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ITC JO R Ct 6 'OUR THE

4) Message from ITC Collaboration from concept to reality.

6) I Collaborate, You Collaborate, We Collaborate by Steven Heller

8) SMINBROOK/HAYE: What's Good and What's Not by Lewis Blackwell

12) TONIASWA/FARAEU/StMOICK: Transforming Text by Margaret Richardson

16) MAMA/HAYCOCK MAMA: Creative Hedonism and High-Speed Collision by Andrea Codrington

20) 6nrits/H0fit: Reconcilable Differences by Joyce Rutter Kaye

24) rEtt.A/PIANSKER: Subversive Collaboration by Peter Hall

26) 17 New ITC Fonts Text by John D. Berry

34) Book Reviews by Lewis Blackwell

42) (Re) Imagining the Book by Steve Tomasula

•

iN

VT

COVER IMAGE FRAME FROM "ADDICTIONS + MEDITATIONS;' AN AUDIOAFTERBIRTH MUSIC VIDEO CREATED BY WORDS + PICTURES FOR BUSINESS + CULTURE. TABLE OF CONTENTS/MESSAGE FROM ITC: HEADLINE: ITC CONDUIT BOLD ITALIC, ITC FLORINDA SUBHEADS: ITC FLORINDA, ITC CONDUIT BOLD TEXT/CREDIT: ITC CONDUIT LIGHT, LIGHT ITALIC, ITC GOLDEN COCKEREL ROMAN, ITALIC FRONT COVER: ITC FLORINDA

4

MASTHEAD: ITC FRANKLIN GOTHIC MEDIUM CONDENSED, MEDIUM CONDENSED ITALIC, DEMI CONDENSED, DEMI ITALIC

MESSAGE FROM SIC Collaboration is the theme of this issue of U&lc. Collaboration is a concept and a pro-

cess we know well as the U&k staff works with various designers in producing this magazine

each quarter. Our intention always is to find the best design talent we can to create this quar-

terly. Our goal is not only to produce the best visual and editorial product we can, but also to

have each design team effectively show the vast

range of ITC typefaces in use.

To collaborate demands negotiation from the

planning through to production, and inevitably col-laboration comes down to trust. We choose design-ers whose work we think our readers would like to see. We want U&lc to inspire through contemporary digital design and to promote expressive typography

and a passion for type. This was the case when John-

son & Wolverton suggested a horizontal editorial presentation simulating a road map for the Spring

issue. The theme was interesting design projects from around the world, and the map captured this

while incorporating intense text and display treat-ments of ITC type. This issue of U&k prompted incredible response. It was both pilloried and praised.

We were accused of creating illegible pages, or told this was as simple to read as a map.

Collaborating with the designers Laurie Haycock Makela and P Scott Makela at Words + Pictures for

.111111

WORDS + PICTURES FOR BUSINESS + CULTURE:

LAURIE HAYCOCK MAKELA, P. SCOTT MAKELA,

MIKE JACOPELLI, BRIGID CABRY

CREATIVE SERVICES DIRECTOR:

EXECUTIVE PUBLISHER:

MARK J. BATH

EDITOR/PUBLISHER: MARGARET RICHARDSON

MANAGING EDITOR: JOYCE RUTTER KAYE

CONTRIBUTING EDITORS:

PETER HALL,

KAREN S. CHAMBERS

GRAPHIC DESIGN:

CLIVE CHIU

ART/PRODUCTION:

JAMES MONTALBANO

NICOLAS 0. SIMON

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Business + Culture in Bloomfield Hills, Michigan, for this issue allowed us to explore the collaborative process in theory as well as in practice.

The Makelas, who teach at Cranbrook, suggested going beyond

mere documentation of the work of collaborative teams featured. The

design is influenced by the Makelas' interpretation of the double-blind

experiment used in medicine. Laurie Haycock Makela explains: "Dou-

ble-blind is the term used for the method of evaluating the effects of a drug's course of treatment in which neither the subject nor the re-

searcher knows who specifically is receiving the drug treatment under

study. This concept inspired the making of this issue. Each collaborator represented here was invited to send one image on the subject of col-

laboration, knowing it would be paired with the fellow collaborator's submission': The Makelas, along with Cranbrook student Brigid Cabry, reassembled this artwork in their own collaborative response, collab-orating with the collaborators in a design equivalent of double-blind.

Again the use of ITC type in the design is crucial. The Makelas

designed the new ITC typeface introductions of 17 new fonts, and they

became so enamored of the new sans serif typeface, ITC Conduit by Mark van Bronkhorst, that it is consistently featured throughout this entire issue.

A final note on collaboration. The most consistent collaborators we have are the U&k readers, those of you who each quarter read and respond to U&/c. Whatever your opinion, we are always grateful to hear from you since your correspondence proves that we sometimes inspire,

other times provoke, but definitely your response tells us that we are not ignored.

MARGARET RKHAROSON

ITC OPERATING EXECUTIVE BOARD 1997

MARK J. BATTY, PRESIDENT AND CEO

RANDY S. WEITZ, CONTROLLER

ILENE STRIDER.

DIRECTOR OF TYPEFACE DEVELOPMENT

ITC FOUNDERS:

AARON BURNS. HERB LUBALIN,

EDWARD RONDTHALER

ITC, U&Ic AND THE U&Ic LOGOTYPE

ARE REGISTERED TRADEMARKS OF

INTERNATIONAL TYPEFACE CORPORATION.

MICROFILM (16mm OR 35mm)

AND MICROFICHE (105mm) COPIES

OF U&Ic ARE AVAILABLE FROM

UM!, 300 NORTH ZEEB ROAD,

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# COLLABORATE, YOU COLLABOAATE,

WE 0013.ASORATE

COLLABORATION IS THE ESSENCE Of CREATIVE ACTIVITY. The interrelationship of two or more people in quest of a common goal is about

the most fulfilling of human experiences. After all, we are born of collaborators and our continued success in life is measured by the marriages we

make with others in the service of creation. But this "Double-Blind" issue of U&Ic is not about collaboration as a cosmic force. Rather, it focuses on

the mutuality—and the yin and yang—between two or more individuals in the creation of graphic design.

BY STEVEN HELLER

Graphic design is a creative discipline where collaboration is a necessity. Just look at the roll call of credits in any design annual.

Sure, there are visionaries who create the styles, develop the ideas and promote the concepts that the majority of us apply. But

ultimately, even these people are spokes in the wheel of process.

No matter how talented, a designer invariably must answer to a client, which might be a design director, creative director, art

director or other mediator who plays an integral role in the project. Just as an editor may tweak an otherwise fine text into brilliant

prose, an art director might make a similarly invaluable contribution to a graphic work. In graphic design, like film, television and

architecture, other creatives and their functionaries are intimately involved with the outcome. Creativity, indeed originality,

depends on creative trysts between two or many partners.

Some collaborations are imposed, others are divined. Whatever way they are formed, collaborations offset weaknesses

and deficiencies and bolster strengths. But collaboration is much more than a simple calculus—MORE meta +

COMMON COAL= INCREASED EffICIENCY/GREATER PRODUCTIVITY—it is a fusion of chemistries that results in

a unique entity. When everything is working well—when, for instance, ego satisfaction derives totally from pride in the

project as a whole—then the collaborators' distinct contributions result in an outcome that one person alone could

not have accomplished.

While a good collaboration is one of the most intense human relationships, it is also one of the most precarious. For

a collaboration to succeed, the collaborators must, like a well-tuned machine, interconnect in every way; each must

have a defined role—a function, purpose, job—that does not conflict with the other's abilities or jam up the works.

While there are no preordained rules for how collaborations should work, the best efforts are those in which the

participants respect each other's turf, while nimbly crossing the boundaries as necessary. One can be controlling

or submissive and also be a good collaborator. Balance is the key.

But a collaboration cannot be measured or weighed by imposing rigid parameters. Germany wasn't reunited in

a day, after all. The best efforts occur organically. A kind of natural selection determines who does what and how

tasks commingle. Even if these functions overlap, in successful collaborations the participants accept their own

boundaries. In failed ones, territorial imperatives give way to an attack of the superego.

The design field is full of collaborative configurations—business partnerships, creative teams and, more and

more frequently, mates who form full- or part-time creative liaisons. Charles and Ray Eames and Saul and Elaine

Bass were hugely successful married teams whose passions to create particular objects overcame the difficulties

created by marriage and the barriers imposed by ego. Other collaborative couples who come to mind, such as Mas-

simo and Lelia Vignelli, R Scott and Laurie Haycock Makela, Ellen Lupton and J. Abbott Miller, Rita Marshall and Etienne

Delessert, Michael Donovan and Nancye Green, Forrest and Valerie Richardson, Katherine and Michael McCoy, and

Louise Fili and myself, balance on the tightrope that tests both physical and emotional endurance. In these collabo-

rations, the need to create something larger than the sum of its parts based on shared passions overcomes the

otherwise immense obstacles.

Individually, the designers mentioned above have professional personalities apart from their mates and reputa-

tions based on individual merit. They function separately and could easily continue to work independently. But some-

thing happens when they are drawn together—call it electricity (perhaps the same force that brought them together

in the first place)—that transcends the limits of their individual capabilities.

In all candor, I am incapable of designing as well as Louise Fili. She, on the other hand, cannot write. What we share is

a passion for the beautiful and arcane artifacts of design culture. So together we produce books about graphic style. I have

the broad view, she is detail-oriented. I excavate the materials, she organizes them. I write and edit, she designs. Nevertheless,

she reedits my editing, and I critique her design. We fiddle and finesse, differ and argue until our joint effort is complete. And

then, after the labor pains are over and forgotten, like all good collaborations, we do it again.

As the designers profiled in this issue attest, collaboration adds rather than saps strength. It no more diminishes one's talent

than sharing the same loves and hates. By broadening the creative experience and adding additional levels of creative power, the

process becomes consummately addictive. The result is an entity that would not have otherwise been born.

STEVEN Halta's MOST RECENT BOOKS ARE FACES ON THE EDGE: TYPE IN THE DIGITAL AGE (VAN NOS.

TR AND REINHOLD) AND DECO TYPE: STYLISH ALPHABETS Of THE '205 AND '305 (CHRONICLE BOOKS).

HEADLINE/BYLINE: ITC FLORINDA TEXT/B10: ITC FLORINDA, ITC CONDUIT BOOK, BOLD, BOLD ITALIC

6

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RICCI

Itial3'so ,ci 44LE

JONATHAN BARNBROOK AN[

WOMAN NEEDS A

MAN LIKE A FISH NEEDS

A BICYCLE "

Top: Jonathan Barnbr000k/Tony Kaye: Matchbook is their statement about

their collaborations in the advertising industry.

Left to right: Barnbrook/Kaye: Frames from a spot for Lair du Temps

for Opera-RLC, Paris; Barnbrook: Fish ad for Guinness; Barnbrook/Kaye:

Frames from the Lair du Temps collaboration.

With the occasional collaborations of British director

Tony Kaye (based in Los Angeles) and designer/

director Jonathan Barnbrook (in London), such prob-

lems are brushed aside. Collaboration across the

globe has become a practical, routine activity. "Tony

tends to just set you off on an area and let you get

on with it," explains Barnbrook disarmingly of the

partnership that has involved him in providing ani-

mated typographic elements for Kaye's commer-

cials. "He's very trusting; we both know what's good

and what's not:'

But while it is easy to agree on what is, say, a

good and a bad apple, one would have thought it

was a little less clear-cut with some animated type.

Not so, it seems. "It's difficult to remember the

process," says Barnbrook. "It is usually very quick.

We will use the fax a lot. I will create much more than

ever sees the light of day. But there is always a

mutual respect, a concern with doing the best job:'

Kaye is probably the single most powerful influ-

ence in bringing animated type into commercials

in the '90s, with a series of award-winning spots.

He not only brought Barnbrook into contact with

film in 1990, but has since pushed him forward as

a director on the roster of Tony Kaye Films. This led

to Barnbrook directing three of the multi-award-

winning BBC Radio Scotland commercials in 1995,

which have influenced a rash of animated typo-

graphic commercials across Europe.

Barnbrook continues to have much to offer to

Kaye on the typographic front through his own

HE IDEA OF CREATIVE COLLABORATION IS

conundrum. THAT PARTNERS ARE SUPPOSED

O BE IN TOTAL AGREEMENT OVER DEEPLY

ERSONAL DECISIONS IS SO DIffiCOLT TO

ATOM AS TO SEEM ALMOST IMPOSSIBLE.

W 00 YOU REALLY SHARE THE ATTRI00•

ION Of AN INTUITION THAT LIES AT THE

ART Of THE CREATIVE PROCESS? HOW 00

00 EXPLAIN AND DISCUSS AND fORM THE

RECISE AND YET UNEXPECTED ELEMENTS

*VOLVED IN CREATIVE WORK?

-ONY KAYE: W H ALb BY I.EWIS BA ACHWELI

advertising. I've since been able to work with a lot

of very good designers, but Jon stands out for his

innate understanding of film. Once I introduced him

to working in the medium, he immediately under-

stood what a huge potential there was for him in film:'

Like Barnbrook, Kaye describes the collaborative

process in remarkably simple terms. He gives Barn-

brook the words, an idea, and waits for the results.

Typically, Barnbrook would not be able to see the film

that might surround the typography while he is

creating it. "In many ways, I think we have evolved

beyond our earlier collaborative period. Now I am

9

development as a designer, now with a range of

typefaces released besides his work in print. He

admits to being drawn to work more fully in film,

adding, "I am not sure how much more animated

typography we want to see in commercials. There

is also the frustration of being asked to work on

a six-second end title and then having it cut to two-

and-a-half seconds, as has just happened to me.

I would like to try more live-action:'

Kaye says his work with Barnbrook reflects his

fascination with designing in film. "I started off as

a designer, a not very good one, before I went into

HEADLINE: ITC CONDUIT BOLD BYLINE/B10: ITC FLORINDA TEXT/CAPTIONS: ITC FLORINDA, ITC CONDUIT LIGHT, LIGHT ITALIC

OT working on a feature and Jon is shooting his own

things," says Kaye.

But the mutual respect remains, the knowledge

that each is stimulated by working with the other.

Barnbrook knows that at some point he is expected

to tackle the typography for Kaye's magnum opus,

a personal film on abortion (500 hours-plus of foot-

age currently shot). This could be a tough one, but it

holds no fears for Barnbrook: "The thing about Tony

is that whatever happens in a project, you know he is

always working for the best result, that he cares

passionately about it:'

LEWIS BLACKWELL IS THE EDITOR Of THE

LON0014•8ASEO COMMUNICATION ARTS

MAGAZINE CREATIVE REVIEW.

Center Doubleaind illustration by Farrell with text by Tomasula • Background: Jonathan Barnbrook/Tony Kaye: Frame from Lam du Temps spot for Opera-RLC, Paris

Image•and Narrative:•A Layered Thingii by: • Steve Tomasula11 11 11 No • not • that!" • Kafka screamed • when • his publisher suggested •a • collaboration—

an • illustration of the bug in Metamorphosis to • accompany the text. • -Anything but that!"— a writer's typical • sentiment. • •Is the • bug the Other, the terminally ill, the Jew in Vienna, all and more of the above? • Or is it the blob from the pen of some sci-fi illustrator? What really hor-rified Kafka, I believe, was Simonides, in toga and laurel, claiming that a poem was a • speak-ing picture • and • a • picture•a • mute poem: an • attitude that assumes there are no•more•differences • between these two•languages•than•between • Greek and Latin. Yet•writers since Aristo-tle•have tried to explain•a gulf between•word•and image•that is• wider•than the Aegean•and which we fail•to cross every time we try to describe one with the•other. Still,•if• any generalization can•be • made it is that one•says, the other is seen. At•the • core, one • is • spatial-2-D, a flat land, its sister temporal. Time in • Flatland mirrors • the • eternal snows, the • moment fixed forever • on Keats' Grecian • Urn while•narrative time•is an arrow crossing a terrain, which exists • only in • the • mind of the • reader.• • Similarly, ekphrasis, painting in words, is•the counterpart • to narrative painting.• But•on the page, the word painting is no•more • a-painting than the narrative painting is a • narrative.• • Or • rather•one is • not•the•other in the• way that • Magritte's•pipe is not•a pipe•for,•as WJT Mitchell points•out, at one level, the figurative, it is. •The ways that it isn't, though, seem•most•interesting•for• writers and • graphic • designers who'd like • to collaborate—and an • inherent source of tension.• In terms of narrative, a verbal representation•that•moves through time, the fixed • body of an• eternal • moment is • a corpse. A reader has•to • stop•reading to look at form,•even the form•of the words•he•or•she • is • reading, and•to a•writer, a pause in • reading is like•a•little death—some-thing that all • designers who want to • work with • writers • should • consider.• The problem • is com-pounded if the • reader stops reading in Latin to reread the • same • material over in Greek. Of course, design that aspires to art rather than decoration • is also • open • ended. So • it seems • as if the cause • is not as hopeless•as Kafka thought. Rather, a more useful•dynamic in terms of i mage and narrative is closer to what goes on in parody. That is, what makes parody work is he ability of the viewer/reader to retain•the • original, • such as Othello, in his/her mind while tak-

ing in the pseudo-copy, such • as 0-Jello; it depends • on a reader to note the fl difference•between the two. The action is in the gap. •So the point becomes not to dress one language in the drag of the other but to let•each be itself and let meaning come out of the difference in these sign systems that are at times•in harmony, but always in conflict. Images and layout•suggest other images and•texts • and histories, while • words tell•what image • can only • suggest. When these two languages are • in discourse, not as hybrid, not • as fusion, when their differences are used to contextualize each other, the whole they • create • together • opens outward to the same degree that illustration closes meaning down by•fixing it in a corpse. When word and image push toward Simonides—that is, when they•begin•to•lose their separate identities, the project slides, as Kafka•feared, toward illustration,•redundancy,•fetishism, decorative•frills. When put • in juxtaposition (spatial pun intended),•design and language can create a third thing, a denser thing, a layered • thing; together they compose the fl meaning. 11

0

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Top: Stephen Farrell: Double-Blind 'Universal Eyepiece" Bottom Left Stephen Farrell/Steve Tomasula: spread from "TOE: a piece created for Emigre magazine's Joint Venture issue Top right Anne Burdick: Double-Blind seesaw Bottom right: Stephen Farrell: Slip Studios logo

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The collaborative affinities of Steve Tomasula and Stephen Farrell alchemize on the page. Tomasula writes profoundly

and passionately on ideas; Farrell transmutes these into designs inspired by typographic magic. The chemistry

between the writer and designer fuses two distinct disciplines into a new form, the manuscript as art, as rich

interpretive text.

EP (OR AS liVILLIAIYLGASS_ASKSJS_IT_PDSSIBLEIO_WRITE TRAGEDY IN LIMERICK?) — Steve Tomasula

BY MARGARET RICHARDS**

Tomasula, meta-fiction writer, essayist and critic, is published in literary journals like The Review of

Contemporary Fiction and Black Ice. He teaches creative writing at Notre Dame University in South Bend.

Farrell is the principal of Slip Studios in Chicago, and a designer of typefaces for T-26 and his own

Manuscripts Folio. He also teaches at The Illinois Institute of Art. Both work with other collabora-

tors, but when they have the opportunity to work together, their complementary talents mesh to

produce unique experimental creations.

One such project is "TOC' which appeared in the Joint Venture issue of Emigre magazine "TOC"

is a 17-page meditation on the concept of time paralleled by a compelling narrative of a woman in

crisis. Farrell's empathetic response to Tomasula's layered text—using expressive typography,

evocative and effective horological images draws us into the collaborators' world. The writer and

designer worked for two years on this project.

TE Tomasula's voice is authorial. His spiraling conversations reflect his

writing style, which is compelling, elliptical, philosophical, theological,

literary and, often, very funny. His interests range from a preoccupation

with medieval sensibilities to an analysis of contemporary literary criti-

cism. His reviews often convey these preoccupations, including a recent

account in Private Arts 8/9 of Raymond Federman's Double or Nothing: A Real Fic-

titious Discourse and Critifiction: Postmodern Essays (again painstakingly designed by

Farrell). Collaboration for Tomasula is a dialogue of sorts. He resists design when

it is unsympathetic to the meaning and feeling of the text. The act of prettifying

text arbitrarily or a reducing of ideas to mere visual elements is, to Tomasula, the

encroachment of the enemy. He is interested in design as image intertwined with nar-

rative. He also expects design to be sensitive to the evocative nature of fonts. His rela-

tionship with Farrell is based not just on respect for Farrell's expressive use of type and

dramatic setting of text, but on a shared intellectual vision and belief that design can be

inherent to the effective presentation of ideas.

Farrell's Chicago firm, Slip Studios, has been involved in a series of joint venture projects

that support writers and artists. Occasionally, these predominantly print projects will be

published and distributed by the studio itself. Farrell describes the process of collabo-

ration with a metaphor. "If the writer is the mind, the designer fashions the body and sets

it in motion: he says. Design, the body language, literally embodies the text and makes it

come alive. Farrell responds to ideas with a dramatic sensibility, reacting to the text in terms

of meaning and emotion and imbuing the words with typographic resonance. He likens

designing to directing: "It is about pacing and drama. In response to the text, I want to create

a pause, then I insert a blank. I let the surface of the page hold the silence:' This kind of engagement

demands a close liaison with the writer that Farrell finds crucial for his concept of collaboration. In the

case of Tomasula, he draws from "the cerebral metaspace in which Steve [Tomasula] conducts his writine

Currently the two are working on a five-chapter novella by Tomasula. The form will be a media hybrid,

consisting of three printed chapters (Farrell is contemplating designing typefaces for the second chapter

on Velasquez and painting manuals from 17th-century Spain), and the fourth chapter is conceived as a

CD-ROM. The last chapter will appear as a Web page.

THE THIRD COLLABORATOR

Tomasula and Farrell were interviewed by the designer/writer Anne Burdick in the Joint Venture issue

of Emigre. In one more meshing of interests in theory, text and design, Burdick is now co-editing an

upcoming issue of the ebr: electronic book review, an online forum for critical writing, with Tomasula.

Reflecting both Tomasula and Farrell's interests, Burdick contrasts two forms of the collaborative process.

In the traditional sense, clients, designers, editors or writers each have a delineated role, the responsibil-

ities of each clearly defined. In this situation each collaborator works as part of a team, relying upon the

strengths of the other. In other, more amorphous collaborations, however, the parameters and roles are

blurred. In some ways this is a less efficient way of working, but there is the surprise and challenge of "see-

ing things through another's eyes while at the same time pushing your own limits: she says. In this category,

she includes her collaboration with Tomasula.

Burdick, who writes and designs from her Los Angeles studio and teaches at California Institute of the Arts,

is interested not just in text, but in the form that writing takes. These issues she has explored with Joe Tabbi,

the editor of ebr, and Tomasula. Now Burdick and Tomasula are guest editors for the upcoming ebr6

http://www/altx.com/ebr) on image and narrative. Tabbi invited them, he says, because of Burdick's "good

ritical mind and her ability to think visually." Tomasula, according to Tabbi, is a good writer of fiction who

lso provides an innovative strain of modernism and postmodernism. The co-editors are now soliciting

essays, visual projects and reviews, and Burdick is working with Tabbi and the ebr team on a redesign of the

site that, according to Burdick, "takes seriously the effects of the design on the writing that is 'performed'

there:' This issue of ebr6 is expected to be online in August.

MARGARET RICHARDSON IS EDITOR AND PUBLISHER Or O&M

HEADLINE/SUBHEAD: ITC CONDUIT BOLD CAPTIONS: ITC CONDUIT LIGHT, LIGHT ITALIC PULLQUOTES/TEXF ITC GOLDEN COCKEREL ROMAN, ITALIC, ITC CONDUIT BOLD ITALIC

BYLINE/B10: RC FLORINDA 1 4

Creative,5Hedonism BY ANDREA CODROICTON

S cott Makela has a bad cold, or at least this is what I'm

told as my call to the studio he shares with partner and wife Laurie Haycock Makela is patched through

to their home, where he is taking it easy for the day. Laurie, I imagine, is sitting in the studio, sur-

rounded by the familiar sight of books, magazines and stray artwork: the visual detritus of everyday

life that at some point might twist its way into her refined creative vision. Scott at

rest is admittedly more difficult to conjure. With a famously short attention

span and a propensity for creating multimedia work that can best be

described as athletic, he doesn't strike me as an easily confined

patient. Laurie just laughs. "I can take a year to make a book'

she agrees, and he can barely stand to spend more than

two days on a poster!'

Through the ghostly clicks and delays of long-dis-

tance telephony—and a free-form conversation

that ranges from music to sex to machines to

childrearing—a picture begins to emerge of the

couple's multifaceted partnership. After five years

of living parallel but separate professional lives—

Laurie as the renowned design director at the

Walker Art Center and Scott as head of his own digital

imaging studio—the couple find themselves having to

mediate their disparate instincts, esthetics and skill sets

as Cranbrook's new co-chairs of the 2-D design department.

Add to that the pressures of running a joint business and raising a

spirited six-year-old and you get two people who are masters-in-training

of the emotional balancing act. "We're still trying to tie the pieces together

with our design work:' confides Scott, "because we really are completely

looking from different sides of the fence. We've had some problems, I'm not

going to kid you:' Despite such difficulties, the couple admits to having more

work than they could ever have imagined possible—everything from crea-

tive directing a Raygun Publishing start-up called Sweater and conceiving film

titles with Jeffery Plansker for an upcoming Hollywood picture, to spending time in

Switzerland as adjunct professors at Ecole Cantonale d'Art de Lausanne and creating a

controversial promotional brochure for Virgin Interactive.

The creative tension that is manifest in the Makelas' work—print vs. moving picture, detail vs. mass,

the intellectual vs. the physical—clearly represents in miniature the fragmentation of the design field

on the whole, and this inspires the couple's teaching. "The reason we're here is because we are two

voices walking side by side, yet we represent the complexity of the field:' says Laurie. Of course, part

of their job as educators and creative enablers is to further complicate things—by opening up minds,

by breaking down notions built up by an industry all too often controlled by the corporate bottom line.

The Makelas' come-on in their department's student prospectus reads, appropriately enough, "Cran-

brook is intellectually and creatively hedonistic, emotional, monastic. Come and be prolific:'

Breaching boundaries that exist between different media has long been of interest to the Makelas, who

first met in 1985 while teaching at Otis Art Institute of Parsons School of Design in Los Angeles. Whether

it was coincidence or kismet that the designers met at the same time the Apple Macintosh first came

out is anybody's guess; that the desktop computer changed their lives inalterably is not. "Scott had such

shame about his inability to draw or handwrite': recalls Laurie, "that when computers arrived, his cre-

ativity was punched out. It was like a prosthesis. Suddenly he was able to express himself' And express

himself he did, in bold, adrenaline-driven graphics that muscled their way into music videos and TV

commercials across the country. "I think the digital realm is part of what makes our work possible:' says

Laurie, who spent years herself conceiving a project at the Walker called "Digital Campfires: Stories of

Life and Liberty:' a multimedia exhibition exploring the interstices and overlaps between technology and

democracy. (For reasons of funding, the exhibition was canceled, although the project

has since taken on a new, NEA-funded life as an extensive Web site and CD-

ROM collaboration with the MIT Media Lab that will introduce teenagers

to the Bill of Rights and its manifold issues.)

Increasingly, the Makelas have found inspiration in a multi-

media collaboration called AudioAfterBirth, a synesthetic

hybrid of machine funk sounds and haunting lyrics that

will be combined with retina-searing graphics on a

multiplay CD-ROM called "Addictions + Meditations."

"AudioAfterBirth is really our first total collaboration:'

explains Scott, who released the first album with

Emigre Music four years ago. "Laurie was a backup

singer last time, but now she's become the voice that

people respond to the most. We've found a groove

together in music that's much more comfortable:' The

fluidity of music, its very abstractness, is what makes

collaboration easier for the designers, who admit to having

"made a point of being in different professional sandboxes"

in the past. So far, there seems to be no signature "Scott sound" or

"Laurie sound' but rather a seamless amalgam of auditory sensation.

As may be indicated by the name of the couple's self-created music label—

Flesh and Fluids—issues of digital production and human reproduction are

closely linked. Scott indeed admits to a "perverse affection for the machine

as a sign for what is actually happening in the flesh:' While the Makelas have

worked on countless projects both together and separately, they have produced

just one child, their daughter Carmela—a sign that the correlation, while fascinating,

need not be taken too literally. Parenting has been the ultimate test of the Makelas' colla-

borative ability: an admittedly intense experience. "Carmela's a hybrid of both of our person-

alities and drives," marvels Scott. "I can't think of creating anything more powerful than her."

Power and difference play a part in any collaboration, be it personal or professional, and these are

aspects the Makelas hope to tease out in their Double-Blind concept. "Collaborators are not necessarily

alike," says Laurie, "and what's interesting to us is why two very different people even want to talk to

each other in the first place:' The creative collision that occurs when the couple approaches the same task

with their own set of ideas and preconceptions gives them what Scott terms "a running rocket start" on

solving design problems. "Then we actually begin seeing how the atoms start intertwining with each other."

ANOBEA 00011.**TON IS A WRITER BASE* IN NEW YORK.

HEADUNE: ITC CONDUIT BOW, BOW ITALIC BYLINE/ELIO: ITC FLORINDA TD(T/CAPTIONS: ITC CONDUIT UGH T, LIGHT ITALIC 1 6

Center. Laurie Haycock Makela: Double-Blind 'Putting Our Heads Togett

Top right: P. Scott Makela: Double-Blind 'Heaven and Bottom right: P. Scott Makela/Laurie Haycock Makela: 'PleasurePower" for Virgin Interact

I'm going to the

STUDIO 3IAIOH XuloR

Top left, bottom left and bottom right: P. Scott Makela: "Heaven and Hell"

Top right Bates Hori: "It's About Change" for LifeBeat

Center. Allen Hori: Double-Blind photographic arc

hor

BY JOYCE RUTTER *AVE

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Edirectly opposite endi:'

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C.D CIZ

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explains Allen Hori o is partnership with Richar

Bates. "We end up arguing for the same point:, That

• wow said, the principals of Bates Hori, a New York

studio, sitting across from each other at a restaurant

cW table, lay down their menus and, to their amusement,

proceed to place identical lunch orders of seafood

rolls and mixed greens.

By recognizing and reconciling their differences

and understanding the strength of their divergent

temperaments, this couple has established a resilient

bond on professional and personal planes. Their var-

ied approaches to creative problem-solving emerged

when discussing the Double-Blind concept for this

issue of U&lc. While Bates probed the metaphor,

its scientific origin and its degree of deception, Hori

took it all in with a shrug. "He's the questioning one;

the pessimistic one:' says Hori. "I'm the nonquestio

ing one:' Bates responds that his querying nature is

a function of his job as VP/creative services and cre- '- f

ative director of Atlantic Records, where he heads

a department of i9. "A big part of my job is ask: lot

of questions, so I don't waste a lot of time' he says: ' 'I

Left: Bates Hon: Holiday card for LifeBeat

Lenten Allen Hon: Double-Blind photographic arc

Right: Richard Bates: Double-Blind 11-liair Show'

It's about ciel er

atir an, nvironmen tna washes ver ra hthan omeftmng t at

like to be a big-picture kind of person; I like to have all the

information:' Hori, on the other hand, takes an opposite

tack. He explains: "In asking questions, the more parame-

ters you set. The more questions are answered, the more

restrictive it becomes:'

These differences make them well suited for their jobs.

While Bates thrives within the corporate group dynamic,

Hori prefers to work from their peaceful Chelsea apart-

ment, accompanied only by two cats, named Myth and

Book. But this balance came about slowly. Before open-

ing the company, Hori worked for several years as an

art director with Bates at Atlantic, where office conflicts

would often carry over after-hours at home. Bates con-

cedes that relative solitude provides Hori his ideal work

environment. "The same things that give Allen his indi-

viduality and make his designs good are the same things

that make him not conform to the group:' he says.

When beginning projects, Bates and Hori concep-

tualize together and then decide who will flesh it out.

("Someone has to take the lead, because it's not physi-

cally possible to share the work:' says Bates.) Once the

project is underway, the partners continue to exchange

opinions and suggestions. Because he is away during the

workday, Bates realizes he has to temper his criticisms.

"We are equal partners in everything, so if it appears that

I whisk in and make comments, I know it's upsetting

because Allen may feel he's working for me:' he says. "I

have to take the tone of my voice down; the dynamic

has to change:'

HEADLINE: ITC CONDUIT BOLD PULLQUOTES: ITC LENNOX BOOK, ITC CONDUIT BOLD ITAUC TEXT/CAPTIONS: ITC GOLDEN COCKEREL ROMAN, ITAUC BYUNE/BIO: ITC FLORINDA

What Bates and Hori share is a cerebral approach to design, where a message is

complex and multifaceted and involves a certain amount of interpretation and inter-

action on the part of the reader. At the same time, Bates credits Hori for making

that experience calm and poetic, rather than manic "It's about creating an environ-

ment that washes over you, rather than something that screams at you:' says Bates.

This philosophy reveals their roots at Cranbrook, which each attended, but at differ-

ent times. Hori, a native of Hawaii, was at Cranbrook during the mid-198os before

working at design firms in the Netherlands, including Hard Werken in Rotterdam.

Bates was a student following a stint as an art director at Whittle Communications

in his native Tennessee. The two met when Hori returned to the Bloomfield Hills

campus for a visit. "The whole [philosophy] is based on intelligence; to not drag

a project out of stupidity:' says Hori. "There is a certain amount of respect on the

designer's part—the design has to work for the designer's sense of self first:' Bates

adds: "I don't think either of us is interested in coddling the lowest common denom-

inator. We're not interested in giving a message out easily, like a newspaper headline:'

Since forming in 1993, the Bates Hori studio has been selective about clients,

choosing those who will allow the team to adhere to their vision. Projects include

exploratory paper promotions for Potlatch and Mohawk, two Absolut ads aimed

at designers for I.D. Magazine, print pieces for the fashion firm Westcott Design

Group and campaigns for LifeBeat, an AIDS organization. Often the work involves

a surreal overlapping of images and type, creating seamless shapes that meld mes-

sage and form. Despite having a range of experiences to draw from and a variety of

tools to use, the Bates Hori studio style is rooted in restraint. "A large part of being

a designer is the editing skill:' says Hori. "If you take responsibility for some kind

of authorship, then you have to learn how to edit, to know what to leave out and to

know when to stop."

JOYCE ROTTEN KAYE IS MANAGING EDITOR Of

2 2

• Just betty he two of us, I k

of

og who knows A gag who...As if the work

Far left: Bates Fiori: Studio mascot Kitty by Mitch 0' Connell and

Bates' "Hair Show'

Above: Double-Blind collage: Jeffery Plansker, Ed Fella, and another

Kitty by O'Connell

HOW DO YOU REALLY SHARE THE ATTRIBUTION OF AN INTUITION, THAT LIES AT THE HEART OF THE CREATIVE PROCESS

TOXIC SPORTS

CMTZWIT3Po Copyright 1983 PE+0 Subvertising,lnc. A division of Supply&demanD. "Omniscient Giraffe Broth" + "Aboriginal Dry Hump" are registered trademarks of PE+O Subvertising.

Have I Told You Abou

Together, we can be written about! Just between the two of us, I know a guy who knows a guy who...As if the work itself weren't enough.

Now, with an insider's seat and a soft-self pitch, we can write our passports into the history books. It's your word against mine. That's

press for you...and that's team work. Celebrity sightings, "bitch magnets," Scratch and Sniff Finger Tip Scented Pillow Cases:" The flaming

dog shit bag men always ring twice. Push the button, buddy. But wait, this just in...Le chimp sportif toxique found crossing "twofold runt

stilts" with "powder blue forest ranger dress slacks"• per our conversation. Sincerely, Dorf.

® kg Left and top right: Ed Fella: Double-Blind illustrations

Above: Jeffery Plansken Double-Blind "Toxic Sports Chimp" subvertisement

Right: Frames from "Candy Everybody Wants," a Fella/Plansker/

Makela video collaboration for 10,000 Maniacs

• 2 4

Dis

O

FettalSUBVERSIVEPlansker

Though they have collaborated just once, Jeffery Plansker and Ed Fella -q •

have a shared interest: both like to make pointless aavertisements. Plansker, a director of commercials and music videos, pursues a sideline in

what he calls "subvertising"— absurd ads that sell nothing, but mimic and

parody the language of mainstream advertising. Fella, a design professor

at California Institute of the Arts, spends his spare time making posters

advertising lectures that have long since passed.

That the director and designer have an affinity for subversive advertising

is probably due to overexposure. Both grew up with the Michigan advertising

business, Fella working for 30 years with a Detroit design studio turning out

collateral for the automotive industry, and Plansker, as the son of an art direc-

tor, attending his first shoot (a Plymouth Road Runner commercial) at the im-

pressionable age of two. Subvertising, says Plansker, "creates a necessary form

of commentary in a complacent society. It's being able to look at the general

landscape of America and say `this is f***ed: I initially did it because I had

a resentment of the simple nature of mass media that speaks to everyone in

such simple terms:'

Fella attended art school after retiring from commercial art, and introduced

the vernacular of his "low end" profession into the "high design" context of the

Cranbrook Academy of Art. By reviving and upend-

ing the rules and tools of his former trade in his

highly idiosyncratic compositions, and by teaching

students how to deconstruct the visual language

of commerce around them, Fella helped instigate a

movement against the prevalent Swiss Modernist

approach to design. The movement spawned a series

of design rebellions and inspired the typographic

antics of RAY GUN and typefaces like the ubiqui-

tous Template Gothic—designed by one of Fella's students, Barry Deck. Fella's

posters for CalArts and the Detroit Focus Gallery ("an ideal collaboration")

are playgrounds littered with the lettering styles and dingbats of his days as a

"layout man;' but with labyrinthine messages, mischievous wordplay and an

irregular spacing easily mistaken as naiveté. "The irregularity is rigorously

thought out," he said to colleague Jeff Keedy in an EMIGRE interview in 1989.

"If deconstruction is a way of exposing the glue that holds together Western cul-

ture, I thought, 'What is it that holds together typography? It's space:"

The convergence of Fella and Plansker's paths was inevitable. Plansker's

commercial and music video work is a showcase of layered sound, image and

experimental design featuring collaborations with musicians and designers

from the Cranbrook and CalArts scene; including Deck, P. Scott Makela and

Reverb. "Most of the designers I work with are thinkers; they're putting their

heads into a job and suggesting things that inform me," says Plansker.

2 5

Fella, who incidentally knew Plansker's father, was a natural choice for

Plansker's "Candy Everybody Wants" video with the band 10,000 Maniacs,

a song based on a Noam Chomsky analysis of consumerism in a "spectator

democracy:' "His work is playful and the song was playful;' says Plansker, who

asked both Fella and Makela to work around the theme of candy and media

criticism. Fella, preferring these days to avoid commercial work, instead handed

over a stack of his sketchbooks. "He had these things that are now referred

to as Fellaparts [an Emigre font], which looked like disfigured, melted choco-

lates;' says Plansker, and this visual candy makes an appearance in the video

along with Makela's typobytes and Plansker's subvertisements, flashing

onscreen like subliminal messages.

A good collaboration, says Fella, results in something that is "more than the

sum of its parts. When two people get together and come up with a third thing

that neither would have done His collaboration with Plansker, he admits, was

more a successful noncollaboration. But he sees a similarity of approach in

their respective creations. "My stuff is filled with debris, just like his work. He

must have found some kind of affinity with it, just as when I saw his work I

said, 'Wow, that's what I would do if I were doing film:"

The two also share a reluctance to dilute their work for mass media. Fella's

posters are eccentric to the point of being impos-

sible to imitate. And Plansker's revel in absurdity

to the point of being obtuse. A print subvertise-

ment of a man tied to a tilting armchair is matched

with the copyline "the perfect combination of

power and luxury." An image of chocolate sauce

being poured over a tube amplifier is set with

the tagline "the bland leading the bland."

But experimentation beyond the confines of a

design brief is, as Fella has observed, a way of moving design forward. "You

either have to become the most facile professional of them all or chip away at

it somehow," he said to Keedy. "Chip away at that conceit of the slick profes-

sion that gets ever and ever tighter:' As Plansker observes, the more obtuse

the work, the less likely it will be caught and gutted by the mainstream media.

"Everything 'revolutionary' and 'alternative' gets instantly sucked into the

media machinery" he says. "This takes a form that hopefully has a built-in sab-

otaging device, which I think is absurdityf

PETER HALL, A GONTAIONTING EDITOR Of U&t.C. IS SENIOR WRITER AT 1.0. MAGAZINE.

SUBHEAD: ITC JELLYBABY, ITC CONDUIT BOLD, BOLD ITALIC WO/BYLINE: ITC FLORINDA TUT/CAPTION: ITC EASTWOOD, ITC CONDUIT LIGHT, LIGHT ITAUC

iTO fONTS

ITC WILD WEST T M

OirLI 4-----*JtItt\ISLIVr? e—fRaP*

ecs i Pft 1101*1 J .nr. ft ,A50°

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Imagine that you need to illustrate a brochure about cowboy poetry—and you're not

an artist. Or imagine that you really crave a big illustration of an ornamental stirrup.

That's the kind of need fulfilled by ITC Wild West, an eclectic DesignFont full of

people, objects and motifs suggestive of the American West. Designer Janet Chavis

lives and works in McCall, Idaho, specializing in logo design and illustration. For

Wild West, she started with a border design she had used on a self-promotional T-

shirt, then expanded in all directions. The musical instruments, for instance, were

inspired by a collection of old bluegrass instruments that hang in the shop of a local

luthier in McCall. "This collection grew from the encouragement of Ilene Strizver,

ITC's director of typeface development, and my love for Western memorabilia," says

Chavis. "These designs reflect the love I have for living and working in the Rocky

Mountain West:" Chavis drew the Wild West ornaments in a clean pen-and-brush

style, where a few shapes and lines sometimes stand for a great deal of implied

detail. The illustrations work independently, although some group neatly by style

or subject and cry out to be used together.

ITC Conduit Light abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ

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ITC Conduit Medium abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ

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ITC Conduit Bold abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ

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ITC Conduit Light Italic abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ

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ITC Conduit Bold Italic abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ

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ITC CONDUIT COMES FROM THE MOST ORDINARY OF EVERYDAY SIGNAGE: that sign in the parking lot telling you not to leave your keys, the high-voltage warning on the side of an elec-

trical box, the label above the fire hose on a car ferry. It's the kind of lettering that's done by someone with

no experience whatsoever—rigid, very regular but awkwardly drawn. Except that Mark van Bronkhorst, who

actually drew ITC Conduit, is a very experienced designer with an excellent sense of proportion, and in design-

ing the typeface he deliberately broke every rule. The characters are based on a strict grid—"like the 90-degree

corners in real conduits:' he says,"with all the tips and corners rounded off" The italic is the roman "obliqued,"

and the light and bold weights were derived from the automatic weight-change function in his design program.

Van Bronkhorst didn't make the sort of optical corrections that he would ordinarily do, except to open up the inner

angles of the V and W so they wouldn't get visually clogged, but he did make the many tiny changes to shape

and spacing that turned ITC Conduit into a highly readable typeface. It's a industrial-looking sans serif, upright, open

but fairly narrow, and squarish."The curves of the s have flat bits;' says van Bronkhorst. "I love the quirky

things the tail of the y does." The curly capital-E in the italic comes straight from the number 3. It works well

in text, especially at the light weight. Van Bronkhorst says he likes it best either very small or very big.

BY MARK VAN BRONKHORST

ITC

TM

Take one old s le roman type, then turn it into a pile of little sticks, but keep the classic form of the letters: you might end up with something like ITC Eastwood

(named for Clint). At text sizes, it simply looks interestingly rough; at display sizes, it looks

like a 16th-century French face seen through a monochrome kaleidoscope. British designer

Martin Archer, who now manages a restaurant in Los Angeles, was looking for an ordinary,

plain old style typeface with open lowercase letterforms; he ended up using Stempel Gara-

mond as his starting point, although Eastwood evolved well beyond its inspiration. With its

semi-inline effect, Eastwood looks like a quick outline sketch by the sort of typographer who

can quickly draw an intensely elegant serif typeface in a convincing manner. And who knows

how to space it properly, too.

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fl§ITOINATIONAt. OSE

BY 1.4J1S SMOOT fliwie A tot Di% Ire LUIS SIQUOT FOUND THE INSPIRATION FOR ITC FLORINDA IN ROB ROY KELLY'S AMERICAN WOOD TYPE: 1828- 1900, A FERTILE SOURCE Of DISPLAY TYPES RIPE FOR REVIVAL WHEN HE PUBLISHED THE BOOK IN 1969, KELLY THOUGHT THAT ALTHOUGH THE 19m-carom TYPE DESIGNS WERE FINDING NEW USES IN THE WORK Of CONTEiVI• PORARY GRAPHIC DESIGNERS, THEY WERE DOOMED TO OBSOLESCENCE. SIQUOT, ON THE OTHER HAND, FINDS THAT THE UNLIMITED POSSIBILITIES Of DIGITAL TYPE GIVE THESE OLD DESIGNS A WHOLE NEW LIFE. HIS MODEL FOR FLORINDA IS IDENTIFIED ON PAGE 316 Of KELLY'S BOOK AS "NO. 515. PATENTED BY WILLIAM PAGE IN 1881:' ALTHOUGH THE SAME CAPTION APPEARS UNDER A DIFFERENT FACE WITH SIMILAR FEATURES ON PAGE 290. SIQUOT, WHO ALSO DESIGNED ITC JUANITA, LEARNED THE NUTS AND BOLTS OF DIGITAL TYPE DESIGN BY DIGITIZING SEVERAL TYPEFACES FROM AMERICAN WOOD TYPE, Of WHICH ELORINDA IS THE FIRST TO BE FINISHED FOR INTERNATIONAL USE. AS HE SAYS, "THE IDEA Of fLORINDA DOESN'T ACCEPT LOWER CASE:' SO HE ADDED SMALL CAPS "TO INCREASE THE COMPOSITION POSSIBILITIES:' TO DO SO, HE REDREW THE SMALL CAPS TO HARMONIZE WITH THE FULL CAPS. "FROM THE MODEL I MAINTAINED THE FORM AND `COLOR' BUT I CHANGED LETTER SHAPES AND PROPORTIONS, ALWAYS TRYING TO BE FAITHFUL TO THE ORIGINAL SHAPE:' TO A MODERN EYE, FLORINDA LOOKS LIKE FRANKLIN GOTHIC WITH BUMPS: A QUIRKY EFFECT AT DISPLAY SIZES, AND AT TEXT SIZES LEGIBLE BUT LOOKING AS THOUGH THE WORDS WERE CROSSED OUT WITH A FINE LINE THROUGH THE MIDDLE.

28

ITC Outback comes out of Bob Atom's

background at Photo-Lettering in New

York, where he has worked for a total of

)) years. Outback is a contemporary type-

face in the "distressed" mode, crude and

rough, but embodying Alonso's long expe -

rience of how a display typeface works.

It's condensed, very economical of space,

and quite bold. In a way, it weds the rus-

tic '105 feel of Rudolph Koch's Neuland

with the proportions of a '60s headline

face, then roughs up the edges '90s style

with a coarse wood-file. Outback is clearly

intended for display, but it reads surpris-

ingly well at sizes as small as 18 point. A tOti IN THEIIITRESSED"NODE

By Bob Alonso

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EICIILIO, ORNAMENTED LETTERING 1

3 9E

13

10 rekflith

ITC BUCKEROO MAKES NO

BONES ABOUT ITS ORIGINS:

NOT ONLY DOES IT LOOK LIKE

THE BOLD, ORNAMENTED LET-

TERING FOUND ON SALOONS

IN THE OLD WEST, BUT, WITH

THE NOTCHES CUT OUT OF THE

ENDS OF THE LETTERS, IT EVEN

APPEARS AS THOUGH SOMEONE

HAD TAKEN OUT HIS SIN-GUN

AND SHOT THE SIGN FULL OF

HOLES. RICK MUELLER'S INSPI-

RATION FOR Buciusium WAS A

BOOK TITLE THAT HE SAW SEV-

EMAIL. YEARS AGO, SET IN A VERY

BLACK DECORATIVE TYPEFACE.

FROM THAT STARTING POINT,

RE CREATED HIS OWN DISPLAY

TYPEFACE. "I DREW THE BASE

SHAPES DIRECTLY IN ILLUSTRA-

TOR, THEN MOVED THEM TO

FONTOGRAPHER TO BUILD THE

ALPHABET AND THE REST OF

THE CHARACTERS;' HE SAYS.

BY MCA MUELLER

FT4 DRIMUT ITC Outback ITC DRYCUT, LIKE ITC OUTBACK, IS

DV Sellbt PICHII

BASED LOOSELY ON THE TRADITION

OF HEAVY "WOOD-CUT" TYPEFACES,

BUT IT TAKES THE OPPOSITE TACK: A ADUCCDDie SHARP, CLEAN EDGES, EVEN THE

WHITE CUT MARKS AND BLACK SLIV-

(RS LOOKING LIKE SHARDS OF GLASS. M 0 0 P P "THE SLIVERS AROUND THE EDGES

SUGGEST TRACES LEFT AFTER AWK-

WARD MOVEMENTS OF A KNIFE,

WHICH ARE OFTEN VISIBLE ON OLD

WOODCUTS;' SAYS VANCOUVER-

BASED DESIGNER SERGE

"FOLK ARTISTS OFTEN DIDN'T CARE

MUCH ABOUT REFINING THEIR

CARVINGS—THE SLIVERS WOULD

HAVE BEEN LEFT AS LON6 AS THE

LETTERS REMAINED READABLE:'

THE LETTERS ALL HAVE A SLIGHTLY

DIAGONAL MOTION, ACHIEVED BY

COMBINING A SLIGHT INCLINATION

WITH THE DANCING SLIVERS. TRACE LEFT AFTER AWKWARD MOVEMIeti -$ E A Kai

ROATITA 29

As a decorative font, ITC Stained Glass is really a series of illustrations rather than ornaments, plus a set of initial caps.

Despite the name, says designer Phill Grimshaw, "the coarseness of the elements in the characters is more akin to crudely

set mosaic pieces than to stained-glass compositions:' He started with a desire to "produce a set of unpretentious

`illuminated' capital initials as an alternative to the styles normally associated with that function, and perhaps useful in situations

where a reverent though not overtly ecclesiastical flavor was required:' He drew the letters at a cap-height of 2 inches,

scanning them and touching them up in FontStudio, then he added illustrations in a similar style but with a wide variety of subjects.

It takes a little time to get used to the illustrations and see how to use them best. The more complex illustrations especially

benefit from being blown up to a very large size, and their outline form lends itself to having colors or textures applied.

•

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1=1

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BY J4VV1ES 1/1/101/TALB-AVIO }MMES 1/1/101/ITALBAVIO was on a 1910s si9t4-lettering kick, searching through showcard manuals for inspiration for new tweface designs,

when he found a few letters that led him eventuallti to create ITC Flora. 1/11ovitalbano sees different ttipefaces as being like different

colors of paint; avid the palette, in his estimation, still lacks sovvie important colors. He calls Flora one of the "informal, 9oofti scripts': a form that

falls between the many! formal scripts avid the completelii loose and wacky!. In fact, flora is quite elegant, but with a free-flowin9 openness

instead of the colder shapes of vmoderoisvm. Pilthou9h it has some of the edged-brush look of si9na9e, its curves have been rounded and sv000theo

avid its shapes tinkered with until it has a character all its own. flccordivi to Montalbano, the bowls of the a avid 9 are "sort of Arabic':

and quite different from the b avid d, which are reminiscent of a sort of non--Art Deco '30s—not the top-hat elegance of, say!, Bernhard Fashion

but rather "when the Stork Club closes." The face is maimed after Montalbano's girlfriend, who became his wife on Hew Year's Eve.

ITC vi o ram FORTEK

"I still had 'tlou

BY PHILL GRIMSHAW

Light

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The playful ITC Noovo grew out of P

still had 'Nouveau' coming out of my

Manchester and then got A master's i

ence on paper rather than on the (o

"when I was missing the smell of per

smooth the edges in ITC Rennie Mack

retaining the resulting rough edges

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ker pens and the feel of paper" After the decision to

mshaw reveled in drawing Noovo at A relatively small size,

fluctuations of line weights in the final font. Although

AS well AS in display. Cirimshaw WAS working on his Stained

although the letterforms are entirely different, the

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ITC Jellybaby bounces all over the place, yet manages to keep itself

compact and quite readable. British designer Timothy Donaldson began

the typeface as a seriously fattened version of his earlier typeface

Pink, but ended up making it a witty commentary on the "futuristic"

'60s typefaces that tried to look like machine type, such as Data 70

and Amelia. Jellybaby is also, in its retro way, the sort of type you might

expect to see on a Japanese candy package or on the title screen of an

early '60s cartoon show. Vet it's quintessentially a typeface of the 'Ms.

"I'm afraid I can't pretend there was any great purpose or plan;' says

Donaldson pragmatically. "I just did what I do: played with letter shapes

and got paid for it:'

Th

IIROATIM

gge grtie cfrit" eyriffic 5YC gru e grit eyriffic, 8y Ptadimir 3)efimov, is an edgy, nervous-tooI-ing display type that uses entirety cursive fetterforms. Eihe its Latin-afpha6et cousin, it's reminiscent of some of the Central european roman faces designed in the first haff of this century, as welt as earlier Russian manuscript hancfs. ghe apparently artless &it carefutty modulated irreg-ularity to its outlines male it toot rough and handmade.

Friz Quadrata' Cyrillic Friz Quadrata Cyrillic, by Aleksandr

Tarbeyev, brings an old ITC favorite into

the Cyrillic world. Like its roman counter-

part, this face achieves its visual char-

acter by modulating its strong strokes

with subtle wedge-shaped serifs and the

suggestion of a joint where strokes don't

in fact quite join. A cursive version trans-

lates the decorous curves of the later

Friz Quadrata Italic into an open Cyrillic

cursive lowercase with caps that are

inclined versions of the regular caps.

Both versions also come in a bold weight.

Cyrillic ITC Korinna Cyrillic, by Lyubov Kuznetsova, adds the Extra Bold and Heavy weights to the existing Regular and Bold weights of ITC Korinna Cyrillic, including cursive. The original Art Nouveau typeface Korinna was available in pre-revolutionary Russia in a popular Cyrillic form, and in the Soviet years it was one of the few such typefaces that didn't get purged from the composing rooms as decadent and bourgeois. It held a special place in the hearts of Russian designers, and now, in the post-Soviet fas-cination with all things from before 1917, ITC Korinna fills a much-needed niche for digital type in Russia. Because of the exist-ing metal type, Kuznetsova didn't have to look far to find appropriate Cyrillic letter-forms to complete the alphabet.

Frc Be ngu iat Gothic Cyrillic ITC Benguiat Gothic Cyrillic, by Aleksandr

Tarbeyev, benefits from some of the same

associations as ITC Korinna, since the

underlying forms of ITC Benguiat Gothic

(and its serif cousin, ITC Benguiat) are

based on Art Nouveau lettering styles, as

interpreted by Ed Benguiat in the '705

This release adds the Medium and heavy

weights, with their cursive forms, to the

already-released Book and Bold weights.

Oplig KBaApaTa® REGULAR

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ITC Cyrillic FOURTH SERIES

The latest releases in ITC's program of Cyrillic typeface development fills

out a couple of existing families and adds two new ones, all designed and

digitized by staff designers at the Moscow offices of ParaType, a division

f P r ph r inl

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isissfeek.issuctgeeksb.comidtoite/

at la the Modem Convenience of Online ShoNaing!

When you need it now, download it! The Image Club Store is now open. It's

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Every page tells you why we continually win awards for printing excellence from organizations such as PIMNY, AIGA, and PIA.

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REVIEWS BY LEWIS BLACKWELL

I have been invited to give some insight into the hot titles for the designer's studio. Indeed the phrase

classics for the bookshelf" was uttered, but I fear it is a little early to identify classics, given the

caveat of drawing on those recently published.

My qualifications for this task are many and varied. For one thing, I read books [no longer to be assumed)

and for another, I write them. I also edit and publish a monthly magazine and a CD-ROM for designers

and thus keep a close eye on the readers' interests and the state of the market. This position provides

me with my chief qualification for the job at hand: the privilege of receiving heaps of review copies, and,

having an expense account for the few things that are not sent in free but are nonetheless desir-

able. Of course, this could be seen as disqualifying me from being at all suitable as I rarely face the

grim challenge of handing over real, non tax deductible money. So bear that in mind as I blithely advise

on how to blow a few hundred dollars.

Faced with such a choice of media, the devising and publishing of books for designers is a strange

business, and getting stranger all the time. A look at the booksellers' sales charts reveals that the

bestsellers are truly Jekyll and Hyde in their split nature. I'll let you decide which is the civilized

side, which the monster.

At one extreme there are the ever-more numerous doorstop-sized software manuals, usually with

thin soft covers but quite often at a hard-cover price. This premium pricing is questionably justi-

fied by the insertion of a CD-ROM inside the back cover, which carries a clutch of stuff you could

have downloaded off the Internet. Well, at least it saves on the phone bill. Such books are almost

invariably printed monochrome on something slightly worse than standard photocopier paper.

Which is fine, as the book is almost out-of-date by the time you get it home, such is the pace of

software updates. No sooner have you absorbed those quick key combinations for snappy effects

in Fontastic 4.5, than a mailer arrives advising that your life is but a squalid struggle to survive

without full knowledge of Fontastic 4.6.

Enough of that side of the market. The other extreme of designer book publishing is where the fun

begins, fueled by tradition, new media and the vague belief that designers can't read anyway. This

other extreme is that of books not as manuals, but as cultural artifacts pumping out inspiration, pro-

paganda, and whatever else turns you on. It is where classics, if they lurk anywhere, might be found.

I have to admit to a sense of having exploited this area myself, notably with THE END OF PRINT

(Laurence King/Chronicle), which I wrote around the work of David Carson. Our publishers advise

us this is the fastest selling, or even the best-selling, design book in the history of the universe, but

we are not exactly talking airport bookstall sales. However, the 120,000 or so out there include many

copies, I suspect, that are well-thumbed but largely unread. While young designers work hard at

acquiring the grace notes of David's graphics, fewer explore the readability of the longer texts. And

that's fine by me: I've plenty of books on my shelves that are still unread, but may be one day

(Finnegan's Wake and its 65 languages might have to hang on for a while longer).

That many people choose to read books at best in a haphazard fashion is not necessarily some-

thing to despair about as if it is inevitably a problem, but rather to understand. I fear Robert

Bringhurst's THE ELEMENTS OF TYPOGRAPHIC STYLE (Hartley & Marks) is part of the problem

rather than the solution. It is now in a second edition, suggesting it is some kind of hit, but its

preachy self-righteous manner and stuffy design leave me cold. The least you expect of tradi-

tional book design is that the margins are decent so that the text doesn't disappear into the spine.

Somebody out there might be benefit from the facts, factoids and feisty opinions of Bringhurst,

but I'll have to pass. It is occasionally amusing for the fatuous nature of some of the advice, always

summarized in neatly numbered maxims, such as: "6.2.2. Choose faces that can furnish whatever

special effects you require." And don't forget to wash behind your ears. That said there are many

practical points to chew on...perhaps it should be commended to all students and young designers

as an object suitable for deconstruction.

And that buzzword brings me onto my favorite graphics book-as-object of recent months, PROCESS

(Thames & Hudson). This is an object assembled by Tomato, the very trendy London-based collective

of designers, filmmakers, musicians, illustrators and more. It is not a book about design, but in its

fractured typography and abstract imagery it explores process in art and communication. This book

establishes certain ideas about the preoccupations of designers at this time. It mixes paper stocks and

has an understated cover—little points that I love as I can just sense the production and sales directors

in the publishing company twitching over these departures from convention and economy. There are

texts, often quite lateral to each other, which repay reading. The fractured bits of type, too, are broken poems

of variable quality. There is spread after spread of meaningful/meaningless abstract digital stuff, with

some recognizable imagery...well, have a look. I liked it, many won't. It's a bit like a piece of music, or a

Continued on page 40

Direct from the designer. Type -1 and TrueType for Mac's and PC's.

Light To order or for more information,

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REGULAR ITALIC SC & OSF Bold

BOLD SC & OSF Bold italic

BOLD ITALIC Sc & OSF Extra bold

EXTRA BOLD SC & OSF Extra bold italic

EXTRA BOLD ITALIC SC & OSF Bold condensed

BOLD CONDENSED SC & OSF Bold condensed italic

BOLD CONDENSED ITALIC SC & OSF COPYRIGHT C) LINO1YPE-HELL & GERARD UNC.ER, 1995, ALL RIGHTS RESERVED The designer of Gulliver

Circle 5 on Reader Service Card

now complete THE ORIGINAL DESIGN BY GERARD UNGER* For magazines, newspapers and many other jobs.

35

Circle 6 on Reader Service Card

AGFA, Agfa Division/Bayer Corp. (USA) T: (508) 658-5600 or Letraset

4IE) (800) 424-8973 F: (508) 657-8568 http://www.agfahome.com

Letraset Australia T: 011-61-2-99-75-1033 F: 011-61-2-451-1815 http://www.letrasetcom

Linotype-Hell 0 ESSELTE Esselte SA (Spain) T: 011-34-1-381-4736 F: 011-34-1-381-5120

MONOTY PE Monotype Typography Ltd. (UK) T: 011-44-1737-765-959 F: 011-44-1737-769-243 http://www.monotype.com

Paleda AB (Sweden) T: 011-46-8-350100 F: 011-46-8-350014

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

F: 011-44-1276-38111

Poet FontShop France T: 011-33-1-43-06 92 30 F: 011-33-1-43 06 54 85 http://www.fontshop.jca.fr

Precision Type (USA) T: (800) 248-3668 F: (516) 543-5721

FontShop GmbH Berlin (Germany) T: 011-49-30-69 58 95 F: 011-49-30-6-9288 65 http://www.fontshop.de

Treacyfacesr FontShop International (Germany) T: 011-49-30-69 37 022

Treacyfaces, Inc. (USA) T: (203) 389-7037 F: (203) 389-7039 http://wwwtreacyfaces.com

TypeUSA T: (800) 897-3872 F: (312) 360-1997

FontShop Norway/Luth & Co T: 011-47-22-25 48 20 F: 011-47-22-25 49 20

DISPLAY ITC

ITC Resellers ITC typefaces, including the Fontek' collection, are available from

a worldwide network of font resellers. These typefaces are available

in a variety of digital formats for both the Macintosh and PC, as well

as other computer platforms. For more information, please contact

the reseller nearest you or contact ITC at (212)949-8072 ext.124.

ril Adobe Systems Europe Ltd. (UK) T: 011-44-131-453-22-11

Adobe http://www.adobe.com

FA Adobe Systems Inc. (USA) r T: (508) 658-5600 or Adobe (800) 424-TYPE (8973)

F: (408) 536-6799 http://www.adobe.com

Graphic Arts Products (PTY) Ltd. (South Africa) T: 011-27-11-887-6410 F: 011-27-11-440-4932

Image Club Graphics (Canada) T: (403) 262-8008 or (800) 661-9410 F: (800) 814-7783 http://www.imageclub.com

slats

Bitstream Inc. (USA) T: (617) 497-6222

Olf) F: (617) 868-4732 http://www.bitstream.com

/\ Elsner+Flake Designstudios (Germany) T: 011-49-40-3988 3988 F: 011-49-40-3988 3999 http://www.tripleclick.de/ fontinform

0 ESSELTE Esselte B.C. (The Netherlands) T: 011-31-348-415084 F: 011-31-348-421203 http://www.esselte.com

0 ESSELTE Esselte SA (France) T: 011-33-1-44-85-1759 F: 011-33-1-42 2989 44

Letraset Denmark T: 011-45-42-84-93 00 F: 011-45-42-91-0614

Letraset Deutschland GmbH (Germany) T: 011-49-69-42-09-94-22 F: 011-49-69-42-09-94-50

Letraset Export (UK) T: 011-44-1233-62 4421 F: 011-44-1233-64 6903

Linotype-Hell AG (Germany) T: 011-49-6196-98-2731 F: 011-49-6196-98-2194 http://www.linotype-hell.de

Linotype-Hell Linotype-Hell Co. (USA) T: (516) 434-2000 F: (516) 434-2720 http://www.linotype.de

MEM Monotype Typography Inc. (USA) T: (847) 718-0400 or (800) 666-6897 F: (847) 718-0500 http://www.monotype.com

ParaGraph International (Russia) T: 011-7-095-129-1500 F: 011-7-095-129-0911 http://www.paragraph.com/ paratype

Letraset Letraset Italia srl (Italy) T: 011-39-2-392-16677 F: 011-39-2-392-16135

Letraset Letra set USA T: (800) 342-0124 F: (201) 845-5047

Letraset

Letraset

Letraset

FontHaus (USA) T: (800) 942-9110 F: (203) 367-1860 http://users.aolcom/ fonthaus

FontShop Australia T: 011-61-3-9388-2700 F: 011-61-3-9388-2818

FontShop BVBA (Belgium) T: 011-32-9-220-26-20 F: 011-32-9-220-34 45

FontShop Canada T: (416) 364-9164 F: (416) 364-1914

FontWorks Ltd. (UK) T: 011-44-171-490-53 90 F: 011-44-171-490-5391 http://www.type.co.uk

• Reseller

36

•

• •

ITC American ewriter ® • Light, Light Italic, Medium, Medium Italic, Bold, Bold Italic

ITC American Typewriter® Cond. Light, Medium, Bold

ITC Barcelona® Book, Book Italic, Medium, Medium Italic, Bold, Bold Italic, Heavy, Heavy Italic

ITC New Baskerville® Roman, Italic, Semi Bold, Semi Bold Italic, Bold, Bold Italic, Black, Black Italic

ITC Benguiat® Book, Book Italic, Medium, Medium Italic, Bold, Bold Italic

ITC Benguiat® Condensed Book, Book Italic, Medium, Medium Italic, Bold, Bold Italic

Book, Book Italic, Medium, Medium Italic, Bold, Bold Italic, Black, ITC Berkeley Oldstyle® Black Italic

ITC Bodoni- Six Book, Book Italic, Bold, Bold Italic

ITC Bodoni" Twelve Book, Book Italic, Bold, Bold Italic

ITC Bookman® • • Light, Light Italic, Medium, Medium Italic, Demi, Demi Italic, Bold, Bold Italic

ITC Caslon No. 224® Book, Book Italic, Medium, Medium Italic, Bold, Bold Italic, Black, Black Italic

ITC Century® •

Light, Light Italic, Book, Book Italic, Bold, Bold Italic, Ultra, Ultra Italic

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

ITC CerigoT' Book with Swash, Book Italic with Swash, Medium, Medium Italic, Bold, Bold Italic

Charlotte'" •

Book, Book Italic, Medium, Bold

ITC Charter '" Regular, Regular Italic, Bold, Bold Italic, Black, Black Italic

ITC Cheltenham® •

Light, Light Italic, Book, Book Italic, Bold, Bold Italic, Ultra, Ultra Italic

ITC Cheltenham® Condensed Light, Light Italic, Book, Book Italic, Bold, Bold Italic, Ultra, Ultra Italic

ITC Clearface® •

Regular, Regular Italic, Bold, Bold Italic, Heavy, Heavy Italic, Black, Black Italic

ITC Cushing® Book, Book Italic, Medium, Medium Italic, Bold, Bold Italic, Heavy, Heavy Italic

ITC Élan® Book, Book Italic, Medium, Medium Italic, Bold, Bold Italic, Black, Black Italic

Elysium" Book,look Italic, Medium, Bold

ITC Esprit® Book, Book Italic, Medium, Medium Italic, Bold, Bold Italic, Black, Black Italic

ITC Fenice® Light, Light Italic, Regular, Regular Italic, Bold, Bold Italic, Ultra, Ultra Italic

FiguraV Book:Book Italic, Medium, Bold

Friz Quadrata Regular, Italic, Bold, Bold Italic

ITC Galliard® Roman, Italic, Bold, Bold Italic, Black, Black Italic, Ultra, Ultra Italic

ITC Gamma® Book, Book Italic, Medium, Medium Italic, Bold, Bold Italic, Black, Black Italic

ITC Garamond® Light, Light Italic, Book, Book Italic, Bold, Bold Italic, Ultra, Ultra Italic

ITC Garamond® Condensed Light, Light Italic, Book, Book Italic, Bold, Bold Italic, Ultra, Ultra Italic

ITC Garamond® Narrow Light, Light Italic, Book, Book Italic, Bold, Bold Italic

Book, Book Italic, Medium, Bold Gilgamesh"

ITC Giovanni® Book, Book Italic, Bold, Bold Italic, Black, Black Italic

ITC Golden Cockerel - •

Roman, Italic, Titling

ITC Golden Type® Original, Bold, Black

ITC Humana'" •

Light, Light Italic, Medium, Medium Italic, Bold, Bold Italic

ITC. Hawing" Script •

Light, Medium, Bold

ITC Isbell® Book, Book Italic, Medium, Medium Italic, Bold, Bold Italic, Heavy, Heavy Italic

Book, Medium, Bold

ITC Jamille® Book, Book Italic, Bold, Bold Italic, Black, Black Italic

ITC Kallos- Book, Book Italic, Medium, Medium Italic, Bold, Bold Italic

ITC Korinna® AO

Regular, Kursiv Regular, Bold, Kursiv Bold, Extra Bold, Kursiv Extra Bold, Heavy, Kursiv Heavy

ITC Leawood® Book, Book Italic, Medium, Medium Italic, Bold, Bold Italic, Black, Black Italic

•

ITC Lubalin Graph® Condensed Book, Book Oblique, Medium, Medium Oblique, Demi, Demi Oblique, Bold, Bold Oblique

ITC Mendoza Roman® Book, Book Italic, Medium, Medium Italic, Bold, Bold Italic

ITC Modern No. 216® Light, Light Italic, Medium, Medium Italic, Bold, Bold Italic, Heavy, Heavy Italic

ITC Newtext® Light, Light Italic, Book, Book Italic, Regular, Regular Italic, Demi, Demi Italic

ITC Novarese® Book, Book Italic, Medium, Medium Italic, Bold, Bold Italic, Ultra

ITC Obelisk" Light, Light Italic, Medium, Bold

ITC Officina® Serif • •

Book, Book Italic, Bold, Bold Italic

ITC Pacella® Book, Book Italic, Medium, Medium Italic, Bold, Bold Italic, Black, Black Italic

ITC Quorum® Light, Book, Medium, Bold, Black

ITC Serif Gothic® •

Light, Regular, Bold, Extra Bold, Heavy

ITC Slimbach® Book, Book Italic, Medium, Medium Italic, Bold, Bold Italic, Black, Black Italic

ITC Souvenir® Light, Light Italic, Medium, Medium Italic, Demi, Demi Italic, Bold, Bold Italic

ITC Stone® Informal •

Medium, Medium Italic, Semi Bold, Semi Bold Italic, Bold, Bold Italic

ITC Stone® Serif & Phonetic • Medium, Phonetic Medium, Medium Italic, Semi Bold, Semi Bold Italic, Bold, Bold Italic

ITC Symbol® Book, Book Italic, Medium, Medium Italic, Bold, Bold Italic, Black, Black Italic

ITC Syndor® Book, Book Italic, Medium, Medium Italic, Bold, Bold Italic

ITC Tiepolo® Book, Book Italic, Bold, Bold Italic, Black, Black Italic

ITC Tiffany Light, Light Italic, Medium, Medium Italic, Demi, Demi Italic, Heavy, Heavy Italic

ITC Usherwood® Book, Book Italic, Medium, Medium Italic, Bold, Bold Italic, Black, Black Italic

ITC veljovic® Book, Book Italic, Medium, Medium Italic, Bold, Bold Italic, Black, Black Italic

ITC Weidemann® Book, Book Italic, Medium, Medium Italic, Bold, Bold Italic, Black, Black Italic

ITC Zapf Book® Light, Light Italic, Medium, Medium Italic, Demi, Demi Italic, Heavy, Heavy Italic

ITC Zapf Chancery ® Light, Light Italic, Medium, Medium italic, Demi, Bold

ITC Zapf International® Light, Light Italic, Medium Italic, Demi, Demi Italic, Heavy, Heavy Italic

ITC Avant Garde Gothic® Extra Light, Extra Light Oblique, Book, Book Oblique, Medium,

Medium Oblique, Demi, Demi Oblique, Bold, Bold Oblique

ITC Avant Garde Gothic® Condensed Book, Medium, Demi, Bold

ITC Bailey" Sans •

Book, Book Italic, Bold, Bold Italic

ITC Bauhaus®

AS•

Light, Medium, Demibold, Bold

ITC Benguiat® Gothic • •

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

•

ITC Eras® •

Light, Book, Medium, Demi, Bold

ITC Franklin Gothic® • •

Book, Book Italic, Medium, Medium Italic, Demi, Demi Italic, Heavy, Heavy Italic

ITC Franklin Gothic® Condensed Book, Book Italic, Medium, Medium Italic, Demi, Demi Italic

ITC Franklin Gothic® Compressed Book, Book Italic, Demi, Demi Italic

ITC Franklin Gothic® X-Compressed Book, Demi

••

•

•

• •

Charlotte® Sans Book, Book Italic, Medium, Bold

caITC Conduit® Light, Light Italic, Medium, Medium Italic, Bold, Bold Italic

ITC Legacy® Serif Book, Book Italic, Medium Italic, Bold, Bold Italic, Ultra

ITC Lubalin Graph® Extra Light, Extra Light Oblique, Book, Book Oblique, Medium, Medium Oblique, Demi, Demi Oblique, Bold, Bold Oblique

•

•

CITATION- Claude- Sans Regular, Italic, Bold Italic

ITC Cle rface® Contour, Outline, Outline Shadow

relinnedeederetillid

COMPaCta " Regular, Italic, Bold

IT ISO CoRdeused® Roman, Italic

aptek

Corinthian- Light, Medium, Bold, Bold Condensed

Cltatenge Bold, Extra Bold

Champers- ITC Cheltenha Contour, Outline, Outline Shadow

ITC Cheltenham® Handtooled

IU ONE

Italic, Italic Inline Shadow, Bold Italic, Extra Bold Italic

CUlf- DotiGitf -Osta 713- Paddir Regular, Bold

ITC l)idi® a I1E1aLj 111 Open, Black

11rG 1111■1::ITTAkSm Positive, Negative

Dolmen- 44 Pre Mayor,-

Doacu® &clam ITC Eastwood-Edwardian- Medium (WV (Ceit Ore ,pt Regular, Bold

ITC Ellipse"' Roman, Italic, Bold, Bold Italic

mamma - E_NIVI oTM 11P01CHA' Equir)ot" ITC Eras® Ultra, Contour, Outline

Ei-PdS(aP" VAM .7'0JA :F,Vm

El

[PP

Light, Medium, Demi, Heavy

T. Aachen" Medium, Bold

Academy- Engraved ITC Aftershock" agincourr ITC A ; trfrearw- ITC AM LINES® ALGERIAN CONDENS AmBROSE- ma AnaGmt@em • Typ Gwatt@g®cDvInncto,@ ITC Awyhog- ITUIN1111® Aquinas - AQUITAINE" INITIALS

aaViMkeice -

Arvii6m-

Arri6t.---Avtii461

Gf;t?.00V1If' ITC ATMOSPHERE-- AUGUSTEA OPE \1

ITC Bailey Quad Bold •

aabrieted - F

tAl/g-

F

6,11NNQP- F

ITC Bauhaus® •

Heavy, Heavy Outline

Becker' Script

IfEENNIEW® ITC 13Qt-T-ei'' Regular, Mega Outline

•

F

F

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Behve" Mono, Mono Italic

tehrtigo- "

ITC Bemuse Roman® ertie"

StRliritAM" Bible - Script and Flourishes &ev,- c.S,,er,& 1TC Binary'"

Light, Bold •

lailwMAX rd`t Zfackacrier-

Madinat' ITC Black Tulip" fir Z?kz - PkDNtZ - fTC Bodoni Brush- ITC Bodoni"@reventy-Two • Book, Book Italic, Book Italic Swash, Bold, Bold Italic, Bold Italic Swash

BMW' ITC Bolt Bold®

BBC Is3cDont a •

Contour, Outline with Swash

Bordeaux TM Roman, Italic, Roman Bold, Script, Display

-g.rot ol Le t/ H-01 vt,g{ Regular, Bold

1TC -31-c, 6-1AZ CAT.' Regular, Bold

Brighton- Light, Medium, Bold

ITC B1LTENJEREIIE Burlington"

ITC BUSORAMA® Light, Medium, Bold

BUZZER THREE -

CaAt/t.r-pr Cursiva

CAMPAIGN - eance&reseaT" gm .1

ER Mawr

F

F

F

F

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ITC Parmhoul Normal, Not So Normal

Fashion- Compressed, Engraved

TM

ITC Fat Fare® Fine nand ITC FireREC® Flamenco Milne femme- ITC

L—..c1/4-1— I R..0 r"

ITC Flora® Medium, Bold

011TO rioromm-FOLLIES- ITC Fontoon- WeigeC" gW166, fRaNce uNciaL FRANKFURTER*"

Medium, Normal, Highlight, Inline

ITC Franklin Gothic®

Contour, Outline, Outline Shadow

FTC Freddie,- rfiee4AT' See Regular, Bold

ITC Garamond® Handtooled

Bold, Bold Italic

gtigic Gill Display Compressed Gill Kayo Condensed ease ci,aJd

AidAtthei gaStOngury - ITC GOLDEN COCKEREL'" INITIALS

ITC Gorilla® ITC Groecruit" eutatact" Green- Vitefitoo. WNW-

J-1414iT "

ITC Grizzly® ITC Grouch® Tiadfield- 44AND DRAWN

atiogy-

11AVVEr MAME Heliotur

(Continued on page 38)

•

•

F

F

F

•

Ihni Up ale

ITC Goudy Sans® Book, Book Italic, Medium, Medium Italic, Bold, Bold Italic, Black, Black Italic

ITC Highlander *" Book, Book Italic, Medium, Medium Italic, Bold, Bold Italic

ITC Humana'" Sans Light, Light Italic, Medium, Medium Italic, Bold, Bold Italic

ITC Kabel® Book, Medium, Demi, Bold, Ultra

ITC Legacy® Sans Book, Book Italic, Medium, Medium Italic, Bold, Bold Italic, Ultra

ITC Mixage® Book, Book Italic, Medium, Medium Italic, Bold, Bold Italic, Black, Black Italic

ITC Odyss_ee" Light, Light Italic, Medium, Medium Italic, Bold, Bold Italic, Ultra

ITC Officina® Sans Book, Book Italic, Bold, Bold Italic

ITC Panache® Book, Book Italic, Bold, Bold Italic, Black, Black Italic

ITC Quay Sans" Book, Book Italic, Medium, Medium Italic, Black, Black Italic

ITC Stone®Sans & Phonetic Medium, Phonetic Medium, Medium Italic, Semi Bold, Semi Bold Italic, Bold, Bold Italic

ITC Woodland'"

Carlton- carvvhber F

entims41 CST e4VP/'" Gaston 540 Italics e s9 &ashes

Caxtorl Roman Light, Light Italic, Roman Book, Roman Bold

ITC Century® •

llandtooled Bold, Bold Italic

• •• •

A •

A Cyrillic version available • Related styles in other sections F FONTEIN collection

Papyrus"

Pendigg" Script Pink" LVL PloaaLQ® PIflLfI 011,APPE LAID AIA) F PNEUMA" PRAGUE" Pr em Shaded

PMENIBEWIDVIE" Pris6na - PRIT(HflIW Regular, Line Out

Pump" Regular, Demi Bold

MIA am- guixley-

etr-ati* MUN I'

REFRACT( Regatta - Condensed War Script RETR9 - Bold, Bold Condensed

7TCR9414e Kwce,- Robotik-

Ronk- Light, Light Italic

ITC Rondo: Light, Regular, Bold

RoWE TTE- ach-

RUBBER STAMP Runilunk"

Santa g&- Savo ye'" 1 -1-(S(hiZol4t - Scraitch- g'6CdL3k" gaiSeoc

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(Continued from page 37)

Helvetica Condensed Medium, Bold

mob:gm -

ITC Honda®

Hornpyper Ignatius

ImpaktT" /ili _Sao h2/02-2224.1-Raz22azi

gas • • "

IRIS Trc 7adaiw® Regular, Bold

Isis" ITC Jaft - tIn .hanti,alacyc Regular, Too

Jazz- ITC Jellybaby-

1-(A4.41j-

'erman- ITC JUANITA" Regular, Condensed, Deco, Lino, Xilo, Xilo Condensed

ITC Kabel® Ultra, Contour, Outline

KAM:MN -

ITC g61140- 'Tr *44- Inc ITC Klepto- NM PI OT

iIrc MDTEEM® MCA Otall5m ITC Kristen' Normal, Not So Normal

TTC

a amba. Lembeele"

tame,- Regular, Chrome

Latino- Elollgatd Laura- LCD

grffi ITC Lennox- Book, Medium, Bold

Lexikos-

Li; htnin' - 1,Intekoctsc Script

Lino eut- Locarno Light, Italic

ITC MACHINE® ITC RENNIE MACKINTOSH- Light, Bold

ITC Malstock - HCASt Manhattan® Mffr7U6ritet-

dASBNAT

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Regular, Italic

ITC Milano®

Tit MiNSKa" Light, Medium, Bold

1441441 - ITC Mithra

FUNIV FONW ITC Mona Lisa® Recut, Solid

V*YteXff ITC Motter Corpus Bold, Condensed Bold

Alusica"

Neo Neo- ITC EO

OFR 1100VOT" • Light, Bald

ITC liora- 49heron-

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One Stroke" Script Regular, Bold, Shaded

Orange-ITC Urban" Light, Regular, Bold, Black

ORIAHEXT ITC Outback - , ITC Out of the Fridge-

CIPzwaild®

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SIVA PAIN- Shatter" DIMAL•A" SKID ROW- ITCSkOrk 5-105TREAIV -

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ITV Snap'" Snap- MCSP/Rir SpOOky Spotlight" 5qm i re- Regular.Extra Bold

ITC STATIC- STRO BOS

Etadio appt®

ITC Stylus" Regular, Bold

Stymie _—_cair ines SUPERSTAR- SEIM CH R Cr Regular, Reversed

Tannhauser Teknik"

tn- ITC Ten-oie ITC Tem pus- Regular, Italic

ITC Tempus- Sans Regular, Italic

.19 e "

6nran tf " olid ITC Tom's Roman® Trackval r Set# gge (True Srit - MIA rw Mysser Univer8ity- Doman Regular, Regular Italic, Bold

•

A Cyrillic version available • Related styles in other sections F 110141111f collection

39

• 111111 gr.0 • • • • • • • • •••• •••• lL y 11E)

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ITC Uptight® Regular, Neon

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Vatger

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ITC Vinyl' Black, Outline, Sawtooth Black, Sawtooth Outline

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ITC Bodoni Ornaments-

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ITC Golden Cockerer Orn's •

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Type Embellishments

Three843 $1:45' 0

ITC Zapf Dingbats®

* Attitudes

101V1 uA#4itiA ITC Backyard Beasties-

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C*NgAttatioarcs ITC Dave's Raves-

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lisie is available at the following locations:

NORTH AMERICA

Bates Art and Drafting Supplies Art • Drafting • Digital Source

4901 Century Plaza Rd Indianapolis, IN 46254 Phone: 1 (317) 297-8000 or 1 (800) 745-1345 Fax: 1 (317) 290-7032

H.R. Meininger 499 Broadway Denver, CO 80203 Phone: 1-303-698-3838 or 1-800-950-2787 Fax: 1-303-871-8676 meininger@aol.com

Parlor News Coffeehouse 135 E. Second Street Powell, WY 82435 Phone: 1 (307) 754-0717 coffee@wir.net www.parlornews.com

Untitled 159 Prince Street New York, NY 10012 Phone: 1 (212) 982-2088 Fax: 1 (212) 925-5533 bevandavies@worl dnet.att. net www.fineartinpri rit.com

I EUROPE

Tegnece nter St Kongensgade, 21 DK-1264 Copenhagen K Denmark Phone: 45-33-14-90-33 Fax: 45-33-11-90-33

Central Books 99 Wallis Road London E9 5LN England Phone: 44 (0) 181-986-4854 Fax: 44 (0)181-533-5821 central@centblcs.demon.conk

Shipley Specialist Art Booksellers 70 Charing Cross Road London WC2H OBB England Phone: 44-171- 836-4872 Fax: 44-171-379-4358

Zwemmer Media Arts 24 Litchfield Street London WC2H 9NJ England Phone: 44-171-240-4157 Fax: 44-171-836-7049

La Hune Li brairie 170 Boulevard St-Germain 75006 Paris France Phone: 33 (1) 45-48-35-85 Fax: 33 (1) 45-44-49-87

Papasotiriou S.A. International Technical Bookstore Stournara 35 Athens Greece Fax: 30-1-364-8254

Typophili a Publishing and the Typography Bookshop

6 Delliou Srt. 546 21 Thessaloniki Greece Phone and Fax: 30-31-239-823

Logos Impex Strada Curtaton a 5/F 41010 San Domaso-Modena Italy Phone: 39-59-28 02 64 Fax: 39-59-2816 87 or 39-59-28 05 07

Bruil fiz Van de Staaij Zuideinde 64 7941 GJ Meppel The Netherlands Phone: 31-522-261303 Fax: 31-522-257827

Dest Arte Armazem Parede Rua A Cava 2775 Parede Portugal Phone: 351-(0)1-3470214 Fax: 35140)1-3475811

Paragraph International 32 Drasilcova Street, 19th Floor Moscow, 117418 Russia Fax: 7-095-129 09 11

Berlin Libros c/Cordoba, 17 28770 Colmenar Viejo Madrid Spain Phone: 34-1-8462971 Fax: 34-1-8455922 berlin.libros@redestkes

Paleda AB 19124 Sollentuna Stockholm Sweden Phone: 46-(0)8-35 01 00 Fax: 46-(0)8-35 00 14

STORES! DISTRIBUTORS! To carry Utcic, contact Rebecca Pappas at (212) 949-8072, ext 131.

SOUTH AMERICA

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Continued from page 35

painting—that's part of the point it is making about design, which is a controversial one, of course. All that

struggle for rationalism, and along comes a generation of designers who keep emphasizing subjectivity.

So what about the old heroes? Before his death last November, Paul Rand left us with a parting shot at

the latest generation. FROM LASCAUX TO BROOKLYN (Yale University Press) trashes the philistinism of big

business, while celebrating those clients who bought Rand's ideas. There are some familiar projects trotted

out from his earlier books, but still put with panache. The tetchiness and egocentricity aside, Rand's writing ,

was always clear and provocative. Curiously his pronouncements fluctuated between claiming design was

all about intuition—you had it or you didn't, and we knew on which side he fell—or pitching rigorous

rationales for why his way of doing it was the right way.

One great designer who doesn't seem to hang up on claiming his work works, is Alan Fletcher. In # BEWARE WET PAINT (Phaidon) he re-edits nearly 40 years of output to provide a vibrantly illustrated

volume which does little to acknowledge the origins of the pieces—the brief, performance, problems,

and so on—but celebrates everything in the manner of a painter's retrospective. There are essays writ-

ten by a range of writers that tend towards the hagiographic. For the most part, they are best ignored.

This book stands by whether or not you love Fletcher's distinctive style, which could be crudely sum-

marized as using splashy paint and little jokes at any opportunity (well, he did suggest that with the

title). Deceptively simple, Fletcher is a king of the visual pun—and we have plenty of evidence all around

in commercial communication that it is remarkably difficult to come up with and execute good puns.

The book is well produced, and is a more enjoyable book than the chunky Pentagram publications over the

years to which Fletcher inevitably contributed. In Beware Wet Paint there is a sense of him casting off thr

shackles of having to pretend his work is anything more or less than an artistic response.

Such a monograph-like book contrasts markedly with the strange fruit that is PURE FUEL (Booth-Clib-

born Editions). This is a polemical exercise from another London-based collective, three designers

called Fuel (sorry to keep plugging the hometown boys, but my excuse is that this city is supposed

to be hot at present). I particularly admire Fuel for their defiant quest to take graphic design beyond

puns, beyond styles. Ironically, along the way they have started to produce a body of work (clients

include Levi Strauss and MTV) that is distinctly hip and identifiably Fuel-like. In Pure Fuel they bring

in numerous collaborators to create a collage of photography and texts exploring such concepts

as "Spoilt," "Chaos" and "Leisure:' The typography is disarmingly understated, but is always sensi-

tively

handled...often ironic, always intimating other experiences.

Another fascinating book, in a more traditionally informative mode, is Per Mollerup's MARKS OF EXCELLENCE: THE HISTORY AND TAXONOMY OF TRADEMARKS (Phaidon). This veteran Danish

designer and writer has assembled an exhaustive collection of marks, and backed up the images

with some highly informative text. This is an excellent book whatever your philosophical position

in design. These marks and the accompanying brief notes are like haikus on visual culture. They

don't explain a great deal, but they intimate much.

Finally, I should be accountable for my tips by saying what I am reading at the moment. Well, a couple of my own books: SECOND SIGHT, which is a new book I am just finishing with David

Carson, and REMIX, a savage reedit of my earlier 20TH CENTURY TYPE. In both of these I notice how

little text you need to make a point (in Remix I find myself chopping down text not to dumb

down, but to make more intelligible the story of typography). As with that copy of Finnegan'S Wake,

words say a great deal without being read faithfully, in a line, from beginning to end (and, of course,

there famously isn't an end in Finnegan's Wake).

And yet having said that, for my own deviant pleasure I am reading the highly theoretical and highly

personal and really rather long-winded THE CULTURE OF THE COPY by Hillel Schwartz (Zone Books).

Designed by Bruce Mau's studio, this chunky number is an appealing object. But more to the point is

that its curious quest to inquire into "striking likenesses, unreasonable facsimiles" provides much to

reflect on in relation to typography and type design. Why do we go to so much trouble to explore and

replicate the familiar? What are we looking for, when we don't seem to be looking for anything new?

The book operates on many levels for many different needs in the reader, but I think any designer

might learn something from it before tweaking another font. If only how painful it is to read for a

longtime when the type size is a point too small for comfort.

LEWIS BLACKWELL IS THE AUTHOR, WITH NEVILLE BRODY, OF G1 SUBJ: CONTEMIP, DESIGN, GRAPHIC (LAURENCE KING/RIZZOLI). HE IS ALSO THE AUTHOR OF THE END OF PRINT AND THE FORTHCOMING SECOND SIGHT WITH DAVID CARSON (LAURENCE KING/MONACELLI) AND REMIX: 20TH CENTURY TYPE (LAURENCE KING). HE IS EDITOR/PUBLISHER OF CREATIVE REVIEW MAGAZINE.

Corrections

In the Spring issue on page 6, we inadvertently misidentified Frank Martinez. He is with the U.S. Patent

and Trademark Office. Simon Schama is the author who wrote so eloquently on The Netherlands. In the

article on Sub Pop, Jesse Reyes' name was misspelled.

40

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(RE)IMAGINING THE BOOK:

BY STEVE TOMASUL5

0 Word! What sort of

Word art thou! Augustine asked,

for the Word existed in the

beginning but was not made

while the body of the universe was that "Vast chain of being! which

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Z4 41

New Windows" Version Just Released!

A SEMIOTIC SYMBIOSIS

JUMP-CUT, 199?

Imagine the Internet.

1.5 billion miles of spun glass and copper linking 173 million PCs running quadrillions

of lines of code as quintillions of blips on silicon wafers. How many computations can

dance on the head of a pin? A vast chain of hotlinks.

In his book Mervelous Signals, Eugene Vance writes that "there is scarcely a term,

practice, or concept in contemporary theory that does not have some rich antecedent

medieval thought' This observation seems to apply particularly well in the case

of collaboration between graphic designers and writers. The book, especially the

Medieval book, is a profound virtual-reality device. The image/text, the contempo-

rary reincarnation of illuminated texts, is simply a foregrounding of this multi-

media nature that is original not in our sense of the word, but in the Medieval

sense: that which has been present since the Origin.

t. That is, literature too, has a material history and it is bound up with the history

of the book which is a story of reproducibility and portability. Consider its end

points: the cave painting, a one-of-a-kind, permanently bound to the most inac-

cessible parts of the earth. Contrast this to the Amiens Cathedral (http://www .

1 * learn.columbia.edu ), an online "book" on the cathedral's history and art in which

criticism, primary texts, floor plans, Quicktime movies and a discussion group

can be made present—from anywhere in the world.

Now consider the history between these end points: first the codex, the book

in the shape of a box as opposed to scrolls like one manuscript of the Pentateuch,

written on 57 skins sewn together to form a piece 36 meters long—a serial

retrieval system which one reads by rolling from one scroll to another, like a

cassette tape. With the parallel retrieval system of the codex, though, it's as

easy to flip to page 200 as 20 and back; it is easy to begin to think what we

would call hypertextually. Germane here is the truism that Medievals, like us,

thought in terms of symbols. In a codex like the Moralized Bible, images linked

texts to other texts, the Old Testament to the New. Psalm 80, for example, a

prayer for the restoration of the Lord's Vineyard (Israel) prefigures Christ

and this teleology is taught by a crucifixion posture of both grapes and man.

Pushed to an extreme in the 20th century, it's easy to see what this type of

thinking will do for traditional boundaries: man/machine; history/fiction;

high art/popular entertainment; male/female; truth/image; private/public;

original/copy; mind/body; text/image. Once again, stories and images are

linked to others with the result that, as for Medievals, representation is sus-

pect, for it is partial. The veil that separates us from?—

Today, the re-patterning of knowledge is obviously dear to a number of visual

artists. And activists. And just plain folks.... And, of course, authors and design-

ers. Like perspective painting, the graphically-driven novel is a system of

knowing, one that like the term "narrative," contains within it the collapse of

genres. In fact, hypertext can be seen as a literalization of the type of writing

in the Moralized Bible or any text that points to other texts. Or an image that

points to another image. Or multimedia where one media references another.

The Image/Text is a new, or re-newed, form for revisited means of narration,

means of information organization. Will electric books kill the print book? Well,

did TV. kill radio? Will the creators of all books, the designers and writers (or

should we call them collage artists), have to consider how this experience will

alter the ways stories are told? Well, did TV transform radio?

The push of how we think—especially a mindset that puts genres and media in

discourse—and the pull of technolo are what help brinzword and image together—

in both print and electronic formats. /A ND OF COUPI THIS RE-IMAGINING IOF THE BOOK Of

SE KIAR-

RATIVE FORM IS WHAT IS BRINGING GRAPHIC DESIGNERS AND WRITERS BACK TOGETHER.

HEADLINE: ITC CONDUIT BOLD INTRO: ITC GOLDEN COCKEREL ROMAN BYLINE/TEXT: ITC CONDUIT LIGHT, LIGHT ITALIC 43 Circle 9 on Reader Service Card

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Alliance logotype: Ovidius Demi. Monotype, Monotype Classic Fonts,

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AGFA, the Agfa rhombus, and Creative Alliance are trademarks of

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©1997 Agfa Division, Bayer Corporation.