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5 Circle 282 on Reader Service Card l nIS I s & G. 0 Message from ITC Association Typographique Internationale's meeting in Antwerp: its importance for the future of the type industry. O The Letter Z The last, but not least, letter of the alphabet, by Allan Haley. 0 Lincoln: In His Own Words Stephen Alcorn creates dramatic visuals for a new edition of the speeches and writings of the president.

Book Lovers' Book Stores Bibliophiles share their favorite haunts. 0 20th Century Type Specimens An exhibition and book featuring classics of this art form.

MESSAGE 0 The Art Pack FROM ITC by This innovative pop-up book designed by Ron van der Meer MARK BATTY brings works of art to life. 0 Best Selling Design Three designers provide insights into the process of designing book jackets and covers. I am sure you have noticed that absolutely everything to do with type 0 Enluminer just keeps changing. ■ Software product technology has changed, Professor Jonathan J.G. Alexander sheds light on the inspiring and so has the very nature of what software packages contain. Now art of illuminated manuscripts. there is a bewildering choice of products incorporating and 0 supporting utilities. There is also an escalation in innovation of type- What's New from ITC: ITC Highlander This new typeface is a bonny sans . face styles, as well as the kind of work people are doing with them in

typesetting, design and production. Not all the fonts are Kids' Books You Can Enjoy highly legible, or well designed, nor do they necessarily lend Steven Heller romps through recent books for children. A themselves to what I would consider esthetically good design solutions. But that matters little. More importantly, the size A Booklover's Index Where to find the books, exhibits and bookstores of the designer tool box is growing. This allows for more interesting, mentioned in these pages. sophisticated, technically well-grounded and detailed design work. 0 These changes and the growing potential for uses of type demand a Tech Talk forum for exploration. ■ Soon there will be a chance to further exam- ine this fertile and changing ground of the type world. Between the U&lc Colophon How this issue was designed and produced. 24th and the 27th of September this year, the Association Typo- graphique Internationale (ATypI) annual Congress will take THE DESIGNERS International Typeface Corporation would like to thank place in Antwerp, Belgium. ■ The ATypI Congress is the Woody Pirtle, John Klotnia and Ivette Montes de Oca of international forum for the designers, the manufacturers and Pentagram Design for the design of this issue of U&/c. the users of type. A lively discussion is expected in both formal ses- sions and in the newly created TypeLab where there will be many practical hands-on projects using the latest equipment, software and font technologies. ■ The list of topics that will be addressed is long but will cover many issues on what constitutes quality ; typeface design and font software protection; making a living from VOLUME TWENTY, NUMBER TWO, SUMMER/FALL 1993

typeface design; producing custom fonts; and using typography in EXECUTIVE PUBLISHER: CHARLES M. WILHELM EDITOR: MARGARET RICHARDSON multiple media, to name a few. ■ In general most of us would agree MANAGING EDITOR: JOYCE RUTTER KAYE EDITORIAL DIRECTOR: ALLAN HALEY that change is fundamentally healthy, and a good thing—it's a CONSULTING EDITOR: EDWARD GOTTSCHALL GRAPHIC DESIGN: PENTAGRAM bit like competition. However, a lot of rapid, and uncontrolled ART/PRODUCTION DIRECTOR: JANE DI BUCCI ART/PRODUCTION MANAGER: CLIVE CHIU changes can create chaos. I am hoping this year's conference will ART/PRODUCTION: JAMES MONTALBANO, SID TIMM ti OPERATIONS: REBECCA L. PAPPAS identify a few benchmarks and help all these interrelated type experts PUBLIC & MEDIA RELATIONS: SHARON BODENSCHATZ SUBSCRIPTIONS: ELOISE A. COLEMAN ADVERTISING SALES: CALHOUN & ASSOCIATES identify what they want, so that organizations like ITC can be sure to (404) 594-1790 FAX: (404) 594-1849 - provide it. ■ I need your help. Send me your key concerns about type, © INTERNATIONAL TYPEFACE CORPORATION 1993. U&Ic (ISSN 0362 6245) IS PUBLISHED QUARTERLY BY INTERNATIONAL TYPEFACE CORPORATION, 866 SECOND AVENUE, NEW YORK, NY 10017. ITC IS A SUBSIDIARY OF ESSELTE LETRASET. U.S. SUBSCRIPTION RATES, $30 FOR type products and typography in general by September 22nd and I 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 will raise them in Antwerp at the conference. I will report back after AND ADDITIONAL MAILING OFFICES, POSTMASTER: SEND ADDRESS CHANGES TO UStic, SUBSCRIPTION DEPARTMENT, 866 SECOND AVENUE, NEW YORK, NY10017.

the Congress to let you know what happened. I look forward to ITC OPERATING EXECUTIVE BOARD 1993 MARK J. BATTY, PRESIDENT AND CEO hearing from you and presenting your views and concerns. ALLAN HALEY, EXECUTIVE VICE PRESIDENT MAUREEN A. JACKSON, CONTROLLER CHARLES M. WILHELM, DIRECTOR, CORPORATE COMMUNICATIONS Mark Batty, President and CEO ILENE STRIZVER, DIRECTOR OF TYPEFACE DEVELOPMENT PAT KRUGMAN, DIRECTOR OF CREATIVE SERVICES International Typeface Corporation ITC FOUNDERS: 866 Second Avenue, New York, NY 10017 AARON BURNS, HERB LUBALIN, EDWARD RONDTHALER ITC, U&Ic AND THE U&Ic LOGOTYPE ARE REGISTERED TRADEMARKS OF INTERNATIONAL TYPEFACE•CORPORATION. Fax Number: (212) 752-4752 MICROFILM (16mm OR 35mm) AND MICROFICHE (105mm) COPIES OF U&Ic ARE AVAILABLE FROM UMI, 300 NORTH ZEEB RD., ANN ARBOR, MI 48106-1346. PHONE: (800) 521-0600 OR (313) 761-4700. FAX: (313) 761-3221. VBPA MEMBER do

6 HEADLINE: ITC GALLIARD BLACK SUBHEAD/TEXT: ITC GALLIARD BOLD, BOLD ITALIC TABLE OF CONTENTS: HEADLINES/SUBHEADS/NUMERALS: ITC LUBLIN GRAPH BOLD CONDENSED, BOLD CONDENSED OBLIQUE DECORATIVE A's: ITC GALLIARD ROMAN, ITC LUBALIN GRAPH DEMI CONDENSED, ITC MONA LISA RECUT, ITC ANNA TEXT: ITC NEW ROMAN, ITALIC MASTHEAD: ITC NEWTEXT REGULAR, DEMI THE INDEX TO ITC TYPEFACES APPEARS ON PAGE 49. The all-inclusive expression letter was written by scribes "from A to Z" would not have and calligraphers that the top meant much to the Phoenicians and bottom strokes began to or the ancient Greeks. In their be offset from each other and alphabets the Z was the sixth connected by what became and seventh letter, respectively. a diagonal, rather than vertical, Even the Romans didn't have stroke. This design change a Z at the end of their alphabet was probably made because until around the first century it was quicker and easier to B.C. 1. The 26th letter of our write that way. The lower case alphabet was the seventh in z is just a smaller version of the Semitic alphabet. They the capital for the same reason. called the letter Za (pro- t Although many people nounced "zag") and drew it as might not notice it, a stylized dagger. The Phoeni- the Z takes on cians used a similar graphic two forms. If sign, which they called zayin, drawn with a which also meant "dagger" chisel-edged or "weapon" in their pen or broad, language. Roughly the flat brush, same symbol is also repre- held in a nat- sented in other cultures, with ural position, the same meaning. t Around the horizontals 1000 B.C. the Phoenician would be thick and zayin became the Greek zeta. the diagonal would be thin . The Greek character, while Typefaces such as Trajanus and looking more like a dagger than Goudy's Kennerley have the Z the Phoenician zayin, drawn in this manner. did not look like the Z But many designers and we currently know. Actually it lettering artists find this hori- looked more like our present zontal emphasis unsatisfactory capital I if it were set in a slab and the resulting weak middle serif typeface, such as ITC stroke unattractive, and as a Lubalin Graph t The Romans result draw the letter in incorporated the zeta into their Z a way that may be tech- alphabet, but since the nically incorrect but, to their sound was not required eyes, optically more comfort- by the Latin language they able. Most serifed typefaces are eventually dropped it, constructed with this modified giving the position of design. '1' The Z is not a "square the seventh letter letter but is about three-quar- to the G. In fact, ters as wide as it is tall. The the only reason horizontal strokes are usually the Z is in our pre- the same length, but in many sent-day alphabet is designs the top horizontal is because the Romans drawn just slightly shorter than later found that they the bottom to give the letter needed it to write a few new a firm foundation on words they acquired after con- which to rest. In roman At.ad quering the Greeks. Because it versions of the letter, the Z is was not a part of the traditional left pretty much to its own Roman language, the letter devices, so it tends to be one of was relegated to last spot in the more conservative letters . the alphabetical hierarchy. In italic designs, however, the 1' The Romans used a modified type designer quite often takes version of the Greek zeta in ry a little creative freedom their monumental inscriptions, Afflow- and draws the lower although there is not one to horizontal with a slight flair, or

be found in the famous Trojan even a full-fledged swash . f, Column. It was only when the Allan Haley

HEADLINE: ITC NOVARESE BOLD TEXT: ITC AVANT GARDE GOTHIC CONDENSED DEMI, BOOK

iffvv•vvvvvvvvvvviryvvvvvvvvv•vivvvvvvwrnyvvurumuruiv ... ::: ► ... Pi ilo dm C 411 el 44 OD id 11I• Fir• 44 II■ kOli1111/14 Age lit 4)4.‘w,,,.. # 4 it 4 . • . 4 4 - 4 C i--, 4 I. Ei 4 IP. ____.- , . ., • __ . I 1 1 • • i - C- • • --:,.,do , kit' • IN 4 • • // Pm • • • /Pi f 1 pri NO 1 p• • . • • E •. c ,c/A,,,,.. ii" • . , , • c . ,. sr •4 a.• 4 ir. 4 ipb im 1. • 4 • In His pm, 4i Ob 4 1I• III• Own Words 4 ii."... 4 lb• by Joyce Rutter Kaye 1 4 E • 4 All• 4 al• b. 41 10. 4 4 r■ • 4 I. illiiiillaililiIIIIAMMIIIIIAIM11111111111AAIIIMA11111111111k4

0 Abraham Lincoln's writings eloquently Meltzer, who added matching biogra-

reveal the deep divisions in race, poli- phies of Harriet Beecher Stowe,

tics, morals and emotions which tore John Brown, Frederick Douglass

the country apart in his lifetime. Those and other historical figures at the 44/ words have provided a wealth of inspiration for illustrator end of the book. "Stephen is not literal;' says Harcourt Brace

Stephen Alcorn. The dramatic black and white linocuts he editor Karen Grove. "With these images, he adds a parallel created for Lincoln: In His Own Words (Harcourt Brace, 1993) storyline to Lincoln's storyline." This example shows how literally reflect the contrasts which characterized that period Alcorn allows his subconscious to compose a project and mold of American history, with portraits as graceful and inviting each piece he creates: the dialogue between subject matter as an antebellum garden party to and subconscious mind results searing exposes of slavery's degra- in work that ranges from the literal dation of the human spirit. The to the impressionistic. 0 Alcorn book, a collection of the president's acknowledges that very few people speeches, letters and other writings, associate the latter style with relief appealed to Alcorn on a personal block printing He feels this book and an artistic level. In his illustra- allowed him the freedom to continue tor's note he writes, "I saw this book to finesse the painterly quality he as a rare opportimity to give expres- lends to a relatively restricting and sion and tangible shape to the mul- unforgiving medium. This is per- titude of haunting and symbolic haps best seen in the book's center images that the name Abraham Lincoln has conjured up spread, which depicts the crowd at Lincoln's inauguration in my mind for as long as I can remember?' O Alcorn's ren- with merely a suggestion of forms and faces—it is mostly an ditions of those images provide immediate insight to his abstract swirl of top hats, bonnets and beards. Alcorn drew interpretative approach to subject matter. Rather than allow- the piece directly on a block of linoleum without using a ref- ing the text to dictate the illustrations, Alcorn suggested erence. "There's a sense of rhythm and motion there which supplementing contextual images with portraits of Lin- is very much an homage to impressionism," Alcorn says.

coin's contemporaries intermittently "Ironically, you don't see relief block

throughout the book. This nonlin- printing in this way. I continually try to

ear approach was welcomed by the strive for impression, not detail and

Ail I it0 publisher and author/editor Milton accuracy?' of/P This is precisely why

Alcorn, age 35, was attracted to lino- on a follow-up book on Frederick

leum rather than wood when he Douglass for HB's Spring, 1995 cata-

switched to relief block printing log) the artist enjoyed its emotional

after painting for many years. Encour- release. He discovered his sympathies aged to try the medium by his father, the late, noted illustra- revealed themselves as he worked. His portrait of Stephen tor John Alcorn, he preferred the "fluidity" of linoleum over Douglas, a political opponent of Lincoln and a slavery sup- wood as well as its ability to allow him to be as spontaneous porter, is a "portrait which borders on the caricature?' And his as drawing with charcoal or pen and ink. For this reason, print of a slave in shackles challenged his ability to simultane- he rejects the notion that relief block printing is a relatively ously reveal a man's oppression while conveying his strength primitive art form, believing that and indomitable spirit. The piece one can also achieve a high level is a plea for basic human liberty, the of sophistication with it. He also cornerstone of Lincoln's beliefs and enjoys its element of surprise; cre- writings In an 1854 speech present- ating the first print from linoleum, ing the moral case against slavery which is cut backwards and in Lincoln said: "Near 80 years ago we reverse, is much like developing a began by declaring that all men are set of prints from negatives. "No created equal; but now from that one knows the angst of printmak- beginning we have run down to the ing?' he says. # Although he has other declaration, that for some men been experimenting with color to enslave others is a 'sacred right of and reduction prints for five years, Alcorn says he welcomed self-government: These principles cannot stand together. a "healthy" return to black and white for the Lincoln book They are as opposite as God and Mammon; and whoever

(only the cover and title pages have color). "I wanted to get a holds to the one, must despise the other?' E These per- sense of tension, movement, rhythm, pattern and upheaval suasive words and other excerpts in Lincoln: In His Own Words literally by the abstract signs I've imbued in each portrait?' he continue to resonate with meaning today. In the same way, says. "The contrast between black and white is an appropri- Alcorn's illustrations succeed in bringing form to Lincoln's

ate means of expression to this period?' words while also appealing to con-

4416 Beyond the technical fulfillment temporary concerns of human

he received from creating the book rights and freedom—issues which

(and continues to enjoy, as he works transcend time, place and borders. HEADLINE/BYLINE: ITC TIFFANY DEMI TEXT: MEDIUM, MEDIUM ITALIC WTAWATOWATRAWATITATITATMWATIVATAIN

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00- • 00-1111111:04 LOVERS' %1•10411.11" -440 bail" BOOK ■ ■■ ■_•• _„4 ."- 11•,711 0■00.044 %MIA STORES • to-411.111 4 611111144:0 ....411044 61111111044 '4411■wi to- -400.4 ► ■ BY KAREN S. CHAMBERS tzi.11m,„•411.4 to-4010al• to- -4104 4111■ 4 ithout a doubt, people are %NIA to.-talltA • Z411■,,", passionate about books. They '41•113, — 4 %MA carry on love affairs with the erim,„•A %EA ■1.04 written word at their favorite .,_to-44 1111tj-410 — 4 trysting places — bookstores. %MA NO04. Although new technological 11,101.-40. %NIA advances are transforming the ._641■4.4, Z1■_,11 ." '641„■... 1n,& physical nature of producing the printed word, bookstores

1141.11,04 are still cherished by many people who prefer to hold a book

Otimi0A instead of a mouse while reading Jane Eyre. Books continue to be Ellegood finds it informal and enjoyable; its atmosphere is too- -40 bought, consumed and collected, whether they are the newest "heartwarming to any author, any publisher, anywhere, anytime' 40=4 Danielle Steel paperback bought at the supermarket checkout, or In New York there's Three Lives Bookstore in Greenwich to- -4110 a leather-bound first edition found in an antiquarian bookstore. Village. There, transplanted Britisher Michael McLoughlin of 44111... ■A Here are a handful of bookstores which are as beloved to their Thwaite Productions, a firm which produces audio tours for to- • devotees as their favorite novels. museum exhibitions, enjoys the old-fashioned ambiance of this atomot,4 There's nothing like the hometown bookstore for a place of bookshop owned by three women who are inveterate readers. wal■w4 ezimp.-41■4 comfort. Don Ellegood, director of the University of Washington They specialize in fiction, from the classic to the contemporary, 00- • Press, cites Elliott Bay Books as one of his two favorite bookstores and all are eager to share their latest finds with the browser. 641...■44 in the world. The bookstore fills several storefronts in Seattle's McLoughlin, a collector of 19th century first editions, loves to 10.11111.11w-404 Pioneer Square, managing at once to be both gargantuan yet inti- wander in and ask any one of the owners for her latest recom- 00=44 mate. The staff is knowledgeable; and a coffee bar located on the mendations. "I read mostly 19th century literature, since that's to-.,_4111■ 4• lower level gives patrons the chance to linger over a cafe latte and what I collect, and haven't really read very much contemporary /711.10, their new book among the homey wooden shelves of general inter- writing says McLoughlin. "The ladies at Three Lives are very est titles. Elliott Bay has become a fixture on the book promotion in tune with what's happening now It's a great place to go to be - 4 circuit and hosts an author reading nearly every day of the week. stimulated. I can always find a new writer there. I remember ►0.-.0 -4.4 12 14444444444444444444141111TTIIITTTTATTTTAWATTATTAWITATTATAWATTI■444■444444■4444414444444444444444444444444444 fifflAWIMATIMM111111111111111111111111111AWAYAWAYAWAW1 • Y.01.0114SWAY.011010.011.4WaYAMMOIRMY10.4M4MaWa. •■■■ ■• P40.- ..EN -4 • -4 them recommending David Leavitt. I bought his first book of wonderful picture books, lots of books on Indonesia, reprints of • •11111111110. short stories and then couldn't wait until his next book came out?' paperbacks and Oxford Press paperbacks?' 0 ■111111■ Three Lives is the bookstore of our fantasy from childhood Closer to home Baker likes "N. Fagin Books in Chicago. ► iP'0■11111.111114"- ■0 (although in my small Southern Indiana town I remember buying It specializes in archaeology, anthropology, botany, zoology and ► IIMII •0AIM.- '4 my Bobbsey Twins and Cherry Ames books from the local stationery museum consultations. You can find reprints of articles, maga- • store). But today the neighborhood bookshops are threatened by zines, hardcover books, new and used. I have never gone in there • •11111111■ Waldenbooks, Crown and B. Dalton at the local mall. However, that I haven't come out with something. There are piles of books 0°- 4 I must confess that the B. Dalton in Greenwich Village is where I all over and the place doesn't shirk from finding something. The ■■ ■■ 0- •-4• buy most of my books. The selection is very good and they always staff seems to delight in playing detective;' she says. • Al III I I • 111110 showcase local writers in their Avenue of the Americas windows. ■ -a I ■ In a recent renovation the shop adopted the look of those old-fash- avid Johnson, assistant director of the Taft Museum, •0-ANEW -4 00•- -4 ioned bookstores with lots of wood, making it comfortable for Cincinnati, Ohio, and a specialist in Chinese ceram- ANEW ics, gives high marks to Thomas Heneage and I ASIMII■ browsing. Plus they are open until midnight most nights. ••• -4 Co. Ltd. in London. "They have everything. I once • ■111•11■ • -4/1111/0 s readers mature, their tastes change and so do their favo- called and asked for a 19th century catalog BOOKS CONTINUE •■•••••—•,'.'!'•-•■■ rite bookstores. Jan van der Marck, curator of mod- raisonne of the 16th century pottery St.-Porchaire by TO BE BOUGHT, Bellange. It has beautiful plates, black-and-white or poly- ffir4 ern art at the Detroit Institute of Arts, talks about his CONSUMED AND On" evolution from a collector of contemporary art chromed, depending on the copy. The Metropolitan AMP' COLLECTED, 4411■■• books and exhibition catalogs to a connoisseur of Museum has one. Heneage had a copy for £150 and I WHETHER THEY . 0 111.111■ fine books: "I started with books from Wittenborn and then was able to buy one for myself!' ARE A PAPERBACK ■11111111■ switched to Jaap Rietman (in Soho). Then in the mid-1980s I Heneage, according to Johnson, "has the best tra- 410.' 'AO BOUGHT AT THE ANEW got seduced by the finely printed and illustrated bound book. ditional art history books, both new and out of print," ■ SUPERMARKET, • P. I then graduated to Ex Libris in Manhattan?' with access to the great private libraries of Great Britain ••■1111110. OR A FIRST EDI- AO- -4 Van der Marck considers himself a bit of a "Jekyll and Hyde" which may have been sold by an impoverished lord or r0.411■4 with his dual passions for books that deal with either avant-garde two to pay death duties. The Heneage family has a presti- TION FOUND IN ■Isste art movements or traditional bound books. Although his "passion gious history itself; the famous Heneage jewel was given AN ANTIQUARIAN •■■■ • BOOKSTORE. ■ for books has threatened to take over my passion for art;' he has to the family by Queen Elizabeth I for services rendered 0■■■- -4 not abandoned his first love. He proves his loyalty at La Hune on in the 16th century, so its standing in British society is well 0- -4 the Boulevard St.-Germaine in Paris. "For art books and the most respected, to say the least. Johnson loves going into the bookstore • Aim. recent issues of magazines and journals, I like La Hune. It's laby- on a rainy day. "It's near Christie's, near St. James. Every time I go Awe. rinthine. You can find anything there. The books are attractively to London, I want to spend a whole afternoon there." 0• .aisto- displayed, very modernistic, very complete; the books look good. rolamP4.0- -4 There aren't many browsers; everyone is a professional with the nternationally known glass artist Dale Chihuly is a biblio- 0 4401% eyes of a spy searching out exactly what he or she wants. La Hune phile with a weakness for illUstrated books, whether a rare •-.■■■ carries only books on art and literature and, not surprisingly, is 18th century hand-colored book or an art book from the 0- -4 predominantly French;' he says. 1950s with tipped-in reproductions. A recent acquisition is 0 Agoi. Another of this collector's favorite bookstores is Walter T an edition of James Joyce's Ulysses with etchings by Henri ■0- .■•■ -4 Konig in Cologne, which is wonderful for catalogs of museum Matisse. Inspired by that book, Chihuly produced his own etch- ■■■• ►• ■■-4 exhibitions, primarily German, but also has a good selection of ings based on the sets he designed for the Seattle Opera's 1993 pro- •• • -4• English language books: duction of Claude Debussy's Pelleas et Milisande. Chihuly's book is • ■ sheathed in a handmade slipcase and published by Portland Press. ■■■ st book lovers are just like Van der Marck who He would love to see it at his favorite bookstore: Stubbs Books ►• 4 buys books "where I can find them—New York, & Prints. "Whenever I visit New York, I could spend hours, not to • ANEW■ Boston, Washington, Seattle, even in Sydney, mention lots of money in this Upper East Side store. It's like my •0■••- -4• Australia?' Seattle-based photographer Russell dream of a bookstore specializing in architecture and the arts?' 4 • ►• -aim. MoJohnson has found the Piccadilly Book Stall in • ••■■• New Delhi to be the best place in the world for books on Tibet. ... , ven though the specialty bookstores usually capture the •• ■■■-4• He knows the territory well, having spent over half a year photo- F hearts of most book lovers, Don Ellegood also has a 0 -4 0 graphing there for his own book with writer Kerry Moran, warm spot in his heart for the immense University Co- • - -4 MEGA-CHAINS ...411■4 published by Park Street Press titled, The Sacred Mountain of op bookstore at the University 0 f Washington, which ►p ■••• SEEM TO 0- -4 Tibet: On Pilgrimage to Kailash. Books from Piccadilly accom- sells more general interest books than any other store in THREATEN THE ► panied them on their 700-mile trek on the mountain that is the country. He says that he routinely takes visitors there and asks •0-■ -410. EXISTENCE • - home to the Hindu gods Shiva and Parvati and is also the them to name a book that they've been searching for and haven't •• Alm.-4 OF THE SMALLER, epicenter of Buddhism and the earlier Jain and Bonpo reli- been able to find; "Ninety percent of the time, it's in stock?' • ANEW MORE SERVICE- gions. "Piccadilly is just chockablock with books filled with Big isn't always bad, although mega-chains seem to threaten P 411/81■ ORIENTED • ■100. esoteric information for the Buddhist or Himalaya-phile," the existence of the smaller, more service-oriented and specialty ■ ■-4 AND SPECIALTY Johnson explains. "You can find Indian reprints of books by bookshops. Yet these stubbornly seem to survive. • AIIIMI -4111••• BOOKSHOPS. the early explorers of the region, like Sir Charles . They are 01" inexpensively printed, but the information is priceless since they fter all, books and bookstores do a lot more than just offer •410-ANEW -4 ■1111111■ information or even a visual experience. Jack Woody, ►0 - -4 are out of print elsewhere?' 0 ■I■ publisher and designer for Twelve Trees and Twin ■ hicagoan Lois Baker, a weaver with a special interest in Palms Publishers specializing in classically designed • .411111■ the textiles of Indonesia, finds "books that are impos- books on photography, recommends the Santa Fe 6100 4, sible to find in the United States" at the bookstores in Bookseller in his New Mexico home base as a remedy for the blues: the Singapore Airport, which "is an enormous, glori- "It's giant and rivals any art bookstore in the world. Walking in there 0 4011111■• •" 0 ous airport with wonderful bookstores. There are five is like heaven. When Bruce Weber was in New Mexico shooting the 4011111P. bookstores; to hit them all would take hours. It's worth planning Georgia O'Keeffe-like ads for Calvin Klein, he was depressed, so I 410/110 a layover to shop there. One of the shops is M.P.H. Bookstores and sent him there. I've also sent Herb Ritts. They always walk out with 040..411111111■41 another is Chagi Wordshop, which has two stores. They do not $5000 worth of books?' And presumably their spirits lifted. ■111111■ Karen S. Chambers is an internationally published author on craft and design. stock the same titles so you have check out each of them. They have 0• ■■•■-4 HEADLINE/BYLINE/INITIAL CAPS/TEXT: ITC GALLIARD ROMAN, ITALIC CALLOUTS: BOLD 0 •■•■ •0-•■■■ -4 A selection of type specimens of the 20th century were on exhibition at the ITC Center and are included in The Art of the Type Specimen in the 14 Twentieth Century, a limited edition book produced by ITC and designed by the exhibition's curator, Jerry Kelly. These works pro- vide an overview of the dramatic craft of promoting type- face designs with books from promi- nent type foundries and other examples of typographic art.

N c* .6 4 / Is1 %C New Series of the Types. Monotype, 1929. Type design and typography by ABC Kastchen. Bruce Rogers. ABC Kastchen. Klingspoor, Klingspoor, 1934. 1934. Typography by New Series of the Typography Max Dorn. by Max Dorn. Centaur Types of Bruce Rogers and the Arrighi Italics of FredericWarde. Cut by Monotype and here first used Manuale Typographicum. to print a paper by Stempel, 1954. Typography by Alfred W. Pollard Hermann Zapf using various Stempel types.

D F

C E I Naast de technische en practische factoren is het vooral K ook de van ern tijdperk, de hetrschende

vormenspraak, die zich in het karakter van de letter 15 weerspiesdt en dit would doet zijn van het wisselend en bociend aspect van land en tijdperk. S. H. de Roos

Q

Zati3021benb Aiinitferverein 1Borm# Detail from Detail from Romanee and Michelangelo Open Kapitalen and Trajanus specimen type sample, for Enschede Bernhard. Bauer. 1954. Type design by Designed by designed by Lucien Bernhard. Hermann Zapf. .

HEADLINE: ITC LUBALIN GRAPH BOLD. ITC BOOK TEXT/CAPTIONS: ITC LUBALIN GRAPH BOLD, BOLD ITALIC

A pop - up book is a novelty. But one recent dictated by the constraints of the spread, title became a learning aid, an art expe- there are no fixed grids. Nor can any of the rience, and an instant collectible. The Art images be cropped or allowed to overlap, Pack celebrates the art of the paper engi- because of the limitations of museum repro- neer who folds, cuts and assembles as duction rights. he informs and enchants his readers. "The Not surprisingly, the constraints of such a design of the [pop-up] book depends on book begin and end with money. The essen- the type of pops you use. You have to flow tial challenge was getting the maximum with the mechanics of what you put into effects from the amount of paper allocated it. Those mechanics come to life when they to make the book affordable. "The price of help explain the book's content;' says the book depends very much on the amount Ron van der Meer, paper engineer of the of paper and hand labor involved in assem- phenomenally successful The Art Pack bling the pops;' says Van der Meer. "You find (Knopf, 1992). Through the book, Van der your limits and work within them. Of course, Meer has not only expanded the audience there are fantastic paper engineers who of pop-up books to include bright adoles- put the most beautiful books together using cents and adults, he's made us look more an awful amount of paper but they are work- carefully at how artists see. ing under a different set of economic and Along with a pull-out gallery of 20 practical circumstances. You can make a famous paintings, a taped audio tour, wonderful book, but if it costs $100, who are and a dictionary of terms, masterpieces you going to sell it to?" To keep costs down, of western art, such as the Parthenon, the book was printed and die-cut in Hong The Last Supper by Leonardo da Vinci, Kong and then sent to China where binding The Isenheim Altarpiece by Matthias and hand assembly is less expensive. Only Griinewald, and The Allegory of the Art 7000 books could be produced weekly. of Painting by Jan Vermeer magically Since nothing is ever standard with a rise up out of nine double-page sections, book like this, except, perhaps, that nearly each with a gatefold. The Art Pack's all the pops emerge out of the spine, exper- overarching aim is to take the halo off imentation and adaptability accompany of art and make it accessible to a wide the process. In the spread on "Form',' for audience, and to use the pop-ups to example, Picassoesque figures show how explain things that couldn't otherwise be the Cubists built up relationships of planes explained conventionally, like perspec- through the use of multiple perspectives. tive, form and movement. "The Picasso was definitely a different kind While some might see the book as an of pop from the others, especially because elaborate plaything, each movable ele- of the way you look at it. For copyright rea- ment is in fact a functional tool. "We have sons, it is not, in fact, a Picasso and we were called it The Art Pack because the con- required to have someone verify that it was tents have been arranged like an artist's not supposed to be a Picasso. But because portfolio of tools, information, ideas, ref- we felt it was important to explain how erence materials and visual stimuli;' says Picasso worked during this period, it is one Van der Meer. Delightful and compelling, of only two spreads where Ron used his The Art Pack emphasizes the artistic own art, in addition to museum transparen- process rather than the finished product, cies;' explains Ron's wife, Atie, with whom and is not a book you look at just once. he frequently collaborates. Few designers in the history of book The Snail, a cut-out by Henri Matisse, production have made a stronger contri- from the section on "Composition" also bution to the pop-up book than Ron van proved a challenge. Matisse's Snail is com- der Meer. He paper-engineered his first posed of pieces of colored paper arranged pop-up in 1981, and has been at it ever on a white background. Van der Meer had since. Born 48 years ago in Amsterdam, wanted to provide the same forms unassem- he enrolled at London's Royal College of bled, for the reader to create his own snail Art in 1969 where he teaches today along design. The point: What looks simple to com- with Christopher Frayling, who, with his pose is often surprisingly difficult. Unable to wife Helen, co-authored the book. Says obtain permission for the forms to be used in Van der Meer, "By the time we contacted such a free way, he created his own version. the Fraylings, the concept had already "We had to make sure we had nothing that been sold at the Frankfurt book fair. That looked anything like the actual pieces or col- gave Christopher a lot of freedom to ors of the Matisse. We ended up with what choose the paintings he felt would be most looks almost like a street map" appropriate for each section. But we all By striving to explain an artist's vision talked together about what was important through the beguiling tactic of interactive to convey, the order of the information, to parts, The Art Pack has turned an ingenious be sure we would reach the kind of [ gen- idea into a decidedly profitable book. Fol- eral ] audience we had in mind:' lowing a 55,000 first printing that sold out in With some basic pop elements already four weeks (a 100,000 second printing was in place, the project then became a com- shipped in August), the upsurge of requests plete collaboration. It also grew in size. for more copies has opened new possibili- "There was so much information we had ties for pop-ups. One year from now, Knopf to put into it. There's absolutely no way will follow up with The Music Pack with you can sit down at the beginning and say, equally high expectations. Susan Ralston, `Well, right, this is the way we are going editor of both books, predicts: "It will do to do it Especially with the pops. They for music with noise-making pop-ups what develop almost intuitively along with the The Art Pack did for art" text, and suddenly you find that some- Leslie Sherr, former editor of Graphis, writes thing feels right for what you are trying on architecture and design for a range of inter- to say:' Since each section's layout is national publications.

6 HEADLINE/TEXT: ITC CENTURY CONDENSED BOOK, BOOK ITALIC, BOLD, BOLD ITALIC NUMBERS: ITC FRANKLIN GOTHIC HEAVY 25

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The Wild Boys, by William Burroughs, Grove Press Cover design: Jo Bonney

The movie, "Naked Lunch;' based on m a novel by William Burroughs caused a resurgence of interest in his writing. Grove Press, which retains rights to sev- eral Burroughs titles, wanted to repack- age these as a series to tie in with the critical success of the film. Burroughs' work has always been con- troversial and rebellious, and since his debut in the 1950s, he has been consid- ered one of Grove Press' cultural icons. For this series of covers, Krystyna Skalski, then art director at Grove, did not envisage a "cult of personality" approach to the Burroughs stories. She saw the reissues as type covers with a strong sans serif look suggested by the movie poster logo. Skalski commis- sioned designer Jo Bonney to design these because Bonney's work, she felt, was inventive typographically. When someone browses through a bookstore with Jo Bonney presented her first jacket hundreds of titles competing for his or her attention, design for The Wild Boys as a sensual the first reaction to any one book depends on its collaged initial letter paralleling the "col- lage in the writing" she says. The treat- jacket or paperback cover. People do judge a book by ment was straightforward yet dramatic. its cover, so the importance of this first impression Unfortunately, this approach was consid- cannot be overrated. Book jackets are small posters ered to be too "restrained and sophis- ticated;' especially because of its white that must capture instantly the gist of the book and background, yet too complicated (with the importance of the author. Beyond this promotional color separations and mechanicals impact, the jacket also is the book's most effective with complex photographic images) for ad. As a result the designer must follow the directives repeated reprinting. Both Skalski and Bonney agreed that of the editorial and marketing departments of the pub- because Burroughs' writing is consid- lishing firm while maintaining esthetic integrity. Here ered outrageous, this was the time for are three case studies examining the process of book "outrageous type;' and strong color. Bon- ney's next design focused on a sans jacket and cover design for some recent releases. • serif vertical placement of the author's • name, and then "working with Xeroxes and cutting and pasting" experimenting 7 with the cover type. For The Wild Boys, Bonney pulled the initial cap from the "Naked Lunch" poster and designed a ' 7 "tactile spiral of type in " which • captured the violent energy of the writ-

4 ing. The background color was bright

T•1 pink (which was subsequently changed ri to lilac). This jacket was approved. 1! - For the rest of the series, Bonney U-

11 essentially varied this typographic

=1:1 theme using sans serif type both for its t contemporary quality and to accommo- date the extensive copy on the covers. k• 7 As Skalski points out, each of the books Vi reissued has the letter "0" in the title, so this element could be highlighted on each cover, further identifying it as

R• part of a series. In addition, according to Skalski, these three-color covers are cost-effective and simple to print. "- N.v`e e.°t1. X P R E fotban „iv Frt.\ veek • • •

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City of Boys, by B Nugent, Vintage Cover design: Sus itchell City of boys

For the Vintage p rback edi- tion of a first coil ion of short stories that were t published by Knopf, art dirt r Susan Mitchell creatdramatic and mple The Beth Nugent stories short stories in City of Boys por- tray a variety of experiences in nondescript American suburbs and harsh cities. The short sto- ries are written in what Mitchell describes as a flat "retro-cool" prose style. "Engaging, haunting and lasting."—David Leavitt Mitchell chose photographic images suggesting both the set- tings and the tone of the stories. One hints at the city with skele- tal fire escapes, and the other shows an aerial view of an anon- ymous suburb. "I wanted to con- trast a Levittown image of rows photograph of a boy running and rows of identical houses with along a city wall covered with an "Edward Scissorhands' version graffiti of boys' names. of suburbia;' she says. After it was approved by the Starting with these images, usual Vintage committee of pub- Mitchell superimposed outlined lisher, editor-in-chief and editor, figur Alexander Mitchell heard that this cover was Ca on hold. She points out that jack- e characters. "I wanted ets for paperback editions go be 'contrived hip:" she explain to mechanicals for early proofs She then added a cropped photo hich are used in advance pub- of a smiling face to suggest the ity. Mitchell intuited that this author smiling at life. ver was deemed "too aggres- The type treatment, using e" and that a second version Emigre's Arbitrary typeface, tied eded to be "more literary:" For the elements together according titchell, this meant less color to Mitchell, and with this face's erall, a cover which would be thicks and thins "made the cover mpler and understated. more human, an exercise in limi- For the redesign, she started tations and timelessness:' with a white background and As a final motif on the bac used a photograph by Bruce cover, Mitche Davidson that appeared on the BETH NUGENT British edition of the book. "I understood why this photograph was chosen for the feeling of the book, and I liked it, so I allowed the photograph, printed as a blue and black duotone (primarily blue as in denim), to speak on the cover:" Mitchell says. Again using Arbitrary type, Mitchell respaced the author's name and "terraced" the type of the title to allude to fire escapes. She felt this design captured the ce of the stories, and this was cover.

HEADLINE ITC FRANKLIN GOTHIC HEAVY TEXT: DEMI, DEMI ITALIC Illuminated manuscripts form an unusually eloquent dialogue between pictures and words. Consider a manuscript

produced in Italy during the Renaissance: It is not black ink pressed margin to margin onto white stock, but rather a

sheet of animal skin bordered by a series of arches joined to form a vignette within the page. Inside this undulating shape, mythological creatures and the theme of Christianity are woven into an intricate whole. Griffins, sphinxes and cherubs placed among

a scrolling web of flowers, pearls and painted jewels form an ornate border. At the top, a nativity scene takes center stage and illustrates the text which is set in a box placed slightly off center within the frame. In the scene, Mary and Joseph kneel to pray beside the Christ Child before a harmonious landscape of mountains and a river that flows through a small village. To most modern viewers, this is not a standard page layout

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in the least. To see it as such, we must remember that printing mony. But Italy holds a special place for three reasons, says had only just been invented—and that the western world Alexander. "Italy is the center of the antique world and Rome was, with the birth of the modern age that marks the Renais- is the center of Christianity, so even from the earliest period sance, on the verge of reinventing itself. there was book production in Italy. Then, in the context of the While illuminated manuscripts are usually thought secularization of the manuscript, there is from the late 12th to be representative of the long, unproductive Middle century onwards an enormous production through the Italian or Dark Ages, an upcoming exhibition at New York's universities. Lastly, in the 15th century, the center of culture Pierpont Morgan Library explores the manuscript as it enters moves from France (in particular Paris which was the intel- the Renaissance, the final chapter in its thousand-year lectual powerhouse of Europe), then south to Italy with the history before it is eclipsed and rendered obsolete by Guten- Renaissance. The Italian city-states were also enormously berg's printing press. The influence of humanism, patron- wealthy, so when printing is invented in 1450, the German age, art and architecture are a few of the many revelations printers soon realized that their best markets were in Italy. As to be gleaned from "Italian Renaissance Manuscripts: 1450- a result, the technique of printing books very soon comes to 1550" organized with the Royal Academy in London and Italy," Alexander explains. scheduled to open in 1995. Guest curating the exhibition is Until then, however, manuscripts were copied by medieval scholar Professor Jonathan J. G. Alexander whose hand. "Nothing is mechanized. Nothing is reproduced. Medieval Illuminators and their Methods of Work (Yale Uni- Nothing is standard in any way—ever—which is part versity Press, 1993) serves as an excellent introduction to the of the fascination;' Alexander says. Indeed, no two are alike. exhibition. "More and more people want access to man- The bold strokes and delicate swirls of many hand-scripted uscripts that were only available to the privileged few," says passages take on the individuality of clouds on a summer day, Alexander. "It's very moving to see books that belonged to or the shapes of an elaborate wrought iron balustrade. great historical figures. Along with offering an esthetic expe- On the pictorial side, illuminated manuscripts also rience, they form a direct link with the past" maintain an intimate dialogue between the represen- The term "illumination" has its origins in the ancient tational and the decorative. Of all the carefully French verb enluminer meaning "to brighten Origi- considered elements that lend such grace and distinction to nally the word signified the embellishment of a hand- these jewels of book art, the most striking is this visual coun- written text with shiny gold and silverleaf. As manuscript terpoint. "It is ironic if you consider that early alphabets are production evolved, its meaning expanded to include the pictograms and the letters evolve from pictorial representa- decoration of all medieval books through the use of orna- tion, as in Egyptian hieroglyphics': explains Alexander. "By mented initial letters, as well as patterns, borders and illustra- the fourth century, when the Roman alphabet is well estab- tions. "The importance of the book is signalized by the lished, artists get the idea that they will embellish letters, put materials used to decorate it and the beauty of the script;' a little curl on the end of an "A' or fill it in with a blob of color. says Alexander. "What we have to realize is that these things Next, they go a bit further and, for example, substitute the were exceedingly rare, precious and expensive, very often cross bar of an "N" with a fish or a bird. By the seventh century costing as much as a horse, or by today's standards the equiv- they are adding figures. At this point it becomes possible alent of a car:' In addition, book covers were often sheets to amalgamate the letter and the image so that the two are of gold masterfully sculpted into miniature bas-reliefs and united:' In one, a fancifully serifed initial "N' is set against a encrusted with precious stones. Bindings of embossed metal background whose pattern spreads to form an exquisite bor- or ivory glow softly when brought into the light for display. der. A delicate tracery of serpentine lines flows around the Despite its opulent presentation, the manuscript edges of the page, here ending in a flower, there gathering (or codex, as the Romans called it) became, with the into faceted diamonds and circles. In another, cherubs pro- advance of Christianity, a small, but potent vehicle vide musical accompaniment to a young mandolin player for conveying the Christian message, so it most often took the who leans against the letter "Sr forming a medallion within form of a Bible, choir book, gospel, or other religious text. the design of the page. Responsible for conveying the Christian word and practices Because of their size, many of the pages must be seen to the world, illuminators used every means available to up close. Their intimate scale draws one in and estab- them in creating an object of reverence and beauty under- lishes an immediate rapport between the viewer laid by a careful symbolic structure. While many were com- and the image. Looking at each dazzling miniature is like missioned by abbots or bishops, some great rulers were peering into an enchanted Easter egg, where letters sprout lovers of fine books and maintained at their court scribes leaves and flowers or multicolored wings, and tiny saints and illuminators who produced manuscripts to their exact in pastoral settings convey a presence whose impact is not personal specifications. small, but rather monumental in scale. From the Irish Book of Kells to the French King Rene's Book of Love, nearly every European country can Leslie Sherr, former editor of Graphis, writes on architecture boast superb illuminated manuscripts in their patri- and design for a range of international publications.

HEADLINE: ITC CHELTENHAM BOOK BYLINE: BOLD TEXT: LIGHT, LIGHT ITALIC ART CREDITS CAN BE FOUND IN "A BOOKLOVER'S INDEX" ON PAGE 37.

25 09\ ' \ \\

n f R _ 1%4 TYPE DESIGNER DAVE FAREY CONTINUES ■■■ TO BE INSPIRED BY OSWALD COOPER. ■ ■ In 1992 Farey revived one of Cooper's certain kinds of technological intervention. He chose to con- lesser-known type designs and renamed it trol the design of every character and proportion. As a result, each weight of ITC Highlander was created by hand—Dave ITC Ozwald in honor of its originator, the late Farey's hand. •r Most sans serif italics are not much more than 27 American graphic artist and lettering master. In the obliqued roman designs—not so with ITC Highlander. Here process, he gave ITC one of its most popular new display the italics are true cursive designs which were carefully drawn types. This year Farey and Cooper have "collaborated"again; to complement the roman while maintaining their own design this time Farey has taken a small sample of Cooper's lettering integrity. The letters also have a modest x-height which pro- and transformed it into a sans serif text and display typeface vides a subtle sense of elegance to this otherwise informal type 46 family called ITC Highlander. The impetus for the design For some typeface designs the name comes easily, design. came from Farey's desire to create a new sans serif face. He for others choosing a suitable name can be a long and arduous wanted to develop a type family that was distinct, but not so experience. ITC Highlander clearly falls into the latter cate- unusual that it would be limited to display applications only. gory. Farey and the production staff at ITC experimented with Although "Oz"Cooper never created a sans serif typeface, at least six trial names before a meaningful one was chosen. In he had produced some display lettering exercises of serifless Farey's words, "Quite a lot of the work was done in the small letterforms. Farey discovered these and tested the available hours at home, with music in the foreground, not for relaxation, letters as the basis for a prototype font. He was delighted to but to keep me awake. After repetitive plays of 'The Best of find that though they were not perfect, they worked surpris- ZZ Top: I moved on to 'Classic Queen: and subconsciously was ingly well as text letterforms. While most would classify stopping at track 19, 'Who Wants to Live Forever': a relevant ITC Highlander as a sans serif design, Farey prefers to catego- anthem to Freddie Mercury from the film 'Highlander: The rize it as a "soft terminal monoline." He believes that the soft music played a part in supporting the design so it seemed natu- terminals help make the design a little more readable than ral that its subconscious influence be rewarded" ITC High- most sans serif type styles. An additional feature of the design lander is available in Book, Medium and Bold weights with which aids readability is the slightly uneven character stroke corresponding Italics. have been created for the weights. Farey chose to maintain this hand-drawn aspect of Book and Medium weights. Oldstyle figures are available for Cooper's original design, and the delicate deviation from per- the roman and italic designs in all weights. Only licensed ITC fection alleviates the visual monotony common to so many Subscribers are authorized to reproduce, manufacture and sans serif faces. Although most modern typeface families have offer for sale these and other ITC typefaces shown in this issue.

their various weights created electronically, ITC Highlander THIS LICENSE IS YOUR GUARANTEE OF AUTHENTICITY. is an exception. Farey wanted to maintain the esthetic ideal THESE NEW TYPEFACES WILL BE AVAILABLE TO THE PUBLIC ON OR AFTER

of the craftsperson—something that he felt did not allow for AUGUST 16, 1993, DEPENDING ON EACH MANUFACTURER'S RELEASE SCHEDULE. W MACHARDY Drummond Angus Lorne Macdonald Hay Drummond Angus Lorne Macdonald Hay Ross Ferguson Cumming Graham Gordon Ross Ferguson Cumming Graham Gordon Sutherland Laird Fraser Campbell Russell Sutherland Laird Fraser Campbell Russell Macgregor Armstrong Keith Farquharson Macgregor Armstrong Keith Farquharson Stewart Ramsay Mackay Macfarlane Rose Stewart Ramsay Mackay Macfarlane Rose Lauder Mactaggart Shepherd Livingstone Lauder Mactaggart Shepherd Livingstone Kennedy Macpherson Morrison Jacobite Kennedy Macpherson Morrison Jacobite Macqueen Hamilton Macintosh Barclay Macqueen Hamilton Macintosh Barclay Leslie Sinclair Maxwell Duncan Macbeth Leslie Sinclair Maxwell Duncan Macbeth Dunblane Ruthven Macalister Cockburn Dunblane Ruthven Macalister Cockburn Wallace Davidson Fletcher Montgomerie Wallace Davidson Fletcher Montgomerie Cranston Macaulay Macneil Mackinnon Cranston Macaulay Macneil Mackinnon Napier Gunn Ogilvie Cunningham Leslie Napier Gunn Ogilvie Cunningham Leslie Dunbar Crawford Grant Mackinlay Elliot Dunbar Crawford Grant Mackinlay Elliot Urquhart Dunblane Macintyre Anderson Urquhart Dunblane Macintyre Anderson Buchanan Wemyss Rob Roy Baird Brodie Buchanan Wemyss Rob Roy Baird Brodie Balmoral Macinroy Macinnes Macdonell Balmoral Macinroy Macinnes Macdonell Macphee Macewan Kerr Macivor Huntly Macphee Macewan Kerr Macivor Huntly Oliphant Macmillan Colquhoun Macduff Oliphant Macmillan Colquhoun Macduff Cameron Murray Nicolson Maclaine Dyce Cameron Murray Nicolson Maclaine Dyce Henderson Monro Lennox Forbes Cumin Henderson Monro Lennox Forbes Cumin Mackenzie Logan Macbean Douglas Scott Mackenzie Logan Macbean Douglas Scott Robertson Lamont Rothesay Maclachlan Robertson Lamont Rothesay Maclachlan Dyce Victoria Stewart Matheson Rattray Dyce Victoria Stewart Matheson Rattray Johnston Chisholm Lindsay Dalzell Louise Johnston Chisholm Lindsay Dalzell Louise c:‘ Cunningham Hay Erskine Chisholm Bruce Cunningham Hay Erskine Chisholm Bruce

Drummond Angus Lorne Macdonald Hay Drummond Angus Lorne Macdonald Hay Ross Ferguson Cumming Graham Gordon Ross Ferguson Cumming Graham Gordon Sutherland Laird Fraser Campbell Russell Sutherland Laird Fraser Campbell Russell Macgregor Armstrong Keith Farquharson Macgregor Armstrong Keith Farquharson Stewart Ramsay Mackay Macfarlane Rose Stewart Ramsay Mackay Macfarlane Rose Lauder Mactaggart Shepherd Livingstone Lauder Mactaggart Shepherd Livingstone Kennedy Macpherson Morrison Jacobite Kennedy Macpherson Morrison Jacobite Macqueen Hamilton Macintosh Barclay Macqueen Hamilton Macintosh Barclay Leslie Sinclair Maxwell Duncan Macbeth Leslie Sinclair Maxwell Duncan Macbeth Dunblane Ruthven Macalister Cockburn Dunblane Ruthven Macalister Cockburn Wallace Davidson Fletcher Montgomerie Wallace Davidson Fletcher Montgomerie Cranston Macaulay Macneil Mackinnon Cranston Macaulay Macneil Mackinnon Napier Gunn Ogilvie Cunningham Leslie Napier Gunn Ogilvie Cunningham Leslie Dunbar Crawford Grant Mackinlay Elliot Dunbar Crawford Grant Mackinlay Elliot Urquhart Dunblane Macintyre Anderson Urquhart Dunblane Macintyre Anderson Buchanan Wemyss Rob Roy Baird Brodie Buchanan Wemyss Rob Roy Baird Brodie Balmoral Macinroy Macinnes Macdonell Balmoral Macinroy Macinnes Macdonell Macphee Macewan Kerr Macivor Huntly Macphee Macewan Kerr Macivor Huntly Oliphant Macmillan Colquhoun Macduff Oliphant Macmillan Colquhoun Macduff Cameron Murray Nicolson Maclaine Dyce Cameron Murray Nicolson Maclaine Dyce Henderson Monro Lennox Forbes Cumin Henderson Monro Lennox Forbes Cumin Mackenzie Logan Macbean Douglas Scott Mackenzie Logan Macbean Douglas Scott Robertson Lamont Rothesay Maclachlan Robertson Lamont Rothesay Maclachlan Dyce Victoria Stewart Matheson Rattray Dyce Victoria Stewart Matheson Rattray Johnston Chisholm Lindsay Dalzell Louise Johnston Chisholm Lindsay Dalzell Louise Cunningham Hay Erskine Chisholm Bruce Cunningham Hay Erskine Chisholm Bruce MALCOLM1L RUTHVEN Drummond Angus Lorne Macdonald Hay DRUMMOND ANGUS LORNE MACDONALD HAY Ross Ferguson Cumming Graham Gordon Ross FERGUSON CUMMING GRAHAM GORDON Sutherland Laird Fraser Campbell Russell SUTHERLAND LAIRD FRASER CAMPBELL RUSSELL Macgregor Armstrong Keith Farquharson MACGREGOR ARMSTRONG KEITH FARQUHARSON Stewart Ramsay Mackay Macfarlane Rose STEWART RAMSAY MACKAY MACFARLANE ROSE Lauder Mactaggart Shepherd Livingstone LAUDER MACTAGGART SHEPHERD LIVINGSTONE Kennedy Macpherson Morrison Jacobite KENNEDY MACPHERSON MORRISON JACOBITE Macqueen Hamilton Macintosh Barclay MACQUEEN HAMILTON MACINTOSH BARCLAY Leslie Sinclair Maxwell Duncan Macbeth LESLIE SINCLAIR MAXWELL DUNCAN MACBETH Dunblane Ruthven Macalister Cockburn DUNBLANE RUTHVEN MACALISTER COCKBURN Wallace Davidson Fletcher Montgomerie WALLACE DAVIDSON FLETCHER MONTGOMERIE Cranston Macaulay Macneil Mackinnon CRANSTON MACAULAY MACNEIL MACKINNON Napier Gunn Ogilvie Cunningham Leslie NAPIER GUNN OGILVIE CUNNINGHAM LESLIE Dunbar Crawford Grant Mackinlay Elliot DUNBAR CRAWFORD GRANT MACKINLAY ELLIOT Urquhart Dunblane Macintyre Anderson URQUHART DUNBLANE MACINTYRE ANDERSON Buchanan Wemyss Roy Rob Baird Brodie BUCHANAN WEMYSS ROB ROY BAIRD BRODIE Balmoral Macinroy Macinnes Macdonell BALMORAL MACINROY MACINNES MACDONELL Macphee Macewan Kerr Macivor Huntly MACPHEE MACEWAN KERR MACIVOR HUNTLY Oliphant Macmillan Colquhoun Macduff OLIPHANT MACMILLAN COLQUHOUN MACDUFF Cameron Murray Nicolson Maclaine Dyce CAMERON MURRAY NICOLSON MACLAINE DYCE Henderson Monro Lennox Forbes Cumin HENDERSON MONRO LENNOX FORBES CUMIN Mackenzie Logan Macbean Douglas Scott MACKENZIE LOGAN MACBEAN DOUGLAS SCOTT Robertson Lamont Rothesay Maclachlan ROBERTSON LAMONT ROTHESAY MACLACHLAN Dyce Victoria Stewart Matheson Rattray DYCE VICTORIA STEWART MATHESON RATTRAY Johnston Chisholm Lindsay Dalzell Louise JOHNSTON CHISHOLM LINDSAY DALZELL LOUISE Cunningham Hay Erskine Chisholm Bruce CUNNINGHAM HAY ERSKINE CHISHOLM BRUCE "T SCOTDRUMMOND ANGUS LORNE MACDONALD HAY Drummond Angus Lorne Macdonald Hay Ross Ferguson Cumming Graham Gordon Ross FERGUSON CUMMING GRAHAM GORDON Sutherland Laird Fraser Campbell Russell SUTHERLAND LAIRD FRASER CAMPBELL RUSSELL Macgregor Armstrong Keith Farquharson MACGREGOR ARMSTRONG KEITH FARQUHARSON Stewart Ramsay Mackay Macfarlane Rose STEWART RAMSAY MACKAY MACFARLANE ROSE Lauder Mactaggart Shepherd Livingstone LAUDER MACTAGGART SHEPHERD LIVINGSTONE Kennedy Macpherson Morrison Jacobite KENNEDY MACPHERSON MORRISON JACOBITE Macqueen Hamilton Macintosh Barclay MACQUEEN HAMILTON MACINTOSH BARCLAY Leslie Sinclair Maxwell Duncan Macbeth LESLIE SINCLAIR MAXWELL DUNCAN MACBETH Dunblane Ruthven Macalister Cockburn DUNBLANE RUTHVEN MACALISTER COCKBURN Wallace Davidson Fletcher Montgomerie WALLACE DAVIDSON FLETCHER MONTGOMERIE MIN Cranston Macaulay Macneil Mackinnon CRANSTON MACAULAY MACNEIL MACKINNON Napier Gunn Ogilvie Cunningham Leslie NAPIER GUNN OGILVIE CUNNINGHAM LESLIE Dunbar Crawford Grant Mackinlay Elliot DUNBAR CRAWFORD GRANT MACKINLAY ELLIOT Urquhart Dunblane Macintyre Anderson URQUHART DUNBLANE MACINTYRE ANDERSON Buchanan Wemyss Rob Roy Baird Brodie BUCHANAN WEMYSS ROB ROY BAIRD BRODIE Balmoral Macinroy Macinnes Macdonell BALMORAL MACINROY MACINNES MACDONELL Macphee Macewan Kerr Macivor Huntly MACPHEE MACEWAN KERR MACIVOR HUNTLY Oliphant Macmillan Colquhoun Macduff OLIPHANT MACMILLAN COLQUHOUN MACDUFF Cameron Murray Nicolson Maclaine Dyce CAMERON MURRAY NICOLSON MACLAINE DYCE Henderson Monro Lennox Forbes Cumin HENDERSON MONRO LENNOX FORBES CUMIN Mackenzie Logan Macbean Douglas Scott MACKENZIE LOGAN MACBEAN DOUGLAS SCOTT Robertson Lamont Rothesay Maclachlan ROBERTSON LAMONT ROTHESAY MACLACHLAN Dyce Victoria Stewart Matheson Rattray DYCE VICTORIA STEWART MATHESON RATTRAY Johnston Chisholm Lindsay Dalzell Louise JOHNSTON CHISHOLM LINDSAY DALZELL LOUISE Cunningham Hay Erskine Chisholm Bruce CUNNINGHAM HAY ERSKINE CHISHOLM BRUCE FERGUSON ITC HIGHLANDER

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31 hat- 9u

bisleitetryanttoaorr:ehlialtde si‘,Ixesa:vatvo:illglal:i In additio 0‘,4 cvne:o • n to Is a reasonabie ss e ee: for bec° sto te exem m as‘ wriiftly, tv('-e PlarY drawing, to children Prere, wself a link to one's childhood • having beenp- a• of :strt Print. ^hl caparatlVely few is the key? Does the su have devei e it may be argu ed being any thatSo what ccessfw CO o II- 16`133. ped What i take author/illustrator It s to effectively communicate s book ha ve to or her heart open to children? John •-‘04,-V be a child keeps Updike at heart? Or simply one who said not keep on speaking terms with children, machines adults do th "and become for eating people, g ey cease to be an d earning money, that The great children's book author/illustrators have always listened carefully

to, and, conversely, have spoken eloquently to kids. Author/artists such as Vtt dChen Bird Maurice Sendak, Leo Lionni and, of course, Dr. Seuss, have translated the Over the past several years, new children's publishers (including divi-

experiences of both the child within and without into accessibly simple, sions at Abrams, Rizzoli and Hyperion) have signed a variety of non-

yet emotionally complex metaphors that are memorable enough to follow traditional artists to reinterpret classic tales or to create their own books.

us into adulthood. Among the most recent is photographer Cindy Sherman's rendition of

This cannot be expected of the many children's books published annually. Fitcher's Bird (Rizzoli), the original title for the Brothers Grimm's grue-

In an attempt to find a master author/illustrator and the next classic, some "Blue Beard" tale, which she has ambitiously rendered with moody

publishers produce hundreds of titles. Only a small percentage of them photography of lifelike mannequins portraying Fitcher's antisocial char-

rise above the moment. Most conform to the rigid conventions and static acter through severe close-ups. Regrettably, Sherman falls short of trans-

formulas traditionally used in children's books. Nevertheless, some pub- lating him or the other characters in the book into compelling graphic

lishing firms do occasionally break new ground and burst taboos of race, entities for children. The artist has not

gender, class and species. Currently, a new generation of baby boomers Fitcherk focused on kids, but simply borrowed the Bird influenced by children's classics now edit, illustrate and write a dramatic PhotGruphy Grimm tale to use as an extension of her CINDY SHERMAN ...hi • m gale IN new style of children's book. This is best described as an expressionistic, it: ha. aka. ham, own artistic exploration. This results in a

postmodern genre which reinvents the inherent form and the tradition portfolio rather than a convincing retell-

of children's books by incorporating contemporary artforms. ing of the story.

32 Whimsical type treat- *WI ments, acerbic illus- trations and running TUN 1111B jokes are found in .aed All I RIFF anti SNUFF and The Stinky Cheese Man and Other Fairly CA1 ,1,9(01/00 Stupid Tales, a book • s which borrows Grimm's HaPPO, grkli A ,, ER

fairy tales and gives • mvt.hult*CV.,.11., • wiknd Mitch them a literal twist. At right are images from °.°'' .11a•C::•.• "Jack's Bean Problem." . 141•No•lid *Or knit* 'IMuY P.• 1.+4 2..1•41T140.1%., %AM tIV44.144h TA*0, 44, takerto.44, Mans/114. iMs, b. OM *WI Antranl *tonne' Tike Nao■ *1.14.4 404 olk4 4.0,11 ■. ■ I. •

Calder's Circus, a sculp- ture of wire and fabric on permanent display at New York's Whitney Museum, is brought to life in a book by Maira Kalman. Expressive typography by M&Co. evokes the sights and sounds of a visit to an old-fashioned big top. Richard McGuire's Orange Book follows The paper figures wait- the paths of fourteen ing to be assembled oranges which separ- in Steven Guarnaccia's ate from each other Blockheads are sur- at the grove and reap- real, anthropomorphic pear in numerous designs inspired by amusing contexts, French advertising dis- such as a construc- plays of the 1930s. tion site, a television Heads, bodies and studio, a juggling pedestals are inter- act and behind the changeable allowing counter of a diner. for 18 permutations of characters.

The haunting masks which illustrate Little Pig reflect the dra- matic changes in the relationship between the title character and a little girl. After she deceives him, her human character. istics transform into traits which are distinctly porcine. Photographer William Wegman casts Battina and Faye, his prized pet weimaraners, in the classic fairy tale Cinderella, where they pose patiently in ball gowns, curly wigs and a Similarly, William Wegman, the artist who photographs his two pet dog-drawn carriage. weimaraners, Battina and Faye, in comic situations, has reinterpreted the

classic "Cinderella" (Hyperion) with dubious success. The smart-aleck

text is rewritten for post-adolescents, and the photographs are aimed at

anyone who enjoys the poses of Wegman's slav-

ishly obedient hounds. The problem is that after

seeing a few pictures of a dog's head on a human

body the joke gets stale. Wegman, who has pro-

duced delightful short films for "Sesame Street"

using the dogs in didactic roles, has merely trans-

ported his idiosyncratic art into a children's world without the insight

needed to make a compelling visual experience. The result is a lifeless

children's book.

alder c.ircus Not all adaptations are less than successful. Roarr Calder's Circus (Whitney

Museum of American Art) is a superb interpretation of Alexander Calder's

playful sculpture on permanent view at the Whitney Museum in New

York. The book is written by Maira Kalman, whose own naïf paintings in

her earlier books (Hey, Willy, See the Pyramids; Ooh - la- la [Max in Love])

are spiritually related to Calder's wire and fabric sculptures. Roarr

Calder's Circus brings a delightful environment to life, through

photographs by Donatella Brun and expressive typography by

M&Co. which modulates with every

word or phrase. Kalman's dialogue

brings the ringmaster into clear

focus as he introduces these hereto-

fore unnamed and unanimated per-

formers. The aging veneer and muted

earthtones of Calder's wire and mesh are

set against fields of black in a simulation of the big top experience.

The seamless marriage of voice and image is enough to hold the

interest of even the youngest reader. ve Stinky cheese ms" Withunconventional children's books, the trick is to take risks with-

out crossing into the netherworld where the boundaries between child and adult literature are blurred. The Stinky Cheese Man and Other Fairly

Stupid Tales (Viking) by Jon Scieszka and Lane Smith is a valiant effort to

alter the visual and verbal language of a children's book. From the author

and illustrator of a caustic retelling of "Three Little Pigs" comes a children's Not all of the new children's books are so sad or

book that not only parodies famous fairy serious. For example, Blockheads (Children's Uni-

tales (including such versions as "Chicken verse [Rizzoli]) by Steven Guarnaccia, is one of the

Licken:' "The Really Ugly Duckling:' most pleasurable examples of a current trend for

"Cinderumpelstiltskin,' and "Little Red paper toys. This is a simple activity book—one

Running Shorts"), but also the conven- merely has to punch-out, fold, and construct the

tion of book layout and design itself. In one characters. Three paper bodies, each printed with a different character

story, for example, endpapers appear in the on each side (resulting in six permutations), serve as pedestals for three

middle of the story in order to fool the tale's villain that the book is over; boxes with six different faces (18 permutations in all). The bodies include

and halfway through "Chicken Licken" the contents page collapses on an astronaut, a cowboy and a baseball player with corresponding heads

the protagonist's head. These are but a few of the typographical games plus other surreal, anthropomorphic and otherwise absurd cube heads.

played out through the course of this flawed tour de force. Why flawed? Guarnaccia has based the form on a '30s vintage French advertising dis-

Although The Stinky Cheese Man includes Smith's delightfully brutish illus- play. But rather than a nostalgic reprise, Blockheads translates this influ-

trations and Scieszka's well-crafted, often witty parodies, the book is too ence from the past into an entirely new form.

self-consciously experimental and, therefore, is too difficult

to follow. As a primer of expressionistic typography, it appeals to a design-savvy adult, but for the child between e the ages of five and nine (which is the reasonable target audi-

ence), it is a considerable obstacle course. orange'3" In his first children's book, illustrator/designer Richard McGuire has

developed an individual style that echoes the past but is firmly rooted in

the present. The Orange Book (Children's Universe [a division of Rizzoli])

is an exquisitely economical, two-color narrative that traces the fate of 14

lt oranges from the orchard to the table, lunch-

Little Pig (Viking) written by Akumal Ramachander and illustrated by box and other destinations. The book's dou-

Stasys Eidrigevicius toes the line between classicism and postmodernism. ble spreads are simply rendered with just the

In this chilling metaphor for intolerance and betrayal, a young farm pig hint of a 1930s style in blue on cream paper

is lured to the slaughterhouse by a little girl who had earlier saved him stock, with only the fruit itself in bright

from being killed, and raised and loved him until orange. Although it is not a traditional count-

he fattened up. Anthropomorphism and trans- ing book, McGuire's subtle storyline gives the reader a glimpse of the

mutation—graphic conceits as old as antiquity— nature of numbers. The Orange Book is a story of balance: each picture is

are quite literally given a new face in Little Pig. meticulously composed with just the minimal amount of visual informa-

For Eidrigevicius, a Polish illustrator, has made tion. While not a breakthrough in storytelling or illustration, it is the most

his surrealistic images into masks, each a detailed soothing of these new books, proof that in an age when the book itself is

vignette that illustrates the changing relationship between the girl and being reassessed, the honest ones are still the best.

the trusting little pig as he becomes fair game for the butcher's knife. In

contrast to William Wegman's and Cindy Sherman's rather self-conscious Steven Heller, a senior art director of The New York Times, is the co-author of

conceits, Eidrigevicius' use of masks throughout the book is a natural way Italian Art Deco: Graphic Design Between the Wars (Chronicle Books, 1993)

to tell this redemptive tale. and the forthcoming Designing for Children (Watson-Guptill, 1994).

HEADLINE: ITC AMERICAN TYPEWRITER MEDIUM, ITC ANNA, ITC AVANT GARDE GOTHIC EXTRA LIGHT, ITC CENTURY BOOK, ITC FENICE LIGHT, ITC FRANKLIN GOTHIC BOOK COMPRESSED. ITC KABEL DEMI, ULTRA, ITC MENDOZA BOOK, MEDIUM, ITC MONA LISA RECUT, ITC NEW BASKERVILLE ROMAN SUBHEADSREXT: ITC NEW BASKERVILLE ROMAN, ITALIC CAPTIONS: ITC KABEL BOLD, ULTRA 4326 UniversityWay,NE Helen; andVanderMeer,Ron. Frayling, Christopher; PAGE 16: The bookmaybeorderedbysend- $21.65 foreachadditionalcopy. rates are$26.65forthefirstcopy; of NewYorkState.WithinYork, $20 foreachadditionalcopy,outside name attheITCCenter,May1993. by ITCforanexhibitionofthesame catalog andmonographpublished 866 SecondAvenue,NewYork,NY to ITCGallery—SpecimenCatalog, ing acheckormoneyorderpayable Specimens" Walter KfinigBfichermarkt Twentieth Century The ArtoftheTypeSpecimenin PAGE 14: Cologne, Germany Seattle, Washington98105 Three LivesBookstore Ehrenstrasse 4 (206) 634-3400 University ofWashington 10017. Ratesare$25forthefirstcopy, University Bookstore (212) 741-2069 New York,York10014 St. James,LondonSW1Y6DJ 42 DukeStreet Thomas Heneage&Co.,Ltd. Jaap Rietman,Inc. 71-930-9223 England (212) 772-3120 New York,York10021 Stubbs Books&Prints Santa Fe,NewMexico87501 Santa FeBookseller (505) 983-5278 203 WestSanFranciscoStreet 331-399-3 New Delhi-1,India C. Circus 64 ChankerMarket 154 West10Street Piccadilly BookStall (312) 829-5252 Chicago, Illinois60622 153 East70Street N. FaginBooks (212) 966-7044 New York,York10012 (206) 624-6600 Seattle, Washington98104 Elliott BayBooks Bookstores PAGE 12: Stephen. Words" New York:HarcourtBrace,1993. Meltzer, Milton,andAlcorn, PAGE 1039 WestGrandAvenue 134 SpringStreet 101 SouthMainStreet A Booklover's 8:"Lincoln:InHisOwn libraries andotherresourcesmentionedineditorialfeaturesthis• "The ArtPack" "Twentieth CenturyType "Book Lovers'Bookstores" Lincoln: InHisOwnWords. The followingindexincludesinformationrelatingtothebooks,b is alimited-edition J.J.G. Alexander, J.J.G. Alexander, Illumination. August, 1993. Englebert ofNassau. of Burgundy:ABookHoursfor Braziller, Inc.,1977. George Braziller,Inc.Reprinted Other booksbyJJ.G.Alexander: nated manuscript.Rickettscollec- University, Bloomington,Indiana tion, LillyLibrary,Indiana (Right): LetterAdetailfromillumi- manuscript byilluminatorPietroda Pavia, Milan. (Bottom): Detailfromilluminated manuscript, Spencercollection, PAGE 24 collection, RosenthalPurchase. New YorkPublicLibrary. (Center): Pagefromilluminated Museo Civico,Bologna. (Left): Detailfrommanuscript. The LetterS.PierpontMorgan The LetterN.PierpontMorgan were chosenfromtheslidecollection Italian, c.1473.NYC:PML Page fromIlluminatedmanuscript, PAGE Library, NewYork.M.946,f.1. work shownonpages22-25,aswell Burroughs, WilliamS. Library, NewYork.M.687,E1. PAGE 22 Credits of ProfessorJonathanJ.G.Alexander. The followingarecreditsfortheart- Vintage, 1993. subject. Illustrationsforthisarticle scripts, andadditionalbooksonthe collections ofilluminatedmanu- as alistingofmuseumswithnotable Exploded, PAGE 22: Nugent, Beth. New York:Viking,1993. Grove Press,NewYork,1992. Machine, Leavitt, David. Burroughs, WilliamS. series byGrovePress,NewYork, a seriesbyGrovePress,NewYork, Burroughs, WilliamS Grove Press,NewYork,1992. PAGE 18: 1969. Reprintedasoneinaseriesby Burroughs, WilliamS Knopf, 1992. 1992. The ArtPack. 1992. 1964. Reprintedasoneinaseriesby 23 "Enluminer" 1961. Reprintedasonein "Best SellingDesign" 1962. Reprintedasoneina New York:George New York:AlfredA. City ofBoys. While EnglandSleeps. Italian Renaissance The MasterofMary New York: The WildBoys, Nova Express, The TicketThat The Soft New York: compiled byStevenAmsterdam York: Hyperion,1993. Wegman, York: Rizzoli,1992. Index Fairy Tales. Sherman, Cindy. Stinky CheeseManAndOtherStupid Scieszka, Jon,andSmith,Lane. New York:Viking,1992. American Art,1991. Illustrations byStasysEidrigevicius. Ramachander, Akumal. New York:Children's Vienna, Austria Universe/Rizzoli, 1992. McGuire, Richard. New York:WhitneyMuseumof Guarnaccia, Steven. Photographs byDonatellaBrun. Kalman, Maira. Publishing/Rizzoli, 1992. New York:Universe Enjoy" PAGE 32: Vatican, Italy Oesterreichische Nationalbibliothek London, England British Library Oxford, England Bodelian Library Paris, France Bibliotheque Nationale The WaltersArtGallery Biblioteca ApostolicaVaticana Munich, Germany Bayerische Staatsbibliothek European Museums (410) 547-9000 600 NorthGallery The PierpontMorganLibrary Baltimore, Maryland21201 (212) 685-0610 New York,York10016 San Marino,California91108 The HuntingtonLibrary 29 East36Street (818) 405-2141 The GettyMuseum (310) 458-2003 Malibu, California90265 The CloistersMuseum The BrooklynMuseum New York,York10040 Fort TryonPark (718) 638-5000 Brooklyn, NewYork11238 200 EasternParkway U.S. Museums 1151 OxfordRoad 17985 PacificCoastHighway "Kids' BooksYouCan William Cinderella. New York:Viking,1992

i Roarr Calder'sCircus. ue of Fitcher's Bird. kstores, The OrangeBook. Blockheads. Little Pig. Ufe/c. New New The AppleLink: ALPHABETS/Facs Post OfficeBox5448,E SPERA 11 5109.95 KOCH ANTIOUA& NEULAND S109.95 TO ORDER CALL TO ANTIOUA 5134.95 WOODTYPE SERIES 574.95 MULTIPLE MASTER IAN BC & NEULAND ST4.95 FONT SAMPLER S34.95 U s k Circle 244onReader ServiceCard 1)cmi ExtraBold K An ton, I .

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Desktop Publishing Typefaces Developer for AIM-3D Computer (416) 475-8575 for Ventura Publisher and Animation System for 80386 Front-Ends, Optomechanical Overseas Division Window/Pagemaker and 80486 PCs Photo Units, Digital Photo Units/ 12-2 Bohjoh-cho, Chudoji Digital Recorders, Laser Shimokyo-ku, Kyoto, 600 Japan FontHaus Inc. International Typeface Alphatype Corporation Recorders, Headline Typesetters, (81) 75/365-3131 Scanners Color Scanners, Imagesetters, 15 Perry Avenue 220 Campus Drive Color Prepress Systems Suite A7 Suite 103 Bitstream Inc. and Graphic Arts Equipment Norwalk, CT 06850 Corporation is a devel- Arlington Heights, IL 60004 PostScript Font Resellers and (312) 259-6800 Athenaeum House THE Datafile Software Developers Supporting Workstation III and 215 First Street Macintosh and IBM Formats oper and marketer AlphaComposer Phototypesetting Cambridge, MA 02142 71 Anson Road System, CRS Digital (617) 497-6222 Locking FONTS Phototypesetter High Quality Digital Type for-the Weston-Super-Mare Macintosh and IBM PC Avon BS24 7DQ Hardy-Williams (Design) Ltd. of high quality type- England Ampex Corporation 300A High Street British Broadcasting Corporation 011 44 934 823005 Sutton, Surrey face designs that are 401 Broadway SM1 PQ England Redwood City, CA 94063-3199 Broadcasting House Dawlex Software 01-636-0474 (415) 367-2011 London W1A 1AA AVA-3 (Video Graphic England Halesowan FontShop International applicable to a wide Art Generator) 01-580-4468 West Midland B63 3XE Video Fonts for the BBC England BergrnannstraBe 1102 Anagraph, Inc. 021 585 6897 D-1000 Berlin 61 variety of graphic CADCAM PUNCH LTD. Germany 3580 Cadillac Avenue DIGI-FONTS, Inc. 30 69 00 62 57 Costa Mesa, CA 92626 43, Arkwright Street communication needs. (714) 540-2400 Nottingham NG2 2JR 528 Commons Drive Font World, Inc. Graphic Design Systems, England Golden, CO 80401 Plotting and Cutting Systems 0602 862561 (303) 526-9435 2021 Scottsville Road ITC has a professional CADCAM Textile Designing Manufacturer of Scalable Rochester, NY 14623-2021 Apple Computer, Inc. Systems Outline Fonts and Font Utility (716) 235-6861 Software for HP LaserJet Supplier of Multiple Language 20525 Mariani Avenue Camex, Inc. Family and PostScript Printers Publishing Systems understanding of Cupertino, CA 95014 (408) 996-1010 75 Kneeland Street Digital Composition Systems, Inc. Fundician Tipografica Manufacturer of Apple's Boston, MA 02111 Neufville, S.A. both the esthetics Macintosh Equipment (617) 426-3577 1715 West Northern SuperSetter Digital Imaging Suite 201 Puigmarti, 22 Applied Arabic Limited Systems for Text Phoenix, AZ 85021 Barcelona-12 & business of type. (602) 870-7666 Spain South Bank TechnoPark Carter & Cone Type Inc. Database Publishing Software for 219 50 00 90 London Road Microcomputer Users Poster Types London SE1 6LN 2155 Massachusetts Avenue England Cambridge, MA 02140 ' Digital Typeface Corporation GDT Softworks Inc. 01922-8803 (617) 576-0398 Distributors of Arabic Typefaces Independent Type Designers and 9955 West 69th Street Suite 188 As a result, we have and Suppliers of Digital Font Makers Eden Prairie, MN 55344 4664 Lougheed Highway Information for Arabic Typefaces (612) 944-9264 Bumaby Casady & Greene Inc. High-Quality Typefaces from British Columbia V5C 687 established a busi- Apply Design Group URW, ITC and Other World-Class Canada 22734 Portola Drive Type Libraries (604) 291-9121 Am Gehrkamp 45 Salinas, CA 93908-1119 Developer of Macintosh Printer ness relationship with D-3160 Lehrte (408) 484-9228 dtp Types Limited Driver, Employs Outline Font Germany FAX: (408) 484-9218 Technology for HP Deskjet, HP_ 011 49 51 32 12 28 Manufacturer of Bitmap 13 Nurserylands Gossops Green Laserjet Series, and HP Laser Supplier and Manufacturer of and PostScript Typefaces Crawley West Sussex RH11 8RH Compatible Printers the companies listed Digital Typefaces for Macintosh England 0293 615469 General Parametrics Corp. Architext Inc. Cello-Tak Mfg., Inc. Manufacturers of Software and to the right of this Font Products for Electronic 1250 Ninth Street 121 Interpark Boulevard 35 Alabama Avenue Publishing and Graphic Arts Berkeley, CA 94710 Suite 1101 Island Park, NY 11558 (415) 524-3950 column. Purchasing San Antonio, TX 78216 (516) 431-7733 Dubner Computer Systems, Inc. (512) 490-2240 Dry Transfer Letters Genicom Corporation The Architext OmniFont Library 6 Forest Avenue & Digitization Services. Fonts Chartpak Paramus, NJ 07652 Genicom Drive fonts and type for HR IBM, Kodak, PostScript, (201) 845-8900 Waynesboro, VA 22980 Siemens and Xerox Laser One River Road Broadcast TV Equipment 1 (800) 4-GENICOM Printers. Custom Fonts for IBM Leeds, MA01053 (1 (800) 443-6426) imaging equipment & Okidata Desktop Printers (413) 584-5446 Font Technologies Dry Transfer Letters Genigraphics Corporation 1601 Trapelo Road Artype, Inc. from any of these Color image Products Company Waltham, MA 02154 2 Corporate Drive 3530 Work Drive (617) 890-1288 Suite 340 Fort Myers, FL 33901 1116 Manheim Pike Distribution of High Quality Shelton, CT 06484-6206 companies assures (813) 332-1174 Lancaster, PA 17601 Image Printers/Fonts (203) 926-8808 Toll Free: 800-237-4474 (717) 393-2591 (Standard/PostScript) Computer Generated Dry Transfer Letters, Manufacturer of Graphic Production Cut Out Letters Dry Transfer Letters The Electronic Font Foundry authenticity of ITC Geographics, Inc. Gibbs House ASIBA GmbH Computer Associates International, Inc. Kennel Ride RO. Box R-1 typefaces & opti- Ostengasse 7 Ascot SL5 7NT Blaine, WA 98230 8400 Regensburg Great Valley Corporate Center England (206) 332-6711 Germany 40 Valley Stream Parkway (0344) 891 355 Dry Transfer Letters mal quality design (0941) 52240 Malvern, PA 19355 Letterplot 33 (Software (215) 251-9890 Elsner+ Flake Designstudlos Gepeto Electronica Ltda for Signage) Manufacturer of Graphic Software for Apple Macintosh DorfstraBe 11 Praia de Botafog 440-16 andar representation. D-2081 Langeln Rio de Janeiro CEP 22250 Aston Electronic Designs Ltd. Computer Germany Brazil (021) 286-8284 125/127 Deepcut Bridge Road Computer Geselischaft 04123/4843 Telex 021-33499 Deepcut, Camberley, Surrey Konstanz MBH GU16 6SD England ETP Systems, Inc. Digital Phototypesetters, (0252) 836221 Max-Stromeyer-Strasse 116 Photocomposition Systems Video Character Generators D-7750 Konstanz 2906 North East Glisen Street Germany Portland, OR 97232 Glyph Systems, Inc. (07531) 87-4433 (503) 234-5522 These Subscriber Autologic, Inc. 2 Stevens Street Laserset-Laser Typesetter Manufacturers of Laser Andover, MA 01810 1050 Rancho Conejo Boulevard OCR-Equipment Publishing Systems Incorporating companies are licensed Newbury Park, CA 91320 Typesetting and Fonts into (508) 474-8087 (805) 498-9611 Unit Based Computer System Phototypesetting and Laser Graphic Products Corporation Imaging System Photo Units, to manufacture and 1480 South Wolf Road Digital Photo Units/Digital Wheeling, IL 60090 Recorders, Laser Recorders, (708) 537-9300 Headline Typesetters, Scanners sell ITC typefaces. Format Cut-Out Acetate Letters and Graphic Art Aids

GST Software Products Limited LaserMaster Corporation Microtype Presentation Technologies, Inc. Simulation Excel A.S. URW Software & Type GmbH Meadow Lane, St. Ives 7156 Shady Oak Road 8 Faubourg St. Jean 743 North Pastoria Avenue Dag Hammarskjolds vei 15 Harksheider Strage 102 Huntington, Cambridgeshire Eden Prairie, MN 55344 21200 Beaune Sunnyvale, CA 94086 Oslo 5, Norway 22399 Hamburg PE17 4LG (612) 944-9330 France (408) 749-1959 47-2-15 66 90 Germany England Manufacturer of Printer Film Fonts Manufacturer, Image-Maker Slide-Making PAGEscan Digital Typesetter (040) 60 60 50 44-480-496789 Controllers/Typesetters for PC Alphabet Designers System PAGEcomp Interactive Ad URW TypeWorks, Typeface Library, (603) 329-5076 Compatibles/Macintosh and Page Make-up Terminal IKARUS-Digital Type Production Software for Typesetting on Miles Inc. Pressure Graphics, Inc. SIGNUS-Type Setting with Foils Personal Computers LeBaugh Software Corporation Agfa Division SoftCraft, Inc. 1725 Armitage Court U.S. Lynx Heidelberg-PMT Co., Ltd. 10824 Old Mill Road 90 Industrial Way Addison, IL 60101 227 N. El Camino Real #201 Suite 6 Wilmington, MA 01887 (708) 620-6900 Encinitas, CA 92024 853 Broadway 3-21-4 Minami Oi Omaha, NE 68154 (508) 658-0200 Dry Transfer Letters (619) 944-0151 New York, NY 10003 Shinagawa-ku, Tokyo (402) 334-4820 AgfaType - CD ROM; ProSet' SoftCraft Font Library (212) 673-3210 Japan Manufacturer of LePrint Series: 9400, 9550, and 9800 Primafont GmbH Lynx Laser Plain-Paper (03) 763-4141 Software Laser Imaging Devices; SoftWood, Inc. Proofing System SelectSet — 5000 Laser Imaging Charlottenstra8e 77 0-1080 Berlin 7776 Pointe Parkway West Hampstead Computer Graphics Esselte Letraset Device; StudioSet - 2000 Plus Varitronic Systems, Inc. Letraset Limited Germany Suite 270 378 Avenue Laser Imaging Device; 9000 PS MAX Plus/J Kanjii PostScript RIP; 011 49 30 20342 415 Phoenix, AZ 85044 300 Shelard Tower Hampstead, NH 03841 St. George's House 5000 and 9000 PS Star (602) 431-9151 600 South County Road 18 195-203 Waterloo Road PostScript RIPs; Agfa Color PROSOFT Minneapolis, MN 55426 Helix Umited London SE1 8)U Scape — Color Electronic Tesler Software Corporation Special Graphic Lettering (612) 542-1500 England Prepress Systems; Focus'" Systems Holland B.V. Merlin Electronic Lettering P.O. Box 15 - 071 928 7551/3411 7248 Bellaire Avenue Lye Stourbridge Scanner family; PostScript Systems for the Office Dry Transfer Letters, TrueType No. Hollywood, CA 91605 P.O. Box 211 West Midlands DY9 7A1 Slidemakers and Type 1 Format Fonts (818) 764-4555 2160 AE Lisse Varityper Inc. England "Fontasy" Software The Netherlands (0384) 424441 NEC Corporation A Tegra Company Letraset USA Inc. 01718-26114/22871 7-1, Shiba 5-Chome Purdy and Associates, Inc. Dry Transfer Lettering 11 Mt. Pleasant Avenue Dr.-Ing Rudolf Hell GmbH 40 Eisenhower Drive Minato-Ku, Tokyo 108-01 East Hanover, NJ 07936 Paramus, NJ 07652 100 Perimeter Road D-2300 Kiel 14 Japan Straightforward (201) 887-8000 (201) 845-6100 Nashua, NH 03063 0423 641111 Electronic Prepress Systems Grenzstrasse 1-5 Dry Transfer Letters, TrueType (603) 883-9796 15000 Halldale Avenue Germany Device Independent Computer and Type 1 Format Fonts Gardena, CA 90249 VCG Holdings (0431) 2001-1 NEC Information Systems, Inc. Board for Printers (213) 324-8827 Digiset Phototypesetting Z-Font Software Berkshire House Equipment and Systems, Lexmark International, Inc. 1414 Massachusetts Avenue Boxborough, MA 01719 Purup Electronics 56 Herschel Street Digiset-Fonts 740 New Circle Road (508) 264-8000 Strata Inc. Slouth SL1 1PY Lexington, KY 40511 5 Sonderskowej Personal and Small Business England Hewlett Packard (606) 232-2000 DK-8520 Lystrup 2 West St. George Boulevard (404) 956-0325 Computer Systems, Printers Denmark Ancestor Square, Suite 210 Vancouver Division, Washington and Peripherals Software Developers for A. J. Lincoln & Co., Inc. 4586 222522 St. George, UT 84770 18110 S.E. 34th Street Presentation Graphics for Purup PrePress Products: High (801) 628-5218 Macintosh and IBM Systems Camas, WA 98607 29 Domino Drive Neo-Visuals, Inc. Resolution Laser Image Setters, (206) 944-8110 Concord, MA 01742 1200 Eglington Avenue E Interactive Graphic Systems for Sumitomo Bakelite Co., Ltd. (508) 369-1441 VideoSoft, Inc. Suite 404 Forms and Label/Packaging, High Technology Solutions LincPage? High-Speed Interpreter 2-2, 1-chome, Uchisaiwai-cho Don Mills, Ontario Purup Typeface Libraries, High 2103 South Broadway of PostScript for Printing, Chiyoda-ku, Tokyo 100, Japan P.O. Box 3426 Canada M3C 1H9 Resolution PostScript: Purup P.O. Box 165920 Imagesetting, Fax Conversion, Image Maker (03) 595-9391 Poughkeepsie, NY 12603 (416) 443-9811 Little Rock, AR 72206 and Other Applications Printwheels, Daisy Wheels and (501) 376-2083 (914) 473-5700 High End 3D Computer Graphics Thimbles MPS Front End System and and Animation QMS, Inc. Supplier and Manufacturer of Linographics Fastsetter Typesetter Digital Fonts for Electronic One Magnum Pass Sun Microsystems/Folio Systems 770 N. Main Street Nippon Information Mobile, AL 36618 Image Club Graphics Inc. Orange, CA 92668 & Science Ltd. (205) 633-4300 100 View Street (714) 639-0511 Suite 106 Visi-Graphics #5 1902 11th Street Southeast Sumire Building 4F Display Typesetters, 2" Film Fonts QMS/Imagen Corporation Mountain View, CA 94042 8119 Central Avenue Calgary, Alberta T2G 2G2 5-4-4 Koishikawa (415) 960-1300 Canada Bunkyo-ku, Tokyo 112 Washington, DC 20027 Linotype-Hell Company 2650 San Tomas Expressway Technology for Digital Typography (403) 262-8008 Japan (301) 366-1144 Santa Clara, CA 95052-8101 Dry Transfer Letters Manufacturer of PostScript Linotype-Hell Company 033 814 3201 (408) 986-9400 Synapsis Corporation Typefaces 425 Oser Avenue Digital Fonts, Latin and Non- Electronic Printing Systems Hauppauge, NY 11788 Latin Alphabets, Including Kanji 5460 White Oak Avenue Visual Graphics Corporation Information International, Inc. (516) 434-2074 Characters Qualitype Suite A336 5701 N.W. 94th Avenue Encino, CA 91316-2407 Tamarac, FL 33321 5933 Slauson Avenue Linotype-Hell Limited Officine Simoncini s.p.a. 630 Ninth Avenue (818) 906-1596 Culver City, CA 90230 (305) 722-3000 Chelham House New York, NY 10036 Electronic Forms Vendor Manufacturer of Photo Typositor (213) 390-8611 Casella Postale 776 Bath Road (212) 765-7000 Focusing in All CPU Hardware and Original Typositor Film Fonts Phototypesetting Systems Cheltenham-Glos. GL53 7LR 40100 Bologna Environments/50 Page Per Italy England Quantel Limited Minute/Below Non-Impact • Wang Laboratories, Inc. International Business (0242) 222 333 (051) 744246 Printers Machines Corporation Hot Metal Composing Matrices 31 Turnpike Road One Industrial Avenue and Phototypesetting Systems Newbury Technographics/Film Fonts Lowell, MA 01851 Old Orchard Road Linotype-Hell AG Berkshire RG13 2NE Mergenthaler Allee 55-75 (508) 459-5000 Armonk, NY 10504 Pacific Data Products, Inc. England P.O. Box 552 Document Processing and Office (303) 924-4807 D-6236 Eschborn bei Frankfurt (0635) 48222 Culver City, CA 90230 Germany Automation Specialist Electronic Printing Systems 9125 Rehco Road Designers and Manufacturers of (213) 870-4828 (06196) 982 260 San Diego, CA 92121 Digital Television Broadcasting Toll Free: 800-421-4106 Typefaces and Fonts of Digital Xenotron, S.A. International Digital Fonts (619) 552-0880 Equipment; the Paint Box Film Fonts, Studio Film Kits, and Typesetters (CRT and Laser), and Alphabet Designers 3, Rue Sandoz 1431 6th Street Northwest other Visual Communication Panache Graphics Umited Qume Corporation B.P. 118 Calgary, Alberta T2M 3E7 Equipment (e.g. PostScript Tegra, Inc. 93130 Noisy-le-Sec Canada LaserPrinters). Linotronic Laser 50-54 Clerkenwell Road 500 Yosemite Drive London EC1M 5PS France (403) 284-2288 Imagesetters, CRTronic Milpitas, CA 95035 Middlesex Technology Center (1) 48 91 78 33 Digital Fonts for Laser Printers Imagesetting Equipment and England 1-800-223-2479 900 Middlesex Turnpike 071 251 3746 Manufacturer of Laser Available in PostScript Type 1 Systems Manufacture and Distribute Billerica, MA 01821 Imagesetters and TrueType Formats Electronic Office Printing (508) 663-7435 ParaGraph Management Graphics, Inc. Systems Electronic Printing and Imaging Xerox Corporation Systems Itek Graphix Corp. 1401 79th Street East 1035 Pearl Street Composition Systems Division Suite 304 Ryley Communications Umited Xerox Font Center Minneapolis, MN 55425 Tektronix, Inc. 880 Apollo Street 34 Cellu Drive (612) 854-1220 Boulder, CO 80302 39 Haviland Road (303) 443-8777 MS P2-83 Nashua, NH 03063 Manufacturer of Ferndown Industrial Estate Wilsonville Industrial Park El Segundo, CA 90245 (603) 889-1400 Slide-Making System Wimborne Dorset BH21 7SA 26600 S.W. Parkway (213) 333-6612 ParaGraph International Phototypesetting Systems and England Wilsonville, OR 97077 Fonts for Xerox Printing Systems Equipment, Film Strips, Standard Mecanorma 23 Petrovsky Boulevard (0202) 871313 (503) 682-3411 Television Character Generators and Segmented Discs, and Moscow 103061 Ink Jet Printers 4692/4695/ Xerox Corporation 14 Route de Houdan 4696, Laser Printer 4636, Digitized Fonts Russia Intran Operation 78610 Le Perray-en-Yvelines Ryobi Limited Thermal Wax Printer 4693 Paris, France 095 200 2566 Printing Equipment Division Models, Phaser Printer Card 8400 Normandale Lake Boulevard Izumiya Co., Inc. (1) 34 83 92 66 Developer of Cursive Handwriting Recognition Technology/Fonts 4530 and Quick Draw Printer Bloomington, MN 55431 Ebisu Subaru Building 4F Dry Transfer Letters 762 Mesaki-cho Driver (612) 831-0342 20-08, Ebisu 1-chome (Including Cyrillic Fonts) and Type Fuchu-shi Management Software Digital Fonts, Xerox High-End Shibuya-ku, Tokyo 150 Mephistopheles Hiroshima-ken 72 TypeMasters, Inc. Printing Systems Japan Systems Design Japan Phoenix Technologies Ltd. 03 257.1502 15 Union Hill Road 011-81-3-440-1531 Zenographics, Inc. 3629 Lankershim Boulevard Text Display Phototypesetters West Conshohocken, PA 19428 Hollywood, CA 90068-1217 846 University Avenue Kagema AG Norwood, MA 02062 (215) 834-7840 4 Executive Park Circle (818) 762-8150 Scangraphic Dr. Boger GmbH Full Graphic Services Irvine, CA 92714 Postfach 422 CH-8051 MSD Fonts (617) 551-4000 Multiple Printer Language (714) 851-6352 Zurich, Switzerland Rissener Strasse 112-114 Interpreter and Operation System Typesoft Umited Professional Graphics Software (1321) 0600 Mesac GmbH 2000 Wedel/Hamburg and Windows-Based Printing for Laser Printer Germany 17 Willow Close Saarstrasse 29 Solutions Kroy (04103) 6021-25 Hamworthy, Poole 6360 Friedberg/H. Photo Vision of California, Inc. Manufacturer of the Scantext Dorset, England Scottsdale Airpark Germany Zipatone, Inc. P.O. Box 552 Phototypesetting System, (0202) 631590 14555 N. Hayden Road 06031/3677 Frontend, Typesetter, Graphic 150 Fend Lane Scottsdale, AZ 85260 UNI.LET (CAD-CAM System) Culver City, CA 90230 (213) 870-4828 Page, Logoscanner, Interfaces TypoGabor Hillside, IL 60162 (602) 948-2222 and Digital Fonts (708) 449-5500 Micrografx, Inc. Toll Free: 800-421-4106 5 Rue Du Mai 1945 Spectra Setter 100, Visual Dry Transfer Letters LaserGo, Inc. Seaside Software Incorporated 92586 Clichy-Cedex 1303 Arapaho Display Setter, and 2" Film Fonts France 9369 Carroll Park Richardson, D( 75081-2444 Clio Chigasaki 2-bankan #301 33 1 47 39 66 00 Suite A (214) 234-1769 Polycutters Limited 1-21-3 Higashikaigan-minami San Diego, CA 92121 25 Bridge Street Chigasaki, Kanagawa Typogram, Inc. (619) 450-4600 Rothwell, Kettering Japan 253 PostScript Interpreter Software 81-467-83-4372 900 Broadway GoScript, GoScript Plus, and Northants NN14 2JW New York, NY 10003 England GoScript Select (212) 505-1640 (0536) 712627

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

std TypoGraphic Awards 94 The Society of Typographic Designers is calling for entries for its second assessment of current standards of typographic design. Entries are welcome from all countries, where designers have used type as a major integrated aspect of their design solutions.

The awards Call for entries Premier awards will be given to outstanding submissions and certificates of excellence awarded to all finalists. There will also be an award given to the 'best submitted' item or co-ordinated items from any category as The TypoGraphic Award of 1994. which must be judged as a significant typographical achievement. The Awards are held every two years.

The judges

The judges are drawn from eminent designers from around the world, including Gert Dumbar and Will de l'Ecluse from Holland, Austin Grandjean from Denmark, Maggie Lewis, Simon Esterson, and David Hillman from Britain.

There are seventeen separate categories that may be entered covering the following subjects

The results How to submit 1 Full corporate identity programmes. Company/Practice 2 Logotypes and brand marks. Please submit actual finished printed A complete list of the winners will be 3 Press and magazine editorial design, Person submitting entries announced in the STD Newsletter and items, unmounted but well protected. newsletters and directories. also will be featured in colour in the Photoprints, slides or transparencies 4 Press advertising. Address Society's journal 'TypoGraphic'. are only acceptable for signage, 5 Packaging and containerisation. packaging, transport and posters, 6 Books. or any other entry that cannot be 7 Annual reports, corporate submitted as a printed item. The work capability or profile brochures. must have been used and reproduced 8 Stationery and house styles. Country or printed within the last two years or 9 Sales promotional literature and still in current use.Judges may not point-of-sale. Telephone submit work. 10 Calendars, wall charts, catalogues, educational, training and charity What to send with your entry Entry fees Complete title of entry promotional literature. A completed master registration form. Members £20.00 per entry 11 Posters. Category and subject A completed entry form securely taped Non-members £30.00 per entry 12 Greetings cards, announcements, to the back of each entry submitted. Additional publishing fee for non- programmes, record, disc and Art Director members £20.00 per entry, if selected. cassette sleeves. Your payment by cheque in £ sterling 13 Interior and exterior specialised Designer or sterling equivalent as a Eurocheque The entry fee for a co-ordinated range signage. or money order made payable to the will be considered as a single entry. 14 Exhibition and display. Typesetter and system used STD Typographic Awards. But they must be related, such as a 15 Typeface design. Printer/Producer Or quote your Access/Mastercard stationery range, or a co-ordinated 16 Calligraphy and hand lettering. or Visa number. signage scheme. 17 Postage stamps and security Publisher or client printing.

Design All entries to be sent to Company/Practice Entry form David Quay London In addition to the master registration 071 734 6925 STD TypoGraphic Awards Person submitting entries form, please fill out the entry form or 21-27 Seagrave Road Typesetting and origination facsimile, and securely tape it to the London sw6 iRP Address HouseStyle Graphics, London. back of each entry. Captions will be England 071 251 3746 compiled from your information.

Typeset in Foundry Sans available in Entries must be received by Ensure you have copyright approval. PostScript Type 1 format from January 17th 1994 The Foundry, London. 071 734 6925 Country

Telephone

The awards are being sponsored by the Number of entries Master registration form following STD sustaining members. Please fill out the Master Registration International Typeface Corporation Cheque/Eurocheque/Money Order £ Batley Brothers Limited, Printers Form or facsimile (enlarge entry form The House of Questa Limited, Printers Access/Mastercard/Visa number if necessary) and submit it with your Linotype Hell Limited entries. Please place the master form Signus Limited Expiry Date: and your entry cheque in a self- PIRA International addressed unsealed envelope with American Greetings Corporation your package of entries. Papierfabrik Scheufelen GmbH & Co KG Scangraphic Limited Ventura Litho Limitedd Clair Scan Reproductions Limited

Circle 283 on Reader Service Card

dows. $595. Micrografx, Inc., 1303 Ara- TECH paho Road, Richardson, TX 75081. (800) MATTI I CW CARTE R'S talk continued from page 40 272-3729.

optimized palettes to produce slides and Logos On -Line overhead transparencies for output on Logos On-Line- is a service that creates color printers and monitors. The pro- high-quality logos, signatures and cus- SOPHIA gram also teaches the principles of color, tom fonts which can be directly output using simple, interactive exercises. onto documents, slides, overheads and ColorUP works with all of the leading other computer generated output. presentation and illustration programs Graphics created by Logos On-Line can for both the Macintosh and Windows be used with desktop computers, mini- AABCDEEFF PCs. $99.95. Pantone, Inc., 590 computers and mainframes. Logos Commerce Boulevard, Carlstadt, NJ On-Line provides output in a variety of 07072-3098. (201) 935-5500. format types including PostScript Type 1 qHjIJKKLMM or EPS files, TrueType®DXF for CAD/CAM Innovative Special Effects use, WPG, CGM, WMF and GEM formats. Fractal Design Painter/XV is an Test disk available. Software Comple- NOpqRiksTT add-on to Fractal Design Painter 2.0 that ment, 8 Pennsylvania Avenue, Mata- speeds and eases the tasks of graphic moras, PA 18336. (717) 491-2443. designers who visually manipulate multi- uvwx)(yz 03( ple graphic elements. Painter/X2 tech- QuarkLibraries for Windows nology allows designers to move and Quark, Inc. has announced the release explore any visual arrangement of of 18 QuarkLibraries for use with ACE graphic elements on-screen and modify QuarkXPress for Windows. Like their any or all of the attributes. An artist cuts counterparts for the Macintosh version out any part of an image and retains it of QuarkXPress, each PC-compatible FONTS FOR TI IC MAC AND PC FROITI as a separate item. Any number of QuarkLibrary is a collection of encapsu- these floating items may be present in lated PostScript clip art. QuarkLibraries CARTER 13.‹. CONE TYPE INC. an image and can be modified with are organized in the following subjects: Painter/X2's tools such as painting, scal- Arts and Entertainment, Business, Calen- ing and distortion. For Macintosh and dar, Communications, Energy and Envi- 800•952•2129 Windows. $149. Fractal Design, 3355 ronment, Flags, Food and Nutrition, 01k 617 576 0398 FAX 617 354-1-146 Spreckels Drive, Suite F, Aptos, CA 95003. Health, Holidays and Religion, Home and (415) 688-5300. Garden, Leisure, Maps, Medieval Illus- AND FROM TI IC FONTHACIS 13( PRECISION TYPE

trated Caps, Modern Illustrated Caps, Pat- SOPHIA IS A TRADEMARK OF CARTER (3( CONE TYPE INC. Optimize PostScript Networks terns, Publishing, Sports and Travel. The new OP-S OPI/DCS Print Server For Windows. $49.95-199.95. Quark Inc., Circle 280 on Reader Service Card increases the productivity and maxi- 1800 Grant Street, Denver, CO 80203. mizes the efficiency of Macintosh net- (303) 894-8888. works producing PostScript pages. The OP-S Print Server automatically manages Fonts N THE MID-1970'S SOMETIME, files for one or more PostScript output JIM PARKINSON was drawing type devices, queuing jobs for optimum effi- New Font Editor for art director ROGER BLACK and a ciency. The software holds high-resolu- Fontographer ® 4.0 is the latest font edi- well knOW11. ROCK 'N ROLL MAGA- tion image data in queue until output, tcir from Altsys Corporation that incorpo- I freeing layout workstations for other rates over 200 new features targeted to ZINE. A wonderful typeface emerged. tasks. It also replaces low-resolution a broad user base—from the beginner Today, after revival by the position OPI/DCS images with high-reso- to the professional type designer. Many original designer, FONT lution images at time of output, increas- of the time-consuming aspects of type BUREAU is proud to ing processing speed and reducing design, such as kerning and spacing, network traffic. For Macintosh. $4400. have been automated. Fontographer 4.0 announce the release of the Screen (USA), 5110 Tollview Drive, Rolling creates font formats in PostScript Type 1, PARKINSON • type family. Meadows, IL 60008. (708) 870-7400. Type 3 or TrueType- applications. Addi- Parkinson Roman tional features include "auto space,"

High-End Image Editing which enables users to have each charac- ABCDEFGHIJ Picture Publisher® 4.0 redefines image ter's width and metrics values calculated Roman editing for Windows by delivering automatically, autotrace that generates KLMNOPQR improved speed, ease of use and innova- precise and accurate outlines from any STUVWXYZ tive features not found in any other scanned image and a simple click and image editing programs. For example, drag interface that allows users to easily Italic &abcdefghijk Object Layers" gives users complete modify character spacing, kerning and control over the placement, trans- other metrics information. For Macin- lmnopqrstuv parency, size, rotation and order of tosh. $495. Altsys Corporation, 269 West BOLD wxyz 1234567 bitmap objects. Designers can group, Renner Parkway, Richardson, TX 75080. duplicate, apply special effects and anti- (214) 680-2060. 890? alias objects to ensure smooth edges. Italic /EEE! Changes can be easily made because Buying Fonts on CD -ROM objects are completely editable and Have you ever thought about purchasing BLACK ce,mg movable. FastBits" enables designers to a library of fonts on CD-ROM but didn't quickly edit and retouch a small area of know what questions to ask? Answers & CONDENSED ffffiffl an image instead of loading the entire may be found in The Consumer Bul- image into memory. Additional features letin, available free from URW. The bul- To order this and all of the other Font Bureau retail typefaces call: of Picture Publisher 4.0 include the abil- letin discusses myriad economic issues FontHaus 1-80o-942-9110 ity to edit and save CMYK files, the addi- that should be considered by any profes- FontShop 1-800-36 FONTS tion of 8-bit masks (alpha channel) and sional faced with the difficulties of mak- Precision Type 1-80o-248-3668 For additional information about Font Bureau fonts fill out the reader card in this magazine. the support of Adobe Photoshop" and ing purchasing decisions for CD-ROM Font Bureau and Parkinson arc trademarks of The Font Bureau. Inc Aldus Gallery Effect" plug-ins. For Win- continued on page 50

Circle 280 on Reader Service Card • 45

ITC Ty THE TYPEFACES SHOWNO PAGES REPRESENT OMPLETE COLLECTIONO PA AS OF AUGUS 1993.

ITC American ITC Benguiat Gothic® ITC Cerigo- ITC Esprit® ITC Gamma® A Typewriter® Book Dook with Swash Book Book Light Book Italic 23ook Italic with Swash Book Italic Book Italic Light Italic Medium Medium Medium Medium Medium Medium Italic Medium Italic Medium Italic Medium Italic Medium Italic Bold Bold Bold Bold Bold Bold Italic Bold Italic Bold Italic Bold Italic Bad. Italic Heavy Black Black Light Condensed Heavy Italic ITC Cheltenham® Black Italic Black Italic Medium Condensed Light Bold Condensed ITC Berkeley Oldstyle® Light Italic ITC Fenice° ITC ® Book Book Light Light atir Book Italic Book Italic Light Italic Light Italic Medium Bold Regular - Book ITC Avant Garde Medium Italic Bold Italic Regular Italic Book Italic Gothic® Bold Ultra Bold Bold Bold Italic Ultra Italic Bold Italic Bold Italic Extra Light Black Light Condensed Ultra Ultra Extra Light Oblique Black Italic Light Condensed Italic Ultra Italic Ultra Italic Book Book Condensed Light Narrow Book Oblique ITC Bookman® Book Condensed Italic ITC Flora ® Light Narrow Italic Medium Bold Condensed Book Narrow Medium Oblique Light Bold Condensed Italic Medium Bold Book Narrow Italic Demi Light Italic Ultra Condensed Bold Narrow Demi Oblique Medium Ultra Condensed Italic Bold Narrow Italic Bold Medium Italic ITC Franklin Gothic° Light Condensed Bold Oblique Demibold Book Light Condensed Italic Book Condensed Demibold Italic ITC ® Regular Book Italic Book Condensed Medium Condensed Bold Medium Book Condensed Italic Demi Condensed Bold Italic Regular Italic Bold Medium Italic Bold Condensed Bold Condensed Demi Bold Condensed Italic ITC No. 224® Bold Italic Heavy Demi Italic Ultra Condensed ITC Barcelona® Book Heavy Italic Heavy Ultra Condensed Italic Book Book Italic Black Heavy Italic BookItalic Medium Black Italic Book Condensed ITC Giovanni Medium Medium Italic Book Condensed Italic Book Medium Condensed Medium Italic Bold ITC Cushing® Book Italic Bold Bold Italic Medium Condensed Italic Bold Book Demi Condensed Bold Italic . Black Bold Italic Heavy Black Italic Book Italic Demi Condensed Italic Medium Black Heavy Italic Book Compressed Black Italic ITC Century® Medium Italic Book Compressed Italic ITC Bauhaus® Bold Demi Compressed Light Bold Italic Demi Compressed Italic ITC Golden Type Light Light Italic Heavy Book X-Compressed Original Medium Book Heavy Italic Demi X-Compressed Bold Demibold Book Italic Black Bold Bold Heavy Bold Italic ITC Elan® Friz Quadrata Ultra Book Friz Quadrata ITC ® OCUMICUT" Ultra Italic Book Italic Friz Quadrata Bold Book Light Condensed Medium Book Italic Medium Italic Medium ITC Benguiat® Light Condensed Italic ITC Galliard® Book Condensed Bold G Medium Italic Book Bold Italic Roman Bold Book Condensed Italic Italic Book Italic Bold Condensed Black Bold Italic Medium Black Italic Bold Black Bold Condensed Italic Bold Italic Medium Italic Ultra Condensed Black Italic Bold Black Ultra Condensed Italic ITC Eras° Black Italic Bold Italic ITC H ighlander- Book Condensed Light Ultra H Book Condensed Italic Book Ultra Italic Book Medium Condensed Medium Book Italic Medium Condensed Italic Demi Medium Bold Condensed Bold Medium Italic Bold Condensed Italic Ultra Bold Bold Italic 46 ITC Tvadora ° ITC Lubalin Graph® ITC Novarese® ITC Souvenir® ITC Tiffany 'kegular Extra Light Book Light Light Bold Extra Light Oblique Book Italic Light Italic Light Italic Book Medium Medium Medium ITC Isbell® Book Oblique Medium Italic Medium Italic Medium Italic Book Medium Bold Demi Demi Book Italic Medium Oblique Bold Italic Demi Italic Demi Italic Medium Demi Ultra Bold Heavy Medium Italic Demi Oblique Bold Italic Heavy Italic Bold Bold ITC Officina Sans'" Bold Oblique Bold Italic Book ITC Stone Informa1® Book Condensed ITC Usherwood® Heavy Book Italic Medium Book Heavy Italic Book Condensed Oblique Medium Italic Medium Condensed Bold Book Italic Bold Italic Semi Bold Medium Medium Condensed Oblique Semi Bold Italic Italia Demi Condensed Medium Italic Book ITC Officina Serif" Bold Bold Demi Condensed Oblique Bold Italic Medium Bold Condensed Book Bold Italic Bold Bold Condensed Oblique Book Italic Black Bold ITC Stone Black Italic ITC Jamille® ITC Mendoza" Bold Italic Phonetic'"" Sans Book Roman [at ti: si: staun ITC Veljovic® Book Italic Book ITC 4[1,2rwailat" fauinEtik- swnz] Book Bold Book Italic Book Italic Bold Italic Medium ITC Pacella® ITC Stone Medium Medium Italic Black Medium Italic Book Phonetic'"" Serif Black Italic Bold Bold Book Italic ti: si: staun Bold Italic Bold Italic Medium fau'netik"serif] ITC Kabel® Black Medium Italic Black Italic Book ITC Mixage° Bold ITC Stone Sans®* Medium Bold Italic Book Medium Demi Book Italic Black WITC Weidemann® Bold Black Italic Medium Italic Book Medium Semi Bold Ultra Medium Italic Book Italic Semi Bold Italic Medium Bold ITC t'anache® Bold ITC Korinna® Bold Italic Book Medium Italic Bold Italic Bold Regular Black Book Italic Kursiu Regular Black Italic Bold Bold Italic ITC Stone Serif' Black Bold Bold Italic Kursiu Bold ITC Modern Black Medium Black Italic Extra Bold No. 216® Black Italic Medium Italic Kursiv Extra Bold Semi Bold ITC Zapf Book® Light Semi Bolckitalic Heavy Light Italic ITC Quay Sans' z Light Kursiv Heavy Bold Light Italic Medium Q Book Bold Italic Medium, Italic Book Italic Medium ITC Leawood° Bold Medium Medium Italic Book Bold Italic Medium Italic ITO Eidio EartTM Demi Demi Italic Book Italic Heavy Black Medium Heavy Italic Black Italic Heavy ITC Symbol® Heavy Italic Medium Italic Book Bold ITC Moo. Lisa - Recut ITC Quorum® Book Italic Bold Italic Light Medium ITC Zapf C kancery Black ITC Mo. Lisa- Solid Book Medium Italic Light Black Italic Medium Bold Light Italic Medium ITC New Bold Bold Italic ITC Legacy- Sans Black Black Medium Italic Book Baskerville' Black Italic Demi Book Italic Roman ITC Serif Gothic® Bad Italic Medium S Light ITC Syndor" Medium Italic Semi Bold ITC Zapf International ® Semi Bold Italic Regular Book Bold Bold Book Italic Light Bold Italic Bold Light Italic Bold Italic Extra Bold Medium Ultra Heavy Medium' Italic Medium Black Medium Italic Black Italic Black Bold ITC Legacy- Serif Bold Italic Demi Book ITC Slimbach® Demi Italic Book Italic ITC Newtext® Heavy Book ITC Tiepolo® Medium Light Heavy Italic Medium Italic Light Italic Book Italic Book Medium Bold Book Book Italic Medium Bold Italic Book Italic Italic Bold Bold Ultra Regular Bold Italic Regular Italic Bold Italic Black Demi Black Black Italic Demi Italic Black Italic

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 47 INTERNATIONAL TYPEFACE CORPORATION IN CERTAIN COUNTRIES. IN ADDITION, ITC TYPEFACES ARE PROTECTED BY DESIGN LEGISLATION AND COPYRIGHTS IN CERTAIN COUNTRIES. (SEE ITC SPECIMEN BOOKLETS.) *PROTECTED BY UNITED STATES PATENT DES. 317,621, 324,535, 323,849, 322,985, 325,042, 325,219.

ITC Arabic

ITC Boutros Setting'" ITC Boutros Modern Kufic - ■ LIGHT LIGHT LIGHT J=1-141 i-g4

LIGHT ITALIC LIGHT ITALIC LIGHT ITALIC

MEDIUM MEDIUM MEDIUM ;),A9A Jui-64

MEDIUM ITALIC MEDIUM ITALIC VA14) 6-AuSio ,y4u. MEDIUM ITALIC

BOLD BOLD .%.10.3. 095 jam! BOLD

BOLD ITALIC BOLD ITALIC Alto Sys 41464 BOLD ITALIC

ITC Boutros Calligraphy"' ITC Boutros Kufic - ITC Boutros Rokaa

LIGHT 0 1 I LIGHT 4.43.1 MEDIUM

LIGHT ITALIC LIGHT ITALIC

MEDIUM 3t1-4.6/9:64 I's A L.P.0,6-) MEDIUM -klw9]-0 7A9-6 OMi-144

c„\:k0 04)42'4 MEDIUM ITALIC 31\ A -111."1:0 )U)VM MEDIUM ITALIC

0,>,12■1.4d=0 00.).9121, BOLD '111 1 c:r liMJ*4 BOLD

1/4P-eas-41.4 1/4A.414 BOLD ITALIC SALO j14\ BOLD ITALIC

ITC Display Typefaces

ITC AKI LINES® ITC/ESC CoRdeased® NUO tgz ITC/1ST Condensed IluIU® ITC Bauhaus Heavy® ITC Didi® u C660TGDGME3 Gfl@acqw©maaa@® DL gGiff)4 CDMRITIECg® ITC Bernase Roman® ITC B as Co nt ar® ITC Bolt Bold® ITC FM Face ITC/LSC Book Regular Roman® ITC Firenze® ITC/LSC Book Regular Italic® UU© FTSnien Ca 011flUM® ITC/LSC Book Bold Roman® Out Fitaildh 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® TX© DoolaReam OmalfiKa; fin], g,\welgtE ITC Grouch® ITC Bookman Contour wi ITC Honda® ITC 3UTDP(I14 LIGHT® 0111 Enbd DiflOgoo ITC Elusamti NEDIUN® ITC Babel Contour® ITC BUSORAMA BOLD® MOMIEEE Dad aglfiEW ITC Caslon Headline® ITC MACHINE® ITC/LSC Gaston Light No. 223® ITC MACHINEE ITC/LSC Gaston Light No.223 Italic® ITC/1St Manhattan® ITC/ LSC Caslon Regular No. 223® ITC MilanoRoman® ITC/LSC Caslon Regular No.223 Italic® ITC NEON® ITC/ LSC Caslon Bold No.223® LAJLELELL® ITC /LSC Caslon Bold No.223 Italic® ITC Ronda Light® ITC/LSC Caslon X-Bold `o.223® ITC Rondo® ITC /LSC Caslon X-Bold No.223 Italic® ITC Ronda Bold® ITC (Mate n htm 011® ReN e©Ntc 13©11c1 °saw ITC Cheltenham Ontlftne Slhadow® I C/L&C Stymie Hairline® ITC Cheltenham Contour ® ITC Tom's Roman® 11TC CSI earface O® ITC Upright Regular ITC Clearface Contour ® ITC Uptight neon ® iliTC Cllthi© Outirme 3lAadow®

48

II a S "44

index to PostScript isn't one of ITC TYPEFACES our foreign languages Although we translate and typeset into most of the world's tongues, PostScript isn't the least bit foreign to us. When you need to produce foreign language versions of ITC American Typewriter ® 21, 32 material you've created in English on the Mac, our ITC Anna" 6, 20, 32 PostScript Partnership' services save you time, money, and ITC Avant Garde Gothic® 7, 32 aggravation because they're uniquely coordinated ITC Bookman® Front Cover to your PostScript operations. ITC Century® 16, 32 Spectrum can provide quality translations as files designed to ITC Cheltenham® 22-25, 55 be imported directly into your page make-up program ITC Fenice' 32 (in some cases, we can even include hidden coding that allows your program to hyphenate the language correctly). ITC Franklin Gothic® 18-21, 32 ITC Gaillard' 6, 12-13 If you prefer, we'll do a complete "turnkey" conversion of your English page files, returning the job with all the text ITC Kaber 14, 32-35 changed to the foreign languages you require. ITC Highlander- 26-31 ITC Lubalin Graph® 6, 14-15, 17 Our new brochure explains it all. Fax, phone, or write for a free copy. ITC Mendoza Roman" 32 ITC Mona Lisa Recut" 6, 32 ITC New Baskerville® 32, 35-36, 37 SPECTRUM ITC Novarese® 7 MULTILANGUAGE COMMUNICATIONS ITC Newtext® 6 225 West 39th Street • New York 10018 Phone: (212) 391-3940 • Fax: (212) 921-5246 ITC Tiffany 8-11 PostScript is a trademark of Adobe Systems, Inc ITC Usherwood® 40, 44, 50 ET 2

Circle 212 on Reader Service Card (The havTof Cataneo reveals cailigrayhic elegance classical ffyle. Bitstream® Cataneo Light

(introdUcing Biaream Cataneo, the newest original typeface abcciefghABCDEF01234a! ?wig design from Bitstream. Inspired by the work of 16th-century oit Bitstream Cataneo Italian writing master Bernardino Cataneo, this elegant chancery a6cciefghABCDEF012340-1?$£ii cursive isyrovided in three weights: Light, Regular a Bold. Bitstream Cataneo Bold a 6ciefg hABCDEF012.340-1 ?$£ we Bitstream Cataneo Swash Cataneo oL,9e--fik,vp(ABCDEToi2341 -y_4 • there are Bitstream Cataneo Swash also Swash and Extended character sets available. The Swash sets kpilQABCDET01234by include ornate capitals, decorative lower case charailers and Bitstream Cataneo Bold Swash ordstyleffgures. (The Extended character sets include uncommon a_,ac2-- k,vpetBCDEToi2,34ii ligatures, fractions and other unique #veciar characters. st Bitstream Cateneo Light Extension 1 In addition to Cataneo, Bitstream offers an extensive library of the highest quality digital typefaces gc Gt_ffiffr eTh clijfi& /4 1/2 123d available. The Library includes a wide variety of Bitstream Originals and Bitstream Exclusives, ITC Bitstream Cataneo Extension faces, and high-quality renditions of the world's classic designs. And Bitstream's typefaces Trtififfr fi&1/4 y2 123 consistently win praise from type designers and type users alike for having the most authentic cuts and excellent spacing. The entire Bitstream Typeface Library of almost 1,100 typefaces is available in Bitstream Cataneo Bold-Extension today's popular technical formats including PostScript ° Type 1 for the Macintosh® and IBM PC ® fir#, Hem etfifi&1/4 y2 12 ® Windows" 3.1. platforms, as well as TrueType" format for Microsoft HTetffi

► .- SPECIAL OFFER! The entire To order Bitstream Cataneo, orfor information on a syeciafoffer Cataneofamily is now avairablefor on library typefaces, callBitstream at: 1-800-522-FONT

a limited timefor only $179°° orfax your request to: 1-617-868-4732 The Cataneo spectar offer exywes 10/31/93

©1993 Bitstream is a registered trademark and Cataneo is a trademark of Bitstream Inc. Macintosh is a registered trademark & TrueType is a trademark of Apple Computer Inc. PostScript is a registered trademark of Adobe systems Inc. All other trademarks and registered trademarks are the property of their respective companies.

Circle 235 on Reader Service Card 49

sion with Aldus software products. The Prepress and Imagesetting ing. $215,000. Screen (USA), 5110 Tollview TECH first implementation, called Expert Drive, Rolling Meadows, IL 60008. (708) talk continued from page 45 Kerning, has been integrated into Page- Large Format Drum Imagesetters 870-7400.

Maker® version 5.0 as an Aldus Addition. The MT- R1120 Multipurpose Type based font products. It also discusses the URW Kerning-on-the-fly allows for the Recorder from Screen (USA) is a versa- Optronics has unveiled a large-format business of making type from a manufac- automatic generation of up to 1000 tile large-format external drum image- PostScript laser imagesetter. The Col- turer's point of view and contains real unique kerning pairs for any PostScript® setter designed exclusively for the orSetter XL® 4000 produces selectable answers to the questions imposed on end Type 1 font. In addition users can modify PostScript environment. The imagesetter 2000/4000 dpi resolution and halftone users regarding the perceived value of individual character pairs through a set of can expose up to eight pages simultane- screening up to 300 lines per inch. type for the computer. Free. URW Soft- simple numerical controls. Kerning-on- ously at resolutions of 2000 or 4000 dots- $219,500. Optronics, 7 Stuart Road, ware & Type GmbH, 4 Manchester Street, the-fly creates positive as well as negative per-inch with a total output size of 32" x Chelmsford, MA 01824. (508) 256-4511. Nashua, NH 03060. (800) 229-8791. kerning values in less than 10 seconds 34" Ideal for heavy production needs, per font. For Macintosh and Windows. the MT-R1120 offers an array of features Color Management for Photoshop Kerning for PageMaker URW Software & Type GmbH, 4 Manches- including fast recording of fully imposed EfiColor — for Adobe Photoshop Core Aldus Corporation has licensed URW's ter Street, Nashua, NH 03060. Call eight-page flats, fully automatic film han- Pack is a collection of color separation Kerning-on-the-fly technology for inclu- (800) 229-8791 dling and optional on-line film process- tables that delivers accurate color match- ing and photographic color separations for Photoshop users. Now graphic arts professionals have high-quality color sep- arations as well as print-to-offset color ■ 4.1 / 0"1 0 matching available in Photoshop. The Efi- Color Color Management System offers consistent color matching across a wide variety of display and output devices, including offset presses. Efi- Color for Adobe Photoshop is intended it for designers who are frustrated by the [H unpredictability of color process work with their service bureau as well as for And the Winner is, wellmuks. service bureaus which require instant quality separations. $199. Electronics for Size and Speed makes CDs Imaging, Inc., 2855 Campus Drive, San the favorite. Mateo, CA 94403. (415) 286-8600. CDs are it. They carry vast Productivity Thol of Merritt libraries of typefaces, any of Systems of Merritt has developed a pro- which can be in your files in gram that automates the preparation of minutes simply by phoning for design files for imaging. DesignChecle" an unlocking code. With CDs software electronically fills out the client you don't need to depend on data form for the designer, plus it "pre- the US mail and overall it's flights" the print file producing a hard- much cheaper. copy proof along with file analysis. The file is then packaged for the service But floppies are not about to bureau on the designated media along cry uncle. with the analysis data. DesignCheck can Smaller companies that are be used to prepare and check any fastest on their feet and often PostScript file created on any platform. first with the freshest, aren't For Macintosh. $199. Systems of Merritt, interested in making vast 2551 Old Dobbin Drive East, Mobile, AL libraries. They work with 36695. (205) 660-1240. floppies to get the new stuff out CD Rom and P.G. Wodehouse? Macintosh-based PostScript RIP more quickly. PHIL'S DEALS: Viper— is a new Adobe PostScript Level We won't even raise a sweat. 2 raster image processor (RIP) targeted So the answer is Need a type freak to speak at unequivocally both! to the needs of design firms, color trade 5 CD BUNDLE FOR $99 INCLUDES: the Rotary Club luncheon? We shops, commercial printers and service That settled, where H6f11, THE FONT COMPONY, could go on. bureaus. Viper is based on Adobe's Con- do you buy either/or? figurable PostScript Interpreter (CPSI) The point is, things aren't as Unanimous decision: software, which allows users to take IMHE CLUB, LINOTYPE, MONOTYPE, they seem. Phil's Fonts' selection is better advantage of the dramatic performance And that goes triple for desk- than most and growing every day; 14 FREE EKES OND 0 $250 CREDIT! gains offered by Adobe's PixelBurst top. At Phil's we'll wrestle any the prices are hanging with the These companies also available on diskette. coprocessor chip. The coprocessor chip type questions and KO any is installed on a Macintosh NuBus card lowest types out there; the service technical problems that is added on to the system. Viper's RIP is incontestably great. TYPE ON FLOPPY DISKETTE: Some Adobe, Bitstream, Dennis Ortiz- smaller you can throw at us. software runs on a standard, dedicated oundries have Macintosh computer and is connected That last item again. up to 4000 Buy from Phil's and Lopez, Font Bureau, Headliner's by an external interface box to an Agfa Since 18 B.D. (Before Desktop Pre-sett, Lanston, Lazy Dog, It eming pairs! we'll be here for you. Phil's has been one of America's Accusee" 1000, ProSee" 9400 or ProSee" Letraset's Fontek, Red Rooster, Now we need some 9550 imagesetter. $10,000 for software typographic heavyweights. We're Treacyfaces, U-Design. clever kicker to wrap this ad up: RIP only. Agfa Division, Miles Inc., 100 into type the way no mere font Tony Meola. Challenger Road, Ridgefield Park, NJ seller is. Fax us any esoteric face 07660. (201) 440-0111 ext. 4672. and we'll find it. Describe some- Toll Free: 800-424-2977 thing you saw in a dream and DC : 202-328-4141 Barry Zuber is a consultant and instructor we'll help you match it. Want to Fax: 202-328-4138 for the Electronic Publishing & Design know the difference between Center based in Schenectady, NY. He is also principal of Egeland Wood & Zuber Inc., a graphic design and advertising agency.

Circle 211 on Reader Service Card 50

This chart features the many distinctive font packages offered in this collection. The package name is followed Sics httcson by the normal retail price, and then the very special 114111111•I'a1 .1vilrollis Trude!" - 04100/51411 50% OFF PRICE good only until October 29,1993. Of Amnion Ding"- 05.00/511.11 Truesdell Roman &Italic Example: Al Font Sampler-$34.95 Electric American Diner 31748 if a Typograplver load'" - 149.00/51411 Of Aglow Row "Ado Expandal" - 05.01 /51111 6roup Hawaii - $19.95/11111 Mead Regular Sold 42&2e.kin3 Antique Row Liqfit, Eden Expanded Light Treacyfaces KIILA/VI Of Exposition"- 0510 /PIN sl.Noqe O‘rol.,hico If Mota" - 1492/S14A TF Adepta Titt.X.)osirETROfilirlfflAWAI Exposition Plain One, Antall" 10 fonts, Hat only) - 5145.00/11111 km Arabia - 11195/0111 PlainTwo 9Intorff Extrabold Of Ilau 6ankr - MOO/51111 If Akimbo" 6 If ban"- MB/ 54111 /)buti_siceL FIXgmbols" BO 10 fonts) -1165.00 /518.11 IltzwOarden Light, Bold 00©13D('11 Box IF Akimbo Medium M.1141 II Fogg' - WOO /Mil FIXgmbor go 6 Poch IS fonts) - 0145.00/P111 TF Javpiesrs POSTER SOLID, INLINE 123REIETG,XD If Ardor - S110.00 /Pill EL,4 Sctr-41 Of 'Mita( - 1E0 /511.51 reigmbots" Bmialaildforibllaonkp-06500/011111 TF Ardent Regular, Tf " A -P10.00/51011 LaVardera Book Italic, Extrabold, TF Maltby Antique FIX kr Banality 0119) - 0145.00 / 01.51 Regular, Medium, fop fats - 54100118"1 If nodular MI' -515.00/51111 FB Extrabold Italic -Modular Stencil Iffronword - 19100 /0511 Extrabold, Heavy CATASTIOPI-le rIXImberneill9Nfonts.nwonlol - 114510 /51111 Eli2o Mr 106 ,1-10 1`000/..s, IYIN1 If &ad( - 05.10 / 51111 If Balk B - P70.00/511.11 SECEDE Block flikmbols" Melon Pi 110 -1145.00/51011 IAIB1C 11,2 3. TF Maltby Antique Al font Sample -154.95/111.11 iii If foitwr A - 1110.00 /115.11 Book, Bold, Black, OckralGlyphits PAUL LANG rPeigmbols" Micky IS fonts) - 010100 /51111 Nta/gc4.1 Al ANTIQUE A IS LC klatc.LL TF Forever Regular, CONDENSED Waits" - $19.00/ RIM Lange" - S11910/51111 Italic, Extrabold, If !Minded(' A - 1110.00/05.11 11Xembols' Trawl Black II toad - S10500/51111 If Roindi«k light, Boob, Dflai,lkny 1'1 MBE= AWE Langer Roman & Extrabold Italic Italic & If Roincleck" - S110.00 / 115.11 A*l NEULAND it**gzap ARIflt Alternate, PlXr mbols" Unikcyla fonts, Mac onlgl -1065.00 /51811 if - PIN/ 11111 Alternate, Bold & TF Forever Thin, If lioloth«k lagolor,Mrdium,Bold, REGULAR MWSWil,C■ MI opsf,sssly RUHR STREET CIO INA OZCI A 51 Oz Bruck Italic r-7-21 im Alternate, Bold Thin Italic, Medium, Iltrl (omputcr Bodo" PostScript 11- 5195 00/51151 EARTOIRAPHER If 50411 r Italic & Alternate Medium Italic bur - 049.00/ A*l Os Poster MIRE The Rutherford Press Regular Computer Modern if far (-51100/WO TF Roux Bold, Bold Ext'd, risni Ftw-51M BARES [pont' - /Sail A/ Prospero II Roman LETTER PERFECT TF Forever Extralight, Extrobold Bold Ext'd Slant, 101 WAVES If Aim' bgrobold - S4910/34.51 Egyptian Bold tondancd"- 14415 /511.41 MAI" - S65.00/01.51 Egmont Bold & INLINE Extralight Italic, [spiv(" - 145.00 /WM Bold Ext'd Text omen ERE 1 DESTUL HERM& Demi, Demi Italic TF Simper Egyptian Italic, CAPS & Extrabold Bold Cond. Display, t2" rrtirra KARHAII Horns' - ROO /Jail If follow' 0 - 51111.00/05.11 SMALL CAPS, Dunhill, ifSguigglr - 1195/57.41 Bold Cond. Text F6rens Reiutar a e'xpert TF Forever Light, Light Funny Roman, Funny Bmwommahmmmal Kinn David Siegel 11111111,111= sins Al Koch Antigua' - 11495/01.11 Hadrian" Bold- WI /51111 Italic, Bold, Bold Italic ItaLI,C, Fibonacci, azszorEits wino orto nronruvin Antigua Hadrian Bold 6raphitc" Regular - 1109.00 /51101 if Ountdeck "Hong -149.00/514.51 tl Koch Typewriter, Italic r- SAM II TF Gram IESt■ MOURN Light, Demi, Extrabold Roman Slanted, Hardwood " - 540.00/51011 Graphite Light, KORN WAVES hardwood Light Oblique, Regular, 1E1111.1E1E1c 1111111111IINI Al R&M - WWI Slanted Typewriter, mu mons Koch Original' - 141.00/ Demi, Demi 11118Easamm 1111IllIfl1111. SERIE A*I NEULAND 511.1 Oblique, rifinnnfin REGULAR. 1.111, symBors 00 nil J SURVEYOR Koch Original Oblique, 13o1c1, If Habitat A -117100/001 .1111111111TIM DINGBATS BOLD SYMBOLS EitsiasmalmOssevife TIM KryptiC - 115.00 /$11.51 Bold Oblique, Block TF Habitat Regular, Oz Brush" - 04.95/51111 111111111011161111111 tKonnon AritiF1 TJ_C $ Sleek Oblique Italic, Bold, Bold Italic finromrri N/11W0003 111111W11111/1/1 (HAREM 111011111 nom Al Oz Brush Regular, ills FLain War" fondcnsel - 1131.111/0111 If Habitat - 6 - 5110.00/51511 INCH, Math WOO/ 11/1/1/1/111/1/1 A*/ Oz Brush Italic t.,•■•■•■••■•7 110 TAO 0111 nanito.- MR Graphite Condensed Light, TF Habitat Book, Extension,[11 n { NIAN ITO Light Oblique, Regular, Book Italic, Detnibeld, Al Oz Mtn" - PUS/11141 LJ CovvoCkw%) Ill TAO TWO A*I Ox Poster Math Italic, Roslyn" Bold - 141.00 / 5810 Oblique, Demi, Demi Oblique, Demibold Italic ll-Doio IT! Fouldry Roslyn Bold if Habitat` A (androsel - S110.00 /11511 Regular, Condensed Bold Extended Bold, Bold Oblique, Black Dill's last 1 Manaus - S09.95 /01410 Al Felspar- 1105.95/51111 Math Italic Carolyn Gibbs Naar- 045.00/0/11 $ Slack Oblique TF Habitat Condensed W111116116 Reg,ular, Italic, Bold, tittiflt k i* Al Prospero II Artifact " - 119.00 / 81.51 Wig" Modal - 5109.00/51411 Hand WM" - 09.95 /511.11 Roman, Italic, Sunni-00.00/0Ln Boll Italic LUIZ DA LOMBA 11111-441b,rook AREHAET 1 Graphite Extended Bills hand Chisled 4-ht e9e

series by Monottpe, showcasing international type design that is both interesting PLEASE SEND MY ORDER AS ❑ MACINTOSH ❑ PC 3.5" DISKS

and highly useful. Asyou see, these typefaces are particularly diverse and TOTAL My payment will be by ❑ Visa ❑ MasterCard refreshing with many completely new designs. ❑ Discover All fonts are in PostScript Type 1 format for Macintosh and PC and adhere to ❑ Check enclosed Monottpe's strict quality standard. ATM is recommended for Macintosh use, and is (No Pas accepted.) required for PC/Windows use. I I I I I I I I I I I I 1 1 1 1 1 Account Number Precision Type makes the collection available toyou in several convenient Expiration date on card ways, with special extra savings ifyou act now Save 50% off retail! You may purchase the fonts PRECISION TYPE REFERENCE GUIDE $ in packages as listed, and get our special 50% off price. ()$6.95 Each (FREE with ary order) Name as it appears on the Card (Please print.) Precision SALES TAX (Minimum order total is $100 in order to receive this NEW YORK STATE ORDERS, please special discount. This offer expires October 29,1993.) add appropriate Sales Tax. Signature (Required for credit card purchase.) SHIPPING MAIL TO: Save 60% off retail! Or,you can get a tremendous ADD $6. for Two-Day Shipping Type Reference Guide orders) PRECISION TYPE 60% of by purchasing the entire Release One collection (+$2.50 Outside USA shipping (Please inquire.) 47 MALL DRIVE at just $2399. (That's $3600 off the suggested retail COMMACK, NY 11725-5703 TOTAL AMOUNT ENCLOSED $ price of $5999! Offer expires October 29, 1993.) OR FAX TO: 516 543-5721 47 mall Drive To see all the fonts available from Precision Type, SHIPPING INFORMATION the world's largest font software reseller, request our comrnack New York 264-page Font Reference Guide, which is free with any 11725.5703 NAME

order. Otherwise, add $6.95 per copy, plus $2.50 for TELEPHONE COMPANY shipping. (For shipping costs outside USA, please call.) 800.248.3668 ADDRESS (NO P.O. BOXES PLEASE) For fastest service, call Precision Type now at 516.864.0167 CITY / STATE / ZIP CODE / POSTAL CODE / COUNTRY TELEPHONE 800 248 -3668 or 516 864-0167. Or fax this order FACSIMILE

coupon to Precision Type at 516 543-5721. 516 .543 .5721 Lu''

©1993 PRECISION TYPE INC ALL RIGHTS RESERVED. TRADEMARKS USED ARE ACKNOWLEDGED AS THE PROPERTIES OF THEIR RESPECTIVE OWNERS. TYPEFACES USED TO COMPOSE THIS AD ARE (HEADLINE) TREACYFACES TF ADEPTA EXTRABOLD, (TEXT) TF MALTBY REGULAR WITH BOLD, AND (PRICE UNES) TF HointioDERNE MEDIUM WITH BOLD.

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1 • • ■ ■ ■ ■ ■ ■ ■ ■ ■ 2 Agfa IBM • 11 ■ ■ ■ • • • ■ ■ ■ ■ • • • • ■ ■ • • • ■ • Corporation ■ • Mac • ■ ■ • ■ ■ 11 • ■ ■ ■ ■ • ■ • • ■ • • ■ ■ 3 IBM • ■ 11 • • ■ ■ ■ ■ ■ ■ • • ■ • Autologic Inc. • ■ ■ ■ ■ • • ■ ■ • ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ • • • ■ I ■ ■ ■ ■ ■ ■ Mac • • ■ • l 1 4 ■ ■ ■ IBM ■ H. Berthold AG • ■ ■ ■ ■ ■ ■ ■ Mac • • ■ • •• • • ■ I ■ • ■ ■ ■ ■ ■ ■ 5 IBM • • I • • • ■ ■ ■ ■ ■ ■ ■ •

Bitstream Inc. • ■ ■ ■ I] ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■

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Digital • ■ ■ ■ ■ ■ ■ ■ ■ • • • • • • • ■ • ■ ■ Typeface Corp. ■ ■

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Mac ■ ■ ■ ■ I • ■ ■ ■ ■ Elsner + Flak IBM • • 1 ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ac ■ ■ Designstudio • ■ I ■ ■ • ■ ■ ■ ■ 8 IBM ■ I • • • ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ FontHaus Inc. ■ ■ Mac ■ ■ ■ 1 ■ ■ ■ ■ ■ 9 FontShop IBM • • • • • • • I • ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ International ■ Mac ■ ■ ■ ■ ■ ■ ■ I 10 Image Club IBM I • • • • • • • • • • • • • • • ■ • • • ■ ■ ■ ■ ■ ■ ■ Graphics Inc. ■

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11 ■ Linotype-Hell IBM ■ I • • • ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ Company ■ Mac I 12 BM 1

QMS Inc. • • • • • • Mac 1 13 IBM Scangraphic Mac • ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ • ■ ■ ■ • ■ ■ ■ 1 ■ 14 URW Software IBM I & TypeGmbH ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ & URW America Mac ■ ■ ■ ■ ■ I 1 • 15 ■ ■ IBM ■ ■ I • Varityper Inc. • ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ Mac ■ ■ ■ ■ ■ ■ I ■ complete family • partial family Bold Face-New Release! Valid as of August

International Typeface Corporation (ITC) is pleased to offer the ITC® Typeface Directory, which details all ITC® typeface families avail- able for both IBM and Macintosh computer environments from ITC licensed Subscribers. In the chart, squares ■ indicate that the Subscriber offers the complete ITC typeface family. Circles • indicate a partial availability for that family. For more information, call the Typeface Directory at (800) 634-9325 or Fax (212) 752-4752.

52 ■ ■ ■ ■ • • ■ ■ ■ ■ ■ ■ • • • • ■ ■ ■ ■ • ■ ■ • • • • Desktop Publishing •

■ ■ ■ ■ • • • f i © Adobe Systems Inc.

i 1585 Charleston Road ® ■ ■ ■ " ■ ■ ■ t l • • • • '" Ser Sans ® "

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wv 90 Industrial Way !is ffic ffa 0 s Wilmington, MA 01887 • ■ ■ • ■ 0 Offic • • Stu Sto Stone Ne Lu aLl Nova O aLl Dll Usherw Ve Dll Souven Sto Ser (508) 658-5600 C Leg C Leg C Mona C Zap 1 C C Quay C Quo C .1 TC Mona TC IT ITC ITC I ItC Leawood IT IT ITC Men ITC Mo ITC ITC ITC We ITC Zap IT ITC Zap ITC Zap ITC Pace ITC Sy ITC Ti IT ITC I ITC Pa ITC IT IT IT ITC ITC Sto ITC Sto ITC ITC ITC ■ ■ ■ El Autologic Inc. ■ ■ ■ 1050 Rancho Conejo Blvd. ■ ■ ■ ■ ■ • • Thousand Oaks, CA 91320 • • • • • (805) 498-9611 ■ ■ ■ ■ ■ • ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ • I i

l El H. Berthold AG II III

■ ■ Teltowkanalstrasse 1-4 ■ ■ ■ ■ • • • • I • I D-1000, Berlin 46 Germany • • • ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ • ■ ■ ■ • 011-49-30-7795-439 • • II • • • • • • ■ ■ ■ ■ • ■ Bitstream Inc. II Athenxum House ■ ■ ■ ■ 215 First Street • • ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ Cambridge, MA 02142 U • III • ■ ■ ■ ■ ■ ■ ■ • (617) 497-6222 • •

El Digital Typeface Corp. ■ ■ • ■ ■ ■ ■ • ■ • 9955 West 69th Street • Eden Prairie, MN 55344 ■ ■ ■ ■ • • • • • • • • • • • • (612) 944-9264 ■ ■ ■ ■ ■ ■ ■ • ■ • • II Elsner+Flake • • Designstudios • • ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ • • ■ • Dorfstralle 11, D-2081 •

U

! Langeln, Germany ■ ■ ■ 011-49-4-123-4843 • El FontHaus Inc. ■ ■ ■ • ■ • • • • ■ ■ ■ ■ ■ ■ ■ ■ 15 Perry Avenue,

Suite A8 r ■ ■ ■ ■ • •

■ ■ III ■ ■ • Norwalk, CT 06850

I • (800)942-9110 ■ • ■ ■ ■ ■ ■ ■ ■ ■ ■ • • ■ ■ • • ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ FontShop ■ ■

I • ■ International • ! ! 111

■ ■ ■ Bergmannstrage 102 • ■

■ D-1000 Berlin 61 I • Germany ■ ■ ■ ■ ■ ■ • • ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ (030) 69 00 62-62 ■ ■ ■ ■ ■ ■ • • • • I li Image Club ■ ■

■ El ■ ■ ■ ■ • I • • • • • • Graphics Inc. • #5,1902-11 Street • • • • ■ ■ • • • • • ■ ■ ■ ■ ■ ■ ■ ■ ■ • ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ Southeast I • • • • • • Calgary, Alberta ■ ■ ■ ■ T2G 3G2, Canada • D (403) 262-8008 ■ ■ ■ ■ ■ • • • • • • • • • • • • • • • • • ■ ■ • • • • • • Egi Linotype-Hell D Company ■ ■ ■ • ■ • 1 425 Oser Avenue • Hauppauge, NY 11788 ■ ■ I ■ ■ ■ • • (800) 633 -1900 • • • • • • • • • • • ■ • • • . • ■ ■

■ ■ IEI QMS Inc. • 1 • 1 Magnum Pass • • • • ■ • ■ ■ • Mobile, AL 36618 • • (205) 633-4300 • • • • • ■ ■ ■ ■ Mannesman • Scangraphic GmbH ■ ■ ■ Rissener Strafe 112-114 • Postfach 220, D-2000 Wedel bei Hamburg I • • • • • • • • • • • • • • • • • • • • Germany (04103) 801190 • I • URW Software & Type GmbH • • • • • • • • • • • • ■ • • • • • • • • • • • • • • • • • • • • • • • • I • Harksheider Strafe 102 22399 Hamburg, Germany III ■ I II • II 011-49-40-60-60-50 Or • ■ • • • • • • URW America • • • • • • • • • ■ • ■ • I • 1 Tara Boulevard Nashua, NH 03062 IBM is a registered trademark of International Business Machines. Macintosh is a registered trademark of Apple Computer Incorporated. (603) 882 - 7445

El Varityper Inc. 11 Mount Pleasant Avenue East Hanover, NJ 07936 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 RIGHTS IN CERTAIN COUNTRIES. (SEE ITC SPECIMEN BOOKS) (800) 526-0767

THIS DIRECTORY WAS PRODUCED USING DESKTOP PUBLISHING TECHNOLOGY. IT WENT FROM DISK TO FILM TO PRINTER.

53 FF PRISKA SERIF FPrisk O REGULAR O NOT THAT FAT O LITTLE CREATURES Annual Convention 1993

The Alphabet FF KOSMIK WITH

FLIPPER TM FFK7K-Kosmik TECHNOLOGY Goes Multimedia: FOR ANIMATION Type at the End of the K-ka-kikosm 4'i 20th Century FF ISONORM Fisoncorma 3098. TypeLab

lsonorm 3098) Antwerp, Belgium

FFS c IRpAN Sc ans O September 24-27 SCALA SANS O The Association Typographique Internationale (ATypI) Annual Scala c :LDT C;AILICICA1S 4 Convention 1993 is a four day O BOLD CAPS O ALT. FIGS forum for designers, manufacturers and users of type. This year's conven- tion focuses on the latest technology and its effects on type design and typography. The convention presents leading European experts who will talk about various aspects of the 4471 ■ 14-1z ■ is 1-10 T use of electronic technology in type- 0 ARROWS ONE 0 ARROWS Two ∎ related fields. La ■ ©010, 040*.• ATypI 1993 introduces TypeLab, a 0 BASIC FORMS new informal feature of the conven- tion. This innovation was created by the "young generation" of ATypI who ■ ■ believe that "The basic principle of •••••• •• ■••■■■ type design and typography remains e®eo 7MBER • •• 0 SIGNS ONE the same and is stimulated, not e'' threatened, by new technological DOH «OH x WV = or social developments" 0 SIGNS TWO

0 SYMBOLS ONE • a workspace for personal and TypeLab projects TypeLab is: including TypeLab News, a newspaper to be cre- ated during the four days of ATypI's convention. or • a typographic "playroom" where new products p will be tested and where manufacturers can 0 SYMBOLS Two obtain immediate feedback on their products. *C37g)'<9 • an experimental laboratory to prove that there is a typographic constant that prevails while The all-new working on different platforms and media. FONTS hop • a forum for discussion about type-related issues. 0 Font Book 65o+ pages; 8,000+ fonts; 15,000+ symbols. Completely new, updated and revised. For more information In the first instance, or Redesigned one-line StyleFinder. Softcover + NORTH AMERICA: or to register to attend Sue Fitzgerald Josefine Infante , Agfa Typography Ltd. International Typeface punch-holes — re-use your FontShop binder. 800-36-FONTS (MAC) ATypl Annual Convention 1993, 800-46-FONTS (PC) Industrial Estate Corporation CALL YOUR FONTShOp AND ORDER YOURS NOW! contact: AUSTRIA: Pottery Road 866 Second Avenue (0222) 523 29 46 Dun Loaghaire New York, NY 10017 Co. Dublin, IRELAND Phone: (212) 371-0699 BENELUX: Phone: +353-1-2849511 Fax: (212)752-4752 (09) 220 65 98 Fax: +353-1-2849513 FRANCE: (1) 42 99 95 61 GERMANY: (030) 69 58 95 ITALY: ATypI Annual Convention 1993 Adobe Systems Inc., Agfa Typography Division, (2) 70 10 05 55 is sponsored by: International Typeface Corporation, Esselte Letraset UNITED KINGDOM: and Linotype-Hell Co. (071) 490 5390

Circle 274 on Reader Service Card

54 55 was scanned with was scanned with Book jacket artwork was Book artwork was scanned Photographs were scanned Photographs were scanned PAGE 16 PAGE 18 PAGE 22 PAGE 26 PAGE 32 Macintosh Quadra 900, Macintosh Macintosh Quadra 900, Macintosh Macintosh Quadra 700, Macintosh Ilfx, Macintosh Quadra 700, Macintosh Ilfx, Macintosh Quadra 700, Macintosh Macintosh Quadra 700, Macintosh IIfx, QuarkXPress 3.11, URW Linus M, URW QuarkXPress 3.11. QuarkXPress 3.11, Adobe Illustrator 3.2. QuarkXPress 3.11, Adobe Illustrator 3.2. QuarkXPress 3.11, Adobe Illustrator 3.2. Enluminer Best Selling Design The Art Pack Kids' Books You Can Enjoy What's New from ITC: ITC Highlander`" Ikarus to create a font, then imported into Quark- a font, then imported Ikarus to create Illustratror and imported into QuarkXPress. Film was LaserMaster 1200XL, UMAX 840 color scanner, Agfa Ikarus M. LaserMaster 1200XL printer, Linotype-Hell 341 color LaserMaster 1200XL printer, Software: replacement on the Agfa AccuSet imagesetter. imagesetter. Software: It scanned using the Linotype-Hell 341 color scanner. Photoshop, saved as an EPS file and imported into Hardware: 11, Quadra 700, Macintosh IIfx, Apple LaserWriter Software: QuarkXPress. Circular symbols in the border were scanned with a UMAX 840 color scanner, autotraced in Linus M and placed into Ikarus, then imported into QuarkXPress. All type was created in QuarkXPress. Film was output with automatic picture replacement LaserMaster 1200XL printer, Fuji FujixScanart 450 II, Software: the Fuji FujixScanart 450 II, saved as a TIFF file and LaserMaster 1200XL printer, Linotype-Hell 341 color Illustrator, saved as an EPS file and imported into antiquing function, fine-tuned in Illustrator, and fine-tuned in Illustrator, antiquing function, was created in QuarkXPress. All type imported into Agfa AccuSet Film was output using the QuarkXPress. imagesetter. Hardware: scanner, Agfa AccuSet imagesetter. color scanner; a low-res- using the Linotype-Hell 341 were imported into olution file of scanned images file. All type was created in QuarkXPress as an EPS with automatic picture QuarkXPress. Film was output Hardware: Quadra 700, Macintosh IIfx, LaserMaster 1200XL printer, Linotype-Hell 341 color scanner, Agfa AccuSet Notes and Comments: QuarkXPress. The headline was created in Adobe output on the Agfa AccuSet imagesetter. Notes and Comments: Artwork a Linotype-Hell 341 scanner; a 72 dpi file of the images black and white border background was created in on the Agfa AccuSet imagesetter. Hardware: Notes and Comments: Artwork imported into QuarkXPress. Film was output on the Hardware: scanner, Agfa AccuSet imagesetter. Software: line, opening type and subheads were created using QuarkXPress. All other type was created in Quark- setter. Throughout this colophon, trademarks are used. Xpress. Rules were drawn in Ikarus M with the were drawn in Ikarus Xpress. Rules Article: Notes and Comments: was combined with the background numbers in Adobe Article: AccuSet imagesetter. was imported into QuarkXPress for placement. The Article: Notes and Comments: Compiled by Joyce Rutter Kaye Article: Agfa AccuSet imagesetter. Agfa AccuSet imagesetter. Article: with a Linotype-Hell 341 color scanner. Curved head- XPress. Film was output on the Agfa AccuSet image- using the names in an editorial context with no inten- tion of infringement of the trademark. Rather than place a trademark symbol at every occur- rence of a trademarked name, we state that we are is U&/c, Clive 0 U&/c U&/c; and designer was scanned using U&/c; has been produced using has been produced using The type in the headlines Cover design was created lx, LaserMaster 1200XL The sword illustration was I PAGE 7 COVER PAGE 6 PAGE 8 U&lc o 6 Macintosh Quadra 900, Macintosh Macintosh Quadra 900, Macintosh Macintosh Ilfx, LaserMaster 1200XL Macintosh Quadra 700, Macintosh IIfx, QuarkXPress 3.11, URW Linus M, URW QuarkXPress 3.11, Adobe Illustrator 3.2, QuarkXPress 3.11, Adobe Illustrator 3.2., QuarkXPress 3.11, Adobe Illustrator 3.2. Message from ITC; Table of Contents Lincoln: In His Own Words The Letter Z Issue 20.2, Summer/Fall, 1993 l---0- 17 Co U&/c, For more than a year Software: Linotype-Hell 341 scanner. The assembled Photoshop file was saved in EPS format and imported into Software: Linotronic image setter. Ikarus M. the latest desktop publishing technology. Each time the latest desktop publishing to the design and pro- new electronic tools are added the way duction toolbox, they redefine designed, edited, produced and printed. This colophon designed, edited, produced a- is intended to shed some light on the production of selection of editorial features in this issue of Chiu, production coordinator, Hardware: Quadra 700, Macintosh printer, Apple LaserWriter II, Linotype-Hell 341 scanner. Agfa AccuSet Imagesetter. Notes and Comments: in Adobe Illustrator 3.2, saved as an EPS file and opened in Adobe Photoshop 2.5. There it was merged QuarkXpress. Film was output on the Agfa AccuSet imagesetter. Hardware: printer, Agfa AccuSet imagesetter. Hardware: Quadra 700, Macintosh IIfx, Apple LaserWriter II, UMAX 840 color scanner, Agfa AccuSet imagesetter. Software: scanned with a UMAX 840 color scanner at 800 dpi. EPS file. The file was then imported into QuarkXPress. Hand-drawn symbols and single-letter examples of Ikarus M. All type was created in QuarkXPress. Film LaserMaster 1200XL printer, Fuji FujixScanart 45011, tion that the new technologies offer in publishing today. tion that the new technologies offer in publishing today. production team responsible for these pages includes: and type consultant James Montalbano, president, and type consultant James Montalbano, president, Terminal Design, New York. a with the book artwork which was scanned with Notes and Comments: and imported into QuarkXPress. Type in both features Notes and Comments: The image was colored and combined with the letter Z and the background in Photoshop and saved as an the letter Z were scanned using the UMAX 840 scanner, traced in Linus M and then made into a font using Hardware: Software: URW Ikarus M, URW Linus M. saved as a TIFF file and imported into QuarkXPress Dingbats were autotraced in Linus M and edited in and to share with readers the problems and inspira- Adobe Photoshop 2.5. Article: was curved using Adobe Illustrator, saved as EPS files was created in QuarkXPress. Film was output on a Article: was output on the Agfa AccuSet imagesetter. Notes and Comments: Artwork a Fuji FujixScanart 45011 at 1200 dpi. The artwork was Working with the design team from Pentagram, the Working with the design team from Pentagram, Jane DiBucci, art/production manager, Article: Agfa AccuSet imagesetter.

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■ ■ • ■ U 14 for just totalling date Zip Exp. Title Red Rooster ■ call 212- 371- 0699. State Esselte Letraset Ltd. Image Club Graphics Carter & Cone Type. ■ ■ back for all the unmailed issues. ■ State 212-752-4752. Directory of New Typefaces Directory of New Typefaces to recognize the face Free binder, tabs and index listings service that compiles for you all the new typefaces from around the You SAVE 50% if you order now. Updated quarterly—You receive 64 new specimen pages every 3 months world as they are being released There is no other industry- wide Emigre 7. 5. 6. 4. a Complete alphabet Selections of symbols Designer's name and technical data Resource information and 800 numbers to call to get faces Distinguishing characters to help Text blocks showing various weights Text blocks showing variety of leading Names of other faces in the family you NEW NEW • • • • • • • • Updated Quarterly From Updated Quarterly and Type Designers. and Type Designers. pages include: Display & text specimen Photo - Lettering Inc. All Major Foundries All Major Foundries MasterCard ❑ • 4:30 EST) In New Your on Reader Service Card Bitstream, Inc. - The Font Bureau ■ the dotted line and return today. ■ 256 of the best new faces of '93 the best new faces 256 of URW Please bill my credit card Visa Elsner + Flake ❑ 1=1 TYPEFACES TYPEFACES ■ Circle 271

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Or call today 1-800-634-9325 (9:30 o o o o o o City Country Signature Name as it appears on the card Name Company Please check the appropriate boxes All payments must be made on U.S. banks only. Canada add $14, Far East add $40, and all others outside North America. please add $28 for shipping. ❑ I=1 Yes, send me the 4 quarterly issues of the 1993 Address Account Number by designer, by classification, and Indexed 6 different ways, including by typeface name Makes your job easier finding new and fresh faces Keeps you current with what's able from around the world happening in new typefaces avail- 1. Current Participating Fondries Include: Current Participating Fondries Casady & Greene Inc. FontHaus Inc. 7 Reasons This Directory is Of Value To You 7 Reasons This Directory is Of Stone Type Foundry Inc. 3. Linotype - Hell Corp. Adobe Systems Inc. 2. r L

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INTERNATIONAL TYPEFACE CORPORATION 2 Hammarskjold Plaza New York, NY 10017 Ikarus 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.

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