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'OUR THE

4) Message from ITC

Collaboration from concept to reality.
6) I Collaborate, You Collaborate, We Collaborate
by Steven Heller

EXECUTIVE PUBLISHER:
MARK J. BATH
EDITOR/PUBLISHER: MARGARET RICHARDSON

8) SMINBROOK/HAYE:

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What's Good and What's Not

by Lewis Blackwell

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.111111

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34) Book Reviews

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INTERNATIONAL TYPEFACE
CORPORATION 1997.
U&lc (ISSN 0362 6245) IS
PUBLISHED QUARTERLY BY

42) (Re) Imagining the Book

by Steve Tomasula

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Collaboration is the theme of this issue of

U&lc. Collaboration is a concept and a process we know well as the U&k staff works with
various designers in producing this magazine
each quarter. Our intention always is to find the
best design talent we can to create this quarterly. Our goal is not only to produce the best
visual and editorial product we can, but also to
have each design team effectively show the vast
range of ITC typefaces in use.
To collaborate demands negotiation from the
planning through to production, and inevitably collaboration comes down to trust. We choose designers whose work we think our readers would like to
see. We want U&lc to inspire through contemporary
digital design and to promote expressive typography
and a passion for type. This was the case when Johnson & Wolverton suggested a horizontal editorial
presentation simulating a road map for the Spring
issue. The theme was interesting design projects
from around the world, and the map captured this
while incorporating intense text and display treatments of ITC type. This issue of U&k prompted
incredible response. It was both pilloried and praised.
We were accused of creating illegible pages, or told
this was as simple to read as a map.
Collaborating with the designers Laurie Haycock
Makela and P Scott Makela at Words + Pictures for

Business + Culture in Bloomfield Hills, Michigan, for this issue allowed

us to explore the collaborative process in theory as well as in practice.
The Makelas, who teach at Cranbrook, suggested going beyond
mere documentation of the work of collaborative teams featured. The
design is influenced by the Makelas' interpretation of the double-blind
experiment used in medicine. Laurie Haycock Makela explains: "Double-blind is the term used for the method of evaluating the effects of
a drug's course of treatment in which neither the subject nor the researcher knows who specifically is receiving the drug treatment under
study. This concept inspired the making of this issue. Each collaborator
represented here was invited to send one image on the subject of collaboration, knowing it would be paired with the fellow collaborator's
submission': The Makelas, along with Cranbrook student Brigid Cabry,
reassembled this artwork in their own collaborative response, collaborating with the collaborators in a design equivalent of double-blind.
Again the use of ITC type in the design is crucial. The Makelas
designed the new ITC typeface introductions of 17 new fonts, and they
became so enamored of the new sans serif typeface, ITC Conduit by
Mark van Bronkhorst, that it is consistently featured throughout this
entire issue.
A final note on collaboration. The most consistent collaborators
we have are the U&k readers, those of you who each quarter read and
respond to U&/c. Whatever your opinion, we are always grateful to hear
from you since your correspondence proves that we sometimes inspire,
other times provoke, but definitely your response tells us that we are
not ignored.

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COVER IMAGE FRAME FROM "ADDICTIONS + MEDITATIONS;' AN AUDIOAFTERBIRTH MUSIC VIDEO CREATED BY WORDS + PICTURES FOR BUSINESS + CULTURE.
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# COLLABORATE,
YOU COLLABOAATE,
WE 0013.ASORATE
COLLABORATION IS THE ESSENCE Of CREATIVE ACTIVITY. The interrelationship of two or more people in quest of a common goal is about
the most fulfilling of human experiences. After all, we are born of collaborators and our continued success in life is measured by the marriages we
make with others in the service of creation. But this "Double-Blind" issue of U&Ic is not about collaboration as a cosmic force. Rather, it focuses on
the mutualityand the yin and yangbetween two or more individuals in the creation of graphic design.
Graphic design is a creative discipline where collaboration is a necessity. Just look at the roll call of credits in any design annual.
Sure, there are visionaries who create the styles, develop the ideas and promote the concepts that the majority of us apply. But
ultimately, even these people are spokes in the wheel of process.
No matter how talented, a designer invariably must answer to a client, which might be a design director, creative director, art
director or other mediator who plays an integral role in the project. Just as an editor may tweak an otherwise fine text into brilliant
prose, an art director might make a similarly invaluable contribution to a graphic work. In graphic design, like film, television and
architecture, other creatives and their functionaries are intimately involved with the outcome. Creativity, indeed originality,
depends on creative trysts between two or many partners.
Some collaborations are imposed, others are divined. Whatever way they are formed, collaborations offset weaknesses
and deficiencies and bolster strengths. But collaboration is much more than a simple calculusMORE meta +

COMMON COAL= INCREASED EffICIENCY/GREATER PRODUCTIVITYit is a fusion of chemistries that results in

a unique entity. When everything is working wellwhen, for instance, ego satisfaction derives totally from pride in the
project as a wholethen the collaborators' distinct contributions result in an outcome that one person alone could
not have accomplished.
While a good collaboration is one of the most intense human relationships, it is also one of the most precarious. For
a collaboration to succeed, the collaborators must, like a well-tuned machine, interconnect in every way; each must
have a defined rolea function, purpose, jobthat does not conflict with the other's abilities or jam up the works.
While there are no preordained rules for how collaborations should work, the best efforts are those in which the
participants respect each other's turf, while nimbly crossing the boundaries as necessary. One can be controlling
or submissive and also be a good collaborator. Balance is the key.
But a collaboration cannot be measured or weighed by imposing rigid parameters. Germany wasn't reunited in

BY STEVEN HELLER

a day, after all. The best efforts occur organically. A kind of natural selection determines who does what and how
tasks commingle. Even if these functions overlap, in successful collaborations the participants accept their own
boundaries. In failed ones, territorial imperatives give way to an attack of the superego.
The design field is full of collaborative configurationsbusiness partnerships, creative teams and, more and
more frequently, mates who form full- or part-time creative liaisons. Charles and Ray Eames and Saul and Elaine
Bass were hugely successful married teams whose passions to create particular objects overcame the difficulties
created by marriage and the barriers imposed by ego. Other collaborative couples who come to mind, such as Massimo and Lelia Vignelli, R Scott and Laurie Haycock Makela, Ellen Lupton and J. Abbott Miller, Rita Marshall and Etienne
Delessert, Michael Donovan and Nancye Green, Forrest and Valerie Richardson, Katherine and Michael McCoy, and
Louise Fili and myself, balance on the tightrope that tests both physical and emotional endurance. In these collaborations, the need to create something larger than the sum of its parts based on shared passions overcomes the
otherwise immense obstacles.
Individually, the designers mentioned above have professional personalities apart from their mates and reputations based on individual merit. They function separately and could easily continue to work independently. But something happens when they are drawn togethercall it electricity (perhaps the same force that brought them together
in the first place)that transcends the limits of their individual capabilities.
In all candor, I am incapable of designing as well as Louise Fili. She, on the other hand, cannot write. What we share is
a passion for the beautiful and arcane artifacts of design culture. So together we produce books about graphic style. I have
the broad view, she is detail-oriented. I excavate the materials, she organizes them. I write and edit, she designs. Nevertheless,
she reedits my editing, and I critique her design. We fiddle and finesse, differ and argue until our joint effort is complete. And
then, after the labor pains are over and forgotten, like all good collaborations, we do it again.
As the designers profiled in this issue attest, collaboration adds rather than saps strength. It no more diminishes one's talent
than sharing the same loves and hates. By broadening the creative experience and adding additional levels of creative power, the
process becomes consummately addictive. The result is an entity that would not have otherwise been born.

STEVEN Halta's MOST RECENT BOOKS ARE FACES ON THE EDGE: TYPE IN THE DIGITAL AGE (VAN NOS.
TR AND REINHOLD) AND DECO TYPE:

STYLISH ALPHABETS Of THE '205 AND '305 (CHRONICLE BOOKS).

HEADLINE/BYLINE: ITC FLORINDA

TEXT/B10: ITC FLORINDA, ITC CONDUIT BOOK, BOLD, BOLD ITALIC

TYPOGRAPHY &

The
ATypI

Association Typographique
Internationale is the global
forum and focal point for the
Type community and business.
Membership of ATypI includes
the world's most influential
proponents and users of
type and typography.

CONFERENCE
Sept 12-15 1997

Call now for further information on all

aspects of the conference, early booking
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Sharon Irving,
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10 Ridgeway Road, Redhill,
Surrey RH1 6PH, UK.
Tel (+44) (0) 1737 7801150.
Fax (+44) (0) 1737 780160.
Email: atypigsharonirving.co.uk .

Reading University, England

A WIDE VARIETY OF ACTIVITIES INCLUDING
FORMAL AND INFORMAL SPEAKER PROGRAMS,
DISCUSSION AND MASTER-CLASS SESSIONS, WITH
CRAFT AND TECHNOLOGY WORKSHOPS, EXHIBITIONS,
SOCIAL FUNCTIONS, LOCAL AND SPECIAL LIBRARY VISITS
THAT WILL STIMULATE, EDUCATE, INFORM AND ENTERTAIN
EVERYONE INTERESTED IN EFFECTIVE COMMUNICATIONS:
INFORMATION DESIGNERS, ART DIRECTORS, LETTERING
ARTISTS, BUSINESS AND LEGAL EXPERTS, EDUCATIONALISTS,
FINE PRESS PRINTERS, CALLIGRAPHERS, GRAPHIC DESIGNERS,
PUBLISHERS, SOFTWARE DEVELOPERS, TECHNICAL WRITERS AND
TRANSLATORS, TYPE DESIGNERS, TYPOGRAPHERS & TECHWEENIES .

JONATHAN BARNBROOK AN[

WOMAN NEEDS A
MAN LIKE A FISH NEEDS
A BICYCLE "

I ti al3'so, ci 44LE

Top: Jonathan Barnbr000k/Tony Kaye: Matchbook is their statement about

their collaborations in the advertising industry.
Left to right: Barnbrook/Kaye: Frames from a spot for Lair du Temps
for Opera-RLC, Paris; Barnbrook: Fish ad for Guinness; Barnbrook/Kaye:
Frames from the Lair du Temps collaboration.

RICCI

With the occasional collaborations of British director

Tony Kaye (based in Los Angeles) and designer/
director Jonathan Barnbrook (in London), such problems are brushed aside. Collaboration across the
globe has become a practical, routine activity. "Tony
tends to just set you off on an area and let you get

HE IDEA OF CREATIVE COLLABORATION IS

conundrum. THAT PARTNERS ARE SUPPOSED

on with it," explains Barnbrook disarmingly of the

partnership that has involved him in providing animated typographic elements for Kaye's commer-

O BE IN TOTAL AGREEMENT OVER DEEPLY

cials. "He's very trusting; we both know what's good

ERSONAL DECISIONS IS SO DIffiCOLT TO

and what's not:'

ATOM AS TO SEEM ALMOST IMPOSSIBLE.

W 00 YOU REALLY SHARE THE ATTRI00
ION Of AN INTUITION THAT LIES AT THE

But while it is easy to agree on what is, say, a

good and a bad apple, one would have thought it
was a little less clear-cut with some animated type.
Not so, it seems. "It's difficult to remember the
process," says Barnbrook. "It is usually very quick.

ART Of THE CREATIVE PROCESS? HOW 00

00 EXPLAIN AND DISCUSS AND fORM THE
RECISE AND YET UNEXPECTED ELEMENTS
*VOLVED IN CREATIVE WORK?

We will use the fax a lot. I will create much more than
ever sees the light of day. But there is always a
mutual respect, a concern with doing the best job:'
Kaye is probably the single most powerful influence in bringing animated type into commercials
in the '90s, with a series of award-winning spots.

advertising. I've since been able to work with a lot

He not only brought Barnbrook into contact with

of very good designers, but Jon stands out for his

film in 1990, but has since pushed him forward as

innate understanding of film. Once I introduced him

a director on the roster of Tony Kaye Films. This led

to working in the medium, he immediately under-

to Barnbrook directing three of the multi-award-

stood what a huge potential there was for him in film:'

winning BBC Radio Scotland commercials in 1995,

which have influenced a rash of animated typo-

process in remarkably simple terms. He gives Barn-

graphic commercials across Europe.

brook the words, an idea, and waits for the results.

Barnbrook continues to have much to offer to

ONY KAYE:

W H ALb

Like Barnbrook, Kaye describes the collaborative

Kaye on the typographic front through his own

Typically, Barnbrook would not be able to see the film

that might surround the typography while he is
creating it. "In many ways, I think we have evolved
beyond our earlier collaborative period. Now I am

BY I.EWIS BA ACHWELI

development as a designer, now with a range of

typefaces released besides his work in print. He
admits to being drawn to work more fully in film,

OT

adding, "I am not sure how much more animated

working on a feature and Jon is shooting his own

typography we want to see in commercials. There

things," says Kaye.

is also the frustration of being asked to work on

But the mutual respect remains, the knowledge

a six-second end title and then having it cut to two-

that each is stimulated by working with the other.

and-a-half seconds, as has just happened to me.

Barnbrook knows that at some point he is expected

I would like to try more live-action:'

to tackle the typography for Kaye's magnum opus,

Kaye says his work with Barnbrook reflects his

a personal film on abortion (500 hours-plus of foot-

fascination with designing in film. "I started off as

age currently shot). This could be a tough one, but it

a designer, a not very good one, before I went into

holds no fears for Barnbrook: "The thing about Tony

is that whatever happens in a project, you know he is
always working for the best result, that he cares
passionately about it:'

LEWIS BLACKWELL IS THE EDITOR Of THE

LON00148ASEO COMMUNICATION ARTS
MAGAZINE CREATIVE REVIEW.

HEADLINE: ITC CONDUIT BOLD BYLINE/B10: ITC FLORINDA

TEXT/CAPTIONS: ITC FLORINDA, ITC CONDUIT LIGHT, LIGHT ITALIC

Imageand Narrative:A Layered Thingii

by: Steve Tomasula11
11
11
No not that!" Kafka screamed when his publisher suggested a collaboration
an illustration of the bug in Metamorphosis to accompany the text. -Anything but that!"
a writer's typical sentiment. Is the bug the Other, the terminally ill, the Jew in Vienna, all and
more of the above? Or is it the blob from the pen of some sci-fi illustrator? What really horrified Kafka, I believe, was Simonides, in toga and laurel, claiming that a poem was a speaking picture and a picturea mute poem:
an attitude that assumes there are
nomoredifferences between these
twolanguagesthanbetween Greek
690
and Latin. Yetwriters since Aristotlehave tried to explaina gulf
betweenwordand imagethat is
widerthan the Aegeanand which
we failto cross every time we try to
describe one with theother. Still,if
any generalization canbe made it
is that onesays, the other is seen.
Atthe core, one is spatial-2-D,
a flat land, its sister temporal. Time
in Flatland mirrors the eternal snows,
the moment fixed forever on Keats'
Grecian Urn whilenarrative timeis
an arrow crossing a terrain, which
exists only in the mind of the reader.
Similarly, ekphrasis, painting in
words, isthe counterpart to narrative
painting. Buton the page, the word
painting is nomore a-painting than
the narrative painting is a narrative.
Or ratherone is nottheother in the
way that Magritte'spipe is nota
pipefor,as WJT Mitchell pointsout,
at one level, the figurative, it is. The ways that it isn't, though, seemmostinterestingfor
writers and graphic designers who'd like to collaborateand an inherent source of tension.
In terms of narrative, a verbal representationthatmoves through time, the fixed body of an
eternal moment is a corpse. A reader hasto stopreading to look at form,even the formof
the wordsheorshe is reading, andto awriter, a pause in reading is likealittle deathsomething that all designers who want to work with writers should consider. The problem is compounded if the reader stops reading in Latin to reread the same material over in Greek. Of
course, design that aspires to art rather than decoration is also open ended. So it seems as
i f the cause is not as hopelessas Kafka thought. Rather, a more usefuldynamic in terms of
i mage and narrative is closer to what goes on in parody. That is, what makes parody work is
he ability of the viewer/reader to retainthe original, such as Othello, in his/her mind while taking in the pseudo-copy, such as 0-Jello; it depends on a reader to note the fl differencebetween
the two. The action is in the gap. So the point becomes not to dress one language in the
drag of the other but to leteach be itself and let meaning come out of the difference in these
sign systems that are at timesin harmony, but always in conflict. Images and layoutsuggest
other images andtexts and histories, while words tellwhat image can only suggest. When
these two languages are in discourse, not as hybrid, not as fusion, when their differences are
used to contextualize each other, the whole they create together opens outward to the same
degree that illustration closes meaning down byfixing it in a corpse. When word and image
push toward Simonidesthat is, when theybegintolose their separate identities, the project
slides, as Kafkafeared, toward illustration,redundancy,fetishism, decorativefrills. When
put in juxtaposition (spatial pun intended),design and language can create a third thing, a
denser thing, a layered thing; together they compose the fl meaning.
11
0

Center Doubleaind illustration by Farrell with text by Tomasula

Background: Jonathan Barnbrook/Tony Kaye: Frame from Lam du Temps spot for Opera-RLC, Paris

word

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Top: Stephen Farrell: Double-Blind 'Universal Eyepiece"

Bottom Left Stephen Farrell/Steve Tomasula: spread from "TOE:
a piece created for Emigre magazine's Joint Venture issue
Top right Anne Burdick: Double-Blind seesaw
Bottom right: Stephen Farrell: Slip Studios logo

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(OR AS liVILLIAIYLGASS_ASKSJS_IT_PDSSIBLEIO_WRITE TRAGEDY IN LIMERICK?)

Steve Tomasula

The collaborative affinities of Steve Tomasula and Stephen Farrell alchemize on the page. Tomasula writes profoundly
and passionately on ideas; Farrell transmutes these into designs inspired by typographic magic. The chemistry
between the writer and designer fuses two distinct disciplines into a new form, the manuscript as art, as rich
interpretive text.
Tomasula, meta-fiction writer, essayist and critic, is published in literary journals like The Review of

TE

BY MARGARET RICHARDS**

Contemporary Fiction and Black Ice. He teaches creative writing at Notre Dame University in South Bend.
Farrell is the principal of Slip Studios in Chicago, and a designer of typefaces for T-26 and his own
Manuscripts Folio. He also teaches at The Illinois Institute of Art. Both work with other collaborators, but when they have the opportunity to work together, their complementary talents mesh to
produce unique experimental creations.
One such project is "TOC' which appeared in the Joint Venture issue of Emigre magazine "TOC"
is a 17-page meditation on the concept of time paralleled by a compelling narrative of a woman in
crisis. Farrell's empathetic response to Tomasula's layered textusing expressive typography,
evocative and effective horological images

draws us into the collaborators' world. The writer and

designer worked for two years on this project.

Tomasula's voice is authorial. His spiraling conversations reflect his
writing style, which is compelling, elliptical, philosophical, theological,
literary and, often, very funny. His interests range from a preoccupation
with medieval sensibilities to an analysis of contemporary literary criticism. His reviews often convey these preoccupations, including a recent
account in Private Arts 8/9 of Raymond Federman's Double or Nothing: A Real Fic-

titious Discourse and Critifiction: Postmodern Essays (again painstakingly designed by

Farrell). Collaboration for Tomasula is a dialogue of sorts. He resists design when
it is unsympathetic to the meaning and feeling of the text. The act of prettifying
text arbitrarily or a reducing of ideas to mere visual elements is, to Tomasula, the
encroachment of the enemy. He is interested in design as image intertwined with narrative. He also expects design to be sensitive to the evocative nature of fonts. His relationship with Farrell is based not just on respect for Farrell's expressive use of type and
dramatic setting of text, but on a shared intellectual vision and belief that design can be
inherent to the effective presentation of ideas.
Farrell's Chicago firm, Slip Studios, has been involved in a series of joint venture projects
that support writers and artists. Occasionally, these predominantly print projects will be
published and distributed by the studio itself. Farrell describes the process of collaboration with a metaphor. "If the writer is the mind, the designer fashions the body and sets
it in motion: he says. Design, the body language, literally embodies the text and makes it
come alive. Farrell responds to ideas with a dramatic sensibility, reacting to the text in terms
of meaning and emotion and imbuing the words with typographic resonance. He likens
designing to directing: "It is about pacing and drama. In response to the text, I want to create

a pause, then I insert a blank. I let the surface of the page hold the silence:' This kind of engagement
demands a close liaison with the writer that Farrell finds crucial for his concept of collaboration. In the
case of Tomasula, he draws from "the cerebral metaspace in which Steve [Tomasula] conducts his writine
Currently the two are working on a five-chapter novella by Tomasula. The form will be a media hybrid,
consisting of three printed chapters (Farrell is contemplating designing typefaces for the second chapter
on Velasquez and painting manuals from 17th-century Spain), and the fourth chapter is conceived as a
CD-ROM. The last chapter will appear as a Web page.

THE THIRD COLLABORATOR

Tomasula and Farrell were interviewed by the designer/writer Anne Burdick in the Joint Venture issue
of Emigre. In one more meshing of interests in theory, text and design, Burdick is now co-editing an
upcoming issue of the ebr: electronic book review, an online forum for critical writing, with Tomasula.
Reflecting both Tomasula and Farrell's interests, Burdick contrasts two forms of the collaborative process.
I n the traditional sense, clients, designers, editors or writers each have a delineated role, the responsibilities of each clearly defined. In this situation each collaborator works as part of a team, relying upon the

strengths of the other. In other, more amorphous collaborations, however, the parameters and roles are
blurred. In some ways this is a less efficient way of working, but there is the surprise and challenge of "seeing things through another's eyes while at the same time pushing your own limits: she says. In this category,
she includes her collaboration with Tomasula.
Burdick, who writes and designs from her Los Angeles studio and teaches at California Institute of the Arts,
is interested not just in text, but in the form that writing takes. These issues she has explored with Joe Tabbi,
the editor of ebr, and Tomasula. Now Burdick and Tomasula are guest editors for the upcoming ebr6
http://www/altx.com/ebr) on image and narrative. Tabbi invited them, he says, because of Burdick's "good
ritical mind and her ability to think visually." Tomasula, according to Tabbi, is a good writer of fiction who
lso provides an innovative strain of modernism and postmodernism. The co-editors are now soliciting
essays, visual projects and reviews, and Burdick is working with Tabbi and the ebr team on a redesign of the
site that, according to Burdick, "takes seriously the effects of the design on the writing that is 'performed'
there:' This issue of ebr6 is expected to be online in August.
MARGARET RICHARDSON IS EDITOR AND PUBLISHER Or

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PULLQUOTES/TEXF ITC GOLDEN COCKEREL ROMAN, ITALIC, ITC CONDUIT BOLD ITALIC
BYLINE/B10: RC FLORINDA

O&M

1
4

Creative,5Hedonism
BY ANDREA CODROICTON

Breaching boundaries that exist between different media has long been of interest to the Makelas, who
first met in 1985 while teaching at Otis Art Institute of Parsons School of Design in Los Angeles. Whether
it was coincidence or kismet that the designers met at the same time the Apple Macintosh first came
out is anybody's guess; that the desktop computer changed their lives inalterably is not. "Scott had such
shame about his inability to draw or handwrite': recalls Laurie, "that when computers arrived, his cre-

ativity was punched out. It was like a prosthesis. Suddenly he was able to express himself' And express
cott Makela has a bad cold, or at least this is what I'm

himself he did, in bold, adrenaline-driven graphics that muscled their way into music videos and TV

told as my call to the studio he shares with partner and wife Laurie Haycock Makela is patched through

commercials across the country. "I think the digital realm is part of what makes our work possible:' says

to their home, where he is taking it easy for the day. Laurie, I imagine, is sitting in the studio, sur-

Laurie, who spent years herself conceiving a project at the Walker called "Digital Campfires: Stories of

rounded by the familiar sight of books, magazines and stray artwork: the visual detritus of everyday

Life and Liberty:' a multimedia exhibition exploring the interstices and overlaps between technology and

life that at some point might twist its way into her refined creative vision. Scott at
rest is admittedly more difficult to conjure. With a famously short attention
span and a propensity for creating multimedia work that can best be

democracy. (For reasons of funding, the exhibition was canceled, although the project
has since taken on a new, NEA-funded life as an extensive Web site and CDROM collaboration with the MIT Media Lab that will introduce teenagers

described as athletic, he doesn't strike me as an easily confined

to the Bill of Rights and its manifold issues.)

patient. Laurie just laughs. "I can take a year to make a book'
she agrees, and he can barely stand to spend more than

Increasingly, the Makelas have found inspiration in a multi-

two days on a poster!'

media collaboration called AudioAfterBirth, a synesthetic

hybrid of machine funk sounds and haunting lyrics that

Through the ghostly clicks and delays of long-dis-

will be combined with retina-searing graphics on a

tance telephonyand a free-form conversation

multiplay CD-ROM called "Addictions + Meditations."

that ranges from music to sex to machines to

"AudioAfterBirth is really our first total collaboration:'

childrearinga picture begins to emerge of the

explains Scott, who released the first album with

couple's multifaceted partnership. After five years

Emigre Music four years ago. "Laurie was a backup

of living parallel but separate professional lives

singer last time, but now she's become the voice that

Laurie as the renowned design director at the

people respond to the most. We've found a groove

Walker Art Center and Scott as head of his own digital

together in music that's much more comfortable:' The

imaging studiothe couple find themselves having to

fluidity of music, its very abstractness, is what makes

mediate their disparate instincts, esthetics and skill sets

collaboration easier for the designers, who admit to having

as Cranbrook's new co-chairs of the 2-D design department.

Add to that the pressures of running a joint business and raising a
spirited six-year-old and you get two people who are masters-in-training

"made a point of being in different professional sandboxes"

in the past. So far, there seems to be no signature "Scott sound" or
"Laurie sound' but rather a seamless amalgam of auditory sensation.

of the emotional balancing act. "We're still trying to tie the pieces together
with our design work:' confides Scott, "because we really are completely

As may be indicated by the name of the couple's self-created music label

looking from different sides of the fence. We've had some problems, I'm not

Flesh and Fluidsissues of digital production and human reproduction are

going to kid you:' Despite such difficulties, the couple admits to having more

closely linked. Scott indeed admits to a "perverse affection for the machine

work than they could ever have imagined possibleeverything from creative directing a Raygun Publishing start-up called Sweater and conceiving film
titles with Jeffery Plansker for an upcoming Hollywood picture, to spending time in
Switzerland as adjunct professors at Ecole Cantonale d'Art de Lausanne and creating a
controversial promotional brochure for Virgin Interactive.

as a sign for what is actually happening in the flesh:' While the Makelas have
worked on countless projects both together and separately, they have produced
just one child, their daughter Carmelaa sign that the correlation, while fascinating,
need not be taken too literally. Parenting has been the ultimate test of the Makelas' collaborative ability: an admittedly intense experience. "Carmela's a hybrid of both of our personalities and drives," marvels Scott. "I can't think of creating anything more powerful than her."

The creative tension that is manifest in the Makelas' workprint vs. moving picture, detail vs. mass,
the intellectual vs. the physicalclearly represents in miniature the fragmentation of the design field

Power and difference play a part in any collaboration, be it personal or professional, and these are

on the whole, and this inspires the couple's teaching. "The reason we're here is because we are two

aspects the Makelas hope to tease out in their Double-Blind concept. "Collaborators are not necessarily

voices walking side by side, yet we represent the complexity of the field:' says Laurie. Of course, part

alike," says Laurie, "and what's interesting to us is why two very different people even want to talk to

of their job as educators and creative enablers is to further complicate thingsby opening up minds,

each other in the first place:' The creative collision that occurs when the couple approaches the same task

by breaking down notions built up by an industry all too often controlled by the corporate bottom line.

with their own set of ideas and preconceptions gives them what Scott terms "a running rocket start" on

The Makelas' come-on in their department's student prospectus reads, appropriately enough, "Cran-

solving design problems. "Then we actually begin seeing how the atoms start intertwining with each other."

brook is intellectually and creatively hedonistic, emotional, monastic. Come and be prolific:'

ANOBEA 00011.**TON IS A WRITER BASE* IN NEW YORK.

HEADUNE: ITC CONDUIT BOW, BOW ITALIC BYLINE/ELIO: ITC FLORINDA TD(T/CAPTIONS: ITC CONDUIT UGH T, LIGHT ITALIC

1
6

Center. Laurie Haycock Makela: Double-Blind 'Putting Our Heads Togett

Top right: P. Scott Makela: Double-Blind 'Heaven and
Bottom right: P. Scott Makela/Laurie Haycock Makela: 'PleasurePower" for Virgin Interact

I'm
going to the
STUDIO 3IAIOH

XuloR

Top left, bottom left and bottom right: P. Scott Makela: "Heaven and Hell"
Top right Bates Hori: "It's About Change" for LifeBeat
Center. Allen Hori: Double-Blind photographic arc

hor

BY JOYCE RUTTER *AVE

Edirectly opposite endi:'

t=7)

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explains Allen Hori o is partnership with Richar

Bates. "We end up arguing for the same point:, That
wow said, the principals of Bates Hori, a New York
studio, sitting across from each other at a restaurant

W table, lay down their menus and, to their amusement,

proceed to place identical lunch orders of seafood
rolls and mixed greens.
By recognizing and reconciling their differences
and understanding the strength of their divergent
a resilient

temperaments, this couple has established

bond on professional and personal planes. Their varied approaches to creative problem-solving emerged
when discussing the Double-Blind concept for this
issue of U&lc. While Bates probed the metaphor,
its scientific origin and its degree of deception, Hori
took it all in with a shrug. "He's the questioning one;
the pessimistic one:' says Hori. "I'm the nonquestio
ing one:' Bates responds that his querying nature is
a function of his job as VP/creative services and cre'- f
a department of i9. "A big part of my job is ask:

ativedrcofAlnRds,whera
lot

of questions, so I don't waste a lot of time' he says: ' 'I

Left: Bates Hon: Holiday card for LifeBeat

Lenten Allen Hon: Double-Blind photographic arc
Right: Richard Bates: Double-Blind 11-liair Show'

It's about ciel atir an,

nvironmen tna wash es
ver
ra hthan
er
omeftmng t at

like to be a big-picture kind of person; I like to have all the

What Bates and Hori share is a cerebral approach to design, where a message is

information:' Hori, on the other hand, takes an opposite

complex and multifaceted and involves a certain amount of interpretation and inter-

tack. He explains: "In asking questions, the more parame-

action on the part of the reader. At the same time, Bates credits Hori for making

ters you set. The more questions are answered, the more

that experience calm and poetic, rather than manic "It's about creating an environ-

restrictive it becomes:'

ment that washes over you, rather than something that screams at you:' says Bates.

These differences make them well suited for their jobs.

This philosophy reveals their roots at Cranbrook, which each attended, but at differ-

While Bates thrives within the corporate group dynamic,

ent times. Hori, a native of Hawaii, was at Cranbrook during the mid-198os before

Hori prefers to work from their peaceful Chelsea apart-

working at design firms in the Netherlands, including Hard Werken in Rotterdam.

ment, accompanied only by two cats, named Myth and

Bates was a student following a stint as an art director at Whittle Communications

Book. But this balance came about slowly. Before open-

in his native Tennessee. The two met when Hori returned to the Bloomfield Hills

ing the company, Hori worked for several years as an

campus for a visit. "The whole [philosophy] is based on intelligence; to not drag

art director with Bates at Atlantic, where office conflicts

a project out of stupidity:' says Hori. "There is a certain amount of respect on the

would often carry over after-hours at home. Bates con-

designer's partthe design has to work for the designer's sense of self first:' Bates

cedes that relative solitude provides Hori his ideal work

adds: "I don't think either of us is interested in coddling the lowest common denom-

environment. "The same things that give Allen his indi-

inator. We're not interested in giving a message out easily, like a newspaper headline:'

viduality and make his designs good are the same things
that make him not conform to the group:' he says.

Since forming in 1993, the Bates Hori studio has been selective about clients,
choosing those who will allow the team to adhere to their vision. Projects include

When beginning projects, Bates and Hori concep-

exploratory paper promotions for Potlatch and Mohawk, two Absolut ads aimed

tualize together and then decide who will flesh it out.

at designers for I.D. Magazine, print pieces for the fashion firm Westcott Design

("Someone has to take the lead, because it's not physi-

Group and campaigns for LifeBeat, an AIDS organization. Often the work involves

cally possible to share the work:' says Bates.) Once the

a surreal overlapping of images and type, creating seamless shapes that meld mes-

project is underway, the partners continue to exchange

sage and form. Despite having a range of experiences to draw from and a variety of

opinions and suggestions. Because he is away during the

tools to use, the Bates Hori studio style is rooted in restraint. "A large part of being

workday, Bates realizes he has to temper his criticisms.

a designer is the editing skill:' says Hori. "If you take responsibility for some kind

"We are equal partners in everything, so if it appears that

I whisk in and make comments, I know it's upsetting

of authorship, then you have to learn how to edit, to know what to leave out and to
know when to stop."

because Allen may feel he's working for me:' he says. "I
have to take the tone of my voice down; the dynamic
has to change:'
HEADLINE: ITC CONDUIT BOLD PULLQUOTES: ITC LENNOX BOOK, ITC CONDUIT BOLD ITAUC
TEXT/CAPTIONS: ITC GOLDEN COCKEREL ROMAN, ITAUC BYUNE/BIO: ITC FLORINDA

JOYCE ROTTEN KAYE IS MANAGING EDITOR Of

2
2

Just betty

he two of us, I k

og who knows A gag who...As if the work

of

Far left: Bates Fiori: Studio mascot Kitty by Mitch 0' Connell and
Bates' "Hair Show'
Above: Double-Blind collage: Jeffery Plansker, Ed Fella, and another
Kitty by O'Connell

HOW DO YOU REALLY SHARE THE ATTRIBUTION OF AN INTUITION, THAT LIES AT THE HEART OF THE CREATIVE PROCESS

Have I Told You Abou

Together, we can be written about! Just between the two of us, I know a guy who knows a guy who...As if the work itself weren't enough.
Now, with an insider's seat and a soft-self pitch, we can write our passports into the history books. It's your word against mine. That's
press for you...and that's team work. Celebrity sightings, "bitch magnets," Scratch and Sniff Finger Tip Scented Pillow Cases:" The flaming
dog shit bag men always ring twice. Push the button, buddy. But wait, this just in...Le chimp sportif toxique found crossing "twofold runt
stilts" with "powder blue forest ranger dress slacks" per our conversation. Sincerely, Dorf.

Copyright 1983 PE+0 Subvertising,lnc. A division of Supply&demanD. "Omniscient Giraffe Broth" + "Aboriginal Dry Hump" are registered trademarks of PE+O Subvertising.

TOXIC
SPORTS
CMTZWIT3Po

kg
O

Left and top right: Ed Fella: Double-Blind illustrations

Above: Jeffery Plansken Double-Blind "Toxic Sports Chimp" subvertisement
Right: Frames from "Candy Everybody Wants," a Fella/Plansker/
Makela video collaboration for 10,000 Maniacs

Dis

2
4

FettalSUBVERSIVEPlansker

have a shared interest:

-q

ments.
both like to make pointless aavertise

Though they have collaborated just once, Jeffery Plansker and Ed Fella

Plansker, a director of commercials and music videos, pursues a sideline in

what he calls "subvertising" absurd ads that sell nothing, but mimic and

Fella, who incidentally knew Plansker's father, was a natural choice for

parody the language of mainstream advertising. Fella, a design professor

Plansker's "Candy Everybody Wants" video with the band 10,000 Maniacs,

at California Institute of the Arts, spends his spare time making posters

a song based on a Noam Chomsky analysis of consumerism in a "spectator

advertising lectures that have long since passed.

democracy:' "His work is playful and the song was playful;' says Plansker, who

That the director and designer have an affinity for subversive advertising

asked both Fella and Makela to work around the theme of candy and media

is probably due to overexposure. Both grew up with the Michigan advertising

criticism. Fella, preferring these days to avoid commercial work, instead handed

business, Fella working for 30 years with a Detroit design studio turning out

over a stack of his sketchbooks. "He had these things that are now referred

collateral for the automotive industry, and Plansker, as the son of an art direc-

to as Fellaparts [an Emigre font], which looked like disfigured, melted choco-

tor, attending his first shoot (a Plymouth Road Runner commercial) at the im-

lates;' says Plansker, and this visual candy makes an appearance in the video

pressionable age of two. Subvertising, says Plansker, "creates a necessary form

along with Makela's typobytes and Plansker's subvertisements, flashing

of commentary in a complacent society. It's being able to look at the general

onscreen like subliminal messages.

landscape of America and say `this is f***ed: I initially did it because I had

A good collaboration, says Fella, results in something that is "more than the

a resentment of the simple nature of mass media that speaks to everyone in

sum of its parts. When two people get together and come up with a third thing

such simple terms:'

that neither would have done His collaboration with Plansker, he admits, was

Fella attended art school after retiring from commercial art, and introduced

more a successful noncollaboration. But he sees a similarity of approach in

the vernacular of his "low end" profession into the "high design" context of the

their respective creations. "My stuff is filled with debris, just like his work. He

Cranbrook Academy of Art. By reviving and upend-

must have found some kind of affinity with it, just as when I saw his work I

ing the rules and tools of his former trade in his

said, 'Wow, that's what I would do if I were doing film:"

highly idiosyncratic compositions, and by teaching

The two also share a reluctance to dilute their work for mass media. Fella's

students how to deconstruct the visual language

posters are eccentric to the point of being impos-

of commerce around them, Fella helped instigate a

sible to imitate. And Plansker's revel in absurdity

movement against the prevalent Swiss Modernist

to the point of being obtuse. A print subvertise-

approach to design. The movement spawned a series

ment of a man tied to a tilting armchair is matched

of design rebellions and inspired the typographic

with the copyline "the perfect combination of

antics of RAY GUN and typefaces like the ubiqui-

power and luxury." An image of chocolate sauce

tous Template Gothicdesigned by one of Fella's students, Barry Deck. Fella's

being poured over a tube amplifier is set with

posters for CalArts and the Detroit Focus Gallery ("an ideal collaboration")

the tagline "the bland leading the bland."

are playgrounds littered with the lettering styles and dingbats of his days as a

But experimentation beyond the confines of a

"layout man;' but with labyrinthine messages, mischievous wordplay and an

design brief is, as Fella has observed, a way of moving design forward. "You

irregular spacing easily mistaken as naivet. "The irregularity is rigorously

either have to become the most facile professional of them all or chip away at

thought out," he said to colleague Jeff Keedy in an EMIGRE interview in 1989.

it somehow," he said to Keedy. "Chip away at that conceit of the slick profes-

"If deconstruction is a way of exposing the glue that holds together Western cul-

sion that gets ever and ever tighter:' As Plansker observes, the more obtuse

ture, I thought, 'What is it that holds together typography? It's space:"

The convergence of Fella and Plansker's paths was inevitable. Plansker's

the work, the less likely it will be caught and gutted by the mainstream media.
"Everything 'revolutionary' and 'alternative' gets instantly sucked into the

commercial and music video work is a showcase of layered sound, image and

media machinery" he says. "This takes a form that hopefully has a built-in sab-

experimental design featuring collaborations with musicians and designers

otaging device, which I think is absurdityf

from the Cranbrook and CalArts scene; including Deck, P. Scott Makela and
Reverb. "Most of the designers I work with are thinkers; they're putting their

PETER HALL, A GONTAIONTING EDITOR Of

U&t.C. IS SENIOR WRITER AT 1.0. MAGAZINE.

heads into a job and suggesting things that inform me," says Plansker.

2
5

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TUT/CAPTION: ITC EASTWOOD, ITC CONDUIT LIGHT, LIGHT ITAUC

iTO fONTS
ITC WILD WEST

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Imagine that you need to illustrate a brochure about cowboy poetryand you're not
an artist. Or imagine that you really crave a big illustration of an ornamental stirrup.
That's the kind of need fulfilled by ITC Wild West, an eclectic DesignFont full of
people, objects and motifs suggestive of the American West. Designer Janet Chavis
lives and works in McCall, Idaho, specializing in logo design and illustration. For
Wild West, she started with a border design she had used on a self-promotional Tshirt, then expanded in all directions. The musical instruments, for instance, were
inspired by a collection of old bluegrass instruments that hang in the shop of a local
luthier in McCall. "This collection grew from the encouragement of Ilene Strizver,
ITC's director of typeface development, and my love for Western memorabilia," says
Chavis. "These designs reflect the love I have for living and working in the Rocky
Mountain West:" Chavis drew the Wild West ornaments in a clean pen-and-brush
style, where a few shapes and lines sometimes stand for a great deal of implied
detail. The illustrations work independently, although some group neatly by style
or subject and cry out to be used together.

ITC Conduit Light

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8cfl/E@*#%$("!?"---.,:;)[ -rt><1 1234567890

ITC Conduit Medium

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ
8cfliE@*#%W*("!?"---.,:;)[11><] 1234567890

ITC Conduit Bold

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ
&fliEV#705tW!?"---.,:;)Ett><1 1234567890

ITC Conduit Light Italic

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841,,E@*#%PtiX("!?"--.,:;)[11><] 1234567890

ITC Conduit Medium Italic

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ
8cflif@*#%V.("!?"---.,:;)I11><] 1234567890

ITC Conduit Bold Italic

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&fliE@*#%$0,("!?"---.,:;)11 - f>4 1234567890

ITC CONDUIT COMES FROM THE

MOST ORDINARY OF EVERYDAY
SIGNAGE:
that sign in the parking lot telling you not to leave your keys, the high-voltage warning on the side of an electrical box, the label above the fire hose on a car ferry. It's the kind of lettering that's done by someone with
no experience whatsoeverrigid, very regular but awkwardly drawn. Except that Mark van Bronkhorst, who
actually drew ITC Conduit, is a very experienced designer with an excellent sense of proportion, and in designing the typeface he deliberately broke every rule. The characters are based on a strict grid"like the 90-degree
corners in real conduits:' he says,"with all the tips and corners rounded off" The italic is the roman "obliqued,"
and the light and bold weights were derived from the automatic weight-change function in his design program.
Van Bronkhorst didn't make the sort of optical corrections that he would ordinarily do, except to open up the inner
angles of the V and W so they wouldn't get visually clogged, but he did make the many tiny changes to shape
and spacing that turned ITC Conduit into a highly readable typeface. It's a industrial-looking sans serif, upright, open
but fairly narrow, and squarish."The curves of the s have flat bits;' says van Bronkhorst. "I love the quirky

things the tail of the y does." The curly capital-E in the italic comes straight from the number 3. It works well
in text, especially at the light weight. Van Bronkhorst says he likes it best either very small or very big.

BY MARK VAN BRONKHORST

TM

ITC
Take one old s le roman type, then turn it into a pile of little sticks,
but keep the classic form of the letters: you might end up with something like ITC Eastwood

AaBbCcDdEeFfGgfih

(named for Clint). At text sizes, it simply looks interestingly rough; at display sizes, it looks
like a 16th-century French face seen through a monochrome kaleidoscope. British designer

Iijj KkLIMnaNnOoPp

Martin Archer, who now manages a restaurant in Los Angeles, was looking for an ordinary,
plain old style typeface with open lowercase letterforms; he ended up using Stempel Gara-

QqRrSsrtUuVvWwXx

mond as his starting point, although Eastwood evolved well beyond its inspiration. With its
semi-inline effect, Eastwood looks like a quick outline sketch by the sort of typographer who

YyZz&fl -fl@*#%$

can quickly draw an intensely elegant serif typeface in a convincing manner. And who knows
how to space it properly, too.

1234567890

BY MARTIN ARCHER

AABBCOODEEM11411J4100.1.1VIMAINOOPPOORASSTTUOVVWWXXYVZz

FROM AMERICAN WOOD TYPE

AABBOODOterffitiff4JKKIJAVIIVINNOOPPOORASSIT

flITOINATIONAt. OSE

fliwi
e
A
tot
Ire
Di%

BY 1.4J1S SMOOT

LUIS SIQUOT FOUND THE INSPIRATION FOR ITC FLORINDA IN ROB ROY KELLY'S AMERICAN WOOD TYPE: 18281900, A FERTILE SOURCE Of DISPLAY TYPES RIPE FOR REVIVAL WHEN HE PUBLISHED THE BOOK IN 1969, KELLY
THOUGHT THAT ALTHOUGH THE 19m-carom TYPE DESIGNS WERE FINDING NEW USES IN THE WORK Of CONTEiVI
PORARY GRAPHIC DESIGNERS, THEY WERE DOOMED TO OBSOLESCENCE. SIQUOT, ON THE OTHER HAND, FINDS THAT
THE UNLIMITED POSSIBILITIES Of DIGITAL TYPE GIVE THESE OLD DESIGNS A WHOLE NEW LIFE. HIS MODEL FOR
FLORINDA IS IDENTIFIED ON PAGE 316 Of KELLY'S BOOK AS "NO. 515. PATENTED BY WILLIAM PAGE IN 1881:'
ALTHOUGH THE SAME CAPTION APPEARS UNDER A DIFFERENT FACE WITH SIMILAR FEATURES ON PAGE 290. SIQUOT,
WHO ALSO DESIGNED ITC JUANITA, LEARNED THE NUTS AND BOLTS OF DIGITAL TYPE DESIGN BY DIGITIZING
SEVERAL TYPEFACES FROM AMERICAN WOOD TYPE, Of WHICH ELORINDA IS THE FIRST TO BE FINISHED FOR
INTERNATIONAL USE. AS HE SAYS, "THE IDEA Of fLORINDA DOESN'T ACCEPT LOWER CASE:' SO HE ADDED SMALL
CAPS "TO INCREASE THE COMPOSITION POSSIBILITIES:' TO DO SO, HE REDREW THE SMALL CAPS TO HARMONIZE
WITH THE FULL CAPS. "FROM THE MODEL I MAINTAINED THE FORM AND `COLOR' BUT I CHANGED LETTER SHAPES
AND PROPORTIONS, ALWAYS TRYING TO BE FAITHFUL TO THE ORIGINAL SHAPE:' TO A MODERN EYE, FLORINDA
LOOKS LIKE FRANKLIN GOTHIC WITH BUMPS: A QUIRKY EFFECT AT DISPLAY SIZES, AND AT TEXT SIZES LEGIBLE
BUT LOOKING AS THOUGH THE WORDS WERE CROSSED OUT WITH A FINE LINE THROUGH THE MIDDLE.

28

EICIILIO, ORNAMENTED LETTERING

ITC BUCKEROO MAKES NO

BONES ABOUT ITS ORIGINS:
NOT ONLY DOES IT LOOK LIKE
THE BOLD, ORNAMENTED LETTERING FOUND ON SALOONS

BEICH
ERUU

3
9E

IN THE OLD WEST, BUT, WITH

THE NOTCHES CUT OUT OF THE
ENDS OF THE LETTERS, IT EVEN
APPEARS AS THOUGH SOMEONE
HAD TAKEN OUT HIS SIN-GUN
AND SHOT THE SIGN FULL OF

HOLES. RICK MUELLER'S INSPIRATION FOR Buciusium WAS A

BOOK TITLE THAT HE SAW SEVEMAIL. YEARS AGO, SET IN A VERY
BLACK DECORATIVE TYPEFACE.
FROM THAT STARTING POINT,
RE CREATED HIS OWN DISPLAY

13

TYPEFACE. "I DREW THE BASE

SHAPES DIRECTLY IN ILLUSTRA-

TOR, THEN MOVED THEM TO

BY MCA MUELLER

FONTOGRAPHER TO BUILD THE

ALPHABET AND THE REST OF

10

THE CHARACTERS;' HE SAYS.

rekflith

FT4

DRIMUT

ITC DRYCUT, LIKE ITC OUTBACK, IS

ITC

background at Photo-Lettering in New

OF HEAVY "WOOD-CUT" TYPEFACES,

York, where he has worked for a total of

)) years. Outback is a contemporary type-

A ADUCCDDie

SHARP, CLEAN EDGES, EVEN THE

rough, but embodying Alonso's long expe -

(RS LOOKING LIKE SHARDS OF GLASS.

M00PP

"THE SLIVERS AROUND THE EDGES

WARD MOVEMENTS OF A KNIFE,
WHICH ARE OFTEN VISIBLE ON OLD
WOODCUTS;' SAYS VANCOUVERBASED DESIGNER SERGE
"FOLK ARTISTS OFTEN DIDN'T CARE
MUCH ABOUT REFINING THEIR
CARVINGSTHE SLIVERS WOULD

AaBbCcDdLe
rfGQHhiiJjKk

face in the "distressed" mode, crude and

WHITE CUT MARKS AND BLACK SLIV-

SUGGEST TRACES LEFT AFTER AWK-

By Bob Alonso

ITC Outback comes out of Bob Atom's

DV Sellbt PICHII

BASED LOOSELY ON THE TRADITION

BUT IT TAKES THE OPPOSITE TACK:

Outback

rience of how a display typeface works.

It's condensed, very economical of space,

CORRSSTTUu
VVWW) xcosaz
&Pi in@fftrntiESO

and quite bold. In a way, it weds the rustic '105 feel of Rudolph Koch's Neuland
with the proportions of a '60s headline
face, then roughs up the edges '90s style

(11I??4,vm...

with a coarse wood-file. Outback is clearly

intended for display, but it reads surpris-

127Y567890

ingly well at sizes as small as 18 point.

HAVE BEEN LEFT AS LON6 AS THE

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WwXxYyZz
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A tOti

IN THEIIITRESSED"NODE

LETTERS REMAINED READABLE:'

THE LETTERS ALL HAVE A SLIGHTLY
DIAGONAL MOTION, ACHIEVED BY
COMBINING A SLIGHT INCLINATION
WITH THE DANCING SLIVERS.

TRACE LEFT AFTER AWKWARD MOVEMIeti -$ E A Kai

ROATITA
29

When the Stork CIA closes .

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BY J4VV1ES 1/1/101/TALB-AVIO

}MMES 1/1/101/ITALBAVIO was on a 1910s si9t4-lettering kick, searching through showcard manuals for inspiration for new tweface designs,
when he found a few letters that led him eventuallti to create

ITC

Flora. 1/11ovitalbano sees different ttipefaces as being like different

colors of paint; avid the palette, in his estimation, still lacks sovvie important colors. He calls Flora one of the "informal, 9oofti scripts': a form that
falls between the many! formal scripts avid the completelii loose and wacky!. In fact, flora is quite elegant, but with a free-flowin9 openness
instead of the colder shapes of vmoderoisvm. Pilthou9h it has some of the edged-brush look of si9na9e, its curves have been rounded and sv000theo
avid its shapes tinkered with until it has a character all its own. flccordivi to Montalbano, the bowls of the a avid 9 are "sort of Arabic':

and quite different from the b avid d, which are reminiscent of a sort of non--Art Deco '30snot the top-hat

elegance of, say!, Bernhard Fashion

but rather "when the Stork Club closes." The face is maimed after Montalbano's girlfriend, who became his wife on Hew Year's Eve.

ITC

vi o ram

FORTEK

lI

III

As a decorative font, ITC Stained Glass is really a series of illustrations rather than ornaments, plus a set of initial caps.
Despite the name, says designer Phill Grimshaw, "the coarseness of the elements in the characters is more akin to crudely
set mosaic pieces than to stained-glass compositions:' He started with a desire to "produce a set of unpretentious
`illuminated' capital initials as an alternative to the styles normally associated with that function, and perhaps useful in situations
where a reverent though not overtly ecclesiastical flavor was required:' He drew the letters at a cap-height of 2 inches,
scanning them and touching them up in FontStudio, then he added illustrations in a similar style but with a wide variety of subjects.
It takes a little time to get used to the illustrations and see how to use them best. The more complex illustrations especially
benefit from being blown up to a very large size, and their outline form lends itself to having colors or textures applied.
1=1

ll-

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FONITEli

)esignronts'

"I still had 'tlou ea ' coming out of mg ears."

BY PHILL GRIMSHAW

The playful ITC Noovo grew out of P ill Grimsh aw's work on ITC Rennie Mackintosh, when, as he says, "I

Light

still had 'Nouveau' coming out of my ars!" Gni shay, who studied type and lettering under Tony Forster in

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Manchester and then got A master's i n design f rom the Royal College of Art in London, works by prefer
ence on paper rather than on the (o pater. He drew Novo after a series of computerintensive projects,
"when I was missing the smell of per anent MA ker pens and the feel of paper" After the decision to
smooth the edges in ITC Rennie Mack intosh, Or mshaw reveled in drawing Noovo at A relatively small size,

Bold

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retaining the resulting rough edges nd slight fluctuations of line weights in the final font. Although
Noovo is highly stylized, it works AS text fac AS well AS in display. Cirimshaw WAS working on his Stained
Glass font at the same time he drew Noovo, an although the letterforms are entirely different, the
two fonts can CASilg be used togeth r.

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By Timothy Donaldson

ITC Jellybaby bounces all over the place, yet manages to keep itself
compact and quite readable. British designer Timothy Donaldson began
the typeface as a seriously fattened version of his earlier typeface
Pink, but ended up making it a witty commentary on the "futuristic"
'60s typefaces that tried to look like machine type, such as Data 70
and Amelia. Jellybaby is also, in its retro way, the sort of type you might
expect to see on a Japanese candy package or on the title screen of an
early '60s cartoon show. Vet it's quintessentially a typeface of the 'Ms.
"I'm afraid I can't pretend there was any great purpose or plan;' says
Donaldson pragmatically. "I just did what I do: played with letter shapes
and got paid for it:'

Th

IIROATIM

gge grtie cfrit"

ITC Cyrillic

eyriffic

5YC gru e grit eyriffic, 8y Ptadimir

3)efimov, is an edgy, nervous-tooIing display type that uses entirety
cursive fetterforms. Eihe its Latinafpha6et cousin, it's reminiscent of
some of the Central european roman
faces designed in the first haff of this
century, as welt as earlier Russian
manuscript hancfs. ghe apparently
artless &it carefutty modulated irregularity to its outlines male it toot
rough and handmade.

Friz Quadrata'
Cyrillic

FOURTH SERIES

The latest releases in ITC's program of Cyrillic typeface development fills

out a couple of existing families and adds two new ones, all designed and
digitized by staff designers at the Moscow offices of ParaType, a division
fPr

ph

inl

ATC spy gown'

zaittjax tom agitit-drat imunpo...
0a.ftbatta&tii 9x3eatnitapi

0, no

ITC KopHHHa

Friz Quadrata Cyrillic, by Aleksandr

Tarbeyev, brings an old ITC favorite into

EXTRA BOLD

the Cyrillic world. Like its roman counter-

THnorpatp4xe He
6onee, mem pe3y.nbTaT onpenenennor
o noAxona. Ee npenecTb BO BHSITHOCT
H 3aMblcna; ycepAneA0J11" oci3opmn
COBepaleHCT80 B

part, this face achieves its visual character by modulating its strong strokes

Oplig KBaApaTa

with subtle wedge-shaped serifs and the

suggestion of a joint where strokes don't
REGULAR

in fact quite join. A cursive version translates the decorous curves of the later
Friz Quadrata Italic into an open Cyrillic
cursive lowercase with caps that are
inclined versions of the regular caps.
Both versions also come in a bold weight.

Cyrillic
ITC Korinna Cyrillic, by Lyubov Kuznetsova,
adds the Extra Bold and Heavy weights to
the existing Regular and Bold weights of
ITC Korinna Cyrillic, including cursive. The
original Art Nouveau typeface Korinna was
available in pre-revolutionary Russia in a
popular Cyrillic form, and in the Soviet
years it was one of the few such typefaces
that didn't get purged from the composing
rooms as decadent and bourgeois. It held
a special place in the hearts of Russian
designers, and now, in the post-Soviet fascination with all things from before 1917,
ITC Korinna fills a much-needed niche for
digital type in Russia. Because of the existing metal type, Kuznetsova didn't have to
look far to find appropriate Cyrillic letterforms to complete the alphabet.

Frc Be ngu iat Gothic

Cyrillic
ITC Benguiat Gothic Cyrillic, by Aleksandr
Tarbeyev, benefits from some of the same
associations as ITC Korinna, since the
underlying forms of ITC Benguiat Gothic
(and its serif cousin, ITC Benguiat) are
based on Art Nouveau lettering styles, as
interpreted by Ed Benguiat in the '705
This release adds the Medium and heavy
weights, with their cursive forms, to the
already-released Book and Bold weights.

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oAa. Ee npenecTb BO BHSITHOCTI4 3aMbICIla;
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COBepWeHCTBO B TvmorpacpviKe

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onee, gem pe3ynbrar onpeAenennoro
nopmo4a. Ee npenecrb BO BHATHOCTI1
3ambicna; ycepqne 'par ocpopmnren

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of Online ShoNaing!

Uri

When you need it now, download it! The Image Club Store is now open. It's
online shopping for designers, and it couldn't be any easier! We've started
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ULC697
Circle 4 on Reader Service Card

now complete
THE ORIGINAL DESIGN
BY GERARD UNGER*

For magazines,

newspapers
and many
other jobs.

REVIEWS

Direct from the designer.

Type -1 and TrueType
for Mac's and PC's.
Light To order or for
more information,

LIGHT SC & OSF phone or fax:

Light
ight italic 00 31 35 69 22 085

LIGHT ITALIC SC & OSF

Regular
REGULAR SC & OSF
Regular italic
REGULAR ITALIC SC & OSF
Bold
BOLD SC & OSF
Bold italic

BY LEWIS BLACKWELL
I have been invited to give some insight into the hot titles for the designer's studio. Indeed the phrase
classics for the bookshelf" was uttered, but I fear it is a little early to identify classics, given the
caveat of drawing on those recently published.
My qualifications for this task are many and varied. For one thing, I read books [no longer to be assumed)
and for another, I write them. I also edit and publish a monthly magazine and a CD-ROM for designers
and thus keep a close eye on the readers' interests and the state of the market. This position provides

BOLD ITALIC Sc & OSF

me with my chief qualification for the job at hand: the privilege of receiving heaps of review copies, and,

Extra bold

having an expense account for the few things that are not sent in free but are nonetheless desir-

EXTRA BOLD SC & OSF

able. Of course, this could be seen as disqualifying me from being at all suitable as I rarely face the

Extra bold italic

EXTRA BOLD ITALIC SC & OSF
Bold condensed
BOLD CONDENSED SC & OSF
Bold condensed italic
BOLD CONDENSED ITALIC SC & OSF

grim challenge of handing over real, non tax deductible money. So bear that in mind as I blithely advise
on how to blow a few hundred dollars.
Faced with such a choice of media, the devising and publishing of books for designers is a strange
business, and getting stranger all the time. A look at the booksellers' sales charts reveals that the
bestsellers are truly Jekyll and Hyde in their split nature. I'll let you decide which is the civilized
side, which the monster.
At one extreme there are the ever-more numerous doorstop-sized software manuals, usually with
thin soft covers but quite often at a hard-cover price. This premium pricing is questionably justi-

COPYRIGHT C) LINO1YPE-HELL & GERARD UNC.ER, 1995, ALL RIGHTS RESERVED

fied by the insertion of a CD-ROM inside the back cover, which carries a clutch of stuff you could

The designer of Gulliver

Circle 5 on Reader Service Card

have downloaded off the Internet. Well, at least it saves on the phone bill. Such books are almost
invariably printed monochrome on something slightly worse than standard photocopier paper.
Which is fine, as the book is almost out-of-date by the time you get it home, such is the pace of
software updates. No sooner have you absorbed those quick key combinations for snappy effects
in Fontastic 4.5, than a mailer arrives advising that your life is but a squalid struggle to survive
without full knowledge of Fontastic 4.6.

YOU'RE
HOLDING
OUR
SALES
BROCHURE

Enough of that side of the market. The other extreme of designer book publishing is where the fun
begins, fueled by tradition, new media and the vague belief that designers can't read anyway. This
other extreme is that of books not as manuals, but as cultural artifacts pumping out inspiration, propaganda, and whatever else turns you on. It is where classics, if they lurk anywhere, might be found.
I have to admit to a sense of having exploited this area myself, notably with THE END OF PRINT
(Laurence King/Chronicle), which I wrote around the work of David Carson. Our publishers advise
us this is the fastest selling, or even the best-selling, design book in the history of the universe, but
we are not exactly talking airport bookstall sales. However, the 120,000 or so out there include many
copies, I suspect, that are well-thumbed but largely unread. While young designers work hard at
acquiring the grace notes of David's graphics, fewer explore the readability of the longer texts. And
that's fine by me: I've plenty of books on my shelves that are still unread, but may be one day
(Finnegan's Wake and its 65 languages might have to hang on for a while longer).

That many people choose to read books at best in a haphazard fashion is not necessarily something to despair about as if it is inevitably a problem, but rather to understand. I fear Robert
Bringhurst's THE ELEMENTS OF TYPOGRAPHIC STYLE (Hartley & Marks) is part of the problem
rather than the solution. It is now in a second edition, suggesting it is some kind of hit, but its
preachy self-righteous manner and stuffy design leave me cold. The least you expect of traditional book design is that the margins are decent so that the text doesn't disappear into the spine.
Somebody out there might be benefit from the facts, factoids and feisty opinions of Bringhurst,
but I'll have to pass. It is occasionally amusing for the fatuous nature of some of the advice, always
summarized in neatly numbered maxims, such as: "6.2.2. Choose faces that can furnish whatever
special effects you require." And don't forget to wash behind your ears. That said there are many
practical points to chew on...perhaps it should be commended to all students and young designers
as an object suitable for deconstruction.

This issue of U&Ic, like

every one since the first
in 1973, was printed by
usLincoln Graphics.
Every page tells you why
we continually win awards
for printing excellence from
organizations such as
PIMNY, AIGA, and PIA.
And if we print this well on
newsprint, imagine what
we can do on top quality
paper.
Whatever your printing
needspublications, catalogs, brochures, inserts
we provide total service.
From concept, through
production, to mailing.
When you've finished reading our sales brochure, call
us at 516-293-7600.

And that buzzword brings me onto my favorite graphics book-as-object of recent months, PROCESS
(Thames & Hudson). This is an object assembled by Tomato, the very trendy London-based collective
of designers, filmmakers, musicians, illustrators and more. It is not a book about design, but in its
fractured typography and abstract imagery it explores process in art and communication. This book
establishes certain ideas about the preoccupations of designers at this time. It mixes paper stocks and
has an understated coverlittle points that I love as I can just sense the production and sales directors

Lincoln Graphics, Inc.

1670 Old Country Road
Plainview, New York 11803

in the publishing company twitching over these departures from convention and economy. There are
texts, often quite lateral to each other, which repay reading. The fractured bits of type, too, are broken poems
of variable quality. There is spread after spread of meaningful/meaningless abstract digital stuff, with
some recognizable imagery...well, have a look. I liked it, many won't. It's a bit like a piece of music, or a

Continued on page 40

Circle 6 on Reader Service Card

35

ITC Resellers

ITC Korinna

ITC typefaces, including the Fontek' collection, are available from

ITC

a worldwide network of font resellers. These typefaces are available

Book, Book Italic, Medium, Medium Italic, Bold, Bold Italic, Black, Black Italic

ITC American ewriter

in a variety of digital formats for both the Macintosh and PC, as well

ril

Light, Light Italic, Medium, Medium Italic, Bold, Bold Italic

as other computer platforms. For more information, please contact

ITC American Typewriter Cond.

the reseller nearest you or contact ITC at (212)949-8072 ext.124.

Light, Medium, Bold

Adobe Systems Europe Ltd. (UK)

T: 011-44-131-453-22-11

FA Adobe Systems Inc. (USA)

r
T: (508) 658-5600 or
Adobe (800) 424-TYPE (8973)
F: (408) 536-6799

slats

http://www.adobe.com

F: (508) 657-8568

F: 011-61-2-451-1815

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ITC Bodoni" Twelve

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ITC Bookman

Light, Light Italic, Medium, Medium Italic, Demi, Demi Italic, Bold, Bold Italic

(Germany)
T: 011-49-69-42-09-94-22
F: 011-49-69-42-09-94-50

Light, Light Italic, Book, Book Italic, Bold, Bold Italic, Ultra, Ultra Italic

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0 ESSELTE Esselte B.C. (The Netherlands)

T: 011-31-348-415084
F: 011-31-348-421203

Regular, Regular Italic, Bold, Bold Italic, Black, Black Italic

ITC Cheltenham

Linotype-Hell

0 ESSELTE Esselte SA (Spain)

T: 011-34-1-381-4736
F: 011-34-1-381-5120
E S Faces, Ltd. (UK)
at T: 011-44-1276-38888
F: 011-44-1276-38111

Linotype-Hell

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fonthaus

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MONOTY PE

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Elysium"

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T: 011-49-30-69 58 95
F: 011-49-30-6-9288 65
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Figura V
Book:Book Italic, Medium, Bold

Monotype Typography Ltd. (UK)

T: 011-44-1737-765-959
F: 011-44-1737-769-243

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ITC Garamond

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ITC

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Gilgamesh"

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ITC Bailey" Sans

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Book, Book Italic, Bold, Bold Italic, Black, Black Italic

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ITC Humana'"

T: (203) 389-7037
F: (203) 389-7039

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F: (312) 360-1997

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Reseller

ITC KallosBook, Book Italic, Medium, Medium Italic, Bold, Bold Italic

36

Book, Book Italic, Bold, Bold Italic

ITC Bauhaus
Light, Medium, Demibold, Bold

ITC Benguiat Gothic

AS

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ITC Eras
Light, Book, Medium, Demi, Bold

ITC Franklin Gothic

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ITC Garamond Narrow

Precision Type (USA)

T: (800) 248-3668
F: (516) 543-5721

DISPLAY

Medium Italic, Demi, Demi Italic, Heavy,

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http://www.paragraph.com/
paratype

ITC

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FontWorks Ltd. (UK)

T: 011-44-171-490-53 90
F: 011-44-171-490-5391
http://www.type.co.uk

ITC Zapf Chancery

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Treacyfacesr Treacyfaces, Inc. (USA)

FontShop Norway/Luth & Co

T: 011-47-22-25 48 20
F: 011-47-22-25 49 20

Light, Light Italic, Medium, Medium Italic, Demi, Demi Italic, Heavy,
Heavy Italic

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Original, Bold, Black

FontShop International
(Germany)
T: 011-49-30-69 37 022

ITC veljovic
ITC Weidemann

ITC Esprit

ParaGraph International
(Russia)
T: 011-7-095-129-1500
F: 011-7-095-129-0911

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Paleda AB (Sweden)
T: 011-46-8-350100
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FontShop France
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FontShop Canada
T: (416) 364-9164
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MEM Monotype Typography Inc. (USA)

T: (847) 718-0400 or
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ITC Symbol

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Linotype-Hell Co. (USA)

T: (516) 434-2000
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T: (800) 942-9110
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T: 011-49-6196-98-2731
F: 011-49-6196-98-2194

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T: (800) 342-0124
F: (201) 845-5047

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0 ESSELTE Esselte SA (France)

T: 011-33-1-44-85-1759
F: 011-33-1-42 2989 44

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Light, Book, Medium, Bold, Black

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Letraset Letra set USA

ITC Pacella

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T: 011-44-1233-62 4421
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ITC Ob elisk"

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Letraset Letraset Export (UK)

http://www.tripleclick.de/
fontinform

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Letraset Letraset Deutschland GmbH

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ITC Caslon No. 224

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/\ Elsner+Flake Designstudios
(Germany)
T: 011-49-40-3988 3988
F: 011-49-40-3988 3999

ITC Modern No. 216

Light, Light Italic, Medium, Medium Italic, Bold, Bold Italic, Heavy,
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ITC Newtext

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T: 011-45-42-84-93 00
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ITC New Baskerville

Letraset Letraset Denmark

Bitstream Inc. (USA)

T: (617) 497-6222
Olf) F: (617) 868-4732

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AGFA, Agfa Division/Bayer Corp. (USA)
Letraset Letraset Australia
T: (508) 658-5600 or
4IE) (800) 424-8973
T: 011-61-2-99-75-1033

ITC Legacy Serif

ITC Lubalin Graph

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Image Club Graphics (Canada)

T: (403) 262-8008 or
(800) 661-9410
F: (800) 814-7783

Leawood

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Graphic Arts Products (PTY) Ltd.

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T: 011-27-11-887-6410
F: 011-27-11-440-4932

Adobe http://www.adobe.com

AO

Regular, Kursiv Regular, Bold, Kursiv Bold, Extra Bold, Kursiv Extra Bold,
Heavy, Kursiv Heavy

ITC Franklin Gothic Condensed

Book, Book Italic, Medium, Medium Italic, Demi, Demi Italic

ITC Franklin

Gothic Compressed

Book, Book Italic, Demi, Demi Italic

ITC Franklin Gothic X-Compressed

Book, Demi

Ihni Up ale
Book, Book Italic, Medium, Medium Italic, Bold, Bold Italic, Black, Black Italic

Book, Book Italic, Medium, Medium Italic, Bold, Bold Italic

ITC Humana'" Sans

Light, Light Italic, Medium, Medium Italic, Bold, Bold Italic

ITC Kabel
Book, Medium, Demi, Bold, Ultra

ITC Legacy Sans

ITC Mixage
Book, Book Italic, Medium, Medium Italic, Bold, Bold Italic, Black, Black Italic

ITC Odyss_ee"
Light, Light Italic, Medium, Medium Italic, Bold, Bold Italic, Ultra

ITC Officina Sans

Book, Book Italic, Bold, Bold Italic

ITC Panache

ITC Cheltenha

ITC Bemuse Roman

ITC Cheltenham
Handtooled

ITC StoneSans & Phonetic

&ev,- c.S,,er,&

Woodland'"

T.
Aachen"
Medium, Bold

Academy- Engraved

IU

CITATION-

Claude- Sans

ITC Cle rface

Contour, Outline, Outline Shadow

relinnedeederetillid
COMPaCta "
Regular,IticBod

IT ISO CoRdeused

Regular, Bold

g.rot ol Le t/ H-01 vt,g{

6- 1AZ CAT.'

ITC BUSORAMA

11rG 11111::ITTAkSm
Dolmen-

Light, Medium, Bold

44 Pre

Mayor,Doacu &clam

BUZZER THREE -

Gf;t?.00V1If'

ITC ATMOSPHERE--

AUGUSTEA OPE

\1
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ITC Bailey Quad Bold

aabrieted -

tAl/g,11NNQP-

ITC Bauhaus

CaAt/t.r-pr Cursiva

ITC Eastwood-

CAMPAIGN -

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(WV (Ceit Ore,pt

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ITC Ellipse"'
Roman, Italic, Bold, Bold Italic

mamma -

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Heavy, Heavy Outline

Gaston 540 Italics e s9 &ashes

Becker' Script

Caxtorl

IfEENNIEW
ITC 13Qt-T-ei''

Regular, Mega Outline

Regular, Bold

ER Mawr
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Bold, Bold Italic

A Cyrillic version available

E_NIVI oTM
11P01CHA'

Equir)ot"
ITC Eras

Roman Light, Light Italic, Roman Book, Roman Bold

ITC Century
llandtooled

FRANKFURTER*"

Medium, Normal, Highlight, Inline

ITC Franklin Gothic

Contour, Outline, Outline Shadow

Ultra, Contour, Outline

Ei-PdS(aP"
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Related styles in other sections

FONTEIN

ITC Garamond
Handtooled
Bold, Bold Italic

gtigic
Gill Display Compressed
Gill Kayo Condensed

ease ci,aJd

AidAtthei
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Open, Black

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ITC FontoonWeigeC" gW166,

fRaNce uNciaL

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a I1E1aLj El [PP

Light, Medium, Bold

Arvii6m-

FOLLIES-

CUlfDotiGitf Osta 713Paddir

ITC l)idi

Brighton-

aaViMkeice -

011TO rioromm-

rfiee4AT' See

Regular, Bold

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ITC
B1LTENJEREIIE
Burlington"

AQUITAINE" INITIALS

Italic, Italic Inline Shadow, Bold Italic, Extra Bold Italic

111

Aquinas -

ITC Flora

Medium, Bold

FTC Freddie,-

Roman, Italic, Roman Bold, Script, Display

1TC -31-c,

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Light, Medium, Bold, Bold Condensed

Contour, Outline with Swash

aptek

Corinthian-

BMW'
ITC Bolt Bold
BBC Is3cDont a

Bordeaux TM

femme-

ONE

Regular, Italic, Bold Italic

Book, Book Italic, Book Italic Swash, Bold, Bold Italic, Bold Italic Swash

ITC A ; trfrearwITC AM LINES

ALGERIAN CONDENS
AmBROSEma AnaGmt@em

Typ Gwatt@gcDvInncto,@
ITC Awyhog-

Fine nand
ITC FireREC

ITC Bodoni"@reventy-Two

agincourr

ITC Fat Fare

ITC
L..c1/4-1 I R..0

Roman, Italic

ITC Aftershock"

ITUIN1111

Light, Medium, Demi, Heavy

Compressed, Engraved

Flamenco Milne

lailwMAX
d`t ZfackacrierMadinat'
ITC Black Tulip"
fir Z?kz PkDNtZ fTC Bodoni Brush-

Medium, Phonetic Medium, Medium Italic, Semi Bold, Semi Bold Italic,
Bold, Bold Italic

StRliritAM"
Bible- Script and Flourishes

Light, Bold

ITC Quay Sans"

Book, Book Italic, Medium, Medium Italic, Black, Black Italic

Fashion-

ChampersContour, Outline, Outline Shadow

1TC Binary'"

Book, Book Italic, Bold, Bold Italic, Black, Black Italic

ITC

tehrtigo"

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Book, Book Italic, Medium, Medium Italic, Bold, Bold Italic, Ultra

ITC Parmhoul
Normal, Not So Normal

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ITC Highlander *"

TM

Cltatenge

Behve"

ITC Goudy Sans

collection

ITC GOLDEN COCKEREL'"

INITIALS

ITC Gorilla
ITC Groecruit"
eutatact"

GreenVitefitoo. WNWJ-1414iT"
ITC Grizzly
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Tiadfield44AND DRAWN
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11AVVEr

MAME
Heliotur
(Continued on page 38)

(Continued from page 37)

Helvetica Condensed

Papyrus"

mob:gm -

Li; htnin' Script

1,Intekocs

Pendigg" Script

ITC Honda

Lino eut Locarno

Medium, Bold

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ITC MACHINE

Hornpyper
Ignatius

ITC RENNIE MACKINTOSH-

ImpaktT"

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_Sao

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PNEUMA"
PRAGUE"
Pre Shaded
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ITC Malstock-

h2/02-2224.1 - Raz22azi

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Pris6na PRIT(HflIW
Regular, Line Out

/M1155c"

tIn .hanti,alacyc

Pump"
Regular, Demi Bold

Regular, Too

ITC Milano

ITC Jellybaby1-(A4.41j -

Regular.Extra

ITC STATICSTRO BOS

RETR9-

Neo

ITC Kristen'

F
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Bold, Bold Condensed

Neo-

ITC EO
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Light, Light Italic

Light, Bald

ITC Rondo:

ITC liora49heron-

Light, Regular, Bold

RoWE TTEach-

Odessa-

RUBBER STAMP

ti) Cnclii0"
Regular, Bold, Shaded

OrangeITC Urban"

tame,Regular, Chrome

Latino- Elollgatd

Light, Regular, Bold, Black

Laura-

ORIAHEXT

LCD

ITC Outback-

ITC Out of the FridgeCIPzwaild

ITC Lennox-

7TCR9414e
Kwce,RobotikRonk-

One Stroke" Script

Lembl"

Bold

V*YteXff
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Runilunk"

Regular, Bold

SUPERSTARSEIM CH R Cr

Regular, Reversed

Tannhauser

Teknik"
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ITC Tempus- Sans

Regular, Italic

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FUNIV FONW

ITC g61140-

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5-105TREAIV -

ITC Stylus"

ITC Motter Corpus

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ITC Mona Lisa

Normal, Not So Normal

Etadio appt

ITC Mithra

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PAINShatter"
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Ultra, Contour, Outline

MUN I'

Light, Medium, Bold

Regular, Condensed, Deco, Lino, Xilo, Xilo Condensed

ITC Kabel

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Regular, Italic

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ITC Backyard Beasties-

ITC VI NTAGE

Wade- Sans

Naturals

Eclectics

Regular, Neon

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39

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Continued from page 35

paintingthat's part of the point it is making about design, which is a controversial one, of course. All that

lisie is available at the following locations:

struggle for rationalism, and along comes a generation of designers who keep emphasizing subjectivity.
So what about the old heroes? Before his death last November, Paul Rand left us with a parting shot at
the latest generation. FROM LASCAUX TO BROOKLYN (Yale University Press) trashes the philistinism of big
business, while celebrating those clients who bought Rand's ideas. There are some familiar projects trotted

NORTH AMERICA

out from his earlier books, but still put with panache. The tetchiness and egocentricity aside, Rand's writing ,
waslycerndpovati.Cuslyhproncemtsfluadbwencimgsa

Bates Art and Drafting Supplies

Art Drafting Digital Source

4901 Century Plaza Rd

Indianapolis, IN 46254
Phone: 1 (317) 297-8000 or
1 (800) 745-1345
Fax: 1 (317) 290-7032
H.R. Meininger

499 Broadway
Denver, CO 80203
Phone: 1-303-698-3838 or
1-800-950-2787
Fax: 1-303-871-8676
meininger@aol.com
Parlor News Coffeehouse

135 E. Second Street

Powell, WY 82435
Phone: 1 (307) 754-0717
coffee@wir.net
www.parlornews.com
Untitled

159 Prince Street

New York, NY 10012
Phone: 1 (212) 982-2088
Fax: 1 (212) 925-5533
bevandavies@worl dnet.att. net
www.fineartinpri rit.com

all about intuitionyou had it or you didn't, and we knew on which side he fellor pitching rigorous
rationales for why his way of doing it was the right way.

SOUTH AMERICA
One great designer who doesn't seem to hang up on claiming his work works, is Alan Fletcher. In

BEWARE WET PAINT (Phaidon) he re-edits nearly 40 years of output to provide a vibrantly illustrated

Libreria Tecnica CP67 SA

volume which does little to acknowledge the origins of the piecesthe brief, performance, problems,

Florida 683 Local 18

1375 Buenos Aires
Argentina
Phone: 54-1-314-63-03
Fax: 54-1-314-71-35

and so onbut celebrates everything in the manner of a painter's retrospective. There are essays written by a range of writers that tend towards the hagiographic. For the most part, they are best ignored.
This book stands by whether or not you love Fletcher's distinctive style, which could be crudely summarized as using splashy paint and little jokes at any opportunity (well, he did suggest that with the
title). Deceptively simple, Fletcher is a king of the visual punand we have plenty of evidence all around

Rio Books

in commercial communication that it is remarkably difficult to come up with and execute good puns.

Rua Castro Tavares 146

Manguinhos Cep: 21041-170
Rio de Janiero-RJ-Brazil
Phone and Fax: 55-021-590-8997

The book is well produced, and is a more enjoyable book than the chunky Pentagram publications over the
years to which Fletcher inevitably contributed. In Beware Wet Paint there is a sense of him casting off thr
shackles of having to pretend his work is anything more or less than an artistic response.
Such a monograph-like book contrasts markedly with the strange fruit that is PURE FUEL (Booth-Clib-

OTHER

born Editions). This is a polemical exercise from another London-based collective, three designers

FontShop Australia

called Fuel (sorry to keep plugging the hometown boys, but my excuse is that this city is supposed

343 Sydney Road

Brunswick, Vicro ri a 3056
Australia
Phone: 61-3-9388-2700
Fax: 61-3-9388-2818
www: fontshop.com.au.

to be hot at present). I particularly admire Fuel for their defiant quest to take graphic design beyond
puns, beyond styles. Ironically, along the way they have started to produce a body of work (clients
include Levi Strauss and MTV) that is distinctly hip and identifiably Fuel-like. In Pure Fuel they bring
in numerous collaborators to create a collage of photography and texts exploring such concepts
as "Spoilt," "Chaos" and "Leisure:' The typography is disarmingly understated, but is always sensitively handled...often ironic, always intimating other experiences.
Another fascinating book, in a more traditionally informative mode, is Per Mollerup's MARKS OF

EXCELLENCE: THE HISTORY AND TAXONOMY OF TRADEMARKS (Phaidon). This veteran Danish

I EUROPE

designer and writer has assembled an exhaustive collection of marks, and backed up the images
with some highly informative text. This is an excellent book whatever your philosophical position

Tegnece nter

Logos Impex

St Kongensgade, 21
DK-1264 Copenhagen K
Denmark
Phone: 45-33-14-90-33
Fax: 45-33-11-90-33

Strada Curtaton a 5/F

41010 San Domaso-Modena
Italy
Phone: 39-59-28 02 64
Fax: 39-59-2816 87 or
39-59-28 05 07

in design. These marks and the accompanying brief notes are like haikus on visual culture. They
don't explain a great deal, but they intimate much.

Finally, I should be accountable for my tips by saying what I am reading at the moment. Well,

couple of my own books: SECOND SIGHT, which is a new book I am just finishing with David
Carson, and REMIX, a savage reedit of my earlier 20TH CENTURY TYPE. In both of these I notice how

Central Books

little text you need to make a point (in Remix I find myself chopping down text not to dumb

99 Wallis Road
London E9 5LN
England
Phone: 44 (0) 181-986-4854
Fax: 44 (0)181-533-5821
central@centblcs.demon.conk

down, but to make more intelligible the story of typography). As with that copy of Finnegan'S Wake,

7941 GJ Meppel
The Netherlands
Phone: 31-522-261303
Fax: 31-522-257827

Shipley Specialist Art Booksellers

Dest Arte

70 Charing Cross Road

London WC2H OBB
England
Phone: 44-171- 836-4872
Fax: 44-171-379-4358

Armazem Parede
Rua A Cava
2775 Parede
Portugal
Phone: 351-(0)1-3470214
Fax: 35140)1-3475811

Zwemmer Media Arts

Bruil fiz Van de Staaij

Zuideinde 64

24 Litchfield Street
London WC2H 9NJ
England
Phone: 44-171-240-4157
Fax: 44-171-836-7049

Paragraph International

La Hune Li brairie

Berlin Libros
c/Cordoba, 17

170 Boulevard St-Germain

75006 Paris
France
Phone: 33 (1) 45-48-35-85
Fax: 33 (1) 45-44-49-87
Papasotiriou S.A.

International Technical Bookstore

Stournara 35 Athens
Greece
Fax: 30-1-364-8254
Typophili a Publishing and the
Typography Bookshop

6 Delliou Srt.
546 21 Thessaloniki
Greece
Phone and Fax: 30-31-239-823

words say a great deal without being read faithfully, in a line, from beginning to end (and, of course,
there famously isn't an end in Finnegan's Wake).
And yet having said that, for my own deviant pleasure I am reading the highly theoretical and highly
personal and really rather long-winded THE CULTURE OF THE COPY by Hillel Schwartz (Zone Books).
Designed by Bruce Mau's studio, this chunky number is an appealing object. But more to the point is
that its curious quest to inquire into "striking likenesses, unreasonable facsimiles" provides much to
reflect on in relation to typography and type design. Why do we go to so much trouble to explore and
replicate the familiar? What are we looking for, when we don't seem to be looking for anything new?
The book operates on many levels for many different needs in the reader, but I think any designer
might learn something from it before tweaking another font. If only how painful it is to read for a
longtime when the type size is a point too small for comfort.

32 Drasilcova Street, 19th Floor

Moscow, 117418
Russia
Fax: 7-095-129 09 11

LEWIS BLACKWELL IS THE AUTHOR, WITH NEVILLE BRODY, OF G1 SUBJ: CONTEMIP, DESIGN, GRAPHIC
(LAURENCE KING/RIZZOLI). HE IS ALSO THE AUTHOR OF THE END OF PRINT AND THE FORTHCOMING
SECOND SIGHT WITH DAVID CARSON (LAURENCE KING/MONACELLI) AND REMIX: 20TH CENTURY TYPE
(LAURENCE KING). HE IS EDITOR/PUBLISHER OF CREATIVE REVIEW MAGAZINE.

28770 Colmenar Viejo

Madrid
Spain
Phone: 34-1-8462971
Fax: 34-1-8455922
berlin.libros@redestkes

Corrections
In the Spring issue on page 6, we inadvertently misidentified Frank Martinez. He is with the U.S. Patent

and Trademark Office. Simon Schama is the author who wrote so eloquently on The Netherlands. In the
article on Sub Pop, Jesse Reyes' name was misspelled.

Paleda AB

19124 Sollentuna
Stockholm
Sweden
Phone: 46-(0)8-35 01 00
Fax: 46-(0)8-35 00 14

STORES! DISTRIBUTORS!
To carry Utcic, contact Rebecca Pappas at (212) 949-8072, ext 131.
40

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AUSTRALIA

SOUTH AFRICA

FontShop
Tel +61 (3) 9388 2700
Fax +61 (3) 9388 2818
www.fontshop.com.au

Tel +27 (11) 485 1906

Fax +27 (11) 485 1940
hothouse@icon.co.za

AUSTRIA

SWEDEN

FontShop
Tel +43 (I) 523 29 46- 0
Fax .43 (I) 523 29 47-22
www.fontshop.co.at/fontshop/

Typecraft
Tel +46 (8) 663 91 23
Fax +46 (8) 663 91 29
info@typecraft.se

CANADA

SWITZERLAND

FontShop
Tel +1888 44 fonts (toll-free)
Fax +1 (416) 364 1914
fontshop@swipe.com

Compress Information Group

Tel +41 (1) 722 77 00

HotHouse Design Studio

Fax +41 (1) 722 77 01

www.compress.ch/fontfont/
fonthome.htm

DENMARK
Agfa-Gevaert A/5

FINLAND
Oy Agfa-Gevaert AB
Tel +358 98 8781
Fax +358 98 878 278

Linotype-Hell
Tel +44 (1242) 285 100
Fax +44 (1242) 285 101

FRANCE

Regular SMALL

CAPS

DRAAT S

FontShop
Tel +33 (1) 43 06 92 30
Fax +33 (1) 43 06 54 85
www.fontnews.com

GERMANY
FontShop
Tel +49 (30) 69 58 95
Fax +49 (30) 692 88 65
www.fontshop.de

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ITALY
Happy Books
Tel +39 (59) 45 08 04
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JAPAN
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Fax +81 (3) 5474-77 44
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UNITED KINGDOM
Monotype Typography Ltd.
Tel 0800 371242 (toll-free)
Fax 0800 220692 (toll-free)
enquire@monotypeuk.com

Tel +45 4326 6766

Fax +45 4326 6701

Faces Ltd.
Tel +44 (1276) 38 888
Fax +44 (1276) 38 111
106064,500@compuservescom

USA
FontHaus Inc.
Tel +1 800 942 9110 (toll-free)
Fax +1(203) 367 1860
fonthaus@aol.com
FontShop San Francisco
Tel +1888 FF fonts (toll-free)
Fax +1 (415) 398 7678
www.fontfont.com
Phil's Fonts
Tel +1 800 424 2977 (toll-free)
Fax +1 (301) 879 0606
www.philsfonts.com
Agfa Typographic Systems
Tel +1800 424 TYPE (toll-free)
Fax +1 (508)657 8568
www.agfahome.com

ALI:OTHER COUNTRIES
FontShop International
Tel +49 (30) 693 70 22
Fax +49 (30) 692 84 43
www.fontfont.de

dthesansmonocondthesansmonocon

FF

TheSans Mono'. Condensed Luc(as) de Groot

Fr Zapata. (five weights) Erik van Blokland

FONTFONT

Circle 7 on Reader Service Card

FontFont, FontFont typeface names, and FontShop are trademarks of fsi FontShop International. Other product and company names are trademarks of their respective owners. Product availabili itt subject to change without notice. Design: MvI3Designaaol.com . C01967 FS,.

(RE)IMAGINING THE BOOK:

tislellusinessIlirect
BY STEVE TOMASUL5

r YOU CAN'T KEEP UP.

To place a
classified ad in
U&lcBusiness
Direct

WE CAN HELP.
You can't read everything,
so we do it for you. We
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DESIGN TOOLS MONTHLY e-mail to DTMonthly@aol.com

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ARE YOU
MARRING
TO MOVE7
lie sure to take

we

with_ you"

Moving Date:
OLD Address (Please print or attach mailing label)
Name

Title

Address

City

State

Postal/Zip Code

Country

NEW Address
Name

Title

Address

City

State

Postal/Zip Code

Country

Fax to 212.949.8485 or mail to U&Ic PO Box 129, Plainview, NY 11803-0129

0 Word!
What sort of
Word art thou!
Augustine asked,
for the Word
existed in the
beginning but
was not made
while the body of
the universe was
that "Vast chain
of being! which
from God began,
descending
through Natures
ethereal, angels,
man....

A SEMIOTIC SYMBIOSIS

ct/

rb
r/

JUMP-CUT, 199?

ei

SOME SEE BETTER THAN OTHERS.

Imagine the Internet.

1.5 billion miles of spun glass and copper linking 173 million PCs running quadrillions

[Pi fS' rr- f' f"

of lines of code as quintillions of blips on silicon wafers. How many computations can

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dance on the head of a pin? A vast chain of hotlinks.

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FLIGHTCHECK then collects the
whole job for you including both
screen and 1)%4nter fonts as well as
all images into a FLIGHTCHECK
approved folder that's ready for press!

In his book Mervelous Signals, Eugene Vance writes that "there is scarcely a term,
practice, or concept in contemporary theory that does not have some rich antecedent
medieval thought' This observation seems to apply particularly well in the case
of collaboration between graphic designers and writers. The book, especially the
Medieval book, is a profound virtual-reality device. The image/text, the contemporary reincarnation of illuminated texts, is simply a foregrounding of this multimedia nature that is original not in our sense of the word, but in the Medieval
sense: that which has been present since the Origin.
t. That is, literature too, has a material history and it is bound up with the history

of the book which is a story of reproducibility and portability. Consider its end
points: the cave painting, a one-of-a-kind, permanently bound to the most inaccessible parts of the earth. Contrast this to the Amiens Cathedral (http://www .

*learn.columbia.edu ), an online "book" on the cathedral's history and art in which

criticism, primary texts, floor plans, Quicktime movies and a discussion group
can be made presentfrom anywhere in the world.
Now consider the history between these end points: first the codex, the book
in the shape of a box as opposed to scrolls like one manuscript of the Pentateuch,

written on 57 skins sewn together to form a piece 36 meters longa serial

retrieval system which one reads by rolling from one scroll to another, like a
cassette tape. With the parallel retrieval system of the codex, though, it's as

DON'T LOSE SIGHT

OF A JOB WELL DONE.

easy to flip to page 200 as 20 and back; it is easy to begin to think what we
would call hypertextually. Germane here is the truism that Medievals, like us,
thought in terms of symbols. In a codex like the Moralized Bible, images linked

If:

texts to other texts, the Old Testament to the New. Psalm 80, for example, a

prayer for the restoration of the Lord's Vineyard (Israel) prefigures Christ
and this teleology is taught by a crucifixion posture of both grapes and man.
Pushed to an extreme in the 20th century, it's easy to see what this type of

MAIN SCREEN

thinking will do for traditional boundaries: man/machine; history/fiction;

high art/popular entertainment; male/female; truth/image; private/public;
original/copy; mind/body; text/image. Once again, stories and images are
linked to others with the result that, as for Medievals, representation is suspect, for it is partial. The veil that separates us from?

****
Publish,.

Today, the re-patterning of knowledge is obviously dear to a number of visual

artists. And activists. And just plain folks.... And, of course, authors and designers. Like perspective painting, the graphically-driven novel is a system of
knowing, one that like the term "narrative," contains within it the collapse of

COLLECT SCREEN

genres. In fact, hypertext can be seen as a literalization of the type of writing

in the Moralized Bible or any text that points to other texts. Or an image that
points to another image. Or multimedia where one media references another.

Tech
Support!

The Image/Text is a new, or re-newed, form for revisited means of narration,

means of information organization. Will electric books kill the print book? Well,
did TV. kill radio? Will the creators of all books, the designers and writers (or
should we call them collage artists), have to consider how this experience will
alter the ways stories are told? Well, did TV transform radio?
The push of how we thinkespecially a mindset that puts genres and media in
discourseand the pull of technolo are what help brinzword and image together

THIS
in both print and electronic formats. /A ND OF COUPI SE
RE-IMAGINING IOF THE BOOK Of KIARRATIVE FORM IS WHAT IS BRINGING
GRAPHIC DESIGNERS AND WRITERS
BACK TOGETHER.

Z4 41

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The

Hague

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A phone: 714

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Netherlands

Alisa Alisal

.""""fvew'*ftw 5DIGIT 94117

ITC 0543251
GREG DUNDIS
GREG DUNDIS DESIGN & PROD
1801 HAYES ST APT 6
SAN FRANCISCO CA 94117

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Do yo t1, AgfaType CD, take Monotype

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In addition to typefaces, the Creative Alliance
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ALLIANCE CD with over 6,000
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Completing the package is the
More than the marriage of big
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Alliance logotype: Ovidius Demi. Monotype, Monotype Classic Fonts,
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AGFA, the Agfa rhombus, and Creative Alliance are trademarks of
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