A quarterly Review of International Visual Communication Design Issue number 3, 1972 icographic 3
Price per issue 1 US dollar Contents include Designing a periodical for a variety of Designing for Nuffield Foundation textual needs science teaching projects Published in London by the On Typos: new Japanese type face Type designing in the future A new Hebrew sans serif for bilingual International Council of Graphic Designing and producing a Penguin paperbacks printing Design Associations consumers' association magazine Language and readability Demise of the point system in sight Our compliments to the International Council of Graphic Design Associations for arranging the congress in Vienna on the important Learning Industry
PHILIPS A quarterly Review of International Introduction by Ernest Hoch icographic Visual Communication Design
Executive Editor Patrick Wallis Burke Design for print is one of the princi informed exchange of views and pal domains of the graphic designer's experience of its members, that Guest Editor of issue number 3 Ernest Hoch work although no longer as pre Icograda and icograph ic can contri dominant as it was a mere fifteen bute to our collective advancement. Contributors to issue number 3 Peter Burnhill years ago. Alongside the new electro Ivan and Robin Dodd nic media, for a long time to come, The most revolutionizing influence on Germano Facetti the printed word and image will printing technology came from the Maurice Goldring remain, in the words of F Borden modern data processing industry and Angela Hackelsberger Mace at the VisCom 71 Congress the combined potential of computer Ernest Hoch 'the most readily accessible, easily applications with photographic tech John Miles retrievable, economic and efficient niques. The understanding of thinking Asher Oren means of organising information and and learning processes, too, received Shin-ichi Seki of communicating ideas. It requires great impetus from studies related to Tibor Szanto no support system. It is quite computers; recent trends in psycho Hermann Zapf convenient and controllable to have logy reveal that influence. with you on safari or pi en ic, in a Published quarterly by The International Council of makeshift chair, on a mountain top, Graphic design in technologically less Graphic Design Associations. a sandy beach and maybe best of all advanced countries stands to benefit All correspondence to with you in bed.' Traditionally, the from lively contact with advances in 18 South Row, The Heath, field of visually recording graphics psychology, or information theory, Blackheath, London SE3 for print is well served by a number or ergonomics, or the newest tech of national and internatiortal graphic niques, as much as an understanding Printing of issue number 3 Nexus Graphics Limited, design annuals and other periodicals. of the problems of our members in 5 The Grove, Ealing, small, multilingual countries is likely London W5 In deciding to devote the third issue to assist their colleagues in the most of its new quarterly to print, advanced, computer oriented parts o·f Paper supplied by courtesy of Culter Guard Bridge, lcograda has no intention to compete the world in retaining their view of Salisbury Square House, with these often lavishly and excell these devices as tools, not masters, Salisbury Square, London EC4 ently produced publications; nor and their sense of craftsmanship in Cover printed on would we wish to duplicate their design. Craftsmanship in design Hi-Fidelity Art Board 280g/m work even if our financial resources remains important even though it Text printed on were not as meagre as to rule out any manifests itself. alongside its tradi Hi-Fidelity Art Paper 118g/m such attempt. tional facets, in new forms such as skills in specifying. Acknowledgements to Bertram Waller. The specific contribution and view The School of Graphic Design, point icographic can bring to this Nothing characterizes better the Ravensbourne College subject is that for which the inter change in the nature of design tasks of Art and Design national professional body of graphic referred to above, and the change of designers is uniquely qua I ified. emphasis in the designer's own Design and layout of issue number 3 Patrick Wallis Burke attitudes, than the shift from one-off and students of the The design profession develops against assignments to coordinated design School of Graphic Design, the background of rapid social and programmes. Germano Facetti writes Ravensbourne College technological change. The printing of 'reaching a point of professional of Art and Design industry is no longer the foremost, ism' and of overcoming the arty let alone the only industry engaged crafty search for 'the beautiful single Subscription rates Postal subscription rate for in communicating information. achievement' in design for book four issues, Even the confines of printing in the publishing; but this theme of a 3.50 dollars (USA) narrowest sense, the processes disciplined framework of design with 140p (UK) employed and the means of produc a maximum of flexibility is express 13 OM (FGR) tion serving them have, during the ed also by John Miles writing about last generation, changed almost out of designing a consumers' association Recommended price per issue 1 dollar (USA) all recognition. magazine, and equally applies to the 40p (UK) Dodds' experience as designers for 3.5 OM (FGR) These changes in the complex organ the Nuffield Science Teaching ization of society, in the structure of Projects. Subscriptions must include four industry at large, and within the issues. Unless the publishers are printing industry, bring with them a The trend from single assignment to notified immediately after the change in the nature of the tasks con coordinated programme reinforces appearance of the fourth issue that fronting designers, and they are and sharpens the designer's attention a subscription is to be discontinued, reflected in a change of emphasis in to defining the disciplined frame it will be treated as renewed. the attitudes designers bring to their work of design. Whether he is work. engaged on design programmes affect- The text, or extracts from it, and ing the visual identity of large the illustrations, can only be Due to the by now proverbially fast corporations, on packaging design or reproduced with the Executive rate of technological change, and to any other major design project, the Editor's consent. the uneven development in various chances are that he is devising guide No responsibility for the loss of MSS' countries, our members work within lines not only for his own work but photography or artwork can be widely differing technological settings. to be followed by others in dealing accepted. In some of the less advanced older with situations which may not even countries and in some of the newly yet have arisen. The trend from developing countries, traditional designing the single item to designing printing techniques still predominate. coordinated series of items become! On the other hand, some of the a trend beyond the design of co countries only now undergoing the ordinated series to the design of process of thorough industrialisation design programmes, the design of are setting up new printing and systems and procedures by which co- publishing enterprises on the most ordinated, coherent acts of design advanced technological basis. It is in may be carried out by others. this context, through fostering an The designer, in other words, charged A standard specification Maurice Goldring and Angela Hackelsbergerare in practice as for print production information design consultants (Maurice Goldring Associates, Maurice Goldring and London). Maurice Goldring is Angela Hackelsberger chairman of the SIAD/STD Typo graphers' Computer Working Group
with the responsibility of safeguard specification on an analysis of the Standardization is not an impediment requirements of the evolving new ing the general rather than the material to be published. to the development of civilization techniques in printing. sectional or transient, finds himself but, on the contrary, one of its becoming the guardian and increasing The Nuffield Teaching Projects are a immediate prerequisites. A standard The limitations listed above not only ly the responsible originator of good example showing the graphic may be defined as that simplified concern designers, All members of the standards. designer as full member of the practical exemplar of anything in design/production team (author, education team - a far cry from the general use which embodies a fusion editor, designer, publisher, printer) Collectively, too, graphic designers as not too distant days when all educa of the best of its anterior forms. are affected by them as well as the a profession are taking their place in tional decisions were made before a (Walter Gropius: The New manufacturers and suppliers of the determination of standards. designer was even called in. Architecture and the Bauhaus) materials, machinery and equipment. Through two of its commissions, lcograda is recognised by the Inter Graphic designers, whether they are Traditional specification practice Proposal for a standard specification national Standards Organization and involved in the educational field, in system has liaison status with a number of scientific and technical communi Designers, typographers, editors and ISO Technical Committees. Our cation or in road signing programmes, printers in the technologically Let us now consider what a standard International Signs and Symbols whether working on visual identity advanced countries are becoming specification system is, how it would Commission which has done so much programmes or designing sets of aware that the traditional practices of be applied, what it could offer, and to create conditions in which one can characters for the most advanced specifying for print are no longer how it could be brought about. We attempt to bring some order into the techniques of character generation, adequate in relation to management shall then see how the construction chaos of uncoordinated sign systems are typically working as team and production techniques in the industries in two countries benefit being created by numerous separate members with non-designers. printing industry. from standard specification systems agencies, is represented on the new Hermann Zapf states categorically in their field. ISO Technical Committee on Signs 'the future belongs to team work'. The traditional practice of specifying and Symbols (ISO/TC 145); and Writing about type designing in the can best be characterised as informal. A standard specification system for through the efforts of the Standard future, he stresses the designer's need The information needed for the print production would be both a ization Commission lcograda of an analytical approach, his being production of a job is transmitted method and a physical object. As a achieved that a proposal for milli obliged, in collaboration with the using various visual modes, usually in method it is the simplified, rational metric typographic measurement is programmer and the electronics specification notes, letters and ised means by which a standard now before the new ISO Technical engineer, to work in strictly logical memoranda, and in the annotations to specification for a particular job Committee on Graphic Technology sequence. To what extent systematic authors' copy, designers' layouts and specification, as we will call it, can be (ISO/TC 130). methods characterize new type face printers' proofs. Such information is arrived at. design programmes is brought out also transmitted verbally, perhaps at Walter Gropius set himself against an also by revealing contributions second hand, as telephone messages. As an object it can be imagined in the ignorant attitude that 'rejects' from Shin-ichi Seki and Asher Oron. form of a handbook, loose-leaf file, standardization. In his view it is one Information is not transmitted in a card index (possibly edge-punched), of the immediate prerequisites of Significantly, both programmes were comprehensive, coherent form from or even a computer data bank. It civilization. Printing is no more an conceived as type face families with the outset, but by degrees. Th is can would need to be concise, presenting exception than designing, and again systematically related variables. Both and does work so far - at a cost - but the information in the verbatim form the initiative for so important a contributors, too, deal with the what are the disadvantages and required: easily accessible, permitting development of flexible systems problem of compatibility of disparate Iimitations of this practice of the relevant selections of information design as that advocated by Maurice sets of characters; in the Japanese specification as opposed to a more to be found rapidly and to be Goldring and Angela Hackelsberger case, compatibility of the historically formal approach, such as would be extracted neatly. It has to be flexible, must come from professional distinct Hiragana and Katakana with possible by the application of a allowing for amendments to be made. designers. Our readers will understand Kanji, and in the Israeli case com standard specification system as we why they quote Gropius to introduce atibility of Hebrew with Roman will call it, which will be outlined The standard specification system their article that urges us to work characters. below? would contain the following main towards the creation of a standard Subtle compatibility problems exist kinds of information: comprehensive specification system for print produc too, between typefaces and language At present, printers meet with descriptive Iists of materials, equip tion. The authors and the lcograda characteristics that vary from one unnecessary difficulties and uncertain ment and print production processes. Standardization Commission invite language to another. Tibor Szanto ties in scheduling, planning and It could also contain statements of critical comments and contributions discusses how variations in the co-ordinating their operations, also in performance requirements. For concerning this important proposal. characteristic frequency distribution estimating their production costs example, a printing ink's lightfastness of characters, in the incidence of reliably. rating, say LF8, or its spirit varnish Many graphic designers have long capital letters and ascenders, in resistance rating, say SVR5, both agreed that dimensional standard characteristic word length, affect the Traditional specifications usually have maximum ratings (according to ization is an aid, not a hindrance to extent to which different typefaces to be assembled and transcribed, and British Standard BS 4321: 1969, good design. Some years ago there are able to reflect the rhythm of a sometimes translated, by someone Methods of Test for Printing Ink), was lively debate about the given language. other than the specifier for use at the could be seen both as qualities of an discovery of the grid as a design tool. The respect designers have for lang various levels of skill and by the existing ink and as performance Here, too, the emphasis has begun to uage as well as for the appearance of various trades involved in the print requirements for an ink that has as change. As designers are forced to printed matter should encourage production process. This represents a yet to be found or to be made up. become more aware of and more their cooperation with linguistic and potential source of factual error and A maximum permissible tolerance, for knowledgeable about editorial with letter form researchers, Whether misinterpretation of the designer's or example of typographic measure, requirements, about psychology of the dazzling potential of present-day print buyer's intentions, moreover the could also be seen as a performance perception and of learning, their printing technology will level and duplication of effort incurred is requirement and be specified as such. thinking moves from the grid as an stamp out of existence the rich wasteful. element of formal organisation to its subtleties of our diverse cultural The information contained in the logical construction in the light of heritage or serve to let them flourish Such specifications do not facilitate standard specification system should textual requirements and to the maxi more fully than earlier, cruder print consistency of specified information, be of high technical quality, presented mum flexibility in its use. This ing technology permitted, will especially in the event of amendments in concise, clear language. It should be problem of formalistic, as distinct largely depend on our profession. and alterations. Nor do they facilitate the most comprehensive assemblage from logically structured print design, effective and systematic quality of such information available. It appears in print being produced From th is aspect, as from many control or reference for further use. should, therefore, list all materials today and it is reflected, too, in others, the more effective use we equipment and processes that are in design teaching. From one of the make of lcograda, the more we One of the most urgent reasons for use and all attainable performance colleges orientated towards logical strengthen our international considering a standard specification requirements. information design, Peter Burnhill association, the stronger can be our system is that the traditional practices reports an example of a project: hope to bend technology to human of specifying are not compatible with This information would be presented student editors basing their grid ends. computer applications and with the in the form of standard specification
2 data groups. From these data groups system (possibly alpha-numeric). standard system of specification, the Bygg-AMA, the British construction the appropriate items would be This would allow the data groups to next step would be to define the industry will in 1972 be adopting its selected and be incorporated verbatim be arranged systematically for scope of the research which would own standard specification system, into the standard job specification. storage,selection and retrieval. need to be undertaken to determine the National Building Specification the system's information content, (NBS). This is being prepared by The standard specification system Such a system of notation would structure, presentation and use. NBS ltd, a subsidiary company set would also contain a set of provide a shorthand method of At the same time, the research up for this purpose in 1969 by the recommendations as to its proper use specifying where instead of the full necessary to create the related Royal Institute of British Architects. in assembling a standard job data group, only its notation might classification and notation system The NBS has the support of the specification, for instance, in what be given. This would be useful in would also have to be considered. representative organizations of the sequence the data items should always many ways, to give one illustration: Thought would have to be given at construction industry. Its aim is to be placed, etc. where production in a foreign this stage to what agency should improve the quality of job country under foreign language commision the research, who could specifications, making them more It is possible that a standard job conditions was involved. carry it out and what it would cost. consistent, relevant and reliable. specification would be assembled in a It would then be possible to put Standard specification clauses will manner so that each production Presupposing that a standard forward an application for financing be provided which can be section (i.e. typesetting, illustration specification system could be agreed, the research to an appropriate incorporated into job specifications. processing, printing, binding, eventually, on an international basis, funding organization such as the They will be classified and notated trimming, etc.) could receive its own a job could be specified, say, in the Office for Scientific and Technical using a development of the SfB extracts copied out of the standard German language version of the Information (OSTI) of the Depart system - Cl/SIB. The NBS will be job specification document. This system, referred to by notation and ment of Education and Science. suitable for both computer and master copy could also be agreed to produced, say, in Britain using the manual applications. have a contractual function in English language version correspond Once the standard specification conj unction, of course, with the ing to the notation. system and its related c_lassification As the construction industries in two layout drawings, artwork, estimate, and notation system were created, an countries find that a standard and production schedule. This necessary approach of organization responsible for specification system brings many classification and notation should publishing them and for promoting advantages and benefits, the time A typical sequence out of a standard also - and most urgently - have an and supervising their use would need seems to be appropriate for serious job specification, which is dealing exemplary effect on the whole field to be set up. Th is couId be an consideration to be given to the with the paper to be used and which of technical information related to independent organization or, possibly, creation of such a system in the has been assembled from information print production, especially on the one integrated into an existing printing and associated industries. contained in the standard disparate body of manufacturers' and professional association such as the specification system, might read as suppliers' trade literature, and on Institute of Printing. follows: sample distribution. Trade Iiterature is, of course, competitive in its nature Another Industry's experience Type Woodfree off-machine but nevertheless it can become coated co-operative to the extent of offering One of the main problems is the itself pre-classified and bearing the complexity and diversity of the Size SRA 1 (640x900mm) appropriate notation. It would also printing.and associated industries. be an advantage if the format of such How has a comparable though larger 2 Weight 120g/m trade literature could be standardized industry which has to face a similar to the A4 size and be pre-punched challenge started to deal with the Colour White for filing. need to rationalise its methods of specification? Coating Air-knife, trailing blade The user - designer, print buyer, technician - could thus much more The Swedish construction industry Surface Super calendered, high effectively shape all the available lead the way with the publication of gloss, two sided source material, or have it shaped for Bygg-AMA in 1950. This is a general his use in a library, into a ready tool specification of building materials Sizing Hard, engine sized of up-to-date reference and learning. and workmanship which was agreed and adopted throughout the industry. Selected references Printing Letterpress Moreover, the materials, processes It is recognised in Sweden that it has and products which competing proved valuable to use a unified Allot, Tony, NBS: a progress report, Cutting Guillotined four edges manufacturers offer in their general specification and that, it has RIBA Journal, February 1971, promotional literature appearing been beneficial to get a common London Wrapping Kraft wrappers under the same notation would invite pattern of specification for all trades. and facilitate comparison. Apart from the Swedish Bygg-AMA Goldring, Maurice, Can the typo Variables such as the brand name of being the first standard specification grapher assist printing technology? the paper, its price, quantity required, A way to create the system for the construction industry to be Institute of Printing Bulletin, No 12 etc., would also be written into the adopted, it also pioneered the use of 1966, London standard job specification where How could a standard specification the SIB system for the arrangement necessary. system be created and how might it and coding of its contents. Goldring, Maurice, The functional be accomplished at a national level? relationship between typographers The items given in the example above The SIB system is a method of and keyboard operators, Printing follow the pattern long established In Britain, the first step would be to classification and notation devised Technology, Volume 12 No 1 April by the British trade journal Paper hold consultations with the for all aspects of building. It uses a 1968, Institute of Printing, London Facts and Figures which is now representative professional, research series of alphabetical and numerical generally accepted by paper manu and trade associations of the industry symbols denoting conceptual groups LaOue, F L, Standardization and facturers as well as by printers, print to agree the need for such a system, covered by tables which form the quality control, BSI News, October buyers and designers as providing a with such bodies as the Institute of basis of all permutations of the 1971,London good basis for the presentation of Printing, British Federation of Master system. The SIB system originated in factual, comparable information on Printers, PIRA (Research Association Sweden after the second world war. Martin,Bruce, Standards and paper and boards. for the Paper and Board, Printing and Within a few years it spread to other building, Royal Institute of British Packaging Industries) Society of Scandinavian countries and to Britain, Architects, 1971, London Classification and notation Industrial Artists and Designers, and where it is now thought to have its the Society of Typographic Designers. widest use. The system is also in use Scheele, Martin, Punch-card methods The standard specification data in many other countries throughout in research and documentation, groups would be classified and Having reached agreement both on the world. Twenty two years after lnterscience Publishers Inc., 1961, notated using an appropriate notation the need for and the feasibility of a the Swedish initiative in publishing New York
3 On 'Typos': new Japanese Shin·ichi Seki is a lecturer at Shizuoka Figure 1 University and a member of the type face Japanese Society for Science of Typos 411 was completed in Design November 1962 as letter-plates for Shin-ichi Seki photo typesetting. It is a titling face designed to harmonise with Mincho type and Extra Bold Mincho type of Kanji
No one can deny that letters and their 'Typos 45 and in 1968 'Typos 35'. types play an important role as the Their accomplishments were medium of visual communication. In appreciated in Japanese typograph· European countries much attention ical circles and from 1968 onwards has been long paid to typography and they won various prizes. In 1969 type faces and various kinds of type they designed Gothic versions of the faces have been devised. But in Japan four new types. These eight kinds of few studies, either theoretical or new types are now widely used. practical, have been made in typo graphy; the number of type faces The designers are currently develop in Japanese is extremely limited. This ing new type faces of Kanji and a is not only because the study of typo certain number of these have already graphy made a belated start in Japan; been completed. Certainly this is a it may also be that the particularity difficult task, because of the vast of Japanese letters was an obstacle to number of Kanji characters and also its development. because, as a type face, it almost attains perfection, so that there In the Japanese language there are seems to be little room for improve three kinds of letters, Kanji, Hiragana ment. It was for these reasons that and Katakana, and mixtures of all they rightly began their work by three are used in Japanese sentences. designing Hiragana and Katakana to Kanj( which was imported from harmonise with Kanji. In spite of China long ago, is quite different from, the difficulties they will, no doubt, for example, the English alphabet. create new type faces of K anj i in a Unlike the alphabet, each Kanji has a few years. �h?Sba-1vtJ\� · <" lj meaning or more by itself, and is not as a sign simplified enough; it has a The 'Typos' are faces which answer complex form. While the alphabet the demands of the new age of has only twenty-six letters, Kanji printing, when photo type setting amounts to several thousand, even is gaining in importance. �·c:YU"9tfttc� ·-j·-c when we restrict them to those used often in our daily life. Compared with the older types, 'Typos' of Hiragana and Kafakana Hiragana and Katakana were invented are superior in that they are designed in Japan: both were developed from to help the eye to move more the Kanji form. Unlike Kanji, they smoothly when they are set with have some quality in common with Kanji. As they are modern, clear-cut the alphabet; a Hiragana or a and placid, as well·as legible, the Katakana, like 'A' or 'B', is indicative new types will enjoy wider and of sound but not of any meaning; wider currency in Japan. They <;an they are simple in form; their number be expected to survive for a long is limited to 48 letters. time.
It was Kanji, its complexity of form and its vast numbers, that has made it difficult to cast various kinds of type Figure 4 Figure 5 faces. And there have been used only six or seven kinds of type faces in Module for the composition of Elements Japan, among which Mincho and characters Gothic are most commonly used. In designing the Typos elements, the The position which each component principle was utmost simplicity and But recently new type faces have part of a character takes on the reducation in number. All Kana been produced in Japan. They are module is indicated by the character characters can be composed from the called 'Typos', and are designed by in the margin. For example, '3' (yo): 12 elements illustrated (round the young Japanese type designers' the character appears three times in stroke, vertical stroke, horizontal group 'Typo'. Yasaburo Kuwayama, the right margin. The upper '3' stroke, closing stroke, down stroke, Katsuichi Ito, Katsumi Nagata and indicates the position of the upper circular stroke, turn stroke, up Takao Hayashi, are graduates of horizontal stroke, the middle '3' stroke, downkick, stroke, dot, return Musashino Art School. They began to that of the lower stroke. The '3' stroke, locking stroke). In the study type design as undergraduates in the top margin indicates the composition of Kanas, the frequency and in 1962 they completed the position of the vertical stroke of these strokes is as follows; first new type faces of Hiragana and 81 horizontal, 66 vertical (including Katakana, named 'Typos 37 and 411 '. These were letter-plates made for 24 oblique), 34 dot, 46 down, 7 up, photo type setting. In their designs 9 closing, 7 downkick, 7 circular, they aimed at those qualities which 6 locking, 6 return (including 3 side relate harmoniously with Kanji, for returning), 21 turn (including 6 left they considered the Mincho form of turn and 2 up turn) Kanji and the various forms of Hiragana and Katakana hitherto used were unharmonious.
Although the new type faces were easier to read, there was room for improvement, especially as to the proportions to K anj i. Three years later the revised designs appeared, and 'Typos' began to be used far and wide. In 1967 the group completed
4 Figure 2 stronger the contrast becomes Figure 3 type is the same as in photosetting. between verticals and horizontal,. Horizontal frame 10 against vertical Family 1 Horizontal strokes thicker than Family 2 (modifications) frame 9: extended type 1. 10 against vertical strokes would change the 8: extended type 2. 10 against 1: The numbers at the top left of each image of the characters and such Headings to each of the five columns extended type 3, etc. Vertical frame square, indicate horizontal and types are not included in the family read as follows: Square 90° Oblique 10 against horizontal frame 9: vertical stroke thickness as a percent 1 80 ° Oblique 2 70° Oblique 3 60° elongated type 1, 10 against 8: age of the side of the square. For Oblique 4 50 ° elongated type 2, etc example, in types 35 the horizontal stroke is 31100th of the side of the Elongated 1 (V10xH9) Oblique type with a gradient of 100 square and the vertical stroke 5/100th. Elongated 2 (V10xH8) to the right: oblique type 1, 20° to Type faces, such as 23, 45, 67, in Elongated 3 (V10xH7) the right: oblique type 2, etc., and which there is little numerical Elongated 4 (V10xH6) 10° to the left: oblique type -1, etc difference between the width of Elongated 5 (V10xH5) horizontal and vertical strokes, are more of Gothic type: but the greater The principle of modification of difference between the numbers the Typos into elongated or extended
D .. 1111 II I I D .. " .... .,, II II II I I 0 .. ,...... 11 a a I I 0 ••m••·n,1a111 0 ... ,,, .. .,.11111 u ...... ,,llllf D .. II II II I I D ...... ,.• ••I I D .. ,. .. ., ... a• 11' .6T D . .,,,, ...... • • •� 0 ...... ,.---�� 0 ...... , ...... ,,.,
t, .r.-< fJ ? �th Y*� 3 I ?9t ��� � '*·� W� J 30
1:tttttttttt+:..+:..+:..+--+-+-++-++-.li:.,'f: -Y?",7A�.J:O:::J3 ?X'*-;:..lf\.. '1,,t:,• 4--14--14--14-44-44-44-4-+-+-+-+__._. ,_.,.,. ")
L: A�.:c!'t!l!t:<:l--
-+I-I.J.::130-:t -+I+" +Lh-A -+o-u I +O+lt�-«> - l+•+I-T 1u+1-A -+l+
r:F:a r, ./'-. _._- ' ' ' Jj ll t * ' Y. * * � Jl.,:L j{ � l==I at1* ** 9! 81 � �
5 Designing for Nuffield Foundation science teaching projects
Ivan and Robin Dodd
Cover for one of a series of illustrated In 1963 the Nuffield Foundation text books providing background commissioned us to act as design material on a variety of Chemistry consultants to the Nuffield Science O-level subjects. Teaching Projects. They are used by pupils to follow up certain aspects of the course in The publications produced by the depth. members of these projects have sold The books are two-thirds A4, printed very widely in this country and in 2 colours abroad. There can be very few secondary schools which do not possess and make use of some part of these materials. In the time between the inception of the project and today, it has become generally accepted that such education projects benefit from the contribu tion of a designer. The design pro fession seems at last to want to accept education as a field worthy of its attention.
The object of the projects has been to reform and improve the teaching of science in schools. Practising teachers were seconded from their posts to determine the best way of fulfilling this object. The Foundation put a huge sum of money at their disposal which enabled them to do something hardly known in this country before, to print private editions of their materials and to try them in schools, using the experience of these trials to revise these written materials and to make Symbol for the Nuffield Foundation sure that the reforms they proposed sc.ience teaching projects were practicable. The first aim was to engage the interest of the child and one way of doing this was to make sure that he did every experi ment himself, except where danger or expense forbade it. Another way was to make the materials as fresh as possible and here we were involved very early. These new ideas demanded new formats and new visual solutions and these had to be Further covers from the series of hammered out in long discussions Chemistry background books between teachers, production teams and us.
As the projects were to be pupil centred, no attempt was made to replace the personal pupil/teacher relationship, with an excess of tech nological teaching aids. With the teacher retained as the communicator it was decided that the bulk of the material be presented • in the form of the book, but not the traditional text book. I quote from chapter 3, page 9 of the O-level .. 4' , Chemistry: Introduction and Guide, 'In order not to perpetuate a rigid scheme of study, we have avoided any I plan based on a single text book. We I have in fact, tried to analyse the purpose of a text book and break it Metalsand Alloys down according to its functions. This analysis has given us the Book of Data, Laboratory Investigations, and the Background Books. From the Book of Data the pupil can see ==-- if his ideas fit observed facts. From Laboratory Investigations he builds up his own part of the text book. From the background books he forms his own library.'
6 Ivan and Robin Dodd were among the first British designers whose practice concentrated to a consider able extent on design for education
In addition to the books other As the teams prepared the drafts we 9pt on 11 pt text as it made a better by having the illustrations drawn by items (which varied in quantity went into great detail to find design size relationship/contrast, than either an advertising art director, some from project to project), were pro solutions that would meet the the 7pt or 8pt Univers did, when body in fact, who uses drawing for duced, such as film loops, records, requirements of the wealth of used opposite the 9pt. communication rather than a form illustrated cards, etc. material being produced. Diagrams, A further innovation was two of self-expression. The relationship etc, specimen pages and in some volumes for use by both pupils and of pictures and text was carefully As the teams of writers/researchers cases specimen books were produced, teachers. controlled throughout the design of began to develop their ideas, what revised and in some cases tested in the whole series. had at first sight, seemed a large schools to ensure that the solutions At the present time the Physical but fairly tidy problem, became were satisfactory. Science course is not far enough Although this article refers mainly vastly more complicated. An developed to comment on. to the contributions made by us as indication of this is the way in Earlier we mentioned the intention designers, th is has only been part of which the balance of books varies of the projects to expand the form The Combined Science project a team effort. Authors, schools, considerably from science to science of the text book. From science to followed the 0-level project and was committees, publishers, editors, and Project to Project. science they evolved in a variety of almost complete before work began production departments, illustrators ways. In many cases the evolutions on the Advanced Science. artists, printers, all made their con Apart from the usual points a showed themselves physically, which The criteria established for th is tributions designer has to consider at this stage involved us as designers. In biology project were even more exacting of any job, we seemed to have a few (O-level and Advanced) the use of than the O-level and Advanced Working on the three Nuffield extra ones. parallel texts for the teachers' guides Science projects. In addition to the Science Teaching Projects has been and pupils' books on a large scale criteria used for the other two a wonderful opportunity for us to was an introduction new in this projects, it had to: experiment with the introduction The nature of the job meant that we country. We had to use our typo 1 into design for education of ideas not only had to consider The graphic skills to bring this to a combine successfully Chemistry, usually reserved for the more Foundation, writing teams, editorial satisfactory conclusion. In the O Biology and Physics, commercial types of design. team and publishers as clients, but level book a second colour was used 2 also the pupils and teachers who to show the separation of practical make it possible, when the subjects We detect within the discussion and would be using the materials. For from theoretical text. Advanced were combined, for the subject interest shown in recent years in example, we had to take into Biology used a form of pamphlet specialist to teach the 'other design for educational purposes by account the age and abilities of the 'Topic Reviews'. These, although less subjects', the profession, a tendency to particular group of children a project ambitious graphically than the 3 consider it a special discipline, a was intended for. Chemistry Background Books, serve be suitable for children of widely type of Utopia in fact, in which 2 a similar function. varying abilities between the ages of the designer can at last really The immense size of the operation about 11 to 13 years, contribute something to mankind. and the short time in which it had Chemistry O-level used collections 4 Our experience of Nuffield and to be produced. of individual pupil experiments on make it possible for the books to be other projects we are involved with 3 separate sheets so that the user used in a variety of sequences, so as shows this attitude to be far from The limit this put on the number of could integrate his notes and find to be able to take advantage of the truth. We have found that one printers, etc. large enough to handle ings and build up his own text book conditions and seasons as they arise. of our greatest contributions to such a job, and the need to use as his studies progressed. Additional these projects is our presence in and several. background material on a variety of This last requirement influenced our our knowledge of other worlds. 4 chemistry subjects was prepared in designs for the covers of the books The resulting restriction this put on the form of 38 illustrated booklets and gave rise to the 'decimal clock'. As the ideas and aims of the availability of type faces, etc. of two-thirds A4 proportion, in It not only expresses the cyclic education industry move towards the 5 two colours. These are used by the shape of the project but is also worlds that most of us live in, our The formats of the books which pupils to follow up certain aspects useful to communicate and draw contribution as a profession can were dictated a) by the findings of of the course in depth. In planning attention to the relevant book come from our unique position of the writing teams b) by the pub I ish and designing these, we laid great numbers. The exacting brief given being one of the few disciplines left ers computerised warehousing. emphasis on the illustrated material to the team provided a great today that has avoided. so far, the and diagrams. As in other parts of stimulus and it is in the Combined bugs of over-professionali sm and A vital feature of the projects from the projects, 2nd colours are used Science project that the greatest over-specialization. our point of view as design consult descriptively, rather than decor departures from the traditional text ants was the unusually close contact atively. book have been made. The major and discussions we were able to have innovation was that the students' with the authors of the material. As Physics O-level teachers' guides make books, and to a lesser degree the we began to work with the teams use of symbols in the margins to teachers' books, were to be consid we became aware that the role we indicate the various types of text. ered as incomplete until the user played would differ from one team On our suggestions the apparatus had added his own notes and find to the other. Through the close co guides were produced using very ings to the printed portion. To operation we had with the teams we detailed technical illustrations which facilitate this the books were design were able to obtain agreement on aid the assemblage of experiments ed with wide margins and punched certain points which helped the with the minimum of reference to holes to fit standard ring binders. projects to unify visually within the text. Pupils' books became As we worked on a suitable style themselves. simply collections of sequentially for the illustrations we were faced numbered questions, to be pondered with a problem in the childrens' over and answered by the young books that we had had no hint of in An overall mark for the projects. physicist. Within the Advanced some parts of the other projects. It 2 Physics, a similar form was retained was felt that having too sophisticated An overall cover design for each for the pupils' books but the an illustration style inhibited the project which worked on the vary teachers' guides presented a new pupil and stopped him from ing formats within that project. demand. It was that the text should attempting his own illustrations. 3 run parallel with the commentary on Another point which had to be An overall colour code within each the facing pages. considered was that within the project which helped to identify the To balance the variations in lengths three sciences there exist certain sciences within that project. In the and importance of the two, it was illustration conventions and require case of O-level Biology this was necessary to set the commentary in ments that the style should be carried a stage further so that the a smaller size of type. With the capable of absorbing. After trials Teachers' Guides could be easily flexibility that film setting allows, and tests had been conducted a identified from the Pupils' books. we used Univers 7d on 9pt opposite satisfactory solution was achieved
7 Double page spread from one of the ."'-,,',M..,. __,...... ,_ ...-_,. _,.__ ,...... ,. , ,...... ,.. ��""::;:!-...... ,- ,,, ..._ :::.::::!t'"l::,:::.::=.�.:.t!..': ·--...� ...- ... "'·- _J.-..i..,- ...,...,, _,,__ ,..,. __ ___ . Chemistry background books. -..- :::.:::::-::�-.-�.:.--=--� ___,.....,,,, _,..,... .,._,;-...,_.,,_ .,_. ::""'-!-'...=-----.....--... _,, ._ ,_ -··--.. ,..,,._,. __ .t -"'r,._,,... ..,,...,______,,_. ,,. .."_,. Throughout the projects great �..... �.""-.c _..... , ...... ,.. _,,_ __ .-._.,_;_"_f ..,._.., ...._ ...... � -.__...... _ :::.r:-;.:.-=.::.·:--�i:!':':::=.;:: --·- ,.,,., emphasis has been laid on illustrations ....�·--.. ·--··-··-- ��� .. ;�:--- "' .. -·..,_ .-,, .,,_..,...... _,.l".,._ ...... ,....-, .. .,,_ -�-- --...-·-- �z:..:::::::.-::=:__ .,.._..., __r.-r•-- ==�:::1::�:�.;-:;.,_.�� and diagrams, with the second colour ...... ,. ___ ...... ,.- .....,...u.- 10..-- •-"t-<""'I••_ .,,_,,..�...... ,,... • ...... - -�---,_ ..... - ...... _ ___�-··- .___ ...... �- ...... " ...... __,.,_. ------·- being used descriptively, rather than -� ,----·-·- -� ..- ...... _ .,.-_...,..._...,, ...... :-:-:-:-����:-..:....--:-.:..:.-::.::- decoratively .. H._,,,..., ,/ ... �,,11 �-_.,___ , ..0""1w.- (, ( � j ,}��, �fil--�'). Pages from the O-level Physics teachers guides. At the suggestion of the designers, apparatus guides were prepared for teachers using detailed technical a------.:, illustrations to aid the assemblage ,;;a,;,===a.-- of experiments ::C..-"------:.:::;:.·.: �-e;> LLJ��
Covers. for teachers' guides for the Combines Science project. The books are intended to be used in a variety of sequences, so as to be able to take advantage of conditions and seasons as they arise. The 'decimal clock' design attempts to express both the cyclic nature of the project and draw attention to the relevant book numbers
An innovation was that the students' books were to be considered as incomplete until the user had added his own notes and findings to them. It was felt that having too sophisti cated an illustration style might inhibit the student from making his • • own illustrations. As a result, the " 1 drawings were carried out by an t t- advertising art director, someone FL, ( f. who used drawing primarily as a � 1 means of communication, rather �-�'57 � _:__j,/ than as a form of self-expression • • �� ,__ ,,
8 Our next issue Design education will be the theme of icographic 4, and the same issue will be devoted to the role of the designer in education - a role that is taking shape in various countries and in many forms
On this page we show the cover and some pages from My Mum, from the Learning 4 'Breakthrough' series published by Longman for the Schools Council to See of Great Britain. My Mum was written by Pamela Schaub, David Mackay and Brian Thompson, with illustrations by John Dyke.
The other illustrations are from the Looking and Seeing and Learning to See series, published by Longman and Van Nostrand Reinhold. These are variations on the theme: here the designer is his own author. Kurt Rowland, who won one of the lcograda awards for the best de�igns for education, will contribute an article to our next issue.
c,_., 2
,,.._,,.., ... .,,,_,.._D __ ...... , ...... i lNbffl-ol ...... �--II""•...... ,..� _-·- ..,,_,n,.,....,,.,_,,,, .. 11,.-...._ .... ---� ..-11 .. ,.. ,.,. ... tt.a N.,..IM .,....,...to.....,·- ·-""'...... "'"',mol "' ·-1hodo•..,�-,..,-,._,.,,.,n• - ....y ...... _...11« ..... ,1 .. ,wnp,1o....,._c_d,,..,,r•..,.• __,... . ,.,_..,.c... -tAM,...,_"_ 11,,.,______, • ...,...,.. 1 ...... ,.., _ _._..,._IMl,cyrwcl ,._,_ __ i,,OO..oe• "'--"9-••• 2 my mum is big. w.,...... __ , ,.....,�.-...... -ed __ "'1n ...,.. _ _...... ,,,, W•QJ,,,Q. , ....\o,,�-,,..,...... -i,.,..,,..,._....,..._ __ .. .. ,_ .. ,,,.d< ___. ....,,_ .. � ._...... _ .. ,�."'- -r. .._ ..... , ..... --·---� 1t>&KJ1<1•.__ ... ,,.. 1.o...... , ...... _...... , .....,.. . l...,...... , � ';',!'::::::;::..":'.. ·.:-�, .. I.M!....,-...... �., me,"" .. _ ___.,_.,.,,. c,...,«.., ... ·•rt-, lotflt,,,.0...... °'_ ...... - .... ¥0.,e,.on-.... ,..,.,_H_.._ dN,lf"'lhodu"'"'II ''-"-"""""'tlty!- ... -""'V'"'l..,,,_,_ -""'°"'"""-"'-"""'"¥ ...... c .-o1 ,"'-'""'' IONC,,_lr,lhelQOv>..,11919'1! ... "�---"·""·---� 9 Designing a periodical for Peter Burnhi/1 is Head of Design Figure 1. Category 1. Department at Stafford College of Text set to 23 pica ems maximum; a variety of textual needs Art and Design. He is a member of references set to 11 pica ems the Working Party on Typographic maximum Peter Burnh ill Teaching and a founder member of the SIAD/STD Typographers' Computer Working Group, one of whose study groups he chairs A rational approach to designing for a variety of textual needs is being TyP"' 15i:ui, a t.yatc1n of diniensio,ul refereocll',. fostered by the growth in acceptance t:mes1 find, .,n,I .\l.111n, ,· ,;,,1, 1it1.1t of A4 as a standard size for documents, The key to this approach must lie in I),,. 11,,�1.,.. I'!,"• •.,!" l.•J • \ ) .j ,,.. •· " ,, '!"' ,,..1 ,., I ,.tp-.,,.,1.,c,.J,ll ..i,,,1,..-,.1 '(;.1,! the study of the relationship between the inherent structure and use of language on the one hand and that of TI,c,...,,j('(,l,i,,ll,...,.,...,._.1"'"·,1•"' on,11,r,-, <419,. the structure and use of processing mf'cUuf..,00:•'" "'·" Lu,.. . J tJal 11,r ,, , I, •r, ,.,1 � ...it ,,... •• f•ongr;..t. . lfl l'•,I 1,,,,..,•..., ,..,1, .. '"'"'�,.,. 11M-,, I �"' systems on the other. ,,.•,.,u,tu, ,t,,.,.,.i ,,·t..,o .a .., ,,.,1., .f,n·,..1111 I ..t•� ,f , It- ,•i•rt,,..b.,• .,.,)'lrm<.J,,., . .,..,, .,., " ,. ·� ,,,...,,. 11 • \n,d,... \,...,."·'' l•"-'ll,"r,Jl>..�,I"'" 111,ht - •• 1 II t, I, "•>f\•IIC<"uonl,,.,.... "'"'''1,,.,., ..,.,r'"l!"«H "1 In his editorial, Davies says, " ...we have attempted to provide continuity of reading together with /:,' ease of reference for a wide variety I of articles ... The papers seem to fall into three main categories: texts with occasional diagrams or textual reference, or both; 2 comparatively short pieces of text interspersed with diagrams; 3 texts with neither of these items". Davies then lists some of the decisions he made for the dimensional co-ordination of parts relative to these ,,,..".,h"r11 ...,s, .. 1 •. 1, ..,1, , 1,.., ,, , .., .. td, .. ,.... t, h, .,,,..,1,1. c,"" major subsets of the total problem. r""",>,t!,.. ,..J ,._,.,,. t � . 1••1••-�•I An example of the result of his thinking about each category, and of the relationship between each, is illustrated in Figures 1, 2 and 3 respectively. Mfr.u.-"'I r.,.,,1.,.�1.. m ,,r.. ,,,� 1n 1!,11 hotd' . lhl! u�ll, ..,� (:.,,,(l,\N>n1:.J> fl . , ...,,.,.-.,i:1,..1 '" 1l , ,., .. 'ft Binding: loose leaf with plastic slide. I .,. J;�I,,,.,,.., ,1,,,,.. , " , .-.-.. 11,..- r.-n u�I rlt-m,·:'fl• .,.,i.,·•nl .,.,1n,,,1,..,r,.i,,- . <,-hu,,.,I J, 11.,,, y1 �.. �u,, ,1 .J,-...-n1,,,tlr '°""'"" ,c,1,..,,1,1,,,..� .. " t11lrun.,fmn,,J. ,,., ,... n-rt"'111 11w•,1now,.1 ..-u,ni l'lku1t>,,I n,.,c1.,,....,...,.,:1,rS,,,an1,.,1;,,..,,.,.,,. "l u·,�n...... ,,..,,.,.,1 hrrrb1..,,.nl> '''•'"I··••""""""' uf,c,.it\ lllni. 111C',..1,,..,�,n n r.11-..,. • 1.u11,,L"\) ,t1t.r�,,,_ 11 �• 11..- hlol'I i . ,, ,..1,.,.,.�,1 1,,..,. ..,,,.,..,,, ....,.....,.,nn, .. ,1o, 11,,.l ,.,Jt· •,�r ''"" 1,(1.llH � Al l>•h 1ppf,,nl, .,, I �, 10 The alpl'Llihd "'"" ,,-..dr�"'n •L,;,,,1.,,. 11,rh.-. lui;h• .,,,h,1.,. ,.:,.,•"C.. ...nr,...tarm, 1 t.l.o,1h 11'.1,1w·�u,'1)}t' ...... -.. .,•• ,rd.KT,l ll'\ ..,,...,"t.ul'tl.:,...-,�,.._., , 2 Ll.rn,..n1n,,.n--,,Of"'•,(Jrr-.,1ntlr i�roul.1.. 1usll lor11t·,eo>n1.a,r.nl ...... ,..,.,.,.,., • ,.. . 1 ...ve tJ,,. f�I ...r,-. ...11)" 01"',..J"'"'I� """"" ....,� ... 1 ...... 111 n...... " ll>CM.. ..,.., , J 1hrj,ort,cuc,nol11n,.f\ In ;all r,o-,� 1e,,;t• ott Wlll rr_dr ,:.,1 11l �r•iod•"'1 i)!>UI·� ,pt,; 11�••• 'f""fad. t" ,,.;,«I"•(11 r MMJ.n.,b.,,h ll"rl "' "" .-�,.k lll"'lllf- I 1.-,,.,,i . .,..,.,ld...... , ... ill,., ..-�1•,n 1<_11.,,.. ...,.... dt•ic•wd .,,u,utMn mMir>d c.r, tlw 1C'UC'rh ;,. 1c',,u.,u i,,,h., h, "· q, flf, t.ut '""'" •m1""·1;,,1111r, Ii.., p/,}-,.cal ld!\Jtu.cl"'""Id i,, I [;,,r�Ulnll d,o ! "" 11>(" 1 IKl'-YI .!wJI!' ar.d fill,...... _,.At 11.. ...,rn,:,t1111 ... 11,,,, lrur.-. .,..,,,Id b,n:.,.nrJ,{t 111ly , .,rtdtN.cd, "'i1h ._c •I"'«' 1lirn,u, ,t,,....,gbthem """",.,.,,�t ,n Uru"""· ·1'ti,. ..,a,,JJ l,c ;,,,.u,,. ,...,.., ,,. IC'Uf'I" ••,rh •• tl,.c •• ,,.....,,..,." W'>t.ld..._,1,..., th.t-m ·'l'f"'.)t kv cr-•l""G, hut 10 � ,._M,...-.o,:1 1�it,,,o.(k ,.. 11 T1rfl"'C111K!'M-c"oo:Jl... ,c l"l!'l'n.,.dt>rv>rcnpo-n . ..,11 .,,..,_....._uy 1.,..,1 ,.. ,.,1 ..Jb u'nm... 1 ,,,.,1,.,..1,, l,c; .1Df(l,-1ItilllllC'r 1h.m IM,,iv,,,t,o!. \\h.-.. ,,, ·drruw;1t..- ,lft,,m,,!1h,.,l,,.. .. ,••. ,.,..,.l1!)ff" Ol'ICOI0\,._-.1,d"'111lotbo"lolthf .:vtl\r'>u .,..,_...,.,.,.,:,, 1,>¢ �"'""kl t,..,;J«��y -ll ,rrl,,rk11(r, ..l,id, h.. • i., tfi.,. . a �11.n.1 1..-,,h, .,t.cio�,.,,! ..-m1., 1hc ptf'l.'""'�'Nl' ,i,,. n..-,rlu,.. I """"INl'"'"'"••.... •w'"l'll• fu1thn-..n>l"Tld"""11h 11oc.,;t.a111 1t1od•1·•1 . 1., ,,.,1.,,,..,.,w,,��11.•l•lrill"•'"1"'t, al.....,• .,.,_.r.,;o,J,,,_,,..t.f,1f"'!IINup..n.dt.1,..., p'i<-•ncr•p l>i,.,oU),.-J..,.Nl Thcdeli�n,.t•�rni,olt'.c ch,1,..,1r,.,.. the l11n,t,c,NI rtl>··�•>b,P b6"'ff'tOw, 1yp-z10"'.-r,.,.. 11.o.,,mt ,1m,,.1 1u >1<\fl\ I �,,,.,..irfNI.a ,....,• ..,.1 .. w1",�"' t.,tl,r proi,rm N tt-.r � ...,., ,,..,. ,c.,..,,, J tl<'-Mk Oesig-• in comnnu,ic-ation f Ln.be Ro,,,,ocl" 1he l}i_r"11:,r o rlw- l)(it•m•n11of :Sll'dt.-•I111-r.uv11 111the S91 1Jt �tkh,rc: lla.p,u.lCmutand 1t11huQ"',mu11 1h,rIM lrtt'"'"'"' \l..d1r.otlanJ81�M:•IIU_.1tdUOII Ind,.,,111 1,tlttonm,1111 11 ..lo(ln r!Ott'lnut mo,• 11tr, .....-u h»1.ucon.•rol...... ,"'ll'.o.p" ,a,l ..11)1, ,.-1.,,1,,.,,..._u,cll,1n..-ql,c,"'"'"'. . �... .,,...,,,1,,,-rr(.,,,,,.,.,.,,.. , .f,.... �,, hm,,ara1hc,J>UU..,:t,(lh,,,.,hu,idc,.. .aiw.l ,i.f t..,..i1... 11a1io,a um.wif ,ot o!w ,,.,,, ,1,., ,1� 1 li..�lnJ,r,: (r,..,..(MW'pc:00;t hoano1ht, �.. �lly WC co.NIIIN1611K;l1(' by litr -.IIAn, .,'l,ffl In 1l1rf.,,11..t lttlutt '"""''·�• '""), h r,1 ,.., .,,1,y,-..1, "'-'ll""l"'hocbm,1)l..-1ho- .. ,.11"' u..,:d-...... Jly 11.,La11011J,I.-. """tt.. "�,ni11r Cll( l"N:L d...,�tt1fll..clrl,y..&,.,,11.l..-,\•4,r, """ll<>...,.1t:r1l-.e.. t.,kuiin,r.,,,. • ..,,J,t 11... rnnc,t 1...,, ,J,hrpl•••�-.,ud�,� JJ'*' l.a 11 Penguin paperbacks Germano Facetti is a member of Alliance Graphique lntenationale. Germano Facetti As art director of Penguin Books Limited he was responsible for the well-known Penguin restyling programme It is debatable whether book publish 'desirability factors', the provision of French, Italian, Russian and Spanish ers should or should not have a a visual frame of reference to the novels, with the original text facing corporate identity. On one hand, the work of literature can be an addition the translation. Penguin Associated corporate imprint is in itself a al service to the reader who is Television Series contains the ,\11\Xl,\1S guarantee of the publisher's quality. without immediate access to art dialogues of famous television The success of Penguin Books should galleries or museums. language programmes. dispel any doubts about the desirability of a coherent design The Penguin Modern Classics are a Penguin Poetry evolved to the approach, ranging from the logotype parallel to the Classics. The present wrap-around image. The right down to the last piece of mail transition from the typographic grid evocative function of the painting • order stationery. On the other hand of the first cover displays a reinforces the discreet Helvetica there is the widespread belief that withdrawal from the typeface titling. books should receive 'individual' scarcely apt for incisive display, in treatment, compete visually with one favour of Helvetica, to create a more Pelican Books are the layman's non another, promote the author today integrated relationship between type academic University. They are 1-2 and the title tomorrow, accepting and image. designed to interpret the content of 'conventional' marketing techniques. the book by 'complementing' the Penguin books was a meaningful The Penguin English Library marks title with interpretations that range exception to this belief because it another variation of the typographic from the symbolic to the consistently proved that a flexible grid for the Classics. A corporate diagrammatic. identity was an asset. It is therefore identity seems desirable to underline possible to assume that an indispens the unity of editorial approach and Peregrine Books are a series of ible factor in evaluating design the marketing requirements. The critical essays. They are part of the choices for book publishing is a selection of details of paintings is in Penguin family, distinguishable by disciplined framework of design with every case an exercise of fitness and their format and different typo a maximum of flexibility. This is not impact balanced against adequate graphical treatment. to be interpreted as providing an readability and publisher's identity. escape for an eclectic or decorative whim, however necessary that may be The transition from typographical to for some books, but as a method graphic design is reflected in the which to a degree reflects the collection of Penguin Plays, where corporate identity of the publisher. colour variations in horizontal bands and a special logotype establish a The distinction between Design and recognition factor for a reliable Art is found here at a peculiar cross series of texts. road. It is in their interpenetration and interdependence that the solution Penguin Fiction and Crime used of the contradictory wish 'to have a artists like Andre Francois, Milton common identity yet to be individuals' Glaser, Peter Blake, William Roberts, lies, if the 'design' be immune from etc., and photographers and designers local and provincial fluctuations of to interpret the mood of modern fashion, yet still able to contain and novels. The graphic design is some integrate any art technique. Only then times varied, yet retains the orange would a symbolic, decorative, or green key colours necessary for diagrammatic or-documentary identification. approach be annexed, but with a common communication factor. Penguin reference books and Not all the covers shown here are dictionaries show that the early thrilling from the point of view of design was timid and lacked impact. design. It is much more important It was in need of sharp focussing both that Penguin has established a high on the subject and on the house standard throughout, rather than image. swinging from very good to very bad, 1 Jan Tschichold cover to cover, as almost all other The Penguin African Library is 2 Hans Schmal/er publishers do. Such efforts on the another variation within a graphic part of publishers demonstrate that discipline. The brown fascia at the 3 Germano Facetti/Andre Francois for them at least graphics is reaching a top of the book cover identifies the 4 Germano Facetti point of professionalism, and is over series and the bottom part identifies 5 Germano Facetti/Gustave coming the arty-crafty approach of the book. Caillebotte the single beautiful achievement. 6 Henrion This is not to advocate that a The Penguin science and techno 7 Germano Facetti thousand mediocre covers are better logical surveys do not need series than one good one, but to emphasise identification since they are 8 Germano Facetti/Andre Francois that striving for an over-all high published once a year, superseding 9 Germano Facetti standard is worth the sacrifice of the the volumes of the previous year. 10 Germano Facetti/Paul Nash ivory tower. 11 Henrion The Penguin Specials are topical 12 Germano Facetti In 1961 the restyling of Penguin pamphlets covering contemporary Books had to deal with an established problems. Their design has to reflect 13 Germano Facetti/Pablo Picasso image in facing the problems of impact points and familiar features 14 Denise York transition from the 'typographic' to within a Penguin framework. 15 Stephen Russ the 'visual'. 16 Bruce Robertson Penguin Handbooks cover a field as 17 Massimo Vigne/Ii In designing for classics, it was wide as from Cookery to Chess. The assumed that the majority of great design balances between the 18 Germano Facetti/Paul Gori works of literature have inspired 'descriptive need' and the guarantee 19 Denise York works of art, or that works of art have of Penguin's imprint. 20 Stephen Russ been created with a bearing to 21 Bruce Robertson literature. Besides the obvious Penguin Parallel Texts reproduce 22 Germano Facetti 12 Penguin Fiction and Penguin Plays Penguin Modern Penguin Science Penguin Reference Crime Classics Surveys Books Penguin Poetry Penguin Originals Penguin African Library Penguin Classics 3.7 /\ penguin modem playwrights·2 \ '\ t DAVID PINNER 4'6 , 8·12 .. () penguin modern playwrights·I 61 CHARLES DYER .. '"r ch ••• Nl\lllp� STAIRCASE ••• �- � • • ·,.� •• ; -� • � • e ••••••Ce e • o;.$£iel "'• .,, e-..i ,,. .;�-;.ir. :., r / r ,,. /. • � ,._.,.,.,.r."""'1"'c..-,,,r .nm.,..n11<1 • i�r�llf-�I., Ao H�•,,.JOf, 11o1,o R ._.,f U.Jr1n, ... JI. ••... 13-17 �rownin�, 6 0 ussR Plays Unpleasant Widowers' Houses The Philanderer 1 Mrs Warren's Profession 18-22 0 Robert Graves ,. ' Pengu1n(J0Cloaa1c1 ----�MICHAEL PSELLUS FOURTEEN BYZANTINE RULERS 13 Designing and producing John Miles, a partner in Banks and Miles, London, discusses experiences a consumers' association with one of the periodicals for which magazine their practice is responsible John Miles The notion of technical and logistical recognised that the object is not to illustrations have to be prepared considerations limiting the· designer satisfy the designer's vanity, but to before any detailed layout can be is commonplace, but to what extent get the information over to the done and, because the subject of the Julv 1969 does editorial policy influence design readers within the editorial concept, illustrations themselves may be in and how far should the designer try while pushing all the time for the doubt, opportunity must be given to Which? to resist and remould editorial design modifications which are change them at a late stage in the attitudes? essential to the progress and life of make-up. In order to do this, an the magazine. underlying grid is imposed and Which? the magazine· and the main illustrations are scaled to a few public face· of Britain's Consumers' In considering the design problems of standard sizes. Similarly, type Association presents an interesting such a publication, the designer finds measures are kept constant. This may case of technical, logistical and that he cannot limit his thinking only appear elementary but they are editorial limitations interacting upon to visual images; for although it is strictures which have grown naturally, each other. these images that the reader sees, the not from a design theory, but from total problem of the whole product purely practical considerations of The Consumers' Association is a non must be included in the design ideas. time and convenience. profit making organization which depends for its income entirely on For instance, 600,000 simultaneous The need for accuracy and the desire subscriptions to the monthly direct mailings means not only half a to be seen to be fair, also militate magazine and its three satellites, million wrappers, but as many postal against the free use of graphic Motoring Which? Money Which? and charges. So the weight of the paper diagrams. Not because the drawings more recently, Handyman Which? must be such that the magazine does are imprecise, but because a simple There is a monthly run of about not exceed the maximum weight for diagram is often a relatively blunt 600,000 of 32 pages of basic the minimum postal rate, otherwise instrument which would need half a magazine in black and one colour plus the postage costs could jump by as page of footnotes to build in all the 40 pages of one of the satellites. much as £30,000 per year. shades of meaning which it is felt Delivery is always by direct mail; it Considerable trouble has been taken necessary to spell out to the readers. cannot be bought at bookstalls. It to produce a paper that is tough A more fruitful application of carries no advertisements other than enough to run through the web, diagrams has been possible in Money notices of the Association's opaque enough to minimise show Which? demonstrating elementary publications. through and with a surface good financial and taxation concepts. enough to give a decent halftone The editorial concept of the magazine result. Tabular presentation, on the other is one that has changed only very hand, is far more amenable to last gradually over the dozen or so years Web offset implies certain limit· minute alteration and efforts have that Which? has been in existence. ations which are frequently pushed been made· some more successful The original motives for the organi to the limits by the good quality than others· to make them at once zation itself will one day probably achieved by the printers (Hazells immediately comprehensible and make a PhD thesis in social studies, Offset). Nevertheless, too many big instructive, in detail, so that the but it was clearly imbued with the solids have to be avoided and some· reader can choose whether he wants English 'puritanical conscience' and particularly earthy · colours, tend to to get merely the gist, or mull over left wing resistance to laissez-faire lose their brightness in the flame the finer points. commerce in the fifties. There are no drying process. doubt many who do not have an The text itself is usually written in immediate need for the magazine In order to survive Which? must the form of a continuous prose itself but who still subscribe on the maintain a very high degree of narrative. There are times when the grounds that such an organization is accuracy. Words are weighed carefully designers can recommend variations worth supporting. There will be a few and an ingenious system of checks on this; for instance, by presenting who would feel that the publication and factual verification is built into comparable facts as tabulated might just as well be a typewritten, the editorial process. This means summaries. !duplicated sheet, but clearly as that information and data may be Which? has become an established changed up to the last minute and Which? is not a glamorous design institution, exposed to the pressures corrections can be heavy. For th is product but by its very limitations of the market place as any other reason photosetting has not, so far, it often acts as a spring-board for publication, more sophisticated been considered suitable, although design ideas which, in more generous techniques of presentation have recent advances are promising for the space and circumstances, might be become, not only desirable, but a future in this respect. The type is set neglected for more colourful and matter of survival. in hot metal (by Shenval Press). spectacular solutions. After galley and page proofing is The editors and writers are usually completed, reproduction pulls are successful and highly articulate made which are used as flat copy graduates trained in the literate but, originals. f:>r the most part, visually superficial techniques of the universities. The So that proofs of the illustration designer's problem is, therefore, to positives can be ready in time to paste persuade his editors' of the need to up with the galley proofs, the-artwork apply certain design principles to the has to be put in hand some days presentation of material. For th is before the copy. This means that purpose the "I'm the designer and I while a first draft of the accompany like it" is insufficient; reasons outside ing text may be available, the final aesthetics or taste will have to be copy rarely is and certainly data will advanced if major improvements like not be sufficiently firm to be incorpo unjustified setting ('it looks like rated into any but the simplest charts blank verse!') are to be introduced. and diagrams. This discipline may well be beneficial, as there is less So, at this point, the designer finds temptation for the designer to indulge himself slipping unexpectedly into his fancy in elaborate diagrams which the other crafts of diplomacy. But are not immediately helpful in telling >nothing will be achieved unless it is the story. However, it does mean that 14 ...... _ ...... , ...... -- ...... _ .. , .,_.,., - TAXATION .. , ...... ___ --... ""_... 'I M.,....�CJ:Wl"MlfDl-,r,,.,.t"h' --·------·-__ ...... nocd h«-a�,_,,_...tiQtll� ..,.-, at-.,t -···-· - - ..,,crori1llul•MIUC\.i,m-• (;WI-.C.0\10 ::;.;.__...... ,i,�,.,tocv.,• ..,..,1«10,,"1� ,- ,!a nl'(<)"'M>lal""""""'.....-t>a - cch<4,l,ed1,nt>e1�•''"'"(1"'l,,_..,.., o,..v,t,.r:1'1y0;Jh.,_C!OI-IVIP.W•"'Dt.M Haw"""-hll..,n.do�c,n�J' .�.,.,i1,fM'C�ll'u.}10"bul ...... ,11 .. ,,,,11111, .. 1 ., .. .,...... _..,., •••••••••• 0..A� ... , ._,�.,u a�• .., V �"!f"M>i ... , s.,._,._n,t,_ · ,,,, � .... I ··-·-··,1 ...... - I f ) '. ,- ..,. I \ Double spreads showing three Top illustration shows a spread from variations of openings to reports the magazine Money Which? from Which? magazine The three-dimensional models were used to demonstrate financial concepts. The doll figures are a 'tax family' used later in the same issue to illustrate tax allowances for children etc The lower two illustrations show presentation of comparable material in tabular and summary form A new Hebrew sans serif Asher Oran is a freelance graphic designer devoting part of his working for bilingual printing week to the Graphic Design Depart· ment of the Beza/el Academy of Arts Asher Oron and Design, Jerusalem In combining any two languages into the type face cut in 1488 for the one typographic harmony, the first printed Hebrew Bible. So while designer will have to deal with copy the Latin alphabet has taken many of different length (representing the shapes since the invention of move same message); differing in the size able types 500 years ago, very few of the average word, sentence and variations of the Hebrew alphabet paragraph; and differing in the exist to allow the designer flexibility ::r*° -� T� '?,'1r? :r�\to'� :lJ:;;':�¾:��, incidence of certain letters of the in the shaping of a modern type face. alphabet, characteristic of each �·�N i1�';;) language. With all these considerations in mind, \:?-�-��: J?.����� ��� 1?}• the first decision to be made was the In combining the Hebrew language choice of a Latin type face, for with any of the European languages, which a Hebrew equivalent will be there is an additional problem - the created. Univers was chosen both for iN t::1"'1"'e'l1i1 p:i ,t::1�i11:i t::1iNi1 ""M 'i'e'iN:i use of two alphabets different from its visual merits and the wide system each other in almost every possible of combinations it offered within way: Hebrew is written and read in one integrated visual concept. �r.,, ;:t�;;,�ti1�1;"1 ;i_;r,r�-��7r.,_::i�,;� �WN"'! �.V "the wrong direction" - from right to left. There are no caps in Hebrew, Next, the level of alignment between and only one ascender, compared to the two alphabets had to be decided illilil nllJDJ OJ j7JJil )W ll'lltlj2l'lil N'WJ? the seven in the Latin alphabet. upon; the lack of caps and ascenders And while the number of descenders in Hebrew and the square form of is the same (five), four of the Hebrew its letters could indicate the align descenders belong to "end letters", ment of the Hebrew x-height with used at the end of words only and, the square shapes of the Latin i,::� ri,,ri umm t,�, ,�::� ,0,,:: ��:: }',::u, therefore, appear less in the text capitals. However, this solution has than the descenders in any Latin two drawbacks; it looks untidy �� gu�i.lit.Ov J••�i.liO text. As a result of these facts, the visually because the Hebrew descend n�•tq�,-,.�'? o•s1 Iine created by the x-height is very ers and ascenders protrude, and it is emphasised in Hebrew. On the other functionally I imited because of the ")::l .Vr.lW hand the caps, ascenders and lower readability of caps. n,,n wit:Jnt,x, ,.,:ix ,o,r.l descenders protruding above and below the x-heightsof the Latin line The Hebrew type face was therefore n,,n wn,n ,o,,� 'll!l s,�w make it appear larger in size and designed to be used with the upper 7k, 1"!lk heavier, compared with the Hebrew and lower case of. Univers with of the same x-height and thickness alignments at x-height of both alpha J J.nJJ.JN1\U')J n11n n.)n').) nJ')nnJ. of strokes. Another difference is in bets. For smaller sizes, an optical the strong emphasis on the compensation will have to be horizontal strokes of the traditional considered for the lack of caps and cn1r.l�',)) Q')):JNi1 11i1N N�l1 7N1�') '>):J Hebrew letter form, that is basically ascenders. For display sizes, the square, compared with the thicker exact match of x-heights seems vertical strokes of the Latin alpha adequate. u� 12£11.l :u:�N 1.:2n,, i1'i11 1.l'.lD 0'l1'�Vi1 bet that is round and "softer" visually. After these two general decisions 1 And finally, Hebrew was for many many smaller problems were solved, lDN n1m wrnn 1Nl T:JN 1010 ]:J DOW generations a language for prayer such as the "rounding up" of some only, and although introduced very of the Hebrew letters to bring the early in the history of printing, few general appearance of the Hebrew n,1n WlDn .,Nl ,·�N ,onl 'l� lJDW basic changes have been added to line of type closer to that of Univers, or the designing of the numbers at Left hand illustration: The top two x-height, so that between them the lines are from the first printed two alphabets, when combined, will 1nnno l.liJ1Pil lJOl.!Jn I!) 10>< ':J1p�1 JJ. l.lOl.!J Hebrew Bible, published in 1488 by offer the choice of numbers aligned Solomon Soncino. either at x-line or cap line. The following three lines are from a 1nnnn »iJ1iJi1 un\!ln I!>111>< 'lliJl•Jl »n\!I cata logue of Hebrew type faces Finally, there was the danger of too published in 1924 by the H Berthold successful a match between the two Type Foundry, Berlin. These three alphabets, thereby losing the Hebrew 1 inn 1JjT1i7il Dnl!lnl!l 1nx 'niil 1J.1JDl!I type faces (allowing slight variations) characteristics of Hebrew letters. probably represent the basic type To stress the most obvious difference forms used for about ninety percent between the two - the opposite lliTliJil lml!lnl!l 1DM Tii73"ll lllll!I of all books, newspapers and other direction of reading - the vertical forms of long texts, during all the strokes have been pointed slightly to 500 years of Hebrew printing history the left. This emphasis of the )IJ �j)lj)il lJIJWJ1 l'JllJN 71j):::2 '):::2 �IJW up to this day. direction of reading increased read The next nine lines show type faces ability and added to the modern 1 designed during the last 40 years. type forms something that is I lJjJljJil 011\!Jn 19111N 11jJ::l )::l lJO\!J The three fonts of "sans serifs" at basically very Hebrew. the bottom have been developed during the last decade. The first by ::>,iJilODl!Jfl lDH 1iliJ:l'l:l 11Dl!J Yerachmyel Shechter, was designed I!> exclusively for El Al Israel Airlines. 1 Zvi Nark is designed the following iJil ODl!ln I!>lDH '11iJ:l l:l UDl!I font for use with Folio caps. The author's type faces (last four lines} were designed for use with the upper and lower case of Adriar, Frutiger's Univers and are described on these pages. 16 _I - i1:i�1uw illll!IN,il,nNT n•,:iun1N This type face,the first TnPn:i ilDNn1il,n1'Jpwnilu:i,N:i in Hebrew to be available .n•1•0'1il a,:J.1111 n,Ta a11 l!J1n•l!J'J in four weights, is also n1,:J.1J n1Ml!J illll!JM,il DlJ!>il nMT the first designed specially 1J10'1 n•::i 11x::i 111JlJjJilJ11'111x1 ilnxn1il to align with the lower case o•ooiJ01 ,IT .�::i H ,-rnl'n::i1n•x11 1\!J lJ of a Latin type face, for use 1 n1 n1N::2 WIIJ'Wil Dil=:2 ,D'JllN O11)1\!Jl n together in bilingual printing .JllN'liJ=:2 ,IND �)01 ,=:21=:2 (caps) JlllrT)il of extended texts. The Hebrew alphabet has no caps The experimental fines above and only one ascender. On the demonstrate the alignment of Oron other hand, the traditional Hebrew Light, Medium, .Bold and Extra letter form is squarish. It would Bold with Adrian Frutiger's Univers therefore be natural to try to align 45, 55, 65 and 75. the x·height of Hebrew with the In designing the new Hebrew type Latin caps, as in the alphabet faces, both the traditional Hebrew ecnolp10ln111 designed by Zvi Narkis for use with letter forms and the modern shapes Folio (left, second line). of Univers had to be kept in mind. This solution, however, looks On one hand the rhythm and untidy visually with the Hebrew contours of Univers had to be ascenders protruding, and limited adapted to, and on the other hand functionally to short sentences, the letter forms had to retain their ECNOLPl!J77JllJ readable in caps. legibility. These two visual direct· In the author's solution (left, first ions were often in conflict. line), alignment is at x-heights, with How far the designer has succeeded ascenders and descenders of both in achieving compatibility between languages of equal length these two alphabets, is for the professional eye to judge. The illustration at left shows the Since its issue three years ago, this differences between the two new type face has been used in alphabets almost every possible medium, size and dimension, in print, sign, Jl\!JliI�!:>lJD]01)10nT1iTTllX exhibition and television. Could its Y'llD wide acceptance be attributed to successful design, or does it point towards the filling of a serious gap abcdefghijklmnopqrstuvwxyz long overdue? The obvious height of numerals in a Latin alphabet will be the height of caps. But as Hebrew has no caps its numerals will look more natural at numbers 2359a•,!>an x-height. As can be seen at left, the short numerals can be a useful alternative in the combination of or numbers 2359 a•,!>an both alphabets 17 Language and readability Tibor Szanto is art director of Magyar Helikon, Department of Luxe Tibor Szanto Editions, Budapest Les maisons d'edition hongroises ont organise pour la sixieme fois en 1959 un It happens very rarely that a typeface ent effects in an English or French concours et une exposition sous le titre ,,Le plus beau livre de l'annee". Les resul combines in equal measure the re text, with their many short words, tats qui ont pu etre observees lors du concours nous donnent )'occasion de mesurer quirements of good legibility, formal than in Finnish (which is an nos taches en vue de porter la production hongroise de livres a un niveau vraiment beauty and adequate reproduction. agglutinative language). The text picture is different in German, where artistique et nous permettent de fixer le chemin suivre. Quand nous parlons d'art If, in addition, a typeface suits a equally the requirements of polyglot nouns beginning with capital letters en ce qui concerne la publication de livres hongrois contemporains, ii s'agit de texts, then we would be able to speak alter the visual effect, and again in definir avant tout notre principe fondamental, savoir que le developpement des a of a perfect letter design. nordic languages -eg Dutch -where arts est le resultat d'une synthese entre ce qu'il ya de durable dans les traditions the linguistic characteristics are et Jes conceptions modernes conformes a la vie actuelle. Applique a )'edition cela The demand experienced throughout represented by double vowels. If, for signifie la synthese des traditions classiques de la typographie et des nouvelles the world for more and more beauti instance, we set texts of different expressions de la forme. ful books and newspapers clearly languages, we see from the various raises the question of printability. Monotype Roman typefaces that not .,The Most Beautiful Book of the Year" exhibition, connected with a competition However great the possibilities offered every typeface brings out properly for that title was organized by the Hungarian publishing trade in 1959 for the sixth by offset printing and photo-compo and characteristically the rhythm of a time. The high standard of the exhibits even on a continental scale afforded a good sition, it will be a considerable time given language, nor offers the best opportunity for taking stock of the tasks facing us in our endeavours to raise before they supersede the classical and most readable, visual picture of Hungarian books to a truly artistic level and for attempting to outline the path forms of printing - printing by letter the text; nor does every typeface we are to follow in order to advance the cause of publishing artistic books in this press with handset types, mechanic serve the orthography of the language country. Speaking of contemporary Hungarian book art, we should at the outset ally composed types. electro or other in question to the best advantage. define its fundamental principles, namely, that the development of the formative plates. There are, and always will be, A typeface which has an agreeable effect in the case of an English text arts lies in a synthesis of time-tested traditions and a modern approach expressive kinds of newspapers, periodicals and would give quite a different visual, of contemporary life. In respect of books, the traditional techniques of typography especially books (special textbooks. technical books, books for biblio aesthetic picture (more frequently have to be applied to, and moulded after the new expressions of form. philes) whose runs, even in areas of a disagreeable effect) in the case of widespread languages, do not 6Xceed German, Finnish or Polish texts, and Wydawnictwa w�gicrskic zorganizowaly w 1959 r. po raz sz6sty konkurs i wy some tens of thousands. Hence, even legibility may be affected. In the staw� pt. Najpi�kniejsza Ksiitzka Roku. Wyniki zaobserwowane podczas konkursu reproductions of such pub Iications by case of languages where the frequency of byly okazjit do ukazania naszych usilowan w kierunku podniesienia w�gierskich letterpress is quite an economical the letters a, e, n, s, t, i and g ksi<1zek na prawdziwie artystyczny poziom i pozwolily wytyczyc drog� ich dalszego proposition and the ability of printer's amount to twice, or three times and, in rozwoju. M6wi-1c o wsp6lczesnej sztuce wydawniczej na W�grzech, chodzi przede types to respond to pressure remains some instances even, four times wszystkim o zriefiniowanic podstawowcj zasedy, ze jej rozw6j jest \VYnikiem syn a significant factor. Individual types that of other basic symbols of the tezy tego, co jest trwale w tradycjach, z nowoczesnymi koncepcjami dzisiejszego have to bear a very great strain since, alphabet, special attention must be dnia. W odniesieniu do ksiitzek tradycyjne techniki typografii musz-1 bye zmienione in the case of letterpress printing, an paid to the graphic design of the zgodnie z nowymi wyrazami formy. identical pressure of 20Kg per square repeatedly occurring letters, taking centimetre is weighing on the whole the following points into consider surface of the form. This pressure ation: Zurn sechsten Mal wurde im Jahre 1959 die mit einem Wettbewerb verbundene bears equally on the thicker and Ausstellung ,,Das schonste Buch des Jahres" veranstaltet. Die auch im europiiischen 1 thinner lines of the types and cannot The graphic character of frequently Masstab guten Ergcbnisse dieser Schau boten Gelegenheit zu ermessen, welche be completely compensated for even occurring letters must not be idio Richtung wir einschlagen mUssen, um den ungarischen Buchverlag zur Kunst zu if we make the forme ready with the syncratic. erheben und den Weg zu skizzieren, auf wclchem die Herstellung der kUnstlerisch utmost care. Therefore, otherwise 2 gestaltcten ungarischen Hilcher fortentwickclt werden kann. Wenn wir Uber die beautifully shaped typefaces are today These letters should be brought into heutige ungarische Buchkunst sprechcn, mUssenwir vor allem unser Grundprinzip no longer suitable for text printing. harmony with the other letters of the bestimmen: die Entwicklung der formenschaffendcn KUnste erblicken wir in der Suitable types are those in which the family. Verbindung der wertbestiindigen Traditionen und der die Entwicklung des heutigen rhythm of thicker and thinner lines 3 Lebens zum Ausdruck bringenden, modernen Anschauung. Hinsichtlich der Buch has been brought into closer harmony The uniformity of printing and inking kunst bedcutet das die VerknUpfung der althergebrachten typographischen Ober while still maintaining their graphic should be assured for the smallest lieferungen und dcr neuen Formensprache. differentiation. With these typefaces, sized letters of 'closed' design, such as what occurs in the case of the Bodoni a ands, in order that the design of and Didot types of Roman letters letters with a more compact pattern - The examples show the same passage cannot possibly happen - even despite enclosing smaller white spaces -should of text in English, French, Polish and the best making ready and most care render an open and clear picture. German set in Monotype Garamond. ful printing the fine lines of types 4 It is quite evident that the best fade or lose their continuity after the In languages with many accented optical and aesthetic effect is printing of only a few thousand copies. letters (such as in Hungarian, in whid produced by the English text. every sixth letter is accented) the only Monotype Garamond fails to give full Now, the fact that every language has typefaces which should be used are satisfaction with French texts: the its own characteristics gives rise to those with accents which were either French text's general effect is looser several questions relating to legibility, brought into harmony with the char· than that of the English version. aesthetics and technique. acter of the typeface at the outset, or Because of the orthographical those which have been subsequently peculiarities of the German language, As a result of the different frequency developed for the basic letters witheut the German text appears more of individual sounds, the graphic form any disturbing dissonances. This is closely knit, which makes it less of each national language offers a important because the frequent agreeable to the eve than the English specific visual and aesthetic pattern repetition of accented letters has a text which differs from texts printed in fundamental influence on an area of other languages. This visual, aesthetic text. exterior - as we well know - is influ 5 enced most decisively by the typeface The characteristic two letter combi selected. Each identical sound signal, nations which occur in certain langu· accented letter, word picture and ages should be taken into account letter group has a different role in (for instance, if Garamond italic type each language. The same letter shapes is used, an ideal relationship of g and appear differently in different langu y cannot be achieved). Let us take as ages. This can be easily demonstrated an example the frequently recurring if we look at analytical, comparative upper case letters in the German examples. (see material at left) language. In such a case a good graphic Identical typefaces have totally differ- texture can be achieved only by using 18 Casting schedules for texts in eight languages, hand setting, 10pt Didot Czech French Hungarian Spanish those typefaces such as some classic Czech French Hungarian Spanish English German Italian Swedish Roman alphabets, where the capitals English German Italian Swedish are considerably smaller than the , 1100 30 180 a 2150 1925 1950 1625 2350 2450 2440 2220 a 650 lower case letters and k I. b 475 425 350 475 600 350 400 400 a 250 180 20 775 800 875 925 550 1150 680 225 225 20 ' Language can never and nowhere be a C 1080 a,.. 1350 1100 1280 1300 a 60 20 ... finite and unchanging phenomenon. d 1125 1000 1050 800 100 1850 600 As the quality of life changes dialect- e 1925 2800 3550 4850 2525 2250 3200 a 575 925 160 ically, new concepts, new ideas, new f 225 475 275 350 550 470 400 860 e 500 120 200 20 human institutions and hence new g 280 475 400 1000 1250 680 400 1150 e 225 words come into being and old, h 775 1175 280 1350 600 360 400 500 e 60 20 obsolete expressions disappear or 1400 1675 1800 2000 1350 2500 2400 1200 e 125 60 20 change. These changes are reflected in j 650 125 130 100 550 100 200 300 e 400 the movement and development of k 1000 175 75 300 1200 50 40 600 825 200 50 120 language. I 1050 900 1250 950 1350 1700 1200 1225 150 20 This is an internal development, m 825 600 850 675 900 800 800 800 'j 100 20 which is hardly affected by conscious n 1550 1550 1725 2875 1700 1650 1800 1950 t 100 50 20 human volition or decision. The 0 2025 1800 75 1125 2300 2000 1350 0 175 350 50 160 great linguistic reform movements of 1600 p 850 450 700 250 400 750 750 400 () 150 20 the 19th century were not really 75 375 800 75 130 425 20 brought about by specialist linguists. q 100 150 350 100 'd 1775 50 50 20 Though these movements had a r 1250 1300 1650 2125 1150 1625 2000 a strong effect, development was not s 1550 1675 2225 1625 1850 1775 2400 2150 0. 350 achieved by the decision of special- t 1225 1875 1625 1450 1650 1500 1800 1825 ;, 30 ised scientists and linguists, but by u 1050 825 1675 1000 1725 1200 2200 770 u 125 150 50 160 175 20 social changes. The rise and growth of V 1300 300 450 275 750 475 400 950 u 75 science, technology, cultural and w 100 500 60 440 75 40 20 80 li 275 20 political I ife necessitated an array of X 100 150 225 100 100 100 160 50 0 50 50 20 new words, rendered many obsolete y 450 500 100 75 900 50 240 350 u• 150 and altered or simplified others. z 575 100 200 400 1025 380 120 50 u. 225 Developments in language even affect 100 20 aspects of typography. Foundries � A 175 200 200 200 175 250 160 175 C 350 casting types for printing offices have 100 been producing for centuries the 8 125 150 75 150 150 125 100 175 ii 75 same ratios of characters to fill type- C 100 175 150 100 80 175 120 200 r 325 cases, on the basis of a so-called cast- D 80 150 175 150 80 125 200 175 s 450 ing schedule. At times statistical E 150 300 275 150 150 225 200 200 f 75 counts were made on the basis of F 75 150 80 125 80 100 80 175 i 375 literary, technical and scientific texts G 50 150 100 150 100 125 80 175 z 375 to determine the frequency of each H 80 175 75 150 75 30 40 150 , letter and the figures of the casting I 150 200 125 175 125 200 80 125 A 50 60 20 schedules were fixed on the basis of J 125 150 100 60 100 60 40 175 A 40 these results. The number of indi- 50 K 80 80 25 125 80 20 20 200 A vidual letters in each fount is deter- 150 mined in such a way. Periodical L 80 175 150 100 80 150 20 150 " 75 60 20 calculations have shown however that, M 100 350 125 150 100 175 80 175 E 25 40 60 20 though the frequency of the sounds N 100 200 175 100 100 175 80 175 E 60 changes from language to language, 0 100 200 175 100 100 225 120 175 E 60 the frequency ratio of the characters p 125 150 125 125 80 125 80 175 E 60 40 20 remains fundamentally the same over Q 40 100 100 40 30 100 80 40 � 40 a long period. When studying these R 75 150 150 100 75 150 100 150 ( 40 30 20 statistics, our eye is caught by the s 125 275 175 250 125 200 100 275 'i 30 striking difference existing between T 75 275 150 150 100 150 100 150 () 25 40 20 the data relating to, for instance, 50 250 175 100 75 75 160 150 b 40 English, German and Hungarian u 75 100 125 125 150 0 40 40 casting schedules (see right). From V 100 100 120 30 30 50 this we can conclude, among other w 30 150 30 150 20 6 40 50 80 20 things, that; X 50 100 100 50 40 40 u 40 40 a y 50 125 50 20 50 25 50 50 u 40 the sounds A and£ have different z 100 100 75 100 100 75 60 50 u 50 40 frequency ratios in English and, for u 40 example, French; revolution in the history of the u 20 b alphabet. Th is is a clever theoretical c 75 an obvious fact, even more interesting statement, but it does not help us to o 20 for us, is that in cases where identical solve the major problem, which is N 20 40 typefaces are used for texts with the that the typography of nearly 40 R 40 same meaning (but composed in languages, with their varied ortho- 50 graphy and different requirements, s different languages) the visual, l.'. 60 aesthetic picture of the text pattern, employs for the reproduction of 20 texts only a few products of a f and consequently its legibility and 20 printability, is determined by the restricted number of type casting <;: 40 20 more or less frequent recurrence of plants and matrix manufacturers. � various sounds in that particular So far, these establishments have y 20 language. treated the orthographic and Eric Gill concludes his Essay on aesthetic requirements of individual Typography with the statement that languages which relate to the means the introduction of a way of writing of typography - the letters - only based on the phonetics of the indi- under duress and as a problem to be vidual languages would represent a faced reluctantly. 19 Type designing in the Hermann Zapf, a former chairman of the Type Designers' Committee of the future Association Typographique Inter Hermann Zapf nationale writes about the funda mental changes facing the alphabet designer today Why, actually, do we design new has much meaning. By comparison collaboration with the programmer us to specify the true measurable alphabets nowadays? with hot-metal composition, film and electronic engineer will be put data of characters and lines, and not There are plenty of them, an setting is extremely variable in size. to the test. This analytic approach is merely the height occupied by the enormous choice, if you look at any Theoretically, at least, we have an important - through it the designer type body, as this rarely corresponds good printer's type specimen book. infinite number of interim sizes at is forced to work in a strictly logic-.al with the visible image of the letter. But new developments are taking our disposal which cannot be sequence. place. For example, the newest properly classified. This also goes for My hope is that one day the x-height composing systems using cathode ray interlinear spacing. And another I am carefully avoiding the use of the of lower case letters and the height tubes - and one day, before very long, warning: not every photo-composed term 'typography' because of capitals, as well as the distances we shall use the laser beam - bring type face, say 1Opt Bodoni, looks the typographic design is too closely of lines will be expressed in with them some absolutely new same as 1 Opt Bodoni in hot metal. linked in my mind, with the old millimetres and decimal fractions of technical problems, many more than letterpress principles to have much millimetres*. Only thus will it the past with its sol id foundation on Yet another problem deserves our meaning in this world of computer become possible to make a proper historical development in typographic close attention. This has to do with programming. specification for a photo-technical styles. the fact that film-setting is mostly composing program (the so-called used for offset printing, which has Film-setting and computer compos 'parameter'). The work of the type designer none of the greater or lesser ink ition obey different laws. No longer (or better let us start calling him the spread usually produced when print is it a matter of typographic design, Moreover, a parameter specification alphabet designer) will certainly not ing metal type by letterpress. The with all its more or less willful would contain all the details for the become easier. Not only will the punchcutter of the past took this decisions, but of photo-technical type face (or, perhaps, we had better scope for developing new alphabets thickening into account. Its absence disciplines which are imposed on us call it the alphabet number), the line be narrowed, but technical consider must equally be taken into consider by the clear logic of electronics. length in mm, and the number of ations will limit it still further. And ation by the designer of alphabets lines per page. now that automatic reading machines for present-day methods. We have to take into account a sharp will have to be taken into consider distinction between computer Until now, details of every alphabetic ation, yet more difficulties arise, when Jenson or even more, Bodoni, had typography intended for the form could be controlled at the at the same time we are hoping to use their punches cut with their more or production of a rigid type image in stage of design, but became fixed a Latin alphabet that continues to less primitive technology in mind, metal and computerized composition and static the moment it had been satisfy our artistic sensibilities. using the handpress and dampened programs arrived at by analytic finalized. But from now on, there rough-surface mould paper. All this methods and intended for photo are few limits to the formal changes Changes in our reading habits have has become obsolete in these days of composition of one kind or another. that can be brought about by an additional influence on the mass-production and high computer programming linked with development of new alphabets. Until mechanization. As part of this analytic approach, I photo-composition and scanning a few yea rs ago, reading was a matter wish we had the courage to throw devices. of eye and brain. And the human eye The age of electronics signifies the overboard another inheritance of the was the only judge of good or bad second industrial revolution - or 19th century, namely the Many new ways of producing legibility. The artistic qualities of a perhaps we should call it the typographic point system. I would alphabetic images are either here type design were predominant. We cybernetic revolution. Can we, in the like to see it replaced by a system already or just on the horizon; ways might decide that this alphabet was graphic arts keep pace with this rapid linked with the metre, which would completely unthought of until quite less perfect than that but, al the development? Computers, and with at the same time answer the needs of recently. This in itself contains the same, we would take in the meaning them automatic typesetting and photo-composition. Various danger of things getting out of the of words and sentences, even if they hyphenation, force their way into proposals for a metric point system designer's control. Who shall be the were printed in a type face of inferior our composing rooms. They take no have already been made. master that allows or condemns design. heed of tradition and craftsmanship. genetic changes and mutations when Whether it makes sense to us or not, First of all, it would be universal. everything is in such a state of flux? Reading machines are not interested we have to grapple with automation Second, it would naturally slot into in questions of forms or aesthetics. and are increasingly surrounded by the metric measurements used by The alphabet designer's task is to For them it is entirely a matter of computerized printing production. electronic engineers. Third, on the design legible and good characters for differentiation if we want to keep assumption that both these modules the purpose of the future. down the number of reading mistakes Thus, problems of forms will no may have to be used side by side for And the best way in which he can which alone will justify the use of longer be the sole preserve of the some time, it should easily adapt pay respect to the great achieve such complex and expensive designer. He will have to come to itself to being used within a decimal ments of the past is by aiming at equipment. terms with the electronic technician, module (and the numbers by which something that expresses the spirit just as, until recently, the punchcutter 10 can be divided, namely 2 and 5) of the present - as in industrial Our eyes and brains are able - from was his colleague. and a duodecimal module ( and design and in the arts. We should not experience and by using our intelli therefore the numbers by which 12 go back into the past, particularly to gence to see things in their context - He has to accept these changed can be divided, namely 2, 3, 4, and the forms of the 19th century - to to grasp even doubtful forms. We conditions. More and more his task 6). an easy nee-historicism which would might say: this is ugly, or that is will be to preserve what remains permit us, thanks to our modern difficult to read; but we can under valid in tradition and to coordinate In photo-composition we no longer techniques, to copy and cheaply use stand it all the same. A reading it with the practical purposes of the deal with a rigid three-dimensional the style elements of the past. machine, however, can only recognise new technology. type body, but only with the or fail to recognise. visible optical form of the letter. To me it is certain that there will be Normally, in the past, the minimum Leaving the reading machine and no really fundamental changes in the leading that could be added when coming back to reading in the basic shapes of our letters. Legibility, something had been set solid was 1pt. conventional sense, we have less and as we know from our schooldays, And at best this would have been a less leisure for this. The large amount must be preserved, and I am very time-consuming process. of printed matter which we have to convinced that experiments in Today, we can vary the distance work through every day compels us to developing entirely new sets of between lines by as little as fractions read hastily - not that this is always characters are doomed to failure, of a point, but we must make the made easy by the way printed matter however ingenious and carefully decision beforehand. On the other is presented to us. considered they may be. hand, the speed of computer composition is such that it would be For those making the transition from The future belongs to team work. No no major problem, if necessary, to hot-metal to photo-composition, or one person alone can solve the tasks reset a whole book with different those working in both media, it must to come, though creative ideas will inter-linear spacing. Therefore, we be emphasised that, in principle, the play a large part in doing so, and it must put our mind to the establish *see article on millimetric typo· whole system of point sizes no longer is here that the analytic approach in ment of a new system which enables graphy on page 21 20 Ernest Hoch teaches at Reading M. Cahierre addressing the Inter The demise of the point University and practises in London. national Typometric Conference system in sight He is chairman of the lcograda convened by the lcograda Standard Standardization Commission ization Commission in 1967 Ernest Hoch Grandjean's table of proportions for the Romain du Roi (reproduced from Jammes, La Reforme de la Typographie Royale) Range of preferred sizes ,,,,.,/� �i":(:�.. �,':.�'.... � .,� .·"r�.. mm mm :'2 1 ...J ,_ . ..,-J,, • ---·,�-- -·· . 1.75 -�•. ,,,.>,_.. . 1··• 1·';11 ;: ;: ... ,! Ii ::1 ·j. 6.0 _ 2.0 7.0 2.25 8.0 T"" • I)�� }t.; ,..I_:. :J t:::�:�r �� � :� -�-� :.-.�-�.-. ; .:.::: .. ,'! • - 1 4 , ,,, 2.5 9.0 •i••-*·"'r�_:_� -¾J: l, ; I +,-: J•· � 2.75 10.0 v'�,,_, If f,.. ,:- ;;... ;: '"4·;: i:..-/ ,,_,. , 3.0 12.0 .. �·uJ w 6--i j .:. , ; - " :i ,, <11 � -. , -1 3.25 14.0 4'..� 'I.I· )-f $-;I 1-:11,-, 4' w. • ,.� �,,c,;;.;. M· . 3.5 16.0 , 'I 1�� "'- �,-• {1-;::i 4.0 18.0 ,.,:/-iJ II ft� I '°1• 1J'' ,,. '•J :'---;� 4.5 22.0 �-({Jf.-1'1'- .l, 1J ; /,t ; ') ;- )) : 11 • IJ : I ; II .-.j 5.0 26.0 :t�r_�,,,.;;, -1.. �:6•·- .:n� ·i :�:=�16 ; J l J t· : �;_ 11u :;)IJ !': , ·:·�:: n �- )1, 1) ... t ance with lcograda recommendation �.--.,..�:�9;,..,c.-. ,,. ,, ,.,; '" i ""'"' n, ,,-� r- i•• l'l• IL' J1,f J The new British Standard Specifica International Bureau decided to metric system. (2) By 1969. typo at the lmprimerie Royale, in connec tion 'Typographic measurements shelve the Cannes resolution that we metric standardization was on the tion with Grandjean's work on the (metric units)' is the world's first realised the new attempt would peter agenda of the Convention of the Romain du Roi; Grandjean's first metric typographic standard; it is also out as several earlier attempts had International Newspaper and Color specimens are numbered after a the first indisputable outward indi done (international master printer's Association (INCA), and the method very close to the point cation of success in lcograda's seven congresses had adopted resolutions American Newspaper PubI ishers' system. (5) It was not, however, year old endeavour to substitute an for a metric typography before) Association had a committee until Pierre Simon Fournier started international, rational and unless lcograda itself adopted a more working on it. his -0wn foundry that type of sys ten unambiguous measuring system in forceful policy and undertook steps atically related body sizes became typography for the inherited con to get the Cannes resolution imple The subcommittee instituted by the commercially available. A long dition in which the printing industry mented. Our first such step was to British Standards Institution (BSI) history leads from there to Firmin uses at least four mutually incompat convene an international typometric issued its report in 1969. Its findings Didot's attempt in 1811 to introduc ible units of length, namely the inch, conference for June 1967 in Duessel were adopted by the main committee a 'millimetric typography'. The size the millimetre, the Anglo-American dorf, Germany, to coincide with and embodied in the new British of the earlier Didot point (0.376mn point and the Didot point. DRUPA. Standard which has now been put was exactly the 864th part of the forward for consideration within ISO. pied du roi: 6 points to a ligne, The size of the two 'points', more In May 1967, at its Rome conference, The new ISO/TC 130 (Graphic 12 Iignes to a pouce, 12 pouces to over, is ambiguous and differs the International Association of Technology) set up a preparatory a pied. There was none of the arbi between countries, between manu Research Institutes for the Graphic working group to deal with this trariness of the later American poin facturers, or even between the Arts Industry (IARIGAI) adopted a subject and accepted an offer by-the which immediately came under American and British plants of the resolution that stressed the need for a BSI to undertake the secretariat of criticism as 'capriciously and same manufacturer. The only thing single, coherent and unambiguous the working group. Besides the first unscientifically selected, not based they have in common is that neither system of mensuration for modern ISO Draft Proposal (3) based on the on any regular fraction of the foot c is sensibly or exactly related to either industrial development, and expressed British Standard, the working group metre' and which owed its sub inch or metre. To regard the fact that support for our Duesseldorf will study a number of metric pro s_equent general acceptance to an 2660 Didot points equal 1000.333 conference. posals from other countries. extraordinarily rapid concentration mm, or that 72 Anglo-American of capital in the founding industry points equal 0.996 inch, as in any way Although organized by designers, the It is gratifying for lcograda that at (with one group of foundries constituting dimensional correlation Duesseldorf conference was predom least two of these place emphasis on eventually controlling 85% of the overtaxes engineering sense of inantly representative of industry, measuring image size and on clear country's total output). Nor was common sense; it requires a strong and the speakers represented industry distinction from traditional body there any of the half measure that emotional attachment to the black exclusively. It was agreed to set up an size measurement. As one of the had allowed Fournier to take over t art traditions of the printing industry. International Typometric Centre to contributions to the discussion of names but not the dimensions of th undertake the coordination demand visual size, arising from the lcograda official standard. Didot's rejection< In May 1966 M. Loic Cahierre, ed by the Cannes Congress. lcograda project, Hoch and Goldring (4) the earlier Didot point and his pro Director of IPREIG, the French hoped that the International Bureau proposed a system of dimensional posal to replace it by a point of printing industry's research institute might at some later date be persuaded references that allows varying 0.4mm was not a change of mind: and a member of our Standardization to participate. degrees of approximation. (Their it was a reflection in a logical mind Commission, took part in our project diagrams are reproduced in figure 1, of the replacement of the pied du r, conference in Paris. At the Inter Those who agreed to serve on the on page 10) References to specific by the metre. With the impetus of national Master Printer's Congress in centre's executive included presidents processes such as metal founding the French Revolution spent, and Cannes later that year M. Cahierre and high officers of master printers' enter only in their appropriate con without the support of Napoleon. tabled a resolution which requested federations as well as machinery text. On the other hand, variants in Didot could but witness the victory the International Bureau to coordinate manufacturers' and similar associ ascender heights, accents, etc., can be of his earlier point, which he knew all typometric work already in ations from several countries. Because numerically expressed; taking had lost its raison d'etre. progress and draw up a tentative suitable headquarters were lacking, incidence of each element in differ timetable for the changeover. The the centre was never legally estab ent languages into account, the When the lcograda project started congress adopted the resolution. ( 1) lished. By 1969 the objective need relevant dimensions may be referred we were aware that the prospects o· We hoped that lcograda could from for such a body had begun to recede or omitted. any standardization project depend then on contribute its share to the and by 1971 has al together ceased not merely on its intrinsic merits, b work without being the sole inter to exist. The 10119 haul from early beginnings also on the historical context. Logic national body committed to consist ally, little has changed since Didot ent promotion of typometric progress. In 1965, the United States Senate The earliest attempts to standardize drew his conclusions from the It was only when the master printer's authorized a feasibility study on the body sizes appear to have been made adoption of the metric system, or 21 since Updike wrote that 'until a type transitional problems I ike those of of the significance of its own new 2 Conversion to Metric System S774 system is formulated which is in full the combined use of metric and existence, it must lead the type Serial No 89-27 and regular accordance with the traditional material - were investi founders towards a policy of positive US Government Printing Office metric system, perfection will not gated by Grabau. (11) adjustment to a metric and increas (1865) be attained', (6) or since Stork, on ingly photo-oriented world. lcograda behalf of the Dutch Federation of On the foundry side of the industry, can contribute to developing such a 3 ISO/TC130 (UK1) 30E (May 1971) Master Printers, advocated a consist whereas any new type-designs can be policy, and hopes to cooperate with ently metric typography at the produced to new metric sizes, the ATypl to that end. 4 E Hoch and M Goldring, Eighth International Master Printers' foremost short-term consideration Type size: a system of dimensional Congress in 1954. (7) Technologically for all existing designs is, of course, The role of lcograda references, however, the printing industry has the continued use of existing punches Typographica 13 (June 1966) changed to such an extent that not and matrices. More serious problems 'When we launched this project we acting logically has become absurd. of capital costs are involved for were aware that actual change could 5 A Jammes In Tracy's words, (8) 'adherence to founders' type where rigid moulds do only come through the industry La Reforme de la Typographie Royale a system of type measurement not have the flexibility of mechanical itself. We saw the character and Paris (1961) formulated in the eighteenth century casting equipment. International limits of lcograda's function, arising is hardly realistic'. The cost, both of standardization on the other hand, from an appraisal of the social role 6 DB Updike retaining the status quo and of the particularly of height of paper will of the design profession, as such that Printing Types eventual rationalization, increases reduce the necessity for multiple our main influence, beyond our own Cambridge (1922) the longer rationalization is delayed. stock keeping. research efforts, may well be to provide a focal point and persistent 7 A Stork Our project started against the back The advantages of the Metric Systerm Legal implications stimulus. In order to succeed it was ground of an enormous expansion in essential that we establish close and over the Point System for Typograph- data processing for business, military In France a point system has, by friendly working relations with the ical Measurements, and scientific purposes. The money implication, been illegal since the most important associations in the 8th International Congress of Master poured into these developments 'has French Revolution made the metric printing industry, and that we pro Printers gone to create new printing devices system the only legal system. Now mote the study of the problems Venice (September 1954) outside and unconnected with the point system has been outlawed connected with international typo 8 W Tracy traditional industry; devices created in the German Federal Republic: metric standardization through The Point by scientists and engineers who either a section of the Order of 26 June national standards institutes, and haven't heard of, or choose to ignore, 1970 made under the Units of eventually through the In ternational The Penrose Annual, pica ems and points, and prefer centi Measurement Act of 2 July 1969 Standards Organization.' (12) Vol 54 ( 1961) metres and inches'. CJ Duncan (9) prohibits the use of the 'typographic wrote this in 1964, a year before the point' in business or official commu That first objective of lcograda's 9 CJ Duncan Federation of British Industries nication in any form whatsoever typometric project has been achieved. Look! No hands! demanded the general adoption of the after 31 December 1977. The Act The objective of the next phase is The Penrose Annual, metric system throughout British gives legal force to the principle of an ISO Recommendation. Vol 57 (1964) p.122 industry, and before the commitment the Systems International that only by the British Government to a metric units may be used for linear During that phase, our working 10 H Schoening phased ten-year changeover. In 1964, measurement; the Order applies that relations with industry associations Druckerei Osterwald in Hannover too, the first international Computer principle explicitly, inter alia, to the must be intensified, and graphic stellt auf Millimeter um Typesetting Conference took place in 'typographic point'. designers will continue to represent Linotype Post No 27 (1955) p.12 London. their respective lcograda member The Verein der Schriftgiesser associations on technical committees Der zweiteBetrieb stellt seine Capital investment and technical (Association of Typefounders) has of their national standards institutes. Setzerei auf Millimeter um problems lodged an 'objection to the abolition Particularly in those countries where Druckspiegel (1958) p.266 of the typographic point system'. our member associations have not Tracy (8) named the composing In the entire printing and allied yet begun such work, there is need Anderungen an Linotype Setz machine and photo-composition as industries there is only one small part for urgent and coordinated action if maschinen bei der Umstellung auf the two factors that leave the printer (traditional foundry) of which one we are to live up to our responsibility Millimeter 'not necessarily as much in bondage section (metal type casting) has a in this matter, in the various Linotype Post No 30 (June 1956) to traditional measurement as he was technically arguable case for adhering countries and through lcograda before the introduction of mechanical to the two outdated point systems: itself and its liaison with ISO, inside Die Umstellung vom Didotpunkt composition'. Even in publishing, the hence a transitional conflict between ISO/TC 130. zum Millimeter mit Hilfe der investment in standing matter no the urgent need for an international, Monotype (unpublished) longer plays the part it played a few coherent measuring system and the years ago. Where the production of limited sectional interest which 11 J Grabau successive editions, with or without adheres to the two mutually Probleme undBedeutung des Milli changes in format and typographic incompatible point systems. metersystems im grafischen Gewerbe specification, can originate from one Druckspiegel (June-November 1963) and the same tape, there is no longer Clearly, from the technical and any truly technical or capital invest economic viewpoint, the thought 12 Project report to lcograda ment consideration against departing that a sectional interest of a relative Congress, from the traditional point systems. ly shrinking small part should dictate Bled, Yugoslavia (July 1966) Taking the industry as a whole, the to the entire industry and bar its way weight of capital investment has to a universal and rational system of 13 E Hoch shifted towards areas to which the measurement is totally untechnical International Unification of Typo traditional point systems are alto and uneconomic. graphic Measurements gether irrelevant, or where continued The Penrose Annual adherence to them does not have its The structure of the type foundry Vol 60 (1967) p.123 roots in technical necessity. industry itself has altered as a result of technological change. Within the 14 GBensusan The adjustments required to Association Typograph ique Inter Pour une Typographie Metrique composing machines are compara nationale, this structur,il change led Caractere (September 1966) tively simple, their extent and their to the reorganization of the Select bibliography cost has been reported in detail by Committee of Typefounders into a 15 Loic Cah ierre Schoening. (10) Practical problems Committee of Type Manufacturers. 1 InternationalBulletin for the Typographie et Systeme Metrique of changing over before metric Unless that newly reorganized ATypl Printing and Allied Trades No 105 La France Graphique No 233. material is generally obtainable - committee were to make a mockery (October 1966) p.23 (October 1966) 22 Our collective knowledge As a means of adding to the collective Letter assembly in printing shown to correspond with such I ingu knowledge of our organization, the D Wooldridge 316pp 134 diag istic features of the text as syntactic Executive Editor invites contributions £4.00 structures as they are identified by to icographic from members or immediate constituent analysis. Thus, suggested experts in member countries. The book covers the various methods the manuscript provides graphic Members can assist in ensuring a of letter assembly and make-up, and evidence of the non-segmental steady flow of source references, and the preparation of material for these features of the language which before of book reviews, as one facet of th is processes, the evaluation of their were only indirectly inferable. function of icographic. products and control of qua I ity, and the necessary production planning. Besides pubI ications from specialised A rapid look at page proofs indicates publishing houses or specialist series that it seems comprehensive and concerned with printing technology, would prove useful to design students. the proceedings of specialist conferences provide useful sources. Visible Language, formerly Journal In this issue, we make a beginning of Typographic Research with brief notices about the proceed c/o The Cleveland Museum of Art, ings of a conference organized jointly Cleveland, Ohio, USA 44106 by the International Association of (enquiries about cumulative index Research Institutes for the Graphic to the publishers) Arts Industry and its British member association, on a new series of text Communication theory and typo· books from a British publishing house, graphic research and on a learned journal. Randall Harrison and Clyde D J Morris, PIRA/IARIGAI volume 1 April 1967 1970 international conference on applied lithographic technology Typography that makes the reader proceedings work PIRA, Leatherhead,Surrey, England excerpt from Book Production £15.00 Industry, February 1969 (Penton Publishing Company) The papers presented are grouped Joel A Roth, under three headings: graphic repro volume 11 2 April 1969 duction, printing processes and materials, and raw materials. Words in thefr place In comparison with similar restricted Rudolf Arnheim, circulation reports of ten years ago volume IV Summer 1970 this is well produced at probably little real increase in cost. Thus techno The durability of fifteenth century logical investigation as exemplified in type this repnrt appears to create positive Michael Pollak, improvements in printing. volume V /2 Spring 1971 The mixture of ad hoc methods and more fundamental descriptions of From a review of references to early print technology seem to indicate typecasting and typesetting prcatices, that there are still greater improve the author computes the amount of ments to come. labour required to handcast 1000 Although the approach to many of pieces of type in the fifteenth century, the subjects seems more detailed than and reaches a figure of fourteen man their counterpart coverage of ten hours. He applies labour cost to the years ago, opinion still seems to rank publication of a fifteenth century high in the advice given in the book, the works of Flavious Josephus discussion material. printed at Venice in 1486, postulating different sizes of editions. Working on Library of Printing Technology the assumption that excessive labour Focal Press Ltd, 31 Fitzroy Square, costs per copy would have made this London W1 book and others like it uneconomical Edited by J E Reeve Fowkes MIOP, to produce, he concludes that Head of Department of Printing, incunable type was able to withstand Southampton College of Art. at least 10,000 to 20,000 blows of A new series of text books for courses the platen but suggests that its I ife for printing technicians and expectancy was actually much higher. technologists; He supplements his cost analysis by citing other evidence to show that Design for print production incunable type was fairly durable. HS Warford 216pp 32 phot 77 diag £3.25 Linguistic features of scribal spacing Virginia J Cyrus, Mr Warford seems to be pointed in volume V /2 Spring 1971 several design directions at the same time. His book is comprehensive, In contrast to the regularity of the oriented towards problems that letterforms in hand-produced Old actually occur, and thus related to English manuscripts, the scribal most of the students who will read it. spacings show great variation in both Personal ability as opposed to personal size and positioning. Examination of prejudices make th is book superior to the spacings in the Tollemache those numerous square thin volumes manuscripts of Alfred's Orosius reveals that are produced. extensive patternings which can be 23 The Culter Guard Bridge Collection To be precise - our branded lines. The names customers. by which we are known to the printing industry, and To use any one of our papers and findit names which are not generally known to have satisfactoryis a pretty sure-firedrecommendation for anything in common other than a high standard. any of the others because, they are Culter Guard Yet they have, in the name of Culter Guard Bridge. Bridge Papers. We are a group big enough to have the But have a word with your merchant. Or any resources for research and development, big enough one of our wide network of stockists in the U.K. to sometimes better the 'giants' with technical You'll findthem ready to talk Culter Guard Bridge in advancement, and yet small enough to give a very high quite complimentary terms. 1 priority to personal and individual contact with If you need furtherassurance that is ! 111Papermaker 24 ICOGRADA The International Council of Graphic Design Associations was founded in London in April 1963. Its headquarters are in Amsterdam. I COG RADA is an association of independent Member Associations. Membership is open to societies of professional graphic designers and organisations concerned with the training of designers and/or the raising of graphic design standards. Member associations are elected at the biennial General Assembly, which• elects also the Executive Board, determines policy and over all activities and agrees financial arrangements. The aims of I COG RADA are: to raise internationally the standards of graphic design and professional practice by all practicable means. 2 to collect and exchange information on professional, educational and technical matters. 3 to improve graphic design training and to assist the interchange between countries of graphic designers, teachers and students. 4 to organise exhibitions, international assemblies, congresses and symposia and publish documentation on graphic design and visual communications technology, including a News Bulletin. 5 to act as an international forum for co-operation and exchange of views between designers, organisations representing professionals from allied and other fields and those of commerce and industry. 6 to encourage the better use of graphic design and visual communication as a means to improve understanding between people everywhere. Printed in England