu verhelfen, haben wir eines der RatselwOrter schattiert. Obwohl Eigennamen in anderen Sprachen unterschied- lich geschrieben werden mogen, halten Sie sich bitte an die englische Schreibweise. Regle du jeu: Retrouvez dans le puzzle et entourez d'un trait les mots qui figurent dans le Puzzle Word List. Ils se lisent verticalement, horizontalement, diagonalement et meme a l'envers. Ne barrez aucune lettre! Chacune peut resservir dans un autre mot. Pour vous mettre sur la voie, nous avons teinte un des mots du puzzle. Les memes mots peuvent avoir des orthographes di&- rentes selon les langues. Tenez- vous en a l'orthographe que donne le Puzzle Word List. 27 What's new from ITC itc ITC Weidemanrr is available in Book, Medium, Bold, and Black weights with corresponding italics. Small caps and oldstyle figures have been created for the two lightest weights. Only licensed ITC Subscribers are authorized to reproduce, manufacture, and offer for sale these and other ITC typefaces shown in this issue. This license WINCSED is your guarantee of authenticity. These new typefaces will be available to the public on or after October 17, 1983, depending on each manufacturer's release schedule. Weidemann (pronounced Vi-de-mun) 28 The first typeface design in the fifteenth century was created specifically to set the Bible. It was the end result of an extensive research and design ABCDEFGHIJKLMN program on the part of Johannes Gutenberg. In fact, most of the early typeface designs were cre- OPQRSTUUVWXYZ ated because of a particular printing assignment. Over half a millenium later, ITC Weidemann' car- 1234567890& ries on this proud tradition originated by Guten- berg. Originally called Biblica, ITC Weidemann 123456789oS$Ufof% was commissioned by the German Bible Society abcdefghijklmnop on the occasion of the first Bible translation of this new design was that it maintain economy mutually sponsored by the German Catholic and of space without sacrificing levels of readability qrstuvwxyz:::, Protestant church authorities. Upon first seeing or legibility. Translating this into specific design the face, ITC felt that it should be made available parameters, ITC Weidemann was created with on a worldwide basis. In the process of convert- relatively narrow character proportions, a larger cLOIECERloVefi ing Biblica into an ITC release, the name was than average x-height, distinct character design changed to credit the designer, Professor Kurt traits, and optically even stroke thickness. These (:;,.!?.-ttn'/#*)§(o) Weidemann. parameters yielded a design which has proved to ©12345678901aeilmorst As a Bible type, Biblica was conceived in only be ideal for all forms of text composition. three versions: book, book italic, and bold. For Because of its somewhat condensed proportions ABCDEFGHIJKLMNOPQR the ITC release, slight design adjustments and and relatively large x-height, ITC Weidemann modifications were made in these weights to uses space efficiently. When compared to normal STUVWXYZLOWECEi develop ITC Weidemann into a full family of four book types, ITC Weidemann can save considera- 1234567890 weights with corresponding italics. ble space. In addition, these character proportions One of the main guidelines for the development aid in improving levels of readability. The narrow BOOK AB CDEFGHIJKLMN ABCDEFGH1jKLM AB CDEFGHIJKL OPORSTUUVWXYZ NOPQRSTUUVW MNOPQRSTUUV 1234567890& XYZ WXYZ 1234567890$$(V06% 1234567890&% 1234567890&% abcdefghijklmnopq 123456789o$$((ife 123456789 o $ rstuvwxyzfi::, ,) abcdefghijklmnop abcdefghijklmno (1,02E lanfil-oti-e,e) qrstuvwxyzfi:,:, pqrstuvwxyzfi:: (1,0ZECEBN(WE' c'1,0"EcEB0.9-x•'e• @12345678901aeamorst (•;,-"-?--1L1/**)ft -t§1«» ©1234567890Iaeilmorst ©1234567890jaeilmorst BOOK ITALIC MEDIUM ITALIC BOLD ITALIC 29 ABCDEFGHIJKLM ABCDEFGHIJKL ABCDEFGHIJKL NOPQRSTUUVWX. MNOPQRSTUUV MNOPQRSTUU YZ1234567890& WXYZ VWXYZ 123456789o$$(4,g% 1234567890&% 1234567890&k% abcdefghijklmnopq 123456789o$SW0£ 123456789o$S(f rstuvwxyzfi:1: abcdefghijklmnop abcdefghijklmno cLOIECEBOoYee qrstuvwxyzfi:1 pqrstuvwxyzkil: (:;,.!?.!`272/74*)§(o) cliOACEBOoe cLORCE110oWee ©12345678901aeilmorst (:;.,!?,`. 22/46*) ABCDEFGHIJKLMNOPQ ©1234567890]aeilmorst Itq MEDIUM BOLD BLACK characters allow for an additional number of letters Because of the specific assignment from the Ger- to be taken in by the eye at a single glance; and at man Bible Society, Professor Weidemann chose to ABCDEFGHIJKL the same time the increased x-height provides for a pattern his type after oldstyle roman design traits. proportionally large character shape to be viewed. His reasons were: MNOPQRSTUU Extensive legibility comparison tests were con- The bracketed serifs of oldstyle faces help to VWXYZ ducted between the original Biblica and Times retain baseline definition. Roman. They were performed by the Department The relatively even strokes in oldstyle roman of Psychology at Christian Albert University in letterforms assure a uniform typographic color 1234567890aeZ9 Kiel, West Germany. The results of those tests which results in less show-through on light- anticipate that, during sustained reading, ITC weight stock 1234567890$Sccsf Weidemann (formerly Biblica) will provide for the comprehension of more letters during each An oldstyle face permits more distinctive abcdefghijklmno saccadic pause taken by the eye. This means that shapes of individual letters than many other ITC Weidemann can be read both more easily serifed types. and more rapidly. (See Examples, Pages 30-31) pqrstuvwxyzfi::;: ITC Weidemann is released in four weights: book, medium, bold and black, with corresponding c71,0dIECEBcloW& italics for each weight. Small caps as well as old- style figures have also been created for the two lightest weights. 1114§(0)©1234567890.1 Professor Kurt Weidemann teaches communica- tions and graphic design at the State Academy of aeilmorst Fine Arts in Stuttgart, West Germany. He was helped with the artwork of ITC Weidemann by Kurt Strecker, a long-time associate. BLACK ITALIC Times Roman I I I. 12. 13 31 Terach verlief3 mit seinem Sohn Abram, naan zu ziehen. Sie kamen bis nach Haran seinem Enkel Lot und seiner Schwieger- und blieben dort. In Haran starb Terach im tochter Sarai die Stadt Ur, urn ins Land Ka- Alter von 205 Jahren. Die Urvater Israe Is (Kap. 12-35) Gott beruft Abram (Abraham) chen. nAls er an die agyptische Grenze 1 I Der Herr sagte zu Abram: »Verlaf3' kam, sagte er zu seiner Frau Sarai: »Ich ma- deine Heimat, deine Sippe und die che mir Sorgen, well du so schon bist. Familie deinen Vaters und zieh in eM Land, 12113 Wenn die Araber dich sehen, werden sie das ich dir zeigen werde! 2 Ich will dir viele sagen: >Das 1st seine Frau<, und sie werden Nachkommen schenken und dich zum Va- mich totschlagen,11111 dich zit bekommen. Sag ter eines machtigen Volkes machen. So deshalb, du seist meine Schwester, dann wer- wirst du in aller Welt beruhmt; an dir wird den sie mich and Leben lassen and deinetwegen sichtbar werden, was es bedeutet, wenn ich noch besonders gut behandeln.« jemand segne. 3AIle, die dir und deinen 14 In Agypten traf eM, was Abram voraus- Nachkommen Gutes wunschen, werde auch gesehen hatte. Uberall fiel Sarai durch ihre ich segnen. Aber wenn einer euch Bases Schonheit auf. 13 Die Hofleute erzahlten wunscht, dann trifft ihn mein Fluch. Alle dem Pharao von ihr, und er lief3 sie in seinen Viiiker der Erde werden Gluck und Segen Palast holen. 16 Ihr zuliebe war er freundlich erlangen, wenn sie dir und deinen Nach- zu Abram und schenkte ihm Schafe und kommen wohlgesonnen sind.« Ziegen, Rinder, Esel und Kamele, Sklaven 4/5Abram folgte dem Befehl des Herrn. Er und Sklavinnen. war filnfundsiebzig Jahre alt, als er seine 17 Der Herr aber bestrafte den Pharao und Heimatstadt Haran verliel3. Seine Frau Sa- seine Familie mit einer schweren Krankheit, rai und Lot, der -Sohn seines Bruders, be- weil er sich die Frau Abrams genommen gleiteten ihn. Sie nahmen ihren ganzen Be- hatte. 18 Da lief3 der Pharao Abram rufen sitz mit, auch die Sklaven, die sie in Haran und sagte zu ihm: » Warum host du mir das erworben hatten, und zogen in das Land angetan? Du hottest mir dock sagen kiinnen, Kanaan, in dem damals noch die Kanaani- daji sie deine Frau 1st! Aber du host sie fur dei- ter wohnten. 6 Sie durchquerten das Land ne Schwester ausgegeben, nur deshalb habe bis zu dem heiligen Baum bei Sichem. ich sie mir zur Frau genommen. Nun, sie ge- 7 Dort erschien Gott Abram und sagte zu hod dir; sie and geh!« Der Pharao be- ihm: »Dieses Land will ich deinen Nachkom- fahl einer Abteilung Soldaten, Abram mit men gebenM Abram baute dem Herrn einen seiner Frau und seinem ganzen Besitz uber Altar an der Stelle, wo er ihm erschienen die Grenze zu bringen. war. 8 Von dort aus zog Abram in das Berg- land iistlich von Bet-El. Seine Zelte standen Abram und Lot trennen sich zwischen Bet-El im Westen und Ai im Osten. Abram kehrte mit seiner Frau und Auch dort baute er einen Altar und betete 13 seinem ganzen Besitz in den sijd- zum Herrn. 9 Dann zog er von Lagerplatz lichsten Teil des Landes Kanaan zurtick. zu Lagerplatz immer welter nach Siiden. Auch sein Neffe Lot begleitet ihn. 2-4Dann zog er von einem Lagerplatz zum anderen, Abrams Bewahrung in Agypten bis zu der Stelle zwischen Bet-El und Ai, wo (vgl. 20,1-18; 26,6-11) er zuerst seine Zelte aufgeschlagen und ei- loDamals brach im Land Kanaan eine nen Altar fiir den Herrn gebaut hatte. Dort schwere Hungersnot aus. Darum zog Abram betete er zum Herrn. Abram war sehr reich. noch welter, um in Agypten Zuflucht zu su- Er besaB grol3e Viehherden und viel Silber a) Zur Namensform siehe die Fuenote zu 17.4/5. b) Dies ist wahrscheinlich der urspriingliche Sinn. Maglich ist auch die tJbersetzung: PAlle Volker der Erde werden mich bitten, sie so zu segnen, wie ich dich gesegnet habe,« 12,1: Apg Hebr. 11,8 12,2: Ps 7.2,17 12,7: Kap. 13,15; 1548; Jos 21,43 12,8: Kap. 4,26 13,4: Kap. 12,8 13,13: Kap. 18,20; ITC WeidemannTM Biblical MOSS/GENESIS II. 12 31Terach verlieB mit seinem Sohn Abram, hen. Sie kamen bis nach Haran und blieben seinem Enkel Lot und seiner Schwiegertochter dort. In Haran starb Terach im Alter von ns Sarai die Stadt Ur, urn ins Land Kanaan zu zie- Jahren. Die Urvater Isr aels (Kap. 12-35) Gott beruft Abram (Abraham) weil du so schonbist. 12/13Wenn die Araber dich Der Herr sagte zu Abram: »Verlag sehen, werden sie sagen: )Das 1st seine Fraw, deine Heimat, deine Sippe und die und sie werden mich totschlagen, urn dich zu Familie deines Vaters und zieh in ein Land, bekommen. Sag deshalb, du seist meine Schwe- ster, dann werden sie mich am Leben lassen und das ich dir zeigen werde! 2lch will dir viele deinetwegen noch besonders gut behandeln.i Nachkommen schenken und dich zum Vater 141n Agypten traf ein, was Abram vorausge- eines machtigen Volkes machen. So wirst du in sehen hatte. Uberall fiel Sarai durch ihre aller Welt beriihmt; an dir wird sichtbar wer- Schonheit auf. 15Die Hofleute erzahlten dem den, was es bedeutet, wenn ich jemand segne. Pharao von ihr, und er Bell sie in semen Palast 3Alle, die dir und deinen Nachkommen Gutes holen. 161hr zuliebe war er freundlich zu Abram wunschen, werde auch ich segnen. Aber wenn und schenkte ihm Schafe und Ziegen, Rinder, einer euch Boses wiinscht, dann trifft ihn mein Esel und Kamele, Sklaven und Sklavinnen. Fluch. Alle Volker der Erde werden Gluck und 17Der Herr aber bestrafte den Pharao und sei- Segen erlangen, wenn sie dir und deinen Nach- ne Familie mit einer schweren Krankheit, weil kommen wohigesonnen er sich die Frau Abrams genommen hatte. 18Da 4/5Abram folgte dem Befehl des Herrn. Er Bell der Pharao Abram rufen und sagte zu ihm: war fiinfundsiebzig Jahre alt, als er seine Hei- hast du mir das angetan? Du hjittest matstadt Haran verlieB. Seine Frau Sarai und ,Warum mir doch sagen konnen, dalI sie deine Frau 1st! Lot, der Sohn seines Bruders, begleiteten ihn. Aber du hast sie fur deine Schwester ausgege- Sie nahmen ihren ganzen Besitz mit, such die ben, nur deshalb habe ich sie mir zur Frau ge- Sklaven, die sie in Haran erworben hatten, und nommen. Nun, sie gehort dir; nimm sie und zogen in das Land Kanaan, in dem damals noch gehlt Der Pharao befahl einer Abteilung Solda- die Kanaaniter wohnten. 6Sie durchquerten das ten, Abram mit seiner Frau und seinem ganzen Land bis zu dem heiligen Baum bei Sichem. Besitz fiber die Grenze zu bringen. Mort erschien Gott Abram und sagte zu ,Dienes Land will ich deinen Nachkom- ihm: Abram und Lot trennen sich men gebenk Abram baute dem Herrn einen Al- tar an der Stelle, wo er ihm erschienen war. Abram kehrte mit seiner Frau und 8Von dort aus zog Abram in das Bergland ost- 13 seinem ganzen Besitz in den siid- lich von Bet-El. Seine Zelte standen zwischen lichsten Teil des Landes Kanaan zuriick. Bet-El im Westen und Ai im Osten. Auch dort Auch sein Neffe Lot begleitet ihn. 2-4Dann baute er einen Altar und betete zum Herrn. zog er von einem Lagerplatz zum anderen, bis 9Dann zog er von Lagerplatz zu Lagerplatz im- zu der Stelle zwischen Bet-El und Ai, wo er mer weiter nach Stiden. zuerst seine Zelte aufgeschlagen und einen Al- tar fur den Herrn gebaut hatte. Dort betete er Abrams Bewabrung in Agypten zum Herrn. Abram war sehr reich. Er besafi gro- (vgl. 20, 1-18; 26, 6-11) Be Viehherden und viel Silber und Gold. 5Auch 18Damals brach im Land Kanaan eine schwere Lot, der mit ihm zog, hatte viele Schafe, Ziegen Hungersnot aus. Darum zog Abram noch wei- und Rinder und zahlreiche Knechte und Mag- ter, urn in Agypten Zuflucht zu suchen. de. 6Das Weideland reichte nicht aus ftir die 11 A1s er an die agyptische Grenze kam, sagte Viehherden der beiden; sie konnten auf die er zu seiner Frau Sarai: zl ch mache mir Sorgen, Dauer nicht zusammenbleiben. 7AuBerdem a) Zur Namensform siehe die Fulinote zu 17, 4/5. b) Dies ist wahrscheinlich der urspriingliche Sinn. Mtiglich ist auch die Obersetzung: »Alle Viilker der Erde wer- den mich bitten, sie so zu segnen, wie ich dich gesegnet habe.t 12,1: Apg 7,2-3; Hebr. 11,8 12,2: Ps 72,17 12,7: Kap. 13,15; 15,18; Jos 21,43 12,8: Kap. 4,26 13,4: Kap. 12,8 13,13: Kap. 18,2o; Trial pages for the Bible commissioned by the German Bible Society. ITC Weidemann sets more com- pactly than does the Times Roman while maintaining high levels of legibility and readability. 32 ITC WEIDEMANN' BOOK MEDIUM BOLD BLACK Excellence in typography is the result of nothing more than an attitude Excellence in typography is the result of nothing more than an attitud Excellence in typography is the result of nothing more than an art Excellence in typography is the result of nothing more than an Its appeal comes from the understanding used in its planning; the desig e. Its appeal comes from the understanding used In its planning; the itude. Its appeal comes from the understanding used in its planni attitude. Its appeal comes from the understanding used in its ner must care. In contemporary advertising the perfect integration of designer must care. In contemporary advertisIngthe perfect integrati ng; the designer must care. In contemporary advertising the pert planning; the designer must care. In contemporary advertisin design elements often demands unorthodox typography. It may requir on of design elements often demands unorthodox typography. It may ect integration of design elements often demands unorthodox ty g the perfect integration of design elements often demands un e the use of compact spacing, minus leading, unusual sizes and weights; require the use of compact spacing, minus leading, unusual sizes and pography. It may require the use of compact spacing, minus leadi orthodox typography. It may require the use of compact spaci whatever is needed to improve appearance and impact. Stating specific weights; whatever is needed to Improve appearance and impact. Stat ng, unusual sizes and weights; whatever is needed to improve ap ng, minus leading, unusual sizes and weights; whatever is nee principles or guides on the subject of typography is difficult because the ing specific principles or guides on the subject of typography is (Mai pearance and impact. Stating specific principles or guides on the ded to improve appearance and impact. Stating specific princi principle applying to one job may not fit the next. No two jobs are identi It because the principle applying to one job may not fit the next. Not subject of typography is difficult because the principle applying pies or guides on the subject of typography is difficult because 6 POINT Excellence in typography is the result of nothing more than Excellence in typography is the result of nothing more than Excellence in typography is the result of nothing more Excellence in typography is the result of nothing mor an attitude. Its appeal comes from the understanding used in an attitude. Its appeal comes from the understanding used than an attitude. Its appeal comes from the understand e than an attitude. Its appeal comes from the understa its planning; the designer must care. In contemporaiyadverti in its planning; the designer must care. In contemporary ad ing used in its planning; the designer must care. In cons nding used in its planning; the designer must care. In sing the perfect integration of design elements often demand vertising the perfect integration of design elements often emporary advertising the perfect integration of design contemporary advertising the perfect integration of d s unorthodox typography. It may require the use of compact demands unorthodox typography. It may require the use of elements often demands unorthodox typography. It ma esign elements often demands unorthodox typograp spacing, minus leading, unusual sizes and weights; whatever compact spacing, minus leading, unusual sizes and weight y require the use of compact spacing, minus leading, un hy. It may require the use of compact spacing, minus is needed to improve appearance and impact. Stating specific s; whatever is needed to improve appearance and impact. S usual sizes and weights; whatever is needed to improve leading, unusual sizes and weights; whatever is need principles or guides on the subject of typography is difficult rating specific principles or guides on the subject of typogr appearance and impact. Stating specific principles or gu ed to improve appearance and impact. Stating specifi 7 POINT Excellence in typography is the result of nothing more Excellence in typography is the result of nothing mor Excellence in typography is the result of nothing Excellence in typography is the result of nothi than an attitude. Its appeal comes from the understandi e than an attitude. Its appeal comes from the underst more than an attitude. Its appeal comes from the ng more than an attitude. Its appeal comes fro ng used in its planning; the designer must care. In con anding used in its planning; the designer must care. I understanding used in its planning; the designer m the understanding used in its planning; the d temporary advertising the perfect integration of design n contemporary advertising the perfect integration o must care. In contemporary advertising the pelf esigner must care. In contemporary advertisin elements often demands unorthodox typography. It m f design elements often demands unorthodox typogr ect integration of design elements often demand g the perfect integration of design elements oft ay require the use of compact spacing, minus leading, u aphy. It may require the use of compact spacing, minu s unorthodox typography. It may require the use en demands unorthodox typography. It may re nusual sizes and weights; whatever is needed to impr s leading, unusual sizes and weights; whatever is nee of compact spacing, minus leading, unusual sizes quire the use of compact spacing, minus leadin ove appearance and impact. Stating specific principles ded to improve appearance and impact. Stating specif and weights; whatever is needed to improve app g, unusual sizes and weights; whatever is need 8 POINT Excellence in typography is the result of nothing Excellence in typography is the result of nothin Excellence in typography is the result of not Excellence in typography is the result of more than an attitude. Its appeal comes from the g more than an attitude. Its appeal comes from hing more than an attitude. Its appeal come nothing more than an attitude. Its appeal understanding used in its planning; the designer the understanding used in its planning; the des s from the understanding used in its planni comes from the understanding used in its must care. In contemporary advertising the perfe igner must care. In contemporary advertising t ng; the designer must care. In contemporar planning; the designer must care. In cont ct integration of design elements often demands he perfect integration of design elements often y advertising the perfect integration of desi emporary advertising the perfect integrat unorthodox typography. It may require the use o demands unorthodox typography. It may requir gn elements often demands unorthodox ty ion of design elements often demands un f compact spacing, minus leading, unusual sizes e the use of compact spacing, minus leading, un pography. It may require the use of co mpac orthodox typography. It may require the and weights; whatever is needed to improve app usual sizes and weights; whatever is needed to t spacing, minus leading, unusual sizes and use of compact spacing, minus leading, u 9 POINT Excellence in typography is the result of not Excellence in typography is the result of n Excellence in typography is the result o Excellence in typography is the result hing more than an attitude. Its appeal come othing more than an attitude. Its appeal co f nothing more than an attitude. Its app of nothing more than an attitude. Its s from the understanding used in its plannin mes from the understanding used in its pia eal comes from the understanding use appeal comes from the understandin g; the designer must care. In contemporary nning; the designer must care. In contemp d in its planning; the designer must car g used in its planning; the designer m advertising the perfect integration of design orary advertising the perfect integration of e. In contemporary advertising the perf ust care. In contemporary advertisin elements often demands unorthodox typog design elements often demands unorthod ect integration of design elements ofte g the perfect integration of design ele raphy. It may require the use of compact spa ox typography. It may require the use of co n demands unorthodox typography. It ments often demands unorthodox ty cing, minus leading, unusual sizes and weig mpact spacing, minus leading, unusual siz may require the use of compact spacin pography. It may require the use of co 10 POINT Excellence in typography is the result of Excellence in typography is the result Excellence in typography is the res Excellence in typography is the re nothing more than an attitude. Its appea of nothing more than an attitude. Its ap ult of nothing more than an attitude suit of nothing more than an attitu 1 comes from the understanding used in peal comes from the understanding us Its appeal comes from the understa de. Its appeal comes from the and its planning; the designer must care. In ed in its planning; the designer must c nding used in its planning; the desi erstanding used in its planning; th contemporary advertising the perfect in are. In contemporary advertising the p gner must care. In contemporary a e designer must care. In contemp tegration of design elements often dem erfect integration of design elements o dvertising the perfect integration of orary advertising the perfect integ ands unorthodox typography. It may re ften demands unorthodox typography design elements often demands un ration of design elements often de quire the use of compact spacing, minus It may require the use of compact spaci orthodox typography. It may requir mands unorthodox typography. It II POINT Excellence in typography is the resu Excellence in typography is the res Excellence in typography is the r Excellence in typography is th It of nothing more than an attitude ult of nothing more than an attitud esult of nothing more than an att e result of nothing more than a Its appeal comes from the understan e. Its appeal comes from the unders itude. Its appeal comes from the n attitude. Its appeal comes fro ding used in its planning; the design tanding used in its planning; the de understanding used in its planni m the understanding used in its er must care. In contemporary adve signer must care. In contemporary ng; the designer must care. In co planning; the designer must ca rtising the perfect integration of desi advertising the perfect integration ntemporary advertising the perf re. In contemporary advertisin gn elements often demands unorth of design elements often demands ect integration of design elemen g the perfect integration of desi odox typography. It may require the unorthodox typography. It may req is often demands unorthodox ty gn elements often demands un 12 POINT Excellence in typography is the Excellence in typography is th Excellence in typography is Excellence in typography i result of nothing more than an e result of nothing more than the result of nothing more t s the result of nothing mor attitude. Its appeal comes from an attitude. Its appeal comes fr han an attitude. Its appeal c e than an attitude. Its appe the understanding used in its p om the understanding used in omes from the understandi al comes from the underst tanning; the designer must car its planning; the designer mu ng used in its planning; the anding used in its plannin e. In contemporary advertising st care. In contemporary adve designer must care. In cont g; the designer must care. I the perfect integration of desig rtising the perfect integration emporary advertising the p n contemporary advertisin n elements often demands uno of design elements often dem erfect integration of design g the perfect integration of 14 POINT 33 BOOK ITALIC MEDIUM ITALIC BOLD ITALIC BLACK ITALIC Excellence in typography is the result of nothing more than an attitu Excellence in typography is the result of nothing more than an attit Excellence in typography is the result of nothing more than a Excellence in typography is the result of nothing more tha de. Its appeal comes from the understanding used in its planning; the ude. Its appeal comes from the understanding used in its planning; n attitude. Its appeal comesfrom the understanding used in i n an attitude. Its appeal comes from the understanding us designer must care. In contemporary advertising the perfect integra the designer must care. In contemporary advertising the perfect int is planning; the designer must care. In contemporary advert ed in its planning; the designer must care. In contempora lion of design elements often demands unorthodox typography. It ma egration of design elements often demands unorthodox typography. ising the perfect integration of design elements often deman ty advertising the perfect integration of design elements o y require the use of compact spacing, minus leading, unusual sizes an It may require the use of compact spacing, minus leading, unusual ds unorthodox typography. It may require the use of compact fen demands unorthodox typography. 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Stating specific principles or guides on the subject 6 POINT Excellence in typography is the result of nothing more than Excellence in typography is the result of nothing more tha Excellence in typography is the result of nothing mor Excellence in typography is the result of nothing m an attitude. Its appeal comes from the understanding used n an attitude. Its appeal comes from the understanding us e than an attitude. Its appeal comes from the unders ore than an attitude. Its appeal comes from the un in its planning; the designer must care. In contemporary adv ed in its planning; the designer must care. In contempor tanding used in its planning; the designer must care derstanding used in its planning; the designer mu ertising the perfect integration of design elements often de ary advertising the perfect integration of design elements In contemporary advertising the perfect integration st care. In contemporary advertising the perfect in mands unorthodox typography. It may require the use of co often demands unorthodox typography. It may require the of design elements often demands unorthodox typog tegration of design elements often demands unort mpact spacing, minus leading, unusual sizes and weights; use of compact spacing, minus leading, unusual sizes and raphy. It may require the use of compact spacing, mi hodox typography. It may require the use of comp whatever is needed to improve appearance and impact. Sta weights; whatever is needed to improve appearance and i nus leading, unusual sizes and weights; whatever is act spacing, minus leading, unusual sizes and wei ting specific principles or guides on the subject of typograp mpact. Stating specific principles or guides on the subject needed to improve appearance and impact. Stating s ghts; whatever is needed to improve appearance a 7 POINT Excellence in typography is the result of nothing more Excellence in typography is the result of nothing mor Excellence in typography is the result of nothi Excellence in typography is the result of not than an attitude. Its appeal comes from the understa e than an attitude. Its appeal comes from the unders ng more than an attitude. its appeal comesfro ping more than an attitude. Its appeal come nding used in its planning; the designer must care. In tanding used in its planning; the designer must care m the understanding used in its planning; the s from the understanding used in its planni contemporary advertising the perfect integration of d In contemporary advertising the perfect integration designer must care. In contemporary advertis ng; the designer must care. In contemporar esign elements often demands unorthodox typograph of design elements often demands unorthodox typog ing the perfect integration of design elements y advertising the perfect integration of desig y. It may require the use of compact spacing, minus I raphy. It may require the use of compact spacing m often demands unorthodox typography. It ma n elements often demands unorthodox typo eading, unusual sizes and weights; whatever is neede inus leading, unusual sizes and weights; whatever is y require the use of compact spacing, minus 1 graphy. It may require the use of compact s d to improve appearance and impact. Stating specific needed to improve appearance and impact. Stating eading, unusual sizes and weights; whatever i pacing, minus leading, unusual sizes and w POINT Excellence in typography is the result of nothing Excellence in typography is the result of nothin Excellence in typography is the result of Excellence in typography is the result of more than an attitude. 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It may require the emands unorthodox typography. It may sizes and weights; whatever is needed to impro ng, unusual sizes and weights; whatever is nee use of compact spacing, minus leading, u require the use of compact spacing, mi POINT Excellence in typography is the result of no Excellence in typography is the result of n Excellence in typography is the result Excellence in typography is the resu thing more than an attitude. Its appeal co othing more than an attitude. Its appeal c of nothing more than an attitude. Its It of nothing more than an attitude mes from the understanding used in its pl omes from the understanding used in its appeal comes from the understandin Its appeal comes from the understa anning; the designer must care. In contem planning; the designer must care. In con g used in its planning; the designer m nding used in its planning; the desi poraty advertising the perfect integration o temporary advertising the perfect integrat ust care. In contemporary advertising gner must care. In contemporary ad f design elements often demands unortho ion of design elements often demands un the perfect integration of design elem vertising the perfect integration of dox typography. It may require the use of c orthodox typography. It may require the u ents often demands unorthodox typo design elements often demands un ompact spacing, minus leading, unusual si se of compact spacing, minus leading, un graphy. It may require the use of corn orthodox typography. It may requir 10 POINT Excellence in typography is the result o Excellence in typography is the result Excellence in typography is the re Excellence in typography is the r f nothing more than an attitude. Its ap of nothing more than an attitude. Its a suit of nothing more than an attitu esult of nothing more than an att peal comes from the understanding us ppeal comes from the understanding de. Its appeal comes from the and itude. Its appeal comes from the ed in its planning; the designer must ca used in its planning; the designer mus erstanding used in its planning; th understanding used in its planni re. In contemporary advertising the pe t care. In contemporary advertising th e designer must care. In contemp ng; the designer must care. In co rfect integration of design elements oft e perfect integration of design elemen orary advertising the perfect integ ntemporary advertising the petrt en demands unorthodox typography. I ts often demands unorthodox typogra ration of design elements often de ect integration of design elemen t may require the use of compact spaci phy. It may require the use of compac mands unorthodox typography. It ts often demands unorthodox ty II POINT Excellence in typography is the resu Excellence in typography is the res Excellence in typography is the Excellence in typography is th It of nothing more than an attitude ult of nothing more than an attitud result of nothing more than an e result of nothing more than Its appeal comes from the understa e. Its appeal comes from the under attitude. Its appeal comes from an attitude. Its appeal comes f nding used in its planning; the desi standing used in its planning; the the understanding used in its pl rom the understanding used i gner must care. In contemporary a designer must care. In contempor anning; the designer must care n its planning; the designer m dvertising the perfect integration of ary advertising the perfect integrati In contemporary advertising th ust care. In contemporary adv design elements often demands un on of design elements often deman e perfect integration of design ertising the perfect integratio orthodox typography. It may requir ds unorthodox typography. It may elements often demands unort n of design elements often de 12 POIN7 Excellence in typography is th Excellence in typography is th Excellence in typography i Excellence in typography e result of nothing more than e result of nothing more than s the result of nothing mor is the result of nothing m an attitude. Its appeal comes f an attitude. Its appeal comes e than an attitude. Its appe ore than an attitude. Its a rom the understanding used i from the understanding used al comes from the underst ppeal comes from the un n its planning; the designer m in its planning; the designer anding used in its plannin derstanding used in its pl ust care. In contemporary adv must care. In contemporary a g; the designer must care. I anning; the designer mus ertising the perfect integratio dvertising the perfect integrat n contemporary advertisin t care. In contemporary a n of design elements often de ion of design elements often d g the perfect integration of dvertising the perfect inte 14 POINT 34 Grandfather with granddaughter 35 It may not be gold she's spinning out of base materials, but it's surely the next best thing—it's jobs, commissions and cash. Ellen Rixford describes herself as a three-dimensional illustrator. She is one of those fortunate peo- ple whose fine arts training in sculpture also provided her with a means to a rewarding commer- cial career. While most of the work illustrated here evolved from fabric, she also cuts, pastes, saws, stuffs, drapes and manipulates paper, wood, plaster, plastic, found objects and even food. Nothing is sacred if it solves a , problem and isn't nailed down. Mostly she enjoys tackling prob- lems that can be handled with humor. Her work has included still life constructions, landscapes, figures, puppets and props. Among her clients, she counts N. W Ayer, Ogilvy & Mather, Marsteller, Avon, Exxon, Book- Magistrate and seg:portrait as a boy Mad inventor/poet on 8th Avenue & 42nd Street in New York City of-the-Month Club, Harper and Row, McGraw-Hill, Fortune Magazine, Good Housekeeping, Business Week, Reader's Digest, Ms. Magazine, Seventeen, John- son Pedersen Hinrichs and United Technologies. Aside from her commercial work, her sculpture has been exhibited in galleries in Connecticut and at the Allen Stone Gallery and Waverly Gallery in New York City. She was also honored with a one- person show by the Society of Illustrators in 1981 and has won awards from the Society of Illustrators and the Society of Publication Designers. A new project on her up-and- coming horizon will involve kinetic sculpture. Judging from her appetite for adventure and her energy for work, we expect some wheels will be spinning in her studio before the ink is dry on this page. M.M. Benedict, a stuffed dragon, is the mascot of the Children's Book Division of The Book-Of-The Month Club THIS ARTICLE WAS SET IN ITC TIFFANY 36 MASKS OF MEXICO If you have ever painted your face, stuck a tion of U&lc have all been abstracted false nose and mustache over your God- from that colorful and copiously illus- given features or donned a Halloween mask, trated volume entitled MEXICAN you can easily understand the appeal of a MASKS. It is published by the University disguise. What a powerful device! Let's put of Texas Press, Austin, Texas, and any- aside the petty and fiendish crimes that are one who wishes to explore the subject committed under cover of a mask. There in scholarly detail will find this hand- are a number of harmless, entertaining and some and informative book well worth enriching experiences to be had, incognito. its price. In disguise,we can try out new personalities, THE MEXICAN MIX. To begin with, we without embarrassment. In disguise, we are reminded that Mexican masks, as can give vent to fantasy. In disguise, we can with everything else in Mexico, are an express inexpressable hopes, fears, longings, amalgam of three powerful influences: rage, joy — without inhibition. Masks are the native Indian cultures, the Euro- genuinely cathartic, for it is a known fact pean cultures of the Spanish con- that,when people don masks, their own faces querors and the Catholic Church and take on the visages of the masks. Under the heritage of African tribesmen who grinning masks, they grin. Under horror were deposited in Mexico during the masks, they scowl and growl. People actually period of slave-trade activity in the turn benign, joyous, pompous, clownish, eighteenth century Though it is some- lascivious or threatening, in synch with the times difficult to pin down the exact mood of their disguise. Such personal ex- source of a theme or symbol, certain periences with masks and disguises should icons have remained consistent in help us understand the power of masks in meaning, from the earliest pre-Colum- the daily lives, and in the social and religious bian masks to those used in contem- rituals, of primitive people. porary festivals. ORIGINS OF MASKS. The masks we are But to really understand mask referring to are far more mystical and mean- designs — what the bats, lizards and ingful than the practical devices used by the snakes are all about... what the devils ancient Greeks to magnify characters and signify... the meaning of tigers and amplify voices in their huge amphitheaters. toothless old men—one has to know Nor are they the simple theatrical devices how and why the masks are used. used in Chinese dance and Japanese noh A DANCES AND MASKS. The masks in plays. The masks we are referring to are laden with mythological, historic and Mexico are fundamental to the performance of ritual dances. The dances are magical symbols. The concepts that have been passed down from generation to community celebrations, but though they are public, social activities, they generation, over hundreds of years, have lost much in the translation. Yet, even are not an open, all-join-in affair. They are carefully organized events, usually though many of the symbols cannot be rationally explained by contemporary planned and managed by the mayordomo of the village. It is his responsi- participants in "masked"festivals. the emotional impact is powerful and real. bility to hire the dancers, arrange for their training, their costumes, masks These masks, which are inseparable from secular and religious celebrations. and their bed-and-board for the duration of their stay. have their origins in body painting that was commonly practiced by Indian and There are five major themes celebrated in the form of dance. Probably African tribes. But in the course of time, and in societies and climates where the earliest, most primitive dances related to nature and mystical phenomena. people didn't bare their bodies or expose themselves to the elements, symbolic There are also dances to celebrate historic events, Christian legends, occu- decorations and disguises were concentrated in the face. They believed that the pations, and some dances are purely for entertainment. Often, there are spirit and soul of a human being resided in the face. Thus, by donning the appro- overlapping elements of choreography in the dances. In fact, as might be ex- priate mask, one could inhabit the soul of a god, spirit or animal and control its pected, there is frequently some conflict of interpretation and practice among behavior, influence the course of events and. literally, "change the face of things." aficionados. But more amazing than the differences of opinion, is the consist- Just how such masks were used—and are still used today—was the subject ency of symbols that has endured from pre-Columbian times to the present. of an exhaustive work by Donald Cordry. Concentrating on the masks of Mexico, NATURE-RELATED DANCES. These dances are probably the oldest, Mr. Cordry first ventured there on horseback in 1931. He continued his investi- most mystical, and have their source in primitive man's total dependence on gations for almost fifty years, traveling through the many states, the hinterlands nature for survival. Life was hard. The forces of nature could play havoc and tribal centers of Indian societies. During his trips he interviewed mask makers, with their food supply. It was believed that one could influence those forces— investigated, analyzed and photographed masks from the most primitive to con- the rain, the winds, the fertility of crops and abundance of animal life—by temporary creations. His work was finished in 1978, just before his death. and inhabiting the spirits of the controling gods. Since they believed the spirit finally published in 1980. The facts, insights and photographs in this special sec- was in the face, by wearing the appropriate mask, the dancer could penetrate A DEVIL MASK. A rare old specimen, probably fashioned by a santero, a skilled church-supported carver. The mask is dualistic in purpose; the devil face represents evil, the snakes are a petition for rain. Tlapa, Guerrero (Nahua). Photographs of masks from MEXICAN MASKS, by Donald Cordry, CO 1980 by the University of Texas Press, Austin, Texas. THIS PAGE WAS SET IN ITC SERIF GOTHIC®. ITC ZAPF BOOK 8,ITC QUORUM®. ITC LUBALIN GRAPH•. ITC CLEARFACE® AND ITC NEW BASKERVILLE. 38 the spirit and direct its behavior. For instance, the tiger who is considered king of the beasts, and is feared as a threat to farm workers, could be detrimental to a good harvest. Thus, a tiger mask and tiger dance are performed to ensure a safe crop. In the dance, the tiger is hunted down and sym- bolically killed.ln this category of dance,there are masks and specific dramatic action to guarantee good hunting, good fishing, ample rainfall and benign climatic conditions. }IISTORIC DANCES. Generally, these dances are devoted to the theme of the Spanish conquest, from the Indian point of view. In the dance, which represents the tragedy of the destruction of the Indian civili- zation, there are costumes and masks for Spanish soldiers and Indian warriors. But B RASTRERO MASK. Designed for one of the characters in the Tigre the most important character presented is Dance, who, with his dog, helps the field workers hunt down and kill the tiger, thus guaranteeing a bountiful harvest. Rastrero is always repre- that of Malinche. Malinche was an Indian sented with a twisted mouth. Jojulla, Morelos (Nahua). woman who became the interpreter for C TLACOLOLERO MASKS. Used in the Tigre Dance to represent men who care for the fields. The masks are richly carved and divided into Cortes,and eventually his mistress.Although sections of varying colors to represent the variations in the look of planted she is regarded as a traitor, she is also con- Almolimga, Guerrero (Nahua). sidered to be a strong character who was able to penetrate the soul of the conqueror, and win her way into his heart as well as his bed. The Malinche and Cortes masks are generally painted pink or red, the colors that symbolize lust, and are adorned with lizards, one of the many animals used to connote sexuality. From the Christian point of view, the dance is not a total disaster because the entire population winds up embracing Christianity happily. Another typical historic dance event is the enact- ment of The Battle of the Fifth of May, the celebration of the Mexican army's victory over the French in 1862. The masks used represent Indian and French soldiers. CHRISTIAN DANCES. Early on, priests and friars learned that the easiest way to inculcate Christian ideas in Indian minds was through their own customs. They found the "dance" an excel- lent teaching device and vehicle for demonstrating Christian legends and B values. In order to denigrate the established Indian "spirits"or "gods:' they refurbished the spirit masks, adding horns, leering and grotesque expressions, turning them into devil masks, thus making them objects offear and ridicule. Among the Christian-inspired dances, which include devil masks, are passion plays depiciting the life and death of Christ, and several dances that demonstrate the struggle between good and evil. One such dance, The Dance of the Moors and Christians, is performed with elaborate masks representing exotic kings and sultans doing battle with simple, honest Christian soldiers. All ends happily with the Moors finally embracing Christianity. Dance of the Dead, The Dance of the Old OCCUPATIONAL DANCES.This category Ones and The Dance of the Little Blacks. of dance fulfills two functions. It honors Since the devil,in Mexico,is not an out-and- certain laborers in the community by sin- out symbol of dread, but something of a gling them out as a subject for attention, and prankster, The Devil Dance is not a tragic, it also serves as a teaching device. Through fearsome affair. The devil behaves some- the enactment of the activities of the worker, what like a clown (in this dance as well as proper techniques and attitudes are dem- in others where he appears) telling jokes, onstrated to the young children of the corn- pulling pranks, making obscene gestures munity.A typical occupation dance is the and generally relieving tension. The devil Cowboy Dance, in the course of which, the masks are brightly colored, filled with wit cowboy captures a bull. The cowboy mask is and fantasy, and as mentioned before in adorned with horsehair, a symbol of strength the section on Christian Dances are usu- and power, and the mouth is carved as a ally early Indian spirit masks embellished round hole, alluding to the way he whistles with horns. The Dance of the Dead is not for his cattle. usually a dance in and of itself, but is in- ENTERTAINMENT DANCES. No matter cluded in other serious dances. It serves how serious the intention of a dance, there as a constant reminder of human mortality. is always an entertaining component. But However, in Mexico, death is not the there are a number of dances whose only dread and frightening thing it is in other objective is to entertain. The most popular cultures. There is a rather mocking and of these are The Dance of the Devils, The playful attitude toward it.and the skeleton THIS PAGE WAS SET IN ITC KORINNA®, ITC FENICES.AND ITC NEW BASKERVILLE' 39 masks used in this dance are more amusing than demonic. The Dance of the Old Ones is another example of Mexican acceptance of the vicissitudes of life. This dance is one of the oldest known and can be traced back to pre-conquest days. It both ridicules and celebrates old age. The masks and costumes portray smiling, toothless, decrepit old men. The dancers start their movements shakily, leaning on walking sticks, but wind up in energetic lively movements full of acrobatics and joy of life. The Dance of the Little Blacks is sometimes enacted as a serious affair and sometimes comic. In its serious form, it is a crop-fertility dance. As entertain- ment, it is played in a very comic way with much sexual innuendo. The Negritos (little blacks) are sexual jesters who make ribald remarks, shake snakes and lizards (phallic symbols) in the faces of the audience. In the comic version, workers and clowns (the negritos themselves) are bitten by an evil snake, but are then magically cured. Toward the end, the snake temporarily escapes, but is eventually hunted down and killed by the dancers. The joy of life is evident in all these dances. Many of the symbols in the masks are obvious and easy to understand in terms of the dances and their purpose. But some derive from prehistoric myths, and some have been added to, modified and amended by, succeeding civilizations. Often they vary from village to village, and meanings and motifs have been lost. Sometimes the meanings are the secret knowledge of the mask makers who are not anxious to share their sacred, private information with just any- . body. And since young people are not generally inclined to continue the primitive traditions of their forefathers, much of the knowledge and meanings about masks have been lost. Where they continue to be used, they're not often under- stood in a rational way. But there is a strong emotional response to the dances and the masks, even by those who don't grasp their meaning. Even where the meanings are not directly traceable or obvious, there are certain philosophi- cal precepts and basic mythology that comes through in the masks. The notion of the duality of life is clearly represented in Mexican masks as well as in masks of other societies: male and female, life and death, good and evil, tragedy and comedy, etc. Among Mexican masks there are a number of two-faced representations. Sometimes two faces are included in one mask; sometimes two separate halves are joined in one, or negative and positive symbols are added to either side of a single face. Other ways of expressing duality are found in constructions where two bodies are joined, and in masks with two small faces affixed to the eye sockets of a single large face. Another common symbol for duality in Mexican masks is a twisted mouth. This same symbol has been found in masks made by certain Indian tribes of North America and some mask-making Eskimos. COLOR AND PAINT. The actual colors chosen are often significant. Pink and red represent lust, as demonstrated in the Malinche and Cortes masks. Sometimes masks are divided into sec- tions of varying colors to represent differ- ent fields of crops.Two-faced masks are painted in two different colors to empha- size their dualistic nature. D EAGLE KNIGHT MASK. In this mask, used in the Aztera Dance. ANIMAL SYMBOLS. Each group of animals the eagle represents war. The mask represents the ancient Chichimee war- rior fightnig against Christian conquerors Giterrero (Nahua). is watched over by a spirit, endowed with E GOAT MASK. This heavy old mask made of hardwood has been the power to look after its population and re-used and repainted a number,/ Tlapehuala, Guerrero (Nahna). make sure it flourishes.There is a Lord of the Deer,a Lord of Caimans and Fish,a Lord of Wolves,a Lord of Serpents,etc.There are masks,naturally,to represent each of the animal spirits. But most important of the animal symbols is the tiger. The Tiger is the recognized lord of all the animals. He is the most powerful and most feared,for he has the wherewithal to harm farm workers and interfere with the production of crops.The tiger symbol ap- pears in masks and in full costume in a number of dances. Bats are formidable symbols in Mexico and have a dualistic interpretation.They E THIS PAGE WAS SET IN ITC BERKELEY OLDSTYLE., ITC FRANKLIN GOTHICO. AND ITC NEW BASKERVILLE. 40 F MASK FOR DAY OF THE DEAD. Created in a negro village, near the coast and the Guerrero border, this mask shows the influence of African sculpture. Deer antlers, horse- hair, corn kernel teeth and fierce round eyes are distinctive features. Estancia Grande, Oaxaca. G HELMET MASK, BAT DANCE. A helmet mask, worn during the Bat Dance performed on December 23rd, in which all animals pay homage to the Christ Child. A squirrel is perched on the head; a bat, a butterfly, a lizard and a coyote are superim- posed on the face. Totozintla, Guerrero (Nahua). F G live in caves which are associated with water... with rain ... and hence with fertility. In this sense they are a positive symbol. But the cave is also the mythological entrance to the underworld. And since Mexico is the home of the vampire bat (which survives on blood) the animal is associated with the bloody religious sacrifices practiced by certain pre-Hispanic Indian societies. All of which gives the bat the double identity with death, sacrifice and sorcery, as well as with fertility. On masks, the bat is frequently splayed out across the nose section. Thus the bat is used to symbolize both fertility and death. Armadillos are burrowing animals that disappear into the earth, so it is easy to understand how they come to be associated with the soil and with the fertility of crops. Masks devoted to fertility dances Serpents and Snakes have multiple associations which eventually boil down to are often designed with scaly markings fertility. They are symbols of water, because their twisting, meandering movement to represent the hide of the armadillo. resembles the flow of rivers. Their body forms have phallic connotations. Together, Dogs are clearly the most beloved water and sexuality guarantee fertile crops. It is also quite common to find masks and most beneficial animal in Indian in which snakes are used to represent hairlocks, sideburns and beards. mythology. Aztecs and Mayans, alike, Caimans (alligators and crocodiles), Fish and Mermaids are symbols that are believed that a dog guided dead souls to popular in areas where fish is a main their resting place in the underworld. staple of the diet. Caimans are a Dogs are also associated with lightning used in conjunction with the caiman threatening symbol,as they are not only mask, are spinelike growths similar which illuminates roads for safe travel a danger to human life, but they also to the great beyond. Lightning, though to those found on native pochote eat the fish that the native population trees. Since these spines are the threatening, is inseparable from the depends on for subsistence. Caiman benevolent rain, so here again is an in- features, combined with dog features, source of oil and a silky cotton fiber, stance of the duality of symbols — the : both extremely useful to country symbolize life - threatening forces, but dog with the power to turn a destructive with the dog leading the dead safely to people, they symbolize productivity. force into a helpful one. One has to assume that there is the underworld. Outside fishing com - Lizards si gnify p halluses, sexuality, some visual association with the lust and abundance, all of which are munities, caimans have another meaning. It is commonly believed that spikes of the tree and the scales of highly desirable to Mexican Indian the caiman, and that the spikes on tribes who have no puritanical heritage the earth rests on the back of a croco- to stand in the way of their pleasures. dile which floats in a huge lake. Some- the mask represent an invocation The lizard is a popular symbol on times the caiman is depicted with to turn a destructive force into a masks that are colored red or pink— maize plants growing out of its back. productive one. hues that are also associated with lust Another enigmatic symbol, frequently Fish, mermaids, frogs and toads and passion. THIS PAGE WAS SET IN ITC CASLON NO.224., ITC ERAS 0, ITC SOUVENIR®, AND ITC NEW BASKERVILLE. 41 both fertility symbols—and the pochote spikes mentioned previously, plants have no overt role in mask design. However, in the creation of the mask, they play a substantial part. For one thing, mask designers make use of hallucinogenic plants to aid them in visualizing their creations. Also, because they believe spirits inhabit the trees used for making masks, there is much ritual involved in cutting the wood so as not to offend the resident forces. Invertebrates such as bees, grasshoppers, scorpions and the like, are all destructive forces and have negative connotations in a mask. A bee, for instance, is often included on the Malinche mask to represent the stinging, destructive behavior of this traitor- ous woman. The human face most often appears in masks for historic, religious and occupa- tional dances. As with animal masks, certain parts of the body are interpreted sym- bolically. Hair, sometimes represented by snakes, sometimes by cornsilk, is a sign of virility. Eyes are equated with sky, with rain and with water—also a life force. Mirrors are sometimes used for eyes; the sparkle and reflections accentuate the vitality of the spirit. Noses are generally phallic symb-ols with sexual connotations; this is a symbol of tremendous amusement to the popula- tion.But twisted noses,notched or deformed supplied with a well equipped work- noses of any shape or size, are symbols of shop including tools,wood,paint,tinsel, duality. A turned-up nose, because it re- teeth, movable eyes, etc. He is, of course, sembles the image of the Aztec god of travel, a well-trained and expert craftsman. has come to represent merchants and Next highest in the pecking order commerce. A twisted mouth is a symbol of are the professionals. These craftsmen, duality, and a protruding tongue on a mask even though untrained, learned the craft signifies wisdom. from their fathers and grandfathers. Gen - Devil masks are created by incorporat- erally, they are highly intuitive workers ing monster features such as horns, tusks, whose naive visions produce masks that coiling serpents and leather tongues in strongly resemble Byzantine icons. basic human or animal spirit masks. Though they are not official mask-makers, Angel masks usually appear in religious like the santeros, they are kept busy dances or festivals and represent "good" producing masks for their own corn - are all water-dwellers, and these are symbols used in rain- as opposed to "evil:' They are generally petitioning dances. By extension, water and rain guaran- delicate in color with gentle features, small tee fertility and abundant crops. pink ears, which are pierced for earrings, Birds are not a common symbol in modern mask design. and have pale blue eyes.(An interesting But in pre-conquest masks, the eagle was an especially po- combination of features since few Mexicans tent sign. The eagle is a symbol of war, and significant in the have that coloration.) design of the symbol of Me>d.co,which depicts an eagle MASK- MAKING. Needless to say,as Mex- slaying a serpent. It portrays the triumph of the militant ico moves into the electronic age, and as Aztecs over the peaceable, agrarian rIbltecs; the latter sym- young people abandon primitive practices, bolized by the serpent. mask-making is becoming a disappearing Plant symbols are not generally used in the design art. Even in times more salubrious to mask- of masks. Since plants did not represent a threat to the makers, there were only three categories of well-being of a community, there was no need to transform workers: The santero, an artisan employed oneself into a plant to control it. So with the exception of by the church, provides masks for church cornstalks, sometimes merging with the body of lizards — dances and festivals exclusively. He is kept H COMIC MASK. A crude mask, probably made by a village amateur, has two hats flapped back from the face. It is trimmed with strips of leather, fur and metal. The exact character and dance are unknown. Tanlajas, San Luis Potosi. I AZTECA MASKS. There is some question as to whether the jaguar mounted on top of the human face is the equivalent of the tiger in Mexican mythology, and whether they represent protective or evil spirits. Chalpa, Guerrero (Tlapanec). SHAMANISTIC MASKS. These masks, distinguished by small faces superimposed on the forehead, are similar to masks used by Eskimos in mystical ceremonies. Mask at left depicts tarantula with human features; the mask with the human face has bat ears. Guerrero (Nahua). THIS PAGE WAS SET IN ITC AMERICAN TYPEWRITERS. ITC NEW BASKERVILLE". AND ITC KABEL® 4 K HELMET MASK FOR THE VAQUERO DANCE (Dance of the Old Ones). This is a very large mask worn over the head and supported by the shoulders. The long painted nose, horns and pointed ears suggest the mask was designed for a devil character. Area of Axoxuca, Guerrero (Tlapaner). L BAT MASK. This finely carved bat mask with the head of a jaguar is richly embellished and painted, which suggests it was produced by a church-sponsored artisan. Thtozintla, Guerrero (Nahua). M BAT MASK. The inclusion of a frog in a bat mask is not unusual in that there is a traditional association of bats and frogs with water, and thus with life. Tistozintla, Guerrero (Nahua). N RAT MASK. Specimens as finely carved as this bat mask are rarely found these days, as the tradition and the skills are disappearing. This mask is in the collection of the Museum of International Folk Art, Santa Fe, New Mexico. The mask originated br 7istozintla, Guerrero (Nahua). M munity and for neighboring villages as well. A third group, amateurs, are poor people who cannot afford to buy or rent masks but who, nevertheless, feel obliged to participate in festivals. These people make their own masks, generally quite simple in concept and execution. Their materials and tools are crude, and if the mask has any paint on it at all, it is usually some shiny, clotted oil paint left over from a household job. THIS PAGE WAS SET IN ITC NEW BASKERVILLE. AND ITC SOUVENIRS 0 YACATECUHTLI MASK. In pre-conquest days, the Aztec god of travel was depicted with a turned-up nose. Today, it is a symbol for merchants and commerce. The mask is from the region of Michoacan (7izrascan). P DANCE OF THE NATIVITY MASK. The significance of the ruddy-faced projection from the forehead of the mask is unknown, but the mask itself is a very rare old specimen, used in the celebration of the Nativity or The Dance of the Pastorela, as it is called. The dance is unusual for the preponderance of female participants. Area of A xoxuca, Guerrero. Q TIGRE MASK. Every carver has his own version of the tiger. Some work out of imagination, never having seen the real animal. This mask is a fairly naive, benign version, that has been repainted over the original. Tianguizolco, Guerrero (Nahurt). MATERIALS. Most modern day masks are made of wood. It is simply the most practical choice.Wood is easy to come by, easy to carve and requires simple tools. In pre-Hispanic times, wood was the material of choice, be- cause it was believed to have spirits residing in it, and the masks made from certain woods would derive special powers from their source.With this mystical background, it is under- standable that other rituals evolved re- lating to the harvesting of trees and , 0 carving the wood. In some areas, wood ash, pochote, avocado, copal and a num- hammered out in a repousse technique. must be cut during the waning of the ber of indigenous varieties. The finishing and decorative de- moon, preferably at sunrise. In other Although wood is the most exten- tails on Mexican masks are entirely areas, wood is best cut during a full sively used material, and has been in consistent with the primitive concepts moon. Still others believe the optimum the recent past, earlier masks were that inspire these creations. The sim- time is during the rainy season. There fashioned from a variety of resources. plest cutting and burnishing tools are are also prescribed ceremonies to be Bone, clay, stone, leather, gourds and used. The colors derive from nature— performed before chopping down a wax were all used as far back as pre- from the earth, minerals and plants— tree. One such ritual involves sprin- Hispanic times. In the early 1900s not from chemicals or sophisticated kling the base of the tree with hen's certain metalworking communities color theories. And the decorative blood and a litre of mescal—as a token produced copper and silver masks, teeth, hair, horns, tusks are never P of homage to the spirit of the tree. fabricated; they all come from their with passion than with calculated es- Furthermore, before attempting to natural source. thetic principles in mind Considering make even a single cut in a mask, some Ultimately, someone poses the the carvers' quest for "vision," the carvers look for visionary guidance by question: Are these masks works of art hallucinogenic lengths they go to to downing a shot of hallucinogenic juices. or craft? In the sense that they are use- procure their visions, and the visceral Of the trees used for making wood ful objects, and that certain rules, responses these masks evoke from masks, the zompantle is the most symbols, techniques, colOrs, etc., have their audience, we have to allow they common. It is a soft, lightweight wood been handed down from generation to are something beyond "handicraft." with a cork-like center which makes generation, purists may prefer to call I, for one, am content to leave the it ideal for carving. It grows easily and them handicrafts. On the other hand, argument to the academicians. Where abundantly. In fact, a few branches these masks are hardly the work of ever you see Mexican masks—in art stuck in the ground will take root and deft, exacting, finely-tuned craftsmen. museums, in anthropological exhibits, produce a whole new stand of saplings, There is nothing routine, schematic or in craft museums or in the pages of giving credence to the notion that it slavishly meticulous about them. They Donald Cordry's book, MEXICAN has magical, immortal qualities. Other are vigorous, spiritual, expressive MASKS, they are surely something woods used in mask-making through- visions—more concerned with purpose to marvel at. out Mexico are poplar, pine, willow, than with process—and carved more MARION MULLER THIS PAGE WAS SET IN ITC CUSHING.AND ITC NEW BASKERVILLE. 45 in three;and the angles of staging,the elevations,the juxta- positions and the points of contact are completely unpre- This alphabet started with "T" dictable. The configurations shift in space, and challenge our perceptions in a most engaging and tantalizing way. Mr. Taniuchi calls his opus Alphabet Rendezvous, al- Graphic designer Tsuneo Taniuchi had nothing more am- luding to the fact that the meeting place of the forms is the bitious in mind than to devise a logo for himself, using his decisive factor in the design.lb our mind,this alphabet goes own initials. But when he finally put T and T together in an beyond two-dimensional design into real sculptural form. arrangement that pleased him,he was intrigued by the pos- In the Boston area, where he resides, Mr. Taniuchi has sibilities of extending his project. As you can see, he didn't produced graphics for a number of design firms, business rest until he bonded each letter of the alphabet to itself. organizations, and institutions, including WGBH, The Car- It's quite obvious that Mr. Taniuchi didn't take the easy penter Center for Visual Arts, Harvard University, D.C. Heath, way. Each letter is conceived—not in two dimensions —but Houghton Mifflin and Little, Brown & Company. M.M. • Opt j • r THIS PAGE WAS SET IN ITC LUBALIN GRAPHS 46 ALMA PHIPPS' beer case, lower case inally !... Someone has figured out what pull tabs on cans are good for, other than lacerating fingers and littering roads, streets, parks and playgrounds. Thank you,Alma Phipps. Of course, it is presumptuous of us to assume that Ms. Phipps collected all her 26 tabs from cans of beer. It's just as likely they were salvaged from cans of soda pop, fruit drinks, iced tea, milk shakes, peanuts and other vacuum-packed delights. Whatever the source of her pull tabs, the conversion to letterforms comes, no doubt, from her long association with typography and publishing. Ms. Phipps has worked on design projects for The New Yorker Modem Bride Magazine, Class Magazine, BFGToday (for B. E Goodrich Company), was Art Director for American Stage Magazine and Associate Art Director for Weight Watchers Magazine. She also completed design projects for Macy's Department Store in New York City, Hilton International and the New York restaurants: The River Cafe, Confetti and Chatfields. Currently, Ms. Phipps is Assistant to the Executive Art Director of the Book-of-the-Month Club and designer of the Book- of-the-Month Club News. ' We are publishing Ms. Phipps' alphabet, not only for its fun and novelty, but in the hope that others will be similarly inspired to find a commendable afterlife for the ignoble pull tab. N.M. 47 Employers appreciate The Design Schools grads. U&Ic readers helped prove the point. In The Design Schools survey,* U&Ic readers rated the qualities they considered important in entry-level talent: Board Skills Conceptual Ability Considered essential or very important were: mechanicals 83%, Design and typographic sense were both rated important or essen- 1 layout comping 66%, type specing 64%, roughs 60%. Freehand 5 tial by over 95% of the respondents. Color sense, practical sense drawing, illustration and visuals were rated important by about and pictorial sense were each rated important by about 90%. 50% of the respondents. Education Work Habits A two-year associate degree in art and design skills was considered All work habits listed were rated essential or very important by 6 important by 58%. Skills training combined with liberal arts 2 more than 65% of the respondents. Rated highest were: accuracy received an importance rating by 57%, and a B.F.A. degree got 42%. 94%, neatness 86%, and ability to work well under pressure 84%. On-the-job training was considered important by 84%. Technical Skills Specialized Training Ability to use a photostat machine was rated important by 60%. No Specialized training in the following areas was considered impor- 3 other technical skill was rated important by more than 35%. Inter- 7 tant: design and production of brochures 77%, print advertising 74%, estingly, computer graphics was judged important by only 24%. publications 68%, and corporate identity 61%. General Knowledge Being generally well-informed was thought important by 92% of the 4 respondents. Knowledge of printing and production was rated important by 90%, while verbal skills were rated important by 85%. *Published in the March 1983 issue of U&Ic. It's no coincidence that graduates of The Design Schools have the very qualities rated most important by employers. Preparing students for success on the job is central to the grand plan of the schools. No wonder our level of employed graduates is one of the highest in the nation. We teach our students more than design and art. We teach work. r The Design Schools Employment Assistance Offices in seven cities are ready and willing to act promptly to help solve your staffing needs. For immediate attention, please phone: Toll-free: (800) 245-0660 (In Pennsylvania, call collect: 412-263-6600.) Please contact me—I have a current (or future) job opening. Please send the complete computer-processed results of The Design Schools survey. Top winners selected from 2,300 entries in The Design Schools International Design Conference in Aspen Poster Competition are posters (left to right) by Julie Hutt and NAME Todd Morrison, Colorado Institute of Art; and Alice Loveland, Art Institute of Houston. COMPANY BUS. PHONE ADDRESS Art Institute of Atlanta The Art Institute of Fort Lauderdale CITY STATE ZIP Art Institute of Houston 41i)eS. gn Artot Institute oo ff Philadelphia i l Send to: Edward Hamilton, Design Director I Institute PPitts h The Design Schools Art Institute of Seattle Pan Am Building, Suite 256, East Mezz. S Colorado Institute of Art 200 Park Avenue, New York, NY 10166 24 An outline for great type. Most digital type is created by using an outline of the characters. But only Varityper digital is based on the patented Spirascan digitizing and imaging process. This unique approach enables us to create outlines so precise that every character is perfectly formed, in every size and style, in both the straight and curved sections of each character. That's why Varityper digital is quite possibly the highest-quality type in the world. And Varityper digital gives you tremendous design flexibility, too. You can expand and condense type, or slant it to the left or right in one degree increments up to 45 degrees. Comp/Edit and Varityper are registered trademarks and Spirascan and "type" are trademarks of AM International, Inc. ©1983 AM International, Inc. 49 Varityper digital. You can achieve these effects, and many more, with any of the hundreds of type faces in our growing digital type library. We'd like to show you an actual sample of our digital type. Once you've seen it, we think you'll agree that it's easy to get great type when you follow the Varityper digital outline. Varityper,'icou;poner, 11 Mount Pleasant Ave. East Hanover, NJ 07936. o Please send me an actual sample of Varityper digital type. o Please send me more information on the Comp/ Edit 6400 digital typesetter. o I'd like a demonstration on the Comp/Edit 6400 system. Name Company Address City/State/Zip L Phone ( ) 50 THE 10G0 No, really, that's what we told our Advertising Typographers Association. figured we'd do something welcome ad agency to do. The ATA, for short. for a change. Something no client in the Because, simply, we understand. We're a select group of typogra- history of advertising has ever done. The frustrations, the aggravations, the phers sensitive to the demands of the We asked to make ADvERnsiNG ridiculousness. We know exactly what industry. We're responsive to your the logo smaller. art directors and production managers needs. We know what makes you tick It took ten TYPOGRAPHERS go through. and what ticks you off. minutes to revive AssocumoN e York 10001 . See, we have to know. We're the And because we understand, we the art director. 461 l'ig1It'1e1- ZeDeT'v.11!EX1fo ectille ATA MEMBERS: Atlanta, Georgia Action Graphics, 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, lllinois J. M. Bundscho, Inc.; RyderTypes, Inc.; Total Typography, Inc. Cincinnati, Ohio Typo-Set, Inc. Cleveland, Ohio Bohm e & Blinkmann, Inc. Columbia, South Carolina DG&F Typography Columbus, Ohio Dwight Yaeger TypographerIMIlas,leauts Jaggars-Chiles-Stovall, Inc.; Southwestern Typographies, Inc.; Typography Plus, Inc. Dayton, Ohio Craftsman Type Incorporated Detroit, Michigan The Thos. P Henry Company; Willens+ Michigan Corp. Fort Worth, Texas Fort Worth Lmotyping Co. Grand Rapids, Michigan Acraforrns, Inc. Houston, Texas Typografiks, Inc. Indianapolis, Indiana Typoservice Corporation Kansas City, Missouri Uppercase, Inc. Los Angeles, California Andresen Typographies; Typographic Service Co., Inc. Memphis,Tennessee Graphic Arts, Inc. Miami, Florida Wrightson Typographies, Inc. Minneapolis, Minnesota Dahl & Curry Inc.; Type House+ Duragraph, Inc. Newark, New Jersey Arrow Typographers, Inc. New Orleans, Louisiana Martin/Greater Film Graphics, Inc. New York, New York Advertising Agencies/Headliners; Royal Composing Room, Inc.; Tri-Arts Press, 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 O. Giesey/Adcrafters, Inc. Rochester, New York Rochester Mono/Headliners San Francisco, California Headliners/Idenficolor, Inc. Seattle, Washington Thomas & Kennedy Typographers, Inc.; The Type Gallery, Inc. St. Joseph, Michigan Type House, Inc. St. Louis, Missouri Master Typographers, Inc. Syracuse, New York Dix Typesetting Co., Inc. Tampa, Florida Century Typographers Montreal, Canada McLean Brothers, Ltd. Toronto, Canada Cooper & Beatty, Ltd. Winnipeg, Canada B/W Type Service, Ltd. Brisbane, Australia Savage & Co. Victoria, Australia Davey Litho Graphics Pty. Ltd. Brussels, Belgium Graphiservice London, England Filmcomposition Gothenburg, Sweden Fototext/Typografen AB Stockholm, Sweden Typografen AB Frankfurt, West Germany Layoutsetzerei Typo-Gartner GmbH Stuttgart, West Germany Layout-Setzerei Stulle GmbH 51 VER 200 HARD-HITTING TYPE SUPPLIERS in North America offer virtually every typeface from Compugraphic Corporation's extensive type library.This means that type specifiers like yourself can choose from up to 1,300 versatile designs from these suppliers. The Compugraphic type library not only features very popular standard faces, but also the faces released from the International Typeface Corporation as well as many exciting typefaces from independent designers around the world. If you would like a free wall chart that will make it simple to specify our type, please write to Compugraphic Corporation, Type Division, 66 Concord Street, Wilmington, Massachusetts 01887. And remember: Over 200 type suppliers bat 1000! One of them is near you. Toronto, Ontario . . . . 3 Chicago, IL 7 Newark, NJ 2 Allentown, PA 2 Montreal, Quebec . . . 2 Rockford, IL 1 Santa Fe, NM 1 Nashville, TN 1 Halifax, Nova Scotia . 1 Peoria, IL 1 Syracuse, NY 2 Amarillo, TX 1 Winnipeg, Manitoba . 3 Des Moines, IA 1 New York, NY 45 Houston, TX 2 Birmingham, AL . . . . 2 Wichita, KS 1 Albany, NY 2 Dal las, TX 2 Anchorage, AK 1 Shreveport, LA 1 Buffalo, NY 3 San Antonio, TX 2 1 Los Angeles, CA 6 Boston, MA 7 Rochester, NY 2 Salt LakeCity, UT . . . . San Diego, CA 3 Baltimore, MD 2 Raleigh, NC 1 Tacoma, WA 1 5 San Francisco,CA . . . 2 Detroit, MI 1 Columbus,OH 1 Seattle, WA Sacramento,CA . . . . 1 Grand Rapids, MI . . . 5 Cincinnatti, OH 1 Spokane, WA 1 Bridgeport, CT 2 Minneapolis, MN 6 Toledo, OH 2 Madison, WI 1 Miami, FL 1 St. Paul, MN 4 Cleveland, OH 2 Orlando, FL 2 St. Louis, MO 10 Tulsa, OK 1 New Subscribers Atlanta, GA 4 KansasCity, MO 2 Portland, OR 2 North America 35 Headline set in ITC Pioneer. Text set in Shannon T " an exclusive Compugraphic typeface available only from your Compugraphic type supplier. eg compugraphic° 52 GET EXCLUSIVE CRS FAKES* Bluejack Light Bluejack Light Italic The Alphabet Innovations Collection is an Bluejack Medium assortment of headline typefaces developed over the past fifteen years. None of them has ever been available for text setting until now. Bluejack Bold Five A. I. typeface families most suitable for text have now been completely redrawn to the Fotura Light standards required for quality text production. Five families, five different looks, ranging from dignified to casual...all now available through Fotura Light Italic members of the CRS Type Masters Guild. Type Masters use the Alphatype CRS... the digital phototypesetter with text resolution of Fotura Medium 5,300 lines to the inch for razor-sharp characters. Unprecedented control of letterspacing and kerning in vs unit increments. Size for size type Fotura Bold design for the highest quality in terms of letter- form and maximum legibility. All of which gives Helserif Light them virtually unlimited flexibility to aestheti- cally solve any typographic challenge. We are pleased to add these A. I. text families Helserif Light Italic to the extensive CRS type font library. The Alphatype CRS collection of faces also includes original Alphatype designs, exclusive alphabets Helserif Regular from Berthold, ITC, TypeSpectra and many other renown type foundries making it one of Helserif Medium the world's most extensive collections available. Send for a sample of these latest faces avail- able on the Alphatype CRS. Or better yet, call Martin Gothic Light a Type Master for your next job and see for yourself. You'll never again settle for anything less than typeartistry. Martin Gothic Light Italic *Sure we know how to spell FACES, but since these are A. I. FACES...well, never mind. Martin Gothic Medium Please send me type specimens of: Martin Gothic Medium Italic A. I. Bluejack A. I. Martin Gothic A. I. Fotura A. I. Scenario A. 1. Helserif Martin Gothic Bold Name Martin Gothic Bold Italic Title Company Address Scenario Light City State Zip Scenario Light Italic Phone Send coupon to: Scenario Demibold Alphatype Corporation, a member of the Berthold group U8dc 9/83 7711 North Merrimac Avenue, Niles, Illinois 60648 Scenario Bold Bluejack, Fotura, Helserif, Martin Gothic and Scenario are exclusive A. 1. designs available on Alphatype's CRS. 53 AT EXCLUSIVE CRS PLACES In the United States Rydertypes, Inc. New Hampshire Oklahoma Manitoba Modern Text Typesetting Prittlewell Chicago (312) 467-7117 Phototype N.E. Alphasource, Inc. B/W Type Service Ltd. Arizona Essex 0702-45195 Shore Typographers, Inc. Pelham (603) 898-7440 Oklahoma City (405) 521-0310 Winnipeg (204) 947-0538 Arizona Typographers, Inc. Chicago (312) 676-3600 ED-BE Incorporated Montage Filmsetting Co. Phoenix (602) 263-1166 New Jersey Ontario London 01-251-3771 Superior Typesetting Oklahoma City (405) 943-2391 Computype Co. Adtype Toronto Ltd. Morneau Typographers Champaign (217) 352-4226 Nova Graphics Ltd. Toronto (416) 968-6778 Phoenix (602) 258-5741 Garfield (201) 546-9267 Pennsylvania London 01-251-3591 The Typesmiths Tristin Typographers ADVenture Inc. Alpha Graphics Ltd. Progress Litho Service Chicago (312) 787-8200 Premlux Reproductions Ltd. Phoenix (602) 258-6001 Monmouth Junction (201) 329-8803 Allentown (215) 435-3233 Thronto (416) 961-5600 London 01-236-6991 The Typographers Armstrong Inc. Canadian Composition Chicago (312) 644-7768 Pressdata Ltd. Arkansas New York Toronto (416) 863-0742 Philadelphia (215) 574-8600 London 01-251-6562 Prestige Composition Inc. Able Phototype Systems Indiana Estelle Bair Eastern Typographers Inc. Little Rock (501) 375-5395 Yonkers (914) 476-3336 Progress Filmsetting Ltd. Jackson-Zender Studios Blue Bell (215) 542-7790 Toronto (416) 465-7541 M. J. Baumwell Typography, Inc. London 01-729-5000 Indianapolis (317) 639-5124 Composing Room Inc. Fleet Typographers Ltd. California New York (212) 661-8787 PRT Offset Aldus Type Studio Ltd. Philadelphia (215) 563-3440 Toronto (416) 532-2818 Kentucky Boro Typographers, Inc. London 01-607-7535 Los Angeles (213) 933-7371 Davis & Warde Linotext Action Print, Inc. New York (212) 475-7850 Sabrebrook Ltd. Pittsburgh (412) 261-1904 Toronto (416) 274-6395 Alfa Type Studio Louisville (502) 585-3727 London 01-658-7336 Typography Ltd. (Tbr.) San Francisco (415) 885-0553 Headliners of Pittsburgh M & H Sans Serif Ltd., Deritend Arrowgraphics Inc) Louisiana Pittsburgh (412) 391-3778 Toronto (4161922-3194 Birmingham 021-773-8466 City Typographic Service, Inc. San Francisco (415) 543-5700 Forstall Typographers Leon Segal Typesetting MonoLinO Typesetting Co. Ltd. New York (212) 686-2760 Sellars Phototype New Orleans (504) 524-0822 A.T. Composition Philadelphia (215) 236-5585 Toronto (416)537-2401 Macclesfield 0625-612075 Composition Corporation Berkeley (415) 548-3192 Martin/Greater Film Graphics, Inc. Stallone Typography Service Inc. Protype Albany (518) 465-7575 The Setting Room New Orleans (504) 524-1741 (416) 482-2599 Blakeley Graphics Philadelphia (215) 568-6310 Toronto TUnbridge Wells Cresset, Baxter & Spencer, Inc. Santa Clara (408) 739-8202 UniComp Shervill-Dickson Kent 0892-39625 Maryland New York (212) 766-9432 D & J Typographers, Inc. Wynnewood (215) 642-6355 Toronto (416) 425-7408 Studio Press (Birmingham) Ltd. Harlowe Typography, Inc. Euramerica Santa Clara (408) 727-0991 Techni-Process Ltd. Birmingham 021-359-3151 Brentwood (301) 277-8311 New York (212) 921-4390 South Carolina Display Lettering And Copy Toronto (416) 363-2493 Text Typographies Ltd. Hodges Typographers, Inc. Farrington & Favia, Inc. D G & F Typography San Francisco (415) 777-0831 Word for Word in Colour London 01-251-3771 Silver Springs (301) 585-3601 New York (212) 431-9700 Columbia (803) 799-9140 Future Studio Toronto (416) 960-5050 Verbatim Fototype Factory, Inc. Los Angeles (213) 660-0620 Massachusetts Tennessee London 01-837-2176 New York (212) 889-7995 Quebec Headliners/Identicolor Fenway Photocomposition, Inc. Graphic Arts Associates, Inc. Word Machine Ltd. Gryphon Typographers Composition Quebec Inc. San Francisco (415) 781-0463 Boston (617) 266-3890 Memphis (901) 345-8973 London 01-609-1140 New York (212) 599-3415 Quebec (418) 529-4927 Koala-T Typesetting House of Typography, Inc. Michigan Lincoln Typographers Gravel Photograveur Inc. West Germany Lafayette (415) 283-5360 Memphis (901) 726-6961 A-Type, Inc. New York (212) 679-7933 Quebec (418) 683-1501 Rudolf Eimannsberger Linda Graphics Dearborn (313) 336-2466 Lettergraphics Memphis Line & Tone Associates, Inc. M & H Typography, Ltd. (Mont.) Munich 089-555765 Santa Barbara (805) 962-2142 Memphis (901) 458-4584 Acra Forms, Inc. New York (212) 921-8333 Montreal (514) 866-6736 Frankische Landeszeitung GmbH Cass Montgomery Typography Grand Rapids (616) 458-1161 Marvin Kommel Productions, Inc. Texas lypoGraphica 2000 Inc. Ansbach 0981-5711 San Francisco (415) 398-2395 Alpha 21 New York (212) 682-3498 Candlelight Type Print Corp. Montreal (514) 933-3315 Klaus Grimm-Fotosatz Nicholas Composition Detroit (313) 532-9114 Primar Typographers, Inc. Austin (512) 476-0732 Typolaser Grating near Munich 08092-6748 Los Angeles (213) 385-3258 Rudy Carr Co. New York (212)269-7916 Robert J. Hilton Montreal P.A.T. (514) 642-2710 Hans-Soldan-Stiftung Omnicomp Detroit (313) 535-2960 Sheridan Associates/ Dallas (214) 669-1149 Essen 0201-231140 San Francisco (415) 398-3377 ...Europe The Thos. P. Henry Co. The Slide Center Pix Graphic Arts Kreuzer PM Graphics Detroit (313) 875-1950 Ossining (914) 941-4981 Beaumont (713) 842-2122 Austria Munich 089-6372771 Costa Mesa (714) 556-2890 Marino & Marino Typographers Thorner-Sidney Press, Inc. Grafostil GesmbH Virginia Schmidt + Co. Rapid Typographers Detroit (313) 962-1777 Buffalo (716) 856-4500 Wien 222-55-4628 Weinstadt-Grossheppach 07151-64058 San Francisco (415) 982-6071 Riddick Advertising Art Minnesota Total Typographers Inc. Richmond (804) 270-1811 Belgium Schmidt & Klaunig Reardon & Krebs Typography Mamaroneck (914) 381-2659 Kiel 0431-62095 San Francsico (415) 986-1725 Graph-Tronics Washington Belgium Production + Minneapolis (612) 338-7171 Ili-Arts Press, Inc. Brussels 640-80-80 Repro Typographers New York (212) 686-4242 Art-foto Typography Great Faces, Inc. Graphiproduction ...Orient San Francisco (415) 362-3971 Seattle (2061622-0218 Minneapolis (612) 339-2933 Tribeca Typographers, Inc. Brussels 640-25-53 Japan Santa Barbara Typography, Inc. New York (212) 925-8080 Thomas & Kennedy Typographers, Inc. Santa Barbara (805) 962-9128 P & H Photo Composition Graphiservice SPRL Typro Inc Type/Graphics Seattle (206) 622-0918 Minneapolis (612) 374-3213 Brussels 538-02-21 Tokyo (031716-0131 Taurus Phototypography Syracuse (315) 437-1101 Western Typographers Inc. Type Tronics, Inc. Los Angeles (213) 382-8244 Seattle (206) 624-3642 Denmark Minneapolis (612) 339-5563 Typographix And more to come! Typografx Albany (518) 462-2923 Wisconsin Everts Alfabet Chico (916) 895-3280 Mississippi Copenhagen 1-116320 Unicomp Peter A. Altenhofen Typographers Prestige Typography lypographen Aps Colorado Albany (518)463-2972 Milwaukee (414) 352-3590 Jackson (601) 982-5525 Copenhagen 156589 Photocomp Phototypographers M.A. White Typographers Graphic Composition, Inc. Colorado Springs (303) 475-1122 Missouri Larchmont (914) 834-7389 Menasha (414) 739-3152 France Connecticut Commerce Litho Services Inc. Word Management Corp./ Schmitz Typographers Florian Paris St. Louis (314) 781-7702 Typography Services Milwaukee (414) 447-7337 Paris 2975511 Fairfield County Typographers Inc. Albany (518) 482-8650 Westport (203) 226-9338 Master Typographers, Inc. Zahn-Klicka-Hill Typographers Inc. Typogabor St. Louis (314) 645-2878 Milwaukee (414) 276-0136 Paris 229-19-90 Graphics Unlimited Ohio Danbury (203) 792-0351 National Typographers, Inc. Bohme & Blinkmann, Inc. Luxembourg St. Louis (314) 241-8297 Cleveland (216) 621-5388 ... Canada Production Typographers Inc. Imprimerie De La Cour Type House. Inc. (Pro Type) PhotoComp2 Alberta Luxembourg 494161-63 Greenwich (203) 531-4600 St. Louis (314) 644-1404 Toledo (419) 243-6196 Duffoto Process Co. Ltd. Netherlands Professional Type Service Nevada Typo-Set Calgary (403) 263-7160 Greenwich (203) 629-4365 Cincinnati (513) 751-5116 Ploeger Lettering BV Alpha Typographers Amsterdam 020-276451 District of Columbia Reno (702) 825-8677 Sweden Graftec Corporation D.C. (202) 337-1555 Typografen AB Malmoe 040-112650 Florida Typografen 2 etCETRA Stockholm 08-349255 Stuart (305) 628-2476 United Kingdom Typographical Service Ft. Lauderdale (305) 772-4710 Apex Photosetting Ltd. London 01-837-9369 Georgia Art PhotoSet Action Graphics, Inc. London 01-701-0477 Atlanta (404) 351-1753 Baird Harris Ltd. Phototype London 01-437-6373 Atlanta (404) 873-1209 Billington Press Ltd. Swift Tom & His Electric London 01-987-8118 Type Shop Ltd. Composite Graphics Ltd. Atlanta (404) 874-1634 London 01-242-9586 Type Designs. Inc. De Sa Graphics, Nunhead Atlanta (404) 355-2135 London 01-639-2828 Illinois Film Fount Services Ltd. A-I Composition Co., Inc. Southampton 0703-332686 Chicago (312) 236-8733 Focus Photoset Ltd. Alpha Design Ltd. London 01-251-4911 Springfield (217) 544-2400 Headliners (UK) Ltd. J. M. Bundscho Inc. London 01-580-7045 Chicago (312) 726-7292 Heavyweight Graphics Character Composition, Inc. London 01-388-5451 Chicago (312) 648-9896 Image Communications Ltd. Decatur Typesetting London 01-580-7017 Decatur (217) 429-9740 Image Services (Edinburgh) Ltd. Alphatype Corporation a member of the Berthold group Design Typographers Edinburgh 031-229-6345 Chicago (312) 329-9200 Inline Graphics Ltd. 7711 N. Merrimac Ave. House of Typography London 01-251-4341 Niles, Illinois 60648 Chicago (312) 263-1532 KAB Ltd. 312-965-8800 Master Typographers, Inc. London 01-600-4391 Chicago (312) 661-1733 Letterform Ltd. In Canada Mobi Graphics London 01-437-3912 Alphatype Canada, Inc. Chicago (312) 944-5585 Libra Press a member of the Berthold group N & F Typographers, Inc. London 01-928-7081 190 Amber Street Elk Grove Village (312) 364-0722 Markham, Ontario L3R 3J8 Publishers Typesetters Inc. Chicago (312) 283-3340 ©Alphatype Corporation 1983 This ad was set in Scenario, an exclusive A. I. design available on the Alphatype CRS. 416-475-8570 54 From 5.5 point to 5.5 inches Typographic Resource Limited The largest Berthold library Typographic Resource offers you 1624A Central Street consistency of cut and Berthold's Evanston, IL 60201-1597 unsurpassed quality. Telephone 312 864 9444 in the United States, including To receive our comprehensive and unique typeface brochures just write classic foundry faces in to us on your company letterhead. their most perfect form. Palatino regular Palatino italic Palatine bold AG Bach ultra light Franklin Gothic ATF regular Perpetua regu ar AG Buch ultra light italic Franklin Gothic ATF italic Perpetua italic AG Bach light Franklin Gothic ATF condensed Perpetua bold AG Buch light italic Franklin Gothic ATF cond. italic Perpetua bold italic AG Buck regular Franklin Gothic ATF extra cond. Perpetua Black AG Buch regular italic Frutiger 45 Plantin light AG Buch medium Frutiger 46 Plantin light italic AG Buch medium italic Frutiger 55 Plantin regular AG Buch bold Frutiger 56 Plantin regular italic AG Buch bold italic Frutiger 65 Plantin bold AG Buck li ht condensed Frutiger 66 Plantin bold italic AG Buc ig t con ease • Ito lc ruttger utura extra bold condensed Plantin bold condensed AG Buch regular condensed Frutiger 76 utura extra bold cond. oblique Poppl-Laudatio light AG Bach medium condensed Futura light alliard regular Poppl-Laudatio regular AG Buch bold condensed Futura light oblique alliard italic Poppl-Laudatio regular italic iecocsox ZeCcue isCOEFG ZCOEFG Zaccerc riCOEi ZOCOEF ZBCDEF ZBCDEF KEICLEF AG Old Face regular Future: book alliard bold Poppl-Laudatio medium ZeCIDEF ABODE=- ASCU+' ZBCPE 1BCDE KBCDE AG Old Face medium Futura book oblique alliard bold italic Poppl-Laudatio medium italic ABCDE ABCDEIBCDE 'KEICDE ABCD ABCD AG Old Face bold Futura medium alliard black ASCU 'ABM ABCD ABCD ABCD ABCD Poppl-Laudatio bold 'ABCD ABCD ABCD ABCD ABC ABC Aldus-Buchschrift regular Futura medium oblique alliard black italic Poppl-Laudatio bold italic A Bc—MC ABC AB c ABC ABC Aldus-Buchschrift italic Futura demi bold alliard ultra Poppl-Laudatio light condensed AB ABC- -ABC ,ABC- ABC Baskerville Berthold regular Futura demi bold oblique alliard ultra italic Poppl-Laudatio regular cond. Baskerville Berthold italic Future bold aramond Berthold regular Poppl-Laudatio medium cond. Baskerville Berthold medium Futura bold oblique aramond Berthold italic Poppl-Laudatio bold cond. Baskerville Berthold med. italic Futura extra bold aramond Berthold italic Swash Poppl Nero light Baskerville Berthold bold Futura extra bold oblique aramond Berthold medium Poppl Nero bold Baskerville Book regular Futura light condensed aramond Berthold medium italic Renault light Baskerville Book italic Futura medium condensed aramond Berthold bold Renault light italic Baskerville Book medium Futura bold condensed aramond Stempel regular Renault bold ell medium Garamond Stempel italic Renault bold italic ell medium italic ,...g.N..nopproluvwxyz Garamond Stempel medium Rockwell light ASCOEFCHMILMINOPQRSTUVWM711.567590 ravaromraunmegasnmaynayOM embo regular Garamond Stempel medium italic Rockwell light italic tmt-hp -1^, -• embo italic Garamont Amsterdam re ular Rockwell regular embo bold t Amsterdam i alit lintnurfons igujcienz contams of the cortshud embo bold italic aramont Amsterdam medium liarnburgefm!s aIaidenz contains all of the erling-Antiqua regular aramont Amsterdam med. italic Raninugefons aluiclenz contains a erthold Imago light aramont Haas regular erthold Imago light italic aramont Haas italic erthold Imago book ill Sans light erthold Imago book italic ill Suns light italic erthold Imago medium ill Sans regular Rockwell regular italic deW erthold Imago medium italic ill Sans regular italic Rockwell bold erthold Imago extra bold ill Sans bold Rockwell bold italic erthold Imago extra bold italic ill Sans bold italic Rockwell extra bold odoni-Antiqua regular ill Sans extra bold Rockwell bold condensed ft oon•TOP *NS no, odoni italic oudy bold Sabon-Antiqua regular IIM*,07,111.11110. 0311.78.0.18COMMILI.. lbartbarigaroiclanz coma. all of. co. odoni-Antiqua medium oudy extra bold Saban italic Harrawgefons aktdanz contwins all of odoni medium italic oudy heavy face Sabon-Antiqua medium namourgezons arczwenz contam odoni-Antiqua bold oudy heavy face condensed Schneidler lnitialen odoni bold italic oudy Catalogue regular Stymie light aslon Buch regular oudy Catalogue italic Stymie light it aslon Buch italic oudy Old Style regular Stymie m, :lam aslon Buch medium oudy Old Style italic Stymie medium italic bErieg; aslon Buch bold elvetica ultra light Styr le bold atull regular elvetica ultra light italic Sti le bold italic Fifiraffi atuil italic elvetica light Stymie black atull medium elvetica light italic yntax regular atull bold elvetica regular yntax italic entury expanded elvetica regular italic yntax medium entury expanded italic elvetica medium yntax bold entury bold elvetica medium italic yntax extra bold entury bold italic elvetica bold mes New Roman entury Old Style regular elvetica bold italic Imes italic entury Old Style italic elvetica light condensed Imes bold Univers 85 entury Old Style bold elvetica medium condensed Imes bold italic Univers 39 entury Original regular elvetica bold condensed mes extra bold Univers 49 entury Original italic elvetica light extended mes extra bold it IC Univers 59 entury Original bold elvetica medium extended 'ivies New Roman 27 Univers 47 entury Schoolbook regular elvetica bold extended Imes 327 italic Univers 48 entury Schoolbook italic orley Old Style regular Imes 421 semi Id Univers 57 entury Schoolbook bold orley Old Style italic rump-Mediae al regular Univers 58 larendon light orley Old Style bold rump-Mediaev I italic Univers 67 larendon medium talian Old Style regular rump-Mediaev I bold Univers 68 larendon demi bold talian Old Style italic rump-Mediae al extra bold Univers 53 larendon bold talian Old Style bold nivers 45 Univers 63 oncorde regular anson-Antiqua regular nivers 46 Univers 73 oncorde italic anson italic nivers 55 Univers 83 oncorde medium ightline Gothic nivers 56 Vendome regular oncorde medium italic adison regular nivers 65 Vendome italic oncorde bold condensed adison italic nivers 66 Vendome medium ooper Black regular adison medium 'avers 75 Vendome medium italic oo • er Black italic adison bold nivers 76 ndome extra bold Cooper Black condensed Melior regular gular Ehrhardt regular Melior italic Walbaum Buds italic Ehrhardt italic Melior bold Walbaum Buck medium Ehrhardt demi bold Melior bold condensed Walbaum Buch medium italic Ehrhardt demi bold italic News Gothic regular Walbaum Bach bold Eurostile regular News Gothic bold Walbaum Buch bold italic Eurostile italic Optima regular Walbaum Standard Eurostile bold Optima italic Walbaum Standard italic Firmin Didot regular Optima medium Walbaum Standard medium Firmin Didot bold Optima medium italic Optima bold O lima extra bold Typographic Resource Tr. 55 QUADRIGA-ANTIQUA Berthold Exclusive Typefaces abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ daxdoce13 AAR,O0(ECT1234567890% (.,-;:!i?i-)•[' »»<<]+—./$£-1-*&§ Berthold's quick bright t uadriga over the laz dog erthold Exclusive Typefaces Name . are a range of designs for • • • • • • photosetting which you will Address .. find nowhere else. Our unique Bprogram now comprises 25 type families with a total of 125 fonts, and Quadriga Antigua is among them. A free specimen is as near as your nearest mailbox Please write to: Berthold AG, TeltowkanalstraEe 1-4, D-1000 Berlin 46, West Germany Or from overseas to: Alphatype Corporation, - A member of the Berthold group - 7711 N. Merrimac Avenue, Niles, Illinois 60648 From Berthold Only. 56 "I never forgets face but in your case I'll make an exception!" Not bad as put-down lines But running through each go. Especially when you've got Headliners' neo-series is an those outrageous painted eye- unbroken string of quality we're brows to add a touch of venom. proud of. We're committed to At Headliners we don't excellence. And that commit- want anybody putting us down. ment is shared by the artists who Or forgetting our face. draw these faces exclusively Which in point of fact turns for us. As well as by our setting- out to be a few thousand. Smart faces. people, world-wide, who transform random Good-looking faces. letters into unforgettable headlines. And mostly unforgettable. If you've never used Headliners neo- Note that we're not saying everything DisplayType before you're in for a treat. we have is the best there is. There can only We say that without fear of contradiction. be one Mona Lisa. Or exception. Headliners. You'll never forget our face. Amsterdam • Atlanta • Boston • Brussels • Cedar Rapids • Chicago • Cincinnati • Cleveland • Cologne Copenhagen • Dallas • Dayton • Denver • Detroit • Dusseldorf • Edinburgh • Essen • Frankfurt • Gothenburg Hamburg • Helsinki • Houston • Indianapolis • Kansas City • Little Rock • London • Los Angeles • Louisville Melbourne • Milwaukee • Minneapolis • Montreal • Munich • New York • Omaha • Orange County • Oslo Paris • Philadelphia • Pittsburgh • Portland • Rochester • San Diego • San Francisco • Seattle • Stockholm Stuttgart • Sydney • Toronto • Washington D.C. • Wiesbaden 57 Visual Graphics' new " 10 4- hu 1" daylight camera for an departments. When you're up to your neck in artwork there's nothing like VGC's new Pos One® Total Camera System to lend you a helping hand. It's fast and simple to use, works in full room light, and saves you time and money, too. The basic black & white stat camera unit will deliver a wide variety of one-step reproductions on paper or film—including en- largements, reductions, screened halftones, reverses, even special effects such as Mezzotints. Add modular components as you need them and you gain any or all these capabilities: Full color sized prints or transparencies; RC photocomp processing; photos of 3-D objects; enlarge- ments from slides; graphics modification (create all sorts of borders, unusual typography— and more); plus book copying, backlighting, production of 3M Color Keys—the list goes on. To find out how VGC's Total Camera System can help you run a more cost-efficient, creative, and productive department, write or call now r Send coupon to: 1 Visual Graphics Corporation VGC Park, 5701 N.W. 94th Ave., Tamarac, FL 33321 I1 Pleasetell me more about the Pos One Call us toll-free Total Camera System. I Name I 800-327-1813. I Title In Florida Call (305) 722-3000. In Canada Call (416) 533-2305. Company Address I VISUAL GRAPHICS CORPORATION I City State Zip I Phone \59 L U8dc 9!83 58 "No Ryder? Zut!" '1'he chance to work in Geneva, Switzerland, comes along, oh, say, once in a career. And Ralph Love, Chicago-bred art director and no dummy, snatched it up in a second. "' 1 c.ecision to go was easy 1 he people are friendly, the scenery is fabulous. "Rut I don't speak French. "I have to write my directions down every time I get into a cab. "I can't even orc_er type here. Hey I don't even know the French word. for 'hurry' So I send_ a my orders to Fngland, where they at least speak my language. "You know if here was anyone you could talk to, pardon the pun, in plain. Engish, it was tie guys from Ryder 'Al Garzotto, Bob Benson, Al Stanke.They understood exactly what you wanted from word one. And never a hassle about last-minute changes or nitpicks. "Il'hey also just cid a great job. "Give the gang from Ryder a big hello. No, make that a big bonjour." RyderTypes, Inc., 500 North Dearborn Street - Chicago, Illinois 60610 Telephone (312) 467-7117 Exclusive Chicago area agents for Headliners® and Identicolor 4 processes. Member: Advertising Typographers Association NEW! LETRAMArm 2000 RULING AND CAN I FIND A BETTER BOARD? MECHANICAL BOARD SURE... LETRAMArm 4000 PREMIUM When you lay your first rule onto IF YOU HAVEN'T RULING & MECHANICAL BOARD LetraMax 2000 art board, you'll marvel Try LetraMax TM 4000 premium at the camera-sharp line that flows ruling and mechanical board. Your across the super smooth surface. It's a CHANGED ART linework will be truly impressive — LetraMax line — and your current clean, sharp and crisp. The surface mechanical board won't come close to is'a—Sparkling white and will take a matching it. BOARDS SINCE delicate touch as easily as a rough And that smooth surface is de- correction. It's the board you want signed to be durable and responsive at when the impression you make is every step in paste-up. 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Letraset USA, 40 Eisenhower Drive, Paramus, N:J. 07652 40 Eisenhower Drive ESSELTE LETRASET Letraset USA 1983 Paramus, N.J. 07652 U&Ic 9/83 60 Mergenthaler Linotype is part of the Allied Corporation. Our LetterLove is here to stay. LetterLove, the Mergenthaler Linotype commitment to resources of one of the world's largest, most dynamic Any one of these faces is available to you from the 104 type, is no passing fancy. For one thing, it's been going on organizations, Allied Corporation. LetterLove type houses listed here. Or from any type shop now for almost too years. with a Linotron zoz typesetter. Mergenthaler Linotype is part of the Allied Information For nearly a century now we've been carefully assembling Systems Company, one half of the corporation's elec- So order your type from the LetterLovers. Our commit- the world's most admired collection of original typeface tronics group that last year spent $40 million in research ment to fine typography plus the financial and techno- designs. This Mergenthaler, Linotype, Stempel, Haas li- and development. logical support of Allied Corporation make it clear that brary contains the original, licensed designs for over z000 our LetterLove gets stronger everyday. faces. Over i ioo of these have been made available to What does all this mean to you, the type specifier? It everyone who uses our Linotron zoz digital typesetter. means Mergenthaler Linotype will continue to have the LetterLove. Now and forever. ability to develop new hardware and software, which in- Only from Mergenthaler, Linotype, Stempel, Haas What's more, the LetterLove commitment is not only a cludes digital typefaces, in the future. long one, it's a strong one. It's backed by the considerable Currently we are adding about 150 digital faces a year, in- cluding the 24 new releases on the following pages. Anaheim: Falls Church: On The Ball Typesetting, 1884 S. Santa Cruz Street, Anaheim, California 92.805, (7 ,4) 978-9057 Composition Systems Inc, 6320 Castle Place, Falls Church, Virginia 22204, (703) 237-1700 Arlington: Fort Worth: Carver Photocomposition, 1025 N. Filmore Street, Arlington, Virginia zzzoi , (703) 52.8 -0772. Fort Worth Lino, 6to South Jennings Street, Fort Worth, Texas 76104, (817) 332-407o Baltimore: Freehold: The TypeWorks Ltd, ,,o6 North Charles Street, Baltimore, Maryland zizoi, (301) 625-z000 Pulsar Graphics, zoo Craig Road, Freehold, New Jersey 07728, (201) 78o-288o Berkeley: Glen Ellyn: Pearson Typographers Corp, 'tot Taft, Berkeley, Illinois 60163, (311) 449-52.00 The Typesetters Corp, 800 Roosevelt Road, Bldg. D, Suite z, Glen Ellyn, Illinois 6(2137, (312) 858-4440 Boston: Grand Rapids: Typographic House, 63 Melcher Street, Boston, Massachusetts ozzio, (617) 482-1719 Composing Room, 2303 Kalamazoo S.E., Grand Rapids, Michigan 49507, (616) 452-2171 Cambridge: Hamden: D.N.H. Typesetting, Inc, 2.15 First Street, Ccimbridge, Massachusetts 02141, (617) 354-1991 Southern New England Typographic Service, Inc, 2.115 Dixwell Avenue, Hamden, Connecticut 06514, (2.03) 288-1611 Typographic Art Inc, 94o Sherman Avenue, Hamden, Connecticut 06514, (203) 281-142o Carlstadt: G.S. Litho, One Kero Road, Carlstadt, New Jersey 07072., (zot ) 933-8585 Hicksville: Island Typographers, Inc, 6 Burns Ave., Hicksville, New York 118ot , (516) 931-2.282 Chicago: Tru Font Typographers, 150 Lauman, Hicksville, New York 11 801, (516) 935-8070 Jandon Graphics, Inc, 2.855 West Nelson, Chicago, Illinois 60618, (3 11) 463 -0847 Tele Typography, 73o N. Franklin Street, Chicago, Illinois 6o61o, (312) 787-'loo Houston: Encom Graphics, 7070 Empire Central, Houston, Texas 77040, (713) 937-6900 Clarinda: Professional Typographers, 2502. North Boulevard, Houston, Texas 77098, (713) 5 2.4-7549 Clarinda Company, 22.0 North First Street, Clarinda, Iowa 51632., (712.) 542-5131 Southwest Creative Graphics, 3131 West Alabama, Suite 107, Houston, Texas 77098, (7 1 3) 5 2-4-7433 Typeworks of Houston, 252.0 Robinhood, Houston, Texas 77005, (713) 527-9900 Crystal Lake: Typografiks, Inc, 4701 Nett Street, Houston, Texas 77007, (7 1 3) 861-2.290 Black Dot, Inc, 6115 Official Road, Crystal Lake, Illinois 60014, (815) 459-8 52.0 XL Typographers, Inc, 3260 Sul Ross, Suite too, Houston, Texas 77098, (713) 52.0-6098 Dallas: Indianapolis: Express Typesetting Co. Inc, 1406 Slocum, Dallas, Texas 75207, ( 2. 14) 74 1-6497 Roger's Typesetting, zzo North Fulton Street, Indianapolis, Indiana 46202., (3 1 7) 632-452.1 Graphic Typography, 1451 Empire Central, Suite Ito Dallas, Texas 75 247, (2.1 4) 630-5661 Weimer Typesetting Co, Inc, it East McCarty, Indianapolis, Indiana 4622.5, (3 1 7) 635-44 87 Jaggars-Chiles-Stovall, Inc, 5531 East University Boulevard, Dallas, Texas 75224 (2. 1 4) 363-5600 Southwestern Typographics, 2.8 20 Taylor Street, Dallas, Texas 752261 (2. 1 4) 748-0661 Jackson: Typeworks of Dallas, 7196 Envoy Court, Dallas, Texas 75 247, (214) 631-7006 Jackson Typesetting, I82.0 West Ganson Street, Jackson, Michigan 49204, (517) 784-0576 Denver: Kenilworth: E.B. Typecrafters, 2.353 Curtis Street, Denver, Colorado 80zo5, (303) 62.9-6048 Elizabeth Typesetting Co, 2.6 North 26th Street, Kenilworth, New Jersey 07033, (201) 241-6161 Mel Typesetting, 1519 South Pearl Street, Denver, Colorado 8021o, (303) 777-5571 Miami: Detroit: Birmy Photo-Engraving, 2244 NW 21 Terrace, Miami, Florida 33142., (305) 6 33 - 5 2.4 1 Central Typesetting, 55o West Fort Street, Detroit, Michigan 482.26, (313) 961-7171 Willens + Michigan/typoServices, 1959 East Jefferson Avenue, Detroit, Michigan 48207, (313) 567-8900 Milwaukee: Trade Press Typographers, 2t0o West Florist Avenue, Milwaukee, Wisconsin 532.09, (414) 228 -7701 Edina: Metro Graphic Arts, Inc, 7700 Bush Lake Road, Edina, Minnesota 55435, (61 2) 831-8183 Minneapolis: Minnesota Graphics, Inc, 4565 West 77th Street, Edina, Minnesota 55435, (612.) 831-3014 Alphagraphics One, 402.0 Minnetonka Blvd, Minneapolis, Minnesota 55416, (612) 926 -5979 Drnavich & Drnavich, 4055 Highway 7, Minneapolis, Minnesota 55416, (612) 92.7-9260 Ephrata: The Typehouse + Duragraph, 3030 Second Street North, Minneapolis, Minnesota 55411, (612) 588-7511 Centennial Graphics, Inc, 2. o North State Street, Po Box 42.6, Ephrata, Pennsylvania 17521, (717) 733 -6 573 Morganville: Pennsawken: D8TATEXT+, Central Mall, Route 79 & Tennent Road, Morganville, New Jersey 0775r, (zor) 591-0010 Waldman Graphics, Inc, 9100 Pennsawken Highway, Pennsawken, New Jersey 08110, (609) 662-9111 Mountain View: Philadelphia: Frank's Type, Inc, 935F Sierra Vista, Mountain View, California 94043, (415) 961-0113 John C. Meyer & Son, Inc, 432 North 6th Street, Philadelphia, Pennsylvania 19123, (215) 627-4320 PHP Typography, Inc, 125 South 9th Street, Philadelphia, Pennsylvania 19107, (115) 922-8700 Mount Rainer: Typographic Service, 1027 Arch Street, Philadelphia, Pennsylvania 19107, (215) 923-9000 Barton Graphics, 3101 Rhode Island Ave, Mount Rainer, Maryland 10821, (301) 779-4664 Phoenix: Newark: Digitype, 3002 N. Seventh Avenue, Phoenix, Arizona 85013, (602) 264-2425 Arrow Typographers, 2-14 Liberty Street, Newark, New Jersey 07102, (zor) 611-0111 Piqua: New York: Hammer Graphics, 9234 North Country Club Road, Piqua, Ohio 4535 6, (5 1 3) 773-x 861 Ace Typographers/Manhattan Graphic Productions, 149 West z7th Street, New York, New York loco', (z12) 255-6687 Adroit Graphics, 537 Greenwich Street, New York, New York 10013, (2'2) 243-1929 Plainview: American Type Crafters, Inc, 132 West zist Street, New York, New York root r , (zrz) 807-1750 Nassau Typographers, Inc, II 1 Express Street, Plainview, New York 11803, (5 1 6) 433 -0100 Characters Typographic Services, Inc, 7 West 36th Street, New York, New York 10018, (111) 947-0900 New York, New York roo18, ( 212)354-3733 Concept Typographic Services, Inc, 29 West 38th Street, Pleasantville: Cromwell Type-Ad Service, 416 West 31st Street, New York, New York loco', (212) 695-6362 Guild Concepts, 54 Wheeler Avenue, Pleasantville, New York 50750, (9 1 4) 747-1 33 1 Cyber Graphics, 342 Madison Avenue, New York, New York 10057, (212) 682-3177 Pleasantville, New York 10570, (9 1 4) 769-1 Lettra Graphics, Inc, 364 Manville Road, 955 R.R. Donnelley & Sons, 8o Pine Street, New York, New York woos, (111) 908-4400 New York, New York 10013, (212) 691-2171 Empire Cold Type, 137 Varick Street, Sacramento: Expertype, Inc, 300 Park Avenue South, New York, New York room, (212) 533-965o Ad Type Graphics, 401r Power Inn Road, Sacramento, California 95826, (9 r6) 736-2222 Film Art Computer Typography (FOct), 29 West 38th Street, New York, New York 1oot8, (212) 221-1565 Innovative Graphics International Ltd, 160 5th Avenue, New York, New York room, (212) 243 -0404 San Diego: Maxwell Photographics, Inc, 53 West 36th Street, New York, New York 10018,(212) 594-0505 Boyer & Brass, Inc, 2559 Kenner Blvd., San Diego, California 92101, (619) 238-1525 One Seven Typographers, Inc, 491 Broadway, New York, New York Tool; (212) 216-3481 Photogenic Graphics, Inc, 116 West 32nd Street, New York, New York woo", (21z) 244-0600 San Francisco: Saxon Graphics, Inc, 25 West 43rd Street, New York, New York 10036, (212) 869-8032 Design & Type, 410 Townsend, Suite 408, San Francisco, California 94107, (4 1 5) 495-6280 SigmaGraphics, Inc, 149 Fifth Avenue, New York, New York Tool°, (212) 460-8404 Walker Engraving, 333 Fremont, San Francisco, California 94105, (415) 433 -7900 Sun Light Graphic, z East 37th Street, New York, New York 10016, (212) 683-445 2 Topel Typographic Corp/rrc, 27 West 14th Street, New York, New York lc:kola, (2r2.) 924-4180 San Luis Obispo: Typographic Directions, 300 Park Avenue South, New York, New York mow, (212.) 673-120o Tintype Graphic Arts, 2226 Beebee Street, San Luis Obispo, California 93401, (805) 544-9789 TypoGraphics Communications, Inc, 305 East 46th Street, New York New York, 10017, ( 2,2) 754-9500 New York, New York loom, (212) 989-3151 Zimmering & Zinn, so West 23rd Street, Santa Barbara: Tom Buhl Typographers, 621 Chapala Street, Suite , Santa Barbara, California 93101, (805) 965-7347 Norfolk: B.F. Martin Inc, 344 West Bute Street, Norfolk, Virginia 23510, (804) 625-2566 Silver Spring: Typehaus, a division of Roliz, Inc, 8417 Georgia Avenue, Silver Spring, Maryland 20910, (301) 588-9505 North Haven: Comp One, Inc, 53o Washington Avenue, North Haven, Connecticut 06473, (203) 239-4467 St. Cloud: May Printing Company, 211 Lincoln Avenue, S.E., St. Cloud, Minnesota 56301, (61z) 251-4303 Oakland: Spartan Typographers, zrrz West Street, Oakland, California 94612, (4 1 5) 83 6-0933 St. Louis: Typographic Sales, Inc, 1035 Hanley Industrial Court, St. Louis, Missouri 63144, (314) 968-6800 Oklahoma City: Denver Reese Typesetting, 809 Robert S. Kerr Avenue, Oklahoma City, Oklahoma 73106, (405) 235 -6449 Tampa: Ad Print, 19oz West Kennedy, Suite zor, Tampa, Florida 33606, (8 3) 251-0502 Orange: George Hall Typography, 3417 West Lemon Street, Tampa, Florida 33609, (813) 870-1862 Newark Trade Typographers, 177 Oakwood Avenue, Orange, New Jersey 07050,(101) 674-3727 Tulsa: Orlando: Brittco, Inc, 809 South Denver, Tulsa, Oklahoma 74119, (918) 587-8171 Typo-Graphics, Inc, z6oz East Livingston Street, Orlando, Florida 31803, (305) 896-2696 Typo Photo Graphics, Inc, 525 East Sixth Street, Tulsa, Oklahoma 74 it 20, (918) 5-4-141- Waterbury: P & M Typesetting, 1854 Baldwin Street, Waterbury, Connecticut 06706, (203) 755-0109 Woodland Hills: Continental Typographics, 6319 DeSoto Avenue, Suite F, Woodland Hills, California 91367, (213) 703-6151 York: York Graphics Services, Inc, 3600 West Market Street, York, Pennsylvania 17404, (717) 792-3551 LetterLove Now and forever Only from Mergenthaler, Linotype, Stempel, Haas These pages were typeset on Mergenthaler Linotype typesetters. Mergenthaler, Linotype, Stempel, Haas, and Linotron are trademarks of the Allied Corporation. LetterLove is a servicemark of the Allied Corporation. 62 The language of LetterLove continues to grow. Presenting 24 new typefaces from Mergenthaler, Linotype, Stempel, Haas. As we do in every issue of U&lc, we're expanding our Our type specialists and our 800 numbers are two more type collection. We show the new faces on these pages as a examples of our commitment to bring you the faces, the token of our LetterLove. equipment and the help you need to express your Letter- Love and create fine typography. Any face you see here, or any ITC text face you see any- where in U&lc, for that matter, is available from any Let- Call, toll-free,A-00--45-5764; In New York State, terLover type house or anyone who has our Linotron zoz 800-83z-5z88; In Canada, 800- z68- 2874. digital typesetter. More information about these faces, or any face in our collection, is also available just by calling one of our Let- terLovin' type specialists at the 800 numbers listed. Typography is modern in concept if it derives its de- Text: these structures they "stuccoed"—with a purely sign from its own laws . . . . The utilization of the New Aster Roman craftlike mentality—illustrations, objects, figures, possibilities offered by the machine is characteristic with Italic all very interesting because of their uniqueness. and, for the purposes of historical development, But on the whole they were far from influencing essential to the techniques of today's productions. significantly any possible future development of Thus, our modern printing products will, to a large Text: typography. This will be left to those typographers who extent, be commensurate with the latest machines; Pegasus Roman can not only grasp the developmental possibilities and the that is, they will have to be based on clarity, concise- with Italic flexibility of typographical machines and materials, but who ness, and precision. The development of printing can also understand the larger horizon of today's visual ex- methods from setting the type by hand to setting it periences. Innovations (such as the wider distribution of by machine was long and complicated; and the final photography, of film, and of photoengraving and electro- and unequivocal adjustment to machine-set type plating techniques) have yielded a new, constantly develop- will yet lead to greater tensions. The future form of ing creative basis also for typography. The invention of typographical communication will be to a large ex- photogravure, its further development, the photographic tent dependent on the development of machine typesetting machine, the use of advertising with light, the methods; on the other hand, the development of experience of the visual continuity of the cinema, the simul- typographical machines will, in some respect, be de- taneous effects of perceptual events (the city) all these make termined by a reorientation of typography, which to- possible and all for an entirely new level in the field of the day is still largely influenced by handsetting. The visual-typographical. The gray text will change into a colored typographical process is based on the effectiveness picture book and will be understood as a continuous visual of visual relationships. Every age possesses its own visual Text: design (a coherent sequence of many individual pages). forms and its own corresponding typography. A visual ex- Pegasus Roman With the expansion of the reproduction technique ...all, perience that allows itself to be articulated depends on light with Bold possibly even philosophical works, will be printed using the and dark contrasts or color contrasts ....The old incunabu- same means for illustrations ... la, and also even the first typographical works, made ample Whereas typography, from Gutenberg up to the first post- use of the contrasting effects of color and form (initials, mul- ers, was merely a (necessary) intermediary link between the ticolored lettering, colored illustrations). The widespread ap- content of a message and the recipient, a new stage of de- plication of the printing process, the great demand for velopment began with the first posters.. ..One began to printed works;along with the economical and money- count on the fact that form, size, color, and arrangement of oriented utilization of paper, of the small format, of cast let- the typographical material (letters and signs) contain a ters, of the single-color print, etc., have changed the vital, Text: strong visual impact. The organization of these possi- contrast-rich layouts of the old printed works into the gener- Fotura Light ble visual effects gives a visual validity to the con- ally quite monotonous gray of later books. tent of the message as well; this means that by This monotone of our books has resulted in disadvantages: means of printing the content is also being defined first, a visually clear articulation of the text has become pictorially. . .This . . is the essential task of visual more difficult to achieve, despite the significant possibilities typographical design. for articulation offered by the paragraph indent; second, the What is necessary, for example, is a unitary type of reader tires much more easily than he would by looking at a lettering, without small and capital letters; letters layout built on contrasts of light and dark or contrast of col- unified not only in size but also in form ....Of or. Thus, the majority of our books today have Text: course, here one could also put up ideal demands come no further in their typographical, visual, Fotura Medium which would go far beyond a modernization of synoptical form than the Gutenberg production, our present-day type forms. Our lettering, aside despite the technological transformation in their from the very few phonetically derived symbols, is manufacture . . . . The situation is much more based on a time-honored convention. The origin of favorable with newspapers, posters, and job these signs is hard to ascertain today. They are very printing, since typographical progress has been often no more than formal stylistic (or practical) almost entirely devoted to this area. modifications of traditional forms which are no All of today's known attempts at typographical re- longer recognizable. So, one will be able to speak form consciously or unconsciously start with these of an actual reorganization of (printed) lettering facts. The monotony and the lack of contrast in only when this reorganization has been carried out modern books were. . . grasped intuitively, but in an objective, scientific manner. Perhaps on the the reaction to this was nothing but a retrospec- basis of opto-phonetical experiments . . . .The tive demonstration. [These typographers] by the adoption of basic forms—such as the circle, use of hand-set type ... have produced curious square, and triangle—in the reform of lettering effects, and have called attention to hitherto un- admittedly leads today to interesting formal, and known charms of typographical material—such even essential practical results. [Seen] from what is as lines, rules, circles, squares, crosses, etc. With today still a Utopian point of view, they are, 63 however, not to be taken as the correct under- New Aster Bold standing of the problem . . . [It] is very likely that this ABCDEFGHIJKLMNOPQRSTUVWXYZ kind of investigation will [lead] at first to the con- abcdefghijklmnopqrstuvwxyz 1234567890 struction of automatic typewriting and typesetting New Aster Bold Italic machines working from dictation. But for the time being we do not even have a practical typeface of ABCDEFGHIJKLMNOPQRSTUVWXYZ the right size that is clearly legible, has no indi- abcdefghijklmnopqrstuvwxyz 1234567890 vidual peculiarities, is based on a functional, visual New Aster Black form, and has neither distortions nor curlicues. We ABCDEFGHIJKLMNOPQRSTUVWXYZ have, on the other hand, good fonts of type that abcdefghijklmnopqrstuvwxyz 1234567890 are sometimes suitable for labels and title pages New Aster Black Italic . . . . but when used in larger quantities they begin ABCDEFGHIJKLMNOPQRSTUVWXYZ to "swim." The tensions that stem from contrasting abcdefghijklmnopqrstuvwxyz 1234567890 visual effects are most thoroughly created by opposites: empty—full, light—dark, polychrome— Fotura Light monochrome, vertical—horizontal, upright— ABCDEFGHIJKLMNOPQRSTUVWXYZ oblique, etc. These contrasts are primarily pro- a bcdefg h i I kl m nopq rstuvwxyz 1234567890 duced by means of the type (letters). Today, we Fotura Light Italic seek to create the "style" for our works—not from ABCDEFGHIJKLMNOPQRSTUVWXYZ borrowed requisites but out of this. . . . typo- abcdefghijklmnopqrstuvwxyz 1234567890 graphical material. There are [but] a few well- Text: suited forms, [however] there are many ways of us- New Aster Semi Bold ABCDEFGH IJ KLMNOPQRSTUVWXYZ ing them, a fact which contributes to the precision with Semi Bold Italic [and] clarity . . . of the visual image. The whole abcdefghijklmnopqrstuvwxyz 1234567890 field of the photoengraving techniques also be- Fotura Demi longs in this area. In order to bring typographical ABCDEFGHIJKLMNOPQRSTUVWXYZ design into conformity with the purposes of abcdefghliklmnopqrstuvwxyz 1234567890 typography, it might possibly be well even to use Jiffy various line directions and the like (thus not just Ao_ Vce qa ca, a)C. Mb,. Tly, horizontal arrangements). The nature and the pur- 00_ `Pp Lt- bk-g 12315 pose of the communication (leaflet or poster) t -/),A. (1), (m., determine the manner and the use of the typo- ITC Weidemann Book graphical material. Typographical signs (like ABCDEFGHIJKLMNOPQRSTUVWXYZ points, lines, and other geometrical forms) can abcdefghijklmnopqrstuvwxyz 1234567890 • also be used to advantage . . . . ITC Weidemann Book Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ Laszlo Moholy-Nagy Title: abcdefghijklmnopqrstuvwxyz 1234567890 Leipzig, 1926 Pegasus Bold ITC Weidemann Medium ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 Pegasus ITC Weidemann Medium Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 abcdefghijklmnopqrstuvwxyz 1234567890 Pegasus Italic ITC Weidemann Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 abcdefghijklmnopqrstuvwxyz 1234567890 Pegasus Bold ITC Weidemann Bold Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 abcdefghijklmnopqrstuvwxyz 1234567890 ITC Weidemann Black ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHUKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 abcdefghijklmnopqrstuvwxyz 1234567890 New Aster Italic ITC Weidemann Black Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGIWKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 abcdefghijklmnopqrstuvwxyz 1234567890 New Aster Semi Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 New Aster Semi Bold Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 LetterLove Now and forever Only from Mergenthaler, Linotype, Stempel, Haas Mergenthaler, Linotype, Stempel, Haas and Linotron are trademarks of the Allied Corporation. LetterLove, LetterLover and LetterLovin' are servicemarks of the Allied Corporation. © Copyright 1983 Allied Corporation 64 NOW cone (vertical or horizontal) to a oney back guarantee) 01-625-4400 UOStat °corporation 1 Name 1 dU0Statecorporation I 114 Beach St., P.O. Box 187 Position Phone 1 1 Rockaway, NJ. 07866 — Telex 136-387 1 1 Company 1 I ❑ Send information on your ROLL FEED SYSTEM ❑ Have a Duostat Representative Call. Street City State Zip 16...... amaemmrnmus. — - — — — — — — — J 6 TAKE ANY FIVE FOR 54 . with a five-month trial subscription to Volk Art Service. It's a great way to see what time and money-saving Volk Art is all about! You'll receive four just-published books in our specially designed carrier plus five bonus books of your choice EXECUM ES for a little more than $4.00 per week. Clean, crisp illustrations, designs and cartoons impec- cably reproduced in a 9x12 format with pictorial indexes for easy reference. The cost is only $90.55 for five months. 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The very newest 1979 LIBRARY ❑ Check enclosed - you absorb • Circus/Fair •Spring •Design Devices •Sports shipping cost. library, including books published • Farm • Wedding • Drop-Ins •Outdoor • Summer • Holidays • Eye, Ear, Mouth•Tourism (In N.J. include 6% Sales Tax) as late as December 1982, • Crime •Telephones • Pointers •See the USA 01979 Library $99.95 complete and ready to ship the • Medicine • Entertainment •The Birds •Old Fashioned 01982 Library $149.95 • Autumn •Office •Ad Gimmicks • Industry 0 5 Month Trial $90.55 day we receive your order. • Homemaker •Service • Famous Folk •Sports Handsome new realistic illustra- • Christmas •Hobbies •Ad Animals • Menu (enclosed check-save 5%-$86.02) • Science •Winter •The Year •Teens Circle Bonus Book Numbers Above tions, sparkling stylized design • Crowds •Courtesy •The Two Kids • Handyperson Clip and Attach to Order Form •Thrift • Executives • Holidays •Luck Call 800-257-5377 for C.O.O. shipments pieces and cartoons; all in the •Sales same quality, stock and print • Autos • Media •Borders as previous libraries. 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Otherwise, I agree to complete the order TYPE OF BUSINESS BUSINESS PHONE (area code) as follows: Please check one: ❑ I prefer to save 3% of the subscription AUTHORIZED BY (signature and title) price by prepaying. Please bill me FOR OFFICE USE 69AR-80000 now. Net 10 days. ❑ Please bill me monthly as the year's issues are shipped. Terms are net 10 days. MAIL TO: El ® Dynamic Graphics, Inc. 6000 N. Forest Park Dr., P.O. Box 1901 I Peoria, IL 61656-1901 • 68 Universally Universal Shown in MA 55 The Universal ! 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ASH WM •I .41 I 1•11k • MMMMM • I UM mow II mIMIMMINal MMM o ISN'T THERE SOMETHING • ,41,1111iiii im am 1 4 • • MMMMM MOOMM1121112112, 11., . 111•11• IMOS•••111•16 '11111•P NOW 11111111 -NI ■• ONOWIWANHOM ...• IA ...... 1■■ 'MO _ I ...... 1•1/ ma. • 3 , _411 .111•• 11' ■ III -1-.., ' I BMW I_ -.OIL! MMMMM IOW MI MIMI 11111111111.11111111111 Elm I M■W • /11 I■ II WWI 0.. `■ YOU'D LIKE TO TEl WNW 1••••11••111 - IIMINIIIIIIN Litt ■1111111111111111111 BM 1111 ••I h IlDr ► _ 1 ii, 111 OW 1°11; mompt...... • ■■111 I 111111. II salab 4111111111 111 O■ M _milvilasomms ■ AO A' MOM Illin maimm Your name, for example. After all, MI: ell VI Or ■ 2 1.92 1 M ■ ■ how many really know you? Or your sea nom Milli nil r filii Par au CIII 'i RA ikl ii re •••• Ililla ■ 1 On work? 111' IIIILICIAIII 1.,,=.1 1.1113:1011 101 Mt 111 11 Lek iimp Wan: ims The fact is, there are hundreds of ...... killau num= ...... a. MMMMM M ....101111p.mas MMMMMMM a r us tualmor .1 AMC lip illil ■ls dm BON 011".16 , 10. Ilk drio.11111111. is..1 .o.11. 1%1OBOO•••1111■ MOW WWI I■■■■■ '451 WO V Om 1•1112111 tril r NUM VII '111 t. "MOW w/11/ lam I I. •Aria•••• MOW corporate people out there. With , Nu me thousands of pages to fill. And now II illialAMILEMILIEWIAMIII""41gmulinr...... a... 4""mm °In::9 NM 1111111111••• . 11•1 API 11. II tar III 0 AO li■ IMMO wb.11 W w II o• W IA BIO. W W 1BI AIL III MIR Creative Access has a way to put ■ 11 1.4Il '48.9 WWI MIAMI WWI MAI WNW.SrAl. "11111111 • IIIII 1•• -••11111■■ III WI MOM MN .. MO MOM WIll . ■ MI ■ 1111116, MN RIO IOW IL 11 WI ...OW •■ IIa g'Jona Me.. s arm ram mom ow Ism lc ..,ne IN ighl them and you together—the cor- al ommmose ow. ,Isi !grin!gran ■ --0 IL: Inew.• ma is. 11111 111111.•••411. •••' V •' •W__ •••• ' ... UM porate Annual Report Datapak. lidliellelilif M m111111111111111Pm$111 811111"InIng PrAi lbliVilinn HU . •U MO "1/ /11. I '.1/1■ WV II 11111 ea WI 'INAli WI ' .. -m- ...-. I. Ali VW •••• LOW I aim um oh I ..1111.1r^1111 immummi, W/11 MN. WV IWO IWO V IIIIIIII `MIS WAN With it you've got an accurate, EauWNW as,WW" nem um am I Ion UI imaamst too 'um la ma immi I 11111`..16. III RIME ■■■ or ,wir • ,.. rya 1. mu LIME 1•••■•■ ma ,1111 NW DIM .111111WW. •1111• mg.•• 1111 .1 ip tiros UP le iii,•■■41.1,, ,x■ _Lyra. lump easy way to reach key buyers. More ENNIO IIIIIIII••' ■Ier .0' ...AV./. ,...., II' than 2,000 of them. :ill 1114811111ams •••••••••••••••■:••••••••••12 IIIIIIIIII:111■ 11:11 mot Ises at ...1, ilk illtik ■1,11 m 'V NVIO11111•• Iffink.WAIBBIlla U. 12B, I I. I 42 i imam tmer-mo um tor *Am arm IIII 'A • ■ow mos■ ■ sr ami vill/ II 'VI I You can get a set of pressure- RAMOIO W III .MI WWI '.111111 .. El . 4• ... 1 I ■ ... Ii 11111111 • .... WE • VA U. 11•1 111111•• PIE 1•1111 111 IMO Barn ism il•rou il 'Irmo ith• It iv ■ U. am ,a rem um ma ..... - 1 , III. V. •••• A 111111 • ' • I •P elk II .S.'••'.411 1 mm•e sensitive mailing labels printed to „ ,. I P `MP P.' am reach specific individuals (critical 2 MI I Mille Sin .1111•9_11111 ••••••••1111•11111••••• 1 •••• =NB mmemig:i nib %M ilk 211r, /11: '1111.lik OPAINWAIWIA as 6 I mit .. ■ MMMMM WNW m•rij in a category with literally scores of MUM III Ul NM NM W WO. VII WI Ink SIM AM lel RI all 7.1 • ::111:- WIWI 1111111••••••1112 WIN NI 21'4•112 11i /// VW Illa.'1111 111•1111L* , IN II IP • ..// II MMMMMM III MUM different titles). And a set of 3x5 data 111.2...... MMMMMMMM ...... • . softie ! 1.111•1111111111111•••1 •••• 1:1WI 1014111.111. .1 I.■-1 o!il 1, 11,21 .4 11 iMp .1,11,1.11 !Li :Foot: Zipelill111111111111. cards that repeat the label infor- 3 ■ II NB ow....,..... Inssulammunis MMMMMMM swum MMMMMum MMMMM •111111•••••111 MMMMMMM III 111111111 mation with phone numbers and SIMI IIIIII••••••••••611111111 MMMMMMMMMMMMMMM 111111111•••••111111 MMMMMMM III MM • MMMMM If miling• MONO II • II IIIIIIIII other valuable data All in a convenient file case. UM II c illi II•121•111••1111•111••• B II S W ■ ■■■■■■■ 1. I. • 01111016•11•111111111•111111•111 0 I II IIIIII il 1121141110.11111111 11111 • 4 B II IOW If you need to reach buyers, there's simply nothing as 4 ==rillMOM II I • wmalowir. .... 4.• - 42 iil iIi a:: . ■I"Nro, easy or more reliable—we update every 4 to 6 months. Find I M mammemmm MMM am MMMMMMM mmumomarmagrani 1 11 11111 amIMO II 1 I rilir,saga;,emmumm MMM ilm M '4•••• I 2 mall out more about the Annual Report or any other Datapak :nu ■ ■ - MMMMM 11•••••• MMMMMMMMMMM MI MMMMM ••••• NM .11111■ (Beauty/Fashion, Art Directors and more). Call toll-free m■■■ai I ;imam 1 800 422-2377; in Illinois call 312 440-1140. 5 MMMMM■•1121111111•1111111••••••■MMMMMMMM21■•111111•1111•• MMMMM MMMMMMM •••••• MMMMMMMM Isn't it time someone labeled the ME M people responsible for all those annual reports? OF JOB DESCRIPTION COMPANY PAGE PAGES An exclusive collection of original border designs printed on a special lightweight board with an 8 1/2 x 11 inch, non-photographic blue grid background with vertical and horizontal centering guides and other time- saving layout aids. I- li for paper especraVly designede'& surface texture let Yoe ■ quaay ma Brighter deSvgners and art d\ rectors Brighter white and an ci Newcreate beauttu\ \ayouts ana sketches with markers and all dry made Stratlini Ojb Graphic Products Corporation NJ Catalog No. 7 features the complete 9")(12" 100 Sheets selection of Border Boards along with hundreds of other professional graphic art products. Request your free copy At last, mavli.ey paper Madeand today! eTs Company design ellyspecia for art divectoirs ticatYvolcore. Zip 01085 NIA neS Bets P ield, tvor Westf SO © 1982 Strathrnore Paper Co. Mail to: Graphic Products Corporation 3601 Edison Pl., Rolling Meadows, IL 60008 74 "$375 for type? ITEK, But the space only costs $750!" OWNERS! 430/435/440/480 Type bills are driving everyone crazy. Up, up they go — with no ceiling in sight. But your client doesn't want to know about that. He wants to know why Laugh at high his catalog cost so much. And why type for a trade ad costs almost as much as the space. And you're caught in the middle. Your client's steaming and prices while enjoying a you're struggling to make a buck. dramatic increase in print quality. But Arnold & Debel can help. With advertising quality type at prices that Duoprint papers, films and chemistry are remind you of the good old days. Prices the big shops can't even remember. packaged especially for your cameras. Our And we operate around the clock. Give us a try, call Ivan Debel today at prices are designed to save you money. 889-3711. You have nothing to lose except outrageous type bills! Order a trial box today! qt) AD ARNOLD & DEBEL INC. arixwation TYPOGRAPHERS 114 Beach Street, Rockaway, New Jersey 07866 (201) 625-4400 270 MADISON AVENUE 'Trademark of ITEK Corp . NEW YORK, N.Y. 10016 (212) 889-3711 CHESTERTONA U S ENR Dick Slick EAKFAKTTOCL A U M G I E ships RWRTUOTSA LA M H A S N V TERGORKY I LTK Qui c k AHLAOEFS EL 191 1, N0 L S A k U Since ply n Dick Slick started sup T R L N'OY L Maintainedependable his ONA whenhis oWn rnail-order art fast, d warehouses in Illinois, ENAOWOATE BF busiess, We have servicenurnber to one graphic policy designers ot and artists every- . . SEWDBURROU EL L, Box 1267, fro ow ship m three BHRSEOFEDJ lva nia. CA here. We n Pennsy Dick Slick, Dept, U UAETCR 1\1 Nevada, and Graphic Art Galsburg, IL 61401 GLY KU e new LKNRK ADK AB MaterialsOur catalog amehas pens,352 ••••• n drafting GACI E NES A E pages of the best paints, airbrushes, ur ANENT pH. II, SA C CV RR furniture, etc. — at the best aroun . Send for yo KRRDT M E AT today! OE I BARR I pee copy Y HN 00A free c VTZENDAKE 0 OA 0 00 NSORHVNLC ES Catalog LGERCH R GS TS Fre AL IMEIOA BON SO WA OLIEDNAR I P L I N DD A p _------RENDRAG K A A RO U Name N RONTEQR QUM 0 A NA UBALDWI NAU S I R UN DM REBREF I TZG ERA LD Solution to puzzle on page 24. X E 75 WE NAVE THE LANGUAGE YOU NEED, IN THE TYPEFACE YOU LIKE American Typewriter* ENGLISH Aachen Antique Olive SPANISH AVANT G1RDE GO1HIC* Baskerville FRENCH 5oolunart. California PORTUGUESE Centuy* English Times GERMAN Eras* Friz Quadrata* ITALIAN Helvetica You'll smile too, when you LUBALIN see what a remarkable improvement DuoPrint papers, films and chemistry will KORINNA make in the quality of your Pos-l's reproduc- &ARABIC MACHINE* tions. Our SUPER LOW PRICES won't hurt your Microstyle disposition much either. Join the thousands of Computerized Arabic Typesetting, satisfied DuoPrint users— Arabic Display Type and Calligraphy. QUORUM* Order a trial box today! Serif Gothic duostat Albert Graphics, Inc. Souvenir* corporation One West Baltimore Ave., Lansdowne, PA 19050 114 Beach Street, Rockaway, New Jersey 07866 (201) 625-4400 (215) 259-6878 Souvenir Gothic A *ITC Typefaces II■ III • IN II III ME III III • • III II IMIN III • II • III MI ■ •■ The Flax Catalog. a ■ ■ ■ It's not Just an ■ ■ art supplies catalog. ■ ■ It's a reference book. ■ This fully-illustrated, 192-page • • color catalog covers more • • than 30,000 items, with color a • charts for paints, markers and such. It's an indis- • • pensable source for any- • • one who uses art or • • drafting materials or • • furniture. Send $3 • • with the coupon • • ($6 if you're out- side the U.S.) and • • we'll send you one. N • • • FLAX Art Materials • SMALL BED (5x7x4') Solid Maple $34.00 • 1699-S Market San Francisco CA 94103. ■ ❑ $1.00 enclosed, send info. ❑ Check enclosed, send SMALL BED. Money- back guarantee if not satisfied. • I can't resist. Here's my check, where's my catalog? ■ NAME ■ • Name •■ CO NAME • ADDRESS ■ Firm Clamps to any side of table. ■ CITY/STATE/ZIP Address Mail orders to: • TOOLDECKS • 1911 Wabansia Ave. • Chicago, IL 60622 • 312-384-4539 Zip U • City State •••••••••••11••••••••• •ii 76 Free subscriptions to U&Ic are shipped by Abonnements gratuits au U&Ic sont en- Ihre kostenlose Ausgabe von U&Ic wird surface mail.lf you wish to receive copies voyes par courrier de vole ordinaire. Si mit normaler Post versandt. Falls Sie by airmail, please forward the folio= vous desirez recevoir des copies par Zustellung per Luftpost wiinschen, senden appropriate amount to cover airmail avion, je vous pile de bien voulo ir envoyer Sie bitte den entsprechenden Betrag zur for one year in US funds, complete this le montant approprie pour couvrir les Deckung der Luftversandkosten tiff ein form and mail to: frais d'avion pour une armee, veuillez Jahr, fUlfen Sie bitte diesen Coupon aus U&Ic Subscription Dept. remplir ce formulaire et ('addresser dr: and senden ihn an: 2 Hammarskjold Plaza, U&Ic Subscription Dept. U&Ic Subscription Dept. New York, N.Y. 10017,U.S.A. 2 Hammarsk old Plaza, 2 Hammarskjold Plaza, New York, N. .10017,U.S.A. New York, N.Y. 10017,U.S.A. Europe $20.00 Extreme Europe $20.00 Far East $24.00 Amerique du Orient $24.00 Europa $20.00 Ferner Osten ... $24.00 South America . . . 20.00 Canada 8.00 Sud 20.00 Canada 8.00 Sudamerika . . . 20.00 Kanada 8 00 Africa 24.00 Mexico 10.00 Afrique 24.00 Mexique 10.00 Afrika 24.00 Mexiko 10.00 ❑ I want to receive U&Ic ❑ J'aimerais recevoir U&Ic. ❑ Ich mOchte U&Ic beziehen. Note: U&Ic is published quarterly. Please allow N.B.: U&Ic est une publication trimestrielle. ANMERKUNG: U&Ic wird viertel jahrlich verOffent- four months before anticipating first copy. Considerez 4 mois avant de recevoir le premier licht. Bitte erlauben Sie 4 Monate, ehe Sie die numero. erste Nummer erhalten. Please Print Imprimez S'il vous Plait Bitte In Druckschrift Schreiben SURNAME OVEN NAME NOM PRENOM ZUNAME VORNAME TITLE FONCTION BERUF COMPANY FIRME FIRMA DELIVER TO. BUSINESS HOME DELM8EZ A TRAVAIL RESIDENCE PRIVEE UEFERUNG AN FIRMA. PRIVAT ADDRESS ADDRESSE STRASSE CITY VILLE CODE POSTAL POSTLEITZAHL UND ORT STATE ZIP CODE PAYS LAND SIGNATURE SIGNATURE UNTERSCHRIFT DATE DATE DATUM My organization and/or I am involved in the visual communica- Mon organization et/ou je fais partit de communications visuelles Meine Firma and/oder ich sind auf dem Gebiet der visuellen tions field yes no. oui non. Kommunikation tatig ja nein. I am a student yes no Je suis etudiant oui non. Ich bin student _ja _nein. BUSINESS CLASSIFICATION: CLASSIFICATION PAR PROFESSIONS FIRMENKLASSIFIZIERUNG (Check One Only) (Ne cocher qu'une seule fonction) (Bitte eine ankreuzen) (a) Printing (Commercial, Instant, etc.). (a) Impression (Commerciale, Instantanee, etc.). (a) Druckerei (Akzidenzdruck, Schnelldruck, usw). (b) Typesetting (Commercial). (b) Composition (Commerciale). (b) Schriffsetzerei (Werk—oder Layoutsatz). (c) Advertising Agency, Art Studio, Design, Freelance. (c) Agence de publicite, Studio d'art, Conception, (c) Werbeagentur, Grofikdesignatelier, (d) Newspaper, Magazine, Book Publishing. Independant. Freischaffender. (e) In-plant or corporate typesetting and other (d) .lournal, Revue, Edition de livres. (d) 7eitungs-, Zeitschriften- oder Buchverlag. reproduction services. (e) Composition faite sur place ou par une societe (e) Firmeneigene Schriftsetzerei, Reproduktion oder (f) Education and/or Libraries. et autres services de reproduction. Druckerei. (g) Government. (f) Enseignement et/ou bibliotheques. (f) Bildungsanstalt oder Bibliothek. (h) Corporation Advertising, Design, Promotion. (g) Governement. (g) BehOrde. (I) Communication and information processing. (h) Publicite de societe, Conception, Promotion. (h) Werbe-,VerkaufsfOrderungs- oder Designab- U) Other (I) Troitement de communications et d'informations. teilung von Industrie- oder Handelsfirma. MY PRIMARY JOB FUNCTION IS: (l)" Autres. (i) Kommunikation and Datenverarbeitung. (Check One Only) MON ACT1VITE PRINCIPALE EST: 6) Sonstiges. (k) Artist, Illustrator (Ne cocher qu'une seule fonction) MEINE HAUPTBERUFSTATIGKEIT: (I) Graphic Artist. Art Director Creative Director (k) Artiste, Illustrateur (Bitte eine ankreuzen) (m) Display and Package Design. (I) Artiste graphique, Directeur artistique, Directeur (k) KOnstler, Illustrator. (n) Pasteup Artist,Typographer, Keyboarder de creation. (I) Grafiker, Art-Direktor, Kreativ-Direktor. (o) Type Director, Type Buyer (m) Conception de ('exposition et de l'empaquetage. (m) Entwurf von Verpackungen oder Auslogen. (p) Advertising Manager Sales Promotion Manager (n) Metteur en pages,Typographe, Claviste. (n) Reinzeichner, Schriftsetzer (q) Production Manager Office Manager (o) Directeur de composition, Acquereur de (o) Typograf,Type-Direktor, Einkaufer von Schriftsatz. (r) Printing Buyer, Purchasing Agent. caracteres d'imprimerie. (p) Werbe- oder Verkaufsforderungsleiter. (s) Fditor, Writer. (p) Directeur de publicite, Directeur de la promotion (q) Produktionsleiter, BUrovorsteher. (t) Teacher Instructor. des ventes. (r) Drucksacheneinkaufer. (u) Audio Visual. (q) Directeur de production, Directeur de bureau, (s) Redakteur, Texter (v) Principal Officer (r) Acquereur de produits d'imprimerie, Agent (t) Lehrer, Ausbilder (w) Secretary, Typist, etc. prepose 6 l'achat. (u) Audio-visuell. (x) Other. (s) Reclacteur, Auteur (v) FirmeneigentOrner, leitender Angestellter . (t) NUMBER OF PERSONS EMPLOYED Professeur, Instructeur. (w) Sekretarin, Stenotypistin, usw. IN YOUR ORGANIZATION (u) Audio-visuel. (x) Sonstiges. (v) ______,Agent principal. (1) 1-9 (w) Secretaire,Dadylographe, etc. ZAHL DER BESCHAFTIGTEN MEINER (2) 10-19 (x) Autres. FIRMA ODER BEHORDE: (3) 20-49 (1) 1-9 (4) 50-99 NOMBRE DE PERSONNES EMPLOYEES (2) 10-19 (5) 100-249 DANS VOTRE FIRME (3) 20-49 (6) 950 and over (1) 1-9 (4) 50-99 (2) 10-19 (5) 100-249 (3) -- 20-49 (6) Ober 250 (4) 50-99 (5) 100-249 (6) 250 et plus U&Ic 9/83 U&Ic 9/83 U&Ic 9/83 UGENSeD ONLY THE FOLLOWING SUBSCRIBER COMPANIES ARE LICENSED TO MANUFACTURE AND SELL TYPEFACES Metagraphlcs D. Stempel AG Chartpak Dz-ing Rudolf Hell GmbH AM International, Inc. Division of Intran Corp. Hedderichstrasse 106-114 Grenzstrasse 1-5 Varityper Division One River Road Frankfurt am Main-70 D2300 Kiel 14 4555 W. 77th St. 11 Mt. Pleasant Avenue Leeds, Mass. 01053 West Germany West Germany Edina, Minn. 55435 East Hanover, N.J. 07936 (413) 584-5446 (0611) 6068-1 Dry Transfer Letters (0431) 2001-1 (612) 835-5422 (201) 887-8000 Digital Fonts for Xerox 9700 Dry Transfer Letters Phototypesetters and Photo- Digiset Phototypesetting Compugraphic Corporation Equipments and Systems, lettering Systems Microtype Tactype, Inc. 200 Ballardvale Street Digiset-Fonts 12 West 26th Street Adobe Systems, Inc. Wilmington, Mass. 01887 8 Faubourg St. Jean information International 21200 Beaune New York, N.Y. 10001 2685 Marine Way (617) 944-6555 924-1800 5933 Slauson Avenue France (212) Mountain View, Calif. 94043 EditWriters, CompuWriters, Dry Transfer Letters Text Editing Systems, Culver City, Calif. 90230 Film Fonts Manufacturer (415) 969-5251 Alphabet Designers Interactive Software Tools for MCS" 8200, 8400, 8600, (213) 390-8611 Technographics/FIlm Fonts Phototypesetting Systems Graphic Arts Accessories and Supplies The Monotype Corporation Ltd. P.O. Box 552 Salfords, Redhill, Surrey, Culver City, Calif. 90230 Alphatype Corporation Digital Visions, Inc. international Business Machines Corporation England (213) 870-4828 7711 N. Merrimac Avenue 454 West 46 St. Toll Free: 800-421-4106 New York, N.Y.10036 Old Orchard Road Redhill 6 5959 Niles, Illinois 60648 Visual Communications Film Fonts, Studio Film Kits, (212) 581-7760 Armonk, N.Y. 10504 (312) 965-8800 Equipment and Alphabet Designers AlphaSette and AlphaComp Interactive Computer Graphics Electronic Printing Systems URW Untemehmensberatung Phototypesetting Systems Software international Graphic Officine Simoncini s. p.a. Rubo Weber GmbH CRS Digital Phototypesetter Display lYpe Marketing Casella Postale 776 Karow Harksheider Strasse 102 international, Inc. 216 Quai Perdonnet 40100 Bologna Artype, Inc. 2000 Hamburg 65 P.O. Box 58 Italy 3530 Work Drive PO. Box 3100 West Germany CH-1800 Vevey (051) 744246 PO. Box 7151. Weehawken, N.J. 07087 (040) 602 1071 Switzerland Hot Metal Composing Matrices Fort Myers, Fla. 33901 (201) 863-8006 IKARUS—Digital Type Production (021) 51 85 56 and Phototypesetting Systems (813) 332-1174 (212) 683-2140 SIGNUS—Type Setting with Foils 800-237-4474 2' Display Fonts Font Manufacturer PhotoVision Of California, Inc. Visl-Graphics Dry Transfer Letters Filmotype international lype Fonts ApS P.O. Box 552 8119 Central Avenue Cut Out Letters c/o Cooper & Beatty, Limited Culver City, Calif. 90230 7711 N. Merrimac Avenue Washington, D.C. 20027 401 Wellington Street West (213) 870-4828 Autologic, Inc. Niles, Illinois 60648 (301) 366-1144 (312) 965-8800 Toronto M5V 1E8 Toll Free: 800-421-4106 1050 Rancho Conejo Blvd. Spectra Setter 1200, Visual Dry Transfer Letters Newbury Park, Calif. 91320 Film Fonts (416) 364-7272 Type Discs for Harris 600, Display Setter, and 2' Film Fonts Visual Graphics Corporation (213) 889-7400 Fonts APS-4/APS-5 CRT Phototype- 1200, 4000,TXT Typesetters Pressure Graphics, Inc. 5701. N.W. 94th Avenue Hardy/Williams (Design) Ltd. setter Composition and Tamarac, Florida 33321 300A High St. ltek Composition 1725 Armitage Court Typesetting Systems Systems Division Addison, Illinois 60101 (305) 722-3000 Sutton, Surrey Manufacturer of Photo Typositor 34 Cellu Drive (312) 620-6900 Autologic SA SM1 PQ England and Original Typositor Nashua, N.H. 03060 Dry Transfer Letters 1030 Bussigny Pres Lausanne 01-636-0474 Film Fonts (603) 889-1400 Switzerland Font Manufacturer Prestype, Inc. Phototypesetting Systems and Xerox Corporation 021/89.29.71 194 Veterans Blvd. Fundicion Tipografica Equipment, Film Strips, Digital Graphics Center Bobst Graphic Products and Carlstadt, NJ. 07072 Neufville, S.A. Standard and Segmented Discs, Phototypesetting Systems 701 South Aviation Blvd. and Digitized Fonts (201) 933-6011 Puigmarti, 22 Dry Transfer Letters El Segundo, Calif. 90278 H. Berthold AG Barcelona-12 Letraset International Ltd. Mail Stop-A3-39 Teltowkanalstrasse 1-4 Spain Purup Electronics St. Georges House (213) 536-5926 D-1000 Berlin 46 219 50 00 28 Jens Juuls Vej 195/203 Waterloo Road Electronic Printing Systems West Germany Poster Types DK 8260 VIBY J London SE1 84J Zipatone, Inc. (030) 7795-1 Denmark Geographics, Inc. England Diatronic, ADS 3000, Diatext, Tel: 456-28 22 11 150 Fend Lane (01) 930-8161. Diatype, Staromatic, P.O. Box R-1 Laser Forms Printer Hillside, Illinois 60162 Staromat, Starograph Blaine, WA 98230 Dry Transfer Letters (312 ) 449-5500 Quante! Ltd. (206) 332-6711 Letraset USA Inc. Dry Transfer Letters Berthold of North America Dry Transfer Letters Kenley House 40 Eisenhower Drive 610 Winters Avenue Kenley Lane Graphic Products Corporation Paramus, N.J. 07652 Paramus, N.J. 07652 Kenley, Surrey (201) 845-6100 (201) 262-8700 3601 Edison Place CR2 5Yr Dry Transfer Letters Diatronic, ADS, Diatype, Rolling Meadows, Ill. 60008 England Staromat, Diasetter, (312) 392-1476 Linographics 01-668-4151 Formatt Cut-out Acetate Letters Repromatic 770 N. Main Street Designers and Manufacturers and Graphic Art Aids of Digital Television Broadcasting IX Boger Photosatz GmbH Orange, California 92668 Graphics, Inc. Equipment; the Paint Box. 2 Wedel in Holstein (714) 639-0511 Rissener Strasse 94 16001 Industrial Drive Display Typesetters, Ryobi Limited 2" Film Fonts West Germany Gaithersburg, Maryland 20877 762 Mesaki-Cho (04103) 6021-25 (301) 948-7790 Mecanorma Fuchu-Shi Manufacturer of Dry Transfer AUTHORIZED DISTRIBUTORS Manufacturers of Copytronic 78610 LePerray-en-Yvelines Hiroshima-Ken 726 Systems OF ITC TYPEFACES Phototext Composing Machines, Paris, France Japan AGFA-GEVAERT N.V. Film Fonts, and Copytype Harris Corporation 483.90.90 Text/Display Phototypesetters Photolettering Systems BITSTREAM, INC. Harris Composition Systems Dry Transfer Letters Simulation Excel A.S. and Fonts Division DICOMED CORPORATION Mergenthaler Linotype Dag Hammarskjolds vei 15 DIGITAL EQUIPMENT CORPORATION Cello-Tak Mfg., Inc. P.O. Box 2080 Company Oslo 5 DIGITIZED INFORMATION SYSTEMS Melbourne, Florida 32901 35 Alabama Avenue Norway CORPORATION (GHENT, BELGIUM) (305) 259-2900 201 Old Country Road Island Park, L.I., N.Y. 11558 Melville, N.Y. 11747 Tel: 47-2-15 66 90 EOCOM (516) 431-7733 Fototronic 4000,TXT, 1200, 600 PAGEscan Digital Typesetter SCITEX CORPORATION LTD. CRT 7400, 7450 (516) 673-4197 Dry Transfer Letters Linoterm, V-I-P Linotron, Omni- PAGEcomp Interactive Ad tech CRTronic, Phototypesetting and Page Make-up Terminal Equipment and Systems INTERNATIONAL TYPEFACE CORPORATION 2 HAMMARSKJOLD PLAZA, NEW YORK, NEW YORK 10017 (212) 371-0699 TELEX: 669204 FOR FURTHER INFORMATION WRITE OR CALL: 78 Now You can order these Name Nom ITC Type Specimen Booklets To obtain these handsomely designed, colorful ITC type specimen book- Company Firme Firma lets, just complete this order form and mail it to us. All orders must be accompanied by a remittance. 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Priere de payer en $ americains au nom de ITC: 2 Hammarskjold Plaza,NewYork,NY.10017,USA Quantity Unit Price Total Quantite Prix unitaire Total Anzahl Einzelpreis Gesamtpreis Nunmehr kOnnen Sie diese ITC-Schriftmusterhefte bestellen ITC BOOKLETS: ITC American Typewriter® $100 Wenn Sie diese attraktiv entworfenen, farbvollen ITC-Schriftmusterhefte _ITC Avant Garde Gothic 0 with Oblique 1.00 ITC Avant Garde Gothic" Condensed 1.00 erhalten mOchten,ftillen Sie bitte den Bestellschein aus.Alle Bestellungen ITC Barcelona' 1.00 mussen vorbezahlt werden. Senden Sie Ihre Zahlanweisung (in U.S. - ITC Bauhaus® 1.00 Wahrung und zahlbar an ITC) zusammen mit dem Bestellschein an: ITC Benguiat® 1.00 2 Hammarskjold Plaza, New York, N.Y. 10017, USA ITC Benguiat® Condensed 1.00 ITC Benguiat Gothic' 100 ITC Berkeley Oldstyle®' 1.00 _ITC Bookman® 1.00 _ITC Caslon No.224" 1.00 _ITC Century ® with Condensed 1.00 _ITC Cheltenham' with Condensed 100 _ITC Clearface® 1.00 _ITC Cushing' 1.00 _ITC Eras® 1.00 _ITC Fenice® 1.00 _ITC Franklin Gothic® 100 __Friz Quadrata LOO _ITC Galliard' 1.00 ITC Garamone with Condensed 1.00 ITC Isbell ® 100 _Italia 1.00 _ITC Kabel ® 100 _ITC Korinnff with Kursiv 1.00 _ITC Lubalin Graph ° With Oblique 100 _ITC Modern No. 216" 100 _ITC New Baskerville" 1.00 ITC Newtext" 100 ITC Novarese® 1.00 _ITC Quorum® 1.00 _ITC Serif Gothic® 100 _ITC Souvenir® 1.00 ITC Tiffany with Italic 1.00 _ITC Weidemann° 1.00 ITC Zapf Book ® 100 ® ITC Zapf Chancery 1.00 _ITC Zapf Dingbats ® 1.00 _ITC Zapf International® 100 U&Ic BACK COPIES: Foreign U.S. Price U&Ic, Vol.3, No.4 $2.50 $1.50 _U&Ic, Vol. 4, No. 4 4.00 1.50 U&Ic, Vol. 5, No. 4 2.50 1.50 U&Ic, Vol. 6, No. 1 2.50 1.50 U&Ic, Vol. 6, No. 3 2.50 1.50 U&Ic, Vol. 6, No.4 2.50 1.50 U&Ic, Vol. 7, No. 2 5.00 2.50 U&Ic, Vol. 7, No. 3 2.50 1.50 U&Ic, Vol. 8, No.1 2.50 1.50 U&lc, Vol. 8, No. 3 2.50 1.50 U&Ic, Vol. 8, No. 4 2.50 1.50 U&Ic, Vol. 9, No.1 2.50 1.50 U&Ic, Vol. 9, No.2 2.50 1.50 U&Ic, Vol. 9, No. 3 2.50 1.50 U&Ic, Vol. 9;No. 4 2.50 1.50 U&Ic, Vol. 10, No. 1 2.50 1.50 U&Ic, Vol. 10, No.2 2.50 1.50 _U&Ic,Vol.10, No. 3 2.50 1.50 Total Order, in U.S. funds $ Add postage, 10it per booklet $ N.Y. Residents add state sales tax $ Remittance in U.S. funds enclosed $ Montant de is commande $ Ajoutez $.10 Americains De Timbres Par Livret $ Paiement ci-joint (en $ americains), total $ Gesamtpreis (in U.S.-Wahrung) $ Zuziiglich Porto, 10(t pro Heft $ Belgefugte Zahlanweisung (In U.S.-Wahrung) $ Notice to typographers: for purchases of 50 or more ITC specimen booklets, contact Mr. John Prentki for special typographer's price. 79 THESE FREE BOOKLETS UPDATE YOUR ITC COLLECTION FOR ALL ITC TYPEFACE FAMILIES ISSUED THROUGH OCTOBER 1982. 8 BOOKLETS FREE frOfifiEfiCa COLLECTION abcdefghijklmnopqrst .ttx .1,•1,11a0,11noup , 1 1,tits ,. ,1 , N1;< 1)t 1101111,1 ‘1 ,1. ,1,)1t , 11. / 4„„«,w,`. 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Its appeal comes fr en the understatufiru{l15C(i h t ABCDF Book Please print/Ritte im Druckschrift/Ecrivez en caracthres d'imprimerie 1. Text blocks plus alphabet showings for sizes 6,7,8,9,10,11,12,14, International Typeface Corporationt 2 1-lammarskjold Plaza 16,18,20 and 24 points. New York, New York 10017 Please send me "The ITC Typeface Collection." 2. Alphabet lengths in points for each text point size shown.These Enclosed is my payment of $49.95! Ship my book postpaid. relate to an easy-to-use copyfitting chart at the back of the book. Library and bookstore orders should be sent to Robert Silver Associates, 95 Madison Avenue, New York, N.Y. 10016 3. Alphabet display showings in sizes 30,36,48,60 and 72 points 'New York State residents add applicable sales tax. For shipments outside the United States, please remit $51.45. plus 1" caps. (All orders must be accompanied by a remittance payable in U.S. funds. No C.O.D.s.) 4. Complete character showing of each ITC display font. NAME/NAME/NOM 5. Headline presentation in display size range. STREET ADDRESS/STRASSE/RUE ET No CITY/POSTLEIZAHL U ND ORT/VILLE Basic facts about"The ITC Typeface Collection": 572 pages. STATE AND ZIP CODE/LAND/PAYS, CODE POSTAL 12%"x 121/2:' Hardbound. Smyth sewn for easy opening. U&Ic 9/83 SO IlL Center Calendar of Events. The ITC Center was established to introduce new and exciting typo/graphic arts experiences. It is a growing resource for students and professionals Important Notice: The show- ing of "7j pographica USSR, the Art of Lettering Calligraphy and Type Design in the Soviet Union," scheduled for October 12 to December 2, has been post- poned to a future date. Continuing through December 2nd The Fifth Annual Broadcast Designers Association Design Competition Broadcast designers throughout the United States and Canada are represented in the fifth annual design competition of the Broad cast Designers Association. The exhibition includes 300 examples of outstanding video and printgraphics, including posters, illus- December 14, 1983- tration, animation, set design, photography, January 27, 1984 promotional material and advertising "Typo &" February 8-March 30, 1984 STA 100 Originally exhibited in The sixth annual design competition spon- Prague, this exhibition sored by the Society of Typographic Arts in represents a cross sec- Chicago includes 100 examples of graphic tion of contemporary design, package design, illustration and pho- Czechoslovakian graphic tography selected from more than 1700 en- tries submitted from throughout the United design. 174 pieces by States. nine Czech graphic designers include book Hours: 12:00 Noon-5:00 p. m. and magazine typo- Admission: Free graphy posters, station- Open Monday-Friday (Closed November 11, 23, 24, 25, ery signage and type December 23, 26, 30 and design. Januar), 2, 1984) ITC Center 2 Hammarskjold Plaza (866 Second Avenue between 46th and 47th streets), 3rd Floor; New York, New York 10017 For more information call (212)371-0699. CONTROLLED CIRCULATION POSTAGE PAID AT FARMINGDALE, N.V. 11735 AND NEW YORK, N.Y. 10017 USTS PUBL 073430 MOVING? CHANGE OF ADDRESS: Send this address label (or a copy including the account number) with your corrections to: ETC,,,lc Subscription Dept. 2 Hammarskjold Plaza New York, NY 10017 Allow 8 weeksfor any changes. For new subscriptions, use subscription application included in this issue.