Qq Rr SsTt UuVvW%A;XxYy Zz1234567890&fECT.W£%!? ( )[1 Ad Bb CcDdEcFfGgHhIiJjKkLIMmNnOo Pp PUBLISHED BY INTERNATIONALTYPEFACE CORPORATION,VOLUME EIGHT, NUMBER THREE, SEPT. 1981 UPPER AND LOWER CASE. THE INTERNATIONAL JOURNAL OF TYPOGRAPHICS OUT OF OflitUATAVITH SLEIGHT 0F HAND AND FIASH OMIT, WE CONJURE UP EIGHT PAGES OF MAGIC POSTE NOT MACK RS NIPCWIRITEMAGW, BUT MAGIC 1IN FULL COLOR 2 We•VOLUME EIGHT, NUMBER THREE, SEPTEMBER, 1981 EDITOR: EDWARD GOTTSCHALL EDITORIAL/DESIGN CONSULTANTS: LOUIS DORFSMAN, ALAN PECKOLICK ART DIRECTOR: BOB FARBER U&LC: EDITORIAL DIRECTORS: AARON BURNS, EDWARD RONDTHALER ASSOCIATE EDITOR: MARION MULLER RESEARCH DIRECTOR: RHODA SPARSER LUBALIN YESTERDAY, BUSINESS MANAGER:JOHN PRENTKI ADVERTISING/PRODUCTION MANAGER: HELENA WALLSCHLAG ASSISTANT TO THE EDITOR: JULIET TRAY ISSN ART/PRODUCTION: ILENE MEHL, SID TIMM. JUREK WAJDOWIC TODAY INTERNATIONAL TYPEFACE CORPORATION 1981 PUBLISHED FOUR TIMES A YEAR AND TOMORROW IN MARCH. JUNE • SEPTEMBER AND DECEMBER BY INTERNATIONAL TYPEFACE CORPORATION 2 HAMMARSKJOLD PLAZA. NEW YORK, N.Y. 10017 A JOINTLY OWNED SUBSIDIARY OF UBALIN, BURNS 6 CO., INC. AND PHOTO.LETTERING. INC. CONTROLLED CIRCULATION POSTAGE PAID AT NEW YORK, N.Y. U&lc was born in 1973. In eight years it has grown from AND AT FARMINGDALE, N.Y. USTS PUBL. 073030 ISSN 0362.245 PUBLISHED IN U.S.A. ITC FOUNDERS: a 20-page black-and-white tabloid mailed to 20,000 AARON BURNS, PRESIDENT EDWARD RONOTHALER, CHAIRMAN EMERITUS HERB LUBALIN. EXECUTIVE VICE PRESIDENT 1970-1981 people in the United States to an 84-198 page journal ITC OFFICERS 1981: GEORGE SOHN, CHAIRMAN AARON BURNS, PRESIDENT with multicolor pages, a circulation of more than EDWARD GOTTSCHALL, VICE PRESIDENT, INFORMATION AND MARKETING SERVICES JOHN L. PETERSON, VICE PRESIDENT, SALES AND MARKETING JOHN PRENTKI, VICE PRESIDENT, FINANCE AND GENERAL MANAGER EDWARD BENGUIAT, VICE PRESIDENT 150,004 throughout the world and a pass-along reader- BOB FARBER. SENIOR VICE PRESIDENT IARNA SHANKS, DIRECTOR, ITC CENTER ship of over 1/2 million. U.S. SINGLE COPIES SISO ELSEWHERE, SINGLE COPIES 5E.50 TO QUALIFY FOR FREE SUBSCRIPTION COMPLETE AND RETURN THE SUBSCRIPTION FORM IN THIS ISSUE TO ITC OR 1NRITE TO But its real growth and value lie not in its vital statis- THE ITC EXECUTIVE OFFICE, 2 HANIMARSKJOLD PLAZA, NEW YORK, N.Y 0017 tics. As its editorial and design director Herb Lubalin gave it a unique content and graphic vibrancy. This issue, In This Issue Cover produced posthumously, is the last one planned by him. Introduction to our invitational color section, featuring Herb has left a wonderful heritage, a great base on guest designer, Alan Peckolick, and his magical posters. which to build. There was just one Herb Lubalin and it is Editorial inevitable that with his passing U&lc will A proposal and program for restructuring graphic arts acquire a new education for the benefit of students, art schools and personality. But the vigor, vitality and value that have the whole communications industry. Page 3. characterized yesterday's U&lc will flourish and grow Pro-File: Seymour Chwast with each of tomorrow's issues under the creative direc- Quiet, quaint, quirky, unquestionably cute, Seymour Chwast (pronounced Quast) is the quintessential com- tion of a new team of editors and designers: municator. Page 4. Ms. Jean Evans A former tennis star swaps her racquet for a lettering EDITOR EDWARD GOTTSCHALL pen and shows us some wonderful strokes. Page 8. EDITORIAL/DESIGN CONSULTANT: LOUIS DORFSMAN Lou Myers: Bombed EDITORIAL/DESIGN CONSULTANT: ALAN PECKOLICK There's something rotten in the state of the world; Lou Myers depicts a few crises. Page 10. ART DIRECTOR BOB FARBER L'Assiette Au Buerre EDITORIAL DIRECTOR: AARON BURNS Steven Heller's treatise on this turn-of-the-century EDITORIAL DIRECTOR EDWARD RONDTHALER French magazine reveals that it was as much concerned with graphics as with political and social satire. Page 12. Putting Your Best Face Forward Each of us has worked closely with Herb and shared A typographer in Brussels demonstrates some salient features of ITC typefaces. Page 17. his love for typography and graphic design, his high Transit Tickets of Yesteryear standards of design and craftsmanship and the feeling The modest fare (as little as 25C for 8 rides) did not that in graphic communications there is room for fun inhibit the graphic pyrotechnics of the designers of and joy and experiment. This spirit will thrive in tomor- these venerable transit tickets. Page 18. Typomorphic Putty row's U&lcs and we trust you will enjoy reading them A reader demonstrates some maneuvers that put a as much as we will enjoy bringing them to you. typehouse in the palm of your hand. Page 20. Crossword Puzzle: It's All Balloony One hundred and five years of unsuccessful attempts at ballooning, should not deter you from chancing this puzzle. Page 22. Wild, Wild East A no-nonsense rodeo world, with buckaroos from no further west than Pennsylvania, described and illus- trated by a born-and-bred New Yorker. Page 24. HERB LUBALIN What's New From ITC MEMORIAL ITC Barcelona, designed by Ed Benguiat, with excellent adaptability for all text material and some distinctive FUND variations in display fonts to give it unusual strength and character for headlines. Page 30. Since Herb Lubalin's death, many letters have been Something From Everybody received at our offices from friends, associates, admirers Two more alphabets from our bottomless bag of mail. Page 34. and readers all over the world, suggesting ways to create Magic Posters a lasting tribute to honor and perpetuate the outstanding Eight brand new poster designs by guest Art Director, contributions which Herb made to the field ofgraphic Alan Peckolick, for some great old magic tricks. Page 36. communications. Vision '80s Update A description of some new electronic systems for pro- The editors of U&lc and Board ofDirectors ofITC wish ducing slides, handling page make-up, mathematical to announce that plans for a Herb Lubalin Fund are now equations and more. Page 74. being formulated and that details will be announced in a This issue of U&Ic was mailed to 165,000 readers: 130,000 future issue of U&lc. in the United States and Canada, and 35,000 abroad. It will be read by approximately 500,000 people. 3 is the time for all good companies and associations to come to the aid of graphic art and design education. The State College of Art in Massachusetts what to do? might have laser printers and intelligent copier- why? printers. Pratt Institute might feature a word- for a group of schools to sit down BECAUSE clean, effective communications, IT IS TIME processing center. And so forth. internal or external, have a major influence with representatives of business and industry. on the cost effectiveness of a company's op- UNDER SUCH A PLAN the graphic arts indus- erations, on its profits, and even its survival. what schools? try would not be bombarded with so many redundant requests for equipment, mainte- art and design BECAUSE graphic artists and designers play NOT JUST THE WELL-KNOWN nance, supplies, training, etc. a crucial role in making communications no- schools, although they may take the lead. ticed, understood, acted upon. High schools, trade schools, colleges with gra- IT WOULD NOT BE NECESSARY to build a phic arts/design programs are in the same massive facility with everything under one BECAUSE the new technologies available to boat, and only massive collective action is roof.All the facilities could be linked by a artists and designers are overwhelming in going to accomplish anything in a meaning- telecommunications network. their complexity and sheer numbers. ful time-frame. THERE WOULD BE LESS DOWN-TIME for pre- LETS FACE IT. The best of the typesetters,col- what businesses cious equipment and it might be easier to or scanners and paginators, laser printers, keep key centers stocked with the latest mod- slide-makers, and graphic display terminals and industries? els, since there would be just a few of them are only as good as the people manipulat- and the business world would ease the cost ing them.And therein lies the dilemma. ALL.This is a problem that graphic arts manu- burden for the graphic arts suppliers. facturers cannot—and should not—solve ALL TOO MANY SENIOR ARTISTS and artisans, alone.The entire business community has a WITHIN A GIVEN REGION the schools would who are otherwise skilled, graphically sensi- stake in improved communication effective- establish a schedule for rotating their facul- tive, and creative, are turned off by the new ness. If business and industry provided fund- ties and students through each laboratory, devices instead of being stimulated by them. ing and graphic arts companies provided perhaps for two-week crash programs at a equipment and services at cost, it could work time.The schools could also set up special ALTHOUGH probably more psychologically to the benefit of all concerned. crash hands-on programs for people on receptive to computers, keyboards, lasers, leave from work. and graphic tablets, the younger artists or de- how to do it? signers-to-be, now in high schools, colleges, are we serious? and college-level schools of design, are han- AS THE CLICHES SAY, there are many roads to dicapped because most schools lack both Rome and many ways to skin a cat. But just NOT ABOUT THE SPECIFICS of the plan out- the equipment needed for hands-ontraining to stimulate thinking along constructive lines, lined above. But very serious about an urgent and because their faculties, through no fault consider the following possibility. need for educators and people in industry of their own, need to be trained before they and business to start talking to each other can interest the students.