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O

PAGE 20

PUBLISHED BY THE INTERNATIONAL TYPEFACE CORPORATION. VOLUME ONE, NUMBER ONE , 1973

Typography' and theNew Technologies

Information,Please

ahen I went toart school, I learned that many of my fel-low students had problems when it cameto drawing certain parts ofthe human ana-tomy. They simply could not draw handsor feet.I first became conscious of their diffi-culties when I noticed that the peoplewho appeared in their layouts never hadhands or feet. Hands always seemed tobe behind peoples' backs or in pockets.Feet were always out of view, either be-hind a desk, or the people were croppedat the waist or knees.

People, however, do have hands andfeet, and very often they must be shown.The advertisements created by these stu-dents very often suffered as a result ofthese simple but important handicaps.CONTINUEDONPAGE3

Stop the"Perpetrators"

uppose that youwonted to find out... WHO is the new head of theJohnson Foundation?WHAT were the basic terms of the GeneralMotors-Curtiss-Wright agreement for the Wonkelengine?

WHEN was the Amchitka otomictestconducted?WHERE will Swindell-Dressler Company build asteel foundry in Russia?WHY did Secretary Volpe sign a transportationresearch agreement with the Polish Government?

HOW did Martha Mitchell come to blow thewhistle on the Watergate?Answer:You'd merely consult the remarkable new In-formation Bank of The New York Times.This eminent newspaper has recently takena giant step into the 21st Century with the intro-duction of the world's first computerized systemfor the storage and retrieval of the richly variedcontents of newspapers and magazines.CONTINUEDONPAGE11

What's so Hot aboutRobert Indiana?

anger.This article has been labeled "Stop thePerpetrators" for good reason.The alarm is genuine.No adequate law protects the type de-signer or photocomposing machine manu-facturer from unauthorized duplication ofthe machine's most vital part: the typefaceor font negative. Unauthorized contactduplication of these critical negatives hasreached dangerous proportions, and thegraphics industry can no longer afford,ostrich-like, to disregard the demoralizingeffect it is having on creative talent. It is ablight on the industry's legitimate businesspractices, and bringing it under control is aworthy endeavor calling for the concertedeffort of all. But more about that later; here isthe background:We operate in a free system where ethicsand law contribute mightily to the function-CONTINUES:. ONPAGE2

lot of friends inadvertisingtalented designers allhave beentalking to themselves lately. "What," they wantto know, "is so hot about Robert Indiana?""What's he got that we haven't?" they want toknow. "Look," they say, "we turn out designslike hisonly betterevery day in the week."

"What's so special about Robert Indiana?"What indeed.I was mulling this over the other day when

I came across an article by New York TimesArt Critic, John Canaday. Mr. Canaday wasexploring this very idea. He'd just been to arecent new exhibition at the Denise Rene Gal-lery in New York, which was presenting a one-man show of Indiana's designs, and he hadn'tgotten over it yet.For the uninitiated, Robert Indiana is thecreator of LOVE, that cleverly-arranged fourCONTINUEDONPAGE7

art and typographylet us consider first the function of the artist in society.the men who handle the antique furniture in my museum havedeveloped a vocabulary of their own when they speak of styles.they call louis XIV: louis with the twisted legs

louis X\/: louis with the bow legslouisouis with the straight legsnow the legs of these kings, i guess, actually did not differ so much from each other.

but it was nor the kings who created these styles;it was the artists, the architects, the painters and sculptors,the musicians and the authors who tried to render the essence ofthe epoch, who made the impact of a certain period visible, audible, perceptible.the artist creates the face of society; his work enables us to revive the past.to cite an example, the paintings and posters of toulouse-lautrecore for us the incarnation of Paris around 1900.how does this come into being?CONTINUEDONPAGE IS

e Ff Gg1-11 - 11iJj Kk LI Mm N n Oo Pp

he opportunities.ork Times Information Bank is a

was reported in a newspaper or magazine."Perpetrators"

e companies

John Canaday

ctor of Amsterdamsy and in the shaping of new communications

work being done by students

Carnase, one of the foremost designers of

to the public is becoming more and moretheir successful growth. The first articleby Lou Dorfsman, DesignColumbia Broadcasting System. The secondatire of Newspaper Logosinent illustrator and satirist, Chas. Slackman,

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MEI NUMBER1, 1973LUBALIN EDITORIAL&DESIGNDIRECTORNBURNS EDITORIALDIRECTORRONDTHALER EDITORIALDIRECTORASSOCIATEEDITORYANOW EDITORIALASSISTANTNSHAPIRO ART& PRODUCTIONEDITORPRENTKI, BUSINESS ANDADVERTISING MANAGER,YRIGHT 1973 ANDPUBLISHEDBYTIONALTYPEFACECORPORATIONT45TH STREET NEWYORK NY 10017YOWNEDSUBSIDIARYOFERING INC ANDLUBALIN BURNS &CO, INC

ARDRONDTHALER CHAIRMANLUBALIN EXECUTIVE VICE PRESIDENTPRENTKI, SECRETARY/TREASURERVICE PRESIDENT

BENGUIAT VICE PRESIDENTVICE PRESIDENT

GERRYGERSTEN

y Ileac?

printers, typesetters, artists, writers,

e of "U&lc," the International Journal of

&lc" will have broad general appeal,tant graphic events and

will feature outstanding examples

itors

Stop the "Perpetrators"CONTINUEDFROMFIRSTPAGE

ing of business. Business law has built ourgreat economic machine, but it is our day-by-day ethic that provides the oil to keepthe giant from grinding to a halt. Some yearsago a popular treatise on economics aptlynamed "The Promises Men Live Br-pointedout that law alone is not enough to keep oureconomy healthy. Widespread voluntaryadherence to moral and ethical businessprinciples is the lubricant that makes thewhole thing work.Every enterprise needs ready access tothe tools of its trade in this case typefaces.But if this need is satisfied through unethicalmeans, particularly when there is an ethicalalternative, then we are in trouble. When athief takes pennies from a newsstand, it'scalled stealing. But when a duplicator liftsdesign material without paying for it, it isfolly to condone the act with the half-excuse"It's not illegal." Under our present laws it'snot illegal, but it's highly unethical.Protecting a type design from piracy is aproblem as old as typefounding itself. Thealphabet has never enjoyed much legalstatus. Type designer and manufacturerhave long been victims of this unfortunatesituation. (A parallel condition plagues thefashion industry where brilliant creations byeminent couturiers are quickly copied andmass produced.) Even sountil recentlythe enormous cost of engraving duplicatematrices gave a certain minimal protectionto metal type. Enough, at least, to discour-age piracy of all butthe most popular faces,and enough to encourage manufacturersto continue to create new styles in thehope, perhaps, that the new types wouldnot be quite popular enough to attract thepirate. The whole situation has been far fromideal. It has restricted certain designs tocertain typesetting machines: Caledonia,for example, is found only on Linotype. Mod-em #8 on Monotype. Radiant on Ludlow,etc. This has been awkward for the graphiccommunicatoralmost as if red paint couldbe applied only by roller, blue only bybrush, and green only by sprayyet he has learned tolive with it.

But now a new technique has entered theindustry. Photography. Phototypographyopens up new availabilities. Good and bad.Type pirating is no longer expensive, and aslong as the law lags behind technology,type pirating will be legal. The develop-ment of photographic typesetting equip-ment has sparked a rash of new machineswhich use an inexpensive font negativerather than the costly matrices of hot metal.Ironically, photography has been the tech-nological salvation of the typesetting busi-ness, but when used unethically it can robthe type designer of his livelihood. It can doworse than that. It is now threatening to throwthe creative arm of the industry into chaos.The perpetrators of this situation are theunauthorized film font duplicatorsbetterdescribed as "contact-copiers." Their workis as easy as it is cunning. From a co-con-spirator the copier borrows or buys an orig-inal font negative upon which many thou-sands of dollars have been spent in creativedesign, in microscopic placement of letters,in unit modification and fit, in grid patternand technical layout. With one quick flashhe duplicates everything. It is a highly lucra-tive business since each contact copymade for pennies is sold for twenty or evenfifty dollars to the unwitting typographerwho, incidentally, would never dream ofbuying counterfeit $20 or $50 bills. Indeedunauthorized duplication has much in com-mon with counterfeiting: both depend uponthe use of unauthorized originals, both util-ize photography, and in both the cost ofeach impression is minute compared withits disproportionately high market value.The difference is purely one of legal terms.Up to now the contact copier has been inthe clear; but ethically he does as muchdamage to the industry and its future as thecounterfeiter does to society.These are the bleak facts today. Facingthem realistically no type designer, foundryor manufacturer of typesetting equipmentis enticed by the prospect of investing thou-sands in a new alphabet simply to have itlifted by night.While no industry-wide attack has yetbeen launched against contact-copiers,certain segments of the business have beenvery active. In London, important typefacechanges in British Copyright Law are in theworks. In Geneva, ATYP I (L'AssociationTypographique Internationale) and WIPO(World International Property Organization)have drafted a typeface proposal for pres-entation at the 1973 Vienna InternationalDiplomatic Conference on Industrial Prop-erty. There is a strong possibility that a docu-ment will emerge from this Conclave which,when ratified by the various countries, willgive legal protection to typefaces. We mustbe on the alert to be sure that our Congressdoes not bury the document in committee.In the field of sound, a parallel effort byWIPO and Unesco in drafting legislation to"protect producers of phonograms againstunauthorized duplication of their phono-grams" has met with considerable success.It was originally signed by 31 states (includ-ing the U.S.) at a 1971 Diplomatic Conferenceconvened in Geneva for the purpose. Sincethen the legislatures of France, United King-dom, Sweden, Finland and Fiji have ratifiedthe document and it became law in all fivecountries on April 30,1973. More ratificationsare expected soon. This sets an excellentprecedent. Meanwhile in Washington, Sena-tor John McClellan is heading a Congres-sional committee charged with draftingwidespread revision of the U.S. Copyright

Law last revised in 1909! Strenuous effortsare being made to include typefaceprotection in the new draft, andover a thousand

EDITORIALWAS SETIN ITCTIFFANYMEDIUM

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LONGEST WORDIN THE LANGUAGEOne question people never tireof asking is "What is the longestword in the English language?"Youngsters run across this queryin their earliest book of riddles,complete with the answer:"Smiles,because there's a mile betweenthe first letter and the last"But the matter is one thatgrownups frequently debate, andthe belief is widespread thatanti-wstab-fish-men-.tartan-

is the longest meaningful wordin the language.

Actually, there is a longerword, a term found in the OxfordEnglish Dictionary:floc_cm;ilihll-gm -lift ea-donThe word is a noun defined as"estimating as worthless." It is inthe dictionary and, with itstwenty-nine letters, is one letterlonger than anti-you-know-what.

Finally, the editors of theMerriam Webster New InternationalDictionary have included in their"New Words" supplement the wordimen-mono-

silico-vol-liD"-osis.

an actual disease of the lungsto which miners are especiallysusceptible. The longest word inthe language and, if you don'tbelieve it, look it up!

supporting it are in the Senators

gitimate manufacturer may

designer and the industry.

full-scale rejection ofAs a growing number of

ge of the designer are

in defense of the type designer in no

n Studio says:

ns is seeing

the plagiarist.There's no way of condoningany part of

it without everybody losing something.Since, in this situation, we can't call a

cop, we must find a way to take care of itourselves!George Lois, Chairman of Lois,Holland,Callaway says:"There's enough illegality, unethicality

and immorality in the world without havingto condone the legalized plagiarism thathas invaded the typographic field which Ihave always regarded as being curiouslyhonest!Saul Bass of Saul Bass & Associates says:"I don't have time to investigate who is

ethical and who isn't in our business. I havefaith in the integrity of my suppliers andwould be sorely disappointed if I found outotherwise. I sincerely hope my typogra-phers are not buying contact-copied fonts!Louis Dorfsman, Vice President,Advertising & Design,CBS Broadcast Group says:

"I will avoid doing business with the typeshops that buy unlicensed type fonts forthe sake of bargain-hunting and biggerprofits. I don't know much about that endof our profession, but thanks to ITC, I'm be-ginning to find out!

How would yousay it? Will you say itwhere it countsin a letter to your type sup-plier? And will you send a copy to U&Ic.?We'll forward it to Senator McClellan anduse it in our continuing campaign againstlegalized plagiarism.With your help added to that of others, wecan move forward, so that the 70s, insteadof marking the spread of legalized plagia-rism and the demise of type design, will bethe years of its renaissance.Take your pen in hand. Do your share to-day for integrity.ED RONDTHALER

8

Tjtpographyand theNew ilechnologiesCONTINUED FROM FIRST PAGE

Howtechnology influences art.Photography freed these artists fromsuch inhibiting factors. The camera couldfaithfully render hands and feet, and theartist could now permit himself to thinkand create in terms that no longer werelimited only to what he could draw.With photography, the artist was now

free to choose between "fine art" and anew form of "commercial art" as a ca-reer. A graphic art that today uses all thetools of modern graphic arts technology;type, platemaking, screen tints, printingpresses, cameras, colored papers, trans-fer sheets, colored felt-tipped pens (in-stead of watercolor brushes) and scoresof other materials and methods all nowavailable for the creatively gifted buttechnically limited graphic designer.

All of which is precisely the point Iwish to make about the development ofmodern typography.Ever since Gutenberg, typographic de-sign has developed in direct relationshipto the advances that have taken place ingraphic arts mechanization and technol-ogy. First, from a metal hand-set begin-ning almost 500 years ago to a mechan-ical machine-set period begun 100 yearsagoo an electronic film-set era lessthan 10 years old.Suppose you had to setyour own type.

During the metal/letterpress era, mak-ing a typographic layout almost alwaysmeant that whatever the artist plannedas his layout he would have to set in type... himself. To most artists, this was aslow process, and worse, an inhibiting

factor for a person who was talented atmaking layouts but all thumbs when itcame to setting type.

Like those students who could notdraw hands or feet, these "artists-with-type" were faced with similar inhibitions.The more complicated they made the lay-out... the more difficulty they would havewhen it came to setting the type.It is easy to see, therefore, and also tounderstand, how or why most early typo-graphic formats probably were arrived atmore from a consideration of labor ef-forts and costs than from a considerationof esthetics and art. Gutenberg's firstpages for his bible were set with a flushleft and ragged right marginnot per-haps because it was more beautiful thatway, but because it was easier that way.It was only when the mechanical fea-tures introduced by the linotype spacebands were invented for use in newspa-per settings, that we had the introduc-tion of flush left and flush right settings.It was easier for the machine and the op-erator to set type this way. (It also madefor pretty terrible typesetting. )This feature of typesetting has remainedas the predominant "style" for text set-ting ever since.As printing mechanization developedand new typesetting processes emerged,artists were freed from the age - old me-chanical restrictions that hand-set metaltype placed on their creative efforts.From type to letterfornas.

A major design freedom for the typo-graphic artist was the invention of plate-making. Printing from a plate surfacerather than directly from the type itself.With this new graphic art technology,artists were able to take proofs of themetal type, cut them up and paste theminto different positions without restric-tionsand make printing plates. Thismeant that all previous limitations, im-posed by metal type upon creative typo-graphic arrangements, no longer existed.The artist was now free from his "leadhandcuffs." Type has never been the same.Since the beginning of this century wehave been witness to a design revolutionin typography which has explored virtu-ally every facet of communications.

The ideas which were projected onlyyesterday in the research laboratories ofindustry by men who work at the arts andsciences of communications are becom-ing reality today; typesetting by CathodeRay Tubes at speeds of from 1,000 to30,000 characters per second; TV-News-paper printouts; FacsimileTransmissionsvia telephone and satellite; Electrostaticprinting; Laser Graphic Arts; computer-ized typography; Computer Typograph-ics; and Optical Character Recognition.All of this new technology will makepossible a whole new typographic art. Infuture issues of 'Mc" we will presentmany examples and case histories ofbreakthroughs that are now being uncov-ered in the new world of typo/graphics.One example of the new frontiers wecan look forward to is discussed in thearticle presented on page 1 The NewYork Times Information Bank.

AARON BURNSTHIS ARTICLEWASSETINAVANTGARDEGOTHIC MEDIUMHIS ARTICLE WAS SET IN TIFFANY MEDIUM WTH HEAVYWITH BOLD

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A A N TG I R C E

F U C H S 'F E N N I E Sg i V i L k sN T S O FT H E A M E R I G I NP E O P L EM O N U M V I LR T F O L I OE N OFP H O T O G R A P H S

The cec ication oace of the first issue of Avant

For one who finds the resent almostimoos-a osolutelySo, when R alph Ginsourg askec me, early in

self into the future anc ce sign

I hac four alternatives. 1. Reject the joo, wh ichwoulc automatically acmit cefeat; 2. Reveal my-self as a failure, which wittingly, I woulc never co;3. Get hirTito change the name which, wittingly,he woulc never co; anc 4. Vake a satire of thename (which I felt was the only avant carce wayto interpret what avant garce means), anc whatavant garce means is meaningless since once itis seen it is no longer ava nt garde. I chose alterna-tive num oer 4.I suomittec Avant Garde in Olc English, BankScriot, Cartoon Bolc, Balloon Bolc, Dom Casual,

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alics, W edcing Text, Vo nastic, Buffalo Billigatures. But coo licatures. To my knowledge,000cy hac ever foolec arounc with ca o licatures.Ginsourg saic, "Stop kiccing around!"nc that's how the logo -yoe for Avant Garcethen tried to cazzle him with a multitude ofagazine was oorn. I createc an AV ligature, a VAigature, an A\ ligature, an \T ligature anc a GAigature.He sa ic, "Cut it out!"al oh saic "It's illeciole out great. I'll ouy it."When a man is as graphically astute as Ralphreaction such as this from a client who is-y than almost anyoocy mace me feelLigatures! \000cy knows a oout ligatures. Not ecstatic anc spurred me on to new heights. That'sooer and lower casehen we cecicec to cesign the entire alphabetCONTINUEDONPAGE7BCU KV\ OPQR S TVWX Y 7 I L \ F I DR A S S TS T 1 F - C r 12 3345f o 7 890

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6 T Y P EFORMSSINKINTOOBSCURITYWHENCOMPAREDT O T H EHUMANFEMALEFORMHERB LUBALIN

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10 Januar tris 30_ April . Herr 4lontag0.22

,....The Westinghouse digital clock radio canontrol. features nutmeg cabinet with walnut-lull you to sleep with Chopin or awaken you to grained top. Available at your Westinghousemorning news or buzzer alarm. Large easy- dealer. For his location please call 471-2500to-read numerals are illuminated for 24-hour You can be sure ... if it's Westinghouse. 0time telling. Low silhouette styling, with slide

John,i sthatB i l l y

c o u g h i n g ? ' G e t u pa n dg i v eh i msome

C o l d e n e .

8

MY BEST WITH LETTE RS

I suspect that this is the bestsymbol I have done. Certainly

it is omnipresent on theCanadian scene. CN Express

trucks drive through everycity; CN Trains span the

country; most cities have aCN Hotel; and CN Marine has

ships on both coastlines.I owe a great debt of grati-tude to James Valkus whochose me to do it, and to

Donald Gordon (now dead),the former president of CNwho agreed to its use. The

only regret I have is that myfather, who worked all of his

short life for CN as a timekeeper in the freight yards,did not live to see it appear.

A L L A N R . F L E MIN GCANADAThis poster interprets withpure typographical ele-

ments one of the mostimportant principles of

film: movement. The over-lapping of the word "Film"

with "der" produces the im-pression of motion. The

height of the letters of thetitle "der Film" is equal to

1/5 of that of the poster. Thespace beneath the title isalso 1/5. The space abovethe title is 3/5. (2/5:3/5 = the

golden section). I likethe dual function of the typog-raphy in this poster: the

cinematic and aestheticeffect within a proportional

structure.J O S E F M U L LE R - B R O C K M A N NS W IT ZE R L A N D

This illustration is one ofa series of advertisementsfor Westinghouse radiosand record players whichappeared in the PittsburghSymphony Orchestra'sconcert program. Theproblem was to associatea Westinghouse productwith the name of a famouscomposer. I wanted toavoid the obvious use of apicture of the composerand instead to suggest, bytypographic means, eitherthe spirit of the composer'smusic or the instrumentwith which his work ismost closely associated.This example may or maynot be "my best with letters;'but it is perhaps one ofmy best demonstrations ofdescriptive typography. Italso demonstrates, I believe,that a word can sometimessay more than a thousandpictures.P A U L R A N DUS AThis is an ad I did in 1960. Itwas an unusual looking ad(it was a bleed, just as yousee it, no packages, bodycopy, etc.). It demonstratesto me a fresh use of typo-graphy. Letters are not an artform (although they can beartistic). Letters put togetherspell words that should saysomething to communicatea selling message. The ideashould be interruptive, star-tling, fresh, and should touchon a person's life style. Sell-ing ideas should be ambi-tious and should treat peopleas if they are sharp enoughto understand a bright con-cept. This discussion in bedof a married couple in 1960is a "typographic" solutionthat enhances the idea and,in and of itself, becomes thevisual.G E O R G E L O ISUS A

THIS FEATURE WAS SET IN AVANTGARDE GOTHIC BOLD.

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design with type starts with overcomingTo accomplish this, the first few assignments involve "push-

No attention is paid to their function as parts of words,

The analogy can be one of texture created by the use

The first problem loosens up their"heads" as well as their

As with the analogy, these three problems are all solved

Shown here are a few solutions to these starting problems

F E R R I T E R , S C H O O L O F V I S UA L A R T S , N E W Y O R K C I T YPEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACC PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEAAC PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEEAC PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PPEACE PEACE war PEACE PEACE war PEACE PEACE PEACE war PEACE PEACE PEACE war PEACE warr PEACE PEACE war PEACE PEACE war PEACE PEACE PEACE war PEACE PEACE PEACE war PEACE waPEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE war PEACE PEACE PEACE PEACE PEACEEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE war PEACE PEACE PEACE PEACE PEACE PPEACE PEACE PEACE PEACE PEACE PEACE PEACE war PEACE PEACE PEACE PEACE PEACE PEACEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE war PEACE PEACE PEACE PEACE PEACE PEE PEACE PEACE PEACE PEACE PEACE PEACE PEACE war PEACE PEACE PEACE PEACE PEACE PEACCE PEACE PEACE PEACE PEACE PEACE PEACE PEACE war PEACE PEACE PEACE PEACE PEACE PEAar PEACE PEACE war PEACE PEACE war PEACE PEACE PEACE war PEACE PEACE PEACE war PEACE wwar PEACE PEACE war PEACE PEACE war PEACE PEACE PEACE war PEACE PEACE PEACE war PEACEPEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WARWAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACE PEACEWAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR We WAR WAR peace WAR WAR WAR peace WAR WAR peace peace peace WAR WAR WAR peace WAR peacWAR WAR peace WAR WAR WAR peace WAR WAR peace peace peace WAR WAR WAR peace WAR peacee WAR WAR peace WAR WAR WAR peace WAR WAR peace peace peace WAR WAR WAR peace WAR peacace WAR WAR peace WAR WAR WAR peace WAR WAR peace peace peace WAR WAR WAR peace WAR pepeace WAR WAR peace WAR WAR WAR peace WAR WAR peace peace peace WAR WAR WAR peace WARce WAR WAR peace WAR WAR WAR peace WAR WAR peace peace peace WAR WAR WAR peace WAR peaeace WAR WAR peace WAR WAR WAR peace WAR WAR peace peace peace WAR WAR WAR peace WAR pWAR WAR WAR WAR WAR peace WAR WAR WAR WAR WAR WAR peace WAR WAR WAR WAR WAR WARAR WAR WAR WAR WAR WAR peace WAR WAR WAR WAR WAR WAR peace WAR WAR WAR WAR WAR WWAR WAR WAR WAR WAR WAR peace WAR WAR WAR WAR WAR WAR peace WAR WAR WAR WAR WARR WAR WAR WAR WAR WAR peace WAR WAR WAR WAR WAR WAR peace WAR WAR WAR WAR WAR WA,R WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WARJAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAWAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR W1R WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WARVAR WAR WAR WARWAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAWAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR W01 WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WARVAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAWAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WWAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WARJAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAR WAWAR WAR WAR WAR W A R W A R W A R W A R W A R W A R W A R W A R W A R W A R W A R W A R W A R W A R W A R Wdi WAR WAR WAR WAR WAR WAR WAR WAR W A R W A R W A R W A R W A R W A R WAR WAR wAr WAR WARuR WAR WAR WAR WAR W A R W A R W A R W A R W A R W A R W A R W A R W A R W A R WAR WAR WAR W A R W A RJ A R W A R W A R W A R W A R W A R W A R W A R W A R W A R WAR WAR W A R W A R W A R W A R W A R W A R W A R W AW A R W A R W A R W A R W A R W A R W A R W A R W A R W A R W A R W A R W A R W A R W A R WAR WAR W A R W A R W* R W A R W A R W A R W A R W A R W A R W A R WAR W A R W A R W A R W A R W A R W A R W A R W A R WJ A R W A R W A R W A R W A R W A R W A R W A R W A R W A R W A R W A R W A R W A R W A R W A R WW A R W A R W A R W A R W A R W A R W A R W A R W A R W A R W A R W A R W A R W A R W A R WW A R W A R W A R W A R W A R W A R W A R W A R W A R W A R W A R W A R W A R W A R W/ A R W A R W A R W A R W A R W A R W A R W A R W A R W A R W ARA R W A R WW A R W A R W A R W A R W A R W A R W A R W A R W A R W A RR Wd i WA R W A R W A R W A R W A R W A R W A R W A R W A R W/ A R W A R W A R W A R W A R W A R W A R W A R W A R W A RW A R W A R W A R W A R W A R W A R W A R W A R W A R W. R W A R W A R W A R W A R W A R W A R W A R W A R W A R

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10 THE SPENCERIAN REVIVALWhat is contemporary and what isn't? There's no cut-and-dried criteria fordetermining this. What's new to some is old to others and vice versa.

Graphic designers today are borrowing or reviving traditional formswith increasing frequency to create exciting graphic images. The compellingnature of these images invites imitation. Prolific imitation creates trends.And trends result in a prevailing style, mode, or fashion. When something isfashionable it becomes contemporary, no matter its origin.Subsequent issues of U&lc will contain articles on the influences oncontemporary graphics of Victorian, Art Nouveau, Art Deco, and Boraxletterforms. In this first article of the series, Tom Carnase one ofthe world's finest letterform designers exhibits a major influence oncontemporary graphics through the use of good old Spencerian.

THIS FEATURE WAS SET IN ITC TIFFANY DEMI,

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A CRT (Cathode Roy Tube) Terminal. There ore 60 such instruments throughout The Times building.

11

eys. It will bring

Information Bonk. Remarkobly, theThe instru-

ter technology to the printed word.

A T I S T H E N E W Y O R K T I M E SI N F O R M A T I O N B A N K ?

world's affairs pub-

Information Bank,bibliographic cita-

complete orig-

Information Bank file.if desired, The Times providing

as index terms (coiled "descriptors" todenote their intended use for reference purposes).It is a direct link toThe New York Times' computer.The Information Bonk is "on-line," meaning thatsubscribers submit requests for information directlyto the computer and receive on immediate an-swer. The telecommunications link between thevideo terminal in one's office or library and TheTimes' computer is either a private phone line oro switched phone connection.It is original clippings ofThe New York Times on microfiche.When one needs to refer to the full text of an arti-cle published in The Times, it is quickly found inthe Information Bank microfiche file. At present,microfiche are available for The New York Times.As copyright agreements are made with otherpublishers, material from their publications willalso be issued on microfiche.It is hard copy printsin addition to video display.Information Bonk subscribers are furnished with ahigh-speed printer connected to their CRT videoterminal. Operating at speeds up to 165 charac-ters per second, it creates collections of abstractson special topics within minutes. Complete printsfrom microfiche can also be obtained by usingcombination reader-printers.

H O W D O E S I T W O R K ?The Bank was created for peoplesubscribersand staffwhose need for information is wide-ranging or very urgent, or both.

The New York Times fits both categories: alarge network of CRT terminals in The Times build-ing helps hundreds of reporters and editors toproduce o better newspaper.

In addition, the Information Bank serves TheTimes marketing, advertising, public relations,legal, and corporate development departments.

In general, the Information Bonk con be anefficient research tool for: the staff of The NewYork Times, industrial corporations, governmentagencies; publishers, broadcast media, adver-tising and public relations agencies; brokeragehouses, banks, insurance companies, laborunions; political organizations and their candi-dates, trade associations, university and publiclibraries.

In many organizations, applications for theInformotion Dank include several departments.In a large corporation it could benefit the execu-tive office, marketing, advertising, public rela-tions, legal investment, environmental control,corporate development, and product develop-ment departments.

W H O U SE S T H E I N F O R M A T I O N B A N K ?Seated of a CRT terminal, you go through basicsteps similar to those required in searching con-ventional reference works: listing the terms thatdescribe your topic and restricting the amountyou retrieve by using various criteria. The differ-ence is in the amount of time expended which,in turn, affects the scope of research that can fea-sibly be conducted. With the Information Bankthe time is short (usually between five and fifteenminutes) and the scope is huge (thousands ofitems are electronically scrutinized). You actuallyconverse with the computer about your informa-tion via its keyboard.

Suppose you hove on interest in the field of agri-culture labor and wish to scan a wide variety ofitems on that subject. To instruct the InformationBonk to retrieve them for you, you would typeout on the terminal:

AGR IC UL T UR E AND L AB OR .This would bring out a substantial amount of ma-terial news stories, feature articles, editorials,letters, et cetera unrestricted by date, type ofmaterial, or the journal in which it appeared. In amatter of seconds.

To expand the scope of the search to includeall types of migratory labor, you would replaceagriculture and labor with the single term:

MIGRATORY LABOR.Again, in a matter of seconds, you would havethe material. Then, further to expand the searchand look at the whole broad topic of labor, youwould key in only that single word:

L A B O R .Now, going bock to the original search on "agri-culture and labor," you con narrow its scope byprogressively adding descriptors and linking themby means of the "and," "or," or "not" commands.You can also substitute descriptors that are intrin-sically more specific. For example:

L A B O R A N D C I T R U S A N DCALIFORNIA OR TEXAS.

Thus, you would retrieve only material dealingwith labor activity in the citrus groves of these twostates. To be even more specific, you might framethe search this way:

UNIT E D FAR M W OR KE R SAND CITRUS NOT CALIFORNIA

OR TEXAS OR ARIZONA.By focusing on a single union and purposely ex-cluding major western citrus-growing states, youwould find out about the Farm Worker's organizingactivities in other states. Finally, to be extremelyprecise, you might ask the computer for a searchon:

MANUE L C HAVE ZAND FLORIDA AND CITRUS

AND COCA COLA COMPANY.A search this precise would bring you abstractsrelating to the negotiations between Cesar Cha-vez's cousin, Manuel, and the Coco-Cola Com-pany exactly as they would appear in the illustra-tion below.

2 orNeff,. 1172- 2 I14117 noun311 -72-0,11.1201100PortedFarmYorkers Oroam,A C00 faro lebOr aro, has senteoflOruebotavedesiredto ,prOveopr,neandl

.titpos for ,ddaot and...t f,ed hands, der, /astmos. .ladbpMChes., 00011 O CChavez, nos1.d congaa sdur rrrrrrr activepa eeeeSpot onAtide to estabish berga,,, oeh,orpfor 41d handChoy etend pr,otetal, wthc.trus rrrrr Gens hovebeenfrufu, andthat accord s s emnent th mo,ar producer,un.ona cameo,. he mo,or test cf ,s ob.l,pto aepearto fors. labrrrrr

rgots,. Men-Aster r an -andrf le.t hassuccessfulypan,ed...nca , mu, demiostreethat.t canurrrrr fro !Oat. inernrs oho roost tu.rnotlp W of laborrrrrr , stateSc trus .odus,obstaces to Orgen,,t, taee !Obera arehel foro,abes s Ac re ono antrrrerns ,s

refrod it .onendalt rrrrrrr en ere! 0. cheez. twso Po Iowa onarltrfopOPOM.rmHOW D OES I T W ORK I N FULL T EX T ?

The Times on microfiche is another service, de-signed specifically os an adjunct to the Informa-tion Bank.

Fiche offer two chief advantages over conven-tional roll microfilm: ease of use and speed ofpublication. Information Bonk fiche are producedin standard 4x6 inch format. Each fiche contains99 framesenough for the contents of a doilyTimes (Sunday editions require four fiche).

Times fiche contain virtually all the news andeditorial matter published in the paper. The fewexceptions are items of no discernible researchvalue. Advertising that has a potential researchvalue is also included.

A clipping on fiche is located by entering de-scriptors into the Information Bank so that the sys-tem will retrieve and display the abstract thatwas derived from that clipping. Both the fichefile number and the specific frame number for theclipping are included in the bibliographic citationwhich precedes every abstract on the CRT screen.

The Information Bank in full text on microfiche.

This article is adapted and in port excerpted fromo brochure describing the Information Bonk,issued by The New York Times Company.THIS ARTICLE WAS SET IN ITC SERIF GOTHIC BOLD.

Vonnevor Bush said it:"The summation of human experience is being

expanded at a prodigious rote, yet the meanswe use for threading through the consequent mazeto the momentarily-important item is the some aswas used in the days of square-rigged ships."No more!

Now when we wont information, all we needknow is the question The New York TimesInformation Bonk has all the answers.Information, anyone?

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ha, a , 1CNNTHerlode woo ,

First of sseven-part seriesI ststl i it t, 'Lk iiisti '!i 'r.; s . c s i T

10 TONIGHT CRS NEWS S2

hat a corn-panyproduces or the services it rendersis obviously the most important thingabout it. But it is equally clear that un-less a company takes the same pains tomake its products and services knownas it does in producing them, it is notlikely to gain a market large enough toenable it to stay in business. As a result,market research, sales, publicity andpromotion have become inevitabledimensions of every commercial enter-prise. Eventually, all these activitiescombine to form a total impression thathas come to be known as the companyimage"the aspect of the companythat endures throughout changesin product line and services. What helpsto fuse all these elements into a dis-tinctive, publicly identifiable "image,"character or personality is a continuingconcern for all phases of the company'svisual expressionfrom the buildings itoccupies to the design of its letterheads,from the appearance of its trucks to thedesign of its packaging.Dr. Frank Stanton, former Presidentof CBS, said that he "... never felt it to bea matter of corporate altruism for a com-pany to erect its building or print itspublications or manufacture its productin accordance with high standards ofdesign. The company merely acts in itsown self-interest. More is derived fromtime and effort spent in congenialsurroundings than in ugly ones. Moreattention is invited by the well-designedpublication than by the haphazard one."

A far back as1953, FORTUNE magazine attributedthe success of CBS to its "performancepar excellence in management, promo-tion and salesmanship; others may besuperior in manufacturing, facilities,patents, etc., but CBS has the edge onshowmanship." FORTUNE also statedthat "few firms have been awarded asmany accolades for advertising art asCBS." I can only hope that such praise isstill justified.My story is chiefly concerned with theGraphic Arts developments at CBS, butthese developments are intimately tiedin with the growth of the company as awhole. For, over the years, the com-pany's growth has had a direct effect onthe type of Graphic Arts that we haveproduced.Since broadcasting is the primaryfunction of CBS, I would like to explorethis area in some depth. In all advertis-ing, it is essential to be aware of thespecific audience to be reached. But inthe case of broadcasting, this "audience"

is a much more difficult group to pindown, to classify, than, say, the pros-pective buyer of a Volkswagen or a barof soap. Obviously, our most importantaudience is the consumer, the vastpublic that watches television and listensto radio, and we spend a great deal oftime and effort to win their approval.But in commercial television, onemust have advertisers to survive. Thetime buyers in advertising agencies,and their clients, the men who manufac-ture the products advertised on themedium, become another specific audi-ence that must be reached, and soldon CBS.A third audience is made up of themen who own the independent stationswhich broadcast the programs the net-work produces. These affiliates,especially in larger cities, have a cer-tain amount of choice as to which networkthey carry. It is important that we proveto them that to carry CBS programs willguarantee their supremacy in theirparticular area.Still another audience, and in someways, our most important audience, isthe nation's intellectual community,its business leaders and governmentofficials. Although networks as such arenot directly subject to the Federal Com-munications Commission rulings (theFCC primarily concerns itself with thelicensing of individual stations) we areaffected by these regulations throughour owned stations, as well as throughthe public pressure the Commission isin a position to exert. It is important,therefore, that we win the respect ofthese men who, often too busy to watchmuch television, are in the position toinfluence government decisions affect-ing broadcasting.Any advertisement directed to one of theabove publics will, naturally, also reachone or more of the other groups. Withthis consideration in mind, the advertis-ing we produce can be broken downroughly into the following categories:1. Consumer Advertising designed toattract viewers.Tune-in consumer advertising must ap-peal to the widest possible public to beworthwhile. However, the traditionalemphasis that CBS places on quality andtaste in design is as much a part of theseadvertisements as it is on any printedmaterial produced by CBS. When effec-tive, tune-in advertising can reach all ofthe special groups mentioned above, butthe primary goal in this area is to attractan audience.2 . Trade Advertising designed topromote CBS Television Network.Although directed primarily to timebuyers in advertising agencies, theseadvertisements also play an importantrole in our continuing public relationsefforts with our affiliated stations.Everyone likes a winner, and theseadvertisements, based on comparativeprogram popularity (average rating,number in 'top 10' ); comparative overallrating of the network; comparativegross billings or comparative hours of

sponsored dine, are proof of the net-work's leadership in the field.3. Institutional Advertising designedto promote the medium.Here we have two audiences: the in-tellectual, business and governmentalleaders, and the agency time buyers andsponsors. We are trying to attract theattention of the most sophisticated audi-ence in the country. These advertise-ments must appeal to the intelligence andcultivated taste of a discriminating few.Advertisements in this area are basedon success stories, comparison withother advertising media (cost-per-thousand circulation, etc.) or the uniqueselling ability of television and itsimportance to the business and intel-lectual communities.So far, we have been discussing printadvertising However, one of the mosteffective tools at television's commandin calling attention to its programmingis the medium itself. Extensive use of

on-air advertising of programming ismade by all networks in the UnitedStates. A promotion announcement of anupcoming program is carried at the endof every broadcast. Announcements arealso scheduled within the body of a pro-gram if there is unsold commercialtime available.Sales tools used in on-air promotioninclude:1. Sixty-second film trailers producedby the advertising and promotion de-partment which contain highlights ofan upcoming broadcast.2 . Twenty-second and ten-second filmtrailers which air at the end of all pro-grams (these trailers always end withthe network identification... the CBS"eye" which has become the most im-mediately recognizable symbol of anynetwork).3. Slides containing either artworkor photographs from the broadcast withlive announce copy promoting thebroadcast.

TRADE ADS

Digging amino', we discoveredthat of all the shows in television'sTop 40pli ears (Igo Dull 10are still there ',Aril. A nd the bigscoop is this: alt _Ware ours.Von can balk, another goodseason of 0 lbowlation like that.CBS 'Thievish, Network*

*210:30-11:00PM WCBS-TVWHAT'S MY LINE?John Daly's guests do the oddestthings, but his famous panel canusually ferret out their lines.

C O N S UM E R A D S

CBS: How aCorporation Sells Itself

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13

promote the network

otion trailers; slides andidentifica-

affiliated sta-represents

contents themselves.

Presentations are also produced foruse by the sales department as aids inselling time on the network. They fallinto the following categories:1. Presentations designed to sell themedium.These take many forms. An examplewould be a film produced to show therelative selling power of the medium inrelation to magazine advertising.2 . Presentations on CBS TelevisionNetwork leadership.These are produced for distribution totime buyers and sponsors, to documentthe network's dominance in the mediumand its specific sales potential.3. Presentations for the purpose ofprestige, on specific shows or coverageof news, sports or cultural events.Presentations in this area serve severalfunctions. They may take the form of abook on CBS coverage of professionalfootball or of a political convention orthe European tour of a President of the

United States. They can be used tocreate an interest on the part of sponsorsfor future broadcasts or, when distrib-uted to a selected mailing list of in-fluential leaders, to call attention to thescope of network programming.Sometimes I would wish that advertisingand promotion were all that I was re-sponsible for as head of the DesignDepartment. But there are many otherprojects, equally important and certainlyno less demanding, that we are in-volved in.Recently CBS moved into its new head-quarters building. From its inception,the building provided an unparalleledopportunity to create a distinguished,unified expression of the corporatepersonality. The concern of the topmanagement did not stop with the ap-proval of the design of the buildingitself, but extended to even the smallestof graphic details.The Design Department was responsi-ble for all the graphics throughout the

ABCDEFGHIJKLMNOPQRSTUVWXYZ&.!'?$12345678900

building. No detail was too small towarrant serious attention. (Even themail room, which no visitor would eversee. ) Every graphics problem, from thelettering on the exterior to the typeused on the elevator panels, from thefaces of the clocks to the lavatory doorhandles, from name plates on officedoors to directional signs, was givenpainstaking care.The Design Department is also respon-sible for displays and exhibits, annualreports, interior design of CBS buildingsand studio facilities, trucks, TV equip-ment, the redesigning of all stationeryand office forms used throughout thecompany, the selection and hanging ofsome 3,000 pieces of art in offices andreception areas throughout the build-ing and, a project dear to my heart, thedesign and execution of a large muralin the employees' dining mom_This mural, which has been dubbed"Gastrotypographicalassemblage," (I'lllet you figure that one out) was a majorproject in itself. Each panel in the mural,which is 38 feet wide and 8-112 feet high,is composed of white painted woodenletters which spell out words andphrases having to do with food. In all,250 typefaces were used, as well as 85nontypographic objects, such as foods,containers, and utensils.At CBS, graphic design is all of onepackage. Whether it be a full-pageadvertisement in a newspaper, a filmedpromotion trailer, a letter to a prospec-tive time-buyer, the mailing containerfor a promotion kit, all are a part of thetop management's concern to coordinateand integrate the graphics image of thecompany. This is not a matter of cor-porate altruism. This is not art for thesake of art. For as Dr. Stanton has said,"... the company that strives for qualityin design, that respects the eye of thoseupon whom it is dependentemployees,stockholders, customers and the com-munity ultimately benefits most of allitself."LOUIS DORFSMANTHSARTCLEWASSETNITCTFFANYMEDUM

A B C DE F G H I J R LM N O P Q R STIAWXYZ&.!'?$1234567890.CORPORATE TYPEFACES

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Corporate-Schmorporate!

fter 20 years inhe absolutely

ient. Me! Or so I thought. The project? A's dream. ACorporate Image. The works.

lanche. just make it memorable.What had happened was that I had left one

ner in Lubalin,mith, Carnase to fulfill another long-cherished

ind of rustic resort business inof the Adirondacks. So, after packingumulated type books, AD

nnuals and things like furniture, jazz records andfamily into

wagon and headedhe New York State Thruway and North!

Where? Bolton Landing, New York. Where?olton Landing, New York! That's about halfway

ong Lake George about an

As the new owners, we felt we had to have aorporate Image to give our place an identity.ooney, we had to come up with something else.fter all the corporate image work I had partici-

C this was the first time I would beable.

I sat down with my Board of Directors, my wifeme, for an orientation meeting. Right

time, we canceled the first

soda pop deliveryhen we finally were able to sit down and review

Name: Port Jerry... after the original devel-k in 1933.

We decided right away that we weren't going

We did have a problem though, apeople thought we were a town out on Long

ed throwing out ideas off the topaybe I can sell myself on a spot-ad

"Port Jerrynobody ever heard of us and

Fay pinched her nose with her thumb and in-with assurances that

now but there were lots more

What do we offer as a product: 8 Cottages &1825 Canoes, 15 Motorboats (6.9' and

Camping Outfit.Rental, The best sandrystal clear water for swim-

rever Wld" area. Aboathouse with a ping

Some of this presented a marketing problem.hile deluxe cottages were a shoo-in, the Cabin-

or people too chicken to camp in aould like to brag to their urban

oughed it on their vaca-hat with the ecology-conscious trend and

fe thisplus!

But the real ace-in-the-hole was the setting.e previous owners had described it with words

isticated." OKome, funky, close-to-nature

ect for a hideaway. Let your beardear old Levis and bathing trunks. Cook

ou can sit on your ass for a week or two and justA

om subway motormen to up-com-a small, succulent group of elites

rtising, Abeer-to-martinis variety sit-

ting around campfires at night listening to itiner-ant guitar players singing obscure folk songs.Fishing, water-skiing and moonlight canoeing.That's it in a nutshell. Now how do we wrap it allup in a Corporate Image?

Just as I started thinking logo and trademark.I got another hot idea. Maybe we could interest awine company in a two-way promotion and do amailing with miniature wine bottles whose labelcarried the slogan ...

"Port Jerrywe're not a wine but once youget a taste, you're hooked."

Fay did the fingers-to-the-nose thing again andI came out with a retaliatory "you don't make thegreatest blintzes either."

We needed a great trademark or a logo thatwas simple but dynamic; quiet but expressive.Fay, who spent 11 years in advertising herself andknew the jargon said ..."Make me a scribble".But I wasn't buying that trap. Before I do any-thing, we need to do a market survey; a double-blind study; some color and shape analysis; ademographic survey; a media study and checkwith the New York to Bolton Landing bus drivers.Besides, we needed an estimate.

Impressed with my savvy, we both agreed therewas no sense in plunging without proper researchand some idea of what kind of money we were

talking about.I felt the time was ripe to throw out another

slogan idea."When you're at your wit's end as to where to

go that's different.... Port Jerry...We're yourlast resort!"

This time she drew her index finger across herthroat.

My estimate was presented in three phases.I. Creation II. Finished Art III. Production&Supervision with a special "Revisions"clause. All of this was preceded by a six-pagecarefully-worded "Philosophy" that was a sum-mation of my thoughts on Corporate Image. WhatI tried to convey was breakthrough thinking withsolidarity. Avant-Garde but timeless. New andat the same time classic. Old-fashioned, but con-temporary old-fashioned. Appears expensive butis cheap. Is cheap but looks expensive. Createsa sense of exclusivity but doesn't scare anyoneaway. Swinging but quiet. After all, there is some-thing beautifully simple about complexity. And,a slide show of my previous successes,

Well, the philosophy got to me but the pricedidn't. So I did another estimate cutting out thefull-color and the Fabriano. The type would haveto be set in Wyoming. I knew of a good printinghouse in Nome, Alaska that was dying to workwith a big-time designer for just a credit line and

expenses. We'd cut out all the silk-screened, tightcomps. the luncheon meetings; no messengersby cabs. Just Pentel roughs and then right intofinish. Wth all the cuts, we approved the newestimate and I started making thumbnails.

Unable to dampen the old habits, by presenta-tion day I had turned out 48 comprehensives and adozen roughs. I didn't want to lose the accountand besides, I could make it up in the finish phase.In searching for the right solution, I touched a lotof bases: a nice Spencerian logo in a classic oval;Peignot in a timeless square; Port Jerry in Barklettering: casual Lord &Taylory handwriting;Avant-Garde with the two Rs ligatured and over-lapping; stacked Akzidenz Grotesk, all caps,squared-up but a regular "0" in Port Jerry con-taining a mezzotint of Fay and me holding up a"Welcome" sign (so I pandered a little to the own-ers but even if they turn it down, the ego trip forthem was worth its weight in gold).

Then, I tried a few with nice, simple straighttype but placing all the emphasis on a pictographor graphic symbol: simple stick figures represent-ing a family around a campfire with 6 pt. Light-line caps"The family that camps together hasto stay together"; two copulating chipmunkstastefully done in silhouette with the slogan"Port Jerryfor doing what comes naturally" (Ifigured this would be sure-fire with the unmarried

MAU. CO 501AGM-1 TO MitCMS /W E S ONS MTNmoo RUTOSI

0 .4L B O A T H O U S E

D

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all water craft flying the Port Jerry emblem.Which brings me to the final logo, an old-fash-ioned outline script with an oval-swash tail onthe "Y" which contains an old-engraving styleillustration of a water scene with two canoeists(male & female) paddling on a reflective surface.

On Presentation Day, remembering my oldtraining, I tried to inject a little drama into theproceedings by showing up in my Goodyear rub-ber boots and a thermal underwear shirt. Thesartorial touch apparently made an impressionbecause I was mistaken for the man who was toclean out the septic tanks. After the jocularityhad died down over the incident, I unveiled theentire program, hitting us first with my philos-ophy; then all the research and background datain the form of press-down type easel cards andcharts and finally...the logo, done in the officiallyrecommended colorsgreen and white. Detect-ing a touch of excitement in the eyes of the clientand wanting to exploit the low gasps of admira-tion, I rapidly hit with the follow-ups: Sweatshirtswith logos; the Boathouse sign; envelopes andletterheads; an all-weather decal for canoes andmotorboats; a logo'd camping utensil bag; a rub-ber stamp; a novelty plastic button. Keeping upthe pace, I expanded into my projections for ballpoint pens; portable camp stoves and coolers;bumper stickers; monogrammed dishes andglassware; towels; silverware; the station wagon;the garbage cans; outdoor showers; beach chairs;butt cans; toilet seat lids.

While we were still reeling, I read my testresults which were sensational. My test panelconsisted of a checkout girl at the Grand Union;the Postmaster and the owner of the localhardware store. Him I had in my pocket or hewouldn't get my business. I finished with a flourishby pasting a corporate logo decal on all four stra-tegic locations of a hired nude model's anatomyand had her coo sexily ..."PORT JER-EEEE...you're sumpthin' else!"To cinch it, I gave the client a year's box seatsto all the Yankee games and told her I was ableto bring the whole program in on budget, $350.The finishes were all beautifully done by a formerLSC designer/lettering msn, Roger Barrow4,who is now a permanent member of the PortJerry Board of Directors. I wound it up by point-ing out that for that kind of money, we wouldonly have a 1-year exclusive on Port JerryExpedient and after that, it would appear forphoto typesetting and in press-down sheets.Watching the client for a reaction, I mistakenlythought I saw a flash of rejection flicker in hereyes so I leaped up onto the windowsill and threat-ened to jump out with the layouts if she didn't seethe light. (I knew what I was doing because itwas only a 4-foot drop but I counted on the ele-ment of surprise). She smiled, held up her handand formed an "0" with her thumb and fore-finger. I was home! Now all I had to do is bill it...and collect! It was all accepted without reser-vations. (Wait a minute, that's no way to run aresort.) For reservations, call (518) 644-3311 andask for Fay or Ernie Smith. We'd love to showyou our Corporate Image.E R N I E SM I T HA. Fay and Ernie S mith. Bucolic winter scene in front oflarge Corporate Sign on boathouse.B. Port Jerry Expedient as applied to Corporate Signagewhere rapid readability and outdoor weatherability aresalient factors. Because such signage utilizes any availablelumber, often short in length, two variations of theCorporate Typeface were developed, Condensed andExtra Condensed.C. Logo as applied to Camping Utensil Bags.D . Corporation wearing Corporate Look. (Fay, Rebecca,Kathryn and Ernie.)E. The Corporate Logo, in the form o f decals applied tocanoes, where legibility afloat is crucial.F. Letterhead and Envelope.G. A wide range of Corporate Containerage.H . Design Director Roger Barrows displaying tools neededto preserve typographic integrity.1. Port Jerry Expedient utilized to identify cabinettes.

15

art and typographyCONTINUEDFROMFIRSTPAGE

you want to move up tocation... get high at Port Jerry".To round out the presentation, I established an

fortable, outdoor living like Rest Rooms:*Women; Main Parking Lot; GarbageI gave the newly designed facePort Jerry Expedient.Corporate typographic integrity would be

because the real artist has antennae,he feels not only the atmosphere of the moment with great acuteness,but also where we are going.the artist is often a guide and his work contains a message.for new messages he creates new forms.in times of great change the form becomes revolutionary,just as in 1500 when the painter no longer tried to organize space by decorating a wall,but sot down on a chair and fixed the scene on his panel fromone point of view.this discovery we call perspective.leonardo did not paint o mural, but opened a window to the outer world.since the renaissance the face of the earth never changed scr rapidlyas of the beginning of this century.new sources of energy came into use, new ways of communication,new methods and production of goods on a larger scale, for everybody;new relations between the work and the worker, between theworker and the employer.fifty years ago a painter stood up from his chairand walked around the subject he was going to paint.he tried to get the different viewpoints on the some canvas.this revolution we call cubism.the name of the painter was picasso.both revolutions were not limited to the artistic field;they were the result of a change of attitude towards life.the pre-renaissance painter saw a table as a rectangle and painted it as such.the renaissance painter knew that a table was a rectangle butpainted it as a trapezoid because the farthest side of the table looked shorterthan the side where he was sitting.the world of the 20th century artist is no longer limited to the reality of the eye.he renders things as he knows that they are or as he feels them to be.from that moment art is no longer what it was before.it freed itself from portraying nature to create a new reality.movement, transparency, clarity, became leading principles.french cubism opened the way to futurism in italy, suprematismin russia, abstract art in holland and action painting in the u.s.a.rill that moment the movie camera stood fixed and people hadto move in front of the camera, but now it started to turn around the scene.futurism laid down several stages of a moving object on one canvas;time entered as a new element in plastic art-marcel duchamp painted his "nude descending the staircase:'later on even sculpture began to move (colder).architects favour transparency.the walls no longer bear the roof.the use of new materials like concrete and steel makes it possibleto lift buildings from the soil.gloss and plastics do not separate our dwellings from the outer worldbut allow nature to enter our room.palaces and churches are no longer the most characteristicconstructions, but bridges, crones and the masts that carryelectricity from town to town.typography enters into art.characters and pieces of newspaper enliven the early works of brogue and picasso.kurt schwitters composes pictures with coloured pieces of printed paper.but experiment in modern typography had already started at theend of the 19th century.mallarme, the french poet who succeeded in musicalising language,gave his verses a new visual form, freed his poems from thetraditional way of typesetting.his sentences ran freely over the pages.gradually typography leaves its rectangular prison,no longer feels the chains of symmetry,tries to lead the eye over the page and accentuates the directionfrom the left to the right.the revolution in art originates a new typography.contrasts destroy the grey form. old characters acquire new value.the white of the character becomes more important than the including form.the white of the page reigns over the black.transparency is one of the fundamental principles.typography becomes a means to bring quick messages to the many.publicity in daily papers and in weeklies,light publicity in our cities makes extensive use of new discoveries.the importance of the designer increases every day;is he aware of his responsibility?willem sandberg, former director,stedelijk museum, omsterdamTHIS ARTICLEWAS SETINITCSERIF GOTHIC

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N O T E D S E M A N T I C I S TL R A P O P O R TS A I D M P O G R A P H YI S T O P R I N T I N GAM CUT1ON AN DD R A M A T I C S A R E T O1 H E S P O K E N W O R D ' :

A GREAT ART DIRECTORiS A MA N WHO K N OWS WHE NSOMEON E ELSE HAS A13E1 I ER IDEA THAN HE HAS .

Something for Everybody from U&lc.

T H E F L A G S T H A T F L Y A T O PS O M E ( ) F A M E R I C A S M O S TP R E S T I G I O U S N E W S P A P E R SA S S E E NO U G H T H E E Y E SO F W I R I S T C 1 - 1 1 ^ 6 . S L A C K M A N is1 * . ,, , , ,_,.._,,f,,.--_,, --,E WALL STRTIET JOURNAL +---:I4o< 2 . - - )--,,,..

s-=,,_************-,4 A N O T T E LLA__ ************' 1 Ittfi .,DAg y .,[2,,,r7-71NEWNEW YORK S.. 11.11111116. PICTURE NEWSPAPER- "45TH E W ASH INGTON POST , NJ.-M,4,.,..,,., iik.....Apf -,p,:, p ,-,g-0- -

,,-- chieNeee7/70"eije,

. . . 4r/1 1 A I t ) )o r Z r ...1. 2%t tOatt 2a lteT IN ITC SERIF GOTHIC.

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is a Yiddish word that has become part of the colorful Americanvernacular. It refers to a man who is in bad luck all the time a loser,for whom nothing is successful and everything goes wrong. Theword actually comes from the Bible, the Book of Numbers, Chapter 2Shelumiel, the son of Z urishaddai, was the leader of the tribe of Simeonand it is said that, whereas all other leaders were successful in bathe,he was the only one who lost all the time. Hence the term schlemiel

A R I A 1 -21V e2,/;-0014.30004

17

W H E R E D I D I T CO M E F R O M ?The most widely heldtheory about the termO.K., which H.L. Menckenonce called "withoutquestion the mostsuccessful of all Ameri-canisms," is that itcame from the Choc-taw Indian word okeh,meaning "it is so."It was also in the spell-ing okeh that the termappeared as the nameof a now-defunctrecord company be-loved by jazz aficiona-dos because under itsOkeh label appearedthe first important re-corded music of suchluminaries as LouisArmstrong, the DorseyBrothers, and BennyGoodman.The actual origin ofO.K., however, is theone that is acceptedby virtually all wordexperts. The first printedexample of the ternwas as part of the rimeof "The DemocraticO.K. Club," an organi-zation of supporters ofpresident Van Buren,who was running for asecond term. VanBuren was a native ofOld Kinderhook, a vil-lage in New York State.O.K. has become a trulyinternational phrase,and prisoners of war inJapan, Korea, and Viet-nam have all reportedthat every street girl andprison guard haveused and understoodthis termeven thoughthey couldn't speakanother word of English.

THEFEATURETTES ONTHIS PAGEWERESETINAVANTGARDEGOTHIC

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18hat's New from ITC?Avant Garde Gothic Condensed andFriz Quadrata are new from ITC.Only licensed ITC Subscribers areauthorized to reproduce, manufacture andoffer for sale Avant Garde GothicCondensed, Friz Quadrata andall other ITC typefaces shown in thisissue. This mark is your guaranteeof authenticity.E N SN S 0

A v A N rm T II R I )W I CC O N D E N S E D

In this issue of "U& Ic," ITC announ-ces four additions to its highlypopular Avant Garde Gothic series.In response to the demand fromdesigners for condensed versionsof this versatile face, ITC has addedfour new members to the AvantG a r d e G o t h i c f a m i ly : B o o k , M e d i u m ,D emi and Bold Condensed.ABCDEFGHIJKLM

NOPQRSTUVWXYZA N C E A I E V I R G I I T I c e lI A L I I I N I R R A C E S S S T1 H U M N W M N V(80! iS% 0#=:.": ,**)1234567890abcdefghi jklmnopqrstuvwxyzcOc e e c c e N v w w y s

BOOK CONDENSED

ABCDEFGHIJKLMNOPQRSTUVWXYZA N G I E A / E R R G A H N S AI A L 1 1 1 s 1 1 P R I C E S S S T1H U INM W M NVOPii$%04 --1-17i:*123456789(iabcdefghi jk lmnopqrstuvwxyzOceeccelvwwyB

MEDIUM CONDENSED

The Avant Garde Gothic Condensed seriesretains the same e xtra-large "x" height of thelower case le tterforms, with their shortenedascenders and de scenders. This cha racteristicis one fea ture tha t distinguishes Ava nt GardeGothic from other sans serif designs.

The ickge full-bodiedl ower case l e t t ersmak e for better l egi-bil ly and offer grea terr e a d i n g e a s e w h e nl arge qua nti t ies of in-formation require theuse of condensedleflerfomis for corn-pact areas. With veryfew exceptions, andwherever possible ,(*most M ot the l iga-twos and variantletterforms of theimigind Avant GardeGothic family ha vebeen r e ta ined in th eCondensed series.

Avant Ga rde GothicCondensed i s evenl eg ible in s izes assmall as 3 and 4pt...this promises to mak ethe face most use fu lfor packaging, labels,c lass if i ed new spaperadve rt ising and forcata logs, price l ist-ings, etc . Avant G ardeGoth ic Condensed wa sspecially drawn for ITCby Edward Benguiatand i s based on theoriginal Ava nt GardeGoth ic ser i es cr ea t edby Herb Lubalin andTom Carnase .

ABCDEFGHIJKLMNOPQRSTUVWXYZA A G E A / E R R G A H r l i t iIAIAINFIRACESST1 H U M N W A I N Vakin E$%04 6/2. ::'*)1234567890abcde fgh i jk lmnopqrstuvwxyzcO

ce e c celvviwyBDEMI CONDENSED

ABCDEFGHIJKLMN O P Q R S T U V W X Y ZAkECERNIAI L N r I k R A C E S S I S T1 H U I N M W M 1 VOP! ES% C117: .*)1234567890abcdefghijklmnopqrstuvwxyzcilceeccelvwwyBBOLD CONDENSED

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F R I ZA w a rd -W in nin g V G C T y p e fa c e N o wAva i la ble a s PhotoTe xt Face from ITCR A T A

19

Ltter-consciousnessno longer the pri-vate domain of thetypographic connoisseur.Just a few years havechanged all that. Whilethe man in the streetcan't tell Caslon fromGaramond, he no longerthinks all letters lookalike. Not any more.

He's bombarded with posters, bro-chures, and ads telling him in nouncertain terms that letters canhave many forms and very exoticpersonalities. If he lives in New Yorkand travels by subway he mayspend a bumpy hour or two everyday pondering the grotesqueshapes of transit graffiti. Much as hemay dislike both spray can andmarker, and much as he may feelthat their indiscriminate use onpublic property is a most unworthycontribution to the art of lettering,nevertheless it has brought millionsof John Does like himself to anawareness of letterforms for goodor for bad. Inevitably the more imag-inative of these observers have triedto develop a taste for lettering tolearn to distinguish between naivegraffiti and the real thing.A letter-conscious public is preciselywhat many of us have been hopingfor, for many years. And here it is.Thanks to the enormous impact of

display lettering good and badthe lettering-conscious communityhas grown from thousands tomillions! And in these new millionsare those who would like to trytheir hand at serious letter design.A few years ago,Visual GraphicsCorporation recognized this latentpotential and pursued it vigorouslyby launching a typeface designcontest of considerable magnitude.As a result of the contest VisualGraphics issued 2-inch film fonts of15 Award-Winning faces, all ofwhich have made significant impacton display typography. Onewonders to what extent the moreconservative of these faces areadaptable to text composition. Textsizes, traditionally, are the first to bedeveloped. Display, as a rule, comeslater. Will photo-typography lead toa reversal of this sequence?

ABCDEFGHIJKLM N O P Q R S T UVWXYZA0abcde fsh i j Idmnopqrstuvvvxyz1234567890

FR I Z Q U A D R A T A R E G U L A R

ABCDEFGHIJKLM N O P Q R S T UV W X Y Z A Oabcdefghijklmnopqrstuvwxyz1234567890(8.1?m0$ 4 9 4 V V )

FRIZ QUADRATA BOW

The question is best answered by action, and to demonstratethe possibilities of the Award Winning faces, InternationalTypeface Corp., under license from Visual Graphics to developFriz Quadrata and offer it for sale, is now making two weightsof this important design available to all manufacturers of texttypesetting equipment.The original weight of this fine letter was designed by ErnstFriz. Mr. Friz, a native of Switzerland, studied graphics at Zurichwith Rudolf Bircher and Walter Koch. He has his own graphicstudio and specializes in type, symbol and package design,having won the National Swiss Packaging Award for 1962.The bold weight adaptation of Friz Quadrata was executed byVictor Caruso, designer with Photo-Lettering Inc.

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20

Future issues of "U& Ic" w ill be devoted to a broad spectrumof original articles as w ell as a rev iew a nd reprinting, in wholeor in part, of a selection of the most interesting, significant,and eventful articles, statements, opinions, lectures, seminars,and exhibitions on the subject of the typographic arts producedin the twentieth century. Here is a sam pling of the materialthat rea ders can look forwa rd to seeing in future issues.

( 1)P E R S P E C T I V E O NI N T E R N A T IO N A L N E W SHERBERT SPENCER (15) W O R L DT Y P O G R A P H YT O D A Y (24) HE BEST OF '72What's happening currently on theEuropean typographic scene as re-ported by one of the world's leadingauthorities in this field.(2 F R O M W H E R EIL L B EURRET I NThe absence of a thorough trainingperiod for designers often resultsin a flippant attitude towards thecraft and skill of type handling. Atotal revision of our educationalstructure is needed to meet stagger-ing new demands.

(3) WHAT MAKESU G H - L Y G R E A T ?HERB LUBALINThe word "ugly" is probably themost misused word in the Englishlanguage, especially as it is appliedto the graphic arts. Ugly can bebeautiful or, conversely, beautifulcan be ugly.

Another regular section of U&Ic,devoted to a review of internationaltypographic news, events, and work.(16 ) Q: WHAT MAKES ATREND? A: A BUNCHO F C O P Y C A T SThe dumbest question and the onemost prevalently asked is "Whatare the future trends in graphics?"Creators of graphics find it impos-sible to answer this question be-cause trends are determined notby originators, but by imitators.

(17) F A D D I S MVERSUSP R A C T I C A U T YSome type designs come and go,and some last forever. What hashappened to all the Caslons,Goudys, Bodonis, and Baskervilles?They're hidden behind an extrava-gance of psychodelic display facesthat saturate the typographic market.

A panel of design experts, organ-ized by this newspaper, select theoutstanding typographies producedthroughout the world last year,with emphasis on the designsolution rather he concept.(25T H E RA O AM NA NS IEZ A T I O N

IP CO MMUNICATIONSSince World War II, there has beena tremendous American influencein Japan that in some ways isharmful to that country's fine her-itage in the arts. This article willtell about the Americanization ofJapanese typography.)V I S IT T O T H E L A N DOF THE RISING SUNMASSIMO VIGNELLIThe famed designer makes someinteresting typographic observa-tions brought about by his recenttrip to Japan.

(26(4 )

P A T T E R N ,SOUND,AND MOTIONExperiments in trying to makewords look or sound like what theymean by London Central Schoolstudents.

(5 )A D E B A T EON THE NEWL E G I B I U T YReading has been illegible sincethe invention of hot metal type.

With photo composition, we're allgoing to have to adjust our readingto compensate for this newunaccustomed legibility.

( ) G E T T I N G U S E DT OL E G I B I L I T YT H E EWHow do you convince a client thatwords and sentences and pare-.graphs should be set in type theway they are spoken. Granted ifs atough assignment, but wait 'tilnext year .

W E A STYPOGRAPHERS-U SA.(7) BRADBURY THOMPS ON

To help understand the place ofthe American designer in worldtypography one of America'smost gifted typographic designerstraces briefly the history of printingdesign since 1450.

(8 )T H E A R T A N DSCIENCE OFT Y P O G R A P H Y

A review of the first world seminaron typography held at Silvermine,Connecticut in 1958, whichexplored the role typographyplays in world communicationson four conceptual levels: Tra-dition; The New Arts; Science andTechnology; Mass Comm unication.

(9)T O W A R DA PICTORIALL A N G U A G E

The use of typography in con-junction with graphic symbolismto give additional meaning towords and create a more positiveemotional reader response.

(10)" M Y F A V O R I TET Y P E F A C E " A N DHOW I USE IT

A series of short articles written byprominent designers and artdirectors on the merits of the par-ticular typeface they most enjoyusing, with a graphic represen-tation of its use.

T Y P E I ST O R E A DWILLIAM GOLDENIf there is such a thing as a "NewAmerican Typography'; surely itspeaks with a foreign accent. Andit probably talks too much. Muchof what it says is obvious non-sense. A good deal of it is so pom-pous that it sounds like nonsense,though if you listen very carefullyit isn't quite. It is just over-compli-cated. When translated into pre-World W ar II English, it is merelyobvious,

ta0

flop it- , A s o4', # 0 4 $ *

A w f kAiw

Who needs all the faddist here-today-gone-tomorrow display type-faces that saturate the typographicscene and seem to multiply fasterthan rabbits when there is such acomplete dearth of good, practicalfaces.. Jor text as well as display.(13) C R - O P T I C A LC H A R A C T E RRECOGNITIONThe latest information about thisnew frontier of typographic tech-nology that promises to be the nextmajor revolution in typographiccopy preparation.T Y P O G R A P H YAND THE NEWT E C H N O L O G I E S

AARON BURNSA continuing retrospective by oneof the major figures in the field.

(18 )W H A T ' S H A P P E N E DT O T H E D I N G B A T ?

Once upon a time you could spe-cify from your typographer any-thing from an aardvark to a zebra.Where are all those type cuts,those juicy typographic morsels ofthe olden days?

(19)T H E L O S T A R T O FC A L L I G R A P H Y

Time and Technology have causedthe virtual disappearance of one ofthe world's most beautiful artforms.

( 20 )ANIMATEDT Y P O G R A P H Y F O RN AND F ILMS

Some of the most exciting typo-graphics appear on your TV tubeand motion picture screens. Theadded dimensionality of move-ment offers the designer a veritableplayground for typographic experi-mentation.

( 2 1 )MILE-A-MINUTET Y P O G R A P H YHERBERT SPENCER

One of the world's foremost auth-orities on modem typography withsome interesting highlights onspeed and facility in the newtechnology.

( 2 2 )T R A D I T I O NI N T Y P O G R A P H YHERBERT SPENCER

More illumination by the formerdesigner and editor of Typographica:an incisive appreciation of theessence of tradition,

( 23 )S T U D E N TE X P E R I M E N T S I NP H O T O T Y P O G R A P H Y

The new photographic technolo-gies in typesetting give the designerbroader scope to play around withletterforms. Included in this articleare some exciting graphic examplesof typographic experimentationby students at the School of VisualArts under the direction of RogerFerriter.

(27) H E A R T O F T Y P ER E P R O D U C T I O NEDWARD RONDTHALEThe C hairman of Photo-Letteringtells how to prepare typefaces forreproduction.(2 8)TYPAHGRRPHY-G O O D AN D BADU S A G E O FSome hard-hitting comments byHerb Lubalin on how ITC facesshould and should not be used,with emphasis on Avant Gardeand Serif Gothic two faces thatseem to offer designers the great-est opportunity for abuse. This is ano-holds-barred expos by thedesigner of these faces, who isslowly becoming convinced thathe should have stood in bed.

(29)T Y P O G R A P H YW I T H H E A R TLESTER BEALL

The whole person, including hisheart, must be behind the job.Superficial effects, fads, gimmicks,naive use of fancy lettering, therobbing of our cultural heritagebe it Byzantine or Victorianmerely to achieve a shock effect,have evolved embarrassing typo-graphical monstrosities par-ticularly in display typography.

(30) N E W S P A P E RT Y P O G R A P H YA worldwide analysis of new lay-out presentations and formats,made possible by the new tech-nologies in typesetting and thegraphic arts.

(31)CANADIANINNOVATIONS INGRAPHIC FORMSCARL DAIR

Reprinted from Format (1964),published by the Society of Typo-graphic Designers of Canada.

(32 )THE C ALIFORNIAJOB CASE ISD E A D

Long live the California job case.Metal type is slowly disappearing,and with it, the job case, for allpractical purposes. It is, however,now a big thing in well decor.

( 12 ) Y P O G R A P H I CP R O L I F E R A T I O N

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AMERICA NEEDS ANEW DESIGNM A N U A L F O RT Y P O G R A P H E R SALVIN EISENMAN

HICH IS WHICH:LOGOS ANDT R A D E M A R K S

ain semantic misconcep-Sometimes a logo

21

O C O M O T I V EL E T T E R I N GPATRICIA DAVEY

I T A : I N I T I A LT E A C H I N GA L P H A B E TSIR JAMES PITMAN

A T Y P O G R A P H I CR E V I E W

, sales promotion and

C O M P E T I T I O N :" A M E R I C A NT Y P E W R I T E R W H A T W I L L Y O UD O W I T H IT ? "

erican Typewriter)T Y P O G R A P H YT O D A YM A X B I L L

ination by the world-s Swiss architect and

M U S T L IN E - L E N G T HBE UNIFORM?WILLEM SANDBERG

-

(41)C O V E R A G E :L E T R E S E TW INNERS

The 2 5 winning entries of theLetreset International TypefaceDesign Competition with briefcomments by judges Colin Forbes,Derek Birdsall, Arman Hoffman,Roger Escoffon, Marcello Minalliand Herb Lubalin.

(42)C O M P U T E RA N I M A T I O N

Dolphin Productions explains theuse of the computer in creatingexciting typographic visual imagesfor television.

(43)I S T H E R E AN E W S T Y L E O FT Y P O G R A P H Y ?HERBERT SIMON

All new ideas and notions naturallycreate protagonists for this style orthat. Principles are proclaimed andthere is a tendency to deride any-thing that may be labeled old-fashioned. But, we must ask, arethere in fact new principles? Isthere a new style of typography?)HOW MANY NEWT Y P E F A C E S W O U L DBE DESIGNED

I F T H E T -S Q U A R E ,T R I A N G L E ,AND COMPASSB E C A M E O B S O L E T E ?

Let's go back to the good old dayswhen typefaces were drawn bycraftsmen, by hand, without the aidof all the mechanical devices nowavailable to make the type de-signers life easier, less creative,and more boring. With this forstarters, designer Herb Lubalinelaborates.

(45)M O D E R N T Y P O G -R A P H Y I N T H EM O D E R N W O R L D

Do you use lower case letters be-cause they look modern? Do youuse sanserif faces becauSe theylookup-to-date'?' Paul Rand asksthese and many other thought-provoking questions having to dowith a better understanding andtruer appreciation of the meaningof being modern.

(46)HOW TO MAKE ADSL O O K D I FF E R E N TW I T H O U T D R I V I N GT H E C O P Y W R I T E ROUT OF HIS MIND

The same graphic means are avail-able to all advertising art directors.The same typefaces, the samephotographers, and the sameillustrators. The results have beena sameness of advertising graphics.The answer to this problem lies ina back-to-the-forties movementwhere the art director will onceagain become a designer and thecopywriter will once again becomea happy man.

(47)T H E N E WT Y P O G R A P H Y ' SE X P A N D I N GF U T U R ELADISLAV SUTNAR

A pioneer in modem design offersa clear and concise understandingof the problems facing the graphicdesigner today.

(48)D O W E H A V ESOURCESOF INSPIRATION?BRAD THOMPSON

Reprinted from "TypographyUSA" (Seminar 1959), sponsoredby the Type Directors Club of NewYork

(49)T R A D I T I O N :A JAPANESED I L E M M AK A M E K U R A

A leading Japanese designer dis-cusses the problem of how thevery simplicity of traditional Japan-ese Arts how their very ancient-ness renders them inappropriateto some of the requirements oftoday's living. And how in searchfor visual comm unication effective-ness, Japanese designers turn toWestern design approaches,which better fit the demands ofmodern industry.

(50)A R E V I E W O F T H ED E V E L O P M E N T O FT Y P O G R A P H I CD E S I G N T H R O U G H -O U T T H E W O R L D

A few of the areas covered in theyears spanning 1900 to 1973:Early Poster Typographic Art(Germany, France); The DeStijhlMovement (Netherlands); TheItalian Futurist Movement; TheRussian Constructionist Movement;The Bauhaus (Germany); De NeueTypografie...Jan Tschichold(Germany); Early Modern AmericanTypography.(5A1RNE AWI EO N AV ES T yP IEN G11 ALVIN EISENMANReprinted from "TypographyUSA" (Seminar 1959) sponsoredby the Type Directors Club ofNew York.

(52)HUMANISMI N T O D A Y ' ST Y P O G R A P H YALDO NOVARESE

Reprinted from Format (1964)

(53)T Y P O G R A P H I CSHOWCASE

A regular section of "U& Ic",.whichwill present new work of interest-ing typographic design. Designerseverywhere are invited to submitfor consideration for inclusion in"U&Ic' Among the typographicsubjects: architectural graphics;package design; trademarks andlogos; corporate design; reports;advertising design; promotion;poster design; editorial design;books; book jackets; record albumcovers; film and TV.

(54)T Y P O G R A P H I CP I O N E E R S

A visual presentation of the signifi-cant work of designers who havepioneered in modern typographicdesign in the 20th C enturyaccompanied by commentariesfrom the artists themselves as wellas short listings of their careersincluding present work. A regularfeature.

(55)T H E P R I N T E D P A G EHERBERT SPENCERLiteracy is ceasing to be a privilege.A vast new audience for the visualword is emerging. The renownedinternational expert discusses whatis when properly employed ahighly-efficient vehicle of communi-cation.(56) I NK E Y S T R O K E S : A

T A L E O F T W OT E C H N O L O G I E SFRANK ROMANO

Two new technologies make itpossible to capture keystrokesto turn a typed manuscript directlyinto typesetting input, with nofurther keyboarding necessary. ThePresident of Graphic Arts MarketingAssociates writes about the remark-able innovations of word process-ing and optical character recognition(57) T H E R E A L L E A D E R SWILLEM SANDBERG"Chidren when young start scribb-ling: registrate movement withpencil often without looking..."The beginning of an unusualpiece of blank verse by the Dutchmaster. Reprinted from Vision 65,the inaugural congress of the Inter-national Center for the C ommuni-cation Arts and S ciences.

(58)T H E Y O U T HE X P L O S I O N I NT Y P O G R A P H Y

A look at some up-and-comingyoung graphic designers in variousschools throughout the world.

(59)H I G H P O T E N T I A LTRENDS INCOMMUNICATIONBUCKMINSTERFULLER

The famed inventor-engineer-educator thinks out loud on presenttechnical devices and new oneswhich may develop to facilitatecommunication.

(60)MANKIND MAY NOTM A K E I T TH R O U G HROBERT OSBORN

'Mankind thinks he'll make itthrough. Regardless of what hedoes, or does not do, he happilyassumes he will survive. But thehard facts gainsay his hopefulvagaries" The social commentatorand painter examines this provoca-tive theme.

(61)AMERICAN ADSVS. EUROPEANADS

Exploring the lack of commonground in visual communicationdue to socio-economic, traditional,and cultural differences.

(62)W H A T ' S N E WIN NEON?

A compilation of some outstandingexamples of neon signage with ashort blurb on how you can designyour own personalized sign and getit made cheap.

(63)THE CUBITT U R N E D I T D O W N !

Each issue, U&Ic will feature aheretofore unseen, unprinted, "still-born" graphic idea that was re-vered by the artist and rejected bythe client.

(64)F R O M T H E L A B S(WHAT'S COMING,WHAT'S NEEDED)

Another regular column featuringthe latest scientific developmentsand technologies in the field ofthe graphic arts.

(65)L O G O T Y P E S A R EBIG BUSINESS

Outstanding typographic logos,trademarks, and symbols aroundthe world which