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UPPER AND LOWER CASE. THE INTERNATIONAL JOURNAL OF TYPOGRAPHICS PUBLISHED BY INTERNATIONALTYPEFACE CORPORATION, VOLUME EIGHT, NUMBER FOUR, DEC. 1981

PAGE 37 VOLUME EIGHT, NUMBER FOUR, DECEMBER, 1981

EDITOR: EDWARD GOTTSCHALL APT DIRECTOR: BOB FARBER EDITORIAL/DESIGN CONSULTANTS: LOUIS DORFSMAN, ALAN PECKOLICK EDITORIAL DIRECTORS: AARON BURNS. EDWARD RONOTHALER ASSOCIATE EDITOR: MARION MULLER CONTRIBUTING EDITORS: ALLAN HALEY. LORNA SHANKS Editorial RESEARCH DIRECTOR: RHODA SPARSER LUBALIN BUSINESS MANAGER: JOHN PRENTKI ADVERTISING/PRODUCTION MANAGER: HELENA WALLSCHLAG ASSISTANT TO THE EDITOR: JULIET TRAVISON ART/PRODUCTION: ILENE MEHL. ANDREA COSTA, SID TIMM, _WREN WAJDOWICZ SUBSCRIPTIONS, ELOISE COLEMAN

INTERNATIONAL TYPEFACE CORPORATION 1981 PUBLISHED FOUR TIMES A YEAR IN MARCH, JUNE, SEPTEMBER AND DECEMBER BY INTERNATIONAL TYPEFACE CORPORATION HAMMARSKJOLD PLAZA, NEW YORK. N.Y. 10017 A JOINT, OWNED SUBSIDIARY OF LUBALIN, BURNS 6 CO.. INC. AND PHOTO.LETTERING, INC. CONTROLLED CIRCULATION POSTAGE PAID AT NEW YORK, N.V. AND AT FARMINGDALE. N.Y. USTS PURL 073930 ISSN 036262. PUBLISHED IN U.S.A.

ITC FOUNDERS: AARON BURNS, PRESIDENT A NEW WORLD OF TYPOGRAPHIC COMMUNICATIONS EDWARD RONDTHALER. CHAIRMAN EMERITUS HERB LUBALIN. EXECUTIVE VICE PRESIDENT 1970-1981

ITC OFFICERS 1981: GEORGE SOHN, CHAIRMAN AARON BURNS. PRESIDENT We are on the verge of a new era in typeface usage. EDWARD GOTTSCHALL, VICE PRESIDENT, INFORMATION AND MARKETING SERVICES JOHN L. PETERSON, VICE PRESIDENT, SALES AND MARKETING Correspondence, memos, documents, reports, ma- JOHN PRENTKI, VICE PRESIDENT, FINANCE AND GENERAL MANAGER EDWARD BENGUIAT, VICE PRESIDENT terial customarily set in typewriter faces will soon BOB FARBER. SENIOR VICE PRESIDENT U.S. SINGLE COPIES 5I.50 be set in such faces as Helvetica, Times, Futura, ELSEWHERE. SINGLE COPIES $2.50 TO QUALIFY FOR FREE SUBSCRIPTION COMPLETE AND RETURN THE SUBSCRIPTION FORM IN THIS ISSUE TO ITC OR WRITE TO Goudy, ITC Souvenir, ITC Bookman, ITC Franklin THE ITC EXECUTIVE OFFICE, 2 HANIMARSKJOLD PLAZA, NEW YORK, N.V. 10017 Gothic, or ITC Century. WHY? Several ongoing trends are coming together They are: 1) the new capabilities of daisy wheel and mat- In this Issue: Editorial rix impact printers, laser electrographic, ink jet and other non-impact printers that five office automa- Anew look"in business communication as the tion equipment from the 100 year old limitations of typewriter heads for retirement. Pages 2 and 3 typewriter designed typefaces; 2) an increasing Thoughts awareness in the office of graphic arts typefaces; 3) a need for improved cost and communication Pithy words about books and reading by some effectiveness. visiting sages. Pages 2 and 3 Playing Cards • They're notjust for playing, but for scholarly analysis, fortunetelling, invitations, calling cards, legal tender, advertising, collecting... and more. Thoughts Page 4 Jovica Verjovie His 3-H approach to calligraphy calls fora syn- chronization of the head, the hand and the heart. Page 10 Simplicissimus Steven Heller continues his survey of satiric journals of the past with his story of Simplicis- simus, an acerbic, witty and influential German weekly. Page 14 Puzzle Find some familiar faces in a crowd of characters. You can work this puzzle vertically, horizontally, diagonally and even backwards. Page 18 The World of Vali Myers An eccentric body, with an eccentric body of work, leaves us wondering: Is this a case of life imitating art? Page 20 Bramhall Strikes Again With rapier wit and facile pen, this caricaturist goes straight to the essence of his subjects in his 1982 literary calendar Page 24 What's New from ITC? ITC Galliarcr is a contemporary adaptation, by designer Matthew Carter, of a beautiful old 16th century typeface. It is full-bodied, authoritative, elegant and highly legible in all its weights and sizes: Roman, Bold, Black and Ultra, as well as the corresponding italics. Page 28 Creative Alphabets Computer graphics may be the wave ofthe future, but that doesn't deter a dynamite designer from Connecticut. . . a class of irrepressible design students in Edinburgh. . . or a Californian com- mitted to the continuity of the rubber stamp. Page 34 The Jukebox All about the music machine with the funny name and the gorgeous chassis. Cover and color feature section designed by our guest designer, "WHERE THE Lou Dorfsman. Page 37 PRESS IS FREE Something from Everybody Our readers demonstrate eleven ways to AND EVERY MAN express "desire." Page 45 ABLE TO READ, This issue of Ugric was mailed to 165,000 readers: 130,000 ,ktiOLLEASAFE: in the United States and Canada, and 35,000 abroad. It will be read by approximately 500,000 people. TABLE OF CONTENTS AND EDITORIAL SET IN ITC BARCELONA'!" MASTHEAD SET IN ITC NEWTEXT' (REDUCED) ILLUSTRATIONS BY WALLY NEIBART ITC QUORU 3

WHERE TYPEFACES FIT IN design program in which typography plays a key "office of the future" which is already being called role, the typefaces selected for the corporate type the "office of today." We are truly witnessing the Typefaces (as opposed to typewriter faces) often styles and advertising programs can also be used in dawn of a new era in communications... the office is make possible the accommodation of almost twice correspondence, memoranda, internal documents entering the world of typographic communications. as much copy in a given space. The resultant and reports. savings in paper, printing, plates, filing space and A TYPOGRAPHIC EVOLUTION distribution costs can be considerable. TYPEFACES AND OFFICES While one cannot put a ruler on these trends and COMMUNICATION EFFECTIVENESS Many major manufacturers of office printers are truly measure their effects, it would appear their planning to introduce typefaces on their printers in first impact will be for manufacturers to introduce Furthermore, in addition to saving money, type- the near future. One, Xerox Corporation, recently typefaces which will produce work that was not faces attract readership, improve readability and became an ITC Subscriber and is now licensed to typeset before. At first, the limited range of type offer alternate ways to add emphasis—with italics, offer ITC typefaces on some of its electronic printers. families, of typefaces within a family and of type changes in point sizes, use of bold faces, and choices In Xerox's words, "The ITC agreement. . . marks a sizes, and often the lower than graphic arts resolu- of contrasting typefaces, etc. These typographic major commitment by Xerox to ensure typographic tion of most of the new printers, is likely to slow the design options are in addition to the limited choices excellence for all our electronic printing products." development of this typographic communication of only underscoring or capitalizing available on revolution. But as the level of output quality typewriters. THE OFFICE OF TODAY increases and costs of equipment decrease, typog- FOR CORPORATE DESIGN This is a mcijor breakthrough into the office auto- raphy, with all its communications advantages, will mation market. Typographic arts quality, not type- pervade the office as it now does in advertising, For companies with a carefully developed corporate writer quality, is what the future portends for the publishing and commercial printing.

"IF LANGUAGE IS INCORRECT, 4*, 3I1 THEN WHAT IS aril rn; Par \ linie SAID IS NOT TIMM '\* (VI II \ \\\\\\ MEANT. "THERE IS DANGER IF WHAT IS SAID IN READING BAD IS NOT MEANT, "AS GOAN) BOOKS, BUT THEN WHAT ALMONT ALSO GREATER OUGHT TO DE KILL A MAN DANGER IN NOT DONE REMAINS AS KILL A READING GOOD UNDONE: GOOD BOOK: JOHN COURTNEY MURRAY

ITC SERIF GOTHIC® ITC TIFFANY FRIZ QUADRATA 4

praying cards they're not just for paying

For most of us, a deck of cards is a deck demonstrate: "One, two, three,four, ve, six, replete with phrases like, "it could be,' "sup- of cards — a commonplace, unremarkable seven, eight, nine, ten, jack, queen, ng !" posed," "it is believed,' etc., etc. So in the item. But when you stop to contemplate the And that's just one instance of how thor- same spirit, we offer this brief synopsis of idea of playing cards, it becomes something oughly cards have permeated our culture. historical data: Playing cards may have been of a phenomenon of our civilization. Rich, For most of us, also, playing "cards" invented in China, about 1120 A.D.,for poor... old, young ...wizard/yokel— every- translates into a game— Bridge, Canasta, the amusement of a reigning potentate and body has some experience with cards in the Poker, Pinochle, Blackjack, Casino, Hearts, his concubines ... or thousands of years course of a lifetime. Even a little 3-yr-old Rummy (in an infinite variety of versions), earlier in India.... or in Egypt... or among we know, when asked if she could count to Solitaire, and so on. We've seen cards used Arabic tribes. ten, replied, "Of course!" and proceeded to for conjurin.g,fortuneteffing and parlor tricks. As for their introduction into Europe, But for some people, the name of the game is collecting. The series of cards spread out on the next few pages are from the -collection of Mr. Leonard Schneir of New York City. His col- lection is devoted to American cards of the 19th and 20th centuries. Other private col- lectors have their specialties But the histoiy, esthetics and cultural ramifications of playing cards have made them collectors' items for art museums, historical societies and major libraries throughout the world. There is much to learn about costumes, politics, social mores, religious attitudes and moral persuasions of an era by exam- ining their playing cards, as scholars and collectors have been doing. It would be unforgivable to launch into a discourse on playing cards without digging back into their origin. But nailing down facts turns into an exercise in futility and frustration. All the reference material is 1896—Transformation Deck, Hustling Joe

there is again a series of multiple choices. It is also (mown for certain that by the such, a They may have been brought back by the 14th century playing cards was Crusaders (inveterate gamblers) returning widespread activity throughout Europe, from the East... or by fortunetelling gypsies government and religious authorities were from India... by Moors crossing into Spain up in arms about it. Edicts and proclama- from Africa... or by all of the above. It is tions were issued condemning the practice. known for sure that cards were introduced to the New World by Spanish, sailors and soldiers in the course of their explorations and conquests.

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1918—End of W.W.I 6

•

In France, at the close of the century, engravers and printers throughout Europe. the provost of Paris decreed that working fess cyfasciriating . The earliest Chinese packs people could not play at tennis, bowls, dice, In17th century England, the traffic in play- were long and narrow, with markings like ing cards was so heavy, cards or nine-pins on working days. In a ban was placed the money of the period. Early decks from Bologna, Italy, St. Bernardino delivered on imports from the continent to protect India were round, with as many ser- home industry. It was a as ten suits, mons labeling cards the invention of the devil. money-maker for each one representing one of the incarna- the government, too, when Parliament tions of the Hindu god, Nevertheless, the fun and games con- levied a tax on Vishnu. In Europe, tinued. By the 15th century, card-making each. pack. sold- a quaint cards designed exclusively for the pleasure was a well developed craft, employing custom. that persists to this day. of royalty were sumptuous affairs - each painters, etchers, woodblock. cutters, . The changing designs and esthetics of card hand painted and often illuminated playing cards through the centuries is end- with gold or silver. But when they were adapted for the mass market, designs were used as suits — acorns, bells, cups, spears, printed by the sheet, from woodffocks, and etc. — the suits we use today derive directly colors were applied with stencils. from the 15th century French. "pips" as they The imagery on cards related to the are called: Coeurs (Hearts) symbolized the games people played. Early on, the games Church; Carreaux (Diamonds) represented derived from chess and the cards had war- the arrowheads of vassals; Trefles (Clubs) inspired motifs. Later, they reflected the for the peasants of the domain, and Piques society of the medieval courts, with Kings, (Spades) stood for the Knight's lance. Queens, Vassals and Jesters. It was in the 17th century in France that Although a variety of symbols have been the elaborate Tarot cards were first intro-

GLN. P. G. T. iiKAUE :ARM

1863—Confederate General Series duced, with numbers, suits and a code of em- history, mythology, poetry, music, even blems for fortuneteffing as well as gaming. morality lessons were printed on cards for Church and government protests not- study and contemp lation. withstanding, playing cards was big busi- Another curiosity (which ended in the ness. Observing the lure of "chance" and 19th century) was the proliferation of cards the delights implicit in the cards themselves, with blank. backs. The empty space was astute business people and clergymen often put to use as a calling card, invita- turned the demon cards into socially tion, pass slip, credit note or memo pad. The acceptable devices. They devised teaching most unusual use on record goes back. to the games with. cards. Spelling, geography, time of the French occupation of Canada. When the commanding general ran out of gold to pay his troops, he marked the backs of playing cards with, an assigned mone- tary value, and they were used as legal tender. For the most part, though, backs of cards have been heavily designed or imprinted with strong color to prevent them from be- ing either accidentally or deliberately "marked." With the variety of peripheral uses for playing cards already established, it required no great stretch of the imagination to see their potential as an advertising medium. Mr. Schneir's collection includes a number of advertising cards, as well as other cate- gories and themes. Some are memorabilia from Worlds Fairs and Expositions. Others celebrate heroes of history, sports and the entertainment world. There are patriotic decks with symbols of Americana and military heroes for picture cards. Perhaps his most unique acquisitions are his "trans- formation" cards in which the pips (suit

9

Elaborately Designed Ace 1863—Confederate Generals

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CONSOLIDATED C OM• PA N Y. OARD

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A complete and authoritative work A History of Playing Cards by Catherine Perry Hargrave is available in a durable paperback edition from Dover Publications, Inc., 180 Varick Street, New York, NY 10014.

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markings) are integrated into a doodle or illustration. He even owns a number of transparent cards which must be held up to the light to see the image. For obvious reasons, they are not included here. Mr. Schneir is a serious and dedicated .co [rector of American playirui cards and gambling memorabilia. He is extremely USNAYING CARD CO well informed and he wishes it to be known CINCINNATLUS.A. that he welcomes requests for estimates, NEW YORK. 1,0N10 appraisals and historic information. Also, PAR 1‘.; readers interested in buying, selling or trad- F. C.,e.o< 7,-.Y1. U 2819 tV ing those items may write to him at 184 Sixth Avenue, New York, NY. 10013. 1897—Transformation Deck Shirley Temple (Face Card)

THIS ARTICLE WAS SET IN ITC ZAPF CHANCERY., ITC MACHINE BOLD..AND ITC FRANKLIN GOTHIC. 10

JOVICA VELJOVIC: CALLIGRAPHY FROM THE HEAD, THE HAND AND THE HEART

From the series of postcards "Sentimentalnosti" — text by Dusan Radovic 11

Father Catich, Pen & ink

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With a name like Jovica Veljovie student in the entire school to which ripples off the tongue like a choose that area of concentration. phrase of poetry, how could you not It created some problems regard- have a predisposition for words? ing a curriculum, which turned out The very sight of such a name, with to be a blessing. its rhythmic repetition of letter Since there were no prescribed forms, might easily spark a love for courses of study for such a major, lettering and calligraphy. Perhaps Professor Fileki wisely encouraged those are romantic notions.Veljovie him to develop his own program— himself is quite specific about the to explore media and materials in experiences that led him to choose whatever direction he felt drawn. lettering as his life's work. Veljovie also gives credit to Profes- He was first seduced by an en- sor Boiidar Dimerkovie, a drawing counter with Hermann Zapf's book, and painting teacher, who helped About Alphabets. It was the first him understand how scale, space lettering book he had ever laid eyes and other elements of painting on, and it unveiled for him the apply to lettering and calligraphy beauty of letter forms in calligraphy as well. and typography. He was further en- In the course of his independent couraged by his professor, Stjepan study, Veljovie found that, in spite Fileki, who taught a lettering course of the availability of fine steel pens at the Academy of Applied Arts in and a multitude of up-to-the-minute Belgrade. As early as his second writing tools, he preferred a wooden year in the Academy, Veljovie knew lettering implement above all. He for sure that lettering and callig- liked the warmth of wood — the raphy would be his choice of major. responsiveness — better than the This early decision was all the more rigid, cold, sharp metal tools. He singular because he was the only found that though wood was resil- ient, it was firm enough to permit the finest hairsbreadth edge.He also discovered the joy of using color in his work, and how to dilute ink with quantities of water to create variations in tone.This variety of tone, texture and incidental trans- parencies give life to his letter forms and to an entire page. "Calligraphy for me;' writes Vel- jovie,"is a serious play of heart.The sharpness, softness or other quality of letters depends upon the mean- ing of the text and the mood I am in. Concentration and peace are essen- tial to my work:' Though his work rings with authority, Jovica Veljovie is refresh- ingly humble; he hands out bou- quets to all his mentors.Aside from his teachers at the Academy and Hermann Zapf, he is unabashedly devoted to Mr. Henri Friedlaender of Israel for the influence he has had on his career.Veljovie describes their relationship, and how it came to be: In December 1976, while still a student at the Academy, he created a hand-lettered greeting card and sent it to a few addresses on the A.TVP.I list. Mr.Friedlaender, one of the recipients, responded with a note of thanks, a few words of commendation and a few words of criticism.Veljovie, elated over the critique, has continued to corres- pond with Friedlaender and eagerly awaits his letters with their com- ments and suggestions, which he feels have tremendously influ- enced his work. "FY is the one most responsible that my head, hand and heart are in accord- ance (sic) when I hold my pen:' Although Veljovie is a fairly recent graduate of the Academy (1979), he already has a number of professional credits to his name. He participated and received a special award in the October Salon in Bel- grade, 1979. He was represented at the Victoria and Albert Museum in "A Survey of Western Calligraphy from the Roman Period to 1950:' And in the same year participated in "International Calligraphy lbday" at the ITC Center in New York. His work has also been published in a collection called Modern Scribes and Lettering Artists,published by Studio Vista, London. It isn't a long reach from cal- ligraphy to type design.After his recent visit to the ITC Center and meetings with Aaron Burns and designers Benguiat, DiSpigna and Lubalin,Veljovie was noticeably impressed with the demands and problems of type design, as well as the esthetic latitude. We would not be at all surprised if, in the near future, we receive an alphabet de- signed by him. Off the top of our heads, we already have a name for it —Veljovie Ultra Fine. — Marion Muller 13

QUAISA INIQUE C 0 ItIPARATITAI EST! HI QUI

TERENTILIS MINUS HARE T UT tiE Pk.'NL. AU QUID zo /wits AIMANT DIVITI 0 RUMS loifvf4 4IL ailio vcisAti.

Quotation from the work of Pubhus lerentius Afer Wooden stick& ink on handmade paper Quotation from Thomas Moore "Irish Melodies': Wooden stick & ink THIS ARTICLE WAS SET IN ITC ZAPF BOOK. 14

n the surface, the late tured members of German society.At this warnings issued it from government func- nineteenth century time there existed a clear need for revolu- tionaries. The journal was a departure was a profitable time tionary rallying points. On April 4, 1896, from classical newspaper design—with its for the German mon- an exciting, radical new journal, Simplicis- prolific use of flat color and its (later) archy. Bismarck uni- simus,premiered to fill the satiric vacuum. rejection of German gothic fora modern fied the principalities sans-serif typeface.Its distinctive Jugendstil under one banner, so, No other German weekly was as win drawing approach was based on the French by the close of the as acerbic or as ultimately influential as art nouveaq stylings; however, in the hands century the wings of this newly born "Illustrierte Wochen- of Der Simpl's staffers this decorative man- the Imperial eagle schrift: No other collective of German car- ner was afforded firm bite—an effective spanned the entire land, with its claws toonists was as energetic or clever in its re- tool for political expression through comic 0firmly implanted in resource producing sponse to the corruption of the ruling class; exaggeration. Early elements of expres- colonies. Contentment and joy were felt or as virtuoso in combining new graphic sionism were apparent in the distinctive throughout the court, with august princes, styles and polemical content into the car- woodcuts produced for the magazine—no barons and dukes aglow in pomp—stylishly toon format. Der Simpl, as it was colloqui- doubt inspiring members of the various dressed in greatcoats with spiked, tassled ally known, was the spiritual progeny of Secessionist movements, Die Brucke, and and plumed helmets, strutting their stuff "La Caricature;' and became the progenitor other expressionist schools. Der Simpl was like cocks of the walk The Kaiser's power of modern caricature and cartoon. definitely rooted in the tradition of Ger- was rooted in the burgeoning technologi- man graphic art to the extent that its pen- cal apparatus which provided both mone- Simplicissimus was orginally conceived chant for the physical grotesquery and tary and military rewards; by an emerging as a literary magazine by its publisher, classical symbolism was once practiced by bourgoisie loyal to the throne; and, by a Albert Langen, whose formidable impri- Durer and other Northern printmakers pride of sons, which insured a continuous, matur was affixed to reissues of Dosto- centuries earlier. healthy blood line. However;"Deutschland" yevsky, and original works by Thomas was not entirely "uber alles:' Dissension Mann, Frank Wedekind, Felix 'fficholsky Simplicissimus hoped to appeal to both was brewing within the haunts of the • and others. After seeing copies of "Gil Blas" the intellectuals and the masses through "avant-garde:" In Munich and Berlin cafes the famed Steinlen illustrated Parisian pictures—seemingly a common denomina- and ateliers the inhabitants were avidly satiric journal, Langen was convinced that tor of communication for both groups. watching the progress and discussing the a similar tabloid employing the best Inevitably, it was a middle-class journal, merits of the European democracies.Artists graphic humorists and commentators in more apt to be found in bohemian flats with social and political affinities, fearing Germany could generate the kind of con- and on the coffee tables of the bourgeoisie the speed with which capitalism and the troversy and public opinion needed to light than in the houses of the revered "yolk" industrial revolution were supplanting lib- the fires of protest. Like its French model— Although it became a thorn in the side of eral ideals, nurtured the seeds of spiritual which was named after a popular, fictional the monarchy (enough so that it was rebellion,a principle that later grew into anti-hero—Der Simpl was named for banned at times and often censored) Der violent conflict. Simplicus Simplissimus, (authored by Simpl never really achieved the revolu- Grimmelhausen in the seventeenth cen- tionary aims to which it aspired. Young painters, printmakers and writ- tury), a wily court jester who traveled ers, and cartoonists rebelling against the throughout Germany from castle to castle Langen established an editorial board entrenched, conservative academicians, during the Thirty Years War. He savagely comprised of artists and writers, including were the vanguard of the "counter-culture:' lampooned the very audiences for whom his own authors (Mann, Tucholsky, Her- They realized the need for both artistic he performed, and at the same time at- mann Hesse, Rainer Maria Rilke and Lud- experimentation and political reform and tempted to teach them moral lessons by wig Thoma). This group decided policy, themes and often contributed texts in the form of captions, titles or essays. The artists were obviously the mainstay of the opera- tion and quickly developed distinct visual personalities and specialties of interest. Among the most notable, Rudolf Wilke was a master sketcher and produced de- lightful drawings highlighting the comic side of peasant life. He created the vaga- bond-philosopher who represented a sim- pler alter-ego to the scabrous persona of the magazine. Like Heinrich Zille (famed children's book illustrator, who also con- tributed drawings to Der Simpl), Wilke acutely targeted social types—with pen and brush he could hilariously pinpoint the affectations of the upper crust as well as the sincerity of the provincial naifs.Thomas Theodor Heine, who later became co- editor was the philosophical "captain" of were zealous in their dissent. However, focusing on the futility of the intermin- the Simplicissimus team. He created the their means for expression—small literary, able war. Langen hoped to maintain a simi- two trademarks—the devil and the angry satiric and graphic pamphlets, including lar persona, one that he viewed as devilish bulldog with severed chain (representing manifestos for a new society—were amateur- (in fact one of Simplicissimus' two graphic the strife and resistance of the "people"). ish. Although existing humor magazines, mascots was a bright-red devil). On the Heine's drawings were stark and realistic. such as Fliegende Blatter and Kladderad- cover of the first issue, dedicated "To Our Content—usually harshly critical of a spe- atsch, afforded cartoonists popular outlets Enemies;' Josef Engl depicted Stupidity, cific German foible—was of most impor- for a modicum of their frustrations, they Misanthropy, Pride and Hypocrisy, and in- tance, and so his drawings were often very were basically apolitical (even Bismarck, side other artists clearly defined the mem- stiff (in comparison to the others), taking who was the most caricatured world leader bers of society under attack Der Simpl a backseat to his passions. Bruno Paul was of his day, was rarely ridiculed in the Ger- became a forum for anti-clerical, anti- the most strident of the group. He success- man press) and restricted by the artistic Junker, anti-monarchist, and anti-deca- fully married an art nouveau line and a conventions. Sanctioned by the Kaiser, they dence sentiments, while preferring pro- unique expressionist style in woodcuts were designed to provide diversion and worker, pro-"volk,' (the peasant class seen that were at the same time visually appeal- entertainment rather than anti-establish- as the backbone of the nation,displaced by ing, conceptually provocative and power- ment vitriol.These publications veered industrialization) and pro-socialist pas- fully biting. His presence on the magazine toward the status quo, merely giving comic sions. It was forcefully argumentative and (before leaving to become a professor, side glances to those already self-carica- acutely critical, and cast to the wind those architect and interior designer of renown) GAC( PIUS UND ARJP,DNE r.,z NACt DE ri c,LE10-INAmic,Er4 GE rrALDE VON TIZI AN

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Caricature of Isadora Duncan by Olaf Gulbransson

lv\ ISA N I P I t aLRiC' Cover illustration for first issue of Simplicissimus by Josepf Engi

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By Steven Heller SI p iCIS 1 16

added immeasurably to the first ten years—the most significant and "heroic" period.Olaf Gulbransson, who remained with Der Simpl during the best and worst of times, was the single most influential modern caricaturist in Europe. His mag- nificent facial and anatomical distortions, employed in the service of politics, took to task the famous and infamous clerics, mili- tary leaders and politicians alike,as well as notable personalities in the arts. He mas- tered the economical line and was able to both flatter or render a subject defense- less with a simple pen stroke. He was certainly an influence on Al Hirshfeld, Edward Auerbach-Levy, and Alfred Freuh in the United States and countless other stylistic imitators in France, Spain, Italy and Scandinavia. With Eduard Thony, Der Simpl's most virtuoso realist, publisher Langen achieved his wish to have those being satirized read the paper. Although a versatile cartoonist, Thony primarily cre- ated drawings of the military,Junker and cadet classes.Although his graphic report- age of the Prusssian-type was often savage, he had the ability to infuse a quiet respect and affection for these people in his work, which appealed to many within that very class. In fact, they bought Der Simpl to see their "friends" (rather than themselves) being ridiculed. Karl Arnold was a later,yet significant, addition to Simplicissimus. He brought with him a deco styling. His draw- ings were harsh social critiques in the manner of George Grosz (while not as in- sightful),that focused on the cabarets, fash- ions and political trends—among them the Der Simpl had many reverent followers. terms of human relations or relations with comes tired. Simplicissimus was not im- struggle between the newly organized Among them was Leo Tolstoi who de- the state. Artistically, it opened the doors mune to this transition. During the six Nazis and the Communist parties of the scribed the heyday of the journal this way: for the morel .dical twentieth century year period before World War I, Der Simpl twenties. Other artists who came and went "For the historian of the 22nd and 23rd avant garde (including Dada and Expres- became more a humor magazine (harping represented diverse artistic and thematic centuries who describes the 19th century, sionism). Unfortunately, by the end of 1903, on trivialities of society) than an outlet for approaches. Some well known practition- Simplicissimus will be the most valuable three of its ardent supporters were gone; insightful satire. During the war, it became ers such as Jules Pascin and Ernst Barlach, source enabling him to become familiar Wilke died—in only his early thirties, Paul a propaganda machine for the govern- moved on to the finer arts.Others who had not only with the state of our present-day took a professorship which could not be ment, with Thony using his drafting tal- already or were about to achieve promi- society, but allow them to test the credibility compromised by cartooning (although he ents to romanticize the common soldief, nence in the graphic arts included Alfred of all other sources: For us, today, the maga- did work under a pseudonym for a short and Heine creating scathing anti-Allied Kubin, Heinrich Kley, Kathe Kollwitz (who zine offers an invaluable critical look at time), and the publisher, Langen, also cartoons. With the end of the war came maintained, albeit briefly, Der Simpl's hu- most of the periods during which it pub- passed away. By 1909 champagne advertise- revolution and a democratic government manist tradition),George Grosz,and Jeanne lished, especially its first decade: It tri- ments were being accepted and it was was established in Weimar. This period en- Mammen. Other cartoonists, ultimately of umphed for the first ten years with no apparent that the magazine no longer compassed major cultural changes in less consequence, continued a relation- equal; a time when the magazine's leaders expressed the rage of the downtrodden. which the Bauhaus developed and the ship with the magazine for decades, in- were jailed and issues were banned.It stood Malik Verlag (the socialist press run by cluding Erich Schilling, Wilhelm Schulz, steadfast in championing the yolk spirit— As is true with all vigorous movements, Grosz and montagist John Heartfeld) en- and Karl Rossing. the weak against the mighty—whether in the new becomes old and the fresh be- joyed literary and political influence. How- 17

ever, the dream of many Simplicissimus as did Thony. Heine, the only Jewish mem- artists turned into a nightmare as the rav- ber of the group, was forced to flee, and ages of war, the hardships of an Allies- later died, a broken man, in Norway. An off- orchestrated peace, and the violent faction- shoot of the magazine, entitled Simplicus, alism fostered by the right and left wings was founded by German exiles in Prague affected all segments of society. Der Simpl and published anti-Nazi drawings for a was in a position,once again,to employ the year. Throughout the war, Simplicissimus cartoon to make sense out of chaos—high- continued to publish on a weekly sched- light the absurdity and the danger of these ule and finally folded in 1944. During the postwar conflicts. early fifties it was revived for a short time, without any of its early vigor. Der Simpl tried to maintain a critical presence, yet failed because it could not Simplicissimus remains a monument pinpoint the right targets in a meaningful in the history of satiric art—if only for its way. During the early twenties the artists triumphant years. Like the other major attacked the emerging fascism in Italy, journals of graphic commentary, Puck, comparing Mussolini to Hitler and his Punch and L'Assiette au Beurre,discussed brown shirts. They attacked the church previously in this series, it is an important and its hunger for power amidst political signpost in the history of a bygone age and turmoil. But as the Weimarian experiment an important piece of the cartoon legacy. was crumbling, Simplicissimus' artists and editors failed to do anything more than mirror the crisis; they simply preferred to focus their humor on more accessible social phenomena. When the Nazis came to power, Hitler and Goebbels realized the nostalgic attach- ment Germans had for the Simplicissimus name. The journal was maintained as an arm of the propaganda ministry and em- ployed some of the better talents whose one-time radical—even socialist—pursuits were supplanted by a survivalist, or per- haps more charitably, a nationalist atti- tude. Unfortunately, Gulbransson remained, Simplicissimus Mascot by Thomas Theodor Heine 18

D RAILLAGZAPFCHANCERYKOOBFPAZ ANSWERS ON PAGE 79. L UZAPFDINGBATSCAKEECAFRAELCS N TTSOUVMOLSUAVAKORINNANTGARB D O A M A I T A L I A N S H O T I Y T N R N A T L E

AMIOBRI Z SSERIO , = FARORYDCDAR L SUNOAECAFTAFSR QKRNESIINN S RGZLORTCMUROUQA TZSROHDOA TONATTAHNAMNEERSM t1CHUTNIS YMEPBISGSNOLECRABA TJVOOTE UN JEU DE MOTS, PAR MABFOSOACHELTENHAMD f EWEGVAR JULIET TRAVISON INTBLERTIFFANYHEANDLINTNEANO ILLUSTRATIONS DE E BLODEPIONEERASROECINEFIDRRM LIONEL KALISH H HNOENLUBOLCNEACOEGERNRRREEA APAKILINESBOUGHANMZORIACP/STN Regle du jeu: ceipuzzle est compose de tous IATANSRTSTLPITCWARINRENRGEND les noms de caracteres ITC qui figurent dans RRAKORONAESTIERSLCASEIKOENIE la liste ci-contre. ainsi que des initiales ITC. L GRBSAGRCORWSTYMIEHAIRLSTEFS Its sont disposes verticalement horizontale- INDCOUOROEDINSALMCONDEILNGPN ment, diagonalement et meme inverse- N IASTOAMINESFMOLLKABELNFARAE ment. Ne barrez aucune lettre —vous pour- E LUYABKHONDAFGATIEIJTYGOVIZD riez en avoir besoin pour un autre nom de E AQAMORMUTAASUOCAABHPROGAZRN caractere! Voici un exemple, pour vous MBZRINASAAEZNERTHCASBUTSOZRO mettre sur la bonne vole. (Les prefixes LSC, G UINORMURNBGROUCHISOITHVELNC L+C, qui sont entre parentheses. n'apparais- E LROAPCASLONHEADLINERNIBNYLC sent pas dans le puzzle.) H M F G B E N G•U I A T G O T H I C C E N E C O B E V S CUPTIGHTMRETIRWEPYTNACIREMAL EIN WORTSUCHRATSEL VON JULIET TRAVISON ILLUSTRATION EN VON A WORD SEARCH BY LIONEL KALISH JULIET TRAVISON ILLUSTRATIONS BY So lOst man dieses Rase': Die Namen aller LIONEL KALISH ITC-Schriften in der daneben abgedruckten Liste sowie auch die Initialen von ITC sind How to play: The names of all the ITC type- in dem Wortsuchratsel enthalten. Man rnuss faces appearing on the adjacent list and sie finden and sodann die Schriftennamen ITC's initials appear in this word search umkreisen. Diese Namen kOrinen vertikal. puzzle. Find and circle each typeface name. horizontal, diagonal oder sogar rOckwarts The names appear vertically horizontally, auftauchen. Man darf keine Buchstaben diagonally and even backwards. Don't ausstreichen, kbnnten sie loch fOr einen cross letters out—they may be needed for anderen Schriftnamen gebraucht werden. another typeface name! Here is a sample Das Beispiel zeigt, wie man die LOsung des to start you off. (Prefixes LSC, L&C in paren- Rasels beginnt. (Die Vorsilben LSC. L&C in theses do not appear in the puzzle.) Klammern treten im Ratsel nicht auf.)

19

ITC

AKI LINES FACES AMERICAN TYPEWRITER AVANT GARDE GOTHIC (41 BAUHAUS BARCELONA BENGUIAT BENGUIAT GOTHIC BERNASE ROMAN BOLT BOLD (LSC) BOOK BOOKMAN BUSORAMA (LSC) CASLON CASLON HEADLINE CENTURY CHELTENHAM CLEARFACE DIDI ERAS FAT FACE FENICE FIRENZE FRANKLIN GOTHIC FRIZ QUADRATA GALLIARD GARAMOND WITH CONDENSED GORILLA GRIZZLY GROUCH HONDA FACES ISBELL ITALIA ITC KABEL KORINNA (LSC) CONDENSED LUBALIN GRAPH MACHINE (LSC) MANHATTAN MILANO NEON

NEWTEXT A ITC BERNASE ROMAN B ITC CENTURY ULTRA CONDENSED NOVARESE C ITC AMERICAN TYPEWRITER BOLD CONDENSED D ITC BENGUIAT BOLD CONDENSED PIONEER E ITC AVANT GARDE GOTHIC BOLD CONDENSED F ITC FENICE BOLD QUORUM FACES FACES ITC QUORUM BOLD H ITALIA BOLD RONDA ITC FRANKLIN GOTHIC MEDIUM SERIF GOTHIC SOUVENIR (L&C) STYMIE HAIRLINE TIFFANY TOM'S ROMAN UPTIGHT ZAPF BOOK ZAPF CHANCERY ZAPF DINGBATS 4 ZAPF INTERNATIONAL H ILLUSTRATIONS BY LIONEL KALISH THIS ARTICLE WAS SET IN ITC QUORUM® AND ITC BENGUIATO CONDENSED 20

THE WORLD OF VALI MYERS

bat are we to make of Vali Myers? People who have come upon her unexpectedly have screamed at the sight. Even those of us enured to funky, flaky, punk-rock freaks with pink-green hair and phos- phorescent fingernails, have stopped dead in our tracks, confronted with this apparition. Her burnt-orange hair blazes like a flame about her head. Her kohl-blackened eyes are punctuated by little star tattoos on her cheekbones. And a spidery em- broidery pattern is also tattooed about her lips and chin. She dresses in flowing capes, with amulets and pendants dripping like vestigial or- gans from her neck, ears and limbs.

ali Myers first came to our attention through a book of her work, Vali Myers Drawings, 1949-79, published by Open House of London, in 1980. Even a casual browse through the pages puts you on notice that a singular mentality is at work here.The Foreword,written by Ed van der Elsker, and the Intro- duction by George Plimpton—two men who know her well—bear that out.The details of her life are as sur- real as her art.

She was born in 1930, in Australia, and raised there in quite a normal household with two sisters and a brother Her mother was a violinist; her father, a marine officer. She attended a bushschool in the outback where,we are told, she neglected her lessons, but filled her exercise book with doodles, drawings, and a profusion of private visions. She studied dance, and at 19 was actually the lead dancer with the Melbourne Modern Ballet Company. But her restless spirit propelled her to Paris in 1949, and it was there that her life was turned around. 21 661 In the first year of her Paris experience, she started to drawShe has not stopped drawing since. Hallelujah! Out of this bloody Australian Kangaroo ugly duckling grew a beautiful swan... wrote Ed van der Elsken, the Dutch photogra- pher who was her dear friend, con- fidant and author of a book about her, Love on the Left Bank. He de- scribes her as a "sweet, funny, crazy, poetic weirdo:' Being young, with a voracious appetite for life—and in the relaxed climate of the Bohemian society of St. Germain-des-Pres-

doe .% Vali experienced everything it had to el* $i st%; offer: heavy talk, heavy art, heavy •• It - lit -011 V love, heavy drugs. She hit bottom in 4 4 4'1 an adventure with opium and in a le,441■644 confrontation with the French au- 104 4" 1.*41; thorities who expelled her and invali- 4 4 ., • dated her passport.The white knight * okk • . , . , .. _r _ , who came to her rescue was Rudi Rappold, a handsome young Aus- . i trian architect, who helped her get her passport and her life in order. She gave up her Bohemian wander- ings, married him and settled down in a small, spare cabin in an inacces- sible valley near Positano in south- ern Italy. In this hideaway, she and Rudi live, along with another young man who wandered in one day from out of the mountains, plus a menag- erie of goats, pigs, dogs, cats, birds, sheep, mice. Creatures great and small take refuge in her house and heart. When an animal friend dies, she may bury it temporarily, but event- ually retrieves the bones, because she finds them beautiful and wants her"friends"close by. She has tat- tooed the names of her departed dogs on her feet to immortalize them.There 22

store of design motifs ...her energy ...do not stop with the drawing. Each picture is accompanied by an ex- planatory legend in a calligraphy that matches her images in inten- sity and quirkiness.

t's probably best to leave it to the Ipsychologists and graphologists to explain the well- springs of her visions. But one thing must be clear to everyone. Her work is a far cry from the detached, imper- sonal, untouched-by-human-hands- or-the-human-condition look of much contemporary art. She reaches down deep into herself ...she is vio- is no need to continue to recite the lently expressive...she is insepara- eccentric details of her life. Her draw- ble from her work. It remains for us ings—a few of which we have re- to wonder whether she has created printed here, speak volumes. her art in her own image...or con- jured up her image out of her art. W at are we to M.M. "Vali Myers" was published by Open House. The book make of her art?It goes without say- costs $40 in US currency, and is available from Open ing that Vali Myers' work is not every- House, Box 3635, Charlottesville, VA 22903. All orders from outside the USA should go to: Open House, one's idea of high art. But there can 43 St. Ann's Crescent, London SW18 2NG. UK rate is be no question about its integrity. £15.00 plus £1.50 for posting within the UK,plus £5.00 It is the work of an original, unfet- for surface post overseas. tered mind,with an indomitable spir- it, indefatigable physical prowess • and consummate skill. She works with a fine English pen nib set into a goosefeather.

he uses Chinese ink,water color Sand gold leaf on fine hand made paper.And she pores over these drawings through all hours of the night, holed up in her tiny cabin like a nocturnal animal in its burrow. She draws with infinite care and pa- tience, and has been known to spend hours on a half-inch section. She may stay with a single drawing for two years or more, so it is understand- able why she is reluctant to part with her work. Her drawings are mostly about people—the people of myths, poems, legends and folklore; people she observes casually and people she admires deeply. On close inspection, it's clear enough,the draw- ings are really all about Vali Myers, the flaming red-haired, sensual, half- woman, half-animal creature she's become. Her perseveration to rep- licate herself... her inexhaustible THE WORLD OF VALI MYERS

400:014.0.111:10 • • • 0.41,1'.

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THIS ARTICLE WAS SET IN ITC FENICE. 24 25

We have an unfortunate tendency to think of portraiture as high art-serious, sober and with a long respectable history- while caricature, which makes us smile a lot, is passed off as a lightweight art form. Not fair, friends. The art of caricature also has a long, respectable history. The word itself, adopted from the French,refers to the art of pictorial ridicule of any subject, and it derives from the Italian earicatura l which pertains to portraiture in particular.Its history goes back to the ancients. In an anecdote reported by Pliny, two Greek sculptors, by way of poking fun at a very ugly poet, Hipponax by name, exhibited his portrait for public ridicule. In retaliation, he wrote a satirical poem that was so devastating, the two sculptors hanged themselves in despair. (So said Pliny.) Well we do not expect that any of the characters depicted in William Bramhall's Literary Calendar for 1982 will take the rope to him or themselves. For one thing, most of them are dead. For another, he has already survived one literary calendar, a musical engagement calendar and has lived to carry on with this latest contribution. Lewis Carroll

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Emily Bronte H. G. Wells Marcel Proust William Carlos Williams Nathaniel Hawthorne

This is William Bramhall's third appearance in the pages of U&lc, but he hasn't worn out his welcome. His work is so eminently satisfying, we feel others in the graphic world should enjoy sharing it with us. For one thing caricature as Bramhall practices it, goes far beyond portrait painting. He doesn't just capture a likeness, he relays the essence of the character and his work. He also gets it down in a few persuasive, economical strokes, which is exactly what good caricature is all about. Considering his keen perceptions and nimble pen, it is even more amazing to know that Bramhall has no formal art background. For his art education, he shopped around, choosing teachers who suited his purpose. In the past he studied with Sigmund Abiles. Currently, he is taking a course with Dick Odin at California State University, Long Beach. Bramhall also admires (and we assume has been influenced by) Alan Cober, Brad Holland and Albrecht Diirer, to name a few. At the moment, Mr. Bramhall is involved in a new project, a book called Bad Examples, to be published by Potter. "It is the history of the American misfit; he explained, "and I am doing my own research, writing and illustration:' He emphasized the word "illustration" explaining that the work would be less like caricature and more like the etch- ings of Diirer. We have such peat respect for BramhaH's incisive wit and potentially wicked pen,we hope to see Bad Examples from the outside, looking in. MARION MULLER

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ITC Galliard Black ITC Galliard Ultra 30

ITC Galliard"Roman, Bold, Black and Ultra roman weights with corres- ITC GALLIARD ponding italics are new typefaces from ITC. There are also small caps for the Roman and Bold roman faces. Only licensed ITC Subscribers are authorized to reproduce, manufacture, and offer for sale these and other ITC typefaces shown in this issue. This license mark is your guarantee of authenticity:

LICENSED

These new typefaces will be available to the public on or after January15, 1982, depending on each manufacturer's release schedule.

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ITC Galliard Italic ITC Galliard Bold Italic 31

This beautiful contemporary adapta- MATTHEW CARTER/DESIGNER tion of Robert Granjon's dynamic 16th century design was drawn by Matthew Carter. Carter used a com- puter to add weights to complete the 20th century family. ITC Galliard was introduced by Mergenthaler Linotype Company in 1978 and now, through a licensing agreement, ITC is making this typeface family avail- able to all ITC Subscribers. Designer Carter has captured the vitality of the original design in a con- temporary large lowercase x-height, with neat-letterfit redrawing. The roman as well as the italic letters are distinctive and beautiful and very readable in text settings.

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ITC Galliard Black Italic ITC Galliard Ultra Italic 32 ITC GALLIARa

ROMAN BOLD BLACK ULTRA

Excellence in typography is the result of nothing more than Excellence in typography is the result of nothing more th Excellence in typography is the result of nothing more Excellence in typography is the result of nothing mo an attitude. Its appeal comes from the understanding used i an an attitude. Its appeal comes from the understanding u than an attitude. Its appeal comes from the understand re than an attitude. Its appeal comes from the under n its planning; the designer must care. In contemporary adv sed in its planning; the designer must care. In contempor ing used in its planning; the designer must care. In con standing used in its planning; the designer must care ertising the perfect integration of design elements often de ary advertising the perfect integration of design elements temporary advertising the perfect integration of desig In contemporary advertising the perfect integratio mands unorthodox typography. It may require the use of co often demands unorthodox typography. It may require t n elements often demands unorthodox typography. It n of design elements often demands unorthodox ty mpact spacing, minus leading, unusual sizes and weights; w he use of compact spacing, minus leading, unusual sizes a may require the use of compact spacing, minus leading pography. It may require the use of compact spacing hatever is needed to improve appearance and impact. Statin nd weights; whatever is needed to improve appearance an unusual sizes and weights; whatever is needed to impr minus leading, unusual sizes and weights; whatever g specific principles or guides on the subject of typography d impact. Stating specific principles or guides on the subje ove appearawe and impact. Stating specific principles is needed to improve appearance and impact. Statin 6 POINT

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Excellence in typography is the result of Excellence in typography is the result of Excellence in typography is the resul Excellence in typography is the res nothing more than an attitude. Its appeal nothing more than an attitude. Its appe t of nothing more than an attitude. I ult of nothing more than an attitud comes from the understanding used in its al comes from the understanding used i ts appeal comes from the understand e. Its appeal comes from the under planning; the designer must care. In cont n its planning; the designer must care. I ing used in its planning; the designe standing used in its planning; the d emporary advertising the perfect integrat n contemporary advertising the perfect r must care. In contemporary adverti esigner must care. In contemporar ion of design elements often demands un integration of design elements often de sing the perfect integration of design y advertising the perfect integratio orthodox typography. It may require the mands unorthodox typography. It may elements often demands unorthodo n of design elements often demand use of compact spacing, minus leading, u require the use of compact spacing, min x typography. It may require the use s unorthodox typography. It may r 9 POINT

Excellence in typography is the result Excellence in typography is the resul Excellence in typography is the re Excellence in typography is the of nothing more than an attitude. Its a t of nothing more than an attitude. I suit of nothing more than an attit result of nothing more than an ppeal comes from the understanding ts appeal comes from the understand ude. Its appeal comes from the u attitude. Its appeal comes from used in its planning; the designer mus ing used in its planning; the designer nderstanding used in its plannin the understanding used in its pl t care. In contemporary advertising th must care. In contemporary advertis g; the designer must care. In cont anning; the designer must care e perfect integration of design elemen ing the perfect integration of design emporary advertising the perfect In contemporary advertising th ts often demands unorthodox typogra elements often demands unorthodo integration of design elements of e perfect integration of design e phy. It may require the use of compact x typography. It may require the use ten demands unorthodox typogr lements often demands unorth 10 POINT

Excellence in typography is the res Excellence in typography is the r Excellence in typography is the Excellence in typography is t ult of nothing more than an attitu esult of nothing more than an att result of nothing more than an he result of nothing more tha de. Its appeal comes from the and itude. Its appeal comes from the attitude. Its appeal comes fro n an attitude. Its appeal come erstanding used in its planning; th understanding used in its planni m the understanding used in it s from the understanding use e designer must care. In contempo ng; the designer must care. In co s planning; the designer must d in its planning; the designe rary advertising the perfect integra ntemporary advertising the perfe care. In contemporary advertis r must care. In contemporar tion of design elements often dem ct integration of design elements ing the perfect integration of d y advertising the perfect inte ands unorthodox typography. It often demands unorthodox typo esign elements often demands gration of design elements of 11 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 a e result of nothing more than a the result of nothing more t s the result of nothing mor ttitude. Its appeal comes from t n attitude. Its appeal comes fro han an attitude. Its appeal c e than an attitude. Its appe he understanding used in its pla m the understanding used in it omes from the understandi at comes from the underst nning; the designer must care. I s planning; the designer must c ng used in its planning; the anding used in its plannin n contemporary advertising the are. In contemporary advertisi designer must care. In conte g; the designer must care perfect integration of design ele ng the perfect integration of d mporary advertising the per In contemporary advertisi ments often demands unorthod esign elements often demands fect integration of design el ng the perfect integration of 12 POINT

Excellence in typography is Excellence in typography i Excellence in typograph Excellence in typograp the result of nothing more s the result of nothing mo y is the result of nothing hy is the result of nothi than an attitude. Its appeal re than an attitude. Its app more than an attitude. I ng more than an attitu comes from the understand eal comes from the unders ts appeal comes from the de. Its appeal comes fr ing used in its planning; the tanding used in its planni understanding used in it om the understanding designer must care. In conte ng; the designer must care s planning; the designer used in its planning; th mporary advertising the per In contemporary advertisi must care. In contempo e designer must care. I fect integration of design el ng the perfect integration rary advertising the perf n contemporary advert 14 POINT

33

ITALIC BOLD ITALIC BLACK ITALIC ULTRA ITALIC Excellence in typography is the result ofnothing more than an atti Excellence in typography is the result of nothing more than an Excellence in typography is the result ofnotbing more than Excellence in typography is the result ofnothing more t tude. Its appeal comes from the understanding used in its plannin attitude. Its appeal comes from the understanding used in its an attitude. Its appeal comes from the understanding used ban an attitude. Its appeal comes from the understand g; the designer must care. In contemporary advertising the perfect planning; the designer must care. In contemporary advertisi in its planning; the designer must care. In contemporary ing used in its planning; the designer must care. In conte integration of design elements often demands unorthodox typogra ng the perfect integration of design elements often demands u advertising the perfect integration of design elements ofte mporary advertising the perfect integration ofdesign e ploy. It may require the use ofcompact spacing, minus leading, un northodox typography. It may require the use of compact spaci n demands unorthodox typography. It may require the use lements often demands unorthodox typography. It may usual sizes and weights; whatever 6 needed to improve appearanc ng, minus leading, unusual sizes and weights; whatever is ne of compact spacing, minus leading, unusual sizes and wei require the use ofcompact spacing, minus leading, tutu e and impact. Stating specific principles orguides on the subject of eded to improve appearance and impact. Stating specific prin plots; whatever is needed to improve appearance andimpact sual sizes and weights; whatever is needed to improve a typography is difficult because the principle applying to one job ma ciples orguides on the subject of typography is difficult because Stating specific principles orguides on the subject oftypogr ppearance and impact. Stating specific principles or g 6 POINT

Excellence in typography is the result ofnothing more tha Excellence in typography is the result of nothing more Excellence in typography is the result ofnothing m Excellence in typography is the result of notbin n an attitude. Its appeal comes from the understanding than an attitude. Its appeal comes from the understand ore than an attitude. Its appeal comes from the un g more than an attitude. Its appeal comes from used in its planning; the designer must care. In contemp ing used in its planning; the designer must care. In c derstanding used in its planning; the designer mu the understanding used in its planning; the des orary advertising the perfect integration of design eleme ontemporary advertising the perfect integration of d st care. In contemporary advertising the perfect in ignermust care. In contemporary advertising the nts often demands unorthodox typography. It may requi esign elements often demands unorthodox typograph tegration of design elements often demands unort perfect integration of design elements often de re the use ofcompact spacing, minus leading, unusual siz y. It may require the use of compact spacing, minus It bodox typography. It may require the use of compa mands unorthodox typography. It may require es and weights; whatever is needed to improve appearanc ading, unusual sizes and weights; whatever is neede ct spacing, minus leading, unusual sizes and weig the use of compact spacing, minus leading, unu e and impact. Stating specific principles orguides on the d to improve appearance and impact. Stating specific hts; whatever is needed to improve appearance an sual sizes and weights; whatever is needed to im 7 POINT

Excellence in typography it the result ofnothing mo Excellence in typography is the result of nothing Excellence in typography is the result ofnoth Excellence in typography is the result ofn re than an attitude. Its appeal comes from the code more than an attitude. Its appeal comes from th ing more than an attitude. Its appeal comes otbing more than an attitude. Its appeal rstanding used in its planning; the designer must c e understanding used in its planning; the desig from the understanding used in its plannin comes from the understanding used in its are. In contemporary advertising the perfect integr ner must care. In contemporary advertising the g; the designer must care. In contemporary planning; the designer must care. In eont ation ofdesign elements often demands unorthodox perfect integration of design elements often dem advertising the perfect integration ofdesign emporary advertising the perfect integra typography. It may require the use of compact spaci ands unorthodox typography. It may require th elements often dem ands unorthodox typogr tion of design elements often dem ands un ng, minus leading, unusual sizes and weights; wha e use of compact spacing, minus leading, unusu apby. It may require the use of compact spaci orthodox typography. It may require the Sever is needed to improve appearance and impact al sizes and weights; whatever is needed to impr ng, minus leading, unusual sizes and weigh use of compact spacing, minus leading, u 8 POINT

Excellence in typography is the result of nothi Excellence in typography is the result of not Excellence in typography is the result of Excellence in typography is the result ng more than an attitude. Its appeal comes fr hing more than an attitude. Its appeal co nothing more than an attitude. Its app ofnotbing more than an attitude. Its om the understanding used in its planning; t mes from the understanding used in its pl cal comes from the understanding used appeal comes from the understandin he designer must care. In contemporary adver anning; the designer must care. In conte in its planning; the designer must care g used in its planning; the designer tising thepetftct integration ofdesign elements mporary advertising the perfect integratio In contemporary advertising the petfrc must care. In contemporary advertis often demands unorthodox typography. It m n of design elements often demands unorth t integration of design elements often d ing the perfect integration of design e ay require the use of compact spacing, minus 1 odox typography. It may require the use of emands unorthodox typography. It ma lements often demands unorthodox t ending, unusual sizes and weights; whatever compact spacing, minus leading, unusual y require the use of compact spacing, mi ypography. It may require the useirfe 9 POINT

Excellence in typography is the result of not Excellence in typography is the result of Excellence in typography is the resu Excellence in typography is the re hing more than an attitude. Its appeal co nothing more than an attitude. Its app It of nothing more than an attitude suit of nothing more than an atti mes from the understanding used in its pl cal comes from the understanding used Its appeal comes from the understa tude. Its appeal comes from the u anning; the designer must care. In conte in its planning; the designer must care nding used in its planning; the desi nderstanding used in its plannin mporary advertising the perfect integratio In contemporary advertising the perfrc gner must care. In contemporary a g; the designer must care. In coot n of design elements often demands unort t integration of design elements often d dvertising the perfect integration o emporary advertising the perfect hodox typography. It may require the use o emands unorthodox typography. It ma f design elements often demands un integration of design elements oft f compact spacing, minus leading, unusu y require the use of compact spacing, mi orthodox typography. It may requi en demands unorthodox typogra 10 POINT

Excellence in typography is the result o Excellence in typography is the resul Excellence in typography is the re Excellence in typography is the fnothing more than an attitude. Its a t of nothing more than an attitude suit ofnothing more than an atti result of nothing more than an ppeal comes from the understanding u Its appeal comes from the understa tude. Its appeal comes from the u attitude. Its appeal comes fro sed in its planning; the designer must nding used in its planning; the desi nderstanding used in its plannin m the understanding used in it care. In contemporary advertising the gner must care. In contemporary a g; the designer must care. In con s planning; the designer must c perfect integration of design elements dvertising the perfect integration of temporary advertising the perfec are. In contemporary advertis often demands unorthodox typograph design elements often demands uno t integration of design elements o ing the perfect integration ofd y. It may require the use of compact sp rthodox typography. It may require ften demands unorthodox typogr esign elements often demands u 11 POINT

Excellence in typography is the resul Excellence in typography is the re Excellence in typography is th Excellence in typography is t t of nothing more than an attitude. suit of nothing more than an atti e result ofnothing more than an he result of nothing more tb Its appeal comes from the understa tude. Its appeal comes from the u attitude. Its appeal comes fro an an attitude. Its appeal co nding used in its planning; the desi nderstanding used in its planni m the understanding used in i mes from the understanding gner must care. In contemporary a ng; the designer must care. In co ts planning; the designer mus used in its planning; the des dvertising the perfect integration of ntemporary advertising the perfe t care. In contemporary adver igner must care. In contemp design elements often demands uno ct integration of design elements tising the perfect integration of orary advertising the perfre rthodox typography. It may require often demands unorthodox typog design elements often demand t integration of design eleme 12 POINT

Excellence in typography is the Excellence in typography is t Excellence in typography i Excellence in typograpb result of nothing more than a he result of nothing more th s the result of nothing mor y is the result of nothing n attitude. Its appeal comes fr an an attitude. Its appeal co e than an attitude. Its app more than an attitude. I om the understanding used in mes from the understandin cal comes from the underst ts appeal comes from the its planning; the designer mus g used in its planning; the d anding used in its planni understanding used in i t care. In contemporary adver esigner must care. In conte ng; the designer must care ts planning; the design tiring the perfect integration o mporary advertising the per In contemporary advertis r must care. In contemp f deign elements often deman feet integration of design de ing the perfect integration orary advertising the pe 14 POINT 34

If each letter of this alpha- bet seems to stand alone, without the least inclina- tion to integrate into a single theme, it is with good reason. Each character was created by a different design student. All were second-year students at the School of Design (Visual Communications Area) of the Edinburgh ITNREIATED College of Art, Edinburgh, UNCIALS Scotland. The object of the proj- ect, according to instruc- tor Stuart Barrie, was "to introduce students to draw- ing for offset lithography on paper plates" and also "to use the students' ability to draw and illustrate to balance their lack of knowledge of traditional letterforms." It is obvious that what- ever they may have lacked in regard to traditional forms, they were not at all lacking in independence, daring and self-esteem, as these uninhibited and imaginative drawings demonstrate.

f

1 35

In her 27 years, diminutive Lynne Cherry ofMarlbor- ough, Connecticut, lugs generated more creative energy and completed more projects, with ease and flair, than most of us do in a lifetime of trying hard. A graduate of the Tyler School ofArt in Philadel- phia, her most beloved ac- tivity is illustrating. She has eight, going on nine, books to her credit. She has lost count of the num- ber of illustrations she has produced for newspaper and magazine editorials and retail advertising pieces. She also designs calendars, notecards and letter stationery. And in her spare time, remodels old houses. As anyone can see from her alphabet, animals are a most beguiling sub- ject for her. She not only obviously loves them, she invests them with human emotions anti capabilities. They read...they smile... they scowl... they embrace ...they preen... they show off... they contemplate... they not only endear them- selves to us, they help us like our own selves better.

THIS ARTICLE WAS SET IN ITC TIFFANY 36

It's not exactly a compli- ment to label someone a "rubber stamp" man. It implies a certain lack of originality, and rele- gates said person to the demeaning position of "yes man" to someone else's concepts. Well, nothing could impressive inventory of be further from the truth designs. It includes ani- when you're speaking mals, sports figures, real of rubber-stamp-man and imaginary people, Robert Bloomberg. parts of the body, sym- Bloomberg, a Califor- bols of heaven and earth, nian, has been endlessly travel themes, etc., etc. BEAS TS® fascinated by rubber With a supply of Bloom- stamps. On the hunch berg stamps, anyone that he is not unique in can be a do-it-yourself his pleasure in these old- designer of invitations, fashioned printing gad- stationery, greeting gets, he set up a business cards, wrapping paper in rubber stamps with an and such. It was inevitable that, sooner or later, he would come up with an alphabet, and here it is-26 zany animalfigures he calls Atphabeasts.® They can be had individually, in a complete set of 26 stamps, or printed in poster form. Further information about Bloomberg and his All Night Media en- terprise may be obtained from Box 22Z Forest Knolls, California 94933.

THIS ARTICLE WAS SET IN ITC TIFFANY a z a a a O O a a a a I TC LUBALI N GR APH " DEMI ITCLU BALIN G RAPH " BOLD ITC LU BALIN GRAPH ' X- LIG HT We recentlycameacrossagemof for yourpleasure.But,thatbeinganunlikelyprojectU&lc,wehaveoptedinsteadto singular musicmachine,thejuke-box.Asforphotographs—there's and tenpages,butcrammedfull present asampling,basedondataandphotographsfromtheoriginalbook,alongwithour only onewordtodescribethem:gorgeous!Wewouldhavelikedreprinttheentirebook more) therearestillanumberofboxesinexistence,anduse,whichjealouslywatched own recollectionsandobservationsaboutthegoldenyearsofjukebox,1937through technology inmodernrecordplayers,onewonderswhythesefanaticspersistwiththeirrelics. itself. Ownersandcollectorshavebeenknowntoinvestcountlesshourstravelgreat over bytheirowners.Anyonewhoownsorcollectsjukeboxeshadbetterknowathingtwo work? No,itwasnottheworstofthosetimeswetreasure,butbest ofthem.Werecallthe through thatperiodinhistoryhavepotentmemoriesemblazonedourminds.Sometimes,I For some,it'ssentimentalattachment;forothers,thehistoricvalue.Someenjoychallenge distances toscroungefororscavengereplacementparts.Giventheincredibleadvanced about theworkingsofthem,becausejukeboxrepairmenareasextinctspecies left of findingpartsandreconstructingoldmachines.Ormaybeit'snostalgiaforanerathathas way, andgolddustcoveredthesidewalk,whilechildrenunemployed menstoodbyand privileged" whodidnotenduretheera.Andwhatarethosememorieswesavor?Visionsof suspect,we embracethosememorieswithaprideofownershipthatexcludesall"under- coincided withtheeraofGreatDepressionandWorldWarII.Thoseuswholived hope, visionsofbettertimestocome.0Wehadmovietheatres builtlikepalaces:huge Farm familieschokingonthedusttheyraisedascriss-crossed thefarmbeltlookingfor furniture, clothesandpersonalbelongingspiledoutonthestreet for non-paymentofrent? broken-hearted, bankruptmenleapingfromtallbuildingsindespair? Cityfamilies,with marble stairways...plushcarpetingthatsuckedyoudownankle-deep ...sublimeceilingsofmid- entertainment world.0Whatrealitydeniedus,the worldprovided—escape, 1949. tales, oropulentmusicalswithhundredsofchorusgirls,unstintingcostumes ofsatin,sequins,and gaped inwonder.111-Thefilmswesawthosepalatialhallswereirrepressible, rags-to-riches daubing goldleafonthemarqueeofanewmovietheatre;flakes stuffflutteredeverywhich night bluewithfloatingcloudeffectsandstarsthattwinkled.Ioncewatched acrewofdecorators ing fullwelltheyweren't.Wesang"TheBestThingsinLifeAreFree:'though wehadour gems, andstaggeringstage tor, wecouldthin apart. Ourgatheringplacewasthejukebox.Ithadabounti- danced tononsensesongs,"ThreeLittleFishiesinanIttyBittyPoo..:' while theworldwasfalling ful supplyoftunes;itlitupourspiritsandthepricewasright. wound upVicePresident andCreativeDirectorofAcvei ..1 typefaces, ofcourse,areallITC's. Great Depression.HeservedinWorld WarII,andalmostall of his man, whoknowst to 1945]asadrummer withanumberofforgettableband s.) business. HestartedasanArtDirector forCBSiadioand_ he hastohiscredit severalunforgettablesummerstints [1936 ing andDesignfor all ofCBS,Inc.(Asforhismusicalex oertise, oublisher forfactualdataandthe glorious oox. Weareindebtedtothewriters, photogra 0 anindeliblemarkonourculture.0Asitturnsout,thegoldenyearsofjukebox 1.- This8-pagecolorsectionwasinspired bythebook,Juke- - Eass Althoughthejukeboxtodayisjustaboutextinct(nobodymanufacturesthemany- - orofessional careerhasbeentiedto theenterainment'if - lc ofnomorelikely hat erafirsthand.Felivedthrough the sets.-.400- , CV-Forourguestad Wesangupbeatsongs:"HappyDaysAreHereAgain:"know- - oerson thanLouDoris- 3, ' '' , <). I 7. .... P00 coolY MARION HULLER i - oictures. The )

t - o=ver tine_ cl :/ {is- of lovinglytoldfactsaboutthat Aspen) aswellaformermember oftheAIGA tithe sctedtotheN.Y.ArtDirectorsC numeroussele medal. Hehashad Museum, aswellin has collected13goldmedalsand ganizations for medals.Healsoserves.hasservedasthePresidentof N.Y. Art He isamemberoftheboard IDCA(InternationalDesignConferencein Directors Club.Heisamemberof theBoardofTrusteesCooperUnion. fa rm ing. Hehastaughtandlectured at sought afterlecturerwriterandjudge the sameyearwonprestigiousAmericanInstituteofGraphicArts gold Gebrcruchgraphic, CAMagazine,Idea,PenroseAnnual,Pagina, addition, hisworkhasbeenfeaturedinarticlesGraphis, Novum coveted Emmyawardforashowopening. many others. Visual Arts,Pratt,TheDesignSchools, TheArtCenterinLosAngeles the a book.It'smereonehundred an showsattheALGAinN.Y. Mr Dorfsman,itmustbe In puemployeee 7V Type igm Directors Club p nt medals fromotherArtDirectorsubsacross hcrve i g aran a not beennapping.FromtheNewYorkArtDirectorsClub,he one ABOUT LOUDORFSMAN...Lou repeatedly heapedhonorsuponhim,professionalor- named alumnusoftheyearWhilehisalmamaterhas for CBS, for outstandingachievement;in1963,theAugustusSt. dent Cooper Union. Gcrudens medal,CU'shighestaward;in1980,hewas Tokyo, s a and l il man showsofhisworkinJerusalemattheIsrael and noted, l NY. asfarback =t the AdvisoryBoard Munich andAmsterdam.Hewasfeaturedin Inc. Creative DirectorofAdvertisingandDesign A nativeNewYorkerhe is notoneto"only o cil 25 He wentontoreceive,in1956, b Cooper Union, g ee doubts."•' on awards ofdistinctivemeritaswell r:pr the subjectsofdesigncrndadvertis- Cl i n lub Hallo 1959 board.He of e e d the DesignSchools.Heisa is w i and recentlyin1978.In stand cmdwait" c:1 Dorfman isVicePresi- Parsons, TheSchoolof 1 f ;:ta=p received Fth ame is amemberofAGI, -We ecountry in 1978,and his BFAfrom cmd numer- cn i l crround In a t7tg: award

addi-

and one

L ITC UBALIN G UBALIN RAPH" RAPH" OBLI MEDIUM QUE 38

JUKEBOX: The Golden Age may be purchased from the publish- ers: Lancaster-Miller Publishers, 3165 Adeline Street, Berkeley, CA 94703. The price of the book is $12.95 plus $1 for postage and handling for the first book and 500 for each additional book ordered.

The jukebox was not just in- cidental to the Great Depression era, it was an integral part of it. Few young people had phono- graphs of their own.And if they did,they could barely afford to maintain large collections of re- cordings. As for radio, even in the mid-to-late '30s, not every house- hold was equipped with a receiver. But if you had a nickel,or five friends with a penny apiece,you could "hang our at the local gathering spot and enjoy the benefit of other patrons' selec- tions as well as your own. During Prohibition years,the speakeasy was a natural location for the jukebox,especially in the less deluxe establishments that could not afford an orchestra or band. After the repeal of Prohibition, jukeboxes were in even greater demand. Bars, saloons and beer halls—all legal gathering places now—multiplied.All such estab- lishments knew the value of a good jukebox for livening up the atmosphere and bringing in business. Like all other entertain- ment media of the period, the esthetics of the jukebox were designed to take us out of this world. Some of us noticed it only subliminally; some of us dismissed it as cornball. But the pyrotech- nics of jukebox design strike us with delight today, as we understand its relationship to its time and place. The uninhibited quaking color, the streamlined, self- confident, surging lines, the ebullient circles and swirls were all diversionary tactics to relieve the anguish of 1 those imminent war years. If the customers were not consciously aware of the jukebox design, the pro- tv.;:zr*IT.t. I prietors of eating and drink- ing establishments were! A good jukebox meant good business. Not only did the machine have to operate

flawlessly, it had to provide 1

the proper ambience to keep D1 patrons eating and drinking

as long as possible. 3DIN33 r4 Even when radios became a staple item in every home, the jukebox provided what radio couldn't. Radio had to satisfy a broad common denominator of listeners. It could not cater to idio- matic musical tastes — rhythm and blues for the black popula- tion ...hillbilly country music for the South ...cowboy songs for the West... sophisticated show tunes for the Eastern establish- ment. But jukeboxes could! The proprietor of a gathering spot could select records for his machine that reflected the tastes of his clientele. If jukeboxes satisfied the spe- cial-interest listeners, it had an even more salubrious effect on performers—especially blacks. The best of them appeared only in places like New York's Cotton Club in Harlem, and then they were seen and heard mostly by affluent whites. Generally, there was no opportunity for black performers to get broad public exposure. But with the jukebox, ethnic and regional music gained an audience. Big record sales followed, and scores of composers,vocalists, instru- mentalists and band leaders were catapulted into the lime- light. Without doubt, the juke- box enriched our musical tastes U F and heritage forever. During World War II, jukebox manufacturers had to re-think their production strategy. New mechanisms were out of the question. Neither were plastics and metal available for such low priority items asjukeboxes. So instead of producing complete new units, they manu- factured cabinets only, which could be fitted with mechanisms left over from the early '30s. Instead of brilliant plastics and decorative metal grilles, they re- sorted to glass and wood. Glass panels were deco- rated with painted pat- terns and frosted motifs. Mirrors and fluorescent tubes lit up the interiors. Lavish wood carving substituted for shiny metal embellishments. Everything available was poured into the design to maintain the festive ambience. 11 If the surface cosmetics of n the jukebox were somewhat z restrained during the war, -I 0 the fervor for its contents was > A undiminished.Through all 0 m the grim years,we danced to 0 a frenzied beat—Lindy, Shag, I Jitterbug, Boogie-Woogie- the sounds from the jukebox drowned out the news reports of battles, bombings and casualties. But not in its heyday... and not even now, at this late date, has anyone nailed down how the"jukebox"got its name. Until the early '30s,the machine was called the automatic phonograph. Some music buffs have come up with the explanation that the word derives from an old southern word of African origin —jook—meaning to dance. Someone else sug- gests that it is a corruption of the word jute, and that the name alludes to the southern jute field area where auto- matic phonographs first made a big hit in the '20s. Still others contend that the word has sexual connotations, since the automatic phono- graph was a fixture in every pleasure palace. Whatever the origin,the name jukebox endures, though the boxes themselves are an endan- gered species.

When World War II finally ended...when the lights went on again all over the world, it was a very different world we saw New technol- ogy in die-casting metal and molding plastics wrought a revolution in industrial design and new fantasies in jukeboxes. There was no limit to the exuberance and visual de- lights packed into the new machines. This beauty "The Bubbler," had a built-in bubble effect rising from both sides of the base and converging at the top. The side columns contained rotating fluorescent tubes which bathed the box and its surroundings in swirls of red, yellow blue and green. Every jukebox was a sound and light show in itself. Wonder of wonders— though we have referred to the jukebox as extinct, a famous New York City store has given us the lie. Hammacher Schlemmer, specialists in exotic and serendipitous gift ideas, resurrected a number of these Wurlitzer "Bubblers" and offered them for sale in their 1981 Christmas cata- log. The price, (in either 45 or 78 RPM model) complete i with 24 Big-Band-Type I Di records, a mere $7500. 113EI5 .u 44

This was the last juke- r) box designed by the eminent Paul Fuller for 0 z Wurlitzer. It was his swan song—a last, fantastic ef- fort which resulted in this box which was better to listen to and more fun to watch. There were tech- nological innovations: a lightweight, plastic tone a rm,a ceramic cartridge and a preamplifier—the first ever in jukebox de- sign. The reduced wear- and-tear on the records and the new technology greatly improved the sound. And the wide open "bomber-nose" win- dow—a carryover from warplane design—per- mitted an unobstructed view of the works. Ironi- cally, because of the success of a previous model,this last word in jukebox design never received the distribution one would have imag- ined. Model 1100 joins the extended family of j u keboxes... extinct, yes, but not nearly forgotten.

45

Something from Everybody for U&lc

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DICK 6404 BALLENTINE

DANIELS SHAWNEE-KS 66203

Search • • (pa ,abed it mai/box everyday comes over- looka.for Icor whelmed sorele Joy, caoi /adgdzine• • - )"St cor1fra Myself. • • Anonymous/USA

eeneD /Paolo 121 e chestnut and ,.. 44,tatart„,„,..:7 Blvd cuyeln.34ffsll_s, Anonymous/USA 0010. 14223 STUDENT AT WER‘ rry is Arline and Marvin Oberman OF A IRom,

In U&lc Vol. 8, No.1 this example 277 of typographic illustration was credited to Anonymous/USA. That 1 9 SI 79- 1 185 was because the illustration was 759 taken from a page of "Typography" $ 1,opo,oco. by Aaron Bums, which was published in 1960. The credit was an DOLLARS error. For the record it should be noted that the lettering was done by rilag• UST the Obermans of Yonkers/USA. Bank RACINE, VVISCONSIN 53402 .t.0h0_,4aALrAi (I kto.--jkaht& 40 7 S9 18521: 05308 275• 02??

THIS ARTICLE WAS SET IN ITC SOUVENIRS 46 Ir Something from Everybody for U&lc

CASE U BEEDE PitASE SEND To JEFF L 129 ShRDySIDE OR. YOUOIS-rawN ,OHI 0,445 1 2

to soft-working din e not quite as sharp rs gave microscopic The second basic di ittle sharpness and less these two soft-workit igh-definition, high-di- modern developm,i„ ;ave good grain, great mal image contrg,' -- X-on-snow contrast. Metol alone, that m really an ASA 400 accompanying develop( fled to tame the wild The most famous eJ ulsion, the experience formulation is Kodak irm my long-standing sists of ICO grams of s monosized emulsion 7.5 grams of Metol i in his ranch-style with nothing else. He spot.... 'harles River, in Shar- agent and the prese .14i in a ited Dick Delagi, hav- tives of somewhat-lo j'in riot on your riailing Flew add naT,. *Year\ Jo es 128 Voigt gall il-hep\s, Ohio ivoi

I'll get straight to the point: ON I wanna be on your mailing list.

0 r, PE! SEW) 'YOUR NEXT ISSUE OF To rm PAT NVOKI RN 4K3 ALLYN STRESS, HKRON , 0111 0 Li.3 Li

1,NE'Re Horteizq -R3k -Ft-FNE 5E14,1D A "ft.1 HEO746 OF 1191.--e. 1 cat SC014-4 ATQL-LJ 1:2CA4:5 Dear Sol, SocrI4 WI R, CT Orart This is a confession/ I admit it/ lam sleabh8 your mastz.Ine from the mai/ room It started so innocent/y, first I was reach/! over Froples" Shoulders,tliehr cods Asyrowi/78' coloieS of tiec Next I was 63 k/ny off other peopieS' desk and now out -the mail room- 67-0? ME BEFORE 'rs To ifurE1 5aue me from this sordid life, Makt me an honest M4/7 once aeam, send me Yo ur next issuE Must 50 now theiris someone . df the door. HOI✓ESTZ-y, Nickhli.0-kXSO)V 47 NEWSLETTER

Skills for Hire*

Noted Designers Judge Student Poster Competition ASPEN, Colo.—Four of the biggest names in the world of design — Saul Bass, Milton Glaser, Henry Wolf and Ivan Chermayeff.- acted as judges for The Design Schools poster competition at this year's Interna- tional Design Conference in Aspen. The con- ference is one of the most prestigious design events in the world, and this year's theme, "The Italian Idea," drew over 1,800 entries to the poster competition. From the 180 final- ists, 23 posters were selected for cash prizes and were featured in a special exhibit during the conference. They are now part of a travel- ing exhibit touring the nation. In addition to I I \ I \ being an all-round learning experience, the contest demonstrated how students at the six autonomous Design Schools could work Prize Winners (left to right): First, Jan Rommel, Colorado Institute of Art; Second, Kevin Mitchell, effectively toward a common goal. Art Institute of Fort Lauderdale; Third, Jennifer Eitemiller, Colorado Institute of Art. Philadelphia Grad Goes from Z to V PHILADELPHIA — When Denise Deery, Commercial Art graduate of the Art Institute of Philadelphia, began her search for em- ployment, she started with the "Z" listings for local ad agencies. It didn't take her long to find work. One of the "V's"—VanSant Dug- dale — hired her almost immediately. She's an art assistant for the agency, doing layout, design and mechanicals for clients such as Altair Airlines, Philadelphia National Bank, Slazenger sports equipment, and radio sta- tions WIP and WMMR. "My Art Institute education was valuable because it was so practical," says Miss Deery, who did on-the-job training with a well-known Philadelphia agency while in school. When her training was completed, they offered her a full-time position, but she waited and is now happy with her choice of VanSant Dugdale. "There's real opportunity for growth here," she says.

Logo design for a calling card graphically represents the initials of the artist, Kyle Paula, of the • Art Institute of Fort Lauderdale. Prestigious judges of The Design Schools Aspen poster contest (left to right): Saul Bass, Milton Glaser, Henry Wolf and Ivan Chermayeff

Graduates of The Design Schools have had 24 months of intensive, specialized preparation in a variety of skills, including: advertising design, typography, photography, illustration, Art Institute of Atlanta drawing, perspective, lettering, airbrush, package design, multimedia, animation, mechan- icals, pre-separation and many others. They are prepared to work productively for you. Art Institute of Fort Lauderdale Art Institute of Houston Art Institute of Philadelphia Edward A. Hamilton, Design Director 18 Art Institute of Pittsburgh The Design Schools Colorado Institute of Art Pan Am Building, Suite 256, East Mezzanine 200 Park Avenue, New York, N.Y. 10166

❑ I would like to know more about The Design Schools graduates. Please send The New Technology, Servant or Master? me your free booklet "Design Graduates at Work." ❑ To the readers of U&/c: Is technology complicating your professional life? If so, I don't have an opening at present, but please keep me advised. ❑ you'll want to attend the big conference, "The Designer and the Technology I'd like to know more about "The Designer and the Technology Explosion." Explosion," on May 12-14, 1982, at the Rochester Institute of Technology. Spon- sored by The Design Schools and R.I.T., the program will shed light on everything from digitized typesetting to computer graphics techniques. The steering com- Name Position mittee for the program consists of Ivan Chermayeff, Muriel Cooper, Lou Dorfsman, Company Phone ( ) Colin Forbes, Tom Lunde, John Massey, Eileen Hedy Schultz, Robert S. Smith, Jim Ver Hague and Edward A. Hamilton. For advance information or reservations, Address City State Zip mail in the coupon at right. Enrollment is limited to 350.

Skills of special interest to me MA Varityper The Informationists. 49

Type is our middle name.

When you design a job, your name is on the line. So you want the typestyle that's exactly right. That's why we've designed more than 600 type- styles for you to choose from. Including most ITC faces. And to keep up with the latest design trends, we're always adding new typestyles. For example, the sample here has been set in ITC Galliard Bold, one of the faces in the newest ITC family in our library.

ITC Gaillard Bold abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 &$0.£% (:;,.!?./#*) [4 t1234567890]

Then, to make sure that your type looks just right, we've built precise design control features like variable wordspacing, letterspacing and kerning into all of our phototypesetters. To make your work easier, you can use our new Image Previewer option. It shows your type on-screen in its actual size and position. So you can see how your layout will look even before the type is set. And because you often need a special typeface in a hurry, we offer Type Express service in the U.S. and Canada. Just call our hot line. We'll have a type disc on its way to you within eight business hours. Return the coupon today to AM Varityper, Dept. Q-1, 11 Mount Pleasant Avenue, East Hanover, NJ 07936. Or call toll-free (800) 526-0709. In Alaska, Hawaii and New Jersey, call (201) 884-2662. In Canada: AM Varityper, 165 Milner Avenue, Scarborough, Ontario M1S 4G7 Canada. Or call us at (416) 298-2700. In Europe: Manager of Typography, AM Varityper Regional Headquarters, 64/66 Stuart St., Luton, Bedfordshire LU1 2SW United Kingdom. In Europe, call 44-582-416837.

Comp/Edit, AM and Varityper are registered trademarks and The Informationists, "type" and Type Express are trademarks of AM International, Inc. ©1981 AM International, Inc.

0-1 ❑ Send me a copy of the "Type one-liner." ❑ Send me information on your phototypesetting systems.

Name

Company

Address

City/State Zip

Phone ( 50

Only the following Subscriber Companies are licensed to manufacture and sell ITC typefaces:

AM International, Inc. Fonts Mecanorma Varityper Division Hardy/Williams (Design) Ltd. 78610 LePerray-en-Yvelines 11 Mt. Pleasant Avenue 73 Newman St. Paris, France East Hanover. N.J. 07936 London WI England 483.90.90 (201) 887-8000 01-636-0474 Dry Transfer Letters Phototypesetters and Photo- Font Manufacturer lettering Systems Mergenthaler Linotype Fundicion Tipogrifica Company Alphatype Corporation Neufville, S.A. 201 Old Country Road 7711 N. Merrimac Avenue Puigmarti, 22 Melville, N.Y. 11747 Niles. Illinois 60648 Barcelona-12 (516) 673-4197 (312) 965-8800 Spain Linoterm, V-I-P Linotron, Omni- AlphaSette and AlphaComp Poster Types tech CRTronic, Phototypesetting Phototypesetting Systems Equipment and Systems CRS Digital Phototypesetter Geographies, Inc. 1100 Seymour Street The Monotype Corporation Ltd. Artype, Inc. Vancouver, B.C. Salfords, RedhilL Surrey 3530 Work Drive Canada V6B 3N3 England P.O. Box 7151 (604) 685-8236 Redhill 6 5959 Fort Myers, Fla. 33901 Dry Transfer Letters Visual Communications (813) 332-1174 Equipment 800-237-4474 Graphic Products COrporation Dry Transfer Letters 3601 Edison Place Officine Simoncini s.p.a. Cut Out Letters Rolling Meadows, Ill. 60008 Casella Postale 776 (312) 392-1476 40100 Bologna Autologic, Inc. Formatt cut-out acetate letters Italy 1050 Rancho Conejo Blvd. and graphic art aids (051) 744246 Newbury Park. Calif. 91320 Hot Metal Composing Matrices (213) 889-7400 Harris Corporation and Phototypesetting Systems APS-4/APS-5 CRT Phototype- Harris Composition Systems setter Composition and Division Optronics International, Inc. Typesetting Systems P.O. Box 2080 7 Stuart Road Melbourne, Florida 32901 Chelmsford, Mass. 01824 Autologic SA (305) 259-2900 (617) 256-4511 1032 Bussigny Pies Lausanne Fbtotronic 4000, Da 1200, 600 Phototypesetting Systems Switzerland CRT 7400, 7450 021/89.29.71 PhotoVision Of California, Inc. Bobst Graphic Products and Dr. -Ing Rudolf Hell GmbH P.O. Box 552 Phototypesetting Systems Grenzstrasse 1-5 Culver City Calif. 90230 D2300 Kiel 14 (213) 870-4828 H. Berthold AG Germany Toll Free: 800-421-4106 Thltowkanalstrasse 1-4 (0431) 2001-1 Spectra Setter 1200, Visual D-1000 Berlin 46 Digiset Phototypesetting Display Setter, and 2" Film Germany Equipments and Systems, Fonts (030) 7795-1 Digiset-Fonts Diatronic, ADS 3000, Diatext, Pressure Graphics, Inc. Diatype. Staromatic, Information International 1725 Armitage Court Staromat, Starograph 5933 Slauson Avenue Addison, Illinois 60101 Culver City Calif. 90230 (312) 620-6900 Berthold of North America (213) 390-8611 Dry Transfer Letters 610 Winters Avenue Phototypesetting Systems Paramus, N.J. 07652 Prestype, Inc. (201) 262-8700 International Graphic 194 Veterans Blvd. Diatronic, ADS, Diatype, Marketing Carlstadt, N.J. 07072 Staromat, Diasetter, Rue des Bosquets 12 (201) 933-6011 Repromatic Ch-1800 Vevey Dry Transfer Letters P.O. Box 33 Dr. Boger Photosatz GmbH Switzerland Ryobi Limited Lou Dorfsman and Panaprint Web at work 2 Wedel in Holstein Fbnt Manufacturer 762 Mesakt-Cho Rissener Strasse 94 Fucilu-Shi Germany International type Fonts ApS Hiroshima-Ken 726 on the color section of this issue (04103) 6021-25 c/o Cooper & Beatty. Limited Japan Manufacturers of Copytronic 401 Wellington Street West Thxt/Display Phototypesetters Phototext Composing Machines, Toronto M5V 1E8 Film Fonts, and Copytype (416) 364-7272 D. Stempel AG Photolettering Systems Type Discs for Harris 600, Hedderichstrasse 106-114 and Fonts 1200, 4000, TXT Typesetters Frankfurt am Main-70 Germany Cello-Tak Mfg., Inc. Itek Composition (0611) 6068-1 35 Alabama Avenue Systems Division Type Division Island Park. L.I., N.Y. 11558 34 Cellu Drive (516) 431-7733 Nashua, N.H. 03060 Tactype, Inc. Dry Transfer Letters (603) 889-1400 12 West 26th Street Phototypesetting Systems and New York, N.Y. 10001 Chartpak Equipment, Film Strips, (212) 924-1800 One River Road Standard and Segmented Discs. Dry Transfer Letters Leeds, Mass. 01053 and Digitized Fonts (413) 584-5446 lbchnographics/Film Fonts Dry Transfer Letters Laboratoire Michot P.O. Box 552 23, Route De Seurre Culver City Calif. 90230 Compugraphic Corporation 21200 Beaune (213) 870-4828 80 Industrial Way France lbll Free: 800-421-4106 Wilmington, Mass. 01887 80-22 23 73 Film Fonts, Studio Film Kits, (617) 944-6555 Manufacturer of fonts for and Alphabet Designers EditWriters, CompuWriters, Singer/GSI/Wang lbxt Editing Systems, Typesetters 44 and 48 Visi-Graphics Accessories and Supplies 8119 Central Avenue Letraset International Ltd. Washington, D.C. 20027 Esselte Dymo N.V. St. Georges House (301) 366-1144 P.O. Box 85 195/203 Waterloo Road Dry Transfer Letters Industrie Park-Noord 30 London SE1 84J B-2700 Sint-Niklaas England Visual Graphics Corporation Belgium (01) 930-8161 5701 N.W. 94th Avenue 031/76.69.80 (10 1.) Dry "Thansfer Letters Tamarac, Florida 33321 Lou Dorfsman you know. You should know Visual Systems Division (305) 722-3000 Letraset USA Inc. Manufacturer of Photo lypositor Film Fonts International, Inc. 40 Eisenhower Drive and Original lypositor Champion Panaprint® Web, the paper 330 Phillips Ave. Paramus, N.J. 07652 Film Fonts South Hackensack, N.J. 07606 (201) 845-6100 that the color section is printed on. (201) 440-9366 Dry Transfer Letters Xerox Corporation Manufacturers of fonts for: Digital Graphics Center Alphatype/Alphasette Linographics 701 South Aviation Blvd. See for yourself how Dorfsman and 2" Display Film Fonts 770 N. Main Street El Segundo, Calif 90278 Harris Fototronic 1200. TXT, Orange, California 92668 Mail Stop-A3-39 4000 (714) 639-0511 (213) 536-5926 Panaprint® make beautiful music for Display Typesetters, Electronic Printing Systems Filmotype 2" Film Fonts. your eyes about the jukebox. 7711 N. Merrimac Avenue Zipatone, Inc. Niles, Illinois 60648 150 Fend Lane (312) 965-8800 Hillside. Illinois 60162 You and Panaprint® can make beautiful Film Fonts (312) 449-5500 music together too. Just remember Dry Transfer Letters to specify it! Available in 50, 55, 60, 70, and 80 lb. basis weights. For further information, write or call: Champ INTERNATIONAL TYPEFACE CORPORATION Champion International Corporation 2 HAMMARSKJOLD PLAZA NEW YORK, NEW YORK 10017 a (212) 371-0699 TELEX: 125788 0 Paper Division ICT3 One Champion Plaza UCENSED Stamford, Connecticut 06921

51 "I found a way to beat the high cost of stats:' "We create on-air graphics for several TV networks. Time is of the essence in our business, and we've also got to keep a sharp eye on production costs. "Our Pos One® camera/processor helps us beat those tight deadlines and stay within budget, something that would be virtually impossible to do if we had to send out for stats and other reproductions. "The Pos One camera is a great creative tool. It's simple to use and delivers an amazing variety of reproductions in normal room light. "With this versatile machine on the premises we get all the stats, enlargements, reductions, positives, reverses, special effects, screened halftones and film transparencies we need— in a matter of minutes and at exceptionally low cost."

Peter Diaferia Partner, The Studios of Diamond and Diaferia New York, N.Y.

NEW LOW- COST RENTAL PLAN AVAILABLE r VISUAL GRAPHICS CORPORATION Call Us Toll Free VGC Park, 5701 N. W. 94th Ave. \SP Tamarac, FL 33321 800-327-1813 —Please send more information on the IN FLORIDA (305) 722-3000 Pos One cameras. IN CANADA (416) 533.2305 —Tell me about your low-cost rental plan. —Please arrange a demonstration.

Name Title

Company

Address

City State Zip

Phone This headline is set in Mtge bold condensed for doublcimge ad bil licrillold, announcing flaw scrics of Wares Cd1101 »Berthold wAlusiv«.

53

The previous three ads on this subject were a bit on the plain side. We thought that amongst us designers we didn't have to spell everything out in detail. By now, however, all the insiders have sent in their coupons and we have to appeal to those of you who need something a bit more tangible before you're prepared to look at our new brochures called «Berthold Exclusiv». There are four of them so far, each one with 16 specially designed pages, often in colour, displaying our exclusive typefaces Comenius, LoType, Poppl Pontifex and Seneca. As we can't possibly reproduce all 64 pages, we've instead decided to illustrate a way of solving the problem of storing these and other brochures. Apart from the brochures and layout sheets, you'll also get a few self-adhesive labels to stick on your self-made Name filing boxes. There's no charge — Address just send us the coupon. Set on berthold ads 3000» in LoType light, 8 keg on 3.25 linefeed. Written and designed by Erik Spiekermann, MetaDesign 1981.

Clip coupon and send to: H. Berthold AG TeltowkanalstraBe 1-4 • D-1000 Berlin 46 West Germany 54

"I miss ordering pizza from Uno's and type from Ryder:' Dave Kennedy worked in Chicago for 10 years. During that time, he won every award an art director would want to win. "It's been three years since I moved from Chicago, and I'm sfill not used to the pace. "' there isrit the same call for rush jobs here. But I guess that's why I moved out here in the first place. "I enjoyed the personal contact. "I remember' om Gray and Al Garzotto. They'd stop by and pick up jobs at the end of the day. If anything required an explanation,they'd be there to hear it and tell the night crew "Every art director has a style preference.' the salesman got to know your style and know how you wanted the job done. "Give my best to those guys.Tell them I really miss their faces": RyderTypes Inc., 500 North Dearborn Street Chicago, Illinois 60610. Telephone (312) 467-7117 55

O WE NEED NEW ALPHABETS AT ALL? Remember, 120 designs were the contribution to type design by Frederic W. Goudy alone. He said about the old fellows that they already had forestalled all of our best ideas. But what do we want to say now, we, who after Goudy, have to design new alphabets? If you look at the type specimen book of a print- er there are really plenty of alphabets for all kinds of jobs, an enormous choice. Things might well be left alone,were it not for all the new developments now taking place. For example, the new- est composing system using cathode-ray tubes or digital storage for the alphabet — and one day, before very long, we will use the laser beam for generating characters — bring with them some absolutely new

NET QUADRITEK® SERIES! NEW EXCLUSIVE TYPE SERIES! abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVUJXYZ

1234567890 1@$%(&*()-»«;:",.?/ I=1 ----I TM ✓ t ® # §© • C(*) U]EINZ KURUALIN WK 55 Product Code Number 28500 technical problems, many more than the past with its solid foundation on historical development in typo- graphic styles. The work of type designers (or better let us start calling them the alphabet designers) will certainly not become easier. Not only will the scope for developing new alphabets be narrowed, but tech- nical considerations will limit it still further. And if automatic reading machines have also to be taken into account, we will get additional problems. At the same time we are hoping to use a Latin alphabet that continues to satisfy our artistic sensibilities. HERMANN ZAPF From The Frederic W. Goudy Distinguished Lecture in Typography for 1969

Itek

TM Itek Composition Systems A Division of Itek Corporation 34 Cellu Drive Nashua, New Hampshire 03063 56

cot.m) p.c.? CRESCEN'T CPSO.BOPPO 57

THE ALPHATYPE CRS TYPE MASTERS GUILD — flexibility to aesthetically solve any typographic challenge. a group truly concerned about providing you with the finest You can select from their extensive type font typographic quality. library — with the newest faces being added daily. To back their commitment, they use the Alphatype CRS... The CRS brings a new standard of quality to your the digital phototypesetter with resolution of 5,300 lines advertisements, annual reports, books, forms to the inch for razor-sharp characters. Unprecedented and publications. control over letterspacing and kerning in '/3 unit The Type Masters Guild — able to handle all of increments. And size for size type design for the your requirements with true typeartistry. Call a Type Master highest quality in terms of letterform and maximum for your next job and see for yourself. You'll never again legibility. All of which gives them virtually unlimited settle for less! THE ALPHATYPE CRS WE DON'T JUST SET TYPE. WE SET NEW STANDARDS. In the United States Hodges Typographers, Inc. New York Word Management Corp./ Texas MonoLino Typesetting Co Ltd. Silver Springs (301) 585-3601 Arizona Able Phototype Systems Typography Services Candlelight Type Print Corp. Toronto (416) 537-2401 Massachusetts Yonkers (914) 476-3336 Albany (518) 482-8650 Austin (512) 476-0732 Protype Arizona Typographers, Inc. Ohio Toronto (416) 482-2599 Phoenix (602) 263-1166 Graphics East, Inc. M.J. Baumwell Typography, Inc. Virginia New York (212) 868-0515 Advertype Inc. Techni-Process Ltd. Morneau Typographers Worcester (617) 799-2743 Riddick Advertising Art Cleveland (216) 241-2274 Toronto (416) 363-2493 Phoenix (602) 258-5741 Boro Typographers, Inc. Richmond (804) 270-1811 Michigan New York (212) 475-7850 Bohme & Blinkmann, Inc. Progress Litho Service Quebec A-Type, Inc. Cleveland (216) 621-5388 Washington Phoenix (602) 258-6001 City Typographic Service, Inc. Gravel Photograveur Inc. Dearborn (313) 336-2466 New York (212) 686-2760 Typo-Set Western Typographers Inc. Quebec (418) 683-1501 Arkansas The Thos. P. Henry Co. Cincinnati (513) 751-5116 Seattle (206) 624-3642 Composition Corporation M & H Typography, Ltd. (Mont.) Detroit (313) 875-1950 Prestige Composition Inc. Albany (518) 465-7575 Oklahoma Wisconsin Montreal (514) 866-6736 Little Rock (501) 375-5395 Minnesota Cresset, Baxter & Spencer, Inc. Alphasource, Inc. Peter A. Altenhofen Typographers TypoGraphica 2000 Inc. New York (212) 766-9432 California Graph-Tronics Oklahoma City (405) 521-0310 Milwaukee (414) 352-3590 Montreal (514) 933-3315 Aldus Type Studio Ltd. Minneapolis (612) 338-7171 Euramerica ED-BE Incorporated Graphic Composition, Inc. New York (212) 921-4390 . . . Europe Los Angeles, (213) 933-7371 Great Faces, Inc. Oklahoma City (405) 943-2391 Menasha (414) 739-3152 A.T. Composition Minneapolis (612) 339-2933 Farrington & Favia, Inc. Pennsylvania Zahn-Klicka-Hill Typographers Inc. Austria Berkeley (415)-548-3192 New York (212) 431-9700 Milwaukee (414) 276-0136 P & H Photo Composition Armstrong Inc. Grafostil GesmbH D &J Typographers, Inc. Minneapolis (612) 374-3213 Fototype Factory, Inc. Wien 222-55-4628 Philadelphia (215) 574-8600 . . . Santa Clara (408) 727-0991 New York (212) 889-7995 Canada Type Tronics, Inc. Estelle Bair Belgium Lincoln Typographers Future Studio Minneapolis (612) 339-5563 Blue Bell (215) 542-7790 Alberta Los Angeles (213) 660-0620 New York (212) 679-7933 Graphiproduction Missouri Headliners of Pittsburgh Duffoto Process Co. Ltd. Brussels 640-25-53 Headliners/ldenticolor Line & Tone Associates, Inc. Pittsburgh (412) 391-3778 Calgary (403) 263-7160 San Francisco (415) 781-0463 Lettergraphics/Kansas City, Inc. New York (212) 921-8333 Graphiservice SPRL Kansas City (816) 471-2585 Leon Segal Typesetting Manitoba Brussels 538-02-21 Koala-T Typesetting Marvin Kommel Productions, Inc. Philadelphia (215) 236-5585 Lafayette (415) 283-5360 Master Typographers, Inc. New York (212) 682-3498 B/W Type Service Ltd. Stallone Typography Service Inc. Denmark St. Louis (314) 645-2878 Winnipeg (204) 947-0538 Omnicomp Primar Typographers, Inc. Philadelphia (215) 568-6310 Everts Alfabet San Francisco (415) 398-3377 National Typographers, Inc. New York (212) 269-7916 Ontario Copenhagen 1-116320 St. Louis (314) 241-8297 South Carolina Rapid Typographers Real Type Systems, Inc. Adtype Toronto Ltd. France San Francisco (415) 982-6071 Type House, Inc. New York (212) 687-0870 D G & F Typography Toronto (416) 968-6778 St. Louis (314) 644-1404 Columbia (803) 799-9140 Typogabor Repro Typographers Thorner-Sidney Press, Inc. Alpha Graphics Ltd. Paris 229-19-90 San Francisco (415) 362-3971 Nevada Buffalo (716) 856-4500 Tennesee Toronto (416) 961-5600 Taurus Phototypography Total Typographers Inc. Netherlands Alpha Typographers Graphic Arts Associates, Inc. Calum Composition Ltd. Los Angeles (213) 382-8244 Mamaroneck (914) 381-2659 Reno (702) 825-8677 Memphis (901) 345-8973 London (519) 686-9771 Ploeger Lettering BV Tribeca Typographers, Inc. Amsterdam 020-276451 TypoGraphic Innovations House of Typography, Inc. Canadian Composition Beverly Hills (213) 657-6030 New Jersey New York (212) 925-8080 Memphis (901) 726-6961 Toronto (416) 863-0742 United Kingdom Computype Co. Type/Graphics Lettergraphics Memphis M & H Typography Ltd. (Tor.) Colorado Apex Photosetting Ltd. Garfield (201) 546-9267 Syracuse (315) 437-1101 Memphis (901) 458-4584 Toronto (416) 922-3194 Photocomp Phototypographers London 01-837-9369 Colorado Springs (303) 475-1122 Artwork Composition Connecticut Birmingham 021-643-0946 De Sa Graphics, Nunhead Production Typographers Inc. London 01-639-2828 (Pro Type) Greenwich (203) 531-4600 Headliners (UK) Ltd. London 01-580-7045 Florida Heavyweight Graphics Typographical Service London 01-388-5451 Ft. Lauderdale (305) 772-4710 Image Communications Ltd. Georgia London 01-580-7017 Action Graphics, Inc. Letterform Ltd. Atlanta (404) 351-1753 London 01-437-3912 Phototype Libra Press Atlanta (404) 873-1209 London 01-928-7081 Swift Tom & His Electric Modern Text Typesetting Type Shop Ltd. Prittlewell Atlanta (404) 874-1634 Essex 0702-45195 The Typegroup Progress Filmsetting Ltd. Atlanta (404) 233-8973 London 01-729-5000 PRT Offset Illinois London 01-607-7535 A-1 Composition Co., Inc. Sans Serif Ltd., Deritend Chicago (312) 236-8733 Birmingham 021-773-8466 House of Typography Studio Press (Birmingham) Ltd. Chicago (312) 263-1532 Birmingham 021-359-3151 Master Typographers, Inc. Swan Press Chicago (312) 661-1733 London 01-278-7961 Publishers Typesetters Inc. The Setting Room Chicago (312) 283-3340 Tunbridge Wells RyderTypes, Inc. Kent 0892-39625 Chicago (312) 467-7117 . . . Shore Typographers, Inc. Orient Chicago (312) 676-3600 Japan The Typographers Typro Inc. Chicago (312) 644-7768 Tokyo (03) 716-0131 Louisiana Forstall Typographers New Orleans (504) 524-0822 Martin/Greater Film Graphics, Inc. New Orleans (504) 524-1741 Maryland And more to come! Marlowe Typography, Inc. Brentwood (301) 277-8311

U&Ic12/81 Alphatype Corporation—A member of the Berthold group-7711 N. Merrimac Ave. Niles, Illinois (312) 965-8800 Alphatype Corporation 1981 Dateline! Letraset Letraset is again first on the scene, with 29 new typefaces added to its line-up of Instant Let- tering® and Letragraphica Sheets. You can uncover your own typo- graphic ideas these new by investigating exclusive additions. Many are others Letraset designs, while • the are available for • • very first time

New Sans Serifs & COOIlan and Decoratives Caxton Roman lead the tomilies field! exposed! Coatop. Corinthian p ° CONDENSED 16rinthian Caxton Eras ROMAN LIGHT ITALIC MEDIUMCorinthian ITC Caxton BOLD LI ROMAN BOOK Corinthian it EXTRA BOLD flishot Cagon kosn ROMAN BOLD gra; New IMO Scripts seen in the best places! rAtfTarqz- SCRIPT - owsgeog

Whet better way to discover the the New Letroset Reference new Aspiral bound and has new a Manua/. Letraset typefaces than with This 3 also bound into the color index system for20 easypage referencing. manual is PANTONE* colorback chart,cover showing 296 PANTONE colors, is *Pantonereproduction Inc.'s aterials. check-standard tradernark for The Paramus NJ 07652 manual co/or is priced at $2.95 reproduction, . colo r data letraset USA 1881 and color -0-a\M slides ao-d1 do weed-rO-al,c-e fo\)-:\-bao-ds. Plans 50 tB,g,e, ge,-0- r ao- appoilleo.- "V d WO o dise\)-ss Q. N48,1)-t, .5,t3-0-valy,1tes. I dese-vve tigad `- -,, 6 ------jobs tios.,,o ave 'co- t310e -placCOVO-g 04e. vo-pb-o-oe t-oe f

601 s lea ao-y CoToc SS MAVB

Arrow Typographers Inc. 2-14 Liberty Street, Newark, N.J. 07102 Telephone (212) 571-0328 / (201) 622-0111 60 WE LOVE A ERTISING AS MUCH ASYOU DO.

Let us count the ways. stand that. We are the Advertising So the next time you have an Working far into the night for the Typographers Association. The incredibly tough type problem, call a 9 o'clock meeting that the client forgets ATA, for short. local ATA member and let him have to show up for. And not only are our members it. It will make you feel better. Having the creative director used to dealing with the "I've got to reject a campaign because the I Ching have it now and make sure it looks sticks advised against it. great" demands of the industry, but ADVERTISING Hearing that the account guy they don't even mind. took a two-part storyboard to the client Plus, all ATA members must TYPOGRAPHERS and sold it as a :20 and :10. (All stories pass an exceptionally tough set of ASSOCIATION are actually true.) standards that include typesetting 461 Eighth Avenue, New York, New York 10001. That's advertising and we under- technology, quality of work and Walter A. Dew, Jr., Executive Secretary. business ethics.

ADVERTISING ATA MEMBERS: Atlanta, Georgia Action Graphics, Inc. Bloomfield, Connecticut New England Typographic Service, Inc. Boston, Massachusetts Berkeley Typographers, Inc.; Composing Room of SPOKEN HEKt, New England; Typographic House, Inc. Cedar Rapids, Iowa Type 2, Inc. Chicago, Illinois J. M. Bundscho, Inc.; RyderTypes, Inc.; Total Typography, Inc. Cincinnati, Ohio Typo-Set, Inc. Cleveland, Ohio Bohme & Blinkmann, Inc. Columbus, Ohio Dwight Yaeger Typographer Dallas, Texas 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. Grand Rapids, Michigan Central Trade Plant of Grand Rapids Houston, Texas Typografiks, Inc. Indianapolis, Indiana Typoservice Corporation Los Angeles, California Andresen Typographies; Typographic Service Co., Inc. Memphis,Tennessee Graphic Arts, Inc. Miami, Florida Wrightson Typesetting, 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.; TypoGraphics Communications, Inc. Norwalk, Connecticut Norwalk Typographers, Inc. Philadelphia, Pennsylvania Armstrong, Inc.; Typographic Service, Inc. Phoenix, Arizona Momeau Typographers, Inc. Pittsburgh, Pennsylvania Davis & Warde, Inc.; Headliners of Pittsburgh, Inc. Portland, Oregon Paul 0. Giesey/Adcrafters, Inc. Rochester, New York Rochester Mono/Headliners San Diego, California Central Typesetting, Inc. San Francisco, California Headliners/Identicolor, Inc. Seattle, Washington The Type Gallery, Inc.; Thomas & Kennedy Typographers, Inc. St. Joseph, Michigan Type House, Inc. Kansas City, Missouri Westem Typesetting Company 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. Brussels, Belgium Graphiservice London, England Filmcomposition Gothenburg, Sweden Fototext/Typografen AB Stockholm, Sweden Typografen AB Frankfurt, West Germany Layoutsetzerei Typo-Gartner GmbH Munich, West Germany Systemsatz GmbH Stuttgart, West Germany Layout-Setzerei Stulle GmbH 61

...andTAKE beat inflation with a briefANY trial subscription 5 to the FOR hard-working "Clip 5 Books"0 Rising costs got you down? Get quick somely by offset, letterpress, silk screen, The art is faithfully reproduced on "Krome- relief from inflation — as many others do — electrostatic. kote" repro stock with the 5 x 8-inch pages with the thrifty "Clip Books of Line Art!" Our CONTEMPORARY ART STYLES printed one side only. Two 12-page books ready-to-use art has been saving time and and two eight-page books monthly for five money for the giants of industry as well as The "Clip Books" are strong on handsome months. Plus a matching index folder on one-man shops for 30 years. realistic illustrations - best in the field! And, each, with all art reproduced in half size. For fast look-up or as a quick source of smaller TO PROVE A POINT the art reflects today's fashions, hair, etc. since it's drawn for each month's new books. art proofs. Now, to introduce you to top-art-at-rock- Plus useful decorative humorous spots. All bottom-prices, we offer a deal you cannot the current art styles - pen & ink, dry brush, UNBELIEVABLY LOW IN COST possibly refuse! Simply select any five of the litho crayon, etc. 48 "Clip Books" shown here for only a The cost? Only $77.50 for five months — nickel, along with a limited five month trial This introductory offer is so unusual ten 12-page books, ten eight-page books, subscription at a trifle over $3 a week. that it is for new subscriptions only 20 index folders. Plus your choice of any five All in all, you'll get more than 500 original and is available only once every two bonus books for an additional five cents. Save even more! Enclose a check with order drawings for considerably less than you'd years to any one purchaser. None of spend for a single custom illustration. You and deduct 5 percent - only $73.67, post- the 48 "Clip Books" shown here is simply join with other subscribers in a money- paid! Simply write the number of your five- saving co-op! offered separately. books-for-five-cents in the coupon at lower right...and start saving time and money! USED IN MANY WAYS But please don't let the low price mislead you! The art is used in many ways by many of Pick five bread-and- butter books - the America's top firms - some for over 29 years. categories you use most often. Yours to clip They'd willingly spend more, but there is no OR ALL 48 FOR and paste without extra reproduction fees. better ready-to-use art at any price. You'll use the art effectively in company publications, newspapers, trade papers, AMERICA'S TOP ART SERVICE 159.95 booklets, bulletins, circulars, direct mail, No subscription, no bonus, no waiting! "Clip Books" shown plus 48 dealer aids, TV, custom screen printing. Our 30 years of leadership in the field All 48 You'll clip and paste an art proof just like assure you of top creativity, taste and quality. miniature index folders immediately via an original illustration (which it is) for each is Many art studios, ad agencies, creative UPS. 600 hard-working pages (5 x 8") on pure black-and-white line. Ready fora simple printers, etc. use the art profitably on a glossy "Kromekote" (one side). Nearly camera shot - no hard-to-handle halftones. custom basis for individual clients. (The art, 1,000 new different illustrations. Over Reduce, enlarge, use same size. Print hand- however, may not be resyndicated.) $60,000 in art!

.18111111 = =Nom mmi =mom • YES! WE'LL TAKE THESE 5 FOR 5C 1.1 I I I I (We've listed our five bonus books by number above) I

BOX 72L 1.1 VOLK CLIP ART, PLEASANTVILLE, NEW JERSEY 08232 I Please rush the above five bonus books for only five cents. We will be free to clip and use the art without extra cost in connection with our limited five-month trial subscription to the newest "Clip Books of Line Art" at only $77.50. Send us each of the five forthcoming 1 monthly issues with four books and four indexes in each. Invoice us for $77.55 which includes all shipping. 1 1:1 We wish to save five percent — our check for $73.67 ITT in full payment is enclosed. (Outside USA: payment in U.S. funds, with order. In N.J. include 5% sales tax. None of the 48 books shown is offered separately). 1 1:1 Skip the above but rush the complete set of all 48 books shown along with their matching indexes. Charge to our established account (purchase order enclosed) and invoice us for $159.95 plus UPS charges. (We absorb shipping charges if you enclose check for $159.95 with order).

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City, State, Zip Code 11.====111111.MMINIIIM=11111110.111

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You don't have to imagine Every illustration, design, heading and special effect photo on this page is from recent issues of Clipper®. Clipper Creative Art Service® , to be exact, is art of exceptional quality created by dozens of America's top professionals. It is yours at a small fraction of the price World's largest you'd pay for the same art if it were created exclusively for you. commercial art library But Clipper is much more than top-notch always at your service camera-ready art. Each issue contains dozens of idea-inspiring demonstrations and Suppose you can't find a particular suggestions for using the art. Plus, Clipper illustration in the issues of Clipper you own. never repeats itself. You get fresh material Simply call or write our Special Services in a wide variety of styles and techniques — Dept. and tell us which graphic or graphics — month in and month out. You'll have many from your Clipper Cross Reference Index— How do you know you'll more creative alternatives than with any other you need. (There are more than 8,000 listings.) like Clipper? art service. This exclusive subscriber service is yours, without charge, other than postage and Try a FREE TRIAL ISSUE and look us over. handling. If you decide Clipper is not for you, cancel yout 12 issues a year, order within 15 days and owe us nothing. You need send no money now to receive your FREE 24 big pages in each Seasonal art ISSUE. Clipper arrives on your desk or drawing for instant solutions Simply complete board about the 20th of each month. In it are and mail the coupon 24 big pages (121/2" x 19") containing scores Clipper anticipates the seasons and below. This no-risk national, as well as promotional holidays, of individual illustrations, design elements, free trial is our way borders, layout frames, decorative headings— well in advance — gives you ample time to of inviting you to take and even a color separation. prepare and present projects to customers, a look at Clipper — management or others. You'll also find suggested applications — just as thousands of finished layouts — with headlines and copy Three pictorial indexes (two 121/2" x 19" and very smart art in position. Not that you'll use them as is. one 81/2" x 11") come with each issue of directors do — But they're great idea starters that you can Clipper. The larger indexes are 5-hole punched every month. for easy filing in the issue binder included with adapt to your own needs with appropriate Dynamic Graphics, Inc. your subscription. For fast desk-top reference, 6707 North Sheridan Rd., copy and logo changes. P.O. Box 1901 a 3-ring binder is also provided. Peoria, IL 61656-1901 IIIMMIIIIIIMINIMEM111111110111 • MAIL THIS COUPON TODAY FOR ■ FREE TRIAL. ISSUE ■ (please print or type) O.K. I'd like a free trial issue of Clipper". So enter my ■ order for a one-year, I2-issue subscription to the Clipper Creative Art Service® at $29.50 per month, (F.O.B. TITLE 1.11 Peoria, IL, U.SA). Thereafter, continue to ship Clipper 1111 monthly subject to my written cancellation notice 30 days prior to publication (20th of each month). ■ STATE However, first send me the FREE TRIAL ISSUE, which MI I may review and use. If I decide that Clipper is not BUSINESS PHONE (area code) for me, I may cancel this order within 15 days, keep III the FREE ISSUE and owe nothing. (Note: This offer applies in North America only.) Otherwise, I agree to 111 complete payment as follows: (signature and title) III ❑ I prefer to SAVE 3% of the subscription II. price by prepaying. Please bill me now. Ulc 1281 I 1.1 ❑ Please bill me monthly as the year's issues ■ are shipped. Terms are net 10 days. Your Clipper annual subscription includes: 12 issues Dynamic Graphics, Inc. of Clipper and "Clip Bits," 3 monthly pictorial indexes, 6707 N. Sheridan Rd., P.O. Box 1901 a Cross Reference Index (of our 8,000-plus listing art SEND NO MONEY NOW., Peoria, IL 61656-1901 library) and vinyl binders for both issues and indexes. ▪ Note: All art here is from recent issues of Clipper. MI NM I MI Milli 1 Ell in 68

Hell, sir a new typeface? No, sir, Else. So why do I need this Else?

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ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 So? ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 It would become a dull world EAAHNIKOE if every job was suddenly converted to Else. MPHIL/11411A But some jobs which were headaches

ABCDEFGHIJKLMNOPQRSTUVWXYZ will now become easy. abcdefghUldinnopqralltuvwxyz 12345678901/21/43/41/23i3/4 3i0 =•@#$%orC,W1130 And for in-plant work it will be a boon, as it is so forgiving. If I want to try it can I get it now? It is at present available on Alphatype CRS and on machines from Autologic SA. Other manufacturers (not necessarily in alphabetical order!) are also planning to introduce it in due course. If you have difficulty getting a showing write to Norton Photosetting Limited P 0 Box 13, Princes Risborough, Bucks, England Is that all?

This advertisement was produced in one pass an an intermediary proving font which dots not include final drawing corrections or kerning program No. But we hope it's enough to get you interested. NOTHING BUT THE YP Phy BEST! Advertising • Informational • Promotional Editorial • Social Typography 2

presenting all 200 pieces TDC Judges selected for Typographic Excellence and for display in TDC-27-Annual Exhibit of the Type Directors Club

_4 hosen from several thousand pieces sub- mitted for consideration of the judges, representing three continents and more than two dozen countries, these 200 final , C selections are presented in Typography 2, 4:47 one to a page with 32 shown in full color. Entries were judged without regard to classification; however, The Annual of The Type Directors Club to facilitate reference Typography 2 presents them in five categories—Advertising, Editorial, Promotional, • il ii • in ii • • • • • • Informational and Social. The outsize eight-by-eleven Type Directors Club inch page permits reproduction which makes type • 12 East 41 Street and illustrative detail readily visible. Additionally, cred- New York City, USA 10017 • its list not only those who contributed to the work but ■ YES I want to take advantage of your special discount offer. • also identify principal type faces used and dimensions Send me a copy of Typography 2 showing all selected entries ■ in TDC-27 the TDC Annual Certification Exhibit. I enclose a of the finished work. It is fully indexed. $22.50 draft or money order in US funds, mail my postpaid • Published by Watson-Guptill Publications, 216-page volume immediately using this label- well-known in the field of art and graphic publishing, "' SIGNED • Typography 2 is available internationally from leading I consider my job classification to be: book stores and many art supply dealers. Priced at (This question must be answered) $25 per copy, the Type Directors Club, in an effort to identify job categories most interested in this type 111 • publication, makes a special 10% discount offer. Name Use this special coupon to order your personal Company • copy of Typography 2 and take advantage of a spe- El Complete Address cial postpaid price—$22.50 US dollars. Typography 1 edition was sold out in less than three months. • Don't take a chance of missing Typography 2. Order • your copy today! • • • • ■ • • • • • ■ • 70 Believe it! Velvet Touch transfer lettering doesn't crack. Try this test.

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The one-volume print production library...

Even Experienced Professionals Rely on it for

DeStgOer 1 aphtc QUOIllGr 1M Mike instant answers. AMSVI SOUPERDA That's right. Graphics Master 2 is the one key numbers for over 10,000 fonts. Simply "The best device for carryingphi things ever guide and workbook that even the most turn the built-in scale to the indicated key New West ks, maga- experienced professionals turn to for im- number to find the average number of boo mediate answers and help in planning for characters in any line length for any type invented. — cameras, print production. face in any size up to 18 points. It's simple. hard-working import carries It's easy. It works. tines, chess sets, tape recorders All the vital guidelines and technical speci- work tools, scripts, records, small dogs; fea- fications that are so hard to find when you There's also a 14 page Type Face Selector tures six nifty pockets, expandable sides, need them most are here in one compact Guide with specimen showings for over sturdy straps, wears like cold rolled steel, is volume. All in an easy-to-find-and-use for- 800 display and text, photo and metal type mat that puts instant answers right at your faces. generally plendiferous. Also, other Danish fingertips. You'll save many precious min- carriers make interesting dinner Line Gauge & Ruler. A 10" laminated utes—even hours that are often wasted plastic Line Gauge & Ruler for inches, looking for the right answers. Soupcompanions. In squashy grey, cinnamon picas and centimeters with a pica and inch plus centering rule. Scales for measuring type brown, smokey black, jade green, bright$48 blue Graphics Master 2 is beautifully repro- f canvas. Practical gift. Brochure duced in six colors with indexed sections lines from agate to 17 point sizes. Rule fits into a convenient bound-in pocket. waterproof printed on coated bristol stock that is plas- $2.50 shipping. Canada add $7. tic coated for heavy usage. It is bound in a Process Color Selector Guide. Process hard, turned-case cover combined with blue (cyan), red (magenta), yellow and . sturdy double Wire-0 mechanical binding available black color combinations and screen THE 04000MIE SOUP that opens flat and handles easily. values for over 2,800 different colors. Dept N 946 Madison Ave New \i'ork10021 If you create, design, write, plan, estimate, Printed in two 24 page sections on coated and uncoated paper stock, bound one produce, buy or sell printing or print adver- tising, this valuable working tool can make above the other for easy comparison. Die- your work faster, easier and more profes- cut masks permit you to isolate any color. sional. Proportional Scale. A built - in propor- tional scale gives dimensions and per- The Graphic Tools and centages for reducing or enlarging copy Production Aids Alone and art are Worth its Price. Take advantage of the no-risk offer Each Graphics Master 2 includes the fol- Graphics Master 2 is much more than a lowing built-in graphic tools and aids: book. It has to be examined and used to appreciate its value. That's why we make

Copy - Fitting System. The typography you an unconditional guarantee. Order section includes 18 pages of alphabet yours today. Examine and use it for 10 showings for 276 different machine set days, and if you are not completely satis- type faces. Over 1,250 hot metal and pho- fied, simply return it for a full and prompt SHOW totype face listings for 17 different sys- refund with no questions asked. tems are catalogued with character count

What we would put on when we found Mom's costumes in the attic and Dad's old lights out in the barn. It used to be easy to put on a slide show too. Just a projector and a tray or two of charts and graphs. Now it's all flash and Star Wars.

SPINDLER SLIDES, INC. has the pros to ■ ■■■■■Professional■■■■■■■■ Books are Tax Deductible. make it easy for you again. We do it III .211111111. 1111. now, everyday for some of the toughest Mail order and make checks payable to: Dean Lem Associates, Inc. P.O. Box 25920, Los Angeles, CA. 90025 clients in town. Special effects to Multi- screen panoramas, to straight under Please send copies of Graphic Master 2 at $47.50 per copy. ❑ Check or money order for $ is enclosed. Publisher pays all shipping and handling camera shooting. We're waiting for you. charges on orders within the U.S.A. Orders outside U.S.A. add $5.00 per book. All orders payable in Make your next show easier . . . call us. U.S. funds. In California add 6% Sales Tax. ❑ Charge to my ❑ Visa or ❑ Master Charge Account. Add $3.00 per book for shipping and handling. Orders outside U.S.A. add $5.00 per book. 1501 BROADWAY Acct. # Expiration date SPINDLER NEW YORK NY 10036 INC 55 1:1 Purchase order enclosed. Add $3.00 per book for shipping and handling charges. Orders outside SLIDES, 730-12 U.S.A. add $5.00 per book. All orders payable in U.S. funds. NOTE: Payment in full, credit card charge authorization or official company or institution purchase order must be received before any book can be shipped. No C.O.D.'s. In California add 6% Sales Tax. NAME TITLE CO. or ORG ADDRESS CITY STATE ZIP MIMI M N ME M III IN IN III M E MI NMI 72

Looking for a different sans-serif? Here are three which were especially digitized for our typesetting system. Three Sans

Heldustry Fine typography is the result of nothing more than an attitude. Its appeal comes from the under- standing used in its planning; the designer must care. In contemporary advertising the perfect integration of design elements often demands unorthodox typography. It may re- quire using wrong fonts, cutting hyphens in half, using smaller than normal punctuation marks; in fact, doing anything that is needed to improve appearance and impact. Stating specific principles or guides on the subject of typography is a practice to be approached only with a goodly measure of restraint. There should be an ever-present awareness of the purpose to be served, the mood to be inspired, the message to be conveyed. No rule is useful if it inhibits or Neenah Paper Neenah Paper restricts the ultimate purpose of the design. Fine typog- A Kimberly-Clark Company Neenah — a quality spread 0 Neenah, Wisconsin 54956 raphy is the result of nothing more than an attitude. Its of textured and colored papers. ©1981 K.C.C. appeal comes from the understanding used in its planning

Martin Gothic Fine typography is the result of nothing more than an attitude.,Its appeal comes from the understanding used in its planning; the designer must care. In contemporary advertising the perfect integration of design elements often de- mands unorthodox typography. It may require using wrong fonts, cutting hyphens in half, using smaller than normal punctuation marks; in fact, doing anything that is needed to improve ap- pearance and impact. Stating specific principles or guides on the subject of typography is a practice to be approached only with a goodly measure of restraint. There should be an ever-present awareness of the purpose to be served, the mood to be inspired, the message to be conveyed. No rule is useful if it inhibits or restricts the ultimate purpose of design. Fine typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemporary

Oliver Fine typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemporary advertising the perfect integra- tion of design elements often demands unorthodox typography. It may require using wrong fonts, cut- ting hyphens in half, using smaller than normal punc- tuation marks; in fact, doing anything that is needed to improve appearance and impact. Stating spe- cific principles or guides on the subject of typog- raphy is a practice to be approached only with a goodly measure of restraint. There should be an ever-present awareness of the purpose to be served, the mood to be inspired, the message to be conveyed. No rule is useful if it inhibits or re- stricts the ultimate purpose of the design. Fine

Small Bed 528.00 clamp included ■ ps Small Bed Three Name large holes organize at m ■ least 24 items. Five Company Name wide mouth slots hold triangles, templates, curves, etc.■ Clamps Address (No P.O. Boxes please) to any side of your draw- ing table or sits un- City State Zip MJ PAUMWELL NPOGRAPHYINc. clamped anywhere. ■ Clear Oil Finish. 461 81= A/_=:_\_-- ■ Handcrafted solid wood (5x8x3% inches). Make Check payable to I \EWYCn< COO ■ Your satisfaction TOOLDECKS. ■ is guaranteed. ❑ Send for free catalog. (2'2)868-0515 ORDER SOON. ■

Mail to TOOLDECKS•1911 West Wabansia Avenue•Chicago, Illinois 60622.312/384-4539 III

1111111.11111111111111.1 Man. 1.111. MEM. 73

Many of our customers like Photo-Lettering, Inc. because they think of us as a specialized studio. We are known for our headline alphabets, repro- portioning, perspectives, circoflairs, curves, step and repeats, shadow effects, italicizing, our color preview prints—"Spectrakromes"—etc., etc., etc. We can do almost anything that involves type and even some things that don't! However, you might be thinking, "That's right, Photo-Lettering is the place that does all that great fancy stuff" and yet do not know that we are also a great down-to-earth type house. As a matter of fact, with our collection of over 10,000 display alphabets (the largest in the world) and many of them exclusive, we have the technical skill and know-how to convert headline faces to text faces for use with our text equipment. We presently have over 500 text faces and we are adding exclusive alphabets to that list each day. Think of Photo-Lettering as your all-service arts typographer as our present customers do! Remember, all means all—display and text too!

if / **i4re• AP' Mir.- /X/ /r/04) ■•■■• 216 EAST 45 STREET- NEW YORK CITY 10017.212-490-2345

THIS ND WAS SET IN ADVERTISERS GOTHIC 8139 (DISPLAY) AND OLNE GRAPHIC HOOK 8740 (TEXT)

duoprint® 1400 . 1.RTHOUSE CLASSIFIED FOR ARTHOUSE SPECIALS WRITE TO: P. O. BOX 1413, BROOKLYN, NEW YORK 11202. THE WORLD'S MOST P.O.BOX 329, M.I.T. BRANCH POST OFFICE, CAMBRIDGE, MASSACHUSETTS 02139. ADVANCED R.C.PAPER & FILM PROCESSOR. Develop—Fix—Wash—Dry any TRANSFER CasteirTO Professional length up to 14" wide alien set 51164/4. STAEDTLER Contains 4 complete pens. marematic 700 57 pen set LETTERING 00.0.1.2.,one cone extractor, Variable Speed—Variable Temperature Contains 7 pens one a bottle of ink, a hinged box. each of 030 thru 100, List Price. 36.00 plus one bottle of ink. Self-contained—No Plumbing— 110 V. List Price:959.00 N ow, $19.00 per set Now, $29.50 per set SIZE :10 X15 Compact—Rugged—Easy to Clean rw■ 1\ =cam dam 1 ■aw■f PRICE:$1.99 ■=wi■ only L / - MR:w■w CasteirTG Professional 7 pen set 51167/U. PER SHEET Contains ?complete pens: $3895w MARS•SUPERBOW 553 52 000.00.0.1,2,2.5,3. a bottle of Compass with pencil part for i k, a cone extractor, a hinged Complete with use with Mars Technical Pens 3 box & instruction manual. spare parts. L st Price:360.00 List Price:933.50 WRITE FOR per set N ow, $30.00 Cabinet and Now, $20.10 per set Recirculation ■ YOUR FREE eftwiea=■ System. 69111ii Ise, FOB Rockaway, CATALOGUE CasteleTO Professional New Jersey INARS.SUPERSOW 55340 9•pen set 51169. Compass with inter-changeable Contains 9 complete pens. pen & pencil parts,6"extension 000.00.01,2,243,4,9 a bottle bar, 6"divider, 492"small bow and of ink,a cone extractor, hinged & SAMPLES box & instruction manual. dropbow with inter.. parts, etc. List Price , 365.95 ARTFONTS GRAPHICS PRINTED IN U S A List Price: $75.00 duostat Now, $39.57 per set Now, $37.50 per set lip PLEASE MAKE CHECK PAYABLE TO: corporation OT Y. ITEM NUMBERS .S.8. te TOTAL VALUE $2.50 ARTHOUSE,P.O.BOX3001BROOKLYN,N.Y.11202 114 Beach Street $2.50 VISA ❑ M. CHARGED INTER B.NO. Rockaway $2.50 HIM 1 1 1 1 1 III DATE New Jersey 07866 $2.50 Total item SUBTOTAL SIGNATURE (minimum card order $35.00) HOLDER'S NAME (201)-625-4400 N V RESIDENTS 81/4TAX SHIP TO NO C.0 I3 TOTAL AMOUNT SALES AND SERVICE NAME TO ORDER: XEROX COPY WILL BE ACCEPTED, PAY BY STREET APT. NATIONWIDE CERTIFIED CHECKS & MONEY ORDERS WILL SHIP PROMPT- LY. ALL ORDERS ARE SHIPPED VIA U.PS.,STREET ADDRESS IS REQUIRED. ADD $2.50 PER SET FOR S.& H:TIN U.S. CONT. CITY, STATE ZIP

74

7'I # to t• I 71( /P A -C 6') < 1. I- hi LL x -) 9 7:I: 305 E. 46th St , z New York, N.Y.10017 ^z -C•

914. *II ' 9 tz -C )11

THE BUSINESS OF TYPOGRAPHY #4:°%

12 ORIGINAL TITLES TO CHOOSE FROM; Home & Family • At Work • School Days • Special Times Leisure Time • Travel • Sports • Seasons • Holidays Borders & Panels • Victorian Days • Art Aid Potpourri

New Catalog It's a matter of getting the Value. It's something we most for your money. build into every assignment. Features Clip In the typography business And another reason why it means experience, advice, Professional Typographic Art Books craftsmanship, and personal Services has grown 50% The complete selection of attention. It means choosing in the last year. FORMOST self-adhesive clip art the correct typesetting system Want to know more about books is featured in the all new when the budget is tight. how our business can be of Graphic Products Corporation Getting fast service when value to your business? Call Catalog No. 7. Also illustrated are time is critical. Steve Walsey. He'll show you many new sheets of FORMATT acetate art aids, new rolls of It's developing special how you can benefit from FORMALINE graphic art tapes, and relationships with our cus- our combination of service, BORDER BOARDS—an exclusive tomers. Whether we're choice, price and value. series of 32 pre-printed borders. recommending the most economical system for a job or copyfitting to fit a complex Send for free copy of the Graphic Products Catalog layout, clients from television illustrating the FORMOST library of clip art books. networks to major ad agencies and design firms rely on us COMPANY for our approach to problem- solving. Professional STREET Typographic Services, Inc. 7 East 47th Street CITY STATE ZIP New York, N.Y. 10017 (212) 832-1850 ATTENTION More than a typographer, Mail to: GRAPHIC PRODUCTS CORPORATION a way of doing business. 3601 Edison Place, Rolling Meadows, IL 60008 75

Two Great Ways to Save! 1. Stay on top of rising costs. 2. Lean back relaxed with improved quality. DUOPRINT papers, films, chemistry Rejected by a trade publication as "insulting to art directors," this are packaged for your cameras literal interpretation of Marshall McLuhan's phrase, "Advertising is Join thousands of Satisfied DuoPrint users who enjoy the cave art of the twentieth century," has been privately printed our low prices and high quality. for aficionados. In sepia color, 18 x 21 inches, it was conceived by art director Bernie Zlotnick, photographed by his friend Carl Fischer. corporation The Poster Company, 121 East 83 Street, New York 10028. $15 postpaid. 114 Beach Street, Rockaway, New Jersey 07866 (201) 625-4400 ®Trademark of ITEK Corp. ©Trademark of VGC Corp.

U.S. POSTAL SERVICE STATEMENT OF OWNERSHIP, MANAGEMENT AND CIRCULATION (Required by 39 U.S. C. 3685) 1. TITLE OF PUBLICATION A. PUBLICATION NO. 2. DATE OF FILING U&lc (Upper and lower case) ISSN 03826245 9/25/81 3. FREQUENCY OF ISSUE A. NO. OF ISSUES B. ANNUAL SUB- PUBLISHED ANNUALLY. SCRIPTION PRICE Quarterly 4 $6.00 4. COMPLETE MAILING ADDRESS OF KNOWN OFFICE OF PUBLICATION (Street, City County State and ZIP Code) (Not printers) 2 Hammarskjold Plaza, NewYork, NY 10017 S. COMPLETE MAILING ADDRESS OF THE HEADQUARTERS OR GENERAL BUSINESS peovoR AAF, OFFICES OF THE PUBLISHERS (Not printers) same as above 6. FULL NAMES AND COMPLETE MAILING ADDRESS OF PUBLISHER, EDITOR, AND 121A5.. ?ROM MANAGING EDITOR (This item MUST NOT be blank) PUBLISHER (Name and Complete Mailing Address) International Zrpeface Corp., 2 Hammarskjold Plaza, New York, NY 10017 ANONYMOUS EDITOR (Name and Complete Mailing Address) Edward Gottschall — International Typeface Corp., 2 Hammarskjold Plaza, New York, NY 10017 CLIP ART!. MANAGING EDITOR (Name and Complete Mailing Address) Aaron Burns — International Typeface Corp., 2 Hammarslqold Plaza, New York, NY 10017 7. OWNER (If owned by a corporation, Its name and address must be stated and also immediately thereunder the names and addresses of stockholders owning or holding 1 percent or more of total amount of stock. If not owned by a corporation, the names and addresses of the individual owners must be given. If owned by a partnership or other unincorporated firm, its name and address, as well as that of each individual must be given. If the publication is published by a nonprofit organization, its name and address must be stated.) (Item must be completed) FULL NAME COMPLETE MAILING ADDRESS International Wypeface Corporation 2 Hammarskjold Plaza, New York, NY 10017 Stockholders: Lubalin, Burns & Co., Inc. 50% 2 Hammarskjold Plaza, New York, NY 10017 Electrographic Corp. 50% 20 North Wacker Dr., Chicago, IL 80606 8. KNOWN BONDHOLDERS, MORTGAGEES, AND OTHER SECURITY HOLDERS OWNING OR HOLDING 1 PERCENT OR MORE OF TOTAL AMOUNT OF BONDS. MORTGAGES OR OTHER SECURITIES (If there are none, so state) FULL NAME COMPLETE MAILING ADDRESS None 9. FOR COMPLETION BY NONPROFIT ORGANIZATIONS AUTHORIZED TO MAIL AT SPECIAL RATES (Section 411.3, DMM only) The purpose, function, and nonprofit status of this organi- zation and the exempt status for Federal income tax purposes (Check one) Non-applicable (1) (2) (If changed, publisher must submit HAS NOT CHANGED DURING ri HAS CHANGED DURING explanation of change with this LJ❑ PRECEDING 12 MONTHS ❑ PRECEDING 12 MONTHS statement.) AVERAGE NO. COPIES ACTUAL NO. COPIES 10. EXTENT AND NATURE EACH ISSUE DURING OF SINGLE ISSUE OF CIRCULATION PRECEDING PUBLISHED NEAREST 12 MONTHS TO FILING DATE A. TOTAL NO. COPIES (Net Press Run) 150,000 167,570 B. PAID CIRCULATION 1. SALES THROUGH DEALERS AND CARRIERS, none none STREET VENDORS AND COUNTER SALES 2. MAIL SUBSCRIPTION 1,200 1,200 Your Prayers are Answered!

C. TOTAL PAID CIRCULATION (Sum of 10B1 and 10B2) 1,200 1,200 So you've seen enough homogenized art from other services but can't D. FREE DISTRIBUTION BY MAIL, CARRIER afford custom art. Your answer is in The 1982 CMS Clip Art Book, OR OTHER MEANS. SAMPLES COMPLI- 145,000 180,500 MENTARY AND OTHER FREE COPIES a collection of over 300 character clips—all in the unmistakable style E. TOTAL DISTRIBUTION (Sum of C and D) 146,200 181,700 F. COPIES NOT DISTRIBUTED of nationally syndicated cartoonist Phil Frank. 1. OFFICE US. LEFT OVER, UNAC- 3,800 5,870 COUNTED, SPOILED AFTER PRINTING 2. RETURN FROM NEWS AGENTS none none Name G. TOTAL (Sum of E, Fl and 2—should equal net Send us this coupon and we'll deliver press run shown in A) 150,000 187,570 1 more information on The 1982 Creative A ddress SIGNATURE AND TITLE OF EDITOR, PUBLISHER, BUSINESS 1 11. I certify that the statements made by MANAGER, OR OWNER. Media Clip Art Book by Phil Frank. me above are correct and complete John Prentki, V.P. 1 City State Zip PS Form (See instruction on reverse) June 1980 3526 (Page 1) Creative Media Services • Box 5955 • Berkeley, Ca. 94705 • 415-843-3408 76

Now You can order these ITC Type Specimen Booklets To obtain these handsomely designed, colorful ITC type specimen book- lets, just complete this order form and mail it to us. All orders must be accompanied by a remittance.Please make checks payable, in U.S. funds, to ITC at:

Name Now En vente Ces brochures-specimens

Company Firme Firma ITC sont livrables de stock Pour obtenir ces jolies brochures-specimens ITC, it suffit de remplir ce bon

Title Fonction Beruf de commande et de nous le retourner. Toute commande doit etre accom- pagnee d'un avis de paiement acquitte. Priere de payer en $ americains au nom de ITC: Street Address Rue et n° Strasse

City Mlle Postleitzahl und Ort Nunmehr kennen Sie diese Country Pays Land Code Postal Zip Code ITC-Schriftmusterhefte bestellen Unit Price Total Wenn Sie diese attraktiv entworfenen, farbvollen ITC-Schriftmusterhefte Quantity Prix unitaire Total Quantite erhalten mOchten,fullen Sie bitte den Bestellschein aus.Alle Bestellungen Anzahl Einzelpreis Gesamtpreis mtlissen vorbezahlt werden. Senden Sie Ihre Zahlanweisung (in U.S.- ITC BOOKLETS: Wahrung und zahlbar an ITC) zusammen mit dem Bestellschein an: ITC American Typewriter' $1.00 ITC Avant Garde Gothic' with Oblique 1.00 ITC Avant Garde Gothic' Condensed 1.00 ITC Barcelona' 1.00 ITC Bauhaus' 1.00 ITC Benguiat® 100 ITC Benguiat® Condensed 100 ITC Benguiat Gothic' 1.00 ITC Bookman' 100 ITC Century' with Condensed 100 ITC Cheltenham' with Condensed 100 ITC Clearface® 100 ITC Eras' 1.00 ITC Fenice 100 ITC Franklin Gothié® 100 Friz Quadrata 100 ITC Gaillard' 100 ITC Garamond''" with Condensed 100 ITC Isbell" 100 _ Italia 100 ITC Kabel' 1.00 ITC Korinne with Kursiv 100 ITC Lubalin Graph' with Oblique 100 ITC Newtext' 100 ITC Novarese" 100 ITC Quorum® . 100 ITC Serif Gothic® 100 ITC Souvenir® 100 ITC Tiffany with Italic 100 ITC Zapf Book' 100 ITC Zapf Chancery' 100 ITC Zapf Dingbats ® 100 __ ITC Zapf International ® 100

U&Ic BACK COPIES: Foreign U.S. Price U&Ic, Vol. 1, No. 2 $2.50 $1.50 U&Ic, Vol. 1, No. 3 2.50 1.50 __U&Ic, Vol. 2, No.1 2.50 1.50 _ _U&Ic, Vol. 2, No. 2 2.50 1.50 U&Ic, Vol. 2, No. 3 2.50 1.50 U&Ic, Vol. 3, No. 2 2.50 1.50 _U&Ic, Vol. 3, No. 4 2.50 1.50 Wile, Vol. 4, No. 1 2.50 1.50 U&Ic, Vol. 4, No. 2 2.50 1.50 U&Ic, Vol. 4, No. 3 4.00 1.50 U&Ic, Vol. 4, No.4 4.00 1.50 U&Ic, Vol. 5, No.1 2.50 1.50 U&Ic, Vol. 5, No. 2 2.50 1.50 U&Ic, Vol. 5, No. 3 2.50 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. 2 2.50 1.50 U&Ic, Vol. 6, No. 3 2.50 1.50 itc galliard _U&Ic, Vol. 6, No. 4 2.50 1.50 U&Ic, Vol. 7, No. 1 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. 7, No.4 2.50 1.50 _ U&Ic, Vol. 8, No.1 2.50 1.50 U&tc, Vol. 8, No. 3 2.50 1.50 U&Ic, Vol. 8, No.4 2.50 1.50

Total Order, in U.S. funds $ Add postage for booklets $ .50 NY. Residents add state sales tax $ Remittance in U.S. funds enclosed $

Montant de la commande $ Affranchissement des brochures, en $ americains $ .50 Pa iement ci-joint (en $ americains), total $ Notice to typographers: for purchases of 50 or more ITC Gesamtprels (in U.S.-Wahrung) $ specimen booklets,contact Zuz(iglich Porto $ .50 Mr. John Prentki for special

Belgefiligte Zahlanweisung (In U.S. -Wiihrung) $ typographer's price. 77 THE ITC IYIDEFACE COLLECT CI IS DESIGNED TO MAKE SPECIFYING TYPEFACES JIM 11 The ITC ITC Century ITC Quorum Collection ITC Cheltenham ITC Serif Gothic includes all ITC Clearface ITC Souvenir ITC typeface ITC Eras ITC -Many families ITC Fenice ITC Zapf Book issued ITC Franklin Gothic ITC Zapf Chancery through 1980 Friz Quadrata ITC Zapf International ITC Garamond ITC American Typewriter Italia PLUS The ITC ITC Avant Garde Gothic ITC Kabel Display Typeface ITC Bauhaus ITC Korinna Collection ITC Benguiat ITC Lubalin Graph AND The ITC ITC Benguiat Gothic ITC Newtext ZapfDingbat ITC Bookman ITC Novarese Series

ITC Bengulat ttook

abcdefghtjklmnopqrst abcdefghijklmnopqrstuvwxyz bcdelgpilldInnopqrstunexyz Al3C.DERMIJKLMTIOPQRSTUVWXYZ a ABCDEMMIJKLEINOEQESTUVWXYZ ABCDEFGHIJKLM NOP 1234567890&$seg% typography is the result ot nothing 0 to Excellent e in AMA/131f-/11/KRAVV•1511' re than an attitude. Its appeal comes front the unde r thusltd abcdefghijklmnopq (02Ettlaal.oefi rstandIng used in its planning the deskPe re. In contemporary advertising the in•rtect integrate ABCDEFOHIJKLMN .I2345tatahti) abcdefghijklmnopgrstuvwxyz

5TUVWXYZ ABCDEFOHIJKLMtiOEQR Excellence in typography is the result of nothi attitude. Its appeal comes II- abcdefghijklm ng more than an the understanding used in its planning; th onl e designer must care. In contemporary advert ABCDEFONJK abodefghijklmnopgrstuwacyz VWXYZ ABCDEFGHIJKLMNOPQRSTU in typography is the result of Excellence abcdefghik nothing more than an attitude. Its appeal comes from the understanding used in it 0.WWW agost ■no, the designer must care. In to 26 s planning; ABCDEFGH MS MSMISSN MM.!, NISMS12.34,71M0 abcdefgh Oki m nopqrstuvwxyz ^"..n• Ilytivwelii mkt., mon. Min ..1“ Ms ...PM coals, km, itte mdsrmods.,,,m, plam ABCDEttili 1.1KUINOPQRSTUVWXYZ good ., ■sm In conegvnonran..evr.1111, Ove Inecgration 01. 4WWW1,11.0. °Mr') litIVIand■ unothottod, Excellence in typography is the result mann., tt nu. roam. Ine a.. tot .atata. t hunt, ormss nada abcdehik of nothing more than an attitude. Its tadehtni#JonotannNuotla, appeal comes from the understand i reasons Al0Chenottahlt.MNOnatitialaha.a712.34507.0 ng used in its planning: the designer L 14r.tn....W.1r is the nothing mote Wan ABCDEGI an attnnde.1 apycal tomes noml ndroaanding then in as 01a 15 dna tirvayirr rms. Are In COOIernp0., abcdefghijklmnopgrstuvwxyz Ix rt.., the net, nnattanon des.do etermans oath to use anorthodto m.o.," It a. mason-Mr use ol t ABCDEFGVIIJKLMNOPQFiSTUV ain dtahhitklomorntrattmes,z Excellence in typography is the 711X.Orfl Mr10...2K,11)VPAYZ. 12.3-1507a90 abcdei Benguiat Elacettents in hpothaphy ttn. rest* of not !ino onto' result of nothing more than an than an attitude Its appeal t ones front to undet,t.nt ding osell in its Odeon,. the 4...gr., e.Into attitude. Its appeal comes fro nterthanan Ma r° thing the pert..< t intrwation ot desi it C1411-wrt, Otanatn),.....dfnaIth tatanteaphs m the understanding used in ABCDF Book

Please print/Bitte im Druckschrift/Ecrivez en caracteres d'imprimerie 1. Text blocks plus alphabet showings for sizes 6,7,8,9,10,11, International 'Typeface Corporation 12,14,16,18,20 and 24 points. 2 HammarsIjold Plaza New York, New York 10017 2. Alphabet lengths in points for each text point size shown. Please send me "The ITC lypeface Collection: These relate to an easy-to-use copyfitting chart at the back Enclosed is my payment of $39.95! Ship my book postpaid. of the book *New York State residents add applicable sales tax. For shipments outside the United States, please remit $41.45. 3. Alphabet display showings in sizes 30,36,48,60 and (All orders must be accompanied by a remittance payable in 72 points plus 1" caps. U.S. funds. No C.O.D.s.)

4. Complete character showing of each ITC display font. NAME/NAME/NOM

STREET ADDRESS, STRASSE/RUE ET N° 5. Headline presentation in display size range.

CITY/POSTLEIZAHL UND ORTNILLE Basic facts about "The ITC Typeface Collection": 572 pages. 121/2"x121/2'' Hardbound. Smyth sewn for easy opening. STATE AND ZIP CODE/LAND/PAYS, CODE POSTAL _J 78

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SURNAME GIVEN NAME NOM PRENOM ZUNAME VORNAME

TITLE FONCTION BERUF

FIRMA COMPANY FIRME

ADDRESS ADRESSE STRASSE

CITY VILLE CODE POSTAL POSTLEITZAHL UND ORT

STATE ZIP CODE PAYS LAND

SIGNATURE SIGNATURE UNTERSCHRIFT

DATE DATE DATUM

BUSINESS CLASSIFICATION CLASSIFICATION PAR PROFESSIONS FIRMENKLASSIFIZIERUNG (Check one only) (Ne cocher qu'une seule fonction) (Bitte eine ankreuzen) (a) Printer (Commercial, forms, etc.) (a) Imprimerie (commerciale, formula ires, etc.) (a) Druckerei (Akzidenzen, Formulare, usw.) (b) Typesetting, Composing (b) Composition a facon (b) Schrittsetzerei (c) Advertising Agency, Art Studio, Design (c) Agence de publicite,Joureau de creation, (c) Werbeagentur, Grafikdesignatelier studio (d) Newspaper, Magazine (d) Zeitungs- oder Zeitschriftenverlag Journal quotidien, periodique (e) Book Publisher (d) (e) Buchverlag (e) Edition de livres (f) Verpackungsdesignatelier oder (f) Packaging Emballage Verpackungsdruckerei (g) Internal Printing (not for resale) (f) Imprimerie integree (non commerciale) (g) Hausdruckerei (h) Education (g) (h) Enseignement (h) Lehrer (Schule, Fachschule, Universitat, usw.) (i) Libraries (i) Bibliotheque Bibliothek (l) Government (I) ,.. (k) Corporation advertising, design, promotion (j) Fonction publique (j) Beharde Departement de publicite d'une entreprise Werbeabtellung von Industrie- oder Student (k) (k) (I) Handelsfirma Other (I) Etudiant (m) Student (m) Divers (I) MY PRIMARY JOB FUNCTION IS: (m) Andere (bitte beschreiben) (Check one only) MON ACTIVITE PRINCIPALE EST : (Ne cocher qu'une seule fonction) MEINE HAUPTBERUFSTATIGKEIT 1ST: (n) Artist Illustrator (Biffe eine ankreuzen) Art Director, Creative Director (n) Dessinateur, illustrateur (o) (n) KOnstler, Illustrator (p) Pasteup Artist (o) Directeur artistique, directeur de la creation (o) Art-Direktor, Kreativ-Direktor Type Director (p) Metteur au net (q) (p) Reinzeichner (r) Graphic Designer (q) Type Director (q) Typograf Advertising Manager, Sales Promotion (r) Graphiste (s) Grafikdesigner Manager (s) Chef de publicite, directeur de la promotion (r) Werbeleiter, Verkaufsforderungsleiter (t) Production Manager (t) Chef de la production (s) (t) Produktionsleiter __ (u) Printing Buyer, Purchasing Agent (u) Acheteur, vendeur d'espace (v) Principal, Officer (v) Chef de service, employe (u) Drucksacheneinka' ufer (v) Firmeninhaber, Direktor (w) Other (w) Divers (w) Andere (bitte beschreiben) NUMBER OF PERSONS EMPLOYED NOMBRE DE PERSONNES EMPLOYEES IN YOUR ORGANIZATION DANS VOTRE FIRME ZAHL DER BESCHAFTIGTEN MEINER FIRMA ODER BEHoRDE: (1) 1-9 (1) 1-9 (2) 10-19 (2) 10-19 (1) 1-9 (2) 10-19 (3) 20-49 (3) 20-49 (4) -50-99 (4) 50-99 (3) 20-49 (4) 50-99 (5) 100-249 (5) 100-249 (6) 250 and over (6) 250 et plus (5) 100-249 (6) Uber 250 79 The ITC Center was established to introduce new and exciting typo/graphic arts experiences. It is now a growing resource for students and professionals. ■ Trang 11 Cal ® .0,7sw SEPARATIONS MAKE THE DIFFERENCE € The following slide shows, based on ITC Center exhibitions, are cur- AM rently available for rental from ITC.Rentals are for a two week period.

International Calligraphy lbday 379 slides representing the work of more than 100 calligraphers from five continents. $50.00 rental plus $50.00 deposit. we'll IP Lubalin in Paris 350 slides of work from Herb Lubalin's design studio. $50.00 rental plus proofN $50.00 deposit. a Type and '1Whnology 70 slides of the exhibition designed by Mergenthaler Linotype Company and the Cooper Union for the Advancement of Art and Architecture. $25.00 rental plus $25.00 deposit. it ! Vision '80s 45-minute slide lecture prepared by Edward M. Gottschall, Editor of U&lc and author of the "Vision '80s" report. For slides and script $40.00 rental plus $40.00 deposit. For rentals outside the United States, please add $25.00 U.S. to the rental call Nr and $25.00 U.S. to the deposit fees. For further information and/or a copy of the rental agreement, contact Laurie Burns, Assistant Director, ITC Center, 2 Hammarskjold Plaza, NewYork, NY 10017, 212-371-0699. toll g% free m■ L 1E8000 °

SOLUTION ID PUZZLE ON PAGE 18.

IkAittAGZAPFCHANC.-E- RYIKOOBFPAZ 327-9786 L UZAPFDINGBATSCAKEECAFRAELCS N TT S OUVM OLSUAVAKORINNANTGARB Yes...you are only a phone call away from greater sav- D OA MAITA LIANSHTAOTIYTNRNATLE ings, better quality, and faster service buying color sep- AMI O BRIZ SSERIOFXBFARORYDCDAR arations than you have ever known before. L SU N OAEC AFTAFSRPEWQKRNESIINN .n one of the finest teams of S RG ZLORT CMUROUQALTOTZSROHDOA We have created at 7:::(v.. color separation craftsmen ever assembled, camera- TONATTAHNAMNEERSMOWNNCHUTNIS men, strippers, dot etchers, and pressmen that are all YMEPBISGSNOLECRABAMENTJVOOTE dedicated to producing high-quality color separations, MABFOSOACHELTENHAMDCNEWEGVAR 7::::G .Cr. separations. INTBLERTIFFANYHEANDLINTNEANO true professionals producing E B L O D E P I O N E E R A S R O E C I N E F I D R R M To augment their fine technical ability, we have the H HNOENLUBOLCNEACOEGERNRRREEA most advanced photographic systems and our in-house APAKILINESBOUGHANMZORIACASTN press proofing staff is second to none. IATANSRTSTLPITCWARINRENRGEND offers you fast, reliable service nationwide RRAKORONAESTIERSLCASEIKOENIE with door to door service! But best of all, we offer this L GRBSAGRCORWSTYMIEHAIRLSTEFS fine color separation service at a very reasonable cost... INDCOUOROEDINSALMCONDEILNGPN including press proofs with minor corrections. Call toll N IASTOAMINESFMOLLKABELNFARAE free -1 800 327-9786 and start saving today - we are only E LUYABKHONDAFGATIEIJTYGOVIZD a phone call away! EAQAMORMUTAASUOCAA 11/4PROGAZRN MBZRINASAAEZNERTHCA UTSOZRO G UINORMURNBGROUCHIlkpO THVELNC P.O. Box 3633—S.W. 57th Terrace—West Hollywood, Fla. 33023 E LROAPCASLONHEADLI -NERNIBNYLC H MFGBENGUIATGOTHICCENECOBEVS CUPTIGHTMRETIRWEPYTNACIREMAL 80 CALENDAR OF EVENTS

The ITC Center was established to introduce new and exciting typo/graphic arts experiences. It is now a eri #5df(kifri°7#3growing resource for students and professionals.

Each Tuesday from 11:00 a.m. to 12:00 noon he will be at the ITC Center in person and will give informal talks about his work— and anything else you would like to ask him. Not really Group Therapy—but a little like it.

Schools and associations (and individuals!) are welcome to meet Lou Myers on 'Tuesdays, 11:00 a.m. to 12:00 noon. For reservations please call Laurie Burns at 212-371-0699.

CLOSES JANUARY 22,1982 Letters Alive: A Letraset Show

Future Exhibitions

TYPOGRAPHICA/USSR

TYPOGRAPHY 3: THE 28TH ANNUAL TYPE DIRECTORS CLUB EXHIBITION THE ANNUAL BROADCAST DESIGNERS ASSOCIATION EXHIBITION OF VIDEO GRAPHICS THE CALENDARS OF OLAF LEU FEBRUARY 8-APRIL 1,1982 NIPPON TYPOGRAPHY KYOKAI Group Therapy by Lou Myers Lou Myers has to be seen to be believed. And Hours: 12 Noon-5 P.M. Admission: Free Open Days: Monday-Friday (Closed February 15, 1982) even then it's difficult. Or perhaps it's better to hear him in his stream-of-consciousness talk- ITC Center ing as he expounds on his theories on life, from 2 Hammarskjold Plaza (866 Second Avenue—between 46th and art to politics. During February and March, the 47th Streets), 3rd Floor, NewYork, NewYork 10017 last two decades of Lou Myers' satirical draw- ings will be on exhibition at the ITC Center. For more information call (212) 371-0699.

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