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THE INTERNATIONAL JOURNAL OF GRAPHIC DESIGN AND DIGITAL MEDIA PUBLISHED BY INTERNATIONAL TYPEFACE CORPORATION VOLUME 23, NUMBER 2, FALL 1996

$5.00 US, $9.90 AUD, £4.95


The Image Club's free monthly catalog is the essential design tool for today's creative masters. Over 800 fonts from the best foundries, thousands of stock photos on CD ROM (royalty free!) and tons of cool digital art, along with ideas, solutions and tips & tricks from other designers. New for you every month! Order your call 1.800.387.9193

catalog:

fax 1.403.261.7013

http://www.imageclub.com/

Hey! The entire FONTEK and ITC type libraries featured throughout this issue of U&lc are available from Image Club. Call 1-800-661-9410 to order!

Adobe

Image Club Graphics is a division of Adobe Systems Incorporated

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ATypI I Typelab

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The Hague, The Netherlands,

The Hague 1996

October 24-28, 1996 The Association Typographique Internationale (ATyp1), The Royal Academy of Art and The Royal Conservatory of Music

Typography &... is a conference gathering of Art Directors, Graphic Designers, Type Designers, Musicians, Filmmakers, Business and Legal Executives, Users and Developers of Software, and anyone to whom type and typography are essential. Typography &... focuses on how typography is developing, evolving and changing with a speakers' program, debates and discussion groups, exhibitions, studio visits, special museum programs, and TypeLab, an interactive, experimental environment for typography, type design and graphic design. Speakers and participants include: David Carson, Neville Brody, Ed Benguiat, Gert Dumbar, Just van Rossum and Erik van Blokland, Matthew Carter, Gerard Unger, Jeff Keedy, Petr van Blokland, Tobias Frere-Jones, Lucas de Groot, Gene Gable, David Berlow, Roger Black, Frank Blokland, Colin Brignall, Martin Majoor, Christopher Noordzij, Gerrit Noordzij, Peter Matthias Noordzij, Michael Twyman, Margaret Richardson, Fred Smeijers, Erik Spiekermann, Sumner Stone, Peter Verheul, David Farey, Jonathan Hoefler, Jost Hochuli, Frank Martinez, Mark Batty and many more.

Registration fees:

ATypI members: NLG 610. Non-members: NLG 730. Student members: NLG 225. Student non-members: NLG 250

To register for the ATypI 1996 conference, contact:

Holland Organizing Centre, Delegate Support Dep't (DSD), Parkstraat 29, 2514 JD The Hague, The Netherlands. Telephone: (+31) 70 365 78 50 Fax: (+31) 70 364 57 48. E-mail: kim@hoc.nl. For hotel reservations, contact:

Holland Hotel Services, PO Box 82000, 2517 JW The Hague, The Netherlands. Telephone: (+31) 70 364 06 70 Fax: (+31) 70 365 78 90. E-mail: hollandhs@congresses.com For further information contact Anita Garay @ ITC (212) 371-0699, Fax: (212) 752-4752 or e-mail: Mbatty@aol.com Circle 2 on Reader Service Card

3


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BY DEFINITION

A DICTIONARY OF TYPE-RELATED WORDS, PHRASES AND TERMINOLOGY FOR THE COMPUTER ERA. BY GENE GABLE. EXECUTIVE PUBLISHER: MARK J. BATTY •--,EDITOR/PUBLISHER. MARGARET RICHARDSON MANAGING EDITOR: JOYCE RUTTER KAYE

1/PE, IYPE, IYPE

CONTRIBUTING EDITORS:

1

AS EVERY NEW FONT FAMILY, DISPLAY

PETER HALL,

FACE OR PICTURE FONT APPEARS, THE

KAREN S. CHAMBERS

OPPORTUNITY FOR MORE EXPRESSIVE AND

GRAPHIC DESIGN:

EXPANSIVE USES OF TYPE BECOMES EVI-

MICHAEL IAN KAYE

DENT, WRITES MARGARET RICHARDSON. CREATIVE SERVICES DIRECTOR:

r71

JANE MUCCI ART/PRODUCTION MANAGER: CLIVE CHID ART/PRODUCTION:

SIX NEW, DISTINCTIVE ITC TYPEFACE

JAMES MONTALBANO

RELEASES SPRING FROM THE IMAGINATIONS

INTERN: CLARE DELLE GRAZIE

OF COMMERCIAL LETTERING ARTISTS.

ASSOCIATE PUBLISHER: REBECCA L. PAPPAS

P

ADVERTISING SALES: BARBARA H. ARNOLD BHA ASSOCIATES INC.

IE MACKINTOSH:

PHONE: (617) 259-9207

THE INFLUENCE OF THIS LEGENDARY SCOTS

FAX: (617) 259-9883

ARCHITECT AND DESIGNER IS CAPTURED

DISTRIBUTION: EDWARD WORMLY

IN EXHIBITIONS OF HIS WORK AND IN A

SUBSCRIPTIONS: ELOISE A. COLEMAN

NEW ITC TYPEFACE. BY MICHAEL HEALEY. FOR INFORMATION ON

41171PE ON THE TABLE

A RECENT ROUNDTABLE DISCUSSION ON CONTEMPORARY TYPE ISSUES REVEALED PERTINENT CONCERNS ABOUT ESTHETICS, TECHNOLOGY AND COMPENSATION. BY PETER HALL.

1

4

RE -FORM FREE FORMS

SMALL DIGITAL TYPE FOUNDRIES ISSUE NEW RELEASES IN PROVOCATIVE SPECIMEN SHEETS THAT ARE STATEMENTS OF STYLE,

likEA-11thAlakrh a alTa n

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EXISTING SUBSCRIPTIONS, FAX (516) 7562604 LIST RENTAL OFFICE: CMG INFORMATION SERVICES (800) 677-7959 ,suTERNATIONAL TYPEFACE CORPORATION 1996. Mc (ISSN 0362 6245) IS PUBLISHED QUARTERLY BY INTERNATIONAL TYPEFACE CORPORATION. 866 SECOND AVENUE, NEW YORK. NY 10017. ITC IS A SUBSIDIARY OF ESSELTE LETRASET. U.S. SUBSCRIPTION RATES. $30 FOR THREE YEARS:

WRITES STEVEN HELLER.

FOREIGN AIRMAIL SUBSCRIPTIONS. $60 U.S. FOR THREE YEARS:

Ir7 Ir9

U.S. FUNDS DRAWN ON U.S. BANK.

1996-1997

TO CONTACT ITC

ITC TYPEFACE COLLMIEION

CALL: (212) 371-0699 FAX: (212) 752-4752

A SPECIAL 64-PAGE U&/cSUPPLEMENT FEATURING CHARACTER SAMPLES OF MORE

E-MAIL

THAN 1000 TYPEFACES FROM ITC, LETRASET

GENERAL: intItypco@aoLcom

AND FONTEK, INDEXED BY STYLE, INCLUD-

EDITORIAL/PRODUCTION:

ING: SERIF, SANS SERIF, DISPLAY AND

designedit@aol.com

ORNAMENTS & ILLUSTRATIONS.

CIRCULATION: UlcRPappasgaol.com ADVERTISING: bhacat@tiac.net

S FROM ENGLAND

L

PERIODICALS POSTAGE PAID

YOUNG BRITISH DESIGNERS FUSE PAST

AT NEW YORK, NY AND ADDITIONAL

AND PRESENT TYPE TECHNOLOGIES IN

MAILING OFFICES. POSTMASTER:

CONTEMPORARY EDITORIAL DESIGN.

SEND ADDRESS CHANGES TO

BY LEWIS BLACKWELL.

U&Ic SUBSCRIPTION DEPARTMENT.

nQ

P.O. BOX 129. PLAINVIEW, NY 11803-0129. ITC OPERATING EXECUTIVE BOARD 1996

ON 1 YPE

MARK J. BATTY.

ESSENTIAL BOOKS ON TYPE DESIGN AND

PRESIDENT AND CEO

HISTORY ARE CHOSEN BY D. A. HOSEK.

RANDY S WEITZ, CONTROLLER ILENE STRIZVER, DIRECTOR OF TYPEFACE DEVELOPMENT

C")

ITC FOUNDERS: AARON BURNS, HERB LUBALIN,

ITC OLDEN COCKEREL'

EDWARD RONDTHALER

ERIC GILL'S FIRST INDEPENDENT TYPEFACE '

DESIGN FOR THE GOLDEN COCKEREL PRESS

ITC. U&Ic AND THE U&Ic LOGOTYPE ARE REGISTERED TRADEMARKS OF

IS REVIVED IN A CLASSICALLY STYLED INTERNATIONAL TYPEFACE CORPORATION.

DIGITAL FAMILY. MICROFILM (16mm OR 35mm) AND MICROFICHE (105mm) COPIES OF U&Ic ARE AVAILABLE FROM UMI, 300 NORTH ZEEB ROAD, ANN ARBOR. MI 48106-1346 PHONE: (800) 521-0600 OR (313) 761-4700.

Vol HME 73. NOMRFR 7, FAI I 1996

TABLE OF CONTENTS/FRONT COVER: HEADLINE/NUMBERS: ITC AMERICAN TYPEWRITER MEDIUM SUBHEADS/TEXT: ITC OFFICINA SANS BOOK, BOLD, BOLD ITALIC MASTHEAD: ITC FRANKLIN GOTHIC MEDIUM, MEDIUM CONDENSED, MEDIUM CONDENSED ITALIC, BOLD CONDENSED

4

FAX: (313) 761-3221


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Categories:

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EDESIGN LEADERS HAVE PROTESTED THAT THE PROLIFERATION OF DIGITAL

SIVE. IN FACT, IN A RECENT NEW YORK TIMES THE NUMBER OF

ARTICLE TITLED "CREATING.

TYPE FACES IN USE IS ESTIMATED TO BE

TYPE FACES IS EXCESTYPE FACES:'

GENERATION OF VIVID

BETWEEN 50,000 AND 60,000. THIS AMOUNT SEEMS PARTICU-

TYPE FACES TYPE USEESMOWER, AND THAT INCLUDES ANYONE WHO WORKS ON A COMPUTER, DEFY THIS NOTION BY FINDING NEW AND ApPIAP TYPE FACES FOR EACH SPECIFIC LARLY MONUMENTAL WHEN YOU CONSIDER THAT A FEW PUNDITS HAVE SUGGESTED THAT TWO STANDARD

ARE PERHAPS ALL ANY DESIGNER WOULD EVER NEED. MOST

C

N. AS EVERY NEW FONT

OPPORTUNITY FOR AND EXPANSIVE USES OF

a BECOMES EVIDENT. TYPOGRAPHY HAS BEEN TRANSFORMED BY THE ENDLES ARIAT1ONS OF INNOVATIVE AND

CREATIVE

TYPE FACES.

THOUGH NOT ALL NEW FAMILIES AND RANGES OF

TYPEFACES ARE TRENDY OR BASED ON FASHION, NOVEL AND

CONTEMPORARY DESIGNS HAVE AN IMMEDIATE IMPACT. AS THE TIMES ARTICLE POINTS OUT, "THE NESS, AFTER ALL, IS A FASHION BUSINESS." A RANGE OF CLASSIC AND CLASSICAL

TYPE FACE BUSI-

TYPE FACES ALSO CONTINUES TO

BE REINVENTED IN DIGITAL FORM. FOR EXAMPLE, ITC BODONI HAS NOW BEEN AVAILABLE FOR TWO YEARS, AND SUMNER STONE CONTINUES TO SUPPLEMENT THIS FONT WITH EMBELLISHMENTS LIKE INITIAL CAPS AND ORNAMENTS. THE NEXT

TYPE FACE DESIGNED FOR ITC BY DAVE FAREY IN ENGLAND IS ITC GOLDEN COCKEREL, A DIGITAL RENDERING OF ERIC GILL'S MASTERLY T YPE FOR THE GOLDEN COCKEREL PRESS. THE DOCUMENTING OF THE RESEARCH NEW CLASSIC

AND DEVELOPMENT OF THIS TYPEFACE BEGINS IN THIS ISSUE ON PAGE 24. ALSO BEING LAUNCHED ON THESE PAGES IS AN INTERPRETATION OF CHARLES RENNIE MACKINTOSH'S LETTERING RENDERED AS A DIGITAL TYPEFACE. THIS COINCIDES WITH A WAVE OF MACKINTOSH INTEREST: MAJOR EXHIBITIONS OF HIS LIFE'S WORK INCLUDE ONE OPENING IN NOVEMBER AT THE METROPOLITAN MUSEUM OF ART IN NEW YORK. STEVEN ZANE, A DESIGNER AT THE METROPOLITAN, PROVIDED US WITH A PREVIEW OF THE EXHIBITION POSTER DESIGNED USING THE ITC FONT. ITC RENNIE MACKINTOSH, LIKE ITC GOLDEN COCKEREL, ALLOWS DESIGNERS TO EXPRESS A TOTAL AMBIANCE, AN ADAPTATION CAPTURING AN ENTIRE STYLE AND ERA. THIS IS SEEN ON THE FOLLOWING PAGES IN THE DESIGNS OF MICHAEL IAN KAYE. IN THIS ISSUE, WE ALSO PAY TRIBUTE TO THE INDEPENDENT AND SMALL HAVE CHANGED THE WAY WE PERCEIVE AND USE CNARLES RENNI

A

N

VIDUALS AND SMALL TEAMS OF

TYPE FOUNDRIES THAT

TYPE. STARTING WITH THE EMIGRE REVOLUTION, INDI-

TYPE DESIGNERS HAVE ADDED A PERSONAL FLAIR TOTYPE FACES,

WHICH AGAIN ARE USED EXPRESSIVELY BY DESIGNERS. EXAMPLES OF BRITISH DESIGNERS USING

T YPE

IN DISTINCTIVE WAYS ARE PRESENTED IN A FEATURE BY LEWIS BLACKWELL.

TYPE FACE COLLECTION. SINCE ITC TYPEFACES, EXPANDING ITS TYPE FACE LIBRARY AND IS NOW DISTRIBUTING AND MAR-

AND, FOR THE FIRST TIME IN Uctic, WE ARE PRESENTING THE ENTIRE ITC HAS BEEN ACQUIRING NEW

KETING THE ENTIRE FONTEK RANGE ORIGINALLY DEVELOPED BY LETRASET, THE TIME HAS COME TO SHOW THEM ALL IN A

TYPE SPECIMEN FORMAT THAT CAPTURES THE QUALITY AND THE DIVERSITY OF INTERNATIONAL TYPEFACE CORPO-

RATION'S COMMITMENT TO CLASSIC AND CONTEMPORARY CONTINUING THE

TYPE THEME, THE MAIN FORUM

TYPE AND DESIGN. FOR TYPOPHILES CONVENES IN OCTOBER. THE ASSOCIATION

TYPOGRAPHIQUE INTERNATIONALE (ATYPI) CONFERENCE IN THE HAGUE TAKES PLACE FROM OCTOBER 24-28. SINCE THE NETHERLANDS HAS MANAGED TO PRODUCE MASTERS OF

TYPE AS WELL AS REVOLUTIONARY TYPE DESIGNERS AND

TYPOGRAPHERS, THE VENUE IS IDEAL FOR THE PLANNED DISCUSSIONS ON TYPOGRAPHY AND ART, TYPOGRAPHY AND LAW AND MORE. FOR FURTHER INFORMATION, E-MAIL MARK BATTY, PRESIDENT OF ATYPI (AND ITC) AT MBATTY@AOL.COM , OR CONTACT ANITA GARAY AT (212) 371-0699 OR FAX (212) 752-4752. FOR DETAILS ON THE EVENT AND REGISTRATION AND ACCOMMODATION, SEE THE ATYPI ADVERTISEMENT ON PAGE 3.

TYPE AS A MEDIUM AND TYPE USED IN EVERY ASPECT AND AREA OF DESIGN IS THE SPECIFIC FOCUS OF THIS ISSUE OF Mc AND PART OF OUR ONGOING COMMITMENT TO PRESENTING TYPE EFFECTIVELY THROUGH CONTENT AND DESIGN. Mc EXPRESSES ITS GRATITUDE TO THOSE OF YOU WHO HAVE CONTACTED US WITH YOUR COMMENTS AND VIEWS. WE ARE ALSO PLEASED TO HAVE RECEIVED AN AWARD FROM THE 1996 BRNO BIENNALE FOR thfic, AND TO HAVE TWO COMPLETE ISSUES (FALL, 1995 AND SUMMER, 1996) INCLUDED IN THE EDITORIAL DESIGN CATEGORY OF THE 1996 APPLIED ARTS AWARDS ANNUAL.

MARGARET RICHARDSON

6


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BROKENSCRIPT


Inset: WallClockdesigned by Mackintoshfor The Glasgow Schoolof Art Photograph ofWes t Doorway of The Glasgow School of Art by T&R Annan Photograph ofCharles Rennie Mackintosh by J. Craig Annan

MARLCS RCNNIC MACKIN T9SM IS THE ARCM ITCCT :I lele MST CL9SCLY ASS9CIATCDN WITH QLASQ°W. lac WAS B9RIV IN TMIS CITY IN 1868, AND IN Ail RELATIVELY 5M9RTS CAREER AS AN ARCNI TCCT THERE, MC UTE MIS IMPRINT INDCLI -:.:. BLY IN STARTLINGLY M9DCRN DESIGNS. Ell5 ACKN9WLCINCD MASTCRH PIECE, THE QLASQ°W SCM99Lt 9r ART, IS CELEBRATING ITSIIII 199TH ANNIVERSARY, AND IT1: STANDS AS THE EASTON(' ricri9-1 RIAL F MACKINT°511'5 V151°N.: IMACKINT9SM WAS THE ffIKST ARCMITCCT F THE M°DCRNI M9VCMCNT T° RN!) INSPIRA- M TI9N IN MIS 5C9TS MCRITAQC.:41 MC INTERPRETED THIS CSTMC - : TICALLY AS MAVINQ A SIMPLIC-: ITY AND M9NCSTY F LINE WITM THE INFLUENCE F NATURE ANIX NATURAL CLCMCNTS.111ACKINT9511 MAD A I9TAL V1519N,IM DESIGNING BUILDINGS THE INSIDE °UT. MN: C9NTCMP°RARY710: TERMS, THIS C°ULD;01 BE CALLED "M9115 TIC ARCMITCCTURC:: THE INTCRI9R5 WITH TMCIR IMPECCABLY WR9UQIITt DETAILS— FTTINQS, rURNI-6DK1 TUE, TEXTILES, CERAMIC TILLS, CARPETS, WALL C9VCRCVCN CUTLERY—WERE

A WIAL C°11PLCMCNT T° NW' UNIQUE ARCHITECTURAL STRUCTURES. 111ACKINT95115M W9RKIS PRESENTED WITH THE STRAIQMTr°RWARDNCSS BLACK AND WHITE WITM MATERIALS`;' LIKE STAINED PINE,:: DRESSED ST'?NC, SAILCL'?TM, CV CN SCREEN -PRINTED BR9WN PAPER r?K WALL C9VCRINQ, AS WELL AS TMC:0:4 NEW MATERIAL— C9NCRCTC.:0 VICK WERE ALL SCIZCDOIIIA1 AS PART 9r MIST ARCHITECTURAL AND DCSIQN111 V°CABU LARY. II1N MIS USE 9r GLASS ::II AND CERAMIC® DETAILS WITMIN t MIS C°NSTRUC-il TI9N5, MACKINT9511 SCCM5ki: ;11AVC RCLISMCD THE HAPPY ACCIDENTS g AIR BUBBLCSEIll AND UNEVEN LIGHT PENS TRATI9N. 01912RL••: WAS ALWAYS USCDE SPARINGLY AS A TEE LYRICAL C9UN - 11 i i TCRP9INT O HIS 04 BR9ADCR TrIcrics.C1 IST9RICALLY, MACKINT9S11:: US INT? THE CATCCPRY ARTISTS WM° WERE QRCATLPi 119N9RCD AND TMCN SUBSE-® UCNTLY r9RQ°TTCN IN THEIR 12

°WN urrnmts. AT MIS PEAK, 18%- 1919, THE 9RIQINALITYSt 9r MACKINT9511 15 STYLE WAS? W9RSMIPPCD IN GERMANY AND AUSTRIA, o NC GAINED A RCP - : UTATI°N IN CUR9PC NEVER: TRULY EQUALLED IN QRCAT BRITAIN. (IT WAS AT THIS TIMM THAT NC C9MPLCTCD MIS NEWT DESIGN r9R THE QLASQ9Weil SCM°°L F ART—A W'?RK TMAT ARCMITCCT R°BCRT VCNTURKE HAS SAID C'?ULD 9NLY BUM C°MPARCD WITH THE P°WCR 9r MICMCLANQCL9.) IN 1999, MACKINT°SrITI WAS FETED VIENNA r9K MIS C9NTRIBU-: TI9N o THE 8TH VIENNA SCCCS51°N; THIS LCD1 o rIKIDIDSMIPSt WITH C°NTCM-1 MARY DESIGNERS LIKE" 1 J9scr prrmausi AND THCO! c9mmissmi T° DESIGN THE WARND'?RrER MUSIC SAL9N. THE MACKINT9SM R'?°M AT THE TURIN INTCRNA-: TI9NAL CXHIBITI9N IN ITALYNN WAS ALS'? CNTMUSIASTICALLM RECEIVED, AND MC WCNTGEN 9N T9 CXMIBIT MIS W9IKK IN M'?5C9W AND BCRLIN.''ME[I'"" MIS LASTING LEGACY 151195T EVIDENT IN THE QLASQ9WT 501991_ 9r ART, WHICH KIN DESIGNED T9TALLY ER°M ITS]


r9RMIDABLE PRC -DCC9 CXTCR19R R9UQM THCTH9USANDS °INTEGRATED DETAILS INCLUD ING W99DW'?RK, DCC9RATIVC: B9RDCRS AND TRIMS, TMC- UN MATIC INLAYS, STAINED GLASS; WIND'?WS, DISTINGUISMCDElt rURNITURC PICCCS A MIGHLYCI 9RIGINAL LIGMTING FIXTURES. CSPITC TMIS SUCCESS, AND WITH MIS UND9UBTCD INFLUENCE ABR'?AD, MACK- 12 : INT9SM'S CAREER IN GLAS- ::::: G9W BEGAN ; DECLINE. PRIVATE CLIENTS WCRC: sumo CNTLYS SYMPATMCTIC T9 WANT MIS El N "MAL DESIGN"! 9r MOUSE ANDL INTCRI9R, o MCI WAS INCAPABLE` 9r C9MPR9MISC. NM ?MKT 9rx. W9RLD WAR I MN DASMCDE ALL CL9SC LINKS WITH GCR- 121 MANY AND AUSTRIA.E Y 1914, MACKINT9SM MAD! DESPAIRED 9r CVCRtnif3) RECEIVING RCC9GNITI9N IN Nt GLASG9W, 5? MC AND MIS WIFE C9LLAB9RAT9R, MARGARET,: 119VCDT9 WALBCRSWICK 9N 1 THE CNGLISM surr9LK C9AST- : LINE, WMCRC MC PAINTCDV:It MANY n_9wcR STUDIOS IN E' WATCRC9L°R. MIN 1915, THC C9UPLE SETTLED IN L'?I`ID9N,:: C°RTMO NEXT rcw YCARS,

MACKINT9SH ATTCMPTED rept 19 RCSUMC PRACTICE AS AN ARCMITCCT AND DESIGNER DESIGNS MC PR9DUCCD AT TMIS TIME, INCLUDINQQ1111 TMC C9NVCR51911 9r TMCPUSC 9r W. J.S0 BASSETT- L9WKC IN s; N9RTMAMPT9N, SM9W W9.'RKING IN A" B9LD NEW STYLE 9r DCC9RATI9N USING PRIMARY!: C9L'?RS AND GC9MCTRIC ri9Tirs. IT WAS AN 9UTPUTEJ 9I CXTRA'?RDINARY VITALITY V] AND 9RIQ - :::: INALITY, WMICM: WENT VIRTU12 ALLY UNMECDCD IN CNGLAND.Ot N 1923, THCEE UliC9UPLC L9ND9N r9R THC TMCN CMCAPCR sc;surri 9r rRANCC:Et WrICRC MACKINT9SM RNALLY0 GAVE UP ALL TrI9UCiMT ARCMITCCTURC AND DCV9TED MI risnr CNTIRCLY 1.9 PAINTING LAND- 6 SCAPCS. OC DICD " IN L9ND9N, 9r CAN - B CM, 9N DCCCMBCIU1 19,1928, LEAVING tit REMIND AN ESTATE VALUCDini AT A LITTLE °VCR $129. g UT!' t NEARLY 59 YEARS LATER, MACKINT9S11 CHAIR S'?LD AT S9THCBTS r9R $13,00. NNE

111

1994 AN9TMCR MACKINT9SM:•: CHAIR S9LD r9R $415,999. NMIS YEAR MACKINT°SM ANDI MIS W9RK ARC TIC SUBJCCT 9r A SERICS 9r EXHIBITI9NS A A BEVY F PUBLI- El CATI9NS. LI MAJOR CXMIBITI9N, WMICM t: S 9PCNCD IN MIS NATIVE GLASG9W IN MAY, TRAVELS T9 TIC MCTR9P9LITAN muscurio IN NEW Y9RK IN 119VCMBCR ► SUBSEQUENTLY o CMICAG9 AND L9S ANGCLCS...EEEEHE IMACKINT9SM WAS INSPIRED; AND c9rain-Tcp. THC rATHCR 9r M9DCRNISM, MC WAS A MAN DECADES AMCAD 9r MISTIME. OC UNDCRST99D• TIC GENTLE AND MC QUALI - u TI CS 9r RESTRAINT, 119DCSTY1 AND VISUAL INTCCiRITY.101TM1 C9URAGC, MC WENT D9WN MIS 9WN LINEAR R9AD. Fitt 199K AN'?TlICR CiCNCRATI9NE AND AN9TMCR MILLCNNIUMAt 19 UNDERSTAND TMC TRUE" P9WCR 9r MIS ®:8 aD GENIUS WHICH ISM] MANIFESTED IN THE' 9RIGINALITY, VARI-D CTY AND DURABILITY 9r MIS W9RIUM 11:1M EtrillM [Noun rALry 15 ITADIralt °SCM°OL, DESIGN ANDt!1 14 CRArT AT TrIr Etlkii7 5C1=1991_ Pr ART.:::


ITC RENNIE

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NHARLES RENNIE MACKINT9SH IMPECCABLY HANDLETTERED HIS ARCHITECTURAL RENDER-

INC' STYLE. JAMES MURRAY, A LECTURER IN GRAPHICS AT THE GLASCPW 50199L 9r ART, MAD [MEN

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INGS AND CREATED P9STERS, 599K JACKETS, LEAFLETS AND EVEN DANCE INVITATI9N5 WITH HIS DISTINCTIVE LETTERS, 5UT THERE IS 11? rvi-

RESEARCHING MACKINT9511'S LETTERING AND RELATED DEC?RATIVE CL?UR1511E3

r. YR MANY

YEARS. MURRAY STUDIED THr SCH99LS EXTRA -

DrNCE THAT HE EVER DREW 9UT AN ENTIRE

9RDINARY MACKINT9511 C9LLECTI9N AND HAD

ALPHABET. MACKINT9SH'S 9WN HANDWRITING

DRAWN MANY LETTERING SAMPLES THAT WLRL

WAS rLUID, CURSIVE AND sN9wr-D THE R99TS

ESSENTIALLY MACKIN -MN INCLUDING MIS ALTER -

yr A ryRmAL VICT9RIAN EDUCATI9N, 5UT THE

NATIVE VERSI9NS P LETTERS. 5RICINALL RECEIVED

HAND - DRAWN LETTERING ?N HIS ARCHITECT-

THE C99PERATI9N Yr TrINLASCPW SCH 9 9L

URAL DRAWINGS WAS CHARACTERISTICALLY

ART AND LULL ACCESS (- 1, MURRAY'S RESEARCH.

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TYPE DESIGNER PHIL CRIMSMAW WAS RECRUITED

yr- MIS

AND, UNDER 5RIGNALLS ART DIRECTI9N, T??1(

APPR9ACH, WERE DESIGNED T? C?NVEY THE

MURRAY'S INITIAL W9RK AND DEVEL9PED T INT?

SPECIEIC AMBIANCE AND 1199D P EACH PR9 -

LULL TYPLLACL E9NTS IN 59LD AND LIGHT

E9Rm.s, LIKE EVERY ?PIER ELEMENT

JECT.MAKIN951DPASNT?EIG

WEIGHTS, WHICH MAINTAIN THE SPIRIT AND

AND T? C9NTRYL EVERY rACET yr HIS W9IRK.

INTEGRITY P MACKINT9SITS LETTERING. 595

IN

TRLMALL? °L ITC USED HIS TraNicAL LXPLR -

1995, C9LIN 5RIGNALL, ITC'S EUR9PEAN

o

TYPE C9NSULTANT AND AN ADMIRER yr MACK-

TISL T9 RNESSE THE E9NT IN 9RDER

INT9Stl, C9NTACTED THE GLASG9W SCH99L 9r

M9DATE THE ALTERNATE LETTERS 5? TYPICAL

ART WITH THE INTENTIYN SUGGESTING A

yr MACKINT?51=1, AND T. INC9RP9RATE THE

DIGITAL r9NT EASED 9N MACKINT9SH'S LETTER -

VARI9US LIGATURES THAT GRIMSHAW HAD

12

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ITC RENNIE

MACK

DESIGNED BASED °N INC 5C9T5 DESIGNER'S SIGNATURE STYLE.

INT°6M

RIGNALL BELIEVED INC ARCNITECTURAL DETAILS AND 9RNAMENTAL DESIGNS IN MACKINT9511'S W9RK (ESPECIALLY N9TABLE IN THE

WITH 51199TH EDGES, INC TYPE WAS THUS DESIGNED WITH SM??-111 EDGES T? BETTER FIT IN WITH THE ?RNAMENTST "1199KING AT INC RNAL RESULTS or INC NEW TYPEFACE, IT bEC9MES EVIDENT THAT TNEY

GLASG9W SCH??L or ART BUILDING) W9ULD

REALLY D? REPRESENT INC SPIRIT F CHARLES

MAKE A STRYNG GRAPHIC 9RNAMENT r?NT.

RENNIE MACKINT9SKS ?RIQINAL LETTERING. THE

HE HAD CIRIMSHAW INTERPRET AND CREATE

ALTERNATIVE LETTER roRms, THE LIGATURES AND

9RNAMENTS AND REFINE INC STAINED GLASS

THE SIVRT W9RD C?MbINATI?NS TNAT MACKIN -

mows AS C9MPLEMENTARY ELEMENTS * THE

T9S11 USED WNLN RESTRICTED roR SPACE- WERE

LETTERING r9NTS.

INCLUDED IN roRmuLATINQ THESE DESIGNS.

ABCPCNMIJKLI1119PQRSTUVWXYZ AbCDENTHIJKLMNOPTIZSTUVWXYZ

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v!{}(i flA-rwarincr-

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12)4567899AAAAALCCUMITIF lAIE1100aDCCc)(?C'QDFORRS63S§Trar rf iATN-K -FrINCr+?!{}[]()1 #$%101 0 Mir DECISI9N TY CREATE THE ?RNAMENT r9NT

THE EXISTENCE ?r Trur DETAILED ELEMENTS

P?SED AN ESTHETIC DILEMMA RELATING b THE

MEANS TrIAT S?ME9NE USING THIS ITC r9NT CAN

INTEGRITY F THE LETTERING r9NT. ACC?RDING

CAPTURE THE VERY SPIRIT or THE 9RICIINAL

T? BRIGNALL, "IF WE WERE T? ACCURATELY

LETTERING:' SAYS bRIGNALL.

INTERPRET MACKINT?SH'S PEN -AND - INK REN -

iuriE UNIFYING ENERGY TUT 59UND INC ITC

DERED LETTERING, THEN THE TyprrAcrs PR? -

TEAM IN THIS UNIQUE PR?JECT WAS,

CURSE,

MACKINT9.511 mirsnr THIS ARTIST WAS AN INN9 -

bALYVUDBESIGNC?RP9ATG

Toucm AND I. INFLU -VAT9RC°NIUES

A R?UGH EDGE: NC EXPLAINSAVWEVER, SINCE THE 9RNAMENTS W9ULD M9STLY BE USED IN

ENCE ALL WN? SEE MIS EXTRA°RDINARY W9RK.

C?NJUNCTI9N WITH THE TYPE, 6 SINCE RESEARCH

N9W HIS LEGACY LIVES oN DIGITALLY IN ITC

SN?WED THAT INC ?RNAMENTS W?RNED BETTER

RENNIE MACKINT9SH.

HEADLINE/INTRO/BYLINE: ITC RENNIE MACKINTOSH BOLD TEXT/DROP CAPS: ITC RENNIE MACKINTOSH LIGHT, BOLD, ITC RENNIE MACKINTOSH ORNAMENTS

13


r Ee Ee Ff O o R r Mm S s

Sma 11 digital TYPE FOLADRE issue new releases IN PROVOCATIVE PRINTED PIECES that reveal their designers'

unique PMSPECTIVES: CONTEMPORARY TYPE specimens, whether in the

AND BY THE '505, THI;1 7 were densely packedline Of

FORM OF FULL-COLOR BROADSIDES or precious, pristine booklets, exude an exuberance and inventiveness not seen since

WORD SHOWINGS THEBUOYANT PREwar spirit resurfaced somewhat in the '6os, when Photo-Lettering Inc. introduced its

THE 1930s. DURING THAT DECADE, TYPEFACES were announced with the same flourish and fanfare as popular songs. But by the 194os, owing to wartime shortages of hot metal, type specimens became austere

ALPHABET ENCYCLOPEDIAS STUFFED WITH hundreds of new photofaces on pages that approximated old Victorian theater bills. For most of the'7as and early'8as;type ,speci nzens were more or less functional But

the dawn of type's digital age in the mid 28os marked a new inventiveness, as a handful of small digital foundries started to compete for market share. or—

by Steven Heller


▪•

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rany of today's typefaces appear to be designed with the screen in mind, which is probably why the next generation of innovative type specimens will not be found on paper. Following Fuse magazine's pioneerin.g efforts of distributing disks with samples ofmoving type, Emigre Fonts already has a large collection of entertainingly animated showings on its First Class software and Web site locations. ElliouEarls recently- added a CD-ROM to his repertoire that offers pictures of types in motion. Jeff Keedy in Los Angeles willsoonpremiere his CipherType exclusively online, and in The Hague, Erik van Blokland and Just van Rossum display their designs in computer-generated type animations. Oddly, this brings the art of modern type specimens back to its splashy starting point in the early twos, when typefaces had a unique cachet and the sheet music style provided a suitable context for display. Today, it isn't enough simply to show elegantly set line samples. Due to the proliferation of screen-based media, type marketing is such a highly competitive activity that a larger stage is required on which to audition type and see it perform.

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HEADLINE/INTRO/BYLINE/A-F: ITC BODONI SEVENTY-TWO BOOK, BOOK ITALIC TEXT: ITC BODONI TWELVE BOOK. BOOK ITALIC, BOLD. BOLD ITALIC CAPTIONS/CREDIT: ITC BODONI SIX BOLD, BOOK

Photographs by Me lle. H

Ff


ITH FONT DESIGN AND HYBRID TECHNOLOGIES 4NCREASINGLY CREEPING YFOGRAPHY IS A DISCIPLINE AT THE CROSSROADS. LEWIS BLACKWELL FINDS A GROUP OF YOUNG BRITIS S GNERor HAV D FR NT ID SIN H CH DIRECTION TO TAKE. -70P

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as riest and in the boyhood hobby of trainspotting: Phil Baines is a designer who quests purposefully. He loo t in o fin a i has a son. These reasons are influenced by values. Values are derived from a respect for tradition, a "sense of t continuum;' an extensive and continuing study of his subje At college in the early 1980s, Central St. Martin's and the Royal College of Art in London, he became fascinated with letterpress. The resulting work, locked-up assembli of hand-set type, were somehow strangely English and ecclesiastical. "Some people at college were interested in the hip things going on;' he recalls. "I was interested i going back to the early years of print and even before, to manuscript. All the stuff I did at college was letterpress; I seemed to have the right obsessive approach to do : What I got from letterpress was a strong sense of structure—the technology required you to have a reason for why you put something somewher Baines has since escaped the confines of metal type, but has lost none of the rigor it imposed on his thinking about design. Of one of his latest projects, the art direction c the book Raw Creation: Outsider Art and Beyond (Phaidon), he says: "It's all absurdly logicE Although the spreads look fairly free-form in their layout, this is misleading. The blocks of text are stepped across the pages in a repeated 99 mm measurement, wit footnotes pulling out precisely at the point they occur and pictures being placed as closely beside the linking text as is feasible. All quotes jump out to the full measur It is so rule-driven that some of the highly expressive pages were laid out by an assistant following Baines' master plan with no apparent diminution of effec Baines doesn't really consider himself a serious type designer, but he is the most alert critic of type. He took his text font for Raw Creation (Zuzana Licko's Matrix) int FontStudio and respaced it completely. Meanwhile, the headline face is all his own (it will be called Horncastle when he finishes developing it). Another of his font Toulon, was snapped up by Details magazine on an exclusive deal. "I avoided type design initially because I thought it took a lot of expertise I didn't have;' he recalls. Thi was before he had a Macintosh. In 1991 Jon Wozencroft asked him to do a font for the Fuse project, which forced him into contact with both the Mac and type desig M


ftware. The result was his font Can You...?. He still often prefers to sketch out ideas on gridded notepaper, however. "It's not a philosophical thing, but more that I get eas when I am not at the Mac:' ne reason Baines eschews getting deep into type design is that he is most attracted to the role of the designer as problem-solver, rather than as loose creative spirit. us, Horncastle only came about when Baines needed a heavy sans serif and couldn't find anything suitable. is ability to respond to the intricacies of letterform as well as to the broader requirements of art direction has undoubtedly helped his work in commercials, notably with irector Tony Kaye. Despite being uninterested in the fashionable end of graphics, he has ended up crafting type on some of the cool spots of the decade, with credits om Tag Heuer to Volvo to The Guardian, for which he recently drew up 77 sheets of A4 paper in order to devise a 10-second sequence. That said, he objects to "gratuitous ovement"of screen type and insists the main difference to think about between print and screen is "to respond to how the type comes up and how it goes away:' ne senses his approach is in a late modernist tradition, looking for big rules to apply, believing in the rational. "I have always liked things like bridges, where how they ok is very much a result of what they do. I like things that are engineered, rather than styled:' How the eye moves and falls in reading is the quarry that Baines chases, hether in print, in film or in the intricacies of character design. In this, his work reaches beyond the immediate fashionable concerns of the 1990s, beyond the current edia and its technology and to something a little more timeless. The seminary made its mark, even if Baines did get the calling to design.

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1 Covers from exhibition catalogues for the Goethe-Institut, London, 1995. 2 Spreads from the catalog of a typography exhibition at Central St. Martin's College, London, curated and designed by Baines and Graham Wood, 1992. 3 Spreads from Raw Creation, a book on Outsider Art by John Maizels, published by Phaidon, 1996. 4 You Can (Read Me)!, a revised version of an experimental font for Fuse magazine, 1995. 5 Poster related to a book produced for specialist press Northern Heights, 1996, showing Baines' Horncastle typeface.


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0 th,11 very many of the perpenato,s of mu Arp are wry ycrang black ;amok: verge Se Paul Condon. Iletropoltan Pole, Comomponx n hs letter Wee—en:nay leadors'c,rter ths rhohMANhlt can a btr(k man make d dal tr 4 even posob,e ttvg Dart of a coloured Entand-lotted ptove feel sals'actIon (perhaps soixonwoo) at seeing England hvmhated because of poet...mm.11 myths of opprewon and explortatem: wrote Robert Heideman 0 this morth's osue Of Madan Wet Mond#ANhisal does a black make of thatrYou Vow. a tot aback peopfmtheire not made to feet that they're port ages country: maatoded Unload Omebe on teloyoon last month What a Ole* man to make of MeV Interne*, by IkItY Vxtor. Ptryrat: by Ma-tal Mo-r't

VfIel o d typ " says V' ce F ries of publications he has been asked to devise for the photographers' collective Magnum. N d tter is is t art awards internationally for his work on Big magazine, until he quit at the end of 1995 when t e publisher as e im to break away om is use of wood type for headlines. This is the client who is talking to me after spending five weeks at the London printers House of Naylor grinding out a woodletter and hot-metal publisher's catalog that could have been done in a fraction of the time conventionally. This is the son whose father's work as a letterpress printer left a heavy impression on his youthful imagination. "I really don't think to use wood letter all the time. In a way this catalog was my taking that part of my work to a logical conclusion:' The 46-page black-and-white public tion for the publisher 4th Estate saw Frost able to go beyond what he achieved with Big. For that magazine he had assembled wood-letter constructions for headlinE but ended up reproducing the results in offset litho. With 4th Estate, he decided to rediscover the full joy of letterpress, printing direct from 50-year old wood letter thc he had ingeniously made into illustrations. Alongside these constructions, Frost opted to have all the text set (in Gill) on the Monotype. "You forget how much easiE it is now in some respects;' he ruefully admits. "You get so used to just being able to run the cursor over something, highlight it and change the spelling or change th font just like that:' But still he believes "something comes through this process that you can't get otherwise. There is a spirit in this...some kind of magi In the bold, punning illustrations one can see the influence of Hendrik Werkman (1892-1945), the Dutch printer who self-consciously revealed the printing process i

(20


and 2 Covers and related spreads from two issues of Frost's award-winning redesign of The Independent Magazine, 1995-96. Spreads from a catalog for 4th Estate publishers, London, 1996. All illustrations are in wood letter, and all text is set in hot metal—purported to be the largest commercial letterpress project in London for

20 years.

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ccasional art pieces, and El Lissitsky (1890-1941), who explored the dynamic quality of letterforms and related them to both abstraction and pictograms. In that these aspirations come from the core of 20th century design history, one can perhaps detect Frost's own journey: his path took him early in his training to the center of he establishment with an apprenticeship of some years at Pentagram. Now he is finding his own voice with work that seems to deliberately rough-up the "slick" solutions f corporate design. Frost's typography is always immaculate, always coolly readable at the important points. But he steps beyond the polite grids of the corporate r orld with his embrace of wood letter in all its distressed, aged state, or in his advocacy of a particularly dry minimalist route at times, and also in his powerful handling images. For his work on The Independent newspaper's magazine (also award-winning, also using Gill for its "Englishness," also ended earlier this year), he managed o get through a more considered, conceptual approach to many of the layouts than is typical (and current) for such a magazine. While never at any point being overtly evivalist or nostalgic, Frost seems to be fighting the ephemeral, the transitory aspect of mass media. etterpress attracts with its requirement that the designer obey certain limitations. "There is the incredible craftsmanship in each of the wood letters, each cut by and. There is also an incredible restriction compared with digital technology: letters print the size they are cut—you can't just play with the size:' At a time when esigners can make numerous typographic decisions on the Mac, but often with no clear philosophy behind the choice, Frost is putting a marker down for a more conidered approach that learns from the past, but never apes it. -

21


S

h coul make a good claim to being two of the most productiv designers around. As the founders of Substance, they run a work or a diverse range of clients, from the club scene to m nstream publishing. They were doing this and cranking o early 100 pages of explosive magazine graphics each mon But, thanks to the dearth of ads in the launch issues of Blah Blah Blah magazine, a U.K. music and style pub ication initially from the company behind Ray Gun and M Ashworth and Fletcher had almost too much of a good thing: a magazine unencumbered by ugly ads...but al a yawning mass of white paper to cover every month. Th came to a sticky end recently when the publisher shifted from Ray Gun to a company involved in teenage titl s...and Substance swiftly decided their art direction was going to fit with the new business tactics. Their approach had signaled restless change, rather than formula p blishing. Rather like David Carson, who paved the way wi his work on the parent magazine, Ray Gun, Substance pushed free-form graphic design right into the faces f Blah Blah Blah readers and then kept on going. You mig have struggled to decipher a few words here and there, even given up on the odd sentence if you were i a hurry, but at least you wouldn't fall asleep mid-senten Ashworth and Fletcher are conscious, perhaps slightly nervous, of the fact that the magazine gave them a h . h profile and associated them with a style. Typically, pag combinedsarftxcolgemasur,ytwihfarbogune,schditr fax imagery, or other found graphics, often cut up, mov around a b and scanned back in. Photography and type often collid

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t's a bit of a problem for us at the moment that a lot of what we do is 'of the time' rather than timeless," admits Fletcher. Their contemporary heroes are the likes of 8vo, Mark arrow and Peter Saville—curiously designers whose cool, minimal typography is far from the hot and busy work Substance pumped out in Blah Blah Blah or, previously, for ITV Europe, where they spent time as in-house print designers. ne of the pieces of work they are happiest with is an album cover created for Ultramarine. The minimal use of sans serif type on a mysterious image (by photographer John Iolden) was for Ashworth "one job where we do seem to have done something more timeless." A forerunner to that might be Interference, the 1995 book of Holden's photoraphs on surveillance technology. Here, Substance's mix of type with digital detritus operates as a carefully placed counterpoint to the out-of-focus and curiously lit images. he music industry and related fashionable clients perhaps disguise the firm roots to Ashworth and Fletcher's work. They see themselves as working in a European heritage, articularly Swiss. "But when we draw on Swiss, it's more Weingart than Ruder or Hofmann:' suggests Ashworth. (Wolfgang Weingart's early deconstructed ideas in the late 96os and '7os mocked the rules that Swiss designers such as Armin Hofmann and Emil Ruder had worked up in the 1950s and '60s.) All this might sound ambitious. But Ashiorth and Fletcher have already achieved a high profile, have a style that gets copied by students, have new clients calling them since they left Blah Blah Blah ... and they re still only in their mid-2os. We can wait a little longer for the full manifesto.

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1 From the MTV Music Awards publicity pack, Berlin, 1994. Substance had imagery printed on both sides of the translucent sheets, With contrasting fonts for the English and German texts. Covers and spreads from Blab Blab Blab magazine, London, 1995. There is a deliberate attempt to incorporate manual processes inthe layouts, including Letraset headlines, plus extensive use of the fax machine to degrade the art. 3 From Interference, a book on the intrusion of surveillance photography in everyday life, by John Holden, Sheffield, 1994, Found imagery provides much of the type, which exists as mostly incoherent background "noise" against which the images are set. 2

HEADLINE/INTRO/NAMES: ITC OFFICINA SANS BOOK LARGE NAMES: ITC EDWARDIAN SCRIPT REGULAR TEXT: ITC OFFICINA SERIF BOOK, BOOK ITALIC


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CREATING A SERIES OF ELEGANT, DISTINCTIVE TYPEFACES FOR THE GOLDEN COCKEREL PRESS MARKED A DRAMATIC TURNING POINT IN THE PRODIGIOUS CAREER OF

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EFORE STARTING THE PROJECT IN 1929,

Gill had already earned a wide reputation in England as a sculptor, stonecutter and wood-engraver—and also as a controversial socialist, pacifist and liberal Catholic convert. The Golden Cockerel typefaces, commissioned specifically for a special edition of the Four Gospels, were his first efforts as a full-fledged type designer. Initially, with the encouragement of Stanley Morison at Monotype, he had provided letter drawings for the Perpetua and Gill Sans typefaces to the foundry, whose drawing office and engineering staff modified them to suit the hot-metal technology.

*. A Heavy, Closely-Massing Type'A

With the Golden Cockerel series, Gill immersed himself completely in the production of the typefaces, assuming the responsibility of ensuring that his drawings were converted to metal, sized on the body, spaced correctly and tested in page formats. By embracing the technology of the day, Gill was making a personal philosophical leap. Previously, the designer had turned his back on metal typecasting technology, adopted a reclusive, monastic lifestyle in rural England and settled on engraving in wood, he said "for the sake of lettering" But Gill was passionate about the Golden Cockerel project and became absorbed in achieving technical precision without compromising his esthetic. In the late 192os, most private presses in England routinely used Caslon Old Face in text settings. Gill and his collaborator Robert Gibbings, the owner of the Golden Cockerel Press and a fellow wood-engraver, decided the Four Gospels edition needed a typeface that would be robust enough to match the strong, illustrative images they were working on Soon after starting the project, the novice type makers ran into several technical snags. The first was the practical problem of adjusting the large-scale drawings to their eventual reduced size for use. Gill conveyed his problem to Morison in correspondence: "I have made drawings to large scale, but how am I to tell what they'll look like small?" He added, "I have made a drawing of Lord's Prayer actual size of i8 point (body). But neither my hand nor my eye is capable of working so small. Still the general effect is what I want—colour, character, etc:' Gill solved his dilemma with characteristic ingenuity: by getting his small sketch photographically enlarged, working over the detail and having it reduced again, he began to achieve what he wanted, which he expressed to Morison as "a heavy, closely-massing type suitable for use with modern wood engravings7 Further problems were encountered when a larger point size than the i8-point text was cast for the titling font. As Gibbings put it "One of the greatest changes you can make to a design is to alter its scale" Gill reworked the drawings to make a titling font in 24 point and 36 point, as Gill said "reducing the weight of the horizontals in proportion to that of the verticals, and so retrieving the lost elegance of the design7

From Metal to Digital This same kind of scrutiny and care was applied this year by International Typeface Corporation when bringing Gill's classic typeface to digital form. In researching the Golden Cockerel typefaces, English type designer Dave Farey contacted Sebastian Carter, who with his father Will Carter at the Rampant Lions Press in Cambridge, has had exclusive use of the original metal

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ITC GOLDEN COCKEREL,'" ORNAMENTS

26


type since 1977. The younger Carter had been sparingly and lovingly using the typeface in 18 point for book and pamphlet settings. Seeing the ingenuity and variety of its contemporary use confirmed to both Farey and Colin Brignall, ITC's European type consultant, that Golden Cockerel types would be esthetically valuable and an important contribution to the type collection when launched in a digital format. Prints of the type in Carter's possession—the roman and titling fonts—were pulled on a variety of papers for study and comparison with the original letterpress printing, and enlarged drawings and photographic reductions were made. Research then continued at London's St. Bride Printing Library, where librarian James Mosley showed Brignall and Farey a copy of Gill's experimental drawing of the Lord's Prayer— and the original enlargements of it. Almost unnoticed in the library's collection was a small case of 14-point italic lowercase, which was attributed to Gill but had not been used by the Golden Cockerel Press in the production of the Four Gospels. Letterpress proofs of the lowercase italic were taken for further reference. Additional examples of the italic were located at Thomas Yoseloff's Golden Cockerel Press bookshop in London, which houses the complete works of the Golden Cockerel Press. Consulting with printing historian John Dreyfus, the ITC development team discovered that the original Golden Cockerel patterns and matrices of the type, manufactured by H.W. Caslon Letter Foundry, were kept in the vaults of the Cambridge University Library in the Stanley Morison collection. There Farey examined and measured the metal masters and made visual comparisons with the letterpress references before beginning the first-stage drawings of the ITC Golden Cockerel faces.

Completing the Family Capitals for the italic were then devised by studying Gill's other types and alphabets, along with his numerous lettering projects, including stone engravings, to ensure that the set of capitals would complement the lowercase and relate well to the existing roman. In tandem with the roman and italic and the separate titling font, a set of ornaments and original initials were developed to give a full span to Gill's expressive wood engravings, etchings and carvings carrying the master's fingerprint. Essentially, the ITC Golden Cockerel initial alphabet represents Gill's style of wood letters, including the exuberant flourished serifs and splendid lombardic stresses found in commissions from the Golden Cockerel, St. Dominic's and Curwen Presses and simple bookplates and devices developed throughout his life with letters. ITC also added ITC Golden Cockerel ornaments, which interpret and celebrate Gill's skills as an illustrator. The ornaments were selected by Brignall from research at the British Library and the Victoria and Albert Museum in London, along with published references that include borders, tailpieces and typographic devices. Gill's ecclesiastical style is well represented, balanced with embellishments taken from nature and mythology—including the three-leaf clover, the mulberry tree, the Welsh Dragon, and the motif used in The Canterbury Tales, described by Gill as "the inadequate fig leaf." These decorations are suitable for use with all roman or sans serif styles, but more appropriately have been chosen, as Gill would say, "to be fit for their purpose: relating to the ITC Golden Cockerel typefaces, the unique, digitally created versions of Eric Gill's classic first independent type designs.

Contributors: Joyce Rutter Kaye, James Mosley and Dave Farey

ITC GOLDEN COCKEREL` ORNAMENTS

27

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TYPE BY

dertni.tion CAN YOU TELL A FLUBDUB FROM A FLEURON? A FOND FROM A FONT? GENE GABLE BRINGS US UP TO DATE WITH A DICTIONARY OF TYPE-RELATED WORDS FOR THE COMPUTER ERA.

In his

Devil's Dictionary, Ambrose Bierce defines type as "pestilent bits of metal suspected of destroying civilization and enlightenment, despite

their obvious agency in this incomparable work." There is something about type that makes people want to invent unique words and phrases to describe it and the process of setting it. Some type phrases, like "lock up" and "dry transfer," make sense only in light of the technology used at the time they were coined. And others, like "leading" and "case," have survived, despite having no actual relevance to modern technology. Thanks to the dreadful influence of the techno-babble that so permeates the computer industry, entirely new words are cropping up almost daily to describe type and type-related things. Sometimes, it's hard to keep track. While no means exhaustive, here is an updated list of important type terms and type technology in the computer era. And while some of you may find some entries obvious below, remember that the Macintosh has been around for 12 years-long enough to have inspired a generation with no exposure to traditional typesetting terminology. BY GENE GABLE

a

1 fonts, but you don't need them for day-to-day use. It's been a while since any programs required them.

get (resolution independent). Halftone images are pixel based-they're made up of tiny bits of color that, if you blow them up large enough, you can see them (resolution dependent). When you combine the two, such as adding type over an image in Adobe Photoshop, the intersection of the perfect lines of the type, with the jagged dots of the image, can create a stair-stepped, uneven look to the type called aliasing. For this we do antialiasing, a computer routine that sort of "blurs" the lines between the two, resulting in what should be more readable type. Some programs are better than others in how they anti-alias type and other vector art.

Accent Marks You see them all the time, but did you know their names?

Ascender Height Officially the distance from the top of the lowercase x

AA No, not where you go to dry out, but short for Author's Alterations

to typeset text. As opposed to PE, or Printer's Error. AFM Files Adobe Font Metrics. You still get these with your Mac Type

(x-height) to the top of lowercase letters with ascenders, like f, d or k. ,

Acute

k

Asclitilde •-• ) Breve ( v ) Caron ( )

Cedilla ( ) Circumflex ( ) Dieresis ( ) Dotaccent( • )

Grave C

Hungarumlaut

(")

X-Height

Macron ( )

,

Ogonek ,) Ring

k)

Tilde CI

Agate Not used much in the electronic era, but still a measurement of

choice at some newspapers. It's both 51/2 point type, or an ad-space measurement of 1A4 of an inch high by one column.

ATM Some think it's where you get your cash. Others say it's short for

Asynchronous Transfer Mode. But in the type world, it stands for Adobe Type Manager, a nifty little program everyone should have that allows Macs and PCs to display bitmap type from Type 1 outlines. ATM also lets you use PostScript fonts on non-PostScript printers. In its current Deluxe version 4.0, ATM is more of a font utility, like Suitcase or Master Juggler. And even though with ATM your screen fonts are rasterized from the printer outlines, you still need to install at least one bitmap font, which is contained in the font suitcase.

Alphabet Length At any size, the length of all 26 lowercase characters.

Some once thought 11/2 the alphabet length (39 characters) was the perfect width for a text column at the set size.

vector-based objects—they're made up of straight lines and curves that stay smooth no matter how large they

Anti-Aliased Type Type outlines are

28


acter or number made up of zeros and ones (called eight bits in one byte, or 16 bits in a double-byte. Baseline Seems pretty obvious—it's the line on which letters stand. But did you realize that most curved-bottom letters (like S, C or G) extend slightly below the baseline?

There are

Expert Not a firm standard, but a common layout that generally includes small caps, oldstyle figures, superior and inferior numbers, additional ligatures, and miscellaneous special characters. Adobe pretty much set this standard with their expert collections. Sometimes referred to as SCOSF (small caps, oldstyle figures).

Bad Break Some people think these disappeared when computers began making line-ending decisions. But any break in text that violates an established typesetting or grammatical rule is still a bad break, even if it passes Quark's default muster. Bastard Title You've seen this page in every book—it's the one with just the book name—usually just before the main title page. Sometimes called the half-title page.

bits).

ISO Latin Sort of the international version of the ASCII set as dictated by the International Standards Organization.

Once referred to lots of typefaces on a single page. Now it seems pretty commonplace. Circus Makeup

A measurement preference choice in XPress and PageMakermore popular in Europe than in the U.S. An old printer's term, a cicero is slightly larger than a pica (0.1776 inches). The sub-unit of the cicero is the didot point—there are 12 of them to each one cicero. Cicero

With Type 1 fonts, you need a different font for screen display than for printing, thus the bitmap, unless you use Adobe Type Manager, of course, which creates screen fonts from outline fonts. But even then, you need to install at least one bitmap font (which are contained in font suitcases), at least on the Mac. Whew! Bitmap/Screen Font

You know about greeking text. But did you know this term for dummy book pages that appear in pre-release promotional materials? Blad

Bounce When the baseline of a word gets all goofy, call it this. Sometimes referred to as asymmetrical or off the line. Brace This is the character used to connect or embrace lines, particularly in math Not the same as brackets, which are square [ ], except in Britain, where they refer to parenthesis () as brackets. { }.

Built-in Fonts All fonts have to make their way to the printer before your job can print (at least with PostScript printers). Most printers come with some fonts permanently built in-these generally match the ones that ship with the Apple Mac and Windows operating systems. Sometimes they're called resident fonts. All fonts that are not built in have to be downloaded to the printer from your computer during the printing process. This happens automatically when you hit the "print" button. Bullet Of course you know this is a solid, round dot. But are you also aware that it's sometimes called a meatball?

C Case It shouldn't surprise you that in hot metal times, the capital letters were kept in the upper drawer (or case), and the non-capitals were stored in the lower drawer. Center Point Not quite a bullet, not quite a period. It's the dot that appears between letters to indicate syllable breaks.

able

Every font has a limited set of characters that it contains-and they aren't always located at the same keyboard address (a key or combination of keys that make the character appear on your screen and on the printer). Unfortunately, a number of standards have emerged for character sets, so fonts can be different from system to system (or even on the same system). All of this is a bit confusing, so try not to worry about it—when in doubt, consult a keyboard layout chart or use a character-choosing utility. Character Sets

Most fonts are based on this American Standard Code for Information Interchange, which is limited to 128 characters, but in its extended form, covers up to 256 separate items (see ANSI below).

The advent of electronic type design has made it even harder to classify typestyles by design attributes. Type observers have dreamt up all kinds of type categories, from Neo Grotesque Sans Serif (Akzidenz, ITC Franklin Gothic, Helvetica) to Humanistic (ITC Eras, Gill Sans, Optima), to Glyphic (ITC Barcelona, 25 Ultra Light ITC Serif Gothic, Friz Quadrata). In the late 26 Ultra Light Italic 1950s, Adrian Frutiger proposed a two-digit numbering system for type which first appeared 27 Ultra Lignt Condensed with his Univers family. The first digit denoted 35 Thin weight (from 3-light to 8-heavy), the second width (from 3-extended to 9-condensed). Lino- 36 Thin Italic type ultimately released a Helvetica series with 37 Thin Condensed these numerical designations, but it is rarely 45 Light seen today. David Berlow of The Font Bureau proposed a 46 Light Italic similar type numbering system in recent times, 47 Light Condensed only in his scheme, weights and widths go from 55 Roman 1 to 9, and italics are all even numbered. Ben Bauermeister of ElseWare Corporation came up 56 Italic with the PANOSE System, which is one of the 57 Roman Condensed most ambitious ways of identifying type styles, 65 Medium and one used by Microsoft Windows to affect 66 Medium Italic type substitutions. The 7-digit classification number covers serif style, proportion, contrast, 67 Medium Condensed stroke variation, letterform, midline height and 75 Bold axis, and x-height. Using the Panose system, fonts can be mathematically compared, sorted 76 Bold Italic or matched by style. 77 Bold Condensed Maximillian Vox (1894-1974), a French typo- 85 Heavy grapher, developed the Vox Type Classification System in early 1950s—it consists of nine gen- 86 Heavy Italic eral type categories and is used primarily in 87 Heavy Condensed Europe. None of the proposed type classification 95 Black systems has ever caught on widely in the electronic type community, where the number and 96 Black Italic variety of type designs is at an all-time high. 97 Black Condensed Classification Systems

Contrast Not just an adjustment on your monitor, but how we refer to the difference between the thick and thin parts of a particular type design.

d

ASCII

The American National Standards Institute character set of 256 characters (the first 128 are ASCII). ANSI

Double-Byte for extremely large character sets, like those used in Kanji or Chinese, 256 characters is simply not enough (they can have up to 20,000 characters). Double-byte software supports a systemlevel way of accessing more than the usual 256 (single-byte) characters. A byte, by the way, is a computer numerical representation of a char-

Dead Font Formats Before Adobe Type 1 and TrueType became the winning standards in electronic type formats, others made a valiant effort: Chameleon from Ares was a promising format that created small, flexible descriptor files that were applied to master type outlines, allowing "morphing" of type styles—it's since been bought by Adobe and will likely be used only as a font compression system for printer manufacturers. MoreFonts from Micrologic never gained much ground on the Windows platform. Nimbus Q from the Digital Type Corporation was developed by URW in Germany—it made its way into a few Windows programs before its ultimate demise. Speedo was a font format from Bitstream that was used on the Windows platform prior to the wide-


Most spaces between words in a computer are variable spaces—they adjust in size to fit the circumstances and to make better justifications. But sometimes you want a fixed amount of space, which generally comes in three sizes: an em space (or mutt) which is equal to the point size of the type being used; an en space (or nutt), which is half an em space, or a thin space (no, not a thutt) which is generally or Vs of an en space. Most page-layout applications have keyboard commands for these standard spaces. The use of fixed spaces is invaluable when lining up numbers in columns.

spread adoption of TrueType. Type 3 was the poor man's version of Type 1 fonts before Adobe opened up its specification for others to use. If you have any of these formats today, relegate them to the trash where they belong.

Fixed Spaces

Descender Depth The opposite of ascender height, it refers to the distance between the bottom of the lowercase x and the southernmost point of descending characters like g or y. Descriptors For a brief time it seemed like fonts were headed in this direction, where a master font file existed on your system, which would then be "modified" on the fly into a specific type design by descriptor files (containing specific design guidelines). Efficiency of space and flexibility in distribution was the point here. It appears that most of these systems have lost favor.

Fleuron You've seen lovely flower ornaments for separating sections of type. Now you know what they are called.

Folio is, of course, the page number in a document. But did you know that a blind folio is a page with no number? And that a drop folio is when the number appears at the bottom of the page? Any printed folio is said to be an expressed folio.

Dieresis When you need to help someone pronounce cooperate, it's what appears over the second o. Same as the German umlaut, by the way. See accent marks.

FOND From Font Family Descriptor, it's Apple's way of defining the relationship between styles in a type family, like bold, bold italic and italic, and it links the bitmap font to the printer font through a numbered ID system.

You know these odd characters thanks to ITC Zapf Dingbats and WingDings. But do you know that fun typographic ornaments are sometimes called flubdubs? Others still insist on sorts. Dingbats

66 ')IE 71 •

@

Font Not as simple as it seems. Once meant an individual size of a specific type style. Then it meant the actual physical device you installed in a typesetting machine. Now it generally means a single typestyle outline. Some insist on calling the whole type family a font, but you should consider each individual weight or style of a type family a separate font.

4 )=- tr-w "4" "

i

Dipthong Not something for walking on the beach, but rather the ligature formed by two vowels coming . together to form one character.

1 t

fftk

Ce

Discretionary Hyphen Sometimes called a soft hyphen, it's really an "optional" word break that you put in to let the program know that if a break needs to be made, this is where you want it to occur (usually by typing command + -). If the text is reformatted and the line endings change, a discretionary hyphen goes away automatically, as opposed to a hard hyphen, which stays until it is deleted. You should almost always use discretionary hyphens—you get into less trouble that way.

O

Now you know what to call a word represented by a symbol, such as & or @.

Grammalogue

Display Type Back in the good old days, type was designed and cut to appear at a specific size. Technology now allows any font to be set in any size, rendering the concept of specific display type much less popular. But certain designs still look best when cut for use at larger sizes. Fortunately, fonts like ITC Bodoni and Big Caslon from Carter and Cone (among many others) are designed to be used at specific sizes. In case you don't think it matters, look at the contrast of a display version versus a text version of the same font. Generically, display type sometimes refers simply to type designs that are hard to read at small sizes. But a true display font is designed to be set large (generally above 24 pt). (see page 52)

ABd

&

@

Hairline Not actually the size of a human hair, of course, but generally the smallest available rule in any system. Should technically be Y2 point. Headlines Of course you know what a headline is, and a subhead, and maybe even a running head. But less commonly known is that a stubhead appears in the left-hand column of a chart, and a spanner head straddles more than one column? And now you must know where a subspanner head goes.

One of the hidden quality issues in type design, especially with TrueType. Hints are computer algorithms that improve the display of type (particularly at small sizes) on your screen. Better hints equal better type display at low resolutions. Good hints are done by hand on a face-to-face basis. Hints/Hinting

e Ear Those little boxes of type on either side of a newspaper or magazine title. Often contain the weather or inside previews. Not to be mistaken for a letter's ear (see Parts of a letter). Embedded Fonts This is where fonts get saved and distributed automatically with a document so you can view them correctly on another machine. The font companies don't like this idea since it allows the receiver of a document to capture and then use the document creator's fonts. Some font embedding routines, like TrueDoc and OpenType, capture enough font information to render type properly when opened, but not enough to re-create whole fonts illegally.

Inferior Don't feel sorry—it's just those little letters and numbers that appear below the baseline. And superior, of course, are on top.

H,0

Starts at the edge of a letter and goes in. Outline, of course, starts at the same edge and goes out from the letter. Online, therefore, is half in and half out.

Inline

is the term to use when you set in all small caps (with no full-size caps).

Even Smalls

Intellifont Developed by Agfa for use in Hewlett-Packard printers, Intellifont is a scalable font format that you really don't have to know anything about because it is invisible to the printer user.

f

Intercap Giving something a name doesn't make it more acceptable, but these are here to stay. This is the official name for the practice of having capital letters in the middle of proper names, like PostScript, QuarkXPress, and ObnoXious.

Face We use this synonymously with type style. But it once meant the surface of a letter that gets inked.

30


A symbol that had a brief life in the late 1960s. It was to be used to express both a question and an exclamation at the same time, like in "What the ? or Who needs it ?" Martin Spector is said to have invented the interrobang. Interrobang

generation. If you're Hewlett-Packard and you ship millions of printers a year, every little bit of information represents a manufacturing cost, so the smaller the font, the less memory you have to build in to the printer. MicroType Express is a version of the technology for electronic document distribution that has caught the eye of Microsoft, among others, who have licensed it for possible use in future products. Everyone wants to have the type-compression technology of the future (see TrueDoc, OpenType, Intellifont).

There are lots of terms to specify this: flush left is the same as ragged right. Flush right will get you ragged left. And flush left and right will get you justified columns.

Justification

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 the design

Most people don't set this preference in their pagelayout program, but should. It's the definable area toward the end of a text line in which you will accept a line break or hyphenation. You shouldn't let the program make this decision for you.

Justification Zone

Not Kerned Kerning Simply put, kerning is the adjusting of space between letters (particularly those that don't fit together Kerned well like Yo or AW) to make for better looking words. But that's a little like saying you bang on piano keys to make music. Kerning is an art that you are either born with, or you master after years of painstaking practice. Technology has helped greatly here—kerning used to be all done by hand. Now a type designer can build kerning pairs into the font so certain letter combinations are kerned automatically. You can add to kerning tables in either a type design program like Fontographer, or in your page-layout application. But please don't be lulled into thinking kerning is all automatic—there are hundreds of thousands of possible letter combinations, and kerning needs to be done in context of whole words, not just letter pairs. Not to be confused with tracking, which is universal adjustment of space between letters (making words tighter or looser overall).

Type Typeface

Modifier Key Since keyboards aren't big enough to dedicate a single key to every letter, symbol or number, modifier keys exist to access single characters by deploying two (or more) keys in sequence or in tandem. The shift key is the most basic modifier key. On the Mac, the most common modifier key is the option key or the control key. On a PC keyboard, the option key is generally called the alternate key or escape key. Sometimes called the effector key, and if you have any old typesetters around the office, you may still hear them refer to the option key as the bell key. Mouse You think it's just that pointing device next to your keyboard. Well, it's also the rubber cement pickup device from old paste-up days. Multiple Masters Developed by Adobe, these fonts consist of at least two (and up to four) master outlines that can be combined to form an almost endless variety of weights, widths and heights of a particular design. They are not as popular as Adobe had hoped, but are a good bet if you work quite a bit with the same type style. Gives you lots of flexibility in copyfitting and design.

Type Typeface

1 Ligature You know this is when two letters are combined to form one, like in fi or fl. But did you know that all type that is connected, such as most scripts, is said to be ligated?

fififfiffidft Lining Figures are numbers that all have the same optical baseline— that's the opposite of oldstyle figures.

23456 23 456

Roman type that has been artificially slanted to look italic. The opposite of true italic. Oblique

Just in case you didn't think Type 1 and TrueType were enough, Adobe and Microsoft (with support from Apple, Netscape and others) have gotten together and come up with OpenType, mostly to answer font problems on the World Wide Web. The OpenType specification allows for the compression, embedding and decompression of font information so it can easily travel with a document and display properly on any computer platform—sort of where TrueType and Type 1 put aside their differences and unite for the common good of all documents. Don't worry—your current fonts should be compatible with the new format, which will take a while to catch on and be supported. OpenType

Ornaments As opposed to pi characters, which generally serve a specific purpose, or picture fonts, which are drawings set in a font format, ornaments are typographic devices that are used to embellish text. There are many types of ornaments. (see pages 95-100)

When you're setting a book and the first line of a new paragraph falls at the bottom line of a page, or the last line of a paragraph winds up at the top of a page (also called a page widow). Either way, orphans are to be avoided. Orphan

This is the part of the type software that actually creates the printed characters. It is, technically, just a description of the type's outline—it would take up too much space to describe all the solid stuff in between—that's done in the PostScript interpreter during printing. Outline

p Parts of a Letter Apex: The point

where two diagonal strokes meet, as in the top of the uppercase A or M.

All of the information about how a font fits together, like kerning information and character widths. Metrics

Bar:

A font compression/format technology from Agfa that is used to make fonts very, very small in equipment that ships with built-in fonts, like laser printers. It's part of Agfa's Universal Font Scaling Technology which is used by many printer manufacturers for handling internal font

Horizontal strokes on letters like T or E.

Arm:

The cross horizontal piece connecting two strokes.

Microtype

Beak:

A serif at the end of a horizontal stroke. (Continued on page 104)


c 101 HANDY USES

stom Letters

NEW

distinctive ITC typefaces spring from the imaginations of commercial lettering artists

Type designers

dress it up!

who specialize in creating custom logos, commercial lettering and corporate identities often find seeds of inspiration in their purpose-driven projects. While working to meet specific client needs, designers may discover that a single, eye-catching logo, word. or phrase provides an opportunity to experiment with a treatment that can be expanded into a full-fledged typeface family. The six typefaces shown on these pages—ITC Caribbean, ITC Jaft, ITC Jambalaya, ITC Klepto, ITC Obelisk and ITC Ellipse—were created by four designers who specialize in custom lettering. Each typeface reflects the distinctive style of its creator.

ITC Klepto ITC Klepto and ITC Obelisk, by British designer

Phi11 Grimshaw, are two examples of commercial design projects that took on a second life. ITC Klepto has its origins in a series of 22 headlines (some with accompanying body copy in a lighter weight) that Grimshaw created for an ad campaign. An eclectic, rough-edged sans serif face in the 1950's vernacular, ITC Klepto is well suited to

take it to new heights! L

further treatments such as drop-shadows, cola gradation, and distortions that when applied, re-create the effects prevalent in many horror movie titles of the 1950s.

ITC Obelisk According to Grimshaw, ITC Obelisk might be classified as "glyphic" in style, meaning it is chiseled, rather than calligraphic in form. Grimshaw was on his way to creating a medium-to-heavy informal display face when curiosity led him to redraw some of the characters in a much lighter form. This new lighter version proved to be attractive, especially when set at small sizes, and thius became his focus. While refining the design, the light weight was born, still retaining some of the original casual features, as seen in the lowercase h, m, n, q and the tail of the capital Q. A set of small caps soon followed, together with a complementary italic. The bold weight was then fashioned and used with the light roman in order to interpolate the medium weight. ITC Obelisk is available in Light with Small Caps, Light Italic, Medium and Bold weights.

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Hold A New World In Your Hands 34

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ITC ELLIPSE

began as a small piece of lettering for which the

are adventurous and energetic display designs from

is a typeface that reflects a contemporary esthetic,

California designer Jill Bell wanted the feel of some-

the hand of Frank Marciuliano, a New Yorker with

explains designer J.R. Cuaz. Cuaz, who specializes

thing organic and earthy, yet exotic and tall like a

an extensive background in commercial design for

in creating visual identity programs by combining

palm tree. Bell's experimental nature comes through

consumer packaging and corporate identities. ITC

graphic and typographic design, contends that the

in ITC Caribbean, where she combines angles and

Jaft began six years ago when Marciuliano created

ellipse has become prevalent in current design as a

curves, pairs heavy lines with open work, and evinces

a series of posters for the New York Times. The letter-

result of new graphics software that makes it easy

the sway of the palm in an island breeze. The typeface

ing was drawn with a bamboo pen and then filled

to manipulate the circle. The ellipse has even moved

includes both uppercase and small caps. The design

in to form the unusual angles that give ITC Jaft its

beyond print and has come to be integrated into

is informed by Bell's broad artistic background,

buoyant tempo.

many other facets of design, just as the trend of

which ranges from portrait painting to calligraphy. She has pursued many lettering forms and meth-

For the very spirited ITC Jambalaya and ITC Jambalaya Too, Marciuliano decided to treat each

any era reverberates through architecture, fashion, interior design and lettering. ITC Ellipse holds its

ods, including Eastern calligraphy, Chinese painting

letter as an individual piece of art. The result is at

own as a display face, yet its classical structure and

and Kanji. Eastern styles, she says, incorporate the

once an eclectic assemblage of graphic elements

familiar proportions allow it to be used across a

natural flow of the hand. This approach has a special

and an effervescent typeface that holds together

broad range of applications. ITC Ellipse includes

appeal to Bell, who feels clients now desire a more

for upbeat display uses.

alternates for several characters including A, l<

human touch in their designs. "About five years ago, I

and R, and is available in four weights: Roman, Italic,

noticed that requests for lettering design were veer-

Bold and Bold Italic.

ing away from tight, perfect letterforms and moving toward a looser, hand-drawn style she says.

Just what You Need to Get the Job Done Right! ITC Caribbean, ITCJaft, ITCJambalaya, ITC Klepto, ITC Obelisk and ITC Ellipse will be available to the public in various formats for the Macintosh and PC on or after August 26, depending on each manufacturer's release schedule. Only ITC, ITC Subscribers and ITC distributors are authorized to reproduce and manufacture ITC typefaces.


g ib e 0'01

MAN CANNOT LIVE OFF TYPE ALONE. IF THERE WERE ONE POINT OF UNANIMOUS AGREEMENT AT A RECENT U&k ROUNDTABLE ON CONTEMPORARY TYPE ISSUES, IT WAS THIS: THAT DESIGNING ORIGINAL TYPEFACES RARELY PAYS ENOUGH TO BE CONSIDERED A FULL-TIME JOB. GEORGE RYAN FELT SO STRONGLY ON THIS MATTER THAT HE TOLD THE ROOM FROM THE OUTSET HE WAS NOT A TYPE DESIGNER, BUT RATHER "A PERSON WHO EXECUTES TYPE:' OF THE NINE PEOPLE AT THE DISCUSSION WHO "EXECUTED TYPE;' THEN, ONLY ONE TRULY QUALIFIED FOR THE TITLE OF TYPE DESIGNER. THIS WAS MATTHEW CARTER. "FULL-TIME PROFESSIONAL TYPE DESIGNERS WHO DON'T HAVE A PROPER DAY JOB ARE VERY FEW AND FAR BETWEEN,' HE AGREED. "BUT THEY ALWAYS HAVE BEEN. NONE OF THE GUYS WHO DESIGNED FUTURA, SABON, CENTAUR AND PEIGNOT WAS A TYPE DESIGNER. EACH DID ONE TYPEFACE IN HIS LIFE:'* WITH THIS, A LIVELY DISCUSSION KICKED OFF. THANKS TO DIGITAL TECHNOLOGY, THE TYPE PROFESSION HAS CHANGED DRAMATICALLY OVER THE LAST 10 YEARS. BUT, IN ESSENCE, HOW IS IT DIFFERENT? EACH DESIGNER AT THE TABLE HAD A DIFFERENT PERSPECTIVE ON THE TRANSFORMATION. DIGITAL TECHNOLOGY HAS BROUGHT INCREASED FLEXIBILITY, PRODUCTION AND OUTRAGEOUS DEMAND. THE BUSINESS OF DESIGNING, CUTTING AND DISTRIBUTING TYPEFACES, ONCE THE DOMAIN OF A SELECT GROUP OF PROFESSIONALS, IS NOW WIDELY DISPERSED. COMMISSIONS FOR NEW OR CUSTOMIZED FACES, ONCE CONSIDERED AN UNDERTAKING "ARCHITECTURAL" IN SCALE, ARE NOW PART OF THE TYPE DESIGNER'S STAPLE DIET. THE FONT BUSINESS, SAID JAMES MONTALBANO, HAS COME TO RESEMBLE THE MUSIC BUSINESS, RIGHT DOWN TO THE FICKLE FASHIONS, UNEXPECTED HITS AND INDEPENDENT FOUNDRIES. "EVERYBODY WANTS TO HAVE A BIG H117 HE SAID, "AND IF YOU HAVE A BIG HIT, YOU CAN MAKE A LOT OF MONEY:'* CLEARLY, THE "FONT PHENOMENON" HAS BENEFITS AND DRAWBACKS. THE ESCALATING INTEREST AND AWARENESS OF TYPE HAS FUELED DEMAND FOR PROFESSIONAL SKILLS. "AS GRAPHIC DESIGNERS BECOME AWARE OF THE [FONT CREATION] TOOLS, THEY REALIZE WHAT THEY CAN'T DO;' SAID MONTALBANO, WHOSE STUDIO HANDLES CUSTOM TYPE WORK FOR LARGE MAGAZINE PUBLISHERS. "1 GET AN AWFUL LOT OF WORK FROM THOSE DESIGNERS:' IT HAS ALSO RESULTED IN THE ARRIVAL OF A FLOCK OF NOVICE PRACTITIONERS UNSCHOOLED IN THE BASIC RULES OF TYPE DESIGN AND TYPESETTING. FOR THE MANY DESIGNERS AT THE ROUNDTABLE WHO UNDERTOOK LONG APPRENTICESHIPS IN PHOTOCOMPOSITION AND TRADITIONAL TYPE SPECIFICATION, THIS WAS SOMEWHAT UNSETTLING. "EVERYONE'S WANTING TO BREAK THE RULES:' SAID DENNIS PASTERNAK, "BUT THE TYPESETTERS AREN'T READING THE CONTENT ANYMORE AND IT'S GETTING HARD TO READ THE STUFF AT ALL. IT FEELS RUSHED:' MONTALBANO, WHO WAS SCHOOLED IN WHAT HE CALLED THE NEW YORK STANDARD, FOUND SPECIFIC IRRITATIONS. "THERE'S BEEN A SHIFT OF MODELS BASED ON WHIM,' HE SAID. "NO ONE WANTS TO USE HYPHENS. I SEE MORE AND MORE HORRIBLE RAGS AND UGLY COLUMNS:' * EITHER STANDARDS ARE DROPPING OR THE RULES ARE CHANGING. MONTALBANO CONCEDED, "IT MAKES ME QUESTION THE RULES THEMSELVES. W THESE A SET OF TYPE RULES THAT A GUILD 4, PUT DOWN?" DANIEL PELAVIN MORE FORCEFULLY RIDICULED THE NOTION OF ESTHETIC LEGISLATION, SAYING, "I DON'T SUBSCRIBE TO THE DESIGN POLICE:' PERHAPS THE DIFFERENCE NOW IS THAT THERE ARE MORE RULE-BREAKERS USING TYPE AND THEY ARE MORE NO EMPOWERED BY THEIR COMPUTERS. BUT, AS CARTER

4111

44, •t*

,„„litho MATTHEW CARTER, CARTER & CONE (ITC CHARTER, ITC GALLIARD) •

GENEVIEVE CERASOLI, GENEVIEVE CERASOLI HANDLETTERING (UPCOMING ITC SCRIPT FACES) FRANK MARCIULIANO, MARCIULIANO DESIGN (ITC JAFT, ITC I AMBALAYA) JAMES MONTALBANO, TERMINAL DESIGN, INC. (ITC ORBON, ITC FREDDO) DENNIS PASTERNAK, GALAPAGOS DESIGN GROUP (ITC STYLUS, MAIANDRA GD) DANIEL PELAVIN (ITC ANNA, ITC KULUKUNDIS) JOE PEPITONE, ARCHIE COMIC PUBLICATIONS (UPCOMING ITC SPOT FONTS) GEORGE RYAN, GALAPAGOS DESIGN GROUP (ITC KRISTEN, KENNEDY GD) STEVE ZAFARANA, GALAPAGOS DESIGN GROUP (ITC BACKYARD BEASTIES, ITC GARGOONIES)

ffickM/01'.' PETER HALL

HEADLINE: ITC EDWARDIAN SCRIPT, CHARLOTTE SANS MEDIUM SUBHEAD/BYLINE: ITC EDWARDIAN SCRIPT TEXT: ITC STONE SANS BOLD, BOLD ITALIC, SEMIBOLD, SEMIBOLD ITALIC

36


FOR TWENTY-FIVE YEARS INTERNATIONAL TYPEFACE CORPORATION HAS INSPIRED VISUAL ARTS PROFESSIONALS WITH ITS CREATION AND REFINEMENT OF BEAUTIFUL, FUNCTIONAL AND DISTINCTIVE TYPEFACE DESIGNS. NOW, FOR THE FIRST TIME, ITC PRESENTS ITS LIBRARY OF MORE THAN 1000 DIGITAL TYPEFACES IN A COMPREHENSIVE, 64-PAGE U&lc SUPPLEMENT, PROVIDING AN EASY-TO-USE VISUAL REFERENCE TO ITC'S BROAD RANGE OF SERIF, SANS SERIF, DISPLAY, AND ORNAMENT & ILLUSTRATION TYPEFACE STYLES.


ITC Ame rican Typewrite r®

From the Dutch schreef (fine line in writing), serifs are the little vertical and horizontal lines at the end of letter strokes. These seemed natural for early type designers trying to mimic hand lettering, which was usually done with a broad-tipped quill.

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Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer m ust care. In contemporary advertising the perfect integration of design ele

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Excellence in typography is the result of nothing more than an attitude. It s appeal comes from the understanding used in its planning; the designe r must care. In contemporary advertising the perfect integration of design

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Excellence in typography is the result of nothing more than an attitude. Its appeal c omes from the understanding used in its planning; the designer must care. In contem porary advertising the perfect integration of design elements often demands unorth

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48 Sans Serif

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

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Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the u nderstanding 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 corn

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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 elem ents often demands unorthodox typography. It may require the use of compact spacing, minus leading, whatever

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ROM THE EARLY SCRATCHING OF MANKIND

the alphabet did not have serifs. A teacher's

inting on the blackboard with chalk, the scrawled 'Kilroy was here' graffiti or even the stop sign are all in the style of sans serifs. That sans serif is the common phrase is based on conventio

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letter should be 'avec serifs; leaving the 'sans' to cooking.

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

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Excellence in typography is the result of nothing more than an attitude. I ts appeal comes from the understanding used in its planning; the desig ner must care. In contemporary advertising the perfect integration of de

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"Sans Serif is the Type for the Present Day!' DAVID QUAY

50

Sans Serif

For me this still remains true today. JAN TSCHICHOLD, So much of what we see today is confusing, lacks focus and integrity. Die Neue Typographie,1928 There is far too much visual noise in design. Good design is about the presentation of information in its purest form. Sans serif fulfills this ideal.

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101


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20 Toronto Street Suite #100 Toronto, Ontario M5C 2B8 Canada 13' (416) 364-9164 Fax: (416) 364-1914 http://www.type.co.uk

IT011-44-131-453-22-11 http://www.adobe.com

Kingsnorth Industrial Estate Wotton Road Ashford, Kent, England TN23 2FL UK V 011-44-1233-62 4421 Fax: 011-44-1233-64 6903

Esselte SA (Division Artes Graficas)

FontShop Canada

West One Business Park 5 Mid New Cultins Edinburgh, Scotland EH11 4DU UK

Letraset Deutschland GmbH

192, rue Championnet Paris 75018 France Tr 011-33-1-44-85-1759 Fax: 011-33-1-42 2989 44 http://www.essette.com

Fax: 011-32-9-220-34 45

Adobe Systems Europe Ltd.

Mergenthalerstralle 6 Frankfurt am Main 0-60388 Germany V 011-49-69-42-09-94-22 Fax: 011-49-69-42-09-94-50

Esselte SA

v011-32-9-220-26-20

Mountain View, CA 94043-7900 V(415) 961-4400 or (800) 294-1724 Fax: (415) 961-3769 http://www.adobe.com

Marielundvej 30 Herlev DK-2730 Denmark 13' 011-45-42-84-93 00 Fax: 011-45-42-91-0614

215 First Street Cambridge, MA 02142 IT (617) 497-6222 Fax: (617) 868-4732 http://www.bitstream.com

Zwijnaarde 9052 Belgium

Adobe Systems Inc. ral 1585 Charleston Road Adobe PO Box 7900

Letraset Denmark

Friedensallee 44 Hamburg D-22765 Germany 011-49-40-3988 3988 Fax: 011-49-40-3988 3999

munication needs. As a result, ITC has established business relationships with many companies, known as ITC Partners. ITC typefaces are incorporated into hardware and software products, and are also made available directly to end users in a variety of font formats through a network of Resellers. Purchasing fonts, or other hardware or software products, from any ITC Partner company is your guarantee of ITC authenticity and optimal quality design. For further information about any of these companies or on becoming an ITC Partner, write or call:

29 Domino Drive Concord, MA 01742 V(508) 369-1441 Fax: (508) 371-2287

P.O. Box 129 Brookvate, NSW 2100 Australia V 011-61-2-99-75-1033 Fax: 011-61-2-451-1815

E+F Designstudios

International Typeface Corporation develops and markets high-quality typeface designs that are applicable to a wide variety of graphic com-

A.J. Lincoln & Co., Inc.

Letraset Letraset Australia

, Bitstream Inc.

1375 Kings Highway East Fairfield, CT 06430 (800) 942-9110 Fax: (203) 367-1860 http://users.aol.corn/fonthaus

v011-44-181-568-9297

http://www.imagectub.com

90 Industrial Way Wilmington, MA 01887 IT (508) 658-0200 Fax: (508) 988-9130 hap://www.agfahome.com/products/prodfam/type.html

4:8} ESSELTE

983 Great West Rd. Brentford, Middlesex, England TW8 9DN UK

Image Club Graphics

AGFA, Agfa Division/Bayer Corp.

40

65-69 East Road London, England Ni 6AH UK Tr 011-44-171-490-53 90 Fax: 011-44-171-490-5391

http://www.type.co.uk

Adobe Systems Inc. 1585 Charleston Road PO Box 7900 Mountain View, CA 94043-7900 13' (415) 961-4400 or (800) 294-1724 Fax: (415) 961-3769 hhtp://www.adobe.com

FontWorks Ltd.

A.B.Dick-Itek Ltd.

Autologic Information International, Inc. 1050 Rancho Conejo Boulevard Thousand Oaks, CA 91320 1T (805) 498-9611 Fax: (805) 499-1167 http://www.autologic.com

Linotype-Hell Co.

Berthold Systeme GmbH

425 Oser Avenue Hauppauge, NY 11788 13' (516) 434-2074 Fax: (516) 434-2706

Berliner Strasse 27 Berlin D-13507 Germany V011-49-89-6114-091

Bitstream Inc. Athenaeum House 215 First Street Cambridge, MA 02142 V(617) 497-6222 Fax: (617) 868-4732 http://www.bitstream.corn

1 Monotype Typography Inc. 1

985 Busse Road " Elk Grove Village, IL 60007 IT' (847) 718-0400 or (800) 666-6897 Fax: (847) 718-0500

British Broadcasting Corporation

http://www.monotype.com

Broadcasting House London, England W1A 1AA UK V011-44-171-580-4468 http://www.bbc.co.uk

Monotype Typography Ltd. Unit 2, Perrywood Business Park Salfords, Redhill Surrey, England RH1 5DZ UK 011-44-73-776-5959

http://www.monotype.com

ParaGraph International 32 Krasikova Street/19th Fl. Moscow 117418 Russia 13 011-7-095-129-1500 Fax: 011-7-095-129-0911

http://www.paragraph.com/paratype

Precision Type I N j: 47 Mall Drive Commack, NY 11725 Tr (800) 248-3668 Fax: (516) 543-5721

Canon

Canon, Inc. 16-1 Shimonoge 3-Chome Takatsu-Ku, Kawasaki-Shi Kanagawa 213 Japan V011-81-3-3758-1205 http://www.canon.com

CART& Carter & Cone Type Inc.

&CONE nffTwc 2155 Massachusetts Avenue

Cambridge, MA 02140 12(617) 576-0398 Fax: (617) 354-4146

Cello -Tak 35 Alabama Avenue Box 120 Island Park, NY 11558 V(516) 431-7733 Fax: (516) 431-7736

http://www.precisiontype.com Chartpak

FontShop International Bergmannstra8e 102 Berlin D-10961 Germany 13' 011-49-30-69 37 022

TypeUSA 720 South Dearborn, Chicago, IL 60605 13' (800) 897-3892 Fax: (312) 360-1997

1 River Road Leeds, MA 01053 V(413) 584-5446 or (800) 762-7918


Claris Corporation

Glyph Systems, Inc.

Linotype - Hell Co.

Softwood, Inc.

5201 Patrick Henry Drive Santa Clara, CA 95052 12(408) 987-7305 Fax: (408) 987-7558

P.O. Box 134 Andover, MA 01810-0003 2(508)470-1317 Fax: (508) 474-8087

425 Oser Avenue Hauppauge, NY 11788 12(516) 434-2074 Fax: (516) 434-2706

7776 Pointe Parkway West Suite 270 Phoenix, AZ 85044 2(602) 431-0949

http://www.linotype-hell. corn

http://www.claris.com Graphic Products Corporation ColorAge 900 Middlesex Turnpike Building 8 Billerica, MA 01821 2(508)667-8585 Fax: (508) 667-8821

http://www.cai.corn

1401 79th Street East Minneapolis, MN 55425 2(612)854-1220 Fax: (612) 851-6159

GST Software Products Limited

http://www.hp.com/

COREL Corporation

Hewlett - Packard

The Core Building 1600 Carling Avenue Ottawa, Ontario K1Z 8R7 Canada 2(613)728 - 8200 Fax: (613) 728-9790

Boise Division 11311 Chinden Blvd Boise, ID 83714 2(208)396-2789 Fax: (208) 396-3457

http://www.corel.com

http://www.hp.com/

626 Middlefield Road Palo Alto, CA 94301 2(415)324-1870 Fax: (415) 324-1783

Strata Inc. 2 West St. George Boulevard Suite 2100 St. George, UT 84770 2(801) 628-5218 Fax: (801) 628-9756

Micrografx, Inc.

-

1303 Arapaho Road Richardson, D( 75081-2444 2(214)234-1769 Fax: (214) 994-6475

Vancouver Division 18110 SE 34th Street Camas, WA 98607 2(206) 944-8110

4828 Loop Central Drive Houston, TX 77081 2(713) 666-0911 Fax: (713) 666-0957

Stone Type Foundry Inc.

250 East Hartsdale Avenue Hartsdale, NY 10530 2(914)725-2048 Fax: (914) 725-2450

ea ma% Hewlett Packard

Computer Output Printing, Inc.

(1 -

Manhattan Graphics Corporation

Meadow Lane, St. Ives Huntington Cambridgeshire, England PE17 4LG UK 2011-44-480-496-789

Computer Associates International, Inc. 1 Computer Associates Plaza Islandia, NY 11788-7000 2(516)342-2621 Fax: (516) 342-5329

http://www.softwood.com Management Graphics, Inc.

1480 S. Wolf Road Wheeling, IL 60090-6514 12(847) 537-9300 Fax: (847) 215-0111

http://www.micrografx.com

Aftwasoft Microsoft Corporation One Microsoft Way Redmond, WA 98052-6399 2(206) 882-8080 Fax: (206) 936-7329

http://www.microsoft.com 11

Monotype Typography Inc. 985 Busse Road Elk Grove Village, IL 60007 2(847)718-0400 or (800) 666-6897 Fax: (847) 718-0500

http://www.strata3d.com/default.html

at. SUN Microsystems W" 2550 Garcia Ave.

Sun

Mountain View, CA 94043-1100 2(415) 960-1300 Fax: (415) 969-6649

http://www.sun.com Synapsis Corporation A3 it6e Oak Avenue ui Wh3 Suite Encino, CA 91316-2407 2(818)906-1596

Dai Nippon Printing Co. Ltd.

Hewlett - Packard

1-11, Kita-Yamabushicho Shinjuku-Ku Tokyo 162 Japan 2011-81-3-3266-2656

Seattle Division 101 Stewart Street/Ste.700 Seattle, WA 98101-1048 IT (206) 448-9600 Fax: (206) 448-7220

http://www.dnp.co.jp

http://www.hp.com/

Monotype Typography Ltd.

http://www.tektronix.com

Dainippon Screen Mfg. Co., Ltd.

HOUSEstyle

Tenjinkita-Cho 1-1, Teranouchi-Agaru 4chome, Horikawa-Dori Kamikyo-Ku, Kyoto 602 Japan 2011-81-75-365-3131 Fax: 011-81-75-414-7606

50-54 Clerkenwell Road London, England EC1M 5PS UK

Unit 2, Perrywood Business Park Salfords, Redhill Surrey, England RH1 5DZ UK

9N 1e5w Byroor ka cl,

13'011 - 44 - 73 - 776 - 5959 http://www.monotype.com

12(212) 673 - 3210 Fax: (212) 673 - 5261

NEC

Varitronic Systems

7-1, Shiba 5-Chome Minato-Ku Tokyo 108-01 Japan

300 Interchange North 300 Highway 169 South Minneapolis, MN 55426 12(612) 542-1500 Fax: (612) 541-1503

Datafile 71 Anson Road Locking, Weston-Super-Mare Avon, England 8S24 7DQ UK 2011-444-934-823-005

Dataproducts 1757 Tapo Canyon Road Simi Valley, CA 93063 2(805) 578-4000

http://www.dpc.com Digital Graphix 1280 Blue Hills Avenue Bloomifeld, CT 06002 2(203) 242-4242

http://www.monotype.com

2011-44-171-251-3746

mai

IBM

NEC

â&#x20AC;&#x201D; P.O. Box 1900 6300 Diagonal Hwy Boulder, CO 80301-9191 2(303)924-5280

U.SLynx w NYay10010

http://www.ibm .com

13'011 - 81 - 3 - 3454 - 1111 http://www.nec.com

Ilford Limited

NEC

West 70 Century Road Paramus, NJ 07653 92(201) 599-4414 Fax: (201) 599-4373

339 North Bernardo Avenue Mountain View, CA 94043 2(800) 632-4636

Three Lagoon Drive Suite 300 Redwood City, CA 94065 2(415) 610-8330 Fax: (415) 610-8302

http://www.ipaper.com

http://www.nec.com

http://www.vicarious.com

Image Club Graphics

Pacific Data Products, Inc.

VS Software

833 4th Avenue Southwest, Suite 800 Calgary, Alberta T2P 3T5 Canada 2(403) 262-8008 or (800) 661-9410 Fax: (800) 814-7783

9125 Rehco Road San Diego, CA 92121 Tr (619) 552-0880 Fax: (619) 552-0889

http://www.pacdata.com

323 Center Street Suite 810 Little Rock, AR 72201 2(501) 376-2083

PrePress Solutions

Wang Laboratories

1431 6th Street NW Calgary, Alberta T2M 3E7 Canada 2(403) 282-0512

11 Mount Pleasant Avenue East Hanover, NJ 07936 2(201) 887-8000 or (800) 631-8134

600 Technology Park Drive Billerica, MA 01821-4130 12(508) 967-5000

http://www.prepress. pps. corn

http://www.wang.corn

http://www.imagectub.com Digital Typeface Corporation 9955 West 69th Street Eden Prairie, MN 55344 2(612) 944-9264

Tektronix Tektronix, Inc. 26600 SW Parkway Wilsonville, OR 97070-1000 2(503) 685-3180 Fax: (503) 685-3063

International Digital Fonts

dtp Types Limited

Vicarious Inc.

P.O. Box 336 Crawley West Sussex, England RH11 8RH UK

Kagema AG

Purup Prepress A/S

Williams & Heintz Map Corp.

Postfach 422 Zurich CH-8051 Switzerland

2011-44-293-615-469

13'011-41-1-321-0600

(Purup-Eskofot A/S) Sonderskowej 5 Lystrup DK-8520 Denmark 2011-45-87-43-43-43

8119 Central Avenue Capitol Heights, MD 20743 2(301) 336-1143

ESSELTE Esselte N.V. Industriepark-Noord 30 P.O. Box 85 Sint-Niklaas 13-9100 Belgium

2011 - 32 -3 - 760 - 3311 Fax: 011-32-3-760-0612

http://www.esselte.corn ETP Systems, Inc. 1466 NW Front Portland, OR 97209 2(503) 223-5522

Font World, Inc. 2021 Scottsville Road Rochester, NY 14623-2021 17(716) 235-6861

Kroy, Inc. 14555 North Hayden Road Scottsdale, AZ 85260 2(602) 948-2222 Fax: (602) 951-7033

QMS, Inc.

Kyocera Electronics Inc.

http://www.gms.com

1321 Harbor Bay Parkway Alameda, CA 94502-6561 12(510) 748-6680 Fax: (510) 748-6965

Quantel

Lan Software 207 S. Elliott Rd. Suite 203 Chapel Hill, NC 27514 1112(919) 968-0789 Fax: (919) 968-0801

http://www.guantet com

http://www.larisoftware.com

3-15-1 Sotokanda Chiyoda-Ku Tokyo 101 Japan 2011-81-3-3257-1502

http://www.spectrastar.com

http://www.tasergo.corn

Genicom Corporation

LaserMaster Corporation

1 Genicom Drive Waynesboro, VA 22980-1999 2(800) 436-4266 Fax: (540) 949-1392

7156 Shady Oak Road Eden Prairie, MN 55344 2(612) 944-9330 Fax: (612) 944-0522

http://www.genicom .com

http://www.lasermaster.com

2 Corporate Drive/Suite 340 Shelton, CT 06484-6206 42(203) 542-6988

hap://www.genigraphics.com Gerber Scientific Products 151 Batson Drive Manchester, CT 06040 2(203) 643-1515

http://www.gspinc.com

Ryobi Limited

LaserGo, Inc.

1250 Ninth Street Berkeley, CA 94710 2(510)524-3950 Fax: (510) 524-9954

Genigraphics Corporation

31 Turnpike Road Newbury Berkshire, England RG13 2NE UK lEr 011-44-6-354-8222

http://www.kyocera.com

9715 Carroll Center Road Suite 107 San Diego, CA 92126 12(619) 578-3100 Fax: (619) 578-4502

General Parametrics Corp.

One Magnum Pass Mobile, AL 36618 2(334) 633-4300

Ryobi Limited 762 Mesaki-cho Fuchu-shi Hiroshima-ken 726 Japan

2011-81-3-257-1502 Scangraphic GmbH 112-114 Rissener Strasse Wedel, Hamburg D-22880 Germany 2011-49-4103-8010

LEXMORK Lexmark International, Inc. 740 New Circle Road Lexington, KY 40511 12(606) 232-2000 Fax: (606) 232-4659

SoftPress Systems Ltd. 8 Blenheim Office Park Lower Road, Long Hanborough Oxon, England OX8 8LN UK 2011-44-1993-882588 Fax: 011-44-1993-883970

http://www.lexmark.corn Linotype - Hen Linotype - Hell AG Mergenthaler Allee 55-75 Eschborn D-65760 Germany 2011-49-6196-98-2731 Fax: 011-49-6196-982-194

http://www.softpress.com

http://www.linotype-hell.com 103

XEROX Xerox Corporation 555 South Aviation Blvd. El Segundo, CA 90245 12(310) 536-7000

http://www.xerox.com Xionics 70 Blanchard Road Burlington, MA 01803 17(617) 229-7000 Fax: (617) 229-7120

http://www.xionics.com Zenographics, Inc. 34 Executive Park Circle Suite 150 Irvine, CA 92714-6743 2(714) 851-6352 Fax: (714) 851-1314

http://www. zeno. corn


TYPE BY def

Bowl:

tion (Continued from page 31)

curing the distance from the ascent line (top of the capitals) to the descent line (bottom most descender). And to confuse things even more, many Europeans now measure type in millimeters (1 mm equals 2.85 points).

Round parts of letters like P, B and the upper part of g.

Counter:

The enclosed part of a letter such as the P or p.

Ear:

The little part that sticks out to the right of the lowercase g.

Eye:

The enclosed part of the lowercase e.

Printer Font Same as the outline font. It's the information the printer needs to construct a font for printing. Different than the bitmap font.

Link: The connecting line of a lowercase g between the loop and the upper bowl.

refers to a line of type pushed to the left margin; quad right the other direction. Quad center brings equal space on both sides, and quad middle inserts space in the middle of a line so half is justified to the right, and half to the left. This from the hot metal term quadrat—a piece of metal used to insert spacing at the beginning middle, or end of a line. Quad Left

The lower part of the g, also called the tail.

Loop: Serif

The fine line finishing off the end of the stroke.

Spur

The little stick-out part of some letters like G or t.

Quad left

The implied angle between the thinnest parts of a curved letter. Point of maximum stress is the thickest part of curved letters like 0 or D. Stress

Stroke or Stem

Quad right Quad center

How everyone describes the main elements of the

r

letter. A stroke extending below the baseline, like the lowercase j or uppercase Q. Sometimes called a leg.

Tail

Vertex:

Rasterizing It's what happens in PostScript and ATM (or in the Mac and Windows operating system) to make printable and displayable type out of the information contained in the font outline. TrueType is rasterized in the computer operating system–Type 1 needs ATM or PostScript. Sometimes referred to as rendering.

Where two downward diagonal strokes cross, as in an M or W.

(see page 51) Penalty Copy Not used enough as a term any more, but should be. This is any original copy that is difficult to work with—like handwritten, badly faxed or otherwise messy pages. Once typesetters charged extra—a penalty—for this hard-to-read stuff. Now this could certainly apply to poorly prepared text files.

Recto You probably say right-hand page, or odd-numbered page. Opposite of verso, the left-hand (or even-numbered) page in a book layout.

Pi Characters You know this to be all the odd symbols and special characters that aren't numbers, symbols or letters. But did you know the term originally described what happened when metal type got all mixed together so as to be unusable? Pibble Of slightly dubious origin, but the only known word to describe when a word is set to look like what it says.

You may know that sans is French for "without," as in sans souci (without care or carefree), and Sans-a-belt (a trademark of Haggar trousers). But you may not know William Caslon supposedly coined the term as it relates to type in 1816. Sans serif faces didn't really appear until around that time—hadn't seemed right until then to chop off the always-present serifs. Type of this sort is often called grotesque, or gothic. (see page 48) Sans Serif

Eat hcluake

Picture Fonts A bit of an oxymoron, sort of like saying photographic drawings, but nonetheless a reality of the PostScript era. Thanks to mod-

Screen Font

ern font formats, just about any vector outline can be made into a font, including drawings, logos or other ornaments. Some call these clip art fonts. Picture fonts are great for artwork that needs to be dropped into text, or when sizes of art need to be changed frequently. In a page-layout program, anything you can do to a type font, you can do to a picture font. With programs like Fontographer, you can add just about any graphic to existing fonts by replacing a little-used character. Picture fonts, because of their compact size, are an efficient way to store and access art on your computer. (See page 96) Pillcrow

See bitmap.

Second-Coming Type

Newspaper term for the largest type that can fit

on the front page. Serif From the Dutch schreef (fine line in writing), they're the little vertical and horizontal lines at the end of letter strokes. These seemed natural for early type designers trying to mimic hand lettering, which was usually done with a broad-tipped quill. There are all kinds of serifs, including modern serifs (which are straight and thin), bracketed serifs (the kind with curves in them), square or egyptian serifs (which are straight and hard-cornered), oblique serifs (the kind that are angled at the top of lowercase letters), and slab serifs (which are generally as thick as the heaviest part of the letter). A baby serif is sometimes referred to as a terminus. (see page 38)

You know it as the paragraph symbol:

Smallest point displayed on a computer screen (most screens are 72 pixels per inch). Comes from picture element.

Pixel

MsEtST

Point System We measure type in points, thanks to Pierre Simon Fournier and F. Didot, who developed the standard in the 19th Century. In their Didot Point System, 12 points equal one cicero. The British/American version (proposed by Nelson Hawks in 1878) is based on the Pica—which is also 12 points, or 4.233 millimeters, but is slightly smaller than a Didot Point. The point size of a type is determined by mea-

Modern

Bracketed

Square or Egyptain

Oblique

Slab

Terminti

Sizes According to Microsoft's Robert Norton, who's been around long enough to know, the following terms refer to specific point sizes of type: 3pt amium 3.5pt C m 4pt Nonpareil

6pt

Minion Z3pt

Diamond

4.5pt

Pearl

Brevier 7.6pt

Long Primer 9.5pt

Ruby or Agate

5.5pt

Bourgeois 8.5pt

Small Pica 10.5pt

Pica 12.2pt English

104

5pt

12.Spt


In Latin it means "let it stand!' We use it when we want someone to know that we don't want any changes made. Stet

It's a line-ending command that simply elevates the line without signaling the end of a paragraph. Usually it's a command + return code, and it's a great way to get to the beginning of a new line without having all the paragraph formats kick in. Soft Return

Suitcase The part of a Type 1 font where the bitmaps are contained. Opening (installing) this makes the font available to the Mac.

t From Bitstream, this technology is another way to embed font information with documents so they come out looking right at their destination, whatever and wherever it may be. TrueDoc doesn't embed whole fonts, it makes interim font outlines from the original, sends them to the receiver and then re-creates working fonts on the other end.

TrueDoc

This font format was developed by Apple and Microsoft and is used a great deal among Windows fans. Nothing wrong with TrueTypesome typophiles feel it is actually a superior format to Type 1. TrueType Open is Microsoft's attempt at a more extended and flexible format (that includes auto ligatures, alternate characters, etc.), as is Apple's TrueType GX. TrueType fonts are one piece—that is both the printer outline and screen bitmap information is rasterized from the same information. Both TrueType and Type 1 will be part of the new Opertlype format proposed for the Web. TrueType

Originally developed by Adobe as the standard type format for use with PostScript printers, it was once available only from them. But soon it became a public format, so now all PostScript fonts are Type 1 (or should be). Type 1 fonts contain two components—the outline font (used for printing) and the bitmap font suitcase (used for screen display). Type 1 fonts can be rasterized for the screen in ATM, and for the printer in PostScript. Type 1

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The first Creative-illustrationT" Everyone loves to know that this is the common name for the / character. Bet you didn't know it is also called a shilling mark, separatrix or a solidus. 0 Virgule

DAZZLING SPE

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Danish for "little round cake;' this is the tiny circle over Scandinavian vowels. Also called a ring.

TYPE FEATURES

w

ERFUL NATURAL RAPHICS TOOLS

Voile

Lonely words or letters on a line by themselves at the end of a paragraph. Best to rebreak the lines and avoid this sadness.

Widow

In printing (or page layout) this means setting up a job so that it prints on one side, then turns over top to bottom and prints on the other. Not the same as work and turn, where the sheet is flipped from side to side. Either way you get two-up of what you're printing.

Work and Tumble

x

RAPHICS MIX LANG AGES WITH EASE

Lightning Iraw:

X-height What it says—the height of the lowercase x. Sometimes referred to as the mean line.

Gene Gable is Publisher of Publish magazine. He welcomes comments and additions to this list at ggable@publish.com .

HEADLINE/SUBHEADS/INTRO/BYLINE: ITC STONE SANS BOLD, BOLD ITALIC, ITC STONE SERIF, SERIF ITALIC TEXT/BID: ITC STONE SERIF, SERIF ITAUC, SEMI BOLD, SEMI BOLD ITALIC, ITC STONE SANS SEMI BOLD LETTERS OF THE ALPHABET: ITC GARAMOND BOOK ITALIC

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Fifteen years of microelectronic research makes conventional antennas a thing of the past! This little box uses your home's electrical wiring to give non-subscribers, cable subscribers and satellite users better TV reception on your local broadcast networks! by David Evans

Technology corner 1. Why don't conventional antennas work as well as the Spectrum? Bandwidth of TV Signal 1

2 3

4 5 6 IN When TV signals

Megahertz are tuned at the TV channel's center frequency, optimum tuning has been achieved. Other antennas can't offer center frequency tuning like the Spectrum Antenna can. They only offer

A Spectrum system Precision tuning A

such tuning up to the edge of the center fre-

Other systems Non-precision tuning

quency. As a result your TV picture remains snowy.

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

elieve it or not, the Spectrum Antenna simply 13"activates" the giant antenna that already exists in your home. Essentially, it uses all of the wiring throughout your home's walls and ceilings to make an antenna as large as your house for unbelievably clear reception of local broadcasting. O O OOOOOOOO O OOOOOOO • ••••• • O 0 • O f O OS •••■ O ••

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Continued from page 36

you don't know that. This profoundly

hard to hack nice bitmaps, but once

would be illiterate;' he said. "So I'm go-

pointed out, the rule-breakers have

affected all the professionals, who

the resolution changes you can throw

ing to keep doing picture fonts:'* On

a specific role. There is a long-standing

immediately started spacing type com-

them away," said Carter. "We need

the other hand, the nine designers at

tradition, he reminds us, of those who

pletely differently." * The role of the

to design things that will give you a

the table agreed that since designing a

design things that are difficult to read.

professional, then, is ideally to set stan-

good result now, for grayscale and

font was at least in part a labor of love,

"Medieval scribes used no word spacing

dards that are informed by historical

for when we all have 200 dpi screens:'

it would be difficult to sustain interest

to make the text harder to understand,

tradition but are also open to change.

* New media and methods of distri-

in a typeface driven by purely market-

because they felt the effort of piety

Genevieve Cerasoli, an expert in script

bution for typefaces have not just

ing considerations. "I can't make heads

in deciphering would make it more

lettering, maintained that "the stuff

affected esthetics and the demand for

or tails of what's trendy," admitted

memorable,"said Carter. "Sixties psy-

that works is being done by people

fonts, they have had considerable

Ryan. For him, demand and inspiration

chedelic posters had to be stared at

who know a basic history of design."

impact on the traditional pricing struc-

to realize who was performing at the

Carter agreed in part, arguing that

tures. It used to be simple, quipped

Fillmore. It's a beautiful idea because

the benefit of having trained tradition-

Daniel Pelavin, quoting lettering artist

and said that her mother wanted me

came from sources close to home. "My wife turned to me the other night

if you read Ray Gun magazine, which

ally as a punchcutter or stonecutter

Gerard Huerta. "For a typeface with

to do a typeface and use her name;' he

was also made deliberately hard to

was that it taught you how to "make

no serifs, $12,000. If it has serifs—we

reported. "That's a reason to do a type-

read, you get the feeling that you are

your mind up." When Fontographer

gotta talk!' But how much should be

face. It's going to be called Frances."

an initiate!'* Historically, putting the

or QuarkXPress allows you to make 12

charged for a design to be used on the

* The concluding remarks of a gener-

rules up for discussion has not just

alternate versions of a design, you are

World Wide Web, say as an embedded

ally rather good-humored gathering

been helpful, it has kept the craft alive.

still required to choose one. * The last

font? Joe Pepitone related costs to an

were devoted to the things, people

There are frequent occurrences in the

portion of the roundtable discussion

illustrator's dilemma: "When I'm doing

and events that inspired a typeface.

chronicles of type where amateur type-

was devoted to the future, and the

an illustration, I ask if it is going to be

Frank Marciuliano began. "An acci-

setting, or the vernacular, has exerted

impact of new media on type design.

seen worldwide or nationally," he said.

dent;' he said, mysteriously. With this,

influence on esthetics at the high end.

Technology often brings a very spe-

"But you can't ask a worldwide price

a flurry of one-liners swirled around

"When Letraset transfers came along,

cific set of problems, the group noted.

for a Web page!' * The life of a type

the room. "A snowstorm;' said a voice.

the letters were fine, but there was

Since the computer monitor is becom-

designer might be much more profit-

* "A contract;' said another. * "A tool

no indication of how to space them;'

ing as common a final destination

able if the zeitgeist could be more

like a Japanese bamboo pen;' said

said Carter. "So what do you do as

for graphic design as the printed page,

accurately analyzed, and forthcoming

another. * "A mother-in-law named

the corner grocer? You either make all

many foundries are designing type-

trends and tastes in typographic styles

Frances;' said Ryan. With that, the

the letters touch, or you put the same

faces specifically for the low screen res-

were predictable. Steve Zafarana gave

group dispersed for dinner.

amount of space between them. We as

olution (currently 72 dots per inch).

a cockeyed economic justification for

well-trained typographers know that's

But designing fonts to cope with the

his preoccupation with picture fonts.

the last thing you do. It takes years

problems of existing technology can

"I read an article that suggested by the

to learn to space type, but as a grocer

be a hazardous occupation. "It's not

year 2020, 80 percent of Americans

PETER HALL IS A JOURNALIST WHO SPECIALIZES IN DESIGN. HE WRITES FOR SEVERAL PUBLICATIONS IN ENGLAND AND THE UNITED STATES.

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107

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ust what are the essential books on

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typography? When faced with the task of choosing the definitive list, I first had to determine just what makes a book essential. Certainly I have favorites such as Richard Hoffman's charming Don't Nobody Care About Zeds, a specimen book showing Z in 85 different metal typefaces, each in a decorated setting, but while it's a fun little book, it's not what I'd consider indispensable. Similarly, there are classic texts such as select volumes of The Fleuron and Bruce Roger's Paragraphs on Printing,but are they essential? I decided not. The books listed here form a sort of canon of typographic works. This listing is not meant to be an end, only a beginning. There is no attempt at comprehensiveness simply because there is too much to comprehend. But unlike other areas of creative pursuit, there is a small enough body of work to make a reasonable starting point. So what forms our canon? The central canon consists of those works that are important to understanding the larger world of typography. As such, we want to cover the basics, but also have a solid sense of typographic history. Therefore, it's important to read not only books covering design principles such as Carl Dair's Design With Type, • but also those such as Sebastian Carter's

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DESIGN PRINCIPLES Whether one's typographic pursuits tend toward a clean Swiss-German neue typographic style or a layered postmodernist approach, there are principles that should at least be known—even if they are, in the end, rejected. The same fundamental reasons why one should think twice before mixing Baskerville and Bodoni on the page apply equally to Blast-O-Rama and Not Caslon. The books in this section provide a grounding in the essentials of typographic design by four prominent designers of the 20th century.

This publication is available from UMI in one or more of the following formats:

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Design With Type, Carl Dair (University of • Electronically, on CD-ROM, online, and/or magnetic tape--a broad range of ProQuest databases available,

Toronto Press, 1982). Carl Dair's typographic works encompass a wide range of endeavors, from book design to advertising and work for television. Design With Type reflects that experience and is easily the best introduction to typography available. While type technology has changed considerably since 1952 when the original version of this book was published, the principles underlying it have not. Dair has managed to create a work that instructs the reader in typography without getting caught up in the technology. As a result, Design With Type is no less valid in 1996 than it was 44 years ago. I know of no better introduction to type.

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Elements of Typographic Style, Robert Bringhurst (Hartley & Marks Publishers Inc.,

Vancouver, 1996; second edition). Robert Bringhurst's Elements of Typographic Style presents a rather lyrical approach to typography. Bringhurst lays out typographic principles while maintaining a sense of play. Some of the suggestions initially seem radical, but quickly make perfect sense, such as substituting capitals or boldface from another type family to get a better look on the page. A chapter near the end of the book, "Prowling the Type Specimen Books," is especially delightful, providing insight to a variety of typefaces. The second edition includes additional information on computerized typography and an expansion of the previous contents. A new appendix lists the major type foundries.

The Design of Books, Adrian Wilson (Chronicle Books, San Francisco, 1993). Adrian Wilson was perhaps the premier typographer in San Francisco after World War II, producing book designs for a number of publishers, from his own private press to the University of California Press. This book distills his knowledge and experience in book design into an enjoyable read, describing not only his own technique but that of other designers, from the traditionalism of Bruce Rogers to the avant-garde typography typified by Massin's design for Le Cantatrice Chauve. While Wilson occasionally gets bogged down in addressing technological questions that are no longer relevant, his book is still essential reading for anyone in book design.

Asymmetric Typography, Jan Tschichold (Faber & Faber, London, 1967; out of print). Before there was the current crop of "new typography" there was die neue typographic with Jan Tschichold as one of its leading proponents. Tschichold's earlier work, The New Typography, has recently been published in English by the University of California Press, but the shorter Asymmetric Typography is much more easily digested and a better statement of the principles behind the new typography of Germany in the 1930s. While the philosophical battle over design is now passé, the design principles laid out here by Tschichold are an excellent example of his strong understanding of how typography should work. The relative inaccessibility of the book at present represents an opportunity for a publishing house to issue a Dover-style inexpensive reprint of the book.

DEEPER STUDIES Of course typography goes beyond texts introducing basic principles. These next five books represent the best of the examinations of more specialized typographic research, whether issues of typographic history or the details of designing and using type.

Best of Fine Print on Type and Typography, Edited by Charles Bigelow, Paul Continued on page 110

108


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Hayden Duensing and Linnea Gentry (Bedford Arts Press, San Francisco, 1989). Fine Printwas the premier book arts journal in the United States from 1975 until 1990 when it ceased publication. In its 16-year run, it covered all aspects of book publishing from papermaking, printing and binding to design and typography. These articles, culled from the first 14 years of the publication's history, present one of the best—if not the best— collection of articles on type and typography from the best known names in the field. The range of articles is stunning: from historical examinations of Civilite and the Hungarian type designer Miklos Kis to examinations of contemporary designs such as Gudrun Zapf-Von Hesse's Diotima or Kris Holmes' Isadora. The articles on the creation of typefaces, in both metal and photo or digital format, are quite enlightening. The diversity of techniques and sources for inspiration can be quite informative. While this book may be hard to obtain because of the demise of Fine Print as an institution, it is well worth the effort to locate a copy.

Twentieth Century Type Designers, Sebastian Carter (W W. Norton, New York, 1995; new edition). Twentieth Century Type Designers is without peer. There is no other book that provides such a comprehensive survey of the work of major typographers in recent history. On occasion, Carter retreats to a nondiscriminatory recitation of types created by a designer, but there are enough thorough examinations of typefaces to make up for this. The rerelease of this volume by a major publisher (the first edition was published by Taplinger Publishing) makes it easier to find, although the changes are relatively minor, being mostly short insertions of more recent designers.

Finer Points in the Spacing & Arrangement of Type, Geoffrey Dowding (Hartley & Marks Publishers Inc., Vancouver, 1995). There are few books that concern themselves with the details of fine typesetting quite like Dowding's book. Dowding is a proponent of tight, even spacing and tending to such details as optical (as opposed to physical) centering of display matter and the like. The book is composed of two sections, "The Setting of Text Matter," and "The Setting of Displayed Matter" and both provide a more complete accounting of text setting than one will find anywhere else. After reading this book, the designer may never be satisfied with most commercial typography again.

Letters of Credit, Walter Tracy (David Godine, Boston, 1989). Walter Tracy's Letters of Credit is a rare source of typographic critiques. Over half of the book is devoted to a close examination of the work of just five designers: Jan van Krimpen, Frederic Goudy, Rudolf Koch, W. A. Dwiggins and Stanley Morison (the latter presenting the orthodox account of the origins of Times New Roman before the discovery of Sterling Burgess' typeface). If Letters of Credit only consisted of this section, it would be an invaluable book. But the beginning portion is equally wonderful, consisting of a 12-chapter study of design. If there is any defect of this book, it is the lack of an adequate context of other books on type design in which Letters of Credit might take its place. As a result, this part of the book is a strange mixture of the basic and the arcane. Fewer than 60 pages separate the definition of "set" from a detailed (and excellent) explanation of character spacing. While the basic information may be off-putting to the expert typographer and the expert information may have the same effect on the tyro DTPer, these chapters will still be useful to both. The latter class of readers would be well-advised to

reread the book at least once a year as their knowledge and experience increase. In all, this is well worth a place in any library.

Printing Types: Their History, Forms and Use, D.B. Updike (Harvard and Oxford, various editions through the 1920s; out of print). The original two-volume hardcover edition costs between $100-$200 depending on condition. (A Dover reprint was published but is no longer available.) While it's sadly out of date, having missed the typographic scholarship and development since its writing, Updike's Printing Types is still the most comprehensive survey of typographic history in existence. Anyone interested in understanding the origins of traditional type designs would be well served by a reading of this book. The second edition has additional notes at the back of the book indicating advances in typographic scholarship since the first edition (such as Beatrice Warde's discovery that many of the types called "Garamond" were in fact the work of Jean Jannon), although the lack of any reference to the notes in the texts makes their usefulness marginal at best.

-

TYPE SPECIMENS Every typographer should have a wide selection of type specimen books to help find the right type for the job at hand. The two listed here are good choices. The first gives a good sampling of historical faces with background information. The second provides the most comprehensive showing of digital typefaces now available.

American Metal Typefaces of the Twentieth Century, Mac MacGrew (Oak Knoll Press, 1994). Roughly 1600 typefaces are displayed in American Metal Typefaces in showings that are usually complete. Each typeface is shown in a 24pt specimen (unless, of course, it was never cast in that size) along

with some brief information on its origin. The result is a volume running nearly 400 pages filled with specimens of just about every typeface ever cast in America. Scattered through the book are various tidbits about typography, some of which could be truly enlightening to the reader who has little or no experience with metal type.

Precision Type Font Reference Guide, Version 5.0 (Precision Type, Commack, NY, 1995). There are two big problems with a contemporary comprehensive specimen book: first, it's going to be big, second, it's going to be out of date before it's finished. The Precision Type Font Reference Guide has fallen victim to both of these faults, but it manages to be more comprehensive than anything else in its class. It may only list those fonts that Precision Type sells, but that covers a substantial fraction of the market. For the working typographer, the more specimen books on hand, the better job he or she can do. This book, however, is the one worth paying for. D. A. Hosek is the principal of Quixote Digital Typography and the editor of Serif: The Magazine of Type & Typography. Information about

his typographic magazine can befound on the Internet at hup://www.quixote.com/serif/.

-30desWolv To order these books, (24 hrs, 365 days) please call (800) 962-6651 ext. 5800 or visit us at http://www.booksnow.com

CORRECTION In the article "Arts & Letters" in the Summer, 1996 issue of U&Ic (Volume 23, Number 1), Ann Goldstein was misidentified. She is curator at the Museum of Contemporary Art (MOCA) in Los Angeles.

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Zeno Pressevertrieb GmbH, novum LeserService, Postfach 81 06 40, 0-70523 Stuttgart, Germony

You are a winner in any case: Subscribing novum now for one year will win you a sample PhotoDisc (D-ROM, containing more than 10,000 photos in small scale resolution for layout and presentation.

You may order a sample CD-ROM for 22.00 US$ plus shipping charges from: Impressed, Herlingsburg 14, D-22529 Hamburg, Germany.

WIN WM 10.11. WE NM WI OM

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Expert Alphabets International, Ltd:

Present

Abrams Augereaum With over

20 oo

soffs'—beautifully drawn, painstakingly digitized, fit, and ke ed—Abrams Augereau is Augereau Basic * includes threeweights: Text, Semi-

suitablpf6itext and 1,Iy-setting witlre pp m ,ump utc r, 1. w "mows is a t r

TEXT 11/20 PT.

bold, & Bold with,t<ir Italic companions. Augereab-Expert / includes the Expert, Expert Italic, Alternate, and Alternate \, Italic fonts in Text, Semibold, and Bold weights.

I Typographer Antoin Augereau lived and worked in France in

ITALIC 11/20 PT.

the 16th century. Among his many achievements was teaching the renowned Claude Garamond. Sentenced to death in 1)44 for heresy, his life's work has been largely overlooked in typographic literatur1 I Text, Semibold, Bold, Italic, Semibold Italic, Bold

Italic, EXPERT, Expert Italic, SEMIBOLD EXPERT, Semibold Expert Italic, BOLD EXPERT, Bold Expert Italic, Alternate, ,Alternate Italic, Semibold Alternate, Semibold ,Alternate Italic, Bold Alternate, and 'Bold Alternate Italic. (1 George Abrams, the designer of Abrams AUgereau, has been a force in typography and

SEMIBOLD 12/20 PT.

Ising for merica's most visible cor orations—

over fifty years. His repuptiori has been built in AT&T, I BM, Qwens Corning, Time

ttering for

., Johnson & Johnson Pepsico, General Foods ? American Horn Products, General Elect ic, Revlon, Mob • , Eastman Kodak, Ford Motors, Goodyear i)roducts, General Motor, American

Expr ss, and Merrill Lynch to namr a few. He is

SEMIBOLD ITALIC 12/20 PT.

a cor esponding member of the Sto4kholm Typogra is Guild in Sweden, an honorary fellow of

g

the Society of Typographic Desi ners in England, and a memb r of the New York Typop iles. Abrams Augereau is the first George Abrams ty "$145.00. j $ .00. s225.00 if purchased togethe the continental s S. Payable in U.S. dollar

face available in PostScript' form.

dd $

5

for shipping and handli within

BOLD 12/20 PT.

y. NY Std e resi ents add 8.25% sales tax. Mas rcard,

cpress-accef fed. Available i ype 1 for at for Macintosh ® and Windowg7Visa, and American E;`-

Please specify when ordering Expert Alphabets pit'ernational, Ltd., lo ore Drive, Great Neck Estates, NY 11021 •

phone: (576) 482-1756 fax (V6)48-24273. Business hours: 9

AM

to 61km EST, Monday through Friday.

Expert Alphabets International, Ltd. Alphabets for the 6xpert Circle 14 on Reader Service Card

BOLD ITALIC /20 PT.


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Receive a

Monotype CD 5.0 with any $50 ITC® Fontek® Order, purchased directly from Monotype CD S.0 includes 4 Monotype Classic Fonts of your choice. Fontek® fonts are available on floppy disk only.

The Font, Software & Clip Art Resource Morn;

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MO OTYPE Circle 15 on Reader Service Card

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notype Tynography 985 Busse Road

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Not to be combined with any other offer. Offer expires October 1, 1996. ITC is a registered trademark of International Typeface Corporation. Fontek and DesignFonts are registered trademarks

of Esselte Corporation. Fontek' and DesignFonts° are produced and distributed by International Typeface Corporation.


U&lc_vol.23-2