U&lc Vol.1-2
U&lc Vol.1-2
U&lc Vol.1-2
0[]
e Story of "0"
w do you make something out of nothing? Designer
rb Lubalin does just thatand often. In this issue, he
nonstrates a variety of his own designs that include
very first "0" he ever created.
HER
A GRA-
By Nicolete Gray
The Interdependence of
Technique and
Typography
oundSpel"
Rondthaler writes of a computerized system of
habet simplification which transliterates our present
guage into a phonetic rendering that makes pose reading without further training for the literate,
minimal training for the illiterate.
By Max Caflisch
WEIL
PAGE 15
YOUNG MEN
REPUBLI
t
PAGE 16
Technical
Training for
Technicians and
Typographers
By Adrian Frutiger
&
Type in Our
Environment
By Armin Hofmann
Education and
Training in
Letterforms
By Wim Cromwell
Lettering
and Society
A Proposition
for Education
in Letterforms
4),Handwriting
BYJUDITH ver6.1
e Faith of Graffiti
the past few years, anyone living in New York City
been bombarded with the youth-cult-inspired phenenon of graffitithat unique "art form" screaming
augh space on a unilinear subway line. A couple of
erprising fellows have combined sophisticated de1 and photography with the naievete of graffiti art
s a text by Norman Mailer.
udent Typographics
:ording to Herb Lubalin: "The best 0 through 9
ever seen:'
1974
This Issue
itorial and TIC Look Alikes
editorial by Aaron Burns on the continuing plight
le typeface designer, whose unprotected work
ill copied and sold against his will and without
permission.
e ABC's of Illustration
lc invited 26 famed illustrators to take a letter from
) Z and see what they would do with it. Result? Look
de and feast your eyes on some highly creative
(king put into alphabetic action.
Two
The Rules
of the Game
By FHK Henrion
PAGE 20
Editorial:
As easily surmised from the first
issue, LT&lc is a vehicle for presenting
ITC's newest typefaces "at work."
Some ITC typefaces are introduced
for the first time; others are repeated
in different sizes and layouts. It is
our hope that specifiers and users of
typography will thus have an opportunity to see how these new designs
look in a greater variety of formats
than a type specimen booklet permits.
I IC typefaces are becoming more
and more popular throughout the
world. Their popularity is due both to
the artistry of the type-designers
who created these faces and to their
acceptance by the world typographic
arts community.
The typographic community, how.- ever, needs to be reminded of the
continuing plight of the typeface
designer, whose unprotected work
is still copied and sold 7against
his will and without hi; permission.
The World Treaty on Intellectual
Properties, held in JUI3,e 1973
in Vienna, has brought us one step
closer to the end of this practice
of unauthorized copying and its long
overdue demise.
But until the time when international copyright protection of typeface
designs is enacted into law, organizations such as ITC together with the
manufacturers on this page, who
constitute ITC Subscribers, provide
fair compensation to ITC designers
for their creative efforts.
ITC lists these manufacturers in order
to state publicly that theyand only
theyare licensed to manufacture
and offer ITC typefaces for sale. The
ITC license mark on their products is
your guarantee that-the designer's
work is honored and paid forand
that your purchase of these "licensed"
products is your assurance that the
designer will receive his royalties.
Check your supplier to see that he
is purchasing ITC typefaces from one
of these Subscribers.
The Editors
THIS EDITORIAL WAS SET IN TIFFANY
LICENSED
ADDRESSOGRAPH MULTIGRAPH
CORPORATION / VARITYPER
DIVISION
PI IOTOTITESETI LRS AND
PI IOTOLETTERING SYSTEMS
ALPHATYPE CORPORATION
ALPI IATYPE PHOTOTYPESETTING
SYSTEMS
AMERICAN TYPE FOUNDERS CO., INC.
TYPE DIVISION
,
ARTYPE, INC.
DRY TRANSFER LETTERS
H. BERTHOLD AG
DIATYPE, DIATRONIC, STAROMAT,
STARSETTOGRAPI I, SUPERSTAR
DR. BOGER PHOTOSATZ GMBH
COPYTYPE
CELLO TAI( MFG., INC.
DRY TRANSFER LETTERS
CHARTPAK
DRY TRANSFER LETTERS
COMPUGRAPHIC CORPORATION
PI IOTO TEXT AND DISPLAY
COMPOSITION SYSTEMS
DEANS GEOGRAPHICS LTD.
DRY TRANSFER LETTERS
DYMO BELGIUM N.V.
VISUAL SYSTEMS DIVISION
FACSIMILE FONTS
FILM BANDS FOR, STAROMAT,
STARSETTOGRAPH, 2" FILM FONTS
FILMOTYPE
FILM FONTS
HARRIS CORPORATION
HARRIS COMPOSITION SYSTEMS
DIVISION
FOTOTRONIC TXT, FOTOTRONIC 1200,
FOTOTRONIC 600
LETRASET INTERNATIONAL LTD.
DRY TRANSFER LETTERS
MECANORMA
DRY TRANSFER LETTERS
MERGENTHALER LINOTYPE COMPANY
LINOFILM, LINOTRON, VIP
MGD GRAPHIC SYSTEMS
ROCKWELL INTERNATIONAL
INFORMATION PRODUCTS DIVISION
SM COMPANY-MAGNETIC
AUDIO/VIDEO PRODUCTS DIVISION
3M BRAND PROMAT LETTER
COMPOSITOR
PHOTON, INC.
PACESE 1ER, ECONOSE11ER
PHOTODIVISION OF CALIFORNIA INC.
SPECTRASE I LER 1200T"
VISUAL DISPLAY SETTER AND
2" FILM FONTS
PRESSURE GRAPHICS.INC.
DRY TRANSFER LETTERS
PROTYPE, INC.
DISPLAY PHOTOTYPESETTING
SYSTEMS AND FILM FONTS
STAR GRAPHIC SYSTEMS, INC.
PHOTOTITESETTLNG MACHINES
AND FILM STRIPS
D. STEMPEL AG
TYPE DIVISION
TACTYPE INC.
DRY TRANSFER LETTERS
TECHNOGRAPHICS / FILM FONTS
FILM FONTS AND STUDIO FILM KITS
VISI.GRAPHICS
DRY TRANSFER LETTERS
VISUAL GRAPHICS CORPORATION
MANUFACTURER OF PHOTO TYPOSITOR 6
ANDORIGLTYPSFMONT
ZIPATONE INC.
(FORMERLY PARA-TONG INC. ),.
DRY TRANSFER LEVI tRS
LICENSED
\I EWITEXT"'
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^ERI FGIC
erif Gothic is an original typeface
9ned by Herb Lubalin and Antonio
igna for International Typeface
poration. Originally designed in
two weights, Regular and Bold,
success of these first two weights
fired the creation of four additional
hts, Light, Extra Bold, Heavy, and
k. All six weights are available
as text and display typefaces
photographic composition as well
>r use as dry transfer letters. The
tanding features of the ITC Serif
)ic series ore their uniquely deed serifs which combine gothic
)licity together with traditional
an elegance.
BCDEFGHIJKLMNOPQRSTUVWXYZCE0E12345678090&
DbcdeeffgNkl.qmnopqrssi- tuvwxyzo2cea213?fM6/ABCDE
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THANKS!
Gentlemen,
Last week I glimpsed at an issue of
"UGIc:' Bravo!
Would it be possible to mail me a copy
and to include my name on your mailing
list for any future mailings that you plan?
A publication of this sort has long been
awaited in the art field and I'm sure it will
prove invaluable to me in my duties as
Art Director.
Thank you for your consideration,
Al Camasto
Arizona State University
Dear Mr. Lubalin:
That's an enjoyable and even informative first issue you have produced, with
a satisfactory helping of meat (such as
Burns' pertinent comments on piracy) and
some flavorful sauce (the graphics).
Ernie Smith's humor slid off into cuteness once or twice, and an extra point of
leading might have "uncrowded' a number
of paragraphs, but that's the only area of
quibbling I believe could be found with the
project. You've started a "trade" journal
that should be interestingand attractive
to many folks outside the world'of
typesetting.
I'd like to see more of U&Ic. Would you
let me know what subscription arrangements you're making?
Thank you... and best wishes for the
newborn publication!
Sincerely,
Robert A. Wilson, Jr.
Audience
Dear Mr. Lubalin:
I've just had a chance to take a good
look at the first issue of U&Ic, and I was
very pleased by what I saw. The fact that
you've all put a great deal of work into the
publication is obvious, and I wish you all
the success possible.
Sincerely,
Charlie Downs
Art Director
Public Relation/Advertising
Kaiser Aetna
Dear Aaron, Ed, Herb:
Just a note to say what a wonderful job
all you people did on the "U&Ic"!
It is absolutely beautiful in content,
thought, and design.
I wish you and the publication every
success. It fills a design and communication void long overdue in our field.
Pleasekeep it up!
Sincerely,
Bob Greenwell
NBC
Dear International Typeface Corporation,
The faculty members at New York City
Community College were very impressed
with the first publication of "UG-Ic:' We were
glad to learn from a telephone conversation that it would be possible to receive
several copies for the large typographical
design classes at the college.
There are close to twenty faculty members in our art and advertising design
department and I am enclosing only those
faculty members who teach typography
and have expressed an interest in the
paper.
Thank you very much, "U&Ic" will reach
hundreds of students.
Tom Chibbaro
Sid Sasson
Bob Holden
Bill Sealy
Anne Namm
Adjunct Lecturer
New York City Community College
LETTERS WERE SET IN KORINNA WITH BOLD
contribution to society.
One day, in Kyoto, Japan, I
was addressing 1,500 students.
At the end of my speech I was asked
to what I attributed my success.
I replied," To the'0'."
I noticed a lack of enthusiasm
for this response which was prompted by a lack of understanding I felt
obliged to explain.
This explanation, which was
recorded in Japanese and translated
To encase in plastic.
Forever.
And with these Kudos fame.
Headlines,
travel,
speeches,
friends,
worshippers,
idolatry.
You are a hero.
Your name is in lights.
You have attained the ultimate success...
You are now eligible to become a member of
that great AD Club in the sky.
And achieve Immortality.
For a while.
BY HERB LUBALIN
1.272.ox.rntire eme,
In wooing a woman or a customer na single technique
has yet been invented that, to our knowledge, is infallible.
And yet the advertising business seems to develop periodic passions for a single font of wisdom. Unfortunately.
when all products are dressed alike in a single advertis- ges adckessed alike to allcust ono
ing style and their messa
fro their individual motto of me-me-nn become indistinguishable in the chorus of rne-toos. We don't believe in
this kind of typewasting.To us. the heart of ad is a
simple. vital, selling idea. To convey it. our illustration
he art. photographytype: our
s. DAT or
bard.our copy long or short. It takes all types. Call SHUL
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& RIDDLES ABOUT
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12
SOUND SPEL
Hundreds of years ago English was written phonetically, until the early printers
muddled it up, the kings okayed the muddle, the writers accepted it, and the rest of
us have struggled along knowing that
something was wrong with our spelling,
but not knowing how to straighten it out.
Soundspel may remind you of your
childhood spelling, but don't be fooled
it's no "kid-scribbling". On the contrary, it
brings together the best ideas that generations of scholars have had for the simplification of our writing. Soundspel is for
children, for adults, for foreigners learning
English, for everybody. It has a few simple
rules, but even without them you can read
it pretty well at first sight. No twisted spellings, no unused silent letters. Soundspel
is, above all, honest: each word is pronounced exactly as it's written.
Italian, Spanish, German, Dutch, Hungarian, Finnish, Russian and most other
western languages match letters to spoken
sounds. We can do it in English too:
Th wether man predicts sum cloudynes todae but th probability ov raen iz
all TV commercials, the magazines delivered to your door, and most of your third
class mail are in soundspel too. Billboards
and road signs, when replaced, will be in
soundspel; also labels, directions, and
other public reading matter. Suppose this
began tomorrow. It would be a jolt. But
how big a jolt would it really be?
In the soundspel paragraphs here you
may have encountered a dozen words that
stumped you briefly. Next time you meet
them they'll be as easy as the other 500
words you read without difficulty. Your
personal and business letters, memos and
reports will not be affected. You'll keep on
writing them in oldspell as usual. You
might compare a switch to soundspel with
the jolt you'd have tomorrow if many of
your friends began talking with a strong
British accent. It would, by jove, be jolly
annoying and a bit sticky at first, but you'd
catch on in a jiffy.
A quick switch to soundspel would slow
down your speed-reading for a while, but
you'd know that those few weeks of inconvenience were laying the foundation
for a more literate and, hopefully, a more
trouble-free Americaand certainly a
more communicative world. English is the
world's best hope for an international
language. Except for China, 30% of the
world's literate population already has a
working knowledge of English. And we're
told that English has replaced Russian as
the second language in Chinese schools.
Its major international drawback is the way
we spell it. By haphazardlyrather than
systematicallymaking our 26 letters represent the 42 sounds of English, we have
created a Frankenstein of 600 exceptions
to the rule of "one letter for one sound'
Spelling failure is high on the drop-out list.
Our children use more than a year of their
early education trying to memorize these
600 exceptionsexceptions that give an
unnatural spelling to almost two-thirds of
our words! By contrast, children in Italy
and Spain learn to write their language
without even the aid of a spelling book.
Ten years ago the dream of simplification defied fulfillment. But not today. Ten
years ago we would have faced the impossible task of changing the writing habits of
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The Typographic Committee for Spelling Simplification, sponsored jointly by Photo-Lettering Inc.
and the International Typeface Corporation, has
supplied the material for this article and acknowledges its debt to earlier writers on the subject.
Much benefit has been derived from their work.
The findings of this committee are offered as a
public service. Inquiries may be addressed to:
Edward Rondthaler, Photo-Lettering Inc.,
216 East Forty-fifth Street, New York City 10017.
PREVIEW:
This invoice was
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17
es as Ernest Hemingway Scott Fitz'd, Willa Cather, Paul Gallico, and H.L
:kenall in one issuealong with
r illustrations by such prominent arts Norman Rockwell, John Falter,
Leyendecker, and Robert Charles
e. And the editorial concept and foriesign were so distinctive that even
dvertising took its place as an inted part of the physical appearance, ening the overall graphic quality rather
distracting from it.
vas, in short, a wonderful magazineuch a part of the American scene as
roverbial hot dog and apple pie.
latever happened to us that there is
milar market today for writers and il!tors of comparable ability?
!II, TV, Life, and Look for one thing.
THE LITLISILIT ...NINO POST
e
Senator's MightDs
17:4
EATLET =tag
16
SPARKLETS
Syphon Bottle, a Capsule of Gas, and you
can instantlycarbonate
any beverage at home, milk,
cold tea, cider, lemonade, etc.,
at a cost of only 4c. a quart.
WHEATLET
SPECIAL
OFFER
No .3 $500
R
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*am
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THIS ARTICLE WAS SET IN SOUVENIR LIGHT ITALIC WITH BOLD ITALIC
1VHOIN312.1VW
18
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"AMPERSANIX'THE
SIGN & IS CALLED
THE AMPERSAND,
FROMTHE PHRASE
"AND PER SE AND"
OR"&"BY ITSELF
MEANS"AND:'THE
CHARACTER IS BELIEVED TO HAVE
ORIGINATEDAS AN
ABBREVIATION
OF THE LATIN Er
MEANING "AND:'
PRONUNCIATION?
AM-PER-SAND.
"CHAUVINISM"
Everybody knows the phrase
"male chauvinist pig:' But there
are few who know the derivation.
Nicolas Chauvin was a gallant
soldier of Napoleon I, wounded
in battle and everlastingly devoted to his peerless leader. By his
own standards, he was one of
the few true patriots remaining
in France after his hero's exile,
and he was not shy about express
ing his continuing high regard
for Napoleon. It is ironic that
his excessive zeal in behalf of a
cause most of his countrymen
thought well lost resulted in his
becoming an object of ridicule.
Perhaps, though, Nicolas
Chauvin has the last laugh for,
though all those who mocked
him are long-forgotten, his
name remains in the language
of us all the word chauvinism
being coined to describe his
fanaticism. And it remains ever
popular today as the one best
word to indicate militant, boastful, and wholly unreasoning devotion to one's country, one's
race, or one's gender.
"AVANT-GARDE"
MARRIAGE
MMIRIAGE
THE END
HERB LUBALIN
19
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DOG'
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-mwommrs. -,itobtk,sa. p _``it
Rig
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he opposite of egghead.
The first recorded appearance in print of the term hot dog was
in 1903. The late Henry Mencken as would be expected by
anyone familiar with his massive and enormously entertaining
tome,"The American Language did some very thorough research on the origins of hot dog.
His findings:
Although sausages in rolls have been sold in this country
for many years, the very first person to heat the roll and add
mustard and relish was the famous Harry Stevens, concessionaire at the Polo Grounds and Yankee Stadium.
And the coiner of the name hot dog? None other than
the late T. A. Dorgan who, signing his work "Tad',' was without
doubt the best-known sports cartoonist of the era.
FEATURETTES WERE SET IN. AVANT GARDE EXTRA LIGHT. AVANT GARDE
PICA
AN ABNORMAL CRAVING FOR
CERTAIN UNNATURAL FOODS,
AS PICKLES AND ICE CREAM,
SOMETIMES OCCURRING IN
PREGNANCY, HYSTERIA, AND
CHLOROSIS.
SERIF
20
Man
on the Moon
July20,21
1056:20
72069
EDT
The first critical moment of the day in space was coming up. Collins
was alone in the Command Module; and Armstrong and Aldrin were in
the Lunar Module preparing for the undocking, the next step toward
the moon landing.
The separation would take place seconds after the spacecraft
came around the near side of the moon. Collins would fire the service
propulsion system engine to pull away from the Lunar Module, and
Armstrong and Aldrin would be on their own.
Columbia: I think you've got a fine looking fly ing machine there,
Eagle, despite the fart you're upside down.
21
ATYPI
COPE*
HAGEN
general. Regular patterns, in the widest Rhythmic scribbling exercises could serve
sense, allow the greatest freedom of forms to uncover natural basic patterns. The most
and shapes, and at the same time bring a important element in this pattern is the
specific point of view which goes like a red angle or the different angles of movements;
line through eery form that results from other elements are widths and heights
this way of conceiving design. Let crys- which can only be defined at a later stage.
tallography serve as an excellent example in Having defined the principal pattern eleNature!..."
ments of each individual child, the actual
teaching ofwriting can begin. . ."
New rules for new methods...
A Proposition for
Education
in Letterforms
and Handwriting
By Wim Crouwel
im Crouwel
sees letterforms as a means to personal
expression. Excerpts from his
observations follow...
... When talking about 'education in letter)rms,' we cannot separate this activity
-om other activities in the field of creative
ducation. In my view, education in letterirms means helping a human being to find
personal form of expression through letn-forms. It dOenot mean learning how to
opy existing types... we have discovered
ow nonsensical it is to follow any of the
umerous 'how-to-do-it' systems."
.. the same critical point has been reached
most other fields of education. It is no
mger possible to talk about 'beauty' or
igliness,' or about 'good taste' or 'bad taste'
1 absolute terms. 'Aesthetic' has become a
:rm which can be interpreted in many dif'sent ways. Any shape for a utility-object is
3 good as any other shape, as long as it
,rues a certain purpose; as long as it is ecoomically satisfactory in handling So any
:tterform is as good as any other letterform
iday, provided it serves a certain aim . . ."
.
designed with this in mind. All this public lettering is thus a factor in social life in quite a
different sense from ordinary reading and
writing and it is a new factor. It has become
part of the environment and its problems. It
is lettering for these new and various uses,
as opposed to the design of text typefaces
for books and newspapers upon which I
propose to concentrate here...The characters
which we write or which we read in
"... The complete regular pattern can be
used right away without the fear of disturb- books are normally small black marks on
white paper. Those which we see dising the natural free movement because this
played in advertisements, in shops, on the
pattern is itself a record of free muscle
streets,
on the screen are made up of all
reflexes. For these earliest writing exercises, we should not teach basic symbols of sorts of sizes, mostly large, or very large; in
the alphabet in a specific traditional form, all sorts of materials, plastic, metal,
ceramic, fibreglass, etc., as well as paper;
but only basic form-characteristics. These
produced by many different sorts of probasic form-characteristics should be shown
cesses; and in many cases, with the added
in such a way that the child can interpret
dimensions of color, artificial illumination
them in its own way. A moving picture
could serve this purpose, or a series of and movement.... public and display lettering everywhere leaves much to be
slides could show the symbol in different
desired...one of the things to be done is to
existing forms. The idea is not to show a
educate public authorities as well as those
specific "a," etc.. .."
who commission, and those who read, so
Wim Crouwel is head of the Total Design
that
they can discriminate between good
Studio in Amsterdam.
and bad lettering. We need to show them
what good lettering is like, and the ways in
which it can enrich instead of defacing our
surroundings."
How do you think about letters?...
Lettering and Society
"...We have all been shown what good lettering is like. We have only to look at the
By Nicolete Gray
best Roman inscriptions to see the most
beautiful possible letterforms.... Everything
depends on how you think about letters. If
you think of them conceptually, as signs
which are individualisations of an idea in
the mind, which are beautiful in so far as
this idea is clear and correct, and its realisation is skilled, then perhaps we need only
to maintain this revival. This is a classical
way of thinking, and it undoubtedly produced very beautiful and sensitive classical lettering on classical buildings. But we
ettering
no longer build in the classical style, and
can and should be infinitely
diverse
one has only to look at the Roman letters
This was the theme of Nicolete Gray's pre- produced in the forms of perspex boxes
now to be seen in many streets, to realise
sentation. Mrs. Gray focused on letterforms
that Romans are not readily adaptable to
for display purposes. The thread of her
all uses and materials. The classical idea
comments weaves through the following
that
each letter has one perfect form is one
excerpts of her text...
which was tied at the Renaissance to the
"...lettering is a means of communication
stone-cut...monumental letter of the
and as such performs a vital social func- Romans. Perhaps if we detach it from this
tion. But...reading is a very private affair arbitrary connection it will still work today. It
and the written word implies lack of con- can surely be more logically applied to a
tact...This written product is received by an
sanserif letter based on objective geometindividual, and the criterion of the success
rical principles. The result is just one sort of
and value of any lettering is, in the final
letter applied to all purposes. Is this really
resort, its impact upon individuals. I pro- what we want? To a certain extent, we
pose therefore, to begin my inquiry on the
have it already and can imagine the result.
side of the reader:"
Surely it would not only become very
monotonous but also unfunctional. Far from
Here Mrs. Gray reflected on the impact of
lettering in the life of different kinds of peo- being more restful, one would be obliged
to read everything, instead of being able
ple in a variety of everyday situations. She
feels that "... For most people lettering is not to recognize the kind of product at a
glance by its lettering style. The idea of a
only omnipresent in everyday life, but takes
a great variety &forms...people are nor- house-style, in itself restful and convenient,
would disappear. In a station, how would
mally involved in two quite different sorts of
directions be differentiated from advertisereading. One is private and voluntary; we
choose whether to make notes or write let- ments? And why should the advertiser be
deprived of this direct way of catching the
ters, whether or not to read a book, what
eyes of indifferent readers? And most relebook and for how long. When we are tired
vant of all to my mind, why should we
of it we close the book and its contents are
deprive ourselves of the possibility of makseen no more. But the other greater part of
our daily reading is involuntary if not actu- ing our environment gayer and more
lively?"
ally against our will. Even book jackets and
record sleeves are displayed in shops, and The letters as a visual sound...
22
ATYP1
COPE*
HAGEN
19Th
"...A monetary consideration of the analogy of the spoken word may be illuminating. In ordinary speech we seldom note
the quality of a voice: we are more interested in whether what is said is audible and
distinct. But we also recognize that words
can be shouted to attract attention, or can
blare at us and become a menace; or they
can be spoken or sung with such art as to
give a whole gamut of entertainment from
the trivial to the sublime. The possibilities of
the art of lettering are parallel. I see letters
as a medium by which the designer transmits not just the meaning which the words
spell out, but also his attitude to those
words. This may be completely impersonal,
as in a directional sign, when it should be
as clear and simple as possible; or the
designer may make his point with a simple
visual transferencefat letters to spell the
word 'fat '. He may wish to evoke various
connotations in advertising scent or cigarettes; or the shape of the letters may be an
opening into a world of fantasy as with the
nineteenth century fairy story illustrators, or
in a different way Saul Steinberg. Lettering
may also be used to convey deep persc ,u1 feeling, as by Rudolph Koch, or to
jive a sense of the sublime import of what is
written, as by medieval artists copying the
Gospels."
"If letters are thought of as a medium, their
physical qualities regain importance. The
whole thingcolor, form, dimensionis
important and integral and they can all
equally be used to fulfill the purpose in
hand..."
Qualityhow to recognize it...
"...If letters are indefinite concepts, which
are a medium for diverse purposes, how
can we expect individuals or committees
to discriminate between good and bad?
And most important of all, how are we to
train art students to master this medium? For
many years.I have been trying to think out
and check the criteria by which lettering
should be judged. There are various definite factors; fitness for purpose, which
includes legibility; fitness for the place and
the material and process in question; competence of execution; judgment in details
of design and spacing; sensitivity in delineation; feeling for individual letter character; originality. The relative importance of
these factors varies with each particular
job.... Sensitizing the student.... Finally we
come to the vital question of the training of
art students in letter-design. To what end
should such a training be adapted? Surely
to meet the requirements of present-clay
society; again the sort of usage I suggested
earlier. For calligraphy in the sense of formal pen writing or illuminating, I see little
place. Lettering as a personal means of
expression is for the specialist; the sort of
course which I envisage might lead to this,
but it should be primarily directed to commercial usesor rather possibilitiesof lettering. it has been my argument that
lettering can and should be infinitely diverse... All Students should know something
about the principles and the history of sanserif and roman letters, and be able to use
them and to discriminate between good
and bad designs, suitable and unsuitable
usage. But beyond this, how are they to
achieve versatility in this medium which is
potentially so rich in scope and opportuniTHIS
Technical Training
for Technicians
and Typographers
3. "As early
as the end of the seventeenth century and particularly in the eighteenth century,
punchcutters began to veer away from existing
forms at much the same speed as calligraphers
made increasing use of pointed pens, and
made sharpness and fine lines into their ideal!'
The Interdependence of
Technique and Typography
By Max Caflisch
he
interdependence of technique and
typography is traced by Max Caflisch
from the medieval scribes through
today's reading machines.
In sum, he notes:
By Adrian Frutiger
the Morse Code, the Telephone and the wireless, the scanning tube and the CRT transistors, lasers, and of course, hot metal composing
machines. He continues this historical review
noting the influence of filmsetting systems,
OCRs, digitally produced alphabets and the
requirement of reading machines. He concludes: "...Radical alterations to the traditional,
basic forms of our alphabet are neither desirable nor possible. Newly invented letters, however ingenious, are not likely to become widely
accepted. Let us remember what Stanley
Morison wrote in his First Principles, 'A type
which is to have anything like a present, let
alone a future, will be neither very"different"
nor very"jolly."The demand that we make
of a typeface is not simplicity but legibility This
legibility along with familiar letterforms, must
be preserved in the future, despite technical
developments that may still arise.'"
"The automation of manufacture for highspeed setting is a task for the future; the creation of legible and aesthetically satisfying
typefaces is the task of the type designer"
he norms,
there's a good reason for them.
That's Adrian Frutiger's position and here ai
some of the things he said to support it...
"...The strength with which memories ai
retained depends upon the strength of of
feelings when they were formed, or upon tt
number of times they are repeated. The lette
of our alphabet are part of the 'images' whic
are most deeply rooted within us ...the:
images of sign form the fundamental e
ments of reading and writing..."
Who 'makes' typography today...
"...A very clear distinction is made took
between two kinds of printed communicatic
The first consists of texts composed in small (
medium sizes of type, produced by fast col
posing machines, in order to transmit kno\
edge, ideas and information. The types use
are increasingly subject to strict rules, whic
result in widespread comprehension of ti
types. The second category comprises fan(
types, whose shapes may assume every ima
inable style, right to the very limits of legibili
without upsetting the reader who is firmly set]
his reading habits. Why is this so? BecauE
fewer words are used, their range of meanin
is limited, and because these textseven wile
they are meant to convey a meaning al
viewed more like an illustration, and are see
rather than read, that is to say they do not ft.
intoplayersu
"...About ten years ago the first so-called elE
tronic letters appeared. Readers were at fir
shocked by their deformed appearance, 1
their illogical and discordant excrescence
Nevertheless their use served to accompliE
an act of liberation so far as traditional forrr
were concerned. The chain was broken; ne
forms of writing appeared, freed from the
ters of tradition, and this act cleared the stac
for creativity; the results can be seen today
periodicals and poSters. It is not easy to judc.
theirqualy.Yon
person in charge of groups of graphic desic
ers making typefaces now has to change h
teaching programme, so as to take inl
account the psychological changes whic
have occurred."
Typography for continuous texts ...
"It is necessary to stress the essential c
ference which exists between text types ar
display types, because in exactly the same wi
there are really two categories of type desk
ers; it is hard for one and the same designer I
work in both fields."
"....One criticism might be made here: tyf
designers do not keep up fast enough with tt
23
fter
appropriate bows to the crucial role
played by moveable type in the
development of our culture, Armin Hofmann
suggests that the alphabetical system
may have outgrown its usefulness.
He compares writing to speech.
In writing one must learn to string
together fragments to make words, phrases,
ideas. This is becoming too
awkward, too slow, too limiting...
"A brief comparison between the written word
and our other traditional means of communication, namely speech, clearly establishes
that the latter is in a better position to cope
with the deterioration of meaning, form and
practice. Due to its more flexible structure, it
can adapt more speedily and is in general able
to react more decisively to the challenges of
our time. Speech is less formal, less determinate, less definite, less tied to technology
than writing; it is not so firmly fixed in time and
is a more highly articulated, efficient means of
expression; it is more discriminating and controllable, it is more easily corrected than the
written word...
"Naturally it is not a question of spoken language serving as a pattern for written language, nor vice versa of written language
serving as a pattern for speech. But if we compare both communication systems, we come
across some interesting factors relating to
quality, speed and differences in perceptual
processes; and we pick up hints about the
direction which future methods of communication might possibly take.
"Moveable letters secured a new freedom of
movement from the time their material forms
ceased to be restricted to wood, metal or synthetics. Far too little importance has been
given to this fact, for otherwise we would have
realised immediately that filmsetting dispenses with those functions which were the
backbone of the original invention: individual
parts are no longer interchanged, nor do they
run only in one direction; they are no longer
restricted to the previous limited range of
sizes, no longer chained to type-carriers, no
longer limited to specific dimensions...
"The written word has moved closer to spoken language, to gesture and can now be
compared more readily with representational
images. Technical developments point to the
possibility of disseminating messages that
are more precise and more colorful.
ypographic
educationfor whom?...
"... Professional groups concerned with education in letterforms as part of vocational training schemes are: poster designers, manufacturers of signboards, graphic designers, advertising agents, typographers, book designers,
engravers, stonemasons, teachers in the fields
of type design, composition,and printing."
"These groups usually develop an interest in
fundamental problems of letterforms while
studying calligraphy and drawing. At present
the emphasis is on classical inscriptions, calligraphy and historical examples of letterforms."
"Instruction in the field of type design is bound
to have a subjective bias, since it is dependent
on the teacher's personality. He chooses the
examples which will provide his students with
their standards of workmanship. Tuition is
backward looking, at best conservative in content, and buoyed up by exercises in calligraphy
and expressive writing. Occasional practice in
alphabet design allows the students to study
the difference between static and dynamic concepts of letterforms
"Today's students do not possess the patience
required to work on page after page of calligraphic exercises. They totally reject the concept of lessons in writing as a form of disciplinary exercise.. ,"
"...By now it should have become quite clear
that education in letterforms is in need of radical reform. We must begin our inquiries into
this subject with the question: How, and for
what purpose? ... The narrow view of education in letterforms as a question simply of
calligraphic exercise must be abandoned...writing is not only the preserve of
experts."
"...To ensure that knowledge imparted to
students is up to date, a short compendium of
the principal works of international importance
in our field would be of value. A committee,
responsible for compiling such a study should
be set up under the auspices of A.TYP.I."
Knowledge and awareness of type and letterforms for other professional groups...
44
A TYP I
MORAL CODE OF THE ASSOCIATION
TYPOGRAPHIQUE INTERNATIONALE
THE ASSOCIATION
TYPOGRAPHIQUE INTERNATIONALE
THIS ARTICLE WAS SET IN AVANT GARDE BOOK WITH BOLD CONDENSED
t6
AU fibCc Dd Ff Gg Hit
Kk LI Mm tin Oo Pp
MIRLISHED BY THE INTHiNAFPNAL TYPEFACE CORPORA] ION, VOLUME ONE. NUMBER TWO. 1974
loving care and con- long way but we've still got a long
siderable financial way to go. Perfection is our ultimate
investment. We feel goal. But accomplishing this is a twothat a graphics jour- way street. We need support, editonal of this caliber is rial and financial. You can be good
indispensable to the for us and we can be good for you.
communication field. The advertising, as may be seen in
Already achieving this issue, has been encouraging. The
the largest circulation interest, extraordinary. But we still
of any publication in need you. And, maybe, you need us.
History has a way of repeating itits field, U&lc is one-of-a-kind reaching buyers, users, and specifiers of print- self in new ways to new generations
ing, typography, plates, film, paper, and new markets. If you see a place
and related products and services. As for yourself in our future, please let
well as blanketing key segments of us know and we'll get you the full inthe mushrooming international youth formation on rates and specifications.
market, it is unique in its coverage of Write Aaron Burns, International
the rapidly growing "in-house" type- Typeface Corporation, 216 East 45th
setting/printing operation and of the Street, New York City 10017. Or; if
broad spectrum of hard-to-find pro- you can't wait and must place an ad
spective buyers of your products immediately, call U&lc collect at
and/or services.
(212) 371-0699.
In just two issues we've come a
THIS ARTICLE WAS SET IN SOUVENIR LIGHT WITH BOLD ITALIC
ii I^ Ii VNY
SOUVENIR
Unit
Price
cgy
Avant Garde Gothic
pant Garde Gothic Cond.
Friz Quadrata
Korinna"
Newtext*
Serif Gothic
Souvenir
Tiffany
ITC Typeface Catalog
SPECIAL-Entire collection
Total
75C
75C
75C
76C
75C
Name
75C
75C
Company
750
$1.50
$6 00
Title
Street Address
Total Order
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ITC TWEEACE COLLECTION
rgE,Nlory,a, typEfACE COPE, 21E EAST 45TH 51
NEW VON NEN PORK 10017
Add Postage
Remittance enclosed
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Since
Helvetica
a surprising number of new (and some old) faces have appeared on Mergenthaler V-I-P
ai. d Linofilm Systems some of them called Helvetica.
Mergenthaler
Avant Garde GothicHerb Lubalin, Tom Carnese; Friz QuadrataErnst Friz /VGC;
Serif GothicHerb Lubalin, Antonio DeSpigna; KorinnaH. Berthold AG; Souvenir, Tiffany,
Avant Garde Gothic CondensedEd Benguiat.
Helvetica Italic
HekoeTtipa 'EXXnviKel
HEAcocrupa 'EAAritaKei Kupra
1-lekoe -ritpa Maiipa 'EanviK6
renBervika PyccKai
lenBermica llonymipHasi PyccKasI
Helvetica Compressed
Helvetica Extra Compressed
Helvetica Ultra Compressed
For a specimen
showing these faces and many more, developed by us, and licensed from others,
the complete 18 unit library as set on V-I-P, contact Typographic Development,
Mergenthaler Linotype Company, PO Box 82, Plainview, New York 11803;
Tele: (516) 694-1300, ext. 213, 214 or 385.
Mergenthaler
Mergenthaler
and from
Mergenthaler
29
Aldus Roman
Aldus Italic
Aster Roman
Aster Italic
Aster Bold Roman
Bembo Roman
Bembo Italic
Bembo Bold Roman
Candida Roman
Candida Italic
Auriga Roman
Auriga Italic
Auriga Bold Roman
Clarendon Light Roman
Clarendon Roman
Clarendon Bold Roman
Cloister Roman
Cloister Italic
Iridium Roman
Iridium Italic
Iridium Bold Roman
Sabon Roman
Sabon Italic
Sabon Bold Roman
Syntax Roman
Syntax Italic
Univers
65 Bold Roman
Janson Roman
Janson Italic
Olympian Roman
Olympian Italic
Pilgrim Roman
Pilgrim Italic
filed .wouraklia,x,ot
30
Name
Position
Company
Address
City
L_
State
Zip
_J
VG150
meeting
phototypesetting
needs
on a
systems
basis
from
simple
to
sophisticated
ADDRESSOGRAPH MULTIGRAPH
VARITYPER DIVISION
alphatype corporation
7500 McCormick Boulevard
Skokie, Illinois 60076/312-675-7210
This ad was composed on the AlphaSette System
33
c. r
34
(47t
9.
rr..nfr, ,;
onlei,-Gc S.";
t. 92ogyl.
rvy,
af otillrack
ligt
torn tra,
aka snar
sam
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35
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PHOTOVISION OF CALIFO A INC SALES & MA TING SUB !DIARY OF LETTERGRAPHICS I RNATIONA INC
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The fact that our names look and sound alike is coincidental. The fact that LSC and ITC share
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UBALIN,NTITH,
223 E313TRET
W TOW Y :10016
(9N 9.2636
43
The Sensitive Photography of Caroline
Kennedy
Hunter S. Thompson: The Counter-Culture's Gonzo Journalist
Down by the RiversideA report on folk
will
CRAZY GINZBILI
Ralph Ginzburg, that brandied fruitcake
of a publisher, is at it again.
First he devilishly exposed the intimate
parts of Fanny Hill and Lady Chatterley to
a blushing America while those erotic classics were still banned.
Then he bought himself a $2-million
lawsuit by daring to question Barry Goldwater's psychological fitness to finger the
nuclear trigger when Goldwater was running for President in 1964.
Next, with his muckraking magazine
Fact, he risked the wrath of the mighty by
attacking Detroit (for building cars that
were uncrashworthy; this was before Ralph
Nader), drug manufacturers (for selling
cyclamates which had been proven to cause
chromosome damage), and the tobacco industry (for attempting to hide the tragic
link between cigarettes and cancer; this was
before the Surgeon-General's report).
Still on the rampage, he brashly waved a
red flag in the face of prudes and bigots by
running a photographic study of a nude
interracial couple in his elegant quarterly
Eros (this bit of lunacy won him numerous
graphic-art awards and 8 months in prison).
In no way "rehabilitated," he turned to
the field of consumerism and set it on its ear
with his hugely successful, greed-gratifying
newsletter Moneysworth, in which he published such bawdy, and useful, articles as "A
Consumer's Guide to Prostitution."
Now at the peak of his madness, Ginzburg is about to come out with the wildest,
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This dynamite weekly tabloid newspaper will completely demolish all preconceptions of what a weekly paper should be.
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Drawing upon the talents of the most
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Pot BustThe discovery by Boston surgeons M.S. Aliapoulis and John Harmon
AVANT-GARDE, 251 WEST 57TH STREET, NEW YORK, NEW YORK 10019
I enclose $5 for a six-month (26 issue) Charter Subscription to Avant-Garde. I
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Application to mail at controlled circulation rates is pending at New York, New York.
INTERNATIONAL
TYPEFACE CORPORATION
216 EAST 45th STREET
NEW YORK, N.Y. 10017