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SEEDY, TAWDRY, SPECTACULAR TIMES SQUARE, -,11,..••■■■•••■ IRON CLAD CHARACTERS AND THE LETTER T

REPUBLICRAT PARTY PRESIDENTIAL CANDIDATE STUMP SPEECH, MIXING TYPEFACES AND WHAT'S NEW FROM ITC ay what you will about the French, they do have style. And they express it. In everything from fashion and cuisine to how they hold a cigarette. Introducing In the 18th century, that sense of style was captured forever in black Didot. and white by a prolific family of A spirited printers named Didot. Working from a print shop in translation the Louvre, they released a of a magnificent series of books in French . limited editions of 250. The typefaces they designed classic. were uniquely French inter- pretations of the classical style then sweeping Europe. Classical letterforms exhibit strong contrasts between vertical elements and By the serifs. And rapid sweeps from light to heavy within each letter. master To add the Didot name to the himself, Linotype Library® we turned to the Adrian consummate European typographer, Adrian Frutiger. In a Frutiger. long, exclusive relationship with Linotype-Hell, M. Frutiger has created many very successful faces, including Univers,c) Frutiger® and Linotype Centennial:3 For his new design, aptly named Didot,® he sought inspiration in the historic print "Henriade," set in 1918 in the original Didot alphabet. Noting that Firmin Didot used a slightly bolder, more condensed design for his titles, M. Frutiger created a headline version for Linotype larger sizes. He also avoided italics and boldface for larger sizes, since neither was evident in Didot's alphabets. Li3RagY The result is an enchanting alternative to the Bodonis, with a Honest faces. certain je ne sais quoi. Didot is now available for all PostScript® applications from your Linotype-Hell Authorized Business Partner. For the name of one near you, and to receive free specimen sheets of Didot, call 1-800-842-9721.

• • This entire ad was typeset in the Didot family, a new release from the Linotype Library. ••.••.••...•.•••.•.•.....•.•..•.•.••••.•..•...••.••...... •• AAA A AA A A A A AA A AAA A A AAA AAA A AAA AAA A A AA AAA A A A A AA AAA A AAAAAA AA AAA A ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz Linotype Library, Linotype-Hell, Didot, Univers, Frutiger and Linotype Centennial are registered trademarks of Linotype-Hell AG and/or its subsidiaries. PostScript is a registered trademark of Adobe Systems Incorporated. 2 Circle 209 on Reader Service Card Seybold San Francisco is the annual event that drives and defines the computer publishing industry. SSF offers the experience, education and enlightenment that you need if you use computers to communicate- whether you're in Chart your own course with the world-renowned program newspaper production, magazines, books or newsletters; that defines and debates the critical issues, serves as the advertising, design or type; documentation, training, print- launch pad for dynamic new technologies in communication ing or service bureau operations; or even multimedia or and showcases the breakthrough ideas of the brightest desktop television. Amidst the challenges and opportunities minds in the industry. created by changing technology, this is the place to be to get your bearings on the future.

Call 800-777-6650 or 310-457-8500 for the complete event brochure. Or download it from the Seybold boards on Select from 24 high-quality practical courses that provide AppleLink and ZiffNet on CompuServe. what you need to know fast. In less than a day, you'll be up-to-speed and back at work with an informed perspect- ive. Course topics range from color publishing basics to desktop video production.

More than 250 companies will be participating in the most dazzling display of design, prepress and multimedia September 22-25, 1992 products anywhere in the world. Get hands-on demos in Moscone Center • San Francisco, CA Gutenberg's Garage, see The Seybold Gallery, and have your questions answered at The Doctor Is In and during a series of free Vendor Tutorials.

Circle 258 on Reader Service Card 3 Announcing for designers: new typefaces from all the important foundries around the world as they are being released, now in one convenient quarterly publication.

Now you can have your own private showing of the latest new typefaces from the industry's leading foundries and designers — all in one convenient, fully-indexed reference. It's called The ITC Directory of New Typefaces. Each quarterly issue brings you no less than 25 new Type Specimen Pages as the typefaces are being released. Over time you build a substantial directory, creating your own personal reference to new typefaces and how to access them. In addition, you'll find interesting feature articles about type design, information and news for designers and the type community. Special Premier Issue and Charter Subscriber Offer available for a limited time only. So return the coupon below or call today.

4. 200 point version of the Each Type Specimen Latienne'" Page shows you: 18/20 ROMAN first letter of the name of the ABCDEFGHIJKLMNOPQRSTUVWXYZ / typeface for the design features, plus helps you file (-D abcdefghijklmnopqrstuvwxyz and find easily 1234567890;',./!?@#$%& * 00+:""

18/20 ROMAN ITALIC ABCDEFGHIJKLMNOPQRSTUVWXYZ Weights and versions in the 1. Alphabets and a 5. selection of symbols abcdefghijklmnopqrstuvwxyz / font family 1234567890;',./!?@#$%SeW0+:""

18/20 BOLD 6. Name of the typeface designer and date ABCDEFGHIJKLMNOPQRSTVWXYZ TYPEFACES IN THE FAMILY The Latienne family has a total of 14 type abcdefghijklmnopqrstuvwxyz faces: Roman, Roman Italic, Medium, Medium Italic, Bold, Bold Italic. SC Roman, SC Roman Italic, SC Medium, Swash Caps 7. Technical specifications and 1234567890;',./!?@#$%&*()0+:"" Roman Italic, Swash Caps Medium Italic. Swash Caps Bold ttalic. data (Mac and/or PC formats) 18/20 BOLD ITALIC DESIGNER

Mark Jam ABCDEFGHIJKLMNOPQRSTUVWXYZ Released by Elsnerr-Flake Fontinform GmbH abcdefghijklmnopqrstuvwxyz in 1990 TECHNICAL DATA 8. Foundry and where you can 1234567890;',./!?@#$%&1)0+:"" Latienne was designed as a very full family get the typeface to be used for a wide variety of typographical applications—text to display. It is complete with a full range of Oldstyle figures, / 2. Text blocks of 0 TEXT BLOCKS/FAMILY STYLES 10 POINT TEXT/ASSORTED LEADING Small Caps and Swash characters. SOURCES individual weights 10/12 Latienne Roman 10/10 FontHaus is a valuable resource for any- FontHaus is a valuable resource for any- Latienne is available at: 9. Highlights the most and versions FontHaus Inc. 15 Perry Avenue, A7 one who uses type. As an international one who uses ty e. As an international vendor of P cript fonts, we work Norwalk, CT 06850 distinctive characters to make within the family ----- vendor of Postscript fonts, we work 800.942.9110, 201846.3087 close) designers, publishers and Fax 201849.8527 it easier to identify and match closely with designers, publishers and raphers who seek the best in typo- typographers who seek the best in SPECIAL IDENTIFYING CHARACTERISTICS/ this typeface OF TYPEFACE DESIGN 10/12 Latienne Roman Italic FontHaus is a valuable resource for any- FontHaus is a valuable re ce for anyone who uses type. As an international AGJKQWSX one who uses type a n international vendor of Postscript fonts, we work aefgijklrtw vendor of Po ript fonts, we work closely closely with designers, publishers and 10. Output device and with t gners, publishers and typogra- 1 2 4 5 6 9 & resolution in DPI for this Type rs who seek the best in typographic 10/13 FontHaus is a valuable resource for any Specimen Page 3. Text blocks to show PRE-PRESS PRODUCTION NOTES ./..---****. 10/12 Latienne Bold one who uses type. As an international varieties of leading FontHaus is a valuable resource for vendor of Postscript fonts, we work The repro for this specimen sheet was pre pared as a Ouarldrpress document and out- anyone who uses type. As an inter- closely with designers, publishers and put from a Linotronic imagesetter at 1270 national vendor of Postscript fonts, DPI on RC Photopaper . we work closely with designers, 10/14 publishers and typographers who FontHaus is a valuable resource for any seek the best in typographic prod- one who uses type. As an international vendor of Postscript fonts, we work 10/12 Latienne Bold Italic closely with designers, publishers and FontHaus is a valuable resource for Participating Distinguished anyone who uses type. As an interna- 10/15 tional vendor of Postscript fonts, we FontHaus is a valuable resource for any ITC DIRECTORY OF NEW TYPEFACES Foundries include: Advisory Panel 0 PREMIERE ISSUE. VOLUME 1 NO 1 work closely with designers, publish- one who uses type. As an international ©1992 McKinney Marketing Group, Inc ers and typographers who seek the vendor of Postscript fonts, we work Adobe Systems Inc. Ed Benguiat best in typographic products and ser FILE ALPHABETICALLY UNDER SERIF TYPE Agfa David Berlow closely with designers, publishers and Applied Arabic Ltd. Colin Brignall Bitstream Inc. Karen Brooks Carter & Cone Type Inc. Steve Byers Casady & Greene Inc. Robin Casady Here's what you receive as a Charter Subscriber to Elsner & Flake Ed Cleary THE ITC DIRECTORY OF NEW TYPEFACES: Emigre Mike Daines Esselte Letraset Ltd. Veronika Elsner 1. 4 Quarterly issues with new Type Specimen Pages from the world's FontHaus Inc. Dave Farey leading manufacturers and foundries FontShop Gunther Flake 2. Free subscription to x-height magazine — an $18 value The Font Bureau Allan Haley International Typeface Corp. Cynthia Hollandsworth 3. Free Binder to organize your Directory Linotype-Hell Co. Zuzana Licko 4. Special information for designers, news and reviews for the type MetaDesign Peter Rosenfeld community Panache Mark Solsburg Charter Subscriber Double Guarantee Photo-Lettering Inc. Erik Spiekermann 5. Stone Type Foundry Inc. Sumner Stone • Guaranteed the lowest renewal rate available, in perpetuity URW Kevin Wandryk • 100% Money-back Guarantee, in perpetuity, for the unused portion of your subscription 4 AZEZIJKLIANOKI25TUVWXY2 olx•defpngklmnpprstuw, ZCTEFGHUKLIANOPQRSTIAMMI ° THE ITC r7-11507090. poxsvP0 -• " mpgrsarwxy ARCIENIZOINPIISTIRWIYI 234567890, DIRECTORY ABCO2581021014120176273727219,277 abaletAklmnopqrslut5n722 abcdefghijkliniopptimp kap Z;(7570111781.18N014283701M1VM 1234567890 /40$‘14•0-, • • 6.08100 66611406939474 OF NEW 1211561890:..MSVCr 1294567SW, P4.580- ;171ZO7711;61.11■1101WrIVIIM72 TYPEFACES ..40:60111.11(1/MORNISTUVWX17'." 1 MS67119 OrdlOrta..0- , OCD061=0.10101.112$70•117117 =7.9.7565.— TYPOGRAPHY typographyi LGRUIELUINFORMA... ;;;;F PREMIERE LSSUE .....Onsammars VOLUME 1 N0.1 amenger../maxwo-..-• iiiPiGIAPHY IS typography is t SERF PIPE iirapkyistheres GQN

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Well-Indexed. 6 separate indexes. ITC Lubalin Graph Condensed®. ATF Raleigh Gothic®. ITC Syndor®. New typefaces listed alphabetically This update service provides more Directory makes your job of Feel confident you know more and separately within the following than 100 interesting new Type finding interesting new typefaces about what's available — before categories: Serif, San Serif, Script, Specimen Pages like this each year. easier. the competition. Decorative. Even an index by designer. 8 benefits of this industry-wide 0 THE ITC DIRECTORY OF NEW TYPEFACES New Typeface Update Service PREMIER¢ ISSUE VOLUME 1 NO 1 1. Makes your job easier Serif, Script, and Decorative. This service sends you visually informative .2.4480•0546 Type Specimen Pages as foundries around 5. Always Current fa. the world release the new typefaces. So you ac +row., Best yet, your directory is always current 4.03.nisnus have new and interesting typefaces — right because you receive quarterly updates that • at your fingertips. include new typefaces and new index pages.

New Typefaces – Plus Extras. 2. Keeps you informed of new 6. FREE Binder No less than 25 new releases every typeface releases issue, plus news and reviews of This handy 3-ring binder is yours if you design and font related programs, Every issue adds to your Type Specimen respond now. It will protect your Type new printer output devices, and Page collection. In addition, there's news Specimen Pages and keep them organized, interesting designs with new type. about new font related software, new out- so you can quickly and easily find what you put devices, and interesting examples of need. designing with type by today's top designers. 7. FREE x-height subscription — $18 value 3. You can be confident you are building Interesting features on type design for the the most complete resource entire type community, with answers and This is the only industry-wide update service solutions to design issues in dealing with for the entire type community. It's your electronic type, from loading fonts to design- official guide to the best new typography, ing your own typefaces. and makes it easy to access what you want for your work. 8. Charter Subscriber Double Guarantee 1. You are guaranteed the lowest renewal 4. Handy indexes help you find what you rate available, in perpetuity. need quickly 2. You have a 100% Money- back Guarantee, FREE — x-height Magazine. 6 indexes include alphabetical listings of new in perpetuity, for the unused portion of Phil Gaskill, Sumner Stone, typefaces by Name, Designer, Serif, Sans your subscription. Robin Williams, Allan Haley, Cynthia Hollandsworth and others write about selecting and using type on the computer. Packed with answers and solutions. Premier Issue and Charter Subscription Form ❑ Yes, please send me the Premier Issue and the next 3 quarterly issues of THE ITC DIRECTORY OF NEW TYPEFACES for the Charter price of only $75. I understand I save $45 off the regular subscription rate. I further understand that as a Charter Subscriber, I can always cancel at any time for any reason and receive a complete 100% refund for all unmailed issues. In addition, as a Charter Subscriber I am guaranteed the lowest renewal rate available on the THE ITC DIRECTORY Directory, in perpetuity, as long as I am a subscriber. OF NEW TYPEFACES Please check the appropriate boxes: Name Title (Please print) ❑ Check enclosed Company ❑ Please bill my credit card ❑ Visa ❑ MasterCard Address

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Cut along the dotted line and mail today to: UL- 1 FREE Binder. Store your Type Specimen Pages alphabetically Expiration Date MMG Directory of New Typefaces in their category so it's easy to c/o International Typeface Corporation integrate the new faces every issue 866 Second Avenue — and you can quickly Signature New York, NY 10017 find the type you want. All payments must be on U.S. banks only. All orders Or call today 1-800-634-9325 (9:30 – 1:30 PM EST) outside North America please add $18 for shipping. Or FAX your order to 212-752-4752

Circle 271 on Reader Service Card 5 IN THIS ISSUE

MESSAGE FROM ITC 6 MESSAGE FROM ITC ITC supports the ATypl anti-piracy campaign. Software Piracy: 7 THE LETTER 'T' ATypI Responds The 20th letter is simply complex. 8 SEEDY, TAWDRY, SPECTACULAR TIMES SQUARE Steven Heller shares his memory and vision of this historic area of New York City. 12 N A FRIDAY AFTERNOON, you are sitting in your graphic TDC 38: TYPOGRAPHIC EXCELLENCE design studio working on your latest project on the com- This year's Type Directors Club winners. puter. Although the concept of the design is working, you 18 aren't happy with your choice of typefaces. You start flip- ping through the nearest type catalog and find exactly what would work. ARTS & LETTERS You could pick up the phone, have your supplier send it to you overnight, Letterpress is kept alive and well on two coasts by Purgatory Pie Press and Independent Project Press. and have another typeface or type family in your collection. Instead you pick up the phone, call another designer who has the typeface, send a mes- 22 senger over, then copy it for your use. BODY TYPES What's wrong with this picture? You have, unwittingly, deprived the peo- Seymour Chwast talks about his work to Karen Chambers. ple who created and produced your new typeface of the primary compensation for their efforts. In response to this common, casual purloining 26 of intellectual property, the leading international organization of type FY(t)I: NEVER MIX, NEVER WORRY professionals has initiated a campaign to combat font software piracy. Allan Haley demonstrates the art of mixing and matching type by using guidelines ATypl (Association Typographique Internationale), the international orga- and old-fashioned intuition. nization for type manufacturers, designers and educators has devised a 29 strategy to sensitize type users to respect and protect the creative work WHAT'S NEW FROM ITC of type designers. The ATypl three-point program includes a definitive ITC Ozwalcr ITC Mona Lisa Solid" and ITC Stone Phonetic:" policy statement against piracy, an information and awareness campaign from ATypl member corporations and a commitment to penalize those 34 who ignore the legal ramifications of illicitly copying software. THE ALL-PURPOSE 1992 REPUBLICRAT PARTY PRESIDENTIAL CANDIDATE This ATypl unanimous response for fighting piracy comes at a time STUMP SPEECH when the theft of type software is a major issue; research shows that font Satirist Tony Hendra sums up the political state of the nation. software packages are illegally copied anywhere from six to 20 times each. 36 This could be the death knell to an industry which is dedicated to produc- ing typefaces and is dependent on the sale of font software for its survival. IRON CLAD CHARACTERS The type designers and manufacturers who have made desktop pub- An unusual wrought iron gate in London. lishing advances possible, who have provided the typefaces for the current 37 electronic revolution, who have democratized type so that many more peo- SMART FONTS OF THE FUTURE ple the world over have access to typefaces have had to face the fact that With Apple's new type platform, good typography will soon be automatic. often these typefaces are not purchased. They are in too many instances stolen, which cheats every single person involved in the creation of type. 38 We at ITC, a leading source of typeface designs, wholeheartedly sup- TECH TALK port this initiative. As Mark J. Batty, president and CEO of ITC and vice What's new in equipment and programs. president of ATypl states: "When font software is copied to give away or resell, the designer of the typeface is not properly rewarded for its crea- 54 tion. Consequently the incentive to design and produce new typefaces ITC CENTER decreases. This is especially important in 1992 when the theft of type soft- Exhibit news and a preview of the next student design competition. ware is a major issue due to increasing, widespread abuser This ATypl Font Software Anti-Piracy Initiative is a total intensive indus- THE DESIGNERS try response to a violation of professional ethics: illegally copying font International Typeface Corporation would like to thank Seymour Chwast and Greg Simpson of The Pushpin Group, Inc., New York, for the design of this issue of U&/c. software is wrong—morally, ethically and professionally. The ATypl Software Anti-Piracy Initiative is designed to raise awareness COVER DESIGN: Seymour Chwast of this crucial issue. The policy statement which has the endorsement of the entire organization states: "The use of a package of font software is governed by a license agreement. When font software is purchased, the rights the user has licensed do not include the right to make unauthorized copies of the type design or the font software that embodies the design. If copies of the font are made to give away or resell, everyone involved in the creation of the font software, including the typeface designer, will be prevented from being properly rewarded for the hard work involved in its 1 1 VOLUME NINETEEN,4 NUMBER THREE, FALL 1992

creation. This could discourage the creation of new typefaces, hinder font EXECUTIVE PUBLISHER: CHARLES M. WILHELM software development, and reduce the ability of manufacturers to make EDITOR: MARGARET RICHARDSON MANAGING EDITOR: JOYCE RUTTER KAYE new products available!' EDITORIAL DIRECTOR: ALLAN HALEY Designer and ATypl member Roger Black pointed out recently that CONSULTING EDITOR: EDWARD GOTTSCHALL when desktop publishing began a few years ago, graphic designers took GRAPHIC DESIGN: THE PUSHPIN GROUP, INC. ART/PRODUCTION MANAGER: JANE DI BUCCI an experimental and laissez-faire approach to collecting and using type- ART/PRODUCTION: CLIVE CHIU, JAMES MONTALBANO, SID TIMM

faces. Today, the piracy problem has escalated because the majority of OPERATIONS: REBECCA L. PAPPAS publishing companies are converting to desktop systems. This is the time, PUBLIC & MEDIA RELATIONS: SHARON BODENSCHATZ SUBSCRIPTIONS: ELOISE A. COLEMAN he suggests, for art directors and designers to "legitimize" their array of ADVERTISING SALES: CALHOUN & ASSOCIATES typefaces by arranging, for example, multiple use licensing agreements (404) 594-1790 FAX: (404) 594-1849 for all the typefaces being used at their publications. © INTERNATIONAL TYPEFACE CORPORATION 1992. U&Ic (ISSN 0362 6245) IS PUBLISHED QUARTERLY BY INTERNATIONAL TYPEFACE CORPORATION, 866 SECOND AVENUE, You who are reading U&tc are users of font software. What should be NEW YORK, NY 10017. ITC IS A SUBSIDIARY OF ESSELTE LETRASET. U.S. SUBSCRIPTION RATES, $30 FOR your response to this crucial issue? Respect the creative talents of the THREE YEARS; FOREIGN AIRMAIL SUBSCRIPTIONS, $60 U.S. FOR THREE YEARS; U.S. FUNDS DRAWN ON U.S. BANK. FOR ADDITIONAL INFORMATION CALL (212) 371 - 0699. SECOND-CLASS POSTAGE PAID AT NEW YORK, NY type designers who have provided you with your ever-growing choice of AND ADDITIONAL MAILING OFFICES. POSTMASTER: SEND ADDRESS CHANGES TO typefaces. Support the industry which has made possible the availability U&Ic, SUBSCRIPTION DEPARTMENT, 866 SECOND AVENUE, NEW YORK, NY 10017. of myriad fonts. Control the blatant pirating of font software by acknowl- ITC OPERATING EXECUTIVE BOARD 1992 MARK J. BATTY, PRESIDENT AND CEO edging the licensing agreement included in your software packaging and ALLAN HALEY, EXECUTIVE VICE PRESIDENT by adhering to it. Talk to your colleagues and professional organizations MAUREEN A. MOCKLER, CONTROLLER CHARLES M. WILHELM, DIRECTOR, CORPORATE COMMUNICATIONS about the the anti-piracy campaign. LAURIE BURNS, DIRECTOR OF CORPORATE RELATIONS AND EDUCATION We ask that as users of font software you should treat these typefaces ILENE STRIZVER, DIRECTOR OF TYPEFACE DEVELOPMENT DIRECTOR OF CREATIVE SERVICES: PAT KRUGMAN as you would like to see other professionals treat your work. Please support ITC FOUNDERS: this campaign. MARGARET RICHARDSON AARON BURNS, HERB LUBALIN, EDWARD RON DTHALER Editor, CJ&k ITC, U&Ic AND THE U&Ic LOGOTYPE ARE REGISTERED TRADEMARKS OF INTERNATIONAL TYPEFACE CORPORATION. MICROFILM COPIES OF U&Ic MAY BE OBTAINED FROM MICRO PHOTO DIVISION, For further information write to ATypI at ITC. BELL & HOWELL, OLD MANSFIELD ROAD, WOOSTER, 01-144691

VBPA MEMBER

HEADLINE/TIXT/BYLINE: ITC KORINNA REGULAR, ITALJC SUBHEAD: ITC KORINNA BOLD 6 The Letter T Over four thousand years ago, people ers have shown us that there is plenty of room for who were illiterate began signing their names on artistic expression. Evolution of the Letter T documents by using a simple cross. The first name The T normally occupies about two-thirds of the given to this nearly universal symbol translated em-square, or about the same amount of space as into the word "mark" or "sign!' the N or U. Its crossbar can be symmetrical as in faces t It's easy to assume that this commonly used signa- like Corvinus, or slightly longer on one side, found FIRST USE OF T ture was the origin of our present X. Instead, what in calligraphic designs like Seagull. looked like an X to ancient writers, actually gave The ends of the horizontal cross-stroke in Roman birth to the Roman T. types may terminate with diagonally structured serifs Around 1000 B.C. the Phoenicians and other like those in ITC Bookman? or Caslon. These end (/- T Semitic tribes used a variety of crossed forms to repre- serifs may also be strictly vertical as in Bodoni. And PHOENICIAN TAW sent the letter they called "taw!' The letter, one sometimes the T's cross-stroke serifs can even be of the first recorded, served two purposes: to repre- vertical on one side and diagonal on the other, such sent the T sound, and as a mark for the signing of as the ITC Garamond® cap T. documents by those who could not write their names. In hand lettering there is even more leeway in the When the Greeks adopted the "taw" for their construction of the letter T..It can, and should, be alphabet ten centuries later, they altered it only very adjusted in design to space properly, and look pro- slightly to represent what our T looks like today. portionally correct next toits adjacent letters. The "tau!' as they called it, was in turn passed on, This means that the crossbar will sometimes virtually unchanged, from the Greeks to the Etrus- have to be lengthened, or shortened, and at cans, and finally to the Romans. times the ends will be drawn unequally. On the surface, the T appears to be a very The T may appear to be a univer- simple letter. In a typeface like Helvetica, ,,p--..„ sally simple letter, but looks or ITC Avant Garde Gothic it can be. In ".•'"4 r can be deceiving in type and many other typefaces, however, design-

HEADLINE/CAPTION HEADLINE: ITC ESPRIT BOLD TER: BOOK BYLINE: BOOK ITALIC CAPTIONS: BOOK T SAMPLES, FROM SPOUT TO CUP: ITC GARAMOND BOLD ITALIC, ITC BOOKMAN UGHT ITALIC, ITC CASLON 224 BOOK, ITC CASLON 224 MEDIUM, ITC GARAMOND BOOK, ITC BOOKMAN MEDIUM ITALIC, ITC BOOKMAN OUTLINE, BODONI, ITC BOOKMAN LIGHT, CORVINUS, SEAGULL BOLD, ITC BOOKMAN BOLD, ITC GARAMOND UGHT CONDENSED ITALIC, ITC CASLON 224 BOLD ITALIC, ITC GARAMOND BOLD CONDENSED, ITC BOOKMAN CONTOUR THE TYPOGRAPHY IN THIS ARTICLE WAS CREATED USING DESKTOP PUBLISHING TECHNOLOGY by Steven Heller

Times Square first became my stamping grounds during my adolescence in the early 1960s. At that time, I'd grown bored with my Lower East Side neighborhood haunts and started to turn my attention uptown. In Times Square I played skiball for hours at a time in the immense penny arcades that dotted the Great White Way. I frequented Ripley's Oddito- rium, where the master of "Believe It Or Not" had assembled a remarkable collection of the most ridiculous freaks of nature—like a man with three lips—and where now stands a ridiculous freak of modern architecture, the garish Marriott Marquis Hotel. In those days, aging denizens of Times Square—shady types made famous in stories by Damon Runyon—still prowled the streets and lurked in the dingy Automats and hotdog

•

E ,

STEVEN HELLER is a senior art director at The New York Times . His current books are You Must Have Been a Beautiful Baby: Snapshots of the Stars (Hyperion) and The Savage Mirror the JAMES SELKIN/LIAISON INTERNATIONAL Art of Contemporary Caricature (Watson - Guptill) T4L CAFE

dispensaries. Even the great old monuments which gave Times Square its original character were still standing—albeit on their last legs: the massive Row 11. SEA GRILL Theater, the gracious old Astor Hotel, and the legen- dary Paramount Theater, where Sinatra and Elvis per- formed before thousands of screaming fans. Above it all loomed the giant Camel cigarette sign, where for 27 years a satisfied smoker blew luxurious rings over Seventh Avenue (talk about secondary smoke) until succumbing to the cancer of urban blight in the mid-

1970s. ❑ All of those landmarks are gone now, replaced either by anonymous office buildings or cloying advertising displays. For example, on top of the old Bond bf clothing store, between 44th and 45th streets where once large neon letters proudly promoted:

"Two Trouser Suits" and where Pepsi- Cola's remarkable cascading waterfall unremittingly recycled thousands of gallons of water, now stands the world's largest Joe Camel, lecherously peering down his phallic nose upon unwary pre- teens. ❑ My youthful memory of Times Square's glitz and glamour nevertheless remains intact. Given its carnival-like attractions, Times Square was the next best thing to Disneyland—except, of

course, rats replaced mice. ❑ Since age 24, I've worked for The New York Times, the newspaper which gave Times Square its name. From this vantage point on West 43rd Street, I have watched developers systematically destroy what used to be the world's most quirky and electric city blocks. Under the guise of urban renewal, they have attempted to clean up (and make profitable) an area famous for celebrating the excesses of mass culture. Although current zoning laws require that all new structures accommodate one or more large advertising signs, the signs have become so modernized that Times Square evokes the banal futurism of the science-fiction film "Blade Run- ner rather than the noir melodrama of "The Sweet Smell of Success" the 1957 movie 1:12 which so brilliantly captured the after dark intensity and enormity of Old Times Square. Mayoral decree upon comple- ❑ Times Square is actually a rather small tract of land; a tiny triangular block that was tion of the Times Tower, erected formerly called Longacre Square after an area in London. In 1904 it was renamed by on the original site of the old Pabst Hotel. Yet, to much of the contemporary world, Times Square—the "Crossroads of the World'=begins on 42nd Street, at a modern edifice called One Times Square, and continues t. northward to 47th Street. Here the behemoth neon Coca-Cola sunburst sign once bathed the street in blood-red luminescence (and spelled out the time and weather, too) and where today on a new building the largest bottle of Coke Classic routinely pops its cap every 10 minutes or so. The Times Square of legend and myth is a canyon cut through by two intersecting avenues, Seventh and Broadway, bordered by theaters, electronics and souvenir stores, and, of course, those ambitious displays of kinetic type and image known as igTUAL RAU advertising "Spectaculars" which keep the area glowing in an orgy of megawatts. ❑ Times Square is many things to many people. For some, it's the eighth wonder

FPG INTERNATIONAL

CRITERIO of the world. For others, it is the black hole of immorality, the epicenter of sin. As a kid, I remember witnessing a battalion of bearded holy men who, as if out of a New Yorker car- toon, stalked the streets in sackcloth and sand- but it certainly wasn't wich board signs predicting the end of the evil. How could it be? world and cautioning against embracing the It was where the best evils of commercial culture. Today they are movies like "The Voy- replaced by preachers using strategically- age of Sinbad" were placed, generator-powered amplifiers to rail premiered. In fact, my against the sinners who now inhabit the porn folks took me to the shops and sex dens along 42nd Street; as opening of "Anthony and Cleopatra" starring well as to offer deliverance Elizabeth Taylor and Richard Burton in a and absolution through theater decorated as a Roman temple. The canned harangues which legitimate theater also offered scores of are about as inspiring as internationally acclaimed plays and musi- Chinese fortune cookies to cals; I did see "My Fair Lady" three times. us misbegotten souls who And, in the late 1950s, in the early days of work in and around Times television, the networks converted many Square. ❑ Even as a kid, of the grand old theaters into studios for live I knew Times Square had broadcasts of classic variety series includ- • a tarnished reputation, ing "The Ed Sullivan Show" and "The Jackie Gleason Show," (I once appeared as an extra on that one.) Times Square was the epicenter of theatricality On any given day one could see a major star walking along the street or eating at Sardi's or Lindy's. Today new films are not greeted with the same fanfare. JON -AO The Broadway theater, though still alive, has lost a lot of its

glamour, too. And "The Rialto' the name 49 ST. PLAY HOU originally given early in this century to the Times Square theater district, which once included 80 theaters, was deci- mated long ago. ❑ But as a kid I remem- t ber that the truly most exciting thing about Times Square—and why I alw s begged my father to drive through it on our way downtown Sunday nights after visiting my grandparents in the Bronx—were the advertising Spectacu- lars. Driving south down Broadway into the heart of Times Square was almost like a religious experience. North of it, at around 53rd Street, my heart began to pal- pitate as I saw the incandescence getting brighter, the colors WEST SIDE and the hot java aroma glowing and pulsating in uneven rhythms. By 47th Street, my drove people crazy.) Of head began spinning in order to take in as much of the spec- HWY course, there were also tacle as possible during our slow drive onto lower Seventh Ave- the Coca-Cola, Pepsi, • nue. To the right, the Kool Cigarette penguin stood atop an ice and Camel signs, and the "Motogram" elec- floe and winked 100,000 times a day; to the left, the foamy froth tric zipper sign that wrapped around the of Bromo Seltzer ceaselessly bubbled over its mammoth blue Times Tower, which even before the age of bottle; and nearby, the A&P Coffee cup was emptied and refilled radio provided "hot, off-the-wire" news to every 15 minutes and gave off real steam. (My father told me thousands of New Yorkers. From time to time that the scent of fresh coffee was originally released, but had to a new extravaganza would materialize and was greeted be curtailed during World War II because coffee was rationed with the same fanfare as a brand new balloon in the Macy's Thanksgiving Day Parade, ❑ The larger-than-life Spectac- ular was invented in the early '30s by Douglas Leigh, a light- ing specialist, whose firm worked in concert with artisans at Artkraft Strauss to design and construct most of the won- t drous displays of Times Square. Leigh also designed the Times Square midway, and patented scores of processes that became conventions of outdoor HEADLINE: ITC BOLT BOLD, ITC GRIZZLY. ac ANNA (MODIFIED USING ADOBE ILLUSTRATOR), ITC KABEL DEMI TEXT/BYLINE: ITC LUBALIN GRAPH BOOK CONDENSED. OBLIQUE BIO ,CREDITS. MEDIUM CONDENSED ITC ZAPF DINGBATS

THE TYPOGRAPHY IN THIS ARTICLE WAS CREATED USING DESKTOP PUBLISHING TECHNOLOGY advertising. In addition to inventing one machine that would blow one-hundred-foot diameter smoke rings, and another that would recycle 50,000 gallons of water per minute, he perfected a process of projecting moving images onto a billboard by using photoelectric cells in a low-tech prototype of a computer-driven Spectacu- lar sign which hung on One Times Square beginning in the mid '80s until 1990 when it was replaced by Sony's huge color television screen. Though Leigh was dubbed the "Lamplighter of Broadway" for all his electronic wiz- ardry—over 80 multimedia displays during his 45-year career—when war- time necessity required nightly black- outs, Leigh designed the memorable the signs of my childhood remain, smoking Camel sign in order to avoid although the same companies are using lights. If Times Square is New responsible for some of the most York City's Disneyland, then Douglas recent ones. Today's neo-Spectacu- Leigh is its Walt Disney. ❑ None of lars show little evidence of how brilliant the originals were, and how totally superior to all other forms of outdoor advertising. The original -4411.L.01111.404, i116,114! ...,;4035i_,41 ones were gems of imagination rito .4 ' olor and ingenuity that wed theater and — I R t technology to produce remarkable 01- 'Alivor# favAIIIIM 1,51:40.1:1 effects. Since most of the buildings FAO f or gAW11 0111P on which these signs stood were Alif; biz .14 4 lowl:Ir re" III usually no higher than four stories, it IL* —■ 1111111/ 11.111f/1111P4 the exaggeration of scale made zo '401v ,i1111, 114/11 /6*Irl 1 magi, Times Square seem even more like ■fre,,,i VC a wonderland. The displays that ii;"41A! /s.. fill Times Square today, 14,4■ 1 1/41110111 'Ali ?AN 7.4■1ta rilii.21 however, may be electroni- Itirt.4111 rinb: cally state-of-the-art but 41VV,All ■:!1 appear monotonous com- yolta 4.4. 111111 1 pared to the old mechan- 11111/AlrA ■ ical marvels. Indeed, what mr -r las! ipm, - excitement is there in the digital readout displaying the total number of MCI's new customers, or the large Suntory whiskey bottle that does nothing but glow in the dark, or the pair of two- story neon cans of Pepsi

401 SCANDAL STREET TfiRIVER near the top of One Times THE RI• 1 " .104 VER' NEWS Square? How can these com- EPIC WINCHELL 01 t',W,091414- SCANDAL STREET MURI3ER:04'; of LEW AYRES L.CAMPEELL pare to Douglas Leigh's Pepsi- Cola extravaganza featuring 410 its towering plaster statuary of a Grecian god and diapha- nous goddess guarding a cas cading waterfall? Despite all basic model that every the technological know-how graphic designer under behind Times Square's current 30 is currently wearing). crop of computer-generated ❑ I often wonder what signs, there is only one bill- Times Square must seem board (located on the corner of 43rd and Broadway) that truly towers over all the neon and digital signs for like today for kids who its graphic power, and without using are now the age I was one light bulb. This awesome but sim- when I first discovered it; kids who are regularly ple, three-story black-and-white photo- graph, overprinted with a red band assaulted by pyrotechnic visual stim- of white type shows a leather and stud- uli of a kind I never experienced clad biker in an advertisement for the when I was young. Can they really original Schott motorcycle jacket (the get as excited about the Sony TV monitor showing the same menu of video-bites as their home screen, as I was by the Kool penguin? I can't say that Times Square influenced me to become a sign painter, a Spectacular engineer, or even a graphic designer, but it did vividly show what the imagination could produce to promote products and ideas, and at the same time entertain. Times Square made me realize that commercial culture didn't have to be seedy or tawdry, but was truly spectacular.

TDC 38: TYPOGRAPHIC EXCELLENCE The Type Directors Club recently completed its 38th juried competition recognizing excellence in the use of typography, calligraphy and letterforms. The panel of judges chose 192 winning pieces from 2700 entries submitted from 20 countries. The winners were displayed at the ITC Center, New York, and they can be seen in the TDC traveling exhibition to be shown in various locations in the United States, South America, Aus- tralia, New Zealand, Europe and East- ern Asia. The winning entries will also appear in the book, Typography 13: The Annual of the Type Direc- tors Club to be published by Watson- Guptill in October, 1992. The works featured here reflect the TDC 38: Call for Entries Poster designed by Daniel Pelavin, direction of type in graphic design New York, New York today. Classic typographic text treat- CALENDAR ments are included in the exhibit TYPOGRAPHY/DESIGN: Akio Okumura and Katsuji Minami along with eccentric and experimen- Kitaku, Osaka, Japan tal uses of type. STUDIO/CLIENT. Packaging Create, Inc. PRINCIPAL TYPE: ITC Souvenir' Medium

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BROCHURE BOOK/CALENDAR TYPOGRAPHY/DESIGN: Susan Hochbaum TYPOGRAPHY/DESIGN: Hans Dieter Reichert New York, New York London, England STUDIO: Pentagram Design STUDIO: Banks & Miles, London CLIENT: Museum of Contemporary Art/Chicago CLIENT: Typostudio Schumacher Gebler PRINCIPAL TYPE: Bodoni and handlettering PRINCIPAL TYPE: Bodoni Old Face and 26 other typefaces

CORPORATE IDENTITY CORPORATE IDENTITY TYPOGRAPHY/DESIGN: TYPOGRAPHY/DESIGN: Charles S. Anderson, Charles S. Anderson and Daniel Olson Todd Hauswirth and Daniel Olson Minneapolis, Minnesota Minneapolis, Minnesota STUDIO: Charles S. Anderson Design Company STUDIO: Charles S. Anderson Design CLIENT: French Paper Company CLIENT: French Paper Company PRINCIPAL TYPE: Spartan PRINCIPAL TYPE: 20th Century SIGNAGE POSTER TYPOGRAPHY/DESIGN: Stephen Doyle and Andrew Grey TYPOGRAPHY/DESIGN: New York, New York Doug Akagi and Kimberly Powell STUDIO: Drenttel Doyle Partners San Francisco, California CLIENT: The Cooper-Hewitt Museum STUDIO/CLIENT: Akagi Design PRINCIPAL TYPE: Cochin PRINCIPAL TYPE: Copperplate Gothic and handlettering

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BOOK TYPOGRAPHY/DESIGN: Jerry Kelly New York, New York BROCHURE STUDIO: Stinehour Press TYPOGRAPHY/DESIGN: Jonathan Hoefler CLIENT: International Typeface Corporation New York, New York STUDIO/CLIENT: PRINCIPAL TYPE: Bauer Bodoni, Monotype The Hoefler Type Foundry Bodoni and Linotype Bodoni PRINCIPAL TYPE: Hoefler Text

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ADVERTISEMENT BOOK/CALENDAR TYPOGRAPHY/DESIGN: Kenneth R. Ashworth, Jr. ANNUAL REPORT TYPOGRAPHY/DESIGN: Hans Dieter Reichert New York, New York TYPOGRAPHY/DESIGN: George Sadek, London, England AGENCY: J. Walter Thompson/New York Charles Nix and Mindy Lang STUDIO: Banks & Miles, London CLIENT: The Font Company New York, New York CLIENT: Typostudio Schumacher Gebler PRINCIPAL TYPE: Times New Roman STUDIO: The Cooper Union Center PRINCIPAL TYPE: Bodoni Old Face and Caslon 337 for Design and Typography and 26 other typefaces CLIENT: The Cooper Union PRINCIPAL TYPE: Baskerville LOGOTYPE TYPOGRAPHY/DESIGN: Dianne Cookand Supon Phornirunlit Washington, D.C. STUDIO: Supon Design Group, Inc. CLIENT: Harris Chair Center PRINCIPAL TYPE: Chicago (customized)

LOGOTYPE POSTER TYPOGRAPHY/DESIGN: Louise Flll TYPOGRAPHY/DESIGN: Michael Bierut New York, New York New York, New York CAMPAIGN TYPOGRAPHY/DESIGN: John Klotnis STUDIO: Louise Fili Ltd. STUDIO: Pentagram Design New York, New York CLIENT: Prix Fixe restaurant CLIENT: Designing New York STUDIO/CLIENT: Pentagram Design PRINCIPAL TYPE: Handlettering PRINCIPAL TYPE: Helvetica Black and Akzidenz Grotesk PRINCIPAL TYPE: Times Roman

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MAGAZINE PROMOTION TYPOGRAPHY/DESIGN: Woody Pirtle, TYPOGRAPHY/DESIGN: Donna Ching, Libby Carton and Matt Heck Seymour Chwast and Greg Simpson New York, New York New York, New York STUDIO: Pentagram Design STUDIO: The Pushpin Group, Inc. CLIENT: Uerie magazine and International CLIENT: Pushpin Associates Typeface Corporation PRINCIPAL TYPE: Century Expanded PRINCIPAL TYPE: Various ITC typefaces

BOOK BOOK TYPOGRAPHY/DESIGN: TYPOGRAPHY/DESIGN: Michael Skjei Eric Baker and Chip Kidd Minneapolis, Minnesota New York, New York STUDIO: M. Skjei Design Co. STUDIO: Eric Baker Design Associates, Inc. Sha,y, Shea, Hsieh Sr Skjei Publishers CLIENT: CLIENT: Chronicle Books PRINCIPAL TYPE: Gill Sans PRINCIPAL TYPE: Futura PUFF PUFF PUFF PUFF COUGH PUFF PUFF COUGH COUGH PUFF COUGH COUGH COUGH COUGH COUGH COUGH

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POSTER POSTER TYPOGRAPHY/DESIGN: Mark Fox POSTER TYPOGRAPHY/DESIGN: Gordon Tan, TYPOGRAPHY/DESIGN: Todd Waterbury San Rafael, California Jim Aitchison and Heintje Moo STUDIO/CLIENT: BlackDog Minneapolis, Minnesota Singapore STUDIO: Duffy Design Group PRINCIPAL TYPE: Agit-Prop! and AGENCY: Ketchum Advertising/Singapore handlettering CLIENT: Fox River Paper Company CLIENT: Ministry of Health/Singapore PRINCIPAL TYPE: Franklin Gothic and PRINCIPAL TYPE: Compacts Venus Bold Extended

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BOOK ANNOUNCEMENT TYPOGRAPHY/DESIGN: Steve Gibbs TYPOGRAPHY/DESIGN: Dallas, Texas Brock Haldeman and Steve Liska STUDIO: Gibbs Baronet Chicago, Illinois CLIENT: Photocom AGENCY: Liska and Associates, Inc. PRINCIPAL TYPE: Handlettering CLIENT: Alexander Communications PRINCIPAL TYPE: Bodoni

LOGOTYPE BROCHURE TYPOGRAPHY/DESIGN: Scott Feaster TYPOGRAPHY/DESIGN: Paula Scher Commerce, Texas New York, New York STUDIO: Feaster Design LETTERER: Paula Scher and Ron Louie CLIENT: Cobb Hatchery STUDIO: Pentagram Design PRINCIPAL TYPE: Handlettering CLIENT: Champion International PRINCIPAL TYPE: Various Zikich Fieldtrip 17 Future ME?

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MAGAZINE MAGAZINE MAGAZINE PAGE TYPOGRAPHY/DESIGN: Stefan Nowak, TYPOGRAPHY/DESIGN: Mike Fink TYPOGRAPHY/DESIGN: Debra Bishop Christine Hess and Klaus Hesse Sherman Oaks, California New York, New York Dusseldorf; Germany STUDIO: x height LETTERER: Anita Karl AGENCY: Hesse Designagentur CLIENT: Borderline Brooklyn, New York CLIENT: Lindner Unternehmensgruppe PRINCIPAL TYPE: Gill and Bembo CLIENT: Rolling Stone PRINCIPAL TYPE: Walbaum and Frutiger PRINCIPAL TYPE: Eagle Bold POSTER TYPOGRAPHY/DESIGN Zempaku Suzuki POSTER Ginza, Tokyo, Japan POSTER TYPOGRAPHY/DESIGN: Alan Kitching STUDIO: B. BI Studio Inc. TYPOGRAPHY/DESIGN: London, England CLIENT: IRc2 Corporation Niklaus Troxler STUDIO: The Typography WorkShop PRINCIPAL TYPE: City Compact Bold Willisau, Switzerland CLIENT: Pentagram Design, Ltd. and handlettering STUDIO: Niklaus Troxler Grafik-Studio PRINCIPAL TYPE: Wood letter (letterpress) CLIENT: Jazz in Willisau PRINCIPAL TYPE: Handlettering

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MAGAZINE COVER BOOK ADVERTISEMENT PACKAGING TYPOGRAPHY/DESIGN: Lloyd Ziff and TYPOGRAPHY/DESIGN: TYPOGRAPHY/DESIGN: Shannon Pettini TYPOGRAPHY/DESIGN: Elsi Vassdal Ellis Bellingham, Minneapolis, Minnesota Giovanni C. Russo New York, New York Haley Johnson and Daniel Olson Ann Pomeroy and Giovanni C. Washington AGENCY/CLIENT: Dayton's, Hudson's, LETTERER: Minneapolis, Minnesota Russo, New York, New Yorkand Edward CLIENT: EVE Press Marshall Field's STUDIO: Charles S. Anderson PRINCIPAL TYPE: Various PRINCIPAL TYPE: Triumverate Extended Ruscha-Pool, Los Angeles, California Design Company STUDIO: Lloyd Ziff Design Group, Inc. CLIENT: Cloud Nine, Inc. CLIENT: PUSH! Communications PRINCIPAL TYPE: Venus PRINCIPAL TYPE: Bauer Bodoni, Kuenstler Script and handlettering HEADLINE/TEXT ITC BARCELONA BOLD CREDITS: BOOK ARTS AND LETTERS These two studios use letterpress to create innovative, experimental works of art

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PURGATORY PIE PRESS by Karen S. Chambers Oldstyle type, putting the damaged letters in the "hell box" and enduring his In Purgatory Pie Press' "Thibeca studio in lower Manhattan, there is a 1930s first "purgatory" as a letterpress printer. Vandercook press and drawers filled with foundry type, as well as wooden gates Since moving to New York in 1978, Purgatory Pie Press has hand-set type to keep the youngest member of the operation, 21-month Polly EllaNora, out and hand-printed books that totally integrate type with visuals, bindings with of the printing area. She and her older sister, Georgia Luna, are as much a part text, and content with form. "Some people think the printer should step back of the press as their parents Dikko Faust and Esther K. Smith. and just let the writer be everything:* says Smith. Faust interjects: "We don't The press started in 1977 when Faust made his first books at the Univer- subscribe to the 'crystal goblet theory' where type disappears, just becoming a sity of Wisconsin, Madison, under the tutelage of Walter Hamady. Smith joined medium for words:' Smith adds: "When were doing it, we think of it as a pretty the press when she and Faust collaborated on their wedding invitation in 1980. equal collaboration among different elements of a book:' And, she insists, "the She functions as editor, art director, binder, marketer and booking agent for type should be seen:" Although PPP will do an occasional wedding invitation or PPP's lectures and workshops. Faust does the typesetting and the printing. As business card to help cash flow, it has concentrated on three printed artforms: Faust describes the division of labor: "Esther's the large motor and I'm the a monthly postcard series done in collaboration with visual artists and writers, small motor:' Georgia Luna has contributed drawings for Purgatory Pie's post- annual datebooks and artist books. This year they are concluding the postcards card series. Polly Ellallora has at least been the motivation for a Faust-Smith and beginning Artist Tracts triptychs to be published annually in a series of five. designed birth announcement. But it is the artist books that are the heart of the operation. The PPP catalog The name Purgatory Pie Press derives from the printer's term "pie" which states that it publishes "an artist book each equinox or so:' It would be a cliche means to spill a case of type. This is what Faust did on his first day of typogra- to say that each book is a labor of love, for each requires a commitment of time phy class. He spent the next two weeks re-sorting the eight-point Century that can easily outlast a passionate love affair. Although the text is selected by

900 j=-_-d Smith, because of the amount of time involved in handsetting the foundry type, it is important that Faust like it. "Yeah, and it's got to be short. It's got to keep our interest; Faust explains. Short fiction works well for them. The couple find most contemporary poetry Loo traditional, too sentimental or too pretentious. "A lot of people who would have been writing poetry are now doing short pieces of fiction and those works are ideal for our little books; explains Smith. In an age of instant type gratifi- cation, Smith and Faust still find satisfaction in the labor intensive letterpress. Smith recalls this childhood incident which made her recognize the importance of applying patience to the creative process: "I had to leave my parents a note and I didn't know how to spell very many words, so I had to think about it really carefully. Not knowing how to spell has made me a much better writer because I had to be so careful about choosing my words. I think that using letterpress can do the same thing. If you can type it all up, press a couple of buttons, make it justify perfectly and in whatever typeface you want, you don't have to write or edit as carefully. That doesn't necessarily seem to be a good thing:' Pursuing their philosophy of a completely integrated design wedding content Photography by Peter Bittner to form, Purgatory Pie Press has produced some very good things.

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INDEPENDENT PROJECT PRESS by Joyce Rutter Kaye Bruce Licher regularly feeds his 1930s Chandler and Price letterpress "work- JAMAPIRITA horse" a diet of chipboard, shirts, shop rags and batches of handmade Indian 4C.147144 fOgiAlf ti, can't sea paper composed of seaweed, pebbles and other oceanic detritus. Printing on such a diversity of fiber-enriched materials exemplifies Licher's experimental, contemporary approach to his work at Independent Project Press, Los Angeles. Challenging the physical limits of the press is just one way Licher seeks to question the notion of art itself "I've always tried to use a traditional medium to cre- TREK! ate something within the realm of conceptual art," he explains. This philosophy applies equally to Independent Project Records, Licher's lAtUallilYA s own record label. Believing that albums can attain fine art status, he releases arElltattlg a POPlitat h tkikgit them packaged with IPP's exquisite, handmade letterpress covers. The IPP/ IPR concept first got its start—and its name-12 years ago while Licher was a fine arts student at UCLA. For a senior year independent study project, Licher envisioned the idea of limited edition record releases packaged as works of art. An accomplished rock guitarist, he joined with friends to record "Project 7t72ZV 25 5T• f!itilgq 197; a 7-inch release of experimental riffs and noise, and the label was born. But Licher's interest in letterpress did not grow until a year later, when BODONI BOLD 8 PT. BODONI BOLD 12 PT. PROS BODONI BOLD 18 PT. 11000SI LIGHT • PT, BODONI LIGHT II PT. BODONI LIGHT 10 PT. BODONI LIGHT 12 PT. BODONI SHADED 30

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he discovered the technique by accident. The leader of the industrial rock band Many IPP album covers, sleeves and postcards are printed on crude chip- Savage Republic, he was looking for ways to promote the band and further his board, which serves as a foil for delicate metallic inks and ornate borders. Licher notion of creating album artwork. When an offset printing class at Los Angeles favors typeface extremes—from sturdy, blocky wood type to ornate and decora- Women's Graphic Center was cancelled, Licher took a letterpress class instead tive turn-of-the-century type families, and often uses them together. The result- and was smitten by the handmade quality and tactile appeal of the postcards ing style reveals a tribute to Russian Constructivism as well as contemporary he printed on the Center's Chandler & Price. "I like the hands-on quality of let- graphic design influences. Whatever the project or medium, IPP aims to impro- terpress; he says. "I like the way it creates an impression on the paper:' vise, such as printing album promos on a clean batch of shop rags or changing After releasing Savage Republic's debut album ""aagic Figures; in 1982 type seconds before printing. "I like happy accidents," says Licher. Licher signed additional underground bands, such as Human Hands and Kom- Licher is now hoping the art of letterpress will achieve an even loftier status munity FK, and issued the debut LP from the acclaimed band Camper Van with a new series of limited edition art posters he calls "typographs" The first Beethoven. In 1984, Licher found a warehouse space on Mateo Street in down- print, a collaboration with his wife and four other artists and created for Earth town L.A., and bought Chandler & Price and Vandercook presses. One year Day 1992, was exhibited at Emerging One Gallery in Los Angeles this spring. later, he married artist Karen Nielsen Licher. In September, the couple plan to Entitled "As Above, So Below; the work protests the earth's diminishing ozone move IPP to Sedona, Arizona because of the areas growing artist community. with a thickly applied multicolor letterpress image of a sun burning behind Although Licher is obviously a holdout for vinyl, he plans to offer CDs in the a divided sky. The resulting piece appears to be silkscreened, a misconception near future to meet public demand. Given IPR's limited market, Licher pays which doesn't trouble Licher at all. "Letterpress is a marriage between com- the bills by working on printing jobs for outside clients. Recent projects include merce and fine art, which is the line I've always been walking" he says. With promotional materials for the group R.E.M., Greenpeace and Virgin Records. IPP's latest work, it appears that line is beginning to vanish.

HEADLINE/SUBHEAD/TEXT: ITC BOOKMAN UGHT BYLINE: UGHT ITALIC

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Seymour Chwast blends human forms with letterforms

"The way type and images work together intrigues me. While both are expressive, they can either be integrated or made to visually contrast each other. The image may have volume, but the type has texture. The type can explain what the image is really doing, as well as reinforce the spirit of the work' ,' ody says Seymour Chwast. After a lifetime in the graphic design field and now as the

OWN creative head of The Pushpin Group, New York, Chwast is one KN N

U of the most influential designer-illustrators in the business today. Yet even sitting in this expansive Park Avenue office on ARTIST a caramel-colored leather sofa, Chwast comes across as NG,

WI es completely unassuming. If one were to draw a portrait of him,

AL DRA AL it would take many strokes and subtly colored areas to cap- by ture him. That image would sharply contrast his own drawings, TOMIC Karen S. which are often planar and pure hued. Chambers

Chwast is a quiet man. His eloquence comes through his and their baggage, and then added a clever way to answer the hand—his left hand, to be precise—as the 1985 Abrams' book, need to communicate the issue's contents: Coverlines were

The Left -Handed Designer pointed out. When asked about designed as old-fashioned souvenir labels plastered on suit- designing an alphabet he answers, almost ingenuously, "You cases. With its sophisticated distillation of form, the style start with the letter A. Y is always a problem. Z is interesting of the cover parodied the work of French Art Deco designer because heavy strokes on other letters are always on the right A. M. Cassandre. side, but with the Z it's the other way around. If you follow all Although Chwast recognizes that many clients expect his the rules, you can't go wrong. Now you know everything about design solutions to always involve illustration, he sees himself designing an alphabet:' first as a designer. He comments, "While I draw, I'm not a And what about blending illustration and design? "It's try- drawer, I'm a designer. Shape is important to me. Compared ing to take two or more ideas and combine them into one ter- with conventional illustrators who start from the inside and rific picture. Then style follows. In most cases that's the way work their way out, I start from the outside and work in:' we solve our graphic problems," Chwast explains. His cutout and painted galvanized steel sculptures, begun Chwast's work, best known for its clarity and skillful balanc- three years ago, demonstrate that approach. Chwast likes the CHARACTER FROM ing of image and type, speaks for itself. For a cover of The medium because, he explains, "I don't have to worry about THE ALPHABET PARADE, PUBLISHED BY Sophisticated Traveler magazine supplement of The New York the background. When I was painting, every background was a HARCOURT BRACE Times Magazine, Chwast began with illustrations of travelers sunset:' He pauses to puff on his pipe. "And it becomes real. JOVANOVICH

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ILLUSTRATIONS FROM HAPPY BIRTHDAY BACH, PUBLISHED BY DOUBLEDAY COVER ILLUSTRATION FOR THE SOPHISTICATED TRAVELER; THE NY TIMES MAGAZINE, WALTER BERNARD, ART DIRECTOR

While it's not three-dimensional, it's not two-dimensionalit's shallow and very often that's part of the point that I'm making. That there's nothing behind it:' For one sculpture, Chwast has cut out the profile of a con- ventionally handsome young man. He sports a corporate hair- cut and wears the business world uniform of white shirt and tie. Dark glasses hide his eyes and from his mouth comes the flat announcement of his identity: "My Name is Frank:' But the strands of the hair bear some of his thoughts and these reveal more about his character. Scrawled in block capital letters are the phrases, "Thirty Something',' "Geoffrey Beane': "Metro North',' "Jaguar;' and "Desert Storm:' leaving no doubt that Frank is a leftover yuppie. At five years of age, Chwast wanted to be a cartoonist for The Walt Disney Company. In a way, that childhood dream has finally been fulfilled. One of his most recent projects was designing You Must Have Been a Beautiful Baby: Snapshots of the Stars for the newly formed Disney book division. When asked what he would like to do next, Chwast replies, "I used to say 'a full-length animated film; but I'm not so inter- ested in that anymore:' And then he wryly adds, "Lunch would be nice:' That practicality and puckishness do define this left- handed designer.

Karen S. Chambers is an internationally published author on the subjects of craft and design.

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MMRYCHARTFIDIUMPER&BEA7Y,In. HEADLINE/BYLINE/TEXT/CREDITS. ITC CHELTENHAM LIGHT CONDENSED, ITALIC Fred & CHURCH & STATE Ginger ITC GARAMOND LIGHT & ITC BERKELEY OLDSTYLE BOOK

BERTHOLD BODONI REGULAR & REGULAR ITALIC Apples & BACON & EGGS Oranges OPTIMA & HELVETICA REGULAR ITC BOOKMAN MEDIUM & ITC GARAMOND LIGHT

Gin & LOVE &HATE Tonic ITC BERKELEY OLDSTYLE BOOK & ITC GARAMOND BOOK ITC FRANKLIN GOTHIC DEMI & BOOK Republicans OIL & VINEGAR & Democrats ITC CENTURY LIGHT CONDENSED & ITC CHELTENHAM ULTRA CONDENSED ITC SOUVENIR & ITC BOOKMAN LIGHT

Salt & ART & COMMERCE Pepper ITC NEW BASKERVILLE ROMAN & ITC CASLON 224 TIMES ROMAN & HELVETICA BOLD Business LOX 8( BAGELS &Pleasure ITC LUBALIN GRAPH DEMI & LIGHT ITC FRANKLIN GOTHIC BOOK & ITC AVANT GARDE GOTHIC BOOK

Peanut Butter OIL &WATER & Jelly PALATINO & ITC GALLIARD ROMAN

ITC CHELTENHAM BOLD CONDENSED & ITC NEW BASKERVILLE ITALIC Drinking & ADAM & EVE Driving ITC GARAMOND BOOK & BOOK ITALIC BERTHOLD BODONI REGULAR & ITC NEW BASKERVILLE ROMAN NEVER

NEVER WORRY

THE SIMPLE ANSWER? DON'T MIX TYPEFACES FROM DIFFERENT FAMILIES.

f you need more than one typeface for a particular job, it is safest and easiest to rely on a single type family. Mixing within a family ensures acceptable levels of contrast without disruptive design clashes. Using a I variety of faces from one type family can make complex graphics easier to understand, or an otherwise bland page more appealing. But there are those of us who occasionally want to live dangerously; even the most conservative among us yearn to take a short walk on the wild side. Mixing typefaces is actually a pretty safe walk—if you watch your step. THE RIGHT REASON First, as obvious as it may seem, you must have a reason to mix typestyles. Even if you are staying "in family' you should change typestyles only if you have a good reason, such as making information more clear, improving visual relationships, and making a message more noticeable. Other reasons are usually suspect. THE RIGHT TOOLS Second, have some "tools" handy to help you choose the best design combination. You should have a good type supplier's specimen book, along with one of several compendiums which show similar typeface designs grouped together. One of the best is Rookledge's Interna- tional TypeFinder by Christopher Perfect and Gordon Rookledge. BASIC GUIDELINES Next, follow the Typographic Golden Rule for combining different typeface designs: The bigger the contrast, the better. The safest out-of-family contrast is to use a serif typeface combined with a sans serif typeface design. By combining the two, you are only one step removed from absolute conservatism. A slightly more adventurous decision would be to mix two very different looking serif typefaces. For example, try an oldstyle like ITC Weidemann® and a modern such as Torino, or a transitional like ITC New Baskerville® and a glyphic like Friz Quadrata. Mixing two sans serif designs, however, can be downright dangerous typography. Only the most dissimilar styles should be combined, for example a 19th century sans like ITC Franklin Gothic® with a geometric sans like ITC Avant Garde Gothic" Faces that are as close in design as Helvetica® and Univers,' however, almost never work well together.

IIELOBFOR YOUR (TYPOGRAPHIC) INFORMATION 1-Combine at will 2 - Not a conservative .0 '

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ITC TYPEFACE

hat's the problem with combining similar designs? Typestyles that are close in design, but not from the same family create a visual discordance. Our sensibilities seem to require either strong typographic contrast—or none at all. To some degree Wthis has even been proven in legibility studies. Researchers have found that typefaces and typographic arrangements which are pleasing to the eye are also the most legible. Unlike color combinations that can benefit from sub- tle contrast, typeface changes need to be obvious. Something that only sounds dangerous, is to combine serif italic designs with almost anything. Since serif italic designs are virtually their own typestyles and originally they were created to either work on their own or mix with any number of serif styles, they can be mixed with sans serifs as well as just about any serif design. Finally, never combine a typeface with an electronic distortion of that typeface; they almost always look ungainly, and since the end result is not an integrated design variant, they almost always clash with the real design. A 'STICK IN THE GROUND' The matrix above can provide some general guidelines for mixing different typefaces. A variety of display typestyle choices are listed across the top, and text choices are down the side. To determine typestyle compatibility, cross-reference from horizontal to vertical. The number in the box that intersects two typestyles will indicate the degree of compatibility. The numeral 1 indicates typestyle compatibility. (mix at will) Combinations intersecting with a numeral 2 should be handled. with caution Typestyles that intersect at a numeral 3. should be avoided. One final note: there are no typographic absolutes. There are, more than likely, several applications and circumstances that would render two normally mixable typestyles just about as compatible as oil and water. Con- versely, there are surely situations that would enable normally incompatible typefaces to be the best of friends.

HEADLINE: ITC SOUVENIR LIGHT, ITC FRANKLIN GOTHIC DEMI CONDENSED SUBHEADS/TEXT: ITC SOUVENIR LIGHT CHART: ITC FRANKLIN GOTHIC CONDENSED BOOK, MEDIUM, DEMI

THE TYPOGRAPHY IN THIS ARTICLE WAS CREATED USING DESKTOP PUBLISHING TECHNOLOGY WHAT'S NEW FROM ITC

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h by rap tog bo Typeface design has always been on the cutting edge of publishing technology. When photography first became a viable method for setting type, fonts of new faces were eagerly developed using photography as a design tool. When digital fonts became a practical reality, type designers quickly began to take advantage of it. Even Johann Gutenberg, who invented typography in the 15th Century, developed his typefaces to be compatible with the most sophisticated technology of his day, metal type founding. Today, virtually every typeface submitted to ITC for possible release into the ITC library is provided in the form of digital technology. But there are also some wonderfully simple regressions to early technology. ITC Mona Lisa Solid is such a case. ITC Mona Lisa Solid complements an earlier typeface design, ITC Mona Lisa Recut, which met with overwhelming success after its release in February, 1991. This crisp art deco design has been used in a wide variety of typographic applications, which ITC often has the opportunity to see. One such example was sent to us by a colleague—although with one, very important, change made to the basic design. The type was used for a large headline, but the designer had taken a felt-tipped marker and filled in the "engraved" portion of ITC Mona Lisa's character strokes. The accompanying note simply said, "How about this for a new ITC release?" ITC loved the idea. The new design would be a wonderful augmentation to ITC Mona Lisa Recut, and it could also stand on its own as a versatile display type. Thus, the low-tech capabilities of a 98-cent marker created this addition to the ITC typeface library. ITC Mona Lisa Solid is available in one display weight suitable for a wide range of advertising typography. Only licensed ITC Subscribers are authorized to reproduce, manufacture and offer for sale these and other ITC typefaces shown in this issue. This license Mg is your guarantee of authenticity. This new-typeface will be available to the public on or after August 21, 1992, depending on each manufacturer's release schedule. ABCDEFGI4

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Phonetic symbols exist in language aeacsAbbBi3ccrccdcfctO constructed design traits originally to serve as road signs for the correct created by Sumner Stone for the ITC pronunciation of words. They were eaE3fggtGryYYhhithf-NHiiijil Stone series. originally created to represent sounds, jjkk1 1+1-[Lmrnwainnqprt accents and other characteristics of While the design program was initi- speech. Just pick up any dictionary to NooececEppfx1NcirfritiRissgt ated as a relatively simple idea sev- discover how helpful and necessary ttOuttuvuwwmxxpcyzz, eral years ago, it did not remain that these odd looking characters can be. way for long, says ITC Stone Phone- tic's designer, John Renner. "I began 4,3??S'cfu![11/11t11-1-Ir + Very few typefaces, however, can • • this project naively,"explains Renner, I -1.;t claim the benefit of having phonetic 1T F-1 I' e's who develops software for typeface symbols included in their character production at Adobe Systems. "I was set. And those typefaces that do have reading an electronic bulletin board phonetic symbols weren't designed and saw many requests for phonetic to take advantage of current printing characters. I thought, 'What's a cou- and desktop publishing technology. ple of curlicues and a flipped letter or With the release of ITC Stone Phonetic two?' Thus began my odyssey." these two issues have been resolved. Renner was given encouragement ITC Stone Phonetic's release makes and counsel from Sumner Stone, the available over 330 phonetic symbols Hd designer of ITC Stone, who was then WO l

in serif and sans serif versions consis- 1)1 Al head of typographic development tent with the design of the ITC Stone' at Adobe Systems. He also benefited 213ONV 1d1 type family. ITC Stone Phonetic also from advice on the construction and takes full advantage of the carefully JOHN RENNER intended use of the symbols from Dr. [kaum] ]bEd] [hand] comb bed hand //-

[tIES] [dais] [tfup] chess dice chop ITC Stone Phonetic - Serif William Ladusaw and Dr. Geoffrey avareAbbsPccrccdcfcip Association (IPA) was held in Kiel, Pullum, both authorities on the sub- Germany. Following the conference, ject of phonetic symbols. ea £3fgOdryhhtifAqiiiii Renner realized that his phonetic hfikklilltLmnituuTnn project would need further modifi- But the project was still far from triv- cations to meet additional typo- ial. In Renner's words, "Within a rjjartNoo0CeCEDO4CICfrft4 graphic needs discussed at meetings couple of years' worth of weekend wmxx that week. and late night designing, I had set- 1RHSgifteuttuvuw tled on a basic character set com- Finally, over four years after Renner posed of common and sanctioned first saw pleas for help on the elec- • glyphs and a set of symbols used I t tronic bulletin board, ITC Stone Pho- by American linguists and phonet- netic is now a reality. icians. I also included a group of historic, yet useful symbols which ITC Stone Phonetic is available in Book really did not merit retirement;' weight. The designs are completely he explains. With guidance on the compatible with ITC Stone Sans and basic shapes from the linguistics ITC Stone Serif. Only licensed ITC professors, and "some eye-opening Subscribers are authorized to reproduce, design tips from Sumner Stone, I manufacture and offer for sale these completed the basis for a serif and and other ITC typefaces shown in this sans serif phonetic design based issue. This license is your guarantee on ITC Stone!' of authenticity: fla These new typefaces will be available to the public on At about this time a linguistics con- or after August 21, 1992, depending on ference of the International Phonetic SUMNER STONE each manufacturer's release schedule. The All-Purpose 1992 Republicrat Par AS THIS YEAR'S PRESIDENTIAL CANDIDATES THROW PUNCHES IN THE POLITICAL RING, DO YOU FEEL LIKE THROWING IN THE TON\ EI

On my way here tonight I met a man—let's call him Al—an women in Washington, D.C. ordinary decent, normal, hardworking middle-class doing their best to fight a sick, American husband and father. lk Al's been out of work corrupt status quo. Our system of for 15 months. His unemployment ran out a while government is the greatest in the world. back. His health insurance has lapsed. The bank is fore- We're Number One and we've proved it! closing on his house. His wife has a drinking problem. What's wrong with our great system is the rotten His mother's in a rest home with Alzheimer's. His apples who have wormed their way into the barrel.* teenage daughter's pregnant, his transmission's shot As you know the Republicrats have fought long and hard and his little boy's dog got hit by a truck. Just against the burdens government puts on ordinary Ameri- another hard luck story? You bet it is. But there are cans. We're coming to Washington to kick the insiders out! too many hard-luck stories around these days. We don't care who calls us outsiders. We're proud to be There are too many foreclosures, too many drink- outsiders. But we are the only outsiders with the inside ing problems, too many kids whose Dads can't track. With enough experience and connections and afford to buy them a new mutt. Too many ordinary resources to do the job in a responsible manner. Let's not

Joes named Al. '1A, Al was taught that if you throw out the baby with the bathwater! t, And isn't that worked hard, kept your nose clean and looked what Al really wants? Does Al really want a job? NO! Al after your family, the American Dream would be wants what the Republicrat party stands for—responsible, yours for the asking. Now Al is staring the responsive government. A government that listens to him American Nightmare right in the face—welfare as well as other legitimate voices of concern in the land, handouts, food stamps, public housing. Al is whose needs may differ from his. % Our priorities are Al's scared. Al is hurting. Al is angry. 1% Al sees priorities. We want the drug dealers who haunt our kid's fat cats in Congress sitting on their hands schoolyard in jail with no hope of parole and throw away while they vote themselves perks and take the keys. And we don't aim to be too picky about how we skiing trips at the public's expense. He sees do it! Ikk We want foreign companies—and we all know bureaucrats soaking up his taxes with a who that means—to pay the fair price for the privilege of sea of paper. He sees drug dealers driving doing business in the greatest nation on earth. As Al around his neighborhood in fancy cars remarked to me, "If the Japanese are so smart how come with enough gold chains around their they didn't figure out how to split the atom?" Know necks to buy his kids a hundred mutts. why? Because back then we weren't dumb enough to show He sees foreign companies stealing them how! We want all Americans to have the freedom jobs and profits away from hardwork- to send their kids to schools that will teach them what they ing American men and women, suck- need to know to achieve the American Dream. What you ing America dry and spitting out earn depends on what you learn. That's why we can do the shells. What does Al want? Al without schools that teach our kids nothing but the care wants change, my friends. Not the and use of condoms. %We want guns out of the hands spare kind! Al doesn't take hand- of criminals, rapists and drug dealers and back in the hands outs—never has. Al wants the kind of ordinary decent middle-class people where they belong! of change that hurts! Real mean- Ilk Most important of all, the Republicrats want the incred- ingful change. Al wants America ible burden of taxes on the middle class lightened. For back! The Republicrat Party Pete's sake, let's give Al a break. We propose a new, sim- is that party of change. The plified tax code. Fair to the middle class without strangling party of reform. The party that vital new investments. One that closes the loopholes for will root out the entrenched the fat cat tax evaders and their lobbyists in Congress. And interests that have been stran- one that Al can understand! Here in a nutshell is the new gling the golden goose of Republicrat tax-cut proposal. A flat sliding, progressive, American middle class pros- across-the-board 5% increase in personal exemptions for perity and throw them on all Americans, except for families whose unearned income the garbage heap of history. divided by the rate of growth of their capital gains before We in the Republicrat Party tax is in excess of 5% adjusted for inflation, to be offset by want the bums in Wash- a reduction in long-term depreciation credits where such ington out on their rear depreciation is the result of negotiable tax credits ends! Don't get us being generated by non-financial corporate wrong. We're not saying indebtedness. * What could be simpler that there aren't fine, than that? "But wait!" I can hear you dedicated men and saying. "Sure Al's gonna have up to UMORIST TONY IIENDRA SUGGESTS THAT FRUSTRATED VOTERS TURN THEIR ATTENIrION TO THE OFT-OVERLOOKED REPUBLICRAT PARTY a hundred dollars more per year in take-home pay once he gets his hospital services. Money that will be desperately needed for job back. What happens if he or his loved ones get hit with a catas- the real priorities, like Al's new prosthetic legs. Less is trophic illness?" What happens if a tree killed by acid rain falls more, my friends. That's the Republicrat blueprint for the on Al's wife? What happens if his daughter's foreign-trained obste- '90s. Do only what is necessary and affordable. Then let the trician botches the delivery? What happens if a runaway forklift strong, resourceful men and women of America take over crushes his legs or he loses them in a terrible smelter accident? from there. People have been saying that the govern- Under existing health plans, Al would be in trouble. Big trouble. Not ment should do more for the homeless and the unemployed. only would he have a vegetable or a cripple on his hands or be a par- But people don't need more government. They need jobs aplegic himself, he'd be broke, too! 114 That's why the Republicrats and homes. And when I last looked, I saw that government are proposing the first comprehensive health coverage plan in Amer- is not in that business. Jobs and homes are the business ican history. We'll do it with- of business. The government's job out raising taxes, and we'll do is to free business to do its job, it without plunging the coun- which is to create work so that try further into debt. It won't all those who are willing to do cost you a penny more than work can work at the jobs it cre- you're paying now Plus we'll ates. Let's put America back to avoid the horror and butchery work by getting government out of the failed Canadian experi- of the jobs business. lk This is ment in socialized medicine. why America needs a new gen- lak Best of all, in most cases eration of public-spirited young you'll be able to pick the doc- volunteers. Anew Peace Corps. tor or hospital, or at least the 14 I want to say one thing to drugstore of your choice. those who pooh-pooh volunteerism. It's tough. It's hard work. Sound too good to be true? It takes courage. Just the other day I attended the funeral It's not. The key is a healthy of a volunteer who died when the first aid vehicle which he dose of good old American was driving to a work-related accident crashed into a vol- self-reliance. Look-70 per- unteer ambulance speeding to the help of a worker trapped cent of the costs of modern by the explosion of a volunteer-driven fire engine. Now medicine are for elective sur- that's America at work! *In closing, I want to ask one gery, minor trauma and non- crucial question: What do you want from ME? From your gov- life-threatening treatments. ernment? From your President? From YOUR America? Our parents and grandparents If you-and Al-can ask those ques- didn't go whining to the hosp- tions and answer them, I think we ital every time they had a will be halfway to winning the minor cut or nosebleed. They war against defeatism. % A lot got on with the treatment of folks say we're in a depression. themselves. The Republi- From where I sit I wonder about crats are sure that Ameri- that. I wonder if we're not all just cans are just as resourceful coming down from that big blow- as their grandparents were. out called the '80s. Whether this is And with the tremendous not just the morning-after in strides made by medical tech- America. Whether the truth is not nology, all kinds of amazing that we're in a depression, but techniques are available that rather that we're depressed. lk our grandparents never This great country needs a Pres- dreamed of. There is ident who can get America back nothing about an appendec- on its feet, with a spring in its step tomy that anyone with a high and a smile in its eye. There's nothing wrong with America school diploma can't learn in that a can-do, won't-take-no-for-an-answer philosophy can't five minutes. Why not do it fix. We can soar again like ea les. But remember-your atti- yourself? Every simple do-it- tude determines your altitude. Let's take America back! yourself procedure, like an Let's go forward, never forgetting what we've been in the appendectomy or a minor past, and back to the hope in our future! *Thank you.%

skin graft, will save thou- Tony Hendra is a well-known screenwriter and original editor of National Lampoon. His latest book sands of dollars in costly is Born to Run Things: An Utterly Unauthorized Biography of George Bush (Villard, July 1992). IRON CLAD CHARACTERS In the Notting Hill Gate section of London, known for its flea markets, they were stolen. Fletcher claims that whoever took these gates had to antique shops and Victorian gingerbread architecture, a pair of iron have had at least three men to lift them and a flatbed truck to take them gates stands at the end of a drive. They warrant curious attention since away. Fletcher put in his insurance claim with the exact cost for replac- the contemporary design, a stylized alphabet, is very unusual. What is ing the original gates: £18,000. He privately confirmed the estimate for not unusual is that these gates belong to Alan Fletcher, a partner of his gate design, and the cost was exactly the same. He then had this typo- Pentagram Design, London, who also designed them. And he got them graphic version made as the replacement. for virtually nothing. The alphabet created by Fletcher for his gate was inspired by cata- For years, Fletcher had common, heavy iron Victorian gates which logs of condensed wood typefaces. Fletcher adapted some of these shapes he describes as rather "manqué" or not very special, at the entrance to his to conform with the special requirements of working in metal. Collabo- London home. He thought he'd like to create his own gates, and started rating with Pedro Guedes, an architect working with Pentagram, Fletcher with a rendition of his name as a design, but decided against that and designed the gates splitting between the M and the N, so half of the alpha- came up with an interpretation of elongated letters which he sent to an bet is on each side. The Q is used functionally since the foot, or tail, of the ironwork craftsman for an estimate of cost. Q is also the gatestop. The gates are seven feet high, are mounted on two At about the same time, the existing gates collapsed, which Fletcher hinges and swing like barn doors. In place for a year, the gates still create a says is not uncommon, and their supporting pillars had to be rebuilt. No reaction as passersby notice the strangeness along the top, trace the sooner were the gates lifted off their hinges and set on the ground than shapes, then take in the whole alphabet. Margaret Richardson

HEADLINE: ITC LUBALIN GRAPH DEMI TEXT: ITC MODERN NO. 216 LIGHT, LIGHT ITALIC BYLINE: LIGHT ITALIC SMART FONTS is one of the greatest of the Future friends of Freedom, and of Justice. How- Soon, good typography will be automatic ever, it can also be a slave of those who would take by Pauline Ores the same away. To design Graphic designers who use computers will frequently that you can live without, but consider how these same a new typeface is to provide a complain that clients expect them to provide one-stop attributes can help typography for non-Latin script vehicle for any idea. There is shopping for design as well as layout and typesetting. fonts. Typesetters of Arabic typefaces, for example, cur- no way for a type designer Although desktop publishing technology has combined rently have to choose among several variations of any to know whether such ideas these tasks into software programs with "easy to use" one letter depending on which letter it precedes. If you will be abhorrent to, or in interfaces, many of these programs lack certain special- think you've been having problems setting Roman type vigorous agreement with, his ized capabilities, such as the fine-tuning available in imagine how much trouble typesetters have in Thai- or her own. Still, an ugly idea is traditional typesetting systems. land, India, Japan, China and Iran. Line Layout Manager no more beautifulforbeing set in But recent developments in the computer industry makes digital type much more feasible for the rest of the most elegant of pages. could improve the picture. Apple Computer recently the world. We can truly only hope to provide a introduced a new type platform, called TrueTypeGX, useful channel for further rational and that is akin to having a traditional typographer living Multilingual Fonts symbolic communication, toward the inside your computer (albeit a very tiny one). True- In addition, fonts can be shipped with any number of eventual evolution of a mature TypeGX is designed to solve some of the problems character sets for separate languages. For example, consciousness in the Human Race. afflicting digital type. It will also offer users-features Swedish, Norwegian and Danish languages can all be ABCDEFGHIJKLMNOPQR that they might not even have dreamed existed. The included in the same font package. According to Brian new type platform will be available in 1993. Lawley, TrueType manager at Apple, "This new type STUVWXYZ 0123456789 platform not only provides support for every language abcdefghijklmnopqrstuvwxyz TrueTypeGX: What Is It? and script system in the world, but you can now have ihaeiouBsida A E 100 Apple's new type platform will automatically allow right to left and left to right script systems all in the gcece 50filiffiffl anbncndne users of all abilities to access a variety of typographic same line, [such as] Kanji and Arabic in one applica- tools. The technology is unique because it is inte- tion:. Line Layout Manager can also work with vertical A•I PROSPERA'"II FAMILY grated in the next version of Apple's operating system as well as horizontal lines of text. ROMAN, ITALIC, BOLD, BOLD ITALIC software as well as in the fonts themselves. TrueTypeGX Line Layout Manager can optically center quotation AND SMALL CAPS $134.95 fonts differ from any existing Type 1 fonts or TrueType marks over periods instead of ."). Since it under- fonts because they have built-in intelligence that can stands lines, the letters at the beginning and end of a be accessed by the system software components, con- line can also be automatically optically centered. sisting of Line Layout Manager and Font Manager. A You can also have much more intelligent control over type designer can encode information about how the word and character spacing when justifying text. IAN font should act in relation to other fonts in order to pro- Like Adobe's Multiple Master fonts, you can change is one of the greatest frien vide added or automatic typography. characteristics such as weight, width, proportion or of Freedom, and of Justice. With this new platform, fonts will no longer just be any other style variables (as long as this information considered a collection of points that define a charac- has been provided in the font). In addition, there is an However, it can also be a slave ter outline. They are much closer to becoming applica- improved scheme that will hopefully resolve the font ID of those who would take the same tions—they can have over 20 different features, such number conflicts now befuddling users (Since there away. To design a new typeface is to as auto-ligatures, auto-swashes, kerning, tracking and currently aren't enough font ID numbers to go around, provide a vehicle for an y idea. There auto-alignment of optical edges. In addition, a single numbers often become jumbled when new fonts are is no way for a type designer to font can have up to 65,000 characters, which will downloaded into computers.) know whether such ideas will be enable it to support small caps, true fractions, swashes abhorrent to, or in vigorous and ligatures. Although these type elements are already What's Next agreement with his or her own. Still, available with existing programs, it is time-consuming TrueTypeGX is definitely a major step forward for digital an ugly idea is no more beautiful to painstakingly select each occurrence and choose a typography, bringing us closer to the best of what for being set in the most elegant different font from as many as three expert set fonts, or typography has had to offer throughout the ages. Are of pages. We truly can only hope to provide a select and choose a different character by using an there any drawbacks? There will probably be a lag useful channel for further rational and symbolic arcane keyboard selection. between the release of the GX technology and when communication, toward the eventual evolution of a entire font libraries are available in the GX format. Also, mature consciousness in the Human Race. Fonts with Know-How many system features mentioned here will only be Line Layout Manager is just that: software that can accessible when implemented by application software, ABCDEFGHIJKLM adjust the layout of a line of type. It's cognizant of like Adobe Illustrator or Quark XPress. Is this a Mac- NOPQRSTUVWXYZ words, sentences and lines and their beginnings, mid- only platform? Since Apple is sharing TrueType technol- o123456789 dles and ends. It recognizes when something is wrong, ogy with Microsoft, it will be interesting to see what abcdeighijklmnopqrstuvwxyz and if it has the necessary data in the font it will auto- they will be able to implement on the PC platform. matically change it. While TrueTypeGX sounds wonderful, no one should Aeiou Judi aece Line Layout Manager will automatically set and infer that any computer program can really ever hope A'I KOCH ANTIQUA FAMILY remove swashes and ligatures on the fly. If you are typ- to replicate the skill, knowledge and expertise of a MULTIPLE MASTER $74.95 (Summer '92) ing, "Their first flight..:' it will automatically set "first," human typesetter. Although I suspect all the swashes Also Available A'I Egyptian Bold Condensed, and "flight" with the correct ligatures (fi, fl). If the font and extras will initially lead to even more horrific "ran- A'I Woodtype Series, A*1 Oz Brush- & Oz P oster -

offers swashes it will set the capital T in. Their and the st som note" design, the potential for improved typogra- Call to Order or f or Full Catalogue in first. Unlike today's present system it won't replace phy across the board will be raised for even neophyte 1 • 8 00 • 3 2 6 • 4083 the f and i with a unique character which will make the users of desktop publishing. AC/PC/TYPE 1/TT FONTS word unknown to your spellchecker. If you change the

words in such a way that ligatures are inappropriate, EVANSTON•ILLINOIS • USA such as "first" to "firstly" the "st" ligature will automati- Pauline Ores is the editor of Desktop Communications, DIGITAL DESIGN • DIGITAL TYPOGRAPHY and the newly launched DesignDirect - TeleConsulting Services cally vanish and be replaced by single characters. PC Publishing and Presentations 708 328 2733 I CIS: 73306,1703 I A-LINIL:ALPFLABE I'S I pfraterdeus•igc.org You may consider swash characters to be a feature Mac Publishing and Presentations Circle 244 on Reader Service Card 37 entire Adobe Type Library for IBM and You Choose Linotype-Hell Company, 425 Oser compatible computers. Disc owners gain To accommodate a wide range of cus- Avenue, Hauppauge, NY 11788. access to encoded fonts on the CD-ROM tomer needs, Linotype-Hell Company Call (516) 434-2000. TECH by purchasing access codes over the announces the availability of its Lino- phone. Once they are entered into the type Library® PostScript typefaces Micrografx Adds 175 Fonts 'Type On Call software, typefaces become in either individual or bundled format. Micrografx, Inc. has announced the immediately available for installation and Users now have the convenience of integration of more than 175 Type 1 talk use in both Windows' and DOS appli- purchasing an individual typeface, as fonts from Adobe, Digital Typeface cations. (Type On Call is already available opposed to a complete typeface family. Corporation and International Typeface by Barry Zuber for the Apple Macintosh family of com- For example, you can now choose a bold Corporation (ITC) into the company's puters.) For IBM/compatibles. $99 includ- weight from one family and an italic Designer® illustration software. Also Fonts ing your choice of two typefaces; addi- weight from another, with any combina- bundled with Designer are Adobe Type tional typefaces cost $50 per family. tion of PostScript typefaces you wish to Manager, Adobe TypeAlign for Windows Phone Access to Adobe Fonts Adobe Systems Inc., 1585 Charleston purchase. For mixed Macintosh and PC and selected Adobe Originals' from Adobe Systems Inc. has announced Type Road, Mountain View, CA 94039-7900. platform environments, Linotype-Hell is Adobe Systems. Micrografx becomes On Call; a CD-ROM containing the (800) 833-6687; (415) 961-4400. bundling both formats together. the first Windows-based software company to license several popular type designs from International Typeface Corporation. For IBM/compatibles. Upgrade $149, new $695. Micrografx, Inc., 1303 Arapaho Road, Richardson, TX 75081. (800) 733-3729.

;4: CAI :ir Software 11.1 Design Software = :111,0110 Atex Renaissance" design software is a new Macintosh color application for graphic design layout and production. The product is used for working on original creative material from concept to final output, including color separation. Renaissance is best suited for creating such projects as ads, brochures, newsletters, book covers and other highly designed pages. All of the tools a designer needs are located in a tear-off tool box. For many designers, this feature proves to be a less cumbersome way to work compared to pull-down menus and dialog boxes. For Macintosh. $895. Atex, Inc., 805 Middlesex Turnpike, Billerica, MA 01821-3914. (508) 670-3430.

Corel Turns 3.0 Corel Systems has begun shipping the latest version of its award-winning product, Core1DRAW 3.0. The new program brings vector illustration, image editing, business charting and presentation control into one comprehensive product. The last time you could buy 120 The software is available on a CD-ROM with 253 TrueType fonts, as well as 14,000 clip art symbols and 100 anima- top quality fonts for $179.95, you could have tions. For IBM/compatibles. $595. Corel Systems Corporation, 1600 Carling Avenue, Ottawa, Ontario, Canada KlZ bought the building for the same price. 8R7. (613) 728-9790.

Building up your font library? Consider a font collection from Glasnost Cyrillic Casady & Greene. Our typefaces are handcrafted by font designers, Library 2 - 17 type- Eliminate the Jaggies faces, suggested not machine-scanned. This means JAG- is an easy to use graphics utility by retail price $200, Ray Dream that removes jagged edges the fonts are optimized for fast, crisp supporting Russian, Bulgarian, Byelorus- from color images in seconds. JAG makes printing. Library packages are sian, Macedonian, edges smoother, crisper and more available in IBM PC-compatible or Serbian, Ukrainian defined. JAG removes the hard stairstep Macintosh formats. Each package and English.* look created by many illustration, image contains both PostScript® Type 1 and editing, scanning or 3D modeling pro- TrueType- fonts. CASADY grams. On the Mac, JAG supports PICT Consider our prices. Casady & and PICS file formats. On the PC running Greene has nailed down top-quality GREENE Windows, JAG supports BMP, PCX, TIFF, Targa and GIF file formats. For the fonts at just the right prices! Macintosh and IBM/Windows. $99.95. So don't call your realtor. Contact 800-359-4920 Ray Dream, Inc., 1804 N. Shoreline your favorite software dealer or call: Boulevard, Mountain View, CA 94043. Fluent Laser Fonts Library 2 - 120 type- 22734 Portola Drive, Salinas, CA 93908-1119 faces, suggested retail price $179.95. A (415) 960-0765. wide variety of text, display, script, and *Includes Keyboard Drivers, Language Module Technical Support - (408) 484-9228 Support, and Keymapping. Fax: (408) 484-9218 headline fonts. continued on page 44

Circle 242 on Reader Service Card 38 only to FontHaus. All fonts are displayed in full character compli- FontHaus is proud to announce that we are now shipping all ments at a size that helps you see the subtleties and personality of the new ITC releases: each design. Not only is the catalog a bargain, you can save big on the fonts as well; Adobe and Bitstream typefaces are discount- ITC Mona Lisa S0hdTM ed up to 35% off their manufacturer's published list. The Catalog is FREE with your first font order.

ITC 1,2rwailai m L astly, FontHaus is also proud to announce that we now offer ITC Stone Sans PhoneticTM one of the most affordable multiple-printer licensing programs in the industry for over 1,000 of the fonts we carry—including ITC Stone Serif PhoneticTM all ITC typefaces. Our Multiprinter Licensing Program (MLP) was developed to address the legal as well as the financial con- Available in PostScript or TrueType, Mac or PC; each is priced at cerns of customers purchasing fonts for many printers—from 1 $79 or 2 for $109 (good through October, 1992) Additionally we font on 3 printers to 50 fonts on 40,000 printers. As an exam- have hundreds of other new releases that can be found in our ple: the multiprinter license fee for ITC Anna' on 500 printers new catalog: The FontHaus Fonts Catalog Volume 2. For only $5 would be $600; for 5,000 printers, it would be $1,320. A com- you can check out more than 500 of the newest and most excit- plete 8 page MLP schedule is available from FontHaus. If you ing PostScript fonts available anywhere. Volume 2 not only would like to know more about our fonts, catalog, displays the latest and greatest from the big font libraries of Multiprinter Licensing Program or other products, write, Adobe, Agfa, Bitstream, Elsner & Flake, ITC, Linotype- fax or give us a call at: 800.942.9110. We're open from Hell, Letraset, The Font Bureau and Monotype, it has 9am to 8pm EST, M-F. We accept American Express many showings of fonts that are hard-to-find and exclusive charge, checks, and C.O.D. FREE shipping is now available.

BRITAIN CANADA FRANCE GERMANY UNITED STATES SIGNUS LTD RHYSCON SYSTEMS TYPOGABOR E&F FONTINFORM GMBH 15 PERRY AVENUE, A7 SOUTH BANK TECHNOPARK PO Box 245, CLARKSON PO 5, RUE DU 8 MAI 1945 BILLSTRASSE 103 NORWALK, CT 06850 90 LONDON ROAD, LONDON SE1 6LN MISSISSAUGA, ONTARIO L51 3Y1 92586 CLICHY (PARIS) 2000 HAMBURG 26 800.942.9110 71.922.8805 FAX 71.261.0411 416.278.2600 FAX 416.278.3298 33.1.4739.6600 FAX 33.1.47.39.06.38 40.789.2608 FAX 40.789.1217 203.846.3087 FAX 203.849.8527

FontHaus and the FontHaus logo are trademarks of FontHaus Inc. FontHaus Fonts Catalog Volume 2 © 1992 FontHaus Inc. PostScript is a trademark of Adobe Systems, Inc. Macintosh (Mac) and TrueType are trademarks of Apple Computer, Inc. Headline, sub-head and text set in Bitstream Geometric 415 (Metro) Black, Medium and Light. International FontHaus addresses set in ITC Lubalin Graph SC Book and SC Medium. Al other product names used in this ad are trademarked by their respective owners. NOTE Typeface pricing and Multiprinter Licensing fees are subject to change without notice. FontHaus MLP is calculated using current FI-1 font pricing for after-market fonts. Should this pricing change, the multiprinter fee will change accordingly. Not all foundries represented by FontHaus subscribe to the FH MLP. Some typefaces and programs in this ad may not be available to all FontHaus Authorized Distributors. "Steve with Catalog" ©1992 MVB Mc 19/3 Circle 223 on Reader Service Card )•00 FONT* FOR •14ILY PM. MOW TYPEW01110 TYPE weaves

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fOIAPARCI Manufacturer Fonts Kerning Published Unit Available Pairs Price Price URW 3000 1000 $895. .30 Adobe 1350 200-400 '14,000. '10.37 Agfa 1900 150-350 '29,000. '15.74 Bitstream 1,039 300-500 '9,995. '9.16 Linotype 1024 128 '17,000. '16.60 Monotype 1560 400 '26,000. '16.67 URW

THE 10141TAL TYPE FOUNDRY THAT DEVELOPED THE MARV* MU" FOR FONT DEARTH AND PIHINOVITION •OFTWASE

* Need an economical CD Player? Call for ordering information. The URW TypeWorks Collection is also available in most other formats at an additional charge. PostScript is a registered trademark of Adobe Systems, Inc. Macintosh is a registered trademark of Apple Computer, Inc. This advertisement was composed using URW TypeWorks ITC Beesknees & Bramley, Aldus PageMaker and Aldus Freehand.

40 Circle 268 on Reader Service Card a Aw e , ea. as

kr)

International Typeface Design Competition

MI111•111111

• Eligibility Prizes• The competition is open to any individual or group The following prize amounts and certificates of any nationality. will be awarded to the winning entries. • Typeface categories Gold Prize: one for each category There are two entry categories: Y3 million (Kanji) Latin Y2 million (Latin) Kanji Silver Prize: one for each category Either or both categories may be chosen. Y1 million There is no limit to the number of submissions per entrant. Bronze Prize: one for each category • Design format Y500,000 Submitted designs must conform to the format specifications Judges' Prizes: total of eight prizes in both categories (including the assigned characters) for the respective category, (planned) which are supplied with the entry form. Y200,000 Entries that differ substantially from Honorable Mention: two in each category the competition specifications will be disqualified. Y100,000 The Competition Office shall be the sole judge of whether Competition sponsor• or not a submitted design is accepted for entry, Adobe Systems Incorporated based on the competition rules in this entry form Mountain View, CA, U.S.A. and on the accompanying specifications. • Entry deadline Entries accompanied by the application and agreement forms must be received by the Competition Office no later than August 31, 1993. For further information• • Panel of judges (in alphabetical order): Detail information of design formats, etc., Fred Brady, (U.S.A., manager of new typography) is available on request. Matthew Carter, (England, typeface designer) Please write to the address below. Mitsuo Katsui, (Japan, graphic designer) • Yoshiaki Morisawa, (Japan, president of Morisawa & Company Ltd.) Office of the Morisawa Awards 1993 Yu Bing Nan, (China, professor of typography & book design) International Typeface Design Competition (others to be decided) do Morisawa & Company Ltd., • Announcement of winners 2-6-25, Shikitsu-Higashi, Naniwa-ku, Award winners will be notified by mail in November 1993 Osaka 556, Japan (as well as through announcements in design journals phone: +81 6 649-2456 such as Idea and U&/c). fax: +81 6 649-2154 A presentation booklet of the winning typeface designs will be sent to the unsuccessful entrants as notification of the competition decisions. MORISAWA

Circle 259 on Reader Service Card 41 ACCENT Software, Inc. Autologic, Inc. Computer Associates The Font Company International, Inc. 902 Veneto 1050 Rancho Conejo Boulevard 12629 North Tatum Boulevard Irvine, CA 92714 Newbury Park, CA 91320 Great Valley Corporate Center Suite 210 (714) 552-7672 (805) 498-9611 40 Valley Stream Parkway Phoenix, AZ 85032 - High-Quality Graphics and Phototypesetting and Laser Malvern, PA 19355 (602) 998-9711 Typefaces for Use with Computer Imaging System (215) 251-9890 PostScript Publisher of the Font Aided Design/Drafting on Photo Units, Digital Photo Units/ Manufacturer of Graphic Software Company Type Library for Mac, Macintosh, IBM PC and UNIX Digital Recorders, Laser for Apple Macintosh Computer Next, and PC Platforms Recorders, Headline Typesetters, Scanners Computer Associates The Font Factory Adobe Systems Inc. International, Inc. Autologic SA 2400 Central Parkway 1585 Charleston Road Max-Stromeyer-Strasse 116 Suite A P.O. Box 7900 1030 Bussigny Pres Lausanne D-7750 Konstanz Houston, TX 77092 Mountain View, CA 94039-7900 Switzerland Germany (713) 682-8973 ITC (415) 961-4400 021/89.29.71 (07531) 87-4433 Desktop Publishing Typefaces Interactive Software Tools for Bobst Graphic Products and Laserset-Laser Typesetter for Ventura Publisher and Graphic Arts Phototypesetting Systems OCR-Equipment Window/Pagemaker

Aim Graphics, Inc. Avo's Type and Lettering, Inc. Computer Output Printing, Inc. FontHaus Inc. 6 White Plains Drive 17562 Eddy Drive 4828 Loop Central Drive 15 Perry Avenue Chesterfield, MO 63017 Santa Ana, CA 92705 Houston, D( 77081 Suite A7 (314) 536-2855 (714) 669-1327 (713) 666-0911 Norwalk, CT 06850 Developer for AIM-3D Computer T Film Fonts High End Electronic Printing PostScript Font Resellers and Animation System for 80386 Systems and Digital Fonts Software Developers Supporting International Typeface and 80486 PCs H. Berthold AG Macintosh and IBM Formats Teltowkanalstrasse 1-4 Crosfield Lightspeed Inc. Alphatype Corporation D-1000 Berlin 46 47 Farnsworth Street FONTS Corporation is a devel- 220 Campus Drive Germany Boston, MA 02210 Hardy-Williams (Design) Ltd. Suite 103 (030) 7795-1 (617) 338-2173 300A High Street Arlington Heights, IL 60004 Front-Ends, Optomechanical Lightspeed Color Layout Sutton, Surrey oper and marketer (312) 259-6800 Photo Units, Digital Photo Units/ Systems, Lightspeed SM1 PQ England Workstation III and Digital Recorders, Laser Interactive Kerning Editor 01-636-0474 AlphaComposer Phototypesetting Recorders, Headline Typesetters, of high quality type- System, CRS Digital Scanners Dainippon Screen Mfg., Ltd. Fundicion Tipografica Phototypesetter 1-1 Tenjinkita-cho Neufville, S.A. Berthold Inc. Teranouchi-agaru 4 chome face designs that are Ampex Corporation Puigmarti, 22 60 McPherson Street Horikawa-dori Barcelona-12 401 Broadway Markham, Ontario L3R 3V6 Kamikyo-k Spain applicable to a wide Redwood City, CA 94063-3199 Canada Kyoto 602, Japan 219 50 00 (415) 367-2011 (416) 475-8575 (075) 414-7111 Poster Types AVA-3 (Video Graphic Front-Ends, Optomechanical variety of graphic Art Generator) Photo Units, Digital Photo Units/ Dawlex Software GDT Softworks Inc. Digital Recorders, Laser Halesowan Anagraph, Inc. Recorders, Headline Typesetters, Suite 188 West Midland B63 3XE Scanners 4664 Lougheed Highway communication needs. 3580 Cadillac Avenue England Burnaby Costa Mesa, CA 92626 021 585 6897 Bitstream Inc. British Columbia V5C 6B7 (714) 540-2400 Canada ITC has a professional Graphic Design Systems, Athenaeum House DIGI-FONTS, Inc. (604) 291-9121' Plotting and Cutting Systems 215 First Street 528 Commons Drive Developer of Macintosh Printer Cambridge, MA 02142 Golden, CO 80401 Driver, Employs Outline Font understanding of Apple Computer, Inc. (617) 497-6222 (303) 526-9435 Technology for HP Deskjet, HP High Quality Digital Type for the 20525 Mariani Avenue Manufacturer of Scalable Outline Laserjet Series, and HP Laser Macintosh and IBM PC both the esthetics Cupertino, CA 95014 Fonts and Font Utility Software for Compatible Printers (408) 996-1010 HP LaserJet Family and British Broadcasting Corporation Manufacturer of Apple's PostScript Printers General Parametrics Corp. & business of type. Macintosh Equipment Broadcasting House 1250 Ninth Street London W1A 1M Digital CompositionSystems,1nc. Berkeley, CA 94710 Applied Arabic Limited England 1715 West Northern (415) 524-3950 01-580-4468 South Bank TechnoPark Suite 201 Video Fonts for the BBC 90 London Road Phoenix, AZ 85021 Genigraphics Corporation London SE1 6LN (602) 870-7666 As a result, we have CADCAM PUNCH LTD. 2 Corporate Drive England Database Publishing Software for Suite 340 01922-8803 43, Arkwright Street Microcomputer Users Shelton, CT 06484-6206 established a busi- Distributors of Arabic Typefaces Nottingham NG2 2JR (203) 926-8808 and Suppliers of Digital England Digital Typeface Corporation Computer Generated Information for Arabic Typefaces 0602 862561 9955 West 69th Street Graphic Production CADCAM Textile Designing ness relationship with Eden Prairie, MN 55344 Apply Design Group Systems (612) 944-9264 Geographics, Inc. Am Genrkamp 45 High-Quality Typefaces Camex, Inc. P.O. Box R-1 the companies listed D-3160 Lehrte from URW, ITC and Other World- Blaine, WA 98230 Germany 75 Kneeland Street Class Type Libraries (206) 332-6711 (051) 32 12 28 Boston, MA 02111 Dry Transfer Letters to the right of this (617) 426-3577 dtp Types Limited SuperSetter Digital Imaging Architext Inc. 13 Nurserylands Gossops Green Gepeto Electronica Ltda Systems for Text column. Purchasing 121 Interpark Boulevard Crawley West Sussex RH11 8RH Praia de Botafog 440-16 andar England Suite 1101 Casady & Greene Inc. Rio de Janeiro CEP 22250 San Antonio, D( 78216 0293 615469 Brazil fonts and type (512) 490-2240 22734 Portola Drive Manufacturers of Software and (021) 286-8284 The Architext OmniFont Library & Salinas, CA 93908-1119 Font Products for Electronic Telex 021-33499 Digitization Services. Fonts for HP (408) 484-9228 Publishing and Graphic Arts Digital Phototypesetters, imaging equipment IBM, Kodak, PostScript, Siemens FAX: (408) 484-9218 Photocomposition Systems and Xerox Laser Printers. Custom Manufacturer of Bitmap Dubner Computer Systems, Inc. and PostScript Typefaces Fonts for IBM & Okidata Desktop 6 Forest Avenue Graphic Products Corporation from any of these for Macintosh Printers Paramus, NJ 07652 1480 South Wolf Road (201) 845-8900 C. Centennial, Inc. Wheeling, IL 60090 companies assures Artype, Inc. Broadcast IV Equipment (708) 537-9300 3530 Work Drive 2 Centennial Drive Format Cut-Out Acetate Letters Fort Myers, FL 33901 Centennial Park Electra Font Technologies and Graphic Art Aids Peabody, MA 01960 authenticity of ITC (813) 332-1174 1601 Trapelo Road (508) 532-5908 Toll Free: 800-237-4474 Waltham, MA 02154 GST Software Products Limited Manufacturer of Custom and Dry Transfer Letters, (617) 890-1288 Standard Font Products for Laser Meadow Lane, St. Ives typefaces & opti- Cut Out Letters Distribution of High Quality Printers and Dot Matrix Printers Huntington, Cambridgeshire Image Printers/Fonts PE17 4LG ASIBA GmbH (Standard/PostScript) mal quality design Cello-Tak Mfg., Inc. England Ostengasse 7 44-480-496789 8400 Regensburg 35 Alabama Avenue Elsner +Flake Designstudios Island Park, NY 11558 Germany Dorfstra8e 11 Hampstead Computer Graphics representation. (516) 431-7733 (0941) 52240 D-2081 Langeln Dry Transfer Letters 378 Emerson Avenue Letterplot 33 (Software Germany Hampstead, NH 03841 for Signage) 04123/4843 Chartpak (603) 329-5076 Software for Typesetting on Aston Electronic Designs Ltd. One River Road Filmotype Supplies, Inc. Personal Computers Leeds, MA 01053 125/127 Deepcut Bridge Road 2952 Peachgate Court (413) 584-5446 Deepcut, Camberley, Surrey Glenview, IL 60025 Heidelberg-PMT Co., Ltd. These Subscriber Dry Transfer Letters GU16 6SD England (708) 998-0871 3-21-4 Minami Oi (0252) 836221 Film Fonts and Digital Headline Color Image Products Company Shinagawa-ku, Tokyo companies are licensed Video Character Generators Machines Japan 1116 Man helm Pike (03) 763-4141 Lancaster, PA 17601 to manufacture and (717) 393-2591 Manufacturer of sell ITC typefaces. Dry Transfer Letters

Helix Limited Esselte Letraset NEC Information Systems, Inc. QMS/Imagen Corporation Synapsis Corporation Visual Graphics Corporation Letraset Limited P.O. Box 15 1414 Massachusetts Avenue 2650 San Tomas Expressway 5460 White Oak Avenue 5701 N.W. 94th Avenue Lye Stourbridge St. George's House Boxborough, MA 01719 Santa Clara, CA 95052-8101 Suite A336 Tamarac, FL 33321 West Midlands DY9 7A.1 195-203 Waterloo Road (508) 264-8000 (408) 986-9400 Encino, CA 91316-2407 (305) 722-3000 England London SE1 8X1 Personal and Small Business Electronic Printing Systems (818) 906-1596 Manufacturer of Photo Typositor (0384) 424441 England Computer Systems, Printers Electronic Forms Vendor and Original Typositor Film Fonts 071 928 7551/3411 and Peripherals Quantel Limited Focusing in All CPU Hardware Environments/50 Page Wang Laboratories, Inc. Dr.-Ing Rudolf Hell GmbH Dry Transfer Letters, TrueType 31 Turnpike Road and Type 1 Format Fonts Neo-Visuals, Inc. Per Minute/Below One Industrial Avenue D-2300 Kiel 14 Newbury Non-Impact Printers Grenzstrasse 1-5 1200 Eglington Avenue E Berkshire RG13 2NE Lowell, MA 01851 Letraset USA Inc. (508) 459-5000 Germany Suite 404 England Technographics/Film Fonts (0431) 2001-1 40 Eisenhower Drive Don Mills, Ontario (0635) 48222 Document Processing and Office Digiset Phototypesetting Paramus, NJ 07652 Canada M3C 1H9 Designers and Manufacturers of P.O. Box 552 Automation Specialist Equipment and Systems, (201) 845-6100 (416) 443-9811 Digital Television Broadcasting Culver City, CA 90230 Digiset-Fonts Dry Transfer Letters, TrueType High End 3D Computer Graphics Equipment; the Paint Box (213) 870-4828 Xenotron, S.A. and Type 1 Format Fonts and Animation Toll Free: 800-421-4106 3, Rue Sandoz Hewlett Packard Qume Corporation Film Fonts, Studio Film Kits, B.P. 118 Linographics Nippon Information and Alphabet Designers Vancouver Division, Washington 500 Yosemite Drive 93130 Noisy-le-Sec & Science Ltd. France 18110 S.E. 34th Street 770 N. Main Street Milpitas, CA 95035 Tegra, Inc. Camas, WA 98607 Orange, CA 92668 Sumire Building 4F 1-800-223-2479 (1) 48 91 78 33 (206) 944-8110 (714) 639-0511 5-4-4 Koishikawa Manufacture and Distribute Middlesex Technology Center Manufacturer of Display Typesetters, T Film Fonts Bunkyo-ku, Tokyo 112 Electronic Office Printing Systems 900 Middlesex Turnpike Laser Imagesetters High Technology Solutions Japan Billerica, MA 01821 Linotype-Hell Company 033 814 3201 Ryley Communications Limited (508) 663-7435 Xerox Corporation P.O. Box 3426 Digital Fonts, Latin and Electronic Printing and Poughkeepsie, NY 12603 Linotype-Hell Company 39 Haviland Road Xerox Font Center Non-Latin Alphabets, Including Imaging Systems (914) 473-5700 425 Oser Avenue Ferndown Industrial Estate 880 Apollo Street Kanji Characters Wimborne Dorset BH21 7SA MS P2-83 MPS Front End System and Hauppauge, NY 11788 Tektronix, Inc. Fastsetter Typesetter (516) 434-2074 England El Segundo, CA 90245 Officine Simoncini s.p.a. (0202) 871313 Wilsonville Industrial Park (213) 333-6612 Image Club Graphics Inc. Linotype-Hell Limited Casella Postale 776 Television Character Generators 26600 S.W. Parkway Fonts for Xerox Printing Systems Chelham House 40100 Bologna Wilsonville, OR 97077 #5 1902 11th Street Southeast Bath Road Italy Ryobi Limited (503) 682-3411 Xerox Corporation Calgary, Alberta T2G 2G2 Cheltenham-Glos. GL53 7LR (051) 744246 Printing Equipment Division Ink Jet Printers 4692/4695/ Intran Operation Canada England Hot Metal Composing Matrices 4696, Laser Printer 4636, (403) 262-8008 762 Mesaki-cho 8400 Normandale Lake Boulevard (0242) 222 333 and Phototypesetting Systems Thermal Wax Printer 4693 Bloomington, MN 55431 Manufacturer of PostScript Fuchu-shi Models, Phaser Printer Card Hiroshima-ken 72 (612) 831-0342 Typefaces Panache Graphics Limited 4530 and Quick Draw Linotype-Hell AG Japan Digital Fonts, Xerox High-End Mergenthaler Allee 55-75 Printer Driver Information International, Inc. 50-54 Clerkenwell Road 03 257 1502 Printing Systems D-6236 Eschborn bei Frankfurt Text Display Phototypesetters London EC1M 5PS TypeMasters, Inc. 5933 Slauson Avenue Germany England Zenographics, Inc. Culver City, CA 90230 (06196) 982 260 071 251 3746 Scangraphic Dr. Boger GmbH 15 Union Hill Road 4 Executive Park Circle (213) 390-8611 Typefaces and Fonts of Digital West Conshohocken, PA 19428 Rissener Strasse 112-114 Irvine, CA 92714 Phototypesetting Systems Typesetters (CRT and Laser), and (215) 834-7840 Phoenix Technologies Ltd. 2000 Wedel/Hamburg (714) 851-6352 other Visual Communication Full Graphic Services International Business Equipment (e.g. PostScript 846 University Avenue Germany Professional Graphics (04103) 6021-25 Software and Windows-Based Machines Corporation LaserPrinters). Linotronic Laser Norwood, MA 02062 Typesoft Limited Imagesetters, CRTronic (617) 551-4000 Manufacturer of the Scantext Printing Solutions Old Orchard Road Imagesetting Equipment and Multiple Printer Language Phototypesetting System, 17 Willow Close Armonk, NY 10504 Systems Interpreter and Operation System Frontend, Typesetter, Graphic Hamworthy, Poole Zipatone, Inc. (303) 924-4807 for Laser Printer Page, Logoscanner, Interfaces Dorset, England Electronic Printing Systems 150 Fencl Lane Management Graphics, Inc. and Digital Fonts (0202) 631590 Hillside, IL 60162 PhotoVision of California, Inc. (708) 449-5500 International Digital Fonts 1401 79th Street East Seaside Software Incorporated TypoGabor Minneapolis, MN 55425 P.O. Box 552 Dry Transfer Letters 1431 6th Street Northwest (612) 854-1220 Culver City, CA 90230 Clio Chigasaki 2-bankan #301 5 Rue Du Mai 1945 Calgary, Alberta T2M 3E7 Manufacturer of (213) 870-4828 1-21-3 Higashikaigan-minami 92586 Clichy-Cedex Canada Slide-Making System Toll Free: 800-421-4106 Chigasaki, Kanagawa France (403) 284-2288 Spectra Setter 100, Visual Japan 253 33 1 47 39 66 00 Digital Fonts for Laser Printers Mecanorma Display Setter, and T Film Fonts 81-467-83-4372 Available in PostScript Type 1 URW Unternehmensberatung and TrueType Formats 14 Route de Houdan Polycutters Limited Simulation Excel A.S. 78610 Le Perray-en-Yvelines Karow Rubow Weber GmbH Itek Graphix Corp. Paris, France 25 Bridge Street Dag Hammarskjolds vei 15 Harksheider Strasse 102 Composition Systems Division (1) 34 83 92 66 Rothwell, Kettering Oslo 5, Norway 2000 Hamburg 65 Northants NN14 2JW 47-2-15 66 90 Germany 34 Cellu Drive Dry Transfer Letters England PAGEscan Digital Typesetter (040) 60 605-0 Nashua, NH 03063 Mephistopheles Systems Design (0536) 712627 PAGEcomp Interactive Ad IKARUS-Digital Type Production (603) 889-1400 and Page Make-up Terminal SIGNUS-Type Setting with Foils Phototypesetting Systems and 3629 Lankershim Boulevard Presentation Technologies, Inc. Equipment, Film Strips, Standard Hollywood, CA 90068-1217 SoftCraft, Inc. U.S. Lynx and Segmented Discs, and (818) 762-8150 743 North Pastoria Avenue Digitized Fonts MSD Fonts Sunnyvale, CA 94086 227 N. El Camino Real #201 853 Broadway (408) 749-1959 Encinitas, CA 92024 New York, NY 10003 lzumiya Co., Inc. Mesac GmbH Image-Maker (619) 944-0151 (212) 673-3210 Slide-Making System SoftCraft Font Library Lynx Laser Plain-Paper Ebisu Subaru Building 4F Saarstrasse 29 Proofing System 20-08, Ebisu 1-chome 6360 Friedberg/H. Pressure Graphics, Inc. SoftWood, Inc. Shibuya-ku, Tokyo 150 Germany Varitronic Systems, Inc. Japan 06031/3677 1725 Armitage Court 7776 Pointe Parkway West 011-81-3-440-1531 UNI.LET (CAD-CAM System) Addison, IL 60101 Suite 270 300 Shelard Tower (708) 620-6900 Phoenix, AZ 85044 600 South County Road 18 Kagema AG Micrografx, Inc. Dry Transfer Letters (602) 431-9151 Minneapolis, MN 55426 (612) 542-1500 Postfach 422 CH-8051 1303 Arapaho PROSOFT Special Graphic Lettering Merlin Electronic Lettering Zurich, Switzerland Richardson, TX 75081-2444 Tesler Software Corporation Systems Holland B.V. Systems for the Office (1321) 0600 (214) 234-1769 7248 Bellaire Avenue P.O. Box 211 Varityper Inc. Kroy Miles Inc. No. Hollywood, CA 91605 2160 AE Lisse A Tegra Company (818) 764-4555 The Netherlands Authorized Suppliers Scottsdale Airpark Agfa Division "Fontasy" Software 01718-26114/22871 11 Mt Pleasant Avenue of ITC Typefaces in 14555 N. Hayden Road 90 Industrial Way Dry Transfer Lettering East Hanover, NJ 07936 Scottsdale, AZ 85260 Digital Form Wilmington, MA 01887 Purdy and Associates, Inc. (201) 887-8000 (602) 948-2222 (508) 658-0200AgfaType" CD Straightforward Electronic Prepress Systems Adobe Systems Inc. ROM; ProSet" Series: 9400, 100 Perimeter Road Agfa Compugraphic Division 15000 Halldale Avenue LaserGo, Inc. 9550, and 9800 Laser Imaging Nashua, NH 03063 VCG Holdings Bitstream Inc. Gardena, CA 90249 Devices; SelectSer 5000 Laser (603) 883-9796 Digital Type Systems, Ltd. 9369 Carroll Park (213) 324-8827 Berkshire House Imaging Device; StudioSet" Device Independent Computer Linotype GmbH Suite A Z-Font Software 56 Herschel Street 2000 Plus Laser Imaging Device; Board for Printers Nippon Information Science Ltd. San Diego, CA 92121 Slouth SL1 1PY (619) 450-4600 9000 PS MAX Plus/J Kanjii URW Unternehmensberatung PostScript RIP; 5000 and 9000 Purup Electronics Sumitomo Bakelite Co., Ltd. England PostScript Interpreter Software (404) 956-0325 GoScript, GoScript Plus, and PS Star PostScript RIPs; Agfa 5 Sonderskowej 2-2, 1-chome, Uchisaiwai-cho Color Scape" Color Electronic Software Developers for Authorized Distributors GoScript Select DK-8520 Lystrup Chiyoda-ku, Tokyo 100, Japan Presentation Graphics for Prepress Systems; Focus" Denmark (03) 595-9391 of ITC Typefaces Scanner family; PostScript Macintosh and IBM Systems LaserMaster Corporation 4586 222522 Printwheels, Daisy Wheels AGFA-Gevaert N.V. Slidemakers Purup PrePress Products: High and Thimbles 7156 Shady Oak Road VideoSoft, Inc. Apple Computer Inc. Resolution Laser Image Setters, Bitstream Inc. Eden Prairie, MN 55344 The Monotype Corporation Ltd. 2103 South Broadway Interactive Graphic Systems for Sun Microsystems/Folio Cubicomp (612) 944-9330 P.O. Box 165920 Salfords, Redhill, Surrey Forms and Label/Packaging, Datalogics Incorporated Manufacturer of Printer 100 View Street Little Rock, AR 72206 England Purup Typeface Libraries, High Delphax Systems Controllers/Typesetters for PC Suite 106 (501) 376-2083 (737) 65959 Resolution PostScript: Purup Digital Equipment Corporation Compatibles/Macintosh Mountain View, CA 94042 Supplier and Manufacturer Visual Communications Image Maker Digitized Information Systems (415) 960-1300 of Digital Fonts for Electronic Equipment Technology for Digital Typography Corporation (Ghent, Belgium) LeBaugh Software Corporation Systems QMS, Inc. Eocom 10824 Old Mill Road NEC Corporation One Magnum Pass General Optronics Corporation Suite 6 Visi-Graphics Mobile, AL 36618 Kanematsu Electronics Ltd. Omaha, NE 68154 7-1, Shiba 5-Chome Minato-Ku, Tokyo 108-01 (205) 633-4300 8119 Central Avenue Scitex Corporation Ltd. (402) 334-4820 Washington, DC 20027 Manufacturer of LePrint" Japan 0423 641111 (301) 366-1144 Software Dry Transfer Letters

FOR FURTHER INFORMATION WRITE OR CALL: INTERNATIONAL TYPEFACE CORPORATION 866 SECOND AVENUE, NEW YORK, NEW YORK 10017 (212) 371-0699 TELEX: 669204

TECH Microsoft Announces New Windows talk continued from page 38 Microsoft® Corporation has begun ship- Does your ping a new upgrade to its graphical oper- ColorStudio Is Back ating system for PCs, Windows" 3.1. typography lack ColorStudio° 1.5 is a high-end image Windows 3.1 makes PCs easier to use editing program for the Macintosh that with drop-down menus that eliminate gives users more control in the creative the intimidation factor and learning x-heightment? process. ColorStudio provides such fea- curve users experience with DOS. The tures as monitor calibration, input scan- new version of Windows includes over ner control and CMYK color correction. 1,000 user enhancements and new fea- ANY DESIGNERS Version 1.5 also includes Shapes;"a com- tures. For example, Object Linking and have found them- plete PostScript illustration environ- Embedding (OLE) technology allows selves faced with the per- ment. The vector illustrations which are applications to work together seamlessly created in Shapes can be saved as a sep- with live "data links" so an application plexing and baffling issues arate layer or rendered into the image program can be imbedded and launched related to setting their own layer. For Macintosh. $795. Fractal from within another. Windows 3.1 has type on the computer. Design Corporation, P.O. Box 2380, built-in multimedia functionality and lets

--- x - height is a new quarterly Aptos, CA 95009. (408) 688-8800. applications control a wide range of mul- publication for users of all timedia devices including audio boards types — whether you've been forced to wear two Stock Textures and video players. Scalable TrueType font hats, or if you know type but need occasional D'pix, Inc. has released four new prod- technology provides instant access to ucts from its FOLIO 1 library of photo- typefaces in any point size and high- insight and inspiration. graphic backgrounds and textures. quality WYSIWYG output on any moni- Designed to help you in understanding, choos- The FOLIO 1 Media Kit" contains 100 tor or printer supported by Windows. ing and using type on your computer (Mac or images for multimedia and business- For IBM/compatibles. $149. Microsoft quality print applications, including tex- Corporation, One Microsoft Way, PC), x - height is written for design professionals (not hackers). Each issue contains interesting, in- tures, fabrics, foods, metals and masonry. Redmond, WA 98052. (206) 882-8080. The Media Kit includes the option to pur- formative and useful articles on type written by chase magazine-quality images with Turn Your Printer leading industry authorities. unlimited use rights and possession from Into an Imagesetter Topics have included Legibility & Type, Font the CD-ROM, or as 4 x 5" color trans- Have you ever created a file that prints Hinting, Defining Public Domain Fonts, Mixing parencies. The FOLIO 1 Print Pro CD correctly on your PostScript® laser print- Type, Cross-Licensing Libraries, Creating a Print- is for the high-end print designer who er, but will not print on a high-end image- to-Disk PostScript File, Multiple Master Technol- requires full-page magazine-quality setter? Or have you ever paid for wasted images for four-color printing. FOLIO 1 pages from your service bureau because ogy, Marketing Your Own Typeface, Font Piracy, Grayscale contains 100 8-bit grayscale you have forgotten to include the fonts? Kerning Pairs, Taming PostScript Fonts, ITC, and images for use in one, two or three-color LaserCheck" is a utility product that Hanging Punctuation. printing or laser printer output. The makes your PostScript laser printer think Future issues will focus on current font issues, FOLIO 1 Mini-Pak contains 10 images it is an imagesetter. Now you will be able technologies, and design problems of a particular category and is suitable to test your files before sending them for t today's graphics professionals face for smaller budgets or projects. For Mac- output from an imagesetter. If the file will daily — both basic and complex. Plus, intosh. FOLIO 1 Media Kit $299.95; not print, LaserCheck tells you why. For FOLIO 1 Print Pro CD $399.95; FOLIO 1 Macintosh and IBM/compatibles. $149. you'll be made aware of many of the Grayscale $199.95; FOLIO 1 Mini-Pak Systems of Merritt, Inc., 2551 Old newest type designs as they are $39.95. D'pix, Inc., 414 West Fourth Dobbins Drive East, Mobile, AL 36695. released by their foundries. Avenue, Columbus, OH 43201. (800) 238- (205) 660-1240. 3749; (614) 299-7192. Get excited about Customized FreeHand setting your own It Figures for Designers Mannequin° Designer is a software tool Facade" is a software tool kit for Aldus type. Get x—height. that gives you the ability to draw detailed FreeHand® that allows users to write human models. With Mannequin, users stand-alone applications for solving can place moving, fully scalable, realistic complex graphic design, printing and Special offer : For a limited time, all new subscribers 2D and 3D human figures of different publishing needs. For example, develop- to x beight will receive three .yt)i (for your typographic - genders and body sizes into their design. ers can use Facade to write applications information) brochures on "The Parts of a Character," The software includes a host of drawing to spellcheck an Aldus FreeHand doc- "Type Familes," and "To Justify or Not to Justify" -c- Aeel tools and a 3D furniture library. For IBM/ ument, as well as to substitute fonts, To subscribe, copy or clip this coupon and mail or fax with your compatibles. $99. Mannequin Designer, manipulate objects, swap colors or report payment tO: X— HEIGHT, PO BOX 2715, WESTPORT, CT 06880 USA HumanCad, 1800 Walt Whitman Road, on placed graphics. For Macintosh or ❑ One year $18 (payable in US funds) Melville, NY 11747. (800) 437-4441. IBM/compatibles. Altsys Corporation, 269 ❑ Two years $ 29 (SAVE 20%) W. Renner Road, Richardson, TX 75080. ❑ Payment Enclosed Image Access from a Database (214) 680-2060. ❑ Charge to my American Express Card ImageAccess is a Macintosh-based soft- No. Exp ware product from Nikon used for image FontMonger Available archival and management. ImageAccess for Windows Name provides data entry, searching, sorting Ares Software Corporation has released Signature and organization of photographic a font conversion and creation applica- Company images. The software works directly with tion for IBM computers running under the Nikon Film Scanner and Autofeeder Windows. FontMonger" converts font Address for unattended scanning and automatic files in any direction between Adobe City State Zip cataloging of up to 300 slides per ses- PostScript Type 1 and Type 3, TrueType Telephone sion. Users can preview the images in and Nimbus Q. FontMonger also con- thumbnail sizes prior to importing into verts font files from Agfa Intellifont" and x-height 203 FAX 203 849-8527 R-4---9 A A RR page layout or image editing programs. Corel Systems WFN format into any of For Macintosh. $495. Nikon Inc., 1300 the other formats. Converted fonts can x-height and x-heightment are trademarks of QED Publishing Company, Macintosh is a trademark of Apple Computer, Inc, PostScript is a trademark of Adobe Systems, Inc. !VII brochures are © Intemational Typeface Corporation. ©1992 QED. Walt Whitman Road, Melville, NY 11747- be saved for IBM/compatibles, Apple 3064. (516) 547-4200. continued on page 49

Circle 228 on Reader Service Card 44

Why settle for Helvetica® Bold when MATTHEW CARTER'S you really want "Helvetica Bolder"? • Now you don't have to! Type Solutions Introduces... Incubator"' 41g Gaillard Incubator lets you adjust four powerful typographic controls (lightness or darkness), Width (lateral dimension), —Color ITC Galliard® Roman Italic digitized Contrast (relative thickness of character parts) and Slant — by their designer Complete with to createTrueTypeTM fonts from your existing TrueType liibrary. The more original fonts you have, the greater your ROMAN SMALL CAPITALS creative possibilities. Incubator gives you the power to create ABCDEFGHIJKLMNOPQRSTUVWXYZ&IECE thousands of unique fully hinted TrueType fonts quickly and easily! Old style figures 1234567890 1234567890 It's EASY! It's FAST! It's a MONEY—SAVER! Superiors sir inferiors 12345/6789o12343/47890 amomaisommim Incubator Controls fflff. E:M=MIZI Incubator Controls ===6111111111111112 Color lot I 1 101 0.6770 Color Nut fradions 4M 1 3 aUjj Width 0.6060 Width 424888833 Contrast *I 2.5466 Contrast 2.8074 Slant 0.0000 Slant 0.0000 Ligatures iffiflffiffidgtflfjfififfiffifififietsPfl

(Create... (Create... ) ( fleuert ) Bolder ( Beuert Width 8Call the trimmings Qt:- cL) e) n r' t_, ( Help j Help ) ob ft" 6, is us /1_, e' g cr.) Writ ) Qui t ) Qcts,

Widths From: Bolder Widths From: Width ® Scroll Bar C) Scroll Her 1- In Type 1 and TrueType formats 0 Metric ♦ (Select Metrics File...) Tent: (Bolder 0 .10110% I Oe Select Metrics File...) Tent: Width

Easy to use scroll bars allow you to see the effects immediately!! Suggested Retail Price: $149.95 Special U&Ic Bookshop Price $99 - To ORDER FONTS FROM System Requirements: Works with Visa, Mastercard or check accepted. Macintosh System 6.05 or higher — To order, call (800) 634-9325 CARTER & CONE TYPE INC. (Systems below 7.0 require a TrueType M – F 9:30 A.M. – 4:30 P.M. (NIT); Hard Disk; 750 Kbytes of free CALL 800 952-2129 memory. or use the U&Ic Bookshop order form. Circle 234 on Reader Service Card TYPE ITC Galliard is a regigtered trademark of the International Typeface Corporation SOLUTIONS, INC. P.O. Box 1227, Plaistow, NH 03865 • 603-382-6400 • FAX 603-382-4839 Circle 267 on Reader Service Card

Daige Procote 2000: it beats all other handwaxers by a wide margin.

With its 3" roller, Daige Procote 2000 covers twice as much paper area as the ordinary P/2" handwaxer. More coverage means less effort, less time. Precision temperature control is another Daige advantage. A stronger heating unit melts wax faster and an exclusive thermostat keeps operating temperature at 180° for optimum flow and adhesion. Daige Procote 2000 is made so it doesn't leak or spill, it's break- resistant and an on/off switch is right on the cord. For more information, call your dealer—or contact us.

The name DaigeProducts, -1- Inc. to stick with. 1 Albertson Avenue, Albertson, NY 11507 • (800) 645-3323 • (516) 621-2100

45 Circle 245 on Reader Service Card

ITC Collection TYP EFACES SHOWN ON THESE PAGES REPRESENT THE COMPLETE COLLECTION OF ITC TYPEFACES AS OF AUGUST 20, 1992.

American ITC Benguiat Gothic® ITC Cheltenham® ITC Esprit® ITC Gamma® A _Typewriter® Book Light Book Book Light Book Italic Light Italic Book Italic Book Italic Light Italic Medium Book Medium Medium Medium Medium Italic Book Italic Medium Italic Medium Italic Medium Italic Bold Bold Bold Bold Bold Bold Italic Bold Italic Bold Italic Bold Italic Bad, Italic Heavy Ultra Black Black Light Condensed Heavy Italic Ultra Italic Black Italic Black Italic Medium Condensed Light Condensed Bold Condensed ITC Berkeley Oldstyle® Light Condensed Italic ITC Fenice® ITC Garamond® Book Condensed Book Light Light IT( Atitir Book Italic Book Condensed Italic Bold Condensed Light Italic Light Italic Medium Regular Book Medium Italic Bold Condensed Italic ITC Avant Garde Ultra Condensed Regular Italic Book Italic Bold Bold Gothic® Ultra Condensed Italic Bold Extra Light Bold Italic Bold Italic Bold Italic Extra Light Oblique Black Ultra Ultra Black Italic ITC Clearface® Book Ultra Italic Ultra Italic Book Oblique Regular Light Narrow Regular Italic Light Narrow Italic Medium ITC Bookman® ITC Flora 8 Medium Oblique Light Bold Medium Book Narrow Demi Light Italic Bold Italic Bold Book Narrow Italic Demi Oblique Medium Heavy Bold Narrow Bold Heavy Italic Bold Narrow Italic Medium Italic Black ITC Franklin Gothic® Bold Oblique Demibold Light Condensed Book Condensed Black Italic Book Light Condensed Italic Demibold Italic Book Italic Medium Condensed Bold Book Condensed Demi Condensed ITC Cushing® Medium Book Condensed Italic Bold Italic Medium Italic Bold Condensed Book Bold Condensed Demi ITC Caslon No. 224® Book Italic Bold Condensed Italic Medium Demi Italic Ultra Condensed ITC Barcelona® Book Heavy Ultra Condensed Italic B Book Book Italic Medium Italic Heavy Italic Bold BookItalic Medium Book Condensed Bold Italic ITC Giovanni'" Medium Medium Italic Book Condensed Italic Heavy Medium Italic Bold Medium Condensed Book Heavy Italic Bold Bold Italic Medium Condensed Italic Book Italic Bold Italic Black Demi Condensed Bold Heavy Black Italic ITC Elan® Demi Condensed Italic Bold Italic Heavy Italic E Book Book Compressed Black ITC Century® Book Italic Book Compressed Italic Black Italic ITC Bauhaus® Medium Demi Compressed Light ITC Golden Type" Light Light Italic Medium Italic Demi Compressed Italic Medium Book Bold Book X-Compressed Original Demibold Book Italic Bold Italic Demi X-Compressed Bold Bold Bold Black Black Heavy Bold Italic Black Italic Friz Quadrata Ultra Friz Quadrata ITC Goudy Sans® IT! OCCAMEES" Ultra Italic ITC Eras® Friz Quadrata Bold Book Light Condensed Light Book Italic ITC Benguiat® Light Condensed Italic Book ITC Galliard® Medium Book Condensed Medium G Medium Italic Book Book Condensed Italic Demi Roman Italic Bold Book Italic Bold Condensed Bold Bold Italic Medium Bold Condensed Italic Bold Ultra Bold Italic Black Medium Italic Ultra Condensed Black Italic Bold Ultra Condensed Italic Black Bold Italic Black Italic Book Condensed Ultra Book Condensed Italic Ultra Italic Medium Condensed Medium Condensed Italic Bold Condensed Bold Condensed Italic

46 ITC 1 sadord kA ITC Mendoza ITC Officina Serif- ITC Stone Informal" ITC Tiffany I

INTERNATIONAL TYPEFACE CORPORATION OPERATES UNDER THIS NAME DOMESTICALLY AND IN FOREIGN COUNTRIES AND IS KNOWN AS "ITC:' ITC AND ITS TYPEFACE NAMES ARE REGISTERED TRADEMARKS OF INTERNATIONAL TYPEFACE CORPORATION IN CERTAIN COUNTRIES. IN ADDITION, ITC TYPEFACES ARE PROTECTED BY DESIGN LEGISLATION AND COPYRIGHTS IN CERTAIN COUNTRIES. (SEE ITC SPECIMEN BOOKLETS.) 47 *PROTECTED BY UNITED STATES PATENT DES. 317,621, 324,535, 323,849, 322,985, 325,042, 325,219.

ITC Arabic

ITC Boutros Setting T" ITC Boutros Modern Kufic -

LIGHT I L50->,-Lin 0.L5)=L? LIGHT J=1-Li 311)-6 LIGHT

LIGHT ITALIC ,SA-o 04\ L --Lc ‘3114 LIGHT ITALIC A<, LIGHT ITALIC

MEDIUM J2.4.0,95.4 L MEDIUM .641140 aki=-N, JA43.64 MEDIUM

MEDIUM ITALIC L L;2.2.4.0 ykOzu MEDIUM ITALIC 1114 6.Au‘ 44=4 MEDIUM ITALIC

BOLD J9.6.01 40.02.? BOLD 04-imi ,Ig0.42-1, 09‘1141214 BOLD

BOLD ITALIC Sg.4 49-4 4"mts ‘.)1b..)114 BOLD ITALIC Vito a4 m1 Ii4A-N. 1441 41064 BOLD ITALIC

ITC Boutros Calligraphy" nsoutromme- nEloutrosiRokaa-

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LIGHT ITALIC LIGHT ITALIC

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10.A2mil64 4.paj.,Igy BOLD 49-111) c?-05A 010-1'94 BOLD BOLD ITALIC 3.11-45-114145. 010=4 BOLD ITALIC

ITC Display Typefaces

ITC AKI LINES® ITC/ESC Coadensed® tea) Bold o© t1ine ITCILSC Coidened kalif ITC Bauhaus Heavy® ITC Dkli® 017,3 @Goollaauo G[@eqp CoROH61]*® ElUg [AGMO CDMOntag® ITC Bernase Roman® ITC Eras Contour® ITC Bolt Bold° ITC Fal Fact® ITC/LSC Book Regular Roman® ITC Firenze® ITC/LSC Book Regular Italic® Frarrildn &a O@ ITC/LSC Book Bold Roman® glt Malan ITC/LSC Book Bold Italic® ITC Franklin Gothic Contour® ITC/ LSC Book X-Bold Roman® ITC Gorilla®

ITC / LSC Book X -Bold Italic® ITC Grizzly® BAG DaDar_ffiffiffl CmanG wASI, g3\!Ayeagl ITC Grouch® ITC Bookman Contour with Swasir ITC Honda® ITC 3UCOPAYA LIGHT® Effibd aolbae® ITC BUS012IM4 MEDIUM® ITC label Contour® ITC BUSORAMA BOLD® Him ECAMME ECM Oanitilfilitr ITC Caslon Headline® ITC MACHINE ® ITC/LSC Caslon Light No.223® ITC MACHINE OKI® ITC/LSC Caslon Light No.223 Italic® Manhattan® ITC/LSC Gaston Regular No.223® ITC MilanoRoman® ITC/LSC Caslon Regular No.223 Italic® ITC NEON® ITC/ LSC Caslon Bold No.223® L17E 1.4111112LL' ITC /LSC Caslon Bold No.223 Italic® ITC Ronda Light® ITC/LSC Caslon X- Bold No.223° ITC Ronda® ITC/LSC Caslon X -Bold No.223 Italic® ITC Ronda Bold® Chatenham thll® NC SAO Cc 13©lld Ogitne. ITC Mae DIM a nt Oaltilke ThiIv® ITC/S&C Stymie Hairline® ITC Cheltenham Contour ® ITC Tom's Roman® MC Cllearface Otfl® ITC Upright Regular® ITC Clearface Contour ® ITC Upright neon®

NC CIL r face Ozene 314 &dm 8

48 TECH LaserJet PostScript Cartridge Plus cartridge looks at the data stream coming lk continued from page 44 into the printer and automatically senses whether to print pages using the Post- 0 Macintosh and NeXT platforms. $149. Script interpreter or HP PCL interpreter. For IBM/compatibles. Ares Software PostScript is the most common printing N Corporation, 561 Pilgrim Drive, Suite D, language used by graphic design and Foster City, CA 94404. (415) 578-9090. publishing programs. HP PCL 5 is the printing language used by most business, T Hardware word processing and spreadsheet programs and works with the largest number Apple Products for IBM PCs of applications. The new HP LaserJet 1 In a move that was unthinkable only PostScript Cartridge Plus features authen- a year ago, Apple Computer has tic Adobe PostScript Level 2, Adobe's announced products for the Windows newest printing language. The PostScript IBM/compatible market. Apple's cartridge allows multiple users of both OneScanner" for Windows brings one- PCs and Macs to access the same laser button scanning to the PC. Styled exactly printer effortlessly. $495. Hewlett- like the Mac unit, the OneScanner ships Packard, 19310 Pruneridge Avenue, with a SCSI board and Ofoto's one-touch Cupertino, CA95014. (800) 752-0900. Our newest collection of scanning software. In a similar move exclusive FontFonts: targeted to the PC market, Apple has New Printers also announced a new 300 dot-per-inch Eastman Kodak has begun shipment of FF Mambo (three weights & printer, the Personal LaserWriter" its new digital continuous tone printer, NTR. The LaserWriter NTR is Apple's which produces photographic-quality initials, plus dingbats) first printer to use a fast RISC processor color images for graphic design, four- FF Berlinsans: a long-forgot- and the first to have a parallel port. The color printing and presentation applica- ten Lucian Bernhard design printer also includes AppleTalk and tions. The XLT 7720 produces output serial ports, PostScript Level 2 and PCL up to 11"x11" For Macintosh and IBM/ — 4 weights, alternatives, 4 + support, Adobe Type 1 and TrueType compatibles. $25,000. Eastman Kodak plus dingbats font technology. OneScanner $1299, Company, 901 Elmgrove Road, Rochester, FF Instant Types: five Personal LaserWriter NTR $2199. Apple NY 14653. (800) 242-2424. Computer, Inc., 20525 Mariani Avenue, distressed typefaces from Cupertino, CA 95014. (408) 996-1010. Now you can have affordable 1000 Just van Rossum dpi plain-paper typesetting on your FF Double Digits: great IBM Printers for Macs desk, using your favorite applications. "linking" double-numbers In an equally surprising industry move, The Unity 1000" plain-paper typesetter IBM's printer division, Lexmark, has from LaserMaster is a PostScript® and HP in four styles, all in positive announced a 600 dpi printer for the PCL compatible printer that creates cam- and reverse Apple Macintosh family of computers. era-ready artwork from Macintosh, FF DuBrush: Four artists' The LaserPrinter 10A comes ready to Windows, OS/2 and DOS programs. The plug in and print with built-in LocalTalk" Unity 1000 contains an internal hard disk signatures turned into sen- connection, PostScript Level 1, 5 MB of containing 135 pre-installed Type 1 type- sitive scripts memory, 39 Adobe Type 1 scalable fonts faces, 9 MB of memory, Apple LocalTalk, FF Pop & FF Typeface Four: and print drivers for System 7 and Sys- parallel, as well as serial or optional tem 6. For Macintosh. $3995. Lexmark, Ethernet® ports. $4595. LaserMaster, two more long-awaited Inc., 740 New Circle Road, Lexington, KY 6900 Shady Oak Road, Eden Prairie, MN Neville Brody designs 40511. (800) 358-5835. 55344. (800) 950-6868. Call for our new brochure Graphics Accelerator Multimedia for Macintosh Radius Inc. offers a new bundled hard- GUIDE Multimedia ware combination for the Macintosh II Authoring Mot from Owl family of computers that provides both In an age of information overload, people QuickDraw acceleration and total com- need quick access to the facts. Informa- puter acceleration with 24-bit, photo- tion needs to be presented in a way that realistic color. The new 68040-based informs, but doesn't overwhelm. GUIDE, Rocket 25i" accelerator and the by OWL International, Inc., is a powerful PrecisionColor 24X" graphics card are Windows-based authorizing system that FUSE sold together for $2999. The Rocket 25i provides fast access to information in ISSUE 4 NOW OUT: speeds up image processing functions clear, concise and exciting ways. GUIDE such as those required by PhotoShop employs the power of multimedia by Experimental faces from and ColorStudio. In addition, the Rocket delivering information with computer DAVID BERLOW 25i gives older Macintosh II computers graphics, CD-quality sound, full-motion BARRY DECK Quadra performance for a fraction of the video and animated text. For IBM/com- cost. The PrecisionColor 24X enhances patibles. $495. OWL International, Inc. JEFFREY KEEDY productivity for use with various draw- 2800 156th Avenue, Bellevue, WA 98007 RICK VALICENTI ing programs by as much as 600% as (206) 747-3203. well. For Macintosh. $2,999. Radius Inc., 1710 Fortune Drive, San Jose, CA 95131. Desktop Video Publishing (408) 434-1010. from Radius Across North America call: Radius Inc. has introduced a revolution- New PostScript Cartridge ary desktop video product to fuel the cur- 1-800-36-FONTS Hewlett-Packard® has announced a new rent growth of the emerging desktop PostScript cartridge that gives HP's video publishing market. VideoVision" LaserJet® III printer family the ability to is a single card for the Macintosh that switch between PostScript and HP PCL 5 combines computer graphics, text, ana- printer languages automatically. The HP continued on page 54

Circle 260 on Reader Service Card 49 4 • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • 4 • • • • • • • • • ■ 4 • • • • • T eface • Directory for • • Ad • • • • • • • • 4

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1 1 11 ■ ■ • • • • • • • • • • ■ • • ■

• 41 IIAdobe IBM • • • • ■ • • • • • • • • • • • • ■ • • • • • • ■ ■ • Mac Systems Inc. • • •

1 • 1 • • • • 1 • I • 2 Agfa IBM I • • • • • ■ • • • • • ■ • • • II • • • • • • • • • • ■ •

• • • • • • ■ • • r 3 IBM • I ■ ■ ■ • • • • • • • • • • • 4 • • • • • ■ ■ • • 6] • • • ■ • • • ■ • • • • • ■ • Mac • • • • • • • • • • • • •

1 1 1 • • • • • • • • • • • • • • • • • • • • • • • ▪ • • • • • • • • • • IN • • • • • •

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

III Elsner + Flak IM • • • • • ■ l Designstudios Mac 1 • • • • • • • • • • ■ • • • • • • • • • • • ■ IN II • • • • • • •

• • • • • • • I ■ 8 IBM • • • Mac • I • • • • • • ■ • • • • • • • • • • • • • • • • • • • • • Mac •

• • • • • ■ •

• • 9 Image Club IBM 4 ■ Corporation • Mac 4 • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

4 ■ • • • • • • • • • • • • • • • • ■ • • Mac • • Autologic Inc. ii Monotype IBM II 4 IBM Typography Inc. Mac 4 • • • • • • • • • • • • • • • ■ • • • • • • • • • III

• Mac • 4 • • • • • •

H. Berthold AG IBM CI 14 IBM I ■ ■ Mac 4 Mac El • • • • • ■ • • • • • • • • • • • • • • • • • • • II • 1

Bitstream Inc. ■ partial family Bold Face-New Release! ■Valid ■ as of■ Augu t complete family •IBM 5

International TypefaceMac Corporation (ITC) is pleased to offer the ITC® Typeface Directory, which details all ITC® typeface families avail- Digital able for both IBM and Macintosh computer environments from ITC licensed Subscribers. In the chart, squares ■ indicate that the

SubscriberTypeface Corp.offers the complete ITC typeface family. Circles • indicate a partial availability for that family. For more information, call the . 13Typeface Directory at (800) 634-9325 or Fax (212) 752-4752.

• •

50 ■ ■ ■

FontHaus Inc. •

M Graphics Inc.

Linotype-Hell IBM ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■

Company 10

IBM Mac ■ ■ ■ QMS Inc.

IBM 12

Mac •

Scangraphic 13

Varityper Inc.

Adobe Systems Inc. 1585 Charleston Road esktop Publishing PO Box 7900 Mountain View, CA • ■ ■

i 94039-7900 r ® • • • • ■ ■ ■ • • • • l (800) 833-6687 Sans Se " a ® " t ® " " `" ® l ® • • • ic ic • • • ■ • ■ • • ion • lid " " ille t ts ® t

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he ljo (508) 658-5600 de r ay m n fany e f ls 0 all d O d N 0 • • • • ■ ■ • Zap Zap Us Stone Ti Stu Ston Stone O Sou Sto Mon Offic Offi New We Zap Ve Sy Quo Oil Mo Mixag C Zap C C C C C C il il C Qu C 11 C Nov C Mona Autologic Inc. IT IT IT C TC ITC ITC ITC IT IT ITC ITC Tiep ITC Sy IT IT ITC I ITC Stone IT • • ITC Se ITC • • ITC IT ■ ■ IT • IT • ITC ITC ITC IT ITC I 1 V !VIVI IcilJLGI ITC 1050 Rancho Conejo Blvd. ■ ■ • • • ■ • ■ • • • Thousand Oaks, CA 91320 • • • • ■ • ■ (805) 498-9611 ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ • • ■ ■ 1 ■ • ■

• 4 ■ ■ H. Berthold AG Teltowkanalstrasse 1-4 • • • • ■ • ■ • • • ■ • ■ • • • • • • • • • • D-1000

• 1 1 1

I 1 • ■ ■ ■

■ Berlin 46, Germany ■ ■ •

■ 011-49-30-7795-439 ■ ■ ▪ • ■ • • • • • • • • • ■ • • • • • • • • • ■ 1

• • • 1 [ ■ ■ • ■ 1 • • 1 ■ 1 Bitstream Inc. Athenaeum House ■ ■ 215 First Street ■

■ ■ ■ • • • • Cambridge, MA 02142 (617) 497-6222 • • ■ ■ • ■ • • ■ • • • • • • • • • ■ •

■ 6 • • • ■ ■ ■ Digital Typeface Corp. ■ • ■ • • • • 9955 West 69th Street • • • • ■ ■ • ■ ■ Eden Prairie, MN 55344 • • • • • ■ ■ • • ■ (612) 944-9264 ■ • • • ■ • • • • • • ■ • • • • ■ • ■ •

■ 111 Elsner+Flake Designstudios NM MN ■ ■ ■ Dorfstrasse 11 ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ D-2081 Langeln, Germany • ■ ■ • 011-49-4-123-4843 • • ■ ■ ■ FontHaus Inc. ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ 15 Perry Avenue, Suite A8 I • ■

■ Norwalk, CT 06850 (800) 942-9110 ■ ■ • • • • • • ■ • • ■ ■ ■ • • • • • • ■ • • • ■ 9 • • • ■ • ■ • • ■ Image Club Graphics Inc. #5, 1902-11 Street Southeast ■ ■

• • Calgary, Alberta • • • • • • • • • • • • • • • • • • • • ■ ■ • • T2G 3G2, Canada (403) 262-8008 ■ ■ • • • • • • • • • • • • • • • • 10 ■ • ■ Linotype-Hell Company 425 Oser Avenue ■ ■ • Hauppauge, NY 11788 • • ■ (800)■ 633-1900 • • • Monotype Typography Inc. 53 West Jackson Boulevard ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ Suite 504 Chicago, IL 60604 (800) MONOTYPE • ■ • • • • • • • • • • • •

• • QMS Inc. • • • I I 1 Magnum Pass, Mobile AL 36618 IBM is a registered trademark of International Business Machines. Macintosh is a registered trademark of Apple Computer Incorporated. (205) 633-4300

Scangraphic Rissener Strasse 112-114 Postfach 220 D-2000 Wedel bei Hamburg INTERNATIONAL TYPEFACE CORPORATION OPERATES UNDER THIS NAME DOMESTICALLY AND IN FOREIGN COUNTRIES AND IS KNOWN AS "ITC: ITC AND ITS TYPEFACE NAMES ARE REGISTERED TRADEMARKS OF INTERNATIONAL TYPEFACE CORPORATION IN CERTAIN COUNTRIES. IN ADDITION, ITC.TYPEFACES ARE PROTECTED BY DESIGN LEGISLATION AND COPY Germany RIGHTS IN CERTAIN COUNTRIES. (SEE ITC SPECIMEN BOOKS) (04103) 801-0

THIS DIRECTORY WAS PRODUCED USING DESKTOP PUBLISHING TECHNOLOGY. IT WENT FROM DISK TO FILM TO PRINTER. 14 Varityper Inc. 11 Mount Pleasant Avenue East Hanover, NJ 07936 (800) 526-0767

ITC CENTER This issue of USelc, like ANNOUNCEMENTS every one since the first in 1973, was printed by Through September 25 YOU'RE us—Lincoln Graphics. TDC 38: The 38th Annual Exhibition Every page tells you why of 7ypographic Excellence, spon- we continually win awards sored by the Type Directors Club. HOLDING for printing excellence from organizations such as PIMNY, AIGA, and PIA. THE ITC CENTER IS FOLLOWING THIS EXHIBITION OPEN MONDAY And if we print this well on THE ITC CENTER OUR THROUGH FRIDAY, WILL BE CLOSED FOR newsprint, imagine what FROM NOON TO 5 P.M. THE REST OF we can do on top quality (CLOSED SEPTEMBER 7). THE FALL,1992 SEASON . paper. ADMISSION IS FREE. GALLERY ACTIVITIES WILL RESUME IN 1993 . SALES Whatever your printing needs—publications, cata- logs, brochures, inserts— 1992-93 Herb Lubalin International we provide total service. Student Design Competition BROCHURE From concept, through AIDS education will be the theme of the next production, to mailing. Herb Lubalin International Student Design Com- petition. The call for entries will appear When you've finished read- the yv Inter, • 1993 issue in ing our sales brochure, call meairdly- Zaaymi 1a9r9y3) The of UStic (distributed us at 516-293-7600. he deacllme will be setfor •

Last winter ITC surveyed design educators around the world and asked for recommendations for improving the educational value of the competition, incoin as well as ideas for future competition themes. rap7iics AIDS-related topics were mentioned more frequently inc than any other, except for environmental issues (environmental preservation was addressed in two Lincoln Graphics, Inc. previous contests: Trustees of the Future [1987-88] 1670 Old Country Road and Recycle! [1990-1991]). ITC agreed that the compe- Plainview, New York 11803 tition would be an ideal forum for students to explore how their lives are affected by AIDS and how they might apply their design skills to educate the public Circle 229 on Reader Service Card about this epidemic. Based on survey responses, we are making several changes and clarifications to the competition guidelines. First, there will be a stronger emphasis on typographic design. Second, students will have the option of either using copy provided in the call for entries,or writing their own. Third, slide submissions are acceptable, although finalists will be required index to to provide original art for the exhibition. Finally, all entries will be returned if students pay for shipping and handling charges. ITC TYPEFACES Winning and finalist entries will appear in an exhibit at the ITC Center, along with a companion exhibit featuring work by professional designers. The two shows ITC American Typewriter' 34 ITC Anna" 8 are planned to travel around the ITC Avant Garde Gothic' 26 world in late 1993 and 1994. The ITC Barcelona® 12-17 professional designers' work will ITC Berkeley Oldstyle® 26 ITC Bolt Bold' 8 It is our hope that one then be auctioned to raise money for AIDS research and education. ITC Bookman' 7, 18-21, 26 or more AIDS education ITC Caslon 224' 7, 26 organizations (or like- ITC Century" 26 minded corporations) ITC Cheltenham' 22-25, 26 will want to publish ITC Cushing' 35 some of the winning pieces as part of their public ITC Esprit® 7 information activities, thus providing a high level of ITC Franklin Gothic* 26, 27, 28, 29, 30-31 visibility for the students' work. ITC Gaillard' 26 This competition is being organized with the cooper- ITC Garamond" 7, 26, 35 ation of the American Foundation for AIDS Research ITC Grizzly' 8 ITC Kaber Front Cover, 6, 8, 34 (AMFAR), a non-profit organization dedicated to ITC Korinne the international support of AIDS research, education 6 ITC Lubalin Graph' 8-11, 26, 36 for AIDS prevention and AIDS-related public policy. ITC Modern No. 216" 34-35, 36 This competition will be an industry-wide effort, ITC Mona Lisa Solid- 29, 31 with partial funding provided by grants from ITC Sub- ITC New Baskerville" 26 scribers and other companies involved with the cre- ITC Newtext" 4 ation of visual communications. To receive a copy of ITC Ozwald" 29, 30 the call for entries, please write to Ms. Laurie Burns, ITC Souvenir' 26, 27-28 Director of Corporate Relations and Education, ITC, ITC Stones 32-33 866 Second Avenue, New York, NY 10017 U.S.A. ITC Stone Phonetic" 29, 32-33 ITC Usherwood" 37, 38, 44, 49, 52, 54

HEADLINE: ITC USHERWOOD BOLD SUBHEAD: BLACK TEXT: MEDIUM, ITALIC, BOLD 52 The next time you need a font, call Precision *Attention!* Precision Type first. Type Last Chance! Up to

5We offer one of the largest 47 mall Drive selections of font software commack New York 11725.5703 available direct from the original 90%Off TELEPHONE foundries. Whether you need one 800.248.3668 font or a thousand you'll find 516.864.0167 on these Classic Books. FACSIMILE Precision Type's prices and service 516.543.5721 Limited quantities. First come, first served. to be the best in the business. authorized distributor for: We have very limited inventory of the titles listed below and we are 5Our latest product brings Adobe offering these books to our readers below cost! So, don't miss out. Phone, together the CD type libraries Agfa fax, or mail in your order as soon as possible. These books are on a first Altsys of Adobe, Agfa, Bitstream, Bear Rock come, first served basis, and supplies are limited. All sales are final. The Font Company, Image Club Bitstream Broderbund Retail Sell-Out and Monotype in one package. Casady & Greene Title (All books reviewed in recent issues of U&lc.) Price Price It's the CD PowerPack - available The Font Company Headliners #1021 Soviet Commercial Design $37.50 $ 5.95 exclusively from Precision Type Image Club M. Ankst, 1988 for $249. JCall, fax, or write for Lanston Letraset #1045 Ventura Publisher's. Solutions 24.95 4.95 more information about the Letter Perfect Michael Utvitch, 1990; ITC/Bantam Series complete font software resource. Linotype Monotype #1078 Desktop Style Guide 11.95 4.95 ¶Precision Type - we have your font. Page Studio James Felici, 1992; ITC/Bantam Series Treacyfaces #1038 Direct Marketing Design 2 55.00 9.95 U-Design Richard N Harbert, 1988 & More •Visa. MasterCard. American Express and Discover cards accepted. #1056 Roger Black's Desktop Design Power 24.95 14.95 Roger Black, 1990

Circle 254 on Reader Service Card #1079 Desktop Publishing in Color 26.95 12.95 Michael Kieran, 1992 #1069 Beyond the Desktop 26.95 13.50 Barrie Sosinsky, 1991 #1077 Electronic Type Catalog 34.95 19.50 Steve Byers, 1992; ITC/Bantam Series #1054 Real World PageMaker 4.0 24.95 9.95 Mac Edition, Olav Kvern & Stephen Roth, 1990; ITC/Bantam Series Advertisers #1006 Graphis Annual Reports '88 65.00 9.95 #1007 Graphis Photo '88 65.00 9.95 Index #1008 Graphis Poster '88 65.00 9.95 #1019 European Illustration 1988 55.00 5.95 Advertiser RSC # Page # Edward Booth - Clibborne, 1988 Linotype 209 2 #1022 American Illustration 7 55.00 5.95

Edward Booth - Clibborne, 1988 Seybold Seminars 258 3 #1029 British Design and Art Direction 69.00 5.95 ITC Directory of New Typefaces 271 4-5 Edward Booth-Clibborrte, 1988 Alphabets, Inc. 244 37 Cassady & Greene 242 38 U&Ic BookShop 866 Second Ave., 3rd Floor, New York, NY 10017 223 39 FontHaus * FAX (212)752-4752. URW TypeWorks 268 40 * In the Continental U.S., call (800)634 - 9325. NY State or Overseas, call (212)371 - 0699. Morisawa Intn'l Typeface * Design Competition 259 41 MasterCard and VISA welcomed. In the U.S., please add $5.00 per order for shipping and handling. QED Publishing 228 44 BooK New York State residents, please add applicable sales tax. SHOP Outside the U.S., please add $10.00 per book for shipping and handling. Carter & Cone Type, Inc. 267 45 Overnight and 2nd Day service available. Please add $6.00 per book. Daige 245 45

TypeSolutions 234 45 Name AS IT APPEARS ON CARD. PLEASE PRINT. 260 49 Address FontShop NO PO. SOX ADDRESSES. PLEASE. Lincoln Graphics 229 52 City State Zip 254 53 ❑ My check / money order for $ is enclosed. Checks must be drawn on a Precision Type U.S. Bank, in U.S. Dollars. ❑ Phil's Photo 211 54 ❑ Please charge my ❑ VISA MasterCard Expiration Date Identicolor 207 55 Card Number Signature URW Icaris M 269 56 REQUIRED FOR CREDIT CARD ORDERS . TECH Trends markets for the Macintosh:' according to Seminars Eric Harslem, Apple's vice president of talk continued from page 49 Radius Licenses Apple Desktop Computing. PostScript Seminar Software Technology Troubleshooting problem PostScript files log and digital video, sound and video Radius Inc. and Apple Computer, Inc. Cyrillic Typefaces and getting them to print is difficult—if "print" output to a standard VHS video- have announced a license agreement The opening of Eastern Europe has pro- not impossible. Many files take only a tape. The VideoVision product comes under which Radius will receive rights to duced a greater demand for Cyrillic few minutes to fix when you understand bundled with application software, certain Apple software technology for typefaces in electronic formats. Adobe how the PostScript interpreter works and including VideoShop- by DiVA use in its Macintosh-based accelerator has announced the availability of the have the right tools. Systems of Merritt, Corporation, for recording, editing and products. Radius will use the Apple tech- Minion- Cyrillic typeface family for Inc. is holding a two-day seminar intend- printing video, as well as Action!" by nology in its future cooperative multipro- Windows and other DOS applications. ed for anyone who creates and prints Macromedia Inc., for creating animated cessing software, as well as in current Macintosh support will be announced at PostScript files, such as graphic design- and interactive presentations. For and future products to boost perfor- a later date. For IBM/compatibles. $275. ers, imagesetter operators, technical sup- Macintosh. $3499. Radius Inc., 1710 mance for high-end applications on the Adobe Systems Inc., 1585 Charleston port personnel and programmers. Call Fortune Drive, San Jose, CA 95131. Call Macintosh. "With this agreement, Apple Road, Mountain View, CA 94039-7900. for seminar dates and locations. $500 (408) 434-1010. is leveraging its technology to open new (800) 833-6687; (415) 961-4400. fee. Systems of Merritt, Inc., 2551 Old Dobbins Drive East, Mobile, AL 36695. (205) 660-1240.

Seybold San Francisco Seybold San Francisco, the largest con- HONER MONUMENTHL OFFER ference and expo on electronic publishing, will be held September 22-25 at the Moscone Center, San Francisco. The seventh annual show will feature 250 exhi- bitors and more than 60 conference FROM THE PHO DC sessions about the latest advanves in publishing technology. Special features $419 BUYS THE B166BT, MT CO FONT LIBRARY include the annual "Font Free-for-All" bundle for Macs ever assembled in the history of the session, as well as "Gutenberg's Garage:' universe!! You'll have more than 6,600 typefaces at an interactive display of new products. For registration information, contact your fingertips. CDs from The Font Company, Seybold, 29160 Heathercliff Road, Suite Monotype, Bitstream, Agfa, and Image Club along 200, Malibu, CA 90265-4125. Call (310) with 29 free faces, bunches of books, some 457-8500; or fax (310) 457-8599. wall charts and, so you can use 'em, the brand new NEC CDR-36M multimedia drive. And, so NAPL Fall Seminars $26.50 your desk won't be a complete wreck, for $30 more * In addition to the Agfa and The National Association of Printers and each; Monotype collections, both of their we'll toss in this totally hip, 36 slot CD rack! discs contain the Adobe library. Lithographers (NAPL) will hold five dif- 2 weights of nda from That still leaves a humongous ferent seminars this fall: "Cost Account- Image Club - $25.00 each; collection of faces. ing for Printers:' will be held September HERE'S How How CHEAP BRE THE FACES? 4 Athenaeums from Agfa - 16 at the Sheraton O'Hare Hotel, Chicago. IT WORKS. Up to 45% less than the $31.75 each. And, of course, How TO BUY fl COLOSSUS. "Cost and Financial Controls for the '90s," exact same faces on floppies. there's never a shipping charge. will be held October 13, in Buffalo, NY; You get 6,600* screen fonts Call Phil's Photo, pay with October 14, in Cleveland, OH; October 15, unlocked and available for And if you let us handle your a credit card and the in Baltimore, MD, and October 16, in copyfitting to your layout credit card purchase for CD bundle will be on 146 Charlotte, NC. "Sales Compensation:' fonts, we will discount up to • 14, will be held October 22, at the Hyatt When it's time for hard Since you're on the leading • copy, phone or fax your 36% off the manufactures' edge and already own a CD Union Station, St. Louis, MO. "Using Value Added to Improve Profits:' will be selections to the appropri- CD font list prices. Here are drive, you can just buy our some examples: 3 weights of bundle of CDs and still get held October 27 at Sheraton University ate vendor and you'll City, Philadelphia, PA. "Holding Market receive the secret unlock- California Grotesque and Phil's discounted font prices: 7 Futuras from The Font Share," will be held October 28 in Denver, ing codes for the post- All five discs with 29 free CO; October 29, in Indianapolis, IN; and script printer fonts. Company - $19.50 each; faces for $99. Limit one October 30, in Boston, MA. For registra- And unlocking 4 Bernhard Moderns per customer. tion or information, contact Leslie codes are almost from Bitstream - Harrison, NAPL, 780 Palisade Avenue, always cheap- $24.50 each; WHERE HAVE All THE Teaneck, NJ 07666; (800) 642-0225. er than fonts 1 Onyx and FLOPPIES GONE? Free Booklet on flop- 4 Moderns If CD technology is too pies. from Mono- high-tech, we'll sell low-tech Altsys Corporation offers a free booklet containing definitions of type-related type - floppies at drop-mouth terms commonly used in the desktop prices. Floppy faces from The publishing industry. Type Terminology Font Company, Agfa, On The Desktop serves as a reference Monotype, Adobe, Bitstream, source for desktop publishers and other Headliner's PreSettm, I creative individuals working with type. Letraset's FontekTM and Altsys Corporation, 269 W. Renner Road, Image Club are available now Richardson, TX 75080. (214) 680-2060. and we'll be adding more Barry Zuber is a consultant and computer watommour soon. But, don't forget, CD 1 YPG THEASJHY CO HUM instructor for the Electronic Publishing & ROM drives can be used for Design Center based in Schenectady, NY. "1"11.1111111.011111ftwommemin all kinds of information He is also principal of Egeland Wood & IMAGE CLUB GRAPHICS CD ROM SYS' MS besides type: Clip art, Zuber Inc., a graphic design and advertis- encyclopedias, stock photog- ing agency. AGFATYPE CD•ROM SERIES VERSION 3.0 raphy, even audio CDs. T3110 CIIIIMPIRIN IT NW 1011061811 DC 201109

54 Circle 211 on Reader Service Card 11101)EM

ULTRA ULTRA Smartmodem 9600 Now that your 96 same day turnaround. PostScript® creations 11 Hayes These offerings have been completed, consist of single or you need a source to multiple colors with help bring them to life. PANTONE®- matched Enter Identicolor. accuracy and your Just modem us your choice of either matte or PostScript artwork and glossy finish. watch us We also transform offer photo- those graphi c, creations HS AA CD OH RD SD TR MR RS CS ARO SYN four-color into the process and best rubdowns or hot-stamped metallic color comps you've foil transfers as well. ever seen. So, if you need We have service -YOUR hard-copy PostScript bureaus around the proofs that you can world, most equipped score and fold, or to accept every kind of a vast array of transfer modem at any baud rubdowns, we're rate you choose. your source.

What if you don't We're good and have a modem? That's we're fast, too. Why not OK, too. Just send us give us a try on your your disk or cartridge next project? and feel confident that Just call our toll-free you'll get back exactly number 1-800-346-8815 what you ordered. and we'll put you Once you've been in touch with the local logged on, we'll show • Identicolor service you our menu of rub- i bureau nearest you. downs and have you out Forentcolor® PostScript' Rubdowns You'll get the of our shop with Modern (914) 472-8519 • (914) 472-8147 rubdown of your life. 720 White Plains Road. Scarsdale. New York 10583 Phone 1-800-346-8815 • (914) 472-6640 • Telefax (914) 472-0954 • (914) 472-0008

©1992 Identicolor International. Inc. ALL RIGHTS RESERVED. Available at participating Identicolor Studios. Pantone. Ines check-standard trademark for color reproduction and color reproduction materials. All other products and brand names are trademarks or registered trademarks of their respective owners.

Circle 207 on Reader Service Card f. Ikamat IKARUS®, the system used by the world-leading type foundries, sets the standard for quality in type design and production. Now, URW® has concentrated its most useful and professional design programs into a single package for the Macintosh®. About the features of IKARUS M: •Create models by scanning, auto-tracing or import from PostScript® Type-1 & Type-3 fonts. •Compatible with your Wacom or Aristo tablet. •Interpolate and exterpolate to create an entire typeface family... from a single design! •Oblique, then refine using automatic aesthetic balance to correct electronic weight distortion. •Create multiple kern and width tables for text setting, touching and overlapping display type for highly specialized advertising typography. • 15,000 x 15,000 units to the em ensures maximum accuracy. Precise numerical editing of widths and sidebearings via built-in tables. •Other professional functions: scale, expand & condense, antique, rotate, mirror, symmetrize fold, and measure, to name only a few of many. •Select modification of a single character or, in batch-mode, character groups and entire faces. •Create Type-1, Type-3, TrueTypeTM, EPS files and any number of tuned bitmaps. Transport files into other programs. ATMTM compatible. In short, IKARUS M is the professional's tool for precise and faithful reproduction built on renowned programs of typographic integrity.

xik 1,444zesktUsit) / C A .1 ( * The words "I think" were auto-traced with LINUS M and the letter "n" was edited with 'ICARUS M.

With conventional auto-tracing programs, conversion of lively ideas into digital format may sacrifice the integrity and immediacy of your original sketch. Now, such degradations are totally avoidable. LINUS M captures and preserves the freshness of original sketches while quickly and accurately converting them into IKARUS® contour format. LINUS M is a high quality automatic tracing program for the Macintosh® that is fine-tuned for accuracy by numerical parameter controls for optimum conversion of complex artwork. Quick- mode design and editing functions are also provided for production of logos, artwork and alphabets. LINUS M may be used to create color U RW separations by isolating those elements in the artwork to be used for various tints. URW America 4 Manchester Street, Nashua Output capabilities include: PostScript® Type-1, New Hampshire 03060 Type-3, EPS files and TrueTypeTm. Phone: 603-882 7445 Credits, IKARUS and LINUS are registered trademarks of URW Unternehmensberatung, Karow Fax: 603-882 7210 Rubow Weber GmbH. Macintosh and TrueType are registered trademarks of Apple Computer, Inc. PostScript and Adobe Type Manager (ATM) are registered trademarks of Adobe Systems Incorporated. Other descriptive product references are trademarks of their respective holders.

Name Title Suggested Retail Prices:

Company Address IKARUS M $598. City State Zip Code LINUS M $349.

Country Phone Package Price: $895.

THIS PAGE WAS PRODUCED USING URW SOFTWARE. IT WENT FROM DISK TO FILM TO PRINTER. TYPEFACE: LATIENNE. CALLIGRAPHY: JOVICA VEUOVIC

Circle 269 on Reader Service Card