Twentieth Anniversary Issue

AaBbCcDdEeFfGgHhliJjKkLIMmNnOoPp QqRrSsTt UuVvWwXxYyZz12345678908,riECES$4£%!?On UPPER AND LOWER CASE. THE INTERNATIONAL JOURNAL OF TYPE AND GRAPHIC DESIGN BI ISM I) B\ IN I LIMA I IONAI 11 PI I , (1 t (M1'01: \ 111 , N 1,11 N1. 11t1 1: I "WM V. 1 ott ; MIL ■ 10

r.. co =-4'-..,$, '3 41 co, aar nr -0 .Z 0 0) Nso G at )•t 0 ,40 .*** ■C t> 0 B. C. 4. 3 070, <•0 C• 44. 0/ 0 r,a,'($) 0 44 at) c. SCf 00 IF \e' .1404 fOr 0 •)Itt • (> p 0 O se .3. e P.04,_ 4., ole vilyt 41, 2'c 4,10 4,,e4 so.. '40,. • ,o,s. read quirky alphabets

ti nostalgia va■ ea°

et. *et

%.0 ot• ,h44'e. 044- 4r,

(1,

zi twentieth anniversary issue Fontek DesignFonts: get fingertip Six Great Collections access to hundreds of unique To Choose From! graphic illustrations right in your Macintosh font menu, ust ORGANICS. ATTITUDES. like any other Typel font. INCIDENTALS. NATURALS. PRIMITIVES. RADICAL Each font has a style OW Ea( that's all its own with between 15-100 graph characters. Fontek DesignFonts Fontek DesignFonts give you a range of design theme combine the style of that will enhance the appearanc today's designers of your publications and add with the state of the art in clarity and emphasis to your' today's technology. messge.

You use DesignFont images just The Precision Type Price like any other font character: is Right- $75.00 Per Fon add color, rotate, modify them in graphics programs or simply Our w price rriaG ^€; resize and generate Macintosh it very a fordar styles like outlines add DesignFonts %tour and shadows. graphit:s collection. And, you CP Customize toein / — gat t t:ompleie %et of all any way you like' fonts the DesignFont Po \/\/\/\/\/ Linoo' 3/4 mplete Linotype price. Prices for unlocking more

, Plus Much More: them before you decide with the fonts? Starting at $28.00 each ust InTime CD-ROM. Linotype-Hell Typeface Browser. and as low as $12.00 per font for quantity orders. 2400 Po tScript fonts from the Linotype-Hell... Linotype Library & Elsner+Flake Where Adobe Goes Design S udios (including the For High-Quality Type. latest IT releases), more than 110 EPS graphics Did you know that the from th C.A.R. Clipables majority of the typefaces Library, rueType fonts, in the Adobe Library are special f int packages, designs licensed from font utili ies and more... the world-renowned all on on CD for the Macintosh! Linotype Library? From the classics The Font -Just In Time CD comes to the contemporary, many of the with two fonts.- best known, most widely used and 38 E 'S clip art fonts in the world are originals images u nlocked from Linotype-Hell. and rea y to use. And you can unlock Fonts-Just In Time From four more fonts of Precision Type: $32.49! your choice from the Linotype Library at no Order Fonts-Just In Time from charge. hich fonts to choose? Precision Type and you'll save You can ee each and every one of more than 60% off the $99.00 list -\vvV1 mot H e Beethoven's Intl ][N"

d Viva Multiple Master, $145 now $89 Makes a statement larger than life. Create var Only an original can become a classic. ations in weight and width. Designed by Carol Twombly. When you're creating an original One-of-a-kind offer - $89 each! add excitement to your work. But look, you need the right typeface. Until November 30, 1993, you can hurry, because a unique offer like alb) c de fg And the best place to find it is in buy the Adobe Originals type this only comes around once. the Adobe Originals"d collection. packages shown for only $89 each To order, return the coupon. Or AB C D lE 1F Announcing the latest Adobe -that's up to $189 off the suggested call 1-800-833-6687, Dept. E, Ext. 2248. ataaa a_ a Originals typefaces. retail price. Or buy all four for only And ask about the Adobe- Type Created by Adobe type designers, $299 and save $491! Library, Adobe's collection of more aaaaa al a Adobe Originals are award-win- Each of these brand new pack- than 1,70o quality typefaces from a a ata a ning new designs and updated ages comes with a beautiful speci- the world's leading foundries. classics that add a unique look to men book. And two are multiple your work. Poetica7 and the Tekton- master typefaces that let you create and Viva- multiple master type- thousands of custom fonts. At this faces are the latest additions. great price, they're an easy way to Adobe- aa.Z1Z1Z1_ 4 tia Mg.-) b11,18,183115 r CASABANCA

SPECIAL OFFER- ONLY $89 Symphony By fax Complete and send with credit card payment to 1-408-655-6096. By mail Send completed order form with payment to Attn: Inside Sales, Adobe Systems, P.O. Box 790o, Poetica 2, $185 now $89 Mountain View, CA 94039-790o. To be used with Poetica 1. Order Information Swash Capitals I ❑ YES, send me the Adobe typeface(s) of my choice: ❑ Poetica I Poetica 2 ❑ Mac® or 0PC A.BcDupfla ❑ Tekton (Mac only) ❑ Viva (Mac only)

Swash Capitals II $89 each or $299 for all four x Qty =$

Sales Tax (Residents of AZ, CA, CT, FL, GA, IL, MA, gi. MD, MN, MO, NJ, NM, NY, OH, PA, TX, VA and WA AU3C UYE(Fg add appropriate sales tax) Swash Capitals III Shipping (US orders $7.50, Canadian orders $10.50) $

❑ Send me a $29 sampler disk with Blackoak; 203 CCI34g)j{ Juniper:" Poetica Ornaments, Poetica Chancery II Swash Capitals IV and Trajan'"Regular (Mac only). Total Poetica 1, $275 now $89 03, 6f9.:C Payment Information The elegance of Renaissance calligraphy, with- Initial Swash Capitals ❑ Check/money order enclosed by mail. (Make payable to Adobe Tekton Multiple Master, $185 now $89 out the work. Designed by Robert Slimbach. Systems Incorporated in U.S. dollars, drawn on a U.S. bank.) As casual as your favorite pair of jeans. Create Chancery I CI VISA ❑ MasterCard 0 American Express I I I 1 I variations in weight and width. Designed by Exp. Date David Siegel. Regular and Oblique. abcdeFGHw123 sivooedf 11 1 1 1 1 1 1 1 1 1 1 1 1 1 1 I Acct. # Chancery II abcciefghijkl abcdeFHTJ&123 Name as it appears on credit card (please print) Lowercase Beginnings I & II Chancery III Signature (required for credit card purchase) Al3CIDEFGHI Shipping Information aficieFpfljeg-12 jbceEfej rt ru 3 3 3 3 3 0 0 Name Chancery IV Lowercase Endings I & II 333333330 aficieFGHIJ&123 cbc'e-s-tbCm_m_, Company Chancery Expert Ligatures Address (No P.O. boxes please) aaaa aaaaa I 1/4 1/23/4 1411/112.3 Sijiffigg Clg City State Zip/Postal Code Roman Small Capitals ) aaaaaaaaa Ampersands Country Telephone E-22-48-C

Order form good in the U.S.A. and Canada only. Outside the U.S.A. and Canada, contact your ABCDTTg&123 local distributor. Purchase orders and C.O.D., not accepted. Allow 4-6 weeks for delivery. Offer aaaaaaaaa valid through November 3o, 1603. Offer not valid in combination with any other special offer. Roman Small Capitals Alternate Ornaments Offer subject to withdrawal. Adobe, the Adobe logo,Adobe Originals, the Adobe Originals logo. Blackoak, Juniper. Poetica, Tekton, Trajan and Viva are trademarks of Adobe Systems Incorporated which may be (64, ,3,„) registered in certain jurisdictions. Mac is a registered trademark of Apple Computer, Inc. aaaaaaaaa /et Copyright 0 Isisig Adobe Systems Incorporated. All rights reserved.

V Circle 389 on Reader Service Card IN THIS ANNIVERSARY ISSUE

6 Message from ITC Mark Batty reflects on Ue.9-1c's changing role 7 Why U &lc? Message from ITC A reprise of an editorial in the first issue explaining the purpose of this journal 8 LAIC U&lc Scrapbook A 16-page tribute with a selection of images and reader memories 20 Years of Change 10 Quirky Alphabets Unique interpretations from A to Z 14 The problem has always been the same. From Pasteup to Pixels But times and people, attitudes and The production process for Ififglc has evolved, mirroring changes in technology technologies change. So the answers are 16 My Darling Herb never the same. Well, almost never. Letters from UegIc readers: something from everybody When Herb Lubalin (U(/c's editor and 20 designer), Aaron Burns and Ed Rondthaler (ITC's President and chairman of the board, respec- Interpretations in typography tively) developed the first issue in 1973, the manifold rt Direction objectives were the following: Steven Heller's case stu this journal's design over the years to build an awareness of and enthusiasm and eagerness for ITC typefaces among What's ew om ITC users and specifiers of type and typography ITC Cerigo- is classic and elegant • to showcase expert typography 52 • to be fresh and visually energetic ITC Avant Garde Gothic® is now a multiple master typeface • to be friendly 54 • to be unique The Letter X Allan Haley discusses an ancient but hard to pronounce letter • to not be a typical trade journal • to be entertaining and informative 57 Tech Talk • to be highly readable but never dull 58 Easy to enumerate. Not so easy to do. ITC Center Perhaps the greatest challenge to UdIc's publish- The Type Directors Club annual exhibit ers, editors and designers over these past two 79 decades has been to know that when they feel they Obituary: Bob Farber have reached their editorial, design and market- 79 ing goals, it is time to change...to change the editorial U &lc Colophon voice, to change the graphic face. THE DESIGNERS New technologies (from metal, to film, to digital International Typeface Corporation would like to thank Paul Davis, Myrna Davis, typesetting) changed what could be done and even Lisa Mazur, Chalkley Calderwood and Haruetai Muodtong of Paul Davis Studio, what should be done. New York, for the design of this issue of Uegic. Cover design: Paul Davis What was considered exquisite typography 20 GUEST CONTRIBUTORS years ago could be considered poorly spaced, poorly U&lc wishes to thank Karen Chambers and Leslie Sherr for their research, interviews and writing. kerned and boring today. Eric Nuener and Jutta Janssen provided invaluable research and fact-checking. And special thanks goes to Ed Gottschall, Ed Benguiat and Sid Timm, whose personal Fresh looks to attract today's readers must be more memories provided far more insight than any 80-issue archive. than cosmetic variations of what once was fresh. The very word was tells you that what once was ripe may today be rotten. Over the years U&Ic's creators and contributors have frequently, often annually, looked back over their editorial and design shoulders to be sure that what they did yesterday was still in touch with the times and, if not, change U&Ic's voice and face to VOLUME TWENTY, NUMBER ONE, SPRING 1993 EXECUTIVE PUBLISHER: CHARLES M. WILHELM keep it fresh and vital. EDITOR: MARGARET RICHARDSON MANAGING EDITOR: JOYCE RUTTER KAYE ITC's management has always taken the role of EDITORIAL DIRECTOR: ALLAN HALEY CONSULTING EDITOR: EDWARD GOTTSCHALL

U&/c very seriously, viewing it not only as a marketing GRAPHIC DESIGN: PAUL DAVIS STUDIO ART/PRODUCTION MANAGER: JANE DI BUCCI tool, but as an eye and mind opener, a spirited ART/PRODUCTION COORDINATOR: CLIVE CHIU stimulant for creative people, constantly striving to ART/PRODUCTION: JAMES MONTALBANO, SID TIMM OPERATIONS: REBECCA L PAPPAS blend the best of two worlds—energetic graphics PUBLIC & MEDIA RELATIONS: SHARON BODENSCHATZ SUBSCRIPTIONS: ELOISE A. COLEMAN and clear, effective communication. ADVERTISING SALES: CALHOUN S. ASSOCIATES (404) 594-1790 FAX: (404) 594-1849

If you like U&Ic today, don't be surprised if it keeps © INTERNATIONAL TYPEFACE CORPORATION 1993. U&Ic (ISSN 0362 6245) IS PUBLISHED QUARTERLY BY INTERNATIONAL TYPEFACE CORPORATION. 866 SECOND AVENUE, changing. We will always want to keep it, and you, NEW YORK, NY 10017. ITC IS A SUBSIDIARY OF ESSELTE LETRASET. U.S. SUBSCRIPTION RATES, $30 FOR THREE YEARS; FOREIGN AIRMAIL SUBSCRIPTIONS, $60 U.S. FOR THREE YEARS; U.S. FUNDS DRAWN ON U.S. BANK. up with the times. Change is our essential constant. FOR ADDITIONAL INFORMATION CALL (212) 371-0699. SECOND-CLASS POSTAGE PAID AT NEW YORK, NY AND ADDITIONAL MAILING OFFICES, POSTMASTER: SEND ADDRESS CHANGES TO As you look through this issue of U&/c, you will U&Ic, SUBSCRIPTION DEPARTMENT, 866 SECOND AVENUE, NEW YORK, NY10017. be taking a nostalgic journey through selected ITC OPERATING EXECUTIVE BOARD 1993 MARK J. BATTY, PRESIDENT AND CEO pages, features and images produced during the last ALLAN HALEY, EXECUTIVE VICE PRESIDENT MAUREEN A. MOCKLER, CONTROLLER 20 years. Enjoy them. And, with us, look forward to CHARLES M. WILHELM, DIRECTOR, CORPORATE COMMUNICATIONS ILENE STRIZVER, DIRECTOR OF TYPEFACE DEVELOPMENT more, but not more of the same, in the next 20 years. PAT KRUGMAN, DIRECTOR OF CREATIVE SERVICES ITC FOUNDERS: AARON BURNS, HERB LUBALIN, EDWARD RONDTHALER

ITC. U&Ic AND THE U&Ic LOGOTYPE ARE REGISTERED TRADEMARKS OF INTERNATIONAL TYPEFACE CORPORATION. MICROFILM (16mm OR 35mm) AND MICROFICHE (105mm) COPIES OF U&Ic ARE AVAILABLE FROM UMI, 300 NORTH ZEEB RD ANN ARBOR. MI 48106-1346. PHONE: (800) 521-0600 OR (313) 761-4700. FAX: (313) 761-3221. VBPA MEMBER 1-4=

HEADLINE/SUBHEAD: ITC LEGACY SANS BOLD TEXT: ITC LEGACY SANS MEDIUM, ITALIC TABLE OF CONTENTS: HEADLINES/NUMERALS: ITC LEGACY SANS ULTRA SUBHEADS/TEXT: ITC LEGACY SERIF BOOK, ULTRA ITALIC MASTHEAD: ITC NEWTEXT REGULAR, DEMI FRONT COVER: ANNIVERSARY LOGO: ITC LUBALIN GRAPH BOOK, EXTRA LIGHT, ITC KABEL BOLD HEADLINE: ITC LUBALIN GRAPH BOOK CONDENSED TITLES: ITC QUAY SANS BLACK

THE INDEX TO ITC TYPEFACES APPEARS ON PAGE 65. (From U&k, Volume 1, Number 1) The world of graphic arts is alive today with new technological advances, so vast and difficult to comprehend, that they strain the imagination of even the most knowledgeable and creatively gifted among us. New materials, new tools, new ways to plan work are becoming mandatory for efficiency, quality, economy—presenting problems for all—printers, typesetters, artists, writers, advertisers, publishers—all the creative people who have anything to do with prep- aration of the visual word. How to keep up? How to stay in touch with what is current? How to plan for tomorrow? To envision a future essential to decision making today? Vital questions for the interested professional. Yet where can he find the most recent information on trends, styles, fashions? Where can he read about all and everything that is happening in the graphic arts and sciences? To help make this broad body of knowledge and information available—and, hopefully, to provide some answers—International Typefa,ce Corporation introduces this first issue of "U&/c,"the International Journal of Typo/Graphics, designed by Herb Lubalin and distributed worldwide. "U&lc"will have broad general appeal, covering important graphic events and presenting original articles by world leaders in the typographic arts, as well as reprints of articles of importance that have appeared in other publications. "U&/c"will feature outstanding examples of typographic design in all fields of visual communication, from the best-known creators to the undiscovered shops. "U&lc" will offer in-depth analysis of the material presented and study the direction of current work and developments in typographic technology. In brief, "U&k"will provide a panoramic window, a showcase for the world of graphic arts—a clearinghouse for the international exchange of ideas and information. It is the intent of the editorial staff and the directors of ITC that "U&/c" will come to serve as the international journal for all who want to have their finger on "what is new',' "what is happening': and "what to look for" in the world of typographics. The Editors

HEADLINE: ITC TIFFANY DEMI, ITC QUAY SANS BLACK SUBHEAD/TEXT/BYLINE: ITC CUSHING BOLD, BOLD ITALIC, BOOK, BOOK ITALIC VII THE TYPOGRAPHY IN THIS ARTICLE WAS CREATED USING DESKTOP PUBLISHING TECHNOLOGY

TYPE FORMS SINK INTO OBSCURITY WHEN COMPARED TO THE HUMAN FEMALE FORM HERS 11.180414

8 Today the pages of Uth'c's first issue are fragile, parchment-tinted leaves that quiver at even the lightest touch. Newsprint was never meant to last. But though their edges are worn and crumbling, those pages con- tinue to resonate with a vibrance and relevance. Uthc was conceived as a marketing tool. But that label understates the breadth of its founders' vision and ambitions. They intended Ud4c to not only sell typefaces, but also to educate, inform and entertain the graphic arts industry. They wanted to capture the moment in graphic design, examine serious professional issues and explore the thousands of things that influence and inspire the visual communicator: advertising, popular culture, fine art, corporate identity, ethics, technology, history— in short, life itself. That's a tall order for a type and graphic design journal. But U64c's founders—Herb Lubalin, Aaron Burns and Ed Rondthaler- understood the necessity of balancing serious content with lighter fare which would "The primary look of li U&lcc&e was typography encourage the imagination to run free. As at. the first issue's editorial statement pledged: ld. It awnatstoa ll0o 00: that lookehdelifkeeltHpeeorbplLeumrbaoluin "Ud* will provide a panoramic window, a showcase for the world of graphic arts—a clearinghouse for the international exchange a look? de:acreisbcelibthathate l of ideas and information'." Now in its twen- HowlIcnawn y:::i.o of tieth year, U&/c is still looking through that note window, and continues to see a broad and It's bright horizon. personal.

These two pages reveal work from that first issue. They are the opening leaves in a scrapbook of memorable and striking making type talk:' images gleaned from 20 years of publication, together with thoughts and memories Ed Benguiat from our readers and contributors. This scrapbook continues on page 32.

ANNIVERSARY LOGO: ITC FRANKLIN GOTHIC DEMI CONDENSED, ITC QUAY SANS BLACK, Joyce Rutter Kaye ITC FRANKLIN GOTHIC BOLD, ITC LUBALIN GRAPH EXTRA LIGHT TEXT: ITC LEGACY SANS MEDIUM, MEDIUM ITALIC QUOTES: ITC QUAY SANS BLACK, BLACK ITALIC, ITC WEIDEMANN BOLD, BOLD ITALIC 10 Quirky Alphabets

"Who needs others were another alphabet?" This more abstract and less rhetorical question was asked limiting. Portugese designer in an early issue of U&/c, with the Mario Botas, who drew the elegantly answer, "We do. Keep them coming, wher- whimsical alphabet for Volume 5, Num- ever you are For years graphic designers, illus- ber 2, preferred the latter approach, explain- trators and students responded with enthusiasm. ing: "Taking the text to its simplest form, the single Twenty-six letters have never been so widely inter- letter, I allow the drawing the task of physically rep- preted, or so clearly reflective of the diversity of tastes, resenting the letter without any deliberate codifying views and observations oftheir creators. Alphabets cropped which would inevitably change from language to language. up in the form of pretzels, bent Q-Tips, barn doors and office The letterforms are given full plastic and thematic autonomy.' supplies.They were drawn as elves, bubbles, eyes and animals. Whether their work was literal or abstract, each contributor Some letters were literal interpretations of subjects, while shared one objective: to raise the ordinary to the extraordinary.

XI 12 A —Kjell Sandved,1989 B — H ra n a Janto:1984 C—J.J. Chavda,1979 D —Helmut Kruse,1986 E— Ran d i Shalit:198o F —Gunter Hugo Magnus:1979 G —Manuel Benhett,1977 H — E rt e , 976 I —Steve n Bennett,198o J—Goud y, 9 8 2 K —Ella van de Klundert,1981 L—Kristi Weber:1983 M —J. J. Chavda:1979 N—Jack Beck:1983 0 — R o y Carruthers:1974 P —Richard Lenoir,1975 Q —Alma Phipps:1983 R —William Nicholson:1978 S —Ta ke nobu Igarasi:1984 T—Johann David,1977 U —Mervyn Kurlansky,1978 V —Tsuneo Taniuchi,1983 W —Bob Byrd,1985 X —Lou Klein,1978 Y—Joseph Pomerance,1977 Z—Joseph Jachma:1973

HEADLINE/TEXT/CREDITS: RC PANACHE BOOK, BOOK ITALIC, BOLD

orably toward digital prepress, U&Ic sat on the sidelines. Eventually, U&lc was faced , with the decision to change over to desktop production. Because of the quality issue, "we were extremely hesitant about getting involved with computers;' Strizver says. Lit- tle by little, however, Macintoshes and PCs started appearing throughout the company. "People were using them mostly for word ova processing. But when it came to setting our TI&I,c's ongoing challenge is keeping type, however, everybody said no, and I with rapid changes in type technology while probably said it the loudest;' she states, add- to its own rigorous stastaards in ing, "It was a healthy skepticism, because type, typgraphy d design.ouction won staff all the good reputation of this whole publica- adhering o an - its prd ethereal or with the most tion was at stake." of V&Ic's existexistenc e e' blades and miles As the primary marketing vehicle for ven now pvissued tools: ra But e ITC, however; Ue.cic had to keep up with temporalfrom of to.. the typesettezortes th.e transition to the times. ITC's typeface design and devel- of saile-sis opment, along with the rest of the type asdesktop the publication technology mak he true keys quality industry, had moved onto the computer, remains a constant.. the keen, unmpro- so Ureic had no choice but to follow. mising eyes of IVies staff. s The wheels turned slowly. Strizver had The publication's unbendingand attitude fonder.. to be convinced that the change would be comes from the passion of ITC was invisible to the reader. Ultimately, the art Kerb Lubalin, Aaonl3urns Edwa department was one of the last areas in the tied company to acquire Macs; and even then designed downtown at the Lubalin Smith they were used more as production tools rnase Studio; typography was provid than as typesetting machines. Pat Krugman, ettering. (The magazine1981 following w as Ca ITC's director of creative services, who by Photo house at ITC in production from 1989 to tin managed Ueic's broughLabalin7st death) "Ilerb Lubalin alwa-ys mid-1992, says that the computer was ini- wanted to be a publisher, erform--fot so here was him-the tially used to create mock-ups of the copy, designer Ed Bnuiat, chance of a lifetime top Letter which would then be traditionally typeset. "I can actually remember the first article that self,who saysworked no type on the type somethingat Photo-- that take I tried to work out the rags on the Mac, a chanced ot some- knowing it would have to be set line for line ing.we "Itlove--type--and Was make it look roe This passion for perfection is n ITC on the Linotronic 2027 she says. One obstacle to moving to electronic k; it had to be passed thing that could be documented in an production proved to be the creation of employeealong from harldboo persorson.n to pe One of the acceptable kern tables. Over the years, ITC eople ind in perfecting the look had created effective kern tables for hun- volveveaces for the publi cationwasV&I,c dreds of ITC fonts, tailored for proprietary first p type dedher job at equipment used by the typesetter. None of ITC Viass at's atcl the Ilene StrizwhBen of this work could be translated to the Mac. Arts (he describes her as The ongoing project of creating new, Mac- while a students School of Visualompetent ladyI 've ever ar) friendly kern tables is now led by Krugman. "the most competently It is a prodigious task: of ITC's approxi- Thatwas 15-years go; she row serves as as director of typeface developmentWere for spent TIC. mately 500 text faces, 260 were kerned for the Linotronic 202. To date, only 90 are long isNosts'k's of mastager the years of in production. between Vor as Mac-kerned; of the 90, about half are new Strizver can remember, each ifelement it were a and have been digitally created, and released a treated as since the Fall of 1990. Was alwaysgalleys that came back Since certain ITC typefaces are not yet on a page wered for car-ws weree scour available for the Mac, the art department piece of art ac- fromrect ragg,n1g,ispacing the and kernins.WidoWere must still produce certain mechanicals tra- in expert at ditionally, says Jane DiBucci, Ueic's art/ unthinkable Wereulously adjusted. Striver became kerning a pair of letters oneot ofpoint boxed with rules-- a razor blacle."We used a sh I did them al). by hang e says. was Into all these compulsive details'?"I e 13‘aring the late 1980s -while most of the publishing industry turned slowly, in by Maryrose Wood To Pixels : EfurstiPornoduction

design and production support for Uelc during the transition to desktop production. Since QuarkXPress doesn't hang punctuation, Montalbano resolved the problem by locking the text to the baseline grid, drawing tiny little text boxes and putting the production manager since July of 1992. punctuation in them. "Now I do it for all "We're still caught in between: one toot my high-quality \ \ r k ," he says. "Clients say, in conventional production and one foot in I didn't know Quark could do that. It's my state-of-the art?' For the most part U&Ic secret;' Montalbano says. is still printed from boards and traditional With its undeniable gains in productiv- color separations, but DiBucci will some- ity and economy, a little taste of technology times go straight from disk to film (a recent has created an appetite for more. DiBucci example of this is the article, "The Letter gets wistful thinking about scanners. And, X"on page 54 of this issue). kerning, reposition the art to fit the grid, Krugman says, "It would be great if we Even modest use of desktop technology were networked?' Company-wide, the atti- is paying off, however; DiBucci says and resolve a variety of output glitches. For Uelc instance, "sometimes they give us EPS tude toward technology has changed from has saved significant amounts over the past cautious skepticism to avid enthusiasm. As three issues on type bills alone. It is also files on disk that aren't formatted correctly for our prepress house;' DiBucci says, "or ITC stays firmly committed to introducing helpful for ITC to gain expertise in using its new typefaces, the purpose of Uelc contin- typefaces the same way ITC type users do. a designer might not call me in advance to ask what line screen to use?' DiBucci's strat- ues as well. In Strizver's words, U&Ic is "a The production process begins when showcase for ITC's typefaces?' Not just the the editors choose a theme for an issue with egy? "A million phone calls?' Another challenge that DiBucci faces faces themselves, she added, but "showing a designer. "We supply designers with a very how ITC type can look at its best?' explicit grid, on disk if they want it, or we is negotiating U&Ic's rigorous approval process: every page is circulated throughout Benguiat still believes Ueic is setting have layout tissues fbr those who work with the standard, but to him the publication's traditional media;' says DiBucci. Designers the company for scrutiny of the use of ITC type. "To us, type is more important than biggest achievement is more democratic are also provided with a list of twelve spe- than elitist. "Uelc has motivated all kinds of cific ITC typefaces to feature in each issue; the art.',' she says. Fine-tuning type digitally to conform to ITC's standards continually people to be aware that there's such a thing this list is developed by vice president and as good typography," he explains. marketing director Allan Haley. "Once the challenges the technical expertise of those involved in production. For example, one In fact, confides Benguiat, "the aware- designers have used about 80 percent of ness of type has gone so far, some people that list, they can use any other ITC type- standard is to hang punctuation that falls at the beginning or end of a line, so it is opti- are type nuts?' Fortunately, there's a publica- faces they want to;' she continues. tion for people like that: it's called LI(.91c. U&Ic's current policy of working with cally aligned rather than adhering strictly to guest designers poses a special challenge for the text margin. "When they first told me Maryrose Wood has writ-ten extensively about the art/production staff. Some designers about this, I said, you want me to do what?" desktop publishing technology. She is associate man- work entirely with computers. Others arrive says James Montalbano, who provides aging editor of Windows magazine. for meetings with reams of sketches on tis- • sue paper. Most combine these approaches, but layouts are not delivered in finished form "What happens is the designers who consider themselves Mac-proficient give us a final comp, which looks like a designed page," explains DiBucci. But that's only the beginning. DiBucci and production coordinator Clive Chiu will then add ITC custom

Photography by John Parnell

HEADLINE: ITC GALLIARD BOLD, ITC OFFICINA SERIF BOOK, ITALIC TEXT: ITC GALLIARD ROMAN, ITALIC BYLINE/CREDIT: ITC GALLIARD BOLD se\ec'\ 'cNo'ses ,\e'‘'secs , cbcds

\e\d o

ocNd ocOoesse.c\\ oo's .ceodecs oc\690ed\c\ ,Nece FiAc dOK\c\giccoc

°‘3G°'S \SG. 6)004°-\" 9'\°16 A0\1\N, Grk 203S 4 • 0 as len K Oa M 4;0 t co ?? p.A._ OP' N, rf 63. ","<, et .0 Ne< s 4, \„*„ 0P ,sre• io tc. 6,, rN 6 1 rleciehe 004 eo 61VS> .vans9rri et: %ce,,,, • sicc. arti4+ and 4:„. .1">c, 114 44, o, APO warzave I ant interested in butte` far11 voifkly tuaNan 4-07. a 904 Than one do 4. Aava "a " ' wouldleaf% Think work %int, Job I "4 /e. ° 1.7 e'l°',:°•>, of • ' , tYae"V i rnou," — * eve lese, "martun tht- a tht..kaa w s e is S4‘‘ 'rimy lethirdvdansione. but'typeaetter I arn d dood woula orh nave be ,,br b"r"Id SNI N In any event, ost odd ACT kat and NO l ail! pot rne , 1 nte..OFT'or expins

I - FORNIAMILN'Y 1135,592143. LyNOOR RD &AR D1E60. ,%Nb''° elletiaftallre .07 COUPON (orrbs i. *c, .....„boay. ea/Ralere, • 0 Nac.&• 1E8 et 59 I N dAlt% tie ir OWL g 0,t AI$ — ,,,e_-41111t v i,‘ Sot" ° es. I I \\\ ' T v&lc"1"A Designer Louise Fili, who worked the ts At had \\ .#10" tubaillt, s \\s\‘ at Kerb unforgettable task of sending out the 61._ 44, (oejtc page 04,74.

XVII

i 'in not ltor in° Zhirld 19 around when i 35-A 00rt,.t say 1 •d0440 a.. 1 . Aw• . i want a sub scrip R°' ca 9027, LA'4-6 226 . -tl—°41,2 siqk Now. 1,111•• 45.41 a 00,-- tion of T , rwrs oft . s tftet 1 20017

4LaltrthE"--- 444. a•ad e • • ft*iv esot2,7 b lp0.1 .! cId4tto "4"41t 0it, ,/Z4st4 pv:"Iaslicat t,you, ( b aa the Ikefero r...tied.. r t •40u2 b'tur Pep".dl ositt sod al Atorio es A „clft 1.:1 -0 8 notbe ahee °a 1. u., kit e/ hely. Ilos), • Ivo Y ou ".2.• aktz It fe,c1 fo. It It, epos 414 b. uade l., ...56 ilet. tior ftopt„.41 / „,„0 ✓ /4.1 eitebt ed Ac ore ► 50 or •"tIcea 04 e•Peectz o °°P7 • 'r°t' oat, 1:ooal 40,7 00 t. ob the "944 °14 trftze.tatP eft, rt.i.t.Z.thsr haw sP V.8 :11:144' ee • 11111•44• por0, tip p ro„ li444z:,1 t° 1„,, witicdt. 0„ °u.rreet,-s.r op ;: 1140, :4 0.4 By • etu,k,ut s ro te. a t Art -1.13g is. Isiasa l ts a 111141 0"mi* '0 z).• 00a L_, °op 1 *at"' 4PPea 1421 4444tr hairy the "O'r * 0f • °4014.00.,. .4'24 ••• ot , _ _ 257642, raj 70,74°‘ .-81 t :" 221 •t 0 ,, • Jrotitj. t --er rho 4 Ms /24,02 • eo,, here S'p --'"tabstt• •tt°20 /1c b e

trot.

DEAR 31P5^

(4er, IT PAS BEEN BROUGHT lower, . To MY ATTENTION— amd I CAN NO LONGER CONTINC all ACQUIRING CaCes: ISSUES OF ()Q. THE WAY I HAVE IN THE PA,` 4". * a, 0- of chaact

Pierre fl eery PLEASE SEND graphic BAIL AND SUBSCRIPTION TO: designer gTRADEMARK5TUDIO5 417 iii/i,t-pierre, CARE OF RICHARD ANDER5011 168 2.0 361w Aue LavmwooD. (THANKS) 980.5G

I'd On ° regiA10,-:"'Z dos„,,,.., Connecticut ' o41„, vis11- the Stamford, Tom .",ce.h,.4° 9:41:16r"'o from ° k oN3 for ' n wintlr 'Inc* desK.1 M("4"0ar Z (ds'i,Z7,'"col-s c+ ,„ u ung Got7I'd HM1t 9 co, 900d 1, /11,1Z' cind wcini- 13"Ci4CtS H t se cr. 17 S 0+, gk'C'N 'q7Cf,,,,acHelgS I „ :2;:` No, "3 C Con', Zen 04r .5 '

TOM ITC AVANT GARDE GOTHIC BOOK, BOOK ITALIC, ITC CASLON NO. 224 BLACK, BLACK ITALIC

1'\\C (,‘c \Cl5c(-S Ix') 0 (,`<$-5 `lR :° _1,100--- 0-C). O ,c., 11...0‘'' •1\\ .0 ()(;C;SOOVI x\•\(-) c 0° 5 \'\° p.3,-" - ‘ 5..-es°- 00 cj,$ \ ' LA lx"n\ R s ' 5 ,C:), s c

l.:\ , ,a,j ,,o-j(2,-*- ,.., \t(5). no,(5 \c3c. 0C-\i3; \1,1 \ \ c c tz((...1\s- (...(R,0 V \ c , , $0 V,x , >,(e c.,$,,,o$ l''', \ i ("") \s" ,,,R \L ' sy„ ,, -\ ‘ ,i,c,\.$' $0R‘lx - \ -C ,cpc°13 00'2•09 , ,e c, P•c' N.:CC( \\...\CCiRk‘ .. \ o>,0\--. - \\\,)(evcy,co -.'\ ,0,$.C) - N -S4° (,(0 5 4, (3 , cc.,C0s<\(> . 0 ,c..\02 'Rs()'‘ cl()<<-\ Mo Lebowitz 4C#66°S 0>go ( \ i,.,,R(skx!c,<(,\,,& c3- cR'S‘ ec) c' 1;..s0, 0$0. $00- vse,\\*' l'..- <0 \ $<<',c\ - v'-\ 0 \ SI\, CW.:0- \ --kR ().<<- \ 5°C°- 0.1"'Vs-\ 00 ,slcc\.'k °13,0 i'" . s5 10, -C ,e,(cOV°'N ,....k.--; S. kl\()$() , 0., F'-°-‘) ‘'sc' \ .) -('‘. PLO \'` 'Oc('' I>- \O"Rsc(5

to convey editorial t101111.all-I COlicten

ea 01'

11,1111 es type • 14-O

t5 e, 4 e

00.4" to ItS"t % es bot voice to silent Si 4 Mr speaking 4g' is one of the page carves most eloquent means 4. of expression in every epoch of style. It through the Next to architecture ,it gives the most characteristic portrait of a period and centuries.TWITP the most severe testimonyof IT CAN BE CONSIDERED A SPECIAL MERIT OF OUR a nation's intellectual status. TIME THAT CREATIVE FORCES ARE AGAIN CON - CERNED WITH THE PROBLEM OF TYPE DESIGN which can be treated like an ornamentrand the —A PROBLEM WHICH HAS BEEN FACED clear-cut and even shape of a letter is a decorative means of monu- BY TEE BEST ARTISTS OF EVERY AGE. mental form-should Words remain fulfilltwo properties, namely to transmit, impalpable ab- through the image of stract entities for the word,thoughts & most people,but moods,knowledge and directions,and for the lover and also to affect the senses thru its form, student of typog- LETTERS HAVE and lend visible grace to the contents. raphy they can ALWAYS BEEN achieve amore or THE IMMEDIATE EXPRESSION OF OFT OF HUGO LAGERSTROM less perfect realization in the shape of let- A NATION'S ARTISTIC FEELING,& ters. For him it becomes a constant need to delve into the prolific realm of IN OUR CONTEMPORARY DESIGNS OUR HA1GWITH ALSO, THE LEVEL OF OUR CREA- SLEIGHT oF HAND TIVENESS IS PERHAPS MORE FOR- CIBLE & LASTINGLY REPRESENTED AND FIASH OFWIT, THAN IN OTHER REALMS OFART. WALTER TIEMANN WE CONJURE UP and through familiarity

with rthat world he grows in- ♦ creasingly receptive to the myriad shades

EIGHT PAGES OF 8--

of meaning that can be expressed. It is 7

only when he has succeeded in finding 19 MAGIC POSTERS the most perfect embodiment fora partic-

ular line of thought,that his quest is over. L--- , NOT BIACK GOTTHARD DL BFAUCLAIR

NOTWHITIEMAGR; in l

BUT MAGIC ba Lu IN FULL co b COLD Her L Alan Peckolick

20 When the name 'casso falls upon the eye. a portrait of a legend comes to mind. It's the legend in the world of art which surrounds a man who possessed and ITC expressed many of the highest ideals Of mankind. The popular egend is of the outward attributes: seclusion and gregariousness: wealth =ZMEMS and love: abundance of works and extraordinary versatility in all facets of hiS field. It has been estimated that Picasso created over fifty thousand works of art. Pah- rn was boo into a family of art, so he naturally had a very early beginning rn in his creations. His life was long, ninetyone years, but when we do the arithmetic we still find TYPEFACE that he averaged throughout his creative years alMOSt two pieces of art per day. Considering the hysical Site and the conceptual scope of many of his works, these numbers bespeak a remarkable feat. How is it that a man could be so onepointed and inventive that he would become, as one author describes him,"the most prolific artist of all times? Picasso's own wordS may reveal the answer: "Painting is stronger than 1 arreale0,"painting makes me do what it wants." Another of the components of the popular legend is that of his departure from tradition. Picasso is known by many as having been instrumental in founding and energb.- Ing two new movements in an, cubism and surrealism; and to have inspired other movements including ab. MEMORY stract art and pop art His departure into cubism, which has become perhaps his best known realm, was Met at the time with ridicule and contempt. The general attitude of those L Who saw this new trend was, at ben. closer to endurement than to endearment. A very few had any awareness that in Picasso painting was giv- ing birth to truly Significant modes of seeing and expression. These few, and Nubso himself, might have argued that his seemingly radical fours were logical outcomes or euerISIOnS Of the 'traditions of painting thus far, or at least, of the Spirit of painting. That same unbounded energy of art that had explored so many obviouS and Subtle ways of seeing was, in this twentieth.century Spaniard, continuing its exploration. The world has indeed marveled that so much of that energy was concentrated through the eye.hand of this one man. Those whO have known Picasso and have written of him begirt to reveal ALPHABET the inner, mystical legend when they independently ascribe this superconductivity to hiS Unceasing wonderment - a won - derment born of innocence and openness that had no need to look through the tinted glasses of dogma. Indeed, as his own cubist movement became intellectUally structured and dogmatic, he left its mainstream. In doing this, he kept himself in the main evolutionary stream Of art itself. which adheres to prinCiples of a more general SOUPS and interaccommodative nature. Picasso was thus free to draw upon the principles he had discovered in several specific modes of painting to achieve an even more comprehensive vision. one needs to be careful not to think that he mixed some of this style and some of that to achieve something new. His art grew from Chin and manifested itself in the appearance of mature. He elaborated,"Art is not the application . of a canon of beauty, but what the instinct and the brain can conceive independently of that canon. When you love a woman you don 't take instruments to measure her body, you love her with your desires." His ability to create independently of the numerous canons of beauty was witnessed by Gertrude Stein, One of his earliest patronS, who said,"He alone among painters did not set himself the problem of expressing truths which all the wor ld can see, but the truth which only he can See." This internal truth must have been operative when Picasso painted his wellknown portrait of Gertrude Sten, for without something of an inner vision his reflections on the portrait would seem absolutely baffling. As the story goes, he made MISS ' 4161 11111' Stein sit eighty times for the portrait, and then he wiped out her face a nd substituted a face with 1=111 masklike qualities. There were criticisms which he dismissed with "Everybody thinks that the portrait u not like her, but never mind, in the end she will look like the portrait." Such a statement might seem impertinent, but his hard to queS- tion his integrity, for he commitment to he work was absolute. Every work was born of desire and in deep concentration. Every work was also bom living in own life. A painting or sculpture or lithograph or whatever, would begin in Impulse, in vague idea, in spirit Then as an " Made him do wha it wanted" it would evolve through the brush of its creator. Each stroke and each picture was an end, a breathing universe itself Picasso seldom signed his works and never named them. He also customarily refused to explain them, ll is perceived that such acts might have put too definitive boundaries on the pieces, limiting the potential that continues to exist within them. A father gives his child his own autonomy, never acknowledging the moment he becomes adult and never saying to him this IS the kind of persoo pyoauaireo thatat is the kind of influence you have, because the child may become much more or may be seen to be much more. For similar reasons, one hesitates to write of the legend of Pablo Picasso, i.e. for fear of severely limiting its fullness. Yet, even as the legend itself is found within the depths of the viewer's consciousness, so are these words found looking out of a piece of paper.

EMI Bob Farber

r 1983- J

XXI o co Herb Lubalin 0 co

co, 4**%1 to

PASSION WITHOUT REASON IS BLIND. REASON WITHOUT PASSION graphy'srole IS

fie 44"

co cnco r - - - 1979

Bob Farber

itz bow Le Mo A cheese • lover is called a HILE. OEMIXHILE is what a wine lover is called. Usually they're both the same.

4- - 1976 -

' 7 4,123vE A .L.77ZA:z.„<,zritFA EGINNINF LEITERS FIE Herb Lubalin G M.THAT 1HE IfouA-"OVE'EP- OF LET AS jj#7RATURE} AND TERsE%‘ii&'"Nacriig HAVINGABSTRACT BEAM OMR OWNAPARTFROM THE IDEAS THEY MAY EXP RESS OR THE EMOTIONS THEY MAY EVOKE

foHT:),1. Sib. ,,iisiihb 1 the - 1 series 1 . International Student Design Competitions 0i taocebecsprop7)sroarteiada bj;a Ithit(earitatartaiontatapl e7met- nate the mezt,obra);a oif lialt;:1;.aa_ ik- 111111 tionahll.i:fiamed er, a

ab ou fiFiedir7::;f. I ',7-lc, teacher, and tjp ilk rnwerned citizen of 7lbe world. The theme kill o pofrithtiis.ncoo ... t and 1985_ - _

\'-k v\oe -i , ,o, \P\co,c; ?, '°9-0.ROGR-,..g: -0 . , C'°‘\ ,c) I:, OP-0 , ,,?,_ , P.- \,(, , -ce '° ,,,, ,3.1 (,,0\,\\"'- -c' ,,o.c.y,p.,5':$90,\,,,,i&o,:?5_,:.,&\`' c$:::::, - °'''':°'- ,:o, ,, ,oy,,.,,c)c,05 C, ,R.1,.. v,o,c, : °\\-\'- 0,\Ic,‘,\ ''- .;),;\ si\coy,c -',1'.- ,c.,50c,•\ -\0. cl&\ s,k -00- , ,c,,,,,c,:ckec5, ,i,„„;,,c,0co_c\c,c,\..,-0,&\,,,,0000„ \Oce20 \4>C ‘1 ::- ::::0),‘ :\00() - , \r,"(0 CO\\ 9 ''. 'C'' \ )1"•4•5, ° ,;;,,4_,00.50 ..0,R,S20(-)$IN '5$()\- c. `2Y` 0,50,(, 'C)$'°- .:.,c) F'-''\-\kOF6) \ SicS, \"• `O-1>' oy,p,41--5)-SsC. -C(s?()Ce5 °<61\ 00,.six. C\\,\0\S \ .\--C-'°Ss4;C:(::::::::(1::

• 1.,R, 0;., 0-0 \Y‘ C: oo-ccR06,'4\,\-,k ,0`2\-CSY \,\ (>0°-°‘ 'S)9. \ORC'$-°C- CP'IR\o, oC, 0\('1'\9.cRe.C-4,\O-•Rsc)-•'\ -\ °)''' -OCk, • ,0\0C1'5\4-' ■

special edition

from Oxford - 1990

r Bob Farber---- -1 yes o n

a 0 vests log to show new co ei:ace

o'?' -c(R° *P\ c,,p,00Rs , ,.....40

,c)00<::_\(:. e::,k1:0::cco:(0,0\64\5. :\\:?:,

iz) . <(.:RI` \ .\-- 0 c, OR - 0,5 0 Vs \,\ 00° \O-c' cs.;`\\ -t ,,\\ 1:513 -t'? ° x (-' ,c (p\\ \(.> C .‘ k0-13 c40 g,‘(5, G 0\ ).. - (0- ,okk '\ i,o,e, 0 vs.,fc ,ck,Rc c):01x -4.. p.) () gyp. ,i,s, c,. 1,5\1*-v 'ec.x co,k,s0 ,00ts\-\IA\ -S\"\(- vSk 0 - \, 1,,N. cr-`14 CtR ,R0`\\C)\ -s0 ) ow 'ON- <0` ()c) 00 •140 .0>-6\13 c! 101 s() 0,,c, 51x ,o(5, 1),C7 ' ...,...,7•e \,1\- o 0. cs`c- ,,,,,,, v ,5 ... \ S' .TIPSY \,\C) 6° Cci. ,s‘v.- ..i.N..• - 0 -' 0 .) ,.,\Os • \-C ,r\.- ,R(-- V., S 5 , 05\ ,iiss) PA .cC.c as -<‘9 . 0\\C° 081\c ..,-s$0 cco, I''N' , , -' , vf<5\ \,- (0' . 'es\ c, 1, GO : RI s - ' v ..c, O\NC) 0 C)\ V& c,\\ ..‘C\57C \'0 \14 .ct0- RP' `C`- \14 C., \c,R \- (*O. \,,,\‘`‘`"\ OfC 9 ,o -c0- oo _ ,,i,& p. 0-C°-. (-PS) 1"-C) ,c,-c \ -. ,.., oz, SR$ GS\13— v,cc'll"' ,,,,;<.R`) `'‘''' ,,0 ()\ \-\°\14 -0 13°'\ <0V$V''' P\\C"‘

L -1986--

HEADLINE: ITC FRANKLIN GOTHIC CONDENSED DEMI, ITC CENTURY BOLD, ITC LEGACY SANS BOLD, ITC AVANT GARDE GOTHIC BOLD, ITC FENICE BOLD, 24 ITC LUBAUN GRAPH BOLD, ITC CHELTENHAM BOLD, ITC FRANKLIN GOTHIC COMPRESSED DEMI, ITC WEIDEMANN BOLD, ITC CASLON 224 BLACK INITIAL CAPS/TEXT: ITC QUAY SANS BOOK, BOOK ITALIC, MEDIUM, MEDIUM ITALIC QUOTES: ITC CENTURY ULTRA, ULTRA ITALIC CAPTIONS: ITC QUAY SANS MEDIUI ♦ - -Bob Farber

I gs •n7S•+0.1

'tented tehetne,.), Twenty•Sin Collections

-- Walter Bernard, Milton Glaser, WBMG---,

C)rn

Illhirros; mirror en the wall...

The fairestone of all happens to be the 17t7 Bookman italic swash.The combo. There it is, in blue, If you are reading normally. If you read urhile doing a handstand for your morning exercises, you'll prefer the black version. But If you're a mirror per- son you'll prefer the red or green versions.

rnCO

Regardless of how you look at it. Bob Farber has shown us again how much beauty there is in everyday things 4. He reminds us, too, that beauty is often hidden. You have to slow down a bit tofind it; you have to look this way and that Even a one-dimensional letterforrn can be multi- faceted tf you'll let your imagination play with it.When you can see and (eel and play with ietterforms this way, they become friends and easier to work with than when things like legibility and readability are the name of the game. r • 4*-'"‘s. 9.° 94L\‘°,11 ‘w s

1:".1‘1)*‘.41°*fr

0#‘. Nt i•

cfc

26 I remember exactly where I was during four events: the Kennedy assassination, the design of thoSe early issues was how much U&lc was a reflection of Lubalin's philos- New York City blackout, the first Beatles appearance on the Ed Sullivan Show, and ophy and ethic. Seeing those issues today I still wince at the clutter, but I am awed though admittedly not as earth-shattering, the premiere of U&lc. One can under- by the passion he brought to it. The content of each issue represented Lubalin per- stand the memorability of the first three, but why the last? fectly: reverence for the classics, respect for his peers, fascination with idiosyncrasy, Well, back in 1973 when U&lc was launched, I worshipped three gods: Bob Dylan, adoration of popular culture, devotion to the young and love of wit and humor. In John Lennon and Herb Lubalin. The last, the least well-known of the three, was in fact, those early issues suggest he was more interested in developing the contents my opinion equal in talent and inventiveness to the other two. At 23 years old, I had than perfecting the design. already worked for five years as an art director/designer on a variety of newspapers By the third year U&/c switched from being a quarterfold (the cover and back and magazines, and had not only religiously followed but doggedly copied Lubalin's cover were folded sides of the same sheet) to a full tabloid. During the next several typographic styles in Eros, Fact and Avant Garde. I even liked what he did for the years, Lubalin's design began to gradually loosen up, revealing a synthesis of his Saturday Evening Post. So when the first issue of Lubalin's newest creation, U&lc, mys- previous magazine work and some newer approaches. In 1978 Lubalin redesigned teriously appeared on my drawing board with the message "FYI" scrawled by my with ITC faces his classic experiment of metal typography, "Come Home to Jazz:' editor, I dropped everything to thumb through it. I remember the moment vividly This was also the first use of color in U&lc. Still, editorial content proved to be the because I hated what I saw! I was profoundly disappointed that it didn't compare driving force, not the design. Volume 4, Number 1 was noteworthy for its all-type to Lubaliris best magazine design. cover inaugurating U&lc's "Pro.File: The Great Graphic Innovators" series, initiated The spreads Lubalin had designed for Avant Garde in the late '60s with bold, with biographical portraits of Alexey Brodovitch, George Lois, Milton Glaser and often distorted headlines and superbly chosen photographs and illustrations were Paul Rand. In the same issue, the standard editorial mix of something old (orange the hallmark of contemporary magazine design. U&lc on the other hand, billed as crate art), something new (a young illustrator's portfolio), plus something off-the- an "entertaining and informative journal of the graphic arts' was a mélange of typo- wall (an unusual alphabet based on architectural blueprints) proved that this was graphic excess, with various typefaces woven together in a polyglot patchwork. a journal with a distinct conceptual vision. While the articles sounded interesting enough as presented in summary in the left In 1979 U&lc was expanded to a substantial 80 pages. I looked forward to receiv- column of page one, with subjects as varied as type piracy, Dutch avant garde design, ing it because Lubalin's vision paralleled my own. Indeed in 1980, a couple of years new technologies, and a visual satire by Ed Sorel, the pages were so cluttered with after I began writing on the history of visual satire, I contacted Lubalin about typographic minutiae that reading was difficult and even skimming was a strain. publishing a series of articles in U&lc on this subject. His illness at that While it's unfair to view the first issue of any magazine by such a harsh light, time forced him to postpone our meeting, but when it finally took Lubalin was, after all, the king of American phototypography. I waited for the next place I was elated. He genuinely liked my idea to write about issue and it was not any better, nor were the third or fourth. the major late 19th and early 20th century European satiric magazines, as long as I included the British In truth, U&lc needed more maturation time than I was willing to give it. And it Punch (which, in fact, I had not planned). really wasn't until 1975 (Volume 3) that Lubalin, who was editorial and design direc- Enthusiastically, he pulled pristine, tor, apparently lost the compulsion to squeeze many typefaces onto a page in favor bound volumes of the early Punch of a slightly more elegant approach. In retrospect, the earliest issues of U&lc should off his bookshelf and told me be seen as both laboratory and playground and every bit as experimental and play- that he had always ful as Emigre U&lc is today. was the clarion call of change,.which didn't just herald wanted to run a the final stages of the evolution from hot metal to phototype, but as the editors feature on it (Lubalin, with Aaron Burns and Ed Rondthaler) wrote in Volume 1, Number 1: "new in U&lc technological advances, so vast and difficult to comprehend, that they strain the imagination of even the most knowledgeable and creatively gifted among us:' U&lc was attempting to chart a course, not just for the sale of ITC typefaces (which, of course, are the only ones featured in the magazine) but for what was pre- sumed to be a new field of visual communications. "It is the intent of the editorial staff and the directors of ITC that U&lc will come to serve as the international journal for all who want to have their finger on 'what is new; `what is happening: and `what to look for' in the world of typographics:' concluded the first issue's editorial. In the early issues, Lubalin did fulfill this editorial promise, and then some. What I did not understand when I dismissed the and now he had the perfect excuse. We agreed that my first piece would be a general worked on the first few issues of U&lc as Lubalin's assistant, did two herself (Vol- roundup, and the second would be specifically about Punch (with other journals to ume 15, Numbers 3 and 4) offering little change to the basic structure. But like follow). I remember how I anticipated the publication of my first story designed, I Lebowitz, Shapiro's unique contribution was in the nuances in which type was assumed, by Lubalin. When it came out (Volume 8, Number 1), however, I was dis- not an end in itself. appointed by the layout, and later learned Lubalin had left it to others during this The challenge that all these designers had with U&lc is that they were expected period of his failing health. My second story, on Punch, was designed beautifully with to use a variety of ITC typefaces. While this made for a lively and potentially expres- a cover by Lubalin in Volume 8, Number 2. Sadly, it was the last U&lc he ever worked sive collection of spreads, it also required a certain amount of jumping through on; Lubalin died while this issue was at the printer (May 24, 1981). hoops to get there.These design acrobatics were evident in the issues by design firm Bob Farber succeeded Lubalin as art director starting with Volume 8, Number Weisz Yang Dunkelberger (WYD), beginning with Volume 15, Number 2. These 3. At this time, Edward Gottschall took on the editor's mantle with Lou Dorfsman issues were indeed lively, with some spreads as masterpieces of tabloid magazine (Lubalin's oldest friend) and Alan Peckolick (his partner) as editorial consultants design. Editorially, U&lc had also become even more eclectic, ranging from for the first year of his eight-year tenure. Although the design was similar in spirit, historical analysis to serious profiles (such as Allan Haley's excellent Farber eliminated the remaining Lubalin clutter, accentuating white space a bit more Typographic Milestones series) to simple fun and games. Reflecting and favored simple rather than pyrotechnic type treatments. Farber designed U&lc this diversity, Larry Yang used the variety of ITC faces well until Volume 13, Number 4, during which time Lubalin's basic editorial formula was on individual spreads, but U&lc was sometimes more followed while a few more subject areas were added. (Gottschall also invited me to a patchwork quilt rather than a unified whole. How- contribute a regular column entitled "Man Bites Man:' which surveyed the current ever, a more generous application of color state of comic and satiric art, and I've been writing regularly ever since). during this period gave U&lc a pleasing carnival-like atmosphere. Another significant change in editorial and visual content occurred with Volume When Gottschall retired 12, Number 4 when the results of the first Herb Lubalin International Student Design Competition were published. Themed "The Fate of the Earth:' the contest required at the end of 1989, his long- students to formulate design responses to environmental problems. This marked a departure from almost exclusively covering design for its own sake to co-opting time design for social responsibility. In subsequent years, issues of U&lc were devoted to topics like hunger and poverty, freedom of speech and recycling. One year later, U&lc's art direction was shared by a number of designers, each bringing a slightly new twist to the use of ITC typefaces. Veteran typographer Mo Lebowitz, known for his eclectic type treatments, designed four issues (Volume 13, Number 4; Volume 14, Numbers 1 and 4; and Volume 15, Number 1). B. Martin Pedersen did two (Volume 14, Numbers 2 and 3) applying the same accessible extravagance he was known for in his celebrated art direction of Nautical Quarterly. Pedersen's more memorable layouts used large-scale type and images resulting in a poster-like effect. Ellen Shapiro, who

66 TENT OF EACH ISSUE REPRESENTED LUBALIN'S REVEREN HE CON

NES THE FIRSTISSUE APPEARED DROPPED EVERYFHIttG. 44

10. 'c5 4# \NO x

o ,;(t16c-{39:°.N'69.4‘6\6 0 \P ,—..2,e,10 :7;c1/4'\ `‘‘'-0 6soe ck6:" os 2"

OR THE CLASSICS, RESPECT FOR HIS PEERS, FASCINATION WITH IDIOSYNCRASY, AND ADORATION OF POPULAR CULTURE. associate, Juliet Travison (now Margolin) took over as editor, also working with Number 3, which returned to the varied editorial approach. Chwast's own prefer- Weisz Yang Dunkelberger. ence for conservative typographic design and eclectic content was well suited to this mixed bag. And bringing us up to the present, and continuing the bold (and often With Volume 17, Number 3, ITC appointed a new editor, Margaret Richardson, organizationally perilous) experiment to let distinctive designers interpret U&lc who made further editorial changes, like the creation of loosely thematic issues with ITC typefaces, Paul Davis has done this issue and the preceding one. Of all the and a deliberate policy of using guest art director/designers. After three'transitional designers, Davis, whose art directing style is organic (or ad hoc), is well suited to and dramatic issues designed by David Dunkelberger and Randall Smith of WYD, the requirements of a journal whose sum is made of many parts. Woody Pink of Pentagram (Volume 18, Numbers 2 and 3) broke the usual mold. Though his U&lc was a collection of individual spreads, there was unity with its Now in its 20th year U&lc has earned a special place in design and design journal- theme, "Innovators of Typography.' More importantly, Pirtle did not allow typefaces ism. Once a clarion call of the new, it evolved into being a showcase of eclecticism. to self-consciously dominate his layouts, but rather to serve the needs of the story. Today it heralds not only ITC's typefaces (created for a whole new audience of desk- Content drove these issues, and at the same time ITC types were effectively displayed. top publishing aficionados), but the virtues of individual achievement. U&lc is Volume 18, Number 3 (designed with Harold Burch of Pentagram) was also notable a hybrid, a combination of a type and design magazine and designer's laboratory. for the first full bleed cover featuring a drawing of Felix the Cat and printed in three While not as adventuresome as more aggressively experimental publications, different fluorescent color versions. U&lc's design pushes the limits of conventionality. One could argue that this is After Pirtle and Burch came WBMG, namely Walter Bernard and Milton Glaser just what Lubalin hoped U&lc would become. (Volume 18, Number 4; and Volume 19, Number 1), a team known for conceptualiz- ing magazines from the inside out. Since design, they insist, is not simply a process Steven Heller, a senior art director of The New York Times, of decoration, WBMG helped to influence and structure the content. The cover of is a frequent contributor to U &lc . their first issue featured the first full color "personality" photograph in U&lc's history, and it introduced a feature inside (written by U&lc managing editor, Joyce Rutter Kaye) devoted to Brookie Maxwell's work with inner-city children. This signaled that WBMG was directing that issue of U&lc toward a more journalistic approach. Their second issue, devoted to designers' ephemera collections, however, was a radical departure from the one before. Indeed in terms of layout and content, this issue was unique, with its use of archetechtonic type treatments. The next issue was designed by Alexander Isley Design. Themed "The Bill of Rights' the central essay by Stewart MacGregor Burns, a social historian, was car- ried through the entire editorial "well" typographically without the usual photographs or illustrations (a secondary essay on censorship was handled similarly). This resulted in a more solemn-looking publication than U&lc had ever been. In fact, from the typographic collage on the cover to the expressive handling of the type within, Isley Designs issue was spare and subdued. The baton (or T-square) was next passed to The Pushpin Group. Seymour Chwast with Greg Simpson designed Vol- ume 19,

•,,,-,„,,,i , ,. .cr . 0(c°*- '0 ,e.,- 0t 4,o-,,' .,v, 40 IsT.- ..,11, c0- 4s A 6 ,A0 i., ,,socc 0 4' or.' eon pc' .011 *alts tot'' e ‘e.„,.# re0 s euo ...„•4..- os te to to 0 iev U t f''' % etr. 1,t, 0,0' oi co° ,,, ,(the S _.,),06 1'4' . el' Oc .0 0... e er P° vvP Win' t.0 a 001 aPro Ae ,,,,,, eoce>°', t e ;016. 4 '''' s • 0.°

50140105 MOILS P. PAICW1400 Ct0.1 IOW ONMEI

WAS

30 0

v„. \ .01‘,, ,..t, ,,, ,t\\ \ \ .. \I" i, 1.-!.'\, )-' -,,,,44--4,1 t ,., i I ics.,,,,\,, „opo , r, \\ ■ s_ —.) . . w A" sfr°1** 4 w ii 0 : et 1 t) tjj.

01)

HEADLINE/SUBHEAD: ITC BABEL BOLD TEXT/CAPTIONS: ITC BERKELEY OLDSIYLE BOOK, ITALIC PULLQUOTES: ITC BABEL BOLD, ULTRA

THE TYPOGRAPHY IN THIS ARTICLE WAS CREATED USING DESKTOP PUBLISHING TECHNOLOGY Fom the very first issue of U&Ic in 1973, consistently contributed to keeping readers perceived this publication as this focus clear. Sid Timm is a consultant their own, and one that appealed to their typographer and proofreader working special interests. Now with over 150,000 scores of letters from readers about her with both editorial and production staffs. subscribers ranging from students to stories over the years. Steven Heller also His perceptive eye and specialized skills art directors to those in the type industry, has fans for his historical reflections and greatly influence these pages. Steve Lipson U(.7/c continues to provide provocative contemporary opinions. And continuing of Lincoln Graphics is the printing spe- editorial matter while showing ITC type- this rapport with its readers, the last issue cialist. Both bring continuity and tradition faces in appealing designs. of U&/c on the electronic age provoked to a changing publication in a changing The eclectic editor and designer Herb letters on every feature—from Mark industry. Lipson points out that when Lubalin initiated the journal's seren- Batty's "Message from ITC" to the U&Ic printing U&/c, the emphasis is always on dipitous approach when ITC decided to Colophon compiled by Joyce Rutter Kaye. making the type pages look their best— promote its typefaces with its own publi- From the perspective of a reader in the a feat that is difficult when printing on cation rather than through advertising type business, Matthew Carter comments newsprint, and especially so when com-

venues. Over 20 years, U&/c has moni- that when U&/c "thuds" on his doormat, bined with four-color presswork. tored changes in the type industry while he first turns to "What's New from ITC." U'Ic readers tend to keep their back also presenting features on such diverse "For me, this is a latter-day type specimen issues and remember the things that most topics as Faberge eggs, kites, masks, book. I might have heard about a new captured their imaginations. As reflected Japanese letterforms, Russian posters, ITC face being developed, so here I get to in this anniversary issue U&/c is an assort- Hollywood icons, New York street art and see it along with what other ITC faces are ment of quirky alphabets, design innova- desktop publishing. This tradition of a being shown that issue. Then, because I tions and a variety of type treatments. broad editorial appeal continued under am in the type business, I turn right to the Readers also recall features not included editor Edward Gottschall, then Juliet ads. Competitively speaking, the ads are here like puzzles, quizzes, recipes, histor- Travison Margolin and the current editors. the first wind of what's new in the industry ical memorabilia and examples of work Margolin recalls the anticipation of and there are few places where people do by their favorite designers, typographers, receiving each day's mail and perusing the advertise type." photographers, artists and calligraphers. readers' letters, some of which appear Although the content of U&Ic has In this scrapbook, art director Paul Davis on pages 16-19. Some of our readers relate always been important, how ITC typefaces focuses on his visual memory of U&/c to that they always read ITC's Allan Haley appear in each issue is the crucial focus of highlight illustrative images over the years. first for his features on the alphabet, type this journal. How U&/c's production team Some of our readers also share their designers or type use information. Marion tackles this challenge is featured on pages thoughts on U&Ic's first 20 years and its Muller, a regular contributor, has received 14-15, and two veteran allies of U&Ic have influence on them. Margaret Richardson

32 has managed the tricky C eing a promotional feat of b piece that advertises the services of the corporation behind it and it has been see5 /etc. accepted as a journalistic use °€ uite handsomely. I see a enterprise q We albs ff Martin Fox Ivan ri,

tin typefaces inter- • iStic heightened cle that brought natio-nally• It wa a e e to a much wider detailed interesOn t, When I was younger, fo rf audience than specialized interest. t type design 'wasp ve considerable ce of Colin Forbes Herb Loon

iitiko4 Gies

U&Ic FOR THE LAST 20 YEARS HAS BEEN THE DRUM OF THE INTERNATIONAL GRAPHIC COMMUNITY. IT'S THE ONE LINK FOR THOSE OF US WHO LOVE TYPE. ROGER BLACK

ANNIVERSARY LOGO: ITC FRANKLIN GOTHIC DEMI CONDENSED, ITC LUBALIN GRAPH MEDIUM, ITC FRANKLIN GOTHIC BOOK, ITC BABEL ULTRA, ITC AVANT GARDE GOTHIC EXTRA LIGHT TEXT: ITC LEGACY SANS BOLD, BOLD ITALIC QUOTES (CLOCKWISE FROM TOP): ITC LEGACY SANS ULTRA, MEDIUM, ITC LEGACY SERIF BOLD, BOLD ITALIC. ITC BABEL ULTRA, ITC FRANKLIN GOTHIC HEAVY. HEAVY ITALIC. ITC MENDOZA BOLD. BOLD ITALIC XXXIII The nice thing is that Ufklc comesfrom all different places: illustration, signs, anything. It doesn't define itself. It jumps boundaries with no problem. Marshall Arisman

34 One of the big surprises in looking over back issues of U&lc was the quantity of illustration in its pages over the years. Even though it was a type magazine, in it there was an appreciation for illustration and illustrators. U&lc records a real history of artists and attitudes toward illustration. It was where you would see Jim ci Spanfeller, Lou Myers, Gerry Gersten, Jerry Snyder, John Alcorn, Lionel Kalish— many illustrators whom I always thought about as Lubalin andgroup. Over the years the group got big- ger and broader and lots of illustrators were intro- Th)) duced andgot a lot of exposure in U&lc. Paul Davis

4 Tullio Pericoli A Seymour Chwast V Murray Tinkelman

PROJECT NO PROPE LLER-POWERED E3A55 68742 5009

IK DQC1158B

APPROVED BY 5(ALE. I •YY- I, 4''

DAP' I

.CLIBBY DAALC ITC

PROJ ENO MURRAY JPIKELPIATI

K-

HEADLINE: ITC STUDIO SCRIPT QUOTES/BYLINES/CREDITS: ITC GALLIARD ULTRA, ULTRA ITALIC

I was inU8dc for many years displayed in double pages, in splendidgraphie space. The idea of being surrounded with so much great design, of allowing my two pages of "wit" to exist in my "scribble" humor-a thrill indeed. Lou Myers

IP. Philip Burke V Henrik Drescher ► Lou Myers

38 Like my father before me, over the years I've enjoyed a unique following at U&lc, Stephen Alcorn

Spanfeller A William Bramball V Stephen Alcorn

74( \\\\ --

■ , 7\ \%\ ,

fi 44, / V

r:4 .

i■Orgr‘..rj, k*c.;/••■ii..; Cte•CS:".15CAi:C.14'•.S.0 ' I ' "CC •. •-•

QUOTE/BYLINE/CREDITS: ITC GALLIARD ULTRA, ULTRA ITALIC `History is prologue"— This is as true in art as it is in politics and business. U&lc has always given us a glimpse of our own design future through the finely focused loofriugglass of history. Kit Hinrichs As a young British designer in the early '70s, it seemed to me that NewYork had an unfair advantage of being endowed with graphic superstars. UeT/c brilliantly reflected those times. It was the platform upon which many performed with great distinction. They featured things not seen anywhere else. Colin Brignall

HEADLINE: ITC FRANKLIN GOTHIC DEMI QUOTES: ITC GALLIARD ULTRA, ULTRA ITALIC, ITC LEGACY SANS MEDIUM, MEDIUM ITALIC HERE IS SOMETHING EVERYONE MUST KNOW:

HOUDINI WAS THE FIRST MAN TO FLY

AN AIRPLANE SOLO IN AUSTRALIA

A YARD WAS THE DISTANCE FROM THE TIP

BENJAMIN FRANKLIN 1,A \NrrIA-r"f- P1/411M IAE- 114° e" \*-‘46-C(‘ ORIGINATED CROP OF THE SOSE-1-0-THE.11P OF -c0 0)\-\- INSURANCE. (PRIMARILY TO N'*-C)

O PROTECT MYOPIC

BARBERS. HE MAY ALSO HAVE

HAD THE

FARMERS' WELFARE IN MIND.)

A PACE WAS THE LENGTH OF A DOUBLE STEP, An illustrations were done by Lionel Kalish except for the playing cardS, done by Wally Neibart. APPROXIMATELY 21/2 FEET. "PISTOLS AT TEN PACES')

42 WAS A DEFINITE INVITATION TO A DUEL.

Wr 11(1er-in'

In- ormation

In publications, as in life, we need a little nonsense. Hence, the occasional displays of charming trivia that U8c1c

The last words of Joseph Henry Green, the great English surgeon, were (pointing to his heart): has done so well. For features like this I read every bit in random order. Congestion

BENJAMIN FRANKLIN and then (taking his own pulse): WAS AMER,ICAS _ FIRST MANUFACTURER OF PLAYING CARDS. They are a welcome visual contrast to other, orderly, Stopped.

,itpw. Int" pieces. The onlyg7 a ,

criterion is: Does it lookgood?

Seymour Chwast

.... sit tv ttz vg;5 604-...guo tik

.-----

ONE MilittioN

MORE THAN $1,000,000 BELONGING TO

ADOLPH HITLER IS STILL UNCLAIMED IN AMERICAN BANKS.

HEADLINE: ITC MONA LISA RECUT QUOTE: ITC GALLIARD ULTRA, ITALIC TEXT: ITC LEGACY SANS BOOK

THE TYPOGRAPHY IN THIS ARTICLE WAS CREATED USING DESKTOP PUBLISHING TECHNOLOGY

\, \e

„le's° 40-c`e ec\"\ . 0,c; \'cc\c". ve\C\c3 o•i ie 6, p 00 \\c\ cc'. e \)"61c)\ x:50 de' c3occ\e- 6c_\6 c\die •ce \).\\- •\o& \ \o \c\e \.6) odk e 9 \GO 6\ d\ 6c\ P'c \-\ Oj\r e ° .\(), °N

\)\ \,c,e \\c\e‘c ,1\\sc\() v„ec3 .,0\c\ \d\\

pc\\15

U&Ic represents 20 years of images and ideas that have not only influenced the type industry, but helped influence the Way graphic designers go about solving the complex tasks of visually communicating ideas. Mark Solsburg

The t.frPoetePhY

if) ticeve has in/kcal/cod the advertising of tyPe for the entire world. in the Certainty States, it has dominated.

The

Cynthia Hollandsworth eqt/fr • t Ile dgdZj cy.sees e %' eiz.? 9/ e ecri 4-42s w/6 ktt:ts (.2".%i e

(11> oP v4e 19,10/ 6-4: es Q4t e/fr o Aso tit ete . 3'1"1/ Qccessokt,.

lit "vs -he

the

ANNIVERSARY LOGO: ITC FRANKLIN GOTHIC DEMI CONDENSED, ITC FRANKLIN GOTHIC BOOK. ITC KABEL BOLD 44 QUOTES (CLOCKWISE FROM TOP): ITC AVANT GARDE GOTHIC BOOK, BOOK OBLIQUE, ITC NOVARESE BOOK, BOOK ITALIC, ITC ISBELL MEDIUM, MEDIUM ITALIC, ITC PANACHE BOOK, BOOK ITALIC, ITC WEIDEMANN MEDIUM, MEDIUM ITALIC, ITC NOVARESE MEDIUM, MEDIUM ITALIC, ITC FRANKLIN GOTHIC DEMI, DEMI ITALIC, ITC VEUOVIC MEDIUM, MEDIUM ITALIC

dents.as and is like a bible There was a when fora student a to tofree submit subscription, they or a piece of Subscriptions ecarne class projects. Wethen eceived some very strange inthing; like a dead pigeon a box or a with miniature in it. a hypodermic do// Some themselv sent needie es• pho tos of Eloise Co/ernan 4,4,44tivpo iii,;:s iias40;isizhip4;143

When I started designing, U&Ic knocked my eyes out. 6,041 ::i 11: i4:4;:toki:A y. pi; in and Burns had their heads in the sk dot: tt pisoye4; sPiP sk:idood Lubal ItItpt„? 44744,,oi°4 :P:11:4744 ot 410: erial* i: P41 Otiti 47 ° Itwasw°vicl 44' oove

IN kr, 0 4. , ot to '3 0 '`'S e f$ 40 0' 1$o■ • °AIN 7,14 '?et ee‘ISIa ll'r, eto o cpettlole 00,0? 4 to ,,, 0,1 e "2 -0 fts, .14 le O % 0 • 0. IN- ok of 00 % 6411t■ # Pk. &co Rio 40 10 e, eoe■ ele to or'co (00. To 10. 1 ie , e 0 • te• e't it ° t- °lul. l 404.94 e / e7s. 19; 4.4_ , e4e (vip so, y.s. ze tedy e '10 0,4 e, 'cies *WA 9/94 444; 14e 4,4, e,, hero 0,1 e gifie ape coo -"it / 1 eNt 4A, "9",_ CF ette 9 464. A_ Uf A 47%. 4 Pi,c414. "'se be 043,404, c44,4 oks: 44 le 464., % /Lev* eito eop/ et,e e to oi. ceate 40, e4t:s.

ANNIVERSARY LOGO: ITC LUBALIN GRAPH BOOK, ITC QUAY SANS MEDIUM QUOTES (CLOCKWISE FROM TOP LEFT): ITC KABEL ULTRA, DEMI, ITC GALLIARD ULTRA, ULTRA ITALIC, ITC LEGACY SANS BOLD, BOLD ITALIC, ITC CLEARFACE BOLD, BOLD !TAM, ITC NOVARESE ULTRA, ITC QUAY SANS BLACK, BLACK ITALIC, ITC WEIDEMANN BOLD, BOLD ITALIC, ITC LEGACY SANS BOLD ITALIC, BOLD XLV ,..... 0 _....., C T C 9 7

Photograph by Mtkebeth Cuaz g(.. WHAT'S NEW FROM ITC 1 014r0A/OP

ITC TM c ER1 G Ni 4111p CAli%il %11.iw

giow do you draw an italic of an italic? That is not a common question, but it is one that faced Jean-Renaud Cuaz when 0 he created ITC Cerigo. The challenge Cuaz set for himself when he began to draw ITC Cerigo was to create a type style that had the grace and elegance of Renaissance calligraphy, but one that also was different from the many Chancery scripts currently available. He met this challenge through the creation of Q./ a carefully thought-out "vertical italic" type based on a 15th A.. century calligraphic form. The result of meeting this challenge, however, was that Cuaz was faced with a second difficult design problem: how to draw a companion italic for the already cursive roman. This he did

46 with creativity, style—and a solid foundation in calligraphic tradi- elementary school in the South of France he recalls his teach- tion. Since his roman was based on the writing style of the 75th ers asking him to copy short poems in his handwriting which century, Cuaz decided the natural foundation for the italic would they then posted on bulletin boards in class. While his col- be the 'faster" italic hand of the 76th century. The result is a lege education netted him a B.A. in science rather than in the "controlled" roman and an almost spontaneous italic which are arts, this was followed by four years of study at Superieure both cursive and complement each other perfectly. d'Arts Graphiques in Paris. Here Cuaz was exposed to some of France's most talented and hard-working graphic educators— ADDED VERSATILITY and to scores of past issues of U&lc created by its founder, the To add more versatility to the completed family, Cuaz also created a late Herb Lubalin. According to Cuaz, both were instrumental series of italic swash capitals that add distinct personality to both in his decision to become a typographic designer. text and display copy. He also wanted to apply the same versatility to In 1985 the Atelier National de Creation Typographique was the roman designs but decided that roman swash letters were some- founded within the walls of Imprimerie Nationale in Paris. This thing of a calligraphic oxymoron. (Roman letters are drawn more institution is dedicated to teaching its students the art and craft slowly, and with more restraint, than free-flowing swash letters.) of typeface design. Cuaz was one of the first artists to attend, Cuaz solved this problem by using the italic forms for his roman studying under such eminent French type designers as Ladislas swash letters. On the surface this Mandel and Jose Mendoza, may seem like a simplistic approach THE CHALLENGE CUAZ SET FOR HIMSELF whom Cuaz credits for much of until one realizes that the italic let- his very considerable skill. ters would appear too light if they simply replaced the roman designs. WHEN HE DEGAN TO DRAW ITC CERIGO TIE PATH TO CHICAGO As a result, the weights of the italic After completing studies at the forms had to be carefully adjusted WAS TO CREATE A TYPE STYLE Atelier National de Creation Typo- to be consistent with the roman let- graphique, he was commissioned ters. Small caps were also created to create several typeface designs, THAT HAD THE RACE AND CLEGANCE for the Book and Medium weights was offered a teaching assignment of the family. The net result of this at Parsons School of Design in careful family structuring is a clas- OF NAISSANCE CALLIGRAPHY. Paris, and also landed a multitude sic example of something in which of freelance assignments. One, the total is greater than the sum of its individual parts. In other in Chicago, became so regular that Cuaz eventually moved there, words, an unusual amount of typographic versatility is available where he resides today. from a relatively small typeface family. ITC Cerigo is one of the few designs to be unanimously endorsed CUAZ DREW THE BOOK AND BOLD WEIGHTS TO COMPLEMENT EACH by the ITC Typeface Review Board upon its first showing. Later OTHER IN TEXT COMPOSITION, WHILE THE MEDIUM DESIGN IS APPRO production tests only proved to further validate the Review PRIATE WHEN A MORE AUTHORITATIVE TYPOGRAPHIC VOICE IS Board's first impression. REQUIRED FOR TEXT COMPOSITION. CALLIGRAPHIC SCRIPTS ARE NOT ITC Cerigo is available in Book, Medium and Bold weights NORMALLY CONSIDERED TO BE PARTICULARLY HIGH ON THE TYPO- with corresponding Italics. Small caps have been createdfor the GRAPHIC READABILITY SCALE, BUT THE UNUSUALLY LEGIBLE LETTER- Book and Medium weights. Oldstylefikures are available for the FORMS OF ITC CERIGO, COMBINED WITH THE CURSIVE LEFT-TO-RIGHT roman and italic designs in all weights. Only licensed Sub- SWEEP OF THE INDIVIDUAL CHARACTER STROKES MAKE THE FAMILY scribers are authorized to reprothar, manufacture coffer for SURPRISINGLY EASY TO READ. sale these and other ITC typefacesshown in this issue. This license is your guarantee of authenticity: ..(ETTERS HAVE ALWAYS BEEN IMPORTANT Jean-Renaud Cuaz cannot remember when he was not inter- THESE NEW TYPEFACES WILL B AVAILABLE TO THE PUBLIC ON OR AFTER ested in type and lettering. Even in his earliest recollections of MAY17,1993, DEPENDING ON EACH VAN UFACTU RE R'S RELEASE SCHEDULE.

"gt is through art and art only,

THAT WE CAN REALIZE OUR PERFECTION:

Through art and art only that we can shield ourselves

FROM THE SORDID PERILS OF ACTUAL EXISTENCE!' ••••••■1111111141„

Oscar Fingal O'Flahertie Wills Wilde / ITC CERIGO"

Excellence in typography is the result of nothing more than an at Excellence in typography is the result of nothing more than an attit Excellence in typography is the result of nothing more than an attitude Its appeal comes from the understanding used in its planning; the desig titude. Its appeal comes from the understanding used in its plan tude. Its appeal comes from the understanding used in its planning ning; the designer must care. In contemporary advertising the p the designer must care. In contemporary advertising the perfect inte ner must care. In contemporary advertising the perfect integration of d esign elements often demands unorthodox typography. It may require t erfect integration of design elements often demands unorthodox gration of design elements often demands unorthodox typography. I typography. It may require the use of compact spacing, minus lea t may require the use of compact spacing, minus leading, whatever is he use of compact spacing, minus leading, whatever is needed to get the 8/9 8/9 8/9

Excellence in typography is the result of nothing more Excellence in typography is the result of nothing more th Excellence in typography is the result of nothing mor than an attitude. Its appeal comes from the understand an an attitude. Its appeal comes from the understanding e than an attitude. Its appeal comes from the unders ing used in its planning; the designer must care. In cont used in its planning; the designer must care. In contempor tanding used in its planning; the designer must care emporary advertising the perfect integration of design ary advertising the perfect integration of design elemen In contemporary advertising the perfect integration elements often demands unorthodox typography. It m is often demands unorthodox typography. It may require of design elements often demands unorthodox typog 10/11 10/11 10/11 Book Book Italic Medium

ABCDEFGHIJKL ABCDEFGHIJ ABCDEFGHIJKL MNOPQRSTU KLMNOPQRSTU MNOPQRSTU VWXYZabcdefgh VWXYZabcdefg VWXYZabcdefgh ijklmnopqrstuv hijklmnopqrstuvw ijklmnopqrstuv wxyz1234567890 xyz1234567890 wxyz1234567890 &SCET0c0./ECE &sepE%COVECEJ3( &SCDY0(01ECE gcM"Cefifl'(:;,.! coleaeTtfr°(.;,.! ?-----//#*) §»q1234567890] ))<<1234567890] §)›gi 234567890] ABCDEFGHIJKL ABCDEFGHIJKLM MNOPQRSTUVWXYZ NO PQRSTUVWXYZ

Excellence in typography is the result of noth Excellence in typography is the result of nothing Excellence in typography is the result of not ing more than an attitude. Its appeal comes more than an attitude. Its appeal comes from hing more than an attitude. Its appeal come from the understanding used in its planning the understanding used in its planning; the d s from the understanding used in its planni the designer must care. In contemporary adv esigner must care. In contemporary advertis ng; the designer must care. In contemporar ertising the perfect integration of design elem ing the perfect integration of design elements o y advertising the perfect integration of desi 12/13 12/13 12/13 Excellence in typography is the result of Excellence in typography is the result of Excellence in typography is the result nothing more than an attitude. Its ap nothing more than an attitude. Its appea of nothing more than an attitude. Its peal comes from the understanding use I comes from the understanding used in appeal comes from the understanding d in its planning; the designer must car its planning; the designer must care. In used in its planning; the designer mu e. In contemporary advertising the perf contemporary advertising the perfect int st care. In contemporary advertising t 14/15 14/15 14/15

23ook with Swash .7t23CDCT9J -17jg(LA4 Iry T (1,RS TUT XliZ Excellence in typography is the result of nothing more than an attitu Excellence in typography is the result of nothing more than a Excellence in typography is the result of nothing more than an at de. Its appeal comes from the understanding used in its planning; th n attitude. Its appeal comes from the understanding used in it titude. Its appeal comes from the understanding used in its plan e designer must care. In contemporary advertising the perfect integr s planning; the designer must care. In contemporary advertis ning; the designer must care. In contemporary advertising the p ation of design elements often demands unorthodox typography. It m ing the perfect integration of design elements often demand effect integration of design elements often demands unorthodox ay require the use of compact spacing, minus leading, whatever is ne s unorthodox typography. It may require the use of compact typography. It may require the use ofcompact spacing, minus lea 8/9 8/9 8/9

Excellence in typography is the result of nothing more t Excellence in typography is the result of nothing Excellence in typography is the result of nothing mo han an attitude. Its appeal comes from the understandi more than an attitude. Its appeal comes from the re than an attitude. Its appeal comes from the under ng used in its planning; the designer must care. In cont understanding used in its planning; the designer standing used in its planning; the designer must car emporary advertising the perfect integration of design must care. In contemporary advertising the perfe e. In contemporary advertising the perfect integrati elements often demands unorthodox typograpy. It may ct integration of design elements often demands on of design elements often demands unorthodox ty 10/11 10/11 10/11

Medium Italic Bold Bold Italic

ABCDEFGHIJ ABCDEFGHIJK ABCDEFGHIJ KLMNOPQRST LMNOPQRS KLMNOPQRST UVWXYZabc TUVWXYZabc UVWXYZabcd defghijklmnopq defghijklmn efghijklmnopqr rstuvwxyz12 opqrstuvwxyz stuvwxyz1234 34567890&$ 1234567890 56789 08L$ CE% f%c0/Efffico CISVECEficodZi deefifi A °0/61 god ZefiflA" §»

Excellence in typography is the result of nothi Excellence in typography is the result of Excellence in typography is the result of not ng more than an attitude. Its appeal comes fr nothing more than an attitude. Its appeal hing more than an attitude. Its appeal corn om the understanding used in its planning; th comes from the understanding used in its es from the understanding used in its plan e designer must care. In contemporary advert planning; the designer must care. In conte ning; the designer must care. In contempor ising the perfect integration of design element mporary advertising the perfect integrati ary advertising the perfect integration of d 12/13 12/13 12/13

Excellence in typography is the result of Excellence in typography is the res Excellence in typography is the result nothing more than an attitude. Its app ult of nothing more than an attitud t of nothing more than an attitude. It eal comes from the understanding used e. Its appeal comes from the unders s appeal comes from the understandi in its planning; the designer must care tanding used in its planning; the ng used in its planning; the designer In contemporary advertising the perfec designer must care. In contempora must care. In contemporary advertisi 14/15 14/15 14/15

23ook [talic with Swath ADCDCT9g17,7g(L04 NOT (1,2_,STUVWXYZ ITC AVANT GARDE GOTHIC®

On this spread, both circular type formats were created with ITC Avant Garde Gothic multiple master fonts in Adobe Illustrator 3.2.1. They were imported into QuarkXPress 3.1 as EPS files and placed as pictures. The headline was created entirely in QuarkXPress, using the multiple master Font Creator XTension.

52 MULTIPLE MASTERS

Throughout its 25-year life, ITC Avant Garde Gothic has lived up to its name by continually breaking new ground. It began as Herb Lubalin's logo for the always innovative, and often contro- versial magazine, Avant Garde. It then became the first typeface released by ITC when the company was founded in 1970. Because of its large x-height, extensive set of alternative and ligatured characters and strong design personality, the face also broke new stylistic ground for typeface creation. Now ITC Avant Garde Gothic is the first ITC typeface to be issued as a multiple master Type 1 typeface. Multiple master is an extension of the PostScript Type 1 format developed by Adobe Systems that enables a user to customize a font while maintaining the integrity of a typeface design (something previously the exclusive domain of highly trained typeface designers and well-equipped type foundries). In a multiple master typeface, a design matrix is established based on one to four predetermined design axes.These axes determine the range of possible font variations and can include such aspects as typeface weight, width, style and optical size. The type designer creates master designs at each end of a design axis. The user can then interpolate, or generate intermediate variations, between the master designs on demand. ITCAvant Garce Gothic multiple master is a two-axis typeface incorporating weight and width axes, The dynamic ranges extend from Extra Light to Bold in weight, and Condensed to Normal in width, Each master design has been carefully hanc-crafted to ensure that all instances generated from the typeface will be both highly legible and esthetically pleasing,This means that the user can create any variation of font weight or width within these ranges with confidence that the results will be as successful as if the font were custom mace by a seasoned type designer. Now type in headlines and body copy can be exactly the proportions you want. Headlines can be customized in weight or width to precisely fit virtually any measure. Type in blocks of text copy can be adjusted subtly or dramatically to achieve just the color desired. Or type can be manipulated to compensate for the inherent differences in the appearance of type printed using various technologies, such as lithography, Xerography or gravure. ITC Avant Garde Gothic is available as a multiple master typeface in both roman and italic variants. Only licensed ITC Subscribers are authorized to reproduce, manufacture and offer for sale these and other ITC typefaces shown in this issue.This license is your guarantee of authenticity: ITC These new typefaces will be available to the public from Adobe on May 17, 1993. For additional information about multiple master fonts, please contact Adobe Sys- tems, Inc.

LIII THE LETTER X

The X is not drawn as a true Some could contend that the letter Xis symmetrical letter. If it were really unnecessary. Fewer words in the it would appear to be upside English language start with X than with any other letter, and its sound is dupli- down. As with most letters, cated by the Z or KS combination. The the X is constructed in such Phoenicians did not use the sound of X, a way as to appear to look and many scholars contend that the "correct" when mathemati- Greeks did not employ the letter to repre- cally it may not be. Actually, sent a phonetic sound, either. Even the the diagonal strokes of the Romans were not exactly sure where letter cross just slightly to use the letter, so they relegated it to above the true center, mak- the very end of their alphabet. ing the upper part smaller The Phoenician ancestor to our X than the lower. This gives the was a letter called samekh meaning character a firm foundation fish. Although some historians main- on which to rest and helps tain that this character more likely the eye move horizontally represented a post or support, with a across the page. In serif type- stretch of the imagination the drawn face designs the 7:00 to 1:00 character could also be seen as the stroke is lighter than the vertical skeleton of a fish. other diagonal stroke, and An X letter did not exist in the Phoeni- this stroke is usually more cian alphabet adopted by the Greeks. oblique than the heavier When they took over this system they one. This makes things look had no use for all the Phoenician "right" visually, which in

the case of the X means sym- sibilant letters, so they only took those metrical. Since the X is not letters which represented sounds a wide letter, it should be that they required. Three Phoenician drawn only about 1/2 to 3/4 of sound values that were difficult for the its height. If it is drawn too Greeks were shin (sh sound), tsade (ts widely it looks ungainly and sound), and the samekh (which repre- subsequently hampers the sented a sharp s sound). None of the smooth flow of reading. Phoenician letters represented the soft While Xs are constructed "s" that was common to the Greek of only two diagonal strokes language, so they chose letters which there can be surprising diver- came close and modified their value sity in their design. The X slightly. The western Greeks chose the in ITC Zapf Chancery® would Phoenician tsade, renamed it san, and never be confused with the attached the sound value of "ts" to it, same letter in Parsons, or while the eastern Greeks took the Phoe- the X in ITC Busorama: Some nician shin, called it sigma and gave Xs look like simple crossed it the sound value of a "sh:` The letter letter Ls, while others, like samekh became the Greek but had those in Walbaum Italic and different sound values in the eastern ITC Century Italic® appear to and western Greek alphabets. be made from flip-flopped Cs. The Romans adopted the X sound from Perhaps unnecessary, and the Chalcidian, or western Greek, alpha- perhaps presenting more of bet, but gave it the design of the chi a design challenge than meets (two diagonally crossed strokes), a letter the eye, the X is, nevertheless, added into the eastern Greek alphabet part of the rich tapestry that about 50o B.C. The monumental Roman is our alphabet. letter became the prototype for both the capital and lowercase X we use today.

HEADLINE: ITC LUBALIN GRAPH DEMI CONDENSED TEXT: ITC LUBALIN GRAPH BOOK CONDENSED, BOOK CONDENSED ITALIC, ITC CENTURY ULTRA, ULTRA ITALIC CAPTIONS: ITC LUBALIN GRAPH BOOK CONDENSED ILLUSTRATION EXAMPLES (CLOCKWISE): ITC FRANKLIN GOTHIC HEAVY, ITC CUSHING BOOK, ITC CASLON NO. 224 BOLD Who's New at ITC

New ITC Subscribers* Include:

Lexmark Dainippon Screen International Inc. Manufacturing Lexmark International Inc. (Lexington, Company, Limited KY), an independent company that was formed in 1991, develops, manufac- Dainippon Screen Manufacturing Company, Ltd. tures and markets IBM® personal (Kyoto, Japan) is a manufacturer of quality printers, IBM typewriters, related supplies . graphic arts equipment. Dainippon Screen signed and keyboards. It has recently signed a licensing agreement with International an agreement with International Typeface Typeface Corporation (ITC) in order that ITC' Corporation (ITC) which allows it to typefaces may be used in a broad array of use ITC' typefaces in its products. These Dainippon Screen systems and output devices. products include: some IBM LaserPrinters, It recently entered the PostScript® market with printer options, font cards and the IBM the introduction of its DT-S1015 desktop drum Color Jetprinter PS 4079 by Lexmark: scanner and DT-R1035 imagesetter.

Lexmark International Inc. Dainippon Screen Mfg. Co., Ltd. 740 New Circle Road NW Overseas Division Lexington, KY 40511 12-2 Bohjoh-cho, Chudoji Phone (606) 232-2000 Shimokyo-ku, Kyoto, 600 Japan Phone (81) 75-365-3131 Fax (606) 232-5439 Fax (81) 75-371-1507

Glyph Systems, Inc. Font World, Inc. Glyph Systems, Inc. (Andover, MA) is a Font World, Inc. (Rochester, NY) designs and manufacturer and distributor offoreign manufactures multiple language typefaces in language typefaces including Arabic, PostScript® Type 1 format. It also offers custom Hebrew, Thai, Greek, Turkish and Eastern typeface development for corporations and European languages. Its typefaces governments. After signing a licensing agreement are available in PostScript' TrueType® for with International Typeface Corporation (ITC), Windows- 3.1 and DOS compatible Font World added the ITC® type collection to its formats. Under a typeface licensing agree- exclusive multi-lingual typeface library. ment with International Typeface Font World, Inc. Corporation (ITC), Glyph will include ITC 2021 Scottsville Road Arabic® on its font disks. Rochester, NY 14623 Phone (716) 235-6861 Glyph Systems, Inc. Fax (716) 235-6950 P.O. Box 134 Andover, MA 01810 Phone (508) 470-1317 Fax (508) 474-8087 [HA

*ITC Subscriber companies are those companies which have a licensing agreement with International Typeface Corporation to manufacture and sell ITC' typefaces. All product names are trademarks or registered trademarks of their respective manufacturers. LV Ikarus74 IKARUS®, the system used by the world-leading type foundries, sets the standard for quality in type design and production. Now, URW® has concentrated its most useful and professional design programs into a single package for the Macintosh®. About the features of IKARUS M: •Create models by scanning, auto-tracing or import from PostScript® Type-1 & Type-3 fonts. •Compatible with your Wacom or Aristo tablet. • Interpolate and exterpolate to create an entire typeface family... from a single design! •Oblique, then refine using automatic aesthetic balance to correct electronic weight distortion. •Create multiple kern and width tables for text setting, touching and overlapping display type for highly specialized advertising typography. • 15,000 x 15,000 units to the em ensures maximum accuracy. Precise numerical editing of widths and sidebearings via built-in tables. •Other professional functions: scale, expand & condense, antique, rotate, mirror, symmetrize fold, and measure, to name only a few of many. •Select modification of a single character or, in batch-mode, character groups and entire faces. •Create Type-1, Type-3, TrueTypeTM, EPS files and any number of tuned bitmaps. Transport files into other programs. ATMTM compatible. In short, IKARUS M is the professional's tool for precise and faithful reproduction built on renowned programs of typographic integrity. I jai

("-)A7-kAti

* The words "1 think" were auto-traced with LINUS M and the letter "n" was edited with IKARUS M.

With conventional auto-tracing programs, conversion of lively ideas into digital format may sacrifice the integrity and immediacy of your original sketch. Now, such degradations are totally avoidable. LINUS M captures and preserves the freshness of original sketches while quickly and accurately converting them into IKARUS® contour format. LINUS M is a high quality automatic tracing program for the Macintosh® that is fine-tuned for accuracy by numerical parameter controls for optimum conversion of complex artwork. Quick- mode design and editing functions are also provided for production of logos, artwork and alphabets. LINUS M may be used to create color separations by isolating those elements in the U RW artwork to be used for various tints. URW America Output capabilities include: PostScript® Type-1, 4 Manchester Street, Nashua Type-3, EPS files and TrueTypeTm. New Hampshire 03060 Phone: 603-882 7445 Credits, IKARUS and LINUS are registered trademarks of URW Unternehmensberatung, Karow Rubow Weber GmbH. Macintosh and TrueType are registered trademarks of Apple Computer, Fax: 603-882 7210 Inc. PostScript and Adobe Type Manager (ATM) are registered trademarks of Adobe Systems Incorporated. Other descriptive product references are trademarks of their respective holders.

Suggested Retail Prices: Name Title

Address IKARUS M $598. Company LINUS M $349. State Zip Code City Package Price: $895. Country Phone

THIS PAGE WAS PRODUCED USING URW SOFTWARE. IT WENT FROM DISK TO FILM TO PRINTER. TYPEFACE: LATIENNE. CALLIGRAPHY: JOVICA VEUOVIC 56 Circle 269 on Reader Service Card Software NE I 7.115

New PageMaker 5.0 TE CH The new Aldus PageMaker® version 5.0 is here with over 100 new features for both the Macintosh and PC systems running Windows. Virtually identical on the two platforms, PageMaker 5.0 offers powerful tools for precise typographical control such as rotation of text and graphics to .01-degree increments, numerical posi- talk tioning and nudge buttons and a control palette for setting text attributes such as font, style, size, indent and alignment. Additional production capabilities by Barry Zuber include the ability to produce process-color separations of text and graphics, filters to import Kodak Photo CD? DXF, WordPerfect Graphics, PICT and Metafile images, Fonts TWAIN support for scanning within PageMaker and a PANOSE font mapper which identifies missing fonts Font Bundles between Windows and Macintosh files. PageMaker 5.0

Casady & Greene now offers 120 top-quality, hand- - comes with 20 Aldus Additions:" created from third- crafted fonts at a competitive price. Choose between party developers, that give the product applications Int1H10.1 either PostScript Type 1 or TrueType formats for $99, specific features. For Macintosh and IBM/compatibles. L I:1;1111U/ Ik12 or choose both formats for $179. The library contains a $895. Aldus Corporation, 411 First Avenue South, wide variety of text, display, script and headline fonts. Seattle, WA 98104. (800) 685-3511. For Macintosh and IBM/compatibles. Casady & Greene, 22734 Portola Drive, Salinas, CA 93908-1119. Call (800) Take the Trapping Test 359-4920. Aldus TrapWise- provides high-quality solutions to trapping problems found in the creation of four-color CD-ROM Fonts separations. TrapWise inspects each color transition Autologic has announced the availability of over 2500 and automatically creates an optimal trap color based fonts from four different font developers on a single upon the CMYK and spot color components of both

CD-ROM. The locked APS -TypeScriber provides Post- • colors. You can see your traps on-screen. TrapWise Script Type 1 fonts for both Macintosh and IBM/com- can process PostScript files from most popular desktop patible systems. Users can select from 141 Autologic applications on a variety of platforms. Call Aldus to typefaces, including 8 new Else fonts, the entire Adobe get a free demo disk. $4495, Aldus Corporation, 411 library with 1481 selections including 237 from the First Avenue South, Seattle, WA 98104. (800) 685-3582. Berthold library, plus 1039 fonts from Bitstream. There are also two versions of the unlocked APS-TypeScriber New Ventura Solutions CD-ROM. On one version, the Autologic fonts are paired Ventura Software Inc. has announced the release of sev- with the library of Adobe fonts. The second version eral new programs to their product offering. Ventura pairs the Autologic fonts with the Bitstream Typeface Publisher® 4.1 is a single power publishing solution for Library. Autologic, 1050 Rancho Conejo Boulevard, the creation of documents of any size, length or com- Thousand Oaks, CA 91320. (805) 498-9611. plexity. Ventura Publisher provides flexible and precise i 800 3 26 TYPE typographic control, complete color prepress capabili- Bitsteam Font Packs ties to produce optimized color separations, interactive Bitstream is now shipping two new retail font packages formatting and an enhanced user interface for ease with typefaces in PostScript Type 1 format for IBM/com- of learning. Ventura Database Publisher® automates patible systems. The Bitstream Font Packs 1 &. 2 the creation of catalogs, directories, schedules or other offer 40 and 20 typefaces respectively in a versatile mix data-intensive documents Database Publisher extracts of text families and decorative type designs. For IBM/ data from a database and tags the data with page layout compatibles. Font Pack 1, $79; Font Pack 2, $39. Bit- control information for your favorite desktop publisher stream Inc., Athenaeum House, 215 First Street, Cam- or word processor. As the tagged data is imported, the bridge, MA 02142. (617) 487-6222. pages automatically lay themselves out from the control information added by Ventura Database Publisher. Font Substitution Software The program will even launch Ventura Publisher for Adobe Systems Inc. is now shipping a new addition automatic push-button creation of documents. to the Adobe Type Manager product line, SuperATM Ventura PicturePro- is a total image creation prod- SuperATM eliminates text format changes when dis- uct in one package. PicturePro lets you scan, draw, playing and printing documents that contain fonts not paint, retouch, edit and color correct full 24-bit color available on the user's computer. A metrically exact images. The program has an extensive list of profes- substitute font is automatically created for any Adobe sional features including special effects filters, masking Type Library font found in a document. This substitu- tools, variable paint and texture brushes, natural media Call now for our Font Listing tion process accurately preserves the document's orig- tools such as felt tips, chalks or oil brushes and anti- and a special offer on Al Woodtype! inal line and page breaks, regardless of where the aliased text. PicturePro increases design productivity document was created or what fonts were used. For and outputs separations directly to a PostScript image- Macintosh and IBM/compatibles. Upgrade $49; new setter. $149. Adobe Systems Inc., 1585 Charleston Road, Ventura AdPro- is an advertising design and layout LPHABET Mountain View, CA 94039. (800) 833-6687. package for the PC. AdPro combines the typographical ► features of a page layout program with those of a draw- AppleLink: ALPHABETS / Fax: 708 328 1922 Font Special Effects ing program to produce ads, coupons and advertising Effects Specialist- can quickly and easily transform circulars quickly and efficiently. AdPro includes sup- ordinary PostScript or TrueType fonts into spectacular port for 24-bit color images and typographic control of special effects. Styling modes include circles and arcs, up to 1000 different fonts in increments as small as freeforms, outlines and fills, motions, shadows and .001 em. For IBM/compatibles. Ventura Publisher $795, VISA / MASTERCARD / AMERICANEXPRESS FONTS PROVIDED IN MACINTOSH OR WINDOWS FORMAT ON 3.5 INCH DISKS geometrics. Effects Specialist provides Bezier control Ventura Database Publisher $295, Ventura PicturePro DISK INCLUDES POSTSCRIPT AND TRUETYPE VERSIONS OF THE FAMILIES of fonts, 24-bit color support and applies effects to any $795 and Ventura AdPro $695. Ventura Software Inc., THE ALPHABETS s AND THE EYE IMAGE ARE TRADEMARKS OF ALPHABETS, INC. drawn paths. For IBM/compatibles. $199. Postcraft 15175 Innovation Drive, San Diego, CA 92128. OTHER TRADEMARKS ARE PROPERTY OF THEIR RESPECTIVE OWNERS. International Inc., 27811 Hopkins Avenue, Suite 6, (800) 822-8221. Valencia, CA 91355. (805) 257-1797. continued on page 60 Circle 244 on Reader Service Card LVII JUNE 9 T THROUGH S Lc i JULY 30

1993 TDC 39, the 39th Annual Type Directors Club Awards Exhibition, will premiere U&Ic June 9 at the ITC Center. The show will feature a variety of international work Type chosen for its typographic excellence in categories such as advertising, books, annual reports, brochures, signage, corporate identity, Selection entertainment graphics, The 39th Annual Type Directors a Collector's Club Awards Exhibition Collection

logos, magazines, newspapers, packaging and posters. More than 2600 U&Ic Type Selection is the first independently published col- entries were submitted lection ofU&/c material. It serves as both a celebration of from 19 countries for con- TDC 39 was chaired by: 20 years of continuous publication and an important source sideration in the show. Mark Solsburg of information for all ofour newer readers. Everything that Of them,186 winning pieces FontHaus appears within this book is taken directly from the pages of were chosen, represent- Norwalk, CT past issues ofU&/c, and includes an introduction by Mark ing 10 countries: Brazil, Jurors included: Ban President & CEO of International Typeface Corporation. Canada, England, France, David Berlow U&Ic Type Selection is an extraordinary compilation of regu- Germany, Japan, Singa- The Font Bureau, Inc. larly appearing features in Upper & Lower Case, The International pore, Slovakia, Switzerland Boston, MA Journal ofType and Graphic Design. Articles such as "Families and the United States. Mark van Bronkhorst to Remember," "Unusual Alphabets;' FY(t)I [ForYour (typo- The exhibition will travel Mark van Bronkhorst Design graphic) Information], and "What's New From ITC" were throughout North and San Francisco, CA created with the goal of i nformi ng and educating the reader South America, Asia, Aus- Ed Cleary about the creativity, use and availability oftype. tralia, Canada, Europe, FontShop Toronto, Canada Mexico and New Zealand. This book underscores the importance and value ofU&/c to Greg Leeds the graphic community over the past 20 years. The timing was The Wall Street Journal New York, NY perfect, as it helped us prepare for our 20th anniversary issue. This issue of U&lc and U&lc Type Selections will be the prized George Pierson HBO possessions ofthe true U&lc aficionado. New York, NY Kathleen Tinkel MIN Kathleen Tinkel Design Westport, CT U&IcType Selection 14 3/4" x 10 7/8'! Softbound. 174 pages. Illustrated. $25.00, U.S. Carol Twombly Adobe Systems, Inc. NAME Mountain View, CA ADDRESS

CITY/STATE/ZIP

COUNTRY TDC 39 Subtotal Please send U&Ic Type Selection books @ $25.00 each ♦ The ITC Center is located at Plus Shipping & Handling (U.S. $5.00; Canada $8.00; Elsewhere $12.00) 866 Second Avenue, Plus SalesTax (NYState Residents Only. Shipping charge is also taxable.) third floor, New York City. TOTAL ENCLOSED

Hours are 11 My check/money order is enclosed. (All checks must be in U.S. Dollars,drawn on U.S. Banks.) Monday through Friday, ❑ Please charge my ❑ MasterCard p Visa noon to 5:00 p.m. (Closed July 2 and 5, 1993). ACCOUNT NUMBER Admission is free. SIGNATURE/EXP. DATE

For faster service, call (800)634 - 9325, or fax (212)752 - 4752. Circle 274 on Reader Service Card (In New York and outside the U.S., call (212)371-0699, Monday through Friday 12-5pm.)

HEADLINE/SUBHEADS: ITC QUAY SANS BLACK TEXT: ITC FENICE REGULAR, REGULAR ITALIC, ITC QUAY SANS BOOK, BLACK L 58 ABCDEFGHI C 5r1191/17,./C JKL1VINOPQR L-At- _51r, 0C2, fR, STUVWXY&Z IierIVXY&Zahcdc abcdefghiptlin him nopfrs to p nopqrstiinrwxyz wxyz 9'23 5 6 7 S 9 f? 1234567890!?$ Ovidius Bold (or two other weights) S59 each or all three for Sttg Atlas $59

14 0,0

BirdsC $49 4-bettff611- 11k1.44 Presenting NV10 12kSTU WX the latest Ftlittli)CFQH1111c1, 10294edeft4iihim arrhrals to hopltstovwxyA YULAEICDCFCHillit 12345G7Scit!?$ our flock.. • 144 Bolide Script $59 1 2 345C:78)01T Tokay $59 A8 CD FiG4-4.01<.L. A 3CDE•51-1IPik 4t4C,PqR$TUVIV1 Cl'ICI5 QR,511`t1 7/ XV&Z•alicdef9hijK tmrloplrsi.coffirio -12,31- 56745.9!;$ Concept Two (or Concept One) $59, both for $8q

ABCDEFGHIJKL All fonts are PostScript Type i format for the MNOPQRSTUVW Macintosh (for availability in other formats, XY&Zabcdeighijk please call). The FontHaus fonts catalog Volume 3 is now available; $5 or free with lmnopqrstuvwxyz your first font order. For more information, or 1234567890!?$ to place an order, call FontHaus toll-free: .11/"Ilk DeconStruct Medium tor other weights) $59 each, two for $89, wis three for $119, four for $149 1-800-942-9110 or contact your nearest authorized FontHaus rl N 01'0-1Z' T(41/k/ distributor or dealer. )(v&za.bcdef y ivijo United States Canada org V' J vw 7 FontHaus Inc. Rhyscon Systeins, Inc. t^ z 15 Perry Avenue, Suite A7 1705-A Lakeshore Road West Norwalk, CT 06850 Mississauga, Ontario L5J 1J4 1-80o-942-9110 or 416- 82 2-2255 203 - 846 - 3087 France Erazure $59 Fax 203-849-8527 TypoGabor FontHaus West 5 rue du 8 Mai 1945 4912 Verdugo Way 92586 Clichy (Paris) Abe EIGHIdlia2N Suite 130 -66-00 Camarillo, CA 93012 1- 47 -39 NOPQ917111/XXY1, 805-488-2605 Germany, Switzerland, Austria NT United Kingdom E&F Fontintorm GmbH Billstrape 103 r Signus Ltd. &abadef91-LijihtmnOpq. 2000 Hamburg 26 South Bank Technopark 40-789-2608 go London Road -rstuvwxyz134564810 London SE' 6LN Sweden, Finland, Norway 71 - 922 - 8805 FontBolaget o T, 0 • rip FAx Panache Graphics Ltd. Kungstengatan 18 50-54 Clerkenwell Road 113 57 Stockholm Monterrey $59 London EC1M 5PS 46-8-16-81-0o HAUS 71-251-3746 Prices in SUS. Pricing and product availability subject to change without notice. Some typefaces may not be available from all authorized FontHaus distributors. FontHaus and the FontHaus logo are trademarks of FontHaus Inc. Macintosh is a trademark of Apple Computer, Inc. PostScript is a trademark of Adobe Systems, Inc. 01993 FHI.

Circle 223 on Reader Service Card Computer Associates Plaza, Islandia, NY TECH 11788-7000. (800) 225-5224. talk continued from page 57 Power Tools for Photoshop COLOR-FAST! Smart Scanning Software Kai's Power Tools (KPT) is a set of spe- ()foto- 2.0 is an intelligent 24-bit color cial-effects plug-ins for Adobe Photo- scanning program that will make your shop. The product adds more features A Must For Your Studio scanning jobs easier. Ofoto's autoscan to Photoshop's existing filters and spe- feature automatically scans and classifies cial effects for creating new images. KPT 0 Artists Illustrators the image as color or grayscale, line art contains 33 filters and is the brainchild ® Designers 0 Colorists or photograph. Based on this informa- of artist Kai Krause who turned his Students tion, the program sets the proper resolu- Photoshop wish list into a product. For tion and color depth to produce the best Macintosh. $188. HSC Software, 1661 S-1 PROCESS COLOR 0 results. The program also straightens, Lincoln Boulevard, Suite 101, Santa SELECTOR 133 LINE crops and sharpens the image, all in one Monica, CA 90404. Call (310) 392-8441. step. Ofoto version 2.0 is included with Apple Computer's Color OneScanner- Image Browser and is one of the first applications show- Image libraries can quickly get out of For Printers and casing Apple's new ColorSync software hand. Now there's a product called Kudo Graphic Designers architecture. For Macintosh and IBM/ Image Browser for the cataloging, compatibles. $395. Light Source Compu- browsing and retrieval of all kinds of ter Images, Inc., 17 East Sir Francis Drake images. Kudo Image Browser can catalog Boulevard, Suite 100, Larkspur, thousands of graphics, scanned photo- CW ARTISTS CA 94939. (800) 231-7226. graphs, QuickTime- movies and Kodak COLOR Photo CD images. The program works WHEEL Photoshop Comes to Windows with all kinds of desktop programs such P-100 0 as Quark,(Press7 Adobe Photoshop- and PANTONE Adobe Photoshop- 2.5 is here for Win- COLOR dows. The award-winning image editing Aldus PageMaker.® Once the image is CONVERTOR program has the same features and func- located, it is placed into the desktop pro- tionality as its Macintosh version. Adobe gram with a simple drag and drop. For Photoshop can create original artwork, Macintosh. $295. Imspace Systems correct and retouch color or black and Corporation, 4747 Morena, Suite 360, Available from: white scanned images and prepare high- San Diego, CA 92117. (800) 949-4555.

S-3 0 quality color separations for output. The 1337 Donna Beth Ave. COLOR program has cross-platform compatibili- Photo CD Imaging West Covina, CA 91791 SELECTOR ty with identical, binary-compatible file Kodak brought you the power to transfer 65 LINE 818-919-4767 Or FAX your order to 818-919-0657 formats for both versions. This means high-quality photographs to your com- that images created on one platform can puter through the Photo CD. Now Kodak be edited on another. The open architec- gives you the capability to maximize ture of Photoshop allows the develop- your Photo CD images with a family of ment of third-party plug-in modules that powerful, easy-to-use imaging software provide additional features. For IBM/ products. Kodak Shoebox Photo CD compatibles. $895. Adobe Systems Inc., Image Manager allows users to catalog, 1585 Charleston Road, Mountain View, index and search through thousands of Sponsor CA 94039. (800) 833-6687. images and multimedia objects. Kodak PhotoEdge Photo CD makes it easy to New Painter® 2.0 zoom, crop, adjust exposure, sharpen Index Painter 2.0- by Fractal Design Corpora- and soften images. The program also tion has added more realism and control adjusts color tone and can create special Advertiser RSC # Page # to their natural-Media paint application. effects. For Macintosh and IBM/compati- Painter's brushes include scratchboard bles. Eastman Kodak Company, 100 Precision Type 254 2-3 tools, an airbrush that splatters, multiple Carlson Road, Rochester, NY 14653. Call Adobe Systems 389 4-5 spotlights, textured glass distortion and (800) 242-2424. URW Ikarus M 269 56 marbleize. Adobe Type 1 and TrueType Alphabets, Inc. 244 57 fonts can be imported into images. Hardware Painter is even easier to use with tear-off 274 58 ITC Center tools, snap-to and adjustable grid paper, Apple Keyboard FontHaus 223 59 visual previews and straight line tools. Apple Computer® has announced a Color Wheel 279 60 For Macintosh and IBM/compatibles. new ergonomically designed keyboard Stationery House 277 61 Upgrade $79; new $399. Fractal Design that adjusts for more comfortable, less- Letraset 265 62 Corporation, P.O. Box 2380, Altos, CA stressful typing. The Adjustable Key- board' splits in half and allows the user Phil's Photo 211 63 95001. (408) 688-8800. to spread the keyboard open for a natu- 268 64 URW Windows Painting Mots ral position. The keyboard also has a Spectrum 212 65 CA-Cricket Paint- is a 24-bit photo detachable palm rest. The Apple Desk- Daige 245 66 retouching program for Windows-based top Bus Mouse II - has a large, single Carter & Cone Type, Inc. 280 67 PCs. CA-Cricket Paint can apply special button on the front third of the mouse. It Font Bureau 280 67 effects such as pastel, watercolor, oil or is more rounded than the current model Sumner Stone Type Foundry 280 67 tinting to photographs and images. and requires less pressure to click. For Floating tool palettes can be toggled on Macintosh. Adjustable Keyboard $219, 276 71 Red Rooster Type Foundry or off the screen for full-image viewing. Desktop Bus Mouse II $79. Apple Com- Lincoln Graphics 229 71 CA-Cricket Image lets you fine-tune puter, 20525 Mariani Avenue, Cupertino, FontShop 260 74 scanned images with sharpen, soften, CA 95014. (408) 996-1010. Paper Access 278 75 lighten or darken control features. The ITC Directory of New Typefaces 271 78 program produces four-color separa- Moving Large Files Art Parts 275 80 tions and creates additional special Now you can store 128 MBs on a single effects. For IBM/compatibles. $95. Com- 3 1/2" disk and take it anywhere. Chinon puter Associates International, Inc., One continued on page 63

60 ADVERTISEMENT Not All Decisions Are Black & White • Add Bold, Exciting Color to Your Laser Printed Projects

polished professional look? All you Queblo Laser Add Brilliant Spot Foil need to do is load your copier or laser Color Foil PAPER printer with these Queblo papers and Color in Seconds! imprint your copy. The results will astound you. Some of the items available include: talk • Pre-Scored and Perforated sheets for brochures, reply, rotary file and business cards, etc. • Pre-Printed Full Color Papers designed specifically for creating brochures, newsletters and flyers. • Foil Stamped Certificates and Stationery for a traditional, corporate look. • Blind Embossed Stationery to add subtle elegance to your communications. • Laser and Copier Labels to produce a wide variety of labels including Desktop designers can now enhance address, mailing and identification their final output with a broad range of labels and more. specialty and exotic papers that will All this sound too good to be true? We transform an ordinary print job into an just offer one word of caution - beware Queblo Laser Color attention-getting colors or assortment extraordinary one. Everyone from of cheap imitations. If these products Foil gives you brilliant pack. Each package contains ten novice to professional designer can use are not specifically manufactured for spot foil color by utilizing 8" x 11" sheets (can be cut to any size), Queblo products to enhance their day- copiers and laser printers do not use the heat and pressure in complete with adhesive dots and easy to-day, reports, presentations, them! Special grades of paper, foils and your dry-toner copier instructions. Please specify product correspondence, etc. inks must be used for optimum results or black and white laser number and color when ordering. This upgraded image can often give you without damaging your printer! printer. Great for Color Codes: Gold (G), Silver (S), Red the competitive edge needed for success. The Queblo catalog includes over 700 presentations, brochures, (RD), Blue (BU), Green (GN), Violet Why print your next resume or report items created to enhance your projects. certificates, signs, charts, (VI), Turquoise (TQ), Assortment (A) on plain paper when there are a number Ask for FREE catalog #R1002. and more! Foil sticks only to R1002-8450 $19.95 pkg. of laser and copier compatible papers toner - you can even mix colors and envelopes that will give your work a • • • • • on a single page! Choose from 7 • • • • •

%.":" Queblo Laser The Queblo /atutsx-cl, Color Markers Sample Kit Color Your Black and White Prints! Invaluable Copier/Laser Paper The Only Markers Guaranteed Not to Source Book See and Test Over Smudge or Lift Laser Printer Toner! 250 Exciting Products! Sot AV( ow S toce "The Creotive esktopo Pckdkva tSeedS" Want a great way to see over 250 D QUEBLO papers? Our Sample Kit Copier. user & contains a broad selection (single sheet of each) of our colorful, unique and exotic papers along with technical information, a discount coupon that saves you 10% on your first order, a catalog subscription and more! All are conveniently displayed in a handsome three-ring binder with informative, mylar edged index Add a new dimension to presentations, tabs. illustrations or anything printed on a laser or copy machine. Unlike other Introductory markers, this environmentally-safe Offer - only "39.85! formula will give optimum performance (regularly $59.95) without smudging, smearing or lifting dry toner images. Unique Tri-Nib can draw with fine, medium or broad Queblo Sample Kit strokes - all with a single marker. R1002-8008 $39.85 Starter Assortment includes one each + + + of yellow, orange, pink, lilac, red, maroon, brown, light blue, dark blue, teal, dark green and light green. TO PLACE AN ORDER or REQUEST A FREE CATALOG:

Packaged in a handy caddy for storage ) Phone our Toll Free Order Line at I-800-521-9080 (s:3!..) aan.-5:00 p.m. at your workstation or desk. EST) o Fax your order ro our 24 Hour Toll-Free Fax 1-S'Oal\- -i54-l•l779. R1002-8453 $31.95 (per set of 12) 2) Ma,terllatd, Fxrres, , and Cheeks Accepted. Account billing available to derails. • • • • • 1) CA, MD, 011 residents - add applicable sales tax. •AUEBLO 1000 Florida Ave., Hagerstown, MD 21741 Circle 277 on Reader Service Card 0)097h6 ,6%6 NNW e e e

You do, And1 6r6ativq, dynamie and innovatim too. You r6 4ohingfor twoheo Mat ?Di 6T Iduff your worA vart/rom tA6 pad ono giv6 you TA6 Or6eltiV6 66/296, Ana Vet Quaem 4445 wAfft you want, it96 guarant66 you'ff An 6/ it in cd6 gontd® rangy Veiigited twdOe64. gOr ing-ane6, cd4 hot (at% nude via tom V twin Amoisiean ear Gam 44yr/order

Ma 1A6M OUt, @OW ,6tramt at 800-343-11-06,7 anc adjorM6 tett6at firentd° 01-09066 A4aorAaturing 30 &lour lotto T flop (4$igno.

an \N\ Letraset® Hand Drawn T"4 Rom eI0C9 letraset® Bordeaux \\N CART00 \i.S.N

Lets \,e''

Letr aseto 1_1r University4" Roman too' 4 estr -Ac\gis ailled Letraset ° c 0,\ \-;‘ Vetraset® \-30\1362'1N\ .4 GOON s ON.as ee 6C96\36:' Gelf 00e N61'

tests" letrasete t°set® II o "6" earo9ue4,

Letraset® Aquitaine"' Initials Letraset® Fine HandTM nATioNAL HERITAGE et-to oaerne 9fcbistincffon

Letraset LETRASET USA, 40 EISENHOWER DRIVE, PARAMUS NJ 07653, USA

Circle 265 on Reader Service Card 62 TECH intosh and IBM/compatibles. Brother Phaser III is equipped with 10 MB of RAM Ninth Street, Berkeley, CA 94710. Call International Corporation, 200 Cottontail and Adobe PostScript Level 2. It is also (800) 223-0999. talk continued from page 60 Lane, Somerset, NJ 08875-6714. Call (908) able to print up to 12" x 18" for produc- 356-8880. ing tabloid bleeds. For Macintosh and Trends America offers a portable, rewritable IBM/ compatibles. Phaser III $9995. Tek- optical drive that provides unsurpassed New Phaser tronix, Call (800) 835-6100. In-Sync Color safety and data integrity. External and The Tektronix Phaser- 200 is a two The problem with color on the desktop is

internal versions are available for IBM/ page per minute color printer with a Low -Priced Printer that the colors you see on the screen do compatibles, external only for the Mac- breakthrough price of $3695. The Phaser The SpectraStar- Q10E is a price break- not necessarily match what you scanned intosh. $495-$895. Chinon America, Inc., 200 comes with PostScript Level 2, Pan- through for color printers. At $3799, the or print out. Apple Computer has 615 Hawaii Avenue, Torrance, CA 90503. tone® colors and switches automatically SpectraStar Q10E comes with 21 type- announced a new color-matching archi- Call (800) 441-0222; in CA (310) 533-0274. from user to user through its parallel, faces expandable to 52 fonts, PostScript tecture that has been endorsed by almost serial, AppleTalk"or optional Ethernet'" Level 2 support and Pantone® certified every major Mac color software and Hand -held Scanner ports. The Phaser III"' printer from Tek- color matching. The printer works with hardware producer. ColorSync- enables ScanMan® Color is a low-cost, hand- tronix prints at 300 dots-per-inch on any all of your favorite PC or Macintosh pro- users of color devices to get a closer held color scanner for the PC. ScanMan kind of paper, from bond to acetate. The grams. $3799. General Parametrics, 1250 continued on page 65 Color scans full-color images with 24-bit resolution to display up to 16.8 million colors, plus 256 shades of gray. The scanner comes with AutoStitch- software for merging up to four individual scans automatically and FotoTouch - color image editing software for touch-up. For IBM/compatibles. $649. Logitech. Call Add Lungs to the Planet (800) 231-7717.

Apple Color OneScanner Apple Computer has introduced their Subtract from the first color-input device, the Apple Color OneScanner.- The scanner includes special features such as optimized optics National Debt. to produce the sharpest image possible, reduced stepper-motor vibration to maintain focus and a CCD array that scans in a single-pass. For Macintosh. Multiply the Power of $1349. Apple Computer, 20525 Mariani Avenue, Cupertino, CA 95014. Call (408) 996-1010. Your Font Budget.

Scanner Inside ADOBE Here's how it adds up, but first, In the process you'll AGFA Let's see...good feelings, Nikon has introduced a 35mm scanner BII Si' REA that fits inside your computer. The we'd rather not numb you with get discounts on factory- FONT BUREAU money off...YES, there's E FONT CaMPAIUle Coolscaii slides into an available com- math allusions beyond this sen- fresh fonts that hover in LE1-"Sre5 "NTE4 one other reason to buy puter bay and can complete an average LAZY 000 ip tence, so we hereby drop the arith- the 25% to 40% off area !Ii petris" r4° "'" corm--(PE ze,,,,,,iP/ fonts from Phil's. 35mm-transparency scan in 100 sec- (HEAOLNIFA'S Muserri) onds. Nikon also makes an external ver- metic schtik until the wrap-up. (depending on how much ne.0 ►tooSTSA 1 We started in business in TPAACYFACES sion of the CoolScan. For Macintosh and room is in the factory mark. tA.OESOEN 18 B.D. (Before Desktop) IBM/compatibles. $2200. Nikon Elec- up for Phil's mark down). The as a photolettering shop and we're tronic Imaging, 1300 Walt Whitman Road, Melville, NY 11747. (516) 547-4355. same kinds of discounts go for still one of America's largest. We CD unlocking codes. Our 5 CD know type as no mere font seller Increase Mac Performance bundle is still available for $99 does, so we'll locate hard-to-find The Mobius Speedster- is an easy and and includes: Agfa, Bitstream, faces and give freely of advice like economical way to upgrade to a new Mac without spending a bundle. The The Font Company, Image Club, no mere order taker can. Mother Earth has been good to and Monotype. Along with 36 free Mobius Speedster gives a speed boost of Back to Math Class Again: up to eight times while keeping your us, but she's having trouble breath- faces it's the fastest way to buy type! Get Discounted Fonts investment in your current computer. ing. And Uncle Sam's National Debt Among the majors we distribute The 40 MHz version actually outperforms + Work with Some Helpful, the Apple Quadra 9507 For Macintosh. is crushing us alive. But don't worry Adobe, Agfa, Bitstream, The Font Knowledgeable People $799-$1299. Mobius Technologies Inc., folks, enlightened consumerism is Company, and Monotype. And, + Help the Planetary Situation 5835 Doyle Street, Emeryville, CA 94608. riding to the rescue. among the smaller companies we - The National Debt (800) 800-4334. Two percent of everything you sell Letraset's Fontek, Lazy Dog, spend at Phil's Fonts goes to (your Headliner's Presett, and U-Design. = The New Math and a Better Printers World According to Phil's choice) The Nature Conservancy- A little esoterica: Font Bureau, Plain Paper Color Printers to add fresh green lungs to our Dennis Ortiz-Lopez, Red Rooster, Toll Free: 00-424 -2977 Brother International Corporation offers planet— or, to the Bureau of Public and Treacyfaces are comers with a plain paper, 300 dot-per-inch color Debt — to help reduce the monster. some sweet new faces. They have printer. The Brother HS-1PS prints on both letter and ledger size paper and included as many as 30 times the standard transparency stock. The printer number of kerning pairs (for supports PostScript language emulation better letter spacing) as some of the and comes ready to run with Macs and larger, older font manufacturers. PCs. The HS-1PS has 10 MBs of RAM expandable to 26 MB as well as auto They deserve an extra good look. switching between AppleTalk® emulation and PC Centronics parallel. For Mac- Circle 211 on Reader Service Card

LEH URW TypeWorks type works.

Here's how. Each fully unlocked CD Rom* comes with 500

ultra high quality truecut designs plus 5 variations. You get

the outline, inline, relief, shadow and round versions that

allow you to do some really brazen design with our

fonts & your software.

These PostScript`" Type 1 fonts for the Macintosh' or PC

include the classics, the hottest ITC designs and originals by Bramley the likes of Zapf, Benguiat and Jamra. And we've included Kernus our 1000 pair kerning program to enhance the other

faces in your library.

Sounds too good to be true?

Call 800 229-URW1 and we'll send you a sample of the face (8791)

of your dreams plus 2,999 more.

Compare! Manufacturer Fonts Kerning Published Unit Available Pairs Price Price URW 3000 1000 '89:j Adobe 1350 200-400 '14,000. '10.37 Agfa 1900 150-350 '29,000. '15.74 Bitstream 1039 300-500 '9,995. '9.16 Linotype 1024 128 '17,000. '16.60 you Monotype 1560 400 '26,000. '16.67 URW THE DIGITAL TYPE FOUNDRY THAT DEVELOPED THE IKARUS SYSTEM FOR FONT DESIGN AND PRODUCTION SOFTWARE

* Need an economical CD Player? Call for ordering information. 64 PostScript is a registered trademark of Adobe Systems, Inc. Macintosh is a registered trademark of Apple Computer, Inc. This advertisement was composed using URW TypeWorks Bramley Family. Aldus PageMaker & Aldus FreeHand.

Circle 268 on Reader Service Card TECH making purchasing decisions. The following is an excerpt from "Minifinders," a talk continued from page 63 directory of current Macintosh hardware and software products reviewed and match between what is scanned, viewed rated in MacUser. This excerpt includes PostScript isn't one of and printed. Vendors such as Adobe reviews of two software categories: fonts Systems, Electronics for Imaging (EFI), and typography, and page layout pro- our foreign languages SuperMac, Radius, Eastman Kodak, grams. For a complete listing, refer to The GCC Technologies, Sequel Imaging and Macuser 1500, its 1993 buying guide. Although we translate and typeset into most of the world's Savitar have announced products incor- tongues, PostScript isn't the least bit foreign to us. porating ColorSync. Other vendors Fonts and Typographic Software When you need to produce foreign language versions of are expected to add ColorSync support material you've created in English on the Mac, our sometime in the near future. ASCII Chart PostScript Partnerships' services save you time, money, and ASCII Chart is a DA that shows all 256 aggravation because they're uniquely coordinated FotoFlow characters for a font. Fonts can be easily Agfa has also introduced their own inde- changed with the Font menu. Can dis- to your PostScript operations. pendent color-matching architecture play characters at 72 points. Quickly Spectrum can provide quality translations as files designed to called FotoFlow. The FotoFlow system is finds hidden characters, keystrokes, and be imported directly into your page make-up program designed to deliver color fidelity and hex equivalents. Doesn't print. Version (in some cases, we can even include hidden coding that allows productivity through a complete system 2.0 reviewed. Version 4.2 shipping. your program to hyphenate the language correctly). for both the Macintosh and IBM/compat- Shareware $10; available from online ser- ible systems. Agfa has announced vices such as ZiffNet/Mac. If you prefer, we'll do a complete "turnkey" conversion FotoFlow links to products from QMS, of your English page files, returning the job with all the text Mitsubishi, Canon, Tektronix, Kodak, ATM (Adobe Type Manager) changed to the foreign languages you require. Nikon, Hewlett-Packard and Sony. Adobe Type Manager is a must-have util- Our new brochure explains it all. Fax, phone, or ity that creates smooth PostScript type write for a free copy. Aldus Agreements fonts at any size on-screen and when Aldus Corporation has announced plans printed on Quick-Draw prints such as to support several color-management Apple's ImageWriter II. Not quite perfect SPECTRUM systems with PageMaker 5.0 for Win- (has some problems with Microsoft Word MULTILANGUAGE COMMUNICATIONS dows and the Macintosh. Aldus plans to and smaller point sizes) and has slow support the Kodak KEPS Precision Color performance on 68000-based Macs. 225 West 39th Street • New York 10018 Phone: (212) 391-3940 • Fax: (212) 921-5246 Management System, EfiColor, Apple Version 1.01 reviewed. Version 2.0 ship- Computer's ColorSync solution and ping. Requires Macintosh Plus or later PostScript is a trademark of Adobe Systems, Inc. Agfa's FotoFlo. system 6.03 or later. $99. Adobe Systems, 1585 Charleston Road., P.O. Box 7900 O Donate Your Outdated Computers Mountain View, CA 94039. (800) 833-

The East West Education Development 6687 or (415) 961-4400. Circle 212 on Reader Service Card Foundation, a not-for-profit organization dedicated to recycling computer equip- Classic Textures ment for educational settings in the Classic Textures is an advanced imple- United States, eastern Europe, the former mentation of TeX, a popular standard Soviet Union and other developing coun- among code-based typesetting programs. tries, is currently seeking donations Used extensively for complex long-docu- of used computers. The Foundation will ment publishing, especially in the legal index to refurbish them and ship them to schools profession and with large databases. and educational organizations that need Handles mathematical typesetting well. them. For more information, contact Good for people trained on mainframes ITC TYPEFACES East West Education Development in the early days. Steep learning curve. Foundation, 49 Temple Place, Boston, Version 1.0 reviewed. Version 2.5 ship- MA 02111. (617) 542-1234. ping. Requires Macintosh Plus or later * with 2 MB of RAM. $695; education-discount price, $495. Blue Sky Research, ITC Avant Garde Gothic' 16, 20, 33, 44, 52-53 Barry Zuber is a consultant and computer 534 S.W. Third Avenue, Portland, OR ITC Berkeley Oldstyl& 26-31 ITC Caslon No. 224* 17, 20, 54, 79 instructor for the Electronic Publishing & 97204. (800) 622-8398 or (508) 222-9571. ITC Century' 20, 54 Design Center based in Schenectady, NY. ITC Cerigo" 46-51 He is also principal of Egeland Wood & Evolution ITC Cheltenham® 20 Zuber Inc., a graphic design and advertis- Evolution is an easy-to-use conversion ITC Clearfacee 45 ing agency. utility for translating fonts among Type 1, ITC Feniceft 20, 58 Type 3, and EPS formats. Doesn't produce ITC Franklin Gothic' 8, 9, 20-25, 32, 33, 40, 44, 54, 79 ITC GalHard' 14-15, 34-36, 40, 42-43, 45 • • • • • AFM (Adobe Font Metrics) files, and fonts ITC Isbell' 44 are unhinted. Sensitivity controls help ITC Kaber Front Cover, 9, 26, 33, 28-31, 44, 45 with different conversions, and Evolution ITC Legacy Sans- 6, 9, 20, 32, 33, 41, 42, 45 can output character sets as printer fonts. ITC Legacy Serif - 6, 33 Version 1.02 reviewed. Version 2.0 ship- ITC Lubalin Graph® Front Cover, 9, 20, 32, 33, 45, 54 ping. Requires Macintosh Plus or later, ITC Mendoza Roman - 33 TECH ITC Mona Lisa Recut - 42-43 System 6.04 or later, and a hard drive. ITC Newtext' 6 $79. Image Club Graphics Inc., 1902 ITC Novares& 44, 45 Eleventh Street S.E., Suite 5, Calgary, ITC Officina Serif - 15 talk Alberta T2G 3G2 Canada. (800) 661-9410 ITC Panache' 11, 13, 44 or (403) 262-8008. ITC Quay Sans' Front Cover, 7, 9, 20, 23-24, 45, 58, 79 ITC Studio Script - 34 ITC Tiffany 7 -Part 2- Fontina ITC Usherwoode 57, 58, 60, 63, 65, 66, 71, 74 Fontina greatly enhances a font menu by ITC Veljovice 44 New Product Reviews showing all your fonts simultaneously, in ITC Weidemannr 9, 20, 44, 45 Given the vast array of new computer multiple columns if needed. No scrolling software products on the market, it helps is required. Correctly organizes font fam- to rely on advice from experts when continued on page 66

65 Type fonts, and supports Adobe's Adobe Type 1, Bitstream, Fontographer, kerning-table packages, $95 each. Agfa TECH Multiple Master format. Features two LetraFont, and TrueType fonts. Provides Division, Miles Inc. (Type Products), 200 t a I k continued from page 65 pressure-sensitive freehand drawing automatic and manual hinting plus auto- Ballardvale Street, Wilmington, MA modes that work well with digitizing matic interpolation between two existing 01887. (800) 227-2780 or (508) 658-5600. ilies. Can show fonts in any face and size. tablets such as those from Wacom and font weights. Lets you select either Adobe Trouble-free, and performance is excel- CalComp. Can scale fonts mathematical- Type Manager, TrueType, or a built-in-ras- LetraStudio lent. Knapsack feature lets you put ly or automatically interpolate between terizer to display outline characters dur- LetraStudio is a type-customization favorite fonts at top of menu. Version 1.0 two different font weights, although ing design process. Can import Illustrator program for creating headlines, logos, reviewed. Requires Macintosh Plus results normally require some touching 1.1 artwork or use PICT and TIFF files signs and other display type. Can create or later. $69.95 direct. Eastgate Systems, up. Easy to learn but powerful enough as templates. Interface is dense, precise, unique distortion effects. Works with P.O. Box 1307, Cambridge, MA 02238. for demanding pros. Version 3.5 and sometimes confusing. Version 2.0 LetraFont typefaces and TrueType or (800) 562-1638 or (617) 924-9044. reviewed. Requires Macintosh plus or reviewed. Requires Macintosh Plus or Adobe Type 1 fonts. Lets you edit import- later and System 6.03 or later. $495. later and a hard drive. $595. Letraset ed Adobe Illustrator drawings. Interface Font Monger Altsys Corp., 269 W. Renner Road, USA, Inc. 40 Eisenhower Drive, Paramus, may seem awkward to some users. Font Monger is a robust font-alteration Richardson, TX 75080. (214) 680-2060. NJ 07653. Call (800) 343-8973 or (201) Exports files in Illustrator, EPS and other tool that can convert fonts among 845-6100. formats. Can open multiple documents. PostScript Type 1, Type 3, and TrueType FontSizer H Adequate color support. Version 2.01 formats. Alterations include small caps; FontSizer II creates high-quality screen Hermes & Tribune Fonts reviewed. Requires Macintosh Plus or inferior, superior, and slanted characters; fonts of any downloadable PostScript Hermes & Tribune Fonts are specially later and a hard drive. $249. Letraset USA, and fractions and other composite char- typeface in sizes up to 96 points. Excel- designed fonts that come in sizes up to Inc., 40 Eisenhower Drive, Paramus, NJ acters. Characters from different fonts lent utility for producing large font 120 points. Optimized for the Image- 07653. (800) 343-8973 or (201) 845-6100. can be combined into a single font, and sizes with true WYSIWYG. Version 1.7 Writer IISC, and fax modems, these fonts EPS images can be imported as charac- reviewed. Version 2.0 shipping. Requires look better than Apple's fonts and can LetrTuck ters. Alteration interface is excellent, but Macintosh Plus or later, System 5.1 or replace Helvetica and Times Roman. LetrTuck is a kerning utility that lets you conversion dialog boxes are often con- later, and a PostScript printer. $99.95. Requires a non PostScript high-resolu- add, delete or modify the kern pairs for fusing. Requires System 6.03 or later and American Microelectronics, 1611 Head- tion printer. $44.95. Miles & Miles, 704 N. any installed screen font in the System 2MB of RAM; hard drive recommended. way Circle, Building 3, Austin, TX 78754. Water, Suite 1, Ellensburg, WA 98926. file, Font/DA Mover suitcases, or $149.95. Ares Software, P.O. Box 4667, 561 (512) 339-0001. (509) 925-5280. QuarkXPress documents. Version 1.04 Pilgrim Drive, Suite D, Foster City, CA reviewed. Version 3.0 LetrTuck Plus ship- 94404. (800) 783-2737 or (415) 578-9090. FontStudio KernEdit ping. $99. EDCO Services, 12410 N. Dale FontStudio provides a fully integrated KernEdit is an excellent kernpair editor Marbry Highway, Tampa, FL 33618. (800) Fontographer environment for typography on the Mac. that lets you alter the kerning data for 523-8973 or (813) 962-7800. Fontographer is an excellent PostScript- If you want a font-production system, both PostScript and TrueType fonts. Word font editor/generator. Features include an FontStudio might be irresistible, because View feature greatly simplifies kerning- Letterforms and Elusion integrated screen-font editor, autotrac- of its ability to store character parts in a table creation. Maximum resolution is Letterforms and Illusion is a set of fonts ing, pen tool, and automatic or editable library, its excellent bitmap editor, and 1 /1000 em. Version 1.06 reviewed. and figures that leads you into exciting hinting. Can create PostScript and True- strong kerning-pairs interface. Supports Version 2.0 shipping. $149; additional continued on page 71

Daige Wax: better than Mother Nature's.

Daige wax is made with a unique blend of pressure sensitive adhesives and offers several important benefits exclusive to Daige: • Superior adhesion, unequalled control- you can reposition material as often as you like and still get super-tight adhesion. • Will not bleed, pop or curl-denser con- sistency means a smoother, non-bleeding mechanical. A 25% higher melting point assures that material stays put, even in the hottest weather. • Fresh, odorless, safe to use, there is no DAICIE wax odor and all ingredients in our formula PROST II.C° ADHESIVE WAX are FDA approved as food grade. • BB-9 wax is for use in all table top waxers. Prostik is for use in all hand waxers. For more information, call your dealer DaiProducts, eInc. or contact us. The name to stick with. 1 Albertson Avenue, Albertson, NY 11507 • (800) 645-3323 • (516) 621-2100 66 Circle 245 on Reader Service Card INDEPENDENT TYPES STONE TYPE FOUNDRY FONT BUREAU CARTER & CON E TYPE

Extras"' Light Silica'" is a new slab-serif typeface family designed by Sumner Stone. Silica'" is now available in six weights from Stone Type Foundry Inc.

Silica Light Silica is also a white or colorless compound which occurs commonly as sand. It is used in the manufacture of glass and computer chips.

Silica Regular Silica-was drawn on a computer screen — no preliminary sketches on paper. Its proportions are taken from classical roman typefaces. Silica, Silica & Silica

Silica Sumner Stone Bold Blood, Sweat &Tears Silica STONE TYPE FOUNDRY INC. Black Glass, Chips Sr Flesh

PHONE 415 324 1870 626 MIDDLEFIELD ROAD PALO ALTO CA 94301 FAX 415 324 1783

WAS THINKING OF and the international how to compose use of a typeface by AGENDAGENDA an advertisement their big corporation. on the custom Bored by the cos- His Bodega family took graphic designers font service we mopolitan surround- offer. I kept stumbling ings I kicked a rolling on the issue of getting stone into a nearby AGENDAGENDA the permission from all adobe but with el sol on of these customers, not my shoulder and sat, by surprise and stormed to world success. sounding too preten- watching the news tious and all that. while one entire week Then I hit my head passed us by. AGENDAGENDA and found myself eating Then, as prodigy an apple on Wall Street, would have it, I tried to Now, Mr. Greg Thompson and Font Bureau reading some journal. A regain consiousness woman I had met in but a lanky guy in glass- San Francisco, a bank es and a V-neck, bills AGEN DAGENDA examiner, and friend of sweating out of every Conde Nast, (the world pocket, came running have a new family that is classy, classic and traveler), stopped to up shouting, "How in ask me how I'd been. blazes do you use But the allure of her Microsoftx in an perfume was too strong advertisment without AGENDAGEN and having to meet my Permission?" As I float crunch . But, what on earth can we call it. esquire in a rush, I upward and out of the turned to find myself in dreamland, I laugh and Chicago facing a tri- shout, "You don't!" bune who was erupting —DAVID BERLOW on the phone to Miami For more serious information on FontBureau Custom Fonts. Available at FontHaus, FontShop near you! about some great herald call our studio at 6,7-74,907" WE DESIGN THEM ITC GalliarcL WE MAKE THEM MANTINIA" WE SELLTI SOPHIA

FONTS FROM CARTER (3‹. CONE TYPE 800 952 2129 FAX 617 354 +146

Silica is a tradamark of Stone Type Foundry Inc. Agenda is a trademark of The Font Bureau Inc.. Microsoft is a registered trademark of Microsoft Corporation. ITC Galliard is a registered trademark of the International Typeface Corporation. Mantinia and Sophia are trademarks of Carter & Cone Type Inc.

Circle 280 on Reader Service Card LXVII

I IC Ty THE TYPEFACES SHOWN ON THESE PAGES REPRESENT THECOMPLETE 0 ON OF P A AS OF MAY 0 1993.

A ITC American ITC Benguiat Goth ITC Cerigo- ITC Esprit® ITC Gamma® FA Type-writer® Book Oook with Swash Book Book Light Book Italic liook7talic with Swash Book Italic Book Italic Light Italic Medium Medium Medium Medium Medium Medium Italic Medium Italic Medium Italic Medium Italic Medium Italic Bold Bold Bold Bold Bold Bold Italic Bold Italic Bold Italic Bold Italic Bold Itatio Heavy Black Black Light Condensed Heavy Italic ITC Cheltenham® Black Italic Black Italic Medium Condensed Light Bold Condensed ITC Berkeley Oldstyle® Light Italic ITC Fenice® ITC Garamond® Book Book Light Light IN AN' Book Italic Book Italic Light Italic Light Italic Medium Bold Regular Book ITC Avant Garde Medium Italic Bold Italic Regular Italic Book Italic Bold Gothic ® Bold Ultra Bold Bold Italic Ultra Italic Bold Italic Bold Italic Extra light Black Light Condensed Ultra Ultra Extra Light Oblique Black Italic Light Condensed Italic Ultra Italic Ultra Italic Book Book Condensed +Or Light Narrow Book Oblique Book Condensed Italic Light Narrow Italic Medium ITC Bookman® ITC Fiorc® Bold Condensed Medium Book Narrow Medium Oblique Light Bold Condensed Italic Book Narrow Italic Demi Light Italic Ultra Condensed Bold Bold Narrow Demi Oblique Medium Ultra Condensed Italic Bold Narrow Italic Bold Medium Italic ITC Franklin Gothic® Light Condensed Bold Oblique Demibold ITC Clearface® Book Light Condensed Italic Book Condensed Demibold Italic Book Italic Book Condensed Medium Condensed Bold Regular Medium Regular Italic Book Condensed Italic Demi Condensed Bold Italic Medium Italic Bold Condensed Bold Condensed Bold Demi Bold Italic Bold Condensed Italic ITC Caslon No. 224® Demi Italic Heavy Ultra Condensed ITC Barcelona® Book Heavy Italic Heavy Ultra Condensed Italic B Heavy Italic Book Book Italic Black Book Condensed Book Italic Medium Black Italic ITC Giovanni® Medium Medium Italic Book Condensed Italic Book Medium Italic Bold Medium Condensed ITC Cushing® Book Italic Bold Bold Italic Medium Condensed Italic Bold Bold Italic Black Book Demi Condensed Bold Italic Heavy Black Italic Book Italic Demi Condensed Italic Black Heavy Italic Medium Book Compressed Black Italic ITC Century® Medium Italic Book Compressed Italic ITC Bauhaus® Bold Demi Compressed Light Bold Italic Demi Compressed Italic ITC Golden Type® Light Light Italic Heavy Book X-Compressed Original Medium Book Heavy Italic Demi X-Compressed Bold Demibold Book Italic Black Bold Bold Heavy Bold Italic ITC Élan® Friz Quadrata Ultra Book Friz Quadrata ITC Goudy Sans® IT! SGC$VNCCS Ultra Italic Book Italic Friz Quadrata Bold Book Light Condensed Medium Book Italic Light Condensed Italic Medium Italic ITC Gaillard' Medium ITC Benguiat® Book Condensed Bold Medium Italic Book Roman Bold Book Condensed Italic Bold Italic Italic Book Italic Bold Condensed Black Bold Italic Medium Bold Black Bold Condensed Italic Black Italic Bold Italic Medium Italic Ultra Condensed Black Italic Bold Black Ultra Condensed Italic ITC Eras® Black Italic Bold Italic 77-C ?aaclai-a.® Book Condensed Light Ultra I Book Condensed Italic Book Ultra Italic Medium Condensed Medium BalRadd Medium Condensed Italic Demi Bold Condensed Bold Bold Condensed Italic Ultra 68 ITC Isbell° ITC Lubalin Graph° ITC Novarese® ITC Souvenir® ITC Tiffany Book Extra Light Book Light Light Book Italic Extra Light Oblique Book Italic Light Italic Light Italic Medium Book Medium Medium Medium Medium Italic Book Oblique Medium Italic Medium Italic Medium Italic Bold Medium Bold Demi Demi Bold Italic Medium Oblique Bold Italic Demi Italic Demi Italic Heavy Demi Ultra Bold Heavy Heavy Italic Demi Oblique Bold Italic Heavy Italic Bold ITC Officina Sans'" Bold Oblique Italia 0 Book ITC Stone Informar u ITC Usherwood® Book Condensed Book Book Italic Medium Book Book Condensed Oblique Medium Italic Medium Medium Condensed Bold Book Italic Bold Bold Italic Semi Bold Medium Medium Condensed Oblique Semi Bold Italic Demi Condensed Medium Italic ITC Jamille® ITC Officina Serif'" Bold Bold Demi Condensed Oblique Bold Italic Book Bold Condensed Book Bold Italic Book Italic Bold Condensed Oblique Book Italic Black Bold Bold ITC Stone Black Italic Bold Italic ITC Mendoza Bold Italic Phonetic" Sans Black M" Romani" [at ti: si: staun ITC Veljovic® Black Italic Book ITC 410Atwakler faulnEtikr"swnz] Book Book Italic Book Italic ITC Kabel® Medium ITC Pacella® ITC Stone Medium Medium Italic Book Medium Italic P Book Phonetic' Serif Medium Bold Bold Book Italic [at ti: si: staun Bold Italic Demi Bold Italic Medium faulnetile'sent] Bold Black Medium Italic Black Italic Ultra ITC Mixage° Bold ITC Stone Sans®* Book Bold Italic ITC Korinna® Black Medium W ITC Weidemann® Book Italic Medium Italic Regular Medium Black Italic Book Semi Bold Book Italic Kursiv Regular Medium Italic Semi Bold Italic Bold Bold ITC Panache® Medium Bold Medium Italic Kursiv Bold Bold Italic Book Bold Italic Extra Bold Black Book Italic Bold Kursiv Extra Bold Black Italic Bold Bold Italic Heavy Bold Italic ITC Stone Serif®' Black Kursiv Heavy ITC Modern Black Medium Black Italic No. 216° Black Italic Medium Italic ITC Leawood° Semi Bold ITC Zapf Book® Light Semi Bold Italic Book Light Italic ITC Quay Sans Light Book Italic Bold Light Italic Medium Q Book Bold Italic Medium Medium Italic Book Italic Medium Medium Italic Bold Medium Medium Italic Bold Bold Italic Medium Italic ITO S'6dio EartTM Demi Bold Italic Heavy Black Demi Italic Black Heavy Italic Black Italic Heavy Black Italic ITC Symbol® Heavy Italic Book C Mona Lisa Recut' ITC Quorum® Book Italic ITC Zapf Chancery® ITC Legacy Sans- Light Mediurn Book Light ITC Mona Lisa Solid Book Medium Italic Book Italic Medium Bold Light Italic Medium Medium NITC New Bold Bold Italic Medium Italic Black Black Medium Italic Bold Baskerville® Black Italic Demi Bold Italic Bold Roman ITC Serif Gothic® Ultra Italic S Light ITC Syndor Semi Bold ITC Zapf International® ITC Legacy Serif'" Semi Bold Italic Regular Book Bold Book Italic Light Book Bold Light Italic Bold Italic Extra Bold Medium Book Italic Heavy Medium Italic Medium Medium Black Medium Italic Black Italic Black Bold Medium Italic Bold !talk Demi Bold Demi Italic Bold Italic ITC N ewtext® ITC Slimbach® Heavy ITC Tiepolo® Ultra Light Book T Heavy Italic Light Italic Book Italic Book Book Medium Book Italic Book Italic Medium Italic Bold Regular Bold Bold Italic Regular Italic Bold Italic Black Demi Black Black Italic Demi Italic Black Italic

INTERNATIONAL TYPEFACE CORPORATION OPERATES UNDER THIS NAME DOMESTICALLY AND IN FOREIGN COUNTRIES AND IS KNOWN AS "ITC:' ITC AND ITS TYPEFACE NAMES ARE REGISTERED TRADEMARKS OF INTERNATIONAL TYPEFACE CORPORATION IN CERTAIN COUNTRIES. IN ADDITION, ITC TYPEFACES ARE PROTECTED BY DESIGN LEGISLATION AND COPYRIGHTS IN CERTAIN COUNTRIES. (SEE ITC SPECIMEN BOOKLETS.) *PROTECTED BY UNITED STATES PATENT DES. 317,621, 324,535, 323,849, 322,985, 325,042, 325,219.

ITC Arabic

ITC Boutros Setting - ITC Boutros Modern Kufic -

LIGHT L LY3.)-4 LIGHT L) J=4.li LIGHT

LIGHT ITALIC LIGHT ITALIC ,kr) -L14. ,111 )1=4 LIGHT ITALIC

MEDIUM j.u.)Izu MEDIUM .6-14.1 910 118}6.1 MEDIUM

MEDIUM ITALIC ,A)1:4 MEDIUM ITALIC MEDIUM ITALIC SA4 1:3-441 j1.2.4.4+ .0143 6.114141 564

BOLD disauo ju,A4 BOLD mg-mm.1 0.A-1 p,..4 Jusism BOLD BOLD ITALIC S4‘4 SA/S\ jha"i2 4141 BOLD ITALIC Atte Ss& ,tio64 BOLD ITALIC

ITC Boutros Calligraphy"' ITC Boutros Kuficr' ITC Boutros Rokaa - / - LY" '1 • ‘YJ..)-1=',) LIGHT 01 4 LIGHT MEDIUM LIGHT ITALIC 34 LIGHT ITALIC

Ly4.).1 :1 MEDIUM -W-u193-0 Lrq Sy J.19-1=1:1 MEDIUM 3a4'.14 )4=1.4.66.4 MEDIUM ITALIC 3 Aei-11461:0 Ou*I4 MEDIUM ITALIC

39.a.tal 0 1iL.$ kyrj.,ky BOLD BOLD

4 BOLD ITALIC BOLD ITALIC Sk" 1,9"444 .)41"6" 0"..)42 3.4 4)-"A\ VAS JO:14

ITC Display Typefaces

ITC AKI LINES® ITC/ESC Oodease4® T ype-vvriteo ITC/LSC Condensed Baal ITC Bauhaus Heavy® ITC Dkli® 0413 IikodaGnz ff@ayw lOuraGD. Erg 2Paio CDmerldocge ITC Bemuse Roman® ITSErns Contour® ITC Bolt Bold° ITC FM Farr® ITC/LSC Book Regular Roman® ITC Firenze® ITC/LSC Book Regular Italic® Firadan 12claNc ©Who® ITC/LSC Book Bold Roman® an Aback& Gothic Outline Sh adow ITC/LSC Book Bold Italic® ITC Franklin Gothic Contour° ITC/ LSC Book X-Bold Roman ITC Gorilla® ITC /LSC Book Iklitold Italic® ITC Grizzly® DOCAMEEM ,CASIliiag v„Agl ITC Grouch® ITC Bookman Contour with ® ITC Honda® ITC BUSOW(1 LIG-1® [14, Labd ©maw ITC DUSORANYI MEDIUM® ITC Kabul ur® ITC BUSORAMA BOLD® II DEFillltat1 Ddcl antEme® ITC Caslon Headline® ITC MACHINE® ITC/LSC Gaston Light No.223® ITC MACHINE lOLl® ITC/LSC Caslon Light No.223 Italic® IIICASti Manhattan® ITC/LSC Gaston Regular No.223® ITC MilanoRoman® ITC/LSC Caslon Regular No.223 Italic® ITC NEON® ITC / LSC Caslon Bold No.223® LLLLWL® ITC /LSC Caslon Bold No.223 Italic® ITC Ronda Light® ITC/LSC Caslon X-Bold No.223® ITC Rondc® ITC/LSC Caslon X-Bold No.223 Italic® ITC Ronda Bold® ITC Chelltenham OVEne® NC RA.0 ScAhk 13ogcl aufling. ITC Cheltenham Ontlke Shadow® ITC/I&C Stymie Hairline® ITC Cheltenham Contour® ITC Tom's Roman® 11T1 C Cllth© Outhe® ITC Upright Regular ® ITC Clearface Contour® ITC Upright fleon® NC Math= Outline 2.1nMoor

TECH Provides a fast, easy way to compare installed fonts. No frills, but offers lots t a EXCLUSIVE continued from page 66 of information about fonts and typography. Version 2.2 reviewed. Version 3.04 typographic explorations. Includes a lim- shipping. Requires Mac Plus or later with Flavorful ited version of MacPaint. Requires Mac System 6.04 or later. Free from on line- Plus or later. $39.95. W. H. Freeman & services such as ZiffNet/ Mac; custom- Co., 41 Madison Avenue, New York, NY ized version, $45; or send postage- CONVERSATIONAL 10010. (800) 877-5251 or (212) 576-9400. prepaid disk mailer and an 800K disk. FREE Golden State Graphics, 2137 Candis STYLISH RED ROOSTER COLLECTION Mac7bgraphy Type Sampler and Avenue, Santa Ana, CA 92706. 48 page 4-color Type Listing (714) 542-5518. catalog of The MacTography Type Sampler and Exotic 140 exciting original Type Listing combination is a classic art TypeAlign typefaces director's type book that has samples of TypeAlign is an INIT/DA utility that is Euro pean for Mac or PC all PostScript laser fonts. The material is helpful for DTP work if you use Adobe Write to: searchable on-disk, but screen resolution Type Manager. TypeAlign lets you quickly Red Rooster Typefounders is poor. The printed version of Type place text along circular, angled or arbi- Colorful 1915 Whitehall Road Sampler is the more valuable part of this trary paths. The program could use the package. Requires Mac Plus or later; Type Clipboard better, but the simple effects Modern Norristown, PA 10403 USA Listing requires Microsoft Works. $75; are easy to control, and the results are or one year of printed updates, $80. Mac- striking. Version 1.0.2 reviewed. Version fax request to: Tography, 326-D N. Stonestreet Avenue, 1.04 shipping. Requires Macintosh tfaer drividly Rockville, MD 20850. (301) 424-3942. Plus or later, System 6.03 or later, ATM, and a hard drive. $99. Adobe Systems, Metamorphosis Professional 1585 Charleston Road, P.O. Box 7900, Formidable Metamorphosis Professional is a utility Mountain View, CA 94039. (800) 833- that converts fonts among PostScript 6687 or (415) 961-4400. Original Type 1, Type 3, and TrueType formats on the Mac. Can also produce PostScript TypeChart fonts for the PC and NeXT platforms, This type-sampler program includes five Italian TrueType fonts for the PC, and well-designed pages containing useful Fontographer databases. Can access typographic information. Overview page Quirky PostScript fonts located in printer ROM shows sample headline, standard and and save them on your hard disk. Also composite characters, sample para- can export EPS and PICT outlines of Font graphs, and examples of type-style varia- Staunch characters. Elegant interface is powerful tions. Headline page shows a font in sizes se. yet flexible. Can't create bit maps for 16 to 127 points. Text page shows sample Circle 276 on Reader Service Card TrueType-to-Type-1 conversions and paragraphs in point sizes 5 to 14 points. can't convert Adobe Expert series. Allows alteration or replacement of Version 2.01 reviewed. Version 2.04 ship- sample text. Provides flexible printing ping. Requires Macintosh Plus or later; options and excellent technical data hard drive recommended. $149. Altsys about installed fonts. Version 1.5 Corp., 269 W. Renner Road, Richardson, reviewed. $99.95. Agfa Division, Miles This issue of U&Ic, like TX 75080. (214) 680-2060. Inc. (Type Products), 200 Ballardvale every one since the first Street, Wilmington, MA 01887. (800) 227- in 1973, was printed by Publishing Packs 2780 or (508) 658-5600. YOU'RE us-Lincoln Graphics. Publishing Packs bundles three Adobe Every page tells you why typefaces that work well together for TypeStyler we continually win awards specific publishing projects. The pack- This easy-to-use type-customization HOLDING for printing excellence from ages offer substantial savings over pur- program lets you transform TrueType or organizations such as chasing the typefaces individually, and Adobe Type 1 fonts into complex display PIMNY, AIGA, and PIA. the documentation has useful informa- type. Uses Bezier-curve editing controls And if we print this well on tion on typeface characteristics. Requires to distort either individual letter charac- OUR newsprint, imagine what Macintosh Plus or later. Publishing Pack ters or entire blocks of text. Supports we can do on top quality 1 (Newsletters), $395; Publishing Pack 2 8-bit or 24-bit color and can output files paper. (Forms and Schedules), $475; Publishing as spot-or process-color separations. Pack 3 (Presentations), $475. Adobe SALES Whatever your printing Supports RGB, CMY, or CMYK colors but Systems, 1585 Charleston Road, P.O. Box not Pantone colors. Overprint feature needs-publications, cata- 7900, Mountain View, CA 943039. (800) handles color-registration problems logs, brochures, inserts- 833-6687 or (415) 961-4400. when printing simple graphics. Letter BROCHURE we provide total service. Fusion feature quickly creates striking From concept, through SPECtacular special effects such as graduated color production, to mailing. SPECtacular is a flexible typesampler fills. Includes Adobe Type Manager. When you've finished read- program that prints a variety of hand- Version 2.01 reviewed. Requires Mac- ing our sales brochure, call some specimen sheets. Shows typefaces intosh Plus or later and System 6.03 or us at 516-293-7600. in one- and two-page layouts. Incomplete later. $219.95. Broderbund Software, Inc., documentation. Version 1.1.6 reviewed. 500 Redwood Boulevard, P.O. Box 6125, Version 1.2 shipping. $79.95. Omega Novato, CA 94948. (800) 521-6263 or System, P.O. Box 7633, Chico, CA 95927. (415) 382-4400. (916) 894-6351. World Class Fonts! the TypeBook World Class Fonts! are bitmapped screen This simple type-sampler program fonts that come with three useful utili- Lincoln Graphics, Inc. includes four layouts: a specimen page; ties, all the Mac the Knife fonts, and a lot 1670 Old Country Road a key-caps table; a complete character more. Eight separate volumes are avail- Plainview, New York 11803 set; and sample lines-which prints a able. $89.95 per volume. Dubl-Click two-line sample of each selected font. continued on page 74 Circle 229 on Reader Service Card Computer Output Printing, Inc. The Font Company ACCENT Software, Inc. Autologic SA 4828 Loop Central Drive 12629 North Tatum Boulevard 902 Veneto 1030 Bussigny Pres Lausanne Houston, TX 77081 Suite 210 Irvine, CA 92714 Switzerland (713) 666-0911 Phoenix, AZ 85032 • (714) 552-7672 021/89.29.71 Bobst Graphic Products and High End Electronic Printing (602) 998-9711 High-Quality Graphics and PostScript Publisher of the Font Phototypesetting Systems Systems and Digital Fonts Typefaces for Use with Computer Company Type Library for Mac, Aided Design/Drafting on Next and PC Macintosh, IBM PC and UNIX H. Berthold AG Crosfield Lightspeed Inc. Platforms Teltowkanalstrasse 1-4 47 Farnsworth Street The Font Factory D-1000 Berlin 46 Boston, MA 02210 2400 Central Parkway Adobe Systems Inc. Germany (617) 338-2173 (030) 7795-1 Lightspeed Color Layout Suite A 1585 Charleston Road Houston, TX 77092 P.O. Box 7900 Front-Ends, Optomechanical Systems, Lightspeed Photo Units, Digital Photo Units/ Interactive Kerning Editor (713) 682-8973 Mountain View, CA 94039-7900 Desktop Publishing Typefaces (415) 961-4400 Digital Recorders, Laser Recorders, Headline Typesetters, dada Indugu for Ventura Publisher and ITC Interactive Software Tools for Window/Pagemaker Graphic Arts Scanners 9095 Picasso St. Leonard, Quebec HIP 3JS FontHaus Inc. Aim Graphics, Inc. Berthold Inc. Canada 60 McPherson Street (514) 526-6200 15 Perry Avenue 6 White Plains Drive Suite A7 Chesterfield, MO 63017 Markham, Ontario L3R 3V6 Canada Dainippon Screen Mfg. Co., Ltd. Norwalk, CT 06850 (314) 536-2855 PostScript Font Resellers and Developer for AIM-3D Computer (416) 475-8575 Overseas Division - Front-Ends, Optomechanical Software Developers Supporting Animation System for 80386 12-2 Bohjoh-cho, Chudoji Macintosh and IBM Formats and 80486 PCs Photo Units, Digital Photo Units/ Shimokyo-ku, Kyoto, 600 Japan Digital Recorders, Laser (81) 75/365-3131 FONTS Alphatype Corporation Recorders, Headline Typesetters, Color Scanners, Imagesetters, International Typeface Scanners Hardy-Williams (Design) Ltd. 220 Campus Drive Color Prepress Systems and Graphic Arts Equipment 300A High Street Suite 103 Bitstream Inc. Sutton, Surrey Corporation is a devel- Arlington Heights, IL 60004 Athenaeum House THE Datafile SM1 PQ England (312) 259-6800 01-636-0474 Workstation III and 215 First Street 71 Anson Road AlphaComposer Phototypesetting Cambridge, MA 02142 oper and marketer Locking FontShop International System, CRS Digital (617) 497-6222 Weston-Super-Mare High Quality Digital Type for the Phototypesetter Avon BS24 7DQ Bergmannstrage 1102 Macintosh and IBM PC of high quality type- England D-1000 Berlin 61 Ampex Corporation 011 44 934 823005 Germany British Broadcasting Corporation 30 69 00 62 57 401 Broadway face designs that are Redwood City, CA 94063-3199 Broadcasting House Dawlex Software Font World, Inc. (415) 367-2011 London W1A 1AA England Halesowan AVA-3 (Video Graphic West Midland B63 3XE 2021 Scottsville Road applicable to a wide Art Generator) 01-580-4468 Rochester, NY 14623-2021 Video Fonts for the BBC England 021 585 6897 (716) 235-6861 Anagraph, Inc. Supplier of Multiple Language CADCAM PUNCH LTD. Publishing Systems variety of graphic 3580 Cadillac Avenue DIGI-FONTS, Inc. Costa Mesa, CA 92626 43, Arkwright Street Nottingham NG2 2JR 528 Commons Drive Fundicion Tipografica (714) 540-2400 Golden, CO 80401 communication needs. Graphic Design Systems, England Neufville, S.A. 0602 862561 (303) 526-9435 Plotting and Cutting Systems Manufacturer of Scalable Puigmarti, 22 CADCAM Textile Designing Barcelona-12 ITC has a professional Systems Outline Fonts and Font Utility Apple Computer, Inc. Software for HP LaserJet Spain Family and PostScript Printers 219 50 00 20525 Mariani Avenue Came; Inc. understanding of Cupertino, CA 95014 Poster Types (408) 996-1010 75 Kneeland Street Digital Composition Systems, Inc. Manufacturer of Apple's Boston, MA 02111 GOT Softworks Inc. (617) 426-3577 1715 West Northern both the esthetics Macintosh Equipment Suite 201 Suite 188 SuperSetter Digital Imaging 4664 Lougheed Highway Systems for Text Phoenix, AZ 85021 Applied Arabic Limited (602) 870-7666 Burnaby Database Publishing Software for British Columbia V5C 6B7 & business of type. South Bank TechnoPark Carter & Cone Type Inc. 90 London Road Microcomputer Users Canada London SE1 6LN 2155 Massachusetts Avenue (604) 291-9121 England Cambridge, MA 02140 Digital Typeface Corporation Developer of Macintosh Printer (617) 576-0398 Driver, Employs Outline Font 01922-8803 9955 West 69th Street Distributors of Arabic Typefaces Independent Type Designers and Technology for HP Deskjet, HP Eden Prairie, MN 55344 and Suppliers of Digital Font Makers Laserjet Series, and HP Laser As a result, we have (612) 944-9264 Information for Arabic Typefaces Compatible Printers Casady & Greene Inc. High-Quality Typefaces from URW, ITC and Other World-Class Apply Design Group General Parametrics Corp. established a busi- 22734 Portola Drive Type Libraries Am Gehrkamp 45 Salinas, CA 93908-1119 1250 Ninth Street D-3160 Lehrte (408) 484-9228 dtp Types Limited Berkeley, CA 94710 ness relationship with Germany FAX: (408) 484-9218 (415) 524-3950 Manufacturer of Bitmap 13 Nurserylands Gossops Green 011 49 51 32 12 28 Crawley West Sussex RH11 8RH Supplier and Manufacturer of and PostScript Typefaces Genicom Corporation England Digital Typefaces for Macintosh the companies listed 0293 615469 Genicom Drive Manufacturers of Software and Waynesboro, VA 22980 Inc. Architext Inc. Cello-Tak Mfg., Font Products for Electronic 1 (800) 4-GENICOM to the right of this 121 Interpark Boulevard 35 Alabama Avenue Publishing and Graphic Arts (1 (800) 443-6426) Suite 1101 Island Park, NY 11558 • San Antonio, TX 78216 (516) 431-7733 Dubner Computer Systems, Inc. Genigraphics Corporation column. Purchasing Dry Transfer Letters (512) 490-2240 2 Corporate Drive The Architext OmniFont Library & 6 Forest Avenue Paramus, NJ 07652 Suite 340 Digitization Services. Fonts for HP, Chartpak Shelton, CT 06484-6206 fonts and type IBM, Kodak, PostScript, Siemens (201) 845-8900 (203) 926-8808 and Xerox Laser Printers. Custom One River Road Broadcast TV Equipment Computer Generated Fonts for IBM & Okidata Desktop Leeds, MA 01053 Graphic Production imaging equipment Printers (413) 584-5446 Electra Font Technologies Dry Transfer Letters 1601 Trapelo Road Geographics, Inc. Artype, Inc. Waltham, MA 02154 Color Image Products Company from any of these (617) 890-1288 P.O. Box R-1 3530 Work Drive Blaine, WA 98230 Fort Myers, FL 33901 1116 Manheim Pike Distribution of High Quality Lancaster, PA 17601 Image Printers/Fonts (206) 332-6711 (813) 332-1174 Dry Transfer Letters companies assures Toll Free: 800-237-4474 (717) 393-2591 (Standard/PostScript) Dry Transfer Letters, Manufacturer of Gepeto Electronica Ltda Cut Out Letters Dry Transfer Letters Elsner+ Flake Designstudios authenticity of ITC DorfstraBe 11 Praia de Botafog 440-16 andar Computer Associates ASIBA GmbH D-2081 Langeln Rio- de Janeiro CEP 22250 International, Inc. Brazil Ostengasse 7 Germany typefaces & opti- Great Valley Corporate Center 04123/4843 (021) 286-8284 8400 Regensburg Telex 021-33499 Germany 40 Valley Stream Parkway Malvern, PA 19355 • ETP Systems, Inc. Digital Phototypesetters, mal quality design (0941) 52240 Photocomposition Systems Letterplot 33 (Software (215) 251-9890 2906 North East Glisen Street Manufacturer of Graphic for Signage) Portland, OR 97232 Software for Apple Macintosh Glyph Systems, Inc. (503) 234-5522 representation. Computer Aston Electronic Designs Ltd. Manufacturers of Laser 2 Stevens Street Andover, MA 01810 125/127 Deepcut Bridge Road Publishing Systems Incorporating Computer Gesellschaft Typesetting and Fonts into (508) 474-8087 Deepcut, Camberley, Surrey Konstanz MBH GU16 6SD England Unit Based Computer System Graphic Products Corporation (0252) 836221 Max-Stromeyer-Strasse 116 Filmotype Supplies, Inc. Video Character Generators D-7750 Konstanz 1480 South Wolf Road Germany 2952 Peachgate Court Wheeling, IL 60090 These Subscriber Autologic, Inc. (07531) 87-4433 Glenview IL 60025 (708) 537-9300 Laserset-Laser Typesetter (708) 998-0871 Format Cut-Out Acetate Letters 1050 Rancho Conejo Boulevard OCR-Equipment and Graphic Art Aids companies are licensed Newbury Park, CA 91320 Film Fonts and Digital Headline (805) 498-9611 Machines Phototypesetting and Laser to manufacture and Imaging System Photo Units, Digital Photo Units/Digital Recorders, Laser Recorders, sell ITC typefaces. Headline Typesetters, Scanners

GST Software Products Limits d LaserMaster Corporation Microtype Presentation Technologies, Inc. Simulation Excel A.S. Meadow Lane, St. Ives URW Unternehmensberatung 7156 Shady Oak Road 8 Faubourg St. Jean Huntington, Cambridgeshire 743 North Pastoria Avenue Dag Hammarskjolds vei 15 Eden Prairie, MN 55344 21200 Beaune Karow Rubow Weber GmbH PE17 4LG (612) 944-9330 Sunnyvale, CA 94086 Oslo 5, Norway Harksheider Strasse 102 France (408) 749-1959 England Manufacturer of Printer 47-2-15 66 90 2000 Hamburg 65 Film Fonts Manufacturer, Image-Maker Slide-Making 44-480-496789 Controllers/Typesetters for PC PAGEscan Digital Typesetter Germany Alphabet Designers System (603) 329-5076 Compatibles/Macintosh PAGEcomp Interactive Ad (040) 60 605-0 Software for Typesetting on and Page Make-up Terminal IKARUS-Digital Type Production Personal Computers Miles Inc. Pressure Graphics, Inc. LeBaugh Software Corporatioi Agfa Division SIGNUS-Type Setting with Foils 1725 Armitage Court SoftCraft, Inc. Heidelberg-PMT Co., Ltd. 10824 Old Mill Road 90 Industrial Way U.S. Lynx Suite 6 Addison, IL 60101 227 N. El Camino Real #201 3-21-4 Minami Oi Wilmington, MA 01887 (708) 620-6900 Encinitas, CA 92024 Omaha, NE 68154 (508) 658-0200 853 Broadway Shinagawa-ku, Tokyo (402) 334-4820 Dry Transfer Letters (619) 944-0151 AgfaType" CD ROM; ProSet" New York, NY 10003 Japan Manufacturer of LePrint SoftCraft Font Library (212) 673-3210 (03) 763-4141 Series: 9400, 9550, and 9800 Primafont GmbH Software Laser Imaging Devices; Lynx Laser Plain-Paper CharlottenstraBe 77 Soft Wood, Inc. Proofing System Hampstead Computer Graphics SelectSet" 5000 Laser Imaging Esselte Letraset Device; StudioSet" 2000 Plus 0-1080 Berlin 7776 Pointe Parkway West 378 Emerson Avenue Letraset Limited Laser Imaging Device; 9000 PS Germany Suite 270 Varitronic Systems, Inc. 011 49 30 20342 415 Hampstead, NH 03841 St. George's House MAX Plus/J Kanjii PostScript RIP; Phoenix, AZ 85044 300 Shelard Tower 195-203 Waterloo Road 5000 and 9000 PS Star (602) 431-9151 600 South County Road 18 PROSOFT Helix Limited London SE1 8X1 PostScript RIPs; Agfa Color Minneapolis, MN 55426 Scape" Color Electronic Prepresi Tesler Software Corporation Special Graphic Lettering P.O. Box 15 England (612) 542-1500 Systems; Focus" Scanner family; Systems Holland B.V. Lye Stourbridge 071 928 7551/3411 7248 Bellaire Avenue Merlin Electronic Lettering PostScript Slidemakers Systems for the Office West Midlands DY9 7AJ Dry Transfer Letters, TrueType No. Hollywood, CA 91605 P.O. Box 211 England and Type 1 Format Fonts (818) 764-4555 2160 AE Lisse NEC Corporation Varityper inc. (0384) 424441 "Fontasy" Software The Netherlands Letraset USA Inc. 7-1, Shiba 5-Chome 01718-26114/22871 A Tegra Company Dr.-Ing Rudolf Hell GmbH 40 Eisenhower Drive Minato-Ku, Tokyo 108-01 Purdy and Associates, Inc. Dry Transfer Lettering 11 Mt. Pleasant Avenue Japan D-2300 Kiel 14 Paramus, NJ 07652 100 Perimeter Road East Hanover, NJ 07936 0423 641111 Straightforward Grenzstrasse 1-5 (201) 845-6100 Nashua, NH 03063 (201) 887-8000 Germany Dry Transfer Letters, TrueType (603) 883-9796 Electronic Prepress Systems NEC information Systems, Inc. 15000 Halldale Avenue (0431) 2001-1 and Type 1 Format Fonts Device Independent Computer Gardena, CA 90249 Digiset Phototypesetting 1414 Massachusetts Avenue Board for Printers (213) 324-8827 VCG Holdings Equipment and Systems, Lexmark International, Inc. Boxborough, MA 01719 Z-Fopt Software Berkshire House Digiset-Fonts 740 New Circle Road (508) 264-8000 Purup Electronics 56 Herschel Street Lexington, KY 40511 Personal and Small Business 5 Sonderskowej Strata Inc. Slouth SL1 1PY Hewlett Packard Computer Systems, Printers England (606) 232-2000 DK-8520 Lystrup 2 West St. George Boulevard and Peripherals (404) 956-0325 Vancouver Division, Washington Denmark Ancestor Square, Suite 210 Software Developers for 18110 S.E. 34th Street A. J. Lincoln & Co., inc. 4586 222522 St. George, UT 84770 Neo-Visuals, Inc. Purup PrePress Products: High Presentation Graphics for Camas, WA 98607 29 Domino Drive (801) 628-5218 Resolution Laser Image Setters, Macintosh and IBM Systems (206) 944-8110 Concord, MA 01742 1200 Eglington Avenue E Interactive Graphic Systems for (508) 369-1441 Suite 404 Sumitomo Bakelite Co., Ltd. Forms and Label/Packaging, VideoSoft, Inc. High Technology Solutions LincPager. High-Speed Don Mills, Ontario Canada M3C 1H9 Purup Typeface Libraries, High 2-2, 1-chome, Uchisaiwai-cho P.O. Box 3426 Interpreter of PostScript for Chiyoda-ku, Tokyo 100, Japan 2103 South Broadway (416) 443-9811 Resolution PostScript: Purup P.O. Box 165920 Poughkeepsie, NY 12603 Printing, Imagesetting, Fax (03) 595-9391 High End 3D Computer Graphics Image Maker Little Rock, AR 72206 (914) 473-5700 Conversion, and Other Printwheels, Daisy Wheels and and Animation (501) 376-2083 MPS Front End.System and Applications Thimbles QMS, Inc. Supplier and Manufacturer of Fastsetter Typesetter Linographics Nippon Information One Magnum Pass Digital Fonts for Electronic & Science Ltd. Sun Microsystems/Folio Systems Image Club Graphics Inc. Mobile, AL 36618 770 N. Main Street (205) 633-4300 100 View Street Orange, CA 92668 Sumire Building 4F #5 1902 11th Street Southeast 5-4-4 Koishikawa Suite 106 Visi-Graphics Calgary, Alberta T2G 2G2 (714) 639-0511 Mountain View, CA 94042 Bunkyo-ku, Tokyo 112 QMS/Imagen Corporation 8119 Central Avenue Canada Display Typesetters, 2" Film Fonts (415) 960-1300 Japan Washington, DC 20027 (403) 262-8008 2650 San Tomas Expressway Technology for Digital Typography Linotype-Hell Company 033 814 3201 Santa Clara, CA 95052-8101 (301) 366-1144 Manufacturer of PostScript Digital Fonts, Latin and Non- Dry Transfer Letters Typefaces (408) 986-9400 Synapsis Corporation Linotype-Hell Company Latin Alphabets, Including Kanji Electronic Printing Systems 425 Oser Avenue Characters 5460 White Oak Avenue Visual Graphics Corporation Information International, Inc. Hauppauge, NY 11788 Suite A336 Qualitype 5701 N.W. 94th Avenue 5933 Slauson Avenue (516) 434-2074 Offlcine Simoncini s.p.a. Encino, CA 91316-2407 630 Ninth Avenue (818) 906-1596 Tamarac, FL 33321 Culver City, CA 90230 Casella Postale 776 (305) 722-3000 (213) 390-8611 Linotype-Hell Limited New York, NY 10036 Electronic Forms Vendor Chelham House 40100 Bologna (212) 765-7000 Manufacturer of Photo Typositor Phototypesetting Systems Italy Focusing in All CPU Hardware Bath Road Environments/50 Page Per and Original Typositor Film Fonts Cheltenham-Glos. GL53 7LR (051) 744246 Quante! Limited International Business Hot Metal Composing Matrices Minute/Below Non-Impact England Printers Wang Laboratories, Inc. Machines Corporation (0242) 222 333 and Phototypesetting Systems 31 Turnpike Road Newbury One Industrial Avenue Old Orchard Road Technographics/Film Fonts Lowell, MA 01851 Linotype-Hell AG Pacific Data Products, Inc. Berkshire RG13 2NE Armonk, NY 10504 (508) 459-5000 Mergenthaler Allee 55-75 England P.O. Box 552 (303) 924-4807 9125 Rehco Road Document Processing and Office D-6236 Eschborn bei Frankfurt (0635) 48222 Culver City, CA 90230 Electronic Printing Systems San Diego, CA 92121 Designers and Manufacturers of Automation Specialist Germany (619) 552-0880 (213) 870-4828 (06196) 982 260 Digital Television Broadcasting Toll Free: 800-421-4106 International Digital Fonts Equipment; the Paint Box Film Fonts, Studio Film Kits, and Xenotron, S.A. Typefaces and Fonts of Digital Panache Graphics Limited 1431 6th Street Northwest Typesetters (CRT and Laser), and Alphabet Designers 3, Rue Sandoz Calgary, Alberta T2M 3E7 other Visual Communication 50-54 Clerkenwell Road Qume Corporation B.P. 118 Canada Equipment (e.g. PostScript London EC1M 5PS 500 Yosemite Drive Tegra, Inc. 93130 Noisy-le-Sec (403) 284-2288 LaserPrinters). Linotronic Laser England France Milpitas, CA 95035 Middlesex Technology Center Digital Fonts for Laser Printers Imagesetters, CRTronic 071 251 3746 (1) 48 91 78 33 1-800-223-2479 900 Middlesex Turnpike Available in PostScript Type 1 Imagesetting Equipment and Manufacture and Distribute Billerica, MA 01821 Manufacturer of Laser and TrueType Formats Systems ParaGraph Electronic Office Printing (508) 663-7435 Imagesetters Systems Electronic Printing and Imaging Itek Graphix Corp. Management Graphics, Inc. 1035 Pearl Street Suite 304 Systems Xerox Corporation Composition Systems Division 1401 79th Street East Boulder, CO 80302 Ryiey Communications Limited Xerox Font Center 34 Cellu Drive Minneapolis, MN 55425 (303) 443-8777 39 Haviland Road Tektronix, Inc. 880 Apollo Street Nashua, NH 03063 (612) 854-1220 MS P2-83 Ferndown Industrial Estate Wilsonville Industrial Park (603) 889-1400 Manufacturer of ParaGraph International El Segundo, CA 90245 Wimborne Dorset BH21 7SA 26600 S.W. Parkway Phototypesetting Systems and Slide-Making System (213) 333-6612 23 Petrovsky Boulevard England Wilsonville, OR 97077 Equipment, Film Strips, Standard Fonts for Xerox Printing Systems Moscow 103061 (0202) 871313 (503) 682-3411 and Segmented Discs, and Mecanorma Russia Television Character Generators Ink Jet Printers 4692/4695/ Digitized Fonts Xerox Corporation 14 Route de Houdan 095 200 2566 4696, Laser Printer 4636, 78610 Le Perray-en-Yvelines Developer of Cursive Handwriting Ryobi Limited Thermal Wax Printer 4693 Intran Operation lzumiya Co., Inc. Paris, France Recognition Technology/Fonts Printing Equipment Division Models, Phaser Printer Card 8400 Normandale Lake Boulevard Ebisu Subaru Building 4F (1) 34 83 92 66 (Including Cyrillic Fonts) and Type 762 Mesaki-cho 4530 and Quick Draw Printer Bloomington, MN 55431 Driver 20-08, Ebisu 1-chome Dry Transfer Letters Management Software Fuchu-shi (612) 831-0342 Shibuya-ku, Tokyo 150 Hiroshima-ken 72 Digital Fonts, Xerox High-End Japan MephistophelesSystems Design Phoenix Technologies Ltd. Japan TypeMasters, Inc. Printing Systems 011-81-3-440-1531 3629 Lankershim Boulevard 846 University Avenue 03 257 1502 15 Union Hill Road Hollywood, CA 90068-1217 Norwood, MA 02062 Text Display Phototypesetters West Conshohocken, PA 19428 Zenographics, Inc. Kagema AG (818) 762-8150 (617) 551-4000 (215) 834-7840 4 Executive Park Circle Postfach 422 CH-8051 MSD Fonts Multiple Printer Language Scangraphic Dr. Boger GmbH Full Graphic Services Irvine, CA 92714 Zurich, Switzerland Interpreter and Operation System Rissener Strasse 112-114 (714) 851-6352 (1321) 0600 Mesac GmbH for Laser Printer 2000 Wedel/Hamburg Typesoft Limited Professional Graphics Software Saarstrasse 29 Germany 17 Willow Close and Windows-Based Printing Kroy PhotoVision of California, Inc. Solutions 6360 Friedberg/H. (04103) 6021-25 Hamworthy, Poole Germany P.O. Box 552 Manufacturer of the Scantext Dorset, England Scottsdale Airpark Zipatone, Inc. 14555 N. Hayden Road 06031/3677 Culver City, CA 90230 Phototypesetting System, (0202) 631590 Scottsdale, AZ 85260 UNI.LET (CAD-CAM System) (213) 870-4828 Frontend, Typesetter, Graphic 150 Fencl Lane (602) 948-2222 Toll Free: 800-421-4106 Page, Logoscanner, Interfaces TypoGabor Hillside, IL 60162 Micrografx, Inc. Spectra Setter 100, Visual and Digital Fonts 5 Rue Du Mai 1945 (708) 449-5500 LaserGo, Inc. Display Setter, and 2" Film Fonts Dry Transfer Letters 1303 Arapaho Seaside Software incorporated 92586 Clichy-Cedex France 9369 Carroll Park Richardson, D( 75081-2444 Polycutters Limited Suite A (214) 234-1769 Clio Chigasaki 2-bankan #301 33 1 47 39 66 00 San Diego, CA 92121 25 Bridge Street 1-21-3 Higashikaigan-minami (619) 450-4600 Rothwell, Kettering Chigasaki, Kanagawa Typogram, Inc. Northants NN14 2JW Japan 253 PostScript Interpreter Software 900 Broadway GoScript, GoScript Plus, and England 81-467-83-4372 (0536) 712627 New York, NY 10003 GoScript Select (212) 505-1640

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

LXXIII

, templates. The business-document tem- R; j ui liT, i-\;, five weights TECH e,) plates are excellent. The superb manual talk continued from page 71 has money-saving printing tips. Versions from JvR, intended to do extremely for QuarkXPress, DesignStudio and Software, Inc., 22521 Styles Street, Wood- Ready, Set, Go! are also available. Version interesting things when overlapped; land Hills, CA 91367. (800) 775-2068. 1.0 reviewed. Version 1.1 shipping. Requires Macintosh Plus or later and our first font Page Layout Software PageMaker. $129.95 for each version. 19/Double Dutch- Postcraft International, Inc., 27811 CopyFlow Hopkins Avenue, Suite 6, Valencia, CA from Marianne van Haml.'Gothic CopyFlow is a QuarkXPress XTension 91355. (805) 257-1797. that allows batch importing or exporting in six variations from Neville Brody. of text and graphic elements. Adds its PageMaker own menu to QuarkXPress. CopyFlow Pagemaker is a powerful and popular by Paul Neville automates placement after you've com- page-layout application. Easy to learn but pleted your revisions. Works well and packed with features. Versatile and well lilfriEENSEIll adapted to efficient long document pro- can be a real time saver. Version 2.31 with inline & bold designs!DMETA2 shipping. Requires QuarkXPress 3.1. cessing. Now includes Aldus PrePrint $395. North Atlantic Publishing Systems, application for generating precise, high- - from Spiekermann - italics, bold 9 Acton Road, Suite 13, Chelmsford, MA resolution color separations. Has many 01824. (508) 250-8080. built-in controls for word processing, small caps, at last Quadraat: complex typography, graphics, System 7 Fast Forms publish-and-subscribe links, indexing, From Fast Forms is a modest, inexpensive and table editing. Has IAC hot links even smells Dutch, doesn't it? forms-design program intended primar- to graphics created with FreeHand and ily for low-end users. Its manual is a joy ColorStudio. Features interruptible Fred Smeijers.Glipp - wood type to read. Imports and exports comma- and screen redraw, a real time saver. New tab-delimited files. Can create field to Control Palette offers exact positioning unearthed in Leipzig by Claudia Kipp. match screened images of pre-existing and dimensioning of selected objects. forms. The Fast Forms Filler feature lets Supports Aldus Additions, which extend you fill out forms without having to use feature set and allow custom scripting. With many overlay elements to dis- the original program. Can't import EPS Version 4.2 reviewed. Requires Mac- graphics. Version 2.0 reviewed. Requires intosh Plus or later, 2MB of RAM, and a tress-it-yourself! And Jeremy Tankard's Macintosh Plus or later and System hard drive. $795. Aldus Corp., 411 First 6.03 or later. $179.95; upgrade, $49.95. Avenue South, Seattle, WA 98104. (800) 3-weight° DISt U R B aN ce: PowerUP Software Corp., 2929 Campus 333-2538 or (206) 628-2320. Drive, San Mateo, CA 94403. (800) 851- 2917 or (415) 345-5900. QuarkXPress at your heart out, Tschichold & Co. QuarkXPress is a high-end, professional FrameMaker page-layout program that now has a CNunderlich from Martin W... FrameMaker is a powerhouse program greatly simplified interface. You can also for long-document and technical pub- rotate any object or group in increments the finest stressed sans-serif we've lishing. Provides sophisticated control as fine as .001 degree. Several documents over paragraph formats and cross-refer- can be open simultaneously. Lets you encing. Its spelling checker works well have multiple retroactive master pages seen for ages. Pierre di Sciullo's and quickly. Table formatting is substan- per document. Features excellent, pre- tially improved over previous version. cise typographic and color controls well Fleches. Arrows you'll never have Imports standard Mac graphics as well suited to high-end prepress work. Now as EPSI (UNIX), DOS, EPS, and Sun raster includes all custom formatting data with- seen before. And finally, more from files. Supports multiple conditional-text in a document, instead of requiring a variations of a source document, which separate data file. Can color-separate 0 • CMYK TIFF and Scitex CT files, but not Neville Brody: adapts the base document according T oon °VONA to special user-defined formatting tags. RGB, TIFF or PICT files. Workspace sur- Supports Desktop Color Separation (DCS) rounding the page can serve as a paste- & the typefaces from graphics, although somewhat clumsily. board storage. Version 3.1 reviewed. tizono, Version 3.0 reviewed. Requires Mac- Requires Mac Plus or later with 2MB of his Tokyo Heavyweight Champion- intosh II series or higher with 4 MB of RAM and a hard drive. $895. Quark, Inc., RAM, hard drive. $795. Frame Technol- 1800 Grant Street, Denver, CO 80203. ogy Corp., 1010 Rincon Circle, San Jose, (800) 788-7835 or (303) 894-8888. ship bout poster (included on disk as CA 95131. (800) 843-7263. Springboard Publisher H an EPS file). Complete with variants, Interleaf Publisher Springboard Publisher II is a low end very Interleaf Publisher is a speedy multiuser basic, template-baseddd DTP package. alternate characters and what have layout system for producing large, com- Typing window allows simplified text plicated documents. Improved user entry. Text and graphics editing only in interface suffers from poor font manage- Actual Size view. Black-and-White paint- you. Just wait 'tit you see what we've ment. Planned revision, Interleaf Profes- ing tools only. Can't color text but sional Writer, Interleaf Engineer, Interleaf includes SmartArt DA. Clumsy text-frame got coming soon! For more informa- Production, Interleaf Academic, and linking. Im ports standard word-process- Interleaf Passport. Version 3.5 reviewed. ing documents. Requires Mac Plus or tion in North America: 80o-36-FONTS. Version 3.62 shipping. Requires Mac- later. $199.95. Spinnaker Software Corp., intosh II series with 5 MB of RAM and a 201 Broadway, Cambridge, MA 02139. Austria: (02 22) 523 29 46, -47 hard drive. $995. Interleaf, Inc., Prospect 800-826-0706 Benelux: (091) 20 65 98 Place, 9 Hillside Avenue, Waltham, MA Canada: 416-348-9837 02154. (800) 456-5323 or (617) 290-0710. Germany: (030) 69 00 62 62 Reprinted from MacUser, January 1993 Italy: (2) 7010 - 0555 Copyright (c) 1993 Ziff Communications UK: (071) 490-5390 Layouts Layouts is a five-disk set of PageMaker Company.

Circle 260 on Reader Service Card 74 Over 500 unique papers to choose from for your laser printer, copier and printing needs atictics At least three times more The variety than alternative Paper Access

sources Kit® is truly

accessible:

Contains over 100 if a sheet is different recycled removed from the kit, you papers and some can easily find envelopes out which paper

is missing. Kit available for And since all

$25 sheets are

preserved in sheet

protectors,

they will

remain neat

and clean

after many searches.

Special introductory offer:

50% off on all 9 x 12 presentation To receive a free full color catalogue, call 1 800 PAPER 01 or fax your address to 212 463 7022 folders and 9% x 12 % envelopes free delivery by UPS ground name/company no minimum order (a $3.50 handling charge will be added (current inventory: 35 colors) address to each order under $35

city/state/ZIP all orders ship same day if Some of the many paper lines we carry: Genesis• Passport Script placed by 4pm EST Crane• Elephant Hide • Beckett Ridge•Environment•Evergreen telephone oyzi.stox Esse•Quest•Strathmore Renewal, Writing and Fiesta • Riblaid Paper Access mail order and retail store Neenah Classic Laid, Linen and Crest • Ecology Bond•Astrobrights for all orders up to 20 lb Astroparche • Graphika Lineal • Cambric Writing• Enhance! Writing, 23 West 18th Street NewYork, NY 10011 1-2 day service: $11.50 Brightwater Marble • Oriental paper... retail store-call 212 463 7035 open M-F 9 to 7, Sat 11 to 6 standard overnight: $16.50

Circle 278 on Reader Service Card

• • ■ • • • • • • • • • • • ■ • • • • • • ■ • • ■ • • ■ ■ ■ • • • ■ • ■ • • • • • • ■ • • • • ■ • • roweI' • ■ • • • • ■ • • ■ ■

I per ace iJirectory ror

■ • • • • • • • • • • _ ® ■ • • ■ : • hic @ (1) t • • ■ • • • 0 — • • ■ • • CV

Go . ,7u) 0 ID C \I

a) cr) • • • ■ ■ • • • • ■ 6 de 0 -0 o_ c r 4-J 4-. ...._ co , C.D co @ c ' C g' (la ® -0 ® .cts -, Z g . -C .”. @ 1T,, lb ca 0 us co co o Ga • • • • • • • • • e c 8 14 8 a) . c o t g +, 11). $12 t - . :,._ ID0 f .0,T,EEF3a).t>,-, = (1) C : C jr) C (I) 5_ 'E c 03 '-. E (z > 1:5 = -0 13 E -0 .i: co • • ■ co .o

• = co as u, o (13 D To co• co TD o „ ,_s • • w Lii w U_ Li u_ 0' 0 0 0 .C5 0 0 (/) (0 co (1 2 2 113

u w CIO cc8 3 8 u 0 0 0 0 cap) CO cli 0 U

C Avan 0 0 0 C.) 0 _ _ c_s c_s 0 0 0 0 0 0 0 0

■ • • ■ • • • • ■ • I— I—• I— II—■ I— r— I- I— I— I— I— I— I— — LL F— I— I— F— I— I— I— I— 4—I— I— I— I— IT I— I— 1 1 1 I I ■ Adobe IBM • • • • • ■ • • • 1 • ■ • Mac • • • • ■ • • • • • • • • • • • • • • • • ■ • ■ • • • • ■ • • • Systems Inc. •

1 1 1 1 ■ fa M • ■ ■ ■ • ■ ■ • • • 2 ■■ A IB • • • • • • • ■ • • • • II • 1 ■ • ■ ■ ■ ■ ■ • • • ■ • • Mac • ■ • • Corporation • 1

1 I 1 1 I

• • • • • • • ■ • • • Autologic Inc. IBM

• • • • • • • • • • 0] • ■ • ■ • Mac • ■ • • • • • • • • • ■ • • • • • ■ ■ ■

■

• •

• l

4 ▪ • • • • • • • IBM • H. Berthold AG • • • • • • • • Mac • • • • • • • • ■ ■ I I • r 5IBM II ■ • • • • • • • ■ • • • • • • • • • • • • • • • • • •

Bitstream Inc. • • • • • ■ • • ■ • • ■ ■ • • • ■ ■

Mac ■

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

• • • Mac • • ■ ■ ■ Elsner + Flake IM • • • • • • • Designstudios mac ■ • • • • ■ • • • • • • ■ • • • • • • • • • • • • • • • • • III III ■ • • • • ■ • • • ■

l ■ IBM • 111 • • • • • ■ • • ■ • • 1 ■ ■ • • • Mac • II • • • • • • • • • • • • • • • • • • • • • FontHaus Inc. • • • • ■ • • •

1 • • • ■ • • ■ • FontShop IBM • • ■ M ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ III ■ ■ ■ ■ ■ ■ ■ • • ■ • • • • • • Mac • • • ■ International • • •

1 •

10 Image Club IBM • Graphics Inc. mac • • • • • • • • • • • • • • • • • • • • • • • ■ • • • • •

■ ii Linotype-Hell IBM • • • ■ • • • • • • • • ■ • • • • • ■ • • • ■ • Mac • Company •

12 IBM • QMS Inc. • • • • • Mac • • 13 IBM Scangraphic Mac • ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ • ■ ■ ■ • ■ ■ ■ ■ ■ 14 IBM II

Varityper Inc. • • • • • • • • • • • • • ■ • • ■ • • • • • • • • • ■

Mac ■ complete family • partial family Bold Face-New Release! Valid as of May 19

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

76 ■ • ■ ■ • ▪ • • • ■ • • • • Desktop Publishing • ■ • • •

if El Adobe Systems Inc. r ns ■ ■ ■ ■ • • • - • ® 1585 Charleston Road - l ® Se - t ® " " Sa

'" PO Box 7900 l ® ® d d lid lle i i ® ■ ■ ■ '" • • - • • • h '" t t 216 - Mountain View, CA

t if ® tiona f ts - ® rvi '" i ® ns So r '" ne

Recu ip f ® i

d 94039-7900 ® ba ® a Roman ■ ■ ns r • ke • • • ® k ® hic rna ® „, Ser forma .a ® ,„Jo h ,P t No. .o Sa t ir

Grap (800) 833-6687 ® Se ® ® ng Scr l te he m

Sans Lis Lisa In Sa Phone Se Pho lem ic Sans l rese Bas lin • lla o • • ■ ina ex doza • tex • puA ■ •

• • bac bo ny del ven na cina na f Boo f Chancery dern if Go f Di f In ne dio idemann va ba nac iiA z

herwoo ll Agfa Division, Miles, Inc. ljov E m ffic 0 lim s l l ■ ■ • • 90■ Industrial Way Stone Legacy Lu 011 Mo New Offi Oil Pace Pa Quay Quoru S Stone Stone Stone o Oi Stu Sy Us Zap Zap Zap C Mo il C Tiffa C We Wilmington, MA 01887 TC ITC Legacy ITC ITC Men F ITC No IT ITC New ITC TC Zap ITC O ITC l ITC ITC ITC ITC IT C Ser ITC ITC Sou ITC ITC ITC ITC ITC Sto I IT ITC ITC Ve IT ITC ITC ITC ITC ITC • • I ITC Mo 1 1 1 1 ITC 1 (508) 658-5600 ■ ■ ■ ■ ■ ■ ■ • • ▪ • ▪ Autologic• Inc. • • ■ ■ ■ • ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ 1050 Rancho Conejo Blvd. • • Thousand Oaks, CA 91320 ■ ■ ■ ■ • • • ■ •

(805) 498-9611 • ■ ■ ■ • • • • • • ■ • ■ ■ ■ • ■ ■ ■ ■ ■ ■ ■ ■ ■ 1311 H. Berthold AG • • II Teltowkanalstrasse 1-4 ■

II D-1000, Berlin 46 Germany ■ • ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ 011-49-30-7795-439 ■ ■ ■

• • • •

• • • Bitstream Inc. ■ ■ • ■ ■ • • • • Athenxum House • 215 First Street ■ ■ • • • • • • s • • • • • • Cambridge, MA 02142 ■ (617) 497-6222 ■ ■ ■ ■ • • • • • • ■ • ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■

■ ■ ■ ■ El Digital Typeface Corp. • • • • • • 9955 West 69th Street • • • Eden Prairie, MN 55344 • (612) 944-9264 • • • • • • • ■ • • • • • • •

1 • Elsner+Flake I I 1 1 1 1 I 1 1 1

• ▪ • • • • • s • • • • • . • • Designstudios Dorfstrage 11, D-2081

• • • Langeln, Germany • • • • • • • • • • • • • • SI • ■ . • • • • ■ • • ■ • • • • • • • • • ■ • • ▪ • • 011-49-4-123-4843 1 1 1 I • • • • ■ • • • • ▪ FontHaus Inc. 15 Perry Avenue, Suite A8 • • • • • • • • • • • • • • • • • • • • • • • • ■ • III • • • • ■ • • • • • ■ ■ ■ ▪ ■ • • • • • • Norwalk, CT 06850 I I 1 I • • • • (800) 942-9110 ■ ■ ■ ■ ■ ■ ■ • • • I • • • • • • • • • • ■ • • • •

• FontShop International • • • • • • • • • • • • • • • • • • • • • • • • • ■ • • • • • • • • ▪ M • • • • • Bergmannstrafie 102 I • • • • D-1000 Berlin 61 ■

• • • Germany ■ • • • (030) 69 00 62-62 • • • • • • • • • • • • • • ■ ■ • • • ■

■ • • • • • • I 1 I • • in Image Club Graphics Inc. ■ ▪ • • • #5,1902-11 Street Southeast • • • • • • • ■ • • ■ • • • • • • • • Calgary, Alberta T2G 3G2, Canada • • • • • • • • • (403) 262-8008 • • • • • • • • • • Pa Linotype-Hell Company 425 Oser Avenue Hauppauge, NY 11788 • • • • • • • • • • • • (800) 633-1900 • • • • • • I I • I I • • • • ■ ■ • ▪ QMS Inc. 1 Magnum Pass • • • • • • • • • • • ■ ■ ■ ■ ■ ■ • • • • Mobile, AL 36618 1 • l • (205) 633-4300 IBM is a registered trademark of International Business Machmes. Macintosh is a registered trademark of Apple Computer Incorporated. ▪ Mannesman Scangraphic GmbH Rissener Strasse 112114 Postfach 220, D-2000 Wedel bei Hamburg Germany

INTERNATIONAL TYPEFACE CORPORATION OPERATES UNDER THIS NAME DOMESTICALLY AND IN FOREIGN COUNTRIES AND IS KNOWN AS "ITC:' ITC AND ITS TYPEFACE NAMES ARE (04103) 801190 REGISTERED TRADEMARKS OF INTERNATIONAL TYPEFACE CORPORATION IN CERTAIN COUNTRIES. IN ADDITION, ITU'IYPEFACES ARE PROTECTED BY DESIGN LEGISLATION AND COPY RIGHTS IN CERTAIN COUNTRIES. (SEE ITC SPECIMEN BOOKS) El Varityper Inc. 11 Mount Pleasant Avenue

THIS DIRECTORY WAS PRODUCED USING DESKTOP PUBLISHING TECHNOLOGY. IT WENT FROM DISK TO FILM TO PRINTER. East Hanover, NJ 07936 (800) 526-0767

LXXVII

THE DIRECTORYOF NEW TYPEFACES. ALL THE LEADING FOUNDRIES AND DESIGNERS FROM AROUND THE WORLD IN ONE HANDY, LOOSE-LEAF BINDER. 8 Benefits of this Industry-Wide Quarterly. 1. Makes your job easier. The Directory brings you crisp, generous displays of the new typefaces as foundries around the world release them. So now you can have all the new and interesting typefaces — right at your fingertips — to make selection easier. 2. You can be confident you are building the most complete resource. This Directory is the only industry-wide update service for the type community. As a growing resource, every issue adds to your library and type knowledge. Showing the faces as it does, the Directory also makes it easy to specify the look you want. 3. Helps you make better decisions. TYPEFACES,EVE RI In addition to the dozens of great new faces, there are articles by well-known type designers, an opinion and gallery section, and examples of new typefaces in action by today's top graphic designers. 4. Handy indexes help you find the right font quickly. Six cross-referenced indexes include alphabetical listings of new typefaces by Name, 1 Designer, Serif, Sans Serif, Script, and Display. 5. Always current. Your directory keeps you current by r50% OFF sending you quarterly updates that show the latest releases from all the IF YOU important foundries and designers Adi worldwide. RESPOND N 6.. Cs ohm edsyw3i_trh FREE dbeir binder and s are TODAY! and yours if you respond now They will ❑1res, send me the SIN 64 Specimen Page Premiere protect your Type Specimen Pages and keep them organized, so you can quickly Issue, the 64 Specimen Page Issue Number 2 and the next 2 quarterly issues (making 4 in all) for only PUBLICATION 1 and easily find the face you want. $95 — half off the regular $190 subscription price. 7. Charter subscriber Double Guarantee: I. You have a 100% Money-back Guarantee. 2. As I understand that if I am dissatisfied I can cancel at a Charter Subscriber you are always guaranteed the lowest subscription rate available. any time and receive a complete refund. 8. FREE subscriptions to additional type industry publications: x-height — $18.00 value, in supply) plus FREE U&k, plus Electronic Publishing & Typeworld, plus Font & Function (while . NAME TITLE . The best new typefaces from around the ABCDEFGHIPWANOPQRSTUVINM COMPANY bcciefghip.nnopqrscuvwxye world on specimen pages that show: 787DEFCHIJKLAVOPQRSIIIVWXYZ ■ ADDRESS 12.34567890.', Complete alphabet ABOM2GIIIJELTINOPQRSITIVW.2 ■ Selection of symbols O-+ ■ CITY STATE / PROVINCE I DP / POSTAL CODE COUNTRY ANI2KOIVICIAINOPQRSIV7.12 Text blocks showing various weights "IMMO, .../C0141167V0—, ■Text blocks showing variety of leading ■Names of other faces in the family Please check the appropriate boxes: ■ The ❑Check enclosed Designer's name and technical data ❑Please bill my credit card ■Resource information and ITC Directory ❑ ❑ 800 numbers to call to get faces of New Visa MasterCard ■Distinguishing characters to help Typefaces IIIIIIIIIIIIIIIIII you recognize the face ACCOUNT NUMBER EXP. DATE I Participating foundries include: SIGNATURE ALL PAYMENTS MUST BE MADE ON U.S. BANKS ONLY. I I Adobe Systems Inc. ■ Agfa ■ Applied Arabic Ltd. CANADA ADD $14. ORDERS OUTSIDE NORTH AMERICA PLEASE ADD I ■ Bitstream, Inc. ■ Carter & Cone Type Inc. $28 FOR SHIPPING. ■ Casady & Greene Inc. ■ Elsner & Flake ■ Emigre To qualify for the Premiere Issue and half price offer ■ ■ FontHaus Inc. ■ FontShop mail today with payment to: Esselte Letraset Ltd. ■ NO RISK ■The Font Bureau ■ International Typeface Corporation Linotype-Hell Company The MMG Directory of New Typefaces OFFER ■MetaDesign ■ Panache ■ Photo-Lettering Inc. ■ Stone Type Foundry Inc. c/o ITC 100% Money- ■Treacyfaces, Inc. ■ URW ■ And many more 866 Second Avenue back Guarantee New York, NY 10017 Or call today 1-800-634-9325 (9:30Am-4:30pm EST). I Some of the world's newest typefaces were used to assemble this ad. Various condensations, tracking and leading techniques were used In New York State call 212-371-0699. throughout, to suit the layout. Art: 'Now': Bolide (Panache/FontHaus); 'NEWEST': Mantinia CC (Carter & Cone); '90': Marguerita (Letraset). Main text: TF Habitat Book (Treacyfaces). For emphasis with contrast, the heads and subheads are ITC Franklin Gothic Heavy (Adobe Systems). Or FAX your order any time to 212-752-4752. UL3 I All trademarks or registered trademarks used are acknowledged as their owners' properties. ©1993, MMG. 78 Circle 271 on Reader Service Card Software: QuarkXPress 3.11, Zedcor DeskPaint. o 6 Notes and Comments: The type was created using QuarkXPress 3.11. The computer artwork on the spread

was created by opening a Quark document and taking Bob Farber—artist, designer, art director, typographer a screen capture. The image was then edited using 0 to art directors and designers, died Zedcor DeskPaint. All other artwork in the spread was January 24,1993. Bob enjoyed type. He stripped in traditionally. had fun, visual fun with it, especially C ° in his years as art director of U&lc from PAGE 16 I- Article: "My Darling Herb" mid-1981 through 1986. He was par- Hardware: Macintosh Quadra 900, Macintosh ticularly expert at bringing vigor and life N Quadra 700; Apple scanner; LaserMaster 1200XL to his typography without sacrificing printer, Apple LaserWriter II; Linotronic imagesetter. readability. If his typography was always For more than a year U&/c has been produced elec- Software: QuarkXPress 3.11, Adobe Photoshop, readable, it was always attractive and tronically, using the latest desktop publishing tech- Adobe Illustrator 3.2, URW Ikarus M. stimulating as well. nology. This technology has redefined the way U&/c is Notes and Comments: Montalbano digitized a designed, edited, produced and printed. It has also tracing of original artwork using Ikarus M and an Aristo challenged conventional ways of defining individual digitizing tablet. The salutation's fuzzy edges were Bob was born in Poland in 1924, and came job responsibilities and the needs of readers. This added by using the antiquing function in Ikarus M. to the United States in 1930. He attended colophon exists to shed some light on the production The art was then exported as an EPS file, saved in Abraham Lincoln High School in New York of a selection of editorial features in each issue of Illustrator 3.2 and imported into QuarkXPress. City and was influenced there by Leon U&/c, and to share with readers the problems and Friend, as were many others who were to inspiration that the new technologies offer in pubish- PAGES 32-33 and 44-45 become outstanding graphic designers. ing today. Working with the design team from Paul Article: "Scrapbook" (Quotes) He also spent a year studying with abstract Davis Studio, the production team responsible for Hardware: Macintosh Quadra 900; Apple Laser- these pages includes: Jane DiBucci, art/production Writer 11, LaserMaster 1200XL. painter Stuart Davis at the New School. manager, U&/c; Clive Chiu, production coordinator, Software: QuarkXPress 3.11, Adobe Illustrator 3.2, It was from Davis that Bob learned how to U&/c; and designer and type consultant James Scitex VIP, ScitexAutoframe 5.05. break design molds, how to be daring Montalbano, president, Terminal Design, New York. Notes and Comments: The logo was assembled with type, design and art. in Adobe Illustrator 3.2, saved as an EPS file and U&/c, Issue 20.1, Spring, 1993 imported into Quark. The file was output using Scitex Following high school Bob served as art direc- Twentieth Anniversary Issue VIP 2.5 software, trapped using Autoframe, and then tor for several advertising agencies: Irving imaged on a Linotype-Hell ChromaGraph 341 scanner COVER using Scitex Gateway tools. Serwer, Harry Serwer, Grey Advertising, and Macintosh Quadra 900; Macintosh Ilx; Hardware: Needham, Harper, Lois & Brorby. In 1963 LaserMaster 1200XL printer, Apple LaserWriter II; PAGES 34 -43 he concentrated on the type business and Linotype-Hell ChromaGraph 341 scanner using Scitex Article:"Scrapbook" (Various spreads) became a consulting graphic designer. Gateway tools. Hardware: Macintosh 1 fix; LaserMaster 1200XL In 1970 he became a partner in Lubalin, Software: Adobe Illustrator 3.2; QuarkXPress 3.11; printer; Apple LaserWriter II; Linotronic imagesetter. Burns & Company, which was the parent Scitex Autoframe 5.05. Software: QuarkXPress 3.11. company of ITC. Notes and Comments: All of the type on the Notes and Comments: The type was created in anniversary cover was assembled in Illustrator 3.2, QuarkXPress, and output directly to film negatives. saved as an EPS file and imported into QuarkXPress. Because it was necessary to strip in artwork tradition- Bob's many major awards came from such The file was output using Scitex VIP 2.5 software, ally, the type was output on intermediate film nega- groups as the Art Directors Club, the Type trapped using Autoframe, and imaged to a Linotype- tives (emulsion up). Artwork was then stripped in. Directors Club, The American Institute of Hell ChromaGraph 341 scanner using Scitex Gateway Graphic Arts and the Society of Typographic tools. PAGE 52 Arts. Some of his work is in the perma- Article: "ITC Avant Garde Gothic® Multiple Masters" nent collection of New York's Museum PAGES 6 AND 7 Hardware: Macintosh I lfx; LaserMaster 1200 printer, Articles: "Message from ITC,' "Table of Contents," Apple LaserWriter II. of Modern Art. "Why U&/c?" Software: QuarkXPress 3.11, Adobe Illustrator 3.2.1, Hardware: Macintosh Mx; LaserMaster 1200XL Adobe Font Creator. Bob's great hobby was creating large and printer, Apple LaserWriter II; Linotronic imagesetter. Notes and Comments: Type for both pages was small three-dimensional abstractions in Software: QuarkXPress 3.11. set in Adobe Illustrator, using Illustrator's text along a wood. He was also particularly sensitive Notes and Comments: Type in all three features path and text within a shape functions. Starting with to the negative shapes in letterforms. was assembled in QuarkXPress and output to film neg- Font Creator, a series of multiple master instances atives via a Linotronic imagesetter. The large question were created using the multiple master typeface ITC mark on page 7 was created in Adobe Illustrator, saved Avant Garde Gothic. Then a series of concentric cir- As U&Ic's art director he was an eyes-closed as an EPS file and imported into Quark. cles were drawn in Illustrator and the letters "FONT" designer. He would read the copy, then applied along the outer edge of the circles. To create close his eyes and envision various layouts PAGE 8 the circular block of text, a circle was drawn in whole in his mind. He did not thumbnail Article: "U&/c Scrapbook" (Opening Spread) Illustrator and the text was imported into the circle, his layouts nor develop them element Hardware: Macintosh Quadra 900; Apple Laser- filling the shape. Once the design was finished, an EPS by element. The concept would be fully Writer II; Linotronic imagesetter. file was created, imported into Quark 3.11, and output developed in his head so that when he Software: QuarkXPress 3.11, Adobe Illustrator 3.2. to a Linotronic imagesetter. Notes and Comments: The scrapbook logos were cre- noodled it on paper he was not creating it, ated in Adobe Illustrator 3.2, saved as an EPS file and PAGE 54 he was testing it. imported into Quark. Because it was necessary to strip Article: "The Letter X" in archive artwork traditionally, the type was output Hardware: Macintosh Quadra 900; Microtek scanner; Bob saw U&Ic as a one-of-a-kind challenge to intermediate film negatives (emulsion up) on a LaserMaster 1200 printer, Apple LaserWriter II; to an art director, a challenge with two Linotronic imagesetter. Artwork was then stripped in. Linotronic imagesetter. equally important yet not always easily Software: QuarkXPress 3.11, Adobe Illustrator 3.2, reconcilable goals: to create an effective PAGE 10 Adobe Photoshop. Article: "Quirky Alphabets" Notes and Comments: Montalbano took the RGB layout for the reader while selling by Hardware: Macintosh Quadra 700; LaserMaster TIFF file containing the lip artwork provided from Paul displaying ITC typefaces in use. 1200XL printer; Linotronic imagesetter. Davis Studio and converted it to a CMYK file. He saved Software: QuarkXPress 3.11. the silhouette mask as a clipping path in an EPS file, Bob Farber is survived by his son Allan, his Notes and Comments: Type was created using and imported it into QuarkXPress. The file was output daughter Susan Frey, and grandchildren. QuarkXPress. The half-moons of type were created in using Scitex VIP 2.5 software, trapped using Autoframe, Donations in his memory may be made Quark using polygon picture boxes with a runaround to and imaged on a Linotype-Hell ChromaGraph 341 scanner using Scitex Gateway tools. to the Kidney Fund of New York. create wrap. Because it was necessary to strip in archive artwork traditionally, the type was output on intermediate film negatives (emulsion side up) on a Edward Gottschall Linotronic imagesetter. Compiled by Joyce Rutter Kaye

PAGE 14 Throughout this colophon, trademarks are used. Article: "From Pasteup to Pixels" Rather than place a trademark symbol at every occur- Hardware: Macintosh Quadra 700; LaserMaster rence of a trademarked name, we state that we are Bob Farber 1200XL printer, Apple LaserWriter II; Linotronic image- using the names in an editorial fashion with no setter. intention of infringement of the trademark.

O 0) r

u THE IMPORTANT PART Art Parts are EPS 50

ART .= CD o

P 07 ARTS t

y CD t images (no bit parts here). They as h CO7 e it a) F THE P le cus as can all be opened, modified and t

Cal a) C0 'll g

a) w M O a THE HARD w

e printed from within Adobe Illus- ou SU s.. lo .0

O y ar trator, Adobe Photoshop and Aldus e THE

O be fo;

'0 in

ts. Freehand. Art Parts can also be —1L E a) r

Ther O .c

ns co 0 a e E >ft placed and printed in QuarkXPress

Pa 43 io t

t ev a Ar YOU'RE NEW TO THESE PARTS Art Parts is D PART and Aldus Pagemaker. tr GOO

a tiny little company committed E illus TH to providing quality electronic art for the Macintosh. Welcome. PICK YOUR PARTS There are five (5) sets of Art Parts to choose from. They are: Animals, Business/Travel, Dingbats, Holidays, and People.

04, address'

phone no:

method of payment: 0 check 0 visa D mastercard

0.- • credit card fie'

expiration date'

signature:

• i would like to order" this many of each set: (order 3 or more sets and pick one more set, free.) Art Parts is a registered trademark. Macialash is a animals business/travel registered trademark of Apple Computer lac. Aldus, Moghals holidays people Freehand and Pagemaker are registered trademarks of # of sets ordered: a 349.50 = Aldus C111110.111011. Adobe, o Illustrator and Pholosboa are plus sales tax (ca residents) = registered trademarks al Adobe Systems Inc. Pearl( and Sal XPress are registered total order 11.111011115 BI WA, Inc. Circle 275 on Reader Service Card 1$‘' * sorry: u.s.a. orders only; no purchase orders or c.o.d. orders accepted. please make checks payable to art parts.