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In This Issue:
ITC Competition
The results are in from our first annual Upper and Lower
Case International Typographics Competition—initiated PRESENTING
to attract examples of typographic excellence in which ITC
typefaces were utilized.
Copyrights, Typefaces &You
Congress is now considering a major revision of the copy-
right law. The editorial explores the new ethical climate it OF THE FIRST
will bring should such a bill become law and exactly what
it would mean to the world of typefaces and to you.
Happy Holidays 1976
'Silence is the fittest reply to folly" This ancient Arabic ,
proverb has nothing whatever to do with the above title —
being nothing more than a brazen diversion to cover our
late appearance with the season's greetings.
Deidi Von Schaewen is a talented graphic designer/
photographer whose dazzling photographic display of
exceptional walls are soon to be seen the world over in her
forthcoming book.
Ms. Susie and Dorothy Yule
According to Webster, yule is an exclamation expressive of
joy at Christmastime; according to U&lc, it's the surname of We are pleased to report that ourfirst annual compe-
identical twin sisters whose artistry brings joy the year round. tition—initiated to attract examples of typographic excel-
A Christmas Feast lence in which ITC typefaces were utilized—has met
Now who in the world would think of contributing an article with a reader responsefar exceeding even the outside
to this publication of a 3-colored Italian Christmas feast hopes of our editors.
— in glorious black and white? Mo Lebowitz, that's who! For
a delicious sampling of his unique wit, we heartily recom- More than 1000 entries were submitted, with a gratify-
mend that you put on your bib, get out your Pantone book, ingly high number of pieces superior in quality and im-
and join us in a delightful Lebowitz Christmas feast. agination.
Ampersands Although Price, Waterhouse wasn't engaged, in this
Last issue, we introduced a new feature of famous amper- instance, to vouchfor the sanctity of the sealed envelope
sands, illustrated with commentary by Jerome Snyder. The
man's extension of a good idea seems virtually limitless— containing names of the winners, no other stone was left
so here again, eight additional fantastic ampersands. unturned by the U&lc staff to insure a competition that
Something from Everybody for U&lc would be at once withoutfavoritism and completely
We really started something when we casually suggested above reproach.
that those who liked us (and those who didn't) might drop Thejury, whichjudged each and every entry, reads
us a line or two if it pleased them. Well, we asked for it and
we got it—with illustrations thrown in for good measure. like a virtual "Who Who" in the graphics designfield.
Something for Everybody from U&Ic
Thejurors were such prominent leaders in thefield as
A regular feature of titillating trivia that also conveys practical Lou Dod.sman, Ruth Ansel, Gene Federico, Milton Glaser;
knowledge, cements arguments, comments on the oddities Gennaro Andreozzi, and George Lois.
of life, and demonstrates (sometimes) universal truths.
French Postcards
If you're thinking the above is a put-on, and we're only
going to con you with vicarious thoughts of Montmartre,
you're wrong. So let your sexual fantasies run amok, skip
quickly past the earlier pages, and — oh well, let Herb Lubalin
tell you all about it. He was there.
What's New From ITC?
ITC Bookman in four weights (Light, Medium, Demi, and
Bold) are the new typefaces from ITC which licensed sub-
scribers are authorized to reproduce, manufacture, and _loin
NENE d ME111 is • da r
offer for sale. !I■ lf• AI"' Ilm
Crossword Puzzle .WMPile+ fir rhati
d • 1 • • -•
Gertrude Snyder, like her spouse Jerome, has a very fertile
mind. In this instance, she's turned it to a crossword puzzle
Li'li1 kLedliMei• dal
• d •
dill •
—but with an added catch. Whether or not you're a cross- rfatiail
LOIlirma 4.1.-liii4
word freak, we think you'll find Gertrude's puzzle a real dI.

typographic challenge. Ld a- ■ •11.1 ..o.r•Sill

VOLUME 2, NUMBER 4, 1975




216 EAST 45TH STREET. NEW YORK. N.Y. 10017




resentative of magazine publishers lest rec- right law would assure the designer of such
ognition of exclusive rights might lead to an environment, one also in which royalties
Copyrights,Typefaces4),You suits to enjoin publication of printed matter. would be earned by the popularity of the
Representatives of typographers and the design. Best sellers, with type as with
Where are we now? American Institute of Graphic Arts books, would earn the most royalties espe-
Congress is now considering a major revi- expressed concern about the danger of cially if there is no unauthorized duplication.
sion of the copyright law. This could include excessive protection that would foreclose The quality of typeface designs should rise
provisions for copyrighting new typeface the use of certain typefaces." as the best talents, many now avoiding this
designs. In recent hearings the pros and Recommendations field, are attracted to it by copyright protec ,
cons of such protection have been presented The Register of Copyrights recommended tionadfrylsucte.
to a Subcommittee of the House Committee that protection with safeguards be written The quantity of new designs, subject to the
on the Judiciary by Ms. Barbara Ringer, the into the bill and advised that under the needs and demands of the market, should
Register of Copyrights, and by proponents present law registration should only be more easily and promptly meet the market
and opponents of such legislation from the made on the basis of a clear-cut judicial deci- demand as the economic hazards of market-
typographic industry as well as represen- sion which may be forthcoming. However, ing new typefaces are reduced by copyright
tatives of publishers, designers and other she advocated protection under Title II of protection.
interested parties. the bill and advised that the various posi- The availability of the new faces all over
tions might be accommodated if: the world and across the spectrum of
Where are we heading?
machines and materials will be potentially
The tone of the recent hearings is most "[a] Liability were clearly restricted to the universal. And, with manufacturers no
encouraging. A new copyright law may unauthorized duplication of the design in longer deterred by fear of unauthorized copy-
include protection for new typeface designs' the manufacture of fonts, matrixes, etc.,
ing, more fonts will reach the market more
coupled with safeguards for the several and if printers, authors, publishers, etc.,
were clearly freed from any risk of liabil- rapidly than is now possible.
interests concerned about the side effects of The cost of these gains to the manufac-
such protection. We believe that the great ity; and...
[b] a compulsory licensing system were turer, designer, type shop, and material sup-
interest shown by thousands of people con- plier or ultimate customer is literally
cerned with this important issue helped established under Title II, allowing any-
one to manufacture a font, etc., reproduc- negligible, especially considering that type-
create a climate contributing to such an out- face film fonts today cost a fraction of what
come. ing a protected typeface design on
payment of a reasonable fee. the same typeface would cost if made for
Pros and cons metal typesetting, and further, considering
The arguments for and against amending "This proposal would obviously require that a machine owner usually purchases a
H.R. 2223 to protect new typeface designs careful elaboration as to content, form, and particular film font only once.
were summarized by Ms. Ringer as follows: procedure. However, the Copyright Office The prices for film fonts will be competi-
"Proponents of typeface design protection considers this the best hope of resolving an tive under any mandatory licensing provi-
argued that new photocomposition tech- important and difficult problem, and would sions of the proposed copyright laws
niques have made unauthorized copying of do its best to contribute to a productive because manufacturers will be required to
typefaces an urgent problem, that original result." make all copyrighted typefaces licensable to
designs for fonts of type are the 'writings of She farther recommended that protection each other. It is our belief that the principles
an author' in both the constitutional and the be for five years with two five-year renewals, of price competition will prevail in this field
statutory sense, that no case law in any field thus putting the new law in agreement with as they always have in every other industry and
rules out their copyrightability, that regis- the provisions of the 1973 Vienna Typeface the prices for film fonts will be kept in line.
tration for typeface desighs would impose no Convention. The only manufacturers who stand to lose
burden on authors and reprinters, and that What all this means to you under the new copyright law are those that
both Titles I and II of the revision bill should When such a bill becomes law, it will pro- choose to wait until others have invested
be amended to make clear that typeface mote an ethical climate as well as typeface time, money, and effort and then, as in the
designs can be considered 'original' and that and typographic quality, quantity, and avail- past, make unauthorized copies of the work
fonts of type are 'useful articles.' They also ability. The effect on costs, to all concerned, product of other manufacturers and offer
recommended that the term of protection will be literally negligible. such copies at lower prices than can be
under the design bill be extended for 15 Ethically, it will make possible a royalty offered by the original developer.
years, to conform with international stan- structure that will properly reward the tal- And finally, the acid truth. The incredible
dards. ent and labor of the creator of new typefaces, fact is that the purchase of a copyrighted .
"Opponents argued that neither Title I nor and it will make it economically possible for typeface film font, which may include such
Title II of the bill as drafted protects type- manufacturers to develop and promote such items as a designer's royalty fee, develop-
face designs; they opposed any amendment new faces as may be considered useful and ment costs, and marketing overhead, might
of Title I to bring typeface designs within the desirable for contemporary needs. not add one full cent to the cost of any single
scope of traditional copyright protection, In today's photo/electronic typesetting job in the course of just one year of the font's
and they stated that Title II would be inap- era, the designer of a new typeface has his normal use!
propriate without 'very extensive amend- income limited since each font is normally Conclusion
ment including mandatory licensing at sold only once to a customer. There are Passage of the copyright bill with new type-
reasonable rates.' They argued that the rarely replacement orders as is necessary face design coverage may be in sight. If it
issue is not one of 'typeface piracy,' but of with metal type or matrices. The designer, includes the safeguards called for by the
creating exclusive rights for a few big manu- therefore, needs a broader market than ever Register of Copyrights, it promises a bright
facturers, who would use them to enforce before to replace the repeat markets of yes- future for all concerned with typographic
tying arrangements between their machines terday if he is to be encouraged to continue ethics and quality. U&lc will keep you
and fonts. Concern was expressed by a rep- to practice his creative craft. The new copy- informed as this bill moves through Congress.


Lou Dorfsman Milton Glaser Ruth Ansel George Lois GennaroAndreozzi Gene Federico

For those who,for one reason or another, may not be as first choicefor art directors art director. Whetherfor
familiar with these names as those in the trade who Cornsilk, The New Yorker, Elizabeth Arden, or Stein-
have long considered them (as is said) "household way, Gene has established Lord Geller Federico as an
words," a brief note on each may be in order: agency devoted to the taste and distinction that makes
art direction a true art
Lou Dolfsman probably holds some sort of unofficial So muchfor thejurors. Now, on to the winners—of
record with his year in-year out of garnering ofArt Direc- which there are twelve who were chosen unanimously.
tor medals, CA citations, and AIGA awards. As VP of Ad- Another twenty four were chosen by a majority. There
vertising and Design for the CBS Broadcast Group, are no best-of-category or best-of-show selections. All
Dofsmans work epitomizes the very best to befound in pieces shown are considered by the judges to be of out-
the area of corporate design. standing quality and will subsequently be put together
Milton Glaser has been largely instrumental in put- as a traveling show available on loan throughout the
ting graphic design on the modern art map. Glaser's world.
interests are protean—rangingfrom editorial to city proj- It is interesting to note that, out of all the selected en-
ects to museums and you name it Among his many ac- tries, only five were submittedfrom New York (winners
complishments, he is design directorfor New York hailingfrom such diverse corners of the globe as Solna,
Magazine and The Village Voice and, with Seymour Sweden; Sunnyvale, California; Frankfurt, West Ger-
Chwast, initiated what has come to be known as the many; and Hookstown, Pennsylvania). Insomuch as
"Push Pin" style. only two of the New York entries were unanimous win-
ners, it would seem to bear out the old adage: "You're
Ruth Ansel, the lone woman juror, is that "raraavis" never a hero in your own home town."
of her profession—an art director of thefirst class in the The designs submitted speak eloquently for them-
specializedfield of newspapers. Readers of the New selves. But, afinal word:
York Times Sunday magazine section, of which she is With "anything goes" now infilm and electronic ty-
art director, have seen her impeccable design accomp- pography—with minus leading and minus word and
lishments. letter-spacing as easy to accomplish as pushing one key
George Lois is Chairman of Lois Holland Callaway, on a keyboard—it's a whole new ball gamefor today's
the second agency to share his well-known Greek designer; requiring an intensified blend of imagination
name. This much lauded art director is a controversial, and restraint and a keener eye than everfor the typo-
dynamic, enterprising talent who is never afraid to say graphic nuance. The pieces shown here demonstrate
what he thinks—and never afraid to think. From don't how very well the typefaces and the new typographic
hab a code?" to "Launch a Cutty" (Sark), his advertising systems can be used to produce typographics possess-
campaigns dare not only to be different but to rate ing an optimum blend of creativity and craftsmanship.
among the veryfinest. Speakingfor thejurors, Lou Doy'sman puts it this way:
'Typography in the hands of inventive designers—
Gennaro Andreozzi is a shining example of art direc- known or unknown proves once again to be the star-
tor tumedfilm director. Head of his ownfilm company, tling illustrative medium it can be. The designers whose
GennaroAndreozzi, Inc. he was in theforefront of the good work we viewed could have done well in any
creative revolution in advertising and design, and pro- typeface. The well-structured ITC typefaces, however;
duces commercials and industrialsfor clients like Guer- generally offered additional opportunities to perceptive
lain who appreciate the award-winning style and designers to excel."
freshness of the "Andreozzi touch." And excel they have.
Gene Federico, last butfarfrom least, is hands-down Seefor yourself.
6 Typographer: Typros
PRESENTING Designer: Carol Fulton, Palo Alto, California
Client: Carol Fulton Lawrence Miller
THE WINNERS Typeface: Avant Garde Gothic
Typographer: Frank's Type

Mr. Miller is president of Marketing Design
Alliance, a New York-based, small, concept-
OF THE FIRST Carol Fulton
A free-lance designer/photographer in Palo Alto
oriented, all-media design firm. He has worked
for Doyle Dane Bernbach, CBS, Lippincott & Mar-
ANNUAL UPPER since 1972, she was president of the Western Art
Directors Club in 1974. Her work won six gold
gulies, among others, and has over 50 design
awards, including five gold medals, to his credit.

&LOWER CASE medals for design/photography in 1975. She was

born in Toronto in 1946.
Designer: Ron Criswell, Dallas, Texas
Client: Morris Photography
Typeface: Avant Garde Gothic X-Light
TYPOGRAPHICS Designer: Joseph M. Essex, Chicago, Illinois
Client: Mas Nakagawa
Typographer: Jaggers, Chiles, Stovall Inc.
Ron Criswell
COMPETITION Typeface: Serif Gothic
Joseph M. Essex
29-year-old Ron Criswell, a Dallas resident for
the past ten years, has been working out of his
A designer with the Center for Communication own studio for the past three years. It is a design
1 Planning, a Division of CCA in Chicago, Mr. Es- and illustration-oriented shop with emphasis on
Designer: Torbjorn Lenskog, Solna, Sweden sex's design career has taken him from the fun and youthful projects. Ron came up through
Client: Typografen AB Richmond (Virginia) Professional Institute to the ranks in the Dallas market, working directly
Typeface: Korinna Pittsburgh's WQED and then to the Design Cen- with clients and through advertising agencies.
Typographer: Typografen AB tre where he developed graphics for television,
posters, packaging, and designed logos and 10
Torbjorn Lenskog Designer, client: John Langdon, Woodbury,
Lenskog & Co. Advertising Agency was founded magazines; then on to Unimark in Chicago be-
fore joining CCAs Center for Communication New Jersey
three years ago. It is a 12-person agency and al- Typeface: Avant Garde Gothic Medium
ready among the top ten in Sweden, with its Planning. He is currently involved in advertising
highly creative profile. Clients, the oldest of graphics, identity programs, film, marketing and John W. Langdon
which is Typografen AB, range from heavy in- packaging programs. Currently dividing his time between free-lance
dustrial companies to fast-moving consumer 8
designing and Sulpizio Associates, a Philadel-
goods. Prior to establishing the agency, Mr. phia design studio. Mr. Langdon graduated from
Designer: Lawrence Miller, New York City
Lenskog worked as an advertising consultant Client: Marketing Design Alliance Dickinson College, attended the Philadelphia
and art director. Typeface: ITC Tiffany (Alphatype modified College of Art and worked at Headliners of Phil-
version) adelphia before joining Sulpizio Associates
2 three years ago.
Designer: Christof Gassner, Frankfurt, 1
West Germany 11
Client: Deutsche Letraset GmbH Designer: Rich Newman, San Francisco,
Typeface: Fat Face, Avant Garde Gothic California
Christof Gassner Mark Twain: Client: Rich Newman/Graphic Communications
Typeface: Lubalin Graph Medium
Born in 1941 in Zurich, where he studied "Swiss"
graphic design at the Kunstgewerbeschule.
Da jag senastvar sekreterare Rich Newman
Upon graduation he went to Germany to dis- hos en senator. Rich Newman/Graphic Communications was
cover, to his amazement, that there were other established in 1974 in San Francisco. Mr. New-
typefaces than "Helvetica." Later he set up his man, 31, is a graduate of the Palter School of Art
own graphic design studio in Frankfurt, dealing and the California Institute of the Arts/Design
mainly with typography and typographical illus- School. Before setting up his own design service
trations. He has designed several new typefaces: he worked for Tepper-Steinhilber Associates and
Vexier, for Letraset, and Knirsch and Leopard for .4. dee
menewee Me he
ewen Me*
served with the Air Force Exhibit Unit.
Berthold Fototypes. 12
3 Designer: Craig Bernhardt, New York City
Designer: Joseph Scorsone, Philadelphia, Pa. Client: Graphics-To-Go Inc.
Client: Temple University Typeface: Avant Garde Gothic Demi
Typeface: Avant Garde Gothic X-Light Typographer: Franklin Photo Lettering
Typographer: The Composing Room, Inc. Craig Bernhardt
Joseph Scorsone rr eee.
Is currently a principal of Graphics-To-Go Inc. in
An Assistant Professor at Temple University, yes ,r• ...ea .
New York, and of Bernhardt & Fudyma, a newly-
- Dereeevaeen
Tyler School of Art, where he teaches graphic fere Mea
eV. eg dee leee..
eeeee een e .. oda
emp e toac Neer e
formed corporate graphics company within
design and typography. He is also a freelance de- eee
Graphics-To-Go. Born in 1948 in Lancaster,
signer working mainly in book and poster de- .va ierze fel etPeeeee Pennsylvania, he studied graphics at The Tyler
sign. His work has been shown in the leading :tees 0. Dad* ers.14.
,, e Ge,

tee, ewe wee

School of Art in Philadelphia, and the Tyler
design publications here and abroad. BFA from ootr*•3., "• ••••••'`' School in Rome, Italy.
the State University of New York and MFA from m d"""*.
t;r1 C.!
the University of Illinois. e e
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Mee* - bees peasee Wm an.
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Designer: Larry Bender/Mark Wallin, Sunnyvale, -3:72-:42&
Client: Micro Mask, Inc. Typografen
Typeface: Serif Gothic ---------- ---------
Typographer: Atherton's Advertising Typography giftTCP tflY
r( T115tIlt
Y Pl.
Larry Bender/Mark Wallin 1°Yqrlatfi
tfl CirtirtE k ' ,,..,,I;)P1clao
Mr. Bender formed Lawrence Bender & Asso- TIMPTT71L1 i',,,, cID7 OTPL11
ciates in Palo Alto in 1970. He had previously PLfliFYclrIL P <i)cP OToLti
gilxP LtlY
attended Art Center, worked at Carson/Roberts cW9""
and with J. Chris Smith in Los Angeles, and also Pt1 . : •.(173 a
fiLycf Plic1:
l 1 17
P' cP • PUTIFYT111
art-directed at Fairchild Semi-conductor. He e 9 q)
teaches Advertising Design at Foothill College. Plfl 9. Tao © 1) or PLII
P PLflYb 'cp P OT
Mark Wallin joined the studio after his gradua- 10
cP(1) 9YPP
tion from Art Center in 1974. 4?
P a :Poo
PL _Of "j10111.
5 (pi UT
. Ty Lp
Pt a
Designer: Gus Carlgren, Hookstown,
Client: Experimental
fl 9 9Lflt
Typeface: Avant Garde Gothic Medium
Gus Carlgren TN PlflYLVYMLIrtt
Largely self-taught, Mr. Carlgren is a Swedish- PLIMOI (IfiletStT
PLflY or,Q2A C
born American artist/designer/photographer. gUt q>Lfrf PLBYB°Y flP11
'al MRYFTt1(
1 1' i 0 .0'
He is presently free-lancing out of Hookstown, ' 4 '114■1 ,' gri ll
rif 9VgtflYT I Mt
Pennsylvania, having gone the corporate and .ItyggeacpifiNgRfu
agency AD route in Cleveland, Indianapolis and •
• 6' q .
'' ),,
.q. . •oir. •Yr,,. TIMMfT MAT
Pittsburgh. His career emphasis has been in- . 1 • 1 2 .22 2
obi Tr_lrY ■
dustrial, pharmaceutical and financial accounts, " .1011)PCptil■ iargri[jilf
qfrRfloo " ;tr• .# • Dt.• ..
j11 4
111 0 '
■1111 ,1 1,0
but the broad spectrum includes writing, car-
11 ' '
tooning and lettering.

bens & hedges

6 7

Graphic Design & Consulting for: Publications, Visual Identity, Sigmage. Publicity, Diagrams and Packaging

Rich Newman/Graphic Communications 120 Broadway San Francisco California 99111 USA (415) 982-1227

13 14 15 16


1N0::)1101 a la Creme
Senator Renned
George McGovern Utoknase Double Contrast
Reports on
Cuban Medical
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Unblocks Arterial and
Venous Clots
Improves Gastric
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17 18 19


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21 23 24 CRITIQUE
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26 27


}Pea -- ?■11\lx 3C P C

30 13 Typographer: Typo/Graphic Services, Inc.

Designer: Tom Fowler, Stamford, 25
Connecticut Designer: Elizabeth Marschke, Louisville,
Client: T.G. Publishing Co., Inc. Kentucky
Typeface: Friz Quadrata, Souvenir Client: Adpro /Typesetters
Typographer: Nortype Typeface: Avant Garde Gothic X-Light, Book,
14 Medium, Demi, Bold (all hand drawn)
Designer: Christof Gassner, Frankfurt, 26
West Germany Designer: John Langdon, Woodbury
Client: Canton HiFi Elektronik New Jersey
Typeface: Caslon 223, Avant Garde Gothic Client: John Langdon
Typographer: Typo Bach Typeface: Korinna Bold
15 27
Designer: Ted Andresakes, New York City Designer: Stan Malcolm, Wakefield,
Client: WSBC-TV (CBS affiliate) Massachusetts
Typeface: American Typewriter Bold Client: Stan Malcolm Advertising Art
Condensed, American Typewriter Typeface: Avant Garde Gothic
Medium Condensed
Typographer: TypoGraphics Communica- Designer: Larry Arnbrosino, Schenectady,
tions, Inc. New York
16 Client: Madison North
Designer: Michael Lauretano, East Typeface: Avant Garde Gothic, hand
Meredith, New York modified
Client: The West Kortright Center Typographer: Royal Type
Typeface: Souvenir Bold and Bold Italic 29
Typographer: IGI (text) Designer: John Langdon, Woodbury,
17 New Jersey
Designer: Ric Bayless, Denver, Colorado Client: Frank Duca Press
Client: Bayless Advertising Design Typeface: Avant Garde Gothic X-Light
Typeface: Souvenir, Tiffany Typographer: John Langdon
Typographer: Mel's Typesetting
18 Designer: Douglas Hoppe Stone, Tustin,
Designer: Mamoru Shimokochi, Hollywood, California
California Client: Skysailing Publications
Client: Mamoru Shimokochi Typeface: Busorama, Avant Garde Gothic
Typeface: Souvenir Light X-Light
Typographer: Fotoset, Inc. Typographer: Orange County Typesetters
19 31
Designer: Larry Bender/Mark Wallin, Palo Designer: Ellen Shapiro, New York City
Alto, California Client: The Eugene O'Neill Theater Center
Client: Lawrence Bender & Associates Typeface: Serif Gothic, Souvenir
Typeface: Serif Gothic Typographer: Cardinal; Innovative Graphics
20 International
Designer: Claude Skelton, Washington, D.C. 32
NUR Client: Wickham & Associates Designer: Hartmut Bruckner, Bremen,
Typeface: Avant Garde Gothic X-Light, West Germany
HABEN Aki Lines Client: Hartmut & Christel Bruckner
UNS Typographer: Photo-Lettering, Inc., Typeface: Tiffany Medium
GEHEIRATEr Typographic Service, Inc. Typographer: Headline Fotosatz
22. MAI Designer: Phillip Collier, Birmingham,
1975 Designer: Douglas Hoppe Stone, Tustin,
Alabama California
Client: University of Alabama in Client: Bardeen /Stone Advertising
Birmingham Typeface: Serif Gothic
Typeface: Avant Garde Gothic X-Light Typographer: PM Graphics
Typographer: Forstall Typographers
Designer: Guy Salvato, Columbus, Ohio
Designer: Alan Peckolick, New York City Client: Prem Gehani
Client: Harmony Books Typeface: Korinna, Korinna Bold Outline
Typeface: Tiffany Heavy Typographer: Yaeger Typesetting
Typographer: Lubalin, Smith, Carnase
23 35
Designer: Larry Bender, Palo Alto, Designer: Stephen Snider, Boston,
33 California, Massachusetts
Client: M&N Typography Client: Harrington's Barber Shop
Typeface: Serif Gothic Regular Typeface: Souvenir
Typographer: M&N Typography Typographer: The Composing Room
24 36
Designer: Dan Hobbs/Steve Hall, Louisville, Designer: Alan Peckolick, New York City
Kentucky Client: Squeezit Corporation
Client: Landscape Architecture Magazine Typeface: Serif Gothic Regular
Typeface: Souvenir Typographer: Lubalin, Smith, Carnase


Happy Holidays1976

New Year's Day, Lincoln's Birthday St. Valentines Day Washington:5 Birthday Ash Wednesday,
Thursday January Thursday February Saturday February Monday February March

1 12 14

St.PatricI8 Day, Palm Sunday Jewish Passover; Easter Sunday

Wednesday March April Thursday, April April

11 18

Mother's Day, Armed Forces Day, Memorial Day Trinity Sunday Children Day
Sunday May Saturday May Monday May June Sunday June

15 13
In lieu clan adequate picture ofSt. Patrick we hazy substituted an inadequate picture of Herb Lubalin, whose birthday on March 17th, is honored by a grand parade up ith Avenue, after which, be gets appropriately bombed.

Flag Day Father's Day Independence Day, Labor Day Monday Citizenship Day
Monday, June Sunday June Sunday July September Friday September

20 17

- .
Jewish New Yew; Yom Kippur, Columbus Day, United Nations Day Veterans Day,
Saturday September Monday, October Monday October Sunday Oc ber Monday October

25 4
11 25

Halloween, Election Day, Thanksgiving Day, First Sunday of Christmas Day

Sunday October Tuesday, November Thursday, November Advent, November Saturday December

31 2 25 28 25


54 'RAY
DAILY 9.9 SAT.9.9


Walls were created to house people, shelter

them against the elements, and protect
them from oppressors. Over the ages their
original purpose has become subverted. In
recent years walls have become a means to
shut in or shut out people and ideas. These
walls, by Deidi Von Schaewen, are different.
They represent a fascinating means for dis-
pensing information. They have, magically,
opened up an entire avenue of esthetics that
stimulates discerning people, creates ideas
and insights that reflect cultures and con-
ditions that are, unfortunately, slowly dis-
appearing from the face of the earth. As a
graphic designer, with a particular interest
in letterforms and their application to sur-
faces, I am particularly enthralled with the
graphic images so aptly captured by Deidi
Von Schaewen in this small sampling from
hundreds of photographs appearing in her
forthcoming book on walls. Our highly so-
phisticated printing techniques have robbed
contemporary posters and billboards of a
textural quality that can be achieved only
by the reaction of time and the elements
(rain, snow, sunshine), on a painted surface.
The marvelous de la Francesca, weathered,
fresco-like appearance of faded paint,
cracked plaster, crumbled brick and cement,

plus the thiee-dimensionality of old win-

dows and doors appearing, mysteriously,
through images of faces, bodies, and letter-
forms, provides an extra dimension that bog-
gles the mind of the esthete, a phenomenon
that cannot be reproduced by contemporary
printing methods on the uninspiring surface
of a piece of coated paper. What strikes me
as significant in these photographs is, firstly,
Deidi's ability to discern and select out of
the thousands that are available for the eye
to see only those walls that have become
artistically credible. And secondly, the vol-
ume of work she has created in this area
surpasses anything I have seen in the past,
not only for its proliferation but for the
consistent photographic and design quality,
all of which attests to her ability as a graphic
designer as well as a talented photographer.
This new book of walls is, probably, the most
important document on a subject that sur-
rounds people, a subject that they look at
everyday, but never see. This book will open
many eyes to what has happened in the past,
and how it reflectsupon the future. I remem-
ber, a few years back, seeing the words,
"Kilroy was here:' emblazoned on walls in a
myriad of graphic styles. It should have read,
"Deidi was here ... there ... and everywhere:Yu.

Original prints of Deidi Von

Schaewen's photographs will
be on view at Multiples, Inc.,
55 East 80th Street, New York
until January 31st, 1976.

V.11,1Lit Psf,damer
1 4i to Filialens

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Susie Yule,who, as you see, is in the The inspiration behind Susie's number
numbers racket, was born, appropri- pictures came from a book called Exis-
ately, one week after the Christmas fes- tentialism from Dostoevsky to Sartre.
tivities, on January 7, 1950. Dorothy A chapter, written by Rilke and entitled
followed, right on her heels, three "The Notes of Mahe Laurids Brigge" in
minutes later. which a man, Nikolai Kuzinich, became

Ms. Susie Yule Both studied aft, here and abroad.

However, Dorothy took a brief sabbat-
obsessed with time, the accumulation
of all the seconds of his life, his only
wealth, which he translated into a con-
ical to work as a secretary for an insur-
Ms. Dorothy Yule ance company. It is quite evident that
her art experience, coupled with her
fusion of numbers that overwhelmed
him with the speed of their passing,
ability as a typist, created a synergistic influenced these exciting graphic
Yule, according to Webster's, is an effect, thus enabling her to create the interpretations.
exclamation or salute expressive of joy marvelous cityscape above. This graph- Let it never be said that U&lc ever
used by merrymakers at Christmas. ic image was one of many included misses an opportunity. Not only to bring
Yule, according to U&Ic, is the family in a handsome, hard-bound book, con- to you the unique work of artists like
name of delightful identical twin sisters ceived in loving memory of her father. Susie and Dorothy Yule but to extend
whose presence brings joy 365 days It is a remembrance of many enjoyable to you our warmest greetings and best
a year. excursions to New York City as a child. wishes for the New Year...through them.

Mcrlaa UnM4

Graphic people always seem to want to redesign every zing.But

most of them won't get around to doing anyhing until they get a
fee for it. That leaves a lot of room for a guy 11_,c.e me to slip in and
have some fun at nobody's expense except my own ... and, I finc
the results eminently more rewarding than any fee could be. All of
which is a long way of saying that at The Anticue Press I have a
hell of a good time every day cooi,cing, eating, drinling wines, listen-
ing to Mozart, and even managing to print a little (naturally, about
the aforementioned). I even maie a living. While discussing this
column with Editor Lubalin, tne subject of food came up as usual,
and Christmas I )inner became a design project. Heing hungry and
thirsty with visions of lunch approaching, I greedily too=i the chal-
lenge. Here's the result: Christmas, graphically, is a Red-and-Green-
on-White-Background-Holiday. And the colors are Italian. So why
not do the feast to match those colors? Hven add a little blac_ ,c. to
snap it up and help hold everyhing in register a little better. Thus,
this is a Three-Color Italian Christmas I )inner presented to you in
blacks-and-white. Use your imagination. Takie out your Pantone boolK
andpicture this. The Menu: A feast for six people. Cheeses: Gorgonzola
Appetizer: (B lack-and- (white-with-green-flecks),
White) Mussels in White Edam (wrapped in red
Wine served with a white wax), and a Bel Paese
wine like Verdicchio or (basic green wrapper).
Castelli Romani. A red wine of cit laity like
Entree: (Green-and-Red- a Barolo or Gattinara, old,
on-White) Green Noodles
with Sauce Genoese with Dessert: A simple but
a red wine like Chianti good dish of ice cream
Classico Reserva, Inferno, with three flavors:
or a Grignolino. A green Vanilla, Pistachio, and
salad with a simple lemon Strawberry.
and oil dressing and Espresso.
crusty bread.



like them. Scrub them clean As they open they'll release chilled. The Castelli Romani
with a wire brush and trim off the liquid in their shells. When comes from Latium and is
their beards (or the hairs that they all open and are removed, ready to drink in about three
protrude from between the strain the liquid they've left or four years from the vintage
shells on the side opposite the and return it to the pan which date. Use the dry style (they
hinge). Throw away any that has been cleaned. Add a cup of also make a sweet version).
feel light, won't close or feel white wine, 2 cloves of garlic It's austere and smooth with a
too heavy (they're probably which have been very finely high alcohol content. Or try a
full of sand... and dead). Put chopped, and a good fistful of Corvo which comes from the
them in a big pot and cover chopped parsley. Let this mix- southern Palermo. Ready
them with cool water for an ture boil at a high heat until it younger at two years, it has a
hour or two. This gives them a has thickened. Don't overdo it: higher alcohol content and
chance to clean themselves of the more it reduces, the saltier tends to be a little drier.
any sand or debris and saves it gets. Taste it as you go along.
The Mussels: Leave the mussels on their
your teeth.
Ingredients: Into a large, wide pan, pour half shell and throw away the
enough olive oil to cover the tops. Put them in a bowl in
7 Dozen Mussels. bottom well. Drain the mus- layers and pour the sauce over
1/2 Cup Olive Oil.
1 Cup Dry White Wine. sels and dry them off. Heat the them. Let them cool, cover, and
2 Cloves of Garlic, Minced. oil and add the mussels so refrigerate them. Baste them
1 Fistful of Chopped Parsley. they're cooking at a pretty with a bulb-baster whenever
On the day before the feast get fast clip. As they start to open, you think about it.
a dozen mussels per guest. remove them to a bowl. Keep The next day when you're
More if you know they really the top layer moving to the ready to serve them, put a
bottom because the mussels dozen each into soup bowls
will cook faster at the bottom and dollop the marinade over
and overcooking will toughen each.
them. The wine should be good and
The Green Noodles:
A 1 0-ounce Package of Frozen
Chopped Spinach or a Pound of
Stemmed Fresh Spinach.
2 Cups of unbleached All-Parpose
2 Eggs.
1 Teaspoon of Salt.
1 Teaspoon of Water.
2 Tablespoons of Fresh Chopped
Parsley or Basil.
Make a pile of the flour on a
smooth, dry, cool surface like
a breadboard or formica top.
(Marble is the classic surface,
but don't use the coffee table.)
Punch down a hollow with
your fist and break the eggs
into it. Add the salt, water, and
spinach which has been
steamed for a minute or two,
squeezed thy and put through
a food mill or blender until it
is a green puree. Make a verti-

714.6.4i,m_ 161_1,a4c-yfluz_. / 9 „L Net /'fit-- PA-mt.-xi— 3 4 3


cal circular motion with the and transfer them to a warm The wines for the Cheese
fork mixing the flour and bowl or platter to which you course, the Barolo and the
liquiduntil it begins to thicken have previously added 3 table- Gattinara, are sturdier and
to a ball of doughy consistency . spoons of butter in small pieces
Knead the dough more in a more complex wines, and need
and some salt and pepper to a lot of aging to show their
little flour with the heel of taste. Toss the best. They are both from the
your handuntil it won't absorb noodles and sprinkle Piedmont region and use the
any more flour. on the chopped Nebbiolo grape.
At this point you can either herbs. They are different,however,
make the noodles by hand or inthat the Barolo tends toward
use a pasta machine. To do it a Burgundian style, while the
by hand you must continue to Gattinara will become more
knead the dough about 10 Claret-like with age. They are
minutes until it becomes com- both among the great wines of
pletely amalgamated and takes the world and good cheeses
on the consistency of skin should provide them the plat-
when you touch it. It's not form from which to finish off
sticky, but will yield to the a good meal with a great ex-
touch with some firmness. The Red Wines: plosion. Look for 1964 or older,
With a pasta machine just and they won't be cheap.
set the dial to 1 and keep run- The red wines for this pasta
ning the folded dough through and red meat sauce should have
until it reaches the same con- character, style, and tend
sistency as I've described The Sauce Genoese: toward the lighter side. The
above. Then set the dial to Ingredients: biggest wine I recommend is
number 5 or 6 and roll the the Chianti Classico Reserva.
A pound of chopped Veal.
dough through to make long 2 Carrots, sliced thinly. Try to find one from 1967 or
sheets of noodle-thin pasta 2 Onions, sliced thinly. before. They come only from a
onto which more flour is 2 small pieces of Celery, chopped. small area around Florence in
sprinkled to prevent sticking A half-pound of Mushrooms, the Tuscany region. Reservas
to the surface on which it's sliced. must stay in wood for five
8 Tomatoes, skinned., seeded, and
placed or to other sheets. Cut chopped (or 1-112 cans of years minimum and will im-
these into 5- or 6-inch swatches peeled, Italian style). prove in bottle when stored
and run them through the 1 Tablespoon of Flour. properly for up to twenty
wide noodle blades of the A cup and a half of Beef Bouillon years. They remind me of a
machine. (or my brown sauce prepared good Claret from France with
by melting 3 Tablespoons of
By hand, it's a little more butter, adding 2 tablespoons their bouquet hinting at vio-
difficult. But it's an easily of flour and browning. Add 1 lets. The difference is in the
acquired knack. Roll out the cup of red wine, 4 cups of beef Special tang they save for their
dough-ball with a rolling pin bouillon, 1 bay leaf, 1/2 tea- aftertaste. This is not the
until it must be cut to be han- spoon of thyme, and 4 table- same Chianti that you've skir-
spoons of tomato paste. Bring
dled easily... about 12-inch to a boil and let reduce to half mished with at your local
squares. When the dough gets or about 2-1 /2 cups. Make a lot, Pizza Parlor ... and lost to.
about a sixteenth of an inch it can be frozen). Good alternate wines are the The Music:
thick,roll it up into itself like a A cup White Wine. Grignolino and the Inferno.
jelly roll, flouring it to prevent Butter. A Grignolino is like a French Ingredients:
sticking together. Then slice Brown the sliced onion in the Beaujolais: quick-maturing, Bach
the roll across at 3/8" inter- butter; add the other vegetables fresh and bright with a lot of Mendelssohn
vals. Unravel them and you've and the chopped veal. When fruitiness. A different wine Vivaldi
got noodles! In both cases the all have browned, put in the than the Chianti, but just as While you're devouring all
noodles should be set out to skinned and chopped toma- good in its own way with this this great food, do something
dry a little for an hour before toes, then stir in the flour. dish. The wine is named for its different and accompany it all
you cook them. When thickened add the white grape and it comes from the with a great piece of music.
About five minutes before wine. Let it bubble a few min- Piedmont region. Play something colorful on
you're ready to serve the utes and add the Brown sauce Inferno is from the Lom- your stereo like Mendelssohn's
entree ,bring 8 quarts of previ- or bouillon. Season the sauce bardy region and, to me, is the Fourth Symphony (The Italian
ously simmering water back to taste and let it simmer, half wine that's inbetween the Symphony), or Bach's Con-
up to a rolling boil. Throw in covered, for about 45 minutes. Chianti and the Grignolino in certo in the Italian style. And
the noodles and cover the pot Serve with the noodles. style. It ages better than the knowing that Vivaldi was
to bring it quickly back to the There is not a lot of sauce here, Grignolino and has more color nicknamed "The Red-Headed
boil. Immediately upon the but I feel that the noodles have and class. It is also like a Priest:' he would be an appro-
return to boil, remove the pot such a flavor of their own that Claret which puts it closer to priate choice.
and pour it into a colander it's a shame to completely the Chianti. I have tasted some Remember to take it easy.
placed in the sink. Be careful mask them with an overabun- good examples recently and I'd hate to see you turn green
of the steam. Drain the noodles dance of sauce. they are reasonably priced. after it's all over.

Editor's Note: No article by or about Mo Lebowitz

would be complete without a sampling of his unique
wit and impeccable taste (beyond that which he cis-
plays in his appreciation of fine wine, food, and
music) in his approach to typographies. The exhibits
on this page were printed on The Antique Press,
of which he is proprietor. We can't t of a better
way to finish off a great "festa:'

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Aaldememeto..14.. 1+4,11

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supplri a Int, kirk SCA mu.ic ,11,,,M1 it dillicorike,ping arm or
ord,r ,Bach That swI. he% ,x.somany clavier

Asau yank the Prop of Mc,. lque l're.Mor ..Anchivts.

herel audi,mphieclarifyingthe beginnmg with As,

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from the A.q.Press blo

Maggie & Jiggs
Long before the TV sit-corn took
over the job, the comic strip provided
the social mirror of public fun and
foible. One of the best running strips
was George McManus' "Bringing Up
Father" that gave us the imperish-
able Maggie & Jiggs. This "Funny,'
as they were then called, took a
"nouveau riche" Irish family as its
premise, following its social pre-

tenses and marital mishaps in a sort
of pioneer "Beacon Hill:' The strip
started in 1913. "Bringing Up Father"
took care of daily doings, and
"Rosie's Beau" the Sunday antics.
Jiggs' charm and style were the

22, he and his wife produced seven already giving public performances. Born in 1833 into a quiet, bourgeois
Bach, Beethoven, & Brahms children. A year after his first wife's In fact, he became a superb musician family, he got his musical start from
Three musical figures of such mag- death, he married again. With wife on several instruments and per- his father. Just for the record,
nitude are not likely ever to come number two he fathered 13 children. formed in concerts regularly. His Johannes' mother was 17 years older
along again. Certainly not three That makes 20 in toto; but, from mother, by the way, was a gentle, than her husband. Although he
giants, all living about the same life all accounts, his musical progress stoically suffering, unsmiling woman performed as a pianist from age 16,
span, each with his last name begin- in no way interfered with his being who had little influence on his career, he had been a closet-composer from
ning with the same letter (if we a model father. While still in full yet was deeply loved by Beethoven. student days on. Robert Schumann
sidestep Beethoven's van), and command of his creative power, When it came to love, Beethoven's recognized Brahms' genius early,
following each other in neat his- a period that included a revision of life was pretty stormy. Ludwig, not and Clara, Schumann's wife, a
torical sequence. Some psychol- 18 choral preludes and the art of the the best looking guy around, seems famed pianist, gave concerts with
ogists and educators should also be fugue, Bach's creativity was halted to have made an ardent play for any Brahms. Brahms, in fact, became
hard put to explain how three by blindness. Shortly after, he was number of his pupils, countesses, Clara's closest companion and was
geniuses emerge from differing a victim of a paralyzing stroke, and singers, and a host of others. If fail- a source of great comfort while
family backgrounds, each of the in 1750 he died in his native Germany. ing in the sex department weren't she nobly suffered Robert's mental
sort that is supposed to stifle Ludwig van Beethoven who came enough, deafness began to show up aberrations. Like a German "seif-
creativity. Johann Sebastian Bach, on the scene in 1770 is a German of before he was 30. Neither amatory oper," Brahms contracted a cold
who lived from 1685 to 1750, was quite a different color. His father nor auditory failure had any effect at his beloved Clara's funeral that
born into a musical family but by was an alcoholic who had blunted on Beethoven's musical output finally did him in. Of course, he had
the age of 10, when his father died, his own career as a musician. Young except to create an accompanying cancer of the liver to start with, but
had to live with his elder brother— Ludwig, showing little interest or personal exasperation. Eventually, the cold didn't help matters. Brahms,
no mention of a mother. Along with aptitude for music, nonetheless was while transporting his adopted a shy, avuncular, cigar-smoking
his musical productivity, young forced by his frustrated father to nephew to Vienna, Beethoven caught type, never got his just recognition
Bach was no slouch at increasing practice from the moment he could pneumonia from the carriage trip. while alive. Yet today, music just
the population. In the first 13 years "pound a piano" or "scratch a He died in 1827 in Gay Vienna. wouldn't be right without that third
of his first marriage, when he was fiddle:' By the age of seven he was Finally, there's Johannes Brahms. big B.
graphic incarnation of his creator,
George McManus, a prankish, ele-
gant, cigar-smoking, cane-sporting
wit. A complete charmer, McManus
was as popular personally as were
his cartoon personalities. His draw-
ing had stylistic sophistication as
well as clean draftsmanship that
may have given a few ideas to John
Held, Jr. Jiggs, despite his top hat,
frock coat, and fancy digs, had his
heart and soul back with the boys in
the pool hall. Maggie, more the
social climber, kept the good-natured
Jiggs doing an upper class jig, whose
unfamiliar steps he never mastered.
Although the strip continued after
McManus' death in 1954, it just
wasn't the same without the genial
genius of George. Even if McManus
had lived longer, it's not likely that
Maggie & Jiggs, a pair of Irish
parvenus, would capture the present
public fancy. 0 Tempora, 0 Mores.
Napoleon & Josephine
No man for hiding his light under a a new government, The Consulate,
bushel, Napoleon Bonaparte, in his a concordat with the Church in
52 years, never stayed put long 1801, and you have the picture of a
enough to allow grass to grow man who kept himself on the move.
beneath his feet, let alone to have a Things must have looked bright on
love mature. At the ripe old age of December 2, 1804, when the cocky
26, while still only a general, he Corsican was crowned Emperor,
married the widow Josephine de and Josephine, by her Corsican/
Beauharnais who already had some French connection, became Em-
experience with generals. Josephine, press.That was the good news. The
born Marie Josephine Rose Tascher bad news came five years later
de la Pagerie, had been the wife of (1809), when Napoleon had his
Alexandre Vicomte de Beauharnais, marriage to Josephine brought to
a general who had fought in the a tearful close. No children, no
American Revolution. But marriage. A year later our energetic
that cut little ice with the emperor cemented political alliances
powers that be in France by marrying Marie Louise, daughter
in 1794. De Beauharnais of Emperor Francis I of Austria.
fell on dark days for, Napoleon II was the son of that
losing the Battle of union. He got to be the King of
ainz, he lost his head Rome for about a year after
y guill tine in 1794. A year or so Napoleon I abdicated in 1814.
must have been sufficient for Josephine retired to Malmaison,
Josephine's grief to subside, for a pretty classy chateau, where she
on March 9, 1796, she and died in 1814. Napoleon picked up the
Napoleon were wed. There was tab on her child Eugene, from
hardly time for an embrace Beauharnais, by adopting him. He
before Napoleon took French ended his days as a duke. After
leave to lead the Italian Napoleon died on St. Helena, his
Campaign. Throw in remains were brought back to
he Egyptian Campaign France. Current address: Hotel des
(1798), Invalides, Paris.
a coup Notre nature est dans le mouve-
d'etat in ment; le repos entier est la mort.
1799, the (We are by nature active; complete
establishment of rest is death.)—Blaise Pascal.
Holmes & Watson
Sherlock Holmes is without a shadow Watson were inseparable friends
of doubt the most famous detec- and crime-solvers. It might be noted
tive in the history of such fictional that, despite Holmes' heavy use of
creation. He is also the first consult- cocaine, his mind never seemed to
ing private eye—and what an eye! deteriorate. What is more —he played
Beyond that, it is impossible to think a mean fiddle, whereas all Watson
of a deer stalker cap, an Inverness ever played with was his bull pup.
cape, a calabash pipe, and a magni- After the final battle with his arch-
fying glass without putting them enemy, Professor Moriarty, Holmes
together with a tall, thin, aquiline- took up beekeeping. And supposedly
nosed, sharpeyed, aloof figure. Basil lives on through some Tibetan
Rathbone as the cinematic avatar secret. Watson—quien sabe?
probably deserves most of the con-
temporary credit for establishing
Holmes as a worldwide symbol of
cool, brilliant reasoning. Holmes'
constant companion and sort of
Boswell was and is John H. Watson,
M.D., played to engaging perfection
by Nigel Bruce. Holmes is thin and
angular, Watson is plump and rotund.
Where Holmes is a paradigm of per-
cipience, Watson lives in ingenuous
astonishment. Holmes monastic,
Watson gregarious. One icily re-
mote, the other bubbling with kind-
ness and warmth. Speaking of odd
couples, Arthur Conan Doyle's con-
trasting duo must rank among the
oddest. Uneven or odd, Holmes &

Abercrombie & Fitch

There isn't much to say about David
T. Abercrombie & Ezra H. Fitch, the
former a lawyer and the latter a
miner, prospector, and inventor.
What brought them together was a
mutual love of sports and one also
concludes that they loved the profit
that comes from the sale of sport-
ing goods no less. In 1892 they started
up in a tent-covered enterprise at
lower Broadway where the mer-
chandise was displayed in a manner
closely resembling realistic condi-
tions. Personal history from our
sources seems to end there but time
has shown that David and Ezra had
latched on to something big. The
notion of merchandising caught on,
and not long after the tents were
folded and exchanged for more per-
manent quarters. There was one
move to 36th Street and 5th Avenue,
but by 1917 Abercrombie & Fitch was
established in the building on 45th
Street and Madison Avenue New
Yorkers know so well. There were
several business acquisitions, city
branches established, and on each
occasion moving away from the
simple ideas of the founders. Cor-
porate history doesn't tell us what
happened to Abercrombie & Fitch,
David & Goliath how long they stayed around, when
The way Samuel tells it in The Old slang it, and smote the Philistine in they died. Only the names remain on
Testament (1:17), this match of the his forehead, that the stone sunk int the building plaque which, when you
millennia came off without much ad- his forehead; and he fell upon his come to think about it, is sort of
vance promotion. After all, you're face to the earth:' Taking no chance sporting.
not about to find a surplus of volun- David followed the knockdown with
teers breaking down the gates, ready a couple of whacks of Goliath's
to do mano a mano with a guy who sword, lopping off the big fellow's
is 6 cubits and a span high. In case dented noggin. David, who in later
you're puzzled by biblical measure- life had his share of problems, must
ments, a cubit equals 21 inches and have often thought that he who
a span about 10—the total brings casts the first stone has time
Goliath, our giant of Gath, up around to check up after the fact to
the 11-foot mark; no small potatoes see if he is without sin.
even in The National Basketball
Association. No slouch when it
comes to chutzpah, David, a mere
bantamweight, offered to fight to the
finish with the well armored and
armed Philistine. To be sure, David
with God in his corner had a great
manager; but his stone-slinging
stratagem seems to be of his own
design. As we know,the big fight
ended in the first round with a
well-slung roundhouse to Goliath's
temple. As the biblical report
describes it: "And David put his
hand in his bag, and took
thence a stone, and

Dempsey & Firpo

This heavyweight championship
fight may have been short but it was
anything but sweet. Luis Angel
Firpo, the challenger, a tough, crude,
adultery. First of all, Leda is really orthodox believe that all the chil- powerful hombre from Argentina,
Leda & The Swan Thestias (daughter of Thestius), and dren were Tyndareus' issue. It gets was billed as the "Wild Bull of the
Mythology and fairy tales seem to she's married to Tyndareus, the King even more complicated as Castor Pampas!' Jack Dempsey, the cham-
have a penchant for teaming up of Sparta. The swan is none other and Pollux go on to heroic feats, an pion, was known as the "Manassa
women with animals in rather inti- than Zeus in one of his zoomorphic account too complicated for descrip- Mauler:' The two met on September
mate activity. Yet, it would appear guises, who seduces Leda while she's tion in this short space. Whether it 14,1923, before 82,000 people who
that Leda coupling with a swan is bathing. The children of the union was Thestias and Tyndareus or Leda forked over 1,188,603 dollars, for
about as kinky as you can get. But are Castor and Pollux and/or Helen and The Swan and/or Zeus, the the spectator privilege, and that
before you jump to the wrong con- of Troy. Clytemnestra, the sister, is myth has kept a host of painters was when a dollar was a fully-packed
clusion, this seeming deviation turns generally acknowledged as being busy over the years, including Leo- 100 cents. In the first round it looked
out to be a simple case of top level fathered by Tyndareus. The more nardo Da Vinci, a man for all cygn s. like the wild bull was going to be
mauled to death. Although knocked
down seven times, Firpo always
managed to get up; then drawing
upon a punch that must have started
from the pampas, he hung the round-
house on Jack. The first shot dropped
the champ. When he arose, the
unangelic Luis Angel tried to send
Jack on a quick flight back to
Manassa. A terrific shot lifted
Dempsey clear out of the ring head
first. Only with the aid of some
shocked boxing reporters, with a
sweat-covered heavyweight on their
hands and typewriters, was the
champ able to get back in the
charmed square before the count
of 10. To his credit, sturdy Jack was
able to keep the Bull at bay for the
rest of the round. Round two started
out furiously, but Dempsey was the
sharpshooter and Firpo remained
the enraged bull. A short, powerful
right caught El Toro,and before
Firpo hit the canvas he was already
dreaming of a white pampas.
The two never fought again.
Dempsey went on fighting until the
famous Tunney long-count and is
still alive but not so well. Firpo also
kept on his feet until, at the age of
40, he lost by a knockout in three
rounds to Arturo Godoy, another
Hispanic. That was only his
second and last loss in 17years
of fighting.The wild bull
etired to Argentina,
became a successful
businessman,and died
in 1960 with both his
ears intact.

Something from Everybody for U&lc

In re:
crozpoidc Juay,
dont foret.to *Include
yne oft- your nV1lit4
st..44 -IbusE et-Tys W.5AZJA-IL'
OP=2.1? AIL-1‘ 774cDr...)61i-rr- rr
FFErry 6,,cotz, w=6,
I 6,1 r-, -77 0', HazE
MY cwt-/
for the first two issues I F Xx l CAI,J r=ELIVE12 Pt
AS ! p44.VE t=) - ro

cfvoiume two I would SIE WRAP—

Mort," ,,Nt-f=>
in tne spot,/ and Freez_e niy
a ilp bean and john:fon, Inc: Tzdrato 071 For more issues
I'd even gve up g&din my
avant! what a beautifurpaper!
FL -TirTZD P1-57- 4,4 At'azE 1-4641EfD
wiliMA41-4 Iu 174E Fun-WE. jai Iii, E:70
.9.-E,94ser-EF71,-rvary icreges,
Lfae ONe isS LI 705.
tA.Arvo 16. 6,05
27 robh
thank. you . new
PEri °DCA 00001 201

Du in 1111 mar k eD 1_9*eigteenth

freeman. graphic clecr
avenue .veni
LT wta.pe. alp eLs
AlleLL will bctickk
Ca 90291 Avid Dablet;-el
1955 -A Curtis Ave.
Redondo Beach, Ca 90278
♦ociee (here)) f-AVE A 0ZON-E1,1 1 I Am
LEAvmly. THESE onFTEp srATEs
000-10 FOR aNcl-AND WITH A LLFII air
p100' nternetioasl Typc4Corperstion
o0..0.4ea1cA.4 KNOW n-10,A/LAIPER, tSEJ-17 &IT 216 Bast 45th Street
c=oNir wAntr To 1.-i;Avt wiTHoirr uh_cAse .c44 (Tee
oo sEND ir To n/E,ovER.THER.E. a- is *city Kew York, N.Y. 10017
THaqksorgs rrnit4q
ro come ouT OF
AMERICA SINCE. eirrerioN oFHcv.Y-
WooD,RN 0 A TREAT I SHOULD 114FO Dear Head Honcho,
EIALISH ccomrie foes
-After recently reviewing your interesting, inform-
I 1'WK R.L.4000T-ThE "h. ative and stimulat+publication (disguised as • lowf
CO1 1 .1.4 /FA PAPF.:R budget "we can't afford better paper" news rag), I
Licogz APveRvisees [decided that I should be on your exclusive mailing list.
FIX ow /0E_ itda,
T43 course f it's not 'exclusive', it soon will be0----er--0
r'45,4 Ea&144KE M eapvisr re is, however, anothez_eopaideration --
RNsgassi-E. A-EASE LAE aca ,ba4 ioee
.cs. If you fhargs under 50( for each exquisite
DEAR s n-1 a c.ouR5N It.rz A ,...-.6- issue, I would be delighted to remit. on the other hand
REA-Y,kFrtue -n-A-T. si-rAta.-
gex-r- A DIDea-SS if it's more than, you can keep your filthy •Ag trash
Dear Mr. Lubalin: and store my copy in any conveneint xsoseqpia porcelan
I just received the latest issue of U&lc ERIC 4014-Mi,1 (Ade EAF receptacle.
tEs qe.AHAvt, 72.vokNosicia) /Nor You see, I'm unable to lay out much cash for this
which I enjoyed very much. It also reDAY WiLIWAS 440VE, RzESToNI IUD, Huth, type of thing as Ihm currently spending my fislloon bills ,
stirred my professional ethics with regard 7 .1 -.--"1100‘.•011saml • Etets-r yoQ KSH I QE, Er4q,Aqa onmyeducati.I'sdyngGraphicDesundrth llJ
to the theft of typographic art. 481 WILLOU1410 AWL
nivirogs /toe brown sunshine at Art Center.
8R0OKLYN FLF.ASC ME. ,03-zity
Very near my office is a sign on the As soot,' RS fbssti31-E By the way, if you happen to have any ideas con

road for a firm called "le I borrowed

a friend's Polaroid and shot the enclosed
photograph. You can see that the logo
K oU EOC 841-4
„toe earning the employment of a talented young designer who
will need' -corkL-In June 1976, you could drop moms
to the above address.
as well as the ampersand is a direct copy To stimulate your interest, I have enclosed a
of portions of the U&lc masthead. I can small list of my humble achievements and qualifications.
think of no more blatant we of thievery. TO Mr Mr biskalm.
Dale Octoter I#"PI
aegs arde,
How anyone could Steal the logo of a 2M Bast 45° Street
NewYork.HY low
journal whose editorial line is that of d3rhablubais
Dear Mr Herb - lubatv4
absolute opposition to the theft of I am a great advocate Liocceranol lowercase
David Dahlstrom
typographic art is beyond me. of your sublIca-
hoe_ tittle and ,...„
°Keys (arch, style in type-Pace
i *MK 4ew paper is Tani
would ilbeyerymusb - r out herb you are Vi‘.1../1
to add my nacre. ,att 'cat Mu*, qco slop scsdin5 pow
to your list aP current - •
le it
sutecriter5 PleaSE let me lascsv
ii.044, mydee,o,5ka.frng Gil
thcre Is a cash
acticei Involved iE
with a subscript.
e.0 % -bft7.6 RIAKIE
very, gaTirX
cad Tab your to,
my men bock
- -
- -
- Svicerely plane herb, AvpiliepaFet coming
qo Keep 411., loicwleciar roqinlfigi
tart 44751-Pitt SAREET
nod iql release (icor icos SAN FRANC
cini • hur peens 1oi, *aoe( nix will te no more

AN1 RGENYT - REC206.&T izetet,TrLy

A Lcey oF youR PUBLIC-4,Zr I c>!, )
U &LC)

I support you and your cause whole-

heartedly. If I might be of any help to Pi A PUT ME
you, please let me know. 1 s1
oN tiotg mikiLIN6 1-9
Bob Bak K
oo 1=2.zme
Dime-a-Dozen Studios
mew n4yeI 7...., 5nomi
.Kr ,15
. 57 vieK
Ambler, Pennsylvania

SAM.) 1-11.1 RD
Pt NL 1, PARK U8.1c.
216 East 45th St.
New York. NY. 1001

1 1._

1 129Mt. Au bu rn Stree t C
216 East 45,11 Street
New Yak.. N Y10017
attn., Mr Herb L-utatin

Please put me on your

mailing list or this oFfNCTOP-E RIFAATS -

HEART will surely die. TO
Mace Forol S Moon
William C. Howard Jr. a.AD TO aSE`look fotAREAVoTtoe AK.; TOE NEWLY ISOLeASED
O ee,ee FAA1 BESET,
g,porKT of. Tw.TIPsii,,F oePtOK,A1 MIGHT
Designer/Artist SENYNAR;Fse.SE KEEP us ITS,TE) AS 55 eAoK6t4 O ooc INTO oupLAY
gs Am-
MOTE almt iScESKA&E, A.Acs Y" 1.1.ES RUTS -
STEP IS To ISEEN DeoluKA ozPIY-fi;t4 -ro -NowziorkERS
10TX sPo4F‘S,.. 1 NY
=:h4 No Pacre8ePuTroitri.ED FONTS
Fa*. TYPES of ,..eggv•-•HT Ff. -6,-- Ato0 SE1.1.7coP4Rif.AF5ED risce

mo sea, To Ite- oAo-430 RA: Foe GENERAL- CoKA50 00TI 0N ,

9.1CoNA1 1.W.ST5
RtAKTS OF TIE 0ES5NEA(.0 ) I.E. -Toe awell SVE P.:44N(14E 0er. uP WON A
oF AN ....INA:- TIPEFAKE TO am. v.. 0-06
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littEZ, Ger in 3.0". AA* •

MoDucTlot, ow0 DISTZ,&JfioN.

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THE R 1 4XT TO 04.Ains Dow(AKE5 min GREAT sYNA.K
affedf40 IN The CASE of uraPA1w14.41eD
USE. -
5607 AA‘A 5010011'- - DNA%ID c. Libm5P-.•
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*Pre, BcQ, 111(2,ro...c Y

50 J pkin5
710.(11501.1, WI5L. 53103
wouAd be, pori ■ ualarly vilara5q,41
1probabtpremZ, pSiA4:101 ard zed

s S- ccinci
for M 47' several issues of
_ 1,5 tjAP;t,
,,,-,2 „)1
-4.3 thi5 your publication, I real-
ized that only two people
in 1:,),;c1)1 13rOtnpl4(7.Ttligc), were involved in its pro-
lou:5 ,
OLEr 0LI)r IC01, duction. You & Elsie,
period; nobody else.
WW(..) 1 will prom prouly Both of you really know
Lot.5 ° your stuff. Cheers for
1110.LI\i Jc/J11v15 Jeffrey C. Watkins
III0Mfg<Ada Design/Graphics
Waltham, Massachusetts

Metric, Shmetric. Give a European

an inch and he'll try to foist a whole


new measurement system on you.
The metric system. It's easy for him.

What does he know about inches,


1 234 56789
feet, yards, etc? All I know is, if I have a-

to adapt to millimeters & centimeters

(see accompanying precision rules,
compliments of John Schaedler, pro-
Something For Everybody From U&lc ducer, & Taro Yamashita, designer),
at this point in my career, I'll give it
all up and become a meat slicer in
a Kosher delicatessen where nobody
cares if the hot pastrami is 1 /32"
thick or 1.3mm thin, as long as it's Aka

hot, U&Ic will cover this subject, in

depth, in a future issue.

How to resign your job with grace and

charm. Joe Sundwall, who graced our
premises for a number of years, decided
to seek fame and fortune elsewhere. He
adopted this unique, and highly creative
method, utilizing all of his multitude of
skills (designer, handletterer, poet) plus =
a considerable amount of time and money =
(one T-shirt cr $2.98), to tell us off: We CO

appreciate the magnanimous gesture,

Joe, but next time please check our size.
A T-shirt is a T-shirt, not a nightgown.
Bob Farber, who is a long-time friend, a board member of
ITC, and a Fabulous designer and typographer, sent us this AKa
message. Coming from him we take it as a compliment,
whatever it means. C51







Lou Dorfsman and Herb Lubalin, who are fast becoming ;74
known as the lox and bagel of the AD circuit, were given the CID

red carpet treatment by the Richmond Society of Com-

municating Arts in November. They were unanimous in their NJ CO
praise of the announcement reproduced here and thought it
noteworthy enough for us to share with our readers. It was
designed by Paxton Higgins of Richmond, which goes to [elf.a

show that not everything good comes from the Big Apple.
The rough layout above, was sent out first to intrigue people.
The finished art, below, was mailed a few days later to stimu-
late action. Herb & Lou figured out that Paxton cheated. He
did the finished art first and then traced it off for the rough

The Cat and the Youth
A Cat fell in love with a hand-
some Young Man, and entreated
Venus to change her into a woman.
"I should think;' said Venus, -you 1,21—

might make so trifling a change

without bothering me. However, AK.

be a woman:'
Afterward, wishing to see if the
change were complete, Venus Al-

caused a mouse to approach, 1.21—•

whereupon the woman shrieked ea.

and made such a show of herself Aka

that the Young Man would not

marry her.

Thanks, New Jersey Art Director's

Club. In spite of the fact that your entry in
the first ITC/U&lc Type Competition was
not selected by the judges, we, the editors,
felt that it contained information of un-
usual interest to our audience. By publish-
ing your efforts, we hope to stimulate our
readers to send us similar kinds of inter-
esting material.

Cosophobia-an unexplainable fear of dawn Mythophobia-of making false statements Pyrophobia-an unexplained aversion to fire
Eremophobia-fear of solitude, stillness Seerophobia-an unusual fear of corpses Psychophobia-an unusual dread of the mind
Cretephobia-an unexplainable fear of pins Nelophobia-a strange aversion to glass Rhabdophobia-fear of beatings, punishment
Ergasiophobia-fear of surgical operation Neophobia-an unusual fear of anything new Rhypophobia-a morbid fear of soiling, dirt
Ergophobia-an unusual dread of work Nephelopholda-a strange aversion to clouds Satanophobia-a fear of satan, the devil
Erotophobia-an unusual fear of sexual love Nomatophobia-an unusual dread of names Scabiophobia-an unusual dread of an itch
Erendaphobia-an abnormal dread of solitude Nomophobia-a fear of symptoms, disease Seopopbobbt-fear of being stared at
Erythrophobia-fear of blushing, red Nadophobia-an unusual dread of nudity Seotophobia-a strange fear of darkness
Gamophobia-a strange aversion to marriage Nyetophobia-a strange fear of night, dark Selaphobia-an unusual dread of a flash
Gatophobia-an unexplainable fear of cats Oehlophobia-an abnormal dread of crowds Siderophobia-an abnonnal fear of stars
Genophobia-an abnormal aversion to sex Ochophobia-a strange aversion to vehicles Siderodrontophobia-fear of railways
Gephyrophobia-a fear of crossing bridges Odontophobia-an abnormal fear of teeth Sitophobia-an abnormal dread of food
f you are Getunaphobia-an unusual dread of taste
Graphophobia-a strange aversion to writing
Odynephobia-an unexplainable fear of pain
Oikophobigt-a fear of home surroundings
Speetrophobia-morbid aversion to mirrors
Spermaphobia-a morbid fear of germs, semen
afraid to enter the Thirteenth Gynotophobia-fear of nakedness, undressing Offactophobia-an unusual aversion to smell
Ombrophobia-an unexplainable fear of rain
Stasibasiphobia-fear of standing upright
Stasophobia-a strange dread of walking
Gynephobia-an unexplainable fear of women
Annual Awards of the Art Directors Hadephobia-air unusual fear of hell Oganatophobia-a strange fear of eyes
Oneirophobia-an unusual aversion to dreams
Stygiophobia-an abnormal fear of hell
Symbolophobia-of having symbolic meaning
Haphephobia-touching or being touched
Club of New Jersey, you may have the symptoms Hargnatopholda-a morbid fear of error, sin Onomatophobia-an aversion to certain names Syphilophobia-an unusual fear of svphillis
Tabophobia-a morbid fear of tabes dorsalis
Harpaiophobia-an abnormal fear of rubber Ophidiophobia-a strange aversion to snakes
of Triskaidekaphobia —the fear of the number 13. Illedonophobia-an unusual fear of pleasure Orolthophobia-an unusual fedr of birds
Osatophobia-an unexplainable fear of odors
Taenlophobila-an abnormal fear of tapeworms
Taphophobia-fear of beink buried alive
Hetrophobia-fear of religious objects
But you say the numberl3 doesn't bother you, and Hellophobia-a strange aversion to the sun Osphresiophobia-a fear of body odors Teniophobia-a morbid dread of tapeworms
Teratophobia-fear of monstrosities
H eladothropophobia-dread of worms Oeuranophobia-an abnormal dread of heaven
you still won't enter. In that case, here are 250 other Hematophobia-a morbid dread of bleeding Panophobia-an unusual aversion to anything
Paralipophobia-fear of neglect, omission
Tisalassophobia-an abnormal fear of the sea
Thanatophobia-an unusual aversion to death
Hemophobia-an unusual aversion to blood
cop-outs. Hodophobia-an abnormal fear of traveling Parthogeophobia-an unusual fear of girls Thassophobia-an unusual dread of sitting
Theophobia-an unexplained aversion to God
Hoodettlophobia-an unexplained fear of fog Pathophobia-an abnormal dread of disease
Homflophobia-a strange aversion to sermons Patriolophobla-a strange dread of heredity Thermophobia-an unexplainable fear of heat
Aehloophobia-a morbid fear of the darkness Belonophobia-fear of compass needles
Bibliophobia-an unusual aversion to books Hormephobia-an unexplainable fear of shock Peeestophobta-of social errors, sinning Theophobia-an unusual dread of childbirth
Aeonstieophobia-an unusual dread of sounds
H yalophobia-an abnormal fear of glass Pedienlophobia-a strange fear of lice Tonitrophobia-an abnormal fear of thunder
Acrophobia-fear of high or elevated places Bromidrosiphobia-fear of perspiration
Brontophobla-an abnormal fear of thunder Hydrophobia-an unusual aversion to water Pediophobia-dread of children, dolls Topophobia-a strange fear of places
Acrophobia-unusual fear of drafts of air
Hygrophobia-a fear of moisture, dampness Peniaphobia-an unusual dread of poverty Toxieophobia-an unusual dread of poison
Aearophobia-an abnormal fear of itches Cainotophobta-fear of anything new
Hylophobia-an unusual fear of forests Phaggophobia-an unusual aversion to eating 'Fratonatiphobia-a morbid aversion to injury
Agoraphobia-fear of large open spaces Careinomatophobia-a strange fear of cancer
Cardiophobia-a morbid fear of heart attack Hypengrophobia-fear of responsibility Pharnmeophobia-a dread of medicine, drugs 'Fremophobia-an unusual dread of trembling
Agyiophobia-a strange aversion to streets
Carnophobia-an abnormal dread of meat diet Hypeophobia-an abnormal fear of sleeping Phasmophobia-a strange fear of ghosts Trlehinophobia-an aversion to trichinosis
Alchamphobia-fear of X-acto-knives, razors
Hypsophobia-an unusual fear of heights Phengophobia-an abnormal dread of daylight 13richophobia-an abnormal fear of hair
Ailurophobia,a morbid dread of cats Catoptrophobia-an abnormal fear of mirrors
lehthyophobia-an unexplained fear of fish Flhobophobia-"fear of fear itself" Tabereodopbobila-fear of tuberculosis
Aleoholophobia-fear of alcoholic beverages Cogeophobia-fear of empty rooms, open spaces
Ideophobia-an unusual aversion to ideas Phonophobia-fear of noise, loud talking Vanoiniophobta-fear of vaccination
Algophobia-an abnormal aversion to pain Cormutophobia-an unusual fear of thunder
Chetanophobia-an abnormal fear of winter Illyngophobia-a strange fear of vertigo Photaugiaphobia-a strange fear of glare Venereophobia-a fear of veneral disease
Aguathophobia-an unusual fear of dust
Cherophobia-an abnormal aversion to gaiety lophobia-a morbid dread of rust poisoning Phronemophobia-an unusual fear of thinking Xenophobia-an abnormal fear of strangers
Amyehophobia-fear of injury to spinal cord
Chionophobia-an unusual fear of snow Kainotophobia-a fear of novelty, change Phthiriophobia-a morbid dread of parasites Zoinophobia-a strange fear of strangers
Androphobia-an unexplainable fear of men
Choleraphobia-a morbid dread of cholera Kakorraphiaphobia-a dread of failure Phthisiophobia-an aversion to tuberculosis Zolophobia-an unusual dread ofjealousy
Anemophobia-an aversion to winds or drafts
Chronophobia-a fear of time, deadlines Katagalophobia-an unusual fear of ridicule Poigophobia-fear of choking or smothering Zoophobia-a morbid dread of animals'
,Anginophobla-a morbid dread of chest pains
Churystallophobia-a fear of crystal glasses Kenophobia-fear of a void, open spaces Poinephobia-an abnormal fear of punishment It should be obvious by now that if you are
Anthrophobia-a strange fear of flowers
Cibophobia-an unexplained aversion to food Keraunophobia-fear of thunder, lightning Polophobia-an unexplained fear of drinking a New Jersey Art Director, and proud of
Anthropophobia-a fear of human beings
Claustraphobia-fear of enclosed places Kinesophobia-a morbid dread of motion Polyphobia-an unusual dread of many things your work, there is no real reason for not
Antiophobia-an aversion to floods
Clinaneopkobia-a fear of stairs, climbing Kleptophobia-an abnormal fear of stealing P000phobia-an unexplainable fear of work entering the New Jersey Art Directors 13th
Apeirophobia-an abnormal dread of infinity
Cilthropbobia-a dread of being locked in Kopephobia-an unusual fear of fatigue Potamophobia-an unusual fear of rivers Annual Awards. "We have nothing to fear but
Aphephobia-a morbid dread of people
Ciotophobia-a fear of sexual intercourse Kristallphobia-an.unexplained fear of ice Proctopbobia-an aversion to rectal disease fear itself" F.D.R. See enclosed forms for
Apiphobia-an unexplained aversion to bees
Cometophobia-an unexplained fear of comets Lalophobia-a strange aversion to speaking Psychrophobia-a strange dread of the cold your entries and further inforination.
Aquaphobia-an unusual aversion to water
Arachnephobia-an abnormal dread of spiders Coprophobia-an abnormal fear of feces Leprophobla-an unusual aversion to leprosy Pyreadlophobia-an unusual aversion to fever
Aseerophobia-an aversion to anything sour Crematophobia-a strange dread of money Levephobia-an unexplained fear of the left
Asthenophobia-an unusual dread of weakness Creantophobia-an unusual fear of presipices Linonophobia-a strange aversion to string
Astraphobia-an aversion to anything astral Croatophobia-a morbid dread of color Logophobla-an abnormal aversion to words
Astrephobta-a fear of thunderstorms Cynophobia-an unusual aversion to dogs Lyssophobia-fear of rabies, insanity
Acrophobia-an unexplained fear of the sky Dentogtophobia-a strange aversion to demons Mateosiophobia-a strange fear of pregnancy
Antropophobia-an unusual fear of lightning Demophobta-an abnormal fear of crowds Maniaphobia-a morbid dread of insanity
Ataxiophobia-fear of involuntary movement Dermatosiophobia-fear of skin diseases Mastigophobia-an abnormal fear of flogging
Atephobia-an abnormal aversion to ruin Dextrophobia-the fear of the right side Meehanophobia-a strange fear of machinery
Aaiophobia-an unexplainable fear of flutes Dikephobia-an abnormal fear of injustice Mellisophobia-an unusual dread of bees
Agaroraphobia-fear of the northern lights Dipeophobta-a strange aversion to drinking Merinthophobia-an aversion to being bound
Aatoistysophobbi-fear of uncleanliness Dontatophobbt-an unusual aversion to houses Metallophobia-a fear of metal objects
Aatophobia-a morbid dread of being alone Doraphobia-a fear of fur, animal skin Metoorphobia-a strange fear of meteors
Haeillophobia-an abnormal fear of microbes Dyngnorphophobia-an aversion to deformity Mierophobia-a fear of micro organisms
Ballistophobia-an unusual fear of missiles Eeophobia-a fear of home surroundings Motymoophobia-a strange dread of infection
Barophobia-a strange aversion to gravity Eisoptrophobia-an abnormal fear of mirrors Monophobia-an abnormal fear of one thing
Basiphobia-a morbid dread of walking Electrophobia-a morbid fear of electricity Musiconhobia-an unusual aversion to music
Bathophobia-looking down from high places Egnetophobia-an abnormal fear of vomiting Monophobia-an unexplainable fear of mice
Batraehophobia-a strange aversion to frogs Entonophobia-an abnormal dread of insects Mysophobia-a fear of contamination, dirt

In keeping with our tradition of
showing typographics that can be
read either by standing on one's
feet or by standing on one head,
we are reproducing this design
which was brought to our attention
by Cipe Pineles who saw it in a
The last issue of U&lc contained an article on straight lines by famous illustrators. Two, Chelsea, London,shoppe window.
who are famous, but not punctual, submitted their efforts after we went to press. Here It is the logo for a line of men's
are the contributions from Dick Hess and Bob Grossman. haberdashery.

A French Postcard...is a French Postcard...is a French Postcard?

t r.
■ r fsi,

from under a majestic moustache. He tasies is the suspicion that what you're excitement and anticipation and, to and
hands you a packet wrapped in a plain really going to get are pictures of the behold, revealed before you are twenty-
brown wrapper, with tobacco-stained Eiffel Tower, the Arc de Triomphe, six of the most luscious titillating char-
icture yourself walking through the yellow fingers. He says: "Voulez vous Notre Dame, Les Bateaux Mouche, etc. acters you have ever laid eyes on.
streets of Montmartre, looking up at acheter les French Postcards?" Your fantasies overcome your suspi- Typographic characters. A complete
teary, wide-eyed Keane children peering Right away, your sexual fantasies cions, as you say to yourself, "What the array of fantastic art nouveau letter-
disconsolately out of gallery windows, run amok and you begin to visualize hell, it's only six francs ($1.50)7 You forms, from A to Z. You indulge your-
breaking your heart, when a sleazy lascivious,19th-century French femmes, hand him l'argent, he hands you les self in a veritable visual orgy, forgetting
character slithers up to you wearing a lying indiscreetly, on ornate chaises, cartes postales, and you slink off to the completely your oft-quoted statement
beret, a black leather trenchcoat, dark undraped, with pubic hair judiciously privacy of your hotel room, tear open that type forms sink into obscurity when
shades, a cigarette dangling jauntily retouched out. Tempering these fan- the brown wrapper in a frenzy of sexual compared to the human female form.

with promises to make them rich and

famous through the pages of U&Ic,
which they need like a hole in the
hat was the interesting version of head, you lay 250 francs ($60.00) on
how it happened. Now, for the truth. them in exchange for the only complete
You look up ABC Libraire-Antiquaire, set of art nouveau alphabet postcards
36 Rue Richard-Lenoir, who is France's in captivity.
leading purveyor of art nouveau graphics, So they say.
and spend hours looking through port- I say: "The next time you're in Paris
folios of the most magnificent 19th- leave Montmartre to the tourists and
century postcards. After much hassling, give my regards to ABC:' H.L.

What's New from ITC?

ITC Bookman Light, Medium, Demi,

and Bold are new typefaces from ITC.
Only licensed ITC Subscribers
are authorized to reproduce,
manufacture, and offer for sale these
and all other ITC typefaces shown
in this issue. This license mark
is your guarantee of authenticity.
CO ITC Bookman Light
History has given us certain graphic

ITC BOOKMAN classics that-we hold in high respect not

only for their dateless artistic charm
but for their continuing power to stimu-
late and motivate.

LIGHT& ITALIC In typographic circles Bookman is one

of these classics but, like the
brownstone, the time finally comes
when it needs a thorough renovation to
be useful to us here and now. Modern
presses, modern papers, new ways to set

ITC BOOKMAN type, new ease of kerning, tighter fit,

contemporary weights —these are but a
few of the important tools that have
become commonplace since Bookman's

MEDIUM &ITALIC first appearance years ago.

When Ed Benguiat undertook the
task of updating Bookman, he did so
with complete respect for the integrity
of its original design. With perceptive
discretion he intensified the original

ITC BOOKMAN classic flavor, at the same time mould-

ing into the shapes those important
typographical niceties that would bring
Bookman back to its rightful place in

DEMI 8L ITALIC the graphic mainstream.

It is of considerable significance to
note that , while the original Bookman
text typeface has heretofore been avail-
able only in one weight of roman and

oblique, the new ITC Bookman has been
designed in four contemporary weights
of roman, Light, Medium, Demi, and
Bold, and is complemented by four newly
created cursive italics.

BOLD &ITALIC Furthermore, in addition to the alter-

nate characters that accompany each
alphabet, a complete assortment.of
swash letters, in all weights of roman
and italic, has been developed. These
swash characters offer the creative user
of typography a new dimension of
design opportunities when using
ITC Bookman for display and headline

ITC Bookman Light Italic

History has given us certain graphic

classics that we hold in high respect
not only for their dateless artistic
charm butfor their continuing power to
stimulate and motivate.
In typographic circles Bookman is
one of these classics but, like the
brownstone, the timefinally comes
when it needs a thorough renovation to
be useful to us here and now Modern

presses, modern papers, new ways to classic flavor, at the same time mould- has been designed infour contem-
set type, new ease of kerning, tighterfit, ing into the shapes those important porary weights of roman, Light,
contemporary weights —these are but a typographical niceties that would Medium, Demi, and Bold, and is com-
few of the important tools that have bring Bookman back to its rightful plemented byfour newly created
become commonplace since Book- place in the graphic mainstream. cursive italics.
man's first appearance years ago. It is of considerable significance to Furthermore, in addition to the
When Ed Benguiat undertook the note that, while the original Bookman alternate characters that accompany
task of updating Bookman, he did so text typeface has heretofore been each alphabet, a complete assort-
with complete respectfor the integrity available only in one weight of roman ment of swash letters, in all weights of
of its original design. With perceptive and oblique, the new ITC Bookman has roman and italic, has been developed.
discretion he intensified the original been designed in four contemporary These swash characters offer the
classicflavor, at the same time mould- weights of roman, Light, Medium, creative user of typography a new
ing into the shapes those important Demi, and Bold, and is complemented dimension of design opportunities
typographical niceties that would by four newly created cursive italics. when using ITC Bookmanfor display
bring Bookman back to its rightful Furthermore, in addition to the and headline purposes.
place in the graphic mainstream. alternate characters that accompany
It is of considerable significance to each alphabet, a complete assortment ABCDEFGHIJKLMNOPQRSTUVWXYZ
note that, while the original Bookman of swash letters, in all weights of abcdefghijklmnopqrstuvwxyz
text typeface has heretofore been roman and italic, has been developed. 1234567890$:;,.?!
available only in one weight of roman These swash characters offer the cre-
and oblique, the new ITC Bookman ative user of typography a new dimen-
has been designed infour contempo- sion of design opportunities when ITC Bookman Demi
rary weights of roman, Light, Medium, using ITC Bookman for display and
Demi, and Bold, and is complemented headline purposes.
byfour newly created cursive italics. History has given us certain graphic
Furthermore, in addition to the alter- classics that we hold in high respect
ABCDEFGHIJKLMNOPQRSTUVWXYZ not only for their dateless artistic
nate characters that accompany each abcdefghijklmnopqrstuvwxyz
alphabet, a complete assortment of charm but for their continuing power
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swash letters, in all weights of roman
and italic, has been developed. These In typographic circles Bookman is •
swash characters offer the creative one of these classics but, like the
ITC Bookman Medium Italic brownstone, the time finally comes
user of typography a new dimension
of design opportunities when using when it needs a thorough renovation to
History has given us certain graphic be useful to us here and now. Modern
ITC Bookmanfor display and headline
purposes. classics that we hold in high respect presses, modern papers, new ways to
not onlyfor their dateless artistic set type, new ease of kerning, tighter
charm butfor their continuing power fit, contemporary weights—these are
to stimulate and motivate. but a few of the important tools that
In typographic circles Bookman is have become commonplace since
I 234567890$::,.?! one of these classics but, like the Bookman's first appearance years ago.
brownstone, the timefinally comes When Ed Benguiat undertook the
when it needs a thorough renovation task of updating Bookman, he did so
ITC Bookman Medium to be useful to us here and now. Mod- with complete respect for the integrity
em presses, modern papers, new of its original design. With perceptive
History has given us certain graphic ways to set type, new ease of kerning, discretion he intensified the original
classics that we hold in high respect tighterfit, contemporary weights— classic flavor, at the same time mould-
not only for their dateless artistic these are but afew of the important ing into the shapes those important
charm but for their continuing power tools that have become commonplace typographical niceties that would bring
to stimulate and motivate. since Bookman'sfirst appearance Bookman back to its rightful place in
In typographic circles Bookman is years ago. the graphic mainstream.
one of these classics but, like the When Ed Benguiat undertook the It is of considerable significance to
brownstone, the time finally comes task of updating Bookman, he did so note that ,while the original Bookman
when it needs a thorough renovation with complete respectfor the integrity text typeface has heretofore been
to be useful to us here and now. Mod- of its original design. With perceptive available only in one weight of roman
ern presses, modern papers, new ways discretion he intensified the original and oblique, the new ITC Bookman has
to set type, new ease of kerning, tighter classicflavor, at the same time mould- been designed in four contemporary
fit, contemporary weights —these are ing into the shapes those important weights of roman, Light, Medium,
but a few of the important tools that typographical niceties that would Demi, and Bold ,and is complemented
have become commonplace since bring Bookman back to its rightful by four newly created cursive italics.
Bookman's first appearance years ago. place in the graphic mainstream. Furthermore, in addition to the
When Ed Benguiat undertook the It is of considerable significance to alternate characters that accompany
task of updating Bookman, he did so note that, while the original Bookman each alphabet, a complete assortment
with complete respect for the integrity text typeface has heretofore been of swash letters, in all weights of roman
of its original design. With perceptive available only in one weight of roman and italic, have been developed. These
discretion he intensified the original and oblique, the new ITC Bookman swash characters offer the creative

user of typography a new dimension of ITC Bookman Bold is one of these classics but, like
design opportunities when using ITC the brownstone, the timefinally
Bookman for display and headline History has given us certain graphic comes when it needs a thorough
purposes. classics that we hold in high respect renovation to be useful to us here
not only for their dateless artistic and now. Modern presses, modern
ABCDEFGHIJKLMNOPQRSTUVWXYZ charm but for their continuing
papers, new ways to set type, new
abcdefghijklmnopqrstuvwxyz power to stimulate and motivate. ease of kerning, tighterfit, con-
1234567890$:;,.?! In typographic circles Bookman is temporary weights—these are but
one of these classics but, like the afew of the important tools that
brownstone, the time finally comes have become commonplace since
ITC Bookman Demi Italic when it needs a thorough renovation Bookman'sfirst appearance years
to be useful to us here and now. Mod- ago.
History has given us certain graphic
classics that we hold in high respect ern presses, modern papers, new When Ed Benguiat undertook the
not onlyfor their dateless artistic ways to set type, new ease of kerning, task of updating Bookman, he did
charm butfor their continuing power tighter fit, contemporary weights — so with complete respectfor the in-
to stimulate and motivate. these are but a few of the important tegrity of its original design. With
tools that have become commonplace perceptive discretion he inten-
In typographic circles Bookman is
one of these classics but, like the since Bookman's first appearance sified the original classicflavor,
years ago. at the same time moulding into the
brownstone, the timefinally comes
when it needs a thorough renovation When Ed Benguiat undertook the shapes those important typo-
to be useful to us here and now. Mod- task of updating Bookman, he did so graphical niceties that would
ern presses, modern papers, new with complete respect for the integ- bring Bookman back to its rightful
ways to set type, new ease of kerning, rity of its original design. With per- place in the graphic mainstream.
ceptive discretion he intensified the It is of considerable significance
tighterfit, contemporary weights—
these are but afew of the important original classic flavor, at the same to note that, while the original
tools that have become commonplace time moulding into the shapes those Bookman text typeface has hereto-
since Bookman'sfirst appearance important typographical niceties fore been available only in one
years ago. that would bring Bookman back to weight of roman and oblique, the
When Ed Benguiat undertook the its rightful place in the graphic new ITC Bookman has been de-
mainstream. signed in four contemporary
task of updating Bookman, he did so
with complete respectfor the integ- It is of considerable significance to weights of roman, Light, Medium,
rity of its original design. With per- note that, while the original Bookman Demi , and Bold , and is comple-
ceptive discretion he intensified the text typeface has heretofore been mented byfour newly created cur-
available only in one weight of roman sive italics.
original classicflavor, at the same
time moulding into the shapes those and oblique, the new ITC Bookman Furthermore, in addition to the
important typographical niceties has been designed in four contem- alternate characters that accom-
that would bring Bookman back to its porary weights of roman, Light, pany each alphabet, a complete
rightful place in the graphic Medium, Demi, and Bold, and is com- assortment of swash letters, in all
mainstream. plemented by four newly created cur- weights of roman and italic, has
sive italics. been developed. These swash
It is of considerable significance to
note that, while the original Bookman Furthermore, in addition to the characters o ffer the creative user
alternate characters that accompany of typography a new dimension of
text typeface has heretofore been
available only in one weight of roman each alphabet, a complete assort- design opportunities when using
and oblique, the new ITC Bookman ment of swash letters, in all weights ITC Bookmanfor display and
of roman and italic, has been headline purposes.
has been designed infour contem-
developed. These swash characters
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a new dimension of design oppor- abcdefghijklmnopqrstuvwxyz
plemented byfour newly created
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each alphabet, a complete assort- ABCDEFGHIJKLMNOPQRSTUVWXYZ
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Across Down
This is a crossword puzzle mainly for 1 When you work through the night, you 2 Without this, no typesetting
finish here 3 Stories, but not old
people in and around the world of graph- 3 First newspaper published in New York —1725 4 "Wider, please"
ic arts. Of course this does not exclude 11 Elementary, my dear Watson 5 Old-time auto
others who may want to try their hand at 13 It's done to type 6 Out-foxed the Audi
solving it. They are bound to find some 15 To hem and haw 7 Meeting place for art and copy
16 Greek female-person god 8 Last of the English letters
fun and may even pick up a bit of the 18 "Open wider" 9 One by one
in-terms along the way. In addition to 20 A type of yesteryear 10 Carnese and Geismar
whatever entertainment one finds there 22 Wide-open spaces 12 Wrap-up for magazines
is the lure of fame, if not fortune, for 25 The high and low of it 14 LP's aren't called this anymore
27 Kissinger no longer heads it 17 One of the wanted faces
successful solutions. 29 Photostatters know this 18 The Lullaby of Broadway
Here is one simple rule to follow: Those 30 His Ma is Bell 19 Thin is in
31 Graphic communicator 21 Set everything else, not this
answers that require type definitions 33 Rates a highball 22 N's make it light up
must be "camped" in the required type- 34 It makes more of a die 23 Cost a lot
face. At last count there were eight of 35 An ornament, not type 24 Exactly as it is
that genre: 41, 61, 110, 112 across and 17, 36 Adverb 26 Not upper
37 Find it in Column A and Column B 28 Compositor's modern magic
18, 19, 91 down. 39 These characters are fancy 29 No charge for this
Caveat: We've made the questions oblique 41 Gave us a Sans Serif 32 Adverb
43 More than one page 34 Artist impressario
and gently mischievous. Answers in 45 What deadlines must not be 38 Impressario artist
many cases will call for puns, abbrevia- 46 Weighs one hundred 40 Sometimes less is more
tions with a tricky twist here and there. 47 A measure for measure 41 Spanish architect who left no stone
50 L'enfant de Cassandre unturned
The successful solutions will be published 52 Teachers belong to this 42 May be nearing its end
in our next issue along with brief biog- 53 Truly 43 Camera-ready
raphies of the puzzle unravelers. Success 54 Retouchers and engravers know this 44 One-man design think-tank
55 The older league 48 Belonged to Clara Bow
will be based on the correctness of all 56 Copycat 49 Never enough time to do it this way the
words plus the quality and accuracy of 58 Small town postal service first time
the typographic rendering. Neatness 59 Free example 51 Bases of information
counts. 60 Article 54 U.C.
61 Everyone should have this type in 1776 57 They all have characters
Send your solution to U&lc by February 65 On de la Paix, you meet everybody 59 Things are seldom what they
16th, 1976. 66 Promoted directly 60 Carl Who?
67 Fills an editorial blank 62 Bodoni's wasn't golden
We wish you 2 four-letter words which 68 The right hand doesn't know what this does 63 Behind every Mss.
have the same connotation as a four 69 Something to go in for 64 End of the month blues
71 Used to be 70 Lois knows it's a Greek holdup
leaf clover. 73 More or less 72 From one, Mary
74 Illustrators lean heavily on this 75 Highly-paid, but not topless
76 Billed and paid for before setting 76 You don't have to be Jewish to work here
79 He'd make an illegible ligature of them 77 Process color would rather be this
80 Venerable New York school, not for designers than dead
81 Paper source (state) 78 Cousin of Trade and Mark
82 Preacher played the game 83 Job hunter's caveat
85 Your bulletin board could be made of these 84 We all make it
oak species 85 Supreme ruler
86 Typefounder's rough edge 90 Dear and dead
87 Add "or and problems go 91 A famous Egyptian
88 Better check the art 93 First in the pecking order
89 Two-thirds of international designer's 94 The Long March had lots of them
organization 95 Hamlet had trouble with this
90 Who scrambled the type? 96 What every AD knows
91 Between AD 97 Mightier than the sword
92 For emphatic typography 101 Letters grow from this
95 No trace of obscenity 102 ...say can you see
98 Delivered to the Hall of Fame 103 Prints take a bath
99 Kat? 104 Not the newest
100 East Coast ADC extravaganza 106 Alphabet
104 Gives you a choice 107 Part of musical alphabet
105 Sir Joshua Reynolds was a member 111 Pressman
108 Wider than a wide receiver 113 Not gross
109 Tricky suffix 115 Roman letter
110 Creator of a Bookman face 116 Editorial modesty
112 L&C Hairline 117 Not Northeast
114 Sometimes it's Gothic 118 Stamped on a cartoonist's idea of an idea
118 Doebler's principle 119 AD turned film-maker
120 Less space than wide-open 121 Not Southwest
122 Oldest living newspaper in U.S. — 1877 THIS ARTICLE WAS SET IN ITC CHELTENHAM BOOK AND ULTRA
ATA Shops the Composing Room, inc.
Akron, Ohio Charlotte, North Carolina Denver, Colorado Minneapolis, Minnesota Philadelphia, Pennsylvania Syracuse, New York
The Akron Typesetting Co. Interstate Graphics Incorporated Hoflund Graphics Dahl & Curry, Inc. 387 Park Avenue South Walter T Armstrong, Inc. Dix Typesetting Co., Inc.
37 North High Street 129 West Summit Avenue 700 Lincoln Street 50 Spruce Place Franklin Typographers, Inc. 1309 Noble Street 1 Commerce Boulevard
Atlanta, Georgia Chicago, Illinois Detroit, Michigan Duragraph, Inc. 225 West 39th Street Typographic Service, Inc.
Inc. Toronto, Canada
Action Graphics, Inc. J. M. Bundscho, Inc. Willens + Michigan 212 Twelfth Avenue South King-Weltz Graphics 1027 Arch Street Cooper & Beatty, Ltd.
1015 Collier Road, N.W. 180 North Wabash Avenue 1959 E. Jefferson Montreal, Canada 240 West 40th Street Arizona 401 Wellington Street, W
Baltimore, Maryland Frederic Ryder Company Houston, MIX71/1 McLean Brothers, Ltd. Master Typo Company, Inc. Morneau Typographers, Inc. Winnipeg, Canada
Maran Printing Services 500 North Dearborn Street The Type House, Inc. 1000 Wellington Street 461 Eighth Avenue 330 North 3rd Avenue B/W Type Service, Ltd.
320 North Eutaw Street 616 Hawthorne Street Pittsburgh, Pennsylvania 61 Gertie Street
Total Typography, Inc. Nashville, Tennessee Royal Typographers, Inc.
Benton Harbor, Michigan 901 West Monroe Street Indianapolis, Indiana Typographies, Inc. 311 West 43rd Street Davis & Warde, Inc. Brisbane, Qld., Australia
Type House, Inc. Typoservice Corporation 300 12th Avenue South 704 Second Avenue Savage & Co., Pty., Ltd.
Cleveland, Ohio 1233 West 18th Street Tri-Arts Press, Inc.
101 Hinkley, P O. Box 707 Bohme & Blinldnann, Inc. Newark, New Jersey Portland, Oregon 36 Costin Street, Valley
331 East 38th Street
Bloomfield, Connecticut 812 Huron Road Kansas City, Missouri Arrow Typographers, Inc. Paul 0. Giesey Adcrafters, Inc. Solna, Sweden
New England Typographic Lettergraphics/ a Patrick & Highton Company TypoGraphics 2115 N.W. 20th Avenue Typografen AB
Columbus, Ohio Communications, Inc.
Service, Inc. Kansas City Inc. 2-14 Liberty Street Rochester, New York Box 1164
Yaeger Typesetting Co., Inc. 305 East 46th Street
14 Tobey Road 1737 McGee New York, New York Rochester Mono/Headliners Headquarters:
177 East Naghten Street
Boston, Massachusetts Memphis, Tennessee Advertising Agencies/ Volk & Huxley, Inc. 360 North Street Advertising Typographers
Dallas, Texas 228 East 45tir Street .
Berkeley Typographers, Inc. Jaggars-Chiles-Stovall, Inc. Graphic Arts, Inc. Headliners St. Louis, Missouri Association of America, Inc.
286 Congress Street 714 Crockett Street 3123 Chairman Drive 216 East 45th Street Master Typographers, Inc. 461 Eighth Avenue
Artintype-Metro 4404 St. Vincent Avenue New York, N.Y. 10001
Composing Room of New Southwestern Typographies, Inc. Miami, Florida
Wrightson Typesetting, Inc. 228 East 45th Street Walter A. Dew, Jr.
England 2820 Taylor Street Executive Secretary
131 Beverly Street 219 N.W. 24th Street
Dayton, Ohio
Craftsman Type Incorporated
605 S. Patterson Blvd.

Not at an ATA type shop

ATA is the Advertising Typographers Association of America


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Hamburgefons, if you're not hip to rare combination of sensitivity to the

German type-foundry tradition, is the character of a face and the trained berthold
first word designed and found in a instinct to match the face to the task fototype
new type face. at hand — this section alone would
Because it contains all the elements justify having the Berthold Fototype
of a typical typeface character, it's Edition 1 at your side.
very useful for making quick type- At a glance, you see 50 to 100 related
face judgements. typefaces — the way you think of
And now, in the unique Typefinder them. By feel. By color. By strength.
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Berthold Fototypes Edition 1 — 12" pages more. (250 pages.of lex-
P.O. Box 430, 59 Willet Street
we've made it even more useful. ically arranged upper-and-lower
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We've arranged Hamburgefons sam- case-with-figures alphabets, for in-
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according to DIN Standards. four line text samples. Over 350 Send me copies Berthold Fototype Edition 1 at
ornaments and borders. $39.95 each. If I don't like it, I'll send it back and owe you
Humanists, Garaldes, and Transi-
There's too much more, in fact, to nothing.
tionals are all together. Gothics have
their own section. Inlines, outlines, cover here. You have to see this
Name Title
and ornamentals are grouped. Lineals, book, use this book, to realize What
graphics, didones, and scripts are a help it can be.
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Mergenthaler Linotype Company, an Eltra company, Mergenthaler Drive, Plainview N.Y 11803, (516) 694 1300.

Ask-We probably have it. RydeiTypes

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Frederic Ryder Company 500 North Dearborn Chicago 60610 312 467-7117 Advertising Typographers

Trautensilierna i ett tryckeri aro ingalunda en oviktig faktor, for trefna Trautensilierna i ett tryckeri aro ingalunda en oviktig faktor, for
ordningens och ekonomiens uppratthallande, och dock ar det icke sa trefnadens, ordningens och ekonomiens uppratthallande, och do
som sorgliga erfarenheter gbras ?a grund af det oforstand med hvilke ar det icke sallan som sorgliga erfarenheter goras pa grund af d
kaster, formbraden och reglaer tilverkas och forsaljas. Kaster som aro oforstand med hvilket kaster, formbraden och regaler tillverkas
daligt hopkomna och af otillrackhgt torrt tra, asamka snart nog officine och forsaljas. Kaster som aro daligt hopkomna och af otillrackligt
extra kostnader i reparationer. Kasten bar vara af kvistfritt och torrt tra torrt tra, asamka snart nog officinen extra kostnader i reparation
kannas latt, och bottnen bor icke vara limmad men daremot val fastad Kasten bor vara af kvistfritt och torrt tra, kannas latt, och bottnen
med skrufvar saval rundt kanterna som den grofre midtbalken samt yt bor icke vara limmad men daremot val fastad med skrufvar saval
ytterligare med en skruf i kryssen mellan facken. Framstycket med ra rundt kanterna som den grOfre midtbalken samt ytterligare med
bar vara af ett fastare traslag, sasom bjork eller rodbok samt heist for t en skruf i kryssen mellan facken. Framstycket med rand bar vara
trefnadens skull fernissadt, det kan da afven vid eventuellt behov aftva af ett fastare traslag, sasom bjOrk eller rodbok samt heist for trefn
Bottenmellanlagget bar vara af godt tjockt papper, som icke upplases skull fernissadt, det kan da afven vid eventuellt behov aftvattas In
af vatten, och ligga fullkomligt slatt utan vagor. Alla mellanvaggarne i 1 Bottenmellanlagget b6r vara af godt tjockt papper, som icke upp
ladan bora sitta stadigt och na sa langt upp i urskarningen, att de fylla Rises af vatten, och ligga fullkomligt slatt utan vagor. Alla mellan
densamma anda upp i dess langdriktning, sa att stycket icke kan lyfta vaggarne i ladan bor sitta stadigt och na sa Mgt i urskarningen, a
sig fran bottnen efter nagon tids torkning. Kaster som icke uppfylla de de fylla densamma anda upp i dess langdriktning, sa att stycket ic
fordringar borde aldrig accepteras sasom fullgodt fabrikat, de blifva i kan lyfta sig fran bottnen efter nagon tids torkning. Kaster som ick
langden alltfor dyra! Trautensilierna i ett tryckeri aro ingalunda en ovik uppfylla dessa fordringar borde aldrig accepteras sasom fullgod
faktor, for trefnadens, ordningens och ekonomiens uppratthallande, o fabrikat, de blifva i langden alltfor dyra! Trautensilierna i ett tryc
dock ar det icke sallan som sorgliga erfarenheter goras pa grund af d aro ingalunda en oviktig faktor, for trefnadens, ordningens och e
oforstand med hvilket kaster, formbraden och regaler tillverkas och fa ekonomiens uppratthallande, och dock är det icke sallan som sor
forsaljas. Kaster som aro daligt hopkomna och af otillrackligt torrt tra erfarenheter goras pa grund af det oforstand med hvilket kaster
asamka snart nog officinen extra kostnader i reparationer. Kasten bar formbraden och regaler tillverkas och fOrsaljas. Kaster som aro
vara af kvistfritt och torrt tra, kannas latt, och bottnen bor icke vara lim daligt hopkomna och af otillrackligt torrt tra, asamka snart nog of
men daremot val fastad med skrufvar saval rundt kanterna som den g officinen extra kostnader i reparationer. Kasten b6r vara af kvist
grafre midtbalken samt ytterligare med en skruf i kryssen mellan fack fritt och torrt tra, kannas latt, och bottnen bor icke vara limmad m
Framstycket med rand bar vara af ett fastare traslag, sasom bjork eller men daremot val fastad med skrufvar saval rundt kanterna som
rodbok samt heist for trefnades skull fernissadt, det kan da afven vid e den grofre midtbalken samt ytterligare med en skruf i kryssen m
eventuellt behov aftvattas. Bottenmellanlagget bar vara af godt tjockt mellan facken. Framstycket med rand bar vara af ett fastare tras1
papper, som icke upplases af vatten, och ligga fullkomligt slatt utan va slag, sasom bjOrk eller rodbok samt helst for trefnadens skull fer
Alla mellanvaggarne i ladan bora sitta stadigt och na sa hogt upp i urs nissadt, det kan da afven vid eventuellt behov aftvattas. Bottenme
urskarningen, att de fylla densamma anda upp i dess langdriktning sa mellanlagget bar vara af godt tjockt papper, som icke upplOses a
att stycket icke kan lyfta sig fran bottnen efter nagon tids torkning. Kas vatten, och ligga fullkomligt slatt utan vagor. Alla mellanvaggarn
som icke uppfylla dessa fordringar borde aldrig accepteras sasom full i ladan bOr sitta stadigt och na sa Mgt i urskarningen, att de fylla
fabrikat, de blifva i langden alltfa densamma anda upp i dess la
dyra! Trautensilierna i ett trycker riktning, sa att stycket icke ka
aro ingalunda en oviktig faktor, f lyfta sig fran bottnen efter nag
trefnadens, ordningens och eko tids torkning. Kaster som icke
uppratthallande, och dock ar de uppfylla dessa fordringar bor
icke sallan som sorgliga erfaren aldrig accepteras som fullgod
gOras pa grund af det oforstand fabrikat, de blifva i langden al
med hvilket kaster, formbraden fOr dyra! Trautensilierna i ett t
regaler tillverkas och forsaljas. K aro ingalunda en oviktig fakto
Kaster som aro daligt hopkomna och af otillrackligt torrt tra, asamka s trefnadens, ordningens och ekonomiens uppratthallande, och do
nog officinen extra kostnader i reparationer. Kasten bar vara af kvistfri är det icke sallan som sorgliga erfarenheter goras pa grund af d
och torrt tra, kannas latt, och bottnen bar icke vara limmad men dare oforstand med hvilket kaster, formbraden och regaler tillverkas
val fastad med skrufvar saval rundt kanterna som den grbfre midtbalk och forsaljas. Kaster som aro daligt hopkornna och af otillrackligt
saint ytterligare med en skruf i kryssen mellan facken. Framstycket m torrt tra, asamka snart nog officinen extra kostnader i reparation
rand bar vara af ett fastare traslag, sasom bjork eller rodbok samt hels Kasten bar vara af kvistfritt och torrt tra, kannas latt, och bottnen
for trefnadens skull fernissadt, det kan da afven vid ett eventuellt beho bOr icke vara limmad men daremot val fastad med skrufvar saval
aftvattas. Bottenmellanlagget bar var af godt tjockt 'Dapper, som icke u rundt kanterna som den grofre midtbalken samt ytterligare med
upplases af vatten, och ligga fullkomligt slatt utan vagor. Alla mellanva en skruf i kryssen mellan facken. Framstycket med rand bar vara
i ladan bora sitta stadigt och na sa hogt upp i urskarningen, att de fylla af ett fastare traslag, sasom bjork eller rodbok samt heist for trefn
densamma anda upp i dess langdriktning, sa att stycket icke kan lyfta skull fernissadt, det kan da afven vid eventuellt behov aftvattas In
sig fran bottnen efter nagon lids torkning. Kasfer som icke uppfylla de Bottenmellanlagget bar vara af godt tjockt papper, som icke upp
fordringar borde aldrig accepteras sasom fullgodt fabrikat, de blifva i loses af vatten, och ligga fullkomligt slatt utan vagor. Alla mellan
langden alltfor dyra! Trautensilierna i ett tryckeri aro ingalunda en ovik vaggarne i ladan bar sitta stadigt och na sa Mgt i urskarningen, a
faktor, far trefnadens, ordningens och ekonomiens uppratthallande, o de fylla densamma anda upp i dess langdriktning, sa att stycket ic
dock ar det icke sallan som sorgliga erfarenheter goras pa grund af d kan lyfta sig fran bottnen efter nagon tids torkning. Kaster som ick
oforstand med hvilket kaster, formbraden och reglaer tillverkas och fa uppfylla dessa fordringar borde aldrig accepteras sasom fullgod
forsaljas. Kaster som aro daligt hopkomna och af otillrackligt torrt tra fabrikat, de blifva i langden anti& dyra! Trautensilierna i ett tryc
asamka snart nog officinen extra kostnader i reparationer. Ka sten bar aro ingalunda en oviktig faktor, for trefnadens, ordningens och e
vara af kvistfritt och torrt tra, kannas latt, och bottnen bar icke vara lim ekonomiens uppratthallande, och dock ar det icke sallan som sor
men daremot val fastad med skrufvar saval rundt kanterna som den g erfarenheter goras pa grund af det oforstand med hvilket kaster
rafre midtbalken samt ytterligare med en skruf i kryssen mellan fack formbraden och regaler tillverkas och fOrsaljas. Kaster som aro
ramstycket med rand bar vara af ett fastare traslag, sasom bjork eller daligt hopkomna och af otillrackligt torrt tra, asamka snart nog of
rodbok samt heist far trefnadens skull fernissadt, det kan da afven vid officinen extra kostnader i reparationer. Kasten bar vara af kvist
ett eventuellt behov aftvattas. Bottenmellanlagget bar vara af godt tjoc fritt och torrt tra, kannas latt, och bottnen b6r icke vara limmad m
papper, som icke upplases af vatten, och ligga fullkomligt slatt utan va men daremot val fastad med skrufvar saval rundt kanterna som
Ma mellanvaggarne i ladan bora sitta stadigt och na sa hogt upp i urs den grofre midtbalken samt ytterligare med en skruf i kryssen m
urskarningen, att de fylla densamma anda upp i dess langdriktning, sa mellan facken. Framstycket med rand bOr vara af ett fastare tras1
att stycket inte kan lyfta sig fran bottnen efter flagon tids torkning. Kas slag, sasom bjork eller rodbok samt helst for trefnadens skull fer
som icke uppfylla dessa fordringar borde aldrig accepteras sasom full nissadt, det kan da afven vid eventuellt behov aftvattas. Bottenme
fabrikat, de blifva i langden alltfor dyra! Trautensilierna i ett tryckeri ar mellanlagget bar vara af godt tjockt papper, som icke upploses a
ingalunda en oviktig faktor, far trefnadens, ordningens och ekonomie vatten, och ligga fullkomligt slatt utan vagor. Alla mellanvaggarn
uppratthallande, och dock ar det icke sallan som sorgliga erfarenheter i ladan bar sitta stadigt och na sa Mgt i urskarningen, att de fylla
goras pa grund af det oforstand med hvilket kaster, formbraden och r kan lyfta sig fran bottnen efter nagon tids torkning. Kaster som ick
regaler tillverkas och forsaljas. Kaster som aro daligt hopkomna och a uppfylla dessa fordringar borde aldrig accepteras sasom fullgod
otillrackligt torrt tra, asamka snart nog officinen extra kostnader i repa fabrikat, de blifva i langden alltfor dyra! Trautensilierna i ett tryc
Kasten bar vara af kvistfritt och torrt tra, kannas latt, och bottnen bar i aro ingalunda en oviktig faktor, for trefnadens, ordningens och e
1234567890123456789012345678901234567890123456789012345 1234567890123456789012345678901234567890123456789012345678

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❑ controllable letterspace values Versatile as it is, the Comp/Set 500 is remarkably
❑ fail-safe overset prevention easy to operate because it puts all the controls where
❑ all commands displayed on screen they belong, right at the operator's fingertips on the
❑ automatic leader insertion simple, typewriter-oriented keyboard. All format
❑ leading to 991/2 points in half-point graduations
❑ automatic last word delete
data is continuously displayed on the big, easy-to-
❑ complete correction ability on copy being keyboarded read screen, along with over 500 characters of copy. *Lease payments as low as $265
❑ tab storage And there is easy correction ability on the copy per month; subject to change.
❑ data storage being keyboarded. So what you see is what you set! All the type in this ad was composed on
But to fully appreciate what the Comp/Set 500 the Comp/Set 500 phototypesetter.
can do for you, you really have to see it in action, and
try it for yourself. Call your local VariTyper office
or mail the coupon to arrange a demonstration.
❑ Please send full details on the Comp/Set 500
❑ Please arrange a demonstration of the Comp/Set 500
❑ Please send a type specimen booklet
state zip
U&Ic 75

The Visual Graphics

Alphabet Library, 1976 Edition,
containing over 350 pages with
hundreds of new alphabets,
the complete ITC collection...
and more.
Pre-publication prices
are now available.
For information, write to
VGC Alphabet Division today.

Visual Graphics Corporation

VGC Park. 570 I N.W. 94th Ave., Tamarac. Florida 33321

This advertisement set using Visual Graphics original award winning alphabet Friz Quadrata.


Do you suffer from the nagging limitations of common
cold type? Does your old strike-on equipment cause
annoying job congestion and give you that run-down
feeling? Do you experience the headache of calcula- ExecuWriter Display
Headline composer
tion, the irritation of double typing? 82,250

Well, now there's fast, fast relief for the symptoms of

common cold type. The remedy is photocomposition ExecuWriter II
Two-font text composer
from Compugraphic. And it's quicker, easier and more 84,250

economical than ever before.

You get uncommon productivity with automatic justi-
fication, centering, ragged right or ragged left on the
first and only typing. Without calculation.
You get uncommon versatility with choice of different
type styles and sizes directly from the keyboard. With
selection from a comprehensive type library including
popular ITC faces (like Souvenir, Tiffany, Serif Gothic
and many more).
And you get uncommonly low price:
• Text composers start at $3,750.
• Headline machines for as low as $2,250.
• Text composers that set our full type library—as
low as $5,950.
• Composers with many type styles and sizes (32 to
96 fonts) from the keyboard—as low as $9,450. SEND TO: Compugraphic Corporation, 80 Industrial Way, Wilmington, Mass. 01887

So why suffer with common cold type when the sure Please
❑ Have a sales representative call
remedy is so effective and so painless? Take the cure. ❑ Arrange a demonstration
Contact Compugraphic today. Send a package of materials, including
prices, tailored to my applications—
text composition, headlines, area com-
position (heads and text set in place):

Plant Description
❑ In-plant facility ❑ Typesetter
❑ Government facility ❑ Design studio
❑ Ad agency ❑ Institutional graphics

Current Composition Source

compugraphic ❑ MT/SC
❑ Other strike-on ❑ Purchased outside

11111 1 80 Industrial Way, Wilmington, Massachusetts 01887/ (617) 944-6555


SALES AND SERVICE OFFICES: • ATLANTIC: 1901 North Moore Street, Rosslyn, Virginia Title
22209, (703) 525-1678 • NEW YORK METRO: 2 Pennsylvania Plaza, New York, New York
10001, 1212) 736-4444 • SOUTH ATLANTIC: 2527 Lantrac Court, Decatur, Georgia 30032, Organization
(4041 981-9500 • CENTRAL: 527 West Golf Road, Arlington Heights, Illinois 60006, (3121
540-1140 • MID-AMERICA: 11503 West 75th Street, Shawnee, Kansas 66214, (914) City/ State Zip
268-7400 • SOUTH CENTRAL: Carillon Plaza East, 13601 Preston Road, Dallas, Texas 75240,
1214) 661-8940 • PACIFIC: 2908 Oregon Court, Building G, Torrance, California 90503, (213) Telephone
320-5780 • NORTHWEST: Centennial Building, 25, 102nd Avenue N.E., Bellevue, Wash-
ington 98004, (206) 454-9798.

Antique Olive*
The best thing to happen
to an olive
since the martini.

Roger Excoffon of Paris designed Antique Olive

for the Fonderie Olive, Marseilles, in 1962.
Antique Olive Roman, Italic, Bold Roman, Black Roman,
Light Roman and Compact Roman.
Which is a lot of Romans for a French face.

Now available for all V-I-Ps, Linocomps, Linofilms, and Linotrons,

from Mergenthaler, Linotype, Stempel, Haas.
*The Antique Olive typeface family
is licensed to D. Stempel AG by Fonderie Olive, France.


Mergenthaler Linotype Company, Mergenthaler Drive, Plainview, NY, 11803.


abcdefghijklm XYZ/E0 XYZIE0
nopqrstuvwxyzaeo abcdefghijklmno abcdefghijklmno
1234567890 pqrstuvwxyzxo pqrstuvwxyzaeo
&?!f$ 1234567890 1234567890
&?!E$B &MSS


abcdefghijklmno abcdefghijklmno abcdeffgghijklmno
pqrstuvwxyzmo pqrstuvwxyzmo pqrrstuvwxyyzei
1234567890 1234567890 1234567890
abcdeffgghijklmno aukoifteceffcggirgax-iiijAk) abcdefghijklm
pqrsttuvwxyyzaeo 16cinmmx-ntuvocrrArrics nopqrstuvwmyzoze
1234567890 fittifrumvvc-vcivwxxx-22,z vx 1234567890
12340,,g_)?ifi$ &?!E$13

U\IVERSITY ROMAN These ten typefaces

will be available from your
Letraset dealer February 15, 1976 Letraset
MCIDCHIJKLM Push Pin Studios have designed the first issue Instant
NOPQR6TUVW of our newsletter — Letragraphix.

Send us the coupon
and we'll see you get a copy
plus our
New Typefaces '76 leaflet.
abcdcfshijklmno r Ask
pqrAuvwxyzo Name:

Company -
for it.

State• Zip: Letraset USA Inc.

33 New Bridge Road

0?! 3E$ L.
Title Telephone:
Bergenfield, New Jersey 07621
(201) 387-0700


Photo Process Lettering
is now avci ode in
Rochester Sr Sydney. Australia
not to mention:

dos AnyelQs
Lettergraphics Main Offices • 870-4828
new York
Marvin Komrnel Prod • MU 2-3498
offino,soiomon Co. • JU 2-4274
Frederic Ryder Company • 467-7117

Detroit M5-11 gnT

Rtkan ta
Lettergraphics/Detroit • 259-0030 aggers/Chiles/Stovall Inc • 742-1741
Lettergraphics/Kansas City • 471-2585

Dayton Type Service • 223-8241 Philadelphia
Walter T Armstrong, Inc • 923-4410
Typog phy Shop • 875-7676

Franklin Photo Service • 426-0272 Memphis Zan Trancizco
Timely Typography • GA 1-7520
Lettergraphics/Memphis • 725-1866

Indianapolis FMICIEZTI2E
Killgore Graphics • 252-3456
New (rims
Ad Shop/Forstall Typographers • 524-0822
Typoservice Corp • 634-1234

p SAN DIEGO Rono,Novada

Central Graphics • 234-6633
Alpha Typographer. -825 8677

New Office to be Announced

saola aim9 co
Orange County Type • 541-2288
Typo,Hnlu•538-96 Advertising Typographers, L10.• 861-7231

Winnipeg 11111111.111.0 11P

New Office to be Announced Vt Type Se ce d Wallop your office. Over
• 947-0538
three complete alphabets.
Lettergraphics/Tokyo TKO • 563-6_91 Enough to cover an 8' x
0 area. Make up your own
Germany Typograten AB. Solna • 27 27 60
words. It goes up in squares.

FRANCE Austria
Typographica GmbH, Munich • 29 50 47
(Also in Frankfurt Stuttgart)
Fotosatz Udo Richter, W. Berlin • 887-2319
Lichtsatz Centrum, Hamburg • 31 12 56 La Typographie Int. Paris • 277 87 87 Typographies Ges mbH, Wien • 83 91 10
Send $19.95 to Spiffy Things,
Inc., 512 Nicollet Mall,

Minneapolis, MN 55402.
=ere new STWAS ano meas are an evervoav THING
Call your local Lettergraphics office for showings of these and other new styles • Lettergraphics Corporate Offices: Box 552. Culver City, C. 90230 • (2131870-4828

when specifying type for phototypeset-

Specifying Type for Phototypesetting Equipment
ting equipment.
Have you ever taken a piece of copy, that today there are dozens of com- Therefore, before specifying type, check
patiently counted every character to be panies manufacturing phototypesetting your supplier's catalog and character-
sure it will fit, and then sent it out to the equipment and each company has its count tables. If these are not available,
typographer only to have it come back own version of most typefaces. This' then find out the kind of equipment the
too long or too short? Well, if you have, means that on any given typeface the copy is to be set on. (Too often the de-
you are not alone. x-height may be different, the weight signer will use a character count for
Fitting type accurately for phototype- may be different, and what is most im- equipment A when his copy is being set
setting equipment is one of the biggest portant, the number of characters per on equipment B.) Then, if you don't
problems the designer has to face every pica may be different. Add to this the have a type specimen book for that par-
day. The problem is not that phototype- varying degrees of letterfit and word- ticular piece of equipment, ask the
setting equipment cannot set type accu- spacing possible, and you can begin to typographer how many characters set
rately; they can and do. The problem is see why you have to be extra-careful to the pica. Then specify the type.
The dynamic
Pacesetter . . . constantly improving—in reliability,
quality of output and its productive capabilities.
The evolution of the Pacesetter has been Expanded Type Library - More than 1000
one of adaptation to user requirements. typefaces including the latest
Initially it became the standard to which contemporary and royalty faces.
all second generation phototypesetters
were compared, with its unequalled
font/size ranges, mixing abilities, Standard and Segmented Matrix Discs
programmability and its reputation for -Nowuserhaschoiceofstandard4,8 or16
"running the longest with the least font discs that never wear out or change
maintenance." Today, there are 25 user- character alignment; or individual 108-
oriented models that fit all composition character segments for Mark 1.
requirements and budgets, including
those of the most discriminating Exposure Control - Programmable control
typographer. Here are but a few of the of exposure by user permits optimum
more recent improvements that are density for all typefaces in font dress (e.g.
standard or optionally available with the light scripts with heavy display). New fast
Pacesetter line to make it unsurpassed in on-off flash control increases crispness of
productive capacity and output quality. character definition.
Compare the Pacesetter with any other
phototypesetter ... today.
Reverse Leading - Up to 22 inches is
Write or call for all the details. standard on all models.

Send new Pacesetter brochure

Have representative call ❑

State Zip
355 Middlesex Avenue
Wilmington, Massachusetts 01887
ovnno Telephone: (617) 933-7000

Dymo Graphic Systems


Ad set in Dymo Graphic Systems'"Chelmsford" series.


ryo x-height



The x-height is the height of the lower- The x-height is the height of the low- The x-height is the height of the The x-height is the height of the
case letter exclusive of ascenders and ercase letter exclusive of ascenders and lowercase letter exclusive of as- lowercase letter exclusive of
descenders. Although this is not a unit descenders. Although this is not a cenders and descenders. Although ascenders and descenders.
of measurement, it is significant be- unit of measurement, it is significant this is not a unit of measurement, Although this is not a unit of
cause it is the x-height of the letter which because it is the x-height of the letter it is significant because it is the measurement, it is significant
conveys the visual impact of the type which conveys the visual impact of x-height of the letter which con- because it is the x-height of the
size. The four samples set shown here the type size. The four samples set veys the visual impact of the type letter which conveys the visual
are all 10-point, yet see how much shown here are all 10-point, yet see size. The four samples set shown impact of the type size. The four
smaller the Garamond appears in rela- how much smaller the Garamond ap- here are all 10-point, yet see how samples set shown here are all
tion to the Helvetica. Furthermore, it is pears in relation to the Helvetica. much smaller the Garamond ap- 10-point, yet see how much
the x-height, along with line length, Furthermore, it is the x-height, along pears in relation to the Helvetica. smaller the Garamond appears in
rather than the point size that dictates with line length, rather than the point Furthermore, it is the x-height, relation to the Helvetica. Fur-
the proper amount of linespacing: the size that dictates the proper amount along with line length, rather than thermore, it is the x-height, along
Garamond, with its small x-height, cer- of linespacing: the Garamond, with the point size that dictates the with line length, rather than the
tainly requires less linespacing than the its small x-height, certainly requires proper amount of linespacing: the point size that dictates the proper
Helvetica, with its large x-height. One less linespacing than the Helvetica, Garamond, with its small x-height, amount of linespacing: the Gara-
reason for the popularity of faces with a with its large x-height. One reason certainly requires less linespacing mond, with its small x-height,
large x-height is that they permit use of for the popularity of faces with a than the Helvetica, with its large certainly requires less linespac-
a smaller size without sacrificing legi- large x-height is that they permit use x-height. One reason for the popu- ing than the Helvetica, with its
bility or readability and thus enable more of a smaller size without sacrificing larity of faces with a large x-height large x-height. One reason for
copy to fit a given space. legibility or readability and thus en- is that they permit use of a smaller the popularity of faces with a
able more copy to fit a given space. size without sacrificing legibility large x-height is that they permit
or readability and thus enable use of a smaller size without sac-
more copy to fit a given space. rificing legibility or readability
and thus enable more copy to fit
Adapted from James Craig's Production for the Graphic Designer a given space.

jjJ_KKKKIcKl(KK ,L. L.r,
a LARGE 10"x15"
NKNAN,Q00 000-00P?
R,IM,ILS__S_S$SS$8 8888
TTTTTTryt Gr Gr Gr —WW;
aaaeeeetitilmmcc$ ®,1
7E-Xlat ---0010_0014-:
6 6 6 77 'IS fi 8 9 9 9-
- --
$1.0 0
. Buy Direct and Save:
This sheet is comparable to brands selling for 83.50 - 84.00 and Pressure Graphics, Inc.
84.58 per sheet. Sharp clear printing (suitable for reproduction)
and a heat resistant adhesive compliment our Unbelievable low 1725 Armitage Court
price. Join the thousands of satisfied customers already using
TRESS-SURE LETTERING". Available only from PRESSURE Addison, Illinois 60101
GRAPHICS (not available through dealers), so write for free (312) 620-6900
samples and complete typeface listing



with a short trial subscription to
America's top clip-&-paste art service
That's right! Pick any five of the newest "Clip
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kote" repro stock with the 5x8-inch pages includes postage.
printed one side only. Two 12-page and two ❑ We wish to save 10 percent (your book-
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ment, in U.S. funds, with order. In N.J. include
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Use the coupon at lower right and start saving (P/ease Print)
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11 MODELS TO CHOOSE FROM Imagine, an 8x10 stat or
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Offices in principal cities Nationwide

P. 0. Box 187 — 114 Beach St., Rockaway, N. J. 07866 Phone (201) 625-4400 DIAL TOLL FREE (800) 631-9353

• too io •
WeDeliver! se

You need dry transfer lettering

you can depend on. Especially
when you're under the gun.
Trans-Artype dry transfer lettering
will never let you down.
These fine quality sheets are pre-

se cision printed. They won't crack

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H/R-Artype cut-out sheets also
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and heat resistant with guide
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And only Artype carries ITC
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Rub us. You'll luv us.°

tsecause Artype graphic art, supplies save you
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• • • Linotape Art & Drafting Tape • Burnishers
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Lou Dorfsman

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240 Madison Ar. 345 Terre Cotta Avenue Crystal Lake, Ill. 60014
NewYork 1001
• • •

Very Tight
T V Spacing
Letterspacing Display Type

The best way to get the letterspacing you want

is to make an accurate comp showing the typog-
rapher exactly how you want each letter set.
One quick way to do this would be to use transfer
sheets. This way you can show not only which
letters are to be kerned or set touching, but by
how much. Unfortunately, there is not always
time to make an accurate comp and, more often
than not, instructions must be either written
or spoken. In this case what is needed is a simple
space guide showing three or four variations
of letterspacing with a terminology that can be
agreed upon by both designers and typographers.
Of all the terms used today it would seem that
ebostiivz.Typography by SAI.Saurossiekl
the best candidates for a standardized letterspac-
o 1_
ing guide are: TV spacing, normal, tight, very
■ tight, and touching (where desirable).
Using the above space guide will not only solve
Our latest booklet.
individual letterspacing problems, but it will gen-
Send for your M J B4UMVVELL1 PHY
free copy. 46181H AVENUE erally improve communication between design-
NEW YORK NY10001 ers and typographers.
Adapted from James Craig' s Production for the Graphic Designer


30 pt. KORINNA
60 pt. LUBALIN



72 pt. KORINNA___



national typographers


Isn't it nice to know the and specification, to the BOLD COND
number you call when you friendly voice on the
want fast professional National line, to the shop
typography is the same where more than 535 years 36 pt. LUBALIN GRAPH BOLD
number you call when you of combined experience go 30 pt. AMERICAN
want the most up-to-date, to work for you, ...
extensive selection of type WE'RE THE BEST CONTACT 36 pt. AVANT GARDE
available? YOU'VE GOT!

Contact 314-241-8297, and 36 pt. KORINNA 10

you'll have 44 professionals EXTRA BOLD
ready to serve you! From the
rep who calls on you to
assist with type selection
National Typographers Inc. -
914 Pine Street
St. Louis, Missouri 63101
30 pt. LUB.ALIN


dry transfer lettering
National Airlines' And a NEW exciting selection of 'Type Styles from INTERNA-
styles are available in point sizes 24 through 72 pt. ZIPATONE

Annual Report DRY TRANSFER lettering sheets offer many advantages

such as; easy handling size, more letters per sheet, sharp
printing, low distortion carrier sheet, no accidental trans-
fer. All these and others make Zipatone the best dry transfer

in one day going.

Make it!...with Zipatone®

We'll help you make it...with a free sample and brochure
on these and other new type styles if you'll send in this cou-
pon, or ask your local Zipatone Products Dealer.
This may be a new / of the largest photo-
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Annual Reports, America.We have
considering the
time and work
telecopiers for
practically instant
zipalone i Icorporcled -

150 fend lane, hillside, illinois 60162

involved. What's more, communication. And
we kept quality up and we're only 2 1/2 hours by
costs down. And we jet from your backyard. Let's Make It! ...Send the following: 1
can do the same thing Birmy. The best in the ❑ New Typeface Sample & Brochure
for you even if you're in business for advertising ❑ Full Line of Zipatone products samples
NewYork. typography. Because we ❑ Zipatone Products Catalog
We have first class, don't keep you waiting Zipatone Wall Chart of 200 Type Styles
NewYork trained typog- a year for what you I NAME TITLE
raphers. We have one needed yesterday.

Birmy Graphics ADDRESS

2244 N.W. 21 Terrace, Miami, Florida 33142. Tel: (305) 633-5241/635-0482 )\ CITY STATE ZIP
Send for our specimen book and price list.

"What's a
A photolettering is the process by which letters are positioned on film or paper by means
of a photographic step. At least that's the way it was. Photolettering today can be compared
to the tip of an iceberg—the real substance lies beneath the surface. Many sources can offer
photolettering, but only Photo-Lettering Inc, can offer itself as the one true source for all
your graphic needs. After all, we started the idea over forty years ago. Compare what your
supplier offers, then check us out for reproportioning, perspectives, curvings, hand lettering,
alphabet designing, film mechanicals, Spectrakrome, Artron (text composition), Spectra-
transfer, bas reliefs, sphereography, step and repeats, dummy package assemblies, borders,
cosmographs, cartouches, outlining, shadowing, backslanting, oval constructions, Spectra-
conversions for TV, photo-quill, circoflairs, varigams, etc, etc, and etc. Our library of over
9,000 alphabet styles for display use is the largest in the world. In addition,every ITC alpha-
bet design is available for display and text use. Now that's a PHOTO-LETTERING, INC!

Photo-Lettering Inc 216 EAST 45TH STREET- NEW YORK CITY-10017 212/MU2-2345

••••• ••••••••••••••• • ••••••••
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slides is a
sharp pencil.

Announcing Slide Workbook 1, a new concept

that lets you take your pencil and follow
7 easy steps to produce professional
quality slides at savings up to 50%.
1,000 free copies available on a first come,
first serve basis. Phone or write, and
The reserve your copy today.
305 East 47th St.
New York, N.Y. 10017
(212) 758-5171 IMAGES imam


type to fit
your layout
your budget
or both!
The Latest ITC Faces are currently available on all our photo-
composition equipment. We also have all the Helveticas, Times
Romans, Optimas, etc. etc. etc. All sizes from 6 through 24 point.
Your job is handled with the patience, knowledge and interpreta-
tion that you deserve. The result is excellent quality and fine
service at a reasonable price. We are also equipped to produce
fast, inexpensive keyboard display headlines.
Photo Typositor is another quality service with a selection of
over 3,000 faces currenty available. All ITC FACES included.
Make-up, Board Work, Handwork, call it what you will, we do it,
or you can do your own.
All in All we offer you a good source of supply for all your
typographic needs. We try to match this with an understanding
of what the individual client requires. We consider all our work
For any additional information, please call us.


YORK TYPE/PETER PICA, INC./480 Canal Street, New York 10013/925-3364
Sy Lemler • Ceil Singer
(2123 726-1164-5-6

A great, great book—Aaron Burns. All the key topics are covered with I am impressed ...an excellent teaching tool—George Sadek. A beauti-
taste and authority. Nothing I have seen approaches it—Ben Rosen. ful book ...the best-designed, most informative student-type book I've
A very clear and sensible book—George Lois. An exceptional book— seen—Seymour Chwast. it is unassuming and basic—Mo Lebowitz.
Gene Federico. An excellent and, at last, up-to-date book on the prob- Very complete; presented beautifully—Don Kubley. ... a fine primer for
lems and possibilities of production—Ivan Chermayeff. Excellent, well the beginner—also there is good information for the seasoned profes-
conceived, well designed ...extremely useful—Milton Glaser. ... truly sional—Rudolph DeHarak. Excellent ... really the best book so far on
unique and of unsurpassable quality; one of the best production books the subject—Alvin Eisenman. ... clear, straightforward presentation of
made—Print. the basics of working typography—Ivan Chermayeff.

208 pages
8 1/2 x 11 176 pages
Over 400 illus. 9 x 12
Extensive section Over 200 illus.
on phototypesetting Glossary
Glossary Index
Index Wire-0 binding
$18.50 $11.95

To order, To order,
circle No. 103 circle No. 132
in U&Ic order in U&Ic order
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FOR$3.A DAY. V41
Thinking of setting your own
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font. Over 2500 styles risk offer? You also receive a copies of earlier issues. There is a charge of
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Please send your check, payable to ITC..
COMPANY Specify Volume and Issue Number, and mail
to Internation'al Typeface Corporation,

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



Dealer Inquiries Invited

Designers & Manufacturers of
• Display Headline Setters • 2" Film Fonts
• Automatic (Film & Paper) Processors • Modification Systems

(Check one only)

(a) Printer (Commercial, forms, etc.)

(b) Typesetting, Composing
(c) Advertising Agency, Art Studio, Design
Newspaper, Magazine
Book Publisher
Internal Printing (not for resale)
(h) Education


Corporation advertising, design, promotion
AND MAIL TO U&LC, 216 EAST (m) Other


(Check one only)
(n) Artist, Illustrator
(o) Art Director, Creative Director
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TITLE (w) Other




(2) 10-19
SIGNATURE (3) 20-49
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January 15,1969 January 15,1976

We are celebrating our 12th anniversary

by announcing the addition of the letter P,
for Peckolick, to our name. Ernie Smith,
formerly the S in our logo, has left us to go
fishing. Alan Peckolick has replaced him as a
principal of our company, thus, making it
possible forHerb Lubalin and Tom Carnase
to, occasionally, go fishing with Ernie Smith.
If or when, you call us (our phone number
and address are the same) a delightful voice
will say, "LSC&P." Ask for Herb Lubalin,
Tom Carnase or Alan Peckolick. If you want
Smith, look him up in the Lake George, N.Y.
directory. He'll tell you what's biting.


el I.


Unit Price Total

souvuaR T1 FE VNY

International Typefoce Colporation

These handsomely designed, colorful ITC specimen book- American Typewriter 75C 216 East 45th Street
Mont Garde Gothic 75C New York, N.Y. 10017 (212) 371-0699
lets are available for your personal use and collection. To
tvant Garde Gothic Cond 75C
obtain the entire set, or the booklets of your choice, com- Friz Quadrata 75C
plete this order form and mail to us. All orders must be Korinna 75C

accompanied by a remittance. No CODs, or purchase or- Lubalin Graph 75C

ders without remittances, can be handled. Future issues of Newtext' 750
U&Ic will continue to introduce new ITC typefaces for use Serif Gothic 75C
Souvenir 75C Title
in photocomposition, display and transfer letters. Type Tiffany 75C
specimen booklets will be prepared for each new typeface. ITC Typeface Catalog . .$1 .50 Street Address
Each booklet will illustrate all available weights of the Special S7 50
typeface, in a range of sizes from 6 point to 24 point, plus Entire collection City
Total Order
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tains a copyfitting chart for your use in specifying. Start Add Postage 50
your collection of ITC typefaces now. Remittance enclosed
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#125—Graphis Posters '75 Each volume 7 x 10, 228 pgs. typography, art and copy
Ed. Walter Herdeg No. 104—Vol. 1 Alphabetical preparation, photography and
New new new.. There Designs.$9.95. processing, platemaking,
are eleven new books No. 105—Vol. 2 Symbolical printing processes, binding,
Designs. $9.95. finishing methods, paper and
offered in your U&Ic Book other printing surfaces, and
Shop.They are: #123 —The #106— Packaging inks make this a unique
By Robert G. Neubauer reference work. Back-of-book
54th Annual of Advertising, matter includes bibliography,
A definitive study of the art
Editorial & Television Art & of packaging.Tells how to index, classified source of
supply directory, data on
Design; #124 — Photo- make the package a more
trade practices and legal
effective means of communi-
graphis '75; #125 — cation,analyzescurrent trends, matters, and more.
Graphis Posters '75; #126 850 pgs. 81/2 x11. Pre-pub.
through February 15, $38.50,
— European Illustration Reg. $43.50.
'75; #127 — Illustrators 16; This new, third edition
the contempoi Ary media #114—The Corporate
#128—Bauhaus; #129 — covers four major categories:
advertising, cultural, social, Search for Visual Identity
Halftone Reproduction and decorative posters. The By Ben Rosen
Guide; #130—Compen- contemporary use of the A comprehensive and pene-
poster for art, stage, trade, trating analysis of corporate
dium for Literates; #131 Manuale Typographicum; industry, and propaganda symbolism. Explains the
#132 — Designing With Type; #133 —Cameraready. shows the best of today's graphic thinking behind pack-
posters for the record and for ages, interior design, display,
Many of these are new editions of outstanding annuals. inspiration. logos, etc., of 15 top corpora-
Two, Bauhaus and Manuale Typogrophicum are estab- 240 pages. 91/2 x12, Over tions and tells why each is
800 illustrations with more
lished classics that are still available. Every book listed than 100 in color. $35.00.
here was carefully reviewed by U&Ic editors to bring you RaTe seaRcH
discusses elements required The
the best of the current crop on a wide range of subjects. # 103 Production for
— to make the package sales
the Graphic Designer effective, describes character-
By James Craig istics and functions of many I
Written by a designer for the kinds of packages.
designer. Covers typesetting, 208 pgs. 8 3/4 x 10/. 253
b/w photos, 33 color. $20.00.

#107— Publication Design

By Allen Hurlburt
A guide to page layout,
typography, format and style
by an internationally recog-
nized authority. Basic ideas
and current techniques of top
designers as well as the highly effective.
process of publication design 259 pgs. 9 x 12. 250
with full coverage of the design illustrations. $20.00.
elements; a technical section
on color, typography,and pro- #112— Calligraphic
duction technique and a Lettering, 3rd Ed.
printing, paper, inks, binding/ By Ralph Douglass
folding/imposition, and prep-
A basic introduction to the
aration of mechanicals. A
tools, techniques, historic and
basic fact book. Glossary of
contemporary styles. All hand
1100 entries. Paper section
lettered. Spiral bound.
lists papers by generic names, 112 pgs. 7 /78x 101/4 $7.95.
describes their characteristics
and uses.Type specimens. An
excellent table of comparative
typesetting systems. Bibliog-
raphy, index.
208 pgs. 81/2 x 11. Over 400
illustrations. $18.50.

#104 and #105—

Trade Marks & Symbols
By Yasaburo Kuwayama history of magazine design
#123 - The 54th Annual of Advertising, Editorial & Tele-
from the 1920s on.
vision Art & Design with the 15th Annual Copy Awards. This
138 pgs. 83/4 x 91/2. $16.95.
is the complete visual record of the combined Art Directors
Club and Copy Club shows, the most influential competi-
#111—Graphic Arts Manual watoon-guptitt publicatiooe•-•,..
tion in the communication arts. It is at once an unequalled
Edward M. Gottschall,
idea source and a record of the best art, design and
Executive Editor
copy, internationally, in a wide variety of media including
Michael Bruno, Paul Doebler, #126— European
print, radio and TV commercials, editorial, covers, Editorial Consultants Illustration '75-'76
sales promotion and graphic design, art, photography, Ed. Edward Booth-Clibborn
and film. This is really two books in one: The One Show This is the international
International Advertising Awards and The One Show
International Editorial and Graphic Design Awards.
Beautifully designed and produced. 800 pages. 8Y2x11. EUROPEAN ILLUSTRATION 75 76
Over 1000 entries. 32 full color pages. 525.00.

Volume I shows over 1500

alphabetical designs from
#124— Photographis '75 around the world. Indices list
Ed. Walter Herdeg company names, type of in-
This is the international dustry, product or service, and
annual of advertising, editorial, designer. Historical review of
and television photography. marks in the West and in
High standards of selection Japan, their varieties, roles,
and presentation make it an formative components. Vol-
excellent reference and idea ume II is similarly indexed, This is the most complete,
source. Outstanding photog- reviews changing of marks most up-to-the-minute, most
raphy from 30 countries with with the times, similarities, authoritative, most useful
80 of the 800 illustrations in design competitions, and compendium of information
color illustrates over 1500 symboli- on all phases of graphics arts
264 pages, 91/2 x12. $37.50. cal designs in 25 categories. production.Top authorities on

showcase for leading artists Deservedly, these annuals *132—Designing With 'Pipe layouts.Tab indexed, with
and illustrators in European have become the standard By James Craig subject index and many cross
publishing and communica- visual reference and idea Aimed atthe design educator references. Includes paper
tion. Covers book, advertising, source for what is best in and the student working with samples and samples of many
television, cinema,and graphic book, editorial, institutional, Halftone Reproduction Guide type, this is at once a book kinds of forms for production
design. Illustrates 350 sub- and advertising illustration in and a working tool. It is basic, control. Ring binder facilitates
jects, 40 in color. America. Some 515 examples clear and contemporary in updating. A very down-to-
256 pages. 9 x11. $37.50. run the gamut of style and viewpoint and content. As a earth manual.
technique in print, 11/ and film book on this subject should be, 300+ pgs. $30.00.
918— Graph's Annual illustration. A full index is sup- it is heavily visual, with over
1974-75 plemented with the addresses 180 typographic illustrations.
Ed. Walter Herdeg of all the artists represented. It is not simply a schoolbook
A beautifully presented col- 9 x12. $24.50. but of much value to anyone
lection of the best advertising in the graphic arts who wants
*131 —Manuale a clear, concise understanding
lypographicum of typefaces, typesetting
By Hermann Za i f systems and procedures. It
has a good selection of display
type showings and in-depth
coverage of five basic text type
129—Halftone families. Design projects at
tints, duotones,or triple dot end of each chapter.
Reproduction Guide techniques. Tints of 20%, 40%,
By Harvey Sternbach 60%,and 80% are shown,as
This isa reprintof a mostvalu- are reverse and surprint effects
able reproduction planning and all on both coated and
tool. It enables the user to uncoated paper. 100 colors
visualize results in two-color shown, including the standard
printing by showing how a
halftone looks when a second
AAAA colors. Over 1200 half-
tone effects. To order
color is added by using flat 210 pages. 12x9 1/2. $29.95.
any of these
930 —Compendium for handlettering or computer-
and editorial graphics from all
over the world.This 23rd
Literates By Karl Gerstner controlled typography.
180 pgs. 6 x 6. Illustrated.
edition features 947 illustra-
tions with 64 in full color. Fully
This is a system of writing.
It is a thoughtful, provocative, $15.00. corn plete
indexed. Its stepped-up cover-
age of editorial design rounds
philosophical book, not a
how-to and not a histo It *115—Graphic Design Manual
By Armin Hofmann
the coupon
out its coverage of advertise-
ments, annual reports,
Here are 100 beautifully
designed pages with quota-
A methodical approach to below or
design problems taking the
booklets, book jackets and
magazine covers, film and
tions from the past and
present on types and printing
reader beyond the pictorial
idea to a definitive graphic
a copy of it
television, letterheads, etc.
244 pgs. 91/2 x12. $37.50.
in 16 different languages.
English translations and list of
form language. Progresses
from rudiments to complicated
176 pgs. 9 x12. Semi-
concealed Wire-0 Binding. and forward
Glossary. Index. Bibliography.
authors in the back. Selected
and designed by Hermann
processes, providing sound $11.95. it with your
Ed. Walter Herdeg
Zapf, the creator of Optima,
Melior, Palatino and many *133 —Cameraready
By Kenneth Caird
check to
other widely used contem-
porary typefaces. Stimulating A loose-leaf practical guide the address
to the eye and the mind. aimed at production personnel
118 pages. 8 1/2 x 12. on technical publications, below
$75.00. covers language and writing, particularly the in-plant
craft, pictures, function,and operator who puts together
*128—Bauhaus expression. Instead of the limited-edition, specialized
By Hans M. Wingler usual rules and guidelines, documents. Also useful to their
this book helps you develop editors and authors.This is a
This could be the most the insight one needs to make training manual with con-
important, most provocative, siderable technical detail.
sound individual judgments
most useful, stimulating and for each lettering/typographic Covers text composition,
beautiful book in your graphics decision. It puts thinking about illustration processing, print-
letterform into a system and foundation upon which a ing, binding, distribution. Over
thus facilitates analysis personal style can be built. 300 pages and 400 illustra-
whether one is considering 172 pgs. 81/4 x 9y. $12.95. tions including full-size page
Proven techniques for com-
bining legibility of information
with aesthetically satisfying Still available:
solutions. Covers statistical, *101—The 53rd Art Directors Club Annual. $25.00. *110—Letter and Image, by Massin. S20.00.
comparative diagrams such *102—Milton Glaser Graphic Design. 630.00. *113—Top Symbols and Trademarks of the World. 3000 pgs. $135.
as charts, graphs, tables, 9 08-1ype and typography, by Ben Rosen. $18.95. *122—Graphis Record Covers. Ed. Walter Herdeg. $21.50.
flow diagrams, organization
and time charts; diagrams
visualizing functions; tabula- MIN II= MI
tions, timetables, etc.
184 pages. 91/4 x 9 3/8 U&Ic Book Shop
$24.50 . 216 East 45th Street
New York, N.Y. 10017
*127— Illustrators 16 Please enter my order for the books whose numbers are circled below:
Ed. Walter Brooks for the library. It is the word and
picture story of the Bauhaus 101 102 103 104 105 106 107 108 110 111 112 113 114 115
Society of Illustrators
from its roots through its 132 133
118 121 122 123 124 125 126 127 128 129 130 131
founding in 1919to its
influence and meaning today.
Some 200 documents and Enclosed is my check for $ All orders will be shipped postpaid. No COD's. New York
800 illustrations offer the residents add sales tax. Shipments out of the United States, add 5%.
most comprehensive collec-
tion of material about the NAME
Bauhaus school and move-
ment ever published. This
edition is a translation of the
original which was written in
German and includes an
updating of data on the New
Bauhaus and its successor CITY STATE ZIP
institutions in Chicago since Please Print
696 pages. 10 x14. 24 color
plates. Boxed. $75.00. MIN MIN MN EM
This is the ITC bug.
It identifies typefaces developed and offered by
the International Typeface Corporation.

These are the typefaces currently available from ITC.

Aki Lines ITC Bookman Medium Fat. Face Newtext Light Italic
American Typewriter Light ITC Bookman Demi Firenze Newtext Book Italic
American Typewriter Medium ITC Bookman Bold Friz Quadrata Newtext Regular Italic
American Typewriter Bold ITC Bookman Light Italic Friz Quadrata Bold Newtext Demi Italic
American Typewriter Light Condensed ITC Bookman Medium Italic ITC Garamond Book Pioneer
American Typewriter Medium Condensed ITC Bookman Demi Italic ITC Garamond Book Italic Ronda Light
American Typewriter Bold Condensed ITC Bookman Bold Italic ITC Garamond Ultra ^ Ronda
American Typewriter Bold Outline ITC Bookman Contour ITC Garamond Ultra Italic Ronda Bold
Avant Garde Gothic Extra Light ITC Bookman Outline Gorilla Serif Gothic Light
Avant Garde Gothic Book Busorama Light Grizzly Serif Gothic Regular
Avant Garde Gothic Medium Busorama Medium Grouch Serif Gothic Bold
Avant Garde Gothic Demi Busorama Bold Honda Serif Gothic Extra Bold
Avant Garde Gothic Bold Caslon Headline Korinna Roman Serif Gothic Heavy
Avant Garde Gothic Book Condensed LSC Caslon Light No. 223 Korinna Bold Serif Gothic Black
Avant Garde Gothic Medium Condensed LSC Caslon Regular No. 223 Korinna Extra Bold Serif Gothic Bold Outline
Avant Garde Gothic Demi Condensed LSC Caslon Bold No. 223 Korinna Heavy Souvenir Light
Avant Garde Gothic Bold Condensed LSC Caslon Extra Bold No. 223 Korinna Bold Outline Souvenir Medium
Bauhaus Light LSC Caslon Light No. 223 Italic Lubalin Graph Extra Light Souvenir Demi
Bauhaus Medium LSC Caslon Regular No. 223 Italic Lubalin Graph Book Souvenir Bold
Bauhaus Demi LSC Caslon Bold No. 223 Italic Lubalin Graph Medium Souvenir Light Italic
Bauhaus Bold LSC Caslon Extra Bold No. 223 Italic Lubalin Graph Demi Souvenir Medium Italic
Bauhaus Heavy ITC Century Book Roman Lubalin Graph Bold Souvenir Demi Italic
Bauhaus Heavy Outline ITC Century Book Italic LSC Manhattan Souvenir Bold Italic
Bernase Roman ITC Century Ultra Roman L&C Stymie Hairline Souvenir Bold Outline
Bolt Bold ITC Century.Ultra Italic Machine Tiffany Light
LSC Book Regular Roman ITC Cheltenham Book Roman Machine Bold Tiffany Medium
LSC Book Bold Roman ITC Cheltenham Book Italic Milano Roman Tiffany Demi
LSC Book Extra Bold Roman ITC Cheltenham Ultra Roman Neon Tiffany Heavy
LSC Book Regular Italic ITC Cheltenham Ultra Italic Newtext Light Tom's Roman
LSC Book Bold Italic LSC Condensed Newtext Book Uptight Neon
LSC Book Extra Bold Italic LSC Condensed Italic Newtext Regular Uptight Regular
ITC Bookman Light Didi Newtext Demi

Only the following manufacturers of equipment and materials are licensed to market ITC typefaces:

For further information,write or call:

International Typeface Corporation, 216 East 45th Street New York, New York 10017 (212) 371-0699

216 EAST
L N.Y. 10017