Alphabets From the Expert - Vol. 23

7/30/2019 Alphabets From the Expert - Vol. 23

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UPPER AND LOWER CASE

THE INTERNATIONAL JOURNAL OF GRAPHIC DESIGN AND DIGITAL MEDIA

PUBLISHED BY INTERNATIONAL TYPEFACE CORPORATION

VOLUME 23, NUMBER 3, WINTER 1996

$5.00 US, $9.90 AUD, 4.95


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Expert Alphabets International

P r e s e n A b r a m s A u g e r e a u mWith over 2000sortsbeautifully drawn, pain ingly digitia,fitnedAbrams Augereau issuitable for text and display setting with e t al grace. 4gereau Basic"` includes' hree weights: Text, Semi-bold, & Bold with their Italic comp ions. Augereab Experttincludes the Expert, Expert Italicidternate, and AlternateItalic fonts in Text, Semibold, and Bold weightg.

Alternate Italic, Semibold Altern te,

Visa, an

phone: (516)482-17

Typographer Antoine Augereau l ived and work d in France inthe 16 th century. Among h is many achievement was teaching therenowned Claude Garam dnd. Sen t enced o dea th i n 1544for

. .di ternate

TEXT 12/20PT

ITALIC 12/20PT.

heresy, his life's work has en largely ove ooked in typographic literature. Text, Semibold, Bo , Italic, Se ibold Italic, BoldItalic, EXPERT, Expert Italic, EMIBOLD PERT, SemiboldExpert I ta lic , BOLD EXPERT, B Expert Italic; nate, e

merican Express accepted. Available in Type 1 form

16 482-427 B

SEMIBOLD 12/20PT.

SEMIBOLD ITALIC 12/20PT.

Italic, Bold Alternate, anld ji l ternate I ta l ic .I George Abrams, the dOgigner oiAbrams Augereau, has been a force in typography and lettering forover fifty years. His rep tation has bin built in advertising for America's most visible corporationsAT&T, IBM, Owens Co ing, Time Inc., ohnson & Johnson, Pepsico, General Foods, American

Home Products, General Electric, Revlon,aobil, Eastman Kodak, Ford Motors, Good-

ye r Products, General Motors, AmericanExpress , and ynch to name a few. H e is

. . ,a corresponding Member o f the Stockholm 23po-graphic Guild in Sweden, an honorary fe l low of\the Society of Typographic Designers in England, andw m ember of the New

\Yor ypophiles. Abrams Augereau is the f irst George Abrams typeface av4able in P ostScr ipt7 form.*Si 5.00. tS99.0o. $225.o0 if purchased together. Add $4.50 for s ipping and andling within .0.0 -,. -the c tinental U.S. Payable in U.S. dollars only. NY State residents dd 8.25% sa s tax. Mastercard,

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MESSAGE FROM ITC HEADLINE: ITC OFFICINA SERIF BOLDTEXT ITC OFFICINA SERIF BOOK. BOOK ITALIC TABLE OF CONTENTS HEADLINE ART ITC FRANKLIN GOTHIC DEMI; ITC LUBALIN GRAPH BOLD ITC BODONI SEVENTY-TWOHEADLINES: ITC LUBALIN GRAPH BOLD ITC OFFICINA SERIF BOLD BYLINES/TEXT ITC OFFICINA SERIF BOOK. BOOK ITALIC NUMERALS: ITC LUBALIN GRAPH BOLD

IlussAGLyjuut_uc This i ssue of U & Ic has "the auteur" as its focus. Or igina lly the term applied to cin-ema directors who were deign ed "auteur" by French New W ave cri tics because of theirst rong signature styles which usually emerged f rom taking complete co ntrol of a project ,f rom author ing the screen play to overseeing the f inal edit . This conce pt now has beenbroadened t o denot e an a r t is t in any medium whose pa r t icu la r s ty le and co ncep tua l con-t r o l make the wo rk d is t inc t ive and inf luentia l . The se lec t ion of insp i r ing aut eurs f ea tur edin this issue was somewhat arbitrary. The choices were made on a n idiosyncrat ic conse n-sus of interest and influence . W e wanted a v arie ty of visual virtuosi who somehow ma de ad i f fe rence in the way we pe rc e ive .The l ist of Pablo Picasso, Saul Bass, Phil ippe Starck, Peter Green away, Fred W ood-ward an d Richa rd M cGuire is esoter ic but essent ial to explor ing the theme of those whocreate work which impacts on and c hanges our lives. Picasso, of course, is consid eredthe most impor tant a r t i s t of the 20 th century who, dec ade a f t e r decade , r e inve nt ed h isart . Wo rking with essences, designer Saul Bass made m ovie magic out of simple , sear-ing images. Philippe Starck has taken space and en hance d it with an organ ic formalitywhich a l lows public places to become person al . The fi lms of Peter Green away ( just oneof his ar t forms) shatter preconc ept ions of cin ema, t ransformin g it into ar t at 24 f ramespe r se cond . The look o f Roll ing Stone i s becoming synon ymous wi th the cons is t entlycoo l a r t d i re c tion o f F red W oodward . And R icha rd M cGu i re takes concepts and e l eva te sthem into pages and p roduc t s .The d esigners for this issue of U & /c , M ichae l I an Kaye and Ca r in Go ldbe rg , r e spondto this auteur theme with conceptual and typographic bravado. The result ing design issubliminally interpret ive, captur ing the process and meaning of auteur .In the area of type design, Internat ional Typeface C orporat ion con t inuously aspiresto f ind and relea se or iginal and inn ova t ive typefaces. In this issue, ITC in t roduces 15new typefaces f rom a range of internat ional designe rseach of whom mana ges to inter-pret let ter forms with panac he and style.In the broade r r ea lm o f type des ign , occas iona l ly a des igne r t r anscends expec t a-t ions and emerges as an au t eur . A t the Assoc ia t ion T ypog raphique In t e r na t iona le Co ng r esshe ld in T he Hague , many o f the speaker s and a t t endees inc luded those who dr amat ica l lyinf luenced the direct ion o f contemporary typefaces and typography. A report of ATypI andthe happenings in The H ague will appear in the next issue of U & /c .An a uteur, l ike beauty, is in the eye of the beholder. T his issue of U & /c is not def init ive,but exploratory, a celebrat ion an d t r ibute to those who have perc eptually changed our lives.MARGARET RICHARDSON

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Technology corner1. Why don't conventional antenrtwork as well as the Spectrum?Bandlwidth of TV Signal123 4 5 6

Megahertz

Apectrum systemPrecision tuning

AOther systems

Non-precision tuning

III When TV signalsare tuned at the TVchannel's center fre-quency, optimumtuninghas beenachieved.

Other antennascan't offer center fre-quency tuning like theSpectrum Antennacan. They only offersuch tuning up to theedge of the center fre-quency. As a resultyour TVpictureremains snowy.

2. How does Spectrum use a home'selectrical wiring as an antenna?

Cp elieve it or not, the Spectrum Antenna simplyV I I P "activates" the giant antenna that alreadyexists in your home. Essentially, it uses all of thewiring throughout your home's walls and ceilingsto make an antenna as large as your house forunbelievably clear reception of local broadcasting.64111001110400"0.015,SD"ne,

Spr ,nna featuresParallel 75 ohm resistancem u m losSignal search controlFor selecting multiple antennaconfigurations6 0 .Polarized three-prong plugfor groundingFor optimum signal groundingto eliminate noise and staticResonant fine tuner control /For dialing in crisp, clear TV/stereoreception, eliminates ghosting t tDual AC outlets with built-in surge protectionFor plugging in additional TV/stereo equipmentguarding against damage and electrical surges

TECHNOLOGY UPDATE

F ifteen years of m icroelectronicresearch m akes conventionalantennas a thing of the past! .This lit t le box uses your home's electrical wiring to give non-subscribers,cable subscribers and satellite users better TV reception on you r localbroadcast networks!by David Evans U ntil recently, the only convenientway to guarantee great TV receptionwas to have cable installed or placean antenna on top of your TV. But who wants

to pay a monthly cable fee just to get clear re-ception, or have rabbit-ear antennas that justdon't work on all stations? Some people justaren't interested in subscribing to cable. Orthey may live in an area where they can't getcable and TV-top antennas aren't powerfulenough. And what about those people whohave cable or satellite systems but still can'tget certain local stations in clearly?

Now, thanks to fifteen years of microelec-tronics research, a new device has been devel-oped that is so advanced, it actually makesconventional antennas a thing of the past. It'scalled the Spectrum UniversalAntenna/Tuner.Advanced technology.Just imagine watching TV andseeing a picture so clear thatyou'd almost swear you werethere live. Just plug theSpectrum Antenna into a stan-dard AC outlet and plug yourTV into the Spectrum. You canremove the unsightly clutter oftraditional TV-top devicesgathering more dust than tele-vision signals. Get ready forgreat reception. Your TV willsuddenly display a sharp, fo-cused picture thanks to its ad-vanced design "Signal Search"and "Fine Tuner" controls.Uses your home's electrical wiring. TheSpectrum Antenna is a highly sophisticatedelectronic device that connects into a standardwall outlet. The outlet interfaces the SpectrumAntenna with the huge antenna that is yourhome wiring network. It takes the electricalwiring in your house or apartment and turnsit into a multi-tunable, giant TV reception sta-tion which will improve your TV's overall tun-ing capability. The results are incredible.Just think how much power runs throughyour home's AC wiring systemall thatpower will be used to receive your localbroadcasting signals.How it works. Broadcast TV signals are sentout from the local broadcast station (ABC, CBS,NBC, etc.). They interface with your home's ACpower line system, a huge aerial antenna net-work of wiring as large as your home itself.When the Spectrum Antenna interfaces with theAC line, the signal is sent to its signal pro-

cessing circuit. It then processes and separatesthe signal into 12 of the best antenna configu-rations. These specially processed signals routethemselves into 12 separate circuits. TheSpectrum Antenna includes a 12-position rotarytapping switch, the "Signal Switch" control,which gathers twelve of the best antenna con-

figurations.The "Signal Search" offersvarying antenna configura-

tions for the user to select fromthe best signals of all those be-ing sent. The signal then pass-es through the SpectrumAntenna's special "FineTuner" circuit for producingcrisp, clear reception.Risk-free offer. The Spec-trum Universal Antenna/Tuner comes with our exclu-sive 90-day risk-free home tri-al and a 90-day manufacturer'swarranty. Try it, and if you'renot satisfied, return it for a full"No Questions Asked" refund.

Limited time offer! We realize that mostpeople have more than one TV in theirhome. We are offering a special discounton additional Spectrum Antennas so youget great reception on all your TVs!Spectrum Antenna39 $4 S&HAdditional antennas just34 S&H freeP l e a s e m e n t i o n p r o m o t i o n a l c o de 1493-UL-3601.For fastest service, call toll-free 24 hours day800-992-29664 1 1 0

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Who can use Spectrum?Cable users-You have

cable but you can't getcertain local stations inclearly.

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Youhave a digital satellitesystem but can't getlocal stations in clearly

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r\ n F, onginator, au tAUTHOR] (1967) a film dinuteurist V is


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H E AD LI N E /T I M IT C AV AN T GAR D E GO T H I C D E M I C O N D E N S E D , M E D I U M C O N D E N S E DI N T R O : I T C AV AN T GAR D E GO T H I C BO LD C O N D E N S E DR U N N I N G H E AD LI N E /BYLI N E : I TC F R AN K LI N GO T H I C D E M I C O N D E N S E D

PIC A SSO: POR T R A IT 0


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The one constant in Picasso's career was change. Throughout his life, he pursued what-ever stylistic techniques or shifts of medium that suited his artistic needs at the time.

not be considered an evolution:" heonce said in an interview. "If the subjects I have wanted to express have suggesteddifferent ways of expression, I have never hesitated to adopt them."

Picasso began as an academic painter. His early works, done in the last years of the19th century when he was still a teenager, display his prodigious skills as a draftsman.That talent would have been enough to secure a comfortable and successful career inhis native Spain, but he wanted more. Like other ambitious artists of his generation, he

as drawn to Paris, arriving in 1900. There he confronted the avant-garde and joinedits ranks. Psychologically attuned to the artistes nouveau, he made the emotionallypowerful paintings of his Blue (1901-1904) and the later Rose (1905-1907) periods.He produced works that William Rubin, the Picasso scholar, believes would still havensured him a place as "a fine late Symbolist painter...who drew the curtain on the 19thentury" even if had he died in 1905. But Picasso lived nearly seven decades longernd left a body of work notable for its daring, beginning with the space-shattering C ub-

ist style, where he and Georges Braque staked out their artistic turf.

Picasso was not content to remain in a Cubist colony. He had to move on, becausethere were other artistic territories to conquer. The modern classicism of the Frenchpainter Ingres became even newer when Picasso explored it. He absorbed the lessonsof Surrealism, and was influenced by the Surrealist photographer Dora Maar, who wasalso his lover. In this vein he produced Guernica, a masterwork depicting the horrors ofwar, to rival his earlier proto-Cubist Desmoiselles.

For many modern art historians, Picasso is the leading figure of this century. Wil-liam R ubin, now director emeritus of the Department of Painting and Sculpture of theMuseum of M odern A rt in New Y ork, believes that "understanding Picasso is funda-mental to the understanding of 20th-century art in general:' R ubin has organized threemajor Picasso exhibitions since 1980.

Rubin's latest exploration of the Picasso oeuvre focused on portraiture. The 220paintings and works on paper and one sculpture of "Picasso and P ortraiture: R epre-sentation and T ransformation" exhibited recently at the Mu seum of M odern A rt showus how Picasso looked at his friends, his wives and lovers, and his children. CuratorR ubin's tenet is that P icasso transformed the portrait genre from objectively recordingthe sitter's physical self into a subjective rendering where the artist infuses his ownpersonality into the finished painting.

C iting Leonardo da Vinci, Picasso once told Rubin that "the painter always paintshimself:" which may explain the relatively small num ber of actual self-portraits he did.Most of his studies of himself were made either early or late in his career. For exam-ple, there is Picasso as a young man in 1897, bewigged, ready for a masquerade butalso evoking his artistic ancestor, the Spanish painter Goya. Then there's the brood-ing frontal image of Picasso from the Blue period of 1901. Only five years later, hepresents himself in a simplified, Iberian-influenced portrait. Just before he died, wesee him confronting himself directly again in very moving and expressionistic works,images that reveal Picasso as a still vital artistic force. In the portraits between theseearly and late wor ks, the artist primarily depicts himself in the roles of harlequin, mino-taur, c lassical warrior or musketeer, or he invests himself in his own work throughsymbolic representations such as pipes and doorknobs or more abstract signs. Thecongruences and contradictions of the self-portraits amply illustrate what can belearned from Picasso: confront yourself, conquer complacency, challenge your owntruths, be willing to risk.

A remarkable black-and-white 1957 image of the artist by the photographer andbiographer David Douglas Duncan reminds us of how that always begins. It simplyshows Picasso's hand holding a brush as he makes his first mark on a canvas. Thereis the hand, the brush held at an angle and the diagonal line itself. It is an eloquentdissertation on risk. In his 19,000 works Picasso shows that he was always willing togamble. He won enough times to rank as the most important artist in the 20th century.

K A R E N S . C H A M B E R S I S A N I N D E P E N D E N T C U R A T O R A N D C R I T I C B A S E D I N N E W Y O R K .

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THAT LEADS TO THE TITLE OF AUTEUR IS FUELED BY AN IMPERATIVE THAT HASLITTLE TO DO WITH REASON AND STILL LESS TO DO WITH FORTUNE AND FAME.IT IS A NAME FOR THOSE WHO MYSTERIOUSLY CREATE OUT OF THE FUTURE,OUT OF WHAT THE POET RILKE CALLED "THE ULTIMATE CENTURY." IT IS A NAMEFOR THOSE WHO TRANSPORT US, BRINGING THAT FAR-OFF PLACE INTO THEHERE AND NOW, SO THAT THE WAY WE THINK AND SEE IS IRREVOCABLYALTERED. THAT ALTERATION IS THE MARK OF THE AUTEUR.

BUT THE EXTRAORDINARY ATTENTION GIVEN TO FRANCE S GREATEST DE-SI G N EXPO RT , PHI LIPPE ST A RC K, I S HA RD LY EXPLA I NED BY T HE SI M PLE FA C T T HA THE HAS SHAKEN US OUT OF A VISUAL STUPOR. STARCK TRANSFORMS WHAT ISAROUND HIM INTO SOMETHING ENTIRELY HIS OWN, FROM LEMON-SQUEEZERSTO MOTORCYCLES TO CAFES. BEYOND THE UBIQUITY OF HIS DESIGNS, STARCKFILLS A NEED IN HIS AUDIENCE. HE IS NOT OUR GREATEST DESIGNER, BUT HEFASCINATES THROUGH HIS IRREVERENT DEFIANCE OF SOCIAL NORMS. AT 47,WITH HIS TALL, MASSIVE PHYSIQUE PERPETUALLY CLAD IN BLACK AND HIS UN-RULY CROP OF HAIR SHOVED INSIDE A CAP, STARCK CONJURES UP AN IMAGE OFREBEL, MISCHIEF-MAKER, ENIGMA. THOUGH HARDLY A POP ICON, HE OCCUPIESA PLACE IN THE MODERN CONNOISSEURS DREAMWORLD.

CULTIVATING DREAMS IS CERTAINLY PART OF HIS CONVICTION. "WHEN IDESIGN," HE TOLD DESIGN CRITIC ANDREA TRUPPIN, "I DONT CONSIDER THETECHNICAL OR COMMERCIAL PARAMETERS SO MUCH AS THE DESIRE FOR ADREAM THAT HUMANS HAVE ATTEMPTED TO PROJECT ONTO AN OBJECT." HISINTERIORS FOR ENTREPRENEUR IAN SCHRAGERS PISTOL-HOT HOTELS, THE

FROM THE LOBBY CEILING. IT CLICKS ACROSS THE POURED EPDXY FLOORS. ITMURMURS THROUGH THE COTTON SLIPCOVERS.

A PERSISTENT DESIRE FOR WEIGHTLESSNESS AND INNOVATION ARE INTE-GRAL TO THE WORK OF A MAN WHOSE CAREER BEGAN CRAWLING BENEATHTHE DRAWING TABLE OF HIS FATHER, WHO WAS AN AVIATOR AND AN INVEN-TOR. HIS BUOYANT, AERODYNAMIC DESIGNS ARE AN OUTGROWTH OF THESETWO FORCES. BOOKSHELVES FROM 1977 ARE BARELY MORE THAN SLIM PLANESSUSPENDED IN SPACE. HIS LUCI FAIR LAMP FROM 1989 HAS ALL THE UPWARDTHRUST OF AN ILLUMINATED PROJECTILE. THE SURREAL FOUR CURIOSITIESAGAINST A WALL VASE CREATED DURING THE SAME PERIOD REFLECTS HIS PRE-OCCUPATION WITH ORGANIC FORM BY RECALLING SUCH IMAGES AS SEA LIFESWIMMING UNDER WATER AND SPERM IN SEARCH OF GERMINATION. IT IS AVISION NOURISHED BY SCIENCE IN WHICH THE WORLD IS ULTIMATELY COM-POSED OF THE MOST MINUTE ENTITIES. "I'VE REALIZED THAT THE 21ST CENTURYAND THE ONES TO FOLLOWWILL NECESSARILY BE IMMATERIAL. IT'S THE ONLYPO SSI BLE END , T HE O NLY PO SSI BLE PU RPO SE; ' ST A RC K A SS ERT S.

HIS PROMISCUOUS LOVE OF MONSTERS, ODD BIONIC SHAPES AND MAL-FORMED CREATURES HAS BEEN A CONSTANT MOTIF IN HIS DESIGNS, MOTI-VATED, IN PART, BY AN ENTHUSIASM FOR TECHNOLOGY. HERE, THE STIMULUSCOMES FROM THE NOVELS OF PHILIP K. DICK, A SCIENCE-FICTION WRITERWHOSE WORK IS FILLED WITH REFERENCES TO MICRO-ELECTRONICS, INTER-GALACTIC CHARACTERS AND THE CYBERNETIC BODY. STARCK NAMED HIS PARISSTUDIO U B I K , MEANING "EVERYWHERE; AFTER A SPRAY CAN IN THE TITLE OF

PARAMOUNT AND THE ROYALTON IN NEWYORK AND THE DELANO IN MIAMI,A RE PREC I SELY T HE T A B L E A U X V I V A N T S HIS ENTRANCE-LOVING GUESTS DESIRE.PADDED WALLS, VELOUR PARTITIONS, OXIDIZED CLADDING AND LUMINOUSONYX ARE AMONG THE "MYTHICAL" MATERIALS HE EMPLOYS. THERE IS A LOGICTO STARCK'S "ENTER HERE AND ABANDON PRECONCEPTION" ATTITUDE. MAGIC,NOT SLEEP, IS THE HOTELIER'S TRADE.

HOTELS IN GENERAL, AND THOSE CREATED FOR THE COGNOSCENTI INPARTICULAR, ARE STATIONS OF THE TRANSITIVE, BLANCHED STAGE SETS FORACTING OUT A MYRIAD OF IMAGINARY SELVES. AND FEWSETTINGS COULD BEMORE ACCOMMODATING THAN THE ALL-WHITE, PRISTINE ROOMS OF STARCKAND SCHRAGERS RECENT $28 MILLION RENOVATION OF THE DELANO HOTEL,DESIGNED IN 1947 BY BUCHAREST-BORN ARCHITECT R. ROBERT SWARTBURG.TO ENVISION A NEWMIAMI, STARCK DREWINSPIRATION NOT FROM SEASIDEPALACES BUT FROM THE SIMPLICITY OF A GREEK FISHERMANS COTTAGE. "THEMOST INCREDIBLE L UX E IS TO HAVE AN EMPTY ROOM, A GOOD BED, GOODLIGHT, GOOD TABLE AND CHAIR;' HE SAYS. "THESE ROOMS WILL MAKE PEOPLETHEIR MOST BEAUTIFUL." IN CONTRAST TO THE DEVOTEES OF THE EDEN ROCAND FONTAINBLEU HOTELS, WHO ARE DRAWN TO THEIR SPLASHY TROPICALCOLORS, THE DELANOS PUBLIC ADORES ITS QUIET SIREN CALL. THE EMPHASISON WHITE THROUGHOUT HEIGHTENS THE VISITORS PERCEPTIONS TO THESMALLEST DETAIL. IN CONTRAST TO TMBA BEAT OF SOUTH BEACH, THEVO IC E O F THE DELANO IS BREATHYDUCTIVE. IT WHISPERS THROUGH THE18,000 LINEAR FEET OF DIAP A DICK NOVEL. HIS DREAM CITY, HE SAYS, WOULD BE COMPOSED OF A "CON-G LO MERATIO N O F O U T-O F-SC ALE O BJEC TS, FU LL O F ENERG Y AND VITALITY: ' THEBUILDING IN TOKYO HE WORKED ON FROM 1989-90 FOR THE ASAHI BREWERY,LA FLAMME, FEATU RES A G IANT BU LBO U S G O LDEN FLAME ATO P A SLEEK BLAC KGRANITE BOX. THE CONTRAST BETWEEN LIGHT AND DARK, HARD AND SOFT,FORCES AN AWARENESS THAT ARCHITECTURE IS ABOUT MORE THAN WALLS,FLOORS AND WINDOWS. WE READ MEANINGS INTO BUILDINGS, WHETHERTHE ARCHITECT INTENDS THEM OR NOT. SO WHY NOT SUBVERT THEM IF ITCAN LEAD TO NEWWORLDS?BREAK WITH MONOTONY! PROGRESS! MOVE! THAT, ABOVE ALL, IS WHATSTARCK'S DESIGNS SAY. THERE IS NONE OF THE ESTHETES TORTURED PER-FECTION OR THE LATENT ENGINEERS PRAGMATISM IN WHAT HE CREATES.METAPHORS OF SURPRISE AND SUBVERSIVENESS SWIRL AROUND HIM: TAS-MANIAN DEVIL, DESIGN WIZARD, WAGNERIAN GENIUS. EVERYTHING ABOUTHIM RESISTS FORMULAS, WHICH MAY EXPLAIN WHY SOME PEOPLE DISLIKE HISDESIGNS. BE IT A LAMP, A TV, A CHAIR, A SAILBOAT, A NIGHTCLUB OR A SUITEOF PRESIDENTIAL APARTMENTS (HE HAS DESIGNED THEM ALL), THE PURPOSEOF STARCK'S WORK IS NOT THE PHYSICAL FORM IT TAKES BUT THE QUESTIONSIT POSES. CAN A TOOTHBRUSH LOOK LIKE A FLAME? DOES A CHAIR REALLYNEED FOUR LEGS? CAN FLOWERS SPROUT FROM WALLS? CAN YOUR LIFE BESOMETHING ELSE? CAN YOU BE SOMEONE ELSE? "AGITATE, AGITATE, AGITATE"IS THIS AUTEURS RAISON DETRE.Leslie Sherr is director of communications of Desgrippes Gobe, New York.

R U N N I N G H E AD : I T C F R AN K LI N GO T H I C D E M I C O N D E N S E D T E X T I N T R O : I T C K ABE L BO O KT E X T : I T C K ABE L BO LD , M E D I U M N U M BE R 2 : I T C AV AN T GAR D E GO T H I C E X T R A L I GH T

ION 3 . RICHARD[ B Y STEV EN H EL L ER I


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T I C ichard M cGuire , children's book author, editorial illustrator, musician,sculptor and toy maker, has refined his inventive DIT 2IIAA style in variousmedia by fashioning a c rea t ive en vironmen t where he is re la t ive ly se lf -sufficient. For M cGuire, diversification has not on ly made econo mic sense, i thas also allowed his imagination to soar. Eac h of his products has sold wellenough so that he can invest in others. Mo reover, each project has opened adoor that has allowed him the freedom to pursue a variety of interests.

M cGuire, 39, studied sculpture at Rutgers in New J ersey, and upon leavingin 1979 entered the alternative art scene in Ne w Y ork. W hile working for adowntown art space, he created a series of street posters of quirky narrativesthat he wheat-pasted around the East V illage. The posters caught the eye ofK eith Ha r ing, who he lped M cGuire ge t a on e-man sculpture exhib i tion a tthe Tony S hafrazi Gallery in 1982. The pieces didn 't jump off the floor, butthe strength of his sculptural skills enabled M cG uire to start workin g at aprop house making miniature precision models for IV c ommercials. He later


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t e worst o is travai s: in t e rst mo e t e ce was so pow-id the same for Bro adcast Ar ts , an animat ion house tha t spe-erful it launched the cha racter off its stationary base; the sec-ia lized in c ommercials and short features. and base was a heavier piece of wood that got so hot it swelledHis entrepreneuria l career began, howev er , as a musician. In up. Eventually the bugs were worked out . Mc Guire designed a05, M cGuire played bass for what he calls "a m ini-str iking orange tube with an E O st icker to package the toy thata t funk" band ca l led L iquid L iquid, which earned a cult is tis so lovely one hesitates to open it.ol lowing and cut three 12-inch EP reco rds . M cGuire hasn ' t M cGuire simultaneously began working on his first children 'slayed in years , but in recent months Grand R oyal Reco rdsbook which was commissioned a fter an editor at R izzoli spottede-released four record s of the now -defunct band's music . Go Fish at the New Y ork City Gift Show. The Orange Book is a chit-This whir lwind success with a l te rna t ive music an d a r t d id dren's counting book that follows a Flo rida orange an d its corn-ot, howeve r, satisfy M cGuire 's urge to create. So in 1984, while ponent parts from tree to juice , with some odd twists and turns.dcast Arts, he enrolled in a lecture It is printed in two co lors (orange and blue) on a cream paper ,er ies about comic str ips at the Schoo l of V isual Arts given bywhich gives it the feel of a vintage '305 book.R A W magaz ine and author of Maus. W ith th is book, M cG ui re jumped in to the ro le of auteur-cGuire rea lized through this class that he could take control of wri t ing, i l lust rating and design ing h is own pro jects . " I wasoth form and c ontent as an art ist and w riter . Spiegelman rec-spoi lec r he says about this new direc t ion, "because w ith mygnized his potentia l, too, and published M cGuire 's f irst comic very f irst book I had total control." Ow ing to M cGuire 's perfec-tr ip in R A W . M cGuire pursued editor ia l i l lust ra t ion while de-tionism, he has not been as prolific as some other contemporaryiding what to do next. children's book authors, but he has been able to take com mandThen the fa tes inte rvened. In 1990 he met B yron G laser , co-over those projec ts he has done . T he k inds of s tor ies and a r t -

ounder of Zo lo Toys, an immensely successful venture based on work tha t M cGuire l ikes to make a re per fec t ly suited for thehe brisk sales of a postmodern M r. Potato Head -like toy. Coin-child's mind, d espite the fact that his artwork is a lso ro oted inidentally, M cGuire had been thinking about making a toy outthe history of modern art (especially Russian Co nstructivism).f i n t e r connec t ed r e c t angul a r h ead s he ca l l ed P uzz le H ead . M cGuire's second book, Night Becomes Day, was originally anlaser introduced M cGuire to an Indone sian businessman who offshoot of what would beco me his th i rd book, Wh at Goesas inte res ted in inv est ing in a new product , and a ma nufac-Around Comes Around (both from Viking). Both are journeysr ing and d istr ibution deal was arrange d. It seemed so simple .into rea lms of cause and ef fec t . The former takes the readerM cGuire ' s f i r s t tas te of the ent repreneur ia l l i fe was a three-on a tour of what happens in the continuum of eve ryday phys-eek s t int in a small Indon es ian vi l lage ove rsee ing the man-ical phenom ena; the latter follows a do ll that is thrown out offac ture of Puzz le Head . The na t ive c ra f tsmen worked hard, a window and bounces a round the wor ld before coming backut they had a habit of saying "yes" when they rea l ly meant to roost . Ren dered in character ist ic f lat primary colors and sim-." M cGuire returned hom e with a handful of beautiful sam-ple geometric shapes, What Goes Around Comes Around is a mas-les , which attracted a number of ord ers at the New Y ork Cityterpiece of logic and fantasy. It is a lso the basis for M cGuire 'si f t Show. B ut , in t ruth, the manufac ture r was incapa ble of fourth toythe doll i tself. Originally, Mc Guire wan ted to pack-l ing them. Today the or ig ina l Puzz le Head s a re col lec tors ' age the globe-trott ing doll with the hardcove r book, but coststems, but a mainstream toy firm, N aef, is currently interested were too high. He manufactured a playful beanbag doll anyway,in licensin g r ights. now distributed through Zolo Toys.Despite the frustrations, the entrepreneurial bug had bitten. For the past year , Mc Guire has been o bsessed w ith his fourthi th his own money, McG uire produced a second toy called Go children 's book, What's Wrong With This Book (Viking), which isFish, based upon a classic childhood card game. H e used a sche-really a book/toy based on another classic children 's theme thatmatic , cartoo n-like, though carefully plotted illustrat ion style ,M cGuire has given a postmodern spin . Each page of this tome ofo create the deck's comic characters. He printed the first 5,000 visua l mistakes and an omalies is inte rconne cted by l ink ingcopies in New Jerse y, and then found a much cheaper printer in na r r a t iv es an d e nhanced by d i e - cu ts and o the r p roduc ti onSingapore . Through t r ia l and e r ror , M cGuire lea rned the pro-tricks. All the i l logical pieces had to fit logically into one grandduction and eco nomic ropes the hard wayat his own expense.puzzle. After much trial and error, McG uire succeeded.

Even so, G o Fish has done relatively well. Success bo rn o f agony is M cGuire 's modus operandi. Yet oneThe third toy on M cGuire ' s drawing board, EO, a spinning would nev er know to look a t the f inished boo ks and toys justsolar-powered device , was even more complex. Ge tting this oth-how difficult they are to crea te. W ho could ever think that Blockerwise simply constructed self-propelled cardboa rd toy to work Heads, G o Fish or a simple beanbag doll were forged out of suchrequired obtaining the proper solar cells from NAS A. M cGuire angst and passion?procured them from a surplus outfit, which unfortunately ran Steven Hel ler i s co-au thor (wi th Lou ise F i l i ) o f F r ench M ode r n : A r t Decoout of the correc t size during the production run . That wasn't Graphic Design (Chronicle Books).

R U N N I N G H EA D : I TC FR A N KL I N G O TH I C D EM I C O N D EN SEDT E X T : I T C O F F I C I N A S E R I F BO LD , BO LD I T ALI C

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N 4 . W OODW ARD ROC

E DR E A DS TISIV

T E R V I E W S***** WA ZINE S A NDWIT H A BLUSHE NT . A T 43 FR E D

ELYP EA R INS T E NT A -SOUTHERNO D W A R DHE A R T DIR E C T OR OF R O L LIN G ST O N END V I R T UOSO OF A M E R IC A N P U BLI-A T ION DESIGN, ST ILL C A R R IES SOM EF T HE A IR OF A SHY , BA C K R OOM BOYO ST ILL C A N'T FIGUR E OUT HOW HEED UP IN T HE BIG T IME.

[ BY PETER HALL


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I N I 1 1 1 1 1 1s1 1 1 1 , 1

o N Yorou ars la , oiling Stn to queposiddio, arry-eyedd felf a plane to New York.thi art with fondness. " I hadn'ts. I stopped at Blooming-the way over and tied a knot99winntye waas nti

the treboard ox his hand with a big boot on it. I looked athis feet an he had one bare foot. He looked at me andstarted screaming, 'You're cursed! You're cursed!'A S THE SHOELESS soothsayer had predicted, Wdidn't get the job that time either. It took a fospell at Texas Monthly to work off the curseify a signature style before he finally secureLion at Railing Stone he'd wanted for over a d

all;' he sas clIt peace with myself."

T E R N I NE years of Rolling Stone's relentless bp duction schedule, that Woodwardian contentednessseems to have persisted. As Woodward sees it, the mag-azine offers him a stage with enough room for grandgestures. "It's moklike a sponsorship of a personals le," a scs, " d as long as I can keep the work fresh

d t alk away from it."oraries see it, Woodward shows no

years at the publication have been,as Michael B ut of Pentagram wrote in I .D. Magazine,

long hot streaks in magazine design his-- - * , . .tory," and evidence of a working atmosphere thatriflos-.ters innovation. Inheriting the eighof ar f

directors like Mary Shonaisbury and RogBlack, Woodward bega rome bylooking back over Rolling's 2istory andreprising its distinctive vor. Aen Heller wrotin U & l c in Spring 1995, Woo 's achi t was tobuild on the foundations at aginpographyand s mg , togr ,"es in whaalic rulexeovitcish me!"princi . A pful taphiotographicsensibilityaro th grea'clearlyre a pike theingMr. Big Sho readollinugust 1991, yW odward andner Dshop). IO

famously, Arnold Schwarzenegger photographed byHerb Ritts inside a giant inflatable tube that doubles

up as the letter 0 of the headline.BUT WOODWA R D 'S Rolling Stone also exhibits a more

homegrown flavor than the cool modernism of Brod-ovitch. The fat, ornamental and wood-block displayfaces and the ever-present golden brown of Rolling

Stone covers align the magazine more closely with abrand of American Expressionism, with the cluttered,bulging type of the handbills and posters of the oldWild West. As the magazine moved from countercul-

ture rag to institution, Woodward developed a proudand uniquely American design language that seemed

to celebrate freedom of speech, giving priority to theprinted word. The words were, after all, what kept themagazine from being just another rock 'n' roll fanzine.

WOODWARD IS not inclined to analyze and reflecton his achievements. "It's a blue collar job," he says,

"it burns up ideas, and you just have to keep feedingit." The joy for this art director seems to be less in themagazine's place in design history, or in its cultural

role, than in the day-to-day task of creating somethingpleasing to the eye. Perhaps that should be criticized.To no small extent, Rolling Stone perpetuates a beliefsystem based on rock stars, movie stars and their sexlives. But then again, what successful American mag-

azine doesn't?THOSE NINE years at Rolling Stone make Woodward

the longest-serving art director in the magazine'shistory, and, with the exception of Brodovitch and

Harper's Bazaar, such a durable stint is unusual. Itseems natural, then, that he should have recently

begun to look outward for fresh inspirat ion, turningto book design, and late ly, to music videos, direct-ing with Mark Seliger the first Joan Osborne video

"One of Us" and Hole's "Violet."AN ELEMENT of Woodward is undeniably present inthe videos, especially in the charming sepia scenes

filmed with a Bolex camera at Coney Island in "One ofUs." But it is not an easy transition. Music video has be-

come a formulaic medium that tends to be overseen bycommittees. "I don't know how to do it,' says Woodwardbluntly. "As a director it is hard to get enough power or

confidence put into you to become a true auteur."THE IDEA OF the quietly confident Woodward scream-

ing out orders on a film set seems faintly incongruous.Perhaps it will take time for his backroom-boy manner

to make itself known. Nine years of working with pho-tographers like Herb Ritts, Annie Leibovitz, Albert Wat-son and the staff of Rolling Stone casts Woodward in a

distinctly more empowering role in publication design."Over time you build up relationships, confidences

and trust through your actionsr he says. "Your ideas docount for something and you're allowed to work with

some autonomy. That situation, and whether you enjoyseeing people every day and whether they're happy

to see youall of that's the key to a good life well lived."Peter Hall is a journalist who specializes in design.

d word evllyer on as an unnspire desigazine, Cityassist' nhe art dir

rd w nco ed byue to send liollin

red.a one,icatiociatirec elf- ngote me be ni t le ," War ils, "ou're 23

an ou'rov

n a irecy u in sycalod0be tole'haas A TEew rkndug amy ad. I was early and waspark by the building, but I didn't

kept asking people what the timefound out I was late. I was rushing across

this guy came towards me with a card-

I' notAS HIS csigns Of fa

ON 5. P ET ER GR EENA I[ B Y M A R G A R E T R I C H A R D S O N


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T surprisingly, Peter Greenaway

STRANSFORMATIONwork

g

inspirations

paints films, but

Observer Life that he vir-

ter an

a Greenaway film is be-

tual and artistic per-

all basically interpreting the Green-away text. What emerges is a cellu-loid world reflecting his mind Thefilmgoer can respond as a privilegedguest at a private Greenaway party,or as a voyeuristic observer detachedfrom the melee.

IN The Cook, The Thief HisWife and Her Lover, for instance, theformal tableaux enhanced by theMichael. Nyman score, the Jean PaulGaultier costumes and the extraor-dinary assemblage of British actorsdoes not mitigate the inevitable vio-lence in the narrative, but exacer-bates it, forcing the viewer to flinchin ways that Hollywood crash-and-bang thrillers avoid. The viewer isleft gasping as the cumulative visualdecay related to food and sex on thescreen signifies the escalating moraldecay and cruelty of the villain It is,in Greenaway's words, a "RevengeTragedyout of the 'theater of blood:"as he writes in his introduction tothe book of the film (Dis Moir, 1989).

GREENAWAY has been accusedby his critics of being many thingseven "cold" and "misanthropic"according to David Thomson's ABiographical Dictionary of Film.To accept a Greenaway film, theviewer needs to get into Greenaway'smindset and be prepared to be intel-lectually challenged and visuallybombarded. This can be a traumaticor a transforming experience, andeven Greenaway fans are not alwaysin concert with his subjects andthemes. The most frequently laudedGreenaway film is The Draughts-man's Contract, a typically visuallylush production that is, of course,about an artist (Greenaway did all thedrawings for his main character).It is rife with seduction, murder and

mystery, but wrapped in elegantartifacts of art and art history set in17th-century England.

T H E Baby of Macon discon-certed many viewers (and has notbeen officially released in the UnitedStates as of yet). Following the con-ventions of 165os Italian history-dra-mas, the film is claustrophobic andfilled with gore. The critics empha-sized the shocking aspects of thestoryline (infanticide, attacks on theCatholic Church), but did not relateto the visual acuity and startling andexcessive Baroque imagery of thefilm, nor the various layers of playwithin play. It was, as Greenawayhimself puts it, "such a knowinglysavage film."

G REENAWAY'S Prospero'sBooks, an interpretation of Shake-speare's T h e T e m p e s t , falls betweenthe accessibility of The Draughts-man's Contractand the obscurity ofThe Baby of Macon. In this film, thebooks that Prospero is allowed to takewith him into exile are charactersalive on the screen, each providing avisual and verbal essay. Greenaway'sscript, delivered in the dulcet tonesof John Gielgud's Prospero, dwells onthe philosophical interrelationshipbetween the seen and the unseen,the corporeal and the spirit worlds.Greenaway fills the screen withnudes as nymphs and angels. Thesethemes interlocking text and sen-suality culminate in Greenaway'smost recent film, The Pillow Book.

I N an early synopsis of Th e Pil-lo w Book, Greenawaywrites, "Iam certain that there are two sureand dependable excitements in theworldthe pleasures of the flesh andthe pleasures of literature. It maybea commendable ambition to bring

both of these enduring stimulationstogetherso close in fact that they canbe considered inseparable. Imaginethe body as a book, the book as flesh.Consider text as physical ecstasy."The Pi l low Book is a contemporaryinterpretation of a Japanese classicof erotic literature, T he P i l l ow B ookof Se i Shonagon . Greenaway startsfrom this reference to create an elab-orate visual device tied to the maincharacter's penchant for calligraphicstories on bodies. As Greenaway ex-plains in his synopsis, "Whilst theemotional content of The Pi l low Bookinto view, identify and empathize withthe corporeal and emotional passionsthat develop in childhood and canexuberantly flower in adult life (thisis, after all, a love story), the cerebralconceit of the film is concerned withthe notion of the body as text andtext as flesh." From an early previewof The Pillow Book,itis evident thatGreenaway has managed to mergethe sensuous with the literary andagain produce a profound parable.

DAVID Thomson quotes Green-away as saying, "I have often thoughtit was very arrogant to suppose youcould make a film for anybody butyourself." But the films Greenawaymay have made for himself do havean appeal for any viewer who acceptsthis filmmaker's visually profoundinterpretation of cinema. From T h eBe l ly o f an Arch i tec t , which dealswith death and the architecture ofRome, to Drowning by Numbers,with its macabre humor and formal-ized games, a Greenaway film burnsinto the brain. There is no escapingreality, there are no happy endings,but there is always an auteur's ver-sion of the human condition, oftenbleak, always beautiful.

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PAINTED FILM


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In a current design climate defined by computer-manipulated imagery and d istorted, self-destructing fonts, it pays to be reminded ofthe communicative power of a single, crystalline graphic idea. Saul Bass was the master of this form. His poster for Otto Preminger's 1955film The Man with the Golden Arm, with its central fragmented illustration of a heroin addict's arm, was so strong that when the movieopened in New York, the jagged arm was all that appeared on theater marquees.Though Bass created a broad range of design work through his Los Angeles firm Bass Yager SI Associates, including many memorable cor-porate identity programs, he is best known for his work in film. He is widely credited for elevating the motion picture title sequence toan artform. Bass's vision was "like a jeweler's eye; a very patient jeweler's eye," said filmmaker Martin Scorsese at a memorial service heldin New York following Bass's death last spring. "He had a very disciplined sense of form. He could convey the sense of an entire film in ashort, very powerful unfolding of images:'For Bass, a reductive approach to visual communication did not mean merely simplifying an idea. Both he and his wife and collaborator,Elaine, strove to provoke an emotional and intellectual reaction. In Sight and Sound magazine he explained, "We see the challenge asachieving a simplicity which also has a certain ambiguity and a certain metaphysical implication that makes that simplicity vital. If it issimple simple, it is boring. We try to reach for an idea that is so simple it will make you thinkand rethink:'In Bass's view, a film's title sequence functions like an overture to an opera, capturing the essence of a film and piquing a viewer's inter-est without disclosing too much of the storyline. For example, in the prologue for The Age of Innocence, Scorsese's 1993 film of EdithWharton's stringent comedy of manners, Bass featured a series of close-up shots of flowers opening luxuriantly in slow motion, superim-posed on images of a panel of lace and hand-written lines from a 19th-century etiquette book. The effect of the textured imagery hintsat the tension between the simmering passion and the rigidly defined social mores and behavior in the film.Bass preferred working with directors like Scorsese, Preminger and Hitchcock, because each viewed the title sequence as a separateentityas a film within a film. In an address opening his Masters Series exhibition at the School of Visual Arts in New York last March,Bass explained that being thrust in the role of film-title auteur "creates a level of desire and anxiety that causes us to do our best work:'Until Bass began collaborating with Preminger in the 1950s, most films began their reels with unremarkable title cards that were pro-jected onto movie theaters' closed velvet curtains while the lights were still up. When The Man with the Golden Arm opened, Premingerordered projectionists to begin the film with the first frame of the titles.Bass developed his signature style by identifying a film's core graphic imagery and emotional content and distilling it, taking full advan-tage of the big screen's graphic impact. Often he focused on manipulating a central visual theme. In Hitchcock's Vertigo, it is a terror-stricken eye: at first the film's title emerges from the pupil, then it is replaced by a spiral that looms closer and closer. Similarly, Scorsese's1995 Casinoopens with a sequence in which a mob figure does a stunning (and very Hitchcockian) free-fall through flames, which cutto frames blazing with the pulsating neon lights of Vegas.Bass achieved equal impact with type alone. Titles for Hitchcock's Psycho employ lines that streak across the center of the screen, break up,then re-form to create the names of the actors, evoking the unsettled, fractured psyche of the protagonist. Before the opening scenesin Scorsese's 1992 film Goodfellas, which show three mob members transporting a half-dead body in the trunk of their car, Saul and ElaineBass created titles in white type that zoom by on the black screen like cars passing on a dark highway.It is Bass's modernist focus on detail that makes him a great visionary. His work is defined by the strong, single graphic image or concept:the sprawled, segmented body on a poster for Anatomy of a Murder; the eyes of a prowling cat in titles for Walk on the Wild Side; the handskneading, chopping and stirring before a Sabbath dinner in the opening to Mr. Saturday Night; the end titles written in graffiti on a wallin West Side Story. In creating these works, Bass delivered a graphic designer's sensibility to the cinema. This achievement is epitomized inone of the crowning glories of his 45-year career: storyboarding and shooting the infamous shower sequence in Psycho. Although Hitch-cock was a master of the long, uninterrupted shot, he was convinced by Bass to incorporate the graphic sequence the designer boardedout and shot with Janet Leigh's stand-in. By showing the elliptical flash of a knife, the grimace of a mouth, the desperately groping hand,Bass created one of the most terrifying scenes in film history, purely with suggestion.Like the rare auteur in any media, Bass solved creative problems intuitively, and so found it difficult to articulate how he came up withmany of his ideas. As legend has it, when asked at a 1970s typography conference about the secret to his endless creativity, he answeredwith a shrug typical of a native New Yorker, "You have good days, you have bad days:' But observers of Bass's oeuvre, and generationsof graphic designers and filmmakers influenced by his focused point of view would agree that this visionary had many good days indeed.

. SAUL BASS'S MOVINY E


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RUNNING HEADLINE/BYLINE: ITC FRANKLIN GOTHIC DEMI CONDENSEDTEXT ITC STONE SANS BOLD BOLDITALICGLAS S E S : I T C AV AN T GAR D E GO T H I C E X T R A L I GH T ; I T C K LE PT O


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YPEHROUGH

hile many type designs originate from subtle

reference. In some cases it may belettering from a bygone era;

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rms, are linked by theirIME

ITC LENNOX is the first original typeface by Germandesigner Alexander Riihl. With a long history of digitizingtypefaces for other designers (he worked for URW for sevenyears creating digital data for many ITC typeface designs),Ruhl decided to try his hand at designing a typeface him-self. The result, ITC Lennox, is a sans serif display face witha modern feel, yet is rooted in classical elements that giveit a familiar quality and should ensure its longevity. Availablein Book, Medium and Bold weights, ITC Lennox is suitablefor a wide variety of headline uses. RUM particularly likes theresilience of the book weight and the strength conveyed bythe bold weight.

ITC FREDDO, a new typeface from New York designerJames Montalbano, was inspired by a sign lettering manualfrom the 1930s. Montalbano liked the basic character shapesillustrated in this primer, but found many of the proportionsto be very odd and in need of reinterpretation. The capitals,for example, were nearly four times the size of the lowercaseletters. Perhaps some of these oddities can be attributed toa change in brush for the sign painter, but for the purpose ofhis new design, Montalbano had to make adjustments formore modern uses.

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1 1 2 234 4 5 566778 s990oITC VINTAGE was a collaborat ive effort by Californiadesigner Holly Goldsmith with ITC's Director of Typeface Develop-ment, Ilene Strizver. The typeface was inspired by several charactershapes discovered in an all-capital headline from a 1915 magazineadvertisement. Working under the art direction of Strizver, Gold-smith sketched the remaining caps in pencil on vellum, revisingthem several times before scanning them and adjusting the char-acter body proportions and stem weights in Fontographer.

ITC Vintage captures the elegant, yet humanistic quality thatcaught Strizver's eye in the original lettering. The designers wereable to preserve the fine, delicate and softly splayed hairlinesand slightly bowed stems, as well as the slightly cupped shape ofthe stems, top and bottom. The resulting design is a classic anddignified headline design that suggests elegance and simplicity.

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ITCMUSICAan d ITC STATIC are two designs revivedfrom the type library of Master Eagle/Photo-Lettering for releasein the ITC collection. ITC Musica, which came to Photo-Letteringas Bel Canto in 1968, has undergone a series of alterations forits contemporary release: the thins have been "heavied up; andthe weights have been redrawn, reproportioned and reshaped tocreate a more balanced design. ITC Static, originally calledBounce, has been simplified in its design to allow for the conver-sion to digital format.

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from an internationalroster of designersare on displayinthis new collectionof stylized it: faces

AA11313A l i 1 1 1 3 IBC

-1 1 - 1 1 E 1 3 D E A 1fo r ITC J UAN I TA took shape during a long internationalflight on which Argentinian-born designer Luis Siquot was "reading"a novel narrated only with woodcuts. ITC Juanita is actually a seriesof six typefaces wh ich Siquot calls a personal reinterpretation ofsome designs that originated in the 1930s and '40s and were stillpopular during his childhood in the 1950s. "For me, Juanita is likea toycharm ing, expressive and also dramat ic; ' he says.

Wh ile designing ITC Juanita, Siquot took advan tage of the digitaltools that allow designers to apply color to different parts of a let-terform. This series offers designers a range of variations based onsimilar structures, each with

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and ITC OUT OF THE FRIDGE (see next page) are the work of German graphic designerJochen Schuss. Fore seeds of inspiration on a trip to Ghana, but the evolution of the design took place on the com puter after a great

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Do you need to putsome teeth into yourmarketing materials?

Catt us.Design Source EastAdvertising, Design,& Image Planning

Phone 201.342.7944

e l l u s i n e s s e i r e c t

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CID-keyed Wit -1M 4,Assemblek,ontfrom groups of su foVectOrPaint 7 "for chara Y o u C A N ' T K E E P U P .W E C A N H E L P .You can't read everything,so we do i t for you. Wesummarize every importantstory from magazines for graphic design-ers and put it in a newsletter you canread. Call or fax us for aFREE ISSUE.Designers In28 countriesdepend en us.You also can't spend allyour time gatheringupdates, bug fixes & plug-ins, so we doit for you. Each month, you'll receive a diskcontaining every free update and

bugfix, useful plug-in and utili-ty. Call, fax or e-mail us for aFREE brochure.

DESIGN TOOLS MONTHLY" .e -m a i l t o D T M on t h l y@a o l . c omhttp : / /a res . c sd.ne t /dtm303/444-6876 fax 303/440-3641i

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FRANK LLOYD WRIGHTW A S N 'T J U ST A G R E A TARCHITECT, HE WAS AM A S T E R A T C ON ST R U C -TION-HE KNEW JUSTHOW FAR TO PUSH ENGI-NEERS IN EXECUTINGHIS DESIGNS. ORSONWELLES AND CINEMA-TOGRAPHER GREGTOLAND DESIGNED SPE-CIAL CAMERA LENSESTO GET THE SHARPDEPTH OF FIELD THATM A K E S C I T I ZE N M AN EUNIQUE. CHARLES ANDRAE EAMES DIDN'TJUST DESIGN SPECTAC-ULAR FURNITURE,THEY DEVELOPED THEMACHINERY TO PRO-DUCE IT. AND ANSELADAMS DEPENDED ONE X A C T I N G D A R K R O OMW OR K A N D P A I NS T A K -INGPRECISION TOACHIEVE HIS BEAUTI-FUL PHOTOGRAPHICIMAGES. IN FACT, THEABILITY TO UNDER-STAND AND PUSH TECH-N O LO G Y M A Y B E ON EOF THE HALLMARKS OFG R E A T A U T E U R S . A N DALL AUTEURS ARE THEMASTERS OF MANY DIS-CIPLINES-THEY AREPERHAPS AS COMFORT-ABLE IN FRONT OF ATYPEWRITER AS THEYARE BEHIND THECAMERA LENS, OR ASTALENTED ON THEPIANO AS THEY ARE

mm O N G UI T A R .


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% leis available at the following locations:NORTH AMERICA

Untitled159 P r i n ce S t r e e tNew Y o rk , NY 10012U S APhone: (212) 982-2088Fax: (212) 925-5533Airbrush Emporium130 Water Street #7V a n c o u v e r , B C V 6 B 1 B 2CanadaPhone: (604)685-9100Fax: (604) 685-3892EUROPE

TegnecenterS t Kon gensgade , 21D K - 12 6 4 Co pe n h a g e n KDenma rk .Phone: 45-33-14-90-33Fax: 45-33-11-90-33Central Books99 W a l l i s Ro adL o n d o n E 9 5L NEnglandPhone: 44 (0)181-986-4854Fax: 44 (0)181-533-5821Zwemmer Media Arts2 4 Litchfield StreetLondon WC2H OBBEnglandPho ne : 44-171-240-4157Fax : 44-171-836-7049La Hune Librairie170, Bo u l ev a rd Sa i n t -Ge rma i n75006 ParisF ranc ePhone: 33 (1) 45-48-35-85Fax: 33 (1) 45-44-49-87Papasotiriou S.A.International TechnicalBooks to r eStournara 35 AthensGreeceFax: 30-1-364-8254Logos ImpexStrada Curtatona 5/F41010 San Domaso-ModenaI talyPhone: 39-59-28 02 64Fax : 39-59-28 16 87 or39-59-28 05 07

Media LabV i a M a so tt o #2 1M i l an 20133ItalyPhone: 39-02-7000-1176Fax: 39-02-7010-4199Bruil & Van de StaadZuideinde 647941 GJ M eppe lThe NetherlandsPho ne : 31-522-261303Fax: 31-522-257827Dest ArteA rma ze m P a r e d eR u a A C a v a2775 ParedePortugalPho ne : 351 (0)1-3470214Fax: 351 (0)1-3475811Paragraph International32 D ra s ikova S t re e t ,19 th F loo rM oscow,117418Russ iaFax: 7-095-129 09 11Berlin Librosc/Cardoba, 1728770 Colmenar ViejoMadridSpainPhone: 34-1-8462971Fax: [email protected] AB19124 S ol l en tunaS tockho lmSw e d e nPhone: 46 (0) 8-35 0100Fax: 46 (0) 8-35 0014

Rio BooksL a r g o d o M a c h a d o 2 9 s a la 5 0 8Ca te r e -R i o de J a ne i r oCEP: 22221-020Brazi lPhone/Fax: 55-021-590-8997

SOUTH AMERICA

S T O R E S ! D I S T R I B U T O R S !To carry U&lc magazine, contact Rebecca Pappas at (212) 949-8072

mputers , then , and the software that runs them, make fer t i l e work en v i ronme ntsCo mputer technology a l low s the maste ry of multip le disc ip l ines ,

used t o expe r imen t w i ld ly w i thou t e conomic c onsequence s ( a de s i r e o f manyuts the v i r tual sk i l l s of coun t less technic ians at the d isposal

he costs associated w i th hi r ing a work c rew.Bu t b e fo r e we can specu la t e on how compu te r s and compu te r so f twa re can

omorrow , we must recognize that technology has a l readylogy is the result of a compli-

e best hardwa re and software prod ucts come fromon o f on e pe r son . These t e chno - au teu r s h ave no t on ly m as t e r ed the a r can es of co mputer programming, but a l so hav e co mpel l ing ar t i sti c quests . Like

y auteurs , these mode rn a rt is ts a re hardly apprec ia ted in the i r t ime thei rre taken for gran ted as we r ip off the shr ink-wrap an d pop the

w i th a l l due r e spec t t o th e t a l en t ed t e amspanies behind our favor i te technology I 'd l ike to acknowled ge some of

S O N W E L L E SC O M P U T E R Sween two o f my f avo r i te au t eu rs , O r son W e l l e s a nd S t even Jobs ,

y . Bo th compl e t ed th e i r mas t e rwo rk i n th e i r l a t e twen t ie sfo r W e l l e s ,and for Jo bs, the M acin tosh . Both were ar rogan t , se l f-promoting andtra i ts often assoc iated wi th great auteurs . And , in fa i rness, both probably

c r ed i t f o r th e i r r e spec t iv e w o rk th an wa s appropr i a t e . Bu t th e ir t a l en t st be diminished. When R ICO S tudios wanted W elles to hur ry and f inish Kane,

rk . Jobs did the same a t Apple ,y obs t a c le s f r om inve s t o r s a nd even f e l l ow employee s who cou ldn ' tl i ance o f the M acin tosh . And both auteurs fo l lowed up thei r f i rst

wi th something that , while cr i t i ca l ly pra i sed , missed the ma rk f inan-(The Magnif icent Ambersons and the NeXT Computer).W elles , by the way, would have lov ed the M ac intosh. W ith i t he and his col-

as i l y c r ea t ed th e many pr i n t ed p rops ( n ewspape r s , s i gn s ,at are so prominen t in h is f i lms. And for wri t ing, sto ryboard ing and

ng , th e M ac i s th e p r e f e rr ed t oo l i n H o l l ywoodas n ecessa ry now i n th ed c l apboa rd .

s , Imogen C unningham and A lf red St ieg l itz have used computerof the auteurs behind

To m Kn oll , who did most of the deve lopment work on Pho toshop, doesn ' t l ikeic pace of S i l icon V al ley so he hangs out in his Ann Arbo r , M ichigan home,

i ed to l e t h is work speak for i tse l f . He an d h is bro ther John n ot on ly opene d upipula t ion to mil l ions , they def ined m any of the tools we n ow

Bruno D elean , 36 , the French mathematic ian who dreamed up Live P icture ,de fo r that br i ll i an t program by hand in pen ci l a t h is grand-s r emo te cab i n a t Ando r r a i n th e Pyren ees moun ta i n s . He d i dn ' t ev en have

puter fo r the year and a hal f i t took to f in i shev eryth ing played out in h ishile the snowflakes fe l l outs ide his windo w.

And Fred K reuger , who maste rminded M acromedia ' s XRes , was a whiz inmputer programmin g (and the h igh

ught up with him).All three authors defy the typica l image of the sof tware programmer , an d

ipulat ing image s, both in thelogy and the a l l -importan t user in terface .

R T U A L C A N V A Sheory tha t the r ing ing in V incen t Van G ogh's ea r was caused by

ing from the pigments in h is o i l pain ts , then you ca n ' t deny that had heacin tosh , running Fracta l Design 's Pain ter , he might not

Continued on page 35


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y . . /Academy" EngravedAgincourt"ITC Aftershock"ITC Airstream"ITC Aki LinesAlgerian" CondensedAmbrose"ITC American TypewriterITC American TypewriterCondensedITC AnnaAquinas'"Aquitaine' InitialsAristocrat-ArriArriba-Arriba-Artiste"Attitudes DFAugustea OpenITC Avant Garde GothicITC Avant Garde GothicCondensedAvenida"'

fibBackyard Beasties"ITC Bailey" Quad BoldITC Bailey" SansBalmoral"'Bang"Banner"ITC BarcelonaITC New Baskervi IleITC BauhausBecka" ScriptITC BeeskneesITC Belter"Belwe"Bend igo"ITC BenguiatITC Benguiat CondensedITC Benguiat GothicBergelITC Berkeley OldstyleITC Bernase RomanBertie"Bertram""Bible'" Script & FlourishesBickley" ScriptBitmax"ITC Blackadder"Blackmoor"ITC Blaze"BI u ntz"ITC Bodoni" Seventy-TwoITC Bodoni"' TwelveITC Bodoni"' SixITC Bodoni Ornaments"ITC Bodoni Brush"Boink"ITC Bolt BoldITC BookmanBordeaux"ITC Bradley Hand"ITC Braganza"Brighton"Bronx"Burlington"ITC BusoramaBuzzer Three""

I ait ciData 70"ITC Dave's Raves"' One DFITC Dave's Raves"' Two DFITC Dave's Raves" Three DFDelectables DFDemian"ITC DidiITC Digital Woodcuts"Digitek-ITC Di nitials"Diversions DFDiversities DFDolmen"Dynamo Shadow

tics DFEdwardian" MediumITC Edwardian Script"'ITC ElanITC Ellipse"Elysium"'Emphasis"Energetics DFEnviro"Epokha"Equinox'"ITC Eras

ITC EspritEtruscan"Expressions DF

Fiithful Fly"ITC Farmhaus"Fashion"ITC Fat FaceITC FeniceFigural"Fine Hand""ITC FirenzeFlamenco I nline-Flamme"Flight"Fl ing-ITC FloraFollies"ITC Fontoon"ITC Fontoonies" DFForest" ShadedFrances" UncialFrankfurter"ITC Franklin GothicITC Franklin GothicCorn pressedITC Franklin GothicCondensedITC Franklin GothicX-CompressedITC Freddo"Freestyle" ScriptFriz Quad rata

ToksIWGalliardITC GammaITC GaramondITC Garamond CondensedITC Garamond HandtooledITC Garamond NarrowITC Gargoonies" DFGigi"Gilgamesh"Gill Display CompressedGill Kayo CondensedGillies GothicExtra Bold ShadedITC Giovanni"'Glastonbury"ITC Golden Cockerel"ITC Golden Cockerel"' InitialsITC Golden Cockerel"'OrnamentsITC Golden Type"ITC GorillaITC Goudy SansGravure'Green"Greyton" ScriptITC Grimshaw Hand"ITC GrizzlyITC Grouch

eld"Hand DrawnHarlow"Harvey"Hazel"Heliotype"Helvetica CondensedITC Highlander"Highlight"Hollyweird"

ITC HondaITC Humana"'ITC Humana" SansITC Humana" Script

atius"I m pakt-Incidentals DFIndustrials DFIndy" ItalicInformal" RomanInscription"Inspirations DFIrisITC IsadoraITC Isbell

Italia

I ITC J aftITC Jambalaya"ITC Jamille"Jazz"John Handy"'Jokerman"JourneysITC Juanita"

IbelITC Kallos"Kan ban""Katfish-ITC Kick"Klee"ITC Klepto-ITC KokoaITC Kristen"'

samba""Lambada"Laser"'Latino" ElongatedLauraLCD"Le Griffe"ITC LeawoodITC Legacy SansITC Legacy SerifITC Lennox"Lexikos"Lightnin'"Limehouse" ScriptLino Cut"LocarnoITC Lubalin GraphITC Lubalin GraphCondensed

chineITC Rennie Mackintosh"ITC Rennie Mackintosh"'OrnamentsMalibu"'ITC Malstock-ITC/ LSC ManhattanMarguerite'Mastercard"ITC Matisse"Mekanik"ITC Mendoza RomanMilano"'ITC Milano

ITC Minska"Mistral"ITC Mithras"ITC MixageMo' Funky Fresh"Mo' Funky Fresh" Symbols DFITC Modern No.216Moderns DFITC Mona LisaMontage"ITC Motter Corpus"ITC Musica"I Naaturals DFNeo Neo""ITC NeonITC NewtextITC Novarese

oNsitron"Odessa"ITC Odyssee"ITC Officina Sans"'ITC Officina Serif"Old English"One Stroke" ScriptOrange"'ITC Orbon"Organics DFOrganics 2 DFOrlando"ITC Out of the Fridge"ITC Ozwald

loITC PacellaITC PanachePapyrus"'Party"Pend ry" ScriptPink"'ITC PioneerPlazaPleasure" Bold ShadedPneu ma"Prague"Premier"Primitives DFPrincetown"Pristine'Pritchard"Pump"'

drus"ITC Quay Sans"Quixley"ITC Quorum

dicals DFRage ItalicRagtime""Rapier'"Refracta-Regatta" CondensedITC Rennie Mackintosh"ITC Rennie Mackintosh"'OrnamentsITC Riptide"Retail" ScriptRetro"'Riva"Robotik"

itabaret"Cabarga" CursivaCalligraphic Ornaments DFCampaign"'Cancellaresca" ScriptITC Caribbean"Carlton"Carumba"Caru mba Hot Caps"Caslon 540 Italic &SwashesITC Caslon No. 224Caxton""Celebrations DFITC CenturyITC Century CondensedITC Century HandtooledITC Cerigo"Challenge'"Champers"Charlotte"Charlotte" SansITC Charter""ITC CheltenhamITC Cheltenham CondensedITC Cheltenham HandtooledChiller"Chipper"ChocChromium" OneCitation"Claude Sans"ITC ClearfaceCommercials DFCommercial ScriptCompacta"ITC/LSC CondensedITC Connectivities DFCoptek"Corinthian"Crillee"Cult"ITC Cushing

32


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ITC ResellersITC typefaces, including the Fontek collect ion, are available from a worldwide networkof font resellers. These resellers, w ho are listed below, offer ITC typefaces in a variety ofd ig i t a l fo rmat s fo rva r ious compute r p la t fo rms. I f no t inc luded in the company name, wehave l is t ed the count ry where each rese l le r is loca t ed . Many o f these rese l le rs, however ,p rov ide fon t s t o end use rs in seve ra l coun t r ies . M any a lso o f fe r t he i r fon t s throughother resellers and dist ributors. If you have any quest ions about how to acquire ITCtypefaces, please contact your near est reseller or contact IT C at (212) 949-8072.

Adobe Systems Europe Ltd.(U K )T: 011-44-131-453-22-11http://www.adobe.comAdobe Systems Inc. (USA)T: (408 ) 536 -6000 ore t r a s e t(800 ) 833 -6687F: (408) 536-6799http://wwwadobe.com L e t r a s e tAgfa Division/Bayer Corp. (USA)T: (508) 658-0200F: (508) 988-9130http://wwwagfahome.com L e t r a s e t

he 1996-97 ITC Typeface Catalog i s a handy refe rence , conta in ing charac te r showings fo imore than 1,000 ITC typefaces , inc luding the award-winning Fontek d i splay typeface co l l ec t ion . Inc luded as par tof the Fall 1996 issue of Ufilc, the catalog is divided in to several catego ries: serif, sans serif, display, and orna-ments an d i l lustration fonts.

The catalog issue of LIFtic is available from ITC fo r $8.00 per copy in North America, and $ 10.00 elsewhere(pri ce inc ludes shipping) . Payments rece ived from outside of the U .S . must be in U .S . do l l a rs , drawn on O.S. banks.ITC also accepts international money orders, Visa, Mastercard and American Express. To order, complete thecoupon below and mail , fax or e-mail to the address below. Offer valid while supplies last.ITC Typeface C ata log, In te rna t iona l Typeface Co rpora tion , 228 E ast 45th St ree t ,12th Fl . , New Y ork , NY 10017

Fax: [212) 949-8485 Phone: [212) 949-8072, ext. 131 E-mail: [email protected]

A M EITLEO M P A N Y

HONEAX-MAILS A T EIP/POSTALCODECheck/money order for $is enclosed. (U.S. Banks Only)Please make checks payable to Internat ional Typeface Corpora t ion . Federal ID # 132 703892Charge my: u Visa

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0 ESSELTE Esselte SA (France)T: 011-33-1-44-85-1759F: 011-33-1-42 2989 44http://www.esselte.com

0 ESSELTE Esse l te SA (Spain)T: 011-34-1-381-4736F: 011-34-1-381-5120

F A ( - E S Faces , Ltd . (UK)T: 011-44-1276-38888F: 011-44-1276-38111

A d o b e

A d o b e

AGFA.i ts t ream Inc. (USA)T: (617) 497-6222F: (617) 868-4732http://www.bitstream.com

A\ Elsner+Flake Designstudios(Germany)T: 011-49-40-3988 3988F: 011-49-40-3988 3999http://www.tripledick.de/fontin form

L e t r a s e t

Linotype-Hell

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FontShop CanadaT: (416) 364-9164F: (416) 364-1914

S H O P FontShop FranceT: 011-33-1-43-06 92 30F: 011-33-1-43 06 54 85http://www.fontshop.jca.frFontShop GmbH Berlin (Germany)T: 011-49-30-69 58 95F: 011-49-30-6-9288 65http://www.fontshop.deFontShop International (Germany)T: 011-49-30-69 37 022

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ITC Stone Serif PhoneticStrobos'''ITC Studio ScriptITC Stylus"'ITC/LSC Stymie HairlineSuperstarITC SymbolSynchITC Syndor

Tannhauser"Teknikr"Telegram"'ITC TembleITC Tempus"'ITC Tempus Sans"'ITC TiepoloITC TiffanyTiger Rag'"Tiranti"' SolidITC Tom's RomanITC TotSpots'" DFTrackpad"'Tropica"" ScriptITC True Grit"'Twang"'Type Embellishments OneType Embellishments TwoType Embellishments Three

ses'"University"' RomanITC Uptight RegularUrbans DFITC Usherwood

I Van Dijle"Varga"'Vegas"ITC VeljovicITC Verkehr"'Vermont"Victorian"'Vienna"' ExtendedITC Viner Hand"'ITC Vintage"'ITC Vinyl"'

I '"SansWanted"'Waterloo"' BoldITC WeidemannWell Beings DFWestwood"'Wild Thing"'Wildlife DF

ITC Wister ia"'

I r 7C Zapf BookITC Zapf ChanceryITC Zapf Di ngbatsITC Zapf InternationalZaragoza"'Zen nor'Zinjard'"

Image Club Graphics (Canada)T: (403) 262-8008 or(800) 661-9410F: (800) 814-7783http://www.imageclub.comLetraset Austral iaT: 011-61-2-99-75-1033F: 011-61-2-451-1815Letraset DenmarkT: 011-45-42-84-93 00F: 011-45-42-91-0614Letraset Deutschland Gmb H( G e r m a n y )T: 011-49-69-42-09-94-22F: 011-49-69-42-09-94-50

Letraset Nederland BV(The Netherlands)T: 011-31-10-458-0311F: 011-31-10-4580-610Letrase t USAT: (800) 342-0124F: (201) 845-5047http://www.letrasetcomLinotype-Hell AG ( G e r m a n y)T: 011-49-6196-98-2731F: 011-49-6196-98-2194http://www.linotype-heltdeLinotype-Hell C o . (U S A)T: (516) 434-2000F: (516) 434-2720http://www.linotype.comMonotype Typography Inc. (USA)T: (847) 718-0400 or(800) 666-6897F: (847) 718-0500http://www.monotype.comMonotype Typography Ltd . (UK)T: 011-44-1737-765-959F: 011-44-1737-769-243http://www.monotype.comPaleda AB (Sweden)T: 011-46-8-350100F: 011-46-8-350014ParaGraph International(Russ i a)T: 011-7-095-129-1500F: 011-7-095-129-0911http://wwwparagraph.com/paratypeP r e c i s io n Ty p e ( US A )T: (800) 248-3668F: (516) 543-5721Treacyfaces, Inc. ( U S A )T: (203) 389-7037F: (203) 389-7039http: / /www.treacyfaces.comTypeUSAT: (800) 897-3872F: (312) 360-1997

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L e t r a s e t Letraset Export (UK)T: 011-44-1233-62 4421F: 011-44-1233-64 6903

L e t r a s e t Letraset Italia srl (Italy)T: 011-39-2-392-16677F: 011-39-2-392-16135

FontHaus (USA)T: (800) 942-9110F: (203) 367-1860http:// users.aol.com/fonthauFontShop AustraliaT: 011-61-3-9388-2700F: 011-61-3-9388-2818FontShop BVBA (Be lgium)T: 011-32-9-220-26-20F: 0 11-32-9-220-34 45

FontShop Norway/Luth & CoT: 011-47-22-32 29 10F: 011-47-22-30 68 85

rFonallFontWorks Ltd. (UK)T: 011-44-171-490-53 90F: 011-44-171-490-5391http://wwwtype.co.ukGraphic Arts Products (PTY) Ltd.(South Africa)T: 011-27-11-887-6410F: 011-27-11-440-4932


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ARE YOUP L A R N _ I N _ GTO MOVErEte sure to taketae`Width goutM_Qv q Da re:OLD Address_ (Please print or attach mailing label)

Titleam e

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Postal/Zip CodetateityC ou n t ry

NEWAddress-Titleam e

A ddr e ss

Postal/Zip CodetateityC ou n t ryF a x to 2 12 .94 9 .84 85 o r m a i l to U&/c PO Box 129, Pla inv iew, NY 11803-0 129

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* O f f e r g o o d i n U S . a n d C a n a d a o n l y . O u t s i d e t h e US , C a n a d a a n d E u r o p e , c a l l 1 - 4 H - 2 5 2 - 2 0 0 0 . O r F A X u s a t 1 - 4 1 5 - 6 2 6 - 0 5 5 4 . 1 n E u r o p e , o i l . 4 4 - 0 ) 1 3 4 4 4 5 E 6 0 0 . F a e d u c a t i o n r e s e l l e rs , c a t 1 - 8 0 0 2 7 5 - 1 5 6 4 . * * M a c r o m e d i a r e s e r v e st h e r i g h t t o s _ t o t i tu t e p r o d u c t s i n t h e S t u d i o s a t a n y t i m e . F a r t s c o u r t e s y o f F o n t 8 u r e a u a n d T h e E l e c t r i c T y p o g r a p h e r . M a c r o m e d i a , t h e M a c r o m e d i a l o g o , D i r e c t o r A u t h a w a r e , a n d F o n t o g r a p h e r a r e r e g i s t e r e d t r a d e m a r k s a n dF r e e H a n d G r a p h i c s S t u d i o , F r e e H a n d E x t r e m e 3 D , M a c r o m e d i a x R e s , S h o d r w a v e , T o o l s T o P o w e r Y o u r I d e a s , a n d S h o w c a s e a r e t r a d e r n a r l q o f M a c r o m e d i a I n c . A l l o t h e r b r a n d o r p r o d u c t n a m e s a r e t h e p r o p e r t y o f t h e irr e s p e c t i v e o v i n e r s . a l 1 9 9 6 M a r s o m e d r a , I n c M I r i g h t s r e s e r v e d

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4. Issue Frequency. Number of Issues Published Annually. Annual Subscription PriceQuarterly(Four)10.007. Complete Mailing Address of Known Office of Publication (Not printer) (Street, city, county, state and ZIP-r4)International Typeface Corporation

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Publisher Name and complete mailing address)Mark Batty, Executive PublisherInternational Typeface Corporation, 228 East 45th Street, 12th Floor, NewYork, NY 10017-3303Editor (Name and complete mailing address)Margaret RichardsonInternationalTypeface Corporation, 228 East 45th Street, 12th Floor, New York , NY 10017-3303Managng Edtor (Name and complete mailing address)Joyce Rutter KayeInternational Typeface Corporation, 228 East 45th Street, 12th Floor, New York, NY 10017-3303

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Alphabets From the Expert - Vol. 23

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