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We•VOLUME EIGHT, NUMBER THREE, SEPTEMBER, 1981 EDITOR: EDWARD GOTTSCHALL EDITORIAL/DESIGN CONSULTANTS: LOUIS DORFSMAN, ALAN PECKOLICK ART DIRECTOR: BOB FARBER U&LC: EDITORIAL DIRECTORS: AARON BURNS, EDWARD RONDTHALER ASSOCIATE EDITOR: MARION MULLER RESEARCH DIRECTOR: RHODA SPARSER LUBALIN YESTERDAY, BUSINESS MANAGER:JOHN PRENTKI ADVERTISING/PRODUCTION MANAGER: HELENA WALLSCHLAG ASSISTANT TO THE EDITOR: JULIET TRAY ISSN ART/PRODUCTION: ILENE MEHL, SID TIMM. JUREK WAJDOWIC TODAY

INTERNATIONAL TYPEFACE CORPORATION 1981 PUBLISHED FOUR TIMES A YEAR AND TOMORROW IN MARCH. JUNE • SEPTEMBER AND DECEMBER BY INTERNATIONAL TYPEFACE CORPORATION 2 HAMMARSKJOLD PLAZA. NEW YORK, N.Y. 10017 A JOINTLY OWNED SUBSIDIARY OF UBALIN, BURNS 6 CO., INC. AND PHOTO.LETTERING. INC. CONTROLLED CIRCULATION POSTAGE PAID AT NEW YORK, N.Y. U&lc was born in 1973. In eight years it has grown from AND AT FARMINGDALE, N.Y. USTS PUBL. 073030 ISSN 0362.245 PUBLISHED IN U.S.A. ITC FOUNDERS: a 20-page black-and-white tabloid mailed to 20,000 AARON BURNS, PRESIDENT EDWARD RONOTHALER, CHAIRMAN EMERITUS HERB LUBALIN. EXECUTIVE VICE PRESIDENT 1970-1981 people in the United States to an 84-198 page journal ITC OFFICERS 1981: GEORGE SOHN, CHAIRMAN AARON BURNS, PRESIDENT with multicolor pages, a circulation of more than EDWARD GOTTSCHALL, VICE PRESIDENT, INFORMATION AND MARKETING SERVICES JOHN L. PETERSON, VICE PRESIDENT, SALES AND MARKETING JOHN PRENTKI, VICE PRESIDENT, FINANCE AND GENERAL MANAGER EDWARD BENGUIAT, VICE PRESIDENT 150,004 throughout the world and a pass-along reader- BOB FARBER. SENIOR VICE PRESIDENT IARNA SHANKS, DIRECTOR, ITC CENTER ship of over 1/2 million. U.S. SINGLE COPIES SISO ELSEWHERE, SINGLE COPIES 5E.50 TO QUALIFY FOR FREE SUBSCRIPTION COMPLETE AND RETURN THE SUBSCRIPTION FORM IN THIS ISSUE TO ITC OR 1NRITE TO But its real growth and value lie not in its vital statis- THE ITC EXECUTIVE OFFICE, 2 HANIMARSKJOLD PLAZA, NEW YORK, N.Y 0017 tics. As its editorial and design director Herb Lubalin gave it a unique content and graphic vibrancy. This issue, In This Issue Cover produced posthumously, is the last one planned by him. Introduction to our invitational color section, featuring Herb has left a wonderful heritage, a great base on guest designer, Alan Peckolick, and his magical posters. which to build. There was just one Herb Lubalin and it is Editorial inevitable that with his passing U&lc will A proposal and program for restructuring graphic arts acquire a new education for the benefit of students, art schools and personality. But the vigor, vitality and value that have the whole communications industry. Page 3. characterized yesterday's U&lc will flourish and grow Pro-File: Seymour Chwast with each of tomorrow's issues under the creative direc- Quiet, quaint, quirky, unquestionably cute, Seymour Chwast (pronounced Quast) is the quintessential com- tion of a new team of editors and designers: municator. Page 4. Ms. Jean Evans A former tennis star swaps her racquet for a lettering EDITOR EDWARD GOTTSCHALL pen and shows us some wonderful strokes. Page 8. EDITORIAL/DESIGN CONSULTANT: LOUIS DORFSMAN Lou Myers: Bombed EDITORIAL/DESIGN CONSULTANT: ALAN PECKOLICK There's something rotten in the state of the world; Lou Myers depicts a few crises. Page 10. ART DIRECTOR BOB FARBER L'Assiette Au Buerre EDITORIAL DIRECTOR: AARON BURNS Steven Heller's treatise on this turn-of-the-century EDITORIAL DIRECTOR EDWARD RONDTHALER French magazine reveals that it was as much concerned with graphics as with political and social satire. Page 12. Putting Your Best Face Forward Each of us has worked closely with Herb and shared A typographer in Brussels demonstrates some salient features of ITC typefaces. Page 17. his love for typography and graphic design, his high Transit Tickets of Yesteryear standards of design and craftsmanship and the feeling The modest fare (as little as 25C for 8 rides) did not that in graphic communications there is room for fun inhibit the graphic pyrotechnics of the designers of and joy and experiment. This spirit will thrive in tomor- these venerable transit tickets. Page 18. Typomorphic Putty row's U&lcs and we trust you will enjoy reading them A reader demonstrates some maneuvers that put a as much as we will enjoy bringing them to you. typehouse in the palm of your hand. Page 20. Crossword Puzzle: It's All Balloony One hundred and five years of unsuccessful attempts at ballooning, should not deter you from chancing this puzzle. Page 22. Wild, Wild East A no-nonsense rodeo world, with buckaroos from no further west than Pennsylvania, described and illustrated by a born-and-bred New Yorker. Page 24. HERB LUBALIN What's New From ITC MEMORIAL ITC Barcelona, designed by Ed Benguiat, with excellent adaptability for all text material and some distinctive FUND variations in display fonts to give it unusual strength and character for headlines. Page 30. Since Herb Lubalin's death, many letters have been Something From Everybody received at our offices from friends, associates, admirers Two more alphabets from our bottomless bag of mail. Page 34. and readers all over the world, suggesting ways to create Magic Posters a lasting tribute to honor and perpetuate the outstanding Eight brand new poster designs by guest Art Director, contributions which Herb made to the field ofgraphic Alan Peckolick, for some great old magic tricks. Page 36. communications. Vision '80s Update A description of some new electronic systems for pro- The editors of U&lc and Board ofDirectors ofITC wish ducing slides, handling page make-up, mathematical to announce that plans for a Herb Lubalin Fund are now equations and more. Page 74. being formulated and that details will be announced in a This issue of U&Ic was mailed to 165,000 readers: 130,000 future issue of U&lc. in the United States and Canada, and 35,000 abroad. It will be read by approximately 500,000 people. 3

is the time for all good companies and associations to come to the aid of graphic art and design education.

The State College of Art in Massachusetts what to do? might have laser printers and intelligent copier- why? printers. Pratt Institute might feature a word- for a group of schools to sit down BECAUSE clean, effective communications, IT IS TIME processing center. And so forth. internal or external, have a major influence with representatives of business and industry. on the cost effectiveness of a company's op- UNDER SUCH A PLAN the graphic arts indus- erations, on its profits, and even its survival. what schools? try would not be bombarded with so many redundant requests for equipment, mainte- art and design BECAUSE graphic artists and designers play NOT JUST THE WELL-KNOWN nance, supplies, training, etc. a crucial role in making communications no- schools, although they may take the lead. ticed, understood, acted upon. High schools, trade schools, colleges with gra- IT WOULD NOT BE NECESSARY to build a phic arts/design programs are in the same massive facility with everything under one BECAUSE the new technologies available to boat, and only massive collective action is roof.All the facilities could be linked by a artists and designers are overwhelming in going to accomplish anything in a meaning- telecommunications network. their complexity and sheer numbers. ful time-frame. THERE WOULD BE LESS DOWN-TIME for pre- LETS FACE IT. The best of the typesetters,col- what businesses cious equipment and it might be easier to or scanners and paginators, laser printers, keep key centers stocked with the latest mod- slide-makers, and graphic display terminals and industries? els, since there would be just a few of them are only as good as the people manipulat- and the business world would ease the cost ing them.And therein lies the dilemma. ALL.This is a problem that graphic arts manu- burden for the graphic arts suppliers. facturers cannot—and should not—solve ALL TOO MANY SENIOR ARTISTS and artisans, alone.The entire business community has a WITHIN A GIVEN REGION the schools would who are otherwise skilled, graphically sensi- stake in improved communication effective- establish a schedule for rotating their facul- tive, and creative, are turned off by the new ness. If business and industry provided fund- ties and students through each laboratory, devices instead of being stimulated by them. ing and graphic arts companies provided perhaps for two-week crash programs at a equipment and services at cost, it could work time.The schools could also set up special ALTHOUGH probably more psychologically to the benefit of all concerned. crash hands-on programs for people on receptive to computers, keyboards, lasers, leave from work. and graphic tablets, the younger artists or de- how to do it? signers-to-be, now in high schools, colleges, are we serious? and college-level schools of design, are han- AS THE CLICHES SAY, there are many roads to dicapped because most schools lack both Rome and many ways to skin a cat. But just NOT ABOUT THE SPECIFICS of the plan out- the equipment needed for hands-ontraining to stimulate thinking along constructive lines, lined above. But very serious about an urgent and because their faculties, through no fault consider the following possibility. need for educators and people in industry of their own, need to be trained before they and business to start talking to each other can interest the students. DECENTRALIZED, REGIONAL hands-on labo- right now so that a feasible program can be ratories. For example, in the Northeast, Rhode developed and put into operation before Island School of Design might house an elec- the mid- 80s slip by. tronic scanner/paginator facility. Cooper Union might have a digital typesetting center THIS ARTICLE WAS SET IN ITC NOVARESE 4

play a mandolin every Sunday, for the first Push Pin Almanack, offered a tend to use versions that originally were an hour.I keep practicing but I neve r short course on how history is made: "...we get further than 'Careless Love: „ set in metal-rather than the film alpha- CHRONOLOGY hit on the idea of an almanac — some- bets. It's hard to say why. It may be the I promised not to ask why not. thing with literary content and many facts 1931: born in New York City; studied illustration and graphic , newer versions, having been hand-drawn design at the Cooper Union Art School. so we'd not have to do any writing.We had and photographedwill have an aspect Pipe-smoking, reflective Seymour Chwast a list of names and we felt that words with 1951: was graduated from the Cooper Union. is the mandolin-playing in-house surviv- different from the sculptural quality of 1954: K were funnier than words without K, so type originally cast in metal. co-founded Push Pin Studios— in a "Chinese restaurant ing founding father of the renowned Push we spelled it Almanack. Pushpin had a on Union Square" in NewYork City. Pin Studios, which thrive on an entire funny sound, but we used it in two words "My philosophy is that type works with Has received many awards including, from the Cooper floor in a building downtown from mid- to overcome the prospect of lawsuits from images, lettering doesn't.Whether in typog- Union, the prestigious St. Gaudens medal. town Manhattan.A staff of designers is the pushpin people" raphy or actual lettering, if I'm conscious Is editor, publisher,art director of the "Push Pin Graphic"; working on posters, photographic proj- of the hand behind it, it becomes too close founder and partner of Push Pin Press and of the -candy ects, audio-visual presentations — assign- Bringing Chwast up-to-date: "It's Sey- company, Pushpinoff, to the image I work with; it intrudes. Type Is on the Board of Directors of the American Institute of ments unquestionably more sophisti- mour's misfortune to be working at a time workslype contrasts with drawings or when bad taste is in. Seymour knows only Graphic Arts; visiting professor at the Cooper Union Art cated than the Studio's early mainstay any image. Often, that image is personal, School; member of the Alliance Graphique Intematidnale. of album covers and brochures. how to do things in exquisite taste. He - or free-wheeling, casual. Generally, the Is co-designer and art director of "Audience' a magazine has what few have—personal vision:' Both the conference room and Chwast's type is carefully conceived and much more of the arts,and "Tube' a magazine for children, Several conservative.The combination can create Chwast posters are in the permanent collection of the office are unavailable to us, so we sit in an Another classmate, Milton Glaser, for fif- Museum of Modem Ad, New York City. open area at an unoccupied desk. Chwast, teen years with Chwast co-sponsor of the an elegant cartoon or a witty straight type job. Has participated in major exhibitions and gallery shows: reserved, introspective, wistfully recalls: Push Pin Studios: "Seymour is extremely Aberdeen Art Gallery Scotland; Bergen Kunsfforening, "We were considered far out in the early gifted, with a remarkable range rarely "I've had problems with Helvetica.At a Bergen, Norway; Art Directors Club,Chicago; Art Directors days and were lucky to be able to do inter- found in a single person — a brilliant Club, NewYork; American Institute of Graphic Arts; Con- esting things right at the start.We credit typographer, terrific designer, unique seminar describing problems of designers temporary Arts Museum, Houston,Texas; Corcoran Gallery the promotion we've always been involved illustrator. His great skill is in his use of creating a corporate image using Helvetica, of Art, Washington,D.C.; Brooklyn Museum, New York ('A in— the Push Pin Almanack, and later, the I said the corporate image becomes invisi- Century of American Illustration"); Castello Sforesco, type, combining it with drawings. He's ble because so much Helvetica cancels Milan, Italy; Die Neue Sammlung,Munich,Germany; Galerie Push Pin Graphic. very special. I learned a lot from him in Delpire, Paris, France; Henie-Onstad Museum,Oslo,Norway; identity.11-ue, it looks corporate, but one that area" (When I quoted this to Chwast, CA Gallery, London, England; Jorgensen Gallery,Storrs, "When Ed Sorel and I were working in the corporate look then looks like any other. Connecticut; Kunsterhaus,Vrenna,Austria; Lincoln Center promotion department at Esquire Maga- he smiled at the tribute."Maybe we all learned it all from Jan Tschichold."). That's why so many annual reports are for the Performing Arts Gallery, New York City;,Musee de zine, we wanted a promotion piece for visually boring, although neat. Helvetica L'Affiche, Paris; Musee des Arts Decoratifs, Lausanne, ourselves, for free-lance work.We aimed is a beautiful face, but the notion of using Switzerland; Musee des Arts Decoratifs,Louvre,Paris (a More from Glaser: "Seymour has made a first for an American graphic arts studio.The show traveled for something to amuse art directors, to significant contribution to 20th century it as a universal typeface is scary" suggest continuity, something not to be to cities in Europe, Brazil,Japan); Museum Fur Kunst and design. He continues to be absolutely A relaxed Chwast returns from having Gewerbe,Hamburg,Germany; Museum of Contemporary thrown away. The usual promotion then first-rate" Crafts, New Ydrk City; Museum of Science and Industry, was a blotter which I thought was too dis- answered a phone call, re-lights his pipe, Chicago, Illinois; North Jutland Museum,Aalborg, Den- posable.We decided on an almanac form, The late Herb Lubalin felt Chwast has had settles in for the next question. Designing mark; Palazzo die Comuni,Rome, Italy; Pompideau Center chose the name Push Pin because it was a great effect on the industry from an il- alphabets: "I did a package for Artone Ink • Gallery Pans; Reed House, London; Stedelijk Museum, as quaint as the material we used inside lustrative and graphics standpoint."He using a lowercase 'a' that I felt deserved a Amsterdam, Holland; University of Southem California, fuller life so I turned it into an alphabet. Fullerton,Califomia; Warsaw Poster Museum,Warsaw, as foil for our drawings When the studio was the first to use type with illustration, Poland (one-man show). was formed, the name came along. to sell illustration as the first element in For Mergenthaler, I designed Chwast Buf- design.With his insight into illustrative falo, based on a logo for die French Buffalo "The Push Pin style? Milton Glaser and I BIBLIOGRAPHY styles, Chwast has the major responsibil- Gum. I'm doing variations now, from the tried to define it.We may have brought black version to condensed. Maybe Italic. decorative illustration to a high point, but ity for reviving Art Deco and Art Nouveau" Articles on Seymour Chwast have appeared in: American we did other things — trade marks, book "Often an idea looks terrific in a couple of ArfistAnny, CACree, Gebrauchsgrafik, Graphic The observation of another colleague: letters, but you have difficulty when you Design —Japan,Graphics Today,Graphis,Horizon, Idea, jackets, packages. Most other illustrators "Many top people in the design field are Newsweek,NewYork Times Magazine,PackageDesign,Print aren't interested in 'decorative' illustra- obsessed with their work, have sacrificed try to work out the x's and q's. My solution. Maybe because we've always designed personal relationships. Seymour espe- tion was to design an eccentric alphabet as well as illustrated, the work tended to cially, has devoted himself to his work. He in Art Deco style where each character is be more graphic and could work with may not tell you, but he gets to work at altogether different from the other 25" type.There are different ways of creating 6:30 or 7 AM. I don't know what time he We talk of extended graphic interests be- images. Making drawings is one way. I'm a leaves.The paradox is that he richly de- yond the two-dimensional. I asked about graphic designer, not an illustrator. serves his celebrity, but he's not good at the candy business."It began when Push "Most of our work in advertising has been promoting himself. If he were more flam- Pin created food gifts for clients at Christ- drawings — funny drawings. Our problem boyant, his international reputation would mas. Now, Phyllis Flood and I have 18 dif- with advertising is that we're given a con- be greater" ferent candies selling around the country. What interests me is having control over cept that has already been established, The soft-mannered Chwast of this prodi- and we've little chance to add our thoughts the entire production— concept, name, ious reputation moves easily through design, printing. Berry Nice (fruit flavors), because the client has already seen what the fleet of desks in his offices, stopping the AD has done.What we get is an ap- Love Drops (tiny gum drops), Deco Bits at one to chat, at another to discuss the (hard sesame) are doing well.We're plan- proved sketch. For us, advertising means job. He dresses casually, neatly. His aura is rendering an AD's ideas.What the agency ning candy cigars in, of-course, a cigar quietude. Only his active dark eyes belie box. buys is only a style, and I prefer to tack passivity, suggesting the experience of a my thinking toan assignment:' secret hurt. A question about professional goals was a long thinking-time in being answered. The interviewer's lot is a happy one, but Of his work, this gentle man speaks with not an easy.one, when the interviewee is This man doesn't disclose thoughts casu- the voice of authority On typography: "I'm ally Then: "I'd like to produce a successful reticent Seymour Chwast.The wall of shy- very fussy about type. I make rules for my- ness is surmountable because respectful magazine — a Push Pin Graphic with self and everybody else. On my firstjob at broader content, more ambitious, more colleagues will talk readily of his on-going the Times.promotion department, George achievements as typographer, designer, exciting, making it as meaningful to others illustrator, innovator. Krikorian who was AD, taught me rules as it is to me. about typography. I have no rules for other Now heading his own studio, Reynolds aspects of my work.Typewas designed to "And film is fascinating. Collaboration Ruffin, Cooper Union classmate, one of the be cast and set. Limitations to the use of with animators and directors is very sat- inchoate small group of students who ography were there when the type was isfying. The added element of time and -evolved into the Push Pin -Studios recalls: esigned.You have to respect its limita- motion are perfect tools. It's fun to see my "It started in school. A few of us rented a tions— things you can do, things you can't. work on a little screen.I'd like to have com- studio, called ourselves Design Plus, and plete control over everything, but I can't we were in business losing moneydesign- 'I hate to alter type because it was origi- do everything. I'd love to be able to animate, ing placemats.We all worked together, yet nally designed as separate characters cast but I can't. Generally, I'm asked to contri- none of us could summon up the per- in metal. Each letter has its integrity.You bute my style for commercials. sistent drive Seymour.had. He's the hard- can't treat it as a shape as much as a piece of metal set on.a composing stick. "I'd like to move on to full-length anima- est working person I know He's an incredi- tion. There have been few attempts to ble designer. There's a direct connection Krikorian always used two or three points combine live action with animation. That between what makes him unique as a of leading no matter what the text was. could be exciting. My favorite author is person and what's reflected in his work. elbday, typography is more vigorous. Lead- Nathanael West. It's been my lifelong am- His approach is innovative,always surpris- ing is tighter, letterspacing is tighter; bition to do an animated film of his 'Cool ing, but his statements are so simply made, white space isn't as important as it used Million: Nobody yet has matched my in- you don't realize the genius, the natural to be terest, or come up with the money. " genius, in it:' But I use the same old half-dozen faces for Anybody out there with a cool million for Ed Sorel, he of the monthly page in Esquire, 90% of my work. Cheltenham seems to be 'Cool Million'? another classmate, another designer of good for everything. I use Bodoni Book. I I promised I'd ask. GERTRUDE SNYDER )

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MS. JEAN EVANS

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At age 16, she ranked fifth in America's 16-and-under class of tennis players. As an adult, she toured the European tennis tournament circuit—even qualified for Wimbledon. A few years ago, she coached the Radcliffe College tennis team, in Cambridge, Massachusetts. tal style, called spontaneous So what's a nice master ten- though it easily takes 60-70 nis player doing in a publica- tries to come up with one action like this? Jean Evans, as ceptable character. She uses you can see, is a master callig- this Oriental style, too, in her rapher, too. experiments with contempo- From the day she first rary "illuminated" capitals. learned to write script in her Aside from her calligraphic small town grammar school, talents, which have been well she was enamoured of "fancy rewarded in publications and writing." She practiced curli- exhibitions, Ms. Evans is a sci- cues and arabesques on paper entific draftsperson; she as assiduously as she prac- teaches calligraphy in her pri- ticed her backhand on the ten- vate studio, and has written nis court. But she didn't learn and published a number of the meaning of the word works on calligraphy based "calligraphy" until her senior on her exhaustive research year at Queens College, North and inexhaustible knowledge. Carolina,where she got a smat- You may recognize her name tering of exposure with her as the co-author of the article degree in art. on Scriptura which appeared From then on she was ob- in a recent issue of U&lc. sessed with quills, pens and brushes, but she could find no schools, no workshops, no )oodles that evolved into a diary. Numeral designates November. teachers nearby to feed off. Mostly she studied on her own. Her more formal education came in small, intensive doses. She'd travel to a class here... a weekend workshop there... a few lessons from master scribes wherever she could hunt them down—in New York, in England, in Germany, in Switzerland and with two typographers at the Art Insti- tute of Boston, where she now lives and works. Her present work deals with three recurrent themes. She plays with grids, squares and circles, reminiscent of the "correct and divine proportioning" of Roman capitals. She's addict- ed to color and explores its interaction with letter forms. She's intrigued with the Orien- Doodles that evolved into a diary. Numeral designates September. Graphic representation of scat singing done by Louis Armstrong

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Text chosen and designed specifiCally for calligraphic shows 10 11 12

UASSIETTE AU BEURRE BY STEVEN HELLER

butter dish—the nice, fat job with the prerogative of dis- pensing favors for a price.' At this same time Paris was emerging as the art capital of the world. The Belle Epoch was in full swing.Artists were streaming in from all over Europe and membership in the various Salons des Independants was growing rapidly. Many of the socially conscious artists turned toward anarchism—a state of mind free from ideological constraints—as a means to delve beyond the facade of bohemianism and vent their political frustrations.This tradition of anarchy was present among numerous aesthetic rebels working in the turn-of-the century ateliers. It was thus propitious (since there were more starving artists than outlets to publish their wares) that Samuel Schwarz founded the satiric weekly "L'Assiette au Beurre" in 1901 expressly to visually and emotionally attack those who lived off the fat of the land.The means to this end was accomplished through the talents of an international group of artists which offered an amalgam of unique styles and points-of-view. Each committed to the republican spirit, albeit with varying intensity. The journal offered a unique opportunity to exhibit biting satires within a virulent, highly innovative artistic vehicle.Its professed mission as the watchdog of societal foibles and moral excesses was successfully carried out for the next twelve years and served not only as a political tool, but also as a springboard shooting many artists into prominence. Art nouveau and caustic satire. EAssiette au Beurre was loosely patterned after Simplicissimus, its Bavarian counterpart.Art nouveau was the predominant mode in both journals—although decorative elements were often overwhelmed by the caustic satiric statements. Classic representational renderings were also effectively employed.Toulouse Lautrec, who offered the stylistic inspiration for many of the artists, was refused admittance into EAssiette.'s ranks because of his apparent decadence and superficiality EAssiette exemplified the marriage between draftsmanship and conception—no longer was cartooning merely a craft performed by illuminators or second-rate artists (as espoused by some historians of the era). Skimming through bound volumes today one is struck by the aesthetic concerns; mastery of line, the expert

The early nineteenth century was a period of social and graphic commentators. French periodicals of the era rep- Assiette au Beurre political upheaval with significant ideological and indus- resented the state of the graphic arts for the next two dec- trial revolutions in the forefront Nowhere in Europe was ades. However, in 1896 the German satiric weekly, Sim- this furor more pronounced than in post-revolutionary plicissimus, was founded and radically altered the style France. Paris was the capital for believers in and propo- and form of polemical cartooning throughout Europe. nents of Republicanism—aTession complicated by the A time of haves and have-nots. Fin de Siecle Paris eventual restoration of King Louis Phillipe to the throne. was the host for the 1900 World Exposition, a milestone In 1831 this major political setback markedly influ- in France's transition-into an industrial society. France's enced the development of acerbic, satiric commentary economic structure was similar to that in Germany and into-an art form exemplified by the prints of Daumier. England at this time.The distinction between the haves Paris was the hotbed of dissent So, understandably it and have-nots was vivid. France, however, had trailed these was the birthplace for Charles Phillipon's political news- nations in ways to deal with the poor and downtrodden, papers, La Charivari and La Caricature, the most impor- was shockingly primitive, hampered by ineptitude and tant arsenals of satiric weaponry fired against the estab- corruption.Thus it was no surprise that a pronounced lished order. subculture of thieves and prostitutes emerged. In 1848 France experienced another revolution of This state of affairs became a recurring critical theme consequence, the founding of the Second Republic and in popular graphics—a stark reminder of capitalism's in- kindling the spirit of the socialist reform. Shortly there- herent failures.As Ralph Shikes (author of The Indig- after conservatives and reactionaries allowed for the crea- nant Eye) describes it"Daumier's dream of a democratic tion of another empire ruled by Louis Napoleon.After France, responsive to the will and the needs of the people, his defeat by the Prussians in 1871 the Third Republic was still far from fulfillment.The Dreyfus affair seemed was founded and France became a model of liberal law. to end the threat to the Republic by the right wing mili- Press freedom opened the door to an outpouring of tary-church-aristocracy coalition, but the issues of cleri- illustrated magazines concerned with political and social calism and militarism remained.And the state, instead themes (notably Gil Blas, Courrier Francais, Le Pierrot of being an instrument of the people, was a huge, bureau- and Le Rire)—launching the careers of many significant cratic machine dominated byTassiette au beurre'—the 13

use of lights and darks, and the subtlety of composition all in the service of politics.Virtually the entire content ate. au Kull was visual (a small insert with advertisements was included) with full-page drawings accompanied only by a title and a caption. The quarto size (12Yex 91/2") offered artists the space to breathe, and yet adhere to a format. They were able to experiment with varied media; the woodcut, pen-and-ink and crayon drawing. Often the results were extremely modern: Juan Gris' contributions displayed a concern with geometric forms predating his later cubist work. Felix Vallotton's special issue of original lithographs, "Crime and Punishments," (exquisitely printed for collectors on one side of the page) are exemplary of avant-garde, expressionist approach. Second and third colors were available and effectively used. EAssiette was published weekly, with issues based on single themes which scrutinized specific events or international personalities, as well as all-encompassing issues (such as Kupka's satiric trilogy—"Money,""Peace"and`Reli- gion.") Often a single artist would be responsible for an entire magazine—approximately 16 drawings.Atvarious times a potpourri of contributors would be invited to attack one of the recurring dragons in need of slaying, such as the judicial system, the Catholic church, or the medical profession.The most memorable numbers are those executed by a committed artist on a heartfelt pas- sion or anger: Vadasz on Homosexuality, Veber on Recon- 484 centration Camps in the'll-ansvaal,Juan Gris on Suicides, and Hermann-Paul on Lourdes (the church operated contributor, Aristide Delonnoy, was arrested, sentenced spa), to name but a few. to one year in jail and a fine of 3000 francs, for depicting Equally, there were mild commentaries which nibbled, General d'Amade, occupier of Morocco as a butcher with rather than bit, at the heels of societal absurdities, such blood-stained apron, and later was threatened by the as those on snobs, cafes, sports, high fashion, and auto- authorities when he savagely attacked Briande and mobiles.An enticing number, entitled "Le Lit:devoted to Clemenceau for betraying Republican principals. Simi- the beds and sleeping habits of the various social strata— lar to the so-called morality lobbies of today, minor witch- from the rich to the poor, from those in authority to those hunts were practiced with EAssiette as the target. Often in prison—exemplary of the art of allusion.The reader- these efforts at prior restraint backfired resulting in ship had their favorites too—among those purchased off greater publicity and sales. the newsstands in quantity were the insightful lambast The magazine was undaunted and fought many forms of French doctors (including images which are still gen- of injustice both in France and abroad. EAssiette:s con- erally applicable) and the harsh attack on the excesses of tributors recognized no sacred cows in their editorial Vatican power. 'A Noulespace.f,"a satiric look at the new pasture (with the exception of racism and anti-semitism flying machine sensation by.Albert Guillaume and "Pre-. dictions,"a futuristic view of the comedie humaine by Roubille, are among the most visually handsome numbers.And an issue devoted to the second coming of Christ into the"modern"world was an inspired idea. The cause: the downtrodden. The audience: the middle class. Although L'Assiette raised pen and brush in support of the downtrodden it was the middle class that was courted as its primary audience. It was purpose- fully priced high by the standards of the day and produced as a coffee table journal. Nevertheless, it was defi- nitely a polemic gazette whose objective was to educate while at the same time serve as a rallying point—a barri- cade of sorts—for those in philosophical combat with the bourgoisie and forces of reaction. By current standards it is difficult to imagine that any cartoonist working in the West could be subject to arrest merely for placing an image on paper, no matter how inflammatory or insulting. Nevertheless, throughout the nineteenth and early twentieth centuries the govern- ments of Germany, America and France maintained and enforced strict penalties for libel and sedition. With this in mind EAssiette took many risks by taunting both censor and prefect of police alike. They had their share of numbers banned and confis- cated by the defenders of the status quo. An issue by Ibels entitled "Les Cafes-Concerts"had to be previewed by an ethics committee with each acceptable drawing stamped Vise par Le Censure (passed by the censor).A leading 14

—a common convention for French cartoonists—which were kept at a minimum).With the aid of its Spanish and Portuguese contributors the journal described the tyranny on the Iberian peninsula and the revolution in Portugal. L'Assiette reigned as the visual nemesis of King Edward VII of Britain and it lampooned with great relish Czar Nicholas. Leal Da Camara's exquisite issue, "Les Souvrains,"a series of unofficial portraits of the world's leading mon- archs, is a masterpiece of caricature. England was peri- odically attacked for its heinous and hypocritical foreign policies, especially its involvement in the Boer War. The staff included central-European artists who maintained a watchful eye on workings of the Austro-Hungarian emperor and recorded his yearning for dominance with savage accuracy. At home there was labor unrest and issues devoted to strikes and poor working conditions were numerous. One such number covered the tragic powder-factory explosion at Issy-les Moulineaux with journalistic speed and a humanism to rival Kathe Koll- witz' later work Other major issues included attacks on the Army and Navy as well as a virulent expose of the horrendous milk scandal that shocked Paris.The Catholic church was in disrepute—reminiscent of the passions of the reforma- tion—and the papists were seen in the same dim light as the monarchists. Countless anticlerical cartoons were published—equal in venom to those of Daumier, Nast and Grosz. One such drawing depicts a gargantuan cross as lid for a mass grave, a fitting statement about those reigned supreme. Many of its commentators later relin- describes Alexandre-Theophile Steinlen, Caran D'Ache, in search of ultimate grace. quished their satiric inclinations to become painters of The abusive treatment of blacks in French colonies Albert Robida, Hermann-Paul and Forian as the masters renown: Gris, Felix Vallotton, Kees Van Dongen,Jacques of French satiric and comic arts. Other significant con- was abhorred as was the double standard maintained by Villon, Louis Marcoussis, Frantisek Kupka and J.L. Forian. tributors, lost but not forgotten, include Miklos Vadasz, the Americans in the South and the British in the Islands. Delonnoy's reputation as a painter grew after his death, Dimitrios Galanais,Jules Alexandre Grim, Gustave Henri Decadence and its various manifestations were tackled through a series of posthumous exhibitions. Others went Jossot, Charles Laborde, Ricardo Flores, Maurice Radi- through both scabrous and benign satires: prostitution, into more lucrative areas of graphic art such as poster guet. Granjouan deserves mention, not only as one of the child abuse and crime in the streets were viewed as symp- and book illustration including Leonetto Cappiello, most prolific staffers of tomatic of the uncaring capitalist system. L'Assiette, but also as the idola- Charles-Lucien Leandre, and Leon Adolphe Willette. tor of Isadora Duncan whom he loved and chronicled Among contributors, a common purpose but indi- While some of L'Assiette:s staffers had no other aspira- through his art. vidual styles. Although all of LAssietteS contributors tion than to enjoy prominence in the field of cartooning. adhered to a philosophy of social change, individuality Europe at the turn of the century—before the ravages In his 1890 volume "Nos Humoristes,"Adolphe Brisson of modern war radically changed political and cultural L'Assiette au Beurre Les aourreaux des NoIrs 15

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patterns—was a period when the approaches to art were Lewis and Tom Wicker are respected today. Of most sig- most extreme.The superficiality of the Belle Epoch was nificance, EAssiette was a visual experience, not enslaved pitted against the great compassion for mankind and by verbous texts or constrained by authors and editors L'ASSIETTE AU BEURRE outrage towards inhumanity expressed through paint- afraid that the adage`A picture is worth a thousand words" de- ing and satiric graphic commentary. EAssiette au Beurre may put them out of business. L'Assiette au Beurre BY STEVEN HELLER made an imprint on a generation of concerned individ- rived its success from the wide range of styles and inter- uals and its influence continued after 1912 (journals such ests of its fifty artists, and it continues to be a treasure for students of caricature and satiric drawing—and hope- as Le Mot, edited by Jean Cocteau and Le Temoin edited and chiefly illustrated by Paul Iribe temporarily con- fully to editors and publishers as well—because it testi- fies to the potency of well articulated political art and tinued the tradition). Germany's EAssiette was the wellspring of critical graphic journal- social satire. (next issue: Simplicissimus: ism, accepted as seriously then as columnists Anthony Most Influential Satire Magazine.) L'Assiette au Beurre L'Assiette au Beurre L'Assiette au Beurre tVE. DES coNr VISIONS!

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1. VERSION ORIGINALE EN C.12/12 2. VERSION ITC EN C.12/12 Fine typography is the result of nothing Fine typography is the result of nothing more than an attitude. Its appeal comes f more than an attitude. Its appeal comes f rom the understanding used in its planni rom the understanding used in its plann ng; the designer must care. In contempo ing; the designer must care. In contempo rary advertising, the perfect integration o Tory advertising, the perfect integration o f design elements often demands unorth f design elements often demands unorth odox typography. It may require using w odox typography. It may require using w rong fonts, cutting hyphens in half, usin rong fonts, cutting hyphens in half, usin BOOKMAN 904 C.12/12 ITC BOOKMAN 936 C.12/12 Fine typography is the result of nothing m Fine typography is the result of nothing m ore than an attitude. Its appeal comes from ore than an attitude. Its appeal comes from the understanding used in its planning; th the understanding used in its planning; th e designer must care. In contemporary adv e designer must care. In contemporary adv ertising, the perfect integration of design e ertising, the perfect integration of design e lements often demands unorthodox typogr lements often demands unorthodox typog aphy. It may require using wrong fonts, cu raphy. It may require using wrong fonts, c tting hyphens in half, using smaller than n utting hyphens in half, using smaller than CENTURY TEXT 968 C.12/12 ITC CENTURY 4157 C.12/12 Fine typography is the result of nothing more than an Fine typography is the result of nothing more attitude. Its appeal comes from the understanding use than an attitude. Its appeal comes from the u We have taken some liberties with d in its planning; the designer must care. In contempo nderstanding used in its planning; the design Best Face Forward in this issue. rary advertising, the perfect integration of design elem Usually, we devote this section to a er must care. In contemporary advertising, th ents often demands unorthodox typography. It may re e perfect integration of design elements often designer or a publication that has quire using wrong fonts, cutting hyphens in half, using demonstrated some imaginative demands unorthodox typography. It may requ use of an ITC typeface. But we re- smaller than normal punctuation marks; ini fact, doing ire using wrong fonts, cutting hyphens in half cently came upon another cate- anything that is needed to improve appearance and im using smaller than normal punctuation marks CHELTENHAM 925 C.12/12 gory of imaginative graphics. It was ITC CHELTENHAM 4087 C.12/12 produced by M. Pierre Leguerrier Fine typography is the result of nothing more than of Graphiservice, Brussels. Fine typography is the result of nothing more t an attitude. Its appeal comes from the understandi han an attitude. Its appeal comes from the and For some time, M. Leguerrier ng used in its planning; the designer must care. In has been aware that the plethora erstanding used in its planning; the designer m contemporary advertising, the perfect integration of new typefaces and techniques — ust care. In contemporary advertising, the perf instead of helping — was creating of design elements often demands unorthodox typ ect integration of design elements often dema problems and confusion for his cus- ography. It may require using wrong fonts, cutting nds unorthodox typography. It may require us tomers. He wanted to assist them hyphens in half, using smaller than normal punctu ing wrong fonts, cutting hyphens in half, using with information, guidance and ation marks; in fact, doing anything that is needed GARAMOND 501 C.12/12 smaller than normal punctuation marks; in fac educational material. Finally, in ITC GARAMOND 4030 C.12/12 January of this year, he produced Fine typograph y the first edition of his typographic is the result of nothing more than Fine typography is the result of nothing more th guide, called lypotips. an attitude. Its appeal comes from the understandi an an attitude. Its appeal comes from the under ng used in its planning ; As you can surmise, the pages the designer must care. In c standing used in its planning ; ontemporary the designer must we have reprinted here have every- advertising, the perfect integration of care. In contemporary advertising, the perfect i thing to do with ITC typefaces.The design elements often demands unorthodox typogr ntegration of design elements often demands u object of this spread was to demon- aphy. It may require using wrong fonts, cutting hyp strate the superior legibility and northodox typography. It may require using wro hens in half, using smaller than normal punctuation ng fonts, cutting hyphens in half, using smaller t economy of lit alphabets as com- marks ; in fact, doing anything that is needed to imp han normal punctuation marks; pared to their metal equivalents. KABEL 127 C.12/12 in fact doing an ITC KABEL 4060 C.12/12

En vous presentant « Typotips», nous souhaitons attirer votre attention sur les nouveautes de nos diverses collections de caracteres, en phototitrage comme en compo. Nous esperons ainsi dementir 2 a 3 ans pour qu'un nouveau caractere la statistique selon laquelle it faut ITC NOVARESE 4126 commence a etre utilise couramment. Typotips» vous donne aussi d'autres informations typographiques destinees a faciliter votre travail.

3. VERSION ITC EN C.11/11 4.VERSION ITC EN C.10/10 Fine typography is the result of nothing mo Fine typography is the result of nothing more th an an attitude. Its appeal comes from the unders re than an attitude. Its appeal comes from th tanding used in its planning; the designer must e understanding used in its planning; the d care. In contemporary advertising, the perfect in esigner must care. In contemporary advertis tegration of design elements often demands uno ing, the perfect integration of design elemen rthodox typography. It may require ustng wrong ts often demands unorthodox typography. It fonts, cutting hyphens in half, usinNenaller tha may require using wiong fonts, cutting hyp n normal punctuation marks; in fact, doing anyt hens in half, usinvernaller than normal pun hing that is needed to improve appearance and i ctuation marks; in fact, doing anything that mpact. Stating specific principles or guides on th ITC BOOKMAN 936 C.11/11 ITC BOOKMAN 936 C.10/10 Fine typography is the result of nothing more than Fine typography is the result of nothing more an attitude. Its appeal comes from the understandi than an attitude. Its appeal comes from the un ng used in its planning; the designer must care. In derstanding used in its planning; the designer contemporary advertising, the perfect integration o must care. In contemporary advertising, the p f design elements often demands 1M-orthodox typo erfect integration of design elements often dem graphy. It may require using wrong fonts, cutting h ands unorthodox typography. It may require u yphens in half, using smaller tharketormal punctua sing wrong fonts, cutting hyphens in half, usin tion marks; in fact doing anything that is needed to g smaller tha ormal punctuation marks; in f improve appearance amd impact. Stating specific p act doing anything that is needed to improve a rinciples or guides on the subject of typography Is a ITC CENTURY 4157 C 10/10 ITC CENTURY 4157 C11/11 Fine typography is the result of nothing more than an a Column 1 contains five speci- Fine typography is the result of nothing more than ttitude. Its appeal comes from the understanding used men typefaces set in 12-pt. metal an attitude. Its appeal comes from the understand in its planning; the designer must care. In contempora type. Column 2 shows the ITC ver- ing used in its planning; the designer must care. In ry advertising, the perfect integration of design elemen sions of the same alphabets in the contemporary advertising, the perfect integration ts often demands unorthodox typography. It may requ same 12-pt. type. Column 3 illus- of design elements often demands unorthodox ty ire using wrong fonts, cutting hyphens in half, using sm trates the ITC faces in 11-pt., and pography. It may require using wrong fonts, cuttin aller than normal punctuation marks; in fact, doing column 4, in 10-pt. type. g hyphens in half, using smaller than normal punc ything that is needed to improve appearance andVipa tuation marks; in fact, doing anythOg that is need ct. Stating specific principles or guides on the subject o As lypotips points out: f typography is a practice to be approached only with a "ITC alphabets are distinguished ed to improve appearance and '?act. Stating sp from the others by the maximum'x' ITC CHELTENHAM 4087 clotio ITC CHELTENHAM 4087 C.11/11 height and by the minimum verti- Fine typography is the result of nothing more than an a Fine typography is the result of nothing more than ttitude. Its appeal comes from the understanding used i cals, with the result that: an attitude. Its appeal comes from the understandi n its planning; the designer must care. In contemporary "In the same weight, ITC type- ng used in its planning; the designer must care. In advertising, the perfect integration of design elements o faces appear larger and are there- contemporary advertising, the perfect integration o ften demands unorthodox typography. It may require u fore more legible in equal blocks f design elements often demands unorthodox typo sing wrong fonts, cutting hyphens in half, using smaller of type. /Compare column 1 with graphy. It may require using wrong fonts, cutting h than normal pu tuation marks; in fact, doing anything column 2); yphens in half, using smaller than normal punctua that is neede improve appearance and impact. Stati "In smaller sizes /compare col- ion marks; in fact, doing anything that is needeNifi ng specific principles or guides on the subject of typog umn 3 and 4 with 1/ the ITC faces improve appearance and impact. Stating specific p raphy is a practice to be approached only with a good m appear as large and permit more ITC GARAMOND 4030 C.10/10 ITC GARAMOND 4030 C text to be placed in the same space.' Fine typography is the result of nothing more than a Fine typography is the result of nothing more than an attit The check marks indicate where n attitude. Its appeal comes from the understanding ude. Its appeal comes from the understanding used in its the text would end if it were set in used in its planning; the designer must care. In cont planning; the designer must care. In contemporary adver the same size metal type. tising, the perfect integration of design elements often d The utter simplicity and explic- emporary advertising, the perfect integration of des emands unorthodox typography. It may require using wr ign elements often demands unorthodox typograr5h itness of this demonstration dis- ong fonts, cutting hyphens in half, using smaller than norm armed us, and we are grateful to y. It may require using wrong fonts, cutting hyphens in fact, doing anything that is need al punctuqtlon marks; M. Leguerrier and Graphiservice in half, using smaller than normal punctuation/marks ed to irVove - appearance and impact. Stating specific p in fact, doing anything that is needed to inveove ap rinciples or guides on the subject of typography is a pra for permitting us to disseminate pearance and impact. Stating specific principles or ctice to be approached only with a good measure of res the information world-wide. ITC KABEL 4060 C.10/10 ITC KABEL 4060 C.11/11 THIS ARTICLE WAS SET IN ITC ERAS 18

Transit Tickets of Yesteryear BY KEVIN BYRNE

Fort Wayne &Belle Isle

RAILWAY COMPANY 19

seem to have a lot in common with recalled the big lithographic stones ness.Most tickets contrasted straight Rail and trolleybuses—how many of typographic baselines with curved us remember them? I, for one, do not. the contents of your billfold. A tele- that used to be inked and printed phone call to Chicago drew some onto press sheets by hand. I winced ones. Often the reverse sides were Unless you count the ones I used to the most interesting, especially for ride in San Francisco when I was in interesting background from C.Ken- almost audibly when he told me these neth Frantzve, Director of Manufac- stones were broken up years ago. beautiful patterns and an occasional college. But I'm told that they were cigar ad. once as popular as imported com- turing at the American Bank Note "8 rides for 25 cents',' one ticket reads. pact cars are now Cheaper, too. Company. He briefly reviewed for I saw recently that Chicago will soon A question remains: Who is that me the industry that printed not only be charging a dollar a bus ride. My little boy on one of the tickets? He The transit tickets shown are from transit tickets, but currency, stock appears on both sides, in fact. a family collection assembled by pocket calculator reveals an aston- and bond certificates, diplomas, and ishing rate of inflation over the past relatives: an uncle who was general even the stamps that seal cigarette It must be another relative. manager of Detroit, Chicago, Balti- packages. It started in colonial Amer- fifty years. more, and Los Angeles lines at dif- ica with Paul Revere working for a Note the hours that a"workingman's ferent times, and a grandfather who Philadelphia engraver and still flour- was general cashier of the Detroit ticket" was valid for morning and ishes today as the International evening commutes. Street and Railways. In fact, I dis- Banknote Corporation with plants Kevin Byrne, born and raised in covered their signatures on two in the U.S., Central America, Eng- My cursory examination of the gra- Detroit, is Assistant Professor of tickets dated in the mid-thirties. land, Asia, and Africa. Frantzve joined phics on the tickets did not reveal Design at the Minneapolis College You'll notice that the tickets shown American Bank Note in 1940 and much method in the designers mad- of Art and Design.

ITIZEPIS 3TIFIEET

RAILWAY CO. TYPOMORPHIC PUTTY 21.

Hot s° long ago, it was the toy fad its usefulness to graphic design- of the year-994 worth of sticky ers. According to Cohn, this wad stuff packed into a little egg- of putty is the equivalent of hav- shaped plastic container. Silly ing an entire type house in the Putty has amused children and palm of your hand.With the aid adults for hours with its amaz- of photos by Walter Wick, he dem- ing contradictory properties. It onstrates how one can create stretches like taffy, drips like mo- condensed, expanded, italic and lasses and, rolled up into a ball, imaginative expressionist ver- it bounces like a Spalding. Most sions of every typeface extant. amusing of all its versatile capa- he has rechristened the product bilities is its"lifting power."On its Typomorphic Putty. And out of surface, you can pick up photos, the bigness of his heart and his drawings, cartoons—any printed overwhelming concern for the matter at all—and manipulate it advancement of typographic de- to your heart's content. sign, he offers his concept to the It is this feature that inspired world-at-large, without credits Eugene Cohn, Jr., of Stamford, or royalties. Connecticut, to conceptualize 22

UP DOWN AROUND SIDEWAYS AND ACROSS

If man were meant to fly, God would have given him wings. Yet for centuries, man's obsession with flight has taken him up, up and away through thirteen unlucky attempts to cross the Atlantic Ocean in —of all things—a balloon! But alas, in August, 1978, the wings of victory landed on three Albuquerque busi- nessmen as their vessel, The Double Eagle 11, made a successful voyage from Presque Isle, Maine to Miserey, France in 137 hours, 6 minutes.Not to burst their bubble,but as Henry Louis Mencken once said, "Balloonists have an unsurpassed view of the scenery but there is always the possibility that it may collide with them!"

1.1 4:kW! r 111 11 'III 11111 1111111N, 1:111 rrI l ij1 1

"HEAVEN CAN WAIT!" It's a boat! It's a plane! No, it's just another vehicle trying to fly, that never got off the ground. To get it going, this ingenius contraption relied on steam—and a prayer: "Heaven help us!" This is Number 15 in a Series of Very Graphic Crossword Puzzles by Al McGinley and Ellen Straff. 23

ACROSS DOWN

1 Clamping device for metal or wood 1 German designer of airships 5 What some politicians and balloons 2 Give whirl (try) are full of 3 A literary work of irony, derision 7 Oolong and Jasmine 4 "Old McDonald had a farm, 10 Lightning in Bonne 5 "No runs, no 11 Roman 1,048 (?) 6 Inclined plane 13 Other 7 Clarke Moore 14 Christmas cedar decor 8 Town in Hawaii 17 Yellow-filled pastry shell 9 Long, narrow cut or tear 20 Weblike membrane 12 Trudge 22 o' my 15 Bly 23 Choose 16 Shines "MISEREY The Company: Ben Abruzzo, 24 Lil' Peep 18 Ostrich-like birds LOVES Maxie Anderson, and Larry New- 26 A season of Penitence 19 "So be !" COMPANY:' man touch down on a farm in 28 City on Firth of Tay 21 Kareninas et al Miserey, France after their 6-day 30 Flying machine 24 Charley (lavish spender) voyage across the Atlantic in the 32 John (actor) 25 Either , neither nor Double Eagle I I. Some of the crowd 34 An Indian of Bolivia or Peru 27 Region on hand made off with most of 35 Ford ("The tin goose") 29 Dah's partner the crew's logs and charts. Others 37 Soviet's Georgia 30 Of a positively-charged electrode 31 Mother or father even tried to chew the balloon 39 " a Chinese Honeymoon" apart. But Roger 40 U.S. coin 33 " Always Chasing Rainbows" 41 The Halls of 36 Greek letter & Rachel Coquerel 43 A.M.A. member 38 The of the hurricane wanted to chew 44 "The Shrew" 42 TV frequency out the balloonists 48 The professor gave atomic 44 London Galleries for landing on weights and measures 45 Wind storms their barley crop. 49 "And:' in Latin 46 Raw metal 50 Wise man 47 Empathize with 52 Typeface 51 Moon taxi 55 Royall (toilet lotion) 53 "There is no joy in ville" 57 What a tree does in autumn 54 A.L.'s relative 59 " a Yankee Doodle..:' 56 Female title 60 Wild or turbulent disturbances 58 River island 62 Wine cafes 61 " be or not to be...

ANSWERS ON PAGE 72.

ARCTIC CIRCLE 00 GREENL (DENM

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CANADA

FR NCE Atlantic Ocean Azores (PORTUGAL) UNITED STATES Canary Is. (SPAIN) 600 I/

UNSUCCESSFUL ATTEMPTS 1873-1978

1 Daily Graphic, 1873. Donaldson. Ford bursts over New Jersey coast. killing and Hunt make only about 45 miles. Berger 2 Small World, 1958. Eiloarts and 8 Odyssey. 1975. On his second try Mudies try east-west route. end up Sparks goes down south of Cape Cod. sailing 1.500 miles. 9 Spirit of 76, 1976. Thomas rescued 3 Maple Leaf, 1968. Kostur and Winters near Bermuda. ditch southeast of Halifax, Nova Scotia. 10 Silver Fox, 1976. Yost ditches near 4 The Free Life, 1970. Balloon and crew Azores. vanish. 11 Double Eagle, 1977. Abruzzo and 5 Yankee Zephyr, 1973. Sparks ditches Anderson come down near Iceland. a machine proposed by one R.J. Spalding at sea. 12 Eagle. 1977. Reinhard and Stephen- From Aerial Navigation Patents, 6 Light Heart,1974. Catch is sighted son ditch southeast of Halifax. and granted patent 398,984 in 1889. Lift would come from the balloon and propulsion from flapping the wings...in a few years the Wright over Atlantic but then disappears. 13 Zanussi, 1978. Cameron and Davey brothers were to appear. 7 The Spirit of Man. 1974. Balloon almost succeed, ending off France. 24

Both Billy the Kid and I were born in Brooklyn. Bat Masterson died a NewYork sportswriter, and Frederic Remington came from upstate New York. Annie Oakley owned a home in Nutley, New Jersey, and in 1922 gave her farewell performance in Mineola, Long Island. So why not a rodeo at Cimarron Ranch just north of Westchester County New York? I began going to my friendly neigh- borhood rodeo while doing research for a series of Zane Grey paperback covers I was illustrating. In an hour the rodeo became infi- nitely more interesting to illustrate than good ole Zane,what with all his moonstruck good guys (who would rather kiss than fight) and his virginal white clad Victorian school marms who would faint at the drop of a Stetson. The cowfolks who participate in these local rodeos are an amaz- ingly diverse group, ranging from stock brokers to stock clerks. There is a car salesman who rides buck- ing horses,a bartender who rides wild bulls and an orthodontist who is a part-time calf roper. The reasons for rodeo's appeal might be just as varied. For some it can be the pageantry. Some just like horses and others seem to respond to leather,metal and ropes. It's too easy to characterize them as a bunch of grown-ups suffering from arrested development. I've 25

WILD WILD EAST BY MURRAY TINKELIvIAN 26 27

WILD WILD EAST seen more pseudo machismo at my local tennis club during a mixed doubles tournament. The contestants pay their own expenses, entrance fees and hospital bills.Their reward: the privilege of trying to sit on the back of 2,000 pounds of enraged ham- burger for eight seconds,orjump- ing off the back of a running horse onto the head and horns of a 700 pound steer to wrestle him to the ground. These part-time buckaroos come from New York, New Jersey,Con- necticut, and even as far west as Pennsylvania.They sport names like Lash, Slim and Hondo, but I know for a fact there is at least one "Irving" and a couple of "Marvins" riding under false colors. Anyway, Randol ph Scott, the "Duke',' or Ronald Reagan they're not, but at least they are for real.

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THIS ARTICLE WAS SET IN ITC BENGUIAT 28 29

711■1■1■1 WILD WILD EAST What's New From ITC

ITG Barcelona Book, Medium, Bold and Heavy with their corresponding italics are new typefaces from ITC. Only licensed ITG Subscribers are authorized to reproduce, manufacture, and offer for sale these and other ITG typefaces shown in this issue. This license mark is your guarantee of authenticity:

UCENSED

These new typefaces will be available to the public on or after October 15, 1981, depending on each manufacturer's release schedule.

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ITC Benguiat Condensed families ITC Barcelona is a new typeface well suited to large masses of text N,&, and several of the numerals. introduced in 1978; ITC Benguiat designed by Ed Benguiat. The where a blend of high readability ITC Barcelona, in sum, is a gen- Gothic, 1979; ITC Tiffany, 1974; pronounced ''rounds" in the and typographic personality are eral purpose text/display family ITC Bookman, 1975; ITC Bauhaus, heavier weights are reminiscent desired. As with all ITC typefaces, but with a distinctive quality all 1975; ITC Avant Garde Gothic of the Cooper family that was ITC Barcelona features a large its own. No sharp angles interrupt Condensed, 1974; and for his very popular decades ago. The x-height and a comfortable letterfit. the smoothness of line, even when development of the complete fam- triangular serifs and ajudicious The heavier weights and dis- curved linesjoin straight strokes. ilies of ITC Souvenir, 1970; and blending of straight strokes with play sizes will set strong, attractive Although the overall feeling of ITC Korinna, 1974 as well as ITC round strokes, however, give ITC headlines. Although there are no ITC Barcelona is one of gentle- Tiffany Italic and ITC Lubalin Barcelona its own identity. alternate or swash characters, the ness, the face has good color in the Graph Oblique which were intro- It is available in Book, Medium, display fonts feature several dis- book weight and real strength in duced July 1981. Bold and Heavy weights in both tinctive characters that are differ- the heavier weights. roman and corresponding italics. ent from their text counterparts. Designer Ed Benguiat is best ITC Barcelona Book is especially These include the upper case A,M, known for his ITC Benguiat and TM

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MEDIUM ITALIC abcdefghjklmnopqrstuvwxyz AABCDEFGHIJKLMNNOPQRSTUVWXYZ gLOJECE1234567890etebS$019%!MOOWefi :; .1-4.Z TI.•(@°Ple *1234567890) rtftgooaeiimorsg::::"A''

BOLD ITALIC abcdefghijklmnopqrstuvwxyz AABCDEFGHIJKLMNNOPQRSTUVWXYZ cLOIECE1234-5678906rOSSOgrloNglOWO

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HEAVY ITALIC abcdefghijklmnopqrstuvwxyz AABCDEFGHIJKLMNNOPQRSTUVWXYZ cLOIECE123 21567890ere$SOP/V200We fi aeilmors0=7 :; . 14,21=. (c& oy # *1234567890) § 32 ITC BARCELONA

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It s appeal comes from the appeal comes from the peal comes from the unde s appeal comes from the s understanding used in it understanding used in it understanding used in it rstanding used in its plan s planning; the designer fling; the designer must c s planning; the designer s planning; the designer must care. In contempo must care. In contempor are. In contemporary adv must care. In contempor rary advertising the perf ary advertising the perfe ary advertising the perfe erasing the perfect integ 14 POINT Something for Everybody

Lorelei Bold A bevy of Loreleis leap and lunge, cavort and caper, gyrate and genuflect, frolic, gambol, romp and generally disport themselves seduc- tively and vigorously in the service of Art. Suzanne Rozdilski, designer of this mermaid alphabet, choreographed them into 26 separate and distinct postures, and still had enough ideas left over for 10 ciphers. Ms. Rozdilski, a student at the University of Connecticut, executed her alphabet with skill and wit. Also, we suspect, with tongue tucked well into her cheek as she parodied the extravagances of Art Nouveau. 35

A apple B bicycle C cat D dragon E elephant F feather G giant genie H handstands I ice cream J jungle K kite L lion M mittens N nuts and nutcracker 0 ostrich P pear queen R rabbit Pictograph Primer Expansive snake We have published alphabets inspired by literary T toothbrush and characters, by pretzels, ice cream cones, industrial toothpaste tools and gnomes, but this is the first alphabet in U umbrella memory that derives from the simple, old-fashioned, violin A-is-for-apple concept. lb guide you through her wagons freewheeling letter-word interpretations, Lisa Peter- xylophone son Rye of Birmingham, Michigan, has graciously yarn furnished a complete directory of her alphabet: z zipper

THIS ARTICLE WAS SET IN ITC CENTURY 36

Dnif agic, the oldest, most enduring enter- tertained with magic performances at tainment in the world. court. But through the ages, for the It is possible to delve deeply and most part, conjurers plied their trade philosophically into man's eternal On streets, in marketplaces, at fairs fascination with magic. The library and circuses. It was not until the 18th shelves are filled with sober texts on century that the famous Italian practi- the subject. But after all is said and tioner, Giovanni Giuseppi Pinetta, read, magic—which basically refers to elevated magic from a sidewalk enter- feats of man to control nature—is the tainment to a theatrical art. With that, oldest, most enduring entertainment of course, it became necessary to lure in the world. It transcends language audiences to the theatre by "advertis- barriers...cultural differences...knows ing," and a whole genre of magic post- no boundaries of age, sex or intellect. ers appeared. Quite simply, we are all endlessly will- It is an interesting commentary, ing to be bowled over, yes, even that we can watch the same legendary duped by a great magic trick. feats of magic performed over and In truth, magic was a much more over again, with never-ending wonder serious business in ancient times. In and surprise, but the original posters Egypt, considered the "cradle of for the performances are dated curiosi- magic," nobody made a move without ties. If we saw them plastered around consulting the palmist, the astrologer, town these days, we would smile with the numbers-reader or the soothsayer benign indulgence at their naiveté. to find out the optimum time to plant Though their charm and historic value crops, take medicine, bleed an invalid make them collectors' items, they are or engage in a business venture. But a far cry from the aesthetics of mod- it was an entertainment as well. An ern graphic design. ancient papyrus record reports that Confronted with a collection of feats of animal hypnosis, decapitation these old posters, designer Alan Peck- (and recapitation, of course) were per- olickwondered how he would handle formed as far back as 3766 B.C. Assyr- such an assignment today. The next ian, Babylonian and Chaldean priests eight pages will tell you. He undertook cultivated the art of magic, and the to redesign, in a contemporary spirit, Bible is replete with references to it. some of the old posters of great old In ancient Greece and Rome, master magicians. He did it for his while the intelligentsia looked down own amusement, and also to share their classic noses at such nonsense, with readers of Ugric. It should be no the multitudes were deeply im- surprise to anyone that ITC typefaces pressed by statues that wept, bled, were used throughout. belched fire, and by tomb doors that Ian Peckolick is our guest flew open with thunderous sound ef- designer for the cover and color fects. All such phenomena have since A section of this issue of U&lc. been credited to the ingenuity of A graduate of Pratt Institute pagan priests and their cooperative assistants. in New York City, Peckolick started his design work as an art If ancient Egypt was the cradle of director for McCann-Erickson and magic, Europe in the Middle Ages was Kenyon et Eckhardt, advertising a hotbed of activity. Witches were agencies in New York. But he burned at the stake for consorting asserts his career as a graphic with the devil, while alchemists designer really began when he burned the midnight oil trying to con- joined Herb Lubalin in his studio, vert base metals into gold, seeking first as an assistant and ten years philosophers' stones and contriving later, in 1974, as a full partner. He love potions and elixirs ofyouth. is currently President and Crea- But modern magic is something tive Director of Lubalin, Peckolick else again. While there is no use deny- Associates, Inc. ing that we have among us a coterie of His work has been rewarded self-proclaimed witches, palmists, with numerous medals, exhibi- necromancers, astrologers and clair- voyants, modern magic is purely tions and citations in professional journals in the United States and entertainment for most of us. Japan. He is a frequent lecturer to Today, magic boils down to con- professional organizations and juring. And successful conjuring is all ceedings. Besides that, it takes has served as a judge for the illusion. The success of the presti- practice... practice ...practice. American Institute of Graphic digitator hangs on his sleight of hand, Great conjurers go back to prehis- Arts, the New York Art Directors his ingenuity, his mechanical skills in toric times. The Egyptian, Dedi, played Club and the New York Type Direc- creating "gimmicks" (devices that the first royal command performance tors Club. He is a member of all help him engineer an illusion) and his ever for Cheops, even before the great those organizations and an honor- wit in distracting the audience at pre- pyramids were built. In India, China ary member of the Art Directors cisely the right moment in the pro- and Europe, royalty was regularly en- Club of Bergen, Norway.

THIS ARTICLE WAS SET IN ITC BARCELONA 37

his career in Chicago. He was one of the few "greats" Harry Blackstone, the flamboyant American magician, was born and started his art in every entertainment medium known so far. He played the who begah young enough, and lived long enough, to practice of a network radio shOw, appeared frequently old vaudeville circuit, stage shows in the great movie houses; he was the hero practiced a variety of acts, from sleight of on television and was even the subject of a Super Magician comic strip. He

many as ten assistants, he performed the hand to death-defying spectacular stunts. Although he travelled with as

these—his under-water escape frOm a sealed chest—he gave up smok- most daring tricks himself. For one of

His most aggressively ing pipes, cigarettes, cigars, tobacco of all kinds, to increase his lung capacity. the mouth daring feat was his "Blown to Oblivion" number. In this act, he had himself strapped to

was fired, a huge cloud of smoke of a cannon by his bearded Indian assistant. The cannon

billowed from its mouth accompanied by a.roaring explosion. When the smoke cleared,

o f the hushed - Blackstone was out of sight. Then, to- the relief and amazement

audience, the bearded assistant stepped forward, removed his disguise,,and

should be noted that Harry there stood the great Blackstone, himself t

Blackstone was born in 1885 and died in 1965, of natural causes.

HARRY BLACKSTONE

THIS PAGE WAS SET IN ITC BENGUIAT GOTHIC ILLUSTRATION BY BASCOVE 38

Harry Houdini's name is synonymous with magic, but he made his reputation as an escape artist, In manacles, he jumped from bridges, escaped submerged boxes and diving suits. Handcuffs, leg irons and padlocked jail cells could not hold him, The idea for "Strait Jacket Escape" came when he visited a mental hospital with a doctor friend, But he added an additional fillip of excitement. He performed the stunt hanging upside down, suspended by a rope, several stories above the ground. Houdini's escapes had nothing to do with illusion. It was all mental gymnastics and physical prowess. He studied locks and keys exhaustively, practiced swimming, diving and breath control, compulsively. In the "Strait Jacket Escape" he managed his release by holding his arms rigid while the sleeves were tied. The slack created, enabled him to Work the jacket over his head, and then, with powerful fingers. He loosened the ties. There was only one stunt Houdini did not survive. When a young visitor asked him if he could sustain a blow to his abdomen without injury, Houdini, the supreme egotist, assured him he could. Before the magician could brace his muscles for the punch, the young man delivered a fierce wallop, which ruptured Houdini's appendix, In a few days, the dreaded peritonitis set in. Harry Houdini's death came on Halloween, 1926, and ever since then, it has been recognized as National Magic Day in America.

ILLUSTRATION BY CHAS. B. SLACKMAN THIS PAGE WAS SET IN ITC LUBALIN GRAPH 39

f all the death defying stunts performed by magicians, the "Bullet Catch" by Chung Ling Soo was 6onsidered the most daring. In it, the great magician stood facing the audience, with a china plate clasped to his breast. An assistant facing him across the stage, fired at him with a musket. To convince the audience of the validity of the danger, the magician's wife circulated through the audience displaying • the bullets that were then dropped vas well on his way to a profes- of his death and exposed the me into the chamber of the musket. ,onal career: chanics of his feat. The bullets the The act had been performed hun- He appeared first under the as- had been shown to the audience dreds of times. sumed name of Achmed Ben Ali, were dropped into a barrel of the But on the night of March 23,1918, supposedly to add a note of exoti- at Wood Green Empire Theatre in musket that was sealed off at the c cism to his act. Robinson became London, it was performed for the mouth. Below the barrel, a trick very adept at imitating the feats inder had been screwed on, out last time. There, before a packed )f other noted performers, and at sight of the audience. Into this cyli house, when the musket was fired, his time a certain Chinese conjurer, der, the magician poured gunpow- the magician fell to the ground. By Thing Ling Foo, was much in der which ignited and made the morning he was dead. iemand in the United States and that sounded like a gunshot. The rumors that surrounded his blast urope. When an international Unfortunately over the years, one death never completely satisfied •audeville agent came up with of the screws of the trick cylinder his loyal fans. Some thought he was he scheme of offering Robinson an had worn loose, permitting some of hir. ‘L.- hinese depressed because of financial engagement in Paris if he could the gun powder to infiltrate the actually William Ellsworth Robinson, troubles and had engineered his duplicate Foo's performance, Rob- main chamber. On the fatal night, born to Scottish parents in New own death. Others thought his wife inson jumped at the opportunity He when the powder ignited, it set off York City on April 2,1861. He started was implicated in his demise, be- promptly shaved his head, donned the bullet which exploded and went to practice magic at the age of cause though she was part of his a false queue and an authentic straight to the heart of the victim. 14, and by the time he was 26, he act, she no longer shared his life; he Chinese costume, and changed had taken up with another woman. But the facts of Chung Ling Soo's his name to Chung Ling Soo, which life are even stranger than the facts Actually, an investigation by a he kept for the rest of his life. ballistics expert solved the mystery of his death. This man who billed CHUNG LING ND THIS PAGE WAS SET IN ITC AVANT GARDE GOTHIC

ILLUSTRATION BY ROLAND WOLFF 40

Picture this: A magician, a coil of rope, a ball and a small boy appear on stage. The magician ties one end of the rope to the ball and heaves it into space. The ball vanishes; the rope is pulled straight and stiff as a rod into the. air; the boy climbs up the rope... up...up... up...and disappears. The very first version of this trick was

supposedly performed in the 14th century by a - Chinese conjurer entertaining royalty in India. Variations of the illusion were mentioned in 1566 in Germany and in the 17th century in India. No doubt there have been other unrecorded performances. But in the 20th century, The East Indian Rope Trick" is irrevocably linked with the great American magician, Howard Thurston. Thurston, an eager fellow, not only pushed himselfas a magician, he was an energetic showman as well. He corn-

piled an astounding repertoire of complex illusions—card tricks, levitations, appearances and disappearances, vivi- sections and hypnosis. It took 40 assistants and 3 railway cars of baggage to stage his show. 'The Indian Rope Trick" was probablyhis. most celebrated and costly illusion. He spent $10,000 (a veritable fortune in 1927) to engineer it, but showman that he was, the publicity it en- gendered proved worth the investment. Howard Thurston, not to be confused with his magician- brother, Harry, was born in Columbus, Ohio in 1869 and died in Miami Beach, Florida in 1936. HOWARDTHURSION ILLUSTRATION BY RHODA SPARSER THIS PAGE WAS SET IN ITC BARCELONA

f there is no honor among magicians, there are no copyright laws either. "The Lion's Bride': popu- I larized by Carter The Great (born Charles Joseph Carter in Newcastle, Pennsylvania, 1874) was first introduced by The Great Lafayette (born Sigmund Newberger in Munich, 1872). In any hands,"The Lion's Bride"was brilliant.The act was set in a circus cage. A lion paced menacingly, while circus performers entertained with juggling,fire- eating and acrobatic stunts. Suddenly, to the strains

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.• _- // 1 N 'N. . _ /0 ♦ -"- .... / '. \ /y 1 t 1 V of a wedding processional,a young woman in bridal 11\ regalia marched on stage and entered the cage.The r; lion roared; the lady screamed and, just as the animal was about to pounce, the skin burst open and the magician himself stepped out. The lion-magician exchange took place while the audience was distracted by the bride's entrance.A re- volving stage, screened-off but adjacent to the cage, scooped up the lion and deposited the magician in its place. As for the authentic roar, it was delivered on cue with the help of an authentic electric shock to the authentic lion. CHARLES

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ILLUSTRATION BY ROLAND WOLFF 42

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ti II 4.rSte C etP• 41: let0 wila e dtigi 144'4 while he wor ticket agent at halt-yet. t his oaf/Cat. by t he his t ark 2tre.. he kr s %fart •SIT4Crttbie ifSeOnwho Elf hand time he arts 4l. he was to loitjhest salaried ear ;cif) hall perfrorams• its linter•iea. *able perfrio•inaroC4.,,v IR el II ipaa ha coins,. he was also charming,. clean-sharers. poised °to si and early-haired—in short. an to raet ion ire eve t/ sense °fate • I. lie always ret•eired top billing in the --tithes anti

fit ."e7l ,.`e• 4 f , * r.f ClIrope eat. he *°,pit.,,Rt. tot °Philo air and II"4 G',41 , into a hat. lie hoeets if °watons Hach at Palming of is knees, saa' art into piles and then m disappear. a Coin Manipulation and 1.4 ofMagic. About the rick Downs did not per- et with coins was turning starters into dollars, a feat for which we'd all applaud him in these inflationary times.

THIS PAGE WAS SET IN ITC TIFFANY •

DAVID EVANT

avid Devant, the But his greatest triumph was noted British illusionist, was born his "Vanishing Motorcycle and David Wighton on February 22, Rider" illusion. Actually, the idea 1868. His early career in magic was suggested to him by an was practiced mostly in the prov- admiring amateur conjurer, and inces. But a demonstration of his Devant paid him ten pounds for Artist's Dream" illusion, in which the suggestion. But it took him he brought a full length portrait of months to perfect the illusion. a lady to life, won him an engage- On stage, he mounted .a pack- ment at the auspicious Egyptian ing case on a set of legs, 18 inches Hall in London, and he was set for off the ground. The cyclist rode life. In addition to 'Artist's Dream," up a ramp into the packing case, he also perfected an illusion in and the door was promptly shut which he exchanged a man for a behind him. The entire crate woman in an on-stage closet and was then lifted into the air by four introduced his "Golliwog Ball"— ropes attached to its corners. In a feat in which a ball rolled up and mid-air, the case shook violently, down an inclined plane without demonstrating the presence of any visible motivating force. the vibrating motor. Suddenly, the noise would stop, and the box would fall in pieces to the floor... the motorcycle and the rider, out of sight. We are sorry to say there is no published explanation of this trick. You might think in terms of false bottoms, mirrors, trick doors or screens. Just keep in mind that it took Devant many months to conjure up this stunt; give yourself at least that long to solve the mystery. Devant continued as a top per- former until his early 50's, when a nervous disorder caused his hands to tremble and forced him into retirement. But he continued to write books, train conjurers and devise new illusions until the time of his death at the age of 73.

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ILLUSTRATION BY RHODA SPARBER 44

ingenious mind-reading Some p vided subjects with wax impregnated pad which revealed impressions of their writing or swabbed envelopes with alcohol, making them translucent enough to read the mes - sages sealed inside or communicated with borators in precontrived code. not the great Dunninger. Without as- s or gimmicks, he divulged the thoughts of subjects flying overhead in planes, stowed underwater in submarines floating aloft on the parachute jump at Coney Island. In his t ime. he read the minds of Theodore Roose- velt . Warren Harding and the Prince of Wales: flabbergasted the Vanderbilts, Tiffa rtys. Asters at private parties and, eve world-at-large on radio and TV. Joseph Dunninger died in 1975 breathing a word about his telepa tec hnique, although he energetically expo mediums - and was drummed out of the National Conjurers Club for divulg.ing

Joseph Dunninger ILLUSTRATION BY TONY DISPIGNA THIS PAGE WAS SET IN ITO NOVARESE NEWSLETTER

Skills for Hire* Art Institute of Pittsburgh: Young and Dashing at Sixty PITTSBURGH—The Institute is almost as some of the best creative talent in adver- old as commercial art itself. It was founded tising design, illustration and photography, in 1921, when national advertising was in its the school maintains a direct line to the infancy and great magazines began to professional world. It also hosts some of the flourish. Specific records are difficult to ob- most distinguished practicing profession- tain, but the Art Institute of Pittsburgh, als in the country. A selection of recent which celebrates its 60th anniverary this visitors is pictured here. year, is possibly the oldest commercial art This summer, the Institute has been school in the United States. proudly planning a suitable celebration for From the start, the Art Institute's aim its anniversary. The festivities on November was to train people for responsible careers 19th and 20th will include an alumni art in art and design. In 1981, it is still dedi- exhibit and open house, and conclude with cated to the same clear objective. It is a dinner, where Seymour Chwast, noted

Seymour Chwast Brad Holland Designer/ Illustrator Illustrator

Joe Eula Bob Gill Wallace Jonason Lou Meyers Lou Dorfsman Vice President, CBS Fashion Illustrator Designer Interior Designer Cartoonist/Writer Recent notable visitors at the Art Institute of Pittsburgh have included the communications professionals pictured above. During their visits, which may last from a day to an entire week, these "guest professors" give lectures and workshops, critique student work and meet with faculty.

a vibrant school, preparing thousands of designer and co-founder of Push Pin students for positions of leadership Studios, will be the guest of honor. Chwast and service, and its alumni are working will give a colorful retrospective slide presentation about Push Pin, whose illustra- Diana Morales completes an airbrush illustration for a new line of Hallmark stationery. in almost every state and in several foreign countries. tion and design have probably been the The Institute was the first to join The most innovative in the country. Design Schools, a group of six leading U.S. The Art Institute invites all alumni to Portfolio,Then Graduate, Flies to Hallmark art schools. It is the biggest school in that enjoy the shop talk, socializing, programs and dinner in Pittsburgh. If you're an working in airbrush and doing group, with daytime enrollment approach- KANSAS CITY, Mo.—"First I mailed them enjoys alumnus and haven't heard from the school, humorous illustrations and caricatures. ing 2,000 students. my portfolio, then they flew me in for an Programs of study concentrate on practi- please phone toll free, 800-245-0660, for interview and dinner," says Diana Morales, What originally attracted her to information and reservations. (Pittsburgh Hallmark was the attention and inspiration cal skills and concepts in Visual Com- Visual Communication graduate of the Art munication, Photography, Interior Design residents, call 263-6600). Or, write Kay Institute of Pittsburgh, about her experi- she received from Art Institute instructor Zezza, Art Institute of Pittsburgh, 526 Penn Annette Burick, who once worked for the and Fashion Illustration. Graduates enter ence with Hallmark Cards. "A few weeks the job market ready and able to work pro- Avenue, Pittsburgh, PA 15222. Even if you later they called to say I was hired, flew me famous greeting card company. "My ductively and creatively. can't attend the anniversary celebration, back, put me up in a hotel, and paid for all portfolio gave me confidence, too," Diana please call the school, and let them know says. "Hallmark told me it was among the The faculty is comprised of teachers who my moving expenses!" Diana, now a pro- are active in their fields. By calling upon where you are and what you're doing. duction artist for the company, particularly most versatile they had seen."

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

r Edward A. Hamilton, Design Director 17 Art Institute of Atlanta The Design Schools *The Art Institute of Fort Lauderdale Pan Am Building, Suite 256, East Mezzanine Art Institute of Houston 200 Park Avenue, New York, N.Y. 10166 Art Institute of Philadelphia Art Institute of Pittsburgh ❑ I would like to know more about The Design Schools graduates. Please send Colorado Institute of Art me your free booklet "Design Graduates at Work." ❑ I don't have an opening at present, but please keep me advised. ❑ Include me on your invitation list for seminars and programs.

A series of programs and seminars featuring noted designers, artists and Name Position film makers will be given at intervals in key American cities. Sponsored by The Design Schools and local art directors clubs, the programs will be Company Phone ( ) announced by mail in various local areas. Watch for your invitation. Address City State Zip Skills of special interest to me 46

Reflections on great type

We agree with Mr. DeVinne. Even though we're designing "Types have always But we've taken the thought one more typefaces than ever, we're still step further: Type should always designing them the way we always reflected the taste or feeling reflect the taste or feeling of the job have: meticulously. Because typo- you're designing. graphy is an art, and there are no short of their time." That's why we've designed more cuts to quality. Theodore L. DeVinne (1828-1914) than 600 typefaces for you to choose There is one area where speed is from. With this variety, you'll be able to important: delivery. That's why we abcdefghijklmnopqrstuvwxyz find the type styles that enhance the offer Type Express service. When you AABCDEFGHIJKLMMNNOPQRSTUVWXYZ spirit of your message. call our Type Express hot line in the 12321567891:Mt $0£% And we're always working on new U.S. or Canada, we'll have a type disc (;;,.!?..t`zz/#1 (tt 1234567890) designs. For example, Mr. DeVinne's out of our plant, on its way to you, within quote has been set in ITC Barcelona eight business hours. Bold, the newest ITC typeface in our To give you full design versatility, library. we've engineered our Comp/Edit 47 /, Varityper The Informationists.

free (800) 526-0709, except in Alaska M -1 — -, system to give you more type sizes, r ❑ Send me a copy of the 138 in all, with 16 styles on-line. and Hawaii. In New Jersey, call (201) 884-2662. "Type one-liner." And our new Comp/Edit 5900 ❑ system is the world's fastest direct- In Canada: AM Varityper, 165 Send me information on your entry phototypesetter, operating at up Milner Avenue, Scarborough, phototypesetting systems. on% to 150 lines per minute. Ontario M1S 4G7 Canada. Call Of course, our optical systems (416) 298-2700. In Europe: Manager Name give you perfectly formed characters. of Typography, AM Varityper Regional And you get precise control of word- Headquarters, 64/66 Stuart Street, Company spacing and letterspacing. Luton, Bedfordshire, LU1 2SW United Address Now, take a minute to reflect. Kingdom. Call 44-582-416837. Then, if you want to start getting great City/State Zip type, return the coupon. AM Varityper, Comp/Edit, AM and Varityper are registered trademarks and Phone ( Dept. M-1,11 Mount Pleasant Avenue, The Informationists, "type" and Type Express are trademarks East Hanover, NJ 07936. Or call toll- of AM International, Inc. ©1981 AM International, Inc. L Alba! Dilibfinim tiff lot bwohno) Nod mkt III 132 IDIOM lld bogfigoldilob fi 113111 Olibnllonilfi b3116) milmnd 10 ?AN .4121111111 D101111311«

In case you hadn't previously noticed the first or the second ad in this series, we had to resort to this little gimmick in order to direct your attention towards a new series of brochures called "Berthold Exklusiv': As each page in these 16-page brochures shows an individually designed specimen (more often than not in colour), featuring our exclusive typefaces Comenius, LoType, Poppl Pontifex and Seneca, we'd have to reproduce all 64 pages to do it justice. The resulting illustrations, however, would be far too small. Also, black and white isn't quite the thing. III MI NM MI If you send us this r coupon, we'll send you all the brochures published so far Name as well as the appropriate layout sheets. Address Free, of course. Set on Berthold ads 3000» in LoType light, 8 key on 3.25 mm linefeed. Written and designed by Erik Spiekermann, MetaDesign, 1981. Clip coupon and send to: H. Berthold AG Teltowkanalstrafie 1-4 • D-1000 Berlin 46 • West Germany 50

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ARE YOU JUST A LITTLE AFRAID OF WHAT YOU'LL FIND ON YOUR DESK TOMORROW MORNING? It's about 9:35. You've had a cup of coffee and your first question of the day from the account executive. Just about then, the type you ordered yesterday afternoon arrives on your desk. And suddenly, you're just a little nervous. The ad you'd ordered it for hadn't been easy. The meetings had been long. The photography a little tricky. And you'd decided to use a type face you'd never tried before. How well it works has a lot to do with how well the ad works. How's the over-all color of the type? How are the line breaks in that ragged column? Is the headline nicely packed without looking too self-conscious? Does the type size really fit the page size? What you're experiencing in that one moment in the morning is what RyderTypes is working for twenty-four hours a day. We didn't get the reputation we have just by doing our job and setting type. WTInk we got the reputation by understanding your job. 's why were sometimes full of questions when we pick up a job. That's why we sometimes set a job over before you even see it because it didn't look right to us. That's why we'd rather interrupt your dinner with a phone call than ruin your morning with a mediocre proof. That's why some of our customers don't even mark up copy any more because they're confident we'll make the right typographic decisions for them. And that's why we always seem to get a customer's "special" jobs that need the most care, even if we don't get all of that customer's jobs. Confidence.That's what has made RyderTypes one of the largest advertising typographers in the country. So if you're a little afraid of what you might find on your desk tomorrow morning, please don't be afraid to call us this afternoon. RyderTypes, Inc., Advertising Typographers, 500 North Dearborn Street, Chicago, Illinois 60610. Telephone (312) 467-7117 58

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Orient Shore Typographers, Inc. Japan • Chicago (312) 676-3600 Typro Inc. The Typographers Tokyo (03) 716-0131 Chicago (312) 644-7768 Louisiana Forstall Typographers New Orleans (504) 524-0822 Martin/Greater Film Graphics, Inc. New Orleans (504) 524-1741 Maryland And more to come! Harlowe Typography, Inc. Brentwood (301) 277-8311

u&lc 9/81 Alphatype Corporation—A member of the Berthold group-7711 N. Merrimac Ave. Niles, Illinois (312) 965-8800 Alphatype Corporation 1981 54 Cover to cover there's never been anything like it from Letraset Available Nov 9th. Call your art material dealer for a copy of the New Letraset Reference Manual. Letraset Letraset USA Inc. 40 Eisenhower Drive Paramus, N.J. 07652 55

WHO: The Type Directors Club (TDC), an international membership organization of those designing, specifying, or using type. WHAT: This is an open call for entries in the 28th Annual TDC Exhibition of type in use— examples of typographic excellence chosen from several thousand entries submitted, judged by a select panel and later published as "Typography 3." WHEN: Entries of 1981 work submitted for judging by February 1, 1982 will be judged later that month. Those who submitted material selected will be notified in March. WHERE: Entries must be delivered in New York for judging. Selected material will be shown at the TDC Annual Exhibition in NewYork in June and subsequently in Europe, Japan, and major cities of the USA. YOU ARE CORDIALLY invited to participate in TDC-28PlYpography 3. Here in outline are the essential details and requirements for entry and necessary entry form. The form may be reproduced for multiple entries. Pieces selected by the Judges will receive certificates of "Typographic Excellence." That accolade rewards all selections—there are no ribbons, no medals and no bests. As always the full panel of judges will view each piece. TDC Certification is not limited by category, quota nor geography. Design, paper and print, while factors, prime and ultimate criterion is effective use of type, calligraphy and letterforms. Review your current files and submit your best 1981 work. Let it be evaluated with the best submitted by your peers. ELIGIBILITY AND DEFINITION: Typographic material completed in 1981 may be submitted by anyone directly or indirectly associated with the work. Any graphic display which in itself is evidence of the selective use of letterforms is eligible. While the actual piece or a satisfactory photograph (i.e., print) is acceptable, transpar- represents a cross section of the graphic arts community. encies are not acceptable for judging. No material can be returned . ENTRY FEE & HANGING FEE: The fee per entry is $6.00 U.S. Each unit PREPARATION & SHIPPING: A completed entry blank must be attached of an advertising campaign is judged separately, and these should be considered to the back of each entry. These should be easily removable as they are detached individual entries. However, a complete stationery set (letterhead, envelope, prior to the judging. For additional blanks use a copying machine. All entries, business card, invoice, etc.) is considered to be a single entry. If an entry is selec- together with entry fee should be carefully packaged and sent to: ted for exhibition and certificate award, there will be a hanging fee of $50.00 TYPOGRAPHY 3/TYPE DIRECTORS CLUB U.S. Fees for all foreign entries, except Canadian are reduced by one-half. All such c/o AD AGENCIES/HEADLINERS 216 EAST 45th STREET, NEWYORK, NY 10017, USA fees must be in U.S. dollars, payable in NewYork. If more than one package is shipped, the outside wrapping of each package CREDITS: Necessary credits will be requested from the submitters of should so indicate (i.e., 1 of 2, 2 of 2). Fees in U.S. dollars payable to TDC selected entries. These credits will also comprise the text of "Typography 3", the delivered to the above address Annual of the exhibit, published by Watson-Guptill Publications. Submitters of should be enclosed with the entry. Packages must be the selected pieces will be asked to supply four additional copies of these entries PREPAID. Foreign shippers should mark package "Material for Contest Entry. No commercial value." Packages so marked will normally be passed by U.S. for traveling exhibits to Europe, Asia and throughout the U.S.A. JUDGES: TDC Judges are not selected casually. A studied effort is made Customs. No provision will be made by TDC for U.S. Customs or airport pickup. by the Club's Board of Governors to enlist a group which, when taken collectively DEADLINE: Entries must be received no later than Monday, Feb. 1,1982. TDC-28—Concept and Design: Lucy TDC-Device: Freeman Craw, General Chairman: Klaus Schmidt, Coordinator: Jerry Singleton.Typography: Pastore DePamphilis Rampone. (-3 Type Directors Club, Inc. 1981. TYPE DIRECTORS CLUB, 12 EAST 41ST STREET N.Y., NY 10017 FOR OFFICE USE FOR OFFICE USE TDC ENTRY FORM WITH FEE If notified of acceptance, I will supply production credits. Title of entry PLEASE ATTACH AT THIS SIDE ONLY! I affirm that this material was produced during the - -- Submitted by Phone Label must be REMOVED prior to judging! calendar year 1981 and grant permission for its reproduction in an exhibit annual and publications reporting the Exhibition. Company An entry fee of $6.00 US per piece is enclosed Title of entry (See fees above.) Address Mail to: Typography 3/Type Directors Club c/o Ad Agencies/Headliners 216 East 45 Street SIGNATURE New York, NY 10017 USA DO NOT FASTEN ALONG THIS EDGE

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Anglia — un nouveau style d'ecriture Dr.-Ing. Rudolf Hell GmbH Anglia — eine neue Schrift aus dem Anglia — a new font from the HELL de la societe HELL. Les excellentes P.O. Box 6229 Hause HELL. company. Good connections and D-2300 Kiel 14 liaisons ainsi que les largeurs [HELL) Gute Anschliisse und exakt precisely calculated leading and Telephone: (04 31) 2 0011 calculees avec precision pour berechnete Vor- und Nachbreiten trailing widths guarantee the les avants et arrieres sont ergeben ein harmonisches Schriftbild. harmony of the typeface. le garant d'un style harmonique.

62 DVERTISING-TYPOGRAPHERS ilitASE BOOK. the rnorpilk,.,,,_>. V "AP— ( in the ag-(0. tnliinary n 0 bir ,(14: isi - 070 st n.eS.rtial:Pe ) job1l\r- • ty /vo ; aver- w, fast, You Done Yet?"--- 7.0y. 411 t o'clock14here the beil arid stm just have I%/oil- one little problem__ no type. at sll 1 )b is, es a botch and reset the 7-1) 71) 1)- S et to entire• e I,vhc)/ tning.e knol }oil figureWhat it sizei-' o flow sho w. uld haplease— (PI----- ve tha t typeeeeeeee'66.&esz) h ere soo Dirty .tor without a t4- or / b r, arcl oard ri) at) Ari- A hair more less letter' spacing arid tad look 1-4;Y-ht.line leading-14w,ix<1 but I Ir doesn' ke,7), plating with don't.it until know I like why so t

How do you say, "this type in the language of last-minute changes, only know how to set advertising. house knows what they're doing;' in picky art directors and production They know how to speak it. advertising? managers, and fast deadlines. Simple. Just say, "this type house Plus, all ATA members must pass is a member of the Advertising an exceptionally tough set of standards ADVERTISING Typographers Association'? The ATA, that include typesetting technology, for short. work quality and business ethics. TYPOGRAPHERS Advertising is so much a part of So the next time you need to talk our business, it's part of our name. to a typesetter, call your local ATA ASSOCIATION And all ATA member shops are fluent 461 Eighth Avenue, New York, New York 10001. member. You'll find that they not Walter A. Dew, Jr., Executive Secretary.

ADVERTISING ATA MEMBERS: Atlanta, Georgia Action Graphics, Inc. Bloomfield, Connecticut SPOKEN HERE New England; Typographic House, Inc. New England Typographic Service, Inc. Boston, Massachusetts Berkeley Typographers, Inc.; Composing Room of Cedar RapidS, Iowa Type 2, Inc. Chicago, Illinois J. M. Bundscho, Inc.; RyderTypes, Inc.; Total Typography, Inc. Ohio Bohme & Blinkmann, Inc. Columbus, Ohio Dwight Yaeger Typographer Dallas, Texas Cincinnati, Ohio Typo-Set, Inc. Cleveland, Detroit, Michigan The Thos. P Henry Company; Willens +Michigan Corp. Jaggars-Chiles-Stovall, Inc.; Southwestern Typographics, Inc.; Typography Plus, Inc. Dayton, Ohio Craftsman Type Incorporated Angeles, California Grand Rapids, Michigan Central Trade Plant of Grand Rapids Houston, Texas Typografiks, Inc. Andresen Typographics; Typographic Service Co., Inc. Memphis, Tennessee Graphic Arts, Inc. Miami, Florida Indianapolis, Indiana Typoservice Corporation Los Inc. Newark, New Jersey Arrow Typographers, Inc. New Orleans, Louisiana Wrightson Typesetting, Inc. Minneapolis, Minnesota Dahl & Curry, Inc.; Type House +Duragraph, Ty poGraphics Communications, Inc. Martin/Greater Film Graphics, Inc. New York, New York Advertising Agencies/Headliners; Royal Composing Room, Inc.; Tri-Arts Press, Inc.; Norwalk, Connecticut Norwalk Typographers, Inc. Philadelphia, Pennsylvania Armstrong, Inc.; Typographic Service, Inc. Davis & Warde, Inc.; Headliners of Pittsburgh, Inc. Portland, Oregon Paul 0. Giesey/Adcrafters, Inc. Phoenix, Arizona Morneau Typographers, Inc. Pittsburgh, Pennsylvania Headliners/Identicolor, Inc. Rochester, New York Rochester Mono/Headliners San Diego, California Central Typesetting, Inc. Seattle, Washington Thomas & Kennedy Typographers, Inc. St. Joseph, Michigan Type House, Inc. St. Louis, Missouri San Francisco, California Tampa, Florida Century Typographers Montreal, Canada McLean Brothers, Ltd. Master Typographers, Inc. Syracuse, New York Dix Typesetting Co., Inc. Graphiservice Toronto, Canada Cooper & Beatty, Ltd. Winnipeg, Canada B/W Type Service, Ltd. Brisbane, Australia Frankfurt, West Germany Layoutsetzerei Typo-Gartner GmbH Gothenburg, Sweden Fototext/Typografen AB Savage & Co. Brussels, Belgium Typografen AB Stuttgart, West Germany Layout-Setzerei Stulle GmbH London, England Filmcomposition Munich, West Germany Systemsatz GmbH Stockholm, Sweden 63 GRAPHIC PR DUCTS CORPORATION PRESENTS ALOG NO.7 Featuring a brand new selection of useful graphic aids, including ...

FIn]fo Helvetica Rounded ntBenguiat Gothic Cooper Mite POciic•OviJitit Shaded .,01aaa 041 stilly ri Ike& g4Oktintaaild 1_1_1_1_, I I \LI! Souvenir IrThelc9c9 Outline ENERGY lime Gcript Vataell TINKER Helvetica WAVI 34 NEW LETTERING STYLES IN ALL!

RMOSTT M S ELF-ADHESIVES This all new exclusive production features 12 POPULAR TITLES: HOME & FAMILY

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: SEMD FOR YOUR FREE CATALOG TODAY! • (Please type or print clearly to insure catalog delivery) • ••••• •••••••••••••••••••••••••••• 7 75 NEW TAPES INCLUDING: NEW MATTE COLOR TAPES Company NEW TRANSPARENT TAPES NEW MATTE BORDER TAPES Street NEW BLACK GLOSS PT. SIZE TAPES ts City 13 PTO Zip ts State oa Attn. Title/Dept. Telephone Art and Drawing Supplies Dealer Mail to: GRAPHIC PRODUCTS CORPORATION 3601 Edison Pl., Rolling Meadows, IL 60008 the expands your typesetting capabilities when used in conjunction with the plus TM regular roman, and italic QUADRIFONTS font

ITEK offers you the PLUS FONT designed to extend your typesetting capabilities. Made to be LIGATURES and used in conjunction with your regular roman and DIPTHONGS italic fonts to expand The five most the available on/line commonly used TRUE CUT characters. ligatures in English SMALL CAPS language composi- The PLUS FONT allows tion are the 'f' lig- ITEK has designed you to phototypeset the atures. These are refinements one expects these characters to available on the function as true OLD STYLE in book and advertising PLUS FONT NUMERALS in both SMALL CAPS. The typography, including roman and italic. FLOATING ACCENTS critical balance of technical and European These ligatures are weight cannot be Whenever the use designed for the of numerals is characters and accents. For most of the achieved by re- uniform spacing needed in text set- European lan- duction only. The segemented font needed to enhance ting, the old style design of the Quadritek guages the neces- Whether used in legibility. the beginning of a numerals are pre- sary accents, punc- ferred. The size simplifies inputting paragraph or to special characters tuation and the SUPERIOR and 'color' relates dotless '1' are in- call attention NUMERALS through the use of fiflffffi within the text or to the lower case cluded for both letters. Zip codes mnemonics and comfort roman and italic. whatever your Superior numerals creativity calls for, set in old style zone positions to en- These are design are designed to look like they be- the true cut SMALL hance productivity as ifififlff related and soft- work well with long. Both roman efficiently and econom- ware controlled to CAPS will space and full-size numerals look well with and italic numerals ically possible. give you accurate and by themselves. are available in and aesthetically both lowercase ffiffi Thus, you'll find the PLUS FONT. The following typefaces pleasing results and full size caps. them useful for You'll find they This, in combina- are available as whether setting one reference, foot- tion with the For many language work to your ad- PLUS FONTS requirements the line or one page. notes, technical regular roman and PRODUCT CODE SIMILAR TO vantage in many dipthongs 1E, CE, and scientific as italic segments BE 55 28612 Bembo applications. well as advertising CD 55 28628 Caledonia ce are also provided le restaurant gives you almost applications. GD 55 28626 Garamond for roman, italic francais unlimited choice. JA 55 28630 Janson and small caps. ABCDE KE 55 28631 Kennerley Espanol MA 55 28623 Matt Antique 11 22 33 123456 PT 55 28627 Palatino FGHIJK TN 55 28625 Times New Roman YE CEA fur das franzosische LMNOP 44 55 66 7890 ce QRSTU rUniversite 77 8 8 99 123456 Itek lECEcE de Califonie VWX& ce cr a l'avant scene TM YZ 0° 7890 Itek Composition Systems • • A Division of Itek Corporation 34 Cellu Drive Nashua, New Hampshire 03063 0 DD 12 23 This entire ad is set in BEMBO medium, italic, bold and PLUS FONT. BEMBO is a licensed design from MONOTYPE Now for under $25 a week you can set type over the phone. A Lite Speed® terminal in your office gives you com- end produces the finest quality type —1375 line plete control of your jobs. You can keep them in resolution to the inch and a 70 pica width, with over Introducing the /2 to 72 pt. to choose from. It condenses, storage for as long as you wish and make changes as 600 faces from 51 Call us, you'll be amazed Lite Speed' Program you need them. We can also accept data from most expands and italicizes. From New York to Los Angeles you or your secretary word processors. at what we can do for you. can now send manuscripts by phone from a low cost, simple to use terminal right in your office . . . No More Than Lite Speed ® coding, no programming, no special keys. Just type 1 Hour Service on ManyJobs Of course we still set type the traditional way. Not all your copy as usual, mark the specs on the computer, Don't wait till tomorrow for those 5 rush lines you jobs (forms and tabular material) can be sent over the then pick up the phone and send us the job for coding need right away. 1 hour service on most jobs phone, but when we think we can save you a bundle becomes a reality. Over two years of research and and running. and make you a customer, we will. experimentation went into making us the first in New Call Jake today at (212) 391-1466. York (and possibly the world) to offer this unique ser- Save Time and Money vice. We use the finest digital equipment — the Why pay typographer fees for re-keyboarding your I want to set type job? With our system pay only for coding, kerning, Quadex 0500 and CG8400s. The front end system • over the telephone. is fully automatic in kerning type and hyphenating les proof reading and running your job. We can give you LIGHT MEDIUM & BOLD 2 West 45th St., New York, NY 10076 correctly. It even proofreads your spelling. The back I the job in half the time and at lower costs. 1 ❑ Send more information ❑ Have a salesman call 1 , Name I Address

Light Medium & Bold City State Zip The future is here.— --I Phototypesetters Two West 45th Street, New York, NY. 10036 (212) 391-1466 L_ 66

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Set in an early test font on a CRS phototypesetter

67 Some transfer lettering sheets start out like a plum and end up like a prune/

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A definitive statement by one of Neugebauer's work is the finest lettering artists of the twentieth century, with the philo- exciting, refreshing & sophical depth and practical clarity Mike QuonlGraphic Designer challenging, showing that only a master teacher can impart. Includes an extensive port- marks on every page folio of the author's work spanning SOUPERDA 50 years. A book of inspiration of that rare combina- h classic, for all who work with letterforms. "Theantso best device for carryingOur tings ever tion of artist, designer, New West ks, maga- Friedrich Neugebauer is a Professor invented." — of Lettering and Book Design at the & craftsman to the hard-working import carries bo, cameras, Academy of Art & Industrial Design zines, chess sets, tape recorders in Linz, Austria. In addition to consummate degree.' tools, scripts, records, small dogs., fea- producing manuscript books and Worktures six nifty pockets, expandable sides, broadsides, he has designed books SHEILA WATERS sturdy straps, wears like cold rolled steel,Danish is and book jackets, typefaces, urban Aso, ner sig nage systems, advertising, and generally splendiferous. Also, corporate identity programs. Four- Souperbag carriers make interesting din teen pieces of his work were chosen BOX 56 N.QUINCY, MA 02171 companions. In squashy grey, cinnamon for the recent International ALPHABET BOOKSHOP brown, srnokey black, jade green, bright blue Calligraphy Today exhibit, more waterproof canvs. Practical gift. $48 plus than any other designer in the show. PLEASE SEND THE MYSTIC ART OF WRITTEN FORMS.

$2.50 shipping. Canada add $7. Brochure 144 pages, 8 1/4 x 9 3/4, clothbound; ❑ PAYMENT ENCLOSED ❑ BILL ME, PLUS POSTAGE 16 color plates, 134 illustrations; . superbly printed in Austria, $23. available CHOCOVATE SOUP NAME Madison Ave New York10021■ We'll pay postage if payment ItiE accompanies order. Massachusetts ADDRESS Dept 1\1 946 residents please add 5% sales tax. Money back guarantee, of course. 68

Ah hah! Chieftain Bond, 50% Cotton Fiber, made in Neenah, Wisconsin. By jove, you know „ all that from just `- ‘1 sir ashes? No, there's a box of it in The first thing the desk drawer. you don't think about when you do business in China. You've got your clients. Your production schedule worked out. Sales force primed. Now, how do you communicate? Who's going to set Chinese type for your advertising? Your graphics? Think King Typo- graphic Service, of course. We'll set your type in modern Chinese. King specializes Neenah Paper Neenah Paper in foreign languages. Clear, crisp type for A Kimberly-Clark Company No mystery about Chieftain' Bond. Neenah, Wisconsin 54956 advertising, architectural graphics, audio- Choosing a quality Neenah paper is elementary. © 1981 K.C.C. visual, brochures and more. We can actually set more than a thousand languages and dialects. King has a full range of sizes and faces, traditional and modern. Call (212) 754-9595. If you want to talk to China, talk to us first. King Typographic Service Talk to us. 305 East 46th Street, New York,10017 (212) 754-9595 The foreign language division of TGC.

duoprint® 1400 INVEST IN THE WORLD'S MOST ADVANCED R. C. PAPER YOUR FUTURE & FILM PROCESSOR. t's the only publication specifically for freelance artists Develop—Fix—Wash—Dry any and the people who buy freelance services. This newsletter length up to 14" wide covers every aspect of freelancing and has made Variable Speed—Variable Temperature money for hundreds of graphic Self-contained—No Plumbing— 110 V. artists.1 Every month we'll update you on what's happening in the industry. Compact—Rugged—Easy to Clean With our regular surveys and questionnaire results we'll give you only special insight into future trends and graphics' business practices. We're ! $3895® concise, slick-looking, quick to read...the kind of graphics-news Complete with publication you need these days to Cabinet and stay ahead. SUBSCRIBE TODAY! Recirculation System. lirSEND TO: FOB Rockaway, Freelance Art Monthly New Jersey I 540 Frontage Rd., Suite 303 • Northfield, IL 60093 111 YES, please start my one-year subscription to Freelance Art Monthly immediately, my check for $25 is enclosed. Add $10.00 per year for foreign duostat I orders (including Canada). corporation Name 114 Beach Street I Title or profession Rockaway New Jersey 07866 Address (201)-625-4400

City State Zip SALES AND SERVICE L NATIONWIDE 'lb succeed today,a graphic designer or art director must underskard the melding of all phases of communiccrtions.He is a part of a total communications effort that starts,we hope,with a progressive clientan effective corporate image,and knowledgeable product designer and ends in a consumer reaching into his pocket for money to buy that product. In between are the advertising copywriter, the art director, a packaging ert, point-of-sale and promotional ple, and a dozen others. The problem has been that each person involved indw iota communications effort thinks his own thing is the kept° marketing cmdsellingthatproduct.The "experts"wttMn the commimications ljust don't understand each other, and this causes a breakdown of communications between individuals who not only have a thorough knowledge of each other's function but a respect for each other's contribution. Our success is due to the tact that we have made it our business to become knowledgeable in every area of communications. We know how important a good packayre design can be to the creators of effectived avertising. If a stimulating ad gts a customer inta supe t, a poorly designed package can quickly kill the sale no matter what the ad accomplished. And, converseely; a great package can make advertising look good.The day of specialists working in their vacuums is overWe predict that in ten years total communications teams within advertising agencies or retained by advertising agencies win take over all the functions—point of sale,clisplaspackagingproduct design, corporate design,architectural grapIlics, etc.—that were once farmed out to specialists and use their hig sophisticated methods to praduce a much more effective marketing lob for their customers. I have been doing a good eal of thinking about. youth lately—youth in our business and youth as a consumer I have reluctantly come to the conclusion that young designers today are so interested in getting rich quickly in all phases of communications and marketing, something that our field NI that they are not gaffing the background GET-UP demands. On the ether hand youth represents a gigantic buying public. Young adults comprise 35% of our population. We have to design for people 25 years old and under to sell. These young people are sharp, better educated than any other generation in the history of man. They are changing all the rules for successful selling. Look at what's happened in the last several years to men s clothing, in the automotive industry and in the entertainment industry, because of youth. changes that are taking place in society today and be able to respond creatively to Designers, too, must understand the changing them. We cannot settle for one ford of wisdom just as we cant settle for one font of type. We must be creatures Atha times. Communicators today are talking to themselves, holding monologues, when they should be holding dialogues. There is little room today for a narrow perspective on graphic design. In fact, design has been swallowed up by communiccrtions, and that's the world we are all working in today" The above statement and prediction were made by Herb Lubalin ten ye-ars go,as president of the International Academy oi Communicating Arts and Sciences.On Illesday nightJanuary 20,1981, Reagans w ahile the giissied th emselves u p auguration for the In Ball ...while the hostages sweated out their takeoff from Teheran...a few hundred fans, friends and family of Herb Lubalin lore themselves away from those TV in person, the presentation of the ALGA (Amencan Institute of Graphic Arts) medal. For the Reagan, spectacles to witness, merciful 'lase' But for Lubalin, the ILLUSTRAT the Inauguration Ball was a definite "first!' For the hostages, that day in Iran was a award for excellence in graphics was number 573. Herb has become something of a Pied Piper to the young and a leader among his peers.It is especially to the%,;:ilesiRrIs and students that this profile is directed,to reveal that there are really no gods ...no supermen. i. no lucky in business. But once in a while a little guy comes along with a BLUE MIRAGE few extra creases in his brain (which makes To m things a unique war) and with a prodigious appetite for work.The consensus is that Herb is sr-nail, lean, elfin, prematurely White-haired and deafeningly silentHe's a bare 5 ft.,7 inches tall (he carries his head tucked into his shoulders which robs him of an inch or !WM; he weighs in at less than 140 lbs. He The ultimate non-repro pen doesn't really walk; he shuffles. He doesn't really talk; he grunts, snorts clears his throat a lot and occasionally nods his head. He's a conscientiously casual dresser, concentrating on subtle taupes, greens grays and earth tones, guided by has arrived. BLUE MIRAGE either a rase color sense or his congenital color-blindness. He's a sharp shot at tennis, skillful at ping-pong, a graceful swimmer, a smooth dancer a reluctant walker—he does none of these things "briskly:" He churns out mountains of work delivers consistent clog-free without ever looking ruffled, frantic or hurried. In fact, the only part of his body that really moves fast is his brain. Its clear, Lubalin's talent is unique.You can't learn it in schookfrom lechlres, from texts or even by swallowing whole issues of U&lc. zooming in on a problem. He trims away the fat —the exhaneous— and works out solutions that ink flow from a thoroughly He has a special radar for from letterheads to a loft interior over the are succinct, witty and elegant. Though he UM handled every design problem yews he has been inextricably seduced by typography and letter forms. This man who hardly speaks is a language precise XX Fine Micro-Point. ng wi like whatey trey mean i.e., screech, scratch, lover. There's nothing new about literary' people plaifith wordslhat sound of a whole g rizzly clang, whisper...but when Herb Started to make frorcIsiflat =A what they mecm,ff was the beginningech, It dries instantly, and is in graphic design. His visualization of the M with the double R's facing each other; his new adventure e of his wit. His solutions are so obviously Mother & Child, with the ampersand and child nestled in the 0, are the totally unaffected by rubber right they stun us.Herb is exasperating to le who produce work for him bfft never knowwhat he thinks of their efforts. He is crushing to young designers and who 1 x over a portfolio, seeking a serious critique, but hear only a few grunts, a mumble cmda snort or two, If only they ktIOW a • t, a snort and a little nod of the head from Herb can be cement. Never before has thunderous applause. He can be a j to work for He ., d and not given to endless revises; but he is stubborn to the extreme; his tenacity has driven otlyers to ria and atom As for Ws quickie decisions, at least two such a light touch made distinction et having _ e by Lubalin People poi know legendmmgthe mec of now-famous graphic artists have the are . Tye "blocked" watch hi m work with envy an d murder in their hearts.s p Hi owers of concen such an impression. —with tracing pad bala nced on his latees,with football noises blasting from the TV setwith c hildren personally seen him the regularity of copies shooting out of a wrestling underfoot,with food passing overhead—implacably reel oft tissues with has crumpled Make your mark with word processor. Before the Giants have made a first duwr L he has 15 solutions to a graphic problem. And he a lifetime of trying hard. He has no empathy for procrastinators, up more good ideas than most people produce in Herb has bought houses, ILLUSTRATOR BLUE MIRAGE worriers or deliberators. What might be a "big deal" to the rest of us Is a flash decision for him. ps, entered into business ventures in less time than most people take to decide on a pair of shoes. That's formed partnersr €1cllt for your personal woes. You want to discuss a love ... get the point! unnerving. Ex no flood of compas=sion from him, not even a trickle, to HerlaThe whole Freudian affairyour chi dren, your_ professional crises,your doubts, your learuyour psyche? Don't come by He has no use for psychology except, typographically it has terrific potential—those mystique has passed him ylonsistent; he kriept his own personal traumas and tragedies ascenders, descenders and o'slut Herb is exasaE ratnglirt b r private firmly locked behind the sluice gates, tap. to all has been made of hissilence at work and in his world, Herb does talk Dress him in a tuxeM sr a microphone, he sharpens up his everyday is and d's and ALVIN and COMPANY,INC. becomes a veritable Demosthenes—only funnier. er has lectured widely in the States, in Canada, Europe and Japan, informing and entertaining professionals and students with his devast ating candor and humor. Or...if you should P.O. Box 188UL Windsor, CT 06095 happen to touch on a topic that nettles him he will open up and deliver a diatribe he's had stored up for months. In his he's a crazy work he is loose and open. He has no hoked-up philosophies, no rigid imperatives. But in personal matters, aesthetic fanatic. He operates from a code of decency few people understand: He was an equalopportunity-emPlam long before those words were invented. He hired women designers, artists and administrators before any one of them had initiated the MS. section of U&Ic as a showcase for Women in graphics. But don't, unless you her consciousness raised. He sum up, Herb Lubalin is: a enjoy severe indigestion, get him started on Wiamen's Lib in the midst of a nice quiet dinner "lb and brilliant communicator and non-communicative ...an iconoclast and a classicist...esoteric and earthy...uptight casual...worldly and provincial turned off and turned on...unyielding and a pushover...embarrassed by small talk and poised on-the pockum... a lousy conversationalist and a great fishing partner...completely unpretentious...fiercely ethical. . . fiercely competitive . .. expensive . . . e ve.. exasperating...Stimulating...concerned...a pleasure to work with... laconic... left-handed: .. funny... and lovable FOR DRAFTING, ENGINEERING & GRAPHIC ART SUPPLIES

TN MEE = I= 1U11=11= NM NM EMI MB en 111111M1111 Yes! Send the New Montly Issue of "The Clip Books of Line Art" for Me to Clip & Paste Free — Herb Lubalin He set the standards. 1918-1981 Imagine? Your "Clip Books" have been saving time and money for art and ad people since 1952 and I've never even seen one! Maybe it's time I took a look. Send me your free package and show me how to clip your handsome illustrations and paste the art proofs into ads, bulletins, newsletters, direct mail, etc. I'd like to receive your current monthly issue of four "Clip Books" and four index folders without cost or obligation. I'll also receive your special five-month trial subscription offer with five extra bonus books of my choice. I'm attaching this coupon to my letterhead or business card and mailing it today since I've nothing to lose but a look! 1

1 I BOX 72L, PLEASANTVILLE, NJ 08232 1 1 Please Print Clearly M J MUMWELLmb ilYPOGRAPHYINc Firm Name 461 81H AVENUE NEW YORK NY 10001 Authorized by (212) 868-0515 Street Address Please for UPS

City State, Zip Code 1 NM NM INN IIMMISIMMINIIIMIIMINIMMIMMIMMIIIMMIRMIN 70

The ITC Center was established to introduce new and exciting typo/graphic arts experiences. It is now a growing resource for students and professionals.

Reference Material An up-to-date file of manufacturers' type specimen material and product literature is kept at the ITC Center. Also on file are key publications in graphic arts and graphic design (Graphis, Print, Seybold_ Report, Seybold Word Processing Report, CA and others). This collection is available for use by appointment only.* Movies and Video The following films are currently available for viewing at the ITC Center. The Art of Hermann Zapf Calligrapher Hermann Zapf demonstrates his craft (22 minutes, from Hall- mark Cards, Inc. ). Calder's Little Circus Alexander Calder's wire sculpture circus in action (19 minutes, from Pathe Cinema). Goodbye Gutenberg The history and future of printing, word processing and electronic communications (87 minutes, from BBC and WNET New York). R.O. Blechman Commercials and short films by the renowned illustrator (26 minutes, from the Ink Tank). In two simple steps we The films are available for group showings by appointment only.* can show you how your *Contact Laurie Burns, Assistant Director, ITC Center, 2 Hammarskjold communicating word pro- Plaza, New York, NY 10017, 212-371-0699. cessor can become more than afancy typewriter. We'll show you how you can use it to save a lot of money. One. After copy is typed on your word processor, call us on our special phone line and transmit your copy to us over the phone. Two. We go directly from your word processor in your copywriter's office, if that's where you keep it, through your modem over the phone to our modem— then to our translation device, which can recode all communications—then into our central computer facility. Our operators put in the additional typesetting codes that are needed, if any, and your job is printed out on our typesetting machines in whatever typefaces or sizes If they you want. It's that simple. The end result is that you save all spoke English about 1/3 of what it would costfor us to key the job completely. you wouldn't

So give us a call and we'll 2244 N.W. 21 Terrace need Spectrum help you get a lot more Miami, Florida 33142 return on your investment. America's premier source offoreign-language typography (305) 633-5241 for advertising and marketing communications. At Birmy, we're not outjust 635-0482 Call or write to request a complimentary subscription to make you look good. to our Newsletter on international marketing and graphics. We want to help you make more money. Spectrum Composition 264 West 40th Street, New York, NY 10018 212-391-3940

71 THE BUSINESS OF TYPOGRAPHY #3: Thesepigs savedan art directors There's more than one way rules, and logos — perfectly to set type. The smart com- positioned and camera- munications professional ready. To us there's nothing wants a choice. Professional routine about typesetting life. Typographic Services offers it. Choose the quality and assignments. Or the way we speed of VIP or Linotron 202 handle them. Speak to us for an ad campaign. Choose and find out how the way we a totally different procedure do business can give you a to meet the requirements of choice in the way you do book production. The selec- business. tion of the proper system can Call Steve Walsey. He'll show result in substantial savings. you how you can benefit from Need to set a brochure or our unique combination of annual report? We'll ask ques- service, price, value and choice. tions, make suggestions, then present you with multiple estimates, representing different systems or combi- nations. What about an ad? We can supply the type in galleys. Or we can make up reproduction proofs with all Professional art work — photos, type, Typographic Services, Inc. 7 East 47th Street It happened on a Tilesday morning. An account guy walked New York, N.Y. 10017 into an art director's office, said, "Here's the assignment, it's due (212) 832-1850 at the paper tomorrow' and walked out. More than a typographer, The air in the room began to heat up. The wind grew notice- a way of doing business. ably stronger. And as it began to look as though the sun was going to set on the art director's chosen career, a writer walked in with the glowing, infectious smile of a conquering hero. "Cheer up, bucko, there's an ad in here somewhere:' And he plunked down all nine volumes of the IBID collection. Now if you know anything at all about IBID you know that the writer was on the right track. He knew that in the IBID collection of concept photos he'd laid on the desk there would be the perfect photo that would make a terrific ad for Acme Feeds. He knew that a custom-printed 11 x 14" black-and-white print could be at their door the next morning if they called IBID that day. He knew it would be the kind of shot you always hope you'll get from a shoot, but that it would cost only $110. And he knew that if he just told the new art director about IBID it might win him her undying adoration forever. However, at that moment, the art director picked up one of the IBID books from the desk, opened it to the photo of the pigs, a headline came to her mind, and everything happened just as he knew that it would. Except the part about the undying adoration. Now, if you like to be told what to do by cocky, overbearing writers, you can wait until one comes along to tell you about IBID. Or, you can beat the little smudlings at their game and write for a copy of the IBID Sampler that will tell you everything. We'll send it to you free. Because we're sure that even if it never manages to win your undying adoration, there's a good chance it may save your life.

Dear IBID, Sometimes my life is in danger, too. Please send Two Great Ways to Save! me a free copy of The IBID Sampler, plus all the details of using 1. Stay on top of rising costs. IBID photos. 2. Lean back relaxed with improved quality. Name DUOPRINT papers, films, chemistry are packaged for your cameras Firm Join thousands of Satisfied DuoPrint users who enjoy Address our low prices and high quality. City/State Zip t Corporation Write: IBID, 314 W. Superior, Chicago, IL 60610 114 Beach Street, Rockaway, New Jersey 07866 (201) 625-44:0 New York Rep: (212) 787-4148/(212) 787-4161 IBID ®Trademark of ITEK Corp. ©Trademark of VGC Corp. 72 STOP PAYING $200 FOR $120 WORTH OF By now you've heard from your type house: "... due to the increased cost of photo paper, chemicals TYPE! and supplies, we regret that we must raise our prices ..." Or, maybe the way you found out about it was by having your socks knocked off when you got your latest type bill. Type prices, which have been getting ridiculous in the last few years, have now become totally outrageous! At ARNOLD & DEBEL we offer advertising quality text and display typography at a fraction of what the big shops charge! We operate around the clock so you can expect 9AM delivery on all jobs. Call Ivan Debel today at 889-3711. You have nothing to lose except outrageous type bills!

ADARNOLD & DEBEL INC TYPOGRAPHERS SOLUTION TO PUZZLE ON PAGES 22 & 23. 270 MADISON AVENUE NEW YORK, N.Y. 10016 (212) 889-3711

HAVE YOU CHECKED Catalog Pages ZIPATONE'S BENEFITS? for Compugraphic ✓ ARTIST - Quality Graphics at a lower cost and a satisfied customer. 8600or ✓ ZIPATONE — Has the most complete line of quality Pre-Press Graphic Products in it's industry. EDITWRITERusers F ✓ ZIPATONE — FEATURES BACK sibe Screens, colors & Parapaque blocking mediums are the INCLUDE: most used in the world. ® Display of all basic , alpha-numeric charac- ✓ ZIPATONE — ters © paragraph display of all text sizes from Dry Transfer Lettering — offers a complete range of stan- 5 to 12 point—plus 14 dard typefaces and new faces in our Designer Font point ®in all caps (Din line, plus a 25% larger sheet at a 12% cost saving U & LC Oa point size over our competition. reference gauge for easy spec'ing ©character zipatone ine 150 Fencl Lane, Hillside, IL 60162 counts per pica for each face, size and track or CC value ® display of 5 tracks or call To order the new catalog see your Zipatone dealer, or enclose $1.00 for postage or write character compensation (CC) and handling and Zipatone will send you a catalog and a certificate worth $1.00 values for each face and size towards the purchase of $5.00 or more of Zipatone Products, redeemable at any. for sample participating Zipatone dealer. that match the standard Quadex/8600 values (a reference table defines each CC value). PRICING: Name Title Typefaces are packaged individually in shrink-wrapped lots of 25 sheets—$5.95 per pkg. CC/track values reference tables—$195.00. Company 20% discount on orders exceeding $2,000.00. Address TERMS: Cash with order, shipped postpaid within 30 days. City State Zip CONTACT: Peter Bennett, V.P., CPC Corp. 1661 Main St., Jefferson, MA 01522 Tel.: (617) 829-6544 73

Only the following Subscriber Companies are licensed to manufacture and sell ITC typefaces: SLIDES

AM International, Inc. Fonts Mecanorma Varityper Division Hardy/Williams (Design) Ltd. 78610 LePerray-en-Yvelines 11 Mt. Pleasant Avenue 73 Newman St. Paris, France East Hanover, N.J. 07936 London WI England 483.90.90 (201) 887-8000 01-636-0474 Dry llunsfer Letters What began as a simple way to communicate Phototypesetters and Photo- Font Manufacturer lettering Systems Mergenthaler Linotype FundiciOn Tipogrifica Company your message to a potential client has gotten Alphatype Corporation Neufville, S.A. 201 Old Country Road 7711 N. Merrimac Avenue Puigmarti, 22 Melville, N.Y. 11747 more and more complicated. Special Effects, Niles, Illinois 60648 Barcelona-12 (516) 673-4197 (312) 965-8800 Spain Linoterm, V-I-P, Linotron, Omni- Computer generation, good typography . . . AlphaSette and AlphaComp Poster Types tech CR11-onic, Phototypesetting Phototypesetting Systems Equipment and Systems all these things must be considered when you CRS Digital Phototypesetter Geographies, Inc. 1100 Seymour Street The Monotype Corporation Ltd. have to put on a show. Artype, Inc. Vancouver, B.C. Salfords, Redhill, Surrey, 3530 Work Drive Canada V6B 3N3 England P.O. Box 7151 (604) 685-8236 Redhill 6 5959 Fort Myers, Fla. 33901 Dry Transfer Letters Visual Communications (813) 332-1174 Equipment 800-237-4474 Graphic Products Corporation Dry Transfer Letters 3601 Edison Place Officine Simoncini s.p.a. Cut Out Letters Rolling Meadows, Ill. 60008 Casella Postale 776 (312) 392-1476 40100 Bologna Autologic, Inc. Formatt cut-out acetate letters Italy can make it easy for 1050 Rancho Conejo Blvd. and graphic art aids (051) 744246 SPINDLER SLIDES, INC. Newbury Park, Calif. 91320 Hot Metal Composing Matrices (213) 889-7400 Harris Corporation and Phototypesetting Systems you again. We've been doing it for some of the APS-4/APS-5 CRT Phototype- Harris Composition Systems setter Composition and Division Optronics International, Inc. most discriminating customers in New York for Typesetting Systems P.O. Box 2080 7 Stuart Road Melbourne, Florida 32901 Chelmsford, Mass. 01824 years. We find the technique to fit your job, H. Berthold AG (305) 259-2900 (617) 256-4511 leltowkanalstrasse 1-4 Fbtotronic 4000, TXT, 1200, 600 Phototypesetting Systems and get it to you as fast as is possible without D-1000 Berlin 46 CRT 7400, 7450 Germany PhotoVision Of California, Inc. (030) 7795-1 Dr.-Ing Rudolf Hell GmbH P.O. Box 552 sacrificing quality. Why not make your next Diatronic, ADS 3000, Diatext, Grenzstrasse 1-5 Culver City Calif. 90230 Diatype, Staromatic, D2300 Kiel 14 (213) 870-4828 slide presentation easier . . . call us. Staromat, Starograph Germany Toll Free: 800-421-4106 (0431) 2001-1 Spectra Setter 1200, Visual Berthold of North America Digiset Phototypesetting Display Setter, and 2" Film 610 Winters Avenue Equipments and Systems, Fonts Paramus, N.J. 07652 Digiset-Fonts 1501 BROADWAY 6 (201) 262-8700 Pressure Graphics, Inc. SPINDLER NEW YORK, NY 1003 Diatronic, ADS, Diatype, Information International 1725 Armitage Court Staromat, Diasetter, 5933 Slauson Avenue Addison, Illinois 60101 INC 730-1255 Repromatic Culver City, Calif. 90230 (312) 620-6900 SLIDES, (213) 390-8611 Dry Munster Letters Bobst S.A. Phototypesetting Systems Bobst Graphic Division Prestype, Inc. CH-1001 Lausanne International Graphic 194 Veterans Blvd. Switzerland Marketing Carlstadt, N.J. 07072 021/89.29.71 Rue des Bosquets 12 (201) 933-6011 Phototypesetting Systems Ch-1800 Vevey Dry Transfer Letters P.O. Box 33 Dr. Boger Photosatz GmbH Switzerland Ryobi Limited 2 Wedel in Holstein Font Manufacturer 762 Mesaki-Cho ■• Rissener Strasse 94 Fucliu-Shi NAM Germany International Type Fbnts ApS Hiroshima-Ken 726 CLASSIFIED c/o Cooper & Beatty, Limited Japan (04103) 6021-25 RTHOUSE Manufacturers of Copytronic 401 Wellington Street West Text/Display Phototypesetters FOR ARTHOUSE SPECIAL WRITE TO: P.0.130X 1413 BROOKLYN,N,Y,11202 Phototext Composing Machines, Toronto M5V 1E8 Film Fonts, and Copytype (416) 364-7272 D. Stempel AG TG®PEN #405.000 Photolettering Systems Type Discs for Harris 600, Hedderichstrasse 106-114 SPECIAL LIST: $11.75 SPECIAL and Fonts 1200, 4000, TXT 'Typesetters Frankfurt am Main-70 NOW : $5.88 Germany 50%OFF Cello-Ikk Mfg., Inc. Itch Composition (0611) 6068-1 50%OFF TePROF. Type Division STAEDTLER MARS 35 Alabama Avenue Systems Division OPEN SET Island Park, L.I., N.Y. 11558 34 Cellu Drive CASTELC'TGe PROF. MARSMATIC 700 (516) 431-7733 Nashua. N.H. 03060 Iketype, Inc. 7-PEN SET S1167 S 1164/4 SEVEN PEN SET. Dry Transfer Letters (603) 889-1400 12 West 26th Street LIST: $60.00 L:$36.00 Phototypesetting Systems and New York, N.Y. 10001 11119, L1ST:$59.00 NOW : $30.00 N:$18.00 Chartpak Equipment, Film Strips, (212) 924-1800 NOW :$29.50 One River Road Standard and Segmented Discs. Dry Transfer Letters Leeds, Mass. 01053 and Digitized Fonts (413) 584-5446 lechnographics/Film Fonts 40%OFF Dry Transfer Letters Laboratoire Michot P.O. Box 552 23, Route De Seurre Culver City Calif. 90230 MARS- Compugraphic Corporation 21200 Beaune (213) 870-4828 SUPERBOW 80 Industrial Way France lbll Free: 800-421-4106 Wilmington, Mass. 01887 80-22 23 73 Film Fonts, Studio Film Kits, COMPASS (617) 944-6555 Manufacturer of fonts for and Alphabet Designers SETS. EditWriters. CompuWriters, Singer/GSI/Wang Rxt Editing Systems, Typesettersrs 44 and 48 Visi-Graphics Accessories and Supplies 8119 Central Avenue #553 10 Letraset International Ltd. Washington, D.C. 20027 L: $65.95 Esselte Dymo N.V. St. Georges House (301) 366-1144 N:$39.57 P.O. Box 85 195/203 Waterloo Road Dry Tlansfer Letters Industrie Park-Noord 30 .London SE1 84J B-2700 Sint-Niklaas England, Visual Graphics Corporation CASTEL ® Belgium (01) 930-8161 5701 N.W. 94th Avenue TG*PROF, Tamarac, Florida 33321 031/76.69.80 (10 1.) Dryllunsfer Letters 9-PEN S. 1 1 Visual Systems Division (305) 722-3000 1\-- Letraset USA Inc. Manufacturer of Photo lypositor S 1169 Film Fonts International, Inc. 40 Eisenhower Drive and Original lypositor LIST: EMI Film Fonts 330 Phillips Ave. Paramus, N.J. 07652 $75.00 South Hackensack, N.J. 07606 (201) 845-6100 Dry Transfer Letters Xerox Corporation NOW : #553 52 (201) 440-9366 L:$33.50 Manufacturers of fonts for: Digital Graphics Center $37.50 Alphatype/Alphasette Linographics 701 South Aviation Blvd. N:$20.10 2" Display Film Fonts 770 N. Main Street El Segundo, Calif. 90278 ALL THE Mail Stop-A3-39 #553 04 Harris Fototronic 1200, TXT. Orange, California 92668 ABOVE 4 L:$43.50 4000 (714) 639-0511 (213) 536-5926 Display Typesetters, Electronic Printing Systems CASTELL® N:$26.10 Filmotype 2" Film Fonts ITEMS. !I, #553 11 7711 N. Merrimac Avenue Zipatone, Inc. LIST: #553 45 L:$42.50 Niles, Illinois 60648 150 Fend Lane $182.75 L:$53.50 Hillside, Illinois 60162 rs 553NL:$56.95 N:$25.50 (312) 965-8800 NOW N:$32.10 Film Fonts (312) 449-5500 Dry Transfer Letters $90.00 N:$34,17 PLEASE MAKE CHECK PAYABLE TO: MAIL ORDER DEPT. STY. ITEM NUMBERS. S.& If' TOTAL VALUE $ 2.50 ARTHOUSE , P.O.BOX 3001 BROOKLYN,NI11202 $ 2.50 VISA10 MASTER CHARGEDINTERBANK# $ 2,50 Mil I I I I I I I I I I E. DATE $ 2.50 For further information, write or call: TOTAL SUBTOTAL SIGNATURE(MINIMUM CREDIT CARD ORDER $35.00)CARD HOLDER'S NAME, ITEMS 14% TAX NEW YORK RESIDENTS 8 SHIP TO: INTERNATIONAL TYPEFACE CORPORATION NO C.O.D.PLEASE. TOTAL ...._.... NAME 0 ORDER:XEROX COPY WILL BE ACCEPTED, PAY BY CERTIFIED APT 2 HAMMARSKJOLD PLAZA NEW YORK, NEW YORK 10017 WILL SHIP PROMPTLY. ALL 0 DERS ARE SHIPPED VIA STREET MONEY ORDERS IN U.S,CONTINENT. CITY STATE ZIP (212) 371-0699 TELEX: 125788 P.S. PLEASE ADD $2.50 PER SET FOR SA ClaISEDC

on-site network is not in wide use today. With the introduction of the Star and other products anticipated later in 1981 and in 1982, companies will have more reasons to tie their devices together with a system like Ethernet, and the network in turn will increase the usefulness of the terminals and other devices in the system. Compugraphic's MCS The MCS isn't just another model typesetter. It is, as its initials indicate, a Modular Several major trends forecast in the orig- should be part of a multistation system with Composition System. You can start off with inal Vision '80s report are already taking software packages and linkage to an Ethernet the components you need and build a system shape. They include: network. For the present it seems best suited as you require it. For example, up to three to the needs of large companies. However, it workstations can be added on-line. It includes 1. terminals for managers and executives. is an icebreaker in that it is the first easy-toan input/editing terminal with tabular com- 2. Low-cost multiterminal digital systems use workstation aimed at office personnel position capability and high-speed hyphena- with slave outputs. above the secretarial level. tion and justification. The MCS front-end 3. Digital typesetters affordable at all market Star can create math equations and handle components are a keyboard and screen, a levels. Greek letters and math symbols. It can out- microprocessor-based controller, and a disc 4. Electronic mail networks linking terminals put a variety of typefaces in sizes from 8 to storage unit. Each controller (you can start into systems. 24 point and stores standard graphic sym- with one and add as you need them) accom- 5. Lower-cost color scanners plus paginators. bols that can be called up and then posi- modates 1-4 drives. The front end can be inter- 6. Merging text and graphics. - tioned by use of a "mouse" that controls the faced to various slave output typesetters These trends are epitomized by such re- cursor for positioning elements on the such as the 8600 CRT typesetter or the new cent entries to the market as Xerox's Star screen. 8400 or 8200. The 8400 is a CRT typesetter System and Ethernet, Compugraphic's MCS, A completed document, with text and with 150-lines-per-minute output; it sets a Mergenthaler's CRTronic and Omnitech, the graphics in position, can be printed out on 70-pica line and is priced at $25,000, a big new Crosfield scanners, and new capabilities the laser printer or distributed by electronic step down from the $50,000 machines intro- offered by the Linotron 202 and Monotype's mail to a remote site. Present printers com- duced recently by Compugraphic and other Lasercomp. patible with the Star workstation offer 300- manufacturers. The 8400 can also be the line resolution. Future models will handle output device for other multiterminal input tone as well as line copy. systems. The 8200 phototypesetter is a The Star Although not new, Xerox's Ethernet local slower unit, 30 lines per minute. Like the 8400, it sets a 70-pica line. Unlike previous input/editing terminals A detailed report on the MCS appears in designed for office use and operated by sec- the Seybold Report, Vol. 10, No.18. The MCS retaries and administrative support per- concept of self-contained input/editing work- sonnel, the Xerox 8010 Star information stations feeding different slave typesetters system is designed to be used by profession- is aimed at the market now served by direct als such as standards engineers, financial entry typesetters having input/editing/ analysts,-product engineers, accountants, typesetting functions all in one unit. The new personnel specialists, buyers, quality control modular approach combines affordable dig- specialists, market analysts and consultants. ital typesetting with the ability to expand an Prospective systems, but not the Star, will be initial unit into a full system if and when aimed at decision makers such as corporate needed. Optional MCS features include managers and even, despite present resis- double font capacity, automatic ruling for tance, senior executives. Studies anticipate forms and tabular matter, an MCS Preview or that some 200,000 executive workstations soft typesetter for visual feedback before will be in use by 1985. typesetting, and an MCS printer for hard copy For the, professional in the office, the Star proofs for proofreading. The printer uses a offers a video display terminal that can be 12-point type and allows you to check for used without code words. The user simply content, hyphenation, line endings, and type- moves a small pointer to a symbol on the setting codes. An ACI interface links the screen that represents a function. lb access system with virtually every type of word a file, for example, the user points to the processor or computer. Jobs previously symbol of a filing cabinet. keyboarded on an Editwriter and stored on The Star can be used to create graphs and discs can be quickly fed to the MCS without charts as well as documents. It can compose rekeyboarding. the elements of a page in position and, with the proper software, convert input data into a pie chart or a bar chart. It can store and retrieve information and send and receive XEROX: Professional help—Xerox 8010 Star information systems help business professionals to create, modify, store Page Makeup electronic messages. In short, it is a multi- and retrieve text, graphics and records—and also distribute purpose, easy-to-use terminal for the office documents via electronic mail. By using hand-held control of Separations professional. device, at right, and only four mainfunction keys, operator can perform a wide range of tasks.No special skills are needed Crosfield Electronics' Magnascan 570 ena- The Star workstation is being offered at to use the system. bles one to electronically compose a page of $16,595, but to be used at its full potential it previously color-separated material. It can 75

work on-line with the scanner or off-line and mit the data to a central station for produc- can be used with or without a 6-color moni- Text/Graphics tion. There are a number of high resolution tor. Originals can be scanned on the Magna- slide making services in key cities. scan 550, for example, and during scanning Merging •Leading producers of medium resolution a single, low-contrast film of each original in A few systems, such as Information Interna- hardware and software include Phoenix the final layout size is exposed. This film is tional's Videocomp 570 teamed with the Computer Systems, Inc. of Lafayette, LA; used in the page planning. The layout is AIDS package, are capable of merging text Computer Pictures, Inc.; Execuchart, Inc.; placed in position on the planning table of and graphics and output as a unit with all VisCom, Inc.; and Office Systems. There are the 570.The operator creates a keyline of the elements in position. More will do so soon. about 100 companies producing hardware page plan by using a menu and a cursor. The Color scanners are expected to offer that for medium resolution systems and many will menu consists of numerous rectangles each capability by 1982 or 1983. Mergenthaler probably offer software in the near future. containing an instruction word. The operator Linotype's 202 typesetter can output logos, selects the function wanted by placing the screened halftones and line art digitized on cursor over the corresponding rectangle on an Autokon electronic camera in a choice of Potpourri the menu.The first function would be to three halftone screens. Teamed with a Lino- establish the outline of the page.To do this screen Composer, the system can compose Videotex, that new electronic medium that the operator places the cursor over the rec- pages electronically. The 202, incidentally, can put all kinds of information on a viewer's tangle containing the word "page;' then over now offers a 1,950-line screen resolution (up screen (in the home, the office, the school) the diagonally opposite corners of the page from 975), and this feature is retrofittable on may also serve as an electronic art gallery and layout. The complete outline of the page is existing machines. At the finer resolution, be a forum for fine artists. immediately drawn on the CRT and the dig- however, output speed drops from 700 1pm Creating an "electronic art gallery" is the ital information corresponding to it is to 250 1pm. A switch gives the user a choice goal of Martin Nisenholtz, who was recently recorded. In a similar manner the outlines of of high speed or fine resolution output. awarded a $10,000 matching grant from the all the elements are created. Corners can be Monotype International's Lasercomp can National Endowment for the Arts to explore rounded, odd shapes handled, changes can also be teamed with an Autokon and thus out- ways to make this possible. An assistant pro- be made. Each element or feature is assigned put line art and halftones as well as type. fessor in the Interactive Telecommunications a number. When the keyline or scheme of the Teamed with Hastech's PagePro, the Laser- Program at New York University's School of page is completed, the information for each comp will output fully composed text plus the Arts, he is a pioneer in applying aesthetic feature is fed to the scanner, which is also the graphics pages. concepts to videotext messages ...News- output station for the system. The planning papers, large and small, from the New York information and the scanning data are cor- Times to The Eau Claire Leader-Telegram, are related by the scanner, which outputs each seeking a role as an information service for color-separated and color-corrected feature Electronic Slides the electronic media...The Canadian video- in its correct size and position on the page. A major step up in the electronic produc- text system, Telidon, got a boost in the race Crosfield also recently introduced Magna- tion of 35mm color slides is forecast by Jack among systems competing for acceptance scan models 530 and 540. These are large Kissner, consultant with the Association of from AT&T which set standards compatible format economy scanners for the require- Graphic Arts Consultants. Kissner reports to Telidon and CBS's modification of the ments of departments producing 30-100 sets the following: Antiope system. Telidon is also being tested of separations a week. by various groups, including the Times- •Dramatic decline in hardware and software Mirror Company of Los Angeles and Time, costs.Yesterday's high resolution systems Inc....There's a trend to better choice of fonts cost $500,000.1bday one can have a high- even in data processing. Examples: the VP 800 speed, good-quality medium resolution sys- video terminal handles user-definable fonts tem for $17,000. that can be loaded from the host computer, - .High resolution is 4000 x 4000 pixels. Me- and the Datagraphix 9800 series laser print- dium resolutions range from 420 x 560 pixels ers handle a wide variety of fonts ... Ricoh's to 1024 x 1024 pixels. RP1600 daisy wheel printer has two charac- •The new systems can convert raw data into ters on each petal for a total of 124 ...Latest easily defined color charts, graphs and words. to package WP and DP capabilities in one •Electronic slides are produced more rapidly system is Wang Laboratories' 2200/Word and with less labor than conventionally Processing series...Dot matrix printers may produced slides. Errors are readily corrected soon challenge daisy wheel printers in the without costly remakes. Conventional slides correspondence quality marketplace. Up to can cost $10 to $300 or more, depending on now the daisy has produced better quality their complexity and number of colors, and characters and the matrix printers (used take two to eight days to deliver. High resolu- more in data processing) were preferred tion electronic slides can cost $30 to $150 and where high-volume, high-speed output was take two to four days for delivery. Medium- essential Now, thanks to multipass, overlap- resolution slides generally run $10 to $75 for ping dot technologies and a finer matrix, the even complex slides and can be produced on- matrix printer's quality is improving. One, site in hours, with revisions made in minutes. Integral Data Systems Model 560, claims cor- •Most systems offer software that facilitates respondence quality at 150 cps, about triple the creation of startling images and a wide the speed of most daisy wheel printers. Matrix range of colors. Some offer control of hue, printers also have the advantage of being saturation and luminosity. able to store many fonts so the user can readily •Most systems can create such geometric select them on-line ...Electronic printers are shapes as arcs, circles and rectangles and can coming down in cost and thus becoming convert input data into such standard for- available to more users. They are fast (10 mats as graphs or bar or pie charts. pages or more per minute),flexible (can serve •A choice of type fonts is generally available. text editors, computers, electronic mail units, Crosfield Electronics: The operator at the planning table office copiers) and can handle digital input of the Magnascan 570 page composition system with new •High resolution services, such as Genigraph- color monitor. ics, can create your slides for you or you may from cassettes, mag cards, floppy discs. They lease a creation station from them and trans- also integrate readily into a system .

THIS ARTICLE WAS SET IN ITC CENTURY 76

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BUSINESS CLASSIFICATION CLASSIFICATION PAR PROFESSIONS FIRMENKLASSIFIZIERUNG (Check one only) (Ne cocher qu'une seule fonction) (Bitte eine ankreuzen) Printer (Commercial, forms, etc.) (a) (a) Imprimerie (commerciale, formulaires, etc.) (a) Druckerei (Akzidenzen, Formulare, usw.) (b) Typesetting, Composing (b) Composition a facon , (b) Schriftsetzerei (c) Advertising Agency, Art Studio, Design (c) Agence de publicite, bureau de creation, (c) Werbeagentur, Grafikdesignatelier (d) Newspaper, Magazine studio (d) Zeitungs- oder Zeitschriftenverlag (e) Book Publisher (d) Journal auotidien, periodique (e) Buchverlag (f) Packaging (e) Edition de livres (f) Verpackungsdesignatelier oder (g) Internal Printing (not for resale) (f) Emballage Verpackungsdruckerei (h) Education (g) Imprimerie integree (non commerciale) (g) Hausdruckerei (h) (i) Libraries Enseignement (h) Lehrer (Schule, Fachschule, Universitat, uses) Government (i) Bibliotheque (i) Bibliothek (k) Corporation advertising, design, promotion (j) Fonction publique Behorde (I) Student (k) Department de publicite d'une entreorise (k) Werbeabteilung von Industrie- oder (m) Other (I) Etudiant Handelsfirma (m) Divers Studierender MY PRIMARY JOB FUNCTION IS: (m) Andere (butte beschreiben) (Check one only) MON ACTIVITE PRINCIPALE EST : (n) Artist, Illustrator (Ne cocher qu'une seule fonction) MEINE HAUPTBERUFSTATIGKEIT 1ST: (a) Art Director, Creative Director (n) Dessinateur, illustrateur (Bitte eine ankreuzen) (p) Pasteup Artist (o) Directeur artistique, directeur de la creation (n) KOnstier, Illustrator (q) Type Director (p) Metteur au net (0) Art-Direktor, Kreativ-Direktor (r) Graphic Designer (q) Type Director (p) Reinzeichner (s) Advertising Manager, Sales Promotion (r) Graphiste (q) Typograf Manager (s) Chef de publicite, directeur de la promotion (r) Grafikdesigner (t) Production Manager (t) Chef de Id production (s) Werbeleiter, Verkaufsforderungslerter (u) Printing Buyer, Purchasing Agent (u) Acheteur, vendeur d'espace (t) Produktionsleiter (v) Principal, Officer (v) Chef de service, employe (u) Drucksacheneinkaufer (w) Other (w) Divers (v) Firmeninhaber, Direktor (w) Andere (bitte beschreiben) NUMBER OF PERSONS EMPLOYED NOMBRE DE PERSONNES EMPLOYEES IN YOUR ORGANIZATION DANS VOTRE FIRME ZAHL DER BESCHAFTIGTEN MEINER (1) 1-9 (1) 1-9 FIRMA ODER BEHoRDE: (2) 10-19 (2) 10-19 (1) 1-9 (3) 20-49 (3) 20-49 (2) 10-19 (4) 50-99 (4) 50-99 (3) 20-49 (5) 100-249 (5) 100-249 (4) 50-99 (6) 250 and over (6) 250 et plus (5) 100-249 (6) aber 250 77 THE ITC TYPEFACE COLLECT Di: IS DESIGNED TO MAKE SPECIFYING TYPEFACES EASIER The ITC ITC Century ITC Quorum Collection ITC Cheltenham ITC Serif Gothic includes all ITC Clearface ITC Souvenir ITC Opeface ITC Eras ITC Tiffany Canaries ITC Fenice ITC Zapf Book issued ITC Franklin Gothic ITC Zapf Chancery through 1980 Biz Quadrata ITC Zapf International ITC Garamond ITC American Typewriter Italia PLUS .The ITC ITC Avant Garde Gothic ITC Kabel Display ilypetace ITC Bauhaus ITC Korinna Collection ITC Benguiat ITC Lubalin Graph AND 'The ITC ITC Benguiat Gothic ITC Newtext ZapfDingbat ITC Bookman ITC Novarese Series

ITC FiCligtclitit Pork

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Please print/Bitte im Druckschrift/Ecrivez en caracteres d'imprimerie Text blocks plus alphabet showings for sizes 6,7,8,9,10,11, 1. International Typeface Corporation 12,14,16,18,20 and 24 points. 2 Hammarsljold Plaza New York, New York 10017 2. Alphabet lengths in points for each text point size shown. Please send me "The ITC Typeface Collection:'

These relate to an easy-to - use copyfitting chart at the back Enclosed is my payment of $39.95.* Ship my book postpaid. of the book *New York State residents add applicable sales tax. For shipments outside the United States, please remit $41.45. 3. Alphabet display showings in sizes 30,36,48,60 and (All orders must be accompanied by a remittance payable in 72 points plus 1" caps. U.S. funds. No C.O.D.s.)

4. Complete character showing of each ITC display font. NAME/NAME/NOM

STREET ADDRESS/STRASSE/RUE ET N° 5. Headline presentation in display size range. CITY/POSTLEIZAHL UND ORTNILLE Basic facts about "The ITC 'Typeface Collection": 572 pages. STATE AND ZIP CODE/LAND/PAYS. CODE POSTAL 121/2"x 121/2." Hardbound. Smyth sewn for easy opening. 78 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• specimens bestellen. Specimen brochure- Nunmehr Booklets livrables muster- Schrift- konnen purchases of50ormore Notice ToTypographers:For tact Mr.JohnPrentkiforspe- ITC specimenbooklets,con- cial typographer'sprice. stock these diese vente hefte order sont Type Now Ces ITC- can You Sie ITC ITC de En _U&Ic, Vol.8,No.3 _U&Ic, Vol.7,No.2 _U&Ic, Vol.7,No.1 _U&Ic, Vol.8,No.1 _U&Ic, Vol.7,No.4 _U&Ic, Vol.6,No.4 _U&Ic, Vol.6,No.2 _U&Ic, Vol.6,No.1 _U&Ic, Vol.5,No.4 _U&Ic, Vol.5,No.3 _U&Ic, Vol.7,No.3 _U&Ic, Vol.5,No.1 _U&Ic, Vol.4,No.4 _U&Ic, Vol.4,No.3 _U&Ic, Vol.4,No.2 _U&Ic, Vol.2,No.3 _ITC ZapfInternational _U&Ic, Vol.3,No.2 _U&Ic, Vol.2,No.1 _ITC ZapfDingbats _ITC ZapfBook _ITC TiffanywithItalic _ _U&Ic, Vol.1,No.3 _U&Ic, _ITC Souvenir _ITC Quorum _ITC Novarese _ITC Newtext _ITC KorinnawithKursiv _ITC Kabel _Italia _ITC GaramondwithCondensed _ITC FranklinGothic _ITC Fenice _ITC Eras _ITC Clearface _ITC CheltenhamwithCondensed _ITC Bookman _ITC CenturywithCondensed _ITC BenguiatGothic _ITC BenguiatCondensed _ITC Benguiat _ITC Barcelona _ITC AvantGardeGothicCondensed Anzahl _ITC AmericanTypewriter Quantite Quantity Country City Street Address Title Company werden. SendenSieIhreZahlanweisung Name Nom 2 HammarskjoldPlaza,NewYork,N.Y.10017,USA International TypefaceCorporation and zahlbaranITC)zusammenmitdemBestellscheinan: Schriftmusterhefte erhaltenmechten,fallenSiebitteden Wenn Siedieseattraktiventworfenen,farbvollenITC- Toute commandedoltetreaccompagneed'unavisde Bestellschein aus.AlleBestellungenmussenvorbezahlt nom deITC: paiement acquitte.Prieredepayer de remplirceboncommandeetnousleretourner. To obtainthesehandsomelydesigned,colorfulITCtype Pour obtenircesjoliesbrochures-specimensITC,itsuffit Please makechecks specimen booklets,justcompletethisorderformandmail it tous.Allordersmustbeaccompaniedbyaremittance. Affranchissement desbrochures,en$americains $ U&Ic, Vol.4,No.1 U&Ic BACKCOPIES: U&Ic, Vol.3,No.4 U&Ic, Vol.2,No.2 ITC ZapfChancery ITC SerifGothic ITC LubalinGraphwithOblique ITC Isbell Friz Quadrata ITC Bauhaus ITC AvantGardeGothicwithOblique ITC BOOKLETS: Belgefugte Zahlanweisung Ville Fonction Vol. 1,No.2 Paiement ci-joint Pays Firme Postleitzahl andOrf Rue etn° Remittance in N.Y. Residentsaddstatesalestax$ Land Beruf Gesamtprels (inU.S.-Wahrung)$ Firma Montant delacommande$ Add postageforbooklets$ (en $ payable, inU.S.funds, Total Order,inU.S.funds$ Strasse U.S. funds

(In U.S.-Wahrung)$ americains), Zuzuglich Porto$ Foreign U.S.Price $2.50 2.50 2.50 2.50 2.50 2.50 2.50 2.50 2.50 2.50 2.50 5.00 2.50 4.00 4.00 2.50 2.50 2.50 2.50 2.50 2.50 2.50 2.50 enclosed $ en $americains total $ Prix unitaire Einzelpreis Unit Price (in U.S.-VVahrung Code Postal $1.50 $1.00 1.00 1.00 2.50 1.50 1.50 1.50 1.50 1.50 1.50 1.50 1.50 1.50 1.50 1.50 1.00 1.50 1.50 1.50 1.50 1.50 1.50 1.50 1.50 1.00 1.00 1.00 1.00 1.00 1.50 1.50 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 to ITCat: Gesamtpreis .50 .50 .50 Zip Code Total Total au

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••••••••111.11 MIN 1111••••••••••••••••••••••••••••••••••1111111111•••••••••••••••••••••••••••••••••••••••••••• 11•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• ONE ONE 79

Editing Your Newsletter by Mark Beach The U&Ic Book Shelf reviews new books believed to be of interest to This is a guide to writing, designing and pro- U&Ic readers and lists the pub- ducing newsletters. It is written for newsletter editors with little training in these areas lisher, with address, and the price and takes one on a step-by-step tour of how of the book so that the books may a newsletter is produced. be ordered directly. All prices are Coast to Coast Books,2934 Northeast UGIC for delivery within the U.S.A. or Sixteenth, Portland, OR 94712. 76 Pages. Canada. Prices listed are based on 81/2 x 11.Paper.$7.75.(Contact publisher for payment accompanying order. If shipping and handling charges.) payment is not included, you will be billed for handling and shipping charges. Please add your local and DC1DK state sales tax wherever applicable. For books to be delivered outside the U.S.A. or Canada, please request the price and ship- Graphis Posters 81 ping charges from the publisher. In his introduction to this beautifully printed Please note: U&Ic does not sell books. book Milton Glaser sets up criteria for the All orders should be placed directly with the publisher(s) concerned. poster. It must be more than eye-catching. It should be decorative and memorable. Glaser feels that the poster, of all applied arts, is most receptive to imaginative and artistic content and offers the most scope for sur- Proofreading Manual and Reference prise effects or for the visual joke.Tomi Guide Ungerers jacket illustration, originally con- by Peggy Smith CRT lypesetting Handbook ceived as a poster, illustrates Mr.Glaser's This two-volume set teaches practical,cur- by Stanley Rice points.This edition shows 635 specimens by rent techniques of proofreading applicable over 500 artists. It includes advertising,cul- to typing,word processing, computer type- This is a most unusual type specimen book. tural,and social posters from 38 countries. setting and photocomposition.The accom- It is especially designed for digitally control- Hastings House Publishers,lnc.,10 East panying workbook allows novices and ex- led typesetting systems.lnstead of showing 40th Street, New York, NY 10016.192 pages. perienced proofreaders to practice proof- dozens, or hundreds, or even thousands of 12 x 91/2.$59.00. reading techniques and check their work type styles as some books do, it focuses against answer keys. on seven typefaces: Century Expanded,Hel- A comprehensive work,it is a detailed how- vetica Light, Palatino, ITC Souvenjr, ITC Tif- to,fully indexed. It is particularly useful as fany,Times Roman,and Univers. an in-house manual. Following a concise introduction concern- Editorial Experts, Inc.5905 Pratt St., ing the typographic particulars of CRT type- Forms Design Course - Plus , Alexandria,VA 22310.Vol.1,395 pages. setting,there are very detailed settings of Tile 83SiC Workbook,166 pages. Set $36.00. Price each of these faces. includes postage and handling. Text sample blocks are shown in increments of 1/2 point in vertical sizing, in six variations of set (horizontal) sizes.Oblique R.S.V.P. and boldface samples are shown in all ver- This directory of creative talent, now in its tical sizes. Four sample leadings are shown sixth edition has grown from a regional to for full point text sizes from 6 to 13 points. a national publication.The 200-plus pages, Eight examples of text kernings are shown mostly in full color, showcase the work of for each typeface.Characters-per-pica illustrators, designers,and photographers values are given for all examples shown. and gives the phone and/or address for Display sizes are also shown in great de- each. RSVP also runs a 24-hour answering tail and up to 36 points. Helvetica and Times service to help users locate talent and to Roman are shown up to 50 points. update phone and address changes.A tech- The purpose of this book is to help a spe- Forms Design nical services section lists sources for me- cifier see more subtle degrees of output by Marvin Jacobs chanicals, comps, props, sets, etc. possible on digital typesetters. Addressed to office personnel responsible RSVP: The Directory of Creative Talent, What about the hundreds of other type- for designing forms.lt is an easy to use how- P.O. Box 314,Brooklyn,NY11205.0ver 250 faces? The author claims the faces are so to.lt includes an overview of forms manage- pages.51/2 x 81/2.Paper.$12.95. typical,you will be able to visualize the effects of similar options on many other type ment and forms analysis,types of business forms, basic forms design principles, design Literary Market Place 1981 designs. Van Nostrand Reinhold Company,Dept.RB, procedures, form graphics, reference sources, A massive directory of American book pub- 135 West 50th Street, New York, NY 10020. and specialty forms. lishing. Lists,with addresses and phone 416 pages.81/2 x 11.$35.00. Marvin Jacobs, c/o Formsman, Inc., 724 numbers, some 1400 book publishers.Also Keith Bldg., 1621 Euclid Avenue, Cleveland, provides data on specializations and key OH 44115.128 pages.81/2 x 11. Paper. $18.00. The Business of Photography personnel. Covers over 25,000 individuals by Robert M.Cavallo and Stuart Kahn and services in 79 areas of publishing and Selling Your Graphic Design & related services as well as book clubs,asso- Covers setting up a business,educational Illustration ciations, book trade events, literary awards, requirements, licenses and permits, fields of by Tad Crawford and Arie Kopelman courses, conferences, contests, agents, sup- photography, leases, rentals, purchases, in- This is a combination marketing, business pliers and more. surance,taxes, legal and accounting needs, and legal guide for graphic artists. It is use- R.R. Bowker Company,1180 Avenue of tools of the trade,selling,the marketplace, ful for advanced professionals, beginners or the Americas, New York, NY 10036.849 legislation affecting photographers, guilds students.Tad Crawford is General Counsel pages. 81/2 x 11. Paper. $29.50. Plus shipping and organizations, picture sources.Concise, for the Graphic Artists Guild.Arie Kopelman and handling. factual, current. Helpful to experienced pro- is General Counsel for the Society of Illustra- fessionals as to those just starting out. tors.The subjects covered include finding The Language of Graphics Crown Publishers, Inc., One Park Avenue, assignment markets and clients,teaching by Edward Booth-Clibborn and New York, NY 10016.213 pages. 6 1/4 x 91/2. opportunities, marketing tools and tech- Daniele Baroni $10.95. niques, reps and galleries. Business areas covered include pricing, billing, contracts, A thoughtful review of the role of design in Simplified Proofreading how to start and form a business, keeping communication from early symbols and by Peggy Smith pictographs to the present, plus a dazzling records,taxes,insurance.Legal areas cov- European Illustration 1981 collection of 1000 illustrations with 530 A concise booklet teaching a system based ered include copyright, invasion of privacy, Edited by Edward Booth-Clibborn plates in full color.A book to read and browse on standard proofreading procedures but releases,and a potpourri of other subjects in and think about and refer to again and using fewer symbols.lt is also a self-study This is the seventh annual of European edi- such as libel, obscenity, unfair competition, again.Text shows how graphic design evolved manual with instructions and practical ap- torial, book, poster, advertising, unpublished, flag desecration, protected symbols,etc.An through the centuries and it relates to such plications and was written for non-profes- film animation and design art. Beautifully appendix lists professional organizations other disciplines as interior design, architec- sional proofreaders who must occasionally presented,fully indexed.A source of talent, and associations.There is also a bibliography ture and the man-made environment. proofread. ideas, inspiration. of books and periodicals. Harry N.Abrams,Inc.,110 East 59th Street, Editorial Experts, Inc. 5905 Pratt Street, Harry N.Abrams,Inc.,110 East 59th Street, St.Martin's Press,Inc.,175 Fifth Avenue, New York, NY 10022.320 pages. 81/2 x 10%. Alexandria,VA 22310.103 pages.81/2 x11. New York, NY 10022.24 pages. 91/2 x 12%. New York,NY10010.272 pages.6% x 91/2. $35.00. Paper $12.50. $37.50. $15.20 (includes shipping and handling).

THIS ARTICLE WAS SET IN ITC FRANKLIN GOTHIC 80 CALENDAR OF EVENTS

The ITC Center was established to introduce new and exciting typo/graphic arts experiences. It is now a 1;#A1'1?,1f (Ulfgrowing resource for students and professionals.

OCTOBER 5-NOVEMBER 25, 1981 Vision '80s Show-biz at ITC. The customary exhibitions give DECEMBER 7, 1981-JANUARY 22, 1982 way to a multi-media talk on "Vision '80s" by Ed- ward Gottschall and the BBC/WNET video movie Letters Alive: A Letraset Show "Goodbye Gutenberg:' Plan a whole morning or afternoon if you want to catch both shows. Or walk Typography, to be truly effective, must be more than readable. It often in and out and catch what you can while it's on. needs a vitality and uniqueness appropriate to its purpose and audience. Sometimes it needs to be a work of art, "typographic art," not "Vision '80s" is a 45-minute slide show of the new- merely to be noticed, but to give a subject emotion, meaning, joy, est and future technology. "Goodbye Gutenberg" is beauty and power. the 87-minute story of the end of 500 year old tech- "Letters Alive" is a collection in which typefaces and the way they nology and the birth of the typesetting computer are handled can create exciting and memorable pieces. age—as told by BBC and WNET. There is also a mind-stimulating showing of computer created graphics and a visual explanation of Future Exhibitions how a typeface is made. GROUP THERAPY BY LOU MYERS TYPOGRAPHY TODAY/USSR TYPOGRAPHY 3: Show Times THE 28TH ANNUAL TYPE DIRECTORS CLUB EXHIBITION GOODBYE GUTENBERG 9:30 A.M.-11:00 A.M. THE ANNUAL BROADCAST DESIGNERS ASSOCIATION EXHIBITION OF VIDEO GRAPHICS VISION '80s 11:15 A.M. —12:00 NOON - THE CALENDARS OF OLAF LEU 12:15 PM. —1:45 PM. GOODBYE GUTENBERG NIPPON TYPOGRAPHY KYOKAI VISION '80s 2:00 PM.-2:45 PM. GOODBYE GUTENBERG 3:00 PM. —4:30 PM. Hours: 12 Noon-5 P.M. Admission: Free COMPUTER GRAPHICS CONTINUOUS Open Days: Monday through Friday except for the following holidays: THE MAKING OF A TYPEFACE CONTINUOUS October 12, November 3, The Vision '80s issue of TJ&lc and the Prentice Hall book by Edward November 26, 27, December 24, 25,31 and January 1,1982 Gottschall, "Graphic Communication '80s," will be on sale throughout ITC Center, 2 Hammarskjold Plaza (866 Second Avenue— the exhibition. between 46th and 47th Streets), For show time reservations for classes, groups and associations call 3rd Floor, NewYork, NewYork 10017. Laurie Burns at 212-371,0699. For more information call (212) 371-0699.

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