VOLUME 3, NUMBER 1,1976 HERB LUBALIN, EDITORIAL & DESIGN DIRECTOR AARON BURNS, EDITORIAL DIRECTOR EDWARD RONDTHALER, EDITORAL DIRECTOR JACK ANSON FINKE. ASSOCIATE EDITOR JEROME SNYDER, CONTRIBUTING EDITOR JAN McKAY, ANNA McCUSKER. TONY DISPIGNA, ANDY DIDORA, LOWRY THOMPSON, MARK HUIE. ART & PRODUCTION EDITORS JOHN PR ENTKI, BUSINESS AND ADVERTISING MANAGER EDWARD GOTTSCHALL, EDITORIAL/ADVERTISING COORDINATOR © 1976 AND PUBLISHED FOUR TIMES A YEAR IN MARCH. JUNE, OCTOBER AND DECEMBER. BY INTERNATIONAL TYPEFACE CORPORATION 216 EAST ASTH STREET, NEW YORK, N.Y. 10017 A JOINTLY OWNED SUBSIDIARY OF PHOTO LETTERING, INC. AND LUBALIN, BURNS & CO. INC. CONTROLLED CIRCULATION POSTAGE PAID AT NEW YORK. N.Y. AND AT FARMINGDALE, N.Y. BOARD OF DIRECTORS, EDWARD RONDTHALER, CHAIRMAN AARON BURNS, PRESIDENT HERB LUBALIN, EXECUTIVE VICE PRESIDENT JOHN PRENTKI, VICE PRESIDENT, GENERAL MANAGER BOB FARBER, SENIOR VICE PRESIDENT ED BENGUIAT, VICE PRESIDENT STEPHEN KOPEC, VICE PRESIDENT U.S. SUBSCRIPTION TO INDIVIDUALS $6.00; SINGLE COPIES $1.50 ELSEWHERE SUBSCRIPTION, 58.00:SINGLE COPIES $2.60.
many graphic exhibitions, and is the author of four books: Pen and Graver, worked as an apprentice retoucher. Manuale Typographicum (published in and Tspe Designer In his four years as a retoucher he dis. two editions), About Alphabets, and covered the writings and letterforms Typographic Variations. of Rudolf Koch and Edward Johnston. It was then that his sensitivity to beauty The first Hermann Zapf typeface to be in letterform was aroused. marketed was Gilgengart, in 1940. It was ten years later that the first of the At home, "with tireless zeal I wrote famous Palatino family was introduced. pages upon pages of letters that often Users and lovers of typography know left me unsatisfied.... Evenings and Hermann Zapfbest for his Optima, weekends I sat home writing and writPalatino, and Melior families as well ing—rather, practicing, for the wasteas for Michelangelo, Sistina, the Aldus basket was always full of written pages. family, and more than forty other faces. My parents considered me almost out of my senses... All his typefaces are characterized by exquisiteness of design, an air of quie t In 1938 the twenty-year-old Zapf went distinction, of innovation without eccento work for the printing studio of Paul Editorial: tricity. But whatever the typeface, his Koch, the son of Rudolf Koch, and later "Well, my school report showed a B in supreme concern is never with single in that year became an independent penmanship... and a postcard written letters but with their fusion with each lettering artist. on a Rhine vacation in the summer of other and into a working text. To him, 1929 would offer scant encouragement In the following thirty-eight years, while "Type is the tie or ligature between to any teacher of lettering...." So writes establishing his reputation as one of the author and reader." Hermann Zapf in his autobiographical foremost calligraphers and type designers "About Alphabets" as he looks over his His most popular faces—Palatino, of our time, he served as type director shoulder seeking his beginnings as a Melior, and Optima, as well as his new for the D. Stempel AG type foundry of calligrapher and type designer. Zapf Book— all take an established style Frankfurt, as a design consultant for the and bring to it the sparkle of contrasting Mergenthaler Linotype Company, and He was born in 1918 in Niirnberg. His thick-and-thin strokes. recollections are of the bordering woods for Linotype GmbH. He taught lettering where "I chased butterflies, caught sala- and calligraphy in Offenbach and was a Palatino was originally issued by professor of graphic design at the manders, and gathered flowers and Stempel in 1950. it is an old-style letter Carnegie Institute of Technology. stones." in basic form, but with increased thickand-thin stroke contrast. Mr. Zapf has lectured widely, judged His first exposure to the graphic arts
Hermann Zapf: came sixteen years later when he
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