ITC C 127 P 426 0543251 50 � 0 GREG DUNDIS GREG DUNDIS DESIGN & PROD 1801 HAYES ST APT 6 SAN FRANCISCO CA 94117-1250 I T C N �Dsplay

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PUBLISHED BY INTERNATIONAL TYPEFACE CORPORATION

VOLUME 24, NUMBER 2, FALL 1997

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*********************5-D IGIT 54117 ITC C 127 P 426 0543251 50 0 GREG DUNDIS GREG DUNDIS DESIGN & PROD 1801 HAYES ST APT 6 SAN FRANCISCO CA 94117-1250 I T C n Dsplay. i A resource t h a t w i I I last f o nleash your

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ears. An opportunity that won't. Type Trancformationv Wes ITC continues to transform with new type and a new Web site.

R/Greenberg's opening sequence for Night Falls on Manhattan creates EXECUTIVE PUBLISHER: a masterful optical deception. By Peter Hall. MARKJ. BATTY EDITOR/PUBLISHER: MARGARET RICHARDSON

MANAGING EDITOR: JOYCE RUTTER KAYE Four new typefaces from ITC build on the influential 1950s script CONTRIBUTING EDITORS: faces of Roger Excoffon. Text by John Berry. PETER HALL, KAREN S. CHAMBERS

GRAPHIC DESIGN :

Although pundits believe print is dead, HardWired proves them ROGER BLACK INCORPORATED: all wrong, writes Steven Heller. ROGER BLACK, MARYJANE FAHEY, ARIEL CEPEDA, LAURA EISMAN A collective and selective surfing of Web sites on type, travel and literature. CREATIVE SERVICES DIRECTOR: CLNECHIU

By Matthew Butterick, Joyce Rutter Kaye and Margaret Richardson. ART/PRODUCTION:

JAMES MONTALBANO An annual supplement featuring International Typeface Corporation's entire collection, including Fontek typefaces. ASSOCIATE PUBLISHER: REBECCA L. PAPPAS

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1111 - Four new books address Web graphics issues. INTERNATIONALTYPEFACE

CORPORATION 1997. 116 LI kingt Matthew Butterick describes how to refine U8tic (ISSN 0362 6245) IS PUBLISHED QUARTERLY BY

digital typefaces for the computer screen. INTERNATIONAL TYPEFACE CORPORATION,

228 EAST 45TH STREET, International Typeface Corporation would like to thank Roger Black Incorporated for the design NEW YORK, NY 10017. ITC IS A SUBSIDIARY OF ESSELTE LETRASET. of this issue of U&lc. US. SUBSCRIPTION RATES,

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YPE ON THE PAGE, on the big screen, and on the ITC has also transformed its capability to introduce, GENERAL: infokitcfonts.com monitor are all included in an overview of type display and provide information about new ITC and Web: vewitefonts.com transformations in this issue designed by Roger Fontek typefaces by launching a revised and expanded Web EDITORIAL/PRODUCTION: T r, z-., [email protected] Black Incorporated. Type, as always, informs a design site at www.itcfonts.com . Designed by Interactive Bureau CIRCULATION: UlcRPappas@aolcom with appropriate nuances and an enhancement of con- in New York, the revised site allows type users to preview ADVERTISING: bhaeatekiac.net tent. Type transforms text, and, when effectively used, ITC typefaces and learn more about the inspirations and PERIODICALS POSTAGE PAID AT NEW YORK, NY AND ADDITIONAL type embodies ideas and provides style. Here we fea- designers behind the designs. By using the Euripedes util- MAILING OFFICES. POSTMASTER: ture projects from film credits to Web pages with type ity, type users also are able to set their own anti-aliased SEND ADDRESS CHANGES TO U&Ic SUBSCRIPTION DEPARTMENT, in transition as the focus. type samples onscreen and to compare two different type P.O. BOX 129, Also in this issue, ITC continues its commitment to samples at the same time. Finally, once a desired type design PLAINVIEW, NY 11803-0129. creating innovative type styles with a range of new Fontek is found, users can quicldy and securely purchase Type i ITC OPERATING EXECUTIVE BOARD 1997 faces. For example, Mistral Light, Choc Light, Banco MARK J. BATTY, PRESIDENTAND CEO and TrueType versions of the typeface online using a credit RANDY S. WEITZ, CONTROLLER Light and Bold by ITC are contemporary interpretations card, and have the typeface immediately downloaded to ILENE STRIZVER, of typefaces created by Roger Excoffon and rendered by their computer. The new Web site also offers information DIRECTOR OF TYPEFACE DEVELOPMENT Phill Grimshaw. These capture the flair and flourish of for aspiring designers who would like to submit a type- ITC FOUNDERS: AARON BURNS, HERB LUBAUN, the Excoffon style for a digital market. Also premiered face idea to ITC, serves as a technical support center for EDWARD RONDTHALER here are ii display fonts ranging from John Peter's artful . type users, and acts as a springboard to other type-related ITC, U&Ic ANDTHE U&Ic LOGOTYPE and witty tribute to Joan Mira with ITC Peter's Miro sites covering technical, creative and legal issues. Lastly, ARE REGISTERED TRADEMARKS OF INTERNATIONALTYPEFACE CORPORATION. to Timothy Donaldson's robust ITC Musclehead. the new Web site is the home of UCIc Online, a supple- MICROFILM (16mm OR 35mm) This issue also presents the second L/c.'':71c supplement to our printed quarterly publication, that features AND MICROFICHE (105mm ) COPIES ment of the entire ITC type collection including Fontek expanded text and visuals and frequent editorial updates. OF Mc ARE AVAILABLE FROM UMI, 300 NORTH ZEEB ROAD, fonts. The ITC typeface collection cover, also designed International Typeface Corporation continues to trans- ANN ARBOR, MI 48106-1346. by Roger Black Incorporated re-interpets the main cover form and to transform its range and scope of typefaces, PHONE: (800) 521-0600 OR (313) 761-4700. design and the collection is organized by styles of type: and www. itCfOrITS.com provides constant access to ITC. FAX: (313) 761-3221. serif, sans serif, display, ornaments and illustration fonts. —Mingaret Richardson VBPA ezigm

FRONT COVER: ITC FRANKLIN GOTHIC HEAVY; ITC GALLIARD ROMAN, ITALIC TABLE OF CONTENTS HEADLINE/TEXT: ITC FRANKLIN GOTHIC HEAVY. BOOK. BOOK ITALIC SUBHEADS: BANCO — HEAVY BY ITC MESSAGE FROM ITC HEADLINE: ITC FRANKLIN GOTHIC HEAVY: BANCO — HEAVY BY ITC TEXT: ITC FRANKUN GOTHIC BOOK: ITC GALLIARD ROMAN, ITALIC MASTHEAD: ITC FRANKLIN GOTHIC MEDIUM, MEDIUM CONDENSED, MEDIUM CONDENSED ITALIC. BOLD CONDENSED 4 Ui r1

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The stark, two-minute animation is strangely moody and nostalgic: A series of blue vertical paint stripes descend on a black screen to a mel- low trumpet and piano score. Each stripe ends its journey halfway down the screen, leaving a distinctive black space unpainted. After three or four stripes have rolled, the scene reveals itself: the blue is the negative space—the sky above the buildings of Manhattan.

Continued on page 8

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Circle 3 on Reader Service Card Continued from page 6 IT'S NO

Inspired by an art book cover and that a film reviewer will bother to remark on the a city skyline, R/Greenberg's design of a title sequence, but many noticed this ori, opening titles to Night the prelude to director Sidney Lumet's film Night Falls Falls on Manhattan on Manhattan. "An expert opening credit sequence?' capture the tone and wrote Janet Maslin in The New York Times, "[is] one feel of a vintage of the little details that give Night Falls on Manhattan Saul Bass sequence. its color?' "Starkly effective?' wrote Harper Baines of It was very clever the St. Louis Post-Dispatch, "a stunning abstraction Spelling Films Presents and respectful of the of the Manhattan evening skyline?' history of the genre;' Film titles buffs (if such a breed exists) might notes producer Thom even detect an homage to the genre's forefather, Mount. This, the Saul Bass, in the sequence, designed by the veteran more "painterly" solu- effects and titles firm R/Greenberg Associates. It tion of a shortlist of begins with a thick, blue line descending on a black four proposals, struck background from the top of the cinema screen, just a a chord with R/GA, few feet away from where a descending white stroke Mount and director began Bass's groundbreaking opener to director Otto Sidney Lumet, Preminger's film The Man with the Golden Arm in 1955. according to Mount. Both sequences share a jazz score, and both use stark "We liked Its reductive graphics to evoke the mood of the film. aspect;' he says."It According to Jakob Trollbeck, who designed and required the audience directed the titles at R/Greenberg, the inspiration for to think, and we liked the sequence was Manhattan itself. Trollbeck noticed the idea that truth the cover of a European art book featuring a simple and reality are gradu- Andy Garcia composition of type and watercolor brush strokes. ally revealed to you, as in the film. The "Two nights later, I was out in one of those miraculous more we looked at it, Manhattan nights where you can see different pieces the more its abstract of color and gradation in the sky and I thought, nature appealed." `they're my brush strokes'," he says. Much of the success of the painterly animation, however, comes from its contrast with the subsequent scenes, a gritty moral tale set in the streets of Harlem and the courtrooms of Manhattan. Though the film could be construed as a cop thriller, at its heart is the story of the internal moral dilemma of a young, idealistic assistant district attorney who dis- covers that he won a case and rose to power on "tainted evidence" (the name of its source, a Robert Daley novel). Lumet, who had commissioned the Night Falls on Manhattan jazz trumpet player and composer Wynton Marsalis to write a soundtrack, was looking for a contempla- tive, rather than tense opener, and producer Thom Mount, who had previously worked with R/Green- berg on several other films, proposed the New York team take on the project. "Sidney Lumet and I felt we wanted titles that suggested the tone and texture of Manhattan in a thoughtful way," says Mount. "The context of the movie was so real—courtrooms are not very elegant. We liked the idea of a welcome moment, rather like an overture, to get you thinking?' For Trollbeck, a gradual, but initially mystifying reveal seemed the most appropriate response to the storyline and music. "The underlying things were important?' he says. "Everybody is lying and you Written for the Screen and Directed By can't really trust what you see:' Several ideas were Sidney Lumet storyboarded (as Adobe Photoshop files) to present to Lumet and Mount, each suggesting inconstancy and deception, reflecting how the young attorney finds a lack of solidity wherever he treads. One idea proposed blurry cityscapes in a sweeping photographic montage, another portrayed the city in a more surreal, painted light, and another— a strong contender—presented the credits as lights, swim- ming into focus and then dissolving into the back-

8 ground as the windows of Manhattan buildings. store. Because of negative audience reactions to the Lumet was decisive, however, when he reached the Marsalis score in early tests, according to Mount, vertical brush strokes proposal. "It took him liter- the whole soundtrack, including the opening piece ally one minute from the point where they were all for trumpet and piano—to which Trollbeck had set lined up;" says Trollbeck. "It was amazing because the entire opening sequence—had to be replaced he picked the one I was going to sell to him. I didn't with new music by Mark Ishan. Trollbeck was pow- have a chance?' erless to do anything but wait for the film premiere Manhattan wasn't the easiest skyline to build to hear it. "I can't say it worked as well;' says Troll- backwards. Having selected an appropriate image of beck, "but it's very similar?' Perhaps the change gave the city, the design team set to work at replicating the sequence a less smooth, more jarring feel that the irregular motion of a brush stroke on a computer, wasn't entirely undesirable. The critics certainly at the same time as forming the silhouette of a sky- didn't notice. scraper. "We wanted the brush strokes to look some- A MOUNT/KRAMER PRODUCTION For Trollbeck, the generous press comments what believable, but we couldn't have them coming couldn't have come at a better time. Having replaced down in the middle of a building" says Trollbeck. much of its analog filming equipment with digital The effect was achieved by permitting each brush studios, R/Greenberg's New York office has been stroke some artistic license as it formed the partial somewhat eclipsed by the titles work of its Los Ange- shape of a building. The strokes were also accelerated les office. "When we closed the opticals side, people and decelerated with the Flame digital editing soft- started to think we didn't do film titles here:' he ware to create the effect of the human hand at work. says. "It fell a little aside from our main focus!' With The most dramatic view of Manhattan, from its a reshuffle that allowed three former It/Greenberg southernmost tip, is also distinctly narrower than employees to take over ownership of the L.A. office that seen from East or West. On the wide format of NIGHT FALLS ON MANHATTAN and change its name to Imaginary Forces, New York the cinema screen, this produced an undesirable was left facing the loss of a prestigious—if not par- falling off at each end. "Our perfect skyline was lack- ticularly profitable—field of work. "That's why I'm ing something," admits Trollbeck. There was only Proposal number two portrayed really happy about Night Falls;' says Trollbeck, who one solution. "We added a building," he confesses. Manhattan in a slightly surreal light, using worked with some of the West coast team on a num- treated photographs of the city to "It felt so great!" ber of sequences, including Indecent Proposal and enhance its distinctive luminescence. True Lies. "It's the first piece where the art has clicked for me. In almost every corner of the company, even the most hardline people would look at our reel and say, 'we should do more of that'." Peter Hall, a contributing editor of U&lc, is senior writer at I.D.

Three alternative approaches, rendered as Photoshop files, were discarded at the early limitless trickery made available to titles and effects stages of the project. Proposal number one set the type- designers with the advent of the digital studio, com- face against a series of blurry cityscapes, puters are demanding beasts. To produce the entire pl4ing off the cloudy circumstances of the hero's sequence in-house at R/Greenberg at full film reso- first big court case. lution-4,000 by 2,000 pixels—would have required approximately 14.4 gigabytes of computer storage per minute, a stretch for the studio's computing capabilities. For while the skyline painting sequence could be rendered at lower resolution without any notice- able loss of quality, the human eye is far less forgiving ANDY GARCIA with low resolution typography. The credits were storyboarded to appear, in the typeface Sabon at a relatively small size, in the lower right-hand corner of the screen. The design team settled that the type should be shot the traditional way, at an opticals house. This allowed them to produce the background sequence, without type, relatively effortlessly using the Flame and faster Inferno software on a Silicon Graphics Onyx machine at lower resolution. The type, mean- A MOUNT/KRAMER PRODUCTION while, was set in QuarkXPress, timed on an Avid The third proposal was especially promising, with the video machine, then sent to one of New York's opti- credits appearing vertically before fading back to form the cal houses, Cineric, to be filmed The resulting patterns of lighted windows in the skyline. "cards"—white type on black film—were sent back It was discarded, however, partly because of the for Trollbeck to approve the timing and color. After difficulty of reading vertical type. a night of rendering, the painted skyline sequence was output to film, and type and image were finally reunited at Cineric. Computational and architectural hurdles over- come, Night Falls on Manhattan had one last twist in NIGHT FALLS ON MANHATTAN HEADLINE/1EXT/B10: ITC FRANKLIN GOTHIC DEMI, DEMI COMPRESSED, HEAW; ITC GALLIARD ROMAN, ITALIC SUBHEAD/BYLINE/CAPTIONS: ITC FRANKLIN GOTHIC DEMI, DEMI ITALIC 9

ed painting before i stud RogerMong EY,coffon on to grapic erel design (published and typein a 1.986 on) captures his painterly he cocK h de visign. To Ex tributestyle and t° Exexuberant bruslivvorK.

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offon design. Exc his poster designed is poster for French Railvvays Known fort incorporating his Antique Olive typeface

designed for Fonderie Olive,

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ktiae: downi‘lset o ietie4 4c7 (sePrAti vv. t.(e of sheet rnetaf. Toe tapervags okewsv ab ptof Banco are ing all very uprfght, We a serfes of '0° `P\ace \ do not s an advertis so,o,estedianbvus t \Noe • "it‘, (Pcke4 oot4 ■ VIA, Mode vsifth a precfse sharp t s are display letter, it is one 0( tiOte1 ‘)e74' Pkre4 ofactyam the counter 1.001111e sffeitsfarit ot aff the fetters, the ■ C(Sakg.,O$C, tY‘e c\°\jes af\d stva‘g,htffn-eed:oedupper ends of strokes, and tPt leCktiv taper aod curve give Banco of the boldest and °f of ng,htrnot‘on. tAce aWnost rieelAt0( 4ellt"A ,a,,og,bevs the solotke "vnterp\aystyp of thefaces, - Banco has the effect most interestinq - iekooN) and -to or GOO rood. up - sttn viand' ■W ad` ,C0{-10' oreoffy ao 510 ,140 of befog,EY 0.ffckfy sketched by a 61;10 vvie4 ■A0vNe a,\\ Was cots eiAt'i (e (Dui toct tinffkeacaps Mistraltypeface, aod E..xceon Choc, Baoc° -Made no atteropttype that to coufd Wi a"■4 desfgo fowercase. 11 the purpose of a oew, ffghter ‘\) tot`t4 Banco° Neal! by t(okt eevvIed to volLtilAe to s to proY \de a cochpa0on also try a wa Ce OkVNA, eVV1 ak-1 VNe0( versfoobe used for tex, then WI that oeeded a fowercase-, Grirnshaw decfded that he woufd O fowercase for toe oogtoafcAean, Wefght posinve as \Neff.ode\ 00 ksfr\gthe vsitifch 1409011110111041 t(e to base an foterpreted" foWercase,' Grfcnshaysi deftb- eXistiog, caps as eratefy "underdegOed" the fowercase,"0 order CPC' Nst 116 to produce a coosfstextt 'cofor; Whtfe otafntafoiog %if I Sitting Oil 011 the sirnpfe fetterforrns evident M the oriOrta1:' ec, pveseried his 11110P4,.. at ARC) Ifter\ came the chaffr\g,e of creat4, a tighter v 0--wed gl 0?Qg k(vvivxoportiA sfoo of Banco. Goroshaw found tnat N- the characterfstics of Banco best a \\Otter Ai l yon 6caleOG was to make 'it quite rovrow, angles coodeosed-,thfs 023 alk acKnoWledges Kemp ,., tefully 31-6(7 tii6Ac gra and Ca er01-1 pr e- of the erophas\s on the taperfog of the sterns, GOO- lls St,12 sin ditf event wefghts before he found that E.xcotfooshifted hadthe Wefghtused 0 theof the orfOrof curves face. sffghtfy Ps part toward butsented t'ne face a serfous reffes chafferige.so fteavify GrimshaWon the shapes NI had of to its redraw Way hecoufd keep the saroe arfg)esbetweeo strokes the tops of the fettersIhe ifoaf de\g,:n is fess fronie- bfackest parts that reat:0ga \\Otter shaWd'otefy recognaabfeChoc as at.:4:0.t. varoton are on as Bar\co var \atolls than on the Michael Gills sources, but at 'its best Baoco tight expresses some for resource materials for the of French typography porn the 'DSOs visuals in this article, ooe that worked as a text lace and rernafned true an° it sev era\ tOfes Mfstcaf :iht orfoaf. to thehe shapes of rnaoy of the fetters in Choc are on the papa the creator\ ot the new a new forrh. almost abstract, thfs abstractor\ doesn't a\Ways Choc and Baoco loots, -She entire type to bore text. GrfrnshaW found that agaM he GvirnshaW obsenJes Of „ had to Modify thecertain oreof characters, desfgo andafwaysf-ceepir\g, the cafffgrap`nic 'it 0 ssOg l,oyvevcase projectWstra\ affowed , fro a rare opportunity to study the Ido of divaW\ng,rn‘ ve work --1,C,011011, 11Cfaces he\ohangto one -00003\‘tv\lasf`dese

0 "0mind -ast‘covav that had qvo\led Ospfred to be nntennOW io this context' 1\s a whichrefatfvefy see sfrnpfe the resufts task, and\ of thfsbeffe project, &serial:0ns tradkhonhe says. 11 he Vsept the forro of the 'ik frorn theew off& it " \r‘ oaf foot, ft ended to fookfog, More likehe a r 1-edr Char` an. V(1 g. So Woufd Whofeheartedfy approve. yea tat Vt, which that woufd comp\erneote be m\sfea" the othercharacter characters as an x" he - fine afternate the character set of the fin font. Other that ff E..xcoffoo could 1( ok style savOgthe GncoshaNN,Ocfoded WO son athe set': \Pike opr(ss(s 001'1 N.N, whfch uoderWeot MOO changes adjusted characters, says 1_1(111 i'lP06 ',color' and ease of fegOftity:' anco G and Ka Of- V- \?V_O-\ ■ 1.0rm „.. for purposes of (v fo for n '011«) LOt goo Wavy by \IC 1950s \.1( aod Cf-oc rofght be considered afroost as candidates for fighter versfoos-,the Errs b q( 10\! V■135 e Nits strafghtiorward at aff. ft. 01-1(0 not yes refeased by the Fooderfe o.)0...6\1\1\11,1Nos)0\2.s--. , sty \Pen, 'PO Vile genera\ eYAA'ans- --- 23456 Conskand Baoco "he geheva\ raWarp0e accordfogto CNNI. at h(d( (\-111\\\ nrOpqrS1.0\0\11 \ 0, 1-9621, Review, N\001 ‘S too\IA ofalg53 World arVAcxe to Printing, v(nproyer\ngsOftnlochenturn enlent taste avld Britainand typography, the Conicnon- weafth, fs sadly aOseot Frarice': V_xcoif on p\ayed that. 2A\ chars Cousfaxidr°3\6( vOe said of the then-new Baoco-. "As an adver- t\s‘ng,,d‘sp\ay \ettev, ceit isNeufarfd': one of the "Coe bofdest coMpaosoo and, most to n

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13 FROM THE

Wired's new book publishing venture proves that rumors of If you can see the denuded forests through the trees, you know that words on paper are here to stay, and that books are a protected species. If you are immersed in the future but haven't fallen for all the blather about print's passing, then the thing for you to do —in the name of creative direction—is to go with the flow. Which is what John Plunkett, creative director of Wired, a magazine about digital culture, did when he co-founded HardWired, the book division of the Wired media conglomer- ate (recently renamed Wired Books). "Ordinary information is going to gravitate to electronic media," states Plunkett, "but extraordinary content is going to remain in the print domain?' That is why a little more than two years ago HardWired was founded to make the magazine's mission—"to deliver news from the future"— both relevant and accessible, in the present.

print's demise have been greatly exaggerated. BY STEVEN HELLER Time will tell whether or not HardWired can convince Wired's devoted readership that books are really here to stay, but for now Plunkett is certain there is a viable niche for them on the media landscape for the fore- seeable future. HardWired is documenting the history of the future by reprinting media classics such as The Medium is the Massage and War and Peace in the Global Village by Marshall McLuhan and Quentin Fiore and originating commentaries on forthcoming waves, including Jargon Watch: A Pocket Dictionary for the Jitterati, Mind Grenades: Manifestos from the Future and Bots: The Origins of a New Species. Books of the future: Paper is alive and well at HardWired, where Plunkett is already aggressively staking out his fully fused into a single editorial unit independent design toes the of the magazine. The cover did not include the line between the claim, and HardWired is not just another meek, traditional book independent publisher in a stampeding herd of Wired logo (as some subsequent books do), but and the next wave. The Wired brand competitors. Its tonier books, including Wired the vibrating fluorescent colors shining through frames contempo- Style: Principles ofEnglish Usage in the Digital Age die-cut stencil letters and printed on matte var- rary approaches to typography and and Digerati: Encounters with the Cyber Elite, have nished stock evoke an unmistakable Wired feel. page layout that define the line as done very well in a difficult publishing environ- Likewise, Reality Check, a sardonic prediction a unique compo- ment where newcomers are about as welcome as of changes in lifestyles in the future (beginning in nent of the Wired constellation. silverfish, and where securing shelf space in the 1996 and ending well into the 21st century), was art bookstores is tougher than getting seats to a Knicks directed by Dulkinys with the cover by Plunkett. game. Yet HardWired has an edge, owing not only It builds upon the Wired format of various weights to the Wired equity, but also to Plunkett's original of sans serif light and bold type that seem to float design scheme that has given the books both quan- within an otherwise tight grid. The cover is printed tifiable allure and distinctive branding. on matte stock with Wired's fluorescent colors, HardWired's overall design scheme evokes the including Day-Glo orange and lime. Colorful graphic language of mainstream futurists. Plunkett ruled spines reinforce the brand. has developed visual cues and iconic devices that With Wired Style, designed by Dulkinys and identify the individual books as both a total entity cover by Plunkett, here again the basic identifiers and a part of a larger family. His strategy serves as are in place, but this book begins to veer off on its a lesson for anyone involved in the fusion of typog- own, and is a celebration of the book as object. raphy and graphic design as a branding tool. Plunkett asserts that books today must be "highly Wired's kinetic look is not as undisciplined as the visual and highly tactile" to counterbalance the prob- more radical cyberzines. It does not mimic design lems inherent in the familiarity of the form. While on the screen, or what Plunkett refers to as a "dumb this package tips the hat to tradition through its visual metaphor?' Rather it is a kind of speculative serif type and slipcase, it gives a nod to the future translation of what people relate to as the computer with interior pages that are acidic lime green. experience. But the "simple tricks" that graphically The evolution from magazine to book takes a distinguish Wired, and now HardWired, such as sharp turn with Burning Man, designed (and the color-banded spines (an homage to Paul Rand's edited) by Plunkett. This photographic document IBM logo?), send off what Plunkett calls "signal of a little-publicized millennial carnival attended flares" that the Wired message is imbedded through- by thousands each year in Nevada's Black Rock out these print-based products. And the Wired Desert originally was a pictorial essay in an issue imprimatur insures the highest degree of futuris- of Wired. But Plunkett was frustrated by the limi- tic intelligence. tations of the magazine and the inability to do Content drives the books, but "the package is more than a six-page picture spread. This book is an equally important part of the message;' asserts unique even among HardWired products, with HardWired's design director, Susanna Dulkinys. its minimalist cover showing a bright yellow, skel- Her mission is to distinguish HardWired books etal/robotic pictograph under the condensed gothic from the ephemeral nature of the magazine yet title set in yellow against a black background in maintain the magazine's identity. Both Plunkett and contrast to the colorful photographs inside. Dulkinys agree that repackaging magazine articles The book was planned without any text at all, 1 , , between boardsboards i s not the answer. While Hard- but Plunkett ultimately, includedncluded a signature of Wired books strictly adhere to the brand franchise, writers' impressions. Printed on a separate paper each is conceived as a unique form, united by cer- stock, it was positioned three-fifths into the book tain color and type preferences. and dramatically separates the pictorial transition The line where the magazine stops and the book from day to night. With Burning Man, Plunkett begins was initially drawn with HardWired's pre- proves that even within a tight design family, sur- miere release, Mind Grenades, edited and designed prise is key and shows that there are many different by Plunkett and Wired's publisher, Louis Rossetto. ways to invoke the futuristic message. The book is a compilation of Wired's four-page, ex- HardWired is an anomaly rooted in a traditional perimental, front-of-the-book "idea advertisements" medium that even some Wired pundits brand as of quotes extracted from articles and illustrated by obsolete. Nevertheless, paper and ink are here to various designers. While helping to define the mag- stay. And even if print were on its deathbed, Hard- azine's look, when these self-contained "visual essays" Wired has certainly resurrected it for the digital era. were bound between covers, they were transformed into chapters of a book. Although the designs were Steven Heller is co-author of Faces on the Edge: Type produced separately over many years, they success- Design in the Digital Age (Van Nostrand Reinhold).

HEADLINE/SUBHEAD: ITC FRANKLIN GOTHIC HEAVY, DEMI EXTRA COMPRESSED BYLINE/CAPTION: ITC FRANKLIN GOTHIC HEAVY TEXT/B10: ITC GALLIARD ROMAN, ITALIC The Medium is the Massage McLuhan/Fiore 0400

p'es` BURNING MAN e e The Medium iS the

Cal a p*cktt dicti*nary f*r the jittErati

as OverhEard py 43arth Branwyn

1. What the digitaL generation becomes after tanking up on PC too much coffee. 2. Fear and anxiety associated with not knowing the Latest jargon, acronyms, and buzzwords of the OigitaL Revolution.

04100100

You've heard the hype. [alma] asked the experts. Here's the real future.

Brad Wieners and David Pescovitz Foreword by Bruce Sterling

liwor ce in the Global Village McLuhan 4410 0 10f 0 A collective and selective surfing of World Wide Web sites of typographic interest, travel tips and literary merit. The Word Made Pixel BECAUSE I AM A TYPE DESIGNER-turned-Internet entrepre- neur, colleagues sometimes ask me whether the advent of the by Matthew Butterick Internet spells doom for traditional typography. If the coarse screen resolution and crude font specifications don't annoy you enough, the work of plebeian designers will. There are people designing Web sites who couldn't tell you the difference between Electra and Elektrix if their mouse-clicking finger depended on it. Kerning, leading and tracking have been replaced by their hideous Bizarro-world counterparts: drop shadow, bevel and 3-D rotation. Do my colleagues have valid concerns or are their opinions mere snobbery? I don't speculate, but rather observe that typography on the Internet may not be great yet, but it exists. Indeed it must exist because text is at the core of the Internet experience, and, I believe, always will be. Typography will always be key.

19 I COULD BE WRONG. But as digital seemingly persistent belief that something that would media have evolved, text has played be bad typography off the Web will becomegood typography on the Web. It won't. a central role in facilitating communica- Right now, designers are struggling to bring the tion between user and machine, mostly basic rules for quality typography onto the Internet. for practical reasons: text is the most Web designers, many of whom didn't learn about design efficient form of human-computer com- in a typocentric environment, are having to relearn munication there is. The textual com- 500 years of sensible typographic principles, such as consistency, clarity and a fit between form and function. mand-line interface was an important step For some, it's a struggle. The Popular Mechanics site forward in human-computer interface [www.popularmechanics.com] falls prey to the "beveled but there was no typography. (You think metal" school of typographic ornament. Windows 95 is bad? Try punch cards.) Sometimes the most innovative online typography comes from traditional sources. The New York Times The alphabet was just an extension of the [www.nytimes.com] has done a wonderful job with its symbol set that a computer could parse. site, which refers to the visual experience of the news- Things didn't really change until the introduction paper without directly imitating it It's the typographic of the Macintosh in 1984. The designers of the Macin- sophistication of the Times brought to the Web. But tosh understood text and typography. Though the mind you, it's not merely a mapping of the print look name given to this interface was "graphical," it was really onto the screen. There are many sites which imitate just as "typographical?' But since then, as the process- print and fail miserably. ing and display capabilities of desktop machines have The designers of the Times Web site avoided that steadily improved, the trend in interface and screen trap by carefully modulating and adapting the print design is that more is more. The thinking seems to have look for the Web. For instance, although the familiar gone something like this: text i s good, therefore pictures Cheltenham and Franklin Gothic faces are used on are better, therefore colored pictures are even better, therefore the site, the designers also make use of secondary and 3-D colored pictures are best of all! It's no coincidence tertiary colors in the text that don't appear in the news- that typographically the Macintosh has barely moved paper. They make it look easy, but a lot of thought in the last 12 years, and Windows isn't much better. has gone into this design. The Times designers have Text is fundamental to digital communication, but made sure their navigation pages don't overwhelm it's just not sexy: you'll never see a laptop ad campaign the user: they communicate more by saying less. with a slogan like The new IBM Thinkpad swoo. Displays CNET [www.cnet.com], a publishing company text. Better. Faster. And a whole lot more of it. No one's that started on TV and the Internet, has no print tradi- impressed by text anymore: sound, animation and tion to draw on. But it does have one of the first design video are the major selling points of so-called "multi- departments to recognize that they'd be better off em- media" computers, even though, I'm sure, 90 percent bracing the typographic limitations of the Web than 07 . »iik. of what consumers do with their PCs relies on text. doing an end run around them. They took Times and But if text technology has stagnated, it's only an indica- Courier and turned them into part of their style manual, tion that typographic thinking for digital media has too. choosing a small palette of colors and type styles and MOt1044, "AY SS 10111111/111/14141W This trend against text in desktop interfaces has applying them consistently throughout the site. Because SuraYM-- t4t been magnified tenfold on the Internet. At the very of this, its look can be a little antiseptic, but overall the luld *Mown least, desktop applications have to conform to the user order and cleanliness is a welcome change. *COW 00440 Otsn►ys obens•la 4arentl interface standards of the platform. Web sites on the We can be glad that now text is starting to be "redis- " • ' YOrf Internet, however, are not beholden to any such stan- covered?' Designers are realizing that pixel for pixel, kilo- dards. On the contrary, because viewing a Web site is byte for kilobyte, text is a real bargain in terms of what entirely voluntary, Internet design tends to err on the it costs to download vs. how much it can communi- Man WM 'S awl laininx Vlatinine BON A PPLTI T side of the flashy and gratuitous. On the Internet (as in cate. Moreover, designers are recognizing that although life) bright colors and 3-D effects are used to get your animation, sound and 3-D images are valid channels of Recipes attention. For example, on the Silicon Graphics site communication, they can't replace text, which in many Allmon Main la & Ingredien, [http://innovate.sgi.com/iol/distributionfindex.html] cases is still the right tool for the job. We are starting to logas beveled discs and bars are scattered around the page see typography on the Internet that's playing to the par- Wok M 9. &W.!! ' with the only apparent function of trying to look cool. ticular strengths of the medium. There are designers 11110111 It's the rare site that exercises restraint. One example is who have learned the ground rules of classic typogra-

7rpp MSNBC [www.MSNBC.com] Its home page is not phy; now they're starting to adapt the rules to create packed to maximum density with links, but rather scrolls designs which could only exist on the Internet. A visual to display a list of the current top stories. and methodological vocabulary is starting to grow. % tit , Recipe( far a lazzy .sammer standout Typography—the idea of creating communication, Epicurious [food.epicurious.corn] plays off the mag- or a message, or an image, out of type—hardly exists azine motif but really looks and feels like a digital expe- (Top) The Post Tool on the Internet. This has been exacerbated by the con- rience. The designers at CondeNet show that bringing play page features a straints of the technology: HTML, the language of personality to a page through typography is not just typographic treatment Web pages, really only understands two fonts natively: possible, it's possible to do well. Simple, bold typefaces ranging from playful to garish. (Center) The proportional and monospaced. Anything else is extra and colors give Epicurious a cohesive look. Jodi.org site takes work, since it has to be made into a bitmapped image. Swoon [www.swoon.com], a more recent visual web vocabulary During the Web's infancy, there were just clumsy CondeNet publication, is even more evolved. Its design and maximizes it into attempts to do real "text formatting" within the con- relies largely on text and typography for its effect, but a singular screen-as- fines of HTML. Over time, things got a little more uses more au courant typefaces and colors (acid greens, art experience, while Swoon creates impact sophisticated...or did they? Consider the home page hot pinks). Compared to Epicurious, Swoon is a couple with type. (Bottom) for Time Warner's Pathfinder [www.pathfinder.com ]. of steps farther removed from the magazine model and The CondeNet epicu- The page is typographically dense, tight and undiffer- has even more of a feel of typography that could exist rious.com site fea- entiated by texture; no print designer would willingly only online. tures food (and travel) using the resources of create a layout like this. Of course, the screen and the In the near future on the Internet, I believe text will Conde Nast magazines. page are different design problems, but there is the once again be recognized as the premier way of commu-

20 nicating information and that most Web sites will be the office for a few minutes on a sandy, deserted beach based on text. Why? It's based on natural selection. on St. Baits. Of course, it's always good to have a cool Time and again, efforts to displace text have failed, drink handy to sip while the images are downloading. and there's no reason to think it will be any different on Epicurious [www.epicurious.com], divided into thank over 5,000 ilastimtioss the Internet. The fact is we're still using the keyboard Epicurious Food and Epicurious Travel, provides such Tike ate these ) to do 90 percent of our work. Text hasn't survived a diversion. Created by CondeNet, the site is comprised because the people of the world fear change. It's sur- of content culled from and inspired by Gourmet, Bon vived because it works. Appetit, Condi Nast Traveler and Fodor's travel guides, As a postscript, I offer a few examples of great exper- and allows the armchair traveler/gourmand many ways imental typography on the Web, made by designers who to satisfy his or her wanderlust by locating the latest understand type and use the Internet to destroy it in very travel bargains; reading articles, essays and reviews on deliberate ways. travel and food; and meeting with fellow enthusiasts The Crash Site [www.crashsite.com] comes from in a variety of discussion forums. SOW • niis• to apart 64.4 Central America Los Angeles. Its menu page turns lines of text into mov- Rather than aping the identities of those publica- ArkterclicalgEk Fuson Asia MidAh East ing machines that display a series of video images. It's tions, the site has a youthful, irreverent personality of the noise and animation of the Web taken over the top: its own with pastel colors, 195os-style line drawings and a simple menu (there are only four choices) retooled a judicious use of white space that combine to create a to reflect the media oversaturation that's already part of clean, uncluttered and highly navigable environment. the Web experience. Epicurious Travel is a virtual travel guide, with a search Post Tool of San Francisco has created a site that's engine in the Places page offering links to soo destina- at once straight and subversive. The typography there tions and the ability to refine a search to suit the taste Our u ranges from the quietly playful to the aggressively of the traveler. The area is linked to Epicurious Food fist of the garish. The Post Tool Play Page [http://www.posttool. so that one may find information about San Francisco agate deo tut 25 of t ■ccrniplanmgei] features jumbled 3-D letterforms that and then look for restaurants in the Bay area. Bargain look like children's blocks, and a series of novelty faces airfares and a Deal of the Week can be found in the p.ptiltr roti mixed in with singing birds and floral borders. Planning area, and the Play realm is comprised of travel One of my favorite sites on the Web is Jodi [www. forums, maps and a traveler's bookshelf. di.org]: a large collection of pages that are mostly For those seeking a broader range of information filled with visual Web detritus. Nobody seems to know or a more obscure locale, Travel by City.Net [www.city. who Jodi is or why he or she is doing this, but it's totally net] is the next stop, with more than s,000 locations. • f great. Flashing snippets of computer code, network dia- Because of the density of information, the home page mop t 1.41 - rtt SS to< IL hoot grams, satellite photos, dialogue boxes: Jodi takes the is more cluttered and less graphical than Epicurious ubCONTIN ENT visual vocabulary of digital communications noise and Traveler, but it is extremely comprehensive because it is I I N amplifies it until signal and noise become inseparable run by the Excite search engine, and so offers numer- and synonymous. ous links. A home page showing a world map allows —Matthew Butterick is president users to type in a destination in a search box or to access and creative director of Atomic Vision, a Web a region in general. Other upfront links are to Travel development firm based in San Francisco. Essentials, an index of information on cities around the world, links to Ticketmaster and the Travel Channel, and also a list of Guided Web Tours tailored to the user's interests, such as Women Traveling Alone or Budget Travel. Although designed to be functional, and free Traveling the Web hi of the usual Internet flashiness and dreck, the site's wide format is difficult to print out. Pages are also widely (Top) The site for City. by Joyce Rutter Kaye populated by advertisements and corporate sponsors, Net Travel provides but as a clearinghouse of travel information, the site many links related to every aspect of travel does the trick. information from spe- IN ITS IDEAL FORM, a Web site on travel should func- For homespun travel information with an irrever- cific sites to guided tion like the most efficient concierge at a luxury hotel, ent twist, visit Lonely Planet [www.lonelyplanet.com ], Web Tours. (Center) The anticipating your every need and desire, efficiently dis- created by this print publisher of more than 200 guide- travel site on epicuri- pensing invaluable information and insider tips, and books, which offer the independent traveler "down ous.com complements (and is accessed to) always maintaining an aura of calm and control. The to earth travel information?' The Web site opens with a the food site in its pas- environment itself should be an oasis of relaxation and 3-D push button guide to resources with visuals that tel design with line order, a place for information-overloaded travelers to play off its space theme so rigorously one might initially drawings and clear type repair and prepare for their journeys in the real world. mistake it for the site dedicated to NASA's Sojourner treatments. The content includes relevant Although the Web's interactive technologies have mission on Mars. Once past the home page, however, and timely information their limitations, cruising the Net for travel information the site efficiently uses illustrative and pictorial icons to culled from its data- does have advantages over thumbing through guide- aid navigation to regions and cities of interest. Once base of magazines. books: it allows you to access a broad range of informa- a viewer has clicked on a destination, a wealth of infor- (Below) Lonely Planet. tion from many sources, view hotel amenities through mation is provided, ranging from history to culture and coin reflects the editorial perspective of image files, listen to sound files of native music, check attractions, enhanced by slide shows of GIF images if Lonely Planet publica- daily weather reports and get updates on potential one chooses to see them. The copy is comprehensive tions' "down to earth problems in politically unstable nations—all in a com- and informative, casual but not stodgy and offers intrigu- travel Information:' This paratively short period of time. The Web also offers ing, occasional insider tips about where to find places site effectively uses navigational images opportunities to act as your own travel agent by tracking that are off the beaten path in little sections called "Off and icons and links. airfares and booking air, hotel and car rental reservations. the Record?' Naturally, the site has links to details about The following is a sampling of well-organized sites where the Lonely Planet books can be purchased, but that deliver to travelers solid information on locations this is handled with great humor in an area unapologeti- around the world within a pleasant, upbeat design envi- cally labeled "Propaganda?' ronment. And even if travel plans are not imminent, the Once you have found the perfect locale, head over Web can provide a restorative mid-morning armchair to Preview Travel [www.previewtravel.com ], subtitled getaway for anyone seeking to escape the confines of "Travel on Your Own Terms?" The company operates

21 the primary ticketing service on America Online (and border treatment and centered, clean text. This for- is co-branded with Excite) and allows customers to act matted style is seen again in "Lives of the Novelists," as their own travel agents, booking airline tickets, car two texts by Stephen Dixon and Raymond Federman. rentals and hotels. Here the home page uses colorful The online version of FlashPoint reflects this journal's illustrations and retro-192os-style display typefaces for polemic stance and formal style. subheads to aid navigation and create an upbeat, con- Another Web del sol link is to Conjunctions

temporary environment. The opening page leads to the [http://www.conjunctions.com/njhome.html], a Bard three main categories of Vacations, Airline Tickets and College journal that publishes "innovative fiction, Resources, with updates on low fares and other specials. drama, art and interviews by both emerging and estab- The Vacations page opens with a postcard from a fea- lished writers?' Here the look is concise, uncluttered tured destination and whimsical icons leading to high- and contemporary. (The site is designed by Anthony lighted specials. Users may also access information on McCall Associates.) When linking to a short story like their destination of interest, but articles are not as in- Jeffrey Euginides' "Timeshare?' the onscreen layout is depth as those found in Epicurious or through some sedate and structured with wide white borders framing links on City.Net. One of the best features of Preview the text. The site provides the latest issue of Conjunc- Travel is Farefinder, where daily updates of fares on 700 tions with hot links to a selection of prose and poetry, airlines can be found by entering specific information as well as past issues. about departure and arrival, airports and dates. The Web del sol home page is colorful and func- Of course, every traveler needs a map, even if he or tional, creating a supportive, accessible environment she is simply trying to find an uptown Manhattan address for its many diverse contributing publications. Michael from a starting point in Tribeca. Mapquest [www.map- Neff; editor and Webmaster of the site, says of the quest.com] is the perfect travel accessory, with inter- Spring/Summer issue, "Web del sol once again endeav- active features that allow users to retrieve highly detailed ors to bridge the often vast and howling gulf between driving directions to locations in the United States in the world of the contemporary literary arts and the cyber- TripQuest; locate addresses and intersections with the world?' This site provides a venue on the Web for good Interactive Atlas; and, in another area, create person- writing, and there is plenty of that here. To quote Web alized maps of their own. Ostensibly, one could purchase del Sol, "bytes complement books?' related goods in ShopQuest, but the store was being Having been introduced to the AltX (Alternative-X) renovated when I stopped by for a visit. site through one of its sections, ebr (for electronic book Tourism is a huge industry, so one needn't go very review), for the last issue of Uelc (See the article "Trans- far into any travel-related sites to realize that all roads forming Text"), I became intrigued by the literary and lead to some sort of commerce, whether for an offer to critical content found here. A1tX [www.altx.com] is buy a first-aid kit for traveling, a set of travel guides to filled with attitude and intensity reflected on its pul- THE VOICE IN THE CLOSET Europe or a couple of first-class tickets to Johannesburg. sating home page. Its publisher, Mark Amerika, has his But, like that efficient hotel concierge, Web travel sites own Amerika Online column, his made-for-the-Web

by Raymond. Federman should help you along with your needs and then send hypermedia project and his own promo -bio page (with you on your way. Armed with your treasure trove of photos and the opportunity to buy his books). Amerika research, you can then bite the bullet, book that trip to also provides a broad range of reprints, reviews and a deserted stretch of sand on St. Barts and conveniently previews of experimental writing targeted for the ever- leave the laptop behind altogether. Now that's a vacation! growing cyberculture. AltX, in other words, is a crash- —Joyce Rutter Kaye is managing editor of U&lc. course site for electronic lit-crit '97. It's worth getting to AItX for the list of current "buzzwords" alone, which include: Typographiphobia, Networked-Narrative Environment, Hypertextual Consciousness, Swift Nudes and GRAMMATRON. (The latter is Amerika's project.) Essentially, A1tX's commitment to the radical and new with text and form by Margaret Richardson intended for the World Wide Web literati guarantees volumes to read and react to. One example is Raymond Federman's Voice in the IS THE INTERNET RESPONSIBLE for a lack of interest Closet in A1tX's Electronic Reprint section. Onscreen, (Top) Home Page for FlashPoint at Web- in reading and a decline in literacy levels? Not really. A Federman's work is dramatically presented with strong delsol.com . captures search for poetry and prose on the Web leads to reams design in large reversed type on a black background. this Journal's esthetic of great texts, but, more importantly, some Web sites This work is compulsive reading on the screen, and the and literary point of that are effective models for electronic publishing. Two downloaded printed version works well in a comple- view. The logo, article particular sites provide forums for excellent writing and mentary style. (There is also a biographical section on titles and illustration simulate and estab- criticism and are enhanced by distinctive graphic styles. Federman here in the same design style and a hot link lish its online identity. These are Web del sol and AItX. to Amerika's interview with the author.)

(Center) The AltX.com The first, Web del sol [www.webdelsol.com], Also included on the A1tX site with Mark Amerika, site offers links to ebr, describes itself as "a literary arts complex on the www" Electronic Reprints and the Electronic Book Review are the electronic book review, as well as to and it works remarkably well as an electronic anthology. Hyper-X (focusing on Web-based hypermedia art proj- literary reprints. (Below) This site includes a wide range of linked Web sites of ects), Hypertext Visions (interviews), Black Ice Fiction Two Ala section head- literary journals. There is much to read, and each site (selections from Black Ice Books), Congress Attacks ings. "What's New" is captures the particular personality of its publication. If Writers, Dirty Desires (fiction collection), Manifesto the electronic contents you access FlashPoint: a multidisciplinary journal in Destinies, Floating Gallery of the Mind, Interspews listing. "Amerika Online" is the virtual op-ed the arts and politics (Webdelsol.com/FLASHPOINT/), (chat room) and No Mo Po Mo (essays on the end of column of Mark Amerika. for example, the online contents page establishes this postmodernism and the introduction of Avant Pop). publication's identity with its striking logo, stylized Each section presents effectively designed content. article titles and a cover illustration by artist Sue Coe. A1tX quotes Publisher's Weekly description of this You can access and read "The Trouble with Medioc- site as "the literary publishing model of the future?' rity," an article by FlashPoint editor Carlo Parcelli, pre- It is worth a visit right now. sented on the screen with a vertical FlashPoint logo —Margaret Richardson is editor/publisher of U&lc.

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RELATED STYLES IN OTHER SECTIONS • wwwitdonts.com Illustration Fonts 93

Cyrillic typefaces in the ITC library include a balanced selection of text and display, serif, sans serif yrillic and script designs. All are interpretations based on popular ITC type designs. These typefaces are developed carefully in order to preserve the integrity and spirit of the original designs, while honoring the conventions of Cyrillic letterform construction.

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1997.98 ITC TYPEFACE COLLECTION

Chiller- 48 ITC Golden Type" 29 ITC Slimbach" 32 ITC Gorilla" Mistral" Light by ITC 68 Slipstream- 78 Aachen- 38 Chipper- 49 58 ITC Mithras- 68 - Academy- Engraved 38 Choc 49 ITC Goudy Sans" 36 Smack 78 ITC Mixage" 36 ITC Aftershock- 38 Choc'" Light by ITC 49 ITC Grapefruit - 58 Smudger- 78 - Mo' Funky Fresh'" 68 ITC Snap'" 78 Agincourt- 38 Chromium'" One 49 Gravura 58 Mo' Funky Fresh- Symbols 91 ITC Airstream" 38 Citation'" 49 Green- 58 ITC Souvenir" 32 ITC Modern No.216" 30 ITC Aki Lines" 38 Claude'" Sans 49 Greyton- Script 58 ITC Spirit'" 79 Moderns 91 79 Algerian Condensed 39 ITC Clearface" 26, 49 ITC Grimshaw Hand'" 58 Spooky'" ITC Mona Lisa' 68 - 79 Ambrose" 39 ITC Clover'" 50 ITC Grizzly' 58 Spotlight Montage'" 68 ITC American Typewriter" 24, 39 Commercials 88 ITC Grouch" 59 Squire- 79 ITC Motter Corpus'" 69 ITC Stained Glass'" ITC American Typewriter" 24 Commerical Script 50 93 ITC Musclehead - 69 Condensed Com pacta- 50 ITC Static'" 79 ITC Musics" 69 ITC Angryhog" 39 Hadfield'" 59 ITC Stone" Informal 32 ITC/LSC Condensed" 50 ITC Stone' Sans 37 ITC Anna" 39,94 ITC Conduit"' 35 Hand Drawn 59 Aquinas'" 39 ITC Connectivities- 89 Harlow- 59 ITC Stone" Sans Phonetic 37 Harvey Naturals 92 ITC Stone Serif" 32 Aquitaine'" Initials 39 Coptek- 50 - 59 Neo Neo"" 69 Aristocrat" 40 Hazel- 59 ITC Stone Serif* Phonetic 32 Corinthian"' 50 ITC Neon" 69 ITC Stranger- 79 ITC Arnova- 40 Crillee- 50 Heliotype- 59 ITC Newtext" 31 Arribe 40 Cult- 51 Helvetica Condensed 60 Strobos" 79 ITC Highlander ITC Noovo- 69 ITC Studio Script" 80, 96 Arriba-Arriba" 40 ITC Cushing" 26 - 36 ITC Nora'" 69 ITC Stylus- 80 Artiste'" 40 ITC Cyperkugel'" 51 Highlight- 60 ITC Novarese" 31 ITC Atmosphere'" 40 Hollyweircr 60 ITC/LSC Stymie Hairline" 80 Attitudes 88 ITC Home Improvement'" 90 Superstar'" 80 ITC Surfboard'" 80 Augustea Open 40 Dancin' - 51 ITC Honda" 60 ITC Obelisk- 31 ITC Symbol" 32 ITC Avant Garde Gothic" 34, 94 Data 70 - 51 ITC Hornpype- 60 Oberon- 70 Synchro- 80 ITC Avant Garde Gothic* Cond. 34 ITC Dave's Raves'" One 89 ITC Humana'" 29 Odessa" 70 ITC Syndor" 32 Avenida" 41 ITC Dave's Raves- Two 89 ITC Humana'" Sans 36 ITC Odyssee'" 37 ITC Dave's Raves'" Three 89 ITC Humana'" Script 29 ITC Officina" Sans 37,96 Delectables 89 ITC Officina" Serif 31,96 Tag- 80 ITC Backyard Beasties' 88 Demian- 51 Old English'" 70 ITC Bailey- Quad Bold 41 Ignatius' " 60 Tannhauser- 81 ITC Didi" 51 One Stroke'" Script 70 Teknik- 81 ITC Bailey Sans" 34 ITC Digital Woodcuts- 51 Impakt- 60 Orange'" 70 Balmoral' 41 Incidentals 91 Telegram' 81 Digitek- 52 Industrials 91 ITC Orbon- 70 ITC Tern ble- 81 Banco- by ITC 41 ITC Din itials- 52 Organics 92 ITCTempus- 81 Bang- 41 Diversions Indy'" Italic 61 89 Organics 2 92 Banner- 41 Informal'" Roman 61 ITC Tempus"' Sans 81 Diversities 89 Inscription'" 61 Orlando" 70 ITC Tiepolo" 32 ITC Barcelona" 24 Dolmen'" 52 ITC Outback'" 71 ITC New Baskerville" 24, 96 Inspirations 91 ITC Tiffany 33 ITC Drycut- 52 ITC Out of the Fridge'" 71 Tiger Rag- 81 ITC Bauhaus" 34, 41, 94 Dynamo Shadow Iris 61 52 ITC Ozwald" 71 Becka- Script 42 ITC Ironwork'" 61 Tiranti- Solid 82 ITC Beesknees" 42, 94 ITC Isadore 61 ITC Tom's Roman' 82 ITC TotSpots- 93 ITC Belter- 42 ITC Eastwood'" ITC Isbell" 29 52 Pablo" 71 Belwe- 42 Isis- 61 Trackpad- 82 Eclectics 90 ITC Pacella" 31 Tropice Script 82 Bendigo" 42 Edwardian" Medium 52 Italia- 29 ITC Panache" 37 ITC Benguiat" 24 ITC True Grit- 82, 96 ITC Edwardian Script'" 53 Papyrus- 71 Twang- 82 ITC Benguiat" Condensed 24 ITC Élan' 27 Party- 71 ITC Benguiat Gothic" 34, 94 ITC Jaft - 62 ITC Typados - 82 ITC Ellipse- 53 Pendry" Script 71 Type Embellishments One 87 Bergell - 42 Elysium- 27 ITC Jambalaya- 62 ITC Pete's Miro 72 ITC Berkeley Oldstyle" 25 ITC Jamille" 29 Type Embellishments Two 87 Emphasis"' 53 Jazz- 62 Pink'" 72 Type Embellishments Three 87 ITC Bernase Roman" 42 Energetics 90 ITC Pioneer' 72 Beale- 43 ITC Jellybaby- 62 Enviro- 53 John Handy- 62 Plaza'" 72 1,Wv Bertram- 43 Epokha- 53 Pleasure'" Bold Shaded 72 Ulysses'" Bible- Script & Flourishes 43 Equinox- 53 Jokerman- 62 Pneume 72 Bickley- Script 43 Journeys 91 University'" Roman 83 ITC Eras' 35,53 ITC Juanita- 62 Prague- 72 ITC Uptight Regular" 83 ITC Binary- 43 ITC Esprit' 27 Premier- 73 Bitmax- 43 ITC Juice- 63 Urbans 93 Etruscan'" 54 Primitives 92 ITC Blackadder - 43 ITC Usherwood" 33 Expressions 90 Princetown- 73 Blackmoor- 44 Pristine 73 ITC BlackTulip- 44 ITC [Caber 36, 63, 95 Pritchard - 73 ITC Blaze- 44 ITC Kallos- 29 Van Dijk- 83 Faithful Fly'" 54 - Pump- 73 Varga- 83 Bluntz" 44 ITC Farmhaus- 54 Kanban 63 - 63 Vegas- 83 ITC Bodoni- Seventy-Two 44 Fashion- 54 Katfish ITC Veljovic" 33 ITC Bodoni- Twelve 25 ITC Fat Face" 54,95 ITC Kendo- 63 ITC Kick" 63 Quadrus 73 ITC Verkehr - 83 ITC Bodoni- Six 25 ITC Fenice" 27 ITC Quay Sans- 37 Vermont- 84 ITC Bodoni Ornaments"' 87 Figural'" 27 Klee'" 63 64 Quixley- 73 Victorian- 84 ITC Bodoni Brush- 44 Fine Hand'" 54 ITC Klepto- ITC Quorum" 31 Vienna- Extended 84 Boink- 44 ITC Firenze" 54 ITC Korinna" 30, 64, 96 ITC Bolt Bold' 45 ITC Kokoa- 64 ITC Viner Hand'" 84 Flamenco Inline- 55 ITC Kristen'" 64 ITC Vintage'" 84 ITC Bookman" 25, 45, 94 Flamme 55 ITC Kulukundis- 64 Radicals 92 ITC Vinyl'" 84 Bordeaux'" 45 ITC Flatiron- 55 Rage'" Italic 74 Vivaldi 84 ITC Bradley Hand'" 45 Flight- 55 Ragtime- 74 ITC Braganza' 45 Fling- 55 La Bambe 64 Rapier- 74 Brighton- 45 ITC Flora' 55,95 Lambada- 64 Refracta- 74 Wade'" Sans 85 Bronx- 45 ITC Florinda- 55 Regatta- Condensed 74 ITC Buckeroo- 46 Laser- 65 Wanted'" 85 Follies- 56 Laser- Chrome 65 ITC Rennie Mackintosh'" 66 Waterloo'" Bold 85 Burlington" 46 ITC Fontoon- 56 ITC Rennie Mackintosh'" ITC Busorama" 46 Latino'" Elongated 65 ITC Weidemann" 33 ITC Fontoonies- 90 Initials & Ornaments 87 Laura- 65 Well Beings 93 Buzzer Three 46 Forest- Shaded 56 Retail'" Script 74 LCD- 65 Westwood'" 85 Frances'" Uncial 56 Retro- 74 Le Griffe- 65 Wild Thing'" 85 Frankfurter'" 56 ITC Riptide- 75 ITC Leawood" 30 Wildlife 93 Cabaret- 46 ITC Franklin Gothic" 35, 56, 95 Riva- 75 ITC Wild West- 93 Cabarge Cursiva 46 ITC Franklin Gothic" Comp. ITC Legacy" Sans 36 35 Robotik- 75 Calligraphic Ornaments 88 ITC Legacy" Serif 30 Willow- 85 ITC Franklin Gothic* Cond. 35 Rom ic- 75 ITC Lennox- 65 ITC Wisteria'" 85 Campaign- 46 ITC Franklin Gothic" ITC Ronde 75 Lexikos- 65 ITC Woodland - 37 Cancellaresce Script 47 X-Compressed 35 Roquette- 75 Lightnin'" 66 ITC Cancione - 47 ITC Freddo- 56 Ru'ach- 75 Limehouse 66 ITC Caribbean- 47 Freestyle- Script 57 - Script Rubber Stamp- 76 Carlton- 47 Lino Cut- 66 Xylo- 86 Friz Quad rata 27,95 Rundfunk- 76 Carumba- 47 Locarno 66 Caslon 540 Italic & Swashes 47 ITC Lubalin Graph" 30 ITC Lubalin Graph" Cond. 30 Young Baroque 86 ITC Caslon No. 224' 25 ITC Galliard" 27 Santa Fe- 76 Caxton'" 47 ITC Gamma" 28 Savoye- 76 88 Celebrations ITC Garamond" 28,95 ITC Schizoid - 76 ITC Machine* ITC Zapf Book' 33 ITC Century" 25 ITC Garamond" Condensed 28 66, 96 Scratch- 76 ITC Century" Condensed 25 Malibu'" 66 ITC Zapf Chancery" 33, 96 ITC Garamond" Handtooled 57 Scribe 76 ITC Malstock- 67 ITC Zapf Dingbats® 87 ITC Century" Handtooled 48 ITC Garamond" Narrow 28,95 Scriptease - 77 ITC Cerigo- 26 ITC/LSC Manhattan' 67 ITC Zapf International' 33 ITC Gargoonies- 90 Scriptek- 77 Marguerite 67 Zaragoza'" 86 Challenge- 48 Gigi- 57 Scruff' 77 Mastercard'" 67 ITC Zemke Hand - 86 Champers- 48 Gilgamesh- 28 ITC Serengetti - 77 ITC Matisse- 67 Zennor- 86 Charlotte 26 Gill Display Compressed 57 ITC Serif Gothic* 31,77 Charlotte- Sans 34 Mekanik- 67 ITC Ziggy- 86 Gill Kayo Condensed 57 Shaman- 77 ITC Mendoza Roman" 30 Zinjaro- 86 ITC Charter'" 26 Gillies Gothic Extra Bold Shaded 57 Shatter- 77 68 ITC Cheltenham' 26, 48 ITC Giovanni' 28 Sinaloa- 78 ITC Milano' 67 ITC Cheltenham" Condensed 26 Glastonbury"' 57 ITC Situations'" 92 ITC Minska 68 ITC Cheltenham" Handtooled 48 ITC Golden Cockerel'" 28 Skid Row'" 78 Mistral'" 68 ITC Cherie'" 48 ITC Golden Cockerel'" Initials & 87 ITC Skylark' 78 Ornaments 97 w w w.it c f on t s.c o m

worth

xciting. Informative. And online. It's ITC's new Web site: typesetter — called euripedes — and see it on-screen. Additionally, at

www.itcfonts.com . Along with timely information about ITC and www. itcfonts.com , you can access the latest typeface releases, read about

U&Ic, www.itcfonts.com is an online type resource, featuring the designers behind the faces, register your fonts, receive technical support,

FontsNOW! where you can preview and purchase typefaces subscribe to U8c1c, and explore links to other typographic sites. Now go see for

24 hours a day from our secure commerce server. More than yourself! For more information about ITC call 1-800-834-9325, 600 ITC typefaces are currently available, including the or e-mail us at [email protected] . ITC entire Fontek collection. To preview a typeface, go to ITC's exclusive online

Do Right By Your Type www.itcfonts.com Teaching an Old Acrobat

New Tricks BY GENE GABLE

COMPUTER GRAPHIC FILE FORMATS tend to go in and out of fashion posing of content, digital ad delivery, computer-to- plate impositioning and a host of other processes like colors or fabrics, occasionally enjoying stunning comebacks or in which the complexity and linearity of PostScript crashing falls from grace. Kodak PhotoCD, Live Picture IVUE and was causing extra work. In version 3.o of Acrobat, Adobe has come around FlashPix are a few recent stabs at new ways to store and print visual to adding high-end printing features like color sep- aration support, pattern support, support for OPI information. A few years ago GIF (Graphics Interchange Format) files (Open Prepress Interface), black generation, under- were considered the low-resolution, mass market, blue-light-specials color removal, and more sophisticated halftone screening. Now a PDF file can pretty much carry all of the graphics world, pretty much limited to rendering screen images the information it needs to print to screen, paper or to high-resolution film—you can even embed the and thought to be of no value to the graphic design community: sud- fonts and graphics into a single document file. denly, thanks to the less-demanding capabilities of the Web, GIFs And since each page in a PDF document is independent, you can easily customize printing ranges, were on even the hippest of designer lips. impose pages, trap pages and generally rip apart a ' document the way printers pre- All the while, PDF, the Portable Document For- discussed application was fer—this requires a lot mat at the heart of Adobe's Acrobat software, has destined to be the electronic of work in PostScript. been quietly enjoying a slow buildup of interest. The paper of the future—a way As it is, most of the pre- latest version of Acrobat, 3.o, has been greatly antici- for any person with any system press equipment manufac- pated. No longer constrained by its humble "paper- and any printer to open, view, turers have already developed less office" roots, PDF has been working out, adding search and print a document. their own internal formats— features and setting its sights on the professional The currency of Acrobat they take your Quark or graphics market, where Adobe is most comfortable software is the Portable Docu- Illustrator file, turn it into (and capable). ment Format (PDF)—a simple something more flexible file that requires only a small (TaigaSpace, Mainstream, DON'T LOOK BACK viewer application (given Delta, etc.) then muck Adobe invented PostScript as a way to describe away free) to see on screen around with it before mak- pages to various printing devices so that they would and print. When the paperless ing film or printing to a print in a predictable fashion. PostScript isn't a file office didn't materialize in a press. With the new features format, it's a general purpose programming language huge way, Adobe dusted off to PDF, they won't necessar- and quite complex. PostScript files, like those gener- Acrobat as the perfect solution ily have to do this anymore— ated by QuarkXPress, PageMaker, Illustrator or other for the Web. It was, in a sense, they can do most of what they applications, call on certain features of PostScript in already a document browser, want directly to the PDF file. very strict sequence to create a desired result. These only one that could retain orig- Adobe has opened the format files tend to be large, as they must be completely inal typefaces and layouts, even to outside developers so that editable, down to the last character or pixel on the over the Internet. And while all kinds of specialized features last page. In addition, fonts, artwork and other page it hasn't caught on like wildfire for either use, Acro- (Above) can be added. As a format elements must move along with the PostScript file bat-produced documents are becoming more and Using the cover for passing data along the pro- of U&Ic, Roger duction and printing process as separate items. more common both on and off the Web. It actually Quite simply, PostScript files carry way too much is a pretty cool way to send electronic documents— Black Incorporated (after initial creation), PDF created a PDF file baggage to make them efficient. In the early days no it has always done that well. In Acrobat 3.0 is a good choice. one really thought we'd be zapping Quark and Illus- trator files all over the world to be viewed, printed, NOW, MORE THAN EVER WHAT'S IT TO YOU? modified, enlarged, reduced, laid out and archived Unfortunately, while Adobe was wide-eyed about Soon, you should be able to save a page right out by who knows whom on who knows what kind of this paperless universe, it neglected to add some of of PageMaker, Illustrator, Quark or other applications machine and with what version of which software. A the features that would make Acrobat and PDF the directly into PDF format. This you can e-mail right Quark file can't easily be opened and printed in Page- ideal solution for designers, printers and pre-press pro- to your printer, and eureka —the printer has everything Maker—and vice-versa. fessionals. This user group was facing more complex it needs to make filth or drive a platesetter. It could So Adobe invented Acrobat (you may remember telecommunications issues, multi-platform networks be that simple, and probably will be if everyone gets it fondly by its code name, Carousel). This much- and digital presses, as well as taxing tasks like re-pur- on board. Continued on page 112 99 A

Having live or f adult life, I have never made picked berries, never grow garden and never redecorat linen. But as I look through Living, I fully intend to start. Then I put down the magazine. Elsewhere, a million other readers also dream of living Martha Stew- art. They, too, imagine transforming their lives by creating something wondrous with their own hands. It's the ethereal appeal of the soothingly uncluttered, resplendent, ■ by Rhonda Rubinstein color-coordinated pages. It's those glorious still lifes of the vegetable, mineral and deco- rating worlds. And it is this kind of temporal, emotional connection that is the essence of today's magazine. he best magazines are creating this complete experience. In these highly competitive times, seductive covers, provocative images or compelling writing alone cannot make the magazine and garner impressive doorstop-size awards. It's the total product with a consistent voice and imagery. It's all about look and feel. The cover, the page-flipping and the skim- reading all lead to a particular world with its ideals and attitude. I'm hip to cool music, style Tand the end of print! Well, at least I am when I read RayGun, or rather, when I experience the raucous confrontation of type and image slamming onto the page. The consistent lack of consistency in its dis- turbed type, random grid, layered imagery and overall graphic irreverence made a direct hit on the jagged nerve of youth. Like music, where the lyrics are harder to decipher than the sound and experience, the visual experience is used to challenge the reading of RayGun. Through design, the content is turned into experience. The art director's vision becomes the voice of the magazine. The recent launch of Blue was promoted as much for its concept as for its art direction by David Carson. Carson streamlined his signature style to give the "journal for the new traveler" a clean, linear, modern experience. The magazine as an experience in itself is crucial to its branding. As with other products, the brand name is trusted to deliver the desired experience. Magazines as brands distinguish themselves on the newsstand and in the mind to become the must-buys and must-reads. Magazines use style to brand because style itself is the significant means of communication. Fabien Baron updated Harper's Bazaar's tradition of exaggerated photography and dynamic typography into a hip fashion experience. Baron spawned Extreme Bodoni, a graphic sport where type competes in the ability to overlap without losing legibility points. It has become synonymous with elegance, trendiness and a sense of self-conscious style. People are aware of the intention

Blue's off-the-grid design motif (above), sets It apart from traditional travel magazines. Wired (below) continues to explore the boundaries in design, even though the typography is much more low-key than its reputation would suggest; while the premiere Issue of Sweater (right) has a deliberately arbitrary, unravelled edge to appeal to its night-crawling audience. that is communicated by design, whether or not any other message gets through (if, in fact, there is a message). Entertain- ment Weekly is very entertaining, Saveur is full of delicious spreads and Wallpaper surrounds you with cool modernism. From National Geographic to Interview, magazines must portray a consistent worldview and evoke emotional attachments that re- affirm membership in the club. A magazine conveys its fraternal affil iation by amplifying the design elements of the genre. Take a fast-growing category, the British lad magazine. Started almost 20 years ago with innovative men's fashion magazines such as The Face and Arena, it is now at the level of the Page Six pinup. The graphic symbolism and custom typefaces developed by Neville Brody made The Face diverse, yet coherent and extremely powerful, and his subsequent work with Arena ini tiated the Helvetica revival that's become the font of fashion. However, in the last few years a slew of British magazines such as Dazed and Confused, Loaded, Maxim, Stuff and Eat Soup have arrived Each newcomer is slightly louder and more tasteless than the last amore screaming tabloid type and mostly, more glossy naked en, able•-bod ed and accessible. These magazines of post-feminist masculinity hark back od of added! irony! and they are now penetrating th Branding is not a new concept, desp status in the '90s. For decades Life was the ultimate magazine brand, marketing books, photography and products. Then, in the early 1970s, Life and Look collaps persisted with storyboard photo essays even as television became a more powerful v hotoreportage and narratives. What television could not capture was the single powerf us, photo-icon r It of personality came to domina magazines. Three s fo Special interest mag ich didn't need the ass audie hus while a small publicatio deryPackaging could my have been a trade magazine Beall's days, today Mo et is a niche consumer ublication founded to make up for "the shipful attention that een denied by the mainst am pet media:' A magazine can be defi brand if the reference lives e when content is repla example, Martha Stewart L fired. Each has a particular orial tude and an acco ing visual experience that is tely identifiable, and theref can b y larodied. The publica Is Martha Stuart Living? mi the't, MSL process so perfectly t its p o story of how to ma water is almost believable. u fluorescent colors and 'tally anced image manipul tions, albeit less successfully, to fer he magazine that defin e dig Magazine design was once editorial design, tha desteased on expressing (or questioning) the concepts of the a les. is is most obvious i design triumphs of M.F. Agha at Vogue and Vanity Fair, T.M. Celan • t Fortune and lat Thompson at Mademoi se//e and Alexey Brodovitch at Harper's Bazaar. Up until the late 1960s and early '70s, art directors around the world were innovating I stories in Twen, Nov Show, Look , as well many other magazines with orlgerf.-- Today, we practice an enlightened" approach to design that reflects our new literacy. We still read words in the same way we have since Gutenberg put mov able type to paper, but we Loaded (left) has packed pages of cheeky, sans serif outline typography, and full-spread photography; the opposite is found in Martha Stewart Living (above), where clean and simple reign. (Below): Rolling Stone's highly directed photography and quirky, site-specific typography shout Roiling Stone even when the layout whispers. (Right): Beyond the liberal use of white space and non-repro blue type, many characteristics of Wallpaper are reminiscent of the postwar euro sensibility. also read images, we read typography, r- and we read design. This visual literacy might also explain why magazines like Emigre, Speak and Dance Ink, which were once cultural magazines, have evolved SWEDISH Feeling a little squeezed m Mat ove■prmedstudic ,num.shoebon? into design magazines. Or perhaps it just Then it might be worth considering the communal ble. With sociasgn, Scandinavian design and ample spate guiding the, man ifesto, our interioor editors came up with a ca., cool means that designers will read anything get tot( eon the fringes ¢ral Staldnohn that looks interesting enough. While new magazines tend to have

fewer words on a page, typographic pre- SOO td sentation is increasingly critical to the branding of the magazine. Photographic style has become more identifiable with the photographer than the publication, and illustration has become less fashionable. Typography itself has become the new illustration, making a brand unique and instantly recognizable. For example, the story-specific lettering in Rolling Stone gives the magazine its strong brand identity, especially within the limited amount of continuous editorial pages. Fred Woodward turns Rolling Stone headlines into exotic interpretations of the story that often interact with the imagery. A rich, stylistic experience is the stepping stone to creating a brand. The brand • then transcends the identity of the magazine to emerge in other forms. RayGun Publishing has applied its slightly off-center, off-color and off-the-grid esthetic attitude to its more recent magazines, Bikini, Huh, Stick and Sweater. RayGun

Publishing has claimed the hipper, alternative, lifestyle magazine to be its brand • S M1 C With Martha Stewart Living, in addition to each monthly magazine, there's Sitc nod b AA.A.vallocantextrr. ounal rurvo .1.11 .rd In 41 n also the television show and the radio broadcast. It's called Martha Stewart Liv lit 4, 6 51.1....1 o vantua NJ, a• acoupt MI., 2 I. dr At

mAlsoh,ed ber wr» lr AY ,'d duvni 11» jc..d1 Ned Nu+ sh,,,osbolo,,,, , ing Omnimedia. Really. Yet, the magazine remains the flagship. It's the vessel that's continually being refilled with fresh material, carrying the brand forward into other media. And if the brand is as carefully directed as is the "Martha empire" under the supervi- sion of design director Gail Towey, confidence in one product is immediately transferred to the next. (Tempted as I am to make my own paints in eggshell colors, I am relieved that I can simply buy them through the Martha by Mail catalog.) I can imagine my home in those colors, alongside other tasteful houses in the Martha Stewart Gated Community Living, only a few minutes from Martha's Restaurant, which serves picture-perfect nutritious dishes. To escape this perfection, I would book a trip with Blue's Extreme Travel, deciding between a tour of Chernobyl or hang gliding in the Himalayas. Or else there's Wall-to-Wallpaper who would treat me to a fabulous vacation in an exotic locale accompanied by 20-year-old models while my home is redecorated in pale shades of modernism. From the safe comfort of Martha Stewart to the adrenaline rush of Blue or the hip knowingness of Wallpaper, these magazines deliver extravagant emotional experiences. Open your eyes, your heart and your wallet! Live the brand! Rhonda Rubinstein is a magazine art director with lots of brand-name experience.

HEADLINE/BYLINE: ITC FRANKLIN GOTHIC HEAVY TEXT/CAPTIONS/B10: ITC FRANKLIN GOTHIC BOOK, BOOK ITALIC, HEAVY, HEAVY ITALIC 103 4--)-6trJa ri7 e)

Handwritten letterforms are the main inspiration for these 11 new ITC Fontek typefaces, which draw on influences from Ori- ental calligraphy to spontaneous scrawls. TEXT BY JOHN D. BERRY

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NE NEW YORK-BASED DESIGNER, John Peter, brings a deep love of type and a long experience with how it's used to the design of ITC Peter's Miro. Peter was art director of McCall's magazine and serves as a consultant in the magazine business in the United States and Europe. In 1947, with artist Thomas Coryn, he designed one of the magazine's first exclusive typefaces that was developed for the phototypesetting process. Peter says that "the calligraphy of artists has always interested me," and he has collected samples of it for many years. When it came to ITC Peter's Miro, he wanted to have fun. The typeface is inspired by the letters used by Joan Miro in his paintings. "No one used letterforms more frequently in his work than Joan Miro," says Peter. But, he continues, in this typeface "considerable liberty has been taken with his original letters, and missing characters have been added." ITC Peter's Miro is intended as an homage to the master, and a playful extension of one aspect of his work. The letters are a very simple script, irregular and apparently crude, but bursting with uncontrollable energy. Peter wants graphic designers to give full play to their creativity when using the typeface, so he provides two complete versions of the alphabet (Peter's Miro and Peter's Miro Too) in both upper- and lowercase. Although very few of the letters actually connect, they do flow together freely, and, as Peter points out, "They lend themselves to ligatures." They also lend themselves to being filled in, here and there, with bright colors, as Miro often did in his own art. This way, the letters keep the impact of black, the most powerful color for text, but they offer a home for color in their interior spaces and details. Some examples of this can be seen in recent issues of Architectural Digest, where Peter's type has been used for headlines. Peter says that Peter's Miro wasn't created out of a perceived need or a market niche, but because he "just wanted to do it." He hopes some other people will have fun with it, too.

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OLLOW THE BOUNCING BALL: British calligrapher and typographer Timothy Donaldson likes to write ffC MusctchEati occasionally with an extra-fine ballpoint pen. "I like the spindly, scrawny forms that it gives me when I follow all the usual 'italic' writing conventions," he says. That was the origin is appropriate of ITC Cyberkugel, but he took the creative process away from pen-on-paper entirely by creating an appropriate tool in Painter and writing the letters at large size on a Wacom tablet. "I like the fact that people will wherievEr you pctigi be buying it to give them a tuman,"organic,"non- digital' look, and yet no ink has soiled paper," he says. "Although the movements of the hand are still the essence, the whole thing was created in cyberspace." a robust, 'man Hence the name: CYBERspace plus KUGELschreiber (German for ballpoint pen) = Cyberkugel. Like many of the best current handwriting typefaces, Cyberkugel is based on the conventions and letterforms of italic calligraphy, but it's a loose, freehand interpretation with &Indy packEel tiara- a lot of nervous energy. writing typE for a

a 111 printfel ovEr a photograph or scrfcriEgli-back art.

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DC Mucck4,Fa1 TM

HEN YOU NEED A ROBUST, HEAVY, DENSELY PACKED HANDWRITING TYPE for a headline printed over a photograph or screened-back art, you might find ITC Musclehead just the thing. With a liveliness that almost looks like brushwork, it holds the space it's in without dissolving against a busy background. In fact the face was made not with a brush but with a ruling pen, which Timothy Donald- son had recently bought from a company in Salem, Massachusetts. "The world's gone ruling-pen mad at the moment," says Donaldson, "and I was beginning to tire of all the skinny splashiness of the letters that most people were making with them. I wanted to do something heavy and robust with the tool, so that's what I did."

105 THIS (1/01N011Y Nr0(1) INTO fl IT( 0-1(Kl(m nol BEGAN DABBLING IN LETTERFORMS AT 13," says Ten Kahan, "and I never looked back." TA10-11(1)0 HWY (ONIMIS() PISr[OY A calligrapher and designer who describes herself as "most partial to scripts and elements created with the brush," she often incorporates Vlq MOP( (11) ENTIRELY OF hand lettering into her designs. She based ITC Cherie on a logo for which she had developed a "sophisticated, feminine look." This eventually turned into a two-tiered, highly condensed display face made up entirely of sharply tapering straight and curved strokes. Its principle of construction is most evident in the K and the R. f!-!ARPIY TAPMP( The straight-sided X, which looks like two Japan- ese chopsticks crossed, best expresses its personality. The typeface is entirely capital let- STRflIbHT 0!IP Nr\VO STROW. ters, but Kahan uses the upper- and lowercase as alternate alphabets. The primary difference is that in the uppercase letters the cross strokes are high and ITS 11■111(111( Of (01TRI(TIO!I IS MOST the upper halves of the letters are short, while in the lowercase the cross strokes fall low on the body and the lower halves are short. There are also curved forms of some letters as alternates to the straight forms. This (1111)(11- IN THE K 0!`19 TR R. variation gives a designer using ITC Cherie the chance THE 1-rN(110-1T-11)(9 X 1_001■5 LIFE TWO for subtle changes in a line of text. 10r(1110( (HMTIM (IMS(P. A13(1)([0-IIIMPOPQRXTUVWXYLOr)(1)(NHIIMINOrQRSTOV NXY71)34567890 ITC Ironwork- (though the curlicues 1 f cyGI

NE INSPIRATION FOR SERGE PICHII'S on the ends of some ITC Ironwork was a piece of decorative lettering done in the early 1920s by Jan Tschichold. Tschichold interlocked a series of rough-edged sans serif letterforms letters are present in the and embellished them sparingly with dec- MI orative elements. He used only capital letters in the original piece, touching and overlapping loilrerCIIICHOLD LETTER2I G,•:• both horizontally and vertically like an ironwork gate made of letters. Pichii decided to complete the typeface with a lowercase, and he gave his letters smoother edges than Tschichold's. Although the curlicues on the Pichii extended this trait ends of some letters are present in the Tschichold lettering, Pichii extended this trait to the lowercase, using as models photographs he'd taken of iron scrollwork in Vienna and Prague. There's a starkness to the basic to the lowercase, letterforms that is contradicted by the curvilinear elements. "A lot of attention was paid to the elements of the typeface in order to 'smooth out' and balance referring to photographs proportional relations between the elements," says Pichii. The obvious uses for the face are in signage and display type, but it was designed to hold together in small amounts of text as well. of iron scrollwork.

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106 The tetters 0 m IT( 091100tif k rh

URE DISPLAY TYPE, ALL-CAPS AND SUITABLE FOR USING REALLY BIG: ITC CANCIONE.

Typados are 6789 Taking her inspiration from fourth-century Roman inscriptions, Brenda Walton gave Cancione a slender, elegant, high-waisted form, with the thick-and-thin variation of brush strokes on stone. She then heightened the effect by adding a rough texture to the letters, as though 45 they'd been rubbed from a weatherworn facade. Walton, who lives in Northern California,

Uttie tear 3 is a calligrapher and illustrator who "focuses mainly on developing hand lettering and illustrations for gift collections, gourmet food packaging, book jackets and business identities." 12 One of her specialties is designing collections featuring botanical illustrations. It's not surpris- drop-beaded z ing that ITC Cancione includes a large number of floral ornaments and tendril-like flourishes, each showing the flowing forms of brushwork but again roughened and weathered. Along with figures with rthe ornaments, Walton provides a number of alternate letters and single words like "of" and "to." tapering bodies tuvwxg

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themselves into opq the shapes kimn

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1TC Typados- LLY ROXWIIIN . 1-1" fl TUVWXYZa TC TYPADOS IS COMPOSED OF CHARAC- IC""C ters in two very different senses. First off, it's made up of letters, quite clean, read- &•::f able, clear letters, with generous widths and fliGfl x-heights. There is just a sprinkling of Art ORS

Nouveau style, perhaps somewhat like the P typefaces of Georges Auriol, in the tapering, brush-like strokes. But the letters in Typados f01111, Wilfl Elf ill lai-fl ND- are also made up of characters in the the- atrical sense: little tear-drop-headed figures with tapering bodies that bend themselves into the shapes of our alphabet while maintaining a life LIAN MIN \M NION (3J"BRUSI-1 of their own behind the page. Roselyne and Michel ► Besnard of Rouen, France, designed ITC Typados based on a continuing character who shows up in Michel's sculpture and painting: Ado. "Ado is the first character STROlifS ON STOIlf. who sings and repeats itself in all my creations," says GEUK Michel. "This adventure brings new forms for my painting and my sculpture: coiffed heads, bodies in the

form of a cone, arms in the form of spread wings, etc." EF He has incorporated "Ado" into the names of many of his finished works: Ado, Adoise the dancer, Adone, CD Adomoiselle, Odao the leaper, Adonis, Coroado, Doado, Siadomoises and so on. "Type" plus "Ado" and :41* --"APiz-MNSV

a plural S and you have Typados, the typeface. AB

107

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67 evident when you compare ITC Clover with her other current type release, TERI KAMAN IS ITC Stranger: they couldn't be farther

345 apart in style or spirit. Where Stranger is rough, condensed and nervous, FASCINATED 12 Clover is even, round and friendly, almost childlike. It looks like the loopy handwriting taught to grade-school xy3 e9students, although it's much more controlled than any WITH LETTERFORM5 child's hand. Loops and curlicues on the caps and vw some of the lowercase letters give the typeface a cer-

tu tain twinkle. Clover almost cries out to be animated,

3s- to dance across the screen to the sounds of a sprightly

WITII POINTED t tune. And, true to its name, the font includes, as one of its special characters, a sprig of clover. Like many of Jill Bell's type designs, Clover began as a hand-letter- STROKES. opq ing project that later evolved into a full typeface.

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HE BOLD, PLAYFUL ELEMENT IS EVERYTHING IN ITC SURFBOARD. DESIGNER Ten Kahan shows the same fascination with pointed strokes in Surfboard that she atitztes give demonstrates in ITC Cherie, but here they bend and twist in a sort of sinuous, gFi gallumphing dance along the line. "The inspiration for ITC Surfboard," says Kahan, "was a video title designed by Richard Stumpf [her then husband and business

partner at the time]." She took the design to its final form and added the specific CS Me -typeface a PIIII"surf" elements to it, such as the abstract shapes that suggest waves, sails, and yes, surfboards. Part of the strength of ITC Surfboard comes from the tension between its very n3

free shapes and the precise edges and angles that create them. ot cePotai?2,

108 ITC ArKova" svvrawteer the fetter-

N THE WORLD OF CALLI- forms to fook tA pre - graphic lettering, there's as. an art to the balance of spontaneity and control. In ITC Arnova, designer efictabfe, as if afAey cotAfer Genevieve Cerasoli took classic handwritten letterforms and gave them Have been writfe" ik% the freshness of a quick scrawl, with a hint of the gilim brush style of Japanese fAe saKer, yet Aavii/.5 sign painting. "The style was originally designed for use with the word 'natural," says Cerasoli, "so I began explor- ing various tools that would give me somewhat organic- looking forms with a texture that was reminiscent of sc• RHYTHAka—ACKee stone or tree bark." Unlike most typefaces developed from hand lettering, Arnova varies the slant of the strokes from letter to letter, most obviously in the straight ascen- ders and descenders. This gives the face an unstudied fAe varyiK5 bafaKee/ look, though it works best in words without pairs of iden- tical letters. "I wanted the letterforms to look unpredict- able, as if they could have been written in the sand or dirt cotAKI-erbalaKce tAat- with a stick, yet having some rhythm—hence the varying balance/counterbalance that results when the letters are combined." Cerasoli considers herself a graphic designer and hand-letterer, rather than a type designer; most of restAfts sivAciA 1-tie falters her work is in "free-flowing scripts and non-traditional let- Pt terforms." ITC Arnova holds up just fine in text, but it really soars in display lines with only a single word or a phrase. are co mbiKeef.

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HE SLASHING, ALMOST MENACING in style of ITC Stranger comes from quick cal- yuu lee the strokes themselves; ligraphic strokes done with a partly dry brush—or the digital illusion of the same— in a very narrow, upright style. The effect in small sizes is spiky, because what you see is mostly the strokes themselves; in large sizes, the effect is a little rougher, more diffuse, as the bristly ends of some of the strokes become apparent. Designer Jill Bell is a lettering artist with a diverse artistic background. She has done everything from portrait painting to sign painting, and she likes to experiment. Having created six-foot-high letters as a sign painter gave her "a deeper understanding and appreciation for letterform construction and spatial relations." She has a particular fondness for Chinese the effect ,1 a We tougher, more painting and Japanese and Chinese calligraphy. "East- ern styles," she says, "incorporate the natural flow of the hand, and human qualities (including mistakes) are accepted, not scorned as in the 'white-out' Western clifftw, asthe bristly mull of some of the culture." Her appreciation of Oriental calligraphy shows clearly in ITC Stranger. strokes become awl* DeM4.1193aWNOTV4TIAVWXYZa betiefihijklotHopgrItuvwxyr1231567890

109 LICENSEES A.B.Dick-Itek Ltd. 983 Great West Rd. Adobe =SHOP Brentford, Middlesex, England TW8 9DN UK 13' 011-4 4-181- 5 6 8 - 9 2 97 Adobe Systems Europe Ltd. FontShop Berlin GmbH West One Business Park Bergmannstrage 102 A.J. Lincoln & Co., Inc. 5 Mid New Cultins Berlin D-10961 Germany 29 Domino Drive Edinburgh, Scotland EH114DU UK 6 011-49-30-69 58 95 Concord, MA 01742 011-44-131-453-22-11 Fax: 011-49-30-6-9288 65 12(508) 369-1441 Fax: (508) 371-2287 http://www.fontshop.de hhtp://www.adobe.com Adobe Systems Inc. Ik1 345 Park Avenue Adobe Systems Inc. Adobe San Jose, CA 95110-2704 345 Park Avenue 12(408) 536-6000 San Jose, CA 95110-2704 FontWorks Ltd. Fax: (408) 537-6000 17 (408) 536-6000 65-69 East Road http://www.adobe.com (408) 537-6000 London, England Ni 6AH UK Fax: Adobe Systems Europe Ltd. hhtp://www.adobe.com 13' 011-44-171-490-53 90 Fax: 011-44-171-490-5391 West One Business Park http://www.type.co.uk 5 Mid New Cultins AGFA, Edinburgh, Scotland EH114DU UK 13'011 -44-131-453- 22-11 Agfa Division/Bayer Corp. http://www.adobe.com 90 Industrial Way Wilmington, MA 01887 Image Club Graphics Agfa Division/Bayer Corporation Tr (508) 658-5600 or (800) 425-8973 833 4th Avenue Southwest, Suite 800 90 Industrial Way Fax: (508) 657-8568 Calgary, Alberta T2P 3T5 Canada Wilmington, MA 01887 http://www.agfahome.com/products/prodfam/type.httnt IT (403) 262-8008 or (800) 661-9410 6(508) 658-5600 or (800) 425-8973 Fax: (800) 814-7783 Fax: (508) 657-8568 http://www.imagectub.com http://www.agfahome.com/products/prodfam/type.html Amiable Technologies Inc. Bitstream Inc. Scott Plaza Two 215 First Street Letraset Suite 625 Cambridge, MA 02142 Letraset USA Inc. Philadelphia, PA 19113-1518 13' (800) 522-3668 40 Eisenhower Drive 11` (610) 521-6300 Fax: (610) 521-0111 Fax: (617) 868-4732 Paramus, NJ 07652 http://www.bitstream.corn IT (800) 343-8973 Fax: (201) 845-5047 Anagraph, Inc. http://www. letraset com 3100 Pullman Avenue Costa Mesa, CA 92626 6(714) 540-2400 Fax: (714) 966-2400

Bitstream BV Linotype Library GmbH Apple Computer, Inc. Prinsengracht 659-661 Dupont Strasse 1 Infinite Loop Amsterdam 1016 HV Bad Homburg v.d.H 0-61352 Cupertino, CA 95014 The Netherlands Germany 12(408)996-1010 Fax: (714) 996-0275 11" (011) 31 20 5200 320 6 011-49-6172-4840 http://www.apple.com Fax: (011) 31 20 5200 399 In US call (800) 297-7423 e-mail: [email protected] Apply Design Group Devrientstraf3e 12A http://www.linotypelibrary.com Hanover D-30173 Germany 6011-49-511-98057-08 Bitstream UK MONOTYPE http://www.tripleclick.de/apply-design-group/apply_(e) The Atrium Court; Apex Plaza Reading Bershire RG1 1AX Monotype Typography Ltd. Architext Inc. England Unit 2, Perrywood Business Park 121 Interpark Boulevard 17(011) 44 118 925 4229 Salfords, Redhill Suite 208 Fax: (011) 44 118 956 0380 Surrey, England RH1 5DZ UK San Antonio, TX 78216 6(210)490-2240 13' 011-44-73-776-5959 http://www.atext.com/ A• \ http://www.monotype.com Aston Electronic Design Ltd. E+F Designstudios 123/127 Deepcut Bridge Road Friedensallee 44 ParaGraph International Deepcut, Camberley Hamburg 0-22765 Germany 32 Krasikova Street/19th FL Surrey, England GU16 6SD UK International Typeface 6 011-49-40-3988 3988 Moscow 117418 Russia 13' 011- 4 4 - 2 5 2 - 3 6 - 2 2 1 Fax: 011-49-40-3988 3999 73' 011-7-095-129-1500 Corporation develops and Autologic Information International, Inc. Fax: 011-7-095-129-0911 markets high-quality type- 1050 Rancho Conejo Boulevard http://www.paragraph.com/paratype face designs that are applica- FACES Thousand Oaks, CA 91320 6(805)498-9611 Fax: (805) 499-1167 ble to a wide variety of graphic Faces, Ltd. http://www.autologic.com communication needs. As 549 Yorktown Road rr) Pe • a result, ITC has established Collegetown, Camberly Berthold Systeme GmbH Surrey, England GU15-4PX UK Berliner Strasse 27 business relationships with Precision Type Tr 011-44-0276-38888 47 Mall Drive Berlin 0-13507 Germany many companies, known as Fax: 011-44-0276-38111 Commack, NY 11725 6011-49-89-6114-091 ITC Partners. ITC typefaces 13' (800) 248-3668 Fax: (516) 543-5721 Bitstream Inc. are incorporated into hardware (,10 4!) Athenaeum House and software products, and FontHaus Treacyfaces 215 First Street are also made available directly Cambridge, MA 02142 1375 Kings Highway East akacletnersi to end users in a variety of font 6(800) 522-3668 Fax: (617) 868-4732 Fairfield, CT 06430 Treacyfaces http://www.bitstream.com formats through a network 13' (800) 942-9110 43 Maltby Avenue of Resellers. Purchasing fonts, Fax: (203) 367-1860 West Haven, CT 06516 British Broadcasting Corporation Broadcasting House or other hardware or software http://users.aol.com/fonthaus 13*(203)389-7037 London, England W1A IAA UK products, from any ITC Partner Fax: (203)389-7039 12011-44-171-580-4468 company is your guarantee 111C:SHOP www.treacyfaces.com http://www.bbc.co.uk of ITC authenticity and opti- FontShop Australia Canon Canon, Inc. mal quality design. 343 Sydney Road Type Associates 16-1 Shimonoge 3-Chome AUS-Brunswick For further information 2 Kerri Court Takatsu-Ku, Kawasaki-Shi Victoria 3056 Australia Kanagawa 213 Japan about any of these companies Huntington Station, NY 11746 6 011-61-3-9388-2700 6011-81-3-3758-1205 or on becoming an ITC Partner, Chicago, IL 60604 Fax: 011-61-3-9388-2818 http://www.canon.com write or call: 6(800) 297-7423 Fax: (516) 549-5847 Carter & Cone Type Inc. &CONE ipSHOP 2155 Massachusetts Avenue International Typeface TYPE1Nc FontShop BVBA (Belgium) Cambridge, MA 02140 Corporation Hutsepotstraat 36 Type USA 6(617)576-0398 Fax: (617) 354-4146 228 E 45th Street 12th Floor 53 West Jackson Blvd. Zwijnaarde 9052 Belgium Cello-Tak New York, NY 10017 IT 011-32-9-220-26-20 Suite 909 35 Alabama Avenue Fax: 011-32-9-220-34 45 Chicago, IL 60604 Box 120 TY: (212) 949-8072 U(800) 897-3892 Island Park, NY 11558 Fax: (212) 949-8485 IC SHOP Fax: (312) 360-1997 6(516) 431-7733 Fax: (516) 431-7736 E- mail: i [email protected] FontShop France Chartpak 'Web: www.itcfonts.com 6, rue Desaix 1 River Road Paris 75015 France Leeds, MA 01053 Tr 011-33-1-43-06 92 30 6(413) 584-5446 or (800) 762-7918 Fax: 011-33-1-43 06 54 85 Ell DISPLAY Reseller http://www.fontshop.jca.fr

110 Claris Corporation Glyph Systems, Inc. Management Graphics, Inc. r Stone Type Foundry Inc. 5201 Patrick Henry Drive P.O. Box 134 1401 79th Street East rli 626 Middlefield Road Santa Clara, CA 95052 Andover, MA 01810-0003 Minneapolis, MN 55425 Palo Alto, CA 94301 12(408) 987-7305 Fax: (408) 987-7558 12(508) 470-1317 Fax: (508) 474-8087 12(612) 854-1220 Fax: (612) 851-6159 12(415) 324-1870 Fax: (415) 324-1783 http://www.claris.com Graphic Products Corporation Manhattan Graphics Corporation Strata Inc. ColorAge 1480 S. Wolf Road 250 East Hartsdale Avenue 2 West St. George Boulevard 900 Middlesex Turnpike Wheeling, IL 60090-6514 Hartsdale, NY 10530 Suite 2100 Building 8 12(847) 537-9300 Fax: (847) 215-0111 12(914) 725-2048 Fax: (914) 725-2450 St. George, UT 84770 Billerica, MA 01821 12(801) 628-5218 Fax: (801) 628-9756 12(508) 667-8585 Fax: (508) 667-8821 GST Software Products Limited Micrografx, Inc. http://www.strata3d.com/default.html Meadow Lane, St. Ives 1303 Arapaho Road Computer Associates International, Inc. Huntington Richardson, TX 75081-2444 SUN Microsystems 1 Computer Associates Plaza Cambridgeshire, England PE17 4LG UK 12(214) 234-1769 Fax: (214) 994-6475 2550 Garcia Ave. Islandia, NY 11788-7000 5011-44-480-496-789 http://www.micrografx.com SUIT Mountain View, CA 94043-1100 5(516) 342-2621 Fax: (516) 342-5329 5(415) 960-1300 Fax: (415) 969-6649 Eh l HEWLETT http://www.cai.com aYJ Hewlett - Packard Afcrosoft Microsoft Corporation http://www.sun.com Vancouver Division One Microsoft Way Computer Output Printing, Inc. 18110 SE 34th Street Redmond, WA 98052-6399 Synapsis Corporation 4828 Loop Central Drive Camas, WA 98607 12(206) 882-8080 Fax: (206) 936-7329 5460 White Oak Avenue Houston, D( 77081 12(206) 944-8110 http://www.microsoft.com Suite A336 12(713) 666-0911 Fax: (713) 666-0957 http://www.hp.com/ Encino, CA 91316-2407 Monotype Typography Inc. 12(818) 906-1596 COREL Corporation Hewlett - Packard INl 985 Busse Road Tektronix Tektronix, Inc. The Corel Building Boise Division mom YP. Elk Grove Village, IL 60007 z 1600 Carling Avenue 11311 Chinden Blvd 12(847) 718-0400 or (800) 666-6897 26600 SW Parkway Ottawa, Ontario K1Z 8R7 Canada Boise, ID 83714 Fax: (847) 718-0500 Wilsonville, OR 97070-1000 12(613) 728-8200 Fax: (613) 728-9790 12(208) 396-2789 Fax: (208) 396-3457 http://www.monotype.com 12(503) 685-3180 Fax: (503) 685-3063 http://www.corel.com http://www.hp.com/ http://www.tektronix.com Monotype Typography Ltd.

Dai Nippon Printing Co. Ltd. Hewlett - Packard Unit 2, Perrywood Business Park U.S. Lynx 1-11, Kita-Yamabushicho Seattle Division Sa [fords, Redhill 915 Broadway Shinjuku-Ku 101 Stewart Street/Ste.700 Surrey, England RH1 5DZ UK New York, NY 10010 12(212) 673-3210 Fax: (212) 673-5261 Tokyo 162 Japan Seattle, WA 98101-1048 12011 - 44 - 73 - 776 - 5959

73'011 - 81 -3 -3266 - 2656 IT (206) 448-9600 Fax: (206) 448-7220 http://www.monotype.com Varitronic Systems http://www.dnp.co.jp http://www.hp.com/ NEC NEC 300 Interchange North Dainippon Screen Mfg. Co., Ltd. HOUSEstyle 7-1, Shiba 5-Chome 300 Highway 169 South Tenjinkita-Cho 1-1, Teranouchi-Agaru 50-54 Clerkenwell Road Minato-Ku Minneapolis, MN 55426 4chome, Horikawa-Dori London, England EC1M 5PS UK Tokyo 108-01 Japan 12(612) 542-1500 Fax: (612) 541-1503 Kamikyo-Ku, Kyoto 602 Japan 12011-44-171-251-3746 V011-81-3-3454-1111 Vicarious Inc. 5011 - 81 - 75 -365 -3131 http://www.nec.com Three Lagoon Drive Fax: 011-81-75-414-7606 S1 IBM - P.O. Box 1900 NEC Suite 300 Datafi le 6300 Diagonal Hwy 339 North Bernardo Avenue Redwood City, CA 94065 71 Anson Road Boulder, CO 80301-9191 Mountain View, CA 94043 12(415) 610-8330 Fax: (415) 610-8302 Locking, Weston-Super-Mare V(303) 924-5280 12(800) 632-4636 http://www.vicarious.com Avon, England BS24 7DQ UK http://www.ibm.com http://www.nec.com VS Software 116011-44-1-934-823-005 ILFORD Ilford Limited Pacific Data Products, Inc. 323 Center Street Dataproducts West 70 Century Road 9125 Rehco Road Suite 810 Little Rock, AR 72201 1757 Tapo Canyon Road Paramus, NJ 07653 San Diego, CA 92121 13' (501) 376-2083 Simi Valley, CA 93063 5(201) 599-4414 Fax: (201) 599-4373 12(619) 552-0880 Fax: (619) 552-0889 http://www.ipapercom http://www.pacdata.com 5(805) 578-4000 Wang Laboratories http://www.dpc.com Image Club Graphics PrePress Solutions 600 Technology Park Drive Digital Graphix wo 833 4th Avenue Southwest, Suite 800 11 Mount Pleasant Avenue Billerica, MA 01821-4130 967-5000 1280 Blue Hills Avenue Calgary, Alberta T2P 3T5 Canada East Hanover, NJ 07936 5(508) http://www.wang.com Bloomifeld, CT 06002 12(403) 262-8008 or (800) 661-9410 12(201) 887-8000 or (800) 631-8134 Fax: (800) 814-7783 http://www.prepress.pps.com 12(203) 242-4242 & Heintz Map Corp. http://www.imagedub.com Williams Digital Typeface Corporation Purup Prepress A/S 8119 Central Avenue Capitol Heights, MD 20743 9955 West 69th Street International Digital Fonts (Purup-Eskofot A/S) 5(301) 336-1143 Eden Prairie, MN 55344 1431 6th Street NW Sonderskowej 5 Calgary, Alberta T2M 3E7 Canada Lystrup DK-8520 Denmark 12(612) 944-9264 XEROX Xerox Corporation 12(403) 282-0512 5011-45-87-43-43-43 dtp Types Limited 555 South Aviation Blvd. El Segundo, CA 90245 P.O. Box 336 Kagema AG QMS QMS, Inc. 116 (31o) 536-7000 Crawley Postfach 422 One Magnum Pass http://www.xerox.com West Sussex, England RH11 8RH UK Zurich CH-8051 Switzerland Mobile, AL 36618 5011-44-293-615-469 5011-41-1-321-0600 12(334) 633-4300 http://www.qms.com Xionics 70 Blanchard Road ESSELTE Esselte N.V. Kroy, Inc. Burlington, MA 01803 Industriepark-Noord 30 14555 North Hayden Road Quantel 12(617) 229-7000 Fax: (617) 229-7120 P.O. Box 85 Scottsdale, AZ 85260 31 Turnpike Road http://www.xionics.com Sint-Niklaas B-9100 Belgium 12(602) 948-2222 Fax: (602) 951-7033 Newbury 5011-32-3-760-3311 Berkshire, England RG13 2NE UK Kyocera Electronics Inc. Zenographics, Inc. Fax: 011-32-3-760-0612 TP011 -44 - 6 -354 - 8222 34 Executive Park Circle http://www.essette.com 1321 Harbor Bay Parkway hap://www.quantel.corn Alameda, CA 94502-6561 Suite 150 ETP Systems, Inc. 12(510) 748-6680 Fax: (510) 748-6965 Ryobi Limited Irvine, CA 92714-6743 1466 NW Front http://www.kyocera.com 3-15-1 Sotokanda 12(714) 851-6352 Fax: (714) 851-1314 Portland, OR 97209 Chiyoda-Ku http://www.zeno.com Lan Software 5(503)223-5522 Tokyo 101 Japan 207 S. Elliott Rd. Suite 203 5011-81-3-3257-1502 Font World, Inc. Chapel Hill, NC 27514 2021 Scottsville Road 12(919) 968-0789 Fax: (919) 968-0801 Ryobi Limited Rochester, NY 14623-2021 http://www.tarisoftware.com 762 Mesaki-cho 12(716) 235-6861 Fuchu-shi LaserGo, Inc. Hiroshima-ken 726 Japan General Parametrics Corp. 9715 Carroll Center Road V011-81-3-257-1502 1250 Ninth Street Suite 107 Berkeley, CA 94710 San Diego, CA 92126 Scangraphic GmbH 12(510) 524-3950 Fax: (510) 524-9954 12(619) 578-3100 Fax: (619) 578-4502 112-114 Rissener Strasse http://www.spectrastaccom http://www.lasergo.com Wedel, Hamburg D-22880 Germany 12 0 11- 4 9 - 4 1 0 3 - 8 0 1 0 Genicom Corporation LaserMaster Corporation 1 Genicom Drive 7156 Shady Oak Road SoftPress Systems Ltd. Waynesboro, VA 22980-1999 Eden Prairie, MN 55344 8 Blenheim Office Park 116 (800) 436-4266 Fax: (540) 949-1392 5 (612) 944-9330 Fax: (612) 944-0522 Lower Road, Long Hanborough http://www.genicom.com http://www.lasermasteccom Oxon, England OX8 8LN UK 12011-44-1993-882588 Genigraphics Corporation LEXMARK Lexmark International, Inc. Fax: 011-44-1993-883970 2 Corporate Drive/Suite 340 740 New Circle Road http://www.softpress.com Shelton, CT 06484-6206 Lexington, KY 40511 TT' (203) 542-6988 12(606) 232-2000 Fax: (606) 232-4659 Softwood, Inc. http://www.genigraphics.com http://www.lexmark.com 7776 Pointe Parkway West Suite 270 Gerber Scientific Products Linotype Library GmbH Phoenix, AZ 85044 151 Batson Drive Dupont Strasse 12(602) 431-0949 Manchester, CT 06040 Bad Homburg v.d.H http://www.softwood.com 12(203) 643-1515 0-61352 Germany http://www.gspinc.com 72011-49-6172-4840 In US call (800) 297-7423 e-mail: [email protected] http://www.linotypelibraty.com 111 Teaching an Old Acrobat New Tricks (Continued from page 99)

For now, however, most users have to open their Quark or other file into the Acrobat software and save it as a PDF file—a procedure that is not too complicated. Proper workflow and printing use of PDF by your service provider will require the newest version of RIPS and other systems — 0 oateveace they're in development right now and Ply C SepkecobeS 1991 should be out within months. But most Ve3.6\c`g of the pre-press industry users agree -è, Or` e'cs \\••1 that Adobe has addressed their major concerns with early versions of PDF. The Acrobat software itself is a powerful set of applications that lets you not only write PDF files, but also open, view, edit and manipulate them. It's a bit like the universal translator on "Star Trek"—no matter what you put in, it comes out as (Above) predictable and A PDF file carries all familiar on the the information needed other end. This to print. Cover, U&Ic Spring, 1997 could all result (Left) in much fewer Details like fonts imaging prob- are embedded in a lems, fewer files PDF file. ptOts being rerun, and own equipment at ratt:16 de an easier transi- whatever resolution loocAì \,\\00)0\( ,4,1% ar\ tion to direct-to- their device supports. plate and direct- For online document to-press work- storage and retrieval, 1\a' \(oks3caa- N flows. PDF Acrobat is already the OSC\ Feedv \ oo makes sense for Jai` best choice. And for Pe\c ,l oo\a3 archiving, too, anyone sensitive to a\ ( \l 0,cao v,vv( os although it good type and good j'\o doesn't replace layout on the Web, vt,o\DeS ro,\\ the original PDF provides one \\,0 ca,( 0,61- ° application file. possible option. co es usete fop NOT EVERYTHING TO EVERYONE N\°PeA \1 5.3\ 03\1- C;( Of course don't forget that PDF files 9°e\1 1 are small and efficient—they get that 'OB\I \a c.Aos way by simplifying what's there. This \v\c'e vkaV \leN doesn't mean any loss of quality, of 1\\°\''ae -\00\e'( course, but it does mean some lack of 3,- .`03c\ •Nos\-\\ pc\ v1/4 \( editability. PDF files can be modified ?okess co° (N for simple things—fixing a last-minute 03\i\ e•1 typo, changing a color, or deleting a raes line. But that's about it—these are meant )2' i\oasvaN to be finished files, not works in pro- 000 cyc Ner\ gress. And one drawback at this point v,do 03,64,e'( is that it is not possible to import more than one PDF file into a single page, a \6?2S\ \s vOG\ limit that makes PDF less suitable for Oa things like fractional newspaper ads. s p,os JO A host of companies have expressed .)as se vvea support for PDF—virtually any RIP coos er,ccom . that supports Adobe PostScript 3 can While Acrobat 3.o PDF files are \( 5Vè\( 1.2,coW process a PDF file. Agfa has embraced isn't perfect for everything small and \ sec'c\ itat'oev viovelaxWn \\NB\ ,No the format as the core of its imaging at this point, Adobe is gen- efficient, but resist heavy ease cootact technology for the near term. Quark erally good at listening to editing. is supposedly working with Adobe to the industry and providing Ssc-Oot\CoOetec\ce \ivog \ce build in strong PDF support in )(Press, solutions that work. The current ver- 0\ and you can be sure PageMaker, Illus- sion of the Portable Document Format 0 Fk\dge\Nay ckoaa trator, Photoshop and other Adobe may not be the trendiest format on the 10 1,Suc.ceN products will provide great PDF capa- graphics runway today, but it's sensible, 60\ ■)\( P,e \-\ bilities in future versions (many fully versatile and looks good on almost ?,\A1 support it now). any device. 1131 12,0'00 I honestly believe that in a year you Gene Gable is publisher of Publish 0) 11'31 1'60160 ..),\( won't be sending your Quark files, fonts magazine and he can be contacted at co t vog and graphics to the printer—you'll be [email protected]. ato f sending PDF files instead. And if you e atycies ONV-.11\foN\N aky .(-5(g e-mail the exact same files to your clients, they can view and print the job on their

HEADLINE/BYLINE/SUBHEADS/CAPTIONS . ITC FRANKLIN GOTHIC DEMI, DEMI COMPRESSED HEAVY TEXT/BIO: ITC GAWARD ROMAN, ITALIC 112 TECHNOLOGY UPDATE ■ The Phazer makes your car invisible to police radar and lasers or How to make your car invisible the manufacturer will pay your speeding ticket! How it scrambles radar. to radar and laser.../egally► Police radar takes five to 10 measurements of a vehicle's speed in about one second. The Phazer Rocky Mountain Radar introduces a device guaranteed to make your sends one signal that tells the radar the car is car electronically "invisible" to speed traps—if you get a ticket while going 15 m.p.h. and another signal that the car is going 312 m.p.h. Because police radar can't ver- using the product, the manufacturer will pay your fine! ify the speed, it displays no speed at all. To the radar gun, your car isn't even on the road. Works with laser, too! The Phazer also pro- by Phil Jones tects your vehicle from Lidar guns that use the change in distance over time to detect a vehicle's If your heart doesn't skip a waveguide antenna, effectively confusing the speed. The Phazer uses light-emitting diodes beat when you drive past a computer inside the radar gun. The laser com- (LEDs) to fire invisible infrared pulses through speed trap—even if you aren't ponent transmits an infrared beam that has the the windshield. Laser guns interpret those puls- speeding—don't bother read- same effect on laser Lidar units. es as a false indication of the car's distance, ing this. I can't tell you how blocking measurement of your speed. Again, it's many times that has hap- as if your car isn't even on the road. pened to me. Driving down Range up to three miles. The the interstate with my ■ The Phazer will Shown actual size, Phazer begins to scramble cruise control set at eight "jam" both radar the Phazer is only both radar and laser signals and laser guns, miles over the limit, I catch as far as three miles away a glimpse of a police car 3'W x 4"L x 1.5"H! preventing police from the speed trap. Its range parked on the side of the from measuring of effectiveness extends to road. My heart skips a your speed. almost 100 feet away from beat and for some rea- the police car, at which point son I look at my speedometer. After I you should be able to make have passed the trap, my eyes stay visual contact and reduce glued to my rear view mirror, pray- your speed accordingly. ing the police officer will pass me Encourage responsible dri- up for a "bigger fish." ving. While the Phazer is de- It seems that as speed-detec- signed to help you (and me) avoid tion technology has gotten more speed traps, it is not intended to and more advanced, speeding condone excessive speeding. For that tickets have become virtually reason, within the first year, the manufac- unavoidable. And although de- turer will pay tickets where the speed limit vices exist that enable motorists was not exceeded by more than 30%, or 15 to detect these speed traps, they miles per hour, whichever is less. are outlawed in many states... including mine. Double protection from speed traps. If The solution. Today, Rocky Mountain Radar the Phazer sounds good, but you prefer to be offers drivers like me a perfect solution—the notified when you are in range of a police Phazer. Combining a passive radar scrambler Perfectly legal. Some radar devices have been radar, the Phantom is for you. The Phantom with an active laser scrambler, the Phazer makes outlawed because they transmit scrambling combines the Phazer (including the Ticket your automobile electronically "invisible" to radar beams back to the waiting law enforce- Rebate Program) with a police speed-detecting equipment. ment vehicle. The Phazer, however, reflects a radar detector. It's legal The radar component works by mixing an X, portion of the signal plus an added FM signal in every state except K or Ka radar signal with an FM "chirp" and back to the police car. This, in effect, gives the Minnesota, Oklahoma, bouncing it back at the squad car by way of a waiting radar unit an electronic "lobotomy." Virginia and Wash- Best of all, unless you are a resident ington, D.C. Ask of Minnesota, Oklahoma or Wash- your representative ington, D.C., using the Phazer is for more details! completely within your legal rights. Risk - free. Thanks to Rocky Mountain Radar, MO TO MU Mit INSAPPEAR speed traps don't make my heart skip a beat anymore. Try the Phazer or the Phantom your- ■ ■ ■ ■ Radar and laser scramblers are de- tell 11.1111 11.11 111.111MI vices that foil speed traps by making vehi- self. They're both backed by our risk-free trial cles electronically "invisible" to police and three-year manufacturer's warranty. If Reflected radar with an FM "chirp" radar. Radar scramblers mix a portion of you're not satisfied, return them within 90 days the radar signal with background clutter for a full "No Questions Asked" refund. Police radar II and reflect it back to the squad car. This technique, pioneered by Rocky Mountain The Phazer $199 $14 S&H Radar, creates an unreadable signal that The Phantom $349 $18 S&H confuses the computer inside the radar gun. Please mention promotional code 2541 - 11397. The laser scrambler in the Phazer For fastest service call toll-free 24 hours a day works in a similar manner. It transmits a special infrared beam with information 800-399-7863 7;1 LIM designed to scramble the laser signal. The Special infrared beam with "noise" result? Readouts on police radar and laser guns remain blank. As far as the police comtradindustries Police laser officer is concerned, your vehicle is not 2820 Waterford Lake Drive, Suite 102 Midlothian, VA 23113 even on the road.

Circle 5 on Reader Service Card lisle is available at the following locations: Web Design NORTH AMERICA

Bates Art and Drafting Supplies Art • Drafting • Digital Source 4901 Century Plaza Rd by the Book Indianapolis, IN 46254 SOUTH AMERICA Phone:1 (317) 297-8000 or 1 (800) 745-1345 Documenta SRL Web designer is how to straddle the Fax: 1 (317) 290-7032 A trio of titles on Maipu 763, 2nd floor, Dept. D line between image quality and file Bernard DeBoer, Inc. 1006 Capital Federal Web graphics shows size. Unlike printed documents, Web 113 East Centre Street Argentina Phone: 54-1-393-9125 design decisions are often made with Nutley, NJ 07110 designers how to Phon.e: 1-973-667-9300 Fax: 54-1-393-9595 one eye on the clock—how long will Fax:1-973-667-0086 Libreria Tecnica CP67 SA make the most of it take for my page and its graphics to download along a phone line, given H.R. Meininger Florida 683 Local 18 existing technology. 499 Broadway 1375 Buenos Aires standard modem connections? Denver, CO 80203 Argentina Now in its second edition, Design- Phone:1-303-698-3838 or Phone: 54-1-314-63-03 BY HAROLD GREY 1-800-950-2787 Fax: 54-1-314-71-35 ing Web Graphics quickly moves beyond Fax:1-303-871-8676 Rio Books the technical into the design realm. [email protected] Rua Castro Tavares 146 THE WEB currently offers designers Using numerous full-color screen shots Parlor News Coffeehouse Manguinhos Cep: 21041-170 very little control over the appearance and images, Weinman explains how Rio de Janiero-RJ-Brazil 135 E. Second Street of visual elements on a page. How Phone and Fax: 55-021-590-8997 to spec color for a Web page, and how Powell, WY 82435 do you create a reliable Web page to work within a range of "browser- Phone:1 (307) 754-0717 coffee@witnet OTHER when the computer monitor, operating safe" colors that will reproduce reliably www.parlornews.com system, Web browser, modem speed, across different computer systems. She FontShop Australia Untitled and installed fonts all affect its appear- also discusses creating background tiles 343 Sydney Road 159 Prince Street ance? While many designers advocate Brunswick, Vicroria 3056 and transparent graphics, and shows New York, NY 10012 Australia designing for the lowest coin- mon how to incorporate design elements Phone: 1 (212) 982-2088 Phone: 61-3-9388-2700 Fax:1 (212) 925-5533 denominator, three new books from into a Web site such as rules, borders, Fax: 61-3-9388-2818 [email protected] www: fontshop.com.au. New Riders Publishing explain that by navigational buttons and image maps. www.finea.rtinprint.com understanding the techni- Although Web typography is cal limitations and variables that will still in its infancy, Weinman devotes EUROPE affect the presentation of your work, an entire chapter to it. Unlike print Tegnecenter Logos Impex a designer can build a consistent and design, Weinman explains, the Web St Kongensgade, 21 Strada Curtatona 5/F reliable Web site without sacrificing offers rudimentary type capabili- DK-1264 Copenhagen K 41010 San Domaso-Modena innovation or content. ties and controls. Body type usually Denmark Italy Phone: 45-33-14-90-33 Phone: 39-59-28 02 64 defaults to a resident system font Fax: 45-33-11-90-33 Fax: 39-59-2816 87 or Designing Web Graphics 2, by such as Times Roman, while headline 39-59-28 05 07 Central Books Lynda Weinman, is an up-to- 99 Wallis Road Bruil & Van de Staaii date primer on Web site design. London E9 5LN Zuideinde 64 Weinman, a former designer, England 7941 GJ Meppel Phone: 44(0)181-986-4854 The Netherlands animator and computer consul- Fax: 44 (0)181-533-5821 Phone: 31-522-261303 tant who has taught at the Art [email protected] .ulc Fax: 31-522-257827 Center College of Design in

114 platforms, operating systems and Web browsers, and offers tips on how designers can 3‘-e Komfilete create Web pages that remain consistent despite the myriad ,Weraelei Kirk' io Keeediew variables that impact the appearance of color on screen. Berthold Heavin and Weinman also offer tips on selecting colors that will increase the speed of file downloading, and discuss the necessity of dithering and anti-aliasing of graphics. The dlr.-tete rezvieved book further discusses the con- i„./a cept of "browser-safe" colors— erciaracfer Jek ■ Lynda We inm A ■ Bruce Heavin the 216 colors that are shared by the built-in system palettes t exfiaruled, 1fireeit, used by the Macintosh and Win- dows operating systems. Using fiteldaea "browser-safe" colors assure that Coloring Web on Web pages are help- your pages appear the same regardless Graphics ful in moving printed of operating system or monitor. How- discusses the material online. There ever, the use of such a limited palette unique chal- are also useful exam- does have drawbacks when showing lenge of pre- ples of how tables and photographic images on your site. senting color frames have become While some of the information on the Web. the standard way of in Coloring Web Graphics appears in fonts aligning and position- Designing Web Graphics, Weinman ing items on a Web page. and Heavin explain in more detail how Call your local distributor or contact E FONTS at color selection can influence the com- Movement, sound and interactivity 47 West Polk Street #100-205 are ways of differentiating Web pages pression and size of graphics files. The Chicago, Illinois 60605 USA from printed pages, and Weinman, as book also offers the basics of color the- T +1 (312) 913 1908 a former animator, discusses creating ory and explains the HTML tags for F +1 (312) 913 9049 and including all these setting the colors [email protected] media formats, from of backgrounds, the simplest animated Using text and links. E FONTS is either a registered trademark or trademark of E FONTS L.LC. in the United States and/or other countries. GIFs and sound files While offering Berthold is a registered trademark of Berthold PrePress GmbH. to sophisticated Quick- printed specimens Circle 6 on Reader Service Card Time movie clips and "browser- (using CMYK inks) Shockwave animations. to represent on- The book also includes safe" colors screen graphics a thorough glossary (using RGB colors) (\t, 4;irr- and explanation of the assure that might seem para- ARK YOU most common HTML doxical, the book tags, and each chapter includes a com- PLANNING contains several URLs your pages panion CD-ROM (Uniform Resource which contains elec- Locators) which point appear the tronic versions of TO MOVE? to more information the color swatches about each topic. printed in the book, ffe sure ta take Tdie same regard- as well as browser- COLOR THEORY, safe color palettes `Witith_ you" color palettes, and bit less of oper- which can be loaded depth are further ex- into Photoshop, plored in Coloring Paint Shop Pro, Fi[aving Date: Web Graphics. Co- ating system PhotoPaint, Free- authored by Lynda hand and Painter. 0 LD Address (Please print or attach mailing label) Weinman and Bruce or monitor. The CD-ROM also Heavin, a painter contains a collec- Name Title and illustrator who has designed graph- tion of clip art for Web use, sample ics for numerous books, CD-ROMs HTML pages using different color Address and Web sites, the book discusses the combinations, and a collection of pat- unique challenge of presenting color terns, backgrounds, buttons and on the Web. For instance, have you ever objects that can be customized using City State Postal/Zip Code looked at a Web site on a Macintosh the electronic color swatches. A large Country and then viewed it on a PC running section of the book consists of a Windows? Colors that were intended sample Web page presented in differ- NEW Address. to be muted on the Mac suddenly seem ent color combinations that work bright and vibrant on the Windows- well together, and serves as a refer- Name Title based PC. In some cases, colors appear ence when deciding on what color to be different altogether due to color combinations to employ on your site. Address remapping by the operating system. ACCORDING TO LYNDA WEINMAN, Through text and a software tutorial, Coloring Web Graphics explains how one of the benefits of the Web is City State Postal/Zip Code color is handled by different computer that any designer can see how exist- Country continued on page 118 Fax to 212.949.8485 or mail to U&Ic PO Box 129, Plainview, NY 11803-0129 115 Taking the Hint The technology is willing but the flesh is weak BY MATTHEW BUTTERICK

I USED TO MAKE MONEY HINTING FONTS. It really wasn't bad work. hinted PostScript fonts for years. There are suc h tools, but unfortunately, they work about as well as auto- Nobody really understood it, so they left me alone to do my job, and kern algorithms: okay for government work, but they when I was finished, they rarely complained. After all, it was done. won't impress anyone who can tell good from bad. Like kerning, quality hinting only comes from delib- I was paid a decent rate in accordance with any skilled laborer who erate human effort. shares his trade with a national population of practitioners which And this, in turn, might not be insurmour table for the few remaining souls who felt the need t o learn could fit into a single Boston subway car. With room left over for hinting if there were decent tools for creating and the Red Sox. 'MENNEN( Emma editing hinted font . Sadly, 4 --...r,--- - - -,...,.mr-ws most of the existing tools Type design may be an arcane vocation, but hinting is are years old, bugg∎ slow, 1.111 BM and require you to • write downright cultish. Hinting involves using a computer MO ME■■ friendly bits of coda like coding language to describe the relationships between the MM. . "MIRP[m> RGr], 2 18 " over and over again . I had visual features of an outline typeface in order to preserve only one colleague who ■■ cared about screen type these features when the typeface is rasterized in pixels. ■■ enough to get to thiss stage, A computer rasterizes a typeface by scaling its fully hinted: look at them at a van- and after her first le sson outline to the appropriate point size, lays it over a ety of small screen sizes and note in the TrueType hin ting lan- pixel grid, and then turns on the pixels that fall how clean the letterforms are, all MIMEO guage, she was cure d of within the outline. The problem is that as the grid without the benefit of bitmap fonts. (Above) any lingering desire to hint gets coarser, it's less likely that a given outline will There are a few hitches though. Both PostScript This is an example of her own fonts. hit the pixels that best define the shape of the letter and TrueType have a facility for hinting, but Post- a hinted H. So, can you sen d out (or any pixels at all), as in the riamma. 51 Script hinting doesn't allow your fonts to be hinted and will they look bate r? example to the right. nearly the amount of control of Sure, just as I suppose my cooking would taste better This capital H isn't hitting 'ME r TrueType, which has a whole if I raised my own livestock. The truth is, the b enefit the right pixels to look like a capi- T • 1 language written for the pur- that hinting adds to your typeface is getting sty caller tal H. However, with hinting, • I pose. If you're serious about and smaller; and if this is the first time you're n ading you can tell the scan converter (a • I hinting that works at screen about it, it might as well be the last. PostScript hint- tool the computer uses to deter- •I- resolutions, TrueType is the ing ends up being more than adequate for mos t fonts. mine which pixels to turn on) only game worth playing. But For hardcore screen use, it's still no big deal to whip that the horizontal and vertical • MIN how many TrueType fonts did up a couple of bitmaps to accompany your out line. stems are more important and • MIN you buy this year? You see the And with screen rasterizers ever-improving (Pi -n writ- ought to sit on the grid lines, • INN problem. Type manufacturers ing this text with the benefit of greyscale type f ro- and that the serifs are less impor- t ■ MIL have not exactly been rushing vided by ATM 4.o) the practical benefit of hini ting tant and can collapse. to support a feature of a format fast fades away. So what's the advantage of hinting over bitmaps? (Above) they never liked in the first place. Well, now you know why I design Web sit es Hinting is resolution-independent: it describes a set This is an example It's no coincidence that the com- instead. Oh yeah, there's something with prove n of relationships among letter features that are true of an unhinted H. pany that publishes the most staying power! regardless of type size. Consequently, with some well- (Below) An example of a TrueType faces (Microsoft) is the placed hints, you can get bitmap-quality letterforms run of unhinted H's, last great proponent of hinting. Matthew Butterick is president and creative direc- at all screen sizes. versus hinted H's. That wouldn't be so bad if tor of Atomic Vision, a Web development firm based It's a great idea. And usually it works pretty well. there were tools for automatically hinting fonts in in San Francisco. Earlier Butterick worked for several All of the core fonts on Windows and the Mac OS are TrueType—after all, Fontographer has automatically years as a graphic and type designer. During this time he designed and engineered typefaces for companies from Apple to Microsoft to Ziff:Davis, as well as releas- R.RHHHHHHHHHHHHHHHHHEIHEIH ing several successful original designs, such as Wessex and Hermes.

HHHHHHHHHHHHHHH HHHHHH H H H Illustrations courtesy of Font Bureau

HEADUNE/CAPTIONS/BYLINE: ITC FRANKLIN GOTHIC DEMI, DEMI COMPRESSED, HEAVY TEXT/B10/CREDFT: RC GALLIARD ROMAN, RAM 116 A pointed reminder to stay on top of publishing technology.

The publishing landscape is drama ically changing. New technologies are re d efining graphic design, the Internet, photo rap h y, prepress and printing. Their wides read impact will be felt for years to c c

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199' SOFTBANN Forums ?resented by Seybold Semi cc Redder Sur,tcc Gard Ai; names are Me property of their respective holders. SW97AD45 continued from page 115 Web designers. The book is peppered with useful tips for creating Web graphics, such as how to create seamless background tiles using Photo- clusinesdirect shop's Offset filter or adding a neon glow to a GIF animation, although most of the tips are geared mainly toward Photoshop users. More importantly, Decon- structing Web Graphics discusses the specific goals for each site To place a and the pre-planning that went into the design and mapping classified ad in of each site—a step that Wein- man stresses is often more U&kBusiness important than the actual creation of pages. This book Direct reviews and compares the dif- or for rates and In Deconstruct- ing pages were con- ferent software tools and resources information, contact ing Web Graphics, structed by simply used to create the pages and artwork, Weinman reviews viewing the HTML and offers profiles of the Web design- Venture Communications techniques used source code for a ers which provide insights into the Print Media, the exclusive in 11 real Web particular site. Most bridge between traditional print design representative of sites Web browsers offer and Web design. a simple menu com- Given the breakneck pace of U&lcBusiness Direct mand that allows you to view and save change on the Web, these three books Call: this raw HTML code. In Deconstruct- may soon become obsolete. Weinman ing Web Graphics, Weinman goes one even jokes that these books may one -684-4800 step further, reviewing the techniques day move from the computer section used to create it real Web sites. Each to the history section in local book- of her case studies stores. However, she is Circle 8 on Reader Service Card illustrates a different probably too hasty in fundamental design The book her assessment, as many technique or solves a of the concepts explored common Web design and explained will re- problem. These sites discusses main relevant as long as include HotHotHot, there are different hard- a site for a small com- the pre- ware choices and users pany that sells exotic who continue to access and hard to find hot planning the Web using different Creators sauces, the Discovery modem speeds. Until Channel Online and the day they become his- @tlas, a site which that went tory books, New Riders highlights the work of has created a detailed and of independent artists. into the cohesive collection of The first few sites texts to explain to new show how to create design and Web designers how to fotirts navigational buttons move from the printed and image maps, page to the interactive enhance navigation mapping Web page. These books through the use should also appeal to letter-fort/Lis of frames, position seasoned Web designers and align page ele- of each who want to incorpo- This ad is set in ITC Iflora T." ments with tables, rate new technologies Oesi9ned bti Terminal Oesicin use animated GIFs, site. in their pages and who and available from anti and include forms can appreciate the chal- for fitie licensed ITC font reseller. for retrieving end user information. lenges faced by their contemporaries Deconstructing Web Graphics also in- designing for the Web. cludes a few sites which use more As new technologies such as cJiscervititici advanced technologies, such as push embeddable fonts and Java applets and pull, Java, Shockwave and VRML appear, the palette of tools and tech- PAL _ (Virtual Reality Modeling Language). niques available to Web designers will Weinman also discusses the different only grow. Until new editions of these cirel IC! 1 212-01-17 4 video and audio formats on the Web, books are released, Weinman has set I and the use of CGI scripts in creating up her own Web site, www.lynda.com , Web page forms. which offers additional, up-to-date Replete with color illustrations material to complement these books. vest tier. and screen shots, Deconstructing Web Harold Grey is ITC's director of product Graphics walks through the HTML and market development. source code for portions of each site, ta Ttire Leiteritrtg Oest vi , explaining the relevant HTML tags and breaking the code into a series of _1()(4e.sWow 1,4 Z tiotrt, CtnsiotM er vti To order these books, (24 hrs, 365 days) please call step-by-step tutorials for fledgling (800) 962.6651 ext. 5800 or visit us at http://www.booksnow.com

Circle 9 on Reader Service Card Web Designer's WE Ni ME Guide to SOME SEE BETTER THAN OTHERS. Typography FLIGHTCHECK® is the multiple award-winning software that is the An introduction to all possible and—at the same time— ultimate application for verifying, made typography so difficult. And the type, typography purists called the designers traitors?' checking, and collecting all your files and the use of type This is essentially the state we find, before you go to press! FLIGHTCHECK® and the crux of why it is so difficult to in Web design. make type look like type on the screen. scans your documents for over 140 These authors write from expe- potential print problems — and is BY MARGARET RICHARDSON rience. HTML may be frustrating, user customizable. Once the en re but it is all we have to work with, so Web Designer's Guide to Typography, understanding style sheets—and writ- document has passed inspect n written by Michael Leary, Daniel Hale ing your own—is not just suggested FLIGHTCHECK® then collects the and Andrew DeVigal (Hayden Books), but demanded. The first detailed is an extensive overview of typography tutorial here explains how to set up whole job for you — including both and its applications for designing on a simple, formatted HTML page. screen and Anter fonts as well as the Web. The major thesis of this text (The tutorial continues online at www. all images — into a FLIGHTCHECK® is that good typography should be the hayden.com/internet/type.) The tutor- underpinning for all design, including ial approach is used again for specifying approved folder that's ready for press! Web, site design. typography for a theoretical literary The authors, collectively, acknowl- online magazine Again, here are de- edge that good presentation of type tailed instructions with excellent exam- DON'T LOSE SIGHT on the Web can be a challenge given ples, with each change emphasizing OF A JOB WELL DONE. the current technical limitations. But a typographic nuance. r r,® each enthusiastically Part 3 of the 1,.rj r P focuses on what the book deals with problems are and Type as Image and explains how, with We b moves beyond just assiduous effort Des i • ner's HTML and its lim- and firm commit- itations to working ment, your type with type in Photo- can look better on shop to create GIF, your Web pages. JPEG or PNG files. The opening This exploration i**** Typography Publish,. section of the book continues with cre- sets out the basics ating type using of typography in akk ben to discover other software pro- COLLECT SCREEN the art of Web design lucid, precise terms grams like Adobe 1111 " in a functional, sim- Illustrator and Mac- MERE woe. ple design. This sec- romedia Freehand. tion is a comprehensive, no-nonsense General informa- Font software and Tech primer and reference for everything tion and specific, how it works is also upport! you need to know about typographic detailed instruc- explained in detail. terms and type in use. The last chapter tions make this The last sec- here introduces fonts created specifi- typographic guide tion of the book FONTS DATABASE cally for the Web, and as soon as the a reference as concentrates on contrast of these types and those which well as a how-to OpenType and the previously appeared in typographic book. concluding por- examples becomes clear, the challenge tion of the book is on how to make type on the Web provides a series of useful Appendices. acceptable from a typographic stand- The authors manage to convey point. Essentially, this is the task one voice and one focused approach explored in the remainder of this book. to typography on the Web. There is Part 2 deals with Type on the Web, no disguising that working with type providing in the opening chapter a on the Web is tedious and detailed but status report on the Web. Accepting worth it when you can impose typo- •1..4 that "The Web is a mess?' it contin- graphic style to a Web site. The interac- ues by hearkening to the scientific and tive component of test driving some New Windows Version Just Released! academic roots of the Internet and then of these ideas on the www.hayden.com/ moves on to the intrusion of designers. internet/type site adds practical expe- Designers wanted graphic control, with rience to this typographical guide. software companies responding to their If you love type, and design for P.O.Box 16431 - 2500 BK The Hague - The Netherlands WARE , needs. The major dilemma is still based Web sites, this is an invaluable resource web: www.markzware.com -ii.S,A.phone: 714 on HTML restrictions, "which made it book for you.

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