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PUBLISHED BY INTERNATIONAL TYPEFACE CO EN, NUMBER FOUR, FEBRUARY 1987 UPPER AN HE INTERNATIONAL JOURNAL OF TYPOGRAPHICS

THE GUTARRA EAGLE

A unique specimen composed of 2,040 pieces of stainless steel flatware. It is 46" high, 24" deep, has a wingspan of 48" and weighs 160 lbs. Gestation period: three years. Habitat: last spotted in a Fifth Avenue, New York, store window on Independence Day. It isjust one of the phenomenal flatware fabrications of artist George Gutarra, whose story appears on pages 26-27 2

VOLUME THIRTEEN, NUMBER FOUR, FEBRUARY, 1987

EDITOR: EDWARD GOTTSCHALL ART DIRECTOR: MO LEBOWITZ EDITORIAL DIRECTORS: AARON BURNS, ALLAN HALEY ASSOCIATE EDITOR: MARION MULLER ASSISTANT EDITOR, RESEARCH DIRECTOR: JULIET TRAVISON ADVERTISING/PRODUCTION MANAGER: HELENA WALLSCHLAG ASSISTANT ART DIRECTOR: ILENE STRIZVER ART/PRODUCTION: KIM VALERIO, SID TIMM SUBSCRIPTIONS: ELOISE COLEMAN © INTERNATIONAL TYPEFACE CORPORATION 1986 EDITORIAL U&LC (ISSN 0362 6245)15 PUBLISHED QUARTERLY BY INTERNATIONAL TYPE- FACE CORPORATION, 2 HAMMARSKJOLD PLAZA, NEW YORK, NY 10017. ITC IS A SUBSIDIARY OF ESSELTE LETRASET. U.S. SUBSCRIPTION RATES 510 ONE YEAR: FOREIGN SUBSCRIPTIONS, $15 ONE YEAR: U.S. FUNDS DRAWN ON U.S. BANK. FOREIGN AIR MAIL SUBSCRIPTIONS—PLEASE INQUIRE. SECOND-CLASS POSTAGE PAID AT NEW YORK, NY AND ADDITIONAL MAILING OFFICES. POST- MASTER: SEND ADDRESS CHANGES TO U&LC, SUBSCRIPTION DEPARTMENT, 2 HAMMARSKJOLD PLAZA, NEW YORK, NY 10017. Good casting for good graphics. ITC FOUNDERS: AARON BURNS, PRESIDENT EDWARD RONDTHALER, CHAIRMAN EMERITUS Let's define our terms. HERB LUBALIN, EXECUTIVE VICE PRESIDENT 1970-1981

ITC OFFICERS 1986: JACK FORBES, CHAIRMAN MARK J. BATTY, VICE CHAIRMAN What do we mean by good AARON BURNS, PRESIDENT EDWARD GOTTSCHALL, EXECUTIVE VICE PRESIDENT ALLAN HALEY, VICE PRESIDENT graphics? RICHARD CONWAY, CONTROLLER LAURIE BURNS, PUBLIC RELATIONS AND EDUCATIONAL ACTIVITIES We mean typographic design that conveys a message MICROFILM COPIES OF U&LC MAY BE OBTAINED FROM MICRO PHOTO DIVISION, BELL & HOWELL, OLD MANSFIELD ROAD, WOOSTER, OH 44691 effectively to a targeted audience. We don't mean graphics that are merely eye-catching or even beautiful. We mean graphics that work, that communicate as intended. And what is good casting In this issue: and why is it essential? Editorial Good casting is the best possible choice of everything Good graphics are a matter of discerning choices. Page 2 that goes into the job: the typefaces, the Thoughts illustrations or photographs, the colors, the paper; but, Point and counterpoint. Page 3 most of all the thinking behind the designs and Double Takes the designer. Look, and look again. A photographer transfigures some cityscapes. Page 4 The designer chooses and uses all the physical elements Cold Hands, Warm Art of the piece and blends them into a coherent whole. Neither sleet nor ice nor endless winter night Good graphics start with good design. deters these artists from their entertainment. Page 8 Literary Distortions In these 1980s many countries are blessed with a truly The happy marriage of literature and carica- large number of superb designers. But that doesn't mean ture in the work of Mark Summers. Page 12 every one can do a given job equally well. All Weird, Wonderful and Useless Information designers have their individual approach to work. In Helpful hints in the quest for heavenly developing the layout for a design, some give bodies. Page 14 most emphasis to formal organization of the graphic Stop, I Want to Think About That elements, others to more pictorial symbolism or dramatic The winning entries in the second Herb Lubalin International Student Design Competition. Page 16 handling, sizing, and positioning of type and pictures. Biomedical Computer Graphics There is no one, absolutely right, design approach Step right up, ladies and gentlemen, and watch your bodies function, courtesy of that fits every job. Most good designers, once they've Cranston-Csuri Productions. Page 20 analyzed a communication problem, consciously A Call for Entries or subconsciously organize their thoughts in a way that Announcing the third Herb Lubalin Inter- they consider appropriate to the problem. But most national Student Design Contest. The designers do not design equally well across the whole subject: "Why Hunger? Why Poverty?" Page 24 spectrum of graphic design problems. Flatware Fabrications All about a 220-lb. turkey and other And that is where good casting comes in, right at the rare birds. Page 26 inception of a job. Whoever is responsible for Families to Remember selecting the designer for a given project must go beyond The Cousteaus and ITC Tiffany. Page 28 simply choosing any of the many available good What's New from ITC. ITC Slimbach - designers. The selection must be of the one most suited A new typeface from an emerging designer is a balance of novelty, clarity and legibility. Page 32 to the job at hand. Mickey Rooney might be terrific for many roles, but for Hamlet? The Haunted World of Jose Pla - Narbona From his private torments came a unique And so it is with choosing the right designer. Good and profound art. Page 38 casting is the first sure step to good graphics. Alphabet: Suburban Block New ideas in home construction from A to Z. Page 47 EG ITC Technology Alerts Up-to-the-minute developments in graphic INDEX TO ITC TYPEFACES ITC AMERICAN TYPEWRITER and communication technology-sorted out, ® 15 ITC GOUDY SANS" 12, 13 ITC AVANT GARDE GOTHIC' WITH CONDENSED. .16, 18 ITC KORINNA. WITH KURSIV FRONT COVER, 26, 27 ITC BARCELONAe digested and summarized. Page 48 4-7 ITC LUBALIN GRAPH® 48 ITC BENGUIAT CONDENSED' 14 ITC MACHINE° 4, 5 Book Shelf ITC BERKELEY OLDSTYLE® 20-23 ITC MIXAGE e 8-11 ITC BOOKMAN ° 14, 43-45, 48 ITC NEWTEXTe 2 Good ideas, good writing and good reading ITC CENTURY CONDENSED* 15, 16-19 ITC NOVARESE ® 38, 46 on subjects of interest to our crowd. Page 50 ITC CHELTENHAM ® WITH CONDENSED 14, 19 ITC SLIMBACH" 2, 3, 32-37 ITC CUSHING® 49 ITC SOUVENIR® 48 This issue of U&lc was mailed to 203,000 readers: 153,000 ITC ESPRIT' 48 ITC SYMBOL.' 49 ITC FRANKLIN GOTHIC ° . . . .2, 15, 32, 38-42, 44, 46, 48, ITC TIFFANY 28-31 in the United States and Canada, and 50,000 abroad. It will 49, BACK COVER ITC USHERW00D® 47, 50 ITC GALLIARD® be read by approximately 1,000,000 people. 48, 49 ITC ZAPF INTERNATIONAL® 39-42 ITC GARAMOND® WITH CONDENSED 15, 53

FRONT COVER' ITC KORINNA KURSIV HEAVY. KURSIV REGULAR MASTHEAD' ITC NEWTEXT REGULAR INDEX TO ITC TYPEFACES: ITC FRANKLIN GOTHIC BOOK WITH DEMI EDITORIAL: ITC SLIMBACH BOOK WITH BLACK TABLE OF CONTENTS ITC SLIMBACH BOOK WITH BOLD 3

IT IS POSSIBLE NOT TO NOTICE THE BUT THE UNXPECTED IN WORDS OR GRAPHICS IS NOT NECESSARILY THE MOST APPROPRIATE WAY TO COMMUNICATE.

THOUGHTS: ITC SLIMBACH MEDIUM ITALIC. BLACK ITALIC SUBHEAD BOOK ITALIC 4

Most of the time Elliott Kaufman is mits himself some flights of photo- a straight shooter. He is a serious, graphic fancy. The results of his disciplined architectural photog- machinations, some of which are rapher who thinks and works on reproduced here, may compel a grand scale. When you handle you to take a second and even a commissions to produce hun- third look. Even then, you may not dred-foot photographic murals be able to unravel the mysteries. for major banks, insurance companies, public utilities and corpo- If you are an aficionado of New rate giants, you do not indulge in York City landmarks and land- idle whimsy. scapes, for instance, you will surely wonder how a radiator But every so often, Kaufman per- grille from the Chanin Building on

The Astor Place-Cooper Union Project (1,2,3) 1. To enhance the Astor Place subway11,J station and Bt. E 2. A proposed mural to call attention to the relate it to Cooper Union, the dominant landmark in architectural elegance of Cooper Union's Art the area, Kaufman proposed erecting this monument School building. Though its distinctive main over the subway stairwell. It is a photo blowup of an floor windows are actually one story high, ornamental brass radiator grille found in the Chanin Kaufman enlarged them to three-story height Building on 42nd Street. (The photo panel would be and inserted them in a vacant lot on Third double-sided, with the interstices of the design cut out Avenue near Astor Place, a stone's throw from to resemble filigree.) The Chanin-Cooper Union connec- the school. tion? In recognition of the Chanin family's continuous support of the architecture school, it is called The Irwin S. Chanin School ofArchitecture. 5

42nd Street found its way to the tapositions and disproportionate Astor Place subway entrance... scale to achieve confounding, What the Washington Square Arch surreal effects. What makes the is doing atop the entrance to the work profound, and not merely Holland Tunnel... Where in New perverse, is that all Kaufman's dis- York City is the curious, kitschy tortions have a genuine purpose. building with the six-story rose Several of the photos shown trellis splayed across its façade? (1,2,3) are part of a series Kauf- Of course, these Kaufman contriv- man contributed to the Commit- ances are all lies. They were engi- tee for Astor Place in New York neered in the darkroom, where he City. The Committee was orga- combined photos in strangejux- nized to renovate the Astor Place

3. Somewhere in a nearby suburb, Kaufman encountered an ice- cream pink motel with a turquoise cornice. Just for fun, he combined close-ups and long shots of the building and paradoxically projected them on the earnest, modern, no-nonsense façade of the Cooper Union Engineering School. 21. It is Kaufman's contention that the entrance to the Holland Tunnel in New York is not appropriately imposing, architectur- ally or psychologically. To rectify the situa- tion, photographically at least, he mounted a replica of the Washington Square Arch over the New York entrance.

'0 00 00111 111001110 111,1001 7 subway station and its immediate have ranged from 15' x 115' pho- vicinity. Kaufman's proposals for tographic panoramas to small enhancing the area, above and 4' x 8' trompe l'oeil panels. His below ground, revolved around client list is impressive, including Cooper Union, the dominant the Dime and Greenwich Savings landmark in the neighborhood. banks of New York, the General His proposed monuments and Electric Company of Pennsylvania, murals, though intentionally as well as the S. E. Pennsyl- startling and perplexing, were vania Transportation Association, intended to call attention to the the Port Authority of New York unique architectural details and and New Jersey, Dean Witter the overall preeminence of the Reynolds, Inc. of New York, and institution's art and engineering Smith, Kline and French of Phila- schools. delphia, among others. Besides the Cooper Union project, Kaufman has also co-authored several other Kaufman compos- a photo-essay entitled American ites reflect his personal philoso- Diner, and he has won awards phy and esthetic sensibility. He and grants from the New York successfully obliterated a bill- State Council on the Arts, East- board with a tree. He crowned the man Kodak, the Philadelphia New York end of the Holland Tun- Art Directors Club and a Coty 6. (Top) Kaufman has the last 7. (Bottom) In this photo-mural, nel with the Washington Square Purchase Prize. He has, of course, word on the subject of bill- a two foot fountain, enlarged Arch because he believes the received considerable attention in boards. Using a combination and installed in a vacant lot, tunnel needs a more imposing professionaljournals as well. of color and black-and-white assumes the proportions of a giant monument. entrance. And he designed a per- We have no clues to offer about photos, he successfully obliter- petually verdant tree-wall for the the secret of his success. Kaufman ated the billboard with a flour- New Jersey end of the Holland claims to be self-taught. If his cli- ishing tree. Tunnel—as a surprise and a ents and his accomplishments are breath offresh air for motorists. any indication, he is obviously as His commercial commissions apt a teacher as he was a pupil. Marion Muller

5. On a wall of a building close to the Holland Tunnel, Kaufman created a confounding billboard that replicated the building itself and the view around it.

HEADLINE: ITC MACHINE TEXT ITC BARCELONA BOOK ITALIC CAPTIONS: BOLD ITALIC 8

f your knowledge of the Eskimo world came, as mine did, from a fourth grade geography text, we 1,1have many misconceptions to correct. For starters, we should expunge the word Eskimo from our vocabularies. It is a name bestowed on them by their Indian neighbors, and it translates to eaters of raw meat, an attribute they consider insulting. The North American people we have heretofore referred to as Eskimos prefer to call themselves Inuit. Their Siberian relatives use the word Yuit. Both words mean men, or in a larger sense the people. We should also atomize into thin air our archaic vision of Inuit life — a circle of igloos around the North Pole, men fishing for seals through holes in the ice, women slicing blubber for the children's after- school treat, lovers rubbing noses instead of kissing, and families sleeping in the altogether under one bearskin pelt to keep warm. The facts of modern Inuit life need a broader lens. Inuit settlements stretch from Siberia in Asia, across Alaska, throughout northern Canada down to Hudson Bay, and as far east as Labra- dor and Greenland. They do not all fish through the ice for their livelihood; some have never tasted seal. Quite a few are hunters who eat meat. Many more work for wages and buy their food supplies in commercial establishments. Most live in homes of timber and stone, and have never seen an igloo, let alone lived in one. Johnny Iqulik, Baker Lake, 1985, 9" high. (From photographer's private collection.) Modern Inuit people have come a long 9

•.Warm Art Peter Assappa, Harrison, 1984, 8 1 /4" long.

Aisah Poppy, Povungnituk, 1984, 5'/2" high. John Tiktak, Rankin Inlet, 1979, 11 3/4" high. One of the most famous artists still working in Canada.

way from their nomadic ancestors. But one condition has remained universally constant for all Inuits. They inhabit a bleak, inhospitable corner of the world, and up until fairly recently, they managed their lives intelligently, successfully and with remarkable good humor toward themselves and visitors passing through. Evidence of their innate self-respect and amiability is clear to see in their art. The work is permeated with honest, warm feelings and whimsical observations about themselves and their lives. And all of it is produced by a nation of people who do not have a word for "art" in their language. The whole subject of Inuit art has been brought to our attention by Greig Cranna of Cambridge, Massachusetts, a photographer by profession, and a sculpture enthusiast on the side. He is also a native Canadian, and on a recent photographic assignment in New Brunswick, Josie Unarluk, Belcher Islands, 1967, 5" high. he stumbled upon the gallery and collection of Inuit sculpture owned by Stanley Zazelenchuk and his wife. Mr. Zazelenchuk's passion for collect- ing Inuit art was sparked by his close association with the people. For 13 years he taught school in several of the Inuit settlements, and it was during that time he became acquainted with some of the foremost sculptors in each area. Through the years he has acquired a collection which includes 15 to 20 of the most important pieces made in Canada. His collection is a far cry from the mass- produced tourist items found in souvenir 10

shops; many are worth thousands of dol- lars, and they are frequently loaned out for museum exhibitions. Greig Cranna considers it a piece of good fortune to have befriended the Zazelenchuks. Through them he acquired several pieces of Inuit sculpture of his own, and had the opportunity to photograph their prized collection, some pieces of which are reproduced here. Greigs enthusiasm for the carvings goes beyond the esthetics, to the socio- logical implications. Originally Inuit art served spiritual and utilitarian purposes. The fishermen and hunters carved little masks and talismans that were either Thomas Ovayuk, Baker Lake, 1972, 6 3/4" high by 12" long. helping spirits or creatures of ill-omen used to ward off evil. The earliest such carvings were small decorations whittled into a hunting knife, a harpoon, a bow and arrow or similar utilitarian objects that a nomadic family could carry with them. But as civilization encroached on hunting and fishing grounds, as technology invaded their culture, as young people deserted the wilderness, and the old ones had to give up the nomadic existence, carving became an activity that was more an absorbing entertainment than a spiritual necessity Fortunately the carvings have become a useful source of income to a people suffering from cultural and social breakdown and wide- Niarkusie Angiyou, Povungnituk, 1983, 3" long. spread unemployment. s for the art itself it serves Henry Evaluardjuk, Frobisher Bay, 1983, 7" high by 12" long. This artist is internationally famous for his bears. This one is modestly priced at $4,200. Some sell for as much as $10,000. a purpose not encountered in European or West- ern forms. It never tells a story. It does not express emotions. It is never self-aggrandizing nor self-conscious. It is never created for beauty's sake. The carver's sole purpose and pleasure is to produce a believable likeness of a figure—real or imagined— and for the most part they focus on objects of their daily lives and cultural heritage: birds, seals, bears, walruses, and the human family. Their materials are whatever is abun- dant in their immediate environment. Soapstone, a soft silicate which can be easily worked and ranges in color from

soft grays, through greens to deep lumi- nous black, is a most satisfying medium. They also carve in driftwood and from the ivory tusks of the walrus. But whatever their material, aside from making the object believably real, their next important objective is to make it well. The best pieces are marked by their impeccable finish. In the case of the soapstone pieces shown here, they are first carved to the desired form; then sand or stone is used to smooth the surface, and a final rubbing with blubber polishes the piece to a rich, dark color. According to Cranna, much of the pleasure in these carvings is in the tactile sensation. For all his photographic skills and ingenuity, he regrets that he cannot communicate the feel of them through these pages. But if you are fortunate enough to find yourself in New Bruns- wick, Canada, you might get to see and feel the real thing. Look up Mr. Zazelen- chuk, whose shop is called North of Sixty Art, Ltc ., in St. Andrews, and say Greig sent you. Marion Muller Paul Toolooktook, Baker Lake, 1986, 9" high. Mark Uqayuiituq, Baker Lake, circa 1980, 11" high.

John Kavik, Rankin Inlet, 1979, 13 3/4" high. One of the Barnabas Angrnasungaaq, Baker Lake, 1986, 12" high. Thomassie Tookalook, Povungnituk, 1983, most highly regarded artists in Canada. 1.0/2" high.

HEADLINE / INITIAL: ITC MIXAGE BLACK ITALIC TEXT: BOOK ITALIC CAPTIONS: BOLD 12 by Steven Heller

Mark Summer?, Although the faces he draws are very well known, Mark Summers is relatively new to the art of caricature. Born in 1955 in Burlington, Ontario, Canada, where he still lives, Summers inherited a cartoonist's wit and acquired the taste for elegant graphics. His unmistakable style is evidence of con- verging influences—the intelligence of Sir John Tenniel, the elegance of David Levine, the humor of Giles—resulting in a curious blend of 19th and 20th century sensibilities. Yet, unlike the aforementioned practitioners, and despite the fact that Summers was a political cartoonist for a short time, his aim is to make well done pictures, rather than produce acerbic satire. Therefore, the literary caricatures shown here are formally striking, conceptually playful, not savage distortions. Summers cut his teeth and sharpened his professional pen while making political cartoons fora local newspaper, Burlington Post. An interest in literature and literacy caricature attracted him, like so many other would-be caricaturists, to Levine's work. In fact, many of his early pictures were Levine- like with wash applied. Summers stayed at the paper for three years working exclusively in black and white, and then sought his fortune as a freelancer in the color field doing odd jobs, including some portraits for the Canadian TV guide, and all the renderings for a 16-page pamphlet on battery cables. In addition to his technical expertise he was exceedingly fast. Seizing upon this talent, another regional newspaper, The Spectator, commissioned his services and assigned him to the "graveyard" shift. "If someone important died, like John Lennon for example," recalls Summers, "I would be given the assignment at 10:00 P.M. to do a full color, airbrushed portrait to be delivered to the platemaker by 6:30 A.M. the next morning." He never missed a deadline, and was paid the kingly sum of $75 each.

The fast draw was not his only forte, though. Summers had admired the political cartoons of Duncan McPherson, Canada's virtuoso graphic commentator, emulated his work, and did it very well—stylistically at least. In the realm of ideas, however, The Spectator was, as Summers puts it, "not out to blaze any journalistic trails in this area." Hence the mordant cartoon was not of utmost impor- tance. Moreover, by his own inclination, Summers would not tackle an issue until everybody else had done it already "That trait," he admits, "is not terrific for a political

Top to bottom : cartoonist." Another bad trait of his was George Bernard Shaw (1856-1950) to do whatever the editors wanted. When Leu Tolstoy (1828-1910) caricature was called for he was rightfully accused of being much too lenient with his prey "I have always been more interested in producing a good, well proportioned drawing Top to bottom: than making a strong message," he says. Edgar Allan Poe (1809-1849) Franz Kafka (1883-1924) , Summers' next job with Canada's national Nathaniel Hawthorne (1804-1864) Top to bottom: newspaper The Toronto Clove and Mail, Jonathan Swift (1667-1745) Headline illustration: The New York Times Sherlock Holmes (Arthur Conan Doyle, 1859-1930) ultimately gave him the opportunity to make Book Review. Christmas 1985 Charles Baudelaire (1821-1867) good drawings— mostly illustrations. 13

Literary Distortions Summers is obsessed with media, firmly convinced that he should be able to work in all of them well. And he does. While working alternately in oil, airbrush, ink, and gouache, he was at that time primarily drawing like Pogo's creator, Walt Kelly: using a lot of brushwork and very little fine line. Then came the revelation. "Virtually by accident I began to do crosshatching on scratchboard. Until that time I was literally afraid to use solid black—it meant sudden death if an error occurred. With the white scratchboard, whatever mistake I made could be erased."

Scratchboard was the perfect medium for Summers. He was in total control of his line. And his illustration evidenced that fact. It was with this assuredness that he developed his own, distinctive style. Remembering the process, he says, "When I tried to do Levine it looked forced. Anyway enough people were doing it. I was also less interested in radical physiognomic surgery preferring to bend and contort faces just a bit." Indeed the subtle bulge of an eye, simple twist of a nose, easy stretch of a neck add to the impact of an image, rather than stealing the entire show. Summers' caricatures are reserved, but graphically demonstrative.

Curiously, Summers' boyhood dream was to do literary caricature and illustration. He had also been interested in historical autographs —how someone's personality is ofttimes reflected in a signature. Believing that illuS- tration should wave a positive flag for the text, he grew tired of illustrating bad writing —his usual fare. While reading Gore Vidal's Lincoln, he decided to act upon his dream and produced a series of bookmarks—starting with Honest Abe—and including the examples shown here. The portrait-signature combinations were eye and mind pleasing. However, they didn't sell to retail stores as he had hoped, but they did spark considerable - • • • interest at The New York Times, where he 1(11'4 began to get regular freelance assignments 1414 for the Book Review. Summers has since 14, - been commissioned to illustrate the authors' work he most enjoys reading, and recently completed the Franklin Library's limited edition of Alistair Cooke's The Patient Has As a testament to his speed, sure- the Floor. 11 , 1 11,11111i4 ness of hand, and the evil magic of caffeine, 1■1 1! he also completed 50 drawings in six weeks (with four days for roughs) for a major collection of poems by Robert W Service, Canada's unofficial poet laureate. Caricature is at once the most difficult and yet easily understood artform. To portray familiar faces (many seen year after year after year) in a new light, and to do it in such a way as not to mimic the masters is a job very few can do. But if successfully done the public's response is unequivocal. Positive Clockwise from upper left: reaction to Summers' caricature and portrai- Alfred Lord Tennyson (1809-1892) ture is testament to his ability to touch some Mark Twain (Samuel Clemens. 1835-1910) associative note in his viewer, and through William Shakespeare (1564-1616) the use of intelligent distortion, express some Washington truing (17834859) truth about his subject too. William Butler Yeats (1865-1939) BYLINE BOOK INITIALS. BLACK CAPTIONS: BOOK ITALIC HEADLINE: ITC GOUDY SANS BLACK TEXT: BOOK WITH BOOK ITALIC 14 Department of Weird, Wonderful Useless Information

TO ORDER MEALS Because of our hectic life- styles, most of us eat our meals backwards, doing our heaviest eating at the most sedentary periods of the day. We often skip breakfast, gulp lunch and binge at dinner time. Whereas, for most effi- cient use of calories, the recommended procedure according to Jane Brody, The New York Times health Measures reporter, is: at breakfast like a king...lunch like a prince... Since we have become a neurotically supper like a pauper. BURN weight-conscious, calorie-counting society, here are some facts and IT OFF figures to bring hope to the How much exercise will it take to work heavyweights and dispel the gloom off the 350 calories in the wedge of apple pie you tried to resist but couldn't? of the dissipated. If you think your Here's a handy guide: weight is out of control, consider (p. 15) One-half hour of walking burns up 100 these clinical calamities reported in calories. the Guinness Book of World Records. One-half hour of bike riding burns up 175 calories. One-half hour of ice skating burns up 225 calories. One-half hour of disco dancing burns up 250 calories. One-half hour of cross-country skiing burns up 275 calories. One-half hour of swimming burns up 300 calories. One-half hour of jogging burns up 360 calories. One-half hour of handball burns up 450 calories. One-half hour of squash burns up 450 calories. One-half hour of racquetball burns up 450 calories.

On the other hand, you will burn up 45 calories if you just lie down for a half-hour and wait until "the feeling you have to exercise" goes away.

ILLUSTRATIONS BY LIONEL KALISH HEADLINE / SUBHEAD ITC BOOKMAN DEMI ITALIC AMPERSAND BOLD INTRO TEXT' LIGHT BURN IT OFF: ITC CHELTENHAM ULTRA TEXT: LIGHT CONDENSED, LIGHT CONDENSED ITALIC HOW TO ORDER MEALS: ITC BENGUIAT MEDIUM CONDENSED TEXT: BOOK CONDENSED

Mrs.i s1 (1 Pearl 1Washington972) te o f Louisiana heaviest woman who ever lived, registered 800 lbs. on a hospital scale. That was the maximum weight the scale could record, but it was esti- H (1-13umated she had 80 lbs. more to offer.

In the men's category, Robert Earl Hughes, born in Missouri in 1926, was not all that abnormal at birth—a mere 111/4 lbs. But at six he weighed 203 lbs., at 13 he weighed 546 lbs., at 27, 945 lbs., and at 32, the time of his death, he weighed 1,069 lbs. by precise measurement.

A contender for heaviest man, by estimated (not precise) measurement, was Jon Brower Minnoch (1941-1983) of Bainbridge Island, Washington. An endocrinologist computed his weight as over 1,400 lbs. by extrapolating his daily intake and elimination rates. FOOD FOR THOUGHT MORE OR LESS When you're thrashing around for If you like what you weigh now, you can the right foods for your diet, keep determine the approximate number of this in mind: Of 38 common calories you should consume each day to vegetables (eaten raw) the most keep you at that figure. Just multiply your calories are concentrated in weight by 15. To lose or gain, alter the calo- avocados; the least in cucumbers. rie intake by 20% in the desired direction. For healthy dieting, the noted nutritionist There are 741 calories per pound Dr. Jean Mayer recommends that the in the avocado, but only a cool 73 minimum calories consumed in a day by per pound in cucumbers. women should be 1,200, and by men 1,600. Marion Muller

FOOD FOR THOUGHT: ITC GARAMOND ULTRA CONDENSED TEXT LIGHT ITALIC ITC AMERICAN TYPEWRITER BOLD CONDENSED TEXT. ITC CENTURY BOOK CONDENSED HEAVY, HEAVIER, HEAVIEST: ITC FRANKLIN GOTHIC MEDIUM, DEMI, HEAVY TEXTT, BOOK MORE OR LESS: 16

he second Herb Lubalin Interna- a student at the Hochschule ffir Bildende Couture (University du Quebec a Montreal, Minnesota), Mr. Jack Douros (Syracuse tional Student Design Competition Kiinste Braunschweig, in Braunschweig, West Montreal, Canada), Mr. Jean-Jacques Guillon University, Syracuse, New York), Mr. Todd received entries from more than Germany. In addition to receiving the Herb (Ecole des Arts Decoratifs de Strasbourg, Edmonds (School of Visual Arts, New York, 700 students from 21 countries. Lubalin Medal, she received a cash award of Strasbourg, France), and Ms. Tracy Keiser New York), Ms. Lynda Havell (Philadelphia Entrants were asked to create a $5,000. The $2,500 second prize was awarded (Pennsylvania State University, University College of Art, Philadelphia, Pennsylvania), graphic interpretation of a quota- to Ms. Deane L. Weber, a student at Northern Park, Pennsylvania). Ms. Anke Dominik, Mr. Mr. Steven John Hayes (Randwick College of Ttion by Beatrice Warde (former Publicity Virginia Community College, in Alexandria, Stefan Ohmstede, Ms. Corinna Senftleben and Technical and Further Education, Randwick, Director at Monotype Corporation, Ltd., and Virginia. Mr. Martin Stiegeler (students at the Hoch- Australia), Mr. Arne Hurty (University of world-recognized typographic historian) The judges elected to award only six out of schule ftir Bildende Kunste Braunschweig, in California at Los Angeles—Extension, Los about printing and the responsibilities of a possible eight third prizes of $650 each. Braunschweig, West Germany) shared the Angeles, California), Ms. Queenie P Jacinto designing for the print media. These awards were given to Mr. Julian Akel sixth third prize. (University of Hawaii at Manoa, Honolulu, A highly selective jury chose only 23 books, (Lancashire Polytechnic, Preston, England), Also selected for inclusion in the exhibition Hawaii), Ms. Alecia R. Jensen (California posters and videos for inclusion in the show. Ms. Kristine Casey (Carnegie-Mellon Univer- were the entries of Ms. Storm Brenley (Min- College of Arts and Crafts, Oakland, Califor- First prize was awarded to Ms. Karin Lange, sity, Pittsburgh, Pennsylvania), Ms. Guylaine neapolis College of Art & Design, Minneapolis, nia), Mr. David Kamm (University of Iowa, 17

of Blackburn and Associates, New York City; These formats permit wandering through versial points of view." Iowa City, Iowa), Mr. Joseph C. Kester (Syra- The Herb Lubalin Medal is awarded annu- cuse University, Syracuse, New York), Ms. Tom Geismar, partner of Chermayeff & material in very powerful ways, much like a Geismar, New York City; April Greiman, book, but with the 'reader' taking an active role ally to the winner of a student design competi- Eleanor Lipetz (Philadelphia College of Art, tion sponsored by International llipeface Philadelphia, Pennsylvania), Mr. Scott Mooy of April Greiman, Inc., Los Angeles; and in creating the 'text.' We may soon have to revise George Tscherny, of George Tscherny, Inc., old habits of thinking about these media." Corporation (ITC). Herb Lubalin was one of (University of Utah, Salt Lake City, Utah), the founders of ITC and an internationally Ms. Anne Patterson (University of Kentucky New York City. Commenting on the entries, Stuart Ash April Greiman observed the irony that said, "The idea 'Stop! I want to think about honored typographic and typeface designer, Lexington, Kentucky), Ms. Lisa R. Taft as well as the original editor and designer of (Philadelphia College of Art, Philadelphia, "Many of the submissions chose the image of that: does not limit itself to a simple visualiza- a television set to oppose the printed word tion. It provokes much thought and many U&Ic. It was his deep concern for students Pennsylvania), and Ms. Kristine A. Thayer that led to the establishment of this award (Minneapolis College of Art and Design, at the same time that video itself is becoming viewpoints. It provides the opportunity to a reflective medium. (Fast forward. Pause. push beyond the obvious and the need to competition. Minneapolis, Minnesota). The call for entries for this year's competi- Serving on the jury for the competition Rewind.) I refer to recent technological devel- experiment conceptually aesthetically and opments, particularly the interactive video executionally. The selected works present a tion, "Why Hunger? Why Poverty?" appears on were: Stuart Ash, a partner of Gottschalk & pages 24 and 25. Laurie Burns Ash International, Toronto; Bruce Blackburn, disc and the upcoming CD-ROM standard. variety of approaches and occasionally contro-

141

1441 4,14414

44 .444 4 441 441 -4114 4 ■ "We (printers) have three great rivileges which the spoken word cannot o er 114 41 411 it 4 144 even now when it has the se of its own vast multiplication process-T•i e have the

- 41 I 1111 411[1 4 mill 114411 4 "I privilege of turning back from the page 14114141 .414 411444 1 41411 on which we have found something debatable, in order to find and reread 44111144 .4, 114 444 that point where the amment started . . nd we can turn forward to the end, or 4 4 .1 1!:41 far enough ahead to see what conclusion the fellow is driving toward . . . And the 44/111 Ohird privilege is that of stopping short at 14 41411 111114 any word or statement that seems to call for meditation, verification, or resort to 4114444 411414 the dictionary Printing is on the side of 4441144 the people who still have the courage to say `Sto hat . . : " 44 4 111 (Beatrice Warde)

all

(A, B) First Prize Ms. Karin Lange Hochschule fiir Bildende Kfinste Braunschweig Braunschweig, West Germany (C) Second Prize Ms. Deane L. Weber Northern Virginia Community College Alexandria, Virginia, USA ( D) Third Prize Ms. Kristine Casey Carnegie-Mellon University Pittsburgh, Pennsylvania, USA

18 (E) Third Prize Ms. Guylaine Couture University du Quebec a Montreal Montreal, Quebec, Canada (F) Ms. Queenie P. Jacinto University of Hawaii at Manoa Honolulu, Hawaii, USA (G) ME Arne Hurty University of California at Los Angeles —Extension Los Angeles, California, USA (H) Third Prize Ms. Duey Keiser Pennsylvania State University University Park, Pennsylvania, USA

( ) ME Jack Douros Syracuse University Syracuse, New York, USA (J) Mr. David Kamm University of Iowa Iowa City, Iowa, USA

PHOTOGRAPH OF A PRINT DE BAFE

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1, "We (printers) have three great privileges C,4 . which the spoken word cannot offer lsuog „yen •■••■■••• Welk= even now when it has the use of its own dm. hlent■■ vast multiplication process. Stop! I want to about that. Isomo ••

"We (printers) have three great privileges which the spoken word cannot offer aewn Am( AroMf even now when it has the use of its own vast multiplication process. We have the Ime We have the privilege of turning back from privilege of turning bark from the page on which we have found something the page on which we have found something debatable. in order to find and reread that point where the argument started... toy 011••■•■ Tat .awra And we can turn forward to the end. or far enough ahead to see what conclusion 'anon nmeN debatable, in order to find and reread the fellow is driving toward...And the third privilege is that of stopping short at that point where the argument started... any word or statement that seems to call for meditation, verification, or resort to the dictionary. Printing is on the side of the people who still have the courage to say Stop. I want to think about that iallo• (Beatrice Warde) abo • svi s owe** se wo.4.1. /Yam

tn. qm, .• 7 'el.

I J 19

( K) Third Prize Mr. Julian L. Aket Lancashire Polytechnic Preston, England (L) (M) Third Prize Ms. Lisa E. Taft Ms. Anke Dominik Philadelphia College of Art Mr. Stefan Ohmstede Philadelphia, Pennsylvania, USA Ms. Corinna Senftleben Mr. Martin Stiegeler (N) Hochsch,ulefiir Bildende Kiinste Third Prize Braunschweig Mr. Jean-Jacques Guillon Braunschweig, West Germany Ecole des Arts Decoratifs de Strasbourg Strasbourg, France L

We (printers) have three great privileges which the spoken word cannot offer even now when it has the use of its own vast multiplication process.

We have the privilege of turning back from the page on which we have found something debatable, in order to find and reread that point where the argument started._

And we can turn forward to the end, or far enough ahead to see what conclusion the fellow is driving toward...

And the third privilege is that of stopping short at any word or statement that seems to call for meditation, verification, or resort to the dictionary.

Printing is on the side of the people who still have the courage to say 'Stop. I want to think about that..7

(Beatrice Warde)

BYLINE BOOK CONDENSED ITALIC TEXT ITC CENTURY BOOK CONDENSED CAPTIONS BOOK CONDENSED ITALIC WITH BOLD CONDENSED ITALIC HEADLINE ITC AVANT GARDE GOTHIC BOLD CONDENSED, BOOK INITIAL BOLD CONDENSED 20

BIOMEDICAL COMPUTER GRAPHICS AT C/CP

•

Computer-generated animation produced for Goldcrest Films educational series, entitled The Living Body (= Cranston-Csuri Productions, Inc.) 21

from The Living Body. A still frame Red blood cells picking up oxygen, a intro graphics, station promos (NBC, CBS, ABC, HBO), print and beating heart, molecular structures, advertising; in the sciences—medical imagery, body kinetics, sexual intercourse, comparison of a pharmaceutical and health care information; and in education— male and female bladder, growth of mathematical and management programs. The company is the uterus, rotation of the body in 3-D based on 17 years of research at the Ohio State University showing organs and processes within. (OSU) by artist and co-founder Charles "Chuck" Csuri. At the These are a few of the computer OSU Computer Graphics Research Group, Csuri is currently animated pieces produced at Cranston investigating how to depict the body's dynamic processes. His Csuri Productions (C/CP) in Colum- approach, which uses modeling techniques to animate legged bus, Ohio. This four-year-old company leads the way in animation figures, allows animators to control the complex relationships and biomedical imagery, blending with their computer graphics between a body's motion and coordination of its legs. techniques a remarkable imagination, artistic creativity, scientific The key biomedical illustrator and animator at C/CP is Don knowledge and excellence. Stredney who uses computer graphics to represent biomedical C/CP represents a diverse pool of talented illustrators, structures because it is a "...new way of visualizing things. No animators, designers, and computer graphics experts working other medium allows us to see so well how the molecular struc- together to create computer applications; in the arts—movie tures of a drug react within the body, or how an operation will be

• •• • • •• 4 .•• • • .4 • # • 4. ••• • • A, • • 4 *. A $ 4 4 44 • • • • • • • • • • • • • 4, • • • ♦ • • • • • • • ♦ • • • • • • • • • • • • • • • • • • • 4 • • • $ • • • .4 44 • • • • • • • • • • • • • • • • • • • • • 11* • , • , ,*• .** •• • 4. • • • 4! • •• 22

performed on a patient." The earliest applications of computer graphics are found in CAD/CAM (computer aided design and computer aided manufacturing) where mathematical structures are simply replicated by the computer. Organic forms like the heart, lungs or brain are difficult to define and depict through computer graphics because, in addition to modeling the form, they require textures and motions which are highly complex but need to be easily understood and disseminated. At C/CP, Stredney generates biomedical data by lofting. He uses serial sections of a structure (i.e., an organ or the body) on a given axis. The process of building a medical data base starts with the creation of a generic structure such as the heart or lungs, or with the generation of orthogonal views of the data. Once the serial sections of a model are obtained, they are entered into the computer via a digitizing tablet. Another method is the retrieval of files from CT (computerized tomography) or NMR (nuclear medicine resonance) images. To avoid human error a digitizing camera is often used to enter the sections into the computer. Once the images are in the system, a series of post processing programs is executed to achieve the desired surface effect. With the database completed, the color and surface quality must be defined. One way is to create a vertex color list where a color or hue is assigned to each vertex or point on the object. One color can blend into another across a given direction of an object. To create a highly-colored surface several vertex lists are multiplied or averaged. Another method used to describe the surface is "texture mapping." The animator digitizes a scene or a texture with a digitizing camera; or the texture image is digitized from the screen with an image system. Then with the use of special programs the texture files are mapped onto a surface. The use of light sources allows the animator/illustrator to depict highlights; thus an object can appear wet or plastic-like, or without highlights. At this point reflective qualities are modified and transparencies assigned to the object. When the transparent representation of an object is too complex (such is the case with the body), the surface is represented in a series of points, allowing the underlying organs to be easily seen, with the points used only as references. Once an animator has a surface description and color texture file for a given piece of data, the next step is the animation. Among the possible manipulations are translations, rotations, and scaling changes in placement, position and size. Programs can also change an object's shapes or moving parts. C/CP produces an animation package that allows for compound motion; that is, one object can be attached to another, and articulated objects (hands, feet, trains) can move. Using this program the animator's performance is like that of a choreographer. "The objects are the dancers, and through animation scripts, their position, speed, color, size, light and environment are controlled," said Stredney.

Three-dimensional, computer-generated animation designed and produced to introduce and promote PM Magazine. Clouds are texture-mapped onto the PM Magazine logo. (< 1985)

Still frames from The Living Body. 23

The team effort at C/CP explores new concepts in hospital advertising, medical education, and sales. In a 30-second computer-animated spot promoting Toledo Hospital's competence C/CP demonstrates both the warmth of the "we care attitude" and the benefits of high technology available at the hospital. In the future, databases that include diagnostic imaging techniques will allow the display of individual patient data in 3-D graphics. At a more personal level, each of us will come to better understand our bodily functions and processes. Camila Chaves Cortes

Three-dimensional, computer-generated gears produced in-house by Cranston-Csuri Productions, Inc. (01985)

Computer-generated animation produced Three-dimensional, computer-generated animation produced for Good Morning America. Twenty seconds of three-dimensional, for a television commercial depicting a com- (01983) computer-generated animation produced for puter-based vital signs monitoring system HBO Sports World Championship Boxing used to accelerate diagnosis and treatment intro/promo. (© 1986) at Mount Cannel Hospital. (© 1986)

HEADLINE: ITC BERKELEY OLDSTYLE BOLD TEXT: BOOK CAPTIONS: BOLD ITALIC WITH BOLD 24

FPorr; :t12eit.s p.c012:te ?fries: ic.t;eb- Ioal2ti yilst rizeb, alinViedal t recico : nt eries of Ile° The Ile* Lu $2,50 prio auras 4 $S p(Y3 050p. eac rec1212Pt7 0 Lubalinhis is the International Stildent Design 0 /o rig-alidlifs ilsctltb yuA, T iblI e ri La eb2244-712 Yph oyt ebs : Competitions to be sponsoreaby emory of Seco:140Jc,Sig„b.t tbisd prizes of $li. e 27/4/Iczito terets' International TyVeface Corporation, Certiiic,ates willbe issued, thefor othibitionall pieces "L641:easccc°;s:4are ty cop tat* so and perinterna'donally petlate them faraed - for 1116.11S01.d at \11the ITC Center in 1;7; 110110T d A selec- to sele e Ilerbgraphic Lvh designer, a under and princiwhichliewlork, in the Fall of 198 • pal of ITC, editor of &lc, teacher, i4on of the winDing pieces \I.10e iea- and concerned citizen of thettion -world. is Why tvxed in a special issue of II &lc. expressed The theme of this compdas ttificatiow. Hunger? Why Poverty Kng, It. Each entrantce must subMit note from the school on the schod s letterhead by DT. Via.ttalLIOeT erldi \fog that the entrant is a stdent. WO can elite? Undergraduate, graduate or special c students of bona fidedepartments axt or gapluc any or design schools place in the world. xy-. TheP hst SENIA0 C laID01.211. De

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" fist/ design cczmot be make to walit copie e "t11171ed.s coriv rt7, o,7j, yo of their. eStnde s etitioli °1- itsd ue c nts should 141.4 IllIlige.* Ire to zi bef 0 ied:mgby r Th" aildse `Thefot112, e Rratita, .13:11 submit(i„ erY; art for iftb, threexili 11°0177 ceivbip.710;e 1711116'61 • to reePs:or, 7 ".ePdzil) e e 1:11: "ertceiv about -.(07t repr__, sll tri-zarti to s :Tr credit for,_17:1°12412e ; tit e Deadaile fuuliced. sc will re(1.1% there c-1" elli; 4°114. o tzies: VPiece tiou I7e t 1987 4 togetOre I,heO es -172 ci t. the th fit. Ust hull 4 ' -•i ques- Entry head, geuct4 e foroz ger ty sho iu 44 . d 44 d !del lIst Piease In prig, th e When 41/Y city • re be Ifrel 1:10/7 r,nereettyafefderycatt , 4.0 p to , ci iiiletbertse°1yf the has 3, tiany bc 12 hOR,clad to e asailyfrocvW to t'for..r ni tvitk th scieiltift.h e reso c7Ch eotry provide know,cesable, e o !lumber,gre r a Itties larger than 3xl' (91S b b‘i yo --ab41. -1714rgl2 are no sic, all under th ur piecef the • In to °11 -1.22 117) or hear/lel- that] -15 lbs 'V k) tUii^• . lieoessiirud c711 .17 base, the frame, clin Tv, e k bande ke 4nes0410c .jeselsie trilfOrliz and the back, or p120tographic acceptable, pripts butof themcolor sli(e6.s8or:will be II thcleficites i:f 4, eylt by moth -V a/2daccepted, 16132121 as will tilts format 22 been'914- co RV. Y seild yolir er all acce e defi irc 7j/peset vide h e c •t . Are ewe 4,1 try: showhabdletteredptabl rea • c4111 • o 44_ drish 11 t O ut es 4421, 4-4-/Or i Wtork -/; backerooidsbe h• P of "lids e y? boto g h2,7ttgr shi: eciPhic' b cciusee4in 0 f fro °41. 1dpi otvaitistric e„,,.._:e our th CAl Copy ck the t • ni osts t: g Th tve voitiee "I. use art b/e s e to es, protecti bhiPP11101 72e bye becl r. ° g: S4 al 0 beco„, e.allotved - wor 171c127 sac e ands/.Stem -le k do ers to t nivsibie, wiclgt1:11:sd. e.os ease ce.„, atzzreen 117t -Nob 1444 4104 k, ttc71421(1112 ur cl?-c1 , • 41)172itted hrsta e21711.eesei22 siglier:s Choke.or, . ust ci,o-lig the ors: sZttbe e copy- lfec17-1,• pig olyoxiziabv c7ge of yCb phh•le to el' ofde y be orpeh,11,-- g-ei b ee ho •I:'_e,ue cust 67. lettferso b4 theeero ...iso.. r ct:1 1, 411d "e sure e .1? Cu paPck ig.s ktradee 11 ;7'91 :1-4118; • st° ospfrgehas ze b ins ts: will tioi7,tio erly 'leave , .IonAives.YPerizzission of 7,7. ceiveyyou r co h in , "" foi-71;PI.°Per itto'4uPlzras u Coin ,...„ e Afat andbepr°Pthatthat notivaii f, rciai valu ,7121eciStat_es. Custom e Coji test will exp.,* on i , the ‘141.011gh -.6 C. 26 Flatware

hen George Gutarra Of two things he was certain: He Gutarra two years to complete the first arrived in the United had to work in stainless steel, because turkey, which was eventually pur- States from his native it was affordable and tarnish proof. He chased by a collector for $20,000. Fol- Peru, he was only 22, had to learn welding, because it was lowing the turkey came a fish, a butW already quite experienced in the the only way to make a secure, perma- second turkey, a series of hats, an graphics of store display from working nent structure. But wherever he turned eagle and a rooster. A small owl, com- in a Lima department store. In his first for assistance, he was discouraged. missioned by a private collector, is in job in a New York display studio, he Stainless steel, he was assured, was progress, and Gutarra has a grand learned carpentry and how to work almost incompatible with welding. plan fora mammoth dragon in the with power tools, plexiglass and other Nevertheless, he invested heavily future. new materials. But nothing in his past in welding equipment and spent Although Gutarra is currently or new experience prepared him for months developing his modus employed in Fortunoff's display making a turkey out of table settings. operandi. His process is ticklish and department, the flatware fabrications The whole turkey business started time-consuming. He builds his figures, are produced in his own studio on his when he offered to help a friend land a almost always, from the bottom up, own time. He has exhibited them in art job as display director of Fortunoff, a overlapping layer upon layer of flat- galleries, and won prizes and attention major home furnishings store with ware, and electrically spot welding from the national and local press. For New York City and suburban each of the thousands of pieces to an several years running, Fortunoff has branches. The friend'sjob hinged on inner steel frame or to each other. Often rented selected pieces for seasonal how impressive a window display he he cuts pieces of flatware apart to iso- window displays—the turkey for could produce for the company's new late a shape or a pattern on the utensil Thanksgiving, the eagle for Indepen- Fifth Avenue shop. When Gutarra which becomes a significant detail in dence Day and the hats for Easter. heard that Fortunoff specialized in the design. The whole operation is a This is an astonishing body of silverware and stainless steel, he matter of trial and error and constant work, made all the more impressive by instantly recalled an artist in Peru who revision of plans to bring all the parts the fact that George Gutarra has never had fashioned a rooster out of flatware. into proper relationship and scale. had a single formal art lesson. Flatware, his friend agreed, would be a Working in his spare time, it took Marion Muller perfect theme for a Fortunoff's window display. And with Thanksgiving Day approaching, what could be more appropriate as a centerpiece than a turkey fabricated out of forks, knives and spoons? It fell to Gutarra to figure out how to translate the concept into the bird. In his first attempt, he made an armature out of chicken wire, through which he wove and poked pieces of flatware into position. After 15 days, however, the turkey was only half finished. But D-Day was upon them, and half a bird-in-the-hand was better than none at all. They decided to proceed with the installation and camouflage the unfinished rear section of the turkey with other props. But as they carried the unfortunate creature through the store, moulting season set in. Knives, forks and spoons went clattering to the ground in all directions. In despera- tion, they settled the discombobulated bird in the window and set to work reassembling it right there. As they worked, a small crowd of passersby stopped to watch the operation. When thejob was done, the audience broke into spontaneous applause. The window was a phenomenal success. The friend got thejob, and Gutarra became inextricably committed to solving the Hats. Five hats in all were created for problem of sculpting in flatware. a Fortunoff's Easter window display. One of them is in the private collection of Mr. and Mrs. Allan Fortunoff.

The Rooster. There are 1,055 pieces of flatware here: 41 spoons in the head, 700 forks and 150 spoons in the body, 8 spoons in the legs, 80 knife handles in the tail, and 36 knives and 40 spoons in the wings. The bird is 24" high, 10" wide, 22" deep and weighs 75 lbs. 27 Fabrications

The Eagle. A total of 2,040 utensils and three years' work went into this eagle, shown full view on the cover. There are 40 spoons in the head, 800 spoons in the body, 150 knives in the legs, 70 knives in the tail, and a total of 480 knives and 500 spoons in the wings.

The Turkey. This 220-lb. turkey is the second of its species. (See text for story of turkey No. 1.) There are 40 knife handles, 80 spoon handles and 25 spoons in the head, 1,200 spoons in the body, 120 knives, 90 serving forks and 230 regular forks in the tail, and the wings contain 350 knives and 280 spoons— a total of 2,415 pieces of stainless steel flatware. It is 36" high, 32" wide and 40" deep.

BYLINE. KURSIV BOLD CAPTIONS REGULAR WITH BOLD HEADLINE ITC KORINNA KURSIV EXTRA BOLD TEXT KURSIV REGULAR PHOTOGRAPHED BY MARY AND JOE VAN BLERCK 28

FAMILIES TO REMEMBER

COUSTFAUS

French navy's Group for Undersea Research, and oceanography became his career and his addiction. His technological innovations were an enormous boon to divers and researchers. He was co-inventor of the Aqua-Lung, which enables men to swim, free as fish, for long periods of time. He developed a watertight movie camera for filming under water. And Cousteau himselfwas one of the first aquanauts to descend in a bathyscaph for prolonged deep-sea observations. His companion and helpmate, almost from the beginning, has been his wife Simone. Eventually their two sons, Jean-Michel and Philippe, also became serious members of the crew. Philippe, the younger of the boys, made his first Aqua-Lung dive when he was just four years old. As he grew up, he worked alongside his father on the Calypso as a diver, a photographer and a producer of their documentary films. In 1965, he and five other aquanauts accomplished an unprecedented feat; they lived for 28 days in a submer- sible vessel, 335 feet down, filming and recording changing ocean conditions. Besides his diving and cinematography, Philippe also piloted airplanes, helicopters and gliders. In 1979, a seaplane he was Philippe Cousteau and friend. flying hit a sandbank and sank outside of Lisbon. While While the superpowers have been poking around in his passengers were rescued before the plane went outer space, hoping to discover resources and solutions down, Philippe could not be pulled from the wreckage. to mankind's earthly problems, one man and his family He was only 39 at the time. (with the same benevolent intentions) are searching in The elder Cousteau son, Jean-Michel, now co- the opposite direction—deep down in the waters of our directs his father's global expeditions and produces own planet. films for their television documentaries. After Philippe's For 40 years, Jacques Cousteau, his family, his death, Jean-Michel also took over his responsibilities at devoted crew of aquanauts, and his oceanographic ves- the Cousteau Society. This non-profit organization was sel Calypso have explored the seas and oceans of the founded in 1974 by his father, to disseminate informa- earth. Since the oceans were the cradle of life, Cousteau tion about the environment through books, films and is convinced they also have the means to sustain us, periodic reports. provided we use them wisely and well. His explorations The Cousteaus have had an adventurous life. They have supported his theory; the oceans indeed have an explored shipwrecks of recent and ancient vintage, almost inexhaustible supply of oil, energy, food, phar- discovered underwater caves and grottos, swam with maceuticals, and organisms with yet-to-be-discovered sharks, whales, morays and octopi and hitchhiked on a potential. tortoise. They have explored the Aegean Sea, trekked Jacques Yves Cousteau was born in 1910, in up the Peruvian Andes to the highest body ofwater in St. Andre-de-Cuzbac, France. He graduated from the the world, Lake Titicaca; explored the mysterious "Blue French naval academy and served as a naval officer for Holes" of British Honduras, and traced the Amazon 27 years. When World War II ended, he organized the from its source to the Atlantic; researched the Carib- 29

46 ITC TIFFANY

ITC Tiffany is a contemporary blend of two significant typestyles of the last century: Ronaldson Old Style and Caxton Oldstyle. ITC Tiffany combines the best characteristics of these two distinctive typefaces in a refined, elegant and still personable typeface. When first released in 1974, the ITC Tiffany family, somewhat in the tradition of Ronaldson and Caxton, offered no italic designs. (Ron- aldson had no italic, and Caxton was released with only a sloped roman.) In 1981, Ed Benguiat, the creator of the original ITC Tiffany design, was persuaded to attempt a true cursive which would comple- ment his roman. ITC Tiffany Italic was the result; typefaces which have proved to be exceptionally popular in their own right. ITC Tiffany finds distinction in long, graceful serifs which are offset by a robust contrast in stroke weight. Its x-height is large and counters are open. Similar to Baskerville designs, the lower loop of the "g" in ITC Tiffany does not quite close. The design also has a gentle tran- sition in stroke weight and richly bracketed serifs which augment ITC Tiffany's other legibility benefits. Graceful, elegant, and flowing, ITC Tiffany never appears severe or harsh on the page. There are few applications outside ITC Tiffany's range. Text composition, whether short blocks of advertising copy or lengthy composition for books and periodicals, all benefit from its attributes. A sense Jean-Michel and Jacques Cousteau wearing Aqua-Lungs. of dignity is also added in most bean, the Gulf Stream and the oceans of the world. situations. The well-dispersed fam- Recently they embarked on a five-year, 'round-the-world ily weights and distinctive design traits, which become more appar- expedition. On their itinerary are New Zealand, the ent as type sizes increase, give Great Barrier Reef, the Great China Sea, The Yangtze ITC Tiffany an added advantage in a variety of display applications. River, the Mississippi, the Great Lakes, the St. Lawrence, ITC Tiffany was created within and even the Nile. They will return with fascinating those ideal design parameters that footage of film; but the real value of their explorations is lend themselves to a special grace and elegance. Combining this with the promise they bring of sustenance from the seas, and the advantage of a typographic line- their admonitions about protecting our environment. age that can be traced back to a pair At 76, Jacques Cousteau shows no signs of tiring of the finest designs from two of America's oldest foundries, and with or retiring. "Ships and humans," according to Cousteau, design traits that are timeless in "must not stay at anchor too long or their hulls will rust their appeal, it is easy to see why and their arteries clog up." ITC Tiffany is a family to remember. CAPTIONS: LIGHT ITALIC HEADLINE: ITC TIFFANY HEAVY SUBHEAD: MEDIUM TEXT: LIGHT, DEMI ILLUSTRATIONS BY WILLIAM BRAMHALL 30

LIGHT MEDIUM

While the superpowers have been poking aroun While the superpowers have been poking aro d in outer space, hoping to discover resources a and in outer space, hoping to discover resour nd solutions to mankind's earthly problems, on ces and solutions to mankind's earthly probl e man and his family (with the same benevolent i ems, one man and his family (with the same ntentions) are searching in the opposite directio benevolent intentions) are searching in the o n—deep down in the waters of our own planet. F pposite direction—deep down in the waters o or 40 years, Jacques Cousteau, his family, his d four own planet. For 40 years, Jacques Coust evoted crew of aquanauts, and his oceanographi eau, his family, his devoted crew of aquanaut c vessel Calypso have explored the seas and oce s, and his oceanographic vessel Calypso hav ans of the earth. Since the oceans were the cradl e explored the seas and oceans of the earth e of life, Cousteau is convinced they also have th Since the oceans were the cradle of life, Cous e means to sustain us, provided we use them wi teau is convinced they also have the means to sely and well. His explorations have supported sustain us, provided we use them wisely and his theory; the oceans indeed have an almost in well. His explorations have supported his th exhaustible supply of oil, energy, food, phai mac eory; the oceans indeed have an almost inex euticals, and organisms with yet-to-be-discover haustible supply of oil, energy, food, pharma ed potential. Jacques Yves Cousteau was born i ceuticals, and organisms with yet-to-be-disc n 1910, in St. Andre-de-Cuzbac, France. He gra overed potential. Jacques Yves Cousteau wa duated from the French naval academy and sery s born in 1910, in St. Andre-de-Cuzbac, Franc

LIGHT ITALIC MEDIUM ITALIC

While the superpowers have been poking aroun While the superpowers have been poking arou d in outer space, hoping to discover resources a nd in outer space, hoping to discover resource nd solutions to mankind's earthly problems, on s and solutions to mankind's earthly problem e man and his family (with the same benevolen s, one man and his family (with the same bene t intentions) are searching in the opposite direc volent intentions) are searching in the opposi tion—deep down in the waters of our own plane to direction—deep down in the waters of our o t. For 40 years, Jacques Cousteau, his family, h wn planet. For 40 years, Jacques Cousteau, h is devoted crew of aquanauts, and his oceanogr is family, his devoted crew of aquanauts, and aphic vessel Calypso have explored the seas an his oceanographic vessel Calypso have explo d oceans of the earth. Since the oceans were the red the seas and oceans of the earth. Since the cradle of life, Cousteau is convinced they also h oceans were the cradle of life, Cousteau is con ave the means to sustain us, provided we use th vinced they also have the means to sustain us em wisely and well. His explorations have supp provided we use them wisely and well. His exp orted his theory; the oceans indeed have an al lorations have supported his theory; the ocea most inexhaustible supply of oil, energy, food ns indeed have an almost inexhaustible suppl pharmaceuticals, and organisms with yet-to-b y of oil, energy, food, pharmaceuticals, and o e-discovered potential. Jacques Yves Cousteau rganisms with yet-to-be-discovered potentia was born in 1910, in St. Andre -de-Cuzbac, Fran I. Jacques Yves Cousteau was born in 1910, in ce. He graduated from the French naval acade St. Andre-de-Cuzbac, France. He graduated f 31 IVEANIir

DEMI HEAVY

While the superpowers have been poking ar While the superpowers have been pok o wad in outer space, hoping to discover reso ing around in outer space, hoping to d urces and solutions to mankind's earthlypro iscover resources and solutions to m blems, one man and his family (with the sam ankind's earthly problems, one man a e benevolent intentions) are searching in th nd his family (with the same benevole e opposite direction—deep down in the wate nt intentions) are searching in the op rs of our ownplanet. For 40 years, Jacques C posite direction—deep down in the wa ousteau, his family, his devoted crew of aqua ters of our own planet. For 40 years, J nauts, and his oceanographic vessel Calypso acques Cousteau, his family, his devot have explored the seas and oceans of the ear ed crew of aquanauts, and his oceano th. Since the oceans were the cradle of life, C graphic vessel Calypso have explored ousteau is convinced they also have the mea the seas and oceans of the earth. Sine ns to sustain us, provided we use them wisel e the oceans were the cradle of life, C y and well. His explorations have supported ousteau is convinced they also have th his theory; the oceans indeed have an atmos e means to sustain us, provided we use tinexhaustible supply of oil, energy, food, ph them wisely and well. His exploration armaceuticals, and organisms with yet-to-b s have supported his theory; the ocea e-discovered potential. Jacques Yves Coust ns indeed have an almost inexhaustibl eau was born in 1910, in St. Andre-de-Cuzba e supply of oil, energy, food, pharmac

DEMI ITALIC HEAVY ITALIC

While the superpowers have been poking arou While the superpowers have been pok nd in outer space, hoping to discover resource ing around in outer space, hoping to s and solutions to mankind's earthly problem discover resources and solutions to s, one man and his family (with the same ben mankind's earthly problems, one ma evolent intentions) are searching in the oppos n and his family (with the same benev ite direction—deep down in the waters of our olent intentions) are searching in th own planet. For 40 years, Jacques Cousteau e opposite direction deep down in th his family, his devoted crew of aquanauts, an d his oceanographic vessel Calypso have expl ored the seas and oceans of the earth. Since t abcdefghijklmnopqrstuvwxyz he oceans were the cradle of life, Cousteau is ABCDEFGHIJKIYINOPQRSTUVWXYZ convinced they also have the means to sustai 1234567890&®)$$C1 % n us, provided we use them wisely and well. H is explorations have supported his theory; the cOlECEfiee oceans indeed have an almost inexhaustible s abcdefghijklmnopqrstuvwxyz upply of oil, energy, food, pharmaceuticals, a ABCDEFGHIJKLMNOPQRSTUVWXYZ nd organisms with yet-to-be-discovered poten tial. Jacques Yves Cousteau was born in 191 12345678908E0,94$0X% 0, in St. Andre-de-Cuzbac, France. He gradu caECE.00Weefi 32

WHAT'S NEW FROM ITC

ITC Slimbach is available in Book, Medium, Bold and It is a special occurrence when ITC can intro- Black weights with corresponding italics. Small caps have been created for the Book and Medium weights. duce a new typeface designer in addition to a Oldstyle figures are available for the roman and italic new typeface design. The release of ITC designs in all weights. Only licensed ITC Subscribers Slimbach affords us such an opportunity. are authorized to reproduce, manufacture, and offer for Named for its creator, Robert Slimbach, we hope sale these and other ITC typefaces shown in this issue. the typographic community welcomes both This license is your guarantee of authenticity: Can These new typefaces will be available to the LICENSED this young designer and his artistic effort. public on or after February 1Z 1987, depending on Robert Slimbach is a young calligrapher each manufacturer's release schedule. and type designer from the west coast of the United States. Although he has worked several years developing faces for a major graphic arts supplier, ITC Slimbach is his first original typeface to be made widely available. ITC first met Mr. Slimbach and became aware of his ability during a worldwide search for new typeface designs. If the search revealed just this one talent we would have been satisfied. Slimbach's goals throughout the design process were, in his own words, "to design a contemporary text typeface with a progressive look; a typeface which was a balance of inno-

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ ALDUS abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUV DIETHELM abcdefghijklmnopqratuvwxyz ABCDEFGHIJKL MNOPQRSTUVWX YZ LEIPZIG abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ TRUMP MEDIAEVAL 33

vation, clarity and legibility." Added inspiration ibility factors prior to determining this weight. inviting to read. The serifs, which are slightly came from several German typefaces, such as The Medium weight is only slightly heavier abbreviated in addition to being squared off, Aldus, Leipzig, Trump Mediaeval and Diethelm; than the Book. This, he feels, maximizes its provide for wide latitude in inter-letter spacing and from Hermann Zapf, who has probably effectiveness as an alternate text weight and adjustments and refinements. The typeface can inspired more budding type designers than has provides the graphic communicator with more be set open, normal, or quite tight with little any other individual. We believe that the fin- flexibility in coordinating an ideal mix of type effect on typographic readability. ished design is a credit to Robert Slimbach's color, paper, and application. The Bold serves as ITC Slimbach should prove to be a valuable goals and inspirations. a companion for the Book and is also suitable communication tool and a welcome addition Upon first seeing ITC Slimbach, it appears for shorter texts when greater emphasis is to the typographic spectrum. We hope that you, to be based entirely on calligraphic forms. A desired. The Black can be a companion for the as we, anticipate additional typefaces from this closer inspection, however, reveals a carefully Medium or used on its own for headlines and talented young designer. studied and meticulously rendered design. other display applications. It has been drawn Character shapes are slightly geometric and somewhat lighter than many to assure clarity in condensed, serif endings are squared off, and small sizes. hairlines are kept to a conservative weight. The end result is a typeface family of These last two design characteristics were unusual versatility. When set, it produces copy incorporated specifically to assure an accurate of exceptionally even color, which is especially translation of the typeface design to modest resolution imaging devices. Each weight of ITC Slimbach was developed to serve a specific function in the relation of one to another. The Book weight serves as the main face for lengthy text copy. Slimbach spent many hours studying readability and leg- ABCDEFGHIJKL ABCDEFGHIJK ABCDEFGHIJK MNOPQRSTUVW LMNOPQRSTUV LMNOPQRSTUV XYZabcdefghijkl WXYZabcdefghi WXYZabcdefg mnopqrstuvwxyz jklmnopqrstuvw hijklmnopqrstu 1234567890&1234 xyz1234567890& vwxyz12345678 56789oUg%c0 123456789o$W, 90&1234567890 ilECE8W/(Mfif1 %c0./ECER0t\e $Cf..e/ocOlECER iffififfiffrA.,:;!?. 1[11§»0123456]890] 01234 -44 " 7111 [t -t- § >> (.,:;!?•-f.L'u-/#1 aeilmnorst 5678901aeilmnorst [t-t-§»01234567890] aeilmnorst

BOOK ITALIC ABCDEFGHIJKL MNOPQRSTUVW XYZabcdefghijkl mnopqrstuvwxyz 1234567890&1234 56789aWat%c0 iiEcEig&t&oefffifl ffiffi v 15:;!?*1"/# *An.:§ >> 01234567890] • aeilmnorst 35

BLACK ABCDEFGHIJK LMNOPQRSTU VWXYZabcdefg hijklmnopqrstu vwxyz12345678 90&1234567890 $Cfc,f,%c0/EI:Efi OW1Yefffififfiffl v ' °(•/:;!?*'.uu./#*) [tt-§» 01234567890] aeilmnorst

BLACK ITALIC MEDIUM ITALIC BOLD ITALIC ABCDEFGHIJK ABCDEFGHIJK ABCDEFGHIJK LMNOPQRSTUV LMNOPQRSTUV LMNOPQRSTU WXYZabc de fghij WXYZabcdefgh VWXYZabcde fg klmnopqrstuvwx ijklmnopqrstuv hijklmnopqrstu yz1234567890Szi wxyz1234567890 vwxyz12345678 23456789o$4X% &123456789o$q 90&1234567890 cOlEsEgwfeeff of%c0IECEg6g $CfoiVocellEixig fiflififfly'Y.,:;!?- eeiefffifIffiff/' 'WE & fffiflffiffl 12?"-/#111-:§» 01234 567890] aeilmnorst it:§» (<1234567890] It: § 0 (<1234567890] aeilmnorst aeilmnorst 36 ITC SLIMBACHT'

BOOK MEDIUM BOLD BLACK Excellence in typography is the result of nothing more tha Excellence in typography is the result of nothing more th Excellence in typography is the result of nothing more t Excellence in typography is the result of nothing more n an attitude. Its appeal comes from the understanding use an an attitude. Its appeal comes from the understanding u han an attitude. Its appeal comes from the understandin than an attitude. Its appeal comes from the understan d in its planning; the designer must care. In contemporary sed in its planning; the designer must care. In contempor g used in its planning; the designer must care. In contem ding used in its planning; the designer must care. In c advertising the perfect integration of design elements often ary advertising the perfect integration of design elements porary advertising the perfect integration of design elem ontemporary advertising the perfect integration of des demands unorthodox typography. It may require the use of often demands unorthodox typography. It may require the ents often demands unorthodox typography. It may requ ign elements often demands unorthodox typography compact spacing, minus leading, unusual sizes and weight use of compact spacing, minus leading, unusual sizes and ire the use of compact spacing, minus leading, unusual s It may require the use of compact spacing, minus lead s; whatever is needed to improve appearance and impact. S weights; whatever is needed to improve appearance and i izes and weights; whatever is needed to improve appear ing, unusual sizes and weights; whatever is needed to tating specific principles or guides on the subject of typogr mpact. Stating specific principles or guides on the subject ance and impact. Stating specific principles or guides on improve appearance and impact. Staling specific prin 6 POINT

Excellence in typography is the result of nothing m Excellence in typography is the result of nothing Excellence in typography is the result of nothing ore than an attitude. Its appeal comes from the und Excellence in typography is the result of nothin more than an attitude. Its appeal comes from the u more than an attitude. Its appeal comes from the g more than an attitude. Its appeal comes from t erstanding used in its planning; the designer must c nderstanding used in its planning; the designer m understanding used in its planning; the designer are. In contemporary advertising the perfect integra he understanding used in its planning; the desi ust care. In contemporary advertising the perfect i must care. In contemporary advertising the perfe gner must care. In contemporary advertising th Lion of design elements often demands unorthodox ntegration of design elements often demands unor ct integration of design elements often demands u typography. It may require the use of compact spaci e perfect integration of design elements often d thodox typography. It may require the use of comp northodox typography. It may require the use of c emands unorthodox typography. It may require ng, minus leading, unusual sizes and weights; what act spacing, minus leading, unusual sizes and wei ompact spacing, minus leading, unusual sizes an ever is needed to improve appearance and impact. the use of compact spacing, minus leading, unu S ghts; whatever is needed to improve appearance an d weights; whatever is needed to improve appear sual sizes and weights; whatever is needed to i 7 POINT

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Excellence in typography is the resul Excellence in typography is the resu Excellence in typography is the res Excellence in typography is the re t of nothing more than an attitude. It It of nothing more than an attitude. I ult of nothing more than an attitud suit of nothing more than an attit s appeal comes from the understandi is appeal comes from the understan e. Its appeal comes from the unders ude. Its appeal comes from the un ng used in its planning; the designer ding used in its planning; the design tanding used in its planning; the d derstanding used in its planning; t must care. In contemporary advertisi er must care. In contemporary adver esigner must care. In contemporar he designer must care. In contem ng the perfect integration of design e tising the perfect integration of desi y advertising the perfect integratio porary advertising the perfect int lements often demands unorthodox t gn elements often demands unortho n of design elements often demand egration of design elements often ypography. It may require the use of dox typography. It may require the u s unorthodox typography. It may re 10 POINT demands unorthodox typography

Excellence in typography is the re Excellence in typography is the r Excellence in typography is the Excellence in typography is the suit of nothing more than an attitu esult of nothing more than an att result of nothing more than an a result of nothing more than an de. Its appeal comes from the und itude. Its appeal comes from the u ttitude. Its appeal comes from th attitude. Its appeal comes from erstanding used in its planning; t nderstanding used in its plannin e understanding used in its plan the understanding use_ d in its p he designer must care. In contem g; the designer must care. In cont ning; the designer must care. In lanning; the designer must car porary advertising the perfect inte emporary advertising the perfect contemporary advertising the p e. In contemporary advertising gration of design elements often d integration of design elements oft erfect integration of design elem the perfect integration of desig emands unorthodox typography. I en demands unorthodox typogra ents often demands unorthodox 11 POINT n elements often demands uno

Excellence in typography is the Excellence in typography is th Excellence in typography is t Excellence in typography is t result of nothing more than an e result of nothing more than he result of nothing more tha he result of nothing more th attitude. Its appeal comes from an attitude. Its appeal comes fr n an attitude. Its appeal come an an attitude. Its appeal co the understanding used in its p om the understanding used in s from the understanding use mes from the understanding lanning; the designer must car its planning; the designer mus d in its planning; the designe used in its planning; the des e. In contemporary advertising t care. In contemporary advert r must care. In contemporary igner must care. In contemp the perfect integration of desig ising the perfect integration of advertising the perfect integr orary advertising the perfec n elements often demands uno design elements often demand ation of design elements often 12 POINT t integration of design eleme

Excellence in typography i Excellence in typography i Excellence in typography Excellence in typograph s the result of nothing mor s the result of nothing mor is the result of nothing m y is the result of nothing e than an attitude. Its appe e than an attitude. Its appe ore than an attitude. Its a more than an attitude. It al comes from the understa al comes from the underst ppeal comes from the un s appeal comes from the nding used in its planning anding used in its plannin derstanding used in its pl understanding used in it the designer must care. In c g; the designer must care. I anning; the designer mus s planning; the designer ontemporary advertising th n contemporary advertisin t care. In contemporary a must care. In contempor e perfect integration of des g the perfect integration of dvertising the perfect inte ary advertising the perfe 14 POINT 87

BOOK ITALIC MEDIUM ITALIC BOLD ITALIC BLACK ITALIC Excellence in typography is the result of nothing more th Excellence in typography is the result of nothing more t Excellence in typography is the result of nothing more than Excellence in typography is the result of nothing more tha an an attitude. Its appeal comes from the understanding han an attitude. Its appeal comes from the understand an attitude. Its appeal comes from the understanding used n an attitude. Its appeal comes from the understanding us used in its planning; the designer must care. In contemp ing used in its planning; the designer must care. In con in its planning; the designer must care. In contemporary a ed in its planning: the designer must care. In contemporar orary advertising the perfect integration of design eleme temporary advertising the perfect integration of design e due rtising the perfect integration of design elements often d y advertising the perfect integration of design elements oft nts often demands unorthodox typography. It may requir lements often demands unorthodox typography. It may emands unorthodox typography. It may require the use of c en demands unorthodox typography. It may require the us e the use of compact spacing, minus leading, unusual siz require the use of compact spacing, minus leading, nun ompact spacing, minus leading, unusual sizes and weights e of compact spacing, minus leading, unusual sizes and w es and weights; whatever is needed to improve appearan sual sizes and weights; whatever is needed to improve a whatever is needed to improve appearance and impact. Sta eights: whatever is needed to improve appearance and im ce and impact. Stating specific principles or guides on th ppearance and impact. Stating specific principles or gu Ling specific principles or guides on the subject of typograp pact. Stating specific principles or guides on the subject of 6 POINT

Excellence in typography is the result of nothing Excellence in typography is the result of nothing mo Excellence in typography is the result of nothing m Excellence in typography is the result of nothing m ore than an attitude. Its appeal comes from the un more than an attitude. Its appeal comes from th re than an attitude. Its appeal comes from the unde ore than an attitude. Its appeal comes from the und the design erstanding used in its planning; the designer must derstanding used in its planning; the designer mu e understanding used in its planning; rstanding used in its planning; the designer must c er must care. In contemporary advertising the p are. In contemporary advertising the perfect integra care. In contemporary advertising the perfect integ st care. In contemporary advertising the perfect in ration of design elements often demands unorthod tegration of design elements often demands unort erfect integration of design elements often dema tion of design elements often demands unorthodox t nds unorthodox typography. It may require the a ypography. It may require the use of compact spacin ox typography. It may require the use of compact sp hodox typography. It may require the use of compa acing, minus leading, unusual sizes and weights; w ct spacing, minus leading, unusual sizes and weig se of compact spacing, minus leading, unusual s g, minus leading, unusual sizes and weights; whate izes and weights; whatever is needed to improve vet is needed to improve appearance and impact. St hatever is needed to improve appearance and impa his; whatever is needed to improve appearance an 7 POINT

Excellence in typography is the result of noth Excellence in typography is the result of not Excellence in typography is the result of no Excellence in typography is the result of nothi thing more than an attitude. Its appeal co ing more than an attitude. Its appeal comes f hing more than an attitude. Its appeal come ng more than an attitude. Its appeal comes fr mes from the understanding used in its pla om the understanding used in its planning; t rom the understanding used in its planning; t s from the understanding used in its planni nning; the designer must care. In contemp he designer must care. In contemporary adver he designer must care. In contemporary adve ng; the designer must care. In contemporary rtising the perfect integration of design eleme advertising the perfect integration of design orary advertising the perfect integration o tising the perfect integration of design elemen f design elements often demands unorthod ts often demands unorthodox typography. It m nts often demands unorthodox typography. I elements often demands unorthodox typogr t may require the use of compact spacing, mi aphy. It may require the use of compact spa ox typography. It may require the use of co ay require the use of compact spacing, minus mpact spacing, minus leading, unusual siz leading, unusual sizes and weights; whatever nus leading, unusual sizes and weights; wha cing, minus leading, unusual sizes and weig 8 POINT

Excellence in typography is the result Excellence in typography is the result of n Excellence in typography is the result of Excellence in typography is the result o of nothing more than an attitude. Its a othing more than an attitude. Its appeal c nothing more than an attitude. Its appea f nothing more than an attitude. Its app ppeal comes from the understanding u omes from the understanding used in its l comes from the understanding used in i eal comes from the understanding used sed in its planning; the designer must planning; the designer must care. In con ts planning; the designer must care. In c in its planning; the designer must care care. In contemporary advertising the temporary advertising the perfect integra ontemporary advertising the perfect inte In contemporary advertising the perfect perfect integration of design elements tion of design elements often demands u gration of design elements often demand integration of design elements often de often demands unorthodox typograph northodox typography. It may require the s unorthodox typography. It may require mands unorthodox typography. It may r y. It may require the use of compact sp use of compact spacing, minus leading, u the use of compact spacing, minus leadi equire the use of compact spacing, min 9 POINT

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Excellence in typography is the Excellence in typography is the Excellence in typography is th Excellence in typography is t result of nothing more than an result of nothing more than a e result of nothing more than a he result of nothing more tha attitude. Its appeal comes from n attitude. Its appeal comes fro n attitude. Its appeal comes fr n an attitude. Its appeal com the understanding used in its p m the understanding used in i om the understanding used in es from the understanding u lanning; the designer must car ts planning; the designer must its planning; the designer mu sed in its planning; the desig e. In contemporary advertising care. In contemporary advertis st care. In contemporary adve ner must care. In contempora the perfect integration of desig ing the perfect integration of de rtising the perfect integration ry advertising the perfect int n elements often demands uno sign elements often demands u of design elements often dema egration of design elements o 12 POINT

Excellence in typography is Excellence in typography i Excellence in typography i Excellence in typography the result of nothing more t s the result of nothing mor s the result of nothing mo is the result of nothing m han an attitude. Its appeal e than an attitude. Its app re than an attitude. Its ap ore than an attitude. Its comes from the understan eal comes from the unders peal comes from the unde appeal comes from the u ding used in its planning; t tanding used in its planni rstanding used in its plan nderstanding used in its he designer must care. In c ng; the designer must care ning; the designer must ca planning; the designer m ontemporary advertising t In contemporary advertisi re. In contemporary adver ust care. In contemporar he perfect integration of de ng the perfect integration o tising the perfect integrati y advertising the perfect 14 POINT 88 HE HAUNTED WORLD OF JOSE PLA-NARBONA There are certain cultural purists among us who firmly maintain that art should be seen and not heard. No explanations, no philosophy, no history, no titles. Just hang it up, or stand it up, and let the work live or die on its own. That is all well and good for art that is so abstract we have nothing to ponder but the loveliness or inventiveness of color, shapes, line, texture and all such esthetic nice- ties. But when you come face-to-face with the work of an artist like Jose (Josep) Pla-Narbona, a lot would be lost if you gave in to such con- straints. To look at Pla-Narbona's work without eavesdropping on his life story would be tan- tamount to watching a movie without hearing the sound track; his art is haunted by his life.

• •

Anthropomorphic landscape drawing with humanized mountain, animal and architectural forms.

HEADLINE ITC NOVARESE ULTRA TEXT BOOK WITH BOOK ITALIC CAPTION ITC FRANKLIN GOTHIC BOOK ITALIC 39

he Formative Years him. When other children flocked to carnivals and commu- He was born 60 years ago in Clot, a small nity festivals, Pla-Narbona isolated himself in his room, town in Spain that is bound geographically drawing...drawing...drawing obsessively, probably as much and idealistically to Barcelona. Both his par- to escape the fearful outside world as to enliven the solitary ents died when Pla-Narbona was a very world he had created in his lonely little room. young child, and though he was sheltered Shortly after the trauma of his mother's death, came the and raised by a paternal aunt, the separa- tragedy of the Spanish Civil War. Pla-Narbona witnessed it tion from his mother was especially devastating to him. He all—the barricades, the bloodshed, the plundering and the spent most of his time alone, studiously copying drawings deprivation. You do not have to be a psychiatrist to anticipate out of children's comic books. All the vigorous, boisterous the effect of two such desolating experiences on a sensitive activities normal for little boys of his age had no appeal for eleven-year-old child.

These gargantuan female figures, from a series of paintings entitled "Madonna 81," are a pervasive symbol In Pla-Narbona's work. 40 At school, Pla-Narbona huddled in his own small cir- was noticed by one of the directors of the company, who cumscribed world. He was no shining light academically, persuaded the family not to thwart such a talent. The advice, and certainly not socially. He was not even considered out- coming from a man of prominence in the business world, standing in his art class, although he compulsively filled his convinced the aunt and uncle to allow Pla-Narbona to pur- notebooks to overflowing with his countless drawings of sue a career in art. There was one condition however: his comic book characters. studies had to have some commercial application to provide Since he showed no signs of being a scholar, his aunt him with a livelihood. and uncle, concerned for his future in the uncertain post- Pla-Narbona's first experience in the commercial art war economy, prevailed upon him to learn bookkeeping as world was in a lithography workshop where he learned the a trade. He left school and started work as a page boy in a rudiments of graphic arts and became acquainted with commercial firm. Almost immediately, his gift for drawing aspects of the advertising business. Later, working along

Grotesques Threatening dwarfs, and giants, circus jesters, freaks and masked creatures frequent Pia-Narbona's paintings. The two shown here are from a series entitled "The Human Show," 41 with a friend, Armand Domenech, he turned out illustra- a drawing implement, he would never be distracted by tions for picture postcards and advertisements. Domenech problems of technique. and Pla-Narbona also experimented together with water- While he immersed himself in his schoolwork, he also color painting as "pure art" This first experience with totally found a job in a commercial studio where he befriended sev- non-commercial picture-making made Pla-Narbona hun- eral of the seminal figures in the graphic arts community. gry for more. He enrolled in a branch of Llotja, the official One of them, Richard Fabregos, a man of many talents and school of arts and crafis in Barcelona. As one might expect, dimensions, influenced Pla-Narbona in graphic style and he became as obsessed in his adult studies as in his child- technique. He was also his mentor in the fine arts, in litera- hood comic book copying. He drew continuously, not for any ture, and introduced him to the limitless wonders of the ultimate artistic purpose, but simply to master the pencil. natural world. When Fabregos died suddenly at the age of 41, His objective was to become so completely adept with it as he left Jose Pla-Narbona enriched culturally as well as mone-

Anthropomorphic Forms Pla-Narbona often combines human forms with realistic and visionary birds and animals, suggesting, perhaps, the benign and violent nature of man. 42 tarily. All Fabregos' clients—mostly chemical laboratories— art to elitist artists who scoffed at it. As if to bear out his own became his, and with this heritage, Pla-Narbona set out as convictions, in the early 1950s advertising art and poster an independent graphic designer. design came into their own as respected art forms. Bold new Although his career in Barcelona was extremely success- ideas were being injected into the field, especially by Swiss ful, he could not resist expanding his horizons. He headed for designers. The next stop in Pla-Narbona's educational odys- Paris where he found work in a prominent studio that sey, as you might expect, was Switzerland, where he studied employed a number of gifted graphic designers. The high and broadened his knowledge of typography. Finally, he caliber of their work fortified Pla-Narbona's enthusiasm for returned to Barcelona to work, and in the following years he the commercial art world. Unlike many artists, Pla-Narbona won critical attention and prizes for his graphic design, illus- was never polarized by his interest in both fine art and trations and posters. In 1961 and 1962, he was at the pinna- graphics, and he vigorously defended the validity of applied cle of his career as a graphic artist, but his compulsion to

Figures Enclosed in Rooms In the privacy of dark, enclosed cubicles, masked, disguised figures meet in complicity to enact unmentionable deeds. The tension In the paintings is heightened by peepholes in the wall which seem to threaten public exposure.

SUBHEAD' ITC ZAPF INTERNATIONAL DEMI TEXT: LIGHT CAPTIONS: ITC FRANKLIN GOTHIC BOOK ITALIC, HEAVY ITALIC 43 express himself in a personal art form was undiminished. echniques and Themes His need to communicate with the world was crucial In the beginning, the pencil was so much a to the evolution of Pla-Narbona's style. Through all the part of him, it was more an appendage than a rapidly changing fashions in 20th century art, he held fast drawing tool. But he went on to explore other to his conviction that purely abstract art was unjusti- media—pen and ink, watercolor, etching, fiable—at least for him. But neither did he go overboard engraving, dry-brush watercolor, charcoal into anecdotal painting or social realism. His drawings, and collage. With his mastery of each paintings and sculpture became a complete personal medium, hisfigures became more expressive, more catharsis, with the human figure as the starting point of bizarre, more evocative. His paintings are especially all his ruminations. fertile territoryfor psychological and anthropological interpretations because of his unique visual vocabu- 44 lary and preoccupation with certain primal themes. memories. The pointed hoods, elongated ears and The Voluminous Earth-Mother tails are the classic phallic and satanic symbols. Her mountainous breasts, fecund belly, bursting Anthropomorphic Figures columns offleshfor arms and thighs, has been inter- Incompletelyformed humans, humans that are part preted as an expression of his unrequited longingfor animal, and animals that are part human, suggest his mother. The predominant oval and circularforms Pla-Narbona'sfeelings of insufficiency—sexually and are symbolic of the womb. socially—according to some experts. Grotesque, Physically Deformed and Figures Enclosed in Rooms Masked Creatures Partitioned offfrom the world, they silently confront Here are the dwarfs, giants, freaks andjesters of car- each other and enact repressed erotic dreams. The nivals, circuses, his terrifying dreams and childhood tiny peepholes and trap doors suggest the guilt and

Anthropomorphized Landscapes The fusion of human, animal, architectural and landscape elements are expressions of deep personal significance for Pia-Narbona. But the imagery transcends his private world. The elements are out of scale and beyond rational explanation. The silence is ominous. Yet even without a guide to Pla-Nar- bona's symbolism, we receive thunderous messages of powerful, universal forces at work. 45 fear of being discovered "in the act." which good and evil were personified by distortions Anthropomorphic Landscapes of humanfigures. The "good" were depicted in elon- Serene, but ominous and cold as moonscapes, they gated, graceful attitudes, like El Greco's saints and include humanized cloud and mountainforms. The angels. Evil was characterized by gnarled, scabrous, fusion of the Earth-Mother with elements of land- deformed and grotesque creatures, as in Hierony- scape may signify thefinal sublimation of the quest mous Bosch's versions of hell. Symbolicfigures for the missing mother. romped through landscapes and werefrequently Not everyone holds with these psychological anthropomorphized into trees or clouds. Every aspect interpretations. There are some art historians who of the composition—the color, tonality and disposition prefer to see Pla-Narbona's art as simply a revival of offorms—was designed to contrast the sacred and the 16th century Mannerist style of painting, aform in the profane.

SUBHEAD' ITC BOOKMAN DEMI ITALIC TEXT: LIGHT ITALIC WITH MEDIUM ITALIC CAPTIONS: ITC FRANKLIN GOTHIC HEAVY ITALIC 46 HATEVER our conclusions about the source of Pla-Narbona's imagery, he leaves us somewhat embarrassed at eavesdropping on his private, tormented world. This is by no means lovable art. It is not easy to make, nor easy to take. But the longer we look, the more we realize his demons are not such strangers after all. We have met them before. In fairy tales. In legends. In myths. And in our own uncensored dreams. It is the kinship he makes us feel for his agonies that lifts Pla-Narbona's painting out of the realm of personal exorcism up to the level of fine art. Marion Muller

Madonna The typical voluminous earth- mother image which, according to some interpreters of Pia-Narbona's work, expresses his unrequited longing for his mother.

Pen and ink drawing combining several Pla-Narbona images.

TEXT' ITC NOVARESE BOOK, BOOK ITALIC BYLINE BOOK ITALIC CAPTIONS: ITC FRANKLIN GOTHIC BOOK ITALIC, HEAVY ITALIC 47

Suburban Block. As a town planner, Donald He discovered his affinity for graphics while King is not likely to win any citations. But his serving in the U.S. Army. Upon retirement, he ingenuity must be acknowledged for the many set up his own studio, Pen-Art Limited, in ways he found to contort a block of suburban- Raleigh, North Carolina. Lest anyone be mis- style homes into an alphabet. ltd by this alphabet, be advised that King has If you think Mr. King demonstrates plucki- nothing to offer in the way of home renovation. ness in his architectural exploits, that is only But if you're in need of lettering, calligraphy, half the story At age 46 he just recently turned a newsletter, poster or T-shirt design, he might professional in the field of graphic design. be your man. Marion Muller

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TEXT, ITC GARAMOND ULTRA CONDENSED, BOOK CONDENSED BYLINE: BOOK CONDENSED ITALIC IT TECHNO GY BY EDWARD M. ALERTS GOTTSCHALL

SOFTWARE, FONTS IMAGESETTERS, More and more the news in software the AVL Starburst Computer Graphics The Compugraphic TYPESETTERS, is faster, cheaper, more capable soft- Presentation System... WS2LP is a g600 is a laser-based ware. MaxxPlus Composition new Wordstar' conversion program output device that merges PRINTERS Software for the IBM Pc/xT has an for Laser-Press, a typesetting pro- special designed, high-quality type this chore. U.S. Lynx, New York, NY optional driver for output to the gram for Hewlett-Packard and com- with line art and halftones. Text and ...The Linotronic Soo is a new Apple LaserWriter. This enables users patible laser printers. With WS2LP any graphics are put in position for full- imagesetter that eliminates "cut and desiring functional as well as esthetic standard Wordstar file can be auto- page makeup. 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The PageLaser 12 Compugraphies EP308 laser tion independence, but do not require description language, making it works with IBM-compatible micro- printer enables users to preview the complete generality of Bitstream potentially compatible with a broad computers and most popular software typeset documents on plain paper. Definitive Outline" fonts. Bitstream range of publishing and computer packages and has resident emulation The Er3o8 can output a wide variety Inc., Cambridge, MA... Laser- systems. The g600 utilizes an unique of the IBM Graphics Printer, Diablo of typefaces from the Compugraphic Perfect- fonts MacSlab and MacSans curvilinear database that produces 63o, Qume Sprint 11, Toshiba vector library. Compugraphic Corporation, are now available for the Apple Laser- superior quality output. Each char- graphics and Toshiba's P351 3-in-One Wilmington, MA...FrontPage is Writer.- Each family consists of acter is produced with true curves 24-pin dot-matrix printers. 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Meanwhile, hard disc drives are becoming standard equipment on new NETWORKS desktop computer models and software developers are producing large and complex programs that only hard discs can handle. Compugraphic Network is a hardware/software package that links a variety of Compugraphic and non-Compugraphic input terminals, including any combination of up to eight PowerView 5s, PowerView 10s, MCS 100s, or IBM PCs. Compugraphic Corporation, Wilmington, MA.

HEADLINE ITC LUBALIN GRAPH BOLD OBLIQUE BYLINE. BOOK OBLIQUE ALL SUBHEADS ITC FRANKLIN GOTHIC HEAVY ITALIC SOFTWARE, FONTS: ITC GALLIARD ROMAN WITH BLACK ILLUSTRATION BY DANIEL PELAVIN NETWORKS: ITC BOOKMAN LIGHT ITALIC WITH DEMI ITALIC IMAGESETTERS, TYPESETTERS, PRINTERS: ITC ESPRIT BOOK WITH BLACK COMPUTERS: ITC SOUVENIR LIGHT ITALIC WITH BOLD ITALIC 49 ART, GRAPHICS, SLIDES Adobe- Illustrator offers an interactive and text to be graphically scaled, are individual volumes of art, catego- Macintosh' application that enables rotated, reflected, replicated and rized by subject and style. Each vol- an artist to create finished line art and skewed. Adobe Illustrator will be avail- ume has more than 300 illustrations, illustrations from rough drawings or able in March 1987 and will cost less stored on two diskettes as MacPaint existing art. The rough art can be digi- than $500. It aims to significantly documents. The first two volumes in tized into the Macintosh screen with increase an illustrator's productivity the series have already been pub- an inexpensive scanner such as and to make possible more perfect lished...Graphics & Symbols 1 is a ThunderScan: It enables the graphic lines than can be produced with a pen. collection of high-contrast pictograms designer or illustrator to easily trace The resulting illustrations can be and symbols, and sells tor V3to.VO. and construct high quality drawings, merged into page makeup systems Artfol io 1 is a miscellany of styles and logotypes, symbols, or special effects such as PageMaker, MacPublisher, subjects that includes people, familiar for inclusion in electronically created and ReadySetGo. Adobe Systems Inc., objects and animals. It sells for documents. The output from Adobe Palo Alto, CA... MVP is a line of graph- $74.95. Dynamic Graphics, Inc., Peo- Illustrator can be printed on any ics co-processors for QVP interfaces. It ria, IL...The Dynamark - Starter Kit and PostScript laser printer or typesetter. is a bridge between graphics software an ultraviolet light source are all that Previews may be printed on low cost and hard copy devices and can handle is needed to start producing profes- dot matrix printers. Adobe Illustrator mainframe, mini or micro applica- sional quality signs, plaques, labels, features include: a tracing tool that tions. It comes in configurations for PC nameplates, awards, prototypes and enables precise line art to be created; compatible, non PC environments and more. The imaging starter kit includes an inking tool that enables lines of any for situations where interactive con- 14 assorted Dynamark sheets, 4 pro- weight to be created (lines can be trol over the output device is required. tective films-2 matte and 2 clear, one DeskTop Art ": Visual communica- edited and, if necessary, erased); a It is also compatible with the Tektronix liter of Dynamark developer, 2 sheets tors using the Apple Macintosh com- painting tool that enables areas to be 4690 series color ink jet printers. of Color Key- Photo Mask film, cotton puter now have an open door to the filled with any value of gray, patterns, QCR-Z is a color film recorder claiming wiping pads, a blue squeegee, sensi- world's largest library of commercial or colors; an electronic paste-up tool improved throughput and superior tivity guide and simple-to-follow art. Dynamic Graphics, Inc., pub- that enables different illustrations to image quality. It produces full 4K reso- instructions. Also available is a new six-page, four-color brochure describ- lisher of Clipper Creative ArtService,' be combined to form a new drawing; a lution slides in less than three min- is now offering some of its exclusive labeling tool that enables text to be utes each. Matrix Instruments Inc., ing the Dynamark Imaging System. placed on illustrations; a graphic tool Orangeburg, NY... DeskTop Art' is a Letraset USA, Paramus, NJ. artwork on software for the Mac. that enables illustrations with line art line of Macintosh art software. There See text for details.

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ECRM, worldwide for use with electronic color photo paper for about 65 cents per nergives you the capability to scan and Tewksbury, MA. ..The Electronic prepress systems. It can make full color print. KIS Color Systems Inc., New York, reproduce line art images up to 8'12 x 11 Illustrator Workstation now offers proofs of entire newspaper pages for NY.. DDES (Digital Data Exchange inches (portrait mode), or 11 x 8'/2 inches more than 600 Bitstream typefaces on its less than 35 cents a page. An optional Specification) is a set of standards drawing system. Fonts are automatically agreed to by six major electronic pre- (landscape mode), for output on the CRS on-line interface between Iris and Scitex 9900 family of typesetters. Alphatype scaled from 5 to 96 points and more than systems is now being tested. Iris Graph- press system manufacturers to facilitate 200 typefaces can be in the system at a ics, Inc., Stoneham, MA... With the interchange of data among theirsys- Corporation, Niles, IL . . .The CG6000 introduction of the Kodak Ektaprint tems. The companies are Crosfield Elec- Workstation allows users to store, time. Logos and special symbols can be 235 and 300 duplicators, East- tronics, Dainippon Screen Mfg. Co., merge, and manipulate text andgraph- created and stored in the system's font man Kodak makes its entrance into the Eikonix (a Kodak Co.), Dr -Ing Rudolf ics electronically, producing fully made- library. With the system one can use the high volume duplicator market. These Hell GmbH, Scitex, and 3M/Comtal. The up pages with text, line art, and Qubix Lasersetter which outputs at 300 copiers can add covers and inserts and negotiations that led to this agreement halftones in position. The workstation is x 300 dpi. There is also an Autologk chapterizing tabs. They can adjust mar- were sponsored and guided by Dunn one component of an MCS - system. The typesetter interface as an output option. gins forstapling and for holes. The 235 Technology, Inc. Fuller information can system can also include IBM-PCs. Corn- Qubix Graphic Systems, San Jose, CA . outputs up to 5,100 impressions per be obtained in the June 1986 issue of pugraphic Corporation, Wilmington, The new PS 2000 is a low cost, auto- The Dunn Report. - Dunn Technology, hour; the 30o, 6,000 iph. The 300 can 3000 is a publishing maticgraphic digitizer and OCR device Inc., Vista, CA. MA. ..Bettex feed ioo sheets per minute and handle workstation offering high-speed mono- developed for use with personal computers. up to loo lb. index stock. The system It converts drawings, photographs, type- offers English prompts. Other features tone and colorgraphics handling. It is built around the IBM PC-AT but written documents and other printed achieves its speed by division of work materials into electronic files. These files precomposed galleys. The software among four micros operating in parallel. can then serve in a wide variety ofappli- package runs on the new Meridian It is resolution and device independent, cations ranging from electronic mail and workstation which uses hardware from can use PostScript page description lan- word processing to desk-top printing and Sun Microsystems, Inc. Also new from guage, works with optional picture and presentationgraphics. Electronic Infor- Atex is PPN. A combination of AT&T text input devices, provides for interactive mation Technology, Inc., Fairfield, NJ. hardware and AT&T and Atex software, composition and editing. Bettex, Inc., PPN is capable of paginating entire publications under deadline pressure. Articles, headlines, captions, graphics, photos and advertisements are created or captured and stored on integrated products. The PPN tracks the location IPM, Atex's new software for inter- and production status of each page active page make-up builds pages element and at any time an update on by electronically cutting and pasting the process can be obtained.

ITC CHELTENHAM BOOK ITALIC WITH BOLD ITALIC ITC SYMBOL BOOK ITALIC WITH BLACK ITALIC IPM: ITC CUSHING BOOK WITH HEAVY DESKTOP ART: ART,GRAPHICS,SLIDES: ITC FRANKLIN GOTHIC DEMI WITH BOOK PROOFING,COPIERS,DDES: FRONT ENDS, WORKSTATIONS, SCANNERS: ITC GALLIARD ITALIC WITH BLACK ITALIC 50

How to Design and Improve Magazine Layouts The U&Ic Book Shelf reviews new by Raymond Dorn books believed to be of interest to From the fundamentals of typography to the U&Ic readers and lists the pub- principles of layout, this second edition is lisher, with address, and the price prepared to help beginning magazine de- of the book so that the books may signers. Provides step-by-step instruction in be ordered directly. All prices are how to plan the best layout and design to for delivery within the U.S.A. or convey the meaning of an article and to create attractive looking pages. Canada. Prices listed are based on Illustrations are used to show the key con- payment accompanying order. If cepts presented in the text. Some chapters payment is not included, you will discuss the principles of good design, use of be billed for handling and shipping grids and modules, cropping of photographs, charges. Please add your local and working with charts, tables, graphs, side bars state sales tax wherever appli- and the various ways to use color. Gives a brief history of type, and instructions on how cable. For books to be delivered to specify type. outside the U.S.A. or Canada, Nelson-Hall Publishers, 1 1 1 N. Canal Street, Sign Design please request the price and ship- Chicago, IL 50505.8'/2 x 111/2" 218 pages. by the editors of ping charges from the publisher. Illustrated in b/w. Glossary and Index. Signs of the Times magazine Please note: U&Ic does not sell books $31.95, cloth. $17.95, paper. All orders should be placed directly with the publisher(s) concerned. Signs are often the initial contact between Direct Marketing Design client and supplier and therefore play an im- by the Direct Marketing Creative Guild portant role in the marketing of goods and services. Shown are a collection of the most Graphic artists and designers, direct mail compelling and effective signs submitted to specialists, advertising executives, copywri- Rookledge's International Typefinder the annual design competition administered Innovators of American Illustration ters and mail order executives will appreci- by Christopher Perfect and Gordon Rookledge by Signs of the Times magazine. Categories Edited by Steven Heller ate this book. Shown are the award-winning covered are signs for: retail establishments, Illustrations in this book, which indicate the advertisements from the John Caples Award Pioneering styles of three generations of restaurants and hotels, banks and profes- characteristics of type designs, will clarify program, the direct mail industry's most American illustrators have revolutionized the sional offices, public works, development what strokes, shapes of serifs, and a myriad prestigious competition. Each illustration is artform over the last 35 years. A variety of projects and corporate identification. of other typeface terms denote. There is a accompanied by an explanation of the pur- styles now exist that have one primary bond Design and construction are reviewed, thumb index to help you find the right group pose of the piece, its execution and results. —elevating illustration from a service to covering material, technique and medium. for any typeface, and then by simple cross- an art. Also provided is full information on the Included are goldleaf windows, handcarved referencing the type wanted is quickly located. Interviews with 21 illustrators, represent- agency, client, designer, art director and wood, sculptured neon, vacuum-formed The full alphabets of upper and lowercase ing the period from the early 1950s through copywriter. plastic, calligraphy and supergraphics and characters and figures of current major inter- PBC International, Inc., One School Street, the 1960s along with showings of some of fine porcelain enamel. national typefounders are included. All spec- Glen Cove, NY 11542. 9 x 12! 256 pages. 300 their work. Among those interviewed are: Over 300 full-color photographs are ac- imens are clearly typeset and well displayed. Seymour Chwast, Milton Glaser, Edward full-color photographs. Indexed. $49.95. companied by details of the purpose of the A good reference work for the world of Sorel, Maurice Sendak, Paul Davis, Barbara sign, its surrounding environment, and the graphic communications, publishing, design Nessim, Guy Billout and Bascove. client, designer, illustrator and design firm. and advertising. Van Nostrand Reinhold Company, Mail Signs of the Times, ST Publications, 407 PBC International, Inc., One School Street, Order Service, 7625 Empire Drive, Florence, Gilbert Avenue, Cincinnati, OH 45202. Glen Cove, NY 11542.9'/2 x 91/2" 270 pages. KY 41042. 224 .pages. 8 3/4 x 111/2" Illustrations 91/4 x 121/2" 256 pages. Indexed by designers Appendix and Bibliography. Paper. Black and in b/w and color. Indexed. $39.95. and clients. Full color. Soft cover $39.50. white. $24.95. Hardbound $47.50. Historical Scripts An Introduction to Typo-icon-ography by Stan Knight ANIMATOR'S STA Design Journal by Martin Solomon Here is an array of historical scripts not only The purpose of this edition of the STA Design Typographic design plays an important role for the calligrapher but also for the paleo- Journal on Management and Innovation is to in attracting attention, communicating infor- grapher and our readers who enjoy fine encourage design excellence and qualities of mation, and making the printed page read- penmanship. Stan Knight, of the Society of professional practice that serve the needs of able. It is also a beautiful art form. This book Scribes and Illuminators, London, has as- WORKBOOK the designer, the business community and goes beyond the technical aspects of typog- sembled examples of the major hands from society. raphy, to reveal its potential as a medium for Roman times to the Renaissance. Back- lo\\ \‘1111i Chapters are devoted to: A George Nelson visual communications. Mr. Solomon's em- ground information, comparisons between step-by-Step Techniques of Drawn Anknolion Portfolio; Design and the Control of Innova- phasis is on the "art of typography" which he scripts, and excellent reproductions showing tion; The Competitive Edge; Design: The Lan- calls "typo-icon-ography." the scripts on their original pages. The Animator's Workbook guage of Economic Value; A Tool for Business The book is divided into two parts: Part Taplinger Publishing Company,132 West by Tony White and Who Designs? One covers Typography as an Art Form and 22nd Street, New York, NY 10011. 82 pages. STA, 233 East Ontario Street, Suite 301, contains chapters on Elements of Design, 81/4 x 11 3A" Glossary and bibliography. Black Not every would-be animator is able to ob- Chicago, IL 60611.9 x 12" 64 pages. Illus- Principles of Design, Attributes of Design, and white illustrations. $9.95. tain the kind of on-the-job training once pos- trated in b/w and color. Bibliography. Paper. Composition and Experimentation. Part Two sible at studios such as Disney. In this book, $12 plus $3 for postage and handling. is entitled: Type and Its Refinements, with Tony White has tried to provide a complete chapters on Basic Styles of Type, Typographic course on the principles and techniques of Terminology, Reading a Type Specimen traditional drawn animation. He stresses that Sheet, Using Typographic Refinements and animation is a subtle and exacting artform, Printing Methods, Paper and Color. not just a series of funny drawings strung to- TM fin> nizInv,/an T.." .10 1■114,11011 , 11ward , Ormop. PawIS Mr. Solomon stresses using the past as a gether in movement. Technical information design resource—not only for authenticity is provided in easy-to-understand text, and by using period typography but also as an in- step-by-step illustrations show how to cap- spiration for new ideas. Contains a directory ture movement, expression, emotion, etc. of typefaces, including historical notes about An invaluable book for beginning and trained their design. animators, graphic designers, art teachers, Watson-Guptill Publications, P. O. Box 2013, illustrators and advertising producers. Lakewood, NJ 08701.81/2 x 111/4" $29.95. Watson-Guptill Publications, P.O. Box 2013, 240 pages. Over 200 b/w illustrations. Index. Lakewood, NJ 08701. 81/2 x 11" 160 pages. Please add $2.00 postage and handling for 250 color illustrations. 60 b/w illustrations. one book plus $.50 for each additional book. $27.50. Please add $2.00 postage and handling for one book plus $.50 for each Machine Writing and Typesetting additional book. by Frank .). Romano Communications Graphics An easy to read and comprehend "story" of Illustrators 27 Packaging Design 2 by Wendell C. Crow Shols and Mergenthaler and the invention of by Apri Ermoyan by Paul Schmitt and the Editors of the typewriter and the linotype. The impetus Up-to-date, practical information about all Thirty-six leading professionals selected Industrial Design Magazine for this book "comes from the celebration of areas of communications graphics. Featured these works out of more than 7,000 entries Represented are the best of American pack- the centennial of the introduction of the Lino- are examples, problems and solutions, intro- submitted, and awarded 22 Gold and Silver aging and international award-winning type, at a time when laser printing and elec- duction and serious graphics study, a glos- Medals in the Editorial, Book, Advertising and designs in a variety of categories (foods, tronic workstations are changing—again!- sary of graphics language and shows how Institutional categories. Includes 668 exam- beverages, pharmaceuticals, fragrances, cos- the way we work with words." electronic applications are changing the way ples, in full color, of what the judges consid- metics, housewares, sports and recreation National Composition Association, 1730 graphics professionals communicate today. ered the best in these fields. equipment, electronics, specialty packaging, North Lynn Street, Arlington, VA 22209- Appendices on: Selected Display Alphabets, The 27th annual of the Society of Illustra- etc.). Detailed information on the creator of 2004. 7 x 10'.' 146 pages. Illustrated. B/w, pa- Per-pica Character Counts for Fifty Type tors, New York, is the largest ever. An indis- each package, client, designer, design firm per. Chronology, Bibliography and Index. Styles and Source Information. Contains a pensable tool for art buyers, illustrators and and art director. Listing of international and Commemorative hardcover edition is avail- glossary, bibliography, and is indexed. students worldwide. American packaging associations. able from GAMA, P.O. Box 170, Salem, NH Prentice-Hall, Inc., West Nyack, NY 20995. Distributed by Robert Silver Associates, PBC International, Inc., One School Street, 03079. $14.95 for NCA members, $24.95 for 83A x 11 /2" 322 pages. Loaded with graphic 307 East 37th Street, New York, NY 10016. Glen Cove, NY 11542.9 x 12 7256 pages. 300 non-members. illustrations. $30.95. 91/2 x 12" Indexed. $49.95. full-color photographs. Indexed. $49.95.

CORRECTION: GRAPHIS POSTERS 86 EDITED BY WALTER HERDEG LISTED IN VOL. 13, NO.3 SHOULD HAVE READ. 91/2 X 12." 204 PAGES. HARDBOUND, $59.50. PLEASE ADD $2.00 POSTAGE AND HANDLING FOR ONE BOOK PLUS $.50 FOR EACH ADDITIONAL BOOK. 51

1001 Spot Illustrations of the Lively Kleine Prentkunst in Nederland in de Preferably a Rough Outline Twenties 20ste eeuw The Works of W.J.H.B. Sandberg Edited by Carol Belanger Grafton by Tom van Koolwijk and Chris Schriks The selection and layout of Sandberg's Authentic spot illustrations for the working Translated into English, the title of this book works were made by Adri Colpaart with spe- artist exemplify the spirit of the '20s. Selec- is Twentieth Century Small Print Art. It is a cial attention given to the colors that Sand- tions from issues of the magazine La Vie collection of ex-libris bookplates which af- berg originally intended. The introduction is Parisienne include categories such as: Food fords visual pleasure to all, whether or not by Jan Bons, commentary and manuscripts and Drink, Gambling, Art, Music and Theater, they are at home with the Dutch text. There in Sandberg's own hand and a brief biogra- Sports and Recreation and Romance. All is an English and German summarization of phy by Adri Colpaart. illustrations copyright free. the entire book. Information about the indi- J. van Brink, Nieuwe Looiersstraat 64,1017 Dover Publications, Inc. 31 East 2nd Street, vidual pieces is not translated. riry")\ 3(11/T VD Amsterdam, Holland. 51/2 x 8 3/4" 80 pages. Mineola, NY 11501. Add $.85 for postage and De Walburg Pers, 7200 Ae Zutphen, Post- Black/white/red and blue. Paper. $25.00 by handling charges for one book; $1.50 for two bus 222, Netherlands. 83/1 x 12" Illustrated in International Money Order. or more. For foreign orders add 15% of sales b/w and color. Contact publisher for pricing price or $1.00, whichever is greater. 8 3/8 x 11" information. Reading Between the Lines 123 pages. B/w illustrations. Paper. $4.95. by Karen Nichols The Agency Book A graphic display of over 1,200 typefaces. Edited by Oliver Johnston Provides the method to quickly determine Doorposts Agencies included in the second edition of point size and linespace for accurate copy by Timothy R. Botts positioning on the first setting. It is a book CIF BTU this book provide an overview of the standard of quality available from leading adver- Sixty calligraphic renderings of Bible pas- that will prove to be an everyday tool for tising agencies, both large and small. Each sages integrating form and content that are typesetting operators or designers. listing is represented in a two-page spread simply a joy to read and view. Mr. Botts Push Button Enterprises, Book Division, profiling useful reference information about states: "My own calligraphic approach is to Crystal Lake, IL 60014.142 pages. 8 3/4 x 51/2". the agency. express the meaning of the words by the Paperbound, $9.95. Hardbound, $49.95. Contains a comprehensive three-part index way I write them. Color, weight texture, size, organized by brand, client and geographic position, and letter style are some of the location. means to this end." Distributed by Robert Silver Associates, Tyndale House Publishers, 336 Gundersen 307 East 37th Street, New York, NY 10036. Drive, Box 80, Wheaton, IL 601189-0089. 194 pages. 91/4 x 12" 140 full-color illustra- 834 x 111/2" Color. $16.95. tions. Indexed. $60.00. The Calligrapher's Handbook I JUDI R A DICE, American Graphic Designers: Thirty Edited by Heather Child on behalf of Years of Design Imagery The Society of Scribes and Illuminators Menu Design by Rita Sue Siegel Long regarded as a classic in its field, The by Judi Radice Each of the designers profiled selected a rep- Calligrapher's Handbook has been revised Menus designed by some of the best design- resentation of their work to best reflect their and expanded. This new edition offers a ers in the U.S.—including Milton Glaser, own unique perspectives. Vividly demon- comprehensive collection of 18 authoritative Woody Pirtle, Lew Lehrman and David Bar- strated are the diversity of their images, atti- articles written for those who are seriously tels—are grouped according to the type of tudes, and approaches as they design. interested in the skills of penmanship and restaurant. Personal interviews with design- As the author points out, graphic design is the art of fine writing. Chapters were written ers who tell how they create menus that sell. a component "used by every type and size of by such notables in the field as: Donald Photos are accompanied by designer com- organization. The need served has been to Jackson, Dorothy Hutton, Sam Somerville, John Woodcock, Tom Barnard and others. ments and by the restaurateurs who use identify and differentiate, explain and pro- Graphis Annual 86/87 the menus. Detailed captions. Appendices list mote the great variety of both industrial and Contains up-to-date information on writ- Edited by Walter Herdeg the names and addresses of designers, paper consumer goods and services." ing instruments, pigments, writing surfaces, The work of both established and emerg- letter design, handwriting, decoration, print- Now in its 35th year of publication, Graphis suppliers and restaurant associations. Annual has become a classic in advertising PBC International, Inc., One School Street, ing designers in the field are presented. ing techniques, etc. Excluding the many ex- Among the well-known designers are: Sey- planatory line drawings and alphabets, there literature. Thousands of entries were sent in Glen Cove, NY 11542.9 x 12." 256 pages. from all over the world, making the final Over 200 full-color photographs. $49.95. mour Chwast,Milton Glaser, Gene Grossman, are over 50 reproductions of work by con- Muriel Cooper, John Berg, Richard Hess and temporary calligraphers and binders. selection of 601 examples of outstanding Taplinger Publishing Company,132 West achievements in the areas of commercial Computers and Typesetting Louis Dorfsman. Some of the emerging designers are Ruth Ansel, Joel Katz, Stephan 22nd Street, New York, NY 10011.7'/4 x 9 3/4" advertising, general publicity, editorial illus- by Donald Knuth tration and typography, trademarks, logos Geissbuhler, Iris Magidson and David Selected book list and index. Paper. $19.95. and packaging. The determining factor gov- A five volume series of definitive reference November. manuals and source codes written to guide McGraw-Hill Book Company,1221 Avenue Lessons in Formal Writing erning the selection of these pieces was the artistic and conceptual quality of the entries. TEX (pronounced TEK) and Metafont users of the Americas, New York, NY 10020. by Edward Johnston An endless source of ideas and inspiration in the everyday use of these systems. TEX is 83/4x 111/2"141 pages. B/w and color illustra- Edited by Heather Child and Justin Howes, a text-processing system that gives pub- for art directors, illustrators and designers. tions. Paper. $19.95. brings together important material by John- . lishers control over page layout. It is a type- Distributed by Watson-Guptill Publica- ston which is now out of print or previously tions, P.O. Box 2013, Lakewood, NJ 08701. setting and page makeup system intended unpublished. Each piece is preceded by an for the creation of books and documents, es- 256 pages. 91/2 x 12" 130 color plates. 738 editorial note. Includes a selection of notes b/w illustrations. Hardbound,$59.50. Please pecially those containing a lot of mathemat- A.. AtiA and illustrations from Johnston's lectures ics. TEX is a formatting language that can be add $2.00 postage and handling for one 4a as given in the 1930s. These give a glimpse of book plus $.50 for each additional book. used on over 50 mainframe and minicom- his force and wit as a lecturer, and demon- puters through the public domain. Micro- strate his continuing influence on present- computer versions include MicroTex, for the day calligraphers. IBM Personal Computer and 100 percent Taplinger Publishing Company,122 West compatibles, and MacTex for the Apple Mac- 22nd Street, New York, NY 10011.8'/2 x 11" intosh and LaserWriter. Output can be on a 243 pages. Chronology. Appendices: Class dot matrix printer, a laser printer, or a type- Instruction Sheets, Surviving Lectures, Callig- setter. Metafont is a computer based system raphy and Lettering for Reproduction, and that facilitates designing special symbols or Writings by and about Edward Johnston. B/w new typefaces. It can also be used to alter ex- illustrations. Paper. $19.95. isting fonts. The Texbook and the Metafont a co books help Tex and Metafont users get the Ready-to-Use Alphabets most out of the systems. Tex: The Program, by Dan X. Solo and Metafont: The Program, are aids to soft- The Calligraphy Source Book Victorian Alphabets—Eight decorative faces ware developers. The fifth volume, Computer Compiled by Miriam Stribley Modern Typefaces, tells how Donald Knuth give a representative sampling of Victorian developed the 75 standard computer mod- Brings together 100 complete alphabets typefaces that will add old-fashioned flair to OD THE An design solutions. ARTIST-EDI IPIENT, ern fonts used in Tex. All the fonts, serif and (Roman capitals, Greek uncial, Anglo-Saxon M MIEN iNCE,MATP,E141 sans serif, roman and italic, are in the mod- upper and lowercase, decorative versal, French Art Nouveau Alphabets—Among the eight PIED HELL WITH ern style with high contrast thick and thin el- 15th Century Gothic, copperplate, modern faces featured are Artistik, Franconia and ANDT LIIARLESSA1111H ements, rectangular stems and bracketless and many forms of italic). Includes a number Carmen. Art nouveau is an elegant, orna- serifs, and abrupt graduation from thin, elon- of alphabets specially commissioned for this mental design style from the turn of the cen- The Airbrush Artist's Handbook gate hairlines to thick bowls. Well-known book. The introduction outlines the history of tury that works well with contemporary by Fred Dell and Andy Charlesworth calligraphy and major stylistic points, pro- design concepts. graphic arts typefaces in this classification Information on equipment, accessories and include Bodoni, Scotch, Walbaum, Caledonia, vides small-scale alphabets for quick visual Art Deco Alphabets—Futura Black and reference. Many letter forms are accompa- Hotline are among the eight art deco alpha- color considerations. Step-by-step pictorial Didot, Iridium and Marconi. guide to maintenance and repair. Sections on Addison-Wesley Publishing Company, nied by instructive notes. A special section bets representative of the type design style on illuminating capitals and flourishes. One popular in the '20s and '30s. presenting and preserving work. Reading, MA 01867. The books and their Over 200 two- and four-color photos and prices, hardbound, are: The Texbook-496 of the few calligraphy books that is specifi- Dover Publications, Inc., 31 East 2nd Street, cally an alphabet book. Mineola, NY 11501. All three books contain illustrations. Extensive glossary of terms. pages, $19.95; Tex: The Program-608 pages, Source list of manufacturers and suppliers. An $34.95; The Metafont Book-384 pages, Running Press Book Publishers,125 South 32 pages of copyright-free art and are 81/4 x 22nd Street, Philadelphia, PA 19103.8 3/4 x 1 1 '! Paper. $3.50 each. Add $.85 for postage excellent reference guide for airbrush artists. $19.95; Metafont: The Program-600 pages, Running Press Book Publishers,125 South 83/4" 160 pages. 32 pages in four-color and and handling charges for one book; $1.50 for $34.95; Computer Modern Typefaces- 22nd Street, Philadelphia, PA 19103.4 3/4 x 9! 608 pages, $34.95. Prices include postage 128 in two-color.150 images, including 100 two or more. For foreign orders add 15 % of 160 pages. $14.95. and handling on prepaid orders. alphabets. $15.95. sales price or $1.00, whichever is greater. Continued on page 80. TEXT: ITC USHERWOOD BOOK WITH BLACK 52

SPECIMEN BOOKLETS FOR EACH TEXT/DISPLAY TYPEFACE CAN BE PURCHASED FROM ITC. THE ORDER FORM FOR THESE SPECIMEN BOOKLETS APPEARS ON PAGE 82 OF THIS ISSUE OF U&LC. The ITC Typeface THE TYPEFACES SHOWN ON THESE PAGES REPRESENT THE COMPLETE COLLECTION OF ITC TEXT/DISPLAY TYPEFACES AS OF FEBRUARY 15,1987.

eITC Eras® Light ITCb Barcelona® Book Medium Book ITC Cheltenham® Demi Book Italic Bold NEW FROM ITC Medium Light Ultra Medium Italic Light Italic ITC Gammi' Bold Book Book Bold Italic Book Italic ITC Esprit- Book Italic Heavy Bold Book Medium Heavy Italic Bold Italic Book Italic Medium Italic Ultra Medium Bold ITC Bauhaus® Ultra Italic Medium Italic Bold Italic Bold Light Light Condensed Black Light Condensed Italic Bold Italic Black Italic Medium ITC Bookman' Demi Book Condensed Black Light Book Condensed Italic Black Italic Bold Light Italic Bold Condensed Medium Bold Condensed Italic ITC Fenice® ITC Benguiat® Medium Italic Ultra Condensed Book Demi Ultra Condensed Italic Light Book Italic Demi Italic Light Italic Regular Medium Bold ITC Clearface® Medium Italic Bold Italic Regular Italic Bold Regular Bold Bold Italic ITC Caslon No. 224® Regular Italic Bold Italic Book Condensed Bold Ultra ITC American Book Bold Italic Ultra Italic Book Condensed Italic Book Italic Typewriter® Medium Condensed Heavy Medium Heavy Italic Light Medium Condensed Italic Medium Italic ITC Franklin Gothic® Medium Bold Condensed Black Book Bold Black Italic Bold Bold Condensed Italic Bold Italic Book Italic Light Condensed Black Medium Medium Condensed ITC Benguiat Gothic° Black Italic ITC Cushing® Medium Italic Bold Condensed Book Book Demi Book Italic ITC Century® Book Italic Demi Italic ITC Avant Garde Medium Medium Heavy Light Medium Italic Heavy Italic Gothic® Medium Italic Light Italic Extra Light Bold Bold Book Bold Italic Friz Quadrata Extra Light Oblique Bold Italic Book Italic Book Heavy Heavy Friz Quadrate Bold Heavy Italic Book Oblique Heavy Italic Bold Italic Friz Quadrata Bold Medium Ultra Medium Oblique ITC Berkeley Oldstyle Ultra Italic ITC Elan- ITC Galliard® Demi Book Light Condensed Book Roman Demi Oblique Book Italic Light Condensed Italic Book Italic Roman Italic Bold Medium Book Condensed Medium Bold Bold Oblique Medium Italic Book Condensed Italic Medium Italic Bold Italic Book Condensed Bold Bold Condensed Bold Black Medium Condensed Bold Italic Bold Condensed Italic Bold Italic Black Italic Deml Condensed Black Ultra Condensed Black Ultra Bold Condensed Black Italic Ultra Condensed Halle Black Italic Ultra Italic 53

Collection Text/Display

mITC Modern No. 216® Light g Light Italic ITC Gamma" Medium Book Medium Italic Book Italic ITC Kabel Bold Medium Bold Italic Medium Italic Book ITC Veljovic® Medium Heavy Bold Heavy Italic Book Bold Italic Demi Book Italic Black Bold Medium Black Italic Ultra ITC New Baskerville® Medium Italic Roman Bold ITC Garamond® ITC Korinna' Italic Bold Italic Light Regular Semi Bold Black Light Italic Kursiu Regular Semi Bold Italic ITC Souvenir° Black Italic Bold Book Bold Light Book Italic Kursiv Bold Bold Italic ITC Weidemann® Black Light Italic Bold Extra Bold Medium Black Italic Book Bold Italic Kursiv Extra Bold Medium Italic Book Italic Ultra Heavy Demi Medium Ultra Italic Kursw Heavy ITC Newtext® Demi Italic Medium Italic Light Condensed Light Bold Bold Light Condensed Italic ITC Leawood® Light Italic Bold Italic Bold Italic Book Condensed Book Book Black Book Condensed Italic Book Italic Book Italic ITC Symbol® Black Italic Bold Condensed Medium Regular Bold Condensed Italic Regular Italic Book Medium Italic Book Italic ITC Zapf Book® Ultra Condensed Bold Demi Ultra Condensed Italic Demi Italic Medium Light Bold Italic Medium Italic Light Italic ITC Goudy Sans- Black Bold Medium Black Italic ITC Novarese Bold Italic Medium Italic Book Book Book Italic Black Demi ITC Lubalin Graph® Book Italic Black Italic Demi Italic Medium Medium Medium Italic Extra Light Heavy Extra Light Oblique Medium Italic ITC Tiffany Heavy Italic Bold Bold Bold Italic Book Light Book Oblique Bold Italic Zapf Chancery® Black Ultra Light Italic yrc Black Italic Medium Medium Light Medium Oblique Medium Italic Light 5talic ITC Isbell' Demi ITC Quorum® Demi Medium Book Demi Oblique Light Demi Italic Medium 'talk Book Italic Bold Book Heavy Demi Medium Bold Oblique Medium Heavy Italic Bad Medium Italic Bold Bold ITC Mixage® Black ITC Usherwood® ITC Zapf International® Bold Italic Book Book Light Heavy Book Italic ITC Serif Gothic° Book Italic Light Italic Heavy Italic Medium Light Medium Medium Medium Italic Regular Medium Italic Medium Italic Italia Bold Bold Bold Demi Book Bold Italic Extra Bold Bold Italic Demi Italic Medium Black Heavy Black Heavy Bold Black Italic Mad( Black Italic Heavy Italic S4

In the final analysis, it is the quality of output by which typesetters are judged. *Critique: The The Equality of Varityper's digital type is extraordinary,o reiseuttletrofrtmhebpy stailcniingguddesceesspcirrascriptionion of eachfo the t imaging system. Look at the smooth, clean bowls, the wide-open counters and the fidelity of delicate serifs. The virtue of any face is above reproach, even under a loupe! • *Quality extends to the library, too, where over one thousand type styles reside. The collection is replete, right down to the popular, jUS time-honored Classics. No designer could ever be disappointed. The "Means.*All is well that ends well. • •

A Abisiew N o 1986 AM International, Inc. AM and Varityper are registered trademarks and Spirascan is a trademark IntornagionsilAm, of AM International, Inc. Especi. In

Send me your free information: ❑ I'd like to see your wide typeface selection. Please send me your wall chart. ❑ I'd like more information on Varityper equipment. Please have a sales representative call. Varityper 11 Mount Pleasant Avenue, East Hanover, NJ 07936 Name Company Address City/State/Zip Phone For faster service call toll-free 800 631-8134. In New Jersey call 201 887-8000, ext. 999. We'll mail you free information on our digital type library. 56 The Ultimate Type

Mergenthaler Type Library Typefaces/ Schriften /Caracteres Palatino' bold/halbfett/demi-gras

07206 8 pt Design

Old Face/Renaissance-Antigua /Elzvirs Hermann Zapf 1951, D Stempel AG Linotype abcdefghijklmnopqr stuvwxyz fif11& ABCDEFGHIJKLMN OPQRSTUVWXYZ 1234567890 123456789 , ••.._ •I•I "//""•<>«»* 7o /00 !?ii3 Onitt§$£f AAAAAAAkcCtEttE6IiiiiSTOOOd os:50at)UOUC2 aaaaSaaxceeeeee-giiiiiiiiii0000OticeSiMiluft

Parameter for 10 pt /Parameter in 10 pt/Parametre pour 10 pt H2 41mm k2,S4mm x1.66 mm p 0 89 mm kp 3.43 mm Ep4.06mir H 0 095 Inches 60 100Inthes 20.065 Inches p 0 035 Inches kp 0 135 Inches tp 0 160 Iry Factor iFaktor /Facteur 104 *Given in pica point/Angaben in pka point/Toutes indications en points pica

rem Pica Cicero 0091v pt) 6 pt 0.966 4.07 436 015 7 pt 0.828 349 3,74 0 18 (1/2 pt) 8 pt 0.725 3.05 3.27 030 9 pt 0.644 2.71 2.91 0 35 (1 pt) 10 pt 0.580 244 2.62 0 40 11 pt 0.527 2.22 238 0 50 12 pt 0.483 2.04 2.18 060 13 pt 0,446 1.88 2 01 0,70 (2 pt) 14pt 0.414 1.74 1.87 , 0.80 16 pt 0.362 1.53 1.64 0.90 18 pt 0.322 136 1.45 1,05(3 pt) 20 pt 0.290 1.22 1.31 1.20 24 pt 0.242 1,02 1.09 1.41 (4 pt)

After more than two years of intensive development, we've produced the first reference tool worthy of the world's finest type library.

You know what a difference the right typeface can make. Now, it's easier and faster than ever before to find that perfect typeface — with the LinoType Collection, a unique working tool. A sleek, rolling storage rack gives Developed by the type specialists from the easy access to the LinoType Collection. Linotype type design center, the LinoType Collection

^Med Signal 57 Reference Tool.

A 4.92 mm /14 pt' (5.25 mm.") 6, -1 H 3.37 mm 2.11 mm/6 pt' (2.25 mm.'") V 2.50 mm (7 pt') 1- -0 H 1.44 mm 6E c Jefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz abcdefghijklmno 123456789. every type design the basic character is determined by the uniform design characteristicso In every type design the basic characteris 7E letters in the alphabet. However, this alone does not determine the standard of the typefac 5 62 mm/16 pt* (6.00 mm°'") 6. -1 H 3 85 mm d the quality of composition set with it. The appearance is something complex whic formsi 8 E elf out of many details, like form, proportion, rhythm etc. If everything harmonizes, the to Bei jeder Schriftgestaltung wird der 1E APPEARANCE IS SOMETHING COMPLEX WHICH FORMS ITSELF OUT OF 9 E A 6.33 mm/18 pt* (6.75 mm.'") t , -1 H 4 33 mm 2.46 mm/7 pt* (2.63 mm.'") V 2 75 mm (8 pi') D -0 H 1.69 mm to E .defghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz abcd 1234567890 ti jeder Schriftgestaltung wird der Grundcharakter eines Alphabets von einhi Le style de chaque caractere d'is tlichen Formmerkmalen der Buchstaben bestimmt. Er allein besagt noch nic A 7.03 mm/20 pt* (7 50 mm"'") 6 -1 H 4.82 mm hts fiber das Nivea einer Druckschrift und die Qualitat des Satzgefiiges. Das ,cheinungsbild ist etwas Komplexes, das sick aus vielen Einzelheiten, wie Fo For alla nya stilar bestams al 12 'RM UND PROPORTIONEN SIND DIE WICHTIGSTEN KRITERIEN A 8.44 mm/24 pt' (9.00 mm''..) 6 -1 H 5 78 rnrn 14 !.81 mm/8 pt . (3 00 mrn'") V 3 25 mm (9 25 pt*) 6 -0 H 1 93 mm cdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuv 1234567890 style de chaque caractere d'imprimerie se determine par des caract In elk letterontwerp wo 16 { istiques qui sont les memes pour toutes les lettres de l'alphabetdan A 9.84 mm/28 pt' (10.50 mrn° - . 2 (16 4 ins tous les rapports formels et autres relations it s'agit de phenome • 18 { es optiques irreductibles aux regles mathematiques et que seule po AUTRE PART MALGRE TOUTES LES RESSOU RCES DE ME Em todo o desertho ti 20 I 116 mm/9 pt* (3.38 rnm°'") V 3.50 mm (10 pt') D. -0 H 2. 17 mm 65 mm /36 p (13.50 mm -2 H 8.67 mm Icdefghijklmnopqrstuvwxyz abcdefghijklmno 1234567890 n every type design the basic character is determined by theu 24 niform design characteristics of all letters in the alphabet ho In ciascuna serie lowever, this alone does not determine the standard of the ty !face and the quality of composition set with it. The appeara 16 87 mm/48 pt* (18 00 mm°") -2 H 11. 51 • 28 ' HE APPEARANCE IS SOMETHING COMPLEX WHIC

351 mm /10 pt* (3 75 mm°'") V 4 00 mm (11 5 pt*) -0 H 2 41 mm ndefghijklmnopqrstuvwxyz abcdefghijk 1234567890 n cada tipo 36 lei jeder Schriftgestaltung wird der Grundcharakter ei l es Alphabets von einheitlichen Formmerkmalen derb luchstaben bestimmt. Er allein besagt noch nichts fiber 48 las Niveau einer Druckschrift und die Qualitat des Sat

ORM UND PROPORTIONEN SIND DIE WICHT -4 /11 pt* (4 13 rnm°'") V 4 50 mm (12 75 pt*) G-0 H 2 65 mm en en da 3 87 rnm bcdefghijklmnopqrstuvwxyz abcdef 1234567890 A 25.31mm/72 pt' (27.00 mm"'") I. -2 H 17.34 r11111 60 e style de chaque caractere d'imprimerie se deteri nine par des caracteristiques qui sont les memesp our toutes les lettres de l'alphabet. Dans tous lesr )'AUTRE PART MALGRE TOUTES LES RESS estemt 72 ) V 4.75 mm (13.5 pt') L 0 H 2.89 mm 4.22 mm/12 pr' (4 50 mm° . A 29.52 mm/84 pt" (31 50 mm°'") 7' -2 H 20.23 mm ibcdefghijklmnopqrstuvwxyz ab 1234567890 [n every type design the basic character is dete rmine by the uniform design characteristics of all letters in the alphabet. However, this alone THE APPEARANCE IS SOMETHING CO uotli

contains more than 1,600 specimen sheets. For information is included on each sheet. ease of use, we've organized them in 8 color-coded You'll be able to spec type faster. And you can sections: Old Face; Modern Face; Sans Serif; copy or stat the specimen sheets to do fast mock-ups. Transitional; Slab Serif; Decorative and Display; Most important, the LinoType Collection puts the Script and Brush; Black Letter and Broken. entire Mergenthaler Type Library* at your fingertips. So you can review all the typestyles in a category So you can give all your jobs the outstanding without looking through volumes of information. character they deserve. And once you find the face you're looking for, you'll To find out more, or to reserve your copy of the really appreciate the comprehensiveness of the LinoType Collection (supplies are limited), call specimen sheets. They show sample settings in a (516) 434-2000. In Canada call (416) 890-1809. wide range of sizes, letterspacings and linespacings. Or write: Linotype Company, 425 Oser Avenue, In addition, a guide for rule weights and copyfitting Hauppauge, NY 11788.

* trademark of Allied Corporation.

Linotype 58

Get set Action Printers & Typographers Louisville, Kentucky to make your 502-585-3727

Artintype Metro New York, New York as 212-532-4000

Central Typesetting Co. Characters Composition Systems Computer Typesetting County Photo DG&F Typography Detroit, Michigan Typographic Service Falls Church, Virginia of Canada Compositing Corp. Columbia, South Carolina 313-961-7171 New York, New York 703-237-1700 Toronto, Ontario Southborough, Mass. 803-799-9140 212-947-0900 416-593-6942 617-480-0205

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Granite Graphics Graphic Composition Graphic Services Great Faces, Inc. Harrison Typesetting Holly Typesetting New York, New York Menasha, Wisconsin Tacoma, Washington Minneapolis, Minnesota Portland, Oregon North Hollywood, CA 212-772-0364 414-739-3152 206-627-8495 612-339-2933 503-238-9891 818-764-1868 Rutherford, New Jersey 201-438-7398 -Th

1/1 Mono Typesetting Co. Monotype Newark Trade Omnicomp PTH Typographers Pacesetters Graphic Bloomfield, Connecticut Composition Co. Typographers San Francisco, CA Los Angeles, California Typography, Inc. 203-242-3006 Boston, Massachusetts Orange, New Jersey 415-398-3377 213-933-9124 Dallas, Texas 617-269-4188 201-674-3727 Palo Alto, California 214-235-2222 415-326-5960

Shapiro's Shore Typographers Spectrum Multilanguage Stamford Typesetting TEI/Interface Studio Trade Typographers, House of Type, Inc. Chicago, Illinois Communications Stamford, Connecticut Chicago, Illinois Incorporated Toledo, Ohio 312-944-6650 New York, New York 203-327-1441 312-498-6133 Washington, D.C. 419-242-7000 I -} 212-391-3940 202-667-3420

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Typesetting Service Typesetting Service, Typeworks of Dallas Typographic Service Typographical Typography Plus Providence, Rhode Island Incorporated Dallas, Texas Los Angeles, California Service, Inc. Dallas, Texas 401-421-2264 Cleveland, Ohio 214-631-7006 213-749-8383 Fort Lauderdale, Florida 214-630-2800 216-241-2647 305-772-4710 Typo aphers For a complete listing of all the members in TIA contact Typographers International Association, 2262 Hall Place NW, We 59

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Ad Type Graphics The Advertising Factory Alpha GraphLx P. A. Altenhofen American Softype, Inc. Arrow Typographers Sacramento, California Las Vegas, Nevada Los Angeles, California Typographers, Inc. Natick, Massachusetts Newark, New Jersey 916-736-2222 702-382-9090 213-388-0401 Milwaukee, Wisconsin 617-651-7041 201-622-0111 414-352-3590

•C, 7

Blue Moon Graphics Bradford/Will Graphics Brooks Typography Broyles Graphics, Inc. Centennial Graphics Central Graphics Boca Raton, Florida Denver, Colorado Lafayette, California Washington, D.C. Lancaster, Pennsylvania San Diego, California 305-394-9170 303-233-9128 415-284-2910 202-337-1300 717-397-8863 619-234-6633

4.) Design & Type, Inc. E B Typecrafters Flizabeth Typesetting etCetera Typography The Firm of General Typographers San Francisco, California Denver, Colorado Kenilworth, New Jersey Orlando, Florida Christopher Wren Washington, D.C. 415-495-6280 303-294-9240 201-241-6161 305-841-0384 Costa Mesa, California 202-546-1400 714-540-0801

Lettergraphics/Memphis Litho Composition Marathon Typography Marchese Graphics, Inc. Mercury Typography John C. Meyer & Son Memphis, Tennessee Boston, Massachusetts Durham, North Carolina Los Angeles, California San Francisco, California Philadelphia, Penn. 901-458-4584 617-482-3236 919-493-7445 213-937-1517 415-864-1338 215-627-4320

Porter Graphics, Inc. ProType of R J Typesetters Rapid Typographers Reporter Typographies RyderTypes, Inc. Santa Ana, California San Antonio El Paso, Texas San Francisco, California Cincinnati, Ohio Chicago, Illinois 714-558-1947 San Antonio, Texas 915-565-4696 415-982-6071 513-421-1162 312-467-7117 512-227-9174

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The Type Gallery Type House + TypeCetera The Typesetter Corp. The Typesetter, Inc. TheTiesetting Room Seattle, Washington Duragraph Minneapolis, Minnesota Bellevue, Washington Denver, Colorado Costa Mesa, California 206-285-6333 Minneapolis, Minnesota 612-377-8870 206-883-3337 303-458-8973 714-549-3902 612-588-7511 ommoullumwmummumik FREE CARTOON POST-ff" PADS

Now you can say I it with a smile and Typotronics, Inc./ U.S. Lithograph, Inc. Uppercase, Inc. York Typographers 1 ' 'make it stick" with National Typographers New York, New York Kansas City, Missouri Incorporated these handy, bright St. Louis, Missouri 212-673-3210 816-241-8400 Don Mills, Ontario yellow Post It' pads 416-445-3830 from 3M company. 314-647-8880 Call the TIA character nearest you to find out how to get your International Association free Post Its. set the standards Washington DC © 1987 TIA Cartoons by Polo I

SCANTEXT FOR THE TEXT, THE If you haven't heard of Scantext yet, you will. In just bility, high quality & value in one user-oriented system. a few years the Scantext digital & modular type- Plus we're constantly adding peripheral equipment setting system has secured a major share of the inter- like our Logo Scanner for the digitization & storage of national typesetting market. characters & symbols, the revolutionary Graphic Design Now more professionals in America are turning Program &the interactive Graphic Page 1000 moni- to Scantext. Which doesn't surprise us. After all, our tor—the first monitor to display type, rules & special char- success story has a number of solid reasons behind acters in perfect quality. Last year we introduced our it. For starters, Scantext combines flexibility, compati- most significant technological breakthrough: Scantext

▪ 61

CTURE AND FOR THE FUTURE. 2000 integrated laser image & text processing system. 1 rFor more information Name This new system is especially designed to facilitate I & brochure call or write: Address 1 theproduction of advertisements, book composition, Scangraphic ' Dr. Boger Co. City 1 halftones, line diagrams, forms, posters, packaging 50 Tice Boulevard 1 State Zip 1 materials & barcodes. In all our systems, Scangraphic's Woodcliff Lake ' New Jersey 07675 Company 1 simple design, logical structure & optimum cost- I Telephone (201) 573-0030 Title 1 effectiveness has continued to set standards in the in- 1 dustry. It's also what continues to set us apart. J WE'RE HERE TO STAY raapVilic The digital and laser typesetting system Bitstream® type in newspapers, ti-agai 63

books documents, and on andand television computers. itSt r ea

In just five years, over 150 leading manufacturers have chosen Bitstream digital fonts for their screens, printers, and imagesetters. For good reason. We developed the technology to faithfully Now we're helping manufacturers reproduce the letterforms type bring a variety of quality fonts Bitstream Inc. designers originally intended. directly to customers, like Athenaeum House Garamond without glitches. Deco Bitstream SoftFonts for Hewlett- 215 First Street without distortion. Just beautiful Packard LaserJet Plus printers. Cambridge, MA 02142 type. More than 700 faces that Finally, you can create documents 617.497.6222 remain crisp and clean over a of near-typeset quality in your range of type sizes and studio, home or office. In minutes. resolutions. Beautiful type for a broader audience, bit by bit. That's our business.

CG • L A R T Y P E

OU HAVE JUST experienced the most remarkable breakthrough in type since the development of digital typesetting technology. The large letter 'shown, has been faithfully reproduced from actual sized, unretouched output of the CG 9600 imagesetter. The 9600 from Compugraphic Corporation utilizes CG LasetTypeT7 a unique curvilinear database that provides superior quality type output in sizes ranging from 4 to 999 points. fAs you can see from the cleanness of the edges and the smoothness of the curves, CG LasetType reproduces typefaces with true fidelity to the original design. Every type character is produced by true arc outline data rather than vectors, resulting in exceptionally smooth contours, sharper corners and straighter lines than previous digital systems; no more jagged or stair-step edges on the type.

Cg compugraphic®

For a first-hand look at the type output that sets the highest standard in the industry, call your Compugraphic representative or write Compugraphic Corporation, Type Division, 66 Concord Street, Wilmington, Massachusetts 01887 65 The Design Schools Board of Advisors Talent, Achievement And a Keen Interest In Education.

Louis Dorfsman Rena Bartos Robert H. Johnston, Ph.D. Vice President/Creative Director Senior Vice President Dean, College of Fine and Applied Arts CBS Inc. J. Walter Thompson Company Rochester Institute of Technology New York, N.Y. New York, N.Y. Rochester, N Y. A key creative figure at CBS Inc. for three Director of Communications Develop- Prominent educator, artist and decades, responsible for its advertising, ment for J. Walter Thompson advertising archeologist; Dean of the Institute for promotion and design; winner of 13 gold agency; noted authority on the effects of 1981-82 at RIT, a foremost school offering medals from The Art Directors Club of changing social trends on marketing and undergraduate and graduate degrees in New York; recipient of the gold medal advertising; prominent lecturer; author of design, graphic arts and professional from the ALGA (1978); elected to New the book The Moving Target; honored as crafts; world traveler on archeological York Advertising Club Hall of Fame 1980's Advertising Woman of the Year; expeditions; producer of films and articles (1978); current member of board and was named in 1983 as one of "America's 100 on art; lecturer at leading universities: 1980 chairman of International Design Most Important Women" by Ladies' Home Harvard, Oxford and Massachusetts Conference in Aspen. Journal magazine. Institute of Technology.

Joe Eula John M. Culkin, Ed.D. Robert S. Smith Illustrator Founder and Director Consulting Harper's Bazaar Center for Understanding Media Inc. Designer/Lecturer Paris, France; Milan, Italy New York, N.Y. New York, N.Y. Widely celebrated fashion illustrator and Authority on communications; chairman Noted art director and advertising designer; covered fashion's famous Paris of The Design Schools Board of Advisors; authority; former Ogilvy & Mather vice Collections; work featured in Town & doctorate from Harvard; combined president and senior art director on such Country and Vogue; designer of posters for careers in education (Berkeley, Director of accounts as General Foods, American such show business figures as Liza Media Studies at New School for Social Express; former president of The Art Minnelli and Charles Aznavour; has been Research) and corporate world; former Directors Club of New York; lecturer consultant and illustrator for fashion member, President's Commission on the throughout the world on American designer Halston and in Rome for Arts at MIT; founding trustee of American advertising techniques; work honored by Valentino, creating ads, packaging and Film Institute; author of four books and the Clio TV Awards, the Venice Film perfume bottles. over 100 magazine articles. Festival and The Art Directors Club.

Wallace Jonason Samuel H. Phifer Edward A. Hamilton Interior Designer Consultant, Management Development Senior Vice President, Communications Wallace Jonason Environmental Design Phifer Associates The Design Schools San Francisco, Calif.; New York, N. Y. New York, N.Y. New York, N.Y. Internationally noted interior / Specialist in management development Well-known art director and designer of environmental designer; national for major corporations. Former corporate magazines, books; executive director of president of the American Society of training director for Allied Stores The Design Schools Board of Advisors; Interior Designers (1980); president of his Corporation, a group of 665 chain and formerly: art director of Time-Life Books own design firm with assignments in the department stores. Has produced and LIFE International; picture editor of U.S., Singapore and Hong Kong; recipient numerous multimedia programs on Look; consultant on communications of numerous design awards; chief managerial leadership, performance design. Recipient of numerous awards; consultant on interiors to Bank of appraisal and team building. Lecturer and author of School Photojournalism and America; teacher, lecturer and author of consultant to Purdue University, New York Graphic Design for the Computer Age; articles for design publications. University, American Management Assn. also, numerous magazine articles.

It takes a strong group of schools to attract a strong advisory board. objective of The Design Schools is to prepare students to meet the real As members of The Design Schools Advisory Board, these people are a needs of the job market. It is easy to understand why the group has the rich resource. Individually, their professional accomplishments are largest enrollment of design students in the U.S. and why these schools outstanding. Jointly, the sum total of their achievements is prodigious. chalk up one of the highest percentages of employed graduates in the As an outside group looking in, they provide ongoing interest in the U.S. If you are an employer of entry-level design talent, you should quality standards of the schools. Not to be overlooked, are other know more about The Design Schools. If you are a student planning a important resources that give dimension to all eight schools; prime career in design, The Design Schools, in any one of eight desirable locations, fine buildings, proven courses and curriculum, and above all, cities, may be the answer to your needs. Write or phone. We will be a gifted faculty that really cares about the destiny of the students. The pleased to furnish more information. We teach our students more than design and art. We teach work.

For a prompt reply, can 1-800-245-6710 I am an employer of design talent. Please send me more n information about the graduates of The Design Schools. I am interested in a career in design. Please send me information about The Design Schools. Location preferred:

NAME Art Institute of Atlanta Art Institute of Dallas COMPANY PHONE The Art Institute of Fort Lauderdale ADDRESS Art Institute of Houston Design Art Institute of Philadelphia CITY STATE ZIP Art Institute of Pittsburgh Send to: Edward A. Hamilton, Design Director Art Institute of Seattle The Design Schools Schools Colorado Institute of Art 34 South Broadway, White Plains, NY 10601 37 MAN'

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Sometimes it takes the drama of Benguiat Right on the spot. to get the message across. Or the immediacy Let your POSTSCRIPT printer start doing of American Typewriter. Or the authority of the whole job for you. Ask your Apple Laser- Bookman Bold. Writer dealer about the Adobe Type Library So why limit your LaserWriter® or today. Or call us directly at 415-852-0271. PosTScwr® printer to standard Helvetica P.S. Also ask your dealer about and Times Roman? POSTSCRIPT, Adobe Systems' internationally Today, Adobe Systems' Type Library of- recognized page description language. fers you a veritable feast of type styles which have been licensed from the world famous A sampling from the Adobe Type Library: libraries of Mergenthaler and International ITC American Typewriter ITC Ayant Garde Typeface Corporation. With versions in GothicP ITC BenguiaU ITC Bookman Friz regular, italic, bold and bold italic. Over 45 Quadrata. ITC Garamon& Glypha ITC Lubalin classic styles in all—and more to come. Graph ITC MACHINE.® New Century Schoolbook. Adobe type styles let you produce profes- Optima PalatinoP ITC sional quality newsletters, direct mail pieces, Souvenir ITC Zapf Chancery'? client presentations and ads just like this one. ITC Zapf Dingbatslo I SYSTEMS INCORPORATED

POSTSCRIPT is a registered trademark of Adobe Systems Incorporated. LaserWriter is a trademark of Apple Computer, Inc. Helvetica, Times Roman, Glypha, Optima, and Palatino are all trademarks of Allied Corporation. ITC American Typewriter, ITC Avant Garde Gothic, ITC Benguiat, ITC Bookman, ITC Garamond, ITC Lubalin Graph, ITC Machine, ITC Souvenir, ITC Zapf Chancery and ITC Zapf Dingbats are all trademarks of International Typeface Corporation. 67 TEN NEW FEATURES MAKE THIS THE MOST ADVANCED STAT & REPRODUCTION SYSTEM KNOWN TODAY.

VGC INTRODUCES THE NEW TOTAL CAMERA III. Visual Graphics' new Total Camera III. A state of the art daylight stat and reproduction system that is incredibly versatile, cost-effective and pushbutton-easy to use. With new features that make this the most advanced VGC stat camera yet: ■ New extended 300% enlargement/331/2% reduction range ■ New 100-channel program- mable memory ■ New "silent-action" vacuum curtain ■ New on-line densitometer ■ New lock & key power switch ■ New built-in electronic proportion calculator ■ New automatic copyboard return ■ New light integrator ■ New auto- correction of color filters ■ New optional roll-feed dispenser. Plus time-tested technologies that place a vast array of graphic output at your command: ■ 100% room light operation ■ VGC's famous single-step process—produces positives, reverses, screened halftones, special effects, line or tone, paper or film, with a single shot ■ Microprocessor-controlled automatic exposure calculation ■ Autofocus and automatic processing ■ Eleven modular components add capabilities as you need them (Slide enlargements, full color prints and transparencies, RC phototypesetting processing, Silver Master offset plates, type modifications and more). For complete details about the remarkable Total Camera III, VGC leasing plans, training and aftercare service, call or send in coupon today. Call Us Toll-Free 1-800-327-1813 IN CANADA (416) 533-2305 VISUAL GRAPHICS CORPORATION 5701 N.W. 94th Ave., Tamarac, FL 33321

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lightspeed 47 FarnsworthStreet Lightspeed turnsvisionsintovisuals. John Watershadavision.Moreconcept,less John Watersisagraphicdesigner.Hehas what JohnWatersalreadyknows. communications departmentsarelearning number ofdesignfirmsandcorporate In theUS,Canada,andEurope,agrowing beyond." can explorenewterritory."Nodesignerwants Now thatWatershasfulfilledhisvision,he Lightspeed takesadaytolearn.Everyonein gap betweenbrainstormandhardcopy I canpushmyimaginationtothelimit,and to settlefortheeasyidea.WithLightspeed, too well.That'swhyhewantsanotherone. And fasterclientapproval. disappears. Thatmeansbetterpresentations. comps isusedtofindbettersolutions.The With Lightspeed,timeoncespentpreparing with ease.Andcreatesfull-colorcompsin gradations, greeking.Andnewtoolslikecolor the studiousesit.JohnWatersknowsthatall seconds. cycling andcompositing.Hereviseslayouts Now hescansandcropsphotosinstantly.Sizes Last production. Twiceasmanyideasinhalfthe campaigns, corporateidentityprograms. type inseconds.Usesfamiliartools—grids, He boughtaLightspeedQolorTMsystem. to preparedynamicpresentations. time. Usingnewformsofdesigntechnology It's ahigh-quality,high-energyenvironment. studio inManhattanandastaffofseven. His firmdesignsannualreports,marketing year,JohnWatersrealizedhisvision. Boston, Massachusetts- dealer orAccessStudionearestyou. Contact Lightspeedforthenameof 02210 617 338-2173

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After the fox became our A BCDEFGHIJKLMNOPQRST beloved champion of typogra- 1 234567890%(.,-;!i?/-).1"„""0“ phical display, we decided to name a whole new generation of machines in it's honor: Berthold oppl-Laudatio medium italic Fox is a new multi-computer- bcdefghijklmnopqrstuvwxy integrated-system. brown fox ( ABCDEFGHIJKLMNOPQRSTUi 234567890%(.,-;!i?/-).r„""), oppl-Laudatio bold bcdefghijklmnopqrstuvw iiIBCDEFGHIJKLMNOPQRS unns over the 2345678900/0(.,-;!i?/-)1"„"" Poppl-Laudatio bold italic abcdefghijklmnopqrstuvw BCDEFGHIJKLMNOPQRS 234567890%(.,-;11?/-)-1 -„"" Aoppl-Laudatio light condensed lazy dog et seems E bcdefghijklmnopqrstuvwxyzaaaeo i BCDEFGHIJKLMNOPQRSTUVWXY

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BERTHOLD =Ma

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are a range of Berthold Exclusive Typefaces Address designs for photosetting which you will find nowhere berthold else. Our unique program now comprises 25 type families with total of 125 fonts, and Poppl-Laudatio is among them. fototype A free specimen is as near as your nearest mailbox. Please write to: H. Berthold AG, TeltowkanalstraBe 1-4, D-1000 Berlin 46, West-Germany Or from overseas to: Alphatype Corporation, — A member of the Berthold group — 7711 N. Merrimac Avenue, Niles, Illinois 60648 70

Are you fed up with your present color-proofing sysin?

Word of mouth leads us to believe you are. and makes that boast stand up. That so-called state-of-the-art technology you The not-so-easily-accessible, not "over-the- installed in your shop some time back just isn't counter" service, if you will. doing the job for you. The service that's been at the top of the Maybe you picked Chromatec. Or Matro- color game for over 20 years with innovation Color. Or any of a half dozen other "over-the- piled upon innovation. counter" systems so easily accessible. You can look it up. In any case, here it is months or years later, May we pass on our expertise to you? It may and the customer complaints are still ringing in not cost you more than you're now spending. your ears. And that deadline you blew yester- And with our personalized training, special day is reminiscent of so many others like it. materials and patented procedures, you can In a nutshell, you jumped into the color master the system that until now was the game with both feet, hoping for the Big Bucks/ secret of a small cadre of subscribers around Big Rep thing. Well, it just hasn't been hap- the world. pening for you. That secret, that expertise, that system has You're unhappy. now been capsulized and structured for use Well, Mr. Shop Owner, be of good cheer. by shops like yours that want to upgrade to a We just might have the ticket to get you out color service that won't get them fed up. from under. Interested? To find out if you qualify, all you It's called Identicolor. need do is call our number. The service that's All The Proof You Need- Or our bluff. IDENTICOLOR All The Proof You Need Multicolor Direct Proofing • Multicolor "Multi/cal" Transfers • Multicolor "Multi/foil" Metallic Transfers

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PRINT, AMERICA'S Announcing a NEW feature in HOW. . . ! ENTER GRAPHIC DESIGN MAGAZINE, An Annual about money and finance ANNOUNCES ANOTHER FIRST in graphic design Subscribe now to HOW . . . America's largest FOR GRAPHIC DESIGN PRO- circulation how-to magazine for graphic designers FESSIONALS THAT WILL SO- and get as part of your subscription the fabulous 'NEW new Annual, devoted exclusively to the business 9 LIDIFY PRINT 'S POSITION of graphic design. DIMENSION AS THE MOST VALUABLE, AND SAVE 40% EXCITING AND SURPRISING II\T THE BARGAIN! PUBLICATION IN THE FIELD!

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TABLEAU CAA PHIPOE Jena ...plate en dc.,tis, thenanitz, d. Riasoser as &saw m. uu-au."111.

131t:

This map, drawn by the French engineer Charles Joseph Minard in 1869, portrays the losses suffered by Napoleon's army in the Russian campaign of 181 z. Beginning at the left on the Polish-Russian border near the Niemen, the thick band shows the size of the army (42.2,000 men) as it invaded Russia. The width of the band indicates the size of the army at each position. In September, the army reached Moscow with 100,000 men. The path of Napoleon's retreat from Moscow in the bitterly cold winter is depicted by the dark lower band, which is tied to a temperature scale. The remains of the Grande Armee struggled out of Russia with only ro,000 men. Minard displayed six dimensions of data on the two-dimensional surface of the paper. The Visual Display of Quantitative Information EDWARD R. TUFTE

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There's one typo- In fact, we update our com- the final proof we sent to our graphical element puters so often, we're still agency, it was the only proof. that can't be pro- ASPEN paying for equipment that's Call Line & Tone at 212- grammed into any already been replaced. 921-8 3 3 3 . Because the proof computer. Good But what makes our we can handle your job is in taste. equipment run at peak your hand. The kind of typo- performance are the people graphical taste that who sit in front of them. Poor letter The typographers we em- can only be found in spacing the most seasoned ploy have design standards LINE Bad line that usually exceed those TYPOGRAFIX CORP typographer, not in spacing 246 WEST 38TH ST., NEW YORK, NY 10018 • PHONE: 2121921-8333 the most advanced of our clients: Standards that FAX, 212/869-3376 • TELCOM, 212/764-0648 microchip. are so superior, they can be At most type shops you'll computers that are so ad- seen the instant you see Where The Tools find one or the other. At vanced they can deliver typo- their proofs. Haven't Taken Over Line & Tone you'll find both. sitor quality settings from Like the ad you're reading We have state of the art headline to coupon copy. right now. It wasn't only The Trade. 76

Paper work again? Hey no problem, it's all on CLASSIC CREST® Writing. "So many new faces!" thundered Thaddeus Bolds.. With every passing day, it seemed, another new family of typefaces was showing up to work at Granite Graphics. They were coming to perform on the Mergenthaler L300 laser typesetters, the most capable machines ever designed by mere humans. "Come right on in',' the kindly Garamond would say in welcoming the new arrivals. "There's plenty of space here for everyone, and I'm sure each of you will soon have a few ads or an annual report or catalog to work on" The promise of quality assignments was welcome news indeed, for each face knew that he or she had been painstakingly designed to enhance an art director's creativity, and to provide the perfect mood for a copywriter's labors.

And each lovelier than CLASSIC CREST Writing the last,' sighed the and Cover. Hard-working voluptuous Isbell. paper that makes your paper limberly-Clark Corporation work paper pleasure. "We've heard some wondrous stories about this shop: piped up a Contact your Neenah Paper Merchant ©1986 KCC for complete details. qRegistered Trademark of Kimberly-Clark Corporation youngster named Churchward, as the other newcomers strained to listen. "Oh, what kind of stories?" asked Shelley Allegro innocently, while winking at the smiling Helvetica. "Stories that you do good work, and that you guarantee overnight delivery, and that...that a face can really express himself when IT'S HERE! working here: blurted out a nervous Frutiger. How relieved he was to see the veteran faces nodding in proud recognition! DICK BUICK'S 1987 Art Materials Catalog "You've heard right young fellow," intoned the esteemed Franklin Gothic, who had is ready! Don't miss out on 448 pages of Dick Blick selection been with Granite Graphics from the start. "But let me tell you how this place has and service for the artist, illustrator, and built such a reputation, and how we intend to keep it!" graphic designer. Most orders are shipped within 2 working "But can they perform?' days! Send for a wondered the bookish copy today! Russell Square. All the faces grew quiet as their venerable predecessor recounted one success story after another, of complex jobs handled flawlessly and of tight Please send a deadlines met. They marvelled when told of the up-to-the-minute equipment 1987 Art Materials with which they'd be working, and Catalog. of the skill and experience of Enclosed is $2.00. the employees who ran it. "And you; Franklin Name Gothic concluded, "will be expected to continue this fine tradition. Look sharp, Address work hard, and take pride in what you're doing" As if on cue, Granite's messenger showed up then with several large jobs, Zip and the typefaces went back to work, tingling with excitement for their future endeavors... GRANITE GRAPHICS Send to : Fine Typography Dick Blick 19 Franklin Place Dept. UL, Box 1267 "GOOD WORK; Rutherford, NJ 07070 Galesburg, IL 61401 GRANITE!" 201-438-7398 • 212-772-0364 77 "What's that face?" ONE STEP Now, identifying a typeface is no BEYOND ORDINARY longer a thankless process. This useful book has over 38 pages IYPOOMPHY of type examples. It's a comprehensive guide formed from Photo-Lettering, Inc. the famous Mergenthaler Type- is one of the face Library. This tool also most renowned includes a six page type name typeshops in the world. reference section which can Our exclusive help locate names for simi- typestyles appear regularly lar faces in use by other type manufacturers. on network television and in print. This guide can be yours For 50 years our for only $25.00 each or 5 for $100.00. A lot less extraordinary capabilities than it may cost to try have been praised in to identify just a single graphic design typeface without this books and magazines. tool. Special rates are Yes, we're innovative and available to colleges & art schools. Each imitated, but we're person who works with never quite duplicated! or buys type should have at least one copy of the TypeIdentifier.'" Order your book today! OR DER NOW, while supplies last. T se your Visa or MasterCard. Simply pick up the phone and call one of our ton- rl'en`J t,J131 Ut...) free numbers to order your Typeldentifier. Or, state the number of books you'd like, along with your check made payable to: Centennial Graphics, Inc., Box 7777, 711(0 t Lancaster, PA 17604-9990. 800-732-0436 within PA 800-233-8973 outside PA Centennial Graphics, Inc. PHOTO-LETTEMNG,INC.216E4511-1 NYC10017.A. 4902345 Fine Typographers

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f it's not, Southwestern Typographics is pleased to announce the availability of high-quality laser printing ■ at i1111111•1 Not my Guilford Gray. t t equipment that is compat- SI■ :OA ible with your Macintosh eitt. 31/2" disks. With image formations up to 2540 dots per inch these state-of-the-art Not my Canyon Beige. printers will greatly increase the quality of the type and graphics that you are currently receiving. You provide the page make-up and we'll reproduce it using our high-quality laser imaging. Simple. And we think that you'll agree, the minimum cost of this service will more than justify the maximum results. Not my Royal So take your quality input Mauve, Horizon Blue to Southwestern Typographies or Pageant Rose and we'll give you the quality output that it deserves. Please call Clint Gober 5 new CLASSIC Laid Writing, at 214-748-0661 for further Text & Cover colors. Call your Neenah Paper Neenah, WI 54956 information concerning this neighborly paper merchant Kimberly-Clark Corporation exciting new field known as for ready samples. "electronic publishing." Contact your Neenah Paper Merchant ©1986 KCC

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1986 /87 Edition

What the IF YOU USE A PENCIL COVER LIKE YOUR LIFE your book DEPENDS ON IT ... Learn about the new cost-effective "computer graphic pencils" gOESN'T with unlimited colors, widths and patterns, that let you do layouts in seconds, comps in minutes, create storyboards, set type and tellyou about forget about mechanicals. Find out what's available and how it's being used, so you can ARNOLD&DEBEL choose the best pencil box for your operation. It doesn't tell you that we keep adding typositor faces and now offer nearly At PRATT CENTER seminars and exhibits, the leading users 4,000 (plus 1300 on computer); all the standards plus rare and unusual ones— and manufacturers fill you in on the latest equipment and in full alphabet showings. It doesn't tell you that our prices are competitive. An techniques. These non-technical updates on new technology for average of $2.25 a word, is as low as you'll find in town ... Any town. It doesn't Computer Graphic Arts & Design will help you, as they've helped tell you that we can create custom modifications of any typeface or line art; such thousands of others, stay sharp. as outlines, inlines, drop shadows, etc. Most importantly, it doesn't tell you what any Art Director or Designer who depends on us will. That you get ad-quality type set right the first time — with the exact spacing you want. And you get it fast. Same day for accounts in New York City, overnight for out-of-town customers. COMPUTER GRAPHICS FOR DESIGN 87 That's the Arnold & Debel story... which proves once again that you can't June 1-3, 1987, Grand Hyatt, New York judge a book by its cover. To place a type order, or to order our hefty 3-lb. book of 4,000 typefaces, COMPUTER GRAPHIC ARTS 87 call us at (212) 594-5494. Or send in the coupon below. December 6-9, 1987, Grand Hyatt, New York

❑ My check for $11.50 is enclosed. AD ($10.00 plus $1.50 postage) Name Bill my: ❑ American Express For free brochure, call or write: Perry Jeffe, Director, ❑ MasterCard Company Pratt Center for Computer Graphics in Design - Dept U, ARNOLD & DEBEL INC. ❑ Visa Nine Skyline Drive, Hawthorne, NY 10532, 914-592-1155. TYPOGRAPHERS City 25 WEST 31 STREET Acct. No. State NEW YORK, NY 10001 Zip (212) 594-5494 Expires Phone 79 DESIGNERS/ I LLUSiiTRATORS YOU'LL WONDER WHY YOU'VE WAITED SO LONG. As a design tool, the Artograph DB300 Projector offers incredible convenience. By projecting an image directly onto your work surface (opaque art, 3D objects, slides* or transparencies*) it eliminates the need to trace and transfer. The Artograph DB300 Projector allows you to enlarge up to 300% or reduce to 33% in a minimum of time. Compact, lightweight, it can be mounted directly onto your drawing table. And the DB300 is economically priced. Compared to the old fashioned trace and transfer method? Artograph wins every time—for ease, for economy, for quality. Why have you waited so long?

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A complete library of typefaces. AV AVB AVD AVX BAL BAM BD BDB BDI BE BG [BL AG DUD DM CH DO DO! ER ERB ERD ERL ERM ERU ES ESB ESBI ESI FQ FR FRB F RD F RM GA GAB GABI GAI GAU GL GO GR GRB HDM HE HEB HEL HEU HO HR HRB IG IGB IGC IGI IGL IT or-A(1) +() orri KO LA LU LUB LUX MI MIB MS NC NCB NCI roller is made of a special alloy which applies NO NOB NOBI NOI Mt OP OPB PA PAB PABI an even smooth micro-thin wax coating over the entire surface at a precise temperature. PAI PEB DU TeL QU QUB QUL QUM QUU Every little dot and comma gets a full strength SODI SOIL SOL 5Q ST TE TEB ...and join over 150,000 coating for ultra-tight adhesion. RE 511 SOD satisfied Daige customers TIBI TII TIIM TIM TYM UN DAIGE means quality! TEU TR TI TIB who cut paste-up time Made in the USA, Daige has 20 years of experi- UR V74 ZB ZBD ZBDI ZBI ZBIM ZBIU ZBM ence providing top-notch quality, heavy duty and cost by 50%. performance and maintenance free operation. ZBU ZCB ZCL ZCM ZI ZID ZIDI ZII ZIU Don't let paste-ups cost you more or take Our rigid quality control procedure assures you longer than they should. Rubber cement is time a lifetime of trouble-free service. That's why consuming. Hand waxers are slow and leave a we're the only wax coater that can offer a full 2- BYSO PRINT is full featured software with integ- messy, lumpy wax coating. Today, more than year parts. and labor warranty. rated text St, graphics, screen previews, and profes- ever before, you need a Daige! World wide, For more information call Toll-free more artists find it's the fastest, easiest way to 800-645-3323, (516) 621-2100 (in NY) or sional commands. paste-up. mail coupon today. Send for details. DAIGE is fully automatic. r- U&Ic 2/87 Just turn your Daige on and you're ready for DAICIE Levien Instrument Co. Sitlington Hill, consistently foolproof waxing. Unlike other DAIGE Products, Inc. waxers, there are no dials to turn, blinking lights 1 Albertson Avenue Box 31, McDowell, VA 24458 Albertson, N.Y. 11507 or adjustments to make! The Daige Speedcote (516) 621-2100 Toll-Free: 800-645-3323 Tr (703) 396-3345 features: • automatic warm-up Name automatic wax coating control This ad set with BYSO PRINT and a Toshiba P351 dot matrix printer • Company • automatic stock thickness control • automatic temperature control Address DAIGE Guarantees smooth even City

coating ' State Zip No stripes, hills or bumps! The Daige coating Continued from page 51. Twentieth Publication Design Annual Of the more than 5,000 entries submitted to The Society Of Publication Designers Annual International Competition, jurors selected 500 winners. These were exhibited at the Master Eagle Gallery in New York and then reproduced in this annual. The book was beautifully designed by B. Martin Pedersen. Each winning piece is listed with the publication, art director, designer, illustrator, publisher, category and award. Distributed by Robert Silver Associates, 307 East 37th Street, New York, NY 10036. 246 pages. 9 x 121/4' Color. Indexed. $39.95.

TypeIdentifier - Designed to help the advertising artist or typesetter identify hundreds of typefaces based on the Mergenthaler digital type library. Structured into easy-to-scan sections for serif and sans serif, and sans serif romans and italics, specials, scripts and outlines. Con- tains a special section for cross-referencing various names of type designs. Centennial Graphics, Inc. 1858 Charter Lane, P.O. Box 777, Lancaster, PA 17604-9990. 48 pages. 81/2 x 11'! Illustrated glossary. Black Experiment Design and white. Paper. $25 each or 5/$100.00. by Igildo G. Biesele

Twenty-Seven Chicago Designers Mr. Biesele is a well-known Swiss graphic artist and professor. Experimental designs The "27 Chicago Designers" have made a from commercial and private projects are significant contribution in shaping and illustrated. Through these examples he influencing American design over five de- shows that experiments are necessary in cades. The names and faces of these design- order to broaden the horizon of our thinking, ers have changed, but new talent with knowledge and esthetic experiences. expertise in corporate identity, annual re- Chapters cover two- and three-dimen- ports, package design, corporate communi- sional work, and the final chapter is con- The ITC Center has prepared a variety of slide presentations cations, advertising, signage, illustration and cerned with the problems of spatial design. based on past ITC Center exhibitions. These are available for two- book design are always emerging. All of Full-color illustrations demonstrate the week rentals to schools, companies and design organizations these are represented in this edition. process from the idea through repetition, throughout the world. Rental fees range from $40.00 to $50.00 Every designer is profiled with a biogra- variation, exploration, new techniques and U.S. A refundable deposit is also required. (There is also a $25.00 phy, picture, and a selection of their work in materials. charge for slide shows shipped outside the United States.) full color. ABC Editions, Rudigerstrasse 12, P.O. Box, 27 Chicago Designers, 200 E. Ontario, CH-8021 Zurich, Switzerland. 170 pages. Chicago, II 60611.10 x 8 3/4' 142 pages. Paper- 101/4 x 101/4' 1,000 illustrations mostly in Presentations currently available include: bound. Free to those who qualify by writing color. Available in bookstores or write pub- on their letterhead, $25.00 to all others. lishers for purchase price. International Calligraphy Today This collection, from the 1980 calligraphy competition sponsored by ITC, represents the work of more than 100 calligraphers from U.S. POSTAL SERVICE STATEMENT OF OWNERSHIP, MANAGEMENT AND CIRCULATION five continents. (389 slides) (Required by 39 U. S. C. 3E85) 1. TITLE OF PUBLICATION A. PUBLICATION NO. 2. DATE OF FILING U&lc (Upper and lower case) ISSN 03628245 12/15/86 Japanese Typography 3. FREQUENCY OF ISSUE A. NO. OF ISSUES B. ANNUAL SUB- PUBLISHED ANNUALLY. SCRIPTION PRICE This slide lecture was delivered in New York City in 1983 by the Quarterly 4 4. COMPLETE MAILING ADDRESS OF KNOWN OFFICE OF PUBLICATION Japan Typography Association. (85 slides) (Street. Oty, County State and ZIP Code) (Not printers) 2 Dag Hammarskjold Plaza, New York, NY 10017-2991 5. COMPLETE MAILING ADDRESS OF THE HEADQUARTERS OR GENERAL BUSINESS The Calligraphy of Friedrich Poppl OFFICES OF THE PUBLISHERS (Not printers) An exhibition of the calligraphy of the late West German same as above 6. FULL NAMES AND COMPLETE MAILING ADDRESS OF PUBLISHER, EDITOR, AND calligrapher and type designer. (90 slides) MANAGING EDITOR (This item MUST NOT be blank) PUBLISHER (Name and Complete Mailing Address)

International Typeface Corp., 2 Dag Hammarskjold Plaza, NewYork, NY 10017 - 2991 Typo & EDITOR (Name and Complete Mailing Address) Edward Gottschall – International Typeface Corp., 2 Ham A 1983 exhibition of the work of nine contemporary Czechoslovakian Dag mars4old Plaza, New York, NY 10017 - 2991 MANAGING EDITOR (Name and Complete Mailing Address)

designers. (225 slides) Aaron Burns – International Typeface Corp., 2 Dag HammarsItjold Plaza, New York, NY 10017 - 2991 7. OWNER (If owned by a corporation, its name and address must be stated and also immediately thereunder the names and addresses of stockholders owning or holding 1 percent or more of total amount of stock. If not owned by a corporation, the names and addresses of the individual owners must be given. If owned by a partnership or other Typographica USSR unincorporated firm, its name and address, as well as that of each individual must be given. If the publication is published by a nonprofit organization, its name and address must be stated.) (Item must be completed) A collection from the 1985 exhibition organized by the Artists FULL NAME COMPLETE MAILING ADDRESS Union of the USSR in Moscow, on Soviet typography, calligraphy Esselte Pendaflex Corporation 50% 71 Clinton Road, Garden City, NY 11530 and type design. (230 slides) Lubalin, Burns & Co., Inc. 50% 2 Dag Hammarskjold Plaza, New York, NY 10017-2991

8. KNOWN BONDHOLDERS, MORTGAGEES. AND OTHER SECURITY HOLDERS OWNING OR HOLDING I PERCENT OR MORE OF TOTAL AMOUNT OF BONDS. MORTGAGES OR OTHER SECURITIES (If there are none. so state) Typographic Treasures 1: Herb Lubalin FULL NAME COMPLETE MAILING ADDRESS The graphic and typographic design of Herb Lubalin.This None 9. FOR COMPLETION BY NONPROFIT ORGANIZATIONS AUTHORIZED TO MAIL AT SPECIAL RATES (Section 411.3. DMM only) The purpose, function, andzionprofit status of this organi- exhibition was formerly called "Lubalin in Paris." (150 slides) zation and the exempt status for Federal income tax purposes (Check one) Non-applicable (I) (2) (If changed, publisher must submit r.7,1 HAS NOT CHANGED DURING 1-1 HAS CHANGED DURING explanation of change with this Typographic Treasures 2: Professor F. H. Ernst Schneidler PRECEDING 12 MONTHS L_I PRECEDING 12 MONTHS statement.) "Der Wasserman," a portfolio of the graphic design and typography AVERAGE NO. COPIES ACTUAL NO. COPIES 10. EXTENT AND NATURE OF CIRCULATION EACH ISSUE DURING OF SINGLE ISSUE PRECEDING PUBLISHED NEAREST of the late German designer Professor F. H. Ernst Schneidler. 12 MONTHS TO FILING DATE (122 slides) A. TOTAL NO. COPIES (Net Press Run) 210,375 215,500 B. PAID CIRCULATION 1. SALES THROUGH DEALERS AND CARRIERS, none none Typographic Treasures 3: Paul Rand STREET VENDORS AND COUNTER SALES Fifty years of the typography and graphic design of Paul Rand. 2. MAIL SUBSCRIPTION 194,886 199,219 C. TOTAL PAID CIRCULATION (Sum of ioel (392 slides) and 1082) 194,866 199,215 D. FREE DISTRIBUTION BY MAIL, CARRIER OR OTHER MEANS. SAMPLES, COMPLI- 4,036 4,035 Typographic Treasures 4: Gudrun and Hermann Zapf MENTARY AND OTHER FREE COPIES Calligraphy, type design, and book design are featured in this E. TOTAL DISTRIBUTION (Sum of C and D) 198,901 203,254 F. COPIES NOT DISTRIBUTED exhibition of these West German designers. Also included are 1. OFFICE USE, LEFT OVER, UNAC- 11,474 12,248 COUNTED. SPOILED AFTER PRINTING examples of bookbinding by Gudrun Zapf. (290 slides) 2. RETURN FROM NEWS AGENTS none none

G. TOTAL,re= (Sum . of Eand equal net shown ir, 210,375 215,500 SIGNATURE AND TITLE 11. I certify that the statements made by OF EDITOR, PUBLISHER. BUSINESS For additional information and copies of the rental agreements, MANAGER. OR OWNER. me above are correct and complete contact Laurie Burns, Director, Public Relations and Educational Richard P. Conway, Controller PS Form Activities, ITC, 2 Hammarskjold Plaza, New York, NY 10017, USA. June 1980 3526 (Page I) (See instruction on reverse) Telephone: (212) 371-0699.

FN ONLY THE FOLLOWING SUBSCRIBER COMPANIES ARE LICENSED TO MANUFACTURE AND SELL ITC TYPEFACES

PROSOFT URW Unternehmensberatung ABL ComputerTechnologies Inc. Graphic Products Corporation Linotype GmbH Tesler Software Corporation Karow Rubow Weber GmbH Ltd. 3601 Edison Place Frankfurter Allee 55-75 75 Kneeland Street Harksheider Strasse 102 Rolling Meadows, III. 60008 6236 Eschborn bei Frankfurt 7248 Bellaire Avenue 43/44 Albemarle Street Boston, Mass. 02111 2000 Hamburg 65 (312) 392-1476 West Germany No. Hollywood, CA 91605 London W1X 3FE (617) 426-3577 West Germany Formatt Cut-out Acetate Letters (06196) 403 260 (818) 764-4555 England SuperSetter Digital Imaging (040) 602 1071 Typefaces and Fonts for Analog 01-499-9461 Systems for Text and Graphic Art Aids "Fontasy" Software IKARUS—Digital Type Production and Digital Typesetters and other Daisy Wheels and Thimbles SIGNUS—Type Setting with Foils Cello-Tak Mfg., Inc. Graphics, Inc. Visual Communication Equipment Purup Electronics Adobe Systems, Inc. 35 Alabama Avenue 16001 Industrial Drive 28 Jens Juuls Vej U.S. Lynx Island Park, L.I., N.Y. 11558 Gaithersburg, Maryland 20877 Mecanorma DK 8260 VIBY J 1870 Embarcadero 853 Broadway (516) 431-7733 (301) 948-7790 78610 LePerray-en-Yvelines Denmark Palo Alto, Calif. 94303 New York, NY 10003 (415) 852-0271 Dry Transfer Letters Manufacturer of Dry Transfer Paris, France Tel: 456-28 22 11 (212) 673-3210 Interactive Software Tools for Systems 483.90.90 Laser Forms Printer Chartpak Lynx Laser Plain-Paper Graphic Arts Dry Transfer Letters One River Road Harris Corporation Quantel Ltd. Proofing System Harris Composition Systems Alphatype Corporation Leeds, Mass. 01053 MegaCom, Inc. Kenley House Division Varitronic Systems, Inc. 7711 N. Merrimac Avenue (413) 584-5446 3925 Coconut Palm Drive Kenley Lane Niles, Illinois 60648 Dry Transfer Letters P.O. Box 2080 Suite 115 Kenley, Surrey 300 Shelard Tower Melbourne, Florida 32901 Tampa, Florida 33619 CR2 5YR 600 South County Road 18 (312) 965-8800 Compugraphic Corporation (305) 259-2900 (813) 626-6167 England Minneapolis, MN 55426 AM International, Inc. 200 Ballardvale Street Fototronic 4000, TXT, 1200, 600 Non-Impact Page Printing Systems 01-668-4151 (612) 542-1500 Varityper Division Wilmington, Mass. 01887 CRT 7400, 7450 Designers and Manufacturers Merlin Electronic Lettering (617) 944-6555 Mesac GmbH 11 Mt. Pleasant Avenue Dr.-Ing Rudolf Hell GmbH of Digital Television Broadcasting Systems for the Office East Hanover, N.J. 07936 EditWriters, CompuWriters, Saarstrasse 29 Equipment; the Paint Box Grenzstrasse 1-5 (201) 887-8000 Text Editing Systems, 6360 Friedberg/H. VideoSoft, Inc. Ryobi Limited Phototypesetters and Photo- MCS'" 8200, 8400, 8600, D2300 Kiel 14 West Germany 2101 South Broadway West Germany lettering Systems Accessories and Supplies 06031/3677 762 Mesaki-Cho Little Rock, AR 72216 (0431) 2001-1 Fuchu-Shi Computer Gesellschaft UNI.LET (CAD/CAM System) (501) 376-2083 Ampex Corporation Digiset Phototypesetting Hiroshima-Ken 726 Supplier and Manufacturer of Konstanz MBH Microtype 401 Broadway Equipment and Systems, Japan Digital Fonts for Electronic Redwood City, CA 94063-3199 Max-Stromeyer-Strasse 116 Digiset-Fonts 8 Faubourg St. Jean Text/Display Phototypesetters Systems D-7750 Konstanz 21200 Beaune (415) 367-3440 High Technology Solutions Scangraphic Dr. Boger GmbH AVA-3 (Video Graphic Art West Germany France Visi-Graphics (07531) 87-4433 P.O. Box 3426 Film Fonts Manufacturer Rissener Strasse 112-114 8119 Central Avenue Generator) Poughkeepsie, N.Y. 12603 Laserset-Laser Typesetter Alphabet Designers 2000 Wedel/Hamburg Washington, D.C. 20027 Anagraph, Inc. (914) 473-5700 West Germany OCR-Equipment The Monotype Corporation Ltd. (301) 366-1144 2770 South Harbor, Unit K MPS Front End System and (04103) 6021-25 Dry Transfer Letters Santa Ana, CA 92704 Computer Output Printing, Inc. Fastsetter Typesetter Salfords, Redhill, Surrey, Manufacturer of the Scantext Visual Graphics Corporation (714) 540-2400 4828 Loop Central Drive Information international England Phototypesetting System, Redhill 6 5959 Graphic Express System for Houston, TX 77081 Frontend, Typesetter, Graphic 5701 N.W. 94th Avenue 5933 Slauson Avenue Visual Communications Page, Logoscanner, Interfaces Tamarac, Florida 33321 Signage (713) 666-0911 Culver City, Calif. 90230 Equipment and Digital Fonts (305) 722-3000 High End Electronic Printing Artype, Inc. (213) 390-8611 Manufacturer of Photo Typositor NBS Southern, Inc. Simulation Excel A.S. 3530 Work Drive Systems and Digital Fonts Phototypesetting Systems and Original Typositor Film Fonts P.O. Box 7151 Digital Visions, Inc. international Business 100 North Belcher Rd. Dag Hammarskjolds vei 15 Fort Myers, Fla. 33901 Clearwater, FL 33575 Oslo 5 Wang Laboratories, Inc. 454 West 46 Street Machines Corporation (813) 332-1174 Norway New York, N.Y. 10036 Old Orchard Road (813) 539-6283 One Industrial Avenue 800-237-4474 Tel: 47-2-15 66 90 (212) 581-7760 Armonk, N.Y. 10504 Electronic Printing Systems Lowell, MA 01851 Dry Transfer Letters PAGEscan Digital Typesetter Interactive C_omputer Graphics Electronic Printing Systems NEC Information Systems, Inc. (617) 459-5000 Cut Out Letters PAGEcomp Interactive Ad Office Automation Specialist Software International Type Fonts ApS 1414 Massachusetts Avenue and Page Make-up Terminal Aston Electronic Designs Ltd. Xenotron, S.A. Dubner Computer Systems, Inc. c/o Cooper & Beatty, Limited Boxborough, Mass. 01719 125/127 Deepcut Bridge Road SoftCraft, Inc. 6 Forrest Avenue 401 Wellington Street West (617) 264-8000 3, Rue Sandoz Deepcut, Camberley, Personal and Small Business 227 N. El Camino Real #201 B.P. 118 Paramus, NJ 07652 Toronto M5V 1E8 Surrey GU16 6SD Computer Systems, Printers and Encinitas, CA 92024 93130 Noisy-le-Sec (201) 845-8900 (416) 364-7272 England Type Discs for Harris 600, Peripherals. (619) 944-0151 France 0252 836221 Broadcast TV Equipment 1200, 4000, TXT Typesetters Nippon Information SoftCraft Font Library (1) 48 91 78 33 Video Character Generators ETP Systems, Inc. Manufacturer of Laser Science Ltd. Soffest, Inc. Itek Composition Imagesetters Autologic, Inc. 10150 SW Nimbus Avenue Systems Division Sumire Building 4F 555 Goffle Road Xerox Corporation 1050 Rancho Conejo Boulevard Suite E-2 34 Cellu Drive 5-4-4 Koishikawa Ridgewood, NJ 07450 Newbury Park, Calif. 91320 Corporate Font Center Portland, OR 97223 Nashua, N.H. 03060 Bunkyo-ku, Tokyo 112 (201) 447-3901 (213) 899-7400 (503) 639-4024 701 South Aviation Boulevard (603) 889-1400 Japan Soflype and Lex Word APS-4/APS-5 CRT Phototype- Manufacturers of Laser Phototypesetting Systems and (03) 945-5955 El Segundo, Calif. 90245 setter Composition and Processing Software Publishing Systems incorporating Equipment, Film Strips, Digital Fonts, Latin and non:Latin Mail Stop A3-23 Typesetting Systems Special Graphic Lettering 333-9721 typesetting and fonts into Unix Standard and Segmented Discs, Alphabets, including Kanji (213) Systems Holland B.V. Autologic SA based computer systems. and Digitized Fonts Characters Zipatone, Inc. P.O. Box 211 1030 Bussigny Pres Lausanne Filmotype LeBaugh Software Corporation 150 Fend Lane Officine Simoncini s.p.a. 2160 AE Lisse Switzerland 2720 Greene Avenue Hillside, Illinois 60162 7711 N. Merrimac Avenue Casella Postale 776 The Netherlands 021/89.29.71 Omaha, NE 68147-1939 (312) 449-5500 Niles, Illinois 60648 40100 Bologna Bobst Graphic Products and (402) 733-7600 01718-26114/22871 Dry Transfer Letters (312) 965-8800 Italy Phototypesetting Systems Manufacturer of LePrinf" Dry Transfer Lettering Film Fonts (051) 744246 Software Sumitomo Bakelite Co., Ltd. Avo's Type & Lettering, Inc. Fonts Hot Metal Composing Matrices AUTHORIZED SUPPLIERS Esselte Letraset 2-2, 1-chome, Uchisaiwai-cho OF ITC TYPEFACES IN 17562 Eddy Drive Hardy/Williams (Design) Ltd. and Phototypesetting Systems Letraset Limited Chiyoda-ku, Tokyo 100, Japan DIGITAL FORM Santa Ana, CA 92705 300A High Street PhotoVision Of California, Inc. (714) 669-1327 St. Georges House (03) 595-9391 ADOBE SYSTEMS, INC. Sutton, Surrey P.O. Box 552 195/203 Waterloo Road Printwheels, Daisy Wheels and BITSTREAM, INC. 2" Film Fonts SM1 PQ England Culver City, Calif. 90230 London SE1 84J Thimbles. COMPUGRAPHIC CORPORATION 01-636-0474 (213) 870-4828 H. Berthold AG England Font Manufacturer Toll Free: 800-421-4106 Tactype, Inc. LINOTYPE GMBH Teltowkanalstrasse 1-4 (01) 930-8161 Spectra Setter 1200, Visual 12 West 26th Street NIPPON INFORMATION D-1000 Berlin 46 Fundicion Tipografica Dry Transfer Letters Display Setter, and 2" Film Fonts New York, N.Y. 10001 SCIENCE LTD. West Germany Neufville, S.A. Letraset USA Inc. 924-1800 SOFTEST, INC. (030) 7795-1 Puigmarti, 22 Presentation Technologies, Inc. (212) 40 Eisenhower Drive Dry Transfer Letters URW UNTERNEHMENSBERATUNG Front-Ends, Optomechanical Barcelona-12 743 N. Pastoria Avenue Paramus, N.J. 07652 Photo Units, Digital Photo Spain Sunnyvale, CA 94086 Technographics/Film Fonts (201) 845-6100 AUTHORIZED DISTRIBUTORS Units/Digital Recorders, Headline 219 50 00 P.O. Box 552 Dry Transfer Letters (408) 749-1959 OF ITC TYPEFACES Typesetter, Scanners Poster Types Culver City, Calif. 90230 Image-Maker Slide-Making AGFA-GEVAERT N.V. Linographics 870-4828 Berthold of North America Geographics, Inc. System (213) Toll Free: 800-421-4106 APPLE COMPUTER INC. P.O. Box R-1 770 N. Main Street 7711 N. Merrimac Avenue Pressure Graphics, Inc. Film Fonts, Studio Film Kits, BITSTREAM, INC. Blaine, WA 98230 Orange, California 92668 Niles, Illinois 60648 1725 Armitage Court and Alphabet Designers CUBICOMP (206) 332-6711 (714) 639-0511 (312) 965-8800 Addison, Illinois 60101 DATALOGICS INCORPORATED Dry Transfer Letters Display Typesetters, Tegra, Inc. British Broadcasting 2" Film Fonts (312) 620-6900 DELPHAX SYSTEMS Corporation Gepeto Eletronica Ltda Dry Transfer Letters Middlesex Technology Center DICOMED CORPORATION Linotype Company 900 Middlesex Turnpike DIGITAL EQUIPMENT Broadcasting House Praia de Botafogo 440-16 andar Prestype, Inc. Billerica, MA 01821 CORPORATION London W1A DNA Rio de Janeiro CEP 22250 425 Oser Avenue 194 Veterans Boulevard (617) 663-7435 DIGITIZED INFORMATION England Brasil Hauppauge, New York 11788 Carlstadt, N.J. 07072 Electronic Printing and Imaging SYSTEMS CORPORATION 01-580-4468 (021) 286-8284 (516) 434-2000 Linoterm, V-I-P, Linotron, Omni- (201) 933-6011 (GHENT, BELGIUM) Video Fonts for the BBC Telex 021-33499 Systems tech CRTronic, Phototypesetting Dry Transfer Letters EOCOM Digital Phototypesetters TypeMasters, Inc. Equipment and Systems GENERAL OPTRONICS Photocomposition Systems 29-31 E. Lancaster Avenue CORPORATION Ardmore, Pa. 19003 KANEMATSU ELECTRONICS (215) 649-2546 LIMITED 2" Film Fonts SCITEX CORPORATION LTD.

FOR FURTHER INFORMATION WRITE OR CALL: INTERNATIONAL TYPEFACE CORPORATION 2 HAMMARSKJOLD PLAZA, NEW YORK, NEWYORK 10017 (212) 371-0699 TELEX: 669204 82 NEW: And—There's a most helpful typeface spe- cifiers book for every ITC typeface family. ITC SLIMBACIT TO HELP YOU Each 6" x 12" book includes: SPECIFY 1 Text blocks plus alphabet showings for sizes 6, 7, 8, 9, 10, 11, 12, 14, 16, 18, 20 ITC SLIMBACIF and 24 points. 2 Alphabet lengths in points for each text point size shown. These relate to an Name easy-to-use copyfitting chart at the back of the book. Company 3 Alphabet display showings in sizes 30, Title 36, 48, 60 and 72 points plus 1" caps.

Street Address 4 Complete character showing of each ITC display font. City 5 Headline presentation in display size range. Country Zip Code

To obtain these ITC type specimen booklets and U&Ic back issues, complete and mail this order form. All orders must be accompanied by a remittance. Please make checks payable, In US funds, to ITC at: 2 Hammarskjold Plaza, New York, NY 10017, USA ITC Slimbach Bold

Quantity Unit Price Total ....==.1=li,o,.. abcdefghijklmnopqrstuvwxyz ITC BOOKLETS: ABCDEFCHIJKLMNOPQRSTUVWXYZ ...... *.. ....earSpring.ult.P. BIBBabel __ITC American Typewriter° $1.00 F =7::=7-1.*=.7.= Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the undrstandi ITC Avant Garde Gothic ° with Oblique 1.00 ng used in its planning; the designer must care. In con _ITC Avant Garde Gothic° Condensed ,,wouotrot===:,.... 1.00 , temporary advertising the perfect integration of design :,., ITC Barcelona° 1.00 Excellence in typegra.by■ Is the resuk al nahing more than a• ailinle. Its appeal comes Itinn !he nil...Rang use la . planning: the des4ner mum cnre. In ronlempmry aelvenising ■ . perlea inlegution ITC Bauhaus° ofdenlgn Nement,ten des...* Imo.* P.V.I.F ., ...Y ..I. 1.00 re. use , abcdefghijklmnopqrstuvwxyz of row pacing. leading. nun., sizes an ■ pm re. .3 nee.. I ITC Benguiat° 1.00 o Improve Appear...eau.] In... ftating pea. prinstoles BF pribel on the .4,13/ert ollypog. B7 ABCDEFGHIJKLMNOPQRSTUVWXYZ _ ITC Benguiat° Condensed 1.00 Excellence in typography is the result of nothing _ ITC Benguiat Gothic° 1.00 ,....=====...., more than an attitude. Its appeal comes from th ITC Berkeley Oldstyle° 1.00 Excelience in typography Is the result of nothing more than an attitude. Its appeal c tones tram the undenuandIng used in Its planning; the designer moss care.. coat e undrstanding used in its planning; the designe ITC Bookman° emporary advertising the pert., Integration or design elements °Pen 1.00 demands ran ,, r must care. In contemporary advertising the pe orthodox typography. It may require the use of compact spacing. minus leading. ran r' ITC Caslon No. 224° 1.00 e usual sires and weights: whatever is needed to improve appearance and impact.. ITC Century° with Condensed 1.00 abcdefghijklmnopqrstuvwxyz abcdefghljklmnopqrsauvwxyz __ITC Cheltenham° with Condensed 1.00 ABCDEPCHIJKLINNOPQRSTUVWXYZ12.156MOO ABCDEFGHIJKLMNOPQRSTUVWXYZ ITC Clearface® 1.00 Excellence in typography is the result of nothing more than an altitude. Its Excellence in typography is the result of no ITC Cushing° 1.00 appeal comes from the understanding used in its planning: the designer m net care. In contemporary advertising the perfect integration of design elem thing more than an attitude. Its appeal corn ITC Elan - 1.00 en.. often demands unorthodox typography. II may require the use of corn t ac x p minus leading, unusual sizes and weights: whatever is neede ,:, ITC Eras° 1.00 es from the understanding used in its plan ITC Esprit- , ning; the designer must care. In contempor '" 1.00 abcdefghijklmnopqrstuvwxyx ITC Fenice° 1.00 ABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890 ITC Franklin Gothic° 1.00 Excellence in typography is the result of nothing more than an attit abcdefghijklmnopqrstuvwxyz Friz Quadrata ude. Its appeal comes from the understanding used in its planning 1.00 the designer must care. in contemporary advertising the perfect int ABCDEFGHIJKLMNOPQRSTUVWXYZ ITC Galliard® 1.00 egraticm of design elements often demands unorthodox typography , It may require the use of compact spacing, minus leading, unusual ,,, Excellence in typography is the result ITC Gamma'" 1.00 ITC Garamond° with Condensed of nothing more than an attitude. Its ap 1.00 a6cdefghijklmnopUrslavwxyz ITC Goudy Sans 1.00 ABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890 peal comes from the understanding us ITC Isbell° , 1.00 Excellence in typography is the result of nothing more than a ed in its planning; the designer must c — Italia 1.00 n attitude. Its appeal comes from the understanding used in it ITC Kabel° s planning; the designer must care. In contemporary advertisi 1.00 ng the perfect integration of design elements often demands u abcdefghijklmnopqrstuvwxyz _ ITC Korinna° with Kursiv 1.00 ., northodox typography It may require the use of compact spad ., ITC Leawood° 1.00 ABCDEFGHIJKLIVINOPQRSTUV ITC Lubalin Graph° with Oblique 1.00 abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890 ITC Mixage° 1.00 Excellence in typography is the r Excellence in typography is the result of nothing more th _ ITC Modern No, 216° 1.00 an an attitude. Its appeal comes from the understanding esult of nothing more than an at ITC New Baskerville® 1.00 used in its planning; the designer must care. In contemp titude. Its appeal comes from the ITC Newtext° 1.00 orary advertising the perfect integration of design eleme ., ills often demands unorthodox typography. It may requir .6, ITC Novarese° 1.00 understanding used in its planni ITC Quorum° 1.00 ITC Serif Gothic° 1.00 ITC Slimbach'' 1.00 ITC Souvenir° 1.00 ITC Symbol° 1.00 _ITC Tiffany with Italic 1.00 ITC Usherwood° 1.00 abcdefghijklmnopqrstu abcdefghijklmnopqrstuvwxyz ITC Veljovic° 1.00 ABCDEFGHIJKLMNOPQRSTUVWXYZ ITC Weidemann® 1.00 . 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TITLE FONCTION BERUF

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DATE DATE DATUM My organization and/or I am involved in the visual communica- Mon organisation et/ou je fais partie de communications visuelles Meine Firma und/oder ich sind auf dem Gebiet der visuellen tions field—yes no _oui non Kommunikationtdtig _ja nein. I am a student yes no Je suis etudiant oui non Ich bin Student ja nein

BUSINESS CLASSIFICATION: CLASSIFICATION PAR PROFESSIONS FIRMEN1CLASSIFIZIERUNG (Check One Only) (Ne cocher qu'une seule fonction) (Bitte eine ankreuzen) (a) Printing (Commercial, Instant, etc.). (a) Impression (Commerciale, Instantanee, etc.). (a) Druckerei (Akzidenzdruck, Schnelldruck, usw.). (b) Typesetting (Commercial). (b) Composition (Commerciale). (b) Schriftsetzerei (Werk- oder Layoutsatz). (c) __Advertising Agency, Art Studio, Design, Freelance. (c) Agence de pubibite, Studio d'art, Conception. (c) Werbeagentur, Grafikdesignatelier, (d) Newspaper Magazine, Book Publishing. Independant. Freischaffender (e) In-plant or corporate typesetting and other (d) lournal Revue, Edition de livres. (d) 7eitungs-, Zeitschriften- oder Buchverlag. reproduction services. (e) Composition faite sur place ou par une societe (e) Firmeneigene Schriftsetzerei, Reproduktion oder (f) Education and/or Libraries. et autres services de reproduction. Druckerei. (g) Government. (f) Enseignement et/ou bibliotheques. (f) Rildungsanstalt oder Bibliothek. (h) Corporation Advertising, Design, Promotion. (g) Government. (g) Reharde. (i) Communication and information processing. (h) Publicite de societe, Conception, Promotion. (h) Werbe-,Verkaufsforderungs- oder Designab- (j) Other. (i) Traitement de communications et d'informations. teilung von Industrie- oder Handelsfirma. (j) Autres. (I) Kommunikation und Datenverarbeitung. MY PRIMARY JOB FUNCTION IS: 0) Sonstiges. (Check One Only) MON ACTIVITE PRINCIPALE EST: (k) Artist, Illustrator. (Ne cocher qu'une seule fonction) MEINE HAUPTBERUFSTATIGKEIT: (Bitte eine ankreuzen) (I) Graphic Artist Art Director Creative Director (k) Artiste, Illustrateur (m) Display and Package Design. (I) Artiste graphique, Directeur artistique, Directeur (k) Nnstier, Illustrator (n) Pasteup Artist,Typographer, Keyboarder de creation. (I) Grafiker, Art-Direlctor, Kreativ-Direktor. (o) Type Director, Type Buyer (m) Conception de l'exposition et de l'empaquetage. (m) Entwurf von Verpackungen oder Auslagen. (p) Advertising Manager Sales Promotion Manager (n) . Metteur en pages.Typographe, Claviste. (n) Reinzeichner, Schriffsetzer (q) Production Manager, Office Manager (o) Directeur de composition, Acquereur de (o) Typograt Type-Direktor Einkaufer von Schriftsatz. (r) Printing Buyer, Purchasing Agent, caracteres d'imprimerie. (p) Werbe- oder Verkaufsfarderungsleiter (s) Editor Writer (p) Directeur de publicite, Directeurde la promotion (q) Produktionsleiter, BUrovorsteher (t) Teacher Instructor des ventes. (r) Drucksacheneinkaufer (u) Audio Visual. (q) Directeur de production, Directeur de bureau. (s) Redakteur Texter (v) Principal Officer (r) Acquereur de produits d'imprimerie, Agent (t) I ehrer Ausbilder. (w) Secretary, Typist, etc. prepose a rachat (u) Audio-visuell. (x) Other. (s) Redacteur, Auteur (v) Firmeneigentiimer leitender Angestellter. (t) Professeur, Instructeur (w) Sekretarin, Stenofypistin, usw. NUMBER OF PERSONS EMPLOYED (u) __Audio-visuel. (x) Sonstiges. IN YOUR ORGANIZATION (v) Agent principal. ZAHL DER BESCHAFTIGTEN MEINER (1) 1-9 (w) Secretaire, Dactylographe, etc. (2) 10-19 (x) Autres. FIRMA ODER BEHORDE: (3) 20-49 (1) 1-9 (4) 50-99 NOMBRE DE PERSONNES EMPLOYEES (2) 10-19 (5) 100-249 DANS VOTRE FIRM E (3) 20-49 (6) 250 and over (1) __ 1-9 (4) 50-99 (2) 10-19 (5) 100-249 (3) 20-49 (6) Ober 250 (4) 50-99 (5) 100-249 (6) 250 et plus

U&lc 2/87 58tIc 2/87 U&Ic 2/87 ITC CENTER CALENDAR OF EVENTS The ITC Center introduces new and exciting typo/graphic arts experiences. It is a growing resource for students and professionals.

BROADCAST DESIGNERS' ASSOCIATION PENTAGRAM GRAPHIC IMAGES The eighth annual design cornpeti- States, Canada and Hong Kong, Pentagram, founded in 1971 matter and that the designer tion sponsored by the Broadcast the exhibition includes on-air in London, as a multi-discipli- should therefore have no pre- Designers' Association includes graphics and animation, print pro- nary design organization, has conceived graphic style." more than 300 examples of motion and advertising, scenic expanded to offices in New The partners of Pentagram excellence in broadcast design. design and station identification York City and San Francisco, are Theo Crosby, Alan Fletcher, Selected from more than 3,000 programs. with clients throughout the Kenneth Grange, David Hill- entries submitted from the United United States, Europe and the man, Mervyn Kurlansky and Far East. John McConnell (London); This exhibition will demon- Colin Forbes and Peter Harri- ITC Center Hours: 12:00 noon-5:00p.m. 2 Hammarskjold Plaza Open Monday—Friday strate Pentragram's graphic son (New York City); and Kit versatility and its thesis that Hinrichs, Linda Hinrichs and (866 Second Avenue, between (Closed February 16 and April 17) 46th and 47th Streets) Admission: Free any one visual problem has an Neil Shakery (San Francisco). Third Floor infinite number of solutions; Pentagram's new book, New York, NY 10017 that many of them are valid; Ideas on Design, is scheduled Morning hours available for schools and professional organizations that the solutions ought to for publication in 1987 by reservation only. For more information and group reservations call be derived from the subject (212) 371-0699.

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