Aa Bb Cc Dd Ee Ff Gg Hh Lijj Kkt.1 Mm Nn Oopp A, Qq Rr Sstt Uu Vv

Aa Bb Cc Dd Ee Ff Gg Hh liJj Kkt.1 Mm Nn OoPp a, Qq Rr SsTt Uu Vv Ww XxYy Zz1234567890&/ECESSC'EUN )11 UPPER AND LOWER CASE THE INTERNATIONAL JOURNAL OF TYPOGRAPHIC PUBLISHED BY INTERNATIONAL TYPEFACE CORPORATION. VOLUME THIRTEEN. NUMBER TWO. AUGUST 1986

The New Colossus Not like the brazen giant of Greek fame, With conquering limbs astride from land to land; Here at our sea-washed, sunset gates shall stand A mighty woman with a torch, whose flame Is the imprisoned lightning, and her name Mother of Exiles. From her beacon hand Glows world-wide welcome; her mild eyes command 1111 The air-bridgod harbor that twin cities frame. "Keep ancient lands, your storied pomp!" cries she With silent lips. "Give me your tired, your poor, Your huddled masses yearning to breathe free, The wretched refuse of your teeming shore. Send these, the homeless, tempest-tost to me, I lift my lamp beside the golden door!" Emma Lazarus

YOUR, POOR...See color story starting on Page 40 2

VOLUME THIRTEEN, NUMBER TWO, AUGUST, 1986

EDITOR: EDWARD GOTTSCHALL ART DIRECTOR: BOB FARBER EDITORIAL. DIRECTORS: AARON BURNS, EDWARD RONDTHALER ASSOCIATE EDITOR: MARION MULLER ASSISTANT EDITOR: JULIET TRAVISON CONTRIBUTING EDITOR: ALLAN HALEY RESEARCH DIRECTOR: RHODA SPARBER LUBALIN ADVERTISING/PRODUCTION MANAGER: HELENA WALLSCHLAG ASSISTANT ART DIRECTOR: ILENE STRIZVER ART/PRODUCTION: KIM VALERIO,SID TIMM SUBSCRIPTIONS: ELOISE COLEMAN

c INTERNATIONAL TYPEFACE CORPORATION 1986 U&LC (ISSN 0362 6245) IS PUBLISHED QUARTERLY BY INTERNATIONAL TYPE- FACE CORPORATION, 2 HAMMARSKJOLD PLAZA, NEW YORK, N.Y. 10017. A JOINTLY OWNED SUBSIDIARY OF LUBALIN, BURNS & CO., INC. AND PHOTO- LETTERING, INC. U.S. SUBSCRIPTION RATES S10 ONE YEAR: FOREIGN SUBSCRIP- TIONS, S15 ONE YEAR: U.S. FUNDS DRAWN ON U.S. BANK. FOREIGN AIR MAIL SUBSCRIPTIONS-PLEASE INQUIRE. SECOND-CLASS POSTAGE PAID AT NEW YORK, N.Y. AND ADDITIONAL MAILING OFFICES. POSTMASTER: SEND ADDRESS CHANGES TO U&LC, SUBSCRIPTION DEPARTMENT, 866 SECOND AVENUE, COV V AL ART STS NEW YORK, N.Y. 10017.

ITC FOUNDERS: AARON BURNS, PRESIDENT EDWARD RONDTHALER, CHAIRMAN EMERITUS HERB LUBALIN, EXECUTIVE VICE PRESIDENT 1970-1981

ITC OFFICERS 1986: GEORGE SOHN, CHAIRMAN AARON BURNS, PRESIDENT EDWARD GOTTSCHALL, EXECUTIVE VICE PRESIDENT BOB FARBER, SENIOR VICE PRESIDENT EDWARD BENGUIAT, VICE PRESIDENT ALLAN HALEY, VICE PRESIDENT RICHARD CONWAY,CONTROLLER AND GENERAL MANAGER

MICROFILM COPIES OF U&LC MAY BE OBTAINED FROM MICRO PHOTO DIVISION, BELL & HOWELL, OLD MANSFIELD ROAD, WOOSTER, OH 44691

In this issue: Editorial Commercial Artists and Jobs. Page 2 The Joy of Paperwork A sculptor finds his perfect medium. Page 4 Department ofWeird, Wonderful and Useless Information Ten or fifteen years ago, when the printing, publishing ...about plants, animals and people. Page 8 and advertising art and design world was becoming Illustration with a Capital I.Q. aware of the new technologies for creating and manag- Witty, weighty and well done sums up ing communications art, many commercial artists and Cathy Hull's work. Page 10 graphic designers worried that they, and/or their The Square Kufic peers, would be displaced by a computer aided termi- The roots and exponents of an ancient art form. nal. Some, U&lc included, felt that more, rather than Page 12 fewer, artists and designers would be needed to bring Legendary Logos to the new tools the creativity, taste and judgment Whence cometh these symbols? We telleth all. Page 14 they lack. Milestones, by Allan Haley Revelations about Stanley Morison, a man of contradictions, conviction and consummate taste. Page 16 Basque Serif; by Ellen Shapiro Geographically, it's from Spain. Typographically, ow some early data it's a world apart. Page 20 is in, and the more optimistic view of the future job Families to Remember More in our series of distinguished families, both market seems to be the correct one. Data from the genealogical and typographic. Page 22 U.S. Department of Labor takes a look at the ten fast- Encore, Encore, Encore est growing occupations through 1995 and makes Another look at some admirable faces. Page 34 projections of job growth in 33 fields. Job growth for The 2,000-Year-Old Lady "artists and commercial artists" ranks seventh among (The Statue of Liberty) the 33 in data released in November 1985. Ahead of The party's over, but the history lingers on. artists in the job growth list, in order of anticipated Page 40 growth, are: physical therapists, engineers, lawyers, ac- Book Shelf countants and auditors, registered nurses, and public A collection and compendium of what's going on relations specialists and publicity writers. in visual communication. Page 49 Four Immigrants, by Steven Heller Insights into outsiders... and outsiders' insights about their new land. Page 50 INDEX TO ITC TYPEFACES 8, 38, 39 ITC AMERICAN TYPEWRITER® FRONT COVER, 48 ITC GOUDY SANS'" 52 ITC Technology Update ITC AVANT GARDE GOTHIC® 40 ITC KORINNA® 9 ITC BARCELONA® 40, 41 ITC LEAWOOD° 42, 43, BACK COVER What's new in communications equipment and ITC BERKELEY OLDSTYLE® 26-29, 51 ITC LUBALIN GRAPH® 46 systems. Page 54 ITC BOOKMAN° 42 ITC MIXAGE° 42, 56 ITC CASLON NO. 224° 12 ITC NEW BASKERVILLE® ITC NEWTEXT® 2 Alphabet ITC CENTURY° 42 ITC NOVARESE® 10, 11 ITC CHELTENHAM® 16-19, 40 20, 21 Selfexpression, computer style. Page 56 ITC CLEARFACEe 22-25, 50 ITC QUORUM° ITC SYMBOL° 9 ITC ELAN"' 36, 37 ITC TIFFANY 2, 3 This issue of U&lc was mailed to 200,000 readers: 153,000 in ITC ERAS° 13 ITC USHERWOOD® 9, 49 the United States and Canada, and 4Z000 abroad. It will be ITC ESPRIT" 8, 34, 35 ITC VELJOVIC'" 8, 14, 15 read by approximately 1,000,000 people. ITC FENICE® 6, 7 54, 55 ITC FRANKLIN GOTHIC ° 4-7, 22, 23, 26, 27, 30, 31, 50 ITC WEIDEMANN'" ITC ZAPF BOOK® 30-33, 53 FRONT COVER: ITC AMERICAN TYPEWRITER MEDIUM WITH BOLD ITC GARAMOND® 42 MASTHEAD: ITC NEWTEXT REGULAR TABLE OF CONTENTS: ITC TIFFANY LIGHT ITALIC WITH ITC ZAPF INTERNATIONAL° 5 ITC GARAMOND CONDENSED ® 8, 44-48, BACK COVER DEMI ITALIC INDEX TO ITC TYPEFACES: ITC FRANKLIN GOTHIC BOOK WITH DEMI ob opportunities for artists are expected to expand by 29 percent in the decade, grow from 204,000 in 1984 to 264,000 by 1995, for a growth of 60,000 new jobs. This outlook is most encouraging. Equally encouraging is the fact that more and more art/design schools, at both high school and college levels, are training students to use the new computer aided tools as well as offering the basic and traditional courses in art and design. A LOOK AT WHERE WE CAME FROM Sometimes, with all the emphasis on what's new, on bits and bytes and lasers, we forget our rich heritage of fine design and exquisite craftsmanship. Not just nos- talgia , but ideas and information and inspiration are in store for those who take an interest in our graphic heritage. A fine organization that not only makes such experience accessible, but brings us into a fraternity of kindred spirits is APHA, The American Printing History Association. Its activities, meetings, newsletters and booklets are graphics treasures.

f you'd like to know more about APHA, write to it at P 0. Box 4922, Grand Central Station, New York, NY 10163. EG

HEADLINE, ITC AVANT GARDE GOTHIC EXTRA LIGHT, ITC TIFFANY DEMI TEXT: LIGHT INITIALS: DEMI Wool and oil paint on papier mache. Commissioned by the American Wool Bureau. 5 ack in the '70s, when young people navigated Kurtzman in the direction of were dropping out of school, out of paper sculpture caricatures. He was fasci- nine-to-five jobs, and out of con- nated with the work of Red Grooms, an ventional lifestyles in order to "find artist who stirred up the art world with his themselves," Adam Kurtzman zany cartoon-style three-dimensional found himself by hanging in. At installations. Grooms' work was definitely Cooper Union, he found that he a stimulus. But more important, Kurtzman preferred his minor subject, Sculpture, to his insists, was an uncle—a cartoonist whom major, Graphic Design. In his first job as an Kurtzman admires and considers his real assistant in the sculpture department of a dis- source of inspiration. play company, he found that paper was a When the funny masks became more of remarkably agreeable and inexpensive sculp- an obsession than a pastime, Kurtzman ture medium—cheaper than ceramics, wood, gave up his job at the monster factory and stone, marble, steel, and especially bronze! In entered the freelance market. He started to his second job, working for a company that caricature prominent personalities of the sculpted robot monsters for amusement parks, entertainment and political worlds in his he found that he had a real feel for the weird, 3-D paper medium. He made masks of the wacky and the bizarre. He put it all together Billy Idol, Laurie Anderson, Grace Jones, and started to sculpt his "funny little masks" in Tina Turner and Joe Jackson, as well as a paper laminating technique. Ronald Reagan, Hubert Humphrey and Aside from his own school and work experi- Jeane Kirkpatrick. He also sculpted still life ences, there were some outside influences that objects, both real and imaginary, and be-

The joy of Paperwork

Nasty Broad. Oil on papier mache with corrugated cardboard. Snot Nose. Oil on papier mache. Stolen out of show at On the Wall Gallery. Private collection.

HEADLINE. ITC ZAPF INTERNATIONAL HEAVY INITIAL: MEDIUM TEXT' LIGHT. DEMI CAPTIONS' ITC FRANKLIN GOTHIC BOOK WITH DEMI 6 Magazine. Hubert Humphrey. Oil on papier mach& Commissioned by GQ Magazine. Demon. Oil and caribou on papier mache. Collection of Bruce Mailman. Ronald Reagan. Oil on papier macho. Commissioned by GQ

Jeane Kirkpatrick. Oil and construction paper on papier macho. Black Lady. Leather and oil on papier macho. Collection of Stephanie Sellinger. Sting. Oil on papier mach& Private Collection. Commissioned by The Village Voice. fore very long his work was appearing as illus- also of real-life friends and neighbors. When- trations for editorials and feature stories in ever possible, he prefers to work from a live such diverse publications as Rolling Stone, The model. But if his subject isn't available, he set- Village Voice, Gentleman's Quarterly and Print tles for working from photographs. To begin, he Magazine. Kurtzman has carved out a unique models the head—actually his caricature of the career for himself as a 3-D illustrator. head—in plastelene, a malleable, non-harden- Happily, the exposure in print also brought ing clay. He then proceeds with the paper lami- him commissions to create full-sized manne- nations; the same process, he informed us, that quins and props for window displays at Lord & was once used in making stagecoach doors. Taylor, Saks Fifth Avenue and Tiffany, some of Working with mulberry or rag paper, which he New York's elegant retail stores. impregnates with a special cellulose-based Aside from his commercial work, Kurtzman binder, he drapes one layer of paper at a time enjoys making masks out of pure fantasy, and over the clay form. The paper must be laid 7

Tina Turner. Oil on papier mache with broomstraw hair. Used on exhibit at Avenue A. on with painstaking care so it conforms to all Monsters, mannequins and masks have put the indentations, protrusions and contours Kurtzman in the public eye commercially; but of the model. Each layer of paper must dry for you can detect in his voice that he is especially approximately three to five hours before the joyous about his exposure in the art market. next application. Since he uses an average of Starting in 1984, his portrait sculptures have ten layers of paper, you can easily calculate been exhibited in New York City in the Wolf that each mask is at least a week in the making. Gallery, Civilian Warfare, Avenue A and the St. It's endless hours of paperwork, and Kurtzman Mark's Galleries. His most recent sculpture of thrives on it. When the paper is properly dry hat and animal forms is scheduled for exhibi- and hard, it is removed from the clay model, tions at the Mark Gallery and On The Wall Pro- varnished, painted in oils and embellished with ductions. Kurtzman is represented by On The metal leaf, "hair" and whatever accessories are Wall Gallery, 328 East 11th Street, New York, NY pertinent to the character. 10003. Marion Muller

TEXT. ITC FENICE REGULAR CAPTIONS' ITC FRANKLIN GOTHIC BOOK WITH DEMI RELATIVELY SPEAKING. No matter how small a family you think you have, your ancestors are beyond counting. Allowing for two parents, four grandparents, eight great- grandparents, and so on, counting back some 65 generations to the year one (and we all go back a lot farther than that) the number of your kin- folk, expressed mathemati- cally, is 265 That adds up to quintillions of lineal relatives, not to mention siblings, aunts, uncles, cousins and in-laws.

TREE-MENDOUS. The banyan tree, a native of India, has a growing system all its own. It not only grows up and out, but down as well. Its branches spread wide and send shoots down into the earth. These shoots take root, but also become new trunks that sprout more limbs and more shoots. A single banyan tree can look like a small forest. Hindu merchants often use the spaces under the trees to set up shop and peddle their wares. The largest known banyan tree is on the island of Sri Lanka (formerly known as Ceylon). It has 359 large trunks and over 3,000 small ones, and it is estimated that 7,000 people can take shelter under its spreading limbs. DEPARTMENT OF WEIRD, WONDERFUL AND USELESS INFORMATION

WHAT ARE YOU WORTH? Chemically speaking, not much. The human body is composed of about 1/2 ounce of sugar, 1 ounce of salt, 3 1/2 pounds of calcium, about as much iron as you'll find in a tenpenny nail, enough phosphorous for the heads of 2,000 matches, and 9,000 pencils' worth of carbon. Depending on your avoirdupois, the amount of fat in your body might make between six and eight bars of soap.

TEXT (TOP TO BOTTOM)'. ITC GOODY SANS MEDIUM WITH BOLD, ITC ESPRIT BOOK WITH BOLD, ITC VELJOVIC MEDIUM WITH BOLD ILLUSTRATIONS BY LIONEL KALISH HEADLINE: ITC GARAMOND BOLD CONDENSED 11101111111111116 V0r-4111,, •

JOINT CUSTODY. The little sea horse is way ahead of the human species in sharing the burden of child rearing. Every male sea horse has a pouch on his underside in which he carries the female's WATCH YOUR MOUTH. It has only been in the last 50 years that anyone eggs until they hatch. Fair is fair. Marion Muller cared about how you brushed your teeth. In 1934, the American Dental Association began rating toothpastes as "acceptable" or "unacceptable," depending on the abrasiveness of materials used. Before that, anything went —sand, pumice, acids, etc. The ancient Chinese experimented with ground fish bones as a dentifrice, and the Egyptians, 4,000 years ago, concocted a tooth cleanser made of incense, green lead and verdigris — the blue-green deposit formed on copper, brass and bronze after exposure to the air. (Egyptian children must have been the first to come running home shouting, "Look Mummy, no cavities!")

THE LONG AND THE SHORT OF IT. If all the blood vessels in a normal-sized human body were laid end to end, they would extend for 100,000 miles. At the same time, it takes only one minute for a single drop of blood to leave the heart, circle the body and return to the heart again.

TEXT (TOP TO BOTTOM) ITC USHERWOOD BOOK WITH BOLD, ITC LEAWOOD BOOK WITH BOLD, ITC SYMBOL BOOK WITH BOLD 10 on spec, a single chapter of a book. After she completed the first chapter, she was offered a second, then another, and another. Finally, she got the contract to do the whole book. When the publication was honored as one of the 50 Best Books of the Year, she found herself catapulted into the professional market. She was written up in Graphis. Offers came from Time and The New York Times, and her exposure in those pages attracted other prestigious clients. From the very beginning, Ms. Hull was aware that to be a successful illustrator she had to develop a style that would make art directors look twice—and like what they saw. But she was also more concerned with what she was saying than how she said it. Sometimes she expressed herself in cartoons; sometimes in illustrations. Sometimes with ILLUSTRATION humor; sometimes with compassion. 'IWo artists who influenced her were the Belgian painter Magritte, with haunting, incongruous juxtapositions of familiar WITH A objects, and the cartoonist Saul Stein- berg, that paragon of wit and economy. From those influences, and guided by her own philosophy that illustration should titillate, explain, amplify, be CAPITAL accessible to readers but never upstage a story, her style evolved. >>)-1 There is witty, incisive cartoon satire in her conjuring a butterfly out of two pistols and a pair of bullets. ))))) 1 There is a hint of the tantalizing, enigmatic Magritte mentality in her illustration of the Mona Lisa stuck in a funnel. every emerging graphic artist would like WO- Her illustration of a computerized to know. The answer is: Modestly. phone call has a surprising twist and is Like every student approaching gradu- just plain fun. ation from design school, Cathy Hull assembled a portfolio and went knock- )))))+- Cathy Hull's gift of visual and ver- ing on doors. Her first assignment came bal acuity would serve her well as a from McGraw-Hill by way of a recom- writer if she preferred words to pictures. mendation from a teacher at the School But we are quite delighted and Women's Rights vs. Court. Op-Ed, The New York Times. of Visual Arts. It was not impressed to read what she says much—a commis- with her drawing pen. M.M. If I were allowed only one word to sum Nebelspalter. She has also been included sion to illustrate, up Cathy Hull's illustrations, I would in every major design and illustration say "intelligent." There is no flashy, self- "annual," the most recent of which is serving stylishness here, no gratuitous Contemporary Graphic Artists, 1986. gimmicks. Her drawing is straightforward Ms. Hull is a freelancer whose work and bold. But it is mainly the clarity of appears regularly in The New York Times, her thinking—her understanding of what Time Magazine and Penthouse. Her draw- has to be said and her willingness to be ings have also appeared in Newsweek, understood—that makes her work so Esquire, New York Magazine, Sports Illustrated satisfying and has produced a career and Playboy. Among her clients are Mobil resume that dreams are made of. Oil, Pan Am, CBS Inc., ABC, and such In 1972, only two years out of design major publishers as McGraw-Hill, Ran- school, Ms. Hull was already the subject dom House, Harper & Row, John Wiley & of a feature article in Graphis. She has Sons, Academic Press, and Doubleday. since been the subject of feature stories She has also contributed work to the in Print, Art Direction, the School of Visual French publications, Realites and Marie- Arts Chronicle and the Swiss periodical, Claire and the German, Brigitte. The number of exhibitions in which she participated and the prizes won are staggering. But "How did it all start?" is what 11

The Social Psychology of Aggression. Social Psychology, Academic Press.

Homelessness: A Hidden Problem. Op-Ed, The New York Times . Blackout: The good life has found a limit. The New York Times, Week in Review

Attitude Change, Propaganda and Communication. Social Psychology, Academic Press.

Hello, this is a computerized call, call, call. Op-Ed, The New York Times.

HEADLINE' ITC NOVARESE BOOK TEXT: BOOK WITH BOOK ITALIC CAPTIONS' MEDIUM WITH MEDIUM ITALIC BYLINE BOLD

12 Fear not, dear reader, this is not a at the perimeter and working in formidable treatise on the myster- towards the center. ies of some arcane mathematical In some projects he combines a puzzle. It is the simple story of a single letter or word with a deco- very old design idea. rative pattern, which enables The square designs on these him to produce elaborate designs pages may look like ambitious geo- that are also highly legible. "It is metric doodles, but there's much important," Mr. Sakkal warns, "to more here than meets the eye. choose a design that is compatible Each square contains a verbal with your text. It's better still to message which would make sense create a pattern that grows out of to you if you could read Kufic. your text so that the design does not overpower the message:' Kufic is an ancient Arabic writ- That's the kind of talk that makes ing style which reached its most writers ecstatic, and to which we refined form in the eighth century. add, amen. M .M. It is basically an angular script with squared-off letterforms of short verticals and attenuated horizontals. The "Basmallah." It reads: By the name of God, the merciful, the compassionate, 1982. How and when Kufic writing evolved into design squares remains something of a mystery. But the use of calligraphy as a design motif has always been fun- damental to Islamic art. Unlike early Western art, supported by the Church and burgeoning with angels, saints and representations of God, Islamic Law forbade the use of graven images. Because of reverence for the word of God as written in the Koran, calligraphy became the source of all Islamic art forms. It appears in their architecture, textiles, books, pottery, glass and paintings. The square Kufic designs were especially popular during the 14th and 15th centuries, and elaborate examples of them can be seen in architecture Wall pattern used on a house designed by M. Sakkal, 1977. Owner's throughout the Islamic world. name is incorporated on the perimeters. The square Kufics on these pages, however, are not of ancient origin. They are contemporary designs sent us by Mamoun Sakkal of Seattle, Washington, who has even more sides to him than a double square Kufic. Mr. Sakkal, an architect, interior designer, illustrator and painter, also has an intense interest in calligraphy and type design. While experimenting with typeface designs for graphic projects, he reached back into his ancient heritage and rediscovered the potential of the Kufic script Greeting card designed in 1979. for contemporary design projects such as logos, greeting cards, posters and ornamental wall panels. Mr. Sakkal has also been kind enough to take the mystery out of his squares by explaining what they say and how he designed them. To make a simple square Kufic, he first lays out the words in a single line. Next, he refines the letters to achieve a balanced proportion of black and white lines and spaces, without sacrific- ing the grace and legibility of the Tombstone design, Persia, 1352 A.D letterforms. He then divides the line into sections, making each one a side of the square. The message is read by making quarter turns of the page. When he has Logo for Symposium on the Preservation of the City of Aleppo, a very long text, he designs the Syria, 1982. City name is repeated four times. square in multiple lines, starting

HEADLINE: ITC ERAS BOLD TEXT / CAPTIONS: ITC CASLON NO. 224 BOLD nosnairsluall 14

LEGENDARY LOGOS

Recently, these designs by a young graphic artist, Eli Sela, were brought to our attention. We hope nobody assumes that, because Mr. Sela received his undergraduate training at Haifa University in Israel, he is limited to designing Judaic symbols. He is conversant, figuratively and literally (in Hebrew, English, French, German and Spanish), with all aspects of communication design. Currently, he lives and works in New York City and is en- rolled in a TVArts and Computer Graphics program at the Center for Media Arts. 15

What intrigued us about these logos he in which David is described as the first emblem on the flag of Israel. designed for the 1985 National United of the ancients to take protective arms. In contrast to the uncertainties about Jewish Appeal campaign, were the Whatever the origin, the star took on the Mogen David, there is no doubt liberties he took with the ancient a magical, protective connotation, and about the origin of the Menorah. It's Judaic symbols. It set us to wondering during the Middle Ages it appeared in clear and explicit in the Old Testament, about the origins of the Menorah (the Christian, Jewish and Moslem architec- Exodus, Chapter 26: 31-40. In prepara- candelabra) and the six-pointed star, ture. It was used by kings and by Chris- tion for God's coming to live among his the Mogen David. tian and Jewish notaries on their seals. wandering people in the wilderness, In the first place, contrary to popular It was found on tombstones, on elabo- he instructed Moses to build a proper usage, Mogen David does not translate rate Hebrew manuscripts and on coats tabernacle. Not only did he give specific to Star of David, but to Shield of David. of arms. To alchemists it was a symbol instructions for the shelter, but for the And contrary to popular belief, it did of the harmony between the elements. furnishings as well. "You shall make a not originate from, nor is it unique to, To the mystic Cabalists, the Shield of lampstand of pure gold; the lampstand Judaism. The six-pointed star appeared David became the Shield of the Son of shall be made of hammered work; its as far back as the Bronze Age, between David, the Messiah. The most pedes- base and its shaft, its cups, calyxes, and 2,500 and 3,500 B.C. For centuries it trian use of the star appeared in Vienna petals shall be of one piece. Six branches was used as a decoration in countries in the 17th century, when it was dis- shall issue from its sides: three branches as unrelated geographically as Mesopo- played to mark the boundary between from one side of the lampstand and three tamia, Britain, and India. It was used Christian quarters and the Jewish ghetto. branches from the other side of the lamp- interchangeably with the five-pointed It was not until the 19th century, stand."Nothing was left to Moses' star by Jews, Christians and Moslems when the Jews felt the need for a sym- imagination. Even the number and alike. Among Jewish artifacts found by bol as gripping as the Christian cross, placement of almond blossom decora- archaeologists, the oldest depiction of that the Mogen David was embraced as tions were clearly specified. the star was found on a seal attributed the unifying symbol of Judaism. Since Like the six-pointed star, Menorah to Joshua. then it has served purposes of varying designs have been found dating back As to the meaning, there are many degrees of solemnity. The Rothschild to the Bronze Age. After the destruction theories but no hard facts. Some family coat of arms includes a star. In of the Temple, it became the most sig- scholars believe it had some reference 1840, the German-Jewish poet Heinrich nificant Jewish pictorial symbol. And to the planets. In Arabic sources it is Heine signed his correspondence from while the flag of Israel bears the Mogen referred to as the Seal of Solomon. Still Paris with a star instead of his signa- David, the crest of the State of Israel is others suggest that the concept of the ture. It is used to identify Jewish causes emblazoned with the Menorah; it is the Shield of David came from the Koran, and agencies. Most notably, it is the quintessential symbol of Judaism. M.M.

L li with permission of The National United ewish J Appeal; Aaron Heller, Art Director.

HEADLINE / BYLINE . VELJOVIC MEDIUM TEXT BOLD, BOOK 16

Stanley Morison belonged to a number of British would appear to reveal a somber, aloof gentleman; a "men's clubs:' By current standards they would be con- man confident with his power and above the petty sidered old-fashioned, stuffy, and probably elitist. aspects of day-to-day life. Photographs can be deceiv- There is a story told that when a member of one of ing. While the power and strength is real, what is not his clubs married a young waitress who worked there, seen in the photograph is Morison's gift for friendship, the staff and most of the other members were sur- his unerring and passionate sense of morality and prised and astonished. But not Morison. He had been devotion to his faith. Neither does it show Morison's the couple's confidant and one of the major influences need for anonymity. To him, the cause, the institution, in their decision. zit, A photograph of Stanley Morison was always greater than those who took part.

TYPOGRAPHIC MILESTONES STANLEY MORISON BYALLAN HALEY

No. 45,525 ** LATE LONDON EDITION Poses./ ETet7IANT' PRICE 2d.

go CifIrefferre'f"' 'fatI ffe:sf erPf 7't tglffIrtariter". DEATHS (continued) PERSONAL Sok Notes mho he end alone:: hu rettiekred poet Alt MATTHEWS.-On May 27. 1930. at BS Leonard's-on. PERSONAL (continued) PERSONAL (continued) PERSONAL (continued) CLUB ANNOUNCEMENTS Artisementsdve should 1 widow. to Adrertieenuat Sea, PR,,.,, WALTER MAI-CREW, forreerly Chief Immo 3 fines OE (.iwir.".) Itepartedol. Printins Housenettare. London B.C... tor of the Bankere:,,Clarrige House. 70th0th y e,. N WI E „at.' RECOIE.-Why, noLlogyvrekm r Whltaker he legal NANCE.--CereeepIrtezat tgrzeral Porg , Office v Hare Funeral wis church. M. ]9 versed, but liter thin If ”..1 Telephones: Centred 2001 TONE 111.7.7 ,,e"‘tifjg flia,t1tEiIs4717e ' ■7Sai%Vsl'' . zz.,t,-ervr; 10 a m Interment i OkIR N IL11 11L;;IX, ROEHAMPToN CLUB. at Fo.t HIE 1.30 P.M. THE18 Ito (orcMrm Goan Isws """'"=177211.ergenljt wee - THE TIMES. Thornton, Mite 211, 1930 .FSRANK H. CULLEN, form, • W VIVA 07271`' .UNZILZUllt MITCHELL.-On /be evening of Hay 27, 1930. M tv .`" fors two lines F Write 110,81.1. TheTImes.E ' .1 TO IL, TH POI O. the. 31.03, 29. The Homestaad, Crove.road. Sutton. Surrey. Mum. ens ]w la 1 Beatrice tifw '..i!"Ark= . 13•,;17! Ilea.-ROEHA. 05 , raga eaa°imrwi lure Lost YOnna IgMMUNICATE et once yllfSUASSEX - SCHOOL 0: ,14.Z.E9/01.F. Elf,,,rot,-, 19 t p.m.-DIE The CHARGE for ANNOUNCEMENTS of BIRTHS, lex. Mitt, the elder daughter of Mr. and hi Norfolk Broads Dist MARRIAGES awl DEATHS taighonfirafed Mr norm nth Alex. Whyte HOME The Interment will take place at ' cotet4.r . 22I.The 01 CY * and Swo rd. h ohe C40 permanent address rtrthe underlie ONE U Ed far three Sutton Cemete.ry Sutton Common-road, at 1ME D IVIL/EvNOS o Moak IIf tinn or le. arid el VP, SHILLINGS for eelS ,(Edina( tomorrow Irrlda yt lurs good Preitara.gt LELNDON, It 5IA 17%r".Z4: tM he Times B.C., tine of anotit ain Ronk. The rliaree for IN MEMORIAM MOXON.-On May 16, 1530. suddenb. at Lausanne. L6O WGO l.A W Bw s 12 se CLIf.ffIn'd eonlong rural road fronla„ NOTICES It TWELVE SHILLINGS and SIXPENCE ""g seri su Ming le 116.001, few Yom ngOL for three lino or less and THREE SHILL!". and SIX- ■ ond. `Y0 um Da; RUEHAMPTO hi E 121313.- PENCE.ho mon °,`,'!:' w e. antII` Ortii.nuals. a.itional Hue. A sp.... tar Po awl ninhe-platv. U.abnIng. Surrey. duction BIEL ni-good . '""e SItgr PMIEZ len mot antenna. imiention rigor he (Malmo( on mud.. 'g f"". redit. agents onbr Hon In order to 210.id ineorred.paotatione in 9 Math° NRVILL.-On .y 25. 1030. 200020 nMy. TEMPLETON POLO GROUND. aand ° Memoriam" annomaemente tenders are asked Nam, laM of Temple Chang... aged 55. CremMion Wel TODAY to indicate their origin. la the awe ot modern nose the May erg. Il^tmir le A t ; TA'? AriZfit =or!' vz,.r author'snem.. edunild AM he obtained Anammu'emenb 'r1::• Ieo4ar I lea net. Friends. take MD as Me only intimation. nide be ern/ .7 The Tim." Offiee. Prinlina Homempare, se rode, IMT. eM Lomb n. I.C.R.fu ° TheTinted" Berm. 331, Itenenbetreet. NOVT.-On May 27. HMO. at her reeldence. Cook's DIVILIEN . . • • W . I.The Times" Boot Chit. 42. Wionwre. Folly. Stoke Bishop, EDAM. MARY host as., the L2Livpaol.r offer, U.10, den ao. Moot endow W. or to the Bureau du Tinto, Chem. dearly loved wife of the late Loon P. Nam, of Stoke eR the ,,r;6e ‘• THE HURL1NGHAM CLUB. POLO. grantin. Paris. For Small Adeediewnent Index see lad House, Mote Bishop. and EfrogE Down Home, Bide. ORT CO RNWALL.-TO j‘Ftrfl'aill'13,w6t'!,, 0614150,"g 1gZ aeltinta e, mU pme. Med 71 year . 'iree:,rk-t.,zt 10.041 02105 L MAY OBLE. 01WORSOM Marriages is Court Pim. Three Guinean for ORAM.-On Mn 26. IMO. PARNCES M ARTOR AN. pm 5190141'0 MECCA. BOLE:AWE snd the trte Are Ram or lie owl Twelve ShillOws end hispance for each MUCIPIrMoVed name to Me children of the la te He isnil AECHBTEIN-P[ANO:rfect condi. Ti eidditional Cite. ears easte r!. for Quick gale. with " "17,=; 'ffgm r""'S' Elurse ma Pink Vo .. Including filValrirthe're 1egiV024 If01..-117Ary ' rem' inmender, HOTEL. ad,,,tOefl ,r IOWrIl10 Mel n*.•,;' '1" """"' RANELAGH CLUB

1133M"\1 THE Itati11111111111.0 TIMES No. 46,254 ** LATE LONDON EDITION POSTAPE MM. & CANADIAN PET. Ildi ABROAD 210 -PR-ICE-2d The CHARGE for ANNOUNCEMENTS of BIRTHS. MARRIAGES, and DEALIIMatithenticat. by name and DEATHS (continued) Permanent address of the sender, is ONE GUINEA lor PERSONAL FISHER.-On So M. 29, 1912, PERSONAL PERSONAL three lines or less and IIVE SHILLINGS LAWS. EDW•RP BUSINESS OFFERS CLUB ANNOUNCEMENTS Mr cads PPM, M.A. the dearly ICACcr YOWIReS1 o rIeDOM is the e prineMal thing: therefore get w • additional line of about Air mt.. The charm son of the late GMF TIES n. many difficulties keep me. Con 3 lines Os. (minimum) 3 lines 6s. (Irtinintuni) . InrIN Admiral and Mrs. Eisner. or C/Mon, Bristol. aged 74. H YVLLVi Futon] Shirehampton Church. near Bristol. to- in end h SIXX . or IITIF.r flftt''' '%110 „X"le .7 t rIintits. when Moo 1.1ttoonmdcver. "' y, _ FURNTSHED SHILLINGS a. SlArENCv' Mr every additional line morrow (Tuesday,. .1.45 sm. CHEPSTOW RACE CLUB, FLINT to " f , ny famous Viisillass, (RM. small A snecial rate for five and ten Nand automatic insertinn .-On Oct 1. 1932. at Bramshotr, Dolan. fiadditionaI lin . Lo. nd ristor, "07od.'" ifee‘ 9,fe:ri 'ttig. " =Tece7s*tft■Tt. ' ar may be obtained on application. In order to mod ni-e n line eminitnurn Zer,l,13.,?,,BIT,E1;leLEV RECEIVED from an 7„ WELSH ST. 117.0ER MEETING. correct quotations in Deat"h•• • and 33In Mmo. rtftfIndgif,dinchitliifVa gfIefe og 'LL fffPar. IR word, Private nature,. If a , tt net at Sr. MAWR Chugeb Oa d:tWallon Station. His Name. infefent trnnO - . above sea level.. Ilta Ada, The Times, E.C.4. "'N WEDNESDAY S THURSDAY. OCTOBER 5th R fith. " '•‘ "'Zirtirsrro=1X at2. 2; Intertnent at Web - dg Cemetery. No and ad :„:enm,c,1,:,zs.;rt in the au. woik " "" gal )'ouch 11 v ence walingly and at an inter- o. To be IIVT. TURNISIIED HOUSE, envy. c„cetnjvntea,,, , Ent Race. 2 p.m Last Race. 4.30 VotTtrf alsel. bTa?1?:,r,Lr'e isQtlismirteerT may DeL setr, P.M. The C' ce. .song ouv Et v. on "1307TS1.-OnScre. 30, 1932. at 21, Lennox Gardens. FIT of Y NEEDED. TV .C7Of ' f 4''2c.V/iitisbc' VD‘ : feS"Stf.', 11C'Enste=73e='VIrrfgtfirfLinfttfrpl° Motors SI "fgFi.'!"11,S, Somial Luncheon and Dining Car Tram will Nam Ped London. W.. or tothe Bureau du T i mes. 8. Rua CHRIST Harste (Opera). Paris. 5e. second son of the late Magor-Gcneral Edward Horatio £40 i'•II:t:%;k2"617INOVD"VliZELEr.-- and WilEA FEET'S dington at 1E15 am. each day of racing. arriving at PaRter. FUncral Ferr". Summers. Henderson and Co., Lime Street, E.C.I. In wt p v with Holy TrOty Church. Brompto, Road, London. W.C.I. PIVV,zit'Ind-Vc„:zre. Paddington g.15 p.m. on the return norms 2i'V= Tric VICAR of LEDDINIGION having t_ enoye [or B n' Tidff1341[224f17Sf.En .91117,-. 'Fix 1° " Return Farm, 22/6 12/6 Intl Class. h aaditiowl line. cony, N hoeing Men de sae 1'060'--"` whcr tO7at ' vaiaS QUIISTANTIAL NET INCOMES ap to and over Cottage, ClI9109. EMOORS ,leers the P ' . Admission tu Members . enclosure Os Vouvlscrt d!!'lYtellt..-AT■ A'-t=VLI,t1.=Zog,TgI',1,1='.;7.1171! in respect of Me vu the DVERTIS& ,4';17" T"...'70rett. ttnalt,1UrteXt The r. M B8 'efucts .necdeVauslertyr s.Vicfc'. Geode.. 301- per day .E2 EN. No days. Ladies. Li T"" f" ""f"-- and fourth daughter or the lam . National Wa r Z1A-h 1"2,7411„:12., "1311•3L" Pilkington. of (-0„ vt e,t:dr,ryr azily.35/- two days. Grand Ma. Paddoek, Chenues. Pmtal and Money Orders should Pemade GULF eef Su rtfOfiZ17, ;.jut"811 r.. ''f71,7" IlitSTnvgn'rVici.%17tVr p o* en 9 TM Times a. cross. •• Barclays Bank iltfsdeffynf r""' """ff* creMined Hound-floor FLA,: four Md a BADGE R N v a, inostmeng o as a ineas.bus a. opportunities 'sining N U-rJ Road. P LOT... Bank Notes shid o besot always Mr registered HOLNIES.-On Sept 27. 1932. It Ballyelore. Co. ,,rooms., tvit%Ziroll gar mom 11 Redemption mist in art tons of ntOrI or over.- For BM particular POSI. All KE POOLS tioLE CLUB. advert isements should be , to he Antrim, oT Advertisementemons.. rinting P HHouse d Squa tre . Church 'XII erounds. about three acres. tennis lawn. Sc. Ren itL of R.,„ "&2,.;‘-. I==i ff78007a.rsf. ff"'" ‘ " pa. inclusive 1.125 ask. for iorovemcno, certa nre ate 21. T OPF.N1 t'SIOnCtf-litT"EZIfink.1-12.PPOLWO London, RDA. Telephone. Central 2001. HUT ffMt CH INS O N. -On . Oct. 1. 1932. at 25. DOM E cameo. Minas, Mt -31. S.. 20, M. lamee's ammo START COMPETITION will lee held tin Oensocr 27. a. MO. S quare. N. W.I. Et LEV, veido of Ma Omni .,.!'.°11.`1- ,TPIUrs• ;;;T.=. ;4'`,2 C"''7-rTZCFPgUVTAIgn: VIENNA; ern ant 1 f"1 Huvrosson. Funeral at MaIllehil Parish Church, ag DR1NTING THE TIMES."-The New Type and trScrret%f'.ttf nrBtTcV f'i""f " rharrur. and ARTHUR I LI "and "' "* klEVIr VIC IHRIAN CLUB Had., Munde51395, The Times of London, before and after Morison redesigned the paper, The October 3,1932 issue was one of the first to feature The Times New Roman.

The waitress story is typical. Morison music, the Gregorian chant, remained area also. It was on September 10,1912, experience in publishing and advertis- was a great friend, advisor and motiva- with him throughout his life. that he changed from an undirected ing. We prefer that applications should, tor to the couple, yet no one knew. He youth wandering through life and in the first, be made by letter, addressed was devoted to many causes, a diligent The deep feelings and dedications career, to become driven and aimed. to the Business Editor, The Imprint, 11 and influential force in each, but he were not confined to heavy philosophical and moral issues. Morison was an There was nothing to distinguish this Henrietta Street, Covent Garden, almost always chose to remain in the London. background. avid stamp collector. Like Eric Gill, he day from any other; Morison was, he loved trains. He was a life-long cricket said, on the way home from his job as Morison had none of the qualifications, His interests and achievements were fan; and, it is said, was never happier a bank teller when his eye caught a but his desire to work on such a poten- many and varied, yet because of Mori- than when having champagne at lunch. glimpse of the Printing Supplement tially important journal, and with such son's need for anonymity few are well Not always in neat little boxes, some- published by The Times newspaper eminent professionals, overcame nor- known. On the surface he was outgoing, times Morison's passions conflicted. On that day. He recalled the cover was mal judgment. He applied for the job, open and a "joiner," but this was just a a number of occasions he tried to join striking and easily distinguished from and soon, to his excitement and aston- facade. Surrounded by acquaintances, the British Communist Party, but the other periodicals and journals on the ishment, found himself hired. But, The a man of many friendships, Morison bookstall. Morison purchased the sup- Imprint, like the candle which burns was lonely still. He knew many people; members felt that his mixture of ortho- dox Marxism and devout Catholicism plement, and his life was changed. too brightly, quickly burned itself out. few knew him. He cared deeply for was an unsuitable basis for party mem- Morison went on to other jobs-always others, and frequently became involved The publication contained articles on bership. When he was in his mid-thirties within the printing industry. with their lives, yet few could penetrate the history of printing, current trends the false front which he presented Morison met Beatrice Warde, and soon in advertising, the work of important In the years that followed, Morison to the world. his admiration and respect for this individuals, the current state of the became an accomplished typographer young woman's talent and ability printing arts and typesetting systems. and designer; his reputation and circle Morison always wore black: black coat, turned into something much deeper. After the articles there were beautiful of acquaintances grew. He began to black pants, black shoes, black socks, Married, and a faithful Catholic, his advertisements for printing services, hold informal meetings in his office black tie, black hat, even a black watch passions once again caused conflicts. booksellers, and typefaces. One publi- after normal work hours for those fob. His only variance from black cloth- Acutely rational and skeptical, yet pos- cation provided a beautiful, intelligent, interested in fine printing. At one of ing was his white shirt. He would ap- sessing complete religious faith, jovial and powerful overview of the craft of these gatherings he and four others pear to be the personification of British yet ascetic, a convinced Marxist, yet a printing and typesetting. Morison was decided to form a publishing society social and political conservatism, but close friend of capitalists and nobility, overwhelmed, and instantly "hooked" which, among other things, would nothing could be further from the truth. Morison was a man of many paradoxes. on type. produce each year a journal to demon- A man of great love and dedication to strate that composing machines could One of the advertisements in the sup- his country, Morison was, nonetheless, Though his passions were varied and produce typography as beautiful as plement was for a new magazine to be completely opposed to British (or any intense, it is Stanley Morison's love and hand set type in private presses. It was dedicated to the typographic arts. The other form of) monarchy and nobility. dedication to the typographic arts that to be called The Fleuron Society. compels us to remember him. It has ad presented the publication's goals In his youth Morison was a pacifist. In Unfortunately, the society was never been said that Morison found typogra- and announced its founders. Though 1914 he refused to fight when Britain to be (the founders were ultimately un- phy without organized history or prin- production of the magazine was sev- went to war-and as a result spent two able to settle on its goals), but the idea ciples, and left it with both. He became eral months off, Morison knew that, years in prison. He was a convinced of publishing a fine print journal, and probably this century's most influential somehow, he had to be associated with Marxist and close friend to most of the the name"Fleuron," was carried on by authority on printing and the typo- the periodical and its publishers. original members of the British Com- Morison and another great British graphic arts. Responsible for the design munist Party. He must have been one of the first to typographer, Oliver Simon. The of some of the most outstanding type- purchase The Imprint when it was first Fleuron was eventually printed, and Once, offered a knighthood as a reward faces produced in the last hundred for designing stamps for the Postal published in January of the following appeared another six times between years, he became one of the first publi- year. Not only did the text and illustra- Service, Morison, always true to form, 1923 and 1930. The first four numbers cation design consultants when he tions surpass Morison's expectations, promptly refused. Morison would have were edited by Oliver Simon and the redesigned The Times of London. there was a short paragraph at the end neither the notoriety nor the title. last three by Morison; but Morison was Few people can identify any single of the editorial "Notes" which ran as to a large extent the editor from the Morison was what many would con- event which changed the path of their follows: beginning. The Fleuron was intended sider the most passionate kind of Cath- career growth. Even fewer can identify Note: We require at the offices of The to be an educational tool. It was Mori- olic-a convert. His love of the Church the exact date of that event. Stanley Imprint the services of a young man of son's plan to "...improve the quality of and one of its most traditional forms of Morison was unconventional in this good education and preferably some printing, not by improving the printer, 18

In 1924 Morison made the first of many but by improving that much more adaptations of earlier typefaces were important man, the printer's customer:' designed to bring out the qualities in visits to America. He wasn't particularly looking forward to the trip. (He Each volume was handsome, some the original designs best suited to the even say lavish, and something unusual demands of current technology and didn't think that he would like America for such a remarkable publication— standards of typographic usage. In much; but he had developed several very low-priced. The mid 20th century, these, and in the original designs he "postal friendships" with Americans however, was not much different from championed, Morison tried to empha- influential in the graphic arts, and the current conditions, in that handsome size the best and most efficient com- United States was fast becoming an and grand publications cannot be pro- munication qualities of each design important typographic center.) After GILL SANS 262 much encouragement and prodding by duced inexpensively. Since low pur- without blemishing it with too much chase price was very important to personality or style. He believed that those acquaintances and business Morison he consequently lost money ABDEGHKMN the product the type designer devel- associates on both sides of the Atlan- on each issue. Many years were spent oped—the typeface—was infinitely tic, Morison set sail for America. While repaying the debts he incurred while abcdefghjkmop more important than the personal or in the United States he met his postal friends, traveled to Boston, Princeton producing The Fleuron. artistic expression of the designer. abcdefghjkmopq His primary complaint with the typo- and New York; and like many first-time The Fleuron contained articles on type- graphic industry was directed toward travelers to America he came away face design and the work of various type designers who insisted upon put- exhausted. Except for one or two high designers and typographers; typograph- ting their "thumb print" on any face points, for the most part he felt that his ic and printing history, and typeface by a type composing-machine com- they designed. Morison's comments four-week stay had been a waste of time. reviews. Articles were penetrating, pany." Both original typefaces and about Frederic Goudy are typical, "...I Morison didn't know it then, but one incisive, and often critical. In those days revivals of old designs were included in entertain very decided opinions about incident during this trip (a seemingly Morison was referred to by some of the the program. Faces such as Centaur, this latest of Mr. Goudy's achievements. insignificant meeting) would change die-hards in printing as a "typographical Gill, Perpetua, Ehrhardt Romulus, and I don't know why Mr. Goudy allows it his life. The young Assistant Librarian Bolshevik." In spite of (or perhaps Monotype's versions of Bembo, Basker- (I know he has been ill and perhaps that at American Type Founders Company's because of) this, The Fleuron won recog- ville, Garamond, Bell and Fournier accounts for it). But it appears to me type library had heard about Morison nition and quickly became influential— were released—and, of course, Times that his press agent is disgracefully prior to his visit. When she learned not only in England but in the United New Roman. Each of these, and over 30 handling the ordinary proprieties of from Henry Bullen, her manager and States, Germany, France and several more families, were developed in close life when he gives Goudy's name Head Librarian, that Morison was think- other countries. connection with the Cambridge Uni- the prominence he does. I very much The end of The Fleuron, was in a sense versity Press, which provided continual detest the idea that this type was de- the end of the first decade of Morison's and active feedback on how well the signed by Goudy...this sort of typo- life-work. Finishing it, like editing it, was typefaces performed under actual use. graphical nomenclature will only something that grew out of its contents. further confuse our present miserably Morison first came into regular contact anarchic terminology." Its end came partly because Morison with Monotype in the early months of had run out of ideas and partly because 1922. They had recently begun to have On another occasion, this time in he felt that the pressure of publication each issue of the Monotype Recorder slightly kinder words, he expressed his was hindering his work in other more (a journal which Monotype published to opinion again, "Beauty is desirable— important areas. So, amid the protests entertain and inform its customers) and beauty will come if unsought. of its readers, Morison concluded the designed and printed by a different There is nothing so disastrous to typog- last issue with an engraving by Eric Gill printing house which used their equip- raphy as beauty for the sake of beauty of a hand closing Fleuron 7 firmly, with ment. The issue for January/February, or change for the sake of change. Man- the word EXPLICIT handlettered above 1922, was to be produced and printed nerisms designed to reflect current the illustration. at the Cloister Press where Morison philosophical tendencies are only In the 1920s Morison was appointed was then working. He undoubtedly had tolerable where they are appropriate— typographical advisor to three institu- a hand in laying out the journal and, in as the waving of a signal. Such novelty tions: in 1922 to the Monotype Corpo- addition, contributed two articles for it. as is required by reasonable exercise of the appetite for individuality should ration in London, to the Cambridge As a result Monotype was able to ob- University Press in 1925, and in 1929 to be reserved to pages whose decipher- serve, first hand, Morison's abilities as a ment is optional." The Times. The appointments were to typographer, type historian and au- continue for over 30 years and it was thority on type design. They also got a The typefaces which Monotype re- PERPETUA 239 through them that Morison did most of glimpse of his ability to be opinionated leased under Morison's guidance are the work for which he is remembered. and outspoken. In one of the articles he reflections of that philosophy. They are AB D EGH J KM His connection with Monotype and critiqued the typeface Cheltenham in all beautiful, but the beauty is not with Cambridge was particularly fortu- what has been described as a "splendid forced. For the most part, they are ex- abcdefghjkmno nate for the graphic communications diatribe." ceptionally versatile typefaces, many of which have stood the test of time to industry. Under Morison's guidance "Splendid" or not, Stanley Morison al- and inspiration, Monotype undertook a become typographic classics. Most are abcdefghijklmno ways spoke with candor—sometimes revivals of previously existing type- program of typeface development that painfully so. The story is told that when was to be the most aggressive ever styles, but a few, notably Gill Sans, he appeared at an interview for the Perpetua and Times New Roman, are attempted in Britain or Europe to that position of Typographical Advisor to time. Morison himself, many years new and original designs. A diverse ing of traveling to the United States, the Cambridge University Press, the range of typeface designs are the result she wrote to him with an invitation to later wrote, "... when a plan was laid then chairman of the Press said, as a before the managing director. It was of the design program and Morison's stay at her, and her husband's, home. way of opening the interview, "I under- genius. Exquisite titling faces such as Morison declined, but Beatrice Warde, intended as a programme of typo- stand that you would like to join us." graphical design, rational, systematic, Albertus, sturdy square serif designs perhaps prompted by curiosity about "Only if you are interested in good print- like Rockwell, sans serifs from Eric Gill the stranger so important to British and corresponding effectively with the ing" was Morison's immediate reply. foreseeable needs of printing; and it and Sol Hess, revivals such as Bembo, typography, traveled to Boston where involved the expenditure of a good As Typographical Advisor to Mono- Baskerville, Veronese and Walbaum, Morison was visiting Daniel Updike. deal of money and the acceptance of type, he provided the corporation with are just a part of Morison's typographic She arrived to be greeted by a shout of risks that had never been undertaken a breathtaking design program. His contribution. laughter as Updike was telling his visi- • 19

for a joke. "I knew," she said, "that the attracted Morison's interest in 1912). As executive staff found them unsuitable Monotype, Cambridge University Press, stranger must be Morison:' Later she an encouragement, The Times offered for one reason or another. These were and The Times, Stanley Morison was wrote, "He looked liked a Jesuit. And to set the text copy of the ad at no not arbitrary decisions: The Times had also a talented and prolific writer. He when he turned to see who was com- expense. At this, Morison hit the table a long tradition of providing the news produced a number of substantial ing into the room, his momentary to Londoners, in not only exceptional works—a four-volume frown of curiosity brought his heavy History of The journalistic styles, but also in what Times, a History of the English News- black eyebrows together with formida- they, at least, believed was exemplary paper, and The Portraiture of Thomas ble effect. What I was not prepared for typographic style. Since no existing More. He also produced a staggering was the way in which that austere face, typeface would do, Morison and The number of articles and essays which he somber in repose, could be instantly Times executive staff decided to estab- called his "sawdust" They ranged transfigured by a most captivating lish criteria for creating a totally new across such diverse topics as the his- schoolboy grin that took at least ten design. They were basically simple: tory of Black-letter, English prayer years off his apparent age.. Within five books, American penmanship—and minutes of the general conversation N the new design would have to ap- typography. that followed I knew that I was in the pear larger than its predecessor presence not only of a wit and a N it could take up no more space than On October 11,1967, Morison died. The scholar, but of a personality more vivid the existing typeface next day was the scheduled opening of and stimulating than that of anyone I'd N it should be heavier than the exist- an exhibition on the Fell types of the ever before encountered:' ing design Cambridge University Press, and the subsequent publication of Morison's Beatrice was a beautiful woman with a N it must be highly legible strong, almost masculine, profile (later book on the same subject. Francis Mey- when she was in Britain, Eric Gill used N it must be beautiful nell, the British graphic designer, pub- her as the model for a number of his Morison felt that basing the new de- lisher and poet, was to deliver the drawings). Morison quickly became sign on Plantin would begin to satisfy keynote address; instead he improvised aware of her energy, love of type, and many of the established criteria. Plan- an elegy to his friend of 55 years. "This eagerness to learn. tin, being a Dutch old style typeface, exhibition and this book are a monu- TIMES already has an ample x-height, is some- ment to Bishop Fell: they become no In January of 1925 Morison succeeded less a monument to Stanley Morison. in bringing Beatrice and her husband what condensed and its "color" is slightly heavier than normal. Many I will not, I could not, speak doleful (an accomplished designer and typog- NEW ROMAN words about him. He has lived his life. rapher) to Europe. Her husband was to subtle, and a few not so subtle, changes were required, but Plantin's design I must amend that conventional phrase work on a number of projects for Mori- 327 —he has lived his lives. We must rejoice son and his acquaintances in the Brit- foundation certainly fulfilled many of the basic requirements. in him and his multitudinous works. We ish printing industry. Beatrice went to ABDEGHJKM must be happily grateful for his devo- work as a research assistant to Morison Victor Lardent, an artist working in tion—his effective and affectionate and for the Monotype Corporation. The abcdefghijkmop The Times art department, was as- devotion—to that combination of his- three worked on a variety of projects. signed the job of typeface design. Mori- torical research and current practice Slowly the inevitable began to take abcdefghjkmopq son provided him with photo copies of which has been achieved by no one place. At first, the parties tried to pre- Plantin specimens and a list of instruc- else, in any time, in any country:' tend that all was well. [Everyone ex- tions. Thus, the design program was cept Morison's wife, who wrote, "A begun, with Morison acting as "Crea- woman stole his real personality...a with his fist and said vehemently: tive Director" and Lardent as "Illustra- changed man returned (from America) "We'd do much better to pay them a tor/Designer." The completed typeface, —rough, cruel, indifferent") Even when thousand to keep their comps off it!" which was arrived at after a lengthy the apparent became quite obvious the The Times, in spite of this less than design process and many revisions, cer- three refused to recognize it openly— friendly first encounter, was intrigued tainly bears a resemblance to Plantin, at least for a while. by Morison's opinion of their graphics, but is also obviously its own design. rather than put off by his manner. As a Serifs had been sharpened from Plan- In the late summer of 1926 there was tin's, stroke width contrast increased, an emotional explosion in which ev- result several meetings followed to explore the issue. Apparently none and character curves were refined. As a eryone was injured. Morison severed result, Times New Roman is considered all relations with his wife, but being a went very smoothly; on a number of occasions Morison repeated his opin- a more graceful and elegant design devout Catholic could not (would not) than Plantin. remarry. He took refuge in work. Bea- ions on the appearance of the newspa- trice dutifully followed her husband on per with such rancor that many of those Times New Roman was first used to a business trip which he arranged to present were more alarmed at his man- print The Times in October of 1932. separate them from Morison. At this ner than impressed with his ability. The One year later, Linotype and Monotype point, however, there was no way to process of Morison's formal involve- were allowed to offer the family to the mend the old relationships. Beatrice ment with The Times was gradual. typographic community. As released left her husband, returned to London— In 1929 he was finally appointed Typo- by Monotype Corporation the face is and eventually to Stanley Morison. graphic Advisor to The Times. His im- known as Times New Roman. Linotype The partnership of Stanley Morison mediate task was to redesign the paper calls it simply Times Roman, and The ROCKWELL and Beatrice Warde was to endure —from front page to last. First he tack- Times refers to the face as The Times until his death. led the advertising section, replacing New Roman. 371 Morison's association with The Times almost entirely The Times type library Over the next twenty years the type- began like that with the Cambridge in the process. Next came the Printing face was to slowly gain the stature it ABDEGHJKMN University Press: on a less than ideal Supplement itself. Morison not only currently enjoys. It is versatile, it is note. At the time he was working with redesigned the publication, he also con- legible—it is an excellent communica- abcdefgmoqrs Monotype and was approached by the tributed a piece on "Newspaper Types:' tor. And, even more—something that is newspaper to advertise Monotype's Next came the type used to set the often overlooked about this design—it abcfghjnpqrst type library in a new Printing Supple- paper. Several existing typestyles were is also beautiful. ment (similar to the one which first tried first; but Morison, and The Times In addition to his responsibiities to

HEADLINE / BYLINE ITC CHELTENHAM BOOK TEXT/CAPTION: BOOK WITH BOOK ITALIC 20

BASIJE

SE RI[1BV ELL:\ S APIRO I went to San Sebastian, Spain, for the food and t -e scenery, and discovered the unique cultural, linguistic, anc :ypo- graphic world of the Basques. Although native to northeastern Spain and south- western France, the Basques have heir own languace, Eus ,

21 merchant, trucKer, bar owner, car ser- viceman—each will idenn his establishment with this graceful Typography art form rooted in ancient tradition. Because the sounds anc grammar of EusKara are not at all similar to Spanish or other Romance languages, it is thoucht that today's 2,000,000 Basques are descendants of a group of prehistoric cave dwellers. Accorcing to a guidebooK published by the Basque Department of Territorial Policy and Tourism, EusKara is one of the original languages of Europe, and the only one that survived the Inco-European inva- sions that 3rought Romance languages to the continent. The Basque people own, therefore, one of the most greatly

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admired cultural jewels of the world." I hope U&lc readers will enjoy this selection of signage. It's rather like a spontaneous, grassroots identLy pro- cram, for which the designer and the client are one and the same, in total agreement on the program's social and political value. The photos were shot in San Juan de Pasajes, a town in the Province of Guipozcoa.

HEADLINE' ITC QUORUM BOLD TEXT / BYLINE: LIGHT 22 FAMILIES TO REMEMBER

HE RUBINSTEINS

performer he kept a low profile, giving only occasional benefit concerts for the Allies in World War I. After the war, Rubinstein gadded about, cultivating women, artists and a taste for new music with equal verve. He became enamoured of the Spanish and South American composers Albeniz, de Falla and Villa-Lobos, as well as the new wave of Europeans, Stravinsky, Debussy, Ravel and Poulenc. In 1932, when he met and then married Aniela Mlynarski, daughter of the conductor of the Warsaw Symphony, he recognized his responsibility to advance his career and become a good provider. He was already gifted with a genius for sight reading, a divine mellifluous tone and a vast repertoire of memorized scores of new music and the masterworks, especially Chopin. It took a few years of determined study to discipline his technique, but at 47, Arthur Rubinstein emerged a born-again prodigy. His Ameri- can tour in 1937 brought standing ovations from public and critics alike. Subsequently, the Rubinsteins settled in the United States, and for the next 40 years Arthur Rubinstein performed with unflagging artistry and vitality. In his John Rubinstein This is the third in a series of tributes to families whose accomplishments have 70s and 80s, he played arduous solo concerts and set entertained or inspired us in some way. Each genealogic family is coupled with a records for the number of recitals in a season. He typeface family. These are familiar typefaces—not scene stealers—that are distinguished for their grace, their readability and the agreeable way they take their performed with chamber groups, provided music for place in a design scheme. Hollywood films and made over 200 recordings, At age three, little Arthur Rubinstein was pronounced which sold 10 million copies. Arthur Rubinstein was a "promising" pianist and embarked on the life of a the most "listened to" pianist of all times. Only his child prodigy. At seven he gave a concert in Warsaw. At blindness at age 89 put an end to his career. 12 he was soloist with the Berlin Symphony. At 17 It is safe to assume that John Rubinstein inherited he made his Paris debut. And in 1906, at 19 he made musical talent from both sides of his family. But aside his first American appearance in Philadelphia. Instead from playing the piano, which he started at the age of a storybook finish, his American debut was a flop. of four, he is also a composer, an actor and a lyricist. Critics carped that his romantic exuberant style His first taste of acting in a school play convinced was a camouflage for his lack of precision. Young him he was happier on stage with a script than with Arthur acknowledged that his youthful prowess had a piano score. He made his Broadway debut in the stunted his growth as a mature artist. Disheartened, he musical "Pippin," for which he won a Theatre World returned to Europe to rethink his career. As a Award. He also collected a Tony Award for his role in 23

& ITC CLEARFACE

Exceptional, from its name to the structure and subtleties of its design, ITC Clearface is a very special typeface. Originally drawn by Morris Fuller Benton in 1907 for American Type Founders Company, it was popular in handset typography for many years. Its wide usage was perhaps due to its unique combination of distinctive and highly legible design traits. In 1978, under license from American Type Founders Company to adapt the original designs for use in contemporary text composition equipment and systems, ITC undertook to devote the care and in- depth study that the letterforms of this typeface deserve. To achieve this, ITC commissioned Victor Caruso to develop a full family of four weights and corresponding italic designs. A year later the results of his work were shown for the first time in U&lc. ITC Clearface is a relatively condensed design with small, almost slab, serifs. These two design traits provide for both economy of space and high levels of readability in text copy. Added benefits are the large x-height proportions and modest-length descenders. The full x-height helps to improve legibility potential, and improved line spacing options are realized from the succinct descenders. Taken individually, ITC Clearface has a variety of distinctive characters, yet when combined into words and phrases Arthur Rubinstein they tend to sublimate to the strength of the total message. Letters like the lower- "Children of a Lesser God." He has appeared in innu- case "e" with its diagonal crossbar; the lowercase "a" which has a somewhat merable movies. He writes musical scores for films unusual top terminal, and even the and television. He has been host and commentator proud lowercase "s" tend to blend with the other characters to produce an even, for a series of radio broadcasts from Carnegie Hall. medium colored, typographic texture. But he is probably most widely recognized as the star Because of its strong serifs and minor contrast in stroke weight, ITC Clearface of the CBS-TV series, "Crazy Like a Fox." With so is perfect for use under less than ideal little time to spare, he keeps a piano in his dressing printing and reading conditions. In addition its condensed proportions make room at the TV studio so that, between "takes," it a natural choice for applications where space is at a premium. he can work on the lyrics for an upcoming musical. ITC Clearface is a robust design, He is a one-man gene pool of enormous talent, ideally suited to a variety of typographic applications. It gives us pleasure to re- and energy to match. introduce this family!

ILLUSTRATIONS BY WILLIAM BRAMHALL HEADLINE / SUBHEAD - ITC CLEARFACE REGULAR TEXT HEAVY. REGULAR CAPTIONS ITC FRANKLIN GOTHIC BOOR 24 ITC CLE

REGULAR BOLD

At age three, little Arthur Rubinstein was pronounced At age three, little Arthur Rubinstein was pronounced a "promising" pianist and embarked on the life of a chil a "promising" pianist and embarked on the life of a chil d prodigy. At seven he gave a concert in Warsaw. At 12 h d prodigy. At seven he gave a concert in Warsaw. At 12 h e was soloist with the Berlin Symphony. At 17 he made e was soloist with the Berlin Symphony. At 17 he made his Paris debut. And in 1906, at 19 he made his first Am his Paris debut. And in 1906, at 19 he made his first Am erican appearance in Philadelphia. Instead of a storybo erican appearance in Philadelphia. Instead of a storybo ok finish, his American debut was a flop. Critics carped ok finish, his American debut was a flop. Critics carped that his romantic exuberant style was a camouflage for that his romantic exuberant style was a camouflage for his lack of precision. Young Arthur acknowledged that his lack of precision. Young Arthur acknowledged that his youthful prowess had stunted his growth as a matu his youthful prowess had stunted his growth as a matur re artist. Disheartened, he returned to Europe to rethi e artist. Disheartened, he returned to Europe to rethin nk his career. As a performer he kept a low profile, givi k his career. As a performer he kept a low profile, giving ng only occasional benefit concerts for the Allies in Wo only occasional benefit concerts for the Allies in World rld War I. After the war, Rubinstein gadded about, culti War I. After the war, Rubinstein gadded about, cultivati vating women, artists and a taste for new music with e ng women, artists and a taste for new music with equal qual verve. He became enamoured of the Spanish and verve. He became enamoured of the Spanish and South South American composers Albeniz, de Falla and Villa American composers Albeniz, de Falla and Villa-Lobos Lobos, as well as the new wave of Europeans, Stravinsk as well as the new wave of Europeans, Stravinsky, Debu y, Debussy, Ravel and Poulenc. In 1932, when he met a ssy, Ravel and Poulenc. In 1932, when he met and then

REGULAR ITALIC BOLD ITALIC At age three, little Arthur Rubinstein was pronounced At age three, little Arthur Rubinstein was pronounced a "promising" pianist and embarked on the life ofa chi a "promising" pianist and embarked on the life ofa chi ldprodigy. At seven he gave a concert in Warsaw. At 12 ld prodigy. At seven he gave a concert in Warsaw. At 1 he was soloist with the Berlin Symphony. At 17 he ma 2 he was soloist with the Berlin Symphony. At 17 he m de his Paris debut. And in 1906, at 19 he made his first ade his Paris debut. And in 1906, at 19 he made his firs American appearance in Philadelphia. Instead ofa sto t American appearance in Philadelphia. Instead ofa st rybook finish, his American debut was a flop. Critics c orybook finish, his American debut was a flop. Critics arped that his romantic exuberant style was a camouf carped that his romantic exuberant style was a camou lage for his lack of precision.Young Arthur acknowled flage for his lack of precision. Young Arthur acknowle ged that his youthful prowess had stunted his growth dged that his youthful prowess had stunted his growth as a mature artist. Disheartened, he returned to Euro as a mature artist. Disheartened, he returned to Euro pe to rethink his career. As a performer he kept a low p pe to rethink his career. As a performer he kept a low p rofile, giving only occasional benefit concerts for the rofile, giving only occasional benefit concerts for the Allies in World War I. After the war, Rubinstein gadded Allies in World War I. After the war, Rubinstein gadde about, cultivating women, artists and a taste for new d about, cultivating women, artists and a taste for ne music with equal verve. He became enamoured of the w music with equal verve. He became enamoured of t Spanish and South American composers Albeniz, de F he Spanish and South American composers Albeniz, d alla and Villa-Lobos, as well as the new wave of Europ e Falla and Villa-Lobos, as well as the new wave of Eur eans, Stravinsky, Debussy, Ravel and Fbulenc. In 1932 opeans, Stravinsky, Debussy, Ravel and Poulenc. In 19 25 ARFACE

HEAVY BLACK

At age three, little Arthur Rubinstein was pronounced At age three, little Arthur Rubinstein was prono a "promising" pianist and embarked on the life of a chi unced a "promising" pianist and embarked on t ld prodigy. At seven he gave a concert in Warsaw. At 12 he life of a child prodigy. At seven he gave a conc he was soloist with the Berlin Symphony. At 17 he mad ert in Warsaw. At 12 he was soloist with the Berli e his Paris debut. And in 1906, at 19 he made his first n Symphony. At 17 he made his Paris debut. And American appearance in Philadelphia. Instead of a sto in 1906, at 19 he made his first American appea rybook finish, his American debut was a flop. Critics c rance in Philadelphia. Instead of a storybook fi arped that his romantic exuberant style was a camoufl nish, his American debut was a flop. Critics carp age for his lack of precision. Young Arthur acknowled ed that his romantic exuberant style was a camo ged that his youthful prowess had stunted his growth uflage for his lack of precision. Young Arthur ac as a mature artist. Disheartened, he returned to Euro knowledged that his youthful prowess had stunt pe to rethink his career. As a performer he kept a low pr ed his growth as a mature artist. Disheartened ofile, giving only occasional benefit concerts for the Al he returned to Europe to rethink his career. As a lies in World War I. After the war, Rubinstein gadded a performer he kept a low profile, giving only occa bout, cultivating women, artists and a taste for new m sional benefit concerts for the Allies in World W usic with equal verve. He became enamoured of the Sp ar I. After the war, Rubinstein gadded about, cul anish and South American composers Albeniz, de Fall tivating women, artists and a taste for new musi a and Villa-Lobos, as well as the new wave of European c with equal verve. He became enamoured of the s, Stravinsky, Debussy, Ravel and Poulenc. In 1932, w Spanish and South American composers Albeni HEAVY ITALIC BLACK ITALIC At age three, little Arthur Rubinstein was pronounce At age three, little Arthur Rubinstein was prono d a "promising" pianist and embarked on the life of unced a "promising" pianist and embarked on t a child prodigy. At seven he gave a concert in Warsa he life of a child prodigy. At seven he gave a conc w. At 12 he was soloist with the Berlin Symphony. A ert in Warsaw. At 12 he was soloist with the Berli t 17 he made his Paris debut. And in 1906, at 19 he m n Symphony. At 17 he made his Paris debut. And ade his first American appearance in Philadelphia. I in 1906, at 19 he made his first American appea nstead of a storybook finish, his American debut wa rance in Philadelphia. Instead of a storybook fin s a flop. Critics carped that his romantic exuberant s tyle was a camouflage for his lack of precision. Youn g Arthur acknowledged that his youthful prowess ha abcdefghijklmnopqrstuvwxyz d stunted his growth as a mature artist. Disheartene ABCDEFGHIJKLMNOPQRSTUVWXYZ d, he returned to Europe to rethink his career. As ape rformer he kept a low profile, giving only occasional 1234567890&$$€% benefit concerts for the Allies in World War I. After t AcD402C(Ef34.000 -efi he war, Rubinstein gadded about, cultivating wome n, artists and a taste for new music with equal verve abcdefghijklmnopqrstuvwxyz He became enamoured of the Spanish and South Am ABCDEFGHIJKLMNOPQRSTUVWXYZ erican composers Albeniz, de Falla and Villa-Lobos 1234567890&$$x'% as well as the new wave of Europeans, Stravinsky, D 4(DVLO;ErEBaNcloojeefi 26 FAMILIES TO REMEMBER

HE WYETHS & ITC

over 2,000 illustrations for books, magazines, posters and murals. It was his lifetime's lament that his commercial success left him little time for pure painting. If N.C. could see how tattered copies of Treasure Island, Kidnapped, Robin Hood and The Last of the Mohicans are treasured, not for the text but for his illustrations, he might have died a happier man. It was no consolation, rather a thorn in his side, that his son Andrew "made it" as a fine artist. Still, it was from their father that Andrew and his sisters, Henriette and Carolyn, learned to draw and paint. Andrew, in fact, quit school at an early age to work alongside his father, who was a wonderful but exacting teacher. Once, when Henriette showed up late for work, he barred her from the studio for her lack of seriousness. Carolyn, a slow, meditative painter, was constantly prodded to be decisive and disciplined. And when Andrew grew too facile with pen-and-ink, his father directed him to work in charcoal, so he could not hide faulty drawing behind a flashy technique. Newell Conyers Wyeth (1882-1945) ruled himself and Since the early '40s, Andrew's paintings have his family by two convictions: that all the lessons of depicted the intimate details of his surroundings. In life and art could be learned from nature, and that good Maine he befriended a crippled neighbor, Christine personal habits developed good art skills. He led his Olsen. Year after year, painting after painting, he docu- children through the woods and meadows near their mented the minute realities of her world in his studied home in Chadds Ford, Pennsylvania and their vacation poetic style. retreat at Port Clyde, Maine. He taught them to ingest Jamie Wyeth, Andrew's son, reenacted his father's the sights, sounds, smells, colors and textures of the scenario. In 1957 at age 11, he dropped out of school world at their doorstep. Except for one trip out West to to be tutored at home by his Aunt Carolyn and his Indian country, he traveled little, and he scoffed at art- father. At 18, he was an established artist; at 21, some- ists who went hunting for exotic terrain to paint land- thing of a celebrity. Like his father, Jamie invests scapes they knew nothing about. Yet in his own himself in his subjects. He "adopted" two young men— commercial work, his imagination roamed the world one retarded, the other homeless—who were his and the centuries. He illustrated biblical and classical models. He became their friend, nurturer and teacher. subjects, medieval Europe, colonial America, and cow- Such closeness, he feels, helps him produce portraits boys and Indians. In his 43-year career, he produced with integrity 27

BERKELEY OLDSIYLE®

In 1938 Frederic Goudy created what was, in his eyes, one of his most successful typeface designs. He drew it at the request of a friend, for the University of California Press at Berkeley. The typeface remained the property of the university press, and, unfortunately for the design community, saw little use elsewhere for several decades. ITC Berkeley Oldstyle is based on this original Goudy type design. It carries the flavor and dynamics of University of California Oldstyle without being a copy. ITC approached Tony Stan in 1983 and requested that he take on this very special design project. Happily, he accepted. ITC Berkeley Oldstyle is characterized by its calligraphic weight stress, subtlety of line, and classic x-height. These, in addition to the ample ascenders and descenders, provide for both high levels of character legibility and text color that is light and inviting. While it does not call undue attention to itself, ITC Berkeley Oldstyle is a distinctive design that stands out from the crowd. Design traits which Jamie and Andrew Wyeth mark the typeface are the extended apex of the capital "A,” the diagonal To call the Wyeths a family of painters is an under- crossbar of the lowercase "e," (which is typical of oldstyle designs), and statement. It is a dynasty. Besides Newell Conyers, the subtle bracketing of serifs (which Henriette, Carolyn, Andrew and Jamie, a number of is not). Little is outside ITC Berkeley Old- artists have accrued to the clan. Peter Hurd married style's range of applications. It has Henriette. John McCoy is the husband of Ann Wyeth, been used equally well for catalogs, brochures, annual reports, menus, a non-painting daughter of N.C. and George Weymouth advertisements and lengthy composi- is their son-in-law. With grandchildren and great- tion in magazines. ITC Berkeley Oldstyle: a classic grandchildren yet to come, there is no end in sight for revival, revisited. the Wyeth legacy

ILLUSTRATIONS BY WILLIAM BRAMHALL HEADLINE ITC BERKELEY OLDSTYLE MEDIUM SUBHEAD BOLD TEXT BOOK, BLACK CAPTIONS: ITC FRANKLIN GOTHIC BOOK 28 ITC BERKELE

BOOK MEDIUM

Newell Conyers Wyeth (1882-1945) ruled himself and Newell Conyers Wyeth (1882-1945) ruled himself an his family by two convictions: that all the lessons of life a d his family by two convictions: that all the lessons of 1 nd art could be learned from nature, and that good pers ife and art could be learned from nature, and that goo onal habits developed good art skills. He led his childre d personal habits developed good art skills. He led his n through the woods and meadows near their home in children through the woods and meadows near their Chadds Ford, Pennsylvania and their vacation retreat at home in Chadds Ford, Pennsylvania and their vacatio Port Clyde, Maine. He taught them to ingest the sights, s n retreat at Port Clyde, Maine. He taught them to inges ounds, smells, colors and textures of the world at their d t the sights, sounds, smells, colors and textures of the oorstep. Except for one trip out West to Indian country world at their doorstep. Except for one trip out West t he traveled little, and he scoffed at artists who went hunt o Indian country, he traveled little, and he scoffed at ar ing for exotic terrain to paint landscapes they knew noth Lists who went hunting for exotic terrain to paint land ing about. Yet in his own commercial work, his imaginat scapes they knew nothing about. Yet in his own comm ion roamed the world and the centuries. He illustrated b ercial work, his imagination roamed the world and the iblical and classical subjects, medieval Europe, colonial centuries. He illustrated biblical and classical subjects America, and cowboys and Indians. In his 43-year caree medieval Europe, colonial America, and cowboys and r, he produced over 2,000 illustrations for books, magazi Indians. In his 43-year career, he produced over 2,000 nes, posters and murals. It was his lifetime's lament that illustrations for books, magazines, posters and mural his commercial success left him little time for pure painti s. It was his lifetime's lament that his commercial succ ng. If N. C. could see how tattered copies of Treasure Isla ess left him little time for pure painting. If N. C. could s

BOOK ITALIC MEDIUM ITALIC

Newell Conyers Wyeth (1882-1945) ruled himself and his fa Newell Conyers Wyeth (1882-1945) ruled himself and hi roily by two convictions: that all the lessons of life and art could sfarnily by two convictions: that all the lessons of life an be learned from nature, and that good personal habits develop d art could be learned from nature, and that good person ed good art skills. He led his children through the woods and m al habits developed good art skills. He led his children th eadows near their home in Chadds Ford, Pennsylvania and th rough the woods and meadows near their home in Chadd eir vacation retreat at Port Clyde, Maine. He taught them to in s Ford, Pennsylvania and their vacation retreat at Port C gest the sights, sounds, smells, colors and textures of the world lyde, Maine. He taught them to ingest the sights, sounds at their doorstep. Except for one trip out West to Indian countr smells, colors and textures of the world at their doorstep y, he traveled little, and he scoffed at artists who went huntingf Except for one trip out West to Indian country, he travele or exotic terrain to paint landscapes they knew nothing about d little, and he scoffed at artists who went hunting for ex Yet in his own commercial work, his imagination roamed the otic terrain to paint landscapes they knew nothing about world and the centuries. He illustrated biblical and classical su Yet in his own commercial work, his imagination roame bjects, medieval Europe, colonial America, and cowboys and I d the world and the centuries. He illustrated biblical and ndians. In his 43-year career, he produced over 2,000 illustrati classical subjects, medieval Europe, colonial America, a ons for books, magazines, posters and murals. It was his lifeti nd cowboys and Indians. In his 43-year career, he produc me's lament that his commercial success left him little time for ed over 2,000 illustrations for books, magazines, posters pure painting. If N. C. could see how tattered copies ofTreasur and murals. It was his lifetime's lament that his commerc e Island, Kidnapped, Robin Hood and The Last of the Mo ial success left him little time for pure painting. If N. C. co hicans are treasured, no tfor the text butfor his illustrations, h uld see how tattered copies of Treasure Island, Kidnapp 29

Y OLDSIYLE®

BOLD BLACK Newell Conyers Wyeth (1882-1945) ruled himself a Newell Conyers Wyeth (1882-1945) ruled himself nd his family by two convictions: that all the lessons and his family by two convictions: that all the less of life and art could be learned from nature, and that ons of life and art could be learned from nature, a good personal habits developed good art skills. He le nd that good personal habits developed good art s d his children through the woods and meadows near kills. He led his children through the woods and their home in Chadds Ford, Pennsylvania and their v meadows near their home in Chadds Ford, Pennsy acation retreat at Port Clyde, Maine. He taught them lvania and their vacation retreat at Port Clyde, Ma to ingest the sights, sounds, smells, colors and textu ine. He taught them to ingest the sights, sounds, s res of the world at their doorstep. Except for one trip mells, colors and textures of the world at their doo out West to Indian country, he traveled little, and he rstep. Except for one trip out West to Indian count scoffed at artists who went hunting for exotic terrain ry, he traveled little, and he scoffed at artists who to paint landscapes they knew nothing about. Yet in went hunting for exotic terrain to paint landscape his own commercial work, his imagination roamed t s they knew nothing about. Yet in his own commer he world and the centuries. He illustrated biblical an cial work, his imagination roamed the world and t d classical subjects, medieval Europe, colonial Amer he centuries. He illustrated biblical and classical ica, and cowboys and Indians. In his 43-year career subjects, medieval Europe, colonial America, and he produced over 2,000 illustrations for books, maga cowboys and Indians. In his 43-year career, he pro tines, posters and murals. It was his lifetime's lamen duced over 2,000 illustrations for books, magazin t that his commercial success left him little time for p es, posters and murals. It was his lifetime's lamen

BOLD ITALIC BLACK ITALIC

Newell Conyers Wyeth (1882-1945) ruled himself and Newell Conyers Wyeth (1882-1945) ruled himself a his family by two convictions: that all the lessons of life nd his family by two convictions: that all the lessons and art could be learned from nature, and that good pe of life and art could be learned from nature, and tha rsonal habits developed good art skills. He led his chil t good personal habits developed good art skills. He dren though the woods and meadows near their home i led his children through the woods and meadows ne n Chadds Ford, Pennsylvania and their vacation retre ar their home in Chadds Ford, Pennsylvania and the at at Port Clyde, Maine. He taught them to ingest the s it vacation retreat at Port Clyde, Maine. He taught t ights, sounds, smells, colors and textures of the world at their doorstep. Except for one trip out West to India n country, he traveled little, and he scoffed at artists w abcdefghijklmnopqrstuvwxyz ho went hunting for exotic terrain to paint landscapes ABCDEFGHIJKLMNOPQRSTUVWXYZ they knew nothing about. Yet in his own commercial w 1234567890&1234567890$$00/0@ ork, his imagination roamed the world and the centuri cLOZECES00 66'fi- --° es. He illustrated biblical and classical subjects, medie val Europe, colonial America, and cowboys and Indian abcdefghijklmnopqrstuvwxyz s. In his 43-year career, he produced over 2,000 illustr ations for books, magazines, posters and murals. It wa ABCDEFGHIJKLMNOPQRSTUVWXYZ s his lifetime's lament that his commercial success left 1234567890&&123456789o$S4L%@ him little time for pure painting. If N. C. could see how cLOAECENIo&O' 30 FAMILIES TO REMEMBER

HE ANDRETTIS

races unbeknownst to their father who strictly forbade it. Only their priest, who honored the confidentiality of the confessional, knew what the Andretti boys were up to. When the twins were still in their teens the family moved to the United States and settled in a small town in Pennsylvania. Mario and Aldo went to work in an uncle's garage and pooled their savings to buy a car. Both had early successes in racing, but when a serious accident put Aldo in the hospital, he retired from the track for good. Mario, however, was undaunted. On Labor Day, 1963, he won three out of four races in Flemington, New Jersey, and that same evening took four straight in another competition. For a neophyte, it was an unprecedented record. Mario became the first rookie champion in decades. Although still a rookie in 1965, he set international speed records and won the U. S. Auto Club Championship that year. He won again in 1966 and in 1969 when he took first place in the Indianapolis 500. In 196'7, he was named "Driver Even people who don't know a Grand Prix from of the Year" for his versatility in stock car and a grand slam, know the name Andretti means sports car events. And only recently, in 1985, he auto racing. Besides Mario Andretti, there is won the prestigious 200-mile Grand Prix in Long Michael, his eldest son, who is following in his Beach, California, for the second year in a row. father's tire treads, and the name Andretti will Still active at 46, Mario watches anxiously over be heard from for a long time. two careers now—his own and his son's. Unlike The truth is, if not for an honorable little Mario, Michael had his father's blessings and country priest, there might be no Andretti story guidance when he started racing go-carts at age to tell. Mario and his twin brother Aldo grew up nine. In seven years he took 50 out of 75 races, in a little town near Florence, Italy, across from and by age 18, he was ready to move up to car a garage that readied cars for road races. Also racing. He got himself a Formula Ford and, like close by was Italy's famous Mille Miglia, the site his father, proved to be a precocious rookie. of a grueling 1,000 mile racing event. So it was In 1982 the Sports Car Club of America named not surprising that the twins got hooked on auto Michael the "Pro-Rookie of the Year." In 1984, racing at an early age. They shared a motor- at age 21, he qualified for the Indianapolis 500 cycle and a car, and at 13 were entering auto posting the fastest time ever recorded by a rookie. &ITC ZAPF BOOK

ITC Zapf Book is a meticulous blending of three typographic classics: Walbaum, Melior and Bodoni. It embodies the best qualities of "modern-serif" typestyles and melds them with the calligraphic spontaneity and spirit which can be created only by a master of typeface design. Few besides Hermann Zapf could compose such a design. It was his goal to create a typeface of distinction without eccentricity. The popular- ity of ITC Zapf Book in advertising and promotional work, extensive text, and even reference material and directories, attest to Zapf's success in meeting his goals. ITC Zapf Book has an open, inviting feel and produces even typographic color effortlessly. The influence of Walbaum and Bodoni is obvious in the vertical stress and contrasting stroke weight. Melior lends its slight squaring of round characters and softened weight transfer to the structure. This an d Zapf's unmistakable calligraphic hand, provide warmth and personality uncommon to many typefaces. ITC Zapf Book has the traits and proportions of a modern typestyle combined with calligraphic sensuality. The x-height is ample, serifs are fine and have no bracketing. Hints of calligraphy can be seen in the tail of the capital "Q," ear of the lowercase "g," and throughout the exquisite oldstyle numbers. In the roman the lowercase "g" also has a large loop which is repeated in thee italic but does not quite close. ITC Zapf Book Italic is a cursive design with a distinctive, almost swash, lowercase "x." While obviously a cursive, there is restraint to the Mario and Michael are sometimes partners italic. Stroke terminals have an and sometimes competitors in an event. As almost horizontal stress rather than the more common upswing , competitors, both are hungry for victory. Michael ITC Zapf Book is ideal for applications in which a classic and wants to beat his father's records, but not hurt sophisticated, but not austere, his pride. Mario wants Michael to be a winner, quality is desired. First shown in March of 1976, ITC Zapf Book not but he's not yet ready to hand over his crown... only maintains its fresh vitality not even to his son. Time alone will have to solve and vibrancy today, but promises to be a popular design well into their problem. the future.

ILLUSTRATIONS BY WILLIAM BRAMHALL HEADLINE / SUBHEAD . ITC TAPE ROOK I ICHT 'FFY, I IO UT DFMI rerrinm, ITC MAN.. Ird nro- usr BOOK 32 ITC ZAP

LIGHT MEDIUM

Even people who don't know a Grand Prix from a Even people who don't know a Grand Prix from a grand slam, know the name Andretti means auto grand slam, know the name Andretti means auto racing. Besides Mario Andretti, there is Michael racing. Besides Mario Andretti, there is Michael his eldest son, who is following in his father's tire his eldest son, who is following in his father's tire treads, and the name Andretti will be heard from treads, and the name Andretti will be heard from for a long time. The truth is, if not for an honorabl for a long time. The truth is, if not for an honora e little country priest, there might be no Andretti ble little country priest, there might be no Andre story to tell. Mario and his twin brother Aldo gre tti story to tell. Mario and his twin brother Aldo g w up in a little town near Florence, Italy, across fr rew up in a little town near Florence, Italy, across om a garage that readied cars for road races. Also from a garage that readied cars for road races. Al close by was Italy's famous Mille Miglia, the site of so close by was Italy's famous Mille Miglia, the sit a grueling 1,000 mile racing event. So it was not su e of a grueling 1,000 mile racing event. So it was n rprising that the twins got hooked on auto racing of surprising that the twins got hooked on auto r at an early age. They shared a motorcycle and a c acing at an early age. They shared a motorcycle a ar, and at 13 were entering auto races unbeknow nd a car, and at 13 were entering auto races unbe nst to their father who strictly forbade it. Only the knownst to their father who strictly forbade it. 0 it priest, who honored the confidentiality of the c nly their priest, who honored the confidentiality onfessional, knew what the Andretti boys were u of the confessional, knew what the Andretti boys p to. When the twins were still in their teens the f were up to. When the twins were still in their tee

LIGHT ITALIC MEDIUM ITALIC

Even people who don't know a Grand Prix from a g Even people who don't know a Grand Prix from a rand slam, know the name Andretti means auto ra grand slam, know the name Andretti means auto cing. Besides Mario Andretti, there is Michael, his racing. Besides Mario Andretti, there is Michael eldest son, who is following in his father's tire tread his eldest son, who is following in his father's tire s, and the name Andretti will be heard from for al treads, and the name Andretti will be heard from ong time. The truth is, if not for an honorable little for a long time. The truth is, if not for an honorab country priest, there might be no Andretti story to le little country priest, there might be no Andretti tell. Mario and his twin brother Aldo grew up in a li story to tell. Mario and his twin brother Aldo gre ttle town near Florence, Italy, across from a garag w up in a little town near Florence, Italy, across fr e that readied cars for road races. Also close by wa om a garage that readied cars for road races. Als s Italy's famous Mille Miglia, the site of a grueling o close by was Italy's famous Mille Miglia, the site 1,000 mile racing event. So it was not surprising th of a grueling 1,000 mile racing event. So it was not at the twins got hooked on auto racing at an early a surprising that the twins got hooked on auto raci ge. They shared a motorcycle and a car; and at 13 w ng at an early age. They shared a motorcycle and ere entering auto races unbeknownst to their fath a car, and at13 were entering auto races unbekno er who strictlyforbade it. Only their priest, who ho wnst to their father who strictly forbade it. Only t nored the confidentiality of the confessional, knew heir priest, who honored the confidentiality of t what the Andretti boys were up to. When the twins he confessional, knew what the Andretti boys we were still in their teens the family moved to the Un re up to. When the twins were still in their teens t 33 BOOK

DEMI HEAVY

Even people who don't know a Grand Prix fr Even people who don't know a Grand Prix fr om a grand slam, know the name Andretti me om a grand slam, know the name Andretti me ans auto racing. Besides Mario Andretti, ther ans auto racing. Besides Mario Andretti, the e is Michael, his eldest son, who is following i re is Michael, his eldest son, who is followin n his father's tire treads, and the name Andre g in his father's tire treads, and the name And tti will be heard from for a long time. The trut retti will be heard from for a long time. The t h is, if not for an honorable little country prie ruth is, if not for an honorable little country st, there might be no Andretti story to tell. Ma priest, there might be no Andretti story to tel rio and his twin brother Aldo grew up in a littl 1. Mario and his twin brother Aldo grew up in e town near Florence, Italy, across from a gar a little town near Florence, Italy, across fro age that readied cars for road races. Also clos m a garage that readied cars for road races e by was Italy's famous Mille Miglia, the site of Also close by was Italy's famous Mille Miglia a grueling 1,000 mile racing event. So it was n the site of a grueling 1,000 mile racing event of surprising that the twins got hooked on aut So it was not surprising that the twins got ho o racing at an early age. They shared a motor oked on auto racing at an early age. They sha cycle and a car, and at 13 were entering auto r red a motorcycle and a car, and at 13 were en aces unbeknownst to their father who strictl tering auto races unbeknownst to their fathe y forbade it. Only their priest, who honored t r who strictly forbade it. Only their priest, w he confidentiality of the confessional, knew ho honored the confidentiality of the confess

DEMI ITALIC HEAVY ITALIC

Even people who don't know a Grand Prigfrom Even people who don't know a Grand Prix fr a grand slam, know the name Andretti means a om a grand slam, know the name Andretti me uto racing. Besides Mario Andretti, there is Mic ans auto racing. Besides Mario Andretti, the hael, his eldest son, who is following in his fathe re is Michael, his eldest son, who is following r's tire treads, and the name Andretti will be hea in his father's tire treads, and the name Andr rd from for a long time. The truth is, if not for a etti will be heard from for a long time. The tr n honorable little country priest, there might be uth is, if not for an honorable little country p no Andretti story to tell. Mario and his twin brot her Aldo grew up in a little town near Florence, I talx across from a garage that readied cars for abcdefghijklmnopqrstuvwxyz road races. Also close by was Italy's famous Mill ABCDEFGHIJKLMNOPQRSTUVVVXYZ e Miglia, the site of a grueling 1,000 mile racing e vent. So it was not surprising that the twins got 1234567890&$$CZ% hooked on auto racing at an early age. They sha cOACE1305kefffiffirlffl red a motorcycle and a car, and at 13 were enter ing auto races unbeknownst to their father wh abcdefghijklmnopqrstuvwxyz o strictlyforbade it. Only their priest, who hono ABCDEFGHIJKLMNOPQRSTUVVVKYZ red the confidentiality of the confessional, kne 1234567890&$$a% w what the Andretti boys were up to. When the t coJEU fcoxm fff iflifi ESPRIT

Why do performing artists respond to "Encore! Encore! Encore!" with an appeasing little additional number, when the cry really means, "Repeat! Repeat! Repeat!"? We believe it is far more respectful to an audience to repeat a thoughtfully prepared selection or passage, than to toss off a crowd-pleasing showpiece. A second encounter with a work provides an opportunity to probe its depths, catch its nuances, and even discover delights missed the first time around. The repetition doesn't just double our pleasure, it multiplies it. What holds for the performing arts, holds for the visual. With that in mind we are offering you a second look at our three most recently released alphabets. Although the encores are unsolicited, we believe they will add to your appreciation of the spirit, as well as the letterforms, of these versatile faces.

ITC Esprit has character. There are many beautiful typefaces, and even more distinctive typefaces, but few of them also have a distinct personality. At first glance, ITC Esprit may appear to be just another pretty face; a closer look, however, will disclose a smile behind the classic exterior. It soon becomes apparent that ITC Esprit is the work of a gifted calligrapher, and that its typographic personality is a direct outgrowth of this calligraphic heritage. Character bowls are animated; there is a flair and verve in the handling of character weight changes; and individual letters like the italic "g;' the roman "a" or "e" have a lighthearted look. Yet the overall tone of ITC Esprit is even; blocks of copy set in it are unobtrusive, contributing to easy and efficient reading. ITC Esprit shows just a hint of Venetian Oldstyle design characteristics. There is a slight angle to the weight stress, the serifs are fully bracketed, and finally the crossbar of the lowercase "e" sits at just a slight angle. The italic of ITC Esprit is more restrained than the roman. While the marks of a calligrapher are present and obvious in the roman, in the italic they are more subtle.The roman and italic still complement each other beautifully, but ITC Esprit is unusual in that with most type families the italic tends to be more robust than the roman; with ITC Esprit the reverse is true. ITC Esprit is the second typeface designed by the multi-talented Yugoslavian calligrapher and type designer, Jovica Veljovie. It was first released in the fall of 1985 and it has already found use in a variety of applications, and a home in many fine typography studios. 35

BOOK MEDIUM ITC Esprit has character. There are many beautiful ITC Esprit has character. There are many beautif typefaces, and even more distinctive typefaces, but f ul typefaces, and even more distinctive typefaces ew of them also have a distinct personality. At first but few of them also have a distinct personality. A glance, ITC Esprit may appear to be just another pr t first glance, ITC Esprit may appear to be just an etty face; a closer look, however, will disclose a smile other pretty face; a closer look, however, will disci behind the classic exterior. It soon becomes appare ose a smile behind the classic exterior. It soon bec nt that ITC Esprit is the work of a gifted calligraph omes apparent that ITC Esprit is the work of a gif

BOLD BLACK ITC Esprit has character. There are many beau ITC Esprit has character. There are many bea tiful typefaces, and even more distinctive typef utiful typefaces, and even more distinctive ty aces, but few of them also have a distinct perso pefaces, but few of them also have a distinct p nality. At first glance, ITC Esprit may appear to ersonality. At first glance, ITC Esprit may app be just another pretty face; a closer look, howe ear to be just another pretty face; a closer loo ver, will disclose a smile behind the classic exte k, however, will disclose a smile behind the cl rior. It soon becomes apparent that ITC Esprit is assic exterior. It soon becomes apparent that I

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BOOK ITALIC MEDIUM ITALIC ITC Esprit has character. There are many beautiful ty ITC Esprit has character. There are many beautiful pefaces, and even more distinctive typefaces, but few of t typefaces, and even more distinctive typefaces, but fe hem also have a distinct personality. At first glance, IT w of them also have a distinct personality. At first gl C Esprit may appear to be just another pretty face; a c ance, ITC Esprit may appear to be just another prett loser look, however, will disclose a smile behind the classi g face; a closer look however, will disclose a smile behi c exterior It soon becomes apparent that ITC Esprit is t nd the classic exterior. It soon becomes apparent that he work of a gifted calligrapher, and that its typograph ITC Esprit is the work of agifted calligrapher, and th

BOLD ITALIC BLACK ITALIC ITC Esprit has character. There are many beaut ITC Esprit has character. There are many bea iful typefaces, and even more distinctive typeface utiful typefaces, and even more distinctive type s, but few of them also have a distinct personality faces, but few of them also have a distinct perso At first glance, ITC Esprit may appear to be just nality. At first glance, ITC Esprit may appear another pretty face; a closer look, however, will dis to be just another pretty face; a closer look, how close a smile behind the classic exterior. It soon be ever, will disclose a smile behind the classic exte comes apparent that ITC Esprit is the work of a g rior. It soon becomes apparent that ITC Esprit i 36

, ITC E

ITC Elan possesses a very rare typographic quality: the ability to change its appearance from one application to another. When employed in large display sizes, its distinctive design traits become apparent and can enhance most applications. At smaller sizes, however, many of these distinctions fade to produce an exceptionally versatile text typestyle. , The reason is that most of the traits which separate ITC Elan from other designs appear subtle when taken individually. The small, almost Latin, serifs which are so obvious at large sizes soften to a subtle flair in text usage. The several characters which have non-closing bowls also support ITC Elan's chameleon quality. They cannot go unnoticed in a headline, yet become part of the overall color in lengthy text copy. The italic can serve to complement and enhance ITC Elan's dual personality. At first glance it appears to be a simple, obliqued roman, but closer examination reveals classic italic characteristics. The lowercase "a" and "f" are obvious cursive designs. The "v," "w," "x" and the "z" have a soft swing to their strokes. Even the finishing strokes on the "ar,' "h',' "m:' "n" and like characters, have a slight calligraphic flick to their terminals. Because of its individuality ITC Elan is a natural choice for headlines or any extensive copy in which content and emphasis are both important. In addition, the large but not excessive x-height, its minimum stroke variance and open counters are ideal design traits for typeface legibility within a wide range of sizes and printing environments. ITC Elan is the second ITC typeface (ITC Eras® being the first) from the exceptionally talented French type and graphic designer, Albert Boton. First released in the summer of 1985, ITC Elan deserves a second look. 37

BOOK MEDIUM ITC Élan possesses a very rare typographic quality ITC Élan possesses a very rare typographic quali the ability to change its appearance from one app ty: the ability to change its appearance from on lication to another. When employed in large displ e application to another. When employed in lar ay sizes, its distinctive design traits become appare ge display sizes, its distinctive design traits beco nt and can enhance most applications. At smaller s me apparent and can enhance most application izes, however, many of these distinctions fade to p s. At smaller sizes, however, many of these distin roduce an exceptionally versatile text typestyle. T ctions fade to produce an exceptionally versatil

BOLD BLACK ITC Élan possesses a very rare typographic qu ITC Élan possesses a very rare typographic q ality: the ability to change its appearance fro uality: the ability to change its appearance f m one application to another. When employe rom one application to another. When empl d in large display sizes, its distinctive design tr oyed in large display sizes, its distinctive des aits become apparent and can enhance most a ign traits become apparent and can enhanc pplications. At smaller sizes, however, many of e most applications. At smaller sizes, howeve these distinctions fade to produce an exceptio r, many of these distinctions fade to produce

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BOOK ITALIC MEDIUM ITALIC ITC Élan possesses a very rare typographic qualit ITC Elan possesses a very rare typographic qua y: the ability to change its appearance from one lity: the ability to change its appearance from application to another. When employed in large one application to another. When employed in display sizes, its distinctive design traits become large display sizes, its distinctive design traits b apparent and can enhance most applications. At ecome apparent and can enhance most applic smaller sizes, however, many of these distinctions ations. At smaller sizes, however, many of these fade to produce an exceptionally versatile text ty distinctions fade to produce an exceptionally v

BOLD ITALIC BLACK ITALIC ITC Élan possesses a very rare typographic qu ITC Élan possesses a very rare typographic q ality: the ability to change its appearance fro uality: the ability to change its appearance m one application to another. When employe from one application to another. When empl d in large display sizes, its distinctive design tr oyed in large display sizes, its distinctive des aits become apparent and can enhance most ign traits become apparent and can enhanc applications. At smaller sizes, however, many e most applications. At smaller sizes, howeve of these distinctions fade to produce an excep r, many of these distinctions fade to produce ITC Goudy Sans is unlike most other sans serif typefaces. While most sans serifs tend to have a quiet, obviously conservative, structure, ITC Goudy Sans has a friendly, almost playful personality. The italic is also unusual for a sans serif type. It offers a cursive design rather than just the common obliqued roman. It has a light, flowing quality that both complements and augments the roman design. While all typefaces seem to have limitations, especially those with strong personalities, few applications are outside ITC Goudy Sans' range; it can be an excellent communicator. Advertising copy, promotional material, catalogs, brochures, even lengthy articles in magazines and similar publications are ideally suited to ITC Goudy Sans' capabilities. Frederic Goudy normally drew serif typestyles, usually based on historical tradition. While his initial work on this family certainly varies from his practice of drawing serif typestyles, it does not to the extent that ITC Goudy Sans has a definite tie with proven letter shapes. The strong lineage between it and Roman lapidary inscrip- tions is readily apparent. The family of ITC Goudy Sans grew in three stages. First, Goudy created the three designs of Heavy, Light and Light Italic for metal typesetting. Then, many years later, Compugraphic Corporation revived Goudy's original work for photographic and digital composition. In the process they made several improvements to the original design and added three more faces to the family. Finally ITC re-released the design under a license agreement with Compu- graphic. As a result, the family was enlarged again to its present size, some slight changes and additions were made to both Goudy's original work and Compugraphic's revival, but most important the design was made available to the entire graphic communications world. 39

BOOK MEDIUM ITC Goudy Sans is unlike most other sans serif typefaces ITC Goudy Sans is unlike most other sans serif typeface While most sans serifs tend to have a quiet, obviously co s. While most sans serifs tend to have a quiet, obvious nservative, structure, ITC Goudy Sans has a friendly, almo ly conservative, structure, ITC Goudy Sans has a friend st playful personality. The italic is also unusual for a sans ly, almost playful personality. The italic is also unusual f serif type. It offers a cursive design rather than just the co or a sans serif type. It offers a cursive design rather than mmon obliqued roman. It has a light, flowing quality that just the common obliqued roman. It has a light, flowin both complements and augments the roman design. Wh g quality that both complements and augments the ro

BOLD BLACK ITC Goudy Sans is unlike most other sans serif typ ITC Goudy Sans is unlike most other sans serif t efaces. While most sans serifs tend to have a quiet ypefaces. While most sans serifs tend to have a obviously conservative, structure, ITC Goudy San quiet, obviously conservative, structure, ITC Go s has a friendly, almost playful personality. The ital udy Sans has a friendly, almost playful personali is is also unusual for a sans serif type. It offers a cu ty. The italic is also unusual for a sans serif type rsive design rather than just the common obliqued It offers a cursive design rather than just the co roman. It has a light, flowing quality that both con" mmon obliqued roman. It has a light, flowing qu

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BOOK ITALIC MEDIUM ITALIC ITC Coudy Sans is unlike most other sans serif typefaces ITC Qoudy Sans is unlike most other sans serif typeface While most sans serifs tend to have a quiet, obviously co s. While most sans serifs tend to have a quiet, obviously nservative, structure, ITC Qoudy Sans has a friendly, alm conservative, structure, ITC Qoudy Sans has a friendly, al ost playful personality. The italic is also unusual for a san most playful personality. The italic is also unusual for a s serif type. It offers a cursive design rather than just the c sans serif type. It offers a cursive design rather than just ommon obliqued roman. It has a light, flowing quality th the common obliqued roman. It has a light, flowing qua at both complements and augments the roman design. W lity that both complements and augments the roman de

BOLD ITALIC BLACK ITALIC ITC Goudy Sans is unlike most other sans serif typef ITC Qoudy Sans is unlike most other sans serif typ aces. While most sans serifs tend to have a quiet, ob efaces. While most sans serifs tend to have a quiet viously conservative, structure, ITC Goudy Sans has obviously conservative, structure, ITC Qoudy San a friendly, almost playful personality. The italic is al s has a friendly, almost playful personality. The it so unusual for a sans serif type. It offers a cursive des alit is also unusual for a sans serif type. It offers a ign rather than just the common obliqued roman. It h cursive design rather than just the common obliqu as a light, flowing quality that both complements an ed roman. It has a light, flowing quality that both 40

- HE 2Q00

1 (EAR OLD

As birthday parties go, this is one of the great monument has no equal. biggest bashes in United States history. Since 1886, the statue in New York Not since the nation's bicentennial in harbor has welcomed shiploads 1976, have there been such exuberant of visitors and immigrants to the festivities—parades, fairs, exhibitions, United States. For the waves of "Liberty Week" proclamations, speeches, immigrants who came to escape films, fireworks, fleets of sailing ships, persecution and economic depriva- new coins and new stamps—all in cele- tion in their homelands, the statue bration of the 100th anniversary of the symbolized the freedom and oppor- Statue of Liberty. Reserved seats for tunity they sought. Today, visitors the July 4th ceremonies were grabbed and immigrants arrive at inland up at $100; harbor cruises sold out at airports and other harbors, but the $1,000-a-head. symbol endures. The very sight of Other statues have birthdays; why the Liberty with her torch aloft touches gargantuan fuss over this one? off an emotional charge unmatched by any mere monument. More than Aside from the pyramids and the Sphinx just a statue, Liberty is something in Egypt, there is probably no monument of a shrine. in the world as significant as the Statue of Liberty. Millions of people have visited As the 100th anniversary of her it. Schoolchildren from New York to New dedication approached, it was clear Guinea recognize it. It isn't the colossal that a celebration was in order. But size of the statue that makes it unique, Liberty was showing her age. The though it is the tallest one ever built. years and the elements had done Esthetically, nobody has ever given it their damage, and the lady was in Statue of Liberty National Monument. great grades, either. But as a symbol, this need of massive reconstructive and Photo, National Park Service

HEADLINE ITC AVANT GARDE GOTHIC EXTRA LIGHT TEXT ITC CHELTENHAM LIGHT, ITC BARCELONA BOLD CAPTIONS ITC BARCELONA BOOK It 7.T 42

saintly repose; sometimes in cosmetic surgery. Committees were flight. But Liberty was always a organized to raise funds for the resto- woman, and invariably she carried ration. Business organizations, benevo- a torch or some other symbol of lent foundations, ethnic and religious light. Many figures were crowned groups, families and individuals, all with the seven-spoked diadem of responded with contributions amount- the sun god, also a symbol of the ing to well over $500 million. School- dispersal of light to the planets. In children alone raised $4 million for 1830, in celebration of a people's the project. uprising in France, the French In June 1985, the monument was artist, Delacroix, painted the vola- closed to the public, a grid of scaffold- tile La Liberte Guidant le Peuple. ing was wrapped around the statue, In his version of Liberty, she is not and crews of workers descended upon a classic divine figure, but a vigor- it. They worked 24 hours a day, six days ous, embattled woman. On her each week for an entire year, to ready head he placed the ancient Roman Liberty for the centennial ceremonies conical cap of liberation. Her on July 4th, 1986. They rebuilt the draped gown is in dishabille, her structural skeleton, widened the inte- bosom exposed. Instead of a torch rior stairways and installed new eleva- or scepter, she carries other sym- tors. Her nose and the spikes of her bols of power—a French flag in one diadem, eroded by wind and rain, were hand and a rifle in the other. recast. Her copper skin was repaired, Two thousand years of images of patched and cleaned. To top it off, Liberty were not lost on Bartholdi. she was gifted with a brand new gold His Liberty turned out to be a com- leaf torch. posite of some things old and some To tell the truth, she looks marvelous! things new. His Liberty wears the But also in truth, it must be told, classic drapery and sandals of Liberty is no hundred-year-old lady. the Greek and Roman heros. She She's 2,000 if she's a day, and what fol- wears a diadem like the sun god's, lows is a brief account of her evolution. with seven spokes to represent the seven continents and the seven An Immigrant—Like the Rest of Us seas. At her feet, a broken chain To begin with, the statue was not symbolizes freedom from bondage American born. She was conceived by a and oppression. Cradled in her left Frenchman, created by Frenchmen, arm, reminiscent of Moses bearing paid for by French citizens, and pre- the Ten Commandments, is a tab- sented to the United States as a gift to let engraved with the date of the commemorate the 100th anniversary Declaration of Independence. Her of the Declaration of Independence. right arm, raised aloft, holds the How very appropriate for this nation, torch of enlightenment. Her reso- where all of us (with the exception of lute face, scholars say, was mod- native Indians) are immigrants or eled in the image of Bartholdi's descendants of immigrants, to have mother. And like a reincarnation of our preeminent national monument the Colossus of Rhodes, he placed be an immigrant like the rest of us. her at the entrance to the nation's Conceived by Laboulaye Colossus of Rhodes. The New York Public Library, Picture Collection most significant harbor. The idea for a gift to the United States Bartholdi envisioned Liberty as a took shape in the mind of a certain intellectuals, political activists and Helios, which, until it was destroyed by statue that the public would par- intellectual, liberal-minded activist fund-raisers to help in sponsoring an earthquake, stood in the harbor at the ticipate in, as well as admire. He Frenchman, Edouard-Rene Lefebvre the gift. entrance to Rhodes, with a beacon in wanted stairways to the crown and Laboulaye, as far back as 1865. one hand and legs spread wide for ships The sculptor whom the committee torch, with observation platforms Laboulaye was a professor ofjurispru- to sail through. had in mind for the project was to reward those intrepid visitors dence and a historian with an intense Frederic Auguste Bartholdi (1832- Some scholars believe that, even more who survived a spiral climb to the interest in American history, especially 1904). In every way, he was the per- immediate in Bartholdi's mind's eye, top. Since the statue was to be hol- the period of the American Revolution fect choice. Politically, he was very was his own design for a lighthouse and the founding of the new republic. low, with a skin of very thin copper sympathetic to the cause. He had intended for the entrance to the Suez sheeting, it required a sturdy sup- When he proposed that France cele- an estimable reputation as a monu- Canal. It was a project that never came to porting skeleton. In addition, the brate the centennial of the American ment builder. He knew how to think fruition, and too good an idea to waste. complex inner structure called for Declaration of Independence with big; his concept of scale started Although Bartholdi denied that his a presentation of some sort, it did not the participation of an imaginative, with colossal. And since France at Liberty derived from his lighthouse, infallible engineer. come as an entirely altruistic gesture. that time, ailing from defeat in the sketches in his notebook seem to sug- Laboulaye hoped to accomplish two Franco-Prussian War, was not fer- gest a most remarkable resemblance Other Men in Her Life things: To re-establish the spiritual tile territory for grandiose monu- between the two. The commission fell to Gustave alliance that had existed between the ments, Bartholdi was very well Eiffel (1832-1923), a civil engi- two countries since France came to the In any case, it was quite unlikely that neer with a dazzling record of disposed to undertaking the Ameri- Bartholdi's Liberty would emerge in a aid of the colonists during the Ameri- can project. achievement. He had already exe- can Revolution. Second, to rekindle completely novel and unique form. cuted a number of innovative, in France the ideals of their own revo- Origins of the Image There were incarnations of the idea grandiose bridges and spans for lution which, at that time, were being of Liberty dating back 2,000 years, and no artist can the French railway system. He had smothered under the repressive In 1871, Laboulaye's committee blind himself to the past. A goddess of distinguished himself in the con- regime of Napoleon III. delegated Bartholdi to take a trip liberty was depicted by the Romans as struction of tall, spidery buildings to the United States to scout out an far hack as the third century B.C. She The gift Laboulaye had in mind was a —forerunners of our modern sky- appropriate site for the monument, carried a scepter, a symbol of her sover- scrapers. He had the very kind of monument expressing the theme of to drum up enthusiasm for the gift, eignty, over herself, and wore a conical Liberty Enlightening the World. (That, in intelligence, imagination and and specifically, to find American cap granted to liberated slaves. At her experience needed for Bartholdi's fact, was the original title of the Statue sponsors for the pedestal. feet, a broken jug represented freedom of Liberty.) For Laboulaye, "liberty" giant statue. Happily, Eiffel was from confinement, and a cat symbolized available and enthusiastic about was the operative word. It bound the When the ship carrying Bartholdi a liberated spirit. two nations idealistically. It was heard steamed into New York harbor, he the monument, and designed a in Patrick Henry's birth cry for the knew he need search no further for As the meaning of liberty broadened substructure for the statue that American Revolution, "Give me liberty a site. Whether consciously or uncon- from merely personal freedom to made Bartholdi's vision possible. or give me death!" It was echoed in the sciously, the sight of the harbor may include political and social self-determi- It was Gustave Eiffel who later rallying call of the French Revolution, have called up a vision of the Colos- nation, artists borrowed liberally from designed and engineered the Eiffel "Liberty, Equality, Fraternity." Influen- sus of Rhodes, that Wonder of the religious and mythological icons. Some- Tower for the Paris Exposition of tial figure that he was, Laboulaye suc- Ancient World. It was a 100-foot times she was portrayed in the nude; 1889. To his credit, both the ceeded in organizing a committee of tall bronze statue of the sun god, sometimes in classic togas; sometimes in Statue of Liberty and the Eiffel

TEXT ITC NEW BASKERVILLE ROMAN WITH BOLD. ITC CENTURY BOLD WITH ULTRA. ITC GARAMOND LIGHT. ITC BOOKMAN DEMI WITH BOLD CAPTION ITC LUBALIN GRAPH BOOK 43

Delacroix, La Libertd Guidant Le Peuple, The Bettmann Archive

Tower are the definitive symbols of Bedloe's Island, the site designated was constructed, and make the for- tive maneuver was his promise to the countries in which they stand. for the statue. Bartholdi was ever mal presentation to the American publish the name of every donor, no vigilant that Hunt's pedestal design ambassador in Paris. On July 4th, matter how small the contribution. While the plans for the statue were not upstage his statue. After many 1884, all of Paris turned out for the His campaign paid off splendidly. In well underway in France in 1875, the cross-Atlantic communications, ceremony. The statue was so much less than five months, Pulitzer raised plans for the pedestal were not as visions and revisions, the final plans over $100,000; enough money to tidily resolved. After dismissing a admired that local citizens regretted for the pedestal were approved. having to ship it off to America. They complete the pedestal. In all, Ameri- French architect because of unrec- It was to be a granite and poured cans contributed over a quarter of oncilable differences, the commit- did the next best thing. A quarter- concrete rectangular form, embel- size facsimile of the statue was con- a million dollars for the project. tee engaged an eminent American lished with classic columns, draped structed and placed on the Ile des architect, Richard M. Hunt. Hunt, like Delivery and Dedication swags and the shields of the 48 states Cygnes in the Seine, where it has Bartholdi and Eiffel, was personally Finally in May,1885, when the ped- of the Union. remained ever since. and professionally ideal for the job. estal seemed on its way to comple- He was a man of enormous self- The more serious problem with The Pulitzer Maneuver tion, the statue was dismantled into confidence and capable of bold respect to the pedestal was the lack The problem of funding the pedes- 300 sections, packed into 214 ship- concepts. He had trained at the of funds. American support for the tal was resolved by a Hungarian ping crates and loaded onto the Ecole des Beaux Arts in Paris, and statue had collapsed. Congress immigrant, Joseph Pulitzer. He had French ship Isere. It arrived at was known and respected in upper appropriated the site, but not the arrived in the United States in 1864, Bedloe's Island (now called Liberty crust art circles. He was an Ameri- funds anticipated. Sophisticated art served in the Civil War, went to work Island) in June. It was reassembled, can and had designed homes for patrons did not regard the statue as as a newspaperman, and by 1883, installed on its mammoth pedestal, several of its grand old families—the esthetically worthy. Monied people acquired a newspaper of his own, and on July 4th, 1886, the Statue of Vanderbilts and the Astors, to men- were wary of the populist appeal of the New York World. Out of senti- Liberty was unveiled and dedicated tion just two. He was experienced in the theme. The average American ment and great appreciation of his by President Grover Cleveland. commercial architecture as well, citizen considered the statue a rich adopted country, and also because The celebration was tumultuous. and was considered to be the pre- it seemed like a good promotional Everybody who was anybody eminent architect in America. It was Photo, Larry Ballante scheme for selling newspapers, The Statue of Liberty-Ellis Island Foundation turned out for the joyous festivities. certainly fitting to have him design Pulitzer initiated a campaign in his Bartholdi was given a hero's recep- the pedestal. newspaper to raise funds for the pedestal. He printed blistering The new gold leaf torch. Photo, Brian Feeney attacks on the rich for their lack of Photo, Peter B. Kaplan © 1985 The Statue of Liberty-Ellis Island Foundation cooperation. He wrote editorials reassuring readers that the statue was a gift for the entire nation, not only for New York. But his most effec-

Photo, Brian Feeney The Statue of Liberty-Ellis Island Foundation

man's indulgence. And most of the country viewed the statue as a gift to New York—"so let New York pay." So, while Bartholdi had his statue tion. Laboulaye, unfortunately, had completed and ready for delivery died in 1883 and never witnessed Growing Pains in 1884, there was no pedestal in the finale of his drama. And Joseph As one might expect, monster talents America to stand it on. The centen- Pulitzer must surely have basked in come with equally enormous egos. nial gift, which should have been his triumph, for it was through his Hunt grumbled about being sad- delivered in 1876, was long overdue. efforts that the monument, once dled with the already existing star- It was decided to erect the statue in viewed with apathy, had become shaped foundation of the old fort on the street outside the studio where it a national treasure.

Height From base of foundation to top of torch 305'1" From base of statue to top of torch From heel to head 111' 1" Foundation 65' Pedestal 89' Weight Copper skin of statue 100 tons Steel skeleton 125 tons 7btal weight of statue 225 tons Head Chin to cranium 17'3„ Ear to ear 10' Width of eye 2'6" Length of nose 4'6" Width of mouth 3' Windows in crown 25 Spikes in diadem 7 Length of each 7' Weight of each 150 lbs. Right Arm Length 42' Thrch 21' Hand 16'5" Index Finger 8' Circumference at 2nd joint 3'6" Fingernail 13"x10" Waist At greatest measurement 35' Tablet Length 23' 7" Width 13 , 7” Depth 2' Skin Copper sheeting -3/32" to 1/8" Steps Pedestal to base 167 Base of statue to torch 171 These measurements and weights were furnished by The Statue of Liberty-Ellis Island Foundation, New York, N.Y.

TEXT ITC GARAMOND LIGHT CONDENSED ITALIC CAPTION ITC GARAMOND BOOK CONDENSED 46

THE MANY FACES OF LIBERTY

Anyone who missed the exhibit in New York, which ended in May, 1986, may be lucky enough to catch up with it in one of the other cities on its two-year tour of the country. It is scheduled for showings in Dal- las, Evanston (Illinois), Detroit, Los Angeles and Atlanta. In addition, an auxiliary poster exhibition featuring 20 large-scale, full-color objects from the show has been distributed to all U.S. ambassadors and gover- nors for circulation among their constituents. The objects reproduced here are only a small fraction of the "Liberties with Liberty" exhibition. The entire show has been replicated in a 64-page book published by E. P. Dut- ton with 90 full-color illustrations. For information, write: Museum of American Folk Art, 125 West 55th Street, New York, NY 10019. The statue that Bartholdi came up with as a symbol of American liberty inherited a number of physi- ological and iconological traits from European ancestors. But American artists were concocting their own versions of the lady. As far back as the 16th century, America was pictured as something of a virago — a dark-skinned, bare- breasted Indian queen, carrying a bow and arrow and riding an arma- dillo. In time, she was tamed into a subdued Indian princess, still wear- ing her feathers, but much friendlier in demeanor. She was generally accompanied by one or more props indigenous to the American scene — an alligator, rattlesnake or pine tree. In the 18th century, when the American colonists made their move toward independence from England, artists started to drape the befeathered princess in a classic Greek robe to symbolize the free, highly democratic society of ancient Greece. Eventually the plumed headdress was abandoned and only the Greek influence survived. Even then, there were variations on the Greek Goddess theme, the most familiar of which, Columbia, was named in honor of Christopher Columbus. All these personifications of America were depicted by fine artists and folk artists in paintings, sculpture, maps, weather vanes, quilts, scrimshaw, needlework; the most commonplace of utilitarian objects and commercial advertising, as well. In celebration of the centennial of the Statue of Liberty, the Museum of American Folk Art, in New York City, with the help of a grant from Xerox Corporation, inau- gurated a scholarly and entertaining exhibition entitled, "Liberties with Liberty." The guest curator for the show, Nancy Jo Fox, assembled 85 examples of folk art objects which demonstrate the changing images Ship Figurehead: Goddess of Liberty. 1850-1860; 60" height. The State Street Bank Corporate Art Collection, Boston, Massachusetts of America.

HEADLINE / TEXT. ITC MIXAGE BOLD CAPTIONS: ITC GARAMOND BOOK CONDENSED WITH BOLD CONDENSED 1 Sculpture; Miss Liberty. Artist unknown; New Hampshire, 1850-1860. The Barenholtz Collection 2 Weathervane; Statue of Liberty. J. L. Mott Iron Works, New York City or Chicago, c. 1886. Private collection 3 Watercolor; Memorial to General Washington. Artist and region unknown, c. 1815. Philadelphia Museum of Art, Edgar William and Bernice Chrysler Garbisch Collection 4 Watercolor; Our Country Is Free. Joe Miller, Illinois, c. 1870. Collection of Merle H. Glick 5 Gatepost Finial; Statue of Liberty. Artist unknown; Argos Corner, Delaware, c. 1900. Collection of Peggy W Lancaster 6 Watercolor; Columbia. Artist and region unknown; early 19th century. Collection of Dr. and Mrs. Ralph Katz 7 Monument Figure; Liberty. W. H. Mullins Co., Salem, Ohio. Soldier's Monument, Allentown, Pennsylvania, c. 1880. Private collection. Photo, G. William Holland 8 Trade Sign; William Frederick White. Massachusetts, c. 1860. Connecticut Historical Society, Morgan B. Brainard Collection 9 Sculpture; Liberty with Cannon. Artist unknown; Connecticut, early 20th century. Hall Collection American Folk and Isolate Art 10 Dress Parade Hat; Mt. Airy Fire Company. Pennsylvania, c. 1840. Collection of the Philadelphia Contributionship. Photo, Will Brown 11 The Liberty Money Box. Israel Bindman; Corona, New York, c. 1880. Moquin House Antiques 8 12 Needlework; Liberty and Washington Memorial. Artist and region unknown, c. 1805-1810. Private collection 13 Painting; Memorial to George Washington (Pater Patriae). Artist unknown; New York City or Boston, early 19th century. Metropolitan Museum of Art. Gift of Edgar William and Bernice Chrysler Garbisch 14 Needlework; Indian Princess and Two Pilgrims. Artist and region unknown; c. 1750. Metropolitan Museum of Art. Gift of Mrs. Steven Lorillard 15 Needlework: Liberty in the Form of the Goddess of Youth Giving Support to the Bald Eagle in front of Trenton Arches. Artist unknown; New Jersey or New York, c. 1800. Daughters of the American Revolution 16 Needlework; Liberty and Washington Memorial. Artist and region unknown, 1805-1810. Private collection ONE POWERFUL VOICE

For 2,000 years Liberty was conceived in a variety of shapes, sizes, costumes and dispositions. But the Statue of Liberty which has become our definitive national symbol, has only one voice—that of a young, Russian-Jewish immigrant, Emma Lazarus. She was a poet, an essayist and a philanthropist who devoted herself to helping other immigrants arriving in America during the late 19th century. She composed her sonnet, "The New Colossus," in 1883, to honor the statue and to help raise money for the pedestal fund. In her poem, the colossal statue, unlike its antecedent, the Colossus of Rhodes, is no "brazen giant" flaunting its "conquering limbs"...no rifle-brandishing revolutionary like Delacroix's Liberty...no political evangelist enlightening the world, like Laboulaye's, but a "mother of exiles" welcoming the homeless children of oppression. "The New Colossus," which defined the statue for the world, was engraved on a bronze plaque and installed in the pedestal in 1903. (A readable version of the poem appears on our front cover.) Marion Muller

We wish to express our gratitude to The New-York Historical Society, the Museum of American Folk Art and the Statue of Liberty—Ellis Island Foundation, for their resources and assistance in the preparation of this article.

The New Colossus

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Original manuscript of "The New Colossus" from the American Jewish Historical Society, Waltham, Massachusetts. Exhibited at The New -York Historical Society.

CAPTION: ITC GARAMOND BOOR CONDENSED TEXT / SUBHEADS ITC AMERICAN TYPEWRITER MEDIUM BYLINE' BOLD 49 Packaging Design 2 by Paul Schmitt The U&Ic Book Shelf reviews new books believed to be of interest to Along with the editors of Industrial Design U&Ic readers and lists the pub- magazine Paul Schmitt has assembled an all- new collection of the most innovative and lisher, with address, and the price graphically exciting designs in packaging. of the book so that the books may Products are organized by category. Each be ordered directly. All prices are design is accompanied by detailed informa- for delivery within the U.S.A. or tion on the creator of the package, the client, Canada. Prices listed are based on designer, design firm and art director. Many payment accompanying order. If of the pieces have won awards in American or international design competitions. payment is not included, you will PBC International, P.O. 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TEXT: ITC USHERWOOD BOOK WITH BLACK 50 4 Immigrants

by Steven Heller

At the turn of this century Paris was Mecca for painters, cartoonists and designers. However, in the thirties, with Europe on the precipice of war, New York became their safest harbor. It was then that such graphic artists as Georg Grosz, Saul Stein- berg and Fritz Eichenberg, and designers like Herbert Bayer, Laszlo Moholy-Nagy, and Joseph Binder, as well as others fortunate enough to leave their countries before the ax fell, established themselves in the United States, bringing with them unique visual approaches that have influenced many. After the war there was a lull in emigration as Europe- ans picked up and rearranged the pieces; but it didn't last long. By the mid-fifties the ill-fated Hungarian uprising started a new tide of East European immigration that has not yet ebbed. Among the emigres who now come from Rumania, Yugoslavia, Czechoslovakia, Poland, and more recently, the Soviet Union, are a significant number of graphic artists. And, just as Steinberg made his distinctive mark decades earlier, these newcomers, steeped in indelible graphics traditions, are having a positive effect on the American arts. While there is a pronounced East European flavor in today's graphic endeavor, more and more it appears in the work of Americans, too. Con- versely, an American, urban, graphic idiom is apparent in the work of these emigres—and that of others from Asia, South America and North- ern European countries, all of whom have come here within the last decade. The result has been an unprecedented cross pollination of style and concept. Clarin Clarin The following brief profiles illustrate this process of pollination and assimilation. Three recent emigres —he changed hats from that of an illustra- Wo artist had ple believe that the military could come from Eastern Europe:Maris Bishofs, Horacio Fidel Cardo. Clarin, the most im- freedom in Argentina during military rule," back, and so we protect ourselves. The fact tor to designer of the a Latvian; Peter Sis, a Czech; and is, they give us democracy but we don't portant newspaper in Argentina. Ironically, Maciek Albrecht, a Pole; and a fre- says Horacio Fidel Cardo. "There was a necessarily take it." Cardo was able to do considerably more quent visitor from South America, kind of pre-censorship imposed on all writ- drawings than graphic design for that pa- ers and illustrators by the editors, and ulti- Cardo had been an illustrator and graphic Horacio Cardo, an Argentine, came designer in Argentina from the age of 20. per; and it gave him credibility and cachet. to the United States to expand their mately by ourselves. It was a motivation Soon his work was sought by various force, however; that increased my capacity His first job for Tia Vincenta, a political creative boundaries, avoid censor- satire magazine, was a good training establishment and satirical journals, as ship, and earn a better living. Each to say controversial things in a hidden well as advertising agencies and book way."Largely influenced by Andre Fran- ground for outwitting the generals. Its edi- applies himself differently to similar publishers. cois, Cardo made his commentaries tor; a very clever and diplomatic opponent themes, such as peace, war, love, of the regime, encouraged Cardo to veil, Cardo's sculptural line drawings per- hate, the economy. They speak with through allusion, and by illustrating arti- fectly complement the newspaper page. cles on culture and the arts, rather than on but not obliterate, his meanings. His draw- personal accents, but their state- ings, a curious and often grotesque blend Hence, when he made his first visit to New ments are decidedly accessible to a political subjects. Though today his cri- York in 1983 he was immediately recruited tiques of world issues are more proof Grosz and Francois, caught the attention broad audience—which proves two of the editors of a national business news- for the New York Times Op-Ed page, things: that they have adapted well nounced, he avoids satirizing Argentinian where he now publishes regularly. Though political affairs despite that country's turn paper; El Cronista Comercial, who gave to the requisites of the American him sinecure illustrating its book reviews. pleased with this American outlet, he says marketplace, and that there is, per- toward a more democratic climate. But in 1979, frustrated by stagnation—no ruefully, It's curious about the Times. haps more than ever before, an ac- "There's still censorship:' he admits, "and it's There, too, is censorship; only it's not in of the not government sanctioned, but rather it's one else would publish his work, appar- ceptance and appreciation ently because it was too harshly rendered what you say, but how you say it." universal graphic language. ingrained in the people.Indeed, most peo-

TEXT CAPTIONS ITC CLEARFACE HEAVY ITALIC, REGULAR ITALIC WITH REGULAR HEADLINE / BYLINE / INTRO ITC FRANKLIN GOTHIC DEMI ITALIC

51 Maris Bishofs. In Alien, Maris Bishofs' stomach and lightness of head is the nor- taught not to have problems," he says, "ex- second American album of cartoons, the rience gained in Russia and Latvia has mal response to acute disorientation. Or, as cept those that were sanctioned, therefore artist ostensibly chronicles the visions of a served as a spur to the creation ofworks Bishofs describes his sense of decompres- my type of critical cartoons could not ex- perplexed extra-terrestrial's first visit to whose principal actor is a standardized lit- sion, "where I'm dazed because the bridges ist." Bishofs understandably wanted to New York. "For those who've lived in the tle man, enslaved by a Big Man, the former are higher than the buildings and the leave Russia and his marriage to a Russian city a long time this may seem banal," he embodying mankind and the latter the buildings tower above the churches." Jew helped him to obtain permission to adinits, "but for the many like me who've power of Evil." Bishofs' current readjustment is not his emigrate to Israel. "I felt totally free in only recently landed, it is painfully famil- After three successful years in Tel Aviv, first. Born in Latvia, he was schooled in the Israel; it was as i f I had moved from a iar." Though this dryly satiric, geometri- and one enlightening year in Paris, Bishofs industrial arts in its capital city of Riga. black and white into a color photo." cally rendered collection of drawings will came to New York to broaden his possibili- He spent eight years in Moscow where he Although Bishofs future was brighter probably have more general appeal than ties. Whereupon the emblematic little man worked as a book illustrator and produced (he was given sinecure in to just the immigrant community, the verity Yediot Achronot, of his cartoons no longer was the hopeless over 100 books and jackets. Though he the major Tel Aviv daily; was picked up by of Bishofs' message is easily lost on the na- prisoner, but rather a questioning and rea- learned a great deal about the processes of the Washington Post; and given three solo tive New Yorker who is understandably soning lilliputian attempting, albeit with graphic art during this period, he was dis- exhibitions) his cartoon offerings were hardened to the wonders and difficulty, to harness the gargantuan might conundrums couraged from practicing the art for which laden with images of oppression. Doubtless of city life. But, under close scrutiny the of his new environs. That Bishofs has pub- he had the most passion—the cartoon. In- these self-focused cryptographs were a book reveals many truths to even the most lished two books, and has regular publish- deed, not being a native Muscovite, he was means of making his peace with the world seasoned city dweller. For Bishofs' alien is ing outlets in a city known for its fierce too sensitive to problems; problems that from which he "escaped." As a critic said in really every stranger who ever came to this creative competition, is proof that the sym- could best be vented through the cartoon a Russian emigre art journal published in urbania; and for whom an emptiness of bolic little man has grown considerably in medium if given the chance. But, "We were New York: "The aesthetic and ethical expe- real life too.

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All illustrations appeared in Alien

TEXT ITC BERKELEY OLDSTYLE BLACK ITALIC. BOLD ITALIC WITH BOLD CAPTION: BOLD ITALIC 52 tion was relegated to a few cartoons articles. About deciphering the content Because his Solidarity was outlawed, martial law Maciek Albrecht. for one of the journals. I certainly felt of complex manuscripts he admits: brother was living in the United was instituted, and Albrecht felt it "My English was not good, but I need- was wise to stay put. Actually, Al- its energy. I learned more about the States, Maciek Albrecht had to wait tragic events by watching TV news." ed to learn. I wouldn't let anyone read five years before being given a Polish brecht had little reason to stay in the to me, I would take the manuscript United States. As a valued graduate It was a rough time for Albrecht, passport. "The government didn't adrift in America's heartland without and my English/Polish dictionary to want two members of the same fam- of the School of Fine Arts in Cracow, a coffee shop, and piece together the he had held an animation job with a benefit of language. "I watched TV ,1 ily to be out of the country at the looked at newspapers and maga- sense of the article." His interpretations same time," he says. "But four years well-known studio, where he wrote were usually on the mark. and animated his own satiric stories. zines, but with my limited language ago, at the peak of Solidarity, the proficiency I couldn't truly fathom Albrecht has adapted well to New government gave out passports Two of his shorts were shown in York life. His animation talents, though major festivals. One, entitled King, an the reality of the Polish situation."He freely, especially to young people; as stayed in Ann Arbor for eight months not used as much as he would like, if to say 'we'd be just as happy if you acerbic environmental statement, have been tapped by R. O. Blechman — was critically acclaimed. The Polish learning English. A brief trip to see a troublemakers didn't come back. friend in New York proved that the for various projects. And while This favorable circumstance allowed government gives generous funding Albrecht's love of the poster remains to the cinematic arts and its practi- America he had imagined really did the recently graduated art student to exist, and he decided it was the place unrequited, he has done scores of edi- visit his brother in Ann Arbor, Michi- tioners. Says Albrecht, "A friend who torial illustrations. "I was never inter- stayed in Poland is living very well to be. So, with only a few Steinbergian gan. "The place was not exactly my cartoon drawings in a meager port- ested in becoming an illustrator in dream of America. I'd always imag- on these grants and is making his own Poland," he says philosophically. "But animations for festival showings." folio , Albrecht moved east and began ined the grandness and zaniness of the process of assimilation. when placed in a disorienting situation New York or L.A. After a month, I So, just how did Solidarity affect one develops and learns new strengths. this artist? "When Solidarity was at The Polish graphic vocabulary and was looking forward to my return skillful conceptualization gave him I'm quite happy doing illustration, home so that I could continue my its peak I was just finishing my stud- particularly because I've only touched ies. Hence, I couldn't be very effective access to The New York Times where work as an animator and poster art- he began illustrating issue-oriented the surface of what / can offer." ist." But fate conspired against him. in the movement, so my participa-

The New York Times Book Review

TEXT ITC KORINNA KURSIV BOLD, KURSIV REGULAR WITH REGULAR CAPTIONS. KURSIV REGULAR

The New York Times Book Review

Early unpublished drawing The New York Times Book Review

Peter Sis. Peter Sis was in London Now, of course, everyone belongs to a cal department to determine whether Europe—that my style just didn't fit in." when the Soviets abruptly halted the youth group." right to left was more appropriate than Things were grim until a fortuitous meet- Czechoslovakian renaissance, known as Sis spent six more years at school left to right. It seems ridiculous, but the ing with Maurice Sendak opened doors the Prague Spring. 'All I saw were photo- where he made two animated films. One government was sensitive to even the that resulted in a contract for his first graphs in the magazines," recalls Sis, "and of them, Heads, won the West Berlin slightest symbolic dissent." American children's book, Bean Boy. Sis so I didn't really comprehend the serious- Film Festival's Golden Bear prize. At age With such constraints more and more was urged to come to New York, where ness of occupation. During my childhood 28 he was invited to attend the Royal Col- in evidence, Sis took the first opportunity his exposure as an editorial illustrator I hadn't really experienced any physical lege of Art, which opened new avenues to leave his country. It came as an invita- has been invaluable. or creative hardships, and so it was hard including a commission from Swiss tele- tion from Fine Arts Films in Los Angeles Sis has adapted while maintaining his to imagine Prague any other way. Perhaps vision to do an animated series entitled to do an animated short of Bob Dylan's stylistic distinction. He has also been if I was there at that time I would have The Little Witch, as well as two chil- song, "You've Got to Serve Somebody." forced to learn the degrees of publishing left, but since I was removed, I was curi- dren's book assignments. "It was a happy "It was keyed to the Olympics, and at that censorship. "Though I have not been ous enough to want to go back home." He but difficult time," he recalls. "In Czecho- time, before the Soviets pulled out, the faced with a windsock situation here, I've returned to a surreal world, in which the slovakia the officials thought I was a spy Olympics was sacred," Sis recalls. "So for had to change a black doorman to a dictates of the new regime could be felt because I was getting invitations to the me it was an easy way to get out. Once in white doorman for a children's book, be- in the streets, while within the confines West, and friends thought I was a spy be- L.A., I stayed. Since my father is a respec- cause showing black service people was of the High School of Applied Arts, cause I was allowed to leave." ted artist in Czechoslovakia, my actions discouraged, and I made a white man where Sis apprenticed to the famed Despite his foreign successes, Sis chose were dismissed as those of the crazy into a black for a drawing done for Play- Czech film maker and illustrator, Tinka, to stay in Prague. "I did an illustration of black sheep." Shortly after the initial taste ers, a black audience magazine. The life had not markedly changed. "I was an airplane at an airport in which the of success, Sis found that work in L.A. rationale is different, but my built-in lucky, because for the next few years stu- windsock was blowing from right to left. was scarce. "I did silly backgrounds for mechanism for self censorship still dents were not required to join the party. I was told that that particular detail Disney ripoffs. And when I tried to sell comes in handy" would have to be checked by some politi- my illustration, I was told to go back to

TEXT, ITC ZAPF BOOK HEAVY ITALIC. LIGHT ITALIC WITH LIGHT CAPTIONS: MEDIUM ITALIC 54 ITC TECHNOLOGY UPDATE

by Edward Gottschall

THERE ARE SO MANY ITEMS OF INTEREST TO REPORT THAT ALL WE CAN DO HERE IS HEADLINE THEM FOR YOU. IF YOU WANT FURTHER INFORMATION ABOUT ANY ITEM, PLEASE CONTACT THE NEAREST REPRESENTATIVE OF THE MANUFACTURER LISTED. LET'S JUST THINK OF THIS UPDATE AS A COLLECTION OF ALERTS.

Typesetters Macintosh disks and a low-cost Ricoh tabletop logo scanner. The Monotype Corpora- The Linotronic 300 Imagesetter now accepts tion, Ltd., Salfords, Redhill, Surrey, England input from almost all major front end sys- ...The Berthold type library is now available tems and many personal computers. Lino- in digital form on Alphatype typesetters. type is now marketing the Harris 8300 page This adds 795 to the 1,000-plus fonts already layout system as part of Linotype's systems available. Berthold's Aesthetic 2 kerning and typesetters. The CRTronic 360 now has program is now available for Action Key- an expanded memory and double speed h board Systems. Mini MultiSets can now be and j capability. Linotype Company, Haup- upgraded to perform all the functions of a pauge, New York...The new Comp/Edit MultiSet III. Alphatype Corporation, Niles, 6818 and 6814 terminals are compatible Illinois...Multilingual hyphenation and with other Comp/Edit terminals. They are justification are now possible for the APS- aimed at cost sensitive markets and can Microcomposer II. Nine languages are serve as stand-alone terminals or as direct- accommodated. A pagination program can entry devices. Varityper, East Hanover, convert a workstation into a page-makeup New Jersey...The MCS Logo System allows terminal for books, magazines, publications logos, signatures, and other symbols to be ...Real-time interactive mathematical com- scanned, stored, modified, edited and output position is now possible on the Texet Live on demand for the MCS 8400 digital Image Publishing System. Immediate visual typesetter. Compugraphic Corporation, feedback facilitates editing of complex multi- Wilmington, Massachusetts...Software level equations. Texet Corporation, Arling- enhancements for the Digitek 3000 typeset- ton, Massachusetts...Genesis is the first ting system include the ability to display plain paper typesetter. It uses state-of-the-art selected files, programs, font data, and tables electronic imaging and laser technology to in the Short Directory. Searching for files is produce typographic quality images on plain speeded up and seven search and replace paper. It offers high resolution, more than operations can be performed in a single step. 1,000 dots per inch, sets 1,500 lines per Itek Corporation Systems, Nashua, New minute, features a large typeface library, and Hampshire...The Blazer is a re-engineered can output 48 or 70 pica lines. With an XM version of the Sprint. It is a comparatively Quadram's Picture Computing System, demonstrating fat bit editing with Imageware.100 software. Copyright laser recorder Genesis can output to RC low-cost laser typesetter with 40 preselected 1985 Quadram Corporation. The model's head is picked up by the video camera and shown on the editing selected and enlarged so that the individual pixels are visible paper, film, and plate material. Tegra, Inc., fonts standard and more available. It is com- terminal. There, a section to be edited, an eye, is Billerica, Massachusetts. patible with the Appletalk Network and and readily editable. 55

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Now available: Chart-Master, The companies are Chemco, Crosfield, Sign-Master, and Diagram-Master are from Tiny Teacher: Type Right, an electronic accessory for the 600 series of Xerox Memorywriter Dainippon Screen, Eikonix, Gerber, Hell, Decision Resources, Inc., Westport, Con- electronic typewriters, contains 100,000 commonly used words in its permanent memory; nearly as many as in the dictionary in background. An additional 1,000 words can be keyed in by and Scitex. User groups have sought such an necticut. Insert, for integrating list map agreement. Goal is to accomplish standard- graphic into text output, is from American the user. Type Right checks for spelling, capitalization, transpositions and other typographical errors during typing, signaling any errors with a tiny "beep" tone. The unit can be installed by ization of picture data by mid-'86. Dunn Programmers Guild, Danbury, Connecticut the customer in any Memorywriter model from the 605 to the 630. Xerox, Rochester, New York. Technology, Inc., Vista, California.

HEADLINE / BYLINE !SUBHEAD: ITC WEIDEMANN BOON TEXT / CAPTIONS: BOON WITH BOLD 56 You may wonder, as you exam- ine this enigmatic alphabet, just what inspired the design. Are these microscopic animal cells dividing? Aerial views of real estate developments? Dia- grams of electronic circuits? The fact is, this alphabet is the result of feeding some quite in- nocent letterforms into a computer and letting it express itself.(With some timely inter- vention by the designers, of course.) Herbert W Franke and Horst Helbig of Egling, West Germany, have been experimenting with computer-aided design,using a combination of systems, "picture processing," to alter existing images, and "computer graphics programs:' which permit them to create original design elements and images. When they applied themselves to typography, they found they could create whole SELF new typeface families using a two-step transformation process based on a so-called Fourier EXPRESSION, Translation.In the first step, they introduce a design ele- COMPUTER ment and a simple letterform, and allow the computer to elaborate and extrapolate the STYLE elements until the letter is beyond recognition.In the second step, the computer is instructed to return to the original letterform.But mid- way, the designers invoke their sleight-of-hand.They intervene and salvage an intermediate image that is neither an out-of- control design nor the original simplistic letter, but a satisfying, legible, decorated character.Once the basic design element is established, an entire alphabet can be produced, with upper- and lower-case letters and symbols—all in the same unified design family. The examples shown here are limited to black and white.In reality, Franke and Helbig work with colors, which enables them to change color assignments under visual control until they reach a satisfactory result. The beauty of the system, according to the designers, is that it is possible to have a variety of transformations within each alphabet and still maintain the unity of the family. Who could ask for anything more? M.M.

HEADLINE /TEXT: ITC NEW BASKERVILLE ROMAN BYLINE' BOLO 57 Att: Students or Design Professionals If you plan to attend a design school or if you are an employer of design talent...

ART If4STIT!:TE Of PITTSBURGH

Art Institute of Fort Lauderdale Art Institute of Dallas Art Institute of Pittsburgh Art Institute of Atlanta

Art Institute of Seattle Art Institute of Philadelphia Colorado Institute of Art Art Institute of Houston One way or another, this unique group of schools could bey our answer.

Inside each of our buildings you will find a school designed for designers. Light, spacious classrooms. State-of-the-art equipment from photo labs to computer For immediate attention graphics. And we work hard to keep our facilities up-to-date. During 1986, we built a 75,000-square-foot school in Fort Lauderdale that is architecturally outstanding. Call toll free 1-800-245-6710 or write. We just moved into a striking new 60,000-square-foot building in a prime area of Seattle, and we are expanding and completely renovating the Art Institute of Atlanta. Please send me a free information bulletin about And we are proud of our teaching staff. Talented instructors, most of them The Design Schools graduates and your talent pool. practicing professionals, guide students through both practical and conceptual projects. Under deadline conditions. Just like they'll experience on the job. Please send me information about attending the Design Hundreds of employers hire our graduates each year. Many come back year after School in year. Want to know more? Mail the coupon at right or call the toll-free number. We (CITY) welcome your interest, student or professional.

NAME

Art Institute of Atlanta COMPANY BUSINESS PHONE Art Institute of Dallas D The ADDRESS Art Institute of Fort Lauderdale Art Institute of Houston esign Art Institute of Philadelphia CITY STATE ZIP Art Institute of Pittsburgh Art Institute of Seattle Send to: Edward A. Hamilton, Design Director Schools Colorado Institute of Art The Design Schools We teach our students more than design and art. We teach work. 101 Park Avenue, New York, NY 10178 35 58

In the final analysis, it is the quality of output by which typesetters are judged. Critique: The The Equality of Varityper's digital type is extraordinary, the result of the painstaking description of eachgs lettetrformeLo boykthatethuenisquoeorsc imaging clean bowls, the wide-open counters and the fidelity of delicate serifs. The virtue of any face US is above reproach, even under a loupe! • Quality extends to the library, too, where over one thousand type styles reside. The collection is replete, right down to the popular, us time-honored Classics. No designer ..11 could ver be disappointed. me All is well that ends well.

• • •

A dh',Uo. of 6 1986 AM International, Inc. AM and Varityper are registered trademarks AM and Spirascan is a trademark International of AM International, Inc. Especi "Y• Send me your free information: ❑I'd like to see your wi de typeface selection. Please send me your catalog on the Varityper digital library. ❑I'd like more information on Varityper equipment. Please have a sales representative call. Varityper 11 Mount Pleasant Avenue, East Hanover, NJ 07936 Name Company Address City/State/Zip Phone For faster service call toll-free 800 631-8134. In New Jersey call 201 887-8000, ext. 999. We'll mail you free information on our digital type library. 60 Mergenthaler To mark our first a new typeface family to the world's

0001‘1!pli

\\,\`\\‘ ■

In 1886, Ottmar Mergenthaler invented family, Frutiger took into account the elec- the first practical mechanical typesetting tronic manipulation capabilities of today's CRT machine. and laser typesetters. Linotype Centennial Over the years, we've introduced such actually lends itself to correctly executed classics as Helvetica®, Optima®, Palatino®, modification by the user. And unlike most Trade Gothic®, and Times®. Now, to mark our classical typefaces, which were designed in the one hundredth anniversary, we're introducing era of letterpress and copper plate printing, what will surely become a new classic: Linotype Centennial has been developed Linotype Centennial by Adrian Frutiger. specifically for offset and intaglio processes. When creating this "modern roman" type The result is a typeface with a balanced

Linotype Centennial: 45 Light Linotype Centennial: 55 Roman abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ Linotype Centennial: 46 Light Italic Linotype Centennial: 56 Roman Italic abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ ALLIED Masterpieces. 61 century, we've added finest type library: Linotype Centennial:"'

size ratio between upper and lower case letter Small caps are available in the light and roman forms. The not-too-wide characters make it a weights, old-style figures are available in all. dynamic face, with fine hairlines and serifs, yet We think it's a great way to mark the end with the clear contrast between horizontal and of our first hundred years of bringing you the vertical strokes. world's best type, and the start of the second. And Linotype Centennial is extremely legi- For more information on ble, even in small sizes. Linotype Centennial, or any other Linotype Centennial is a complete fine type faces in the MergenthalerTM typeface family, with light, roman, bold, and Type Library, call Linotype Company, black, in both 12-point and 18-point designs. collect: (516) 434-2016.

Linotype Centennial: 75 Bold Linotype Centennial: 95 Black abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ Linotype Centennial: 76 Bold Italic Linotype Centennial: 96 Black Italic abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ

Linotype Company 62

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Sometimes it takes the drama of Benguiat Right on the spot. to get the message across. Or the immediacy Let your POSTSCRIPT printer start doing of American Typewriter. Or the authority of the whole job for you. Ask your Apple Laser- Writer dealer about the Adobe Type Library Bookman Bold. So why limit your LaserWriter ® or today. Or call us directly at 415-852-0271. printer to standard Helvetica P.S. Also ask your dealer about POSTSCRIPT® Adobe Systems' internationally and Times Roman? POSTSCRIPT, Today, Adobe Systems' Type Library of- recognized page description language. fers you a veritable feast of type styles which have been licensed from the world famous A sampling from the Adobe Type Library: libraries of Mergenthaler and International ITC American Typewriter ITC Avant Garde Typeface Corporation. With versions in Gothic ITC Benguiat ITC Bookman Friz ITC Garamon& Glypha ITC Lubalin regular, italic, bold and bold italic. Over 45 Quadrata. Graph::' ITC MACHINE New Century Schoolbook. classic styles in all—and more to come. 3 I■ Adobe type styles let you produce profes- Optima Palatine ITC Zapf Chancery?LOD win sional quality newsletters, direct mail pieces, Souvenir Frc MEM client presentations and ads just like this one. ITC Zapf DingbatsP' SYSTEMS INCORPORATED

is a registered trademark of Adobe Systems Incorporated. LaserWriter is a trademark of Apple Computer, Inc. Helvetica, Times Roman, Glypha, POSTSCRIPT Optima, and Palatino are all trademarks of Allied Corporation. ITC American Typewriter, ITC Avant Garde Gothic, ITC Benguiat, ITC Bookman, ITC Garamond, ITC Lubalin Graph, ITC Machine, ITC Souvenir, ITC Zapf Chancery and ITC Zapf Dingbats are all trademarks of International Typeface Corporation. 65

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1S:t ESSELTE 66

When Webster's prefixes a word with "neo," it all the charm and essence of the original, carried signals a "new or different approach:' or a revival, of through into new weights and proportions. sorts. What we've done with these venerable nameplates At Headliners we mean pretty much the same is free them from the old metal restrictions. Now, thing. We feel that little word with the big meaning faces like Bembo, Beton and Bodoni are no longer gives a special identification to the way we design a limited to text, or to book and bold weights. We've new face or interpret old type styles. fleshed them out into multi-weight families, a And because that little word carries with it a Headliners typographic innovation dating back to wealth of emotional baggage, we've made it uniquely 1960. And much imitated since. our own: "neo-®" is our registered trademark. But beware of imposters. A few of our competitors Placed in front of creations like Syncopation, True claim their two-inch reels contain fonts that are "simi- Critt and the very recent, very chic Schematic, it lar to" Headliners' own. In fact, some of these are so trumpets a Headliners original. And promises, we similar we can only raise our company eyebrow. feel, bold design concepts followed by crafted head- But for you, potential customer, the one way to line composition. guarantee the thrust of a "neo" headline is to have it And when it prefaces one of those wonderful, set at your local Headliners studio by graphic artists seemingly ancient classics—like Didot, or Della Rob- who always put our best face forward. bia, or Granby—it guarantees we've maintained Which just happens to begin with "nee

HEADLINERS Where It All BeginsWith Neo-

Headliners International Franchise Headquarters: 720 White Plains Rd., Scarsdale, N.Y. 10583 (914) 472-6640 67 Poppl-Laudatio italic abcdefghijklmnopqrstuvwxyza ABCDEFGHIJKLMNOPQRSTUV Berthold's quick 1234567890%(.,-;10/-)1'1,"" Poppl-Laudatio medium a bcdefgh ij kl mnopqrstuvwx

After the fox became our ABCDEFGH IJKLMNOPQRST beloved champion of typographical display, we decided to 1 234567890%(.,-; ?/-)•("„""» name a whole new generation of machines in it's honor: Berthold Poppl-Laudatio medium italic Fox is a new multi-computer- abcdefghijklmnopqrstuvwxy brown fox ( integrated-system. ABCDEFGHIJKLMNOPQRSTU 1234567890%(.,-;!1?/-) •(' ,,"" Poppl-Laudatio bold abcdefghijklmnopqrstuvw ABCDEFGHIJKLMNOPQRS lumPs over the 12345678900/0(.,-;H?/-)•[",,"" Poppl-Laudatio bold italic abcdefghijklmnopqrstuvw ABCDEFGHIJKLMNOPQRS 1234567890%(.,-;li?/-).1 -- Poppl-Laudatio light condensed lazy dog 8 seems abcdefghijklmnopqrstuvwxyzaao5 ABCDEFGHIJKLMNOPQRSTUVWXY

123456 7890 010( .,-; I ?/-) • ["„" "..] +- Po ppl -Laudatio condensed a bcdefgh ijklmnopqrstuvwxyzaa ABCDEFG H IJ KLMNOPQRSTUVW to hear his own 12 345678900/o( .,-; ?I-) • ["„""»«]+ Poppl-Laudatio medium cond. a bcdefgh ij kl m nopqrstuvwxyza a ABCDEFGHIJKLMNOPQRSTUV 1234567890%(.,-; ?/-) • ["„""».] Laudatio now. Poppl-Laudatio bold condensed a bcdefgh ijklmnopqrstuvwxyzia ABCDEFGHIJKLMNOPQRSTUV

12345678900/0(.,-;11 ?/- )-["„""0“] POPPL L A U D A Poppl-Laudatio eine neue Schrift - herb, voll Esprit and Pragnanz 1 0

BERTHOLD

Name

Berthold Exclusive Typefaces are a range of designs for photosetting which you will find nowhere Address else. Our unique program now comprises 25 type families with total of 125 fonts, and Poppl-Laudatio is among them. A free specimen is as near as your nearest mailbox.

Please write to: H. Berthold AG, TeltowkanalstraBe 1-4,0-1000 Berlin 46, West-Germany Or from overseas to: Alphatype Corporation, — A member of the Berthold group — 7711 N. Merrimac Avenue, Niles, Illinois 60648 STRONG and versatile type library is the most important investment a typographer has to make. Compugraphic Cor- poration offers one of the largest digital type libraries in the industry. And it's still growing! You can select from over 1500 quality typefaces including every International Typeface Corporation design. * ITC faces prove time and time again to be trendsetting styles with a high degree of visibility in all areas of advertising, publishing and visual communication. * For more information about Compugraphic's evergrowing type library of industry favorites, new typeface releases from ITC and licensed designs from foundries throughout the world, simply contact your local Compugraphic Type Specialist or call us directly toll free at 1 (800) 424-TYPE. Compugraphic Corporation, Type Division, 66 Concord Street, Wilmington, MA 01887

lig compugraphic®

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The Pro version. phone rings when you punch 800-424-2977 or 293 - 2214 in DC. This has to be the number one type selection tool extant. Its 1650 Typositor faces are first indexed alphabetically, Phil's Photo • 2380 Champlain Street NW, Washington, DC 20009 and then again categorically. Useful categories like soft serifs, bracketed serifs, the lightest and boldest faces, italics and so on. 86 pages of indexes in all, shown in Ti4 IS size. The lion's share of the type selection work is done in the indexes. These work like no other. Zip

The alphabets themselves are unscreened and set Amount in nice clumps. It's a style we feel helps you appraise PRO (looseleaf) a face better than when it's strung out in skinny lines. $68 each PEOPLES (softcover) It looks pretty, too. Many of these pages are $35 each amazingly so.—rH is the size Bottom line is (D.C. add 6% tax.) they're set in. I The Pro version has a seven ring vinyl binder and tabbed dividers made of polysty- rene. Truly a survivor. 72 Visions toVisuals

John Waters is a graphic designer. He has a studio in Manhattan and a staff of seven. His firm designs annual reports, marketing campaigns, corporate identity programs. It's a high-quality, high-energy environment. Inc. X, im

John Waters had a vision. More concept, less S f

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The Statue of Liberty has witneased a great deal of controversy, as well as happiness in her me. She has been threatened by ter- rorist groups, satirized in political cartoons. and parodied in advertisements. She ten starred in motion pictures, and tow- ered over wedding parfies and funeral ceremonies. She hoe held various roles In history because of what she represents to us—Liberty and the Arnertccm Dream. Her existence came about on account al those ideals. The story of the Statue of Lib- fiorn het conception to the current reno- vation, reveals that she is more than sist a statue of enormous sae. but an important symbol of freedom tor the entire world. The spirit behind the form began as an idea in one of man's mind. Edouard de Laboulaye was a popular French writer, law professor, and historian who adored America and the principles on which the nation was rounded He was well aware of the assistance Ficmce had given the United Slates during the AmericanReVOlUtiOn. and the significance of the New World's independence. One summer night in 1865, not long alter the end of the Civil War. Laboulcrye held a dinner party at his home near Versailles. Fib guests were prominent men in French society. Among them was a young Alsatian sculptor named Frederic Auguste Bartholdi, known for his grand statues it was that night that Laboulaye suggested a monument which the French people could give those of the United States as a symbol of the friendship of the two na- tter.. Alter all, both countries had a commitment to human treedern. Alter the Franco•Plussf an war ended and six years had passed. Laboulaye held another dinner. Inviting many of those same people, including Bartholdi. La• boulaye pointed out to his guests that Americashun-ri iti-Y1 SI 11 dredth birthday was approaching. Now was the time for France to offer America the monument he had proposed years before. It would help to celebrate America's first century of independence. To make it a truly united effort, France would donate the statue if America would provide the pedestal for it is stand idwirw upon. Much to his delight, Bartholdi was chosen to design Me monument. Bartholdi sailed to the United States, both to gain American SUsffortmfor the the c,t,ole itancl6r r, to seegrecuinsLitas on Icu wa'S' gor- with the Asian market. pail giarA he needed ignOlt,thers. higrth We are specialists in the craft of communication oughly inspired. He knew then and there that this tiny 'island guarding the harbor would be the ideal site tor h. statue. He also was suddenly able to visuallze exactly Our western education, expertise in graphics and advertising design, and our cultural how the statue would look. Immediately, he sketched a woman with long flowing robes and a crown on her head. Seven spikes in the crown symbolized the seven seas and background combine to make a most powerful bridge between West and East. seven continents of the world. She held a torch aloft in her right hand. her toot stepp int away born a broken chain. This stood for freedom from oppressIon. He drew, in her le We believe in advertising that communicates effectively. hand, a tablet inscribed with July 4,1776, the date America declared her independence. Bedloe's Island (which then housed low-lying Fort Wood) was the pretrect location for the Lady With a Lamp" to welcome millions of newcomers to the United States, for any ship Let us be your media. entering the harbor would pass the island. By June of 1884. the Statue oiLiberty was comaCtt rto hcetlit:tsgronti ott= ericcm On July 4th of velgr spectators rilg fgfes'e' ilTiPeahead Union said, "We now Sander to you this great statue and trust that it may forever stand as a R and d:, and . thP e great rCepublic the United Slates.' 071 ARTHOUSE STRATEGIC INTERNATIONAL ADVERTISING pledge fri endshihe betwee of c oncluded the ceremon y r ot 28, 18 86. tp st atue wn as edicated resident levelaand with an eloquent acceptance speech,"The people of the United Slates accept with grati- BOX 671 FDR STATION, NEW YORK, N.Y. 10150 tude from their brethren of the nench Republic the grand and complete work of an we here inaugurate. This token of the allection and consideration of the people of France demon- (212) 838-4350. (718) 643-5299 strates the kinship of republics, and conveys to us the assurance that in our ettorts to com- mend to mankind the excellence of a government resting upon popular will, we still have beyond the American continent a steadfast ally. We are not here today to bow before the representation of a fierce warlike god, tilled with wrath and vengeance, but we joyously contemplate instead our own deity keeping watch and ward before the open gates of America and greater than alt that have been celebrated in ancient song. Instead of grasping in her hand thunderbolts of terror and of death, she holds aloft &relight which Illumines the way to man's entranchisement. We will not forget that Liberty has made here her home, nor shall her chosen altar be neglected. Willing votaries will constantly keep alive its fires and these shall gleam upon the shores of out cider Republic in the East. Reflected thence and pined with answering rays, a stream of light shall pierce the darkness of ignorance and man s oppression until Liberty enlightens the world." In the years that followed, the significance of the statue as a beacon of liberty grew beyond anyone's wildest dreams. The United Slates became a haven for millions of immignerits seeking refuge in a land where freedom and a better way of life was possible. Situated in New York Harbor, very near Bedloe's Island, lay Elks Island. In 1892, and until 1954,Silis Island became the entry point and processing center for every newcomer to the United States. Any ship that came to Ellis Bland would pass the magnificent statue. The Goddess of Liberty was a welcome sight for the immigrants, mostly Europeans, who had spent nearly three weeks aboard crowded ships to escape the poverty and hardships of lite in their homelands. At the Meth Anniversary celebration of the statue, the President of France, Albert LeBrun„ gave a speech which Liberty is not merely the was broadcast over the air from France, expressing the phenomenon behind Ms. Liberty's creation , source of all moral values but also the spring of all creative .genius. Now, as then, we believe that liberty o the trethspensable Mani-site of progress, as well as the best safeguard of the future of our democracies.'"lb the millions of people who visit the Statue of liberty, her sue alone o awe-inspiring. But, mom than that, she is a steadfast reminder of the immigrant expenence and the alliance between two great tree nations. The statue's Golden Jubilee was marked in 1936 with a national celebration held by the National Park Service. In order to re-spark interest in the monument, contests and programs were held all over the country. On October 28th of that year, a rededication ceremony took place on Bedloe's Island. President Franklin Roosevelt gave a speech. He said, "The richness of the promise has not run out... The RapidType Computer Liberty and Peace are living things. In each generation, if they are lobe maintained, they must be guarded and vitalized a new.. For each generation the more patriotic part. to carry forward American Freed= and American Peace by making them living ICICIS in allying present. To is hardware-based that we can we do, rededicate ourselves." As the United States entered World War II in 1941, the Statue's lights were tumed oft. During this time, an on the Sharp PC1250A entirely new generation of refivees came to America. To them, the statue was still a beacon of welcome, even though it remained unfit until D. PocketComputer. Day. One of the most poignant descriptions of the statue as the "Mother of Exiles" is the famous sonnet by Emma Lazarus, daughter of a New York merchant. She was sensitive to the immigrants who had escaped from the vicious pogroms in theit Jewish towns. The poem was cast onto a bronze plaque and mounted at the pedestal's entrance. Visitors could read the sonnet and understand how important a symbol the statue had become, the brazen giant of Greek Fame, with conquering limbs astride from land to land; here at our sea-washed, SHARP "HO like sunset gates shall stand a mighty woman with a torch, whose llama is the imprisoned lightning, and her name Mother of Exiles. From her beacon-hand glows world-wide welcome; her mild eyes command the air-bridged harbor that cities frame. 'Keep, ancient lands, your storied pomp!' cries she with silent Ups. GIVE ME YOUR TIRED, YOUR twin POOR, YOUR HUDDLED MASSES YEARNING TO BREATHE FREE, THE WRETCHED REFUSE OF YOUR TEEMING SHORE. MY LAMP BESIDE THE GOLDEN DOOR!" SEND THESE, THE HOMELESS, TEMPEST-TOST TO ME. I LIFT

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Computer is not a modified calculator, but a And increase accuracy as well. The RapidType genuine computer that prompts you through each step of the type specification process. The RapidType comes in two models to suit your particular needs. Model TS2A5 computes type depth, character count, and type size. It also includes an electronic proportion scale and measurement converter. Model TS3 does everything the TS2A5 does, and also will perform the four arithmetic operations ( + -*/) on picas and points directly. The computer comes with type gauge, instruction manual and limited warranty. Everything you need to start using it as soon as you open the box. Why not order a RapidType Computer today? IL 60507 Send to: THE WORKS/Computer Division, P.O. Box 1023, Aurora, COMPUTER DIVISION ❑ Yes, I'm ready to start avoiding the drudgery of specing type. $149.95 each Ub Please send me RapidType Model TS2A5 @ RapidType Model TS3 @ $169.95 each (212) 687-8840 lYPOGRAPHY Illinois residents please add 61/4% tax. Mi I am enclosing a check or money order for $ U.S. 216 E 45 ST \1N YORK NY 10017

Name

Company

Address Zip City State ❑ Please send additional information. 81 Where to find all your favorite characters.

g"I\ itv L4 )3 c 144'0, 7t- Eastern Typesetting Rapid Typographers Typeworks of Dallas Hartford, Connecticut San Francisco, California Harlowe Typography, Inc. Centennial Graphics, Inc. Wrightson Typographers Dallas, Texas Cottage City, Maryland Lancaster, Pennsylvania 203-528-9631 415-982-6071 214-631-7006 Watertown, Massachusetts 301-277-8311 717-397-8863 617-926-9600 00\

Graphic Composition Broyles Graphics, Inc. DG&F Typography Menasha, Wisconsin Washington, D.C. Typesetting Service Inc. Sidi-Set Typographers York Typographers Inc.' Columbia, South Carolina Cleveland, Ohio Las Angeles, California 414-739-3152 202-337-1300 803-799-9140 Don Mills, Ontario 216-2412647 213-749-8066 416-445-3830

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--v Shore Typographers, Inc. Great Faces, Inc. Serif & Sans Typesetting, Inc. Chicago, Illinois Minneapolis, Minnesota Holly Typesetting Elizabeth Typesetting Camelot Typesetting Kirkland, Washington North Hollywood, California Kenilworth, New Jersey 312-9446650 612-339-2933 206-823-3800 Cleveland, Ohio 818-7641868 201-241-6161 216-574-8973

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New! COMPUTER GRAPHICS FOR DESIGNERS AND ARTISTS By Isaac Victor Kerlow and Judson Rosebush, Judson Rosebush Co. Offering a comprehensive examination of the current state of computer- aided design, this useful guide describes, in nontechnical terms, the functions and limitations of designing with computers. Spectacular computer- generated images illustrate the sophisticated techniques described. 256 STRATHMORE PAPER COMPANY pp., 81/2 x II, 215 photos, 289 line drawings, $34.95 STRATHMORE PARCHMENT • BAY PATH BOND • STRATHMORE SCRIPT TYPOGRAPHIC DESIGN THE DESIGNER'S GUIDE Form and Communication TO TEXT TYPE STRATHMORE BOND & OPAQUE • ALEXANDRA BRILLIANT By Rob Carter, Ben Day, and Philip Edited by Jean Callan King and COURIER • STRATHMORE WRITING & WRITING COVER BRISTOL B. Meggs, 272 pp., 81/2 x 11, illus., Tony Esposito, 320 pp., 9 x 12, $27.95 paper AMERICANA • BEAU BRILLIANT • BRIGADOON • ESPRIT $35.00 paper TYPE AND TYPOGRAPHY FAIRFIELD • GRANDEE & DUPLEX • PASTELLE • RHODODENDRON THE TYPE SPECIMEN The Designers Type Book STRATHMORE COVER BOOK Revised Edition 648 pp., 81/2 x 11, $19.95 paper By Ben Rosen, 416 pp., 81/2 x 11, $16.95 paper SYMBOL SOURCEBOOK For your FREE•EXAMINATION An Authoritative Guide copies, write to to International Van Nostrand Reinhold Bulkley Dunton: The Multi-Mill Company Graphic Symbols Mail Order Service BULKLEY Compiled by Henry Dreyfuss, 292 Dept. # U 8072 DUNTON pp., line drawings throughout, $21.95 7625 Empire Drive Fifth Avenue, NewYork, NY tooth (212)679 ,5050 Florence, KY 41042 295 paper 300 Murray Hill Pkwy., E. Rutherford, NJ 07073 (201)933-6400 Van Nostrand Reinhold

83 PNSEC

ONLY THE FOLLOWING SUBSCRIBER COMPANIES ARE LICENSED TO MANUFACTURE AND SELL ITC TYPEFACES

ABL Computer Technologies Cello-Tak Mfg., Inc. Ltd. Graphic Products Corporatic n Linotype Company 35 Alabama Avenue Prestype, Inc. Tegra, Inc. 43/44 Albemarle Street 3601 Edison Place 425 Oser Avenue Island Park, L.I., N.Y. 11558 194 Veterans Boulevard Middlesex Technology Center London W1X 3FE Rolling Meadows, Ill. 60008 Hauppauge, New York 11788 (516) 431-7733 (312) 392-1476 Carlstadt, N.J. 07072 900 Middlesex Turnpike England Dry Transfer Letters ,(516) 434-2000 (201) 933-6011 Formatt Cut-out Acetate Letter; Billerica, MA 01821 01-499-9461 Linoterm, V-I-P, Linotron, Omni- Dry Transfer Letters Daisy Wheels and Thimbles Chartpak and Graphic Art Aids tech CRTronic, Phototypesettin (617) 663-7435 g PROSOFT One River Road Graphics, Inc. Equipment and Systems Electronic Printing and Imaging Adobe Systems, Inc. Leeds, Mass. 01053 Tesler Software Corporation Systems 1870 Embarcadero 16001 Industrial Drive Linotype GmbH (413) 584-5446 Gaithersburg, Maryland 20877 7248 Bellaire Avenue TypeMasters, Inc. Palo Alto, Calif. 94303 Dry Transfer Letters Frankfurter Allee 55-75 No. Hollywood, CA 91605 (415) 852-0271 (301) 948-7790 29-31E. Lancaster Avenue 6236 Eschborn bei Frankfurt (818) 764-4555 Interactive Software Tools for Compugraphic Corporation Manufacturer of Dry Transfer West Germany Ardmore, Pa. 19003 Systems "Fontasy" Software Graphic Arts 200 Ballardvale Street (06196) 403 260 (215) 649-2546 Wilmington, Mass. 01887 Harris Corporation Typefaces and Fonts for Analog Purup Electronics 2" Film Fonts Alphatype Corporation (617) 944-6555 Harris Composition Systems and Digital Typesetters and other 28 Jens Juuls Vej URW Unternehmensberatung 7711 N. Merrimac Avenue EditWriters, CompuWriters, Division Visual Communication Equipment DK 8260 VIBY J Niles, Illinois 60648 Text Editing Systems, Karow Rubow Weber GmbH P.O. Box 2080 Mecanorma Denmark Harksheider Strasse 102 (312)965-8800 MCS- 8200, 8400, 8600, Melbourne, Florida 32901 Tel: 456-28 22 11 78610 LePerray-en-Yvelines 2000 Hamburg 65 Accessories and Supplies (305) 259-2900 Laser Forms Printer AM International, inc. Paris, France West Germany Varityper Division Fototronic 4000, TXT, 1200, 60 Computer Gesellschaft 3 483.90.90 Quantel Ltd. (040) 602 1071 Konstanz MBH CRT 7400, 7450 11 Mt. Pleasant Avenue Dry Transfer Letters Kenley House IKARUS—Digital Type Production East Hanover, N.J. 07936 Max-Stromeyer-Strasse 116 Dr.-Ing Rudolf Hell GmbH Kenley Lane SIGNUS—Type Setting with Foils (201) 887-8000 MegaCom, Inc. D-7750 Konstanz Grenzstrasse 1-5 Kenley, Surrey Varitronic Systems, Inc. Phototypesetters and Photo- West Germany 02300 Kiel 14 3925 Coconut Palm Drive CR2 5YR Suite 115 300 Shelard Tower , lettering Systems (07531) 87-4433 West Germany England Tampa, Florida 33619 600 South County Road 18 Ampex Corporation Laserset-Laser Typesetter (0431) 2001-1 01-668-4151 (813)626-6167 Minneapolis, MN 55426 OCR-Equipment Digiset Phototypesetting Designers and Manufacturers 401 Broadway (612) 542-1500 Equipment and Systems, Non-Impact Page Printing Systems of Digital Television Broadcasting Redwood City, CA 94063-3199 Computer Output Printing, Inc Digiset-Fonts Equipment; the Paint Box Merlin Electronic Lettering (415) 367-3440 Mesac GmbH 4828 Loop Central Drive Systems for the Office AVA-3 (Video Graphic Art High Technology Solutions Saarstrasse 29 Ryobi Limited Houston, TX 77081 Generator) 6360 Friedberg/H. Visi-Graphics (713) 666-0911 P.O. Box 3426 762 Mesaki-Cho Poughkeepsie, N.Y. 12603 West Germany Fuchu-Shi 8119 Central Avenue Artype, Inc. High End Electronic Printing (914) 473-5700 06031/3677 Hiroshima-Ken 726 Washington, D.C. 20027 3530 Work Drive Systems and Digital Fonts MPS Front End System and UNI.LET (CAD/CAM System) Japan (301) 366-1144 P.O. Box 7151 Digital Visions, Inc. Fastsetter Typesetter Text/Display Phototypesetters Dry Transfer Letters Fort Myers, Fla. 33901 Metagraphics (813) 332-1174 454 West 46 Street Information International Division of Intran Corp. Scangraphic Dr. Boger GmbH Visual Graphics Corporation 800-237-4474 New York, N.Y. 10036 5933 Slauson Avenue 4555 W. 77th Street Rissener Strasse 112-114 5701 N.W. 94th Avenue (212) 581-7760 Dry Transfer Letters Culver City, Calif. 90230 Edina, Minn. 55435 2000 Wedel/Hamburg Tamarac, Florida 33321 Cut Out Letters Interactive Computer Graphics (213) 390-8611 (612) 835-5422 West Germany (305) 722-3000 Software Digital Fonts for Xerox 9700 Manufacturer of Photo Typositor Aston Electronic Designs Ltd. Phototypesetting Systems (04103)6021-25 Dubner Computer Systems, Iry Microtype Manufacturer of the Scantext and Original Typositor Film Fonts 125/127 Deepcut Bridge Road International Business Phototypesetting System, Deepcut, Camberley, 6 Forrest Avenue Machines Corporation 8 Faubourg St. Jean Wang Laboratories, Inc. Frontend, Typesetter, Graphic Surrey GU16 6SD Paramus, NJ 07652 21200 Beaune Old Orchard Road Page, Logoscanner, Interfaces One Industrial Avenue England (201) 845-8900 France Armonk, N.Y. 10504 and Digital Fonts Lowell, MA 01851 0252 836221 Broadcast TV Equipment Electronic Printing Systems Film Fonts Manufacturer (617) 459-5000 Video Character Generators Alphabet Designers Simulation Excel A.S. Office Automation Specialist ETP Systems, Inc. International Type Fonts ApS Autologic, Inc. The Monotype Corporation Ltd Dag Hammarskjolds vei 15 Xerox Corporation 10150 SW Nimbus Avenue c/o Cooper & Beatty, Limited Oslo 5 1050 Rancho Conejo Boulevard Salfords, Redhill, Surrey, Corporate Font Center Suite E-2 401 Wellington Street West Norway Newbury Park, Calif. 91320 Toronto M5V 1E8 England Portland, OR 97223 Tel: 47-2-15 66 90 701 South Aviation Boulevard (213) 899-7400 (416) 364-7272 Redhill 6 5959 El Segundo, Calif. 90245 (503) 639-4024 PAGEscan Digital Typesetter APS-4/APS-5 CRT Phototype- Type Discs for Harris 600, Visual Communications Mail Stop A3-23 Manufacturers of Laser PAGEcomp Interactive Ad setter Composition and 1200, 4000, TXT Typesetters Equipment (213) 536-9721 Publishing Systems incorporating and Page Make-up Terminal Typesetting Systems Itek Composition NEC Information Systems, Inc. Zipatone, Inc. typesetting and fonts into Unix SofTest, Inc. Autologic SA based computer systems. Systems Division 1414 Massachusetts Avenue 150 Fencl Lane 555 Goffle Road 1030 Bussigny Pres Lausanne 34 Cellu Drive Boxborough, Mass. 01719 Hillside, Illinois 60162 Filmotype Ridgewood, NJ 07450 Switzerland Nashua, N.H. 03060 (617) 264-8000 (312) 449-5500 021/89.29.71 7711 N. Merrimac Avenue (603) 889-1400 Personal and Small Business (201) 447-3901 Dry Transfer Letters Bobst Graphic Products and Niles, Illinois 60648 Phototypesetting Systems and Computer Systems, Printers and SofType and Lex Word Phototypesetting Systems (312) 965-8800 Equipment, Film Strips, Peripherals. Processing Software Film Fonts Standard and Segmented Discs, H. Berthold AG Nippon Information Southern Systems, Inc. Fonts and Digitized Fonts Science Ltd. Teltowkanalstrasse 1-4 2841 Cypress Creek Road D-1000 Berlin 46 Hardy/Williams (Design) Ltd. Esselte Letraset Sumire Building 4F Ft. Lauderdale, Fla. 33309 West Germany 300A High Street Letraset Limited 5-4-4 Koishikawa (305) 979-1000 (030) 7795-1 Sutton, Surrey St. Georges House Bunkyo-ku, Tokyo 112 Electronic Printing Systems SM1 PQ England Front-Ends, Optomechanical 195/203 Waterloo Road Japan Special Graphic Lettering 01-636-0474 Photo Units, Digital'Photo London SE1 84J (03) 945-5955 Systems Holland B.V. Font Manufacturer England Units/Digital Recorders, Headline Digital Fonts, Latin and non-Latin AUTHORIZED SUPPLIERS (01) 930-8161 P.O. Box 211 Typesetter, Scanners Fundicion Tipografica Alphabets, including Kanji OF ITC TYPEFACES IN Dry Transfer Letters 2160 AE Lisse Neufville, S.A. Characters DIGITAL FORM Berthold of North America The Netherlands Puigmarti, 22 Letraset USA Inc. 01718-26114/22871 ADOBE SYSTEMS, INC. 7711 N. Merrimac Avenue Barcelona-12 Officine Simoncini s.p.a. 40 Eisenhower Drive Dry Transfer Lettering BITSTREAM, INC. Niles, Illinois 60648 Spain Casella Postale 776 Paramus, N.J. 07652 COMPUGRAPHIC CORPORATION (312) 965-8800 40100 Bologna 219 50 00 (201) 845-6100 Sumitomo Bakelite Co., Ltd. Italy LINOTYPE GMBH British Broadcasting Poster Types Dry Transfer Letters 2-2, 1-chome, Uchisaiwai-cho (051) 744246 NIPPON INFORMATION Corporation Chiyoda-ku, Tokyo 100, Japan Geographics, Inc. Linographics SCIENCE LTD. Hot Metal Composing Matrices (03) 595-9391 Broadcasting House P.O. Box R-1 and Phototypesetting Systems SOFTEST, INC. 770 N. Main Street Printwheels, Daisy Wheels and London W1A IAA Blaine, WA 98230 URW UNTERNEHMENSBERATUNG Orange, California 92668 Photo Vision Of California, Inc. Thimbles. England (206) 332-6711 (714) 639-0511 P.O. Box 552 01-580-4468 Dry Transfer Letters Display Typesetters, Tactype, Inc. AUTHORIZED DISTRIBUTORS Culver City, Calif. 90230 Video Fonts for the BBC 2" Film Fonts 12 West 26th Street OF ITC TYPEFACES Gepeto Eletronica Ltda (213) 870-4828 Camex Inc. New York, N.Y. 10001 AGFA-GEVAERT N.V. Praia de Botafogo 440-16 andar Toll Free: 800-421-4106 (212) 924-1800 APPLE COMPUTER INC. 75 Kneeland Street Rio de Janeiro CEP 22250 Spectra Setter 1200, Visual Dry Transfer Letters BITSTREAM, INC. Boston, Mass. 02111 Brasil Display Setter, and 2" Film Fonts (617) 426-3577 Technographics/Film Fonts CUBICOMP (021) 286-8284 Pressure Graphics, Inc. SuperSetter Digital Imaging P.O. Box 552 DATALOGICS INCORPORATED Telex 021-33499 1725 Armitage Court Systems for Text Culver City, Calif. 90230 DELPHAX SYSTEMS Digital Phototypesetters Addison, Illinois 60101 (213) 870-4828 DICOMED CORPORATION Photocomposition Systems (312) 620-6900 Toll Free: 800-421-4106 DIGITAL EQUIPMENT Dry Transfer Letters Film Fonts, Studio Film Kits, CORPORATION and Alphabet Designers DIGITIZED INFORMATION SYSTEMS CORPORATION (GHENT, BELGIUM) EOCOM GENERAL OPTRONICS CORPORATION KANEMATSU ELECTRONICS LIMITED SCITEX CORPORATION LTD.

FOR FURTHER INFORMATION WRITE OR CALL: INTERNATIONAL TYPEFACE CORPORATION 2 HAMMARS1UOLD PLAZA, NEW YORK, NEW YORK 10017 (212) 371-0699 TELEX: 669204 Sit SPECIMEN BOOKLETS FOR EACH TEXT/DISPLAY TYPEFACE CAN BE PURCHASED FROM ITC. THE ORDER FORM FOR THESE SPECIMEN BOOKLETS APPEARS ON PAGE 82 OF THIS ISSUE OF U&LC. The ITC 1-ypefacE THE TYPE FACES SHOWN ON THESE PAGES REPRESENT THE COMPLETE COLLECTION OF ITC TEXT/DISPLAY TYPEFACES AS OF AUGUST 15,1986.

bITC Barcelona® Book C ITC Cheltenham® Book Italic Light NEW FROM ITC Medium Medium Italic Light Italic Bold Book ITC Goudy Sans' Bold Italic Book Italic Book Heavy Bold ITC Eras® Book Italic Heavy Italic Bold Italic Light Medium Ultra Book Medium Italic Ultra Italic ITC Bauhaus® Medium Bold Light Condensed Demi Bold Italic Light Light Condensed Italic Bold Black Medium ITC Bookman Book Condensed Ultra Black Italic Demi Light Book Condensed Italic Bold Light Italic Bold Condensed - Medium Bold Condensed Italic ITC Esprit ITC Benguiat® Medium Italic Ultra Condensed Book Book Italic Book Demi Ultra Condensed Italic Demi Italic Medium Book Italic Medium Italic Medium Bold ITC Clearface® Medium Italic Bold Italic Bold Regular Bold Italic Bold Regular Italic Bold Italic ITC Caslon No. 224® Black Bold Black Italic Book Condensed Book Bold Italic ITC American Book Condensed Italic Book Italic Heavy a ® Typewriter® Medium Condensed Medium Heavy Italic ITC Fenice Light Medium Condensed Italic Medium Italic Black Light Medium Bold Condensed Bold Black Italic Light Italic Bold Bold Condensed Italic Bold Italic Regular Light Condensed Black ITC Cushing® Regular Italic Medium Condensed ITC Eienguiat Gothic® Black Italic Bold Book Bold Italic Bold Condensed Book Book Italic Book Italic ITC Century® Ultra Medium Italic ITC Avant Garde Medium Light Medium Italic Ultra Gothic® Medium Italic Light Italic Bold Bold Book Bold Italic ITC Franklin Gothic® Extra Light Bold Italic Extra Light Oblique Book Italic Heavy Book Heavy Bold Heavy Italic Book Italic Book Heavy italic Book Oblique Bold Italic Medium Ultra - Medium Italic Medium ® Ultra Italic ITC Elan Medium Oblique ITC Berkeley Oldstyle Book Demi Book Light Condensed Demi Italic Demi Light Condensed Italic Bool? Italic Demi Oblique Book Italic Heavy Book Condensed Medium Heavy Italic Bold Medium Italic Italic Book Condensed Italic Medium Bold Oblique Medium Bold Bold Bold Condensed Friz Quadrata Book Condensed Bold Condensed Italic Bold Italic Medium Condensed Bold Italic Friz Quadrata Black Ultra Condensed Black Dern! Condensed Ultra Condensed Italic Black Italic Friz Quadrata Bold Bold Condensed Black Italic 85

ollection Text/Display

ITCm Modern No. 216' Light Light Italic Medium ITCg Gailiiard ® Medium Italic Roman Bold Roman Italic Bold Italic Bold Heavy ITC Veljovic- Bold Italic Heavy Italic Book Black Book Italic Black Italic ITC New Baskerville® Medium Ultra Roman Medium Italic Ultra Italic ITC Korinna' Italic Bold Regular Semi Bold Bold Italic ITC Garamond® Kursiv Regular Semi Bold Italic Black Light Bold Bold ITC Souvenir® Black Italic Light Italic Kursiv Bold Bold Italic Light Book Extra Bold Black Light Italic ITC Weidemanri Book Italic Kursiv Extra Bold Black Italic Medium Book Bold Heavy Medium Italic Book Italic Bold Italic Kursw Heavy ITC Newtext Demi Medium Demi Italic Ultra Light Medium Italic Bold Ultra Italic ITC Leawood Light Italic Bold Bold Italic Light Condensed Book Book Bold Italic Light Condensed Italic Book Italic Book Italic Black Book Condensed Medium Regular ITC Symbol Black Italic Book Condensed Italic Medium Italic Regular Italic Book Bold Condensed Bold Demi Book Italic ITC Zapf Book® Bold Condensed Italic Bold Italic Demi Italic Medium Ultra Condensed Light Black Medium Italic Ultra Condensed Italic Light Italic Black Italic ITC Novarese® Bold Medium Bold Italic Book Medium Italic ITC Isbell® ITC Lubalin Graph® Black Demi Book Book Italic Black Italic Extra Light Medium Demi Italic Book Italic Medium Italic Heavy Medium Extra Light Oblique Book Bold ITC Tiffany Heavy Italic Medium Italic Book Oblique Bold Italic Light Bold Ultra Light Italic YTC Zapf Chancery® Bold Italic Medium Medium Oblique Medium Light Heavy Medium Italic Heavy Italic Demi ITC Quorum"' LigktItalic Demi Oblique Demi Medium Light Demi Italic Bold Book Medium Italic Italia Bold Oblique Heavy Demi Book Medium Heavy Italic Bold Bad Medium ITC Mixage®' Bold Black Book ITC Usherwood ® ITC Zapf International® Book Italic Book Light ITC Kabel® ITC Serif Gothic® Book Italic Medium Light Light Italic Book Medium Medium Medium Italic Regular Medium Medium Italic Medium Bold Bold Italic Demi Bold Italic Bold Demi Bold Extra Bold Bold Italic Demi Italic Black Heavy Ultra Black Heavy Black Italic Black Black Italic Heavy Italic

NEW: ITC GOUDY SANS And—There's a most helpful typeface specifiers TO HELP YOU book for every ITC typeface family. Each 6" x 12" book includes: SPECIFY I Text blocks plus alphabet showings for sizes 6, ITC GOUDY SANS" 7, 8, 9, 10, II, 12, 14, 16, 18, 20 and 24 points. 2 Alphabet lengths in points for each text point size shown. These relate to an easy-to-use copyfitting chart at the back of the book. Name 3 Alphabet display showings in sizes 30, 36, Company 48, 60 and 72 points plus 1" caps. 4 Complete character showing of each ITC Title display font.

Street Address 5 Headline presentation in display size range.

State City

Zip Code Country Goudy Sans Bold To obtain these ITC type specimen booklets and U&Ic back issues, rK complete and mail this order form. All orders must be accompanied In US funds, to ITC at: by a remittance. Please make checks payable, matil.I.Mummnsurourri abcdefghijklmnopqrstuvwxyx nmantinanUmMilialiMINMMrt muse.. ABCDEFGHIJKLMNOPQRSTUVWXYZ , 2 Hammarskjold Plaza, New York, NY 10017, USA •••••...s*rinaimgmsmOssanagnahr0 an...... sm.. Sins.... ■•■■ am* dm.. ilon m **is 111•Monsm Excellence in typography is the result of nothing more t aismatiamo Ma••■•■••■••=1,10...... /..... ofsmiimet*.M.. ■ Nim not xi han an attitude. Its appeal comes from the understandi Total 6 Mi :Weald trimsmi...... Mmum...... • 10 con in Quantity Unit Price ng used in its planning; the designer must care. In cont emporary advertising the perfect integration of design e *KIM WiligtkeinPOASTUNViert I23061710 Emma hem. ITC BOOKLETS: .saIMMet iaimiemusier Is Mt ertull el *um month. int ■ n Flanrung. ed... males. la *my • abcdefghijklmnopqrstuvwxyz $1.00 toxl _ITC American Typewriter® AmisnarataitIon *moms.. Myna. em.wm m.pwamlunt u wirmaiona limning...nut 'rating unusual ...not nu* m ma,* ABCDEFGHIJKLMNOPQRSTUVWXYZ 1.00 muring,ittilia pion.... or Oats. ..41mr d WPM.. it _ITC Avant Garde Gothic ® with Oblique ...... namn tan _ITC Avant Garde Gothic® Condensed 1.00 Excellence in typography is the result of nothing ahcsielghipilinnoperstmenrys 1.00 Serefo more than an attitude. Its appeal comes from the . _ITC Barcelona® fOthilttNIMOPORSTIINV%Y.ISH understanding used in its planning; the designer ITC Bauhaus® 1.00 Moen.. in typerephy is Ow result al nothing mere than an M.o.. Its appeal co horn the undersea...m.11in its Manning: Ow designer must ears. In coninmS must care. In contemporary advertising the perf 1.00 met elements one, demends en, ...anis./ the suited interratioe of amigo ITC Benguiat® camp. cing,”a minus loading. unu.0 al deo ytpo..., It ma y nest nthe use el 1.00 is lded to iminove spimarenre and impart. tinting SS _ITC Benguiat® Condensed 8 list snd weights: whanrar. abcdefghijklmnopqrstuvwxyz 1.00 _ITC Benguiat Gothic® ABCDEFGHIJKLMNOKIFtSTUVWXYZ 1.00 almdefghijklmnoprestuvwxyz _ITC Berkeley Oldstyle® ABCDEFGH IJICINHOPCIRSTUVWXYZ 1214547MS° Excellence in typography is the result of no 1.00 Excel/erica in typography is the result of nothing Mart than en attitude. Its a _ITC Bookman® planning: the aligner meat 1.00 ppeal comes from the understanding used in its thing more than an attitude. Its appeal corn _ITC Caslon No. 224® care. In contemporary edvertising the perfect integration of design elements sp 1.00 often demands unorthodox iNnugMfart. It may require the use qf compact es from the understanding used in its plann _ITC Century® with Condensed a Sting. minus luding, unusual sizes and weights: whatever is needed to imp _ITC Cheltenham® with Condensed 1.00 ing; the designer must care. In contempora _ITC Clearface® 1.00 abcdefghijklmnopqrstuvwxyz ABCDEIGHIJKLMNOPQRSTUVWXYZ 1234567890 _ITC Cushing® 1.00 abcdefghijklmnopqrstuvwxyz the result of nothing more than an attitu 1.00 Excellence in typography is _ITC Elan"' do Its appeal coma from the understanding used in its planning; the ABCDEFGHIJKLMNOPQFtSTUVWXY 1.00 designer must are. In contemporary advertising the perfect integral _ITC Eras® on of design elements often demands unorthodox typography. It ma Excellence in typography is the result o 1.00 y require the use of compact spacing, minus leading. unusual sizes a _ITC Esprit"' f nothing more than an attitude. Its ap _ITC Fenice® 1.00 1.00 abcdefghijklmnopqrstummys peal comes from the understanding us _ITC Franklin Gothic® AlICDEFGHIJKLMNOPORSTUVWXYZ 1234567890 _Friz Quadrata 1.00 ed in its planning; the designer must ca 1.00 Excellence in typography is the result of nothing more than an _ITC Gaillard° attitude. Its appeal comes from the understanding used in its pl inning; the designer must care. In contemporary advertising th __ITC Garamond® with Condensed 1.00 abcdefghijklmnopqrstuvwxyz 1.00 e perfect integration of design elements often demands unorth _ITC Goudy Sans" odox typography. It may require the use of compact spacing. m ABCDEFGHIJKLMNOPQRSTUV 1.00 _ITC Isbell® 1.00 abcdefghijklmnopqrstuvwxyx _Italia Excellence in typography is the r ABCDEFGHIJKLIANOPORSTUVWXY Z1234567890 _ITC Kabel® 1.00 Excellence in typography is the result of nothing more the esult of nothing more than an at _ITC Korinna® with Kursiv 1.00 1.00 n an attitude. Its appeal comes from the understanding us titude. Its appeal comes from the _ITC Leawood® ed in its planning; the designer must cam. In contemporar y advertising the perfect integration of design elements of _ITC Lubalin Graph® with Oblique 1.00 understanding used in its planni - 1.00 ton demands unorthodox typography. It may require the u _ITC Mixage® _ITC Modern No. 216° 1.00 ITC New Baskerville® 1.00 _ITC Newtext® 1.00 _ITC Novarese® 1.00 1.00 _ITC Quorum® _ITC Serif Gothic® 1.00 _ITC Souvenir° 1.00 1.00 _ITC Symbol® 1.00 abcdefghijklmnoPqrstuvwxyz ITC Tiffany with Italic abcdefghijklmnopqrsuv Z 1.00 ABCDEFGHIJKLMNOPQRSTUVWXY _ITC Usherwood ° 8 9o$Cff% 1.00 1234567890f31z34567 _ITC Veljovic- ABCDEFGH1JKLMNOPQ ° cORCEBOliteefffiflffiffr _ITC Weidemann- 1.00 ( •-rP.I'L-/#1114§..1214 ***** _ITC Zapf Book® 1.00 abcdefghijklmnopqr anionif It lir [MOW _ITC Zapf Chancery® 1.00 _ITC Zapf Dingbats® 1.00 ABCDEFGHIJKLNOP _ITC Zapf International® 1.00

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SURNAME GIVEN NAME NOM PRENOM ZUNAME VORNAME

TITLE FONCTION BERUF

COMPANY FIRME FIRMA

DELIVER TO BUSINESS HOME DELIVREZ A TRAVAIL RESIDENCE PRIVEE LIEFERUNG AN FIRMA PRIVAT

ADDRESS ADDRESSE STRASSE

CITY VILLE CODE POSTAL POSTLEITZAHL UND ORT

STATE ZIP CODE PAYS LAND

SIGNATURE SIGNATURE UNTERSCHRIFT

DATE DATE DATUM My organization and/or I am involved in the visual communica- Mon organisation et/ou je fais part ie de communications visuelles tions field yes no Meine Firma and/oder ich sind auf dem Gebiet der visuellen _oui non. Kommunikation tatig ja nein. I am a student yes no Je suis etudiant oui non. Ich bin Student ja nein. BUSINESS CLASSIFICATION: CLASSIFICATION PAR PROFESSIONS (Check One Only) FIRMENKLASSIFIZIERUNG (Ne cocher qu'une seule fonction) (Bitte eine ankreuzen) (a) Printing (Commercial, Instant, etc.). (a) Impression (Commerciale, Instantanee, etc.). (b) Typesetting (Commercial). (a) Druckerei (Akzidenzdruck, Schnelldruck, usw). (b) Composition (Commerciale). (o) Advertising Agency, Art Studio, Design, Freelance. (b) SchriftsetzereilWerk- oder Layoutsatz). (c) _Agence de publicite, Studio d'art, Conception, (d) Newspaper Magazine, Book Publishing. (c) Werbeagentur Grafikdesignatelier, Independant (e) In-plant or corporate typesetting and other Freischaffender (d) Journal, Revue, Edition de livres. reproduction services. (d) 7eitungs-, Zeitschriften- oder Buchverlag. (e) Composition faite sur place ou par une societe (f) Education and/or Libraries. (e) Firmeneigene Schriftsetzerei, Reproduktion oder et autres services de reproduction. (g) Government. Druckerei. (f) _ Enseignement et/ou bibliotheques. (h) Corporation Advertising, Design, Promotion. (f) Bildungsanstalt oder Bibliothek. (g) Governement. (i) Communication and information processing. (a) BehOrde. (h) Publicite de societe, Conception, Promotion. (j) Other. (h) Werbe ,VerkaufsfOrderungs- oder Designab- (i) Traitement de communications et d'informations. teilung von Industrie- oder Handelsfirma. _Autres. MY PRIMARY JOB FUNCTION IS: (i) Kommunikation and Datenverarbeitung. (Check One Only) MON ACTIVITY PRINCIPALE EST: Sonstiges. (k) Artist, Illustrator. (Ne cocher qu'une seule fonction) MEINE HAUPTBERUFSTATIGKEIT: Graphic Artist, Art Director, Creative Director (k) Artiste, Illustrateur. (Bitte eine ankreuzen) (m) Display and Package Design. (I) Artiste graphique, Directeur artistique, Directeur (n) Pasteup Artist,Typographer, Keyboarder (k) KOnstler, Illustrator de creation, (o) Type Director, Type Buyer. (I) Grafiker, Art-Direktor, Kreativ-Direktor (m) Conception de ('exposition et de l'empaquetage. (p) Advertising Manager, Sales Promotion Manager. (m) Entwurf von Verpackungen oder Auslagen. (n) Metteur en pages,Typographe, Claviste. (q) Production Manager Office Manager (n) Reinzeichner, Schriftsetzer (o) ._Directeur de composition, Acquereur de (r) Printing Buyer, Purchasing Agent. (o) Typograf,Type-Direktor, Einkaufer von Schriftsatz. caracteres d'imprimerie. (s) Editor Writer. (a) Werbe- oder VerkaufsfOrderungsleiter (p) _ _ Directeur de publicite, Directeur de la promotion (t) Teacher, Instructor (q) Produktionsleites BOrovorsteher. des ventes. (u) Audio Visual. (r) Drucksacheneinkaufer (q) ______Directeur de production, Directeur de bureau. (v) Principal Officer (s) Redakteur, Texter. (r) _Acquereur de produits d'imprimerie, Agent (w) Secretary, Typist, etc. (t) Lehrer, Ausbilder. prepose d l'achat. (x) Other (u) Audio-visuell. (s) Reclacteur, Auteur (v) FirmeneigentUmer, leitender Angestellter (t) _ _Professeur instructeur NUMBER OF PERSONS EMPLOYED (w) Sekretarin, Stenotypistin, usw. (u) ______Audio-visuel. IN YOUR ORGANIZATION (x) Sonstiges. (v) _Agent principal. (1) 1-9 (w) (2) 10-19 Secrotaire, Dactylographe, etc. ZAHL DER BESCHAFTIGTEN MEINER (x) _Autres. (3) 20-49 FIRMA ODER BEHORDE: (4) 50-99 NOMBRE DE PERSONNES EMPLOYEES (1) 1-9 (2) (5) 100-249 DANS VOTRE FIRME 10-19 (6) 250 and over (3) 20-49 (1) 1-9 (4) 50-99 (2) 10-19 (5) 100-249 (3) 20-49 (6) Ober 250 (4) 50-99 (5) _ _100-249 (6) 250 et plus

U&Ic 8/86 U&Ic 8/86 U8dc 8/86 88 The ITC Center introduces new and exciting typo/graphic arts experiences. It is a growing resource for students ITC Center Calendar of Events and professionals.

Continuing through September 11 Hours: 12:00 noon-5:00 p.m. September 22—November 6 Shown throughout the day: Open Monday—Friday An audio visual presentation of TDC32: the 32nd Annual Type STA 100 " Directors Club Exhibition (Closed September 24, October 13, The ninth annual design compe- "Stop! I want to think about that. November 11, 26, 27, 28) "Stop! I want to think about that!', More than 200 examples, repre- tition sponsored by the STA senting some of the best typo- Admission: Free includes 100 examples of graphic the second Herb Lubalin Interna- graphic work of 1985, include ITC Center design, package design, book de- tional Student Design Competition, outstanding typographic and calli- 2 Hammarskjold Plaza sign, illustration and photography, focuses on printing and its three graphic art by leading designers, (866 Second Avenue, between selected from more than 1,700 great privileges as expressed by artists and type directors through- 46th and 47th Streets) entries submitted from throughout Beatrice Warde, the scholarly advo- out the world. Third Floor North America, Europe and the cate of fine prihtin.g and typogra- NewYork, NY 10017 Far East. phy on behalf of the Monotype Future exhibitions: Corporation Limited. This competi- November 19,1986- Morning hours available for (Closed September 24, October 12) tion attracted entries from 21 coup - January 15,1987 schools and professional organ- tries around the world. Members The Best of Newspaper Design izations by reservation only. For of the jury were Stuart Ash, Bruce 1985-86 more information and group Blackburn, Thomas Geismar, April The seventh annual award compe- reservations call (212) 371-0699. Greiman and George Tscherny. tition of the Society of Newspaper Design represents the best in graphic journalism from throughout North America, Europe and Latin America.

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