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AN ENDANGERED SPECIES.. . SAVED FROM EXTINCTION, PAGE 36


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E D I T O R I A L

NEEDED: A SHOTGUN WEDDING OFTALENTS AND TERMINALS

s potentiallycreative and fantastic as computercontrolled graphics systems andterminals are, you can't sit justanyone in front of one and auto-matically output a product that iseither art or effective communica-tion. Anyone can learn to operatea graphics terminal in just a fewdays; just as anyone quicklylearns how to make marks with apen or pencil or brush, but only anartist can create good art.

Right now we've got some pow-erful digital/electronic systems forcreating and outputting anima-tion, maps, business graphics andillustrations in many styles. Andwe've a great many skilled andcreative artists working in manygenre and techniques. But toomany of our best artists are stillshying away from graphic tablets,digitizers and electronic pens.

The full potential of the elec-tronic graphics systems will be re-alized only when the best artistsand designers learn how to usethem.

That this is starting to happenis shown by the work of RobertAbel & Associates, by the experi-mental work of Barbara Nessim(U&lc, Vol. 10, No. 4) and by the artexhibits and displays sponsoredby Siggraph, Computer GraphicsWorld magazine and PopularComputing magazine. The focus isstarting to shift from the how-to-do-it phase and wonderment (or baf-flement) about the technologicalcapability of each new device tothe freshness and quality of theoutput. And that, obviously, de-pends more on the artist/operatorthan on the device.

As talent/terminal courtshipsproliferate one can visualize bene-fits to all concerned. Those whoare sponsoring and those receivingcomputer created graphic infor-mation or entertainment shouldenjoy not merely fresh sensations

but more beautiful graphics andmore effective communications.

But what does the artist gain?He/she painted, sketched, drewand designed perfectly well with-out a computer. So why botherlearning to use a new, and possi-bly frightening, tool? The com-puter-based systems serve to makean artist/designer vastly more pro-ductive and more creative. Theyenable an artist to skip the tedious,repetitive operations and spendmore time being creative. They en-able the artist to see (and discard)many alternative approachesquickly and easily. For example,they make correcting or modifyingan illustration quick, easy, andshow the artist the changes as theyare being made. But, perhaps bestof all, they promote experimenta-tion and can be used to developrandom graphic effects that theartist might otherwise never con-ceive. Of course, final taste andjudgment remain with the artist.

Today, too many older and verytalented artists still need to be en-couraged to make friends withgraphics terminals. Of course, justa few years from now this sort ofeditorial will be obsolete as thegeneration growing up with com-puters takes over and wonderswhat all the fuss was about.

,01_ CH 1 I 0 \ITC AMERICAN TYPEWRITER. 12, 27 ITC FRANKLIN GOTHIC. 2, 6-7, 9-11,12-13, 15, 19,ITC AVANT GARDE GOTHIC 24, 26, 28, 29 20, 22, 29, 36, 37, BACK COVERITC BENGUIAT CONDENSED 38-40, 42-44, 46 ITC GALLIARD 9, 42-43ITC BERKELEY OLDSTYLE 46 ITC LUBALIN GRAPH 47ITC CASLON NO. 224. 16-19, 24-25 ITC MODERN NO. 216 38-39ITC/ LSC CASLON NO. 223 16-17 ITC NEWTEXT 2ITC CENTURY 4, 6-7, 44 ITC VEUOVIC" 2-3, 30-35ITC CENTURY CONDENSED 20 ITC WEIDEMANN" 40-41ITC CHELTENHAM CONDENSED. FRONT COVER, 28-29 ITC ZAPF CHANCERY. 14-15ITC FENICE 8 26

VOLUME ELEVEN. NUMBER ONE, MAY.1984EDITOR: EDWARD GOTTSCHALLART DIRECTOR: BOB FARBEREDITORIAL DIRECTORS: AARON BURNS. EDWARD RONDTHALERASSOCIATE EDITOR: MARION MULLERASSISTANT EDITOR: JULIET TRAVISONCONTRIBUTING EDITOR: ALLAN HALEYRESEARCH DIRECTOR: RHODA SPARBER LUBALINBUSINESS MANAGER: JOHN PRENTKIADVERTISING/PRODUCTION MANAGER: HELENA WALLSCHLAGASSISTANT ART DIRECTOR: ILENE MEHLART/PRODUCTION: TERRI BOGAARDS. SID TIMMSUBSCRIPTIONS: ELOISE COLEMAN0 INTERNATIONAL TYPEFACE CORPORATION 1984U&LC (ISSN 0362 6245) IS PUBLISHED QUARTERLY BY INTERNATIONAL TYPE-FACE CORPORATION. 2 DAG HAMMARSKJOLD PLAZA, NEW YORK, N.Y. 10017.A JOINTLY OWNED SUBSIDIARY OF LUBALIN, BURNS & CO., INC. AND PHOTO-LETTERING, INC. U.S. SUBSCRIPTION RATES 510 ONE YEAR: FOREIGN SUBSCRIP-TIONS. 515 ONE YEAR: U.S. FUNDS DRAWN ON U.S. BANK. FOREIGN AIR MAILSUBSCRIPTIONS-PLEASE INQUIRE. SECOND-CLASS POSTAGE PAID AT FARM-INGDALE, NY. 11735 AND NEW YORK, N.Y POSTMASTER: SEND ADDRESSCHANGES TO U&LC. SUBSCRIPTION DEPARTMENT, 866 SECOND AVENUE,NEW YORK, N.Y. 10017.ITC FOUNDERS:AARON BURNS. PRESIDENTEDWARD RONDTHALER, CHAIRMAN EMERITUSHERB LUBALIN, EXECUTIVE VICE PRESIDENT 1970-1981ITC OFFICERS 1984:GEORGE SOHN, CHAIRMANAARON BURNS. PRESIDENTEDWARD GOTTSCHALL EXECUTIVE VICE PRESIDENTBOB FARBER, SENIOR VICE PRESIDENTJOHN PRENTKI, SENIOR VICE PRESIDENT AND GENERAL MANAGEREDWARD BENGUIAT, VICE PRESIDENTMICROFILM COPIES OF U&LC MAY BE OBTAINED FROM MICRO PHOTO DIVISION,BELL & HOWELL. OLD MANSFIELD ROAD, WOOSTER, OH 44691

In this issue:EditorialA call to artists and designers to take the plunge andcommit themselves to the new technology. Page 2ThoughtsFrom Spinoza's mouth to your ear. Page 3The Art and Craft of Old-Fashioned MedicineA survey of the graphics and advertising paraphernaliaused by medical practitioners of the past. Page 4Artistic LicensesThe ultimate in personalized license plates for someworld famous painters and sculptors. Page 8Man Bites ManSteven Heller presents Robert Grossman, another biggun in his army of satirists. Page 12Fingernail EmbossingAll about a graphic designer whose art is at his finger-tips. Page 14William Addison DwigginsThe life story of the man who became a foremost typedesigner, in spite of himself. Page 16

rendsetting Japanese designer (and space explorer)engineers an alphabet. Page 20Puzzle: Colorful CharactersA search for color names that will take you far beyondthe rainbow. Page 24His Typography TalksA word design specialist provides one-word definitionsof some complex psychiatric terms. Page 26LettersOur readers write. Page 27Report from TechnopolieThe latest in hardware and software from two whoknow, David Goodstein and Jerome Zadow. Page 28What's New from ITCITC Veljovic, a dynamic first typeface design from thehand of the imaginative, spirited Yugoslavian calligra-pher, Jovica Veljovit. Page 30Book ShelfFor your enlightenment and pleasure, a review of cur-rent publications related to art, technology, graphicsand communication. Page 36CarouselEight colorful pages of unrelenting nostalgia for thecarousels and their pedigreed horses of yesteryear.Page 38Contemporary SantscriptA beloved parakeet, named Sam, evoked this memorialalphabet design. Page 47B. Martin Pedersen designed this issue of U&lc whileU&lc Art Director Bob Farber took a brief leave of ab-sence. Readers may recall the Flight story and cover ofU&lc in March, 1982: it was designed by Mr. Pedersenand won many awards throughout the industry. Hisbiography appears on page 36 of that issue.MASTHEAD SET IN ITC NEWTEXT 0:0 ( REDUCED)TABLE OF CONTENTS AND EDITORIAL SET IN ITC VELJOVICCOLOPHON SET IN ITC FRANKLIN GOTHICS

Please note: The date of this Issue of UNIc,Vol.1.1, No.1, Is May 1994. it Is being distributed atthe usual time for the March Issue which It replaces. Iliac will continue to reach you en thecustomary date, but I will be labeled February, May, August, November.


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3THOUGHTS

Thought should not lack the heat of desire,nor desire the light of thought.SPINOZA, "ETHICS"

PHOTO: JENNIFER BAUMANNTHIS PAGE WAS SET IN ITC FRANKLIN GOTHICO AND ITC VELJOVIC.


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A brief survey of graphics and advertising ephemera used by medicalpractitioners of yesteryear, based on the collection and research ofH Helfand , B. Sc. Chem. Eng., B. Sc. Pharma cy D. Sc. (h. c.),

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L OND ON AND AMERICAN BURG&CAL INSTRUDA E NT NCHEMICAL AND PHIL OS OPHI CAL APP AR ATUS.CHEMICAL TESTS, ANATOMICAL PREPARATIONS -

PHYSICIANS, DEUWILSTS S.:COUNTRY MERCHANTS SUPPLIEDWITH DRUGS, CHEMICALS. GLASSWARE. SHOP FIST DEES. Sce. ke.MEDICAL STUDENTS. SUPPLIED WITH SPECIMENS OF THEMATERIA MEDICA, CREAMAL TESTS. MAGICAL DISTRULIENTSI.

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CA dvertising?... promotionalhype?... commercials?... by doc-tors, dentists, pharmacists? It'sa shocking idea, because mostof us are accustomed to livingwith a stiff-lipped ethical codethat prohibited health care pro-fessionals from advertising theirtalents. The only graphic com-munication we expect to seefrom our d octors and dentists(aside from their b ills) are neatlittle pasteboard cards withtheir names and office hoursprinted in 10-point type, orsmaller; discreet black and whiteshingles on their doors, and ar-rays of diplomas on their officewalls, from which we draw ourown conclusions as to theircredentials.But it was not ever thus. Asfar back as the early 1700 s, medi-cal practitioners and chemistswere using the full power of ex-isting graphic arts and crafts toproclaim their talents and per-suade clients to come their w ay.They circulated elaborate call-ing cards, trade cards, announce-ments, p osters, letterheadsthefull range of graphic conununica-tion devices.

THE TECHNOLOGY In the mid18th-century, copper engravingsand woodcuts were the mostfrequently used printing tech-niques. Many of the designs wereexecuted by anonymous artists.But there are samples of uniquecommercial engravings done b yWilliam Hogarth, Paul Revere,Currier & Ives and K ate Green-away, to mention just a fewknown artists. By the mid-1800s,lithography had not only beeninvented, bu t had reached sucha degree of sophistication that itbecame a preferred techniquefor commercial printing. It w asspeedy, accurate, and the stonewas cap able of withstanding theimpact of repeated impressions;it permitted quantity printingwithout loss of definition.Along with advancements inprinting techniques came a d-vancements in the related craftof papermaking. By incorporat-ing white lead into paper used

DA. This ornate engraving appeared in a French obstetrician's advertisement.The original text (now supplanted by our headline and credits) proclaimed thesurgeon's expertise in the treatment of pregnant and postpartum women.B. Advertisers often invoked the names of nobility and other illustrious clientsto enhance their credentials.C. An attractive woman, then as now, was considered to be a guaranteed "stop-per" for an ad or business card.D. It was common practice for chemists, apothecaries and distributor* ofmedicinal products to feature an Illustration of their establishment in theirads, to impress customers with the magnitude of their operation.E. A collectors' item of medical memorabilia from France describes "sick call"in the regiment. The truly afflicted were treated appropriately, but malingererswere purged with an emetic that guaranteed there would be no repeat offenders.

Ffor trade cards, a special glossysheen was imparted to the sur-face. It so resembled the lusterof fine china that cards made ofsuch paper were called`porcelaincards.' These handsome, rich-looking cards were extremelypopular during the period 1840to 1865 , and are highly prized bycollectors.

Later developments in photog-raphy, the halftone process andcolor printing all expanded thedesign potential of the graphics.DESIGN MOTIFS Early tradecards ranged from straightfor-ward designs with stock sym-bols for chemists, apothecariesand dentists to extremely or-nate engravings with portraitsof the practitioner, renderingsof shop facades, medals of honorand assorted credentials. Also,astute commercial artists ap-plied the lessons of successfulcommercial adv ertising in their

work for health care profession-als; they incorporated such sub-liminal attention-getting devicesas beautiful w omen, irresistiblebabies and adorable animals,in their medical graphics.T HE M E S S AGE S As it turnsout, the more expansive thedesigns, the more aggressive themessages. On surgeons' and den-tists' cards, along with the por-trait of the practitioner, theremight b e an allusion to an illus-trious client, such as a card forJ. Greenwood, which read:"Surgeon D entist to his excel-

lency, George W ashington, Presi-dent of the U. S.A."Another cardfor S. Andral Kilmer, M.D., ofBinghamton, New York, b ore thefollowing assurances, imp rintedaround his portrait: "A success-ful physician". . ."The invalid'sbenefactor." A most highly prizedcollector's item is a benign look-ing card, w ith a tree branch andscroll on the front, bearing themessage: "C. I. Conover, Special-ist in the treatment of asthma.Belying the seeming diffidenceof the front of the card, is theaggressive message on the re-verse side. It reads: "... In mylong practice, I have not met acase of asthma that I have notrelieved, and in three cases out


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ke W.H . Helfand that we

KF. Colorful cards with children, animals and appealing domestic scenes weredistributed in the hope they would be collected and remain constant remindersof the advertised messages on the front or back.G, H, I. These colorful cards were decorative, educational and promotionalgimmicks all-in-one. Each card featured a botanical specimen used in medicine.The text, on the reverse side, explained the medicinal value of the plant andthe nutritional value of Liebig Real Beef Extract.J, K. Business cards designed for use by druggists, chemists and apothe-caries. The laboratory paraphernalia created an aura of scientific respecta-bility. A space at the bottom provided room for the proprietor's imprint.L. Atypical "charming child" illustration on a business card, designed to catchthe eye and the heart of a potential client.

because they w ere printed invery small quantities and weregenerally subjected to rough andunusual treatment.Though the elaborate artworkand permissive copy seem out ofplace to us, for "p rofessional"people, it may not be that wayfor long. The recent SupremeCourt decision, striking dow nprofessional codes which re-strict competition, has alreadyopened the door to change. Adsand commercials for cosmeticsurgery, eyeglass fittings, chiro-practic treatments, foot care, andso on, are appearing regularlyin newspapers, on radio andtelevision.As the competition grows live-lier, we may y et see the revivalof some graphic extravaganzasin medical advertising... if notthe return of the old-fashionedhouse call.

Marion MullerTHIS ARTICLE WAS SET IN ITC CENTURYAND ITC FRANKLIN GOTHIC


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LICENSE`dtKotviti i iN E W Y O R K

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ARTISTICLICENSESThe ultimate in personalized platesOnce upon a time, a license plate wasjust a license platea sheet of metalwith numbers and letters embossedand painted in your state's colors. Itserved to identify your car and, inci-dentally, provided work for the inmatesof penitentiaries.

But have you noticed what's happenedto license plates lately? To keep fromsinking into anonymity in our computer-ized, dehumanized world, car ownersare using their license plates to pro-claim their identity and express somehuman desires. Some are content tojust spell out their names on theirplates. But others have messages ham-mered out in capital letters: PEACE...NONUKES... LUV ME... SMILE... etc., etc.

34' M A S S A C H U S E T T S -WARTIST LICENSE


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ries of Western art history. By the timehe exhausted his sources, he had de-signed and produced 150 plates.In some of the plates, the criticaldesign element was the unique signa-ture of the artist. Such was the casefor Matisse, Picasso, Rembrandt andChagall. In some plates he made refer-ence to the artist's distinctive form ormodus operandi. The sculptor GeorgeSegal's plate, for instance, is white-on-white, like his plaster casts. LouiseNevelson's is black-on-black, referringto her black-painted assemblages. Sal-vador Dali's plate is partially meltedand dripping, like his surrealistic clocks.Christo's is wrapped and tied with string,and Jackson Pollock's is spattered with

To Greg Constantine, artist and Chair-man of the Art Department of AndrewsUniversity, Michigan, a license platewas something else again. It was anart object with abstract forms and col-ors and challenging design potential.One day, while driving along an Iowahighway, it occurred to him that licenseplate designs could be vastly improvedif artists were put to work on the job.He wisely didn't sit back and wait for acommission, but embarked on the proj-ect on his own. From a broad generalidea, the project focused down to de-signing personalized license plates forcertain important people. Being an art-ist himself, he felt most connected tothe painters and sculptors from centu-

ARTISTUCEN


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auguin and an anatomical study forAlthough Constantine's license plate

a neat coincidence

significance,incidentally,car asl. They are made of vacuum-ene and hand-painted. Orig-

InaIs go for $375; copies for $125.Aside from license plates, Greg Con-

stantine has recently turned his wit andgraphic skills to producing a book en-titled, "Vincent Van Gogh Visits NewYork." In a free-wheeling series of draw-ings, he mercilessly thrusts Van Goghinto contemporary New York City scenesand experiences. The drawings areloaded with references to other artists'work, and all are rendered in the vigorous,agitated Van Gogh style. The licenseplates and book are available throughConstantine's gallery, O.K. Harris, NewYork City.

Marion Muller

11

THIS ARTICLE WAS SET IN ITC FRANKLIN GOTHICT AND ITC GALLIARD


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MAN BITES MAN

R O B E R T G R O S S M A NB Y S T E V E N H E L T

Humor is the most explosive weaponin the satirist's arsenal. But humoralone isn't always enough, for it mustbe triggered by a precise fusion ofwit and passion. In this sense RobertGrossman needn't worry about scor-ing bull's-eyes. His biting comedy isnot only heartfelt, but conveyed withpanache. Although he is well tutoredin many media, he is a master of theairbrush, pen and ink, sculpture, andanimation Moreover, he is well versedin the variegated conventions of com-edy, skillfully blending them with hisdrafting skills in order to distort thehuman form and anthropomorphizeanimals too. For over twenty years,Grossman has entertained and in-formed, prophesied and polemicizedthrough cartoons, caricatures andillustrations which, regardless oftechnique, bear his unmistakableimprimatur.Grossman resides on the outskirts ofNew York's Little Italy, in a loft thatseems to have been decorated by a toymanufacturer run amuck. Amidstlife's commonplace paraphernalia arestrewn scores of rubber dolls, plastercasts, and clay models of all sizes andin all positions. No, this scene doesnot evidence some bizarre reversionto childhood innocence. Rather, thisis the place where Grossman's visionsmagically and technologically mate-rialize. The dolls and models are thesatirist's tools the accoutrementused for producing the ambitious andunique animated films which com-prise an important part of his comicoeuvre. Furthermore, as these quarterssuggest, Grossman is simply obsessedby work and absorbed by comedy.Having been in practice for manyyears, it is remarkable that all Gross-man's styles retain a fresh look. He isfascinated with comic figures, absurdsituations and funny language, and isstill sparked by the cartoons andcomic strips of his youth. In talkingwith Grossman it becomes clear thathis earliest experiences have beenetched happily and indelibly on hiscreative persona.As a kid, in the earlyfifties, he worked with his two bro-thers in their father's sign shop, paint-ing large scale display advertisements.Many commonplace, yet emblematicimages, such as the "Old Crow" whis-key logo and other product trade-marks offered an early introductionto commercial art and popular culture.It was here that he made models be-fore he could draw. "From my timein the shop I learned techniques," re-calls Grossman. "But curiously, I alsocame to understand that there wassomething called fine art and therewas everything else. I preferred every-thing else ' Rather than embracingthe elitist and then fashionable vaga-ries of abstract art, Grossman chosethe pleasure of doing amusing crea-

tures and characters, in particularclowns and cowboys. Not surprisinglyhe is still harpooning political andsocial clowns. "I believe that thosethings that we had a kinship with inour youth," he says, "we continue torelate to. And so, it's not surprisingthat I enjoy drawing President Reagan,for instance, as a cowboy, regardlessof the political allusion 'lb further his art t raining Grossmanattended Saturday classes at the Mu-seum of Modern Art: "The only rulethey imposed was that we should drawon the entire page. It's still a prettysound rule ' When class was over hespent many hours in the surrealistpainting gallery at the museum: "Therewas content in those paintings. Mys-terious and dreamlike though theywere, they were not abstract, theycould be understood ' Like with somany urban artists, the comics, par-ticularly those of Walt Disney and Wil-lard Mullins, were a primary influence.Later Al Hirschfeld became a model,and ultimately Saul Steinberg openedthe floodgates of his imagination. AtMidwood High School, in Brooklyn,Grossman edited and drew for the stu-dent satirical magazine. At Yale Uni-versity, in New Haven, he published aparody of The New Yorker, which,upon graduation helped him land areal job in The New Yorker's legend-ary art department.

"I worked in the slush pile," recallsGrossman, "where I made a first passthrough the submitted cartoons. I alsocame up with ideas for other NewYorker artists ' After two years he hadonly two published cartoons to showfor his labors, yet many of his ideaswere realized by others. "Jim Garrity,the cartoon editor, didn't think muchof my potential as a cartoonist andencouraged me to become a writerinstead. Well, it's fine to be a writer I like to write but art was what Ireally wanted to do. I rightly believedthat I probably would never do NewYorker style cartoons that's a spe-cial magic so I went out on my own 'Although Grossman states emphati-cally that his first real commercialwork was done at his father's studio,the first paid publishing job was inthe early sixties for "Monocle," ashort-lived, but illustrious humor mag-azine edited by Victor Navasky. Herehis penchant for strip cartooning flow-ered. "I did two strips: one was abouta black shoeshine boy who, wheneverhe said a magic word, like 'Booker T.Washington,' would become a super-hero with the powers to fight injustice.The other fictionalized a CIA plot tobomb the White House, which wassomewhat prophetic, since it wasdone right before President Kennedywas assassinated, and published im-mediately after."

It was also about this time that Gross-man's innovative, and now much cop-ied, airbrush style catapulted him intopublic view. "I wanted to do somethingthat was not being done, yet continueto create pictures with content I knewhow to handle the airbrush since Ihad used it a little in my father's stu-dio. It seemed promising, since theonly place one could see airbrush workthen was in the subway on those slickDoublemint ads.Also I was interestedin three-dimensionality from my earlymodel-ma king days: the airbrush tech-nique was akin to sculpting. In addi-tion, I wanted to veer away from themodern, flat color, outline approachthat Pushpin did so well' Grossman'sexperiment paid off. Not only did heachieve unique graphic impact, hissatiric fire was brightened by the color-ful balloonlike caricature method hepioneered. This marriage of a conven-tional, commercial technique popularin the thirties and forties, with thenothing-is-sacred approach to politi-cal and social commentary, imbuedGrossman's work with beguiling power.One is lulled into a false sense of se-curity because of the soothing, evenlyspread colors and then, kaboom, themessage explodes. Looking back, onecannot easily forget the symbolic im-ages he created during the Watergateera: Nixon with Pinocchio's extendednose, Nixon as a shining water faucetdrowning himself in the sea of Water-gate, and Emperor Nixon in boxershorts showing off his new clothes.As a cartoonist, Grossman portrayshimself as the proverbial impish boy,waiting to ambush the rich old gentby throwing snowballs at his big tophat. "That's the best we cartoonistscan do," he modestly admits. "We mustlet the big shots know someone's al-ways out there taking aim ' As anartist, Grossman is happy to be a jack-of-all-trades, employing different mediaas the mood or muse strikes. AfterWatergate he was one of the few satir-ists not to lose steam; in fact he waseven more prolific than before. WithNixon out of the picture, he took abead on other beasts in the politicalmenagerie in a well written and mar-velously rendered comic strip entitled

"Zoo Nooz," (which first appeared everyweek in New York Magazine and thenmoved to Rolling Stone). As the titleindicates, anthropomorphism was thetool here, and not since Walt Kellylambasted Spiro T. Agnew in "Pogo"had the comic bestiary been so suc-cessfully employed. With apparentease Grossman transformed Presi-dent Ford into Jerry Duck, GovernorConnally into John Cowpoxly, Mao-Tse-Rmg into chairman Meow, Candi-date Carter into Jimmy Cocker, andRalph Nader into Ralph Badger. More-over, they were perfect metamorphicalcaricatures each character fit rightinto the animal's skin on a par with

J. J. Grandville and Ernest Grisset.He transformed the then ex-GovernorRonald Reagan into Mickey Mouse,eventually giving him a persona asRonnie Rodent. "He still looks thatway to me, it's uncanny." After a fewyears on the political page of New YorkMagazine, and then a few months at anew venue, the strip came to a halt.The final episode focused on the neu-tron bomb, a topic of such horrible,yet absurd, proportions, only the ex-pert satirist could tackle it. Grossmanwas the one, but "I guess it was a sub-ject that was not to be discussed, sinceRolling Stone printed it two-thirds thesize on the letters page: as if to telltheir advertisers 'this is just some-one else's opinion I did another butthey refused to print any more 'In the years since the strip folded hehas done work for scores of publishers,doing both illustration and his owncommentary. However, Grossman isonce again absorbed with animation.Here the artist is not the sole masterof his media. He collaborates with hisbrother, a filmmaker, and is aided bymany assistants who work in assem-bly line fashion, sculpting and paint-ing the countless figures, each onewith a different expression or gesture,necessary to create a single momentof film Known for the Academy Award-nominated, sardonic short, "Jimmythe C," in which a Carter caricaturelip synchs Ray Charles' Georgia OnMy Mind. Grossman has also con-ceived and produced an award-winningcommercial for Carrier air condition-ers, and an ubiquitous T.V. spot forWPIX (a local radio station). Cur-rently he is working on a self-financedReagan roast, entitled "Redtime forRonzo," in which the President is seenas a cowboy in search of a gunfight.Other projects on the boards include

"Solar Rollers," in which the sun isanimated as an advocate of solarenergy; and an as yet unscripted jabat the Creationists, featuring a seriesof comic, monkey-man transforma-tions. Because of the production com-plexities involved, Grossman is virtu-ally alone in this mode of animation.However, he steadfastly believes in itspotential as an effective form of satire,particularly in the age of video.Grossman has had many direct satirichits over the past twenty years andmaintains a high score. However, attimes, the skeptical Grossman ques-tions whether the blank drawing pa-per or the amorphous mound of claywill be transformed into good ideasor whether the magic is gone. Fortu-nately, the assured Grossman quicklysteps in, saying: "According to the lawsof probability, since I've always comeup with ideas, I always will have ideas"That's fine, since we need his weapon-ry, ideas and their satiric expressionon our side.


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THIS ARTICLE WAS SET IN ITC AMERICAN TYPEWRITER AND ITC FRANKLIN GOTHIC

Hoa;;!'7:yilt:eLo oK 3:rG ial'I L L DID WASwo40

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Ern ernaiCo s s i n g


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Using nails and fingertips, Suhas follows a pencil drawing prepared on the reverse side of his paper. In addition tonames and monogram letters, he is also adept at rendering human, plant and animal forms as well as abstract designs.

15m ost of us don't take our fingernailstoo serious*. Sure they come inhandy for scratching an itch, scrap-ing little stains out of clothes and untan glingknots in shoelaces. But we don't pay them muchattention except for an occasional cleaning,filing and polishing.Not so for Suhas A. Tavkar. He is a graphicartist with a heal)/ investment in his fingernails,especially those of his right thumb, forefingerand mickikfinger. It is w ith those precise toolsthat he produced the intricate embossed de-signs you see on this spread.Extraordinary as it seems, Suha s' talent forfingernail embossing is not unique; it runs inhis family. At a very early age, he learned thetechniquefi -om his father, w ho learned itfi-omhis father before that. By the time Suhas waseight years old, he w as entertaining friendsand family w ith fingernail embossings of theirnames and caricatures.Today, as an established commercial artist, hesees his talents as having far more than enter-tainment value. There is a practical aspect tohis fingernail embossings. Designers who wouldlike to see how an embossing will look on aletterhead, logo, insignia, etc., commissionhim to render a comp and work out the finedetails before going to the expense of making adie. A rt collectors, too, appreciate his originalone-of-a-kind embossings.Although it is a comparatively quick process,Suhas' embossings take tremendous concentra-tion and precise hand-9/e coordination. Thepaper he chooses is the m ost critical material:It must be exact* the right thickness, but nottoo heavy. It must have the right balancebetween malleability and rigidly/ so it can beworked to the proper depth and maintain theimpression. For m ost designs, he starts w ith apencil drawing on the reverse side c f the paper;but he has also dazzled onlookers w ith hisfreehand creations. He executes the design bypressing w ith nails and thumb into the paperto the appropriate depth and dimensions.O bvious* this is an exacting art form. Thereare no erasers; there can be no slips. You m akea mistake andyou m ust start all over again.But the beauty of the art is that each work isan original- a one-and-only - and it doesn'trequire a studio full of expensive equipment.Suhas has only to keep h is fingernailsshipshape, which he does by filing them regu-larly to a precise length and contour.Suhas Tavkar started his design career inBombay, India, where his major client was theU.S. Information Service. When he migratedto New York, some of his first jobs were forO gilvy & M ather Direct Response Division.Currently he runs his own shop and special-izes in record album covers, brochures, presen-tations, logos, mechanicars, and rendering blindembossed comps, as shown here.Marion Mutter

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TYPOGRAPHIC MILESTONES1880


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TYPOG kiln MILLSTONES1956


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T Y P O G R A P H I C M I L E S T O N E S

ELDORADO Photocomposition typeface, 18 units 2 point des gn,suitable for text and displayFotosatzschnit, 18 Einheden 2 p Design, geognet furText- and Auszeichnungsbereich

Caractere de photocomposition, 18 unites esign corps 12,utilisable pour texte at tittage

Tipo fotocomposiciOn de 18 unidades )deemde 1 2 pontos,aprotnado para texto y Utulos

ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890abcdefghijklmnopqrstuvwxyz


ABCDEFGHIJKLMNOPQRSTINWXYZ 1234567890abcdefghijklmnopqrstuvwxyz

illiam Addison Dwigginsnever intended to be a typedesigner. He wanted to bean illustrator and to designbooks. He worked hard and

d at both professions. But Dwiggins

The challenge came from C.H. Griffith,

d of Dwiggins from an article heate of the typographicand in it Dwiggins complained that

position. Further,

The challenge was accepted, and thus

othic: Metro, the now clas-

experimental. The associationwith Mergenthaler established

iggins from pursuing his other loves.He was a prolific book designer, a gifted

Dwiggins' major source of income was

Dtitles to his credit. In fact, many are nowcollected as works of art.

Dwiggins' artistic endeavors were notlimited to those for which he received pro-fessional income. The children of Hingham,M assachusetts (where he l ived and worked)knew Bill Dwiggins for his marionettesand kites. In the 30-seat marionette thea-tre that he designed and built below hisstudio, Dwiggins was playwright, artist, di-rector and producer. In addition, he made allthe marionettes that performedeven oneof himself (should the audience cry"author"at the end of a performance).In the spring and fall Dwiggins madekites for the enjoyment of the neighbor-hood children. And, although he did notinvent the device, some say he perfectedthe kite trolley. This was a mobile-like con-traption which could sail up a kite string.When it touched the kite paper, parachuteswere released to float to earth, or into thehands of small children.

Dwiggins found fun in all his work. It isobvious in everything he created. While,perhaps, less apparent in his typeface de-signs (each is the result of a serious andcontemplative study of a particular designchallenge), Bill did little that was not enjoy-able for him.

Caledonia, Dwiggins' best known andmost popular typeface, was first begun asa revival design. One of the challenges tohimself in this design program was to cre-ate an updated version of the Scotch type-style popular at the end of the nineteenthcentury In doing so he tried to combinethe basic Scotch design with other, thenpopular, text typefaces. Dwiggins triedScotch mixed with characteristics ofBodoni, Scotch with Baskerville, Scotchwith Caslon. None of these preliminarydesigns, however, met with his satisfaction;and after several false starts, he decided toabandon the goal of reviving Scotch.("Scotch doesn't stay Scotch if you sweatthe fat off it.") He began to create a moreoriginal design, and Caledonia emerged, a

Etypeface loosely based on one used byBulmer in the late 18th century

Dwiggins had two goals for the Cale-donia design program, however, and thesecond objective was not changed or mod-ified. That was to create a typeface fora mechanical typesetter, the Linotype,which could be used in books of beautyand clarity. This became the underlyingchallenge in all his type design work : to cre-ate beautiful and effective typefaces formachine composition.

Time has proved that Dwiggins morethan met his goals. Even now, more thanforty-five years after the original release ofCaledonia, it is still one of the most popu-lar text styles. Its beauty and communica-tive power still pievail.While Dwiggins' first typeface design,Metro, no longer enjoys wide popularity, itremained, until recently a mainstay ofnewspaper typography.It is said that Metro was the only type-face in which Dwiggins let his sense ofhumor show through. The capitals "A"through "P" have the crisp quality of amechanical drawing, an apparent geomet-ric precision; but in the "Q" Dwigginsindulged himself; he had fun. The tail ofthe "Q" seems whimsicaland certainlyout of character with the rest of the design.Eldorado, another Dwiggins typeface, isnot one of his better known typestylesatleast not yet. That design program wasbegun at the urging of several Latin-Ameri-

can publishers. They asked MergenthalerLinotype to develop a book type whichwould reflect the flavor of the Spanish typo-graphic tradition. Dwiggins was delightedto take on the project. It was a natural forhim; a chance to create a beautiful type-face based on research and study of a par-ticular design problem.

Something else influenced the Eldoradodesign program: World War II. Begun atthe outbreak of the war, the typeface re-flects the wartime regulations for the con-servation of paper. Dwiggins endeavoredto create a face that would provide maxi-mum spatial economy without sacrificingthe beauty or readability of the design.Eldorado was completed in 1951, but didnot reach popularityuntil perhaps now

Recently Mergenthaler Linotype under-took the revival of Dwiggins' originalEldorado. The design talents of Mr. JohnQuaranta, a man who transferred some ofDwiggins' original work into drawings fortype matrices, and the electronic capabil-ity of the Ikarus software, were broughttogether for this project. It is fitting thatthe craft of letter drawing and electronictechnology be combined in this program.Dwiggins always tried to incorporate intohis type designs the traditions of the pastwith the requirements of the present andfuture. John Quaranta's hand and designskills provided the tradition; he createdthe basic weights required for this revivalprogram. Ikarus software built on the de-



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I

aopqsvwxyzsign foundation created by Quaranta andproduced a full typeface family. The de-signer and the computer worked togetherto modify Dwiggins' original design, wherenecessary, to make it compatible with cur-rent typographic needs. Only time will tellif this new design will successfully carryon the Dwiggins heritage.

While Dwiggins' typefaces were the re-sult of careful study and diligent effortserious businesshe never took the endresult seriously. Probably the most severe,and certainly the most humorous, judg-ments of his work have been written byDwiggins himself, in the guise of a Dr.Hermann Puterschein. He created the sar-castic and sometimes bombastic Doctorearly in his career. Dr. Piiterschein wassupposed to be a transplanted German ofirrefutable typographic knowledge andtaste. Aside from being the chief critic ofDwiggins' work, Dr. Puterschein was alsothe only officer of the mythical Society ofCalligraphers; a group which Dwiggins cre-ated, and inducted into membership suchdesigners as Frederic Goudy, RudolphRuzicka and Bruce Rogers. At one pointDwiggins even started the rumor that hewas, in fact, the imaginative personalityassumed by Dr. Puterschein.

Like so many other Dwiggins creations,Dr. Puterschein lives on today. A new gen-eration of young type designers, workingfor a major manufacturer of photocompo-sition equipment, became great fans ofDwiggins and his work. They were alsoenchanted by his imaginary personality,Dr.PUterschein; and they adopted the Doc-tor as their own. Some of these youngdesigners left that original company towork elsewhere in the businessand tookthe Doctor with them. As a result, Her-mann Pfiterschein will now be copied oc-casionally on an interoffice memo atCompugraphic Corporation, or paged onthe intercom at Itek. He has cropped up atAutologic, AM Varityper, Information In-ternational and Xerox. Every once in awhile a postcard even arrives at ITC , signedDoctor Hermann Puterschein.Apart from the fictitious Doctor, few havefound fault with Dwiggins' type designefforts. If any criticism can be leveled, it isthat he did not produce enough typefaces.Perhaps the criticisms are justified, be-cause Dwiggins is certainly better remem-

bered today for his type designs than forhis puppets, his furniture, his illustrations,or his book designs.William Dwiggins was born in Martins-ville, Ohio in 1880. While little is writtenabout his early life, it can be assumedfrom his lively wit and humor that hischildhood was happy. At age 19 he went toChicago to study at the Frank HolmeSchool of Illustration. It was there that hemet Frederic Goudy. When Goudy movedto the suburbs of Boston and establishedthe Village Press, he invited young Dwig-gins to join him; to work as a book de-signer and illustrator. It did not pay much,but Dwiggins was happy; he loved his workand came to love New England.When Goudy moved to New York, Dw ig-gins remained in Boston; he had found hishome. Dwiggins built a studio across fromhis house, and continued to work therethe rest of his life.Dwiggins enjoyed his work and liked towork. He is quoted as saying "Like to de-sign type. Like to jiggle type around andsee what comes out. Like to designornament. Like paper. Like ink on paper.Like bright colors. Handicapped by clock?'On Christmas morning, 1956, the clockran out.The life of a man who contributedmuch to the aesthetic values of the print-ing world came to an end.The design community mourned Dwig-gins' death as the passing of a friend,morethan of a co-worker. The Dwiggins house-hold was deluged with flowers and lettersof sympathy.There were a few, however, who possiblysighed with relief at Dwiggins' departure.His many, and diverse, interests, often de-tracted from his ability to maintain thedesign schedules for typeface development.This presented problems. MergenthalerLinotype's files record instances of misseddeadlines and extended work schedules.On one occasion, when Dwiggins was act-ing for Mergenthaler as a design consul-tant on other designers' efforts, his pro-crastination during an important reviewcycle held up the design process of a par-ticular typeface for a very long time. Theartist's efforts were delayed to the pointthat he began to make anonymous threat-ening phone calls to C. H. Griffith and hisboss, the President of Mergenthaler. Fortu-nately the threats were not carried out

Gand Dwiggins did ultimately finish the type-face review. In fact, that typeface is still,more than 30 years later, one of Mergen-thaler's more popular typeface designs.The end result of any design projectDwiggins worked on was always of lastingbeauty, supreme functionalism and extraor-dinary zeal. Another of Dwiggins' imagi-nary personalities: Kobodaishi (a patronsaint of the lettering art and a great Bud-dhist missionary in ancient Japan) per-haps best summed up the work of thismaster of design. Kobodaishi's words werein reference to Caledonia but they holdtrue for all Dwiggins' work. "...electricity,sparks, energy... positivesay it with asnap... Make a line of letters so full of en-ergy that it can't wait to get to the end ofthe measure:'In addition to creating beauty withletterforms, Dwiggins did something else:he accepted, and met, the challenge of de-veloping aesthetically pleasing typefacesfor a new, and supposedly inferior outputmediumthe Linotype. The longevity ofhis designs testify to his success at meet-ing the challenge.Thankfully there are more designers likeDwiggins. It is the designers who followedin his footsteps that gave us our classictypefaces for machine composition, thephototype faces we currently use, and soon

THIS ARTICLE WAS SET IN ITC CASLON NO. 224*.

the typefaces we will be using on elec-tronic and impact printing devices. Dwig-gins can serve as a model to any designerwho is called on to create beauty in spiteof challenging odds.A complete list of Dwiggins' typefacedesigns follows:ArcadiaCaledonia (1.938)CaravanCharterEldorado (1.951)Electra ( 1935)FalconMetro (1929)Newsface 7 and 10 pointStuyvesantTippecanoeWinchester

A L L A N H A L E YA. Reprinted with permission from the ALGA Dwiggins Exhi-bition Keepsake, 1957. Photo: Robert Yarnell Ritchie.B . Reprinted with permission from the Mergenthaler Lino-type Company.C . Reprinted with permission from the ALGA Dwiggins Exhi-bition Keepsake, 1957. Photo: Mrs. William Doyle.D. Reprinted with permission from the AIGA Dwiggins Exhi-bition Keepsake, 1957. Photo: Arthur Griffin.E. Reprinted with permission from the Mergenthaler Lino-type Company.F. Reprinted with permission from the Mergenthaler Lino-type Company.G. Reprinted with permission from the AIGA Dwiggins Exhi-bition Keepsake, 1957. Photo: Dorothy Abbe.

ITC/LSC CASLON NO. 223. AND ITC FRANKLIN GOTHIC*


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ostly we think of graphicdesigners as just earth-bound creatures, perma-

2-dimensional space.to alter that concept.

work of Takenobu Igarashi,anese designer, whose posters,

as well.

isno confining him to the printed

of the sculp-

ture, or inside it, and experience thespace and volume fully." For that rea-son, he refers to his alphabet formsnot just as sculpture to be looked at,but asarchitectural environments.

An entire Igarashi alphabet was ex-hibited recently at the Reinhold-Brown

Gallery in New York City. The letters

were fabricated in brushed aluminum,but he has also worked with brass,chrome, wood, cast concrete, plasticand marble. Though these pieces weresmall in scale (approximately 51/2inches tall) some ofhis giant lettersare 12 feet high and 20 feet wide, andare intended for public or corporateenvironments, indoors or out.

According to Igarashi, the alphabetis an appealing design project, be-cause "It is a universally understoodsign system." However, with or with-out the recognizable symbolism, let-

terforms make unexpectedly beautifulabstract designs in space.

Igarashi is a graduate of Tama Uni-versity of Fine Arts in Tokyo, and hereceived his Master's Degree in De-sign from the University of California,Los Angeles. He established his ownstudio, Takenobu Igarashi Design, inTokyo, in 1970. His posters, logos, cor-porate graphics and signage are rec-ognized and admired internationally.The Museum of Modern Art in New YorkCity has a permanent collection of hisposters, and he has been commis-sioned to design their 1985 calendar,

clientsand has taught and lectured world-wide. Both Graphis and Idea maga-zines have honored him with specialfeature articles, and he is the recipi-ent of numerous awards. His most re-cent contribution to the field ofgraphic

design is his own book, Igarashi SpaceGraphics, which encompasses threemajor areas: Architectural Graphics,Communication Graphics and PureGraphics. It is an intelligent and highlyintelligible work with illuminating in-sights into how he thinks and how heworks. Available from Reinhold-BrownGallery, 26 East 78th Street, New York,NY10021 MarionMulerA. The H photographed on the beachmakes a grand portal to the sea. InABS resin with lacquer coating. Actualsize: 300 x 300 x 100 mm.B. B in Indian sandstone is reminiscentof ancient Egyptian temple thrones.Actual size: 220 x 300 x 170 mm.C. A in gleaming solid aluminum. Actualsize: 380 x 310 x 180 mm.D. Reaching toward the heavens, aninspirational X, in lacquered brass.Actual size: 300 x 240 x 460 mm.

as well. He has international

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KodachromeSLIDEALMOND CORAL LAVENDER PLUM SEPIAAMBER CREAM LEMON PUMPKIN SILVERAQUAMARINE CRIMSON LILAC PURPLE SLATEAVOCADO CYAN LIME RASPBERRY T A NAZURE ECRU MAGENTA RED TANGERINEBEIGE FUCHSIA MAUVE ROSE TAUPEBLACK EMERALD MOCHA ROYAL BLUE MARA GOTTABLUE GOLD MUSTARD RUSSET 113RQUOISEBROWN GOLDENROD OLIVE RUST VERMILIONBUFF GRAY ORANGE SADDLE VIOLETBURGUNDY GREEN ORCHID SALMON WHITECERISE INDIGO PEACH SANGUINE WILLOWCHARTREUSE I V O R Y PERSIMMON SAPPHIRE YELLOWCOCOA KHAKI PINK SCARLET

PROCES S ED BY K ODAK

r vertically, horizontally,

lb give you a head start,we havewords.While these words may be

spelled differently in other lan-guages, please follow the versionsin our Puzzle Word List.Losungsanweisungen: Sie mussenin dem Ratsel die in dem Winer-verzeichnis angegebenen Winerfinden und umkreisen. Diesekonnen senkrecht, waagerecht,diagonal und sogar ruckwarts

vorkommen. Streichen Sie keineBuchstaben aussie kOnnten alsnil eines anderen Wortesgebraucht werden.

Urn lhnen zu einem Anfang zuverhelfen, haben wir eines derR C ( tselwOrter schattiert.

Obwohl Wo ?ler in anderenSprachen unterschiedlich ge-schrieben werden mogen, halten

Sie sich bitte an die englischeSchreibweise.Regle du jeu: Retrouvez dans lepuzzle et entourez d'un trait lesmots qui figurent clans le PuzzleWord List.

Ils se lisent verticalement, hori-zontalement, diagonalement etmime a l'envers. Ne barrez aucune

lettre Chacune peut resservirclans un autre mot.Pour vous mettre sur la vole,nous avons teinte un des mots

du puzzle.Les mimes mots peuvent avoirdes orthographes differentes scionles langues. lenez-vous en a l'or-thographe que donne le PuzzleWord List.

THIS ARTICLE WAS SET IN ITC AVANT GARDE GOTHICAND ITC CASLON NO. 224w


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HIS TYPOGRAPHY TALKSAs we all know from experience, merely solvinga problem isn't always a guaranteed thrill. Whatwe rea lly yearn for is the neatest, most direct,most economical solution, with no extraneousmoves, marks, words, pictures, references, sym-bols or explanations. Mathematicians call it"the elegant solution." In common parlance, it'scalled "hitting the nail on the head."In view of this universal quest, we think you'llenjoy the problem that designer John Langdonset for himself, and get a kick out of his solutions.Starting with a list of familiar psychiatric termsand using typography only he designed eachword so that it tells graphically the nature of thecondition. Neat, yes?This is just one sample of J ohn Langdonswork as a word design specialist. That may seem

like an odd choice of vocation, but it is reallyquite logical for Langdon, a word person, whotook an undergraduate degree in Linguisticsand English Literature before enrolling in thePhiladelphia College of Art. After graduationfrom art school, he did a six year stint as adesigner for Philadelphia's Sulpizio Associates.But since 197Z he has operated on his own,specializing in logotypes and other custom worddesigns for most of the major Philadelphia ad-vertising agen cies and studios. It should benoted that Langdon works out of his home inWenonah, N ew Jersey, close by Philadelphia.But in the true spirit of brotherly love, he doesnot confine himself to local business; he hap-pily serves clients in New Y ork, San Rancisco,Los Angeles and Baltimore, as well. M.M .

I n t r o v e r tc o m p a l s i v eM A T E S ASCE 0 ) 4 1 f 1 p i k ' I

1 1 ; V CD E P R E S S I VTHIS ARTICLE WAS SET IN ITC AVANT GARDE GOTHICAND ITC FENICE


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A Subscription of ikIc. is heededbadly at YALE:10W/ PRESS LTD 1150 1 1 0 m ER ST. V ANCOUV ER B c . V6.8 2x8 CANADA THAslits

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27

Las t rtitelayth6ls eseallael ,'sear Elza,n t o N I s e r - F i c a a n d 1 3 6 1 I o w e d ,"w ri te to 1 1 ( 0 1 1 4 and Else andask -o r mo r ta r I 've altimelywrIttati tin , yZ6Iff andI Know what ; he Wantsbu t whoF r o r r i Nri6,,the V.C.V'' ts 6 y ou?Anyway, aidmore. Geri on ly Know sof what, hd Ptenei,

G A R Y L . L I G H T FO O TTHIS PAGE WAS SET IN ITC AMERICAN TYPEWRITER* AND ITC FRANKLIN GOTHIC*


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ITEK DIGITEK COMPOSITION TERMINAL AND OUTPUT UNIT. PHOTOGRAPH COURTESY OF ITEKGRAPHIC SYSTEMS.

E: AN L.E.D. MIRACLE SHINES ATfight-Emitting Diodes, or LEDs, havebeen hang ing around in the pocke tcalculators and watches of the worldfor some t ime. No glamour technol-ark.

a t ing ly s low re sponse t im e . In o theruch to writeut at the last Graph-Expoick Place, theyin t roduced as part o f

The Itek Digitek, which images d igital

ce rat io . Digitek ise because o f the f irs t major news and picturesost f if teenThis major innovat ion came in on e o f thed. Itek's Digitek

er

ber more available to be down-lineThe breakthrough in Digitek is in the. An LED array is at tached toit t ing f iber opt ics (LFO).which t rave ls

n or off in the LED.onducted through the LFO toaterial . The Digitek has onlypart and three computer boardsf logic .Digitek's f irst configurat ion will l ist for aow $16,995, including an edit ing terminallmost ident ica l t o the pre sent Qua dri t ekroduct . It is CP/M comp atible and features s t andard m onospac ing screen with dua lloppy disks. Options for 15 Mb W inchesterisk, data te lecomm unicat ions and a Mult i-isk converter to translate f iles from alien(and mo st ly host ile) word processors arelready available . Future upda tes will allow

a full mult i- terminal, mult i- typesetter con-f igurat ion to be built around the Digitek.W hile Itek is accurate in its percept ionthat weekly newspapers, small publishersand the average run o f com merc ia l t ype set -ters will love the Digitek, it is perhaps m ostsignif icant when seen as a device to producetype for int erna l use ra ther than re sa le .Com mercial type quality is not yet its strongpoint , but it is a machine which will helpto mak e typesetters of us all .The inplant and off ice markets will , inour opinion, em brace the Digitek. Rumorhas it that Itek will pursue a vigorous pro -gram of private label OEM sales, which wouldor could include a number of the largerinformation com panies. Technically, theDigitek could also record line art or h alf-t one images , which makes i t an idea l dev icefor future-minded execut ives in e lectronictechnical publishing, DP or WP applications.The LED-powered Digitek comes at a t imewhen the CRT and laser typese t t ers se emto have run the ir course in t e rms o f pr ice /performance improvem ents. The AM 6400and Merg 101 brought the recording engineand fontmaker cos t down to the $20 ,000retail level. Digitek (separate from its edit -ing t e rmina l) m ight eventua l ly se l l for aslit t le as 50% of that .

ENTER THE MID-RANGERECORDING ENGINE

K sonishiroku Sakura helped close 1983on a h igh not e for Technopol i s t swhen it brought out the quietest

urpr ise o f the season in the formof the Konika "phototypesett ing" laserprinter. This desktop unit (60 x 60 x 8 2 cm)i s basical ly a moderate reso lution laserrecording engine which lays down 724 or 813l ine per inch re so lut ion images o f t ext andgraphics onto 65 pica wide f ilm o r paper. Itoutputs at a very acceptable 7 inches perminute and f its nicely mid-way between pres-ent low-resolut ion laser printers and high-performance recording eng ine s com parab leto the Monotype Lasercomp.Price of the Konika recorder is around$24 ,500 for end u sers . The Sakura has ,a t pre sent , no font eng ine or int e l ligence ,but is an ideal companion for Raster ImageProcessor (RIP) devices l ike the CamexSuperse t te r . Severa l companie s are rushingto package the Sakura into f inished prod uctform, which po int s t o a poss ib le $40 ,000stand-alone publishing system. Quality issuch tha t when re sul t s are made into p la t e sand printed, it should equal most work pres-ent ly being done outside boutique appli-

cat ions. This is a product sim ilar to thatunder development by Long Island-basedData Recording Systems, and is, in fact , thekind of product we expect to see much m oreof, appearing in the n ext few years.LISA REDUX:W ESTMINSTER AND STUDIO SOF TW AREMAKE THE IBM PC JUST OU R TYPE

Ivin Toff ler 's warning th at thefuture was coming toward us atever- increasing rates seems truerevery micro-second. Just a fewmonths a go we wrote about the poss ib le use(or abuse) of Apple 's l it t le Lisa as an art ist 'stool. Pract ically before that art ic le hit print ,the o ther shoe dropped, br ing ing a longanother generat ion of even more affordablelayout and typograph ic tools.Just appeared on the h or izon are two newproducts which will run as add-ons to theubiquitous (over 2,000,000 sold) IBM PC.W hile they are ra ther d i f f e rent in func t ionand character, they share their operat ingenv ironment . W here one appear ing a t th ist ime would s t ir in t ere s t , two o f them seemsto us a movem ent worthy of more analysis.Studio Software (3001 Red Hil l, Costa Mesa,CA 92626, 800- 821-78 16) showed up at theo therwise d isas t rous Gutenberg show toint roduce a page layout and proce ssing sys -tem using Lisa-l ike ikons to facil i tate person-proce ssor communica t ions . Westminst erSoftware (3000 Sand Hill Road, Menlo Park,CA 94025) appeared simu ltaneously with apage composit ion unit called CompMas ter.Both are un finished, but init ially impressive .More impress ive i s the drast ic reduc t ion o fthe cost of interact ive typographic display(ITD) technology. This, coupled with thedrast ic drop in ima ger output device priceswill l ikely trigger sharp in creases in thedem and for graphic arts quality composition.STUDIO SOFTWARE:AN ELECTRONIC BOARDA lthough neither the Studio norW estminst er produc t s are fu l lydeliverable (as of this writ ing inDecember , 1983 ) , they se em suf f i-c ient ly well-developed to allow evaluat ion oftheir potent ial capabilit ies. The differencebe tween the se two produc ts and the ir imm e-diate antecedents (Star and Lisa) is thatthe se are typographic and d e s ign t oo ls , no tgenera l iz ed de sk top com put ing env iron-ment s w ith spreadshee t , word/data proce ss -ing and database programs ava i lab le. Thisnew pair also differs from dedicated type/graphic sys t ems pre sent ly ava i lab le in the


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MOM

8100M

$50M

COST PER TERMINALR A S T E R I N T E R A C T I V E T Y P O G R A P H I C DISPLAYSRAYTHEON RAYCOMP

'Ol . " 1 . 11GRAPHIC ADVANTAGE TUDIO SOFTWARE/WESTMINSTER SOFTWAREXEROXSTAR I APPLELISA 71974 9 7 6 9 7 8 9 8 0 9 8 2 984

COU RTESY INTER/CONSULT 198 3 .

S T U D I O S O F T W A R E ' S D O - IT S C R E E N D I S P L A Y . C O U R T E S Y S T U D I O S O F T W A R E C O R P .

29

IRC:11 1 1 / 1 1 T E 2 A V I D M G O O D S T E I \ A N DV ETECHNOPOLIS

fact that they run on the increasingly versa-ti le and software-intensive IBM PC. Theymay be no ma tch for the power of dedicated-proce ssor machine s , but a t a f rac t ion o f thecost they will surely f ind a ready m arket inthe thousands o f sm al l s tudios which coulduse a s ing le computer t o se t the type andkeep the books.Studio Software's Do- it is remarkable forits huma n interface . Self-descript ive ikonsdisp layed around the t op and le f t borders o fthe screen prov ide commerc ia l and graphic

layout profe ss iona ls wi th t oo l sym bols tha twill make them comfortable . These includea comfort ingly tradit ional ruler, a T-squarefor aligning art on the 11 x 17" electronicboard, blue pencil for drawing colum ns fortext and windows for art, pen for drawingfreehand, pen for rules, camera for copying,and m agnify ing g lass for zooming in t o readtext too small for adequate display on theIBM monitor.The ikonography cont inues with a g luepot , a document (denot ing a f ile which con-

tains text to be set) , a type spec sheet whichassigns typographic specif icat ions to e le -men ts ( in the page, or globally to thedocument) , a typewriter for author's a lter-at ions or editorial changes, a personal assis-tant ikon denot ing access to f ile handlingand job-tracking options, and a tool boxwith additional functions.U ser s a re a s sumed to be tra ined graph icdes igners and l ayout art i s t s , but no t w i thany prev ious ly acquired com puter l i t e racy.The ikons shou ld enable new users to makean easy t rans i t ion from manual m e thods .Text called to the screen is presented inactua l s i ze and true character descr ip t ioni f i t i s la rge enough to be read a t the screenreso lu t ion . Sm a l ler tex t i s shown a s rectan -g les wi th a d i sp lay o f l ine end ing s . Stud iosays it will init ial ly supply ten popular fontsin bold, italic and book design. The sys temwi l l a ls o prov ide an easy way o f crea t ingand s to r ing h igh ly des igned e l ements suchas logos for recall in a number of sizes.W ESTMINSTER SOFTW ARE:COMPOSITION A LA MICROW e s tm ins ter ' s CompMas ter i smore an ed i to r ia l compos i t ionand page layou t sys tem in themode of the early CompugraphicQuadex system. Com pMaster wi l l a llow usersto br ing pages o f word process ing fi les intothe sys t em, have the t ext hyphenated andjust if ied, and review results in dumm y formon the s creen . I t i s pos s ib le to wrap copyaround photog raphs and to s e t type raggedor justi fied.The ac tua l type i s no t ava i l ab l e for v i e w -ing as it will be s e t , but ins t ead can becalled to the screen replacing the pagedumm y d i sp lay) in regu lar computeresemonospaced t ext format . In d i sp lay mode ,l ine endings are shown for h&j 'd t ext . Thed isp lay a l lows the u ser to manua l ly rev iewthe f i l e for w idows or orphans . And a f t erreview, the column can be vertical ly just i fiedto occupy a l l o f the a s s igned space .Hyphen at ion employs both l og i c and adic t i onary . U s ers can program m inimum/maxim um word spac ing and l e t t erspac ing ,and som e character pair kerning is avai lable .At the top of the screen, the user sees a fileiden t i f i er, spec i f i ed tex t po in t s i ze an d thedep th o f the hyphena ted f i le in co lumni nches . S tandard ed i t ing fac i l i t ie s , inc ludinguser def inable funct ions and f ormats , a resupported. A screen-based ed itor, for displaycharacter sets, enables user creation of picharac ters and accent s . U nfortunate ly , a t th i st ime f i l e s a re l imi ted to 40 ,0 00 character s .

The dumm y page s imula ted on the s creenshows pro tected area s , co lumn pos i t ion andvert i ca l and hor izonta l ru l e s in p lace . Par-t ia l ly mad e up pages can be s to red andreproces sed . Outpu t to typese t ter s wi l l beover te l ephone l ines , v ia d i sket te ma i l ed toreg iona l s erv ice cen ter s o r by d irect on - l inein ter face f o r tho se wi th su f f ic i en t vo lumeto keep an output recorder fed .The two sys tems are rad ica lly d i f f eren t .Studio is clearly a graphic artist 's layouttoo l ; Wes tm ins ter , a t ext compos i t i on andtypographic front end . Both prov ide outputd irect ly o r v ia m ed ia l inkages f rom var iouspr in ter s , p lo t ter s and pho to typese t ter s .Bo th prov ide the ir respect iv e typograph icor des ign capabil i ty for less than $3,000 incre-men ta l co s t above the $5 -$8 ,00 0 co s t o f anappropria te ly conf igured hard-d i sk PC fromBig Blue . However , for thousand s o f smal ldes ign o f f i ces , the dream o f d irect persona lcon tro l over the typese t t ing proces s , andthe end o f cos t ly , t ime consuming de layswait ing for correct ions can be e liminated.As the prices of compe tent output deviceslike the Dig i t ek and K oni sh i roku comedown i t s e em s tha t in - s tudio typography w i l lbecome a com mon rea l i ty f o r the g raph icdes ign comm uni ty . Pene tra t i on o f broadero f f ice markets m ay be de layed by the needfor less expensive desktop image recorders,but f o r the momen t i t appears tha t theW es tmins ter and S tudio Sof tware sys tems(and the m any look-a l ikes we f ee l sure wi l ls oon fo l l ow) can sa t i s fy a rea l need , and he lps ta r t a rena i s sance in the wo r ld o f des ign .

ABOUT THE AUTHORS:David Henry Goo dste in is Director ofInter /Cons u l t , a Cam bridge , Mas sachuse t t sf i rm, spec ia l ized in pr in t ing au tom at ion .He a l so s erves a s Research Af f i l ia te in theexper imenta l images program (Vi s ib l e Lan-guage W orkshop ) a t MIT.Jerome L . Zadow i s Senior Consul tant forInter /Consul t , and was p rev ious ly an o f f i c ero f Texte t Corporat ion and s en ior s ta f f mem-ber wi th in teres t in techno logy m arket ingand strategy issues.

THIS ARTICLE WAS SET IN ITC AVANT GARDE GOTHIC*. ITC CHELTENHAMCONDENSED* AND ITC FRANKLIN GOTHIC*


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31W H A T 'S N E W F R O M IT CITC Veljovic' is available in Book, Medium,Bold and Black weights with correspond-ing italics. Small caps have been createdfor the Book and Medium weights. Old-style figures are available for the romanand italic designs in all weights.Only licensed ITC Subscribers are au-thorized to reproduce, manufacture, andoffer for sale these and other ITC type-faces shown in this issue. This is yourguarantee of authenticity:

These new typefaces will be available tothe public on or after May 14, 1984, de-pending on each manufacturer's releaseschedule.The release of ITC Veljovic providesITC with a rare opportunity: the chanceto present an exceptional typeface designand to introduce a remarkable new de-sign talent to the typographic community.ITC Veljovic is the first of what wehope will be many typefaces from thehand of Mr. Jovica Veljovic, a young de-signer from Yugoslavia. Although this ishis first typeface, Mr. Veljovic is not anewcomer to the lettering arts. He is anaccomplished and talented calligra-pher. In fact, readers of U&lc may wellremember the work of Veljovic: exam-ples of his calligraphy filled four pagesin the Volume 8, No. 4 issue of U&lc.The closing paragraph of the articlethat accompanied his work made thecomment that calligraphy is not a longreach from type design and that ITCwould not be surprised to receive analphabet design from Mr. Veljovic.Thankfully our premonition was realized.Veljovic has a number of interna-tional credits as a calligrapher. He hasbeen shown at many important ex-hibits, and is in books published in theUnited Kingdom and in America.There is a freshness and originalityin both Veljovies calligraphy and type-face design, yet he is quick to pointout that his designs are influenced by

many people, among whom HermannZapf of Germany and Henri Friedlaen-der of Israel are at the top of his list.Zapf s book, About Alphabets, wasVeljovies first encounter with the let-tering arts. The book made him awareof the beauty and simple strength ofletterform communication, and it waslove at first sight.Mr. Friedlaender learned of Veljovic'swork through a piece of calligraphywhich Veljovic sent him. Friedlaendertook an immediate interest in theyoung calligrapher and soon becamehis friend and mentor.Like his calligraphy, VeljoviesFirst typeface has strength and vital-ity. There is a liveliness to his design

that is rare in a text typeface. Thecalligraphic heritage of ITC Veljovicis also apparent in the energeticweight stress, the animated bowls,and the flair terminals. The fullcounters and strong serifs aid thereadability of this design. ITCVeljovic also has a feeling of crispprecision, as if the letters were cutin stone rather than drawn withpen and ink.Classic proportions with a largex-height are maintained throughascenders which exceed the capheight. An interesting design trait ispresent in the lowercase "WI Thebottom loop is open in the Bookweight and closed in all others.The italic designs of ITC Veljovicare especially dynamic. They havepower and flow which could onlyhave been created by a calligrapher.And yet, for all its vitality, origi-nality and flair, ITC Veljovic commu-nicates: simply, effectively, directly.


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Jovica VeljoviC (vel-yo-uitch ) celebratedhis thirtieth birthday on March 1. He isquiet, unassuming, and modest about hiswork. In a conversation he priifers to listen,and learn, rather than be heard. Veljovio slove of letteiform design and calligraphy isapparent in his work and in his writing onthe subject: he is more than just talented.He studied at the Academy of Applied Arts,in Belgrade, where he majored in lettering.

Veljovie lives in Yugoslavia with his wife andtheir infant son. When he is not drawingalphabets or creating beautiful calligraphy,he teaches design and graphic communica-tion. His work has been honored in booksand exhibits. He received a special awardfor calligraphy at the October Salon inBelgrade, in 1979. He has the inquisitive-ness of a student, the wisdom of a professor,and the talent of an artist.

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BOOKExcellence in typography is the result of nothing more thanan attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemporary advertising the perfect integration of design elements often demands unorthodox typography. It may require the use of cornpact spacing, minus leading, unusual sizes and weights; whatever is needed to improve appearance and impact. Stating specific principles or guides on the subject of typography is d6 POINT

Excellence in typography is the result of nothingore than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemporary advertising the perfect integration of design elements often demands unorthodox typography. It may require the use of compact spacing, minus leading, unusual sizes and weights; whatever is needed to improve appearance and impact7 POINT

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; thedesigner must care. In contemporary advertising the perfect integration of design elements often demands unorthodox typography. It may require the use of compact spacing, minus leading, unusual sizes and weights; whatever is ne8 POINT

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in itsplanning; the designer must care. In contemporary advertising the perfect integration of design elements often demands unorthodox typography. It may require the use of compact spacing, minus leading9 POINT

Excellence in typography is the result of nothing more than an attitude. Itsappeal comes from the understanding used in its planning; the designer must care. In contemporary advertising the perfect integration of design elements often demands unorthodox typography. It may require the use of c1 0 POINTExcellence in typography is the resuit of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemporary advertising the perfect integration of design elements often demands unorthodox typography. It11 POINT

Excellence in typography is theresult of nothing more than anattitude. Its appeal comes fromthe understanding used in its planning; the designer must care. In contemporary advertisingthe perfect integration of design elements often demands uno12 POINT

Excellence in typography isthe result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; thedesigner must care. In contemporary advertising the perfect integration of design

MEDIUMExcellence in typography is the result of nothing more than an attitude. Its appeal comes from the understandingused in its planning; the designer must care. In contemporary advertising the perfect integration of design elements often demands unorthodox typography. It may require the use of compact spacing, minus leading, unusual sizes and weights; whatever is needed to improve appearance and impact. Stating specific principles or guides on the

Excellence in typography is the result of nothingmore than an attitude. Its appeal comes from theunderstanding used in its planning; the designermust care. In contemporary advertising the perfect integration of design elements often demands unorthodox typography. It may require the useof compact spacing, minus leading, unusual sizesand weights; whatever is needed to improve appe

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemporary advertising the perfect integration of design elements often demands unorthodox typography. It may require the use of compact spacing, minus leading, unusual sizes and wei

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemporary advertising the perfect integration of design elements often demands unorthodox typographyIt may require the use of compact spaci

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemporary advertising the perfect integration of design elements often demands unorthodox typography. It may re

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. Incontemporary advertising the perfect integration of design elements often demands unorthodox

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemporaryadvertising the perfect integration of design elements ofte

Excellence in typographyis the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemporary advertising the perfect inte

B O L DExcellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemporary advertising the perfect integration of designelements often demands unorthodox typography. It max require the use of compact spacing, minus leading, unusual sizes and weights; whatever is needed to improveappearance and impact. Stating specific principles or g

Excellence in typography is the result of nothingmore than an attitude. Its appeal comes from theunderstanding used in its planning; the designermust care. In contemporary advertising the perfect integration of design elements often demandsunorthodox typography. It may require the use ofcompact spacing, minus leading, unusual sizes and weights; whatever is needed to improve appea

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemporary advertising the perfect integration of design elements often demands unorthodox typography. It may require the use of compact spacing, minus leading, unusual sizes and we

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemporary advertising the perfect integration of design elements often demands unorthodox typographyIt may require the use of compact spac

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemporary advertising the perfect integration of design elements often demands unorthodox typography. It may re

Excellence in typography is theresult of nothing more than anattitude. Its appeal comes fromthe understanding used in its planning; the designer must careIn contemporary advertising the perfect integration of design elements often demands unorth

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemporaryadvertising the perfect integration of design elements ofte

Excellence in typography is the result of nothingmore than an attitude. Its appeal comes from theunderstanding used in itsplanning; the designer must care. In contemporary advertising the perfect i

BLACKExcellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemporary advertising the perfect integration of design elements often demands unorthodox typography. It may require the use of compact spacingminus leading, unusual sizes and weights; whatever is needed to improve appearance and impact. Stating

Excellence in typography is the result of nothing more than an attitude. Its appeal comesfrom the understanding used in its planning;the designer must care. In contemporary advertising the perfect integration of design dements often demands unorthodox typographv. It may require the use of compact spacingminus leading, unusual sizes and weights; wh

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemporary advertising the perfeet integration of design elements often demands unorthodox typography. Itmay require the use of compact spacing

Excellence in typography is the resuIt of nothing more than an attitude. Iis appeal comes from the understanding used in its planning; the designer must care. In contemporary advertising the perfect integration of design elements often demands unorthodox typography. It may require th

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. Incontemporary advertising the perfect integration of design elements often demands unorthod

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding usedin its planning; the designer must care. In contemporaryadvertising the perfect integration of design elements oft

Excellence in typographys the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemporary advertising the perfect integration of

Excellence in typograpby is the result of nothing more than an attitude. Its appeal comes from the understandingused in its planning; the designer must care. In contemporary advert

14 POINT


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B OO K IT AL ICExcellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemporary advertising theperfect integration ofdesign elements often demands unorthodox typography. It may require the use of compact spacing, minas leading, unusual sizes and weights; whatever is needed to improve appearance and impact. Stating specific principles or guides on the subject of typography is di ficult because the principle6 POINT

Excellence in typography is the result of nothing morethan an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemporary advertising the perfect integration of design elements often demands unorthodox typography. Itmay require the use of compact spacing, minus leadingunusual sizes and weights; whatever is needed to i 1 1 7 1 7 1 'ove appearance and impact. Stating specific principles7 POINT

Excellence in typography is the result of nothing more than an attitude. Its appeal comes rom the understanding used in its planning; the designer 11ust care. In contemporary advertising the perfectintegration of design elements often demands unorthodox typography. It may require the use of compact spacing, minus leading unusual sizes andweights; whatever is needed to improve appearan8 POINT

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemporary advertising the perfect integration of design elements often demands unorthodox typography. It may require the use of compact spacing minus leading unusual sizes and w9 POINT

Excellence in typography is the result ofnothing more than an attitude. Its appeal comes from the understanding usedin its planning; the designer must care.In contemporary advertising the perfect integration of design elements often demands unorthodox typography. It may require the use of compact spacing, m1 0 POINTExcellence in typography is the resuIt of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemporary advertising the perfect integration of design elements often demands unorthodox typography. It may require the us11 POINT

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemporary advertising the perfectintegration of design elements often demands unorthodox typogra12 POINT

Excellence in typography is the result of nothing more than an attitude. Its appeal cornes from the understanding used in its planning; the designer must care. In contemporary advertising the perfect integration of design elements o

MEDIUM ITALICExcellence in typography is the result of nothing more thanan attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemporary adoertising the perfect integration of design elements often demands unorthodox typography. It may require the use of coinpact spacing, minus leading unusual sizes and weights; witatever is needed to improve appearance and impact. Statingspecific principles or guides on the subject of typograpity is d

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemporary advertising the perfect integration of desig,n elements often demands unorthodox typography. It may require the use of compact spacing, minus leading, unusual sizes and weights; whatetier is needed to improve appearance and impact. St

Excellence in typography is the result ofnothing more than an attitude. Its appeal comes fromthe understanding used in its planning; the designer must care. In contemporary advertisingthe perfect integration ofdesign elements oftendemands unorthodox typography. It may require the use ofcompact spacing minus leading,unusual sizes and weights; whatever is needed

Excellence in typography is the result ofnothing more than an attitude. Its appealcomes from the understanding used in itsplanning; the designer must care. In contemporary advertising the perfect integration of design elements often demands unorthodox typography. It may require theuse of compact spacing, minus leading, u

Excellence in typography is the resultof nothing more than an attitude. Itsappeal comes from the understanding used in its planning; the designer must care. In contemporary advertising the perfect integration of design dements often demands unorthodox typography. It may require the use of c

Excellence in typography is the resuit of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemporacy advertising the perfect integration of design elements often demands unorthodox typography. It m

Excellence in typography is theresult of nothing more than anattitude. Its appeal comes fromthe understanding used in its planning; the designer must care. In contemporary advertisingthe p

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