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PUBLISHED BY THE INTERNATIONAL TYPEFACE CORPORATION, VOLUME ONE, NUMBER THREE 1974

'PER AND LOWER CASE, THE INTERNATIONAL JOURNAL OF TYPOGRAPHICS

This Issue:

he First Alphabet
)r eons of time, historians and scholars have
:cepted the Bible of Johann Gutenberg as our first
sample of printing. The editors of U&lc set the
,atter straight by producing, and telling about, our
:tual first use of movable type.
ditorial
he editors restate the purpose and intention

THE FIRST
ALPHABET
PAGE 2

f U&Ic.

he Mecklenburg Declaration
11819, an alleged "first" Declaration of Indepenence appeared in the newspapers, purportedly
iopted in 1775. If genuine, it would have made
homas Jefferson an out-and-out plagiarist. Jack
inke tells this astonishing, true, yet little known
ory of historical plagiarism.
he Wizard of Oz
very art director and typographic designer owes a
leasure of his skills to the influence of this towering
gure of American Typography.

'WHO'S GIITENBERG?"ASKS
ANCIENT MEDITERRANEAN
GRAPHIC DESIGNER

UP0-11

President of the Art Directors Club, Herb Lubalin

reated the concept of a First Communications
Ilitnositon.Her ,her vealsXPO'sraisond'etr ,its
uccesses, its problems, and its future outlook for
ringing together the various disciplines relating to
le graphic arts.
lie Devil's Dictionary

Ambrose Bierce is known as one of America's great

niters. He was also one of our delicious humorists.
Iis "Devil's Dictionary" is a prominent instance of
his, and some choice examples are reproduced here
rom A to Z.

4y Best With Letters

-ielmut Krone, Bradbury Thompson, Mo Lebowitz,

ind Ivan Chermayeff join the growing list of outstanding
lesigners contributing their one "best" as a regular
eature of U&Ie.

Ks.

['he first of a new series of articles devoted to the

nany talented women in communications, the kickoff
)eing devoted to the superior work of Annegret Beier
)f the Paris office of Lubalin, Delpire et Cie, and one

)f Europe's finest graphic designers.

something For Everybody

=eaturettes, aphorisms, cartoons, and you name it.

\nother regular feature of U&lc.

Selling Ice Cubes To An Eskimo

Tlerb Lubalin in high old form, as he takes off on a

)et subject dimensions. With great good humor, he

:races the difficulties he encountered trying to sell
three-dimensional logo to some astute corporate
?xecutive graphic design buyer accompanied by
;ome elegant illustrations of the turndowns, still up
for grabs to the nearest, and smartest, buyer.

Letters To The Editor

Unblushingly, we present random samples from the

virtual flood of mail that continues to pour in from all
parts of the globe.

What's New From ITC

A preview showing of the very newest in ITC typeface

designs: Lubalin Graph and American Typewriter
nowbeigofredthougITCsubcries.

PAGE 22

The question in the subhead may not be as

facetious as it sounds. For in 1908, with
the archaeological discovery in Crete of the
Phaistos Disk, all traditionally-accepted
concepts of the "invention" of printing by
Johann Gutenberg had to be pushed backward in time at least as far as the second
millennium B.C. The actual name of that
first "graphic designer" is, unfortunately,
lost to us. In those days, there seemed to
be no grab for credits: no by-lines have yet
been found by scientists on the clay tablets
of the Babylonians or the Egyptians or the
Etruscans.
Aside from its discovery, a striking feature
of this Cretan finda clay disk with alphabetic or hieroglyphic figures imprinted in
spirals on both sidesis that, for the first
time, the different symbols were imposed
individually on the wet clay. Another way
of saying that the Phaistos Disk was printed using movable type some thousands
of years before the name Gutenberg was
even heard of.
The whole question of just when it was
that the alphabet was invented is an
intriguing one. Although generally attributed to the Phoenicians, this doesn't mean
that man did not write before that time, but
simply that he did not use an actual alphabet to enable him to spell out words using
individual letters instead of picturesas
with the original Egyptian hieroglyphics
and the Chinese ideographs, or with the
cuneiform wedge writing of the Babylonians representing complete syllables. As a
matter of record, spelling by syllables is
still effectively used in modern Japanese
and Korean scripts, but in general it is
cumbersome because of the many addi
tional number of symbols needed, and is
not as effective as the true alphabet.

The initial Phoenician or North Semitic

alphabet from which all other true alphabets are descendedhas been authentically
traced back to Byblos, Lebanon (bible,
bibliography, bibliophile, et al) where it
was in use more than 4000 years ago. And
it is generally held that the earliest phonetic alphabetin which written symbols
stand for sounds rather than for ideas or
objectsappears in inscriptions found in
the vicinity of Mount Sinai, dating from
approximately the fifteenth century B.C.
And it was this early Semitic Alphabet,
adopted by the Greeks, that later gave rise
to the Roman, from which our present
system of writing stems.
It is of especial interest that the Semitic
names of the lettersaleph, beth, gimel,
daleth, and so ongive a clear clue to the
pictograph origin of the phonetic alphabet.
Aleph is the Semitic word for ox, and the
earliest form of our letter A is definitely
a picture of the head of an ox; the same
holds true for beth, Semitic for house;
gimel, Semitic for camel, and all the way
on to the end of the character list.

The Rosetta Stone. A trilingual three foot

diorite slab, found by Napoleon in 1799 near
Rosetta at Giza. Its singular inscription written
in hieroglyphs, demotic Egyptian, and Greek
enabled Champollion to decipher the mysterious language of the ancient Egyptians

Babylonian Clay Tablet. An example of the

cuneiform system of wedge-shaped writing
representing complete symbols, introduced
about the middle of the third millennium B.C.,
and readily adaptable to the Semitic dialects
prevalent in Syria/Palestine.
CONTINUED ON PAGE 18

VOLUME 1. NUMBER 3. 1974

HERB LUBALIN. EDITORIAL & DESIGN DIRECTOR
AARON BURNS. EDITORIAL DIRECTOR
ED RONDTHALER. EDITORIAL DIRECTOR
JACK ANSON FINKE. ASSOCIATE EDITOR
TOM McGLINCHY & JOE SUNDWALL.
ART & PRODUCTION EDITORS
JOHN PRENTKI. BUSINESS AND ADVERTISING MANAGER

"U&LC' COPYRIGHT 1974 AND PUBLISHED BY

INTERNATIONAL TYPEFACE CORPORATION.
216 EAST 45TH STREET, NEW YORK, N.Y. 10017
A JOINTLY OWNED SUBSIDIARY OF
PHOTO-LETTERING, INC. AND LUBALIN. BURNS& CO. INC.
APPLICATION TO MAIL AT CONTROLLED CIRCULATION
RATES 15 PENDING AT NEW YORK. NEW YORK
BOARD OF DIRECTORS,
EDWARD RONDTHALER, CHAIRMAN
AARON BURNS, PRESIDENT
HERB LUBALIN, EXECUTIVE VICE PRESIDENT
JOHN PRENTKI, SECRETARY/TREASURER
BOB FARBER, SENIOR VICE PRESIDENT
ED BENGUIAT, VICE PRESIDENT
STEPHEN KOPEC. VICE PRESIDENT

Editorial:
In the editorial written for our first issue of Ulitle, we
stated that "....The world of graphic arts is alive today with new
technological advances that strain the imagination of even the
most knowledgeable and creatively-gifted among us. How to
keep up? How to stay in touch with what is current? How to plan
for tomorrow?"
We realized then, as we do now, that we cannot
possibly be all things to and for all people, and this was never
our intent. Our intent was, and is, to combine editorial with
advertising contentcreating a natural liaison for the purpose
of educating, informing, entertaining and, hopefully, of inspiring.
But, no matter the wish, it would be impossible, even undesirable, to attempt any in-depth coverage of all and everything
that is happening in the world of visual and graphic art technology today. For instance, are you aware that today there are more
than 196 different kinds of phototypesetting machines; 254 varieties of keyboard input devices; 76 optical character recognition
machines; and 48 video display terminals? Figures that just ten
years ago were not even dreamt about. It's easy to conclude that
it would be out of the question for us to report on all of these
subjects and, even more, would defeat our other, and we believe
more important, contribution: that of "providing a panoramic
window, a showcase for the world of graphic arts, a clearinghouse for the international exchange of ideas and information."
The overwhelming favorable response to our first two
issues from all over the world tells us that we seem to be on the
right track. Thus it is that we feel that the editorial concept and
direction should remain the samea publication primarily of
education and informative content, presented in a visually
entertaining and stimulating manner.
While we cannot, in detail, tell you all that is happening in
the technological and practical day-to-day business world, our
advertisers at the back of each issue can. To those interested,
therefore, we specifically direct your attention to their ads.
They're good ads. Read them. Write to the advertisers. Find out
from the source what they have to say about their products and/
or services. They want to hear from you. They want to know who
and where you are. Tell them you saw their ad in U&lc and want
to know more. They can, and will, tell you their story better than
we can ever do insomuch as they know their particular subject
matter better than we do.
The advertisements we accept and seek will include no ads
from cigarette companies, soft drink companies, or any other
unrelated companies. So they will all be well worth reading
because they pertain specifically to you.
So it is our hope that you will read all of Utile: the entertaining stories, articles, and featurettes, as well as the serious
and informative advertising.
In this way, we believe we can better accomplish what
we set out to do as indicated at the end of our first editorial:
".. . serve as the international journal for all who want to have
their finger on 'what is new,' what is happening,' and 'what to
look for' in the world of typographies"the world of graphic
peoples who have bent their energies resolutely toward the
endless polishing of their respective crafts.
THIS EDITORIAL WAS SET IN TIFFANY

This is a true story of

foremost national
historical plagiarism. heroes. It remains a
It is especially perticlassic example of
nent for two reasons: plagiarism and its
1) U&Ic has long been damaging depredacarrying on the fight
tory effects.
against the typographical plagiarists of
today who take advantage of artists to
further their own
ends. 2) This is the
bi-centennial period
in American History,
and the so-called
Mecklenburg Declaration is an absorbing
yet surprisingly littleknown event that profoundly affected the
lives of two of our

THE
IECI(LENBURG
)EC
ON.
WAS THOMAS
JEFFERSON
PLAGIARIST?

he year
1819, with past presidents
hn Adams and Thomas Jefferretired to Quincy and
mticello, respectively, to live
t their sunset years in deserved
ry. Jefferson, along with
inklin and Washington, was
orld renowned as framer of the
claration of Independence and
htfully basking in an enormous
pularity and reverence.

t this was a time when the

ion wasn't too closely knit and
.tes' rights were the order of
day. Local patriots exploited
al materials, and the first
tional heroes were the by-

products of an intense regional

line, "If this be treason, make
rivalry and provincial patriotthe most of it". Wirt glibly inism: the spiritual cement for a
vented his most famous utterance
united nation still unsure of
for him. "Give me liberty, or give
itself.
me death!", supposedly delivered
by Henry in the House of BurThe first major product was
Patrick Henry. In his home state, gesses on March 23, 1775.
the eloquent Virginian, although
Far from being a trivial claim,
an arch enemy of Jefferson, was
this question of priority served
something of a legend. But his
to infuriate John Adams who
reach for immortality was the
was eager to have the record set
work of a great admirer, another
right in the favor of James Otis
Virginian who was determined to
of Massachusetts. Before the
credit Henry as prime mover beweek
was out, he had torn off a
hind the revolution. Passing
letter
to John Jay, saying that
lightly over Henry's less attrac"the
resistance
to the British systive features (of which there
tem
for
subjugating
the colonies
apparently were many), William
began
as
far
back
as
1760 when
Wirt published his book, "The
James
Otis
electrified
the town
Life and Character of Patrick
of
Boston,
the
province
of MassaHenry" underlining his "hero's"
chusetts
Bay,
and
the
entire
role in bringing about the Declaracountry more than Patrick Henry
tion of Independence, and the
ever managed in the whole course
whole climate leading up to it,
of
his life". In short, it was
practically single-handed. While
James
Otis who, along with
emphasizing Henry's well-known
Thomas Jefferson, had "breathed
into this nation the breath of life",
and the true beginnings of the
revolution were initiated by Otis,
Thacher, Hancock, and Samuel
Adams all of Massachusetts
"before the name of Henry was
even heard beyond the limits of
Virginia".
Then the bombshell dropped.
In May of 1819, the "Mecklenburg
Declaration of Independence"
was boldly printed in all the newspapers of North Carolina. This
was a document purportedly
adopted by a meeting of elected
representatives at Charlotte in
Mecklenburg County, North
Carolina, on March 20, 1775. It
was an unambiguous Declaration
of Independence of Mecklenburg
County from Great Britain
including many phrases which,
by 1819, had become world famous as coming from the hand of
Thomas Jefferson. If genuine, it
not only gave the lie to Wirt's
claim for Patrick Henry by proving the people of North Carolina
to have been a full year ahead of
the Continental Congress and
therefore the authentic pioneers
of independence, but far worse
and more damaging than thatit
would have proved Thomas
Jefferson to have been an
out-and-out plagiarist.
When John Adams as forthright

and honest a man as has ever been

in American politics first saw
this "Mecklenburg Declaration"
("one of the greatest curiosities
and deepest mysteries that ever
occurred to me") in June of 1819,
he was stunned and deeply
troubled. He promptly wrote
Jefferson: "How is it possible
that this paper should have been
concealed from me to this day?
If I had possessed it, I would
have made the hall of Congress
echo and reecho with it fifteen
months before your Declaration
of Independence! What a poor,
ignorant, malicious, shortsighted, crapulous mass is Tom
Paine's 'Common Sense' in comparison with this paper. The
genuine sense of America at that
moment was never so well expressed before or since!" And he
followed this up with a letter to
the Reverend William Bentley,
flatly accusing Jefferson of plagiarism: "Mr. Jefferson," he
wrote, "must have seen it and
in the time of it for there are
striking similarities; he has
copied the spirit, the sense, and
the expression of it verbatim,
into his own Declaration of July 4,
1776..."
Jefferson shot back a heated
reply to Adams that the Mecklenburg document could be nothing more than a hoax and he was
thoroughly dismayed that Adams
would give it any credence.
But Adams was not so easily disabused. Nor was the public: if
something was put into print,
there had to be something behind
it. This, of course, was in a day
when an accused party could
hardly get on national radio or
television publicly to defend himself. And once the North Carolina
patriots had the ball, they had no
intention whatever of letting go.
To the contrary, the Carolina legislature published an official
pamphlet reprinting the Mecklenburg Declaration in its entirety
together with documents "testifying" to its authenticity.
Adams didn't know what to
believe, and Jefferson's great
reputation was about to be permanently sullied in the years of
his senior citizenry Adams
decided there was nothing for it

I N CONGRES S. JULY 4,
fie unaitintoneciatatiou
L

1776.

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but to have a direct confrontation.

The two men met and had it out,
the end result being that Adams
left fully convinced that his old
friend was telling the truth and
that the whole of it was nothing
more than a documentary hoax.
BUL now to prove it?
Insomuch as Adams had been
among the initial ones to make
the accusation, he determined to
clear Jefferson and show him
innocent of the charge. He asked
the same William Wirt who had
championed Patrick Henry (and
who was now Attorney General
under his son, John Quincy
Adams) to look into the matter.
And Wirt, to his everlasting
credit, did a masterful job.

ner of many literary plagiarists

was, in fact, nothing more than
a very clever backdated forgery.
While the document is sometimes used in textbooks as a
classic example (like the Donation of Constantine) of a documentary hoax, many reputable
historians still believe it to be
genuine. Though its authenticity
has been largely discredited
outside North Carolina, the
Mecklenburg Declaration remains
an enacted tradition within the
state. There its date, May 20,

1775, may be seen on the great

seal of the state, and May 20 is a
legal state holiday celebrating
the first Declaration of
Independence!
But, nationally, John Adams did
much to save Jefferson's reputation, clearing him of this damning
charge that came perilously
close to ruining one of our greatest Americans, as well as
seriously undermining the
relationship of these two founding stalwarts. Rumor once
started, however, is hard to put

How he tracked down the printed

documents to their actual
"source" reads like a first-rate
detective story. Suffice it here to
say that his ferreting led to the
Charlotte Historical Society
where he pieced together what
had probably taken place: It
seemed that an overambitious
librarian, eager to enhance his
local reputation, had forged an
"original" document actually
plagiarizing Jefferson in reverse
never dreaming he would create
such a national stir, and apparently burning the evidence when the
pressure got too hot. Armed,
however, with this intelligence
from Wirt, Adams was able to
prove that no original document
existed and that the "Mecklenburg Declaration" however
artfully conceived, after the man-

The "Mecklenburg
Declaration" is one
flagrant example of
the pitfalls intrinsic in
the act of plagiarism.
It happened in 1819.
It is still happening
today. John Adams
was instrumental in
decimating plagiarism
in his time. Today it is
up to us all to help put
an end to such abhorrent and abusive
practice for once and
for all.

down, and it was not until 1825

that Adams was able finally to
refute all the anti-Jefferson
myths and restore Jefferson to
his just position as a truly
national hero.
The two men ended as friends
once again, and it is fitting to
note that shortly thereafter, on
the very same day in 1826, they
both died Jefferson at Monticello, and Adams at Quincy.
And that day was the 4th of July.
JACK ANSON FINKE

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ICHICAGOIRML MARON 1

(Well, forevermore!)

YOU ARE INViTID

-4

CAIrtfr
a rp:.
lion lathe stulliiraeyorme
and nth att.:Nth* thcirimam
non and manufaChire Mom
thaw rad dcar =zebra
fintly cannanal.thr cheapest
rlhnj arcaNndd10h much
Iry profit to Mt alhil than
thou which man yhody nails
cheap CA disposmon
for cheapneu and no/for
excellence
opuorhyncanOip
II 'the
moil.17141:c
9 an
"lcs
"
h:tion yam and many
fad wet
4USION

ME
PR
OF OZ
CHAPTER I
I He that thiicet& him',tkeKoch meelea4 4naself
come. 4 He that hicarvedi aim( ewe kalreeffiest
irk when h pkyeni the Vtarda. 7 He fled bath
the dr ON the music eteirir knottf eomjcandeel
when 1 hie nvervation.

Nr

son,on thy journeys wilt thou

come upon many saying to themselyes,Verily I am not like other men; Ihave
good rage; !am of the eloft.
2. At thine ideas will they say Pooh, Pooh;
and when thou doh admire this or that
will they say Ibor fish that thou art, laughing within the sleeves of their garments.
3 (Into eadi shall thou ligzn,laughing
if it please thee, in thine own sleeve; for
it written that he that would ahvays know

what is what mu wise exceedingly early,

yea, even before carlicg cockcrow.
4 Upon irri neighbor's floorsair tugs limy
aim lathe darkefthe night, even as the day,
he choose between Mosul and Bokhara,betweenTabrit, and Sank, and Saraband; toall of t emh is hell* the de alerexigedi not that pulkth the wool overhiseps.
5 Whereat dolmarvel, and my mouth
openeth withwonder; his wisdom aeonisheth me.
6 Butwhen he findeth joy in The Rosary
their playeth upon theViftmla,then do I
sayunto myself, Flaw, Haw, and at his delight in a jazzband am I forcedto snicker.
7 Another neighbor is there on themusic
thing,yea, even as aduck is he there. The
works of RichaniWagnerdothheknow,aen
as thou know& the work of Hans Wagner;
Brahms, and Debussy, and Tschaikowsky
are to him as are Irving Berlin and Van Mayne to thee.
8 Ethelbert Nevin fretteth him sore., and
they that axnposetheguffsoldatWoolwurth's,
train them cloth he flee as from a plague.
9 But,my son, he bath upon the walls of
his house red paper, and he knoweth not if
there be a difference between Raphael and
Harrison Fisher, or between Millet and
Howard Chandler Christy.
to Of pietures he reckoneth not; he boateth only that he knoweth what he liketh.
Wherefore,when he chideth me that
my foot tappeth in unison with Oh,
ny, Oh,then do I look upon himwith eyes
that see ;iota For he that falleth for that one shewing a St.Bernard rescuing a child from the
waves of thc sea, who is he that he shall
tell me what is music?
13 He that calleth me down, saying,Thy
judgment on such and such is punk, himself addresseth me on pink gationery.
14. And he that... .
Here endeth the
proverbs written by Oz Cooper, and found
Anne Domini 1941 in his famous file.

art har bee

Added oft
dircuvion inthire

German,recognize
do here,the neceoll
a poster being
deigned that ihewly
may read; they alro
itro athactive in cold
one often &forced h
and admire.Thir a
lion wat recently brc
tothir country and
never been /flown t
Itrhould ben en
one interested in pa
either fromthearts
point or the comma

formeya

eaves fro m.

6117

Speci men Book, showingUnivired mieltInivifioAdLetlerDe4

veviatiov azenter .from L seem( Ate eSwyshgm ctPamartorinteri at Rome in L

These eaercises by OSWALD COOPER Bertsch & Coo_pei;VegrOetr, Chia
the
Lamina - in
tie fine
aileehOn iff
ear! ypinteel
book in
the Ncwkrry
Libre,ry
(itdu)
7,0111

Iout kcbabino lout Labriado.Acbabirtufeni 8Z Labnaduf

bolpiteletufatq: achucorefin belt fucrunc. Item tout Lao
Iout&lotiont:Iout Caffico;& que fungi in alcIE mochl:qct the
aftunfitme excogirautc: uc ec fibt bonorE diuttul 8t bofpt/
nbuffutfperpctuum nomE acqutreret al religto ne cOtunehl.
Gaudebac ergo tilt sc butt imperto etuffib enter obrequebaC:
nomtniffui grand ricufannuof :sz fefta cclebrabant. Simile
qutdclam in fict ha feat Enealcum c6dtte urbi Acefle bofpinf
nomen impofutt:ur cam pofttnodum letufac hbenfAccilef di/
hgerec auzerevamarct .Hoc m odo religtonem cuIcuf tut per A

crbemtIupi ac:zexmplurtfadic
deck. Slue igtrur a IVIcliffeo:ficuc Didimuftradic coien doril tire i4

deo*ncuflx

THE PU RP OSEof this trail is to herpeal a yrIfiathek c. &cm:fir

, letter
err s
experimentifir who_forever eta? at the liats,firecer ovemhoot the mark who coubivethe4
we wile ay and will vat want tomorivw.The etamfier hard y/will he mic irakelthrfrie,
des' iff of which reyairer time and bawd old the Jimukb:9Nsf a_proof Andna_perA
z ur to create a_fimt neei a Or lad o denier such ar the en/axe/neat-. If one bar
theme he can go ahead withOut, asti la dived a theme to makkpefric he rad 1 hart

MAN
dwells

to

Traditiorrally, a yfie elesi is aiih to desire a anIsletelmt 4, maid a Jili

kiler}vufgersirhjfir .F1 e."Thuktion hex ms/ key whenyouget the ukk Ave r,
but the desk ner who km hem: wads:tr for 4 t a . . it and makes all tie 4er
letter terema it and a newhibe it horn. Ifyou want a fyiegrenalaring
charm madefmm your Illtz k you ma maim: tie dmisran to /0,8nre
the new or4 lightg, with dr theme, to make the resemileurcer mild
dung hetfrrfthey are not too clever, if their excelkmer are not too exiled:You
atm iforgood types on therefiger. TIM- if a lour arooT17 the hialumer
elmix t. For infamr, this variation ore the Sw9049nn & liumartz ci trier too
arly to look kle the nedul.You all not tanstinner new ...4joe
. to he roireeecyied.

GLORY REAL sailor

impends Swing TUNE

tising, using simple and direct

means to make advertising beautiful, readable, and profitable. His
work is an excellent example of the
folly of flamboyance which all-toooften passes for quality. Cooper's
work was always characterized by
a fine restraint, and the result
seemed so perfectly simple and
natural that one would wonder
how it could have been done any
other way. As all fine artists know,
this ultimate in the perfection of
craft is not easy to come by.

CLIMATE JIG played on jug

[ike tropics
GAY antique locket I 7

11:/al
.
Ile i ON

Theme to
tzi
iini
e,ya
e reezha
. soli:je
tDane
t

Sail on sapphire SEA

MYRIAD brilliant denizens

0.

acife;Itn.,tt20*
charts show% the gee? g" aleoho

on the human .Ftomach, ilhalhales

-what hyjoens when 01,hluesetjfs
are too #parent. This theme ukll
handled hy Gm& in his Milne.

Letters made odd

,erateb are it PRONG
at and kid reFrides ihi/e4,.*eo

frafIraied. One toy

to make them self:=16424A';anc;;:4
*ring and lurking 0 this }/ripe are
moil, now in the tvhosraphic old_fiar'
71firri
or772cioni07;1s.

BOATS

Trade winds bring native

academic pojec7fir
theSehoolof Greetig

Card19,AeDes0
would he to make ajent

t o suit not only the regular

trade, hal also the liplike,hill andhilorw,y6te
Time required, loo,,veaes.

antelope

Amplify inspired REVU E

The Wizard
of Oz

MYSTERYgrows as days pass

LET'S NEVER
FORGET HIM

Types too dederotei, Lae tunes too ZUJCI:011f, arepeslegMated to shod careers
f William Cain, had unpaved 44pe, as mach as they have fiwe been
improved hy o/.4"rj they would not have endurecifor sleek joe_rOon ails
on a, im_Hec 9 prsons who buy andure4pe. T4e designer who is to
the isoortanlfimtforyou will :pursued and seized by theirealoluession,
soviet ly anxiety to male every litter lash be every of.. klierBulyou wili

urge him t 9 bei{bong to la

antsy
variety, 'Omt 'erg J4,96 ch; c r eeti,
co '4 art with art. You wilt not k him drone through the *hale/ oh'
[
a wearisome note he the concave serf in this example A quick way to
ve pur ty.peArnilen is to let il hope the reader wi& rspetiiionr glforne small cleverness..

RUGS
colorful

MICE play MAIZE

:at is AWAY ambrosia

NTEV(Tgame devised PINKISH

ri

"Zziet7 NICE
can have

C.114:1.

green blotters

Fancy paper kept

ode Holliwood-minded

.-lel4.7The
c re ite hr c Lee

TASK
S K for

xylophonist

DRY

Deriver: want
he irill&inf and
_kw k ie
novel nofplain Ineeker. They think Om
them rocialpriqy means of specious

sedentary clerks

o bard worducr such a willi

ng worLers type
ethemend hanalc VVilli n9

REPORTS

uafntold CAPE
EARLY fashions

viewed

3asket picnfcs under E LM S

grace, as IN R,6y 4 Jim of inveohisenesr,as in r, by an air ifophillicer

h.:on, as in 1 and f id/If that may
uyfit them ,_r dirhwarhinglin them

false "am/Wm; leave them

notfium
to built-up h-Ar,
letters. Butizial- ow
forms0c.ockEne)an accepted,
and letter' !inhered to has the
look !.r.f show card writing may
yet prove fpochalljdnidizen
have a ,meal
though, m crams the calh"grvki will the1},ogrinhic. What
thetroxerry he another Phme er Oct
ranole) thatsiAand lette ''4efis?

Cooper Oldstyle ...Cooper Black

...Cooper Black Condensed...
Cooper Hilite...Cooper Initials ...
Pompeian Cursive...Cooper
Fullface...
These are some of the innovative
typefaces designed by an extraordinary typographic artist, Oswald
Bruce Cooper, in the years between
his birth in 1879 and his untimely
death in December of 1940. Every
art director and typographic
designer today owes a measure of
his skills to the influence of this
towering figure of American
typography.
All too soon, artists famous in their
fields, become lost as we pay increasing homage to newcomers
many of whom couldn't hold a
candle to the artistry of Oz. Many
people know the work of Cooper,
but relatively few knew the man.
Even his closest friends and daily
associates addressed him as "Mr.
Cooper:" although everyone else
referred to him as "01:
These words and illustrations are a
tribute to a man to whom we all
owe a great deal. His work is as
expert and timeless today as it was
when he first introduced it. Virtually single-handed, he brought a
whole new dignity and dimension
to typography and we are, or
should be, beholden.
It still gives us a thrill to see the
beauty of fine type pages and elegantly drawn letters that are the
signature of Oz. No one did more
than he in a day not overly supportive of the art director to combat the ugliness in American adverTHIS ARTICLE WAS SET IN FRIZ QUADRATA

He took the classic letterforms and

made them his very own by the
vigor of his personality making
them address whatever he willed,
from a still small whisper to a lusty
shout. He understood the anatomy
of letters, their "bones" as he liked
to call them. His letters were never
drawn laboriously and mechanicallyyet they were done spontaneously with a facility and finish
too little found in today's largely
contrived mannerisms.
And he didn't make a fetish of
handlettering: he would never
think of utilizing it when type was
available that would do the job as
well. He had an unerring sense of
the fitness of things, his work represents a valuable contribution to
advertising, and his name ranks
high among the very greats in
type designing.
As with all outstanding talent, he
was self-effacing, unaware of his
own importance. He did not care
for ceremony. Reviewing his last
years, when they had moved to the
country he so loved, his wife said:
':.. he had ten happy summers with
his garden, his dog, and his birds.
Many times I have seen wrens sitting on his shoes singing as he
weeded:' The birds knew him, his
gentleness and trustworthiness. A
warmly sensitive human being as
well as a consummate artist.
The "Wizard of Oz" is just the right
phrase for Oswald Bruce Cooper.
Let's never forget him.

111E
COM
CATIONS
EXPOSITION

Sylvia and Herb Lubalin find something funny at XPO I

Let me start by positioning

where we are today in this country.
The communications profession is a
large group of people who represent
all means of delivering a message to
a mass audience. To succeed today,
a graphic designer, an art director, a
copywriter, a photographer or an illustrator...a client... must understand
the melding of all phases of communications. He is a part of a total effort
that starts, we hope, with a progressive client, an effective corporate
image and a knowledgeable product
designer, and ends in a consumer
reaching into his pocket for money
to buy that product. In between is the
advertising copywriter, the art director, a packaging expert, point-of-sale
and promotional people, and a dozen
others.
Success as a communicator
depends upon the acceptance of the
fact that he makes it his business to
become knowledgeable in every area
of communications. We know how
important a good package design can
be to the creators of effective advertising. If a stimulating ad gets a customer into a supermarket, a poorly
designed package can quickly kill the
sale no matter what the ad has
accomplished. And, conversely, a
great package can make mediocre
advertising look good. The day of the
specialist working in his own vacuum
is over.
As clients demand that images
and ideas flow easily through all forms
of today's communications, we must
make it happen verbally, typographically and pictorially on the TV screen,
in and on the package, and in all print
media. We must bring together a team
that can function in any oneor all
areas of communications. For this
reason, I believe, XPO is an important
event.
I predict, in.10 years, that total
communications teams will take over
all the functions that were once
farmed out to specialistsadvertising,
point of sale, display, packaging, product design, corporate design, architectural graphics, editorial design, etc.,
and use their highly sophisticated
methods to produce a much more
effective marketing job for their customers. This is synergy. The combined
effort being much more effective than
the combination of separate efforts.
The problem has always been
that each person involved in the total
communications effort thinks that his
own thing is the key to marketing and
selling a product. The "experts" within
the communications pool just don't
understand each other, and this
causes a breakdown of communications between individuals that should
not only have a thorough knowledge
of each other's function but a respect
for each other's contribution.
Nobody talks to anybody.
Let's envision a chain of communications with broken links.
The architect is not conversant
with the interior designer. The interior

Herb Lubalin,who as President of The Art Directors

Club,created the concept of XPO Ireveals his viewpoints
about XPO1. He looks at its raison d'etre, its successes,
its problems, and its future.

Art Kane discusses photography and editorial design

Art Kane photography course at Viva Magazine

Milton Glazer and friends outside Carnegie Hall

Michael Wolf of England enchants audience at Carnegie Hall

lesigner hates the architectural

graphics man because he wants to put
`Microgramma" on his clean white
walls. The architectural graphics man
.8 not on speaking terms with the corporate designer who despises the
package designer who, in turn, has
.ittle or no respect for the product
leveloper or his advertising agency.
knd it's common knowledge that ad
agency people only talk to themselves.
Phis leaves the point-of-sale people out
.n the cold to shift for themselves, and
.t looks it. The client, of course, thinks
ae knows everything and talks to
nobody. We've developed a segmented,
niche-picking, closed society. And
hat's not good.
XPO considered this lack of communications from as wide a base as
Dossible trying to touch most points.
see the problem extending to everyme who provides servicesillustra,ors, photographers, designers,
Drint ers, typographers, paper
manufacturers, etc. We rely on them,
Dut we don't talk to them, so XPO's
Programs included most of these
ilsciplines.
Lending support were the leading
graphic and communication groups
.n New York.
At the American Institute of
Draphic Arts, whose members repre3ent every field of design, visitors saw
heir award-winning "50 Best Books"
Show.
The Copy Club of New York
with whom we share The One Show7an ad writing clinics and special
3opywriting lectures:
The Society of Photographers in
Dommunications put on Edition No. 3
jf a unique Slide Bazaar which the Art
Directors Club and that group had
regun earlier in the year. The Bazaar
allows art directors to view works by
photographers in an informal atmo3phere: holding a cocktail, they walk
,o rotating carousels.
The Society of Illustratorswhose
membership represents a broad spec;rum of talent which other communi3ators urgently need to explorehad
3, retrospective show, as did the Type
Directors Club.
And, of course, the Art Directors
Dlub and Copy Club contributed to the
,otal effort with their One Show.
Individually, each was an integral
Dart of XPO; together they provided a
wealth of exciting creative ideas all in
me town in one week.
In addition, registrants participa,ed in a series of lectures, seminars
and study courses which took place,
Strategically, all over New York. This
enabled visitors to our city to soak up
Some of our atmosphere, good or bad,
according to how you look at it, while
hey were traveling from place to
place.
Lectures were held at Carnegie
Riecital Hall and included discussions
m art direction, graphic design,
3opywriting, typographies, film anination and editorial design by out>tanding American practitioners in
eorge Lois provides insights on art direction

Fischer imports words of photographic wisdom

Herb Lubalin, Alan Peckolick and Tom Camase talk type with 52 registrants

10

Ivan Chermayeff and Tom Geismar give course on Corporate Design

Robert 0 Blechman discusses film animation in his studio

Dick Hess and Hedda Johnson review the state of illustration at her loft

these disciplines. A distinguished

international panel provided an
exciting and informative climax to
this lecture series.
A TV/film seminar took place at
the Beekman Theatre for an entire
day. This was one of the highlights of
XPO, and covered everything from 30second TV spots to 20-minute documentaries by many of the most innovative film makers.
While all this was going on, 56
study courses were being conducted
by outstanding representatives from
all fields of communications within
their own studios and agencies, thus
exposing their-working environments
and work methods to XPO guests.
Notable were the courses in photography and illustration, which were
illuminating because they provided
insights, not only into techniques, but
also into the problems of existence in
these arts under our present financial
condition.
It was gratifying to see that by the
last day of XPO, people were talking to
people whose existence they had
never acknowledged.
Visiting XPO were people from all
over the world. I think we have a lot VD
learn from overseas and must be
exposed to visual and verbal solutions
in cultures unlike our own. We share
some of the mutual problems. Let's
open our eyes. We could freshen our
work, no question about it. One of the
best of the XPO exhibitions and,
unfortunately, the least attended was
the "Best Of The World" show. The
exhibits from Japan, all over Europe,
South America and the USA (outside
New York), indicated unquestionably
that all of ushowever individually
are nonetheless making rapid
graphic strides forward (although,
paradoxically, our own work in this
country was moreinventiVe and interesting a few years ago than it is today).
For some reason, we chauvinistically thought we would always be
firstand this has largely been true in
advertising, but in advertising only.
Certainly the Swiss, the Japanese, and
the Europeans have long been frontrunners in other areas. Still, we somehow imagined we could sit back
complacently and contemplate our
"successes". The fact, however, is that
even in advertising we are no longer
exclusively leaders at least by not very
much. In English advertising and
designto mention just a single
instancethere's a new intelligence
and sense of humor in their creative
work that is a delight to see and
should make us sit up and take notice
(Americans, in this fertile period of
political distress, are noticeably lacking in humor).
I see a quality in Japanese design
that far surpasses what we're doing in
our own graphics. I don't think any
country can yet compare with us in
either quality or variety of illustration
in advertising but, ironically, American illustrators today are starving.
Photography? We remain among the
most exciting producers of photography, but the middle-aged guys
continue to make the news, and I
don't know who's coming up at least,
in this country to fill the shoes of an
Art Kane, Carl Fischer, Richard Avedon, or Pete Turner.
Agency talent, deSigners, photographers and illustrators came from
Japan, from all over EuropeSweden,
France, England and Germany.
A large group represented Brazil.
A group came from Trinidad, and we
even had one Israeli attendant. Did it
meet expectations? It did, but I'd have
to say I was admittedly disappointed by
the American Advertising community's small showing. That's an attitude I

International Design lecture participants

izeswari

Jimmy Breslin roasting Jerry Della Fenno and George Lois

Marie Reine De Jaham, organizer of the French registrants

Helmut Krone socializes at a party given by the French at L.S.0

Rudy De Harak details an architectural graphic assignment

Mitzi Morris and Pat Carbine talk about women in communications

Dick Hess greets Herb Lubalin at informal illustration lecture

can never get used to.

We're at an important point in
the re-development of the high communications standards which we
nce enjoyed. That is why XPO was
called for. We begin to see the problems to be solved. The technology, for
one thing, has far surpassed the creativity. Nobody's fault, but, a fact of life.
We may do well to move closer to the
technical people and create solutions
with them.
We can see where we've failed
with the education of our own young
people. In this country particularly we
develop the specialist. The student
with the get rich quick attitude: the
way you get rich quick is not to learn
everything about the business but just
one thing. So, we see too few young
graphics designers emerging with an
adequate, if not complete, knowledge
of our craft.
Our job as communicators, as
generalists and visualizersis to start
re-educating people through the
schools; to reach educators, stimulate
students to have pride, to be excited,
and to find out what it's all about. We
should also re-kindle their interest by
the work we do ourselves, which we
must do with increased enthusiasm
in the future.
There's a great need for more
renaissance men and women. The
best example I can call upon is my
own company where we've broken
down the communicationbarriers.
We refuse to put labels on the kind of
work we do. We're not a graphic design
studio or ad agency. We don't just
make trademarks or packages. We
can make films, design magazines
and newspapers, create new products,
or design a building if someone were
to ask. We're creative marketers,
which is as close as I can come to an
apt description.
If you add up all the disciplines
of communications, we are the third
largest industry in the US, and could
be one of the most influential. We
can lobby, affecting education and
changes in government communications. We can inform the public
about what we do, about our
business
which is a craft and a science now
embedded into the culture. People are
interested in this 'glamorous' work.
They need information, they've
reached a high point of sophistication.
The time is ready to reach them as
a single entity, not as fragmented,
ineffective groups.
XPO, in sum, was the test case to
see if all of these groups could work
together. I think, in that way, it was an
interesting success. Communicators
can learn to communicate with each
other. But it won't be easy. And there
always will be parochial, chauvinistic,
egotistical, ultra-conservative people
who will protect their own small
sphere at any cost. But they're in the
minority.
XPO 2 will tell the story.
We'll expose ourselves to you if you
expose yourselves to us. See you there.
THIS ARTICLE WAS SET IN AMERICAN TYPEWRITER REGULAR
WITH CAPTIONS IN AVANT GARDE GOTHIC CONDENSED

12

DEFINITIONS FROM THE DEVIL'S DICTIONARY BY AMBROSE BIERCE

ILLUSTRATED BY GERRY GERSTEN

Achievement, n. The death of

endeavor and the birth of disgust.
Admiral, n. That part of a warship which does the talking while
the figure-head does the thinking.
Affianced, pp. Fitted with an
ankle-ring for the ball-and-chain.
Agitator, n. A statesman who
shakes the fruit trees of his neighborsto dislodge the worms.

Air, n. A nutritious substance supplied by a bountiful Providence

for the fattening of the poor.
Alone, adj. In bad company.
Ambidextrous, adj. Able to
pick with equal skill a right-hand
pocket or a left.
Ass, n. A public singer with a
good voice but no ear. In Virginia
City Nevada, he is called the
Washoe Canary, in Dakota, the
Senator, and everywhere the
Donkey.
Auctioneer, n. The man who
proclaims with a hammer that he
has picked a pocket with his
tongue.

Bait, n. A preparation that renders the hook more palatable. The

best kind is beauty.
Beauty, n. The power by which a
woman charms a lover and terrifies
a husband.
Belladonna, n. In Italian a
beautiful lady; in English a deadly
poison. A striking example of the
essential identity of the two
tongues.
Birth, n. The first and direst of
all disasters. As to the nature of

Circus, n. A place where horses,

ponies and elephants are permitted to see men, women and children
acting the fool.
Commerce, n. A kind of transaction in which A plunders from
B the goods of C, and for compensation B picks the pocket of D of
money belonging to E.
Connoisseur, n. A specialist who
knows everything about something
and nothing about anything else.
it there appears to be no uniformity. Castor and Pollux were born
from the egg. Pallas came out of
a skull. Galatea was once a block
of stone. Peresilis, who wrote in
the tenth century, avers that he
grew up out of the ground where
a priest had spilled holy water.
It is known that Arimaxus was
derived from a hole in the earth,
made by a stroke of lightning.
Leucomedon was the son of a
cavern in Mount ./Etna, and I have
myself seen a man come out of
a wine cellar.
Brain, n. An apparatus with
which we think that we think.
That which distinguishes the man
who is content to be something
from the man who wishes to do
something. A man of great wealth,
or one who has been pitchforked
into high station, has commonly
such a headful of brain that his
neighbors cannot keep their hats
on. In our civilization, and under
our republican form of government, brain is so highly honored
that it is rewarded by exemption
from the cares of office.
Bride, n. A woman with a fine
prospect of happiness behind her.

Cabbage, n. A familiar kitchengarden vegetable about as large

and wise as a man's head.
Cannibal, n. A gastronome of
the old school who preserves the
simple tastes and adheres to the
natural diet of the pre-pork period.
Christian, n. One who believes
that the New Testament is a divinely inspired book admirably suited
to the spiritual needs of his neighbor. One who follows the teachings
of Christ in so far as they are not
inconsistent with a life of sin.

Dance, u.i. To leap about to the

sound of tittering music, preferably with arms about your neighbor's wife or daughter. There are
many kinds of dances, but all
those requiring the participation
of the two sexes have two characteristics in common; they are conspicuously innocent, and warmly
loved by the vicious.
Day, n. A period of twenty-four
hours, mostly misspent. This period is divided into two parts, the
day proper and the night, or day
improperthe former devoted to
sins of business, the latter consecrated to the other sort. These
two kinds of social activity overlap.
Deliberation, n. The act of examining one's bread to determine
which side it is buttered on.
Deluge, n. A notable first experiment in baptism which washed
away the sins (and sinners) of the
world.
Deputy, n. A male relative of an
office-holder, or of his bondsman.
The deputy is commonly a beautitiful young man, with a red necktie and an intricate system of cobwebs extending from his nose to
his desk. When accidentally struck
by the janitor's broom, he gives
off a cloud of dust.

Diplomacy, n. The patriotic art

of lying for one's country.
Distance, n. The only thing that
the rich are willing for the poor to
call theirs' and keep.
Duel, n. A formal ceremony preliminary to the reconciliation of two
enemies. Great skill is necessary
to its satisfactory observance; if
awkwardly performed the most
unexpected and deplorable consequences sometimes ensue. A
long time ago a man lost his life
in a duel.

Emotion, n. A prostrating disease

caused by a determination of the
heart to the head. It is sometimes accompanied by a copious discharge
of hydrated chloride of sodium
from the eyes.
Erudition, n. Dust shaken out
of a book into an empty skull.

Eulogy, n. Praise of a person who

has either the advantages of wealth
and power, or the consideration
to be dead.

NUM
Famous, adj. Conspicuously
miserable.
Female, n. One of the opposing, or unfair, sex.
Fiddle, n. An instrument to tickle
human ears by friction of a horse's
tail on the entrails of a cat.
Finance, n. The art or science
of managing revenues and resources for the best advantage of
the manager. The pronunciation
of this word with the i long and
the accent on the first syllable'is
one of America's most precious
discoveries and possessions.

13

Funeral, n. A pageant whereby

we attest our respect for the dead
by enriching the undertaker, and
strengthen our grief by an expenditure that deepens our groans and
doubles our tears.

Husband, n. One who, having

dined, is charged with the care
of the plate.

"

Imagination, n. A warehouse
of facts, with poet and liar in joint
ownership.
Grave, n. A place in which the
Incompatibility, n. In matridead are laid to await the coming mony a similarity of tastes, particof the medical student.
ularly the taste for domination.
Incompatibility may, however,
Gravitation, n. The tendency
consist
of a meek-eyed matron
of all bodies to approach one anliving
just
around the corner. It
other with a strength proportioned
has
even
been
known to wear
to the quantity of matter they cona
moustache.
tain the quantity of matter they
contain being ascertained by the
strength of their tendency to approach one another. This is a lovely
and edifying illustration of how
science, having made A the proof
of B, makes B the proof of A.

Hand, n. A singular instrument

worn at the end of a human arm
and commonly thrust into somebody's pocket.
Hash, x. There is no definition
for this word nobody knows
what hash is.
Hatred, n. A sentiment appropriate to the occasion of another's
superiority.
Hearse, n. Death's baby-carriage.

Hers, pron. His.

Homicide, n. The slaying of one
human being by another. There are
four kinds of homicide; felonious,
excusable, justifiable and praiseworthy, but it makes no great difference to the person slain whether he
fell by one kind or anotherthe
classification is for advantage of the
lawyers.

ten volumes of exaction.

King, n. A male person commonly known in America as a
crowned head',' although he
never wears a crown and has
usually no head to speak of.
Kleptomaniac, n. A rich thief.

Interpreter, n. One who enables

two persons of different languages
to understand each other by repeating to each what it would have
been to the interpreter's advantage
for the other to have said.
Intimacy, n. A relation into which
fools are providentially drawn for
their mutual destruction.
Irreligion, n. The principal one
of the great faiths of the world.

Jealous, adj. Unduly concerned

about the preservation of that
which can be lost only if not worth
keeping.
Justice, n. A commodity which
in a more or less adulterated condition the State sells to the citizen
as a reward for his allegiance, taxes
and personal service.

Kill, v.t. To create a vacancy

without nominating a successor.
Kindness, n. A brief preface to

Lap, n. One of the most important organs of the female system

an admirable provision of nature for the repose of infancy, but
chiefly useful in rural festivities
to support plates of cold chicken
and heads of adult males.
Learning, n. The kind of ignorance distinguishing the studious.
Lecturer, n. One with his hand
in your pocket, his tongue in your
ear and his faith in your patience.
Liar, n. A lawyer with a roving
commission.
Liberty, n. One of Imagination's
most precious possessions.
Life, n. A spiritual pickle preserving the body from decay. We live
in daily apprehension of its loss;
yet when lost it is not missed. The
question, "Is life worth living?"
has been much discussed; particularly by those who think it is
not, many of whom have written
at great length in support of their
view and by careful observance of
the laws of health enjoyed for
long terms of years the honors of
successful controversy.
Limb, n. The branch of a tree
or the leg of an American woman.
Logic, n. The art of thinking and
reasoning in strict accordance with
the limitations and incapacities of
the human misunderstanding.
The basic of logic is the syllogism,
consisting of a major and a minor
premise and a conclusion thus:

Major Premise: Sixty men can

do a piece of work sixty times as
quickly as one man.
Minor Premise. One man can
dig a post-hole in sixty seconds;
therefore
Conclusion: Sixty men can dig
a post-hole in one second.
This may be called the syllogism
arithmetical, in which, by combining logic and mathematics, we
obtain a double certainty and are
twice blessed.
Longevity, n. Uncommon extension of the fear of death.
Love, n. A temporary insanity
curable by marriage or by removal
of the patient from the influences
under which he incurred the disorder. This disease, like caries and
many other ailments, is prevalent
only among civilized races living
under artificial conditions; barbarous nations breathing pure air and
eating simple food enjoy immunity
from its ravages. It is sometimes
fatal, but more frequently to the
physician than to the patient.

Magnificent, adj. Having a

grandeur or splendor superior
to that to which the spectator is
accustomed, as the ears of an ass,
to a rabbit, or the glory of a glowworm, to a maggot.

Maiden, n. A young person of

the unfair sex addicted to clewless
conduct and views that madden to
crime. The genus has a wide geographical distribution, being found
wherever sought and deplored
wherever found. The maiden is
not altogether unpleasing to the
eye, nor (without herpiano and her
views) insupportable to the ear,
though in respect to comeliness
distinctly inferior to the rainbow,
and, with regard to the part of her

14

that is audible, beaten out of the

field by the canarywhich, also,
is more portable.
Male, n. A member of the unconsidered, or negligible sex.
The male of the human race is
commonly known (to the female)
as Mere Man. The genus has two
varieties: good providers and bad
providers.
Man, n. An Animal so lost in rapturous contemplation of what he
thinks he is as to overlook what
he indubitably ought to be. His
chief occupation is extermination
of other animals and his own species, which, however, multiplies
with such insistent rapidity as to
infest the whole habitable earth
and Canada.
Me, pro. The objectionable case
of I. The personal pronoun in
English has three cases, the dominative, the objectionable and the
oppressive. Each is all three.
Miracle, n. An act or event out
of the order of nature and unaccountable, as beating a normal
hand of four kings and an ace with
four aces and a king.

O
Nectar, n. A drink served at banquets of the Olympian deities. The
secret of its preparation is lost, but
the modern Kentuckians believe
that they come pretty near to a
knowledge of its chief ingredient.
Neighbor, n. One whom we are
commanded to love as ourselves,
and who does all he knows how to
make us disobedient.
Nepotism, n. Appointing your
grandmother to office for the good
of the party.
Non-Combatant, n. A dead
Quaker.

Nose, n. The extreme outpost of

the face. From the circumstance
that great conquerors have great
noses, Getius, whose writings antedate the age of humor, calls the
nose the organ of quell. It has been
observed that one's nose is never
so happy as when thrust into the
affairs of another, from which
some physiologists have drawn the
inference that the nose is devoid of
the sense of smell.

November, n. The eleventh

twelfth of a weariness.

Occident, n. The part of the

world lying west (or east) of the
Orient. It is largely inhabited by
Christians, a powerful sub-tribe
of Hypocrites, whose principal industries are murder and
cheating, which they are pleased
to call "war" and "commerce:'
These, also, are the principal industries of the Orient.
Oympian, adj. Relating to a
mountain in Thessalm once inhabited by gods, now a repository
of yellowing newspapers, beer
bottles and mutilated sardine
cans, attesting the presence of
the tourist and his appetite.
Omen, n. A sign that something
will happen if nothing happens.
Opportunity, n. A favorable occasion for grasping a disappointment.
Oratory, n. A conspiracybetween
speech and action to cheat the understanding. A tyranny tempered
by stenography.
Orthodox, n. An ox wearing the
popular religious yoke.

Pain, n. An uncomfortable frame

of mind that may have a physical
basis in something that is being
done to the body, or may be purely
mental, caused by the good fortune of another.
Painting, n. The art of protecting
flat surfaces from the weather and
exposing them to the critic.
Pardon, v. To remit a penalty
and restore to a life of crime. To
add to the lure of crime the temptation of ingratitude.
Peace, n. In international affairs,
a period of cheating between two
periods of fighting.
Philanthropist, n. A rich (and
usually bald) old gentleman who
has trained himself to grin while his
conscience is picking his pocket.
Plan, v.t. To bother about the best
method of accomplishing an accidental result.
Pleasure, n. The least hateful
form of dejection.
Plunder, v. To take the property
of another without observing the
decent and customary reticences
of theft. To effect a change of ownership with the candid concomitance of a brass band. To wrest the
wealth of A from B and leave C
lamenting a vanished opportunity.
Politics, n. A strife of interests
masquerading as a contest of
principles. The conduct of public
affairs for private advantage.

Prescription, n. A physician's
guess at what will best prolong
the situation with least harm to
the patient.
Prophecy, n. The art and practice of selling one's credibility for
future delivery.
Push, n. One of the two things
mainly conducive to success, especially in politics. The other is
Pull.

Quill, n. An implement of torture

yielded by a goose and commonly
wielded by an ass. This use of the
quill is now obsolete, but its modern equivalent, the steel pen, is
wielded by the same everlasting
Presence.
Quixotic, adj. Absurdly chivalric, like Don Quixote. An insight
into the beauty and excellence
of this incomparable adjective is
unhappily denied to him who has
the misfortune to know that the
gentleman's name is pronounced
Ke-ho-tay.

Quotation, n. The act of repeating erroneously the words of

another. The words erroneously
repeated.

Reality, n. The nucleus of a

vacuum.
Rear, n. In American military
matters, the exposed part of the
army that is nearest to Congress.
Recreation, n. A particular kind
of dejection to relieve a general
fatigue.
Refusal, n. Denial of something
desired; as an elderly maiden's
hand in marriage, to a rich and
handsome suitor; a valuable franchise to a rich corporation, by an
alderman; absolution to an impenitent king, by a priest, and so forth.
Refusals are graded in a descending scale of finality thus: the refusal
absolute, the refusal conditional,
the refusal tentative and the refusal
feminine. The last is called by some
casuists the refusal assentive.
Replica, n. A reproduction of a
work of art, by the artist that made

15

the original. It is so called to distinguish it from a "copy" which is

made by another artist. When the
two are made with equal skill the
replica is the more valuable, for it
is supposed to be more beautiful
than it looks.
Respectability, n. The off-spring
of a liaison between a bald head
and a bank account.
Reverence, n. The spiritual attitude of a man to a god and a dog
to a man.

Riot, n. A popular entertainment

given to the military by innocent
bystanders.
Rite, n. A religious or semireligious ceremony fixed by law,
precept or custom, with the essential oil of sincerity carefully
squeezed out of it.
Ritualism, n. A Dutch Garden
of God where He may walk in
rectilinear freedom, keeping off
the grass.

Sabbath, n. A weekly festival

having its origin in the fact that
God made the world in six days
and was arrested on the seventh.
Sauce, n. The one infallible sign
of civilization and enlightenment.
A people with no sauces has one
thousand vices; a people with one
sauce has only nine hundred and
ninety-nine. For every sauce invented and accepted a vice is renounced and forgiven.
Self-esteem, n. An erroneous
appraisement.
Selfish, adj. Devoid of consideration for the selfishness of others.
Sycophant, n. One who approaches Greatness on his belly
so that he may not be command-

ed to turn and be kicked. He is

sometimes an editor.

MUM

Tail, n. The part of an animal's

spine that has transcended its natural limitations to set up an independent existence in a world of its
own.

hope.
"Why have you halted?" roared
the commander of a division at
Chickamauga, who had ordered
a charge; "move forward, sir, at
once:'
"General:' said the commander
of the delinquent brigade, "I am
persuaded that any further display
of valor by my troops will bring
them into collision with the enemy."
Vanity, n. The tribute of a fool
to the worth of the nearest ass.

MEM

Wedding, n. A ceremony at
which two persons undertake to
become one, one undertakes to
become nothing, and nothing undertakes to become supportable.
Werewolf, n. A wolf that was
once, or is sometimes, a man. All
werewolfs are of evil disposition,
having assumed a bestial form to
Talk, v.t. To commit an indiscregratify
a bestial appetite, but some,
tion without temptation, from an
transformed
by sorcery, are as huimpulse without purpose.
mane as is consistent with an acTelephone, n. An invention of
quired taste for human flesh.
the devil which abrogates some of
Wheat, n. A cereal from which a
the advantages of making a disagreeable person keep his distance. tolerably good whiskey can with
some difficultybe made, and which
Telescope, n. A device having a is used also for bread.
relation to the eye similar to that of
the telephone to the ear, enabling Wine, n. Fermented grapejuice
distant objects to plague us with a known to the Women's Christian
Union as "liquor," sometimes as
multitude of needless details.
"rum:' Wine, madame, is God's
Truthful, adj. Dumb and illiterate. next best gift to man.

Understanding, n. A cerebral
secretion that enables one having
it to know a house from a horse by
the roof on the house. Its nature
and laws have been exhaustively
expounded by Locke, who rode a
house, and Kant, who lived in a
horse.
Urbanity, n. The kind of civility
that urban observers ascribe to
dwellers in all cities but New York.
Its commonest expression is heard
in the words, "I beg your pardon:'
and it is not inconsistent with disregard of the rights of others.

Valor, n. A soldierly compound

of vanity, duty and the gambler's

Wit, n. The salt with which the

American humorist spoils his intellectual cookery by leaving it out.
Woman, n. An animal usually
living in the vicinity of Man, and
having a rudimentary susceptibility to domestication.
Worms'-meat, n. The finished
product of which we are the raw
material.
Words beginning with X are Grecian and will not be defined in this
standard English dictionary

Year, n. A period of three hundred and sixty-five disappointments.

Yoke, n. An implement, madam,
to whose Latin name, jugum, we
owe one of the most illuminating
words in our languagea word
that defines the matrimonial situation with precision, point and
poignancy. A thousand apologies
for withholding it.

Zeal, n. A certain nervous disorder afflicting the young and

inexperienced. A passion that
goeth before a sprawl.

Zenith, n. A point in the heavens

directly overhead to a standing
man or a growing cabbage. A man
in bed or a cabbage in the pot is
not considered as having a zenith,
though from this view of the matter there was once a considerable
dissent among the learned, some
holding that the posture of the
body was immaterial.
Zigzag, v.t. To move forward uncertainly, from side to side, as one
carrying the white man's burden.
Zoology, n. The science and history of the animal kingdom, including its king, the House Fly (Musca
maledicta. ) The father of Zoology
was Aristotle, as is universally conceded, but the name of its mother
has not come down to us. Two of
the science's most illustrious expounders were Buffon and Oliver
Goldsmith, from both of whom we
learn (L'Histoire generale des animaux and A History of Animated
Nature) that the domestic cow
sheds its horns every two years.
THIS ARTICLE WAS SET IN SOUVENIR

MY BEST WITH LETTERS

Avant Garde is wonderful stuff. I can't imagine what we all would hav
done without it. I especially liked using it for this Oh!rbach's logo.
Everything is the same weight but the Oh! is effortlessly emphasized I
simply adding a smaller letter form inside. It doubles the look but
maintains the single weight. I used to believe type should be anonym
and just be there to let the words come through. But now, more and
more, I feel type should have a life of its own. HELMUT KRONE , US,

"I haven't done my best with letters, yet. But I'm always trying. Since I'm my best
client, my best is usually done for me. I don't pay well but what a rapport we have!
This was a simple announcement of a show exhibiting my work on the Antique
Press. Technically it's all done with film and offset printing. The large copy was set
on the Photo-Typositor in Chelt. Bold Extra Condensed and the tiny words were
set on Linofilm in Trade Gothic Light. rye done fancier, cuter, and more complicated
MO LEBOWITZ, USA
things...but, to me, none betterYer

Lek*Nato
itop:mo

molLebowitaffop.
rae Abp.

at
Octobeitthm26.
1AS

resitikAr

DIA UISHIT'ERIS;
SW'EET' 141110IT'HIERIS DANCE
BILA CKLIIGHIT'
A CRIO A 'S; AST'FilDLOIGIERIS;
JIWIGIBLERIS FREAKS CLOWNS;
ES;C:APE:
GRIM GiRIA ES; GIRIA S;
UP'S; DOWNS; SIIDEIKY's

Letters, for the pure enjoyment of

letters themselves. Letters, placed
in a simple arrangement to enable
each one to lend its own dynamic
quality to the whole composition.
This happens to be the end pages
of Westvaco Inspirations 172,
published AD 1948. Not a'besr but
one of many enjoyable experiences
with letters. BRADBURY THOMPSON, USA

Here is something of "My Best With Letters: When the

Electric Circus came to town there was a need for a very
strong and distinctive alphabet for the place and its publicity.
An alphabet was designed so that the result would look
electric and was accomplished by sandwiching the positive
and the negative versions of Sans Serif Ietters.The result
was an appropriate and refreshing look that has since been
done by many people with many lypefaces.The poster
itself was printed in a range of Day Glo colors which added
to the electricity.
IVAN CHERMAYEFF, USA
-

IIMI MINE WAY'S T'HIA I ONIE

LEGAL
THIE
EXPERIIIEMIDE
T'HIE ELECTRIIIC: DIRIGUIS;
PENIS; 'AMIE 2301967'
23;
P'LLGE MI!,
EAST VILLAGE
111",.
THIS ARTICLE WAS SET IN AVANT GARDE CONDENSE

17

Annegret Beier
This is the first of a series of articles devoted to the talented women in communications.
The work shown on this page was created by Annegret Beier, one of Europe's best graphic designers.
Annegret was born in Germany. Worked for Robert Delpire in Paris, then came to New York City,
where she became an outstanding talent at Lubalin, Smith, Carnase, Inc.
She developed a simultaneous love for LSC and a hatred for NYC. Her determination to return to Paris
made it imperative for LSC to open an office there rather than to lose her services.
She became the guiding light of Lubalin, Delpire et Cie where she created innovative designs
for the European market such as the ones below for. Air France's Meridien Hotels.
These expressive examples of the art of letterform design identify the many Meridien restaurants
throughout the world. They represent only a small sampling of her unusual creativity.
MERIDIEN DAKAR:
LE KARABANE: HISTORICAL MONUMENT SITE
LES COCOTIERS: COCONUT TREES
LES ALIZES: WARM WINDS OFF AFRICAN COAST
LA PAILLOTE: STRAW COVERED COTTAGE
LE CALAO: A FISH
MERIDIEN GUADELOUPE:
LEST. LOUIS: SHIP INVOLVED IN FIRST EXPEDITION
OF CHRISTOPHER COLUMBUS
LACAPITANE: SHIP INVOLVED IN SECOND
COLUMBUS EXPEDITION
LE LELE: CREOLE NAME FOR SKEWER
MERIDIEN MARTINIQUE:
LEST. CHARLES: SHIP NAME FROM FIRST
COLUMBUS EXPEDITION
LE BALAOU: POINTED STAW-THATCHED COTTAGE
LE BET-A-FEU: CREOLE NAME FOR GLOW-WORM
LE MASQUE D'OR: THE GOLD MASK

Cga

THIS ARTICLE WAS SET IN TIFFANY AND AVANT GARDE CONDENSED. -1/1WM.

18

THE FIRST

ALPHABET

First Chinese Writing. The Chinese began

visual communication on clay with ideographs.
This is a photograph of the very first of their
writings, found at the Great Tomb of the
Hsiao-t'un culture near An-yang in Shansi.

The Greeks, borrowing liberally from this

Semitic alphabet, borrowed also the names
of the letters to conform with their own
language habits: aleph became alpha, beth
turned into beta, gimel into gamma, daleth
into delta, et cetera.
Even so, the invention of printing would
have been of little real avail without
another invention of Chinese origin: paper.
The clay and wax tablets of the ancients,
the tree-bark which gave rise to both the
English book (originally synonymous with
beech) and the Latin liter, the vellum and
parchment of the Middle Ages, would have
been unsatisfactory in quality and insufficient in quantity for the new mode of
writing by mechanical device.
Starting in China around the first century
of the Christian era, paper-made from
macerated rags-reached the Arab world
in the eighth century, and became established in the thirteenth. But it was the
Gutenberg "Invention" which gave paper
its big thrust as a tool of the written language. It would, however, be best to call
Gutenberg's a "re-invention", for-aside
from the basic art of printing-printing on
paper had already been discovered-again
by the Chinese-early in the ninth century,
with movable type devised by them after
the manner of the ancients. lib be precise,
a full thirty-seven years before Gutenberg
touched hand to Bible, the Korean "Father
of Culture", King Chong had decreed
for his country that all characters from
that moment on be cast into bronze movable type, and that all laws and classics be
printed for the enduring benefit of posterity. Printing as a graphic art may justly be
attributed to him. Just as the first use of
movable type of any sort may justly be
attributed to the designer of the Phaistos
Disk.

It is, however, also true that signatory

seals-a form of printing, normally circular, to be rolled on, were widely used in
antiquity from the very earliest cultures in
Egypt, Sumeria, and the Indus Valley; the
extraordinary aspect of the Phaistos Disk
being that a collection of recurring seals or
symbols was used to form a complete text.
In a word, the principle of printing by type
was known in very early times-although
whether or not it was then used on perishable bases such as papyrus or a substance
similar to paper will doubtless remain a
mystery.
The beginning of writing of any kind is constantly being revised backward. At the site
of the Mas d'Azil caves in France, painted

Egyptian Hieroglyphs. The Egyptian writing

of individual letters instead of symbols which,
rounded off and abbreviated, developed into the
cursive hand the Greeks called "hieratic!'

pebbles, inscribed with signs resembling

greatly Phoenician letters, have been unearthed in quantity. Some of these colored
Azilian Pebbles seem to have letters on
them-although it is quite possible that
these apparent letters may be symbols,
totem marks, counting marks or, simply,
designs-although design for design's sake
would be remarkable, as remarkable in a
sense as any of the other conceivable purposes which have been attributed to the
pebbles. One of them bears the circled
cross-a design appearing frequently, like
the swastika, at widely separated parts of
the world and, again like the swastika,
used as a symbol of life force and divinity
many thousands of years before its con-

eTh

Pictographic Writing. Early Egyptian hieroglyphs were initially symbols sketched onto
clay from life.

19

writing in virtually all instances. Prehistoric drawings found recently at Lussac,

France, now under study at the Pluses de
l'Homme in Paris, depict people of Magdalenian times in well fitting and strangely
modern looking clothes, graphically drawn
in a dazzling mixture of stylesimpressionistic, representational, and abstract.
Some of the European and African cave

The Glozel Tablet. Fbund in a cave near Vichy,

France in 1924, these markings represent
man's earliest attempts at visual communication in letters equivalent to Phoenician or
Greek and predating all hieroglyphic script.

paintings from the Aurignacian and Magdalenian eras are without parallelso modern, decorative, and sophisticated in
technique as to have been considered the
forgeries of graphic designers of today,
until long and careful studies by a body of
unquestioned authorities have proved
them to be just what they aregenuine
beyond all doubt.
It is not known exactly how or why these
paintings and writings were madehow in
the sense of the longevity of the pigments,
or how they were so exactly painted and
printed in dark and obscure caves. The
why is also open to the question of why
they were created in caves so very difficult
of access, concealed through the intervening thousands of years until now.
One conceivable answer is that the writer,
art director, and graphic designer of daysgone were not held in the high esteem
enjoyed today. Salaries were doubtless
rock bottom, and the enterprising youths
of yesteryear turned their sights on the
more rewarding openings to be found
in the armies and navies. Ad agencies and
the like were obviously frowned on, and
the precocious youngster with secret
temporary conversion to a symbol of
and accepted, they would indicate that peo- creative urge was clearly obliged to
nationalism and race.
ple of unknown origin in Northern Europe sneak his clay tablets and rheindeer bone
brushes to some out-of-sight cave deep
were able to write thousands of years
Perhaps even more remarkable are the
before the Egyptians first began developing under the level of the Mediterranean.
larger alphabet finds of Glozel dug up in
0 tempora, o mores!
their hieroglyphic scripta most unset1924 near Vichy, and the subject of acritling,
however
factual,
concept
to
tradiThe genesis of the invention of printing is
monious debate ever since. Among bricks,
tional archaeology.
ambiguous and debatable. Times change,
axes, pottery, and tablets of the Magdalemethods change, words change. Just one
Indications
such
as
these
of
such
an
nian era, one incised tablet in particular
important step toward civilization are con- example of Anglo-Saxon replacement of
pictured here, part of a general find,
stantly bringing about time modifications. foreign words: The ayenbite of ynwit or,
shows a collection of signs or letters, sevas it would be spelled today, The avainbite
To quote from Armstrong's contemporaeral of which are certainly equivalent to
of Inwit. How many will recognize this at
neous
comment
on
the
first
moon
landing,
Phoenician or Greek. Clearly-identified
once as "The remorse of conscience"?
the concept of the alphabet, or phonetic
writing of this era in such a location is
writing, was assuredly one of the most out- How many will recognize the letterings on
archaeologically unacceptablealthough
the Glozel Tablets have been thoroughly Azilian Pebbles. These painted pebbles from standing "great steps forward for
the Phabtos Disk as "the first alphabet"?
the prehistoric Magdalenian age are believed
mankind".
authenticated and vouched for by many
to be colored symbols, totem or counting marks,
prominent prehistorians. If finally verified astronomical notations, or simply designs.
And, of course, wall paintings predate
JACK ANSON PINKE -wier
THIS ARTICLE WAS SET IN AMERICAN TYPEWRITER CONDENSED
WITH CAPTIONS IN AMERICAN TYPEWRITER REGULER

20

Something for Everybody from U&Ic.

TYPOMANIA

TYPOMANIA

Film has liberated type design from its metal

prison, but in the process has opened the way to
madness. There is a slender case to be made for
'outre letters' to compel attention, but even these
should bear some resemblance to conventional
alphabetic characters, if some message is to be
conveyedit, indeed, that is the intention. If not,
why bother with even the slightest resemblance to
the Latin alphabet? Why not use Ogham? These
words are prompted by the receipt in this office of
a new 'type' sheet, which shows a face called
'Avant Garde Gothic'the very name provoking
a weary smile on the editorial face. Are the people
who promote these faces really so uncultured that
they cannot see the contradictions? The face in
question is 'Gothic' only in the limited American
sensethat is it is based on a sans serifbut is so
confused with its logotypes (for want of a better
word) that at times it resembles Cyrillic. There is
nothing wrong with logotypes, in their place, or
Cyrillic for Russians or Bulgarians. Saints Cyril
and Methodius are just as important in their way
as Saints Brigid and George, but to communicate
with Latin-oriented peoples with a display face
which is so 'avant' of the 'garde' as to be right out
of sight is typomania at its worst.

Film has liberated type design from Its metal prison,

but in the process has opened the way to madness.
There is a slender case to be made for 'outr letters'
to compel attention, but even these should bear
some resemblance to conventional alphabetic
characters it some message is to be conveyedif,
Indeed, that is the intention. If not, why bother with
even the slightest resemblance to the Latin alphabet?
Why not use Ogham? These words are prompted by
the receipt in this office of a new 'type' sheet, which
shows a face called "Avant Garde Gothic"the very
name provoking a weary smile on the editorial face.
Are the people who promote these faces really so
uncultured that they cannot see the contradictions?
The face in question Is 'Gothic' only in the limited
American sensethat is It is based on a sans serif
but Is so confused with its logotypes (for want of a
better word) that at times it resembles Cyrillic. There
Is nothing wrong with logotypes, in their place, or
Cyrillic for Russians or Bulgarians. Saints Cyril and
Methodius are just as important In their way as Saints
Brigid and George, but to communicate with Latinoriented peoples with a display face which is so
'avant' of the garde' as to be right out of sight is
lypomonia at its worst.

WHY IS
THE KING
OF HEARTS
THE ONLY
ONE THAT
HASN'TA

The small item, above left, came to my attention, recently. It appeared, unsigned, in
the trade magazine, "Printing World:' As the typomaniac who created Avant Garde
Gothic, I would suggest that, perhaps, the writer should wipe the weary smile off
his editorial face. Avant Garde Gothic has become one of the most widely accepted
display and text faces throughout the world. It is resisted by the "Devant Garde:'
that small army of ultra-conservatives who position themselves miles behind
where the action is and complacently watch the world pass them by. By the way,
those "logotypes" which the writer refers to (for want of a better word) are called
"ligatures. This item was reset in Avant Garde Gothic Book, above right. Judge
for yourself who's the typographer and who's the maniac. Herb Lubalin.

A writer owned
an asterisk,
And kept it in his den,
Where he wrote tales
(which had large sales)
of frail and erring men;
And always, when he
reached the point
Where carping
censors lurk,
He called upon
the Asterisk
To do his dirty work
STODDARD KING

xi04ST%
?

It all started when '1 had my first look

HOW I GAVE HERB
at a copy of U&lc. I just couldn't
LUBALIN THE FINGER
get past that masthead. I mean,
AND LIVED TO TELL
there was this ampersand, hanging
THE STORY.
there on a line rule, acting for all the
world like it owned the page.
Now it's not that there's
anything wrong with
an &, as such.
We all know
about Herb
Lubalin's
sensational
ampersands.
It's just that enough is
enough. Or in this case,
enough is too much. Herb's
carried his ampersand peddling
too far. This magazine should say
You & lc., instead of U&lc. We are the
You in U&lc. And that's why I gave H.L.
the Finger. After all, what's a finger between friends? One-tenth of a handshake.

I am the voice of today, the herald of tomorrow.. .

I coin for you the enchanting tale,
the philosopher's moralizing, and
the poet's visions ...I am the leaden
army that conquers the world I
am type.
FREDERIC GOUDY
EDITOR'S NOTE: TIMES HAVE CHANGED SINCE FREDERIC
GOUDY WROTE THIS GOODY. THE VOICE OF TODAY IS NO
LONGER A LEADEN ARMY. IT'S A LIGHTWEIGHT, HIGHLY
FLEXIBLE AND MANEUVERABLE FILM ARMY THAT'S CONQUERING THE WORLD.

21

A good thing about

gossip is that it is
within everybody's
reach, and it is much
more interesting
than any other form
of speech.
OGDE'N NASH

Fly-Speck: The prototype of punctuation. It is ooserved by Garvinus that

the systems of ounctuation in use oythevarious literary nations deoencec
oricinally uoon the social habits and general c iet of the flies infesting the
several countries.Thesecreatures,which have always Peen distinguished
for a neighoorly and comoanionaole familiari -y with authors, lioerally or
niggardly em oellish the manuscripts in process of grovrh under the pen,
according to their bodily ha oit, bringing out the sense of the work oy a
soecies of interpretation superior to, and independent of, the writer's
Where did it come from?
oowers. The "old masters" of literaturethat is to say, the early writers
Most of the common-usage
whose work is so esteemed by later scrioes and critics in the same lanwords and phrases presented
in this department have an
guagenever ounc-uated at all, out worked right along free-hanced,
unusual and, often, an extrawithout that abruption of the thought which comes from the use of points.
ordinary origin.
Not so with the words headline, We ooserve the same thing in children today, whose usage in this oarbody copy, and footnote.
ticular is a striking and beautiful instance of the law that the infancy of
Curiously enough, these words
individuals reprocuces the methods and stages of development charoriginated much after the
manner one would expect
acterizing the infancy of races.) In the work of these orimitive scrioes all
from appropriate parts of the
the punctuation is found, oy the modern investigator with his ootical inhuman body.
Actually, their derivation stems strument and chemical tests, to have been inserted oy the writers' ingefrom metal type, which uses
nious and serviceaole calla orator, the common house-fly Vusca
various parts of the body to
maledicta. In transcri ping these ancient MSS, for the purpose of either
identify various parts of a letter,
making the work their own or preserving what they naturally regard as
figure, or other character
shaped for typographical and civine revelations, later writers reverently and accurately copy whatever
printing use. For example,
marks they find upon the pa oyrus or parchment, to the unsoeakaole
the top of a letter is called the
type face; the sides of a letter,
enhancement of the lucidi -y of the thought and value of the work. Writers
the neck; the base on which
contemporary with the cooyists naTurally avail themselves of the oovious
the letter stands, the shoulder;
advantages of these marks in their own work, and with such assistance
the length below the letter
base, the body and the twin
as the flies of their own work, and with such assistance as the flies of their
shafts on which the whole
own household may be willing to grant, frequently rival and sometimes
rests, the feet.
Thus, a headline is a line at
surpass the older compositions, in respect at least of punctuation, which
the head of a piece of copy.
is no small glory. Fully to understand the important services that flies perbody copy is the main text below the head. And a footnote' form to literature it is only necessary to lay a page of some popular novelist
appears.appropriately just
alongside a saucer of cream-and-molasses in a sunny room and obwhere it should at the very
serve "how the wit brightens ancifthe syle refines" in accurate proporbottom.
*See Partridge, English Usage and Abusage. tion to the duration of exposure.
AMBROSE BIERCE
FEATURETTES WERE SET IN: AVANT GARDE GOTHIC EXTRA LIGHT. KORINNA. AVANT GARDE
GOTHIC CONDENSED. SOUVENIR LIGHT ITALIC. SOUVENIR MEDIUM ITALIC. LUBALIN GRAPH.

22

SELLING ICE CUBES TO AN ESKIMO

BY HERB LUBALIN
Evidently American industry can exist and
prosper without Herb Lubalin's three-dimensional logotypes and trademarks.
Which leads us to the obvious conclusion
that either there's something wrong with us
or, there's something wrong with them.
Since we have great faith in our creative
intuitiveness, revel in the praise heaped upon
us by satisfied and successful users of our 2-D
logotypes and trademarks and bask in the
glory of recognition by our peers, we cannot
set aside, lightly, our predisposition towards
the three-dimensional any more than we can
relinquish our proprietary rights to filling up
"0"s, a subject dear to our hearts, which we
have covered, conclusively, in a previous issue
of U&lc.
Let's face it. There must be at least one
astute corporate executive/graphic design
buyer type, somewhere, who realizes that
three-dimensions are one dimension better
than two dimensions... and recognizes the
world-shaking implications of that fact.
This page is dedicated to that individual.
Shown on this page is a series of cubistic
designs that have been met with little or no
enthusiasm at the market-place. All of the
designs are for sale, at reject, bargain prices,
except for the "dimension" logo which is
owned by CBS Radio, and therefore has
rarely been seen, and the "H" trademark
which was given, absolutely free to a friend,
Hedda Johnson, who probably wouldn't have
bought it for any amount of money.
Permit us, at this point, to trace the history
of these designs.
Dimension: Created early in the 60's, as
a symbol for CBS's Dimensional Radio Programming, it was given an enthusiastic reception by the client, resulting in a modicum of
self-satisfaction to the designer, in spite of the
fact that radio is not exactly the most visible
medium, the result being, that this logo was
more heard than seen.
Spurred on by success, the designer decided that what was good enough for CBS
was good enough for NBC and ABC. So,
when he was approached by a good friend
in TV to design a logotype for a three network network emanating from President Johnson's office in the White
House, he came up with
the three dimensional de
sign solution at left: CBS
NBC ABC. Naturally, it
was unacceptable. The
great debate took place.
Who's on top? Unable to
solve the dilemma this effort sank into complete
oblivion. Years went by.
-

Then, Eureka! A company called Multicon

Construction Corporation retained us to design a trademark. What do you do for a company that manufactures multi-construction,
prefabricated housing? You dig up your old
3-dimensional designs and adapt them to a
multi-constructed four sided "M',' which is
promptly rejected in favor of something else.
Anything else.
Moving right along, you decide to abandon
the American market and place your faith in
the esthetically astute European....Espace Interieur, a Parisian company involved in the
design and construction of interior office
space. So, you borrow from "M" to create "Er'
with the same result. Except, in this case the
esthetically astute European gives it some
thought before the ultimate rejection.
Back in America, an insurance company,
The Academy Group, asks you to design a
trademark reflecting its corporate structure,
which is made up of four separate companies,
under one management hat. Note the coincidental, inadvertent resemblance of the "A"
to the Multicon trademark. This design can
be made available, cheap, to the Associated
Actors and Artists of America.
Our attention is now diverted back to Europe where a Sears Roebuck type operation
called Trois Suisse (Three Swiss) requires a
trademark connoting the multi-faceted nature
of its business. Thus, 3SSS. Our design is
once again found extremely rejectable.
At this point, at a meeting of our board of
directors, this joint decision is arrived at: if you
can't sell it, give it away! We cast an eye about
for a likely customer and, unanimously, selected Hedda Johnson. The design below appeared in full color, as a Christmas Card,
attached to a rabbit foot for good luck.
Good luck smiled upon us. Lo, and behold,
no sooner was the paint dry on Hedda's Christmas Card, when we are asked to design a logo,
for money, for the motion picture ; "The Longest Yard" Our decision to once again try a
cubistic approach is based, to no small degree,
on the amount of material in our reject swipe
file rather than on creating the ultimate solution to the problem. Fortuitously, we did
create the ultimate solution which, inadvertently, went unrecognized by
the client.
This logo is now available,
with a few modifications, on a
first come, first served basis,
to a land developer or somebody in the yard goods business.
We'll try anything ten times.
Which leaves us two to go. Perhaps an Eskimo in need of an
ice cube. Or, maybe, you.

Thanks
again!
Dear Sirs:
Fantastic! Although I am still reading many
of the articles I missed on first perusal, this is
the best thing regarding typography to come
across my desk. It's going to become required
reading for all my student interns after I get
through with it.
Herb Lubalin's article on the "The Story of 0"
was particularly invigorating, since we have
dabbled in the same sort of thing amateurishly, to say the least.
Please keep me on your mailing list and send
me your first issue (which I never received).
Good luck.
Sincerely,
N. Fredric Volkmann
Director, Information Services
Albion College
MINIMMINNO1
Gentlemen:
I have just finished reading your second
edition of U&lc and find it fantastically delicious. Congratulations to all those involved and
thanks for generating this new and exciting
publication.
"Harmony and Joy"
Hank Richardson,
Graphic Designer
Wilbur Smith and Associates
Dear Mr. Burns:
Count me among the fans of your intriguing,
innovative publication, U&lc. Please place me
on the mailing list if possible.
Regards,
John N. Bailey
International Association of
Business Communications
INIII11111111111 11111111 1
Dear Mr. Lubalin:
Rooky-new-guy from farm country here,
writing to a professional for a bit of advice.
I am, and have been for a couple of years,
working as a freelance graphic designer. I've
recently begun to rough out a new display
typeface design which I think has real possibilities. My question, then, is "what do I do next?"
toward the end of having the face cut/cast/
filmed/whatever.
I tend to view the typographic world as a
jungle full of experienced and hungry tigers
just waiting for naive passers-by (like me ).
Can you perhaps suggest where I might turn to
find out where to begin, who to see (and who
not to see), what kinds of artwork to produce,
what to expect. etc.?
I apologize for this demand upon your time,
which I justify only by noting to myself that
from this distance you seem to be thoroughly
committed t6 things typographical and to the
advancement of the field generally.
Thank you in advance for your consideration.
Sincerely,
Richard D. Sheaff
Gentlemen:
You have brought us an excellent,
informative review.
Thank you very much.
Michael O'hare
Benedictine College
Dear People at "U & le":
"U & lc" is the best thing in Graphic Design
that has happened in a long time: stimulating,
informative, thought-provoking worth reading
and looking at from the first page to the last.
Thank you.
Sincerely,
Wolfgang Lederer
California College of
Arts and Crafts
Dear Sir:
I am a professor of Advertising Design here
at Syracuse University. I would like six copies
of LTC& magazine, if possible, for the students
in my classes to read and enjoy. Your mailing
coupon is enclosed. Thank you.
Peter J. Blank
Assistant Professor of Advertising Design
Syracuse University

Dear U&Ic
Just saw a copy of your second issue and
think it is terrific. It would be a great help in
my Graphic Arts and Film Production classes
as a teaching aid as well as a great stimulant
in my free-lance work..Itl really appreciate
your putting my name on your mailing list
and, if possible, sending copies of the first and
second edition.
Thanks very much.
Sincerely yours,
Vance Stevens
Ass't. Prof. of Art
Jersey City State College
Dear Ms., Mrs. or Mr. Type Person,
I have seen a copy of your terrific U&lc and
would love to get it. Would you put me on your
mailing list.
Thanks,
R.G.S.
Recycling Today
Gentlemen:
I have received your second copy of U&lc
somewhat by accident.. thanks for small
miracles! I enjoyed reading it's contents, found
them to be very refreshing, and hope you will
add my name to your mailing list for future
issues. Since we are so close to the start, what
are the chances of obtaining No. 1?
Cordially,
F. Heidinger
Heidinger Wright Marketing Services
Dear Sirs:
Upon returning from a weekend in the
Poconos (while looking over the mail) I found
a copy of Wk.
At first, I didn't have any idea why I would
be receiving your publication. I noticed that
this is the second issue and thought that I
might have the first somewhere. Then, I looked
through it.
I love it. I understand it. I want the first
issue. I want to be kept on your mailing list so
I can be receiving all the new issues I think
you've put out a fine publication. It reads well,
and looks great.
Thanks,
Joseph B. Pobereskin,
Editor in Chief "Revelations"
The Fashion Institute of Tbchnology
Dear Sir:
I would be happy to buy Vol. 1 No. 1 if it is
still available. I'm with you, (looking forward).
Charles F. Mullen
Communications Graphics Div.
Dear Mr. Lubalin:
A friend recently forwarded me a copy of
U&Ic. I examined it carefully. I have a question.
Would you kindly add my name to your subscription list your permanent subscription
list ? For just as long as there is U&lc to be
read. Thank you.
And thanks for your (and yours) continual
and exceedingly competent contribution to the
faith of typograffiti. Please keep it up. Both the
good work-and the faith.
Sincerely yours,
David Russell
Dear sirs:
We just came across a copy of your outstanding publication U&lc. Please let us know how
to subscribe. We loved vol. 1, no. 1; if we missed
no. 2 already, please send it along.
Thanks.
Karen Keating
Intramedia Associates
Dear Mr. Lubalin,
Enclosed is a dollar for your coffee fund, in
return for kindly being placed on the mailing
list of your Ufflc.
Thank you,
Curt Stens
Graphic Artist

Gentlemen:
Please add my name to your mailing list.
Your magazine fills a very large gap, and very
nicely, too.
Thank You,
James Moehrke
Dear Sirs;
After seeing your publication U&lc, I have
no alternative but to beg you to be so kind as
to put me on your mailing list.
I would also like your past two issues if that
is still possible.
If there is some charge, please either send
me a bill or the amount (86) needed before I can
start receiving your publication.
I am gratefully yours;
Charles Gugotto
Gentlemen & Ladies:
In a word, "PHAN-TAS-MA-GOFtICAL:' Amen!
Sincerely,
Kelly R. Crais
Owens/Neds
P.S. Yes, please, send additional complimentary
copies of U&Ic as they become available. My
only complaint is that I did not have this ten
years ago. Thanks again.
Dear Sirs,
We have just read the second issue of U&lc
and would like to be put on your mailing list for
future complimentary copies and anything else
you might publish.
Since the Library plans to keep each issue.
would it be possible for us to receive volume
one, number one, so that we may have a
complete file?
Thank you.
Sincerely.
Gail R. Gilbert
Art Librarian
University of Louisville
NUMNI
Gentlemen:
I've just read your second issue and Its
sorry I missed the first one! Interesting and
concise information presented in a fashion
that's absolutely dazzling. Please keep up the
good work.
I am going to file all copies for future use
there will be a lot of such use, Its sure.
Judith Stachnik
The American School
Board Journal
Dear Sirs:
I have just read your second edition of U&lc.
Ws great. Pm sure you are on the right track
and will continue the great job you are doing.
If possible, would you please send me Vol. 1.
No. 1, and put me on your mailing list. Like all
of your other readers, I don't want to miss a
single issue.
I have been in the printing industry a short
time, eight years, but my greatest love is typesetting, or maybe I should say typefaces. I
thought I knew a lot about type until I read
your magazine. I can tell that Iin really a
novice, and hopefully through your work I can
learn more.
Sincere Appreciation
& Best Wishes
Byron L. Flowers
Dear Gentlemen:
Thanx to a friend I was able to read and
enjoy U&lc for the first time. I n sorry that I
missed issue No. 1. My congratulations for a
fine journal and my best wishes for your
continued success!
Only one thing bothers me....I just couldn't
bring myself to cut you up for the many things
you offered that I wanted....Iba sorry but
I just couldn't do it.
Again, it was my pleasure meeting you and
I hope to see you often!
Most sincerely,
Luis Tomas Estrada
P.S. Could you please send me an issue of No. 1?
I'd really appreciate it if you could! Please!

Dear Sir,
I have just received a copy of the 1st issue of
the "U&lc" (Upper and Lower Case). I must
congratulate you on having come out with a
journal of this type to bridge the communication
gap between the typographers and type
designers internationally.
Designers like us only know the product of
the years long thinking of designers from other
countries long after its out and that too not with
the desired details. I hope the "U&Tc" will take
up this task and project the recent-most develments in type designing as well as some
necessary details.
I would also suggest that your page "My
best with letters" should cover designers from
upcoming countries like India working in the
field of graphic design and typography. Or why
not cover these countries in your column
"Young Typography"? In case you would like to
invite my cooperation, I would be very glad to
provide this to you.
I am glad I have received the first issue. I am
sending my subscription by separate mail after
completing the necessary formalities.
With regards,
Yours sincerely,
Yeshwant Chaudhary, MSIA, NDD-UK
Communica/Corporate Communications
'0' Herb...
Enjoyed your article and the latest U&k.
Thanks for putting us on the list.
Herewith is a card from a childs alphabet
game that I thought you might enjoy. I have the
complete set AZ if you ever could see a use
for it.
Thanks again.
Jim Bonner
Jim Bonner Advertising
Gentlemen:
I would appreciate it very much if I could be
on your mailing list for "U&Ic!'
And, if at all possible, I would like copies of
Numbers 1 and 2. This is such a fine publication
that a complete file will be invaluable in both
my professional work and in my work as
chairman of the Graphic Arts Department at
the School of Public Communications at
Syracuse University.
Sincerely,
(Dr.) Edmund C. Arnold
Dear U&lc, Herb and friends:
I've been recently thrilled and delighted by
your newest U&lc. It came to the wrong address
however, so maybe you could send mine to the
above address in the future. This is my only
criticism. Please find 2 enclosures for your
consideration. One is a book of weathered
letterforms from Jerome, Arizona (Ghost Town),
and I have millions more shots from there. All
black and white. Thanks again for the
publication.
Your friend & mine,
Don Weller
The Weller Institute
for the Cure of Design
Gentlemen:
A great publication. In fact, kb....

Lyman Lindas
The Lindas Studio
111111111111111
Gentlemen:
You guys have set some kind of record. I've
never read a paper from cover to cover before.
And now, two in a row?!!
Frank Diebold
Applegate Adv. Agcy., Inc.

Gentlemen:
Have just received volume one, number two
of U&lc and am very impressed. Obviously a
great deal of thought and work went into this
publication. Judging from the letters column
the volume one, number one was greatly
received. That is. by everyone except me.
Obviously a computer error which resulted in
my copy of the first issue being sent to,
perhaps Borneo.
If at all possible please send another copy of
your first issue to me at the above address and
continue sending future copies. A great and
needed publication.
Sincerely.
Earl Talken
Earl Talken Graphics
Dear Aaron;
Thank you for having my name on U&lc's
mailing list. It's great to have my own copy.
Wow! You made a big jump ahead with the second
issue. It is not the looks that matters much, but
what is in it. The content is just beautiful. I am
getting quite a few publications, from our
country and foreigns (French, German, Italian),
but this is it. U&lc is what we were missing,
but not anymore, thanks to you gentlemen.
I enjoyed reading U&lc very much, and do
not want to miss future editions.
If a subscription price is forth coming don't
ask me if I want it. Just send me the bill.
Cordially yours,
Vladimir M. Andrich
Alphatype Corp.
Dear Mr. Lubalin;
I just had the opportunity of viewing your
second issue of U&Ic. It is superb.
Please place me on your mailing list. My
colleague would not allow me to mar his issuer
by clipping your coupon.
Would it also be possible to receive issue 1
and issue 2?
Thank you for your kind attention.
Sincerely,
Thomas F. Schantz
Associate Professor
Kutztown State College
Gentlemen:
I have just read a copy of "U & LC" Vol. 1
number two. It is certainly one of the most
refreshing publications in the Graphic Arts field,
I have had the pleasure of reading. I would
greatly appreciate being placed on the mailing
list to receive future issues.
Sincerely,
Howard Behlert
Johns-Manville
Dear Sirs:
Once in a while, someone opens a door and
a breath of fresh air works its magic. Your
publication opens many doors and windows on
typography, revitalizing and refreshing from
type case to computer.
Now, help us with a couple of problems. We
would like additional copies of U&lc., Volume
One, Numbers One and Two. We have only one
already dog-eared copy of the second issue
which reached us through some divine intervention. With the realization that it would be
impractical to include our entire faculty and
staff on a complimentary mailing list, would it
be possible to direct subsequent issues to:
Kenneth Strickling, Graphic Reproduction
Dwight Horner, Composition and Make-up
Frank Wainwright, Composition and Make-up
Robert Bradley, Machine Composition
Keith MacDonald, Layout and Design
Please include me, too, and even though my
heros are Fled Goudy and Oz Cooper, I am
seriously considering Herb Lubalin for that
category.
Our school provides quality education every
day to over 200 students in printing and your
publication can add a needed dimension to
typographic excellence.
Yours truly,
Richard P. Maliszewski
Department Head
Graphic Arts Department
Ferris State College

LETTERS WERE SET IN AMERICAN TYPEWRITER CONDENSE.)

!ornan
Zoman
Bold
:eavy
Bertnniat l905

Palatine Italic 1 ''

Palatino Bold Rornan178

'Syntax
1 Synt
Syntax gold
1

12 pt
Stempel,
Hermann /Apt,

1; pt

ROMi311
Pabst Extra 00111 ROnta1117

Hans Edna,

t2pt

Pabst Extra Bold

Textype
9 TextyP

Comp'', 39101

toman
kOilla 11

Italic
Italic

Aftsr Oswald S.

apt

Textyl

120

Paragon Roman
Bold Face 2 Bowan

80

Paragon

Text

Textype Bold
Textype Bo

2pt

01,14, Vok,
80

1.7412 114

1.ornan

P-a I

pilgrim Roman
pilgrim Italic
.,1v ,type and i h

tipt
1214

tYtil

12.0
80

iruotrxt
tillotext

AillS

I-loco an

Pia:rain Roman
Platain woman
Plantin Italic
Plantin Italic

*V(

120

Vautist *Sad. Roman

Rouvau
12WateNtt
Italic
Plcattin Bold,
lcoNtin Bold Itali,c

7:\ketkici. Scr.vt

,'\1\.v.N\

80

Tiffany Lig
Tiffany Lig
Tiffany 1401.11,1
Tiffany Mediti
Tiffany De
Tiffany D
Itittany
initlany Viet

WYCC24.11C

cvs cx
\\53\--,x,

CCNIetTS
"C:\

c N.WC\"

7CM4e..7C XAVE.X.NNA:,

MERGENTHALER LINOTYPE COMPANY

Mergenthaler Drive, P.O. Box 82, Plainview, New York 11803

Send us:
Information on LINOCOMP

Type Specimen Chart

LI Other Equipment

Name
Firm
Street Address

Zip

Line Printer

State

City

Phone

487A

25

Mergenthaler

an

069

Mira

company

a
n
C

is
in
is

Ian

Don't settle
for mongrel type!

Ext Born
,/(orri5 F I

When specifying Bookman for typesetting you don't

always get Bookman. Occasionally you may find
Mongro. It's noticeably different but you settle for it.
The next assignment calls for Bookman. Now you
know it's Mongro, but this time you win Foolmex. It
looks like Mongro which in a manner resembles
Bookman, with peculiarities. It may be too late to
change but it's not what you wanted.
From Bookman to Mongro to Foolmexcaught in
a triple play and you are outtime and talent. There
is no need to buy bastardized typography. Specify
genuine Mergenthaler type, properly designed and
born legitimately. Mergenthaler doesn't debase the
original typeface, because as experience has shown,
a hybrid rarely preserves the fragrance of pure letter
form. Mergenthaler faces are not purloined, are authentic throughout the world; and remember the
Mergenthaler library includes all ITC faces.

(3e

val Ronan
eval Italic
Bold Rom.
S4 ,1

Roma n
t Roman
Roman
Roman

Man
.4)v.

it V IA et

')OvirtV L14."

MERGENTHALER LINOTYPE CO.

Mergenthaler Drive, P.O. Box 82, Plainview, New York 11803
(516) 694-1300

Linocomp
A Breakthrough In Low-Cost
Multi-Purpose Phototypesetting

The folks who invented the Linotype present the Linocomp.

It's an important money-saver. Linocomp is a multi-purpose
table-top phototypesetter . . . actually a no-nonsense "photographic typewriter" that can change your entire type life style
with the flip of a lever. Linocomp is
inexpensive to buy and operate
probably the most economical and
fastest way to break into print!
Ask for it.

Mergenthaler puts together

composing needs at a savings!
omp

Software

26

What's New from ITC?

Lubalin Graph and AmericanTypewriter
are new from ITC. Only licensed ITC
Subscribers are authorized to reproduce,
manufacture and offer for sale these
and all other ITC typefaces shown in
this issue. This mark is your guarantee of
authenticity. L
ICENSED

ABCD 'CI IL KT IV\ OPQRST

izEcEmFA -zzin_ wit -m-\\- FAaGIAT: =Cs-_GNTEDms::11P0S1234567890&abcdef
zet--70-vvyB(I?E)
ghifdmropqrstu

/ABCDEFGHIJKLMNOPQRSTUVWXYZ
./ECER4E4V4NNT/VNIN\N\TFAGIGIAIZITHIC
STGINCESSUR0$1234567890&abcde
IghijklmnopqrstuvwxyzetvowyBVE0
ABCDEFGHIJKLMNOPQRsTuvwxy
ZWECEPAMANWIVINV\TFAGGIALCHIT

27

ITC Lubalin Graph was designed by herb Lubalin and crawn by Tony
DiSpigna and. Joe Suncwall. The bold face was created es oecially for the
Public Broadcasting Service (PBS) for their 1974-1975 promotion program.
It was mace available to ITC by PBS for release to all ITC subscribers, Graph
is based on the original Avant Garce Gothic series anc was designed in
the same five weights; light, book, medium, demi and bola The creation of
this Egyptian version, retains the unique and popular features of Avant
Garde Gothic, including the large "x" height of tue lower case alphabet as
well as the ligatures and variance characters in the cap letters. The design
of this typeface stemmed from tfie basic need for a more flexible Egyptian
alphabet, one that would_ be more acabta ole to the requirements of the
contemporary graphic cesigner, and more suitable for the new technology

LUBALIN

STGINCCWISI7PA0$12345678908cabcd
efghijklmnopqrstuvwxyzvwvmayte
13(PSO ABCDEFGHIJKLMNOPQRST

uvwxyzvaccERABIANW1VINMEGIG

TAMTIITSrGINMISI7fO$12345678908c
abcdefghijklmnopqrstuvwxyzw0
iwwey.BOSOABCDEFGHIJKLMNO
PQRSTUVWXYZWECERAMTWAINM
GGI7HHMISrS0$1234567890&abc
defghijklmnopqrstuvwxyz0130?E0
141/ 1974 INTERNATIONAL TYPEFACE CORPORATION

 RICAN
TYPEWRITER
ABCDT-liG IJKLMNOPQRS
WER$1234567890 &ab c defg Im
opqrstuvvvvaEmer3@%!?#goo:ABCD
EFGHIJKLMNOPQRSTIUVWXYZCE OA
1111234567890e99abcdefghijklmnopqr
stuvwxyzcemB@%!?Ci#(*),ABCDEFG
HIJKLMNOPQRSTUVWXYZCZOIE&
12345678908abcdefghijklmnopqrs
)IH
tuvwxyzame110%!?#0-4ABCi
IJKLYN:0_PQRS'

YEE01E12

29

ITC American Typewriter: designed by Joel Kaden in the two lighter weights, and in the
bold by Tony Stan. On every standard typewriter there's a metal bar with a row of teeth spaced
exactly one-tenth of an inch apart. In 1874 this famous bar lifted the typewriter from the inventor's bench and placed it in the office where it changed our reading habits, modified our
concepts of legibility, and eventually opened the world of business to women. The absolute inflexibility of that bar allowed no more space for the 4-stroke 'M' or 'W' than for the singlestroke `I: Designers soon found that a monoweight serifed style stood up well under these
Procrustean limitations, and the resulting "typewriter look" has for generations been the machine's hallmark a hallmark instantly recognized by the man-in-the-street, in-the-office,
in-the-shop, and in-the-home. More elaborate escapement mechanisms threaten to obsolete
this familiar style, but its hundredth anniversary is an appropriate time to salute the shapes
that have so intimately tied themselves into every area of our history. American Typewriter
strikes a happy compromise with its forerunner. The rigid spacing is dispensed with, but the
distinctive typewriter flavor is generously enhanced. And there is just enough nostalgia in
American Typewriter to give it top billing in contemporary typography.

STAN

34567890&abcdalgaijklmnopqrs
to
zceme.f31?"/ABCDEF
GHIJKLMNOPQRSTUVWXYZCE
1234567890&abcdefghijklmnop
qrstuvwxyzce0a9!?0#ABCDE
FGHLTICL1VINOPQRSTUVWXY
ZCE81234567890abcdefghtilri
mnopqrstuvwxyzce0aeZP!?#()
07MSE=101
(c-V LcAOU
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chg
2241ndonua angotcmcww2wmaiNCED
DESIGN PATENT APPLIED FOR

S0

Aside from the text and display

typefaces that have been shown in U&lc,
don't overlook some of our other

26

26
roes
touse
Book
Regular
Roman

o use
man
rn

26
go od
reaso ns
touse

26
GODD
REASONS
DUCE
flUSOIZAMk
MEDIUM

Italic

26
good
reasons
t use
.4aslon
Regular
No223

26
good
reasons
to use
Caslon
Bold
No223

26
reasons
o use
slon
XBold
No223

gooa
reasons
_to use
Gaslon
L.
No-23
Italic

26
good
reasons
touse
Book
Bold
Roman

good
reasons
to use
Book
XBold
Roman

26
good
asons
touse
Book
Regular
Italic

re

R1?1)CalS
BUSORAMA
BOLD

26
od
ons
use
Caslon
Headline

26
reasons
o use
aslon
Lt
No 23

reasons
Douse
Caslon
Regular
Ao223
Italic

26
good
reasons
Ao use
uaslon
Bold
o 2 23
Italic

26
good
reasons
tome
Colston
XBold
No223
Italic

31

Vti)EECES
26

26
good
reasons
to
use
Condensed

usc
Atartathr

26
good
reasons
to use
Ronda
Bold

26
9ooa
reasons
to use

asons

U use

odd
pis
use
Didi

WR

_
NS

USE
MACHINE

26

good

WAsons

to use

nms
oman

26
GOOD
EAUNS
TO ILSE
MACHINE

BNB

26
good
reasons
ro use
UprIghr
neon

Firenze

ood
SONS
to use
hi Faee

Grizzly

26
realas
to up
.

"

26
good
reasons
to use
Grouch

26
GOOD
REASONS
TO USE
NEON

26
good
reasons
to use
Alilano
noman

26
good
reasons
to use
Ronda
Light

2
GOO
!A'S O
P Oita

International Typeface Corporation

216 East 45th Street. New York. N.Y. 10017

Name

Company

Address

76 pages

C ity

26
good
reasons
to use
Honda

State

Zip Code

All of these type

faces are shown
in the original
ITC gold typeface
specimen catalog.
(together with
display showings
of the Avant Garde
Gothic series.
Serif Gothic.
Souvenir. and
Tiffany) which can be
purchased for

$1.50

I= MINIMIIIIIMM MN= =NM MN MN MI

32

A concert violinist is just a fiddler

if he isn'tplaying the right violin.
And an art director or designer may come off looking
like an ordinary layout man if the type he buys is set on the
wrong machine.
Fiddles have their place. For example, they're great for
square dances. And a typesetting machine designed for
newspapers or throwaway publications may be perfect
for that purpose.
But when you're playing Carnegie Hall, you'd better find
yourself a Strad. Here's our Stradivarius: AlphaSette,
by Alphatype.
AlphaSette incorporates exclusive features that enable it
to set type of unmatched precision and sharpness.
AlphaSette is also the world's most versatile phototypesetting system, with more than 2,000 typefaces

available to you on short notice in many cases,

overnight! (And our fonts are priced low enough so
that you needn't be reluctant to order the typefaces that
interest you.)
When you consider quality typography, consider
AlphaSette by Alphatype. Because when you're getting
ready for your next concert, you don't want to fiddle
with less than the best while Romeor a clientburns.
RS.: Drop us a note for complimentary brochures
featuring some of our recent ITC typeface releases. We'll
also put your name on our mailing list, so you'll be
among the first to learn of future offerings from Alphatype.

alphatype corporation
7500 McCormick Boulevard
Skokie, Illinois 60076/312-675-7210
This ad was composed on the AlphaSette System

33

The
Shadow...
The Great
Time Fighter

ITC SUBSCRIBERS

Chartpak Shadow Lettering saves time and money.

This ready-to-use product
instantly adds color and
dimension to all types of
artwork. Use it to produce
"finished" layouts, signs,
package mock-ups, comps;
plus 35mm slides, television animations, and
camera cards.
Shadow Lettering is available in six popular drop
shadow font styles and one
outline face. Each style
can be obtained in five
opaque colors - red, light
blue, green, yellow and
white - and a choice of
three sizes - 60, 72, and
96 point.
Save time, ask your art
dealer for Chartpak
Shadow Lettering today.

THE FOLLOWING COMPANIES ARE ITC SUBSCRIBERS.

FOR INFORMATION REGARDING AVAILABILITY OF ITC TYPEFACES
FROM ANY OF THESE COMPANIES, THE NAMES AND
ADDRESSES OF THESE MANUFACTURERS ARE LISTED BELOW.

ADDRESSOGRAPH MUU1GRAPH
CORPORATION
VARITYPER DIVISION
11 MT. PLEASANT AVENUE
EAST I IANOVER, NA. 07936
(201 ) 887-8000
PI IOTOTYPESETTERS AND
PHOTOLET 1ERING SYSTEMS
ALPHATYPE CORPORATION
7500 McCORMICK BOULEV4121)
SKOKIE, ILLINOIS 60076
(312)675-7210
ALPI IATYPE PHOTOTYPESETTING SYSTEMS
AMERICAN TYPE FOUNDERS CO., INC.
200 ELMORA AVENUE
ELIZABETH, NA. 07207
( 201 ) 35301000
TYPE DIVISION
ARTYPE. INC.
345 EAST TERRA COTTA AVENUE
CI IRYSTAL LAKE, ILLINOIS 60014
(815 ) 459-6220
I)RY TRANSFER LETTERS
IL BERTHOLD AG
1000 BERLIN 61
MEHRINGDAMM 43
GERMANY
(0311) 692011
DIATYPE, DIATRONIC, STAROMAT,
STARSETTOGRAPI I, SUPERSTAR
DR. BOGER PHOTOSATZ GMBH
2 WEDEL IN HOLSTEIN
RISSENER STRASSE 94
GERMANY
(04103)6021-25
COPYTYPE
CELLO-TAK MFG., INC.
35 ALABAMA AVENUE
ISLAND PARK, L.I., N.Y. 11558
(516 ) 431-7733
DRY TRANSFER LETTERS
CHARTPAK
ONE RIVER ROAD
LEEDS, MASS. 01053
(413) 584-5446
DRY TRANSFER LETTERS
COMPUGRAPHIC CORPORATION
66 CONCORD STREET
WILMINGTON, MASS. 01887
(617 ) 944-6555
PILOT TEXT AND DISPLAY
COMPOSITION SYSTEMS

MERGENTHALER LINOTYPE COMPANY

MERGENTHALER DRIVE
PLAINVIEW, N.Y. 11803
(516 ) 694-1300
LINOFILM, LINOTRON, VIP
MGD GRAPHIC SYSTEMS
ROCKWELL INTERNATIONAL
2735 CURTISS STREET
I)OWNERS GROVE, ILLINOIS 60515
(312) 963-4600
INFORMATION PRODUCTS DIVISION
3M COMPANY
3M CENTER
ST. PAUL, MINN. 55701
( 612) 733-1110
PROMAT COMPOSITION
PHOTON, INC.
355 MIDDLESEX AVENUE
WILMINGTON, MASS. 01887
(617 ) 933-7000
PACESETTER, ECONOSETTER

STAR GRAPHIC SYSTEMS

1111 PAULISON AVENUE
CLIFTON, N.J. 07013
(201)478-2800
PHOTOTYPESETTING
FILM STRIPS

DEMO BELGIUM N.V.

P.O. BOX 35
ST-NIKLAAS (132700)
BELGIUM
( 00 76) 6980 10 1
VISUAL SYSTEMS DIVISION

TACITPE, INC.
43 WEST 16TH STREET
NEW YORK, N.Y. 10011
(212) 924-1800
DRY TRANSFER LETTERS

HARRIS CORPORATION
HARRIS COMPOSITION
SYSTEMS DIVISION
215 HIGHWAY 22
WATCHUNG, N.J. 07060
(201) 561-6600
FOTOTRONIC TXT, FOTOTRONIC 1200,
FOTOTRONIC 600
LETRASET INTERNATIONAL LIMITED
ST. GEORGE'S HOUSE
195/203 WATERLOO ROAD
LONDON SE1 8XJ
ENGLAND

( 01 ) 928-0488
I)RY TRANSFER LETTERS
MEC/NORM&
78610 LEPER RAY-EN-YVELINES
PA RAS. FRANCE
(484 83 40)
DRY TRANSFER LETTERS

Leeds, Massachusetts

PROTYPE, INC.
89 WEST 3RD STREET
NEW YORK, N.Y. 10012
(212) 673-7944
DISPLAY PHOTOTYPESETTING
SYSTEMS AND FILM FONTS

D. STEMPEL AG
IIEDDERICHSTRASSE 106-114
FRANKFURT AM MAIN-SUD
GERMANY
(0611 ) 6068-1
TYPE DIVISION

FILMOTYPE
7500 MCCORMICK BOULEVARD
SKOKIE, ILLINOIS 60076
(312) 675-7210
FILM FONTS

A Division of Avery Products Corporation

PRESSURE GRAPHICS, INC.

1725 ARMITAGE COURT
ADDISON, ILL. 60101
(312)620-6900
I)RY TRANSFER LETTERS

DEANS GEOGRAPHICS LTD.

1110 SEYMOUR STREET
VANCOUVER, B.C. CANADA
(604) 685-8236
DRY TRANSFER LETTERS

FACSIMILE FONTS
3600 WILSIIIRE BOULEVARD
LOS ANGELES, CALIF. 90005
(213) 381-1522
FILM BANDS FOR STAROMAT,
STARSETTOGRAPH

chartpak

INTERNATIONAL PHOTON, INC.

355 MIDDLESEX AVENUE
WILMINGTON, MASS. 01887
(617) 933-7000
PACESETTER, ECONOSETTER
PHOTOVISION
OF CALIFORNIA, INC.
8540 WEST 'WAS! IINGTON BLVD.
CULVER CITY, CALIF. 90230
(213) 870-4820
SPECTRA SETTER 1200
VISUAL DISPLAY SETTER AND
2" FILM FONTS

TECHNOGRAPHICS/FILM FONTS
8540 WEST WASHINGTON BLVD.
CULVER CITY, CALIF. 90230
(213) 8704828
FILM FONTS AND STUDIO
FILM KITS
VLSI-GRAPHICS
8119 CENTRAL AVENUE
WASHINGTON, D.C. 20027
(301) 336-1144
DRY TRANSFER LETTERS
VISUAL GRAPHICS CORPORATION
5701 N.W. 94TH AVENUE
TAMARAC, FLORIDA 33321
(305) 722-3000
MANUFACTURER OF
PHOTO TYPOSITOR AND
ORIGINAL TYPOSITOR
FILM FONTS
ZIPATONE, INC.
150 FENCL LAND
HILLSIDE, ILLINOIS 60162
(312) 449-5500
DRY TRANSFER LETTERS

"ITC typefaces not available at this time.

BIDWELL HENNIG,
ART DIRECTOR FOR
KENLY/GUNCH/ELDER9
IS IN A PANIC.
THE TYPE HE'S JUST
SPECIFIED HAS TO
BE ON THE BOARDS
BY 10A.M. TOMORROW.
He's going to call National Typographers, because he knows
we deliver his type when he needs it. Exactly as ordered.
Rushing is part of our business. And coming through in the
clutch has become a tradition with National. (You can imagine how
good we are when things are almost normal.)
If you like the idea of us being in a panic instead of you,
try us on your next job.
National Typographers. We perform.
To hire us, simply phone (314) 241-8297
National Typographers, Inc. 914 Pine Street, St. Louis, Mo. 63101

I;

Gloucester

Century Old Style

Gloucester 103 Bold

Gaudy Old Style 291

(jowly Old Style 291 Italic
Goudy 441 Bold

Century Schoolbook

Aster
Aster Italic

Century Schoolbook Italic

Century Schoolbook Bold

Aster Bold

99

Gloucester 99 Italic

Century Old Style Italic

Gaudy 214 Extra Bold

TAAC

Goody Old Style

Gandy Old Sole italic
Goody Bold

Century Schoolbook 227

Century Schoolbook 227 Italic
ConturiSchoolbook 477 Bold

Goody Extra Bold

UAL

Avant Garde Book

Avant Garde Medium

Clarendon
Clarendon Semibold

Avant Garde Demibold

Avant data. Bold

Clarendon Wide
Clarendon Wide Bold

Headline 595 Bold

Headline 595 Sold Hello

TAAC

aillIllIllimirwamsirmmmowsmummoiwm
It:IA(1A ilk 169
Bast, telt 169 halo

Dorninante Light

Helvetica 765
Helvetica 765 Italic

Domlnente Bold

Baskerville 313 Semi Bold

Baskerville 312 Bold

Helvetica 766 Medium

Weiser,
Basket-silk Bold

Helvetica Light

Fairfield

TAAC

Helvetica t. ight Italic

Fairfield Italic

Helvetica

Fairfield Bold

Helvetica Italic
Helvetica Demibold

MAC

Helvetica Demibold Italic

Berling
Burling Iralir
Belling Semibold
Berling Semibead Italic

Franklin Gothic
Franklin Gothic Italic

Bodoni Hi ndi

Franck Antikva
From& ntikt ,e Itoih

Helvetica Bold

Bodoni Book Italic

Nordisk Antikva

T'AC

Bodoni 504
Bodoni 504 Italic

Bodoni 1:15
Bodoni i35indir

f,turo L4ht
FuturoLoh?

Bodoni 260 Bold

Futuna Book
Futuro Book Italic

Helvetica Bold Italic

TAAC

Janson
Prang Italic

TAAC

Korinna

Korinna Bold
TAAC

Future Medium
Future, Medium italic

F6tura Demibold

Bookman

Future Demibold Balk

Bookman Italic

Future Raid
future, Bold Italic
Futuro Book Condensed
Futuro Demibold Condensed

tAAC

Future Bold Condensed

Future Bold Condensed Italic
Future Extra Bold

Caledonia
Caledonia Italic

Caledonia Bold

Melior 720
Mellor 720 Italic

Mellor 730 Bold

Mellor
Melior Bold
MAC

TAAC

TAAC

Carlton nr 3

Casten nr 3 Italic

Gill Sans 362 light

Century Expanded
Century Expander/ Italic

Gill Sorts 362 Light Italic

Century Expanded Bold

Gill Sons 262 Italic

Gill Sans 262

Gill Sans 275 Bold

News Gothic

News Gothic Italic

News Gothic Bold
News Gothic Condensed

News Gothic Bold Condensed

TAAc

Gill Sans Cyrillic 262 A6ernew

Gill Sons Cyrillic 262 Italic A6ethexc
Gill Sans Cyrillic 275 Bold A6araemc

Trautensilierna i eft tryckeri aro ingalunda en oviktig faktor, for tre

fnadens, ordningens och ekonomiens uppratthallande, och dock fir d
et icke Allan som sorgliga erfarenheter gDras pa grund al dot forst
and meal hvilket ka.ster, formbraden och regaler tiliverkas och forsal
jas. Koster sum aro daligt hopkomna och of otillrackligt tout tea, as
amka snart nog officinen extra kostnader i reparationer. Kasten bOr
vara of kvistfritt och torrt Bra, kannas WE, och lottnen hOr icke var
a limmad men daremot val fasted med skrufvar SAVA' rundt kantern
a som den grOfre midtbalken saint ytterligare med en skruf i krysse
n molten facken. Framstycket med rand hor tiara of ett fastare trust
ag, sasom hjiirk eller rodhok samt heist for trefnadens skull fernissa
clt. dot kan de, afven yid eventuellt behov aftvattas. Bottenmellanlag
get bar vara at guilt tjockt pepper, som icke uppl(mes at vatten, och
ligga fullkomligt slatt man vagor. Alla mellanvaggarne i Wan bora
sitta stadigt uwh nit sa 'Art upp i urskarningen, att de fylla densam
Inc anda upp i doss langdriktning. sa att stycket icke kan lyfta sig fr
an bottnen efter flagon tab: torkning. Kaster som icke uppfylla dens
a fordringar horde aidrig accepteras sasom fullgodt fabrikat, de hilt
a i langden anti& dyra! Trautensilierna i ett tryckeri Aro ingalunda
en oviktig faktor, for trefnadens, ordningens och ekonomiens upprat
thallande, oeh dock ar det kite Allan som sorgliga erfarenheter gory
s pa grund of det ofOrstand mail hvilket kaster, formbraden och twa
14T tillverkas och forsalja.s. Easter som aro daligt hopkomna oeh at o
12315678901234,5678901234567890123456789 0 12345678901234567890

Trautens i lierna i ett trycker, aro tngatunda en oviktig faktor, for trefnad
ordningens och ekonomiens uppratthallande.dch dock Sr det ,cke salla
som sorgliga erfarenheter garas pa grund at det oforstand med hvilket k
formbraden och regaIer tiliverkas och forsaljas. Kaster som aro daligt.lh
och of otiBrack hgt torrt tra. asamka snart nog officinen extra kostnader
reparationer. Kasten bOr vara of kvistfritt och torrt tra, kannas Wt. oc
bottnen bar icke vara limmad men daremot val fastad med skrufvar say
rundt kanterna tom den grOfre midtbalken same ytterligare med en skr
kryssen mellan facken. Framstycket med rand bar vara of ett fastare tr
sasom bfark eller rodbok samt heist for trefnadens skull fernissadt. det
kan dS afven sod eventuellt behov aftvattas. Bottenmellantagget bar var
av godt tiockt papper, tom icke upplOses of vatten, och l igga fullkomligt
utan vagor. Alla mellanvaggarne i kasten bar sitta stadigt och na sa hogt
upp i urskarningen. att de fylla densamma anda upp i dess iangdriktning
sa att stycket icke kan lyfta sig Iran bottnen efter nagon tick torkn1ng. K
som icke uppfylla dessa fordringar barde aidrig accepteras sasom fullgo
fabrikat, de blifva i langden alltfor dyra. Trautensilierna i ett tryckeri Sr
ingalunda en oviktig faktor, for trefnadens, ordningens och ekonomiens
uppratthallande, och dock Sr det icke sallan corn sorgliga erfarenheter g
p5 grund of det oforstand med hvilket kaster, formbraden och regaler t
och forsaljas. Kaster som aro daligt hopkomna och of otilirackligt torrt
asarnka snart nog officinen extra kostnader i reparationer. Kasten bar v
of kvistfritt och torrt tra, kannas latt, och bottnen bar icke vara I immad
men daremot val fastad med skrufvar Oval rundt kanterna som den gro
midtbalken samt ytterligare med en skruf i kryssen mellan facken. Fram
123456789012345678901234567890123456789012345678901234567890
TYPOGRAFENGRUPPEN11/74

Trautensilierna i ett tryckeri aro ingalunda en ovik

trefnadens, ordningens och ekonomiens upprattht
ock ar det icke sallan som sorgliga erfarenheter gd
of del offirstand med hvilket kaster, formbraden I
verkas och fOrsalias. Kaster som aro daligt hopkom
Irackligt torrt tra, asamka snarl nog officinen extra
eparationer. Kasten bdir vara of kvistfritt och torrt I
tt, och bottnen bOr icke vara limmad men daremot
d en skruf i kryssen mellan facken. Framstycket mu
ara at ett fastare traslag, sasom biOrk eller rOdbok
r trefnadens skull fernissadt, dot kan de, afven vid
hov aftvattas. Bottenmellanlagget bar vara of godt
r, som icke upplOses of vatten, och ligga fullkomligt
gor. Alla mellanvaggarne i ladan bora sitta stadigt
t upp i urskarningen, att de tylla densamma anda t
gdriktning, sa att stycket icke kan lyfta sig fran bat
gon lids torkning. Kaster som icke uppfylla dessa fi
dealdrig accepteras sasom fullgodt fa brikat, de blifv
ft& dyra! Trautensilierna i ett tryckeri aro ingalunda
, trefnadens, ordningens och ekonomiens ut
ktor,fdir
e,och dock ar det ickesallan som sorgliga erfarenhet
undaf detatarstand med hvilket kaster, formbraden
Ilverkasoch fOrsallas. Kaster somarodaligt hopkom
12345678901234567890123456789012345678c
TYPOGRAFEtAGRUPPEN 1914

TYPOGRAFENGAUPPEN1104

TYPOGRAFEN AB, PYRAMIDVAGEN 7, BOX 1164, 171 23 SOLNA 1, TEL 08-27 27 60

TYPOGRAFEN AB, STORA TRADGARDSGATAN 3 B, BOX 6104, 200 11 MALMO, TEL 040-11 26 50, 11 26 60

TY/PHO/GRAFEN A/S, SOLVGADE 10, 1307 KOBENHAVN K, TEL 01-1511 3

35

Old Style 53 Bold

Old Style 33 Bold Ital ic
rut

Tiffany Nledivoli
Tifton. , Dcznilo.ia
Tiffany heavy

Optima 722
Optima 722 Italic
732 Semibold

Optima

Hales
rime, /w/R

Thnes Bold
Times Bold ludic
Palatino
Palatino

Italic

' rift:, 32
Time, I2 - 111.

Palatino Semibold

imes 334 Bold

TAAL

iTimes34BoldItac
Times Cyrillic 327 AfieracAi
Times Cyrillic 327 Italic Aiiitear.ne
Perpetua 239
Prrreina 239 hall ,

Times Cyrillic 334 Bold Atsm aem

Times 565 A firic;r1.,.

Perpetua 461 Bold

Times 566 hulk All-,0, 517

Ti
567 Bold APT151,,ri

Plantin
Plantin Italic

42 1 semibold
Times
Times 421 Semibold Italic

Marin Bold
MAC
Plantin 110
Plantin 110 Italic

Plantin 194 Bold

Trade Gothic
Trade Gothic

Trade Gothic Bold

TAAC

Univers 45
Univem, 46 Italic

Univers 47
Unites 48 Irak.

Univers 53
Univers 55
Univers 56
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Univers 57

Rockwell 390 Light

Rockwell el
ictit Ita

amen 51 Italie

Rockwell 391 Bold

83

AUTEINSILIE

RINA I
,th
Erraro ingalunda
autensilierna
ekonomiensi ett tryckeri
TRYCKEPI

Sahon 669
Sahon 669 Italic
Sabon 673 Semibold

ph grund
ARO
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och dock

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och at otillrackligt tom tra, asamka
Kasten bar vara af kvistfritt och to
vara limmad men daremot vat fastad nteta ,
som den grbfre midtbalken samt ytterligare medVfisity..
Framstycket med rand bor vara at ett fastare traslag, sasom
samt heist for trefnadens skull fernissadt, det ken da afven vid eventu
behov aftvattas. Bottenmellanlagget bor vara af godt bock/ pepper. som i
upplOses af vatten, och ligga fullkomligt slatt utan vagot. Alla mellanvagg
i Man bora sitta stadigt och na sa hogt upp i urskamingen, ett de fyila de
anda upp i dess langdriktning, sa aft stycket icke ken lyfta sig fran bottne
efter nagon tids torkning. Raster som icke uppfylla dessa fordringar Nord
aidrig accepteras sasom fullgodt fabtikat, de blifva i langden alltfor dyra
Trautensiliema i ett tryckeri Oro ingalunda en oviktig faktor, (Or trefnaden
ordningens och ekonomiens uppratthallande, och dock ar det icke salla
som sorgliga erfarenheter gores pa grund af det oforstand med hvilket k
formbraden och regaler tillverkas och fOrsaljas. Raster som aro daligt ho
och af otillrackligt tom tra, asamka snart nog officinen extra kostnader i r
Kasten bor vara af kvistfritt och tom tra, kannas latt, och bottnen bor icke
vara limmad men daremot cal fastad med skrufvar saval rundt kantema
123456789012345678901234 567890123456789012345678901234

TRYCKERI AR

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t,

TYPOGRAFEN kS, KARL JOHANSGATE 25, POSTBOKS 59 SENTRUM, OSLO 1, TLF. (02)330019, 33 20 01 OY SUOMEN TYPOGRAFI, AAKARINKATU 4 C, HELSINKI 15, PUH. 13695

asalnka

srtart

nog offic

36
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D'Arcy-MocMonus Advertising.

In 25 years of using type, I don't believe I've seen

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W S. Adamson and Associates

Gaylord F. Walter
Dept. 732A
Sears, Roebuck & Company

Volumes 1 and 2 of your new "RyderTypes"

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most complete type book for just $5

Those responsible: top

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The booksVolume 1
Display faces
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more of both.

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Typical display type page showing complete

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iii(laisivaisnoraarrunara
abakfistaldanopqatuvemp
Nala47$90

Typical text type page showing examples of

different letterspacing.

0C31174[4011d005Q110M01131423t1
Oxacf.K.4PIIPOcaoaxtozagsms

Type area comparisons

11W807009K)

8444112

Point size with character count

----41CDE4(41791860PORSTUVWXYZ8
./a4)]
412345678904
a4E3c0GCCQ241VS45e711Yo

MEA0423CEQRS196Nelthr
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37

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John Seybold, who, with Jonathan,
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ADDRESSOGRAPH MULTIGRAPH
VARITYPER DIVISION

38

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Antique Olive
Antique Olive
Antique Olive
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Kabel
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Berthold fototype Company

PO Box 430
Willet Street
Bloomfield
New Jersey 07003
Telephone 201 429-8800
TWX 710 994-4765

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Lightline Gothic

Futura
emb

Karten-Augustea D

MurC

KR,,Acie YeZri-Zevf.#0
61,Figick Yareihare
eagrAcife 55iireeAck0

Akztdenz-Grotesk Buch
Akzidenz-Grotesk Buch

Avant Garde Gothic

Avant Garde Gothic
Avant Garde Gothic

rEi

Cooper Black
COO o{Asp almea
Egizio
Egizio

....
..

39

Lista(menuofNewFaces)
Facciallova
Here's a few of more than 100 new, hand-drawn typefaces from Italy. They're yours for the ordering. But like any Italian menu the ordering can get complicated.
We want you to learn the dishes (and the types), so we've listed the Italian name in black; what it means in green (and the name of the face in red). Take your time
and study our menu (and faces). When you're ready to order call Quad at 986-6262 and we'll send over fresh type faces from Italy. (You find the dishes!)

kffagC)ZaM EfffLEMM
CLEARFACE OUTLINE SPECIAL

SD pirde Beccafico

Lobster Mariner

Stuffed Sardines

Spa ragi Parmigiana

Peperoni Imbottiti
Stuffed Peppers

COOPER SPECIAL

Rollini di Vitella
Veal Rollettes

Asparagus Parmesan

CLEARFACE THICK SPECIAL

AMERICANA THICKEST SPECIAL

IVIelenzana Griglia

Fette di Salmon

BRITANNIC THICKER SPECIAL

B[FIM

BRITANNIC OUTLINE SPECIAL

MSS:cOmon

Pignolata-Strufoli

llroped Calves Liver

i

Saltimbocca Romana
AMERICANA THICK SPECIAL

Chopped Veal &Ham

PERPETUA THICK SP ECIAL

Polenta con Sugo

BRITANNIC THICK SPECIAL

Italian Conn Bneac

Salsiccia alla Griglia
Broiled Sausage
KNIGHT GAWAIN SPECIAL

BAccala alla Firenze

Taa TIDTomata

LOOKING GLASS OPEN

Anibal elle Arancla

Roast
Aas t Duck with Oranges
Tripp con Limone
LOOKING

pEapasaplilliclli Casa Nan

DASHOW BOLD

Broiled SalmoR Steak

lins 1-1 Htter's Seta

Carciofi Siciliana

gporia fina Agliaba

Stuffed Artichokes

pppd:on vAth Oar,

Fritelli di Pdtate

Capitone Fritto

DASHOW LIGHT

ERMOCON LOUR

BASKERVILLE THICK SPECIAL

Tpje-Nut Clusters
Pallottole D'Aranci
CA( oiTiggig qc1
Fagato di Vitello

LOOKING

ADVERTISERS GOTHIC BOLD COND. SPECIAL

AMERICANA THICKER SPECIAL

CHELTENHAM SPECIAL

GLASS CONDENSED

Tripe
GLASS with Lemon
Polio in Umido
LOOKING

GOADS THICKEST SPECIAL

Chicken Stew

BASKERVILLE THICKEST SPECIAL

DOMINANTS BLACK

KABEL LIGHT STENCIL SPECIAL

Fried Eels

Potato Pancakes
KABEL BOLD STENCIL SPECIAL

e)eleoffaccz %go
RO4A fekkkOF
HAPPY SID OUTLINE

HAPPY SID SHADOW OPEN

cACPpimafbim__mBilmnaD
Squid withWine Sauce
P9119,1mbottito

Frittata di Cipolla
FUTURA NEON DEMI BOLO SPECIAL

Orlon Ormds2

St. Joseph's Cream Puffs

PERPETUA THICKEST SPECIAL

Zuppa di Pesce
PRIMUS FLEX SPECIAL

Seafood Combo

TRUMP THICK SPECIAL

mache Siciliana

Stale Oh cr}gl,

gogriz okLiimn

PescaSPECIALCon Vino Russo

Bistecca Pizzaiola

EGYPTIAN TREED

AMERICANA CONDENSED

Fish with Red Wine

GOUDY THICK SPECIAL

OaMffia TYAAUCM62

BRITANNIC CONDENSED SPECIAL

Agnello
con Riso
SPECIAL
ADVERTISERS GOTHIC BOLD

Lamb with
Rice
SPECIAL

Mann Chme

CennUeo Peteto

Pasta e Fagioli

Sea Shells & Potatoes

Macaroni with Beans

Las
agne al Forno
TRUMP TH CKER SPECIAL
BAKED NOODLES

1Pernici al Forno
oasaced, ffant a

Frio 41 hhotthl
Fried Frog Legs
SpaOhEtti alla Carbonara

Pizza sicinana

ADVERTISERS GOTHIC MED.

HELVETICA CURT OUTLINE SPECIAL

BODONI FANCY MODERN SPECIAL *

ROMANA OUTL INE SPECIAL

ROMANA THICKER SPECIAL

ADVERTISERS GOTHIC LITE SPECIAL

SpinghlEM
van PaPh
SPECIAL

FUTURA NEON OUTLINE SPECIAL

ROMANA THICKEST SPECIAL

Ly

DASHOW SHADOW

GOUDY THICKER SPECIAL

Sfingedi San Giuseppe

CLEARFACE THICKER SPECIAL

WEISS THICKER SPECIAL

WEISS OUTLINE SPECIAL

Tomato
PIE
VIEW
LIMITED

Elyjajalino

Rocasted Suckling Pig

ADVERTISERS GOTHIC OUTLINE

Quad vpo rap Inc:

216 East 45thSt. NewYork, N.Y.

WINKLE BOLD CONDENSED

you are lucky enough to work in Fun City, write or call for a free, 3-color (18x24) poster.

meg- 62

Arrostito

40

ZI C tone
U

DRY TRANSFER LETTERS

An all new dry transfer lettering system with over
200 type styles to choose from. Zipatone's
unique transfer sheet will not dry out ...
Guarantees sharp transfer for as
long as 10 years. Completely
redesigned carrier sheet
averages 30% more
letters than any
other system.

Look
outslides
the face

Books and Periodicals in Original

Editions for the Documentation of the
Art of the 20th Century: Futurism,
Cubism, Dada, Bauhaus and
Constructivism, De Stijl, Surrealism,
Expressionism, Post War Art,
as well as Architecture,
Typography, Photography and Design.

Finally, a slide house that understands

what a type-conscious designer looks for
in an audiovisual presentation.
Our trained people are experienced
in all methods of phototypesetting and
computerized typography for television,
presentation, and sales meeting slides.

1. The Major Movements of 20th Century Art"

Catalogue available October 1974

We offer design assistance, the oldest

computerized typesetting installation of its
kind in New York, the finest in color and

2. "From Dada to Duchamp and their Descendents"

Catalogue available March 1975
3. "Appollinaire to Surrealism"
Catalogue available September 1975
Interested in the purchase of original editions,
single copies or libraries: Books, Posters,
Periodicals, Exhibition Catalogues, Livres
de Peintres, Photographs and Ephemera.

Write for illustrated catalogues to

ex libris 25 East 69 Street New York N.Y. 10021

black & white slide production services,

and excellent production schedules.
The face you show your clients

11

a slide presentation is important.

Slide inA slide house that knows its faces

can make the difference.
9

HOUSe

Inc.

305 East 47th Street, New York 10017 (212) 758-5171

41

e most versatile, professions

visual' Headline Setter made in the .S.
...now complete at under $1700

(ALSO
INCLUDES
$100 to $500.
IN FILM FONTSFREE)

Quartz Light System & Blower Fan

insures 10 to 40 times the lamp life
of normal rotating bulbs.

Easy, efficient Push Button operation with our

exclusive motorized film font transport system
...no pot metal gears, cables or cranks.
High impact, non corrosive ABS Case houses
telescoping, electrical and mechanical
components.

Easy to use modification lens set for

condensing, extending, italicizing,
backslanting, etc., all from one font.

Our exclusive 'Tracker' font loading system

saves frustrating and time-consuming
loading of curled film fonts.

Longer bellows provides an extended

range of sizes from 1/8" to 6" high letters

Counter balanced 'Easy Glide' extended

range mechanism for fast size changes.

...and even full wall projection.

See each letter and your complete job as

exposed for perfect 'Visual' Spacing.
Check your image size right on your work
no guessing, setting, resizing and
material waste. 61/2"x17" image area
allows you to visually bounce, stagger,
interlock and set line over line, on paper
or film.

A sharp, direct-thru exposing image has

eliminated reflectors and plastic cells that
can impair quality. A foot switch also saves
moving your hands for each light exposure.
Heavy duty industrial
timer insures complete
repeatability.

Sets up in a 2' square area.

3 way tracking mechanism together

with infinite adjustment allows
for precise all way' table
movement.

No 'in machine' chemicals to crystalize

or corrode the setter. Eliminates
continual machine cleanup, both
before and after setting.

Easy to use
Push Buttons

THE NEW

Figgiffgri

is the newest,
lost dynamic headline setter concept in the U.S. Designed
ly Phototypographers who have used every major headline
etter on the market ...and have devised the ultimate setter...yet,
ave priced it at 1/2 to 1/3 the cost of less versatile machines.
Vhether you use the Spectra Setter 1200 in a production type shop,
r set your own headlines in an agency or studio, we unconditionally
uarantee that no other setter can do a better quality job as fast or
s easy as our new Spectra Setter 1200. This unique setter has an
xtended range of setting and versatility. There are no tunnels to
eer through, no setting and guessing, or unnecessary problem-

causing parts, because the Spectra Setter 1200 is the

'Pro' machine. Price: Only $1295. to $1695. depending on
your font selection, including $100. to $500. in fonts. FREE.
Why pay more for less than the best? Order your own exciting
Spectra Setter 1200 today... and start making, or saving, money
tomorrow. If you have a need for modifying art and type, also ask
about our exclusive 'Mod Shop' system. We also offer a plan to
finance qualified firms or individuals to start, or expand, a full service
headline shop with over 2,500 styles. Details upon request: from
PhotoVision, Box 552-R, Culver
City, CA 90230, (213) 870-4828.

IN
r

1SION

We License all ITC,TDI, Schaedler and Supply all normal Typefaces Over 2500 Styles Making Our 2" Film Font Library One of the World's Largest.

Tabasco Licht Medium Bold Ad O11d ,ji OLG-CoG

Ikaii Sehipaddi DUURlik LC-- MEDIUM BOLD gantinigvid Caslon Headline ao,ssmer

Avant Garde Book Medium Demibold Bold

Bernase Roman
ClUCUME111 I/ISM/111W medium bold Devinne Extra Bold Black EAK1-1 PAT @AT FM het PIONE
IleilSba Jason !Wino Bold Korinna Bold Extra Bold Heavy totem NEON dOPie Thin bight Medium Bold Inn
Tiffanywithsw,,kLight Medium Demibold Heavy Souvenir with 8wa skLight Medium Demibold Bold
In
Gt i) Serif Gothic Light Bold Extra Bold Heavy Black OuMnG, P ;file itig W
griOF' Shado mAILE
;

Wann4on Ara L51L Li3li Medium Bold Black Stipt LubalinGrap -IXT ight Book Medium Demi' Bold
SHOWN ABOVE IS JUST A SAMPLING OF THE NEWEST STYLES AVAILABLEAND THE LATEST LUBALIN GRAPH RELEASE READY FOR ORDERS .

Order the 5 weights of Lubalin Graph now and get our exclusive outline font FREE!
PhotoVision of Ca. Inc. is the Sales & Marketing Subsidiary of the Lettergraphics International Inc. Corporate FamilyThe 'Phototypographic People

42
AKRON, OHIO

Some people might

call this a match book.

The Akron Typesetting Co.

ATLANTA, GEORGIA
Action Graphics, Inc.
BALTIMORE, MARYLAND
Maran Printing Services
BENTON HARBOR, MICHIGAN
Type House, Inc.
BLOOMFIELD, CONNECTICUT
New England Typographic
Service, Inc.
BOSTON, MASSACHUSETTS
Berkeley Typographers, Inc.

Others, especially
some art directors we
know, might even call it a
layout. Either way, we'd
call it a job that needs to
be done quickly, accurately and exactly
to the art director's liking. We
are the Advertising
Typographers Association of America,
and service is a giant
part of our business.
We work very hard
at getting to know you
so that we can interpret
your layouts your way.
Like making effective
use of white space, giving
you tight or loose rags,
hanging punctuation or
whatever.
We'll have that
what-do-you-call-it type

face and your repros

when you need them.
And because we offer a
wide, wide range of services, chances are your
job can be done under
one roof.
Our member
shops have gotten so
successful at personalizing this service
that we rank with
the foremost
advertising
typographers
in the United States
and Canada.
So if your favorite
type shop isn't giving
you this kind of service,
maybe you should call
one of the quality shops
of ATA. We'll try to
read your minds, as well
as your match books.

Composing Room of New England

CHICAGO, ILLINOIS
J.M. Bundscho, Inc.
Frederic Ryder Company
'Ibtal Typography, Inc.
CLEVELAND, 01110
Bohme & Blinkmann, Inc.
COLUMBUS, OHIO
Yaeger Typesetting Co., Inc.
DALLAS, TEXAS
Jaggars-Chiles-Stovall, Inc.
Southwestern Typographies, Inc.
DAYTON, OHIO
Dayton Typographic Service
DENVER, COLORADO
Hoflund Graphics
DETROIT, MICHIGAN
The Thos. P. Henry Co.
Willens/Headliners
HOUSTON, TEXAS
Naylor Type & Mats
INDIANAPOLIS, INDIANA
Typoservice Corporation
MIAMI, FLORIDA
Wrightson Typesetting, Inc.
MINNEAPOLIS, MINNESOTA
Dahl & Curry, Inc.
Duragraph, Inc.
NEWARK, NEW JERSEY
William Patrick Co., Inc.
NEW YORK, NEW YORK
Advertising Agencies/Headliners
Artintype-Metro
the Composing Room, inc.
Franklin Typographers, Inc.
King-Weltz Graphics
Master Typo Company, Inc.
Royal Typographers, Inc.
'Tri-Arts Press, Inc.
TypoGraphics
Communications, Inc.
Volk & Huxley, Inc.
PHILADELPHIA, PENNA.
Walter T. Armstrong, Inc.
Typographic Service, Inc.
PHOENIX, ARIZONA
Morneau Typographers, Inc.
PITTSBURGH, PENNA.
Davis & Warde, Inc.
PORTLAND, OREGON
Paul 0. Giesey Adcrafters, Inc.
ROCHESTER, NEW YORK
Rochester Mono/Headliners
SYRACUSE, NEW YORK
Dix 'Typesetting Co., Inc.
TORONTO, CANADA
Cooper & Beatty, Ltd.
MONTREAL, CANADA
McLean Brothers Ltd.
BRISBANE, QLD., AUSTRALIA

The quality shops of ATA. We know your type.

SOLNA, SWEDEN

Advertising Typographers Association of America, 461 Eighth Avenue, New York, N.Y. 10001, Walter A. Dew, Jr., Executive Secretary

Typografen AB

Savage & Co., Ltd.

new goodies from

Pt:

Lettergraphics/Pn \ohobetr
Letter9raphigg htAlphabeir
Lettergraphics iuAlphabetr
Lettergraphics Alphabet/
Lettergraphips Alphabets
LettergraphipsAlphabets
LettergraphickAilphabets
CLI P FORREF E RE NCE

lettergraphics Alphabets
LeTTeRGRallipm dtPlidBeTS
LETTERGRAPHICS ALPHABETS

LEGGENPaPtfigs RIPhabets

Lsbbe

1iONSIN/0/5

Wellington Black Italic

Lettergraphics Alphabets
Sebastian

lettergraphics Alphabets
Steen Sans designed by Marlene Steen

Lettergraphics Alphabets

`-=

6,2to
J'ece A
le%errgrreRIFIF,1?hebeW
McGrath

Lettergropligedylphabetp

Lettetraptist #1phabeto
'ergropM5_,Fedy pho 9
Lettergraphics Alphabets
Carboni Medium designed by Donald Carboni

Detrich Sans designed by Edston J. Detrich

LettentotaPhics Alphabets
Arlenette designed by Patrick Collins

Lettergraphics Alphabets
Twenties designed by Joseph Churchward

LOtili*G9Miplkil9d#11phabeti$

Lettergrapj#51411phabetv
ieuergraphisp epiphobeio

Letterraphics Ilphaleds
Rowland Grotesk designed by Martha A Rowland

Lettergraphies Illplhahets

Letter9ratAlphabets
pchis-On

Roberts Square designed by Reynolds M Roberts

iGt-Wramphic4 44pliefigt4

Lettergraphy,;rs Alphabets

lottecreplal" 141'1E19644

Colescombe designed by Peter Solly

601$1thrgra,olf,ce 06666 lattergraph* Alphabets

Streak designed by Robert F. Brightman

Lettergraphics Alphabets

01% itylP Lata

Lettergraphies Alphabets

ph ets

LETTERGRAPHICS ALPHABETS

ICICat\I

Lettergraphics Alphabets

Lettergraphics Alphabets

e ergra ics

ITTE__F- T

Di Canzio Sans designed by Michael Di Canzio

Lettergraphics ,Alphabets
Lake MmTUPOROUTBEI ets
n age Outline Shado

hics

La Grange designed by Robert L. Cooley

La Grange Black designed by Robert L Cooley

Frager Punch designed by Herbert L Frager

Padua designed by Anthony Liliefeldt

mol)egaalphabets
LetteroraphimAl pha bets
41111

Lettergrap(1940, OphabeLf
a.1.11t1p?313.

Vantage Shadow

1141,1iteJ
11

Yiviva1.i-i 44

Arttotsagaitica, diephaaeta,

Ruby Shado

Herness Script designed by Ray L. Herness

Lettergropbigsaelphabeti
kittouvrdplik4
411plia6sti
! 1 moDogresiabhmllatz
Lettergraphics Alphabets
V antage Open Shadow

Botsch Glob designed by Robert E. Gotsch

Radius Bold Outline

LETTERGRAPiiip IIIIHRBETS

Lettergraphip Alphabets

141111141141PIIICI l.QttwvaphicsigptiphabQts
Borsch Toe designed by Robert E. Gotsch

Skidoo Outline

1'73

lettetliapll*.(alpliatete

lerizslaau mi.omey

Lettergrapht, Alphabets

LETTERGRAPHICS ALPHABETS

Lettergrcips Alphabets

LetterstaplAu Illpitaberu

Chrome designed by Donald L. Vernon

Mamoru Bold

Latlhergrophics Illphobets
Wellington Black

Lettergraphies Alphabets

Plastic

Churchward Lined designed by Joseph Churchward

boblutrimplisa elhphabahm

uturgraphic Ad Alphab420

A [11 1 NT
Lorish Shadow designed by John E. Lorish

LettErcraohiEs RiphabEts

6441

Brightman

aicti

Lefierlrapkrks AI bets
LettergraphiBp Alphabets

Times Square designed by Alfred Guerra

Call your local Lettergraphics office for showings of these and other new styles
LOS ANGELES, Main Corporate Offices & Design Studios 870-4828 N Y.0 , MKP MU 2-3498 & 0 S Co JU 2-47 J4 DALLAS 742-1741 KANSAS CITY 471-2585 BUFFALO 853-2890 CHICAGO
DETROIT 964;030 PHILADELPHIA 023-4410 HOUSTON 522-1654 INDIANAPOLIS 634-1234 ATLANTA 875-7676. SAN DIEGO 234-6633 PHOENIX 252-3456. SANTA ANA, CA. 541-2288- RENO, NEV
" MINNEAPOLIS 336-3394 HAWAII 538-3065 BOSTON 426-0272 NEW ORLEANS 524-0- DAYTON 223-6241 NEW JERSEY (201) 241-6161 MEMPHIS 725 186 ,-, WINNIPEG
SAN FRANCISCO GA
TORONTO 364- 7272 MONTREAL 861-7231 JAPAN TOKYO 503
1 ,-) AUSTRIA: WIEN 83 91 10 GERMANY MUNICH 29 50 47
WEST BERLIN tither
LONDON 01-402-6141 SWEDEN SOLNA 27 27 60 PARIS 277 3 7 87
U
FRANKFURT 0611 ,'24651 STUTTGART 07154 1323 HAMBURG 3112 56

'

44
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ABOVE STYLES ARE ONLY A FEW OF PHOTO-LETTERING'S "LEGAL-LOOK"ALPHABETS.
FOR ADDITIONAL LITERATURE WRITE TO PHOTO-LETTERING,INC.,DEPT. 500

45
At Mastropaul Design we offer clear, concise and creative solutions. Complete production
services include heavy economic savvy and detailmania. Face it. When your hire our
hands, you get our heads.
Mastropaul Design Inc.,
6562 Ridings Road/Syracuse, N.Y.
13206 (315) 463-9175
Packaging, Illustration, Advertising/
Sales Promotional Design, Audio
Visual Presentations

Announcing
the latest in
a useful
array of
original type
catalogs...
the first
complete showing

FACSIMILE

of keyboard-set
photo Helvetica.
Yours for the

4F font,

film

/OLO TN

111/011111.0
iACSIMME

SOLD THROUGHOUT THE WORLD

Facsimile
Fototype
3600 Wilshire Blvd.

Los Angeles, Calif. 90010

(213) 381-1812
VI/1M MICVTO-LETTIONIGIIIIICHIMI

asking.

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KORIMIA

24 pages

20 pages

If you would like to start your own personal collection of colorful ITC specimen booklets, you
can begin now by returning the order form
on opposite page accompanied by your
check or money order. (No booklets will be sent
unless the order is accompanied by your check
or money order or by an official purchase order
signed by an appropriate purchasing agentfor
your company. Personal purchase orders will
not be accepted and invoices will not be sent to

12 pages

20 pages

24 pages

individuals who order booklets and ask to be

billed separately.)
Each issue of U&lc will introduce new ITC
typefaces for use in phototypesetting as well as
for transfer letters. Handsomely designed and
colorful type specimen booklets will be prepared for each new typeface.
These booklets will be the foundation of your
future library of ITC typefaces. Start your
collection of them now.

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