UPPER AND LOWER CASE

THE INTERNATIONAL JOURNAL OF GRAPHIC DESIGN AND DIGITAL MEDIA

PUBLISHED BY INTERNATIONAL TYPEFACE CORPORATION

VOLUME 23, NUMBER 3, WINTER 1996

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new ITC typefaces. PIC ASS O trol maketheworkdistinctiveandinfluential.Theselectionofinspiringauteursfeatured broadened todenoteanartistinanymediumwhoseparticularstyleandconceptualcon- from authoringthescreenplaytooverseeingfinaledit.Thisconceptnowhasbeen strong signaturestyleswhichusuallyemergedfromtakingcompletecontrolofaproject, ema directorswhoweredeigned"auteur"byFrenchNewWavecriticsbecauseoftheir ward andRichardMcGuireisesotericbutessentialtoexploringthethemeofthosewho in thisissuewassomewhatarbitrary.Thechoicesweremadeonanidiosyncraticconsen- the mostimportantartistof20thcenturywho,decadeafterdecade,reinventedhis sus ofinterestandinfluence.Wewantedavarietyvisualvirtuosiwhosomehowmade which allowspublicplacestobecomepersonal.ThefilmsofPeterGreenaway(justone ing images.PhilippeStarckhastakenspaceandenhanceditwithanorganicformality difference inthewayweperceive. them intopagesandproducts. per second.Thelookof art. Workingwithessences,designerSaulBassmademoviemagicoutofsimple,sear- create workwhichimpactsonandchangesourlives.Picasso,ofcourse,isconsidered to thisauteurthemewithconceptualandtypographicbravado.Theresultingdesignis of hisartforms)shatterpreconceptionscinema,transformingitintoartat24frames to findandreleaseoriginalinnovativetypefaces.Inthisissue,ITCintroduces15 cool artdirectionofFredWoodward.AndRichardMcGuiretakesconceptsandelevates tions andemergesasanauteur.AttheAssociationTypographiqueInternationaleCongress pret letterformswithpanacheandstyle. new typefacesfromarangeofinternationaldesigners—eachwhommanagestointer- subliminally interpretive,capturingtheprocessandmeaningofauteur. the happeningsinTheHaguewillappearnextissueof influenced thedirectionofcontemporarytypefacesandtypography.AreportATypI held inTheHague,manyofthespeakersandattendeesincludedthosewhodramatically but exploratory,acelebrationandtributetothosewhohaveperceptuallychangedourlives. —MARGARET RICHARDSON Thisissueof The listofPabloPicasso,SaulBass,PhilippeStarck,PeterGreenaway,FredWood- The designersforthisissueof In theareaoftypedesign,InternationalTypefaceCorporationcontinuouslyaspires In thebroaderrealmoftypedesign,occasionallyadesignertranscendsexpecta- An auteur,likebeauty,isintheeyeofbeholder.Thisissue A 4 pa z• P-I 44 CI .0 0 W a)f E 30 - .1 l 1 1 2 4 S' g`a•zu cn cu.00 N a).00 C.DC.) 4 7F.s, - fa > a) M g. 4. $- ... 0.1 Z.7 :5 , ■

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RI C HARDMc GU IR E O by Steven Heller U&/c. dI1 o U&/c FR ED W OO DW A RD is notdefinitive, R. ] I EDITOR/PUBLISHER: MARGARETRICHARDSON ITC ISASUBSIDIARYOFESSELTELETRASET. MANAGING EDITOR:JOYCERUTTERKAYE vPPA. INTERNATIONAL TYPEFACECORPORATION, MICHAEL IANKAYE/CABINGOLDBERG INTERNATIONAL TYPEFACECORPORATION. SUBSCRIPTIONS: ELOISEA.COLEMAN ITC OPERATINGEXECUTIVEBOARD1996 DIRECTOR OFTYPEFACEDEVELOPMENT CIRCULATION: [email protected] FOREIGN AIRMAILSUBSCRIPTIONS, U.S. FUNDSDRAWNONBANK. MARK J.BATTY,PRESIDENTANDCEO DISTRIBUTION: EDWARDWORMLY AND MICROFICHE(105mm)COPIES AT NEWYORK,NYANDADDITIONAL U&k CREATIVE SERVICESDIRECTOR: ARE REGISTEREDTRADEMARKSOF ITC, MAILING OFFICES.POSTMASTER: ART/PRODUCTION MANAGER: INTERN: CLAREDELLEGRAZIE ADVERTISING: [email protected] CMG INFORMATIONSERVICES AARON BURNS,HERBLUBALIN, GENERAL: [email protected] RANDY S.WEITZ,CONTROLLER 0 INTERNATIONALTYPEFACE SEND ADDRESSCHANGESTO MICROFILM (16mmOR35mm) OF talcAREAVAILABLEFROM $60 U.S.FORTHREEYEARS; PERIODICALS POSTAGEPAID EXISTING SUBSCRIPTIONS, ANN ARBOR,MI48106-1346. CONTRIBUTING EDITORS: UMI, 300NORTHZEEBROAD, U.S. SUBSCRIPTIONRATES, PLAINVIEW, NY11803-0129. PUBLISHED QUARTERLYBY U&Ic (ISSN03626245)IS EXECUTIVE PUBLISHER: PHONE: (617)259-9207 ASSOCIATE PUBLISHER: EDITORIAL/PRODUCTION: //&!c 228 EAST45THSTREET, KAREN S.CHAMBERS JAMES MONTALBANO $30 FORTHREEYEARS: BHA ASSOCIATESINC. SUBSCRIPTION DEPARTMENT, FOR INFORMATIONON PHONE: (800)521-0600 BARBARA H.ARNOLD ADVERTISING SALES: FAX: (617)259-9883 CALL: (212)949-8072 NEW YORK,NY10017. REBECCA L.PAPPAS CORPORATION 1996. EDWARD RONDTHALER LIST RENTALOFFICE: FAX (516)756-2604 ART/PRODUCTION: FAX: (212)949-8485 GRAPHIC DESIGN: [email protected] FAX: (313)761-3221. OR (313)761-4700. (800) 677-7959 MARK J.BATTY JANE DiBUCCI TO CONTACTITC ILENE STRIKER, PETER ITC FOUNDERS: AND THE CLIVE CHID P.O. BOX129, E-MAIL HALL, U&k . LOGOTYPE ftwx

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Circle 3 on Reader Service Card TECHNOLOGY UPDATE

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u•teur Or\ n F, onginator, aut nore at AUTHOR] (1967) a film din :he auteur theory au•teur•ist Vpis HEADLINE/TIM ITC AVANT GARDE GOTHIC DEMI CONDENSED, MEDIUM CONDENSED INTRO: ITC AVANT GARDE GOTHIC BOLD CONDENSED RUNNING HEADLINE/BYLINE: ITC FRANKLIN GOTHIC DEMI CONDENSED 1. PICASSO: PORTRAIT 0 [ BY KAREN S. CHAMBERS Picasso was not content to remain in a Cubist colony. He had to move on, because there were other artistic territories to conquer. The modern classicism of the French painter Ingres became even newer when Picasso explored it. He absorbed the lessons of Surrealism, and was influenced by the Surrealist photographer Dora Maar, who was also his lover. In this vein he produced Guernica, a masterwork depicting the horrors of war, to rival his earlier proto-Cubist Desmoiselles. For many modern art historians, Picasso is the leading figure of this century. Wil- liam Rubin, now director emeritus of the Department of Painting and Sculpture of the Museum of Modern Art in New York, believes that "understanding Picasso is funda- mental to the understanding of 20th-century art in general:' Rubin has organized three major Picasso exhibitions since 1980. Rubin's latest exploration of the Picasso oeuvre focused on portraiture. The 220 paintings and works on paper and one sculpture of "Picasso and Portraiture: Repre- sentation and Transformation" exhibited recently at the Museum of Modern Art show us how Picasso looked at his friends, his wives and lovers, and his children. Curator Rubin's tenet is that Picasso transformed the portrait genre from objectively recording E the sitter's physical self into a subjective rendering where the artist infuses his own personality into the finished painting. Citing Leonardo da Vinci, Picasso once told Rubin that "the painter always paints himself:" which may explain the relatively small number of actual self-portraits he did. Most of his studies of himself were made either early or late in his career. For exam- ple, there is Picasso as a young man in 1897, bewigged, ready for a masquerade but also evoking his artistic ancestor, the Spanish painter Goya. Then there's the brood- The one constant in Picasso's career was change. Throughout his life, he pursued what- ing frontal image of Picasso from the Blue period of 1901. Only five years later, he ever stylistic techniques or shifts of medium that suited his artistic needs at the time. presents himself in a simplified, Iberian-influenced portrait. Just before he died, we "The several manners I have used in my art must not be considered an evolution:" he see him confronting himself directly again in very moving and expressionistic works, once said in an interview. "If the subjects I have wanted to express have suggested images that reveal Picasso as a still vital artistic force. In the portraits between these different ways of expression, I have never hesitated to adopt them." early and late works, the artist primarily depicts himself in the roles of harlequin, mino- Picasso began as an academic painter. His early works, done in the last years of the taur, classical warrior or musketeer, or he invests himself in his own work through 19th century when he was still a teenager, display his prodigious skills as a draftsman. symbolic representations such as pipes and doorknobs or more abstract signs. The That talent would have been enough to secure a comfortable and successful career in congruences and contradictions of the self-portraits amply illustrate what can be his native Spain, but he wanted more. Like other ambitious artists of his generation, he learned from Picasso: confront yourself, conquer complacency, challenge your own was drawn to Paris, arriving in 1900. There he confronted the avant-garde and joined truths, be willing to risk. its ranks. Psychologically attuned to the artistes nouveau, he made the emotionally A remarkable black-and-white 1957 image of the artist by the photographer and powerful paintings of his Blue (1901-1904) and the later Rose (1905-1907) periods. biographer David Douglas Duncan reminds us of how that always begins. It simply He produced works that William Rubin, the Picasso scholar, believes would still have shows Picasso's hand holding a brush as he makes his first mark on a canvas. There ensured him a place as "a fine late Symbolist painter...who drew the curtain on the 19th is the hand, the brush held at an angle and the diagonal line itself. It is an eloquent century" even if had he died in 1905. But Picasso lived nearly seven decades longer dissertation on risk. In his 19,000 works Picasso shows that he was always willing to and left a body of work notable for its daring, beginning with the space-shattering Cub- gamble. He won enough times to rank as the most important artist in the 20th century.

ist style, where he and Georges Braque staked out their artistic turf. KAREN S. CHAMBERS IS AN INDEPENDENT CURATOR AND CRITIC BASED IN NEW YORK . THE ASPIRATI•N

THAT LEADS TO THE TITLE OF AUTEUR IS FUELED BY AN IMPERATIVE THAT HAS FROM THE LOBBY CEILING. IT CLICKS ACROSS THE POURED EPDXY FLOORS. IT LITTLE TO DO WITH REASON AND STILL LESS TO DO WITH FORTUNE AND FAME. MURMURS THROUGH THE COTTON SLIPCOVERS. IT IS A NAME FOR THOSE WHO MYSTERIOUSLY CREATE OUT OF THE FUTURE, A PERSISTENT DESIRE FOR WEIGHTLESSNESS AND INNOVATION ARE INTE- OUT OF WHAT THE POET RILKE CALLED "THE ULTIMATE CENTURY." IT IS A NAME GRAL TO THE WORK OF A MAN WHOSE CAREER BEGAN CRAWLING BENEATH FOR THOSE WHO TRANSPORT US, BRINGING THAT FAR-OFF PLACE INTO THE THE DRAWING TABLE OF HIS FATHER, WHO WAS AN AVIATOR AND AN INVEN- HERE AND NOW, SO THAT THE WAY WE THINK AND SEE IS IRREVOCABLY TOR. HIS BUOYANT, AERODYNAMIC DESIGNS ARE AN OUTGROWTH OF THESE ALTERED. THAT ALTERATION IS THE MARK OF THE AUTEUR. TWO FORCES. BOOKSHELVES FROM 1977 ARE BARELY MORE THAN SLIM PLANES BUT THE EXTRAORDINARY ATTENTION GIVEN TO FRANCE'S GREATEST DE- SUSPENDED IN SPACE. HIS LUCI FAIR LAMP FROM 1989 HAS ALL THE UPWARD SIGN EXPORT, PHILIPPE STARCK, IS HARDLY EXPLAINED BY THE SIMPLE FACT THAT THRUST OF AN ILLUMINATED PROJECTILE. THE SURREAL FOUR CURIOSITIES HE HAS SHAKEN US OUT OF A VISUAL STUPOR. STARCK TRANSFORMS WHAT IS AGAINST A WALL VASE CREATED DURING THE SAME PERIOD REFLECTS HIS PRE- AROUND HIM INTO SOMETHING ENTIRELY HIS OWN, FROM LEMON-SQUEEZERS OCCUPATION WITH ORGANIC FORM BY RECALLING SUCH IMAGES AS SEA LIFE TO MOTORCYCLES TO CAFES. BEYOND THE UBIQUITY OF HIS DESIGNS, STARCK SWIMMING UNDER WATER AND SPERM IN SEARCH OF GERMINATION. IT IS A FILLS A NEED IN HIS AUDIENCE. HE IS NOT OUR GREATEST DESIGNER, BUT HE VISION NOURISHED BY SCIENCE IN WHICH THE WORLD IS ULTIMATELY COM- FASCINATES THROUGH HIS IRREVERENT DEFIANCE OF SOCIAL NORMS. AT 47, POSED OF THE MOST MINUTE ENTITIES. "I'VE REALIZED THAT THE 21ST CENTURY WITH HIS TALL, MASSIVE PHYSIQUE PERPETUALLY CLAD IN BLACK AND HIS UN- AND THE ONES TO FOLLOW WILL NECESSARILY BE IMMATERIAL. IT'S THE ONLY RULY CROP OF HAIR SHOVED INSIDE A CAP, STARCK CONJURES UP AN IMAGE OF POSSIBLE END, THE ONLY POSSIBLE PURPOSE;' STARCK ASSERTS. REBEL, MISCHIEF-MAKER, ENIGMA. THOUGH HARDLY A POP ICON, HE OCCUPIES HIS PROMISCUOUS LOVE OF MONSTERS, ODD BIONIC SHAPES AND MAL- A PLACE IN THE MODERN CONNOISSEUR'S DREAMWORLD. FORMED CREATURES HAS BEEN A CONSTANT MOTIF IN HIS DESIGNS, MOTI- CULTIVATING DREAMS IS CERTAINLY PART OF HIS CONVICTION. "WHEN I VATED, IN PART, BY AN ENTHUSIASM FOR TECHNOLOGY. HERE, THE STIMULUS DESIGN," HE TOLD DESIGN CRITIC ANDREA TRUPPIN, "I DON'T CONSIDER THE COMES FROM THE NOVELS OF PHILIP K. DICK, A SCIENCE-FICTION WRITER TECHNICAL OR COMMERCIAL PARAMETERS SO MUCH AS THE DESIRE FOR A WHOSE WORK IS FILLED WITH REFERENCES TO MICRO-ELECTRONICS, INTER- DREAM THAT HUMANS HAVE ATTEMPTED TO PROJECT ONTO AN OBJECT." HIS GALACTIC CHARACTERS AND THE CYBERNETIC BODY. STARCK NAMED HIS PARIS INTERIORS FOR ENTREPRENEUR IAN SCHRAGER'S PISTOL-HOT HOTELS, THE STUDIO UBIK, MEANING "EVERYWHERE; AFTER A SPRAY CAN IN THE TITLE OF

PARAMOUNT AND THE ROYALTON IN NEW YORK AND THE DELANO IN MIAMI, A DICK NOVEL. HIS DREAM CITY, HE SAYS, WOULD BE COMPOSED OF A "CON- ARE PRECISELY THE TABLEAUX VIVANTS HIS ENTRANCE-LOVING GUESTS DESIRE. GLOMERATION OF OUT-OF-SCALE OBJECTS, FULL OF ENERGY AND VITALITY:' THE PADDED WALLS, VELOUR PARTITIONS, OXIDIZED CLADDING AND LUMINOUS BUILDING IN TOKYO HE WORKED ON FROM 1989-90 FOR THE ASAHI BREWERY, ONYX ARE AMONG THE "MYTHICAL" MATERIALS HE EMPLOYS. THERE IS A LOGIC LA FLAMME, FEATURES A GIANT BULBOUS GOLDEN FLAME ATOP A SLEEK BLACK TO STARCK'S "ENTER HERE AND ABANDON PRECONCEPTION" ATTITUDE. MAGIC, GRANITE BOX. THE CONTRAST BETWEEN LIGHT AND DARK, HARD AND SOFT, NOT SLEEP, IS THE HOTELIER'S TRADE. FORCES AN AWARENESS THAT ARCHITECTURE IS ABOUT MORE THAN WALLS, HOTELS IN GENERAL, AND THOSE CREATED FOR THE COGNOSCENTI IN FLOORS AND WINDOWS. WE READ MEANINGS INTO BUILDINGS, WHETHER PARTICULAR, ARE STATIONS OF THE TRANSITIVE, BLANCHED STAGE SETS FOR THE ARCHITECT INTENDS THEM OR NOT. SO WHY NOT SUBVERT THEM IF IT ACTING OUT A MYRIAD OF IMAGINARY SELVES. AND FEW SETTINGS COULD BE CAN LEAD TO NEW WORLDS? MORE ACCOMMODATING THAN THE ALL-WHITE, PRISTINE ROOMS OF STARCK BREAK WITH MONOTONY! PROGRESS! MOVE! THAT, ABOVE ALL, IS WHAT AND SCHRAGER'S RECENT $28 MILLION RENOVATION OF THE DELANO HOTEL, STARCK'S DESIGNS SAY. THERE IS NONE OF THE ESTHETE'S TORTURED PER- DESIGNED IN 1947 BY BUCHAREST-BORN ARCHITECT R. ROBERT SWARTBURG. FECTION OR THE LATENT ENGINEER'S PRAGMATISM IN WHAT HE CREATES. TO ENVISION A NEW MIAMI, STARCK DREW INSPIRATION NOT FROM SEASIDE METAPHORS OF SURPRISE AND SUBVERSIVENESS SWIRL AROUND HIM: TAS- PALACES BUT FROM THE SIMPLICITY OF A GREEK FISHERMAN'S COTTAGE. "THE MANIAN DEVIL, DESIGN WIZARD, WAGNERIAN GENIUS. EVERYTHING ABOUT MOST INCREDIBLE LUXE IS TO HAVE AN EMPTY ROOM, A GOOD BED, GOOD HIM RESISTS FORMULAS, WHICH MAY EXPLAIN WHY SOME PEOPLE DISLIKE HIS LIGHT, GOOD TABLE AND CHAIR;' HE SAYS. "THESE ROOMS WILL MAKE PEOPLE DESIGNS. BE IT A LAMP, A TV, A CHAIR, A SAILBOAT, A NIGHTCLUB OR A SUITE THEIR MOST BEAUTIFUL." IN CONTRAST TO THE DEVOTEES OF THE EDEN ROC OF PRESIDENTIAL APARTMENTS (HE HAS DESIGNED THEM ALL), THE PURPOSE AND FONTAINBLEU HOTELS, WHO ARE DRAWN TO THEIR SPLASHY TROPICAL OF STARCK'S WORK IS NOT THE PHYSICAL FORM IT TAKES BUT THE QUESTIONS COLORS, THE DELANO'S PUBLIC ADORES ITS QUIET SIREN CALL. THE EMPHASIS IT POSES. CAN A TOOTHBRUSH LOOK LIKE A FLAME? DOES A CHAIR REALLY ON WHITE THROUGHOUT HEIGHTENS THE VISITOR'S PERCEPTIONS TO THE NEED FOUR LEGS? CAN FLOWERS SPROUT FROM WALLS? CAN YOUR LIFE BE SMALLEST DETAIL. IN CONTRAST TO T AMBA BEAT OF SOUTH BEACH, THE SOMETHING ELSE? CAN YOU BE SOMEONE ELSE? "AGITATE, AGITATE, AGITATE" VOICE OF THE DELANO IS BREATHY EDUCTIVE. IT WHISPERS THROUGH THE IS THIS AUTEUR'S RAISON D'ETRE. 18,000 LINEAR FEET OF DIAP Leslie Sherr is director of communications of Desgrippes Gobe, New York.

RUNNING HEAD: ITC FRANKLIN GOTHIC DEMI CONDENSED TEXT INTRO: ITC KABEL BOOK TEXT: ITC KABEL BOLD, MEDIUM NUMBER 2: ITC AVANT GARDE GOTHIC EXTRA LIGHT ORMATION 3. RICHARD [ BY STEVEN HELLER I Richard McGuire, children's book author, editorial illustrator, musician, sculptor and toy maker, has refined his inventive DIT2IIAA style in various media by fashioning a creative environment where he is relatively self- sufficient. For McGuire, diversification has not only made economic sense, it has also allowed his imagination to soar. Each of his products has sold well TIC enough so that he can invest in others. Moreover, each project has opened a door that has allowed him the freedom to pursue a variety of interests. McGuire, 39, studied sculpture at Rutgers in New Jersey, and upon leaving in 1979 entered the alternative art scene in New York. While working for a downtown art space, he created a series of street posters of quirky narratives that he wheat-pasted around the East Village. The posters caught the eye of Keith Haring, who helped McGuire get a one-man sculpture exhibition at the Tony Shafrazi Gallery in 1982. The pieces didn't jump off the floor, but the strength of his sculptural skills enabled McGuire to start working at a prop house making miniature precision models for IV commercials. He later

RUNNING HEAD: ITC FRANKLIN GOTHIC DEMI CONDENSED NUMBER 3: VIENNA EXTENDED ARTISTIC: ITC AVANT GARDE GOTHIC DEMI CONDENSED, ITC CENTURY LIGHT ITALIC TEXT: ITC OFFICINA SERIF BOLD, BOLD ITALIC t e worst o is travai s: in t e rst mo e t e ce was so pow- did the same for Broadcast Arts, an animation house that spe- erful it launched the character off its stationary base; the sec- cialized in commercials and short features. and base was a heavier piece of wood that got so hot it swelled His entrepreneurial career began, however, as a musician. In up. Eventually the bugs were worked out. McGuire designed a the early 19805, McGuire played bass for what he calls "a mini- striking orange tube with an EO sticker to package the toy that mat funk" band called Liquid Liquid, which earned a cultist is so lovely one hesitates to open it. following and cut three 12-inch EP records. McGuire hasn't McGuire simultaneously began working on his first children's played in years, but in recent months Grand Royal Records book which was commissioned after an editor at Rizzoli spotted re-released four records of the now-defunct band's music. Go Fish at the New York City Gift Show. The Orange Book is a chit- This whirlwind success with alternative music and art did dren's counting book that follows a Florida orange and its corn- not, however, satisfy McGuire's urge to create. So in 1984, while ponent parts from tree to juice, with some odd twists and turns. working his day job at Broadcast Arts, he enrolled in a lecture It is printed in two colors (orange and blue) on a cream paper, series about comic strips at the School of Visual Arts given by which gives it the feel of a vintage '305 book. Art Spiegelman, editor of RAW magazine and author of Maus. With this book, McGuire jumped into the role of auteur- McGuire realized through this class that he could take control of writing, illustrating and designing his own projects. "I was both form and content as an artist and writer. Spiegelman rec- spoilecr he says about this new direction, "because with my gnized his potential, too, and published McGuire's first comic very first book I had total control." Owing to McGuire's perfec- strip in RAW. McGuire pursued editorial illustration while de- tionism, he has not been as prolific as some other contemporary iding what to do next. children's book authors, but he has been able to take command Then the fates intervened. In 1990 he met Byron Glaser, co- over those projects he has done. The kinds of stories and art- ounder of Zolo Toys, an immensely successful venture based on work that McGuire likes to make are perfectly suited for the he brisk sales of a postmodern Mr. Potato Head-like toy. Coin- child's mind, despite the fact that his artwork is also rooted in identally, McGuire had been thinking about making a toy out the history of modern art (especially Russian Constructivism). f interconnected rectangular heads he called Puzzle Head. McGuire's second book, Night Becomes Day, was originally an laser introduced McGuire to an Indonesian businessman who offshoot of what would become his third book, What Goes as interested in investing in a new product, and a manufac- Around Comes Around (both from Viking). Both are journeys ring and distribution deal was arranged. It seemed so simple. into realms of cause and effect. The former takes the reader McGuire's first taste of the entrepreneurial life was a three- on a tour of what happens in the continuum of everyday phys- eek stint in a small Indonesian village overseeing the man- ical phenomena; the latter follows a doll that is thrown out of facture of Puzzle Head. The native craftsmen worked hard, a window and bounces around the world before coming back ut they had a habit of saying "yes" when they really meant to roost. Rendered in characteristic flat primary colors and sim- ." McGuire returned home with a handful of beautiful sam- ple geometric shapes, What Goes Around Comes Around is a mas- les, which attracted a number of orders at the New York City terpiece of logic and fantasy. It is also the basis for McGuire's ift Show. But, in truth, the manufacturer was incapable of fourth toy—the doll itself. Originally, McGuire wanted to pack- ling them. Today the original Puzzle Heads are collectors' age the globe-trotting doll with the hardcover book, but costs tems, but a mainstream toy firm, Naef, is currently interested were too high. He manufactured a playful beanbag doll anyway, in licensing rights. now distributed through Zolo Toys. Despite the frustrations, the entrepreneurial bug had bitten. For the past year, McGuire has been obsessed with his fourth With his own money, McGuire produced a second toy called Go children's book, What's Wrong With This Book (Viking), which is Fish, based upon a classic childhood card game. He used a sche- really a book/toy based on another classic children's theme that matic, cartoon-like, though carefully plotted illustration style, McGuire has given a postmodern spin. Each page of this tome of to create the deck's comic characters. He printed the first 5,000 visual mistakes and anomalies is interconnected by linking copies in New Jersey, and then found a much cheaper printer in narratives and enhanced by die-cuts and other production Singapore. Through trial and error, McGuire learned the pro- tricks. All the illogical pieces had to fit logically into one grand duction and economic ropes the hard way—at his own expense. puzzle. After much trial and error, McGuire succeeded. Even so, Go Fish has done relatively well. Success born of agony is McGuire's modus operandi. Yet one The third toy on McGuire's drawing board, EO, a spinning would never know to look at the finished books and toys just solar-powered device, was even more complex. Getting this oth- how difficult they are to create. Who could ever think that Block erwise simply constructed self-propelled cardboard toy to work Heads, Go Fish or a simple beanbag doll were forged out of such required obtaining the proper solar cells from NASA. McGuire angst and passion? procured them from a surplus outfit, which unfortunately ran Steven Heller is co-author (with Louise Fili) of French Modern: Art Deco out of the correct size during the production run. That wasn't Graphic Design (Chronicle Books).

RUNNING HEAD: ITC FRANKLIN GOTHIC DEMI CONDENSED TEXT: ITC OFFICINA SERIF BOLD, BOLD ITALIC NSPIRATION, PERSPIRA

HE DREAD TERVIEWS ELY MEETS T ***** W PEAR IN HIS AZINES AND S TENTA- TIV WITH A BLUSH SOUTHERN ENT. AT 43 FRED ODWARD HE ART DIRECTOR OF ROLLING STONE AND VIRTUOSO OF AMERICAN PUBLI- CATION DESIGN, STILL CARRIES SOME OF THE AIR OF A SHY, BACKROOM BOY WHO STILL CAN'T FIGURE OUT HOW HE ENDED UP IN THE BIG TIME.

RUNNING HEAD: ITC FRANKLIN GOTHIC DEMI CONDENSED STARS: ITC AVANT GARDE GOTHIC DEMI CONDENSED INTRO TEXT: ITC LUBALIN GRAPH BOLD, BOLD ITALIC; ITC ZAPF DINGBATS N 4. WOODWARD ROC [ BY PETER HALL famously, Arnold Schwarzenegger photographed by Herb Ritts inside a giant inflatable tube that doubles nspire desi up as the letter 0 of the headline. er on a gazine, City BUT WOODWARD'S Rolling Stone also exhibits a more d wor s an un assist' n homegrown flavor than the cool modernism of Brod- d ev ally he art dir ovitch. The fat, ornamental and wood-block display rd w nco • ed by gue to send faces and the ever-present golden brown of Rolling • lio ollin one, licatio elf- ng Stone covers align the magazine more closely with a red. e a ciat direc ote me b brand of American Expressionism, with the cluttered, e ni t le ," W war • ails, " you're 23 bulging type of the handbills and posters of the old an ou'r n a • irec by • ou in s ry Wild West. As the magazine moved from countercul- ov o N Yor Fou ars la , oiling St ture rag to institution, Woodward developed a proud cal n to que s posiddio, a arry-eyed and uniquely American design language that seemed od d f d self • a plane to New York. to celebrate freedom of speech, giving priority to the

0 A TE thi • art with fondness. "I hadn't printed word. The words were, after all, what kept the be to ew rk s. I stopped at Blooming- magazine from being just another rock 'n' roll fanzine. le' nd •ug a the way over and tied a knot WOODWARD IS not inclined to analyze and reflect ha as 99 my ad. I was early and was on his achievements. "It's a blue collar job," he says, w in n t park by the building, but I didn't "it burns up ideas, and you just have to keep feeding ye wa kept asking people what the time it." The joy for this art director seems to be less in the as nti found out I was late. I was rushing across magazine's place in design history, or in its cultural the tre this guy came towards me with a card- role, than in the day-to-day task of creating something board ox his hand with a big boot on it. I looked at pleasing to the eye. Perhaps that should be criticized. his feet an he had one bare foot. He looked at me and To no small extent, Rolling Stone perpetuates a belief started screaming, 'You're cursed! You're cursed!' system based on rock stars, movie stars and their sex AS THE SHOELESS soothsayer had predicted, W lives. But then again, what successful American mag- didn't get the job that time either. It took a fo azine doesn't? INI111111■11111,1 spell at Texas Monthly to work off the curse THOSE NINE years at Rolling Stone make Woodward ify a signature style before he finally secure the longest-serving art director in the magazine's Lion at Railing Stone he'd wanted for over a d history, and, with the exception of Brodovitch and "I'd actually given up when I got the call;' he s Harper's Bazaar, such a durable stint is unusual. It as clIt peace with myself." seems natural, then, that he should have recently TER NINE years of Rolling Stone's relentless b begun to look outward for fresh inspiration, turning p duction schedule, that Woodwardian contentedness to book design, and lately, to music videos, direct- seems to have persisted. As Woodward sees it, the mag- ing with Mark Seliger the first Joan Osborne video azine offers him a stage with enough room for grand "One of Us" and Hole's "Violet." gestures. "It's moklike a sponsorship of a personal AN ELEMENT of Woodward is undeniably present in s le," a scs, " d as long as I can keep the work fresh the videos, especially in the charming sepia scenes I' not d t alk away from it." filmed with a Bolex camera at Coney Island in "One of AS HIS c oraries see it, Woodward shows no Us." But it is not an easy transition. Music video has be- signs Of fa years at the publication have been, come a formulaic medium that tends to be overseen by as Michael B ut of Pentagram wrote in I.D. Magazine, committees. "I don't know how to do it,' says Woodward "one of the long hot streaks in magazine design his- bluntly. "As a director it is hard to get enough power or --*,.. tory," and evidence of a working atmosphere that fos- confidence put into you to become a true auteur." . ters innovation. Inheriting the eigh rifl e of arf THE IDEA OF the quietly confident Woodward scream- directors like Mary Shona lisbury and Rog ing out orders on a film set seems faintly incongruous. Black, Woodward bega rom ue by Perhaps it will take time for his backroom-boy manner looking back over Rolling e's 2 history and to make itself known. Nine years of working with pho- reprising its distinctive vor. A yen Heller wrot tographers like Herb Ritts, Annie Leibovitz, Albert Wat- in U&lc in Spring 1995, Woo •'s achi t was to son and the staff of Rolling Stone casts Woodward in a "build on the foundations at agin•pography distinctly more empowering role in publication design. , and s mg togr ," res • in wha "Over time you build up relationships, confidences a • lic • tru Alexe dovitc • ish me!" and trust through your actionsr he says. "Your ideas do princi . A p rful t raphi hotographic count for something and you're allowed to work with sensibility par to th • e grea n ' some autonomy. That situation, and whether you enjoy clearly are • a pi "ke the ning seeing people every day and whether they're happy "Mr. Big Sho • read Rollin August 1991, • y to see you—all of that's the key to a good life well lived." W odward and " ner D ishop). I TO Peter Hall is a journalist who specializes in design.

S ON 5. PETER GREENAI [ BY MARGARET RICHARDSON

NO T surprisingly, Peter Greenaway all basically interpreting the Green- mystery, but wrapped in elegant both of these enduring stimulations began his artistic career as a painter. away text. What emerges is a cellu- artifacts of art and art history set in together—so close in fact that they can HIS TRANSFORMATION loid world reflecting his mind The 17th-century England. be considered inseparable. Imagine into a filmmaker with a body of work filmgoer can respond as a privileged T H E Baby of Macon discon- the body as a book, the book as flesh. that either seduces or alienates the guest at a private Greenaway party, certed many viewers (and has not Consider text as physical ecstasy." viewer has been the result of his long or as a voyeuristic observer detached been officially released in the United The Pillow Book is a contemporary esthetic experimentation starting from the melee. States as of yet). Following the con- interpretation of a Japanese classic with his first film 3o years ago. In I N The Cook, The Thief His ventions of 165os Italian history-dra- of erotic literature, The Pillow Book exploring his own approach to film, Wife and Her Lover, for instance, the mas, the film is claustrophobic and of Sei Shonagon. Greenaway starts Greenaway has protested that most formal tableaux enhanced by the filled with gore. The critics empha- from this reference to create an elab- movies are often just "bedtime sto- Michael. Nyman score, the Jean Paul sized the shocking aspects of the orate visual device tied to the main ries." He contends that cinema has Gaultier costumes and the extraor- storyline (infanticide, attacks on the character's penchant for calligraphic not moved into its own specific genre, dinary assemblage of British actors Catholic Church), but did not relate stories on bodies. As Greenaway ex- but is essentially dramatized fiction. does not mitigate the inevitable vio- to the visual acuity and startling and plains in his synopsis, "Whilst the In the documentation of his films lence in the narrative, but exacer- excessive Baroque imagery of the emotional content of The Pillow Book in books and exhibitions of his film bates it, forcing the viewer to flinch film, nor the various layers of play into view, identify and empathize with sketches, Greenaway elaborates on in ways that Hollywood crash-and- within play. It was, as Greenaway the corporeal and emotional passions the thought process, the inspirations bang thrillers avoid. The viewer is himself puts it, "such a knowingly that develop in childhood and can and visual references leading to the left gasping as the cumulative visual savage film." exuberantly flower in adult life (this conceptual whole of the film. Each decay related to food and sex on the G REENAWAY'S Prospero's is, after all, a love story), the cerebral frame, enhanced by all the conven- screen signifies the escalating moral Books, an interpretation of Shake- conceit of the film is concerned with tions of the cinema, can be seen as a decay and cruelty of the villain It is, speare's The Tempest, falls between the notion of the body as text and painting, a painting which has come in Greenaway's words, a "Revenge the accessibility of The Draughts- text as flesh." From an early preview to life, then is blended seamlessly Tragedy—out of the 'theater of blood:" man's Contract and the obscurity of of The Pillow Book,itis evident that into the next frame. as he writes in his introduction to The Baby of Macon. In this film, the Greenaway has managed to merge GREENAWAY paints films, but the book of the film (Dis Moir, 1989). books that Prospero is allowed to take the sensuous with the literary and he also does much more. His artist's GREENAWAY has been accused with him into exile are characters again produce a profound parable. vision is so strong and so impactful on by his critics of being many things— alive on the screen, each providing a DAVID Thomson quotes Green- the screen that he states in a recent even "cold" and "misanthropic" visual and verbal essay. Greenaway's away as saying, "I have often thought interview in Observer Life that he vir- according to David Thomson's A script, delivered in the dulcet tones it was very arrogant to suppose you tually expects one third of his audi- Biographical Dictionary of Film. of John Gielgud's Prospero, dwells on could make a film for anybody but ence to walk out after five minutes, To accept a Greenaway film, the the philosophical interrelationship yourself." But the films Greenaway and the second third to leave after an viewer needs to get into Greenaway's between the seen and the unseen, may have made for himself do have hour. The remaining viewers, he pre- mindset and be prepared to be intel- the corporeal and the spirit worlds. an appeal for any viewer who accepts dicts, will see the film many times. lectually challenged and visually Greenaway fills the screen with this filmmaker's visually profound SEEING a Greenaway film is be- bombarded. This can be a traumatic nudes as nymphs and angels. These interpretation of cinema. From The ing catapulted into a foreign, arcane or a transforming experience, and themes interlocking text and sen- Belly of an Architect, which deals and stylized world for two hours. even Greenaway fans are not always suality culminate in Greenaway's with death and the architecture of With his intellectual and artistic per- in concert with his subjects and most recent film, The Pillow Book. Rome, to Drowning by Numbers, spective, Greenaway, in true auteur themes. The most frequently lauded I N an early synopsis of The Pil- with its macabre humor and formal- fashion, devises the screenplay and Greenaway film is The Draughts- low Book, Greenawaywrites, "I ized games, a Greenaway film burns elaborate storyboards, then directs man's Contract, a typically visually am certain that there are two sure into the brain. There is no escaping the actors and the collaborators who lush production that is, of course, and dependable excitements in the reality, there are no happy endings, add dimension and texture through about an artist (Greenaway did all the world—the pleasures of the flesh and but there is always an auteur's ver- music, dance, calligraphy, art direc- drawings for his main character). the pleasures of literature. It maybe sion of the human condition, often tion, costume design and lighting— It is rife with seduction, murder and a commendable ambition to bring bleak, always beautiful.

RUNNING HEAD: ttC FAANICLIN GOTHIC DEMI CONDENSED SUBHEAD: ITC AVANT GARDE GOTHIC MEDIUM TEXT! ITC BODONI TWELVE BOOK, BOOK ITALIC FACING PAGE TEXT: ITC LUBALIN GRAPH BOLD. BOLD OBLIQUE lAY: THE PAINTED FILM In a current design climate defined by computer-manipulated imagery and distorted, self-destructing fonts, it pays to be reminded of

the communicative power of a single, crystalline graphic idea. Saul Bass was the master of this form. His poster for Otto Preminger's 1955

film The Man with the Golden Arm, with its central fragmented illustration of a heroin addict's arm, was so strong that when the movie

opened in New York, the jagged arm was all that appeared on theater marquees.

Though Bass created a broad range of design work through his Los Angeles firm Bass Yager SI Associates, including many memorable cor-

porate identity programs, he is best known for his work in film. He is widely credited for elevating the motion picture title sequence to

an artform. Bass's vision was "like a jeweler's eye; a very patient jeweler's eye," said filmmaker Martin Scorsese at a memorial service held

in New York following Bass's death last spring. "He had a very disciplined sense of form. He could convey the sense of an entire film in a

short, very powerful unfolding of images:'

For Bass, a reductive approach to visual communication did not mean merely simplifying an idea. Both he and his wife and collaborator,

Elaine, strove to provoke an emotional and intellectual reaction. In Sight and Sound magazine he explained, "We see the challenge as

achieving a simplicity which also has a certain ambiguity and a certain metaphysical implication that makes that simplicity vital. If it is

simple simple, it is boring. We try to reach for an idea that is so simple it will make you think—and rethink:'

In Bass's view, a film's title sequence functions like an overture to an opera, capturing the essence of a film and piquing a viewer's inter-

est without disclosing too much of the storyline. For example, in the prologue for The Age of Innocence, Scorsese's 1993 film of Edith

Wharton's stringent comedy of manners, Bass featured a series of close-up shots of flowers opening luxuriantly in slow motion, superim-

posed on images of a panel of lace and hand-written lines from a 19th-century etiquette book. The effect of the textured imagery hints

at the tension between the simmering passion and the rigidly defined social mores and behavior in the film.

Bass preferred working with directors like Scorsese, Preminger and Hitchcock, because each viewed the title sequence as a separate

entity—as a film within a film. In an address opening his Masters Series exhibition at the School of Visual Arts in New York last March,

Bass explained that being thrust in the role of film-title auteur "creates a level of desire and anxiety that causes us to do our best work:'

Until Bass began collaborating with Preminger in the 1950s, most films began their reels with unremarkable title cards that were pro-

jected onto movie theaters' closed velvet curtains while the lights were still up. When The Man with the Golden Arm opened, Preminger

ordered projectionists to begin the film with the first frame of the titles.

Bass developed his signature style by identifying a film's core graphic imagery and emotional content and distilling it, taking full advan-

tage of the big screen's graphic impact. Often he focused on manipulating a central visual theme. In Hitchcock's Vertigo, it is a terror-

stricken eye: at first the film's title emerges from the pupil, then it is replaced by a spiral that looms closer and closer. Similarly, Scorsese's

1995 Casino opens with a sequence in which a mob figure does a stunning (and very Hitchcockian) free-fall through flames, which cut

to frames blazing with the pulsating neon lights of Vegas.

Bass achieved equal impact with type alone. Titles for Hitchcock's Psycho employ lines that streak across the center of the screen, break up,

then re-form to create the names of the actors, evoking the unsettled, fractured psyche of the protagonist. Before the opening scenes

in Scorsese's 1992 film Goodfellas, which show three mob members transporting a half-dead body in the trunk of their car, Saul and Elaine

Bass created titles in white type that zoom by on the black screen like cars passing on a dark highway.

It is Bass's modernist focus on detail that makes him a great visionary. His work is defined by the strong, single graphic image or concept:

the sprawled, segmented body on a poster for Anatomy of a Murder; the eyes of a prowling cat in titles for Walk on the Wild Side; the hands

kneading, chopping and stirring before a Sabbath dinner in the opening to Mr. Saturday Night; the end titles written in graffiti on a wall

in West Side Story. In creating these works, Bass delivered a graphic designer's sensibility to the cinema. This achievement is epitomized in

one of the crowning glories of his 45-year career: storyboarding and shooting the infamous shower sequence in Psycho. Although Hitch-

cock was a master of the long, uninterrupted shot, he was convinced by Bass to incorporate the graphic sequence the designer boarded

out and shot with Janet Leigh's stand-in. By showing the elliptical flash of a knife, the grimace of a mouth, the desperately groping hand,

Bass created one of the most terrifying scenes in film history, purely with suggestion.

Like the rare auteur in any media, Bass solved creative problems intuitively, and so found it difficult to articulate how he came up with

many of his ideas. As legend has it, when asked at a 1970s typography conference about the secret to his endless creativity, he answered

with a shrug typical of a native New Yorker, "You have good days, you have bad days:' But observers of Bass's oeuvre, and generations

of graphic designers and filmmakers influenced by his focused point of view would agree that this visionary had many good days indeed. 6. SAUL BASS'S MOVIN [ BY JOYCE RUlTER KAYE RUNNING HEADLINE/BYLINE: ITC FRANKLIN GOTHIC DEMI CONDENSED TEXT: ITC STONE SANS BOLD, BOLD ITALIC GLASSES: ITC AVANT GARDE GOTHIC EXTRA LIGHT; ITC KLEPTO CONS Book ITC LENNOX is the first original typeface by German designer Alexander Riihl. With a long history of digitizing ABCDEFGHIJKLMNOPORSTUVWXYZ typefaces for other designers (he worked for URW for seven years creating digital data for many ITC typeface designs), abedefghijklmnopqrstuvwxyz Ruhl decided to try his hand at designing a typeface him- self. The result, ITC Lennox, is a sans serif display face with 1234567890(".;:,*?{)!8$Y) a modern feel, yet is rooted in classical elements that give it a familiar quality and should ensure its longevity. Available [fiflitaqEce§tt] in Book, Medium and Bold weights, ITC Lennox is suitable for a wide variety of headline uses. RUM particularly likes the resilience of the book weight and the strength conveyed by the bold weight. Medium ABCDEFGHIJKLMNOPORSTLIVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890(".;:,*?ffi8$V) [fififfaelice§tt]

ITC FREDDO, a new typeface from New York designer Bold James Montalbano, was inspired by a sign lettering manual from the 1930s. Montalbano liked the basic character shapes ABCBEFGH1JKLMNOPQRSTUVWXYZ illustrated in this primer, but found many of the proportions to be very odd and in need of reinterpretation. The capitals, abcdefghijklmnopqrstuvwxyz for example, were nearly four times the size of the lowercase letters. Perhaps some of these oddities can be attributed to 1234567890[".;:,*?ffili$V) a change in brush for the sign painter, but for the purpose of his new design, Montalbano had to make adjustments for [fifl/twifoe§tt] more modern uses.

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While many type designs originate from subtle 111.34507S9C influences and inspirations unknown even to ("-;:,*?tPlEt$V) their designers, others do begin with a specific point of reference. In some cases it may be an actual piece of lettering from a bygone era; in others it may simply be the desire to reflect another stylistic period. These new ITC type- faces, from a display face based directly on a 1930s lettering primer to an original text face that recalls classic forms, are linked by their nostalgic origins. TIME ITC MUSICA and ITC STATIC are two designs revived from the type library of Master Eagle/Photo-Lettering for release 4.12 AABBCc in the ITC collection. ITC Musica, which came to Photo-Lettering as Bel Canto in 1968, has undergone a series of alterations for its contemporary release: the thins have been "heavied up; and the weights have been redrawn, reproportioned and reshaped to create a more balanced design. ITC Static, originally called DDEEFFGG Bounce, has been simplified in its design to allow for the conver- sion to digital format.

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ITC VINTAGE was a collaborative effort by California designer Holly Goldsmith with ITC's Director of Typeface Develop- ment, Ilene Strizver. The typeface was inspired by several character shapes discovered in an all-capital headline from a 1915 magazine advertisement. Working under the art direction of Strizver, Gold- U smith sketched the remaining caps in pencil on vellum, revising them several times before scanning them and adjusting the char- acter body proportions and stem weights in Fontographer. ITC Vintage captures the elegant, yet humanistic quality that caught Strizver's eye in the original lettering. The designers were able to preserve the fine, delicate and softly splayed hairlines and slightly bowed stems, as well as the slightly cupped shape of the stems, top and bottom. The resulting design is a classic and dignified headline design that suggests elegance and simplicity.

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-111-11E 13DEA1 for ITC J UAN I TA took shape during a long international flight on which Argentinian-born designer Luis Siquot was "reading" a novel narrated only with woodcuts. ITC Juanita is actually a series of six typefaces which Siquot calls a personal reinterpretation of some designs that originated in the 1930s and '40s and were still popular during his childhood in the 1950s. "For me, Juanita is like a toy—charming, expressive and also dramatic;' he says. While designing ITC Juanita, Siquot took advantage of the digital tools that allow designers to apply color to different parts of a let- terform. This series offers designers a range of variations based on similar structures, each with

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ITC KOKOA and ITC OUT OF THE FRIDGE (see next page) are the work of German graphic designerJochen Schuss. For ITC Kokoa, Schuss found the seeds of inspiration on a trip to Ghana, but the evolution of the design took place on the computer after a great deal of experimentation. It retains a certain primitive reference, but emerges as modern and even funky. The font also includes an array of Imaginative symbols and borders that invite designers to create a veritable tapestry of forms. ITC Out of the Fridge is, in the designer's words, fresh and cool" and works well where something modern yet "proper" is needed. 27 m Atqy Elko Ar.10 c4

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ITC AFTERSHOCK Longtime lettering artist Bob Alonzo describes ITC After- shock quite simply as a "happy" typeface. He wanted to create an animated design with a rough-edged, distressed quality to the letterforms. To give his design its ener- getic bounce, he added the cuts and scoring around the edges of the characters.

ITC IS ALSO INTRODUCING TWO NEW DESIGNFONTS, ITC TOTSPOTS AND ITC CONNECTIVITIES.

ITC TOTSPOTS is strictly child's play—from a diaper pin to alphabet blocks, ITC RIPTIDE is the result of an experimental process British designer Tim from a teddy bear to an inchworm. This collection contains all the images one needs Donaldson developed using a Waacom tablet and MacPaint. By following the for bringing up baby in a digital world. Designer Victor Gad, originally from Poland and flow of movement of his hand, he created a series of shapes that were set to now living in Canada, specialized in editorial illustration and has an extensive back- be filled in black. He kept drawing shapes, some of which worked as the basis ground in poster design. Gad's illustrations always maintain their original sketchbook of a letterform, to which he would then add the needed finishing elements to quality (despite their digital rendering), which give these images a clear, new style. complete the letter. Some letters emerged on the first pass, like the capital R, while others came after several tries. Donaldson did as little editing as possi- ITC CONNECTIVITIES designed by Teri Kahan of Hawaii, brings together a ble along the way, until the design was in Bezier form. potpourri of images that will come in handy for logos, brochures, flyers and will add impact wherever they're used. From imaginative variations on familiar symbols like ITC TEMBLE and ITC BELTER are two distinctive typefaces designed hearts, suns and stars to unusual renderings of concepts like the world on a platter by Andreu Balius and Joan Caries P. Casasin, partners in Typerware, a graphic and a message in a bottle, these bold illustrations provide many options for today's design firm in Barcelona. ITC Temble, created by Balius, draws influences from digital communications. the European mediaeval period of "King Arthur" and many of the associated All of the typefaces shown on these pages will be available to the public in various formats for the Macintosh and PC on symbolic images from that cultural era. The resulting design combines some of November 25. Only ITC Resellets and Licensees are authorized to reproduce and manufacture ITC typefaces. +-4

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.15111.;j1/?. tz-Ipt CAMERA LENS, OR AS TALENTED ON THE PIANO AS THEY ARE i1- ,1 J2 2_1 _;19 m m ON GUITAR. Computers, then, and the software that runs them, make fertile work environments for today's auteurs. Computer technology allows the mastery of multiple disciplines, can be used to experiment wildly without economic consequences (a desire of many earlier auteurs) and puts the virtual skills of countless technicians at the disposal %leis available at the following locations: of the user without the costs associated with hiring a work crew. But before we can speculate on how computers and computer software can

influence the auteurs of tomorrow, we must recognize that technology has already NORTH AMERICA bred its own set of auteurs. Though nearly all technology is the result of a compli- cated group effort, many of the best hardware and software products come from Untitled the vision of one person. These techno-auteurs have not only mastered the arcane 159 Prince Street skills of computer programming, but also have compelling artistic quests. Like New York, NY 10012 SOUTH AMERICA many auteurs, these modern artists are hardly appreciated in their time—their USA Phone: (212) 982-2088 talent and vision are taken for granted as we rip off the shrink-wrap and pop the Rio Books Fax: (212) 925-5533 computer disks into our machines. So with all due respect to the talented teams Largo do Machado 29 sala 508 Catere-Rio de Janeiro and companies behind our favorite technology I'd like to acknowledge some of Airbrush Empori um CEP: 22221-020 the individuals behind the products we use in our own struggles for expression. 130 Water Street #7 Brazil Vancouver, BC V6B 1B2 Phone/Fax: 55-021-590-8997 STEVEN JOBS Canada THE ORSON WELLES Phone: (604)685-9100 OF COMPUTERS Fax: (604) 685-3892 The parallels between two of my favorite auteurs, Orson Welles and Steven Jobs, EUROPE are many. Both completed their masterwork in their late twenties—for Welles, Citizen Kane, and for Jobs, the Macintosh. Both were arrogant, self-promoting and Tegnecenter Media Lab brash—traits often associated with great auteurs. And, in fairness, both probably St Kongensgade, 21 Via Masotto #21 took more credit for their respective work than was appropriate. But their talents DK-1264 Copenhagen K Milan 20133 cannot be diminished. When RICO Studios wanted Welles to hurry and finish Kane, Denmark. Italy he held his ground, fighting to keep control of his work. Jobs did the same at Apple, Phone: 45-33-14-90-33 Phone: 39-02-7000-1176 Fax: 45-33-11-90-33 Fax: 39-02-7010-4199 overcoming many obstacles from investors and even fellow employees who couldn't quite see the brilliance of the Macintosh. And both auteurs followed up their first Central Books Bruil & Van de Staad great work with something that, while critically praised, missed the mark finan- 99 Wallis Road Zuideinde 64 cially (The Magnificent Ambersons and the NeXT Computer). London E9 5LN 7941 GJ Meppel Welles, by the way, would have loved the Macintosh. With it he and his col- England The Netherlands laborators could have easily created the many printed props (newspapers, signs, Phone: 44 (0)181-986-4854 Phone: 31-522-261303 Fax: 44 (0)181-533-5821 Fax: 31-522-257827 titles, etc.) that are so prominent in his films. And for writing, storyboarding and scheduling, the Mac is the preferred tool in Hollywood—as necessary now in the Zwemmer Media Arts Dest Arte filmmaking process as the camera and clapboard. 24 Litchfield Street Armazem Parede London WC2H OBB Rua A Cava THE IMAGE England 2775 Parede EDITORS Phone: 44-171-240-4157 Portugal Would Ansel Adams, Imogen Cunningham and Alfred Stieglitz have used computer Fax: 44-171-836-7049 Phone: 351 (0)1-3470214 Fax: 351 (0)1-3475811 image-editing tools? I suspect so, especially if they knew of the auteurs behind La Hune Librairie the programs. 170, Boulevard Saint-Germain Paragraph International Tom Knoll, who did most of the development work on Photoshop, doesn't like 75006 Paris 32 Drasikova Street,19th Floor the hectic pace of Silicon Valley so he hangs out in his Ann Arbor, Michigan home, France Moscow,117418 satisfied to let his work speak for itself. He and his brother John not only opened up Phone: 33 (1) 45-48-35-85 Russia the world of image manipulation to millions, they defined many of the tools we now Fax: 33 (1) 45-44-49-87 Fax: 7-095-129 09 11 take for granted in other computer applications. Papasotiriou S.A. Berlin Libros Bruno Delean, 36, the French mathematician who dreamed up Live Picture, International Technical c/Cardoba, 17 wrote the software code for that brilliant program by hand in pencil at his grand- Bookstore 28770 Colmenar Viejo mother's remote cabin at Andorra in the Pyrenees mountains. He didn't even have Stournara 35 Athens Madrid a computer for the year and a half it took to finish—everything played out in his Greece Spain mind while the snowflakes fell outside his window. Fax: 30-1-364-8254 Phone: 34-1-8462971 And Fred Kreuger, who masterminded Macromedia's XRes, was a whiz in Fax: 34-1-8455922 Logos Impex [email protected] stock market arbitrage before he turned to computer programming (and the high Strada Curtatona 5/F stakes of the market caught up with him). 41010 San Domaso-Modena Paleda AB All three authors defy the typical image of the software programmer, and Italy 19124 Sollentuna all three bring a unique perspective to the task of manipulating images, both in the Phone: 39-59-28 02 64 Stockholm underlying technology and the all-important user interface. Fax: 39-59-28 16 87 or Sweden 39-59-28 05 07 Phone: 46 (0) 8-35 0100 CREATING Fax: 46 (0) 8-35 0014 A VIRTUAL CANVAS If you accept the theory that the ringing in Vincent Van Gogh's ear was caused by lead poisoning from the pigments in his oil paints, then you can't deny that had he been able to work on a Macintosh, running Fractal Design's Painter, he might not STORES! DISTRIBUTORS! To carry U&lc magazine, contact Rebecca Pappas at (212) 949-8072 Continued on page 35 JUJU UyIJU.I.C/U

ITC Esprit® ITC Honda® ITC Minska" itabaret" Etruscan" ITC Humana"' Mistral" Academy" Engraved Cabarga" Cursiva Expressions DF ITC Humana" Sans ITC Mithras" Agincourt" Calligraphic Ornaments DF ITC Humana" Script ITC Mixage® ITC Aftershock" Campaign"' Fiithful Fly" Mo' Funky Fresh" ITC Airstream" Cancellaresca" Script ITC Farmhaus" atius" Mo' Funky Fresh" Symbols DF ITC Aki Lines® ITC Caribbean" Fashion" I m pakt- ITC Modern No.216® Algerian" Condensed Carlton" ITC Fat Face® Incidentals DF Moderns DF Ambrose" Carumba" ITC Fenice° Industrials DF ITC Mona Lisa® ITC American Typewriter® Caru mba Hot Caps" Figural" Indy" Italic Montage" ITC American Typewriter° Caslon 540 Italic &Swashes Fine Hand"" Informal" Roman ITC Motter Corpus" Condensed ITC Caslon No. 224® ITC Firenze° Inscription" ITC Musica" ITC Anna® Caxton"" Flamenco I nline- Inspirations DF Aquinas'" Celebrations DF Flamme" Iris I NaNaturals DF Aquitaine' Initials ITC Century° Flight" ITC Isadora® Neo Neo"" Aristocrat- ITC Century® Condensed Fl ing- ITC Isbell° ITC Neon® Arri ITC Century° Handtooled ITC Flora° ITC Newtext° Arriba-Arriba- ITC Cerigo" Follies" Italia— ITC Novarese® Artiste" Challenge'" ITC Fontoon" Attitudes DF Champers" ITC Fontoonies" DF I ITC J aft— oNsitron" Augustea Open Charlotte" Forest" Shaded ITC Jambalaya" Odessa" ITC Avant Garde Gothic® Charlotte" Sans Frances" Uncial ITC Jamille" ITC Odyssee" ITC Avant Garde Gothic° ITC Charter"" Frankfurter" Jazz" ITC Officina Sans"' Condensed ITC Cheltenham° ITC Franklin Gothic° John Handy"' ITC Officina Serif" Avenida"' ITC Cheltenham° Condensed ITC Franklin Gothic® Jokerman" Old English" Corn pressed ITC Cheltenham® Handtooled Journeys One Stroke" Script fibBackyard Beasties" ITC Franklin Gothic® I Chiller" ITC Juanita" Orange"' ITC Bailey" Quad Bold Condensed Chipper" ITC Orbon" ITC Franklin Gothic® ITC Bailey" Sans I abel® Organics DF Choc X-Compressed Balmoral"' ITC Kallos" Organics 2 DF Chromium" One ITC Freddo" Bang" Kan ban"" Orlando" Citation" Freestyle" Script Banner" Katfish- ITC Out of the Fridge" Claude Sans" Friz Quad rata ITC Barcelona° ITC Kick" ITC Ozwald° ITC Clearface® Toks ITC New Baskervi Ile® Klee" Commercials DF IWGalliard® ITC Bauhaus° ITC Klepto- lo Commercial Script ITC Gamma° Becka" Script ITC Kokoa® ITC Pacella° Compacta" ITC Garamond° ITC Beesknees° ITC Kristen"' ITC Panache® ITC/LSC Condensed° ITC Garamond° Condensed ITC Belter" Papyrus"' ITC Connectivities— DF ITC Garamond® Handtooled Belwe" sam ba"" Party" Coptek" ITC Garamond° Narrow Bend igo" Lambada" Pend ry" Script Corinthian" ITC Gargoonies" DF ITC Benguiat° Laser"' Pink"' Crillee" Gigi" ITC Benguiat° Condensed Latino" Elongated ITC Pioneer° Cult" Gilgamesh" ITC Benguiat Gothic® Laura— Plaza— ITC Cushing® Gill Display Compressed Bergel LCD" Pleasure" Bold Shaded Gill Kayo Condensed ITC Berkeley Oldstyle® Le Griffe" Pneu ma" I ait ci Gillies Gothic ITC Bernase Roman° Data 70" Extra Bold Shaded ITC Leawood® Prague" Bertie" ITC Dave's Raves"' One DF ITC Giovanni"' ITC Legacy® Sans Premier" Bertram"" ITC Dave's Raves"' Two DF Glastonbury" ITC Legacy® Serif Primitives DF Bible'" Script & Flourishes ITC Dave's Raves" Three DF ITC Golden Cockerel" ITC Lennox" Princetown" Bickley" Script Delectables DF ITC Golden Cockerel"' Initials Lexikos" Pristine' Bitmax" Demian" ITC Golden Cockerel"' Lightnin'" Pritchard" ITC Blackadder" ITC Didi° Ornaments Limehouse" Script Pump"' Blackmoor" ITC Digital Woodcuts" ITC Golden Type" Lino Cut" ITC Blaze" ITC Gorilla® Digitek- Locarno drus" BI u ntz" ITC Di nitials" ITC Goudy Sans° ITC Lubalin Graph° ITC Quay Sans" ITC Bodoni" Seventy-Two Diversions DF Gravure' ITC Lubalin Graph° Quixley" ITC Bodoni"' Twelve Condensed Diversities DF Green" ITC Quorum® ITC Bodoni"' Six Dolmen" Greyton" Script ITC Bodoni Ornaments" chine® Dynamo Shadow ITC Grimshaw Hand" dicals DF ITC Bodoni Brush" ITC Grizzly° ITC Rennie Mackintosh" Rage— Italic Boink" ITC Rennie Mackintosh"' tics DF ITC Grouch® Ragtime"" ITC Bolt Bold® Ornaments Edwardian" Medium Rapier'" ITC Bookman° Malibu"' ITC Edwardian Script"' eld" Refracta- Bordeaux" ITC Malstock- ITC Elan° Hand Drawn Regatta" Condensed ITC Bradley Hand" ITC/ LSC Manhattan® ITC Ellipse" Harlow" ITC Rennie Mackintosh" ITC Braganza" Marguerite' Elysium"' Harvey" ITC Rennie Mackintosh"' Brighton" Mastercard" Ornaments Emphasis" Hazel" Bronx" ITC Matisse" ITC Riptide" Energetics DF Heliotype" Mekanik" Burlington" Helvetica Condensed Retail" Script Enviro" ITC Mendoza Roman® ITC Busorama° ITC Highlander" Retro"' Epokha" Buzzer Three"" Milano"' Riva" Equinox'" Highlight" ITC Milano° Robotik" ITC Eras° Hollyweird"

32 V;

Rom lc"' ITC Stone Serif® Phonetic ITC Resellers ITC typefaces, including the Fontek® collection, are available from a worldwide network ITC Ronda® Strobos''' I Van Dijle" of font resellers. These resellers, who are listed below, offer ITC typefaces in a variety of Roquett' ITC Studio Script® Varga"' digital formats forvarious computer platforms. If not included in the company name, we Ru'ach"' ITC Stylus"' Vegas" have listed the country where each reseller is located. Many of these resellers, however, provide fonts to end users in several countries. Many also offer their fonts through Rubber Stamp"' ITC/LSC Stymie Hairline® ITC Veljovic® other resellers and distributors. If you have any questions about how to acquire ITC Rundfunkr" Superstar ITC Verkehr"' typefaces, please contact your nearest reseller or contact ITC at (212) 949-8072. ITC Symbol® Vermont" Santa Fe- Synch Victorian"' Adobe Systems Europe Ltd. Image Club Graphics (Canada) Savoye ITC Syndor® Vienna"' Extended (UK) T: (403) 262-8008 or Adobe Scratch"' ITC Viner Hand"' T: 011-44-131-453-22-11 (800) 661-9410 Scribe' ITC Vintage"' http://www.adobe.com F: (800) 814-7783 Sc ri ptease Tannhauser" http://www.imageclub.com ITC Vinyl"' Adobe Systems Inc. (USA) Scriptek"' Teknikr" T: (408) 536-6000 or Letraset Letraset Australia Adobe Scruff' Telegram"' (800) 833-6687 T: 011-61-2-99-75-1033 F: (408) 536-6799 F: 011-61-2-451-1815 ITC Serengettin" ITC Temble I '"Sans http://wwwadobe.com ITC Serif Gothic® ITC Tempus"' Wanted"' Letraset Letraset Denmark Shaman"' ITC Tempus Sans"' Waterloo"' Bold AGFA. Agfa Division/Bayer Corp. (USA) T: 011-45-42-84-93 00 T: (508) 658-0200 F: 011-45-42-91-0614 Shatter' ITC Tiepolo® ITC Weidemann® F: (508) 988-9130 Sinaloa"' ITC Tiffany Well Beings DF http://wwwagfahome.com Letraset Letraset Deutschland GmbH Skid Row" Tiger Rag'" Westwood"' (Germany) Bitstream Inc. (USA) T: 011-49-69-42-09-94-22 ITC Skylark"' Tiranti"' Solid Wild Thing"' T: (617) 497-6222 F: 011-49-69-42-09-94-50 ITC Slimbach® • ITC Tom's Roman® Wildlife DF F: (617) 868-4732 Slipstream'" ITC TotSpots'" DF http://www.bitstream.com Letraset Letraset Export (UK) T: 011-44-1233-62 4421 S m acle" Trackpad"' ITC Wisteria"' A\ Elsner+Flake Designstudios F: 011-44-1233-64 6903 Smudger- Tropica"" Script (Germany) ITC Snap"' ITC True Grit"' T: 011-49-40-3988 3988 Letraset Letraset Italia srl (Italy) T: 011-39-2-392-16677 ITC Souvenir® Twang"' F: 011-49-40-3988 3999 http://www.tripledick.de/ F: 011-39-2-392-16135 ITC Spirit"' Type Embellishments One YSung Baroque"' fontin form Spooky"' Type Embellishments Two Letraset Letraset Nederland BV (The Netherlands) Spotlight"' Type Embellishments Three 0 ESSELTE Esselte SA (France) I ACr7 Zapf Book® T: 011-31-10-458-0311 Squire" T: 011-33-1-44-85-1759 ITC Zapf Chancery® F: 011-33-1-42 2989 44 F: 011-31-10-4580-610 ITC Static"' ses'" ITC Zapf Di ngbats® http://www.esselte.com Letraset Letraset USA ITC Stone Informal® University"' Roman ITC Zapf International® 0 ESSELTE Esselte SA (Spain) T: (800) 342-0124 ITC Stone Sans® ITC Uptight Regular® Zaragoza"' T: 011-34-1-381-4736 F: (201) 845-5047 ITC Stone Sans® Phonetic Urbans DF Zen nor' F: 011-34-1-381-5120 http://www.letrasetcom ITC Stone Serif® ITC Usherwood ® Zinjard'" F A (- E S Faces, Ltd. (UK) Linotype-Hell Linotype-Hell AG (Germany) T: 011-44-1276-38888 T: 011-49-6196-98-2731 F: 011-44-1276-38111 F: 011-49-6196-98-2194 http://www.linotype-heltde HON1 FontHaus (USA) HAUS T: (800) 942-9110 Linotype-Hell Linotype-Hell Co. (USA) F: (203) 367-1860 T: (516) 434-2000 The 1996-97 ITC Typeface Catalog is a handy reference, containing character showings foi http:// users.aol.com/fonthaus F: (516) 434-2720 more than 1,000 ITC typefaces, including the award-winning Fontek display typeface collection. Included as part http://www.linotype.com of the Fall 1996 issue of Ufilc, the catalog is divided into several categories: serif, sans serif, display, and orna- FontShop Australia ments and illustration fonts. T: 011-61-3-9388-2700 Monotype Typography Inc. (USA) The catalog issue of LIFtic is available from ITC for $8.00 per copy in North America, and $10.00 elsewhere F: 011-61-3-9388-2818 T: (847) 718-0400 or (price includes shipping). Payments received from outside of the U.S. must be in U.S. dollars, drawn on O.S. banks. (800) 666-6897 FontShop BVBA (Belgium) F: (847) 718-0500 ITC also accepts international money orders, Visa, Mastercard and American Express. To order, complete the T: 011-32-9-220-26-20 http://www.monotype.com coupon below and mail, fax or e-mail to the address below. Offer valid while supplies last. F: 011-32-9-220-34 45 ITC Typeface Catalog, International Typeface Corporation, 228 East 45th Street,12th Fl., New York, NY10017 Monotype Typography Ltd. (UK) FontShop Canada T: 011-44-1737-765-959 Fax: [212) 949-8485 Phone: [212) 949-8072, ext. 131 E-mail: [email protected] T: (416) 364-9164 F: 011-44-1737-769-243 F: (416) 364-1914 http://www.monotype.com

SHOP Font FontShop France Paleda AB (Sweden) NAME TITLE T: 011-33-1-43-06 92 30 T: 011-46-8-350100 F: 011-33-1-43 06 54 85 F: 011-46-8-350014 COMPANY http://www.fontshop.jca.fr ParaGraph International PHONE FAX F-MAIL FontShop GmbH Berlin (Germany) (Russia) T: 011-49-30-69 58 95 T: 011-7-095-129-1500 ADDRESS F: 011-49-30-6-9288 65 F: 011-7-095-129-0911 http://www.fontshop.de http://wwwparagraph.com/ CITY S SATE paratype FontShop International (Germany) T: 011-49-30-69 37 022 COUNTRY ZIP/POSTAL CODE Precision Type (USA) r i s T: (800) 248-3668 FontShop Norway/Luth & Co ❑ F: (516) 543-5721 Check/money order for $ is enclosed. (U.S. Banks Only) T: 011-47-22-32 29 10 Please make checks payable to International Typeface Corporation. Federal ID # 132 703892 F: 011-47-22-30 68 85 Treacyfaces, Inc. (USA) ❑ Charge my: ❑ Visa T: (203) 389-7037 rFonall FontWorks Ltd. (UK) ❑ MasterCard F: (203) 389-7039 T: 011-44-171-490-53 90 http://www.treacyfaces.com ❑ AmEx F: 011-44-171-490-5391 http://wwwtype.co.uk TypeUSA T: (800) 897-3872 NAME AS IT APPEARS ON CARD EXPIRATION DATE Graphic Arts Products (PTY) Ltd. F: (312) 360-1997 (South Africa) T: 011-27-11-887-6410 SIGNATURE (Signature required for acceptance) DATE F: 011-27-11-440-4932

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Now Any Graphic Is Just A Keystroke Away. and adjust it by point size. You can create ding- created in FreeHand with Shockwave." The whole idea of getting your graphics from a bats, fractions and foreign language characters. So here's our top story: try the Fontographer font menu may sound a little shocking. Autotrace scanned images. Change the weight of demo on our Showcase CD, absolutely risk-free. But once you see how fast and easy it is with your existing fonts. Create your own kerning pairs. Fonts and graphics together at last. Now that's Fontographer,® you'll be hooked. That's because Make a handwriting font out of your signature. Or what we call front page news. Fontographer lets you use high-res PostScript® even use your fonts in Director® and Authorware® graphics the same way you use fonts. So now you Anywhere you use fonts, on Mac or Windows, you Call 1-800-806-4218 For A FREE Showcase CD` can place your client's can use Fontographer. From print to multimedia http://www.macromedia.com/ eb logo with a keystroke and all the way to the Internet, with Web pages

i410114- ,4 Get Fontographer in the FreeHand Graphics Studio;"'* which also includes FreeHand" ✓aciarne(iJ with Shockwave, Extreme 3D7and Macromedia xRes." Sliockwave MACROMEDIA Tools To Power Your Ideas - *Offer good in US. and Canada only. Outside the US, Canada and Europe, call 1-4H-252-2000. Or FAX us at 1-415-626-0554.1n Europe, oil .44-0)1344 45E600. Fa education resellers, cat 1-800275-1564.**Macromedia reserves the right to s_totitute products in the Studios at any time. Farts courtesy of Font 8ureau and The Electric Typographer. Macromedia, the Macromedia logo, Director Authaware, and Fontographer are registered trademarks and FreeHand Graphics Studio, FreeHand Extreme 3D, Macromedia xRes, Shodrwave, Tools To Power Your Ideas, and Showcase are tradernarlq of Macromedia Inc. All other brand or product names are the property of their respective oviners. al 1996 Marsomedra, Inc MI rights reserved Circle 9 on Reader Service Card

United States Postal Service STATEMENT OF OWNERSHIP, MANAGEMENT, AND CIRCULATION (Required by 39 USC. 3685) 1. Publication Title 2. Publication Number 3. Filing Date U & Lc (Upper and Lower Case) 0681 -330 10/16/96 4. Issue Frequency 5. Number of Issues Published Annually 6. Annual Subscription Price Quarterly 4 (Four) $10.00 7. Complete Mailing Address of Known Office of Publication (Not printer) (Street, city, county, state and ZIP-r4) Contact Person ARE YOU International Typeface Corporation Rebecca L. Pappas 228 East 45th Street, 12th Floor Telephone New York, NY 10017-3303 (212) 949-8072 8. Complete Mailing Address of Headquarters or General Business Office of Publisher (Not printer) International Typeface Corporation 228 East 45th Street, 12th Floor PLARN_IN_G New York, NY 10017-3303 9. Full Names and Complete Mailing Addresses of Publisher, Editor, and Managing Editor (Do not leave blank) Publisher (Name and complete mailing address) Mark Batty, Executive Publisher International Typeface Corporation, 228 East 45th Street, 12th Floor, NewYork, NY 10017-3303 TO MOVEr Editor (Name and complete mailing address) Margaret Richardson InternationalTypeface Corporation, 228 East 45th Street, 12th Floor, New York, NY 10017-3303 Ete sure to take tae Managing Editor (Name and complete mailing address) Joyce Rutter Kaye International Typeface Corporation, 228 East 45th Street, 12th Floor, New York, NY 10017-3303 10.0wner (Do not leave blank. If the publication is owned by a corporation, give the name and address of the corporation immediately followed by the names and addresses of stockholders owning or holding 1 percent or more of the total amount of stock If not owned by a corporation, give the names and addresses of the in dividual owners. If owned by `Width gout a partnership or other unincorporated firm, give its name and address as well as those of each individual owner. If the publication is published by a nonprofit organization, give its name and address.) Full Name Complete Mailing Address Esselte Letraset Esselte House 4 Buckingham Gate M_Qv q Da re: London SWIE 6JR England 11. Known Bondholders, Mortgagees, and Other Security Holders Owning or Holding 1 Percent OLD Address_ (Please print or attach mailing label) or More of Total Amount of Bonds, Mortgages, or Other Securities. If none, check box ■ El None Full Name Complete Mailing Address NONE 12.Tax Status (For completion by nonprofit organizations authorized to mail at special rates) (Check one) Name Title The purpose, function, and nonprofit status of this organization and the exempt status for federal income tax purposes: ❑ Has Not Changed During Preceding 12 Months Address ❑ Has Changed During Preceding 12 Months (Publisher must submit explanation of change with this statement) 13.Publication Title 14. Issue Date for Circulation Data Below U&lc (Upper and Lower Case) 8/29/96 15.Extent and Nature of Circulation Average No. Copies Each Issue Actual No. Copies of Single Issue During Preceding 12 Months Published Neareast to Filing Date (Net Press Run) 121,301 136,125 City State Postal/Zip Code a. Total Number of Copies b. Paid and/or Requested Circulation (1) Sales Through Dealers and Carriers, Street Vendors, Country and Counter Sales (Not mailed) 19,916 26,916 (2) Paid or Requested Malt Subscriptions (Include advertiser's proof copies and exchange copies) 78,287 71,724 NEW Address- c. Total Paid and/or Requested Circulation [Sum of 156(1) and 15b(2)] ► 98,203 98,640 d. Free Distribution by Mail (Samples, complimentary, and otherfree) 9,719 12,879 Name Title e. Free Distribution Outside the Mail (Carriers orother means) N/A N/A f. Total Free Distribution /Sum of 15d and 15ej ► 9,719 12,879 g. Total Distribution [Sum of 15c and 15/7 107,923 111,519 Address ► h. copies not distributed (1) Office Use, Leftovers, Spoiled 13,379 24,606 (2) Returns from News Agents N/A N/A Total [Sum of 15g, 15h(1), and 15h(2)] ► 121,301 136,125 Percent Paid and/or Requested Circulation 05c//5g x 100] 91.02% 88.45% City State Postal/Zip Code 16. Publication of Statement of Ownership X Publication required. Will be printed in the Winter, 1996 issue of this publication ❑ Publication not required. Country 17. Signature and Title of Editor, Publisher, Business Manager, or Owner Date Rebecca L. Pappas, Associate Publisher 10/16/96 Fax to 212.949.8485 or mail to U&/c PO Box 129, Plainview, NY 11803-0129 I certify that atlinformation furnished on this form is true and complete. I understand that anyone who furnishes false or misleading information on this form or who omits material or information requested on the form may be subject to criminal sanctions (including fines and imprisonment) and/or dWl sanctions (including multiple damages and ciWl sena hies). PS Form 3526, September 1995 Continued from page 31 have made that fateful cut. Van Gogh, Picasso, Miro—all of them would have loved Painter. For an artist, particularly one who uses many media, Painter is the near- perfect tool. Not only can you pick from virtually any support, but you can work in This issue of U&Ic, like every one since the first oil, watercolor, chalk, pencil—you name it. You can even design your own brushes in 1973, was printed by as you go—something many of the best painters did in their time. YOU'RE us—Lincoln Graphics. So it should be no surprise that the man behind Painter, Mark Zimmer, is a Every page tells you why talented artist himself, and according to a bio on his Web page, "the first to apply we continually win awards procedural fractal textures to surfaces using normal vector modulation back in HOLDING for printing excellence from 1981:' The facilities at Fractal are hardly like most computer companies—much of organizations such as PIMNY, AIGA, and PIA. the product development happens in a "natural media lab" where paint and other And if we print this well on pigments are brushed, sprayed, squeezed, spread and hurled on the wall to study OUR newsprint, imagine what how they act. Zimmer and his crew believe that if you don't understand art-making, we can do on top quality you couldn't possibly design tools for artists. That might explain Zimmer's interest paper. in musical composition, playing the piano and collecting rare, ancient manuscripts. SALES Whatever your printing needs—publications, cata- TOOLS FOR logs, brochures, inserts— THE IMAGINATION BROCHURE we provide total service. From concept, through Perhaps the most recognized auteur of software is German-born Kai Krause, the production, to mailing. man behind the many wonderful products of MetaTools. Krause is an artist, musi- When you've finished read- cian (he studied classical piano), filmmaker (he won awards for his special-effects ing our sales brochure, call work on Star Trek, The Movie), and brilliant programmer whose interface designs us at 516-293-7600. have changed the way many people think about how computers work. Kai's Power Tools for Photoshop, the 3-D program KPT Bryce, KPT Convolver, KPT Vector Effects and the fun new Kai's Power Goo, are programs that force you to think creatively. zncoliz 'Mks If Salvador Dail were still alive, he'd be a big Krause fan—those melting clocks and inc bizarre landscapes would be a snap with Krause's tools. And like all great auteurs, 111 Krause's work is unmistakably his own—from the unique interface designs to the Lincoln Graphics, Inc. imaginative functionality. Most people would never dream they need these tools, but 1670 Old Country Road once they get them, their imaginations run wild. Plainview, New York 11803

THE AUTEUR XPRESSES HIMSELF Circle 10 on Reader Service Card Why did QuarkXPress so quickly overtake PageMaker in the page-layout wars of the 1980s? I think it's because PageMaker was the effort of a group of software programmers, while XPress was the brainchild of single auteur Tim Gill—who still oversees engineering and product development at Quark. If it were me, I would Whoever have taken the hundreds of millions of dollars Gill is rumored to have earned on XPress and beat it. But the mark of a true auteur is complete dedication to his or her craft—and there is no denying that Gill has that. XPress is Gill's masterwork II)114es Wigs (the company is named after the hypothetical subatomic partical), and like many great masterworks, it may never be finished. Gill, who lives and works in Colorado, is another auteur who lets his work speak for itself—you won't hear a lot of public relations hype out of Quark. And if first reports are any indication, it looks like Gill's other baby, Quark- Immedia, is another great work. This set of add-on programs to XPress allows for the creation of interactive documents from within the familiar XPress tool set— it's bound to create a whole generation of multimedia auteurs who otherwise couldn't express themselves.

TOOLS, NOT TALENT ITC Frtdd^M Of course these brilliant software tools can't make artists where none exist. But if exposure to artistic tools is an important factor in developing talent, the computer Terrasirstall Design's latest should have a tremendous effect on art in the future. If nothing else, computer tech- typeface is available from nology will allow modern auteurs to be more productive—just imagine how many licensed ITC resellers. more type designs Eric Gill or Frederic Goudy might have produced had they had reiTifri c- r ()t-; ,- -- t Ff. Fontographer at their disposal. Or would the tools have changed their contribution Digital Type Ft ILeitteriing Design to type development in a negative way? (Zamailliitej Digitization In many ways the computer at the turn of this century is like the motion ized picture camera was at the beginning of the last—a new artform waiting to be Custom Ocerrairsq exploited. There is no doubt that the Hitchcocks, Fords, Goddards and Welleses of the future are cutting their teeth on Doom and Myst today. col onrwscil *i este rpeArit.irseit

Gene Gable is publisher of Publish magazine. Circle 11 on Reader Service Card