30 Typographic Communications Today

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PUBLISHED BY INTERNATIONAL TYPEFACE CORPORATION, VOLUME SIXTEEN, NUMBER ONE, WINTER 1989

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04 Major New Bode, eLUewed & Summarized im tfii& 116,6,ue. raw 30. ITC EXHIBITION SCHEDULE At the ITC Exhibition Center A retrospective of the work of British calligrapher Donald Jackson, scribe to Her Majesty's Crown Office at the House of Lords, London. The Letter E A troublesome character with a questionable past - it turns out to be our most useful vowel. The Annual Report... a Perennial Headache The average reader spends a total of nine minutes with it, so why all the angst? Al Hirschfeld: Last of the Broadway Caricaturists His caricatures of Broadway stars document 60 years of New York theatre history. Families to Remember Continuing through March 16th Kaye and Fine, and ITC Caslon® - two en- 12 during, universally appreciated families. Typographic Milestones: Jan Tschichold 16 PAINTING WITH WORDS How a radical thinker almost single- handedly changed the course of typographic design in the 20th century. "Trustees of the Future" Prize Winners First, second and third prize-winners 20 in the fourth annual Herb Lubalin International Student Design Competition. What's New from ITC? ritish calligrapher, Donald Jackson, M.V.O., is (Good things come in threes). 24 scribe to Her Majesty's Crown Office at the House of Lords, London. One, ITC American Typewriter ® Italic, This retrospective exhibit of his work is comprised of more at long last, is now here to round out that family. Two, ITC Isadora;" a script than 50 pieces that were created using methods and techniques that especially designed for digital bitmap have not been altered since the 14th century. Included in typesetting. Three, ITC Flora,- a unique this display of writing, illuminating and gilding are heraldic devices, upright sans serif cursive face. peerages, charters, jewelry, a family tree, hand-bound books "Typographic Communications Today" . by Ed Gottschall. 30 and a tapestry. Modern adaptations of traditional forms of the art of A new all-encompassing book about calligraphy are a part of the exhibition as well. typography as a communications tool covers the evolution and revolutions, pioneers and practitioners and a critique Alphabet: The Story of Writing (produced by Chatsworth Films, Ltd., of the past 100 years' designs. Herein, a 17- London) is being shown on video throughout the day. page summary of the 256-page book which is to be released shortly. This exhibition was organized by the London Link, St. Paul, Minnesota. Three Thoughtful Alphabets Cool logic and light-hearted whimsy do not 47 usually co-exist, but here they do. Take Off Your Glasses... 48 March 17—June 6 The physically impaired may lack mobility, but not taste. Designers offer The ITC Center will be closed for renovation. some considerate, handsome devices for people with disabilities. June 7 through August 24 Illiteracy-the Price TDC 35 A call for entries in the fifth annual Herb 52 The 35th Annual Typographic Design Competition Lubalin International Student Design Competition. Sponsored by the Type Directors Club

Hours: 12:00 noon-5:00 p.m. Open Monday—Friday Closed Monday, February 20 VOLUME SIXTEEN, NUMBER ONE, WINTER 1989 EDITOR: EDWARD GOTTSCHALL ART DIRECTOR: WEISZ YANG DUNKELBERGER INC. EDITORIAL DIRECTOR: ALLAN HALEY Admission: Free ASSISTANT EDITOR. RESEARCH DIRECTOR: JULIET TRAVISON ASSOCIATE EDITOR: MARION MULLER ART PRODUCTION MANAGER: ILENE STRIZVER ART/PRODUCTION: PAT KRUGMAN, KIM VALERIO, SID TIMM ADVERTISING MANAGER: CAROL MARGOLIN ADVERTISING PRODUCTION MANAGER: HELENA WALLSCHLAG ITC Center SUBSCRIPTIONS: ELOISE COLEMAN 2 Hammarskjold Plaza © INTERNATIONAL TYPEFACE CORPORATION 1989 U&LC (ISSN 0362 6245)15 PUBLISHED QUARTERLY BY INTERNATIONAL TYPE- (866 Second Avenue, between 46th and 47th Streets) FACE CORPORATION, 2 HAMMARSKJOLD PLAZA, NEW YORK, NY 10017. ITC IS A SUBSIDIARY OF ESSELTE LETRASET. U.S. SUBSCRIPTION RATES 510 ONE Third Floor YEAR: FOREIGN SUBSCRIPTIONS, 515 ONE YEAR: U.S. FUNDS DRAWN ON U.S. BANK. FOREIGN AIR MAIL SUBSCRIPTIONS-PLEASE INQUIRE. SECOND-CLASS POSTAGE PAID AT NEW YORK, NY AND ADDITIONAL MAILING OFFICES. POST- New York, NY 10017 MASTER: SEND ADDRESS CHANGES TO U&LC, SUBSCRIPTION DEPARTMENT, 2 HAMMARSKJOLD PLAZA, NEW YORK, NY 10017. ITC FOUNDERS: AARON BURNS, HERB LUBALIN, EDWARD RONDTHALER

ITC OPERATING EXECUTIVE BOARD 1989 MARK J. BATTY, PRESIDENT AND CEO AARON BURNS, CHAIRMAN Morning hours available for schools and professional organizations by reservation only- EDWARD GOTTSCHALL, VICE CHAIRMAN ALLAN HALEY, EXECUTIVE VICE PRESIDENT For more information and group reservations call (212) 371-0699. ANN OLSEN, CONTROLLER LAURIE BURNS, PUBLIC RELATIONS AND EDUCATIONAL ACTIVITIES

MICROFILM COPIES OF U&LC MAY BE OBTAINED FROM MICRO PHOTO DIVISION, BELL & HOWELL, OLD MANSFIELD ROAD, WOOSTER, OH 44691 HEADLINE: ITC AVANT GARDE GOTHIC DEMI • SUBHEAD/INITIALS: ITC NOVARESE MEDIUM ITALIC TEXT. ITC SLIMBACH BOOK, BOOK ITALIC, BOLD FRONT COVER: ITC FAT FACE, ITC FLORA BOLD, ITC ISADORA REGULAR TABLE OF CONTENTS: ITC AMERICAN TYPEWRITER BOLD, MEDIUM ITALIC MASTHEAD: ITC NEWTEXT REGULAR ave you ever noticed that the Tuesday morning meeting which is supposed to answer everybody's questions rarely does? This is not a new phenomenon; it has long been prevalent in business. Now, unfortunately, it is beginning to creep into other aspects of our lives. There are less and less simple answers to questions like: "Why doesn't my car startr "Why isn't my report worth an 'A'r or "What do you mean, you can't balance the checkbook?" So it is with the origins of our alphabet. The seemingly simple question is,"What's the origin of the The "E" is normally letter 'E'?" Sorry, no simple answer. drawn as a somewhat narrow Several experts believe that letter. Its width, without serifs, is our "E',' or at least some of the sounds approximately one-half of its it represents, was once indicated by cian writers were among the first to height. the Egyptian hieroglyph for a house. use symbols to represent sounds, The middle horizontal Others contend that it grew out of rather than employing different sym- the sign represented as a window bols or pictures to signify a particular stroke (or arm) is almost always And others still, attribute the "E's" word. The Phoenician language drawn above the true center of ancestry to the Egyptian symbol of was based on 22 consonant sounds the character. This gives the letter (vowels were relatively unimportant), a courtyard. To further complicate both balance and proportion. In matters, our "E',' one of the most each with a name—and a symbol to some mannered designs, espe- commonly used vowels, actually represent that sound in writing. cially those with art nouveau started life as a consonant. One of these 22 sound-sym- The Phoenician writing sys- bols was the precursor to our "E'.' The overtones, the middle stroke is tem is generally credited as the first Phoenician which they called placed quite high. step toward the creation of our cur- he, and roughly represented the

ITC Fen ice® Regular rent "phonetic" alphabet. Phoeni- sound of our "h," was probably the FA great-great grandparent of the fifth letter in our alphabet. ITC Benguiat® Book

1:16 When the Greeks adopted The middle stroke is also the Phoenician writing system, they normally the shortest of the three had difficulty pronouncing about The Phoenician )■\ was half of the Phoenician letter names; horizontals. The differences one of the problem characters. The and so they modified the trouble- should be subtle (in many cases Greeks could not pronounce the some characters to bring them into first sound of the letter name. Being not even optically apparent), but sync with the Greek language. Some pragmatic people, and living in less the center stroke should be were altered only slightly, others complicated times, their answer to slightly shorter than the top, and drastically, and still others were the problem was just to drop the the top not as long as the baseline dropped altogether. part of the name that was causing stroke. Although not as obvious, the difficulty. As a result the Phoeni- these differences are also found cian "he" became simply "e" —and thus our most useful vowel was born. in sans serif designs. Overtime, the Greeks gradually simplified the design of the Phoenician character, and flopped it ITC Avant Garde Gothic® Book so that its arms were pointed to the E right. The end result looked remark- While simple answers ably like the E found in typefaces may be becoming a rare occur- like Helvetica - or ITC Avant Garde rence, the simple beauty of our Gothic!' The final version was given the name epsilon and represented a alphabet endures.

short e sound. — Allan Haley

HEADLINE ITC GALLIARD BOLD ITALIC WITH ROMAN TEXT ITC STONE SANS MEDIUM. ITC STONE SERIF BOLD ITALIC BYLINE: ITC STONE SERIF BOLD CAPTIONS: ITC FRANKLIN GOTHIC BOOK recent exhibit at the Cooper-Hewitt Pied* Museum in New York lieoPn City reviewed 475 years of annual reports. What Ai prior - started as a simple, hand-written financial statement has evolved into a super graphic challenge for designers—

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03 co 0 o 02, oo -40a .-oZ, oo o o ac ad' WORKHOUSE. ", rue g 1.061.1,1{ the great Number of 'Pr.e, yeri alto of the other ,rryry And her ter sad 1.b, Edheateri, tinintarned, arid hyployed by the fb .Yor ,irer- the I' 00 I( of the City of Lmi. the We: ta-ti Quote

(IINGORPOkAl "The Company OF the People Y

ASSETS.

px aicipal and R. R. Bonds , and Stocks .. $150,530,10', As and Mortgages. , 140,343,953.89 .1 Estate ... 23,740,237,24 . 4,382,270,90 as to , 10,536.20.8,35 ariums, deferred and in course of collection 1 " 6,792,.5.53.19 rued Interest, Rents, etc, 52,197.00

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Number of Policy Claims paid in 1.91. • ' • cAverag.Mg orte policy paid fur every 55 seconds of each business day (,f 8 hours,) Amount paid on the Above, .• , .. • • . • (Averaging 1(,7.82 a minute of each business day of 8 hours.) Polio-Claims, Dividends and Surrender-Values paid Policy-holders in 1911, plus addition to $70,482,700.49 otal Outstanding Insurance (larger than that of id Policy-holders since organization, plus S678,013,740.19 any other company in the world).. 2,399,878,087.0 amount now invested for their security 1■•••■ ••■•111111 •111• 526 per day in Number of Claims Paid. 0,432 per day in Number of Policies Issued and Revived. $1,524,208 per day in New Insurance Issued and Revived. H AIL Company 033,386.44 per day in Payments to Policy-holders and addition to Reserve. er day in Increase of Asset, It happens every year. •Like tax season to an accountant ...harvest time to a farmer... Above left: handwritten minutes of Christmas in the retail world, the annual meeting of the Mercers Company •(•)? London, date back to the 1650s. Such simple annual report season has records were the precursors of our contemporary elaborate annual reports. become frantic-time in the Left: U.S. West, a spinoff from AT&T sought to link its name symbolically with the graphic design world. All other West by packaging and tying its annual report projects grind to a halt. Design- with a western-inspired feathered string. Above right along with the idea of ers don't answer their phones; joint-ownership of companies came investors' demands for annual financial reports. Shown they hole up behind locked here are a collection of annual reports issued doors to contemplate how to turn from the 16th to 19th century. Background image, this page: a no-frills dry statistics into an adventure 1912 annual report of the Metropolitan Life Insurance Company in reading. Right: in keeping with its product, the Why all the anguish? All a Norlin Corporation, a producer of musical instruments, packaged its 1979 annual report stockholder really wants to know in a record jacket. is: "How'm I doing? Who's running the company, and what are their plans for the future?" Actually, it can all be told in a few words and numbers; and that's exactly how the earliest financial statements were rendered. The very first annual reports in the Cooper-Hewitt exhibition were financial records of old English guilds. One, dating back to 1515, was merely a handwritten transcript of the minutes of oral business done at a guild meeting, indicating receipts and payments. With the expansion of commerce in the early 1600s, the need for capital led to the formation of joint-stock companies. Investors in such business ventures naturally needed to be apprised of their company's financial status, and so in England and America (which followed English business customs) the governments decreed that publicly owned trading companies must issue annual reports to their constituents. Through the centuries, for the most part these annual reports were simple printed statements containing only skel- etal information; company executives often used their own discre- tion in choosing what to report and what to withhold from investors and potential stockholders. But in America, the resounding 1929 stock market crash put an end to such discretionary disclosures. To prevent misrepresenta- Annual Reports and the Corporate Image. Like tion and future financial chaos, the Securities and Exchange Act was the architecture it chose for its headquarters...like its interior decor passed in 1934. It required all companies trading publicly to provide ...its corporate art collection... its civic and cultural contributions, a complete financial statements annually to their stockholders and company's annual report could become another vehicle for project- would-be investors. Though such government intervention usually ing a noble public image. stuck in the craw of big business, some companies began to see how It didn't seem to matter that a 1945 survey by Financial the nuisance annual report could be turned into a corporate asset. World magazine indicated that all stockholders wanted in an annual report was: a convenient magazine-size format, detailed financial information in simple charts and non-technical language, and an indication of the company's future plans. They could be quite content with a 2-color job and required no elaborate embellishments. Nevertheless, in the mid-'40s and '50s, many prominent Left: written annual reports go back to the early 16th century. This leather bound minute companies began to seek out distinguished designers to project a book from an English painters and stainers touch of class in their annual reports. They willingly shelled out guild contains records from 1510 to 1810. Below: cover of an 1878 annual report funds for fine art; for photographers to fly halfway 'round the world issued by the Pennsylvania Railroad. for the perfect location shot; for the most luxurious paper. Fine typography, unique diecuts, embossing—every nuance of design that might connote the company's lofty standards and values was endorsed. Budgets for annual reports soared. Today, among the in of -Itlitniors Fortune 500 companies, quarter-million to million-dollar expendi- tures for annual reports are not uncommon. Pennsylvania Railroad Co. The Designer's Dilemma. Regardless of the generous C F.:1T 01,T) budgets allocated, and the almost certain guarantee of repeat busi- ot the A I:Wing. had ness, for most designers the annual report is a mixed blessing. The PROCEEDIN.n,' -: project can be a straitjacket. The contents are basically the same ANNuAL NI ET 1N;;

Above center: a London design firm, the Michael Peters Group, projected an image of creativity with the imaginative pop-up spread dramatizing its varied enterprises. Far right Domino's Pizza has captured attention with its dramatic annual reports. One year it was LKx;LLY 3 seX PRIX TECS, AM LI MIX :.•T X ELT packaged in a box of dominoes, another year in a pizza 157E . box. Shown here is a recent annual report distributed in a canvas newsboy sack. HEADLINE: ITC CHELTENHAM BOOK CONDENSED. BOLD CONDENSED ITALIC. ULTRA LEAD-INS: ULTRA CONDENSED TEXT: BOOK CONDENSED CAPTIONS/BYLINE: BOOK CONDENSED ITALIC One report was packaged in a wooden box, complete with a set of dominos. Another year, it was designed in-the-round, like a pizza pie, and delivered in a Domino Pizza box. A third year, the report was printed in newspaper format and packaged in a canvas newsboy-type bag. A food chain, Red Owl Stores, packaged its 1970 report in a plain brown paper bag with a cashier's slip attached. Norlin, a producer of musical instruments, issued its 1974 report in a record album sleeve. And a design company involved in package design and marketing of a variety of products and services, went all out on a center spread with expensive pop-up illustrations of their company's projects. Not every designer gets the opportunity to be innovative and playful. Most clients' images require sterner stuff. But converse- ly, those who get the green light to let their imaginations soar and come up with a stunning, novel format one year, had better be prepared to match it or top it the next time around. For designers who are jaded and have mixed emotions about the "perennial annual report" there seems to be no end in sight. Even though the Securities and Exchange Commission year-in, year-out. Opportunities for adventurous design ideas are recently ruled for allowing companies to issue short-form reports, decidedly limited by the personality the corporation must project, by no company has taken up the option. There is hope though. Judg- the whims of the CEO and the countless lesser executives who also ing from the way communication technology has influenced design get into the act. And aside from all the esthetic design decisions, in the past, we may be heading into an era when scriptwriters, there are, according to Lou Dorfsman, renowned former creative animators, and camera crews will take over from graphic designers, director of CBS, Inc., subtle psychological problems to resolve: and annual reports will be dramatized on videotapes, ready to be Marion Muller "How, for instance, to represent the company's financial health with- popped into VCRs. It's possible. out making the stockholders nervous? If you've had a better-than- expected year and are tempted to produce a prosperous-looking report, they may be contentious about the undue expense. On the other hand, if the company has had a bad year, you certainly don't want to squander funds on a showy job. But neither do you want to rub the bad news in the stockholders' faces by going cheap:' Ironically, in spite of all the angst and efforts expended on the annual report, it's an accepted fact that the average reader spends very little time reading it—about 9 minutes total. That being the case, special effort goes into making a speedy but memorable impression. Probably no other single element gets as much consideration as the cover or package in which the report is sent. Unusual Formats. Although the Cooper-Hewitt exhibit gave equal attention to photography, illustration, typography, and the handling of charts and graphs, the most arresting reports were those presented in unusual formats. Among those designed to intrigue a busy executive were a series designed in the early 1980s for the Domino Pizza company.

The exhibition and accompanying 36-page full color publication, available from the Cooper-Hewitt Museum Shop for $3.95, plus tax, was made possible with a grant from the Northwest Paper Division of the Potlatch Corporation. 8

You see, a cartoon is something Fifty years ago that has a literal idea —a point of New York City had more major view. I've done them, but as the morning, afternoon and evening years went on I just worried about newspapers than could fit on a line and form and space:' For newsstand at any one time. Now Hirschfeld the distinction between there are only three. Fifty years ago the cartoon and caricature is pro- New York City also had more theat- found. "A cartoon doesn't depend rical caricaturists than these many on the quality of the drawing so newspapers could absorb. Now much as on the idea. If it's a good there is only one; and he is the mas- idea, anyone can do it. But a carica- ter. Since 1925, Al Hirschfeld has ture has another quality. The word been documenting, in pen and ink, 'abstract: I suppose, is the only one America's plays and players for I can use. Are Picasso, Lautrec the drama section of the New York and Hokusai caricaturists, graphic Times. At 85 years of age, this artists or painters? They were all redoubtable artist, with his mane of caricaturists, in my view." flowing white hair and long, pointed After a long stay in Paris beard can still be found at almost during the early '20s, Hirschfeld any Broadway premiere in a first row began his career as a journalist, aisle seat making feverish sketches contributing political cartoons to in the dark. He is the last of the left-wing periodicals, including the Broadway caricaturists, and also New Masses. At one time he was the most legendary. The odds are even asked to replace Caesar, the that in the foreseeable future no last political cartoonist for the one will be able to fill his well-worn shoes. "I never wanted to be a cartoonist:' said Hirschfeld during a recent interview at his New York studio. "Actually, I started out as a sculptor and then a painter. I don't consider myself a cartoonist either. fflBs

Joel Grey and Liza Minnelli, "Cabaret," 1972.

by Steven Helier

Mary Martin and Ezio Pinza, "South Pacific," 1949. 9

Times. He refused because the con- deemed Hirschfeld's drawings straints of the form worried him: as offensive to Catholic unions. "For me doing political cartoons was The hypocrisy of that, he felt, was a great responsibility to the reader. intolerable. You're influencing a lot of people, "I realized that to do political particularly young people. And things you have to be able to switch unless you really believe in what with the times. You can be pro- you're saying, be careful:' Though union one day and anti-union the he had never joined any party, he next. I'm no good at that. I had a was an ardent supporter of labor point of view about what I wanted to unions and fervent enemy of fas- do and say, and I've stood by it all cism both here and abroad. And these years. Though politics"; con- unlike some of his artist colleagues tinues Hirschfeld, "is a field that has who used pseudonyms to circum- not yet been properly mined, it's vent the reach of red-hunting con- not for me. I'd much rather have gressional committees, Hirschfeld the villains and heros made by the proudly signed his name to all draw- playwright. That's his worry not ings. His disillusionment came mine. My worry is to do a decent when one of his drawings — a carica- drawing, and interpret what the ture of Father Coughlin, the depres- playwright intends to say." sion-era spokesman for the ultra In 1927 Hirschfeld spent a right wing—was censored by the year in Moscow enthusiastically editors of the New Masses. Despite reporting on the Soviet theatre. A their avowed antipathy towards decade after the revolution, there Coughlin's racist principles, they was still an air of excitement, albeit short-lived, on the streets and on the stage. Under the auspices of Anatoly Lunacharsky, the leading advocate of Russian avant garde art, he drew interpretations of the productions by Meyerhold and others, which were printed in the Rus- sian newspaper Izvestia and sent

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Rex Harrison, The Fighting Cock," 1959.

back by boat to The New York Herald Tribune. He also wrote and illustrated a book on Soviet theatre which was unforgivably lost by an American publisher, Boni and Liveright. He has trouble remember- ing when his fluid linear style was developed. It was probably some- time in the late '20s or early '30s and was definitely a response to the constraints of the media. "It asserted itself after many years of trial and error..." recalls Hirschfeld, "I discovered that the safest way to reproduce on the toilet paper that newspapers are printed on—which they haven't improved since the process was invented — was to stick with pure line. I kept eliminating and eliminating, and getting down to the bare essentials. I still do, in a way." While plying his craft as a caricaturist for many New York newspapers during the early '30s, he co-edited, with Alexander King, a Sammy Davis, Jr., Humphrey Bogart, Judy Garland, Laurel and Hardy, John Wayne and Katherine Hepburn (date unknown). satirical journal called Americana, which included contributions by Nathaniel West, e.e. cummings, George Grosz and S.J. Perelman. ration, and had lyrics by Ogden editor of Holiday Magazine, who With Sid Perelman a Nash, music by Vernon Duke, and suggested that the duo travel "mutual admiration society" devel- sets by Boris Aronson. A great com- around the world and record in pic- oped. They wrote a musical bination, yet a memorable disaster. ture and word their experiences. together and, later, a successful "Sid and I were the culprits:' recalls a They agreed, since, "after this book. The musical called "Sweet bemused Hirschfeld. "We wrote a stinker we had to leave the country Bye and Bye,' was their first collabo- musical about the future. Well, you anyway." And within a week the idea can do that visually. But the thing was also signed on as a book for that didn't work was the music. How Simon and Schuster. The wonderful do you write music for the future? expedition lasted two months, and I mean, these fellows (the com- the resulting Westward Ha! became posers), naturally want to get their a runaway bestseller. stuff played. But once you start Hirschfeld did drawings for being satirical about music, you're most of the major American maga- out of business:' Shortly after their zines, including Life, The Saturday flop, Perelman and Hischfeld had Evening Post, The American Mer- Lillian Gish, "The Trip to Bountiful," 1953. lunch with Ted Patrick, the brilliant cury, and TV Guide. For Collier's he 11

About his decidedly original drawings (made even more distinctive by the camouflaged name of his

George Bums and Carol Channing daughter, Nina, strategically placed (date unknown). in every drawing) Hirschfeld says: "I try to communicate to the reader pretty much what the play is about, if it's possible. If not, just some kind of witty juxtaposition of lines in itself is reason enough for the draw- regularly collaborated with John ing:' But Hirschfeld admits that in O'Hara, but Hirschfeld was some- the early days, "I don't know why, what disillusioned with this: "His the Times ever printed my drawings. Raul Julia, column, Appointment with O'Hara, When I look back it was pretty dar- . "Threepenny Opera: was terrible. Not that O'Hara was a ing, since it wasn't in their spirit at bad writer, but these things were all:' Fifty years is a long time for really unreadable. Yet they were people to get used to a radical apparently so popular with the approach. "Apparently it's been readers that they raised my fee accepted;' he says modestly, "and without me even having to ask:' it's almost become conventional by Sinecure with The New York Times now." This, of course, is an under- came in the '30s when the uncom- statement. His art is so indelible promising Sunday Editor, Lester that one cannot think of Broadway Markel, who was annoyed that the without conjuring up the curvilinear artist appeared elsewhere with magic of Al Hirschfeld. such frequency, approached Hirsch- The Margo Feiden Gallery in New York City has feld and said, "We're beginning to a collection spanning over 60 years— the life's look like all the other papers. We work — of Al Hirschfeld. would like it if you'd just work for us:' "So I said, well, all you've got to do is cross my palm with silver and I'm your fella. In fact I much preferred to work for the Times, because in those years the other papers didn't pay for the drawings; the press agent or producer did. I didn't have full control, and always felt corrupted by that in some way."

BOLD WITH BOLD ITALIC CAPTIONS/BYLINE. BOOK ITALIC HEADLINE. ITC PANACHE BLACK. BOOK LEAD-IN. BLACK TEXT. 12 FAMILIES TO REMEMBER

AYE &FINE &

Aside from playing the piano, she was a sophisticated lyri- cist with a sassy wit and style in the Gilbert and Sullivan mode. Danny's expressive face and gymnastic tongue made him the perfect vehicle for her scintillating patter songs. Their professional affinity soon blossomed into a personal partnership; they were married in 1940. One year later, Danny, who had been trotting his act around from clubs, to cabarets, to the Borscht Circuit, to vaudeville for nearly ten years, became an overnight star. In the 1941 Broadway production of Lady in the Dark he stopped the show at every performance with his rendi- tion of Tchaikovsky, a song in which he reeled off 49 polysyllabic Russian composers' names in 38 seconds. Before long, Hollywood beckoned, and he starred in a succession of hit movies; The Secret Life of Walter Mitty (1947), The Inspector General (1949), Hans Christian Andersen (1951), among others. In the course of his career, Sylvia wrote more than 100 songs especially for him which he performed on stage, screen, radio, television, in night clubs and recording studios. She was his mentor, severest critic and enduring security blanket. When their little girl Dena was born, Danny became

Danny with a handful of love. acutely sensitized to the needs and pleasures of children. In the mid-1950s, he took a holiday from Hollywood and He didn't tell jokes. He wasn't really a vocalist, a dancer, committed himself to make a film for UNICEF (United or a genuine mime. But when Danny rattled off one of Nations International Children's Emergency Fund) to his tongue-twister songs, when he parodied an opera star help raise funds to immunize third world children against with hay fever, a crazed cossack dancer, a shlemiel cow- killer diseases. The project took him on a 40,000 mile trek boy, when he spouted streams of nonsense syllables in through India, Burma, Thailand, Indonesia, Hong Kong, perfect Japanese, French or German intonations, mas- Africa, Turkey, Israel and Italy. The film documented cara flowed and grown men wept with laughter. And the ravages of leprosy, tuberculosis and other prevent- when, with manic frenzy, he conducted a symphony able illnesses, and also demonstrated Danny's intuitive orchestra in The Flight of the Bumble Bee with a fly swat- gift for entertaining children. He clowned, charmed ter, he so convulsed the musicians they could barely read them and eased the sting of the vaccinating needle. their scores or blow their horns. He made children giggle, Though Danny continued his UNICEF activities for and he charmed the royal family of England into beating the next 30 years, he also found time to become a master time and singing along with him. Chinese cuisine chef, an expert golfer, a pilot and a base- Danny Kaye was one of those born entertainers who ball statistician. Television, too, gobbled up his talents. In comes our way once in a lifetime. And working alongside addition to his own TV variety show, he also appeared in him—writing his musical material and guiding his career the children's specials, Peter Pan and Pinocchio . Later, in for 40 years—was his partner and wife, Sylvia Fine. a total turnabout he played an unrelieved dramatic role Danny and Sylvia first worked together at a summer as a Holocaust survivor in Skokie. In 1981, when Sylvia resort where Sylvia, an accomplished pianist, helped Fine produced and narrated a TV special on the history whip material together for the weekend entertainment. of the American musical theatre, it was the first time she ILLUSTRATIONS 1988 WILLIAM BRAMHALL 13

TC CASLON NO.224

Few typefaces have enjoyed the longevity, success, and prominence as that designed by England's first great typefounder, William Caslon. Caslon has been a favorite of typographers and lovers of type virtually since it was first released in the 18th century. Benjamin Franklin admired Caslon; which is probably why both the Declaration of Independence and the Constitution of the United States were first printed in this typestyle. Another famous lover of type, George Bernard Shaw, insisted that all his works be set in Caslon. And among the not so famous, the motto "when in doubt, use Caslon" has a long-standing tradition. Six years ago ITC undertook the project of melding the best traits of this milestone design with one of its most popular display typeface releases, ITC/LSC Caslon No. 223': The design goal was a typeface family which exemplified the most functional and beautiful qualities of both faces. ITC Caslon No. 224 is the result. The task of creating this typeface revival was awarded to Ed Benguiat, the designer of many ITC typestyles. He undertook a demanding program of exhaustive study and trial development prior to settling on his final renderings. The result of Mr. Benguiat's efforts is a highly readable typeface, alive with both warmth and dignity. A large x-height, smooth weight transitions, and careful structuring of hairline Danny, his daughter Dena and wife Sylvia. strokes have made ITC Caslon No. 224 exceptionally suitable to a wide and Danny appeared on-stage together. It was also one of variety of typographic applications. Text copy, from simple columns of his last public appearances. He died in 1987 at the age of basic information in newsletters, to 74, after a serious illness following open-heart surgery. elaborate and sophisticated sales In the end, Danny and Sylvia—for all the brilliance of brochures, is a natural for ITC Caslon No. 224. Its ample x-height their careers as entertainers—may be remembered as and highly legible character shapes much for their philanthropy. Danny raised some $6 mil- contribute to what is ultimately a lion for musicians' pension funds and inestimable sums very reader-friendly type style. Still, it is a distinctive type which for UNICEF. He received humanitarian awards from the rises above more mundane choices. Motion Picture Academy, from UNICEF and the govern- In addition, ITC Caslon No. 224 successfully bridges the gap ment of Israel, as well as the Kennedy Center medal for between text and display usage. It his contribution to performing arts. For her part, Sylvia is a charming, versatile, and effec- Fine's recent $1 million gift to Hunter College (one of tive display type. ITC Caslon No. 224 is legible, her alma maters) to restore its Playhouse, will be a long- readable, versatile, and ultimately lasting testimonial to her prodigious and profitable song- usable; certainly a family to writing career. remember.

HEADLINE: ITC CASLON NO. 224 BOLD SUBHEAD: BOOK TEXT: BOOK WITH BOOK ITALIC. BLACK CAPTIONS. BOOK ITALIC 14

ITC CASLON NO. 224

BOOK MEDIUM He didn't tell jokes. He was really a vocalist... or a d He didn't tell jokes. He was really a vocalist ... or a ancer... or a genuine mime. But when Danny rattl dancer... or a genuine mime. But when Danny ra ed off one of his tongue-twister songs, when he par ttled off one of his tongue-twister songs, when he odied an opera star with hay fever, a crazed cossac parodied an opera star with hay fever, a crazed co k dancer, a shlemiel cowboy... when he spouted st ssack dancer, a shlemiel cowboy... when he spout reams of nonsense syllables in perfect Japanese, F ed streams of nonsense syllables in perfect Japan rench or German intonations, mascara flowed an ese, French or German intonations, mascara fib d grown men wept with laughter. And when, with wed and grown men wept with laughter. And whe manic frenzy, he conducted a symphony orchestr n, with manic frenzy, he conducted a symphony o a in The Flight of the Bumble Bee with a fly swatte rchestra in The Flight of the Bumble Bee with a fl r, he so convulsed the musicians they could barely y swatter, he so convulsed the musicians they cou read their scores or blow their horns. He made chil id barely read their scores or blow their horns. He dren giggle, and he charmed the royal family of En made children giggle, and he charmed the royal fa gland into beating time and singing along with hi mily of England into beating time and singing alo m. Danny Kaye was one of those born entertainers ng with him. Danny Kaye was one of those born e who comes our way once in a lifetime. And workin ntertainers who comes our way once in a lifetim g alongside him—writing his musical material and e. And working alongside him—writing his music guiding his career for 40 years—was his partner an al material and guiding his career for 40 years—w d wife, Sylvia Fine. Danny and Sylvia first worked t as his partner and wife, Sylvia Fine. Danny and Sy

BOOK ITALIC MEDIUM ITALIC

He didn't tell jokes. He was really a vocalist. . . or a He didn't tell jokes. He was really a vocalist. . . or dancer. . . or a genuine mime. But when Danny ra a dancer. . . or a genuine mime. But when Danny ttled off one of his tongue-twister songs, when he rattled off one of his tongue-twister songs, when parodied an opera star with hay fever, a crazed c he parodied an opera star with hay fever, a craz ossack dancer, a shlemiel cowboy. . .when he spo ed cossack dancer, a shlemiel cowboy.. .when h uteri streams of nonsense syllables in perfect Jap e spouted streams of nonsense syllables in perfe anese, French or German intonations, mascara ct Japanese, French or German intonations, in flowed and grown men wept with laughter. And ascaraflowed and grown men wept with laught when, with manic frenzy, he conducted a symph er. And when, with manic frenzy, he conducted ony orchestra in The Flight of the Bumble Bee wit a symphony orchestra in The Flight of the Bumb h afly swatter, he so convulsed the musicians the le Bee with afly swatter, he so convulsed the mus y could barely read their scores or blow their hor icians they could barely read their scores or blo ns. He made children giggle, and he charmed the w their horns. He made children giggle, and he c royalfamily of England into beating time and sin harmed the royalfamily of England into beating ging along with him. Danny Kaye was one of rhos time and singing along with him. Danny Kaye w e born entertainers who comes our way once in a as one of those born entertainers who conies ou lifetime. And working alongside him—writing hi r way once in a lifetime. And working alongside s musical material and guiding his career for 40 him—writing his musical material and guiding years—was his partner and wife, Sylvia Fine. Da his career for 40 years—was his partner and wif 15

BOLD BLACK

He didn't tell jokes. He was really a vocalist... or a He didn't tell jokes. He was really a vocalist • • • o dancer... or a genuine mime. But when Danny rat r a dancer... or a genuine mime. But when Dan tied off one of his tongue-twister songs, when he ny rattled off one of his tongue-twister songs, w parodied an opera star with hay fever, a crazed co hen he parodied an opera star with hay fever, a ssack dancer, a shlemiel cowboy...when he spout crazed cossack dancer, a shlemiel cowboy...w ed streams of nonsense syllables in perfect Japan hen he spouted streams of nonsense syllables i ese, French or German intonations, mascara fib n perfect Japanese, French or German intonati wed and grown men wept with laughter. And whe ons, mascara flowed and grown men wept with n, with manic frenzy, he conducted a symphony o laughter. And when, with manic frenzy, he con rchestra in The Flight of the Bumble Bee with a fl ducted a symphony orchestra in The Flight of t y swatter, he so convulsed the musicians they cou he Bumble Bee with a fly swatter, he so convuls ed the musicians they could barely read their sc ld barely read their scores or blow their horns. H gig e made children giggle, and he charmed the royal ores or blow their horns. He made children family of England into beating time and singing al gle, and he charmed the royal family of England ong with him. Danny Kaye was one of those born into beating time and singing along with him. entertainers who comes our way once in a lifetim Danny Kaye was one of those born entertainers e. And working alongside him—writing his music who comes our way once in a lifetime. And wor al material and guiding his career for 40 years—w king alongside him—writing his musical mater as his partner and wife, Sylvia Fine. Danny and Sy ial and guiding his career for 40 years—was his

BOLD ITALIC BLACK ITALIC

He didn't tell jokes. He was really a vocalist. . . o He didn't tell jokes. He was really a vocalist... r a dancer. . . or a genuine mime. But when Dan or a dancer... or a genuine mime. But when D ny rattled off one of his tongue-twister songs, w anny rattled off one of his tongue-twister song hen he parodied an opera star with hay fever, a s, when he parodied an opera star with hayfev crazed cossack dancer, a shlemiel cowboy. . .w er, a crazed cossack dancer, a shlemiel cowbo hen he spouted streams of nonsense syllables i y...when he spouted streams of nonsense sylla n perfect Japanese, French or German intonati bles in perfect Japanese, French or German i ons, mascara flowed and grown men wept with laughter. And when, with manic frenzy, he con ducted a symphony orchestra in The Flight of t abcdefghij klmnopqrstuvwxyz he Bumble Bee with a fly swatter, he so convuls ABC DEFGHIJKLMNOPQRSTUVWXYZ ed the musicians they could barely read their sc 1234567890&$¢£ ores or blow their horns. He made children gig cOlECE13-0- e gle, and he charmed the royal family of Englan d into beating time and singing along with hi abcdefghijklmnopqrstuvwxyz m. Danny Kaye was one of those born entertain ABCDEFGHLIKLMNOPQRSTUVWXYZ ers who comes our way once in a lifetime. And 1234567890&$OX% working alongside him—writing his musical material and guiding his career for 40 years— cOlECEBO&& Milestones cL, Tschichold the Revolutionary

0 In the early part of this century, Jan Tschi- chold revolutionized typography by virtually single-handedly making asymmetric typographic arrangement the style of choice among young designers. In doing so he also vehemently attacked symmetry Jan as being an archaic and ineffectual typographic style. Twenty-five years later Tschichold began the Herculean task of redesigning, and restyling, the complete library of Penguin Books. By the time Tschichold he was done, over 500 titles had been reworked —almost every one of them arranged typographically symmetrical!

by When he was young, Tschichold drew typefaces which were bold statements Allan of typographic reform; constructed sans Haley serifs, and calligraphic faces which broke traditional rules. Late in life he created Sabon, a classic example of traditional typeface design. How It All Began

From boyhood, Tschichold was exposed to type, typography, and letterform design. His father, a designer and sign painter, enjoyed his son's company and encour- aged him to spend time at his small shop. When he was 12, as a treat, Tschichold's father took him to a big printing and graphic arts trade exposition. It was here that the future typographic radical first saw the work of Europe's best calligra- phers and lettering artists. Tschichold was hooked! He knew then that type and letters would always be important to him. First he tried calligraphy. Practicing when- ever he had a chance, Tschichold tried to develop his own writing style. As his skills developed, so did his interest in the works of past and present calligraphic masters. The young designer began to study the To look at him, you might think that he lettering manuals of Edward Johnston as was a kindly professor of Latin, or perhaps well as, the equally famous in Germany, classical literature. Jan Tschichold appears Rudolf von Larish. By the time he was to be a scholarly, gentle man. Certainly not accepted into the Leipzig Academy of someone given to harsh words or radical Graphic Art and Book Crafts, Tschichold thought. had developed into a capable and prolific True to his image, Jan Tschichold was a calligrapher. He was a serious pupil: he scholar and an educator. He wrote over worked hard, practiced his lettering, stud- 50 books and spent much of his free time ied the accepted rules of calligraphy and teaching. His educational contribution learned traditional typographic theory. As was not, however, in Latin or Greek. Tschi- a result of his efforts, Tschichold eventually chold's expertise was in typography and became a graduate student at the academy typographic communication. However, under the highly regarded German type antithetical to his image, much of his work designer, Walter Tiemann; and was entrusted was quite radical. And to muddy the pic- with the responsibility of teaching a class ture even further, Tschichold was guilty in lettering and calligraphy. of contradicting himself on some very Up until his 22nd year, Tschichold's calli- basic issues. graphic and typographic style developed along conservative, if not entirely traditional, lines. He was a "good young

a An fUf dEN NEUEN MENSChEN EXiSTiffT NU( dos attempt glEichgEwich -r zwisc hENNOTUr UNd OfiST • to develop b a sans serif fill dEN NOiEN MEN1EN EKSiSTifT NUf dos firm qtaihNEviij-r TSVON NOTUf UNTOOiST TSU of the JEdEM TSOiTpUIKT clEr fEr9auNhai -rvarEN alf VOfiCITSJONEN dES °LIEN >NOi• abEr fS alphabet, Vaf NitT1 >dos< Nal(' Vif OUffEN Nihr fEICySEN 1926-29. das Vif ON OiNEf VENdE dEf KULTUf fTEhEN' afll ENdE OLE OLTEN• di fOldUl fOLTSIT Slh hir absolur UNT ENTOULTIK• (MONdfiON)

Der ✓inzeigented des D. B.. u. St. .onrem al. nultnerlr”rn durrnsrunrerr tvereltn risen ndtuns, Iris Terre, Er erginsi sir Surat An,. verlraut s• ft''',,"4"741"::"Z't."„V=.`": .die b"este 'Obers:A t fiber graphis'A e

designer," just avant garde enough to be perceived as one of the new generation, but nowhere near radical enough to cause his mentors any concern. A New School of Thought • Then everything changed. In 1923 Tschi- chold saw the first major exhibition of the Bauhaus at Weimar—and virtually became • vom 16 Januar bis 14. februar 1937 an instantaneous convert to the Bauhaus teaching. Like many young converts, Tschi- chold not only embraced his new religion with zeal, he also felt compelled to

renounce vehemently all his earlier ideals. kunsthalle based Tschichold completely changed his typo- Revolution Against What? graphic style, adopting uncompromis- ingly the new attitudes preached by the To be fair, Tschichold had a lot of bad konstruktivisten Bauhaus. He began to write passionate typography to react to. The "freie richtung" tracts and articles condemning traditional (free typography) movement of the late

typographic style. He even temporarily 1890s and the jugenstijl (art nouveau) van doeston Russianized his name to Ivan in an attempt movement of the early 1900s cluttered German graphic communication with to further identify himself with the left- gab° wing stance of the Weimar school.The decorative typefaces which at times were kandinsky almost unreadable, and with a set of typo- lissitzky difference between Tschichold and many moholy-nagy otheryoung impassioned converts was graphic rules which hindered, rather than mondrian that people paid attention to him. Tschi- supported, effective communication. pevsner taeuber chold's pleas made a difference. One of his Tschichold was reacting to a typographic vantongerloo articles,"ElementareTypographie," marks style that was overly decorative, self- vordemberge u a the changing of the face of modern typo- aware, and fussy; at best mediocre typog- graphic style. In it, and in Die Neue Typog- raphy. He believed that one well-designed, raphie, a small book he published later, straightforward typeface was an infinitely Tschichold advocated scrapping all the better communicator than all the "fancy then popular German types and replacing types" put together; and that facile typo- them with a single sans serif style; and in graphic tricks and affectations should be addition the abandonment of the fashion- replaced with the simple dynamism of able style of symmetrical typographic asymmetrics. Tschichold's work of this Poster designed for the Exhibition of Constructii i sm, 1937 arrangement for asymmetry. His writing period was a perfect reflection of his teach- and teaching at this period cast Tschichold ing. His graphic design had an energy and in the role of a radical. (The contradictions strength which was unprecedented. were to come later.) Perhaps the most characteristic of Tschi- In the late 1920s Tschichold emerged as chold's work during this period is his one of the most ardent and uncompromis- poster for the Exhibition of Constructivism, ing advocates of modern typography. No which he designed in 1937. In this piece his dilettante, he was also one of its most exceptionally subtle use of line, graphic skillful exponents. In numerous articles, elements and typographic arrangement and hundreds of actual examples, he creates asymmetric dynamism at its best. codified and demonstrated the principles For over 15 years, Tschichold created of asymmetrical typographic arrange- posters, book covers, advertisements and ment. He also designed a "mono-case" even letterheads which were quintessen- (incorporating either capital or lowercase tial examples of asymmetric design. His letterforms) sans serif typeface, and pub- work not only created a new typographic lished fervent arguments in favor of the genre, it also served as the benchmark of use of sans serif type. those who followed in his footsteps. 18 tive-minded people. Over time this line of Tschichold's circumstance proves, once But then something happened. After work became Tschichold's main source of again, that there is a heavy price to pay if changing the typographic world, and income. The more books he designed, the you are a revolutionary (especially a suc- converting countless designers to his way more he realized that one typographic cessful one) and continue to seek the truth of thinking, Jan Tschichold changed his style could not answer the needs of beyond simple answers. own mind! all typographic applications; and that A Change Completed Actually, what Tschichold experienced was to insist the opposite was true was more akin to a slow conversion than it was roughly the equivalent of typographic Tschichold's new classical style was per- fected just after World War II. In August of to a spur of the moment change of heart. dictatorship. The results, however, were no less drastic. 1946, the founder of Penguin Books pro- Tschichold realized that good typography vided him the opportunity to redesign the Why the Change has to be perfectly legible and, as such, the complete Penguin product offering. This choices of classical types like Garamond, Tschichold's transformation began when was to be the most extensive, and the most Jenson, and Baskerville are not only the he took on commissions to design mass- difficult challenge of Tschichold's career. traditional choice, but also the logical market books: textbooks, novels, historical choice for most books. Typographic state- At the time the publishers of Penguin fiction, biographies, etc., instead of ments from Tschichold also became much Books commissioned Tschichold, they had posters and his own manuals on typogra- more conservative: "Sans serif is good for been using printers scattered throughout phy and graphic design. These were items certain cases of emphasis, but is now used England to produce their books. Penguin produced for, and published by, conserva- to the point of abuse. The occasions for was not staffed for making regular visits using sans serif are as rare as those for to these printers, nor were they able to wearing obtrusive decorations': As for respond quickly to the varied typographic asymmetry, Tschichold still considered it to problems they ran into in the regular be the most vibrant and stimulating typo- course of book production. As a result the graphic arrangement, but he learned that printers began to rely more and more on few of his peers had the talent or discipline their own house style (or in too many to use it correctly. Asymmetric typographic cases, whim) to solve design and typo- arrangement still held a special attraction graphic problems. The books suffered. At for Tschichold, but he became less and less best they were inconsistent in design and evangelical about converting the world to quality; more often, they were poor exam- this design style. ples of typographic communication.

Sadly, Tschichold became the object of Immediately upon beginning his employ- NORMA TALMADGE ment at Penguin, Tschichold produced a typographic ridicule simply for changing his mind. His followers saw in his books, typographic style manual: a small booklet articles, and teaching a way of providing which began to outline the basic require- solutions to all typographic problems. ments he required. Tschichold recalled Many of them blindly set him up as their that, "It was comparatively easy to per- "typographic god" —and gods fall very suade the machine compositors to observe hard from grace. these rules" but that the hand compositors "obviously understood nothing of what I I"KiKi Followers Speak Out meant... " He clearly had no small task on One disciple, the Swiss architect and his hands. designer, Max Bill, writing in a German One of the guidelines Tschichold sought trade magazine, made the impassioned was the even spacing of capital letters on accusation that Tschichold was a rene- title pages. (When setting metal type by gade from his own teaching, and went on hand, this is a somewhat tedious and to great lengths to show the contra- difficult task of hand insertion or deletion dictions between the gospel of 1928 and of spacing material —something which the Tschichold's later work. Penguin compositors preferred to save Making his reply some time later in the themselves the trouble of doing.) Since same periodical, Tschichold sympathizes Tschichold edited the typography of every with the disillusionment felt by his earlier book, he first tried to make simple sugges- supporters, but asks, in effect, if they tions to improve character spacing, but PHOEBUS would rather he suppress his enlightened soon was forced to have a rubber stamp beliefs and continue to teach what he no made which printed "Equalize Letter PALACE longer felt to be true? He then went on in Spacing According to Their Optical Value! the article, in a manner typical of the kind This tack did not work either. Tschichold SNOWING AT . . . 400 $ 15 830 teacher, to produce further examples of his complained that, "This stamp was practi- SUNDAYS . . 145 4 00 815 8 50 contradictions: ones missed by Max Bill. cally never noticed': In frustration, he began the tedious, and time consuming, Cinema task of writing by hand individual instruc- poster, tions for every occasion that he sought 1928. letter spacing improvement. Proof pages were sent back to the printers littered with phrases like, "one-half pt. in'/ or "2 pts. out!" — and these were only the notes pertaining to character spacing!

Tschichold edited every page of every book that Penguin produced. At first, pages were sent back to printers with more red than black ink! Gradually, however, the printers began to understand Tschichold's requirements and book quality improved. After he was satisfied that his most basic of composition rules for book production "...had been settled and duly propagated," 19 Tschichold went on to reform the design of every Penguin book. More Choices SA SI< IA First he made sweeping changes to the typeface repertoire formally supported by Penguin. For the sake of consistency, and frohe Farben in das sonnigeBild des Sommers probably convenience, all previous Pen- guin books were set in Times Roman. "Saskia" Tschichold felt that Times was a good zu tragen, und alle modischen PastelltOne drawn newspaper face (indeed, it was originally for the linden die anderen, die fur ihre Erscheinung created as such) but that it was somewhat Schelter & lacking when it came to book typography. Giesecke Not "to throw out the baby with the bath;' eine ruhigere Note lieben. Kurz- oder lang- Tschichold did continue to use Times foundry (about 20 percent of the Penguin books drmelige Pckchen werden zu diesen duftigen in the continued to be set in the face), but he early also widened the composition spectrum to Kleidern getragen und haben die Aufgabe, 1930s. include faces such as Baskerville, Bembo, Garamond, Caslon.Even the Penguin trademark did not escape Tschichold's In the early 1960s a group of German attention. After a number of his changes to printers approached Tschichold with a the book format, the old trademark looked decidedly unique and exceptionally dif- out of place. Tschichold's answer to the ficult design problem. They sought a type problem? Redesign. which could be set on either Monotype or Linotype composition equipment, or as THE PENGUIN' POETS Tschichold worked at the Penguin book hand-set foundry type, with no percepti- project for 29 months. At the end, well in ble difference in the final product. This excess of 500 books were prepared for meant that all the drawbacks of both printing by his skilled hand —most on a Monotype and Linotype composing page by page basis. Tschichold, himself, machines, such things as varying point- The stated that his work must have set some bodies, kerning restrictions, different unit kind of typographic world record! During systems, and duplexing character sets, the whole process he never wavered from had to be contended with. his standards, and never provided any- Centuries thing less than 100 percent commitment The completed design, released in 1966, to the project. And, as a result, was com- not only solved the imposed design prob- pletely satisfied with the results. Of the lem, it is also an exceptionally beautiful project he wrote,"A publishing firm, that Poetry (and useful) design in its own right. Such manufactures books in millions to mil- that it, unlike his earlier faces, continues to lions, has in any case been able to prove be used today; in metal —and in photo and that the cheapest of books can be just as digital form. beautifully set and produced as more expensive ones, indeed, even better than Sabon has been called "modern Gara- most of them!" mond" which is somewhat misleading. Actually it's not a Garamond, but its own Tschichold the Type Designer design which was patterned loosely on BRIDGES specimen sheets of the early Frankfurt In addition to being a teacher, typogra- printer and typefounder, Konrad Berner. TO THE PRESENT pher, book designer, and rebel, Tschichold The story is told that Berner married the was also a typeface designer. While his widow of Jacques Sabon (hence the type- DAY mono-case sans was not cast as type, and face name) who, it is also said, brought only remains in reproductions of his draw- some of Garamond's original matrices to ings, two typefaces were designed (and Frankfurt (hence the design similarity with released) in his younger, less conservative, Garamond). years.Transito is a sans serif in the tradition of Futura Black and was created for the The Teacher's Simple Rule Amsterdam type foundry early in the When Jan Tschichold died in 1974, the 1930s. It is strictly a display face and saw typographic community lost one of its little use when first issued—and less con- kindest teachers and most gifted practi- tinued popularity. Shortly after the release tioners. Tschichold was an artist and crafts- of Transito, Tschichold drew Saskia for the person of the highest order, one who Schelter & Giesecke foundry of Leipzig. One of practiced what he preached. He ultimately This too, was a sans serif design, but with the many demanded only one obligation of his much more of calligraphic overtones than covers followers and students: to organize typo- his previous design. in fact, the final ren- graphic communication so that it is easy Tschichold derings for the punch cutters were based to read and pleasant to view "Grace in typog- designed on letter forms Tschichold drew with a raphy," he wrote, "comes of itself when for broad edged pen. The completed design the compositor brings a certain love to was released in 6 to 60 point type and was Penguin his work. Whoever does not love his work more stylish than practical, and enjoyed Books, cannot hope that it will please others'.' little popularity outside of a small group of 1946-48. Tschichold's followers. Tschichold also produced a number of phototype faces for Uhertype of Berlin, but none survived the second World War.

Sabon, a typographic tour de force, is the face which establishes Tschichold's reputa- tion as a type designer. HEADLINE: ITC STONE SANS MEDIUM, BOLD TEXT. MEDIUM SUBHEADS. ITC GALLIARD BOLD CAPTIONS' ITALIC BYLINE. BOLD ITALIC 20

Trustees of the Future

T H E F OUR T H A N NU A L

S econd Prize Ms. Evelyn Ter Bekke St. Joost Academyfor Art and Design, Breda, the Netherlands 3 x 5 1/2" A selection ofIn Memoriam cards illustrate animal species which are either extinct or at risk of extinction. 21

-First Prize Ms. Petra Kneffel Fachhochschule Dusseldorf, Dusseldorf, West Germany 5 1/4 x 9 1/2" English and German texts are printed on translu- cent paper with subsequent pages visible to the viewer. As the reader turns the pages of the book, the texts move towards the center of the page— where they meet at the end of Dr. King's quotation.

"The love of nature is happily increasing among us, and it therefore

becomes all the more important to find means For safeguarding nature...

Let us remember that the quantity of natural beauty in the world, the

number of spots calculated to give enjoyment in the highest Form, are

limited, and are constantly encroached upon... Let us think of the

Future. We are the trustees of the Future. We are not here For ourselves

alone. All these gifts were not given to us to be used by one generation,

or with the thought of one generation only before our minds. We are

the heirs of those who hove gone before, and charged with the duty we

owe to those who come after, and there is no duty which seems clearer

or higher than that of handing on to them undiminished Facilities For the

enjoyment of some of the best gifts that the Creator has seen Fit to

bestow upon His children."

Netherlands); and Ms. Sheena Calvert (Yale University, New Haven, Connecticut). An eighth third prize of $500 was shared by Ms. Debra Bandelin and Mr. degree to which we have become William K. Melin (Syracuse Uni- Herb Lubalin a "disposable" society—we use versity, Syracuse, New York). things once and then discard The ten prize winners are International them—when we ought to be a shown on the following pages. Student Design "recycling" society. The students Members of the jury were: Peter not-so-gently reminded us that Bradford (Peter Bradford and Competition sphere which, with chloro- we cannot hold others responsi- Associates, New York City); Gene flourocarbons, trap the sun's ble for the future of this planet Federico (Lord, Geller, Federico, rays and heat the earth. We won- and this universe—that respon- Einstein, New York City); Alan der about possible global effects sibility rests with each of us. Fletcher (Pentagram Design of the large-scale deforestation of Ms. Petra Kneffel, a student at Limited, London); James Miho The above quotation could be a tropical rain forests. We know the Fachhochschule Dusseldorf, (Art Center College of Art and newspaper editorial printed any- that, among other things, the Dtisseldorf, West Germany, was Design, Pasadena, California); where in the world in these days depleted ozone layer makes awarded the first prize of $5,000 and Eileen Hedy Schultz (Design of polluted rivers and oceans, human beings more susceptible and the 1988 Herb Lubalin International, New York City). acid rain, Chernobyl, other to certain kinds of skin cancers. Medal. The $2,500 second prize The Herb Lubalin Medal is nuclear power generators that We are faced with the problem of was awarded to Ms. Evelyn Ter awarded annually to the winner leak radioactive waste, strip where and how to dump the Bekke, a student at the St. Joost of the student design competi- mining and rural over-develop- toxic and non-biodegradable Academy for Art and Design, tion sponsored by International ment. However, "Trustees of the garbage our industrialized soci- Breda, the Netherlands. Seven Typeface Corporation. Herb Future:' by Scottish mountain- ety generates. third prizes of $500 each were Lubalin was one of the founders eer, statesman, diplomat and Seventy-five years after "Trust- awarded to: Mr. Edward J. Scully of ITC and an internationlly hon- historian, James Bryce, first ees of the Future" was pub- (University of Hawaii at Manoa, ored typographic and typeface appeared in the Sierra Club Bul- lished, ITC invited students Honolulu, Hawaii); Mr. David A. designer, as well as the original letin in 1913. from around the world to graphi- Candlena (State University of editor of U&/c. It was his deep At the end of the 1980s we are cally interpret Mr. Bryce's state- New York, College at Buffalo, concern for students that led to asking if recent droughts and ment in the fourth annual Herb Buffalo, New York); Mr. Kirk the establishment of this award unusually hot summers are due Lubalin International Student Payne (University of Kansas, competition. to the "greenhouse effect" result- Competition. Nearly 1,000 stu- Lawrence, Kansas); Mr. William Trustees of the Future was ing from the damage mankind dents from 32 countries Tinto (Northern Virginia Com- exhibited at the ITC Center from has done to the fragile ozone answered this call. munity College, Alexandria, November 16, 1988 through layer that surrounds our planet The students reminded us of Virginia); Ms. Polly Kernen January 5, 1989. and protects us from ultraviolet the importance of preserving (University of Cincinnati, Cin- The call for entries for this radiation. The burning of fossil animal species that are threat- cinnati, Ohio); Ms. Corien Anne year's contest, "Illiteracy—the fuels has increased the amount ened with extinction. They van Hekke (St. Joost Academy Price" appears on page 52. of carbon dioxide in our atmo- alerted us to the dangerous for Art and Design, Breda, the Laurie Burns 22

Third Prize Ms. Debra Bandelin and Mr. William K. Melin Third Prize Syracuse University, Ms. Polly Kernen Syracuse, New York University of Cincinnati, Cincinnati, Ohio 4 114x 4 1/4x 6" 253/4 X 7 5/8" Afrog lies in a substi- As the word "nature'fades from a living, spring green to a dying, tutefor its natural greenish-black, the letters begin to erode; some of the reasons habitat. Thejar's label given are disrespect, indifference, negligence, extinction, and reads: Natural Wild- deterioration. life Preserves.

TJi 1. 8001. UI GENESIS

Third Prize Corien Anne van Hekke St. JoostAcademyfor Art and Design, Breda, the Netherlands 33 1/4x 26 1/4" Additional artists included in the exhibition: The temptation, fall and Ms. Susan Barr (University of Hawaii at punishment ofAdam and Eve Manoa. Honolulu, Hawaii); follow the creation and Ms. Gudrun Ehrbar (Fachhochschule Dus- seldorf, Dusseldorf, West Germany): paradise of Genesis. The artist Mr. Serge Caron (Concordia University. warns us of another Montreal, Canada); punishment should we not Ms. Terri Lee Chilton (Florida State Univer- protect our environment. sity, Tallahassee, Florida): Mr. Jean-Francois Couvignou (University of Quebec at Montreal. Montreal, Canada): Ms. Giselle Cuello (Syracuse University. Syracuse. New York); Ms. Lisa D'Amico (St. Thomas Aquinas College, Sparkill, New York): Ms. Toni Frederick (Atlanta College of Art. Third Prize Atlanta. Georgia); William Tinto Ms. Alicia M. Hill (Atlanta College of Art, Mr. Atlanta. Georgia); Northern Virginia Community College, Ms. Yvette Hinkel (East Texas State Univer- Alexandria, Virginia sity. Commerce. Texas); 61/4 x 9 1/2 x 2 1/2" Mr. David R. Kamm (University of Iowa, Dr. King's words are printed on a mirror in Iowa City, Iowa); order to tell the reader that he or she is a Mr. Samuel Lazay (Fachhochschule Diis- thefuture; theface of the clock is seldorf, Diisseldorf, West Germany); trustee of painted to represent clouds in a blue sky; Ms. Lisa Lehman (University of Cincinnati, Cincinnati, Ohio); the clock's hands are madefrom a twig and Ms. Christina Lucke (Lancashire Polytech- afeather. nic, Preston, England): Mr. Frank McShane (University of the Arts, Philadelphia, Pennsylvania); Ms. Arline Mortensen (Weber State College, Ogden, Utah); Mr. Chun Wo Pat (Cooper Union, New York City. New York); Ms. Katie Quinn (Randwick College of TAPE, Randwick, Australia); Mr. Harald Schroder (Fachhochschule Wiesbaden. Wiesbaden, West Germany) Ms. Caroline Toufflin (Ecole de Communi- cation Visuelle, Paris, France).

HEADLINE: ITC BOOKMAN LIGHT ITALIC SUBHEADS: MEDIUM. MEDIUM ITALIC QUOTATION: ITC BAUHAUS LIGHT TEXT: ITC BOOKMAN LIGHT BYLINE: DEMI CAPTIONS: LIGHT ITALIC WITH DEMI ITALIC Third Prize Mr. David A. Candlena State University of New York, College at Buffalo, Buffalo, New York T-shirt comparing the definitions of a dodo ("a simpleton, foolish" or "extinct bird") and Homo sapien (a simpleton, foolish, see dodo")

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Third Prize Mr. Kirk Pay ne fvcT° University of Kansas, Lawrence, Kansas 8 1/2 x 11 x 1 '/8" (closed); 17 1/4 x 8 1/2 x 15/16" (opened) Yellowstone National Park was founded in 1872 to protect and preserve nature. The plexiglas case contains waste products F'' that were recently collected in the park.

Third Prize Ms. Sheena Calvert Yale University, New Haven, Connecticut 6x6 x3" The large numbers refer to statistical statements about our environment which are printed in small type on each glass tile. For example, the numberfour tile cites radio- activefallout resulting from the explo- sion at Chernobyl Reactor Number 4 (April 26, 1986).

Third Prize Mr. Edward J. Scully University of Hawaii at Manoa, Honolulu, Hawaii 7 x 43/2x 3 1/4" The entire text is printed on accordion-folded recycled paper. Only one word of the text appears per page; the word "recycled" appears on the facing page. New from ITC

Some thing sjust go together: movies and pop- corn, Tupperware and macaroni, hot summer nights and convertible cars - roman and italic type. Typefaces need both roman and italic counterparts to be complete. In fact, with both they are more than complete; a classic example of the total being equal to more than the sum of its parts. ITC American Typewriter, when first released, was lacking in these two most logical counterparts. It had romans, but no italic designs. For over 14 years ITC American Type- writer was forced to journey through its typographic life without an italic companion. As a result, typographers have been limited in their ability to create variety, structure and emphasis in their work. In addition they have had no family contrast to the romans' homespun feel. Good news! ITC American Typewriter Italic has just been released. Over many years ITC has received a steady stream of requests to add the missing italics to the ITC American Typewriter family. We delayed in this introduction for several reasons: many of us at ITC felt that it would be impossible to draw cursive designs that would successfully complement the existing roman variants; we did not want to overburden our Subscribers with the production of new film masters for phototype fonts, and because it would be exceptionally difficult to find a designer who could successfully build on the original ITC American Typewriter designs of Joel Kaden and the late Tony Stan. Give enough time, apply enough tenacity, and generally the right things will happen: phototype gave way to digital technology (which inherently provides for more flexible font production), Ed Benguiat became intrigued with creating the italics for our "Typewriter" family - and all the while the requests kept coming in. Once the project was finally confirmed, Ed Benguiat became the obvious, and most logical choice as the designer. After several months, the much needed italics for ITC American Typewriter were complete. The results are a series of true cursive designs, which meld perfectly with the already available members of the family. Now ITC Ameri- can Typewriter is complete. American

ITC American Typewriter Light Italic, ypeuriteritattc Medium Italic, and Bold Italic, in addition to previously released roman and condensed designs are only available from licensed ITC Subscribers. These Subscribers are authorized to reproduce, manufacture, and offer for sale these and other ITC typefaces shown in this issue. This license is your guarantee of authenticity: CZitz These new type - faces will be LICENSED available on or after February 20, 1989, depending on each manufacturer's release schedule. 25

Excellence in typography is the result of nothing more th an an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemp orary advertising the perfect integration of design eleme 9/10 Excellence tin typography is the result of not hing more than an attitude. Its appeal corn es from the understanding used tin its plan ning ; the designer must care. In contempor 12/13

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Excellence in typography is the result of nothing more t han, an attitude. Its appeal comes from the understand ing used in its planning; the designer must care. In con temporary advertising the perfect integration of design 9/10 Excellence in typography is the result of n othing more than an attitude. Its appeal c omes from the understanding used in its planning; the designer must care. In cont 1213

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Excellence in typography is the result of nothing mo re than an attitude. Its appeal comes from the uncle rstanding used in its planning; the designer must c are. In contemporary advertising the perfect integr 910 Excellence in typography is the result o f nothing more than an attitude. Its ap peal comes from the understanding use din its planning; the designer must car 12/13

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26 'Way/frail/I, ITC

ITC Typographica

With these offerings of ITC Flora and ITC Isadora, ITC presents a new concept in typeface designs—the ITC Typographica Series. ITC Typographica typefaces offer a palette targeted to jobs using small blocks of text in the mid-range point sizes — from 14 to 24 points. They differ from conventional text typefaces in that their designs are more stylized than is feasible with typefaces that have to work in large copy blocks in the 6 to 14 point size range.

wography is the re cult of mare than an attitu de. Us, appeal camedfram the rind erstanding used in its planning,. t fie demel/ler mucst care. in cantemp °Taw advertiding the perfect integ 18/20 Regular ITC oft Excellence iritypeigrctpfiyi&tfier exults maretfiaa ale att itude. `(t& appeal camesfrara ttie understanding used itt ng; Me/designer must care. 'Fuca 81,;oternparctrjfr advertising tfie peat 27 cthaVgitijklianopqr&tuvwxyz (7473 CM-TOM larAirArOTQ7KPFUvwxyz 1234567890 k$ Off %C00 1150

Regular

17-C lsztolora, proves that excel° tianal design, The end result sflow& none fthe restrictian& talent can overcame wet- one would eixpectfraat tfu desig a process,. M. S $41 • re&trictians, withgrace and verve. Vali/nes,' letter&hap es, are asfree- spirited and 'in the case f ITC sadara , the e/xce_ptianal vibrant a& any script 6tpfface designedfar any talent is Ms,. Kris, Ifalmes, and the overwfwhn- reproduction/ proces&. ITC isadara isnata timid ing resixictiems, were those imposed by the digital design,. it make& ct • • . 04 large x- height pesetting imaging process,. combined with/ relatively abbreviated ascender& AU. I-Pabnee self-imposed design, tasle, was and descender& create& aface that i bag on its the creottion 0,14illal script r ace point 12ody. The desig,a i& aka. simple and would express, bath, nwdern calligraphic ideals straightforward where it neecl& Labe and *finest traditianal awn, e#'the 17th' and The name kaolara.? M&. lealme& chase the 18tfi, century rErglisA writing masters. Thi& in name in &mar of sadarct Duncan. 04canrclitg ta itself alarmidable • j , but her project acallmt&b# her contemporaries, Isadora wet&further camplicated b y tfiejact that sfte was Duncan;& dancing wa& strew as well as/graceful endeavarirg ta design a script, the lively and delicate: herfarmal inspiratian was classical, andfree- spirited Ap es„ far the r • • • and, but her ideas were modern and lil2eratirg. at times„ limiting $ °I ital hit nap lrolme& saqq,fizt thzesesame qualities in her design twesetting of Isadarct. 1sadara, is available in ikwular and Bold weights,. These design& are partof ITC's/ Typographicot Serie& They are intended to complement text setting, or to be set in larger size& as 19lock,s, display aipy. Only licensed ITC Subs ethers are authorized ta reproduce, mate facture, andeerier sale these and athex ITC tgfaces shown iatfiti& issue. This license is your guara nie&ff • • La06 The new t^ypface& will be available tothe publican or (*ex Telarugry 20, 1989, depending on each MaillOCtUrell release schedule.

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ITC Typogra ph ica

"Unique" is a rare typographic word. Rarely is anything really new under the typographic sun. I TC Flora is not only something new— it is also something quite unique. The design has been described as an "upright sans serif cursive,' a "round-nibbed cursive type" and even a "Chancery sans:' Obviously this is not an easy type to pigeonhole. ITC Flora has its beginnings in the hand-lettering exercises of the gifted Dutch type designer, Gerard Unger. Even these basic sketches were somewhat special. They were particular experiments he performed exploring the use of a felt-tip pen as a lettering tool. This was in 1971. Initially not much was clone with the experiments. They were probably filed in a drawer and forgotten about— until 1978. It was then that the Dr. -Ing Rudolph Hell Company, in Kiel, Germany, directed Mr. Unger to create a new round-nibbed script type. Armed with his original felt-tip pen sketches, Mr. Unger attacked the Dr. Hell challenge with fervor. However, these were not the only source for the new design's foundation; another was an obscure type from the famed German teacher and type designer, F.H. E. Schneidler. The end result was Flora: a new type of remarkable character, simplicity and strength, released by Dr. -Ing Hell in 1985. Now, in 1989, ITC is pleased to announce that it is making this design available, under special license from Dr. Hell, to graphic communicators throughout the world. ITC Flora's two weights make a strong typographic family, and should be a welcome addition to the graphic communicator's tool box.

b raITC Flora is available in Medium and Bold weights. These designs are part of ITC's Typographica Series. They are intended to complement text setting, or to be set in larger sizes as blocks of display copy. Only licensed ITC Subscribers are authorized to reproduce, manufacture, and offer for sale these and other ITC typefaces shown in this issue. This license is your guarantee of authenticity:Cauca D These new typefaces will be available to the public on or after February 20,1989, depending on each manufacturer's release schedule. 29 Excellence in typography is the result of noth ing more than an attitude. Its appeal comes from the understanding used in its plannin g; the designer must care. in contemporary advertising the perfect integration of design 14/16 Excellence in typography is the res ultofnothing more than an attitud e. Its appeal comes from the [Anders tanding used in its planning; the de signer must care. In contemporary 18,2 0 alocciefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 12345678905-$CfE%c0/ECEi3 Vo•EeffrififfiffiC:ii.P 1-1111 */#«») il

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30 TYPOGRAPHIC COMMUNICATIONS Typographic Communications TOday, a special review produce4 VI. FINE TUNING: and sponsored by CLARITY AND THE GRID SYSTEM International Typeface TODAY What is a grid? The Corporation and USelc, influence of Theo Balmer, Edward M. Gottschall, Max Bill, Emil Ruder, Josef editor and author. Muller-Brockmann, Armin 256 pages. 103/4" x14 3/41: Hoffmann, Walter Herdeg, Over 900 illustrations, in Switzerland. The grid more than 500 in col system emigrates. The Ital- plus full alphabet ian connection and the role showings of over 20 of Studio Boggeri, Max typefaces. Hardbound. typographic design work of Huber, Xanti Schawinsky, he MIT Press. this century and a pleasur- Carlo Vivarelli, Albe Steiner, T Bruno Munari, Giovanni $55.00 until June 30. able reminder of the many different and successful Pintori, and others. Anton $75.00 thereafter. approaches to communica- Stankowskii, work in Stutt- tion problems. Typographic oday, thanks to Communications Today II. ROOTS—EVOLUTION computers and is not a tutorial, not a how- AND REVOLUTION Available from the computer con- to. It is a critical review of FROM CONSTABLE publisher and its trolled devices, hun- twentieth century typo- TO KANDINSKY outlets or from the dreds of thousands, graphic design. It aims to The painting/typogra- BookShop. This perhaps millions, open eyes and minds to the phy connection. Traditional presentation in [WIc potential power of typogra- representational painting. of people with little or no is a synopsis and a art/design training or expe- phy when it is skillfully Impressionism. Post- rience are called upon to handled, and to do so by Impressionism. Expression- review of the book. make typographic design examining the roots of con- ism. Fauvism. Art Nouveau. decisions. temporary typographic Cubism. Futurism. Dadaism. The aim of Typo- design and the work of out- Surrealism. Abstraction. graphic Communications standing typographic Non-Objective Art. designers all over the world. Today is dual—to: III. ORDER OUT OF The table of contents of Develop in people new CHAOS 1. the book indicates its scope The Russian Avant to communication design a and approach: respect for the power of Garde. Suprematism. Con- typography to— PREFACE, structivism. Fine art/ ■make information BY AARON BURNS graphic design links. The gart. Typographies of Ernst De Stijl movement in the Schneidler, Ladislav more attractive, more INTRODUCTION Netherlands. Theo van Sutnar, Karel Teige, Karl noticed, more widely read; I. THE MANY FACES OF ■be more legible, more Doesburg. Piet Mondrian. Gerstner. TYPOGRAPHIC DESIGN Piet Zwart. Paul Schuitema. readable; Vitality and dynamism. VII. THE NEW H. N. Werkman. Art Deco. • save money by occupy- Clarity and order. Disorder TYPOGRAPHY CROSSES ing less space than type- for its own sake. Typo- IV. THE FOCAL POINT— THE OCEAN written documents, and graphic irregularity with a THE BAUHAUS Thumbnail sketches of reducing reproduction, purpose. Customized non- Origins. Concept. dozens of the influential filing, distribution costs; dogmatic typographies. Typography at the Bauhaus. typographic designers who • enhance the tone of a Vitality/clarity, a blend. Johannes Itten, Laszlo brought their approaches to message by employing the Order and graphic redun- Moholy-Nagy, Herbert contemporary typography appropriate typeface and dancy. Complexity and dis- Bayer, Joost Schmidt. The to the United States and weaving it into a design well tinctiveness. Symbology, roles of van Doesburg and Canada. suited to the message, the directness, uniqueness, El Lissitzky. The end of the VIII. AMERICAN medium and the audience; appropriateness. What is Bauhaus. Its impact then DESIGN PIONEERS is achieve the desired ideal? Typographic noise. and now. Paul Rand. Bradbury emphasis of key points in a A myriad of looks. message; V. SPREADING Thompson. Lester Beall. ■improve message com- THE WORD: William Golden. prehension and retention. JAN TSCHICHOLD Tschichol& role in Offer to art directors, 2. teaching and practicing designers and all type spe- typographic orderliness, cifiers and users a one-stop asymmetry, and the use review of some of the best of sans serif typefaces.

HEADLINE/INITIAL: ITC MODERN NO 216 LIGHT, MEDIUM ITALIC BYLINE: MEDIUM ITALIC TEXT: MEDIUM SUBHEADS. BOLD 31

IX. THE INFLUENCE OF XI. TYPEFACES 1970— XIII. THE MANY FACES THE PRIVATE PRESS The impact of com- OF TYPOGRAPHY TODAY The major late-19th and puters and laser technolo- How many outstanding 20th century private presses gies on typeface designs and designers around the world in England and the United typesetting. Typeface are striving for typographic States, and how they design systems: Ikarus, excellence and communica- influenced typography Letter IP, PM Digital Spiral, tion effectiveness. A look at there. Monotype, others. Low reso- the most recent decades and lution output. Monospace the many different roads to X. TYPEFACE typefaces. Full alphabets of achieving visual vitality, MILESTONES 1896-1960 more than 90 typefaces are communication impact and Some of F. W. Goudyk shown and grouped by clarity, or an appropriate observations about the design characteristics. The blend of these very reconcil- beauty and importance of influence of ITC. The role of able attributes. typefaces. Major typefaces A.TYP.I. Thoughts about and typeface design direc- )13V. THOUGHTS typefaces. tions in the heyday and Thoughts about how to twilight years of metal XII. BITS, BYTES AND use type more effectively, by A critical review of typography. TYPOGRAPHIC DESIGN Otl Aicher, Herbert Bayer, the past 100 years' Full alphabets of 97 A wide spectrum of Lester Beall, Will Burtin, typefaces are shown and technologies in the '70s and Max Caflisch, Ivan Cher- and today's grouped by design charac- '80s that have revolution- mayeff, Louis Dorfsman, teristics. Experimental ized typographies and Max Huber, Allen F. typographic design: typeface trends by de- expanded the number of Hurlburt, Vance Jonson, cades. Ten newspaper text people who set and compose Herb Lubalin, Paul Rand, its roots, its many typefaces. type from the tens of thou- Klaus Schmidt, Herbert sands to over a million. A Spencer, and others. faces, its role in consideration of the impli- ACKNOWLEDGMENTS cations of the entry of typo- PERMISSIONS empowering today's graphic novices to the world communications. of typographic communica- SELECT BIBLIOGRAPHY tions. How the new technol- INDEX ogies have changed what by Edward M. Gottschall can be done, how itk done, COLOPHON and how budgets, timeta- bles, communication effectiveness and lines of The following fifteen pages authority have been present highlights from affected. the book. 200

TYPOGRAPHIC COMMUNICATIONS Chapter The Mzmy Ewes orlYpographyTODAY Tbd,,y

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11,d TYPOGRAPHIC COMMUNICATIONS TODAY

design from 1890 on to discover linear scale, many jobs—perhaps but the practical application of asms were contagious. Designers the many paths designers all over most—will need to fall some- the laws of creation discovered were learning to rely less and less the world have taken to maxi- where near the center of the scale by the new painters:' on previously accepted formats, mize clarity or vitality, sometimes to achieve maximum communi- What do Picasso, Mondrian, and more and more on evolving one at the expense of the other, cation effectiveness. or Kandinsky, for example, have customized solutions that were or to achieve the best of both While many designers suc- to do with the design of new inspired and called for by a spe- worlds--a visually fresh, appeal- cessfully handle a wide range typefaces and the way type and cific communication problem. ing, beautiful, even exciting piece of problems, most— like illustra- illustrations are deployed in a The progression from so- that is highly readable and has tors— have a general style. It is layout for an advertisement or a called traditional representational carefully controlled copy flow. the responsibility of the person booklet? painting, as epitomized by Con- Naturally, the work shown choosing a designer to properly Artists, architects and poets stable, to totally abstract and also reveals the personal approach match the designer to the prob- in the late 19th and early 20th then non-representational paint- of each designer to the problem, lem. This is akin to good casting centuries developed new ways of ing, as developed by Kandinsky, and a great many captions shed in the theater. After that, it is representing spatial relations, can be summarized in these steps. light on what the designer did, the designer's responsibility to shapes, colors, textures. Their I A faithful picture of an and why. achieve the most appropriate spirit of innovation, of presenting object (scene, person, thing, Is there some ideal blend of blend of clarity and vitality for the images and words in new ways, etc.). This is art as imitation of isual vitality, graphic vitality and clarity that all job at hand. was contagious. Typographic nature, human action and pas- dynamism, explo- designers should strive for and designers saw the new art, read sions, for example. sive graphics. that would best serve all commu- From Constable to the new poets, had their eyes and 2 A picture of how one feels These are words that nication problems? Kandinsky minds opened to new ideas, and about, or what one sees, in an can be used to Of course not. The roots of contemporary their spirit and sense of creativity object. (Of course all paintings describe many printed The key consideration is design really gathered strength in was stimulated to apply fresh reveal how an artist feels about a pieces produced in the past 100 appropriateness. Some messages the 1890s and the early decades thinking to their work. subject: the difference is a matter years. and the audiences to which they of the 20th century. The major But the influence of the fine of degree.) This is art as self- Clarity, orderliness, read- are directed must maximize stimuli were supplied by artists — arts was not as subtle and remote expression of the artist, as an ability. These also are words that visual vitality and excitement, painters, architects, poets. Swiss as that. Poets like Guillaume expression of emotions evoked can be used to describe many even at considerable compromise typographer Hans Rudolf Bos- Apollinaire, artists like El Lissitzky by the object. printed pieces produced in the with readability. Others must risk shard believes that "The laws of and Theo van Doesburg, archi- 3 A picture of how one feels. past 100 years. some degree of visual dullness to creative typography are nothing tects like Henri van de Velde, (No object is involved.) Art as Typographic Communica- optimize clarity and readability. used type and graphic elements form. tions Today looks at typographic If one thinks of clarity and vitality in new ways and mingled and as being on opposite ends of a worked with typographic design students, teachers, and practitioners. Their ideas and enthusi-

1 "True-to-life” was a guiding principle of the 19th century painters who studied nature carefully so as to render it realisti- cally, yet romantically and often dramati- cally, as in Salisbury Cathedral from the Bishop's Garden byJohn Constable. Constable painted his landscapes on the site, not by synthesizing idealized bits and imagined scenes in a studio as some predecessors had done. From the PAROLE cv..NURIERI0.N:o.NANTI IN LIBERTA Metropolitan Museum of Art, New York. 1)11 rollmop. li prOSSitlitl pubblicrtzione: ••I PAROLIBERI FIJTURIIIITI .0 Bequest of Mary Stillman Harkness, ■ AURO DALBA, BALLA, BETUDA, BOCGIONI, SOUL CAMPIOLI, CANGIULLO, CARRA CAVALLI, BRUNO COMA, D. CORRENTI, M. DEL GUERRA, DELLA MOREAU. I. POLGORE, A. MANCH!, C. 000001. GUIZZIDOMA ITTAR, 1959. (50.145.8) JANNELLI. MARINETTI, ARMANDO MAMA. PRESENZINI-MATTOLL RADIANTS, SETTIMELLA, TODINI. •A/ 3 A futuristic free-word composition. By

f,... F. T. Marinetti. 1919. The text tells of the c.".* Lot, route taken by Marshall Joffre's automobile on a visit to the front after the battle of the Marne. Sounds of the automobile ill? Ik ?' 4 4 4. 0' on its journey are symbolized and 'it s". tat% ... blended with the text. Marinetti intended .4 , this to be read aloud; performed, in fact. of g .... .„ . .... .... , , .,4' 4 Early expressive typography. Guillaume +++ 4- ..is X X i E Apollinaire. From his Calligrammes, # - 0 s x 4- x L ••$. 4- 1917. The type is a bird, a water foun- x ,.... 4,1 0 BEL +- . tain, and an eye. ■ t. +4-+ • ,.. 4 + , + ,,, IP ..,.,' / og ,.,4' ,§1 x 4_ ° ss 1 La colombe poignardie et le jet d'eau / Is X I ic X de: e eizoxr 4 OR •44, ,i. Douces Dom pOr. Goes urns lIcurics 1‘,-...„,.. MIA MAREYE YETTE LORIE mocamtnnar Rebmann don) ANNIE 04101 MARIE etcs. Cp- 1- Joni dont x x + X vrortkap BAAS 6 1 V Ierblis at lei km= Wes " ,- yum i ve .ronkap x x X X X =PIO Of MS „ X angoll angole angolln wonky '?7, x de plevre et ,le , + duo= diranku falai) feta- Pne X cent colconbe s'extaste + 0 , ii flide steth %dose picpic vIttAAAR lei co pity so' .A.,,,i, 1 ymmelokranu bimbim r ''' g) °V'er, Yo . 'a. c" s, mi/.,,,o s'''.. ranu = = = on + PPR , + 7 ;17 '1' i . nu ,, "N. Pa, S IENs x .k, `'. „ ,' ? e e 41 remote vlu ems vier ' '''.. '9. ' 9"..

'''• 4 41(i C‘ '''. MARINETTI, parolibero. — Montague + Vallata + Stade x Jere .3' ,or. ,I* en ! r':de"I., ems .'" 94,.., ' au, gle! ° A, .1 0 ,,,, M a I., ,._ M. '.7 .°13..— ...e::,,,..P:. ... 4 # 2 Where is reality? Van Gogh and many r,-....w.que et gri.,, J.,, E.„).. , ,ce mon ,,,,,... other post-impressionists still aimed to • „on our ,,,.. cri, cf.' ,co n 66) ...m,"):,1•,1) ,,,, t represent reality in their paintings, but to c, '''' C1P . Is them reality was not on the surface of CI"'‘ :15 things. Their minds and spirits looked ." "IUZ " .B beyond the apparent to discover and depict the reality as they saw it. 4..„ I"" 0 1 444, 04" The Starry Night by Vincent Van Gogh. U The Museum of Modern Art, New York. u'otabawene,.. 4.1.001.1"" Acquired through the Lillie P Bliss Bequest. 2 4 HEADLINE/INITIAL: ITC GOUDY SANS BOLD TEXT: MEDIUM WITH BLACK HEADER: ITC MODERN NO. 216 LIGHT 33

4 A constructed picture that ypography, The key movements, Thefirst major move- In the 1920s, side by side neither evolves from nor depicts after all, schools and players in this ments to seek clarity and with the growth of the De an object (non-objective). is primarily con- blending of visual excite- order in art and in graphic Stijl and constructivist 5 Non-objective, uncon- cerned with aiding ment andformalism in communications were by the movements and the work of structed, sometimes accidental, the communication painting and in applied and De Stijl and Constructivist Piet Zwart, were several painting. of ideas and infor- communication art's were: artists and designers. It is other art movements that ■ significant that such lead- were to influence graphic Each of the many art mation. The art movements Russian avant garde ing painting pioneers as El designers. The art deco art- movements around the turn of of the late 1800s and early artists, including the con- Lissitzky, Alexander Rod- ists sought to visually the century and since have 1900s awakened not only structivists and suprema- chenko, Filippo Marinetti express modern technology influenced designers as well as painters but typographic tists and particularly El and Theo van Doesburg in their work, much of which artists to see things and to designers to the excitement (Lazar Markovich) Lis- became typographic, poster, was characterized by angu- express themselves in new ways. and visual vitality inherent sitzky. ■ and book designers. As larity, a reduction of natural Just how each influenced design- in the blank canvas or the The Bauhaus, where early as 1917 they under- images to basic geometric ers is discussed in detail in Typo- white page. But some of the all the art and cultural stood that art had a social forms (as cubes, spheres, graphic Communications Today. most exciting and blatant forces emerging throughout works of the futurists and Europe in thefirst two dec- function and could be, and cones) and the use of dadaists caused a counter- ades of the century came should be, used to serve the flat tones to capture reaction among non-futur- together and developed a welfare of society. machine-like sleekness. In ist, non-dadaist designers. coherent platform for both Piet Zwart, although he Poland the Mechano-Faktur Many such thoughtful fine and applied arts. knew and met with van artists practiced functional graphic communicators ■The De Stijl movement Doesburg, Piet Mondrian typographics. Henryk sought to blend the newly in the Netherlands and par- and others of the De Stijl Berlewi, who founded the rediscovered power of the ticularly the work and group was not a member of group in Warsaw in 1924, printed message with a dis- influence of its founder, the group. His typographics had met van Doesburg, El ciplined presentation that Theo van Doesburg. were freer, more individual- Lissitzky and others in might improve message ■New Objectivity in istic, and most influential. Berlin and brought their readability and comprehen- Germany and its art of His was a new blend of read- sense of typographic design sion. The object was to social protest. ability and typographic to Poland. This was also the achieve the best of both ■Art Deco and its excitement. He also was one period of artfor social pro- worlds: graphic beauty, expression of industrial of the first to regard white test, the period of George charm, excitement that forms. There was nothing space as a graphic element, Grosz, Otto Dix, and Max would command attention, avant gardeist about art not merely a canvas to be Bechman in Germany, and graphic structure that deco. It was, rather, a reac- filled. and of Diego Rivera, Jose would contribute message, tion against the radicalist Orozco and David Siqueiros clarity and impact. tendencies, an opportunistic in Mexico. and conformist trend in art and design.

:.-----.:. _mil.. 17..1... 1.11 • rittgrarx :r:;• : SW VOORU1 emel.., .• II =Isms ALI, STUKKEN LING VOO• •• : WIJD LAN DE MODER. yowl oa AVM. ,:: NE BEELDENDE VAKKEN EN KULTUUR aora,olsamaria REDACTIE : THEO VAN DOESBUR G. Lctrata,ou.ardo:

,..■■■ •C•11G MGM.. II•NOP113.0•CHTTIIN YUMA. 2

9 El Lissitzky, pages from For the Voice, 1923. Note the die-cut tabs that index the poems for easy reference. The poems were written to be read aloud. GTJXLLAIINIE APOLLINAIRE + The designer comments: "To make it easier for the reader to find any particu- PARIJS. NOVEMBER MM. lar poem, I use an alphabetical index. The book is created with the resources of 7,8 Vilmos Huszar, title pages for De the compositor's type-case alone. The Stijl. Compare this with Mondrian's possibility of two-color printing... [has] 5 Striped, oil with sand on canvas, Composition. The logo, constructed from been exploited to the full. My pages 1934. Fine-grained painted sand adds an open grid of squares, was designed stand in much the same relationship to texture to the painting. Here geometric by van Doesburg. Even the text type the poems as an accompanying piano to shapes give way to freer forms in glowing forms neat rectangles. a violin': colors. Rectangular zones contrast with the overlying curving biomorphic forms of surrealism. Wassily Kandinsky. The 7 Solomon R. Guggenheim Museum, rim; ir-1.11 • New York. .1 5 5 . ••• ..•••• •151,•,11, emso VOOPI • r, MAANDGLAO VOOR DE REELDENDE 1■ 11,[01. VAKKEN. REDACTIE THEO VAN DOES- I::711,7=rj oaR 111T“ FR BURG. UITGAVE X. HARMS TIEPEN. •00.

MUMMER •.

8 6 Piet Mondrian, Composition II. 1929. The Museum of Modern Art, New York. The relationship between Mondrian's painting and Vilmos Huszar's title page for De Stijl is obvious. 6 9 HEADLINE/TEXT: ITC CENTURY BOLD ITALIC

TYPOGRAPHIC COMMUNICATIONS TODAY

verything came be the same again. Although together in Weimar, the surface appearance of Germany, in 1919. A today's communication design new kind of school often bears little resemblance to opened its door the typographies produced at there. It was on inter- the Bauhaus, many of today's HE disciplinary blending of fine and approaches to typographic applied arts. It was at once design are offshoots of the work pragmatic and idealistic. It done under the influence of SPREA emphasized crafts and excel- Bauhaus masters Johannes lence of craftsmanship. It was a Itten, Laszlo Moholy-Nagy, Her- blend of hands-on, learn-by- bert Bayer and Joost Schmidt as THE doing workshops and new atti- well as the influence of Theo van tudes towards artistic expres- Doesburg and El lissitzky. sion of all kinds. In architecture, Walter Gropius was the OR pointing, sculpture, product and school's principal when it was graphic design, it sought to named Das Staatliches Bauhaus blend order in presentation with in March 1919. The school was a vigor and relevance in expression. modernization and a merging of t has been said that every The Bauhaus quickly became the Weimar Arts and Crafts Insti- cause, to be successful, a compelling cultural magnet. tute and the Weimar Academy needs a passionate Artists and designers from every of Fine Arts. advocate. If the Bauhaus part of Europe journeyed to it and Typography was not was the focal point where exchanged ideas and concepts, included in the school's original new ideas and new prac- then, as teachers or students, manifesto and program, but it 1tices in painting and typo- migrated and spread Bauhaus soon played an important role in graphic design came thinking throughout the civilized the curriculum, and in posters together, the passionate world. Typographic design, one and publications. Here, as never advocate, the apostle for of the concerns at the Bauhaus, before, typography was achiev- spreading the gospel of the metamorphosed there, never to ing a new, effective, and exciting new typography was Jan balance between orderly, clear presentation and eye-appealing treatment.

BAUHAUSBCICHER

SOHRIFTLEITUNG WALTER GROPIUS L. MOHOLV-NAGV

L. M OHOLY-NAGY:

MALEREI L. MOHOLY-NAGY, 1 1x' O MAIJERICI,PHOTOGRAPHiE,FILM PH OTOG RAPH I E llr. io( IQ m r g FILM in Z m 1(1) j 1 (); I 111 it 8 1,1.16••• AAAAAA IMOINCMKR1 z in F t:\ v. 1, , me 10- c z c 11 1 ' 0 0) 11 Title-spread of Painting, Photogra- ) phy Film. 1925. This was the eighth 711/4, ig ) volume in the series of 14 Bauhaus ai abcdefghijill 16. owoolomoo books designed and edited by Moholy- . , 00001600600 Nagy and Gropius. At a time when the mow oty000l000cou l0000vo wootko (moo° ego Bauhaus still did not have a graphic 1 0 60 0110 1 0 007oul onoom mnpqrstuvw design workshop, these books, by their 006000lo0X16.)0110..000 teaching and by their design, were 10000001000000 1. 016000 100000010000001000000 • creating a Bauhaus style. 10 Piet Zwart's advertisements often 10000001000000 000000 10000 (*WO! 000n0O followed De Stijl principles but just as xyzag dd 1,000i • 1, d , often departed from them, using diago- 12 Simplicity and clarity were being 7000000 Mark zahlt die Kasse nals, curves, circles, freely handled sought in typefaces as well as in graphic derTharingischenStaatsbankdem photographs. He, as did the other De design. ainlieferer dieses Notgeldschel - nes. — Vom 1. Stijl artists and designers, preferred the September 1923 ab nn dteses Notgeid aufgerufen primary colors of yellow, red and blue. d gegen Umtausch ,n Reichs- abcdefghi banknoten eingezogen warden.

Wer Banknotes nachr.r.ac.4 oder verfa.lscht oder nachgernachte oder verfalschte sick jKlmnopqr verschafftund in den Verkehr brine, wird ?nit Zuchtha us nicht tinter zwei J ahren bestraft.

s tuvwxyz 13 Herbert Bayer, 1923. One of a series of banknotes designed for the State Bank of Thuringia. Functional, readable, a d d and very alive.

HEADLINE/TEXT: ITC BAUHAUS MEDIUM HEADER: ITC MODERN NO. 216 LIGHT 35

Tschichold. This is ironic, con- `gothic.' For the arrangement, would not depend on ready- was considered essential to try and contrast provide the sidering that he was neither a I suggested total asymmetry made layouts and would avoid loss of readership as basis of modern typography." student nor a teacher at the instead of centering the lines." express the spirit, the life and printed matter proliferated. Tschichold was the voice Bauhaus. He favored sans serif the visual sensibility of its day." He also opposed typo- and the conscience of the His major book, Die Neue typefaces, not for their nov- The pre-war attempt to graphic ornament because it new typography and his own Typographie (The New Typog- elty but for their function. improve typography had distracted from the message consummate, refined typography), was published in 1928. Nevertheless he recognized failed because it focused on and compromised the raphy did as much to impress It was a challenge to "the that their growing popularity designing new typefaces, graphic interrelationship of the combined vitality and general mediocrity of Ger- was due to their fashionable- whereas the real problem key elements in the design. order of the new typography man typography in the 1920s:' ness and that their "success was with layout and design, Tschichold also opposed as did his teaching and a result of too many badly has less to do with merit than how typefaces were used. letterspacing of lowercase writing. designed typefaces and their association with a pre- He wrote: copy whether to justify lines or As he grew older, "undisciplined arrangements:' vailing fad, a kind of 'pop' art:' "In centered typography, for emphasis, and felt words Tschichold became more In his book, Tschichold advo- Earlier, in 1925, in Elemen- pure form comes before the should rarely be set in all- conservative. His work cated, as had El Lissitzky and tare Typographie, Tschichold, meaning of words." caps. For emphasis he turned became symmetrical and he the Bauhaus, a complete who was young (23), enthusi- "Contrast is perhaps the to bold weights or italics. employed serifed and script break with traditional astic, and full of new ideas, most important element in all Much of this thinking dictated typefaces, even designing typography. His book was advocated asymmetrical modern design." the use of ragged-right one, Sabon, that is used and widely read and extremely typography. "Sans serif is the type of typography. admired today. In 1959, in a influential. As Tschichold saw it, the the present day." Tschichold's writings, letter to the Type Directors Of it he wrote: traditional center axial "The new typography is teaching, and his own typo- Club, Tschichold wrote,"I am "I thought the solution to typography with its classic not a fashion." graphic designs spread El the most severe critic of the be in a single typeface only, ornaments dominated typog- The purpose of the new, or Lissitzky's constructivist typog- young Tschichold of 1925-28:' for all purposes, namely that raphy in the 1900-1920 period. functional, typography was to raphy and the typographic Nevertheless, the writings which is called in German If it was too rule-bound, much make reading easy, as well as thinking of the Bauhaus and the designs of the young `grotesk,' in English 'sans serif,' of the reaction in the 1920s to appear easy, to read. This through Western Europe and Tschichold had taken root and in the United States was chaotic,"wilder and eventually across the Atlantic and their influence is felt wilder," a period when too to the United States and Can- worldwide to this day. many rules gave way to no ada. Years later, commenting rules. Tschichold believed on Tschichold's impact, Her- that "What was badly needed bert Spencer wrote,"Asymme- was a new typography which

AATLICHES AU11AUS

1923 JAN TSCHICHOLO DIE NEUE TYPOORAPHIE

kunathalle basal -_-_-_-__ -- --^

konstruktivisten 16 15 Poster by Jan Tschichold, 1937. Dynamically balanced. All lowercase. White space used generously as a design element.

16 Title spread for Die Neue Typogra- phie. Jan Tschichold. Berlin, 1928.

15 HEADLINE/INITIAL: ITC AVANT GARDE GOTHIC BOLD TEXT DEMI WITH DEMI OBLIQUE TYPOGRAPHIC COMMUNICATIONS TODAY

rder and organiza- communication, ran a reverse Good designers can use a grid duty. A printed work which can- tion. The striving gamut from the explosiveness of to bring order to the job without not be read becomes a product for these two quali- futurism to the orderliness of the stifling its visual vitality. without a purpose': Ruder also ties that was initi- grid systems. Some of the thinking of the stressed the importance of ated by El Lissitzky, One can trace the roots of Swiss pioneers of the Swiss grid manipulating white space in further developed by grid systems to the classical system is revealed by teacher creating an effective design and 0van Doesburg, Moholy-Nagy and architecture of Japanese Zen- and typographer Emil Ruder in building visual rhythm into a Bayer, and broadcast throughout Buddhism or, more recently to (1914-1970). Although he typographic composition. Western Europe, and eventually the architect Le Corbusier. Major focused on the need for clarity Josef Muller-Brockmann, the United States and Canada by contributors to the early devel- and order in typography, Ruder through his design, his books Jan Tschichold, reached its opment of the grid in 20th cen- felt that the typographic and his teaching, also zenith in the 1930s in Switzer- tury graphic design included designer must be receptive to influenced the acceptance and land. There, in schools in Zurich Herbert Bayer, Max Bill, Richard novelty. He advocated experi- understandings of the grid sys- and Basel, what had been an Paul Lohse and Karl Gerstner. mental workshops and stressed tem. Like Karl Gerstner and emphasis on functionalism in The grid system divided the area the need to produce vital work others he showed how spirited communication typography to be used into blocks or mod- reflecting the spirit of the times graphics could be produced became an overriding concern, ules by a series of horizontal and while avoiding the excessively with it. with the emphasis on communi- vertical lines. All elements of modish. Stressing the crucial The grid system, widely cation clarity and systematically the job, illustrations as well as role of readability, he wrote: used and taught in Switzerland, orderly typography. Typographic type, are lined up with these "Typography has one plain duty soon was adopted by designers functionalism of the 1920s was lines rather than being freely before it and that is to convey in Italy and Germany, some of fine-tuned to become typo- positioned. information in writing. No argu- whom had studied in the schools graphic clarity in the 1930s. Just A grid can be applied to any ment or consideration can in Basel and Zurich, and eventu- as painting had run the gamut graphic design problem but is absolve typography from this ally throughout the world. It is from Constable to Kandinsky, so most useful in multi-page work widely, albeit selectively, typographics, an art for aiding such as newspapers, maga- employed today. zines, books, annual reports, catalogs. Grids can be customized for any job if so desired. The use ofgrids need not produce dull nor look-alike graphics.

18 17,18 A grid with 20 grid fields. Empty spaces, as between title and text, are equal to one line of type to assure that columns align with each other. Lines can be set centered, flush left and right, or ragged. The same grid is here applied to text/graphics pages. Only by a few of the possible variations with such a grid are 20 Max Huber, in Milan, integrated type shown. Note how the position of all the with photography in this 1940-41 phar- elements is controlled by the grid. maceutical piece. Huber, from Switzer- land, was a major force in bringing Swiss Juni-Fulani* are 1951 grid thinking to Italy via Milan's Studio 1410le Grassy' Sul Boggeri but his approach was less Orenslin. hex 13. Juni 1351. 20 15 Dr 19 One of many concert posters by Josef dogmatic than that practiced in Basel or Zurich. C. lit v. Weber Otrvertirn Oper .Eunsi Muller-Brockmann for The Tonhalle Gesellschaft, Zurich. These posters gin; Eugen Ormandy P. mak) Seca* alr.4 . l•roeln. a illustrate the designer's ability to com- SqM bine design orderliness with beautiful, Alexander Brailowsky exciting, eye-appealing graphics. Nlna Karim rift 5.50 w WO w Verwinf Rich colors are employed. Eye-flow is arbielcani.M1Gukshaulali controlled. 19

HEADLINE/TEXT. ITC FRANKLIN GOTHC BOOK ITALIC INITIAL: MEDIUM ITALIC HEADER: ITC MODERN NO. 216 LIGHT 37

111 he writings of newcomers were commis- works are illustrated in this And More, and More, Typographic Com- and More - Tschichold, sioned by a few key people for section of the magazine, Neue particular projects. Then they munications Thclay were key There were many more Graphik, the exo- secured positions of high visi- figures (along with the activity European designers, archi- us from Europe to bility and became teachers and of the Art Directors Club of tects, and artists who came to the United States lecturers, and their influence, New York) in establishing the the United States and to Can- 1d ada, and whose presence gave of many leading European as well as that of their students, importance of the art director typography designers, and the accelerated the spread of a new and graphic designer in com- design west of the Atlantic a The New influence of the pocket-size kind of typographic design that munication and, as a by-prod- new vitality, a new personality, magazine, PM, introduced rapidly replaced the tradi- uct, the importance of expertly or, more accurately, new per- Typography American designers to what tional graphics of the preced- handled typographies. sonalities. But enough has was then the best contempo- ing decades. Brief biographies of the been said here to convey and rary design thinking and The 1940s, '50s and '60s following emigres are included impress the importance to Crosses practice. were decades when art direc- in Chapter VII of Typographic design of the emigres of the The roster of European tors and graphic designers Communications Tbday: 1930s and 1940s from across the Ocean design talent that came to the were asserting their talents for Mehemed Fehmy Agha, the ocean. The following is United States in the 1930s and evolving graphic statements to JosefAlbers, Walter Allner, only a partial listing of others 1940s is a notable "who's who" powerfully, and sometimes Herbert Bayer, Lucian who came then and later. The of that era. Following is an subliminally, make statements Bernhard, Joseph Binder, Mar- work of some is reviewed else- impressive, albeit partial, formerly reserved for words. cel Breuer, Alexey Brodovitch, where in the book. list. It includes just a few who Copy became more concise, Will Burtin,Jean Carlu, A.M. Marc Chagall, Serge Cher- crossed the ocean more more supportive of a psycho- Cassandre, George Gusti, Wal- mayeff, Marcel Duchamp, recently. logically aimed illustration or ter Gropius, Gyorgy Kepes, Fritz Eichenberg, Max Ernst, The influx of European design, and the art director Albert Kner, Fernand Leger, Erte (Romain de Tirtof), Steff designers to the United States and designer moved from a Leo Lionni, Herbert Matter, Geissbuhler, Albert Gleizes, in the 1930s and 1940s worked stool and a drawing board to Laszlo Moholy-Nagy, Erik Fritz Gottschalk, George in many ways to change the the executive-client conference Nitsche, Cipe Pineles, Ladislav Grosz, Jacques Lipschitz, Piet face of, and the thinking room, so that he or she would Sutnar. Mondrian, Martin Munkacsi, behind, designs. At first the hear the message-marketing Amadeo Modigliani, Francis problem first hand, and make Picabia, Man Ray, Mies van a more intelligent, more funda- der Rohe, Saul Steinberg, Xanti mental contribution to its solu- Schawinsky, Yves Tanguy, tion. The designers whose George Tscherny, Massimo Vignelli, Henry Wolf.

PARIS /935

21,22 Two advertisements designed by Karl Gerstner. The type literally expresses, illustrates, the message. The Sinar lens features excellent depth of field. Voll (full) and leer (empty) makes the mes-

sage instantly clear and memorable. .44

23 As he so often did, Alexey Brodovitch relates the type to the illustration, here capturing the obliqueness of Man Ray's model. Note the use of sans serif type in various weights and sizes.

depth of field? - no camera problem since Sinar exists

21 volt ? Ito w© 25 Few designers matched Cipe Pineles' blend of vigor and readability and 24 Huge initials are effectively used by graphic freshness derived from a keen 6 1 many designers to get attention, to understanding and feeling for the mes- EJ) provide drama a mandatory illustration sage problem. Formula free, her work 26 Ad for American Type Founders. Will .. Amgen Sie unser° elaktroni then F011etand-Meaagerate may lack, to tie the elements of a piece has many faces. Here she works totally Burtin, 1958. From the Graphic Design for Flassigkeiten and SchOlitgOter in Silos, Bun ern, Tank- and Lagerbehaltern. Archive, Rochester Institute of Technol- Endres.. Hauser GmbH +Co Larrach/ Baden, an dor Int rkama Halle F2 Stand 6149 together while providing a focal point. with type in a powerful cover for the Leo Lionni. Lincoln Center Journal. ogy, Rochester, New York. 22 HEADLINE/INITIAL: ITC ZAPF INTERNATIONAL DEMI TEXT: MEDIUM TYPOGRAPHIC COMMUNICATIONS TODAY

number of top-flight typographic Stieglitz, Georgia O'Keeffe, to Paul Rand "Visual communications of designers in the United States name just a few. With hindsight Paul Rand's professional any kind, whether persuasive transformed the country from a one can see how they blended the career began in 1937, when, at or informative, from billboards merican Johnny-come-lately in contem- best of European and American the age of 23, he became art to birth announcements, should porary design, to the position of art developments to evolve typo- director for Apparel Arts maga- be seen as the embodiment of form leadership it enjoys today. Two of graphic design that was vigorous zine and then of Esquire. and function: the integration of eszgn these American design pioneers, yet clear, derivative yet original, In his book, Thoughts on the beautiful and the useful... Paul Rand and Bradbury beautiful yet functional. Design, Rand wrote: "Ideally, beauty and utility Thompson, are still active in the "Graphic design—which are mutually generative. In zoneers mid-1980s as designers and The Follow-Up Was Fast the past, rarely was beauty an and Powerful fulfills esthetic needs, complies teachers. Here we will look at with the laws of form and the end in itself The magnificent some of their early work, and the Lester Beall, William exigencies of two-dimensional stained glass windows of work of Lester Beall and Wil- Golden, Paul Rand and Brad- space: which speaks in semiotics, Chartres were no less utilitarian liam Golden. Together they bury Thompson were the first of sans-serifs, and geometries; than was the Parthenon or the helped set a new tone and per- the American design pioneers which abstracts, transforms, Pyramid of Cheops. The func- sonality for American typo- in the '30s and '40s. Just a few translates, rotates, dilates, tion of the exterior decoration of graphic design in the '40s. years after their careers had repeats, mirrors, groups, and the great Gothic cathedrals was lthough the emi- American born and bred started, and while the émigré regroups—is not good design if to invite entry; the rose windows gres from Europe designers like Beall, Golden, designers from Europe were it is irrelevant. inside provided the spiritual numerically Rand, and Thompson, though establishing themselves in the "Graphic design—which mood. Interpreted in the light of dominated the deeply influenced by the 20th United States, a larger group evokes the symmetria of Vitru- our own experiences, this philos- field of distin- century European art move- of Americans were striking vius, the dynamic symmetry of ophy still prevails:" guished designers ments and European designers, new design chords with new Hambidge, the symmetry of in the United States, in the late were also influenced by contem- personalities and their fresh Mondrian; which is a good A New Way of Seeing... 1930s and the 1940s there were a porary American culture, by approaches to blending vigor gestalt; which is generated by New Ways of Showing small number of American- Thomas Hart Benton, Reginald and clarity for communication intuition or by computer, by The tremendous impact of born-and-educated designers Marsh, Edward Hopper, Alfred and typographic design. Their invention or by a system of co- Bradbury Thompsons typo- whose work equaled the best work, the later work of Paul ordinates—is not good design graphics developed through the created anywhere in the world. Rand and Bradbury Thompson, if it does not co-operate as an pages of Westvaco Inspirations, Their influence was to be pro- and the work of many other instrument in the service of a four-color magazine demon- found and enduring, and their designers in the United States communication. strating the capabilities qfprint- ranks were to be swelled until the and abroad are reviewed in ing papers. Thompson combined Chapter XIII of Typographic a hands-on knowledge of typog- Communications Today. raphy and printing with an

27 The egg-shaped copy block dis- cusses the life of malarial parasites. Red superior numbers in the text key the copy to the pictures. For Scope magazine, the 29 This bell swings in process colors and Upjohn Company, No. 7, June 1944. the type comes alive with it. Bradbury Lester Beall. Thompson, Westvaco Inspirations, No. 194, 1953. 28 Here Bradbury Thompson catches the evolution of a sneeze in a powerful and 30 A multiple exposure of a saxophone witty spread that borders on great player and off-register overprinting in surrealistic art, as it brings sound to the primary colors vitalizes image. Bradbury printed page. Westvaco Inspirations, No. Thompson, Westvaco Inspirations, No. 177, 1949. 210, 1958.

Ke chop o o 39 adventurous spirit. He wasn't He used white space generously Lester Beall organization—an intuitive His work was recognized in going to do what had been done, and judiciously. He grouped "Lester was first of all an selection and placement of Europe and in Gebrauchs- yet his innovations would be graphic elements by units (mes- artist, not only because of a graphic elements without creat- graphik in the 1930s. In 1937 purposeful, appropriate to the sage related) rather than in vital and important talent, but ing graphic chaos. He blended the Museum of Modern Art in communication problem. With a conventional columns or blocks. because of an emotional spiritual in his work his sense of European New York dedicated a special limited budget, he would work Where others were busy making quality, a very special attitude. graphics with a feeling for Amer- exhibition to his graphics. He with existing color plates (these certain that four-color plates He was a pioneer in his applica- ican wood types,flat planes of was the first commercial designer were the great days of letterpress were precisely registered, Thomp- tion of graphic design to adver- color, old woodcuts, photograms to be so honored. By 1941 his printing) and cut them apart, son would throw the colors tising, publishing and related and original typographic effects, innovative graphics had won reassemble them, team them up obviously off register to focus creative activities. He was and simple signs and symbols him the title "typographic surre- with tint plates, overprint to attention on a given spot or acutely aware of the effects of combined with photographs. By alist:' Throughout his career create action and new colors. He achieve a sense of action. He graphic design on the human the 1950-1960s Beall was one of Beall won many honors, and used large shapes for their sym- often used simple and inexpen- environment and of the social the country's best known design- magazines in the United States bolism and power, often greatly sive line art, perhaps printed in responsibilities of the designer." ers and a leader in the develop- and abroad reviewed his work. enlarged letter forms, blended one of the primary colors, to —Dorothy M. (Mrs. Lester) ment of corporate design. Exhibitions of his designs took old art (such as prints from the extend the size and impact of a Beall Beall took pleasure in the place all over Europe, in the Diderot encyclopedia) with new small four-color process plate. It was not until the mid and unusual in illustrations, juxta- United States, the USSR, and in color combinations and symbolic He used tint plates of unusual late 1930s that the graphic posing and angling of elements, Japan. shapes. Pattern, movement, shapes to add color economically contrasts in scale, color, texture, innovativeness and vitality in William Golden color, excitement, were combined to enliven otherwise dull areas Europe made an impact on and mixing of line and tone art and harnessed to reinforce the and to counter the staticism of graphic design in the United and photography. Yet all were In the 1940s corporations in message. No obscurity, no bla- square halftones. But always his States. Traditional illustrations knit together to form a coherent the United States became "corpo- tancy for its own sake here. type was not only compelling but dominated the scene. An early entity. rate identity" conscious. They Thompson strove for and very legible and readable. For all exception to this situation was were concerned with the image achieved a wonderful blend of the flare and vigor, the result was Lester Beall (1903-1969). Born they projected to their markets, vitality and clarity. He employed a design unit with graphic co- in Kansas City, he earned a doc- their stockholders, their employ- dynamic balance, often avoiding herence and controlled eye-flow. torate in art history at the Uni- ees, the public, and they became the usual columns of type. He versity of Chicago in 1926. He aware that typographic design did not hesitate to mix several was a self-taught designer. played a role in helping them typefaces when he thought doing He fully appreciated the project the desired image. so would strengthen the message. need for organized yet strong, In the early days of corpo- clear yet exciting, design. He rate image awareness three com- developed a sense for random panies set a fast pace: Container Corporation of America (art- oriented ads and the Great Ideas

Page 1

The First Book Moses called Genesis

Genesis

td In the beginning g And God called the firmament Heaven. God created the heaven and the earth. And the evening and the morning And the earth was without form, and void: were the second day. and darkness was upon the fart of the deep And the Spirit of God And God said, moved upon the face of the waters. Let the waters under the heaven be gathered together unto one place, t And God said. and let the dry land appear: In there be light: and it was so. and there was light. o And God called the dry land Earth: e And God woo the light, that it was good: and the gathering together of the waters and God divided the light from the darkness. called he Seas: s And God called the light Day, and God saw that it was good. and the darkness he called Night. ii And God said And the evening and the morning Let the earth bring forth grass, were the rst day, the herb yielding wed, and the fruit tree yielding fruit after his kind, 6 And God haul, whose seed is in itself, upon the earth: let there be a firmament and it was so. in the midst of the waters, And the earth brought forth grass, and let it divide the waters from she waters. and herb yielding seed after his kind, 7 And God made the firmament, and the tree yielding fruit, and divided the waters whose wed was in itrtlf, after his kind. which were under the firmament and God saw that it was good. from tht waters which v ere above the firmament: and it was so.

33 Paul Rand often makes type move, 31 The entire King James text of this but always with a reason and without Bible is set in lines of varying length, sacrificing readability. each a complete phrase, just as the 32 Book jacket for Wittenborn, 1951 . words might be spoken. Text is set in 14 Paul Rand. point Sabon Antigua roman. Bradbury Thompson. USA. TYPOGRAPHIC COMMUNICATIONS TODAY

of Western Man series by key `New American Typography' "Under the twin impact "But what gave it a new designers), IBM (projecting surely it speaks with a foreign of the functionalism of the direction and style was not so itself as the extremely advanced accent. And it probably talks too Bauhaus and the practical purely American. I think it was technology leader), and Colum- much. Much of what it says is demands of American business, men like Agha and Brodovitch. Bits, bia Broadcasting System. obvious nonsense. A good deal of the designer was beginning to These importations from Europe In each case the corporation it is so pompous that it sounds learn to use the combination of set a pace that not only changed Bytes,and head set the tone for the program: like nonsense, though if you lis- word and image to communicate the face of the magazine and Walter Paepcke at CCA, ten very carefully it isn't—quite. more effectively. consequently advertising design, Thomas Watson, Jr. at IBM, It is just overcomplicated.. . "Under the influence of the but they changed the status of the Typo- and Frank Stanton at CBS. "More and more typography modern painters, he became designer: They did this by the sim- Stanton initiated the CBS was designed on a layout pad aware (perhaps too aware) of the ple process of demonstrating that graphic approach, and in 1937 brought rather than in metal. Perhaps textural qualities and color val- the designer could also think... in William Golden to execute the greatest change in American ues of type as an element of "The designer will find that Design it. Golden did this supremely typography was caused by this design. the most satisfying solutions to a for 23 years. simple act—the transfer of the "And surely a dominating graphic problem come from its design function of the printer to influence on American typogra- basic content. He will find it Golden Words the graphic designer. phy in the pre-war years was unnecessary and offensive to Perhaps the best way to "The designer was able to exerted by the journalists... superimpose a visual effect on understand Bill Golden is bring a whole new background "The skillful development of an unrelated message... he will n the first half of the through his own words. He was and a new set of influences to the the use of headline and picture want to be sure that what he 20th century, the as fluent with words as he was printed page. He could 'draw' a was afar more prevalent has to say will be clearly under- driving forces that with graphic elements. In April page. There was more flexibility influence than the European stood—that this is his primary affected the look of 1959, the Type Directors Club of in the use of a pencil than in the past. The newspaper taught us function... typographic designs New York sponsored a forum, manipulation of a metal form. It speed in communication... "I do not argue for the return came from the new Typography-USA. Panelist- became a new medium for the "The magazine communi- to any form of traditionalism. I schools of painting, poetry designers contributed statements designer. cated at a more leisurely pace do argue for a sense of responsi- and architecture. They con- to a booklet issued as part of the and could be more provocative bility on the part of the designer, tinue to influence today's seminar. Following are excerpts since it addressed a more selective and a rational understanding of designers. But since the late from Golden statement. audience. Because the magazine his function. 1960s, the influence of the "Type is to read. dealt more in concepts than in "I think he should avoid new technologies on type- "If there is such a thing as a news it was far more imagina- designing for designers!" setting and typographic tive. There was more opportunity design has been even here to design within the frame- greater. work of the two-page spread. Of course the fine arts But still, the devices that bore the and new technologies were main burden of interesting the not the only forces affecting reader were the `terrific headline' typographic design. and the 'wonderful picture'... Among the other forces were the work done in private presses in England, Europe, and in the United States, as well as the design of new typefaces. Private presses, by their willingness to experiment and inno- vate, affected the courses of both typeface and typographic design. (This story 34 The CBS Television symbol as used in is summarized in Chapter IX a 1955 trade show. William Golden. of Typographic Communi- cations 35 CBS trade ad, 1954. William Golden. Today) The design of typefaces was both a cause and an affect of other trends in the graphic design world. (This story is told in considerable detail in Chapters X and XI; over 200 typeface families are illustrated with full alphabets. They are TARP

36 Cover design for Design Quarterly, 1984. Paul Rand. USA.

, Haul rant/ micrtio/Lontit

HEADLINE/INITIAL/TEXT. ITC NEW 8ASKERVILLE ITALIC SUBHEADS: BOLD ITALIC HEADER: ITC MODERN NO. 216 LIGHT 41 arranged by design cate- Page Description gories and the characteris- Languages (PDLs) tics of each category are Adobe's PostScript is a Networking. Computer graphically illustrated. New language for describing the users in all areas are ways of designing type are appearance of text, graph- demanding that their PC or described and typeface ics, and images on the computer-controlled termi- and typographic experi- printed page. It is software nal, processor or printer be ments are illustrated and the heaviest and lightest used by many raster laser able to talk to others from discussed.) weights in a family; com- printers and some typeset- the same or a different man- A word of caution. What puter driven, software-con- ters. It builds the pages at ufacturer. Interface devices follows here and in the book trolled devices interpolate the resolution of the availa- are available, but the trend is only a summary report. It the missing weights. Most ble printer or imagesetters. is toward networks that would take a multi-volume printers and typesetters The program can also be both connect devices and work to cover these devel- create the full range of used as an electronic cam- enable them to talk a com- opments in depth and, by desired sizes from one mas- era capable of zooming, mon language. Micro and the time such a book could ter font. Furthermore, the rotating, magnifying any Photons instead of mainframe links are being be published, it would be designer may often draw portion of the page. Other electrons. AT&T's Bell Labo- demanded. A number of partially obsolete, due to only about 120 characters comparable kinds of soft- ratories, among others, is LANs (Local Area Networks) the rapid pace of signi- for a font of 250 characters. ware include Xerox's working on an optical com- are on the market already ficant technological Computers and software Interpress and Hewlett- puter. Computing with light at a wide range of capabili- advances. can create the remaining Packard's DDL. Unlike PDLs, (photons) instead of elec- ties and prices. Also wanted characters from the strokes DDL is a document descrip- tricty (electrons) could Today's Technological are products that can link and serifs in the basic char- tion language that can speed processing from 100 Spectrum different LANs to each other. acters. describe the format for a to 1,000 times faster than is Many companies, includ- Every step of the process Personal computers large multi-page document. presently possible. Silicon has been affected. with word processing and cuts the speed of electrons ing IBM and AT&T, Xerox, Text originators— typesetting software are What's Next? to less than one percent of Wang and Apple are in this market and much progress authors, editors and copy- bringing considerable Major developments in its potential but would not can be expected in the near writers have been key- typesetting ability to offices, the near future will greatly slow down photons. This is a boarding on terminals that studios, advertising agen- expand the power, increase wave of the future. We may future. X-ray chip etching. relay the keystrokes to edit- cies and departments, and the speed and capacity, see a primitive prototype soon but a working full- A major breakthrough in ing, makeup and output editorial staffs. The combi- and reduce the cost of com- vastly expanding chip stations, bypassing re-key- nation of a PC and software puter systems. Some of these scale model may not be power and speed is moving boarding. The word origi- programs is making desk- are: ready until the early 1990s. Optical storage. off the drawing boards and nator keyboards, and top publishing affordable Bigger bytes. The 8-bit /2" storage disk into the research labs. Pres- sometimes specifies, the and practicable. In fact, byte, permitting 8 bits to be Today's 3 1 ently chips can only be type. Now, WYSIWYG (What some of the same PC/soft- processed as a unit, is being can hold 20 megabytes of /4" optical disk enhanced by reducing the You See Is What You Get) ware front-ends are so superseded by 16-bit and data. A 5 1 holds 400 megabytes of space between the micron- terminals are simplifying capable, they meet the 32-bit bytes. data. Next breakthrough is thick circuits. Chip circuits this process. needs of larger and more Parallel computers. are made by etching silicon Typefaces used to demanding users. The sequential processing to increase the access with ultraviolet light waves. be drawn for each size The computer/software of several computers has speed of optical disks and to make them erasable. The etching pattern is required. They were also front-end is being used at nearly reached its speed hard disks. driven by a large size mas- drawn in all their necessary all levels of composition limit. Parallel processing, CD ROM ter drawing that is drasti- weights and a full comple- now Such systems often whereby many related cal- These are the computer version of the audio com- cally reduced in size and ment of characters was include spell-check pack- culations are performed pact disk. They have a large transferred onto a photo- created in every size and ages, thesaureses, and the simultaneously, is breaking storage capacity and can graphic negative or mask. weight by the typeface ability to select fonts and this barrier and some such mix media. One disk can The bright UV light shining designer. Today the sizes from a growing library. computers are on the mar- mix text, music, speech, through this mask etches designer need only create They can produce special ket now The Connection photography, graphics, the circuits atop the silicon. one size and only draw effects, such as sizing, rotat- Machine, for example, can The shorter the wave length, ing, stretching of letters as perform 64,000 calculations and animation. con- the finer the etching. The well as offer kerning and at a time. Super conductors duct the flow of electrons plan is to shift from UV light hyphenation and justifica- VHSIC (Very High (electricity) with virtually no to soft x-rays. Presently a tion programs, draw boxes Speed Integrated Circuit) is chip can hold a million and rules, and electroni- a superchip. Where today's resistance. Until 1987 they circuits. An x-ray etched cally make up pages with best chips pack thousands could only operate at such chip might hold a billion. all elements in position. of transistors onto a tiny extremely low temperatures A minimum of $500 million silicon square, the new chip as to be commercially Inputting Images unfeasible. Breakthroughs would be needed to get this can store tens of millions in project off the ground. No Electronic technology the same space. Gallium in 1987 and 1988 are ena- bling them to work at one company, not even IBM has made it possible to arsenide chips are being higher temperatures. The or AT&T, is expected to han- "typeset" art. Until recently, developed to replace sili- final breakthrough is being dle this unaided. Govern- interactive makeup termi- con chips. They will transmit worked for feverishly in lab- ment financing is needed. nals linked to typesetters, electrons several times enabled the typesetter to faster then silicon chips can. oratories in the United output a page with all the States, Europe and Japan. type in position, and with Voice input. Driving holes or windows left for the a computer by voice com- insertion of illustrations. mands is done today but Today's imagesetters (suc- the systems are primitive, cessors to typesetters) and the vocabulary limited, and laser printers can accept micros or mainframes are digital information describ- needed. Estimates are that ing illustrations and then by the mid-1990s more use- output the pictures in posi- ful voice input systems will tion. No more windows, no have evolved. more manual stripping when such systems are used.

HEADLINE. ITC LUBALIN GRAPH DEMI TEXT. MEDIUM INITIAL/SUBHEADS: BOLD HEADER: ITC MODERN NO. 216 LIGHT TYPOGRAPHIC COMMUNICATIONS TODAY

the problem at hand. In striving for communication effectiveness, appropriateness of style the forty-winlreducing pia HE MANY and of the clarity-vitality blend is crucial. An approach that is just ACES OF right for one problem many be totally inappropriate for another. YPO- Appropriateness An understanding of the RAPHY crucial role of appropriateness in evaluating the communication effectiveness of a particular ODAY graphic design leads to an appreciation of why we have so many design approaches and styles today. Neither the Swiss grid nor the so-called "new wave" ypographic design of is the answer to all problems, the last several decades nor is any other style or blend of is a reflection of all the styles. One should look at the influences discussed in work shown here with these Typographic Communi- thoughts in mind. Some are 37 cations Today. All the dif- beautiful. Some are visually ferent ways of striving for vitality, exciting. Some pieces are graph- or for clarity, or for some ideal ically quiet. Some are full of blend of both, are alive today. All humor and personality, and the influences of the art move- others are dry and impersonal. ments of the early decades of But graphic designs, to be truly this century, of the subsequent understood and appreciated, design schools, and of the new should be viewed in terms and still evolving technologies of how well they convey the have combined to offer today's intended message to the audi- graphic designers a vast arsenal ence at which they are aimed. of approaches with which to After all, that is their reason attack a communications prob- for being. lem; as well as finer tools with Typographic design is a vital which to execute a chosen solu- force in visual communications. tion. The result today, evolving It does not exist for its own sake, since the 1940s, is a broad spec- and should not be evaluated as if trum of typographic design it were design for design's sake. styles, if style is the correct term. The sheer beauty of a piece of Now let us look at the works of communication may contribute leading designers from many to its effectiveness, may distract parts of the world, to see how or detract from it, or may merely each approaches and solves a be irrelevant. The graphic 37 One shouldn't use a device simply 38 Remember the Slinky toy? Here the because it's in fashion. Perhaps it takes type literally adds bounce to the mes- variety of graphic communica- designer is first and foremost a even more courage to use a visual sage and the ad, yet everything is tions problems. communicator, and only within cliché, but to use it so very well. Perhaps perfectly readable. Otto Storch, for the measure of how well it is used, of its McCall's. USA. We don't see any dominat- that framework an artist. communication effectiveness, is how ing trends. Perhaps that is well it fits the specific message and how because we see so many trends. well it is executed. Here, after years of shaping type blocks to pictures, is One way to understand and one of the very best. By Otto Storch for evaluate the graphic design of McCall's. USA. recent decades is to think of a graphic design grid — not the Swiss grid discussed earlier, but an analytical grid in which the horizontal axis runs from absolute focus on clarity to absolute focus on vitality, and the vertical axis represents the personality or style of a particular designer. Of course, many graphic designers strive for the best of both worlds, for some ideal blend of clarity and vitality, and all good designers are flexible enough to embrace a segment of the clarity-vitality axis in their work, and to flow within that segment as each job requires. Consciously or subconsciously they seek the balance of clarity and vitality most appropriate to 39 A Sudler, Hennessey & Lubalin 40 One of Herb Lubalin's many pieces pharmaceutical ad. Herb Lubalin. USA. using the "0" as a receptacle for the illustration. 1957. USA.

41,42 Symbology, directness, uniqueness and appropriateness characterize these Herb Lubalin designs for Curtis Publications (1966) and Visual Graphics M R Corporation (1965). Often, in Herb Lubalin's work, the graphics don't simply organize the message, they help express it. USA. MAFIIAGE HEADLINE/INITIAL: ITC SYMBOL MEDIUM TEXT: BOOK SUBHEAD: BOLD HEADER: ITC MODERN NO. 216 LIGHT 43 Hierever hotunronii Raw

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43 Editorial spread for Raposa maga- 44 Willy Fleckhaus' work for Twen magazine. Art director, illustrator, Oswaldo zine, done in the mid '60s, influenced Miranda (Miran), Brazil. publication design all over the world. Much of his typography was either bold and simple or small and simple. Federal Republic of Germany.

Sc e Sche el ;cherz Schen OP' Scherz Scherz Scherz Scherz ...Sanaa SAO Scherz

OMMSO Scherz sth;;e' rz

sch*SCherz Scherz roihr Scher,

45 Three advertisements for Scherz, publishers. 1962-64. Anton Stankowski. Federal Republic of Germany.

48 A page from Moya Rossiya (My Russia), an ABC book by Serghey 47 Pozharsky, 1967. Moscow. 46 While designing this magazine cover, Franco Grignani became thirsty and decided to immerse the title in a glass of water. 1955. Italy.

49 One of a series of trade advertisements in which typography is the major ingredient. The purpose of the series was to prove the selling virtues and strengths of CBS radio (in the early days of television) through the device of sales success of various products which were advertised on the CBS Radio Network. thing tthrtitt ',ohm,* IYIdifl ... N Louis Dorfsman. USA. ils ahrhvg the, to 40 the hcat17,-,,tht ttelliht2 ..! If till the IIYIVA hi tHirertise, Mt, Comm,'" ,Sat...; etthipemy cht,,' the ( .1;• /1,11/i,, r‘),,,,,,,k ,,,h,.,/,,,t y . ii, 50 Type and photography express and ..4/ 4,,ydv 11,,,huing (.'(lady (hiring Iii,I Ji,/,,,1 ,11",,,ct.ron. /WO: illustrate the message. Woman's Day magazine. Bicycle wheels and Futura (., 59.7% illtIVIINP III M111%. hill I. Milli, 1,011 . Intl IIIPIIN1117' media. Light lower case are a perfect match. what 'mutts 111(101 1,1 It healthy allot. Gene Federico. USA.

50 TYPOGRAPHIC COMMUNICATIONS TODAY

53 U&Ic spread, The Wright Stuff. "An 51 Poster for Hiroshima Appeals, 1983. attention-getting headline used with Yusaku Kamekura. Japan. typefaces that were chosen to complement the art" B. Martin Pedersen. USA. 52 Promotional calendar for an advertising agency. 1934. Valery Akopov. Vasily Dyakonov. USSR. SEMioTicssmIoTICSEMiomic.smIoTICS s E MIOTICSEMIOII T s E m I o TICS S EMI° T z c s EMI° TICSEMIOT I c sEmiocICS S E mioxiCS EMIDTICSEMIOTICS Erni° TI CS 52 S E M i o T I C SEMIOTIOSEMIDTIOSE m i o IICS S EM. 0T ICSEMIOTICSEMIOTICI SEM I 0 T C S S E, TOT ICSEMIOTIC S E MIOTIOSEMI 0 .1 o 5 sr ml 0 IICSEMIOII es E M IOTICSEmio Timm s E m IoTICSEMIDTI cs s m IoTICSEMioTI c s

5 E M IOTICSEMIO Tie sE m IOTIOSEMIDTI C s • E MIOTICSEMI 0 TIcSsm IOC ICSEMIOTIC S E MIDTICSE IT1I o x i CS Em z o I I C SEMIOTICS SKIA A BILI feldE S VJABI ()NCI NAD NISOU EMIOTICSE MT° TIC SE M10 TIC S EMIOTICS 1961-1981 S EMIOTICS E m I 0 ° I OSEM IDTICSEMICITICS S EMI° __C s e m i 0 T ICSEM I 0 2 I c S E MIOTICS SEMIOTICsE m IOTIOSEMIO TIC sEM IOTICS SEMI° T I c s E m I 0 TIOSEMIO T I c s e IR I 0TICS SEMIOII C s E m / oTICSEMIO° I C 5 E M IOTICS S EMIOM_Iesern I o TICSEMio csEMIDTICS sEMIOTicscm o m IcsEmi o T I °SEM IOTICS S EMIOTICSE M ID TIC SE MIsT I C S EMIOTICS S EMIOTIOSEM lox CSEm o T CSEMIOTICS S E MIOTICSEM / DT c SE Io T IOSEMIOTICS s E m IOTICSEMIOT I r so TIC TICSEMIOTIC s • EMIOTICSEMIOTICs e RI I OTICSEMIOT I c s

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54 Exhibition poster, 20 Years of the 55 Poster for the Pori Jazz Festival, 1987. 56 A poster for Semiotica, a journal on 59 In a fun-with-type exercise, U&Ic art Museum of Glass and Fancy Jewelry. The Errki Ruuhinen. Finland. semiotics by Mouton publishers. The director Bob Farber created a series of shape of the figure evokes both a twisted Hague. Jurriaan Schrofer. Holland. designs for the March 1983 issue. Editor metal strip and a drop of melted glass. Ed Gottschall wrote the copy after seeing The axial composition of the text aims the designs. Two of the pages are shown to suggest the shape of an historical here, ITC Tiffany is used on the left- glass goblet. Jan Solpera, 1981. hand page and ITC Barcelona* on the Czechoslovakia. right. USA. 58 Magazine cover. Oldrich Hlaysa, 1970. Czechoslovakia.

orlIci, !CC :ra iota+, Nana .rolull Of carves as 6'.e oripal of Inc symbol. The symPol.todap 'Ivor:se/Po the ward.and.- Birt.once upon a ante, our language was ASS dirt, test con .rise. fn certain eirciin, stanres.orne used Ow expression -amines se antterally this ',venlig -glad by ttnelf and."This mouthful as' represented by spore. and linu,onsciaat people .6r. and the orpressitol tightened to thr mord .ampersand.- The car,. Saluted phrase not only became an effIrtent. ilmotion-oriented symbol but a Pain' fnadnatiaa for tYPnface aasiyners.The range of ampersand design, runs the gam,. fro streamlined to highly ornate.Ed Br nguiat conned tu, sands for ITC Barcelona. Both are gracc1111 050 nanny curvilinear ViSl•fe art director Nob Farber thaw tha.altentata or mart al:banns awe far , pgga . rhai it so opaapjal, hrjust enlarged it, &ens.ea it, like Joseph mony co■ct,,. and let it Pool fore rot., ro odoOn. .

57 Typo portrait of Vincent Van Gogh.

Evocative of Van Gogh's The Starry Night . Vaclav Kucera. Czechoslovakia.

HEADER: ITC MODERN NO. 216 LIGHT Thoughts About. CONCERTGEBOUVI, Yesterday ammadi dinsdag 6 juni, 20.15 uur

Zatthor N Kormverenthes. Today and (5 4,64,8181 10.Novomb9r, 19 November 1981 03 12.1898, 22.M8r4 .8.191 1982 o Lellung. Edmond de Stoutx Frew MaartgaiisiNiti Kmmmere99888b1e del Tomorrow Tschechachen Y8lbenrorie 02 19. Dexenber 1981 A I 1.84889. M99429 Venhodo 4 Mari 1'fIr V94,419 Mrord188 'moque Mrtnes 12. Mo11982 for a pano- L499 Fronk Gosanann ramic view of the o PHILHA past 100 years of typography, and you will 61 Concert poster. The central motif is see the ebb and flow of an emblem designed for the theater. designers' relative ORKEST Odermatt & Tissi. Switzerland. emphasis on vitality or clarity KERSJES in their work. No doubt most designers feel what they do is LECHN best suited, most appropriate, W. A. : Piunmated*- to the message problems they B. BARTOK: De Houten Prins handle. This writer has a bias

M2):2411 C 29 nut 29 et, nos 10-1i art, betstre towards typographic design Oat try Goa- lickaille0, La 22 9011 that captures the best of both worlds, that is both vigorous and lucid. True, it is impossible not to notice the unexpected. But attracting attention is only the first step in the communications process, and if confusion or obscurity follow, then the eye-stopping devices have overpowered the message they were designed to empower. On the other hand, clarity and order alone are rarely enough. If a piece is boring or indistin- guishable from many others, it may lack the power to attract maximum readership or make a deep and memorable impression. 60 A 1978 poster for a folklore event. 62 California Institute of the Arts view Just as speakers and writ- book. April Greiman. USA. Total Design. Holland. ' ers have tones of voice and style that can be modified as necessary, so typographic designers have a wide range of design devices to choose from. They can be whimsical, dramatic, fashionable, analytical, bold, subdued, stylized or sty- listically neutral, research- focused or intuitive, as the occasion demands. All these

7 and many other visual tones of voice are employed today. They coexist with the full spectrum of emphasis on clarity and/or vitality in visual communications. In that sense one might say there are no trends because so many seemingly different design approaches flourish together. But there are some developments or trends worth noting.

64 Complexity, distinctiveness. "All that stuff about revealing structure and 63 Opera poster, 1981. Shigeo Fukuda. reducing things to their simplest forms— Japan. I couldn't go for that. I guess the revolutionary thing we did was to take the position that there is no single voice 65 "The client was looking for an identity capable of expressing every idea, that for the group, rather than an image of a romance is still necessary, ornament is single dancer. The name Alvin Ailey was necessary, and simplification is not written figuratively with brush strokes, better than complexity," Milton Glaser, thus creating the identity of name and 1985. Shown here, a page of a 1983 group. The bottom type suggests an calendar for PM Typography. Milton audience and static order as opposed to Glaser. USA. dance': Steff Geissbuhler. USA. TYPOGRAPHIC COMMUNICATIONS TODAY The Vocabulary of Form... A Note to Here are some comments by Paul Rand on the relation- the Readers ship of art and craft in design: We hope that you have enjoyed, been Aimed Design "There is an old romantic stimulated by, and perhaps have idea that intuition and intellect learned some things from this synop- Today's typographic do not mix. There is an equally sis/review of Typographic Communica- design, more than ever before, erroneous belief that inspirations Today. Perhaps these random is carefully aimed to achieve tion takes the place of industry. selections from the book have whetted targeted objectives. Designer your appetite for more. Of over goo Fortified with such misconcep- pictures in the book only about one in Vance Jonson writes that what tions, it is understandable that twelve are shown here. And the text we once called "commercial we tend to minimize the impor- has been even more greatly condensed. art or design" and later called tance of learning the rules, the Two chapters with full alphabet show- "marketing or communications ings of over 200 typefaces and the story fundamentals which are the of their development and a chapter on design" should now be thought raw material of the artist's Trying Too Hard to the influence of private presses of as "strategic communication craft. Be Different are not included in this U&Ic design:' Visual and verbal sym- synopsis/review. "In graphic design, as in all (Excerpt from a speech by bols are at least as crucial to a creative expression, art Five years have gone into the message's impact as is the Allen E Hurlburt at the Type research, writing and producing of the evolves from craft. In dancing, Directors Club conference, book. The four pages of the Selected literal, obvious message. Jon- craft is mastering the basic Bibliography just reveal the surface of son regards typographic com- Typography USA, 1959. ) steps; in music it is learning "At its best, American the research that was done. Most munication today as "an art 66 Joy with letters. The Igarashi Studio important were the one-to-one dia- the scales. In typographic typography features a clarity of logues I was privileged to hold with and a science. It is combative" design, craft deals with points, in Tokyo is concerned with communica- and multi-sensory, not just expression and an overall inte- tion design, environmental design, and designers all over the world. lines, planes, picas, ciceros, gration of design that is in the "design for design": Takenobu Igarashi First and foremost I must thank verbal/visual. Paul Rand, and explains his sculptured aluminum leads, quads, serifs, letters, finest tradition of typography Aaron Burns. As President of Interna- many after him, saw the artist words, folios, pages, signa- letters: "My aluminum sculpture series, tional Typeface Corporation. He, one and its related arts. At its AL 070783, was produced in 1983 and day in late 1983, proposed that a work caught between esthetics and tures, paper, ink, color, print- exhibited first at the Mikimoto Flail in worst, it represents a sacrifice Tokyo and then at the Reinhold Brown such as this be written. The general the need to sell. He wrote, ing and binding. idea was his and he gave, to the fullest, "There is nothing wrong or of clarity and true personal Gallery in New York. Each of the sculp- "The vocabulary of form tures is made up of a number of thick all the ingredients one needs to do a shameful in selling... Long expression in favor of a preoc- (art) includes, among others: cupation with typographic and thin aluminum plates joined project well: an open-ended schedule, range, the interests of busi- space, proportion, scale, size, together by screws. For the first time I an adequate budget and a free hand, ness and art are not opposed:' fads. used a computer-controlled laser to cut plus his confidence, encouragement shape, rhythm, repetition, "Like the automotive styl- the plates. A metal brush was used on and frequent suggestions. Today's designer has not the surface to give it more texture:' These sequence, movement, balance, ists, we are frequently all try- I spoke with many of today's out- only computers and lasers and letters are about 51/2 inches tall. Some standing typographers and designers volume, contrast, harmony, ing too hard to be different of Igarashi's giant letters are 12 feet software as tools, but also the order and simplicity. high and 20 feet wide, and are intended not only about their own work, but new science of marketing. together, creating shallow for public or corporate environments, about the tides and waves in graphic "Just as there is no art with- style that can have little lasting indoors and out. design during the past century. Their Aimed design is a must today, out craft and no craft without insights, generously shared, add depth and today's designer must effect on the mainstream of rules, so too there is no art typographic design. We move to this study and helped mold its point use it along with the new tech- without fantasy, without ideas. of view, so that it is more than report- nologies and esthetic knowl- from the ornate to the starkly age. Just a few, who could not be visited A child's art is much fantasy plain and back again, and from personally, painstakingly answered my edge, taste and judgment to but little craft. It is the fusion produce the most effective wide leading to tightly stacked detailed questionnaires. And still of the two that makes the type lines, as though each new others, not listed here, kindly sent communications. difference:' samples of their work for inclusion method were the only true way. herein. Of the Readability/ The Designer as "This twisted path to con- Key among them were: Excitement Tradeoff formity is strewn with the tor- Saul Bass; Fernand Baudin, Herbert Problem Solver Bayer; Max Bill; Hans-Rudolf (Excerpt from a speech by tured reminders of the Ivan Chermayeff offers vagaries of our typographic Bosshard; Pieter Brattinga; Max Herb Lubalin at the Type Direc- these comments on the Caflisch; Wim Crouwell; Louis Danzig; tors Club conference, Typogra- taste: Broadway, Agency Willie De Majo; Dr. Magdalena Droste; designer as a problem solver. Gothic, Cartoon, Corvinus, Adrian Frutiger; Peter Gabor; Ken phy USA,1959.) "Design comes from a com- "Through typographic Neuland, Signal and Slim Garland; Karl Gerstner; Andre bination of intelligence and Black, to name but a few." Giirtler; Allan Haley; Walter Herdeg; means, the designer now artistic ability. A designer is Oldrich Hlaysa; Armin Hoffman; presents, in one image, both someone who should solve Of Licentious Will Hopkins; Max Huber; Yusaku the message and the pictorial Kamekura; Mervyn Kurlansky; problems. He is a borrower, Typography Hermann Lampaert; Gunter Gerhard idea. Sometimes, this 'playing' co-ordinator, assimilator, Lange; Roger Laufer; Olaf Leu; Noel with type has resulted in the Swiss designer, Max juggler, and collector of mate- Caflisch, comments on the Martin; Oswaldo Miranda; Bruno loss of a certain amount of rial, knowledge and thought Monguzzi; Josef Mfiller-Brockmann; legibility. Researchers con- value of experimentation: Kazumasa Nagai; Siegfried Odermatt; from the past and present, "The notion that typogra- Michel Olyff; Bruno Pfaffli; Paul Rand; sider this a deplorable state of from other designers, from affairs but, on the other hand, phy, in order to be contempo- Roger Remington and The Graphic technology and from himself. rary, must have an Design Archive on Videodisc at the excitement created by a His style and individuality Rochester Institute of Technology; novel image sometimes more experimental character is Klaus Schmidt; Herbert Spencer; come from the consistency misleading, even grotesque. Victor Spindler; Ikko Tanaka; than compensates for the of his own attitudes and slight difficulty in readability." The typographer must learn to Bradbury Thompson; Roman approach to the expression distinguish between good and Tomaszewski; Kurt Weidemann; and communication of a prob- Wolfgang Weingart; Henry Wolf; bad, meaningful and unmean- Hermann Zapf; Maxim Zhukov. lem. It is a devotion of the ingful, disciplined and licen- designer to the task of fully tious typography. He has to Edward M. Gottschall understanding the problem make his decision with the and then expressing those (For more information concerning the reader in mind and in the best availability of the book ideas which come from this interest of the reader; who as Typographic Communications Today, search in its appropriate form the final link in the chain deter- please refer to the beginning of this that makes him a professional. mines the value or lack of value article and to the U&lc BookShop, "There is a large body of of a printed piece by being page 74 ) designers, clients and consum- attracted by it, by reading it, or This section was designed by ers who don't really care very by passing it unmoved and Ellen Shapiro much about very much. The joy throwing it into the always Shapiro Design Associates Inc. and pleasure of doing a good present wastepaper basket:' job for its own sake has not been discovered by enough people:'

HEADLINE/TEXT: ITC FENICE REGULAR SUBHEADS: ULTRA HEADLINE: ITC ESPRIT MEDIUM ITALIC CAPTIONS THROUGHOUT ARTICLE WERE SET IN ITC FRANKLIN GOTHIC BOOK WITH BOOK ITALIC AND DEMI TEXT: BOOK WITH BOOK ITALIC

47 Three Thoughtful Alphab ets

In all the years we have been publishing students' alphabet designs, we have received many that were amusing, graphically inventive and skillfully executed. But these three alphabets from Werner Pfeiffer's Junior Class in Design at Pratt Institute, Brooklyn, N.Y., caught our attention especially because of the rationale that prompted the designs.

It„

n WINGSPAN for instance, Joseph Volpicelli ACE-A-BET by Karen I` lecelis is a playful /,'"' i"k• associated letters with words...words with free but purposeful pun. Since sthe observed that speech and free pre ss... and Americans' passion letters "tie" our language tog ether, she had a for freedom of expn .ssion with the freedom of jolly time twisting and turnin g a humble shoelace wild birds. His al"abet is composed of condors, into frisky, lighthearted lette forms, with a nod swans, swallows, fl Imingos, penguins, hawks, to the venerable classic , Boc loni. toucans— but most y eagles, the free-spirited all-American bird. (.1

avid Gillis, a true son of our space age, could Marion Muller not confine his alphabet, GALAXY, to two earthly dimensions. Each letter, formed from lines drawn about a central axis, is a 3-dimensional spatial construction.

Note that the designers exercised their "freedom of expression" by eliminating one letter so their alphabets would fit into neat rectangles.

HEADLINE ITC PANACHE BOOK. BOLD. BLACK TEXT ITC NEWTEXT DEMI, IT C PANACHE BOOK BYLINE: ITALIC

▪ ▪ 48

Take Off Your Glasses and Read This Story

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f you can't properly read, or drive, or do your work without eyeglasses, you're in a big club. If you're still young enough or lucky enough to function without glasses, wait a few years. You will surely join the ranks of the millions of people in the world who live with a physical impairment. ➢ But impaired vision is a comparatively small problem, since most of us, fortunately, can lift a glass, butter our own bread, move through doors, go up and down stairs, read our newspapers and get through the day without impediments. However, if we ever spent a day in a wheelchair... or on crutches...or blindfolded...or with an arm

• Spoon and Fork with serrated edges tied up and useless, we would surely come away with a revised view make it possible to cut, scoop and spear food with one hand. Designers: Maria Benktzon, Sven-Eric Juhlin. of the world, and a suggestion or two about how to make it a more Mfr: RFSU Rehab, Stockholm, Sweden. ➢ considerate place for people with physical disabilities. To be VA Racing Wheelchair for athletes with disabilities combines lightweight materials, developed by aerospace sure, during recent years we have become more aware of such prob- industry, with strength and portability. Designer: Bob Hall. Mfr: Hall's Wheels, lems, and significant progress has been made in making life more Cambridge, Mass. livable for people with impairments and for those ever-increasing elderly who must pay for their longevity by surrendering their spryness. A recent exhibition at the Museum of Modern Art* in New York City presented a collection of thoughtful designs and devices created to help people with disabilities manage by themselves comfortably and independently. > That is not to say there were no helpful tools and equipment available until now But previously, they were devised by occupational therapists, medical technicians and even members of the family. They may have functioned well enough, but they were often awkward to use and less than lovely to look at. Now, thanks to a group of industrial designers and manufacturers, we are seeing equipment that is not only more 50

functional, but is positively sleek and attractive. > Among the devices in the MoMA exhibit, for instance, were: • A scaled-down, streamlined wheelchair which is so unobtrusive, it deflects attention from itself and permits the occupant to be the focus of interest. It is also a sturdy, lightweight and manageable vehicle for participating in athletic events, which so many young athletes with disabilities are doing these days. • A combination breadboard-and-knife which makes it possible to slice bread safely, and with one hand if necessary. • A fork with a serrated edge which makes a one-handed knife- and-fork combination. • A thoughtfully sculpted cane handle which defines the proper grip for comfort and safety. • A generous-sized pen with finger rests which eliminates stress on arthritic fingers. • Also — a non-skid bowl, a grip-assistant, a button fastener, a jar-opener, an easy-to- scoop-out bowl and a variety of electronic aids. >- Aside from nullifying obstacles in the environment, these good-looking new products are engineered in such lightweight, eas- ily maintained materials, and in such bold, joyous colors, they are appealing on a broad scale — to young and old and to the hale and hearty, as well as to people who are impaired.

Cane for Rheumatics provides a large, soft, molded handle which insures good friction and a generous load-bearing area for the hand. Designers: Maria Benktzon, Sven-Eric Juhlin. Mfr: RFSU Rehab, Stockholm, Sweden. 51

♦ "Nova" Folding Rollator is a combination walker and parcel carrier. It is lightweight, adjustable from 29 1/2 to 39 inches in height, and collapsible for easy carrying. Designers: Karl Axel Andersson, Morgan Ferm. Mfr: ETAC, Sweden. Lent by Team Swede, Milwaukee, Wisconsin.

■ Breadboard and Knife, in plastic and stainless steel, guarantees safe, easy manipulation by people with impaired hands, as well as for youngsters and the general public. Mfr: AB Gustaysberg Fabriker, Sweden.

Best of all, these devices are making it possible for people of diminished capacities to continue to enjoy lives of full independence and dignity.

* The exhibition, Design for Independent Living, was made possible by a generous grant to the Museum of Modem Art from Volvo and the National Endowment for the Arts.

■ Pen of generous dimensions also provides a molded thumb•rest which relieves the strain on impaired fingers. Designer: Hans Tollin. Mfr: RFSU Rehab, Stockholm, Sweden.

HEADLINE. ITC GAMMA BLACK BYLINE/TEXT. BOOK FOOTNOTE, BOOK ITALIC CAPTIONS: BLACK WITH BLACK ITALIC, BOOK ITC ZAPF DINGBATS NOS. 273, 123, 241.

(ACallforEntries) illiteracy • the price

This is the fifth in a series of Herb School certification: Entries larger than 3' x 4' (.915 by Artist/designer Entry form: Lubalin International Student Each entrant must submit a note 122m) or heavier than 15 lbs. (6.8 releases: Please attach a copy of the entry Design Competitions to be spon- from the school on the school's kg) are not acceptable, but 35mm Artwork submitted to this compe- form to the back of each submis- sored by International Typeface letterhead certifying that the color slides or photographic prints tition cannot be returned. Stu- sion. Attach the right edge of the Corporation, to honor and perpet- entrant is a student. of them will be accepted, as will dents should make copies of their form only, as it will be removed by uate the memory of Herb Lubalin, VHS (NTSC format) video and entries if they want a record of ITC prior to the judging. For small internationally famed graphic Entry/hanging fees: 16mm film. Photographic entries them. By submitting work, you are pieces, slides and sculptures, designer, a founder and principal should be shot against a black place an identification number on None. granting permission for ITC to use of ITC, editor of U&/c, teacher, and background. Typeset, calligraphic, the art for publication in U&lc and both the piece and entry form. concerned citizen of the world. and handlettered reading matter for publicity for the exhibition. The theme of this competition is Format: are all acceptable. All entries must The artist/designer will receive Where to send your the price of illiteracy as expressed Format is at the artist's/designer's be able to withstand handling by proper credit for any piece that is entry: by Edward M. Gottschall, Editor, choice—an advertisement, book- exhibit personnel, jurors, and reproduced. let, poster, blotter, game, sculpture, press photographers. Illiteracy—The Price U&lc. ITC Center, 2 Hammarskjold Plaza three-dimensional piece, or 35mm Deadline for entries: color slides or reproduction qual- New York, NY 10017, USA Who can enter? Copy: All entries must be received by ity photographic prints of them— The statement that appears in the May 12, 1989. Undergraduate, graduate or spe- all are acceptable so long as the Mailing/shipping: cial students of bona fide art or box, below, including the head- mandatory copy is included. Costs to be borne by entrant. graphic design schools or depart- line and signature, must appear in each piece submitted. The copy Please use protective mailers to ments any place in the world. ensure that artwork does not Employees (and their families) of may be set in English or a language of the designer's choice. arrive damaged. Airport deliveries Esselte AB and its subsidiaries are will not be accepted. not eligible to participate. Postage/customs The Jury: requirements: Burton Kramer Please be sure the postage is ade- Woody Pirtle quate and that your package has Nancy Rice the proper customs information Herbert Spencer and forms so that it will leave your James Cross country and be properly received Illiteracy—The Price in the United States. The phrase "Material for Contest. No Commer- Prizes: cial Value!' on the package normally First Prize: The Herb Illiteracy is an evil weed. Its roots spread and fasten onto and poison many aspects of will expedite it through customs. Lubalin Medal and $5,000. a person's life and degrade the society that fails to eradicate it. Most obviously it Second Prize: $2,500. denies its victims many of the aesthetic pleasures that enrich life. It makes a meaning. Eight Third Prizes: $500 Each. ful, productive education virtually impossible and may lead to limited job opportuni- Certificates will be issued for all ties, to frustration, depression, despair. Its flowers may range from personal misery to pieces selected for inclusion in the crime—to crimes against innocent people as well as against an uncaring society. The exhibition which will be held in time to permanently uproot and eliminate the weed of illiteracy from the garden of the ITC Center in New York, in the human affairs is long overdue. The price of ignoring it is far greater than the cost of Fall of 1989.A selection of the winning pieces will be featured in weeding it out. a future issue of U&lc. Edward Gottschall

Entry Form Please type or print neatly

Name of Entrant DDIN ID II

i sm

Entrant's complete home mailing address e

efip o Medium (ink, silk screen, etc.) Size tz •i

Typeface

School Instructor

School's complete mailing address 53 Award-winning design inside and out. The Design Schools' new facilities respond to future creative artists.

Fort Lauderdale, Dallas, Seattle:

t's goodbye to the cold, drafty The Art Institute of Dallas, I garret. Here's design education located on a superb forty-acre site, for the 1990's. The Design Schools' features contemporary photography three newest facilities in these bustl- studios and processing labs, exten- ing cities are firmly at the cutting sive computer graphics work areas, edge of contemporary career edu- and a fully professional advertising cation. Now serious design students production department. The block- can study in purposeful, custom- long Art Institute of Seattle, with its designed learning environments, expansive modern architecture housing the latest specialized pro- overlooking Puget Sound, recently duction equipment, and develop added a fully-professional music talent and skills in energetic, cre- recording studio adjacent to a ative environments similar to the state-of-the-art editing room, entic- ing creative spirits to produce Award-winning architecture graces the facilities of The Design Schools. The Art best in the professional world. Institute of Fort Lauderdale was presented the city's "Community Appearance music videos by the score. Award" in recognition of outstanding achievement for urban environmental design. Contemporary, realistic job skills — in computer graphics, It's all part of three-dimensional design, video The Design Schools' production, advertising design, commitment to communications, photography, fashion design and merchandising, realistic career landscape design, graphic design, education. illustration — The Design Schools teach them all. It's intensive, exact- ing preparation with professional standards, resulting in graduates It's all part of The Design who emerge with skills and talents Schools' commitment to realistic for entry-level positions in both the career education. These seven pre- traditional and the fascinating new stigious Art Institutes across the communication/arts disciplines. U.S.A. now boast a combined stu- Career education for dent population of over 10,000, and tomorrow is The Design Schools' growing every year. Innovative The sparkling new building of The Art Institute of Dallas will proudly exhibit the grand design. "Hall of Fame" collection from the Society of Illustrators, featuring 50 selected two-year degree programs empha- pieces from such greats as J.C. Leyendecker, Bob Peak, and Charles Dana Gibson. size realistic hands-on education for For more information, write, tomorrow's creative talents, using The Design Schools the latest production equipment, Edward A. Hamilton, Design Director, MI 34 South Broadway, White Plains, NY 10601. technologies, and software typically or call TOLL FREE 800-245-6710. found on the job. I ❑ I may want to hire an entry-level Art I The striking Art Institute of I Institute graduate. Fort Lauderdale, for example, I ❑ I'm interested in your curricula and the I skills taught. Please send me a catalog houses 40 computer graphics sta- I for the Art Institute in tions for student use, and a spa- I II Name I cious television studio is surround- : Company I ed by a computer-aided editing Business Phone I suite. And three new programs at the school are taking off like I Address I wildfire: Fashion Design, supported I City/State/Zip I 45 by industrial cutting and sewing Art Institute of Atlanta The Art Institute of Dallas equipment, and the Bachelor of I De sign Art Institute of Fort Lauderdale I Art Institute of Houston Professional Studies degree pro- Art Institute of Pittsburgh Art Institute of Seattle The Art Institute of Seattle boasts a dramatic exhibition gallery near the main grams in Business Management School S Colorado Institute of Art entrance. Students, instructors, and community professionals enjoy the opportunity to display their impressive work to the visiting public and potential employers. and Fashion Marketing. You have a single standard for your design work. Now there's one for your design software.

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© 1989 Esselte Pendaflex Corporation Letraset is a registered trademark of Esselte Pendaflex Corporation. LetraStudio, StandOut!, LetraFont, ImageStudio and ImageStudio Effects are trademarks of Esselte Pendaflex Corporation in the USA, of Letraset Canada Limited in Canada and of Esselte Letraset Limited elsewhere. Ready,Set,Go! is the trademark of Manhattan Graphics Corporation. Macintosh is a registered trademark of Apple Computer, Inc.

Letraset Subsidiaries Australia Japan 02 975 1033 045 334 0121 Austria Netherlands 0222 921449 02 907 5641 Belgium Norway 02 428 77 156 02 257350 Canada Spain 416 475 7511 91 2703038 Denmark Sweden 02 84 93 00 08 7647760 Export (UK) Switzerland 0233 624421 01 8106266 Finland United Kingdom 90 565 33 55 01 928 7551 France United States 01 4859 1540 201 845 6100 Italy West Germany 02 462451 069 420 994-0 56

In the final analysis, it is the quality of output by which typesetters are judged. *Critique: The The Equality of Varityper's digital type is extraordi- nary, et achehrei result rofof rthebpyati at ilnug. niciue d description the unique imaging system. Look at the smooth, clean bowls, the wide-open counters and the fidelity of delicate serifs. The virtue of any face is above reproach, even under a loupe! • extends to the library, too, where over one thousand type sty reside. The collection is replete, right down to the popular, JUS.' time-honored Classics. No designer could ever be disappointed. Th All is well that ends well. • • •

Varityper a Tegra Company 1988 Tegra, Inc. Varityper is a registered trademark and Spirascan is a trademark of Tegra, Inc. EspeciallyIn r171DogralD Y• Send me your free information: ❑ I'd like to see your wide typeface selection. Please send me your Type One Liner Directory. ❑ I'd like more information on Varityper equipment. Please have a sales representative call. Varityper 11 Mount Pleasant Avenue, East Hanover, NJ 07936 Name Company Address City/State/Zip

Phone ( For faster service call toll-free 800 631-8134. In New Jersey call 201 887-8000, ext. 999. We'll mail you free information on our digital type library. Don't forget why you wanted a publishing system in the first place. 59

I n this age of technology, you might think that newer would be better. It often is. After all, you may be planning to spend thousands of dollars on the newest, most effective publishing tools modern technology has to offer. But when it comes to typefaces, the opposite is often true. Because the principles of art, design and reader comprehension that go into creating outstanding typefaces haven't changed all that much since Gutenberg. What has changed is the technology used to reproduce those faces. And that's one area no one understands better than Linotype, the world's leading manufacturer and distributor of typefaces. Since 1886, we've been setting the standards for type design (and type reproduction, with systems like our Linotronic® laser imagesetters). Now, we're using our expertise to create true PostScript® versions of the type designs from our world-renowned collection. We've already produced more than 300 PostScript typefaces. And we're adding more every day. If you've been led to believe that all PostScript typefaces are the same, or been tempted The Linotype Type Library", the world's most prestigious, by the companies selling inex- contains more than 2,000 outstanding type designs, including the original Helvetica,' Optima,® Palatino® pensive versions, just remem- and Univers' ber: No matter how good your publishing system, or how good your design, your final product can only be as good as the type you put into it. For more information, call Linotype toll-free 1-800-426-7705. In Canada call 416-890-1809.

Linotype

Helvetica. Linotype, Linotronic, Optima, Palatino, The Linotype Type Library and Univers are trademarks of Linotype AG and/or its subsidiaries. PostScript is a registered trademark of Adobe Systems Incorporated, 60 BERTHOLD TYPES

Berthold: In a recent ad, we mentioned that these days we and input and output operations, job and typographic High Fidelity in see ourselves more as a software house than an equip- data storage and recall are all part of the program. Typographic ment manufacturer. EVERY WHICH WAY... Communications While this argument entails a little licence on our ProfiPage enables typesetting to be produced in part, for we still design and manufacture a number of various ways: by using specific positional area co- our own products, we are quite happy to admit that ordinates — with each component element being many basic items in our product line are bought in placed exactly where designated by the operator — from outside suppliers. or in a formatted column style which is ideal for Then the equipment is modified with additional or multiple-page documents, such as reports, bro- replacement hardware, and fitted with (or prepared for) chures, books and so on. the hero of this ad, Berthold software. In the Berthold Workstation environment, Profi- Take our M-Series Workstations, for example. Using Page allows complete flexibility of positioning of Sun Microsystems terminals as a platform, we supply graphic and typographic elements in the electronic the modified units with up to seven different software composition context. packages, all according to the sort of work that is likely So if you want something slanted, sloped, upside to be produced. down, back to front, you've got it. AND NOW A WORD FROM OUR SPONSORS... There are five major support programs that For the record, our equipment is immensely flexible; work with ProfiPage: Aesthetik 2, Ruling, Contour, it applies state-of-the-art technology yet is specifically Exception Hyphenation and TexConnection. designed to provide exceptionally high fidelity typo- All are remarkable for their ease of use and graphic and graphic images as the final product. flexibility. And more important, they turn a setting Our typefaces are legendary, and we are without system that is already highly flexible and sophisti- doubt leading the field in professional electronic com- cated into an absolute winner. position. AESTHETIKS: IN THE EVE OF THE BEHOLDER And with all that neatly out of the way, we can get We hate to sound like we're forever blowing our on with the software; telling you exactly what can be trumpet, but there again we're paying for this ad, so done with our systems. we do have the right. A subject, we are sure, that your eyeballs are just Taking off our "modest" hat, we reckon that itching to explore. our most outstanding software achievement is the IN THE BEGINNING THERE WAS... PROFIPAGE Aesthetik 2 program: it not only increases productivity, The main operational software for our work- but simultaneously improves typographic quality. stations is "ProfiPage (Don't ask where the name There are very few products that can honestly claim came from, just applaud its originality...) to fit that description. Although it originated as far back as 1967 as But before you admit to being impressed, you'll want the operating system for our diatronic machines, to know how it works. ProfiPage has undergone continuous develop- Groups of similarly-shaped characters are placed ment for each subsequent equipment generation. within a definable 16x16 matrix (which includes the word But throughout all this, the operating logic — space), so that complete groups are kerned together. the underlying typographic techniques — have By also providing a priority category which can take Matrix Nasties stayed in place, simply being expanded to take up to 128 additional pairs — which also override matrix Let's suppose that a left-hand character group con- account of the increasing flexibility and pairs — users are able to both reduce wasteful matrix tains r, v, w and y (due to their common shape on the dramatic increases in speed and sophisti- usage and eliminate matrix-derived "nasties" (see sidebar). right of the characters) and a right-hand group contains e, o, q, and s (because they have a round shape cation that the electronic technology has Another function of the program allows as many as at the top left). These two groups happen to be kerned allowed us to implement over the years. 77 characters to be specially positioned against the right by six units. All the combinations —re, ve, we, ye, ro, vo and so ProfiPage enables an operator to pro- and left margins. on, set perfectly, with the exception of rs, which sets duce any style or type of setting that is This enables characters such as W, T, Y to be visually — too tightly. If "rs" is entered as an over-ride pair with a kern required, but also serves as a gateway to rather than mechanically — aligned, and punctuation to of three units, this value will take precedence over other, more specialized programs. be visually (and automatically) "hung: the six-unit matrix value, without affecting all the other "r" combinations. Tasks such as type size calculation (to And these adjustments work for indents and within Also, characters which infrequently require kern- the nearest hundredth of a millimeter cap tables and forms, too. ing — such as g or numerals — may be entered as over- rides to avoid cluttering the matrix. height), automatic programming of inferior More good news: as all our kerning is defined in For instance, "gg" nearly always requires a slight and superior figures, manual kerning, auto- relative units, kerning and adjustments are effective positive kern, while "74"frequently needs adjustment— more or less alone among numerals. In the matrix, matic paragraph indentation — visually if regardless of the size of type being set. inclusion of each of these combinations would use up you like, recalculation of text to new para- With our typefaces unitized on a basis of 192 units, 31 potential positions, but as over-rides they take up just two positions. meters, management of auxiliary memories Aesthetik 2 grants unmatchable flexibility. IBM is o registered trademark, and PS/ 2 is a trademark of IBM Inc. Framework III is a trademark of Ashton-Tate Corporation. 61

Productivity is improved simply by vastly reduc- discs. We use fixed discs for current storage, as ing — often completely eliminating — the need for well as high-speed tape streaming for back-up and manual spacing adjustments. long-term storage. And we're ready for WORM. BERTHOLD RULES Jobs, typefaces, typeface widths, images, logotypes, pro- In common with other digital devices, our sys- grams and typographic data are searched by number, by tems will produce rules in any weight you need. name, by date and time — whichever or whatever you Horizontal and vertical. With perfect corner joins. decide you prefer. The difference is that we've had this sort of ruling And as all Workstations can always instantly access capability for twenty years now, so long ago we devel- all storage devices on the network, you have total oped ruling software. The most complex of rule forms flexibility. (That word again.) may be input and processed with outstanding simplicity. LAST, BUT HARDLY LEAST The program works on a plain logic basis: the num- TexConnection concludes our "basic" programs, ber of rules, the rule weight, the distance between them, although you will by now realise that they are any- and either the overall length or the start and finish thing but basic. positions are entered: that's just about it, in principle. Unlike the other four, TexConnection is an "option" — a For us to suggest that it's always so easy is a polite way of saying that we charge you a little extra teensie bit misleading. Simple jobs are simple. But for this one. And it resides on a personal computer, not a a really complex rule-form would have Einstein Berthold terminal or workstation. frothing at the mouth. With the ruling program he'd Its function is to convert data from 'foreign' systems just froth less. into a form that our terminals can process, thus ROUND THE HOUSES avoiding re-keyboarding. Contour is self-explanatory. It enables you to program While converting, it also can be set up to make a shape, using numerical co-ordinates, and then contours logical changes to the data: like replacing the the type into or around the shape. Simple? You bet it is! word-processor's ambidextrous quotation mark Berthold But as with most graphic tasks, and also interior into a proper typographical open or closing quote decoration and agriculture, the most important work or apostrophe, as required. And so on. is in the preparation. Once converted, TexConnection will then transfer the HY- PHEN-ATION data directly to the Berthold system. Like most other algorithm-based word-break But does it really work, you ask. Like a dream. If it programs, our built-in hyphenation routine is pretty didn't, you wouldn't be reading this, for this copy was WEST GERMANY: input on an IBM® PS/2 - 6o, using Framework 1117 good but by no means perfect. Throw it a product BERLIN: name, a place name, a proper name, and you can END OF PART ONE H. Berthold AG end up with abominatio-ns. We mentioned in passing that there are additional 1-4 Teltowkanalstrasse boo Berlin 46, Germany software packages for our Workstations. Each offers However, a little housekeeping with the excep- Telephone: (o3o) 77 95-1 tion dictionary and you can eliminate the hatefuls, a wealth of facilities, but this is hardly the time or Telex: 184 271. Fax: (o3o) 77 95 3o6 by either forcing breaks in the correct place or disal- place to go into them, other than to offer a brief lowing them entirely — product names, for instance. description. UNITED KINGDOM: And our operating system thoughtfully allows you So we've put them in the sidebar, which affords LONDON: Berthold Typographic to keep multiple exception dictionaries. us yet another opportunity to play with the contour Communications Limited So you might have a dictionary for legal work, program (we've been trying really hard not to men- Parkway House, Sheen Lane London SW14 BLS, UK another for financial settings CleanDraw: tion our wobbly gutters). Telephone: 01-3921155 for creating line images using geometric or pixel tools. one for pharmaceutical work It may well be that this little Telex: 9419890 • Fax: 01-878 6516 Basiclmage: and so on, all tailored to your assembles images in position on the page and controls lot has boggled your mind. exact needs. the various output characteristics. So next time we'll deal with USA: LogoType: HOUSEWIFE'S CHOICE the other end — and blow your LOS ANGELES: converts an image into a logo, to Berthold typeface One of the most important — socks off. Berthold Corporation quality standards, capable of being recalled on demand. 6o35 Bristol Parkway but unsung — aspects of main- Lexica: Of course in the interim you Culver City, California 9o23o, USA a new exceptionally advanced hyphenation program, taining a typographic system is could always call your local Telephone: (213) 67o-96o6 in versions for American English, English English and Fax: (213) 67o-9546 keeping track of jobs, typefaces German German, so far. Berthold people and ask for the Headliner: and other data. Books of Words (not forgetting CANADA: what it says, but with more bells and whistles than you —or ProfiPage, bless its heart, the Books of Typefaces). a darkroom-full of headliner and modification camera TORONTO: takes care of this too. These operators —could shake a stick at. Better still, find out from Berthold Incorporated days we rely on the most ad- MultiPage: your friendly local type sup- 6o McPherson Street, Markham a clever little number that enables standard document para- Ontario, Canada L3R 3V6 plier whether they work with vanced storage media: long meters to be used any number of times in a job: and change Telephone: (416) 475-857o gone are the days of floppy one, change them all. Or not, as you prefer. Berthold yet. Telex: o6-9868o9 • Fax: (416) 475-o739

Set in the Berthold-Exklusiv Gerstner Original type family, designed by Karl Gerstner in 19E17. 62

THE MOST FAMOUS FACE IN THE WORLD

You probably don't recognize this man immediately — but you certainly know his face.

He is Stanley Morison and the face he designed is probably the most popular typeface in the world today — the classic Monotype Times New Roman.

But he didn't do it alone.

Morison was typographic adviser to Monotype in the 1930's, and under his design guidance the typeface was drawn and produced at Monotype's headquarters in Salfords, England. Monotype further developed the face into a family of designs including Bold, Titling, Greek, Cyrillic, Small Capitals, Mathematical and Chemical.

Today, Monotype is still designing and producing new faces which There are several versions of Times but there is only one original — Monotype Times New R oman ® are destined to become tomorrow's classics.

For more information on Monotype's latest faces and the complete library of typefaces, please contact: Monotype Typography

Monotype Typography USA, 600 West Cummings Park Suite 1800 Woburn MA 01801 USA Phone 617 933 2570 Monotype Typography, Honeycrock Lane, Salfords, Redhill RIB 5JP England. Phone 0737 765959 Times New Roman is a registered trade mark of the Monotype Corporation PLC. 63

YPET22-Professional type for your Macintosh"

"IN THIS CASE, ALL THE NEWS "Will they ever award Pulitzers for CG TYPE can be used with THAT WAS FIT TO PRINT WAS excellence in desktop publishing? all PosTScRIPTIcompatible ALSO FIT TO READ. It blew me We may read all about it soon. printers. And it's delivered away. This was a newsletter that Because now people who publish overnight, free. Call the type teamed a crack reporter and crack from their desktops can get type — experts, at 800-MAC-TYPE, photographer with an equally tal- as well as technical support and for further information. In ented designer. Somebody who consultation — from the profes- Canada, call 800-533-9795. knew type. Knew that CG TYPE's sionals. The world's largest type Garth Graphic®has the legibility resource for nearly thirty years. 800-MAC-TYPE and power to etch printed words Compugraphicr CG TYPE is a trademark, Compugraphic is a registered trademark and Garth Graphic is a registered trademark into the minds and hearts of mil- and exclusive type design of Compugraphic Corporation. PosTSourr is a registered trademark of Adobe Systems, lions. My kind of designer. Inc. Macintosh is a trademark of Apple Computer, Inc. 4. Compugraphic Corporation, Type Division, 90 Industrial Way, Wilmington, MA 01887 cgType 64

When HeadlineType KnitsThis Ugly.

It's enough to make you throw up. Bad letter- lines, and we do them pretty. We do this by pushing spacing has a way of doing that. letters around until they knit into a graphic illustration. Face it. What you want is for your ad to be a Even those worrisome combinations. In a way no strong attention-getter and not a turnoff. But turning machine, no computer can hope to duplicate. off and tuning out is what you'll get when a quasi- Not even a quasi-mechanical spacing program. mechanical spacing program makes your headline But that's just one part of our story. The other is look amateurish and disjointed. See above. our typefaces. Whether classic restorations or origi- It comes down to this: It's nice to have a sales nals, they come in weights and proportions to make pitch that's clever and creative. But a clever pitch, in them work best for you. And they're ours, exclusively. print, might not amount to a hill of beans unless it's You'll recognize them by the prefix "neo-:' also smooth and eye-catching. If you've never used us before, why not give us Which is what Headliners is all about. a shot. Our phone numbers are listed below. It's really very simple. At Headliners we do head- You'll find we have a way with words.

neol ITALIAN O.S. ULTRA Haul iners TYP e Knits0 This0 PretitYll

91/eaGemieg: Where It All BeginsWith Net)• AMSTERDAM 31-20 97 77 91. ATLANTA 404-892-6500 • BERLIN 49-030 262-5017. BOSTON 617-742-4866 • BRUSSELS 32-2 539-0340 • CEDAR RAPIDS 319-366-6411 CHICAGO 312-467-7117 • CINCINNATI 513-751-5116 • CLEVELAND 216-621-5388. COLOGNE 49-211 40-30-28. COPENHAGEN 45-1116-320 • DALLAS 214-363-5600 • DENVER 303-233-9128 DETROIT 313-567-8900 • DUSSELDORF 49-21137-09-43 • EDINBURGH 44-31255-1030 • ESSEN 49-201 77-50-57. FRANKFURT 49-69 72-46-51. GOTHENBURG 46-31 17-75-65 • HAMBURG 49-40 23-41-41 HELSINKI 35-8 65 11 99 • HOUSTON 713-861-2290 • INDIANAPOLIS 317-634-1234 • KANSAS CITY 913-677-1333 • LITTLE ROCK 501-375-5395 • LONDON 44-1 580-7045 • LOS ANGELES 213-933-7371 LOUISVILLE 502-451-0341. MALMO 46-40 11-26-50. MELBOURNE 61-3 690-6788 • MILWAUKEE 414-352-3590 • MINNEAPOLIS 612-338-7171 • MONTREAL 514-861-7231 • MUNICH 49-89 29-50-47 NEW YORK 212-687-0590. NUREMBURG 09-11 56-4007. ORANGE COUNTY 714-541-33410 OSLO 47-2 42-02-30 • PARIS 33-14 337-8000 • PHILADELPHIA 215-592-7474 PHOENIX 602-242-6500 • PITTSBURGH 412 3913778. PORTLAND 503-226-3943 • RALEIGH 919-832-7568. ROCHESTER 716-546-1694. SAN DIEGO 619-234-6633 • SAN FRANCISCO 415-781-0463 SCARSDALE 914-472-6680 • SEATTLE 206-285-6333 • ST. LOUIS 314-644-1404. STOCKHOLM 08-7 31-90-66 • STUTTGART 49-711 61-30-75. SYDNEY 61-2 290-1122 • TOLEDO 419-241-7195 TORONTO 416-593-7272 • WASHINGTON, DC 202-293-2214 • WIESBADEN 49-6121 44-90-44 • ZURICH 41-1463-8484 65

Automates your stat production so you meet tight deadlines with time to spare.

1 . The Eskofot 8200 is an extra- 3. Even more remarkable are the Call toll-free ordinary daylight stat camera system 8200's unique step-and-repeat and multiple-copy features.' You can select 1-800-327-1813. that offers high speed production, r simple operation, unheard-of economy one shot per sheet or up to seven VISUAL GRAPHICS CORPORATION —and an end to camera room bottle- shots—line or halftone—ganged-up on 5701 N.W. 94th Ave., Tamarac, FL 33321 necks. a single sheet of paper simply by v39 touching a few buttons on the conveni- Please send information on the Eskofot 8200. 2. The 8200 is fully automatic in all ent electronic control panel. Touch its major functions. It delivers up to 5 some other buttons and the 8200 NAME quality diffusion transfer reproductions will automatically give you up to 99 TITLE per minute. On paper or film. Line additional copies. shots or halftone prints. Enlarged to ORGANIZATION 1000%, reduced to 25%. In sizes to 4. To find out more about the Eskofot

12" x 18". All automatically focused, 8200 and Visual Graphics' value-added ADDRESS exposed and processed. Without a one-source package that includes darkroom. Change materials and you leasing, warranty, training, supplies CITY/STATE/ZIP can even make reproductions in full and extended service plans, call now color. toll-free or mail in the handy coupon. PHONE U&Ic 2/89 L 66 GiapElhics MegaEvent major graphics events 3 running concurrently Philadelphia Civic Center, April 6.8, 1989

Since 1978, the premiere event for typographic prep- Graphic aration and printout systems. Type-X is the largest and most comprehensive display of electronic publishing, graphics and Communications pre-pre-press systems ever held. Created and managed by TypeWorld, the first and only newspaper for electronic pub- Sponsored by Edgell lishing, it has been the major focal point for typesetting and Communications and the publishing systems of all kinds. Most of the new technology TypeWorld Educational of the typographic world has been introduced at Type-X, with numerous show specials offered. Association Art-X was the first national event specifically oriented to the creative professional in their application of new desktop You will see demonstrated: and systems tools for page design, presentation and pro- Laser printers galore duction involving art, graphics and color. Now entering its High-resolution imagesetters third year, Art-X is your primary opportunity to test the Color publishing systems majority of approaches to electronic design, demonstrated in Designer workstations one place, at one time. Art-X brings the broad area of com- Digital typography puter graphics to the art director, graphic designer and artist. Graphics scanners Art and design software Printing Expo is the only national graphic arts event held Publishing systems on the east coast in 1989 and your chance to evaluate most Pre-press technology pre-press, press and post-press technology for commercial Proofing approaches and in-plant reproduction. Printing Expo concentrates on Interfacing functionality the production equipment and systems for traditional Desktop approaches graphic arts and reprography, as well as evolving technology. Presentation software Slidemaking systems Exhibition owned and managed by Edgell Communications. Color copiers Preparatory systems Printing equipment Please send me pre-registration and seminar information on all aspects of Graphic Communications 3: Desktop peripherals ... and much more Name, Title Each show runs independently so Organization that you can maximize your time Street and your area of interest. One City, State, Zip admission good for all shows. Convenient to over two-thirds of the graphics marketplace TypeWorld, P.O. Box 170, Salem, NH 03079, (603) 893-4010, FAX (603) 898-3393 ALL An unsurpassed standard of excellence for the discriminating foreign language buyer who knows LANGUAGES that good translation, like typography, is a matter TRANSLATIONS of appropriate selection. You do not learn the & TYPE art overnight. Linguistic Systems, Inc. has been serving discern- THE NEW DESIGN ing typographers, graphic designers and market- ers with translations and type in more than thirty languages for 21 years. Top quality, and our prices more precise, more productive, still leave something on your plate. For more information, call Marty Roberts today: 800-654-5006. more profitable

Linguistic Systems, Inc. If you're a one-man office or a design head in a blue- 116 Bishop Allen Dr, Cambridge, MA 02139 chip corporation . . . If you're confused by the new Tel. 617-864-3900 • Fax 617-864-5186 tools or think you know it all . . . If you want to know how to increase productivity and make your staff more creative . . . If you believe, like most of your colleagues, that computers will be part of your future.. . Plan to attend Pratt Center's Conferences and Equipment Exhibits for creative directors, art directors, graphic designers, artists, educators, and executives planning to buy equipment for design, advertising, publication, packaging, illustration, design production. Get the last word. Straight talk. At the computer graphics conferences for designers.

THE NEW DESIGNER — June 12 - 14 THE NEW TOOLS — December 3 - 6 COMPUTER GRAPHICS FOR DESIGN 89 Grand Hyatt New York For free brochure: Pratt Center for Computer Graphics in Design 45 Stephenson Terrace Dept. U Briarcliff Manor, NY 10510 914/741-2850.

ITC waikCES

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MegaCom, Inc. Folio Inc. International Business Avo's Type & Lettering, Inc. Chartpak Machines Corporation 3925 Coconut Palm Drive ABL Computer Technologies 100 View Street Limited 17562 Eddy Drive One River Road Old Orchard Road Suite 115 Leeds, MA01053 Suite 106 Tampa, FL 33619 43/44 Albemarle Street Santa Ana, CA 92705 Mountain View, CA 94042 Armonk, NY 10504 (714)669-1327 (413)584-5446 Electronic Printing Systems (813)626-6167 London W1X 3FE Dry Transfer Letters (415) 969-9760 Non-Impact Page Printing 2" Film Fonts Technology for Digital Typography England intran Corporation Systems Compugraphic Corporation 01-499-9461 H. Berthold AG The Font Factory Gateway North Mephistopheles Systems Daisy Wheels and Thimbles 200 Ballardvale Street Teltowkanalstrasse 1-4 2400 Central Parkway 5601 Smetana Drive Wilmington, MA01887 Design Adobe Systems, Inc. D-1000 Berlin 46 Suite A Minnetonka, MN 55343 (508) 944-6555 3629 Lankershim Boulevard 1585 Charleston Road West Germany Houston, TX 77092 (612)931-9170 EditWriters, CompuWriters, Text Hollywood, CA 90068-1217 P.O. Box 7900 (030)7795-1 (713) 682-8973 Digital Fonts, Xerox High-End Editing Systems, MCS - 8200, (818) 762-8150 Mountain View, CA 94039-7900 Front-Ends, Optomechanical Desktop Publishing Typefaces Printing Systems 8400, 8600, Accessories and MSD Fonts (415) 961-4400 Photo Units, Digital Photo for Ventura Publisher and Supplies Itek Graphix Corp. Interactive Software Tools for Units/Digital Recorders, Headline Window/Pagemaker Mesac GmbH Graphic Arts Typesetter, Scanners Computer Gesellschaft Composition Systems Division Fonts 34 Cellu Drive Saarstrasse 29 Berthold Corporation Konstanz MBH Ai phatype Corporation Hardy/Williams (Design) Ltd. Nashua, NH 03060 6360 Friedberg/H. Max-Stromeyer-Strasse 116 220 Campus Drive 2 Pennsylvania Plaza 300A High Street (603)889-1400 West Germany New York, NY 10121 D-7750 Konstanz 06031/3677 Suite 103 Sutton, Surrey Phototypesetting Systems and West Germany UNI .LET (CAD/CAM System) Arlington Heights, IL 60004 (212) 564-8970 SM1 PQ England Equipment, Film Strips, Standard Front-Ends, Optomechanical (07531)87-4433 (312) 259-6800 and Segmented Discs, and Laserset-Laser Typesetter 01-636-0474 Microtype Workstation III and Photo Units, Digital Photo Font Manufacturer Digitized Fonts Units/Digital Recorder, Laser OCR-Equipment 8 Faubourg St. Jean Alphacomposer Fundicion Tipograf Ica Knowledge Engineering Phototypesetting System Recorders, Headline Typesetter, Computer Output Printing, Inc. 21200 Beaune Neufville, S.A. CRS Digital Phototypesetter Scanners 115 Mason Street France 4828 Loop Central Drive Film Fonts Manufacturer, Berthold Inc. Puigmarti, 22 Greenwich, CT 06830 AM International, Inc. Houston, TX 77081 Alphabet Designers Barcelona-12 (203) 622-8770 Varityper Division 60 McPherson Street (713)666-0911 Spain Knowledge Engineering's Mirus Corporation Markham, Ontario L3R 3V6 High End Electronic Printing 11 Mt. Pleasant Avenue Ultre*Setter System Systems and Digital Fonts 219 50 00 445 South San Antonio Road East Hanover, NJ 07936 Canada Poster Types (416) 475-8570 LeBaugh Software Corporation Los Altos, CA 94022 (201)887-8000 Conographic Corporation Front-Ends, Optomechanical Geographics, Inc. (415) 949-5544 Phototypesetters and 10824 Old Mill Road Photo Units, Digital Photo 16802 Aston Mirus FilmPrinter Photolettering Systems P.O. Box R-1 Suite 6 Units/Digital Recorder, Laser Suite 1101 Blaine, WA 98230 Omaha, NE 68154 The Monotype Corporation Ampex Corporation Recorders, Headline Typesetter, Irvine, CA 92714 (206)332-6711 (402)334-4820 Limited (714) 474-1188 401 Broadway Scanners Dry Transfer Letters Manufacturer of LePrint - ConoFont' ConoFont'' Maker, Salfords, Redhill, Surrey Redwood City, CA 94063-3199 Software Bitstream Inc. ConoType:' ConoDesk - 6000 Gepeto Eletronica Ltda England (415)367-3440 Athenaeum House Esselte Letraset (737)65959 AVA-3 (Video Graphic Art Digital Composition Systems, Inc. Praia de Botafogo 440-16 andar Letraset Limited Visual Communications Generator) 215 First Street Rio de Janeiro CEP 22250 1715 West Northern Equipment Cambridge, MA 02142 Brazil St. George's House Anagraph, Inc. (617) 497-6222 Suite 201 (021) 286-8284 195/203 Waterloo Road NBS Southern, Inc. Phoenix, AZ 85021 3580 Cadillac Avenue Fontware and Digital Type Telex 021-33499 London SE1 82J 602-870-7666 100 North Belcher Road Costa Mesa, CA 92626 British Broadcasting Corporation Digital Phototypesetters England Database Publishing Software Clearwater, FL 33575 (714) 540-2400 Photocomposition Systems (01)930-8161 Broadcasting House for Microcomputer Users (813)539-6283 Graphic Express System for Dry Transfer Letters London W1A IAA Graphic Products Corporation Electronic Printing Systems Signage Digital Type Systems, Ltd. Letraset USA Inc. England 1480 South Wolf Road NEC Information Systems, Inc. 38 Profile Circle Architext Inc. 01-580-4468 Wheeling, IL 60090 40 Eisenhower Drive Video Fonts for the BBC Nashua, NH 03063 1414 Massachusetts Avenue 121Interpark Boulevard (312) 537-9300 Paramus, NJ 07652 (603) 880-7541 (201)845-6100 Boxborough, MA 01719 Suite 1101 C2 Computer Specialists Format Cut-out Acetate Letters Dry Transfer Letters (617)264-8000 San Antonio, TX 78216 Box 115, Place D'Armes and Graphic Art Aids Personal and Small Business (512) 490-2240 RD1 CH-1618 Chatel St. Denis Box 1285 Hampstead Computer Graphics Linographics Computer Systems, Printers and Custom Digitization Services Switzerland Bangor, PA 18013 770 N. Main Street Peripherals and Digital Fonts for Xerox, IBM, 021-569256 378 Emerson Avenue (215) 588-0047 Hewlett-Packard and PostScript Hampstead, NH 03841 Orange, CA 92668 Neo-Visuals, Inc. Fonts Galore System 27 Park End Street (714)639-0511 Printers (603) 329-5076 Oxford Display Typesetters, 2" Film Fonts 1200 Eglington Avenue E Camex, Inc. Software for Typesetting on Artype, Inc. Oxfordshire Suite 404 Personal Computers 75 Kneeland Street Linotype Don Mills, Ontario 3530 Work Drive England Boston, MA 02111 Harris Corporation Linotype Company Canada M3C 1H9 P.O. Box 7151 Digital Typefaces in Outline or (617)426-3577 Harris Composition Systems 425 Oser Avenue (416) 443-9811 Fort Myers, FL 33901 Bitmap Form for any Digital SuperSetter Digital Imaging Division Hauppauge, NY 11788 High End 3D Computer Graphics (813)332-1174 Output Device Systems for Text (516) 434-2074 and Animation Toll Free: 800-237-4474 P.O. Box 2080 Digital Visions, Inc. Nippon Information Science Ltd. Dry Transfer Letters CasadyGreene, Inc. Melbourne, FL 32901 Linotype Limited Cut Out Letters 26080 Carmel Rancho Boulevard 454 West 46 Street (305)259-2900 Chelham House Sumire Building 4F New York, NY 10036 Fototronic 4000, TXT, 1200, 600 ASIBA GmbH Suite 202 Bath Road 5-4-4 Koishikawa (212)581-7760 CRT 7400, 7450 Cheltenham Glos. GL53 7LR Bunkyo-ku, Tokyo 112 Ostengasse 7 Carmel, CA 92923 Interactive Computer Graphics Great Britain Japan 8400 Regensburg (408) 646-4660 Dr.-Ing Rudolf Hell GmbH Manufacturer of Bitmap and Software (0242) 222 333 (03)945-5955 West Germany Grenzstrasse 1-5 PostScript Typefaces for Dubner Computer Systems, Inc. Digital Fonts, Latin and non-Latin (0941) 52240 D2300 Kiel 14 Linotype AG Alphabets, including Kanji Letterplot 33 (Software for Macintosh 6 Forrest Avenue West Germany Mergenthaler Allee 55-75 Characters Signage) C. Centennial, Inc. Paramus, NJ 07652 (0431)2001-1 D-6236 Eschborn bei Frankfurt Digiset Phototypesetting Of ficine Simoncini s.p.a. Aston Electronic Designs Ltd. 23 Centennial Drive (201)845-8900 West Germany Broadcast TV Equipment Equipment and Systems, (06196) 403 0 Casella Postale 776 125/127 Deepcut Bridge Road Centennial Park Digiset-Fonts 40100 Bologna Deepcut, Camberley, Peabody, MA 01960 ETP Systems, Inc. Typefaces and Fonts of Digital Italy Surrey GU16 6SD (508) 532-5908 10150 SW Nimbus Avenue High Technology Solutions Typesetters (CRT and Laser), and Manufacturer of Custom and (051)744246 England Suite E-2 PO. Box 3426 other Visual Communication Standard Font Hot Metal Composing Matrices 0252 836221 Portland, OR 97223 Poughkeepsie, NY 12603 Equipment (e.g. PostScript Products for Laser Printers and and Phototypesetting Systems Video Character Generators (503)639-4024 (914)473-5700 Laserprinters). Dot Matrix Printers Manufacturers of Laser MPS Front End System and Linotronic Laser Imagesetters PhotoVision of California, Inc. Autologic, Inc. CRTronic I magesetting Cello-Tak Mfg., Inc. 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Pastoria Avenue 1030 Bussigny Pres Lausanne 5933 Slauson Avenue (415)549-1901 Sunnyvale, CA 94086 Switzerland Culver City, CA 90230 Laser Fonts (408)749-1959 021/89.29.71 (213)390-8611 Image-Maker Slide-Making Bobst Graphic Products and Phototypesetting Systems System Phototypesetting Systems

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The ITC Typeface Collection THE TYPEFACES SHOWN ON THESE PAGES REPRESENT THE COMPLETE COLLECTION OF ITC TYPEFACES AS OF FEBRUARY 20, 1989.

a ITC American Typewriter® ITC Clearface® Light C Regular Light Italic Regular Italic Medium ITC Century® Bold Medium Italic Light Bold Italic Bold Light Italic Heavy Bold Italic Book Heavy Italic Light Condensed ITC Bauhaus® Book Italic Black Medium Condensed ITC Berkeley Oldstyle® Bold Black Italic Light Bold Italic Bold Condensed Medium Book Ultra ITC Cushing® Demibold Book Italic Ultra Italic ITC Avant Garde Bold Medium Light Condensed Book Medium Italic Book Italic Gothic® Heavy Light Condensed Italic Bold Medium Extra Light Book Condensed Italic Medium Italic Extra Light Oblique ITC Benguiat® Bold Book Condensed Italic Black Bold Book Book Bold Condensed Book Oblique Book Italic Black Italic Bold Condensed Italic Bold Italic Heavy Medium Medium Ultra Condensed Heavy Italic Medium Oblique Medium Italic ITC Bookman® Ultra Condensed Italic Demibold Bold Light Demibold Oblique Bold Italic Light Italic ITC Cheltenham® ITC Elan' Bold Book Condensed Medium Light Book Bold Oblique Book Condensed Italic Medium Italic Light Italic Book Italic Book Condensed Medium Condensed Demibold Book Medium Medium Condensed Medium Condensed Italic Demibold Italic Medium Italic Book Italic Demibold Condensed Bold Condensed Bold Bold Bold Bold Condensed Bold Condensed Italic Bold Italic Bold Italic Bold Italic Ultra Black ITG Barcelona® ITC 13enguiat Gothic" ITC Caslon 224® Ultra Italic Black Italic Book Book Book Light Condensed BookItalic Book Italic Book Italic Light Condensed Italic ITC Eras® Medium Medium Medium Book Condensed Light Medium Italic Medium Italic Medium Italic Book Condensed Italic Book Bold Bold Bold Bold Condensed Medium Bold Italic Bold Italic Bold Italic Bold Condensed Italic Demi Heavy Heavy Black Ultra Condensed Bold Heavy Italic Heavy Italic Black Italic Ultra Condensed Italic Ultra q

ITC Goudy Sans' ITC Quorum® ITC EspritTM Light Book Book Book Book Italic Book Italic Medium Medium Medium Bold Medium Italic Medium Italic Black Bold Bold Bold Italic Bold Italic ITC Serif Gothic° Black Black Black Italic Black Italic Light Regular Bold ITC Tiffany ITC Fenice® L IdadaraTm ITC Mixage® Book Extra Bold Light Light witlai- Heavy Light Italic R d Book Italic Light Italic Medium Black Medium Regular Medium Italic Medium Italic Regular Italic ITC Isbell® Bold ITC SlimbachTM Demi Bold Book Bold Italic Book Demi Italic Bold Italic Book Italic Black Heavy Ultra Book Italic Medium Black Italic Heavy Italic Ultra Italic Medium Medium Italic Medium Italic TM Bold Bold ITC Usherwood® ITC Flora Bold Italic ITC Modern No. 216® Light Bold Italic Book Medium Heavy Black Book Italic Bold Heavy Italic Light Italic Medium Black Italic Medium Medium Italic Medium Italic ITC Franklin Gothic® Italia Bold ITC Souvenir® Bold Bold Italic Book Book Bold Italic Light Book Italic Medium Heavy Black Light Italic Black Italic Medium Bold Heavy Italic Medium Medium Italic Medium Italic ITC Veljovic® Demi ITC JamilleTM ITC New Baskerville® Demi Demi Italic Book Demi Italic Book Roman Book Italic Heavy Book Italic Italic Bold Heavy Italic Bold Bold Italic Medium Semibold Medium Italic Bold Italic Semibold Italic Black Bold Friz Quadrata Bold ITC Stone Serif TM Black Italic Bold Italic Friz Quadrata Bold Italic Medium Black Friz Quadrata Bold Black Medium Italic Black Italic ITC Kabel ® Black Italic Semi Bold ITC Galliard® Book Semi Bold Italic ITC Weidemann® Roman Medium ITC Newtext° Bold Demi Light Bold Italic Book Italic Book Italic Bold Bold Light Italic Ultra Book Medium Bold Italic ITC Stone Sans" Medium Italic Book Italic Black Medium Bold Regular Black Italic ITC Korinna® Medium Italic Bold Italic Ultra Regular Regular Italic Semi Bold Demi Black Ultra Italic Kursiv Semi Bold Italic Black Italic Bold Demi Italic Bold ITC Gamma" Bold Kursio Bold Italic Extra Bold ITC Nova rese® ITC Zapf Book® Book Light Book Italic Extra Bold Kursiv Book ITC Stone Informal" Heavy Light Italic Medium Book Italic Medium Heavy Kursiv Medium Medium Medium Italic Medium Italic Medium Italic Bold Medium I talic Semi Bold Bold Demi Bold Italic ITC Leawood® Semi Bold Italic Demi Italic Black Book Bold Italic Bold Ultra Heavy Black Italic Book Italic Bold Italic Heavy Italic Medium Medium Italic ITC Garamond® ITC PacellaTM ITC Symbol® ITC Zapf Chancery' Light Bold Book Bold Italic Book Light Light Italic Book Italic Book Italic Light Italic Book Black Medium Black Italic Medium Medium Book Italic Medium Italic Medium Italic Medium Italic Bold Bold Bold Demi Bold Italic ITC Lubalin Graph® Bold Italic Bold Italic Bo(( Ultra Extra Light Black Black Ultra Italic Black Italic Extra Light Oblique Black Italic ITC Zapf Light Condensed Book International® Light Condensed Italic Book Oblique ITC PanacheTM Light ITC Tiepole Light Italic Book Condensed Medium Book Book Condensed Italic Book Medium Medium Oblique Book Italic Book Italic Bold Condensed Demi Medium Italic Bold Bold Demi Bold Condensed Italic Demi Oblique Bold Italic Ultra Condensed Bold Italic Demi Italic Bold Black Black Ultra Condensed Italic Bold Oblique Heavy Black Italic Black Italic Heavy Italic ITC Boutros Setting - ITC Boutros Modern Kufic -

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ITC AKI 1114ES® ITC/LSC Wen d® tent. Bold 0E1 ITC/ISC Condensed Italie® ITC Bauhaus Heavy® ITC DkIi® gagarilEGi® EITM @aloNwagz Gag@ww ©oRUito*. irlfg NMO ITC Bernase Roman® ITC Eras contour® ITC Bolt Bold° ITC FM Face® ITC/LSC Book Regular Roman® ITC Firenze® ITC/LSC Book Regular Italic® OU© FTenkMcm go'n11© ITC/LSC Book Bold Roman® MEd& ITC/LSC Book Bold Italic® ITC Franklin Gothic Contour® ITC/ LSC Book X-Bold Roman® ITC Gorilla® ITC /LSC Book X-Bold Italic® ITC Grizzly® RUC DoctKEffium Og2Snfial® \I,VAdo, g'selg3re RC Grouch® ITC Bookman Contour with !Awash® ITC Honda® ITC 3USOMYA UG-T® [141 [3e)211 OmInthig4 ITC DUSOKNI MEDIUM® ITC 'label Contour ITC BUSORAMA BOLD® IIM llZartnatm Dad Ournilllte® ITC Caslon Headline® ITC MACHINE® ITC/LSC Caslon Light No.223® ITC MACHINE lOLl® Light No.223 Italic® ITC/LSC Caslon ,Manhattan® ITC/LSC Caslon Regular No.223® ITC MilanoRoman® ITC/LSC Caslon Regular No.223 Italic® ITC NEON® ITC / LSC Caslon Bold No.223® Lit WAILLLUZ ITC/LSC Caslon Bold No.223 Italic® ITC Ronda Light® ITC/LSC Caslon X-Bold No.223® ITC Ronda® Caslon X-Bold No.223 Italic® ITC/LSC ITC Ronda Bold® 11TC Cheltenham Oiilllim® $galiq ScAtigDgild OulllOnGA 117'C Cllnaankffin Outline Shadow® I7C/L&C Stymie Hairline® ITC Cheltenham Contour® ITC Tom's Roman® RTC Oen-face Oetll® ITC Upright Regular ® ITC Clearface Contour ® ITC Upright fleon® ae a r face Oman 313a40m ITC Desktop A Guide to Creating Powerful Business Communications

E YE OPENER ITC Desktop is the next step in personal computer enhancement. Take the first step. Return the order card now

new way for even the most sophisticated designers to get better results with desktop computers. This bi-monthly guide opens your eyes to new possibilities with articles, product reviews, and ideas from other professionals to help you use new technology more creatively.

A new service of International Typeface Corporation One of ITC's primary goals is the encouragement of good graphics and the best use of type and typography. ITC Desktop is a natural extension of that goal. It has been created for people who care about quality output. It presents ideas in easy-to-understand language with no buzz words or technical jargon, but without talking down to experienced users. It is the only publication in the computer field geared to the end result ...a visually-interesting, graphically- correct finished product.

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A GUIDE TO CREATING POWERFUL BUSINESS COMMUNICATIONS 74

#1028 #1027 #1031 #1024 Graphis Poster 89 Typographic Communications Today Label Designs British Design and Art Direction 1988 Edited by B. Martin Pedersen by Edward Gottschall Edited by Lisa Walker and Steve Blount Edited by Edward Booth-Clibborn

If you want to see and understand today's "If you can visually say a food product tastes A wonderful idea source for American A U&lc BookShop mail order exclusive. Thanks to TV there has been a decline in many typographic design styles, how they good without ever using the words, that's it. designers who have been overexposed to the commercial use of posters in recent evolved, and where they are headed, this You're home. If you feel as if you want to their peers in the United States and Can- years, but not a decline in their graphic book is for you. It is a critical review of the pick the product up and take a bit of it, ada. This British Annual offers a fresh, past hundred years of design all over the wrapper and all, you've really done some- bright, exciting and effective way of design- quality. If anything, today's posters are Graphis world. With over 900 large size illustra- thing:" So writes designer Primo Angeli in ing ads, packages, books, and a wide vari- fresher and more innovative and tions, more than 500 in full color, it shows one of five designer essays up front in this ety of collateral material for print and TV. Poster 89 reflects this direction. Many graphic designers feel that the as well as tells about design trends and unusual book. Unusual because it is so It also looks at the best and brightest copy their significance. Numerous quotations much more than a classified collection of for all media, radio included. A stimulating poster is the ultimate expression of their only interna- by first-rate designers make this a treasury the best labels in large sizes and full color. book, especially because it shows you so art. Graphis Poster 89—the tional annual of poster art—spotlights the of the best and most provocative thinking That it is too, but the designer essays much you haven't seen before, as well as a about the hows and whys of typographic (by Primo Angeli, Milton Glaser, Stephen marvelous idea resource. best of this year's efforts by designers, design. Full alphabets of more than 200 of and Stuart Berni, John Diefenbach, and In a foreword to an earlier edition the illustrators and photographers from the twentieth century typefaces are shown, R. Kim Finley) and the thoughtful intro- reader is advised to "study it, not to copy around the world. and a major section is devoted to the effects ductions to the sections give one food for or imitate, but to learn what a free mind, The 1989 collection has been chosen of today's computer and laser technologies the mind as well as the eyes. The sections, given a bit of luck and a good chart, can from thousands of entries sent from the on what designers can do and how they can by the way, are food, snacks, gourmet, produce:' Enjoyable as well as most world over—including Japan and Eastern work. For a summary of the book, see the material products, beverages, wines, liquor helpful. Europe and are represented in the categories of advertising, culture, and society. color section in the center of this issue and beer, health and beauty, consumer 576 pages. 8'/8x 11 ,121800+ illustrations, most in full The introduction to this year's annual has of U&Ic. goods, media products. There are indexes color. Hardcover. of products, clients, designer firms, #1027. been provided by Ivan Chermayeff, one of 256 pages. 103/4 x 14 ,141900+ illustrations, 500+ in full U.S./Canada price, $69.00. the world's most honored and respected color. Hardcover. designers and subjects. Selections are inter- Outside U.S./Canada, $76.00. #1024. national. More than 200 design firms are designers. Through June 30th, U.S./Canada price, $55.00. represented. 256 pages. 9,12 x 12" Over 375 full color illustrations. Outside U.S./Canada, $62.00. Hardcover. 256 pages. 9114 x 12 ,141 Over 450 color illustrations. #1031. Hardcover. U.S./Canada price, $65.00. #1028. Outside U.S./Canada, 118 Swiss francs. U.S./Canada price, $49.95. Outside U.S. /Canada, $57.00. 75

#1006 Graphis Annual Reports Edited by B. Martin Pedersen

still #1030 #1025 A U&lc BookShop mail order exclusive. Graphis Packaging 5 Better Type available This is the first book to present an interna- Edited by B. Martin Pedersen by Betty Binns tional collection of 25 of the best annual reports selected for their merit in the cate- Reader response has prompted gories of Design, Illustration, and Photog- us to reoffer the following books raphy. Meaning is given to the selections by which were reviewed in the complete credits and captions in which the May, August and November designers and artists discuss the reasoning ' rTS 1)e I ■1•0 BookShops.10. - and thought processes behind their work. SlIhill'161111011011S iht• Fully reviewed in May U&Ic. file loces ul text type. 256 pages (color throughout). 992 x 117 Over 750 color bralli11111, and plates. #1006. ever∎ limo. U.S./Canada price, $65.00. Outside U.S./Canada, 118 Swiss francs.

A U&lc BookShop mail order exclusive. This is the first book of its kind that directs #IO22 Here is the best work of the past four years the reader to look at type color from pro- American Illustration 7 from all over the world presented in full fessional standards. It entices the reader to Edited by Edward Booth-Clibborn color throughout. Shows the best creative think, and with the many examples it uses packaging efforts for food, beverages, as illustrations it helps one, even one new American Illustration 7 tobacco, cosmetics, fashion, household, to type, to arrive at the best decisions. A industrial and stationery articles, carrier- "must have" book for typographic profes- bags, promotions and games. Demon- sionals and neophytes. strates how designers are meeting the Better Type is concerned with type that is challenges of new materials and manufac- intended to be read and it demonstrates turing methods. Multi-lingual introduc- how type size, line width, and interlinear tion by England's Michael Peters and space affect readability. Some of the chap- multi-lingual credits. ter headings tell much about the book: 264 pages. 9 112 x 350 color plates. Hardcover. Letter Design and Type Color, Line Spac- #1030. ing and Type Color (this section alone is U.S./Canada price, $65.00. worth the price of the book). Character Outside U.S./Canada, 118 Swiss francs. Spacing, Unjustified Setting, Character Alteration, and more. A juried selection of the best in U.S. and Canadian contemporary illustration art for 192 pages. 11 x 8 W.' 2-color illustrations. Hardcover. #1025. magazines, newspapers, books, advertise- U.S./Canada price, $29.95. ments, posters, packaging, and films. A Outside U.S./Canada, $37.00. vital source of inspiration for the illustrator, graphic artist, and anyone buying or using illustrations, shown one to a page and almost all in full color. A revealing portrait of our times. Comprehensive indexes include addresses of contributing artists. 256 pages. 992x 12 ,127221 illustrations, 216 in full color. Hardcover. #1022. U.S./Canada price, $55.00. Outside U.S./Canada, $62.00.

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#1009 #1021 #10I8 #1020 The Art of Graphic Design Soviet Commercial Design Graphic Style The Best of British Packaging by Bradbury Thompson of the Twenties From Victorian to Post-Modern Edited by Edward Booth-Chbborn Edited, designed by M. Anikst by Steven Heller and Seymour Chwast 14U1 o thirr, Thotut., , t1

tSt or 11[1

A U&lc BookShop mail order exclusive. This book offers, especially to American An elegant book designed by Mr.Thomp- The art of the Soviet avant garde is colorful designers, a good look at some very fine son. It brings together for the first time a and design-dynamic. Of considerable What does Dutch Art Deco look like? Or packaging design they would not normally full spectrum of his timeless contributions historical interest, the work illustrated Italian Art Nouveau? Or De Stijl, Dada, or see. An essential selection and an impor- to American design. The text is informa- suggests fresh ways of approaching recur- Russian Constructivism? And what do they tant record of the highest quality packag- tive and charming. A must for all aficiona- rent communication problems. Bold han- mean to you today? ing design work being produced in Britain. dos of type and graphic design. Fully dling of type and color characterize much From its unique and useful time-line It looks at 240 designs from 50 design reviewed in August U&lc. of the work shown. Published with the index through more than 700 illustrations, groups, covering all sectors of product Graphic Style tells you, clearly and concisely, packaging. Each piece is illustrated in full 232 pages. 904x 133/47310 illustrations, 272 in full color. cooperation of the Soviet government, this Hardcover. book is a revealing record of advertising and shows you, the essence of these design color and is accompanied by the design #1009. design and the artistic culture in the years styles. This is much more than an illus- group's analysis of the client brief and the U.S./Canada price, $65.00. immediately following the Russian Revolu- trated history. Every page is stimulating design solution. The designs are effective, Outside U.S./Canada, $72.00. tion. Included are works long forgotten, as and is a great source of ideas. inventive, and the type handling clear yet well as the now classic pieces by Mayakovsky, Illustrations range from fine art to strong. Comprehensively indexed. #1014 Rodchenko, Lissitsky, Gan, Stepanova and ephemera, from wine labels to posters, 271 pages. 81/4 x 11 1/1.' Hardcover. The Best of Fine Print Magazine on Type the Stenbergs. Fully represented are both from book illustrations to shopping bags. #1020. Whether you want to strengthen your U.S.ICanada price, $45.00. and Typography, 1977-1988 state and private sector commissions. Outside U.S.ICanada, $ 52.00. Ample text puts the work into context with perspective of design development or are

cultural and political developments of looking for a new idea source, Graphic Style S the period. will be a great help to you. #1016 144 pages. 9318 x 113/47 323 illustrations, 211 in full color. 240 pages. 804x 11027700+ illustrations, 225 in full color. Menu Design 3 Hardcover. Hardcover. by Judi Radice #1021. #1018. U.S./Canada price, $37.50. U.S.ICanada price, $49.50. Outside U.S.ICanada, $45.00. Outside U.S./Canada, $57.00.

Thneestof #1023 #1011 FinelNint Mnenelne en Posters Made Possible by a Grant Graphis Diagrams 1 from Mobil Edited by B. Martin Pedersen Foreword by Brendan Gill A U&lc BookShop mail order exclusive. A book for type lovers to love and to trea- sure, this is a rare compilation of opinion and critical comment that is as rewarding to the eye and the touch as to the mind and tl the spirit. An elegant example of the ele- CA A U&lc BookShop mail order exclusive. gance it critiques. The who's who of writers „1.0.41I a. r A comprehensive and visually exciting includes Joseph Blumenthal, James Mosley, collection of the most delectable menu Charles Bigelow, Max Caflisch, and John imam designs of the past year. A real graphic idea Dreyfus. Fully reviewed in August U&Ic. file and source of inspiration. Slanted to 160 pages. 8 02x 117 Hardcover. typographic gourmets, many menus #1014. shown are accompanied by data about the U.S./Canada price, $40.00. designer, a discussion of the design/com- Outside U.S.ICanada, $45.00. A U&lc BookShop mail order exclusive. A U&Ic BookShop exclusive. The graphic presentation of mathematical munication problem, and notes on type Not available elsewhere until mid-1989. and statistical information is an art and a use. Includes interviews with leading #1010 Even in our present age of electronic science. Graphic Diagrams 1 is a comprehen- designers and restaurateurs. Over 200 menus in full color. Fully reviewed in Graphis Design 89 imagery nothing more readily attracts sive overview of the state of the art in dia- Edited by B. Martin Pedersen the attention of the public than a well- gram design and a visual guide to designers August U&lc. designed poster. Included are wonderful facing diagram problems. Fully reviewed 256 pages. 9,14x 12 1/4' Hardcover. examples of how to use type, art, and in August U&Ic. #1016. U.S./Canada price, $49.95. design most effectively. 288 pages. 9'12 x 127 431 illustrations (most in color). Outside U.S./Canada, $55.00. This volume celebrates the poster and Hardcover. the Mobil Oil Corporation's enthusiastic #1011. U.S./Canada price, $65.00. support of it as an art form. You'll see work Outside U.S./Canada, 118 Swiss francs. by such name artists as Al Hirschfeld, Edward Gorey, Ivan Chermayeff, Seymour Chwast, Milton Glaser and James McMullan, and by such fine artists as Roy Lichtenstein, Robert Rauschenberg, Edward Ruscha, SECOND CLASS POSTAGE PAID and Christo. The 250 international posters shown display a wide range of illustrations and typographic styles. Biographies of A U&lc BookShop mail order exclusive. If you want to see the best graphic designs designers, illustrators, photographers. from all over the world, and see them in Fully indexed. beautifully printed full color, this is your 176 pages. 9 x 127 Hardcover. #1023. one-stop book. Over 650 pieces were cho- U.S./Canada price, $50.00. sen. These are really the best of the best. Outside U.S./Canada, 85 Swiss francs. The result is a gold mine of visual ideas and innovative concepts. Fully reviewed in August U&lc. 265 pages. 902 x 127 Hardcover. #1010. U.S./Canada price, $65.00. Outside U.S./Canada, 118 Swiss francs.