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UPPER AND LOWER CASE.THE INTERNATIONAL JOURNAL OF TYPOG PUBLISHED BY INTERNATIONALTYPEFACE CORPORATION,VOI.UME SEVEN. NUMBER FOUR, DEC. 1980 5741 (1981) VOLUME SEVEN, NUMBER FOUR, DECEMBER. 1980

HERB Lt./SALIN, EDITORIAL Sr DESIGN DIRECTOR AARON BURNS. EDITORIAL DIRECTOR EDWARD RON DTHALER. EDITORIAL DIRECTOR EDWARD GOTTSCHALL. EDITORIAL DIRECTOR MARION MULLER. ASSOCIATE EDITOR JASON CALM. JUREK WAJDOWICZ, DESIGN IS PRODUCTION EDITORS MICHAEL ARON. CLAUDIA CLAY. TONY DISPIGNA. JOE FEIGENBAUM. ART AND PRODUCTION R HODA SPARSER. RESEARCH DIRECTOR JOHN PRENTKI, BUSINESS MANAGER NANCY PORTER. EDITORIAL TRAFFIC COORDINATOR HELENA WALLSCH LAG. ADVERTISING/PRODUCTION MANAGER

0 INTERNATIONAL TYPEFACE CORPORATION 1980 PUBLISHED FOUR TIMES A YEAR IN MARCH, JUNE, SEPTEMBER AND DECEMBER BY INTERNATIONAL TYPEFACE CORPORATION 2 HAMMARSKJOLD PLAZA. NEW YORK. N.Y.10017 A JOINTLY OWNED SUBSIDIARY OF PHOTO-LETTERING. INC. AND LUBALIN. BURNS & CO., INC. CONTROLLED CIRCULATION POSTAGE PAID AT NEW YORK. N.Y. AND AT FARMINGDALE. N.Y. USTS PURL 073990 PUBLISHED IN U.S.A. ITC OFFICERS New career directions EDWARD RONDTHALER,CHAIRMAN AARON BURNS. PRESIDENT HERB LUSALIN, EXECUTIVE VICE PRESIDENT challenge everyone JOHN PRENTKI.VICE PRESIDENT, GENERAL MANAGER BOB FARBER, SENIOR VICE PRESIDENT ED BENGUIAT,VICE PRESIDENT STEPHEN KOPEC. VICE PRESIDENT involved with graphic U.S. SINGLE COPIES $1.50 ELSEWHERE. SINGLE COPIES 52.50 TO QUALIFY FOR FREE SUBSCRIPTION COMPLETE AND RETURN communications, THE SUBSCRIPTION FORM IN THIS ISSUE TO ITC OR WRITE TO THE ITC EXECUTIVE OFFICE. 2 HAMMARSKJOLD PLAZA. NEW YORK. N.Y. 10017 including students In this issue: and educators. The old cliche,"It's back to the drawing Editorial board again'may have its 1980s counterpart in,"It's back to school again: What students, teachers and professionals in Graphic Communications must know about voca- The need is there. New kinds of typesetters and electronic page makeup tional opportunities, skills and educational require- devices, graphic creation stations and display terminals, even the electronic/ ments for the new technology. Page 2. digital typesetting of color halftones, are commercial realities. International Calligraphy Today In the face of electronic and mechanical "marvels," Most of us now, and certainly everyone by 1985, will need to know what calligraphers thrive! Eight pages of their art culled these devices can and cannot do, and some of us may even have to operate from the juried exhibition sponsored by the ITC some of them and be involved in purchase decisions concerning them. Center. Page 3. The steady stream of new capabilities becoming commercial is acceler- Lou Myers His observations on "family affairs" will make you ating. If you read U&lc's Vision '80s report you got the broad, basic picture. laugh or cry, depending on how you respond to the But that picture will fade into obsolescence unless you keep up with the truth. Page 12. developments reported in U&lc's Vision '80s Updates and in the trade press, Ms. Sandra Morrow and in the special newsletters and conferences serving our field. Consider just A"born" talent, plus a little training, plus a huge two of the many items that reached our desk the day we wrote this editorial: passion. See how it adds up. Page 14. 1. A report on Monotype's new Lasercomp's graphics capabilities.To summarize: This Carol Wald's Nostalgic Fun & Games laser typesetter can generate halftones, create white on black reversals, output patterns and A backwards glance at the graphic plots, ploys and tints, ovals and curves and potentially can interface to an electronic page makeup system. schemes devised by advertisers of yesteryear to snare readers. Page 16. 2. The new Metroset 40o digital typesetter (Information International, Inc.) can set half- Hebrew NewYear Cards tones digitized on the 3600 illustration scanner. Triple-I devices are also capable of Stan Brod joins us in wishing you a happy 1981 or producing fine-screen, commercially acceptable color halftones and typesetting them and 5741,whichever you subscribe to. Page 20. outputting them in position on a fully madeup page. Kirk's Work Technologies such as these continue to rain down on us and to become A junior high school teacher gets a new perspective less costly and thus penetrate a wider market, a market that may increasingly on perspective. Page 22. call upon everyone at some point in the creative-production process to exercise Oswaldo Miranda of Brazil the taste and judgment needed to use the new technologies most effectively. Some extraordinary graphics from a Brazilian,with a crazy handwriting. Page 24. What's a person to do? Go back to school? Best Face Forward But how when, where? In fact, the bigger question is what are the schools A Baltimore graphics group combines a famous to do? At the very least the schools will need industry cooperation regarding literary face with two handsome ITC faces for the benefit of their native city. Page 28. equipment, speakers, and teaching aids to do the job. Crossword Puzzle They face a multiple challenge to: In their newest puzzle for U&lc Al McGinley and Graduate students at least well alerted to the new technologies and their significance. Lee Gardner rivet your attention on robots. Page 30. Offer post-graduate crash courses to professionals on leave. Find the teachers, speakers, equipment to really do these things. Vision '80s Update Fit such new programs into their curriculum and facilities. A roundup of what's new in reproduction processes, electronic mail and word processing. Page 32. Perhaps, to cope with these challenges, the schools may have to work Alan Cober's Anatomical Notebook together to set up a pool of speakers, perhaps run a program (several days) Lou Myers puts down his own pencil and makes where senior students of several schools can attend.This may make it easier some perceptive comments on the art of his friend, to attract speakers from industry and to finance such a special "course:' Per- Alan Cober. Page 34. haps the schools should consider a central, or regional"laboratory"with various What's New from ITC (ITC Isbell) kinds of new equipment available for a hands-on familiarization course. And Our newest offering was designed by two distin- maybe a short intensive updating course is needed for teachers as well as for guished Detroit talents, Dick Isbell and Jerry students; and this, too, might best be done with groups of schools cooperating. Campbell. It is a classic face that lends itself to relaxed contemporary moods and formal state- This is a tremendous problem.Yet the schools must face it if they are to ments with equal aplomb. Page 39. make a meaningful contribution in training students and retraining professionals Ritratti Degli Artisti Plu Celebri for the new real world in which art/design careers must function. While some schoolboys worshiped sports figures and rock stars, Stephen Alcorn created his own The need is great. The demands of the graphic communications industry galaxy of super stars. Page 44. are urgent.There is no time to spare.And there has never been a better time for schools, individually or collectively, to develop their own crash programs, Something from Everybody Including a portrait of the ITC family, featuring right now to understand what needs to be done, what their roles should be, and Jason Calfo s foot. Page 53. how best to adjust to these new educational demands in real time. THIS ARTICLE WAS SET IN ITC NOVARESE 3

1. Alice, NewYork, IV.Y , U.S. A. 2.John S. Allen, New York, NY , U.S.A. 3. Curtis Anderson, New York, NY , U.S.A. 4. Elizabeth Anderson ( 5), Portland, Oregon, U.S.A. 5. Georgina Artigas, Miami, Florida, U.S.A. 6. Kay Atkins, Middletown, Rhode Island, U. S.A. 7. Christel Aumann (2), Munich, West Germany 8. Guillerrna Rodriguez Benitez, SanJuan, Puerto Rico, U.& A. 9. Adolf Bernd, Bad Munder, West Germany 10. Raphael Boguslav (3), Newport, Rhode Island, U. S.A. 11. Ivan Bold 'tzar (2), Novi Sad, Yugoslavia 12. Carla Boma, New York, NY , U.S.A. A report on 13. Czeslaw Borowczyk, Warsaw Poland 14. Robert Boyajian, New York, NY , U.S.A. ITC's exhibition of 15. Lawrence Brady, Los Alamitos, California, U.S.A. 16. Marsha Brady Los Alamitos, California, U.S.A. International 17. Chris Brand (3), Breda, Netherlands 18. Volkmar Brandt, Leipzig', East Germany Calligraphy Today 19. Stan Brod (2), Cincinnati, Ohio, USA. 20. Walter C. Brzoza, Schenectady New York, U. S. A. worked with non-Roman alphabets,i.e., 21. Hans.Joachim Burgert (2); West Berlin, West Germany It is always invigorating to do better than 22. Dot Caputi, Centerport, New York, USA. you expected.That's how words like "under- Chinese, Hebrew and Old German script, 23. Crous-lhdal, Boulogne-Billancourt, France estimated" and "overwhelmed" crept into the had a decided advantage because of innate 24. Raymond fronklin DaBoll (2), Woolwich, Maine, U. SA. 25. Ismar David (4), New York, NY , U.S.A. language. rhythms of the characters. 26. Sidney Days Welwyn, Hertfordshire, England When we conceived of sponsoring an exhibi- In general the jurors reported they were hard 27. Dorothy Dehn, Portland, Oregon, U.S. A put to limit their selections, and were thank- 28. Claude Dieterich (2), Lima, Peru tion of contemporary calligraphy,we predicted 29. Sandra Kay Dixon, Mayfield Heights, Ohio, U.S. A. that "this ancient art should be enjoying a ful that they could list the names strictly in 30. Fritz Eberhardt, Harleysville, Pennsylvania, U. S A. renaissance in the age of the computer."And alphabetical order, as they appear on this page. 31. Kevin Elston, Oakland, California, U.S.A. 32.Jean Evans, Cambridge, Massachusetts, U. S. A that is exactly the situation. The cold, imper- Afew words from Hermann Zapf 33. Gail M. Everett, Exmouth, Devon, England sonal climate of our high-technology world 34. Hal Fiedler, New York, N.Y, U.S. A. on the kinship ofealligraphers 35. Paul Freeman (2), Newyork, IV.Y , U. S A. has perversely warmed up the fingers of an 36. Henri Friedlaender, Motza Illit NearJerusalem, Israel amazing number of calligraphers. We frankly There is something unique about callig- 37. 7bshio Fukuyama (2), Kyoto, Japan underestimated, and were overwhelmed,by raphers.We are the last remaining "individu- 38. Jim Gemmill (3), Salt Lake City, Utah, US. A 39. Barbara Getty Portland, Oregon, U.S.A. the response. We received 2,400 entries! It was als" in the realms of art. Calligraphy is the 40. 71m Girvin (2), Seattle, Washington, U.S. A not just the quantity of mail that piled up on most intimate,personal,spontaneous form of 41. Kazuo Hashimoto ( 2),7bkyo, Japan our desks,but the postmarks on the packages expression. Like a fingerprint, or a voice print, 42. Karlgeorg Hoefer (2),Weilburger, West Germany 43. Lothar Hoffmann (2), Harper Woods, Michigan, U. S.A. that astonished us.We received entries from it is unique for each person. Calligraphers 44. Victoria Hoke, Oakland, California, U. S.A. Austria, China, Czechoslovakia, East Germany, can't be compared. We can't be grouped into 45. Lorenzo Homar (2), Rio Piedras, Puerto Rico, U. SA England,Finland,France,Hungary,India,Israel, "schools" or "styles" or "traditions." It is our 46. Otto Hurm,14enna, Austria 47. Thomas Ingmire, San froncisco, California, U.S. A. Japan, The Netherlands, Peru, Poland, Sweden, respect for our differences that unites us and 48. DonaldJackson (2), Rio Piedras, Puerto Rico, U.S.A. Taiwan,limisia,United States,USSR,West keeps us free of the competitiveness that eats 49. R. K Joshi, Bombay; India 50. kri Kahan, Newport Beach, California, U.S.A. Germany and Yugoslavia. up so much energy in other areas of graphic 51. Osamu Kataoka (2), Tbkyo,Japan Because of the limitations of hanging space, design. The feelings of friendship reach across 52.Jerry Kelly (2), NewYork, IV.Y , US A. national borders and whole continents. 53. Hermann Kilian (2), fronkfurt,West Germany our jury selected only 197 pieces for exhibi- 54. S. R Knight (4), Solihull, West Midlands, United Kingdom tion.And because of the limitations ofprinting We're involved in an art form that is timeless 55. Karen Kocon-Gowan, Cambridge, Massachusetts, U.S.A. space,we can reproduce only a fraction of and boundless. Calligraphy has an ancient his- 56. Rachid M. Koraichi ( 2 ), La Marsa,7Unisia 57. Wieslaw Kasinski, Warsaw Poland those selected in this issue oflUeAc.The choices tory,but it is still the source of contemporary 58. Lubomir KratIcy Bratislava, Czechoslovakia you'll see on the next few pages reflect a repre- letter forms that express the spirit and tastes 59. Eva Ursula Lange, Bautzen, East Germany sentative cross-section of the variety of work, of our times.There are no language or cultural 60. Gun Larson (2), Klagstorp, Sweden 61. Olivia L. Lin, Thipei,kriwan, Republic ofChina not any order of preference. roadblocks,either. Our new forms have come 62. Alfred Linz (2), Nuremberg, West Germany from the vigorous calligraphy of old Japanese 63. Denis Paul Lund, NewYork, IV.Y , U. S A. Afew words about the judging 64. Karin Meister, Amsterdam, Netherlands masters as well as from contemporary West- 65. Lawrence V Mikol (2), Lisle, Illinois, U. S. A It's never easy to be a juror. No matter how ern scribes. 66. Ahmed Moustafa, London, England much experience you have in graphic design, But beyond its utilitarian service, callig-- 67. Maury Nemoy (2), North Hollywood, California, USA. 68. Friedrich Neugebauer (14), Bad Goisern, Austria no matter how assuredly you make decisions raphy is a form ofintense personal expression. 69. Motoaki Okuizurni,7bkyo,Japan on a day-to-day basis,when you are confronted Ray DaBoll says that spontaneity is the life- 70. Fred PaulcenJerusalem, Israel with hundreds upon hundreds of choices, 71. Darlene Pekul, Lake Geneva, Wisconsin, U.S. A blood of it. But the lifelong satisfaction is in

72. Friedrich Peter, North Vancouver, British Columbia, Canada normal rational criteria fizzle away, and cer- the discipline, the constant practice, the repeti- 73. Michael lbdesta, Carrollton, Virginia, U.S. A tain gut reactions take over. Fortunately, the tion of exercises, the perfection of a skill and in 74. Friedrich Poppl,Mesbaden, West Germany 75. Gottfried Pott, Wiesbaden, West Germany gut reactions of certain highly sensitized the challenge of measuring one's work against 76. Leonid Pronenko (3), Krasnodar; U. S S. R. graphic designers are very trustworthy. So the great historic forms.Anyone who is fasci- 77. Heinz Benz, Stuttgart, West Germany when our judges, Hermann Zapf; Ed Benguiat, nated by and practices calligraphy will never 78. Marcy Robinson (2), Nutley; NewJersey U.S. A. 79. Erkki Ruuhinen (12 ), Helsinki, Finland Philip Grushkin, Herb Lubalin and Jeanyee be bored with life. 80. Herbert Sahliger (11), Munich, West Germany Wong handed down their decisions,we felt Our feeling for calligraphy, and our future 81. Ina Saltz, New York, N.Y , USA. confident of their choices.We also are quite 82. Robert Saunders ( 2 ), Squantum, Massachusetts, U.S.A. in it, has nothing to do with the nature of the 83. Werner Schneider ( 3), Wiesbaden; West Germany confident that every one of the entries would jobs we do, nor with how history treats our art 84. Heinz Schumann (2), Karl Marx Stadt, East Germany have been worthy of exhibition space, if we form. Whether it is a museum treasure, a 85. Yoko Shindoh (2), Tbkyo,Japan 86. Eita Shinohara ( 5),7bkyo, Japan had enough ofit. piece of printed ephemera, an informal note 87. Steven Skaggs, Lawrence, Kansas, U. S. A No attempt was made to give prizes or list or a single, beautifully written character, it is 88. Kennedy Smith, Salisbury; Wilts, England work in order of preference. The variety of 89. Paul Standard, Newyork, NY , U. SA. all the same to us.We celebrate and appreci- 90.Jacqueline Svaren, Portland, Oregon, U. S A work, tastes and functions precluded any • ate each other for what we do with such 91. Ikko kinaka,7bkyo, Japan comparisons or one-two-three listing. Neither humble tools as pens...brushes...and a few 92. Bill Taylor, Dallas, kxas, U.S. A 93. Alvin Y. Tsao, Republic of Chin would our judges venture to make pronounce- drops of heartblood in our ink 94.Julio Vega ( 3), New York, N.Y. , U.S. A ments or generalizations about skill or com- 95.Jovica Veljovic (4), Suvi Do, Yugoslavia petency based on geographic considerations. International Calligraphy lbday Returns to the ITC 96. Sheila Waters, Gaithersburg, Maryland, U. SA Center August 3-September 25. Because of its great 97. George Watson, Coalville, Leicester, England But they did make some observations which popularity and the large number of people who came to see 98.John Weber (2), Northfield, Illinois, U. S A. they are willing to share. In general, the work it- riot once but several times- International Calligraphy 99. Patricia Weisberg (2), New York, NY, USA. from the United States was the most rational, 100. Martin Wilke, West Berlin, West Germany 7bday will have a return engagement at the ITC Center, 101.John Woodcock, Tadworth, Surrey England functional, minimal and controlled. The Euro- 2 Hammarskjold Plaza, New York City, August 3-September 25. 102. Margaret E. Young, Wembley, Middlesex, England pean entries showed the most abandon, most The show consists of197 examples of contemporary callig- 103. Gudrun Zapf von Hesse, Darmstadt, West Germany raphy from all over the world as well as slides and a film 104. Morris Zaslaysky Los Angeles, California, U.S. A willingness to take risks, and were most ex- of Hermann Zapf show chairman and world renowned 105. Edit Ziga'ny (2), Budapest, Hungary pressionistic. Finally, calligraphers who calligrapher, explaining and demonstrating how he works.

THIS ARTICLE WAS SET IN ITC ZAPF INTERNATIONAL

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HERMANN KILIAN, WEST GERMANY Lou Mtierr 13

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THIS ARTICLE WAS SET IN ITC KABEL 14

Ms. Sandra Mormw The lettering and logos on these pages show the hand of an elegant, sophisticated artist with tremendous flair. But in the face of such work, we were frankly stunned by the meagre resume that came with it Age: 33; Edu- cation: 1 yr. Kansas State Uni- versity; Experience: 9 years with well-known card company; currently free-lance hand-letterer and logo designer. Maybe Sandra Morrow is an intuitive designer... or she was born gifted. How she has nurtured her talent can probably be described best by duplicating part of the letter she submitted with her work "i had the desire to be 'best' at something. the best of my talent blessings was to be able to design 'personal' logo designs using the receiver's name and personality. almost all of my work samples were 'gifts' done freely with the inspiration of love. as i did 'hours' of labor i prayed to the father to bless the receiver of each one to prosper. i do this with all my lettering—both personal and professional... now— at 33—i'm reborn and filled with the holy spirit and have returned my 'talent' back to god and am in total service to him in the name ofjesus. as he choose_ s i will both teach the 'word' and/or hand-letter it. AMEN" 15

V' ckilithvivi

THIS ARTICLE WAS SET IN ITC TIFFANY

PICTURE PUZZLES

America loves pictures— and what &PARLOR message. The attraction of an illus- game:' "One, after which her stom- could be more fun than a picture trated game or puzzle guaranteed ach isn't empty:' "When Eve pre- which is also a puzzle? In the years that the advertiser's message sented Adam with a little Cain:' before television when most people BY OFVAS:D would be kept in the house for Surprisingly, as many as nine lived in relative isolation in their quite some time. words were crammed into the rural communities, puzzles and vision does today. For a viewer's Newspapers and magazines also one-inch area. Other optical illu- games were quite the rage.A game delight were stereopticon slides, regularly featured illustrated puz- sions include the "topsy-turvies," might be an evening's occupation. peep-shows, magic lantern shows zles, but their fragility makes them those drawings which appear to be After all, there was not a lot in the and cast-shadow plays on the wall. rare items for collectors. Among one subject when viewed upright way of entertainment. One could People amassed trade cards, post- examples shown here, the "Ten and another when turned upside- not dash off to the movies, flick on cards and clippings and put them Presidents" folding paper puzzle down. Nor radio, or settle down in com- in scrapbooks. These pictorial enter- was cut from a pre-1900 news- "Mechanical" gamecards depend fort in front of the electronic "home- tainments seemed especially im- paper. Trade cards and postal for effect upon a fold or a moving entertainment center," so, people portant to a population which was cards, which have survived better, part. The mechanical advertising with leisure improvised their own just barely literate. Word games make up the rest of the examples. cards illustrated here are called "home-entertainment." Friends, and puzzles of today, such as The 1906 Dederick postcards are "metamorphics:' They transform a neighbors, might be invited over to Scrabble or crosswords, would optical illusions, images which "before" situation to "after" when play charades or parlor games, to hardly have interested us then. alter according to how they are unfolded.As examples, the instant take part in readings, dramatiza- Rather; it was picture puzzles viewed. To read the following cure effected by Tarrant's Seltzer; or tions and skits; perhaps even a which interested audiences. Both sentences, hold the cards a short acne miraculously cured, or hair home-bred version of I, Claudius postcard manufacturers and ad- distance in front of one eye, and restored! Just as in 10-second tele- performed in the parlor: vertisers were quick to see the tilt obliquely until the condensed vision"spot" commercials drab Visual entertainments proliferated, advantage of producing puzzle words come into view: "Being hair achieves instant "bounce:' TV probably filling whatever need tele- cards bearing an advertiser's only skin deep it is only a skin commercials, it seems, are heirs ap-

WHAT SENATOR JONES SAID HOME MADE HAPPY A t. ABOL de C000 dV 0/X 13 AFRANT'S I:TZER APERIE 1

THERE WAS A MAN WHO USED TO SC MOST OF HIS TIME IN AGONY AND ALL THE JOYS OF LIFE WERE MARRED BY PAIN FROM CORNS BOTH SOFT AND HARD BEHOLD! ALL REMEDIES INCREASED MIS PAIN klallfIg849240/ WHAT WAS AOM IST1 11::TSGI' US U3g2ID:OrC 'tT' e A HOME UNNAPPYj HUSBAND SUFFERING CHIROPODISTS HE TRIED IN VAIN THE PANGS OF INDIGESTION. AND THE WIFE, U.S uNT IL HE MET A GERMAN FRIEND 141?1 "S CCO*.r/tr YNA"AILVOOS Y HEADACHE RACKED. AND S/CKLY CHILDRESS VRIES '1741.1.7.1"4. wHo SAID TORTURES END' 5/.0 MANI JOSIS:MEOSIXSEMIENSASIDEOZuvuf.a.Ars or, ALAS' NO MOMENT KNOWS OF PEACEFUL LIFE . MrHAL NESSUS it/ASSET PRICES* ET 1011 SEM I rev' PAM ME SMARSENASARTNIRIE IMNSIMAT IMINsw X14tra Ply IA THE REST WALL TAISOUS SOMME COED.

HOME MADE. HAPPY WHAT SENATOR JONES SAID ABOUT ' COCO. 1311 WARRANT'S, ELTZER AFERIEI1/411 A(.0 ./X Cie

BY APPLICATIONS ONLY FOUR THIS GENTS LONG AGONY WAS OE'R THE GERMAN CORN REMOVER HE BEHOLD! Those She desnr to change thr color of their FOUND SAFE AND SPEEDY CURE TO BE A HAPPY HOME, THE HUSBAND IAUGHS AGAIN, heard and mustatlie to a heat:11M .imotry or HIS GERMAN FRIENDS WELL TIMED ADVICE O ER THE WIFE'S FEATURES PLAYS A PLEASANT SMILE. THOSE WORDS Or WISDOM WIPE NOT LOST,AND MRS JONES NOW OUTS HE CHILDREN TOO IN ROSY HEALTH ARE SEEN. MADE LIFE TO HIM A PARADISE THE FAMOUS NOM DE COCO AID HEN PUDDIASS CARE AMA PISS THAT MODEL HOME IS HAPPY ALL THE WHILE ili,:ictr thal 11711 1101 W118/1 oil will find our THE SENATOR DECLARES TO SE A I: MOOT EXCELLENT -THOUSANDS OF HOUSEHOLDS KNOW THIS WONDER STRANGE - WITH MUCH LESS MONLYTHAN BEFORE FORTIS, MATERIAL SPENT OLD BY Tti TARRARTS SELTZER OWE THIS MIGHTY CHANGE. BUCKINGHAM'S DYE" last the thing and 'MK OCAR THE SENATOR OFT SAM' I TOLD Mu THAT IT WAS SO, ALL DRUGGISTS rely handy beiny in one inrpanaion. ALL THE WORLD /MOWS TOE DIRT BESTS THE FAMOUS Nets UE COCO. N. B. NO HOME SAFE WITHOUT IT. S.F. ARTHUR & CO. PROPR'S. 84 FRONT ST. N.Y. his ea• olapplieation„vae and (Ret•nal and 1v1 OFACT R ED BY RNA, ,,,,WDRIe is ntinglit. own!" in pubite throe Full directions WARN ER MERRJTT cat every bell& "MECHANICAL" GAMECARDS: PREPARED BY PHILADELPHIA. BEFORE AND AFTER. R R HALL a CO.. Nashua. N. H Sold hr all Otaggists PESTS - 17

parent to this advertising gimmick. attention and engrosses us for an We are stung. But meanwhile we imperceptible print on the nine- So here we account for some his- instant while, almost inadvertently, enjoyed ourselves...The pleasant teenth century puzzle card, above, tory of the advertising industry. An we become aware of the short blurb image was our reward. Forjust an the message "and now a word attractive picture captures our advocating a particular product. instant methought /saw in nearly from our sponsor .

S/ UO^I -111119 166-1L11419 1110AVIC AIWA AllIVENV

BEM A tUlliCHAIST 1i1t15:111•Y LORI) MATOlt "TOPSY-TURVIES:" DUAL IDENTITY CARDS.

How may plates of ice cream can a pretty 11.-1 eat on an empty .5tarnach? (find the answer When. Were walkuv sticks first introduce( 2 tfind the answer)

Copyright, 1906, by Dederick 13ros.--301. "DEDERICK" OPTICAL ILLUSIONS: SEE DIRECTIONS IN COPY. 18 TOLL GATE NO. 3.— THIS PICTURE CONTAINS A BEAR, BUFFALO, CAMEL, GIRAFFE, SEAL, SWAN, SQUIRREL, CAT, FOX, PIG, RABBIT, PARROT, 2 ALLIGATORS, 4 BIRDS, 2 BEAVERS, 2 BABIES, 2 BOYS, 5 COWS, 2 CHICKENS, 2 DEER, 12 DOGS, 3 ELEPHANTS, 3 FROGS, 3 FISH, 7 FACES, 2 GOATS, 7 HORSES, 10 LETTERS, 2 MICE, 4 MEN, 2 MON- KEYS, 2 OWLS, 3 RATS, 3 SHEEP, 2 TURTLES, 2 LADIES.

When in Its rl furl ilairt fail to visit T. H. SMITH'S DINING Rooms. 173 1.73 ..A..zylurn. OPP. A1.1.1'\ HALL. Breakfast, 20e Dinner, 25e siappeN1.3c A separate Dining' Rama far ladies.

"TOLL GATE" PUZZLES: FIND THE HIDDEN OBJECTS.

When in Hartford 111111"1 I.lil I. ViSil T. H. SMITH'S DINING ROOMS 173 as 173 Azylum 3t. OPIL A LINN II A Li.. Breakfast, 20e Dinner, 25e !Sapper, 15e A separate I ininrr Room for Ladies.

TOLL GATE NO.4. —SHOO! FLY! THIS PICTURE CONTAINS AN ELK, PEACOCK, SHARK, BUTTERFLY, LION, TIGER, RABBIT, BOOK, COAT, BOOT, HARE, RAKE, BARREL, Boston Branch, CATERPILLAR, PIGEON, YARD STICK, SNAIL, MATCH, TUR- 261 Cliarel St- Pcgi,ter TLE, OWL, RHINOCEROS, ANTELOPE, WATCH, SKULL, Is the MOST RELIABLE PLACE to BUY Your CAT, COW, GIRAFFE, PRIEST, MUMMY, HUMPTY DUMPTY, SQUIRREL, 5. FISHES, 2 INDIANS, 12 FACES, 3 MICE, 11 3.3LITti3 2T1:D DOGS, 3 EAGLES, 5 LETTERS, 5 DUCKS, 2 CAMELS, AT THE LOWEST PRICES, 8 ELEPHANTS, 7 MEN, 2 MONKEYS, 2 CYMBALS, 4 BIRDS, M. CORTHELL, c,: I . 4 BEARS, 4 GOATS, 8 FROGS, 2 SEALS, 3 BEAVERS, D. 9 SHEEP, 3 LADIES, 5 HORSES, 5 PIGS, 2 CHICKENS, 4 ALLIGATORS, 2 BOYS, 2 BABIES, 2 COMBS. "SILHOUETTES." Copyright by Carol Wald, 1980 THIS ARTICLE WAS SET IN ITC KORINNA to

Stan Brod has been designing New reproduced on this double-spread. Year and Hanukkah cards since Between holiday seasons, Stan 5715.That was the year, according has tackled graphic problems in to the Hebrew calendar, that he and academic and commercial circles. Ruth were married and decided to He has taught Experimental typog- send out their own hand-crafted raphy at the Art Academy of Cincin- greeting cards. With only thirty to nati, Graphic Design at the Univer- fifty people on their list, it was not sity of Cincinnati, and is currently too taxing to block print and deco- with the firm of Lipson Assoc., Inc. rate their cards by hand. But as their list grew to over a hundred names, Then it was that a miracle was wrought. The oil in the cruse burned eight day / Babylonian Talmud, Shabbat 21 b. Greetings from the Stan Brods they had to go semi-commercial. They now print mechanically, and add the decorative touches—doilies, tissue streamers and legal seals by hand. Ruth is the conceptualist; HAVEA Stan does the graphics. The whole family licks the stamps. Since graven images are taboo (see Commandment#1), Hebrew HAPPY greeting cards present .a special atiaaaaaa challenge to designers. But they also have the singular advantage of working with letter forms that have 5741 an innate unity and rhythm. There 111'11 111111I I is potential for dynamic contrasts ... for creating a squared-off, bold tintommil modern look, or a voluptuous, undu- pir (1981) lating exotic flavor. Mr. Brod has enjoyed experimenting with different proportions of line, weight and mood, as is obvious from the work ailaila

Grant Peace Ruth, Stan, Deb, Dan and Mike Brod

MtGhaeL eToci oak °6 1 LI1111111 oetoe. Da* $ta Stan, Ruth, Deb, Dan and Mike Brod New Year Greetings Stan, Ruth, Debbie, Daniel, and Michael Brod Hanukkah Greetings

P'ClOP 57017► 0 tti

Stan, Ruth, Deb, Dan and Mike Brod

THIS ARTICLE WAS SET IN ITC FENICE 22

KIRK'S WORKS Not every schoolboy in America comes home at 3 o'clock, drops his books and picks up a football. Here's one kid who came home with a few chosen buddies to draw pictures, instead. So it was no surprise to his family when Kirk Monson, of Salt Lake City, elected to study Fine Arts at the University of Utah, and then went on to teach it. He is an instructor and Chairman of the Art Department of Centerville Junior High School, Utah. As you may gather from his work here, Monson is not your run-of-the-mill junior high school art teacher. Aside from the requirements of the syllabus, Kirk spends a good part of his time creating challenging projects to augment the concepts he teaches. After school, he works on free- lance illustration and design jobs in his private studio, Kirk's Work. He is not snobbish; good graphics are good graphics, and Kirk will tackle anything from industrial logos to T-shirt art.

ALPHABET CITY When his own junior high school students showed promise of match- ing his own skill in perspective drawing, Monson decided he needed a challenge. He started by cutting into boxes and cubes to create more complex drawing problems.A cut here, a slice there — and soon some of the rectangular blocks started to look like letter forms, 12s,Ts,Ks.He drew them and stacked them in ar- bitrary relationships, and the image that emerged suggested a surrealist habitat — an Alphabet City in some never-never land. He liked the idea so much, he carried it to its logical conclusion, painting in bricks, stone facades, clotheslines, bicycles, tele- phones and all the accoutrements of civilization. 23

NUMBERED RUINS What works with letters should also work with numbers. But Kirk saw no point in repeating the idea of an apartment compound. Fresh in his mind was a lecture he had delivered to a local art guild on the art of Central America, and images of pre- Columbian ruins still danced in his head. He decided to assemble his 3-dimensional numbers into a hy- pothetical ruin.This time he painted stones and bricks in faded colors, with well-worn edges. He incised facades with Indian patterns and planted a few trees and decaying vegetation to reinforce the illusion of a ruin.Where does he go from here? How about mathematical symbols, hieroglyphics, computer characters ...onward and upward, Kirk Monson!

THIS ARTICLE WAS SET IN ITALIA 24

I have a little story to tell about my communication concerning the Brazilian designer Oswaldo Miranda (Miran for short) that is as bewildering as his signature, which is reproduced above. Some months ago, I came across his work, for the first time, at the annual awards presentation of the Society of Publication Designers,and later again at the Type Directors' Annual Show. Out of a wealth of excellent graphics, his work struck me as extraordinary. I copied his address from the back of one of his entries and promptly wrote to him in Brazil, requesting some samples of his work for a feature article in U8tIc. I also asked for a brief biography. By return mail, I received a stamp-laden, corrugated package, with enough material for a dozen articles, plus, in English, "a warm greeting to herb Lu ba lin" —but no biography!

S TARDES mats tristes da minha inland& foram proporcionadas por ease A triste personagem de bigodinho e bengala que, segundo os historladores do cinema, "fez as delicias de milhOes de criancas e comoveu a outran tantos adultos". Nit° mintam ma's. 0 que hula Carillon s6 nos produzia melan- coll. quando eramos pequenos, e os Unlcos adultos que se comoveram, foram, precisa- mente, os historiadores do cinema, porque o esquerdlsta Chaplin tocava urn. certa vela "social" corn sexes personagens de claase balsa. Estes coisas str acontecem, [Wye. porque alguEm tot urna carioca rare aos dez nos, tat- vez porque se empenha em navegar contra a corrente, ou porque a Klpersensivel ou um pouco idlota. VG voce saber porque eu n6o gostava dos filmes de Carillon, man o certo 6 que, na salda do cinema paro- qulal, nos sabados is sete horn da tarde, alguma cols. incerta me apertava a alma e eu nib sabla o que era. Agora JO set. Porque conver- se! e travel ideim com outros • homens de minha idade e me confessaram, com urn pouco de vergonha ou confusho, que tambem eles, sentados no colo de sexes pals, se entristeciam ao ver as listras brancas que, como uma chuva Inclemente marcavam a calca de Chaplin. 0 culto da pobreza. As cariocas nAO podem gos- tar e nem os adultos, por certo. Quo tristeza nos invadia • alma quando, nos filmes de Carlitos, apareciam essay cantinas escuras, eases andarilhos miserivels, eases ',migrantes gigantescos e egoistas engo- "0 neg6clo de Chaplin e Undo sexes sanduiches, eases coanheiros cruets que expulsa- velho como o mundo: crlticar an vam os pobres • pontapes. ricos com o am oculto de ficg o male milionarlo possivel"

Clara, algutm podera taxer que Chaplin retratav• "um ambiente social". E eu respondo: um ambiente social mal retratado. Nos nunca haviamos Ago algutm expulsar pessoas • pontapes, nem dole homens brigar por um cachorro quente: essa miserla horrtvel nio mien& em noasos simples balrros de Buenos Aires onde a Ada era simples mas pr6s- pera. E se estate alguma colsa de que nib necessitamos 6 saber que • tome esti mar- cando sun preSenca em goal- quer parte, detghe que o br- dido Carat°. k encarregou de nos comunicar. Para que quella nos mostrar las° o sr. Chaplin? Para que nos tombs- 25

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As pessoas sempre dizem "tango argentino," o que e urn pleonasm°. Como se pudesse existir urn tango que ndo fosse argentino! 0 que existe em °afros poises sdo adaptacOes, debeis tentativas de simular o tango abtentico. Por exempto:

LUIS FERNANDO VER &IMO

Tango Uruguaio - O mats parecido corn o tango argentin°. s6 que o parcriro, como o rio da Pmta, fica do outro lado. Tango Chileno - 0 homem enlaea a mu/her pela cintum e a levy pam urn canto escuro, onde doffs agentes da secreta a seqtiestram. Quando a ONU ameasw investigar o dono manda fechar a cops. Danca-se com o toque de recolher. 27

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I wrote again, not once, not profile of himself, I guess he is certainly tell from these samples. tracks; then, his absolutely-on- twice, but five or six times, with quite a young man; this makes To my mind, Miranda's special target imagery telegraphs the the same result: more work... his superb and prodigious out- gifts are his inventive mind, his message. It's all visual. As far as more warm greetings...but no put even more amazing.(I've re- willingness to take risks and his I'm concerned, Miranda's work biography. (5o much for my 40 ceived reams of work from him, masterful graphic skills. But it is needs no translation,although years of expertise in the com- all of the same high caliber.) his especially rare to find someone it's obvious that my letters to munications field!) calligraphic scribble of a signa- who can dazzle you with design him do. NOW the only information I am ture was analyzed by a friend— without obfuscating meaning. Besides this feature in U&Ic, able to pass along to you about an amateur graphologist —as fol The way he manipulates his use Miranda's work has appeared in Miran is what I have deduced by lows: it expresses daring, wild of space, his sense of scale, his Communication Arts and will be my own private eye. From his sta- abandon,a creative personality black-and-white patterning—all featured in a forthcoming issue tionery, which bears a silhouette who loves his work—as one can contrive to stop you dead in your of Graphis Magazine. 11. L.

THIS ARTICLE WAS SET IN ITC bENGUIAT GOTHIC

For the past few years, the city of Baltimore has been PUT YOUR working on a major project: Operation Image-Lift. Aside from the actual physical re- BEST FACE habilitation of its waterfront and other historic areas, certain civic-minded organiza- FORWARD tions have been counting up and celebrating Baltimore's cultural contributions. In that connection, the Uni- versity of Maryland recently sponsored an Edgar Allan Poe Festival, to rediscover his work

Edgar Allan Poe Though not legally was a poet, writer of adopted Edgar short stories, and a became a member literary critic His of the childless family father, David Poe, Jr ofJohn and Frances was the son of Allan. He was given Major Dw.rid Poe, a the name Edgar Revolutionmy patriot Allan and was treated Young David Fte as the son of the became an actor at family. Although his nineteen, and married relationship with his Elizabeth Arnold, foster mother was a a young talented, good one, apparently English actress. Edgar there developed Poe was born in Boston between "Eddy" and onJanuary 19, 1809 his foster father an His parents died incompatibility: many of tuberculosis in of the details are no Richmond, probably longer possible to within two days of each reconstruct Poe other, shortty be ore was given a good Poe's third bin education, both in England and in Richmond, and entered The University of Virginia in 1826

He welled in After a brief and his classes but luckless career at accumulated some West Pont, Poe debts over which returned to his aunt's he and Mr. Allan home in Baltimore quarreled, as a result, where he spent the Poe left Virginia naIfour years in penniless and enlisted poverty and ill-health in *Army. He continued to write, In May, 1829, and in 1833 had after his discharge, Poe his first success. An arrived M Baltimore entry of .six stories, to make his home with Tales of The Fblio Club, his widowed aunt, won a prize of fifty Maria Poe Clemm. dollars. In the same Here he waited year, Mrs. Clemm for news of an moved to what is now appointment to West 203 North Amity Street, Point. In the meantime, where Poe continued he hoped to earn a to make his home with living by writing. her. In 1836 he married In December, his cousin Virginia he published and moved to Al Aaraaf, Tamerlane Richmond to begin the first of many and Minor Poems editorial positions 29

and to honor Baltimore where what it lacks in physical dimen- his writing talent was first rec- They subsequently sions, it makes up for in imagi- lived in Philadelphia ognized and nurtured. Poe nation and style. and New York where Virginia died in 1847 also died in Baltimore, and is Designed by Jerry Dadds; il- Poe was inconsolable. In September. 1849, buried on what-is-now Univer- lustrated by Jerry Dadds, Gary Poe nift Richmond for Baltimore by steamer sity grounds. Yealdhall, Richard Waldrep, on his way to Philadelphia He was The Eucalyptus Tree Studio Nancy Urbanski and Cameron at the height of his fame and ennkring sent us a copy of the brochure Gerlach. Typesetting by The what for him was they contributed to the Festi- prosperity. Despite Composing Room, Inc.; Print- investigation by val. Each of the studio artists ing by Collins Lithographing Avhokir• covering nearly a century, created and rendered his own and Printing Company, all of the circumstances of Poe last days are graphic interpretation of Poe. Baltimore, Md. still a mystery. They put their faces together *The ITC typefaces chosen for the with our faces* and turned out brochure are ITC Garamond Con- a jewel of a book. It is neat, densed and ITC Benguiat. compact— a scant 5"x 5"— but

He was discovered semi- At the time of his conscious outside a death, Poe was best polling place on East known in America Lombard Street and as a critic. He defined taken to what is now the short story and Church Home and invented the detective Hospital There he story. His poems are died on October 7 remarkable for their 1849 without beauty and melody, recovering sufficiently his tales for the intensity to explain w4t, had with which he brings happened to him. us under his *ell There is no evidence With his understanding to indicate that One of compulsiorm was a drug addict, but phobias, and other apparently he had little drives, Poe is cleark, tolerance for alcohol. a forerunner of This weakness may modern writers who have contributed to . concern themselves his death. with the tortured mind We honor him as one who depicts the dark mysteries of complex humanny.

In 1831 Baltimore was the third largest city in the country, having a population of 80,000 The port was flourishing The Barnum Hotel was the largest in the United States, having 200 rooms and thefirst mail chute. The first passenger train kJ! Mount Clare Station in 1830 It was horse drawn, but a year later the trains were steam drawn. Davidge Hall was a Major building in the city of Baltimore, and in 1833 the School of Medicine became the, first school to make dissection of cadavers a compulsory part of the curriculum.

The Westminster founded in Church was built 1792, is perhaps in 1852 by The best known Presbytery of as the burial Baltimore on a place of Edgar TO HELEN cemetery known Allan Poe. The HELEN, thy beauty is to me as The Western church housed Burial Ground. an active Like those Nicean barks of yore. The catacombs eontregaton That gentry o'er a perfumed sea created by the will 1977. The weary', uay-uern wanderer bore construction A committee are now thought of interested 7b his oun native shore. to hold as Marylanders has many as two been formed in On desperate seas long wont to roam. thousand tombs. conjunction with 7hy hytuinth hair. thy claniface. The graveyard, TheUniversity Thy Naiad airs have brought me home of Maryland School of case To the glory that was Greece to guide the And the grandeur that was Rome efforts to restore and preserve Lo! in yon brilliant aindousnithe this important How galuelike l see thee stand' landmark. The committee, The agate lamp within thy hand The Westminster Ah! Psyche fmm the regions uhkh Preservation Are Holy Land! Trust, is a private non-profit corporation brinnggi together individuals willing to work toward the restoration and adaptive use of the building.

THIS ARTICLE WAS SET IN ITC BENGIJIAT ITALIC NUTS

AristotleBOLTS dreamed of mechanical machines in the 4th century B.C. Only a hundred years later Archimedes thought that steam could be used to power them. And in the first century B.C., Hero of Alexandria wrote about the basics of machinery. But theory and technology didn't get together until the Middle Ages. During the next 500 years automatons were the same on the outside, but new and improved on the inside. As our knowledge of technology grew, so did they. And they became more lifelike. Then in 1921, they became better than human. At least they did in Karel Capek's play R.U.R. As a literary master- piece it was a minor piece. But if all else was forgotten about the play, one word wasn't. Robot. apek took the r•11111111111111111 name he gave his mechanical men from the Czech word 1111111111111111 IIIIII "robota:' Or drudgery The robots were to do all the menial tasks humans dislike. Unfortunately, the robots didn't like 111111111111111111111111 MINIUM doing them anymore than we did. And, since they could do 11111111111111111111 lila Al= them better, they decided they'd be better off without us. 1111111111111111111111111 1111111111111111111111 From then on robots became our foes as well as friends. 1111111 111111111111 Only five years later, in 1926, Fritz Lang's movie "Metrop- olis created another evil robot. Maria. Star Wars fans might remember her as C-3P0's evil grandmother. In this isliell1111416111111111111 case, bad blood (or bolts) didn't run in the family. W111111111111111111111111111 GIN 6° MIN Today we're surrounded by robots. But we don't always MI AIME MI MN AIN see the forest for the transistors. Because today's robots don't look like us anymore.Yet they help build our cars. 111111.1.11111611.1' 1 1 And they've been to Mars. They're as much a part of our .41 lives as our pocket calculator. (Which, by today's definition, is a robot.) The word "robot" may have meant drudgery. But we think you'll find our puzzle no great chore. So turn on your memory bank and program yourself for fun.

Man vs. robot. It was the early 1930's. And Jack Dempsey was sure of the outcome. "I wouldn't be afraid of any robot or mechanical man. I could tear it to pieces, bolt by bolt, and scatter its brain wheels and cogs all over the canvas:' But alas, as fate would have it,the fight never came a bout. 31

ACROSS DOWN

1. Air gun pellet. 1. Before A.D. 3. Basketball maneuvers. 2. storming. 11. Framework. 3. Drooling. 13. "Leave no stone 4. Prefix for capture or unite. 16. Half of a Star Wars robot. 5. Kind of operatic singer. 17. Squared block of building stone. 6. Inactive period. 19. Karel Capek's play. 7. Prefix for throsis. (Anat.) 20. Part of 19 Across. 8. lights. (Photog- 23. Flynn. rapher's need) 24. Breaks open. 9. Mistake. 26. Pucci. 10. After B.C. 29. Proofreader's term. 12. Part of 16 across. 31. Grain bristle. 14. What holds most robots together. 32. TV show with Jim Lang. 15. Former. 34. Poker term. 17. Overbearingly haughty. 35 " song of sixpence..:' 18. Computer in "2001:' 36. de Leon. 20. Not new. 38. Immerse. 21. St. Patrick's Day cry. 39. Words for a working day with 22. Bread and overtime. 25. Concealed rifleman. 40. Ivan the 27. Type of jar. 42. Small insect. 28. "Bring focus: 43. Theologian's degree. (Make clear) 44. Rose of baseball. 29. Hit hard. 45. One on the move. 30. Doctrine. 46. Surgical treatment. (Abbr.) 33 & supermarket. 48. Titanium symbol. 37. Word with card or union. 49. Boring. 39. What most graduates hope to do. 50. Broadway play. 41. Eskimo homebuilder. 52. Suicide. Japanese style. 44. Walleyed 55. Elevator man. 47. Part of a sentence. 58. " conclusion: 48. Oz character who wanted a heart. 59. Part of the Bible. (Abbr.) 51. Theatrical alliance. 60. bucco. 53. Caviar. 61. Initials of the 10th U.S. president. 54. Robot from film The Invisible Boy:' 62. Attention-getting expression. 56. Capri or Manhattan. 63. Two-way radio. 57. Dirties. 64. Morning hours. 63. AFL- 65. Chinese weight. 64. Hoop group. 66. Leftovers. 67. Lung ailment. A. One of the most sophisticated 68. " and the Forty 69. "1 bdrm, hsekpng:' automatons of the early 1800's, Thieves:' 70. Smith. 71. Salvador. this beautiful doll could write 72. Laurel and Hardy film. any message. As long as it had less than 40 letters. It was never late. Never sick. And never needed a coffee break. Just a little machine oil now and then. And, best of all, it never asked for a raise. g Many artists and art movements have been attracted to the robot. This endeavor, known as Mr. Sport,was featured at Expo '67. It's uncertain whether its function was to cheer the home team or frighten the opponents. But it probably didn't matter too much; the game was called be- This is cause of rain. Number 13 in a series of C. One of the first automatons (as they were called then) Very Graphic was designed in 1350. Crossword It was a magnificent bird Puzzles by that crowned the top of the Al McGinley Strasbourg Cathedral. And every day at noon he and Lee Gardner. spread his wings, thrust out his tongue and squawked the houc A bit of technology that was really something to crow about. 32

REPRODUCTION PROCESSES updated. DiskSort enables the CPT 8000 word processor to select and There are fabulous developments in order information from a disc file. color scanning,platemaking,and print- *"Forms Mode" enables the operator ing technologies. It is beyond the Screening Scanner is an electronic Graphics Corporation has introduced of several models of Burroughs Word scope of this Update to detail them, color separation system.The Combi- an automatic horizontal roll-fed cam- Processors to design a form for data but interested readers should pursue skop is a page-makeup station that era platemaker that produces high- entry in a few simple steps.The forms them as follows: The Linoscan 3040 is takes disc packs from the Chroma- quality direct positive photo plates can be recorded on a diskette or a push-button microcomputer color graph and is also a color correction from line and/or prescreened originals printed on blank or preprinted forms. scanner that is "simple and afford- station with a color monitor. Colors in a single step.The VGC Platemaker® Once a form has been created,it can able:' (Linotype-Paul,Inc.)...News- can be corrected; pictures can be 200 delivers Rapilith (Agfa Gevaert) be called to the screen and filled in as week and Information International, cropped; borders and frames can be plates at a rate of three per minute. many times as needed. Inc.are cooperating to develop a dropped in,silhouetted,vignetted,and Developed plates can be stored indefi- *A "String Command" feature (Bur- system to computer-capture,store, positioned; and multicolor back- nitely.... Itek Graphic Products offers roughs) reduces the number of key- and transmit Newsweek's editorial grounds can be created and dropped electrostatic platemaking systems. strokes required for repetitive editing color photographs...The Newscolour in. Headlines and type can be reversed, An eight-page,full-color brochure operations. System 3000 is a color separation color changed,dropped out into describes them as being for short to The '80s may see computer with keyboard, CRT, storage, panels,etc.The two devices acting medium runs of commercial and quick Built-in interface. and editing power.(Opti-Copy,Inc.)... together comprise the Chromacom printers, as well as in-office operations more interface capabilities built into Four-Color Page Makeup System ... text editors.One such,announced From Coulter Systems Corporation Office presses (a term once consid- recently, is the Inter/text System. comes a series of systems, including a The PDI Color Scanner System does ered an anachronism) have been aug- Offered by Info/graphics, Inc., it does camera platemaking system using the scanning, separating, correcting and mented by AM Multigraphic's auto- away with the separate "black box" KC-Crystalplate.These are smooth, various forms of enhancement.(Print- mated TCS/System 4,which features interface device.The system claims to stainless steel plates; the crystalline ing Developments, Inc.)...Zelacolor In- electronic copy quality control and coordinate the technologies of word photoconductive layer is a thin surface ternational offers a system that multiple reduction capability,and the and data processing,typesetting,and with exceptional resolution and high- makes color separations from three- TCS/System 5,which can print on both telecommunications. speed exposure.After imaging,KC dimensional objects or scenes as well sides of the sheet in one pass at up to plates are treated in a plate converter as from transparencies and reflection 17,000 impressions per hour. Ergonomics (human engineering, to fuse printing areas for long press copy.(Zelacolor International S.A., designing machines with people in Iife.Plates use minimum of fountain Luxembourg)... Looking ahead into the '80s,one must mind) is playing a larger role in the WP solution.The KC Digital Litho System is watch for alternatives to silver imaging market. Hazeltine's "OPUS 80" shared an all-digital page composition and Cameras are getting smarter and in such areas as laser exposing,the resource system not only features platemaking system that can convert more communicative, too. AM ECRM's crystalline KC plates,electrostatic audiovisual prompts to aid the opera- publisher's copy into a multipage 8400 Autokon II halftone camera can plates,and diazo imaging (slow and tor but offers an anti-glare CRT screen lithographic press plate without silver now interface with computer-based not too promising right now). Rising that can be tilted, has contrast adjust- film or other intermediate materials. pagination systems. This easily oper- costs of silver will make such alterna- able to any room lighting,and a color- ated dial-controlled camera, more fully tives increasingly attractive. Kodak's coded keyboard.Burroughs' RIII equip- The ST525-MKII and the CP525-MKII described in U&Ic's Vision '80s report, Extavolt is a nonsilver photographic ment permits the operator to adjust it are computer-controlled, have CRT dis- can now scan continuous-tone copy process in which positively charged to a comfortable viewing position to plays,and perform a variety of color and output it in digital form to an toner particles are attracted by the eliminate overhead glare. It also has a scanning,separation,and correction on-line storage unit...A new electron- electric fields of the latent image and filter that enhances screen brightness functions...Color scanners and four- ically controlled vertical camera is repelled by the positive charge of the in sunny or brightly lit rooms. color electronic page-makeup systems offered by Berthold of North America. unexposed areas. Extavolt employs are also offered by HCM Graphic The Hohlux RC 1070 is suited to *le or photoconductive polymer film.These That "Double Pigeon" Chinese Type- Systems,Inc.The Chromagraph halftone work and color separating.... light-sensitive plastics, when mass- writer described in Vision '80s (U&IC DC300B Laser Exposing Electronic At the office market level,Visual produced,could be less expensive Vol.7 No.2) is distributed in the United than silver:At present the system is States by Globus Brothers,c.o.Media system shown here three images can be proc- The Response - 300 pre-press system detours not suited for graphic arts work. Factory,Inc.,NYC. pictures from a color scanner into a computer essed at once. Signatures are automatically programmed for the full range of color-correction imposed .prior to exposure on the Sci-Tex and stripping operations. On the large-model Laser Plotter. Possibly the best prospect for a High-speed quality printing. WP print- replacement for silver is the ICP tech- ers in the '80s will be seeking the best nologyWithin a few years the intelli- of both worlds—productivity and qual- gent copier/printer field expects to ity.General Electric's TermiNet 510 have improved the quality of its toners Corresponder claims to be both a and photoreceptors to attain graphic correspondence printer and a line arts quality.,Combined with computer printer.lt produces 510 characters per controls,these systems will be able to second compared to the 50-55 cps of store fonts and output in madeup daisy wheel printers. It also offers a page form. wide variety of fonts and handles most letterhead stocks and pin-feed forms WORD PROCESSING from 3" to 14 A3:'7

Software enhancements in the '80s Word processing/electronic printer/ will make word processors more useful page-makeup connection. The '80s and easier to use.Some,recently will see a linkage between WPS and announced,are: electronic printers to combine the *DiskSort (CPT),a fast,easy method best features of each: text editing for sorting names,addresses, per- power, quality output,a variety of type sonnel and financial information and styles and graphics,output in page other data that must be continuously form at high speeds and on both sides of the paper. Software to facilitate this Prime Computer also has a multi- Videotext. Some people think that by connection is on the horizon.Already function package called The Office the end of the '80s all kinds of-infor- announced is the Scribe system devel- Automation System. It offers word mation will be distributed to homes oped by Brian Reed at Carnegie- processing,electronic mail,correspon- and businesses by either a TV set Mellon University.Scribe aims to be dence management,administrative augmented by an adapter and a easy for the non-expert to use and support anti text management serv- simple keypad or a TV set linked to a allows small changes to its prescribed ices along with time-sharing data phone,plus a keypad. Both systems formats.Scribe is not linked to any processing. are rather advanced in England.The output device and can format a variety former is known generally as Teletext of documents for a daisy-wheel printer, Asynchronous + synchronous. There Smart phones. We should soon see on and in England as CEEFAX.The latter is a laser printer,or a phototypesetter. seems to be a trend toward terminals the market faster long-distance con- known as Viewdata and in England as Before entering a job,the user tells that can communicate in both synchro- nections (two seconds instead of ten), Prestel.Teletext is inexpensive for the the system the kind of document it is nous and asynchronous modes and automatic redialing of busy lines, user:there's no charge after installa- and the device it will be output on. thus be interactively compatible with storing and recording of messages, tion of the adapter and keypad. It is IBM and other word or data processing searching for a customer at alternate passive, universally available via TV Bravo, designed at the Xerox Palo Alto systems.IBM's Displaywriter is one numbers,screening out certain callers, networks,backed by BBC and ITV in Research Center (PARC),runs on the such system and it can also verify and improved conference call serv- England.Prestel is not as advanced in Alto computer that displays actual spelling of about 50,000 words.Wang's ices.And mobile phones, as those in the market, will reach a smaller audi- typefaces.Bravo,an interactive PCS (programmable computer sys- vehicles,may become more common. ence at first, charges for each use, but editing/formatting terminal, haS a tem) also features asynchronous plus A portable phone will be carried like a is interactive—the user can dial up a keyboard and a "mouse!' The mouse synchronous (also called bisynchro- pocket.calculator and will use a new central computer and request particu- can be used to direct the CRT screen's nous) communications capability. technology called cellular radio. lar kinds of information. The British cursor. The system can insert, position, Motorola,Inc.and Bell Telephone Post Office is behind Prestel. edit, and format text.The Tex comput- WP is still in its infancy Despite its Laboratories, Inc. proposed such a erized typesetting and makeup system remarkable technological progress,WP technology almost ten years ago.The To become fully accepted in the market, and the DPI system,both described in is far from its market potential.Esti- FCC is encouraging it and watching here or abroad, videotext services the Vision '80s report in U&Ic,Vol.7 mates are that as of now it has field tests. If successful,cellular radio have to become more economically No.2,are other software approaches reached only 10 per cent of its ulti- will make it possible to offer portable attractive and probably need to be to formatting. mate market. phones and services to a much wider able to produce hard copies and market and to complete calls more handle photographs more efficiently. Multifunction terminals. Soon it may ELECTRONIC MAIL efficiently than is presently possible. The Canadian Telidon system is pres- be hard to tell a data processing ently the best at handling pictures. terminal from a word processor: Buzz The finite sky. Would you believe a FCC frees Bell. AT&T has been seeking words for the early '80s are "dual traffic jam in outer space? Well,it's deregulation so it could offer home Meanwhile the systems are being function" and "multifunction!' DP com- time.The choice orbits for communica- and office computers,computerized pushed in a number of other countries panies already offering dual function tions satellites are few.There's a school instruction and assorted other too. Newspaper publishers in the United DP/WP include Artsci,Inc., Hewlett narrow region some 22,300 miles services and devices.The FCC has States as well as broadcasters and Packard, Megadata Corp.These are in above the equator where satellites freed Bell to operate in these areas as companies such as GT&E (Prestel's addition to the dual-function devices can "park:' There's a limit to how many well as to supply computer-to-computer U.S. representative) are investigating reported in previous Vision '80s reports. can operate effectively.No number link ups for data transmission. FCC ways to distribute information electron- Datapoint's 3800 workstation is a has been established yet but you can't retains regulatory control over home ically.When that day arrives—perhaps multifunction system with one key- just jam them in like you do cars in a telephone service.The FCC decision will by the end of the decade,the roles of board. It is a word processor, data shopping center.They have to be be phased in for the next two years. many in the communications busi- processor,electronic message termi- spaced apart to prevent signal interfer- nesses may change; information pro- nal and manages data and voice ence.There are now about 80 satellites Communicating copiers. AM's Elec- viders, editors, art directors and others communications,all from a common in orbit and some 800 more may be vying tronic Document Communications would do well to watch videotext devel- data base. for space by the end of the century. System (EDCS) is a high-speed,high- opments to anticipate how their jobs, quality digital-fatsimile copier.lt can careers, roles might be affected if and Ideographic WPs. Wang's Ideographic Word Chinese, Japanese or English.A standard 10-key copy 70 pages a minute on plain when videotext is a commercial reality. Processing System simplifies Chinese and pad can produce some 10,000 characters, Japanese keyboarding. It can create, edit, and which formerly required thousands of keys. paper at local or remote sites.lt is 100 print documents in conventional or simplified times faster than present conventional Right now the obstacles to any form of facsimile devices.EDCS is designed videotextteletext or viewdata, becom- to work with satellite and other coming commercially significant are very munications networks.lt has been large.ln the book "Videotext' Efrem co-developed by AM International and Sigel lists obstacles to home teletext Satellite Business Systems.lt is as: people are used to watching TV scheduled for commercial introduc- primarily for entertainment; reading tion in early 1981. EDCS uses a high- text on a TV screen is tiring; the resolution (300 lines per inch) laser information offered is the kind people system and scans text or graphics at are accustomed to absorbing at the the rate of two seconds per page.The breakfast table or on the train, not in combined EDCS-SBS service is aimed the living room,and newspapers and at Fortune 500 companies. magazines presently fill the information needs better and at less cost.The EDCS laser-scans documents, sends same obstacles exist for viewdata electronic signals to an earth station services. Businesses rather than which relays them to a satellite for homes may be the first supporters of remote site transmission.Then another electronic information services since earth station receives the signals they will pay the cost if they get and sends them to a printer for plain valuable services in return. paper output.

ILLUSTRATION BYJUREK WAJDOWICZ THIS ARTICLE WAS SET IN ITC FRANKLIN GOTHIC 34 35

SKULL AND CROSSBONES: A HUMAN & ANIMAL PARTS CATALOGUE BY ALAN COBER Alan E.Cober is an artist whose work appears in leading national magazines and major newspapers. His unique talent enhances the pages of the huge

array of books he illustrates ';--`1`' for both children and adults. His drawings are regularly on exhibit nationally and internationally and he has received ) over 200 awards.

I first became familiar with Cober's pen and ink drawings in a varied number of portfolios featured in Lithopinion and then, particularly in his book The For- gotten Society, a marvelous collection of drawings published by Dover Publications. It is devoted to the elderly in nursing homes, the mentally retarded and the claus- trophobic prisoner's world of Sing Sing. There are those who see in Alan Cober's drawings a `people's' content and speak of George Grosz and the social art of caricature; but where Grosz pillories the bourgeoisie and the military, Cober is closer to Kathe Kollwitz and social consciousness, a sense of the suffering of the vic- timized poor. For others he is a surrealist and brings to mind Salvador Dali and his"spontaneous assimi- lation of irrational knowledge:' 36

Some of Cober's iconography deals with the strange and abnor- mal in a vocabulary that reflects not only an inventory of his own dream imagery but a familiarity with the writings of Kafka as well as of Dostoyevsky. In this portfolio there are a number of studies and exercises —a way of thinking. I am reminded of the pronouncement of Darer that "If an artist wants to create the stuff that dreams are made of, let him freely mix all sorts of creatures:' To recover from the frustra- tions of commercial advertising art, Alan Cober enters his own 'dream' through the jaws of a ram skull...an ink inferno taking on all manner of ap- pearances: those menacing humanoid piranhas and splin- tered eyesockets (Ring around the collar! Ring around the collar!) A self portrait with stitches on the lip...a scribbled fly passing by... hands and feet turning... (Winston tastes good like a ciga- rette should.) A lobster head... tongues as rough as mats of hair ...broken noses...a portrait of Ellen...some with no ears at all, skin, flesh and blood all dried up 37

and their noses, hands and feet, eyes and heads all lopped off... (Ladies, please don't squeeze the Charmin.) A self portrait with half (/ the face cut away...worms...owls... ravens...( Preparation H soothes as it heals.) A demon...a warlock... a self portrait with a memento mori visit from a cadaver...hobgoblins ... incubi ... (Plop, plop, phiz, phiz...) Out damned ad... It is the remarkable drawing and the ink itself which confounds the senses. LOU MYERS

THIS ARTICLE WAS SET IN ITC FRANKLIN GOTHIC

39 What's New from ITC? ITC Isbell Book, Medium, Bold, and Heavy with corresponding italics are new typefaces from ITC. Only licensed ITC Subscribers are authorized to reproduce, manufacture, and offer for sale these and other ITC typefaces shown in this issue. This license mark is your guarantee of authenticity. ICENSED These new typefaces will be available to the public on or after January 15, 1981, depending on each manufacturer'• release schedule.

ITC ISBELL BOOK ITC ISBELL BOOK ITALIC ABCDEFGHIJK ABCDEFGHIJK LLMNOPQRST LLMNOPQRST UVWXYZ&1234 UVWXYZ&I234 567890abcdef 567890abcdef ghijklmnopqrst ghijklmnopqrst uvwxyz$SfaC@% uvwxyz$$$C@% cDLLWECE8(4 (DLLOIECEBN loOefi1254567 loCe01234567 89C:(:;,?!•-"--1122/ 89o: ;, [tte#0234567890) #1frt -§ 0)1234567890] aeilmorst aeilmorst Dick Isbell Jerry Campbell

ITC ISBELL MEDIUM ITC ISBELL MEDIUM ITALIC ABCDEFGHIJK ABCDEFGHIJK LLMNOPQRST LLMNOPQRST UVWXYZ&I23 UVWXYZ8123 4567890abcde 4567890abcd fghijklmnopqrs efghijklmnopqr tuvwxyz$SfEC% stuvwxyz$WE KDLLOZECEB %OcDLLO/ECE Wici‘efil2345 B(C110&0:1234 67890:3:;,7!•av 567896:5,:75(;,•?!. [tf§# 023456 #1-f-f- (0)12345 7890aeilmorst 678901aeilmorst

ITC Isbell is a highly stylized new roman typeface designed by Dick Isbell and Jerry Campbell of Detroit, Michigan. With the unusual arches and curves of several lowercase characters, ITC Isbell is an exceptionally legible typeface that fits the need for a modern roman typeface that can be used for a wide range of advertising and publication purposes. It is offered in Book, Medium, Bold, and Heavy with corresponding italics. The letters

ITC ISBELL BOLD ITC ISBELL BOLD ITALIC ABCDEFGHIJ ABCDEFGHIJ KLLMNOPQR KLLMNOPQR STUVWXYZ& STUVWXYZ& 1234567890a 1234567890 bcdefghijklm abcdefghijklm nopqrstuvwxy nopqrstuvwxy z$VEC%cDLL z$WC%('DLI, WECE@Rdlofi 0/ECEOB(ctiofi Cei2345678 &wet& 12345678 90=(:;.rnatIAW) 90::(;,•?•44:=P7-v/t rftf§<011234567890 #*) if-f§od 12345678 aeilmorst 90 aeilmorst 42

fit neatly in text size and add grace and charm to a graphic piece when used for display. Designers Dick Isbell and Jerry Campbell established Campbell-Isbell Alphabets in 1975 to service advertising agencies and studios in the Detroit area and have worked on most of the automotive accounts in that city. Dick Isbell is best known for his Americana"typeface, which he designed for ATF in 1965. Both men have designed a number of headline typefaces.

ITC ISBELL HEAVY ITC ISBELL HEAVY ITALIC ABCDEFGHI ABCDEFGHI JKLLMNOPQ JKLLMNOPQ RSTUVWXY R STUVWXY Z8212345678 Z&I2345678 90abcdefghi 90abcdefghij jklmnopqrst klmnopqrstu uvwxyz$VE vwxyz$VC.E# %OcDLLOIE %0CDLLOIE CE11010&tkfi CEBCdloitYkfi 1234567890 123456r:790 *-47A 42/1 [tt§tim=7890] t‘ W002345678901 t aeilmorst 43

ITC ISBELL BOOK Excellence in typography is the result of not Excellence in typography is the result of nothing hing more than an attitude. Its appeal comes more than an attitude. Its appeal comes from the from the understanding used in its planning ; understanding used in its planning; the designer Excellence in typography is the result of nothing more than an attitu must care. In contemporary advertising the perfec de. Its appeal comes from the understanding used in its planning; th the designer must care. In contemporary adv t integration of design elements often demands un e designer must care. In contemporary advertising the perfect integr ertising the perfect integration of design ele orthodox typography. It may require the use of co ation of design elements often demands unorthodox typography. It mpact spacing, minus leading, unusual sizes and may require the use of compact spacing, minus leading, unusual size ments often demands unorthodox typograp s and weights; whatever is needed to improve appearance and impac t. Stating specific principles or guides on the subject of typography Excellence in typography is the result of no ITC ISBELL MEDIUM ITALIC thing more than an attitude. Its appeal co Excellence in typography is the result of nothing more mes from the understanding used in its pla than an attitude. Its appeal comes from the understand Excellence in typography is the result of nothing more than an attitu nning ; the designer must care. In contemp ing used in its planning ; the designer must care. In con de. Its appeal comes from the understanding used in its planning; th temporary advertising the perfect integration of desig e designer must care. In contemporary advertising the perfect integr orary advertising the perfect integration n elements often demands unorthodox typography. It ation of design elements often demands unorthodox typography. It of design elements often demands unortho may require the use of compact spacing, minus leading, unusual siz may require the use of compact spacing, minus leading, es and weights; whatever is needed to improve appearance and imp unusual sizes and weights; whatever is needed to impr act. Stating specific principles or guides on the subject of typograph ITC ISBELL HEAVY Excellence in typography is the result of nothi Excellence in typography is the result of nothing more ng more than an attitude. Its appeal comes fro than an attitude. Its appeal comes from the understan m the understanding used in its planning; the ding used in its planning; the designer must care. In co Excellence in typography is the result of nothing more tha ntemporary advertising the perfect integration of desi n an attitude. Its appeal comes from the understanding use designer must care. In contemporary advertisi gn elements often demands unorthodox typography. d in its planning; the designer must care. In contemporary ng the perfect integration of design elements advertising the perfect integration of design elements ofte It may require the use of compactspacing, minus lead n demands unorthodox typography. It may require the use often demands unorthodox typography. It ma ing, unusual sizes and weights; whatever is needed to of compact spacing, minus leading, unusual sizes and weig hts; whatever is needed to improve appearance and impact. ITC ISBELL BOOK ITALIC Excellence in typography is the result of nothi ng more than an attitude. Its appeal comes fro Excellence in typography is the result of nothi m the understanding used in its planning; the ng more than an attitude. Its appeal comes fro Excellence in typography is the result of nothing more than an attitu m the understanding used in its planning; the de. Its appeal comes from the understanding used in its planning; designer must care. In contemporary advertis designer must care. In contemporary advertisi the designer must care. In contemporary advertising the perfect inte ing the perfect integration of design elements ng the perfect integration of design elements gration of design elements often demands unorthodox typography. often demands unorthodox typography. It ma often demands unorthodox typography. It may It may require the use of compact spacing, minus leading, unusual siz require the use of compact spacing, minus lead es and weights; whatever is needed to improve appearance and imp act. Stating specific principles or guides on the subject of typography ITC ISBELL BOLD Excellence in typography is the result Excellence in typography is the result of nothing more of nothing more than an attitude. Its ap than an attitude. Its appeal comes from the understand Excellence in typography is the result of nothing more than an peal comes from the understanding use ing used in its planning; the designer must care. In cont attitude. Its appeal comes from the understanding used in its pl d in its planning; the designer must car emporary advertising the perfect integration of design arming ; the designer must care. In contemporary advertising th e perfect integration of design elements often demands unorth e. In contemporary advertising the perf elements often demands unorthodox typography. It odox typography. It may require the use of compact spacing, mi may require the use of compact spacing, minus leading, nus leading, unusual sizes and weights; whatever is needed to ect integration of design elements ofte unusual sizes and weights; whatever is needed to impr improve appearance and impact. Stating specific principles or

Excellence in typography is the result of nothi Excellence in typography is the result of nothing ITC ISBELL HEAVY ITALIC ng more than an attitude. Its appeal comes fro more than an attitude. Its appeal comes from the m the understanding used in its planning; the understanding used in its planning; the designer must care. In contemporary advertising the perfect Excellence in typography is the result of nothing more than designer must care. In contemporary advertisi integration of design elements often demands uno an attitude. Its appeal comes from the understanding used in ng the perfect integration of design elements rthodox typography. It may require the use of corn its planning; the designer mustcare. In contemporary advert ising the perfect integration of design elements often deman often demands unorthodox typography. It ma pact spacing, minus leading, unusual sizes and we ds unorthodox typography. It may require the use of compac t spacing, minus leading, unusual sizes and weights; whateve Excellence in typography is the result of r is needed to improve appearance and impact. Stating specif ITC ISBELL MEDIUM nothing more than an attitude. Its appeal Excellence in typography is the result of nothing comes from the understanding used in its more than an attitude. Its appeal comes from Excellence in typography is the result of nothing more than an atti planning; the designer must care. In conte tude. Its appeal comes from the understanding used in its the understanding used in its planning; the desi planning; the designer must care. In contemporary advertising the mporary advertising the perfect integratio gner must care. In contemporary advertising th perfect integration of design elements often demands unorthodox n of design elements often demands unort e perfect integration of design elements often de typography. It may require the use of compact spacing, minus leadi mands unorthodox typography. It may require ng, unusual sizes and weights; whatever is needed to improve appe the use of compact spacing, minus leading, unus arance and impact. Stating specific principles or guides on the subj ITC ISBELL BOLD ITALIC Excellence in typography is the result of nothing mor Excellence in typography is the result of e than an attitude. Its appeal comes from the underst Excellence in typography is the result of nothing more than an nothing more than an attitude. Its appea anding used in its planning; the designer must care. attitude. Its appeal comes from the understanding used in its pl 1 comes from the understanding used in In contemporary advertising the perfect integration anning ; the designer must care. In contemporary advertising th of design elements often demands unorthodox typog e perfect integration of design elements often demands unortho its planning; the designer must care. In dox typography. It may require the use of compact spacing, min contemporary advertising the perfect int raphy. It may require the use of compact spacing, min us leading, unusual sizes and weights; whatever is needed to im us leading, unusual sizes and weights; whatever is ne prove appearance and impact. Stating specific principles or gui egration of design elements often dema 44

e recently became intrigued with a portfolio of prints- 31 portraits of famous artists. There was something about these prints—not just the archaic look of them—but the sentimental idea of them, like some- STEPHEN body's collection of rock stars or sports heroes, that completely disarmed us. In this day and age of sophisticated technology, of cleverness, of oblique references and obscure meanings in art, what prompts a contemporary printmaker AlEORNS to get wrapped up in such a quaint idea as a portrait gallery of great artists? To begin with, if you are Stephen Alcorn, son of the illustrator John Alcorn, you were born into an art-conscious, art-appreciating home. Then if you were RITRATTI carted off to live in Florence during your impressionable years, if you went to school there and absorbed the Renaissance right through your American jeans and T-shirts, you would understand the impetus for this project.As Steve puts DEGLI it,"going to school in Florence, you couldn't help but feel that the Renaissance was still part of everyday life:' The architecture of the school reminded you; it ARTISTI had arched ceilings like the cathedral. Instead of Palmer-method alphabet placards around the schoolrooms, he stared at marble blocks incised with the names of the great Renaissance poets, artists and writers. In the very rooms of PIU the school building, workers were pouring plaster casts of Renaissance sculpture. The Renaissance was still alive in Florence, and going strong. Back home in the United States, Steve is now a Fine Arts Major in Print- CELEBRI making and Painting at SUNY at Purchase, New York. Partly out of nostalgia, partly in homage to the memory of Florence, he conceived of rendering a series of portraits of the Italian Renaissance masters. His inspiration for the • series came, surprisingly, not from the high art of the Uffizi and the Pitti Palace, but from the little known Italian Folk Art of the Renaissance and the two centuries following. The work, turned out by local artisans, took the form of woodcuts illustrating proverbs, fables and religious themes, for the most part. Like most folk art, they were straightforward, ingenuous and full of inventive decorative motifs. It was the spirit of these woodcuts that Steve tried to absorb and translate into his own linoleum cuts. Actually, portraits were rarely done in that period of Italian Folk Art, so he had to imagine how the local artisans of Umbria or Campania might have rendered them. Once he completed the Italian masters, there was no stopping him. He went on to include the Renaissance Masters of the North...thegreats" of the Middle Ages...and all his favorites from Cimabue to Picasso. For his references, he had to rely on already existing portraits of the older artists, and photographs of more recent ones. So far, there are 31 portraits in his gallery. The original blocks are 10" x 13:' printed on 15"x 22" sheets of "Goyulapanese rice paper, in black ink. The name block beneath each portrait is printed in red. We are reproducing 16 of Steve's prints, because we not only admire his unabashed hero-worship and the deep sentiment behind the project, but we are completely bowled over by his artistry. We also recognized that this feature was a perfect foil for demonstrating our new Roman typeface designed by Dick Isbell and Jerry Campbell. This is an elegant, sophisticated face, but you can see how well it complements the straightforward, unaffected character of the artwork. ITC Isbell has grace. It's spirited. It has beautiful forms. It is classic and contemporary at the same time. Like all great art forms, it will stand up to the whims of fashion, in the same way that the works of master artists never look"dated:' MARION MULLER • 45

THERE SEEMS TO BE NO ARGUMENT ABOUT IT: THIS MAN WAS THE MOST BELOVED PAINTER OF THE ITALIAN 13874455 RENAISSANCE. IN A TIME WHEN COM- PETITION FOR COMMISSIONS AND PROFESSIONAL JEALOUSIES WERE PLENTY FIERCE, THE DOMINICAN MONK FRA GIOVANNI DA FIESOLE HAD NOT A SINGLE ENEMY OR DETRACTOR. IN FACT, HE WAS AFFECTIONATELY CALLED "ANGELICO" FOR THE SWEET- NESS AND TENDERNESS THAT EXUDED FROM HIS WORK. HOW COME HIS SAINTS SEEMED SAINTLIER, HIS VIRGINS MORE VIRGINAL, HIS HEAVENS EXTRA-HOLY? HIS ASSOCIATES ATTRIBUTED IT TO THE FACT THAT HE ACTU- ALLY WEPT COPIOUS TEARS WHENEVER HE PAINTED A CRUCIFIXION, AND THAT HE NEVER TOOK A BRUSH IN HIS HAND WITHOUT A PRAYER ON HIS LIPS. HISTORIANS ARE NOT SO ROMANTIC. THEY EXPLAIN THE SPECIAL RADIANCE IN HIS WORK, THE SATURATED COLOR AND THE EXQUISITELY DETAILED BACKGROUNDS AS THE RESULT OF HIS EARLY TRAINING AS AN ILLUMINATOR OF MANUSCRIPTS. ea IN ANY CASE, THE UNIQUE LIGHT AND OTHERWORLDLINESS OF FRA ANGELICO'S WORK ARE SOMETHING TO EXPERIENCE NOT IN REPRODUCTION BUT IN THE FLESH. ANYONE WHO VISITS FLORENCE SHOULD SEEK OUT THE MUSED DE S. MARCO, FORMERLY THE DOMINICAN CONVENT WHERE FRA ANGELICO SERVED AS PRIOR, AND WHERE HE ALSO DECORATED EACH OF THE CELLS AND CORRIDORS WITH FRESCOES. THESE PARTICULAR FRESCOES, INCLUDING A SUBLIME ANNUN- CIATION, ARE ESPECIALLY DELICATE AND MUTED, IN TUNE WITH DOMINI- CAN RESTRAINT. AFTER YOU GORGE ON THE FEAST OF INLAID MARBLES, STAINED-GLASS, GOLD-BRONZE-AND-GEM-ENCRUSTED-EVERYTHING IN ANGELICO THE MEDICI CHAPELS AND PALACES, THIS LITTLE RETREAT, A SHORT DIS- TANCE OFF THE MAIN SQUARE, IS GUARANTEED TO CLEANSE YOUR PALATE. It's time to put an end to the notion that Leonardo daVinci was the quintessential Renaissance Man. In the sense that he 114524519 loved beautiful things and was skilled in a number of disciplines, he fit the definition. But his real genius was his insatiable curiosity about the universe, and that was decidedly not the spirit of the Renaissance! w Every question that occurred to him was investigated and recorded in his notebooks. How does the heart pump blood? Why do people die of old age? What are the laws of color? How do we hear? Can rivers be controlled? How do birds fly? If you imagine that all these questions were dealt with in an orderly fashion, be advised they were not. The notes were spread over some 5,000 loose pages, with no numbers, no beginning and no end.To make matters worse, he was a left-handed mirror writer; he used no punctuation, devised his own or- thography—running short words together and dividing long ones arbitrari- ly—and wrote without regard for sequence. It was not unusual for translators to find, on one page, some principle of astronomy, analytical anatomical drawings, theories about the motion of the Earth, the laws of sound and a discourse on the principles of color. Another page might explore the structure of the intestines alongside philosophical remarks about poetry and painting.a For centuries scholars labored to organize his notes. There are critics who have accused Leonardo of dissipating his energy by jump- ing from study to study. But we should humbly keep in mind that, in four centuries, we haven't yet answered all the questions that crossed his mind. LEONARDO. No, he was not a Renaissance Man; Leonardo's place is in the 20th century. 1475-1564 1485-1576 Any artist who has suffered rejection TITIAN! WHAT ROMANTIC IMAGES at the hands of a client should take THE NAME CONJURES UP...PEACHY- comfort from the fact that Michelan- SKINNED BEAUTIES LOLLING ABOUT, gelo was not always an instant hit WITH HAIR THAT ALL THE GENIUS OF with his patrons either. His David, ALL OUR LEADING COIFFEURS COM- one of the most revered sculptures BINED CAN'T MATCH. IT MAY SEEM in all the world, got a thumbs-down HARD TO IMAGINE, BUT THIS SEN- review from the general public when SUOUS PAINTER, WHO TOOK GREAT PLEASURE IN RENDERING FLESH BY it was first unveiled. ?s, In 1501, the THE POUND, HAIR BY THE STRAND citizens of Florence decided to erect AND 'VELVET BY THE YARD, WAS AS a monument to commemorate the ASSIDUOUS ABOUT BOOKKEEPING ousting of the tyrannical Medicis AS HE WAS ABOUT HIS AESTHETICS. from power, and the establishment SHE PAINTED HIS WAY ACROSS EU- of a benevolent republic. Michelan- ROPE, LEAVING PORTRAITS IN EVERY gelo won the commission with his NOOK AND CRANNY OF EVERY CAS- plan to create an image of the shep- TLE THAT COUNTED. HE ALSO KEPT A herd David. It would be a symbol of VERY SHARP EYE ON HIS ACCOUNTS the small and meek triumphing over RECEIVABLE, NEVER MAKING CON- the ignoble giant. He went to work MICHELANGELO CESSIONS TO DEFAULTING CLIENTS, AND EVEN DUNNING ROYALTY WHEN on a piece of marble that was aban- THEY FELL BEHIND IN THEIR PAY- doned 40 years earlier by a sculptor MENTS. IN ADDITION, HE CULTIVATED who found it too long and narrow for POTENTIAL CUSTOMERS BY ENTER- his purposes. Michelangelo chipped TAINING A STEADY STREAM OF away at the awkward, skinny block GUESTS AT HIS HOME, WHEELING for about 3 years. What emerged was AND DEALING ALONG WITH MANY not the locals' vision of the little shep- OF THE BEST MERCHANTS IN VENICE. herd boy they knew from their bibles. ASIDE FROM HIS INCOME FROM For starters, they couldn't deal with PAINTING, TITIAN MADE A LITTLE EX- a 13-year-old boy that was 13 feet TRA ON THE SIDE AS AN ART DEALER, AND FROM A SAWMILL HE OWNED IN tall.And instead of their image of an THE HINTERLANDS. HE WAS ALSO FI- innocent youth, still damp behind the NANCIALLY ASTUTE ENOUGH TO ears, they were faced with the formi- KNOW HOW TO FALSIFY HIS INCOME dable physique of a Greek warrior. TAX, TAKE ADVANTAGE OF TAX SHEL- They quibbled that the right hand TERS AND LOOPHOLES IN THE LAW was too large... the nose too long. But AND TO INCLUDE, IN CONTRACTS worst of all, this not-so-little David WITH HIS CLIENTS, SUCH LITTLE EX- stood stark naked! ?s, Nevertheless, TRAS AS PENSIONS AND ANNUITIES cool heads prevailed over the objec- FOR HIMSELF AND HIS CHILDREN. ?a, tions of the townspeople. A commit- BUT THIS EXTREMELY VERSATILE MAN WAS, ABOVE ALL, A FABULOUS PAINT- tee of artists and citizens, including ER WHO MANIPULATED OIL PAINTS— Botticelli and Leonardo voted unan- WITH GLAZES, TEXTURES AND A NEW imously to accept the sculpture, and STYLE OF BRUSHWORK THAT STARTED it was erected in the Piazza della Sig- TIZIANO A UNIQUE FORM AND STYLE OF EX- noria, the political heart of Florence. PRESSION IN PAINTING. 47

JACOPO ROBUSTI WAS HIS REAL Dt4Atil'ilik<04+)X040444Y7044)WITIVPITSIFY NAME, BUT THIS GIANT OF A PAINTER, WHO DREW LIKE MICHELANGELO 11518A-1594 AND USED COLOR LIKE TITIAN, WAS STUCK WITH THE DEMEANING LABEL "TINTORETTO" BECAUSE HIS FATHER WAS A DYER. a-a , STILL, THE NAME WAS NO HANDICAP. HE WAS HIGHLY SUCCESSFUL IN WINNING COMMISSIONS, NOT ONLY BECAUSE HE WAS SO GOOD, BUT HE WAS FAST—PROBABLY THE FASTEST BRUSH IN VENICE AT THE TIME—AND A GREAT PAIN TO HIS COM- PETITORS BECAUSE HE SWALLOWED UP ALL THE WORK IN TOWN. HIS AP- PETITE AND HIS ENERGY IN THAT RESPECT WERE ENORMOUS. HE DIDN'T MAKE THINGS EASY FOR HIMSELF EITHER. HE COMPOSED PICTURES WITH

MULTITUDES OF CHARACTERS IN THE FOREGROUND, SO NOTHING COULD fi BE FUDGED. HE THRUST HIS FIGURES INTO OBLIQUE POSTURES, CREATING MIND-BOGGLING FORESHORTENINGS. AND HE WORKED TO ENORMOUS SCALE. HIS LARGEST WORKS ARE LOCATED IN THE DOGE'S PALACE IN VENICE, WHERE TINTORETTO HAD A HAND IN DECORATING THE CEILINGS AND WALLS. IN THE TRIBUNAL ROOM, THE LARGEST ROOM IN THE PALACE, ri■Z` WHERE A THOUSAND MEN SAT TO APPROVE LAWS AND ELECT THE DOGE, (ir.f1(, )( Y()(44 , TINTORETTO'S PAINTING OF PARADISE FILLS THE ENTIRE WALL BEHIND ,) 'Ai )4 t).( ) afi)41) THE THRONES. IT IS REPUTED TO BE THE LARGEST PAINTING (FRESCOES ASIDE) IN THE WORLD, 7 X 22 METERS. WIT MUST BE MENTIONED THAT, IN SPITE OF HIS FINANCIALLY SUCCESSFUL CAREER, TINTORETTO LIVED MODESTLY, WAS A GOOD HUSBAND AND FATHER, AND, TO HIS EVERLAST- ING CREDIT, INVITED HIS DAUGHTERS AS WELL AS THE BOYS TO ASSIST TINTORETTO HIM IN HIS SUCCESSFUL STUDIO. TINTORETTO. A NICE MAN! 1 On the surface, the paintings of Pieter Brueghel, The Elder, look a lot like charming bucolic landscapes. But in es- 15254569 sence they are really symbolic, moraliz- ing religious pictures in a "pop" setting. Although, like every other serious painter of his time, Brueghel made the obliga- tory trip to Italy to see the masters of the Renaissance, he rejected their heroics —their grandiose religious and historic themes in Roman settings. The people of Brueghel's Lowlands were in a Protestant rebellion against Spanish and High Church domination at that time. Though Brueghel himself was not a member of any radical religious sect, he was a religious painter in another sense. He iden- tified man with nature, and nature with God. Instead of pictures of the Holy Family, he painted whole communities of village people. Instead of a Last Sup- per, he painted a peasant Wedding Feast. He painted people at work, in towns and in the fields. He painted God at work, in a series depicting the seasons of the year. He illustrated proverbs and adages to underscore moral lessons. He was a constant observer and commentator on the human condition, though it was obvious that his point of view changed with time. In his youth, he was dis- paraging about the stupidity of human beings. In his later works he showed empathy for their folly and their irremediable poverty and misery. ?a. His voyage to Italy did influence his point of view in the literal sense of the word. Coming from the Lowlands, where every road shoots straight as an arrow toward the horizon, the trip over the Alps was an eye-opener for Brueghel. The panoramic vistas he experienced were incorporated into his paintings. His birds-eye view B RV t GE I of village scenes and landscapes gave his paintings a spaciousness and spiritual grandeur that lifted them above their mundane subject matter. 48

SITTING IN A LOCAL VENETIAN PALAZZO? OR FOR A STARK NAKED CHRIST ON THE CROSS? ?a, IN SPAIN, HE DEVELOPED A 15411614 STYLE OF HIS OWN, WHICH WAS HIGHLY SPIRITUAL AND CLOSER TO THE BYZAN- 15771640 BY NOW EVERYONE KNOWS THAT DOMEN- TINE AND MEDIEVAL FORMS. IN SPITE In the 17th century, painters were not IKOS THEOTOKOPOULOS WAS BORN OF HIS OWN VOCIFEROUS OBJECTION TO generally counted among the cultured GREEK (IN CRETE TO BE EXACT), WORKED NATURALISM IN SPIRITUAL THEMES, HE elite. But with Peter Paul Rubens, they

MOSTLY IN SPAIN AND WENT THROUGH • CONSISTENTLY USED HIS WIFE'S FACE had to change the rules. Rubens was LIFE WITH THE ITALIAN NICKNAME EL FOR THE VIRGIN MARY AND POSED HIS a cultivated man in every sense of the GRECO. BUT WHY AFTER STUDYING WITH BROTHER AND SON AS SAINTS AND HOLY word. He had grace, intellect, was a lin- SEVERAL GREAT ITALIAN MASTERS (HE MEN HE, HIMSELF CAME IN FOR TONGUE- guist, an archeologist of sorts, respec- LEARNED TO WIELD A BRUSH FROM TI- LASHINGS FOR OTHER LIBERTIES THAT ted for his knowledge of the classics TIAN AND HOW TO PAINT CROWD SCENES HE TOOK. IN A WORK FOR THE TOLEDO and antiquities, a giant of a painter, and FROM TINTORETTO) DID HE ABANDON CATHEDRAL, HE PAINTED A CHRIST IN A very rich. His house was the show- ITALY AND EMIGRATE TO SPAIN?THE "TOO-RED"TUNIC, AND SURROUNDED HIM place of Antwerp, and still is. Dukes, TRUTH IS HE RUINED HIMSELF PROFES- WITH HOLY WOMEN WHO LOOKED "PRO- duchesses, queens and marquises SIONALLY IN ITALY BY MAKING DISPARAG- FANE"TO THE CRITICS. THEY CALLED HIS ING REMARKS ABOUT MICHELANGELO'S ELONGATED FIGURES "INACCURATE" AND encouraged his friendship, just to get PAINTINGS. BUT HE ALSO OBJECTED TO WROTE HIM OFF AS A KOOK WITH DEFEC- an invitation to his magnificent estate, CERTAIN FASHIONS IN ITALIAN RENAIS- TIVE VISION FORTUNATELY A SMALL ELITE and they weren't shortchanged. The SANCE PAINTING—THE MINGLING OF GROUP OF CONNOISSEURS ASSURED HIS baroque portico, the classic statuary, CHRISTIAN AND CLASSIC IMAGES, AND SUCCESS THEN AND TODAY WE KNOW OF the formal gardens, the gold-embossed THE "NATURALISM"THAT WAS CREEPING COURSE, HOW MUCH HIS DISTORTIONS tooled leather walls, his studio, his INTO SUPERNATURAL THEMES. AFTER AND LIGHT-AND-SPACE PYROTECHNICS paintings and his collection of antique ALL, WHAT KIND OF MYSTICAL FEELINGS INFLUENCED THE MODERNS—ESPECIALLY art objects were eye-poppers, even to COULD ONE HAVE FOR A HOLY VIRGIN THE EXPRESSIONIST MOVEMENT royalty. 4, The grand house was also the scene of his greatest pleasures and sorrows. His first son was born there, and his first wife died there. But after a few disconsolate years, at the age of 53, he took a beautiful 16-year-old girl for a bride. It naturally turned his life around. He painted with renewed vigor, using his child-bride in almost every picture. She was his model in religious paintings and in Dionysian scenes of goddesses and nymphs. He posed her in costume, and painted her in the natural setting of their garden, too, sometimes alone, sometimes with their children. He simply couldn't get enough of her ?&Although Rubens was a bit fuddy-duddy in his personal habits—he ate very little meat because the cooking smells upset his painting appetite, and he rationed his painting hours so as not to "tire his spirit"—he was voracious in his appetite for painting women. And how he painted them! Voluptuous...exuberant...Titian-inspired a GRECO RVP)t- NS figures. To this day, women who fit the description are called Rubenesque.

16064669 UNLIKE SOME OTHER GREAT ARTISTS WHO LEFT NOTES, JOURNALS AND LET- TERS BEHIND, REMBRANDT LEFT VERY FEW MESSAGES ABOUT HIMSELF...ONLY HIS WORK. BUT IF YOU HOPE TO CON- STRUCT A REASONABLE PSYCHOLOGI- CAL PORTRAIT OF THE MAN. BASED ON HIS PAINTINGS AND ETCHINGS, YOU'LL SOON COME TO A SCREECHING HALT. THERE ARE TOO MANY CONFLICTING FACTS. HIS MOTHER, THREE INFANT CHILDREN AND HIS BELOVED WIFE SASKIA ALL DIED WITHIN A FEW YEARS OF EACH OTHER. HE WAS IN A FINAN- CIAL MESS. HE HAD PURCHASED A HUGE HOUSE, ON WHICH HE NEGLECTED TO KEEP UP THE PAYMENTS. HE HAD WILLY-

. NILLY SPENT LARGE SUMS OF MONEY ON HIS PRIVATE ART COLLECTION. AT THE TIME OF DEEP PERSONAL TRAGEDY, HE WAS ALSO FINANCIALLY BANKRUPT. DID THESE CIRCUMSTANCES INHIBIT HIM? FOLLOWING HIS FAMILY'S TRAGIC DEMISE, HE PAINTED HIS MOST GRAN- REM BRA. DT GOYA DIOSE PICTURES. (THE FAMOUS NIGHT WATCH WAS COMPLETED THE YEAR around.) Whateter the cause, he was SASKIA DIED.) A PRODIGIOUS NUMBER left almost totally deaf, and his work OF RELIGIOUS WORKS FLOWED FROM took on a decidedly morbid note. He HIS STUDIO, TOO. IF YOU IMAGINE THE painted in somnolent gray tones, with SPIRITUAL THEMES POURED FORTH 1746-1828 FROM SOMEONE AFFLICTED BY GRIEF, only a few strokes of clear feverish YOU MUST ACCOUNT FOR THE FACT In any popularity contest among color. Within that period, a savage war THAT HE WAS ALSO TURNING OUT HUGE painters of his day, Francisco de between France and Spain intensified QUANTITIES OF ETCHINGS AND PAINT- Goya y Lucientes would have won the his personal trauma. He created a INGS WITH CLASSICAL AND PAGAN title "Mr. Spain:' He was in constant series of tragic etchings depicting th( IMAGES, AS WELL AS LANDSCAPES, demand for religious paintings, tap- horrors of war and the sufferings of PORTRAITS, NUDES AND STUDIES OF estry designs and portraits by the mankind. In his own home, he cov- OLD MEN AND WILD BEASTS. IF YOU dozen. His portraits, especially of ered the walls with frescoes of night- THINK HE WAS A DEVOUT CHRISTIAN, royalty, were painted with a brutal marish fantasies, as black in mood AND INTERPRET HIS ETCHINGS OF THE eye, and were less than flattering. as they were in color. Eventually, he CHRIST LEGEND AS SPIRITUALLY IN- But there was never a murmur of dis- exiled himself to France in protest SPIRED, YOU SHOULD KNOW THAT THE sent. Either his royal patrons were against the oppressive regime of Fer- INSPIRATION FOR THE COMPOSITION too dense to perceive the truth, or too dinand II. uk, In his 82 years, he pro- CAME STRAIGHT OUT OF RAPHAEL, THE intimidated by his stature to protest. duced a phenomenal quantity of HOLY FIGURES FROM HIS OBSERVA- Aside from a hectic career as a paint- work. There was hardly a subject or TIONS OF POOR OLD JEWS OF AMSTER- er, Goya found time for traveling, technique he didn't explore, and all DAM, AND THAT RELIGIOUS PICTURES his admirers claim to be his direct WERE VERY BIG SELLERS IN THE MAR- hunting, bullfighting and a little han- KETPLACE. at, FINALLY, WHAT KIND OF ky-panky with the Duchess of Alba. descendants. Romantics claim him MAN BUSIES HIMSELF ETCHING A POR- 4 But in his mid-forties, his expan- for his expressiveness; social realists TRAIT OF THE AUCTIONEER, WHILE HIS sive life style ended. He fell gravely ill for his revelations; surrealists for HOME AND HIS TREASURED ART COL- from a"mysterious" disease. (It might his phantasmagorical outpourings. LECTION ARE BEING SOLD OUT FROM have been lead poisoning brought on Could it be he was also the inspira- UNDER HIM? ONLY A MAN WHO IS AN by his habit of working in haste and tion for Picasso's and CasaLs' self- ARTIST TO HIS BONES. using his fingers to push the paint exile from Spain? 50

WHEN WE THINK OF DEGAS, WE THINK BEAUTIFUL THOUGHTS: BEAUTIFUL BAL- LERINAS WHO NEVER SWEAT...BEAUTIFUL 18344917 MOTHERS WITH BEAUTIFUL CHILDREN WHO ONLY SMILE AND WHISPER... FASHIONABLE GENTLEMEN ON SPLENDID HORSES THAT NEVER "MISBEHAVE" ...EVEN THE LAUNDRESSES AND MILLINERS IN HIS PAINTINGS PERFORM THEIR CHORES WITH GRACE AND DIGNITY DEGAS HAD CLASS. ?a , THOUGH HE CAME FROM A WELL-TO-DO FAMILY WITH EVERY ADVANTAGE, HE NEVER FLAUNTED HIS PATRICIAN BACKGROUND. IN FACT THE FAMILY NAME WAS ACTUALLY DE GAS, BUT HE DISMISSED THAT AFFECTATION AND CALLED HIMSELF, SIMPLY, DEGAS. THAT'S NOT TO SAY HE BEHAVED LIKE ONE OF THE BOYS. DEGAS WAS A LONER. HE NEVER MARRIED AND NEVER FORMED ANY CLOSE RELATIONSHIPS. EVEN WHEN HE PARTICIPATED ACTIVELY IN IMPRESSIONIST AFFAIRS, HE WAS ALWAYS SO OPINIONATED AND UNYIELDING, HE ALIENATED THE OTHERS. TO MAKE MAT- TERS WORSE, LIFE PLAYED SOME SHABBY TRICKS ON HIM. PHIS FATHER DIED, LEAVING HIS BUSINESS AFFAIRS IN SHAMBLES. DEGAS HAD TO PAY UP HUGE AMOUNTS OF OUTSTANDING DEBTS TO SAVE THE FAMILY FROM BANKRUPTCY AND DISGRACE. ALTHOUGH HIS WORK HAD ALWAYS BEEN HIGHLY SALABLE, IT WAS NO SMALL EMBARRASSMENT FOR HIM TO HAVE TO ASK HIS DEALER FOR AN ADVANCE. IN ADDITION, HIS SIGHT, WHICH HAD BEEN FAILING, WAS NOW ALL BUT GONE. HE HAD TO GIVE UP PAINTING IN OILS, WHICH WAS NOT AN UNMIXED BLESSING. HE CHOSE TO USE PASTELS, BECAUSE HE FELT MORE INTIMATELY RELATED TO HIS WORK WITH A CHALK STICK IN HIS HAND THAN WITH A BRUSH. AND HE WORKED IN PASTELS AS NO ONE BEFORE—TRAPPING LIGHT AND AIR BY HATCHING COLOR OVER COLOR IN THE IMPRESSIONIST MANNER. THE WORSE HIS SIGHT GOT, THE MORE VIBRANT HIS COLORS AND THE BOLDER HIS FORMS BECAME. IRONICALLY, THOUGH HIS WORK WAS WIDELY KNOWN AND APPRECI- ATED IN HIS LIFETIME, WHEN HE WALKED THE STREETS OF PARIS, A SHRUNKEN, DEGAS GRAY-HAIRED OLD MAN, NOBODY RECOGNIZED HIM. In the mid-I800's, even as now, it was the custom for middle-class young men, without any zi*ruelcatzw*on," 18394906 respectablectableu cairee"dr That's what Cezanne's father wanted for him. But after a brief stint at law school, Cezanne had enough. He had more aesthetic leanings, so he and his boyhood chum, Emile Zola, left their home in Aix for Paris. Zola was immediately at home in the circle of Parisian in- telligentsia, but Cezanne felt out of step. He enrolled in drawing classes and there too he felt awkward and alienated.While others drew With traditional classic lines, he chopped and blocked his figures as if hacked out of wood. Discouraged, he returned home to work on his own. But he was a constant embarrassment to his father for the way he hulked around the countryside, in baggy clothes, unkempt, behaving like a mad artist, but never seriously participating in the art world. He never exhibited with the academicians, because they barred his work from their salons.And he in turn rejected the avant-garde Impressionists. He could not settle for their infatuation with in- significant,fleeting atmospheric effects. If he painted an apple, he couldn't care less if it was morning, noon or a snowy day. He cared only how solidly round it was. When he painted an arm or a leg, it became a cylinder. A moun- tain was a pyramid; a little house, a cube.Even the air itself became a series of geometric planes to him. ?s , Most of his life he lived and worked alone, away from the distractions and arguments of the marketplace. In his later years, when his ideas about form and structure were finally understood, they sparked a revolution in painting—“Cubism.”And if Picasso and Braque C E/AN N E are the fathers of that movement, then Cezanne is certainly the grandfather.

His whole life story is one of clashes—with parents, employers, neighbors—and of unrequited love affairs and unsuccessful /85341890 jobs. He couldn't please his parents, so he tried fanatically to please God. His services as a lay minister to a flock of Belgian miners were just another disaster. He never felt saintly enough, and his overzealous behavior, his fasting, his self-deprivations, made him sick and everyone else, tired. 4 , Fortunately, in Millet's paintings and Rembrandt's etchings, he finally discovered the empathy for poor, wretched little people that he craved to express himself. It gave him license to pursue his religious fervor through art instead of the pulpit. He started to draw and paint peasants in the fields, in their thatched huts, at their meals. He made studies of their muddy boots, their looms and their farm tools—all in suitable dark and somber tones. But on a visit to France, he discovered the Impressionists. The ascetic demons in him gave way to the aesthetic ones. His new paintings blazed with color—emerald green, vermilion, Prussian blue and dazzling yellow. Instead of dreary peasant pictures, he painted rolling verdant farmlands, orchards in bloom, voluptuous flower bouquets, still life objects and portraits. That his frenzy transferred from religion to art was obvious from his output: in 15 months, he turned out over 200 canvases. It xfisisoNoNoi ,i,exexesolvaxemsoNeomium , ' was also at this time, in an argument with Gauguin over form— not faith—that Van Gogh cut off his ear. ?a, A hundred years earli-

er, he might have been"exor- 1 .,0 ,=* cised" of his demons. A hundred .i.. .0., years later, he would have been 6J. psychoanalyzed. But Van Gogh .1 .%'... 0, 4 solved his anguish by putting a , bullet in his head when he real- A ,,,,, I _, d ..;:! .-( _ -,..-i.., ized that his pathological per- \ ;Y

sonality had been interfering , - , ;' :' ,1111116"( : \\\\\) 1• \ •\ with his painting. 0.. ' i ,,,,- u,,‘,'(,,,!:7„. ).„•=1 ,1-,i) , rr , (g4,,,,1/4, 21.1 • ,1/4,0 ,, -• , . , ,,,,. • - , , 18 5 9 -18 9 1 , • • :-• 1/4\ \1/4 ,...., 4 -- -.-- \so‘ ,,. WHEN WE HEAR THE NAME SEURAT, , 5•.„ WE SEE SPOTS BEFORE OUR EYES. Avogdvaox,"vg.ogioxwoovolvvivo IT'S THE NAME WE MOST CLOSELY ASSOCIATE WITH THE TECHNIQUE OF PAINTING IN TINY DOTS OF COL- OR. 4, IN THE LATE I800's, SEVERAL NEW SCIENTIFIC TREATISES SUR- SEVR AT FACED DEALING WITH THE OPTICS VAN GOGH AND PHYSICS OF COLOR. GEORGES SEURAT WAS FASCINATED. MANY OF THE OBSERVATIONS, OLD-HAT TO US NOW, WERE REVELATIONS THEN. FOR INSTANCE: DOTS OF DIFFERENT COLOR, MIXED OPTICALLY, LOOK BRIGHTER THAN THE SAME COLORS MIXED ON A PALETTE! COLORS APPEAR BRIGHTEST NEXT TO THEIR COMPLEMENTS! COLORS REFLECT EACH OTHER! (RED APPLES ON AYELLOW CLOTH THROW TINGES OF RED ON THE CLOTH AND PICK UP TINGES OF YELLOW, IN TURN. AND SO ON.) 4-, SEURAT, AND A FEW OTHERS, COMBINED ALL THE NEW COLOR IDEAS WITH CLASSIC CON- VICTIONS ABOUT STRUCTURE, LINE AND POSITION. THEIR NEW STYLE OF PAINTING WAS CALLED POINTILLISM... SOMETIMES, DIVISIONISM. IT IS MOST COMMONLY KNOWN AS NEO-IMPRESSIONISM BECAUSE OF THEIR SIMI- LAR DABS OF COLOR. BUT IT WAS AS DIFFERENT FROM IMPRESSIONISM AS NIGHT FROM DAY. THE IMPRESSION- ISTS WORKED OUTDOORS, IN THE BLAZING SUN OR A BLINDING SNOWSTORM, IN A FRENZY TO FINISH THEIR PICTURES BEFORE THE LIGHT CHANGED. COMPOSITION DID NOT MATTER; FORMS DIDN'T MATTER EITHER. RE- MEMBER, THEIR CHAOTIC DABS OF COLOR WERE STRICTLY USED FOR ACHIEVING ATMOSPHERIC EFFECTS. SEURAT'S DOTS, ON THE OTHER HAND, WERE ALL SCIENTIFIC AND CONTROLLED. HE ALSO SKETCHED OUTSIDE, BUT THE MAJOR WORK WAS DONE IN HIS STUDIO, WHERE HE SPENT MONTHS ANALYZING THE ARRANGEMENT OF COLORS, SO THAT EVERY FORM EMERGED SOLIDLY...NOT A LEAF STIRRED OUT OF LINE...AND THE COLORS INTEGRATED AND VIBRATED ACCORDING TO HIS SCHEME, NOT NATURE'S WHIMS.

AND TRUSTING EXCHANGES WITH OTHER ARTISTS. AS A MAN, HE WAS EBULLIENT, OVER-COMPENSATING 1864-1901 HIS HUMILITY, PERHAPS, WITH WIT 1898.4967 AND WISECRACKS. ?a , THE NOTION THERE ARE THREE POPULAR MIS- THAT HE WAS UGLY CAME FROM HIS What did he mean by a picture of CONCEPTIONS ABOUT HENRI DE OWN SELF-DEPRECATING CARICA- a locomotive emerging from a fire- TOULOUSE-LAUTREC, AND THE TURES. HE DREW HIMSELF WITH place? What are we to make of a MOVIE WAS NO HELP IN SETTING US STUBBY LEGS, TINY EYES, HEAVY water glass resting on an open um- STRAIGHT. ONE, THAT HE WAS MEAN- BLACK BEARD AND LASCIVIOUS brella? Of a nighttime street with a SPIRITED. TWO, THAT HE WAS UGLY. LIPS. HIS PHOTOGRAPHS, ON THE daytime sky? According to this ar- THREE, THAT HIS DEFORMITY DREW OTHER HAND, SHOW HIM TO HAVE A tist, we are to make nothing...abso- HIM TO HIS "DEPRAVED?' SUBJECT RATHER PLEASANT FACE WITH lutely nothing ! ta , The Belgian MATTER. ta , THE FACT IS, LAUTREC STRONG BONES, A COMELY BEARD painter Rene Magritte has been WAS BORN TO A WELL-HEELED FAM- AND, WHAT SOME MIGHT CALL, SEXY called a Surrealist. But Surrealism ILY WITH NOBLE CREDENTIALS. HE LIPS. AL , IT MAY BE PARTLY TRUE is all about dreams, fantasies and WAS A WARM AND LOVING CHILD, THAT HIS OWN ABNORMALITY DREW subconscious meanings. Magritte is HIM TO THE DEMI-MONDE. BUT IT'S THE APPLE OF HIS MOTHER'S EYE, not. He painted common objects, AND BELOVED BY A HOST OF AUNTS, ALSO KNOWN THAT, EARLY ON, HE WAS TURNED OFF BY CLASSIC SUB- but he's not a"Pop"artist. He UNCLES AND COUSINS. THERE'S NO painted with photographic fidelity, EVIDENCE THAT THE BONE DISEASE JECT MATTER AND BOURGEOIS POR- AND CRIPPLING ACCIDENTS, WHICH TRAIT PAINTING. HE PRESENTED but he's not a Realist. Neither is he STUNTED HIS GROWTH, CHANGED HIS DANCE HALL GIRLS, CABARET an art-for-art's sake, Non-Objective HIS PERSONALITY DRAMATICALLY. SINGERS AND PROSTITUTES—NOT painter, because he did have an ob- FROM HIS SICKBED, HE WROTE AS FREAKS—BUT AS FACTS OF LIFE. ject: it was to tantalize, provoke, CHEERFUL, ILLUSTRATED LETTERS, LAUTREC DIDN'T VULGARIZE THEM delight, surprise and sensitize our FULL OF LOVE AND KISSES TO HIS OR CRY FOR THEM. JUST AS GOYA vision—to make us look without RELATIVES.AS A YOUNG ART STU- RELATED THE HORRORS OF WAR, thinking. And in order to make sure DENT, HE WAS ENTHUSIASTIC AND LAUTREC TOLD THE TRUTH ABOUT we didn't make sense out of his pic- ASSIDUOUS,AND SHARED WARM MONTMARTRE. tures, he used the most familiar objects in the most irrational settings and juxtapositions. To frustrate us further, he gave us titles that are absolute nonsense. No amount of pushing or verbal gymnastics will help us fit Rene Magritte into a ready-made category. He is a one- of-a-kind painter. But what kind of man was he to delight in frustrat- ing others? Strange as it may seem, Magritte was a shy, solitary man, not at all bold, pushy or self-assured. He was orderly, disciplined, intensely neat and intensely private. Though he spoke freely on im- personal topics like philosophy, politics and art, nobody could ever crawl inside his mind to understand such personal matters as his affinity for Edgar Allan Poe...why he wept when he visited Poe's cot- tage in New York...why he never discussed his mother's drowning. He wanted nothing to do with psy- choanalytic probings of art and artists. In his own words, he"de- spised his past"and wanted his life LAVTREC MAGRITTE to be as unexplained as his work was unpredictable.

ADD NUB!NUMB!M 0001 XXXXXXXXXXXXXXX DOC NAME RANSOM 41 Something from Everybody for U&lc I RAIe YouR EDITOR

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ke:3: and Samuel, the essayist, 1835-1902. hhDsloetHI7F:A27:0 1*EaSs714: 331(..:::° 1!°91tY'.:70? 4k0V'84W ;,Al:3:1417E:74.1.°:;° Although we correctly attributed the :k.E.we4hlAdtr43.:71:115;t1h'UI SI''n't917' 9 :7L:1:::4';'.!011513;.1::;', quote to Samuel the latter, we illustrated 14121V‘2 Iv ?!.,., ,,,,,,j, 240,;,,2 i4Etv A 00 fa! art$41 it with a 17th-century engraved portrait D IDR.)nEaNhv to,ft, rf#316 0, N Y Fielid of Samuel the former. Reproduced, ''.: A '06' Ottie ":4i1'; % ro AD.. REW ADDRES:i above, is a picture of the correct Samuel Eastko.ft,, . 304- Aesmo....-200 Fat opow30th Ss. , .'' :2:" 14 . 1 4 N:ElNk, 3N0. 'YhA1.3;'°°'DIRgi° Butler. We suggest that you cut it out in S ' ix,;,r6 '' 444,t aiturfas 06Ftes,New200 East 3011, U.* an oval shape and paste it over the Yak, N.Y. /00I4 2 N,. wrong Samuel Butler. It will give us IC *bi':'4 .9 considerable peace of mind. 200 fag 3 NEW•HScW916 NEVJU: 200 fair 30 6 .‘„,, 0th Shen ,n, ■ ',..-- 57

CAST OF CHARACTERS

Because Jason Calfo, our art and production editor, had an operation on his ankle...Because his leg was subsequently encased in a cast ...Because a plaster cast makes an irresistible surface to write on... Because Jason dreamed up an irre

sistible pun, Cast of Characters (get it?), and thought it was a neat way to show you some of the people behind the scenes at U&lc...We all assembled one evening to sign our names, NANCY PORTER pose for pictures and let him tell us all about his surgery. Here we are, in case MOORE AND anyone cares. ROBERT BY RAPHY PHOTOG

THIS ARTICLE WAS SET IN ITC SOUVENIR 58

You don't want your jobs to be any less than the very best. We feel the same way. That's why we tell you not to compromise when it comes to type. Don't settle for Chelmsford Medium when what you really want is Chelmsford Demi Bold. Don't settle for 60 point when what you really want is 601/2 point. Don't settle for 45 pica line length when you really want 70 picas. To make sure you don't have to settle for less, we've put together a combination of type styles and typesetters that give you exactly what you want: great type. First, take a look at our library. Chances are, we have the exact type you need. Because we make over 500 type styles, including most ITC Introducing ITC Isbell Bold. faces. And we're continually adding more. One of eight styles now available For instance, we just added 8 ITC Isbell faces to our ITC selection. (You can see one example in our newest family of type. in the center column of this ad.) So now you •the ITC Isbell family. can get the complete set of faces in the ITC Isbell family. All of our type is great looking, too. Each and every character prints with perfect clarity and sharpness in our full range of sizes, from 51/2 point to 74 point. And to make your typesetting easy, we put four different faces with a total of 448 characters on every type disc. Want great ty We have more than 1,000 different standard type discs on hand. But, if you need a combination of styles that isn't already available, tell us and we'll make it up for you. We also have pi discs with just about every special character and symbol you can think of. From fancy borders to horoscope signs. And we'll make sure you get your type discs when you need them. Our Type Express service guarantees that your order for any of our standard type discs will be out our door within eight business hours. (U.S. only.) We'll even send it by air express if that's what you want. Next, take a look at our typesetters. They give you more type than most phototypesetters in our price range can. 59 AO Varityper the Informationists.

For example, with our Comp/Edit system, you get 16 styles on-line. And you can set them in 138 sizes, from 51/2 to 74 point, in 1/2 point increments. That's a combination of 2,208 different fonts, all available at the push of a button. And you can mix all the styles and sizes you need within a single line. The Comp/Edit system also has a 70 pica line length and 16 inch automatic reverse leading. So you can do most of your big jobs without any paste-up. So, why compromise when you don't have to? Return the coupon today and we'll send you a copy of our "type one-liner," showing all the faces currently available. If you really want great type in a hurry, call toll- abcdefghijklmnopqrstuvwxyz free (800) 631-8134, except in Alaska and Hawaii. ABCDEFGHIJKLLMNOPQRSTIJVWXYZ From New Jersey (201) 887-8000, extension 666. Or write AM Varityper, Dept. F-2, 11 Mount 1234567890&$(1,% Pleasant Avenue, East Hanover; NJ 07936. In Europe: AM International Information Ser- vices Ltd., Varityper Division, 44 Church Street, Luton Beds, England. Call 44-582-416837.

Comp/Set, AM and Varityper are registered trademarks and Comp/Edit, The Informationists and Type Express are trademarks of AM International, Inc. ©1980 AM International, Inc. Give us a shout. Yes,lwarit greattype. ❑ Send me a copy of the "Type one-liner." ❑ Send me information on your phototypesetting systems. F-2 Name

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Phone ( ) 60 •11■1111111b. .11111111111■11111111111•1111 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz&fiffflg 123456789012345678901234567890 Demos ABCDEFGIHJKLMNOPQRSTUVWXYZ When Dutch graphic designer Gerard -- Unger began the design of Demos, he RCEOLDBoeodr" wanted a "type for everyone". As a typo- .,:;?!ZI--/0[]"""><»«*t§Se£%/21/4 3/4 grapher and art director, Gerard saw the need for a "really new, workable design" Demos Italic ABCDEFGHIJKLMNOPQRSTUVVVXYZ& suited to modern technology. He wanted a digital type that would abcdefghijklmnopqrstuvwxyz1234567890 print faithfully by offset, gravure, or letter- press on any grade of paper; an economi- Demos Bold cal type that would read easily even in the ABCDEFGHIJKLMNOPQRSTUVWXYZ& smallest sizes; a clear type for reproduc- abcdefghijklmnopqrstuvwxyz1234567890 tion on office copiers; and a contemporary type that continued the classical canons of Demos Bold Oblique good letterforms. ABCDEFGHIJKLMNOPQRSTUVWXYZ& Demos is such a face — a type that lets abcdefghijklmnopqrstuvwxyz1234567890 everyone speak easily in every kind of print. And so it was named with the Greek word for "the people", to honor those who gave us the alphabet and democracy. Large x-height, horizontal stress, open Demos (de'rni5s) n. 1. The counters, sturdy serifs, precision letter- people of an ancient fitting and pre-rounding of corners give Greek state, considered as Demos its fidelity and legibility for photo- a social class or as a politi- mechanical reproduction. cal entity. 2. The common In cooperation with Digiset's computer- people; populace. [Greek ized letterdrawing office, Gerard designed, demos, district, people.] tested, and corrected each character directly on the digital grid. The result is exactly what the designer intended — neither a "similar-to" nor a "re-drawing", but the real thing. Praxis is a sans-serif which harmonizes with Demos in form, weight, and propor- tion. Unlike traditional sans-serifs (Swiss gro- Praxis (prak'sis) n. 1. Practical tesques or American gothics) Praxis presents application or exercise of a an original letter-texture adapted, like branch of learning 2. Habit- Demos, to modern technology. Designed ual or established practice; to maximize legibility, Praxis draws upon custom. [Medieval Latin, Gerard's experience designing sans-serif from Greek, doing, action, signage for the Amsterdam subway. from prattein, prassein, to Together, Demos and Praxis form a do.] "super-family" of serif and sans, with italic, oblique, & weights, for the foundation of a new era in typographic design.

ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyz1234567890

Praxis Praxis Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyz1234567890 For more information on Demos, see ABCDEFGHIJKLMNOPQRSTUVWXYZ& Praxis Oblique "The Design of a Typeface" by Gerard Unger in Visible Language Volume abcdefghijklmnopqrstuvwxyz 1234567890 XIII, Number 2, pp. 134-149; and "Gerard Unger: Type Design and ABCDEFGHIJKLMNOPQRSTUVWXYZ& Praxis Bold Oblique Lettering" in Fine Print Volume VI, Number 3, pp. 102-103. abcdefghijklmnopqrstuvwxyz 1234567890

Digiset/HCM Graphic Systems Complete this form for free type chart/poster

Name 115 Cutter Mill Road Address Great Neck, New York 11021 City/State Zip (516) 466-0710 61 NEWSLETTER

Skills for Hire* Grad Handles Graphics for Television News PITTSBURGH — The award-winning television station KDKA-TV is the work world of talented Theresa Zamborsky, Art Institute of Pittsburgh Visual Communication graduate. Theresa does local ads for TV Guide; billboards; bus cards, and graphics for news

programs. As television art must be horizon- Brad Holland (c) and J.-C. Suares (1) listen as Jim McMullan responds to a question from the standing-room-only audience. tal, she has a special challenge, which she recently met in creating graphics for the set's weather map. "This station knows all about Big Names Bring Visual Ideas to Colorado Conference the Art Institute," Theresa says, "and they often recruit from the school. Five out of six DENVER —A capacity crowd came from all poster of Liv Ullmann as O'Neill's Anna sional world of design. In addition to this of the artists here are Art Institute grads!" across eastern Colorado to experience one Christie. Suares provided a perfect com- series of programs, the schools are among of the season's major graphic events when plement as he presented the art director's the sponsors of the International Design famous illustrators Brad Holland and Jim angle on visual ideas, based on his experi- Conference in Aspen; provide a yearly schol- McMullan joined noted art director/cartoon- ence as the original art director of The New arship to the International Center of Pho- ist J.-C. Suares for a conference on "Visu- York Times Op-Ed page. tography in New York, and individually al Ideas" at the Colorado Heritage Center. The conference was typical of The Design grant scholarships to the winners of Scho- Co-sponsoring the event were the Art Di- Schools' continuing activity in the profes- lastic's high school art competition. rectors Club of Denver and The Design Schools. It was another in the series presented by the schools to bring important graphic ideas to all parts of the country, while making prospective employers aware of the impressive skills and abilities of The Design Schools graduates. During the two-hour session, the three panelists described their personal creative processes. Holland kept the audience amused as he spoke of his formative years and his difficulty in breaking into commercial art — then he amazed them with his Advertising Design student Cindy Williams startling work. McMullan gave the group an of the Art Institute of Houston designed this in-depth look at his "socio-journalism" and graphic oceanside signage in her class on discussed an early sketch for his famous Art directors, designers and illustrators hear celebrated panelists in Denver. logos, symbols and corporate identity.

Graduates of The Design Schools have had 24 months of intensive, specialized preparation in a variety of skills, including: advertising design, typography, photography, illustration, drawing, perspective, lettering, airbrush, package design, multimedia, animation, mechan- icals, pre-separation and many others. They are prepared to work productively for you.

Art Institute of Atlanta Edward A. Hamilton, Design Director 14 *The Art Institute of Fort Lauderdale The Design Schools Art Institute of Houston Pan Am Building, Suite 256, East Mezzanine Art Institute of Philadelphia 200 Park Avenue, New York, N.Y. 10166 e Art Institute of Pittsburgh Colorado Institute of Art I would like to know more about The Design Schools graduates. ❑

I don't have immediate need, but please keep me advised. ❑

Include me on your invitation list for seminars and programs. ❑ Special note to alumni: If you are one of the several thousand Design Schools I am a graduate of graduates who are living and working in the U.S., we'd like to know where you Name Position are, what you're doing, and any special achievements. If you'd like your name added to our growing list of employers who from time to time need well-trained Company Phone ( ) staff members, just complete the coupon at right and mail it to us today. Address City State Zip Skills of special interest to me • • ▪

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Rem NAIROBI 51. YON 111011 11111101101 11101111 WWII WO berthold BERTHOLD OF NORTH AMERICA 1111 111011 USA: p. o. box 624, 610 Winters Avenue, Paramus, N.J. 07652 II fototype Illinois: 4415 Hillside Street, Hillside, Illinois 60162 1111111111■ 1111111 California: 5860 Uplander Way, suite 103, Culver City, California 90 230 '22 WI WOW11„,.... 11111111111 1011 Canada: 157 Bentworth Avenue, Toronto, Ontario m6a 1p6 W11 0111 1111 „ 1St 111111..1.salia1111! SOS WI 1 want to know MOM 1:11111."--- Wall SIMI ToalERT 11•111111 Tk BRUN 0 lPej 1111 1111 about berthol0 photocomposiny r' • 111110 121117 i' j1r 1 • 11110 • 11110 equipment 00 2 "

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i0B HANDLING INPUT/OUTPUT K) KEYBOARD A NEW JOB (V) VIEW JOBS IN (E) EDIT A JOB -CO) OCR tD) DELETE JOB (B) DATA PHONE (S) MERGE (R) PAPER TAPE 'O) PROOFREAD (I) MAG TAPE PAGINATION (T) TYPESETTER (H) HIGH SPEED PRTR (F) FLOPPY DISK

OTHER OPTIONS BASIC INTERPRETER DICTIONARY DATA EASE MANAGEME T (A) ALTER DICTIONARY BUSINESS PACKAGES (P) PRINT DICTIONARY

65 ultimate in typesetting control... Start by reading our menu: MultiSet III's menu lists an impressive array of And as the menu enables single key access functions designed for productivity and typesetting to all major functions, there are no complex codes control never before possible. It's everything you'd or mnemonics to remember. The simplicity of expect from a front end system and more! our system allows your operators to spend their time Begin with our Input/Output functions. setting type, not programming. MultiSet III accepts mag or paper tape, OCR, floppy But the menu is only the beginning. The basic disks and data phone communications. We can MultiSet III, consisting of a minicomputer with output to all the popular 2nd and 3rd generation 96K of memory, 80 megabyte hard disk, floppy disk phototypesetters, including the Alphatype CRS, drive and two 32K intelligent terminals is uniquely and a choice of hard copy printers. expandable. As your business grows, the system The menu allows access to extensive editing can grow with it. Have up to ten 32K terminals, up and typographic capabilities such as multi-level to four 80 or 300 megabyte disk drives and search and substitute, character pair kerning, connect multiple typesetters to each CPU. Double white space reduction, tabbing, indents, your capacity by linking two MultiSet Ill's together. formats, area make-up, and automatic justified And the system is being updated continually or ragged setting. Our H&J program is one of with new typesetting, business and data base software the finest, using either rules of logic or our such as pagination, proofreading, inventory 160,000 word capacity dictionary or both. control and a directory management program. All this And automatic letterspacing or kerning, in plus AlphaKey's commitment to total system increments as small as 1/8 of a unit, solves support will insure that the MultiSet III will be the most those short measure problems. productive, versatile and cost efficient front end Another section on the menu is File Man- system on the market tomorrow as well as today. agement. The MultiSet III, using directories For information on how the MultiSet III and job files, keeps track of all work gives you the ultimate in typesetting productivity and in the system including the time spent control, send the coupon below. Find out how keyboarding and editing. the AlphaKey advantage works to YOURS! The MultiSet III by Alphatype

AlphaKey Systems A Division Of Alphatype Corporation 7711 N. Merrimac Ave. Niles, Illinois 60648 312-965-8800 In Canada Alphatype Canada Inc. 105 Scarsdale Rd. Don Mills, Ontario M3I3 2R5 416-449-6132

Dear AlphaKey: Tell me how the MultiSet III will satisfy my appetite. ❑ Send me a descriptive brochure. ❑ Call me for an appointment for a demonstration. U&Ic12/80

Name Title Company Name Address City State Zip Phone Send coupon to AlphaKey Systems/7711 N. Merrimac Ave./Niles, IL 60648 Alphatype Corporation 19

66 N EWES! QUALITY A T FRO M VOLK *4 04 ill ** cow** .ry a 0 0 0 a a o fie CIL:101 IMOVI4OTOR1 ( -) sirl,, Liwis7 • * 114 CROWDS f ¢.s, c,„ (tip rt !Air. 2, ,1, ,24-„, -_,;.°9,, v 4 , , ';;V) AL4- I B I R 1 H 0 A Y ,..,- 1 lin l 1 0 A ". 01 4 1101pUers I m ,. nn ., or " u V , ----- ri3 , rii Milt ,. , • LI , &• '. LI c,ki ,,,,- , ) Fi A . II I -) , i [i - ,,.k ilc CI C .7 PI 1 g ,ciffil : el ... , 4 4 1 " I: ,, CONTESTS /ma& el4-l AW 94 " 4 0 ent ell 11 r C 4 V,000 , fqp. 6 Vr, , t t ■ ■ ,t ry, tR., — * , ::`i , • 0 t)l, F la 1.13 — ■1'/ NK if __,,-..-- * 4 4 It-- 11 '""""' 1 • r '. 0 (i....W hr, 4- Et 0 4 . 4 vac) .- I --,-- -7 AO 0,& V ,a10 !IA , ∎ ...______J-•, 11M6M1::3 Ell .....-..`'') o ll', * 4.,... a sene' s *ft*** it** t00% nthefallbser'es Eir41>ZF-'X/INP4 ("Wt1) .11111k11 % • a s IA n 4alil"Senes

lei . & -----4,,,,,i-- --;, Geis 1 w The* *(4,1t ?:R--,------Q•,,3 w:)xy ,x3) c 0_.....t-i;f ,z--- * Inc * ,-..1,ViuuuS, The * 1 1 IVI'"g4141; * WM. ,•■•• •V FAMILY U. fil, INECUTIVES A * •;-. \%11 im. Ss x i ell &Ix) 0 NAlii) 4 V S s- ka) r 'PIO N $ 4:4 6,,'5 ik t x If '71 ''' ;:iy:::. — '?,,' AO k e I ir.',o 1 , Ii \,,,\ ... ii" NkJ ' l ^ ° ' . . , , --- A Ill # n A t C. 1 1/14tH. I '... . (§, t, .4 ., If X71 -) re--0i il ie 1 p, 0 I 4 aa 4t o,ji., _ ,y. We i 4, tor it. i II virm ii 4 x 0 V .6.-., )._ 1._ -all --- ( ■ ■ 4%.""PlZ 41 - • • ..1 1 440144441 1 - t _ 10 ..----- GUYS 1 ii, NOW! ALL THE INSTANT LINE ART YOU MAYMA EVER NEED "a I

,,, -- igarcup BOOKS 7- .. -- ALL 48 NE Like the "Clip Books" themselves, the in-

r dexes are also lithographed on one side of t 4 00 ) leofnc esbt io ecekf.. HTehlef 1 gl oescsey e e"eKer tome neeklo5txe8" f irleepdr fo :Iwuecft .. :- ..0,:-_,$-;,---i- k abfbooks noni ettoha ifesal in6uoc e dl d:o otohi rnenhadra" ro2bdx4neishn. oaa i vrskeeli en 5aegxdi8gpbhai nytg teochhsneel ols . woi ddreecedoapswsatygi t_eh f isl tii.n h,t gesA % ,

_r- 11 11 in of the 1980 books shown have 12 one-side pages k iolAtlii Ar •0G 0 l 0 total '' N

0 finest r .__, al 144 Please don't mislead low

, i A crueaal:tya rat nrrgdc etrei fl by rgirr rtaotogece. Expectm p ‘ ,,... lail 0000G000. ,

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' DELIVERY' 1 44 ` , FOR IMMEDIATE *ail L .. a cable reproductions. Best of all, with this 1980 LiEilirl _... .,

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These 48 brand new "Clip Books of ftt _ 4 - L, 4 f ,I. are advertised here for the first time. The com- freshest art. , ,,„." W At FT.% • ■ 4 ' A superb collection of about 1000 different il- :: .- , yyk plete collection of all 1980 books Is shown on -- ,e- nen „,- O this page in the miniature reproduction of their lustratlons — a total of about 2000 pieces, coun- r ,, _ __,‘ --i 48 miniature index folders ling the Indexes. A great value at $149.95. The flillg7,1 .. covers. All these plus _.„' -.... 7-.9,.. ry 0

f.. with each illustration in half size, which you'll complete collection will be shipped via UPS on . -- .. . ., .

IF ,

, il shown are not use for quick look-up or as a source for smaller receipt of your order. (48 books i ‘ I ..i Nells) WI reproduction art. sold separately!) -a . or 0 0

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% hiti$ SAVE $26! BOTH 1980 & 1981 LIBRARIES 27995 0MMIME2191 Of et) g ). ri MONEY 96 "CLIP BOOKS"— 96 INDEXES—ABOUT 4,000 ART PROOFS—ALL FOR n MARINE *s n n -4) An excellent value and a magnificent collet• issues will be mailed four books each month en- 0 M 0 Ci tion! Usually $305.95 — you save $26.00. You'll ding with the December 1981 issue. All 1981 art 6 e , get the complete 1980 library, shown on this will be brand new and will not duplicate 1980. E 12 El El t page, and you'll get all of it immediately. You'll You save shipping charges by enclosing your n 01 also get a subscription to the forthcoming 1981 check with order. Purchase orders of establish- pi F! 4 I 1 / ), "'

I books and you'll receive four every month as ed accounts accepted, UPS charges additional. il . 1 09 soon as published. Any 1981 books published by n N. S 0 Vr ,ry the time your order arrives will be included in Mi NI #r). __ k, tot) your immediate 1980 shipment. Remaining VOLK CLIP ART E )40) 4 I Iffilfflin iii Nellc ( Box 72L, Pleasantville, NJ 08232 El El 5 - (%1 6.1k) CEREETIESIMI ' @i e,

) ,A))„.L._ - i-,w) -, -© iir)4o---.+4,4 , ••• 40t5tis ,40) 0.001MAL-1

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Osmicatr^® ***it** 67 "I found away to beat the high cost of stats "We create on-air graphics for several TV networks. Time is of the essence in our business, and we've also got to keep a sharp eye on production costs. "Our Pos One® camera/processor helps us beat those tight deadlines and stay within budget, something that would be virtually impossible to do if we had to send out for stats and other reproductions. "The Pos One camera is a great creative tool. It's simple to use and delivers an amazing variety of reproductions in normal room light. "With this versatile machine on the premises we get all the stats, enlargements, reductions, positives, reverses, special effects, screened halftones and film transparencies we need— in a matter of minutes and at exceptionally low cost?'

Peter Diaferia Partner, The Studios of Diamond and Diaferia New York, N.Y.

NEW LOW- COST RENTAL PLAN AVAILABLE r 1 VISUAL GRAPHICS CORPORATION VGC Park, 5701 N.W. 94th Ave. Call Us Toll Free Tamarac, FL 33321 800-327-1813 — Please send more information on the IN FLORIDA (305) 722-3000 Pos One cameras.

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Name Title

Company

Address

City State Zip

Phone U&Ic12/80 For over a decade, Rydeffjpes But as she began to turn out the right impression of a company. We think we did too. had set much of the type for one of galley proofs for the corporation's What was missing was the As the need for printed the Midwest's largest corporations. prestigious annual report, it became experienced eye that instinctively communication grows each day, But then, not long ago, this obvious that this year it wasn't going takes out unnecessary bits of air, typographers can't expect to set corporation installed an in-house to look like it had in the past. hangs punctuation, and kerns letters every word for a corporation. computer typesetting system and Her boss noticed it. She noticed when necessary. But what we'd like to think is that trained one of their best secretaries it. And it seemed as if stockholders And what was also missing was the words we do set are the ones to operate it. would notice it too. economy, because after numerous that make the best impressions. For the first few months, the It wasn't that she was using a revisions, the type set in-house was secretary-turned-typesetter slowly different typeface. thrown out and Ryder7jpes once Rydeerypes, Inc. learned the new equipment. She even What was missing was the again set the annual report. 500 North Dearborn Street produced the type for a series of typographic style. The kind of style The corporation learned Chicago, Illinois 60610 brochures, sales sheets, and manuals. that gives people like stockholders something from this experience. Telephone (312)467-7117 69

New! LetratextTM Dry Transfer Body Copy Sheets.

Block Schwer

Brighton MEDIUM ordinal Discover for yourself, Letraset's Graphic Treasures, in our 32 Brighton BOLD Crillee ITALIC page new products supplement. ITC Eras DEMI Not only are there a wealth of ENGRAVED new typefaces in the Instant ULTRA HEAVY DEMI-BOLD SCRIPT Lettering and Letragraphica Cable 3utuna ranges, there are also new Letratone Sheets, Graphic Gill Kayo CONDENSED 'rastongury Symbols, Color Lettering, Point Size additions and Letratextm" DEMI-BOLD dry transfer body copy. Pump Italia MEDIUM CONDENSED Ask your Letraset Dealer for a R.Ornk LIGHT ITALIC EXTRA-BOLD copy or send us the coupon. Raleigh firadmaR°_ BOLD OUTLINE Please send me a Graphic Treasures Rialto new products supplement. STANDARD RANGE LETRAGRAPHICA Seagull LIGHT Name BOLD Bookman CONDENSED E ,Imi2nDtgElo, Company BOLD TYPEWRITER OUTLINE ITC Serif Gothic CONDENSED BLACK Address Bookman ITALIC EXTRA BOLD SALLOW ctrurn City LIGHT Bramley 4diliadd Satire State Zip MEDIUM Letraset USA Inc., Bramley 40 Eisenhower Drive, Belshaw Paramus, NJ 07652 U&LC Bramley BOLD TRISET L ITC Benguiat MEDIUM Vendome ODA Bramley EXTRA BOLD I TC Benguiat "AZ)NsEp INLINE Letraset 'dab SHADED Letraset USA Inc. LIGHT 40 Eisenhower Drive Brighton nkiDn ITC Benguiat P!----ENSEDi Paramus, NJ 07652 ©Letraset USA Inc. 1981 Brighton LIGHT ITALIC Bible t_ & FLOURISHES 70 THEY DON'T LIKE H OTHERS TYPE.

Not everybody sees things eye-to-eye. A typestyle that's right for the guy on the left might scare hell out of the other fella. As for him, his idea of tight spacing could be the kind somebody else would drive a truck through. What's a type house to do? What you, only you, and nobody else tells us to do, of course. At Bundscho, it's your ballgame. There's six decades of typesetting, four complete type systems, and 99 pairs of practiced hands waiting to help you win it. Our customers might never get to like each others type, but they all admire each others type house. BUNDSCHO. IF In NOT RIGHT WITH YOU, IT'S NOT RIGHT. J. M. Bundscho, Inc., 180 North Wabash Avenue, Chicago, Illinois 60601 • (312) 726-7292 71 Who does an Art Director call when all he can shoot is himself? His ATA typographer. New York and tell him what I typographer back home. So he That's what I did when I needed. He called the same guy dropped everything, set the type, found myself on a New York set I had just talked to. And even silkscreened it, and cabbed it with ruined logo art and 25 though the fellow still to me in an hour. That's the way people standing around at $1,000 didn't know me ATA typographers help each an hour. from Adam, he other out. And save Art Directors' When I finally found a New knew my necks in the process. York shop with my typeface, There's an ATA type house they were overloaded. near you. And you'll find it's the And I got, ". . . sorry, best in the area, because ATA bud, maybe lets only the cream of the tomorrow:' crop join. So call your Fighting down ATA typographer. He panic, I dialed can fix you up in my typographer more ways and sizes back home and than you can imagine. told him to set He can even open new art, buy it a doors over the plane ticket, and phone . . . and put it on the next flight make you as out. He said no need important in a for all that — he'd just big city as you call his ATA affiliate in are at home.

The ATA ADVERTISING TYPOGRAPHERS ASSOCIATION OF AMERICA, INC. 461 EIGHTH AVENUE, NEW YORK, N.Y. 10001 WALTER A. DEW, JR., EXECUTIVE SECRETARY

ATA MEMBERS, Atlanta, Georgia Action Graphics, Inc. Bloomfield, Connecticut New England Typographic Service, Inc. Boston, Massachusetts Berkeley Typog- raphers, Inc.; Composing Room of New England; Typographic House, Inc. Cedar , Rapids, Iowa Type 2, Inc. Chicago, Illinois J. M. Bundscho, Inc.; Rydertypes, Inc.; Total Typography, Inc. Cincinnati, Ohio Typo-Set, Inc. Cleveland, Ohio Bohme & ABlinkmann, Inc. Columbus, Ohio Dwight Yaeger Typographers Dallas, Texas Jaggars-Chiles-Stovall, Inc. ; Southwestern Typographics, Inc. ; Typography Plus Dayton, Ohio Craftsman Type Incorporated Detroit, Michigan The Thos. P. Henry Company ; Willens+Michigan Corp. Grand Rapids, Michigan Central Trade Plant of Grand Rapids Houston, Texas Typografiks, Inc. Indianapolis, Indiana Typosenrice Corporation Los Angeles, California Andresen Typographics; Typographic Service Co., Inc. Memphis, Tennessee Graphic Arts, Inc. Miami, Florida Wrightson Typesetting, Inc. Minneapolis, Minnesota Dahl & Cony, Inc. ; Type House+ Duragraph, Inc. Newark, New Jersey Arrow Typographers New Orleans, Louisiana Film-A-Graphics, Inc. New York, New York Advertising Agencies/Headliners ; Franklin Typographers, Inc.; Royal Composing Room, inc.; Tri-Arts Press, Inc.; Typographics Communications, Inc.; Volk & Huxley, Inc. Norwalk, Connecticut Norwalk Typographers, Inc. Philadelphia, Pennsylvania Armstrong, Inc. ; Typographic Service, Inc. Phoenix, Arizona Momeau Typographers, Inc. Pittsburgh, Pennsylvania Davis & Warde, Inc. ; Headliners of Pittsburgh, Inc. Portland, Oregon Paul 0. Giesey/Adcrafters, Inc. Rochester, New York Rochester Mono/Headliners San Diego, California Central Typesetting, Inc. San Francisco, California Headliners/Identicolor, Inc. Seattle, Washington Thomas & Kennedy Typographers, Inc. St. Joseph, Michigan Type House, Inc. St. Louis, Missouri Master Typographers, Inc, Syracuse, New York Dix Typesetting Co., Inc. Tampa, Florida Century Typographers Montreal, Canada McLean Brothers, Ltd. Toronto, Canada Cooper & Beatty, Ltd. Winnipeg, Canada B/W Type Service, Ltd. Brisbane, Australia Savage & Co. Stockholm, Sweden Typografen AB Stuttgart, West Germany Layout-Setzerei Stulle GmbH 72

C PS0130 PS10 COW' P,SY ,

CiztESCEN

t 1

Li Mood Makers

Romantic or dignifie • .. What's more, Itek helps jovial or harsh. . . frivolous• Quadritek", Pacesetter" or solemn . . . gentle or and Mark VIII Phototype- loud . . . old-fashioned or setter users economically futuristic, Itek type lets build type libraries. You you set the mood. purchase only the fonts For two decades, designers have you need, when you need them. relied on Itek type to enhance Itek has type for every mood and every graphic, to enrich every ... design you can imagine. message. But we're not simply For a free, four-color poster of the basking in our heritage. graphic in this ad, write us on your official Today Itek offers a remarkably large company letterhead or staple your business selection of faces in our type gallery, TI card to this ad and send to: including many entire families, text and display Itek Composition Systems faces, PI characters, ITC faces and Advertising Department several hundred foreign faces. And our selection 355 Middlesex Ave. Itek keeps on growing. Wilmington, MA 01887

Itek Photocomposition equipment composed all type in this ad. Itek®, Quadritele and Pacesetter" are trademarks of Itek Corporation, Lexington, Mass. ULC/T12-1

In Congress, July 4, 1776,

The Unanimous Declaration of the Thirteen United States of America, When in the Course of human events, it becomes necessary for one people to dissolve the political bands which have \:0otioCocaaM cco k\k'drg aid connected them with another, and to assume among the Powers of egc the earth, the separate and equal station to which the Laws of co'cfdrg aSNe., \ Nature and of Nature's God entitle them, a decent respect to Oeit 060. \s due Mecge'd-Pc,\N \\el \-re; °e coOoo0or o■skardacds oi K the opinions of mankind requires that they should declare the causes which impel them to the separation. e de\le\ootoerk.oick:c.\.< ■ NN \,as Ode Oacy...\Noc • e k cl ok We hold these truths to be self-evident, that all men are vs,- \Ni\0016 2,,c..c.‘ 'cXNe co:\;ae'cic:oss created equal, that they are endowed by their Creator with (.009a0\3\ec‘ 0.1,aCM certain unalienable Rights, that among these are Life, Liberty and . g ok Oeka\ the pursuit of Happiness. That to secure these rights, Governments asi 'oo`oec.c.\-aloesettPgi.lockl. aVriarsedtpe.-caeolICedo t'oe a OostV*. are instituted among Men, deriving their just powers from the W \-.015. ix \Aa .cc00%.0 ve0o consent of the governed. That whenever any Form of Government 'd\\ coot:\:a: e.secea \'t \leue Oc .\ossol \o,to:cak..ce eacsko veN.c oar 00, becomes destructive to these ends, it is the Right of the People to t.o:\\BoN a k`6\5916 lee..\\,‘ t'Oe Nri alter or to abolish it, and to institute new Government, laying its -i,t\a\01,,t a 062:o' `teeth ard \ic t'oey ale foundation on such principles and organizing its powers in such a c.‘io otNk\-\ecAe•tAsV\ov,1 vet.\-\e< k\-\el\ \'d, ‘a ke Oe toueo teas form, as to them shall seem most likely to effect their Safety and ‘1\C Oe'd-‘e\ Happiness. Prudence, indeed, will dictate that Governments long 2:00: tsol■ 'd,e0akivi.akor gt.do. C\g`c■ ■ established should not be changed for light and transient causes; ‘Aok•F:\c‘a\VI, e.i.acc Va cl and accordingly all experience hath shown, that mankind are dekeed.le des\e•e4 \Net-‘0.01cdc PO more disposed to suffer, while evils are sufferable, than to right isult`oe kcoa themselves by abolishing the forms to which they are accustomed. NO that \r, Vold.Nock. eXold ok .e*.c°‘°\e-°core \e'de0.4,ukro 6°e \esstou'o\e °Ntsci-e N.\'‘ ar\Ire *le But when a long train of abuses and usurpations, pursuing (3k \C\aeCe6eCe, invariably the same Object evinces a design to reduce them under

2N\ absolute Despotism, it is their right, it is their duty, to throw off "Cake a \ ook. atse0 ano\-0 \,.ezPc‘g coOteot‘ do . . . such Government, and to provide new Guards for their future `1'1(°-\e6° °,\12,`'c>1.. \\'`e'CleC\206OC‘ security.—Such has been the patient sufferance of these Colonies; \t. \s and such is now the necessity which constrains them to alter their orVit`6\sNcoe former Systems of Government. The history of the present King of Great Britain is a history of repeated injuries and usurpations, all having in direct object the establishment of an absolute Tyranny over these States. To prove this, let Facts be submitted to a candid world. He has refused his Assent to Laws, the most wholesome and necessary for the public good. He has forbidden his Governors to pass Laws of immediate and pressing importance, unless suspended in their operation til his Assent should be obtained; and when so suspended, he has utterly neglected to attend to them. He has refused to pass other Laws for the accommodation of large districts of people, unless those people would relinquish the right of Representation in the Legislature, a right inestimable to them and formidable to tyrants only. He has called together legislative bodies at places unusual, uncomfortable, and distant from the depository of their Public Records, for the sole purpose of fatiguing them into compliance with his measures. He has dissolved Representative Houses repeatedly, for opposing with manly firmness his invasions on the rights of the people. He has refused for a long time, after such dissolutions, to cause others to be elected; whereby the Legislative Powers, incapable of Annihilation, have returned to the People at large for their exercise; the State remaining in the mean time exposed to all the dangers of invasion from without, and convulsions within. He has endeavoured to prevent the population of these

N9NE, States; for that purpose obstructing the Laws of Naturalization of odiS,44‘c4 Foreigners; refusing to pass others to encourage their migration mcesac6 so ok t'e hither, and raising the conditions of new Appropriations of Lands. nsyn 04,e6,3 He Administration of Justice, by refusing s osOs: -C(‘ has obstructed the Feedc .ccos his Assent to Laws for establishing Judiciary Powers. 75

He has made Judges dependent on his Will alone, for the tenure of their offices, and the amount and payment of their salaries. , 01 ‘3. He has erected a multitude of New Offices, and sent hither o • swarms of Officers to harass our People, and eat out their \1\16 ceVtlsO\ 06(4(0(6 \NO'64..----vb0.ccOt US k substance. `oeYsio4s l He has kept among us, in times of peace, Standing Armies . ch ocOi \o6udes oYe without the Consent of our legislature. Isfte

his Protection and waging War against us. Set ot.00‘‘N't\ \ \ \ vAaaL , He has plundered our seas, ravaged our Coasts, burnt our \6 5C‘'' N7, towns, and destroyed the lives of our people. ,oecs\\P He has plundered our seas, ravaged our Coasts, burnt our ,e,gc ,cstoeol 06 towns, and destroyed the lives of our people. He is at this time transporting large armies of foreign mercenaries to compleat the works of death, desolation and tyranny, already begun with circumstances of Cruelty and perfidy scarcely paralleled in the most barbarous ages, and totally unworthy the Head of a civilized nation. He has constrained our fellow Citizens taken Captive on the high Seas to bear Arms against their Country, to become the executioners of their friends and Brethren, or to fall themselves by their Hands. He has excited domestic insurrections amongst us, and has endeavoured to bring on the inhabitants of our frontiers, the

merciless . Indian Savages, whose known rule of warfare, is an undistinguished destruction of all ages, sexes and conditions. In every stage of these Oppressions We have Petitioned for Redress in the most humble terms: Our repeated Petitions have been answered only by repeated injury. A Prince, whose character is thus marked by every act which may define a Tyrant, is unfit to be the ruler of a free People. Nor have We been wanting in attention to our British brethren. We have warned them from time to time of attempts by their legislature to extend an unwarrantable jurisdiction over us. We have reminded them of the circumstances of our emigration 76

and settlement here. We have appealed to their native justice and magnanimity, and we have conjured them by the ties of our common kindred to disavow these usurpations, which, would inevitably interrupt our connections and correspondence. They too have been deaf to the voice of justice and of consanguinity. We rice .-\ a\e...e a must, therefore, acquiesce in the necessity, which denounces our Separation, and hold them, as we hold the rest of mankind, a\so Oears 6s9\ aya<2 Enemies in War in Peace Friends. :i s cAc‘a\Oesork`re'pc\:60r 0\ re .N S We, therefore, the Representatives of the united States of erINcee.. 2:( N°446, se\ smeary lea\ \i\ielLsk car ou'Ort\kyl.'es,\-‘ete\s 06s . soaswcico a osope America, in General Congress, assembled, appealing to the Nr \tiro reed to say soetr\rg Voe Supreme Judge of the world for the rectitude of our intentions, do, \\oo\cattr6 e0,0,0 in the Name, and by Authority of the good People of these Noc‘eze::k‘.03, Colonies, solemnly publish and declare, That These United Crest ardiscic trose ok youces , em Colonies are, and of Right ought to be Free and Independent 6\e". k4slOVs°556\ roes e g 9 Oegertra\ 0 \:\orice Coccerycorrrue 9to ,sroYsl States: that they are Absolved from all Allegiance to the British you a\\ trerautP\ , WO, <\cl , r yo Crown, and that all political connection between them and the sceeNcY4 tr ts0dr ocr 'Akre State of Great Britain, is and ought to be totally dissolved; and that uttreN . ca\\ " 'Ores ok YO\ce' err as Free and Independent States, they have full Power to levy War, \PokY9e eck‘ivee. skao 4c9kr:ea:eeestyou conclude Peace, contract Alliances, establish Commerce, and to e v do all other Acts and Things which Independent States may of -(resek.aces ale a\iiar\et`Ooug\-‘o■O\rgtot , o ic right do. And for the support of the Declaration, with a firm out Ye ras trese Oe .ri dock Mcogca9rOsso‘oscc" ok. reliance on the Protection of Divine Providence we mutually ‘ee,800.660160.0 \c‘ Nei V;,1 a fcv\\ carge pledge to each other our Lives, our Fortunes and our sacred "\okod Honor. tAk800-832-522,8 . ®Oe 44 S 00,NOPIcie type e-Oes,;\or or \\ o\ ouc rese rg Voo\(..ko John Hancock

New York Rhode Island Step. Hopkins Frans. Lewis Lewis M0111,5 WILLIAM ELLERY

Wm. Floyd PHIL. LIVINGSTON Carter Braxton

Virginia THS. NELSON JR. Th, Jefferson George Wythe Benja. Harrison Richard Henry Lee Jno, Wit ner0000n

Franck Lightfoot Lee New Jersey rms. Hopkinson

Alma. Clark JOHN HART

wm. WHIPPLE Josiahimam

New Hampshire Massachusetts-Bay frixrdev T40444.04. John Adams 6oml. Adam o, . -“cs

9ake Elbridge Gerry Res`- Robt. Treat Paine

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Connecticut Roger Sherman sarn,el Huntington pact

Georgia

WM. WILLIAMS 0 CHARLES CARROLL OF CARROLLTON Iver Wo cott Samuel Chase Moo, (Stone

Delaware Tho, M'

Caeca/ Rodney Geo. Read Rrthur Middleton Thomas Lynch, Junr.

South Carolina Ettswiia gatedigt THUS. HEYWOOD, KW Rkhd. Stockton

Wm. Hooper John Penn Robt. Morris James Wilson Joseph Hewes North Carolina

Pennsylvania Jo Mor--,on Geo. Clymer

Geo. Taylor benja Franklin JAS. SMITH

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The DuoPrint 1400 is an automated processing system with big processor capability. Its unique compact design requires just a minimum of floor space whether used as a table top unit or equipped with the optional cabinet and recirculating pumps. The DuoPrint 1400 is the ultimate in Rapid Access processing.

DAYLIGHT OR DARKROOM TOTAL VERSATILITY: The 14" entrance chute The variable speed motor makes the DuoPrint 1400 plus adjustable ideal in a darkroom temperature controls for environment for developer and fixer processing line and insure your abiity to half tone films or paper utilize any combination prints from your "stat" of chemicals and or "process" camera. photographic papers The standard Daylight and films. Automatic Cassette Cover replenishment of permits the 1400 to developer and fixer also be used under insures proper fluid normal room light level at all times conditions for through a simple, no processing any length maintenance gravity RC photo typesetting feed system; no paper or film. The sophisticated automatic dryer section electronics to go is standard on all units wrong; no expensive and helps get you parts to replace! ready for paste-up in a hurry!

Sales and Service Nationwide duostat corporation 114 Beach St. Rockaway, N.J. 07866

114 Beach St. Rockaway, N.J. 07866 ❑ Please send more information on the duostat 1400 automatic 201-625-4400 • Telex: 136-387 processor ❑ Please arrange a demonstration Dealer inquiries invited NAME 1 FIRM 1

ADDRESS 1 1 CITY STATE ZIP

PHONE U&Ic 12/80 I =INN = MI INS MN IN IM IIIMON N• 1113 MI M IMI= MIMI I= MI •

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DG&F Typography / 3020 Devine Street Columbia, South Carolina 29205 / Telephone 803-799-9140 81

• • compote ve edge You are looking at actual unretouched enlargements of characters set by two digital CRT phototypesetters. Examine the edge of the Autologic character. It's clean. Crisp. Now look at the character from our competitor's machine. Why is there such a difference? In digitized CRT type- Unretouched enlargements of characters by Autologic (left) and a competitor setting, each character in a font have greater reliability because is stored as computer information. electronic circuitry replaces mov- To make sure that output is sharp ing parts. No time spent changing as well as fast, Autologic breaks grids. No fonts on film to get the entire character down into damaged or lost. All Autologic overlapping vertical strokes. Up to fonts are on-line. 2880 lines per inch. In contrast, Autologic, always at the our competitor only represents the forefront of typesetting technol- character in vectored outline form, ogy, gives you the production filling it in during character gen- advantages of the latest genera- eration. The result is a loss of tion computerized typesetters, sharpness, easily visible to the with the highest quality output. naked eye. Autologic, Incorporated High resolution and qual- 1050 Rancho Conejo Boulevard ity type at astronomical output Newbury Park, CA (213) 889-7400. speeds are just two advantages you A subsidiary of Volt Information get with Autologic's APS family Sciences, Inc. of digital phototypesetters. You

Leader in Digitizedtologic Typesetting 82 Give your pasteup

Mergenthaler Linotype's new electronic composer does more than merely cut composing costs. In addition, it cuts editing and layout costs. That's the reason why our Linoscreen Composer makes the most of electronic composing's vast cost-cutting potential. 83 costs a real pasting!

is, for all practical purposes, copy; a hard-copy plotter for off- limitless: machine proofing and approvals; the Handle jobs with as many as Linokey 2 low cost auxiliary input 16,000 characters. (No other com- terminal and a mini-floppy reader. poser handles as many.) Whatever Linoscreen Composer Create horizontal, vertical and system you put together, you know box rules in 10 weights from 1/2 to it's going to work—because we know 24 points. how you work. We've had nearly a Choose from among 96 on-line century of experience with graphic fonts selected from the world's most arts people and equipment. comprehensive type library. Call us at (516) 673-4197. Do standard and/or reverse Or write Mergenthaler Linotype, settings on screen in roman, italic, 201 Old Country Road, Electronic bold and bold italic. Melville, New York 11747. composers are Select or alter justification ragged one of the most right or left, centered or fully justified. exciting equipment Scroll vertically and/or horizontally Mergenthaler developments for the '80's. to make composing easy from any But don't get so excited direction Linotype about cutting composing And to make repeat jobs go faster, costs that you forget copy there are 99 formats that you may still has to be edited and pages store on each program disk. When laid out. you want to set or update a repeat Linoscreen Composer remembers. job again, recall it to the screen at Its unique trio of operating the stroke of a key. modes—Edit, Compose, Layout— Layout Mode eliminates costly delivers more of the kindest cuts of trial-and-error typesetting. all: cost cuts. Our unique Layout Mode Edit Mode cuts costly errors. lays out and displays Linoscreen Composer's Edit Mode complete pages as large as speeds up editing throughput in two 100 x 158 picas. And does it with- ways. out markup, pasteup or experimental First, it makes any text easy to see settings. on the screen. All type is displayed in All page components, defined 14 point, 51 lines at a time, each line on screen as outlines, can be 46 picas wide. positioned wherever you like. Four Second, all commands are sup- scales (1:1, 2:1, .7:1, .5:1) make pressed. That means no cluttering it easy to work with any size field, symbols on the screen to confuse including the broadsheet. editing and invite errors. You can even insert all And you know how costly those horizontal, vertical and box rules errors can be if you've ever heard an in actual weights. Then the complet- advertiser scream about a wrong ed page is output to the typesetter phone number or, worse yet, a or stored on disk for later recall. wrong price. 111 Please call me to arrange for a demonstration. • Customized cost cutting. • Have a sales representative contact me. Compose Mode cuts total Linoscreen Composer is so • ❑ Send additional information. pasteup costs including markup, versatile that, working with our Name drafting and art materials. Linotron 202, or V-I-P typesetter, it is Title • Compose Mode displays all you need to give productivity one Company everything in actual size and exact of its biggest boosts in years. Street position. You can change sizes, But if your typography department • delete and insert at will; move ele- has special requirements, Linoscreen • City __ State ments around until you see exactly Composer offers options that tailor a • Zip Phone • Mergenthaler Linotype Company • what you want. system to your precise needs. • 201 Old Country Road, Melville, New York 11747 • • Phone (516) 673-4197 • It's so flexible you can even create For instance, an electronic drawing • • on screen. And what you create board that traces art outlines and fits 84

Birmy can help your word processor ARE YOU A POIEN1111 print money. SUMMAR

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Study with the pros ALLAN BEAVER, JOE BOWLER, TOM CARNASE, MILTON CHARLES, STEVE COSMOPULOS, PAUL DAVIS, LOU DORFSMAN, GENE FEDERICO, DICK GANGEL, AMIL GARGANO, BOB GROSSMAN, DICK HARVEY, BOB HEINDEL, DOUG JOHNSON, DICK HESS, HELMUT KRONE, HERB LUBALIN, WILSON McCLEAN, JIM McMULLAN, JACQUI MORGAN, DAVE PASSALACQUA, ARTHUR PAUL, In two simple steps we LARRY PLAPLER, SHIRLEY POLYKOFF, HEIDI RICKABAUGH, SAM SCALI, EILEEN HEDY SCHULTZ, ISADORE can show you how your SELTZER BERT STEINHAUSER, MURRAY TINKELMAN, DON TROUSDELL, ROBERT WEAVER AND OTHERS. communicating word processor can become more than afancy typewriter. We'll show you how you can use it to save a lot of money. One. After copy is typed on your word processor, call us on our special phone line and transmit your copy to us over the phone. Two. We go directly from your word processor in your copywriter's office, if that's where you keep it, through your modem over the phone to our modem— then to our translation device, which can recode all communications—then into our central computer facility. Our operators put in the additional typesetting codes that are needed, if any, and your job is printed out on our typesetting machines in whatever typefaces or sizes you want. It's that simple. The end result is that you save about 1/3 of what it would costfor us to key the job completely.

"Advertising Is the cave art of the twentieth century." Marshall !Act-Litton So give us a call and we'll 2244 N.W. 21 Terrace Rejected by a trade publication as "insulting to art directors," this help you get a lot more Miami, Florida 33142 literal interpretation of Marshall McLuhan's phrase, "Advertising is return on your investment. (305) 633-5241 the cave art of the twentieth century," has been privately printed At Birmy, we're not outjust 635-0482 for aficionados. In sepia color, 18 x 21 inches, it was conceived by to make you look good. art director Bernie Zlotnick, photographed by his friend Carl Fischer. We want to help you make The Poster Company, 121 East 83 Street, New York 10028. $10 postpaid. more money. 85

for your (typographic) information

.•

A mini-glossary of computer/typographic terms. .•.% Compiled by Paul Doebler and Edward M. Gottschall ... AFTER FOURNEARS • ON THE ROAD, WE Head FINALLY MAIDS• A device that reads, records or erases data on a storage BROADWAY- medium e.g., 1.A small electromagnet used to read, write or erase data on a magnetic medium: drum, tape, card or disc.

2. The set of perforating, reading or marking devices used for punching, reading or printing on paper tape.

Header SUPER PRESE \TATIO\S • SUPER 1.A file record containing common, constant or identifying information for a group of records that follow GRAPHICS • SUPER A 910 • SUPER 2. The first part of a message, containing all necessary information for directing the message to its destination. SLDES . . . & V„CH, VUC- YORE ' SPINDLER SLIDES, INC • 1501 BROADWAY • AT 44TH - NEW YORK, • NY 10036 • (212) 730-1255

Hyphenation The syllabic division of a word that would otherwise over- run the right-hand limit of a line. In phototypesetting, end-of-line hyphenation can be inserted by the keyboard operator or automatically generated by the computer. There are three systems of automatic hyphenation:

1. Discretionary— Inserted by the operator when keyboarding. Operator inserts hyphens in hyphenation positions of every word of three syllables or more. Computer, when justifying a line, uses its discretion to choose only the hyphen needed. All other operator-inserted hyphens are dropped.

2. Logic—The computer is programmed to follow certain logical rules for hyphenating words at ends of lines. Extensive rules prolong processing time. Due to great inconsistencies people in the English language, no program of rules will give 100% correct hyphenation. If rules cannot be applied, word will a not be hyphenated and line will be justified by adding word space and/or letter space.

3. Exception "Dictionary"—An exception list can be used to augment the logic hyphenation program. A collection of words often incorrectly hyphenated by the logic program are held in the computer's memory. The "dictionary" may also Others might even call and General Drawing include words which should not be hyphenated. When a it a warehouse. Either Supplies. We even hyphenation situation arises, many machines automati- way, we'd call it the have that whatcha-ma- cally search their logic programs and exception dictionaries most extensive selec- call-it you've been and, if the word cannot be handled, alert the operator. tion of graphic arts looking for. 4. Hyphenless— No words are hyphenated. Lines are justified products ever assembled. So, why not visit your by increasing or decreasing the word spacing and, on some We, at Alvin, understand favorite art supply dealer machines, the letterspacing. Can result in excessive word your needs. That's why you'll and look over the ALVIN and letterspacing. find a wide, wide range of quality line of art materials. Or art materials to choose from .. . send for your free copy of this Some keyboards and other input devices do not perform Instruments, Scales, Drawing big 212-page catalog today, hyphenation or justification. These devices can be operated Room Equipment, Pencils, 4, and see what "complete" more rapidly and hyphenation and justification are taken Pens, Markers, Transfer care of at a later stage, as at an editing terminal or in the really means. Chances are typesetter. Type and Films. "we've got it!" [Kg@ Idiot Tape MN NM NI I Paper or magnetic tape intended to operate a metal or T-- --ALVIN and COMPANY INC. Importers. Manufacturers, & Distributors phototypesetter via a computer. More appropriately termed I P.O. Box 188C, Windsor, Conn. 06095 unhyphenated tape, unjustified tape or simple tape. I'd like to get a look at your warehouse. Send me your free catalog today. Inferior Letter or Figure NAME TITLE Undersized characters set at the bottom of the typeline. COMPANY I ADDRESS CITY STATE ZIP Quality at the Right Price for over 25 years 86

No, they also make Classic Laid, Classic Crest, Old Council Tree Bond and ...

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Neenah Paper Neenah Paper A Division of Kimberly-Clark See the whole picture. There's more to Neenah. Wisconsin 54956 NEENAH than you may see at first glance. © 1980 K.C.C. The "Graphics Modifier 3000" could be called an "Artdroid" . . . . A "Robot Designer"! It still takes a human designer to do the thinking - But the "Graphics Modifier" does all the work. The idea, of course, is creative freedom. Freedom to do more and better designs. Freedom to take on new accounts. Our Robot Designer . . . . "The Graphics Modifier 3000" Does inlines, outlines, dropshadows, special drop - shadows, and a myriad of unique countour designs. It also produces special half-tone effects such as a 3-D moulded look, a series of elegant shaded airbrush designs and much much more . . . The little Artdroid * even produces its own color separations. All in a fraction of hand rendered time! New Book Shows You How To Create Graphics The "Graphics Modifier 3000" does regular That Work With Editorial Content! modifications as well as all of the speciality designs right in your own darkroom. The "3000" is shipped GRAPHIC IDEA NOTEBOOK complete . . . . just install and put it to work for you. BY,.. JAN WHITE Designers and typographers using a "Graphics Modifier" to do artwork and type modifications can spend a larger percentage of their time on actual design instead of The GRAPHIC IDEA NOTEBOOK is an endlessly valuable problem-solving book the tremendous number of hours now involved in hand rendering. for magazine editors and art directors. Jan Increased production and profits due to greater capacity of design and White, acknowledged for his ability to more available design time. Think of the new business that can be create unique, lively, and tasteful maga- generated by the ability to turn out high quality work in 'A the time of zine formats, has collected over 1,000 of any of your competitors. (Unless they already own a 3000!) his ideas for handling the visual compo- Call It: nents of any kind of editorial material. An Artdroid .. . Jan White is a well-known specialist in A Robot Designer . . . or magazine format design and book de- A Graphics Modifier 3000 sign. He is responsible for the design or Just remember this; it will turn out art and type modifications faster redesign of 70 U.S. and South American and better than anything in history! magazines and journals, 5 newspapers, and several dozen books. He has received *GRAPHICS MODIFIER 3000 31 awards for design, including 3 Neal For information outside of the United States call awards from American Business Press, and gold and silver medals from the Manfred Leyhausen 011e Fjaestad Beta Invest AB Society of Publication Designers. Leyhausen Graphic Art Specials Gerreshemier Strasse 92 Kungsgatan 73 192 pages. 81/4 x 11. 200 B&W illustrations. Postfach 5133, 4000 Dusseldorf 1 S-112 27 Stockholm, Sweden Index. #0-2149-1. 514.50 West Germany Tel: 08-546509 Tel: (0211) 3540 48/49/40 Use This Coupon To Order For 10 Days Free Examination! J Y Lee Peter Young Robin Trading Company Room 201, Sam lin Bldg. Watson-Guptill 2160 Patterson Street, Cincinnati, Ohio 45214 Naz-Dar Graphic Products Ltd. 4279 Steeles Ave. West 334-3, 3KA, Eulchi-Ro, Chung-Ku ❑ (#0- Yes, please send Graphic Idea Notebook Downsview, Ontario M3N1V7 Seoul, Korea 2149-1) at $14.50 for 10 days free examination. I Tel: 265-2546 understand that if I am not satisfied, I may return the book within 10 days for full refund or credit. Tim Wood Name Alphatype Systems Limited Ian Rayner ❑ TO SAVE, I enclose payment, check or money 7 Regency Street Rayner Printing Plates, Ltd. order. Publisher pays postage and handling. In- Address clude applicable sales tax in the states of NY, OH, London, England SW1 Saville Mill, Saville Street TN, CA, NJ, MA and VA. City State Zip . _ Tel: 01-821-0126 Bolton, Manchester, England ❑ BILL ME, plus postage and handling ❑ CHARGE MY CREDIT CARD Signature For information on the Graphics Modifier or dealers inside the U.S. call ❑ Visa. ❑ Master Charge A0600 Book will be shipped within 30 days of receipt of Card No. Expires order. BYERS CORPORATION BOX 26624 OKLAHOMA CITY OK 73126 405 235 0572 Only the following Subscriber Companies are licensed to manufacture and sell ITC typefaces: At M.J. Baumwell

AM International, Inc. Rents Mecanorma Varityper Division Hardy/Williams (Design) Ltd. 78610 LePerray-en-Yvelines Mt. Pleasant Avenue 73 Newman St. Paris, France we can modify 11 East Hanover, N.J. 07936 London WI England (484 83 40) (201) 887-8000 01-636-0474 Dry Transfer Letters Phototypesetters and Photo- Fbnt Manufacturer lettering Systems Mergenthaler Linotype libtoStar International Company Aiphatype Corporation 15450 E. Valley Blvd. 201 Old Country Road any display line 7711 N. Merrimac Avenue City of Industry Calif. 91746 Melville, N.Y. 11747 Niles, Illinois 60648 (213) 333-2600 or 330-5330 (516) 673-4197 (312) 965-8800 FotoStar II Display Setting Linoterm, V-I-P, Linotron, Omni- AiphaSette and AlphaComp Machines. 2" Film Fbnts tech CRIlonic, Phototypesetting Phototypesetting Systems Equipment and Systems T Fundicion Tipogmfica immPREM U F an CRS Digital Phototypesetter or logo Neufville, S.A. MOD Graphic Systems Artype, Inc. Puigmarti, 22 Rockwell International 3530 Work Drive Barcelona-12 2735 Curtiss Street P.O. Box 7151 Spain Downers Grove, Illinois 60515 Fort Myers, Fla. 33901 Poster Types (312) 963-4600 (813) 332-1174 Information Products Division furnish a 800-237-4474 Geographies, Inc. Dry Transfer Letters 1100 Seymour Street The Monotype Corporation Ltd. Cut Out Letters Vancouver, B.C. Salfords, Redhill, Surrey Canada V6B 3N3 England Antologic, Inc. (604) 685-8236 Redhill 6 5959 1050 Rancho Conejo Blvd. Dry Transfer Letters Visual Communications variati Newbury Park, Calif. 91320 Equipment (213) 889-7400 Graphic Products Corporation APS-4/APS-5 CRT Phototype- 3601 Edison Place Officine Menta setter Composition and Rolling Meadows, Ill. 60008 Via Privata Venafro, 6 Typesetting Systems (312) 392-1476 20154 Milano Fbrmatt cut-out acetate letters Italy H. Berthold AG and graphic art aids (02) 38.42.08/39.43.65 Teltowkanalstrasse 1-4 Typesetting Machines D-1000 Berlin 46 Graphic Systems World Germany Trade S.A. Officine Simoncini s.p.a. (030) 7795-1 Tour Gallieni 1 Casella Postale 776 Diatronic, ADS 3000, Diatext, 80 Avenue Gallieni 40100 Bologna Diatype, Staromatic, 93170 Bagnolet Italy Staromat, Starograph France (051) 744246 360.1212 Hot Metal Composing Matrices Berthold of North America Graphiset and Phototypesetting Systems moo 610 Winters Avenue Paramus, N.J. 07652 Harris Corporation Optronics International, Inc. (201) 262-8700 Harris Composition Systems 7 Stuart Road Diatronic, ADS, Diatype, Division Chelmsford, Mass. 01824 Staromat, Diasetter. P.O. Box 2080 (617) 256-4511 Repromatic Melbourne, Florida 32901 Phototypesetting Systems (305) 259-2900 Bobst SA. Fbtotronic 4000, TXr, 1200, 600 PhotoVision Of California, Inc. Bobst Graphic Division CRT 7400, 7450 P.O. Box 552 CH-I001 Lausanne Culver City. Calif. 90230 Switzerland Dr.-Ing Rudolf Hell GmbH (213) 870-4828 Toll Free: 800-421-4106 play line 021/89.29.71 Grenzstrasse 1-5 Phototypesetting Systems D2300 Kiel 14 . Spectra Setter 1200, Visual Germany Display Setter, and 2" Film Dr. Boger Photosatz GmbH (0431) 2001-1 Fonts 2 Wedel in Holstein Digiset Phototypesetting Rissener Strasse 94 Equipments and Systems, Pressure Graphics, Inc. Germany Digiset-Fonts 1725 Armitage Court (04103) 6021-25 Addison, Illinois 60101 Manufacturers of Copytronic Information International (312) 620-6900 Phototext Composing Machines, 5933 Slauson Avenue Dry Transfer Letters Film Fonts, and Copytype Culver City Calif. 90230 Photolettering Systems (213) 390-8611 Ryobi Limited and Fonts Phototypesetting Systems 762 Mesaki-Cho Fuchu-Shi Cello -11A Mfg., Inc. International Graphic Hiroshima-Ken 726 ti urnish any of the 35 Alabama Avenue Marketing Japan Island Park LI., N.Y. 11558 Rue des Bosquets 12 Text/Display Phototypesetters (516)431-7733 Ch-1800 Vevey Dry Transfer Letters P.O. Box 33 D. Stempel AG Switzerland Hedderichstrasse 106-114 Chartpak Font Manufacturer Frankfurt am Main-Sud One River Road Germany Leeds, Mass. 01053 Itek Composition (0611) 6068-1 (413) 584-5446 Systems Division Type Division Dry Transfer Letters 34 Cellu Drive Nashua, N.H. 03060 Thetype, Inc. Compugraphic Corporation (603) 889-1400 12 West 26th Street 80 Industrial Way Phototypesetting Systems and New York, N.Y. 10001 Wilmington, Mass. 01887 Equipment, Film Strips, (212) 924-1800 (617) 944-6555 Standard and Segmented Discs, Dry Transfer Letters EditWriters, CompuVVriters, and Digitized Fonts ibxt Editing Systems, Thchnographics/Film Fonts Accessories and Supplies Labomtoirellichot P.O. Box 552 23, Route De Seurre Culver City Calif. 90230 Degra Albert Deist 21200 Beaune (213) 870-4828 Postf. 114 D-3508 Melsungen France Toll Free: 800-421-4106 West Germany 80-22 23 73 Film Fonts, Studio Film Kits, Display Typesetters. 2" Film Fbnts Manufacturer of fonts for: and Alphabet Designers Singer/GSI/Wang Esselte Dymo N.V. Typesetters 44 and 48 Visi-Graphics Thinking neatly done. P.O. Box 85 8119 Central Avenue Industrie Park-Noord 30 Letraset International Ltd. Washington, D.C. 20027 B-2700 Sint-Niklaas St. Georges House (301) 366-1144 Belgium 195/203 Waterloo Road Dry Transfer Letters 031/76.69.80 (10 1.) London SE1 84J Visual Systems Division England Visual Graphics Corporation (01) 930-8161 5701 N.W. 94th Avenue Film Fonts International, Inc. Dry liansfer Letters Tamarac, Florida 33321 330 Phillips Ave. (305) 722-3000 South Hackensack, N.J. 07606 Letraset USA Inc. Manufacturer of Photo lypositor 201-440-9366 40 Eisenhower Drive and Original lypositor Manufacturers of fonts for: Paramus, N.J. 07652 Film Fonts Alphatype/Alphasette (201) 845-6100 2" Display Film Fonts Dry Transfer I:etters Zipatone, Harris Fototronic 1200, TXT, 150 Fend Lane M J BAUMWELLmb 1YFOGRAPHYINc 4000 Linographics Hillside, Illinois 60162 770 N. Main Street (312) 449-5500 i 461 81H AVENUE Filmotype Orange, California 92668 . Dry Transfer Letters 7711 N. Merrimac Avenue (714) 639-0511 NEVV YORK NY 100D1 Niles, llinois 60648 Display typesetters, (312) 965-8800 2" Film Fonts (212) 868-0515 Film Fonts For further information, write or call: INTERNATIONAL TYPEFACE CORPORATION 2 HAMMARSKJOLD PLAZA NEW YORK, NEW YORK 10017 (212) 371-0699 TELEX: 125788

LICENSED

88 Jozef Sumichrast

1- 1-1K KNPNMNU E A A' PH It -UT X03141A Iltustratati A aatiF Sumichfast kef Swifts!

A6B1P,EX3VIOKAMHOr1PCPKIALALIWW,bb131051 The English Alphabet" 25x38 The Cyrillic Alphabet" 25x38

These prints of the Cyrillic and English alphabets have appeared in shows throughout North America and Europe. They are also found in the permanent collections of the Sixth International Poster Bienniale of Warsaw, the Los Angeles County Museum of Art and the New York History Museum. Each poster is signed and sells for $35.00 or $50.00 a set. Send your check or money order (U.S. currency) to: JOzef Sumichrast P.O. Box 433 Dept. U Deerfield, Illinois 60015

Repositionable FORMATT cut-out acetate CENTER DATES art aids give artists greater design flexibility. PAPERWORK: SIMPLE IS SMART—MAKING PAPERWORK WORK FORMATT cut-out acetate lettering, into position the finished result is February 2 thru March 27,12 noon thru 5:00 p.m. rules, borders, ornaments, shapes, high quality reproduction artwork R.O. BLECHMAN: BEHIND THE LINES and shading mediums are reposi- which is scratchproof, crackproof, April 6 thru May 22,12 noon thru 5:00 p.m. tionable during their initial applica- and completely heat-resistant. TYPOGRAPHY 2: 27th ANNUAL TYPE DIRECTORS CLUB EXHIBIT tion to artwork. As a result artists For further information and a free June 1 thru July 24,12 noon thru 5:00 p.m. have the ability to experiment with catalog illustrating the complete INTERNATIONAL CALLIGRAPHY TODAY different layout possibilities while FORMATT selection write: Graphic Return Engagement working with FORMATT. Products Corporation, 3601 Edison August 3 thru September 25,12 noon thru 5:00 p.m. When artwork is complete with all Place, Rolling Meadows, IL 60008. VISION 80's FORMATT elements burnished firmly October 5 thru November 25,12 noon thru 5:00 p.m. LETTERS ALIVE: A LETRASET SHOW December 7 thru January 22,12 noon thru 5:00 p.m. ) I'm interested) in repositionable FORMATT)T PLEASE NOTE THAT THE ITC CENTER WILL BE (products and request a free catalog. CLOSED WEEKENDS AND ON THE FOLLOWING DATES: February 16,Washington's Birthday, Monday My Name May 25, Memorial Day, Monday July 3, Day before Independence Day, Friday Dept. /Title September 7, Labor Day, Monday October 12, Columbus Day, Monday Company November 3, Election Day, Tuesday November 26,Thanksgiving Day,Thursday Street November 27, Day after Thanksgiving, Friday December 24, Christmas Eve,Thursday City State Zip December 25, Christmas Day, Friday December 31, New Year's Eve,Thursday Mail to: Graphic Products Corporation, 3601 Edison Pl., Rolling Meadows, IL 60008 a 89 A_BCDEFGIIIJIi_L 111NOPORSTITVW When it comes to combining beautiful alphabets with XYZ;%. transfer lettering, Chartpak's "Velvet Touch" does it best. Velvet Touch's slick surface and vinyl ink make it easy to apply and the price of an 81/4"x11 1/4" sheet is only $3.75 -- about half the price of other 110 lettering sheets. Pick one of our 300 alphabets and see for yourself. chartpak A TIMES MIRROR COMPANY/ONE RIVER RD., LEEDS, MA 01053

E MWBMOM M -iAN-efitt• EEMEE E EEMEEOWE MEM MEMEEE minim anEEMEMEMUMEEME nit-ItiabiT56isbZIEN E WEE E B E R MEM MIME= WORM WEE MMEMMMEMME WEE= EMMEN MEMO OMM - ! MEMO WEE BI BEE cfy-rist%y h L-1 -to MEM WE MMME ELME E OWE WE CEMM WO MUMMER CEMM MEE= EM MM CMM MM MEME ME ME MM mum MMMEMEM WE WIMETHEMEABEIMIEND BD

Translation:

We set Annual Reports in every language including English

There are over 1000 languages and dialects in which we set type for corporate communications and advertising material. lit King Typographic Service 305 East 46th Street, New York, New York 10017, (212) 754-9595 The Foreign Language Division of TGC SOLUTION TO PUZZLE ON PAGES 30 & 31

zipalone 150 Fencl Lane, Hillside, IL 60162

The rave reviews of everyone that has seen it here surely justifies your juSI-. Akio.I tip_ to it yttx t;i Herculian task. The exceptional quality, originality, and even good taste will surely land this book a place in the typographic hall of fame. Case kiatel Y'kehsdni 1""` Kenneth 13. Clialetzki, Circle Graphics ant of printing recalls the great personnages

47.445 /2, -vtA.4-frdA0 HAriat4 Pru4;lt,, NoMA6e

YOUR Bong. 15 601Z6-Eous LovE 5 70-titvIL f-194. IT , 1' a 4iLem,c1 movva loans 116.60-ti pav-. ?to.1 Dear Phil's Photo Pfolks, It's Beautiful! Thank you! Graphics S 11-at -1 P-FRAAJ2 i A. h Air 1:01- ,11,r4;azine I've just received my copy of HOMAGE TO THE ALPHABET. It' s a 01N1 magnificent volume, and you have my congratulations and my thanks! Drew Babb. J. Walter Thompson I YotilP(44.S aercaiie BACK NOW WITH RECENT SHIPMENT FROM YOU WITH THE SMELL 0:/Q47Wil; 7 44/ kiltraUf X✓gT/ '14d OF THE PRESS STILL FRESH ON ITS GRAND PASES. AN CO/111/V6 /7". ri A/C-7A/720i1/ ,71/17— INCREDIBLE J0 3.. CONGRATS AND THANKS. A'FM/7/.4 ,14 a 112 ""Migu* Tom Devlin, Lord, Geller Federico, Einstein Stephanie Newman, U of Wis. rip r , ;4,- Richard Jester New West Magazine AS YOU CAN SEE BY OUR FIRST REVIEWS, THIS IS NO ORDINARY 11TEBOOK. In fact, it could be the best photolettering Homage is also beautifully built. selection tool you'll ever use. To that end: 7 ring foil stamped vinyl binder. 82 pages of one-line indexes, both All coated stock. No skimping. alphabetized and categorized; Phil's Photo is one of the 1160 large-size full alphabets, country's largest exclusively set in juicy clumps instead of photolettering typographers. strung out in lines, which truly We're known mostly in the affords you a better way to mid-Atlantic region now. At appraise a typeface. $48, we expect this book to But beyond its utilitarian value Phil's Photo help spread our name around 2321 Wisconsin Ave.NW. Washington, D.C. 2 is its spirit lifting effect. To anyone a little farther. Name Title Company who loves type, these pages are Honestly, if you could see beautiful to behold. Read the Address City it in person, you'd be uncap- letters up top. We don't exaggerate. State Zip No. of books at $48. Amount ping your pen right now. plus $3. ea. shipping. enclosed (D.0 Residents Add 6% Sales Tax.) 91

Wenn Sie nicht schon Ihr eigenes Exemplar von U&Ic erhalten und die Zeitschrift If you are not receiving your Si vous ne recevez pas U&Ic gem kostenlos beziehen own copy of U&Ic and would mais souhaitex le recevoir mochten, Killen Sie bitte like to receive it free, please gratuitement, veuillex remplir diesen Coupon aus und complete this form and mail to: ce formulaire et ('addresser 6: senden ihn an: U&Ic Subscription Dept. U&Ic Subscription Dept. U&Ic Subscription Dept. 2 Hammarskjold Plaza, 2 Hammarskjold Plaza 2 Hammarskjold Plaza New York, N.Y. 10017 9 U •S •A • New York, N.Y. 10017 9 U •S •A • New York, N.Y. 10017, U.S.A.

❑ I want to receive U&Ic. ❑ J'aimerais recevoir U&Ic. ❑ Ich mochte U&Ic beziehen.

SURNAME GIVEN NAME NOM PRENOM ZUNAME VORNAME

TITLE FONCTION BERUF

COMPANY FIRME FIRMA

ADDRESS ADRESSE STRASSE

CITY VILLE CODE POSTAL POSTLEITZAHL UND ORT

COUNTRY PAYS LAND

SIGNATURE SIGNATURE UNTERSCHRIFT

DATE DATE DATUM

BUSINESS CLASSIFICATION CLASSIFICATION PAR PROFESSIONS FIRMENKLASSIFIZIERUNG (Check one only) (Ne cocher qu'une seule fonction) (Bitte eine ankreuzen) (a) Printer (Commercial, forms, etc.) (a) Imprimerie (commerciale, formulaires, etc.) (a) Druckerei (Akzidenzen, Formulare, usw.) (b) Typesetting, Composing (b) Composition a facon (b) Schriftsetzerei (c) Advertising Agency, Art Studio, Design (c) Agence de publicite, bureau de creation, (c) Werbeagentur, Grafikdesignatelier (d) Newspaper, Magazine studio (d) Zeitungs- oder Zeitschriftenverlag (e) Book Publisher (d) Journal quotidien, periodique (e) Buchverlag (e) Edition de livres (1) Packaging (f) Verpackungsdesignatelier oder Verpackungsdruckerei (g) Internal Printing (not for resale) (f) Emballage (h) Education (g) Imprimerie integree (non commerciale) (g) Hausdruckerei Enseignement Lehrer (Schule, Fachschule, Universitat, usw) (i) Libraries (h) (h) (j) Government (i) Bibliotheque (I) Bibliothek (k) Corporation advertising, design, promotion (i) Fonction publique (j) Beharde (k) Department de publicite dune entreprise Werbeabteilung von Industrie- oder (I) Student (k) Handelsfirma Other (I) Etudiant (m) Studierender (m) Divers (I) MY PRIMARY JOB FUNCTION IS: (m) Andere (bitte beschreiben) (Check one only) MON ACTIVITE PRINCIPALE EST : (Ne cocher qu'une seule fonction) MEINE HAUPTBERUFSTATIGKEIT 1ST: (n) Artist, Illustrator (Bille eine ankreuzen) (o) Art Director, Creative Director (n) Dessinateur, illustrateur (o) Directeur artistique, directeur de la creation (n) KUnstier, Illustrator (p) Pasteup Artist (o) Art-Direktor, Kreativ-Direktor Type Director (p) Metteur au net (q) (p) Reinzeichner (r) Graphic Designer (q) Type Director (q) Typograf (s) Advertising Manager, Sales Promotion (r) Graphiste Manager (s) Chef de publicite, directeur de la promotion (r) Grafikdesigner (t) Production Manager (t) Chef de la production (s) Werbeleiter, Verkaufsfarderungslefter (u) Printing Buyer, Purchasing Agent (u) Acheteur, vendeur d'espace (t) Produktionsleiter (v) Principal; Officer (v) Chef de service, employe (u) Drucksacheneinkaufer (v) Firmeninhaber, Direktor (w) Other (w) Divers (w) Andere (bitte beschreiben) NUMBER OF PERSONS EMPLOYED NOMBRE DE PERSONNES EMPLOYEES IN YOUR ORGANIZATION DANS VOTRE FIRME ZAHL DER BESCHAFTIGTEN MEINER FIRMA ODER BEHoRDE: (1) 1-9 (1) 1-9 (2) 10-19 (2) 10-19 (1) 1-9 (2) 10-19 (3) 20-49 (3) 20-49 (4) 50-99 (4) 50-99 (3) 20,49 (4) 50-99 (5) 100-249 (5) 100-249 (6) 250 and over (6) 250 et plus (5) 100-249 (6) ()Per 250 92

2. Alphabet lengths in points for each 1. Text blocks plus alphabet showings text point size. These relate for sizes 6, 7, 8, 9, 10, 11, 12, 14, 16, to an easy-to-use copyfitting 18, 20 and 24 point. chart at back of book.

A typical 2-page spread ITC Benguiat Book (reduced to 64%)

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DESIGNED TO MAKE SPECIFYING ITC TYPEFACES EASIER THE ITC TYPEFACE COLLECTION 93

3. Alphabet display showings in sizes 30, 36, 48, 60 and 4. Complete character showing 5. Headline presentation in 72 point plus 1" caps. of each ITC display font. • display size range.

abcdefghilklmnopqrst abcdefgh jklmnopd rsl t \ ■%\N ABCDLTGtilJKLMNOPQKt-, I t 'V \AXYL ABCDEFOHIJKLMNOP 1234567890&$$C,i' AMA/Bit-Mitt irh F abcdefghijklmnopq it(Ef3(0xcv* ABCDEFGHIJKLMN *)(4 4; i 0,7690 abcdefghijklm ABCDEFONJK abcdefghik ABCDEFON 26 abcdehik good ABCDEGI reasons to use The ITC Collection includes all ITC typeface families issued through 1980 abcdei Benguiat ITC American Typewriter ITC Avant Garde Gothic ITC Bauhaus ITC Benguiat ABCDF Book ITC Benguiat Gothic ITC Bookman ITC Century ITC Cheltenham ITC Clearface ITC Eras ITC Fen ice ITC Franklin Gothic Please print/Bitte im Druckschrift/Ecrivez en caracteres d'imprimerie Friz Quad rata Basic facts about"The ITC r- ITC Garamond Italia Typeface Collection"572 pages. International Typeface Corporation ITC Kabel 121/2"x 121/2' Hardbound, Smyth 2 Hammarsljold Plaza $39.95 ITC Korinna sewn for easy opening. New York, New York 10017 ITC Lubalin Graph Please send me "The ITC Typeface Collection: ITC Newtext Enclosed is my payment of $39.95:` Ship my book postpaid. ITC Novarese *New York State residents add applicable sales tax. ITC Quorum For shipments outside the United States, please remit $41.45. ITC Serif Gothic ITC Souvenir (All orders must be accompanied by a remittance payable in ITC Tiffany U.S. funds. No C.O.D.s.) ITC Zapf Book ITC Zapf Chancery NAME/NAME NOM ITC Zapf International PLUS... The ITC STREET ADDRESS/STRASSE RUE ET N° Display Typeface

CITY TOSTLEIZAHL UND ORT'VILLE Collection AND...The ITC STATE AND ZIP CODE/LAND/PAYS, CODE POSTAL Zapf Dingbat Series

• NENE •IIIII• •••• ••11111111 11 1111 ■ ■ •••••••••••••••••••••••••••••••••••••••••• •• ■ ••• • To obtain these handsomely designed, color- ful ITC type specimen booklets, just complete • Now...

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1 ■ Pour obtenir ces jolies brochures-specimens ■ order ■ ITC, it suffit de remplir ce bon de commande 11111 ■ ■ these et de nous le retourner. Toute commande doit ■ etre accompagnee d'un avis de paiement • ITC acquitte. Priere de payer en $ americains au ■ •••••• ■ nom de ITC:

■ ••• ■ Type ■ Wenn Sie diese attraktiv entworfenen, farbvol- ■• Specimen len ITC-Schriftmusterhefte erhalten machten, ■ f011en Sie bitte den Bestellschein aus. Alle ■ Booklets Bestellungen mussen vorbezahlt werden. Sen- ■• den Sie Ihre Zahlanweisung (in U.S.-Wahrung ■ ■ und zahlbar an ITC) zusammen mit dem Be- ■• stellschein an: ■ En ■ ■ vente... International Typeface Corporation ■ 2 Hammarskjold Plaza, New York, N.Y. 10017, USA ■ ■ Ces ■ ••••••••••••••••••••• • Name. Nom ■ brochure- •• ■ • specimens . Company Firme Firma ■ ■ ■ ITC Title Fonction Beruf ■ ■ • sont Street Address Rue et n° Strasse ■ ••••••••••• ■ livrables

City Ville Postleitzahl und Ott ••• ■ de ■ ■ • Country Pays Land Code Postal Zip Code ■ ■ stock ■ ■ Quantity Unit Price Total ■ ■ Quantite Prix unitaire Total ■ Nunmehr... Anzahl Einzelprels Gesamtprels • ITC BOOKLETS: •••••••••••• ■• konnen _JTC American Typewriter $1.00 ■ _JTC Avant Garde Gothic with Oblique 1.00 ••• ■ _ITC Avant Garde Gothic Condensed 1.00 ■ •• Sie JTC Bauhaus 1.00 ■• ■ _ITC Benguiat 1.00 _JTC Benguiat Condensed 1.00 ■ diese ••••

■ ■ ■ _ITC Benguiat Gothic 1.00 ■ ITC- _JTC Bookman 1.00 ■ _JTC Century 1.00 ■ _ITC Cheltenham with Condensed 1.00 ■ Schrift- 1.00 ■ _JTC Clearface ■ _JTC Eras 1.00 . muster- _ITC Fenice 1.00 ■ _ITC Franklin Gothic 1.00 ■ ■ hefte _Friz Quadrata 1.00 ■ _JTC Garamond with Condensed 1.00 ■ ■ bestellen. JTC Isbell 1.00 • _Italia 1.00 ■ __JTC Kobel 1.00

■ •••••••••••••••••• ■ __ITC KorInna with Kurslv 1.00 ■ JTC Lubalin Graph 1.00 ■ ••• ■ _JTC Newtext 1.00 ■ JTC Novarese 1.00 ■ JTC Quorum 100

■ ••••• ■ _JTC Serif Gothic 1.00 _ITC Souvenir 1.00

■ •• ■• _JTC Tiffany 1.00 ■ _JTC Zapf Book 1.00 •• ■ ■ __ITC Zapf Chancery 100 • ■ __JTC Zapf Dingbats 1.00 ■ _ITC Zapf International 1.00 ■ •

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Goodbye Gutenberg by Anthony Smith This is a detailed and well- i nformed look at how the computer/electronic revolution A Graphics Sourcobook of filatoriels, Ent/inns:int and Services will change newspaper publish by,boti necMtl+&b Hones ing in the '80s. It considers every aspect of publishing, not just &, Design -. typesetting and printing. It considers the effect of new technologies ::-.""."-----g `;: ... 4. ..A111011111111, on markets and marketing, on circulation management and on journalism and unions, and it :: ' 04.7' 64 .9 29 reviews the role of the new media ''' -,,," (the various forms of videotext) that will send information to a TV set in the home or office. The author (as does Alvin Toffler 11,11110.110111.- in "The Third Wave") breaks the By Design: A Graphics Source- history of newspaper publishing book of Materials, Equipment into three major phases or Illustrators 21 and Services revolutions: (1) the development Edited by Gerald McConnell, by Jon Goodchild and Bill Henkin of writing, (2) the development of designed by Robert Hallock The authors have selected to printing, (3) the computerization This 21st Annual of American recommend a wide variety of of printing and information stor- Illustrations is a record of the tools, materials, equipment, and age and distribution. He consid- selections'in the Society of Illus- services, and also tell where they ers the social as well as economic trators national exhibition. Nearly can be obtained and at what impact of each revolution. 500 pieces represent illustrations price. Covers designer's furniture Oxford University Press, 200 in advertising, editorial pages, and storage equipment, lighting Madison Avenue, NY, NY 10016. books, film, television, and insti- fixtures, paper and printing, type- 367 pages. 04 x $16.95. tutional publications. Beautifully setting and typography, calligra- printed. Index includes artists' CRT Typesetting Handbook addresses. phy and hanC lettering, design by Stanley Rice schools and colleges, desks, chairs, Hastings House Publishing work surfaces, the wholg gamut of Cathode-ray-tube typesetting is Company Inc., 10 East 40th St., NY, The U&lc Book Shop reviews new books believed artists'tools and materials, profes- the method of the future. It com- NY, 10016.368 pages, 100 in color to be of interest to U&lc readers and lists the sional organizations and seminars, bines vastly greater setting speeds, 8N x 1P/4.535.00 publishers, addresses, and the prices of the books as well as available magazines, pretypesetting text manipu_ation, journals, and books. increased reliability, and almost so that the books may be ordered directly. All infinite flexibility of control over prices are for delivery within the U.S.A. or Canada. Quick Fox, Inc., 33 W 60th St., 80'81 New York, NY 10023.256 pages. graphic forms. This handbook of graph's annual Prices listed are based on payment accompanying 8'/2 x 11. Paperbound $12.95. CRT samples and options is di- order. If payment is not included, you will be billed rected to the professional user, for handling and shipping charges. Please add your the type buyer who needs ready local and state sales taxes wherever applicable. For access to the basic text forms in Jasitf. White order to enhance visualization books to be delivered outside the U.S.A. or Canada, and assure accurate purchasing please request prices and shipping charges from decisions. the publisher. Van Nostrand Reinhold, 7625 Empire Drive, Florence, KY 41042. 416 pages.81/2 x 11.$29.95. Videotext: The Coming Revo- lution in Home/Office Infor- Optical Letterspacing mation Retrieval. by David Kindersley Edited by Efrem Sigel One of the problems that typog- Videotext is the generic term raphers, compositors, and book (accepted by some) for TV- is designers must confront is how to Graphis Annual 1980/81 • achieve good letterspacing—that transmitted information. It con- Inventive techniques fbridea Edited by Walter Herdeg verts the entertainment-oriented designing Printed-Pages is, how to make each letter appear exactly centered between its two This 29th Annual, as usual, is a TV set into an information termi- beautifully printed record of out- nal.There are two basic kinds of adjacent letters. Since 1947, when videotext In one version the notebook he worked out a street-name standing graphics from all over receiving set is like a news ticker alphabet for Cambridge, England, the world, representing such major displaying brief items of interest Graphic Idea Notebook .Mr. Kindersley has researched the design fields as advertisements, by Jan V. White question in depth; this booklet is annual reports, booklets, book (such as news, sports results, jackets, magazine covers, trade- stock quotations, weather infor- A bookful of over 1,000 inventive a full account of his conclusions. techniques for designing printed The Sandstone Press, 321 East marks, letterheads, packaging, mation, airline schedules). An record covers, film, television, Type Sign Symbol adapter on the TV set enables the pages, for converting routine 43rd Street, NY, NY 10017. 40 by Adrian Frutiger material into provocative pre- pages. 4'/ x 11. Softcover $12.40. and editorial design. user to call the information to the Hastings House Publishing One of the world's great type screen. This is a passive system. sentations. Written for magazine editors and art directors, but use- Company Inc., 10 East 40th St., NY, designers (Univers, Frutiger, The user can receive only the NY 10016.247 pages, 72 in color among others) and graphic art- information being transmitted at ful in the classroom, too. Chapters deal with getting attention, the Y: 766 illustrations. Detailed captions. ists, Adrian Frutiger has written the time the user chooses to watch. 01311 Indexes.% x 12. $59.50. about his life's work and his An interactive system uses a editorial eye, combining and join- methods of working. For Frutiger computer in the home or office ing, direction/motion change, mug The Book lettering and type are not merely terminal and sends its signals shots, boxes, alphabets/number- ing, breaking up text, charts, maps. make it most A thorough directory of creative an aid to reading but a universal over ordinary telephone lines to services in the Northeast United means of perception. Frutiger has the computer. It will make availa- Watson-Guptill Publications, 2160 Patterson Street, Cincinnati, OH legible States with 6,000 listings. Covers designed everything from logo- ble huge data bases of informa- art suppliers, photo-processing types to Paris Metro, Charles De tion (kept up to date); with the aid 45214.192 pages.81/2 x 11. $14.50. of electronic directories and labs, stat services, artist/designer/ Gaulle, and Orly airport sign sys- Mergenthaler VIP Typeface creative services, interior design tems, as well as logotypes and prompts, the user can request the information wanted. Simple Catalogs, 2 Vols. and space planning, photog- books. His sculptures are in many Compiled by Volk & Huxley raphers, stock picture sources, materials including concrete, slate, graphics, in seven colors, are retouchers, modeling agencies, metal, bronze, stone,and plastic. handled and eventually photo- A most comprehensive type Typography: how to make it specimen collection of 562 VIP color separations, printers, labels, Some who have seen his sculp- graphs will be transmitted in most legible paper, typographers, AVs/slides, tures and his delicate drawings videotext systems. typefaces. Features settings of by Rolf F. Rehe This book is a readable, traditional and modern faces and film and TV producers, sound think of him as a graphic poet. This concise bookconsiders every recording, marketing and research, The text of the book covers the authoritative report on the brief enables the designer to easily history of videotext throughout compare legibility, color, charac- conceivable variable a designer direct mail, sales promotion, ad reasons for new typefaces and can manipulate to maximize legi- specialties, exhibits, advertising new techniques, computer- the world with emphasis on the ters, and composition of the British Ceefax and Prestelsystems. different type styles. Each type- bility. The author's conclusions agencies, copywriters, public rela- readable typefaces, legibility type and recommendations are based tions, media, airlines and travel in the environment and in archi- It explains what they offer, how face is shown in all sizes from 6 they work, how they are likely to point to 36 point together with a on a careful study of the tons of agencies, messengers, restaurants, tecture, scripts of foreign cultures, research in this field, but the galleries, schools, organizations, designing of logotypes and of affect publishers, TV, and home or complete showing of the font and office users, and appraises the an alphabet sample set in three reader is spared the heavy data translators. signs and symbols, and artistic and given the conclusions with The Books, Ltd., PO Box 749, creation with matter and light. future of such systems. choices of spacing. Knowledge Industry Publica- Van Nostrand Reinhold, Dept k, clear, brief supporting facts and Westport, CT 06880.400 pages. Hastings House Publishing illustrations. 5 x 81/2. Paper, plastic comb Company Inc., 10 East 40th St., tions, Inc., 2 Corporate Park Drive, 7625 Empire Drive, Florence, KY White Plains, NY 10604.154 pages. 41042.576 pages each volume. Third revised edition was pub- binding. $18.00 NY, NY 10016.156 pages.Over lished in 1979 by Design Research 500 illustrations. Multilingual text. 61/4 x 91/4.111ustrated. Index. $24.95. 9 x 12. Paper $24.95 per volume. Set, $40.00. International, PO Box 27, Carmel, 10x 10. $67.50. IN 46032.80 pages.814 x 8iht. Paper $8.00. C 'ENDAR OF EVENTS

ALL ITC CENTER EVENTS TAKE PLACE ON BUSINESS DAYS. ADMISSION IS FREE. 2 HAM MARSKJOLD PLAZA, NEW YORK, N.Y. 10017-866 SECOND AVENUE (BETWEEN 46TH AND 47TH STREETS),THIRD FLOOR THE GALLERY IS CLOSED ON THE FOLLOWING HOLIDAYS: MONDAY, FEBRUARY 16; MONDAY, MAY 25 AND FRIDAY,JULY 3,1981 FOR THE FULL HOLIDAY CLOSING DATES SEE PAGE 88 CURRENTLY SHOWING, 12 NOON-5 PIV., CLOSES JANUARY 23,1981: TYPE A\D TECHNOLOGY PAPERWOR < S VPLE IS SVART, VA

R.O. BLECH VA\ : BEHIND THE LI \ES -YPOGRAPHY 2: 27th A\ \UAL TDC EXHIBIT APRIL 6-MAY 22,12 NOON-5 PM. JUNE 1-JULY 24,12 \00\ -5 P.IV An exhibition based on the book of the same name This major exhibition, sponsored by The Tyoe Directors which was recently published by Hudson Hills Press, Club, presents examples of ypographic excellence Inc. R.O. Blechman: Behind the Lines tells Blechman's in a wide range of media.The pieces, printed anc own story with hundreds of examples of his work which calligraphic, were selected by a panel of six judges have appeared in the New York -imes, the NewYorker and include outstanding work by -ype directors, -ypo- and in movies and television commercials for Sony, graphic suppliers, calligraphers, agencies, studios, Alka Seltzer and others. and independent designers from arounc the world. The work on exhibition will be published in an annual in the Fall.

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