Upper and lowercase Volume 5—Issue 3

7/22/2019 Upper and lowercase Volume 5Issue 3

1/72

-1) Qy Rr SsTt UuVvWwXxYyZz1234567890&/ECE$Sa.% ?0[1PUBLISHED BY INTERNATIONAL TYPEFACE CORPORATION. VO LUME FIVE, NUMBER THREE, SEPT. 1978

98 AA F2 BC 3X X X X XXX X X XXX X XXXXX2D555D 5 95 D565 96 25 5985 B3 BE 88 517EB 8 59 55 95 6 65 8 5F D7 59 5D 2759 lE BB CB 82 BC C9D 27 79 SE E7 7587 79 98 67 79 99CF 53 E5 99 F583 3C EF FA 387 59 56 D556 92 87 16C AA FE C3 6 81 959 9F 21CC OE 6D9 858 1FB3C

7265.0 79

79 99 F2 5CB BE CO87 79 98

8 A6 E8 FEEE 6 18 OAA AC AE AAE5 7D 98 5

48 8 DC 29 ID89 83 EH 4 BO 3893 EC AA A6 AA 2A

5 AC 9A AA 69 IA 7DE Cl 35 95 65 B2 EA77 1 3C C9 AA C

96 2 5 AD 8647 55 55 76 B4RB 28 C7 82

7C


2/72

assumed the phonetic value of itsinitial "a:'

Proof of this can be found on anobelisk bearing the cartouche of theEgyptian queen Cleopatra. Her name is

"spelled out" in hieroglyphic characters,two of which are eagles standing for thetwo "a's" in the name.With this, our alphabet had abeginning.

1000 B.C.Gradually other hieroglyphics and

their phonetic equivalents evolved intoa series of"ideographs" and "phono-graphs" representing sounds.

This abridged form of hieroglyphicswas used by priests and was known as

"hieratic" writing around 2500 B.C.By 1200 B.C., the general populace

of Egypt had begun to write with reedpens on papyrus. This writing used asimplified form of the hieratic writingwith "demotic" symbols.

But it was left to the SemiticPhoenicians around 1000 B.C. to devisea true alphabet which relied on a singlesymbol to represent a sound.

You can see part of this developmentif you turn this page around so that thepoint of the A is pointing down.

It looks like a stylized ox head,doesn't it?

Probably because of a misinterpreta-tion of an earlier Egyptian symbol for

"d',' the Phoenicians used "aleph;' whichin the Phoenician tongue meant "ox:'

So the original Phoenician sign was astylized ox head, which over the nextcouple of centuries was first turned onits side and then completely over toform a recognizable A.

700 B.C.If you have trouble pronouncing

words in a foreign language, you'llappreciate how the Greeks of the 7thand 8th centuries B.C. felt about thePhoenician "aleph" (ox) and'beth"(house), which became a more com-fortable "alpha" and "beta" when

pronounced by the Greeks.But the Greeks also realized the

workability of the Phoenician alphabeand adapted and modified the charac.ters to fit their own needs.

By making scratch marks with ametal or ivory stylus in a soft wax tablethe Greeks reproduced the characterswith short irregular lines.

As time passed, the Greeks alteredthe letter forms and made necessarymodifications. For instance, the alphabwas made to read from left to right,instead of right to left. Also, vowelswere added.

And no longer did "beta" signify ahouse, but it became only a name .symbolizing a letter.

All of this seems to have been finaized around 700 B.C.

114 A.D.Several centuries before the birth

of Christ, Rome was in the process ofadopting the Greek alphabet.

By the early Christian era, after further modifications and additions, theRoman alphabet as we know it todaywas nearly complete.

Around 114 A.D., an inscription wachiseled into the base of the Column iTrajan's Forum in Rome.

This inscription contains all of theRoman capital letters with the exceptioof H,J, K, U,W,Y, and Z. It is generallyregarded to be the finest example ofchisel-cut lettering from the highestperiod of Roman inscription-making.

Besides being indicative of thestrength and order of Rome, these captals, with their sense of form and proportion, became the inspiration forWestern letter forms. These Roman ca]itals also showed a new development-serifs.For centuries, it was believed thatthese serifs were necessitated by thestone chiseling technique to createclean, precise "stops" for the letters.

More recent research, however,seems to indicate that these serifsdeveloped as characteristics of the

"rough" lettering done by scribes withlarge reed brushes as a guide for thestonemason.

The stonemason followed thebrush's inclination for thick and thinstrokes and the finishing strokes wenow know as serifs.

The chiseled inscriptions were laterfilled with red paint to look like writ-ing. Time, the elements, and neglect totheir toll on all but minute particlesthis paint, but the beauty of the letterforms remained.

At the end of last year we weredelighted to have received a cal-endar from Henry Brown, Presi-dent of Frederic Ryder Company,Advertising Typographers, inChicago, entitled "The Typo-graphic Year: '78 from A to 72It was of utmost interest to ussince its purpose was not only toinform type users about the his-tory of the letter form, but alsoto bring them up to date on thenew technological developmentsin typOgraphy.We have takenliberties with the original graphicscreated by Wilburn Bonell, Ill toaccommodate the page size oflAlc. However, the informationcompiled and written by TomShortlidge is essentially the same.

FROM AN EAGLE TOA CATHODE RAY TUBENot long ago a type specifier was

looking for a"new" look for an ad. Heselected Garamond.

He got his look photocomposedwith minus unit spacing and we hadto smile a little.

To get this contemporary look, hehad used a 400-year-old typeface. Thisincident started us thinking.

How many people who use typeevery day really know how type andletter forms developed?

And how many people use typefaceslike Cloister, Garamond, Caslon, Basker-vale, and Bodoni without realizing thatthese faces were significant steppingstones in a development that began aseagles, owls, snakes, and lions in Egyp-tian hieroglyphic writing and is nowbeing transformed by cathode ray tubetypesetting systems?

Not too many people, we suspect. So,herewith we are presenting a brief his-tory of 3,000 years of letters.

Because it is brief, there are dozensof omissions. And several of the exam-ples we've chosen were selected fortheir visual interest rather than theirhistorical significance.

A student of this subject might takeexception to some of the exampleswe've chosen.

Scholars believe that the earliestknown Egyptian hieroglyphics, dated4200 B.C., were actually derived fromearlier Sumerian pictographic forms.

Be that as it may, the hieroglyphicscut into stone by the ancient Egyptiansseem to be the graphic ancestors ofour current alphabet.

Very early, the pictorial symbol forthe name of an object began to assumethe beginning sound of the object. Thatmeans if we were reconstructing thissystem today, a coffee cup would repre-sent the phonetic value of"c:'

So in early Egypt, the word for eaglewas "ahom:' So the symbol of the eagle

VOLUME FIVE, NUMBERTHREE, SEPTEMBER1978HERBLUBALIN EDITORIAL& DESIGNDIRECTORAARONBURNS, EDITORIALDIRECTOREDWAP DRONOTHALER EDITORIALDIRECTORJACKANSONFINKS, ASSOCIATEEDITORTONYDiSPIGNA LYDIAGERSHEYMARGARET LUBALIN LINDAINAUTER ED VARTANIAN JULIO VEGA,JUREKWAJDOWIC2. ALANWOOD, ARTG PRODUCTIONEDITORSJOHNPRENTKI, BUSINESS AND ADVERTISING MANAGEREDWARDGOTTSCHALL EDITORIALADVERTISINGCOORDINATORINTERNATIONALTYPEFACECORPORATION1978PUBLISHED FOURTIMES A YEARINMARCH JUNE, SEPTEMBERAND DECEMBERBY INTERNATIONALTYPEFACECORPORATON216 EAST45THSTREET NEWYORK NY. 10017AJOINTLY OWNEDSUBSIDIARY OFPHOTO-LETTERING INC. ANDLUBALIN BURNS Sr CO, INC.CONTROLLEDCIRCULATIONPOSTAGEPAIDATNEWYORKNY ANDATFARMINGDALE NYPUBLISHED INUS.A.

A B R I E F H I ST O R YO F T Y P O G R A P H YITC OFFICERS:EDWARD RONDTHALER CHAIRMANAARONBURNS. PRESIDENTHERB LUBALIN EXECUTIVEVICEPRESIDENTJOHNPRENTKI. VICEPRESIDENT GENERALMANAGERBOBFARE ER SENIORVICE PRESIDENTEDBENGUIAT VICEPRESIDENTSTEPHENKOPEC, VICEPRESIDENTUS. SINGLE COPIES, 5I.S0ELSEWHERE SINGLE COPIES $2.50TOQUALIFY FORFREESUBSCRIPTION COMPLETEAND RETURNTHESUBSCRIPTIONFORMINTHIS ISSUETOITC ORWRITETOTHEITCEXECUTIVEOFFICE

In This Issue:A Brief History of TypographyHow many people who use type every day reallyknow how type and letterforms developed? Theimaginative people at Frederic Ryder Companyin Chicago have come up with a fascinatinganswer. Pg. 2.Pro.Files: The Great GraphicInnovatorsContinuing our popular series of insights intothe personalities and artistry of the industrygiants, this time highlighting the exceptionalwork of Cipe Pineles and Henry Wolf. Pg. 6.Lou Myers at LargeOne never knows what to expect from this zanycartoonist except that his drawings are always acombination of fun and revelation.Pg.12.Ms. Carol DiGrappait is said that there is nothing new under the sun.But along comes our featured female to give itthe lie and reveal to us an interior world ofmystery, fantasy, and decadent beauty. Pg.14.Carol Wald Gives Us the BusinessOur favorite collector returns to grace our pageswith a handsome assortment of nineteenthcentury artistry when business cards meant busi-ness.From discreet black-and-white engravingsto chromo-lithographed pictures, they delight-fully conjure up 'the good old days.' Pg.16.The Swingin' 40sNo.5 in our series of Very Graphic CrosswordPuzzles goes nostalgic, as Al McGinley and DonMcKechnie present us with an eye-opener tostretch the mind and stir old memories.Pg.20.Pretzel FaceU&lc has published alphabets and alphabets,but this one (by Lou K lein, staff, family, andfriends) is an alphabet you can really sink yourteeth into.Pg. 22.Something for EverybodyOur popular feature is back with more worldly,waggish,whimsical outpourings illustrated in theaffectionate hand of Lionel Kalish. Pg. 24.EditorialWhy typeface royalties? Who pays them? Howmuch do they cost? How do they affect you?This special U& lc editorial provides a full an-swer, at the same time explaining why a typeshop customer should pay nothing extra forspecifying an ITC typeface while supporting boththe ethics of an industry and the future of type-face design. Pg. 26.What's New from ITCITC Cheltenham in nineteen distinguished typestyles, is featured in this article which pinpointsits progressive history as well as presenting acollection of typographic quotations redesignedby Herb Lubalin to show the broad versatility ofthis newly redesigned typeface.Pg.27.


3/72

4 T H C E N T U R Yin W estern

chisel haduill nibs

held nearly parallels a

square" capital was thefrom

H -5 T H C E N T U R Y

free andore carefully

scribes with a square-edged pen with anearly vertical nib and held at a con-stant slant. Many of the small refiningstrokes of the square capitals wereeliminated. Serifs were made with a turnof the pen instead of a separate stroke.And, when practical, letters were joinedtogether without lifting the pen.

5 T H - 6T H C E N T U R YThe decline of the Roman Empireseems to have been paralleled by thecontinued disintegration of the Romancapitals.As Rome ceased to be the centerof the world and o ther nations rose inimportance, hand-lettering began todisplay national and regional charac-teristics.The embellishments brought to let-ter forms by the Franks, Teutons, A nglo-Saxons, and Visigoths were often in-volved and complicated, but the unify-ing feature of all these national scriptswas the "uncial" letter form.Uncials were distinguished by theirroundness and diminished serifs. In theinterest of saving time, scribes oftencombined strokes and rounded offcorners.Many of the uncial characters todayappear to be lower case, but in fact theywere capital letters. W ith the exceptionof some illuminated initials, sentenceswere begun with the same uncial char-acters that were used in the rest ofthe sentence.

6T H -8 T H C E N T U R YFrom the time of the Phoeniciansto the beginning of the 6th century allletters had been capital or "majuscule"letters. But with the introduction of halfuncials or semiuncials, the foundationof lowercase or "minuscule" letterswas established.It is hard to actually date the firstsemiuncials. They probably evolved outof the "running hand" of mercantilescribes of the 5th century. Semiuncialsbegan to appear in the 6th century. Likethe uncials, they soon began to develop

national and regional characteristics.By early in the 8th century, an Anglo-Saxon semiuncial that is now known asthe Anglo-Saxon Round Hand hademerged in secular writings. It is in thisstyle that the Book of Kells and theLindisfarne Gospels were produced.These two historic Celtic illuminatedmanuscripts, by successfully integratingelaborately ornamented letters withillustration, created a form that wouldstill be used by graphic designers twelvecenturies later

789 A.D.In 771, Charlemagne became the kingof the Franks. During his reign, a vastand unwieldy empire was given struc-ture and much wa s done to further thereligious and cultural life of the time.To overcome the widespread con-fusion caused by the great diversity ofregional writing styles within theempire, in 789 Charlemagne decreedthe use of a standardized copying style.To supervise the revision of churchmaterial and the rewriting of manyGreek and Latin manuscripts, Charle-magne appointed an English scholar,Alcuin of York.Alcuin had been trained to copy ina northern Anglo-Saxon script. So, atthe Carolingian abbey of St. Martin ofTours, he encouraged the design and useof a new alphabet based on the Anglo-Saxon style to replace the prevailingMerovingian style. The flowing, efficientletter forms that evolved became knownas the Carolingian Minuscule, although itdid use both majuscules and minuscules.

This new style had a great influenceon all the European calligraphic sub-styles that developed from Charle-magne's time through the inventionof printing and the early Renaissance.So it can be said that the CarolingianMinuscule was the direct ancestor ofthe most basic type styles of today.

Carolingian manuscript hand had beenadopted in other parts of Europe, andwas undergoing the inevitable processof regional modification. Especially inGermany, the Carolingian writing beganto have a typically Gothic character. Itwas written by holding the pen alm ostupright. The vertical strokes becameexcessively heavy, most curves disap-peared, as the letters became highlycondensed, angular, black, and some-what hard to read.Because these "black letters" weremade with great precision, and becausethey were so evenly spaced that theyresembled a woven fabric, they wereappropriately called "Textura:' Theblack-letter style, because it was usedpredominantly for religious manuscriptwriting, soon became unavoidablylinked with the church. It has retainedthat association ever since.Today, a variation of the Germanblack-letter style, though it is incor-rectly referred to as Old English, is seenin church hymnals and on most weddinginvitations. It has even surfaced incomic strips. To make it perfectly clearthat he is an animal "of the cloth;' theDeacon in Walt Kelly's P ogo alwaysspeaks in black-letter.

1450At the beginning of the 15th century,the elements of many disparate calli-graphic styles were converging in twodominant styles the Gothic black-let-ter and the Littera Antigua white letters.Both of these would soon serve as thefirst models for movable printing types.Although the apparatus for castingmovable types is generally attributed toJohann Gutenberg, there is reason tobelieve that Laurens Coster of Hollandhad printed with movable types beforeGutenberg.Gutenberg can be given credit, how-ever, for improving the art and puttingit to practical use, because not only didhe cast type in single pieces, but he de-vised a chase to hold it, mixed suitableinks, and perfected a technique forregistering the page to mak e a goodimpression.The famous Gutenberg 4 2-line Biblewas printed sometime between 145 0and 1456 in Mainz, G ermany. Guten-berg's first actual printed work mayhave been a book entitled W o r l dJudgment, published 10 years beforehis Bible.The types of G utenberg were black-letter in form. Even though these let-ters were cut by a punch cutter, they

were intended to resemble the bestmanuscript letters of the time. So theGothic Textura was used as a model.At first, only the text was printed,and space was left for large decoratedinitials to be drawn by hand. But asprinting began its widespread growthat the end of the 15th century, punchcutters departed more and more fromthe manuscript forms of their day.

1470Not only was Mainz, Germany, theaccepted birthplace of typesetting, butin an indirect way it also influenced thenext significant phases of typesetting.In 1465, at Subiaco, Italy, twoprinters from M ainz cut a transitionaltype nearly Roman in form but Gothicin color and weight.Seven years earlier, in 1458, NicolasJenson, an engraver at the French mintat Tours, had been dispatched to Mainzby Kmg Charles VII to bring back infor-mation on a new art called printingthat had been developed by a mannamed Gutenberg.On his return to France in 1461,Jenson met with a cool reception fromLouis XI, Charles' successor; who didnot share his father's interest in print-ing. Disillusioned at first, Jenson wasnonetheless determined to work withthis new art form.It is known that by 1469, Jenson wasestablished as an engraver in Venice.There he developed the first pureRoman typeface in 1470.In Jenson's type, there was very

little contrast between thick and thinstrokes, the serifs were blunt, and thelowercase "e" had a distinctive slantedcross-stroke. This type,which Jensonused in his famous Eusebius, today canbe seen as the face Cloister Oldstyle.

1506Aldus Manutius was a scholar andtutor. So he fast saw printed books as ameans of making classical manuscripts1 3 T H C E N T U R Y

By the end of the 12th century, the


4/72

easily available. His later contributionsto printing, especially small capitals andthe first italics, continued this wish tohelp scholars.In Venice, at the age of 40,Aldusbegan to print reference books whichbrought about a tremendous enlarge-ment of the conception and purposeof all books.In 1495 , he published De Aetna,by Pietro Bembo, using a calligraphicRoman of his own design. This is con-sidered to be the first modern bookin terms of typographic style.About 150 6,with Francesco Griffo ofBologna,Aldus developed the first italictype. These italics were originallyintended to be independent book faces,with no relationship to the Romans.They were used for less important lineson Aldus' title pages, to provide easierreading and to give more emphasis tothe capital lines.The original italics were all lower-case and were used with initial Romancapitals, following the practice of callig-raphy in the papal chancery. A quarterof a century passed before sloping cap-itals appeared in type.

1525Stimulated by printing presses, thewider dissemination of books, and theRenaissance spirit itself, Western Eur-ope showed a great preoccupation withwriting and instructional copybooksin the first part of the 16th century.One of the subjects studied in thesebooks was the classical Roman lapidarycapitals. Not only was there an appre-ciation of these letters, but there wereeven attempts made to reduce them toa science.In his Di v i n a pro po r t i o n e of 1509,Leonardo Da Vinci demonstrated theconstruction of the Roman capitals withgeometric elements.And in 1525, Albrecht Diirer wrote anessay entitled "Of the Just Shaping ofLetters" as part of a treatise on appliedgeometry.In this essay, Diirer constructedeach letter by inscribing it in a squareof specific size, building the charactersfrom elements of the square and arcsof circles. The constructions were wellformed and were not distorted to con-form to some predetermined system.Complete instructions and alternatedesigns for each letter were given in theaccompanying text.Dtirer, known for his woodcuts andpaintings, had made an important con-tribution to lettering craftsmanshipwith a single essay.

1530Looking back, it could be argued thatthe greatest contributions to typog-raphy were made within a century of itsbeginning.The contributions were numerous the old-style family of types, small capi-tals, italics, printer's marks, colophons,the movable type itself.The contributors were people such asGutenberg, Coster, Fust, Koberger,Ratdolt, Schoeffer, Jenson, Aldus Manu-tius, Arrighi, Due Pre, DeW orde, Caxton,Pynson, Tory, and Claude Garamond.G aramond's Romans were intro-duced in Paris in 153 0.Compared to the Romans of NicolasJenson, G aramond's Romans had agreater contrast between thick and thinstrokes, more upright round characters,a horizontal cross-stroke on the "e:'and serifs that angled sharply out fromthe stem to form crisp points.These new letters gained great accep-tance in France and were almost single-handedly responsible for displacing theGothic black letters as the standardprinting type.Curiously, many of the modern type-faces that bear Garamond's name arenot really closely related to his typesbut are based on types that w ere mis-takenly attributed to him.

1720After Garamond's death in 15 61,there was no real substantial change intype design for almost two centuries.W hich is not to say that printing wentinto a decline. Quite the opposite wastrue.Printing and printers flourished inthe 17th and early 1 8th centuries. Theromantic novel, newspapers, journals,and political pamphlets began to reachthe growing ranks of the middle class.At the height of this printing fury, in1726, W illiam Caslon arrived at his cutknown as Old Face.Caslon Old Face was not a new step intypography. It was just the final defini-tion of the old-style Romans begun byJenson and Aldus Manutius.The individual letters were not, inthemselves, very distinctive. But theyhad the ability of combining into excep-tionally legible words and pages be-cause no letter flourishs or detailswould distract the reader.As others had before, Caslon's typebecame the standard of an era. It was

eloquently referred to as the finestvehicle for the printed conveyance ofEnglish speech that the art of the punch-cutter has yet devised:'W hen modern transitional typesbegan to appear 30 years later, Caslon'stype fell out of favor. It was "redis-covered;' however, in the 19th centurybecause of its great readability.

1757The transition from old-style tomodern-style type design began ratherabruptly with the publication of JohnBaskerville's edition of Vergil in 1757.Baskerville had been dissatisfiedwith existing types, so for his Vergil,he spent two years designing his own.The result was a relatively heavy facewith extreme thins and straight serifs.These new letters had a near per-fection that was very unlike the cruderCaslon type to which England had be-come accustomed. Part of this perfec-tion had to do with the way the typewas printed.Also dissatisfied with the qualityof existing printer's inks, Baskervillemade his own extremely black ink, evenboiling the oil and burning the lamp-black itself.The available laid paper did notsuit him either, so he manufactured apaper with a smoother surface, the firstwoven paper ever. He used a harderpacking on his press, and when thesheets had been printed he p ressedthem between hot copper plates todry and set the ink, thus giving thepaper a smooth and polished look.

In the Bodoni type, the thick andthin strokes were greatly ex aggerated.The round letters were narrow ratherthan full, and the serifs were thin lines.The fact that the delicate hairlineswere reproducible at all is probablya testimonial to the success of copperengraving at the time.Bodoni's types were used in book sthat were probably intended to beadmired by the affluent rather than readby the masses.Although the title pages wereimpressive and the margins were gen-erous, the text in these books wasundistinguished, and the editing andproofreading somewhat lax.Despite its flaws and because of thetechnical achievements and visual styleof his typography, Bodoni gained agreat deal of recognition and admirers.One of these admirers was Napoleon,who undoubtedly responded to theclassical, almost imperial, look of theBodoni types.

1 8 1 6The letters in the early Greek stoneinscriptions were without serifs. Butafter the Romans added serifs, sans serifletters did not appear again until 1816.A single size of a sans serif typeappeared in the 1816 specimen sheet ofW illiam Caslon IV, a descendant of 18th-century type founder W illiam Caslon.Caslon called his single size "sans syr-ruphs," but it soon became known as"grotesque" because of its strangeness.By 1832, Stephenson Blake of Eng-land was producing a broad range of

grotesques. The influence of these "new"letter forms quickly spread beyondEurope to the type foundries of America,where they became part of an explosionof typographic styles in the mid-1800's.

1820The year 1820 could be regardedas a kind of boundary line between thepurposes of type.Up to that point, type had been in-

1829Although it has since developeddistinct characteristics, the idea of thetypewritten letter was at first inex-tricably bound to the printed letter.The first recorded patent for a primitivtypewriter was taken out by Henry Miin England in 171 4. It was not until1829, however, that a practical writingmachinecoincidentally called a"typographer" w as patented byW illiam Austin Burt in the UnitedStates.The earliest models produced anembossed writing and were primarilyintended for the blind. Until a shift-ke'model appeared in 1878, typewriterspermitted only capital letters.The early lettering for typewritershad a purely typographical quality amresembled the Bodoni type. But thedelicately articulated forms and alter-

1788Although he certainly pushed alongthe design of modern type, GiambattistaBodoni may have hindered its read-ability in the process.The pseudo-classical Bodoni typethat was introduced in Italy in 1788 wasstrongly influenced by the types ofBaskerville in England and the Didotsin France.

tended primarily for books, and there-fore tasteful "book faces" had pre-dominated.But around 1820, the world, andAmerica in particular, was expandingindustrially and economically at a ratenever known before. To serve this com-merce, advertising was already demand-ing more expressive, more obtrusive"display faces:'At first, this meant dis-tortion of available typefaces. Thickstrokes became thicker, and fine strokeeven finerBut soon, the printers' racks began ttoverflow with fancy fonts of grotesqueproportions.The first shadowed and outlinedletters soon appeared. Black letters,after a period of disuse, became popula:again as the Gothic Revival was im-ported to America.The most significant of the new form:were the types called "Egyptian" Theyprobably acquired this name becauseof their "darkness" and the interestin the archaeological discoveries thengoing on along the Nile. They had stemand slab serifs of nearly equal weight,which made them especially visible ingiant advertising broadsides.The P T Barnum aura of type desigtcontinued throughout most of the 19t1century, as swollen, incised, decorated,flowered, shaded, three-dimensional,notched, and convoluted letter formsoften screamed from the same page fothe attention of the buying public.If one type could stand for boththe absurdity and the vitality of thisperiod, it would have to be the alpha-bet called, appropriately, "LapidaireMonstre'


5/72

0075965 1376779057790CP33 85 99 3503 SC24VA3CSI 55 6556 95 57 105CAA20C356 61 10 355 90 21CCOR6066 1

53 f4 9103 AB AO 30 36BCAAAAAA2AVAAA09 IA705 96 05 82 eA90 C9 AA C86>5HA

5

I" as it did for a w ide"This was unsatisfac-

that

electric machine dis-

it

18 9 1the 19th century,crept into almost all aspects

the firstth century.

available from

scott Press produced The Story of theGlit ter ing Plain in 1891. For this book,Morris designed a Roman type modeledafter those of Nicolas Jenson. It laterbecame known as G olden type, since itwas used for The Golden Legend,printed in 1892.Morris produced a version of Caxton'sRecuyell o f the His tor ies o f l toye, thefirst book to have been printed in Eng-land. For this, he designed a Gothic typeknown as Troy.All of the work of the KelmscottPress is characterized by highly deco-rated title pages,woodcut illustrationsreminiscent of the 16th century, orna-mental initials that were inspireckbymedieval manuscripts, and craftsman-ship throughout. Morris' fastidiouscraftsmanship even extended to thepaper of all his books, a linen rag whichwas woven with a slight irregularity intexture, just like the papers of theearliest printers.In retrospect, this revival had littlebearing on the course of typography,but it did account for the proliferationof private presses at the beginning ofthe 20th century.

1898Seldom does a discovery in thefield of science have a direct bearingon the course of typography. But whenthe element neon was discovered bySir William Ramsay and M.W . Travers in1898, it would not be long before thisdiscovery gave birth to the most prev-alent typographic communication inmodern cityscapes.The first neon sign was created byforcing a small amount of neon gas intoa partially evacuated clear glass tube.This gas conducted a current of elec-tricity, naturally producing a brightreddish-orange glow. In order for thesign to glow other than red-orange, thetubing itself needed to be colored.Once the principle of the neon signwas understood, the complexity ofthe signs themselves depended on theskill of the glassworkers to bend andform the glass tubes into inventive newshapes.As the 20th century progressed,neon signs of humble and grandiosevarieties were urging people to enter,exit, stop, or start and telling them whichway it was to the bathroom. Neon signsidentified Salvation Army missions aseasily as they did the liquor store rightnext door.

The flowing, continuous nature of theglass tubing lent itself best to scriptletter forms, but sans serif styles were

also easily adaptable. In the most elab-orate neon typography, strokes werevery often doubled, tripled, and quad-rupled to produce dramatic pieces ofilluminated information in the m idstof utter darkness.

X X X XXX X X X X XX XXXX

1957Modern sans serif types are basicallypatterned after a face called AkzidenzGrotesk. This was first cut by the Bert-hold foundry in Germany in 1898. Muchlater, when it reached the Americanmarket, it became known as Standard.The legacy of Akzidenz Grotesk canbe found in the faces created and popu-larized by the Swiss school of design Neue Grotesk (Helvetica), Folio,and Univers.Although Helvetica has become themost widely used type in modern com-munication, it can be argued that Uni-

vers because of its extensive range ofweights and widths --is a more impor-tant typographic landmark.The Univers family was conceivedby Swiss-born designer Adrian Frutigerin 1957. W orking in the atelier of theDeberny and Peignot foundry in Paris,Frutiger adopted a rather unconven-tional approach to type design. Insteadof allowing the success of a typeface todictate its later extension, Frutigercreated an entire range of variationsat its inception.W hereas variations in most othertypefaces are indicated by words such as"demi" or " bold;' the sheer volume ofvariations in Univers demanded anothersystem. This system became numerical.Number 55 Univers 55 was thenorm, and all its variations were basedon units of 10. In terms of type "weight:'the higher the 10's place in the num-ber, the bolder the type would be; forinstance, Univers 75 is bolder thanUnivers 5 5.In terms of type extension or con-densation, the higher the unit's place inthe number, the more condensed thetype would be; for instance, Univers 53is very extended and Univers 59 is verycondensed. Odd numbers such asUnivers 57 signified roman, and evennumbers such as Univers 5 8 signifieditalic.By carefully altering characteristicswithin a specific letter Frutiger ensuredan even color and balance for an entiresetting of Univers. For instance, the

"free" ends of letters were slightlythickened, and connected ends weresomewhat pinched, to lighten the effectof blackness and to prevent smearingduring printing. The "c" was narrower

than the "o" because the greater area ofwhite around it made it seem optically asbroad as the "o:' The "u" was narrowerthan the "n" because the white area atthe top of the "u" was more evident thanthe white area at the bottom of the "n:'There were almost as many similar subtlecharacter changes as there were lettersin the alphabet.The diversity of Univers is mostdramatically shown in its original set-up for the composing machine. If youcounted the different variations in the12 different point sizes, altogetherthere were 17,280 letters and punctua-tion marks at the disposal of themachine.N Y (

1 960For 50 0 years, the stern limits ofmetal governed the development oftypography. But then, a new tool wasadded that expanded the capabilitiesand flexibilities of type photography.Experiments in setting type photo-graphically had begun as early as 1876,but it was not until the 1920 's that a line-casting machine was successfully con-verted to a photographic typesetter.At the same time, a revolving disk-typecharacter system on glass and a photo-graphic matrix system were developing.In 1936, the Uher-type machine, thegranddaddy of modern photo type-setters was introduced. And in 1946,the Fotosetter, the first commerciallyacceptable photographic typesettingmachine,was field-tested at the UnitedStates Government Printing Office.The Fotosetter, significant as it was,had all the speed and spacing limita-tions of hot-metal equipment because itwas manually operated and dependedon three-dimensional mats to createtwo-dimensional images.By the early 1960's, systems had beeninvented that virtually eliminated ver-tical and horizontal spacing limitationsand that operated at dizz ying speeds.Photo lettering suddenly permitted newtypefaces to be designed and producedwithout the crushing cost of castingthem in metal.Photo display lettering could becondensed, expanded, compressed, ex-tended, obliqued, or otherwise made toconform to any desired space.Photocomposition allowed characterfitting in text to be sensitively control-led with the use of plus or minus spac-ing. Characters could be superimposed,and even solid line spacing could besubtracted from.W ith photocomposition, there wereno broken letters and no misalignments.

'type was sharper and blacker or m oresubtle, depending on the typeface. Typecould be enlarged as much as 500%without affecting its integrity.And photocomposition could be moreeconomical because it eliminated stepsin the production process.Phototypography allowed the peoplewho work with type to control theirmedium, rather than being controlledby it.

1 9 7 8Scientists and insurance companiesare fond of reminding us that " thefuture is now' That couldn't be a truerstatement when you look at the futureof typography. The typesetting equip-ment for the next generation is alreadyin use.This Cathode Ray 'ffibe (CRT) sys-tem begins by translating the image ofa type character into binary (off/on)code. This code in turn controls theimage that eventually is projected ontothe CRT screen or that is exposed ontoa photographic material such as paperor film.The CRT is made up of lines whichform a screen or grid of lines that nor-mally ranges between 1,000 and 2,000lines per inch. The areas between thelines of the screen create individualsquares that can be turned on or o ff,depending on the binary code.The binary codes representing a typefont are recorded on a storage mediasuch as a "floppy disk" W hen a typefaceis needed by the phototypesetter, it isinstantly transferred from the storagemedia to the computer memory. W henthey are activated, digitized charactersare transmitted to the CRT screen.The characters form on the screen inmuch the same way that dots form ahalftone in a printed picture.All of this happens with incrediblespeed. CRT typesetting systems arecapable of producing 8,000 charactersa second, and 150 to 30 0 lines of copyevery minute.Any desired unit spacing can be fac-tored into a setting, as well as condensa-tions or extensions of a specific typeface.A few years ago, a CRT system wasa magical, exotic piece of hardware.Today, it's a widely accepted productiontool that will perform an importantrole in typography.Ultimately, the CRT could be replacedby systems that record directly ontoprinting plates or even "plateless" print-ing presses.And maybe that could bethe subject of our appointment calen-dar 25 years from now

THIS ARTICLE WAS SET IN ITC GARAMOND BOOK CONDENSED


6/72

6


7/72

CHRONOLOGY

Ridge High School, Brooklyn; memberscholarship to Pratt Institute

Institute

l Golden (widowed in 195 9)be AD, "Overseas W oman' a

admitted to Art Directors Club

Mademoiselle"Inc" as free-lance designer

raphic Designer for

ance G raphique

SELECTIVE BIBUOGRAPHY '

ournal,

exhibition catalogue 1965

Cipe and I have been friends for a longtime. At her Victorian house, lunch inlaptrays,we talked warmly in front of anopen fire which crackled punctuation.Wesat deep in personal surroundings, dis-cussing personalities with only two overlyfurred cats to overhear us.All aroundwere sharpened pencils, proofs, pastepot tools of the trade of this first woman tobe admitted to the Art Directors Club.Young, inexperienced Vienna-bornCipe tiptoed into the pre-World War IIworld of creative professional design. Shehas, ever since, kept the pace.GSIn the 30's,Dr.Agha hired you.Youwere a legend's right-hand person.Wereyou aware of isolation as a woman?CB "Fashion magazines were filled withwomen. A man was a rarity Myjob was sowonderful because I was the only womanin the most brilliant man's office.Aghaenjoyed working with women and had aprofound understanding of their profes-sional problems.I got the impression hewas trying to make me more aggressive.It was his idea, not mine, that I become atest case for the Art Directors Club."After I had met Mr. Conde Nast at aparty, and was brought in by Conde Nasthimself, there was little forAgha to do buthire me on the spot."It was hard in those days to get a job.It had taken a year to find the previousone, my first, at Contempora.We wereready to design everything from coffee-pots to world fairs, but it was coffeepotsthat kept us going.I worked there for twoyears, for $25 a week, but it was usuallyowed to me.When I was hired at CondeNast.I got a $5 raise.I was not only earn-ing more moneyI was really getting it."I was already active in fashion on one ofContempora's accounts, a mill strugglingto make cotton an acceptable fashionfabric. My job was to set up stylish win-dow displays with chic mannequinsdressed in fabrics I designed.Cottonswere pale and bland then.I put togetherdark grey and muddy yellow, dark blueand purple, dark red and cerise,workedinto geometries:'Early conditioning left its mark.Cipe'sstyle is overwhelmingly personal.Shebecame an early devotee of cottons Marimekko (a full collection of dresses),Laura Ashley (kitchen wallpaper), Libertyprints (for tablecloths and napkins).`:..At Conde Nast Publications I wasreally working for Agha. He made roomfor me in his large office where I wasgiven a variety of problems any of themagazines facedVogue, Vanity FairHouse & Garden.I had to design a 16-page Christmas section for people whowere bored with Christmas; make acollage cover of President Roosevelt'sthousand newsprint faces; design pagesmemorable in black and white and onecolor, develop three themes for an eight-page beauty section; experiment withMunsell's Color System for original colorschemes for interiors:'GS Was it accidental that your careerwas primarily editorial and fashion?CB "It was absolutely an accident,Ineeded a job; any job in my field wouldhave been okay.I sent my portfolio to

several agencies,but it was their policynot to hire women.It would inhibit thebullpen from making rude jokes. Fortu-nately Agha didn't feel that way."It was shortly after Vogue got Aghathat Harper's Bazaargot Brodovitch, anda whole new craft was born.The field ofeditorial fashion was an area where themost innovative photography, illustra-tion type, drawings and layout were beingpublished.At that time, editorial effortswere more avant garde than advertising:'GS Why did you leave Conde Nast?CB "I didn't leave.I was fired.They letAgha go, and the new art director,Alex-ander Liberman, got rid of the rest of us:'GS Then you went to the new Seven-teen. Did you bring a new concept to it?CB "I came to it a year after it was born.It was the brainchild of the editor, HelenValentine, who made me feel everythingwas possible on her magazine.I didn'thave to wait forever between the time Ipresented an idea, and the okay to goahead.With four stories a month, I estab-lished the then unheard-of idea that youallow an artist to choose the image hesees in a manuscript, not let a fictioneditor dictate a stock situation.I wrote tomuseums asking for artists who couldpaint and draw in such a way as to carryout a commission.I compiled a list of 50artists to call upon. Some of them wereBen Shahn, Richard Lindner, Doris Lee,Philip Evergood, Lucille Coreos, ReginaldMarsh, Kuniyoshi and Robert Gwathmey.GS Anything else you'd like to do?CB "As you're asking one question, I'mthinking of answers to previous ones...Agha was the most fabulous boss to workfor. Nothing you did satisfied him. He wasalways sending you back to out-do your-self, to go deeper into the subject.In viewof what's happening now to headlinetype, this is interesting: he assigned methe task of selecting a different typefacefor every headline in Vogue. I plungedinto old typebooks and into the advancedgraphic publications from Europe. By thetime you looked through five issues ofVogue, you had 100 typefaces to workfrom. I used to hate type.It scared me, butthis process of searching for headlinesmade me see what makes one page lookgood,why the same typeface, specified,elsewhere by another person, looks poor:'GS What would you do differently?CB"I never thought about it. Tell meabout you:'GS I haven't finished with you.CB"I haven't thought about it maybebecause I like my work and in hard timesin my life, I could forget myself and every-thing around me by getting deep into ajob. Some had been started six monthspreviously and were waiting for me to getenough enterprise to tackle them. I gotmyself to work by bringing my tools andpapers down to the livingroom, lighting afire here, and starting:GS It's been said all working womenneed a wife.How did you manage a two-career household and a child?CB "I spent little time thinking aboutthat, too.At first,I was against women's

lib.Perhaps I felt that way because I didn'tknow I needed to be liberated.I had a hus-band who introduced me with pleasureas a working wife and who took pride inmy work.' didn't think I was unusual."Bill and I lived in Manhattan then.I could be home for lunch two or threetimes a week.And we were lucky to findRoslyn, who not only cared for our sonTom, but kept the apartment tidy,shopped, cooked and took care of us, too:'GS What was it like to be married totwo celebrated designersBill Goldenand Will Burtin?CB "It wasn't always easy, and we hadlots more things to quarrel about than domost couples, like: Why does that artistdo a decent job for you and never one asgood for me? Or. Should you ever useanything but sans serif type, and if yes,when? Or How come they asked only youto be a judge at the show, relegating me tosocialize with the wives at the pool?"When Bill and I married,we had beenworking independently and had to someextent recognizable styles of our own.Each of us respected and admired theother's work. We liked to compare dailydisasters, and often came up with bettersolutions to problems by letting offstearrtI learned a lot from Bill; one was toaccept a raise and return it to the com-pany the next day in exchange for a four-day week. The other thing I learned washow to say 'no' to intrusive demands:'

"I look back on my time with WillBurtin with gratitude.Though Bill andWill shared the same profession, twomore dissimilar temperaments I can'timagine. Both had rigorous standardsof design.Will, perhaps because he wastrained in Cologne, was more rigid,lessflexible in decision-making. Bill, equallydiamond-sharp in his philosophy, had amore fluid approach to a design solution.After Will and I married, I gave up my jobto join his office.Will's commissionsrequired frequent trips here and abroad.He felt it urgent for designers to com-municate with designers, writers, philos-ophers all over the world, and I was freeto go with him.Will and I worked on sep-arate projects.The scientific data thatstimulated him to design 3-D structureswas a little much for me.On the other hand, he felt my attitudeon type was frivolous.I was pretty goodat type specifications, but sometimes Willwould sit beside me and without a word ;I do them now the Will Burtin way."GS What impact do you have onstudents?CB"It's a shock to find in what wayone influences young designers.Whatimpressed one talented student is that Imake everyone put away their coats andstuff before we get down to work.What adroll way to realize that graphic com-munication design has to do with mak-ing order out of chaos:'Casual words belie the depth of enthu-siasm Cipe has for the work produced byher classes.She gives of her full past toimpart to the new generation her senseof style, her taste and perfectionismlarger standards innately her own.

THIS ARTICLE WAS SET IN ITC BOOKMAN AND ITC AVA, NT GARDE GOTHIC CONDENSED GERTRUDE SNYDER


8/72

The taupe-colored Ferrari is parked inthe enclosed driveway of the Fast-Side-NewYork-converted-garage-studio, set-ting the tone for the sophisticated whirlof the world of three-hatted HenryWolf-art director, agency head, photographer.And sportscar owner. And Elitist.Born in Vienna ("You can't miss myaccent") to a textile industrialist fatherand a sculptor mother, droll Henry"wasalways drawing.After we left Vienna asrefugees" (the family odyssey to theUnited States was via two concentrationcamps and France, Morocco, Cuba) "andcame here, I went to art school, then wasdrafted, sent to Japan. Until 1946,1 hadnot lived in one place longer than fourmonths since I was 13. I've an armyfriend, very left-center, which I'm not,who calls me a Hapsburg, an elitist:G S Do you think you're an elitist?HW"Yes. I haven't read enough to followa philosophy, but your feelings come outof the way you grew up. I grew up in anupperclass patrician familyyes, we tooka beatingwhich made it all the moredesirable:'G S Now you're here, in this enormousstudio.HW -LI have another floor, and a floorbelow, where my mother, who's 81, comesevery day to do sculpture. We do a lot ofthings from beginning to endpictures,layout and produce the book.That's thesecretget control as early as possible,and keep it as long as possible. Rightnow, I have a two-year engagement to redoHouse Beauty41. I design type, do thephotographs that I want to, lay them out,send them to the printer so that every-thing is cut (cropped) the right way andthe margins are right.We do severalthings like that for Saks 5th Avenueand I. Magnin and all the magazines forB.F. Goodrich. Someone was here fromSouth Africa. He has 460 stores andwants to redo his whole direct-mailthing.That's the part of the studio wecall 'Double Vision: Plus all the straightphotography where I only deliver thepictures and they do with them asthey want."Since I've been an art director and I'vebeen in advertising as creative director,and I've owned an agency, and I've beena photographer who works for the samemagazine I used to be art director of Ihave an idea of how I want to do the job.But people often resent it when you wantto give them too much, so I've learnednot to get involved. I do a lot of role-playing, because otherwise they feel I don't get a lot of work for this reasonafraid to give me work because I mightthink it pedestrian, or that I would tellthem off. I don't, but it's the image."It's art directors who feel competitive,more than photographers. To photog-raphers, I'm an arriviste; to art directors,I'm an old man. But I've worked foralmost every advertising agency. Somecome with their preconceived notionsand you can't contribute anything. OftenI get an assignment where they send alayout, and they want you to shoot ex-actly what's on the layout. Anybody couldshoot it. They pay well. You send it back

by messenger. It's like working in 1984.You never hear about it. Maybe you findit in a magazine two months later."On the whole, I don't think it's a terrifictime for us as designers.We're lucky ifthere's a magazine out today which is asgood as it was if it's been around formore than 10 years. If you look at McCalls,at Holiday,at Esquire,nothing is asgood. It's all scaled down, all unified.They started in the late 60's as a kindof revolution against beauty and high-level wit. A lot of stuff is junk. It's all verymuch what happened to American cars.In the 30's, they were wonderful. Theygenerally made their own motors Dusenberg, Pierce Arrow, Reo. Now theymake one motor, and it fits the Chevroletand Cadillac alike."It's a narrowing down towards themiddle that's happening in everything.I consider what we do closer to GeneralMotors than to Art. So I think it suffers.It's really the forefront of the industrialcomplex advertising. It's the guy withthe trumpet in front of the herd:'GS-Let's return to magazines that don'tlook as they used to. Did both form andcontent suffer?HW"Form is the first to go. Then con-tent. In the best-looking magazines,maybe content was never that serious.How serious can you be about fashioncopy? If you think of Vogue in the 50'sIrving Penn and Avedon's Bazaars theywere wonderful things."Now, a collusion has happened inadvertising and magazines.In fashionmagazines, we do girls with a backgroundof cars in order to get ads from Detroit.Sometimes magazines credit a perfumeon the girl.Who the hell knows whatperfume she's wearing? It's a silly way ofgiving credit to an advertiser to makehim advertise.It used to be you could dosomething for the hell of it photographthe tiara of the Maharanee of Barodafor two pages, just as a picture. Now, everypage has to produce income. Whoring ismaybe too strong a word.It's influence-peddling, at least. There's less editorialimmunity of the kind of thing thatexisted in, say, Vanity Fair."G S Of your three levels, how did youmove from each?HW"I did the magazines for 14 years

s q u i r eor seven, Bazaarfor three,Show for four. Show was the last classynew American magazine.There hasn'tbeen anotherall-over beautiful magazinethat would hold up as design.WhenShow failed, Mary Wells got me to joinher at Tinker. That's how I got started inadvertising.We started the Alka Seltzerads and commercials; did the BuickRiviera introduction."Later, Jane Trahey approached me tosay she'd be happy to give me half heragency over a period of years. I've a bigromantic thing for things I've neverdone, so I tried it, and liked it.We didsome very good advertising. One year,in the 50 Best Ms Show, of the wholecountry, our little agency had nine ads.I did 200 ads a year, like an ad a day."And I photographed a lot of them.That's how I got into photography, in a

jerry-built room with a roll of white paper.Then I built a studio like this, not as big,but well-equipped.The first year I hadthat studio, I shot almost a quarter of theads the agency produced.The photog-raphers didn't like it. I'm still not fullyaccepted as a photographeralmost asthough I'm moonlighting as an artdirector. But the results are now goodenough that the label doesn't bother me."Then, we had several offers to bebought by big agencies. The idea ofmaking quite a chunk of money at-tracted me, but Jane didn't like the ideaof working for anyone, so I took my halfof the money and left. I set up a studio,and we got clients from all sorts of un-expected corners. It grew, and now it'sa fairly large business. The problem is atwhat point you don't feel you have todo everything yourself the quandaryof the artist in business."With all this, teaching is a very satis-factory activity for me. Students get.you out of doing the same thing over andover because they do a problem in away you never would have considered.It steers you not by stealing their ideas,but by seeing there is another way, adifferent direction:'GSWhat thoughts do you have aboutyour young women students who will beyour youthful professional competitors?HIV"I love women. I don't love Woman'sLib because I hate fanaticism of anykind the marching, demoritrating.I hate bra-burning the way I hated theSS on the streets of Vienna.The woman'smovement lacks what I love best, a senseof style and a self-deprecating humor.I'm all for women making as muchmoney as they can. I'm happy that MaryWells paid herself a $440,000 salary"GS-What kind of life do you lead? Aresurroundings important? Do you cook?Collect?H W " My personal life hasn't been verysuccessful, but I have nice surroundings.I keep making surroundings for some-thing that doesn't materializeback-grounds for no play. I never cook in town.Someone called my kitchen a virgin.I have a place in the country, where I docook. I have a lot of art things artistsdid for Esquire."Collect? I've a great love for the best ofits kind.I bought this watch.It's the bestin the world. Patek Philippe. I love Fabergenot the way it looks, but the perfection.I used to like jazz. Then I got myself areally good stereo, and for the first time,really listened to classical music:'GSWhat would you yet like to do?H W "It would be nice to be your ownclient to do things for their own sake to do a magazine one would think isgood, and try to sell it after the fact. To doposters. Or ideas for furniture, just tobe a design function, to make prototypes.It's all related. Art is communication.When it's well done, it's both. When it'sbadly done, it's neither. I think a greatItalian lamp is a piece of sculpture.It's people who can't do either who makethe distinction:'GS - From an elitist, that's a greatclosing line, Henry.

CHRONOLOGY1925: born in Vienna, Austria1941: arrived in U.S.; served in U.S Army1952: named AD, "Esquire"1954: joined faculty The Cooper Union, School ofVisual Arts1958: was AD, "Harpers Bazaar' and of "Show Magazine"1959: was chairman Annual Ex hibition, Art Directors Club;listed in W ho's Who in America; became memberAlliance G raphique Internationale1961: joined Jack Tinker and Partners as AD1965: was AD at M cCann-Erickson1966: became Executive Vice-President/Creative DirectorTrahey/Wolf1968: served as Vice President, Aspen Design Conference1969: was a mem ber President's Commission forPropaganda1970: elected Benjamin Franklin Fellow, Royal Society of

Illustrators, London; elected President, AmericanInstitute of Graphic Arts1971: formed Henry W olf Productions, Inc.1973: was member of the executive board, Art DirectorsClub, NewYork1974: was Vice President, Architectural League, New York;listed in Who's W ho in Graphic Arts; named MellonVisiting Professor, The Cooper Union, N.Y.1976: received Gold Medal, Americ an Institute ofGraphic Arts, New York

A w a r d s : Society of Illustrators, Art Directors Clubs ofChicago, Los Angeles, Philadelphia, Washington ,D.C., 50 Best Awards, RIGA; Society of PublicationDesigners; Society of Typographic Arts; from ArtDirectors Club of New York received 6 medals,30 Awards of Distinctive Merit.

B I B L I O G R A P H YThe following list is as clear as we can make it. Someof the articles are by Henry Wolf; some, about himAdvertising Directions, 195 9Ameryka Magazine * 68, U.S. State DepartmentAspen Journal, Aspen Design Conference 1966C/A Magazine, 1967, 1970Color PhotographyAnnual, Ziff Davis 1 959Fitly Years, AIGA Anniversa ry BookGraphic Designers in the U.S.A., volume 1,Bijutsu, JapanGraphics Today, volume 2, *1, 1977Graphis Annual , 1959Graphis Magazine *109,149,188,193NewYorkArt Directors Annual, Hall of Fame 1973Photo Magazine, 1973Photographis, Introduction, 1967, 1976Photography in the 20th Century Felix G luck,London 1978Print Magazine 1975The Nikon Image BookType Talks 1958

THIS ARTICLE WAS SET IN ITC BOOKMAN AND ITC AVANT GARDE GOTHIC CONDENSED GERTRUDE SNYDER


9/72

9


10/72

10C I P E P I N E L E S

A ONE OF ONE-OF-A-KIND ASSEMBLAGE FOR A NAME - SAKE.B REGINAL D MARSH PAINTING FOR "SEVENTEEN" MAGAZINE.C BEN SHAHN PAINTING FOR "SEVENTEEN:D EARL Y WOMEN'S L IB PORTRAITS BY JOE KAUFMAN FOR "CHARM" MAGAZINE, 1952.E EARLY FRANK SCAVULLO PHOTO.F CIPE'S RECIPE PAGE FROM HER PRIVATE COOKBOOK.G JACOB LAWRENCE PAINTING FOR "SEVENTEEN:'H RICHARD L INDNER COL ORED INK DRAWING FOR"SEVENTEEN"I COVER FOR L INCOL N CENTER JOURNAL .J GARBO FESTIVAL COVER FOR LINCOLN CENTER JOURNAL.K POSTER ANNOUNCING PARSONS SCHOOL OF DESIGN COMPETITIONFOR HIGH SCHOOL STUDENTS.L BOOK COVER FOR PARSONS EDITORIAL DESIGN CLASS PROJECT A

9.7.111)p(317111 (z1-1)5/ . , q :v:11 )/().- ): I I ) 1 I, Hu.,ZIP; tip 1V11.1,:l 11 r l 7 1 7 1

B

Tomorrow will be Sunday

BREAD bread=b r e a f f k i k E 6 A U H E A D =B R E A D I B R E A DD


11/72

YU

0: I MOO

S IOWD

E

M fn t r . 1 1 . P . i f t, f , ! 1 -e l ' r ! * At

golit Pbtalikeilida allN

a lw .

THE BEA61T1FUL-SKfti DIET

*o*= ,rorodoMoo

ProOro000110fr. mot thoe reMa *OM000/010 6.00411110 1 Ow.11.03 KAM. Wan. 0 tre

4.0 mar1...MOn001 OroM. __Oo/ o MomsKM 0erok. roomOron 4mm...a weto op. am axewwI11014 4 WM .. 0.0 01)....0

Funau 114. ooron1 1 . , nro Onno u aoma.oa

0MswrrwO. o414. Y0ecorm mot 0fro am dm

Oe mno. 50.mmo 000I na. ow0000 w o i t o . o . o . . . ,

Wan .et OW* 5 . 00 1.limo es, .1*nalmot 111

J

H E N R Y W O LF11

A ILLUSTRATION FOR AN ARTICLE ON BUBBLEGUM IN "ESQUIRE" MAGAZINE.B WHISKEY ADVERTISEMENT.C IL L USTRATION FOR A STORY ON WOMEN L OSING THEIR HAIR IN "WOMAN'S DAY" MAGAZINE.D COVER OF "ESQUIRE" ( PHOTO: DAN WYNN) .E COVER OF "SHOW" MAGAZINE REL ATING TO STORY ENTITL ED, "TOO MANY KENNEDYS'F COVER OF "NEW Y ORK" MAGAZINE ( WINE ISSUE) .CHRISTMAS COVER OF "HARPER'S BAZAAR" ( PHOTO: RICHARD AVEDON) .H DOUBLE SPREAD IN "McCALL'S" (DIET STORY)I DOUBLE SPREAD IN "McCALL'S"(HAIR STORY)J COVER OF "PHOTOGRAPHIK

H


12/72

1 c t c l-ht put poiiticctl pris-oners. it jail and I dictn'tpcit socliqm riitrqte intobqcon. . It Isn'trnq fa4ltthat Woodrow Wi I son W4S0. broken Thar% after thgLeoLlqe ofNations and Im-not rfsponsible for theSoviet and Cqban incur-sion into A frsect ortheweVOWSS of the aoticiror the S14 abys e w s . %

t 0 titiiilerr1 1 : 1 : 1 1 , 1 1

Y o u ' r e n ot mipon5ibleforprisoherS flailedI A other countries.%

y our fault thatwoocirowWilson c t Sutterliqokenafter T h e ie of Nat ions. . .Y o L e r e Twt spohsibltfor the Soviet Ctrid cubgnmckesiot, E nt pivri Cq orthe v v e g i c h e s s of the4011cir or the slaughterof bgb/ seals."

" Ycl4 cliebl it pot socii4rnnitsate into bacon.. .n

12


13/72

C>

You will soon be Secretary of State again."

13


14/72

14

3 / I S Cana DiGrappaCarol DiGrappa is an incurable adventurer. When she is notexploring with camera and words the exotic likes of Fez orVenice, she reaches into the landscape of her fantasies anddreams to see what she can see. Here is her romantic side,but there is also the humanitarian who looks for dignifiedbeauty in the back streets of an Italian village and for sordidreality on 42nd Street. A freelance writer and photographerwho lives in New York, Carol is forever curious and will nothesitate to knock on a strange door and then tell us what shefound: "The world that I love most is one of mystery, fantasy,and decadent beauty. It is an interior world, a dream realitywhere everything is at once frightening and alluringwhereone can sit back, as if in a deep sleep, and observe strangeplays. The photographs you see here were taken in the ruinsof Villa Adriana near Rome after the death of my father. Iwanted to make sense of my loss, come to terms with our re-lationship, and try to understand the clairvoyant dreams Ihad before his death. I wrote poetry about love and death andthe nuances of our life, which was like a timeless dance. Even-tually losing myself for a while, I found continuity in my abil-ity to understand and to laugh."

A Message toa White HorseFrom your fig-eyeI looked downto my swollen feetwonderingwho am I anyway.You left softeninglike ripe fruitjust when I neededyour replybut there was none.Just when Iwas sure to liveyou spun outjitterbuggingwith a bouffant fillyand a fading pulse.Lady-killeryou lost your hoovesto Pan that nightas your smile turnedto a grimaceand you slumped downon a barstoolfar from home.

I got the messagemonths before the callthat sent me mourning.It came in midnighthighland dreamsand one-act playstransmitted fromour distant home.At the endI saw your shadowin Arlesian alleysand tried to love,your corpse in Rome.Even that nightthey slammed youin the steel box,I couldn't sleepfor the morbid poemsflowing from my pen,though I hadn'theard the truth(four words I knew)from Mama.


15/72

I dreamed of youresting limplyluminous asa diffused moonupon a pyreof winter storm.On the horizonbelow I hungcolorlessone dead mare headamong legionsof others.In unisonvoices calledfor your descentto our lastambiguouscelebration.I was scared:I rememberturning to goand being blockedas my visiondisintegratedand I congealedinto a glacialreflection of you.

I looked for youin a porous remnantand a worn ideal.Bythe stage dooro Teatro GrecoI waited to recallyour white-hairedwhisper from the Styx.Instead I sawmyself reflectedin swanless poolsopaque with slimeand a scarred impostorslouchingin Venus' place.

For yearsI've been rewordingmy closing linesmy epitaphto end our play.When you repentedshooting the pale birdand we feastedon ambrosiabehind three wallswhile no wind blewagainst the missingfourth, I thoughtwe'd closedthe last act.But I'm still driftingin this ancientlandscape searchingfor the sequenceto bind my selvestogether.

I exposed myselfin a seaside townwalking bare-breastedas you watchedblanklyfrom the big housewhile touristsshrunk back andsome machospicked my nippleslike blackbirdstasting pie.


16/72

m oo ,1 1 4. 4 . 1 4 1 v ,

SI)* CR DiStlIFITIFINII:SaiStODINC:01140 NT77Yr777777777t OR MADMIRE 8i HMS M ISWARRANTED 200 YDS.

-NER R I C K TH R EA D co .fbr, Sewing lac1;.inesWarrented200 ra rds

Vohne Uth.CA109.

I k e I c a d i c s

16

/read somewhere that art is worthy ofrespect even in its humblest man ifesta-tions. Perhaps one of the more humblemanifestations is the tradesman's busi-ness card. The business card today has forthe most part been seriously neglected, butin nineteenth-century Am erica, when indus-try was embryonic, business cards had alook of distinction.T hey were brilliant, though small, -exam ples of the graphic arts. Thevariety in these little engraved cardsis infinite.The designs may show adisplay of baroque and rococo motifs com-bined with heraldic emblems, ornate bordersand sophisticated monograms interlacedwith fancy typefaces.ociety at the time would not havetolerated the sensational &ic eye-catching nature of present-day adver-tising. It wanted something d ignified,refined and discreet.A"public announcement"had to be what was considered tasteful andappropriate for the public.Thus, elegant typog-raphy was the rule. Only rarely do designsinclude the display of the manufacturedgoods that one might ex pect, but many cardswere embellished with an engraved illus-trition of the store or factory. Proprietors

were understandably proud of their estab-lishments and pictured them undoubtedly toremind us of their company's success andexpa nsion i.e., implied dependabilityan attraction there must have been tgrand sprawling edifice occupying acres ofprime land or reigning majestically overbusy urban center. It spelled success. Some-how, w ith or without the illustrations, earlybusiness cards dating from about 1820 to1870 are elegant, and they convey quality.y 1880 many of the discreet blackand-white engraved cards hadgiven way to chromo-lithographedpicture cards, which had immediateappeal.Their subjects were comical or, moreoften, sentimental scenes with children,animals and pretty girls. I venture to say thatthis is the trend which has continued u ntiltoday in advertising, while business cards,though still typographical, have lost their ma-gic. Ephemera collectors in the know placea much higher value on these subtle black-and-white cards of early date than they doon the glamorous, colorful chromolitho-graph cards which w ere manufactured ingreat numbers after 1880 . One wonders

whether future generations will be collect-ing the business advertisements of today CAROL WALD

W hen Itadesmen's Cards Meant B usiness

CATALOGUE No 2 .

ii rb oi1-0 14': , ,_

) rS ' i- 0

,....

((

.

,,---)

,-/ ,,2,,)74 . . _,. _ . . _ - _ _- _ , . . _ _1 - c , . . ,;*..,o L L E c T ,o,O ,----F 6 7 ,,1 N W 9; L a- 1 1 1 4 e c v o

.___ a t 0 liE P k---.=- ICILtiS.- r r u. ., 1 / . ...r j.....,-, . .,

. ',A,

1\ -r- - , -....-. lE,,7 3 1 0 7'

, N-, 1 7 *v..e.

i l k i, I I t R V ' L 1 ttlii,iWILLIAM DEMUTH. ERN EST EHNMANN. LOUIS DEMUTH

- - --- -L- =a ----c--=4 -atIirr(Aipecorate Our erne wit urBEAUTIFUL P ICTURES, .1 _ , . . . . . 6 7 . . . _ ,_ouporis f rom the pa ckag es ofa v e t h e...-Valtede `crTOBACCOand obs erve careful ly direct ions on eachONE TH OUSA ND -TOBA C C ONI STS I N YOUR V I C I NITY1 -C A R R Y I N S T O C K A N D D E L I V E R T H E S E P I C T U R E S* F O R U S , T H U S S A V I N O Y O U T R O U B L E O F NAILING COUPONS .-.%-.W A T C H F O R S T O R E S W I T H -, 4F R A M E D D I S P L A Y S O F T H E S E M A GNF I C E N T H E A M E R I C A N T O B A C C O C O : o.(-ID W O R K S , O F ARTS E W Y O R K . N Y . su c ci ' " "OVER) on,,..,

SEALIWY, 5 o


17/72

D 'NsA ro14;

soANNVR5 - DINSMORE's

0 -1- 11-Gr()11 ) Balsam4fiereb i s i t l y Carr i .over I

G R E A T E N G I B H C O U G H a n d C R O U P----4-11ALSAM-T h a t w i l l C U R E a G O U G H t u f t D a y ,

A N D T H E C R O U P I N O N E M I N U T E .

ENGRAVINGS. ICTURE FRAMES. RTIST'S MATERIALS.

ta 2)CLV1 . 1 1 1 1 L 1 0 1 1 1 1 7 1 4 111.117Jr THE ni-

n witted 6y rB: J heldon.THIS ARTICLE WAS SET IN ITC QUORUM


18/72

ailisumMunrwarmumassossaissalemersamersassausitmorsorasommomissaaSSS

SSS SS S S

SUCCESSORS TO , !to. A. IRUSIS EL& .. PRINWILD ifirizoPr co 1 UNION MEM, RIPER CO.MMMMMMMMM Bit I I Mg

aaaaaaaNOaaaaaaaMEINaSINRNaa

ftf f i 1 1 1 0 ..IrlqEt7751. T. ICI- T,

WOOtAI RRO AVE

"

,1 1 1 1 0 4 41! ) 1 1 C ) 1 1 -

= " k e

RAINEYEA WALLACE Buftid, .1:TABBOT DOWNNGCO. avonetlarliHENRYHOOKER9 CD reir/beIrn.44vIe

_Wiik;

c e a s e g l e t e m e n a m e 0 . 4 _Str 3.4744

C A R B I K E S . L I G U T B U G G I E S

ORADo.

24, 26 & 2 South7ifteenth Street, ,betvreen Market and Chestnut, phia.

18


19/72

REB.I.AR

IMIEMAT3E11r:, V ' 33Mt OW' MOEUELIS,S T A P L E F A N C Y G R O C E R I E S , F L O U R , F E E D S H I P S T O R E S ,WNES LIQUORS ANL) CIGARS23 UNION STREET - - MIDDLETOWN CONN.

F I S T L I O N Y H O U S E 000 2884 -1311PADA 14- NEWY0111/41(

E U R O P E A N P L A NAT REASO1AI3LE PRICES


20/72

- 1JSWINGIN'i111111111111

'r

Moonlight on the water and theCasa Loma Orchestra sparklingin the G len Island Casino. Your finest hour in college a prom datefor Jimmy Dorsey.A table up frontat Frank Dailey's Meadowbrook,with Claude Thornhill doing"Autumn Nocturne:' Count Basie'sbig band thundering throughthe walls at 52n d Street's tinyFamous Door. The HollywoodPalladium, with room for 6,50 0dancers and 30 overworked boun-cers.The M anhattan Room of thePennsylvania Hotel, where the Kinghimself held court. Harry James,Hal McIntyre, Charlie Spivak,W oody Herman,Artie Shaw, BobCrosby,John Kirby,The Duke,Bunny Berigan,Charlie Barnet,G ene Krupa,Vaughn Monroe.Jitter-bug, swingout, breakaway. Juke-box S aturday Night, and used 78sat ten cents each. Remember?

1 1 1 1 1 . 1 1 1 1 1 1 1 1 1 1 11 1 1 1 1 1 1 1 9 3 1 1 1 1 1 1 1 1 1 ' 1 1 1 1 9 1 1 1 1 1 1 1 1 1 1 1 1A I M I M E1 1 1 1 1 1 1 1 1 1 1 N 1 1 1 1 1 1 1 1 1 I 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

lir 1 1 1 1 1 1 1 1 1 d I N 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1i r rn immorr s' a1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 M M'illd L I F I R 1 1 7 4 I l l i r r 1 1 1 1 1 9 1 1 1 1 1 1 1 1m m i i i r yNM 7 1 1 1 1 1 1 1 71 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1N ` i l l 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1II i l l 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1MINIM lir 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

20


21/72

D O W NBob of the"Bobcats"-Poor little sland". Lollobrigida.Map abbreviation.To subject to thefumes of ether.Tullerium (chem. sym.)astle and his"Castles in the Air."" aturday Night'Aide.. Harry. Dance craze of the 40s.. Chromosomes..sland Casino.. GlennGlen nd hisCasa Loma Orchestra.Rate.Exist.Sudden stream of solar light.hone.Louis Armstrong.Liq. meas.Labels.Ford car model)." weet mystery of life..:'Attar.Tommy or Jimmy.

he driven snow.Soviet Union.Art 40s singer).Win by a

obb (baseball great).SynghmanGreek letter. 'rown and his"Band of Renown:'Snake. M (U.S. missile).

A C R O S S1 " e Mamma with a

boogie beat'4. arbo11 . Blood type.12 . Kind of dancers of the '40s.15. Benny King of Swing).17 . Little ones.18. Hallucinatory drug.19 . Mental pictures.21. Lamp dw eller.22. Ray or Bob ('40s singers).24. Track system (abbr.).ZS. Ruth and Zaharias.26. Big Apple city.Z7. Smith and Jolson.28 . Camp Assistant's position.29 . Sault arie.3 0 . The last three in the alphabet.3 1. Military store.3 2. Like a lemon squeezin' at times.35. Israeli airline.38. orrow40. ime (never).41. The Matterhorn, e.g.43. WWII special services group.45. Morton47. Initials for Russia's Georgia.48. Basie and D racula.5 1. Ruthenium (chem. sym.).5 2. Ascends.54 cuff.55. Blues singer of the '40s.57. "Three Hits and a59. Stereo listener's equipment.60. oung. (Baseball great).61 . Eight instrumentalists.62. Hitler's elite corps.63 . Norman Vincent

ANSWERS ON PAGE 69

G l en n Mi l l er com bi n edimpeccable style andsilky rhythm in suchclassics as "String ofP e a r l e :" Ad i o s' , ' " Am e r i -can Patrol; and "Chat-t an ooga Choo Choo :

21

i n a s e ri e s of V e ry G ra p hic Cro s s wo rd P uzzl e s

indi-tylists. Lena H orne

h J ohhn y, "rrin T ucker' s b an d,

At a g e 9 , T om m yDorsey was alreadyan accomplishedtrombonist. Both hean d b rot her J i m m ywere taught by theircoal-miner father,and could play mostbrass and reedinstruments.

b y A l M c G i nl e y a n d D o n M c K e c h n ie

E WAS SET IN ITC QUORUM


22/72

SS . After a heavy day in the studio, I invited my staff upstairs for a drink. Mei Lou(my wife) put out some peanuts and a box of pretzels. Still wound up from work,I suggested that one of the pretzels made an interesting 13'.' My daughter, Leah,promptly challenged this observation and said that for such a big shot designerdidn't know anything about design. She then proceeded to make an I The rulesfor making an alphabet developed rapidly. Each letter had to be nibbled out of theoriginal pretzel, no separate pieces put together and no dipping the pretzels intowine to soften them up. My son, Noah, claimed the 'N' and my secretary, Ruth,reserved the ` 1 ? . ' I went straight for the ampersand My daughter still thinks the 13'in its original state is a cop-out. The name is Pretzel face. The question beingasked in London now is: Does this new nibbling method pose a real threat to therubbing down system? Y L O U K L E I N , S T A F F , FA M I L Y A N D F R IE N D S


23/72

LOU ,Sssi rt))6 fe CEkQ5(e.cvoraesirDON kix.11 9 64 33

28


24/72

24.

Something For Everybody From U&lc

In 1642, R embrandt painted " T he S hooting Company of Captain FransB anning Cocq :' in which 29 life-sized civic guards are show n leavingtheir armory at high noon, with the sun shining brightly upon them.Less than 200 years later, the picture had become so dingy and darkthat someone facetiously called it " T he N ight W atch:' a nickname thathas long since supplanted its true title. Bet you didn't know .that

When the Mona Lisa wasstolenfrom the Louvre in Paris,for two years there was anempty space on the wall.During those two years, morepeople entered the gallery tostare at the blank space thanhadfor over twelve years cometo look at the masterpiece.

./1 1 1 / 1 . wttnrl;//m

One of the chief ingredients inthe success of an ad cam paign isa catchy slogan. Down throughthe years from "Ask the manwho owns one" to"Does she ordoesn't she?" many a producthas been lifted into the best-seller category by insistent repe-tition of a slogan. Amusinglyenough, the slogans with whichtoday's advertising geniuses

do battle for a share of the con-sumer pocketbook are the directdescendants of the war crieswith wh ich Irish chieftains didbattle. The word slogan comesfrom the G aelic words slaugh(army) and gairm (a shou t) - thetwo being blended as a slaugh-gairm, meaning " battle cry,"from wh ich the present spellingwas evolved.

A widely held misconception isthat Welsh rabbit is just a vulgarform of Welsh rarebit. Actually,the opposite is true. Welsh rarebitis merely a mannered and affec-ted corruption of a phrase thatdates back to Shak espeare's timeThe great philologist H.W . Fowlerset the matter straight in his usuabrusque and trenchant manner:"W elsh rabbit:' he writes, "is amus-ing and right; Welsh rarebit,stupid and wrong:'

T h e w o r d " b a m b o o " h a s c o n t ri b u t e d t w oc o l lo q u i a l i s m s t o t h e E n g l i s h la n g u a g e .F i r s t, w e o w e t o it th e w o r d " j o i n t , " m e a n -i n g a d i s r e p u t a b l e g a t h e r in g p l a c e , a d i v e .T h i s is b e c a u s e t h e p i p e s u s e d i n o p i u md e n s w e r e c ra f te d o f b a m b o o a n d h a d m a n y" j o i n t s : ' ( M a r i j u a n a c i g a r e t te s a r e a l s ok n o w n a s j o in t s b e c a u s e o f t h e ir a s s o c i a -t io n w i th o p i u m d e n s . ) S e c o n d , t h e re i s t h ew o r d " b a m b o o z l e ," w h i c h m e a n s t o f o o l o rc h e a t . T h i s t r a c e s b a c k t o t h e C h i n e s ec u s to m o f p u n i s h in g s w i n d l er s b y w h a c k -i n g t h e m o n t h e h a n d s a n d b a c k w i t hb a m b o o p o l e s . A n y s m a r t a le c k s o t re a t e dw a s a " b a m b o o z l e r" t h a t i s , o n e w o r th yo f b e in g b e a t e n w i th b a m b o o .ILLUSTRATIONS BY LIONEL KALISH

A bunch of animalsThe English language is replete with collective nouns to designatEgroups of animals. Y ou're probably familiar with a pride of lions anca gaggle of geese, but did you know such other colorful ones as:cete of badgers; a muster of peacocks; an exaltation of larks; a muttof hounds; a nye of pheasants; a skein of ducks; and a skulkof foxes'


25/72

Abram G ames, one of London'sleading graphic a rtists, sent us thesehandsome designs which he thoughtwould be particularly interesting toour readers who love calligraphy.Below left, is a motif for the NewPrayer Book of Reform Synagoguesof Great Britain. Beneath that is adesign of the Cover, spine and backcover for Encyclopedia Judaica pub-lished in Jerusalem. At the right is aMemorial panel for thelibrary at Hillel House,B'nai B'rith, in London.

AT,

0,7Cf$ iog*tl'4;741:1 4 "4i t i t k 4 1 ; 4 Eg ; ; , ; 1 1 : ; 0 4 tt

25

H urry, hurry, hurry

take your pick ofthe glass pitch, theglider, the kinker,or the high-striker,

bally comes loudand fast.Will youend the day sick orbe kifed or gaffedproperly taken?H urry, hurry , hurry

corny workers. Like

a familiar sideshow con-mark (customer) tries

the so-called chairplane-

a performer.the heavy mallet used to

the corny spieler.corny operatives' way of

a pitch that is kifed or gaffed is apossiblyunkifed wheel is about

Long before Allen Funt started taking pictures of people "off guard," a man named ErichSalomon took a series of unposed pictures of world-famous statesmen at a League of Nationsmeeting in Geneva. The year was 1928, and he used one of the first Leica 35-millimetercameras. When published in the London Graphic, they created a sensation because theywere so unlike the customarily stiff and formal group photographs taken at such assemblies.For the first time, the word candid was used to describe Salomon's photography.

THIS SPREAD WAS SET IN ITC BOOKMAN. ITC SERIF GOTHIC. FRIZQUADRATA, ITC QUORUM ITALIA, ITC AMERICAN TYPEWRITER, ITC ZAPF INTERNATIONAL


26/72

Addressograph-MultigraphCorp., Varityper Division11 Mt. Pleasant AvenueEast Hanover, N.J. 07936(201) 887-8000Phototypesetters and Photo-lettering Systems

Dymo Graphic Systems, Inc.355 Middlesex AvenueWilmington, Mass. 01887(617) 933-7000Phototypesetting Systems andEquipment, Film Strips,Standard and Segmented Discs,and Digitized Fonts

Mergenthaler LinotypeCompanyMergenthaler DrivePlainview, N.Y. 11803(516) 752-4197Linofilm, Linotron, Linocomp,V-I-P

Alphatype Corporation7711 N. Merrimac AvenueNiles, Illinois 60648(3,12) 965-8800AlphaSette and AlphaCompPhototypesetting SystemsAmerican Type FoundersCo., Inc.200 Elmora AvenueElizabeth, N.J. 07207(201) 353-1000Type Division

Film Fonts International225 Park Avenue SouthNewYork, NY. 10003(212) 533-2110Alphatype/AlphaSetteFonts and 2" Display FontsFilmotype7500 McCormick BoulevardSkokie, Illinois 60076(312) 675-7210Film Fonts

MGD Graphic SystemsRockwell International2735 Curtiss StreetDowners Grove, Illinois 60515(312) 963-4600Information Products Division3M Company3M CenterSt. Paul, Minn. 55701(612) 733-1100Promat Letter Compositor

Bobst S.A.Bobst Graphic DivisionCH-1001 LausanneSwitzerland021/89.29.71Phototypesetting SystemsDr. Boger Photosatz GmbH2 Wedel in HolsteinRissener Strasse 94Germany(04103) 6021-25Manufacturers of CopytronicPhototext Composing Machines.Film Fonts. and CopytypePhotolettering Systemsand Fonts

Degra Albert DeistPostf. 114 D-3508 MelsungenWest GermanyDisplayTypesetters. 2" Film FontsDymo Belgium NN.P.O. Box 35St-Niklaas (B2700)Belgium(03 76) 6980 10 1Visual Systems Division

Graphic Products Corporation3601 Edison PlaceRolling Meadows, Ill. 60008(312) 392-1476Formatt cut-out acetate lettersand graphic art aidsGraphic Systems'WorldTrade S.A.Tour Gallieni 180 Avenue Gallieni93170 BagnoletFrance360.1212GraphisetHarris Corporation-Harris Composition SystemsDivisionP.O. Box 2080Melbourne, Florida 32901(305) 259-290Fototronic 4000.TXT. 1200, 600CRT 7400, 7450

The Monotype Corporation Ltd.Salfords, Redhill, Surrey,EnglandRedhill 6 5959Visual CommunicationsEquipmentNational 'Type Matrix. Inc.126 Tenth StreetBrooklyn, NewYork 11215(212) 768-8600Metal MatricesOfficine MentaMacchine CompositriciVia Mazzini 10/1220032 CorrnanoMilano, Italy929-47-73Text PhototypesettersOptronics International, Inc.7 Stuart RoadChelmsford, Mass. 01824(617) 256-4511Phototypesetting SystemsPhotoVision,Of California, Inc.P.O. Box 552Culver City Calif. 90230( 213) 870-4828Toll Free 800-421-4106Spectra Setter 1200, VisualDisplay Setter, and 2" FilmFontsPressure Graphics, Inc.1725 Armitage CourtAddison. Illinois 60101(312) 620-6900Dry Transfer LettersProtype, Inc.67 Main StreetWarwick. N.Y. 10990(914) 986-1166Visual Display PhototypesettingSystems and Film FontsD. Stempel AGHedderichstrasse 106-114Frankfurt am Main-SudGermany(0611) 6068-1Type DivisionTactype, Inc.12 West 26th StreetNew York N.Y. 10001(212) 924-1800Dry Transfer LettersTechnographics/Film FontsP.O. Box 552Culver City, Calif. 90230(213) 870-4828Toll Free 800-421-4106Film Fonts, Studio Film Kits,and Alphabet DesignersVisi-Graphics8119 Central AvenueWashington, D.C. 20027(301) 366-1144Dry Transfer LettersVisual Graphics Corporation5701 N.W. 94th AvenueTamarac, Florida 33321(305) 722-3000Manufacturer of Photo Typositorand Original TypositorFilm FontsZipatone, Inc.150 Fend LaneHillside, Illinois 60162(312) 449-5500DryTransfer Letters

Artype, Inc.3530 Work DriveP.O. Box 7151Fort Meyers, Fla. 33901(813) 332-1174800-237-4474Dry Transfer LettersCut Out LettersAutologic, Inc.1050 Rancho Conejo Blvd.Newbury Park, Calif. 91320(213) 889-7400APS-4/APS-5 CRT Phototype-setter Composition andTypesetting SystemsH. Berthold AG1000 Berlin 61Mehringdamm 43Germany(030) 69031Diatronic, ADS 3000, Diatext,Diatype, Staromatic,Staromat, StarographBerthold of North America610 Winters AvenueParamus. N.J. 07652(201) 262-8700Diatronic, ADS, Diatype,Staromat. Diasetter,Repromatic

Cello-Tak Mfg., Inc.35 Alabama AvenueIsland Park, L.I., N.Y. 11558(516) 431-7733Dry Transfer LettersChartpakOne River RoadLeeds, Mass. 01053

- (413) 584-5446Dry Transfer LettersCompugraphic Corporation80 Industrial WayWilmington, Mass. 01887(617) 944-6555EditWriters, CompuWriters,Text Editing Systems,Accessories and Supplies

FONTSHardy/Williams(Design) Ltd.73 Newman St.London WI England01-636-0474FotoStar International15450 E. Valley Blvd.City of Industry. Calif. 91746(213) 333-2600 or 330-5330FotoStar II Display SettingMachines. 2" Film FontsGeographies, Inc.1100 Seymour StreetVancouver. B.C.Canada V6B 3N3(604) 685-8236Dry Transfer Letters

Dr.-Ing Rudolf Hell GmbHGrenzstrasse 1-5D2300 Kid 14Germany(0431) 2001-1Digiset PhototypesettingEquipments and Systems,Digiset-FontsInformation International5933 Slauson AvenueCulver City, Calif. 902301213) 390-8611Phototypesetting SystemsItek Corporation1001 Jefferson RoadRochester, NewYork 14603(716) 244-5600PhototypesettersLetraset International Ltd.St. George's House195/203 Waterloo RoadLondon SE1 8XJEngland(01) 928-0488Dry Transfer LettersLetraset USA Inc.40 Eisenhower DriveParamus, N.J. 07652(201) 845-6100Dry Transfer LettersLinographics770 N. Main StreetOrange, California 92668(714) 639-0511Display Typesetters.2" Film FontsMecanorma78610 LePerray-en-YvelinesParis. France(484 83 40)DryTransfer Letters

For further information, write or call:International Typeface Corporation,216 East 45th Street, NewYork, NewYork 10017 212) 371-0699 Telex: 125788

LIME

26 Only the following Subscriber Companies arelicensed to manufacture andseU ITC typefaces:

TYPEFACE DESIGNPROTECTION AND YOU(AN ITC OPEN FORUM)

face. The type shop would notpass on to you, the customer, hisroyalty chargefor ITC typefacesbecause the one-time royalty heWhat are typeface royalties? or she paid is too small. The high-est average ITC royaltyfor a type-Royalties are the monies paid to face such as ITC Avant Gardetypeface designers eitherfor the Gothic Bold,for example (whichuse or sale of a typeface.Some typeface designers makearrangements with private proc-ess letteringfirms (such asPhoto Lettering, Inc.) orwith typog-raphers who hold afranchise indisplay headline design com-panies such as Headliners, Inc.,Alphabet Innovations, Inc. andLettergraphics,Int.The typogra-phers usually charge slightly ex-trafor each word they set in thespecially prepared and exclusive-ly commissioned typefaces. A por-tion of this extra charge is paid tothe designer of the typeface. Thisis calleda royalty.That's one way of paying type-face designers for their creativework. It is a satisfactory andacceptableway and customersknow that when they purchaseheadlines set in special or exclu-sively prepared designs, theroyalty paid to the designer is thereason they are paying slightlymore thanforother non-exclu-sive designs offered by the sametypographers.ITC royalties are differentthey are paidonly once.They are not paid on a per-word face image carrier and offering itbasis. They are not paid by the for sale as its own product. Eachuser/ specifier of the typeface. icensed ITC Subscriber mustThey are paid only by the owner manufacture according to its ownofa typesetting machine such as quality standards. (ITC "similar-to"a typographic service company typefaces by non-ITC Subscribersora company that does its own are not madefrom original art.)internal typesetting. Thus, the fyou purchase your typefacesroyaltyforanITC typeface is paid or typographyfrom ITC-licensedonly by the buyer of the grid,font, suppliers you will know thatstrip or other image carrier,and you are supporting the ethics ofit is paid only once, when it is pur- an industry, and that a percent-chasedfrom an ITC manufacturer. age of the royalty paid to ITCforSo the only royalty paidfor an the purchase of afont will go toITC typeface is by an owner of a the designer of the typeface.typesetting machine when it is ou will also be supporting thepurchasedfrom one of the ITC future of typeface design andSubscriber/ manufacturers listed will be encouragingfuture gener-on this page. tions of typeface designers.Type shop customers never ore thanforty companiespay royalties when they specify throughout the world, represent-ITC typefaces. ng, byfar; the majority of type-Ifyou are an artist, art director; face manufacturers, are ITC Sub-graphic designer, type director; scribers. This is testimony to bothproduction manager; or anyone the economic and ethical sound-who buys typographyfrom a ness of the ITC royalty arrange-type shop, you should never pay ment. These ITC Subscribers areextrafor specifying an ITC type- listed in the next column.

Why royalties?Who pays them?How much dothey cost?on some machines can be used toset type sizesfrom 6 point to 72point) is only $30.And this isfor asinglefilmfont that can be usedon hundreds ofjobs.Iffor instance, only a pennyextra were to be charged by a type-setting servicefor each dollar'sworth of a specific typeface soldto a customer, the shop's outlayforthe $30 would be returned withthefirst $3,000 worth of businessusing it. That is why we state,emphatically, that ITC royaltiesare not passed on to you, the typeshop's customer:ITC typefaces are not exclu-sive orfranchised designs.ITC typefaces are licensed toany company in the world thatwishes to subscribe to the ITCplan and that agrees to twobasic ITC principles: 1) the manu-facturer agrees to pay a one-timeroyaltyfor each ITCfont that itsells. (No other payments are everagain made by the Subscriber/manufacturer to ITC.) 2) Themanufacturer agrees not to makean ITC typeface by copyingsome other company's ITC type-


27/72

27What's New from ITC?

I T C C h e l te n h a m L i g h t a n d B o l d w i t h I t a l ic s ,and ITC Cheltenham Light Book Bold UltraC o n d e n s e d w i t h It a l i c s a r e n e w t y p e f a c e sf r o m I T C . O n l y l i ce n s e d I T C S u b s c r i b e r s a r eauthorized to reproduce, manufacture, ando f f e r f o r s a l e t h e s e a n d a l l o t h e r I T Ctyp e fac es s h o wn i n th i s i s s u e . T h i s l i c en s emark is your guarantee o f a u th en t i c i t y .L I C E N S E D

o f h o w al a r o l d ty p e f a c e c a n b e r e s ty l e d a n d b r o u g h te s t i ll r e ta i n i n g t h e f l a v o

Upper and lowercase Volume 5—Issue 3

Documents

Transcript of Upper and lowercase Volume 5—Issue 3