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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- , 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 . 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. (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 , 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 (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. (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 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 , 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 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, 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 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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SAUL STEINBERG e1909 SAUL STEINBERG. FROM "THE INSPECTOR" THE VIKING PRESS. ORIGINALLY, IN THE NEW YORKER, this, developed the present callig- ume—in a lush sweep of glowing raphy—brush strokes in characters as language—offersaclearunhampered impressive as they are communicative. view of the overall philosophy of Chair- THE During the recent presidential visit man Mao from the early flowering of POEMS OF to China, Chairman Mao presented a his youth in 1925 to the dominant world published volume of his own poems to figure he is today when "...all is past! CHAIRMAN one of the delegation, several of which For great men, none but This Age shall are reproduced here with accompany- show!' MAO ing English translation. Although com- If China has a "best-seller" listing as posed by MaoTse-tung, the actual we do in the United States, there's little characters were drawn by famed doubt this small attractive book would One of the most interesting of all letter- Chinese calligrapher Shan Mui San. head the list.Forthe magnificent callig- forms is Chinese calligraphy—each It's unfortunate that the book cannot raphy alone, the volume is well worth character a veritable work of art. be reprinted in its entirety, as it is hand- the reading—a treasured work, we're Chinese writing, as communication, somely laid out in red and gold cover sure in China for both book and art began with ideographs—symbols that with white on black characters within. lovers as well as thoughtful high-aspir- stood for complete ideas. And, from Running a gamut of subjects, the vol- ing minds.

GOLDEN CRANE TOWER after the tzu "Pu Sa Maan"Spring 1927 Boundless and vague the nine channels poured over the land. Steady and calm the one track threaded north to south, In the grey blurred cobweb of mist and rain, The hills Tortoise and Snake held the great Kiang trapped. Who knows whither the Golden Crane went, Leaving but a shrine for pilgrims? I pour a libation on the foam, My heartbeat upsurging with the waves.

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CHINGKANGSHAN after the tzu "Hsi Chiang Yueh"Autumn 1928 Below the mountain in full view our flags and banners, As up the mountain respond our bugles and drums: The enemy have us encircled a myriad folds, Unconcerned we just remain. Long ago we had our ramparts sternly built, The people's will further fortresses had forged: Hark over Huangyangchieh the cannons loudly boom, Announcing their army in the dark had fled.

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THE WAR BETWEEN CHIANG AND THE KWANGSI CLIQUE after the tzu "Ching Ping Lo" Autumn 1929 Sudden veer of wind and rain, The warlords made war again, Miseries to shower through the land: Yet another Golden Millet Dream of the brain. But red flags leap over the river Ting, Taking in their stride Lungyen and Shanghang, Mending a fragment of the Golden Vase, We are now truly busy sharing out land and holding.

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NEW YEAR'S DAY after the tzu ".1u Meng Ling" January 1930 Ninghua, Chingliu, Kweihua- What narrow paths, deep woods and slippery moss! Where shall we go today? Aim straight down to the foot of Wuyishan. Down steep, down slope, Our red banners unfurling in the breeze like a picture!

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TAPOTI after the tzu "Pu Sa Moan" Summer 1933 Red, orange, yellow, green, blue, indigo, violet: Who is waving this rainbow festoon, dancing up the sky? A slant of sun breaks through after rain, Moment by moment fresher grows the land. Fierce battles here that year: Scars in the front village wall of bullets To hallow these outposts remain, So doubly fair this day to behold.

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9

HUICHANG after the tzu "Ching Ping Lo" Summer 1934 Dawn in the east begins to break: Do not say that too early we march Who over all green hills shall trample before growing old; The views are especially good this side. The high peak outside-Huichang walls Stretches ridge upon ridge into the eastern sea. Our fighting men point south to Kwangtung and gaze, Where the landscape seems even more green and rich.

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THREE SONGS OF SIXTEEN CHARACTERS after the tzu "Shih Liu Tzu Ling" 1934-1935 1.Peaks! On swift mount, raising whip, never leaving the saddle, Afraid was I to look back, Off the sky but three feet three. 2. Peaks! Like great waves surging in a plunging and crashing sea, Or like in full gallop Ten thousand horses in the heat of battle. 3. Peaks! Needling through blue heaven, points undimmed; The sky would fall, But for these pillars.

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REPLY TO MR.LIU YA-TSE after the tzu "Wan Hsi Sha" October 1950 Vain nights of vigil for the crimson dawn over China skies, Plagued for centuries by devilish gyrating dancers, While five myriad people no unity could find. Till one cockcrow summoned the sudden dawn into the world, From all quarters music, even of Yutien, comes: Our poets a party like this have never had before.

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SEEING OFF THE PLAGUE GOD two seven-lu poems July 1,1958 0 wanton boasting of abundant blue waters and green hills, When to a little worm the great Hua To could nothing do.Choked with weeds and incontinent sick crumble a thousand hamlets.Abandoned to the devil's song were yet more homes. By mere sitting down we travel a day tens of thousand miles, Or soaring into space 'explore a thousand milky ways. If the Cowherd there enquires about the plague god, Answer that the same old bitter and sweet waters still chase by. AEA.— MIA lizatt !AMftXMWASSEIMM*MMUftT4MOM*Alada711AU

!VI %ii1 f• • • Ill.X I I Jlii - LIM Vitt.4 -ogAttk,EJI-otno MILITIA WOMEN Inscription on a Photograph February 1961 How bright and brave they look, shouldering five-foot rifles, On the parade ground lit up by the first gleams of day. China's daughters have high-aspiring minds, they love their uniforms, not silks and satins. '.11, Ii JOE. - gm4Rta tat !1 , 0WAMMUI!MKEMIA o'AA 10

GASTRO— TYPO- GRAPHICAL ASSEM- BLAGE:

THE CBS ees enjoy during their lunch hour today — and eating. As his thinking gained momen- like the wall, a more careful layout seemed an architectonic amalgam that remains a tum, the whole fabric of the concept began in keeping. WALL classic example of how graphic designers to take visual form: it would be a blending But he and a staff assistant went to work have increasingly come to widen the hori- of eye - catching elements — multicolored and made up roughs until they finally had It all began some ten years back in the zon of our lives. While there have been an collages and antiques actually set into the in essence what Dorfsman now visualized cafeteria-to-be on the 20th floor of the Avalanche of tributes since the wall was wall to complement white-sprayed typo- in the full — knowing full well, however, that then-new CBS headquarters building in completed, there have also been blatant graphical aspects — a virtual "gastrotypo- there would be considerable changes for New York. Lou Dorfsman, now VP Adver- imitations. The CBS wall, however, is the graphical" assemblage. the finished product. tising and Design, CBS Broadcast. Group, original —the very first, and still the very Dr. Stanton, a veritable dream employer When shown the rough, Dr. Stanton's was standing with Dr. Frank Stanton, then best, concept of its kind. for a designer with creative range, took to reaction was positive and immediate. As President of CBS, contemplating what The initial idea came to Dorfsman that the idea on the spot and suggested going far as he was concerned, Dorfsman could might best decorate the huge white forty day, as he started thinking out loud to ahead with a rough layout. start. by eight and a half foot wall facing them. Dr. Stanton. The image of that job case Easier saidthan done. Dorfsman, already Obviously there were problems — engi- Recalling a California job case he had for some reason fixed in his mind, he sug- snowed under with the task of redesigning neering, construction, measurement, typographical— and Dorfsman was too ex- composed for Dr. Stanton as a birthday gested creating a dimensional mural to fill all the . CBS printed house materials (sta- gift a year or so earlier, Dorfsman impul- the entire wall, made up of multiple type- tionery, memoranda, forms, booklets, etc.) perienced a designer to dive into a pool sively came up with an idea. The result is faces and sizes all dealing with words and for the move to the new building was a little before being certain there was water in it. the three-dimensional mural CBS employ- objects appropriate for a cafeteria: food dubious about this. For a big undertaking He wasn't about to build a forty by eight

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and a half foot wall and try to hang it. And late Stanley Glaubach actually jigsaw the to cover the seams, the butt joints —which there was the all-important question of cost. letters in a full-scale construction of the he did by utilizing the one half inch by one It has always been Dorfsman's feeling that panel based on his photo enlargements of inch rule, made of one half inch by one inch economics should go hand in hand with all the typography. In this way, he could strips. These covered the seam vertically as artistry. It's all very well to think in expan- both test the concept and be able to arrive well as the joints of the panel seams. Hori- sive terms, but it's not artistry alone that at the cost-out figures for the complete wall. zontally, he devised a similar arrangement counts — rather artistry with a keen eye to Dr. Stanton, on being shown the one between words —creating sort of Mondri- the budget. Do a first-rate job, yet keep TO panel, was sold completely and gave his anish dividers to give the effect of the strips costs to a minimum — that's the goal. But, enthusiastic go sign to complete the project. being part of the type design concept, much how to cost out a large project like this? This prototype panel is part of the wall to- on the order of a job case that has no sepa- Sections — that would be the key, he day, the fourth panel from the left in the rations. Then, after the physical jigsawing would build it in sections. "Which': says overall structure. out and assembling, he improvised a way Dorfsman, "created still another problem. Now Dorfsman was home free, right? to use "zee clips" to hang the separate At one end of the wall was a designer's Wrong. panels into a single unit for easy placement nightmare — a fire exit door. How was I go- His next set of problems involved execu- and removal — following which, he filled ing to camouflage this eyesore and at the tion of the total and, confronted with a typo- his open areas with lovely antiques (lifted, same time not violate the existing fire regu- graphical proposition of this scope, he in part, from his wife's kitchen), plastic lations?" could hardly go it alone. He did the smart- fruits and foodstuffs, tin collages with won- Fortunately, his early career had in- est thing he could do, he called in—who derfully phoney handmade labels, and a cluded a stint in the architectural display else? — famed typographic designer Herb striking array of champagne corks from and exhibits business, and this he now put I toil, Lubalin. Lubalin's response was as posi- the 21 Club. Space precludes giving full to good use. Using brains instead of money, tive as Dr. Stanton's. Working in about one panoply here to all the many details that he brought all the technicalization of his inch scale and using Dorfsman's panel as went into the construction, but the crux of experience to design a unified wall, within guidepost, Lubalin — as anticipated — came it all is the mural one sees today on the acceptable cost figures, that would show WATEK through with exciting rough layouts for all cafeteria wall at CBS. no separations and an artfully concealed the panels, allowing for the staggered areas When first "unveiled': the wall created "invisible" fire door. in Dorfsman's projection where he intended quite a stir in the industry, and many arti- To do this, he realized he would have to csoINIELON to insert "real" three-dimensional food ob- cles have since appeared to describe the build a full-scale actual first panel. He would jects. Once Dorfsman okayed the roughs, display. But summing it up best is Dr. Stan- then be able to cost it out and arrive at a Lubalin had Tom Carnase of the Lubalin ton himself: "The wall never ceases to ex- proper estimate for overall expenditure. GOOSE office do the intricate handlettering and cite the imagination:' he says. "To me, it Having worked out on paper a satisfiable went into comps. represents one of the most arresting design combination of engineering and esthetics, As soon as this precision work was in creations to be seen anywhere: he went to work doing exactly this — creat- LIVER his hands, Dorfsman had it blown up photo- Even after a ten-year period, the wall is ing an actual panel: doing a type job on it, graphically and made his final decision on an eye-stopper — a visual example of what blowing it up to full size, and determining the types of depth for each word — much on can be achieved by a designer who has varieties of size and thickness for the letters the order of assembling a complex giant jig- bent his energies toward the endless polish- that would add provocative light and shad- saw puzzle. His problem with the four foot ing of his craft with that exceptional skill ows to the finished product. He had the widths, of course, was to provide a device life offers its quicker children. J A.F THIS ARTICLE WAS SET IN SOUVENIR MEDIUM 12

GRAPHICAL ASSEMASSEM-- BLAGE: THE CBS WALL 13

frimiommtuto;:...pm 14 Something for Everybody from U&Ic.

EIGHT WAYS TO ILLUSTRATED BY MURRAY TINKELMAN ACHIEVE THE HEIGHTS AND/OR DEPTHS TO WHICH MEN ASPIRE (2) (1) Women have served all these I have found some of the best centuries as looking glasses reasons I ever had for remaining possessing the magic and delicious (3) (4) at the bottom simply by looking power of reflecting the figure of Sits he on so high a throne, Heights were made to be looked at, at the men at the top. a man at twice his natural size. a man still sits on his bottom. not looked from. FRANK COLBY VIRGINIA WOOLF MONTAIGNE GILBERT CHESTERTON 15

(8) (7) Only when man is safely If you would go up high, ensconced under six feet of earth, (6) then use your own legs! with several tons of granite (5) Better put a strong fence Do not get yourselves carried aloft; upon his chest, is he in a position Happiness makes up in height 'round the top of a cliff than an do not seat yourselves on to give advice with any certainty what it lacks in length. ambulance down in the valley. other people's backs and heads. and then he is silent. ROBERT FROST JOSEPH MALINES NIETZSCHE A. EDWARD NEWTON 16

LOSTIEFOUNDITHEMFOF THE LEITERFORM

qV,

MICHAEL DORET

MARK RUBIN 17

During the early months of this year, separation of formal book-hand and the Art Directors Club of New York has informal business-hand. The former been showing an exhibition of "Letter- was absorbed by the printed type, while ing, Calligraphy & Alphabets: The the latter degenerated into the illeg- Work of 27 Artiste ibility of every man's hand worse than These designs range from Nouveau Art, his neighbor's. This breakdown resulted Art Deco,Typographic Illustration, and in the gradual ascendancy offorrnal- Didot Elegance through earlier styles ized letterform design over calligraphy of almost-forgotten Calligraphic Hand- Today there is a decided resurgence of writing as stunningly evidenced in the enthusiasm for both of these long lost selected examples on these pages. art forms. Perhaps it's partly due to the In the not-too-distant past, the written universal turn to nostalgia; more likely word was an art form created totally it's due to the long-delayed appreciation by hand. The fact is, before Gutenberg of the neglect afforded these highly and the 15th century the aristocracy— specialized skills. and even the lower classes, when they Special Notice: The Calligraphy Show is could afford it— hired educated scribes available in its entirety for travel— a dazzling display to write their letters for them in a of the lettering, calligraphy, and alphabets. legible and artistic hand, each scribe For full information on how your school, club, trying to outdo his fellows in the master- organization, or gallery can acquire the show, write ing of graceful and delicate letterforms. Jo Yanow, Communications Director, the Art Directors Club, 488 Madison Avenue, New York City One of the long-term results of Guten- 10022. Or call 212-838-8140. berg's invention was the irretrievable Get your reservation in early Its a helluua show. 18

WIND: SITIDX... NA - xn -xrtAn- N -11-11 15 THE BREAD OF AFFL Of /MA Fi ,C sizo• A$ ...,:tz/NISEAt vAniki LANDE nov1,1 yr. • .1111 Ti ll „ .. tar-Ivoi, LAND f NA(14 A tki " kiNci KY- 1 7 " I NA, (C rAND H tIIV rk KOMMEI UN D E M 1NaTIXarl -n311) )z JEANYEE WONG .)(4/HO ARL N Eb y-j-tt- T HE.M

CALLIpRAPHY, tile art baoisfrfr the §-ha ygor? letterfona a smote/fur design, pligraphy helps to aguevra mare-yerfeit- handwriting tiprough, ChancerS Corsinre(4talic writerig),

rifle caliieraphyworkfluip Raulycowese' takes tile -student-1mb afew krkficouts of the dassicatuou:- kuoveCapitulo,Uncia4 ci-XuaiC Cap s, (Warkimigwith 6rov2- edge-pens, pencits, aphituvili6et.edge-pencits, /Ter drugi with tempera, the-RW.4'a 16v vuen6 the by/tuitions . wrttimg'iuo endwa? over mane centkrieL Itritimg trets Xniaterias, Eliamdes of Slant, rnitikewn, vntereg gudi of the fighyrizat eateration4-4-rgh Jfeiy,wncias, pretimeivin writimg(imtrcrviuce? etwrimgCharlemaerwi reign), 43144-letter(*n3-tv "014Engli410 ,Ver3a46, CAPncere Cosine', 'ruder scrilpt-(E-nglA SecretarehamD),‘Englah,5?ownolium) (engravers script), gothick 4talic (rEctwtteVelmaEm:s141;nihegter3icvnWoia 111,04111, cat script,

0101/641. 06eritrim/, yaw WI-ruarrr was glif arta at their tiowl". oh4wles Caler Studio, .94acRuiden )41ications, kayrence'YertiOtvrrtisimg -' XgentprIfteiwwCa, Advertismg-Agency; Tgen hellt-tofiTelance; eciakimg'in ccrmpreherkswe'rpuSha letten%ndor advert;i6i/ng lasoutt prrnicii- design- -tvilaingsi his had at te-wea &own adverti4i/ngart audio - 'Ma-Studies on ea&t5Zn15treet< .4-n this capacity he'is cwrrentlf wrkfirSentrn &Zawtes, gerier &Thaw, ,31 figraw,3fia, Avvn)rartuil3

(7feirvey,14wiht, designer-), out otriers 9-k- has allow ofcatligrapQ asstvments suat as citations, awards, desrimg) aktressi%nii4witztticms forforrnat occasion's, etc- 'your vrifiruffer tettiglt- ceithgrapfi?MttenMg/eiti(evn/n eBeverbrJfiUs Eq-cit eLeCeilyOrniagliOrrt OK was colviouter /614raPher3 141 i:F.SAvetes., 'ft praont he-is as sociate?withirgegliert 'Visual Acts, gnlitiute OTiiieuryirkSralitukec 'Vlpritilordy vn thei►- unuier3ractitate'yrosram.s,

ISMAR DAVID MARTIN OBERSTEIN 19

Acsolution by the Board .7-Directgrs f ine W8owher Comjany Consideriny the imminent retirement _ourseniorcolleapes/Atildred C. smith and .yes C green, the re.ftofus want to 5yeross, softr as we can our sense awaffness anti, _fir."ciationpre all they have done over the years tv build eye. our nutyane and our comparl. It is ouvhor that we shall haveptiss Smiths andjur greenesfreztuntrainsel at meetirys, and on the many informal occasions which will mean cowmen to usjbersonally. r-We remember how ibronyl milder4insifird, II -artily many years ayo,thattheg'ublishere 'weekly be the new.spaperthe indeiffi, aril that it be, also, as lepcaling to read as we could matte it lve irakhow nett TW:s rep, truion owes iv her edithii, her clanantlfrr and-whenever the editors could achieve it =brevity and wit.' we recall how she continually ershapcd thephysical arralementpleeinaya4!u. amidie assignments of the _flap '94A-- the rat changes in the booklLusMess. We will notfiryet -the .thenulus, in the councils rBowlter comp aiy, her lope, her humor, leer common sense and her compustion__, '-wehave a vivid aypreciationofthe dynamic role ziLuis has played in the coiyany remember the vigorousivalle he setfor malty years as a salesman, helping the '1'w new flatus cis a bodyndultry mayeT:ne. 'with his spclie sense. b !tile the days1 computers, &OILf0 , --Trok a laft lurk arolialfiebillYtYy Found mu new 64H1- 715 atimtp imitina at the CPU:- 011? pert time they came 7 lv sayieoplbye---, he saw the trends developin5 in the indufiry, amihepressed entnyetically. prmatrhil '1,11 apoo" 1, alnkfi,- - haft o f to leave— developments in the mayaie and in the conyany. 'We have benefited by _Coins' healthy Al thiyi9h the atilanct to uttopirof was Anti dialq_thtep 6° tat ,* WI the regime/ we'fiefing wad, through the bleak deibarrtn coallal 5 tecion that has valuably influenced innumerable cony any decisions; by his close_. moors and firrh tss 141 hills of-rock pnivtd Ott firing, ,i's the milt' and haze elos-ed in, mg eyeSitar- -awl the gray ftrotehtf of wattrfor friendships, transcenkly men' business erlations, among the induibys leadee s thepflfifty a a limpseotr_tewts orHarris in the outer ,--tthridei, whith, I Anew years; and bylus blend lbalance with supportprfersh apyroaches en considenny new schlis. 16"intd oaten the invisible horiziay,r- Vn To ullapool—a loyelysett1 .-a,ona41viil t onLo -rh .Brantl* \ 1Firderic.. gptelchen Atildredc. smith awls C. yerene, each in difelent ways, (Thif IS really the Oae'lic 1-t- Nantes and As exaltlq as itihoutet- stiouihtelte razen in the ett s ..,- a ni 6 ;less- onity!es have set Slandanisperus all that will be hard to match_.. aroeinit the Wps ofthe meoutouts arras 1,0 bait, - a hslhhif . boat Loaning in ,..--, stlqaus -4 Children Iwo!) aktiViltrnifinl- 0 few 2-11101 Itil41-10S -- Mr SigInfif Of 0712 C YOktrit C-By the CD irefrurs: 1 ryas sent-From home fo haw in 5earrh of.q brat 6,1n-ta, la.(1-p—te-; 1 had visitrolaftnoffeveryjnahe iffra.beffilikt thoroug rhirourageolgl filt -ct digerence in the prople in ifffie en frulAg idly* at-Witpkires in _sadly &earn could this lit fika- - tilt °tenter With the th12141Fttrynpetil nery# ? _7 believe 1 gut- the gaff ririlmirdotion in the Village at-44r5-,14ac9nrirS and two inkiitttr5 hTttr,sibncane 7^rw Ye 21 'ThCrntit y 6.(...2frioten dritt 'P441 .„89. elie eamt by ebrtir aboror ir,rt adopri at- a ,Bgra,?:714,reb.t a '511e— bid 1 had it I cA4n,..410( qreger; an Mel warmth, with a brily what- rnanafht; seemed kfolitenci 17 141-5ente what re f th/ 4

PAUL STANDARD HOWARD GLASSER

whet.i BROKEN, ;Ts Fpi.cTime IS 13L).CK14.16 shiNly. The sU 13- STAt.ICE IS FINE IN TEXTURE

)v.0 compLeTeLy hOMOCE- NEOUS. whet.; you pul3 IT WITh WTE-1), you 00 NOT FEEL The suchTeST GRIT 'WO IF yoU 0)Ix IT MTh coo) OEAL of Mow WILL BE NO SEOI- MENT The INK FLOWS EASILy FROG The pet.i, )0,10 wbeNi IT hAs OPIEO ON The PAPER, )X 13RuS1-) chARCEO WITh WATER PASSES OVER IT WITh No 010)0).

CHERIE ELLIS CONE HAROLD FIEDLER 20

This design is not my best with letters. It's my next-to-best with Regarding your request for U&Ic, MY BEST WITH LETTERS letters. My best, from my standpoint, I can not think in terms of "My Best has always been "Mother & With Letters"— What I do is either an a masthead I designed for Curtis appropriate solution of a problem Publications. However, familiarity or not. At any rate here is the breeds contempt.And, since "Mother latest piece that I have done using & Child" has been amply publicized letters. I hope that it will be of There are five things which I still to the point of boredom, I thought interest to your readers. It is a like about the Stendig Calendar: I would select a design that has mini-poster printed on a self-adhesive 1. The size 36" x 48" 2. The week always been a favorite of mine for day-glo stock. Designed for posting starts on Monday and ends with the two reasons. First, it reminds me of on school bulletin boards among a week end. 3. The kissing ligature of I attempted to treat each letter as the good old days, the 20 years I sea of notices. I hoped that it would the numbers (keep in mind that this a separate individual drawing, to spent at Sudler, Hennessey & Lubalin, be visually active enough, although was designed in 1966).4. The numbers create an ambiguity where the device and second, I believe it's a good small, to attract attention.The lined flush left in a column rather could either be an abstract graphic representation of my typographic "shared letters" solution was inspired than flush right—they do not have to mark or an indication of a letter. philosophy, that words can be made by the pioneer work of be summed up as in math. 5. Finally, The poster is in red, blue and black, more expressive and understandable in the 1920's. A brilliant designer, what I like best is the stubbornness reproduced in line, pencil texture through the use of letterforms as an an early exponent of more with less. of keeping the same design and watercolour. As an exercise I illustrative medium rather than just Unlike most of us today he looked year after year instead of succumbing think it an appropriate solution for a mechanical means for reproducing forward rather than back. to the temptation of changing color this particular poster. a message. Herb Lubalin, USA Louis Danziger, USA or type. Massimo Vignelli, USA Alan Fletcher, England

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SH&L Expanded- redesign of a familiar face, A more fie iblr rersionofS&H,long a favorite o [people who work with ftne design. You ran speriNSH&L for a wide range of nses lion Ismail space campaigns to large corporate image projects. We offera Bold Face(forinipart),Oldignelnew ways ofview- ingoldproblem9),and Casual(r.ostraining for mereeffect). Fora fullshowing,call Herb Lobalin at PLaza1-1250, or write him e/o SH&L,130 E. 59th Street, NewKek22,N.Y.

Herb Lubalin, USA British Painting '74 Hayward Gallery Arts Council of Great Britain 26 September to 17 November 1974 Monday to Friday to to 8/Saturdays to to 6/Sundays 12 to 6 Admission 30p/Children, students and pensioners tip Louis Danziger, USA Alan Fletcher, England top all day Monday and between 6 to 8 Tuesdays to Fridays O /5) ts, Massimo Vignelli, USA ks' 1- & / 47 ti 4- Stendig Summer Term 1974 C' c 1, 47 0 co (<‘ A 1974 January "9 4/ 0 Qa 0 & VP' 47 47 /I/ 14, /0 0 C, d 0 & 0 9

1 M T F S

June 17 to July 26 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 417 18 19 20 California Institute of the Arts 21 22 23 25 26 27

For further information write: Summer Term Coordinator California Institute of the Arts Valencie, California 913158 28 29 30 31 THIS ARTICLE WAS SET IN AVANT GARDE GOTHIC CONDENSED 21 Ms. Hedda Johnson Hedda Johnson, our second talented woman in communications, has a few things in common with our first,Annegret Beier Both German born, both came to New York to seek their fortunes, both developed into outstanding practitioners of their own particular thing. There the resem- blance abruptly stops. Hedda is tall, Annegret is short, Hedda loves New York, Annegret hates New York, Hedda is an illustrator, Annegret, a designer. To say Hedda Johnson is an illustrator YOU ARE NOT is, perhaps, doing her an injustice. She is an artist with a vital personality. She is continuously search- PERMITTED TO KILL ing for a more self-satisfying realization of her work in spite of the fact that her work is extremely satisfying A WOMAN WHO HAS to the people who buy it. A good friend was once heard to say, "I thinkHedda knows where she wants to go, INJURED YOU, BUT but doesn't sitstill long enough to get there!' Three NOTHING FORBIDS of Bartlett's Familiar Quotations inspired Hedda to sit still long enough to create YOU TO REFLECT the illustrations on this page. THIS ARTICLE WAS SET IN TIFFANY THAT SHE IS GROWING OLDER EVERY MINUTE.YOU ARE AVENGED 1440 TIMES ADAY. AMBROSE BIERCE THERE IS NO CURE FOR BIRTH AND DEATH SAVE TO ENJOY THE INTERVAL. GEORGE SANTAYANA MOST WOMEN ARE NOT AS YOUNG AS THEY ARE PAINTED. SIR MAX BEERBOHM 22

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Russel Ball Toppino Golden Agency 7005 Prospect P1. NE Albuquerque N.M. 57110

lilt International Typeface Corporation anflLOL 1. 1-16V' adtit 216 East 45th Street TOPPINO- New York, N.V. 10017 GOLDEN- LUNDRERG Inc Gentlemen; Tuttif? Ctd. Tim Bey was I Anoked out by your journal of the Graphic Arts newspaper. Gaily, it's sure nice to get something interesting in the mail around hare I The only thing is, on. tit since I'm only the second artist around here the art director gets all the good stuff then hogs it. Gee whiz ! Please put my name on your mailing list for future issues, cause it sure rb 410E would be neat to get my very own issue. Boy oh boy I f- C6A411 Oh, like everyone else I sure do like your souvesar typeface Your friend, Russ iffertor 4014„,idi MU [Tor TritiRCE r i zioEv`i4Wartf:triggig ,Rrign giffM001 7 TOPPINO-O0U)EN-LUNDBERG 8111055 • 7005 PROSPECT P1ACE NE • AU3UQUEROUE, NEW MEXICO 87110 • 505*298,7451

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NEW YORK CITY 10017 A RANDOM SELECTION OF VERBALLY ORIENTED CORRESPONDENCE RECENTLY RECEIVED FROM Dear Herb. Aaron and Ed: A HIGHLY Sirs: I must be doing something "right on" to Of course U&lc is great. But then I I happened to glance at your first have obtained this smashing news- always expect anything designed by ENTHUSIASTIC issue in the office of my art director. paper! What did I do-and what do I have Herb Lubalin to be great. But for a AUDIENCE Then he left.I did manage to swipe his to keep doing...to keep getting it? change we have editorial substance - copy of your 2nd issue (since he left no This beats anything I've ever seen going with his great design and that forwarding address!) for type freaks combination makes U&lc really out- I congratulate you on a needed publi- Amazing, simply amazing, havn't standing. cation. It has just the right amount of been able to keep my eyes off it! Sincerely. "class" to intrigue. And just the right Sincerely, Lou Dorfsman amount of "realism" to be unpreten- Ms. Terrance Fox DearPRO Mr. Lubalin, tious. Vice President Bates Printing Co. What makes you think this new Gentlemen: I'm intrigued. Do you have an extra Advertising and Design I have just received from a friend the Cicero, Illinois magazine (U&lc) is good? This CBS Inc. copy of the first issue I could have? If magazine is not good at all...It's just the 2nd issue of U&lc. It is seldom that we so, please send. (Despite my title, I do a New York City here in Tokyo are able to see first hand Sirs and (hopefully) Ladies: greatest thing since William Bernbach, lot of "creative" work. In fact, I won an I have just stolen a copy of your de- the greatest use of type design since such an excellent example of the use of ANDY last year!) Dear Mr. Lubalin, typography. lightful publication U&lc. Even if I get Ozzie Cooper or even George Lois. Why Thanks, caught, it was worth it —U&lc is like a in heavens name would anyone want to Having read Volume I, number 1, We definitely wish to be on your mail- from every cap high to every x low be- ing list for all future issues. Also, if it is Jim Clark fantasy come true. So lovely! call U&lc a good magazine I will never ginning to end, a to z, I have to admit a Please put me on your mailing list (I understand. at all possible, we would like to receive a love affair. Type. I visited your office last copy of your first issue. We would be Is it possible to receive Number I and don't know when and where to rip off Young art directors like myself should Number II? Must we bear the pains of your next issue) or send me subscrip- have U&lc every morning for breakfast, fall and was just about ready to tear happy to pay any costs involved in this. down the walls with envy when Tom Our sincere congratulations to all our mistakes so heavily? Or do we get tion information. and as a rich dessert for lunch. caught up in our bureaucratic due proc- Thank you and thank you! God bless you guys for all you're Carnase stopped me with a firm state- those involved in the concept, design ment. When I asked how he learned to and execution of U&lc, and we look for- ess to once again hear, "I told you so." Sincerely, doing for the business. Well, I'll be happy just to be on the Pamela Golden Respectfully yours, execute letterforms so beautifully, he ward to future issues. simply stated, "It's only a drawing, noth- Sincerely, mailing list for future issues but if you , N.Y. Ozzie Hawkins, Jr. ing more." Needless to say I felt about Fred 0. Bechlen can fulfill this endeavor my faith would J. Walter Thompson Co. as high as a 6 point Weiss Roman once again be renewed in Mankind. Sir... Chicago, Illinois Bechlen & Fong period. Tokyo, Japan Best Regards, My editor just showed me your sec- I want to subscribe to U&lc. How do I Michael Koss ond issue and I have to say it's about Deer Serz: do it? What does it cost? Please forward The Editor: Art Director the most beautiful product on newsprint I luvd having reeseevd mie furst all information, pronto! I'm holding my Hoo boy have you got a nice paper World's Finest Chocolate, Inc. in the US... copee of U&lc. breath. there! I've been waiting for years for Chicago, Ill. Naturally, my second thought was to Az u kan see, I am trieing despratlee I'd also like to issue an invitation, if something as lively as this. If you send get my hands on both the bulldog edition to lurn th Soundspel methud but hay you're ever in Atlanta, please call. I'd me copies regularly (I'd kiss you if you'd Dear Sir: and this second edition...is that possi- oenly bin at it for ten minitz or so. I am like to take you to lunch. Honest. I'm a send the first issue —better yet, I'll kiss I have just received a copy of the 1st ble? I would be happy to remit whatever not shuer mie reederz ar redy for mee Pratt graduate and completely absorbed you if you don't) I promise to read them issue of the U&lc. I must congratulate is needed to be able to have them in my too print mie paper this was —but wun in Corporate work. Your office is my religiously. you on having come out with a journal of office...mainly to plagiarize as much of ov theez daez —!! heaven. Thanks for giving me a newslet- Now that you have deservedly been this type to bridge the communication that beautiful design as I can get away Wuud luv to bee on th purmanent ter I can't read enough. puffed up, I'll tell you the results of an gap between the typographer and type with! You know it will happen all over maeling list. Sincerely, in-depth study (three people in the of designers internationally. just because your ideas are grand. Best wishez for sukses, Ken Kendrick fice and the janitor) conducted on your Designers like us only know the-prod- Anyway, I'd really appreciate being Bee Denhum, Edituur Atlanta, Georgia logo. One read it as U&lc and the rest as uct of the year-long thinking of design- able to read it and to keep it around for Ramko Nooz U&dc. Feh on such typography. From ers from other countries long after it's ready reference...the editor wouldn't let Ramsey Corp. Gents, now on we read only the good stuff in- out and not with the desired details. I me touch it! If it is impossible, I still St. Louis, Mo. Much appreciate your efforts to es- side, no more logo reading. hope U6?1c will take up this task and think you're doing a smashing job. tablish a newspaper on typography; Al Forman project the recentmost developments in Sincerely, please keep me on your list. President type designing as well as some neces- Roger leCloutier, Graphic Designer Dear Sirs: Only one problem: What with all the State Fund Insurance I would like to receive complimentary Publication Typographics, Inc. sary details. copies of U&lc, The International Jour- design editors grabbing at Souvenir and Stamford, Conn. I would also suggest that your page San Francisco, Cal. Korinna, it looks as though we are about - nal of Typographies as offered on page "My best with letters" should cover de to plunge headlong into 1909. Dear U&lc. signers from upcoming countries like 47 of Volume One Number Two for use in Regards, You knew this was going to happen! the Design Office of the Museum of His- India, working in the field of graphic de- William Hanway So you ran off some additional runs of sign and typography. Or why not cover tory and Tbchnology. Volume One, NWnber One! So, as did Sincerely. Publisher these countries in your column "Young Exchange, investor magazine everyone else, I'm be: ing you to send Typography"? In case you would like to Richard S. Virgo of the N.Y. Stock Exchange me a copy of Number One. invite my cooperation. I would be very Smithsonian Institution New York City You see, beyond being a glad to provide this to you. United States National Museum papyrophiliac, I'm the "complete file" I am glad I have received the 1st is- Washington, D.C. Dear Mr. Lubalin, type...I glory in having a complete run sue. I am sending my subscription by Where can I obtain a copy of Marie of a publication. separate mail after completing the My god! do you really expect people to Michel's magnificent M (Volume one, What fun my executors will have! necessary formalities. Dear Herb, cut up something as valuable as a copy Number two, "The ABC's of Illustra- And what a boon to libraries who will Yours sincerely. Invariably, it's some -----like of U&lc to send in a coupon? tion") in more magnificent magnitude? vie for my files. You can see that I didn't Yashwant Chaudary, Norman Mailer, who is not forced to ride Ms. Iris Bell want to mutilate my copy of U&lc, so I Communica /corporate communications the City Transit System on a day to day an adMirer, basis, who finds artistic merit in the in- Tom Ratliffe Studios, Inc. AJC Peill made a photocopy of the return address Bombay, India New York City subscription form. The slight dampness fantile defacing of public property. Marketing Development Manager Those who engage in this activity Polak's Frutal Works, Inc. you detect is from my drooling over this Dear Herb Lubalin, Number Two. may lack money for a school lunch, Dear Aaron, Middletown, N.Y. What a glorious and refreshingly new Dr. A. Kenneth Yost proper clothes, books to read, etc., but About once each decade something publication is your U&lc. somehow they are never in short supply great comes out of the graphic arts in- Dear Aaron, Oregon College of Education How on earth did I ever miss Volume Monmouth, Oregon of expensive markers and spray paint. dustry. U&lc is the eye-filler for this I have just completed reading every One, Number One...and can I get one? Rather than praising these eyesores, season. Even after these, lo, many word in the last issue of U&lc. Please Also, were proofs of Volume One. they might be better served by defining years in the industry I find each issue add my letter to the thousands of others Gentlemen, Number Two pulled on coated stock, and it as the garbage it is and channeling educational, practical. humorous and that you will receive commending you on Your publication is fantastic! Infor- if so, may I pick them up.. .purchase their expressive talents elsewhere...like fun to read. I only wish that it could be this publication. From the graphics to mative. exciting and amusing, a rare them...or otherwise get somehow, painting their own apartments. printed on a better stock other than the editorial contents, nothing in our in- combination of qualities in an increas- someway, flat, unfolded sheets? Sincerely, newsprint because it is a graphic de- dustry can come close. ingly grim world! Beautiful job! Really beautiful! Maybe with such wit and discipline Thanks for brightening up what was Robert V. Fischetto signer's collector item. I wish you all I hope I don't have to wait a year for New York City continued success with the publication, Volume I-Number 3. the designers can sustain civilization going to be an ordinary day. and keep it coming. Very cordially yours, where politics and science failed. Sincerely, Sincerely. Morton Friedman Richard Rentz Jerome G. Rahn Don't need your porno filth— Bill Bernstein President Prof. of Design Vice-President —Advertising John M. Armstrong Sports Illustrated Alphatype Filmotype Sales Corp. Illinois State University Jacoby-Bender, Inc. Frick Building New York City New York City Normal, Ill. Woodside, New York Pittsburgh, Pa.

THESE LETTERS WERE SET IN AMERICAN TYPEWRITER CONDENSED 24

CONTINUED FROM PAGE 3 •■•111■1111■■ THE ART OF TYPEFACE DESIGN AND VISUAL COMMUNI- CATIONS drawn with compasses; straight lines to his observation that "an inspired, hair or spectacles on President Ford. and enrich our type selection by just not always straight and hardly ever sensitive interpretation of an earlier de- This is the heart of the matter. The that much. Over the years such a face parallel. Serifs should be looked upon signer's letter is the sincerest form of source or root of a personal caricature is stands a good chance of bringing in a somewhat as bridges between signs, flattery." One of the most exacting areas easy to find. The artist can always refer modest royalty unless it suffers the fate the lack of such suitable links being of design is to update the past in terms to a photograph or go back to the person of being photographed without authori- made up for by a tighter fit in just the of the present. himself and see what he really looks like. zation. This lurking danger haunts every right proportion, so that white spaces Of his many slides one showed a single But with letters we have to do a bit of type designer. His year of hard work can inside letters correctly match the white word in which each letter was set in a delving, because the only letters we see be lost in a split second by the click of a spaces between letters. different type style, yet the general today in print are not the letter-roots camera. His year cannot be shortened. "All this allows a harmonious joining of color of the word was consistent. The themselves, but are some type de- His work is tedious. He cannot come up letters into words and sentences. This slide illustrated the fact that while each signer's caricature or enhancement re- with a new type design every week or notion of harmony is not merely a call to letter in itself was well designed, the all- moved two, three, four or more genera- so, as an artist paints a picture or draws aesthetics; it is the basic condition for important font relationship was tions from the true root. an illustration. And he can do little to quick and fluent legibility. missing—the particular characteristic This simple exhibit shows how we can promote his face. It must win its own "Since World War II the demand for that provides consistency in a font of 26 strip away the caricature and ornamen- fans and has no value until put into more and more weights and widths of letters. This characteristic Mr. Carter tation of a letter and begin to see its words by others. And to be used widely letters has grown. No longer is the tradi- regards as the "system" pervading an generic root structure—its geometry: it must be legible, which means that it tional family of three—Medium. Italic alphabet, a homogeneity that makes a must have a great deal in common with and Bold—sufficient to meet contem- whole of the parts. other faces. porary requirements. Condensed, wide, Some "systems" work and others do n Tie two uprights together in this The genius of type designing is the abil- light and extra-bold fonts are now in not; indeed a system may be discarded manner and you get no letter recognition. ity to give subtle but pleasing modifica- regular demand. Answering this need because it is right for 25 letters but not TA Angle the uprights. You still see no tions to at least 26 overwhelmingly ordi- for a richer 'palette' has led to the cre- for the 26th. letter. nary geometric shapes, designing them ation of a large variety of fonts within And on top of all these considerations T7-Reverse the angles. No letter. so they will mesh harmoniously when the same family, each of them harmoni- the type designer must constantly bear r1 Lengthen one upright. No letter. rearranged in different combinations. ously in tune with the whole. From the in mind the exacting technicalities of (1 Angle the other upright. No letter. "Almost 40 years ago," said Mr. very beginning, Univers was conceived typesetting, for the inevitable moment Rondthaler, "a highly respected art di- as a series of 21 different widths and of truth is sure to come when the n Arch the tie. No letter. rector at B.B.D.&O., Harry Payne, gave weights, with italics. typesetting machine, oblivious to the (1 Fork the connector to a peak. Still no me something to think about for the "A major characteristic of the letter- birth of a new face, casually spews out letter. next 40: 'Anybody can draw one letter; form is its small difference in height be- line after line reflecting the success or M But fork the connector in the oppo- some people can draw two; but it takes tween capitals and lower case. This in- failure of months or perhaps even years site direction and you instantly recognize a real designer to draw three.' " sures a well-balanced composition even of tireless creative effort. The legibility straightjacket, of in languages requiring a large number of Now note this: course, limits every type designer's capitals such as German. M M M M The forked arms may be of freedom, and to the uninitiated this is "Italics are directly derived from up- various shapes without damaging recog- likely to appear to limit his creativity. rights; a horizontal line in the middle of nition. It is essential only that they con- Just the opposite is true. He has de- the x-height serves as an axis. Italics verge at a central point. veloped a fine art of subtle differences and romans are thus closely related. M The uprights may be tilted, that gives him what he regards as "Wide and prompt acceptance of both angled, or bowed. reasonable latitude of interpretation Univers and other recently designed M M The crotch may be low or high. and elaboration within the restrictions sans serif types indicates that these M M M The weights of strokes may of legibility. new shapes are now invading the sub- be varied. Mr. Rondthaler described the classifi- conscious of readers and quickly becom- Proportions may be wide or cation system used by Photo-Lettering, ing essential to fluent corrimunication." narrow. Inc. in its library of 10,000 text and dis- -MN M M Accessories may be added. play alphabets. This classification is pub- M r M I Even decorations. lished in several volumes by Van Nos- But if the tie-in points of the connec- trend Reinhold Publishing Co. and is available to the public. tor are lowered ... In a mechanical equivalent of the N-1 if the point of the crotch is de- books, each style is represented by a stroyed ... card with perforated holes and notched if the symmetry of the fork is vio- codes along the edges. A set of cards lated...big damage is done to representing a primary subdivision is recognition. placed into a sorting rack from which an From an analysis like this it is possible to operator using retrieval needles can call construct a geometric formula for the sig- out the cards representing faces with HOW TO DISTINGUISH TYPEFACES AND nal that says "M." desired characteristics. This method is HOW TO CLASSIFY THE DISTINCTIONS more selective than a bound book, is EDWARD RONDTHALER error free, and can be continuously up- GEOMETRIC FORMULA FOR THE LETTER M dated. The letter M is identified by two indepen- "To develop a meaningful system of dent but generally ascending and more or classification for typeface designs we less symmetric lines joined at or very near must be able to see the difference be- their tops by the ends or near-ends of a tween the basic geometric shapes that more or less v-shaped and generally sym- provide mere letter recognition, and the metric pair of lines whose crotch or point of creative designing that elaborates convergence does not fall below the imagi- these shapes—that gives them indi- nary baseline. viduality and enables them to be clas- This formula describes what we have sified." inherited from the past. It spells out the Mr. Rondthaler pointed out that car- geometry that signals M to the brain. In toonists and type designers share a re- the truest sense this formula is the let- lated art. The cartoonist caricatures his ter M—stripped of its art and in its most Mr. Carter opened his remarks by quot- subject in about the same way a type unadorned, indeed its most pliable form. ing William Blake's: "Minute typo- designer may be said to "caricature" the On the other hand, the M that , you see on graphical research is by no means a root shapes of his letters: he takes a the printed page is just a caricature, a matter of idle or trivial curiosity." stripped-down letter-shape and en- harnessing, an artist's personal in- What followed convinced his listeners hances it, making it more pleasing, or terpretation of the formula. Every child that the quote was by no means an un- more legible, or in some way more sig- uses this formula when he writes derstatement. Illustration after illustra- nificant to the reader's eye—he makes it M—just as he uses the formula of tion gave substance to the type de- more than just recognizable. He may nose-mouth-eyes-ears-body-tail-legs signer's long struggle between confor- drive his graphic point home by when he draws a dog. Formulas of this mity and invention—the restraint on the exaggerating certain features of a let- kind abound. They are the starting point designer's scope caused by the function ter, much as a cartoonist exaggerates a of graphic visualization. They have come of letters, by preconceived habits of personal feature or characteristic in from the past and belong to all. But what recognition, and by our long heritage of order to tell his story more clearly. the artist or cartoonist does with the traditional forms. The cartoonist and the type designer dog formula, and what the type designer He then considered the evolution of must, first of all, make his character rec- does with the M formula depends upon style with the reader% acceptance or ognizable. That is primary. Having done his own creativity and his own technical Typography's role in advertising and in rejection of change always holding tight this, his creativity can come into play. He skill. As Paul Standard so knowingly put the agency were reviewed in detail by reins on the creative spirit. may add to, exaggerate or modify any it, "Art in letter form begins where Mr. Schmidt. Following are highlights "There is no likelihood that the de- shape—just as long as he does not de- geometry ends." from his presentation. mand for new faces will decrease. Im- stroy recognition. Extraneous charac- Mr. Rondthaler went on to say that a "A headline, like an illustration, is ex- proved and more exacting printing pro- teristics may be added but the basic new type design need not be a pected to perform its function quickly cesses as well as new means of visual shapes must be true to the root source. momentous creation in orderto be use- and with maximum impact. It can arouse communications will continue to call for You can put football togs on Mr. Ford or a ful and find its place in history. Indeed a interest, lead into the body copy or carry designs imaginatively and skillfully tai- knight's sword in the hand of Mr. Rock- worthy achievement for a new face is a crystallized selling point. The headline lored to the new requirements." This led efeller, but you cannot put Rockefeller's that it serve merely to fill one more gap shares with the illustration the respon- 25

sibility of selecting the audience. Its de- have the same style characteristics and nothing new, corporate management typeface designer is stifling the industry sirable typographic qualities are: it must similar stroke weights or, on the other views them with growing concern in and the art, he observes, "If the letter- be legible, inviting and appropriate ... hand, differ greatly in their appearance." these days of conglomerates, multi- form designer is not permitted to work without making the reader conscious of In conclusion he. stressed the need that national corporations, government reg- in an atmosphere of encouragement, the typeface itself. . . . agencies have for"the continued availabil- ulation, consumer pressures and en- then our contribution to society dimin- "A printed or written message ... has ity and the constant introduction of new vironmental problems. Thomas Geismar ishes and so does the cultural climate." a high degree of permanence ... it per- and interesting . letter forms." notes that, although a trademark or mits the reader to perceive it at his own symbol is still a basic part of the visual pace.... identity program, there is today a "Typography truly makes printing vis- AS GRAPHIC DESIGNERS SEE IT broader trend leading to the establish- ible language. Good typography gives Four of the country's leading graphic de- ment of special corporate alphabet the printed message a visible tone of signers took a look at today's typography styles. "It is believed that if the desig- voice." . . from the viewpoint of different media. nated lettering style is used consis- Mr. Schmidt notes that early advertis- Their presentations were heavily visual tently on all of the company's literature, ing followed the conventions of book but a summary of their remarks follows. packages, etc., then it will further help typography and was, at best, informa- distinguish the organization from its tive. But with the proliferation of goods competitors." Sometimes the designer and services following the Industrial will choose an existing letter style for Revolution, advertising had to become consistent use, but if it is decided to es- persuasive. Type founders responded tablish a unique character, a special al- by designing special typefaces for the phabet forthe exclusive use of the client advertiser: fat, bold, aggressive, un- will be designed. usual types; types that would arrest Mr. Geismar showed examples of rather than inform. special alphabets for major corporations Design milestones such as IBM, CBS, Mobil, etc. He If at first there were typographic stressed the need of these companies to monstrosities, around the beginning of protect their rights in the exclusive this century at least some artists were alphabets, and explained how they try influencing type design and usage and to standardize usage by developing and some craftsmen were becoming art sen- distributing design manuals. sitive. By 1910 a period of artsy-craftsy poster and advertising design was well under way. Following World War I and the modern art movements (, Dadaism, the and de Stijl move- ments) a more functional approach was taken both to the design of types and to This area, which is concerned with the making of layouts. In the United graphic symbols as well as letterforms, States the art director worridd less about was presented on slides by Rudolph de the mechanics of typography and more Harak. Mr. de Harak's emphatic pref- about ways of visualizing ideas. The '50s erence for Anzeigen over Helvetica fully were marked by much typographic ex- supported the argument that even perimentation and the '60s by much imita- minor differences in letter flavor are of tion of historical styles. Today, Mr. Schmidt great importance to graphic designers. feels, we have no dominant style but we Some of his slides showed exhibition do have many trends. 1:t is against this panels lettered in his own slightly mod- Louis Silverstein reported that news- background that today's advertising ified version of Anzeigen. Other slides papers have become an exciting pioneer agency typographer works. covered the dramatic use of letters in territory for designers because editors Advertising management has learned architecture. The enormous scale of and publishers are increasingly aware of that typography is a creative tool that can these letters was in startling contrast what sophisticated graphics can contri- make or break the visual effectiveness to that shown by earlier speakers, as bute to communication effectiveness were also some of the dramatic letter and the impact of an ad. Today most and to the commercial success of a larger agencies have specialized typog- shapes. Unlike an ad or even a book, newspaper. He showed typical exam- here was lettering that must be lived raphers or type directors within eitherthe ples of recently redesigned pages from creative or production areas. with. Such signage has its own set of 'The New York Times,' the 'Minneapolis TYPO/GRAPHICS—THE USE OF LETTER- standards and these, in some respects, Phototypesetting Tribune; 'Newsday' and other tabloids, FORMS FOR TOTAL COMMUNICATIONS differ from letters in print. Architectural Agencies today know that phototypeset- and from the 'New York Herald Tribune.' HERB LUBALIN lettering, judging by Mr. de Harak's il- ting is not simply a new way to set type While the newly structured design lustrations, is at its best when the forms but that it opens up new avenues of form. takes some "getting used to" by are pure or, by contrast, when they are It frees the advertising designer of the change-rpsistant readers, the well de- Herb Lubalin's definition of the graphic so unconventional that the dramatic limitations inherent in metal typography. signed newspaper should communicate arts'is very broad: "Anything that com- shapes become all-important. One Advertising designers often search for information and ideas faster, better and municates a message visually, any- gathers that legibility may have less sig- the new, for variety, even more so than in more stimulatingly. "The job of the thing ..." He lists everything from a nificance on the facade of a building other graphic design areas. The develop- newspaper designer is to combine the postage stamp to the front of a building, where the occupants will see the sign- ment of phototypography and the prolif- production realities and the undiscip- from a supermarket price sticker or flier age repeatedly and, living with it year eration of new alphabets made possible lined nature of news with a presenta- to an outdoor poster, a magazine format, after year, will prize it not so much for its by the economics and technology of the tion that reaches the public over a rising a television Commercial or a book, etc. informational value as for its architec- photo systems help meet this need. threshold of visual sophistication and The graphic designer is responsible for tural suitability. To deal with the new complexities aris- boredom." developing concepts and design for- ing from the many new systems and mats. In so doing he is confronted by faces, Young and Rubicam has estab- two considerations: space and surface. lished its own Typographic Guide which The space may range from a three- specifies such refinements as tightened quarter by one inch postage stamp to an word spacing, kerning, hanging punctua- information system for the 110-story tion marks, optically adjusted spacing World Trade Center. The surface he con- after abbreviation periods, etc. All the templates can be paper or plastic, wood, agency's suppliers follow this guide. metal, or rubber, the gtde of a building or The reasoning of a type director a tombstone, film, a milk bottle, a thea- Some of the things a type director weighs ter marquee or the neon sign in a del- in specifying typography are the method icatessen. of reproduction, the printing process, Regardless of size or surface, the de- newspaper, magazine, direct mail or tele- signer has available three means of vision, etc.; readability/legibility factors; expression—photography, illustration, suitability to the design concept of the ad; and letterform. These are often in- legal requirements; need to accentuate terdependent in conveying mood or or subdue; the emotions being appealed meaning. to; typographic color in a mass and the Photography and illustration have, as possible pictorial meaning of the type. an art form, been awarded copyright Mr. Schmidt distinguishes between privileges, but typography has not, al- legibility and readability as follows: "The though writers—purveyors of words set legibility of a face is a characteristic of its in type—do have copyright protection. design. The readability of a text depends Mr. Lubalin finds this commercially un- on such additional typographic factors as just and aesthetically unjustifiable. "I n all the setting width, the spacing between my experience with all graphic media I

lines, the point size, the , margins, the color find my involvement with letterforms of printing, the background colors, the the most artistic and creatively gratify- paper texture." ing. At the same time I find it the least On mixing of typefaces, Mr. Schmidt ob- financially rewarding." Convinced that "There have been very few court deci- serves that "Types mix most readily if they While corporate identity programs are the lack of protection to encourage the sions on the subject of copyright law as 26

it applies to typography and no direct drawings have received copyright pro- tered over characters, that counting metal faces in the early days of photo- court decision on the subject of tection in this country since 1870." systems are improved, etc. typography. Today, even under the best copyrights as applied to typeface de- Mr. Eisenman feels that "type design "With the design and specification of conditions, translating a face from sign ... there is no specific statute has suffered as a result of the lack of the machine brought into proper typog- metal to film is a major creative and fi- which relates to the copyrightability of protection ... It seems to me that very raphic trim, we can turn our attention to nancial undertaking and is deserving of typefaces ..." few American type designers have been the work of building a library (with occa- ample protection. However a Copyright Office regula- able to support themselves on their sional interruptions for visits to the fac- tion states that "... mere variations of earnings as type designers. They have tory to see that the gear is, in fact, prop- typographic ornamentation, lettering, had to work at various other profes- erly built). or coloring ..." are not subject to sions, with the unfortunate result that "One starts by examining the faces copyright. many of America's best type designers requested in each field for which the Of course, this raises the question of have given.us only one or two faces." machine is operating. Often we will find what is a new design and what is mere He also cited how lack of protection designs that are very much alike. One ornamental variation. Furthermore, ac- affects the marketer of a new typeface may choose to bring out one or more of cording to Mr. Gastel, the regulation by recalling the ripoff of Mergenthaler these existing faces of whatever origin. may be at odds with the United States Linotype Company's 'Caledonia' by Or one might choose to design a new Constitution which authorizes Congress others as soon as it became a success, face better suited to the demands of "To promote the progress of science and and a similar ripoff of American Type machinery and market. useful arts, by securing for limited times Founders' Goudy designs. "It's safe to "The essential point is that good to authors and inventors the exclusive say that any company would hesitate typography will be obtained only if the right to their respective writings and today to embark on a major develop- nature of the equipment, the purpose of discoveries." mental program without some form of the design and its particular charac- Typography could be considered a protection. Ultimately the American teristics are all considered together. useful art within the meaning of the reader will be the loser." Photocomposition is a completely differ- term as used in the Constitution. In conclusion Mr. Eisenman reminded ent medium from hot metal. The spacing Mr. Gastel concisely reviewed a his listeners of the ease, the speed, and system differs, the use of lenses to number of trademark and copyright the economy with which today's achieve a range of sizes differs, and the cases as well as cases and the law on camera-armed pirate can operate. photocomposition film or paper with the unfair competition and on design pa- subsequent methods of reproduction tents. He concluded: "From the forego- differs from the hot metal equivalent. A ing, it can be seen that typography has typeface that is wholly suitable in 6 point TYPOGRAPHY AND been protected in the past in accor- on a Linotype is likely to fall far short if THE PUBLIC SECTOR dance with copyright and unfair compe- the characters are placed without edit- DAVID A. SUTTON tition law. In addition, proprietary protec- ing on a photocomposition machine with tion for typeface fonts was available an eighteen unit escapement and opti- The government's need for typefaces through design patents, and the names cally enlarged to 24 point. If the charac- was outlined by Mr. Sutton as he re- of specific typeface fonts could be pro- ters have been transferred to the unit viewed the growth of the Government tected by the application of_the princi- system without being reshaped to fit Printing Office since its establishment in ples of trademark law. comfortably within the new spacing, the 1861. "It appears that the Copyright Office rhythm will be affected and the resulting His thesis was that "Government has not issued any copyrights in the line of type will look like a drunk stagger- typography has a responsibility to com- past on typeface fonts per se, and such ing home. By gross enlargement, the del- municate to all the citizens of the United policy appears to be based on the above icacy of the original shapes will have be- quoted Copyright Office regulation stat- States and a larger selection of come elephantine with that 'dipped in typefaces available to the designer ing that 'mere variations of typographic chocolate' look. The overall weight of the would assist in this momentous task." ornamentation, lettering, or coloring' design as it will be seen without the let- Today's GPO is very big business. In are not subject to copyright. terpress 'ink squeeze' of metal slugs 1973 it set 2 billion characters of type in "When a broad view is taken of the must also be considered and calculated. 67.4 million lines—over 739,000 pages. above decisions relating to typography, "Proper adaptation of a conventional The dollar value of this printing ex- it is quite evident that there is a basic typeface for a range of sizes in unitized ceeded $300,000,000. rationale which has been followed rela- photocomposition requires redrawing, if In the latter half of the 19th century tively uniformly by the courts, namely, the resulting face is to retain its original there were relatively few faces avail- that where a party has created an origi- smoothness of fit and delicacy of detail able to the GPO, and those were visually nal intellectual work product which was over the size range. The shape of the dull. Today the choice is greater, enabling copied by another, in the absence of characters themselves must be the GPO to better address specific audi- mitigating circumstances, it was consid- changed where necessary to meet the ences. Specimen sheets and govern- ered that there was an element of un- new conditions of size and spacing so ment type books, however, are sparse. fairness inherent in the copying, and this, "To properly equip machines with type a that, paradoxically, they will appear to Consequently most government publi- in turn, appears to be directly consistent plan is required that will bring together be unchanged. Because the width of the cations continue to be visually unin- with the underlying intent of the Con- the engineers, the factory, and, through 'box of space' around each character teresting. stitution to promote the progress of sci- the sales people, the users. To what use has been slightly altered, the spacing The current GPO type style book ence and the useful arts by authorizing is this typesetter to be put? Is it suitable between combinations of characters is shows 57 faces in 178 variations. Forty- the prevention of copying through the for newspaper use only? For book pro- subtly altered to fit the new spacing. two of the variations are Gothic, and patent and copyright laws." duction only? Is it a good general- The relationship between the spaces many of the rest are classics—Bodoni, purpose machine? Can it be used for within the characters and the spaces Baskerville, Caslon and Cheltenham. setting mathematics, etc.? between them must continue to be Few of the faces shown were designed "The answers to this first set of ques- rhythmical. The scale of the characters within the last two decades, Helvetica tions are not likely to be simple, clean must be checked so they appear ac- being a notable exception and available and clear. They are usually conditional, ceptable at minimum and maximum only on the Linotron. dependent on something further being planned enlargement. Properly adapt- While the government's typeface li- achieved, or improved or altered in some ing a hot metal face for photocomposi- brary doubled in half a century, those in way. At this point, whoever is going to tion has much more in common with de- the private sector zoomed by several build the typographic library had better signing a new face than with copying an thousand per cent. interest himself in seeing that these old one. You cannot alter one part of a A better selection of faces offers changes in the machine are made, that system without examining the effects more freedom in making layouts, and positioning tolerances are tightened, on every other part and making appro- greateradaptability to new papers, that lens ranges are extended, that the priate adjustments." methods of printing and new ways of capability for a bigger font is provided, Mr. Parker also noted the crude re- setting type. Meanwhile GPO typog- that accents may be automatically cen- sults obtained by the literal copying of raphy remains printer-oriented, machine and foundry type-oriented, and letterpress-oriented in spite of the fact that today the audience for government THE ENTIRE PROCEEDINGS OF THE SYMPOSIUM,"THE ART publications is much more diversified than formerly. While the agricultural OF TYPEFACE DESIGN AND VISUAL COMMUNICATIONS:' community is still its major audience, dis- COMPLETE WITH ALL THE ILLUSTRATIVE PRESENTATIONS tribution is becoming heavier in urban areas. A better educated audience is MADE BY EACH SPEAKER IS NOW BEING PLANNED FOR being reached by many government TYPOGRAPHY PUBLICATION AS A BOOK BY THE GRADUATE SCHOOL OF publications. AND ART THE U.S. DEPARTMENT OF AGRICULTURE. FOR FURTHER Mr. Sutton also noted the need for ALVIN EISENMAN faces most effective for the various age INFORMATION CONCERNING PUBLICATION DATE AND groups addressed by GPO material— COST WRITE TO:GRADUATE SCHOOL from children to the elderly. Concurring with the viewpoint ROOM 6847 SOUTH BUILDING He concluded by asking whether the expressed by Mr. Gastel, Alvin Eisen- government should have its own man, speaking as an artist and educator U.S. DEPARTMENT OF AGRICULTURE typeface, as do some corporations. His of artists, said, "My basic argument for WASHINGTON, D.C. 20250 answer was negative. It might be - copyright protection is that type de- economical, he felt, but would not make signs are, precisely, reproductions of for the best communication to the GPO's drawings, and that reproductions of diverse audience.

, THIS ARTICLE WAS SET IN NEWTEXT 27 NEWTEXT

ALL TEXT FOR THE ARTICLE,"THE ART OF TYPEFACE DESIGN AND VISUAL COMMUNICATIONS" (OPPOSITE PAGE) IS SET IN NEWTEXT, A NEW ITC TYPEFACE DESIGNED BY RAY BAKER. ORIGINALLY INTRODUCED IN ISSUE NO. 2 OF U&LC, NEWTEXT IS MORE THAN A WELL DESIGNED AND STRIKINGLY LEGIBLE TYPEFACE. IT IS A MAJOR SPACE SAVER. THE EXPANDED SHAPES GIVE THE LETTERS A GENEROUS FEELING OF LEGIBILITY AND THE ECONOMICAL VERTICAL SET ADDS MORE LINES TO THE PAGE. FOR EXAMPLE, A LETTER WITH A 9 POINT WIDTH AND LEGIBILITY "FEEL" SETS SUCCESSFULLY ON AN 8 POINT BODY. THUS FOR EVERY NINE LINES OF 9 POINT WE GAIN A TENTH LINE-EXACTLY AS WAS DONE IN THE TEXT ON THE OPPOSITE PAGE WHICH IS SET IN 9/8 POINT NEWTEXT BOOK. THIS SPACE-SAVING FACTOR CAN MEAN REAL ECONOMY ESPECIALLY WHERE PAPER COSTS, LIMITATIONS OF SPACE AND QUANTITY OF TEXT TO BE SET ARE A PROBLEM.

ITC NEWTEXT LIGHT & LIGHT ITALIC ABCDEFGHIJKLM ABCDEFGHIJKLM NOPQRSTUVVVXY NOPQRSTUVWXY Z1234567890&ab Z1234567890&ab cdefghijklmnopqrs cdefghijklmnopqrs tuvwxyz?!sosEok® tuvvvxyz?!SctE%C#) ITC NEWTEXT BO OK & BOOK ITALIC ABCDEFGHIJKLM ABCDEFGHIJKLM NOPQRSTUVWXY NOPQRSTUVWXY Z12345678906cabc Z1234567890&abc defghijklmnopqrst defghijklmnopqrst uvwxyz?!SE% g (#) uvwxyz?!$(tE%go ITC NEWTEXT REGULA R & REGULAR ITALIC ABCDEFGHIJKLM ABCDEFGHIJKLM NOPQRSTUVWXY NOPQRSTUVWXY Z1234567890&ab Z12345678906rab cdefghijklmnopqr cdefghijklmnopqrs

ITC NEWTEXT DE MI & DEMI ITALIC ABCDEFGHIJKLM ABCDEFGHIJKLM NOPQRSTUVWXY NOPQRSTUVWXY Z1234567890&ab Z1234567890&abc cdefghijklmnopqr defghijklmnopqrst stuvwxyz?!SE%(#) uvvvxyz?!SE%@C#)

NEWTEXT IS PRESENTLY AVAILABLE IN TEXT AND DISPLAY SIZES IN BOOK, REGULAR, REGULAR ITALIC AND DEMI. NEWTEXT LIGHT, LIGHT ITALIC, BOOK ITALIC AND DEMI ITALIC WILL BE AVAILABLE ON OR BEFORE JUNE 30, 1975. 28

MEMBERS OF THE NINETY-FOURTH CONGRESS OF THE UNITED STATES

MISSOURI: Stuart Symington Thomas F. Eagleton MONTANA: Mike Mansfield Lee Metcalf ALABAMA: NEBRASKA: John Sparkman James B. Allen Roman L.Hruska Carl T. Curtis ALASKA: NEVADA: Ted Stevens Mike Gravel Howard W. Cannon Paul Laxalt ARIZONA: NEW HAMPSHIRE: Paul J. Fannin IF YOU ARE Barry Goldwater Thomas J. McIntyre John A. Durkin ARKANSAS: NEW JERSEY: IN FAVOR OF John L. McClellan Dale Bumpers Clifford P. Case Harrison A. Williams, Jr. CALIFORNIA: NEW MEXICO: COPYRIGHT Alan Cranston John V. Tunney Joseph M. Montoya Pete V. Domenici PROTECTION COLORADO: NEW YORK: Floyd K. Haskell Gary Hart Jacob K. Javits FOR TYPEFACE James L. Buckley CONNECTICUT: NORTH CAROLINA: Abraham Ribicoff Lowell P. Weicker, Jr. Jesse Helms DESIGNERS Robert Morgan DELAWARE: NORTH DAKOTA: William V. Roth, Jr. WRITE TO YOUR Joseph R. Biden, Jr. Milton R. Young Quentin N. Burdick FLORIDA: OHIO: CONGRESSMEN Lawton Chiles Richard Stone Robert Taft ,Jr John Glenn GEORGIA: TODAY! OKLAHOMA: Herman E.Talmadge (SEE BACK COVER) Henry Bellmon Sam Nunn Dewey F. Bartlett HAWAII: OREGON: Hiram L. Fong Daniel K. Inouye Mark O. Hatfield Bob Packwood IDAHO: PENNSYLVANIA: Frank Church James A. McClure Hugh Scott Richard S. Schweiker RHODE ISLAND: John 0. Pastore Claiborne Pell INDIANA: SOUTH CAROLINA: Vance Hartke Birch Bayh Strom Thurmond Ernest F. Hollings IOWA: SOUTH DAKOTA: Dick Clark John C. Culver George McGovern James Abourezk KANSAS: TENNESSEE: James B. Pearson Robert Dole Howard H. Baker, Jr. Bill Brock KENTUCKY: TEXAS: Walter Huddleston Wendell H. Ford John Tower Lloyd Bentsen LOUISIANA: UTAH: Russell B. Long Frank E. Moss J. Bennett Johnston, Jr. Jake Garn MAINE: VERMONT: Edmund S. Muskie Robert T. Stafford William D. Hathaway PatrickJ. Leahy MARYLAND: VIRGINIA: Charles McC. Mathias,Jr. Harry F. Byrd, Jr. J. Glenn Beall _Jr. William Lloyd Scott MASSACHUSETTS: WASHINGTON: Edward M. Kennedy Warren -G.G Magnuson Edward W. Brooke Henry M. Jackson MICHIGAN: WEST VIRGINIA: Philip A. Hart Jennings Randolph Robert P. Griffin Robert C. Byrd MINNESOTA: WISCONSIN: Walter F. Mondale William Proxmire Hubert H. Humphrey Gaylord Nelson MISSISSIPPI: WYOMING: James 0. Eastland Gale W. McGee John C. Stennis Clifford P. Hansen 29

3. WilliamJ. Green-Philadelphia 7. Gene Taylor-Sarcoxie 8. Richbrd H. 'chord-Houston 4. Joshua Eilberg-Philadelphia 9. William L. Hungate - Troy 5. Richard T. Schulze-Malvern HOUSE OF REPRESENTATIVES 10. Bill D. Burlison-Cape Girardeau 6. Gus Yatron - Reading 7. Robert W. Edgar-Broomall HOUSE OF REPRESENTATIVES, WASHINGTON, D.C. 20515 8. Edward G. Biester, Jr.- Furlong MONTANA: 9. Bud Shuster-Everett 1. Max S. Baucus- Missoula 10. Joseph M. McDade-Scranton 2. John Melcher- Forsyth 11. Daniel J. Flood-Wilkes-Barre ALABAMA: 10. AbnerJ. Mikva- Evanston 12. John P. Murtha-Johnstown 1. Jack Edwards-Mobile 11. Frank Annunzio-Chicago 13. Lawrence Coughlin -Villanova NEBRASKA: 2. William L. Dickinson-Montgomery 12. Philip M. Crane-Mount Prospect 14. William S. Moorhead-Pittsburgh 3. Bill Nichols-Sylacauga 13. Robert McClory -Lake Bluff 1. Charles Thone- Lincoln 15. Fred B. Rooney-Bethlehem 4. Tom Bevill-Jasper 14.John N. Erlenborn -Glen Ellyn 2. John Y. McCollister-Omaha 16. Edwin D. Eshleman-Lancaster 5. Robert E. Jones-Scottsboro 15. Tim L. Hall-Dwight 3. Virginia Smith-Chappell 17. Herman T. Schneebeli-Williamsport 6. John Buchanan-Birmingham 16. John B. Anderson-Rockford 18. H. John Heinz III-Pittsburgh 19. William F. Goodli ng -Jacobus 7. Walter Flowers-Tuscaloosa • 17. George M. O'Brien-Joliet NEVADA: 18. Robert H. Michel-Peoria 20. Joseph M. Gaydos- McKeesport 19. Tom Railsback- Moline (AT LARGE) 21. John H. Dent-Ligonier ALASKA: 20. Paul Findley-Pittsfield Jim Santini-Las Vegas 22. Thomas E. Morgan - Fredericktown (AT LARGE) 21. Edward R. Madigan-Lincoln 23. Albert W. Johnson-Smethport Don Young-Fort Yukon 22. George E. Shipley-Olney NEW HAMPSHIRE: 24. Joseph P. Vigorito - Erie 23. Melvin Price-East St. Louis 25. Gary A. Myers-Butler 1. Norman E. D'Amours-Manchester 24. Paul Simon-Carbondale ARIZONA: 2. James C. Cleveland-New London 1. JohnJ. Rhodes-Mesa RHODE ISLAND: 2. Morris K. Udall-Tucson INDIANA: 1. Fernand J. St. Germain-Woonsocket NEWJERSEY: 3. Sam Steiger-Prescott 1. Ray J. Madden-Gary 2. Edward P. Beard-Cranston 4. John B. Conlan -Phoenix 2. Floyd J. Fithian-Lafayette 1. James J. Florio-Camden 3. John Brademas-South Bend 2. William J Hughes-Ocean City 4. J. Edward Roush-Huntington 3. James J. Howard-Spring Lake Heights SOUTH CAROLINA: ARKANSAS: 5. Elwood Hillis-Kokomo 4. Frank Thompson, Jr.-Trenton 1. Mendel J. Davis-Charleston 1. Bill Alexander-Osceola 6. David W. Evans-Indianapolis 5. Millicent Fenwick-Bernardsville 2. Floyd Spence-Lexington 2. Wilbur D. Mills-Kensett 7. John T. Myers-Covington 6. Edwin B. Forsythe-Moorestown 3. Butler Derrick-Edgefield 3. John Paul Hammerschmidt-Harrison 8. Philip H. Hayes-Evansville 7. Andrew Maguire-Ridgewood 4.James R. Mann-Greenville 4. Ray Thornton-Sheridan 9. Lee H. Hamilton-Columbus 8. Robert A. Roe-Wayne 5. Kenneth L. Holland-Camden 10. Philip R. Sharp-Muncie 9. Henry Helstoski-E. Rutherford 6. John W. Jenrette, Jr. -North Myrtle Beach 11. Andrew Jacobs, Jr.-Indianapolis 10. Peter W. Rodi no. Jr.-Newark CALIFORNIA: 11. Joseph G. Minish -West Orange 1. Harold T. Johnson-Roseville 12. Matthew J. Rinaldo-Union SOUTH DAKOTA: 2. Don H. Clausen-Crescent City IOWA: 13. Helen S. Meyner- Phillipsburg 1. Larry Pressler-Humboldt 3. John E. Moss-Sacramento 1. Edward Mezvinsky- Iowa City 14. Dominick V. Daniels-Union City 2. Ja mes Abdnor- Kennebec 4. Robert L. Leggett-Suisun City 2. Michael T. Blouin- Dubuque 15. Edward J Patten-Perth Amboy 5. John L. Burton-San Francisco 3. Charles E. Grassley- New Hartford 6. Philip Burton-San Francisco 4. Neal Smith-Altoona TENNESSEE: 7. George Miller-Martinez 5. Tom Harkin-Ames NEW MEXICO: 1. James H. Quillen-Kingsport 8. Ronald V. Dellums -Berkeley 6. Berkley Bedell-Spirit Lake 1. Manuel Lujan , Jr.-Albuquerque 2.JohnJ. Duncan-Knoxville 9. Fortney H. Stark-Danville 2. Harold Runnels-Lovington 3. Marilyn Lloyd-Chattanooga 10. Don Edwards-San Jose 4. Joe L. Evins-Smithville 11. Leo J. Ryan-South San Francisco KANSAS: 5. Richard H. Fulton -Goodlettsville 12. Paul N. McCloskey, Jr.-Menlo Park 1. Keith G. Sebelius- Norton NEW YORK: 6. Robin L. Beard-Brentwood 13. Norman Y. Mineta-SanJose 2. Martha Keys- 1. Otis G. Pike-Riverhead 7. Ed Jones-Yorkville 14. John J. McFall-Manteca 3. Larry Winn,Jr.-Overland Park 2. Thomas J. Downey-W. Islip 8. Harold E. Ford-Memphis 15. B. F. Sisk-Fresno 4. Garner E. Shriver-Wichita 3. Jerome Arnbro. Jr. -East Northport 16. Burt L. Talcott-Salinas 5. Joe Sku bit.- Pittsburg 4. Norman F. Lent-Baldwin TEXAS: 17. John Krebs-Fresno 5. John W. Wydler-Mineola 18. William M. Ketchum-Bakersfield 6. Lester L. Wolff-Great Neck 1. Wright Patman- Texarkana 19. Robert J. Lagomarsino-Ojai KENTUCKY: 7. Joseph P. Addabbo-Ozone Park 2. Charles Wilson-Lufkin 20. Barry M. Goldwater, Jr.-Burbank 1. Carroll Hubbard. Jr.-Mayfield 8. Benjamin S. Rosenthal-Flushing 3. James M. Collins-Dallas 21. James C. Corman - Reseda 2. William H. Natcher- Bowling Green 9. James J. Delaney-Long Island City 4. Ray Roberts- McKinney 22. Carlos J. Moorhead-Glendale 3. Romano L. Mazzoli- Louisville 10. Mario Biaggi-Bronx S. Alan Steelman-Dallas 23. Thomas M. Rees-Beverly Hills 4. Gene Snyder- Brownsboro Farms 11. James H. Scheuer-Neponsit 6.01in E. Teague-College Station 24. Henry A. Waxman- 5. Tim Lee Carter-Tompkinsville 12. Shirley Chisholm-Brooklyn 7. Bill Archer-Houston 25. Edward R. Roybal- Los Angeles 6.John Breckinridge- Lexington 13. Stephen J. Solarz-'Brooklyn 8. Bob Eckhardt-Houston 26. John H. Rousselot-San Marino 7. Carl D. Perkins-Hindman 14. Frederick W. Richmond-Brooklyn 9. Jack Brooks-Beaumont 27. Alphonzo Bell-Marina Del Rey 15. Leo C. Zeferetti-Brooklyn 10. J. J. Pickle-Austin 16. Elizabeth Holtzman-Brooklyn 11. W. R. Poage-Waco 28. Yvonne Brathwaite Burke-Los Angeles LOUISIANA: 29. Augustus F. Hawkins-Los Angeles 17.John M. Murphy-Staten Island 12. Jim Wright-Fort Worth 30. George E. Danielson-Monterey Park 1. F. Edward Hebert-New Orleans 18. Edward I. Koch - New York City 13. Jack Hightower-Vernon 31. Charles H. Wilson-Hawthorne 2. Lindy (Mrs. Hale) Boggs-New Orleans 19. Charles B. Rangel-New York City 14. John Young-Corpus Christi 32. Glenn M. Anderson-Harbor City 3. David C. Treen -Metairie 20. Bella S. Abzug - New York City 15. E de la Garza-Mission 33. Del Clawson-Downey 4. Joe D. Waggonner, Jr. -Plain Dealing 21. Herman Badillo- Bronx 16. Richard C. White-El Paso 34. Mark W. Hannaford -Lakewood 5. Otto E. Passman- Monroe 22. Jonatha n B. Bingham-Bronx 17. Omar Burleson-Anson 35. Jim Lloyd-West Covina 6. (Undecided as of 2/ 1/75)-Baton Rouge 23. Peter A. Peyser -Irvington 18. Barbara Jordan-Houston 36. George E. Brown. Jr.-Colton 7. John B. Breaux-Crowley 24. Richard L. Ottinger - Pleasantville 19. George H. Mahon-Lubbock 37. Jerry L. Pettis-Loma Linda 8. Gillis W. Long-Alexandria 25. Hamilton Fish,Jr.-Millbrook 20. Henry B. Gonzalez-San Antonio 38. Jerry M. Patterson-Santa Ana 26. Benjamin A. Gilman-Middletown 21. Robert Krueger-New Braunfels 22. Bob Casey- Houston 39. Charles E. Wiggins-Fullerton MAINE: 27. Matthew F. McHugh-Ithaca 40. Andrew J. Hinshaw-Newport Beach 28. Samuel S. Stratton-Amsterdam 23. Abraham Kazen , Jr.- Laredo 1. David F. Emery-Rockland 41. Bob Wilson-San Diego 29. Edward W. Pattison -West San Lake 24. Dale Milford-Grand Prairie 2. William S. Cohen-Bangor 42. Lionel Van Deerlin -Chula Vista 30. Robert C. McEwen -Ogdensburg 31. Donald J. Mitchell-Herkimer 43. Clair W. Burgener- Rancho Sante Fe UTAH: MARYLAND: 32. James M. Hanley-Syracuse 33. William F. Walsh-Syracuse 1. Gunn McKay-Huntsville 1. Robert E. Bauman-Easton COLORADO: 34. Frank Horton-Rochester 2. Allan T. Howe-Salt Lake City 2. Clarence D. Long-Towson 1. Patricia Schroeder-Denver 35. Barber B. Conable. Jr. -Alexander 3. Paul S. Sarbanes-Baltimore 2. Timothy E. Wirth-Denver 36. John J. LaFalce-Kenmore 4. Marjorie S. Holt-Severna Park VERMONT: 3. Frank E. Evans-Beulah 37. Henry J. Nowak-Buffalo 5. Gladys Noon Spellman-Laurel (AT LARGE) 4. James P. Johnson-Fort Collins 38. Jack F. Kemp-Hamburg 6. Goodloe E. Byron-Frederick James M. Jeffords-Montpelier 5. William L. Armstrong-Aurora 39. James F. Hastings -Caneadea 7. Parren J. Mitchell-Baltimore 8. Gilbert Gude.-Bethesda VIRGINIA: CONNECTICUT: NORTH CAROLINA: 1. Thomas N. Downing-Newport News 1. William R. Cotter-Hartford 1. Walter B. Jones - Farmville MASSACHUSETTS: 2. G. William Whitehurst- Norfolk 2. ChristopherJ. Dodd-North Stonington 2. L. H. Fountain-Tarboro 1. Silvio 0. Conte-Pittsfield 3. David E. Satterfield III-Richmond 3. Robert N. Giaimo- North Haven 3. David N. Henderson-Wallace 2. Edward P. Boland-Springfield Robert W. Daniel, Jr. -Spring Grove 4. Stewart B. McKinney-Fairfield 4. Ike F. Andrews-Silver City 4. 3. Joseph D. Early-Worcester 5. Dan Daniel-Danville 5. Ronald A. Sarasin- Beacon Falls 5. Stephen L. Neal-Winston-Salem 4. Robert F. Drinan - Newton 6. M. Caldwell Butler-Roanoke 6. Anthony Toby Moffett-Unionville 6. Richardson Preyer-Greensboro 5. Paul E. Tsongas-Lowell 7.J. Kenneth Robinson-Winchester 7. Charles Rose-Fayetteville 6. Michael Harrington-Beverly 8. Herbert E. Harris II-Alexandria 8. W. G. (Bill) Hefner-Concord 7. Torbert H. Macdonald-Malden 9. William C. Warnpler- Bristol DELAWARE: 9. James G. Martin-Davidson 8. Thomas P. O'Neill, Jr.-Cambridge 10. Joseph L. Fisher-Arlington (AT LARGE) 10. James T. Broyhill-Lenoir Pierre S. du Pont-Wilmington 9. Joe Moakley-Boston 10. Margaret M. Heckler-Wellesley 11. Roy A. Taylor-Asheville 11. James A. Burke-Milton WASHINGTON: FLORIDA: 12. Gerry E. Studds -Cohasset NORTH DAKOTA: 1. Joel Pritchard-Seattle 2. Lloyd Meeds- Everett 1. Robert L. F. Sikes-Crestview (AT LARGE) 2. Don Fuqua-Altha 3. Don Bonker-Ridgefield MICHIGAN: Mark Andrews-Mapleton 3. Charles E. Bennett-Jacksonville 4. Mike McCormack-Richland 4. Bill Chappell, Jr.-Ocala 1. John Conyers, Jr.- Detroit 5. Thomas S. Foley-Spokane 5. Richard Kelly-Holiday 2. Marvin L. Esch-Ann Arbor OHIO: 6. Floyd V. Hicks-Tacoma 6. C. W. Bill Young-St. Petersburg 3. Garry Brown -Schoolcraft 1. Willis D. Gradison • Jr. -Cincinnati 7. Brock Adams-Seattle 7. Sam Gibbons-Tampa 4. Edward Hutchinson-St. Joseph 2. Donald D. Clancy-Cincinnati 5. Richard F. Vander Veen-Grand Rapids 8. James A. Haley-Sarasota 3. Charles W. Whalen, Jr.-Dayton WEST VIRGINIA: 9. Louis Frey, Jr.-Winter Park 6. Bob Carr-East Lansing 4. Tennyson Guyer-Findlay 1. Robert H. Mollohan -Fairmont 10. L.A. (Skip) Bafalis - Fort Myers Beach 7. Donald W. Riegle, Jr. -Flint 5. Delbert L. Latta-Bowling Green 2. Harley 0. Staggers-Keyser 11. Paul G. Rogers-West Palm Beach 8. Bob Traxler-Bay City 6. William H. Harsha - Portsmouth 3. John M. Slack-Charleston 12.J. Herbert Burke-Hollywood 9. Guy Vander Jagt- Luther 7. Clarence J. Brown-Urbana 4. Ken Hechler- Huntington 13. William Lehman-North Miami Beach 10. Elford A. Cederberg-Midland 8. Thomas N. Kindness-Hamilton 14. Claude Pepper-Miami 11. Philip E. Ruppe-Houghton 9. Thomas L. Ashley-Maumee 12. James G. O'Hara-Utica 15. Dante B. Fascell- Miami 10. Clarence E. Miller-Lancaster WISCONSIN: 13. Charles C. Diggs, Jr.-Detroit 11.J. William Stanton-Painesville 1. Les Aspin- Racine 14. Lucien N. Nedzi- Detroit 12. Samuel L. Devine-Columbus 15. 2. Robert W. Kastenmeier-Sun Prairie GEORGIA: William D. Ford-Taylor 13. Charles A. Mosher-Oberlin 1. Bo Ginn-Millen 16. John D. Dingell-Trenton 3. Alvin Baldus- Menomonie 14. John F. Seiberling-Akron Clement J. Zablocki-Milwaukee 2. Dawson Mathis-Albany 17. William M. Brodhead-Detroit 4. 15. Chalmers P. Wylie-Worthington 5. Henry S. Reuss-Milwaukee 3. Jack Brinkley-Columbus 18. James J. Blanchard-Pleasant Ridge 16. Ralph S. Regula-Navarre 4. Elliott H. Levitas- Atlanta 19. Wm. S. Broomfield-Birmingham 6. William A. Steiger-Oshkosh 17. John M. Ashbrook-Johnstown 7. David R. Obey-Wausau 5. Andrew Young-Atlanta 18. Wayne L. Hays-Flushing 6. John J. Flynt, Jr.-Griffin 8. Robert J. Cornell- DePere MINNESOTA: 19. Charles J. Carney-Youngstown 9. Robert W. Kasten ,Jr.-Milwaukee 7. Larry McDonald-Marietta 20. James V. Stanton-Cleveland 8. W. S. (Bill) Stuckey, Jr.-Eastman 1. Albert H. Quie - Dennison 2. Tom Hagedorn-Truman 21. Louis Stokes-Cleveland 9. Phil M. Landrum-Jasper 22. Charles A. Vanik -Euclid WYOMING: 10. Robert G. Stephens, J r.-Athens 3. Bill Frenzel-Golden Valley 4. Joseph E. Karth -St. Paul 23. Ronald M. Mottl-Parma (AT LARGE) 5. Donald M. Fraser-Minneapolis Teno Roncalio - Cheyenne HAWAII: 6. Richard Nolan-Waite Park OKLAHOMA: 7. Bob Bergland-Roseau 1. Spark M. Matsunaga -Honolulu 1. James R. Jones-Tulsa PUERTO RICO: 8. James L. Oberstar-Chisholm 2. Patsy T. Mink -Waipahu 2. Theodore M. Risenhoover- Tahlequah (Resident Commissioner) 3. Carl Albert-McAlester Jaime Benitez-Cagey IDAHO: MISSISSIPPI: 4. Tom Steed-Shawnee 5. John Jarman-Oklahoma City 1. Steven D. Symms-Caldwell 1. Jamie L. Whitten-Cleveland DISTRICT OF COLUMBIA: 2. David R. Bowen-Cleveland 6. Glenn English-Cordell 2. George Hansen-Pocatello (Delegate) 3. G. V. (Sonny) Montgomery Meridian Walter E. Fauntroy- District of Columbia 4. Thad Cochran-Jackson OREGON: ILLINOIS: 5. Trent Lott-Pascagoula 1. Les AuCoin-Forest Grove 1. Ralph H. Metcalfe-Chicago 2. Al Ullman-Baker GUAM: 2. Morgan F. Murphy-Chicago 3. Robert Duncan-Gresham (Delegate) Martin A. Russo-Calumet Park MISSOURI: 3. 4. James Weaver-Eugene Antonio Borja Won Pat-Agana 4. Edward J Derwinski-Flossmoor 1. William Clay-St. Louis 5. John C. Kluczynski -.Chicago 2. James W. Symington -Ladue 6. Henry J. Hyde-Park Ridge 3. Leonor K. (Mrs. John B.) Sullivan-St. Louis PENNSYLVANIA: VIRGIN ISLANDS: 7. Cardiss Collins-Chicago 4. Wm. J. Randall-Independence 1. William A. Barrett-Philadelphia (Delegate) 8. Dan Rostenkowski-Chicago 5. Richard Bolling-Kansas City 2. Robert N. C. Nix-Philadelphia Ron de Lugo-Christiansted 9. Sidney R. Yates-Chicago 6. Jerry Litton-Chillicothe

UNOFFICIAL LIST OF MEMBERS OF THE NINETY-FOURTH CONGRESS AS OF DECEMBER 5.1974. THIS SPREAD WAS SET IN NEWTEXT 30

STATEMENTAI OF POSITIONGA 2. Because typefaces are designated—and selected—by name, TYPE FACE DESIGN PROTECTION ALGA feels that any copyright or design protection system must THE AMERICAN INSTITUTE OF GRAPHIC ARTS cover both design and name. ALGA welcomes licensing of type KARL FINK, PRESIDENT designs among a number of marketers. However, for the protec- FEBRUARY 3, 1975 tion of users of type, we believe that the name for a typeface must be recognizable and that the configuration of the type to which the The American Institute of Graphic Arts numbers among its 1700 name is assigned must be constant. Name and design should not members both typeface designers and typographic consumers— be separable. graphic designers and graphics production people who design 3. We are told that a possible effect of a change in Copyright Office with and specify typography. In the current controversy over type regulations—albeit a remote one—might be that an injunction design protection, the Institute has two concerns: could be obtained against printing of a book because the type in which it is set is of questionable origin—an unauthorized copy of a 1. To exercise its influence and offer help to seek a solution which protected face. The author, publisher and printer would thereby will, insofar as possible, serve the needs of the graphic arts pro- become victims and suffer financial loss in a dispute between mar- fessions. keters of type fonts. We also understand that specific legislation 2. To help create a climate in which type designers can work both could preclude such a circumstance. creatively and with adequate recompense and in which graphic Should typefaces become copyrightable, we feel there exists a designers can be free to select typefaces on the basis of appropri- temporary solution to this problem: book manufacturers could ateness and aesthetic considerations without fear of legal en- simply limit their designers and printers to use of typefaces in the tanglement. public domain—all faces that were standard prior to a change in regulations—until any danger of disruption of production sched- ALGA is composed largely of creative people working in graphic ules is eliminated by legislation. communication, publishing, advertising, promotion, signage and 4. ALGA wants to be certain that the costs of type composition other manifestations of visible language—a broad representation remain reasonable—that a royalty and licensing system will not of the users of typography. inflate rates unfairly, it also wants to be sure that any royalty or To us, type is a vital part of the communications process. It is a license charge will be collected only once, when the font or grid is means of creative expression. In our opinion, the outcome of cur- sold. Moreover, we would oppose any change which placed re- rent discussions will be an important factor in determining the strictions for use of composed letters on the graphic designer, future visual quality of American communication. It will most who must be free to alter or adapt as special graphic needs assuredly influence the future of typographic design in this coun- dictate. try. It can help create conditions that nurture and support crea- 5. There are obvious problems in determining whether a specific tivity or conditions that stifle creative thinking, experiment, and typeface is, in fact, sufficiently original to merit granting of a copy- innovation. right or in determining whether a typeface is sufficiently like Most of us in ALGA know a great deal about type and its uses and another to constitute an infringement of copyright. The dif- ferences which distinguish one typeface from another are often little about legislation and its enforcement. Accordingly, in stating subtle or minute; they might well seem insignificant to the lay- our views on the matter of type design protection, we will stick to man. Yet these differences often prompt a designer to specify one our own area of expertise. We will state our needs, express our face and reject another that seems almost the same. opinions on what is best in the way of a climate for producing good work, voice our concerns, point to pitfalls, and mention moves we To overcome this difficulty, and to minimize the amount of litiga- believe would be detrimental. We make no recommendations as to tion .that will inevitably result from copyrighting of typefaces, what legislation or other governmental action will best achieve our ALGA recommends formation of an advisory group of typeface goals. experts—specialists who understand the significance, or lack of However, we will, if asked, supply information and advice to legis- significance, of differences in letter forms. This typographic panel lators and Copyright Office personnel, will work with them in could have several functions: developing a system that satisfies the needs of graphic designers; we will lend our support to rulings or legislation which are consis- a. To serve as an advisory group to the U.S. Copyright Office and tent with those needs. to legislators in promulgating effective typographic design protec- A typeface is a unique creative work which merits government pro- tion laws and regulations. tection against unauthorized copying. It is as deserving of such b. To help establish criteria of originality (not aesthetic value) by protection as a novel, a poem, a song, or a drawing. After examin- which copyrightability or protectability of typefaces can be deter- ing the options, we think that it can fall within the purview of mined on a regular basis. amended Copyright Office regulations. But we prefer to state con- c. To clarify, mediate, or arbitrate disputes involving typeface ditions and let others decide how best to do it: designs. To serve as experts in mediation, arbitration, or liti- gation.

1. We would like to see universal licensing of typefaces to all legit - imate manufacturers. We consider it healthy to have typefaces We believe that an effective system of type design protection will obtainable from more than one source, provided there is good foster more and better type design in this country. Arguments to quality control. Because typeface designs are unique, they must the contrary seem to stem from fear and from the automatic ten- be meticulously and accurately reproduced. Their extension to dency of business to resist assignment of additional powers to gov- matrices or grids for equipment other than that for which they ernment bureaus. While the process of protection will require were originally designed is to be carefully controlled by the origi- study and periodic refinement, we believe it will turn some fine nal designer or design team. Only with this kind of quality control, American designers toward a challenging area in which they have which ensures compatibility, can designers specify type with the not been able to afford to work of recent years. This will almost assurance that their finished designs will reflect their graphic automatically follow when type designers are paid for their effort plans. in proportion to the success of their product. THIS PAGE WAS SET IN TIFFANY THE FOLLOWING COMPANIES ARE ITC SUBSCRIBERS: FOR INFORMATION REGARDING AVAILABILITY OF ITC TYPEFACES

- FROM ANY OF THESE COMPANIES, THE NAMES AND ADDRESSES OF THESE MANUFACTURERS ARE LISTED BELOW.

ADDRESSOGRAPH MULTIGRAPII CELLO-TAK MFG.. INC. MECANORMA PROTYPE, INC. CORPORATION 35 ALABAMA AVENUE 78610 LEPERRAY-EN-YVELINES 89 WEST 3RD STREET VARITYPER DIVISION ISLAND PARK, L.I., N.Y. 11558 PARIS, FRANCE NEW YORK, N.Y. 10012 11 MT. PLEASANT AVENUE (516) 431-7733 (484 8A 40) (212) 673-7944 EAST HANOVER, N.J. 07936 DRY TRANSFER LETTERS DRYTRANSFER LETTERS DISPLAY PHOTOTYPESETTING SYSTEMS AND FILM FONTS (201) 887-8000 CHARTIPAK MERGENTHALER LINOTYPE COMPANY PHOTOTYPESE1 l'hRS AND ONE RIVER ROAD MERGENTHALER DRIVE JOHN N. SCHAEDLER. INC. PHOTOLETTERING SYSTEMS LEEDS, MASS. 01053 PLAINVIEW, N.Y. 11803 44)4 PARK AVENUE SOUTH ALPHATYPE CORPORATION (413) 584-5446 (516) 694-1300 NEW YORK, NEW YORK 10016 7500 McCORMICK BOULEVARD DRY TRANSFER LETTERS LINOFILM, LINOTRON, LLNOCOMP, VIP (212) 684-5140 SKOKIE, ILLINOIS 60076 ALPHABET DESIGNERS AND COMPUGRAPHIC CORPORATION MGD GRAPHIC SYSTEMS MANUFACTURERS OF 2" FILM FONTS (312) 6675-7210 ROCKWELL INTERNATIONAL ALPHATYPE PHOTOTYPESETTING SYSTEMS 66 CONCORD STREET WILMINGTON, MASS. 01887 2735 CURTISS STREET STAR GRAPHIC SYSTEMS *AMERICAN TYPE FOUNDERS CO., INC. (617) 944-6555 DOWNERS GROVE, ILLINOIS 60515 1111 PAULISON AVENUE 200 ELMORA AVENUE PHOTO TEXT AND DISPLAY (312) 963-4600 CLIFTON, NJ. 07013 ELIZABETH, N.J. 07207 COMPOSITION SYSTEMS INFORMATION PRODUCTS DIVISION (201) 478-2800 (201) 353-1000 PHOTOTYPESETTING DEANS GEOGRAPHICS LTD. SIM COMPANY FILM STRIPS TYPE DIVISION 1110 SEYMOUR STREET 3M CENTER ARTYPE, INC. VANCOUVER, B.C. CANADA ST. PAUL, MINN. 55701 'D. STEMPEL AG 345 EAST TERRA COTTA AVENUE (604) 685-8236 (612) 733-1110 HEDDERICHSTRASSE 106-114 CHRYSTAL LAKE, ILLINOIS 60014 DRY TRANSFER LETTERS PROMAT COMPOSITION ' FRANKFURT AM MAIN-SUD GERMANY (815) 459-6220 DYMO BELGIUM N.V. THE MONOTYPE CORPORATION UMISED DRY TRANSFER LETTERS (0611) 6068-1 P.O. BOX 35 SALFORDS, REDHILL TYPE DIVISION AUTOLOGIC, INC. ST-NIKLAAS (B2700) SURREY, ENGLAND 9119 DE SOTO AVENUE BELGIUM REDHILL 6 5959 TACTYPE, INC. CHATSWORTH, CALIFORNIA 91311 (03 76) 6980 10 1 MONOPHOTO FILMSETTERS 43 WEST 16TH STREET (213) 882-6400 VISUAL SYSTEMS DIVISION MONOTYPE STUDIO-LEI1LRING AND NEW YORK, N.Y. 10011 APS-4-CRT PHOTOTYPESETTER PHOTOLETTERING MACHINES (212)924-1800 FACSIMILE FONTS DRY TRANSFER LEI1LRS AND TYPESETTING SYSTEMS 3600 WILSHIRE BOULEVARD PHOTON, INC. H. BERTHOLD AG LOS ANGELES, CALIF. 90005 355 MIDDLESEX AVENUE TECHNOGRAPHICS/FILM FONTS 1000 BERLIN 61 (213) 381-1522 WILMINGTON, MASS. 01887 8540 WEST WASHINGTON BLVD. MEHRINGDAMM 43 FILM BANDS FOR STAROMAT, (617) 933-7000 CULVER CITY, CALIF. 90230 GERMANY STARSETTOGRAPH PACESETTER, ECONOSETTER (213) 870-4828 (0311) 692011 FILM FONTS AND STUDIO FELMOTYPE INTERNATIONAL PHOTON. INC. FILM KITS DIATYPE, DIATRONIC, STAROMAT, 355 MIDDLESEX AVENUE STARSETTOGRAPH, SUPERSTAR 7500 McCORMICK BOULEVARD SKOKIE, ILLINOIS 60076 WILMINGTON, MASS. 01887 VLSI-GRAPHICS J. BOBST ET FRS SA (312) 675-7210 (617) 933-7000 8119 CENTRAL AVENUE BOBST GRAPHIC PHOTOTYPESETTING DIVISION FILM FONTS PACESETTER, ECONOSETTER WASHINGTON, D.C. 20027 CH-1001 LAUSANNE PHOTOVISION ( 301 ) 336-1144 HARRIS CORPORATION DRY TRANSFER LETTERS SWITZERLAND HARRIS COMPOSITION OF CALIFORNIA, INC. 021-35 05 21 SYSTEMS DIVISION 8540 WEST WASHINGTON BLVD. VISUAL GRAPHICS CORPORATION EUROCAT P.O. BOX 2080 CULVER CITY, CALIF. 90230 5701 N.W. 94TH AVENUE DR. BOGER PIIOTOSATZ GMBH MELBOURNE, FLORIDA 32901 (213)870-4828 TAMARAC, FLORIDA 33321 2 WEDEL IN HOLSTEIN (305) 727-6916 SPECTRA SETTER 1200 (305) 722-3000 RISSENER STRASSE 94 FOTOTRONIC 4000, FOTOTRONIC TXT, VISUAL DISPLAY SETTER AND MANUFACTURER OF GERMANY FOTOTRONIC 1200, FOTOTRONIC 600 2" FILM FONTS PHOTO TYPOSITOR AND (04103)6021-25 PRESSURE GRAPHICS, INC. ORIGINAL TYPOSITOR LETRASET INTERNATIONAL LIMITED FILM FONTS MANUFACTURER OF COPYTYPE ST. GEORGE'S HOUSE 1725 ARMITAGE COURT AND VISUTEK PHOTOLETTERING 195/203 WATERLOO ROAD ADDISON, ILL. 60101 MASSONE, INC. SYSTEMS AND FONTS LONDON SE1 8XJ (312) 620-6900 150 FENCL LANE ENGLAND DRY TRANSFER LETTERS HILLSIDE, ILLINOIS 60162 (01) 928-0488 (312)449-5500 DRY TRANSFER LETTERS DRY TRANSFER LETTERS nit typefaces not available at this time.

The overwhelming number of requests to be placed on our mailing list has made it impossible for us to respond on an individual basis. New names are added as soon as they are received. These will receive all future issues. We have also received many requests for back copies of U&lc. U8r1c is mailed under application for special postal LIMITED rates, but we are not permitted to mail "back copies" at these rates. We regret, therefore, that we must charge for QUANTITSIE back issues. OF EARLY While a limited supply lasts, copies of (Mc Nos. 2 and 3 will be available at $1.50 per copy to cover postage and ISSUES handling. All orders will be filled on a first come, first served basis. Please include your check payable to ITC, FOR SALE specify issue number, and mail to International Typeface Corporation, 216 East 45th Street, New York, N.Y. 10017

32 It 134:11)1CLETS FOR, SALE

rrC

AMERICAN TYPEWRITER KORIMA

28 pages 20 pages 12 pages 20 pages 24 pages

S TIFFANY

36 pages 28 pages 36 pages 20 pages 76 pages

IF MIII IIMIMIIMIIIMIIIMIIMIMI IMII IIIIOIIIMIIIMMIIIIIIIMIIIII

I Qty Unit Price Total International Veface.Corporalion I I American Typewriter* 750 216 East 45th Street Avant Garde Gothic 750 New York N.Y. 10017 (212) 371-0699 I Avant Garde Gothic Cond. 750 These handsomely designed, colorful ITC specimen book- Friz (luadrata 750 lets are available for your personal use and collection. To I Korinna* 750 Name I obtain the entire set, or the booklets of your choice, com- Luba lin Graph* 750 Newtext* 750 Company plete this order form and mail to us. All orders must be I Serif Gothic 750 I accompanied by a remittance. No CODs, or purchase or- Souvenir 750 Title ders without remittances, can be handled. Future issues of I Tiffany 750 1 ITC Typeface Catalog . .$1.50 Street Address U&lc will continue to introduce new ITC typefaces for use I Special $750 in photocomposition, display and transfer letters. Type Entire collection City I Total Order specimen booklets will be prepared for each new typeface. New York residents add State Sales Tax I State Zip Code I Each booklet will illustrate all available weights of the Add Postage . 50 Remittance enclosed typeface, in a range of sizes from 6 point to 24 point, plus I Country I a sampling of display sizes. The back of each booklet con- 'To be mailed as soon as completed tains a copyfitting chart for your use in specifying. Start I your collection of ITC typefaces now. 116mmummimmiummommommiumummilli 33 ATA Shops: Akron, Ohio Chicago, Illinois Denver, Colorado Minneapolis, Minnesota the Composing Room, inc. Philadelphia, Pennsylvania Syracuse, New York The Akron Typesetting Co. J.M. Bundscho, Inc. Hoflund Graphics Dahl & Curry, Inc. 387 Park Avenue South Walter T. Armstrong, Inc. Dix Typesetting Co., Inc. 35 North Tenth Street 1 Commerce Boulevard 37 North High Street 180 North Wabash Avenue 700 Lincoln Street 50 Spruce Place Franklin Typographers, Inc. Atlanta, Georgia Frederic Ryder Company Detroit, Michigan Duragraph, Inc. 225 West 39th Street Typographic Service, Inc. Toronto, Canada 1027 Arch Street Cooper & Beatty, Ltd. Action Graphics, Inc. 500 North Dearborn Street The Thos. P Henry Co. 212 Twelfth Avenue South King-Weltz Graphics 401 Wellington Street, W 1015 Collier Road, N.W. Total Typography, Inc. 1177 West Baltimore Avenue Montreal, Canada 240 West 40th Street Phoenix, Arizona Morneau Typographers, Inc. Brisbane, Qld., Australia Baltimore, Maryland 901 West Monroe Street Willens/Headliners McLean Brothers, Ltd. Master Typo Company, Inc. 1548 Porter Street 1000 Wellington Street 330 North 3rd Avenue Savage & Co., Pty, Ltd. Maran Printing Services Cleveland, Ohio 461 Eighth Avenue 320 North Eutaw Street 36 Costin Street, Valley Bohme & Blinkmann, Inc. Houston, Texas Nashville, Tennessee Royal Typographers, Inc. Pittsburgh, Pennsylvania Davis & Warde, Inc. Solna, Sweden Benton Harbor, Michigan 812 Huron Road Naylor Type & Mats Typographics, Inc. 311 West 43rd Street Type House, Inc. 2520 Robin Hood Street 300 12th Avenue South 704 Second Avenue Typografen AB Columbus, Ohio Tri-Arts Press, Inc. Box 1164 101 Hinkley P 0. Box 707 Portland, Oregon Yaeger Typesetting Co., Inc. Indianapolis, Indiana Newark, New Jersey 331 East 38th Street Bloomfield, Connecticut 177 East Naghten Street Typoservice Corporation William Patrick Co., Inc. Paul 0. Giesey Adcrafters, Inc. Headquarters: New England Typographic 1233 West 18th Street 2-14 Liberty Street TypoGraphics 2115 N.W 20th Avenue Advertising Typographers Dallas, Texas Communications, Inc. Association of America, Inc. Service, Inc. Rochester, New York Jaggars-Chiles-Stovall, Inc. Memphis, Tennessee New York, New York 305 East 46th Street 461 Eighth Avenue 14 Tobey Road Rochester Mono/Headliners 714 Crockett Street Graphic Arts, Inc. Advertising Agencies/ New York, N.Y 10001 3123 Chairman Headliners Volk & Huxley, Inc. 360 North Street Boston, Massachusetts Southwestern Typographics, Walter A. Dew, Jr. 216 East 45th Street 228 East 45th Street Berkeley Typographers, Inc. Inc. Miami, Florida Executive Secretary 286 Congress Street 2820 Taylor Street Wrightson Typesetting, Inc. Artintype-Metro Composing Room of New 219 N.W. 24th Street 228 East 45th Street England 131 Beverly Street Here is a revolutionary new ad

It will win an ADC award and appear in the CA annual It may look like vague type specifications for We'll have that what-do-you-call-it type face building a revolutionary new ad, but for an ATA* and your repros when you need them. And because type shop, it's probably enough. we offer a wide range of services, chances are your We work extra hard at getting to know you whole job will be done in-house. And on time! and interpreting your layouts your way. Like giving That's how ATA shops operate. If you're now you the right white space, tight or loose ragged getting anything less, check out your local ATA lines, hanging punctuation, packed headlines or member. He'll be able to read your napkin and whatever's your thing. help build that revolutionary new ad. *ATA is the Advertising Typographers Association of America 34

FOR MER AN 65 KRONOR MINDRE BESVAR FRAN TYPOGRAFEN. Hur mycket debiteringsbar tid har du letat bort under wren genom att inte hitta raft markeringstext snabbt? Typografen har gjort det lattare for dig. 144 sidor markeringstext i en enda bok. Stort format och gjord sd den ligger plant i fotostaten. De fiesta av \Tara typsnitt for bra brodtext finns med. Metalltypsnitten presenteras i allmanhet i graderna 8/8, 10/10 och 12/12. Filmsnitten i 12/11, 16/15 och 22/20. Priset dr 65 kronor + moms. Ring 08-27 27 60 och tala med Siv Johansson. 35

Good Type

"We've Delivered It Before" "We're Delivering It Now" and "We're Going To Keep Delivering It"

The Leaders in Typographic Development, The Mergenthaler Group of Companies Mergenthaler Linotype Company, Plainview D. Stempel AG, Frankfurt am Main Haas'sche Schriftgiesserei AG, Basel Deberny & Peignot, Paris

The Mergenthaler Group is a historic leader in type development. Competent type design is, and always will be,available on the typesetting machines manufac- tured by the Mergenthaler Group of Companies. This is guaranteed by arrangements with the world's good type designers, licensing arrangements with other type manufacturers, and a healthy in-house type development program. Through these associations the Mergenthaler Group completes existing series of type designs, licenses the true versions of established type series, to order: and commissions new type designs by the acknowledged masters.

call the Order Department at Mergenthaler (516) 694 1300 if you have any questions: call Mike Parker or Steve Byers at Mergenthaler (516) 694 1300 because "We've Got It"

Univers 53 Paris Univers 63 Paris Univers 73 Paris

Syntax Frankfurt Syntax Italic Frankfurt Syntax Bold Frankfurt

Sabon Frankfurt Sabon Italic Frankfurt Sabon Bold Frankfurt

Orion() Plainview Orion Italic© Plainview

tiabwedca Phimdsw

Futura Light Frankfurt Futura Book Frankfurt Futura Heavy Frankfurt Future Bold Frankfurt

Cloister Open Face Plainview Bembo Frankfurt Bembo Italic Frankfurt Bembo Bold Frankfurt

Auriga Plainview Auriga Italic Plainview Auriga Bold Plainview 36

Alphatype Super Blacks are a collection of ITC extra bold faces for text and display, designed to be used on the AlphaSette System. And, they're all here in the new Alphatype Super Blacks catalog.

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ITC draws beautiful typefaces and only the AlphaSette system If you haven't seen the AlphaSette in operation, you owe it can set them with the sensitivity and individuality that they to yourself and your company to find out how this unique deserve. True, ITC faces are available on many typesetting system can lower your operating costs while it raises your systems, but only the AlphaSette system allows for variations typesetting quality. Call for a demonstration and your free in drawing and spacing from point size to point size. And, copy of "Alphatype Super Blacks? with the precise spacing control needed to produce the finest The Super Blacks. . . another quality offering from the people typography. To retain the beauty, impact and legibility of a who really care about typographic quality. typeface, special care in drawing and spacing of individual point sizes is essential... and that is AlphaSette's forte. No Alphatype Corporation other phototypesetting system on the market allows the com- 7500 McCormick Boulevard plete control over the drawing and spacing of each typeface Skokie, Illinois 60076 and every point size. (312) 675-7210 This ad was composed on the AlphaSette System. 37

*Not shown are more than 60 other faces to serve you.

G.Micholczewski - 1945 Leonard Polivka — 1946 Robert Bledsoe - 1946 Proof Press Operator Pressman Hand Compositor

Jim Vanderslice - 1949 Dorothy Berry - 1950 Joe Michalik-1951 Arthur Aguilera - 1951 Plant Superintendent Office Manager Proof Press Operator Linotype Operator

Bert Petersen - 1953 Charles Marsicek - 1954 Tony Del George - 1956 Customer Service Linotype Operator Hand Compositor

Al Garzotto - 1960 Dom Pocius - 1961 Tony Wiszowaty - 1961 Joe Wagener - 1962 Wayne Adamski - 1962 Natalie James - 1962 Steve Maggio - 1963 Soles Representative Customer Service Hand Compositor Dispatcher Typositor Operator Biller Photo-Keyboard Operator

RyderTypes, Chicago Providing superlative typography to the Midwest communications industry since 1937 Phone 312-467-7117 38

Can a great young ad agency find happiness, fame (and staff-up with talent) in a small town in New Jersey? Yes. If you're backed up by one of the best known design firms* in the East You don't have to work in the big city to be good. You just have to be good. We're a medical advertising agency. We need talented people with experience. Medical Copywriters. Art Directors who can design Doi* and visualize. If you are willing to work hard to find fame and happiness...write P.O. Box 637, 13 Watchung Ave., Chatham, N.J. 07928 Summit Communications type- cast %-- -.--:-:.-e.;,-.7------

( Ili CA 11 _,10111101givipw,

-.--- - - 101111100- 11111; .,--, - ,-.:-S-----"--- _-,c---. . - us. ,; • Sure we love good typography. But that doesn't make us typo- *Aron and Falcone, Inc. graphers. We consider good type design as essential to graphic TIFFANY SOUVENIR AVANT GARDE production as a good photograph or a good illustration. It is but one of the means by which we z< 6 99 A- achieve the results that have z N earned us an enviable reputation in corporate design, architectural 0 graphics, packaging, product development, promotion design, point-of-sale, advertising for print Add Impact To Your Advertising with "type that talks" and television, film, magazine from National Typographers design and newspaper formatting. To satisfy the needs of today's mar- The type you select for your At National you will find the OTHIC advertising can say a lot about newest and most distinctive ket place, it takes all types, work- your company and its products typefaces...lights to extrabold, ing together under one roof. We and services. outlines to dropshadows. I3S call ourselves creative marketers. RIF G Typefaces that say traditional,

3I't You can call us anything you

SE When you want your ads to conservative... aggressive, create a good first impression, Avant Garde... exclusive... like. Just call us. (Herb Lubalin, consult National Typographers. Whatever your business, Tom Carnase or Alan Peckolick.) We're first in town with the Whatever your message, latest ITC typefaces, and we National has a typeface have an experienced staff that will "talk" with taste JIHIOD ready to help you create just to your prospective customers. ottmuNtAlan74 the right look in type for your For assistance with your advertising. ,..„?,2341 next type selection call... e-AcEwYoRKNp00/6Wg6 National Typographers Inc. 7 914 Pine Street 2 St. Louis, Missouri 63101 (314) 241-8297 TIFFAN Y SOUVENIR AVANT GARDE 39

SIZE 12 FONT 1 LL 19 00 Pt 140 St 160 M ACL 89 42 LLR 0010 JSP 2 TO 08 ISA 1 LOA L 09 FS 400 TAB 00

This. the.copy.the.Cosp/Set.508

7K15.15,ft.e.cocy.the.operator , 15 ,kelyboarding.

COMP SET 500

What you see is what you set.

Introducing the Comp/SetTM 500 direct entry phototypesetter, the low-cost* unit that's revolutionizing typesetting. The Comp/Set 500 direct entry phototypesetter is Check these outstanding features the low-cost unit with big-machine power, versatility, and dependability, whose output meets the highest ❑ 4 fonts on-line standards of quality. ❑ disc change in less than one minute ❑ width programming built into type disc The Comp/Set 500 is remarkably versatile. Four ❑ 33 sizes on-line 112-character fonts on-line, 33 sizes on-line from 51/2 ❑ 51/2 to 36 point size range to 36 point with easy keyboard selection. Complete o unlimited font and size mixing font and size mixing, sophisticated formatting ❑ font and size selection from the keyboard ❑ all type base aligned capability, and top-quality output mean there isn't ❑ 45-pica maximum line length in all sizes a job the Comp/Set 500 can't handle well. High ❑ single key mortise control productivity together with low initial investment and ❑ automatic white space reduction low operating cost add up to a really exceptional ❑ automatic and manual justification machine value. ❑ controllable word space values ❑ controllable letterspace values Versatile as it is, the Comp/Set 500 is remarkably ❑ fail-safe overset prevention easy to operate because it puts all the controls where ❑ all commands displayed on screen they belong, right at the operator's fingertips on the ❑ automatic leader insertion simple, typewriter-oriented keyboard. All format ❑ leading to 991/2 points in half-point graduations data is continuously displayed on the big, easy-to- ❑ automatic last word delete ❑ read screen, along with over 500 characters of copy. *Lease payments as low as $265 complete correction ability on copy being keyboarded per month; subject to change. ❑ tab storage And there is easy correction ability on the copy ❑ data storage being keyboarded. So what you see is what you set! All the type in this ad was composed on But to fully appreciate what the Comp/Set 500 the Comp/Set 500 phototypesetter. can do for you, you really have to see it in action, and try it for yourself. Call your local VariTyper office or mail the coupon to arrange a demonstration. ADDRESSOGRAPH MULTIGRAPH VARITYPER DIVISION ❑ Please send full details on the Comp/Set 500 11 MT PLEASANT AVENUE • EAST HANOVER, NEW JERSEY 07936 ❑ Please arrange a demonstration of the Comp/Set 500 ❑ Please send a type specimen booklet name title company address city state zip 40

Over 2000 Photon Pacesetters Sold Worldwide In Less Than Three Years! 41

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PHOTO-LEITERING INC 216E455T•1Y010017•212-M112-2345 6505N 43 Look our slides thiP face Finally, a slide house that understands what a type-conscious designer looks for in on audiovisual presentation. Our trained people are experienced in all methods of phototypesetting and computerized typography for television, presentation, and sales meeting slides. We offer design assistance, the oldest computerized typesetting installation of its kind in New York, the finest in color and black & white slide production services, and excellent production schedules. The The face you show your clients in a slide presentation is important. A slide house that knows its faces can make the difference.

305 East 47th Street, New York 10017 (212) 758-5171

type to fit your layout your budget The latest in a or both! useful array The Latest ITC Faces are currently available on all our photo- of composition equipment. We also have all the Helveticas, Times Romans, Optimas, etc. etc. etc. All sizes from 6 through 24 point. original Your job is handled with the patience, knowledge and interpreta- type tion that you deserve. The result is excellent quality and fine catalogs V EIL service at a reasonable price. We are also equipped to produce fast, inexpensive keyboard display headlines. ...the MJB^ 4618 Photo Typositor is another quality service with a selection of first over 3,000 faces currenty available. All ITC FACES included. complete Make-up, Board Work, Handwork, call it what you will, we do it, showing or you can do your own. of All in All we offer you a good source of supply for all your typographic needs. We try to match this with an understanding keyboard- of what the individual client requires. We consider all our work set LETTER PERFECT. photo For any additional information, please call us. Helvetica. CONTEMPO-TYPE • LETTER PERFECT Yours INCORPORATED CORPORATION for the

377 PARK AVENUE SOUTH, NEW YORK, N.Y. 10016 asking. M. J. Baumwell, Typography, 461 8th Ave., N.Y. 10001 [212] 725-1164-5-6 44 Lista Faccia Nova (Menu of NewFaces) Here's a few of more than 100 new, hand-drawn typefaces from Italy. They're yours for the ordering. But like any Italian menu the ordering can get complicated. We want you to learn the dishes (and the types), so we've listed the Italian name in black; what it means in green (and the name of the face in red). Take your time and study our menu (and faces). When you're ready to order call Quad at 986-6262 and we'll send over fresh type faces from Italy. (You find the dishes!) wamKuoLD, ara Sarde Beccafico CLEARFACE OUTLINE SPECIAL Lobster Mariner Stuffed Sardines COOPER SPECIAL • Sparagi Parmtgiana Imbottiti ADVERTISERS Rollini di Vitella AMERICANA THICKER SPECIAL CHELTENHAM SPECIAL Asparagus Parmesan Peppers Veal Rollettes AMERICANA THICKEST SPECIAL BARRAGE CLEARFACE THICK SPECIAL Melenzana Griglia .Fewtt.e di Salmon camEconan Canacnollaran BRITANNIC THICKER SPECIAL Broiled Salrnal Steak two Hunter's Style Tycl ccon IISSy_nooR PALERMO CONTOUR BRITANNIC OUTLINE SPECIAL Carciofi Siciliana Oiconia fina Agliaba Ilignolata-Strufoll BASKERVILLE THICK SPECIAL l Stuffed Artichokes DandeDbn ath Oa Olo 1111p-kit Clusters BASKERVILLE THICKEST SPECIAL Fritelli di Patate Capone Fritto Pallottole D'Aranci KABEL LIGHT STENCIL SPECIAL KABEL BOLD SPECIAL Potato Pancakes Fried Eels ©Tliig _o KABEL BOLD STENCIL SPECIAL KABEL OUTLINE SPEC IAL Sfingedi San Giuseppe cofin aggs ROMANA THICKEST SPECIAL pigato di Vitello HAPPY SID OUTLINE St. Joseph's Cream Puffs Broiled Calves Liver PERPETUA THICKEST SPECIAL Saltimbocca Romana Zuppa di Pesce AMERICANA THICK SPECIAL cp.,bnant am Nam PRIMUS FLEX SPECIAL Chopped & Ham SP Squid withWine Sauce Seafood Combo TRUMP THICK SPECIAL Polenta con Sugo BRITANNIC THICK SPECIAL PoPolmbottito Lumache Siciliana Lalian Corn Bread KNIGHT GAWAIN SPECIAL Chicken @A* SildIhn EGYPTIAN TREED Salsiccia alla Griglia PERPETUA CONDENSED SPECIAL Bistecca Pizzaiola Pesca Con Vino Russo GOODY THICK SPECIAL AMERICANA CONDENSED SPECIAL Broile OCana wd.cHaTCommcc, N E E d Sausage Fish with Red Wine BRITANNIC CONDENSED SPECIAL lagecala alla Firenze Agnello con Riso pg TioTorEtmo ADVERTISERS GOTHIC BOLD SPECIAL OPEN Ch e e se Lamb with Rice H LVETICA CUR OUTLINE SPECIAL ADVERTISERS GOTHIC MED. SPECIAL AnItra alla ArancIa Pasta e Callaka@ @ Pee@ BODONI FANCY MODERN SPECIAL ROMANA OUTLINE SPECIAL Roast Duck with Oranges Sea Shells & Potatoes Macaroni with Beans Trippc on Limo ROMANA THICKER SPECIAL CLEARFACE THICKER SPECIAL NG GLASS CONDE NSED Forno PC/IliCi al Forno Lasagne at WEISS THICKER SPECIAL Tripe with Lemon LOOKING fffi BAKEDSAXON NOODLES WEISS OUTLINE SPECIAL ge Polio in Umido GOODY THICKEST SPECIAL Fritts* diRuretchi LIMITED Sicilian Chicken Stew DASHOW SHADOW GOWN THICKER SPECIAL Fried RO9 Legs Tpmato Pie DASHOW MEDUM Frittata di Cipolla FUTURA NEON DEMI BOLD SPECIAL SpaQhEtti alla Carbonara May II n o Arrostito ADVERTISERS GOTHIC LITE SPECIAL

Milan (Ands? SPaghea Roasted Suckling Pig FUTURA NEON OUTLINE SPECIAL wllth Pa* ADVERTISERS GOTHIC OUTU NE SPECIAL

216 East 456St.

QuadWINKLE BOLD CONDENSED Typ Inc:

If you are lucky enough to work in Fun City, write or call for a free, 3-color (18x24) poster. 45

me We are delighted with the response that we As a leading manufacturer of display photo have received from our typographic adver- typesetting equipment and a major producer tising in U&lc which indicates a new typo- of film alphabets, Visual Graphics is quite got ag est graphic market for our fonts. naturally interested in reaching as many Mike Parker people as possible who buy and use quality Director of Typographic Development typography. Mergenthaler Linotype Company Judging from the many comments and tosn are letters I have received, plus feedback from our sales force, our advertising in U&lc has been right on target. You've got a most a ertisers impressive, informative and interesting It is a pleasure to be associated with a pub- publication. It is a real fine contribution lication that has such high standards of to the advancement of the typographic arts. Since our first issue of U&/c, the editors editorial, design, and advertising quality. have been virtually flooded with letters of We look forward to not only seeing future Eli Barry acclaim, encomiums, panegyrics, and just issues but also to being a part of U&lc as an Manager, Marketing Communications plain pats on the back. advertiser for Lettergraphics and Photo- Visual Graphics Corporation What has been particularly gratifying Vision of Ca., Inc. has been the unsolicited kudos received We wish you continued success and growth from our paid advertisers — large and small with this much needed publication. —who have found U&lc to be the best W. Paul Bailey, President In all of the 29 years I have been advertising medium for promoting their businesses to Lettergraphics International, Inc. in printing publications never have I received the graphic arts user. They give us not only as many inquiries as from my advertisements praise but first-hand evidence of the in U&lc. enthusiastic response their advertising has M. J. Baumwell, President drawn from potential customers. My heartiest congratulations to you and all M. J. Baumwell,Typography Here then, untouched by editorial hand, who contributed to U&lc. As an interested are just a fistful of words from these reader, I enjoyed it thoroughly As an adver- advertisers, which we blushingly reproduce tiser, I am delighted daily by the quantity for your edification. Read them and reap. and quality of the responses we have As you know, Frederic Ryder Company has received. been a regular advertiser in U&lc since its James W. Lindsey, Art Director inception, and we intend to continue to Zipatone, Inc. advertise in every issue. We've always wondered why with the number It is the best medium we know for pro- of publications in the graphic arts field, there moting our business to the typographic user. have been none devoted to type. Now you've We hope U&lc gets bigger and better. done it, and done it well. Congratulations on giving us what promises to become the You're not going to believe this — and I can Harry Verploegh definitive authority on type. scarcely believe it myself, even though the Chief Executive Officer figures are right before my eyes —but of all Frederic Ryder Company Andrew H. Sackerman the media in which we advertised subscrip- Advertising Manager tions to AVANT-GARDE—from THE NEW Varityper Division YORK TIMES to THE SAN FRANCISCO Addressograph-Multigraph Corporation CHRONICLE to TIME MAGAZINE—the Along with these advertisers are more one that proved most efficient, that produced than 80,000 people in the graphic arts who the lowest cost per order, was your own are reading and reacting to our paper. If little U&lc. you feel that your company — large or small We, at Alphatype, are delighted with the Ralph Ginzburg, Publisher —might want to share in reaching our reception U&lc has received throughout the Avant Garde Magazine ever-expanding readership, please send graphic design and advertising industry. for our rate card. It tells the whole story in It is especially gratifying to us since our a nutshell, and we think you'll see that only interest (like U&lc) is furthering the U&lc can be as good for you as it has been appreciation and importance of typo- I would like to express my delight and for them. graphics. It's about time the single most Let's hear from you. important element in graphic communica- pleasure with the amazing response to our tions has a vehicle for communicating. ad that appeared in U&lc. We look forward to U&lc's continued The magazine is superb and the reader- growth—to learning from it and to support- ship is obviously interested in the contents. ing it. Congratulations on a superb job. Donald Hase, Vice President Irwin Rothman, President Alphatype Corporation Pioneer Moss 216 East 45th Street, New York, N.Y. 10017 46

This is a book shop that comes to you. It brings you the new ideas, the newest and the best of graphic solutions to com- munications problems, and the latest and most useful information on new technologies, meth- IXIDK the commentary revealing the 1 06—Packaging A practical workbook for the ods and materials that mind and spirit behind the By Robert G. Neubauer graphic designer including you need. Every book work, revealing artist-to-client A definitive study of the art complete showings of key relationships, the problems of packaging.Tells how to typefaces. All characters listed here was carefully behind the solutions.This is make the package a more shown— caps, lower case, reviewed by Wyk editors a book for all seasons— for effective means of communi- figures, special characters, browsing, for thinking, for cation,analyzes current trends, punctuation marks. Each text SHOPand selected from all those available to offer you the swipe filing and for inspiration discusses elements required size set solid and leaded. Con- in the best sense of the term. to make the package sales tains an informative history of best of the current crop and coverage of a wide range 242 pgs.101/2 x 101/2. the origins and current status of subjects. Special offer: Order The 53rd Art Directors $30.00. of typography. 406 pgs. 81/2 x 11. $18.95. Annual (book #101, regularly $25.00) and any other "103— Production for the Graphic Designer 109—Lettering and book and pay only $20.00 for The 53rd ADC Annual. By James Craig Lettering Display Written by a designer for the By William Mann designer. Covers typesetting, A fascinating range of printing, paper, inks, binding/ unusual styles. Not a how-to folding/imposition, and prep- book but rather a source of aration of mechanicals. A visual joy and a stimulus to basic fact book. Glossary of 1100 entries. Paper section

effective, describes character- istics and functions of many kinds of packages. 208 pgs. 83/4 x 103/,. 253 b/w photos, 33 color. $20.00.

#107—Publication Design creating letters with a flavor By Allen Hurlburt appropriate to the message. A guide to page layout, Showings drawn from print typography, format and style media, folk art, entertainment, IN THE WNTEROF1974 by an internationally recog- industry and architecture. 128 ART DIRECTORS, COPY 96 pgs. 10 x 7. 32 color __' WRITERS AND GRAPHIC lists papers by generic names, pgs. 130 halftones. $7.95. DESIGNERS SPENTATOK describes their characteristics OF523D HOURS JUDGING and uses.Type specimens. An "110—Letter and Image 103ED PIECES OF DESIGN excellent table of comparative By Massin AND ADVERTISING. ONLY typesetting systems. Bibliog- A comprehensive anthology 1059 WERE CONSIDERED raphy index. showing how man has used GGDD ENOUGH Tc ? GET 208 pgs. 81/2 x 11. Over 400 letters as pictorial symbols INTO THIS BaDIi;,,,, zrib.}y, illustrations. $18.50. since ancient times for com- munication or decoration or in #104 and #105— fine art. Much fun to look at, Trade Marks & Symbols By Yasaburo Kuwaya ma Volume I shows over 1500 alphabetical designs from T ER around the world. Indexes list #101—The 55rd Annual of Advertising, Editorial and company names, type of in- nized authority. Basic ideas \ I) Television Art and Design with the 14th Annual Copy dustry, product or service, and and current techniques of top Awards. A complete visual record of the most impor- designer. Historical review of designers as well as the MAG E process of publication design tant competition in the communications arts, The One by Ulf 0111 with full coverage of the design Show, a joint effort of the Art Directors Club and the elements; a technical section Copy Club of New York. The 1100 entries include the Art on color, typography and pro- Directors Gold Medal awards and the Copywriters Gold duction technique and a Dll SN Key awards. Categories include print, radio and TV history of magazine design commercials, editorial, covers, sales promotion and from the 1920's on. graphic design, art and photography, film and televi- 138 pgs. 8 3/4 x 91/2. $16.95. the 1106 illustrations grab sion. An essential encyclopedia and reference tool and you. Unique collection of a rich source of ideas and inspirations, beautifully imaginative letter designs designed and produced. 750 pgs. 81/2 x 11. $25.00 from all ages. (Special offer: When ordered with any other book in 288 pgs. 81/4 x 101/2. $20.00. the UGIc Dook Shop, $20.00.) 111—Graphic Arts Manual marks in the West and in Edward M. Gottschall,

. #102 — Executive Editor 411.1Vi 64aS5ER Milton Glaser Japan, their varieties, roles, 61,11,HIC 01:AN Graphic Design formative components. Vol- Michael Bruno, Paul Doebler, By Milton Glaser ume II is similarly indexed, Editorial Consultants One of the year's most beau- reviews changing of marks This is the most complete, tiful and meaningful books. with the times, similarities, most up-to-the-minute, most Mr. Glaser's excellence design competitions, and authoritative, most useful covers a broad spectrum of illustrates over 1500 symboli- compendium of information techniques and media. All this cal designs in 25 categories. on all phases of graphics arts is reflected in the book where Each volume 7 x 10, 228 pgs. production.Top authorities on you really mingle with both the No. 104—Vol. 1 Alphabetical typography, art and copy man and his work.Yes, there Designs $9.95. preparation, photography and are 247 b/w plates and 97 in No. 105—Vol. 2 Symbolical processing, platemaking, color. But more to the point is Designs $9.95. printing processes, binding, 47

finishing methods, paper and or agency, field of activity the year's best in advertising out its coverage of advertise- book jackets and albums, processes; tabulations, time other printing surfaces, and 3000 pgs. $135.00. conception, graphics, editorial ments, annual reports, calendars and packaging, as inks make this a unique design, art and photography, booklets, book jackets and well as the primary advertising, reference work. Back-of-book *114—The Corporate television and cinema advertis- promotional and publishing Search for Visual Identity ing, television and cinema media. By Ben Rosen graphics. 500 b/w 248 pgs. 91/2 x 12. $33.00. graphs diagrams A comprehensive and pene- photographs. trating analysis of corporate 360 pgs. 81/4 x11'/2. $29.50. *120—Graphis Posters 74 Ed. Walter Herdeg 917— European An exciting cross-section of Illustration '74 poster art around the world. Ed. Edward Booth-Clibborn Beautifully produced, fully Showcase for the talents of indexed. Covers work from 37 leading artists/illustrators in countries. Includes posters European publishing and used for advertising, cultural communication. Covers book, tables; cartographic diagrams, decorative maps, diagrams as design elements. Graphis Diagrams is inter- matter includes bibliography, magazine covers, film and national in scope. It is the only index, classified source of television, letterheads, etc. book on the subject of supply directory, data on 244 pgs. 91/2 x12. $37.50. diagrammatic graphics. 268 trade practices and legal illustrations, 86 in color matters, and more. #119—Photographis 74 184 pgs. 91/4 x 9 3/3. $24.50. 850 pgs. 81/2 x 11. Pre-pub. Ed. Walter Herdeg through May 1, $33.50, *122—Graphis Record Covers This is the international Ed. Walter Herdeg Reg. $43.50. symbolism. Explains the annual of advertising, editorial, graphic thinking behind pack- promotional and television A survey of record art from its #112—Calligraphic ages, interior design, display, early stages to the present. Lettering, 3rd Ed. logos, etc. of 15 top corpora- Starts with the pioneers, moves By Ralph Douglass tions and tells why each is events, social and decorative through the 1950's, the eras A basic introduction to the highly effective. purposes. 259 pgs. 9 x 12. 250 240 pgs. 91/2 x 12. $27.50. illustrations. $20.00. advertising, television, cinema #121—Graphis *115—Graphic Design Manual and design. Shows 350 sub- Diagrams-1974-75 By Armin Hofmann jects, 40 in color. Ed. Walter Herdeg A methodical approach to 224 pgs. 9 x11. $36.50. A new Graphis book for the design problems taking the designer who needs to solve reader beyond the pictorial #118 — Graphis Annual diagram problems with idea to a definitive graphic 74-75 imagination as well as clarity. Ed. Walter Herdeg It is a survey of proven T4h.Dogglaz A beautifully.presented col- techniques for combining GRAPHIC lection of the best advertising DESIGN legibility of information with MANUAL and editorial graphics from all photography. In the Graphis ethically satisfying solutions. over the world.This 23rd tradition, beautifully produced Covers statistical, comparative ,natoon-guptill pubUc3tions edition features 947 illustra- and fully indexed. Photog- diagrams such as charts, of jazz, light music, pop/rock/ tions with 64 in full color. Fully raphers from 25 countries are graphs, tables; flow diagrams, beat/ and miscellaneous tools, techniques, historic and indexed. Its stepped up cover- represented. Covers a wide organization and time charts; records. 44 pages in color contemporary styles. All hand age of editorial design rounds rangeof applications including diagrams visualizing functions, 192 pgs. 91/4 x 9%. $21.50. lettered. Spiral bound. 112 pgs. 7/8x7 101/4. $6.95. To order any of these books, complete the coupon below or a copy *113—Top Symbols and of it and forward it with your check to the address below. Trademarks of The World mmummmmummmi ■■■ =wimmum Ed: Franco Maria Ricci, Corrina Ferrari LIC71c Book Shop form language. Progresses A huge collection of some 216 East 45th Street 5000 marks in over 3000 from rudimentsto complicated I New York, N.Y. 10017 processes, providing sound foundation upon which a Please enter my order for the books whose numbers are circled below: personal style can be built. 101 102 103 104 105 106 107 108 172 pgs. 81/4 x 91/44. $12.95. I 109 110 111 112 113 114 115 116 *116— Design and 119 120 121 122 Art Direction '74 117 118 This is the 12th Annual of Enclosed is my check for $ All orders will be shipped postpaid. No COD's. New York British graphics. A record of residents add soles tax. Shipments out of the United States, add 5%.

NAME pages. From 30 countries, they represent the work of over 1200 designers.This seven volume set features ADDRESS yearly update supplements. I I Each section features intro- duction by such leading design critics as George Nelson, I CITY STATE ZIP I Burton Kramer, Colin Forbes, Please Print Pieter Brattinga, others. Indexed by designer, studio L- MMIEMMI111.11= M MI Il= ..1 M MMI • •

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