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UPPER AND LOWER CASE THE INTERNATIONAL JOURNAL OF 1 YPOGRAPHICS PUBLISHED BY THE INTERNATIONAL TYPEFACE CORPORATION, VOLUME TWO, NUMBER ONE 1975 In This Issue: The Washington Seminar An historic two-day typographic forum took place last October, bringing together a who's who of distinguished designers and typographic craftsmen from all over the THE ART OF TYPEFACE DESIGN world. Subject of discussion: "The Art of Typeface AND VISUAL COMMUNICATIONS Design and Visual Communications?' The seminar was called by the Library of Congress, the National Endowment for the Arts, and the Graduate School of An historical two-day typographic symposium took place October PAGE 4 15-16 in Washington, D.C. It answered and asked many questions. The the U.S. Department of Agriculture. Highlights of the symposium evolved from a need to teach approximately twenty attor- program are presented, along with editorial comment neys of the Copyright section of the Library of Congress how to dis- supporting copyright protection for typefaces. tinguish between typefaces, the differences between the various The Letterform In Illustration typographic systems and their applications, the problems faced by a The art of illustration and letterforms is a relatively designer of new typefaces, and the relationship of technology to typeface design and use. In addition to the attorneys, the audience new means of enhancing communications. U&lc has included art directors, typographers, and printers from government put together several extraordinary examples of the art, agencies and departments. Sponsors were the Library of Congress, coupled with a few words of wisdom on the subject. the National Endowment for the Arts, and the Graduate School of The Poems Of Chairman Mao the U.S. Department of Agriculture. They brought together a who's During the recent presidential visit to China, Chairman PAGE 8 who of distinguished typeface designers and typographic experts Mao presented a handsome volume of his own poetry from all over the world. It is anticipated that the resultant talks, to one of the delegation. U&lc reproduces several slides, graphic material and the question-answer dialogues will be choice verses, with appropriate English translation. the basis of a forthcoming publication. For now, U6rlc brings you a GOOSE summary of the symposium. The program and speakers were: The CBS Wall One of the outstanding typographic designs of our time LIVER PART I: RELATIONSHIP OF TECHNOLOGY Klaus Schmidt (USA) is the gastrotypographical mural Lou Dorfsman created TO TYPEFACE DESIGN AND USE Vice President, Director of Print Operations, for the cafeteria wall in the CBS Building. The editors John Dreyfus (England) Young and Rubicam. Member Advertising Agency Production Club, Art Directors'Club of Pion International Consultant. Typographical ad- New York, Type Directors Club and Typographi- tell how it all came about. viser, Cambridge University Press, Cambridge, cal Union No. 6. Co-founder, International aittalD England, and Monotype Corporation Limited, Something For Everybody Center for Typographic Arts. London; Director of the Curwen Press, London Typography in the advertising agency. Herb Lubalin at it again, with visual tongue in cheek. Historical development of typography. The state of typographic design as an art, a craft, and an Eight ways to achieve the heights and/or depths to industry. Louis Silverstein (USA) which men aspire. Illustrated by Murray Tinkelman. Corporate Art Director, New York Times Com- Aaron Burns (USA) pany. Former promotion art director of The New York Times. Art director of America Mag- Lost And Found: The Art Of The Letterform Co-Chairman for Symposium. International au- The Art Directors Club in New York has recently shown thority on typography; Co-founder of Interna- azine and of a New York advertising agency. tional Centerfor Typographic Arts; currently on Typography ancl the newspaper. an exhibition of lettering, calligraphy and alphabets board of directors LAssociation Typographique International; President, International Thomas Geismar (USA) representing the work of 27 leading artists in this field. Typeface Corporation and Lubalin, Burns & Co., Partner, Chermayeff & Geismar Associates. Inc., New York. Chairman of the Advisory Committee on My Best With Letters An introduction to modern typography and the Transportation Related Signs and Symbols for Louis Danziger, Massimo Vignelli, Alan Fletcher, and new technologies. the U.S. Department of Transportation. Typography for industry and the corporation. Herb Lubalin add to the list of prominent designers con- PAGE 14 George Sadek (USA) tributing their one "best" as a regular U&Ic feature. Dean, The School of Art and Architecture, The Rudolph de Harak (USA) Cooper Union for the Advancement of Science President, Rudolph de Harak, Inc., New York. and Art, New York. Designer of corporate identity programs, publi- Ms. Hedda Johnson The second in our new series of articles devoted to the Typographic art and design education. cations, signage, exhibitions and products. Typography of signage, architecture and talented women in communications, this time around PART II: ASPECTS OF exhibitions. PROBLEMS DESIGNERS DEAL WITH WHEN Herb Lubalin (USA) being devoted to the work of Hedda Johnson. A DESIGNING TYPEFACES consummate artist with a dynamic personality. Hermann Zapf (Germany) President, Lubalin, Smith, Carnase, New York; Vice President, International Typeface Corp., Master calligrapher, type designer, author and Professor, The Cooper Union for the Advance- lecturer. Designer of over 60 typefaces includ- Letters Pro And Con ment of Science and Art. Past President, Art Gratifyingly, the flow of mail continues to pour in from ing Palatino, Melior, Optima. Directors Club of New York. Typeface design, the past, the present and the Typo/Graphics. A designer's use of letterforms future. all corners of the globe. The editors have gone out of for total communications. their way to present an equal balance but have been Adrian Frutiger (France) PART V: LEGAL ASPECTS quite unable to come up with enough cons. Type designer, illustrator and consultant. OF TYPEFACE DESIGN Former art director of Deberny and Peignot New From ITC Typefoundry, Paris. Joseph Gastel (USA) Design and development of one basic typeface Practicing attorney specializing in patents, In our second issue, U&lc gave you a preview showing having 21 different weights and proportions_ The trademarks and copyrights. Memberof the Bar Univers series. Association of the State of New York and Dis- of New text. Now being offered through ITC subscribers, trict of Columbia. we herein present this newest typeface in all its forms. Matthew Carter (England) Typography and Copyrights, Trademarks and Patents. Type designer and consultant. Associated with Congress And Copyright Johan Enschede & Zonen, Holland; Crossfield PERMANENT PANELISTS U&lc urges you to support copyright protection for Electronics (Photon), England; Mergenthaler Linotype Company, New York. Alvin Eisenman (USA) type designers by writing to your Congressmen.To make A critical study of subtleties and differences be- Professor of graphic design and director of this convenient, you will find a listing of your Repre- tween typefaces having similar characteristics. studies in graphic design and photography, The Graduate School of Art, Yale University. sentative and both your Senators. PART III: HOW TO DISTINGUISH Typography and Art. BETWEEN TYPEFACES ALGA Position Paper Edward Rondthaler (USA) Michael Parker (USA) In February of this year, the American Institute of Pioneer in the development of photo-lettering. MergenthalerDirector of Typographic Linotype Company, Development, New York.The Chairman of Photo-Lettering, Inc.; Chairman, Graphic Arts issued a "Statement of Position" supporting International Typeface Corporation, New York. Typeface Development, Production and copyright. U&Ic reproduces this statement. Co-inventor of the Rutherford Photo-Lettering Implementation. Machine. U&lc Book Shop The development of a unique system of typeface David A. Sutton (USA) identification and classification for a library of Co-Chairmarifor Symposium. Design Director, Wherein the editors offer a list of the latest and, we 10,000 typeface designs. U.S. Department of Agriculture. Graphic de- feel, the best books published on a range of subjects signer, industrial designer, city planner. PART IV: TYPEFACE SYSTEMS Typography and the Public Sector; Government dealing with various aspects of the graphic arts. AND USES TODAY Needs for Typefaces. PAGE 46 CONTINUED ON NEXT PAGE VOLUME 2, NUMBER 1, 1975 HERB LUBALIN, EDITORIAL & DESIGN DIRECTOR AARON BURNS, EDITORIAL DIRECTOR ED RONDTHALER. EDITORIAL DIRECTOR JACK ANSON FINKE. ASSOCIATE EDITOR JAN McKAY. ANNA McCUSKER. JOE SUNDWALL, TONY DISPIGNA ART & PRODUCTION EDITORS JOHN PRENTKI. BUSINESS AND ADVERTISING MANAGER "U&LC" COPYRIGHT 1975 AND PUBLISHED BY INTERNATIONAL TYPEFACE CORPORATION. 216 EAST 45TH STREET. NEW YORK. N.Y. 10017 A JOINTLY OWNED SUBSIDIARY OF PHOTO-LETTERING. INC. AND LUBALIN. BURNS & CO. INC. APPLICATION TO MAIL AT CONTROLLED CIRCULATION RATES IS PENDING AT NEW YORK, NEW YORK AND FARMINGDALE. NEW YORK BOARD OF DIRECTORS: EDWARD RONDTHALER. CHAIRMAN AARON BURNS, PRESIDENT HERB LUBALIN, EXECUTIVE VICE PRESIDENT JOHN PRENTKI, SECRETARY/TREASIIRER BOB FARBER, SENIOR VICE PRESIDENT ED BENGUIAT, VICE PRESIDENT STEPHEN KOPEC. VICE PRESIDENT Editorial:
Today the graphic arts community is facing a once-in-a-lifetime opportu- Typeface design not like handwriting "... designing typefaces differs from the nity to right a wrong that has hung over it for generations. There is now ordinary act of writing in two important new hope that the Copyright Office may rescind a long-standing regula- ways. First, the normal size of type used for printing is considerably smaller than tion that still excludes typeface designs from registration. It is hoped the size of normal handwriting, and con- that a new change in the regulation will give typeface designs the same THE ART OF sequently typefaces have to be designed protection that has always been available to other forms of art. with the smaller scale in mind. But far TYPEFACE more important, and far more difficult to It is, no doubt, the similarity between piracy of musical recordings and solve, is the problem of designing an en- DESIGN tire set of letters in capital and lower-case, piracy of typefaces that has brought the latter so vividly to the attention italic and bold, complete with numerals, of the Copyright Office. Congress is grappling with legislation to end punctuation marks and a few other tape piracy, and a recent report from the House of Representatives quot- AND VISUAL signs and symbols, in such a manner that ing the Register of Copyrights, Ms. Barbara Ringer, is as applicable to every possible combination of letters re- COMMUNI- sults in words which are not spoilt by un- type as it is to tapes: "There is no question in my mind that tape piracy is sightly gaps, or by certain letters appear- fundamentally anticompetitive. As I stated in my testimony before the CATIONS ing incongruous or tiresomely conspicu- ous. Furthermore, every printed letter predecessor ofyour subcommittee in 1971, piracy tends to increase the must appear to be in perfect alignment price of legitimate recordings; this is because the record producers lose with its neighbors, something which you sales volume on their 'hit records,' which must return sufficient gross to never attempt in normal handwriting. Another freedom you have in handwrit- cover losses on other recordings. No pirate duplicates a loser. The ing is that you vary your letters to suit public pays for piracy in the end. The Copyright Office firmly believes the shape of the letter which it follows or precedes. A characteriStic of type is its that what the public pays for recorded music should go to the creators rigid uniformity—a thing which hand- rather than to the scavengers."* writing cannot achieve." Effects of the Industrial Revolution Having taken such a strong position against tape piracy, it is not Prior to the 19th century "Printing had surprising that the Register of Copyrights, Ms. Ringer, has launched been designed to be read by eyes which so vigorously into a study of the equally unethical typeface piracy. were avid to absorb the words, but thereafter the medium of typography Unlike recordings, our existing copyright laws would protect typeface developed also in a manner which would compel the attention of eyes unwilling to designs if it were not for Regulation 202. la prohibiting registration of read its message ... the result was "... mere variations of typographic ornamentation or lettering..." This clamorous typography or display typog- regulation, interpreted as ruling out type, was arbitrarily put on the raphy as it is more often called today." Typography became a means of draw- books by an earlier Register of Copyrights. It can be amended by the ing the public's attention to goods and present Register of Copyrights, but Ms. Ringer is wisely proceeding services for sale. It became a tool of the mass market. "For these purposes an with caution to be sure that the change does not create greater injustice entirely new series of types were than it corrects. needed, and they were required in a wide variety of styles. Advertising your own To that end she authorized a two-day Typeface Design Symposium held brand of goods in precisely the same in Washington on October 15-16 (reported in this issue ofU8r1c). This fashion that your competitors used in was followed in November by a formal public hearing—of more than their advertising was undesirable." All this and piracy too passing significance since it was the first public hearing of any kind ever The Benton punchcutter was introduced called by the Copyright Office in its entire history. in 1884. The Linotype came in 1886. And before 1890 a practical typewriter was on Early in January the American Institute of Graphic Arts, under the lead- the market. ership of its president, Mr. Karl Fink, sponsored an Open Forum meet- Today typography is an art, a craft and Not surprisingly, all this led to an in- an industry. John Dreyfus outlined how crease in type design specialists or skilled ing in New York City to give all concerned with type—typeface designers, it got that way and what it means to us. artists who turned their talents to typeface manufacturers and distributors, typographic service companies, He traced communication from the first typeface design. Such was William Morris graphic designers and others—an opportunity to express their views pro grunt some 25,000 years ago through whose three new type designs for the picture writing and the later develop- Kelmscott Press were so well received in and con. Ms. Ringer was the guest speaker. ments of a phonetic alphabet in which England that copies (without his permis- graphic symbols represented sounds. sion) were soon made by an American In February the ALGA issued a "Statement of Position" (page 30 of this Mr. Dreyfus noted that the invention of typefoundry equipped with a panto- issue of U&lc) supporting copyright and suggesting certain parallel paper, which reached Europe, or at least graphic punchcutter. Centuries of prog- steps that should be taken to answer the objections raised by some, but Italy in 1276, France in 1348 and Germany ress had brought us to the age of the by 1390 made possible sheets large pantographic pirate. The pantograph by no means all, typographers and publishers. enough to fold and sew into the form we made it relatively easy to copy, and rela- know as a book. A market for books, tively cheap and easy to copy accurately. We wholeheartedly support the typographers' insistence upon manda- handwritten manuscripts, grew. Demand Since 1950 tory licensing, at reasonable rates, of all copyrighted typeface designs so outgrew supply and lay scriveners made Today's type designer has to be highly that no manufacturer of typesetting equipment or related products can copies of the monks' originals. But the in- skilled, a combination of engineer and accuracies of such copying, the growing artist, with patience to master the techni- monopolize a particular typeface. We support the publishers' insistence demand, the slowness of the copying all cal intricacies, but with the independence that any claim for copyright infringement be limited to action against the set the stage for Johann Gutenberg of to remain as intent as ever upon serving manufacturer and purchaser of the unauthorized grid or its equivalent, Mainz. Others (in China and Korea) had the artistic needs of man as well as the printed from movable type, but around mechanical needs of the devices. and that the innocent buyer of composition produced from the unauth- 1440, Gutenberg developed the adjust- Some of the developments cited as orized grid be held blameless. And finally, we agree that the royalty be able mould. bringing us to this point are: the use of one reasonable and that in the case of the sale of the grid, disc, film strip, Gutenberg's mould changes all master grid for the creation of many sizes; the teaming of camera, strobo- transfer sheet or whatever form in which the manufacturer sells the "To understand the importance of his ad- justable mould, you must remember that scopic lights, transistors, cathode ray typeface master, the royalty be paid only once as part of the sales price. whereas the 40,000 ideographs needed tube and the laser beam with computer for the Chinese language can all be cast programming to fill a virtually infinite vari- This is a reasonable request; it is in line with the best industry practice, on pieces of the same width, the letters ety of phototypesetting requirements. and will have virtually no effect on the cost of typesetting. It is estimated of our alphabet vary from very narrow Coupled with this is the need for letters to letters like I to much wider letters like be read by machines, for machines to that over the lifetime of a film font the royalty paid in this manner might "m." The invention of typography in- communicate with other machines much increase the cost of an average typesetting job by a couple of pennies. volved two separate stages: the casting as people communicate with people. of individual letters and their composition In less sophisticated directions, typog- Elsewhere in this issue you are urged to write to your Congressmen ask- into the sequence of a text; then the ink- raphy has moved out of the type shop and ing them to support copyright protection for typefaces. They, in turn, ing of those letters and printing a number onto the variable spacing typewilter with of identical impressions from them." interchangeable typefaces, and onto dry will be in contact with the Copyright Office. It is hoped thereby that this Crucial at that time was the adaptation transfer sheets. unethical practice of typeface piracy, long a blot on the industry, may at of the wine press to printing, the perfec- Protection not keeping pace last be brought to an end. As was aptly stated at the Washington sym- tion of a viscous ink, and Gutenberg's ad- As new technologies and styles have justable mould. Dreyfus considers the been developed to meet new demands, posium, "If the letterform designer is not permitted to work in an atmo- mould the heart of the invention. It they have, at the same time, stimulated sphere of encouragement, then our contribution to society diminishes brought about the means and the need demand. In the face of all this technologi- and so does the cultural climate". for designing new typefaces. cal and artistic progress the copyright law *1 louse of Representatives Report No. 93-1581, Dec. 12, 1974 3
with respect to typeface designs has run out of sorts. Mr. Sadek believes that typography is camera faithfully reproduces erroneous lagged far behind. But the future looks Mr. Burns concluded his presentation the ultimate expression of humanism, imprecisions as well as studied sub- brighter: last year eleven countries with a discussion of how a company de- the preserver of our precious heritage, tleties. Thus the art must be as precise signed the Vienna Agreement for the signing typefaces markets them, from and the constructive critic of our future. as engineering drawings, and the fit of Protection of Type Faces and their the initial contact with the designer, As such it merits legal protection. all combinations of letters must be per- I nternational Deposit. through the manufacturing steps of dis- fected in the originals. Meeting the tribution, publicity, promotion and ad- needs of the unit system calls for much vertising. more time and skill than a designer cus- AS TYPE DESIGNERS SEE IT tomarily spends on drawings for metal. The creation/production/marketing Problems faced by contemporary designers The designer now must also take into process may take more than two years of typefaces were reviewed by three of the account the new optical character during which time no income is earned world's best known designers : Hermann readers (OCR) which must distinguish by the company. It may take three to Zapf, Adrian Frutiger and Matthew Carter. an upper case I, for example, from the four years for the manufacturer to numeral 1 or the letter I. reach a break-even point and for the de- But beyond technical perfection, "A signer to see dividends in terms of royal- good type design has life like every real ties. expression of art. It has not only skill and Noting the marketing risks and the ease perfection—this is easy to learn with with which designs can be pirated, Mr. patience. The virtuosity of type design Burns suggests that "For all their time, lies above the ordinary horizon of pure efforts and financial investments the craftsmanship and ability to execute. artists, their patrons, the original'man- "Nobody should take a creative work ufacturers, and no one else should be of art for copying or any commercial use entitled to the fruits of these labors and without the written permission of the investments." creator,.for he alone is the owner of the reproduction rights."
The technical revolution of the past fifteen years "has reached such an ad- vanced state of development that it.is essential for those of us who have any- thing to do with the printed word to stop—to become aware now of all that the new technologies in the graphic arts have to offer. Otherwise it will pe virtu- ally impossible to work in almost any Mr. Zapf opened with an anecdote about area of graphic communications five the Japanese artist commissioned to years hence. The old tools and paint a picture of apples for the emperor. methodologies which have served an in- Two years went by without a painting. dustry so well for almost a century will The emperor ordered the artist be- be either extinct, obsolete or prohibi- headed. As a final wish the artist asked tively expensive ... " for five minutes, a sumi-set and a piece In a presentation heavily documented of silk. Within two minutes he painted DESIGN AND DEVELOPMENT OF ONE BASIC with slides, Mr. Burns made these the picture. When the emperor asked TYPEFACE INTO A FAMILY OF 21 DIFFERENT WEIGHTS AND PROPORTIONS points: why it took him two years to paint a two minute picture, the artist explained, "It ADRIAN FR UTIGER Technological developments have rev- George Sadek looked at typeface de- took two years of hard training and olutionized the art of typeface design. sign from the viewpoint of the educator study to paint such a perfect picture so Today's designer has a primary concern who considers it an art form and quickly." Presenting a mixture of philosophy and for typographic texture which is like a teaches it as such. Mr. Zapf noted that a blackboard dem- artistry in his approach to type design, visual tone of voice. With today's new Speaking of the "art of typography," onstration of calligraphy he had just Adrian Frutiger, creator of Univers, led typographic technology it is now possi- he noted how today's society demands made took nearly forty years of training, his listeners back into the heritage of ble to obtain a spectrum of typographic novelty and new forms. He also and expressed his concern that anyone letterforms. textures and qualities for the artist's explained how "The art of typography with a camera could copy his work in a Mr. Frutiger reasoned that nothing palette that was never before im- demands the discipline of the hand, eye matter of seconds. ever happens by accident—that all ar- agined. and mind. What more can an art stu- "Why," he asked, "should a designer tistic and other seemingly new de- velopments are simply new and inevi- The physical nature of metal typeset- dent get out of the educational pro- spend much of his life training and per- table links of a chain running far into the ting necessitated much loose spacing so cess? The concern for the minute sub- fecting his skills for someone else to past. He illustrated his reasoning with that the interior texture of typography tleties, for both the quick and leisurely steal them overnight?" slides of the letter "a" tracing its de- was quite open. perception of the eye and mind as they Mr. Zapf reviewed the history of integrate word and human thought. In typography from this viewpoint and velopment from ancient hieroglyphics. Hand lettering was often used in display short, a total integration of image and noted how costly it was, in the days be- "Not only writing tools, materials, copy to achieve not only a fresh style idea. fore phototypography, to copy another techniques and methods, but also the but better letterspacing. Today photo "It is indeed a pleasure to report that designer's typeface. Electrotypes made very spirit of bygone days have slowly display typesetting makes this possible university art departments and art it possible to cast a font in one piece and fashioned, simplified, and crystallized by machine. schools throughout the world have cut it apart—a less perfect copy, but the shapes that we now call our alpha- With the application of computers it is maintained courses of study dealing much less costly than recasting. But bet ... shapes that have now settled now possible to achieve an undreamed with the art of letter -forms." now, the camera gives a perfect copy into the sort of no-return state which of combination of typographic excel- Today's students, he noted, "are instantly and for the price of a sheet of insures, in the best way, the develop- lence, speed, and low cost. bright, very talented ... They pick the film. ment of communication among men." These new methodologies offered brains of the Bodonis, Eisenmans, Citing the work involved on his Optima Mr. Frutiger traced the development machines that could set tightly, intermix Zapfs, Frutigers, Lubalins, Dorfsmans, as an example of a designer's invest- of sans serif letters over the last cen- - almost at will, photo-modify, enlarge or Glasers. In short, they will bury us, and ment in creating a new face, Mr. Zapf tury or more as they gradually evolved reduce to new limits and at new that is as it should be. They will move reported that it took more than three thru the Grotesk, Jugendstil and Cubist steps—to name just a few of the free- this art of typography that one step years of design and another three years periods. "One can say that by mid-20th doms the new equipment offers today's forward, refining, inventing new forms of development before the first sizes century sans serif had reached a sort of designer. and their relationships, and maintaining were ready to market. 'landing'. .. plowing deep furrows into the high standards of the profession ... If the best designers are to be encour- the -reader's mind which at last became A consequence of these freedoms is a "It goes without saying that the aged in the future, both they and the ready to accept sans serif on a large renaissance in typeface design. The de- board, the hand, and especially the eye manufacturer who risks introducing scale. velopment and marketing of the new and mind are the prerequisite to tradi- new faces must be protected. By impli- "This was precisely the time-1953- film fonts is much more economical than tion as well as innovation, and are here cation he was suggesting that the con- when I was entrusted with the design of it was for metal fonts. A complete al- to stay... the study of the subject in sumers who want the new faces from a sans serif for the newly invented phabet can be put on film for about depth provides the most valuable edu- the best designers must help secure photocomposing machine. $300-$500 compared to $50,000- cation and training for the students of that protection lest their professional "Considering the simple appearance $100,000 to cast it in metal. the visual arts. It teaches the under- sources dry up. of a sans serif, sober and bare as it is, Faces impossible to cast in metal can standing of human perception, the Not only has photo-technology made one would think of it as a pretty rigid now be put on film—faces with delicate mutual dependency of science and art, piracy easier, it has made original cre- construction ratherthan fashioned with strokes, for example. appreciation of the past pioneers of ation more difficult by making its re- any sensibility. Yet, in a sans serif face, Less storage space is needed for the form as well as the adventure and ex- quirements more precise. There is no the shapes of letters should be related film fonts—which neither wear out nor citement of future possibilities." punchcutter to refine inaccuracies. The to a free-hand drawing: curves never CONTINUED ON PAGE 24 4
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THE LETTERFORM IN ILLUSTRATION The art of illustration hos, for centuries, been hancing communications. Like words and one of our indispensable means of visual music, both forms are interdependent on expression —used to enhance the compre- each other, the effect being synergistic in hension of a verbal message, or to contain providing a more dynamic meaning, a a visual message independent of words. more immediate grasp of the graphic idea, The art of the letterform has always been than either of these forms could convey accepted as the visual means of conveying separately. a verbal message, not necessarily reliant As a mode of expression demanding a on any of the other visual forms. high degree of artistry in the coupling of The combined art of illustration and two individualized art forms, its success has letterforms is a relatively new means of en- been relegated to the very few artists accomplished in both fields. After an extensive search, the editors dis- carded hundreds of examples that failed to meet the esthetic and creative standards required of these combined art forms. In some cases, the illustrative quality was superb where the application of letterforms was found wanting; in other cases, the reverse was true. The extraordinary examples on these pages represent two distinct approaches. Those by Ben Shahn, Marie Michal and Charlie White III and Michael Doret reveal a purely esthetic usage of drawing and letterforms. Those by Saul Steinberg, Jerome Snyder, Don Ivan Punchatz, and Milton Glaser show the letterforms as an essential element of the illustrative concept; neither can exist without the other. In both instances,what is seen here is indic- ative of the consummate artistry of the exceptional few who have mastered on unique communications technique and are equipped to perform in this special area. HERB LUDALIN
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