'AdlbCcDdEeffGgHhliJjKkLIMmNnOoPp Qy RrSsTt LJuVvWwXxYy Zz1234567890&fECESS(£%!?0[1 PUBLISHED BY INTERNATIONALTYPEFACE CORPORATION, VOLUME NINE, NUMBER TWO, JUNE 1982 UPPER AND LOWER CASE. THE INTERNATIONAL JOURNAL OF TYPOGRAPHICS Ludwig von Michel (shown, below) organized all of Mozart's compositions into a long fist: a Michel Listing. We've gone a step further and organized Mozart into an 8-page color section starting on page 36. 2 EDITORIAL VOLUME NINE. NUMBER TWO, JUNE. 1982 EDITOR: EDWARD GOTTSCHALL ART DIRECTOR: BOB FARBER TYPOG EDITORIAL/DESIGN CONSULTANTS: LOUIS DORFSMAN, ALAN PECKOLICK EDITORIAL DIRECTORS: AARON BURNS. EDWARD RONDTHALER ASSOCIATE EDITOR: MARION MULLER CONTRIBUTING EDITOR: ALLAN HALEY RESEARCH DIRECTOR: RHODA SPARSER LUBALIN BUSINESS MANAGER: JOHN PRENTKI ADVERTISING/PRODUCTION MANAGER: HELENA WALLSCHLAG RAPITY ASSISTANT TO THE EDITOR: JULIET TRAVISON ART/PRODUCTION: ILENE MEHL, ANDREA COSTA. SID TIMM SUBSCRIPTIONS: ELOISE COLEMAN ©INTERNATIONAL TYPEFACE CORPORATION 1982 PUBLISHED FOUR TIMES A YEAR IN MARCH. JUNE, SEPTEMBER AND DECEMBER BY INTERNATIONAL.TYPEFACE CORPORATION NEEDS TO BE 2 HAMMARSKJOLD PLAZA. NEW YORK, NY 10017 A JOINTLY OWNED SUBSIDIARY OF LUBALIN, BURNS G CO.. INC. AND PHOTO-LETTERING. INC. CONTROLLED CIRCULATION POSTAGE PAID AT NEW YORK, NY AND AT FARMINGDALE. NV USTS PURL 073430 ISSN 0362-6245 PUBLISHED IN USA ITC FOUNDERS: FELT AARON BURNS. PRESIDENT EDWARD RONDTHALER, CHAIRMAN EMERITUS HERB LUBALIN EXECUTIVE VICE PRESIDENT 1970-1981 ITC OFFICERS 1982: GEORGE SOHN, CHAIRMAN AARON BURNS. PRESIDENT EDWARD GOTTSCHALL. EXECUTIVE VICE PRESIDENT BOB FARBER, SENIOR VICE PRESIDENT ith all the current em- JOHN PRENTKI. VICE PRESIDENT. FINANCE AND GENERAL MANAGER EDWARD BENGUIAT. VICE PRESIDENT W phasis (ours included) on technologies, one needs to be U.S. SINGLE COPIES 51.50 ELSEWHERE, SINGLE COPIES 52.50 TO QUALIFY FOR FREE SUBSCRIPTION COMPLETE AND RETURN constantly reminded that typography is an essential THE SUBSCRIPTION FORM IN THIS ISSUE TO ITC OR WRITE TO THE ITC EXECUTIVE OFFICE, 2 HAMMARSKJOLD PLAZA. NEW YORK, NY 10017 and powerful force for increasing communication MICROFILM COPIES OF U&LC MAY BE OBTAINED FROM MICRO PHOTO DIVISION. BELLE. HOWELL, OLD MANSFIELD ROAD, WOOSTER, OH 44691 effectiveness. That is its essential role. Improved tech- nologies are only means towards that end. In this issue: Editorial n this regard a pro- Typography needs to be felt. The emotional impact of I the letterforms and the way they are put together vocative and very quotable editorial appeared in greatly affects the effectiveness of the message they the March/April issue in 1981 of Typografische represent. Page 2. Monatsblatter,' the Swiss journal of typography. In it, Thoughts Helmut Schmidt includes the following observations. gb ponder, feed on, muse about or file away for future contemplation. Page 3. Chess-People he message needs inter- 1500 years of warfare without a casualty! A brief pretation.“...not interpretation as a masquerade of review of the armies, with special emphasis on the Knights. Page 4. typefaces but interpretation as an evaluation of content. Interpretation in the sense of discovering Cut...Paste...Pow! the message which has been broken up into essential, An inspired illustrator and collagist reveals his minor and insignificant thoughts. Interpretation sources. Page 10. not only in advertising but also in literature, and Insects ideally a close collaboration between form and Whatever you may think of them, they are creatures content:' beloved by their mothers as well as entomologists, writers, poets, and the illustrator Bernard Darin. Page 14. To bawl, to whisper. Letters "...To bawl and to whisper, quickly and slowly, all these Pleas, requests, warnings and other expressions of are expressions of verbal communication. Reading interest from our readers. Page 16. matter will also have to bawl and whisper, will have Capitalizing on Insects to run and to stroll, will have to emerge quietly and lovingly as esthetic experiences." Another insect fancier presses them into service. Page 18. 44 Something for Everybody ypography lives its own Remarkable Words with Astonishing Origins, by T John Train, aptly and amusingly illustrated by esthetic life next to the functional typography, the Lionel Kalish. Page 20. typography of messages. We read words and sentences Artists in Wonderland but are not aware of the formal qualities of typefaces A visit to a computer graphics research and as long as letters are lined up in order to convey a development center, where artists use "wands" and message:' work of days is produced in seconds, Page 22. Puzzle To be audible, to be felt. Compose yourself and concentrate on finding the "Typography need not only be visible and legible. 80 composers hidden in the letter grid. Page 26. Typography needs to be audible. Typography needs Ex Libris to be felt. Typography needs to be experienced. You can't judge books by their covers, but you can Typography today does not mean to place, typog- learn a lot about owners if their book plates are raphy today means to portray?' designed by Andrzej Kot. Page 28. What's New From ITC ITC Modern No. 216"" is a classical revival, created by t its best, typography Ed Benguiat, with all the dignity and grace of earlier A "Moderns" plus up-to-date modifications. Page 30. today is a wonderful blend of art and technology. And that is nothing new It was that way when ideograms The Saga of Two Mo's were cut in tablets, or letters were chiseled in stone The colossal genius Mozart is the subject of versatile or penned on papyrus or scrolls. We just need to virtuoso Mo Lebowitz. Cover, concept, copy and design—all created by our guest art director, remember that long before today's technologies were Lebowitz. Page 36. just ideas, and long after they are obsolete, the artist will have to manipulate some technology so that This issue of U8cic was mailed to 180,000 readers: 148,000 in the United States and Canada, and 32,000 abroad. It will be read by typography will be seen, and read, and understood, over 500,000 people. and, to be truly effective, be felt. TABLE OF CONTENTS AND EDITORIAL SET IN ITC MODERN NO. 216"" MASTHEAD SET IN ITC NEVVTEXT" (REDUCED). THOUGHTS Art If you is a lie think which education makes is expensive us realize try the truth. ignorance... PICASSO Man has In the fields never of printing reconciled and graphic design himself it is generally to the agreed.that ten the poet commandments. in our midst WILL AND ARIEL DURANT is the type designer. NOEL MARTIN ILLUSTRATIONS BY WALLY NEIBART THESE PAGES WERE SET IN ITC MODERN NO. 216 ,', 4 CHESS- PEOPLE *As long as anyone can remem- simply, it's a game of war! It in- ber, the pieces used in the volves attack... defense... and the game of chess have been called object of all the maneuvers is to cap- chessmen. But in this day and ture the opponent's King. It is a age of aroused feminine con- game of wit, skill and consuming sciousness, it is necessary to concentration. Even a minute dis- set a wrong to right. The traction, such as heavy breathing Queen by an opponent, has sent tourna- has been a part of the ment players into tantrums at the action for over 900 years. She unfair psychological diversion. is also, without question, the That's how serious the game can be. most powerful piece on the he strategy and chessboard. It behooves us to tools of modern war- revise the name and make Tfare notwithstanding, amends for centuries of warfare on the chessboard is con- neglect; hence, chesspeople. ducted essentially in the same man- ner as it has been for centuries. The ven those of us who are total ignoramuses Eabout the strategy and intrigue in the game of chess, know what it's about—purely and --::::-..P' t 0 1 / I , 1 •-,-/7,- , kooLlall , jr , . ... ■ ---_ _f ' -,r--„trf VOW ..... ... ,,.. oadl.... ' .,,,, -- --,- , ,,-- ---. - . ....A....0.. .. , R ri' , ........ vi, , ,, ,1/4 ,,f ' „...;, ad. ' - • - - . ........- - cca s./... a 0.. c IT ig '"' .r," t Z i Le.... igde411•11o,.....:•,. ........... " /17:1!.... ii'"(--1/■=.-- ' 1,/, , \_ The illustrations by Frank Riccio are adapted from photographs from the picture collection of the New York Public Library and from photographs in the book Chessmen, by Frank Greygoose G 1979 by Frank Greygoose, published by David & Charles, Ltd., Great Britain. the playing pieces have varied in on which animal was indigenous to cised considerable power in affairs exact facts about the origin of the of state, a Bishop replaced the origi- game are murky. But it is generally strange and fascinating ways. the locale) and a charioteer or or design-oriented rukhkh at the extreme flanks. In nal counselor at the King's side. accepted that a version of the game The King's castle replaced the char- was played in India as early as people, it is the evo- front of this hierarchy stood a line ution of the chess- of foot soldiers. ioteer at the extreme flanks, but 500 A.D. It spread to Persia, Fl retained the name "rook" from the chess, people that is probably more era to era, and where it acquired the name, rukhkh. And during this from the Persian word for King, interesting than the evolution of the country to country, original he characterization chivalrous age, the soldier on horse- Shah. Arabic peoples learned the game itself From the earliest ver- Ft sions of the game, the cast of char- of chesspeople varied reflecting back became the Knight—a most game when they conquered Persia essential figure in the defense of the in the 7th century and carried it acters has included an all powerful political, social and cultural insti- with them into Europe when they figure—a King—standing at the tutions.