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PUBLISHED BY INTERNATIONAL TYPEFACE CORPORATION, VOLUME FOURTEEN. NUMBER ONE, MAY 1987

Enticed in his youth, he pursued it through life, and is now totally enthralled. The object of Raymond Morrone's devotion? Beautiful penmanship! See a generous sampling of letters, words, hearts, birds, flowers, flourishes and swirls in his fine Spencerian hand. Page 16.

VOLUME FOURTEEN, NUMBER ONE, MAY, 19137 4 1e.

EDITOR: EDWARD GOTTSCHALL ART DIRECTOR: MO LEBOWITZ EDITORIAL DIRECTORS: AARON BURNS, ALLAN HALEY ASSOCIATE EDITOR: MARION MULLER ASSISTANT EDITOR, RESEARCH DIRECTOR: JULIET TRAVISON ADVERTISING/PRODUCTION MANAGER: HELENA WALLSCHLAG ASSISTANT ART DIRECTOR: ILENE STRIZVER ART/PRODUCTION: KIM VALERIO, SID TIMM SUBSCRIPTIONS: ELOISE COLEMAN INTERNATIONAL TYPEFACE CORPORATION 1987 1.16(1.-C (ISSN 0362 6245) IS PUBLISHED QUARTERLY BY INTERNATIONAL TYPEFACE CORPORATION, 2 HAMMARSKJOLD PLAZA, NEW YORK, NY 10017. ITC IS A SUBSIDIARY OF ESSELTE LETRASET. U.S. SUBSCRIPTION RATES 310 ONE YEAR: FOREIGN SUBSCRIPTIONS, $15 ONE YEAR: U.S. FUNDS DRAWN ON U.S. BANK. FOREIGN AIR MAIL SUBSCRIPTIONS-PLEASE INQUIRE. SECOND-CLASS POSTAGE PAID AT NEW YORK, NY AND ADDITIONAL MAILING OFFICES. POSTMASTER: SEND ADDRESS CHANGES TO U&LC, SUBSCRIPTION DEPARTMENT, 2 HAMMARSKJOLD PLAZA, NEW YORK, NY 10017. ITC FOUNDERS: AARON BURNS, PRESIDENT EDWARD RONDTHALER, CHAIRMAN EMERITUS HERB LUBALIN, EXECUTIVE VICE PRESIDENT 1970-1981 ITC OFFICERS 1987: JACK FORBES, CHAIRMAN MARK J. BATTY, VICE CHAIRMAN AARON BURNS, PRESIDENT EDWARD GOTTSCHALL, EXECUTIVE VICE PRESIDENT ALLAN HALEY, VICE PRESIDENT RICHARD CONWAY. CONTROLLER LAURIE BURNS, PUBLIC RELATIONS AND EDUCATIONAL ACTIVITIES MICROFILM COPIES OF U&LC MAY BE OBTAINED FROM MICRO PHOTO DIVISION, BELL & HOWELL, OLD MANSFIELD ROAD, WOOSTER, OH 44691

Editorial

The Software Touch

In this issue: Editorial A preview of the new wave of do-it-yourself technology in graphic design. Page 2 Thoughts ...about the distance between a diagram and a design. Page 3 Fans An abbreviated account of the long and colorful history of man's first cooling system. Page 4 Tomi Ungerer Sharper than a serpent's tooth and mightier than the sword is the wit and pen of this predatory cartoonist. Page 8 Gung Ho for Garlic Mythical, magical and medical lore about the ineffable little herb. Page 10 Milestones: Rudolph Koch A portrait of an artist, craftsman and teacher, and his contribution to typography. Page 12 Love Affair Through thick and thin, Ray Morrone has remained addicted to Spencerian calligraphy. Page 16 The Assignment of a Lifetime Jerry Dadds' secret commission to represent the Presidents. Page 20 Families to Remember The d'Amboises and ITC Eras!' Page 24 Technology Alert What's new and what's what in workstations, copiers, printers, imagesetters, color monitoring and proofing. Page 28 What's New from ITC ITC Pacella'"fashioned in the tradition of Century Schoolbook, Corona and Nimrod, this family offers legible characters, even color, and page-after-page of inviting reading. Page 30 Treasure Hunting in Maine Neither swampy bogs, nor all-night drives, nor swarms of vicious flies deterred Greig Cranna from an appointment with an orchid. Page 36 Book Shelf Gleanings from the latest harvest of publications for our crowd. Page 45 Before CAD There Was FAD Nothing's new under the sun: a hundred years before the computer, foundries provided drafting and designing aids. Page 46 Bold Stroke, an Alphabet The sweat and the angst don't show. Page 51 This issue of U&lc was mailed to 215,000 readers: 160,000 in the United States and Canada, and 55,000 abroad. It will be read by approximately 1,000,000 people.
FRONT COVER: ITC FRANKLIN GOTHIC HEAVY WITH DEMI MASTHEAD: ITC NEWTEXT REGULAR INDEX TO ITC TYPEFACES: ITC FRANKLIN GOTHIC BOOK WITH DEMI

raphic designers, art directors, A "library" of display/headline typefaces. type directors, artists - users and Electronic clip art. The whole range of matespecifiers of typefaces, typesetrial, other than typefaces, formerly available ting, and typographic design by only from print clip art sources. whatever job title-are not so Algorithms for converting from one typeface slowly finding themselves surformat, such as Ikarus, to any page descriprounded by many software options for tion language, such as Adobe's PostScript,'" achieving the graphic effects they desire. Imagen's DDE," Xerox's Interpress.Of course, we are now in an era of digital Copyfitting and cost-estimating software, type. Types are being designed digitally or such as National Composition Association's with digital assistance. And type is stored Alphacalc. and set and composed digitally. But that's The effect of all the above and more to just the tip of the iceberg. Consider the folcome is to increase the capability and quality lowing type-related functions that are now or level of corporate electronic publishing and soon will be aided or accomplished by softoffice desk-top publishing, narrowing the ware that can run on a typesetter, a laser or gap between them and graphic arts-quality LED (light emitting diode) printer, a typeset- output. ting front-end or an IBM, IBM compatible, But computers, systems, and software by or Macintosh computer. themselves do not create/produce quality Storing a large type library on an optical typography, nor effective, efficient communidisk or a file of smaller disks. cations. People do. The training, the experSetting a full range of type sizes from a tise, the taste, and judgment of designers or stored outline. of device operators are controlling factors. Page makeup, merging text with graphic The new software, at least, makes it easier elements either scanned into or created on for more pople to produce more work and the system. often builds a higher floor under quality. Cer The ability to convert outline fonts to bittainly it helps raise communications that map fonts on the fly. had been typewriter bound to new levels of Design software offering graphic guidelines attractiveness and effectiveness. At the same and options to raise the quality level of work time, in the hands of design-sensitive operaoutput by people having little or no design tors, such software has the potential of maktraining. ing a designer more productive. Page description languages that offer such We should all be alert to typographic and typographic refinements as kerning and design software in the immediate and near hyphenation and justification, even to PCfuture. One can expect to see more of it and based systems. to see it being refined and improved. The v Software to facilitate such typeface modifi- items listed herein are the first opening wave cations as 3D-ing, outlining, reversing, curving, in bringing the software approach to a broad flexing, slanting, condensing, expanding-in spectrum of typesetting and typographic short, to achieve the whole gamut of effects problems. formerly achievable only with a camera and Edward M. Gottschall special lenses.

INDEX TO ITC TYPEFACES ITC AMERICAN TYPEWRITER CONDENSED' 10,11 ITC AVANT GARDE GOTHIC' 29 ITC AVANT GARDE GOTHIC CONDENSED' 10,28 ITC BENGUIAT. 11 ITC BENGUIAT CONDENSED' 11 ITC BERKELEY OLDSTYLE' 10,38,39 ITC BOOKMAN' 11 ITC CASLON NO. 224. 8,9 ITC CENTURY 11,29 ITC CHELTENHAM. 47 49 ITC CHELTENHAM CONDENSED 46,49 ITC CLEARFACE' 28 ITC/LSC CONDENSED' 10 ITC CUSHING. 44 ITC ERAS. 10,24-27 ITC FRANKLIN GOTHIC. FRONT COVER, 2, 11, 16-19,36-44
TABLE OF CONTENTS: ITC PACELLA BLACK, BOOK, BOOK ITALIC

ITC GALLIARD' ITC GARAMOND CONDENSED. ITC GOODY SANSITALIA ITC KABEL' ITC LUBALIN GRAPH' ITC MACHINE BOLD' ITC MODERN NO.216' ITC NEWTEXT' ITC PACELLA-' ITC PIONEER' ITC SERIF GOTHIC' ITC TIFFANY ITC USHER WOOD' ITC VELJOVIC' ITC WEIDEMANN'
INITIAL: BOLD BYLINE BOOK ITALIC

11 28 36,37 51 11,12-15,28,29 40,41 11 28,42,43 2 2,3,30-35 11 28 4-7. BACK COVER 29,45 20-23 28

EDITORIAL: ITC PACELLA BOOK, BOOK ITALIC

THOUGHTS

etterforms may well begin with geo etry, but only the sov reignty of eye and hand can transmu te a diagram into a work of art
PENTAGRAM '.'

ritravUESIGN

HEADLINE / BYLINE. ITC PACELLA MEDIUM

TEXT' BOOK

INITIAL BLACK

They did more than stir the air

Let's face it: as a fashion accessory, the fan is dead. It slipped quietly out of vogue when the '20s came roaring in. There was simply no way the newly liberated woman, holding a cocktail in one hand and a cigarette in the other, could also manipulate a fan. Besides, since women shed their corsets and waistcinchers for the comfort of chemise-style dresses, they could draw breath without perpetually fanning themselves. Finally, the electric fan and the air-conditioner made hand-held fans obsolete. But though fans are relics, fashion-wise, as art objects they have stirred up an unusual interest among contemporary collectors. The truth is that most other art formspainting, sculpture, ceramics, and jewelryhave been studied and collected to exhaustion. The fan, on the other hand, is an art object with a fascinating past that has not been fully explored. Right now, one of the world's fabulous fan collections is on display at the Cooper-Hewitt Museum in New York City. The exhibit, which continues through May 1987, sent us digging into fan history. In some perverse way, what we found most intriguing about the whole fan saga was the unexpected uses they served. Fans, it seems, did a lot more than stir the air. No one knows for sure who invented them. Fans were used in China, in Assyria, in Egypt and in India from the dawn of history. But it might very well have been some unknown primitive in a hot and steamy rain forest who was the first to pluck a palm leaf from a tree to fan himself. The idea of using a leaf-like implement to create a bit of wind is as intuitive an act as flicking a fly off your face. In fact, those were two of the earliest functions the fan served.
Illustration from The Picture Reference File, Hart Publishing Co., Inc., New York City.

Blades or brin (exposed part of the sticks)

Folding Cockade Fan. Cockade, from the French

word for cockscomb, describes the full circle opening. Drilled and incised bone sticks support silk feathershaped ovals decorated with brocaded flowers. France. c. 1850.

5
B. Folding Feather Fan. Feather fans were popuA. Folding Brisk Fan. Souvenir fan commemorating the Vienna International Exposition of 1873. Illustration printed in chromo-lithography on paper mounted on wood sticks. lar from mid-19th through early 20th century. In this one, golden eagle feathers were mounted on tortoiseshell sticks. The connecting ribbon and tassel are silk. Probably from France, c. 1905.

C. Folding Pleated Fan. Painted silk leaf decorated with metallic thread and spangles. Sticks are carved, incised and pierced ivory with metallic foil, mesh and spangle embellishments. France, c. 1770-1780. D. Brisk Lorgnette Fan. The sticks of incised and drilled bone are decorated with metallic foil and polished steel spangles. Lenses, set into the circular openings, served as magnifiers when the fan was in closed position. Probably France, c. 1820-30.

In the sweltering climates of the Far East and Middle East, the fan evolved from a simple leaf form made of grassy reeds, feathers or animal skins, into sumptuous fabrications. Fans of ostrich plumes or peacock feathers, mounted on gold, silver, ebony or enameled poles, and sometimes combined with umbrellas, served as ceremonial icons, symbols of social status, and household cooling systems. The huge standards created a whole new field of employment for servants and slaves whose job it was to carry them in processions and also to wave them about when the air needed cooling. In Biblical times, and probably earlier, the fan was an agricultural tool used when harvesting grain. "The oxen and the young asses that till the ground shall eat savoury provender which hath been winnowed with shovel and fan." (Isaiah 30:24) In ancient Greece, Rome and India, long-handled decorative ceremonial fans were used to whisk flies away from statues of their gods and from their temples. And following this pagan tradition, the early Christian church also introduced a fan into its ceremonies. Mounted on a long pole, the flabellum, as it was called, was carried by deacons and used to chase flies from the sacramental wine on the altar. The large leather flabellum used in church processions for the pope is a vestige of its earlier function. While such ceremonial fans were common in almost all ancient civilizations, it was the Chinese and Japanese who most thoroughly integrated the personal fan into their daily lives. The Chinese went so far as to establish a set of formal rules regarding their use. Although they were used by men and women of all social strata, certain designs were reserved for royalty and the aristocracy; others for lower levels of society. Feather fans were

prescribed for summer; silk for winter. The fan reflected not only the season of the year and a person's station in life, but also the town or province from which the owner came. Even the earliest Chinese screen fans, which were rigid mounts on stationary handles, ranged from elementary bamboo constructions to painted and decorated objects of transcendent beauty. The Japanese get credit for inventing the pleated or folding fan, which opened and closed, and which they endowed with auspicious significance. Regarded as a metaphor for life itself, a fan is a traditional gift for birthdays, New Year's Day and weddings, symbolizing the opening and expanding of life's horizons. Fans are also essential props in Japanese dance, theatre, and in the tea ceremony. Jugglers use them to demonstrate their skills, and referees have been known to use them as signals in wrestling matches. A special Japanese battle fan, in use between the 12th and 20th centuries, was made ofpleated, toughened leather, with razor-sharp guards at each endan innocent-looking, but lethal weapon in hand-to-hand combat. From the Orient and the Middle East, thanks to the Crusaders and Portuguese tradesmen, the personal fan was introduced into Europe during the Renaissance. It was a welcome luxury in the hot, fly-ridden, humid climate of southern Europe. And to the hedonistic aristocracy and a newly emerging wealthy middle class, the opulent little treasures from the East became indispensable wardrobe accessories. By the 17th century, Paris had become the hub of the fan-making industry, and the taste for exotic and sumptuous fans reflected the extravagances of the French aristocracy. Every exorbitant material was employed: Leaves were fashioned of plumes, feathers, silk, lace, leather, vellum and fine parchment. Sticks were made of gold, silver, ivory, bone, mother-

TYPES
Screen Fan A simple fan consisting of a rigid leaf mounted on a handle. The leaf is generally made of straw, reeds, fabric, parchment, feathers, or paper, and takes the form of a square, circle, semicircle, pear or leaf.
Aprimitive circular brass fan ornamented with incised patterns. The handle is riveted to the fan. Benin, West Africa. Photo courtesy of Antique Works of Art from Benin, by Augustus Pitt-Rivers, Dover Publications, Inc., New York.

Folding Fan The leaf is stretched across and fastened to a series of supporting sticks. The sticks, held together at the ends by a swiveling rivet, can be spread apart or retracted to open and shut the fan. It is also known as a pleated fan.
Paper leaf is painted on the front with a scene from Roman mythology. The sticks are ivory decorated with embedded metal pins. Mother-of-pearl figures are set in the guard. France or England, c. 1740-50.

E. Painted Folding Fan. The leaf of black silk crepe was mounted on cut and painted wood sticks. The cat and dog heads were painted by Ronot and Man, two artists who collaborated in painting fan leaves for Parisian manufacturers. France, c. 1895.

of-pearl and rare woods. In addition, fans were hand-painted, encrusted with jewels, carved, enameled, lacquered and engraved. Right through the late 19th century, a fan was a prized fashion accessory as well as a necessity for tightly corseted, heavily gowned ladies who relied on their fans to deter fainting spells. But aside from its comforts and esthetic appeal, the fan became an instrument of communication. A woman could express her every wish and whim by the way she fluttered her fan. There was a "come hither" flutter, a "get lost" flutter, an angry flutter, an impatient flutter, an outraged flutter, a modest flutter, to name just a few. You could whisper confidences, giggle or blush behind a fan without being noticed. There was even a handy lorgnette fan, equipped with a magnifying lens, for spying on others without appearing rude. The commercial world did not overlook the fan as an instrument of communication either. Entrepreneurs were quick to recognize that a fan leaf was as good a space as any to promote their wares or carry a message. Such fans were distributed as souvenirs, generally free of charge, thus chalking up another useful function for the fan. Well, here we are in a high-tech society where personal fans are an anachronism. They're out of sight, except in some museums and private collections, and out of mind, except when our airconditioners break down. Then our primitive instinct returns, and we grope for something to use as a fan. If we're lucky we have a newspaper, a magazine, or a theatre program handy... sometimes we may even have to grab a few leaves off Marion Muller a tree. Such is progress.
The fans reproduced here are from the Cooper Hewitt Museum collection. A current exhibition tracing the history of the fan from the 17th through the 20th century was curated by Lucy Commoner and supported in part with funds from the New York State Council on the Arts.
HEADLINE: ITC TIFFANY HEAVY SUBHEADS: MEDIUM, HEAVY TEXT: MEDIUM CAPTIONS . MEDIUM. MEDIUM ITALIC, HEAVY, HEAVY ITALIC CREDIT: MEDIUM ITALIC

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Brise Fan This fan operates on the same principle as the folding fan, but it is constructed entirely of sticks, riveted together at one end and laced together across the top. In Brise fans, the sticks are of more substantial width than in the usual folding fan, and are generally elaborately decorated, carved, pierced or painted. Sticks of carved painted wood in the form of violets and snowdrops. The connecting ribbon is of painted silk. Germany or Austria, early 20th century.

Cabriolet Fan A type of folding fan with a leaf of two or three tiers. It was named for the light, two-wheeled carriage popular in France during the reign of Louis XV. The two concentric leaves are painted parchment backed with painted paper. Sticks are carved, pierced and painted ivory. France, c. 1760-80.

Predatow Cartoonist
BY STEVEN HELLER
Tomi Ungerer enjoys playing with his audience as a cat plays with a mouse. He is a predatory cartoonist whose hypnotic, almost primitive graphic facility deceives his prey into thinking that they are in no danger, until the moment that he cuts them down with one acerbic swoop. The art critic John Gruen has characterized him as "an overpowering satirist whose particular genius is for transforming human cruelty, violence and sadism into blackest, sickest laughter." For Ungerer's raw, yet spare and economical drawings are the harbingers of a primal rage that is best foisted on the makers of folly rather than allowed to fly loose. Despite this predilection, the 55year-old Ungerer is not exclusively a satirist. During his more than three decade career, he has written and illustrated more than 30 books for children advisor to the French ministry of culture. In 1967, during his peak as an advertising artist, Ungerer coined the slogan "Expect the unexpected," intended to advertise the then newly created New York State Lottery. Though the slogan was rejected by the Lottery Commission (and later used by the Village Voice on a classic series of

Tomi Ungerer:

heatedly disputed between France and Germany, which throughout most of this century has been frequently tossed around as spoils of war. Ungerer admits that this was a time and a place in which one could not help be raised in anger. His father, the director of a family firm that had been manufacturing astronomical clocks since the 18th century, died when the boy was three. In a 1981 interview with Selma Lanes in The New York Times, Ungerer admitted that the premature death of his father was "probably a good thing. My father was strong-minded, with a Germanic, military strain that almost certainly would have crushed me." Regardless, the death of a father so early in life invariably results in protracted trauma. As Ungerer says, "Every child who loses a father very young will be both insecure and angry" Indeed, a normal family life was not to be had for young Ungerer in Strasbourg. To support the family, Ungerer's mother rented out their home to a nobleman and moved everyone to a neighboring town. To add further weight to his already unbalanced childhood, Ungerer realized that his maternal grandmother, a widow, harbored

artist's life and work. Homework assignments included bringing French books into school for burning. He acquiesced simply to survive. But survival meant learning the art of subterfuge. Ungerer says of those days, "What a fox I became, and, of course, to be a .

(many of them award-winners), produced hundreds of advertisements for common products (in the early 1960s he was dubbed the wunderkind of Madison Avenue), created scores of posters for diverse subjects from culture to politics (these collected in the book, "The Poster Art of Tomi Ungerer"), and has published many books for adults (including a picturesque visual memoir of Nova Scotia). In Germany he has been awarded the esteemed Goethe Prize, not as a cartoonist, but as a moralist. In 1981 he was honored by a major retrospective exhibition at the Louvre's Musee des Arts et Decoratifs. He is a television star in Germany, where he critiques matters of politics and culture on various talk shows. And he serves as valued

advertising posters), it became the best definition for the artist himself. Until three years ago, that is, when he published his ambitious memoir entitled, "Far Out Isn't Far Enough," a phrase which has very fittingly become the artist's new credo. Far Out Isn't Far Enough addresses two levels, if not more, of Ungerer's exceptionally complex life. This marriage of text and picture is set in Nova Scotia, where Ungerer and his third wife Yvonne bought a farm to raise their kids and permanently escape the rigors of New York. It describes in vivid, albeit sometimes flawed detail, their experiences, as Ungerer put it, "...running our own working farm there...planting and reaping, battling with the tides and weather, killing pigs, curing meat and making sausagesa book from which kids can learn a lot about life." The title underscores both Ungerer's need to defy complacency, and his decided want to extricate himself from a love/hate relationship with commercial art and New York City. As with everything Ungerer says and does, this want is actually a rage-inspired obsession, a force that drives his life and artultimately for the better. Jean Thomas Ungerer was born in 1931, in Strasbourg, Alsacean area

good fox you must look like a lamb." While in one gesture Ungerer would give the compulsory "Heil Hitler," in the next he would give the evil eye to his "masters." This involuntary response forms the basis for virtually all of his needle-sharp irony. The peace and cultural freedom that Alsace now enjoys didn't come easily. In the final months of the war a lastditch effort to defend the Third Reich was brutally played out in Ungerer's town, andthe young boy was directly exposed to many of war's unspeakable horrors. But even more disturbing events occurred in 1945 when the French returned. Ungerer recalls that the teachers laughed at the children's German accents, and that, despite a history of Alsatian resistance fighting, the people were viewed by the French as second-class citizens. After all the privations, liberation was a jokea bad joke. Discouraged, Ungerer left school. In 1953 he joined the French Camel Corps in Algeria, but was discharged when he developed a case of pleurisy. He returned home to enroll in the Ecole des Arts Decoratifs, but was expelled for being "subversive and perverse." As Ungerer told an interviewer, "The pro-

great animosity towards her daughter and her children. Evidence of his grandmother's inexplicable hate were impressed on him at an early age. An even more profound influence was the Nazi occupation of Alsace in 1941. Overnight, French, which had been the official language, was outlawed and replaced by German. Everything French was deemed verbotten. From the age of eight to twelve, Ungerer received a completely German education, which had lasting impact on the

fessor who wrote that comment was either a complete fool or perceptive beyond his wildest imagining." Despite his academic shortcoming, Ungerer continued to practice drawing. Like many young Europeans after the war, he admired anything American. His specific love was for the cartoons of Saul Steinberg, the Rumanian transplant who was then drawing for PM and The New Yorker, and whose work could be seen at the library of the United States Information Service in Stras-

discoverer of Maurice Sendak). Of his unique talent for transforming his adult rage into innovative children's stories, the late Joe Flaherty said, "Ungerer is one of the most brilliant illustrators at work today. His drawings are mainly European in origin, populated by delightful minor officials, stuffy pedagogues, and bacchanalian street types." However, success was cut with failure too. Apparently, the contradictory psychological life he led in Alsace was

raising a new family, and continued to write and draw. But to his chagrin he was also approached to do more advertising. However, this time it was not for Madison Avenue, but for Robert Pfitz, the director of a small, independent German agency. "Independent" was the word that impressed Ungerer, and it was reinforced by the deed. Piitz collaborated, but never dictated ideas. If Ungerer refused to work for a client on moral grounds, that was, and continues to be, fine. Ungerer's benchmark retrospective at the Louvre, which he likes to call the

bourg. Hoping to achieve some of Steinberg's success, Ungerer came to New York in 1956 with $60 to his name, and a trunk full of cartoons and collages. His work was more related to that of expressionist cartoonist Robert Osborn than to any of the prevailing saccharine trends in American illustration. Almost immediately he received a commission from Sports Illustrated. A surprise contract for his first children's book soon followed. His rise was meteoric. Selma Lanes describes it as "a latter-day Horatio Alger story" He was carried heroically

"first 50 years," brought together an still with him in New York. Possibly overwhelming range of accomplishUngerer could not survive without the ment. But the artist sees its imporforces of good and evil wreaking havoc. tance as only the end of a personal The city and the business he had choapprenticeship. For Lingerer the first sen to practice in was colored by a half century is simply the basis for black and white sensibility. On one what is yet to come. hand he has described New York as "a The future is now. In addition to the place where neither who you are nor widespread European audience he where you come from is important reaches with his hooks and his features just what you can do." But, he is also in the German weekly, Stern magazine, infuriated by what he called America's Ungerer speakers to an even larger innocence and simplemindedness, its indigenous competitiveness and aggres- group through frequent television appearances. His power has increased sive drive to succeed at the expense considerably, and as a self-styled minisof humanity. ter-at-large, working in tandem with Despite his successand with his the French cultural minister and for humanity somewhat intactthe conGerman cultural institutions, he advotradictions became too much to hancates mass awareness of the most rudidle. Ungerer was embittered by the mentary political concern: illiteracy. bourgeois life he was leading, and the Not just verbal and language illiteracy, work he was doing for "disgusting" but illiteracy of music and art, also. advertising clients. After marrying his But the cartoonist's pen remains his third wife, Yvonne, they decided to mightiest weapon. Schwarzbuch terminate his relationship with the city. (Black Book) is only one of his recent They moved to Lockport, Nova Scotia, attacks on illogic and stupidity. This a beautiful, remote area of Canada "doomsday book" is a cautionary conwhere he took up farming, started

demnation of the horrors of the next holocaust. As if to underscore its graphic immediacy, Ungerer actually completed the entire work, more than 100 large pictures, in "12 hours flat." It was immediately published in Stern and exhibited in the Munich city museum, where the drawings are now permanently housed. Such a public feat would be virtually impossible in the United States, where only the latest newsnot artistic critiquegets such unhampered treatment. Ungerer suggests that his impatience is his primary source of energy. Indeed, it has kept him moving in art, as in life, often in ironic ways. After five years of Nova Scotia life, he decided to buy a house in Ireland, where he, Yvonne and their three small children now reside; there Ungerer, the practitioner of sacrilege, has joined the Catholic church, if only to provide status for his children. He also continues to do satire, having published more than five books in as many years (Symptomatics, Rigormortis and Schwarzbuch, among others), often experimenting with different techniques. Although an Ungerer drawing of 1967 is as recognizably "Ungerer" as one of 1986, the underlying spirit of rage has indeed been transformed. He is no longer the youthful rebel, moved to questionable action by unbridled, primal passions. He is, rather, the seasoned rebel, guided by years of experience and self-realization.
All illustrations appear in Tomi Ungerer recent "Schwarzbuch" (Black Book).

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into advertising's inner sanctums; was sought after by newspapers and magazines for his rapier wit; and was accepted into Ursula Nordstrom's publishing family at Harper and Rciw (she, the doyenne of children's books, and

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HEADLINE: ITC CASLON NO, 224 BOOK, BLACK

BYLINE I TEXT: BOOK

CREDIT: BOOK ITALIC

DUNG HO FOR

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All the world is divided into two camps. Those who hold "There's no such thing as too much garlic," and those who hold their noses and protest "There's no such thing as too little garlic." The fact is, throughout the centuries, the garlicphiles have far outnumbered the garlicphobes. And the gap is widening. In recent years, garlic has won innumerable passionate converts. What's more, the satiation level for garlic has soared to disproportionate heights. Once, you cooked up a tasty stew with just a clove or two. Now we hardly blink at recipes for chicken with 40 cloves of garlic, soup with 20 cloves, mashed potatoes with 16. How to account for this expanding appetite for garlic? A brief review of the history, mystical, magical, and medical lore may explain the reverence for this ineffable little herb.

The ancient Egyptians dispensed garlic liberally to their pyramid builders to keep them in good spirits and boost their endurance for working in the hot sun. Garlic was also used as a mummy preservative and venerated as a divine substance.
ILLUSTRATIONS BY LIONEL KALISH HEADLINE: ITC AVANT GARDE GOTHIC BOLD CONDENSED SUBHEADS (CLOCKWISE FROM UPPER LEFT): ITC AMERICAN TYPEWRITER BOLD CONDENSED, ITC / LSC CONDENSED, ITC ERAS BOLD A MEMBER OF: ITC AVANT GARDE GOTHIC BOOK CONDENSED WITH MEDIUM CONDENSED THE ANCIENT EGYPTIANS: ITC ERAS MEDIUM

a member of the lily family, is first cousin to onions, shallots and leeks. Botanically it is known as allium sativum; colloquially as "the stinking rose"
, ,

ALL THE WORLD: ITC BERKELEY OLDSTYLE BOOK

11

The Romans fed great gobs of garlic to their gladiators, soldiers and sailors to increase their vigor and vitality in battle. They also prized it as an aphrodisiac,

The Greeks plied their athletes with garlic to improve their stamina and performance in competition. And no less an authority than Hippocrates, Father of Medicine, prescribed garlic for the treatment of infection, wounds, and intestinal disorders.
In China,

GARLIC
has been held in high regard for more than 4,000 years. The ancients used it to purify water and offset putrefaction of raw meat, which they ate with impunity.

In the Middle Ages, monasteries were the repository of all medical literature, and monks were the healers. They grew garlic in their herbal gardens and dispensed it as a cure for leprosy.

Historically, the garlic harvest was an occasion for celebration throughout Europe. In 1979, the town of Gilroy, California, inaugurated its first annual Gilroy Garlic Festival. Producer and processor of 90 percent of the U.S. garlic crop, Gilroy unabashedly declared itself The Garlic Capital of the World. Last year's festival (its eighth) drew 134,000 people and inspired books, poems, recipes, a film, and tons of garlic consumption.

"Garlic Is Better Than Ten Mothers" is an old proverb that sums up the benevolent attributes of garlic. Aside from the uniqueflavor it imparts tofood, garlic has been endowed with medicinal and magical powersfrom time immemorial. Among the conditions it has been reputed to cure are snakebite, dog bite, scorpion sting, madness, bacterial andfungicidal infections,

intestinal disorders, tapeworm, cerides and increased high density lipoproteinsallfactors asthma, tuberculosis, convulsions, tumors and worms. It has in preventing heart diseases. Warning :None of the reputed also been strung and hung in curative powers of garlic have garlands to deter vampires, been substantiated scientinight demons and the devil fically and conclusively. Garlic himself, and worn in cloves should never be substitutedfor about the neck to protect reliable medical care. But as a against plagues. Most recent supplement to the diet, like investigations have indicated chicken soup, it can't hurt. that, eaten raw and in great Marion Muller quantities, garlic has reduced serum cholesterol and triglyTHE ROMANS: ITC GALLIARD ROMAN

THE GREEKS: ITC CENTURY BOLD ITALIC SUBHEADS (CLOCKWISE FROM UPPER LEFT), ITC MACHINE BOLD, ITC AVANT GARDE GOTHIC BOOK CONDENSED, ITC FRANKLIN GOTHIC HEAVY, ITC PIONEER, ITC BENGUIAT BOOK CONDENSED, ITC KABEL ULTRA BYLINE: ITC BOOKMAN DEMI IN THE MIDDLE AGES. ITC KABEL MEDIUM IN CHINA: ITC BENGulAT GOTHIC BOOK ITALIC GARLIC IS BETTER: ITC BOOKMAN LIGHT ITALIC, MEDIUM ITALIC HISTORICALLY: ITC FRANKLIN GOTHIC HEAVY ITALIC

12

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Koch's Wilhelm Klingspor Schrift (1927)

udolf Koch believed that in the creation of a typeface, the work of the type designer and that of the punch cutter were inseparable and of absolute equal value. While an artist and designer first, Koch yearned to try his hand at punch cutting. "Seven years were necessary," he wrote, "before I had the courage to do this," but, with some obvious anxiety Koch began working on Neuland, a typeface cut directly in metalwith virtually no preliminary drawings. When the first proofs were shown to Dr. Klingspor, the owner of the foundry which employed Koch, the immediate response was, "abominable, horrible, unbearably ugly!... but by all means go ahead." To this day, Neuland is not considered a particularly practical, useful; nor attractive typeface. Dr. Klingspor's initial opinion has also been endorsed by a majority of the typophiles who have since critiqued the Neuland type. The obvious question is, Why was Koch encouraged to continue work on the type and why was it eventually released? The answer is that Dr. Klingspor, in addition to being a good businessman, valued artistic expression and was wise enough to know that artists must be allowed the freedom to experimentand (from time to time) to fail. He realized that Koch was a rare blend of artist and craftsman, and that both aspects of his personality required support and encouragement. Type design was but one of Koch's artistic outlets. In addition, he was a calligrapher, illustrator, poet, and designer of books and tapestries. This small, almost odd-looking man left a very large, and exceptionally beautiful, impression on the early 20th century graphic arts. While the diversity of his output was extensive, encompassing many forms of artistic expression, letters were the unifying theme of all his work. Koch first, and always, considered himself a lettering artist. "Lettering," he once wrote, "gives me the purest and greatest pleasure, and on countless occasions in my life it has been to me what song is to the singer, painting to the painter, a cheer to the joyous, and a sigh to the afflicted. To me it is the happiest and most perfect expression of my life."

MILESTONES

RUDOLF

H
BYALLAN HALEY
Throughout history the relatively few special artists who compounded their contribution were those who also were teachers. Koch was such an artist. He once wrote to a friend, "I feel sorry for the poor art students...1 am certainly no organizer, but if I had a workshop I know that I could help at least a few of them...To be surrounded by just a few honest and serious students, to be their helper and leader, that would please me.. '.' Koch eventually got his wish. The Offenbach School of Art, near where he worked, provided him with a long, narrow room directly under the school roof. The makeshift classroom's walls were slanted, and windows (which one had to climb on a table to see out of) were only on one side. The cramped workspace had no stove or
ILLUSTRATION BY MARK SUMMERS

13

other source of heat, and the attic windows provided little ventilation. As a result, Koch's small band of students sweltered in the summer heat, and were forced to wear heavy clothing to class in the winter. But Koch was satisfiedeven happyteaching in these simple surroundings. Koch worked his whole life in Germany, during the first part of the century. To some degree this was an unfortunate circumstance for the international graphic communications community. Fraktur, or German gothic types, were the dominant typestyles used in Germany at the time. As a result, much of Koch's creative efforts were directed toward designing those beautiful, but today, little-used styles. As with most of Koch's work, his Frakturs were not conservative in design; they tended to be explorations of the design envelope. At the turn of the century German printers, typographers and publishers became dissatisfied with the gothic types that had prevailed since Gutenberg's first work. They had a desire for simpler typemore like the roman designs used in the rest of western Europe. Encouraged by this and influenced by the "Jugendstil," or art nouveau, German type designers began to experiment with new and simpler letter shapes. It is interesting that the work of a British designer, William Morris, helped to define this attitude. His Troy type of 1892 was a melding of gothic and roman letterforms. Troy was, at best, a controversial design in Britain. But it did find its way to the United States, when the American Type Founders released their own version of the style, under the name Satanick. The design wasn't very popular in the U.S. either, but it was eventually ordered by a number of German printers, who began to use the face with zeal. Within a short time Satanick, and various appropriated similar designs, became one of the most used typefaces in Germany.

uch of Koch's work with German gothic letterforms was an exploration of gothic and roman lettershapes based on the foundation laid by Satanick. In fact, the distinctive lowercase "g," which is almost a trademark of Koch's designs, can trace its heritage to the Troy types of William Morris. His first roman type was released as "KochAntigua" in Germany; throughout the rest of Europe it became known as "Locarno," and in the United States it was for some reason given the name "Eve." Locarno is the name that stuck. The roman was first released in 1922, followed by an italic a year later, and the bold a year after that. As with most of Koch's alphabet designs, the hand of the artist is readily apparent in Locarno. This is clearly a type best suited to display and ephemeral applicationsa typeface of obvious personality. Character strokes, while true to the capabilities of a broad brush, have unusual weight stress. Ascending strokes are quite heavy on top and taper to delicate bases. If anything, this is the very opposite of a normal ascending character stroke. Locarno also has a great diversity in character proportions. The first appearance of Koch's distinctive lowercase "g" is also found here. In a short time, the design began to be used throughout Europe, and continued in use for several years. Its popularity was echoed in America, when ATF released Rivoli, a close copy of Koch's original design. Now, after several decades of rest, Koch's first roman has been updated and revived by Colin Brignall of Letraset Ltd. Brignal I's main objective was to revise some of the characteristics of the original face without losing its distinctive personality As a result, many subtle, and a few not so subtle, changes were made to the basic design. An increased x-height, improved serif

A3CDi

design for digital typesetting, and an evening of the capital proportions are the most prevalent design modifications. While the original Locarno is no longer offered, this new Letraset design is being made available through a number of typesetting equipment suppliers. One year after the release of Locarno, in 1923, Koch's Neuland was announced. The project was primarily an experiment on his part; a chance to test, in Koch's words, the 1'.. measure of freedom in the formation of characters which could not have been achieved by any othe means." His goal was to create a type through the direct action of the engraving tools on metal with no preliminary drawings or sketches Koch felt that this method was, (1) truer to the historical method for the way type was produced in the past, and (2) would provide h im the opportunity to participate firsthand, in the total type design experience. Virtually no one at the Klingspor type foundry was in favor of his new design. If it were putto a vote, Neuland would have never seen the light of day. Artists and company owners, however, are not known for democratic attitudes when it comes to their personal preferences, so work proceeded without delay. It is difficult to determine if Koch's experiment has any practical value; in fact, some type critics would probably compare his effort to the old medical adage, "The operation was a success, but the patient died." While Neuland is a robust and distinctive design, it is not especially attractive, nor even very useful. Its realistic applications are quite limited. And yet, when first released, the type \m s popular; so much so that a number of competitive foundries felt compelled to copy the design. It even made the transition from metal to phototype in the 1970s. The design of Kabel was the result of another experiment of sorts. An odd experiment for Koch, who prided himself on his calligraphic ability. In his words, "The task of creating a type with a pair of compasses and a straight edge, has always attracted me..:'

\C'

V X\77---iikZ
A decorative alphabet. One of several decorative alphabets written by Koch and his co-worker in calligraphy, Berthold Wolpe.

14

Original Neuland (Klingspor 1923)

ABCDEFGHIJKLMNOPQRSTUVWXYZ
n addition to Koch's desire for experimentation, Kabel was created for pragmatic reasons. In this design, Dr. Klingspor played more the role of businessman than art patron. In the late 1920s every other major German type foundry had either released, or was actively working on, a new kind of sans serif design based on geometric shapes. Ludwig and Mayer had already released Erbar, the Bauer foundry was developing Futura, and Berthold AG was busy working on Berthold Grotesque. To remain competitive, Klingspor would have to release a competing type. While there is some confusion among type historians as to which came first, Koch's desire or Klingspor's need, the end result is not only exceptionally attractive and useful, it is also very different from those of its competitors. The reason is that, true to form, in the typeface design process Koch's artistic personality took precedence over any geometric formula. Although the specimen book that announced Kabel went to great lengths to explain the rationale behind the design and to prove its geometric heritage, a close look will reveal that the explanation and accompanying graphics are more window-dressing than design formula. It is obvious that Koch based his letter shapes and character proportions on artistic sensibilities and even, perhaps, on a creative whim or two. The close look at Kabel reveals many non-geometric influences. Its design traits can be traced to ancient Greek lapidary letters, Venetian oldstyle type designs, and, of course, calligraphy. Kabel was successful when first released, but was up against some stiff competition for market share. In an attempt to tone down some of the original idiosyncrasies (and perhaps gain more commercial success), Klingspor released a revised version of Kabel under the name of Neu Kabel. In this version, Koch's distinctive "a," "e" and "g" were much closer to the more popular Futura design. Both Kabels obtained modest, but sustained success as metal type. In the early 1970s, phototypesetting equipment manufacturers converted one or both faces into film fonts. Then, in 1976, ITC licensed the rights to the design and the name from Berthold AG, which at that time owned the typeface, and released ITC Kabel as an updated and revived family. Since then, ITC Kabel has been made available on virtually every form of type imaging device, from drytransfer lettering, to graphic arts typesetters, to modest resolution laser printers. In each of his typefaces Koch left his artistic thumbprint. His talent was not in creating anonymous, workhorse designs. Koch's faces were distinctive, vital, even a little flamboyant. He more than likely received a fair amount of criticism as a result. In fact, at one point he wrote, "People are always saying that I try to express my own personality in type design, but that is not at all true; on the contrary I do my best to avoid such expressionism. Only I am not always successful." Rudolf Koch was born in Nuremberg in 1876, the son of an unsuccessful sculptor who barely supported his family on a small salary as chief of guards at the Bavarian Arts and Crafts Museum. Koch's father died at an early age, leaving his mother with only a small pension on which to raise her children. At 16, a family friend, seeing that Koch faced an uncertain and probably bleak future with a public school education, took him into his factory as an apprentice engraver. Koch, however, felt his prospects there were bleaker than what would face him after a public education, and began to attend art school at night. Working 11 hours a day and attending school after work was tedious, tiring, and draining on Koch's spirits. He stuck it out for several months, but eventually gave up hope that this was the correct path to success. Overall, Koch's early career was pretty dismal. At one point, even his family regarded him as a hopeless failure. In his late twenties he was barely supporting himself and his new wife on the meager earnings of a freelance illustrator (although he confessed that he could neither draw nor paint) and as a part-time book designer.

the quick brown fox jumps over the dog

Cable Light (later redesigned and called Kabel) (Klingspor 1927-29)

the quick brown Fox jumps over the dog

Cable Medium

the quick brown fox jumps over the dog

Cable Heavy

ABCDEFGH Kt, abcdefghijklmnop

Marathon (Klingspor 1931)

ABCDEFGHIJKL

abebefshijklmno
Wallau (Klingspor 1925-30)

RI3CDEFGHIJK abcDefghijklmno l
Wa lau

15

ARTI DECORATIVE ARCHITETTURA E BESTETTI &TUMMINELLI FABRIANO

ABTEILUNO: PRE55LUFTANLACENWERX HMELHORBT BEI SPAN DAL!

DEUTSCHE WERKE,
AKTIENCE5ELLSCHAPT BERLIN W 9 TIERGARTEN5 TRAM NA, BIS to

Locarno (originally part of his Koch Antigua series) designed for Klingspor in 1922.

alligraphy became his career's saving grace. The turning point came one night while working at home. He began to imitate broad pen letterforms from a book illustration. Koch had no previous knowledge of type or calligraphy, but, as he wrote in his autobiography, there was character in his first stroke. For months he secretly practiced his new-found craft, afraid to show it to the world and face yet another failure. Cautiously at first, he began to show the results of his effort. To Koch's surprise they weren't rejected. In fact, publishers began to hire his services on a regular basis! In 1906 Koch read in a newspaper that the Klingspor type foundry was seeking a type designer. He saw this as a chance to both legitimize his craft and provide steady income for his family. Although fully expecting to be rejected, Koch applied for the positionand to his amazement was hired. Moving himself and his family to Offenbach, across the Main river from Frankfurt, Koch found the home and career that was to last the rest of his life. For eight years, he lead a tranquil and happy life, basking in peer acceptance and a good income. When World War I broke out, in spite of being over 40 and having a family of four children, Koch was called into service. There was no glory there for Koch; he never rose above the rank of private. In the infantry he fought long and bloody battles in France and Serbia, eventually to be wounded and hospitalized for several months. Even though he tried to continue his calligraphy there was no solace from his friendly letterforms during the war. Koch tells one story that seems typical. He was once in a rear area and ordered to paint street signs. A young soldier who was to help with the job disclosed that his father was the owner of a printing business. Koch, by way of making conversation, asked the young man if he knew anything about type. When the soldier emphatically said that he did, Koch showed him a newspaper printed in his own typeface. The young man was disturbed that he could not name the face, whereupon Koch told him that it was "Kochscrift"one of his own designs. The young man wouldn't believe Koch and declared that fine typefaces were drawn by famous professors who would never find themselves to be lowly privates in a dirty war. Koch recalled that he was so embarrassed that he did not know how to answer, and began to have serious doubts that he really had created that type! Like many veterans, Koch returned home after

Gcschafttstella des D.W. B in Frankfurt a.Main

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vom I4.Mai his 30.Juni im Konst3.wcrix.Musewn, Nau e Mainzerstrage 49, Drisolte Lratinitcr Ogizinen

von Aldus Manutios bis Bodoni zur Ausstollung.

the war, a changed person. He became even more subdued and doubting of his abilities. Fortunately, he was surrounded by friends who cared for him and admired his work. He began designing type again, slowly at first, and expanded his classroom into a place of work and study. After a while, his workshop flourished and visitors came from around the world to share in the experience. From Switzerland came Willi Baus and Imre Reiner. From Vienna came Victor Hammer. Joseph Blumenthal; Lydia and Warren Chappel came from the United States, and Stanley Morison and Francis Meynel I from Great Britain. Berthold Wolpe, Fritz Kredel, and Henri

Friedlaender came from surrounding Germany. Calligraphy and lettering were their main interests, but carved inscriptions, tapestries, coins, metal work, map-making, bookbinding, and even church bells were part of the workshop's repertoire. At the time of his death in 1934, Koch's workshop in Offenbach rivaled the creative output of the Bauhaus (on a somewhat smaller scale). But the oncoming war, and the lack of a creative focal point ended any chances of the workshop continuing for another generation. One by one the artists, designers and students left. Koch's contribution to our typographic heritage can be summed up as a number of wel (drawn typefaces still in use today. That, however, would be selling the man and his value short. Rudolf Koch should serve as an example to all designers of utilitarian tools: he did not let convention, technology, or lack of immediate success sway him from his goal of creating artistic, and to his mind, beautiful products. Koch was an artist, in the truest, highest meaning of the word. The typographic community has benefited from this manthrough his work, and through his example.

_e.ore ore t..e END OF the seventeenth TWO YEARS bef

Original Locarno Bold with caps. New Locarno by Letraset

AB CDEFGHIJKLMNOPQRSTUVWXYZA0 alocciefs hijkklmnop q rstuvwx yzaeog 1234567890 8t?!E$96(.,;) ;Vz' *

Light

AB CDEFGH IJKLM N OPQRSTUVWXYZA,0

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Medium

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Bold
'

AB CDEFGHIJKLMNOPQRSTUVWXYZIE0 alacdefg hijkklmnopqrstuvwxyzxeg 1234567890 82?!$%(,-;:)

Extra Bold

HEADLINE I BYLINE: ITC KABEL MEDIUM, ULTRA

INITIALS: ULTRA

TEXT, BOOK

CAPTIONS: MEDIUM, BOLD

16

AFFAIR
"If Gillott ever stops making my No. 290 and 291 pens, I'll have to find another career," says Ray Morrone. "Not likely," say we. Raymond Morrone of San Jose, California, has been addicted to penmanship since childhood, and though he made a detour into engineering and spent most of his professional life as a typographer, he has finally settled into the work he loves bestSpencerian writing.

Just for the record, Platt Rogers Spencer, the 19th-century American who originated the hand, was not the only inspiration in Morrone's life. He is a long-time student of the 18thcentury English calligrapher, George Bickham. While he is an appreciator of all forms of calligraphy, he chooses to concentrate on Spencerian, which he executes with the finest of pens and a

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AA AviirdWIL 111. A w'v

18

loving hand. You have to really love the work to do it, because your concentration must be absolute and the time consumed would be punishing if your heart and your mind were elsewhere. A three-word sentence, for instance, might take a full week to complete, counting sketches, revisions and final inking. Morrone, of course, does not work for kicks alone. He has

completed numerous commercial assignments, including a series of Academy Award winners and an announcement for the Opera San Jose. His favorite piece of work? The valentine on our cover, which was a three-month labor Marion Muller of love.

HEADLINE: ITC FRANKLIN GOTHIC MEDIUM, HEAVY

TEXT: HEAVY

BYLINE: BOOK ITALIC

20

The Assignment of a Lifetime

In these visually intoxicating times of razzledazzle videos...glitzy computer graphics with millions of color options...can an artist thrive in black and white alone? The answer is an equivocal, "Yes, if..." Yes, if you're in a league with Jerry Dadds. Dadds is an artist, illustrator and printmaker who has a way with pen and ink, and with an X-Acto knife and woodblock, that makes black and white more luminous than color. In fact, it was precisely because of his drawing and woodcut virtuosity that Dadds was singled out for the assignment of a lifetime. Not the most spectacular assignment... not the most lucrative, but by far one of the most prestigious an artist could hope for. He was invited to design a cornplete series of commemorative stamps for the U.S. Postal Service. Jerry Dadds, co-founder of Eucalyptus Tree Studio in Baltimore, was hand picked for the job by Howard Paine, the Design Coordinator for the Citizens Stamp Advisory Committee. Paine, who is also art director of National Geographic, was familiar with Dadds' work and especially admired his woodcuts. It was exactly the vigorous, human touch he hoped for in the series of stamps which was to commemorate all the deceased presidents of the United States, from George Washington to Lyndon Johnson. There were to be 35 portraits in all. The work started in 1982, and while there was no pressure for speed, absolute secrecy was imposed. The project was to be kept under wraps until the stamps were ready for issue, which meant that Dadds had to work outside

USA 22

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Zachary Taylor iI IHo

for,

USA22
William H Taft

Commemorative stamps of U. S. Presidents designed in woodcut style for the S. Postal Service.

UI

of the studio, in his own home, during evenings and weekends. Even his co-workers at the studio had no idea of the undercover work Dadds had assumed. Not only the drawings, but all the preparations had to be carried out in secret and in his extra-curricular hours. He combed flea markets, old book stores and the National Portrait Gallery for reference material. He prepared hundreds of preliminary drawings. Not the least of the complications was the fact that each and every portrait had to be approved by the Citizens Stamp Advisory Committee. If you have ever dealt with a single fastidious client, you can imagine the complexity of satisfying a

committee that included such disparate experts as a graphic designer, a professor of history, the curator of sculpture at the National Gallery, the author James Michener, and Digger Phelps, basketball coach at Notre Dame. Amazing as it may seem, Jerry Dadds has nothing but the most benevolent words about the committee. For the most part their criticism was confined to a wrinkle in a neck...a twinkle in an eye. "None of the comments were ridiculous; they were all valid and improved the stamps a lot," he observed.

22

The first portrait Dadds attempted, and his favorite, was of Martin Van Buren. His voluminous curly locks and sideburns, gnarled and draped folds of skin, cleft chin and poet-like ruffled shirt integrated perfectly with the texture and grain of the wood. The hand-hewn antiquity of the portrait was exactly the mood desired, and could easily be sustained in the portraits of the other 18th- and 19th-century presidents. But it was the 20th-century men, with their clean-shaven faces, cropped hair and modern dress that created problems for Dadds. Coolidge and Hoover were no match for Adams and Lincoln as models. Nevertheless, Dadds persevered, imbuing each drawing

with "character" even as he scrupulously maintained an honest likeness. In the end, it was decided that, since the stamps were to be printed from steel engravings, it was pointless to execute the artwork in woodcut form. Instead, Dadds rendered the final versions in pen and ink, mimicking the texture and line of his woodcut technique. All the portraits were positioned in threequarter view with eyes facing front. Only George Washington gazes upward, intimating his visionary role as father of the country. The background color of the stamps is a light tan, reminiscent of wood tone. The presidential signatures are engraved in red. The 35 portraits

(A) Woodcut with sheep motif designed for 1985 peace poster (B) Cover for 1986 calendar. (CDE) Woodcuts demonstrating Dadds ' fascination with sheep forms, textures and color
D

23

are divided among four mini-sets of nine presidents each. The last set, with only eight portraits, included a view of the White House to fill out the block. The series, two years in the designing, and two more years in the plating and printing, was finally issued on May 22, 1986. Although Eucalyptus Tree Studio serves a wide cross section of commercial clients with design and illustration services in all styles and mediums, Dadds is especially intent on reviving woodcut as a fine art form and in advertising illustration. His woodcuts have been

exhibited in a number of museums and college art galleries. He has also won professional recognition for his commercial design and illustration from Graphis, the One Show, CA Annual, Chicago Art Directors Annual, New York and Washington Metropolitan Art Directors Clubs, among others. With luck, you may still be able to obtain some of Dadds' commemorative stamps at your post office. Where else can you get a work of art for 22 cents? Marion Muller

(F) Portrait of John Brown, woodcut, 1967 (G) Portrait of Martin Van Buren, woodcut, 1983, his first and favorite portrait in the presidential series. (H) Portrait of George Washington, woodcut, exhibition poster, 1984.

HEADLINE. ITC VELJOVIC BLACK

TEXT: BOOK

CAPTIONS, BOOK ITALIC, BLACK ITALIC

BYLINE: BOOK ITALIC

24 FAMILIES TO REMEMBER

HE DAMBOISES
and the object is to arouse enthusiasm for the entire spectrum of dancetap ballet, modern, jazz and ethnic. Although d'Amboise's exuberance is contagious, he is not aiming to create a nation of professional dancers, just a population of participants. If nothing else, his efforts should at least dispel the notion that dance is just for women and sissies, and should guarantee a future audience for dance in America. Each year the National Dance Institute winds up its activities with a rousing fund-raising drive at the Felt Forum in New York's Madison Square Garden, where as many as 1,500 children dance their hearts out for the benefit of the Institute and for the man who has become the Pied Piper of Dance. Recently d'Amboise and his wife Carolyn George, also a retired New York City Ballet star, traveled to China to recruit 50 children to dance along with the American youngsters at the annual Felt Forum spectacular, in a spirit of cultural camaraderie. Considering the d'Amboises' dedication to dance, they were surprisingly laid back where their own children were concerned. Christopher and Charlotte, the only two of their four children who followed their parents onto the stage, did so without much encouragement from the d'Amboise seniors. They were never required or even urged to take dance classes. In fact, Christopher reported that he and his sister were actively dissuaded from going "professional." When he was 16, his parents enrolled him in a summer arts camp to broaden his horizons. But by 18, he was a member of the New York City Ballet, and he has been a prominent performer for the past eight years. Equally adept at tap dancing, he recently appeared with his sister in a Broadway musical, Song and Dance. But in spite of his multiple talents and enthusiasm for singing, acting and writing, dance is where he feels most at home. Charlotte d'Amboise, who has been dancing since she was eight, has never aspired to fill anyone's ballet slippers. She has always wanted to sing and act as well as dance, and much prefers the Broadway climate to that of classical ballet. The free spirit of the musical theater is much more suited to her temperament than the self-conscious, confining discipline of the ballet world. Her recent performances in Cats and Song and Dance drew superlatives from choreographers and connoisseurs alike: "tantalizing"... "slinky"..."sexy"..."the hot new dancing lady of the musi-

You might expect that after 30 years of strenuous performing, a dancer would be happy to get off his feet for a while. Not Jacques d'Amboise. For three decades, he was one of the highly visible principal dancers in the New York City Ballet company. In his late forties, when it seemed appropriate to retire as a performer, he stepped almost immediately into a new role as a missionary of dance. d'Amboise is determined to spread the gospel of dance as a joyous human experiencenot reserved for just a few select professionalsbut for the entire human family. He would like to see people enjoy dancing as naturally and freely as they sing, run, swim, play tennis, golf or baseball. Wisely, he started his crusade with children. A little more than ten years ago, he organized his first dance class in a New York City public school with a nucleus of six little boys. (Little girls, it seems, need no persuasion when it comes to donning leotards and tutus.) In time, d'Amboise expanded into more than a dozen public schools in the New York metropolitan area, and his program developed into what is now the National Dance Institute. Currently, NDI classes are operating in New England and San Francisco and the idea is gradually spreading across the United States. The program is geared to children from eight to 14

leg

& ITC ERAS

ITC Eras was inspired by Greek stonecut lapidary letters and Roman capitals. The result is a linear emphasis and a blend of sharp angularity and broad curves. This combination of wide curves and open counters creates an inviting typeface that is distinctive and still highly readable. ITC Eras is not a precise, geometric face. It was created to appear spontaneous, like a written script. This is particularly evident in its slight forward slant and compound character shapes. This touch of style also enhances the already commanding capitals which are perfect for titling purposes. The subtle variation from a strict vertical stress, careful modulation in stroke weight, and a lowercase that projects a pronounced design personality make ITC Eras a sans serif of unusual distinction and character. Yet, despite this distinction, ITC Eras has proved, over the years, its versatility and applicability to a wide variety of typographic needs. In addition, the lowercase is designed to allow tight letterfit with no loss of legibility. French designer Albert Boton, who also created the recently released ITC Elan, drew ITC Eras in collaboration with the late Albert Hollenstein. ITC Eras is ideal for virtually any application that calls for a sans serif design, and many generally reserved for serif faces. It can be used equally well for menus, book jackets, display headlines, and many other applications which call for a face of distinction and personality; as well as in such uses as tabular material and continuous text, which require character legibility and reading ease. ITC Eras, another ITC family to be rememberedand used.

cal theater." But the most rewarding critique came from dad d'Amboise who declared: "Her talent is more than what my wife and I have together." Such an appraisal is especially satisfying to Charlotte, since she has proved herself in an area in which her parents have no clout and know very little about. If all the d'Amboise dancers just keep doing what they're doing, dance will be alive and thriving in America for generations to come.
ILLUSTRATIONS BY WILLIAM BRAMHALL

HEADLINE. ITC ERAS DEMI

SUBHEAD / CAPTIONS: BOOK

TEXT . BOOK, BOLD

26

ITC ERAS
LIGHT You might expect that after 30 years of strenuous perfo rming, a dancer would be happy to get off his feet for a while. Not Jacques d'Amboise. For three decades, h e was one of the highly visible principal dancers in the New York City Ballet company. In his late forties, when it seemed appropriate to retire as a performer, he step ped almost immediately into a new role as a missiona ry of dance. d'Amboise is determined to spread the go spel of dance as a joyous human experiencenot rese rved for just a few select professionalsbut for the enti re human family He would like to see people enjoy d ancing as naturally and freely as they sing, run, swim play tennis, golf or baseball. Wisely, he started his crus ade with children. A little more than ten years ago, he organized his first dance class in a New York City public school with a nucleus of six little boys. (Little girls, it see ms, need no persuasion when it comes to donning le otards and tutus.) In time, d'Amboise expanded into more than a dozen public schools in the New York me
BOOK You might expect that after 30 years of strenuous perf orming, a dancer would be happy to get off his feet f or a while. Not Jacques d'Amboise. For three decade s, he was one of the highly visible principal dancers in the New York City Ballet company. In his late forties, w hen it seemed appropriate to retire as a performer, he stepped almost immediately into a new role as a miss ionary of dance. d'Amboise is determined to spread t he gospel of dance as a joyous human experience not reserved for just a few select professionalsbut fo r the entire human family. He would like to see peopl e enjoy dancing as naturally and freely as they sing, ru n, swim, play tennis, golf or baseball. Wisely, he starte d his crusade with children. A little more than ten yea rs ago, he organized his first dance class in a New York City public school with a nucleus of six little boys. (Litt) e girls, it seems, need no persuasion when it comes to donning leotards and tutus.) In time, d'Amboise expa nded into more than a dozen public schools in the N DEMI You might expect that after 30 years of strenuo us performing, a dancer would be happy to get off his feet for a while. Not Jacques d'Amboise. For three decades, he was one of the highly visi ble principal dancers in the New York City Balle t company. In his late forties, when it seemed a ppropriate to retire as a performer, he stepped almost immediately into a new role as a missio nary of dance. d'Amboise is determined to spre ad the gospel of dance as a joyous human expe riencenot reserved for just a few select profes sionalsbut for the entire human family. He w ould like to see people enjoy dancing as natura Ily and freely as they sing, run, swim, play tenni s, golf or baseball. Wisely, he started his crusad e with children. A little more than ten years ag o, he organized his first dance class in a New Yo rk City public school with a nucleus of six little boys. (Little girls, it seems, need no persuasion

27

MEDIUM You might expect that after 30 years of strenuous per forming, a dancer would be happy to get off his feet for a while. Not Jacques d'Amboise. For three decad es, he was one of the highly visible principal dancers in the New York City Ballet company. In his late fortie s, when it seemed appropriate to retire as a perform er, he stepped almost immediately into a new role as a missionary of dance. d'Amboise is determined to s pread the gospel of dance as a joyous human experi encenot reserved for just a few select professionals but for the entire human family. He would like to s ee people enjoy dancing as naturally and freely as th ey sing, run, swim, play tennis, golf or baseball. Wisel y, he started his crusade with children. A little more t han ten years ago, he organized his first dance class i n a New York City public school with a nucleus of six little boys. (Little girls, it seems, need no persuasion when it comes to donning leotards and tutus.) In tim e, d'Amboise expanded into more than a dozen publ BOLD You might expect that after 30 years of str enuous performing, a dancer would be ha ppy to get off his feet for a while. Not Jacq ues d'Amboise. For three decades, he was one of the highly visible principal dancers in the New York City Ballet company. In his late forties, when it seemed appropriate t o retire as a performer, he stepped almost immediately into a new role as a missionar y of dance. d'Amboise is determined to spr ead the gospel of dance as a joyous human experiencenot reserved for just a few sel ect professionalsbut for the entire huma n family. He would like to see people enjo y dancing as naturally and freely as they si ng, run, swim, play tennis, golf or basebal I. Wisely, he started his crusade with childr en. A little more than ten years ago, he or ganized his first dance class in a New York

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVVVVVXYZ 1234567890&&SCE% COIECEBC0elecefffiffiflifitt

ULTRA You might expect that after 30 years of str enuous performing, a dancer would be ha ppy to get off his feet for a while. Not Jacq ues d'Amboise. For three decades, he was one of the highly visible principal dancers in the New York City Ballet company. In hi s late forties, when it seemed appropriate to retire as a performer, he stepped almos t immediately into a new role as a mission ary of dance. d'Amboise is determined to spread the gospel of dance as a joyous hu man experiencenot reserved for just a fe w select professionalsbut for the entire human family. He would like to see peopl e enjoy dancing as naturally and freely as they sing, run, swim, play tennis, golf or baseball. Wisely, he started his crusade wi th children. A little more than ten years a go, he organized his first dance class in a

28

TECHN G ALERT.
WORKSTATIONS
Live Page 3300 is a new family of workstations that uses Texet 3s general graphics workstation to support its composition and pagination software, the Live Image Publishing System. The software is powerful and is for corporate and commercial publishers. The LP 3300 is a high-power, high-speed workstation. Texet Corporation, Arlington, MA 02174...Compagraphie Corporation and Texet Corporation have reached an agreement under which Compugraphic will manufacture and market corporate electronic publishing systems that integrate Texet professional electronic publishing software with Compugraphic hardware. Compugraphic Corporation, Wilmington, MA 01887...The EPICS 20/20 workstation handles both batch and interactive composition for the high-speed EPICS-XL Composition System. It is an option on new systems and can be used to upgrade existing installations. Varityper, East Hanover, NJ 07036... The Digitext High-Speed Text Entry System enables users to enter text into compu ler and word processing systems three to five times faster than existing keyboards. Digitext plugs into computers or word processors. Digitext, Inc., Thousand Oaks, CA 91360... An 8 1/2" x II" screen is now available for use on the Macintosh. Radius, Inc. Sunnyvale, CA 94086.

EDWARD M GO CHA

IMAGESETTERS
Compugraphic's 8668 ImageSetter, a photo output device, can now be interfaced with graphic publishing or other application systems. With this interface, high quality output can be produced on either paper or film. Compugraphic Corporation, Wilmington, MA 01887...The new Linotronic 500 is a laser image setter. It has many of the features of the Linotronic 300, while offering an extra 36-pica line measure of 108 picas. It can produce a broadsheet newspaper page in 90 seconds. Linotype Co., Hauppauge, NY 11788...Varityper's 6700 Series of slave digital typesetters can now be configured to provide output from other manufacturers' front-end terminals or PC composition programs as well as from Varityper's own products. Varityper, East Hanover, NJ 07936.

COPIERS
Electroink is a new liquid toner technology for plain piper copiers. It promises "to equal the quality of offset printing presses." It can double the resolution of present dry toners. The technology was developed by an Israeli company, Indigo Limited, for Savin Corp., and has been licensed to Du Pont, Harris Graphics Corp., and Xerox... Low-cost, desktop color copiers are here. The Sharp CX-5000 uses digital technology, color film and thermal transfer printing to copy everything from color photos to multicolor charts and graphs. Sharp Electronics Corp., Mahwah, NJ 07430.

PRINTERS
The new Ektaprint 1392 printer not only brings Eastman Kodak Company into the printer market but offers an alternative to presently available laser non-impact printers. The 1392 uses a light-emitting diode (LED) array image writer and is said to offer superior text and graphics at 92 images per minute. It can be linked to the Kodak Ektaprint Electronic Publishing System (KEEPS) and is available to OEMS. The 1392 KEEPS version is due on the market in April 1987 and, when fully configured, will sell for under $200,000. Also available is a lowvolume LED printer, the Ektaprint 1320, that outputs 20 . pages per minute and can handle up to 11" x 17" pages. Both products are being offered as proofing or final output printers. Eastman Kodak Company, Rochester, NY 14650...The Xerox 3700 laser printing system now offers a 50-megabyte disk option, a 1-megabyte image generator, new source data modules and a new output stacker with quadrupled capacity. The Xerox 9790 and Xerox 8790 laser printers have four times the disk storage capacity and 2 1/2 times the central processing power than the 9700 and 8700 printing systems, as well as reduced operator intervention and increased throughput of merged text and graphics output. Xerox Corporation, El Segundo, CA 90245...A 400 dpi PostScript printer, the Agfa P400 PS, uses a LED array, prints up to 18 changing pages per minute. It comes with a basic typeface library. Adobe Systems Inc., Palo Alto, CA 94303...The Lynx Laser now offers ITC typeface designs, an 81/2" x 14" printer option, a print speed of 15 copies per minute and a PostScript software driver option. Offered as a proofer, it lets typographers reduce their reliance on photo-paper. It presently offers 750 fonts on line. Its software and board can drive Canon-engine printers like Apple's LaserWriter and ams' 800 and can emulate the ouput of Linotron 202s, 202Ns, and 202Ws, among other devices.

A productive forms designer is part of Varityper's overall system enhancements for its Graphics Text Organizer. An integral part of the new GTO 3.0 software, the GTO Forms Designer provides a means of creating, editing and saving complex, multi-page forms. Forms may be generated using the WYSIWYG screen, tablet and mouse without requiring the user to enter cumbersome codes. The entire form may be stored and recalled for later modification. GTO 3.0 software is available at no cost to present system users and will be a standard feature on all new workstations sold. Varityper, East Hanover, NJ 07936.

ILLUSTRATION BY DANIEL PELAVIN WORKSTATIONS: ITC MODERN NO 216 HEAVY ITALIC WITH MEDIUM ITALIC HEADLINE ITC SERIF GOTHIC HEAVY BYLINE: REGULAR SUBHEADS ITC KABEL ULTRA PRINTERS: ITC WEIDEMANN BOOK WITH BOLD CAPTION: ITC AVANT GARDE GOTHIC BOOK CONDENSED WITH BOLD CONDENSED BOLD CONDENSED ITALIC IMAGESETTERS: ITC CLEARFACE REGULAR WITH HEAVY COPIERS: ITC GARAMOND LIGHT CONDENSED ITALIC WITH

29

SOFTWARE
Major developments today and in the immediate future will greatly expand the power and applications of communication graphics software, especially in the area of text-graphics merging and page make-up. Some of the most recent offerings are summarized here. Ready, Set, Go! 3, an electronic page-design and layout program will be distributed world-wide by Letraset. For use on Apple's Macintosh, it offers a powerful, low-cost, easy-to-use, flexible software package. The format permits a text or graphics block to be freely positioned, as well as offering kerning, leading and PostScript compatibility. Letraset USA, Paramus, NJ 07653... Enhanced pagination software on APS-Microcomposer II includes automatic ligatures, superior and inferior percentages, coupon rules and set-to-fit. Standard capabilities include graphics and special effects such as tints, change area from negative to positive, 360 degree character rotation and baseline slant. An optional digitizer pad with stylus pen permits setting text to flow around or inside an object. Autologic, Inc., Newbury Park, CA 91320... RT Publishing Software is a new high-function desktop publishing system for the IBM RT Personal Computer. It is a fast, easyto-use way to integrate multi-column text with sophisticated graphics and offers extensive formatting capabilities. It will be sold by IBM. Developed by Interleaf Inc., Cambridge, MA 02141... MacTEXT" software transforms the Macintosh into a "powerful professional typesetting" system, according to Apple Computer. It employs TEXT,'" a highly advanced typesetting language with a wide range of professional features, including hyphenation and justification, kerning, ligatures, automatic pagination, headers, footnotes, and automatic generation of index, table of contents and bibliography. Works with PostScript compatible typesetters and printers. FTL Systems Inc., Toronto, Ontario, Canada M4P 1K5... The Xerox Desktop Publishing Series, Ventura Publisher Edition, is a graphics/text merge package for producing newsletters, technical manuals, books, catalogs, proposals and other documents on the Xerox 6065 personal computer, and the IBM PC XT/AT and compatibles. It also supports most laser printers and the Xerox 4020 inkjet printer. It includes a WYSIWYG interface to facilitate screen editing, a mouse,

and drop down menus. It reformats changes at the rate of 20,000 characters per second. Preprogrammable document formats suggest layouts and typefaces to users not typographically experienced. Xerox Corporation, El Segundo, CA 90245...A new version of PageMaker will run on the IBM PC AT and compatibles. Page Maker for the PC, operating under Microsoft Windows, features a user interface very similar to the Macintosh version of PageMaker. The new 2.0 version of PageMaker offers 20 new features, including kerning, hyphenation and justification, and support for large documents. Aldus Corporation, Seattle, WA 98104... Ragtime is a new integrated desktop publishing software package for the Macintosh. It claims ease of use and the ability to create forms and spreadsheets as well as merge text and graphics for multi-column formats. Orange Micro Inc., Anaheim, CA 92807... Omnipage TM The Page Processor TM is a workstation-based computer-aided publishing system featuring capabilities that include text and graphics integration, batch and interactive composition and pagination, multiple working windows and easy system customization. Page layouts are designed interactively. The system interfaces a wide range of graphics software for business graphics, 2D and 3D mechanical drafting, and technical illustration systems. Multiple typographic formats can be stored for reuse...A new kit from The Laser Connection a subsidiary of QMSlets you add PostScript compatibility to a Hewlett-Packard Laserjet or LaserJet Plus, a Canon Al/A2, or an NCR or QMS Lasergrafix 800 PostScript Laser Printer. PS Jet gives you the advantages of PostScript without having to buy a new printer. Its two megabytes of RAM easily holds downloadable fonts from the Adobe Type Library, and it has RS-232C, RS-422, and AppleTalk interfaces. Adobe Systems Inc., Palo Alto, CA 94303... Texet users can now create and edit complex multi-level equations on the Live Image Publishing System. Standard features include the creation of fractions, nesting superscripts and subscripts, nesting delimiters, summations, integrals, radicals and vector notations. Users have two choices: (1) to create math equations interactively using plain-English menus and simple mouse picks, or (2) to use generic coding to describe the equations, keyed in on a wide variety of personal computers, minis, mainframes and word processors. Texet CorLaser Versus LEDLaser
printers harness the precise, highly uniform beam of light emitted by gas or solid state lasers to write directly on a photosensitive drum or belt which, in turn, picks up toner that is fused to the paper hard copy. A laser printer will write one point at a time. LED systems use a linear array of light-emitting diodes the width of the paper to write all the points, or pixels, on a given line at one time. Kodak's LED writer has a 'light stick" with 3,584 separate LEDs, that exposes the photoconductive surface with a single pass along its length. The LED design offers longer printhead life and consistent quality output.

poration, Arlington, MA 02174... MetaForm Professional is a Unix-based system that contains software modules for designing graphics, forms, fonts, and page layouts. It can create new character sets for existing fonts, or modify fonts by resizing, slanting, reversing, emboldening, etc. Intran Corporation, Minnetonka, MN 55343... Alphacalc is professional copyfitting and estimating software for typesetters and type buyers. It is for IBM PCs and compatibles and was developed by Alpha Bytes, Inc. For information, National Composition Association, Arlington, VA 22209... New software from Xyvision includes packages for Interactive Page Layout, a Magazine Pagination Option, PC Workstation (to enable IBM computers to emulate a Xyvision workstation), Xygraphic Vector Drawing Package, Structured Tabular Composition, and Virtual NET, (a wide area network facility). Xyvision, Woburn, MA 01801... Page Perfect is integrated electronic publishing software. It is a fully interactive WYSIWYG system that incorporates desktop publishing, word processing, image processing and file management for the IBM AT. Beyond Words, Fairfax, CA... New software packages offered by Xerox include PC Paintbrush and Publishert Paintbrush. Developed by Z-Soft Corporation, they allow rapid creation and manipulation of graphic images on IBM PC XT/AT and compatible computers, including the Xerox 6065. Xerox is also marketing Alphabets, a new font generation software program. It allows users to create thousands of fonts as well as electronic signatures and logos. More than 4,000 fonts from four basic styles can be created on a WYSIWYG screen and stored as font files on floppy disks downloadable to a printer. Users can modify one of the four basic styles by varying degrees of slope or weight, creating shadow or outline versions, or altering pitch, for example. PC Type Right verifies spelling as text is being typed. It checks text entries against a 100,000 word dictionary in less time than it takes a typist to depress and release a space bar. Xerox Corporation, El Segundo, CA 90245... Publish Pac software brings scanning to the Macintosh Plus. With it, text or images can be scanned into desktop publishing programs. The software works with PC Scan and PC Scan Plus scanner, which also interfaces to IBM PCs and compatibles. Dest Corporation, Milpitas, CA 94303.

COLOR MONITORING, PROOFING

A remote color monitoring system allows real-time, fourcolor soft proofing by graphic arts suppliers and their customers, regardless of distance. The system includes hard disk storage and a frame freezing capability. It is interfaced with the Hell CombisKop Operating Console. Hell Graphic Systems, Inc., Port Washington, NY 11050. The Iris 2024 Color Ink Jet Printer is a smaller configuration of the 2044. Full-color 18" x 24" proofs can be produced on the 2024 in about 12 minutes at a cost of less than 25 cents. This direct-digital color proofing system is for color separators, printers, and publishers. Iris Graphics, Inc., Stoneham, MA 02180.

Film Imaged ne

Lens LED Array

Start of Scan Sensor Control Electronics

SUBHEADS: ITC BABEL ULTRA

SOFTWARE: ITC USHERWOOD BOOK WITH BOLD

COLOR MONITORING, PROOFING: ITC CENTURY BOOK CONDENSED WITH BOLD CONDENSED

CAPTION: ITC AVANT GARDE GOTHIC BOOK CONDENSED WITH BOLD CONDENSED

30

What's New
Vincent Pacella has been vitally involved in every typeface that ITC has released. He oversees and directs the exacting process of preparing master artwork for ITC Subscriber companies. As part of this process he must fine-tune character spacing, make subtle but important changes to character shapes, ensure design consistency within each typeface and throughout a family. On occasion he has added characters missing from supplied renderings, and even worked in harmony with the original type designer to fill out a family range. An accomplished, talented and prolific type designer in his own right, Mr. Pacella has created hundreds of display typestyles for Photo-Lettering, Inc. in New York, as well as ITC Cushing for International Typeface Corporation. Even with this vast and substantive contribution to the typographic industry, Vince Pacella has had no typeface bearing his name - until now ITC Pacella is the second ITC release created by Mr. Pacella and the first to carry his name. Fashioned in the tradition of Century Schoolbook, Corona, and Nimrod, ITC Pacella is a typeface which maintains exceptionally high standards of character legibility. Its x-height is large, but not excessive; counters are full; and contrast in stroke weight is kept to a minimum for a serif typestyle. These important traits for typeface legibility are even carried over into the heavier weights and italic designs. The italic is exceptionally legible for a true cursive form. When set in text composition, ITC Pacella produces copy that is inviting, even in color, and easy to read page after page. ITC Pacella does not fall into design anonymity, as do many legibility designs. It also has a character and personality of its own. A slight spur on the terminal of the lowercase "a" is echoed throughout the design. The bowls of the capital "P" and "R" do not quite close. The "r" has a slightly abbreviated flag which not only adds distinction, it also improves inter-character spacing relationships. And, finally, in a number of the curved strokes in the roman, and more in the italic, there is just a hint of calligraphic vitality.
2

1. Vincent Pacella 2. Spur on the terminal of the lowercase "a." 3. Open bowls of the capital "P" and "R." 4. Slightly abbreviated flag on the lowercase "r."

PR

31

from ITC ITC Pace.: ITC Pacella ITC Pacella ITC Pacella
ITC Pacella- is available in Book, Medium, Bold and Black weights with corresponding italics. Small caps have been created for the Book and Medium weights. Oldstyle figures are available for the roman and italic designs in all weights. Only licensed ITC Subscribers are authorized to reproduce, manufacture, and offer for sale these and other ITC typefaces shown in this issue. This license is your guarantee of authenticity. These new typefaces will be available to the public on or after CENS Ms May 15, 1987, depending on each manufacturer's release schedule.

ITC PACELLA"

BOOK

MEDIUM

BOLD

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BOOK ITALIC

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BLACK

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MEDIUM ITALIC

BOLD ITALIC

BLACK ITALIC

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34

ITC PACELLA

BOOK
Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemporary ad vertising the perfect integration of design elements often d emands unorthodox typography. It may require the use of c ompact spacing, minus leading, unusual sizes and weights whatever is needed to improve appearance and impact. Stat ing specific principles or guides on the subject of typograp 6 POINT

MEDIUM
Excellence in typography is the result of nothing more th an an attitude. Its appeal comes from the understanding u sed in its planning; the designer must care. In contempor ary advertising the perfect integration of design elements often demands unorthodox typography. It may require th e use of compact spacing, minus leading, unusual sizes an d weights; whatever is needed to improve appearance and impact. Stating specific principles or guides on the subjec

BOLD
Excellence in typography is the result of nothing more t han an attitude. Its appeal comes from the understandin g used in its planning; the designer must care. In contem porary advertising the perfect integration of design elem ents often demands unorthodox typography. It may requ ire the use of compact spacing, minus leading, unusual sizes and weights; whatever is needed to improve appe arance and impact. Stating specific principles or guide

BLACK
Excellence in typography is the result of nothing more t han an attitude. Its appeal comes from the understandi ng used in its planning; the designer must care. In cont emporary advertising the perfect integration of design elements often demands unorthodox typography. It ma y require the use of compact spacing, minus leading, u nusual sizes and weights; whatever is needed to improv e appearance and impact. Stating specific principles or

Excellence in typography is the result of nothing m ore than an attitude. Its appeal comes from the und erstanding used in its planning; the designer must c are. In contemporary advertising the perfect integra tion of design elements often demands unorthodox typography. It may require the use of compact spaci ng, minus leading, unusual sizes and weights; what ever is needed to improve appearance and impact. S
7 POINT

Excellence in typography is the result of nothing m ore than an attitude. Its appeal comes from the und erstanding used in its planning; the designer must care. In contemporary advertising the perfect integr ation of design elements often demands unorthodo x typography. It may require the use of compact sp acing, minus leading, unusual sizes and weights; w hatever is needed to improve appearance and impa

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designe r must care. In contemporary advertising the pe rfect integration of design elements often demand s unorthodox typography. It may require the use of compact spacing, minus leading, unusual size s and weights; whatever is needed to improve ap

Excellence in typography is the result of nothin g more than an attitude. Its appeal comes from t he understanding used in its planning; the desi gner must care. In contemporary advertising th e perfect integration of design elements often d emands unorthodox typography. It may require the use of compact spacing, minus leading, unu sual sizes and weights; whatever is needed to im

Excellence in typography is the result of noth ing more than an attitude. Its appeal comes fr om the understanding used in its planning; th e designer must care. In contemporary adverti sing the perfect integration of design element s often demands unorthodox typography. It m ay require the use of compact spacing, minus leading, unusual sizes and weights; whatever
8 POINT

Excellence in typography is the result of noth ing more than an attitude. Its appeal comes f rom the understanding used in its planning the designer must care. In contemporary adve rtising the perfect integration of design elem ments often demands unorthodox typograph y. It may require the use of compact spacing minus leading, unusual sizes and weights; wh

Excellence in typography is the result of no thing more than an attitude. Its appeal com es from the understanding used in its plan ning; the designer must care. In contempor ary advertising the perfect integration of de sign elements often demands unorthodox t ypography. It may require the use of compa ct spacing, minus leading, unusual sizes an

Excellence in typography is the result of no thing more than an attitude. Its appeal co mes from the understanding used in its pl anning; the designer must care. In contem porary advertising the perfect integration of design elements often demands unorth odox typography. It may require the use o f compact spacing, minus leading, unusua

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in it s planning; the designer must care. In co ntemporary advertising the perfect integ ration of design elements often demands unorthodox typography. It may require th e use of compact spacing, minus leading
9 POINT

Excellence in typography is the result of nothing more than an attitude. Its appea I comes from the understanding used in its planning; the designer must care. In c ontemporary advertising the perfect inte gration of design elements often deman ds unorthodox typography. It may requir e the use of compact spacing, minus lea

Excellence in typography is the result o f nothing more than an attitude. Its app eal comes from the understanding use d in its planning; the designer must car e. In contemporary advertising the per fect integration of design elements ofte n demands unorthodox typography. It m ay require the use of compact spacing

Excellence in typography is the result of nothing more than an attitude. Its a ppeal comes from the understanding u sed in its planning; the designer mus t care. In contemporary advertising th e perfect integration of design elemen ts often demands unorthodox typogra phy. It may require the use of compact

Excellence in typography is the resul t of nothing more than an attitude. It s appeal comes from the understandi ng used in its planning; the designer must care. In contemporary advertisin g the perfect integration of design ele ments often demands unorthodox ty pography. It may require the use of c
10 POINT

Excellence in typography is the resul t of nothing more than an attitude. I ts appeal comes from the understan ding used in its planning; the desig ner must care. In contemporary adve rtising the perfect integration of des ign elements often demands unorth odox typography. It may require the

Excellence in typography is the res ult of nothing more than an attitud e. Its appeal comes from the under standing used in its planning; the d esigner must care. In contemporary advertising the perfect integration o f design elements often demands u northodox typography. It may requ

Excellence in typography is the re suit of nothing more than an attitu de. Its appeal comes from the und erstanding used in its planning; t he designer must care. In contemp orary advertising the perfect integ ration of design elements often de mands unorthodox typography. It

Excellence in typography is the re sult of nothing more than an attitu de. Its appeal comes from the und erstanding used in its planning; th e designer must care. In contemp orary advertising the perfect integ ration of design elements often de mands unorthodox typography. It
11 POINT

Excellence in typography is the re sult of nothing more than an attit ude. Its appeal comes from the un derstanding used in its planning the designer must care. In contem porary advertising the perfect int egration of design elements often demands unorthodox typography
Excellence in typography is th e result of nothing more than a n attitude. Its appeal comes fro m the understanding used in it s planning; the designer must care. In contemporary advertis ing the perfect integration of d esign elements often demands

Excellence in typography is the r esult of nothing more than an at titude. Its appeal comes from the understanding used in its plann ing; the designer must care. In c ontemporary advertising the per fect integration of design elemen ts often demands unorthodox ty

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its p lanning; the designer must car e. In contemporary advertising the perfect integration of desig n elements often demands uno

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its p lanning; the designer must care In contemporary advertising th e perfect integration of design e lements often demands unorth
12

Excellence in typography is th e result of nothing more than an attitude. Its appeal comes f rom the understanding used i n its planning; the designer m ust care. In contemporary adv ertising the perfect integratio n of design elements often de

Excellence in typography is t he result of nothing more tha n an attitude. Its appeal corn es from the understanding u sed in its planning; the desig ner must care. In contempor ary advertising the perfect in tegration of design elements

POINT

Excellence in typography i s the result of nothing mor e than an attitude. Its appe al comes from the understa nding used in its planning the designer must care. In c ontemporary advertising th e perfect integration of des
14 POINT

Excellence in typography i s the result of nothing mor e than an attitude. Its appe al comes from the underst anding used in its plannin g; the designer must care. I n contemporary advertisin g the perfect integration of

Excellence in typography is the result of nothing m ore than an attitude. Its ap peal comes from the unde rstanding used in its plan ning; the designer must ca re. In contemporary adver tising the perfect integrat

Excellence in typography is the result of nothing m ore than an attitude. Its a ppeal comes from the un derstanding used in its p lanning; the designer m ust care. In contemporar y advertising the perfect i

35

BOOK ITALIC
Excellence in typography is the result of nothing more than a n attitude. Its appeal comes from the understanding used in i is planning; the designer must care. In contemporary adverb sing the perfect integration of design elements often demand s unorthodox typography. It may require the use of compact s pacing, minus leading, unusual sizes and weights; whatever i s needed to improve appearance and impact. Stating specific principles or guides on the subject of typograpphy is difficult 6 POINT

MEDIUM ITALIC
Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemporary ad vertising the perfect integration of design elements often d emands unorthodox typography. It may require the use of c ompact spacing, minus leading, unusual sizes and weights; w hatever is needed to improve appearance and impact. Stati ng specific principles or guides on the subject of typograph

BOLD ITALIC
Excellence in typography is the result of nothing more th an an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contempo rary advertising the perfect integration of design element s often demands unorthodox typography. It may require t he use of compact spacing, minus leading, unusual sizes a nd weights; whatever is needed to improve appearance an d impact. Stating specific principles or guides on the subj

BLACK ITALIC
Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understan ding used in its planning; the designer must care. In co ntemporary advertising the perfect integration of desi gn elements often demands unorthodox typography. It may require the use of compact spacing, minus leadin g, unusual sizes and weights; whatever is needed to im prove appearance and impact. Stating specific princip

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understa nding used in its planning; the designer must care. In contemporary advertising the perfect integration of d esign elements often demands unorthodox typograph y. It may require the use of compact spacing, minus le ading, unusual sizes and weights; whatever is needed to improve appearance and impact. Stating specific p
7 POINT

Excellence in typography is the result of nothing mo re than an attitude. Its appeal comes from the unde rstanding used in its planning; the designer must ca re. In contemporary advertising the perfect integrat ion of design elements often demands unorthodox t ypography. It may require the use of compact spacin g, minus leading, unusual sizes and weights; whatev er is needed to improve appearance and impact. Sta

Excellence in typography is the result of nothing m ore than an attitude. Its appeal comes from the u nderstanding used in its planning; the designer m ust care. In contemporary advertising the perfect integration of design elements often demands un orthodox typography. It may require the use of co mpact spacing, minus leading, unusual sizes and weights; whatever is needed to improve appearan

Excellence in typography is the result of nothin g more than an attitude. Its appeal comes from the understanding used in its planning; the desi gner must care. In contemporary advertising th e perfect integration of design elements often d emands unorthodox typography. It may require the use of compact spacing, minus leading, unu sual sizes and weights; whatever is needed to im

Excellence in typography is the result of nothin g more than an attitude. Its appeal comes from the understanding used in its planning; the des igner must care. In contemporary advertising t he perfect integration of design elements often demands unorthodox typography. It may requi re the use of compact spacing, minus leading, u nusual sizes and weights; whatever is needed t
8 POINT

Excellence in typography is the result of noth ing more than an attitude. Its appeal comes fr om the understanding used in its planning; th e designer must care. In contemporary advert ising the perfect integration of design elemen ts often demands unorthodox typography. It m ay require the use of compact spacing, minus leading, unusual sizes and weights; whatever i

Excellence in typography is the result of no thing more than an attitude. Its appeal corn es from the understanding used in its plann ing; the designer must care. In contempora ry advertising the perfect integration of des ign elements often demands unorthodox typ ography. It may require the use of compact s pacing, minus leading, unusual sizes and w

Excellence in typography is the result of n othing more than an attitude. Its appeal c omes from the understanding used in its p lanning; the designer must care. In contem porary advertising the perfect integration of design elements often demands unortho dox typography. It may require the use of c ompact spacing, minus leading, unusual s

Excellence in typography is the result of n othing more than an attitude. Its appeal co mes from the understanding used in its pla nning; the designer must care. In contemp orary advertising the perfect integration o f design elements often demands unorthod ox typography. It may require the use of co mpact spacing, minus leading, unusual siz
9 POINT

Excellence in typography is the result of n othing more than an attitude. Its appeal comes from the understanding used in it s planning; the designer must care. In co ntemporary advertising the perfect integ ration of design elements often demands unorthodox typography. It may require th e use of compact spacing, minus leading, u

Excellence in typography is the result o f nothing more than an attitude. Its ap peal comes from the understanding use d in its planning; the designer must car e. In contemporary advertising the pelf ect integration of design elements often demands unorthodox typography. It ma y require the use of compact spacing, m

Excellence in typography is the result of nothing more than an attitude. Its a ppeal comes from the understanding u sed in its planning; the designer must care. In contemporary advertising the perfect integration of design elements often demands unorthodox typograph y. It may require the use of compact s

Excellence in typography is the result o f nothing more than an attitude. Its ap peal comes from the understanding us ed in its planning; the designer must c are. In contemporary advertising the p erfect integration of design elements o ften demands unorthodox typography It may require the use of compact spa
10 POINT

Excellence in typography is the resul t of nothing more than an attitude. It s appeal comes from the understandi ng used in its planning; the designer must care. In contemporary advertis ing the perfect integration of design e lements often demands unorthodox t ypography. It may require the use of c

Excellence in typography is the resu It of nothing more than an attitude. I ts appeal comes from the understan ding used in its planning; the desig ner must care. In contemporary ad vertising the perfect integration of d esign elements often demands unor thodox typography. It may require t

Excellence in typography is the re suit of nothing more than an attitu de. Its appeal comes from the and erstanding used in its planning; th e designer must care. In contempo rary advertising the perfect integr ation of design elements often dem ands unorthodox typography. It m

Excellence in typography is the res ult of nothing more than an attitud e. Its appeal comes from the under standing used in its planning; the d esigner must care. In contemporary advertising the perfect integration o f design elements often demands u northodox typography. It may requ
11 POINT

Excellence in typography is the re suit of nothing more than an attit ude. Its appeal comes from the un derstanding used in its planning; t he designer must care. In contemp orary advertising the perfect integ ration of design elements often de mands unorthodox typography. It

Excellence in typography is the r esult of nothing more than an at ttitude. Its appeal comes from th e understanding used in its plan ning; the designer must care. In contemporary advertising the pe rfect integration of design eleme nts often demands unorthodox ty

Excellence in typography is the result of nothing more than an a ttitude. Its appeal comes from t he understanding used in its pla nning; the designer must care. I n contemporary advertising the perfect integration of design ele ments often demands unorthod

Excellence in typography is the r esult of nothing more than an at titude. Its appeal comes from th e understanding used in its plan ning; the designer must care. In c ontemporary advertising the per fect integration of design elemen ts often demands unorthodox ty
12 POINT

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its p lanning; the designer must care In contemporary advertising th e perfect integration of design e lements often demands unorth

Excellence in typography is th e result of nothing more than a n attitude. Its appeal comes f rom the understanding used i n its planning; the designer m ust care. In contemporary adv ertising the perfect integratio n of design elements often de

Excellence in typography is t he result of nothing more tha n an attitude. Its appeal corn es from the understanding us ed in its planning; the design er must care. In contemporar y advertising the perfect inte gration of design elements o

Excellence in typography is t he result of nothing more th an an attitude. Its appeal co mes from the understanding used in its planning; the des igner must care. In contemp orary advertising the perfec t integration of design eleme
14 POINT

Excellence in typography is the result of nothing more t han an attitude. Its appeal comes from the understan ding used in its planning; t he designer must care. In c ontemporary advertising th e perfect integration of des

Excellence in typography i s the result of nothing mo re than an attitude. Its ap peal comes from the unde rstanding used in its plan ning; the designer must c are. In contemporary adv ertising the perfect integr

Excellence in typography is the result of nothing m ore than an attitude. Its a ppeal comes from the un derstanding used in its p lanning; the designer mu st care. In contemporary advertising the perfect in

36

Treasure Hunting in Maine

Structure of an Orchid

SEPAL

PETAL LABELLUM SEPAL

One day, two men on an innocent trek through the woods in New Brunswick, Canada, encountered some unexpected wildlife. In the space of one hour, they spotted four varieties of rare orchids sprouting through the forest floor. Now, those of us who come face-toface with orchids only in florist shops and greenhouses have no idea how the sight of an orchid in the wild stirs the adrenalin of people like Hank Tyler, a professional naturalist, and Greig Cranna, a photographer by profession and a naturalist by persuasion. Hank Tyler had no trouble identifying the rare specimens. Neither was he surprised to find orchids blooming as far north as Canada. Tyler is the director of a conservation project for the state of MaineThe Critical Areas Program whose purpose it is to locate, identify, and try to preserve the worthy natural features of the state, wild orchids being one of its many indigenous treasures. As a result of the walk and talk about orchids that day, Greig Cranna received an invitation to come to Maine and photograph specimens in their natural settings, some of them so rare they are considered endangered species.
ANTHER STIGMA
All orchids, regardless of size, have the same basic structure: three sepals (outer protective petals which are green at first but color up like the rest of the flower when the blossom opens) and three petals, one of which, the labellum, protrudes to form a landing platform for insects.

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ou might think an expedition to hunt a wildflower is a fairly safe adventure. But stalking the Showy Orchis (Orchis spectabilis) wild orchid, according to Qreig Cranna, was fraught with unanticipated problems and hazards. In the first place, he was living in New York City at the time and had to be ready at a moment's notice to make the lengthy trip to Maine. A network of volunteer amateur botanists, as well as the professionals working for The Critical Areas Program, kept him alert to the appearance and location of specimens. hurry-up call announcing that some rare variety was in bloom in some secret place, sent him off on the long drive, sometimes as far north as the MaineCanada border, praying as he
finds a hospitable environment in woodlands of mixed deciduous trees and evergreens. Height: 8" to 121'

Fairy Slipper
(Calypso bulbosa), in pink or white, is very rare in Maine. It appears in dry spruce forests of the north, near the Canadian border. Height: 61'

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drove that the weather would cooperate and the blossom would stay open until he arrived. One such hasty summons came Showy Ladyslipper the day before his wedding. Astonishing as it may seem, Cranna skipped his prenuptial dinner party for the rendezvous with a blooming orchid. (We are happy to report that the wedding took place on schedule, though we cannot say for certain that orchids are Mrs. Cranna's favorite flower.) The safaris into the secret growing places were not without physical challenges as well. Favorite habitats of Maine orchids are the vast, spongy bogs that stretch over hundreds of acres. To reach a specimen, Cranna sometimes walked for half an hour or more with all his photographic parapher- Fairy Slipper nalia strapped to a back pack. In addition to his camera and tripod, he had to carry a large plastic sheet (for setting up his equip(Cypripedium reginae) grows abundantly in bogs and wet meadows. Height: 20" to 30'

(Calypso bulbo sa), in white, is even more rare than its pink relative. The species has been found in only 17 locations in Maine.

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ment) and strobe lights for fast shooting. You cannot hope to do a long time exposure on a bog, because in a matter of minutes, you'd be Rose Pogonia (Pogonia ophioglossoides), up to your knees in water. To the pressure of time, add the torture inflicted by swarms of black flies, which also find the bog a benevolent breeding place. On one such shooting expedition, Cranna came away bloodied but not bowed from the mass of fly bites on his face. Nevertheless, the joys outweighed the discomforts. Greig Cranna devoted four years to photographing the orchids of Maine. He has documented 14 different speciessome quite common and abundant, some rare to the point of near extinctionwhich he has offered to share with our readers. Predictably, the pictures prompted us to check into the history, the lifestyle, and the future of these prized possessions of the state of Maine.
in pink and white forms, is commonly found in acidy peat bogs and very wet meadows. Height: 4" to

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Colorful Past Orc aids go bc cK a long way They were =Known in the Orient as far bac as the time of Confucius (551-479 B.C.). e was probably the first true orchid connoisseur, and a cultivator as well. e prized thc flowers for their grace and gentic perfume. But the ancient Grce-Ks had a more practical appreciation. Noting that ce -_-_ain underground -cabers resembled human testes (the name "orchid," in fact, Ram's Head Ladyslipper (Cypripedium orietinum) is a very rare and endangered species in Maine, derives from "orcbis," the Greek word found in wet woodlands and old bogs. Height: 10" to 12'.' for testes), they dcduced that the plants had beneficial sexual applications. They collected wild orchids for medicinal purposes-for curing sexual diseases, as an aphrodisiac, and for influencing the sex of their offspring, (Be advised that thc wisdom of t Greeks this maiLer has no scientific confirmation.) Early Spaniards considered thc orchid sacred and named_ it "The Holy Ghost Flowcr, " bccausc one varie-_y resembled the dove pic -ured in the baptism of Christ. Vodern science has found loss profound, but more practical applications for orchids: One s-oecies provides us with vanilla; tne 7Lbors of another producc gelatinous substance uscd as a soothing agent in some medicines. But true orchid_ fanciers seek no utilitarian fea -ures in these flowers bcyond their in:inite variay, ex-iraorc inary color and divinc forms.
-

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41

Northern Green Orchis

(Habenaria hyperborea) is a tall growing variety found in wet, acidy peat bogs. Height: approximately 30'.'

amily Portrait The orchid family is amazingly large. There have been estimates of 6,000, 10,000, and most recently 25,000 natural species and 75,000 cultivated hybrids in the world. Orchids come in every color, including green and brown, and in sizes as big as a man's fist and as tiny as an infant's fingernail. But big or small, showy or inconspicuous, the family of orchids has a common structure: They all have three sepals, outer protective petals for the buds, which are green at first, but color up like the rest of the flower when the blossom opens. Inside the sepals are three petals, one of which has a distinctly different form than the others. It may be globular, flat, fringed, or lobe-shaped, but it always protrudes to make a landing platform for insects. This lip, or labellum, as it is called, together with the reproductive organs of the flower, are remarkably engineered to assure pollination and cross-pollination. An insect landing on the labellum cannot help but pick up a healthy dusting of pollen as it makes its way into the flower for a taste of nectar.

Grass Pink
(Calopogon pulchellus) is one of the more common orchids of Maine, thriving in acidy peat bogs and wet meadows. Height: 16" to 20'.'
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trange Habitats
Though the most spectacular orchids are natives of tropical Pink Ladyslipper/ forests, orchids thrive in all cliMoccasin Flower (Cypripedium acaule) is commonly found in mates and under all conditions, woodlands. Height: 10" to 16': everywhere in the world but the arctic and antarctic zones. The orchids of the tropics take up residence on the trunks and branches of trees, high off the forest floor, so that they can enjoy the benefits of sunshine. They do not parasitize the trees, however; they just perch there along with other epiphytes, such as ferns and mosses, while their aerial roots suck moisture and nutrition from the air. Some orchids are so adept at drawing moisture from the air that they have been known to survive in the desert, astride cactus plants. The orchids of temperate climates are terrestrial, with their roots firmly planted in the ground. They grow in abundance in woodlands, in moist meadows and in bogs, storing moisture and nutrients in their underground stems, which swell up and sometimes resemble bulbs.
Leafy White Orchis
(Habenaria dilatata) thrives in really wet, boggy terrain. Height: 14" to 201.'

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43

Dragon's Mouth
(Arethusa bulbosa), in pink and white forms, are found in abundance in wet meadows. Height: approximately 6"

grange Habits
Orchid seeds do notfollo w the usual rules of the game for seeds. Each one is no bigger than a speck of dust, and as many as three million can be found in a single capsule. Unlike other flower seeds, they do not contain a food supply for the emerging embryo plant. Instead, the orchid seed must rely on a benevolent fungus in the soil to set up housekeeping within its walls. The fungus, once ensconced, uses part of the seed for its own food, and in turn provides sugars for the growing orchid plant. This dependency on the fungus partner makes it almost impossible to successfully transplant an orchid from its natural breeding ground to a new location. Neither do orchids appear to be under any biological compulsion to bloom regularly. Some remain dormant for years. They survive on food stored in underground tubers, stems or rhizomes, and emerge above ground to flower for a few days only once every few years. This reticence to show themselves Small Whorled Pogonia makes it difficult to convince landowners (Isotria medeoloides) is a small and rare woodland orchid. Its scarcity is due to its tendency to remain dormant and non-blooming for years. that they have rare treasures on their propHeight: 4" to 6" erties, to say nothing of the problems it creates for photographers hot on their trail.

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o Not Disturb All these orchids were photographed in Maine. While the habitat of each specimen has been indicated as a guide to White Fringed Orchis where you may find themnot only in Maine, but in similar terrain throughout the worldthe exact location of each flower cannot be divulged. The secrecy is being maintained, not out of meanness of spirit, but to protect and preserve the plants. They are already seriously threatened by rapid land development, burgeoning construction projects and the clearing of cedar swamps for timber. But the greatest threat to orchids, especially in heavily populated areas, comes from avid admirers who try to pick or transplant the flowers. Unfortunately, every orchid that is picked deprives the plant of the opportunity to reproduce itself. And because of their dependency on fungi in their native soil, transplanted orchids rarely survive. The golden rule for orchid lovers and all wildflower enthusiasts is: Seek them...paint them ...shoot them (with camera) ...enjoy them...but Please, Do Not Disturb.
(Habenaria blephariglottis) prefers the very wet peat bogs of Maine. Height: 12" to 201'

Marion Muller

Hooker's Orchis
(Habenaria hookeri), uncommon in Maine, was located in a forest of mixed deciduous and evergreen trees. Height: 24" to 30r
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Greig Cranna's s tudy o f the t of M aine made possible through the cooperation of the Critical

Areas Program of the Maine State Planning Office. His photos were taken with a Nikon F3 and Norman 2008 strobe lights.
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45

UCAC
Dictionary of Graphic Arts Abbreviations

The U&Ic Book Shelf reviews new books believed to be of interest to U&Ic readers and lists the publisher, with address, and the price of the book so that the books may be ordered directly. All prices are for delivery within the U.S.A. or Canada. Prices listed are based on payment accompanying order. If payment is not included, you will be billed for handling and shipping charges. Please add your local and state sales tax wherever applicable. For books to be delivered outside the U.S.A. or Canada, please request the price and shipping charges from the publisher. Please note: U&Ic does not sell books. All orders should be placed directly with the publisher(s) concerned.

Watercolor for Illustration by Jacqui Morgan

Type Processing

by Dean Phillip Lem

Based on Ms. Morgan's workshops, this book explores the exciting possibilities of watercolor For illustration. In-depth coverage of working methods, perception, color, the figure, glass and metals, mixing watercolor with other media, technology for illustrators, commissions from onset to camera-ready art and marketing strategies are explored: The business side of illustration is examined. Ms. Morgan demonstrates how to refine the skills needed to develop a professional business attitude. Four step-by-step case studies are examined... two posters, a magazine portrait and a corporate annual report. Watson-Guptill Publications, P.O. Box 2013, Lakewood, NJ 08701.144 pages. 81/2 x 101/2" Full color. $24.95. Please add $2.00 postage and handling for one book plus $.50 for each additional book.

Technical Editor: James 0. Cremeans From the word processor to the typesetter... in this book we have step-by-step instructions on how to use a microcomputer for keyboarding text copy that will be "typeset" by a professional typesetting system. Presented is a simplified procedure for using special function and command codes that instruct the typesetting system how you want your type set. This makes it possible to use text copy from floppy disks as input into a typesetting system; thus eliminating the need for rekeyboarding by your typesetter. No software programs to buy and learn, no peripherals to add. Decisions that were previously made by a professional typographer must now be provided by the person formatting and keyboarding the copy. Copyfitting is no longer something that can be left to the typesetting service, but should be done as part of the keyboarding process. The Graphics Master copyfitting system is easy to learn and it works. Inserted in the manual are a typeface selector guide that includes: alphabet showings for 333 typefaces; over 1,900 typeface listings for over 66 different typesetting systems; a Graphics Master Line Gauge & Ruler that measures inches, picas and centimeters, plus a pica and inch center rule and scales for measuring type lines from agate to 17 point sizes, and a glossary of typesetting terms. Dean Lem Associates, Inc.,1526 Pontius Avenue, Suite C, Los Angeles, CA 90025. 81/2 x 11" Wire-0 bound, paperbound $39.95. Outside the U.S. please add $6.00 for shipping and handling.
American Illustration 5

1986 STA Design Journal

Compiled by L. W. Wallis Technology changes over the last three decades have greatly expanded the range of abbreviations in current use. Contained in this book is a collection of more than 5,000 items which make up the language of today's printing industry. A boon to those experienced in working with type and to the novice as well. Distributed by Robert Silver Associates, 307 East 37th Street, New York, NY 10016. 139 pages. 51/2 x 8! Hardbound, $8.95.
,rui.hie US.S.: 7

As a professional organization of communication designers, STA is an educational, technical and social resource to the design community. This issue of the Journal is devoted to Design Management and Innovation. Chapters include: Design and the Control of Innovation; The Competitive Edge, Design; The Language of Economic Value, A Tool for Business; Who Designs? STA, 233 East Ontario Street, Suite 301, Chicago, II 60611. 9 x 12". 64 pages. Some b/w and color illustrations. Bibliography. Paperbound, $12.00 plus $3.00 for postage and handling. The Silver Book
.

ADLA:2

Edited by Pauline Augustine Fifth in the series of annuals produced by the American Society of Magazine Photographers, highlighting the work of the top studio and location photographers in fashion, illustration, still life and special effects. Separate section on stock photography. Indexed by region: New York, New England, the Midwest, Texas, and California. Full-page, color ads listing name, address and phone number. Gray section at end of each area alphabetically lists photographers with addresses and phone numbers. Distributed by Robert Silver Associates, 307 East 37th Street, New York, NY 10016. 71/2 x 91/2". Indexed. Hardbound, $39.95.

This is the second annual of the Art Directors Club of Los Angeles marking the 39th competition sponsored by the Club. Printed entirely in color with over 450 examples of works in the advertising, graphic design, editorial and entertainment categories. Distributed by Robert Silver Associates, 307 East 37th Street, New York, NY 10016. 254 pages. 91/2 x 121/2". Indexed. Hardbound, $39.95.
1987 Chicago Talent Sourcebook

Edited by Edward Booth-Clibborn An excellent example of the best in United States and Canadian contemporary illustration art for publications, advertisements, posters, and films. A source of inspiration for the illustrator, graphic artist, professional and art lover alike. Designed by Roger Black this essential reference resource is complete with indexes of the contributing artists and their addresses, and of the art directors, ad agencies, production companies, and private companies who commissioned the winning works. Distributed by Harry N. Abrams, Inc.,100 Fifth Avenue, New York, NY 10011.316 pages. 91/2 x 12 3/47300 illustrations in full color. Indexed with addresses of artists, art directors, designers and editors. Hardbound, $45.00.

Edited by Paul Casper Just what the title states...a source directory of the talents available in the Chicago area. Some of the indexes are: Advertising Agencies, Pre-Production, Photography/Stock/ Photo Labs, Illustrations/Reps/Retouching, Design/Lettering/Keyline, Post-Production, Color Separations/Proofing/Comping, Printing Services/Paper/Print Finishing, Typesetters, City Information, Maps/Calendars/ Graphic Aids, etc. Distributed by Robert Silver Associates, 307 East 37th Street, New York, NY 10016. 540 pages.101/2 x 11" Illustrated in b/w and color. Spiralbound, $50.00 plus $5.00 for postage and handling.
The New Commercial Artist's
Handbook

Graphic Design USA:7

The Annual of the American Institute of Graphic Arts Co-authored by Steven Heller and Philip B. Meggs and designed by James N. Miho, we are presented once again with a lively showcase of the Institute's competitive exhibitions. Included in this volume are The Cover Show, Functional Graphics, Communication Graphics, The Book Show, ALGA Medalist Seymour Chwast and WGBH Educational Foundationthe recipient of the Institute's Design Leadership Award. The Annual serves as a professional reference with an index of designers, illustrators, photographers, typographers, printers and others involved in the creation and production of graphic design. Watson-Guptill Publications, P.O. Box 2013, Lakewood, NJ 08701.9 x 12'.' 384 pages. 350 color plates. 400 b/w illustrations. Hardbound, $49.95.
Watercolor Portraiture

MAKING ART ON YOUR COMPUTER

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by John Snyder Fully revised and updated, Snyder's classic handbook of materials and how to use them is still a good, basic reference book specifically written for the commercial artist or anyone who prepares artwork for reproduction. The book's format is alphabetical. Looking for information on computer animation?... just utilize your dictionary skills and there you are. The author, a practicing commercial artist for more than 30 years, deals not only with the question of "What is it," but also with the problems of "How do I use it" and "What do I do if it doesn't work right." Article-length sections on computer graphics and layouts are clear overviews. New areas of commercial art created new technologies; these are examined. There are many entries discussing preparation of artwork for film and video tapes, and on computer graphics systems. Watson-Guptill Publications, P.O. Box 2013, Lakewood, NJ 08701. 256 pages. 7 x 91/2! Over 400 entries. Line illustrations. Hardbound, $22.95. Please add $2.00 postage and handling for one book plus $.50 for each additional book.
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Art Deco Graphics

by Patricia Frantz Kery Patricia Kery is an authority in the Art Deco/ Art Nouveau field and owner of a New York gallery specializing in late 19th and early 20th century graphics and paintings. She has gathered here nearly 500 choice graphic works from collections and archives in Europe, America and Japan. Many are rare and previously unavailable samples. Shown are the works of such artists and designers as Jean Carlu, A.M. Cassandre, Erte, E. McKnightKauffer, Paolo Garetto, Herbert Bayer, and Herbert Matter, among others. Designed in the spirit of the style, Art Deco Graphics is an invaluable sourcebook and inspiration for collectors, designers, illustrators, art directors, photographers, scholars, and everyone interested in Art Deco. Harry N. Abrams, Inc.,100 Fifth Avenue, New York, NY 10011. 320 pages 101/2 x 121/27 483 illustrations, including 244 plates in full color. Individual biographies, bibliography and index. Hardbound, $49.50.

Making Art on Your Computer

by Saul Bernstein and Leo McGarry

by Phoebe Flory with Dorothy Short Paul and Eliot O'Hara Written by noted watercolorists and experienced teachers of art this manual offers the fundamentals of watercolor portraiture in clear, practical lessons for amateurs and professionals alike. Some of the information provided covers: detailed advice on setting up the palette, drawing, direct painting in b/w and color, surface textures, blending, etc. B/w reproductions of watercolors by the masters Goya, Holbein, Rembrandt and other old favorites. Dover Publications, Inc., 31 East 2nd Street, Mineola, NY 11501.192 pages. 5144 x 81/2" B/w illustrations. Paper, $4.95. Add $.85 for postage and handling charges for one book; $1.50 for two or more. For foreign orders add 15 % of sales price or $1.00, whichever is greater.

The information, ideas, and exercises presented here are applicable to virtually any computer. It is a book about the fundamentals of drawing, perspective, value, shape and volume, composition and color. You will come to realize how versatile your computer is and how capable you really are! Bernstein shows you how to combine the principles of good picture making with computer skills to create paintings and drawings ranging from elegant, simplified images to highly rendered, sophisticated works. It is a book that will capture your imagination and encourage you into skillful manipulation of your computer. Watson-Guptill Publications, P.O. Box 2013, Lakewood, NJ 08701.144 pages. 81/2 x It! 200 color plates.125 b/w illustrations. Index. Appendix of computers used. Paperbound, $22.95. Hardbound, $32.50. Please add $2.00 postage and handling for one book plus $.50 for each additional book.
Continued on page 50.

47

2. (Large open volume) The specimen

here's no question but that computer technology has made a big stir in the graphics world. What it has done for animation, illustration, architectural drafting and TV graphics is nothing short of magical. But let's hand out credit where credit is due. Long before we enjoyed the benefits of *Computer-Aided Design, there was plenty of help for designers, illustrators, and some benighted blokes who "couldn't draw a straight line." Stephen 0. Saxe offers evidence from his collection of American type foundry specimens. Along with their alphabets, the books, dating from 1818 through the 20th century, contain pages of illustration and design elements.There are scenic components trees, shrubs, farmhouses, fences, animals, water, birds. And people hunters, baseball players, soldiers, and even some exotic Oriental and Egyptian figures. There are also assorted architectural details for designing buildings.

1. The first type specimen broadside issued by the renowned William Caslon in London, 1734. Caslon type was used in the American Declaration of Independence and the Constitution.

book of MacKellar, Smiths & Jordan, 1868, Philadelphia. (Small open book) The catalog offered by MacKellar's predecessor, James Ronaldson, 1822. (Closed book) The 1882 specimen book of Bruce's New York Type Foundry; it rests on the feed board of an 1899 Golding Pearl press.

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4. A page from the 1880 Boston Type Foundry specimen book illustrating type casting technology in (upper left) 1564, (upper right) 1683, and (bottom of page) the ultra-

modern equipment of the Boston Type Foundry 1879.

3. Stephen 0. Saxe with his collection of type specimen books and other works relating to printing history. His 200 American type specimen books, dating from 1818-1945, represent 40 different foundries.

ike the alphabets, the pictorial elements were offered in fonts and in a variety of sizes. They could be used singly or combined to formulate a bucolic farm scene, a battleground, a baseball gamewhatever illustration might be appropriate for an ad, a poster, a brochure, a flyer, an invitation, or a business card. The permutations and combinations

were infinite, and to complete the picture there was a selection of border designs to frame the scene. We can only assume that if the foundry executives were as acronymaddicted as we are today, they would have called their operations, FAD, for Foundry-Aided Design. Mr. Saxe, who has 235 rare type foundry books in his collection, thought U&lc readers might enjoy seeing some of these specimen pages. It was an offer we could hardly resist.
Marion Muller

5. The Union Type Foundry, Chicago, 1891, offered a variety of pictorial elements (left page) for creating complex illustrations as demonstrated on right hand page. 6. This American eagle, with ribbon mortised for display type inserts, was offered in the 1868 specimen book of MacKellar, Smiths & Jordan. It was frequently used in patriotic posters and advertisements. 7. The 1868 MacKellar specimen book offered Byzantine, a typeface by the prodigious designer, Herman lhlenburg. Beside the book, a font of the actual type. 8. A full-page specimen of a single letterform appeared in the 1849 specimen book of Wells & Webb of New York City. In the type case behind the book, a font of wood type. 9. The 1891 Cleveland Type Foundry specimen book offered modules of architectural units which could be combined to create a variety of structures for illustrative purposes.

49

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10. A coalition of 23 foundries joined together to form American Type Founders in 1892. Their first specimen book introduced simplified type styles influenced by designer William Morris. 11.In 1882, Bruce's New York Type Foundry presented all its type offerings in the form of text relating the history of printing. It was edited by the printer and historian, Theodore L. DeVinne. 12. A page from the Bruce specimen book of 1882 in which all of Theodore L. DeVinne's book, The Invention of Printing, was reproduced with each page demonstrating a different size or style of type. 13. A face for every purpose. This unusual and daring page appeared in the 1895 specimen book of the American Type Founders Collective specimen book. 14. Type foundries also sold printing presses and related equipment. This spread is from the Boston Type Foundry specimen book, 1880. 15. The New England Type Foundry was one of the very few companies to display full alphabets in their type specimens. This page is from their 1851 specimen book. 16. In 1871, MacKellar, Smiths & Jordan was the largest type foundry in the United States. The company also distinguished itself with its frequent use of whimsy in its specimen pages.
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HEADLINE I INITIALS: ITC CHELTENHAM ULTRA CONDENSED

TEXT: BOOK

CAPTIONS. BOOK ITALIC WITH BOOK, BOLD ITALIC

BYLINE . BOLD ITALIC

50
Continued from page 45.

The Best of Newspaper Design

Here we are presented with over 400 samples of excellence in graphic journalism, chosen from more than 9,600 entries in the Society of Newspaper Design's 7th Edition creative competition. The winners represent entries from eight different nations. The creme de la creme from such newspapers as Novedades, Mexico City, The Miami Herald, The Seattle Times, Aftenposten,Oslo,The New York Times, the Anchorage (Alaska) Daily News, Dagens Nyheter, Stockholm, and many others are shown in full color and black and white. Society of Newspaper Design, The Newspaper Center, Box 17290, Dulles International Airport, Washington, DC 20041.9'/ x 12! 208 pages. Indexed. Paperbound, $25.00.

Ideas on Design
by Pentagram An extremely wide range of design solutions by the Pentagram partnership are illustrated. Many of them are in color with brief captions commenting on the issues raised by each. The clients whose works are exhibited within these pages include some famous household names as well as surprising and out of the way ones. Books, posters, calendars, consumer products, packaging and building interiors are just a sample of areas covered. This is a stimulating book for everyone interested in design, typography, imagery and communications. Faber and Faber, Inc., 39 Thompson Street, Winchester, MA 01890.10 x 101/4!160 pages. Hardbound, $35.00 U.S. and 20 abroad.
Principles of Color Design

How to Write, Illustrate, and Design Children's Books

by Frieda Gates Contemplating writing, illustrating or designing a children's book? Here you have a stepby-step guide that will help novices as well as professionals. Chapters range from the history of children's books, marketing trends and strategies, subject matter, writing elements, illustration techniquesthe way into copy editing and fitting, and typesetting and preparation for printing. Lloyd-Simone Publishing Company, 32 Hillside Avenue, Monsey, NY 10952.8'/ x 11! 155 pages. 276 b/w and 53 full-color illustrations. Glossary and Bibliography. Indexed. Hardbound, $23.50.

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Authentic Art Deco Alphabets

by Les Editions Guerinet Reprinted directly from a rare French edition are 44 carefully reproduced plates of authentic Art Deco lettering, numbers and ornamentation. Now graphic artists, illustrators, advertisers, designers anyone fascinated by the clean, uncluttered look of Art Deco typographycan refer to these copyrightfree fonts for design inspiration as well as actual usage. Dover Publications, Inc., 31 East 2nd Street, Mineola, NY 11501.48 pages. 8 1/4 x 11! 42 plates of b/w illustrations. Paperbound, $3.50. Add $.85 for postage and handling charges for one book; $1.50 for two or more. For foreign orders add 15% of sales price or $1.00, whichever is greater.

American Graphic Designers

Rita Sue Siegel Encompassing the last 30 years in design this book focuses on designs that range from the whimsical, entertaining, fashionable, to the analytical, educational and functional. Works were selected by the designers themselves to reflect their own unique perspectives. American Graphic Designers demonstrates the diversity of the attitudes and approaches of these individual artists when they design for architectural signage and graphics, magazine and record album covers, corporate logos, postage stamps, book jackets, and containers for an array of consumer products. These designers include such well-known figures as Seymour Chwast, Milton Glaser, Gene Grossman, Muriel Cooper, Don Ervin, John Berg, Louis Dorfsman, Richard Hess and Harris Levine. Among the emerging designers represented are Dugald Stermer, Ruth Ansel, Joel Katz, Stephan Geissbuhler, Iris Magidson, David November, Bea Feitler, Walter Bernard and Sheldon Rysner. IDSA,1360 Beverly Road, McLean, VA 22101-3671.8'/4 x 111/2!141 pages. Illustrated in b/w and color. Softcover. Regular price $19.00. IDSA price $16.00 plus UPS shipping.

Computer Graphics for Designers and Artists

by Isaac Victor Kerlow and Judson Rosebush The authors have described, in nontechnical terms, the functions and limitations of computers in the creation of images and objects. Text is intended as a reference tool designed to answer questions that arise in the course of a career in graphics, not as a guide for programming computer graphics. The book is divided into three sections: background material and basic terminology which are essential for mastering the more complex graphic procedures in the second section, and the third section describes specific applications. Van Nostrand Reinhold Company, Mail Order Service, 7625 Empire Drive, Florence, KY 41042.8 3/+ x 111/4! 298 pages. Illustrated in b/w and color. Definitions appear in boldface italic and are included in the Index. Bibliography. Hardbound, $39.95.

Principles of Color Design

by Wucius Wong Without presenting complex color theories, this book offers a practical examination of the variety of effects that can be achieved with color. The properties of color and their manipulation to create designs with either complementary hues, contrasting or gradations, are discussed and represented in detail. This book will help to form a solid foundation for the development of a personal color sense. Van Nostrand Reinhold Company, Mail Order Service, 7625 Empire Drive, Florence, KY 41042.6'/ x 7 3/4!101 pages. Fully illustrated in b/w and color. Indexed. Hardbound, $14.95.

Dtiyanow

Ready-to-UsefromDover
The following books are from Dover Publications' Ready-to-Use Clip-Art Series.

Humorous Seasonal and Holiday Illustrations

Designed by Bob Censoni One hundred eight contemporary, eye-catching, humorous drawings of special holidays and seasons. Includes birthday, vacation and back-to-school pieces.108 motifs, 324 illustrations.

Publishing with CD-ROM Dogancay

by Roy Moyer, Stephen diLauro and Gilbert Lascault Lavishly illustrated and designed, this book is both a permanent reference to the work of an important contemporary artist and a work of art in itself. America first became aware of the work of Turkish-born Burhan Dogancay in the 19605. He is known for his fascination with walls... paintings, graphics, photographs, collages and most recently sculpture. His early works were concerned with landscapes and figureand animal-studies but he was intrigued by walls as ephemera. We have here a well-documented study of an intriguing contemporary artist and a visual feast of the work of Burhan Dogancay. Perceptive textual comments by several authors and a chronology, lists of exhibitions and collections and a bibliography add to its use as a reference tool for students and lovers of the arts. Hudson Hills Press, Inc. 230 Fifth Avenue, Suite 1308, New York, NY 10001-7704. 10'/4 x 111,3! 150 color plates plus 80 b/w illustrations. Hardbound, $75.00. by Patti Myers A guide to compact disc optical storage technologies for providers of publishing services. Organized into five sections. Section 1 defines optical storage and its various forms, and highlights their similarities, differences and uses. Section 2 describes the ways CDROMs are being used today and some of the materials that have been published. Section 3 explores the publishing of a CD-ROM, and Section 4 puts a perspective on the future and its implications for the providers of publishing and information services. Section 5 contains a glossary of terminology, reading list and a listing of companies involved in CD-ROM activities. National Composition Association, 1730 North Lynn Street, Arlington, VA 222092004. 6 x 9". 100 pages. B/w. Paperbound, $9.95 (members), $19.95 (non-members).

Santa Claus Illustrations

Designed by Ted Menten Santa doing what Santa does: stuffing stockings, driving sleigh and reindeer, checking his list, going down a chimney, etc. Included are heads, full figures, spots, mortised cuts. 58 motifs,174 illustrations.

Performing Arts Illustrations

'typography 7
Arthur Boden designed this edition along with TDC-32's invitation, Certificate of Typographic Excellence and Call for Entries. The Type Directors Club (TDC) of New York has recognized and encouraged excellence in typography and design for 32 years. There were over 4,000 entries from all over the world in all areas of typographic design. The 204 winners are shown on these pages. Watson-Guptill Publications, P.O. Box 2013, Lakewood, NJ 08701.223 pages. 81/2 x 111/4! Full color. Membership listing and index. Hardbound, $35.00. Please add $2.00 postage and handling for one book plus $.50 for each additional book. Designed by G. Fred Marvin Entertainment-oriented motifs depicting dancers in top hat and tails, in classical and modern ballet costumes; singers, orchestras, audiences, stage sets, lights, etc. Includes spot illustrations, borders and mortised cuts. 98 motifs, 94 illustrations.

Wedding Illustrations
Designed by Tom Tierney Brides, grooms, wedding cakes, bells, flowers, doves, limos, Christian and Jewish wedding ceremonies, etc. Great for creating ads, illustrations, invitations, menus, postersany project incorporating a wedding theme. 52 motifs,156 illustrations.

Printing and Production for Promotional Materials

Edited by Robert Woods Promotional pieces take on many forms: one-page fliers, brochures, pamphlets, catalogs, billboards, transit advertising, etc. The wide variety of promotional options requires an equally wide variety of printing and production techniques. This book guides you through the processes. Sixteen professionals explain what each process is, when and how it is used and why it is important. Anyone involved in promotional work, from designers and advertising directors to top level in management, in planning and purchasing, will find this volume helpful in preparing promotional pieces. Van Nostrand Reinhold Company, Mail Order Service, 7625 Empire Drive, Florence, KY 41042.6'/4 x 91/2". 234 pages. Illustrated in b/w. Index. Hardbound, $21.95.

65th Art Directors Annual

Edited by Paula Radding

Decorative Letters
Edited by Carol Belanger Grafton Each letter of the alphabet is presented in styles ranging in period from medieval to modern, and includes Art Nouveau, Art Deco, Victorian and Renaissance. A unique treasure of decorative letters. 820 illustrated letters. Dover Publications, Inc., 31 East 2nd Street, Mineola, NY 11501. All 64 pages. Illustrations in b/w; each printed in three sizes on one side for maximum usability. Copyrightfree. Paperbound. $3.50. Add $.85 for postage and handling charges for one book; $1.50 for two or more. For foreign orders add 15% of sales price or $1.00, whichever is greater.
TEXT: ITC USHERWOOD BOOK, BLACK, BLACK ITALIC

Design in TexasA Retrospective Exhibition

by American Institute of Graphic Arts-Texas Chapter 1986 The exhibition was juried by Seymour Chwast, James Cross, Richard Hess, Kit Hinrichs and McRay Magleby. As a result, shown on these pages are some of the best work produced by Texas designers, in Texas. Distributed by Texas Monthly Press, P.O. Box 1569, Austin, TX 78767.9'/4 x 121/2! 272 pages. B/w and color illustrations. Indexed. Listing of members by area. Hardbound, $35.00.

Every major design category is represented, including advertising, editorial, promotion, books and jackets, posters, illustration, photography, television and film. More than 17,000 print and television entries judged to be the best work done in 1985 are reproduced in this valuable sourcebook. Profiled in the Hall of Fame are Walt Disney, Roy Grace, Alvin Lustig and Arthur Paul. Distributed by Robert Silver Associates, 307 East 37th Street, New York, NY 10016. 816 pages. 8 x 111/4! 120 color illustrations, 3,000 halftones. Indexed. Hardbound, $44.95.

51

Bold Stroke
On one thing almost all artists, writers, poets and designers agree: when you get a thing right, the solution looks easy. The sweat and the angst, the false starts and revisions don't show. That is exactly the case with this alphabet designed by Lisa Salvino when she was a decorative design student at the Tyler School of Art. It took a lot more than simply dipping a brush in ink and doing what comes naturally. Lisa researched and studied Chinese ink paintings and calligraphy exhaustively, and then gave herself the added challenge of combining the spontaneity and warmth of the hand-held brush with the mechanical, stolid character of the typeface Univers Bold. She did indeed make it look easy. M.M.

HEADLINE / BYLINE: ITALIA BOLD

TEXT: BOOK

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SPECIMEN BOOKLETS FOR EACH TEXT/DISPLAY TYPEFACE CAN BE PURCHASED FROM ITC. THE ORDER FORM FOR THESE SPECIMEN BOOKLETS APPEARS ON PAGE 78 OF THIS ISSUE OF U&LC.

The ITC Typeface

THE TYPEFACES SHOWN ON THESE PAGES REPRESENT THE COMPLETE COLLECTION OF ITC TEXT/DISPLAY TYPEFACES AS OF MAY 15, 1987

ITC Barcelona Book

NEW FROM ITC

b
Light Medium Demi Bold

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ITC Eras''
Light Book

Medium

ITC Pacellam
Book Book Italic
Medium Medium Italic Bold Bold Italic Black Black Italic

Book Italic Medium Medium Italic Bold Bold Italic Heavy Heavy Italic

ITC Cheltenham Light

Light Italic Book Book Italic Bold
Bold Italic Ultra Ultra Italic Light Condensed

Demi Bold Ultra

ITC Esprit'"
Book Book Italic

Medium

ITC Bauhaus ITC Bookman

Light Light Italic Medium
Medium Italic Demi Demi Italic Bold Bold Italic

Medium Italic
Bold

Light Condensed Italic Book Condensed Book Condensed Italic Bold Condensed
Bold Condensed Italic Ultra Condensed Ultra Condensed Italic

Bold Italic
Black Black Italic

ITC Benguiat
Book Book Italic Medium Medium Italic Bold Bold Italic

Light Italic
Regular

ITC Fenice' Light

Regular Italic

ITC Clearface
Regular

ITC American Typewriter Light

Medium Bold Light Condensed Medium Condensed Bold Condensed

Book Condensed Book Condensed Italic

Medium Condensed Medium Condensed Italic Bold Condensed Bold Condensed Italic

ITC Caslon No. 224

Book Book Italic Medium Medium Italic Bold Bold Italic Black Black Italic

Regular Italic

Bold

Bold Italic Heavy Heavy Italic Black Black Italic

Bold Bold Italic Ultra Ultra Italic

ITC Franklin Gothic' Book Book Italic

Medium Medium Italic Demi Demi Italic Heavy Heavy Italic

ITC Benguiat Gothic

Book Book Italic Medium
Medium Italic Bold Bold Italic Heavy Heavy Italic

ITC Cushing
Book Book Italic
Medium

ITC Avant Garde Gothic

Extra Light Extra Light Oblique

ITC Century
Light Light Italic Book Book Italic Bold Bold Italic Ultra Ultra Italic Light Condensed Light Condensed Italic Book Condensed Book Condensed Italic Bold Condensed Bold Condensed Italic Ultra Condensed Ultra Condensed Italic

Medium Italic Bold

Bold Italic Heavy Heavy Italic

Friz Quadrata
Friz Quadrata friz Quadrata Bold

Book Book Oblique Medium Medium Oblique Demi Demi Oblique Bold Bold Oblique Book Condensed Medium Condensed Demi Condensed Bold Condensed

ITC Berkeley Oldstyle

Book Book Italic Medium Medium Italic Bold Bold Italic
Black Black Italic

ITC Elan`"
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ITC Galliard
Roman Roman Italic Bold
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53

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Black Italic

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Book Medium Demi Bold Ultra

ITC Modern No. 216

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ITC Gamma"
Book Book Italic Medium Medium Italic Bold Bold Italic Black

ITC Slimbacli"
Book Book Italic Medium Medium Italic Bold Bold Italic Black
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ITC Ve
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ITC New Baskerville

Roman
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ITC Garamond
Light Light Italic Book Book Italic Bold Bold Italic Ultra Ultra Italic Light Condensed Light Condensed Italic Book Condensed Book Condensed Italic Bold Condensed Bold Condensed Italic Ultra Condensed Ultra Condensed Italic

ITC Korinna
Regular Kursiu Regular Bold

Bold
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Heavy

Bold Bold Italic Black Black Italic ITC Newtext'

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ITC Souvenir
Light

Kursw Heavy

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ITC Weidemann
Book Book Italic Medium Medium Italic Bold Bold Italic Black Black Italic

ITC Leawood
Book Book Italic Medium Medium Italic Bold Bold Italic Black Black Italic

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ITC Goudy Sans'""

Book Book Italic Medium Medium Italic Bold
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ITC Novarese
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ITC Symbol Book Book Italic Medium Medium Italic Bold Bold Italic
Black Black Italic

ITC Zapf Book'

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ITC Lubalin Graph'

Extra Light Oblique
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ITC Tiffany
Light Light Italic Medium Medium Italic Demi Demi Italic Heavy Heavy Italic

Medium Italic Demi Demi Italic Heavy Heavy Italic _ITC Zapf Chancery Light
Light Italic

Book Oblique Medium

Medium Oblique Demi Demi Oblique
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ITC Isbell'
Book Book Italic Medium

ITC Quorum
Light Book Medium Bold Black

Medium
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ITC Mixage
Book Book Italic Medium Medium Italic Bold Bold Italic Black Black Italic

ITC Usherwood
Book
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ITC Serif Gothic

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Medium Medium Italic Bold Bold Italic Black Black Italic

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In the final analysis, it is the quality of output by which typesetters are judged. *Critique: The quality of Varityper's digital type is extraordinary, e the r result ette s t ro fo f rthe bpainstaking yt unique spirasc ti n the ach

imaging system. Look at the smooth, clean

bowls, the wide-open counters and the fidelity of delicate serifs. The virtue of any face 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, time-honored Classics. No designer `/ cou ld be disappointed.. 4All is well that ends well.
`

Jus

1986 AM International, Inc. AM and Varityper are registered trademarks and Spirascan is a trademark International of AM International, Inc.
A ah'igio.J

Especi liw ograID

Send me your free information: K I'd like to see your wide typeface selection. Please send me your wall chart. K I'd like more information on Varityper equipment. Please hav e a sales representative call.

Varityper 11 Mount Pleasant Avenue, East Hanover, NJ 07936

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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.

56

57

High-tech Helvetica.
Designed for the Mergenthaler Type Library' in 1957 the Helvetica type family quickly became the most widelyused in the world. Today, its popularity hasn't changed. But something else has: typesetting technology. We've harnessed the laser beam to produce the highestquality type available todayLinotype Laser Font'"" Produced only on Linotronic laser imagesetters, this type has higher resolution and greater reproduction fidelity than you've ever seen. To take advantage of this remarkable technology, we've re-designed our entire Helvetica family. For example, we've redrawn the x-heights to achieve visual uniformity, refined the letterforms, and improved the numerals. And we've added more weights to make this outstanding face even more versatile. For more information on this, or any of the more than 1,500 laser fonts in the Mergenthaler Type Library, contact: Linotype Company, 425 Oser Avenue, Hauppauge, NY 11788. Phone (516) 434-2016. In Canada (416) 890-1809.

Linotype

58

Other draw and paint programs also let you add captions. But none of them can put those captions next to the sharpest, cleanest lines and curves on the map.

Just rough out your basic design and the powerful curve drawing capabilities of the Adobe Illustrator can take it from there. To there, then back over there, then around.. .

Share your drawing with other users. And if anyone wants to change itno problemthe Adobe Illustrator can give you another perfect original. Fast.

Start with a blueprint or just a dream and the Adobe Illustrator can help you build out the rest. Straight and true.

For producing the finest details, all kinds of line weights, even typeset captions with precise control, no other program can touch it.

59

NOWAWORK OF ART DOESN'T HAVE TO BE A LOT OF WORK

Now it can be the work of the new Adobe Illustrator:" The most powerful and practical art production tool ever to grace a computer screen. The Adobe Illustrator is a software program that, for the very first time, combines the control and fine detail of drawing by hand with the speed and mathematical precision of the computer. The result is, well, you can see the results for yourself What you can't see, and can't possibly imagine, is how fast it is. How versatile. And how productive it can make you. Instead of building an image with dots like other programs, the Adobe Illustrator uses precise curves and lines. So nothing looks like it was drawn by a computer. And you have infinite control. The Adobe Illustrator won't limit your artistic license, either. On the contrary, you'll be able to do things with it you've never done before. You don't have to build a drawing from scratch, you and your Macintosh-can start with the scanned image of a photo, logotype, blueprint, a rough sketch, even something from your scrap file. Or use a document from MacPainCor compatible software. You can even combine two or more images into a single image and work with that. Once it's in the computer, you can manipulate it in ways possible only with a computer. Even share your work with other users. But no matter where you start, or what you do to it, you'll be pleased to know the Adobe Illustrator will drive any POSTSCRIPT= equipped printer from an Apple LaserWriter to a typesetter like the Linotype' Linotronic 300. So you can get final art with resolution so high you'll get dizzy just looking at it. So go see it. Call us at (800) 29-ADOBE, (800) 85-ADOBE in California, and (415) 852-0271 from Canada for the location of the Adobe dealer nearest you. But do it soon. The first thing the Adobe Illustrator is going to draw is a crowd.

Unlike other draw and paint programs, the Adobe Illustrator uses lines and curves to form an image, instead of dots. So there's really no limit to the ideas you can hatch. Or cross-hatch.

Change is the name of thegame in logo design. And the Adobe Illustrator can make changes in a fraction of the time it would take by hand. And not a big fraction, either.

STATEN, INCORPORATED

'CB=

Adobe Illustrator is a trademark and PwrScena is a registered trademark of Adobe Systems Incorporated. Other brand or product names are trademarks or registered trademarks of their respective holders. 1987 Adobe System Inco,poeated, 1870 Embarcadero Rd., Palo Alto, CA 94303.

60

In today's computerized world, the concept of craftsmanship is still very much alive.

driving force in creating a type library that is true to the originals. Naturally, this takes time. But it's time well spent because you can be sure that each Adobe typeface not only looks and feels like the original, it reproduces perfectly,

At Adobe, man and computer work as a team to craft type true to the originals.

Because at Adobe, we still strive to meet timehonored standards. A good example is the Adobe Type Library. The Adobe Type Library is created in a modern setting, using sophisticated computer software. And

Regardless of type size or resolution of the PosTScRiv - r printer you use, Adobe type faces are always true to the originals.

110W AON1, e v o s orb e, de,

2Lioig kr

regardless of the resolution of your POSTSCRIPT printer. We often do not realize how much time is spent to achieve perfection. At Adobe, we spend hundreds

RS 7

Type is to read.

To ensure that each type face in the Adobe Library is true to the original, we carefully study a wide range of historic type reference material.

the people who perform this task are much like the "punch cutters" of another era...each letter in a type family is painstakingly examined, manipulated and refined until, at last, it's as close to the original as humanly possible. Indeed, the human factor, even in a highly technical environment, is the

Ask for our free calendar, "Type is to Read." It illustrates many fine points on the art of type, design, and craftsmanship. Just call Adobe at 415-852-0271.

of hours practicing an art that has been performed for centuries. Craftsmanship does have a place in the electronic age. Because at Adobe we practice it every day.

1
m

SYSTEMS INCORPORATED

03

AMIII

The weight, curve, and overall appearance of a letter is painstakingly examined, manipulated and refined by Adobe craftsmen using specialized software.
POSTSCRIPT
is

Adobe Type Library for POSTSCRI PT Printers. The Original.

a registered trademark of Adobe Systems Incorporated.

61

The Design Schools in 1986:

More than eight out of ten graduates found employment in their fields of study.*
Graduates and their entry-level jobs

Joe Freeman
Art Institute of Philadelphia Art Director The Advertising People, Bala Cynwyd, Pa.

Nancy Driesacker
Art Institute of Fort Lauderdale Packaging Designer Avon Products, New York, N.Y.

Don Cossette
Colorado Institute of Art Graphic Designer Boeing, Seattle, Wash.

Denise Witzdam
Art Institute of Seattle Art Director Ogilvy & Mather, New York, N.Y.

Morris Lane
Art Institute of Pittsburgh Staff Photographer Sotheby Parke Bernet, New York, N.Y.

Becky White
Art Institute of Dallas Graphic Designer UCCEL Corporation Dallas, Tex.

Lee Boat right

Art Institute of Atlanta Assistant Art Director McCann-Erickson, Atlanta, Ga.

Carole

Art Institute of Houston Staff Artist ordovan Publishing. Houston, Tex.

Lemmon

Some companies that have recently hired graduates of The Design Schools
Abercrombie & Fitch, Houston, Tex. Advertising Art Studios, Milwaukee, Wis. Alaska Airlines Magazine, Seattle, Wash. American Greetings Corporation Cleveland, Ohio American Heart Association, Dallas, Tex. American International, Washington, D.C. American Red Cross, Philadelphia, Pa. AT&T, Atlanta, Ga. BDA/BBDO, Atlanta, Ga.; New York, N.Y. Bechtel, Inc., Houston, Tex. Bell Laboratories, Holmdel, N.J. Bell Telephone, Philadelphia, Pa. Benetton, Dallas, Tex. Bloomingdale's, New York, N.Y. Boeing, Seattle, Wash. Bonwit Teller, Philadelphia, Pa. Bozell & Jacobs/Kenyon & Eckhard Dallas, Tex. Calvin Klein Showroom, New York, N.Y. CBS Inc., New York, N.Y. Chiat Day-Livingston, Seattle, Wash. Coca Cola, Atlanta, Ga. Coopinger Studio, Chattanooga, Tenn. Creative Technology, Annandale, Va. Dallas Times Herald, Dallas, Tex. Digital Image, Nashville, Tenn. Drew University, Madison, N.J. DuPont Corporation, Wilmington, Del. Eastman Kodak, Rochester, N.Y. , Electronic Data Systems, Dallas, Tex . Emory University, Atlanta, Ga. Environmental Designers, Columbus, Ohio Estee Lauder, Pittsburgh, Pa. Ethan Allen Galleries, Philadelphia, Pa. Evan Picone Showroom, New York, N.Y. Fisher-Price Toys, East Aurora, N.Y. Fitzgerald Advertising, New Orleans, La. Ford Aerospace, Colorado Springs, Colo. Fort Worth Magazine, Fort Worth, Tex. Franklin Mint, Philadelphia, Pa. General Electric, Albany, N.Y. General Tire, Akron, Ohio Genigraphics, Stamford, Conn. Gibson Greeting Card Company Cincinnati, Ohio Graphic Media, Winston-Salem, N.C. Grey Advertising, San Francisco, Calif. Grimax Advertising, Kingston, Jamaica Hallmark Cards, Inc., Kansas City, Mo. HBM/Creamer, Pittsburgh, Pa. Hess's, Allentown, Pa. Hill, Holiday, Connors, Cosmopoulos Boston, Mass. Hi-Tech Graphics, Boca Raton, Fla. IBM, Atlanta, Ga Imagmatrix, Richmond, Va. J.C. Penney Company, Denver, Colo. J. Walter Thompson, Atlanta, Ga. John Wanamaker Stores, Philadelphia, Pa. Jordan Marsh, Miami, Fla. KABC-TV, Los Angeles, Calif. Ketchum International, Pittsburgh, Pa. Leo Burnett, Chicago, Ill. Lord & Taylor, Fort Lauderdale, Fla. Lyons Studio, Wilmington, Del. Macy's, Atlanta, Ga.; New York, N.Y. McCann-Erikson, Seattle, Wash. McGraw-Hill, New York, N.Y. Macmillan, Inc., New York, N.Y. Mellon Bank, Pittsburgh, Pa. Miami Herald, Miami, Fla. Murray/Bradley Inc., Anchorage, Alaska Neiman Marcus, Dallas, Tex. Ogilvy & Mather, Houston, Tx. OMO-Norma Kamali, New York, N.Y. Parker Brothers, Beverly, Mass. Parker Pens, Jamesville, Wis. Philadelphia Inquirer, Philadelphia, Pa. Ralph Lauren, Fort Lai Liderdale, Fla. Rick Johnson & Camp any Albuquerque, N.Mex R.J. Reynolds, Winston- Salem, N.C. Saks Fifth Avenue, Phi] adelphia, Pa. Sears Roebuck & Cam pany, Redmond, Wash. Severn Graphics, Glen burnie, Md. S.L.P. Architects, Denve r, Colo. Texaco, Houston, Tex. The Bon, Seattle, Wash The Islander, Newport R.I. The Limited, Denver, C olo.; Dallas, Tex. Time Inc., Washington D.C. Toledo University, Tole do, Ohio USAir, Pittsburgh, Pa. USA Today, Washingto n, D.C. Video Ventures, Miami Fla. Vitiello & Assoc., Sacrc xmento, Calif. Vogue Modeling, Loui sville, Ky. Westinghouse, Pittsbur gh, Pa. Willard & Company, Jc ackson, Miss. Young & Rubicam, Guaynabo, P.R. Zale Corporation, Dal las, Tex. And on, and on, and c
'Of those graduates available for employment

We teach our students more than design and art. We teach work.
Preparing students for careers is central to the grand plan of The Design Schools. Students receive intensive classroom instruction, including professional-level assignments in which they solve art, design and production problems under deadlir - pressures. Students attend classes five days a week, all year round. After two years, they graduate, ready to work productively. If you are an employer of entry-level design talent, you should know more about The Design Schools. If you are a student planning a career in design, The Design Schools, in any one of eight desirable cities, may be the answer to your needs. Write or phone. We will furnish more information.

For a prompt reply, call

1-800-245-6710

I am an employer of design talent. Please send me more information about the graduates of The Design Schools. I am interested in a career in design. Please send me information about the Design Schools. Location preferred .
NAME COMPANY PHONE

The Defign Schools

Art Institute of Atlanta Art Institute of Dallas Art Institute of Fort Lauderdale Art Institute of Houston Art Institute of Philadelphia Art Institute of Pittsburgh Art Institute of Seattle Colorado Institute of Art

ADDRESS CITY STATE ZIP

Send to: Edward A. Hamilton, Design Director The Design Schools 34 South Broadway, White Plains, NY 10601

38

62

Ad Type Graphics

Alpha Graphix

Sacramento, California Los Angeles, California 916-736-2222 213-388-0401

P.A. Altenhofen Typographers, Inc.

American Softype, Inc. Ampersand Typographers

Milwaukee, Wisconsin
414-352-3590

Natick, Massachusetts 617-651-7041

Toronto, Ontario 416-422-1444

Arrow Typographers

Newark, New Jersey 201-622-0111

Were not sheepish

Graphic Services Tacoma, Washington 206-627-8495 Great Faces, Inc. Minneapolis, Minnesota 612-339-2933 Harrison Typesetting Portland, Oregon 503-238-9891 Holly Typesetting North Hollywood, CA 818-764-1868 Omnicomp San Francisco, CA 415-398-3377 Palo Alto, California 415-326-5960 O'Sullivan Typographers New York, New York 212-925-5443 PTH Typographers Los Angeles, California 213-933-9124 Pacesetters Graphic Typography, Inc. Dallas, Texas 214-235-2222 Shore Typographers Chicago, Illinois 312-944-6650 Spectrum Multi-language Communications New York, New York 212-391-3940 Stamford Typesetting Stamford, Connecticut 203-838-1000 TEI/Interface Studio Chicago, Illinois 312-498-6133

e
Lettergraphics/Memphis Memphis, Tennessee 901-458-4584

Central Graphics San Diego, California 619-234-6633

Design & Type, Inc. San Francisco, California 415-495-6280

Litho Composition Boston, Massachusetts 617-482-3236

Porter Graphics, Inc. Santa Ana, California 714-558-1947

ProType of San Antonio San Antonio, Texas 512-227-9174

Trade Typographers, Incorporated Washington, D.C. 202-667-3420

The Advertising Factory Las Vegas, Nevada 702-382-9090

Typesetting Service Providence, Rhode Island 401-421-2264

Typesetting Service, Incorporated Cleveland, Ohio 216-241-2647

Typeworks of Dallas Dallas, Texas 214-631-7006

Typographic Service Los Angeles, California 213-749-8383

Typotronics, Inc./ National Typographers St. Louis, Missouri 314-647-8880

Typography Plus Dallas, Texas 214-630-2800

Typographers
For a complete listing of all the members in TIA contact Typographers International Association, 2262 Hall Place NW,

we

63

.0 a

Artintype Metro

Blue Moon Graphics Bradford/Will Graphics

Brooks Typography

_)_)) - 4 ( Broyles Graphics, Inc.

Centennial Graphics

New York, New York 212-532-4000

Boca Raton, Florida 305-994-6863

Denver, Colorado 303-233-9128

Lafayette, California 415-284-2910

Washington, D.C. 202-337-1300

Lancaster, Pennsylvania 717-397-8863

Central Typesetting Co.

Detroit, Michigan 313-961-7171

Characters Typographic Service

Composition Systems

New York, New York 212-947-0900

Falls Church, Virginia 703-237-1700

Computype of Canada

County Photo Compositing Corp.

DG&F Typography

Toronto, Ontario 416-977-Type

Southborough, Mass. 617-480-0205

Columbia, South Carolina 803-799-9140

4)
L v

E B Typecrafters

Elizabeth Typesetting

Denver, Colorado 303-294-9240

Kenilworth, New Jersey 201-241-6161

The Firm of Christopher Wren

General Typographers

Granite Graphics

Graphic Composition

Costa Mesa, California 714-540-0801

Washington, D.C. 202-546-1400

New York, New York 212-772-0364 Rutherford, New Jersey 201-438-7398

Menasha, Wisconsin 414-739-3152

Marathon Typography

Mercury Typography

John C. Meyer & Son

Durham, North Carolina 919-493-7445

San Francisco, California 415-864-1338

Mono Typesetting Co.

Philadelphia, Penn. 215-627-4320

Bloomfield, Connecticut 203-242-3006

CA ,

Monotype Composition Co.

Newark Trade Typographers

Boston, Massachusetts 617-269-4188

Orange, New Jersey 201-674-3727

,-(

R J Typesetters

Reporter Typographies

El Paso, Texas 915-565-4696

Cincinnati, Ohio 513-421-1162

Richards Graphic Communications

RyderTypes, Inc.

Sarasota Typography, Inc.

Bellwood, Illinois 312-547-6000

Chicago, Illinois 312-467-7117

cl) 1

Sarasota, Florida 813-922-3666

Shapiro's House of Type, Inc.

Toledo, Ohio 419-242-7000

The Type Gallery

Seattle, Washington Duragraph Minneapolis, Minnesota 206-285-6333 612-588-7511

Type House +

Minneapolis, Minnesota Bellevue, Washington 612-377-8870 206-883-3337

'FypeCetera

The Typesetter Corp.

The Typesetter, Inc.

The Typesetting Room

Denver, Colorado 303-458-8973

Costa Mesa, California 714-549-3902

elk Ns EN Es A PERFECTLY BRILLIANT WAY TO HIGHLIGHT YOUR BEST IDEAS. FREE! I

Kansas City, Missouri 816-241-8400 Fort Lauderdale, Florida 305-772-4710
Typographical Service, Inc. Uppercase, Inc. U.S. Lithograph, Inc.

New York, New York 212-673-3210

York Typographers Incorporated

Don Mills, Ontario 416-445-3830

set the stanclar

International Association
Washington DC 1987 TIA Cartoons by Polo

Or you may simply choose to color your thinking with this handsome pocket-clip highlighter pen, free from the TIA character nearest you. Call to find out how to get your free highlighter.

TYPOGRAPHERS INTERNATIONAL ASSOCIATION

11 I . set thr ;:tettitilliyis

64

OU HAVE JUST experienced the most

remarkable breakthrough in type since the development of digital typesetting technology. The large letter *shown, has been faithfully reproduced from actual sized, unretouched output of the CG 9600 imagesetter. The 9600 from Compugraphic Corporation utilizes CG LaserTyper,m a unique curvilinear database that provides superior quality type output in sizes ranging from 4 to 999 points. fAs you can see from the cleanness of the edges and the smoothness of the curves, CG LasetType reproduces typefaces with true fidelity to the original design. Every type character is produced by true arc outline data rather than vectors, resulting in exceptionally smooth contours, sharper corners and straighter lines than previous digital systems; no more jagged or stair-step edges on the type.

compugraphic

For a first-hand look at the type output that sets the highest standard in the industry, call your Compugraphic representative or write Compugraphic Corporation, Type Division, 66 Concord Street, Wilmington, Massachusetts 01887

65

CREATE 50 KINDS OF PHOTO REPRODUCTIONS IN ROOM LIGHT.

Visual Graphics' New Total Camera III

Discover all the graphic marvels you can produce in just minutes with Visual Graphics' remarkable Total Camera III. The basic black & white camera/ processor will deliver everything from simple enlarged or reduced line stats and film transparencies to sophisticated line conversions and special effects. Add specially-matched modular components and you can make full color prints and overheads; type modifications; offset plates; slide enlargements; reductions of extra-large originals; and more. All produced with pushbutton ease. In normal room light. Basic camera features include 300%-33'/3% enlargementreduction; on-line densitometer; microprocessor-controlled automatic focusing and processing; 100-channel programmable memory; vacuum at focal plane; and an optional roll-feed dispenser. To find out more, call toll-free or send in coupon. We'll send you complete details.
Call Us Toll-Free

1-800-327-1813
IN CANADA (416) 533-2305
r

sag
NAME TITLE

VISUAL GRAPHICS CORPORATION

5701 N.W. 94th Ave., Tamarac, FL 33321

The VGC Total Camera III sounds interesting. K Please show me your free videotape. K Just send information.

SPECIAL OFFER: Ask to see

a free videotape demonstrating the amazing versatility of the VGC Total Camera III.

ORGANIZATION ADDRESS CITY/STATE/ZIP PHONE

U8,1c 5/87

66

We have something nobody else has. patented multicolor d

That's right. Nobody. Not Chromatec, not Matrocolor, not any of the big boys have earned a patent for their color transfers. Just us. Just Identicolor. And what all this should mean to you is this: No other decal in the color-proofing business

eCallike& GILL SANS EXTRA BOLD

is backed by so powerful a validation. You can look it up. We call our patented decal Multi/cal. It's so good you should try one on for size. Like our ads say, that's all the proof you'll ever need.

Multi/cal:
Only From Identicolor
Identicolor International Headquarters: 720 White Plains Rd., Scarsdale, N.Y., 10583, (914) 472-6640

BERTHOLD EXCLUSIVE TYPEFACES:

67

Clever foxes willjump on Berthold's Bodoni Old. Face real quick.

FROM BERTHOLD ONLY.

odoni Old Face is a modern design of the classic Bodoni styles specially adapted to phototypesetting and developed with great sensitiveness from a variety of original Bodoni prints.

iambattista Bodoni, "King among Printers and Printer of Kings" was one of the Western world's masterful creative artists. A new Bodoni dimension has opened up for phototypesetting with this new revision of his typeface carried out by Giinter Gerhard Lange, Artistic Director of H. Berthold AG, himself a creator of contemporary type families.

nly Berthold has this exclusive Bodoni Old Face in the styles regular, italic,
SMALL CAPS, ITALIC

Please write to:

H.Berthold AG Teltowkanalstrage 1-4 D-1000 Berlin 46 Federal Republic of Germany

SMALL CAPS,

semi-bold,

italic semi-bold, bold and italic bold Please use the accompanying coupon to write and ask for the Berthold Exclusive Type Specimen No.11"Bodoni Old Face".

or from overseas to:

Alphatype Corporation, 7711 N. Merrimac Avenue, Niles, Illinois 60648

Address ......................

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz

berthold fototype

68

ur rise
Geoff Carverhill and Bob Russell run Canada's leading package design firm. Located in Toronto, Carverhill Russell is known for maintaining high creative standards and remaining sensitive to client needs. Teamwork is an essential element of their business: for them, the best visual solution is a collaborative effort between designer and client, a process they call "searching for a surprise." When Carverhill Russell went searching for a computer graphics system, they had a clear idea of what they wanted a system which would take the guesswork out of design, while allowing for that element of surprise. They knew that a system which required less time to produce visuals would leave more time to design them. But they also needed quality presentation materials for a broad range of packaging projects. Their search ended as soon as they saw their first demonstration of the Lightspeed image design system. The surprises were just beginning. They found they could generate many variations of a design in less time than it would have taken to make just one. And production costs were minimal. They were pleased to be able to use familiar tools with such ease, and thrilled with the new ones Lightspeed had to offer. The surprises keep coming. Lightspeed is as effective for corporate and environmental projects as it is for packaging design. Now the people at Carverhill Russell make changes to designs during client meetings, and show new comprehensives the next day. Designs are freer, comps are tighter, clients are happier. They've even discovered how effective the comps are for market research ... Are you still searching? Contact Lightspeed for a free demonstration. Lightspeed lets us do everything we used to do manually, but much faster. The Lightspeed system is incredibly easy to work with, and eliminates a lot of the frustration that comes with package design.

Searching for a

K Please send me information. K Please have a sales rep contact me to arrange a demonstration. name phone title company address state zip

lightspeed
47 Farnsworth Street
Copyright 1986 SimX, Inc. All rights reserved.

Boston, Massachusetts 02210

617 338-2173

69

Subscribe NOW Save 30% and get the all-new

Ps

BUSINESS ANNUAL 1987

You'll automatically receive HOW's Business Annual as part of your subscription to HOW
OW announces a new Annual devoted exclusively to marketing and managing for graphic designers. The Annual will be HOW's enlarged Nov/Dec issue. You'll be taken inside design studios across the countryfrom the one person shop to some of the largest studios in the industryfrom those just starting out to some of the top names in the profession and you'll see how they run their business. HOW's Business Annual gives you an "over the shoulder look" at the successful designers as they sell their services manage and schedule jobs use accounting principles to control their finances You'll get a real behind the scene look at the

i. the only up-to-date guide to the Business of Graphic Design

HOWs Business Annual. How designers sell themselves: Stationery; portfolio; announcements; advertising publicity; public relations; slide presentations, film and TV cassettes; promotional books; reps; how to expand your business; how ato get more work from clients; how not to let marketing overpower design.

daily business of design. You'll learn how designers set a fee structure, run their organization, estimate their cost, prepare proposals and contracts, establish sales and marketing plans, and manage projects, people, time and money. You'll visit their studio, meet their staff, see their workstations and jobs in progress. You'll get practical information from no-nonsense financial articles by experts on financial planning and much more. Use HOW's Business Annual for real help on how and where to look for new jobs, how to free-lance effectively, how to start your own studio, what to charge for your work and many other useful suggestions that will enhance your career and build your business. Don't miss HOWs Nov/Dec issue . . . it's sure to become the best business partner you ever had.

HOWs Business Annual. How designers use in-house hardware, computer, statmachines, typesetting, photo equipment, etc. When to buy; how to finance; rental; using outside services; handling production and printing for clients.

Look over the shoulders of the best in the business... see "how it's done" by America's most successful professionals.
isit with HOW, The Magazine of Ideas and Technique in Graphic Design, the studios of famous designers, artists and photographers. See how they work on important assignments. Look over their shoulders as they create and get their ideas on how to tackle your most challenging design problems.

HOWs Business Annual. A new look at the design of studios and offices across the country. Includes multi-leveled offices and offices designed for dual purpose of living and working. Some are new offices, others are a redesign of existing space. Review of space need, work flow, business attitude and planning for the future. Advantages of partnership, corporation, sole proprietorship are evaluated.

HOW describes in easy-tounderstand text and full color step-by-step illustrations how graphic designers and artists create their designs and pictures. You'll be taken from original concept and thumbnails through roughs and mechanicals to the finished piece.

Published bi-monthly in 81/2 x 11 format with over 100 pages Printed in full color throughout Sequential photographs show the procedure used in creating a design Detailed diagrams and drawings illustrate the underlying features All illustrations have captions explaining the various steps of the design projects.

Discover in HOW new prepress techniques, learn how new technical developments in computer graphics, digitized typography, color scanners, laser printing, etc. can help you get better results, often in less time and for less money.

HOW brings you practical advice. Whether you are a one person studio, a free-lancer or working in a multi-staffed agency, you'll always find plenty of profitable design presentation and productive know-how technical information. HOW "keeps you in the know" of the creative process.

HOW's Business Annual. What are new in workplaces and stations, from open plan workspace to individual private rooms. Design management solutions; design procedure; getting people to work together; project management; working methods; research, how much, how costly, pension, profit sharing, hiring people are discussed in detail.

Save over 30%. Special introductory offer including HOW's BUSINESS ANNUAL 1987
Please send me HOW at your special introductory subscription price. Enclosed is my check for K I Year at S27 (newsstand price S39). Includes HOW's Business Annual 1987 Maryland residents add 5% sales tax. Foreign countries add $8.00 per year for postage. (U.S. currency only.) For credit card billing check K VISA K MasterCard K American Express Mail to: HOW, The Magazine of Ideas and Technique in Graphic Design 6400 Goldsboro Road, Bethesda, MD 20817 Name Title Company Address City State Phone (

Apt # Zip

HOWs Business Annual talks business. How to design a billing system; the use of computer in accounting; billing forms; communication in and outside the office; keeping time records; filing systems; budget; working capital; outside consultants, lawyer, accountant, banker, insurance agent.

Your full credit card number

Good Through
Month Year

Watch for your first issue in about 5 weeks

You may order by phone. Call toll free 1-800-222-2654. Please have your credit card at hand when ordering by phone.
u,/c. M/87

Signature
All credit card orders must be signed

70

Seminar & Showcase for Electronic Art, Design & Graphics

filillrer"v"r3

87

New tools for the artist, designer and art director of tomorrow. 22 sessions covering all aspects of electronic art application with demonstration of applicable workstations, systems and related technology.

The most comprehensive forum on the subject of electronic art and electronic pre-press ever held . . . for the nontechnical creative professional.

TUESDAY, AUGUST 11,1987 I SESSION 1: 2pm to 5pm Electronic Art Magic Lantern ShowA
phantasmagoric laser, film and video festival of innovative electronic graphics presentations. Room A

THURSDAY, AUGUST 13,1987 I SESSION 12: 8am to 9:30am All about desktop/electronic publishing
Learn the facts about typographic page assembly, with comparison of various programs. Room B

WEDNESDAY AUGUST 12,1987 I SESSION 2: 8am to 9:30am All about printers and proofingA thorough
review of the technologies and devices that actually produce hard copy printout at various resolutions in black and white or color. Room B

I SESSION 13: 9:30am to 10:45am Page description languagesWhat, why, who,

when, if and about PDLs (and RIPs too). An approach to standardization? Room B

August11-114, 1987 Washington, DC

The Washington Hilton
Connecticut Avenue at Columbia Road, NW Washington, DC
Session Leaders: Jack Powers Interactive Features, New York, NY Frank Romano TypeWorld, Salem, NH

I SESSION 14: 11am to 12:30pm Paint programs and systemsThey're fun and
exciting, but are the useful? Room B

I SESSION 3: 9:30am to 10:45am Digital imaging A tutorial session designed to

CONCURRENT SESSIONS I SESSION 15: 9:30am to 10:45am Business graphics programsPutting

numerical data in visual form. Room C

take you from bits and bytes to pixels and pels to raster and vector. Room B

I SESSION 4: llam to 12:30pm Picture processingAll about the capture,

storage and processing of photographic images, and the limitations of printout technology. Room B

I SESSION 16: 11am to 12:30pm EGA, CGA and beyondVideo screens and
hardware adaptors that let us see graphics as graphics. Room C

CONCURRENT SESSIONS I SESSION 5: 9:30am to 10:45am Electronic camerasFrom hand - held filmless
"super Brownies" to video image capture, what is the prognosis for electronic photography. Room C

^ Art-X '87 Exhibition: Noon to 8pm I SESSION 17: 2pm to 3pm All about electronic slidemakingA review of
available approaches to presentation graphics. Room B

Sponsored by the Electronic Art Association

1

I SESSION 6: 11am to 12:30pm The medium is the materialA review of

photographic papers and films and nonphotographic substitutes. How close can we get to the printing process? Room C

I SESSION 18: 3pm to 4:15pm Artists' workstationsFrom PCs to graphic

workstations. What's available and affordable and what do you do with it. Room B

REGISTRATION INFORMATION
Fee: $520 Entitles registrant to attend any session at any time. Registration includes conference notebook, handouts, breaks, lunches, and admission to Art-X exhibition. Prepublication copies of Jack Powers' "Electric Art" will also be included for registrants. 10% discount for each registrant from same firm. Registrations are transferrable. Name Title Name Title Firm Street City State Phone Business type Registration and payment to:

^ Art-X '87 Exhibition: Noon to 8pm I SESSION 7: 2pm to 3pm All about digitizersFrom 300 dpi to 1,000 +
dpi devices for capturing art and images and their interface to workstations and systems. Room B

I SESSION 19: 4:30pm to 5:30pm The human interfaceHow do creative people

and smart machines work together? How to mouse an icon and puck a pallette. Room B

CONCURRENT SESSIONS I SESSION 20: 2pm to 3pm Electronic illustration (creative)Adobe

Illustrator sets the pace. A thorough review of this and related programs. Room C

I SESSION 8: 3pm to 4:15pm Electronic color pre-pressOverview of

systems and vendors. Where does color separation fit in an electronic environment? Room B

I SESSION 21: 3pm to 4:15pm Electronic illustration (technical)A look at

workstations and systems for higher volume applications and links to CAD/CAM. Room C

I SESSION 9: 4:30pm to 5:30pm User panel A discussion of training,

Zip

implementation and cost justification issues specifically oriented to the graphics professional and available technology. Room B

FRIDAY, AUGUST 14,1987 I SESSION 22: 8:30am to 11:30am Wrap-up and perspective. How do you cost
justify the technology in your application? Technology is all well and good, but now that you've seen all the machines and learned all the buzzwords, how do you save or make money with these new tools? Room A

CONCURRENT SESSIONS I SESSION 10: 2pm to 3pm From layout to negativeA look at imposition
and layout approaches with new technology. Room C

Electronic Art Association

PO Box 170 Salem, NH 03079 (603) 898-2822

L Conference chairperson: Adele Robey, Robey Graphics, Washington, DC

I SESSION 11: 3pm to 4:15pm User panel Art directors and graphic

^ Art-X '87 Exhibition: Noon to 8pm

designers look at the layout, comprehensive and artwork process. Where does technology really fit in? Room C

71

50

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Every illustration, symbol, and design shown here is from recent issues of Clipper. Of course, Clipper is more than topnotch ready-to-use art. Each issue contains dozens of idea-inspiring demonstrations and suggestions for using the art. Plus Clipper never repeats itself. You get fresh material in a wide variety of styles and techniquesmonth in and month out. You'll have many more creative alternatives with Clipper.

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Clipper arrives on your desk or drawing board about the 20th of each month. In it are 24 big pages (121/2" x 19") containing scores of individual illustrations, cartoons, borders, layout frames, headings even a color separation. You'll also find suggested applications with headlines, art and copy in position. They're great idea starters that you can adapt to your own needs with appropriate copy and logo changes.
Your Clipper annual subscription includes 12 issues of Clipper and "Clip Bits;' 3 monthly pictorial indexes, a Cross Reference Index (of our 10,000-plus listing art library) and vinyl binders for both issues and indexes.

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K YES, enter my order for a one-year, 12 issue subscription to Clipper Creative Art Service at $29.50 a month, plus $2.75 postage and handling ($4.50 a month postage & handling in Canada, payable in U.S. funds) beginning with the current issue. As my bonus for subscribing now, I'll receive an additional (13th) Clipper issue FREE. After the 13 issues, continue to ship monthly, subject to my written cancellation notice 30 days prior to publication (20th of every month). Note: this offer applies in North America only. I agree to complete payment as follows: You must check one: K I prefer to save 3% of the subscription price by prepaying. Please bill me now. Terms are net 10 days. K Please bill me monthly as the year's issues are shipped. 'Terms are net 10 days. IMPORTANT: Card must be completely filled out & future payment option checked before we can start your subscription.
ATTENTION (please print or type) TITLE

COMPANY (if applicable) STREET CITY TYPE OF BUSINESS AUTHORIZED BY FOR OFFICE USE STATE ZIP

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BUSINESS PHONE (area code) (signature and title) 17AR-80000

MAIL TO:

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72 Halt! Let me see your papers. Will that be the CLASSIC Laid, CLASSIC Linen, CLASSIC CREST Writing, NEENAH Bond, OLD COUNCIL TREE Bond, UV/ULTRA II Translucent

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Photo-Lettering, Inc. is one of the most renowned typeshops in the world. Our exclusive typestyles appear regularly on network television and in print. For 50 years our extraordinary capabilities have been praised in graphic design books and magazines. Yes, we're innovative and imitated, but we're never quite duplicated!

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As a design tool, the Artograph DB300 Projector offers incredible convenience. By projecting an image directly onto your work surface (opaque art, 3D objects, slides* or transparencies*) it eliminates the need to trace and transfer. The Artograph DB300 Projector allows you to enlarge up to 300% or reduce to 33% in a minimum of time. Compact, lightweight, it can be mounted directly onto your drawing table. And the DB300 is economically priced. Compared to the old fashioned trace and transfer method? Artograph wins every timefor ease, for economy, for quality. Why have you waited so long?
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73

Enter the 1987 CHARTPAK Typeface Design competition

Here's your opportunity to join some of the most famous names in typeface design. Enter the 1987 Chartpak Typeface Design Competition. This year, Chartpak judges will select up to twelve outstanding original typefaces as winners to receive $500.00 cash and national design recognition as Chartpak Velvet Touch Dry Transfer Lettering, the finest professional quality dry transfer lettering available. Additionally, winners will receive a royalty from the sales of their typeface. But time is short and you can't win if you don't enter! So hurry, the deadline for all entries is July 31,1987. See your Chartpak dealer today for complete rules and official entry forms. Don't miss your chance to put your face in good company! U our

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The 'Type Shop That Hasn't Let Their Most Advanced Computer Replace Their Original One.
Flip through any magazine and you'll notice something new about typographers. They've all stopped thinking. That's because typographers are relying on their computers more. and are using their minds less. As a result you see the same mediocre word spacing. the same poor ragging, and the same dreadful kerning throughout. But for those art directors and designers whose standards are greater than their typographers, there's an alternative. Line and Tone. The type shop that understands that when the machines are all the same, the people have to be different. That's why we have typographers whose command of computers is only matched by their sense of design. A sense of design that subtly enhances an art director's layout, without infringing upon it. Our typographers also perform their craft on computers that are as capable as they are. In fact our computers are so sophisticated, they can deliver typositor quality settings from as big as 72 points to as small as 4. So give Line and Tone a call at (212) 921-8333. It's the type shop that still uses the computer that invented computers in the first place.

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74

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Ideas on Design by Pentagram is a stunning visual guide to the current design practice of the Pentagram partners. Their work for a great variety of clients many of them household names on products as diverse as posters, packaging, street signs, building interiors, company identities, environmental schemes and consumer products demonstrates an extraordinary range of graphic skills and analytical and imaginative resources. Over two hundred design solutions are illus-

for shipping and handling. K I have enclosed my check payable to

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trated, many of them in colour, with comments on the issues and ideas each raises. Return to: Faber and Faber Inc. 50 Cross Street, Winchester, MA 01890 USA Allow 2-3 weeks for delivery.

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GPC CA1ALOG OF TIME-SA ION CREATIVE PRODUCTS AND PRODUCT APPLICATION TECHNIQUES IS AN INVALUABLE RESOURCE MANUAL FOR ALL GRAPHIC ART PRODUCTION ACTIVITIES.

The RapidType Computer is hardware-based on the Sharp PC1250A Pocket Computer.

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And increase accuracy as well. The RapidType Computer is not a modified calculator, but a 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 1 + -*/) 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?
Send to: Hawk Design Works 352 N. Craig Pl. Lombard, IL 312.495.4778 K Yes, I'm ready to make copy fitting easy. Please send me RapidType Model TS2A6 @ $149.95 each RapidType Model TS3 @ $169.95 each I am enclosing a check or money order for $ US COMPUTER DIVISION

Return to: UCDA National. Office 2811 Mishawaka Avenue South Bend, IN 46615 (219) 288-UCDA

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Illinois residents please add 694% tax,

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76
ITC LICENSED

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

ABL Computer Technologies Limited 43/44 Albemarle Street London W1X 3FE England 01-499-9461 Daisy Wheels and Thimbles Adobe Systems, Inc. 1870 Embarcadero Palo Alto, CA 94303 (415)852-0271 Interactive Software Tools for Graphic Arts Alphatype Corporation 7711 N. Merrimac Avenue Niles, IL 60648 (312)965-8800 AM International, Inc.
Varityper Division

Avo's Type & Lettering, Inc.

Digital Type Systems, Ltd. 38 Profile Circle

Gepeto Eletronica Ltda

ltek Graphix Corp. Composition Systems Division 34 Cellu Drive Nashua, NH 03060 (603)889-1400 Phototypesetting Systems and Equipment, Film Strips, Standard and Segmented Discs, and Digitized Fonts LeBaugh Software Corporation 2720 Greene Avenue Omaha, NE 68147-1939 (402)733-7600 Manufacturer of LePrint ' Software Esselte Letraset Letraset Limited St. George's House 195/203 Waterloo Road London SEI 821 England (01)930-8161 Dry Transfer Letters Letraset USA Inc. 40 Eisenhower Drive Paramus, NJ 07652 (201)845-6100 Dry Transfer Letters Linographlcs 770 N. Main Street Orange, CA 92668 (714)639-0511 Display Typesetters, 2" Film Fonts Linotype Company 425 Oser Avenue Hauppauge, NY 11788 (516)434-2000 Linoterm, V-I-P Linotron, Omnitech CRTronic, Phototypesetting Equipment and Systems Linotype GmbH Frankfurter Alee 55-75 6236 Eschborn bei Frankfurt West Germany (06196) 403 260 Typefaces and Fonts for Analog and Digital Typesetters and other Visual Communication Equipment Mecanorma 78610 LePerray-en-Yvelines Paris, France 483.90.90 Dry Transfer Letters MegaCom, Inc. 3925 Coconut Palm Drive Suite 115 Tampa, FL 33619 (813)626-6167 Non-Impact Page Printing Systems

Mesac GmbH Saarstrasse 29 6360 Friedberg/H. West Germany 06031/3677 UNI.LET (CAD/CAM System) Microtype 8 Faubourg St. Jean 21200 Beaune France Film Fonts Manufacturer Alphabet Designers The Monotype Corporation Limited Salfords, Redhill, Surrey England Redhill 6 5959 Visual Communications Equipment NBS Southern, Inc. 100 North Belcher Road Clearwater, FL 33575 (813)539-6283 Electronic Printing Systems NEC Information Systems, Inc. 1414 Massachusetts Avenue Boxborough, MA 01719 (617)264-8000 Personal and Small Business Computer Systems, Printers and Peripherals Nippon information Science Ltd. Sumire Building 4F 5-4-4 Koishikawa Bunkyo-ku, Tokyo 112 Japan (03)945-5955 Digital Fonts, Latin and non-Latin Alphabets, including Kanji Characters Officine Slmonclni s.p.a. Casella Postale 776 40100 Bologna Italy (051)744246 Hot Metal Composing Matrices and Phototypesetting Systems PhotoVision of California, Inc. P.O. Box 552 Culver City, CA 90230 (213) 870-4828 Toll Free: 800-421-4106 Spectra Setter 100, Visual Display Setter, and 2" Film Fonts Presentation Technologies, Inc. 743 N. Pastoria Avenue Sunnyvale, CA 94086 (408)749-1959 Image-Maker Slide-Making System Pressure Graphics, Inc. 1725 Armitage Court Addison, IL 60101 (312)620-6900 Dry Transfer Letters

17562 Eddy Drive Santa Ana, CA 92705 (714)669-1327 2" Film Fonts H. Berthold AG Teltowkanalstrasse 1-4 D-1000 Berlin 46 West Germany (030)7795-1 Front-Ends, Optomechanical Photo Units, Digital Photo Units/Digital Recorders, Headline Typesetter, Scanners Berthold of North America 7711 N. Merrimac Avenue Niles, IL 60648 (312)965-8800 Diatronic, ADS, Diatype, Staromat Diasetter, Repromatic British Broadcasting Corporation Broadcasting House London W1A IAA England 01-580-4468 Video Fonts for the BBC Camex, Inc. 75 Kneeland Street Boston, MA 02111 (617)426-3577 SuperSetter Digital Imaging Systems for Text Cello-Tak Mfg., Inc. 35 Alabama Avenue Island Park, NY 11558 (516)4314733 Dry Transfer Letters Century Software 2483 Hearst Berkeley, CA 94709 (415)549-1901 Laser Fonts Chartpak One River Road Leeds, MA 01053 (413)584-5446 Dry Transfer Letters Compugraphic Corporation 200 Ba Ilardva le Street Wilmington, MA 01887 (617)944-6555 EditWriters, CompuWriters, Text Editing Systems, MCS - 8200, 8400, 8600, Accessories and Supplies
Computer Gesellschaft

Nashua, NH 03063 (603) 880-7541 Box 115, Place D'Armes CH-1618 Chatel St. Denis Switzerland 021-569256 27 Park End Street Oxford Oxfordshire England Digital Typefaces in Outline or Bitmap Form for any Digital Output Device Digital Visions, Inc. 454 West 46 Street New York, NY 10036 (212)581-7760 Interactive Computer Graphics Software Dubner Computer Systems, Inc. 6 Forrest Avenue Paramus, NJ 07652 (201)845-8900 Broadcast TV Equipment ETP Systems, Inc. 10150 SW Nimbus Avenue Suite E-2 Portland, OR 97223 (503)639-4024 Manufacturers of Laser Publishing Systems Incorporating Typesetting and Fonts into Unix Based Computer Systems Filmotype 7711 N. Merrimac Avenue Niles, IL 60648 (312)965-8800 Film Fonts
Fonts Hardy/Williams (Design) Ltd.

Praia de Botafogo 440-16 andar Rio de Janei ro CEP 22250 Brazil (021) 286-8284 Telex 021-33499 Digital Phototypesetters Photocomposition Systems Graphic Products Corporation 3601 Edison Place Rolling Meadows, IL 60008 (312)392-1476 Formatt Cut-out Acetate Letters and Graphic Art Aids Graphics, Inc. 16001 Industrial Drive Gaithersburg, MD 20877 (301)948-7790 Manufacturer of Dry Transfer Systems Harris Corporation Harris Composition Systems Division PO. Box 2080 Melbourne, FL 32901 (305)259-2900 Fototronic 4000, TXT, 1200, 600 CRT 7400, 7450 Dr.-Ing Rudolf Hell GmbH Grenzstrasse 1-5 D2300 Kiel 14 West Germany (0431)2001-1 Di giset Phototypesetting Equipment and Systems, Di giset-Fonts High Technology Solutions P.O. Box 3426 Poughkeepsie, NY 12603 (914)473-5700 MPS Front End System and Fastsetter Typesetter Information international, Inc. 5933 Slauson Avenue Culver City, CA 90230 (213)390-8611 Phototypesetting Systems international Business Machines Corporation Old Orchard Road Armonk, NY 10504 Electronic Printing Systems International Type Fonts ApS c/o Cooper & Beatty, Limited 401 Wellington Street West Toronto M5V 1E8 Canada (416)364-7272 Type Discs for Harris 600 1200, 4000. TXT Typesetters Intran Corporation Gateway North 5601 Smetana Drive Minnetonka, MN 55343 (612)931-9170 Digital Fonts, Xerox High-End Printing Systems

11 Mt. Pleasant Avenue East Hanover, NJ 07936 (201)887-8000 Phototypesetters and Photolettering Systems Ampex Corporation 401 Broadway Redwood City, CA 94063-3199 (415)367-3440 AVA-3 (Video Graphic Art Generator) Anagraph, Inc. 2770 South Harbor, Unit K Santa Ana, CA 92704 (714)540-2400 Graphic Express System for Signage Artype, Inc. 3530 Work Drive P.O. Box 7151 Fort Myers, FL 33901 (813)332-1174 Toll Free: 800-237-4474 Dry Transfer Letters Cut Out Letters Aston Electronic Designs Ltd. 125/127 Deepcut Bridge Road Deepcut, Camberley, Surrey GU16 6SD England 0252 836221 Video Character Generators Autologic, Inc. 1050 Rancho Conejo Boulevard Newbury Park, CA 91320 (805)498-9611 APS-4/APS-5 CRT Phototypesetter Composition and Typesetting Systems Autologic SA 1030 Bussigny Pres Lausanne Switzerland 021/89.29.71 Bobst Graphic Products and Phototypesetting Systems

300A High Street Sutton, Surrey SM1 PQ England 01-636-0474 Font Manufacturer Fundiclim Tipografica Neufville, S.A. Puigmarti, 22 Barcelona-12 Spain 219 50 00 Poster Types Geographies, Inc. P.O. Box R-1 Blaine, WA 98230 (206)332-6711 Dry Transfer Letters

Konstanz MBH Max-Stromeyer-Strasse 116 D-7750 Konstanz West Germany (07531)87-4433 Laserset-Laser Typesetter OCR-Equipment Computer Output Printing, Inc. 4828 Loop Central Drive Houston, TX 77081 (713)666-0911 High End Electronic Printing Systems and Digital Fonts

FOR FURTHER INFORMATION WRITE OR CALL: INTERNATIONAL TYPEFACE CORPORATION 2 HAMMARSKIOLD PLAZA, NEW YORK, NEW YORK 10017 (212) 371-0699 TELEX: 669204

77

Don't leave English without us.

We make your messages work in any language. Arabic to Zulu, an unexcelled source for translation and typography. Ask for a complimentary subscription to our award-

Prestype, Inc. 194 Veterans Boulevard Carlstadt, NJ 07072 (201)933-6011 Dry Transfer Letters PROSOFT Tesler Software Corporation 7248 Bellaire Avenue No. Hollywood, CA 91605 (818)764-4555 "Fontasy" Software Purup Electronics 28 JensJuuls Vej DK 8260 VIBYJ Denmark Tel: 456-28 22 11 Laser Forms Printers Quantel Group Ltd. Kenley House Kenley Lane Kenley, Surrey CR2 5YR England 01-668-4151 Designers and Manufacturers of Digital Television Broadcasting Equipment; the Paint Box Ryobi Limited 762 Mesaki-Cho Fuchu-Shi Hiroshima-Ken 726 Japan Text/Display Phototypesetters Scangraphic Dr. Boger GmbH Rissner Strasse 112-114 2000 Wedel/Hamburg West Germany (04103) 6021-25 Manufacturer of the Scantext Phototypesetting System, Frontend, Typesetter, Graphic Page, Logoscanner, Interfaces and Digital Fonts Simulation Excel A.S. Dag Hammarskjolds vei 15 Oslo 5 Norway Tel: 47-2-15 66 90 PAGEscan Digital Typesetter PAGEcomp Interactive Ad and Page Make-up Terminal SoftCraft, Inc. 227 N. El Camino Real #201. Encinitas, CA 92024 (619)944-0151 SoftCraft Font Library
Special Graphic Lettering Systems Holland B.V.

Straightforward

Visual Graphics Corporation 5701 N.W. 94th Avenue Tamarac, FL 33321 (305)722-3000 Manufacturer of Photo Typositor and Original Typositor Film Fonts Wang Laboratories, Inc. One Industrial Avenue Lowell, MA 01851 (617)459-5000 Off ice Automation Specialist Xenotron, S.A. 3, Rue Sandoz B.P.118 93130 Noisy-le-Sec France (1) 48 91 78 33 Manufacturer of Laser Imagesetters
Xerox Corporation

15000 Halldale Avenue Gardena, CA 90249 (213)324-8827 Z-Font Software Sumitomo Bakelite Co., Ltd. 2-2,1-chome, Uchisaiwai-cho Chiyoda-ku, Tokyo 100, Japan (03)595-9391 Printwheels, Daisy Wheels and Thimbles Tactype, Inc. 12 West 26th Street New York, NY 10001 (212)924-1800 Dry Transfer Letters Technographics/Film Fonts P.O. Box 552 Culver City, CA 90230 (213)870-4828 Toll Free: 800-421-4106 Film Fonts, Studio Film Kits, and Alphabet Designers Tegra, Inc. Middlesex Technology Center 900 Middlesex Turnpike Billerica; MA 01821 (617) 663-7435 Electronic Printing and Imaging Systems TypeMasters, Inc. 29-31 E. Lancaster Avenue Ardmore, PA 19003 (215)649-2546 2" Film Fonts URW Unternehmensberatung Karow Rubow Weber GmbH Harksheider Strasse 102 2000 Hamburg 65 West Germany (040)602 1071 IKARUSDigital Type Production SIGNUSType Setting with Foils U.S. Lynx 853 Broadway New York, NY 10003 (212)673-3210 Lynx Laser Plain-Paper Proofing
System

winning newsletter.

SPECTRUM Multilanguage
Communications 225 W 39 Street New York 10018 (212) 391-3940

Corporate Font Center 701 South Aviation Boulevard El Segundo, CA 90245 Mail Stop A3-23 (213)333-9721 Zipatone, Inc. 150 Fencl Lane Hillside, IL 60162 (312)449-5500 Dry Transfer Letters

Authorized Suppliers of ITC Typefaces in Digital Form

Adobe Systems, Inc. Bitstream, Inc. Compugraphic Corporation Digital Type Systems, Ltd. Linotype GmbH Nippon Information Science Ltd. URW Unternehmensberatung
Authorized Distributors of ITC Typefaces

Varitronic Systems, Inc. 300 Shelard Tower 600 South County Road 18 Minneapolis, MN 55426 (612)542-1500 Merlin Electronic Lettering Systems for the Office VldeoSoft, Inc. 2101 South Broadway Little Rock, AR 72215 (501)376-2083 Supplier and Manufacturer of Digital Fonts for Electronic Systems Visi-Graphics
8119 Central Avenue Washington, DC 20027 (301)366-1144 Dry Transfer Letters

AGFA-Gevaert N.V. Apple Computer Inc. Bitstream, Inc. Cubicomp, Datalogics Incorporated Delphax Systems Dicomed Corporation Digital Equipment Corporation Digitized Information Systems Corporation (Ghent, Belgium) Eocom General Optronics Corporation Ka nematsu Electronics Ltd. Scitex Corporation Ltd.

P.O. Box 211 2160 AE Lisse The Netherlands 01718-26114/22871 Dry Transfer Lettering

78

NEW: TO HELP YOU SPECIFY ITC PACELLA

Name Company
Title Street Address
City

Country

Zip Code

AndThere's a most helpful typeface specifiers book for every ITC typeface family. Each 6" x 12" book includes: 1 Text blocks plus alphabet showings for sizes 6, 7, 8, 9, 10, 11, 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. 3 Alphabet display showings in sizes 30, 36, 48, 60 and 72 points plus 1" caps. 4 Complete character showing of each ITC display font. 5 Headline presentation in display size range.

PACELLA

To obtain these ITC type specimen booklets and U&Ic back issues, complete and mail this order form. All orders must be accompanied by a remittance. Please make checks payable, in US funds, to ITC at: 2 Hammarskjold Plaza, New York, NY 10017, USA Quantity
ITC BOOKLETS:

ITC PaceIla Bold

Unit Price $1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00 1.00

Total
BCOEFG1=1=7;17231567890

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understan ding used in its planning; the designer must care. In c ,, ontemporary advertising the perfect integration of des

_ ITC Avant Garde Gothic with Oblique

ITC Avant Garde Gothic Condensed _ITC Barcelona ._ITC Bauhaus _ITC Benguiat ITC Benguiat Condensed ITC Benguiat Gothic ITC Berkeley Oldstyle ITC Bookman _ _ITC Caslon No. 224 ITC Century with Condensed ITC Cheltenham with Condensed ITC Clearface ITC Cushing ITC Elan". ITC Eras _ITC Esprit _ITC Fenice ITC Franklin Gothic Friz Quadrata ITC Gaillard ITC Gamma'" _ ITC Garamond with Condensed _ITC Goudy Sans ITC Isbell Italia ITC Kabel _ ITC Korinna with Kursiv _ITC Leawood ITC Lubalin Graph with Oblique _ITC Mixage ITC Modern No. 216 ITC New Baskerville ITC Newtext _ ITC Novarese ITC Quorum _ITC PacellaT ITC Serif Gothic ITC Slimbach ITC Souvenir _ITC Symbol __ITC Tiffany with Italic ITC Usherwood _ITC Veljovic _ITC Weidemann ITC Zapf Book ITC Zapf Chancery ITC Zapf Dingbats ITC Zapf International
U&Ic BACK COPIES: U&lc, Vol. 3, No. 4

ITC American Typewriter

,,,.

ABCDEFGHt=irP'41=r7V7123056711,0
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FIRME DELIVREZ A TRAVAIL RESIDENCE PRIVEE

FIRMA LIEFERUNG AN FIRMA PRIVAT

ADDRESS

ADDRESSE

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My organization and/or I am involved in the visual communicano. tions field _yes I am a student yes no

Mon organisation et/ou je fais partie de communications visuelles non oui Je suis etudiant oui non.

Meine Firma und/oder ich sind auf dem Gebiet der visuellen nein. - ja Kommunikation tatig Ich bin Student _ ja _nein.

BUSINESS CLASSIFICATION:
(Check One Only)
(a) (b) (c) (d) (e) (f) (g) (h)
(i)

CLASSIFICATION PAR PROFESSIONS

FIRMENKLASSIFIZIERUNG

(Ne cocher qu'une seule fonction)

(a) (b) (c) (d) (e) (f) Impression (Commerciale, Instantanee, etc.). Composition (Commerciale). _Agence de publicite, Studio dart, Conception, Independant Journal, Revue, Edition de 'lyres. Composition faite sur place ou par une societe et autres services de reproduction. Enseignement et/ou bibliotheques. Governement. Publicity de societe, Conception, Promotion. Traitement de communications et d'informations. ___ _Autres.

(Bitte eine ankreuzen)

(a) (b) (c) (d) (e) (f) (g) (h) (i) (j) Druckerei (Akzidenzdruck, Schnelldruck, usw.). Schriftsetzerei (Werk- oder Layoutsatz). Werbeagentur, Grafikdesignatelier, Freischaffender 7eitungs-, Zeitschriffen- oder Buchverlag. Firmeneigene Schriftsetzerei, Reproduktion oder Druckerei. Bildungsanstalt oder Bibliothek. Beharde. Werbe-,VerkaufsfOrderungs- oder Designabteilung von Industrie- oder Handelsfirma. Kommunikation und Datenverarbeitung. Sonstiges.

Printing (Commercial, Instant, etc.). Typesetting (Commercial). Advertising Agency, Art Studio, Design, Freelance Newspaper Magazine, Book Publishing. In-plant or corporate typesetting and other reproduction services. Education and/or Libraries. Government. Corporation Advertising, Design, Promotion.
Communication and information processing.

(9)
(h) (i) 0)

(j)

Other.

MY PRIMARY JOB FUNCTION IS:

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(k) (I) (m) (n) (0) (p) (q) (r) (s) (t) (u) (v) (w) (x) Artist, Illustrator - Graphic Artist, Art Director, Creative Director Display and Package Design. Pasteup Artist,Typographer, Keyboarder Type Director, Type Buyer Advertising Manager, Sales Promotion Manager. Production.Manager, Office Manager Printing Buyer, Purchasing Agent. Editor, VVriter. Teacher Instructor. Audio Visual. Principal Officer Secretary, Typist, etc Other.

MON ACTIVITE PRINCIPALE EST:

(Ne cocher qu'une seule fonction)

(k) (I) (m) (n) (o) (p) (q) (r) (s) (1) (u) (v) (w) (x) _Artiste, Illustrateur. _Artiste graphique, Directeur artistique, Directeur de creation. Conception de ('exposition et de l'empaquetage. Metteur on pages, Typographe, Claviste. Directeur de composition, Acquereur de caracteres d'imprimerie. Directeur de publicite, Directeur_de la promotion des ventes. Directeur de production, Directeur de bureau. Acquereur de produits d'imprimerie, Agent prepose a l'achat. Reclacteur, Auteur Professeur, Instructeur Audio-visual. _Agent principal. Secretaire, Dactylographe, etc. _Autres.

MEINE HAUPTBERUFSTATIGKEIT:

(Bitte eine ankreuzen)

(k) (I) (m) (n) (o) (P) (q) (r) (s) (t) (u) (v) (w) (x) _ KOnstler, Illustrator Grafiker, Art-Direktor, Kreativ-Direktor Entwurf von Verpackungen oder Auslagen. Reinzeichner, Schriftsetzer Typograf,Type-Direktor, Einkaufer von Schriffsatz. Werbe- oder Verkaufsfarderungsleiter. Produktionsleiter, BUrovorsteher. Drucksacheneinkaufer. Redakteur, Texter Lehrer, Ausbilder Audio-visuell. FirmeneigentUrner leitender Angestellter. Sekretdrin, Stenotypistin, usw. Sonstiges.

NUMBER OF PERSONS EMPLOYED IN YOUR ORGANIZATION 1-9 (I)

(2) (3) (4) (5) (6) 10-19 20-49 50-99 100-249 250 and over

ZAHL DER BESCHAFTIGTEN MEINER FIRMA ODER BEHORDE:

(1) (2) (3) (4) (5) (6) 1-9 10-19 20-49 50-99 100-249 Ober 250

NOMBRE DE PERSONNES EMPLOYEES DANS VOTRE FIRME

(1) (2) (3) (4) (5) (6) 1-9 10-19 20-49 50-99 100-249 250 et plus

U&Ic 5187

U&Ic 5/87

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ITC CENTER CALENDAR OF EVENTS

The ITC Center introduces new and exciting typo/graphic arts experiences. It is a growing resource for students and professionals.

JUNE 3AUGUST 27 TDC 33. The 33rd annual design

competition sponsored by the Type Directors Club
More than 200 examples, representing some of the best typographic work of1986, were selected for inclusion in this international exhibition of typographic excellence. The typographic and calligraphic work by leading designers, artists and type directors throughout the world includes advertising and promotion, books, calendars, corporate graphics, editorial design, logos, packaging, posters and stationery.

FUTURE EXHIBITIONS

September 9-October 29, 1987 German Typography Today November 11,1987-January 7,1988 Why Hunger? Why Poverty? The Third Annual Herb Lubalin International Student Design Competition January 20-March 1Z 1988 Typographic Treasures: Bradbury Thompson March 30-May 19,1988 Seriptura Calendars
Hours: 12:00 noon-5:00 p.m. Open Monday-111day (Closed June 26, 29, 30 and July 3) Admission: Free

TDC

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