Aa Bb Cc Dd Ee Ff Gg1-11 -11iJj Kk LI Mm Nn Oo Pp Qq RrSsTt UuVvWwXxYy Zz1234567890&/ECEW£70!?( )[] PUBLISHED BY THE INTERNATIONAL CORPORATION. VOLUME ONE, NUMBER ONE , 1973 UPPER AND LOWER CASE, THE INTERNATIONAL JOURNAL OF TYPOGRAPHICS

In this issue: ' and the Information, Typography and the New Technologies New Technologies Please A retrospective by Aaron Burns of the development of the emerging technologies in the 20th Century; the challenges, the opportunities. Information, Please a The New York Times Information Bank is a hen I went to uppose that you computerized system that can help you find out art school, I learned that many of my fel- wonted to find out... WHO is the new head of the low students had problems when it came Johnson Foundation? everything about anybody or anything— to drawing certain parts ofthe human ana- WHAT were the basic terms of the General that was reported in a newspaper or magazine. Motors-Curtiss-Wright agreement for the Wonkel tomy. They simply could not draw hands engine? Stop the "Perpetrators" or feet. WHEN was the Amchitka otomictestconducted? I first became conscious of their diffi- WHERE will Swindell-Dressler Company build a A scathing indictment by Edward Rondthaler of culties when I noticed that the people steel foundry in Russia? the unscrupulous typeface design pirate companies who appeared in their layouts never had WHY did Secretary Volpe sign a transportation which unconscionably copy for cut-rate sale hands or feet. Hands always seemed to research agreement with the Polish Government? the original work of creative artists. be behind peoples' backs or in pockets. HOW did Martha Mitchell come to blow the Feet were always out of view, either be- whistle on the Watergate? Answer: What's so Hot about Robert Indiana? hind a desk, or the people were cropped You'd merely consult the remarkable new In- New York Times Art Critic John Canaday at the waist or knees. formation Bank of The New York Times. with some biting observations on the work of this People, however, do have hands and This eminent newspaper has recently taken painter, with a comparison by a graphic designer feet, and very often they must be shown. a giant step into the 21st Century with the intro- The advertisements created by these stu- duction of the world's first computerized system of how"love" really should be. dents very often suffered as a result of for the storage and retrieval of the richly varied contents of newspapers and magazines. Art and Typography these simple but important handicaps. CONTINUED ON 11 Willem Sandberg, former Director of Amsterdam's CONTINUED ON PAGE 3 Stedelijk Museum, considers the function of the artist in society and in the shaping of new communications Stop the What's so Hot about patterns. "Perpetrators" Robert Indiana? Is Avant Garde avant garde? Presenting the story behind this ITC typeface, how it came to be designed by Herb Lubalin, and why he thinks maybe it should never have happened. anger. lot of friends in My Best with Letters This article has been labeled "Stop the advertising—talented designers all—have been Four famous designers offer their one"best" piece Perpetrators" for good reason. talking to themselves lately. "What," they want of typographic art. The alarm is genuine. to know, "is so hot about Robert Indiana?" No adequate law protects the type de- "What's he got that we haven't?" they want to Young Typography signer or photocomposing machine manu- know. "Look," they say, "we turn out designs facturer from unauthorized duplication of like his—only better—every day in the week." Featuring each issue the best, the most unusual, the machine's most vital part: the typeface the most significant work being done by students or negative. Unauthorized contact "What's so special about Robert Indiana?" throughout the world. duplication of these critical negatives has What indeed. reached dangerous proportions, and the I was mulling this over the other day when The Spencerian Revival graphics industry can no longer afford, I came across an article by New York Times Tom Carnase, one of the foremost designers of ostrich-like, to disregard the demoralizing Art Critic, John Canaday. Mr. Canaday was effect it is having on creative talent. It is a exploring this very idea. He'd just been to a letterforms, has created a trend back to Spencerian blight on the industry's legitimate business recent new exhibition at the Denise Rene Gal- through his artful handling of this form. practices, and bringing it under control is a lery in New York, which was presenting a one- worthy endeavor calling for the concerted man show of Indiana's designs, and he hadn't Corporate Design is Big Business O effort of all. But more about that later; here is And small business. Both are finding that the image the background: gotten over it yet. We operate in a free system where ethics For the uninitiated, Robert Indiana is the they present to the public is becoming more and more and law contribute mightily to the function- creator of LOVE, that cleverly-arranged four

a factor in their successful growth. The first article CONTINUED ON PAGE 7 on corporate design is by Lou Dorfsman, Design CONTINUES:. ON PAGE 2 Director, Columbia Broadcasting System. The second by Ernie Smith, Proprietor of Port Jerry, a rustic resort. art and typography A Satire of Newspaper Logos let us consider first the function of the artist in society. The prominent illustrator and satirist, Chas. Slackman, the men who handle the antique furniture in my museum have depicts his graphic impressions of the nature of some developed a vocabulary of their own when they speak of styles. of our most prominent newspapers through the they call louis XIV: louis with the twisted legs louis X\/: louis with the bow legs redesign of their logotypes. louis louis with the straight legs Non-Communication • now the legs of these kings, i guess, actually did not differ so much from each other. Ed Sorel, one of America's foremost satirists, expresses but it was nor the kings who created these styles; it was the artists, the architects, the painters and sculptors, his views on the subject of non-communication in the musicians and the authors who tried to render the essence of no uncertain terms. These fascinating drawings will the epoch, who made the impact of a certain period visible, audible, perceptible. be a regular feature in "U&lc." the artist creates the face of society; his work enables us to revive the past. What's New from ITC to cite an example, the paintings and posters of toulouse-lautrec A first-time showing of the newest creations of ore for us the incarnation of Paris around 1900. typeface designers to be offered by ITC to the world how does this come into being? buying public through ITC Subscribers. PAGE 20 CONTINUED ON PAGE IS

2

VOLUME I NUMBER 1, 1973

HERB LUBALIN, EDITORIAL & DESIGN DIRECTOR AARON BURNS. EDITORIAL DIRECTOR ED RONDTHALER, EDITORIAL DIRECTOR JACK ANSON F1NKE, ASSOCIATE EDITOR JO YANOW, EDITORIAL ASSISTANT ELLEN SHAPIRO, ART & PRODUCTION EDITOR JOHN PRENTKI, BUSINESS AND ADVERTISING MANAGER

- U&LC" COI, YRIGHT. 1973 AND PUBLISHED BY INTERNATIONAL TYPEFACE CORPORATION, 216 EAST 45TH STREET, NEW YORK, N.Y. 10017 AJOINTLY OWNED SUBSIDIARY OF PHOTO-LETTERING, INC. AND LUBALIN, BURNS & CO., INC. BOARD OF DIRECTORS EDWARD RONDTHALER, CHAIRMAN AARON BURNS, PRESIDENT HERB LUBALIN, EXECUTIVE VICE PRESIDENT JOHN PRENTKI, SECRETARY/TREASURER BOB FARBER. SENIOR VICE PRESIDENT ED BENGUIAT, VICE PRESIDENT STEPHEN KOPEC, VICE PRESIDENT

y Ileac?

Stop the "Perpetrators" But now a new technique has entered the CONTINUED FROM FIRST PAGE The world of graphic arts is alive today with industry. Photography. Phototypography ing of business. Business law has built our opens up new availabilities. Good and bad. new technological advances, so vast and great economic machine, but it is our day- Type pirating is no longer expensive, and as difficult to comprehend, that they strain the by-day ethic that provides the oil to keep long as the law lags behind technology, the giant from grinding to a halt. Some years type pirating will be legal. The develop- imagination of even the most knowledgeable ago a popular treatise on economics — aptly ment of photographic equip- and creatively gifted among us. New named "The Promises Men Live Br-pointed ment has sparked a rash of new machines out that law alone is not enough to keep our which use an inexpensive font negative materials, new tools, new ways to plan economy healthy. Widespread voluntary rather than the costly matrices of hot metal. work are becoming mandatory for efficiency, adherence to moral and ethical business Ironically, photography has been the tech- principles is the lubricant that makes the nological salvation of the typesetting busi- quality, economy—presenting problems for whole thing work. ness, but when used unethically it can rob all — printers, typesetters, artists, writers, Every enterprise needs ready access to the type designer of his livelihood. It can do the tools of its trade— in this case . worse than that. It is now threatening to throw advertisers, publishers — all the creative But if this need is satisfied through unethical the creative arm of the industry into chaos. people who have anything to do with prepa- means, particularly when there is an ethical The perpetrators of this situation are the alternative, then we are in trouble. When a unauthorized film font duplicators—better ration of the visual word. thief takes pennies from a newsstand, it's described as "contact-copiers." Their work called stealing. But when a duplicator lifts is as easy as it is cunning. From a co-con- How to keep up? How to stay in touch with design material without paying for it, it is spirator the copier borrows or buys an orig- folly to condone the act with the half-excuse inal font negative upon which many thou- what is current? How to plan for tomorrow? "It's not illegal." Under our present laws it's sands of dollars have been spent in creative To envision a future essential to decision- not illegal, but it's highly unethical. design, in microscopic placement of letters, Protecting a from piracy is a in unit modification and fit, in grid pattern making today? problem as old as typefounding itself. The and technical layout. With one quick flash alphabet has never enjoyed much legal he duplicates everything. It is a highly lucra- Vital questions for the interested professional. status. Type designer and manufacturer tive business since each contact copy— Yet where can he find the most recent infor- have long been victims of this unfortunate made for pennies— is sold for twenty or even situation. (A parallel condition plagues the fifty dollars to the unwitting typographer mation on trends, styles, fashions? Where fashion industry where brilliant creations by who, incidentally, would never dream of can he read about all and everything that is eminent couturiers are quickly copied and buying counterfeit $20 or $50 bills. Indeed mass produced.) Even so—until recently— unauthorized duplication has much in com- happening in the graphic arts and sciences? the enormous cost of engraving duplicate mon with counterfeiting: both depend upon matrices gave a certain minimal protection the use of unauthorized originals, both util- To help make this broad body of knowledge to metal type. Enough, at least, to discour- ize photography, and in both the cost of age piracy of all butthe most popular faces, each impression is minute compared with and information available — and, hopefully, and enough to encourage manufacturers its disproportionately high market value. to provide some answers — International to continue to create new styles— in the The difference is purely one of legal terms. hope, perhaps, that the new types would Up to now the contact copier has been in Typeface Corporation introduces this first not be quite popular enough to attract the the clear; but ethically he does as much issue of "U&lc," the International Journal of pirate. The whole situation has been far from damage to the industry and its future as the ideal. It has restricted certain designs to counterfeiter does to society. Typo/Graphics, designed by Herb Lubalin and certain typesetting machines: Caledonia, These are the bleak facts today. Facing distributed worldwide. for example, is found only on Linotype. Mod- them realistically no type designer, foundry #8 on Monotype. Radiant on Ludlow, or manufacturer of typesetting equipment "U&lc" will have broad general appeal, etc. This has been awkward for the graphic is enticed by the prospect of investing thou- communicator—almost as if red paint could sands in a new alphabet simply to have it covering important graphic events and be applied only by roller, blue only by lifted by night. While no industry-wide attack has yet presenting original articles by world leaders brush, and green only by spray— yet he has learned to been launched against contact-copiers, in the typographic arts, as well as reprints live with it. certain segments of the business have been very active. In London, important typeface of articles of importance that have appeared changes in British Copyright Law are in the in other publications. works. In Geneva, ATYP I (L'Association Typographique Internationale) and WIPO "U&lc" (World International Property Organization) will feature outstanding examples have drafted a typeface proposal for pres- of typographic design in all fields of entation at the 1973 Vienna International Diplomatic Conference on Industrial Prop- visual communication, from the best- erty. There is a strong possibility that a docu- known creators to the undiscovered shops. ment will emerge from this Conclave which, when ratified by the various countries, will "U&lc" will offer in-depth analysis of the give legal protection to typefaces. We must be on the alert to be sure that our Congress material presented and study the direction does not bury the document in committee. of current work and developments in typo- In the field of sound, a parallel effort by WIPO and Unesco in drafting legislation to graphic technology. "protect producers of phonograms against unauthorized duplication of their phono- In brief, "U&lc" will provide a panoramic grams" has met with considerable success. It was originally signed by 31 states (includ- window, a showcase for the world of graphic ing the U.S.) at a 1971 Diplomatic Conference arts — a clearinghouse for the international convened in Geneva for the purpose. Since then the legislatures of France, United King- exchange of ideas and information. dom, Sweden, Finland and Fiji have ratified the document and it became law in all five It is the intent of the editorial staff and the countries on April 30,1973. More ratifications directors of ITC that "U&lc" will come to are expected soon. This sets an excellent precedent. Meanwhile in Washington, Sena- serve as the international journal for all who tor John McClellan is heading a Congres-

want to have their finger on "what is new," N sional committee charged with drafting widespread revision of the U.S. Copyright "what is happening," and "what to look for" Law— last revised in 1909! Strenuous efforts in the world of typographies. are being made to include typeface protection in the new draft, and

The Editors GERRY GERSTE over a thousand

THIS EDITORIAL WAS SET IN ITC TIFFANY MEDIUM. 8

LONGEST WORD IN THE LANGUAGE

One question people never tire Finally, the editors of the of asking is "What is the longest Merriam Webster New International word in the English language?" Dictionary have included in their Youngsters run across this query "New Words" supplement the word factor for a person who was talented at in their earliest book of riddles, making layouts but all thumbs when it complete with the answer: came to setting type. "Smiles, Actually, there is a longer imen- Like those students who could not because there's a mile between word, a term found in the Oxford draw hands or feet, these "artists-with- the first letter and the last" English Dictionary: type" were faced with similar inhibitions. But the matter is one that mono- The more complicated they made the lay- grownups frequently debate, and out... the more difficulty they would have the belief is widespread that floc _ when it came to setting the type. It is easy to see, therefore, and also to understand, how or why most early typo- anti- cm; graphic formats probably were arrived at —more from a consideration of labor ef- forts and costs than from a consideration of esthetics and art. Gutenberg's first pages for his bible were set with a flush wstab- ilihll- left and ragged right —not per- silico- haps because it was more beautiful that way, but because it was easier that way. fish- gm- vol- It was only when the mechanical fea- lift_ tures introduced by the linotype space men- bands were invented for use in newspa- . per settings, that we had the introduc- tion of flush left and flush right settings. tartan- ea- liD"- It was easier for the machine and the op- • erator to set type this way. (It also made for pretty terrible typesetting. ) don• osis. This feature of typesetting has remained is the longest meaningful word The word is a noun defined as an actual disease of the lungs as the predominant "style" for text set- in the language. "estimating as worthless." It is in to which miners are especially ting ever since. the dictionary and, with its susceptible. The longest word in As printing mechanization developed twenty-nine letters, is one letter the language — and, if you don't emerged, believe it, look it up! and new typesetting processes longer than anti-you-know-what. artists were freed from the age -old me- chanical restrictions that hand-set metal type placed on their creative efforts. From type to letterfornas. A major design freedom for the typo- signatures supporting it are in the Senators the plagiarist. Tjtpography and the New ilechnologies graphic artist was the invention of plate- There's no way of condoning any part of CONTINUED FROM FIRST PAGE hands. All this is good. But legal wheels move making. Printing from a plate surface it without everybody losing something. slowly. rather than directly from the type itself. Do we have to wait? No. Not if enough Since, in this situation, we can't call a How technology influences art. With this new graphic art technology, typographers and buyers of typography cop, we must find a way to take care of it Photography freed these artists from are shocked by the thought of counterfeit ourselves! such inhibiting factors. The camera could artists were able to take proofs of the metal type, cut them up and paste them type—albeit legally counterfeited. Inter- George Lois, Chairman of Lois,Holland, faithfully render hands and feet, and the into different positions without restric- national Typeface Corporation is one indus- Callaway says: artist could now permit himself to think try mover that has refused to wait. Facing "There's enough illegality, unethicality and create in terms that no longer were tions—and make printing plates. This the inequity squarely, the company has and immorality in the world without having limited only to what he could draw. meant that all previous limitations, im- issued an "ITC design license mark" (see to condone the legalized plagiarism that posed by metal type upon creative typo- page%) to be used on all authorized film With photography, the artist was now has invaded the typographic field which I free to choose between "fine art" and a graphic arrangements, no longer existed. strips, grids, discs, transfer sheets or other have always regarded as being curiously The artist was now free from his "lead master alphabet products using ITC designs new form of "commercial art" as a ca- honest! handcuffs." Type has never been the same. and manufactured by licensed ITC sub- reer. A graphic art that today uses all the scribers. Any legitimate manufacturer may Saul Bass of Saul Bass & Associates says: tools of modern graphic arts technology; Since the beginning of this century we become a licensee. This mark clearly "I don't have time to investigate who is type, platemaking, screen tints, printing have been witness to a design revolution ethical and who isn't in our business. I have identifies the product's authenticity and presses, cameras, colored papers, trans- in typography which has explored virtu- assures the purchaser that a royalty has faith in the integrity of my suppliers and ally every facet of communications. would be sorely disappointed if I found out fer sheets, colored felt-tipped pens (in- been paid. U&Ic urges other producers of stead of watercolor brushes) and scores The ideas which were projected only original faces to use similar forms of pro- otherwise. I sincerely hope my typogra- yesterday in the research laboratories of phers are not buying contact-copied ! of other materials and methods— all now tection for the designer and the industry. available for the creatively gifted but industry by men who work at the arts and Finally, then, there is a very potent weapon Louis Dorfsman, Vice President, technically limited graphic designer. sciences of communications are becom- available to every typographer and every Advertising & Design, ing reality today; typesetting by Cathode full-scale rejection of All of which is precisely the I buyer of typesetting: CBS Broadcast Group says: Ray Tubes at speeds of from 1,000 to the contact-copier. As a growing number of "I will avoid doing business with the type wish to make about the development of characters per second; TV-News- professionals in the typographic commu- shops that buy unlicensed type fonts for modern typography. 30,000 nity become clearly aware of this obviously the sake of bargain-hunting and bigger Ever since Gutenberg, typographic de- paper printouts; FacsimileTransmissions via telephone and satellite; Electrostatic unjust situation, those opportunists who cal- profits. I don't know much about that end sign has developed in direct relationship computer- lously take advantage of the designer are of our profession, but thanks to ITC, I'm be- to the advances that have taken place in printing; Laser Graphic Arts; becoming more and more exposed.Their ginning to find out! ized typography; Computer Typograph- graphic arts mechanization and technol- position is increasingly difficult to defend. How would you say it? Will you say it ogy. First, from a metal hand-set begin- ics; and Optical Character Recognition. Several graphics leaders have come for- where it counts—in a letter to your type sup- All of this new technology will make ward in defense of the type designer in no ning almost 500 years ago — to a mechan- plier? And will you send a copy to U&Ic.? ical machine-set period begun 100 years possible a whole new typographic art. In uncertain terms. Are you ready to stand and We'll forward it to Senator McClellan and future issues of 'Mc" we will present ago —to an electronic film-set era less be counted with them? use it in our continuing campaign against many examples and case histories of than 10 years old. Milton Glaser of Push Pin Studio says: legalized plagiarism. breakthroughs that are now being uncov- "It is almost impossible to distinguish With your help added to that of others, we Suppose you had to set ered in the new world of typo/graphics. can move forward, so that the 70s, instead between legitimacy and plagiarism. your own type. One example of the new frontiers we of marking the spread of legalized plagia- We are in the business of making our the rism and the demise of type design, will be During the metal/letterpress era, mak- can look forward to is discussed in ideas public and available. One of the the years of its renaissance. ing a typographic layout almost always article presented on page 1 —The New most agreeable ego satisfactions is seeing Take your pen in hand. Do your share to- meant that whatever the artist planned York Times Information Bank. the way these ideas become part of a day for integrity. mutual graphics consciousness. as his layout he would have to set in type Plagiarism offers no satisfaction to any- ... himself. To most artists, this was a one, neither victim, community, nor finally, ED RONDTHALER slow process, and worse, an inhibiting AARON BURNS

THIS ARTICLE WAS SET IN TIFFANY MEDIUM WITH HEAVY THIS ARTICLE WAS SET IN AVANT GARDE GOTHIC MEDIUM WITH BOLD. 4

The cec ication oace of the first issue of Avant I hac four alternatives. 1. Reject the joo, which Garce Vagazine says: "As most of the woric's ills woulc automatically acmit cefeat; 2. Reveal my- are traceable to old imperatives, old suoerstitions, self as a failure, which wittingly, I woulc never co; anc olc fools, this magazine is exuberantly dedi- 3. Get hirTito change the name which, wittingly, cated to the future." he woulc never co; anc 4. Vake a satire of the For one who finds the °resent almostimoos- name (which I felt was the only avant carce way sible to contemplate, the future is a osolutely to interpret what avant garce means), anc what oeyonc my realm of uncerstanding. avant garce means is meaningless since once it So, when Ralph Ginsourg askec me, early in is seen it is no longer avant garde. I chose alterna- 1967, to project myself into the future anc cesign tive num oer 4. an avant garce logo for Avant Garce Vagazine, I suomittec Avant Garde in Olc English, Bank I felt entirely inacecuate to the task, Scriot, Cartoon Bolc, Balloon Bolc, Dom Casual, AANT GIRCE NTS OF FUCHS' THE AMERIGIN FENNIES PEOPLE giViLks MONUMVILEN RTFOLIOOF PHOTOGRAPHS

Flash Italics, Wedcing Text, Vonastic, Buffalo Bill ligatures. But coo licatures. To my knowledge, anc a last-c itch effort reflective of Coca-Cola. n000cy hac ever foolec arounc with ca o licatures. Ginsourg saic, "Stop kiccing around!" Anc that's how the logo -yoe for Avant Garce then tried to cazzle him with a multitude of Magazine was oorn. I createc an AV , a VA ornate swashes which usually does the trick with ligature, an A\ ligature, an \T ligature anc a GA less'knowing clients. ligature. He saic, "Cut it out!" Ral oh saic "It's illeciole out great. I'll ouy it." When a man is as graphically astute as Ralph A reaction such as this from a client who is Ginsourg, one is harc out to cazzle him with any- an ecitor anc oublisher, anc is more concerned thing but something comoletely out of the orcinary. with legi oili -y than almost anyoocy mace me feel Ligatures! \000cy knows a oout ligatures. Not ecstatic anc spurred me on to new heights. That's lower case ligatures, not L ooer and lower case when we cecicec to cesign the entire alphabet CONTINUED ON PAGE 7 ABC OPQ IL\FID 123 cbcc ocrs DEFG RST RA SST 345 deof ffuvv K UK VW ST1F-Cr fo78 hijKI wwx LV\ XY7 90 no yyz ABC OPQ ANGI ILNIP 123 abcc pqrs DEFG RST CEAP1 RASST 345 deef truvv 2 HIJK UVW paHr ST1FILI 678 hijkl wwx LMN XYZ IfAIAIN NVW 90 mno yyz ABC OPQ 123 abcc psqr DEF RST 345 deef TILIW

IVICIJILJIVI HIJK UVW 678 ghiki wwx LMN XYZ 90 mno yyz OPQ 123 abcc pqrs RST 345 deef t tuvv UVVV 678 ghijkl wwx XYZ 90 mno yyz ABC OPQ Ak01 abcc pqrs > DEFG emu degf t tuvv HIJK URA ROW ghijkl wwx LmN XYZ KAMM mno yyz 6 TYPE FORMS SINK INTO OBSCURITY WHEN COMPARED TO THE HUMAN FEMALE FORM HERB LUBALIN 7

Is Avant Garde avant garde? CONTINUED FROM PAGE 5 for heac line use on the interior pages of Avant rarely peen a yoeface so flexiole, so resoonsive to Garce Vagazine. the creative neecs of art directors anc cesigners. Tom Carnase worked out designs for AA, CA, The extraordinary varie -y of alternate characters CO, EA, FA, FR, HT, KA, LA, LL, M \, PR, RA, SS, ST, stimulates the imagination of the user, anc leads TH, UT, VV, VW ligatures anc a few other assorted to new and exciting cesign solutions. - characters all in a mecium weight. Unfortunately it also leads to uncistinguishec Anc that's how Avant Garde Gothic was born. and, in some cases, cownricht rotten solutions. In for use only in Avant Garce Vagazine. It is almost as if the ouilt-in innovations in this The a ooearance of Avant Garde Gothic in -yoeface are motivating many unciscerninc ce- the magazine stimulatec considerable interest signers to vent their creative fury, unrestrained, on among art cirectors and cesigners throughout a poor, unsuspecting ouolic. In my travels around the country. Tom Carnase anc I were inuncated the world, I never cease to oe amazes at the ex- with inquiries as to the avai la oili -y of this ypeface. tent of the misuse of Avant Garce. It's like seeing We were sorry. it was unavailaole. So far. something new every time I look uo, no matter One eventful cay in 1970, Aaron Burns and I how oad it is. deciced to start a company, Luoalin, Burns & Co. Maybe Avant Garde is avant garce after all.

Inc. anc in collaboration with Photo Lettering, HERB WBALIN THIS ARTICLE WAS SET IN AVANT GARDE GOTHIC EXTRA LIGHT. Inc. we formec another cor T pony, International Tyoeface Corporation, familiarly known as ITC. What's so hot about Robert Indiana? CONTINUED FROM FIRST PAGE It was Aaron Burns who recognizes the poten- wait to get their hands on it. Mr. Robert Indiana was on his way! tial of Avant Garce Gothic as oath a cisplay anc Mr. Canaday, in his article, verbalizes the text face. Anc it took cuite some convincing on thought that's been bothering other artists puzzled by Mr. Indiana's success. Says Cana- his oart to get us to soend months in developing day: "One may become bemused wondering what might have happened if Mr. Indiana had these a 1pha Gets anc oersuading Ralph Ginsburg designed LOVE not as a "fine artist" but as a to release the name. commercial one at a flat fee for some adver- tiser. Designs by graphic artists just as effective Aaron. Burns is persuasive. as his appear every day in superior advertise- ments and are soon forgotten." "You owe it to yourselves," he said, "You owe it In his exhibition, Mr. Indiana again offered to your constituency, those hungry art c irectors LOVE in the forms of yet two more poly- chrome aluminum sculptures (same pattern, anc designers who have oeen thirsting all these different sizes) and yet one more painting, same pattern, but this time in four panels, years for the avant garce in Npography. You each six feet square. And he presented once more his runners-up to LOVE: ART, EAT, owe it to the advancement of communications TILT, and CHAMPION—all variations in his and its ultimate petterment of mankind." roadsign style, with only the words changed. Love and art being, in that order, the two Since we owed so much. ..to so many...we most important things in the world, Canaday suggests that "all Mr. Indiana needs now is a agreec. third pattern — MONEY — to have achieved We began the long anc arcuous task of ce- his own form of universal statement. It is hardly fair that these variations—hardly variations, velooing Avant Garce in five weights; X-light, Book, more like repetitions—should make such a sparkling show, especially since Mr. Indiana Mecium, Demi anc Bolc. And suosecuently, a doesn't even have to work at his sculptures, which are manufactured after his patterns. At series of Avant Garce Concensec. After months this stage, any neat workman could execute of crowing and rec rowing oy Tom Carnase, them. "Only in a world as wretchedly organized testing anc retesting on Photo Lettering's unicue as ours," concludes Canaday, "would a critic be forced to admit to the effectiveness of a Alton — which permits a cesigner to contemolate OURS show that the artist seems to have turned out his mistakes within a very few cays— Avant Garce letter anomaly that has brought its inventor with less effort than it took the critic to grub fame and fortune, and become virtually a cult his way up to it in his formicidacious rounds." was ready for ouolication, object since he designed it. One fine day, Mr. In describing one of his characters, Charles Indiana — no doubt gleefully — hit upon the Dickens once wrote that "he was to her as the In a Luoalin, Burns' Promotional 000klet on idea of changing his name from Clark to the 0 is to 90: he was something with her, he was more fanciful sobriquet of his natal state, nothing without her." One might well specu- Avant Garce Gothic, Aaron Burns cescribed the slapping a fancy frame around his chef late what Mr. Indiana might be without his nature of this face in this way: d'oeuvre. and displaying it prominently on a fancy frames and chutzpah. gallery wall over a modest price tag of $10,000. "Avant Garce is truly avant garce. There has And, wouldn't you know, buyers could hardly JACK ANSON FINKE

THIS ARTICLE WAS SET IN ITC SOUVENIR LIGHT. 8

MY BEST WITH LETTERS

This illustration is one of a series of advertisements for Westinghouse radios and record players which appeared in the Pittsburgh Symphony Orchestra's concert program. The problem was to associate I suspect that this is the best a Westinghouse product I have done. Certainly with the name of a famous it is omnipresent on the composer. I wanted to Canadian scene. CN Express avoid the obvious use of a trucks drive through every picture of the composer city; CN Trains span the and instead to suggest, by country; most cities have a typographic means, either CN Hotel; and CN Marine has the spirit of the composer's ships on both coastlines. music or the instrument I owe a great debt of grati- with which his work is tude to James Valkus who most closely associated. chose me to do it, and to This example may or may Donald Gordon (now dead), not be "my best with letters;' the former president of CN but it is perhaps one of who agreed to its use. The my best demonstrations of only regret I have is that my descriptive typography. It father, who worked all of his ,.... also demonstrates, I believe, short life for CN as a time The Westinghouse digital clock radio can control. features nutmeg cabinet with walnut- that a word can sometimes lull you to sleep with Chopin or awaken you to grained top. Available at your Westinghouse keeper in the freight yards, morning news or buzzer alarm. Large easy- dealer. For his location please call 471-2500 say more than a thousand to-read numerals are illuminated for 24-hour You can be sure ... if it's Westinghouse. 0 did not live to see it appear. time telling. Low silhouette styling, with slide pictures. ALLAN R. FLEMING PAUL RAND CANADA USA

This poster interprets with This is an ad I did in 1960. It pure typographical ele- was an unusual looking ad ments one of the most (it was a bleed, just as you important principles of see it, no packages, body film: movement. The over- copy, etc.). It demonstrates lapping of the word "Film" to me a fresh use of typo- with "der" produces the im- graphy. Letters are not an art pression of motion. The form (although they can be height of the letters of the artistic). Letters put together title "der Film" is equal to spell words that should say 1/5 of that of the poster. The something to communicate space beneath the title is a selling message. The idea also 1/5. The space above should be interruptive, - the title is 3/5. (2/5:3/5 = the John, tling, fresh, and should touch golden ). I like is on a person's life style. Sell- the dual function of the typog- that ing ideas should be ambi- raphy in this poster: the Billy 'Get up tious and should treat people cinematic and aesthetic coughing? and as if they are sharp enough effect within a proportional give to understand a bright con- structure. cept. This discussion in bed JOSEF MULLER-BROCKMANN him of a married couple in 1960 SWITZERLAND some is a "typographic" solution Coldene. that enhances the idea and, in and of itself, becomes the visual. GEORGE LOIS USA

10 Januar tris 30_ April

THIS FEATURE WAS SET IN AVANT • . Herr ±4lontag 20.22 GARDE GOTHIC BOLD. • • ' 9

Young Typography Teaching students to design with type starts with overcoming their innate fear of "getting involved with technical stuff." To accomplish this, the first few assignments involve "push- ing around" large letterforms and "chunks" of type as though they were pre-formed, abstract pieces of color and design. No attention is paid to their function as parts of words, sentences or . Instead, the student is first asked to make an analogy between a letterform, or many letterforms, and something other than a letterforrn, i.e. a letter"0" could be analogous to an egg, or an eye, or a ball, depending on the form of the specific alphabet the letter"O" comes from. The analogy can be one of texture created by the use of many letters or the development of a single form created CHIC CHIC between, around, or inside any letter or combination of letters. DIE The first problem loosens up their"heads" as well as their CHIC eyes so they realize that letters have an intrinsic beauty of their CHIC own. The next three problems deal with "color" of type (values DIE CHIC from light to dark). The students are asked to do a drawing, a CHIC painting, or a pattern with type. CHIC 31H3 As with the analogy, these three problems are all solved CHIC 31113 CHIC 3IH3 in collage, i.e. pasting up"found" letters from magazines, 31113 CHIC newspapers, or proofs, from any source. A very useful tool is 3IH3 011C the variety of transfer types available in most art supply stores. 31143 CHIC Shown here are a few solutions to these starting problems 31K3 CHIC 3P13 CHIC collected from my classes over the past dozen years. They 31113 CHIC represent an increased awareness on the part of the student as 31•3 CHIC to the function and beauty of typographic forms and their 3013 CHIC importance in creating a total graphic entity. 3H3 CHIC 31143 CHE ROGER FERRITER, SCHOOL OF VISUAL ARTS, NEW YORK CITY

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What is contemporary and what isn't? There's no cut-and-dried criteria for determining this. What's new to some is old to others and vice versa. Graphic designers today are borrowing — or reviving — traditional forms with increasing frequency to create exciting graphic images. The compelling nature of these images invites imitation. Prolific imitation creates trends. And trends result in a prevailing style, mode, or fashion. When something is fashionable it becomes contemporary, no matter its origin. Subsequent issues of U&lc will contain articles on the influences on contemporary graphics of Victorian, Art Nouveau, Art Deco, and Borax letterforms. In this first article of the series, Tom Carnase — one of the world's finest letterform designers— exhibits a major influence on contemporary graphics through the use of good old Spencerian.

THIS FEATURE WAS SET IN ITC TIFFANY DEMI,

11

Information, Please CONTINUED FROM FIRST PAGE

The Information Bank has been designed os a as terms (coiled "descriptors" to MANUEL CHAVEZ tool for industry, government and commerce, denote their intended use for reference purposes). WHO USES THE INFORMATION BANK? AND FLORIDA AND CITRUS and for the staff of The Times. It is a tool of major AND COCA- COLA COMPANY. importance for decision-making and research. It is a direct link to Seated of a CRT terminal, you go through basic A search this precise would bring you abstracts The Information Bonk computer will search for The New York Times' computer. steps similar to those required in searching con- relating to the negotiations between Cesar Cha- those for whom information is an essential ele- The Information Bonk is "on-line," meaning that ventional reference works: listing the terms that vez's cousin, Manuel, and the Coco-Cola Com- ment in the conduct of their professional affairs — subscribers submit requests for information directly describe your topic and restricting the amount pany exactly as they would appear in the illustra- search through thousands of documents in sec- to the computer and receive on immediate an- you retrieve by using various criteria. The differ- tion below. onds to bring them hard facts from lost week, swer. The telecommunications link between the ence is in the amount of time expended which, last year, and beyond. video terminal in one's office or library and The in turn, affects the scope of research that can fea- The Bonk will help them with reports, speeches, Times' computer is either a private phone line or sibly be conducted. With the Information Bank 2 or 2 Neff,. 1172- 2. I 2, 1 41,1.7 noun public statements, press releases, negotiations, o switched phone connection. the time is short (usually between five and fifteen 311 - 72 - s0, 11.1 2201/100 Ported Farm Yorkers Oroam,,A, C00. faro lebOr aro, has sent litigation, investigations, and surveys. It will bring minutes) and the scope is huge (thousands of eo. tflO, true bolt wave desired to ,prOve opr,ne andl ti pos for ,ddaot and ....t f,eld hands, der, /ast them facts at hand that one would never even It is original clippings of mos. . lad bp M Ches., 00011, Of C Chavez, nos items are electronically scrutinized). You actually 1.d conga ta sdur rrrrrrr active pa eeee Spot on A attempt to find by manual research. tide. to establish berga,,, oeth,orp for 4,1d hand The New York Times on microfiche. converse with the computer about your informa- Choy. e•tend, pr,ote tall, with c.trus rrrrr Glens hove been fru,ful, and that accord ■ s em.nent th mo,ar producer, To those for whom this information is essential, un.on Fla cameo,. he, mo,or test cf ,s ob.l,p to aepear When one needs to refer to the full text of an arti- tion via its keyboard. to fors. lab rrrrr ots,. Men -Aster r an. -andrf le .t has the Information Bonk is a powerful new tool of successfully rgpan,ed C/... .nca , mu., demtiostrete that cle published in The Times, it is quickly found in Suppose you hove on interest in the field of agri- .t can • su rrrrr fro• !Oat. inern•rs oho roost tut. modern technology. In a very real sense, it is o rnot•lp W. of labor rrrrr , state S c ■ trus .odus, the Information Bank microfiche file. At present, culture labor and wish to scan a wide variety of obstacles to Orgen,,t, tae e !Ober • Pla are hell foro,able, s ■ Ac• re, ono ant r•rrr• We r ons ,s qualitative odvonce in the formerly tedious busi- re frod it .on end alt rrrrrrr ere! 0. che•ez microfiche are available for The New York Times. items on that subject. To instruct the Information . tws to Pio Iowa onarlt•rf ness of retrieving specific and useful information As copyright agreements are made with other Bonk to retrieve them for you, you would type op OP OM.. rm. from files of news reports, articles, essays, edi- publishers, material from their publications will out on the terminal: torials, columns, and reviews. also be issued on microfiche. Just a few years ago, public visionaries were AGRICULTURE AND LABOR. predicting the eventual possibility of on instru- It is hard copy prints This would bring out a substantial amount of ma- ment like the Information Bonk. Remarkobly, the in addition to video display. terial — news stories, feature articles, editorials, prediction has already come to pass. The instru- Information Bonk subscribers are furnished with a letters, et cetera —unrestricted by date, type of ment is here. high-speed printer connected to their CRT video material, or the journal in which it appeared. In a HOW DOES IT WORK IN FULL TEXT? The availability of this Information Bonk is a terminal. Operating at speeds up to 165 charac- matter of seconds. truly momentous event in the field of information ters per second, it creates collections of abstracts To expand the scope of the search to include The Times on microfiche is another service, de- science. For The New York Times it is a major mile- on special topics within minutes. 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At the heart corporate development, and product develop- precise, you might ask the computer for a search is the massive reporting of the world's affairs pub- ment departments. on: lished in The New York Times itself. Each day sev- eral hundred stories, articles, reports, and columns are processed into the system. The Information Bank is totally cumulative, continuously growing. It is fact-filled abstracts prepared by information specialists. When a topic is searched in the Information Bank, the answer comes in the form of tersely written The Information Bank in full text on microfiche. abstracts, each headed by a bibliographic cita- tion. Abstracts appear on the video screen of a Vonnevor Bush said it: cathode ray tube ("CRT") terminal: they con also "The summation of human experience is being be printed out if desired. Abstracts are long on facts and short on adornment, supplying all the expanded at a prodigious rote, yet the means we use for threading through the consequent maze information needed short of the complete orig- inal clipping. to the momentarily-important item is the some as was used in the days of square-rigged ships." It is a precise, No more! easy-to-use computer system. Now when we wont information, all we need Less than on hour of instruction on a CRT terminal know is the question —The New York Times will get one started making simple but powerful Information Bonk has all the answers. searches over the entire Information Bank file. Information, anyone? Subsequently, one can advance to highly sophis- ticated techniques if desired, The Times providing This article is adapted and in port excerpted from the necessary guidance. The Information Bank is o brochure describing the Information Bonk, searched by topic, using common English words A CRT (Cathode Roy Tube) Terminal. There ore 60 such instruments throughout The Times building. issued by The New York Times Company.

THIS ARTICLE WAS SET IN ITC GOTHIC BOLD. is a much more difficult group to pin sponsored dine, are proof of the net- on-air advertising of programming is CBS: How a down, to classify, than, say, the pros- work's leadership in the field. made by all networks in the United Corporation Sells Itself pective buyer of a Volkswagen or a bar States. A promotion announcement of an of soap. Obviously, our most important 3. Institutional Advertising designed upcoming program is carried at the end audience is the consumer, the vast to promote the medium. of every broadcast. Announcements are public that watches television and listens Here we have two audiences: the in- also scheduled within the body of a pro- to radio, and we spend a great deal of tellectual, business and governmental gram if there is unsold commercial time and effort to win their approval. leaders, and the agency time buyers and time available. But in commercial television, one sponsors. We are trying to attract the Sales tools used in on-air promotion hat a corn- must have advertisers to survive. The attention of the most sophisticated audi- include: panyproduces or the services it renders time buyers in advertising agencies, ence in the country. These advertise- 1. Sixty-second film trailers produced is obviously the most important thing and their clients, the men who manufac- ments must appeal to the intelligence and by the advertising and promotion de- about it. But it is equally clear that un- ture the products advertised on the cultivated taste of a discriminating few. partment which contain highlights of less a company takes the same pains to medium, become another specific audi- Advertisements in this area are based an upcoming broadcast. make its products and services known ence that must be reached, and sold on success stories, comparison with 2. Twenty-second and ten-second film as it does in producing them, it is not on CBS. other advertising media (cost-per- trailers which air at the end of all pro- likely to gain a market large enough to A third audience is made up of the thousand circulation, etc.) or the unique grams (these trailers always end with enable it to stay in business. As a result, men who own the independent stations selling ability of television and its the network identification... the CBS market research, sales, publicity and which broadcast the programs the net- importance to the business and intel- "eye" which has become the most im- promotion have become inevitable work produces. These affiliates, lectual communities. mediately recognizable symbol of any dimensions of every commercial enter- especially in larger cities, have a cer- network). prise. Eventually, all these activities tain amount of choice as to which network So far, we have been discussing print combine to form a total impression that they carry. It is important that we prove advertising However, one of the most 3. Slides containing either artwork has come to be known as the company to them that to carry CBS programs will effective tools at television's command or photographs from the broadcast with `image"—the aspect of the company guarantee their supremacy in their in calling attention to its programming live announce copy promoting the is the medium itself. Extensive use of that endures throughout changes particular area. broadcast. in product line and services. What helps to fuse all these elements into a dis- Still another audience, and in some tinctive, publicly identifiable "image," ways, our most important audience, is character or personality is a continuing the nation's intellectual community, concern for all phases of the company's its business leaders and government visual expression—from the buildings it officials. Although networks as such are occupies to the design of its letterheads, not directly subject to the Federal Com- from the appearance of its trucks to the munications Commission rulings (the design of its packaging. FCC primarily concerns itself with the licensing of individual stations) we are Dr. Frank Stanton, former President affected by these regulations through of CBS, said that he "... never felt it to be our owned stations, as well as through a matter of corporate altruism for a com- the public pressure the Commission is pany to erect its building or print its in a position to exert. It is important, ha publications or manufacture its product therefore, that we win the respect of ,a, in accordance with high standards of these men who, often too busy to watch 1 design. The company merely acts in its much television, are in the position to own self-interest. More is derived from influence government decisions affect- ing broadcasting. time and effort spent in congenial CNN THerlode. woo. , surroundings than in ugly ones. More Any advertisement directed to one of the attention is invited by the well-designed above publics will, naturally, also reach TRADE ADS publication than by the haphazard one." one or more of the other groups. With this consideration in mind, the advertis- ing we produce can be broken down roughly into the following categories: First of s 1. Consumer Advertising designed to seven-part series s far back as attract viewers. I ststlititi t,'ILk•iiistlir'!itr'' .; ■ .csiT 1953, FORTUNEA magazine attributed Tune-in consumer advertising must ap- the success of CBS to its "performance peal to the widest possible public to be par excellence in management, promo- worthwhile. However, the traditional Digging amino', we discovered tion and salesmanship; others may be that CBS places on quality and that of all the shows in television's superior in manufacturing, facilities, Top 40 plli years (Igo Dull 10 taste in design is as much a part of these 10 TONIGHT CRS NEWS S2 are still there ',Aril. A nd the big patents, etc., but CBS has the edge on advertisements as it is on any printed scoop is this: alt _Ware ours. showmanship." FORTUNE also stated material produced by CBS. When effec- Von can balk, another good that "few firms have been awarded as season of 0 lbowlation like that. tive, tune-in advertising can reach all of CBS 'Thievish», Network* many accolades for advertising art as the special groups mentioned above, but CBS." I can only hope that such praise is the primary goal in this area is to attract still justified. an audience. *2 My story is chiefly concerned with the 10:30-11:00PM WCBS-TV Graphic Arts developments at CBS, but 2. Trade Advertising designed to WHAT'S MY LINE? these developments are intimately tied promote CBS Television Network. John Daly's guests do the oddest things, but his famous panel can in with the growth of the company as a usually ferret out their lines. Although directed primarily to time whole. For, over the years, the com- buyers in advertising agencies, these pany's growth has had a direct effect on advertisements also play an important the type of Graphic Arts that we have role in our continuing public relations produced. efforts with our affiliated stations. Since broadcasting is the primary Everyone likes a winner, and these function of CBS, I would like to explore advertisements, based on comparative this area in some depth. In all advertis- program popularity (average rating, ing, it is essential to be aware of the number in 'top 10' ); comparative overall specific audience to be reached. But in rating of the network; comparative the case of broadcasting, this "audience" gross billings or comparative hours of CONSUMER ADS 13

Affiliated stations are also provided with Presentations are also produced for United States. They can be used to building. No detail was too small to a full kit of promotion material for use use by the sales department as aids in create an interest on the part of sponsors warrant serious attention. (Even the on the local level to promote the network selling time on the network. They fall for future broadcasts or, when distrib- mail room, which no visitor would ever shows which they carry. These promotion into the following categories: uted to a selected mailing list of in- see. ) Every graphics problem, from the kits include: sixty-second and twenty- 1. Presentations designed to sell the fluential leaders, to call attention to the lettering on the exterior to the type second promotion trailers; slides and medium. scope of network programming. used on the elevator panels, from the glossy reproduction proofs of slide art faces of the clocks to the lavatory door Sometimes I would wish that advertising with space for local station identifica- These take many forms. An example handles, from name plates on office and promotion were all that I was re- tion; one-minute, twenty-second and would be a film produced to show the doors to directional signs, was given sponsible for as head of the Design ten-second announce copy; 160-line ad relative selling power of the medium in painstaking care. Department. But there are many other mat with glossy reproduction proofs; relation to magazine advertising. projects, equally important and certainly The Design Department is also respon- 1/4-page TV GUIDE ad mat with glossy 2. Presentations on CBS Television no less demanding, that we are in- sible for displays and exhibits, annual reproduction proofs; exploitation sug- Network leadership. volved in. reports, interior design of CBS buildings gestions; publicity photos of the stars and studio facilities, trucks, TV equip- These are produced for distribution to Recently CBS moved into its new head- and suggested copy for displays at the ment, the redesigning of all stationery time buyers and sponsors, to document quarters building. From its inception, station. and office forms used throughout the the network's dominance in the medium the building provided an unparalleled These kits represent the network company, the selection and hanging of and its specific sales potential. opportunity to create a distinguished, image in the eyes of the affiliated sta- some 3,000 pieces of art in offices and 3. Presentations for the purpose of unified expression of the corporate tions. Dr. Stanton says "... each piece reception areas throughout the build- prestige, on specific shows or coverage personality. The concern of the top that leaves this office represents ing and, a project dear to my heart, the of news, sports or cultural events. management did not stop with the ap- Columbia Broadcasting System in print. design and execution of a large mural proval of the design of the building Each piece must have the stamp of Presentations in this area serve several in the employees' dining mom_ itself, but extended to even the smallest CBS excellence." This emphasis on functions. They may take the form of a This mural, which has been dubbed detail demands that the packaging and book on CBS coverage of professional of graphic details. shipping of material receive as much football or of a political convention or The Design Department was responsi- "Gastrotypographicalassemblage," (I'll attention as the contents themselves. the European tour of a President of the ble for all the graphics throughout the let you figure that one out) was a major project in itself. Each panel in the mural, which is 38 feet wide and 8-112 feet high, is composed of white painted wooden letters which spell out words and phrases having to do with food. In all, 250 typefaces were used, as well as 85 nontypographic objects, such as foods, containers, and utensils. At CBS, graphic design is all of one package. Whether it be a full-page advertisement in a newspaper, a filmed promotion trailer, a letter to a prospec- tive time-buyer, the mailing container for a promotion kit, all are a part of the top management's concern to coordinate and integrate the graphics image of the company. This is not a matter of cor- porate altruism. This is not art for the sake of art. For as Dr. Stanton has said, "... the company that strives for quality in design, that respects the eye of those upon whom it is dependent—employees, stockholders, customers and the com- munity— ultimately benefits most of all itself."

LOUIS DORFSMAN

THIS ARTICLE WAS SET IN ITC TIFFANY MEDIUM.

ABCD EFGHIJ RL ABCDEF GHIJKLMN MNOPQRS OPQRSTU TIAWXYZ VWXYZ& .!'?$12345 &.!'?$12345 678900 67890. CORPORATE TYPEFACES ting around campfires at night listening to itiner- talking about. expenses. We'd cut out all the silk-screened, tight ant guitar players singing obscure folk songs. Corporate- I felt the time was ripe to throw out another comps. the luncheon meetings; no messengers Fishing, water-skiing and moonlight canoeing. slogan idea. by cabs. Just Pentel roughs and then right into Schmorporate! That's it in a nutshell. Now how do we wrap it all "When you're at your wit's end as to where to finish. With all the cuts, we approved the new up in a Corporate Image? go that's different.... Port Jerry...We're your estimate and I started making thumbnails. last resort!" Just as I started thinking logo and trademark. Unable to dampen the old habits, by presenta- This time she drew her index finger across her I got another hot idea. Maybe we could interest a tion day I had turned out 48 comprehensives and a throat. wine company in a two-way promotion and do a dozen roughs. I didn't want to lose the account mailing with miniature wine bottles whose label My estimate was presented in three phases. and besides, I could make it up in the finish phase. I. Creation II. Finished Art III. Production In searching for the right solution, I touched a lot fter 20 years in carried the slogan ... & Supervision with a special "Revisions" of bases: a nice Spencerian logo in a classic oval; the design business. I finally got the absolutely "Port Jerry—we're not a wine but once you clause. All of this was preceded by a six-page Peignot in a timeless square; Port Jerry in Bark ideal client. Me! Or so I thought. The project? A get a taste, you're hooked." carefully-worded "Philosophy" that was a sum- lettering: casual Lord & Taylory handwriting; designer's dream. A Corporate Image. The works. Fay did the fingers-to-the-nose thing again and mation of my thoughts on Corporate Image. What Avant-Garde with the two R's ligatured and over- I had Carte Blanche. just make it memorable. I came out with a retaliatory "you don't make the I tried to convey was breakthrough thinking with lapping; stacked Akzidenz Grotesk, all caps, What had happened was that I had left one greatest blintzes either." solidarity. Avant-Garde but timeless. New and squared-up but a regular "0" in Port Jerry con- dreamboat of a spot as a partner in Lubalin, We needed a great trademark or a logo that at the same time classic. Old-fashioned, but con- taining a mezzotint of Fay and me holding up a Smith, Carnase to fulfill another long-cherished was simple but dynamic; quiet but expressive. temporary old-fashioned. Appears expensive but "Welcome" sign (so I pandered a little to the own- dream, owning a kind of rustic resort business in Fay, who spent 11 years in advertising herself and is cheap. Is cheap but looks expensive. Creates ers but even if they turn it down, the ego trip for the heart of the Adirondacks. So, after packing knew the jargon said ..."Make me a scribble". a sense of exclusivity but doesn't scare anyone them was worth its weight in gold). away 20 years of accumulated type books, AD But I wasn't buying that trap. Before I do any- away. Swinging but quiet. After all, there is some- Then, I tried a few with nice, simple straight Annuals and things like furniture, jazz records and thing, we need to do a market survey; a double- thing beautifully simple about complexity. And, type but placing all the emphasis on a pictograph my double-vented suits, I packed my family into blind study; some color and shape analysis; a a slide show of my previous successes, or graphic symbol: simple figures represent- our new, second-hand station wagon and headed demographic survey; a media study and check Well, the philosophy got to me but the price ing a family around a campfire with 6 pt. Light- for the New York State Thruway and North! with the New York to Bolton Landing bus drivers. didn't. So I did another estimate cutting out the line caps—"The family that camps together has Where? Bolton Landing, New York. Where? Besides, we needed an estimate. full-color and the Fabriano. The type would have to stay together"; two copulating chipmunks Bolton Landing, New York! That's about halfway Impressed with my savvy, we both agreed there to be set in Wyoming. I knew of a good printing tastefully done in silhouette with the slogan north on 32-mile long Lake George about an was no sense in plunging without proper research house in Nome, Alaska that was dying to work "Port Jerry—for doing what comes naturally" hour north of Albany. (I and some idea of what kind of money we were with a big-time designer for just a credit line and As the new owners, we felt we had to have a figured this would be sure-fire with the unmarried Corporate Image to give our place an identity. A Since we didn't have a Jerry Lewis or a Mickey Rooney, we had to come up with something else. After all the corporate image work I had partici- MAU. CO 501 AGM-1 TO Mit pated in at LSC, this was the first time I would be CMS/WE SONS MTN moo RUTOSI calling the shots from both sides of the table. I sat down with my Board of Directors, my wife Fay and me, for an orientation meeting. Right away, just like the big time, we canceled the first two meetings because of conflicting appointments with the propane gas man and a soda pop delivery When we finally were able to sit down and review the kind of place we were, it stacked up like this. 0.4 Name: Port Jerry... after the original devel- LBOATHOUSE oper back in 1933. We decided right away that we weren't going to confuse old customers by renaming it Port Fay or Port Ernie. We did have a problem though, a lot of people thought we were a town out on Long Island somewhere so to offset that communica- tion gap. I started throwing out ideas off the top of my head. Maybe I can sell myself on a spot-ad campaign with a wise-guy tag line like... "Port Jerry—nobody ever heard of us and you'll like it that way." Fay pinched her nose with her thumb and in- dex finger and I covered fast with assurances that I was only winging it now but there were lots more ideas where that came from.

What do we offer as a product: 8 Cottages & 18 Cabinettes, 25 Canoes, 15 Motorboats (6.9' and 18 hp.), Camping Outfit.Rental, The best sand beach on the lake. Crystal clear water for swim- ming. A rustic setting that is practically a "Forever Wild" area. A boathouse with a ping pong table. Some of this presented a marketing problem. While deluxe cottages were a shoo-in, the Cabin- D ettes were for people too chicken to camp in a tent but who would like to brag to their urban friends that they really roughed it on their vaca- tion. What with the ecology-conscious trend and the return to nature and the simple life —this could be our plus! But the real ace-in-the-hole was the setting. The previous owners had described it with words like "natural," "rustic." "unsophisticated." O.K. So it was a down-home, funky, close-to-nature place. Perfect for a hideaway. Let your beard grow. Wear old Levis and bathing trunks. Cook on open fireplaces. No supervised sports or games. You can sit on your ass for a week or two and just groove with your nave! or soak up the setting. A mixed crowd, from subway motormen to up-com- ing actors and a small, succulent group of elites from advertising, A beer-to-martinis variety sit- 15

art and typography

CONTINUED FROM FIRST PAGE couples which was certainly part of our market all water craft flying the Port Jerry emblem. because the real artist has antennae, and growing every year). Since our place was Which brings me to the final logo, an old-fash- he feels not only the atmosphere of the moment with great acuteness, located up in the mountains, the elevation gave ioned outline script with an oval- tail on but also where we are going. me another slogan idea that might grab a piece the "Y" which contains an old-engraving style the artist is often a guide and his work contains a message. of the youth market—an old engraving of the illustration of a water scene with two canoeists for new messages he creates new forms. Cannabis sativa plant in the letter "0" over which (male & female) paddling on a reflective surface. is stacked the slogan "If you want to move up to On Presentation Day, remembering my old in times of great change the form becomes revolutionary, nature this vacation... get high at Port Jerry". training, I tried to inject a little drama into the just as in 1500 when the painter no longer tried to organize space by decorating a wall, To round out the presentation, I established an proceedings by showing up in my Goodyear rub- but sot down on a chair and fixed the scene on his panel from overall typographic style that would be applied to ber boots and a thermal underwear shirt. The one point of view. all signage, directional markers, boats and ca- sartorial touch apparently made an impression this discovery we call perspective. noes, camping equipment, paper material and because I was mistaken for the man who was to leonardo did not paint o mural, but opened a window to the outer world. housekeeping units. I settled on a very simple but clean out the septic tanks. After the jocularity since the renaissance the face of the earth never changed scr rapidly versatile and highly legible gothic typeface that had died down over the incident, I unveiled the guests could relate to quickly when they wanted entire program, hitting us first with my philos- as of the beginning of this century. to find those few simple things so necessary for ophy; then all the research and background data new sources of energy came into use, new ways of communication, comfortable, outdoor living like Rest Rooms:* in the form of press-down type easel cards and new methods and production of goods on a larger scale, for everybody; Men—Women; Main Parking Lot; Garbage charts and finally...the logo, done in the officially new relations between the work and the worker, between the Disposal Here. I gave the newly designed face recommended colors—green and white. Detect- worker and the employer. an exclusive name: Port Jerry Expedient. ing a touch of excitement in the eyes of the client Corporate typographic integrity would be and wanting to exploit the low gasps of admira- fifty years ago a painter stood up from his chair maintained throughout by referring to a 124-page tion, I rapidly hit with the follow-ups: Sweatshirts and walked around the subject he was going to paint. Manual that would act as an infallible guide for with logos; the Boathouse sign; envelopes and he tried to get the different viewpoints on the some canvas. the corporate style. The lettering would follow the letterheads; an all-weather decal for canoes and this revolution we call cubism. prescribed format of "all Caps", single-stroke motorboats; a logo'd camping utensil bag; a rub- the name of the painter was picasso. Gothic achieved with the use of a 15¢ Woolworth ber stamp; a novelty plastic button. Keeping up Natural Bristle Brush and whatever paint hap- the pace, I expanded into my projections for ball both revolutions were not limited to the artistic field; pens to be around. A stencil-version variation point pens; portable camp stoves and coolers; they were the result of a change of attitude towards life. was developed to give an official appearance to bumper stickers; monogrammed dishes and the pre-renaissance painter saw a table as a rectangle and painted it as such. glassware; towels; silverware; the station wagon; the renaissance painter knew that a table was a rectangle but the garbage cans; outdoor showers; beach chairs; painted it as a trapezoid because the farthest side of the table looked shorter butt cans; toilet seat lids. than the side where he was sitting. While we were still reeling, I read my test the world of the 20th century artist is no longer limited to the reality of the eye. results which were sensational. My test panel he renders things as he knows that they are or as he feels them to be. consisted of a checkout girl at the Grand Union; the Postmaster and the owner of the local from that moment art is no longer what it was before. hardware store. Him I had in my pocket or he it freed itself from portraying nature to create a new reality. wouldn't get my business. I finished with a flourish movement, transparency, clarity, became principles. by pasting a corporate logo decal on all four stra- french cubism opened the way to futurism in italy, suprematism tegic locations of a hired nude model's anatomy in russia, abstract art in holland and action painting in the u.s.a. and had her coo sexily ..."PORT JER-EEEE... you're sumpthin' else!" rill that moment the movie camera stood fixed and people had To cinch it, I gave the client a year's box seats to move in front of the camera, but now it started to turn around the scene. to all the Yankee games and told her I was able futurism laid down several stages of a moving object on one canvas; to bring the whole program in on budget, $350. time entered as a new element in plastic art- The finishes were all beautifully done by a former marcel duchamp painted his "nude descending the staircase:' LSC designer/lettering msn, Roger Barrow4, later on even sculpture began to move (colder). who is now a permanent member of the Port architects favour transparency. Jerry Board of Directors. I wound it up by point- the walls no longer bear the roof. ing out that for that kind of money, we would the use of new materials like concrete and steel makes it possible only have a 1-year exclusive on Port Jerry to lift buildings from the soil. Expedient and after that, it would appear for photo typesetting and in press-down sheets. gloss and plastics do not separate our dwellings from the outer world Watching the client for a reaction, I mistakenly but allow nature to enter our room. thought I saw a flash of rejection flicker in her palaces and churches are no longer the most characteristic eyes so I leaped up onto the windowsill and threat- constructions, but bridges, crones and the masts that carry ened to jump out with the layouts if she didn't see electricity from town to town. the light. (I knew what I was doing because it was only a 4-foot drop but I counted on the ele- typography enters into art. ment of surprise). She smiled, held up her hand characters and pieces of newspaper enliven the early works of brogue and picasso. and formed an "0" with her thumb and fore- kurt schwitters composes pictures with coloured pieces of printed paper. finger. I was home! Now all I had to do is bill it but experiment in modern typography had already started at the ...and collect! It was all accepted without reser- vations. (Wait a minute, that's no way to run a end of the 19th century. resort.) For reservations, call (518) 644-3311 and mallarme, the french poet who succeeded in musicalising language, ask for Fay or Ernie Smith. We'd love to show gave his verses a new visual form, freed his poems from the you our Corporate Image. traditional way of typesetting. his sentences ran freely over the pages. ERNIE SMITH gradually typography leaves its rectangular prison, A.Fay and Ernie Smith. Bucolic winter scene in front of no longer feels the chains of symmetry, large Corporate Sign on boathouse. tries to lead the eye over the page and accentuates the direction B. Port Jerry Expedient as applied to Corporate Signage from the left to the right. where rapid readability and outdoor weatherability are salient factors. Because such signage utilizes any available the revolution in art originates a new typography. lumber, often short in length, two variations of the contrasts destroy the grey form. old characters acquire new value. Corporate Typeface were developed, Condensed and the white of the character becomes more important than the including form. Extra Condensed. the white of the page reigns over the black. Logo as applied to Camping Utensil Bags. C. transparency is one of the fundamental principles. D. Corporation wearing Corporate Look. (Fay, Rebecca, typography becomes a means to bring quick messages to the many. Kathryn and Ernie.) publicity in daily papers and in weeklies, E.The Corporate Logo, in the form of decals applied to canoes, where legibility afloat is crucial. light publicity in our cities makes extensive use of new discoveries. F.Letterhead and Envelope. the importance of the designer increases every day; is he aware of his responsibility? G. A wide range of Corporate Containerage. H. Design Director Roger Barrows displaying tools needed to preserve typographic integrity. willem sandberg, former director, 1. Port Jerry Expedient utilized to identify cabinettes. stedelijk museum, omsterdam

THIS ARTICLE WAS SET IN ITC SERIF GOTHIC.

16

Something for Everybody from U&lc.

THE FLAGS THAT FLY ATOP is1*., - SOME ()FAME RICAS MOST , „, ,„ , ,_,„,,, _

PRESTIGIOUS NEWSPAPERS . ... _,,f,,.--_,„, -- , AS SEEN ROUGH THE EYES 4, TICE WALL STRTIET JOURNAL +---:to <2.-,-). ---, OF WI RIST C1-11^6. SLACKMAN • . Ittfi _ , DAgy .,[2, ,,,r7-7/1 NEWS

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NOTED SEMANTICIST L RAPOPORT SAIDMPOGRAPHY A GREAT ART DIRECTOR iS A MAN WHO KNOWS WHEN SOMEONE ELSE HAS A IS TO PRINTING 13E1 I ER IDEA THAN HE HAS . AMCUT1ON AND DRAMATICS ARE TO 1HE SPOKEN WORD':

THE FEATURETTES ON THIS PAGE WERE SET IN ITC SERIF GOTHIC. 17

—WHERE DID IT COME FROM? The most widely held theory about the term O.K., which H.L. Mencken once called "without question the most successful of all Ameri- canisms," is that it came from the Choc- is a Yiddish word that has become part of the colorful American taw Indian word okeh, vernacular. It refers to a man who is in bad luck all the time— a loser, for whom nothing is successful and everything goes wrong. The meaning "it is so."

word actually comes from the Bible, the Book of Numbers, Chapter 2 . Shelumiel, the son of Zurishaddai, was the leader of the tribe of Simeon It was also in the spell- and it is said that, whereas all other leaders were successful in bathe, ing okeh that the term he was the only one who lost all the time. Hence the term schlemiel appeared as the name of a now-defunct record company be- ›ARIA121V- e2,/;-`0014.30004 loved by jazz aficiona- dos because under its Okeh label appeared the first important re- corded music of such luminaries as Louis Armstrong, the Dorsey Brothers, and Benny Goodman. The actual origin of O.K., however, is the one that is accepted by virtually all word experts. The first printed example of the tern was as part of the rime of "The Democratic O.K. Club," an organi- zation of supporters of president Van Buren, who was running for a second term. Van Buren was a native of Old Kinderhook, a vil- lage in New York State. O.K. has become a truly international phrase, and prisoners of war in Japan, Korea, and Viet- nam have all reported that every street girl and prison guard have used and understood this term—even though they couldn't speak another word of English.

THE FEATURETTES ON THIS PAGE WERE SET IN AVANT GARDE GOTHIC. 18 What's New from ITC?

Avant Garde Gothic Condensed and Friz Quadrata are new from ITC. Only licensed ITC Subscribers are authorized to reproduce, manufacture and offer for sale Avant Garde Gothic Condensed, Friz Quadrata and all other ITC typefaces shown in this issue. This mark is your guarantee of authenticity.

ENS 0

In this issue of "U&Ic," ITC announ- ces four additions to its highly popular Avant Garde Gothic series. In response to the demand from AvANr designers for condensed versions of this versatile face, ITC has added mO ITI R I ) four new members to the Avant W I C Garde Gothic family: Book, Medium, CONDENSED Demi and Bold Condensed.

ABCDEFGHIJKLM ABCDEFGHIJKLM NOPQRSTUVWXYZ NOPQRSTUVWXYZ ANCEAIEVIRGIITIcel ANGIEA/ERRGAHNSA IALIIINIRRACESSST IAL111■11PRICESSST The Avant Garde Gothic Condensed series retains the same extra-large "x" height of the 1HUMNWMNV 1HUINMWMNV lower case letterforms, with their shortened (80! iS% 0#/=:.": :**), OPii$%0 4/--1-17i:°*) ascenders and . This characteristic 1234567890 123456789(i is one feature that distinguishes Avant Garde abcdefghijklm abcdefghijklm Gothic from other sans serif designs. nopqrstuvwxyzcO nopqrstuvwxyzçO ceecceNvwwys ceeccelvwwyB BOOK CONDENSED MEDIUM CONDENSED The ickge full-bodied Avant Garde Gothic lower case letters Condensed is even make for better legi- legible in sizes as billy and offer greater small as 3 and 4pt... reading ease when this promises to make ABCDEFGHIJKLM ABCDEFGHIJKLM large quantities of in- the face most useful NOPQRSTUVWXYZ NOPQRSTUVWXYZ formation require the for packaging, labels, use of condensed classified newspaper A AGEA/ERRGAHrliti AkECERNIA leflerfomis for corn- advertising and for IAIAINFIRACESST ILNrIkRACESSIST pact areas. With very catalogs, price list- few exceptions, and ings, etc. Avant Garde 1HUMNWAINV 1HUINMWM1V wherever possible, Gothic Condensed was akin E$%0 46/2". ::'*) OP! ES% C117:.*) (*most Mot the liga- specially drawn for ITC twos and variant by Edward Benguiat 1234567890 1234567890 letterforms of the and is based on the abcdefghijklm abcdefghijklm imigind Avant Garde original Avant Garde nopqrstuvwxyzcO Gothic family have Gothic series created nopqrstuvwxyzcil been retained in the by Herb Lubalin and cee c celvviwyB ceeccelvwwyB Condensed series. Tom Carnase. DEMI CONDENSED BOLD CONDENSED 19

ABCDEFGHIJKL FRIZ RATA MNOPQRSTU Award-Winning VGC Typeface Now VWXYZA0 Available as PhotoText Face from ITC abcdefshijIdmn opqrstuvvvxyz etter-consciousness display lettering— good and bad— 1234567890 no longer the pri- the lettering-conscious community has grown from thousands to L vate domain of the millions! And in these new millions typographic connoisseur. are those who would like to try FRIZ QUADRATA REGULAR Just a few years have their hand at serious letter design. changed all that. While A few years ago,Visual Graphics Corporation recognized this latent the man in the street potential and pursued it vigorously can't tell Caslon from by launching a typeface design ABCDEFGHIJKL Garamond, he no longer contest of considerable magnitude. thinks all letters look As a result of the contest Visual MNOPQRSTU Graphics issued 2-inch film fonts of alike. Not any more. 15 Award-Winning faces, all of VWXYZAO which have made significant impact on display typography. One abcdefghijklm wonders to what extent the more He's bombarded with posters, bro- conservative of these faces are nopqrstuvwxyz chures, and ads telling him in no adaptable to text composition. Text uncertain terms that letters can sizes, traditionally, are the first to be 1234567890 have many forms and very exotic developed. Display, as a rule, comes personalities. If he lives in New York later. Will photo-typography lead to (8.1?m0$494VV) a reversal of this sequence? and travels by subway he may FRIZ QUADRATA BOW spend a bumpy hour or two every day pondering the grotesque shapes of transit graffiti. Much as he may dislike both spray can and marker, and much as he may feel The question is best answered by action, and to demonstrate that their indiscriminate use on the possibilities of the Award Winning faces, International public property is a most unworthy Typeface Corp., under license from Visual Graphics to develop contribution to the art of lettering, Friz Quadrata and offer it for sale, is now making two weights nevertheless it has brought millions of this important design available to all manufacturers of text of John Does like himself to an typesetting equipment. awareness of letterforms— for good or for bad. Inevitably the more imag- The original weight of this fine letter was designed by Ernst inative of these observers have tried Friz. Mr. Friz, a native of Switzerland, studied graphics at Zurich to develop a taste for lettering— to with Rudolf Bircher and Walter Koch. He has his own graphic learn to distinguish between naive studio and specializes in type, symbol and package design, graffiti and the real thing. having won the National Swiss Packaging Award for 1962. A letter-conscious public is precisely what many of us have been hoping The bold weight adaptation of Friz Quadrata was executed by for, for many years. And here it is. Victor Caruso, designer with Photo-Lettering Inc. Thanks to the enormous impact of 20

Future issues of "U&Ic" will be devoted to a broad spectrum of original articles as well as a review and reprinting, in whole or in part, of a selection of the most interesting, significant, and eventful articles, statements, opinions, lectures, seminars, and exhibitions on the subject of the typographic arts produced in the twentieth century. Here is a sampling of the material that readers can look forward to seeing in future issues.

PERSPECTIVE ON WORLD INTERNATIONAL NEWS TYPOGRAPHY THE BEST OF '72 (1) HERBERT SPENCER (15) TODAY (24) What's happening currently on the Another regular section of U&Ic, A panel of design experts, organ- European typographic scene as re- devoted to a review of international ized by this newspaper, select the ported by one of the world's leading typographic news, events, and work. outstanding typographies produced authorities in this field. Q: WHAT MAKES A throughout the world last year, FROM WHERE TREND? A: A BUNCH with emphasis on the design solution rather (16) OF COPYCATS the concept. I \T L L BEU (2 RRET I N The dumbest question and the one ( 25) TOHFE RAOP AMNAENSIEZ ATION The absence of a thorough training most prevalently asked is "What period for designers often results are the future trends in graphics?" IP COMMUNICATIONS in a flippant attitude towards the Creators of graphics find it impos- Since World War II, there has been craft and skill of type handling. A sible to answer this question be- a tremendous American influence total revision of our educational cause trends are determined not in Japan that in some ways is structure is needed to meet stagger- by originators, but by imitators. harmful to that country's fine her- ing new demands. itage in the arts. This article will FADDISM tell about the Americanization of WHAT MAKES VERSUS Japanese typography. UGH-LY GREAT? (17) PRACTICAUTY (3) HERB LUBALIN Some type designs come and go, VISIT TO THE LAND The word "ugly" is probably the and some last forever. What has OF THE RISING SUN most misused word in the English happened to all the Caslons, (26 ) MASSIMO VIGNELLI language, especially as it is applied Goudys, Bodonis, and Baskervilles? The famed designer makes some to the graphic arts. Ugly can be They're hidden behind an extrava- interesting typographic observa- beautiful or, conversely, beautiful gance of psychodelic display faces tions brought about by his recent can be ugly. that saturate the typographic market. trip to Japan. PATTERN, WHAT'S HAPPENED THE ART OF TYPE SOUND, REPRODUCTION (4) TO THE ? AND MOTION (18) (27) EDWARD RONDTHALE Experiments in trying to make Once upon a time you could spe- The Chairman of Photo-Lettering words look or sound like what they cify from your typographer any- tells how to prepare typefaces for mean by London Central School thing from an aardvark to a zebra. reproduction. students. Where are all those type cuts, TYPAHGRRPHY- those juicy typographic morsels of A DEBATE GOOD AND BAD the olden days? ON THE NEW (28 ) USAGE OF (5) LEGIBIUTY THE LOST ART OF Some hard-hitting comments by Reading has been illegible since (19) Herb Lubalin on how ITC faces the invention of hot metal type. should and should not be used, With photo composition, we're all Time and Technology have caused with emphasis on Avant Garde going to have to adjust our reading the virtual disappearance of one of and Serif Gothic— two faces that to compensate for this new the world's most beautiful art seem to offer designers the great- unaccustomed legibility. forms. est opportunity for abuse. This is a no-holds-barred exposé by the GETTING USED ANIMATED designer of these faces, who is TO THE TYPOGRAPHY FOR slowly becoming convinced that ( LEGIBILITY EW (20) N AND FILMS 6 ) he should have stood in bed. How do you convince a client that Some of the most exciting typo- TYPOGRAPHY words and sentences and pare- . graphics appear on your TV tube graphs should be set in type the WITH HEART and motion picture screens. The (29) way they are spoken. Granted ifs a added dimensionality of move- LESTER BEALL tough assignment, but wait 'til ment offers the designer a veritable The whole person, including his next year. playground for typographic experi- heart, must be behind the job. WE— AS mentation. Superficial effects, fads, gimmicks, naive use of fancy lettering, the TYPOGRAPHERS-U SA. MILE-A-MINUTE (7) BRADBURY THOMPS. ON robbing of our cultural heritage— TYPOGRAPHY be it Byzantine or Victorian— To help understand the place of (21) HERBERT SPENCER ta0 merely to achieve a shock effect, the American designer— in world One of the world's foremost auth- have evolved embarrassing typo- typography— one of America's orities on modem typography with graphical monstrosities— par- most gifted typographic designers "MY FAVORITE some interesting highlights on ticularly in display typography. traces briefly the history of printing TYPOGRAPHIC TYPEFACE" AND speed and facility in the new design since 1450. PROLIFERATION (10) HOW I USE IT (12) technology. NEWSPAPER THE ART AND TYPOGRAPHY A series of short articles written by Who needs all the faddist here- (30) SCIENCE OF TRADITION prominent designers and art today-gone-tomorrow display type- IN TYPOGRAPHY (8) TYPOGRAPHY (22) A worldwide analysis of new lay- directors on the merits of the par- faces that saturate the typographic HERBERT SPENCER out presentations and formats, A review of the first world seminar ticular typeface they most enjoy scene and seem to multiply faster More illumination by the former made possible by the new tech- on typography held at Silvermine, using, with a graphic represen- than rabbits when there is such a designer and editor of Typographica: nologies in typesetting and the Connecticut in 1958, which tation of its use. complete dearth of good, practical an incisive appreciation of the graphic arts. explored the role typography faces.. Jor text as well as display. plays in world communications TYPE IS essence of tradition, CANADIAN on four conceptual levels: Tra- TO READ OCR-OPTICAL STUDENT INNOVATIONS IN WILLIAM GOLDEN dition; The New Arts; Science and CHARACTER EXPERIMENTS IN (31) GRAPHIC FORMS Technology; Mass Communication. If there is such a thing as a "New (13) RECOGNITION (23) PHOTOTYPOGRAPHY CARL DAIR American Typography'; surely it The latest information about this TOWARD The new photographic technolo- Reprinted from Format (1964), speaks with a foreign accent. And new frontier of typographic tech- A PICTORIAL gies in typesetting give the designer published by the Society of Typo- it probably talks too much. Much nology that promises to be the next (9) LANGUAGE flop it-R, Aso broader scope to play around with graphic Designers of Canada. of what it says is obvious non- major revolution in typographic letterforms. Included in this article The use of typography in con- sense. A good deal of it is so pom- copy preparation. THE CALIFORNIA are some exciting graphic examples junction with graphic symbolism pous that it sounds like nonsense, JOB CASE IS TYPOGRAPHY of typographic experimentation (32) to give additional meaning to though if you listen very carefully DEAD 4', #04$* AND THE NEW by students at the School of Visual words and create a more positive it isn't quite. It is just over-compli- TECHNOLOGIES Arts under the direction of Roger Long live the California job case. emotional reader response. cated. When translated into pre- AARON BURNS Ferriter. Metal type is slowly disappearing, World War II English, it is merely Awf kAiw and with it, the job case, for all obvious, A continuing retrospective by one practical purposes. It is, however, of the major figures in the field. now a big thing in well decor. 21

LOCOMOTIVE COVERAGE: DO WE HAVE THE PRINTED PAGE THE CUBIT ILLUSTRATED LETTERING LETRESET SOURCES (41) (55 HERBERT SPENCER (63) TURNED IT DOWN! CORPORATE DESIGN (33) PATRICIA DAVEY WINNERS (48) OF INSPIRATION? ) (73) Reprinted from Typographica (1954) The 25 winning entries of the BRAD THOMPSON Literacy is ceasing to be a privilege. Each issue, U&Ic will feature a 12 top illustrators add their draw- Letreset International Typeface A vast new audience for the visual heretofore unseen, unprinted, "still- ing styles to a designer's logotype AMERICA NEEDS A Reprinted from "Typography— Design Competition with brief word is emerging. The renowned born" graphic idea that was re- to create a scintillating corporate NEW DESIGN USA" (Seminar 1959), sponsored comments by judges Colin Forbes, international expert discusses what vered by the artist and rejected by image program. (34) MANUAL FOR by the Type Directors Club of New Derek Birdsall, Arman Hoffman, is— when properly employed— a the client. TYPOGRAPHERS York TYPE THAT LOOKS Roger Escoffon, Marcello Minalli highly-efficient vehicle of communi- ALVIN EISENMAN TRADITION: FROM THE LABS UKE WHAT IT and Herb Lubalin. cation. (WHAT'S COMING, MEANS In the absence of a consistent A JAPANESE (74) (49) (64) WHAT'S NEEDED) style, compositors and other work- COMPUTER DILEMMA Or, how to make words more KAMEKURA KEYSTROKES: A Another regular featuring meaningful than their actual men responsible for the great bulk (42) ANIMATION (56) IN TALE OF TWO the latest scientific developments meaning conveys. First in a series of American typography, are for the A leading Japanese designer dis- TECHNOLOGIES Dolphin Productions explains the and technologies in the field of on this subject by Herb Lubalin. present flying blind— working cusses the problem of how the FRANK ROMANO without a set of organizing princi- use of the computer in creating very simplicity of traditional Japan- the graphic arts. ples. Their opposite number in exciting typographic visual images ese Arts— how their very ancient- Two new technologies make it WE CAN GET IT LOGOTYPES ARE Switzerland have a clearly defined for television. ness— renders them inappropriate possible to capture keystrokes— FOR YOU WHOLESALE BIG BUSINESS (75) method of type selection and or- to some of the requirements of to turn a typed manuscript directly (65) IS THERE A Special of the week! For sale, ganization based on a manual of today's living. And how in search into typesetting input, with no NEW STYLE OF Outstanding typographic logos, cheap! One dozen assorted, re- design principles for compositors. (43) for visual communication effective- further keyboarding necessary. The TYPOGRAPHY? trademarks, and symbols around jected typographies by some of ness, Japanese designers turn to President of Graphic Arts Marketing WHICH IS WHICH: HERBERT SIMON the world which distinguish the America's leading designers. Avail- Western design approaches, Associates writes about the remark- LOGOS AND corporate visual profile. able for a limited time only to the All new ideas and notions naturally which better fit the demands of able innovations of word process- (35) TRADEMARKS first 12 lucky customers. create protagonists for this style or modern industry. ing and optical character recognition THE ORIGINS OF An article that tries to clear the air that. Principles are proclaimed and THE CBS WALL of certain semantic misconcep- there is a tendency to deride any- A REVIEW OF THE THE REAL LEADERS (66) DEVELOPMENT OF (76) CIRCUS TYPOGRAPHY tions by clients. Sometimes a logo thing that may be labeled old- (50) (57) WILLEM SANDBERG Many people have seen the can be a trademark and sometimes fashioned. But, we must ask, are TYPOGRAPHIC finished product, but very few have Steve Frankfurt and Tony a trademark can be a logo, and there in fact new principles? Is DESIGN THROUGH- "Chidren when young start scribb- Palladino OUT THE WORLD ling: registrate movement with seen the finished art from which redesign the look of Barnum & sometimes a logo is logo and a there a new style of typography? the wall was created. A short short A few of the areas covered in the pencil often without looking..." Bailey and Ringling Bros. circus trademark is a trademark and HOW MANY NEW story by Lou Dorfsman and Herb years spanning 1900 to 1973: The beginning of an unusual literature without losing its flavor. never the twain shall meet. TYPEFACES WOULD Lubalin, the wall's designers, on Early Poster Typographic Art piece of blank verse by the Dutch ITA: ) BE DESIGNED how it all happened. (Germany, France); The DeStijhl master. Reprinted from Vision 65, "DEIDI WAS HEREr TEACHING IF THE T-SQUARE, (77) (36) Movement (Netherlands); The the inaugural congress of the Inter- THE GOOD OLD ALPHABET TRIANGLE, Italian Futurist Movement; The national Center for the Communi- SATURDAY EVENING SIR JAMES PITMAN AND COMPASS A photographic documentation of Russian Constructionist Movement; cation Arts and Sciences. (67) POST Reprinted from Format (1964) BECAME OBSOLETE? signs, posters and graffiti seen on The Bauhaus (Germany); De Neue THE YOUTH Herb Lubalin, twice ill-fated the walls of the world. Let's go back to the good old days Typografie...Jan Tschichold designer of this defunct magazine, A TYPOGRAPHIC EXPLOSION IN when typefaces were drawn by (Germany); Early Modern American (58) shows some 19th century Post REVIEW TYPOGRAPHY SCOREBOARD (37) craftsmen, by hand, without the aid Typography. page designs and comments on A look at some up-and-coming GRAPHICS of all the mechanical devices now how great it was' before a few (78) In each issue of "U&Ic'; leaders 5A1 AARNEAWTIEONDAEVLESLTy0PLIENG young graphic designers in various available to make the type de- sophisticated 20th century design- in such fields as advertising typo- schools throughout the world. A prominent sports writer provides signers life easier, less creative, ers got their hands on it. graphy, editorial typography, book ( ALVIN EISENMAN some insight on the dissemination and more boring. With this for 1 1 HIGH POTENTIAL and packaging typography, poster DESIGNING FOR of information at some of our most starters, designer Herb Lubalin Reprinted from "Typography— TRENDS IN typography, sales promotion and A RETAIL illustrious ball parks. elaborates. USA" (Seminar 1959) sponsored (59) COMMUNICATION architectural typography will select by the Type Directors Club of (68) ESTABLISHMENT MODERN TYPOG- BUCKMINSTER examples and offer critical opinion New York. FULLER A series on the changing face of RAPHY IN THE on the best and, perhaps, the worst retail graphics featuring: Wana- (80) "WISE (45) MODERN WORLD HUMANISM The famed inventor-engineer- efforts produced during the several maker, Philadelphia; Eaton, IN TODAY'S educator thinks out loud on present A luscious alphabet conceived by months preceding publication. Do you use lower case letters be- (52) TYPOGRAPHY Canada; Neiman Marcus, Dallas; Ernie Smith and Lorraine Badger. cause they look modern? Do you technical devices and new ones COMPETITION: which may develop to facilitate Galeries Lafayette, Paris; Barney's, "AMERICAN use sanserif faces becauSe they New York,' Cox, Pittsburgh and communication. THE AMERICAN (38) TYPEWRITER— lookup-to-date'?' Paul Rand asks Reprinted from Format (1964) others. BICENTENNIAL WHAT WILL YOU these and many other thought- MANKIND MAY NOT (81) TYPOGRAPHIC THE GOOD OLD DO WITH IT?" provoking questions having to do MAKE IT THROUGH A look at 200 years of American with a better understanding and (53) SHOWCASE (60) ROBERT OSBORN NEUE TYPOGRAPHIE ITC awards cash prizes to the (69) graphics as symbolized by our truer appreciation of the meaning PAUL RAND designers who create the best A regular section of "U&Ic",.which 'Mankind thinks he'll make it stamp designs. Because were of being modern. A tribute by one of the world's fore- posters using its newest text type will present new work of interest- through. Regardless of what he getting older, does that mean we're most designers, an American, to face (ITC American Typewriter) ing typographic design. Designers does, or does not do, he happily getting better? HOW TO MAKE ADS the dynamic influence upon everywhere are invited to submit assumes he will survive. But the TYPOGRAPHY LOOK DIFFERENT modern typography and designers This is a random sampling of (46) for consideration for inclusion in hard facts gainsay his hopeful TODAY WITHOUT DRIVING everywhere, of the book, "Die Neue some of the articles and ex- "U&Ic' Among the typographic vagaries" The social commentator (39) MAX BILL THE COPYWRITER Typographie': written by Jan subjects: architectural graphics; and painter examines this provoca- hibitions of significance that OUT OF HIS MIND Tschichold, Germany (circa)1925. An examination by the world- package design; trademarks and tive theme. you are likely to see in forth- The same graphic means are avail- famous Swiss architect and logos; corporate design; reports; coming issues of litdc:' able to all advertising art directors. AMERICAN ADS THE HOME-GROWN designer of the two kinds of typo- advertising design; promotion; The same typefaces, the same VS. EUROPEAN HAND PRESS A steady flow of similar work graphy: "elementary" and poster design; editorial design; (61) (70) photographers, and the same ADS on the subject of the Typo- "functional" books; book jackets; record album illustrators. The results have been Exploring the lack of common A series of articles displaying the graphic Arts is being produced covers; film and TV. MUST LINE-LENGTH a sameness of advertising graphics. ground in visual communication creative output of a bunch of self- daily in every corner of the BE UNIFORM? The answer to this problem lies in due to socio-economic, traditional, made, do-it-yourself-in-your-garage world. (40) WILLEM SANDBERG TYPOGRAPHIC hand press proprietors starting a back-to-the-forties movement PIONEERS and cultural differences. "U&Ic" takes this opportunity When reading or writing a letter, where the art director will once (54) with Mo Lebowitz. to invite the world communi- WHAT'S NEW we are not in the least disturbed again become a designer and the THE NEED FOR A visual presentation of the signifi- IN NEON? ty to use these pages as a that the lines are of uneven length. copywriter will once again become cant work of designers who have (62) A NEW NEW universal clearinghouse for (71) Is it really necessary that type - a happy man. TESTAMENT pioneered in modern typographic A compilation of some outstanding the interchange of information material should be forced to form a THE NEW design in the 20th Century— examples of neon signage with a A comparison of some of the grand and for the submission of ex- neat rectangle? The famous Dutch TYPOGRAPHY'S accompanied by commentaries short blurb on how you can design old bibles with the best of a sorry ceptional articles and designs typographer and museum director (47) EXPANDING from the artists themselves as well your own personalized sign and get lot of contemporary ones. to the editors for publication. examines the reason, or lack of FUTURE as short listings of their careers it made cheap. reasons, for this mechanically This is your newspaper. LADISLAV SUTNAR including present work. A regular inspired typesetting practice. feature. (72) OF YTILIADS WI We hope you will make re- A pioneer in modem design offers warding use of it. a clear and concise understanding A plea for less lead and larger type of the problems facing the graphic in advertising. designer today. THIS ARTICLE WAS SET IN AVANT GARDE GOTHIC CONDENSED. 22 You can use U&lc as a house organ for your company.

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