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UPPER AND LOWER CASE, THE INTERNATIONAL JOURNAL OF TYPOGRAPHICS PUBLISHED BY INTERNATIONAL CORPORATION, FOUR, NUMBER FOUR, DEC. 1977

Fad U&Ic VOLUME 4. NUMBER 4 1977

HERB LUBALIN. EDITORIAL 6. DESIGN DIRECTOR AARON BURNS, EDITORIAL DIRECTOR EDWARD RONDTHALER, EDITORIAL DIRECTOR JACK ANSON FINKE, ASSOCIATE EDITOR ANDY DIDORA. TONY DISPIGNA. LOUISE FILI, LYDIA GERSHEY, KELLY KAO, ANNA McCUSKER, TED SZUMILAS, DOUG TURSHEN, ALAN WOOD, ART & PRODUCTION EDITORS JOHN PRENTKI, BUSINESS AND MANAGER EDWARD GOTTSCHALL. EDITORIAL ADVERTISING COORDINATOR

0 INTERNATIONAL TYPEFACE CORPORATION 1977 PUBLISHED FOUR TIMES A YEAR IN MARCH,JUNE,SEPTEMBER AND DECEMBER BY INTERNATIONAL TYPEFACE CORPORATION 216 EAST 45TH STREET. NEW YORK, N.Y. 10017 A JOINTLY OWNED SUBSIDIARY OF PHOTO-, INC. AND LUBALIN, BURNS & CO. INC. CONTROLLED CIRCULATION POSTAGE PAID AT NEW YORK, N.Y. AND AT FARMINGDALE. N.Y. PUBLISHED IN U.S.A.

ITC OFFICERS: EDWARD RONDTHALER, CHAIRMAN AARON BURNS, PRESIDENT HERB LUBALIN EXECUTIVE VICE PRESIDENT JOHN PRENTKI, VICE PRESIDENT, GENERAL MANAGER BOB FARBER, SENIOR VICE PRESIDENT ED BENGUIAT, VICE PRESIDENT STEPHEN KOPEC, VICE PRESIDENT

U.S. SUBSCRIPTION TO INDIVIDUAL $6.00: SINGLE COPIES $1.50 ELSEWHERESUBSCRIPTION. SB.00: SINGLE COPIES $2.50 Vision '77 covered much more than the new technologies and typographic refinements reported in the previous issue of U&lc. It was concerned with everything from information flow and systems to the -role of creative graphics in making communications work; with the experience of companies that have used various typesetting systems; with the viewpoints of educators, designers and typographic services concerning the new machines and materials; and with what the near future holds in store. This second half of U&lc's Vision '77 report covers those subjects and includes a roundup of projections by the presidents and top management executives of some of the field's manufacturers and suppliers.

In This Issue: Vision '77 (Part II) Ed Gottschall concludes his account of what took place at the CDVV„\ICATIO\S ITC symposium in Rochester last spring—an overall view of (as is said) "the state of the art:' 2. Pro.Files: The Great Graphic Innovators IYPOGRAPI IICS Continuing our series of insights into the personalities and artistry of the industry giants, this time featuring Herbert Bayer and William Golden. Page 12. On The Couch Lou Myers takes off into the empyrean again, this time from the psychological vantage of the divan. Page 18. Holiday Postcards Once again we're the benefactors of Carol Wald's fascinating hobby, as the pages of U&lc are graced with an assortment of cards from her wonderfully-diversified . Page 20. The Word The Future Information flow and systems Page 2 The near future Page 56 Something From Everybody Generation, recording, proc- Output media Page 58 Letters from far and wide continue to reach our offices essing, storing, retrieving, `Off the drawing board" Page 59 accompanied, most often, by ingenious illustration. Herein are using OCR's and VDT's Page 8 Roundup and forecast Page 59 some random samplings from the newest batch. Page 23. Case Histories Creativity Happy New Year. PART2 The University of in Europe Page 61 Jan Sawka, one of Poland's outstanding designers/illustrators, North Carolina Press Page 10 Essential: The Creative Touch Page 62 combines both of these abilities with remarkable virtuosity in our U.S. News & World Report Page 50 Faulkner, Dawkins & Sullivan Page 51 Projections 1978 monthly calendar. Page 26. Company presidents and top Ms. Jacqui Morgan. viewpoints management executives Our famous featured female is a triple-threat illustrator, recently The Designer/Editor Page 53 survey the next few years Page 63 absorbed in designing provocative graphics on clothing. Page 28. The Educator Page 54 The Typographic Service Page 55 The Sensualist Approach. No, U&lc isn't going porno. The title refers to examples of out- standing from a booklet recently put out as a private "The Word." We will provide a consistent background by the Society of Scribes. Page 30. or framework within which you can think about Face To Face. The Word some of these advanced ideas. We will first focus on From time to time in earlier issues, we've featured principles and concepts. One must understand con- of such natural phenomena as "Nature's Alphabet:' The present cepts before one can talk about the nuts and bolts of where the machines fit and who does specific things is on naturally created "faces:' Page 32. with them. Vision '77 came about because of the con- Arrivederci Aroma. version and collision of two very different technolog- Presenting word experts among our readers with an Italian Food ical areas: word processing and typesetting. Word Crossword Puzzle by Al McGinley and Martin Alter. Page 36. processing has its origins in the office field. It is really The ABC's Of Coloring. a transcription process to increase the efficiency of getting information down on paper, getting it to Get out your magic markers, as prolific French designer Jean someone so that he or she can comprehend it, Word Larcher comes up with still another variation in his never-ending processing has developed along these two themes. approach to alphabets. Page 38. One of them is to improve the flow of correspondence Letters To Giorgio. and in.their preparation. This involves Most people save letters. Happily for us, however, Giorgio Soavi reorganization of the office staff. saved all the envelopes he received from his Parisian illustrator At the highest level, word processing concepts sep- friend, Folon. Page 40. arate the creative handling of text from machine What's New From ITC. keyboard operations. Keyboarding is put into the ITC Benguiat in Roman and Italic in three weights is the new hands of a group of professional machine operators. typeface series, which licensed ITC subscribers are authorized to Paul Doebler People either dictate , write it in longhand, or get reproduce, manufacture, and offer for sale. Page 44. and it down on paper by some other means. Then the Management Consultant material goes to what is, in a sense, a transcription Something For Everybody Thomas P. Mahoney Associates pool, where the machine operators transcribe it onto Our regular feature of frothy minutiae and fribble inconsequen- It is time to lay a foundation for understanding some magnetic tape, cards or some other medium used to tials makes way this issue for John Alcorn's charming version of of the advanced ideas that will be talked about during store it. Printed copies are then produced and sent the 12 days of Christmas. Page 48. the rest of Vision '77. That is the reason for the title back to the editor, who edits them. These are returned to the processing center for transcription of the of composed type. Its moving it out of the plant and room, which is in charge of distribution. There are changes. This cycle of and changing con- into the office. The one thing that must go along with the messengers who run around bringing things tinues until you get a final approved . This it though, as Aaron Burns pointed out, is the graphic back and forth. There are the telephone switchboard, is a text handling system. It has led to other reorgan- tradition. 'Iipesetting has always had the feel of the computer data processing department, the rec ization of office duties. For example, if you take all of aesthetics associated with it. Word processing, how- ords storage and retrieval department, the forms the transcription work out of the regular secretary's ever, is only now coming up against graphic consid- management group, and the company . If you job and put it in a special unit, this enables the other erations. So as these two meet, the word processing add up the cost of these, and then add on the money people in the office to concentrate on other things, area will contribute modern technology and reor- that is spent going to meetings and buying informa- and they become a different kind of support for the ganization of people in the offices. The typesetting tion from the outside, you come up with some rather executive personnel. tradition will contribute graphics, and appreciation astronomical totals. And this whole information The WP/typesetting connection of aesthetics, and the use of typography for more effi- enterprise is almost totally unmanaged in organ- cient communication and greater economy in the izations today. Of these two themes in word processing—office reor- communications process. At the same time, the typo- A new management discipline ganization and the streamlining of text handling— graphic area, even though it grows out of an indus- for our consideration here today it is the text han- trial plant tradition, has developed a great deal of We mentioned the phrase "information manage- dling system that's really important. That's the ele- sophistication in the office systems of its own—the ment" before. What is beginning to emerge is a new 2.Many media can be fed by one data base. ment with implications for connecting up with kinds of things that you hear about in management discipline, and its going to be called Another way of viewing the problem which we have typesetting, with implications for very radical where the editorial staffs work on video terminals information management. You will have informa- to manage is looking at the variety of media we have changes in the way people of the future will operate and with OCR copy. They produce the tion managers in corporations. They will have re- to deal with. Most of us think of type as something to in transmitting and using information. The average today almost without the composing room, and in sponsibility for word processing and in-plant print put on paper. But look at this diagram, at all the dif- state of the art technologically in word processing at the future it will virtually go that way entirely. The shops, but they will have a lot of other responsibilities ferent media we can deal in: the print media, photo- this point is the automatic . We are seeing creative decision-makers—making their decisions as well. Their responsibility will be to take this disar- graphic media, , and even face-to- the of newer equipment though. We are and using these kinds of equipment in their offices— ray of disjointed information techniques and opera- face communication. Each presents different kinds of seeing video screens added to the automatic typewrit- have developed a very sophisticated level of copy proc- tions and put them together into an operating, func- problems in graphic presentation; but processed text er so that the material is no longer played back on essing technology. This technology is fundamentally tioning information-managing system. ultimately set in type is a key element in all of these the typewriter . but on a video screen for parallel to the concepts of word processing. It's going Flow media. changing and editing. We're seeing sophistication to be very interesting to see how these very sophisti- Let's explore some of the characteristics of informa- in the programs put into these machines. These are cated so-called "front end" systems, which have tion and how they relate to the problem of designing no longer simple write-and-edit routines. Some evolvedin newspapers and which are now moving word processing and typesetting systems. We'll start machines are even able to draw diagrams on video into and magazines and some commercial with the concept of flow It's fundamental to every- screens and have these played out on the output typ- Content Characteristics and Types of Communication printing applications, merge with the word process- thing. 1..f.frolaoonai Character -fvf. of Communic.ston ing element. We're seeing special capabilities for ing equipment, which is coming from a relatively

building and maintaining lists programmed into the simple base into more sophisticated types of products. Graphic Character . Type of Communication machines. Word processing is moving towards explo- I'd like to look at this a little more systematically in ' f f sive growth in the abilities of these machines to do several areas. Mer Characteristics • all kinds of special chores. - Information management The office of the future First the larger picture. Word processing and typeset- The office of the future lies out beyond the horizon a ting do not exist in a vacuum today. They exist in little bit, but it seems to be getting closer. This is one something much larger which is coming to be of the eventual developments the word processing known in the industry as information management. 3. Media/communication task relationships system will have to tie into, in a very big way The The problem in information management is that the determine the hardware, software and office of the future concept gets somewhat exotic. cost of managing information in a large organiza- personnel needs. Visualize executives working at their desks with their tion—almost any organization for that matter, but How media relate to content own video screens. If they want to know something, especially in large organizations like governments, they push a few buttons and it comes up on their big corporations, foundations and so forth—is as- 1. Informationftow in a knowledge industry. The media/content relationship determines the kihd of system that you must have in terms of hardware, screen. If they want to write something, they type it tronomical and growing rapidly. Some people put Information does no one any good unless it moves. As software and how people are organized. On the left into the machine and the text appears on the screen, the cost of managing information as high as 15% the diagram shows, on the far left someone generates (Figure 3) are a number of characteristics inherent or they may dictate it and have it translated into the of the gross revenues of a large corporation, and information. It is written and transcribed somewhere in the various kinds of media, and on the right are machine. They edit it on their own screen. Perhaps, if perhaps even higher in certain industries. as thoughts are thought. If it is worth distributing to the types of communications tasks that these charac- they are doing research, they can put some numbers anyone, it moves to a publishing function. Publish- The scope of the problem teristics are best suited to serving. Correspondence, up on the screen and manipulate those numbers. ing, as used here, is a generic term describing the for example, is used quite often in dialog situations— These are far-out concepts. They do not exist yet. But The scope of the problem is enormous. It stretches all whole process of , editing and designing, and you write someone and you want a reply. It's also these are dreams of the people who want to create the the way from information coming into the organiza- includes the conversion process of setting up the.type, used in the current awareness situation where you are office of the future. tion to information going out the other side to some- , correcting, perfecting, making the informing someone of something. These are terms one you want to influence. And in between there is a graphic page, reproducing copies and distributing Where does 1W fit in? that have come out in the last twenty years from the tremendous amount of information processing. For them. Just how cioes the present concept of word processing example, think about the kinds of departments in information science field. Various types of reporting fit into this? Let's go back a little now and consider, organizations that are concerned just with the han- Distribution media obviously are well matched to current- just briefly, the typesetting tradition, which is the rea- dling of information, not with manufacturing or Sometimes these copies go to , or to other awareness needs. son for this meeting today. Its origins were 500 years selling the product. There is the market research de- storage and retrieval facilities where movement is On the other hand. there is the function of documen- ago when we first got moveable type; it can go back partment; it brings information into the company, suspended until someone needs them; one of the tation, in which you are not necessarily reporting even further than that if one counts hand lettering, centralizes it, makes sense out of it. There's R&D. The problems with information is that you never really current information—you may include some current the carving of blocks, and so forth. But moveable type accounting department in essence is an information know when somebody is going to need something. information, but you also use the backfiles. The pur- is a good beginning point to work with. Over the department. On the output side there are the sales However, most copies skip the storage facility and go pose of this is for reference and search. Someone years we've developed an elaborate composition de- promotion, advertising and public relations depart- directly to their end consumers, shown on the left of comes into a field cold wanting to know something partment to approach it—heavy machinery, and in- ments. These departments are just a few of those that the diagram in the same area as the original infor- about it, and has to go back into the files to build a dustrial type operation with development of highly handle information and are crucial to the flow of mation generators. In fact, this published informa- background. specialized skills. This work was done in manufactur- knowledge within the company. Beneath these tion often becomes the basis for generating new ing plants because of the capital investment. The departments there is a whole galaxie of support de- material—the information is reorganized and re- Graphic character lighter computer-type machinery of today is chal- partments—the word processing center and in-plant formatted into a new information product. Informa- Another dimension of information with which Vision lenging this industrial plant approach to the creation print shop, to name just two. There is also the mail tion regenerates itself in new forms. '77 is concerned is its graphic character. Most word THIS ARTICLE WAS SET IN ITC CONDENSED

processing systems have been concerned only with and someone types it up, and you send it elsewhere, As shown on the left, a variety of incoming informa- Memory the utility characteristics of graphics. We develop you encounter increasingly elaborate operations, in tion flows exist. Within the organization, a range of There are a variety of memory forms, such as tapes, adequate typography, for example, so that one can some cases whole departments of 30 or 40 people administrative procedures constitute or are supported discs and cards. You can have some of these wired find wanted information easily. This is a very simple, with professional editorial and production skills, by additional flows. And various forms of outgoing onto the systems. Others can be stored on shelves utilitarian situation. departments that constitute miniature publishing information (right) are issued by still other flows. until needed. Memory can be all in one place or it houses just to produce aparticular kind of document. But utilitarian considerations leave virtually un- Incoming information tends to present a make-or- can be scattered around the office. It can have se- If you go into these elaborate departments, you find touched other aspects of graphic character. Relatively buy decision. Can you buy the information as a pack- quential or random access; both types are important an organization of commercial publishing com- unexplored in terms of systems development are age from an outside vendor such as a publisher, or do because in some kinds of work it is easier to go panies. The technical manual department of a large facilities for generation of impressional graphics. you produce it internally? If you produce it, some- through from one end to the other, and in other high-technology corporation will have many of the Impressions are what graphics can uniquely give to a where along the you probably will have a word kinds of work you need to pick out things at various characteristics that you find in a or magazine message. Graphics can leave strong and lasting im- processing/typesetting function to handle the job, as points. Memory devices come in a wide range of publishing house, or even possibly in certain news- pressions on people..Much advertising, and the fine you will for internal and outgoing material. sizes. corporate pieces try, as much as anything else, to de- paper operations. You will find that the new tech- The basic electronic system Manipulating velop a prestige , a character or an emotion. nological systems that apply will perhaps look more Word processing and typesetting systems of the like the kinds of systems we find from the typesetting For manipulating and checking material as you are future, if they are going to be optimally used in organi- tradition than from the word processing tradition. working on it, there are a number of editing devices, zations, are going to have to provide that kind of This is very important—what I am implying here is as well as devices for formatting and page capability. that in the future there will not be one universal sys- formatting. Devices include the automatic typewriter tem in a large organization for word processing and as used in word processing systems. OCR equipment Timing, aging, authority typesetting. We will have many different kinds of sometimes has formatting capabilities. You can use Still other information characteristics also will de- systems for different uses. card systems where you arrange the cards in a termine the shapes of systems. One is timing of deliv- Basic work flow certain sequence before you put them into the ery—must you have it overnight? What about aging machine. Without question, though, the major device of the content? Unlike the , we do which has captured the imagination of everyone is not want to retain in these systems everything that the video display terminal. In a sense, it's the uni- Basic Flow – Edit/Design Decisions was ever done— only to save live information. versal window into the system; it is the key device Authority, the weight of the content, is important in that really makes today's truly interactive systems many instances. A small document, such as a memo, 7. Components and functions in a basic practical. Some terminals enable you to do a great may only need to be read and thrown away; thus it electronic system. deal of positioning of elements and sizing of type. This gets you into graphics and graphic manipu- can be prepared quickly and proofread and edited Now let's look at electronic systems and how they fit lation in addition to text manipulation. The area only once. But when you produce the price list for the into these flow patterns. This diagram can be used to makeup terminal, such as those now used for adver- company, it has a weight of authority that is going to represent almost any kind of electronic word process- tising makeup, is leading us very rapidly into the be crucial in many cases, and you take a lot of edito- ing/typesetting system. No matter what kind of page makeup terminal in which entire pages can be rial care producing it. These widely different activities equipment you are considering, you can fit most of assembled on a screen, in a form which you can ap- and work flow patterns shape the kinds of systems the pieces into these boxes. Then you can analyze prove before they are output to go to press. Full page that you apply. 5. Decisions are made at the front end of and compare systems offered on the market in these makeup eliminates a great deal of the paste-up oper- the process. terms and come to grips with what specific variations Types of communication/media links ation and subsequent proofreading and checking. Let's now turn to the editorial, word processing, you need in each area. Let's look at another concept, at how the specific Outputs media tie together in different kinds of communica- typesetting work flow, which is the specific segment We have a broad variety of options to choose from tions. At the top (Diagram 4) is something called of the larger picture we are really here to talk about here. We have direct keyboarding, keyboarding to There are two forms of output. Intermediate output is simple communications. That would be the simplest today. This (diagram 5) shows the fundamental tape, and keyboarding for optical character scan- usually represented by the printout with which most memo or letter, for example. From there you branch kinds of activities we deal with in any processing/ ning. You can also use VDT, or mag cards, punched people are familiar. It's an intermediate working out into at least four major areas: entertainment typesetting system. cards. You can also input onto computer discs and document. The final output, of course, is the ultimate uses, current awareness uses, reference and search The top line—writing, editing, column or block for- read them into the system. You can take the material page that you want to distribute. There are many uses and educational uses. Each box shows some of matting, and makeup—are decision-making func- from another system on-line or you can get it in a kinds of final outputs. If it's adequate, such as on a the media involved for each kind of communication. tions. People such as editors, designers and package that was prerecorded on an off-line word processing machine, you can use a typewriter machine. Internal publishing make decisions on what is going to be placed on the output. The most graphically sophisticated output, of page and how it's going to be placed there. Below are Three common input devices are the tape perfor- course, is . four boxes—entry, proofing, storage, typesetting— ating keyboard, the word processing typewriter which COM is a special variation of typesetting output in the which are support functions. They may be crucial to can interface with typesetting systems, and the optical Types of Communication and Medo microforms field. It involves special CRT machines the system, but are not decision-making functions. character reader (OCR). which set type in miniscule characters on microfilm. Organization information flow Processing There are limitations on what they can set, usually Somewhere in the system you've got computer power one typeface, maybe two. They usually can't handle that enables you to manipulate the material and to graphics and different sizes of type, for example. But Typc.s1 InformatkIn Rows store it in memory for a while. Once it is in the sys- for specialized applications, such as producing lists of in an Organization tem you can edit the content, give it format, prepare data, they are quite efficient. it for output. The video display terminal can be an output machine =OM You can have centralized processing by using a mas- if you think of it as a device on which the user calls 111111191111111 MINN ter computer at the center of the system, or you can up information on the screen, reads it and gets every- J 4. One system doesn'tfit every situation. have decentralized processing by splitting the com- thing he needs to know without further permanent puter power up into a number of units and packaging output. This kind of service is developing in the in- This diagram (4) illustrates an important principle, it with other machinery. I'm sure you know about formation industry, where companies subscribe to namely that if you start at the basic word processing the problems of writing programs, of software. One on-line services such as Lockhead and SDC. A sub- level (in the uppermost box) with simple documents, of the newer developments is the idea of firmware. scribing company has an in-office terminal. Some- as you move out to the four other areas documents Firmware is simply a program that was originally one desiring certain information calls in through the 6 Organization information flow. become more and more complex. This implies that a software package which now has been packaged terminal, over an on-line network, and is connected we are not going to be able to use just one system for This flow can exist in an organization in many, permanently in integrated circuit chips so that it to any of a variety of data bases or collections of in- every kind of situation. As you move out from the many places, and in different forms. For instance, remains in the machine as a permanent piece of formation in which he can search for what he wants. simple communication where one person writes it assume the triangle in diagram 6 is an organization. programming. He pays for this service on a time usage basis. The phototypesetter Editorial/composition interaction text. So, if the is done on a video termi- with some processing capabilities. Small mini com- Let's take a closer look at the phototypesetter of today These applications of computer power have created nal, the proofreading that was done before becomes puters, or certain amounts of computer circuitry, are and some of the radical implications of these power- some improvements, but they still involve only part of the copy editing function because once the built into the various peripheral devices to provide ful machines. A modem phototypesetter literally can typesetting in a conventional composing room copy editor is finished the system has the corrected certain functions in these machines. So the computer set everything we want—in complete pages—fully. environment. The real challenge and the real material safely in its memory—no additional verifi- has become distributed to the other devices. The automatically. Thus, in essence, we have taken that economies from electronic systems come when we cation is needed. The copy editing function may be memory is often portable, taking such forms as industrial plant, the composing room, and con- take this kind of process and lay it against the edito- lengthened somewhat, in order to do a good job, but floppy discs or tape cassettes. You link the devices by densed it into a box. But this does not solve all our rial process that takes place before composition. it is still a net saving over what you would need for a carrying the memory discs or cassettes back and forth problems. What do we do with the work flow that separate proofreading. The correction function be- between the machines. Consider a typical word proc- we've always had to live with? What does this tech- comes part of the copyediting as well, because the essing arrangement with a typewriter. It may have a nology do to that work flow? It allows us to change a editor has already made the corrections in the stored magnetic-tape storage device so that you can store great deal—and this is where we make the payoff in copy. The markup at the beginning of the compos- and retrieve, play back and edit. Here you have orig- this system. ing room process is really a translation of in- inal input capability on the keyboard, and some structions from the publishing house; therefore, processing capability. You also have manipulation the person who decides the design specifications in ability in that same keyboard by playing back and in- Conventional Composition Department the publishing house can simply insert these directly serting your changes. And you have a form of output

—a typed page. It can be considered intermediate Keyboard Typeset Proofreads Correct Melee. Parsed in the system via a keyboard or some other device, and collapses markup into the design and dummying output, or it may be final output such as the final let- Computer-Aided Composition Department process. Similarly, if these people input these instruc- ter, document or page to be transmitted. You can de- tions properly into the system, the system can then scribe today's typical word processing systems with Proofread tttoo.ed PrO0he I=1 generate madeup pages and eliminate manual this approach. Computer-Based Composition Department makeup and paste-up; these functions then collapse The stand-alone 12_e 9.Interfacing the editorial and composition into the design and dummying function. The one " Another popular kind of machine is the stand-alone f i . departments. thing left from the composing room to be done I _I separately is the typesetting— the very end process. phototypesetter which has a video terminal and a This process has been standard almost since the be- keyboard. The keyboard is used for inputting. ginning of time, as, shown in the top of dia- The human factor The video screen and the same keyboard provide 8. Corrections can be made and makeup done gram 9. You write the material, edit the copy, design Some people will argue that you can't have the writ- manipulation capability, and final output is produced before setting the type. and dummy the pages, send the material out for ers write material on terminals all the time. This is through the typesetter. Many such machines have typesetting, get the finished material back. I don't Here, in the top bar, is the conventional composition absolutely correct. From this. there have been some now been expanded to take floppy disc memory know of any publisher who is willing to trust a department work flow, one that is very traditional. assumptions made that in certain fields, especially capability as well, and they can be teamed with other typesetter completely, so someone in the editorial You keyboard and set the type, proofread it, correct it, the book industry, this negates use of the new video terminals from a number of machines. office sits down and proofreads it as well. And you make it up into pages, proofread these and then cor- technology. Not so. Look at the last bar at the bottom. check page proofs in the editorial office too. The Editor's rect them. The more times you go around and around Assuming that you get a from someone to get corrections made, the more involved things typesetting takes place in the plant as shown by the who has not typed it into the system, then you must So much for the theoretical diagramming of how in- second bar, which represents the kind of computer- get, but those are the fundamental operations that add the rekeyboarding function back in as a neces- formation is organized and how it flows. Now let's based composition department indicated in the pre- happen in a normal sequence. sary cost. But you will still have a tremendous net sav- consider how specific equipment and systems gener- vious diagram. In many of the advanced operations ate, record, process, store, retrieve and output infor- Computer-aided composition ing from all of the other composing room functions today we are already living with this situation. But that can be collapsed into the editorial process. This mation and match these technologies to purpose. If you are going to use a cornputer to speed this con- look what happens when we begin to think in terms kind of approach is being proven out emphatically in These subjects were covered at Vision '77 by Donald ventional process, as represented in the middle bar, of not having the composition department use the the newspaper business. It is being developed in cer- Goldman and Ralph Squire. you spend more time at the beginning to think and equipment, but having the decision makers use it? tain book and magazine situations and will become Remember our concern with work flow. plan. You mark up copy with instructions for important in in-plant and word processing fields keyboarding, then you keyboard it. If you use a video as well. The Word: terminal in this system, once you have keyboarded and placed the copy into magnetic storage, you can Current directions Copy Processing/ bring the image back onto the screen of the terminal, Let's go back to the original electronic system, dia- Typesetting and proofread and correct it right there. This is more gram 7. The basic concept that we started with in the efficient than correcting the type after you have it set. early '70s was a system in which all of the different Then once the text is correct, you can typeset it, make devices were wired together. In this wired system, we up pages, proofread the pages and correct them. transmitted the information back and forth, and the There are a number of systems operating in this basic processing was done in a central computer. mode today.

Computer based composition Stand-Alone System

Poreeet Here, as shown in the bottom box, we push the type- pe setting function back even farther. We go through the 10.Keyboarding becomes an editorial same markup-keyboarding-proofreading-correction function; other operations, formerly sequence as we did before. But in this case we assume executed in the composing room, are we have the electronic capability in the system to now done in the editorial department. make up pages on a video screen or in some other In diagram 10 the basic editorial flow is shown in the manner. It doesn't have to be done on a screen; it can middle bar. The composition flow is shown in the =INN be done in a controlled program operation such as upper bar. If your writers work on video terminal has been the case in the directory field for a number keyboards instead of conventional , the of years now The pages are made up by the computer way they are doing in a great many newspapers to- reacting to instructions from an operator or from day, the composing room keyboarding is collapsed Donald H Goldman some kind of a program. Then the job is typeset. into the writing process—you don't have to re- 11.There is a current trend to a system in which Independent Management and There can be two variations to this procedure. In one, keyboard in the composing room because the text is the components are not wired together. Technical Consultant to the Graphic Arts you go most of the way without makeup and then you captured in machine-readable form from the instant The current trend in equipment is providing us with a Phototypesetting, a thumbnail history do a little paste-up afterwards; in the other, you have it is written. Next, one of the things a copy editor does new configuration, portrayed in diagram 11. Many of total automatic makeup in the machine and you get is clean up the copy; in a sense, he is proofreading as the systems today are not wired together. What you In the early 1940s, phototypesetting was first absolutely finished pages as output. well as changing words and generally improving the really have is a number of peripheral devices, each • developed as a method of producing higher quality imaging for . It was later that we errors than we would have if we had filtered out then make a decision, put in a as needed, The mag card is another way to store material. Some appreciated its flexibility, utility, and cost effectiveness. these errors at the outset of the job. A job should be and continue on. This method has been found to give manufacturers are talking about adding mag card In the 1960s, we began making use of computer thoroughly pre-planned before it is typeset. the best quality in terms of line endings as long as the readers to their phototypesetting devices. technology, a key to the recent growth of typesetting Interactivity operator understands hyphenation, but it has been a Reels devices. Computers for phototypesetting have, since handicap in terms of speed. Studies have shown that the 60s, become faster, smaller, and less expensive, You want to increase your ability to control and pre- 25 per cent is gained in production, especially on The granddaddy of all magnetic storage units is the making phototypesetting machines with increased dict your output. This is the one value of many of the short line lengths, if operators do not have to make tape reel. It enables information to be taken from a capability more widely available. interactive systems. With video display terminals, for end-of-line decisions. computer and outputted on a typesetter at relatively example, editors can review a composed galley of high speed. You can keep a lot of information on a A word of caution. While we must learn to accept type for copyfitting. They can also check for correct This paved the way for so-called idiot keyboards. reel at a very low storage cost, and the process is quite change, we should not jump on the new technology hyphenation before the copy goes through a These keyboards are nonjustifying. The operator pays fast. Phototypesetting machines and the cathode ray bandwagon without justification. Decisions on typesetter attention to the text, puts in the codes, and does not typesetter (CRT) devices that utilize tape reels run change should be made with sound justification,and have to worry about line endings. Since keyboarding System flexibility much more rapidly, and are far more reliable, than not rationalization. Too many companies have in- is a major cost factor, the time saved with such idiot machines using paper tape. The problem is cost. You stalled computers for their PR value instead of for Perhaps the computer/typesetter system can be used keyboards is an important consideration. The output start at $5,000 for such a reel drive. But if you have a economic reasons. A good example is the companies for operations beyond typesetting. If you have a large tape then goes to a typesetter where the hypenation computer, and want to use your data base—and have that jumped into CRT typesetting several years ago data base, can you make use of it? We talk about word routines can be put in electronically. the programmers to do the software that makes the just because it seemed the right thing to do. Many of processing. Can you use the word processing output If speed is not the problem, but accuracy is, justifying data composition useable—this can be a most effec .- them are no longer with us. as input for the typesetting operation? Or can you use keyboards will fit in well, although they are more ex- tive way to communicate with your typesetter. a variety of typesetters with the same input machine? pensive than nonjustifying keyboards. Obsolescence Magnetic discs Keyboards VDTs Take advantage of the equipment you have now if it There are hard discs and flexible discs, or floppies, as is still cost effective. If you had good sound justifica- As the industry has progressed, a whole array of VDTs are used, of course, in the visual text editing. they are known today. There are even mini-floppies tion for the equipment in the first place, it can re- keyboards have been designed. There are paper tape They enable you to review the keyed text, correct or and flippies, on which you can record on both sides. main cost effective for years. For example, at a com- devices with counting (justifying)_ keyboards. lbday, alter it and check that the changes have been made Disc hardware is relatively low-cost. A hard disc,whid pany I visited in Pennsylvania several years ago I saw more electronics are being utilized. Some keyboards before setting the type or storing it away for later use. is the most expensive, runs $10,000-$15,000 for have one-line display screens. Others look just like a computer over here. a phototypesetter over there, With a page display or visual area composition and hardware. Floppy disc hardware is less than $5,000 typewriters hooked up to electronic systems with and various terminals—quite an array of equipment. makeup systems, this interactive page makeup per- and the discettes cost less than $10.00. Hard disc video display terminals. And some keyboards, of But, standing at a bench in the corner someone was mits you to see the end result immediately, often with packs enable you to store up to five million charac- course, are connected directly into the phototypeset- a tape. laying it down on what seemed to be a representation of the type in proportion and in the ters, sometimes more, while floppies range from 250 ter. Some of these, too, have a VDT for corrections a breadboard, razor cutting-in the corrections and proper place on the page. to 500,000 characters per discette. Like cassette for- sticking them together with Elmer's glue. "Hey," I and show you what you are setting before the typeset- mats, the disc formats may differ in different devices. said to my guide, "what's going on here?" "Look," he ting process. Many of the input or editing units operate in a batch mode, interactively. Some modes, though called in- Computer (Core) memory answered, "she can read those codes faster than you Training operators could read a manuscript. We've accumulated all these teractive, actually are quasi-interactive. The compu- This is the form of electronic storage into which you Training should not be overlooked as you move into tapes. If we tried to convert them for our computer, it ter computations involved are fairly rapid, though. put information, which is retained (usually tem- new technologies. An appealing thing about would take several years. This method is the most You can record on such media as paper tape, mag- porarily) until you enter new information. Besides typewriter-like keyboards is their familiar key layout cost effective one for this job." This same company, netic tape, discs—either hard or floppy, or output core memory, there are ROMs, PROMs, and RAMs —familiar to anyone who has taken an elementary by the way, still uses Photon 200's early phototypeset- directly into the typesetter. (Read Only Memories, Programmable Read Only course in typing. There isn't that much more to ters for their math work because they continue to be Input media Memories, and Random Access Memories), all of learn, at least about the basic keys. You have OCR and the most cost effective for this work. Not to say that its which are forms of semiconductor memory. The OBR (Optical Character Recognition and Optical Bar The one that is probably the most popular and most methods won't change, but the firm still makes good drawback with RAM, though, is that when you turn Code Recognition) typewriters as well as strike-on likely to remain so for a while is paper tape. The the power off the memory disappears, so you need a use of equipment selected with good judgment. material is not very expensive, and the hardware is composition, such as the AM Varityper and the IBM paper tape, cassette or disc device to restore the com- Making an equipment decision Composer. There are blind keyboards without a hard relatively inexpensive, too. This is a positive medium. puter program. If you type a code you see that you have punched a Before you change, think about such things as reduc- copy print. lb help operators spot and correct errors, hole in the tape. Proficient operators develop the abil- Dedicated keyboards ing your cost per unit output at a given quality stan- some blind keyboards have LED (Light Emitting Di- ode) displays. LEDs are also a part of all direct input ity to read tapes. You can get paper tape almost any- These are keyboards, such as those on the direct input dard with your present, as well as future, equipment. where. It is portable; you can•carry it anywhere. It You want to be able to increase your speed, with, typesetters. They show 32 or 64 of the last characters machines, designed exclusively for typesetting. If the does have a few disadvantages. It is relatively slow hopefully, no sacrifice of quality. You want to reduce set and allow an operator to find and correct errors keyboard hasn't been designed to run the typesetter before sending the line into production. and bulky... and have you ever had a paper tape in your system, you have to be careful that you use the the mechanical complexity if possible. There is no knot, or, on a long job, while running it through your point in going into a technology that is going to VDT input units right coding information and language for the typesetter, had someone step on it? typesetter. make it harder to do things. You should be looking to When I first saw the VDTs (Video Display Terminals) I do things in a simpler way, to reduce labor and costs. thought, here you are typing along, you see this in- Hollerith cards Programmable keyboards If you follow these fundamental rules, you will im- formation on the screen, it's going to distract you. You These are data processing cards with the copy typed Many keyboards are programmable, being able to mediately identify your present weaknesses and those won't get any production out of something like this. on them. The cards are then sequentially photo- execute a string of commands when only a few keys elements important in helping you make an effective But I must admit that not only can you get good graphed. This is a form of cold type or strike-on com- are struck. This ability to compress multiple instruc- selection. production out of it, but you can also use the VDT position especially suited to directories. If you want to tions and have them exploded and inserted into the Physical support requirements creatively. You are able to type something and change make a change or add a new section, you just change text with a minimum of keyed instructions is known it around without fully retyping. Using a VDT to do or add some cards. as formatting. lb reduce labor costs, whatever the equipment you creative writing is pure luxury The ability to make Magnetic media OCR choose, doesn't mean to lower wages. It does mean changes easily and interactively is the premise, not using production people more effectively, perhaps by just with the VDT, but with any kind of input revision All cassettes may look alike, but the internal coding It is much cheaper to buy a $900 typewriter than a cutting down the time it takes to perform some oper- typewriter that allows you to type information, formats are often not compatible. The cassettes, , $5,000 terminal with paper tape and all the special ations, such as corrections, or by making it easier to change it, store it, then bring it out and edit it before however, are popular and relatively low cost. Their keys needed. This consideration has opened a new mark up and keyboard complicated text through finally committing it. Hence, the appeal of "word drives are not very expensive, and they are readily business, cottage industry keyboarding. In their format usage. In other areas, you may want to reduce processing",for offices, typesetters, et al. available. You can store and recall material on a cas- homes, people type OCR copy on a per page basis. corrections and pasteup time and the follow-up oper- sette. You can use it a number of times—but you may Editors can create their own OCR copy and send it to ations with an electronic makeup device. Or, by bet- The justifying keyboard get a surprise when the tape stretches. Though their vendors for conversion and typesetting. We have ter pre-planning of the text, cut down on later errors Keyboards that have the unit width values of the dif- fragile, with proper care and use cassettes can be a operator familiarity with a standard typewriter and corrections. How often we hastily set the type on ferent characters you are keyboarding tell you when very cost effective medium that can also be interfaced keyboard. The machine is portable from home to a job, then we find we spend more time correcting you are near the end of the line. The operator can directly to many phototypesetting machines. home, department to department. Cost of training and labor is low, and effective use can be made of weren't around, and they were relatively slow By the You should be aware of how the characters are drawn can also display the graphics in the desired position. formats. The keyboarder is typing, not composing per mid-1960s, comparable, in fact better, models were on the CRT. The density of the scan lines will affect These full-page systems are the ultimate objective, se. Many of these devices enable you to type in a about $50-60,000. They were all good quality' the quality of the type. There is a stepping effect along since they offer electronic pasteup capabilities along string of codes (format the text) that will command machines, but because they were somewhat slow the edge of the characters. This is a characteristic of with the high-speed batch processing of text. This is the typesetter later on. You write the codes into the they weren't always cost effective, and the keyboards the machines generating from digitized important since the weakness of many of the present manuscript. The typist keyboards them in along with to drive them were expensive and cumbersome. . You are not photographing the , but creat- Display Ad units is that they do not always save time on the initial composition because much of their op- the body copy. The price revolution ing it. You are defining how long and how wide the One negative aspect of OCR is the time it takes to get scan lines should be to form a character. Many CRT eration has to be done interactively. In the 1967-68, Compugraphic introduced a your typewriter adjusted. Accurate, clean copy is a typesetters will have more than one mode. One machine, at first designed for the newspaper indus- Proofreading must for the OCR reader. Because of this problem, higher speed will give you fewer scans per inch (used try, for under $10,000, with some slave (computer- one manufacturer has developed a machine that tests for proofing), and a quality mode, with more scans There have been a number of attempts to proofread driven) versions for under $5,000. In 1970-71 came typewriters for accuracy. In one test, of 25 typewriters, per inch, which will improve reproduction quality, by machine. However, people still do this job best. the Dymo Pacesetter. Photon (now Dymo) virtually only two didn't need adjustments. Since the problem but lower the operating speed. The lone proofreader remains the most popular way wiped out its entire product line with one piece of can be remedied, it is a minor point. I make it only so Digitizing graphics of proofing and probably for many kinds of work, the equipment. A-M came into the photocomposition that you know that your typewriters have to be put in most cost effective. The copy holder/reader team uses market with a Pacesetter-like machine, first the 725, As you digitize the input you could also use a scanner good shape before attempting OCR use. one person to read the copy while someone else later the 747, and then the 744. Their latest machine to merge in graphics of various forms. These include checks for errors. This method is used for detailed The difference between. OCR and OBR is the bar code, is the 748. And Mergenthaler came out with the VIP. type, line graphics, halftones, or special effect financial:material, for example. Of course, the cost a little code at the bottom of the characters of the al- The average price of these machines dropped to screens, You can merge these with the type, manipu- goes up when you use a copyholder/reader, but it is phabet. We have becoine familiar with bar codes be- under $20,000. It became more economically feasible late their size and reproduce them on the CRT face. not proven that accuracy goes up, or that the proof- cause we see them in grocery stores today. The values for many of us to get into the typesetting business. You literally set pictures as well as type. You can simu- ing process is speeded up for all types of work. principle. is the same. While there was more to it than just going out and late halftones. This is one of the principles being The,OCR/OBR scanner buying a machine, it was a start in the right direc- used in ink jet printing, where digitized data can be Some exotic proofreading techniques have been tion. In a similar manner, $40,000-$200,000 compu- produced through a hard copy output device that tried, such as the cassette tape recorder reader. But Here's how a scanner works. There is a light source. ters have given way to computers that cost from works on the scan-line principle. think about it, Why does that have to fail? All the There is also a rapidly rotating drum, which focuses $1,500 to $10,000 and are as powerful as some of their dese, doses, and dems must be filtered out and under- on the special characters on the bar code, or the Another digital scan device is the laser typesetter. The expensive ancestors. laser has only one moving part, the moving mirror, stood. isn't obvious, and it takes as long characters themselves, then converts them into sig- (or longer) to recite the text than it does to read it. nals used to punch paper tape, or into other codes The third generation which receives a high intensity light beam and transmits it directly onto the photosensitive material. (possible magnetic) that are readable by the typeset- Photo-scan typesetters use a light source, a font Another machine approach to proofreading, used ter. One problem with' OCR is its slower speed, though The ultimate advantage of a laser will come when it for numeric or highly technical work, is double and a scanning CRT—that is , a high-resolution tele- exposes the image directly onto a printing plate. The some relatively high speed devices have been vision tube, which electronically, or electro mech- keyboarding. this teams input with computer pro- developed. light source used by conventional phototypesetters or grams that attempt to match the lines of the two sets anically positions the scanned character on the CRTs is not intense enough for most plate materials. The Visual Display Terminal typeset page. Speeds are up to 600 newspaper lines of input, and, if something doesn't match, print it on per minute. Page makeup a terminal. The corrections are then made interac- The use of the VDT for input and editing has in- tively or by patch insertion. This process is used a lot, We used to talk about page makeup as the manual creased significantly over the past few years. It almost With these systems the font character is scanned and for example, in telephone directory work and statisti- pasteup of paper and . We are all familiar with has become a necessity. Back in 1970-1 an inexpen- reproduced on the CRT face, then lined up and im- cal typesetting. Another type of electronic proofread- the technique—rubber cement or wax, and scissors. sive VDT unit cost $17-18,000 or more. Today. you can aged onto the photographic material. You can do ing is the AT&T spelling program. designed to catch Today we can use the computer to assist in this proc- get one for $3,000 or less. The \DT is a fast keyboard, neat tricks with the electronic positioning of charac- commonly misspelled words. but its great advantage is its interactivity for editing. ters. You want a condensed typeface? An expanded ess. First you define your pages (we are talking • The operator can see the input results and make version? You want it bold? You want to italicize it? You about standardized page layouts) through keyboard Proof media commands which call up various format instruc- changes immediately. The VDT has flexibility and want to slant the character? Back slant? Fore slant? We have been discussing typeset output that not only can include a programmable keyboard much like the You can do all of these electronic tricks. Just instruct tions. Then, when you enter your data into the sys- tem, it will he formatted into these preselected type shows us the editorial information, but also whether input devices discussed before, Many companies use a the machine (through codes) and the standard it has been set properly. This is often the most expen- VDT for both input and editing. Some VDTs even have Roman face can be manipulated, distorted, ex- blocks. By assembling the text blocks into pages, we have performed electronically the same function as is sive way to proofread, because you have to go dedicated keyboards which, as well as being designed panded, condensed, made bold, or whatever you through the typesetter to produce a proof, then repeat for typesetting, are connected directly to the typesetter. desire. done manually. The obvious disadvantage is that you can't see your results until the typesetting is done. the cycle to correct and even recorrect it. A combina- A first generation phototypesetter The cost of the CRT is coming down..Most CRT Also, corrections or adjustments must be done tion of computer printout and an interactive VDT (or page makeup system) has the most potential for The Intertype Fotosetter was little more than a typesetting devices a few years ago were in the manually. combining the editorial proofing requirements with linecaster with a photographic unit in place of the $100-$125,000 range. About two years ago we started Typographic previews the typographic ones. You can proofread right on the -casting mechanism. Its mats look like line- seeing machines in the $75,000 range. Then Com- terminal. However, this can tie up a relatively expen- casting mats with film negative characters. They are pugraphic took another leadership role with this On some interactive VDTs you can see the line end- sive device, diverting it frOm its primary purpose. Yet dropped in front of a light source and photographed. kind of device and came up with a machine that ings before you go to your typesetter. This is useful for ranged from $23,000 to $44,000. In 1977-78 you are accurate editing and corrections, but it does not al- in many newspapers today editors are doing just that. lbday's technology falls into three categories: Photo/ going to see other CRT units that will be even more ways solve the problem of visual copy fitting or help This way. as they read the story, editorial adjustments optic, which some call second generation photo- cost effective, more versatile, and will produce even in the positioning of copy blocks. The trend today, can be made immediately. As VDTs become less ex- typesetting; electronic/mechanical, in which charac- better quality work. especially for ad work, is to have a VDT that will rep- pensive, perhaps we will be making more use of ters are photo-scanned instead of being photo- combined proofreading and correcting.methods. The fourth generation resent the type as it will look, before actually repro- projected; and digital-scan, using cathode tube and ducing it on photographic material. These devices This has the potential of increasing productivity and laser technology. The digital-scan machines give you still more flexi- are coming down in price significantly. Some accuracy. Matrices in the photo-mechanical devices or in the bility. With these machines, characters. instead of machines only a few years ago were in the $200,000 One last word photo-scan devices require a light source, a negative being in photographic form, are stored away in dig- range, but recently one was introduced at $30,000. So photographic character , a lensing system, itized (reduced to computer code) form. You can store you can expect these units to become more cost effec- I have covered perhaps too quickly all aspects of the and a mechanical character positioning capability. hundreds of fonts, electronically produce them by tive for the commercial market in the near future. typesetting scene. You probably are confused and frus- drawing the character on the face of the CRT tube, trated. Hopefully, by the time you have digested all Speeds go from five to 150 eight-point, 11- lines Full page display per minute. and from that point project them onto the image car- the Vision '77 reports in U&Ic, some of the confusing rier (film). With these units you can do all the elec- These units are an advancement on the interactive aspects will be sorted out. However, it still will not be The second generation tronic tricks you could do with photo-scan devices: VDTs and display ad systems. With them, all the text enough. You will have to visit, touch, examine, re- With the exception of the Alphatype, the early second And, because you omit the photographing of the font on a newspaper, catalog, advertisement, etc., is dis- view and interview just to determine what, if any, generation machines were very expensive. They matrix, you have astronomical speeds.. .from 2000 to played in position, and, with some machines, in the equipment or method you should use. It takes a great needed a justifying keyboard because computers 3000 newspaper lines a minute. exact typeface to be used. There are units today that deal of homework. Good luck! We use a standard forty-four key IBM typewriter with produce it. 'Iwo-number symbols say, "don't repro- VDTs duplexing of the period and comma, so we can put duce the word preceding," three-number, "the line Video Display Terminals allow us to manipulate our The Word: OCRs & VDTs down eighty-six different characters. From a preceding." copy on the face of a cathode ray tube (CRT). typographic standpoint that is not enough. We need to be able to put in characters not common to the If you were to compare the IBM OCR with a Some copy displays in single columns, some in dou- typewriter keyboard, as instructions. We do have one piece of copy typed on a standard IBM Courier face ble. The whole premise and concept of a VDT is this. character that is different—a delta symbol in place of you probably would not know the difference. There is There's a bright spot or a blinking bright spot or the . The little triangle is used in some very little noticeable modification. underline, which is called a cursor. "Cursor" is a systems as the insertion code. It must precede and The editing process computer oriented term. Some cursors are blinking follow certain information. Our keyboard uses the After you take the copy out of the typewriter you go bright spots, some are outlines, some are underlines. IBM OCR Courier typeface. The slash mark (/) is on through the editing process to be sure the copy is cor- But the premise of the VDT is that anything under the right-hand lower row of the keyboard and is our rect before going to the production cycle. Since the that cursor or to the right of it can be deleted or al precedence character. It allows us to input - scanner we use is not too sensitive to red, a red felt tered. A set of cursor control keys permits you to move instructions: by striking it before keying a command, pen is used to indicate where the errors are in a line, the cursor left or right, up or down, to any position on we enable the scanner and the typesetter to and any corrections are put above the line accord- the screen, and thus tell the VDT where the change is distinguish commands from copy. ingly. After that is done you go through with a black to be made. You then add, delete or change copy as Mnemonic coding felt pen. The scanner recognizes-the black carbon necessary. The cursor controls are in various formats ribbon image as the typewriter's and also recognizes on different keyboards. If your manuscript requires pi characters and your the black carbon from the felt tip pen. You can go typesetter has the ability to reproduce them, you can The cursor control block of keys might be called an back and cross out where the changes are to be made put them in the copy by using a slash mark and editor's electronic pencil. In our Harris 1100, the or where you want copy deleted or inserted. One mnemonic coding. Journalists and authors have home key would put the cursor in the left-hand posi- Ralph I. Squire thing you must be aware of is training. Training is Special Projects Director done this for years. They over and put tion of the screen. Keys with arrows on them move basic to all this technology. You must look at every Frank E. Gannett Newspaper characters in with a pencil or indicate them with the cursor to the right, up, down, and to the left. A character in the typewriter in terms of it having a pic- Foundation, Inc. mnemonic coding on the side. Any character that the control key can be depressed with a cursor directional ture frame around it. Every character sits within that typesetter can reproduce for you can be put in by key to move the cursor through the limits of that di- Wouldn't it be nice to talk to a device and output our frame. When you cross it out make sure you don't go simple mnemonic coding. The coding can be rection. We are also able to move the copy across the copy directly from it for all the verbiage we go outside that frame into the frame of the next charac- designed by the , not the production people. screen. It can be scrolled up or down to bring into through? It really hasn't come to that yet, but we do ter. To be sure, you can simply cross out a part of the It should be symbols with which the journalist or view other parts of a story, or the next story. Special have some effective pieces of equipment now and I'm character or the complete character. It isn't necessary author is familiar and uses, and not those peculiar control keys bring you quickly to the bottom or to the going to provide you with more details on some of to blacken out the entire area. Just a single black line to the word processing environment. Our special start of the copy. Other keys can remove a character, a this equipment that is in widespread use, and on will do the job effectively. After that's done you put the characters can be put in to specify typesetting word, or a line. And there are keys which allow you to some of the things we think of as revolutionary, copy back into the typewriter and type in your addi- functions, like bold face, italic, etc. ", /24, delete information you have defined on the screen although they are essentially evolutionary. tions. In correcting the word. "family," for example, /HM" would give you a 24 pt Medium with the cursor. The two technologies we are going to focus on are 1. one would type... Delta, space, FAM, Delta, This . In a similar way you can specify a style optical character recognition (OCR and OBR too), causes the scanner to drop down 21/2 spaces below the Character deletion is usually instantaneous, but some (from the storage in the machine's memory) or and 2. the VDT systems. These two technologies came line and look for the correction, so when you type in systems provide for a redundancy in respect to the column lengths or widths, a switch of typeface or into being in 1970, primarily in the newspaper field. corrections between the lines you type them in as word, sentence, and block deletions so size, etc. Very simple mnemonic coding can provide Here, with a large daily product, the per page they appear in the copy line above. If there is more that you do not lose copy accidentally. For example, a all the necessary coding in your copy. production cost was very high. Economies were than one correction in a line, you copy them in se- word or a sentence removed, instead of leaving the crucial to survival. Keyboarding was recognized as a Typing for scanning quence as required. Of course, there are other situa- screen at your first request, may be.underlined or may major cost factor and one objective was to eliminate tions, but the point is that anyone who can type can start blinking, saying, "Dummy, do you really want to double keyboarding (as reporter plus typesetter). We hear all kinds of concepts about how to type for produce copy for a scanner. get rid of me?" If you do, just strike the remove key a the scanner. I believe that you don't need to have a second time. If you don't, touch one of the cursor con- OCR and VDT's, then, were designed for reporters as printed form. You don't really have to do extra- OCR's limits trol keys and it will stop the function. In practice it's a well as for skilled typesetting people and thus became ordinary things. An author or journalist should be But this system works better for typists than for au- device which you can get used to very quickly. typewriter oriented. It was decided to use the editorial able to type very much the same as he or she has in thors, reporters, or editors. The basic problem that we environment so as to eliminate the later keyboard the past, except for some very basic fundamentals. have come to recognize in the publishing industry is Above the character remove key there is a key called operation. One thing you don't do is strike over. And in news- that OCR is fine for the reproduction process, but is the insert key. This enables you to go out of what we OCR paper journalism one of the bad habits journalists not a very effective tool for the original author, news- call the normal overstrike mode of operation. When OCR was first introduced in 1970. It takes typewritten have is x-ing out typing errors in copy We try to avoid paper journalist, magazine writer, whatever. The rea- you strike it and then strike a character that charac- copy and translates it to machine language through new work procedures that can disrupt the creative son is that we just don't think logically. We, in news- ter converts to the new character and you go to the a device commonly referred to as a scanner. thought process. You can treat the scanner the same papers for example, commonly have a second insert mode. At that point old copy moves out of the Input way you treat copy off the manual typewriter—space thought on something. We write a paragraph and way and you insert the new copy. You would be sur- over, retype the word correctly and cross out typing prised how little instruction and time is required to In an editorial environment the primary input device may insert it in the middle of the copy. It's not at all errors by hand afterwards. It's a very effective process. use these systems effectively. in use today is the IBM Selectric typewriter. It is a uncommon to write a paragraph at the bottom and precision typewriter and, with its interchangeable FOrms for OCR Typing then, when you get all through reading and editing, With paper and pencil editing we have the luxury of typing element, you can select a special element with you say, "That would make a better lead than the one going back and reading what we have crossed out Some companies use preprinted forms for OCR typ- characters the scanner can read. When you type for I wrote at the start. I want to move it up." There is no With a VDT, never delete until you have put in what ing. What we do, and strongly recommend, is to OCR you require a little better quality paper than way you are going to be able to do that with a scan- you want. Don't write over what's there. Just put itin standardize the operation. For example: one inch scrap newsprint, which newspapers have used in the ner without completely retyping the copy The indus- insert mode, type in what you want, then delete what margins, vertical line space based on the scanner's editorial environment. A 201b white bond would be try has recognized this and today, for the newspaper you don't want. There is no way to get back deleted requirements (some are five lines per inch, some are sufficient. We use the one-time carbon ribbon and, of industry, OCR has pretty much peaked out. The trend copy six, etc.). We use a 10 space preset tab. You have to use in newspapers today is not to consider the scanner course, the special typing element that the scanner The first VDT was not called a VDT It was called a the typewriter properly. You don't indent with a space unless you can justify it in other than editorial areas. can read. You can use special ribbons, or a Tech III CRT proofing and editing terminal. It was first bar—you use the tab for indenting. The trend is to VDTs. ribbon which is about a third of their cost and lasts brought out on the market in 1970 by Harris Inter- five times longer. Most of the scanners today read There are two ways of correcting a typing error. There (Editor's note: At this point Mr. Squire showed slides type. (Now called Harris Corporation.) The 1100, by Tech III copy quite effectively. I have also seen good is the red felt tip pen method, described later, and de- of different OCR scanners, explaining the chief the way, is still manufactured on request. It was first results with a correctable film ribbon. This permits letion symbol editing. In the latter, a number symbol characteristics of each. He indicated that scanners priced around $18,000 and was not intended for the keyboarder to eliminate errors and go to the is used in the scanner as a deletion instruction. If you are cost effective in such non-editorial areas as word editorial use. It aimed to facilitate the reading and scanner with corrected copy. Scanners are not as type a character and put a number symbol after it, it processing centers, handling of syndicated copy, editing of paper tape. It also handled incoming wire fussy as everyone seems to think. tells the scanner to ignore the character, and not re- classified ads, and capturing wire service copy) service copy. How did you edit wire service copy? You didn't edit it. You had to take it as it was and chop out agement principles in making new equipment pur- anachronism. Out of this need, photocomposition extracts or translations and who could easily record certain and edit it journalistically. The decisions. So much is at stake. First you have to began to be adopted in the 1940's and early 50's. But their work directly on tubes. There are people who Harris 1100 was developed to take paper tape, read it, determine what you really need to do and what you photocomposition presented some significant prob- produce information in remote locations, producing

display the information on the screen, and allow you can do now Chart out what you are doing, using a - lems that could only be resolved when computers that they hope some publisher will take. to effectively edit and delete as required, and then it PERT chart or the CFR project type. Determine if you came into being. In the early 1960's computers began Their work comes in over the transom and may then would generate a new corrected paper for the produc- are doing it right with your present process before you to be applied to some of the perplexing formats of be rekeyboarded. And there are people whose normal tion process. A lot of other manufacturers produce consider putting in any new equipment or system. At photocomposition. In the 1970's we had the equally function is to be "captive writers" in a particular - stand alone VDT units today. this point, systems are cost justifiable in areas where significant development of the minicomputer which vironment. Other people write at home at midnight. There are people who write a few words that need to (Editor's note: Here Mr. Squire showed slides of and they formerly were not, but you have to be able to again transformed the character of the industry and be engraved in marble and others who write stuff compared diagrams of VDTs and VDT systems intro- pinpoint where your cost justifiable point is. the way computers relate to photocomposition proc- that is meant to be thrown away without hardly even duced over the past seven years. Mr. Squire also re- essors. Mini-oriented computer typesetters, as we being read. The tremendous variety of what is writ- viewed portable VDTs currently used by on-location know them today, are where the action now is in ten, how it is written, and what it is written for news reporters. They weigh only 26 lbs, fit under an typesetting. Case Histories creates the problem we are all facing. airline seat, use cassettes that can transmit by phone Word processors and typesetters compared lines to a central computer or be put on line to a paper The present minicomputers have been applied to The total picture tape punch. He also described the system approach make much better typesetting systems than word It doesn't do as much good to look at only part of the "where we take more than one VDT and control it by a processing systems. 'Today, word processors are fairly task as it does to see if we can step back and examine central CPU," and compared several major systems. A different historical naive and ineffective tools. I think this is changing, the entire function. And this obviously involves a total He explained that "the systems approach does one perspective but the word processing industry can learn a great restructuring of the way our industries have related to different thing for you. Other than having a screen deal from the photocomposition industry regarding themselves in the past. This restructuring threatens showing you the mode of operation, where we can do the development of better tools. As consultants, we jobs, it threatens institutions. We are trying to salvage the normal writing or editing of a story, we also have are often intimately involved with selecting systems some part by finding new roles to play. None of us directory modes." Directories are, literally, electronic which require us to look at editorial functions, and really knows how it's going to go but we find it a very files. Editors can call up on their screens and we find in general that the solutions proposed by exciting time in which to be alive and, we hope, well. what is in the file (memory) and call up, by key- manufacturers and by their equip- WP/typesetting differences boarding the correct file number, a story that is in ment suppliers are comparatively expensive and the file.) relatively ineffective. What are some of the differences between word proc- essing and typesetting? Word processing is deficient Newspapers the point of entry Basically, we have an editorial revolution in the sense that it usually doesn't offer any kind of Most of this equipment was designed for newspapers These changes in typesetting have been inaccurately file management system. It's up to the individual rather than for commercial applications. Later on, described as a typesetting revolution. What we are operator to keep track of his tapes or his floppy discs, as has been true of so much word processing and really witnessing is an editorial revolution. This or to some supervisor to follow the status of jobs. typesetting equipment, we can expect very capable means that it just happened backwards, as many What we find in modern typesetting systems, gener- lower priced systems for the.commercial and office things do, so illogically, in our society. We started to ally speaking, is a superb file management arrange- markets. A real problem with some of the equipment automate the back end (output, typesetting and ment with directories, cues, cross-directories and so and systems is that they aren't human engineered. composition) and have been moving closer to the on—the ability to ascertain the status of jobs. Screen reflection is one of the problems, keyboard front end (input and editing) all along. This came Word processing systems, by and large, make insig- layouts another. Too often, in the printing/publishing about because the technologistmouldn't understand John W. Seyboki nificant contributions to the work flow Work flow industry, lack of acceptance by authors or journalists anything but the back end. The really exciting does not proceed through the word processors as it has been due to the system being designed unilater- President consideration is how far "up front" the process can Seybold Publications, Inc. does through a good typesetting system. In the latter ally by production oriented people, rather than in take us. case, the material which is input stays within the sys- cooperation with journalists or other word Editor's Note: After Vision '77 examined The typesetting function, interesting as it is with all tem until it is finally disposed of, if it is indeed ever originators. many of the new word processing and of its aesthetics, is still merely an output phenome- finally disposed of, in typesetting output. (The input How many journalists and authors are really very typesetting technologies, it asked a panel non. What we are talking about here is much more may simply change form and become part of a data good typists? In the newspaper industry, I would say headed up by John Seybold to present case significant, and this trend toward the automation of base.) sixty to eighty percent of them are very bad typists editorial functions is still proceeding. It concerns studies ofhow several different kinds of in- Queuing, filing and the multiprocess editing and and most of them are "seek and ye shall find" two- functions which are extremely difficult to define and, stallations had been put together and how composing stages are characteristic of the large fingered typists. They get by. They are very good au- as with most things involving computers and most they were performing. Mr. Seybold's typesetting systems today, the typesetting plus edito- thors, but they are not very good communicators tasks involving society, the actual doing isn't as dif- panelists were Joyce Kachergis, Harold rial front-end systems. And word processing people through that keyboard. As a result, as they type they ficult as the defining of the task. Understanding the Chevalier, and Perrin Long. Before calling have not yet really begun to address these problems must alternately watch the keyboard, then the screen. task is terribly difficult. on them, Mr. Seybold offered his own in the most constructive way. For the most part, they If you had to do that, with bifocals, I'm sure you Page makeup are offering not solutions, but panaceas. would be a little disgusted. comments on some of the points covered by previous speakers. It's not hard to write a page makeup program. All we Formatting flexibility Prices breaking have to know, and nobody has really defined this, is New model VDTs are coming in already in the I differ with previous Vision '77 panelists in my Formatting flexibility is generally much more exten- analysis of the history and thrust of the word proces- to come to grips with what the page makeup is sup- $30,000 price range. Essentially they give you a uni- sive in typesetting than in word processing systems. sing/typesetting relationship. There has been an posed to do. We need an understanding of what the fied composing system, tied to a videosetter/compu- There are some advantages to word processing, in assumption that these two phenomena developed functions are before we can really address the prob- ter program capability that enables you to formulate little things like decimal alignment of tabular mate- simultaneously. As I look back on their evolution, it lem.We have to look at the way words are generated copy or a story on the screen, pass it through the cir- rial, documentation aids, and adding totals of col- seems to me that the word processing revolution and follow the flow until they come out the other cuitry of the videosetter and then call it back and get umns when you're inputting tabular statistics. But on doesn't explain the typesetting revolution at all. The end, if indeed they ever need to come out. We find a copy on the screen, and even a hard copy printout the whole I think the word processing people have to typesetting changes occurred long before there was such a bewildering variety of explanations that it is to get advertiser's approval prior to committing it to look at what's happened in the graphic arts industry such a thing as word processing. It is true that the hard for us to design the system, if indeed there is one in order to design appropriate systems. type. The state of the art of the industry has mush- ideal system. roomed very rapidly at the same time as prices have MTSC, when it came out in the early 1960's, gave Needed...a more embracing system We find there are some people who write by scrib- come down. impetus to the new phenomenon of word processing. But, until recently, word processing and typesetting bling on pads, others who write by dictating into There's another ballgame which has to do with the Cost justification pursued independent courses. It is only recently that equipment, with their feet on the desk. There are large computer configurations, and the typesetting It is very difficult for even fulltime expert systems con- people in each field have come to recognize the people who write by dictating to stenographers, industry has to address that problem too. We have to sultants to keep track of all the changes taking place other's existence. What happened in the graphic arts where the logical place to enter material into the sys- find some method of accommodation which - in their industry and to truly measure their signifi- industry, as I see it, was that the rush to offset print- tem is at the stenographic level. There are people braces, strictly speaking, stenographic-type word cance. Nevertheless you must practice basic man- ing made to some extent an who write on video tubes. There are people who do processing functions, typesetting functions and file 10

management and work flow functions, and large scholar for other scholars and university press books University press books are—by advertising standards computer data-base applications. represent a full range of typographic problems: — conservatively designed. What is needed, moreover, is a corporate overview of University press hooks have a circuitous proof flow. They have a tradition of quality in design and pro- these problems, and this is not yet happening. People They are written by a scholar, who is someplace else, duction, exemplified by their high proportion of rep- are making the wrong decisions. Decisions are being and must be proofread by that scholar because he or resentation in national and regional book shows. made by the wrong people. she may be the only one who understands the book. The edition size, the number of books printed of an Inplant printers are often judging the kind of equip- individual title, is usually small— 1,500 to 2,000 ment they should have only in relation to their own Orazio Vecchi copies, to meet the small market. needs. Or, decisions are made in an agency by vari- - Who buys university press books? Scholars iothe ous divisions or departments about what kind of particular field of study and libraries. Students and word processing equipment they should have. Each many scholars prefer to get this type of book from a one to his own fancy. They're made by computer library. So scholarly publishing has an obligation to people about what kind of systems and equipment use good materials that will last, paper that will not they should have, all with no overview of the inter- self-destruct. 4. The inside of a VI-P. Drum holding tape is relationship or possible interrelationships between Education is costly; scholarly books are published at a on left lens system is at top center. functions. This can't continue because we're all in financial loss but, hopefully, for a cultural gain. They the information game and all of these problems and At picture 4 you see the inside of the VIP with the are an important means of transmitting knowledge challenges have to do with the processing of infor- drum holding the tape on the left and the lens system and research. mation in all forms. Within a company there is toward the top on the metal pipe. What will it do? Its redundancy of capability and equipment; there are L' Am fiparnaso An in-house start intelligence is measured in k's, each k representing just over 1000 bytes or positions in the computer. This overlapping abilities and yet much unused time on A New Edition of the Music with Historical and Analytical Essays The low edition sizes cause the cost of composing a is a 16 k machine. too many machines. This doesn't mean that we want scholarly book to be a very high percentage of the one gigantic supersystem, but it does mean that there Transcribed, Translated, and Edited by This VIP has a small exception-word dictionary. An Cecil Adkins total cost of manufacturing the book. Because of this, has to be some accommodation. Management needs in 1971, at North Carolina we began our experiment exception-word dictionary is a list of words, word to make the decision at a corporate level. At least, if No Lb P Cheat with in-house composition by leasing an IBM roots or word segments stored in the computer core. they're going to go ahead and let people in different stand-alone and composing three books with star- It also has logic hyphenation. These machines departments make their own judgments they should 1.The scholarly book. tling savings. This strike-on composition produced hyphenate by first checking the exception-word dic- adopt the policy of: "Rent it. Don't buy it until we typelike characters, more legible than typewriting, tionary; if the word being checked is not there, they The scholarly book's purpose is to communicate new take stock of where we are and where we're going." but the 9-point unit spacing resulted in loose lines use logic hyphenation. We can purchase more intel- In many instances one same system will do a better ideas in a professional field; or it can convey new and'less legible type. ligence for the typesetter enabling it to perform more and cheaper job addressing both typesetting prob- knowledge or a new interpretation resulting from the functions. What kind of type will it set? With care and lems and the so-called word processing problems. scholar's research. After a period of leasing time on an IBM MT/ST on the proper choice of typeface, the quality is legible But we also need to consider such other things as campus, we purchased a Compuwriter II, a direct- and can be handsome. data bank problems. There are really exciting oppor- entry phototypesetter. We composed 19 books on the We have absolute control over the interword spacing. tunities for storing information, using it effectively Compuwriter, again at a great savings and with de- The parameters controlling the interword space can and getting at it when you want it. cent results. We were convinced by the savings, the flexibility, and the convenience that composing our be established. Three case studies own books was not only a way to survive but a way to The case studies that follow were selected because survive and maintain,quality. On the basis of the sav- they represent interesting situations, interesting prob- Carolina Home, ings we effected, we submitted a request for an lems in quite different areas. Let's see what light their Gardener equipment grant to the Kresge Foundation and were experiences can shed on some of your problems and Chris Florance Linking the two extremes, and so articulating a coherent in- riu■ awarded $65,000 in 1974 to purchase equipment to tellectual response, was the radical? belief in the relevance of the sme fate of liberty in America to its situation in western Europe in on some of the thoughts offered above. experiment with in-house composition. general and Britain in particular. Thus a sustained interest in the was not only an end in itself but had an exterior purpose, and as radicals wrote about America, whether publicly Direct-entry typesetting or privately, they not only dispensed advice but pondered its significance for themselves. They implicitly sought through their advice to direct America toward developing a model Case History: Direct-entry typesetting equipment has changed the community that would exemplify the requirements of their own 2.A regional trade book. ideologiml system. world and indeed changed ours at North Carolina. Another area of scholarly publishing is regional trade A University Press After receiving the Kresge Foundation grant we de- books. cided that simply purchasing more Compuwriters SKIALETiiElA was not a good solution for our press. We wanted a more sophisticated type-generation system, more 5. This is the spacing wefeel is most legible A Shodowe cst Trut h, computer power, more efficient correction, better and that we normally use. Certaine S atti re type quality, and more flexibility in mixing type fonts. We decided to purchase a more flexible configu- ration with the phototypesetter (which sets the type) as a separate item from the input source. (Input, of course, is whatever feeds or drives the typesetter.) minimum 8, avcrag Linking thetwo extremes, and so articulating a coherent intellectual response, was the radical? belief in the relevance What immediately occurs when the keyboard is sep- of the tate of liberty in America to its situation in western. Furor, in general and Britain in particular. Thus a sustained arated from the phototypesetter is that many more interest in the United Stares was not only an end in itself but had an exterior purpose, and as radicals wrote about functions are possible—functions like more sophisti- America, whether publicly or privately, they not only dis- pensed adsice but pondered its significance for themselves. cated tabular composition formatting; and these they implicitly sought through their advice to direct America functions can be either in the keyboard or in the moord developing a stereotype mod?l community that would exemplify the requirements of their own ideological system. typesetter. We purchased and still use a one-drum Comet I Mergenthaler VIP. One-drum means that it holds six type fonts. This is enough flexibility for Joyce Webster Kachergis bookwork, Our VIP sets type from 6 to 72 points on University of North Carolina Press 6. Very loose spacing reduces readability. Production and Design Manager the line. It can float accents over or under any character. We have a pi font which is a type font with Very loose space (6) results in an almost unreadable The University of North Carolina Press is a scholarly 3. Conservative design is common in Univer- blank positions so that we can put our own charac- paragraph. When the type is enlarged, the space is publisher. The university press book is written by the sity Press books. ters on the font. exploded and we have to automatically kern.

11

havior. That means that they are not designed to Red is not visible to the scanner, so the red margins, code is typed on a scan sheet to be used as a header simply have raw words fed in. They do not justify and red type and red markings will not be scanned. Black sheet and then read into the scanner's computer and The New Republic hyphenate, or generate ligatures. They do not pro- is visible, and all copy or markings to be scanned are stored in memory. The computer can also be pro- duce totally coded tape without the aid of human in black. The copy can be seen and checked through grammed to recognize character combinations and hands. They are programmed to greatly assist the a window. The scanner stops when it comes to a output codes. The New Republic compositor by computer calculation. This assistance blurred character that it cannot read. The operator of We used the header sheet to produce characters provides enough information from the keyboard on the scanner can make corrections by keyboarding which the VIP has on its fonts but are not on the IBM The New Republic 1 how the type is going to look and fit, to allow the them in, using the regular and editing keys. typewriter we use when we type for the scanner. This compositor to do extremely complex typesetting, To use the scanner, we type the manuscript, send it to (10) is a code sheet from which the header sheet is some of which would be too laborious without the The New Republic be scanned and to produce a paper tape. The scan- made. aid of computer calculation. nable retyped typescript is proofread against the orig- What can this keyboard do? It will read paper tape or inal manuscript and the tape is sent through the show you the type on a screen, allow you to-move it terminal where the corrections are made, the format- around, delete and add letters or words. It has a jus- ting accomplished and the line endings established. sesteamil. • ....ill iv snl• ■ ...KW N.. 7. We would kern as shown in the third line. %a 04.11 is rot :Mit.. 101.. Oirk .11 tification program with composition hyphenation. It 0.10 • mon• .11 inli .9• Aiva•O The corrected tape is run through the photocomposi- 5 •••■•• .ftrit Precs.e. ==.4 krt. • • ...sus!. ...= means taking space out between the letters has memory keys that the compositor can use any 1/1•41 (now 10. .• •• 141 is.s. it.) tor for the first and only time. Proofs then go to the = 010ii to achieve a more pleasing and legible combination. • • o. ow. way she wishes. For example, the running head • • .! (&/./.• 9alt /Ai—Ad editor and author. abor The top line (7) is as the machine would set the let- • • A,. .100, could be set once and every time the compositor ts.• ..r.s ileri ii•••■01,10 • ifi ters if left to its own devices. We have taken space out Comparing proof flow methods • •••=0•Aiit 1 .1 Owe., strikes that particular memory key, the running head =I • *1.1 in increasing amounts. The bottom line is too tight. would automatically be set. It has a search function; •••=• We tried many variations before arriving at the basic It = ■070. /1 • wail 1alt We would use the one indicated. you can tell it to search for a particular word and the t• • ••■■• tied routine described. At first we put all codes in during k ••■• ort. slseill No. Wit 10.<1.. Typeface reproduction quality cursor will move along rapidly until it finds that the initial typing and went directly from scanner to n • •••••11 &&&&& .011 tirwitett ■ ....I. • jitk...ji, word. phototypesetter, bypassing the expensive editing 1.11* row*. e ow.* eo. ...a.... .1. In•e wisit • 41••■• 1.■•• <1.01 var. 1. We have great flexibility in space, size, and speed, but la Iwo It can also, of course, be used to typeset a manuscript terminal. am VII 00.11 • •1•• ..1•41.1 with photocomposition some have suffered = 4,11 !•3 1..• .0400 O. • I. is.. or as an editing terminal. This did not work well because: 11 • wt. • badly. Typefaces that were designed to be printed • r .1. • ■ •■■•■••■■/ 1.The typist is not a trained compositor and many • • 0011 1 . with metal and pressed into paper have thinner lines Factors that we consider in evaluating methods of twit s .1 ensoin i•it situations arose which required specialized type- because they spread when printed letterpress. Notice composition are speed and the cost per hour of differ- ent machines. setting knowledge to resolve. We constantly re-evaluate and modify our methods to 2. Many kinds of copy demanded that a "counting" try to arrive at maximum utilization of machines keyboard be used to foresee awkward breaks, etc. and personnel. It is important to remember that 3.We had to rely totally on VIP computer hyphena- 10. The code sheetfrom which the header sheet

sample--Roman character A-42 pc machines by themselves are helpless...dormant. tion for line-ending decisions. That simply was is made. Knowing this, we made a major change in December not accurate enough to let us avoid massive rerun- AAAAAA of 1975. ning of the galleys through both the editing ter- Renato Janson Sabon Times HeNefica minals and the VIP/Processor. Amen The goal of maximum utilization Instead of keyboarding our manuscripts on our ex- We then modified our methods dramatically. The pensive AKE terminals, we began to keyboard for typist simply retyped the manuscript, the only codes scanners on an IBM Selectric typewriter. The advan- used were paragraph and italic codes. Our idea was tage is that a relatively inexpensive machine with a to re-insert the editing terminal into the sequence, typist is used to capture the keystrokes—leaving edit- letting the typist type as quickly as possible, with no ing terminals and compositors free to perform their code instructions to worry about. Then, after scan- 8. Some typefaces that were designed for let- specialized functions. ning, the compositor and VIP could be used to put in terpress need to be redrawn to reproduce all typesetting codes efficiently before the phototype- well when photoset and printed by offset. OCR scanning setting step. This made sense functionally. the Janson 'A' (8). The great contrast between the We use the scanner as follows: The type must be clean We first tried having copy proofread before scanning. thin and thick lines will result in a page that looks —that is, not filled in—so that the scanner can read Corrections were written in and it was the responsi- like a picket fence. it properly. Scanners read by placing a grid over each bility of the scanner operator (at the 's) to letter and, by logical deduction (part of the letter is in There are some typefaces that work. We have found interpret and insert these codes. We quickly found (a) this square and part of the letter is in that square, that Times Roman is satisfactory and that - that we did not like relying on the printer for this therefore this must be an R) "read" the specially can be beautiful, but requires care in typesetting; the function—it was not done well—and (b) since we typed page at great speed. This method is called opti- shape of the letters requires careful interletter space. were running all material through editing terminals cal character recognition, or OCR. The 20th-century faces— Sabon, Palatino and Hel- anyway prior to type generation, we might as well vetica—are very satisfactory. The typefaces for photo- make corrections ourselves during this step. composition can be improved with more careful de- We now have evolved a system that combines the 11. Kerning code sheet. sign on the part of the manufacturers. best utilization of both methods. This involves ana- We also use the header sheet to produce ligatures and In short, those typefaces designed for letterpress—to lyzing the manuscript and making the following kerning combinations. We use this scanner pass to be printed by pressing the type into the paper with a decisions, based on the needs of the particular implement a fine typography program which we resulting spread—lose their character when simply manuscript. devised. Since the Compuscan is programmable, we copied for photocomposition. If they were adapted for 1.Typing for OCR with all codes in (simple ms.); have programmed character combinations to be photocomposition using the type form as it looks 2.Typing for OCR with part codes in (moderately keened and generation for the different type- after it was printed by letterpress we would have simple ms.); faces we use. During the scanning these kerning much better looking and more legible faces. 3. Typing part for OCR and part keyboarded (difficult combinations and ligature codes are output. There- Keyboards ms.) fore, this effects kerning combinations before line endings are determined, so that the word space is This has resulted in the greatest efficiency and cost We have 3 AKI keyboards, paper-tape driven. This based on the typefit after kerning. keyboard is a compromise between blind keyboards saving. and large general computer systems. The software 9. Copy being read into the scanner. The scanner we use (Compuscan) is programmed by Author's terminals and computer contained in this keyboard are geared Here (9) you see the copy being read into the scan- the scanner user. It is programmed by making up a If we could have our authors write their books directly to all levels of "operator interactive" kind of be- ner. We use red and black pens to mark the OCR copy. header sheet. Each character with its corresponding on terminals, what a great saving that would be. We CONTINUED ON PAGE 50 12

CHRONOLOGY

The chronology that follows is as up-to-date as we can make it. 1900: born in Haag, Austria, near Salzburg 1919: completed military service, and became appren- tice to an Austrian architect; left for Darmstadt, Germany to work on packaging and interior In 1939, one young German artist and ment you can work there directing Con- stands for. Of course, I agree with him, design. two young New Yorkers, comparing phi- tainer Corporation's design department:" that the Bauhaus cannot be repeated 1921: enrolled as a student at the Bauhaus in Weimar, Germany; studied painting with Kandinsky; losophies, found certain kinships. At except in a context adjusted to changed began experiments with typography the last aufwiedersehen, bewildered by "You've done an environmental times. From the Bauhaus, people came scu 1puret inAspen.i Did that derive 1923: designed the 1st Bauhaus book with sans- • what, even then, commercial graphics to practice in America... Breuer, Gropius, type, designed multi-digit money for the Thuringian had wrought, the visitor bewailed, from the Americanut hidinns and Albers...and have made their mark: government; was responsible for the innovative "Why is it difficult to be simple?" their earth sculpture?" design for a stained glass workshop trademark. By the 1970's, that young man, born in "No. I was planning a treatment for the "Do you still want to redesign the 1924: travelled through Italy and Sicily, sketching and alphabet, dispense with capitals? painting; made experimental designs for a street- the baroque of Austria, his leitmotiv a environment of the Aspen Institute for car structure and newsstand using prefabricated In print, you double-spacefor for simplicity within the total con- Humanistic Studies. I envisioned some- units. cept, had taken his probings to a third thing sculptural; the surface of the earth claclariri ty, after the period." 1925: placed in charge of a Bauhaus workshop in typography, where he taught for 3 years; left the dimension. Herbert Bayer, seminal de- could be molded. It would not cost much — "That's only the first step. Why write with Bauhaus to work in Berlin as a designer; designed signer, has spanned the world with typo- it was a question of money in Aspen, two alphabets when we can do it with one? "Universar a Grotesk type face. graphics, tapestries and architecturals, getting things done on a shoestring. The alphabet needs complete revision 1926: designed the extraordinary poster for the and has felt the earth move with his sculp- "This idea derived in part from previous and reorganization — a more phonetic Kandinsky exhibit. tured landscaping. studies of geology and the configurations alphabet. We have to add more symbols, 1930: collaborated with Gropius, Bauer and Moholy- Nagy in the design of the Deutscher Werkbund Exquisitely tailored in green tweed, the of the earth in connection with my work do away with writing one sound with exhibit in Paris. urbane Bayer was in NewYork recently, on the World Geographic Atlas. I also had two or three symbols. We could use one 1931: was art editor of Vague; collaborated on design interviewed en route to Jerusalem. He done a series of paintings on this subject. symbol for the sound "eh: . presently of "Building VVorkers'Union" exhibit in Berlin. first came to NewYork from the Bauhaus, I suddenly conceived the mountains as written with two letters in the English 1933: designed the geometrically constructed sans-serif the art school founded in 1919 in Weimar, living organisms which move on a time language. For the same sound you even typeface, "Bayer-type': Germany, to eliminate barriers between scale and at a speed different from that need three letters "sch" in the German 1938: came to the US.; began a new career in advertis- ing; became consultant Art Director for J. Walter artist and architect, crafts and industry. of the human being: language.There are endings which always Thompson, was Art Director of Dorland Interna- stay the same, like "ung:' or "ing:' or the tional; began his association with the Container "Why was Germany ready for an "In your relation as conceptual word "and:' It would simplify enormously Corporation of America. advanced aesthetic concept?" designer to the client, how do you if we had symbols for them. It would not 1946: became design consultant for the Aspen development. mirk t°Yether constructively?" detract from the richness of the language. "Because of the economic and moral break- Most recently Herbert Bayer has been the design down of the nation after defeat in the "I have long believed in collaboration and "The problem of reeducation towards consultant for the Atlantic Richfield Oil Company First World War, people's minds were ready teamwork and look back on some success- the use of simplified phonetic writing is and is resident of Santa Barbara, California. for new and promising orientations. ful experiences. perhaps less complicated and difficult SELECTIVE "The totality of art was more understood "In relation to cooperation with clients than switching from right-hand driving Baum, Peter, "Herbert Bayer —Ein Universeller in Germany than it was in other coun- I am cautious not to talk about art during to left, or to the metric system. Gestalte(' Beispiele aus dem Gesamtwerk 1919- tries. While painting might have been presentations but concentrate on the "Do you have plans? Would 1974, Neue Galerie der Stadt Linz, WOLFGANG- more individually developed as a fine art purpose of a project, on techniques, on you like GURLITT-MUSEUM 1976 to do something in a different way?" elsewhere, it didn't look outside itself to 'explaining meaning and content. I use Bach, Otto Karl, introduction, "Herbert Bayer, A related areas. In Germany painting had the word 'art' as little as possible:' The softly accented voice replies posi- Total Concept' THE DENVER ART MUSEUM 1937 developed a relation with architecture — tively "Oh, yes, I always change and am Bayer, Herbert,'"Hertert Bayer—Painter, Designer, "You deal with the concept, first? Architect' REINHOLD NewYork 1967 (German with the total area of design. At the often tempted to try again something new. edition, Otto Maier Verlag, Ravensburg 1967) Bauhaus, Gropius called on the crafts "Yes. By explaining the nature of the solu- But it is more a question of deepening Bayer, Herbert, "Typography and Design;' in and the artists to unite, to form again tion, I have few difficulties getting ideas and expanding on a once discovered path. CONCEPTS OF THE BAUHAUS; THE BUSCH- REISINGER MUSEUM COLLECTION, Cambridge, the role they played in the Middle Ages accepted which are new and unusual. I "I might concentrate more on free 1971 where they worked together as a unit have been envied for having such marvel- speculative work—painting, sculpture, Black, Carl, Jr, introduction, "Two Visions of Space towards building beautiful cathedrals. ous clients, but I believe my clients are writing, ideas for the environment. —Herbert Bayer and lngeborg Ten Hoeft' THE "This was a romantic idea which soon not basically different from anyone else's. "Now I spend much time on commis- HUDSON MUSEUM, Yonkers, New York 1969 changed orientation towards the present, "But I considered myself lucky twice to sions, which involves traveling, cone- Bois, Yves-Alain, "Herbert Bayer, Procurseur de l'Art towards industry, to the idea of using the have become friends with the top echelon spondence, meetings. The businessman tcoiogique,' L'ART VIVANT, 19, Pads 1971 Dourer, Alexander, "The Way Beyond Art: The Work machine as a tool...the machine can be in industry. Walter Paepcke and I were has done his work when he is finished of Herbert Bayer' WITTENBORN & SCHULZ New worthy of the artist. friends, and he gave me assignments with meetings, while the creative artist York 1947 "A second point was a plan to break such as were necessary, and then he let only then can begin his work. Goeritz, Mathias, and Ftampolini, Ida Rodriguez, down the separations between fine and me do them without interference. "After my stay in Jerusalem, I go to "Advertencia Sobre y Para Herbert Bayer' ARQUITECTURA/MEXICO 107, Mexico City 1972 applied arts. We looked upon the two as "This is the case even to a larger extent Linz, Austria. I have designed a fountain Grote, Ludwig, , "Herbert Bayer,' an entity. We believed the crafts —ele- with R 0. Anderson. He has the gift of there. I have to look after that. And I have MARLBOROUGH NEW LONDON GALLERY London ments that make art—can be taught, but choosing somebody in whose work he to go to Munich and to Nuremberg to see 1968 not art itself. You cannot make someone believes and then giving him responsi- tapestries being woven. I've just come Mtiller-Brockmann, Joseph, "Herbert Bayer: The Bauhaus Tradition;' PRINT New York January- talented. An artist becomes a good artist bilities but letting him alone in his own from Philadelphia where I am working on February 1969 when he has the basis of a good artisan field. I am able to deal with the top execu- an outdoor mural and on a small park. Neumann, Eckhard, "Bauhaus and Bauhaus ...herein lies a certain modesty. We did tives, a different situation from trying to Before I left, a new project came up: new People' \AN NOSTRAND & REINHOLD New York not see the artist on a pedestal...we were convince a complex corporation from the headquarters for a large corporation in 1970 concerned with the place of the artist lower departmental level up. I realize that Denver requiring special design concepts, Neumann, Eckhard, "Herbert Bayer's Photographic acquisition of an art collection, etc:' Experiments'' TYPOGRAPHICA 11, London June in his society. We're still coping with this enlightened industrial leaders such as 1965 Native-born to mountains in Europe, problem today:' R 0. Anderson are not easy to find. "Personality in Print Herbert Bayer' introduction by Political Germany an ocean away, Bayer "There is a curious reciprocity between Bayer has always been fascinated by Egbert Jacobson, PRINT New York July-August began his career in the United States the sensitive sophisticate whose eyes yet mountain climbing..."It's an accomplish- 1955 designing an exhibition of the Bauhaus are on the pragmatic path to simplicity ment, a challenge. You do something that Prampolini, Ida Rodriguez, introduction, "Herbert for the Museum of Modern Art. His and the pragmatic men who are firmly is difficult, and you use the whole man to Bayer' MARLBOROUGH GALERIE Zurich 1974 do it. You have to stay on top. There's Rampolini, Ida Rodriguez,"Herbert Bayer, Un hegira for simplicity then led him to focused on the bottom line:' Concepto Tatar INSTMJTO DE INVESTIGACIONES Walter Paepcke of the Container Corpo- marvelous beauty involved. It's different, ESTETICAS, University of Mexico, Mexico City 1975 ration of America. For years, friendship Paul Randieels that establishing a climbing rock, or ice, or a path. It's an Roh, Franz, "Die Zwischenposition von Herbert America was not a sue- bound these men who each believed in Bauhaus in experience in texture, climbing rock. You Bayer," DIE KUNST, Munich, May 1956 transplant a unity of the arts in an industrialized c'ess —that you can't a climb different mountains because they Raters, Eberhard, "Painters of the Bauhaus': about that?" FREDERICK A. PRAEGER NewYork 1969 society. In America at that date, an adver- culture. How do youfeel have different rock....Above all, is the feel- Staber, Margit, introduction, "Herbert Bayer tisement was literature. "I started to "I don't know what he means by success ing of accomplishment:' Dbilder aquarelle foto': NEUE GALERIE AM „youve LANDE$MUSEUMJOANNEUM Graz 1974 work for the Container Corporation... or not success. Certainly there is enor- the simplicity we ads with copy limited to 15 words. The mous influence in systems of teaching. It spoke of long ago?" Van der Merck, Jan, "Exercise in Polarities: The first works I did here were simple, visual. also has influenced architecture, and all Paintings and Sculpture of Herbert Bayer," MARLBOROUGH GALLERY New York 1971 "In 1945, I went to Aspen. That was made areas of design throughout the world, "No. I'm still looking... :' \Mngler, Hans M., "\brwort: and Hahn, Peter possible because Paepcke said, 'If you even Rand. If I remember rightly, he was GERTRUDE SNYDER "8nfiihrung' in Herbert Bayer, Das Druckgrafische come to Aspen to help me with its develop- very impressed by what the Bauhaus VOA bis 1971, BAUHAUS ARCHIV Berlin 1974 THIS ARTICLE WAS SET IN ITC AND ITC AVANT GARDE GOTHIC CONDENSED Pro..File:

DRAWING BY DIAN FRIEDMAN Bill Golden was a complex man. Bill must be an easier way' He would laugh. was for seeing. In one of Bill's ads, he had CHRONOLOGY Golden, one of the handsome men, was a "I remember with what pleasure I a plaster cast of an ear and of an eye. That complex entity who dealt from a base of looked forward to weekends when he was at the beginning of television. It was 1911: Born in , on the Lower East Side; was the youngest in a family of 12 children; attended simplicity. Bill Golden was a complexity brought home type proofs, illustrations, a simple, direct idea:' the \bcational School for Boys, where he was whose simplicity rested on an ability to— or photographs for a job. Within an hour, Bill Golden has written in My Eye... taught photoengraving and the rudiments of in Lou Dorfsman's words: "cut through the room was one mess of papers and `Our 'service mark' was conceived primar- commercial design. the fat" in a problem. Bill Golden was a photostats, and he was immersed in ily for on-the-air use. It made its first Worked in Los Angeles, in printing plants, and in demanding man, yet "...all of us would the business of putting into book form appearance as a still composite photo of the art department of the Los Angeles Examiner. Returned to New York; worked in the promotion have jumped off the roof for him. If he the type, photographs, illustrations, and the 'eye' and a cloud formation... Later, department of the Journal-American; worked for worked late, we all hung around, working headlines. when I suggested we abandon it, and do Conde Nast Publications, on House & Garden. late. What is that — Loyalty? Fear? "Making it into a unit became an ex- something else, Frank Stanton reminded 1937: Joined the Columbia Broadcasting System. Charisma? When he worked on his own citing thing for me to watch. He had cast me of an old advertising axiom. Just 1940: Appointed Art Director of CBS. projects, you couldn't get to see him until the type, had it set. When it came back, he when you're beginning to get bored with 1941: Married Cipe Pineles; took leave of absence from 8 o'clock at night, when he finished. He divided it into pages, snipping the galleys what you've done is probably the time it's CBS to work for the Office of War Information, Washington, D.C. closed his door, and the whole depart- apart, putting them into consecutive beginning to be noticed by your audience:' 1943: Entered the United States Army as a private; served ment hung around, waiting for approvals. pages, changing them around as much A last question for Cipe...What in Europe as Art Director of Army Training Manuals. I think that was a great quality He could as he needed to:' 1946: Discharged from Army with rank of Captain; turn off everybody and do his own work:' Softly, "Bill was interested in every things did Bill like to do other resumed work at CBS. When there was no need for talk, Bill aspect of living fully. He didn't make small than work? 1951: Became Creative Director of Advertising and Soles Promotion for the CBS Television network. Golden didn't talk When asked to talk but he could talk very comfortably. 'He was an avid reader. When we moved to describe his first interview with Golden, He was a person who would have the most 1958: Collection of his work exhibited at the White the country, he spent a winter reading Museum of Art, Cornell University. when CBS was a radio network, Lou marvelous time at a good party. When I everything b t gardens, andh 1959: Posthumously chosen Art Director of the Year by Dorfsman, now senior vice-president of would feel a party coming on, sometimes emerged from a winter's reading saying, the National Society of Art Directors. the Columbia Broadcasting System, said, he'd say 'Please don't make any parties 'No two books agree on how to till the soil:" Golden was twice chosen as one of the "ten best" It wasn't much of an interview. I had gone next month: because he was going to be art directors by the National Society of Art to CBS for a job right after I got out of the More on BiUfrom Lou Bailsman: Directors; he has received awards at various busy. My° weeks later, he'd ask 'That graphics exhibitions throughout the nation; he army. I left a portfolio with Harry O'Brien, party we're talking about...whom are you "To the 'real Bill Golden: quality was the was a member of the Board of Directors of the who was sitting in for Golden, who was inviting?' I'd give him the guest list, and concept. His thinking was simple and American Institute of Graphic Arts; he inaugurated being released from the army. O'Brien he'd say, 'I like the party, I don't like the brilliant; execution was beautifully sim- the "Fifty Advertisements of the Year" show. felt Golden should do the hiring. Golden 1971: Posthumously become one of the first members guests: He might not cross out anybody, ple. Once, I asked, 'Bill, how do you do an of the Art Directors Club Hall of Fame. wasn't a big interviewer, wasn't a loqua- but he would add names to make it a party ad?' He said, 'What do you mean?' I said, cious person. He said, 'You want to work he felt he'd have a marvelous time at:' 'Where does it begin?' He said, 'It begins here?' and I said, 'Sure: and he said, He accepted women as `Come on up on Monday. professional when you...begin: I asked: 'Does someone Ask colleagues, staff, friends, men in equals, usually come to you with a thought-out premise for an advertising statement?' the stat room, and there will be many "I don't think we ever talked about it. answers, consistently conflicting — harsh He answered. 'Sometimes, but generally The largest piece of women's lib promo- I evolve the advertising premise and con- gentle; shy, articulate; simple, decisive; tion Bill did was to get me into the Art and, in unison, uncompromising. There's cept: Question: 'If you disagree with the Directors Club. I'd been turned down for idea offered by someone else, the client in the classic story of a group of staffers at years. The Club noticed Bill wasn't a lunch who raised the question: "Shall we this case, what do you do?' Answer: 'If I member, so they took him to lunch to disagree I make it my business to come order first or talk about Bill right away?" bestow membership. He said, 'I've no up with one that answers the problem His professional basic training was at intention of joining because you're not a more clearly and makes more sense than Conde Nast Publications, under the professional club. My wife has been eli- the 'idea' delivered by the client. My solu- watchful eye of Dr. Agha, the Legendary. Bible for 10 years, as an art director in bons do not spring from aesthetic Over after-dinner co ffee at her city her own name: The next day I became a considerations but from a business or member of the ADClub. He felt very marketing position. The aesthetics will apartment, Cipe Pineles Golden strongly about admitting women:' talks: take care of itself:" You two pioneered thefour-day His philosophy was to deal with the "I first met Bill when I was working full work week. full spectrum of an advertising problem — time at Conde Nast. He was working full the need, the strategy, the concept, and time at Hearst Publications. We met be- "That was Bill's pioneering. CBS offered certainly, the aesthetics. cause in those days we gave time to him a raise which he accepted, held for Invariably, the most effective advertis- interesting and needy avant-garde pub- 24 hours, then gave back in exchange for ing came from Bill Golden conceived and lications. We were both working at night an extra day off. I began to take an extra executed campaigns rather than those on a magazine called Theatre Arts. day after Bill showed the way" that started with client ideas or desires. "There was a job opening at Conde He managed wet on a corporate The measure of the man is the caliber Nast, and Bill took it, working with Agha level? of those on staff who "hung around": Lou for a year. He said it was like working Dorfsman, George Lois, Kurt Weihs, Mort with a professor who gave you a great 'He was articulate and strong when there Rubinstein, Tom Courtos, Joe Schindle- deal, with whom you studied intensely was something to be said. He in no way man, h -v Miller... for a year eight hours a day. avoided having to say something un- A copywriter on staff, now president of "Bill didn't regard our craft as an art. pleasant. When the industry was another network, wrote: "He was the most He astonished me with the energy he put attacked, he felt attacked. Bill felt strongly stimulating, the most exciting, the most into a simple job. He turned the most [that criticism of radio or television was truly creative man I've met in this pro- ordinary job into an experience by the [ criticism of a thing with great influence fessional world:' attention and the earnestness he gave it on people's lives. It was a seductive me- and by having such an honest attitude. It dium, but Bill felt it had the same faults The obviousfunction of the designer was a most extraordinary interest in as all aspects of life. It needed attention is to design. His principal talent is doing something. I used to marvel that he and battle to make it better. He felt the to make simple order out of many put so much enthusiasm into that job of CBS promotion was to speak for all elements. the broadcast media:' small job. William Golden, from a paper read at the "He had a great interest in graphic Which brings us to the story of 9th International Conference, Aspen, design, in making type readable. It wasn't the eye. How did he start thinking Colorado, 1959. something he allowed to happen on its . .eye”? He died later that year, suddenly. own. I would watch him make type trac- ings until it read right. I kept looking in ' `First there was radio, and the ear was GERTRUDE SNYDER on him now and then, saying, 'There important. Then came television, which DRAWING BY DIAN FRIEDMAN THIS ARTICLE WAS SET IN ITC BOOKMAN AND AVANT GARDE GOTHIC CONDENSED 15

Pro. File: Bill Golden 16

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A Cover for folder with drawing by B Cover of a program kit for Dupont Show of the Month, 1957 C Brochure cover illustrated by Ben Shahn D Network ad by Ludwig Bemelmans E Trade ad, 1954 F Symbolic use of trademark in trade ad G CBS network ad for summer programming, 1957 H Brochure for CBS Radio illustrated by Jean Pages I Trade ad photographed by Arik Nepo, 1956 J Double page spread ad photographed by William Noyes, 1950 K Cover for 80-page book WILLIAM GOLDEN L Trade ad illustrated by Joseph Hirsch

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We have been avid readers of &lc" for some time and feel that this publication i definate proof that "the best things in life are free '. There is but one proble which we call to your attention. As "U&I " is published on newsprint, the pages when saturated with drool tend to disintegrate. We are presently experimenting with plastic lamination in an attempt toy preserve past issues, but the expense is becoming rather prohibative. Any and all suggestions you may have to help us in averting this tragic loss would be greatly appr ciated. In closing we'd like to g on record as citing "U&lc" as the only c se in which we know of "a breath of fresh ai " being mailed 1011111111111111111W 117S11111101y,', from New York to Oregon. Once again our thanks.

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n past issues of U&lc, our famous featured females have run the gamut from designer and illustrator to sculptress and calligra- pher. This time around our Ms.I lady is a lithe blonde triple- threat artist—a New York illustra- tor whose vibrant organic compo- sitions have appeared in the na- tional magazines, on clothes, and as a focal point of many ad campaigns. Jacqui Morgan says that excites her more than the oppor- tunity to apply her special imagery 31600.1acqui Morgan to a new vehicle. This constant rest- less search has brought her from designing textiles to illustration (advertising, editorial, and book) to the design and manufacture of clothing using her own fashion graphics—projecting her artistic sensibilities into the denim scene to make an ordinary piece of clothing a wearable art. Says Jacqui: "It's very seductive, designing apparel. There is great pleasure and satis- faction in seeing your design walk down the street." The samples ap- pearing on these pages provide only a small glimpse of the work of this multi-talented artist whose cli- ents read like a virtual who's who list of corporations, ad agencies, and print publications. As she says, her work is sensual. The intense colors and curves rise and swirl in rhythmic patterns, perhaps echo- ing the artist's own early training as a dancer, and come together in a face, a hand, or a landscape that is disturbing and surreal. It's not easy to say which field she favors. But in her posters, advertisements, illus- trations, and other prints there is an atmosphere reminiscent of the jeans she paints, the linen dresses ornamented like evening gowns, and the things of everyday use her touch transforms into toys. Whether working in two or three dimensions, whether for posters or album covers, whether on clothing or in the palm of a shovel, Jacqui Morgan's artistry has brought a new excitement to illustration and design by way of her unique appli- cation of the graphic arts. ,„4ift(Weifir

aPzin inaa tom_ s 'Aiiattrixoru J*.e.hefelect.../'

30

The Sensualist Approach

,.■ a Z a The work on this double-spread is taken from a a/IA:4,w .4/ta assaal,/ a .4, ac calligraphic engagement calendar put out as a 4//y.ffarava,/ a Y private edition by members of the Society of a eat. ,', , / a.4 Scribes. From the one hundred and sixty entries considered, fifty were printed. Several scribes' at /aAv., I/4 were represented by more than one example

of their hand, with a few calligraphers included 11 Yza4 54'11 I "sans jury" out of respect for their achievements frilaaa/ 4114.4:Mg r and contribution to the profession. U&Ic, after ad l'a a much deliberation, selected the designs on these pages as being the most outstanding. We think the range and technical excellence of the Xyd,A.daaa al,- Ma ‘9,6. l4a pieces is exceptional. There must be great satis- a>47,,,,fa,y,17a 4,Aa' ade-840 dvaa aSaat. faction in being able to turn out work of this 2-aef7 OY.U. al, X,' aa caliber, not the least of which is not having to rlITA k d GOYA S a gil agaNt ,,e; haae44,e close letters to friends with that much-abused -frf" ."'/41Aaf phrase "Please forgive my handwriting, but.." deefwe Truly, as calligrapher Tim Girvin so beautifully has it, "the sensualist approach to the alphabet" LINDA DANNHAUSER

Leanly ro mampiartiourld 101 irearlif ante voursidiwtth, tv trter; tros —rar' TOO DETOfitni6 t1t run( toy(ay trienment-' "Do Anytyr cantk. Am tar - twistiny InGfi-om stet an r' where toe spirit a ortfieLor0 115, to Fir (4ark- ajam. tat atove y on one omen:fin mh tticreTh'i : ur tii-t) _is Lit firtiomsjou imover mow mro Jour morrinmarworc

ALLEN O. WONG

A kter d a designee I area ti; afattern made within a pace. Its outlines nave the effect?Motinn. It kilns and ends. giethings are true about the ektufe CWOD lettere that are true about ell denpu

t have/a:tern and metien. N Ztlta itkpmffau Fl

ainfully but lown5ly, each letter, each numeral, andyunctuaan mark, must be runm'syly ontrived ta gi'v maxiInirm legklity BAN IC mihout entroachay on I nefghbors' fight to be seen. diedto this' delicate problem ?. forms that haw A ythmn wit/tout monotony, and are yleasing lookat. QLPHS FLF HI VOCE' A ccused thouyhimaybeOntaty, I seal assert that 1.—K T the written word has a soul a certain butit-tn lemma flow - which underouryen self-transtnuted into a shape, j Oita a certain exyarssdv outlin e.

CLARK MILLS MARK L VAN STONE

31

On The Making ofwriting fluid A TRIBUTE TO THE GREAT TI I I HUMANIST SCRIBES OF THE FIFTEENTH CENTURY ( i alee three ounces ofsmaff, heav,y, ihrivettri THE LETTERER notherius Oriens • Hicrommus do Sabel )loess °abseil-Cs a ndyouvidtficm rough(y in a mortee Nicholaus lovannts de Va nnis t Giovanni Aretino Johannsistrancus • Glovanot Curio • Fra.scrHir andimfde.Soak in a af measure wine or' PicroStrosk.1, BartolomeoScs. • Trlicc Feliciano PUDDLES TOFE pierces* de GInrilashrtis • Laurent...us Dolabell, NiccoloPol.bm. the sunfor or Ans.-no Simba ldi• Domenico di ruin water and-Rave it in one - 1NKNOW VERY Than nes dr M undi • Bartolomeo Fong• Mauro Cons& WET- NOW VERY DAY C4ovanni &1St*. GlulunoAnlcdci Marcus de Cribellann two days. 04ddtwo ouncese operas or' Domenic,* Calm, do Nam* • Pietro Cennint ' ,Fraser VibAls FINTHE BEST WAY HE CAN. ;tsp . Pracciol Thames*) ncontru ,31,0bus nitre J jaichinus deGLOntibus • Fraser Pcr i4i-1111.16 Re6-foCaraldo darkfnuitoman andftirwetfwith a ..761;annes dr Parvolis • Guido Gatrazzo•lhomas Gilarnsavrcus An dm.* dc Bandis• Kobus Cardogiu • Leonardo Brum - Arc.° , fig Ek,f,:_,eave it in the sun for onotherekey Fra nciscus Catalan-Li de Caltio,TaCobusS/Lacharns •Tsdeus Solacius Clear and.Thini9 LE 1 Barrolomeo SanVito • Peeress CanorticuS • Andnocchius Grrardi or two .olid an osincoof PiescandidoOrcernbrio • Giovan.cancescoMarnsoniUsFarina , -and:far HE LEG THE WORLD .011: • NiColsus de Fiorcriz&_. •, ..Tollannes de Cs nonicus- Mccolb gic7 gum Arabic ancatinveffist it-A , ricranconio Sal land°• Bartolomeo deMassas • Leon rdus de Piodunis CALL II-C_ALLIGMPHYOR LETTERING 1..,doyCco Carbone • Mann, Tornacctli • Crovarundi.GiutianoSoccardi another day and then addaftw)iects LOOSE oRTIGI-FP Gberardo di Giovanni del 01,84,4810Si-10 Agulano• Tliomaso &Plebe Antonio dr1Kario• Angill*Vadius • PautusJohannesArInteramns. Jim ogranatt rind: ,BoiC over avery Cow' WRf1TEN OR BUILT-UP- Mccelb Ilan • Lconardo handsel de Om> • Alberta cc to de Darnel to FranciscohleiG• Laurcnnus Bel lanc,•iupvctOscr Aro. elf dr /1...ysimo CREATIVE OR SIAMS1-1•AS fFpLEASES. franciscus dcAlm zni • Thorns, Bald Moran*. Geoyeus de Isfs.14 &at anofftrain into a gfass or feakvesstf. HE IS ONLY CONCERNED Pic., de Soreshuida • H ierornmusBal mous • Tohann 15a.pCLs,ca de Spada Guhrimus Basciers do Carn, Fraser Brains* • Gerard* dr Camels 9

,\ LICE

JEANYEE WONG

LA 'BRIEF VISIT TO Xlith CENTURY IAbmlt that Acncir.,c those of `Pep leb. rhouch aBseNc, he Italian 'Writiv 131/(aliens you g_ tasks which mequipte LaBogs At his rAsk.. _with physical_ eFFogr that op the yiebiNG peN the heaveNLy scgiBe, ip he tenures coggectly wogbs age copieb. CO,=s4) ,val1cv,564 1 2 • appeals most ro me; Asa, it they besegve pgaise too Foy._ appeal a-peg-haps without 515EM1N9 IN SOME WAy to REASON, Fog By geabiNe the imitate the ACtION Op the AOPEKI} Ne scgipruges he whole- Logb, who, chouc,41 It WAS someLy I NstRucts his OWN eapgesseb picutzazweLy, MINb ANb By COpyIN9 The wRore his Law with the use di" Luinv thwerinno , 13on Amlihno LS fena.ort4wig..04 , pRecepts op the logb he °p ins ALL-powegpul. pNeyeg-.. you mn Gijfy r6f yali pp,r5qA ven ian wit h ,. ,id G.1. e qe,.....r4 si.114,...e. 61;,66y-io spReAbs them FAR 5r wide. much inieet, is these CO Be pi; :,fawanf Sentonlr i"1"IA trandigion . Geofrer "Coq Nappy his besicNS, pgaasetoogthy sazb ABOUt such A bISCIN' his zeal, to pi:teach to meN 9i I ISeb agt, But it IS eNou9h i"""I 6'ii"""ck "," `"'f' f.'67,_ CHAMP, F LE URY with haNbaloNe, to uNI ,^Se. to meNtioN the Fact chat III' ili any twai6ts ! LUAIN I re NOS A wnm ,,,,,,d,.,,,,, , hc .".4Kr.is' roNcues with the pr4Cfe125, rO chose men, Age calleb scgiBes 1,7,::'::„;;;. , ,fiy...... -awsok, 7741131,,rriceff manuscript:az riStr GIVE SALVACION sileNzLy to •liBgagil• who segve zeal- MORTALS, CT CO r19bC AcniNsr ously the just scAles • Li Btu.• 400k 4qiimuncattolerafatikto Siovanniarctonio ."-ea len the illicit rem pratioNs of OF the lo,ab. the bevil with peN ANb INk... Alling 9411104CM .Z_It115111fr, N16011.S' '"''''''' 4 I, _ f' ANb 50, thouch se,steb IN ONE v spot, With the bissemiNnrioN of his wopk he cp2wels C.N.ssukolzus sent&rop -chiwuch bippegeNt pRoviNces. ci,L,cc .eab. ..•••■■• the pewbucc oc his roil is pe) FROM: 4.6 7.,,, ... ,„....., IN holy places; people bet.p, AN INCRObUCCION ..... ...A the messss By which they '-01VINe l3rhutruaN gelatioN z. fr. . "rwr may tugN themselves away chapreg.,0,5X- SCFJ 5es. ptom Base besige,aNb segue Sr gememBeruN9 og i„,,c,...a;A:— Ai, „2,,,,, Ny•ool In IfillI '• ,•::;,••71•• ' . './rer CAISKI Lef 17 ■141/INCAII11,4 , 1 , ",,,, ZY,,, :T , n' , , ' the Logb with heomx c,"-"BFeer 5PeU-1 7 I.6(1,-...'BUTier tit,. F AL Sol'IVES. ° . Y VI514 •

LILI WRONKER TIM GIRVIN DENNIS LUND THIS ARTICLE WAS SET IN ITC ERAS 32 Face to face. To find is a pleasure of the mind, and Penta- below, a "toy soldier" in the camera case, and a "flying gram Papers publishes examples of curious, entertaining, space visitor" in the corkscrew The game is limitless, with stimulating, provocative and, occasionally controversial much depending on the intuitiveness of the, viewer and his "finds" that have come to Pentagram's attention. The collec- imaginative flight of fancy. In his brief introduction to the

'. lion of accidentally created faces shown here was con- Paper, distinguished .American photogrctpher Irwin Dermer ceived, photographed, and assembled over a period of sets out more complex, and even poetic, responses to this years by the Swiss designer Jean Edouard Robert and series of inanimate masks — more complex and poetic, cer- published in its entirety as Pentagram Paper 4 under the tainly than could ever have been imagined when the collec - heading "Face To Face" Responses to the faces vary Individ- tion was just starting. But however you view the series, one ually seen, one looks for a "face" but, collectively, finding the of the nicest things cbout it is that you can make of the faces face is no longer a problem; rather, the problem is in identify- what you will on whatever level you like and still find amuse ing the subject. U&lc editors, for instance, saw a "sophisti- ment in them and a source of joy After reading the Dermer cated lady smoking a cigaret" in the object to the right just introduction, see what kind of responses you have to "faces"

Face to face how many "faces" lie hidden, waiting for the time when curious eyes will find them in their secret places. In the heart of a leaf or the bark of a tree. In a frozen pond or the turning sea. In the twist of a chair or the look of a key or the shrivelled skin of an elephant's knee. Some are seen in a twinkle of light while others live in the shades of night. For many, they change with the moods of the weather, ageing and gathering qualities suggestive of human characteristics which transform the object. It may then appear to be more than an inanimate object thereby raising the question of the physical or meta- physical state of an object at a particular time. So much depends on the awareness of the searcher; his intensity of feeling, the depth of his life experience together with his sense of fantasy. For the moments before finding a "face" also bring delight as well as the mo- ment during and after the experience. The appetite of fantasy is intense and must be fed its special food. But, the mind must first enjoy an attitude of freedom in order to support this appetite. Only then does the magic begin to work. Only then is it possible to begin to search with any hope of ultimate success. Once a group of "faces" has been found, it can be seen that a unique society has been discovered. A society existing in isolation until the moment they are seen together in relation to each other. But unlike other socie- ties, there is no interaction between mem- bers. They serve silently until the time when they no longer function or simply become worn out. In this group I see "a sleeping boy" who is a wooden stool, "a soldier" who is a camera case, "a nurse's face" that is a door lock and a "juggler" who is a toilet brush. Together with the other members of the group, their expressions offer a constant source of playful joy. To find is a pleasure of mind and not to care for "where" For to seek and see for the pleasure of "me" is the sign of the man who is wholly free. Irwin Dermer

33

Pentagram Papers are available from Pentagram Design, 61 North Wharf Road, London W2, G.B. Five have already been published and two more are in the pipe- line. If you would like to receive all seven, please write to Pentagram at the above address. The cost is only $20.00 which we think is the buy of the year.

84

*5 rrAuAN Cu IZI NE 37

o. 2 in a series of Very Graphic Crossword Puzzles Zabaglione: fiendishly clever combination of egg yolk, sugar, ACROZZA DOWNA and Marsala. 1. See 44 Acrozza. 1. Do. Re, Zepole: fried cake dough with 7. Italian leaner. 2. A mouth opening, in powdered sugar; greasy and 8. Italian beachhead, WW II. anatomy. gorgeous. 11. "Of !sing." 3. Food for Univac. 13. Forbidden. 4. She lives in a convent. Zucchini: the squash that made 14. Atlantic Alliance. 5. The Cocktail hour, in Rome. Naples famous. 17. Music for Caruso. 6. Big, Italiano Burger. Zuppa de cozze: mussel soup 19. Hospital Staff. 7. Green potage, in Rome. that bites back. (abbr.) 8. e Molise, Italian 20. Sound made when region. Zuppa crema di polio: cream of successfully swatting a fly. 9. How a fella travels with his chicken soup like Guido's mother 21. Pertaining to. girla in Venezia. used to make. 23. Close one's trousers. 10. Where it's Zuppa di funghi: Mushroom 25. Greek Letter. 11. What medium is the soup from darkest Milan. 27. Eat too much Pasta. message?(abbr.) 30. " Take the 12. for a House of Zuppa inglese: Italian trifle that 32. Where the Wiz lives. Worship recognized by law. doesn't mess around. 33. The fork ran away with 15. Tricky ruse. Zuppa di lentecchie: Lentil the 16. Crumb. soup for the serious. 35. Cheer for Manolete. 18. Chinese weight. 36. Word for a sharp Ferrari. 22. College teacher, for short. Zuppa di patate: Potato soup 37. Nickname for singer 24. Some like it with extra unavailable in Dublin. Bennett. Cheese and Anchovies. Zuppa di pesce: Fish soup just 38. Attlee, Chamberlain, and 25. Kind of extra Cheese for for the halibut. Churchill. (abbr.) 24 downa. 40. Frame the Den for paneling. 26. Spumanti. Zuppa di piselli: pea soup that 42. Baked Italian Pasta. 28. Where the General Assem- proves green is beautiful. 44. Ice Cream on top, with bly meets, for short. Zuppa di pomodori: tomato 1 Acrozza. 29. Many rejections. soup just right for those cold 45. Straw hats made in 31. It flies to and from Rome. days in Rome. Ecuador. 34. Northern Italian river. 48. " Sono Buoni." 38. Making "Sacramento to- Zuppa di spinaci: See insert. 50. Miss Gardner. mato juice" sounds. 52. Fifth Avenue Italian 39. Ray, (Devilfish). uppa! Zabaglione! Pizza! Pasta! Thousands of delicious bookstore. 41. " Like a kitten 55. Platinum (chem. abbr.) 43. " In a " (Confused). calories from Italia, where garlic and olives await the ten- 56. Suffix expressing aptitude. You like it," to Vito. 58. Italian Soprano voice above 47. Neon (chem abbr.) der touch of the press. What more could one ask? (A little Contralto. 48. Abbreviated British 59. Multicolored mineral stargazers., less garlic, but pass the salami anyway.) (Gemstone) 49. Nickel (chem abbr.) Z 60. "When do as..." 51. Italian town with alotta But the best thing about Italian food is the ritual of eating it Sniff- 62. Variety of Pewter. water. 64. Yalie. 53. Suffix for change. ing, savoring, twirling the fork. (But only if you're eating spa- 65. de Campe. 54. Variant for where animals ghetti. Never twirl the fork with 66. " Gimme That are kept. Time Religion." 57. Joyeux zuppa.) That's what makes an 67. Heyerdahl craft. 59. Fruit for Italian Martini. 68. Fork prong. 61. Map abbr. Italian meal special. It's like floating 69. " Great Caruso" star and 63. Pasta patties with meat. family. 64. Including everything down the canals of Venice; it's not 73. Before 5, in Rome. (Latin). necessarily the quickest way to get 74. A mean (abbr.) 66. Harriet's husband. 75. " tu, Brute?" 67. Famous theater. somewhere, but that's hardly 77. "Show ", in Variety. 70. " Li ' 1 " 78. Where rich Mario lives. 71. Antiballistic missiles. the point. 80. What Venice is doing. 72. Droops. 82. Goose eggs. 76. Eliot. So, with no further delay, 83. One very wide shoe. 79. Myrna 84. Miss Rand. 81 " a Camera:' partake of the ritual. Sniff 86. Married women's title. 85. Building Designers' Org. 88. After 2, in Rome. 87. Before 12, in Rome. the page. Savor the aroma. 89. It pays for dinner in Milano. Dig into "Italian Cuizine." By Al McGinley and Martin Alter ANSWERS ON PAGE 8

TO '1 '5 SPECIAL2% TbS, ZVPPA Dt SPNAcl V-2. Pr. SPINACH PUkE.E. I PINTS CH ICkSts.1 STock 1/4Cup auTreg GARLIC CLOve,CE.t) IL PINT CICAN't

TAKE A SAUCEPAN & MC.6,1 THE BUTIEK, ADC GARLIC_ IN IVAE. FLOUR F ► •f GENTL3 FOR Foie miNviES.STtR THEN 13LENO IN PUREE, -PIE STUCK C REAM. 'LTA coNSTANILY UNTIL 1140, SOUP COME:. 'T0 A SOIL a TI4Kxe.N.t. LinonEK P. 10 mtNo-rs. S.EQ 1 E7

THIS ARTICLE WAS SET IN ITC QUORUM 38

The ABC's of coloring. It's hard to believe that anyone can add substantively to the voluminous number of letterforms that fairly boggle our minds and dazzle our senses. But Jean Larcher has done it again. Just when we think that designs of the alphabet have been exhausted, up pops Larcher with still another fascinating variation — this one a spread from his forthcoming "Alphabet Coloring Book," which will be on the bookstands in March courtesy of Dover Publications. This prolific multi-talented designer from Paris — who has contributed so handsomely to the editorial excitement of earlier issues with his playful interpretations of both numerals and alphabets — has come up with a bright new concept: an "audience participation" alphabet, with the readers invited to go for their color markers to fill in the provocative lettering with their own choice of colors. We suggest that you keep these pages on hand as a reminder to yourselves and your typophile friends who might want to go whole hog and buy the book on publication date (on the pretext, naturally, that it's really "for the children"). Give it a whirl. We think that you, like us, will never cease to be amazed at Larcher's creative reach and technical wizardry—brilliantly enhanced, of course, by your own glorious color schemes. SO 40

Through the centuries, a great body of knowledge has come down to us through the medium of letters. In this way, we have learned intimate details about Letters to Gior famous people ("The Collected Letters of Bernard Shaw!' Franz Kafka's "Letters to Milena," et cetera). Not in our recollection, however, has there ever been a collection of "envelopes!' Not, that is, until Giorgio Soavi, Cre- ative Director of Olivetti in Milan, decided to save and col- lect the uniquely designed mail he received from his Parisian illustrator friend, Folon. It is difficult to evaluate a language in terms of that lan- guage itself. Its readers and ALICE: EDITIONS CHENE writers are normally unaware of both its advantages and dis- advantages, which can properly be brought into focus only by comparison with another tongue. An._ since those acquainted with another tongue are a rather small minority, the ma- jority of reac_er/writers go through life in a rind of bliss- fu_ ignorance of what their tongue really represents in t he world of language. There is, however, one uni- versal theme that cuts through the barrier of word differences, anc_ that is the image, the pic- ture, the illustration. Whether put down by a Frenchman, a German, an Italian — anyone — the recognizability of an illus- "41

o II /v /1 / .5 CfeE A ArON Norgi, Avt3 ve wrotx /0,z1 If

PARIS, OCTOBER 6,1967 FONTAINEBLEAU, OCTOBER 30, 1969 42

:::t1TrigI4WW Ile avv ,...... 77—* — ♦ ,1■•••,, I • n" -eft. 4 41Pi '

tration is available to us all. When Folon began writing to Soavi in the 60s — from Paris, Milan, rIblvo, New YorIc— he continued in earnest his de- . lightful idea of illustrating the envelopes. The woric was so lovely that Soavi :cept and treasured them— collecting and, eventually, having them put out as a color boo_,c_et by Alice Editions. It is a pleasure for us to feature on these pages several selections from it reveal- ing c'olon's masterful illustra- tive wit. Although most of the envel- opes were conceivec and drawn by Folon himsei, others were done on occasion in collabora- tion with such artists as , Pierre Alechinsicy, and R. 0. Blechman. Various ele- ments combined to inspire the illustrations, not the least of which was the design of the particular stamp used. Loolcing for a fresh approach to addressing envelopes? Felon's "Letters to Giorgio" may give you a lead —a lively realization of the reach of an inventive mind. J.A.F

BITRCY, MARCH 17, 1972 43

PAR AVION IR MAIL 0

Air 44 What's New from ITC?

ITC Benguiat Book, Medium and Bold and ITC Benguiat Book Italic, Medium Italic and Bold Italic are new typefaces from ITC. Only licensed ITC Subscribers are authorized to reproduce, manufacture, and offer for sale these and other ITC typefaces shown in this issue. This license mark is your guarantee of authenticity. LICENSED

These new typefaces will be available to the public on or after January 16, depending on each manufacturer's release schedule. ITC BEINGuukir (BEN GAT)

pen records in vibrant graphics clear to ITC Benguiat Book all. Benguiat's design confidence re- It takes no crystal ball to foresee that the flects in every letter his eagerness to set future will give ITC Benguiat its firm stamp down the lively shapes with unfaltering of approval as the right face at the right boldness; his assurance that in so doing time in the right place, for here is a design he is taking a firm step forward.These are overflowing with contemporary goodies, the traits that give this new typeface such drawn with fervor by one whose artistry vitality and assure for it a worthy role in sees far down the line, and whose pen re- tomorrow's typography. cords in vibrant graphics clear to all. of the printed word. Benguiat is available By no means its least important at- Benguiat's design confidence reflects in three weights, roman and italic, separ- tribute is that, along with other ITC type- in every letter his eagerness to set down ately designed for text and display. faces, it is available under license to the lively shapes with unfaltering bold- manufacturers of scores of different key- ness; his assurance that in so doing he is ABCDEFGHIJKLMNOPQRSTUVVVXYZ boards and manual typesetting ma- taking a firm step forward.These are the abcdefghijklmnopqrstuvwxyz chines, transfer sheets, etc. Worldwide. traits that give this new typeface such vital- 1234567890° This worldwide coverage brings new ITC ity and assure for it a worthy role in tomor- faces promptly into the visual main- row's typography. stream, giving them advance standing in By no means its least important attri- ITC Benguiat Medium broad dissemination of the printed word. bute is that, along with other ITC typefaces, Benguiat is available in three weights, it is available under license to manufac- It takes no crystal ball to foresee that the roman and italic, separately designed for future will give ITC Benguiat its firm turers of scores of different keyboards text and display. and manual typesetting machines, trans- stamp of approval as the right face at the fer sheets, etc.Worldwide.This worldwide right time in the right place, for here is a ABCDEFGHIJKLMNOPQRSTUVWXYZ coverage brings new ITC faces promptly design overflowing with contemporary abcdefghijklmnopqrstuvwxyz into the visual mainstream, giving them goodies, drawn with fervor by one whose 1234567890 advance standing in broad dissemination artistry sees far down the line, and whose 45

flects in every letter his eagerness to set ITC faces promptly into the visual main- ITC Benguiat Bold down the lively shapes with unfaltering stream, giving them advance standing in It takes no crystal ball to foresee that boldness; his assurance that in so doing broad dissemination of the printed the future will give ITC Benguiat its he is taking a firm step forward. These are word. Benguiat is available in three firm stamp of approval as the right the traits that give this new typeface such weights, roman and italic, separately face at the right time in the right vitality and assure for it a worthy role in designed for text and display. place, for here is a design overflowing tomorrow's typography. with contemporary goodies, drawn By no means its least important at- ABCDEFGHIJKLMNOPQRSTUVWXYZ with fervor by one whose artistry sees tribute is that, along with other ITC type- abcdefghijklmnopqrstuvwxyz far down the line, and whose pen re- faces, it is available under license to 1234567890 cords in vibrant graphics clear to all. manufacturers of scores of different key- Benguiat's design confidence re- boards and manual typesetting ma- flects in every letter his eagerness to chines, transfer sheets, etc. Worldwide. ITC Benguiat Bold Italic set down the lively shapes with un- This worldwide coverage brings new ITC faltering boldness; his assurance that faces promptly into the visual main- It takes no crystal ball to foresee that in so doing he is taking a firm step stream, giving them advance standing in the future will give ITC Benguiat its forward.These are the traits that give broad dissemination of the printed word. firm stamp of approval as the right this new typeface such vitality and Benguiat is available in three weights, face at the right time in the right place, for here is a design overflow- assure for it a worthy role in roman and italic, separately designed for tomorrow's typography. text and display. ing with contemporary goodies, By no means its least important drawn with fervor by one whose attribute is that, along with other ITC ABCDEIGHIJKLMNOPQRSTUVWXYZ artistry sees far down the line, and whose pen records in vibrant typefaces, it is available under license abcdefghijklmnopqrstuvwxyz graphics clear to all. to manufacturers of scores of dif- 1234567890 Benguiat's design confidence re- ferent keyboards and manual typeset- flects in every letter his eagerness to ting machines, transfer sheets, etc. set down the lively shapes with un- Worldwide.This worldwide coverage ITC Benguiat Medium Italic faltering boldness; his assurance that brings new ITC faces promptly into It takes no crystal ball to foresee that the in so doing he is taking a firm step the visual mainstream, giving them future will give ITC Benguiat its firm forward. These are the traits that give advance standing in broad dissemi- stamp of approval as the right face at the this new typeface such vitality and nation of the printed word. Benguiat right time in the right place, for here is a assure for it a worthy role in is available in three weights, roman design overflowing with contemporary tomorrow's typography. and italic, separately designed for goodies, drawn with fervor by one text and display. By no means its least important whose artistry sees far down the line, attribute is that, along with other ITC ABCDEFGHIJKLMNOPQRSTUVWXYZ and whose pen records in vibrant typefaces, it is available under abcdefghijklmnopqrstuvwxyz graphics clear to all. license to manufacturers of scores of 1234567890 Benguiat's design confidence re- different keyboards and manual flects in every letter his eagerness to set typesetting machines, transfer down the lively shapes with unfaltering sheets, etc. Worldwide. This world- boldness; his assurance that in so doing wide coverage brings new ITC faces ITC Benguiat Book Italic he is taking a firm step forward. These are promptly into the visual mainstream, It takes no crystal ball to foresee that the the traits that give this new typeface giving them advance standing in future will give ITC Benguiat its firm such vitality and assure for it a worthy broad dissemination of the printed stamp of approval as the right face at the role in tomorrow's typography. word. Benguiat is available in three right time in the right place, for here is a By no means its least important at- weights, roman and italic, separately design overflowing with contemporary tribute is that, along with other ITC type- designed for text and display. goodies, drawn with fervor by one whose faces, it is available under license to ABCDEFGHIJKLPINOPQRSTUVWXYZ artistry sees far down the line, and whose manufacturers of scores of different key- abcdefghqklmnopqrstuvwxyz pen records in vibrant graphics clear to boards and manual typesetting ma- 1234567890 all. chines, transfer sheets, etc. Worldwide. Benguiat's design confidence re- This worldwide coverage brings new AABCDEFGHIJKLM/ANOPQRSTUVW XYZabcdefghijklmnopqrstuvwxyzfil 234567890801A51E1FAUKRAiAkS5 lic,OCEI3caeOcePW?(-1tV02:-L)(:;,.0) ITC BENGUIAT MEDIUM AABCDEFGHIJKLMMNOPQRSTUV WXYZabcdefghijklmnopqrstuvwxyz fil234567890861AVERAIAVFAVA SSTIcOCE13cce0041.7("ke*ParffL)ie) ITC BENGUIAT BOLD AABCDEFGHIJKLMMNOPQRST UVWXYZabcdefghijklmnopqrst uvwxyzfi1234567890801111C1F AlACIFIRAVSSTIOccEiicmocesSt AABCDEFGHIJKL1vVvINOPQRSTUVW XYZabcdefghijklmnopqrstuvwxyzfi 12345678908eA43_/EATIHAUPAilil4 SSTIVOCUcxce0cf$V?(#%721:4,•,) ITC BENGUIAT MEDIUM ITALIC AABCDEFGHIJKLMAINOPQRSTUV WXYZabcdefghijklmnopqrstuvwx yz12345678908e*A lifiFAL41/17/1i AISS7Tc0CEf3cx0ceg$0?(#%7-0:Lei ITC BENGUIAT BOLD ITALIC AABCDEFGHIJKLMAINOPQRST UVWXYZabcdefghijklmnopqrst uvwxyzfil234567890&"1/BiElf 2111KANIAISS1TCOCE13cmficef$- 01?"4:1-1=)1::ffei 48

DRAWING BY JOHN ALCORN On the6 On the th day of Christmas, my true On tt,ehe th day of Christmas, my true love gave to me, eighi■11 On the th day of Christmas, my true love gave to me, nine ladies dancing 1•■■•■■ On th day of Christmas, my true love gave to me, ten lords a-leaping, nine ladies dancing 10 milm■•■••1 On the 1.1 th day of Christmas , my true love gave to me, eleven pipers piping, ten lords a-leaping, nine ladies danciN On thel'2 th day of Christmas, my true love gave to me, twelve drummers drumming, eleven pipers piping ten lords a-leaping, nine ladies dancint 49

Something For Everybody From U&Ic

On the st day of Christmas, my true love gave to me, a partridge in a pear tree. ■11....rm On the 2nd day ofChristmas, my true love gave to me, two turtle doves, and a partridge in a pear tree. On the rd day of Christmas, my true love gave to me, three French hens, two turtle doves, and a partridge in a pear tree. On the th day of Christmas, my true love gave to me, four calling birds, three French hens, two turtle doves, and a partridge in a pear tree. m•I•■■■• )n the th day of Christmas, my true love gave to me, five golden rings, four calling birds, three French hens, two turtle doves, and a partridge in a pear tree. m..■•■•=1.1

?ic Christmas, my true love gave to me, six geese a-laying, five golden rings, four calling birds, three French hens, two turtle doves, and a partridge in a pear tree.

veto me, seven swans a -swimming, six geese a-laying, five golden rings, four calling birds, three French hens, two turtle doves, and a partridge in a pear tree. c a-milking, seven swans a-swimming, six geese a-layingfive golden rings, four calling birds, three French hens, two turtle doves, and a partridge in a pear tree. ?aids a-milking, seven swans a-swimming, six geese a-laying,five golden rings, four calling birds, three French hens, two turtle doves, and a partridge in a pear tree. ?aids a-milking, seven swans a-swimming, six geese a-layingfive golden rings, four calling birds, three French hens, two turtle doves, and a partridge in a pear tree. ?aids a-milking, seven swans a-swimming, sixgeese a-laying,five golden rings, four calling birds, three French hens, two turtle doves, and a partridge in a pear tree. ?aids a-milking seven swans a-swimming, six geese a-laying,five golden rings, four calling birds, three French hens, two turtle doves, and a partridge in a pear tree.

THIS ARTICLE WAS SET IN ITC GARAMOND CONDENSED ITALIC 50

CONTINUED FROM PAGE 11 would not have to retype and then proofread what we two systems. It cannot perform hyphenation and jus- over our previous rate by telephone circuits. We have have retyped. tification, or other composition functions. The two started to transmit pages that include typeset U.S. News & main systems, 1 and 2, are driven by Digital Equip- halftones, which require more speed, because digital We have given some thought to requesting scannable ment Corporation 11/35s, each of which can support halftones require far more information per square copy from authors: This has real disadvantages. sixteenWorld videoReport, display Inc. terminals. System 3 is driven by inch than type areas. Editors and copyeditors would find scannable copy difficult, even impossible, to work with. Also, if the a DEC 11/04 that supports thirty-two VDTs. Mass storage devices are moving-head drives, each with author's typist does not type with care (because it is better to type some codes in) or if any letters fill in, twenty-nine megabytes available. the resulting tape is more troublesome and expensive Part of the Atex hardware is designed so that the CPUs to work with than one produced from our retyping. are not required for refreshing the VDT screens, and The need is to receive the manuscript from the author similar functions. This removes a significant load in a form that can be used by machines without re- from the CPUs, leaving them free for editing func- typing and proofing what we have retyped. tions. The VDTs in the Atex systems have no memory built into them, but are assigned a part of main Word processor input memory. There is some hope with a system which uses word processors. These automatic typewriters, which can double as text editing systems, are proliferating as Printing is done at three locations. office equipment. There are, for example, 30 to 60 Three printing centers IBM processors on the campus of The University of We print in three locations: Old Saybrook, Connec- North Carolina at Chapel Hill. Some universities are ticut, and Chicago, with R.R. Donnelley, and Los developing word-processing centers which could Angeles, with Arcata. We have Videocomp 500 (elec- help scholarly publishing because our authors are tron beam) typesetters installed at each of these generally with universities. However, there are Harold Fine Chevalier plants, identical to a fourth in our Washington, D.C. serious problems to overcome: how to effect code Book Production Manager headquarters, because we are transmitting complete explosion and how to translate and interface the U.S. News & World Report, Inc. 111111111•11111111MBRENMEm10?,.,___ pages, including halftones. many different text storage methods now used by My personal concerns as a former book compositor word processors. relate to the image quality and letterforms that CRT An editing terminal keyboard. At North Carolina we look forward to changing our typesetting can offer. Image quality is not a problem. Terminals for systems 1 and 2 system (when the work load demands a change) to Letter design remains, however, a thorn. The digitiz- These terminals have a group of keys on the 2d row, terminals that will allow us to store data more easily ing of letterforms is equivalent to the translation of a called "save/gets, - that access private memories for and to manipulate data more quickly, that will have designer's drawings to metal patterns prior to the storing temporary files of any length. They are used a better storage medium than paper tape, that will be mechanical cutting of punches. This crucial elec- for formats, repetitive portions of text, commands, programmable, and that will have a program or tronic stage is rarely overseen by the type designer. etc., significantly increasing the speed of editing and programs that interface with word processors. Most digitized fonts today are engineered copies with compoSition. The top row accesses pi characters. The generally unsatisfactory results. is The Eames movie "A Communications Primer" is mode keys are in the third row from the top and are happy to be free, in this electronic age, from base- pertinent to this discussion. Any system has to pro- particularly important in the overall design of the line restrictions. But did the several digitizers of duce type that is legible—that is the whole point—to system (see below). , under different names, consider asking The VideoComp's tube face. communicate with the least amount of noise. Type Mr. Zapf to oversee the process? When basked him, gives clues to the reader that allow the reader to per- The typesetters he said that no one in the U.S. had done so! 111111111\11 ceive what he reads. The loss of a ligature with the re- The Videocomp 500, made by Information Interna- sultant disturbing blots is noise that interferes with The front end tional, Inc., is ideal for typesetting halftones because reading—perception, communication and retention. At U.S News & World Report in Washington, the its recording medium (RC paper or positive film) is A huge variance in the thick and thin lines of a original Atex system supports three primary functions easassaaw stationary while paginated files are being set. Half- Rannanisiss tone dots cannot be laid down with any accuracy if character results in the same noise interference in —file management, editing, and composition—from ass communications; it doesn't matter what else a sys- one CPU (a minicomputer). We have three systems. the recording medium is moving. When in line-by- tem will do if it will not produce legible type. The first is in our Data Communications Depart- line (galley) mode, the electron beam writes over a Machines and systems do not operate by themselves. partment, which controls composition, page makeup, 30-point vertical area before the recording medium is We are saving money at Chapel Hill because we have and transmission to remote printing plants. A second moved in the increments called for by the leading developed 'craftsmen with a sense of typography and system is in our newsdesk area, where editors can commands. The maximum page area is a rectangle a sense of the book and proofreading skills to operate The simplified keyboard for the Edit One is whose diagonal is 81 picas, in full-face mode, after send stories, interactively, through hyphenation and adequatefor reporters. our machines. justification to fit them to page layouts submitted by enlargement by a lens system of about twice the The Edit One terminals (our System 3) have no pi The necessary factors are the right equipment for the the art department. Stories then go into System 1 for image size on the tube face. Type size, leading, and keys and no save/get keys. They are used by the writ- job to be done, the trained people to operate the page makeup, typesetting for probfs, and transmission. rules can be specified in increments of a tenth of a ers and editors for input and editing. When the writ- equipment, the patience to try, and the ability to point, fixed spaces to a hundredth of an em. ers and editors have completed a story, they send it to hang loose and realize that the best answer is not a Font storage a supervisory editor, on the same system, for review. single answer but multiple answers. What works for Then it is sent electronically to System 2 for copyfit- Width tables for all fonts are stored in the Atex one manuscript does not necessarily work for ting, and on to System 1 for page makeup. Should an system, English language versions of these may be another. editor or writer wish to see a story on paper, the file called up on a VDT screen if we need to check set Where has this philosophy taken us? can be printed out on a TTY Model 40. The use of width or description of any character. We can also From July 1976 to June 1977 we have composed 29 the Edit One system at US. News has significantly typeset our fonts so that all characters appear in a books and journals at a percentage savings over reduced the amount of paper flow, as well as the showing side bearings. Digital stroking infor- commercial typesetters of 43%...based on their amount of original input keyboarding that was mation is stored on a double disc monitored by a estimates. required of our compositors in the Data Communi- minicomputer, both within the typesetter. Our costs include all composition costs: labor, cations Dept. Image quality supplies, depreciation and a percentage of overhead. The Atex Edit One System. Satellite transmission Information International describes resolution of It is not easy. It's not pie in the sky, but it is possible In January 1977 we installed a third system which We transmit to our printers, via Western Union satel- characters with the term "granularity," which is a and well worth the effort. Type quality can be Atex calls Edit One. Designed for writing and editing lite, complete pages in "packed" digital format, combination of vertical and horizontal electron achieved with savings. by news reporters, it uses a smaller CPU than the first which increases our transmission rate eight times beam movements, and beam diameter. The beam 51

sweeps vertically from bottom to top. After each verti- Checking picture quality found in the dictionary will be broken by logic and cal stroke, the beam moves horizontally (in stroke To check a halftone after it has been scanned and will be flagged on the VDT and on line printer output spacing increments) so that each succeeding stroke recorded on mag tape, the tape is hung on the 500 An In-Office Operation: overlaps the preceding one by one-third its width. We can set parameters for minimum and maximum which typesets the halftone on RC paper. Each RC interword spacing, and to allow hyphenation only Omnitext Terminals Type size ranges print shows two gray scales: one, the values available for a specified number of consecutive lines. We can +A Pacesetter Information International has defined four size from the 500's.dot font, previously specified by the set copy unjustified at left or right, with or without ranges with a separate font description for each scanner operator (dot fonts are available in any de- hyphenation. We can have automatic letterspacing, sired shape); and two, the values that the scanner range. In range one, the recommended point sizes ligatures, kerning, dropped intials, and left and right Editor's note: are 4-8, in range two, 4-18, in range three, 16-32, and read from the copy. To change the halftone, we can indents of various kinds. Commands for automatic in range four, 16-72. By overlapping these sizes and change some specifications at the 500 console and functions are inserted at the head of a file with mode The system described here by Perrin Long, ranges it is possible to achieve any desired level of reset it, or rescan. definitions, or they may be scattered in the text if only Jr. shows how a relatively small publishing Here is a typeset page complete with halftones, type, image resolution. The beam diameter itself can be occasional use is desired. operation can use some of the new technol- and rules. controlled by software to eight standard diameters. Mode definitions ogies and methods to reduce costs while im- For example, at 72 point the normal diameter of the proving and stepping up output. Here Mr. There are eight modes (0-7), each of which causes beam is one and one-half thousandths of an inch. Long outlines why and how Faulkner, Daw- characters to appear in a different form on the VDT— However, it can be so small that it will not record on cx regular weight, bold, underlined, reversed, etc. Each kins & Sullivan converted to a wp/typeset- a photographic emulsion. A mode used must be defined with a font number, face ting installation, some of the problems they Picture scanning F size, set width, leading, measure, and, if desired, the encountered and how they overcame them, T 0 oblique angle in degrees. One or more of these can be and what the conversion has meant to the U.S. News & World Report has the first commercial N model of a halftone scanner in the world, developed redefined at any point in the text if more than eight company's operations and customer service and built by Information International, Inc. Our T styles are required. programs and what it is costing and what it scarifier is integrated with the Atex system and the S A major system design decision by Atex was to use is saving. Videocomp 500, as shown in this diagram: 16-bit words to define each character, at the expense of almost doubling storage requirements, so that the by Perrin Long, Jr. This fullpage. . . type, halftones, rules... was Associate Director of Research typeset. Thefull page is transmitted to the prin _ mode definition will follow each character through Faulkner, Dawkins & Sullivan ters in Connecticut, Chicago and Los Angeles. every operation in the system. As expensive as the File management mode system is in terms of storage, we are convinced Before reviewing the Faulkner, Dawkins and Sullivan that it saves a very large amount of time because we wp/typesetting installation one should know a little Security on our system is maintained by a log-on do not need to insert command codes every time we about the company's size and operation. Faulkner, procedure using individual passwords that cannot be change from roman to italic, etc. A mode change is Dawkins and Sullivan is a member of the New York seen when typed. Each person can get into the system effected by striking one key. Stock Exchange. Its revenues are about twenty-five only to a predetermined levet. There are, for example, million dollars and it had three hundred sixteen only two people at U.S News who can access the employees at the end of 1976. Faulkner, Dawkins and software. There are public and private directories of Sullivan does institutional research. The firm has different kinds. Each person using the system has a twenty analysts, who cover about forty-five different private directory, which Shows four different listings, A diagrammatic representation ofhow text and industries. graphics enter the system, are combined, typeset from simple file names and dates opened, to a con- and transmitted. text list with storage required for each file. Producing reports before 1976 The digitized halftone goes to disc storage, whence Our three systems can interchange files via an I would like to walk you through, step by step, to what we combine it with the digital description of the type "interprocessor link" that is part of the Atex control happened in January 1976 which made us change page. software. Within systems, files may be merged, our method of producing research reports. The first copied, renamed, deleted. quarter of 1976 was probably the peak period for bro- kers in the United States. The market was going Electronic editing Tabular matter can be set and composed. Tabular matter through the roof, and everyone was making money The Atex system gives us a window into disc storage and things looked good. It is at a time like this that via "infinite scrolling," which allows us to look at Here is an example of a table from our system. We most farsighted brokerage firms take a look at their any file from beginning to end and back. Beyond may specify up to forty columns across the measure. costs and say to themselves, "These good days can't provision for insertion, deletion, and overstrike, we Column widths may be specified in five different ways. last forever. What are we going to do about it?" Early can search or make changes throughout a file with a Within columns, type may be justified, centered, or in January of 1976, the senior partner of Faulkner, single command. We can define characters, words, flush left or right. The 500 allows us to draw vertical Dawkins & Sullivan, Dwight Faulkner, called me in lines, or any block of text, which may be moved, and horizontal rules (straight and curved) with weight and said that he had had a complaint from one of copied, deleted, or stored via the save-get keys. We can and length in increments of one-tenth of a point. our clients that it was taking too long from the time run any block through partial H&J or supershift H&J. the analyst started writing a report until the report The photomultiplier tubes receive the scanning was in the client's hand. information from the electron beam in 256 Composition Page makeup requires a special set of commands for shades of gray and convert these varying elec- Atex separates H&J from the output driver so that H&J each page. These use vertical and horizontal starting The challenge tronic intensities into digital information can be used as often as needed before page makeup or points specified in points, picas, or inches, anywhere He asked me to cut that time by at least fifty per cent which can be stored, edited, and output in any typesetting. After H&J, if we want to know precisely within a given page rectangle; another set contains or more. The setup at that time was an IBM MT/ST of a number ofhalftone screen values. how far from the top of the file or defined block a cer- the names of files from which text is to be taken, with system, which we had begun using in late 1967-68. tain line is, we use the 2-key supershift H&J com- the number of lines desired. The system returns the By January 1976 we had three fulltime operators and Here is the interior of the scanner, showing the page to the VDT screen automatically, but columns or photomultiplier tubes. The cathode ray tube is mand to which the system responds by displaying in a wide configuration of MT/ST typewriters, com- picas and points the precise distance of each blocks of text do not appear in position within the posers and so forth. Our annual rental for MT/ST mounted vertically below. Mirrors send the electron page rectangle. beam from the CRT to scan a continuous-tone from the top; at the same time we are given the equipment was running $25,000, our three fulltime (or line art), held in place on a copy- number of points required to fill a line set-wise, so The near future operators another $36,000. board by cropping bars that carry gray-scale wedges. that we can see exactly how loose or tight the inter- We are now working toward these short-term goals: We formed a three-person team to study how to de- word spaces are for any defined number of lines. The photomultipliers read the reflected beam as two • Perfecting halftone generation on the Videocomp. crease the turnaround time and, secondly, cut costs. hundred and fifty-six shades of gray which are con- The system contains a dictionary, prepared by the •Large-screen page display; all elements in position. There was one other stipulation. At that time we had verted to digital values. The output size can range editors of U.S. News, that now contains well over a •Automatic page makeup for single-column text, eighteen fulltime analysts. At the moment we have from 1/2-inch square to 54 x 66 picas, with screen hundred thousand words, with four levels of hyphen- using only one set of commands per , or for twenty. Our past and present policy at Faulkner, from 65 to 255 lines per inch. ation. Any word (for example, a homonym) not other large blocks of text. Dawkins is to assign a secretary to each two analysts. 52

We were not to consider a typing pool. Whatever bunch of our past reports to take a hard look at, so system we came up with we had to maintain nine that they could do the necessary programming to secretaries. come up with formats we could use. We did have our am very happy that we went The search initial headaches but I with Omnitext and very happy that we got our feet In January 1976 we started looking at various sys- wet in word processing, particularly where it in- tems. We looked at what Vydec had to offer. We took a volved CRT terminals, computers and optical scan- look at AstroComp. We went back to IBM to see if they ning. This is the wave of the future. The way some of had anything new coming out. We went to Hewlett- us have been preparing various types of publications Packard and we spoke to , at great length. We is on the way out. talked to a great number of people, one of which was Omnitext, in Arm Arbor, Michigan. Practically all of Rent it first the systems, particularly AstroComp and to a degree, As John Seybold mentioned earlier, if anyone is in- Vydec, had what we needed, but we settled on Omni- terested in putting in a system, maybe they ought to 4.ECRM scanners read the typed copy and text for three reasons. First, they had the capability rent it, because systems are changing so rapidly. On output it as punched paper tape which, when we might need in the future—looking down the mad the other hand, if you can depreciate it fast enough edited, will feed and drive the typesetter. —depending upon how large our research depart- you are not going to get stuck with it anyway. Once a report is completed; one of our operators will ment might become. Secondly, they were from Ann If you are looking at systems now, don't procrastinate ask the analyst which table he or she wants to save. Arbor, Michigan, and I was a graduate of the Univer- forever simply because everything is changing We save those tables and erase all the text and every- sity of Michigan, so anybody out of Ann Arbor had to rapidly. You may think, we like what Compugraphic, thing else from memory. This gives us more storage be all right. But the most important thing was that or someone else, puts out, but let's wait a little bit, capacity for the future. we liked the people from Omnitext better than the let's see what's new next month. You're not going to A typical report. Headings are preprinted. Filing other people we had seen. So we ordered an Omni- get anywhere doing that because there are going to 2. The report body is produced on the Omnitext We use a very simple file system. We started off with text system. be new things coming in rapid fashion. system and the Dymo Mark IVPhototypesetter. job number 201 and now we are up to job 486. We Costs compared Faulkner, Dawkins & Sullivan prepares There is no systematic work flow. Analysts are odd just write them down and keep them in a book. Let's consider the cost questions again. At the be- reports individuals to begin with. Sometimes they are very Editing ginning of the year we had $25,000 in rentals and The pitfalls we have encountered have not been the prolific and at other times they sit on their duffs for a $36,000 for operators' salaries. To purchase the After we have the material in the memory we can fault of Omnitext, but the fault of Faulkner, Dawkins couple of months trying to work up an idea about Omnitext system, we spent $96,000. We are depreci- bring it onto one of our two CRT screens for editing. & Sullivan. For example, I did not ride our secretaries what to do. Our problem is to work from handwritten ating that over five years, so we will say depreciation We have a fulltime editor. She takes the typed copy hard enough. There are two ways we receive material notes and dictated text, and with nine secretaries. is $21,000 a year. Instead of three operators, we now and edits it using a red felt-tipped pen. After editing have two at $12,000 per year each. Our total gross ex- Prior to installing Omnitext we would type up a she checks back with the analyst to make sure the penses therefore are $45,000, down from $61,000 rough draft of a report, edit it and return it to the editorial changes are satisfactory. Then our two when we started. So we are down $16,000, which analyst who would review it and then send it into operators take the original text with the edited doesn't sound like a great deal. But to a small firm, MT/ST to type all over again. changes and make the changes right on the screen it's meaningful—that's a reduction in our direct costs of twenty-four per cent. We made some mistakes Let me just point out a few things that we did that in hindsight I don't think we would have done. In all of the installations that we visited, AstroComp, Vydec, Wang, and so on, we took along the three MT/ST operators that we already had. I think this was a bad mistake. Secondly, we went into detail with all of the com- panies, including Omnitext, giving them reports, showing them exactly. what we put out. There was a 5. One of the editing terminals. great amount of text material and a great deal of 3.IBM Selectric ll's with OCR 'golf balls" statistical material that we had to store and be able to keyboard the copy. (Fig. 5). We do not use the screens in a true sense for update. Unfortunately, some of the vendors did not OCR typing and scanning editing but rather for merging in the corrections. As in other systems, however, we can move columns pay much attention to the research reports that we We replaced all theUecutive typewriters with the around. We can delete and we can add. We can take had done in the past. They looked at them and came IBM Selectric II's (Fig. 3). We use a golf ball, OCR whole blocks of paragraphs and move them here or back and said, "Oh, this is a snap. We can do this on 173. We type everything on plain white paper, double there. We can go into a job file and pull out a table our system. There's no problem." spaced, and we type it only once. We type the text and 1. The original copy may be longhand reports and put it in a report. We can put in the necessary Well, in hindsight, in talking with others in the Wall from analysts or a typewritten manuscript the statistical material separately. We give the sec- coding for line lengths, etc.- Street area who picked up some of these systems, it based on dictated information. retaries only three or four simple codes to type. For instance, we ask them to say whether they want a We use the same line lengths for all reports, 37 was probably the fault of the individual salesmen that will be printed. (Fig. 1) Either the analyst writes that they really didn't take a hard look at what we heading of a column flush left, right or centered. We picas. The operator enters the necessary coding for it longhand or it is dictated. Since one of our , paragraphing, tabular matter, etc. across were doing and try to come up with ways in which requirements is to keep the one-secretary-to-two- ask them to put in simple coding for indents and to indicate when they have come to the end of a para- the top of the screen and; using a cursor, can make we could do it better. analysts relationship, we cannot go into a typing As an interesting sidelight, when we were looking at graph. the various changes. Once the changes are made a pool. I disagree with this approach but there is noth- new file is created and the material is stored in the Wang equipment, we were with a Wang salesman After a report is typed, the original copy is fed into an ing I can do about it. Everything you see on this page memory. and a Compugraphic salesman. At that particular in- (Fig. 2) is set via the Omnitext system. The heading ECRM Scanner (Fig. 4). The material is scanned into stallation, up at Argus Research in New York, the of the report is preprinted and we supply all the a "black box," the computer. We could scan directly Typesetting Compugraphic salesman was only interested in sell- typeface copy for the balance of the report. We do not onto our CRT screen, but the way the system was set After final editing we are ready to set type. We use a ing a typesetter. He never said a word about having a do our own in-house printing. Our printing bill runs up for us we scan the material into our memory sub- Dymo N (Fig. 6), and feed in paper tape which has complete system if anybody was interested. He and to about $250,000 a year, which is a lot of money for system. This happens to be a Data General Nova been produced by our system or we go directly on-line the Wang salesman were working hand in hand. a small firm. We are turning out 175 to 200 reports a 1200. We can add to it in the future if we need more to the phototypesetter from our memory. We use both We placed the order with Omnitext, and gave them a year. They vary in length from four to 114 pages. capacity. paper tape and on-line inputs. 53

I don't think writing and designing are very different I was reminded of some things you can do with cold courses. We learned that the real revolution is an things. They both communicate and they both have type that you can't do with hot type. I also saw the editorial revolution. to work together in print media. I work with my readability benefits of redrawing the classics—in this We learned that defining the content—the input clients on the entire editorial product. case Garamond with larger x heights. problem—is the problem, not equipment. My viewpoint is what I hear described in this confer- I learned about programmed typography and pro- Three case histories by Joyce Kachergis, Harold ence as the front end. Like any editor, I try to look at grammed layouts. Chevalier and Perrin Long showed us the real world. communications from the reader's end. We had a bit of history to remind us of where we Now a few observations The Charles Eaines' classic film on communication came from—the better to cope with where we are that opened Vision '77 reminded us all that we are going. I don't really know how much or how soon word processing will overlap traditional typography but not in the sharp type, soft typewriter or floppy disc From Paul Doebler we learned about the relationship business, but the information and communications let's not underestimate these office workers. I have of word processing and typography. Ralph Squire seen among them more skill and caring than I have business. If, as the film points out, the message isn't gave us an equipment review and showed us a bewil- received it isn't communications—no matter what seen in some unionized composing rooms. Let's not dering array of hardware. From Don Goldman we underestimate the motivation of that half of the 6 The Dymo Mark IV Phototypesetter can be else it may be. learned, among other things, the state of letterforms. driven by the paper tape or be on-line to one human race, composed entirely of women, out to The real reason I came to Vision '77 was to learn. A tour through the MT printing plant showed me the prove that they are as good as the other half. of the editing terminals. I learned a lot. role an educational institution can play in a techno- I don't worry about the technology We have no complaints with the Dymo. It is an I learned right off, from Ed Gottschall's orientation, logical society. It can do things industry can't do... eight-inch machine and takes eight-inch-wide paper two things: one, the increasing integration of the like train people. I'm like Bob Benchley and the bison. Benchley used which is readily available and inexpensive. sequential steps of print manufacture; and two, the to worry about the bison and how they were disap- For me, the evening with Colin Forbes and his 25 pearing, until he found out, after a few years of worry, shift of operations and decision making throughout contemporary European designers was really some- Savings largely due to one-time the production line towards the front end. that the bison were multiplying so fast the govern- thing special. Forbes holds that there is a distinct ment would give one to anyone who promised it a keyboarding European design and it derives from four sources— good home. Although our system is nothing fancy, we find that it art, Bauhaus, craft, and American design. He showed However, I work with a lot of management people increases our speed in getting out reports by seventy- Typesetting Market A Typographic us the pretzel alphabet of one ex-American, Klein, five per cent. Half of this saving comes from elim- Services the research of Herbert Spencer and the wonderful and items like this, in this week's Media Industry Today Book, Newsletter, catch their eye: "Out in Chicago the inating a second retyping as we did on the MT/ST. Magazine & envelopes designed by Folon for his patron at Olivetti. Newspaper Tribune is in the middle of converting to cold type - It is important that we get out reports quickly. Our In Office Plants with In contrast to earlier presentations that were techno- composition. Now they're suddenly realizing that Printing & Typographic logically strong, we ended the evening with style clients need hard copy reports to make decisions. Publishing Departments power bills for the computerized equipment are al- Centers and imagination. There are other aspects to this equipment that we are most as much as they pay to run their entire press looking into. For instance, we have offices in Florida Klaus Schmidt , reminded us that we must recognize operation." and disadvantages of printing... and we could, with a hook-up, take copy right off the 1981 certain limitations - Our friend from Wall Street, Perrin Long, had a point. 1) Printing usually limits the information consump- memory system and transfer it to Florida where they It will take more than the ability of a company to tion to one person at a time. 2) Stored material is could output it and have it instantly on hand. create magic black boxes for it to survive... it will space consuming. 3) Access to material is frequently take service. I learned that the shape of the future is a triangle, faster in other media. Picture and sound address sev- eral senses and impress themselves more intensely At Harvard, Professor Levitt pointed out—IBM is in that the graphic arts and publishing markets with the service, not manufacturing, industry. Viewpoints: which many of us are familiar are the small part and upon human minds. Klaus also acknowledged print's that the growth is at the base, the huge office market. advantages. We also have to recognize that progress does not advance on a universal front. For example, research- I learned about word processing and its potential. He reminded us of Diirer's beautiful letter constructed with rule and compass, and showed us the 1962 ing an article for the next issue of Folio, I learned I also learned about jet printing, web belt printing French printing office type constructed within a that at Time, Inc., while Time Magazine is work- Viewpoints: and laser beam platemaking. framework of 2,304 squares. ing directly on video terminals, Fortune is still in The Designer/Editor I learned, from Aaron Burns, a new word- He quoted from that grand English typographer, hot metal. typographist. Stanley Morison, "Tradition, therefore, is another With all the high speed new electronic equipment, we word for unanimity about fundamentals which has have to remember that the early typewriter key posi- been brought into being by the trials, errors and tions, which for mechanical reasons were deliber- corrections of many centuries." ately designed to be slow, remain the same. , from England, showed us the type We need new tools to maintain not only style but selection of Gutenberg. He disabused me of every- simple readability. Man has a love-hate relationship thing I had learned about how letterforms were with change. We read what we are used to reading... typographist shaped by the tools and the materials at the de- yes. We can change letterforms only so much ...yes. signer's disposal. But we have only to recall Matthew Carter's beautiful Arabic scripts to realize that man has learned to com- He showed me that the Hollywood impresario Louis municate with an incredible number of letterforms. B. Mayer had a lot of style. He showed us how script letters can be joined in And, as a matter of fact, we read a great variety of let- photocomposition and why slanted letters are not terforms in English, from impossible handwritten italic—the lens plays distortion tricks. He showed us messages to severe sans serifs. I learned that she could turn a typewriter into a how the right computer program can provide us with We will learn to accept tight setting and ligatures. typesetter. an abundance of weights that will add refinement to And, while we may find it new or odd our children tomorrow's typography. And, finally, he showed me will not. the beauty of letterforms in other languages. Man does change Patricia Seybold Breuer made me feel good as an Speaking from the editorial side.. Yes, some writers John Peter artist when she showed us input equipment designed at Time can't type. They file copy in longhand. Some President for a man or woman whose skill is with a pencil, use typewriters. Some writers input directly into the John Peter Associates, Inc. rather than a typewriter. machine. She showed examples of breakthrough # 1—page Things I learned The production man told us he's not sure he wouldn't makeup that moves the design out of the pastepot. rather have them compose everything on paper and I'm a consultant. Like each of you, I will view the From Victor Spindler we learned about breakthrough toss all the first drafts into the wastebasket, rather conference from where I am. I am a magazine man, #2— automated basic formats. than store it all in his computer. although I have done newspaper tabloids. I worked as an art director at McCall's and have served my From John Seybold we learned that the word proc- But, journalists—and I speak as one—will change, time as president of the New York Art Directors Club. essing revolution doesn't explain the typographic and you'll be surprised to find how soon the new will I worked as a writer and editor at Life and Look. revolution. Until recently they have pursued different become standard practice. 54

To the question from the floor expressing concern for Indenture, but no schools the program at Winona was incorporated into the quently there has been broad opposition to courses the future of typography design and the artists... While printing itself has a five hundred year history, Carnegie Institute of Technology. being offered, at any level, which propose to acquaint I don't know if you noticed how poor the the formal education of printers is still well within its By 1931 such activity had resulted in the adoption of students with craft traditions as opposed to the pro- Globe looked, even though it was printed by computer initial century. The training of printers, however, is printing courses by many secondary schools. George motion of new and rewarding techniques. Craft, in- methods. I don't know if you noticed how badly that another matter. Traditionally this has been accom- Hebb, chairman of UTA's Education Committee, re- cidentally, appears to be a term now rather suspect programmed company format needed a more im- plished by periods of indenture, of various lengths, viewed the number of schools then offering printing and subject to contempt by our more pragmatic aginative design. If you did you will know there is no brethren who continue to disparage attempts to en- need to worry. during which an individual was introduced to a craft courses in all parts of the United States. He included by professionals who all too frequently resorted to du- some twenty-seven colleges and universities which courage esthetic values along with technological There is already a desperate need for talent, not just plicity and subterfuge in the instruction they imparted. "offer printing courses in engineering and manage- principles. for layout and typography but for content to fit these While there were beneficial aspects in the ordinary ment, in fine arts, journalism and teacher training." Possibly the course which prompted the most intense formats—better photographs, better illustrations, bet- ter graphs, better graphics, etc. apprenticeship, the system had many imperfections The UTA also initiated a publishing program of up to animosity was that offered by the Laboratory Press at which were detrimental to enlightened progress. But Carnegie Tech. This was an elective course planned A visual managing editor sixty technical manuals designed to strengthen the the binding of employee to employer was just about teaching of printing courses in the vocational schools and taught by Porter Garnett, beginning in 1923. As a The machine will free the artist from the back room the only way to learn the craft and thus the system by the introduction of national standards of practice. course in fine printing, it proposed, as Garnett wrote and make him a full member of the editorial team— was perpetuated. later, "to deal with the traditional, scholarly, and a visual managing editor. Three educational levels In an article in the 1934 edition of the Gutenberg philosophical aspects of the craft, in its relation to the As to the question of craftsmanship and art...in Paris During the years between the world wars, printing civilization of the future as well as of the past, and it Jahrbuch, John Clyde Oswald, a former editor of The education thus established itself at three levels: (1) I saw a magnificent exhibition of Tibetan monastic American Printer, stated that "at the turn of the cen- was hoped to create in the mind of the students an art at the Grand Palais. Later, on a brief vacation in the strictly vocational, which was the responsibility attitude of sympathy towards the refinements of Burgundy, I visited Cluny and other Cluniac monas- tury, nowhere in America was there a school in of vocational or "manual arts" high schools; (2) the which one might learn to be a printer." printing, which might bring about, in time, a general teries. I was struck by how wonderfully these crafts- promotion of printing in the secondary schools as an raising of standards." men created... craftsmanship, yes, and often art, If this remark is accurate, as I believe it to be, then "industrial art"; *and, (3) printing courses leading to From the very beginning, this estimable project was which is simple craft raised to a superior level...and printing education is scarcely out of its incunabular diplomas or certificates, offered by several colleges, how working in a monastic discipline, Buddhist and harassed by the hard-headed businessmen printers, period. By the time preliminary steps were undertaken with one major course at Carnegie Institute of Catholic, they shaped and triumphed over their who were disinclined to lend their support to an in- to introduce printing to schools at every level, vast Technology leading to a Bachelor of Science degree. materials. stitution which strayed so far from the standard changes were taking place within the industry. The Our discipline is communication. At the college and university level the industry also commercial practices of the era. practice of typography became automated with the Our material is ideas. sponsored numerous specialized courses which development of the linecasting and monotype touched on typography, design, and publishing. Most Porter Garnett never allowed his critics to divert him We have an unprecedented set of new tools. machines which, between 1900 and 1910, were reluc- of these were evening or extension courses and were from his principles, but in the long run he did be- True craftsmen and great artists always work with tantly being accepted as a replacement for orthodox rarely taken as part of formal education programs. come discouraged by the unremitting criticism. After the materials of their epoch. hand composition. In this respect composition was a dozen years he felt that conditions at Carnegie were Possibly the most widely known of these professional I firmly believe that some will ride the computer the last of the major printing procedures to become no longer congenial to his purpose and resigned his to glory. industrialized. programs, because of the scholarly attributes of its position. teacher, was offered by Harvard's Graduate School of Matching craft principles to Business Administration in the period of 1911-1914. The role of the art school Viewpoints: technological demands The instructor was the Boston printer Daniel Berkeley Up to this time I have not mentioned the role of the For about the following thirty years the use of typeset- Updike, and from this course there emerged in 1922 art school in the education of the printer or in the The Educator ting machines became stabilized, with relatively little the distinguished Printing 7yp es, Their History, teaching of typography. This, of course, is a subject technological innovation which could upset printing Forms, and Use, published by Harvard University fraught with difficulties far beyond my comprehen- industry leaders or those educators who established Press. Updikes's course quite possibly represents the sion, and is even more controversial than that of the training centers to service the new technology. It high point in printing education at the college level printing education, during the past half century. was during this time, you remember, that the Wil- in the United States, although its purpose was merely While my own experience has been with a school of liam Morris revival with its re-emphasis on craft to inform businessmen of the cultural aspects of printing, and is thus oriented toward a more tradi- ideas had nearly run it course, and, under the direc- typography. Certainly nobody has improved upon it, tional approach to typography, I have followed with tion of a number of most astute typographers, there an indication of the opportunities still open to en- interest many of the discussions, both in print and in had emerged a rational matching of craft principles hance the teaching of typography, even in the 1970's. seminars, which have endeavored to present the to technological demands. The major direction in printing education had been problems rationally. Such renowned designers as Bruce Rogers, T.M. Cle- toward vocational guidance, with very little attention I suppose it is a generality to note that with few ex- land and William Dwiggins proved without question being paid to the development of cultural concepts. ceptions the schools of design in the United States, that the typesetting machine could be used to produce Throughout the period, however, arguments were oc- particularly at the undergraduate level, have been un- printing of the highest quality, while maintaining a casionally heard which deplored the emphasis upon sympathetic to the technology of the printer. Such an satisfactory rate of production. But it may also be technology. attitude has affected the ability of commercial art noted that the Morrisonian convictions remained In 1933, for example, Professor Lehmann-Haupt of students to cope with the difficulties created by their popular, although out of the main stream. Indeed Columbia University wrote: "A program of instruc- limited knowledge of printing processes, primarily they are again surfacing in a way which is no doubt tion can be taught that would have as its result i. the photomechanical. There appears also to be an Alexander S. Lawson disturbing to many observers who are presently good practical training in all the mechanics of print- inadequacy in their appreciation and knowledge of Melbert B. Cary,Jr., Professor of Graphic Arts, promoting a new typography, which they believe ing...but it is exactly beyond this line that the real that principal tool of the communicator, printing Emeritus should demonstrate the expansive capabilities of values are to be found. Beyond this line lie the type. current technological advances. Rochester Institute of Technology character of work, its physiognomy, its style, in fact, As Noel Martin once remarked about art school pro- the spirit which gives life to the technical accom- will be obvious to many of you that anyone who It must now be asked, "Where was printing education grams, there was a definite need for the designer to It plishment. This spirit relies upon the mechanics in has spent the past thirty years between captive college in this period, and what were its contributions?" re-appraise historical typography and to avoid order to manifest itself...a mutual relationship that cliches and obvious trends. He also felt that no better students and a blackboard should already have The pleas for the establishment of school programs, is essential to both." method has been found than that of setting printing formed an opinion of what he was about, and I can by the illustrious Theodore Low De Vinne, the United Lehmann-Haupt urged that teachers and students type in the composing , and that far too few art assure you that this is so. I also know that the view- Typothetae of America, and others, resulted in the in- alike develop awareness of technology in the graphic schools provided such materials an their curricula. point of any teacher upon any methodology of learn- troduction of a printing course at North End Union in ing is invariably subject to censorious scrutiny by his arts by informing themselves about past develop- Boston under the guidance of the Boston Typothetae, ments and the forces behind them. Many other observers have come to similar conclu- fellow practitioners. a program which was moved to the Wentworth Insti- sions concerning the lack of realism on the part of An historic approach, more concerned with where we tute in 1916. By 1912 vocational education in printing Craft a suspect term such institutions in the development of designers to have been than where we are going, is closer to my had spread to several large cities, including the Among practical printers the term "fine printing" meet the potentialities of techniques and materials heart. Winona Technical Institute in Indianapolis. In 1927, seems always to have inspired polemics. Conse- presently available to the printing industry. A time of sad decline technology upon one very solid virtue—the human spectrum of typography and equipment technology At every hand, the need is obvious. The traditional traits upon which craftsmanship is founded and reviewed at Vision '77. I believe that C & B is represen- training of printers is in a state of sad decline. The which remain.very much alive today. Those of us tative of the type supplier of today. broad disciplines supplied by fairly long periods of who would attempt to foster the more dehumanizing The reason we have three type shops per city is be- apprenticeship will no longer bring to the printing issues of contemporary technology might do well to cause no one piece of equipment can service all the plant that solid backlog of skilled craftsmanship ex- keep this in mind. typographic markets. Therefore, each shop has its pected from the journeyman printer. It so happens , Needed: design & engineering compatibility own typesetting equipment configuration, each dif- that typesetting is the first segment of the industry to I really can't begin here to suggest specific programs ferent and each serving different markets. be so affected. This gap in the preparation of career by which we can begin to make the gigantic strides practitioners can only be filled by the schools, at For example, the Videocomp Atex system is for TV list- so very necessary in bringing a sense of aesthetic ' _every level from elementary through college. awareness to what seems to be an implacable technol- ings, price lists, parts cataloguesior General Motors, Industry's help is essential ogy of communication—a technology which appears yellow pages for Bell Canada and rate manuals for increasingly impervious to such an awareness. insurance companies. On the other hand, ad work It will be immediately understood that such a pro- and brochures, etc. which require kerning, tight fit, gram is not going to come from the academic world The typographer simply must make the effort to be- good looks and a wide range of typefaces are done in alone. Understandably, the educators tend to turn to come thoroughly familiar with the new procedures another operation set up to deliver just that. the businessmen for the capital to mount specific and to be sympathetic to the demands of the en- C & BS setup is an example of how type shops all over programs. While frequently such aid is supplied— gineers. It is the great challenge of arranging such a America have changed over the past five years be- although seldom in sufficient amounts to satisfy the compatibility that is the fundamental responsibility cause of the new technology and new client financial needs of the schools—the businessmen of the school's, at all levels. demands. themselves are far too often quiescent in demanding I tend to be quite optimistic about the present 18 to 25 an adequate return for their investment. What's next? year old generation and its ability to overcome what First of all, he has a large camera facility to Now let's consider this full service type house and What now? can be the complete debasement of typographical make halftones and negatives, and to take the how it plans to work with, set up for, and become a standards brought about by thoughtless dependence work he gets that much further through the It goes without saying that we cannot begin to mea- part of the new technological environment of '77 process, in some cases finishing what some upon devices which are just faster and more compli- sure the effect of the transformations that are pres- and into the '80's. customers only do a portion of. ently taking place in typesetting. Whether or not cated than those which preceded them. Should we With all of Vision '77's emphasis on in-office opera- He often masks it out and opaques it, readying they will be shattering depends upon the circum- decline to face up to these issues, we may very well tions, one may wonder if there is a role for the typog- it for prints. stances of who we are, what we are doing, and the discover that we will not have another opportunity. rapher and how he sits with all these new innova- direction in which we are headed. tions. Well, the type shops are sitting just fine. There is ((((II(' It is increasingly evident that typographic designers a role to play and the majority of them are rising to must begin to assume some measure of primacy over Viewpoints: The the challenges of change. the techniques now being used for the dissemination 1$ it Typographic Service The typographic industry, within which there are of the printed word. II s thousands and thousands of shops doing roughly 700 It is no longer sufficient to say that the designer is million dollars worth of typesetting throughout above and beyond the technical demands of his pro- North America -annually, has gone through a big fession. While it will still be necessary to rely upon change in the last 10-15 years. The change is photo- training in taste and an insistence upon the study of typography and, more currently, the many systems traditional postulates, future emphasis must be on the that accompany phototypography—the computer mastery of technological principles—far, far too im- hardware and software system; the way input is gen- portant to be left to technicians. erated and supplied. Although there has been a spontaneous growth of the A full pre-press service movement in recent years, this repre- sents a turning away of many of us from the implac- bgraphers of yesterday set metal type only—niade able mechanization of the craft of printing. While it up and shipped repros or the type itself. Today, the sufficing to meet certain individual needs, such a typographer sets the type by keyboarding it himself or trend is most definitely not the response which is by taking OCR copy from the customer or from mag needed to meet the problems of the future head-on. tapes, cards or diskettes, and supplies, if needed, film negatives ready for press plates. He is supplying in Too much shoddiness some instances the whole pre-press situation. Many of us-, looking with dismay upon the shoddiness So now the typographer is supplying more. In many of so much printing presently being produced, look cases, by accepting customer input, he now finds back with some nostalgia to William Morris rising in righteous wrath and almost single-handedly reviving James D. McLean himself in a mutual working relationship with the interest in the practice of the crafts, from President client. The client provides input, the typographer out- put. Sure, some clients of ours have complete in- design to typography. Appalled by the decline of Cooper & Beatty, Limited, Toronto standards, Morris determined to do something about house operations. And that's o.k., because they still How does the typographic service view all this inno- buy other services from the typographer, just as you it, and by the strength of his own personality and vation? How is it changing the type shop of today and will. ability he did bring about a kind of resurrection. of the future? As we know, the Morris example was followed by For example, we have a client who, believe it or not, So that you understand my point of view, it is impor- has 42 employees involved in typesetting. He does an young men of the era, the best of whom adopted his tant that you know who and what C & B is. We are principles, although establishing their own directions. awful lot of work—he also has a lot of little problems typographers and have shops in two cities, Toronto and needs a lot of other services. And if the typog- An ironical paradox and Montreal. In each city we employ over 300 rapher of today is to stay around, he must provide all people in three separate type shops and serve the In our time, as was the case in Morris's, the decline in those other services, besides typesetting. We do, and studio, agency, publisher, printer, direct and business we are growing. aesthetic standards occurs at a time when printing market. We have a wide range of equipment, metal techniques are making possible the highest quality of and photo-typography—including Alphatype, VIP's, Collateral services production ever. Linofilm, Fototronic, computer setup with OCR and Now let's look at all those services the typographer Without doubt, Morris with all his impatience made -VDT's, even the Atex system and a Videocomp 500 ac- needs if he is to evolve along with new technology one very solid contribution, basing his revolt against cepting OCR and mag tape input. We span the whole and new thinking by the customer. 56

ess. The second part is makeup. You don't just set type. You set type and then make it up. The Near Future Suppliers who- sell typesetting to the in-plant market fail to tell the buyers this. They tell them that they buy this little $10,000 typesetting machine and they sit down with Susie secretary and she's going to turn out all these reports that they were buying on the outside How It All Adds Up before and two magical hands will come down from the heavens and do all the paste-up for them. It doesn't work that way. One of the great problems in the industry today is that suppliers are saturating the in-plant market, and all markets, with low-cost de- vices. But, unfortunately, they aren't teaching people 11 14 if 14 13 how to use those devices. He provides camera techniques such as line Direct entry typesetting conversions of original photos, and special There are now three different ways of setting type. effects. Photolettering, phototypesetting, and photocomposi- tion. You can use those methods in three different sys- tems approaches. The first systems approach is called direct input or direct entry. In direct input typesetting we have a keyboard, or input device, physically con- nected to the output device, which is the typesetting machine. The Linotype was a direct input machine. The typewriter is a direct input machine. In this category today we have the Alphatype, Alphacomp 1 and 2, the Mergenthaler LinoComp 1 and 2, the Linoterm, the Berthold Diatronic and Diatext, the Varityper Division of Addressograph-Multigraph's The type shop must provide services such as Frank Romano CompSet series (the 500, 510, 520, 550, 560, 570, He must have large computers to take the plateless color proofing for labels, packages, Independent Consultant and Publisher 3500, 3510, 3520, 3550, 3560, 3570, 4500, 4510, sophisticated information on mag tapesfrom and covers of catalogues, as well as transfer Graphic Arts Marketing Association 4520, 4550, 4560, 4570), Compugraphic Corpora- a client and transform it to type made up in sheets for art studios and creative groups. He tion's Compuwriter Series, the 1-1 Junior, the 2-2 must provide color dummies for ads, promo- The term "cold type" was used quite a bit at Vision position with rules, thereby providing exten- '77. Don't ever use it again. There is no such thing as Junior, the Compuwriter 44, 48, 4, the Edit-Writer sion servicesfor the in-house operation. Shown tions, and packages, as well as informative 7500 and the Execuwriter 1, 2 and 3, and the Itek slidesfor visual presentations. cold type. Cold type is what Gutenberg used on a here is a VideoComp. winter's morning. Today we set type photographi- "Quadritek 1200. Overnight service ' cally. People write me nasty letters asking why And you tell me that you can make an intelligent de- photographic typesetting has degraded the quality of cision? All these machines have one thing in com- A service must be able to do schedules and deliver—as typesetting. I take those letters and I usually file them mon: they're cheap. They range from about $4,000 to we do for one account—up to 21 original 8ex 11" in the wastepaper basket, because those folks don't about $12,000. The average price being somewhere pages of typography, and corrections on another 61 know what they are talking about. A tool is only as around $10,000. They are not very productive devices. 8ex 11" pages per 24-hour period, and to offer over- good as the workman—the quality that you get out of A direct input machine is only as effective as the per- night service on large and small work. typesetting is only as good as the person who operates son operating it. And only one person at a time can it. There are some typesetting devices that are not as operate it. Did you ever see two people sitting at one The typographer must provide the latest in type styles good as others. There are some that are better. But direct input device? Four hands operating on the and as many variations of each style as possible. His you can use the so-called low-cost device or low- keyboard? Some keyboards need four hands. Most library, established for many clients, must be truly quality device and produce quality typography with keyboards are designed by engineers with fifteen fin- ' extensive and up-to-date. it. Quality is the function of the operator, the designer gers. And they design the keyboards by taking all the He must have equipment ready to accept OCR And what about costs? and a lot of other things. keys and throwing them in a bag and they pick out input should the client want to provide the Overnight typesetters the ones they want and put them all around. Most of front end of the typesetting process. The last is what every client speaks of first...price... those engineers have been living in a bell tower and how much is it going. to cost? Are typography costs People who tell you that you can turn a typist into a they haven't stopped hearing the bell. today too high? No way—typography today is typesetter in an hour or a day are full of it. The only Direct input correction systems cheaper than it has ever been. You can buy, from a relationship between typesetting and typing is that you do both of them when you're sitting down. So there's a problem with direct input machines and lot of type shops, a page of type for $60 or $40 or $20 They're related, but so are ice picks and acupuncture. or even $3.20—depending on what you provide, or on the problem is that if you make a mistake, what do what you and your typographer have determined is There are three different ways of setting type photo- you do? If you make a mistake when you're typeset- the right system for that particular job. The typog- graphically: photolettering, phototypesetting and ting, when you see it, you can catch it and correct it photocomposition. Photolettering refers primarily to right then and there. That's great, but you know that rapher must provide a price that can fit any budget the setting of headline type. The kinds of machines in most errors don't get caught until they are printed and he is doing it. this category include the Striprinter, the Filmo- out. Well, if you happen to make a mistake and catch Integrate your typographic service with type, the Phototypositor, the Visutek, the Compu- it somewhere before printing, the only way to correct your internal capabilities graphic 7200, the Singer photo display, the old it with a direct input device is to reset the offending Photon Headmaster, and many other devices. They character, word, line, paragraph, section, or page— He must have VDT terminals to search for and Just as you investigate and inquire about new only have one requirement. SET LARGE TYPE. Period. and then do what? Paste it in. methods and equipment systems for your own use, update information that requires changes. Phototypesetting refers to those machines that pri- you should inquire also about the new systems, You spend $10,000 for a typesetting machine and you marily set textual material. They are analogous to the wind up pasting in corrections. So what do you do? methods and services of the type shop. With your new . They set mainly galley material, ideas and equipment, you can work hand in hand Your friendly supplier comes back to you and says, large volumes of text. They mix headlines. They mix For $4000 or $5000, we'll give you something called with the typographer and his services. Your typog- some faces and they give you some italics, etc. But the record and playback." O.K. What they're going to do rapher is rising to the new innovations provided by output is usually a long strip that you . is add onto your direct input device some method for new equipment and by new ways of receiving your Photocomposition refers to those machines that set either punching out a tape and then reading it in, or work, be it paper tape, mag tape, cassette, diskette, or both headlines and text material and, more impor- recording on a cassette or a floppy disc. Did they tell OCR typed input. He is providing more services to fill tantly, position the type and/or graphics according you all the different kinds of floppy discs by the way? your new needs and offers facilities to do a complete to the operator's instructions, to create a finished You know there's paper tape, and magnetic tape, 9111:ar job or any part of the pm-press package with which page. We talk about typesetting as if it were the whole magnetic tape cassettes, and magnetic cartridges, you need help. process, but typesetting is only one part of the proc- and there's the big floppy, which only records on one 57

side. Then there's a double density floppy which re- nately, the suppliers don't don't make it easy for you clustering and it means that we can share some of language, automatically output this new ligature for cords twice as much on one side. Then there's a to upgrade to the next level. What we really need is the intelligence. We can eliminate some of the th." Or whatever it might be. For teaching reading to flippy you can turn over to record on both sides. AM a more modularity. hardware. In a cluster system, one can reduce the children, the potential is fantastic. Script alphabets. double density flippy that records on both sides. And H&J cost per element and one can cluster anything— There's a magazine called Highlights for Children now they've got a new one called the mini-floppy. keyboards, editing terminals, whatever. The problem which many of you may have seen if you have And that will probably have all the combinations. I So, it is more economical to expand with an input- with cluster systems is that when information is put school-aged children, and they have a whole reper- predict that you'll be seeing every one of these differ- tape-output operation. Tape operation gives us some- into them it has to go somewhere. The computer by toire of connecting scripts that they've worked on. ent versions in direct input machines. thing very important— machine intelligence. the way, is only about the size of your thumb. The I can do the same thing automatically through the Machines will never be as smart as people (although computer. Now the computer does all this stuff; it Separating input from output reason they put it in a big box is so that you feel better I know some people who'll never be as smart as about spending $20,000 to $100,000 for it. Whervall doesn't care who operates it. It doesn't know the But when you take a direct input machine and you machines). The machine is programmed to do a job. this information goes into the computer, the compu- person, it doesn't care what typesetting machine it add record and playback onto it, you are now in the That job is most often hyphenation and justification. ter can't keep it. It has to be put someplace, so now drives. The computer is totally neutral. It will always next category, which I call "tape." And here I physi- Most typesetting machines do a really bad job of we create a storage method. make the same mistake. Human beings are unique. hyphenation and justification. The classic case is Dr. cally separate the input and output devices. And I Storage They will make a different mistake as they go along. have to have some recorded medium between the two Jones who was a therapist, and it was hyphenated The systems approach —a communicating medium. Paper tape is the most "the-rapist." Most of the suppliers are working very A storage method can be more or less anything you common. In fact it's the only standard we have in hard to improve their hyphenation programs. They want it to be. It could be a disc. It could be a small So you can put your intelligence in the stand-alone or this industry. It's call 'ITS for Teletypesetters six are improving the rules of logic that define relation- disc, which we call a floppy disc, or the big ones, you can put your intelligence in the computer system. channel tape. We need more standards. Someone ships between characters. One can establish a set of which we call the rigid discs. Isn't this tremendous When you do that, typesetting now becomes what? It should tell the manufacturers to sit down together rules to hyphenate always after an "x" or before a terminology? The rigid disc spins around at high becomes peripheral to a computer system. No longer and do something unique like putting the quad-left "j," or between double consonants so long as there's speed and the reading head floats on a cushion of air are we now talking about typesetting. We are talking key for every machine in the same place. That would not an "ing" at the end. But the rules can be effective about a micron in length. And sometimes it loses that about an entire systems approach. A big thing in sys- be nice. We need a little technological togetherness. in only about half the cases. In the other half they're cushion of air and falls onto the disc. We call that a tems today is the editing terminal. The TV set. Some wrong. They're going to make a mistake. So we head crash (I would be remiss if I didn't tell you of the new systems have hundreds of these VDT ter- But paper tape, though widely used, is not effective in supplement the logic programs with an exception that). So you can have all these different kinds of re- minals on line. Some of them are pretty bad. Harold most cases, so some people are starting to work with word dictionary, a large list of words that don't fol- corded media and storage devices, and have the sys- Chevalier discussed the Atex system. The terminal on magnetic tape cassettes and floppy discs, and all low the rules. tem clustered together. But when you've done this the Atex system is not very good. Those Atex people kinds of other things. It really makes no difference you haven't gained intelligence, you've just added created a hundred thousand dollar, a million dollar And there are all sorts of little tricks for storing dic- how you communicate between the two devices if editing power. You've also lowered the cost per unit. system and they put all these keys on the stupid thing tionaries as roots or stems and then putting prefixes paper tape makes you happy, and most of us who Now you may ask, "Why don't I make the computer and the editors of this industry go out and buy it. It's a and suffixes on them. All the manufacturers have grew up with paper tape like it for several reasons. the central part of my system since it is so important. dastardly thing. It's terrible. The whole function of worked on this. One, we can see it. I bought a computer for my typesetter and it does cer- an editing terminal is interaction with the operator. When I first saw a magnetic medium, I asked, The single most important power in typesetting today tain things, so if I had a bigger computer, it could do It's not a TV set. You're watching some program; you `Where do they punch the holes?" Because I can't see is this intelligence, because without it you cannot more things." are interacting with the information. And therefore interface to word processors, computers or other de- that something is on there. I don't know if it was re- Composition you must have the ability to do this from the corded. With paper tape I can see. I guess it's a carry vices. In direct input in most cases the person operat- keyboard, and the keyboard must be kept simple. ing the machine is making the decisions— ending Let's see—you added storage and editing terminals to over from hot metal, right? You could see those galley CAM ability racks with all the metal in them. You had this feeling the lines, determining the hyphenation point, mak- your input and output. We call this the computer sys- of accomplishment, that you had done something. ing every decision. A direct input operator by defini- tem. The computer system enables you to edit the Now some editing terminals can display the copy as When we got to phototypesetting, we had a lot of tion carries this burden. You can never make money copy and makeup the type and/or graphics in areas it will be typeset. That's very important. We will call paper tape hanging up. Now we get to magnetic with a system like that. You must be able to put the or pages. And that is the third method for setting that CAM, Computer Assisted Makeup. I believe when media and we have one floppy disc with 300,000 burden on the machine. You must still have good type. Three different methods: direct input, tape CAM is more common we will have brought the characters on it. You don't feel that you did anything. people, you still review what you do, but you cannot orientation (tape linking input to output) and photo- typesetting process full circle. Because it began as a They ought to make the floppies about one foot be effective in today's marketplace without intelli- composition or the computer system. You can see visual process, a mental process, but a manual one. I square, you know, a cube; when you carry it around, gence in the machines. The direct input devices lack how they phase from one to the other and if you're had to handle the metal. I had to feel it and touch it. it should weigh 20 pounds so you feel that you did extensive hyphenation programs. Some do have very smart, you can buy the devices properly so you can And space it. And I could see what I was doing. At first something. There's no sense of accomplishment any minor kinds of programs but most avoid the whole use them over and over again, but most of the sup- we were character oriented. Then we became line more in the typesetting process. problem of automatic hyphenation. pliers have not made that job easy. oriented. And now, with new technology, we are going to become page oriented. And the only way to Correction with VDTs Some good programs Why buy a computer system? do this is to see the copy as it will be seen and to be So with tape you can communicate between input The tape machines had to get into hyphenation One reason is to get a bigger computer. You can do able to interact with it intelligently. and some of them are doing a pretty good job. The and output machines any way you require. But again more with it. Mergenthaler has shown us that they 44 keys we have the same problem. What if you make a mis- Mergenthaler V-I-P, with the exception dictionary have been able to do a heck of a lot with the compu- Inputting copy and commands with take? People make mistakes. That's why there are does a very good job, for example. The Compu- ter inside the V-I-P, for example. The V-I-P has all There are 44 keys on a typewriter and with them you erasers on pencils. And rubber mats around spittoons. graphic Unisetter, without a dictionary, does a lousy those automated aesthetics such as automatic kern- have two jobs to do in typesetting. You have to input And splash guards on urinals. So the typesetting job. You can see this when you operate a machine. ing, hung punctuation, minus letterspacing and al- all the characters to be typeset and you have to input industry, in its infinite wisdom, happened to notice Needed—more editing power. But why? ternative justification. Kerning has not only an the commands, functions or instructions that tell the that the people in the computer industry had a little aesthetic; but a pragmatic value. Kerning aids reada- system how to set those characters. Everything is all device that looked like a TV set. And instead of watch- At this stage it seems people need more editing power. bility. With automatic kerning I can"a.y to the well and good when you're setting the regular al- ing Charlie's Angels, they used to watch these charac- I always wondered why, and one day in our plant I typesetting machine, "Whenever you see a capital phabet characters. But you've only got 86 possible ters. We call that a video editing terminal. In most figured it out. I was listening to the keyboard operator W and a lower case o, take out the space between characters (using the shift) on a typewriter because of the cases it operates as a stand-alone device, and she said "shit." All keyboard operators say that, them." I can therefore create more readable copy, two are duplicated: the period and the comma. So meaning that you feed your input into it and see the by the way. I hope nobody's offended. When you go to more legible copy, copy that can be absorbed and what happens when you need a dagger? What do you information and then you produce a new recorded keyboard school they teach you how to say it several communicated faster, because I can eliminate those do? Well, the manufacturers give you a litttle card. medium. You can have a little flow chart that says: different ways. Sometimes they typeset it because unsightly gaps. We read word units. The eye focuses And on it, if you look very carefully, you'll see that the input it; run it and look at it again; edit it and rerun their fingers are going so fast. The editor thinks it's every few characters. It's called a saccadic jump and supershift position of the Q is the dagger. So when it. No problem. This is really the way you want to go. some kind of comment on his work. So after I heard it tells us that the closer the characters are together you need a special character, you look through this Because if you buy one direct input machine at her say that word, she said, "They'll catch it in edit- the easier they are to read as groups. Of course you card, find it, and go through the keying sequence. $10,000, and you need a second one, that's another ing." In other words, "I don't have to be good any can go too far. We used to start with minus one unit. Code conversions and mnemonics $10,000. But if I were to buy atape operated machine, more because there's somebody else over there who's Remember that tight typesetting? They took out one I might make an investment of $20,000, but my input going to make all these corrections for me." Well, we unit of space. That was called minus one. That was Optical character recognition taught us about code devices might only be $5000 each. So I can add input put a stop to that. But the problem became one of a nice. Minus two wasn't too had. Now they're up to conversions. OCR required something that no other devices more inexpensively here than I can add com- lot of people needing a lot of editing devices. And in minus 75. The characters all sit on top of one another. device had—the ability to use the typewriter as the input device. OCR had all the limitations of the plete typesetters where I'm repeating the whole most cases they needed more editing devices than Programmed ligatures package. they needed input devices. typewriter and all its potentials. With OCR we could But I can also say to the machine, "Every time you see set up what we call code conversions. I could say to Needed—more modularity Clustering an ff, automatically give me the ff ligature." And I the scanner that reads the-OCR sheet. "Whenever you Why then is one getting into direct input? For only So we clustered the editing devices. We connected a can say to the computer, "Whenever you see a th, see a certain code sequence, output these codes to op- one reason: it's the cheapest way to start. Unfortu- number of them to a central computer. We call this which is a very common combination in the English erate my typesetting machine." We created a language called mnemonics—memory originator, we brought it back, and we retyped it. We why the market for typesetting is increasing in the ticated whump-de-dump system with a computer of oriented. And we said to the system, "Whenever you made new errors. We had to find and correct these business office. umpteen megabytes of storage, OCR, VDT or perhaps see a DA, •hat's a dagger; we want you to put an as- errors. With word processing, there are some advan- Because typesetting puts more information on a piece keyboard input, and a phototypesetter with the ability terisk in from of it because that will make it stand out tages, but there is a very serious disadvantage. The of paper, and cuts storage, distribution and paper to set about 6.3 zillion characters per second. How do from all the other DAs in the English language. And if person sitting down at the typewriter doesn't know costs by as much as 40 percent. That's all those office you process this output once you have purchased the anything about typesetting and never will know any- I need a bullet, it's BU. So I'll give you a little rule people want right now. They don't give a damn equipment, or how does your supplier process it? And thing about typesetting. He or she will only know now. If there's only one word I give you, it's only the whether it is in Souvenir or . They don't how do you work with your supplier if that supplier is first two letters. If there are two words, you take the about typewriting. All the typist can do is give you the know the difference. the firm who is making equipment changes? first letter of both words. What's a double dagger in characters. Now you must take the characters and mnemonics? DD. Very good. What's a box? BO. Let's somehow put in the commands to establish the for- So there's the office of the future. We've got our These are the sorts of questions that many of our rep- typesetting machines and we're going to use digitized get to the command side. I have an asterisk followed mat that you want. resentatives in the field are asked, and unfortunately typography. That's the newest one: little dots created by an IL. That's an indent left. What's an indent Needed—Specialists it's not too uncommon when they're asked by a cus- right? IR. What's a ragged right? RR." on a tube of some sort. There is a tremendous poten- We will need specialists, people who understand and tial in digitized typesetting. Some devices today are in tomer who says, "By the way, next week I'm going to Multi-source input can apply typographic principles. We can have a lot the $100,000 range and can do an excellent job but be getting this new system. How do I process the out- of what they call grunts out there—people who lust An important point is that when there is intelligence some are outputting garbage and at those prices put?" I would suggest that that sort of decision takes a type. But we must have somewhere in the system a that's inexcusable. As a class, they are very high speed great deal more time and thought than looking for a in a system, input can come from any source. It really knowledgeable person to set typography. Supposedly a makes no difference so long as the input is in a lan- and can modify typeface weight and slant as well as processing system after the decision on input, edit- typographer has highly specialized knowledge but size, and can condense or expand, all from one master. guage that the typesetting machine or system under- the problem is that nobody's teaching these people ing, and phototypesetting output equipment has been stands, or is recorded on a medium that the system anything. There's no school for them. There's no Quality made. understands. place to go. There's no book to buy. And even Vision I cannot close without telling you what quality is but I The basic decision that most of you will be making Word processing '77 doesn't help because it's only three days—three don't know what quality is. I think there's only one will be whether to set type on film or on paper. Word processing is the big buzz word right now. I years, maybe. It's a very serious problem. And before guy that does and he lives in the Himalayas. I don't think someone once got up in the middle of the night we can apply all this stuff in the business office, we're think the suppliers know either. And I don't think the Paper is by far the most common medium in typeset- to go the the bathroom and said, "Ah! Word process- going to have to teach someone, not everyone,some- buyers know anymore. Because what one man calls ting, primarily because of newspaper and in-plant ing!" There is no such thing. They've been giving you one what typography is all about. quality, another man does not. I find some machines printing applications. (Commercial typographers are a line. There is no such thing as wordprocessing. It The office of the future which have a reputation for very low quality and I much more likely to be film oriented.) One of the has been made up. It refers only to a machine. The Let's consider the office of the future. It will have a find typographers using them and I find people buy- reasons why some people prefer to set type on paper is machine is the IBM MT/ST, the Magnetic Tape Selec- copying machine that takes your originals, copies ing the stuff and they're very happy with it. And I find that it can be pasted up—not only by itself, but along tric Typewriter. In 1964, IBM took that machine from them, collates them, staples and stacks them. The typographers setting on what are considered very with sized artwork on paper, paper from photoletter- Germany, where it was developed for only one pur- only thing it doesn't do is read them and throw them high quality devices. I find typographers setting on ing, and halftone screened paper prints. The whole all kinds of devices, including hot metal. The IBM pose—to store paragraphs on the magnetic cartridge away. pasteup can then be photographed on a one-piece so that the operator, when given a form letter, could Composer is the most ubiquitous typesetting device IBM has a machine called the 66/40. It's an ink jet - negative, and a printing plate made from that write it using paragraphs numbers 25, 32, 41, for ever known. There are more of them out there than printer. It spits ink at a piece of paper. Spppp. For example, could personalize it to some degree. When of any other typesetting machine ever made. negative. $20,000 it'll spit ink at a piece of paper so it'll look it came to the United States, people weren't interested like a typewriter did it. The important thing about Another advantage of photographic papers over in that. They didn't have to use form letters. They What is quality? It could be the density of the image. that device is not so much how it does it, because I- is that proofing can be done on'a typical office copier. wanted to have very personal kinds of correspon- It could be the clarity of the image. But, more impor- think ink letters are for the birds, although there's For firms who don't need many proofs this becomes dence. So IBM called this machine a word processor, tantly in my mind, quality has to do with the person another guy at Vision '77 who's going to tell you that saying that it did what data processing systems did, who handles the type, who works with the type. It has a pretty easy way to proof. they're pretty good. The important thing is that that what computers did, and that therefore the operator to do with the spacing of the type; whether you have magnetic card or device you take from your word The third reason that people use paper rather than not only could type with it, but also could store, re- three in a row or four hyphens; whether you processing system can plug into it. And you know film is that there is a considerable difference in the trieve, edit, and correct the material without fluids or have widows or orphans; the way you've oriented it. what it does? On the magnetic card you tell it what material cost; a factor of about three-and-a-half or correction stuff. This turned a lot of people on. Some- size you want It has only two, pica and elite. You tell We have a terrible time differentiating between type four to one, depending upon the particular configura- one thinks, "This is a fantastic idea. All I have to do it what line you want, what spacing you want. For all and design. And maybe that's the problem because now when I'm typing is record it. Then, when the tion that your typesetter uses. It's important enough intents and purposes you are directing a machine to typography includes many aspects of design. So all of boss wants to change his mind, and the boss always to take into consideration. I don't mean to say that set type. Only it's setting typewriter. these technologies, all of these machines are totally changes his mind, I can play it back and correct it, useless until someone, somewhere, somehow, some- film is more expensive to use than paper, because in and I don't have to retype everything over and over IBM has another device called the 3800. It costa time learns what typography is. many cases, depending on your production opera- again." That is all that word processing is. It is no quarter of a million dollars. It prints at a speed of tion, it can be less expensive. But it is more expensive more. But there are people out there who took this something like 4000 sheets a minute. It operates to purchase. machine and made it into a movement, into a from a computer. And it takes a laser beam and acti- philosophy. They said that word processing is dic- vates a drum and then xerographically transfers the Output Media Why film? tation equipment. That's word input. And copying toner onto the paper. There's no reason why the Why is film used at all then? First of all, film is con- mechanism with the laser could not be adapted to machines, that's word output. God knows what the sidered the highest quality output medium. If you water cooler is. Word liquification? So word process- almost any xerographic copying machine. ing began as a machine and became a philosophy. want the sharpest character that you can produce, Let's take these devices and put them together and see both on the typeset medium itself and on the negative Forget the philosophy. It's meaningless. The impor- what we have. In the office of the future the secretary that will be made from the medium, film will pro- tant thing is that people are putting text editing will take a magnetic tape cassette, or other medium, typewriters into business offices. And there are ap- saunter over to the copying machine and plug it in. duce a slightly sharper image than will phototypeset- proximately 180,000 of them right now in North It will set and makeup the type, make the copies, col- ting papers.Where the difference can really be seen is America, and there are projections by 1985 of over a late them, staple them, stack them, and probably in the resulting negative. If you're exposing photo- million. And you've got about 50 companies supply- pack them. That's the office of the future. And once typesetting paper and processing it and then using it ing devices, including IBM, who has 89% of the_mar- they get that recorded medium, they don't have to set as part of a pasteup, you will normally make the ket. And there are companies like Xerox, Burroughs type with it, by the way. They could go to a microfilm negative from it on a process camera. Process (with the Redactron division), and 3M's word system. They could transmit it over a telephone line cameras always have slight differences in terms of processing division. NCR is going to get into word to some other office. processing. But what are these suppliers into? They lighting, focus, and dust and dirt on the lenses or on are into a device that is primarily a typewriter con- Typesetting saves space, saves money the copy boards. A negative from a film positive nected to some form of recorded media that lets Last year, one of the fastest growing industries in the would normally be made by contact, and you would you input, edit and correct. Zero. United States was the manufacturing of filing eliminate most of these variables and drawbacks. WP–a potential input to a typesetting system cabinets—places to put paper. There are companies Therefore, the film negative made from a film posi- that spend millions of dollars a year for filing. There John Stoy tive is generally sharper than the film negative made Now here's the important point. Every one of these are limestone caves in upstate New York where com- Specialist, Marketing Planning from a paper positive. devices is a potential input device for a typesetting panies store their records. They have to be stored for Eastman Kodak Company system. You've already done the input. In typesetting, seven years. Imagine the volume of information that Another reason for using film is for firms who don't everything we have always done has been re-input. is produced by any major Fortune 500 corporation. Let's assume that you or your photocomposition have a process camera. You set type on film, contact Re-keyboarding. We took the information from the They can no longer cope with all this paper. That is supplier has recently decided to install a new sophis- to negative and you're ready to make a plate, whereas 510

if you set on paper somebody else has to make the the processor. This is necessary because the silver on and camera and contact work, where the accent smaller—one ten-thousandth of a micron. We have to negative for platemaking. the paper remains on it after processing. Without the really is on the lith films, it is possible to buy a con- learn words like anisotropic, morphology, Another reason for using film is that, for some films, stabilizer, the paper would continue to develop once ventional lith processor and process phototypesetting stoichiometry. it is out in the light. processing can be varied. A film positive is produced film along with camera and contact line and Being a non-silver process, KC film doesn't require with conventional processing—that is, black charac- Processing is extremely simple but there are some halftone work and duplicating work. chemicals. Being so fast in terms of emulsion speed it ters on a clear background. But it's possible, with re- disadvantages in this system. The paper is not con- Digitized art will allow you to use a helium-neon source of power versal processing equipment, to produce a film nega- sidered permanent— the stabilizer stabilizes the As the industry has grown more sophisticated in that's low-cost, like the laser, for under $100. That's tive rather than a film positive. For many types of image but does not make it permanent. The length of terms of its input and editing, we've heard new terms one of the things that are coming off the drawing work, such as directories, where input is not only cor- time that the image will remain varies according to a discussed, such as logotype scanning where artwork board. rect but paginated, it's very feasible to set type on number of things. One is the physical condition of that has been created and pasted up can be scanned KC film also has the potential of being used like a film and produce a negative rather than a positive, the processor, particularly the last two rollers in the and digitized for phototypesetting. We've also seen selenium drum. You set your type on this film and in processing. processor. Another is the relative humidity at the time preliminary efforts toward, and now the beginning then transfer the image from the film to a piece of Another reason for using film is that diazo proofs, of processing and afterwards. Others are storage con- of a system which scans black and white continuous paper, film, whatever. You just print as many copies as rather than office-type proofs, can be made. For large ditions, and how dry the paper was before it was tone prints, digitizes—that is, computerizes—those you want. It's like an intelligent copier and the only quantities of multiple proofs, diazos are less expen- waxed and used. The typical life of stabilization prints, and outputs them in halftone form on photo- consumable is toner. sive. If your client requires upwards of half a dozen paper would perhaps be a few weeks or a few typesetting film. As this sort of thing becomes more Digitizing photographs proofs, and we see cases of fifty or sixty for some types months, but it's guaranteed for only a few days. If you feasible, it pays to look more and more at how this of work, it's a lot less expensive to use diazo equip- have output requiring longer life than just a few days, work will be processed, because there area tremend- Another new product is something that fits into all of ment than to use an office copier. Diazo proofs are you should consider means of processing other than ous number of short cuts you can take. this. It's called a photograph reader. Two engineers in also used when large proofs are needed. 'lino 81/2 x 11 stabilization. California have developed a device which will read a pages for magazine work are often set side by side. Permanizing photograph, digitize it, store it, let you look at the You want to proof the two of them together. Many of- picture on a screen, enlarge it, reduce it, enhance it. If you have only a few jobs requiring long life and fice type copiers can't handle that size proof. "Off the If you push a button and it's connected to a typesetter, storage, and most of your paper only needs a few such as an APS 4 with a font on it made up of bunch Film bypasses production steps days' life, it is possible to fix, wash and dry the Drawing Board" of variable size dots, it will let you produce fully made stabilization paper, and then it becomes permanent As the sophistication in the industry has increased up pages, with your halftones in position. It's sort of a and the ability to place elements on pages has in- Stabilization paper comes out of the processor missing link in our production chain and it's priced creased, as we've become able to set in various sizes slightly damp and air-dries in three to four, or five surprisingly low They're listing it now for on-line and faces of type, to set run arounds and do vertical minutes under most conditions. However, it is possi- operation at under $30,000. Very interesting. column justification, and to actually lay out and put ble to purchase an optional drier which is used on the together the preliminary page work on editing ter- back of the processor. The engineers are not going to let us relax. Several minals or correction devices—as these abilities have important new families of typesetters were marketed Film processing for phototypesetting, even positive increased, we have seen more people become in- in 1977. They're coming at us from another direction, film processing, is a little bit more complex than terested in film because it can bypass steps. Further- too. Up in New Hampshire Roy Sanders has de- processing of stabilization paper and of convention- more, most of the typesetting equipment now on the veloped a new line printer, also digital. It will have ally processed paper. market can set either right- or wrong-reading. With an in that it will raise the quality level of line wrong-reading films you can go directly to a positive Developers, processors printer output up to the graphic arts level. It's just in working plate, bypassing the negative step entirely. the infancy stage now, but like the laser and the KC Developers are designed specifically for phototypeset- That can be quite useful in book and single color paper and the ink jet printer and all the new typeset- ting films and papers. If you are using stabilization magazine work. ters, graphics digitizers, electronic platemakers and paper, you need a stabilization processor. But if you, automated makeup systems reviewed at Vision '77, it Conventionally processed papers or your supplier, are not using stabilization paper, you presages an unending stream of interrelated graphic There are two kinds of papers on the market and the have two choices. One is to purchase a processor arts developments in the 1980's. differences between them relate to the processing. which would be basically dedicated to phototypeset- Sam Blum The next decade offers a real challenge to the in- These are called stabilization papers and conven- ting work, or perhaps to phototypesetting and cam- Publisher/Editor office, commercial, or even newspaper plant man- tionally processed papers. era and contact work. If the processor that you or lypeWorld your supplier wants to purchase is to be dedicated to ager to keep up with it all. A conventionally processed paper is one in which the Lasers and KC film phototypesetting work only, it can be relatively inex- paper is developed, fixed, washed and dried. Because pensive...down in the several thousand dollar range. A lot has happened this last decade. The first practical of this complete processing, conventionally processed The throughput time on such a processor is generally application in the graphic arts of a VDT was in 1968. Roundup and Forecast papers are able to be stored for long periods of time. fairly slow. Most of the phototypesetting-only proces- The first practical application of an OCR device was Processing equipment can cost from several thousand sors are from about 8 to 13 inches wide. in 1970 or 1971. The first practical application of the laser beam in the graphic arts was in 1972. Lasers. dollars up to perhaps $25,000 depending on its speed, If the processor is also going to be used for camera flexibility and size. LightAmplification byStimulated Emission ofRadia- and contact work, the price becomes a little higher. tion. There are a variety of them. They're used quite a Stabilization paper and processing Most of these processors are a minimum of about 20 bit in making color separations. in scanning, and in Stabilization paper uses a completely different inches in width, in order to process 20x24 film, and OCR devices, platemaking and, to some degree, in processing concept. It is completely different in its start at about $9,000. Generally they work on a batch printing. Their largest use, however, is in alignment manufacturing and in the way that it is processed. system where you process so many square feet, of sewers. There's been a problem with lasers because The primary difference is that stabilization paper has perhaps a thousand square feet, through a given vol- the output energy doesn't really match a recording the developer right in the paper: it is contained in the ume of developer and fixer. And when that's done you medium. However much power they put on the laser, paper's emulsion, rather than being supplied with simply dump the chemicals, start over and process there isn't a matching paper or film or emulsion to the chemicals. Processing becomes extremely simple. another 1000 square feet through more chemicals, go with it. But there's one that's just coming off the All that's required is a small tabletop processor that and then dump them again. These processors can drawing board. It was demonstrated publicly at' doesn't use water and plugs into a 110 volt outlet. also handle camera line work, contact and duplicat- DRUPA in June and is called KC film. It's a non-silver Generally its cost is $800 or less. It uses two chemi- ing work and contact prints on papers. But if they're kind of imaging process. I think they call it elec- cals. One is an activator that reacts with the de- going to be used to process phototypesetting paper, it trophotographic. It has a vastly superior resolution: veloper in the paper. Where an image has been ex- generally is not recommended that halftones are 10,000 lines per millimeter. it's ten times the speed of posed by the phototypesetter the image is produced processed through the same 'processor at the same lith film. To understand it we have to learn a whole time. William C. Lamparter on the paper. The second chemical is a stabilizer. bunch of new words. A micron is very small. It's a Vice President and General Manager This neutralizes the developer and coats the paper to For firms who don't have a need for phototypesetting millionth of a meter. (A meter equals 39.37 inches.) Mead Corporation keep it from further development after it comes out of paper but do have a need for phototypesetting film Now we have to learn what an Angstrom is. It's a lot Digital Systems Division Vision '77 opened with reference to Gutenberg—hand Technical innovations and product innovations were generation of typesetting equipment. Basically, there personal message. It's addressed to an individual. It set type—hot metal and cold type. During the two- explored. In many ways, without really fully under- are two forms of ink jet printing. One approach is highlights his hometown. It uses his name. It gives and-one-half day conference, the value and aesthe- standing it or knowing it, we've been talking about a done with a single jet. This method can be quickly him a specific telephone number to call. Now, this is tics of were discussed; the flow of infor- systems approach to automation in our particular understood if you will think of it as printing with a one of the things ink jet imaging does as it sets type, mation from author to composition was traced; and fields and areas of interest. hose—squirting out ink, and in effect, making a in that it takes from the computer a fixed file and character by causing the stream of ink to paint the a variable file, mixes these two on the fly, inserts a wide variety of equipment was reviewed. But the Cost effectiveness focus of attention was on electronic composition and character. the variable data in the appropriate places, creates a its future developments, both within and outside One of the things that seemed to me to be lacking in Secondly, there's the multiple jet approach. It's a bi- personalized message. And does it all at an output of the conventional composition and printing many of the discussions was a concern for dollars. nary approach. You turn many jets on and off as a rate of 600 feet per minute. industries. What is the cost effectiveness of all this equipment? web of paper is moved underneath the jets. Just visu- It can also produce label-badges on pressure sensitive During the conference, I made it a point to circulate And how much of it is technology for technology's alize thousands of tiny jets, all squirting ink towards paper. The badge is torn off and pasted on your pocket and talk with as many people as possible. The con- sake alone? How much of it is installed to be cute? a piece of paper, being turned on and off under com- as you enter a trade show and it becomes your badge ference attendees represented a wide spectrum of What concern are you really giving to the cost effec- puter control and you can see how an image can be of admittance. This is another personalized product, interest and were brimming over with a composite of tiveness of the equipment? created. in this case using all variable data. present-day problems and future hopes. Both the old Concern for cost effectiveness seems to have been a In 1971 some predictions were made about ink jet Ink jet printing does magazine and newspaper ad- and the ultranew were represented. missing or understated element at Vision '77. But if imaging. A detailed prediction backed up the dressing of all sorts, some of it quite specialized, as I found people who set hot metal type. Comment was you are considering putting some of this equipment generalization that ink jet would find its way into the well as advertising reply or bingo cards. I'm sure made in one of the sessions that Fortune magazine, into place, I'd suggest that you be very sure about the marketplace as a specialty device in the 1975-80 time you're familiar with their use in the trade publica- for example, is still being set in hot metal. Undoubt- cost effectiveness of the installation that you're pro- frame, and be a in 1980-1990. In 1971, tions. They have the number of the ad or items about edly, hot metal is still around and will be for many posing. no one said that it was a typesetter but it did have which you want more information sent to you. The years. Yet, we certainly do see hot metal declining as some of the elements of being a typesetter. Actually, Supplier backup publisher in these cases has found out that by not re- print manufacturing goes electronic. as we look at what is going on with ink jet, progress quiring you to write your own name and address on And be concerned about supplier stability. How suc- And it is going electronic not only in the composition is somewhat ahead of the detailed schedules that the bingo card, more people use it. He gets more re- cessful is that supplier that you're dealing with? area but in many, many places across the graphic were predicted for it in terms of its growth. Like quests for his ads. He loves it. And his advertisers love What's his dollar situation? Will he be around after arts spectrum including platemaking, copying press many imaging processes, growth in this area is a it. This kind of labeling is also produced at the rate you put that system in place and become heavily de- controls and even in the printing process itself. long term kind of proposition. In 1971 when these of 600 feet a minute. pendent upon him and his service operation? We re- All that was touched on in the opening presentation statements were originally made, there were very few call Perrin Long who discussed a certain amount of Magazine cover-wraps still used by some of the (See "Perspectives" by Edward Gottschall, U&lc Vol. 4, people working in the area of ink jet. Today many service that his equipment needs. He attacks it him- high-class magazines. Instead of just pasting a label No. 3). But as print has gone electronic, certainly major companies are conducting extensive work in self with his own screwdriver. this area. There are several varieties of ink jet imag- on the wrap, all the information can be printed by the lead has been in the composition area. ink jet. This enables you to put all sorts of per- The outlook in 1971 ing being worked on in laboratories around the Word Processing world. If you count patents, technical papers and the sonalized messages on the outside of that wrapper. Newspapers can be addressed by putting your name I don't think we were ten or fifteen minutes into Vis- Looking back to 1970 and '71 we see that just a few like, you can easily identify 30 substantial companies and address so it gets the product delivered but ink jet ion '77 when the word "composition" seemed to dis- years ago the users of the new electronic composition that are doing work in this area. In the United States, appear from the scene and the phrase "word process- systems were having difficulty. There were a lot of in- patents are issuing at the rate of more than 100 a printing can also print such messages as, "Hey Sam ing" took over. What is "word processing"? Frank teresting questions being asked about whether or not year. —yesterday was your wife's birthday. Did you forget?" Romano clarified it for me this morning when he computerized composition in its variety of forms, real Or the circulation manager can say, "Your subrip- Some ink jet equipment can be mounted on standard said that there really is no such thing. and proposed at that point in time, would in fact ever tion expires next week. Please fill out the form and make it in the marketplace. The printer and pub- business forms or commercial web. The ink jet link- renew" There are a variety of personalized messages If you are reading this because you have an interest in lisher were unprepared to accept the ramifications of age to the press includes a tape drive, a mini-com- that can be communicated in this fashion. As for word processing, you certainly ought to reflect and computerized typesetting. There were all kinds of puter, system controls and the ink jet imaging bar sampling letters and subscription renewals, they too ponder... "What is it? What is my definition of word troubles. Technology seemed to be ahead of the indus- and associated electronics. The ink jet imaging ap- can be personalized. And the fact that it is person- processing? What do I believe it to be? What do I ex- try's ability to use it and properly market the end paratus is on the top of the press. Multiple array ink alized gets more people to respond and so we move pect from it if I'm going to put it in place in my com- products. Software was visioned as a huge problem. jet imaging bars are available in widths of five, eight the merchandise. So there are many ways ink jet pany? Why? What are my objectives? How? What am I In many ways the software problem has been solved and ten inches—about the width of a typesetter. is being used in direct mail as well as in labeling. going to do with it?': Word processing is a vision of now, but those of you who deal with software know Examples include dunning letters and personalized the future—but that vision is a bit cloudy. that it is not yet problem-free. Progress was being This is a piece of typesetting equipment even though promotions. A Newsweek Magazine promotion to- made in the early 70's despite those that thought elec- it is a special unit mounted directly on a press. If you taling approximately 50,000,000 copies was pro- Vision '77 started out by putting things in a basic think of it as a press it's a strange phenomenon be- schematic form so that you could look at the varieties tronic composition would not make it. Many things duced by ink jet. Its hook, too, was personalization. have happened, and progress is still being made... cause it comes with 30 plus fonts. It's the first time If you could see the type as it was set, you would see, of typesetting machines and systems and see where I've ever seen a printing press that comes equipped they fit into the big scheme of things. (See Paul but today it is clear that electronic composition has for example, that the names Mr. Anthony and Ms. made it. with fonts. Some of those fonts emulate line printer Commiskey, had different counts, and therefore dif- Doebler's report in this issue of U&Ic.) At Vision '77 fonts. Some look like standard typesetting fonts. ferent line lengths and that to accommodate this, . there seemed to be an unending procession of Predictions There's also Handscript and all simulations of hand- pictures of equipment. I didn't know there were so each ink jet moves the characters around. ComPrint (a 1971 printing industry conference) pre- writing and various forms of script. The press/typeset- many keyboards—we saw keyboards and then more dicted that phototypesetting, abetted by software, was ter operates at 600 feet a minute. It really is setting A typesetting mode keyboards and then even more keyboards. There were to become the dominant composition method by type, because each and every image that it creates also all sorts of equipment including the word proc- We're functioning in a sense, in a typesetting mode 1980. Another key prediction was that systems auto- can be different from every preceding image. This is essors and interfaces—linking the word processor to as we do that because in setting these individual, per- mation of the electronic printing process overall was nothing more than another output device for all that the graphic arts output device or typesetter. We looked sonalized pieces of literature, we do function much going to spread forward from composition systems to front end composition stuff that Vision '77 has been at a variety of input devices and at page make-up 'like a typesetter and move words, paragraphs and the rest of the printing production process. The com- reviewing. terminals including the soft typesetter. We reviewed copy blocks around in accord with the program that puterized composition output would eventually lead machines from the simple to a variety of complicated What can it produce? had been established for that particular piece of to the control of image creation on press. In the early equipment. We've considered full pages being made work. 70's there were several technologies that were viewed up on tubes, and advanced equipment such as the This typesetter/press is still very much in its em- as the likely technologies to fulfill that prediction. Bar codes APS-22. With a parade of varied equipment one does bryonic form, but consider some of the products that reflect and wonder about the cost effectiveness of Ink jet printing was one of the technologies being de- are being produced on it already. It started out doing Variable bar codes can also be ink jet printed so it can some of these machines. veloped. Since then major progress has been made in relatively simple label work. From one-up labels it be read by a hand-held OCR bar reader, part of taking ink jet imaging as a process. went to two-up labeling and then went to labeling inventory in supermarkets, for example. Every shelf A systems approach directly on the product. It also does jumbo labels that label that goes on the supermarket shelf has a differ- We had discussions on programmed design and Ink jet typesetters might be pasted down on the front of a mail order ent bar code to identify the particular merchandise; comments made on the need to develop standards. Today ink jet printing is perhaps turning into the fifth catalog. It has text and embedded in that text is a therefore they have variable bar codes. Bar codes are also used for warehouse picking tickets where mer- ing for an endowment policy. And so, as you might This comes primarily from the Bauhaus. They were chandise is being assembled. guess, the next day everybody got on airplanes and architecturally or design based. They were not artists A ticket is put on the piece of merchandise when it is Graphic Design they all arrived in Brussels with their slides and as much as they were architects or designers going picked from the storage bin. The merchandise is then in Europe portfolios. Ideally, he wanted a Belgian for chauvinis- into graphic design. This group includes Kurt thrown in a conveyor and the conveyor runs along in tic reasons and the problem really wasn't interna- Schwitters and and also Moholy Nagy the plant. A bar reader reads the bar code at the bot- tional. Secondly, he wanted a Frenchman because, as and Herbert Bayer who came with others to the tom, which is different from any other bar code, be- you know, Belgium is primarily a French speaking United States and, to bring you more up to date, cause it identifies that customer and that merchan- country. But he ended up with a short list of three and Muller Brockman and Karl Gerstner who also work dise. The reading of that variable bar code says dump they all came from London and paradoxically the in this tradition. the merchandise off in bin #37 where a particular winner was a Swede who ran the London office of 3. The classic craftsman's influence order is being assembled. Bar codes can also be used Unimark of Chicago at the time. I think that illus- to track coupons by zip code. trates the point that London has become the largest single graphic design center in Europe. Now there's In printing forms on a conventional forms press we one exception to that. Armin Hofmann says that m ES may want to change a portion of the heading. An ink cuckoo clocks and watches used to be the biggest ex- THE TIMES jet printer can be mounted on the forms press to per- , :menlment borro.ing port of Switzerland, but now it's graphic designers. all, .iitoin sonalize or customize parts of the copy, as by name, itiedgvt fore,asi. phone number or address, for example. Ink jet is able Four major influences to add low cost variable information to a standard There are, in my view, four major influences which form. affect European graphic design. Generating the whole form 1. The artist who did posters We can also generate the entire form by ink jet when that makes more sense. A form can be generated by Colin Forbes taking data and having it encoded on punched cards Partner and running it through a computer program. That's Pentagram Design, London The classic craftsman's influence is present in the really a nonsense step because the real way to go is to typographic scene. You know that the Times typeface Americans see Europe as a single entity. Well, of create the form on a CRT and to pick the information was designed by Stanley Morison and of course there course, it really isn't like that. Europe is a collection off digitally and use the digital information to drive is Eric Gill. In Switzerland and in of different countries. Americans have been working the ink jet printer directly. That's coming down the London Matthew Carter have developed this tradi- towards a political and cultural identity for the pike in the future. tion. An American confirmation of this is that Paul United States for 201 years. As a united Europe, we Rand said to me once, when he came to London Book production haven't had the same amount of time. For example, there were two things he liked to do; to go to the city when England, the United Kingdom, was having a Ink jet is getting its feet wet in book production. (downtown) because he couldn't believe all those referendum in order to join the European Common Today books in scroll form are being produced and men in bowler hats and Marlborough suits and to Market, those who were opposed had a story that being used in special readers by the handicapped. walk around the streets because he felt there was a showed the disadvantages, the nightmare of Europe The books are mounted on the reader and an better sense of lettering in London than in any other with the worst characteristics of each country. They operator controls the rate of scrolling with special city in the world. devices. Without picking up a book, the operator can said, "The Germans will be police. The Italians will The American influence in Europe read it. Copy, today, is set in large type, fully hyphen- run the army. The Swedes will be the comedians. The ated and justified. Irish will be the professors. The Spanish will run the railways. The Dutch will be the beauty queens. The For a look into the future, consider these possibilities. Belgians will be town planners. And the British will On a belt press used to print books, for the belts we be the cooks." substitute an ink jet imaging head. That begins to take the shape of an ink jet book press of the future. A A cultural common denominator personalized ink jet ad can be run on the inside of a Nevertheless, when I'm in the United States, I feel For example, Toulouse Lautrec, Seurat who were fol- newspaper. It's a gimmick. But it's a gimmick that European. I feel that I have common cultural links lowed by poster artists McKnight-Kaufer, Leupin, has powerful advertising possibilities. The point is with Germans and Swedes and the French. That is Cassandre. that the type is set in a completely variable mode so not anti-American; it is different from American. In 2.The Dutch-German influence that each and every ad in each and every copy of the some way we Europeans communicate with each newspaper could be different from the other. other culturally and I can see a definite cultural dif- Ink jet has the capability not only of setting type but ference between Europeans and Americans. So of generating graphics. Ink jet is a non-contact proc- there's my first point—there is a separate European Particularly in London there has been a strong ess, and so has the versatility of being able to print on culture. NI+ American influence, due to the presence in London a wide variety of surfaces. What we are really consid- The urban role from the late '50's on of such American designers as ering is a digital press. By definition, a digital press My second point is that graphic design seems to Robert Brownjohn, Bob Gill, Tony Palladino and really includes a typesetter. It's the output end of the thrive in a major urban community, and of course, others. Another American whose work influenced composition process. It incorporates a computer. It an industrial complex. That is obvious to me in the British graphic design is Lou Klein who has stayed in England. Some of you may not know Bob Brownjohn eliminates the typesetting device as a separate unit as United States While there are a lot of things that KATALOG you and I would know it. It incorporates the front happen elsewhere, the real action seems to be in New but he was a partner in Brownjohn, Chermayeff and DER end, and it eliminates cameras, film and plates. York City. The same is true of London. Geismar. He was probably most famous for the work Today ink jet typesetting is an embryonic, but grow- MUSTER he did in England, for example, the James Bond film I have another little anecdote, about a Belgian brew- ri■ titles: 'Doctor No' and 'Goldfinger' ing kind of technology. It has moved into commer- ery. Stella Artois. The president decided he wanted a cial applications. It is responsible for creating change. corporate indentity program—some 10,000 bars and A new design generation And that's what Vision '77 is all about. cafes identified for the product that he sold. He asked The design scene in Europe has changed since the Vision '77 has presented a snapshot view of change around. He read Graphis Magazine and this, that and previous generation. Probably the two greatest poster today. The conference presentors have tried to look the other and he ended up with 12 European consul- designers from 1928-1938 were Cassandre and into the future and alert you to changes about to tants. He wrote to all of them. He was a very polite Leupin. There's a story that's told about Cassandre come. Conference attendees and the readers of the man. He wrote to them in a way that they thought and Leupin that Leupin, after the war, when neither meeting summaries need to think—study—plan and that they were the only people that were being asked of them was as successful as he had been, and the star act to manage change. for the jobs. He didn't realize that it was like advertis- of the poster designers was waning, Leupin said to 7e4teterke_,.—

Cassandre, "How much do you charge for a poster of them, can be negated by off-line as well as on-line now?" and Cassandre said, "Oh 5000 francs," or noise and static. Our technologies, incredible as they whatever it was. Leupin replied, "Well, that's strange. are, are but a means to an end. So do I." Then Leupin said, "And how many have you To complement the technology-oriented presenta- sold recently?" And Cassandre replied "None." tions, Vision '77 presented an evening of visual joy Leupin then said, "That's strange, neither have I." and stimuli as a reminder that the most static-free It's different now that the designers in Europe are message and the most appropriate system for convey- more organized. And there are a number of us that ing it are not enough. Essential is the creative touch run quite big offices that are fairly efficient, and we that adds distinction, flavor, memorability, under- have large industrial clients. But you can't do that standing, strength and often joy or poignancy to without costs, and it's a that many of the big per- messages that might otherwise be merely precise and sonalities and the big individual names who were dull. larger than life have disappeared. The films shown were selected by Herb Lubalin and EDITOR'S NOTE: Lou Dorfsman. Herb Lubalin's tongue-in-cheek in- At this point Colin Forbes showed slides of the work troduction preceded the films. He "didn't see very of people he knows, all of them his friends and much graphics" in the films... A certain amount of people he admires. If this was not a totally represen- creativity. And no experimentation at all. Actually, tative selection of today's European graphic design, it the term experimental comes about when you do a AN . was a collection of much of the best. film for somebody and he doesn't buy it. All the films you'll see tonight were bought. Therefore, no ex- AMERICAN He showed representative examples of the work of the perimentation. This evening was advertised as an following: evening of 'visual joy and stimuli' I don't know. From England—Derek Birdsall, John Gorham, Alan TIME CAPSULE Might stimulate some people. I was stimulated by Fletcher, Colin Forbes, FHK Henrion, David Hillman, King Kong. Maybe somebody will be stimulated. I Lou Klein, Mervyn Kurlansky, John McConnell, David •don't know. As far as visual joy, well, good luck. It Pelham, Arnold Schwartzman, Herbert Spencer, and says, after stimuli, 'in short films' There are a Brian Tattersfield; from France—Michel Folon and number of short films but there also happens to be a Jean Widmer; from Italy—Franco Grignani; from 271/2-minute opus by Saul Bass. So they're not all West Germany-0d Aicher, Frieder Grindler and short. But, as it says here, they are by far the country's santsetosar4fdaration.s.....$tebet °f` son Anton Stankowski; from the Netherlands—Pieter most innovative and expert creative producers. In- Brattinga, Wim Crouwel and Willem Sandberg; from cluding such people as Saul Bass, with whose Poland—W. Swierzy and H.Tomaszewski; from filmwork I think we're all familiar; Robert Abel, with Sweden—E +U Hiestand, Armin Hofmann, Hans whom I'm sure none of you are familiar although Rudolf-Lutz, Georg Staehelin and Wolfgang Weingart. you've seen his work all over television; R.O.

- Blechman, who resents being called Bob, but that's 7 a " tElete I I ;4-.71 his name, and who has the most delicious and un- .411. Essential: derstated humor in the graphic arts. What you will The Creative Touch see are three one-minute TV spots that he did. Then, SEASONS • of course, there's Charles Eames. I think everybody GREETINGS knows Charles Eames....a renaissance man. He is the FROM CBS* only living genius in our business. Everything that he does turns into a piece of art sooner or later. And we also have some fantastic films by Charles Braverman and Jim Sant'Andrea."

Herb Lubalin President, LSC&P Design Group, Inc.; Executive Vice President, Lubalin, Burns & Co., Inc. and International Typeface Corporation and Editor and Designer of1I&lc .;r. ,,,, Spetal BattiaLr...;.":340 Editor's note: Vision '77 was dedicated to the proposi- , .1.1 tion that to make the new technologies convey our • tz EXERCISF cg,'"Z,g`i messages most effectively, we must fully understand .1 P Z::-310 their capabilities, not their engineering; not how CANCER ,- 2 they work so much as what they can do for us and how we can maximize their value to us. The Eames film, "A Communications Primer," re- minded us that machines and systems, the very best SANTAVDREA have a positive effect on the typesetting industry, both phasis on the text setting sector, at the same time including input devices, editing terminals, computer equipment manufacturers and services alike. continuing our R&D work in the lower job composi- processors and phototypesetting output devices, and AlphaComp, our direct-input phototypesetter, is al- tion field. the first fourth generation phototypesetter, the Dymo ready being driven on line by the Xerox 800 Word Laser Composer. It is our belief that the past concen- Processor. AlphaComp models will be developed for tration on new and unique hardware will give way to use with other word processing systems. In the not an emphasis on developing modular systems of a too distant future we expect to see phototypesetting wide variety of possible configurations. These will, in Machines as common in the office as copiers are today fact, accommodate the real needs of the varying users, rather than a percentage of their peripheral needs. Word processing and typography are somewhat synonymous with input and output. Dymo Graphic Systems has been proud of its contributions to date in both these areas, individually as well as in combina- tion with each other. The output area encompasses more than the photo- typesetter—it includes the ability to set type with the composition techniques available. Dymo has a Projections by dynamic library of typefaces and has taken a progres- industry Leaders George White sive position in augmenting this library. We have a Vice President high level of expertise in the creation of new typog- CAMEX, Inc. raphy. All of these factors provide Dymo with a Where we are heading. .. The next five years will see the development of ter- proven single source supplier capability. minals for interactive composition and makeup of Editor's note: U&lc asked the presidents and Tying the input to the output with a central processor Michael Limburg type, line art, and photographs into complete pages other top executives of the leading manufactur- Sales Director and data management system, while maintaining on a display screen. As a visual page image is being ers of word processing and typesetting machines, H. Berthold AG the requirements of setting type consistently yet with put together on the screen, a digital page image will a wide variety of typography, will steadily improve. supplies, and materials for a summary of the With reference to new products we may say that simultaneously be assembled in a computer. These parameters will blend with industry require- Berthold of North America is taking special action to way the near future looks to them. Their col- ments for typesetting even more easily than in the introduce to the US market "diatext", a low cost As soon as complete page images can be produced in lective comments, read in context with U&lc's past, coupled with a better understanding of typog- phototypesetter with an automatic hyphenation pro- this way, there will be a strong impetus to bring the report on Vision'77, shed further light on where raphy... creatively, qualitatively, and quantitatively. gram for 11 languages included therein. After almost whole process of page creation into the publisher's of- we are heading. Dymo is in a particularly good position to offer such a thousand installations all over Europe since Oc- fice where it has always logically belonged. performance characteristics in that it has been in- tober 1976, this machine has already proved to be Page images in computer form produced by the pub- one of the most successful products within the photo- lisher will be made available to readers through a volved synergistically with all these areas for years. typesetting field. Diatext is the basic component of wide variety of distribution channels, either by the We would expect word processing and typography a text setting system developed by H. Berthold AG. publisher directly, or through intermediaries. R&D to meld together in the near future and that To complete the diatext system there is a new proof- Dymo will be a significant contributor to satisfying Printed copies will be made either from computer- these industry needs. reading unit, "diamat," first shown at DRUPA '77. Di- produced plates or by direct image via ink jet presses. amat is operated in combination with either tradi- Electrostatic printers will be used for single or small tional tape punch and reader or the new magnetic numbers of copies. Page images will be recorded by tape cassette recorder "mcr 2," a twin drive model. computer on microforms. Live TV transmission, or The second novelty the Berthold company intends to recording on videodisc for selective playback on TV, introduce to the US market shortly is "diasetter," an will also be available. additional peripheral component to the known dia- Partial automation of the page production processes tronic system. Diasetter stands for a fast input has not radically altered traditional relationships keyboard for straight text setting, with correction between publishers, printers and their distribution work also being done by the diamat proofing unit via channels. Complete automation will change these either punched or magnetic tape. relationships completely and forever. Finally, the Berthold company's start of a complete Donald Hase series of new products is "ads 3000"—abbreviated President from Akzidenz-Dialogue-System which was first pre- Alphatype Corporation sented to the US public in Chicago in October 1977, In our opinion the future development of typesetting during Graph Expo '77. Ads 3000 represents Berthold's systems will follow closely the needs of the word total concept for composing origination for at Paul A. Barbee processing market. Word processors are being aggres- least five years to come. The machine is capable of Assistant Vice President sively marketed throughout the world and will soon being extended in hardware as well as in software. and General Manager `Ads 1000" is a compact modular system consisting of Graphics Markets Division be found in the small office environment as well as Eastman Kodak Company the large corporate office. These relatively low cost input keyboard, visual display screen, single or twin systems, designed to manipulate and store text, will magnetic cassette recorder for input/output Storage It's worth mentioning at the beginning of this make it easy for a company to justify economically and an extension module positioned on the side to monograph of phototypesetting-related concerns at the conversion of stored text to a professional typeset house up to three floppy disc options, the computer Kodak that it wasn't until the late 1950s that I first

incorporating two microprocessors with a total • product. . saw a phototypesetting unit in operation. capacity of 90 kilobytes. We expect the interest in and use of quality typeset- A good friend of mine was in the dealer catalog pub- ting to increase as companies develop an awareness Berthold will offer a considerably extended assort- lishing business in New York and, for health reasons, of their ability to produce typesetting as an automatic ment of international typefaces, including the latest Seldan A. Lazarow decided to move to Sedona, Ariz., hundreds of miles by-product of their word processing system. This abil- creations, with continuous updating of this assort- Vice President, Marketing from civilization and to what many of his friends ity will have a positive effect on their printing, pro- ment, including Berthold's own creations and the Dymo Graphic Systems, Inc. figured to be an early and tragic retirement. entire ITC program. duction, collating and mailing costs, as well as on Dymo Graphic Systems is a single source supplier And to complicate matters he invested heavily in a their corporate image. In turn, we expect this will For the years ahead, Berthold will put particular em- of typographic systems for the graphic arts market— Photon 200 series phototypesetting unit. Well it wasn't long before he was not only a glowing picture The company, in an attempt to reach the broadest We must continue to identify better the needs of the the true graphic arts character representation and the of health but was again a business success. Perhaps market, plans to retain its current posture as a smaller reproduction and graphic firms so that we illustration data is converted to halftone dots in a bi- phototypesetting deserves the credit. supplier of general purpose rather than dedicated sys- can develop advanced technological products which nary format over the desired density range. There- tems. This approach insures our customer base the will offer the greatest value to the user at the lowest fore, each location generates an original page of the That was nearly two decades ago. Eddie Phillips of possible cost. Itek began in the photocomposition highest quality. Since the text is not scanned, it re- Phillips Catalogs was a pioneer in prairie dog country following advantages: area. Additional systems will be developed that will quires, in comparison to facsimile, only a fraction of with a machine that was first contemplated in 1944 (1) Relative independence from state-of-the-art interface with each other and with word processing the data for storage and transmission. The text and by Rene A. Higonnet, a French engineer who worked changes in typesetting or copy preparation equipment. the illustrations may be transmitted independently, for International Telephone and Telegraph (ITT), equipment; then stored and merged during the output typesetting and who then joined Lithomat Corporation, which (2) Capability in handling a wide spectrum of jobs Over the next five years, we should begin to see the operation. became Photon. from complete tabular material, as in financials, development of less costly, user-oriented systems for Even though this is nearly the third decade since to book pagination; and projection and laser platemaking, for electron beam The advantages of this system are threefold: elimina- phototypesetting equipment was first marketed in (3) High degree of interaction and feedback between and scanning type systems, in video disc memories, tion of manual illustration screening and manual 1949, the industry is perhaps still in its infancy. There system and user. in optical communications—all technologies which page makeup at each site; elimination of cumber- are still many advances to be made and many prob- Within the next five to ten year period, IMLAC expects have the potential to revolutionize the phototype- some shipment of page elements; and greater cen- lems to be solved. the volume of commercial printing to exceed 30 bil- setting and word processing fields as we know them tralized editorial control with the freedom of last today. I expect that Itek will make a significant con- minute changes. The advanced technologies in phototypesetting today lion dollars. Coupled with the enormous increase in tribution to this revolution. dictate that each advance result in a greater degree of in-plant printing, IMLAC expects that this work vol- Other unique Information International products in- specialization as to the segment of the market to ume will precipitate a restructuring of present print- clude: which it can be applied. ing facilities into larger, more diversified establish- • The 2000 System, which displays text, ments. Consequently, the company plans to enhance halftone illustrations and line art which has been The whole marketplace is a finely divided spectrum its present COMPOSER systems in the following areas: digitized on the 3600 Scanner and provides a com- of businesses with different requirements. In the plete interactive capability of sizing and position- (1) Expanded terminal configurations; upper strata there are those who will be attracted to ing page elements prior to typesetting on the (2) Additional word processing interfaces to current new and sophisticated methods offering the ultimate VideoComp 570. in-house text capability and to computerized in full pagination speed for a tight deadline. And at • The FR 80 and COMP 80 microfilm recorders composition; and the other end of the scale are those who want the which are used for detailed engineering drawings (3) Improved software to handle real-time proces- convenience of text preparation in finished form at and technical documentation. These products are sing, augment current pagination features and the point of origination and are less concerned with also capable of recording continuous tone color further simplify the handling of complex tabular writing speed. All applications have their specific re- film. and multicolumn material. quirements, beyond speed, for image quality, process- • The GRAFIX I multi-font/multi-format OCR system. ing access time, permanence, reproducibility and so on. This also reads unconstrained mixed alpha- Eastman Kodak Company's position in the photo- numeric handprint. typesetting field is not only to stay abreast of the most These state-of-the-art products provide a total auto- sophisticated and complicated equipment introduc- mated means of producing graphic arts quality pages tions, but to look for the right combinations of mate- D.G. Gerlich without the conventional manual art preparation or rials and processes to satisfy needs all across the spec- Director, Product Planning the manual page makeup operation. trum. Our efforts are directed toward providing the and Technical Sales Support Information International's R&D will continue to right answer for consistently satisfactory results for Information International interface these systems into front-end procedures every user. Information International is a leader in compu- such as text editing and color illustration separation, terized image processing. Our expertise includes the and into pre-press operations such as automatic ability to digitize gray-scale and line art illustrations platemaking. and to manipulate the illustration data along with text data and produce complete pages, including halftones, on a variety of output media (microfilm, microfiche, true-size paper and true-size film). In- formation International equipment can produce John E. Preschlack combined illustration and text pages at a quality level President required by commercial typographers and printers. Itek Graphic Products At present we have a Model 3600 Scanner and a Itek recently introduced the latest concept in a direct VideoComp 500 typesetter installed at U.S News & entry phototypesetter—the Quadritek 1200 system. World Report in Washington, D.C., which are used Our scientists incorporated the latest technologies in to make the master copy of the weekly magazine. such diverse fields as ultrarnicrophotolithography, After editorial sign-off, the pages, which are then in electro-optics and computer sciences to provide a digital form, are transmitted to three locations— low-cost typesetter, innovative in design and ex- Connecticut, Chicago and Los Angeles—in a matter Stuart H. Charter tremely versatile in use. of several minutes per page over a 9600-band West- ern Union Satellite system. At these distant locations, Product Marketing Manager, Graphic Arts This type of product development, I believe, is indica- IMLAC Corporation tive of the direction that research and development Information International's computerized typesetters recreate the original pages, including halftone IMLAC Corporation was founded in September 1968 for companies4ike Itek must take during the next five illustrations, which are then ready for the printing with a primary function of designing, manufactur- years to serve our customers. We must extend the Janice A. Vaghini process. ing, installing and servicing computer-based availability of advanced technology at reasonable cost Marketing Communications Representative Raytheon Company graphics display systems. Since 1971, IMLAC has to all areas of the graphic arts markets. This is es- This is not a facsimile system which merely scans served both the commercial and in-plant graphic pecially true for the in-plant and small commercial and plays back an image with some resultant loss of Raytheon Graphic Systems offered its first product, arts markets with the COMPOSER line of interactive printers as well as for the art and design and typo- quality and of the requirement for broad band RAYCOMP-100, to the in- composition systems. These products are configured graphic studios—that is, for the majority of users of transmission facilities. In the Information Interna- dustries in June of 1974. The first RAYCOMP-100 full with a variety of data storage and peripheral devices graphic arts equipment and suppliers whose business- tional system, the text is prepared on conventional page display ad composition system was delivered to such as rigid and floppy disc drives, nine-track es are labor intensive. It is these customers who have computerized text editing systems. The illustrations Norfolk, Virginia in March of 1975. Since that time, magnetic tape units, impact and nonimpact printers, not benefited from the array of labor-saving products are scanned and stored as gray-level data for each Raytheon has sold one hundred and five RAYCOMP optical scanners, and word processing and typeset- which have been introduced for the large, more capi- halftone dot position in a binary format. When the terminals to daily and weekly newspapers all over ting interfaces. tal intensive graphic arts firms. page is typeset, a single character code is converted to the United States and Canada. 65

Most recently, Raytheon Graphic Systems responded (1)the complete amalgamation of in-plant printing them models which guarantee a maximum reliabil- to the needs of the small and medium sized news- and word processing; ity with high graphic quality. We could easily have papers, and at the ANPA show in Anaheim, Cali- (2) the development of a distributed information made more sophisticated machines, which run fas- fornia, introduced a new ad composition system, (not words or data or pictures or voice, but all to- ter, but this would have cut down the quality of the the RAYCOMP II. This system is a low-cost, gether) processing environment, which in turn image. and the price increase involved would have simplified, easy to operate version of the will foster smaller, decentralized and non- considerably reduced the number of potential buyers. RAYCOMP-100. Both systems allow electronic hierarchical work structures; But rest assured we are not stopping here. Other makeup of display advertisements on a 200 square (3) the proliferation of mixed media systems capable things are coming forth from niy collaboration with inch TV Screen. RAYCOMP equipment can display of interleaved number, word, picture and voice in- BOBST GRAPHIC, but I can't give details just yet. 255 different fonts in their actual set widths in sizes formation; and ranging from 5- to 96-point. Also, RAYCOMP can (4) the growing use of compressed communications output page positioned copy for any selected page languages. width up to 100 picas. It can drive today's most Video display editing typewriters have already elimi- sophisticated typesetters. As the capabilities of nated the need for typewritten copy during the draft phototypesetters are increased, the RAYCOMP stages of document preparation. Phototypesetters John Latham equipment will be ready to meet any and all now accept word processing cassettes as input media, Group Typographical Manager demands. and as phototypesetters drop in price and size they Monotype International These two products which address ad makeup are will do for typesetting and printing what the Brownie This last year has been an exciting and fruitful one just the beginning for Raytheon Graphic Systems. camera did for photography. What this means for the for Monotype International. It has seen the intro- New products, now under development, stress text office is that the first hard copy version of a document duction of three new high-speed phototypesetting entry, scheduling and production control. A Ray- will be the final one, and in printed form. With word systems, the Monotype 1000, 2000 and 3000 with theon Ad Data Entry System being developed has processing typewriters feeding information directly Lasercomp. The last has been hailed as the first been sold to The Washington Post. The Ad Data into phototypesetters and printers, the distinction be- truly fourth-generation phototypesetter. By using the Entry System will facilitate and improve the method tween the in-plant print shop and the word process- parallel concentrated beam of a laser, the sharpness Paul E. Huber of controlling, scheduling and entering raw ad copy ing center will blur, and the two functions will be of character definition is vastly improved in com- President to be composed on the RAYCOMP. amalgamated, not in a central location but in a dis- parison with that of CRT Also, the Lasercomp type- Metgenthaler Lino0,pe Company At the ANPA show, Raytheon also presented the tributed network of keyboards, printers, number, pic- faces are digitized and stored for quick access on Economic pressures and the information explosion RAYCOMP News Page Layout and Makeup System ture and symbol handling equipment: Printing is in- floppy discs, ensuring a constant high quality with- have pointed up the need for all businesses to lower (RAYCOMP-NEWS), a major step towards the news- trinsically less expensive than typewriting, because it out wear and tear. lb complement these advanced the cost and improve the appearance of their printed papers' goal of total pagination. It allows the layout compresses more information in the same space. phototypesetting systems, Monotype has provided a . -communications. The advantages of the typesetter editor to lay out a newspage by assigning story allo- number of keyboards, ranging from the ultra-simple over the typewriter have become apparent in an envi- As paper, time, postage and energy costs escalate cations and sizes to fit the available newshole. Once TC perforator to the sophisticated programmable/ ronment of rising labor costs, higher prices for paper while concurrent developments in the computer, the stories are released by the copy editors, the ac- edit machine. ACE (Ancillary Composing Equipment) and postage, and increasing competition for the copier, facsimile and voice communication tech- tual page is automatically made up and can be has been further developed as a cluster which can reader's attention. nologies come together and become less costly, they displayed on the screen. The output will be page provide editing facilities for up to four operators For these reasons, we see an extraordinary growth in will impact the office more strongly. The tremendous using a single, shared, central processor. positioned when it comes-from the phototypesetter. drop in the cost of computation and memory func- the number of firms and individuals who will be- These products indicate Raytheon's ability to meet tions for data processing has shifted the focus from All these developments have shaped, and will come involved in typesetting—many for the first the needs of the graphic arts industries. They are de- the large central computers to a distributed environ- further shape, the Group's attitude to type design. time. They will stimulate sales of what we call "Uni- signed not only to solve the problems of today, but ment of small computers. The output from small There is intense activity and the basis of all that is fied Small Typesetting Systems," such as our recently also as a first step in solving tomorrow's problems. computers will be used locally and not transmitted to being done is " from the printing machine back introduced Linotronic and Linoterm. Raytheon Graphic Systems will continue as a tech- a central processing department. And of considerable through production toile drawing board," for un- These new systems are more "approachable" than nological leader in the development of electronic importance, small computer capability will extend less the type designer really understands what hap- conventio al equipment, both in terms of price/per- composition systems. beyond strictly data applications to include text and pens to his type on the way to the printed page, his formance nd in the important area of simplified op-, other kinds of information processing. time will be completely wasted. eration. ey feature one or more microprocessors So the future means the ongoing development of and softy re designed to assist and inform the As communications costs begin to drop due to the these new systems, and the providing of workable operator. hese new systems are versatile and flexi- widespread deployment of satellites, home rooftop type designs to meet the new technology—and here hie. They an he customized to special applications antennae and fiber optic cables, the full-scale realiza- Monotype's long experience of good type design and and adapt to changing needs through repro- tion of a true information processing network will realization, coupled with a deep understanding of grammin . Composition aids and formats stored on occur. The office of the future will have many work the new methods, will add considerably to the al- diskettes ill put good design and refined typography stations equipped for text, number and picture com- ready high reputation Monotype has for typo- within rea h of every user. Low-cost off-line terminals munication. Information will be disseminated elec- graphical excellence. are availa le that can multiply the productivity of these tronically and "reconstituted" at the receiving end. new types ters at a fraction of the initial investment. Such a decentralized work environment will not suit today's hierarchical work structures, and these will Louis Morroud Reduced costs in producing photocomposition j Bobst et Fils S.A. typefaces allow us to equip these small systems with change to take advantage of the available technol- Excerpt ofa Speech During DRUPA 1977 ogy. Persons in smaller, decentralized environments an expanding array of options—greater numbers of tend to work more productively because information As far as the new line of Bobst phototypesetting is type families, more faces within each family, avail- ability of customized designs, design aids to the less does not have to be filtered through some central concerned. I have to emphasize that these are only skilled operator. Easy access to expanded typographic office or structure before it reaches its ultimate audi- the first fruits of our collaboration and others are al- service should further encourage the growth of these Evelyn Berezin ence. They can also have more autonomy in ready ripening on the branch. President small systems. decision-making, if the information needed to make And then—and this will be an answer to those who Redactron Corporation The growing market for typesetters Was stimulated in- decisions is available to them. might perhaps reproach us for not reaching out far In twenty years the typewritten document will be a tense competition among equipment manufacturers. By 1980, according to some research groups, fully enough for something new—I'd like to say that a re- thing of the past...printing with its inherent econ- Products will continue to he introduced that will offer half of all office text will be prepared using editing search policy. like every policy, is the art of what's omy will be substituted... distributed communica- more capability at lower cost. This, in turn, will at- typewriters, creating magnetic media in great vol- possible and that it must take account of certain eco- tions and information processing networks will con- tract more users into the market. This pattern of in- ume. Communicating typewriters have already nomic and social realities of which every potential serve energy and create new work and work-place creasing demand matched by constantly improving, begun to disseminate some of this information elec- client is prisoner. structures. lower-cost products presents an exciting future to both tronically to computers, teletype terminals and other We have therefore deliberately tried to satisfy the pres- the new typographer-and the responsible manufacturer. The office of the future will feature: communicating typewriters. ent needs of three categories of printers in offering 66

AKRON, OHIO The Akron Typesetting Co.

ATLANTA, GEORGIA Action Graphics, Inc.

BENTON HARBOR, MICHIGAN Type House, Inc.

BLOOMFIELD, CONNECTICUT New England Typographic Service, Inc.

BOSTON, MASSACHUSETTS Berkeley Typographers, Inc. Composing Room of New England

CEDAR RAPIDS, IOWA Type 2 Inc.

CHICAGO, ILLINOIS J. M. Bundscho, Inc. Frederic Ryder Company Total Typography, Inc.

CINCINNATI, OHIO Typo-Set, Inc.

CLEVELAND, OHIO Bohme & Blinkmann, Inc.

COLUMBUS, OHIO Yaeger Typesetting Co., Inc.

DALLAS, TEXAS Jaggars-Chiles-Stovall, Inc. Southwestern Typographics, Inc.

DAYTON, OHIO Craftsman Type Incorporated

DETROIT, MICHIGAN Willens + Michigan Corp.

GRAND RAPIDS, MICHIGAN Central Trade Plant of Grand Rapids

HOUSTON, TEXAS The Type House, Inc.

INDIANAPOLIS, INDIANA Typoservice Corporation

KANSAS CITY, MISSOURI Lettergraphics/Kansas City, Inc.

LOS ANGELES, CALIFORNIA Andresen Typographics Typographic Service Co., Inc.

MEMPHIS, TENNESSEE Graphic Arts, Inc.

MIAMI, FLORIDA Wrightson Typesetting, Inc. If clarity, integrity MINNEAPOLIS, MINNESOTA Dahl & Curry, Inc. Duragraph, Inc.

NEWARK, NEW JERSEY Arrow Typographers

NEW YORK, NEW YORK Advertising Agencies/Headliners and persuasion Artintype-, Inc. Franklin Typographers, Inc. Royal Composing Room, inc. Tri-Arts Press, Inc. are the essence of TypoGraphics Communications, Inc. Volk & Huxley, Inc.

ORANGE, CALIFORNIA DeLine-O-Type, Inc.

PHILADELPHIA, PENNSYLVANIA Walter T. Armstrong, Inc. printed salesmanship, Typographic Service, Inc. PHOENIX, ARIZONA Morneau Typographers, Inc.

PITTSBURGH, PENNSYLVANIA Davis & Warde, Inc. typography is the Headliners of Pittsburgh, Inc. PORTLAND, OREGON Paul 0. Giesey/Adcrafters, Inc.

ROCHESTER, NEW YORK Rochester Mono/Headliners ultimate concern. ST. LOUIS, MISSOURI Master Typographers, Inc. SYRACUSE, NEW YORK Dix Typesetting Co., Inc.

TAMPA, FLORIDA Century Typographers

MONTREAL, CANADA McLean Brothers, Ltd.

TORONTO, CANADA Cooper & Beatty, Ltd.

WINNIPEG, CANADA B/W Type Service, Ltd.

BRISBANE, QLD., AUSTRALIA Savage & Co., Pty., Ltd.

SOLNA, SWEDEN Typografen AB

HEADQUARTERS Advertising Typographers Advertising Association of America, Inc. 461 Eighth Avenue New York, N.Y. 10001 Walter A. Dew, Jr. Executive Secretary TYWgraphers Association of America

Typography and the ATA are one. 67

ITC Book ITC Kabel Medium ITC Bauhaus Light ITC Kabel Demi ITC Bauhaus Medium ITC Kabel Bold ITC Bauhaus Demi ITC Kabel Ultra ITC Bauhaus Bold ITC Korinna Kursiv Regular ITC Korinna Kursiv Bold ITC Korinna Kursiv Extra Bold ITC Korinna Kursiv Heavy

We are really excited about a new series of ITC typefaces available from Compugraphic in January, 1978. We'd like to share our excitement with a preview of these three new families: ITC Kabel, with its larger x-height, adds distinction to text and display settings; ITC Bauhaus, a strong geometric design which makes it unique among the sans-serif faces; and ITC Korinna Kursiv, the long awaited italic mate to the roman design of ITC Korinna. Looking ahead, the future forecasts selections from a collection of such designs as: ITC Avant Garde Gothic Oblique, ITC Zapf Book, ITC Benguiat, ITC Quorum and Italia. There you have it ... sampling of Compugraphic's on-going commitment to contemporary needs in typography. More reasons to make our type library your type library!

compugraphic

eg Compugraphic Corporation, 80 Industrial Way, Wilmington, Massachusetts 01887, (617) 944 - 6555 Introducing the Comp/Set Profitsettet It's easier and more economical to get into quality phototypesetting than ever before.

From our wide range of proven phototypesetting systems, we now recommend the ideal profit-making combination for printers and typesetters. The Comp/Set Profitsetter System. At the core of this optimum system is the Comp/Set 4510 direct-entry phototypesetter. It sets type at 50 lines per minute, with 16 styles and 70 sizes on-line from 51/2 to 74 point. And it includes an impressive array of Comp/Set features. Big CRT screen. Simple, typewriter- like keyboarding. Hundreds of available typefaces. High- quality output. And many others. The Profitsetter System includes our floppy diskette record/playback unit, which captures keystrokes and provides extensive editing capability. Rounding out this profit-making package, we recommend our Video Display Input units. The unique 50-lines-per-minute speed of our direct-entry photo- typesetter will support five or more of these off-line units, which can be added as your workload increases. Because they're virtually identical in design to the Comp/Set on-line keyboard, your operators will perform equally well on both. So whether you're upgrading your present system, or making your first move into phototypesetting, the Profitsetter System will help you build new profits for your business. We even help out with a full range of direct- lease, lease-purchase, and rental plans. Call your local AM Sales office to see the Profitsetter System in action. If you like, we'll bring our demo van to your door. Or write to VariTyper Division, 11 Mount Pleasant Avenue, East Hanover, New Jersey 07936. The Right Choice in Phototypesetting.

All the type in this ad was composed on the Comp/Set phototypesetter. 69 In the next few weeks, you'll be seeing a new logo on the envelopes you get from RyderTypes. We could say that the reason we changed our corporate identity was to appear more aggressive, more dynamic, more sophisticated, or maybe even more contemporary than we already are. But the real reason we changed our corporate identification is the same reason you bought a new winter coat, rearranged the furniture in your living room, or considered a new hairstyle. We thought it was time for a change. Frederic Ryder Company, 500 N Dearborn, Chicago, Ill. Telephone 312-467-7117

71 NEWSLETTER

SKILLS FOR HIRE*

STUDENTS HONORED BY AMERICAN ARTIST COVER CONTEST PITTSBURGH—Two majors at the Art Institute of Pittsburgh are semi-finalists in the annual American Artist magazine cover design competition. John Auge and Karen Rinehart will have their artwork featured in the April '78 issue of the magazine. The competition, open to art students all over the nation, awards honors each year based on originality and professional quality. 200 designs were submitted in this year's contest. John Winberg, Director of Education at AIP, encourages students to enter major competitions as part of their preparation for the working world.

• COLORADO TOASTS NOTED ILLUSTRATOR, OPENS NEW BUILDING DENVER—The Colorado Institute of Art moved into a striking new building, and in honor of the grand opening in November, nationally-known illustrator (above) was the special guest. It was the happy combination of a great talent visiting a vital and growing school. Enthusiasm ran high among the students as Forbes gave informal workshops and held informative question-and-answer sessions. The Denver school, with 356 students from 39 states and several foreign countries, is unique in the western U.S. It is one of the important PAUL RAND, LEFT, AWAITS HIS TURN AS MILT GLASER ADDRESSES WASHINGTON CONFERENCE resources for training career-minded artists, designers and photographers. DESIGN FORUM IN D.C. DRAWS CAPACITY CROWD ATLANTA INSTITUTE WASHINGTON—Milt Glaser, Paul Rand coated paper in Government printed and The New York Times Art Director, matter as a step toward "conserving EXPANDS TRAINING Lou Silverstein, provided outsiders' energy." The meeting called upon Glaser, IN TYPOGRAPHY viewpoints about Government Design at a Rand and other eminent non-Government Washington conference in November. The designers for support in dealing with these ATLANTA—With the recent addition to its four-hour forum, sponsored by The Design obstacles. staff of Sharon Johnson, a young graphic Schools, was attended by 150 designers Other members of the panel included design instructor from Minneapolis (above and art directors from the D.C. area. Howard Paine, National Geographic; Bob Markham Park Zoo right), the Art Institute of Atlanta places The voluble audience spoke freely—at Schulman, NASA; Bob Mulcahy, the increased emphasis on professional-level times heatedly—about the opportunities National Zoological Park, Smithsonian A mythological beast is the logotype training in typography. The school's Visual and limitations of their work. In particular, Institution and Dave Hausmann, the for the Markham Park Zoo in Fort Communication students are given a they emphasized the Government's National Endowment for the Arts. The Lauderdale, Florida. It is a design detail thorough ground work in type history, production limitations and inept program, held at the American Institute of from a poster created at the Art Institute of classical and modern letter forms and administration that often restrict the quality Architects, was presented through the Fort Lauderdale by three talented specification methods. They are assigned a of their design efforts. They were vocal in cooperation of the Federal Design Council, Adyertising Design instructors: Walter broad range of original typographical criticizing Senator Cannon (Nevada) and the Art Directors Club of Metropolitan Delaney, Jon Craine and Peter Myers. design projects. his recent measure that prohibits the use of Washington and the AIGA, Washington.

The Design Schools graduates have had 24 months of intensive, specialized preparation in a variety of skills, including: advertising design, typography, photography, illustration, drawing, perspective, lettering, airbrush, package design, multi-media, photo laboratory, , mechanicals, pre-separation and many others. They are prepared to work productively for you. ART INSTITUTE OF ATLANTA I Edward A. Hamilton, Design Director ART INSTITUTE OF FORT LAUDERDALE The Design Schools Design ART INSTITUTE OF PITTSBURGH Time & Life Building, Suite 777 1271 Avenue of the Americas Schools THE COLORADO INSTITUTE OFART New York, N.Y. 10020 I I would like to know more about The Design Schools graduates. ❑ I I don't have immediate need, but please keep me advised. ❑ I Include me on your invitation list for seminars and programs. ❑ A series of programs and seminars featuring noted designers, artists and I filmmakers will be given this year in a number of key cities. Sponsored by I Name. Position: The Design Schools and local art directors clubs, the programs will be I Company: Phone. ( ) announced by mail in various local areas. Watch for your invitation. I I Address: City : State: Zip: I I Skills of special interest to me: 72 73

These two people have one thing in common. They're both typesetters.

They both set beautiful type. The big difference do the typing. One more instance where the Alpha- between them is that he has years of professional type Corporation updates its equipment. Write on! experience behind him, and yet she — after only a The new technology is here. Why not get in couple hours instruction — can match him word on the ground floor and send in the coupon for a for word with the AlphaComp. personal live demonstration. At your office or ours. It's here. No two ways about it. Like it or not, Because if we want your business (and we do), we the new technology in typography is with us and want you to try this incredible machine for yourself. the industry is undergoing a complete change-over You only have to plug it in to start setting perfectly in typesetting services. And, as usual, the Alphatype beautiful type. Corporation is in the forefront of any change. Remember, if you have an AlphaComp, you The AlphaComp is a $10,000 direct-input have a typesetter. phototypesetting system that produces the highest typographic quality by automating all the compo- nents of professional typography. With this amazing machine, your typist can produce cleaner, sharper, more distortion-free originals for reproduction than can be produced on any system. With it, you'll be able to turn out .... such materials as house manuals and visual aids, rm. 4 ..r , .. ,...... / company reports and publications, catalogs, ads, .. .4 " ft ■ fliers — you name it. All right on the premises in airsr .0 ••. .. '''' • any type style you could possibly want; all in less time for less cost and with the same quality results you expect from a seasoned pro. _ P And that's just half of it.

AlphaComp has features you'd expect to find 7500 McCormick Blvd. NAME on costly heavyweight equipment. Like ten mem- Skokie. Illinois 60076 (312) 675-7210 ory banks, automatic indent, and an information COMPANY storage and retrieval system for those repetitive jobs. This sensational development — the dual- I=1 I want to see for myself ADDRESS drive floppy disk — stores, recalls and edits 250,000 ❑ Call me CITY STATE ZIP characters (about 50,000 words) on a single $7.50 ❑ Send more material PHONE disk. And if that isn't enough, plug an AlphaComp Please Print into a Xerox word processor and let your w/p staff

74 cNeA etrase ta.ce

Aachen MEDIUM Helvetica var apollo 41Tephin

Antique SEMI BOLD F.T.C. Gaston NI ULAR LT.C.GaslonuaLA3 Artistils AntiqueBoutRIB INITIALs Antique= I.T.C. ...3 Chesterfield Thz, Flyer Bold Ran CityLight • I.T.C. Caslon BOLD 223 liad 9larrin8ton ;T City Medium • Korinna„. ,halia City,Bold Plantin. -148QUE11I Dom Casual BOLD l81tYROM AN BOLD Dynamo MEDIUM Un1Va

New Letraset Typefaces 1978

Name

Company

Address The New Letraset City Letraset Typefaces 1978" Brochure Letraset USA Inc. illustrates these typefaces in full font as well as details of other new Letraset products. State Zip 40 Eisenhower Drive Return the coupon and we'll Paramus, New Jersey 07652 send you a copy. L_ J Tel. 201 845-6100 75 Now... a phototypesetting processor with a built-in repro camera sYstem• Copy set on your photo- It's an automatic processor who sets your type can run it! typesetter using RC (resin-coated) Before you commit $4000 paper gives you the clearest, for resin-coated (RC) phototypesetting materials. or more to an RC processor alone, sharpest, most permanent image. you owe it to yourself to investigate Now, process the RC material It's a complete daylight the full capabilities of the Pos One speedily and automatically in operating repro camera Photocomp 8000! If you already normal room light with the system. All for the price own an RC processor as part of processor that is part of the of an RC 1*ocessor alone. your photocomposition system, Pos One® 8000 System. the Pos One 8000 provides a With the flick of a switch, reproduction capability. Make perfect back-up RC processor in convert instantly from RC extra proofs of your typesetting— addition to full camera capability. processor to the famous enlarged, reduced or same-size- Want to know more? Pos One system and on paper or film; produce type CALL TOLL FREE 800.327-1813. you can now have In Florida call (305) 722-3000. In Canada call (514) 739-3325. • modifications and reproportioning, LOW COST LEASING PLANS AVAILABLE. complete in-house positive or reverse stats, screened veloxes, special effects screens, VISUAL GRAPHICS CORPORATION VGC Color Cells slide enlarge- NSP We've taken photographic reproduction out of the dark. ments, positive or negative trans- VGC Park, 5701 N.W. 94th Avenue Tamarac, Florida 33321 parencies, posterizations, etc., etc. ❑ Yes. I'm interested in the new Pos One Photocomp 8000. Have a representative call. —and do them all for pennies ❑ Just more information, please. apiece. (One model even makes offset plates!) Positive to positive Name Title single-step automated process Company requires no negative, darkroom or Address plumbing. Simple to operate. City, State & Zip

Anyone including the person Phone u&Lc 12/77 1.. 76

The return of halliard: Robert Granjon Mike Parker, Director of Typographic The lost romans of Robert Granjon are a typographic enigma. The most vital designs of the sixteenth Development, has wanted to see the Granjon century, they are immediately recognizable by their elan, their verve and their dynamic style. Strangely, faces in contemporary type libraries since they have never received the recognition they deserved. Nor have they been produced in a modern he first saw them in the four-hundred year old version.* Plantin-Moretus Museum in Antwerp. Matthew Carter has captured the 'dynamic Not only are the romans extraordinarily beautiful, they are remarkably attuned to today's taste. They style' ofRobert Granjon and redrawn it for have the large 'x' height and close fit Granjon innovated—trends in type design that have regained the twentieth century. An innovator himself, popularity. Granjon's music, Greek, Syriac, Arabic, Italic and Civilite (handwriting) type, all intro- Carter has used the computer to add weights duced new forms in design. His type flowers—a first—have never been equalled. No one before or which, in the italic, only became possible since has captured as many pen-written forms in typeface design. with photocomposition. While Garamond, a contemporary of Granjon, was the archetype of the classical designer, seeking purity and silence in the perfection of impersonal form, Granjon was a baroque enthusiast. He traveled throughout Europe, cutting faces for anyone who wanted them. The Antwerp printer, Plantin, carefully worded his contracts to keep Granjon in one place long enough to complete each project! His personality shows in the pet names he gave his faces: Nonpareille, Immortelle, Jolie, Granjonne, This text was set on the Mergenthaler V-I-P Giubilate and Galliarde. Names as surprisingly playful then, as today's Harry Fat and Harry Thin. phototypesetter in Galliard and Gaillard italic with the Mergenthaler ATP 54, using Granjon's masterful creative ability made his italics the standard throughout Europe for three cen- Track r. turies, the form used for the Gaillard italic was less common, as he used this chancery form rarely.

*The typeface Plantin, was based on a face of Granjon's. It was unfortunately made from an over-inked proof of worn type and has a wrong font eighteenth-century `a'. The typeface called Granjon is derived from the late Texte Roman of Claude Garamond. It was called Granjon after its italic, which was a form of Granjon's Courante.

. M 'A\1 13CDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyzfifidfta,e.)n_r/I23 456789o.,-:;"! ? *$-000

BAB CDEFGHIJKLMNOP QR STUVWXYZ &abcdefghijklmnopqrstuvwxyzfiflagta.,eAL n.,vt,123456789o.,-:; c1?*$0..E/0

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uu.A.BCDEFGHIJKLMNOPQRSTUVW I XYZ&abcdefghijklmnopqrstuvwxyz fiflacsia..,witqueb][2,34567890. 5m : 6 '!?*$ 77

The lost romans of Robert Granjon are a typographic enigma. The most vital designs of the sixteenth century, they are immediately recognizable by their elan, their verve and their dynamic style. Strangely, they have never received the recognition they deserved. Nor have they been produced in a modern version. *

Not only are the romans extraordinarily beautiful, they are remarkably attuned to today's taste. They have the large `x' height and close fit Granjon innovated—trends in type design that have regained popularity. Granjon's music, Greek, Syriac, Arabic, Italic and Civilite (handwriting) type, all introduced new forms in design. His type flowers—a first—have never been equalled. The influence of the pen is clearly felt in his designs. No one before or since has captured as many pen-written forms in typeface design.

While Garamond, a contemporary of Granjon, was the archetype of the classical designer, seeking purity and silence in the perfection of impersonal form, Granjon was a baroque enthusiast. He traveled throughout Europe, cutting faces for anyone who wanted them. T he Antwerp printer, Plantin, carefully worded his contracts to keep Granjon in one place long enough to complete each project! His personality shows in the pet names he gave his faces: Nonpareille,Immortelle,Jolie, Granjonne, Giubilate and Galliarde. Names as surprisingly playful then, as today's Harry Fat and Harry Thin.

Granjon's masterful creative ability made his italics the standard throughout Europe for three centuries; the form used for the Galliard italic was less common, as he used this chancery form rarely.

Mergenthaler, Linotype, Stempel, Haas

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ABLt BC CDEFGHIJKLMNOPQRSTUVWXY Z&abcdefghijklmnopqrstuvwxyzfifletit* eArbbcvKj234567890.,-:;"!?$C.COLI ULTRA ITAL C ABCDEFGHIJKLMNOPQRSTUVW XYZ erabcdefghijklmnopqrstuvwx eyz fifletitiPe.,k,x,bcvK,I234567890•,-:;1 ► ? 78

Mergenthaler, Linotype, Stempel, Haas

By popular demand In response

to many requests, Mergenthaler Linotype Company is pleased

to announce that the popular typeface,

*Folio, Licensed from Bauersche Giesserei, Frankfurt

is now available for the V-I-P phototypesetter.

The first weight of Folio was designed by Dr. Konrad F Bauer and Walter Baum for the Bauersche Giesserei of Frankfurt, Germany in 1956. Several weights followed, and the publicity that greeted the new designs firmly established Folio as a favorite.

Folio Light, Folio Light Italic, Folio Medium, Folio Bold, Folio Extra Bold

new to the Mergenthaler, Linotype, Stempel, Haas library.

Mergenthaler Linotype Company Mergenthaler Drive

Plainview, New York 11803 79 80 Two of the finest annuals available will be included in the price of a subscription to Communication Arts.

Many readers have told us that these annuals are worth more than the price of a subscription. I'm always happy to hear that, and I know they are a strong selling point. That's why this ad has the headline it does. But, the annuals are only a part of what you get. Four other big issues (single copy price $4 each) give you articles and features with the finest coverage of the current creative activity in design and advertising. Each has an average of 90 pages of editorial content, plus some ads. They are printed on one of the best 80-1b. coated papers available and special reproduction techniques are employed to maintain the fidelity in the work shown. Our policy is that everything that is in color will be shown in color. Last year, CA had over 1600 color illustrations. My name is Dick Coyne. I'm the editor and publisher of CA and I have a lot in common with you and most of the readers of our magazine. I graduated from art school. I was an agency art director and a corporate art director and the founder of a major West Coast design studio. CA was started in that studio nineteen years ago. But don't let that type us as a West Coast magazine. I am just as familiar and concerned with what's happening in New York, Boston, Chicago, Atlanta, Cleveland or other cities as I am with San Francisco or Los Angeles. We also have a very large Canadian and foreign circulation. • • Communication Arts • P.O. Box 10300 • Palo Alto, California 94303 • • I am backed by a great staff and a network of contributing editors • around the country, and the world, who are all knowledgeable • pros in the business. Allen Hurlburt, for example, the former art • • I would like to order: director of Look, was one of the most honored people in the • ❑ CA-77 Annual ... $14 business, including the NSAD Art Director of the Year when that • • organization was still functioning. Allen is living in London at • ❑ • The 1977 ART Annual ... $9 this time and covering that part of the world for CA. • • ❑ Subscription to Communication Arts ... $26 • Between us we try to plan interesting issues with diversity and • (Canada $28, all other countries $32) balance. We feature outstanding designers, design firms, art • • directors, agencies, illustrators, photographers, and sometimes we • • will take a broader overview of a specific area of the business. • Name • Our content stays close to professional interests because that is • • • our audience. We assume that our reader has a working knowledge • Address • of the business and present the material accordingly. Our format • is geared to a flexible layout to best display the work, not to fit • • • the work into a rigid format. • • • City State Zip There is a reason why CA can deliver more editorial content, more • • • color and the finest reproduction—size and growth. We are bigger, over twice the paid circulation of the next largest U.S. design magazine and one-and-a-half times the circulation of the leading European magazine. And we are the only design publication Postage will be prepaid, second class mail, but copies of the 1977 showing any real growth. As our revenues have steadily increased, Annuals cannot be shipped until payment is received. Allow up to we have plowed a major portion of that money back into the three weeks for delivery in the U.S., longer on foreign orders. product. It has paid off handsomely. Our paid circulation has The subscription price shown is in effect December 1, 1977. doubled in the last six years—from 16,400 to over thirty-three Orders received after any future price increase will be billed thousand. Much of this is due to a remarkable 83% renewal rate. for the amount of the increase. If you aren't already a CA reader, I hope you will join us. If you would like to receive entry forms for either of the annual competitions, send us your name and address. Each year the A year's subscription is $26. ART Annual—illustration and photography—closes April 1. The CA Annual—design and advertising—closes July 1. If you subscribe now, the 1978 ART Annual (Jul/Aug) and the CA-78 Annual (Nov/Dec) will be included in your subscription.

If you'd like to purchase the CA-77 Annual or the 1977 ART Annual, copies are still available.

The CA-77 Annual was juried from 15,000 entries and presents the best in design and advertising. Eight nations are represented. 262 pages, 829 illustrations, 664 in color. Indexed. $14.

The 1977 ART Annual was juried from 4,000 entries and presents an outstanding selection of illustration and photography. Eleven nations are represented. 166 pages, 290 illustrations, 257 in color. Indexed with addresses of the artists. $9. ,

ITC Benguiat Book nclienguiat Book Italic ITC Benguiat Medium ITC Benguiat Medium Italic ITC Benguiat Bold ITC Benguiat Bold Italic

We are proud to announce ITC Benguiat as another sampling of Compugraphic's on-going commitment to contemporafy needs in typography. This refreshing new typeface gives an informal and modern feeling to any typeset page. Available from Compugraphic in January 1978, this family will be offered in six versions: ITC Benguiat Book, Book Italic, Medium, Medium Italic, Bold and Bold Italic. These three weights with matching italics are sure to make ITC Benguiat one of the most versatile designs in typography today. The vitality and individuality reflected by this face brings the same distinction to your text and display settings as Ed Benguiat's previous typographic success, ITC Tiffany. ITC Benguiat...six more reasons to make our type libraryyour type library!

corn pugraphic eg Compugraphic Corporation, 80 Industrial Way, Wilmington, Massachusetts 01887, (617) 944 - 6555 82

Introducing CPS 300

Dymo's newest text management and Whether this information is defined as composition system designed to "fit" commercial" or "newspaper", both the special operational requirements of: share similar production procedures. magazine and book publishers, daily Certainly layouts and formats will differ, and weekly newspapers, financial and but common tasks still exist: input, statistical printers and ad-type and trade manipulation of copy and output. typographers. CPS 300 is a cost effective, labor That may sound like a bold and reducing composition system that will farfetched statement, but think about it assure you of faster, more efficient for a moment. production cycles, greater accuracies Composition and typography, as we and less proofing. It is modular in know it today, is much more than just design, so that it can be custom fitted — the arrangement and appearance of at any time — to your ever changing type. Better defined and more important, needs . . . at Dymo, it has to be right it has become a means of recording, for you! Write or call toll free, (1-800-225- storing, retrieving and handling 0945, except Mass.) for brochure or information. demonstration appointment.

°At) Dymo Graphic Systems, 355 Middlesex Ave., Wilmington, MA. 01887; Tel. (617) 933-7000 C() ing C on develop \ittle ti-rne you-rlayoukideas ando rryucll.tinAe speciiying type -re spending too ko andl-landlinyok): rroclianical detab, vqe canllelp. ki its yoo!Te designIng national ads,type t`aat. your Vice lists , catalogs, •rnanuals,laisoels, ov enAany daer uce tat kind oi printed znateal, vsle crept, conAplelnents y 00actin visual positIon concept.,. andass prodilln -ccedfle,111Ca\negatives VsIkb•'ready\las tlle ior Inst. printing colnpete l and-up-to-date 11,e cou nt ry.lt y u1:<..eand In-ode-fn., good, NT\14 g-ua\ity old-kaslilonedll. 0 deenda0 WI Tepeated VA) alter \do type l)s--)v protessionaltypograpbic InoTe tirne ior truly ou k3 sing Arrovsl leaves y oilAands. try u ‘T ovlc. cceative s v4 \ilceb.aving an eitTa p

Arrow Typographers Inc. 2-14 Liberty Street, Newark, N.J. 07102 Telephone (212) 571-0328/(201) 622-0111 Gestype what more would you Ge•type expect from Ge•type a typesetting Ge.type system osz All right class. What's the ❑ Type in position. (Headings, text, rules, run- ampersand for? Sitting there in the arounds.) middle of the page with its legs crossed, looking old-fashioned. EI 72 pica measure. (Compose all sizes to 72 pica What's it got to do with Geotype? measure, even 6 point.) You there, with the T-square ❑ behind your ear, speak up. It means Ruling-in position. (Horizontal and vertical... — and more — you say. continuous light source, not broken rule And more what? elements.) And more characters per sheet. 22% ❑ Foreign language composition. (Our type more than the other guys. masters include accented characters at no Good, what else? And more easy to use. Guidelines extra cost.) printed right on the sheet. ❑ 300 tabulation positions. (Use one or any Guaranteed shelf-life. Won't crack number up to 300.) or break up because of a more • stable carrier sheet. Won't knock Reverse leading. (Up to 72 picas at any time.) off, has a low-tak adhesive -1, Size and style flexibility. (15 sizes in 8 faces - you have to lean into. Good stuff. 15,120 freely mixable characters at your What else. fingertips.) It's more heat-resistant too. ❑ Independent tests prove that Character kerning. (Compare this ad to others Geolype's results are best. Can be ...need we say more?) used for ozalid or white-print ❑ Character quality. (No other system can better reproduction systems. Coated papers our quality.) . don't have to be sprayed ❑ Doesn't need fixing. Modular build up. (Add to your basic system What more do you need? as you grow...you will grow with Berthold It costs less than our major equipment.) •competitior. Available in '169 faces, Berthold also provides first class training black and white. And the white is ' whiter. True! whiter and more opaque. and after sales service to ensure your continued And there's still more. profitability More products. Geocolor custom color transfer sheets. Geotone self-adhesive cut-out shading film. Geosign If you would like any further information on self-adhesive vinyl lettering. Geoex the benefits of the complete Berthold photo- dry transfer shading and texture composing system check the boxes and return sheets. Geotape charting tapes. And this ad to us. We'll do the rest. more to come? More faces expected soon. Maybe we should have called it if you need more tell us Geolype plus.

HEAD OFFICE. r P.O. Box 430 For more information about Geotype and the complete VVillet St. line of Geographics products send your or Bloomfield this coupon to: New Jersey 07003 ogrwhics Tel: (201) 429-8800 2339 South 2300 West Salt Lake City, Utah 84119 (801) 972-3907 Name berthold Title TORONTO CHICAGO LOS ANGELES Firm 157 Bentworth Ave 4415 West Harrison St. 11222 La Cienega Blvd. Toronto Hillside Inglewood Street Ontario M6A 1P6 Illinois 60162 California 90304 Tel: (416) 789-5219 Tel: (312) 449-5827 Tel: (213) 645-7112 City State Zip

L -A 85

How can we change thee? Let us count the ways. We can expand your many charms, or even slenderize them; lean you alluringly forward or slant you beckoningly back. We'll shape you into luscious curves, or per- haps implant that intriguing shadow you've always yearned for Just put yourself in our hands—we'll show you lnr a world you never knew and will never want to forget. ( I ypiigrap 1111 ► ic Y00rormal • 1 M_J_Baurrivvell;Typogpraphy 461 EIGHTH AVENUE. NEW YORK, N.Y 10001 - (212)868-0515 Direct-entry typesetters — no longer direct, but... How can we change thee? It seems like only'yesterday, and in fact it was only the Let us count the ways. We can expand past few years, that most of us learned about the truly your many charms, or even slenderize remarkable typesetters that were so low in cost that them; lean you alluringly forward or offices could afford them and so easy to operate that slant you beckoningly back. We'll typists could run them, yet very versatile and typograph- 1+1=4 shape you into luscious curves, or per- ically capable. We called them direct entry because haps implant that intriguing shadow you've always yearned for. Just put input and output were in the same unit, like the once- yourself in our hands—we'll show you upon-a-time Linotype. One setting, a world you never knew and will never Today's news is even more exciting and it is want to forget. wonderfully detailed and interpreted in The Seybold combined, Report, Vol. 7, No. 3. It's must reading if you are in the market for one of these machines or just want to be M.J.Bauniwell,Typocsaphy with one 461EIGHTHAVENUE, NEWYORK, N Y 10001 • (2121868-0515 really up on your typographic toes. We'll summarize some of the Report's major findings here, but for more data and a 14-page chart new camera comparing the newest machines and models, feature for feature, write to The Seybold Report, Box 644, technique, Media, Pennsylvania, 19063, for information on how How can we change thee? to get a copy. Here are just some of the things hap- produced pening in the direct-entry field. Let us count the ways. We can expand • Input is being separated from output so that the four your many charms, or even slenderize many so-called direct-entry machines no longer handle them; lean you alluringly forward or input and output in one unit. specimens slant you beckoningly back. We'll • The new machines feature editing, correcting shown here. shape you into luscious curves, or per- and updating capabilities. They are fast becoming word haps implant that intriguing shadow processors that output typography instead of type- written copy. Add up to an you've always yearned for. Just put yourself in our hands—we'll show you • More and more units directly interface to word idea or two? processors. WP output becomes typesetter input. a world you never knew and will never want to forget. • Speeds have been upped from 16-17 newspaper lines to 50 lines per minute, significant for machines that can play back. M.J.Baurnwell,Typography • On some machines one operator can simultaneously 461 EIGHTH AVENUE, NEW YORK. N.Y. 10001 • (2121868-0515 typeset one job while editing another. • Since these machines can now run faster than an operator can keyboard them, many now offer auxiliary input and/or editing stations to feed the more pro- ductive typesetting unit. With multiple, separate input, How ca7 He chweje Mee? the system is no longer a true direct-entry system. Let us count the ways. 14' can expand • All this sounds as though they are becoming no your many charms, or even slenderize them,- lean you alluringly forward or different than the more expensive commercial and slant you beckoningly back. Well newspaper units. Not so. These machines, while step- shape you into luscious cu/vea ortxr- ping up their speed, editing, storage, and in some haps implant that intriguing shadow cases make-up capabilities, only partially close the gap you've always yearned for Just put between their capabilities and those of the higher yourself in our hands—well showyou priced machines. a world you never knewand will never want to forget. • On the other hand, the new generation of direct- entry machines, despite their tremendous advances, A4,113aunwejpography are still low-cost units. The values added far exceed 461EIGHIHAVENUE NEW YORK, N Y 10001 • (212)568-0515 the added cost and make them better buys than before for the office and other low-cost markets.

An editorial feature prepared for U&Ic by Edward M. Gottschall MJ B4U1VIWEIL 46181H/1/E\ E NE\A/YCRK NY COD (2'2)868-0515 86

INSTAN•STATS DIAL THE SIZE (Automatic Focus 40%-255%) op • Not if they're Normatype transfer letters. Even under magnification they have clean, precise edges, reproduce perfectly in contact printing, microfilm, or diazo. No chipping, flaking or peeling, either. Normatype letters are made of a tough, flexible material designed to last for years in storage or when transferred. You get more letters per sheet. Carrier sheets won't buckle. Transfer is easy. Over 200 type and letter LOAD styles and symbols, from 6 pt. to 214 pt. See (Sizes up to your art supply dealer or write for complete 196-page catalog to Keuffel & Esser Company, 18" x 24") 20 Whippany Road, Morristown, N.J. 07960. SWITCHnormatype®TRANSFER TO LETRS.TE

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REPRODUCTION QUALITY: METAL OFFSET PLATES POSITIVE STATS PAPER OFFSET PLATES REVERSE STATS SCREENED PRINTS FILM POSITIVES NO DARKROOM NO PLUMBING WE'VE MOVED ACROSS TOWN NO SPECIAL WIRING WE'VE AND BROUGHT OUR. PACKARD ALONG Tintype Graphic Arts has mowed into a larger building duostat con, — just in time to announce the newest old face from the 114 BEACH ST., Tintype ArchNes — Packard. ROCKAWAY, N.J. 07866 Packard is attributed to Oz Cooper, after whose lettering EM 201-625-4400 it was fashioned in 1913. Tintype Graphic Arts has made Packard a-Qailable on the V-I-P in standard text sizes. Send to our new address for a sample of Packard, and the other old faces in the Tintype Archi.)es.

TIMItE = TINTYPE GRAPHIC ARTS LUIS OBISPO, CALIFORNIA 934ox EI BEEI3EE STREET, SAN TELEPHONE (805) 544-9789

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A designer's dream! More than 100 different and exciting variations of basic design elements such as rectangles, ovals, squares, circles, splashes and banners—just a few of which are illustrated in this presentation. pw- NEW pm" I Aptid. SHdDING Avowal401*-011-1,4 ill)). MEDIUMS

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See your FORMATT & FORMALINE Dealer or write to: ek6.4 GRAPHIC PRODUCTS CORPORATION p1111 3601 Edison Place Rolling Meadows, IL 60008

SOMEONE AT KING KNOWS WHAT IT SAYS • • • To: Graphic Products Corporation • • • • 3601 Edison Place, Rolling Meadows, IL 60008 • There are over 1000 languages and dialects • • Please rush me free FORMATT & FORMALINE Catalog No. 6 • in which we set type for corporate • • • • communications and advertising material. • My Name • • • * King Typographic Service • Company • • • 305 East 46th Street, New York, New York 10017, (212) 754-9595 • Street • The Foreign Language Division of TGC • • City State Zip • I don't care what paper company you work W65. for. Our wedding invitations get printed on Classic Crest or tell your mother what we've FLAKE been up to.

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That's something that doesn't happen with Normatype transfer letters. They're made of a tough, flexible material designed to last for years in storage or when transferred. Normatype letters have clean, precise edges for perfect reproduction. Adhesive doesn't bleed out or pick up dirt. Letters remain solidly in place even in intense heat of frequent diazo copying. Over 200 type and letter styles and symbols, from 6 pt. to 214 pt. See your art supply dealer or write for 196-page catalog to Keuffel & Esser Company, ns.,-020 Whippany Road, Morristown, N.J. 07960. Neenah Paper Neenah Paper ,HriomatypeR- A Division of Kimberly-Clark TRANSFE Classic Crest, Cover and other fine papers Neenah. Wisconsin 54956 LETT ERS. R

If we transferred our Velvet Touch lettering onto the back of the world's largest turtle to demonstrate its versatility and durability, we estimate that it would take approximately 16,000 72 pt. capital letters and more time than we'd care to take. However, we know you can use Chartpak Velvet Touch for more important projects than turtle lettering, because it's manufactured for professionals who have graphic problems to solve and demand the highest quality materials. Velvet Touch is offered in 250 of the most popular styles from International Typeface, Visual Graphics and Photolettering. 21 of these styles are new 1978 additions to the Chartpak line. 16 new symbol sheets have also been added, including ITC symbols. Our patented process combines a vinyl ink that won't crack with a Mylar ® carrier sheet that won't distort. By the way, the largest turtle ever recorded was a Pacific leatherback caught off Monterey, California in 1961. It was an impressive 1,908 lbs. Try Chartpak Velvet Touch lettering on your next graphic problem. At $2.50 a sheet it's not only impressive, but you can afford to cover a lot of turtles. cha- rtpak A TIMES MIRROR COMPANY ONE RIVER ROAD LEEDS, MASSACHUSETTS 01053

Chartpak Products/Helping the Professional Create 89

A complete line of pressure sensitive materials for the graphic and display artist

PRESS-SURE LETTERING—$1.00 per sheet. Large 10 x 15" sheet of dry transfer lettering (the same size you pay $4.85 for) is sold by us for only $1.00. PRESS-SURE TONES—$1.00 per sheet. A 10 x 14" acetate sheet coated with'a heat resistant adhesive—available in a complete selection of 150 different tones and patterns. BOURGES COLOR SHEETS at 30% savings. The complete selection of famous Bourges pressure sensitive color sheets that are co- ordinated to standard printers inks. PRESS-SURE LINE TAPES at 40% savings. Precision slit charting and border tapes. Available in opaque and transparent colors, and in transparent printed borders. AD MARKERS at 30% savings. The only felt tip marker available in 200 beau- tiful vivid and pastel colors. The only brand with the interchangeable point system.

SAVE MONEY ORDER BY PHONE ... TOLL FREE MINIMUM ORDER: $15.00, please! Every product either produced or distributed by Join the thousands of satisfied customers who now Pressure Graphics is sold at money saving prices. buy as easily from us as from their local art supply Our greatest value is our dry transfer lettering, at dealer, by the use of our toll free number. $1.00 per sheet. FAST, DOORSTEP DELIVERY ALWAYS FRESH INVENTORY CALL TOLL FREE All orders are shipped via U.P.S. the same day they All lettering is shipped from fresh stock as there is a are received. Orders to the West Coast and New York rapid turnover of our products. All lettering and other 800/323-1787 metropolitan area are shipped via air. products are satisfaction guaranteed. In Illinois Call Collect Write or Call for your 312/620.6900 Pressure Graphics PRESSURE GRAPHICS, Inc. 1725 Armitage Court, Addison, IL 60101 • 800/323 1787 312i601 9oo1 Catalog and Free Lettering and Tone sheets available in Canada at $2.00 per sheet. From: Lettering Samples. PRESSURE LETTERING CANADA 3701 Grande Allee/St. Hubert P.Q.J4T 2V4 Phone: 514/676.7643

If your company spends $2 million a year on type paying New York's out-of-sight type prices, we can give you every bit as good a product and service that's every bit as speedy for around $1 million. Or just about half the price. And we can also save you carloads of money on type bills whether your company spends considerably less. Or considerably more. Honest. We can do it. And we do do it. We're Birmy in Miami and we have first class, New York trained typographers. And one of the largest photo- type libraries in America. We have telecopiers for practically instant communication. And we're only a few jet hours by air from anywhere in the country. We have everything you can find at any type house in New York except the prices. So come on. Try Birmy. Save a million dollars here. Save a million dollars there. Before you know it, it adds up. Birmy in Miami. (305) 633-5241/635-0482. 2244 Northwest 21st Terrace, Miami, Florida 33142. Amillion dollars here. A million dollars there. Before you know it, it adds up. 90

The complete library Mergenthaler Linotype Stempel

a Wi 28.

67890 ( M 'tt Agri 444:e 6'11✓ (;.- Haas 3,dri4e :43/1564"9110 ' .rOp

as typeset on the V-I-P 12 ABCabcdefghijklmno ABCabcdefghijkl ABCabcdefghij ABCDEFGHIJ ABCabcdefg KLMNOPQRSTU Nine type specimen books VWXYZ ABCabcdef abcdefghijklmno 1 General Typefaces pqrstuvwxyz ABCabcd 1234567890 2 Text Typefaces 3 Display Typefaces ABCabc 4 ITC Typefaces 5 News and Classified Typefaces 6 Special Typefaces 7 Non-roman Typefaces 8 54 unit Text Typefaces 9 54 unit Display Typefaces

These books show a total of nine hundred typefaces. The sheets are in four languages and carry pica/didot, and millimeter sizes, for international use. Each typeface book sheet shows up to four weights of a family, at 18 pt (the complete alphabet), and a paragraph of text, set at 10 pt. Publication of this series is to be completed by the end of 1978. Each edition will be mailed to you as each one is published. Each book sheet shows one weight of a family, at 36 pt (the complete alphabet), and seven lines of display text in The complete seven sizes up to 72 pt. Mergenthaler, Linotype, Stempel, Haas library in 9 bound books. Purchase this series now today!

The entire series . . . $50.00

To subscribe to these books, please fill in this coupon: ❑ Enclosed please find my check for ( ) sets of books at $50.00 each.

Name: return to: Company . Mergenthaler Linotype Company Mergenthaler Drive Company Address: Plainview, New York 11803

❑ Enclosed please find my check for ( ) sets of books at DM 125 each. return to: Telephone: D. Stempel AG Signature: 6000 Frankfurt am Main 70 Postfach 701160 Date: West Germany 91 THE UPAND COMING HEADLINE AND TEXTSETTER IN SWEDEN.

FOTOTEXT origin.alatelje ❑ fotosats Forsta Langgatan 8, G6teborg. Tel. 031/42 14 17 • 42 14 18

The American Institute of Graphic Arts is ful tool for institutions who desire good well known for the exhibitions which it design but must operate on a low sponsors each year budget.

Regular AIGA activities include: competi- Symbol/Signs. This continuation of the tions resulting in six major exhibitions massive study for the Department of and related (recorded) seminars and Transportation deals with the standardiza- slide archives, small exhibitions of influ- tion of informational symbols and sign- ential work by individual artists and age in America—from expressways to air "YOUR designers, numerous book clinics, career terminals. border designs ore terrific, clinics for students, spring and fall plant tours, traveling exhibitions, and the Cost/Efficiency Benefits from a Keep it up, we love them!" publication of a catalog for each major Design System. This research project Design No 176 (Thank you Ms. R. F. of Champaign, Illinois.) Volume 5 exhibit and a variety of reference being developed for NEA will demon- strate the efficiency of design systems materials. Now there are five super BORDER HOARDER which are properly conceived and man- volumes containing a torol of 150 ready-to-use aged. The results can be as beneficial to What is not commonly known is that borders . . just clip and poste . . blow-up or reduce. AIGA has been expanding its activities a corporation as to a federal agency Normally each volume costs $15 . . . however, if you through grants. Three interesting and far- order the entire collection, you can save $5 per You can avail yourself of the benefits of reaching assignments are presently book. That's just $50 (or about 33et per border) for o the AIGA with considerable savings in being developed: classic art library that you will use year after year. time and money through membership in A Graphics Standards Manual for the organization. Members enjoy Non-Profit Institutions. This project, reduced fees and access to all AIGA facil- sponsored by the National Endowment ities and programs. Send in the coupon Design No. 135 Volume 3 for the Arts, will culminate in a most use- below to join or receive more information. (if nor 100% satisfied, return books within 30 days for full refund)

Make all checks payable to: The American Institute of Graphic Arts 1059 Third Avenue New York, NY 10021

Name ❑ Enclosed is our payment of $50 for all five BORDER HOARDER Volumes. I Company Enclosed is our payment of $15 for Volume 1. Plose send your literature < on the other volumes. Add 504 per volume for postage. Outside USA add $2.50. Address Orders from Michigan odd 4% soles tax. City State Zip NAME FIRM

❑ Professional Sponsors (includes non-profit organizations): $100 ADDRESS / ❑ Resident New York City and Suburban: $75 \ STATE ZIP \CITY / ❑ Non-resident, U.S. and Foreign: $40 N RICHARD SCHLATTER DESIGN , ❑ Please send further membership information ,› 265 CAPITAL AVE., N.E. •‹. Design Na 170 URIC 1277 i Volume 4 1 BATTLE CREEK, MI 49017 BirthdayBook Valentine Mixed A: 12 Hearts with Env. $5. B:12 Squares with Env. $5. (No Substitutions) 1/2 Doz. any Number $3.

7 Back: "Rejoice in Our Love"

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6 Back: Kisd Kiss! Bang Bang! 17 Turn: "With Anyone Else But Me" 18 Back:"Zing Went the Strings ... 19 0, • MINC NZ ng 6LI IZ N

(110 20 Inside:"Who Loves You" 21 "Be Careful—It's My Heart" 23 On the Back:"Me" 24 Inside:"For Old Time's Sake" Valentine You Be Mine From A Friend

T. Shurtz: long sleeve (LS) $15., short sleeve (SS) $10.

BirthdayBook's DesignGraphics The following Sizes are available: Medium: Women 14-16; Men 16-161/2 translated into T. Shurtz. Specify X Small: Women 4-8; Men 14-141/2 Large: Women 18 Up; Men 17 Up (SS or LS) on order form. Small: Women 10-12; Men 15-15 1/2 25 Scarlet Shirt with Electric Turquoise 26 Kelly on Golden Yellow SS 27 28 —A Definite Statement. SS&LS Kelly on Gold LS White Calligraphy on Royal PurpleSS PinkwithRedSS Strawberry on Tan LS

all things possible viAlfear. vte:

93

29 WriteNow!: New Mix of 12 Turnovers (5x5) Mixed Colors . .$5. 30 WordPlay: New Mix of 12 Turnovers (5x5) Mixed Colors . . .$5. 31 Tissues: 2 for $3. (13x19)

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51 tiv Rghligow , Rigni Now.Rpg hi • Nkt. N.,i g g i i gill InShor FlogigNowghl Row • Fight • I) RV Now gighl gight • , A Right Nowg 0 Noo.ggight Right Now , Rght nr No....Right Fight Now.R, ghtNoodgigint Really _..,.. III Rghl Now' 'Fight•low.Right Right NOw w'Right Nov,R■ ght Rgill Now g Nowg gillilt R No....13,11 NoveRghl 11 11 )11... 411. 1110". ght Nowgight IMOvi.Rghl Fig Tight Novog gill Novi.Rigt, ,..%1 ,....ri'.. ll./AIZI Aggatliciiigliggillaiiillgiabiliigmaliagi- BirthdayBook WritingPapers: 30 Sheets 20# Grey Bond in Rust and Charcoal with Matched Envelopes . . .$6.00 32 33 34

If I had clouds of ink great fields of paper —tp-*# I'd rain giant poems, hard to miss, but things being as they are, sc,e' this'll do. \-•

BirthdayBook NotePads: 100 Vellum Sheets Gift Boxed ...$5.00 Rust, Black & Greys on Creme #43 25 Boxed Envelopes...$2.50 MailOrderForm: Note-25 Envelopes: Code #43 on OrderForm! Fold note in half, insert and mail. 37 (3 1/4 x 8") 38 39 40 41 42 MNItastChr kY 11111lol , ThrepT BirthdayBook c/o U&LC (1 It1,1Clicksr. rod •ThreeTmles, II( kYoUrEieci Thwel ■ rneqAndR 216 East 45th Street 'otirHeelaTh , ,w •hme, AndRepe, New York 10017 •ei,Three , me , AndRopeatAfte IropTinlesAndRopeatAlterMeJt 111,AndReppatAtterMeJustac Please enter my Order ndRopeatAfterMeJusICiickYo eat AfterMeJustaickYourHeel as circled below: tierM*J11,101( kYourHeoi,Thre Note: On items 38-41 please write size in box below!

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 O 19 20 21 22 23 24 25SS 25LS 26SS G) 26LS 27SS 28SS

28LS 29 30 31 32 BirthdayBook NoteCards $4.00 Black & White Notes ... $4.00 Greetings... $5.00 33 34 35 36 37 38 39 40 41 42 43 44 44 Bits & pieces of the songs & movies of our 45 20 "Snazzy" little Foldover Notes in Black, 46 A new 3 1/2x51/2 BirthdayBook mix in mixed time in bright mixed colors on smooth white. White and Greys on White Vellum.3x4 1/2 colors. 12 different everyday-greetings for 45 46 Each a different 3x4 1/2 Foldover"ThoughtNote." Design Thoughts with the Special BirthdayBook birthdays, anniversaries, valentines and "keep The Thoughts: All Things are Possible—Pass Twist. Very Personal! Acetate Gift Boxed with in touch" notes All turnovers. The expressions: the Word, Lions and Tigers and Bears. Oh My!, Envelopes. The List: call it a dream, ps: I love All Things are Possible; BeWell; Message for Name Another Season,—Another Reason, Rice you, absent minded me, get lost with me, the Month; Another Season, Another Reason; Pudding in Egypt,—You never know if it's jungle drums, and for my next trick, forget the This is Your Hypnotist—Go to the Phone and Raisins or Flies, Free Again—Back to being Me donut, send money, this is your hypnotist, Call Me; You're on My List; Happy Birthdaze- Address Again, Old Friends sit on the park bench like guess what, me again, to make a long story Sparkle Plenty; Your Day—Have a Happy One; , I won't Dance—Don't ask me, short, lightslaction!cameral, knock on wood, High Hopes; Hello Gorgeous; L'amour Forget your Troubles—come on Get Happy, I just click your heels three times and repeat Toujours L'amour; Hiya! Great to Have City want to Be Happy but I won't Be Happy 'til I after me, heavy duty, hoo malimali (string em' around for those special occasions that make You Happy too!, and more! along), forever blowing bubbles, and more! always seem to come up! State Zip January Winning is Better February On Your Toes Please Print! March Throw Caution to the Wind April Get Ready! Get Set! (Please enclose your Check May Go! Go!Go! including Postage and June Clasp Hands applicable Sales Taxes.) July Sing and Shout Make Check Payable to: U&LC August Lots of Loving Check Must Accompany Order! September Take Deep Breaths NeW York Residents add 8% Tax. October ClearYour Head Add $1. to Total for Postage. November Soul Search Allow 3 Weeks for Delivery. December Gold,Frank incense & Myrrh All Shipments sent UPS. 94

# 103 — Production for # 156, 157, 158—Encyclopedia of Source Illustrations the Graphic Designer Ed. Johann Georg Heck There are eight new titles by James Craig in the U&Ic Book Shop: #184-Creative Selling Through Trade Shows; #185- Legal Guide for the Visual Artist; #186-Animal King- dom; #187-The Art of Advertising; #188-Brush- A faithful facsimile re- scriptions of each plate, Strokes & Free Style Alpha- issue, in two volumes, of and an almost incredibly The Iconographic Ency- complex index for locat- bets; #189-Florid Victorian clopedia of Science, Liter- ing any subject—or any ature and Art published in individual picture under Ornament; #190-Historic Philadelphia in 1851 —pre- that subject—immediate- Written by a designer senting in astonishingly ly. Pictures are of repro- Alphabets & Initials; #191- for the designer. Covers detailed steel ducible quality. typesetting, printing, the scope of man's knowl- Borders & Frames.To order paper, inks, binding/ edge up to that time in 300 pages. 12 x 9%. folding/imposition, and every important field. Each volume, $27.50. any of these books, com- preparation of mechan- Complementing the Boxed set, $55.00. icals.-A basic fact book. 11,282 steel engravings Vol. 1, # 156; Vol. 2, # 157; Glossary of 1100 entries. reproduced are clear de- boxed set, # 158. plete the order coupon or a copy of it and forward it Paper section lists papers by generic names, de- with your payment to the U&lc Book Shop. scribes their character- # 150—The Picture A how-to especially istics and uses. Type Reference File Volume 1— helpful to offices and specimens. An excellent A Compendium personnel with duplica- table of comparative ting and reproduction typesetting systems. centers. Explains func- Bibliography, index. I UM tions and mechanics of 208 pages. 8% x 11. paste-up at three levels Over 400 illustrations. of complexity: office dup- $18.50. ithek),THE lication, professional and art production. In #132 — Designing With PI CTU cludes basic data on Type tools, materials, methods, by James Craig and what the artist REFERENCE' needs to know about typography and printing ART MECUMS ANNUAL F LE processes and such special areas as assem- 56th Edition. Featuring bly, markup, retouching and lettering. 132 pages. 200 illustra- to. Fire-time Winners tions. 8 x 9% . $12.95.

#178— Photographis '77 Ed. Walter Herdeg The first in a 25- volume series. A master swipe file of reproduc- ible art all in the public domain. Vol. 1 has 2,200 pictures culled from 131 sources including private collections. Good size illustrations, clearly printed on 80 lb. glossy coated paper. All pictures captioned with identification and source. Extensively indexed. Aimed at the design 400 pages. 9 /21 x 12%. educator and the student Smythe-sewn, $39.50; working with type, this Looseleaf, 11 x 12%. is at once a book and a $60.00. working tool. It is basic, clear and contemporary # 154 —Graphis Packaging 3 in viewpoint and content. Ed. Walter Herdeg As a book on this subject Foreword by Karl Fink should be, it is heavily The international visual, with over 180 typo- annual of advertising and graphic illustrations. It is editorial photography. not simply a schoolbook Covers 30 countries and but of much value to any- a wide range of print one in the graphic arts media and TV. It is a who wants a clear con- definitive, comprehen- cise understanding of sive, stimulating, and typefaces, typesetting beautifully reproduced #177 The 56th Annual of Advertising, Editorial & systems and procedures. Television Art & Design. The complete visual record record and idea source. It has a good selection of Many full-color reproduc- of the most important competition in the communi- display type showings cation arts industry. A record of the year's best tions. Indexes for photo- and in-depth coverage of graphs, art directors and and an exceptional idea source. Produced by the five basic text type fam- Art Directors Club of New York. Over 700 entries designers, agencies, pub- ilies. Design projects at lishers, and advertisers. in virtually all media, including print, TV, and film ... end of each chapter. ads, editorial pages, film titles, logos, promos, 228 pages. 9 x 12. 727 176 pgs. 9 x12. Semi- illustrations. $37.50. booklets, brochures, sales kits, annual reports, concealed Wire-0 Binding. house organs, packaging, albums, calendars, Glossary. Index. Bibliog- letterheads, posters, books and jackets, corporate raphy. $12.95. identity programs, illustration and photography. #172 —Illustrators 18 Over 500 pages, 8% x 11. 16 color pages. $25.00. Ed. by Robert Hallock #183— How to Establish a Cold Typesetting Department & Train Operating Personnel Shows and comments # 153 — Film & TV # 149—Art in Society by Marvin Jacobs on the best of the latest Graphics 2 by Ken Baynes, packaging graphics. Ed. Walter Herde9 by Milton Glaser Covers food, beverages, textiles/clothing/ac- cessories, household, sports/tobacco products, stationery, cosmetics, pharmaceuticals, pro- motional and industrial packaging. 250 pages, 9% x 12. 801 illustrations, 154 in color. $39.50.

A definitive statement on how art and society A thorough, internation- inter-relate. Considers The award winners and al examination of all essen- commercial, high and the almost 500 juried tial aspects of film and TV folk art in relation to selections of the Society graphic design, including work, worship, sex, and A management- of Illustrators Annual entertainment films, TV war. Spans many cen- oriented guide to plan- National Exhibition. A vis- films, sponsored films, turies and cultures. ning and operating a cold ual guide to top talent, commercials, titles, cap- Assumes art resides in typesetting department source of ideas, a graphic tions, experiments, new the kitchen as well as or shop. Reviews objec- record of the best con- techniques. A unique pro- the museum. An exciting tives, work area, equip- temporary styles and fessional and artistic guide thesis, beautifully pre- ment, tools, supplies, techniques. Index in- in the field of animation. sented. selection and training cludes artists' addresses. 22 pages, 9% x 9%. 1,264 288 pages. 10 x of personnel. 320 pages, 8% x 11 3/,, illustrations, 160 in color. 530 illustrations, 44 in 280 pages. 8,/, x 11. with 80 pages in color. $28.00. full color. $35.00. $34.50. $24.50. 95

#168, #169 —The Picture #171—Graphis Posters #185— Legal Guide for the Reference File, Volume 2- '77 Ed. by Walter Herdeg Visual Artist Still available: Humor, Wit & Fantasy by Tad Crawford #102— Milton Glaser Graphic Design. $37.50.

#104 —Trademarks and Symbols, Vol. 1. Alphabetical Designs, 77 $9.95. VOLUME I • HUMOR, WIT, f FANTASY 1 #105 — Trademarks and Symbols, Vol. 2. Symbolical Designs. Gm e for $9.95. P #106— Packaging. $8.95. theVisual #107— Publication Design, by Allen Hurlburt. Paper. $8.95. Artist #129 — Halftone Reproduction Guide. $29.95. Via .' AiLmelbrok krt parotorr #133—Cameraready, by Kenneth Caird. $ 30.00. s,xdprors Atustraturs, mrirrrkers photograptrers #141 —Understanding Phototypesetting, by Michael L. Kleper. rod art other rrrsualartrgs $24.50.

This may well be the most #142— Berthold Fototypes El. $39.95. beautiful book on advertising Tad Crawford you ever saw but don't let #148 —The 55th Art Directors Annual. $25.00. The world's best adver that fool you. It's not for your tising, cultural, social, A handbook for designers, coffee table. It's not only too #155 —Primer of Typeface Identification, by Lawson, Provan, A fabulous collection of and decorative posters. illustrators, photographers heavy, but too informative, Romano. $10.00. over 2000 especially A beautifully designed and other artists. Covers tax too stimulating, too down- attractive pictures in the and printed record and problems including deducting right provocative and useful #162-200 Years of American Graphic Arts, by Clarence P. public domain. Culled from idea source. cost of working space and to be out of your reach. Here Hornung and Fridolf Johnson. $25.00. 130 sources including 220 pages, 912 x 12. 759 materials as well as the new are exquisitely reproduced private collections the illustrations (108 in color). copyright law, rights of the large-size color reproductions world over. Collated into $35.00. artist, sales problems, repro- of some of the most success - 70 categories for easy duction rights, leases, estate ful advertisements and cam- reference. Large size, #179— Layout planning, donations to paigns of recent times. To order any of clean pictures, almost all by Allen Hurlburt museums, contracts, artists Accompanying each are can be reproduced in line groups, etc. succinct Lois-comments and will take enlargement 288 pages. 6Yex9Y.,. $9.95. stating the message problem these books, complete or reduction. Pictures run and the reason-why of the #186 —The Picture Reference solution. All together, a fabu- gamut from whimsy to File—The Animal Kingdom the grotesque. lous mixture of graphic the coupon below or a 432 pages, 9'/2 x 1212. beauty, revealed strategies, and a post-graduate course Hard cover, #168 $29.50. HMI Looseleaf, #169 11 x 1210, on how to use mass com- copy of it and forward it $45.00. munications effectively. THE This book focuses on adver- tising but its revelation of with your check to the AN1 •;. strategies and tactics extend its value to all people involved KIN ;, in mass communications—in address below LAY promotion, editing and writ- v. ing, print or television, point- of-sale, or whatever. This is a showcase of graphics and words harnessed and focused to achieve specific OUT results. As Dick Schaap said, Presents the keys to "To read George Lois on uality successful graphic design advertising is to read Caesar by tracing the history of on warfare, Da Vinci on art, 20th-century design, Ted Williams on hitting, and analyzing basic principles, Clifford Irving on fraud!' explaining content of the 330 pages. 12x12. $45.00. printed page and the psychology of graphic A fabulous collection of communications. Deals more than 2,000 pictures bound. $3.00 in U.S.A. $3.50 #167 — A Book of Ornamen- 1890's was a'resurgence with major art move- covering quadrupeds, crusta- of a decorative, romantic, in Canada. ments, ways of dividing ceans, birds, fish, worms, tal Alphabets Compiled by the Main Street Press baroque style glorifying space on the page, from butterflies and reptiles. the ornamental value of #189— Florid Victorian Large, clean, reproduc- the Golden Mean of Pictures in alphabetic order. the curved line. There is Ornament Greece to Le Corbusier's Good size pictures, clearly ible reproductions of renewed interest in Art by Karl Kleinsch modular system and the printed to take enlargement ornamental alphabets, Nouveau today, and this Over 700 metal-engraved Swiss grid system. or reduction. Indexed. Hard- initial letters, illuminated book illustrates 72 alpha- designs on 102 plates: Relates content to bound. initials, monograms and bets created by Chicago borders, frames, corners, photography, illustration, ciphers, panels, friezes, A handbook telling how to 400 pages. 9Y,x12%, $44.50. sign painter Frank H. leaves, scrollwork, strap- typography, and all to the capitals, borders, corners use trade shows to boost Atkinson in the early work, rosettes, escutcheons #191—The Picture Reference sales volume. Covers suiting communication's pur- and centerpieces, frets, 1900's, as well as and cartouches in various pose and to achieving the File—Borders & Frames tiles, guilloches, bosses, the exhibit to the show, assorted "panels and sizes and styles. Clean lines desired response. A ribbons and scrolls, tre- setting sales objectives, ends': advertisements, and shadings on opaque thoughtful and articulate foils and spanduls, and increasing staff incentive, • and initials. All are in the (minimal show-through) analysis of applied other ornaments. public domain and repro- paper. Illustrations are copy- manning exhibits, booking graphics by a master 2 x 11. orders, and creating exhibits 128 pages. 8% ducible from this book. right-free. Reproduction practitioner. $3.95. 112 pages. 11 x 8%. rights accompany purchase that will attract attention and 160 pages. 81/2 x 101/2. display the product effec- $4.50. of book. 200 illustrations. Bibli- #175, #176 —Art and 102 plates. vii + 102 pages. tively. ography. Index. $17.95. - Reproduction 224 pages. 5Y2x8X. $10.00. #188— Brushstrokes and Free- 8%x11%. Paperbound. $3.50 by Raymond A. Ballinger Style Alphabets in U.S.A. $4.00 in. Canada. #180— Fundamentals of #182— Handbook of A readable introduction by Dan X. Solo Modern Composition Operating Costs and to the worlds of printing, A collection of 100 sets of #190—Historic Alphabets and by John W. Seybold Specifications for Photo- platemaking, typesetting, numbers and special symbols Initials typesetting Equipment and related products and selected and arranged by Ed. Carol Belanger Grafton by Thomas Hughes services. Good for young Mr. Solo. The alphabets often A collection of over 2,000 artists, students, and include an appropriate vig- decorative letters, many office persons now in- nette or decorative flourish. grouped in complete alpha- volved in graphics and Fonts take on a diversity of bets. Spans ten centuries, reproduction. Illustrated. form—upright, lightface, from medieval illuminated Lucid, Concise. Indexed. Japanesque, slanting, bold, manuscripts to the modern 112 pages, 7, x 10%. delicate, thick, Hinduesque era. A wealth of copyright- Cloth, #175, $12.95. and many more. An idea free material and ideas. Paper, #176, $7.95. source for lettering for Illustrations are clean and posters, menus, signs, pack- reproducible. Over 500 truly unique and #181—A Book of Art aging, logos and any project 176 pages. 8%x11%. Paper- widely varied styles.They are Nouveau Alphabets and that calls for free-style bound. $4.00 in U.S.A. $4.75 clearly printed, reproducible Ornamental Designs alphabets. in Canada. and copyright-free. Indexed. Art Nouveau in the 100 pages. 8%0(11 Paper- Hardbound. 400 pages. 9Y2 x12Y2. $29.50.

John W Seybold r&lc Book Shop 216 East 45th Street Author John Seybold is one of the most knowl- New York, N.Y. 10017 edgeable and articulate experts in this field. He I has written this book for Please enter my order for the books whose numbers are circled below: Which keyboard, ter- a broad audience of 106 107 129 132 133 141 142 writers, editors, pub- minal, typesetter, OCR, 102 103 104 105 158 159 162 lishers, typesetters and or computer system is 148 149 150 153 154 155 156 157 best for you? To help you printers, those planning 175 176 177 178 179 180 to install or expand their find the answers, this 167 168 169 171 172 book analyzes the oper- 188 189 190 191 installation of type- 181 182 183 184 185 186 187 setters in offices or typo- ating costs, including labor, tax, depreciation, graphic services, and for Enclosed is my check for $ All orders will be shipped postpaid. No COD's. all purchasers of com- factory and other costs New York residents add sales tax. Shipments out of the United States, add 5%, payable in position. involved in purchase and Subject matter runs use. Budgets hourly U.S. funds. Books are not on display at U&Ic's offices. the gamut of word costs for one- and two- processing/typesetting shift operations. Outlines technologies and sys- systems studied and tems and covers alterna- includes equipment- NAME tive methods of input, buying decision checklist. storing and retrieving, Illustrates and gives makeup, and output with specifications data for all machines analyzed- economic, technological, ADDRESS typographic and per- 231 models from 71 sonnel considerations. manufacturers. Does not A masterful coverage in include most of the one volume. Illustrated recent low-cost direct- STATE ZIP and indexed. entry typesetters or 402 pages. 8% x 10%. other machines intro- Please Print Softcover. $20.00. This duced in 1976-77. book available to United 280 pages. 8 x 11. States residents only. $34.50. L. THIS ARTICLE WAS SET IN ITC NEWTEXT BOOK

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