Upper & Lower Case: Volume 3—issue 3

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, No41 1 1 2 AaBbCcDdEeFf GgHhliJjKkLI MmNnOoPp JPPER ANDLOWER CASE, THEINTERNATIONAL JOURNAL OFTYPOGRAPHICS Qq Rr SsTt UuVvWwXxYyZz1 234567890&FECESS('£%!?( PUBLISHEDBY INTERNATIONALTYPEFACECORPORATION,VOLUMETHREE, NUMBER THREE,SEPT 1 976 n This Issue: %centennial Book Burning 1 rt and culture in this country have fallen on bad times ia the threatened budget cutbacks, diminishing hours, educed staffs, and even the very closing of public library loors. Jack Finke gives us a capsule rundown on just hat's happening, its vast implications, and something 'ou yourselves can do about it. Simple Solution to the Complex Problems of Jniversal Communications )n July 7 earlier this year, an envelope appeared mysteri- )usly at the offices of U&lc containing a brilliant anony- nous article which we, nonetheless, decided to print. :uriosity aroused, our entire staff was assigned to uncover he identity of the author— all in vain, despite our most unning deductive ploys. ..archer's Fantastic Alphabets can Larcher has done it again. Just when we thought the reation of new alphabets had reached its saturation point, tp pops this multi-talented designer from Paris with 24 tnique new ones, 1 4 of which are reproduced within. ;astronomic Americana 'annie Daddies. Misickquatash. And Hangtown Fry. )ouble talk? Not by a longsight! These are genuine, real- ve, 1 00% McCoy names for a number of regional dishes ompiled from this country's colorful gastronomic heritage ,y Maryellen Spencer, with illustrations by John Alcorn. 4s. Ann Raymo )ur famous featured female in this issue is a uniquely sifted artist, whose designs include a wide array of tapes- ries, quilts, pillows, dolls, and masks. We've been meaning D introduce Ms. Raymo to our readers for some time now, ^ ut we're sure you'll agree she was well worth waiting for. ['he Longest Sentences J&Ic— ever on the look to provide our readership with inusual parcels of information —has come upon a true and antastic fact. After a year long "in-depth" study, our editors liscovered the longest sentences in all literature. klfred's Asterisks Vhat have wit and comedy to do with typography? Photog- apher Alfred Gescheidt provides the pleasurable answer th his multiple-image circular photographs. A tangential , xercise in photographic design at once technically master- ul and delightful to look at. /4/hat's New from ITC? -his time around, the new typfaces are ITC Eras Light, look, Medium, Demi, Bold, and Ultra, plus a Contour Ind Outline —which only licensed ITC Subscribers are Luthorized to reproduce, manufacture, and offer forsale. IBC's in Song 'here is something new under the sun! As may be seen ithin in the marvelous musical alphabet brought to our ittention by the late Sarah Chokla Gross. Created in 1 835, ve are reprinting it in 1 976 for your amusement. Something For/From Everybody rwo regular features return with a fine new assortment of )dds-and-ends trivia and a random sampling of charmingly llustrated letters of (cough-cough) plaudits and praise. Vision '77: Communication Typo/graphics" )n May 1 6 through 1 9 next spring at Rochester, New fork, ITC is sponsoring in cooperation with the Rochester Institute of Technology, a symposium directed o buyers of typography and related professionals. The ;ymposium will review the new technologies in word )rocessing and typesetting with emphasis on exactly vhat they will mean to everyone involved. BICENTENNIAL BOOK BURNING OR HOWTO LEGISIATE 200YEARS OF CULTURE DOWN THE DRAIN "There is no distinction between burn- ing a book and closing a library"— George Meredith "They are the ground, the academes, the sourcesfrom which doth spring Charles Lamb said it—"I counsel thee: the true Prometheanfire" — William shut not thy heart, nor thy library!' Shakespeare Question. What if all the libraries in the country were to close their doors? No idle thought. If the surge of public funding cut- backs keeps up, more and more libraries will be forced "out of business:' leaving Americans without free access to the essential information they have always taken for granted to be theirs. Art, culture, reading, and research have clearly fallen on bad times. For some unfathomable reason, whenever an eco- nomic crisis demands a budget cut, art forms—long considered, illogically, by government people as being "marginal areas':.:`elitist": .:`of no importance eco- nomically to the community"— have always been the first to go. The recent attempt to close down NewYork City's branch libraries is only a sad reflection of what is happening throughout the United States. Under the whip of municipal economy, we are witnessing a general and continu- ing retreat from the optimism and the expansive hopes of previous generations and seeing nothing less than the dis- mantling of a whole structure of services and amenities which was created to make existence more rewarding by offer- ing all corners the riches of knowledge and enjoyment. Why is this so? No institution is more character- istically American than the free public library, holding out as it has the tradi- tional way to personal growth. Writers and artists, scientists and photogra- phers, inventors and professional men— all the people who have made America great —have been unremitting users of the library. And for children, young adults, library doors have opened for them unbounded journeys of discovery and revelations of wonder. Libraries, as the repositories of edu- cation and self-improvement, have long been considered the best deterrent to crime, delinquency, and general moral collapse. When the vast plant that is the New York Public Library first opened its doors in Lafayette Street on February 1 , 1 854, The NewYorkTimes ran a short piece about it that said: "the library will soon become a favorite resort of the people:' And it did. But not soon. In 1 873, the record shows: "the daily average of visitants is eighty-six, one-twentieth of them ladies" In a recent survey, there were days when the number of "visitants" at the main library on Fifth Avenue at Forty-Second Street went past 25,000 — with the figure for the month approach- ing the half million mark. The first librarian, Joseph Green Cogswell, reported: "Readers read excel- lent books, except the small fry who read the trashy Scott, Cooper, and Dickens:' Mr. Cogswell's stacks didn't amount to much by current standards. He had some 80,000 volumes to offer readers. The main library now carries some 5,000,000 works, has a sizable art gallery, a picture collection of 3,000,000 items under 8,000 subject headings, a unique assortment of prints and rare books, and offers a variety of other services including concerts of recorded music. CONTINUEDON PAGETWO U&Ic VOLUME3. NUMBER 3. 1 976 HERBLUBALIN, EDITORIAL & DESIGNDIRECTOR AARONBURNS. EDITORIAL DIRECTOR EDWARDRONDTHALER, EDITORIAL DIRECTOR JACKANSONFINKE, ASSOCIATEEDITOR ANDY DIDORA, TONY DiSPIGNA, LOUISEFILI. JOHNWILLIAMS. FRANKMARCHESE, ANNAMcCUSKER, ALLENMcGINLEY. LOWRY THOMPSON. ALANWOOD. ART & PRODUCTIONEDITORS JOHNPRENTKI. BUSINESS ANDADVERTISING MANAGER EDWARDGOTTSCHALL, EDITORIAL/ADVERTISING COORDINATOR (01 976 ANDPUBLISHEDFOUR TIMES A YEAR INMARCH. JUNE. SEPTEMBER ANDDECEMBER. BY INTERNATIONAL TYPEFACECORPORATION 21 6 EAST 45TH STREET, NEW YORK, N.Y. 1 001 7 AJOINTLY OWNEDSUBSIDIARY OF PHOTOLETTERING. INC. ANDLUBALIN. BURNS &CO. INC. CONTROLLEDCIRCULATIONPOSTAGEPAIDAT NEW YORK, N.Y. ANDAT FARMINGDALE, N.Y. BOARDOFDIRECTORS: EDWARDRONDTHALER, CHAIRMAN AARONBURNS. PRESIDENT HERBLUBALIN. EXECUTIVEVICEPRESIDENT JOHNPRENTKI, VICEPRESIDENT, GENERAL MANAGER BOBFARBER, SENIOR VICEPRESIDENT EDBENGUIAT, VICEPRESIDENT STEPHENKOPEC. VICEPRESIDENT \   U.S. SUBSCRIPTIONTOINDIVIDUALS 56.00; SINGLECOPIES 51 .60 ELSEWHERESUBSCRIPTION. 58.00, SINGLECOPIESS2,50 CONTINUEDFROMPAGEONE / GICC 41 Q 0 6 Q C (4).\ C i tsaitt   C c P-) 8 )   6   (\ 07 1 v   03V,44V Ai   Ci di */   tX434404.Nitn 44. No tifttt", Co + 4 -\   /   N . 9 4 ; i : 9 1 ' dro4 VV. 4 0' 0 OPIab 43.N044 4°*.N.V* IS, C"+41+1A0 "sesos:t.04;340 4045 4. .<\,:eP 00 c ic vvitt" 9//'" c . 'gv e•04.0° eeN sc.4N N sA Acsi loos4b+ <04+9 ++, 0+ <4.1 , . +0 00 A '6, 4iu 40st,,,.. to 4c 4„.0044,1 ‘0,.0, 40   4, I ,tptet.sfr fi,sitti.v ."..' 4 $9   "   04 . p eg o , e , ,.,.. 4 ,,, oi ,,,,,  4 . 0 . ; t 4 A eve. s4 N A A; + *: 4 b t. ," 4 i c * st„  0.0.0.. ,Ge -4,0 ,sw_440 , Mill ++ 0 9„.,,,,   c ir _v i ,,,,0 4 . sss-   .4, il .. A • '   P   , I l a x I 17 , M 11 P, :eV' `'' C'tiftlierE.1 %   .4*   1 4• J r . • N ir‘   ,   ,,,,,,, v • I ,- .  Alb)   dal hi c o g 0 ,   ( K - ) _ J w OV I A•C‘tx*O .. As0- ‘4,0' G 6:4' 404+   a. f • %4b Iv ... %Nava AOk ( A) C6 s .0 Cc 'V C &t) i t , c , ( - - u c i G C 0 E 4. u CP   D ( - 1 1 } 4 . 0% ; # ILLUSTRATIONS BY LOU MYERS BICENTENNIAL BOOK BURNING OR HOWTO LEGISIATE 200YFARS OF CULTURE DOWN THE DRAIN JACKAN SON FIN KE All of this may soon be changed. Libraries are leading a day-to-day exis- tence with the dollar, rarely certain where their next support will come from. And the government is only compounding and frustrating the issue. While the American Library Association fights to maintain the Library Services and Con- struction Act and for an increase in library funding over the inadequate $207 million appropriated last year, Con- Washington, the nation's capital itself, has been ordered to cut back signifi- cantly on all educational fronts, includ- ing the priceless services of the famed congressional library. And continuously spiralling costs have obliged an ever-increasing number of private colleges and universities to sell irreplaceable collections along with prized sections from their library shelves. To list only a few. There are countless other case histories of this kind for just about every state in the union. Ralph Waldo Emerson said it— "Sooner would I lose my life's blood than my books" made to the New York Public Library came from the $5,000,000 put up in 1 901 by Andrew Carnegie. There has been no private donation since to equal it. In brief, there is little money available and constantly mushrooming costs. Jonathan SwVt said it —"Books, like mortals, have but one way of coming into the world, but ten thousand and one ways of going our Detroit and New York provide good examples for the case in point. The former has had to close four branch libraries permanently while shutting down all branches recently for two weeks in order to meet the salary Libraries, of course, have been a staple gress and the White House are locked in of national life ever since the Assyrian   a battle over whether or not libraries are monarch Ashurbanipal assembled his   important enough to merit federal aid! enormous library of cuneiform clay tab-   At the same time, the economy's im- lets in the seventh century BC, and the pact on library patronage has meant a Essenes theirs at Qumran in the Dead   Paradoxical upsurge in library usage. Sea scrolls.   Unemployment, rising subscription Where to place the beginning of Greek costs, and a number of simultaneous libraries depends upon what we are pre- inflationary moves have all contributed pared to accept in the way of circumstan- to this increase. It follows, naturally tial evidence. The best recorded is the   enough, that to cope with the influx of library of the Peripatetic School of Aris- more patrons, libraries need more not totle (the Lyceum) that was the inspira- less in their budgets. tion for the founding of the great library "We call ourselves a rich nation: how at Alexandria, which survived into the much do we spend altogether on our Christian era until it became one of the libraries as compared with what we wonders of the ancient world. This, in spend on horses?"—John Ruskin turn, was the forerunner leading to the   Here are just a few random examples great libraries of Rome and the sub- sequent evolution to Britain and the   of what is happening to libraries western world —an evolution that was to throughout the land: find its way into virtually every civilized   Many institutions are operating at country ranging from such world-re-   half mast due to massive budget cut- nowned monuments as the Vatican   backs. After the NewYork Public Library Libraiy at Rome, the Bibliotheque   was told to cut back eight per cent of its Nationale at Paris, and the Monastery of budget, an attempt was made to close St. John at Patmos to the Herzog August several branch libraries — a situation Bibliothek at Wolfenbuttel, the Bodleian only temporarily averted on the heels of Library at Oxford, and the Library of   a huge public outcry, bolstered by a Congress at Washington.   determined "sit-in" at the Columbia The difference between Samuel John- Branch. son's circle in London and Benjamin   One hundred and forty employees h Franklin's circle in his Library Company have been let go in Brooklyn, with hours of Philadelphia is a measure of the differ- of service reduced by 25 per cent, per ence between the place of books in the   sonnel far below authorized strength, and bookmobiles taken off the road older and the newer culture. Contrast Dr. Johnson's coterie which included the entirely. likes of James Boswell, Joshua Reynolds,   In New Jersey, state funding to Edmund   , Oliver Goldsmith, David libraries has been cut back no less than Garrick, and Edward Gibbon with Frank- 27 per cent — necessitating fewer hours lin's "Junto"— its young unknown mem- of service, curtailment in the purchasing per cent of the GRS funds, they cannot "Libraries are the shrines where all ri  al and eliminat   compete with such daily exigencies of the relics of ancient wisdom are pre- The situation is this:   payrolls. Additionally, Detroit's book- Since 1 970, libraries have found them- buying budget was cut by more than selves on a money merry-go-round.   half, leaving staffs in the untenable posi- Federal funds granted yearly under the tion of being unable to buy even one book aforementioned Library Services and   per branch during this next fiscal year. Construction Act of 1 956 have been   In New York, the main library's staff impounded, rescinded, or vetoed (after has been cut in half over a five-year Congressional passage) by administra- period in order to meet the City's man- tions desperately looking for ways to  datory attrition rate as well as new lay- decrease the burgeoning federal deficit. offs. Because the library has been unable Under LSCA Title I, federal dollars  to replace any staff member who leaves have encouraged states to provide much- voluntarily or who is terminated for needed library service that would other- cause, all the careful reshuffling of wise have been beyond their reach.  schedules which guaranteed at least Specifically, Title I was designed to help limited library service to all communi- the rural populations, urban disadvan- ties served is threatened or in actual taged, bilingual, handicapped, and in- jeopardy. And the proposed new cuts stitutionalized to benefit from library   ($1 30,000 in non-personnel expenses, services otherwise unavailable to them. $393,000 in the overall budget) would Other titles under LSCA have helped require laying off forty or more perma- the nation's academic and research   nent staff members representing the libraries keep their collections apace   staffs of seven or eight branches. Accord- with new developments and curricula; ing to Edwin Holmgren, Director of the with expanded interlibrary cooperation Branch Libraries: "At this moment, we so that more information reaches more have many branches open only three readers; and with the establishment of days a week and many hours shortened. secondary school libraries where none How much more can we be cut and offer before existed.   any meaningful service at all? Believe it Though general revenue sharing was or not, we are constantly facing the ab- thought to be an intrinsic solution to  surdity of towel and toilet paper crises. library funding problems, libraries have As funds run out or are cut this year, discovered to their dismay that they can- we may have to close all the public rest- not compete with more tangible emer- rooms until we have enough money gencies. Receiving as they do barely one again for toilet paper7 bership including a glazier, a surveyor, a joiner, a cobbler, and an assortment of neophyte printers. When members of the Junto found themselves handi- capped in debate by their lack of books, they did not ask a gift from a wealthy patron, but instead "passed the haCas it were, pooling their own small indi- vidual means. Like everything else in the new country, though, the start was slow but the improvement fast. The year was 1 876, and modern librarianship began in America at that time. During that remarkable twelve months, the American Library Association and the Library rn Joual were founded, the first edition of the "Decimal Classification" was pub- lished, and the U.S. Bureau of Education issued its famous report, "Public Librar- ies in the United States of America' Until, today, there is a free library open to the public in virtually every town and city throughout the country. of books and pe ing altogether treasured community services. Mayor Paul Jordan of Jersey City lays it right on the line: "We may become the first major city in the nation with no library system at all:' Cutbacks in Colorado's state grant funds have left its School Media Pro- gram (school libraries) with no funds at all for fiscal 1 976. In Denver, the public library is being forced to close the Rare Books Room, the Conservation Center, and the Special Collections Service— with two bookmobiles dropped and the film center shut down, unless it can pay its own way with a service charge. The report from California's Inland Library System shows a total loss of federal funding for its splendid Ori- flamme Project, which provides (or did provide) a special library service for the aged. Loss of all state per capita library sup- port is threatened in Michigan, as some f ur hundred Michigan librarians stormed Thomas Carlyle said it — "The true  Capitol Hill in an unsuccessful effort to university is a collection of books"   convince legislators to appropriate funds. ID urban and rural life as fire and police served"—Francis Bacon   protection, medical and hospital care, trash disposal and busing, social security  In spite of this financial plight, dupli- and welfare. Library funds now scarcely cated as it is in cities and communities come from federal aid, but must be  nationwide, libraries have paradoxically joined by state, city, and private financ- expanded the range of services offered to-- ing. The largest single contribution ever the public —developing into a cultural and community center— the place to go to find out where the jobs are, to pick up extra education, to register to vote, to get the latest on the wire service, and a host of other services. The range of materials now on loan includes-art works, tools, pet& audio and visual equipment, and garden plots — as well, of course, as books and periodicals. Besides the librarian, the patron will often find income tax experts, urban specialists, physical fitness pros, college course lecturers, and even an occasional little theater group. Academic and re- search libraries are providing the latest materials to scholars, scientists, and researchers, while school libraries are helping youngsters learn by means of 4.I slides, film, and related other media. Besides books, libraries subscribe to newspapers, magazines, professional journals, and a wide assortment of other special periodicals. Libraries house and furnish tapes, films, and microforms among their multimedia services, while many offer such as children's story- telling hours, bookmobiles, family finan- cial planning aid, and senior citizens programs. Samuel Johnson said it—"Books and libraries are each a key to our happiness and knowledge" The single encouraging aspect, also paradoxically, of the libraries' financial plight is that libraries are more cher- ished, more valued, more occupied than ever. All across the country, record num- bers of borrowers and browsers are utiliz- ing their services, budget cutbacks notwithstanding. Book circulation was up as much as 1 0 per cent in 1 975 over the years since 1 970. And in more and more instances, attempts to limit library services or to close branches have been thwarted by vigorous citizen protests, as happened in NewYork's Columbia Branch sit-in mentioned earlier. And not only is the number of bor- rowers increasing, but also (and most significantly), children—who seemed to have dropped out of reading books in the 60s — are back in the libraries and read- ing for pleasure above and beyond the books taken out for school assignments. These two developments stood out in spot checks of libraries in Boston and Atlanta Chicago and St. Louis, San Francisco and Butte (Montana). Principal developments noted by librarians in these diverse areas included: librarian tells it: "Certain books were dead wood until the novel or its author appeared on television. As soon as one or the other is on TV, you've got somebody running in the next day to know a lot more about it:' Finally, virtually every library sur- veyed made the identical report that youngsters are making leaps-and- bounds increased use of the circulating collections and the reading rooms for both recreational reading and social information. Librarians in New York and elsewhere have noticed that many children now prefer books that deal with "real-life" situations. Topics such as family life and urban problems are revealed in large demand. This is not to say that the Nancy Drew books have totally lost their appeal for fhe young, but that requisitions have taken on a new direction. Teenagers readily go for books that deal with the problems they face, such as "Mr. and Mrs. Bo-Bo Jones:' about a very young marriage, or "Go Ask Alice:' which deals with abortion. In poorer neighborhoods particularly, the branch library has a brand new role to play. Nonetheless there are still many, many young and old who cling to fond memories of libraries just as they have always been — of the shelves of books with their promise of hope, wonder, and mystery—and of the dedicated, knowl- edgeable people who dispense them and welcome them back for more. Here, at least, life takes on a clear meaning with manageable proportions. When such a haven adjusts to budget cuts or closes down, it must seem the city, the com- munity, the world has grown less human —as if a permanent shadow had fallen across the country. A good book is the purest essence of the human sour—Matthew Arnold 4 A heavy demand for how-to books, with an emphasis on home appliance re- pairs, automobile mechanics, and specific craft skills; An exceptionally large call for books on preparing job resumes, or those that could help candidates for civil service employment; A surge of requests for books describ- ing the qualifications for jobs in those segments of the labor market that seemto be doing active hiring; A new interest in books on psychology, as people become more concerned with the self; not to mention the occult, mysticism, and psychotherapy. According to librarians in Seattle, these developments are due in large part to the economy. Says head librarian Nancy Wilden: "Our business department has really been taken to task. People are out of work and looking for new fields. Many are knee-deep making out resumes. Others can't afford, say, repairmen—so they are taking out volumes on do-it- yourself plumbing, car repair, and home improvement. While more and more people are getting into recreational read- ing as well, because they have more time:" TV, oddly enough, has further in- creased rather than decreased demand. As Henry Shearouse, Denver's head Where, then, does all this leave us? According to Clara Jones, president- elect of the American Library Associa- tion:"The public must not let its libraries go by default. America leads the world in library organizations. The best-organized libraries are in this country. This is where the record of our civilization is kept, and must continue to be kept, at all cost. There is a federal obligation, shared with the states, the cities, and private citizens, to help provide the people of this country with the essential knowledge and information that makes them better, smarter, more useful citi- zens—wherever they live:' Many writers, artists, politicians, and performers have already demonstrated their concern for libraries by participat- ing in city-wide rallies throughout the nation in a united "save-the-libraries" movement. In NewYork, a cultural corp- mittee has already been formed to place advertisements in newspapers, prepare spot announcements for radio and TV, perform at library "read-ins:' and send delegations to The NewYorkTimes and other media urging support for the struggle. Cultural and theatrical figures are being asked not only to lend their prestige and donate money, but also to volunteer their personal time for lobby- ing and delegations and performing. On The collection appears to befair game all around. Not only are the fed- eral, state, and municipal governments taking pot shots at its rapidly depleted staff and service operations, but even the other branches are getting into the act. It all revolves around the old saw: if something's got to go because of budget cutbacks, why not the Picture Collection? After all, we branches serve our own vital community interests, who caresfor godsakes about the old Picture Collection? Okay let's have a look at the collection and see who cares about it besides the artists and writers, scenic and commercial designers, stu- dents and teachers, architects and medical researchers, photogra- phers and illustrators, and you could go on naming them all night. Let's have a look at the collection—the closing of which, according to no less a graphic arts light than Milton Glaser, "would be more cata- strophic than the loss of a major museum." The Picture Collection happens to be the largest assemblage of its kind in the world. Universal in scope, the collection covers all eras and areas of the earth—and beyond. It is particularly strong in the subjects of costume, design, geography, and history. Arranged under the 8 ,000 principal subject indexes, the 3,000,000 pic- tures available rangefrom alchemy to birds, from hairdressing to the Russo-Japanese war, from the tall ships to the infant nation of Zaire. Though used extensively by students, by far the bulk of those who uti- lize this invaluable resource are professionals in thefields of art, textile and fashion design, television, theater, advertising, book publishing, cartooning, painting, illustration, and motion picture research. Before his untimely death, U8 z.lc's Jerome Snyder ( an incessant user) worked tirelessly on behalf of the "Committee for the Picture Collection," re- cently formed in an all-out effort to save it. There is one special thing about the collection that is absolutely unique. The people who use it and the way they use it. Borrowers in Room 73 ( the collection room) have taken on a charming, delightful, marvelously inventive way of putting in for their requests. If it's Shakespeare they're after, they artfully put down an illustration of the bard; if it's Tbulouse-Lautrec, they sketch out a nifty image of the famous artist; lithe request isfor an axolotl — well, naturally they draw an axolotl Or, if it's any of the thousand and one similar requests, they provide like illustrations — a random sampling of which are reproduced here for your personal look-see. We think that many of the illustrations, sketched out in haste as they were, are probably more charming and imaginative and endearing than the pictures they called for, and we hope you get as much enjoy- mentfrom them as we have. It's an interesting final note that the Picture Collection attendants are no slouches themselves when it comes to imaginative thinking. Re- markably enough, very few of the illustrations turned in have ever stumped them — they being amazingly on target in coming up withjust the right picture ( whether said illustrations were captioned or not) . What a shortsighted incredible loss it would be to the supposed "cul- tural capital of the Western world" if the contemplated cutbacks go through, if the hours-open are further diminished, if the staff services are further minimized—in short, if this absolutely unique Picture Col- lection should ever actually be closed down. J.A.F. Alexander King said it— "Venerate art as art: I could not live without the public library" To win the fight—in NewYork and elsewhere —an overall unified library movement must continue to be built, direct action must be spread, lobbying efforts must be stepped up. This can be done only if we — all of us — support and develop responsible and imaginative city and national leadership that will put an end to the unsupportable and immoral closing of public libraries, an end to unbridled budget cutbacks, an end to the consuming shrinkage of hours —an end to the modern equivalent of book burning: 1 976. U&lc depends on the Public Library as a prime source of information. The money you save on yourfree subscrip- tion to U8 dc could be used to the best advantage by contributing a sizeable donation to your local library. It will help to keep them in business, you in business, and U&lc in business. THISARTICLEWASSETIN ITCBOOKMAN The Picture CoUectionof the New York Public Library is a good case in pointfor what exactly is happening in one local, albeit important, area. New York's WOR radio station, recently, a ten-hour program in support of the libraries, "New York: A Portrait in Sound:" was presented with the willing coopera- tion of just about every major theater and film personality available from Tony Randall and Eli Wallach to Myrna Loy and Orson Welles. PICTURE List each subject: REQUEST 5 PICTURE PICTURE List each subject: REQUEST ' 4 1 6 8 wine! n i n o r e g f i r • A i r 1 4N ,41 1 1 t - 4" = ,01 1 1 1 1 1 $ 41 _ 1 01 1 1 4. /W. PHOTOGRAPH BY SIMON CHERPITEL 9 A SIMPLE SOLUTION TO THE COMPLEX PROBLEMS OF UNIVERSAL COMMUNICATIONS (OR) HOW TO CREATE AN EFFECTIVE WORLDWIDE DIALOG AND THUS REMOVE THE BARRIERS OF MISUNDERSTANDING THAT LEAD TO DIVISIVENESS, CHAUVINISM, AND BIGOTRY, AND HELP SELL MORE GOODS AND SERVICES (OR)THERE IS MORE THAN ONE WAY TO SLICE THE BALONEY. The Rotten Division will occupy the cellar. Simply because one can't go any lower. One must establish a bargain-basement atmosphere here. Prices are as low in the RGD as they are high in the SGD. Considerably less genius, how- ever, is required. All in all, this can be your most successful enterprise — with growth po- tential limited only by one's ability to hire rot- ten personnel. There is no compromise with compromise in this division either. Putting the Mediocre between the Sensa- tional and the Rotten is not so much a decision based on any philosophical conviction, but merely a recognition that there is no place else to put it. The heart and soul...the guiding phi- losophy of everyone connected with it... ...the cornerstone of this division is compromise. Actually, in order to achieve such a high de- gree of rotten, one finds he has to depend a good deal on the judgment of the client. Work in this division will never be rejected since it will es- sentially be created and approved by the client. MEDIOCRE DIVISION The Chief Officer of Mediocre should come from the mushrooming ranks of ex large-ad- agency executives. Initially a market-research man, then account exec, account supervisor and, finally, head of a creative plans board, his ability to compromise coupled with his inability to make decisions are qualities intrinsic to the successful operation of this division. The work of MGDwill be very flexible. You will soon discover that you really can't turn out a high degree of mediocrity unless you are (flex- ible ). Because of this, you will find that a lot of the work initiated in Mediocre eventually will have a way of filtering down into Rotten. Never does a Mediocre job, however, find its way into Sensational. If it did, it would become unbillable. So much for the separation of divisions. Let us conclude by telling of an incident that occurred not too long ago that establishes the efficacy of this concept. Adesign company,which shall remain name- less, employed this system on a rather substan- tial assignment from one of America's largest and rottenest clients. In order to give the client the assurance he needed that his advertising would be (as is said) "on target:' this company spent months on preliminary research work. They did Demographic Surveys. They collected data on the Buying Habits of the American Con- sumer. Color-tested with Eye Cameras. Scanned Opinion Polls. Made analyses of Voting Patterns state-by-state. Did House-to-House "In-depth" Interviews in 1 2 market areas. 5 Double-Blind Studies. Long-range Weather Analysis to deter- mine the best week to launch the campaign. 30 employees, cleverly disguised as grocery clerks , tabulated Competitive Sales Figures in the super- market. An Infra-red Study was conducted of Aislellsffic Flow and correlated with Ethnic Group Reactions to serif and sans-serif type faces. They even (with written permission) implanted electrodes into the brains of 5 Volun- teer Consumers andtabulatedtheir Alpha Wave Reactions to various visual, tactile, and aural stimuli. All this superb data was fed into computers, and the findings and figures were carefully BY A. NONYMOUS Although we all recognize our obligation as communicators to communicate with great mass- es of people we, as communicators, remain non-communicative when communicating with other communicators — thereby diminishing the effectiveness of our communication with these great masses to whom we are obliged to communicate...with. There is, however, no single font of wisdom that has universal appeal. Words that are mean- ingful to some are meaningless or misinterpret- ed by others. And vice versa. Linguists and educators who have dealt with this problem admit that they are severely handi- capped when dealing with persons of limited vocabulary, and tend to establish a correlation between the individual's linguistic stock and his supply of ideas.Th ease their own dismay at their findings,they set up courses in what they call "communications arts" and "semantics!' Few of them, however, recognize that this is merely beating about the bush and serves only to leave the recipients more confused than ever. It is quite possible that this is a phase of that mental attitude that no less a philologist than George Bernard Shaw gleefully labeled "Anglo- centricism:' the ramifications of which extend far beyond the boundaries of communication, and whose manifestations include such pecu- liar expressions as `limes Square, Crossroads of the World:' "Boston, Hub of the Universe' "World Series!' or "Nine out of every ten people do something or other,"with the implication that the situation is worldwide when actually it per- tains to this country alone. This spirit is characteristic in communica- tions. There are persons who have a gift for what Frank Sullivan called the wolf sentence in sheep's clothing. It is not double talk, exactly. It sounds innocent enough until you begin to think it over to find out what it means. Then it is apt to drive you bananas A classic example is attributed to a woman who was asked if she smoked after intercourse, and replied, "I don't know, I never looked!' Or take the case of the immigrant who wished to become an American citizen. When asked by an immigration official if he advocated over- throwing the American government by force, violence, or subversion, he thought feverishly for a few seconds, suddenly brightened, and said, "I think subversion!' Someone once said, "You can talk to some of the people some of the time, some of the people all of the time,all of the people some of the time, all of the people none of the time, and none of the people all of the time, but never all of the people all of the time:' Although these words have a familiar ring and obviously hold great significance, we have pondered at great length the essence of this message to arrive at the following conclusion: In order to satisfy the broad spectrum of American taste and understanding, and appeal to every socio-economic level on its own plateau, it is imperative to create a multi-tiered, triple threat creative design source that can be the first in the field to talk to all of the people all of the time. The idea ,however brillia,nt, is a simple one — one that may well become the prototype, the vade mecum,for all communicative procedures — eventually making obsolete such previously useful technological advances as computers, radio, television, satellites, ESP, and what not. How would it work? Well, the basic concept is to create three distinct design organizations under one roof. Each with its own unique per- sonality and taste level; each with a life of its own; each with a staff of its own, and a per- sonal point of view related to its function within the total concept. You're probably already ahead of me in real- izing that every division would have its own in- dividual identity (logotype and/or trademark) uniquely suited to its overall philosophy and personality, with divisions identified as follows: SOD/PROD/ROD That is to say: Sensational Graphic Design Di- vision; Mediocre Graphic Design Division; Rot- ten Graphic Design Division. This concept is so fundamental that you're probably wondering why it wasn't thought of before. Good question. In truth,the embryo for such a concept is al- ready deeply embedded in many of our most suc- cessful advertising agencies and design studios, but has never been formal ized like this into such a definitive, or so aptly articulated, structure. Modesty prevents full elaboration, but the possibilities are endless. In one fell swoop, one can monopolize the entire communications out- put of the world (sic)! 'lb achieve this attractive goal, it is first necessary to acquire a duplex with a basement in a high tax, low rent district of New York City, mecca of graphic communications and kosher delicatessens — both an integral part of this article ( see title ). The Sensational Division will occupy the top floor where designers of sensational bent may breathe in deep amounts of the rarefied atmo- sphere found only at this level in New York Only there can they reach the euphoric heights required to satisfy the creative demands of those rarefied clients who operate at this level, and thereby justify the astronomical prices charged for these services. Which is, alas, the price of genius. The product of this division cannot be compromised. SENSATIONAL DIVISION This division will have no presiding officer, no President. No one in his right mind would accept the responsibility of running it with its earth-shaking implications, its constant state of creative affluence, and financial bankruptcy. In-depth research studies show that at least 60% of the work produced in the Sensational Division will be rejected outright or shelved for "future consideration' Another 20% will be bought by esthetically inclined clients who are willing to temper profits with creativity, most of whom will eventually become defunct. Remaining percentages will be divided as follows: 1 0% to be created for relatives, friends, philanthropic organizations, and hangers-on (this work will be done for nothing, enjoying analyzed. automatic acceptance); 5% goes toward self- The design company then drew up a Grand promotion and is subject only to one's own Plan and bolstered the findings with simple, approval; the final 5 will be work done for easy-to-read visual aids. unique clients. They will buy the work, pay for   The entire year's work was then presented it, and bask in a modicum of success.   to the client who was more than impressed, he ROTTEN DIVISION  was ecstatic. The President of RGDwill be chosen because   Then, some wiseacre asked, "Where are the his abilities are uniquely suited to the style of ads?" this division. He is either a former plumber, cis-   At this point, everyone involved suddenly tern inspector, or Roto-Rooter representative — realized that in their enthusiasm for statistics being particularly conversant with all forms of they had neglected to indulge in the creative pollution and with an unparalleled history of activity necessary to back up all that prelim- watching things go down the drain. inary research study. The creative output of Rotten will be uncom-   Undismayed,the client took a double-spread promising,remaining uniformly rotten.All work in the Wall Street Journal and published the will automatically be found acceptable by the findings. client, with occasional minor changes that will,   All of which goes to prove that if you want to however, only serve the best interest of the know how much a dollar is still worth, try to division. That is, to make the rotten work rot- borrow one from a friend. toner. Some of you may wonder, How rotten can   For additional copies of this article and more you get? And one can only say, There is no limit information on this startling communications when your motto is "it stinks!"   concept, just write to the author. THIS ARTICLE WAS SET IN ITC KABEL AND ITC AMERICAN TYPEWRITER COND ENSED 1 00 toj 1 .0 UO tux It 4,4 1 44 Nk 1 0 "Another alphabet, who neec sanother alpha petr How often hav eyou hear c thatwell- wor n expr ession? It' shar c to believ ethatanyonec an ac c ,substantiv ely, to thev olu- minousleffer for msthatboggleour minc sanc v isual senses. But, Jean Lar c her hasc oneitagai n.Thisto entec c esigner fr omPar is, who c ontr ioutec so heav ily to the ec itor ial exc itementof our September ' 75 issuewith his playful inter pr etationsof thenumer als, 75, hasc omeu with 2 4 exc itinganc unic uenew alphaoets. Pic tur ec her ear e1 4 of them. Ev er y- hingfr omr iobonsanc zipper s to c heese, pentpenc ils,flower s, oubbles, r ingsand gr ass (thekinc you pleasec an' twalk on). Thesealphabetswill oepublishec in a paper bac k edition entitlec "Fantastic Alphaoets" (anc that' sno exagger ation), in Nov emoer , oy Dov er Public ations, Inc ., in New Yor k. Keep thispage asa r eminder thatyour - y000hilefr ienc swoulc r elish this 000k asa Chr istmasgiftLook into it. You will nev er c ease to oeamazec atLar c her ' spr olific i, hisc r eativ i - y, anc histec hnic al wizar c r y. Who needsanother alphaoet? Wec o. Keep themc omingwher ev er you ar e. 0 1 1 t FANNIE DADDIES Fannie Daddies are Cape Cod fried clams, with a name open to specula- tion and imagination. A possibly far- fetched etymological explanation is that one meaning of "fanny" is "small, neat!' Clams are small, until coated with puffy batter and fried. 4 eggs, separated 1cup milk 2 tablespoons salad oil 2 cups unsifted all-purpose flour 1teaspoon salt 2 tablespoons lemon Juice 1quart clams Oil or shortening for deep frying Beat egg yolks until thick; beat in milk, oil, flour, salt and lemon juice. Beat egg whites until stiff; fold in. Add drained clams; mix well Chill 2 to 4 hours. Heat oil in deep saucepan or deep fryer to 375° F. Add clams, several at a time, and fry about 3 minutes, until clams are golden and rise to top of fat. Remove with slotted spoon, drain well on paper towels, and serve with tartar sauce. Makes 6 servings. 12 COMPILED BY MARYELLEN SPENCER ILLUSTRATED BY JOHN ALCORN ANADAMA BREAD Once upon a time there was a fisher- man in'Gloucester, Massachusetts, with a lazy wife named Anna. Anna often refused to cook and left him to shift for himself in the kitchen, with nothing but cornmeal mush awaiting his return. One day he just couldn't stand it any longer. Sputtering with rage as he prepared his lonely supper, he added yeast, molasses and flour to the ubiquitous mush, stirred up the mixture and baked it into bread, all the while muttering, "Anna, damn her!" Anna's obstinacy and her husband's anger brought about the invention of an unusual and delicious bread, coarse and crumbly because of the cornmeal and rich in flavor because of the mo- lasses. The bread is better warm than cold, and is especially good toasted and served with apple butter or peach jam. 1/2 cup yellow cornmeal 3 tablespoons butter or margarine 1/4 cup unsulphured molasses 2 teaspoons salt 3/4 cup boiling water 1package active dry yeast 1/4 cup warmwater 1egg 2-2/3 cups unsifted all-purpose flour 1tablespoon cornmeal mixed with 1/4 teaspoon salt Measure cornmeal, butter, molasses and salt into large bowl. Add boiling water and let stand until lukewarm; mix well. Sprinkle yeast into 1 /4 cup warm water in small cup. Let stand a few minutes, then stir to dissolve. Add dissolved yeast, egg and 1 -1 /3 cups flour to cornmeal mixture; beat until smooth. Gradually beat in remaining 1 -1 /3 cups flour to make a smooth dough. Cover bowl with waxed paper and a towel, and let rise in a warm place until double. Beat down. Rum dough into a well-greased 9 x 5 x 3-inch loaf pan, cover, and let rise in warm place until dough reaches top of pan, 2 to 2-1 /2 hours. Sprinkle top with cornmeal-salt mixture. Bake in 375 ° F. oven 35 minutes, until well browned. Turn out of pan and serve warm or toasted. Makes 1 loaf. SHOOFLY PIE Shoofly Pie is a Pennsylvania Dutch breakfast cake baked in a pastry shell. Some imaginative etymologists suggest that "Shoofly" is a corruption of chon- flew, or French for cauliflower, and that the pie is so named because the crumb topping resembles the bumpy vegetable. More whimsical students of folk culture say that "Shoo fly" is obvi- ously what you say when flies are attracted by the pie's characteristic ingredient, molasses. The second explanation seems more logical to us. There are two distinct types of Shoo- fly Pies, the wet-bottom pie and the dry-bottom pie. The two pies are made of the same ingredients, but they are put together differently. Here is a recipe for our favorite, the dry-bottom version. 1-1/3 cups unsifted all-purpose flour 1/2 cup sugar 1/4 teaspoon salt ONOMIC ERICANA In America's gastronomic heritage there are a number of dishes with amus- ing or astounding names. Hush Puppies. Shoofly Pie. Hoppin' John. Snicker- doodles. Those names did not come froman especially zany brainstormsession or fromCreative down the hall. Instead, they came out of folklore, social history and etymology, with very real and colorful origins. Some, like Anadama Bread and Joe Froggers, have once-upon-a-time stories that may be apocryphal but which defy debunking — how else could they get such names? Others, like Haymaker's Switchel and Hush Puppies, are part of social history. Succotash and Gumbo have straightforward etymological der- ivations. Chess Pie is quite simply the result of poor spelling, while Red Flannel Hash, Slumps and Grunts came of wit and whimsey, always precious American commodities. It is perhaps a sad commentary that very few of these recipes are standard fare today. Maybe in the same way that we think a comedienne can't be beauti- ful, we believe a dish with an outlandish name can't taste good. Not so. These taste even better than good. Start out with Hush Puppies teamed with Burgoo or Gumbo. Try Hoppin' John with sautéed chicken livers and steamed kale. Be sure to have toasted Anadama Bread with apple butter for breakfast. And don't forget to savor the rich and witty heritage. That's part of the fun. ZOE FROGGE S Joe Froggers are enormous soft molasses cookies that are supposed to have been a great favorite of the resi- dents of Marblehead, Massachusetts. The popular story has it that they were made by Uncle Joe, an elderly black man who lived by a frog pond. Local fishermen traded rum for the cookies and called them Joe Froggers supposedly because they were dark and fat like the frogs in the pond. Or maybe it was because they looked like lily pads. Uncle Joe maintained that it was rum and sea water that kept his cookies soft, and he refused to tell how he made them. After his death, how- ever, a woman named Mammy Cressy claimed to be his daughter and gave away the secret recipe. 3/4 cup shortening 1cup sugar 1cup unsulphured molasses 4-1/2 cups sifted all-purpose flour 1/2 teaspoon cinnamon 1/4 teaspoon ginger 1/4 teaspoon nutmeg 1/4 cup butter or margarine 1/2 cup unsulphured molasses 1/2 teaspoon baking soda 3/4 cup boiling water 1unbaked 8-inch pastry shell with high rim In medium bowl mix flour, sugar, salt, cinnamon, ginger and nutmeg. Cut in butter until mixture resembles coarse meal. In large bowl mix molasses and baking soda; quickly stir in boiling water. Stir in 1 -1 /2 cups of the crumb mixture. 'Awn into unbaked pastry shell Sprinkle remaining crumb mix- ture evenly over top. Bake in 375 ° F. oven 35 to 40 minutes, until the crust is lightly browned. Makes 6 to 8 servings. HOPPIN'J OHN 3 teaspoons baking powder 1teaspoon salt 1teaspoon baking soda 2 teaspoons ginger 2/3 cup water 1/4 cup rum In large bowl cream shortening and sugar. Blend in molasses. Sift together flour, baking powder, salt, baking soda and ginger. Blend into molasses mixture alternately with water and rum. Chill in refrigerator at least 1 hour. Roll out 1 /4 inch thick on lightly floured surface. Cut with 4-inch or larger round cookie cutter. Place on greased baking sheets. Bake in 350 ° F. oven 1 5 minutes or until lightly browned. Makes about 2 dozen 4-inch cookies. SNICKERDOODLES Snickerdoodles are cake-like raisin and nut drop cookies whose name means "snail noodles!' They are of Pennsylvania Dutch origin, but old regional cookbooks show them far- flung, with such names as Schnecken Noodles or Schneckenoodles, and Snip- doodles. Schnecke is German for "snail;' and "doodle" is slang for "noodle!' The cookies can indeed, with a lot of imagination, be seen as snail shaped. 13 1/2 cup soft butter 3/4 cup sugar 1egg 1teaspoon vanilla 1-1/2 cups unsifted all-purpose flour 1/2 teaspoon baking soda 1/4 teaspoon salt 1/4 cup milk 1/2 cup chopped raisins 1/2 cup chopped walnuts 1-1/2 teaspoons sugar mixed with 1/2 teaspoon cinnamon In large bowl cream butter and sugar. Beat in egg and vanilla Mix together flour, baking soda and salt; blend into creamed mixture alternately with milk. Stir in raisins and walnuts. Drop by rounded teaspoons onto greased bak- ing sheet. Sprinkle lightly with mix- ture of cinnamon and sugar. Bake in 350° F. oven 1 2 to 1 4 minutes, until lightly browned around edges. Remove from baking sheet and cool on wire rack. These cookies do not keep well and are best eaten the day they are made. Makes about 4 dozen. Hoppin' John is a combination of black-eyed peas and rice, a traditional Southern dish that is said to bring good luck when served on New Year's Day. Sometimes a dime is hidden in the dish, and its finder is to enjoy special good fortune as long as he doesn't swallow his lucky dime with the beans. Some folks think the name "Hoppin' John" comes from the custom of hav- ing children hop around the table once before the dish is served, but we prefer the explanation that the name honors a very lively waiter in Charleston, South Carolina. 1/4 pound bacon (5 or 6 slices), cut into 1/2-inch pieces 3/4 cup chopped onion 1package (10 ounces) frozen black-eyed peas 2 cups water 1/2 teaspoon salt 1/4 teaspoon 'Eabasco pepper sauce 1/2 cup uncooked long-grain rice (not converted) 1teaspoon vinegar In large saucepan, cook bacon until lightly browned. Remove with slotted spoon and reserve. Add onion to bacon fat in pan; cook until tender. Add black-eyed peas, water, salt and Tabasco. Bring to a boil, cover and cook over medium heat for 1 5 minutes. Stir in rice, cover and cook over low heat 1 0 to 1 5 minutes, just until rice is tender. Stir in vinegar and reserved crisp bacon. Makes 4 to 6 servings. CHESS PIE In The Compleat Housewife of 1 727 was a recipe titled "To Make Cheese- cake Without Curd!' There are many old recipes for rich, sweet butter- custard pies and tarts that are quite believably cheeseless cheese desserts. Spelling wasn't very good in the colo- nies, and an early cook apparently recorded Cheese Pie as Chess Pie. No one ever corrected the error and thus cheeseless pie was perpetuated as Chess Pie. Chess Pie in the South was generally the butter-custard type, usually fla- vored with lemon and having a jelly-like BURGOO Burgoo is a thick vegetable, beef and chicken stew that is traditionally cooked in large quantities and asso- ciated with Kentucky and outdoor feasts. Burgoo was originally an oatmeal porridge, or oatmeal stew, served to seamen. Of all people, the rhyme-prone Australians took to using the word for stew (stoo). Burgoo as we know it — a hearty mess of chicken, beef, and squir- rel or other game, plus an astounding quantity and variety of vegetables — was made during the Civil War by Gus Jaubert for the troops of Confederate General John Hunt Morgan, using whatever the foraging cavalrymen brought into camp. It was, of course, cooked outdoors, in huge iron pots. And incidentally, there is a perhaps coin- cidental but striking similarity between the sounds of "burgoo" and "barbecue!" Here is a recipe with beef and chicken, but no squirrel. 15-pound stewing chicken 3 pounds beef shin (meat and bones) 3 quarts water 1tablespoon salt 1/2 teaspoon pepper 2 cups chopped onions 1clove garlic, minced 2 large potatoes, pared and cubed 2 cups corn cut fromcob 2 cups sliced pared carrots 1green pepper, chopped 2 cups lima beans 2 cups sliced okra 2 cups chopped celery with leaves 1can (1pound, 13 ounces) tomatoes, chopped 1teaspoon dried leaf thyme 1/2 cup chopped parsley Place chicken and beef in large kettle. Add water, salt and pepper. Bring to a boil, reduce heat, cover and simmer 2 hours, until chicken and beef are very tender. During cooking, skim off scum as it rises to surface. Remove chicken and beef from broth when tender. Skim off fat and add remaining ingredients except parsley to broth. Bring to a boil, reduce heat and simmer partially cov- ered for 1 hour. Discard chicken and beef bones and chicken skin Cut meat into bite-size pieces and add to vege- tables. Simmer 20 to 30 minutes. Taste for seasoning. Add parsley and serve with cornbread or hush puppies. Makes 8 servings. RED FLANNEL HASH Red Flannel Hash is made from the leftovers of New England Boiled Dinner — corned beef, potatoes and beets — transformed into a very flavor- ful dish colored red by the beets. The color is suggestive of the red hue of flannel shirts and winter underwear, as traditional as boiled dinner in New England. 1/4 pound salt pork, diced 1mediumonion, chopped 3 cups chopped cooked potatoes 1-1/2 cups chopped cooked corned beef 1-1/2 cups chopped cooked beets Salt and pepper to taste 1/4 cup cream In a large heavy skillet, cook salt pork over moderate heat until lightly browned and crisp; remove with slotted spoon and reserve. Add onion to fat in skillet, cook until tender and remove to bowl. Add potatoes, corned beef, beets, salt, pepper and cream to onion in bowl; mix well. There should be some fat remaining in skillet. Heat over moderately high heat and add hash mixture, pressing and spreading evenly in skillet. Reduce heat to mod- erately low and cook slowly until browned and crusty on bottom. Invert onto heated platter and sprinkle with reserved crisp salt pork. Serve with applesauce, or with a sauce of 2 table- spoons drained prepared horseradish mixed with 1 /2 cup whipped cream. Makes 4 servings. consistency. A close relative of Pecan Pie with a raisin and walnut filling is also called Chess Pie, but it is more properly Jefferson Davis Pie. 1/2 cup soft butter 1cup sugar 3 large eggs Grated rind and juice of 2 lemons 1unbaked 8-inch pastry shell, chilled In large bowl cream butter and sugar. Beat in eggs, one at a time. Stir in lemon rind and juice. Ron into chilled unbaked pastry shell. Bake in 400° F. oven 1 0 minutes. Reduce temperature to 325 ° F. and bake 1 5 minutes longer, until fill- ing is set but not firm. Serve warm or at room temperature. Makes 8 servings. 14 Chitlins are chitterlings, or the intes- tines of young pigs. Preparation of chitlins is long and rather tedious, but worth the effort to devotees of Soul Food. The intestines are turned inside out and cleaned at the time of butcher- ing. They have to be soaked 24 hours in cold salted water, washed several times, removed of fat, and cut into 2-inch pieces. They can be served boiled, or boiled and then fried. Boiled Chitlins. 10 pounds soaked, cleaned, washed and cut-up chitterlings 3 cups water 2 cups chopped onions 1cup chopped celery 1green pepper, chopped 1teaspoon salt 1/2 teaspoon Tabasco pepper sauce Combine all ingredients in kettle. Bring to a boil, reduce heat and simmer, covered, for 2-1 /2 to 3 hours, until tender. Serve sprinkled with vinegar and accompanied by boiled greens and cornbread. Makes 8 to 1 2 servings. Fried Chitlins: Dust well-drained, boiled chitterlings with flour. Dip in beaten egg, then coat with cracker meal. Fry in deep or shal- low hot fat until golden brown. HUSH PUPPIES Hunting parties were very much the thing in the Old South, and they gen- erally included outdoor fish fries. The dogs were always hungry, and would whine around the cooking area. So the harried but kindly cooks simply dropped spoonfuls of cornbread dough into the hot fat and then tossed the fried tidbits to the barking dogs with the expression, "Hush, puppies!" In addition to the cornmeal fritters named Hush Puppies, the South had quite a repertoire of cornmeal breads with remarkable names. Corn pones, with a name derived from the Indian appone which meant "corn cake,' were what amounted to baked lumps of cornmeal mush. Ashcakes were the same mixture baked right in the ashes of a fire, and hoecakes were thinner cakes baked on a hoe. Corn Dodgers were sticks so heavy they had to be dodged if thrown, and Scratch Backs were pones so rough they could liter- ally scratch your mouth. Cornbread baked in a skillet called a spider was called Spidercake, and Spoonbread in its most elegant form was a souffle-like cornmeal pudding. Oil for deep frying 1-1/2 cups white cornmeal 1/2 cup unsifted all-purpose flour 3 teaspoons baking powder 1teaspoon salt 2 eggs 3/4 cup milk 1/2 small onion, grated Begin heating 2 to 3 incnes of oil in a heavy saucepan or deep fryer to 375 ° F. Measure cornmeal, flour, baking powder and salt into a large bowl; mix well. Beat together eggs, milk and grated onion; add to cornmeal mixture and stir until evenly moistened. Drop batter into hot oil by heaping table- spoons, 6 or 7 at a time. Fry until golden brown, turning once, 2 to 3 minutes. Remove with slotted spoon, drain well on paper towels and keep warm in very low oven while frying remaining batter. Makes about 24 hush puppies. SUCCOTASH Succotash is a truly American dish introduced to early New England colonists by Indians and free from any Old World influence. The name comes from the Narraganset word inisickqua- tash, which means corn boiled whole, or "maize not crushed or ground!' Early Puritan writers spelled it Sukquattah- hash, and there is even a record of Circuit Hash. An ex-slave who could not write dictated her recipe to a friend who had apparently heard of circuit riders but not of Succotash, and there- fore wrote "Circuit Hash!' In the summer Succotash was first a simple dish of boiled fresh beans and corn; in winter it was made with dried beans and dried corn. The colonists soon added fowl and corned brisket, plus turnips and potatoes, to make the hearty Plymouth Succotash traditional for Founders Day on December 21 . The vegetables-only version is better known, however, and frequently in- cludes tomatoes outside of New En- gland Here is a recipe for the simpler New England vegetable dish flavored with a little salt pork. 2 ounces salt pork, diced 2 cups cooked lima beans 2 cups cooked corn 1/2 cup water 1teaspoon salt 1teaspoon sugar 1/8 teaspoon pepper 1/4 cup light cream Brown salt pork in saucepan and re- move. Pour off most of fat. Add remain- ing ingredients except cream to saucepan and cook uncovered over low heat, stirring frequently, for 1 5 min- utes or until water is absorbed. Stir in cream and salt pork; heat but do not boil. Makes 6 servings. SCRAPPLE Scrapple is a fried pork and cornmeal mush first made by the Pennsylvania Dutch as a thrifty and resourceful way to use scraps of pork at butchering time — hence the name "scrapple!' The Germans used buckwheat to make scrapple, the early Pennsylvania Dutch used a combination of buckwheat and cornmeal, and finally cornmeal came to be the usual grain. Often known as Philadelphia Scrapple and called pawnhaas by the Pennsylvania Dutch, the dish is also common in the South. 1cleaned hog's head 1hog's liver Water 1-1/4 cups yellow cornmeal 2 teaspoons salt 1/2 teaspoon pepper 1/2 teaspoon crumbled dried leaf sage Cook head and liver in boiling water to cover 4 or 5 hours, until tender. Remove meat from bones. Finely chop enough meat and liver to make 2 cups. Bring 6 cups broth to a boil in large saucepan. Slowly sprinkle cornmeal into broth and cook, stirring con- stantly, until thickened. Add chopped meat, salt, pepper and sage. Mix well. Thrn into 9 x 5 x 3-inch loaf pan: Cover and chill. Unmold and cut into 1 /2-inch slices. Fry in hot bacon fat or butter until well browned on both sides. Makes 8 to 1 2 servings. JONNY CAKES Jonnycakes are thin cornmeal pan- cakes not unrelated to tortillas. Crisp on the outside and soft on the inside, they are made by either frying or bak- ing a simple cornmeal batter that has neither eggs nor leavening. Jonny- cakes are most frequently identified with Rhode Island, and in that locale never have an H. Outside Rhode Island they are usually Johnnycakes. There are two stories about the origin of the name. One is that 'jonny- cakes" evolved from "journeycakes:' so called because they were packed in saddlebags for durable sustenance on long trips. The other story is that "jonnycakes" is a corruption of "Shawnee-cakes:' named after the Indians who introduced them to trappers. 1cup boiling water 1cup white cornmeal 1teaspoon salt 1/3 to 1/2 cup milk Pour boiling water over cornmeal and salt in large bowl; mix well and let stand 1 0 minutes. Beat in enough milk to make a batter stiff enough to just barely hold its shape in a spoon. Drop by heaping tablespoons onto lightly greased griddle or skillet. Bake over moderately low heat until golden brown on both sides, turning once. Serve with butter, or with butter and maple syrup or molasses. Makes about 1 2. GUMBO Gumbo is a Creole soup that has devel- oped into almost an occult science, so varied have the recipes and rich the lore become. Some people think Gumbo is what happened when the trans- planted French tried to make bouilla- baisse in Louisiana with available seafood. Thday the two diuhes have little in common, except for controversy over the best way to prepare them. "Gumbo" is from the African Bantu word gombo, or okra, the vegetable used to thicken and flavor the soup. When fresh okra is unavailable, or as an alternate thickener, file powder is used. File powder was first made from dried sassafras leaves by the Choctaw Indians, who called sassafras kombo. File has a flavor similar to thyme and must be added to gumbo at the very end of cooking or it gets stringy. Okra HIITLINS 1 5 Liquid nourishment was important during haying season, when farmers worked so hard they didn't even go home for lunch, but had a noon picnic in the fields. Switchel was a good thirst- quencher, and kept fairly cool in a stone jug. It was especially invigorat- ing and encouraging when spiked with hard cider or rum. 1/2 cup sugar 1gallon water 1cup unsulphured molasses 1cup cider vinegar 1teaspoon ginger Stir sugar and water until sugar dis- solves. Add remaining ingredients and chill. LIGHTNIN' BREAD Iightnin' Bread is more commonly called salt-rising bread, and has noth- ing to do with speed or with thunder- storms. In fact, it is very slow and has to do with rising, the rising of bread with a homegrown yeast or starter. Almost nobody makes salt-rising bread today, although sourdough has become quite chic and very popular. While sourdough bread is usually made from a starter that is replenished, stored, and kept on hand, salt-rising bread is much trickier and calls for a starter made fresh each time under very con- trolled circumstances, with starter and sponge carefully kept around 1 1 5 ° F. for impressive periods of time. The term "salt-rising" comes from the old practice of packing hot salt around the starter to keep it warm. The salt was outside, not inside, the bread. Starter: 3/4 cup whole milk, scalded 1/4 cup white cornmeal 1teaspoon sugar Pour scalded milk over cornmeal in medium bowl. Add sugar and mix well. Cover tightly with aluminum foil and place in larger bowl of hot water. Keep at 1 1 5° F. for 8 to 1 2 hours, until light and bubbly. One way to maintain the temperature is by placing the nested bowls on a small cutting board placed on an electric hot tray set at low. Check the temperature of the starter with a thermometer. If the starter fails to get bubbly and fermented, don't try to make bread with it — it won't work. has to cook a long time to get thick, and under no circumstances should okra and file ever be used together. Gumbos are made of just shrimp, chicken, oysters, or crabs, or of vari- ous combinations. They are also made with game, and gumbo z'herbes made with seven greens is a Creole tradition for Holy Thursday. Here is a recipe for a Shrimp Gumbo made with okra. To cook shrimp: 4 quarts water 1tablespoon salt 1-1/4 teaspoons dried leaf thyme 2 dried hot chilies 1lemon, sliced 3 bay leaves 3 pounds raw shrimp in shells In a 6- or 8-quart kettle combine all ingredients except shrimp. Bring to a boil, add shrimp and cook 5 minutes. Pour through strainer and return strained broth to saucepan and boil rapidly until reduced to 3 quarts; mea- sure and reserve. Clean and devein shrimp; reserve. 'D3 make gumbo: 1/ 4 cup lard or salad oil 1/4 cup flour 1cup diced smoked ham 1large onion, chopped 1clove garlic, minced 1green pepper, chopped 3/4 pound fresh okra, chopped 1/2 cup chopped celery with leaves 1can (1pound) tomatoes, chopped 1teaspoon. salt 1/2 teaspoon cayenne pepper 1/2 teaspoon Tabasco pepper sauce 1/4 cup chopped parsley Hot cooked rice Melt lard in large heavy saucepan or skillet; blend in flour. Cook slowly over very low heat, stirring constantly, until very dark brown but not burned, about 30 minutes. Add ham, onion and garlic; cook until onion and garlic are soft, about 5 minutes. Transfer to kettle. Add green pepper, okra and celery; mix well. Heat reserved broth and gradually stir into mixture in kettle. Add toma- toes with liquid, salt, cayenne and Tabasco. Bring to a boil, reduce heat, and simmer partially covered for 1 hour, stirring frequently. Add parsley and reserved cooked shrimp; simmer 1 5 minutes. Taste for seasoning. Serve in soup plates with rice spooned into center of each serving Makes 4 to 6 servings. Sponge: 2 tablespoons shortening 2 teaspoons sugar 1-1/2 teaspoons salt 3/4 cup whole milk, scalded 1/4 teaspoon baking soda 1-1/4 cups unsifted all-purpose flour Measure shortening, sugar and salt into large bowl. Add scalded milk and soda; let cool until very warm but not hot Add fermented starter and flour; mix well. Cover and place in pan or larger bowl of hot water. Keep at about 1 1 5°F. until very light and full of bubbles on surface, about 2 hours. To make bread: Gradually blend enough of 2-1 /4 to 2-1 /2 cups unsifted all-purpose flour into the sponge to make a very soft dough. Knead on floured surface until smooth. Shape into a loaf and place in well-greased 9 x 5 x 3-inch loaf pan. Cover, place in pan of hot water and keep at about 1 1 5° F. until dough rises to about 1 -1 /2 times its original bulk. Bake in 350° F. oven 50 minutes or until well browned. Salt-rising bread is best toasted; it is not as light as yeast-raised bread. Makes 1 loaf. cracker crumbs. Let dry 1 5 to 20 min- utes. Melt butter in large skillet over moderate heat. Add oysters and cook, turning once, until golden brown on both sides. Beat together the 8 eggs, water, salt and pepper. Pour over oysters and cook without stirring over low heat until set, about 20 minutes. Serve from skillet or invert onto warm platter. Makes 4 servings. GRUNTS & SLUMPS Grunts and slumps were fruit and dumpling desserts made by early New England settlers with their primitive and limited cooking equipment. A dessert of stewed berries topped with dumplings was sometimes called a slump, and earlier was a fungy, but it was first a grunt. The sound the berries made as they cooked provoked the name "grunt" in Massachusetts. The same dish was called a slump in Ver- mont, Maine and Rhode Island. Later, when ovens were more common, the slump (also a word describing wet snow) came to be baked rather than simmered on top of the range, and batter was placed both under and over the fruit. Here is a recipe for Blueberry Grunt. Fruit: 1-1/2 cups water 3/4 cup sugar 1tablespoon lemon Juice 3 cups blueberries Combine water, sugar and lemon juice in large skillet. Cover and simmer until sugar dissolves. Add blueberries and cook covered for 2 minutes over moderate heat. Meanwhile, prepare dumpling batter. Dumplings: 1cup sifted all-purpose flour 1tablespoon sugar 2 teaspoons baking powder 1/4 teaspoon salt 1egg 1/3 cup milk Mix flour, sugar, baking powder and salt in medium bowl. Beat egg with milk, add to dry ingredients and stir until flour is moistened. Drop by table- spoons onto simmering berries, leav- ing some space between dumplings. Cover and simmer 20 minutes. Serve warm, with blueberry sauce spooned over dumplings in individual bowl. HATMAKEWS SWITCHEL HANGTOWN FRY Hangtown Fry is an oyster omelet that folklore maintains was created in 1 849 under wonderfully Gold Rush circum-   0 0 0 stances. A miner from Shirttail Bend arrived in Hangtown with a poke full   0 0 of nuggets, determined to celebrate his   0 new wealth in style. He demanded the 0 0 most costly meal at Cary House, and learned that oysters and eggs were the 0 most expensive things on the menu. So he had them combined for a double extravagance. 1pint medium oysters Flour 1egg beaten with 1tablespoon. milk Cracker crumbs 1/3 cup butter 8 eggs 2 tablespoons water 3/4 teaspoon salt 1/4 teaspoon pepper Drain oysters and pat dry on paper towels. Dust with flour, dip in egg   0 beaten with milk, and then dip in  •" :   . • ft THIS ARTICLEWAS SET IN ITCAMERICAN TYPEWRITER 1 6 MS OAnn Rar110 In past issues of U&lc, our famous featured females have included a designer, illustrator, sculp- tress, calligrapher, a singular pair of graphic twins, and a 3-D illustrator/sculptress (who not only lives and works in a store numbered 93% 2 but, also, cheats on subway tokens). This represents 18 months of waiting, impatiently, to catch up to Ann Raymo. When you are finally exposed to the excit- ing work of this uniquely gifted artist, you realize that it was well worth waiting for. Ann took time out from her busy schedule to send us this array of tapestries, quilts, pillows, dolls, masks, and other artifacts including her major contribution to our 200th birthday celebration, the Burlington Bicentennial Quilt which is displayed in the window-wall of the Mill at Burlington House in New York. It contains 175 squares in 1000 different fabrics that total up to 7000 yards. At the moment, Ann is preparing for her fourth 1-woman show which will be held at the Terry Dintenfass gallery this winter. Her new book, "Sew Up Art", will be published this month. And, in conclusion, we would like to quote Ann Raymo's philosophy: "Never draw a line between commercial and fine." THIS ARTICLEWAS SETIN ITCTIFFANY "LADY IN GRASS"- HANGINGART- 1 968 - SIZE: 4' x 5: "SAMPLER:: CLOTH COVERING- 1 972 - SIZE: 68" x 67:'   "AWOMAN MAKINGUPHERMIND"- 1 974- SIZE: 36" x 36" PHOTOGRAPHS: JIM RAYMOANDWALTERROSENBLOOM. D O N E F O R A F R I E N D - 1 9 7 3 . "NEW YORK"-PROMOTION PIECEDONEFOR NEW YORKCITY. NEVER USED-1 973 -- SIZE: 36" x 36" w Lu 2 ui uJ w LL O 0 O ` Y- `-± "THEBEST OF BREAD:' RECORDALBUMCOVER-NEVER USED-1 974 - SIZE: 36" x 36:'   "COVERING MY TRACES' MIXEDMEDIACOLLAGE-1 972-SIZE: 64" x 48" APPROX. 1 7 20 CALL THEM CIRCLES, CALL THEM SNOWFLAKES, CALL THEM ANYTHING YOU LIKE. AlfrEcALed'sAsterisits* 21 1 st,,  , 4Ir Aisir 4 41 ,. .•P.  , il  11:,, Z0Zete4 .1150 1.Alro .‘ ' 4v, , Ille,;-41 °P.4- "41 1 4:t., - "Ilit- IS   44 1441 -,,,,,ist-41 .  „iis,,..1 ,1 ,:, .,00---- - .. 0..._ . x   ,to:34,-,:: , ....._ ,- .0e, .ittsmi-,1 4,-.. 0,044 .........  ./   ro,,, 6 Ailli:1„.; a,...,   „,,,„,,,;..../..., , .,..,-. 4,.  1 /4,.??,„„, i.or,   4k. 4.400.1 1 4, - 1 0 4   . 44444-   I' III I *As you can see, Alfred Gescheidt can photograph circles around anybody or anything, anytime. He calls these multiple images circular photo- graphs. In order to position them in a typographic milieu we are calling them asterisks. Someone once said that Alfred Gescheidt is the first stand-up come- dian the world of photography ever had. It is a pleasure for us to feature both his wit and his masterful darkroom technique on these pages. These pictures have been photographed, on and off, for many years, sandwiched between other assignments. The first one was a personal experiment which brought him great enjoyment. Enthused, he began to build a private collection, which, to his surprise, began to sell as framed graphics through a number of galleries. He looks at these pictures as exercises in photographic design al- though the temptation to give them a philosophic or mystical interpre- tation is always present. Gescheidt produced these photos in the darkroom by printing over- lapping straight images from his file. (Negative sizes, 35mm to 8x1 0. ) He designed a special jig for image placement. He uses no set number of images. Each object's size, shape and subject determines the number of repeat images that he prints. Though he tries to visualize what the finished print will look like, the result usually comes as a surprise. This compensates for the laborious printing procedure because with one mistake he must start all over again. Looking for a fresh approach to punctuation? Next time you want to refer to a footnote add one of Alfred's Asterisks to your headline. THIS ARTICLEWAS SETIN ITCAMERICAN TYPEWRITERCONDENSED 22 What's New fro m ITC? ITCEr asLight, Book, Medium, Demi, Bold and Ultr a ar enew typefac esfr omITC. Only lic ensed ITCSubsc r iber s ar eauthor ized to r epr oduc e, manufac tur e, and offer for salethese and all other ITCtypefac esshown in thisissue. Thislic ensemar k isyour guar anteeof authentic ity. =UCENSED ABCDEFGHIJKLI\MPQRSTUVVVXY Z0abc defghklmnopqr stuv wxyz1 2 34 567890S E&°/071 / .. c c 1 0- # - (* ) ABCD EFGHIJ KL E MNOPQRSTUVW XYZO abc defgh!jklmno pqrstu vxyz 1 2 345 67890 S4E.&%? ^ @/Ec c 0#fr) ABCD EFGHIJ KCKANOPQRSTUVW XYZO abc defghijklmno pqrstu vwx yz1 2345 67890SCE&%?1 @fEc c 0 ABCD EFGHIJ kanNOPORSTU VWXYZ0abc defghijklmno pqrs tuvwxyz1234567890SCE&%[email protected] ifEccm0#11F: 1 ;:i   ABCD EFGHIJ KLMNOPQRST UVWXYZ0abcdefghplmno pqrstuvwxyz1234567890SCE ABCDEFGHI E JaMNOPQRS TUVWXYZ0abcdefghijklm nopqrstuvwxyz123456 789 OstE&%[email protected]#MEVA 24  ir c   ERAS LIGHT The slight forward slant and subtle variations in stroke weights make ITC Eras a sans serif with un- usual style. It has been called "a new .humanized Gothic." As with most contemporary typefaces de- signed for film typography ITC Eras has a compar- atively large lower case x-height as well as excel- lent letter fitting characteristics. ITC Eras is available as a text and display typeface in Light, Book, Medium, Demi, Bold and Ultra. A Contour and Outline version is also available and is intended primarily for display purposes. The inspirations for Eras are two fold: Greek stone- cut lapidary letters, and Roman capitals. The result is at once a linear emphasis and a blend of sharp angularity and broad curves. The combination of wide curves and close letter spacing emphasizes the large open areas, the inner forms of the letters. ITC Eras is not a precise, geometric face. It appears spontaneous, like a serifless written script, particu- larly in its slight forward slant and its compound characters. This touch of style enhances the com- manding static look of its capitals which can also function as a titling face. French designer, Albert Boton, created ITC Eras in collaboration with the late Albert Hollenstein, also of France. Mr. Boton was born in Paris in 1 932, ap- prenticed with Agence Troy and later became a type designer with Deberny et Peignot under the direction of Adrian Frutiger. In 1 959, Mr. Boton joined Studio Hollenstein as a graphic artist and type designer. Mr. Hollenstein headed Hollenstein Phototypo, a Paris-based design and typographic studio. His death came more than a year before all the weights of ITC Eras were completed. Mr. Hollen- stein was born in Lucerne, Switzerland in 1 930 and founded his Paris studio in 1 957. ABCDEFGHIJKLMNOPORSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1 234567890 ERAS BOOK The slight forward slant and subtle variations in stroke weights make ITC Eras a sans serif with un- usual style. It has been called "a new, humanized Gothic." As with most contemporary typefaces designed for film typography, ITC Eras has a com- paratively large lower case x-height as well as ex- cellent letter fitting characteristics. ITC Eras is available as a text and display typeface in Light, Book, Medium, Demi, Bold and Ultra. A Contour and Outline version is also available and is intended primarily for display purposes. The inspirations for Eras are two fold: Greek stone- cut lapidary letters, and Roman capitals. The result is at once a linear emphasis and a blend of sharp angularity and broad curves. The combination of wide curves and close letter spacing emphasizes the large open areas, the inner forms of the letters. ITC Eras is not a precise, geometric face. It appears spontaneous, like a serifless written script, particu- larly in its slight forward slant and its compound characters. This touch of style enhances the com- manding static look of its capitals which can also function as a titling face. French designer, Albert Boton, created ITC Eras in collaboration with the late Albert Hollenstein, also of France. Mr. Botorl was born in Paris in 1 932, ap- prenticed with Agence Troy and later became a type designer with Deberny et Peignot under the direction of Adrian Frutiger. In 1 959, Mr. Boton joined Studio Hollenstein as a graphic artist and type designer. Mr. Hollenstein headed Hollenstein Phototypo, a Paris-based design and typographic studio. His death came more than a year before all the weights of ITC Eras were completed. Mr. Hollen- stein was born in Lucerne, Switzerland in 1 930 and founded his Paris studio in 1 957 ABCDEFGHIJKLMNOPORSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1 234567890 ERAS MED IUM The slight forward slant and subtle variations in stroke weights make ITC Eras a sans serif with unusual style. It has been called "a new, human- ized Gothic." As with most contemporary type- faces designed for film typography, ITC Eras has a comparatively large lower case x-height as well as excellent letter fitting characteristics. ITC Eras is available as a text and display typeface in Light, Book, Medium, Demi, Bold and Ultra. A Contour and Outline version is also available and is intended primarily for display purposes. The inspirations for Eras are two fold: Greek stone-cut lapidary letters, and Roman capitals. The result is at once a linear emphasis and a blend of sharp angularity and broad curves. The combination of wide curves and close letter spac- ing emphasizes the large open areas, the inner forms of the letters. ITC Eras is not a precise, geometric face. It appears spontaneous, like a serifless written script, particularly in its slight forward slant and its compound characters. This touch of style enhances the commanding static look of its capitals which can also function as a titling face. French designer, Albert Boton, created ITC Eras in collaboration with the late Albert Hollenstein, also of France. Mr. Boton was born in Paris in 1 932, apprenticed with Agence Troy and later became a type designer with Deberny et Peignot under the direction of Adrian Frutiger. In 1 959, Mr. Boton joined Studio Hollenstein as a graphic artist and type designer. Mr. Hollenstein headed Hollenstein Phototypo, a Paris-based design and typographic studio. His death came more than a year before all the weights of ITC Eras were completed. Mr. Hollen- stein was born in Lucerne, Switzerland in 1 930 and founded his Paris studio in 1 957 ABCDEFGHIJKLMNOPORSTUVWXY.Z abcdefghijklmnopqrstuvwxyz 1 234567890 ALSO AVAILABLE FOR DISPLAY: ITCERAS OUTLINE d3CDCi.g01 0{MMPHQUIEEMCDL;DCOTOREEW72 3WLIE3 DgaDDELDLEITIMC)[email protected] L LITWKVZniME,GE,(ba392 CD ITCERAS CONTOUR abcdolg ijki „Ji-iLopqrstuvwxyzABCDEFGHIJKLMN*P41 _ ,RST   XYZ1 234 X6789 25 ERAS iir eJLTRA ..m.m.mI ITC...=I •I =1 EMS DEMI ERAS BOLD The slight forward slant and subtle variations in stroke weights make ITC Eras a sans serif with unusual style. It has been called "a new, humanized Gothic."As with most contemporary typefaces designed for film typography, ITC Eras has a comparatively large lower case x-height as well as excellent letter fitting characteristics. ITC Eras is available as a text and dis- play typeface in Light, Book, Medium, Demi, Bold and Ultra. A Contour and Outline version is also available and is intended primarily for display purposes. The inspirations for Eras are two fold: Greek stone-cut lapidary letters, and Roman capitals. The result is at once a linear emphasis and a blend of sharp angularity and broad curves. The com- bination of wide curves and close letter spacing emphasizes the large open areas, the inner forms of the letters. ITC Eras is not a precise, geometric face. It appears spontaneous, like a serifless written script, particularly in its slight forward slant and its compound charac- ters. This touch of style enhances the commanding static look of its capitals which can also function as a titling face. French designer, Albert Boton, created ITC Eras in collaboration with the late Albert Hollenstein, also of France. Mr. Boton was born in Paris in 1932, ap- prenticed with Agence Troy and later became a type designer with Deberny et Peignot under the direction of Adrian Frutiger. In 1959, Mr. Boton joined Studio Hollenstein as a graphic artist and type designer. Mr. Hollenstein headed Hollenstein Phototypo, a Paris-based design and typographic studio. His death came more than a year before all the weights of ITC Eras were completed. Mr. Hollen- stein was born in Lucerne, Switzerland in 1930 and founded his Paris studio in 1957. The slight forward slant and subtle variations in stroke weights make ITC Eras a sans serif with unusual style. It has been called "a new, humanized Gothic." As with most contempo- rary typefaces designed for film typography, ITC Eras has a comparatively large lower case x-height as well as excellent letter fitting characteristics. ITC Eras is available as a text and display typeface in Light, Book, Medium, Demi, Bold and Ultra. A Contour and Outline version is also available and is intended primarily for display purposes. The inspirations for Eras are two fold: Greek stone-cut lapidary letters, and Roman capi- tals. The result is at once a linear emphasis and a blend of sharp angularity and broad curves. The combination of wide curves and close letter spacing emphasizes the large open areas, the inner forms of the letters. ITC Eras is not a precise, geometric face. It ap- pears spontaneous, like a serifless written script, particularly in its slight forward slant and its compound characters. This touch of style enhances the commanding static look of its capitals which can also function as a titling face. French designer, Albert Boton, created ITC Eras in collaboration with the late Albert Hol- lenstein, also of France. Mr. Boton was born in Paris in 1932, apprenticed with Agence Troy and later became a type designer with Deberny et Peignot under the direction of Adrian Frutiger. In 1959, Mr. Boton joined Studio Hollenstein as a graphic artist and type designer. Mr. Hollenstein headed Hollenstein Photo- typo, a Paris-based design and typographic studio. His death came more than a year be- fore all the weights of ITC Eras were com- pleted. Mr. Hollenstein was born in Lucerne, Switzerland in 1930 and founded his Paris studio in 1957. The slight forward slant and subtle varia- tions in stroke weights make ITC Eras a sans serif with unusual style. It has been called "a new, humanized Gothic." As with most contemporary typefaces de- signed for film typography, ITC Eras has a comparatively large lower case x-height as well as excellent letter fitting charac- teristics. ITC Eras is available as a text and display typeface in Light, Book, Medium, Demi, Bold and Ultra. A Contour and Outline version is also available and is intended primarily for display purposes. The inspirations for Eras are two fold: Greek stone-cut lapidary letters, and Roman capitals. The result is at once a linear emphasis and a blend of sharp an- gularity and broad curves. The combina- tion of wide curves and close letter spac- ing emphasizes the large open areas, the inner forms of the letters. ITC Eras is not a precise, geometric face. It appears spon- taneous, like a serifless written script, particularly in its slight forward slant and its compound characters. This touch of style enhances the commanding static look of its capitals which can also func- tion as a titling face. French designer, Albert Boton, created ITC Eras in collaboration with the late Albert Hollenstein, also of France. Mr. Boton was born in Paris in 1932, appren- ticed with Agence Troy and later became a type designer with Deberny et Peignot under the direction of Adrian Frutiger. In 1959, Mr. Boton joined Studio Hollenstein as a graphic artist and type designer. Mr. Hollenstein headed Hollenstein Phototypo, a Paris-based design and typographic studio. His death came more than a year before all the weights of ITC Eras were completed. Mr,. Hollenstein was born in Lucerne, Switzerland in 1930 and founded his Paris studio in 1957. ABCDEFGHIJKLMNOPORSTUVVVXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ABCDEFGHIJKLMNOPCIRSTUVIADM abcdefghijklmnopqrstuvwxyz 1234567890 ABCDEFGHIJKLMNOPORSTUV 1 A/XYZ abcdefghijklmnopqrstuvwxyz 1234567890 E E Ss II • WM-  r   "Welcome to the mark Eden School of Bust Development!" Something For Everybody From U&lc Alan's Alphabetic al Apo thegms. An apothegm, to save you the trouble look- ing it up, is a short pithy aphorismor axiom. Alan Wood's apothegms are little gems of typographic wisdom. He says about them: "Letters each have unique personality traits, just like people. In these typographic situ- ation comedies, the'players'show how believable their human characteristics can be.lype characters tell us something even before they are arranged into words. Do these characters remind you of anyone you know?" Al Capone's business card identi- fied him as a "second-hand furni- ture dealer." Capone grossed about $1 05 million in 1 927. This interest- ing information is also second- hand. Maybe U&lc will get rich, too. Isn't that a happy thought? Eggplant The name itself is a puzzle, and there have been no end of incor- rect references to derivations from leading etymologists. Fortunately, the true derivation is there for all to see in the great French lexicog- rapher Littre's dictionary, where it has been for more than a century. He states that `aubergine' derives, via Spain, from the Arabic. word for eggplant, albachinjan. This makes, at least, historical sense, since the Arabic term leads, by evi- dent phonological processes, first to alberenjena (the modern Spanish word for eggplant) and thus to aubergine. And if you can swallow that, you can swallow egg- plant-or bharta or varita or any other of the fistful of theoretical derivations dug up by Raymond Sokolov in his article, "The Enig- matic Eggplant;' in the May 1 975 issue of Natural History Maga- zine. Isn't that interesting? The largest pai nti ng ever pai nted was the mammoth "Panorama of the Mi ssi ssi ppi ,"c ompleted b y J ohn Ban yard i n 1 84 6. Thi s pai nt- i ng depi c ted the 1 ,200 mi les of ri ver sc enery from the mouth of the Mi ssouri to the estuary of N ew Orleans. For people to see the 1 2- foot- hi gh and 1 6,000- foot- long pi c ture, the mammoth c an- vas had to b e passed b etween two upri ght revolvi ng c yli nders on the stage of a large audi tori um. It took a spec tator two hours to see the pai nti ng i n i ts enti rety Isn' t that c ool? "Abox of Kotex, please!' "Men's Room? Yeah. Third door on the left!' / PP X "You're nothing but a big double-crosser!" x XX "Well, how did you do at the track today, dear?" X $0.00 "Just keep those hands up and no one will get hurt!" / X YYYYY "Is this the line for paying income taxes?" / $ $$$$$$$$$$$$$ "Congratulations, Mr. Vincent! Your wife just had Siamese twins!" / Rn V w "But Bruce! I hardly know you!" / X "69" "Now watch what happens when I touch the domino on the end!" / x X cicOlciddd "1 0 S anyone?" X SSSSSSSSSS "Of course this chair can be purchased without the ottoman!' / hn X X "What an ego! Is that all he ever talks about?" / ars 'This is my agent, ME Handler!' / X X % "All you scouts did a fine job pitching your tents, except for the wise guy on the end!" / X AAAAAAV "Wow! Get a load of the pair on that one!" /   PAIR X X  1 "You're gonna have a WHAT?" / b X 28 A.A. BERLE A.A. MILNE A. B. FROST A. E. HOUSMAN A. E. HOTCHNER A. J. AYER A. J. FOYT AJ LIEBLING B. B. KING B. F. GOODRICH B. F. SKINNER D. D. LEWIS D. H. LAWRENCE D. W. GRIFFITH E.A. HOOTON E.A. SOUTHERN E. B. WHITE E. E. CUMMINGS E. G. MARSHALL E. H. SOUTHERN E. M. FORSTER E. W. SCRIPPS F. A. 0. SCHWARZ F. W. WOOLWORTH G. B. SHAW G. ICCHESTERTON H. A. OVERSTREET H. H. MUNRO H. J. EYSENCK H. L. MENCKEN H. T. WEBSTER I. F. STONE I. M. PEI J. B. RHINE J. B. S. HALDANE J. D. SALINGER J. E. B. STUART J. J. JOHNSON Government Literature Visual Art Literature Literature Philosophy Sports Journalism Music Business M. F. K FISHER Science N. C. WYETH P. G. WODEHOUSE Sports P. J. CLARKE Literature P. J. MORIARITY Theatre Ft T. BARN.= Science R. D. LAING Theatre R. F. OUTCALT Literature R. H. MACY Literature R. L. DUFFUS Theatre Theatre S. I. HAYAKAWA Literature S. J. PERELMAN Journalism S. N.BEHRMAN S. S.VAN DINE Business   Business T. E. LAWRENCE  T. S. ELIOT Theatre Literature U. S.GRANT W. A. DWIGGINS Journalism W.A. MOZART Technical Art W.B. YEATS W. C. HANDY Science W. D. SNODGRASS Science W. H.AUDEN Literature W. S. MERWIN Government Music Y.A. TITTLE Literature Literature Literature Business Literature Music Sports Business Literature Visual Art Literature Sports Journalism Literature Business Business Theatre Science Visual Art Business History Science Literature Theatre Literature Literature Literature Government Government Science Literature Literature Technical Art Music Literature Music Literature Literature Literature Sports J. K. HUYSMANS J. P. DONLEAVY J. P. McEVOY J. P. MORGAN J. R. R. TOLKIEN J. S. BACH L. C. GREENWOOD L L BEAN C. L. SULZBERGER  Journalism 0. E. ROLVAAG C. P. SNOW  Literature/Science O. J. SIMPSON C. S. LEWIS  Literature 0. 0. McINTYRE C. S. FORESTER  Literature   Science v. I. LENIN Literature V. L. PARRINGTON Science V. S. NAIPAUL Journalism V. S. PRITCHETT Visual Art INITIAL PUZZLE ANSWERS 29 Here, finally, are the correct answers to our initial puzzle. We received over one hundred responses—all wrong. The high- est score was 63 out of 82 cor - rect answers submitted by W.B. Public Relations which only goes to prove that P.R. people know people better than art people know people.--^ ^ LICK THIS! Ac elebr ated Chinesear tistof the 1 92 0' s, HuangEr hnan, painted the mostbeautiful of designson silk c loth- usinghistongueasa br ush. Ther eisnothingon r ec or d to show whether hepainted in oil or water - c olor , butthepr ev ailingimpr ession isthathedied atan ear ly ageof lead poisoning. Isn' tthatsad? TYPOGRAPHERS HAVE A TOUGH GO OF IT IN INDIA. AS MANY AS 1,652 LANGUAGES & DIALECTS ARE SPOKEN BY INDUS 600 MILLION PEOPLE. HINDI, THE OFFICIAL LANGUAGE, IS SPOKEN BY ONLY 35 PER CENT OF THE POPULATION. ISIVT THAT T(X) MUCH? THE HOANG TYPEWRITER, A D EVICE FOR TYPING IN CHINESE CHARACTERS, HAS 5 ,700 CHARACTERS ON A KEY- D OARD 2 FEET WID E AND 1 7 INCHES HIGH. ISN'T THAT SOMETHING? In 1 961 , an abstract painting by Matisse, Le Bateau, was inad- vertently hung upside down in the Museum of Modern Art in New York. The mistake went un- noticed for 47 days, during which time more than 1 00,000 people oohed and aahed the painting without once noticing the error. Isn't that ridiculous? E is for erratum, one of which we made in the last issue of U&lc. In listing Erte's books we left out an important piece of information and, forthwith, attempt to rectify the blunder with apologies to Rizzoli International Publications, Inc., 71 2 Fifth Avenue, New York 1 001 9, the exclusive distributors in the United States of the book — Erte, with an Excerpt from Erte's Memoirs, by Roland Barthes.This limited edition sells for $1 00.00. Presidential Quiz. The response was not exactly overwhelming. Infact, inorder toget a more definitive sampl- ing we hadtosubmit our quiz tofamily,friends, clients, and employees. The results are shownabove. FranklinD. Roosevelt wonthe honors as former president whowould most likelysucceedtoday. JimmyCarter will be our next president according tothe majoritywithHerbLubalin running a close second.We say nuts topresidential quizzes. 30 Something from Everybody for U&Ic Ftk- r - - ni 1 5 MAIL N.S6- (ASV 01 . ) IE. 1 9 R9 PCM . b ,  ioa3 5 Al1 Sc Atc l MD. AI Dov ir IT FOR GODSAKE, FORGET TOE NE YOUR, FABULOUS FOUR COLOUR EDIT ION OR I'IL LOOK A FOOL FOR DOI% THIS WORK FOR NOTHING. Dear M. Thankyousomuch for the scented, size 34 BLycra Spandexblacklace bra made inKorea. It's what I've always wanted. I alsoappreciate your no-holds-barred offer whichshouldautomaticallymake youa subscriber toU&lc. Here's what theysay\\, ( about HerbLubalin: "Promise himanything andhe puts youonhis mailing list." PS. : - Please identifythe scent andindicate whether the size is actuallyyours. Lo ve — H.Lv DEAR HERB) IF I D ON'T START RECEIVING Umolc SOON, I'MGOING TOTEAR YOU TOPIECES... NEATLY ‘X).empr ial - g: Weekenc i ands far , c fc g 7; 1 8e1 C, 51 ,t 4 dardec . i . . enr. L. ,e4 1 . Now, ma a) fella. ni ntrgyr,; t1 Awl anta„ 4' A merela   Q4 DC4 4 . 4 ree Nutitr aneseyr e.4a; r jr tsgi6od c ow( I ay yec i at- frai g sei mi ewi ti g andk- rng re Int;andof seviratijiacComif i lac . edi ronvi ke akei o_ pu. 64 -4 _ Payer;  wor i, weat anc Cal c etc . ls on evvi i mgZ 64 ' ari er 7y Ch-png i s arec entc om,w- ^ 3Sron t- a trotaac mc onkonznt r even edi tary, own c py. 1 Wanks_ frrgei tti tg to , Dear Usa.: nue-ycar -old graphic arts and typesetting ee Saes; had u ps and downs, as you might your paper has sure   helped s  nooth odA1 4. oet for oS. Wed Slim dig getting 01 1 yo u r wailing   . ,td s   lhcr sooner. Whatsay? GRAPIIICS 4S6 S1 1 1 1 71 1 MAINST. SALT IAKECITY. UTAH 04 1 01 he the lute nights, d CatlaciaLav aw,9Mtt IN aSS SOUTH MAIN STREET• SALTSAXECITS,1 ,1 1 1 1 41 01 • 1 801 ,1 3 NIS - DgAr utt- C 1 71 .F.Assc oonou66.0JV.,o6 YOUer ueSoc Anek 1 4 ME Bur /QOM (t2eECTIO,S, CVMALIA.,61 .AlgELS HAVEBEEN Otillub woeOF O,VCBEEPGI V 1 ,4 4 , 1 S A CC- WCYCEE . W HAVE 501 35nrunD kr osNAME. R ACE OVE CC INV IKKO2 2 EC7 (A1 3E.1 . "MASK YOU . 4 tAt' ,e , v c ewhenr , 1 2Ez .1 2 NIEV, issUE.. JUDY MAOCSSC A 1 1 , V ' Bob Petrick sent us this upside-down, rightside-up 'Herb" with a note suggest- ing that perhaps, we love his friend John Langdon's inverted graphics better than his own. We assure you, Bob, we love both of you equally. We love all lovers of lovely letterforms. Dear I After   reading several  issues of your publication, I real- ized that only two people were involved in its pro- duction. You & Elsie, period; nobody else. Both of you really know your stuff. Cheers for continuation! Jeffrey C. Watkins Design/Graphics Waltham, Massachusetts 31 PLEASE A . PLEAS THANKS 001 1 4001 0 Star 1 1 0000.1 0 Long1 1 0000 (1 0,0000 1 1 0- 000 61 01 Foe701 ST1 001 Loy   00000 32 Onc e,- upon an open one LoneLl Lettua, Reamed its  . oRaLL +ha woisLd to se&i • and LIEt. . Tea Lost withocii-  a4phm3et,/ THAT I. Jr1 - 1 Thememany types a' w"nj,  NHoti But^Jast fork N CO& of WOR4 5 that shoe/  MINT THE that words may encase one' s thOUlflte   MAKI .6 FIT in a marz.ket wherrie all is soLd and souiht.  DOES IN K Afi E and 1 was sad.. and sLilhaq MAJ.(  THE i.S.A.\   tTlq alphaoEt si ngs to me.. Ike sounds  T"HrtIVE 41 1 ,1 1 t: op o samphon4 - -   - GLORI 4, [.* IP that aRe taaLq wF. oui ht  man's MAN INE41 1 -   paRe and noel- - Fho his,/ WED.oi."Te, ci pLaiiianast- i'LL aLwaq se. . on. ; Ads  IN VA tsl ye or men. . that.. set... men   TREE.; fhE Li pt- or what i saw..   r i'vtaitrer TIE - r had not Lost- mg L • • - THE- c hc tmac teos oftec ,- .   U1 ,PER °LH • ,,,,inla,,,, ,satialtyrft —1 0 • 018745, Sc,   .  - insr ipztd el a vi si i h, nut, 1 4..oi7V3 Not one single reason can we findfor not being placed on your lift mailing list Mister Lubalin • Wer o  Its CSULBC0.01 ,c. 00,001  — al, 00. le 000.01 te % , , 4   .,,,_ ,--,4, 3-top the Redwoods: . i c an see . . To. . = deeti - - -,1 1 - E. 0   no human soul has LateL,. hEatz,1 •""pe  - o mosfaLs pastinc op the woRds -...+ NON 9 ;  i n fi le sounc lhoLe- oT his Eqe- . . -. - - - . A* a n d thee.e, eat 'top, the' ghats cice ,ir o &ilke( z..  - -  ii   q t) I. k.4%  ‘...  - k WI  . rtIe. 4 c li Tr Zesar 1  _ - - - ' - L. . . . t' lgas  r .....- ,..- CAuar. . rI . en . . . . 01 /1 ,1 ,600 ryi sys. . . . . tr p hi lysepb s. , Washington Square Bar &Grill. f v , 9-- - - - , \ z_ .  . c J   ' - - 4 - *" ----k ^0  -) J • '-, , • 0,4 i - -dib ke Ir . 7 - 4: Filbert VI/a0,. - mg,. S u are Wewantto thank Lawr enc eGr een of the Gr een Co, in San Fr anc isc o for sending- us thesematc hbook designs, Hec omments, in hisletter , on hisappr ec iation for thelate Jer omeSnyder ' sAmper sand ar tic leswhic h inspir ed himto send in- hisown "&" effor ts, Hedid thesefor a loc al bar and gr ill wher e thec ustomer s, ev en when notunder theinfluenc e, lov eand c ollec tthisev er - expanc ingser ies. A few months ago a magnanimous expression of enthusiasm for U&Ic came to us from a group of art students attending the Graphic Design Department, Center for Design Studies, School of Fine Arts, California State University, Long Beach.We were elated over the amount of effort and time that went into their requests to be put on our mailing list.Space would not permit us to reproduce all the designs. So, we selected a few to show you and, are including a complete list of the partici- pants: Eddy Berk. Robert Bogart, R.I. Calabrese, Giuliano, Al Kawashima, Linda Lund, Steven Martin, Joe Martinez, Steve Neldner and Lorrin Sunadas. Thanks again. We hope our forthcoming issues will inspire more responses of this nature from many of our 80,000 readers. We must be doing something right. According to our latest demo- graphic survey, (this picture by our staff photographer, Simon Cherpitel, is it) we can conclude that our journal reaches all levels of readership starting at age 3 months. This important informa- tion should be of significant consequence to our advertisers. 33 Just what do the new technologies mean to you? ed matter; how it will enable you to typeset material you formerly were satisfied to turn out on a typewriter; what it can do for your budget and your production schedules; how it will affect what you buyfrom outside suppliers and what you can now produce internally; what systems are meaningful to you, eitherfor outside servicing or internal operations; how it will affect you,yourjob, and your company's budgets, and your professional career. Are you more confused than enlightened by the new tech- nologies in word processing and typesetting? Do you wonder what, if anything, they mean to you? Would you wel- come a clear, concise, graphic, "What-it-all-means-to-you" explanation that would enable you, the originator or specifier of graphic communications typewritten or type- set information to do yourjob better, with greater knowl- edge and with more confidence? Would you want all this to be made clear, very clew) yet not be too elementary? That is the aim orVision'77: Communicationliipo/ Graphics:'"Vision'77"is a professional/ educational 3-day symposium sponsored by International Ilipeface Corp- oration in cooperation with the Rochester Institute of lechnology. It will be held at R.I.T.'s excellent conference facilities May 1 6-1 9, 1 977. The chairmen and speakers have been chosen and oriented almost a year in advance so that they will be able to present a customized, coherent, meaningful package ofideas, information, and inspiration for you AncrVision'77"will take a look at the nearfuture too; at developments in evetythingfrom graphic design through graphic arts production, so that you'll know and under- stand not only where the industryis but where it is headed ...and where yourfuture in it lies. All this will be put to- gether into a coherent 3-day-program and aimed,for the first time, at you, the ultimate user. There will be a truly distinguished team of information presenters, professionals who are not only leaders in theirfields but who are also distinguished for their ability to articulate and to understand your concerns as well as for their knowledge and judgment. Evenings will be devoted to getting to know each other and Theywill explain all the essential aspects ofword-process- to seeing some of the most exciting contemporary design, ing, typesetting, and page-makeup hardware and software typographics,andfilms from the United States and Europe. and present their data graphically in a way that will enable Although the campus and conference facilities at R.I.T. you to clearly understand the ongoing technological   are spacious, the number of attendees tharVision'77" revolution. They willfocus on what all this means to you, can accommodate must be limited. We suggest you make how it can affect the design and production of your print- your reservations right now   The Editors If you are an Art Director, Production Manager, Graphic Designer, Artist, Type Director, Printing Buyer, Advertising or Sales Promotion Manager, Marketing Director, Editor, Publisher, Wee Manager or in any way, have need for, or work with type, find out what you must know... today, in order to cope with and make the most of the new equipment and systems. ) 70Co 7 Communication • loGraphics" A graphic communications 'educational" experience that offers you, the creative producer or buyer of typography and printed communications, meaningful explanations, interpretations and answers to questions raised by today's maze of complex and rapidly changing technologies. When: May 1 6-1 9, 1 977 Where: At Rochester Institute of Technology. Facilities include a modern 525 seat auditorium, conference rooms, restaurant, convenient lodging. Adequate lodging has been reserved by the R. LT. staff. alV i s 84 Registration Form "U&lc/ V ision'77: CommunicationTypo/ Graphics;' 21 6 East 4 5thStreet, N ewYork, N ewYork1 001 7   Enclosedis a $31 5.00checktoassure myreservationfor "V ision'77: CommunicationTypo/Graphics."   Enclosedis a $1 00.00deposit toassure myreservation, for "V ision'77: CommunicationTypo/ Graphics."The balance of$21 5.00will be paidby January1 5,1 977. Full refundwill be made ifrequest is receivedbefore April 1 ,1 977. NAME. POSITION COMPANY:   STREET ADDRESS' CITY STATE, ZIP 'Thavel instructions andlodging informationwill accompanythe acknowledgement ofyour reservation. 85 Key questions to be answered include: Covers concept of information flow and How does all this affect my job... now the functions of information systems; and in the future?   information generation, recording, What do the different manufacturers processing, storing, retrieving, using, and systems offer me?   reproducing, and typeset formats. M (Covering typesetting systems from   Matches specific systems to specific Addressograph-MultigraPh Corporation, problems. Considers implications for budgets, procedures, graphics, people's Varityper Division; Alphatype Corpora- skills and jobs, new ways of working tion; Autologic, Inc.; H. Berthold, AG; and thinking. J. Bobst et Fits SA; Dr. Boger Photosatz GmbH; Compugraphic Corporation  5:00 PM. Dymo Graphic Systems, Inc.; Harris Cor- Tour of RI.T. printing and typesetting poration; Itek Corporation; Mergenthaler facilities. Linotype Company; MGD Graphic Sys- tems; The Monotype Corporation, Ltd.   8 :30 P.M. A visual presentation of contemporary as well as the leading word processing European graphic design and typog- systems.)   raphy by Swiss designer and educator What new graphic design opportuni- Professor Andre Giirtler, Allgemeine ties do I have?  Gewerbeschule (School of Design) Basel, How are my buying/specifying pro-   Switzerland. "The Typographer'.'..a lookat today's typographicservice house. The diver- sities ofservice, the broadselectionof fashionable type designs, equipment capable of the most demanding re- quirements andthe tie-intothe new technology 1 0:30 A.M. -1 2:30 PM. The future. A projection by a panel of R & D experts. cedures affected? What should I be producing internally? Buying on the outside? How are my production schedules affected? How will my budgets be affected? How does word processing output become typesetting input and how does this affect what I can do and how I do it? Can a choice of layouts as well as typo- graphic specifications be programmed on tapes? How are typographic refinements achieved? What developments in graphic com- munications are predicted for the future, only a few years from today? The answers to these and many other questions will be supplied by internation- ally recognized authorities. Presentation will be heavily visual. An information kit will also be distributed to all attendees. The Program: Monday, May 1 6 7-1 0 PM. Registration, get acquainted reception. Thesday, May 1 7 8 :30 A.M. Opening film," Communication 'typo/ Graphics:' The Word Chairman: Paul Doebleo Publishing Management Consultant, Thomas P Mahoney Associates, New York Speakers: Ralph Squire, Special Pfoject Director, Frank E. Gannett Newspaper Founda- tion, Inc., Rochester, New York Donald Goldman, Independent Typo- graphic Consultant, NewYork, NewYork A full day's analysis and slide-film tour of the new word processing and type- setting technologies. Stress is on what the new systems mean to the planner and buyer of print communications. The attendee should come out of this session much better equipped to select from among the systems available in today's marketplace and to utilize their selection to its maximum potential. Wednesday, May 1 8 Typographies: Chairman: Klaus Schmidt, Vice President, Director Creative Support, Young & Rubicam, Inc., NewYork, NewYork. 8 :45 A.M. Typographic Requirements...letterfit, kerning, hung punctuation, special char- acters/logos, size ranges, type libraries, initials, run-arounds, type mixing, hy- phenation and justification. Speaker: Maxwell J. Baumwell, President, M.J. Baumwell 'typography NewYork, N.Y. 9:30 A.M. Effects of the new typesetting technolo- gies on the design of typefaces. Speaker: Matthew Carter, Independent Typeface designer connected with the Mergenthaler Linotype Company, London, England. 1 0:30 A.M. Page or area makeup. 2nd, 3rd, 4th generation approaches. Speaker: Patricia Seybold Breuer, Seybold Publications, Inc., Media, Pennsylvania. 1 1 :1 5 A.M. Automated design formats... the next revolution. Speaker: Victor Spindler, President, The Slide House, New York, New York Lunch 1 2-2:00 PM. press, involving keyboarding via OCR, purchasing OCR output, editing on AKI Ultracount terminal, and typesetting on a Mergenthaler one-drum V-I-P. The quality of book work so produced is exceptional. Harold Chevalier, Book Production Manager U.S. News &World Report, Washington, D.C. Mr. Chevalier will talk about several projects involving direct input by means of terminals into an Atex System, and typesetting on a VideoComp 500, as well as accepting OCR input prepared com- mercially from supplied manuscript. Perrin Long, Assistant Director of Research, Faulkner Dawkins & Sullivan, New York, New York Mr. Long produces a news analysis for institutional investors, with Omnitext terminals directly into a Pacesetter. This is an upgrade fromwhat was previously done via IBM's MTST. 8 :30 PM. Creative and experimental film graphics. An evening of visual joy and stimuli in short films by some of the country's most innovative and expert creator/producers. Program Co-Chairmen: Herb Lubalin, President, LSC&P, New York, New York Louis Dorfsman,Vice President, Creative Director, Advertising and Design, CBS Broadcast Group, Newyork, NewYork Thursday, May 1 9 Viewpoints 8 :30-1 0:1 5 A.M. Graphic Designer: John Peter, President, John Peter Associates, New York, New York Educator: Alexander S. Lawson, Melbert B. Cary, Jr, Professor of Graphic Arts, Rochester Institute of Technology, Rochester, New York Vpographic Services: Speaker tobe announced. E Chairman: William Lamparter,Vice President & General Manager, Mead Digital Systems Inc., Dayton, Ohio. Panelists tobe announced 1 :00 PM. Lunch. Closing film. Summary by William Lamparter. Local transportation: Charteredbuses, free toconference attendees, will be providedfor those lodging offcampus. There are manyinteresting things tosee anddoin the Rochester area. Shouldyoubring anyofyour familytoV ision'77, the R.LThosts will helpthem plananenjoyable visit. Program development and coordination EdwardM. Gottschal I Director of InformationandMarketing Services International Typeface Corporation Program Chairmen Paul Doebler Publishing Management Consultant 'Mamas PMahoneyAssociates WilliamLamparter V ice President andGeneral Manager MeadDigital Systems, Inc. Klaus Schmidt V ice President, Director Creative Support Young &Rubicam, Inc. JohnSeybold President' SeyboldPublications, Inc. Sponsors International Typeface Corporation EdwardRondthalee Chairman AaronBurns, President HerbLubalin, Executive V ice President In cooperation with: Rochester institute of TbchnologyCollege of Graphic Arts andPhotography. Dr. Lothar K. Engelrnann, Dean. Registrations will be acceptedinorder of receipt. Case Histories 2-5:00 PM. Chairman: John W. Seybold, President, Seybold Publications, Inc., -Media, Pennsylvania. Speakers: Joyce Kachergis, Production Director University of North Carolina Press, Chapel Hill, North Carolina. Ms Kachergis will describe techniques used to produce books for an academic berthold fototype ber thold fototypec ompany 59WilletStr eet Bloomfield, New Jer sey 07003 Telephone: (2 01 ) 42 9- 8800 In Chic ago, Telephone: (31 2 ) 449- 582 7 In LosAngeles, Telephone: (2 1 3) 645- 71 1 2 In Tor onto, Telephone: (41 6) 789- 52 1 9 We set this advertisement on BERTHOLD'S Diatype. 36 berthold... simply a matter o f ri Pleasephoneto ar r angeto c omein for a demon- str ation in your ar ea, or wr iteusfor fur ther infor mation. Did you know thatBer thold isper haps oneof theoldesttypefoundr iesin existenc e? No? Well, now you know. It' sa fac twe' r ev er y pr oud of. For ov er a hundr ed year s, Ber thold hasbeen pr oduc ingtop quality typefac es. We think you' ll agr ee, thatwith a her itagelike that, wehav egood c auseto feel pr oud. Our businessistypogr aphy .... Fast pr oduc ingtypogr aphy ... quality typogr aphy, that' swhatwe' r eknown for . Did you know thatBer thold also manufac tur es phototypesettingequipment? No? Well, wedo- and hav ebeen doingso sinc eitsintr oduc tion in 1 958. Our pr oduc tsar ebetter than anythingelseyou' ll find anywher e! Soundstoo good to betr ue? Well, we' d bedelighted to pr ov idetheoppor tunity for you to c ompletely deter minethisfor your self. Just ask us! We' ll giv eyou a demonstr ation thatwill speak for itself. Fr omBer thold, a subsidiar y of H. Ber thold AG- • Diatype• Diac omp • Diatr onic • Star ogr aph • Star omat• Star omatic • FK45 Camer a • Dialiner 37 PHICITIM SHARPt TYPE &ART't TOANYt E[g FROMONE MASTEP c' T ta  ,d4 no rfleit MEM EXTEND EXTEND COND ENSE J & SLANT, lie WO liperaces. SIZE NOVELTY SERIFS LOGOS bOUnCe & OVE.RIAP   on max un nun owl; Instals , The mo st ve r sa ti k me g a -Ma de i f t UN PERMANANT FORS mpe COMPS & FINAL ART k. 4. 0•   co.  • ...- :• :• • • • des  1 1 1 1 1 j 1 .1 W DO THIS AND MORE IN YOUR ART STUDIO FASTER, SHARPER- FOR PENNIES AWORD.   Letusintr oduc eyou to a super new c r eativ e   2 ,500 designer phototypestylesav ailableto fill your   exper ienc e...a method so fantastic , you' ll hav eto   ev er y c r eativ eneed. seeitto believ eit.  Getr eady for a super exper ienc e! Imagine, no mor efightingwith r ub- down letter s or tedioustimespenton typec ompsand layouts... and no mor eexpensiv etypebuy- outs! Now you c an quic kly and effor tlessly design your headlinesand pr oduc e` photo shar p' type...fr om1 /8" to 7" high letter s, fr omonemaster ... r ightin your own studio. And it' sso easy...you' ll setyour fir st' pr ofessional' I=1 Call me, I wantthedetails now! headlinein minutes!   Retur n thisc oupon and we' ll send you a fully   PhotoVision of Ca. Inc . • Box 552 - R7   detailed br oc hur e, a sampleand a listingof ov er   Culv er City, CA902 30 • (2 1 3) 870- 482 8 SEEUS ATATRADESHOWIN YOURAREA. CALL ORWRITEFORDATES ANDFREETICKETS. ail ADDRESS  PHOTOVISION CITY   STATE   ZIP ATTENTION   PHONE Indianapo lis, Indiana Typoser v ic eCor por ation Kansas City, Misso u ri Letter gr aphic s/ KansasCity, Inc .  Po rtland, Orego n Paul 0. Giesey Adc r after s, Inc . Ro c hester, New Yo rk Roc hester Mono/Headliner s St. Lo u is, Misso u ri Master Typogr apher s, Inc . Syrac u se, New Yo rk Dix TypesettingCo., Inc . Mo ntreal, Canada Mc Lean Br other s, Ltd. To ro nto , Canada Cooper & Beatty, Ltd. Winnipeg, Canada B/WTypeSer v ic e, Ltd. Brisbane, Old., Au stralia Sav age& Co., Pty., Ltd. So lna, Sweden Typogr afen AB D etro it, Mic higan Willens+ Mic higan Ho u sto n, Texas TheTypeHouse, Inc Philadelphia, Pennsylvania Walter T. Ar mstr ong, Inc . Typogr aphic Ser v ic e, Inc . Pho enix, Arizo na Mor neau Typogr apher s, Inc . Pittsbu rgh, Pennsylvania Dav is& War de, Inc . Headliner sof Pittsbur gh, Inc . Memphis, Tennessee Gr aphic Ar ts, Inc . Miami, Flo rida Wr ightson Typesetting, Inc . Minneapo lis, Minneso ta Dahl & Cur r y, Inc . Dur agr aph, Inc . Nashville, Tennessee Typogr aphic s, Inc . Newark, New J ersey Ar r ow Typogr apher s a Patr ic k & Highton Company New Yo rk, New Yo rk Adv er tisingAgenc ies/ Headliner s Ar tintype- Metr o, Inc . Fr anklin Typogr apher s, Inc . Royal ComposingRoom, inc . Tr i- Ar tsPr ess, Inc . TypoGr aphic s Communic ations, Inc . Volk & Huxley, Inc . Orange, Califo rnia DeLine- O- Type, Inc . Headqu arters: Adv er tisingTypogr apher s Assoc iation of Amer ic a, Inc . 461 Eighth Av enue New Yor k, N.Y. 1 0001 Walter A. Dew, Jr . Exec utiv eSec r etar y 38 Think Typogr aphy.. ...don' twor r y aboutit! Advertising rpo graphers Asso c iatio n o f Americ a Typogr aphy and theATAar eone. Akro n, Ohio TheAkr on TypesettingCo. Atlanta, Geo rgia Ac tion Gr aphic s, Inc . Baltimo re, Maryland Mar an Pr intingSer v ic es Bento n Harbo r, Mic higan TypeHouse, Inc . Blo o mfield, Co nnec tic u t New England Typogr aphic Ser v ic e, Inc . Bo sto n, Massac hu setts Ber keley Typogr apher s, Inc . ComposingRoom of New England Chic ago , Illino is J. M. Bundsc ho, Inc . Fr eder ic Ryder Company Total Typogr aphy, Inc . Cleveland, Ohio Bohme& Blinkmann, Inc . Co lu mbu s, Ohio Yaeger TypesettingCo Inc . D allas, Texas Jaggar s- Chiles- Stov all, Inc . Southwester n Typogr aphic s, Inc . D ayto n, Ohio Cr aftsman TypeInc or por ated D enver, Co lo rado Hoflund Gr aphic s K Pleasesend full detailson theComp/Set51 0 phototypesetter K Pleasear r angea demonstr ation of theComp/Set51 0 phototypesetter K Pleasesend a typespec imen book name title  company   addr ess   c ity   state  zip   aoi - ot U&lc 4/76 AD D RESSOGRAPH MULTIGRAPH VARITYPER D IVISION 1 1 MT. PLEASANT AVENUE• EAST HANOVER, NEW JERSEY 07936 r 39 /TC 4:9,. /4/744' H NOW PRESENTING 6$   1 A I new1 Co mp/Setm 5 1 0 The o nly direc t entry pho to typesetter 32frt.   with 70 typesizeson- I inefr om51 /2 to 74 point. 4 styleson- line—unr estr ic ted sizeand fontmixing. Setsheadlinesand sub- heads, body c opy and footnotesalmostas easy astyping. Oneper son, onejob. All for just$1 2 ,950. Getthe mostimpor tantnew adv anc ementin phototypesettinginto oper ation in your shop. Also available for increased productivity: Comp/Set 503 Record/Playback Module— an option that r ec or dsall keystr okesfor instantplaybac k for easy c or r ec tionsand r e- for mattingwithoutr e- keyboar ding. SeetheComp/Setphototypesetter sin ac tion atyour loc al AM showr ooms, or if you wish, oneof our demo- v onswill br ingitr ightto your fr ontdoor . Justc al I your loc al Var iTyper solesoffic e, or wr iteto theVar iTyper Div ision, 1 1 Mt. PleasantAv enue, EastHanov er , New Jer sey 07936. All the type for this odwos composedin position on the Comp/Set 51 0 phototypeserfer. The type faces ore ITCSerif Gothic andSerif Gothic Bold. L 40 Choosing a Phototypesetter? Answer these questions: 1 . What is the phototypesetter's reputation for reliability? Does it have a good operating/performance track record? 2. How about quality in all point sizes? Or do you lose quality in larger sizes? Or when mixing between light and bold types? 3. Can you get the point sizes you need? Or are you locked into sizes that you cannot use? 4. Is there a proven typographic program in use? Tested by over 2,200 users? 5. Is reverse leading standard and proven by over four years of industry use? 6. Does the phototypesetter have over 1,000 unique typefaces designed exclusively for phototypography? 7. Can you do typographic refinements (letterspacing, kerning, etc.) in the equivalent of a 72-unit system? 8. Are there 1 08-characters per font segment to reduce keystrokes and look-up of pi characters? 9. Is there total exposure control for optimum quality at all point sizes? 1 0. What are its average maintenance/operating costs? When you get the answers ••• you'll buy the Wino Pacesetter: Dymo Graphic Systems, 355 Middlesex Ave., Wilmington, MA. 01887; TeL (617) 933-7000 Ad set in Dymo Graphic Systems *Tiffany" series. 41 Seemsto uswe' v ehear d thissong befor e: "My statand typec osts? Astr onomic al! I justc an' tjustify themanymor e." "Look, I spend so muc h v aluablewor k timewaitingfor statsand type, I' m for c ed to spend so muc h leisur etime wor king." "Headac hes? My pr oduc tion sour c es giv emenothingbutonebigmigr aine!" Sound familiar ? Sur e, butnegativ e thinkinggetsyou nowher efast. So maybeit' stimeto think positiv e. Time to inv estigatenew pr oduc tion methods thatsav etime, sav emoney, sav e headac hes. Timeto inquir eaboutthe r emar kableVGCc opy pr epar ation systems. Timeto think "Pos": PosOne® (Blac k & WhiteStatCamer a); POsColOr ® (Color /Blac k & WhiteStatCamer a); ThePhoto Typositor ® (HeadlineDisplay Typesetter ). Thesepositiv ely ingeniousmac hines c an sav eyou up to 80% of statand display typec osts, 95% of your waiting time, and almostall of your headac hes. Ar tstudios, pr oduc tion depar tments, photo labs, audio- v isual fac ilities, pr ofessional sc hools, c olleges, pr inter s, publisher s, ad agenc ies, TV stations, gov er nmentinstallations, bigor small, near or far , fr omEar th, Texasto Nome, Alaska—all swear by (notat) Visual Gr aphic ssystems. With good r eason. Thec ostof our thr eesystemsissmall, thesav ingsand c onv enienc ebig. Thr eefor your money thatgiv eyou ev er ythingyou need when you need it in thepr epar ation of gr aphic c om- munic ations—all doneon your timeon your pr emiseswith pushbutton ease in onequic k ec onomic al step without dar kr oom, withoutplumbing, without inc onv enienc e, withoutfail. So think positive. Think Her e' swhy: pro du c es blac k and white stats, enlarge- ments and reductions; transparencies, posterizations, screened half-tones; drop- outs, overlays, keylines; continuous tone position prints, mezzotints and other special effects screens, even offset plates. And much more! Saves time. Pos One System delivers highest-quality razor-sharp one-step repros on paper or film—day or night, Sundays and holidays. Without an inter- negative. In a single exposure. In normal room light. In minutes. Saves mo ney. Pos One System provides you with a one-step art reproduction center right where you are and no more staggering bills. Gives you just about anything you want in black and white just the way you want it. Saves headac hes. Pos One System is the fastest-acting "pain-reliever" on the market. No more worries about missing deadlines, out-of-focus stats, or waiting around nervously for pick-ups and deliv- eries and the whims of the messenger service. makes fu ll- c o lo r stats (as well as black and white) for: ad layouts, editorial dum- mies, client presentations; storyboards, library files, catalog sheets, exhibits and displays; product design, proof sheets of 35mm slides, product shots of actual 3-D objects. Fu ll- c o lo r transparent film for: audio-visual use, overhead projec- tuals, sales presentations; storyboards, vu-graphs, and on-air TV graphics. Saves headac hes. The PosColor System means an end to frustration, producing brilliant color stats in ordinary room light with no in-between negative. Superb quality produced economically, quickly. Saves time. The PosColor System elimi- nates needless waiting when you need a full-color stat now.lt makes color stats and full-color transparent film and black and white reproductions in 5 minutes. Saves mo ney. The PosColor System saves up to 80% on every color stat used. Color original to color print in one shot. sets the finest quality headline type, slants, distorts, expands and condenses, heightens and shortens; bounces and stag- gers, screens and shadows, interlocks and overlaps; mixes fonts, sets multiple lines, and offers the largest film font collec- tion of display typefaces available any- where. And much more! Saves mo ney. The Photo Typositor out- performs all competing typesetting and film lettering machines combined. Rapidly composes the highest quality headlines and subheads, captions and complete ads at a cost of pennies per word. Saves headac hes. The Photo Typositor has no equal. With our world-famous system, you can throw out your problems along with your migraines. You're relaxed, you're confident, you're smiling because you're in complete control. Saves time. The Photo Typositor provides you with your own headline factory and then some, letting you see what you get every step of the way. See for yourself what full-time quality control can mean. In money. In headaches. In time. c all u s to ll ftee • • 1 - 800- 327- 1 81 8 WEEKDAYS 9 TO5 EST FOR ADEMONSTRATION, INFLORIDA CALL COLLECT. (305) 972-5072 OR FILL OUT THIS COUPON. NNW mum   Now Eim NNE IMMI NMI MI )036 VISUAL GRAPHICS CORPORATION, 5701 N.W. 94th AVE. , TAMARAC, FLORIDA33321 NAME  TITLE  COMPANY   ADDRESS  CITY  STATE ZIP MIN 1IMEN =II NMWMMEI MN MINI rl = I. 1.1. IN= --MO IMO I Please! Show me how to get great stats, 1 color prints, and display type without • burning the midnight oil, going broke, or killing myself in the process. ^ I'd appreciate seeing a demonstration of: 1 K The Pos I System I K The PosColor System 1 K The Photo Typositor K I want to know more; please send 1 additional information on the item(s) checked. II= MI MN =II Mil NMNMMN 42 Frederic Ryder Company, Advertising Typographers, 500 N. Dearborn, Chicago 6061 0. (31 2) 467-71 1 7 43 "I only regret that I have but one type to give for my company." If you have ever said this to yourself, it's   Just a few of the Compugraphic choices : about time you looked into another meth-   • A comprehensive type library. od of preparing your copy for printed • Text composers with prices starting communications.   at $3,750. Sure, a typewriter can give you the characters of the alphabet along with a few   • Headline machines as low as $2,250. numbers and symbols. This is fine for   • Text composers that set our full type letters and inter-office memos. But that's   library— as low as $5,500. not all you are responsible for today! You   • Composers with many type styles and have to produce catalog sheets, newsletters,  sizes (32 to 96 fonts) from the secre- direct mail pieces, visuals and a lot of ma-  tarial-like keyboard—as low as $9,450 terials. You need a choice of more than one As you can see, the choice is yours with type to do so many different jobs. Compugraphic. Contact us today! You DO have a choice with Compu- graphic! A choice of hundreds ofquality text and display 404***TirillreeillA*41 1 4 typefaces to really carry your iv   SEND TO   —NI Compugraphic Corporation, 80 Industrial Way, Wilmington, MA 01 887 message home. Plus awide G Please K Have a sales representative call K Arrange a demonstration rio. choice of low-cost equip-  K Send text typeface specimens K Send display typeface specimens OR ment top roduce this   ,,, Send a package, including prices, for my applications •   type in-house •; fast,   Tir Plant Description K In-plant facility K Government facility economically and  II K Typesetter K Design Studio K Institutional graphics K Ad agency reliably.   1 . Current Composition Source K MT /SC K   Photocomp 1 1 .  K Typewriter   K Purchased outside lir   Name   /1 1 1 ' Title   Organization   31   1 1 .. City /State   Zip   lr z}ttettt)-47131 Telephone   lir 71 **efee ee4 CEP compugraphic Compugr aphic Cor por ation, 80 Industr ial Way, Wilmington, Massac husetts01 887 / Phone(61 7) 944- 6555 SALES AN D SERVICE OFFICES: • ATLANTIC: 1 901 Nor th Moor eStr eet, Rosslyn, Vir ginia 2 2 2 09, 1 7031 52 5- 1 678 • NEWYORK METRO: 2 Pennsylv ania Plaza, New Yor k, New Yor k 1 0001 , 1 2 1 2 ) 736- 4444 • SOUTHERN: 2 52 7 Lantr ac Cour t, Dec atur , Geor gia 30032 , (404) 981 - 9500 • CENTRAL: 52 7 WestGolf Road, Ar lington Heights, Illinois60005, 1 31 2 ) 640- 1 1 40 • MID- AMERICA: 1 1 503 West75th St., Shawnee, Kansas 662 1 4, 1 91 3) 2 68- 7400 • SOUTH CENTRAL: 442 4 Spr ingValley Rd., Dallas, Texas752 40, 1 2 1 41 661 - 8940 • PACIFIC: 2 908 Or egon Cour tBldg. G, Tor r anc e, Calif. 90503, 1 2 1 3)32 0- 5780 • NORTHWEST: Centennial Bldg., 2 5 1 02 nd Av e, N.E. Bellev ue, Washington 98004, 1 2 06) 454- 9798. 44 THE MARKET RESEARCH TOOKMONTHS. THE LAYOUT AND PHOTOGRAPHY TOOKWEEKS. THE COPY AND POLISHING TOOKDAYS. NOW GET THE TYPE SET FAST. ANY OLD W AY Your product's position is per- fect. The guy who came up with the concept must live right. Your research mavens have pointed to Fat City. The creative types made layouts crisp and bold: had artwork done that lives, wrote words that sing (not rum-da-dum-da-dum, but chick chicka chicka chick chick). The A.E.s presented it all with a logical rationale. Even the lawyers are happy. And now it's the last possible min- ute. Just enough time's left to screw the whole thing up. To set type with wide open spacing. Bad kerning. Wid- ows. Raggedy rag rights. But it doesn't have to be that way. You could have the ad set on an AlphaSette System. You could choose from over 2,000 fonts, including the ITC faces. You could get the kind of optically perfect type that has made AlphaSette the typographer's standard of quality. And, your typesetter could deliver your beautifully set rush job on time because of all the automatic features built into the AlphaSette system. Features like automatic justifi- cation controls, automatic letter- spacing and kerning controls, automatic font mixing, and, just about, automatic anything. Have heart. There's still time to get the next ad set right the first time. Ask your typographer if he has an AlphaSette System. If not, tell him to get one while you call the type crafts- man down the street who has already seen the Alpha-light. ALPHASETTE FROM ALPHATYPE The people whostill care about typographicquality 7500 McCormick Boulevard Skokie, Illinois 60076 Telephone: 31 2/675-721 0 45 Trautensilierna i ett tryckeri aro ingalunda en oviktig faktor, for trefnadens, ord och ekonomiens uppratthallande, och dock err det icke sallan som sorgliga erfa goras pa grund of det oforstand med hvilket kaster, formbraden och regaler tillv och forsaljas. Kaster som aro daligt hopkomna och af otillrackligt torrt tra, asa snart nog officinen extra kostnader i reparationer. Kasten bar vara af kvistfritt o torrt tra, kannas latt, och bottnen bor icke vara limmad men daremot val fastad med skrufvat serval rundt kanterna som den grofre midtbalken samt ytterligare med en skruf i kryssen mellan facken. Framstycket med rand bor. vara af ett fast traslag, sasom bjork eller rodbok samt heist for trefnadens skull fernissadt, det kan da afven vid eventuellt behov aftvattas. Bottenmellanlagget bor vara af godt tjockt papper, som icke upploses af vatten, och ligga fullkomligt slatt utan vagot Alla mellanvaggarne i kasten bora sitta stadigt och na sa hogt upp i urskarningen att de fylla densamma anda upp i dess langdriktning, sa att stycket icke kan lyfta sig fran bottnen efter flagon tids torkning. Kaster som icke uppfylla dessa fordri borde aldrig accepteras sasom fullgodt fabrikat, de blifva i langden alltfor dyra! T i ett tryckeri aro ingalunda en oviktig faktor, for trefnadens, ordningens och eko nomiens uppratthallande, och dock err det icke sallan som sorgliga erfarenheter goras pa grund af det oforstand med hvilket kaster, formbraden och regaler tills och forsaljas. Kaster som aro daligt hopkomna och af otillrackligt torrt tra, asa snart nog officinen extra kostnader i reparationer. Kasten bor vara af kvistfritt o torrt tra, kannas latt, och bottnen bar icke vara limmad men daremot val fastad med skrufvar serval rundt kanterna som den grofre midtbalken samt ytterligare med en skruf i kryssen mellan facken. Framstycket med rand bor vara af ett fast traslag, sasom bjork eller rodbok samt heist for trefnadens skull fernissadt, det kan da afven vid eventuellt behov aftvattas. Bottenmellanlagget bar vara af godt tjockt papper, som icke upploses af vatten, och ligga fullkomligt slatt utan vigor Alla mellanvaggarne i kasten bora sitta stadigt och na sa hogt upp i urskarningen att de fylla densamma anda upp i dess langdriktning, sa att stycket icke kan lyfta sig fran bottnen efter nagon tids torkning. Kaster som icke uppfylla dessa fordri borde aldrig accepteras sasom fullgodt fabrikat, de blifva i langden alltfor dyra! Trautensilierna i ett tryckeri aro ingalunda en oviktig faktor, for trefnadens, or och ekonomiens uppratthallande, och dock err det icke sallan som sorgliga erfa goras pa grund of det oforstand med hvilket kaster, formbraden och regaler tillv och forsaljas. Kaster som aro daligt hopkomna och af otillrackligt torrt tra, asamka snart nog officinen ext kostnader i reparationer. Kasten bor vara af kvistfritt och torrt tra, kannas latt, och bottnen box. icke vara limm men dfiremot val ffistad med skru serval rundt kanterna som den gr midtbalken samt ytterligare med en skruf i kryssen mellan facken Framstycket med rand bor vara af ett fastare traslag, sasom bjork eller rod samt heist for trefnadens skull fernissadt, det kan di afven vid eventuellt behov aftvfittas. Bottenmellanlagget bor vara af godt tjockt papper, som icke upploses af vatten, och ligga fullkomligt slfitt utan vigor. Alla mella i kasten bora sitta stadigt och na upp i urskarningen, att de fylla de anda upp i dess lfingdriktning, sa att stycket icke kan lyfta sig frfin bottnen efter nagon tids torkning. Kaster som icke uppfylla dessa fordringar bor aldrig accepteras sasom fullgodt fabrikat, de blifva i langden alltfor dyr Trfiutensilierna i ett tryckeri aro ingalunda en oviktig faktor, for trefnad ordningens och ekonomiens uppratthallande, och dock fir det icke salmi som sorgliga erfarenheter goras pi grund af det ofOrstind med hvilket ka formbrfiden och regaler tillverkas och forsfiljas. Kaster som aro diligt ho och af otillrfickligt torrt tra, asamka snart nog officinen extra kostnader i reparationer. Kasten bar vara af kvistfritt och torrt tra, kannas Litt, och bottnen bar icke vara limmad men dfiremot val fastad med skrufvar siva rundt kanterna som den grofre midtbalken samt ytterligare med en skruf i kryssen mellan facken. Framstycket med rand bar vara af ett fastare tress sasom bjork eller rodbok samt heist for trefnadens skull fernissadt, det kan afven vid eventuellt behov aftvattas. Bottenmellanlfigget bor. vara af godt tjockt papper, som icke upploses af vatten, och ligga fullkomligt slatt utan vigor. Alla mellanvfiggarne i kasten bora sitta stadigt och na sa hogt upp i urskarningen, att de fylla densamma anda upp i dess lfingdrikt sa att stycket icke kan lyfta sig frin bottnen efter nagon tids torkning. Li som icke uppfylla dessa fordringar borde aldrig accepteras sasom fullgo fabrikat, de blifva i lfingden alltfor dyra! Trfiutensilierna i ett tryckeri aro ingalunda en oviktig faktor, for trefnadens, ordningens och ekonomiens upprfitthillande, och dock fir det icke sallan som sorgliga erfarenheter go pfi grund af det oforstind med hvilket kaster, formbraden och regaler till och forsfiljas. Kaster som aro dfiligt hopkomna och af otillrackligt torrt tra, asamka snart nog officinen extra kostnader i reparationer. Kasten bor vara af kvistfritt och torrt tra, kfinnas latt, och bottnen box' icke vara lim men daremot val ffistad med skrufvar serval rundt kanterna som den grof lysta sig frdn bottnenof ternagontids torkning. Lddor somicke uppfylla dessafordr midtbalken samt ytterligare med en skruf i kryssen mellan facken. Fram borde aldrig accepteras sasomfullgodt fabri kat, de blifva i langdenalltfor dyra! Trd med rand bor vara af ett fastare traslag, sasom bjork eller rodbok samt he i ett tryckeri dro ingalunda en oviktig faktor, for trefnadens, ordningens ochekono for trefnadens skull fernissadt, det kan da afven vid eventuellt behov aft uppratthallande, ochdockdr det icke sallansomsorgliga erfarenheter goras pd gru Bottenmellanlfigget bor vara af godt tjockt papper, som icke upploses af af det oforstdndmedhvilket kaster, formbradenochregaler tillverkas ochforsaljas vatten, och ligga fullkomligt slfitt utan vigor. Alla mellanvfiggarne i kasf hvilket kaster, formbradenochregaler tillverkas ochfOrsdljas.Kaster som dro ddligt bora sitta stadigt och na sa hogt upp i urskfirningen, att de fylla AND densamm GOUDY OLDSTYLEWITH ITALIC.  BOLD  GOUDY EXTRABOLD TYPOGRAFEN AB, PYRAMIVAGEN 7, 1 71 2 3 SOLNA1 , TEL 08- 2 7 2 760 TYPOGRAFEN AB, GOTEBORG, TEL 031 - 1 1 01 33, 1 1 01 34 TYPOGRAFEN AB, MALMO, TEL 040- 1 1 2 6, 1 1 2 660 TY/PHO/GRAFEN D A/S, KOBENHAVN, TEL 01 - 1 5 1 1 34 NORSKETYPOGRAFEN AS, OSLOTLF. (02 )33 001 9, 33 2 0 01 OY SUOMEN TYPOGRAFI, HELSINKI PUH. 1 3695 50 Trautensilierna i ett tryckeri aro ingalunda en oviktig faktor, for trefnadens, °rani och ekonomiens uppratthallande, och dock ar det icke sallan som sorgliga erfarenh goras pa grund of det oforstand med hvilket kaster, formbraden och regaler tillverk och forsaljas. Kaster som aro daligt hopkomna och af otillrackligt torrt tra, asamka snart nog officinen extra kostnader i reparationer. Kasten bar vara af kvistfritt och t tra, kannas last, och bottnen bar icke vara limmad men daremot val fastad med sk rundt kanterna som den grofre midtbalken samt ytterligare med en skruf i kryssen facken. Framstycket med rand bar vara of ett fastare traslag, sasom bjork eller rodb - samt heist for trefnadens skull fernissadt, det kan da afven vid ett eventuellt beho Bottenmellanlagget bar vara af godt tjockt papper, som icke upploses af vatten, oc fullkomligt slatt utan Vigor. Alla mellanvaggarne i ladan bora sitta stadigt och na sa Mgt upp i urskarningen, att de fylla densamma anda upp i dess langdriktning, sa a stycket icke kan lyfta sig fran bottnen efter nagon tids torkning. Kaster som icke up dessa fordringar borde aldrig accepteras sasom fullgodt fabrikat, de blifva i langde dyra! Trautensilierna i ett tryckeri aro ingalunda en oviktig faktor, for trefnadens, o och ekonomiens uppratthallande, och dock dr det icke sallan som sorgliga erfarenh goras pa grund of det oforstand med hvilket kaster, formbraden och regaler tillverk och forsaljas. Kaster som aro daligt hopkomna och af otillrackligt torrt tra, asamka s nog officinen extra kostnader i reparationer. Kasten bar vara af kvistfritt och torrt tr kannas latt, och bottnen bar icke vara limmad men daremot val fastad med skrufv serval rundt kanterna som den grofre midtbalken samt ytterligare med en skruf i kry mellan facken. Framstycket med rand bar vara af ett fastare traslag, sasom bjork ell rodbok samt heist for trefnadens skull fernissadt, det kan da afven vid ett eventuell aftvattas. Bottenmellanlagget bar vara af godt tjockt papper, som icke upploses af v och ligga fullkomligt slatt utan vigor. Alla mellanvaggarne i ladan bora sitta stadigt och na sa hogt upp i urskarningen, att de fylla densamma anda upp i dess langdrikt sa att stycket icke kan lyfta sig fran bottnen efter nagon tids torkning. Kaster som ic uppfylla dessa fordringar borde aldrig accepteras sasom fullgodt fabrikat, de blifva i langden alltfor dyra! Trautensilierna i ett tryckeri aro ingalunda en oviktig faktor, f trefnadens, ordningens och ekonomiens uppratthallande, och dock dr det icke sail som sorgliga erfarenheter goras pa grund af det oforstand med hvilket kaster, form och regaler tillverkas och forsaljas. Kaster som aro daligt hopkomna och af otillrack torrt tra asamka snart nog officinen extra kostnader i reparationer. Kasten bar vara kannas latt, och bottnen bar icke vara limmad men daremot val fastad med s serval rundt kanterna som den grofre Utgaende fran mina originalteckningar har American Type Founders midtbalken samt ytterligare med en s i kryssen radian facken. Framstycket med rand bar vara af ett fastare trasla medrandbar vara af ett fastare trdsla sasombjork eller rodboksamt heist fa trefnadens skull fernissadt, det kan des dfvenvidett eventuellt behov aftvatt Bottenmellanlagget bar vara af godt tjockt papper, somicke upploses af vatten, oc ligga fullkomligt sldtt utanvigor. Alla mellanvaggarne iletdanbora sitta stadigt och nd set hogt uppi urskarningen, att de fylla densamma anda uppi dess langdriktning set att stycket icke kanlyf ta sig fran borrnen efter nagon tids torkning. Kaster somic uppfylla dessaf ordringar borde aldrig accepteras sasomfullgodt fabrikat, de blifva i langdenalltfor dyra! Trdutensilierna i ett tryckeri dro ingalunda en oviktig faktor for trefnadens, ordningens ochekonomiens uppratthallande, ochdockdr det icke s somsorgliga erfarenheter eras pd grund af det oforstandmedhvilket kaster, formb ochregaler tillverkas ochforsaljas. Kaster somdro&Mgt hopkomna ochaf otillrdc torrt trd, dsamka snart nog officinenextra kostnader i reparationer. Kasten bor vara af kvistfritt ochtorrt tra, kannas ldtt, ochbottnen bor icke vara limmadmen ddremo valfastadmedskrufvar savedrundt kanterna somden grOfre midtbalken samt ytte medenskruf i kryssen mellanfacken. Framstycket med rand bOr vara af ett fastare traslag, sasombjOrkeller reidboksamt heist for trefnadens skull fernissadt, det kan d dfvenvideventuellt behov aftvdttas. Bottenmellanlagget bor vara af godt tjockt pa som icke upploses af vatten, och ligga fullkomligt slatt utan vigor. Alla mellanvdgg i kastenbOra sitta stadigt ochnd set hogt upp i urskarningen, att de fylla densamma anda uppi dess langdriktning, sd att stycket icke kan lyfta sig fran bottnenof ter nag tids torkning. Lddor somicke uppfylla dessa fordringar borde aldrig accepteras sas fullgodt fabrikat, de blifva i ldngdenalltfor dyra! Trdutensilierna i ett tryckeri aro in en oviktig faktor, for trefnadens, ordningens ochekonomiens upprdtthdllande, oc dockdr det icke sallansomsorgliga erfarenheter eras pd grund af det oforstandme Kaster somero daligt hopkomna ochaf otillreci ligt torntre, dsamkasnart nog offic hopkomna ochaf otillrackligt torrt trd, dsamka snartnog officinenextra kostnader i reparationer. Kastenbor vara af kvistfritt ochtorrttra, kannas lamochbottnen bOr icke vara limmad men daremot val fastadmedskrufvar saved rundt kanterna somd grofre midtbalken samt ytterligare meden skruf i kryssen mellanfacken. Framstyc med rand bor vara af ett fastare traslag, sasombjorkellerrodbok samt heist for tref skull fernissadt, det kan des afvenvideventuellt behov aftvdttas. Bottenmellanldgg bOr vara af godt tjockt papper, som icke upploses af vatten, ochligga fullkomligt ski utanvdgor. Alla mellanvaggarne i kasten bora sitta stadigt ochndset hogt uppi ursk drningen att de fylla densamma dnda uppi dessliin gdrikt ning, sd austycket icke ka producerat halvfeta och feta versioner med kursiver och pa sa satt framstallt den s.k. typfamiljen Goudy. Men i detta projekt har jag ingen del och har heller inte fact nagon som heist kompensation for bruket av mitt namn'.'   FREDERIC W GOUDY 1 865 —1 947. 46 Introducing the Graphiteli m 430 System from Itek. Filmnegs, filmpositives, paper negs, andpaper positives from one versatile system. Mezzotints andspecial screens, too! freedom and creative control. Yet, it couldn't be simpler. Slip in any of 4 cartridges. For film negs. Paper From positives. Film positives. Or paper negs. Zoom the original to size and focus with automated controls. Down to 50%, up to 200% in one shot. Fast! start tofinish. Positionstars. Surprints. Overheads. Great results. Type repros. 47 Finally, there's a single, compact, completely auto- mated system to let you control more graphics jobs . . . with incredible ease. For design studios, ad agencies, and in-house graphics and printing depart- ments who can't wait for pick-ups and deliveries. For countless others who need speed and versatility, too. Introducing the Graphitek 430 System from Itek. It's ingenious. More than a camera .. . more than a processor. It's the surest way to mauve The viewing screen lets you see exactly what you're shooting. A whole new point of view! Dial sizes up to 1 2"x1 8". Snap in screens for halftones. Press the `cycle' button, and watch the 430 respond. Results in just 21/2 minutes. Dry. Sharp. Just what you want, when you want it. There's no dark- room labor, because there's no darkroom. All processing is self contained. See for yourself what full-time control can mean. The Graphitek 430 System. A brand new way of looking at graphics production and total systems economy. Get acquainted . . . and take charge. Graphic Products Marketing Services Department Box 509 Rochester, New York 1 4602 K Please have an Itek Sales Rep give me a call. I'd like to get my hands on the Graphitek 430 System. K I need more information right now. Send me the facts. I need the Graphitek 430 for: CITY   STATE Single-system chemistry. Youdon't change chemicals from jobtojob. N osurprises. Graphitek's viewing screen lets yousee exactlywhat you'll get. Itek The Graphitek 4 30System. What will we thinkof next? NAME COMPANY STREET TITLE TELEPHONE ZIP Gr aphitek" isa tr ademar k of Itek Cor por ation, Lexington, Mass. r 48 — w N '94 " I' %-,1 - k,1 a' N' e' '  sNIA t,nc %6WO' 7,,,,,r 06 .76:) ,v 7,,, ,, ,,4:07 ,01 , ,,, ,0600 ,:1 „ :77 ,7:60 , %I m\ : ` ; 01 ,,, N“ Mtn. :03,61 ,,, ,,,,,:„ 7, ,,,,,:1 ,,, ?, 1 1 t- Z- 5 :0:34,47 %' ' ' 6' ' '  Oso' sc ' Sjsp ' 04wUN' 1 °' '   dukI AN' A:::,:r ootl,tr . 0\m".8":46A...1 7: 400- 1 .°' 1 ' ."— s\' :‘\4:' 31 .\ \ .r . \\' ' c ' s":\ ‘w' . ::A:_1 ::XuP- I- - • :1 ?.' ' 7- - - ' " ::; - - - t6 ' j -- .' :"" \\ .' 4.4* ; :\:' ' ' ' 1 4 :: ‘r ovJaVat.'"- - , .us,,,,, \- 4- 6b1 )._.,„, ,05,5S• 54  ' ' ' ; ,„b, 54,0 amv"'''..,44 n.A.4'4 64'1 \ ° C..57") \t`P'—' 041 0.1 4•"" ."' c i, r3V00--,04,,V0.1 461 ,,,,„6, ,,v,--- 4,,,,,, ow kwortu,o..pw.a, c''''''.4, (1 '1 "°`, ‘to.3.\1 '."- \ O*1 ..I 41 0•AV‘ t 1 073,W?t,,, (1 " .0- 0,er t:076- , .. AM, ipolat,t,t).1 , Rip' - ' 01 ,0,0\ WY, W, 01 ,,, " .1 .4 1 1 1 4 1 • . - Alk2 Letr asetismor ethan letter ing. It' sPantone, mar ker s, filmand paper , Letr atone, Letr aline, Letr asign, CustomPr oduc tsand mor e. You c an makethemostof theLetr asetSystemby obtaininga c opy of thenew Letr aset Tec hnic al Handbook. Av ailableonly fr omLetr asetdealer s. Letraset Letr asetUSAInc . 33 New Br idgeRoad Ber genfield, New Jer sey 0762 1 (2 01 ) 387- 0700 PantoneInc .' sc hec k standar d ir ademar k for c olor r epr oduc tion, c olor data & c olor r epr o- duc tion mater ials. Another nev text face from JvIergenthaler 49 Where did vie find it? On transfer type. Designed for Lefreeset by Robert flewman. did vie find it? by looking ground. University Roman i8 everywhere; there are many mays f e Setting type today, and transfer type is one of them, When_ did Ve find it? The day before yesterday; photocompositon faces can_ be prepared and released rapidly Why did vie choose it? University Qoman is Et_ revival of 6orts, tt face with eSomething of the whimsical feeling that 6ometimes 6howed in_ the twenties attitude toward history. Lettering of this lend viould have been_ found in the old 6ilent_ movie palaces—even. in_ home of the more ornate eSilent titles. While not one of , the viorld's most important typefaces, this eSort of charm has a place and EL use. University Qomark, University Italic. * Mergenthaler _ Mergenthaler; Linotype, otempel, Itaas. * Reproduced By Permission Of Letraset International Limited. Typogr aphic Dev elopmentDiv ision, Mer genthaler LinotypeCompany, Mer genthaler Dr iv e, Plainv iew, N.Y. 1 1 803 5 0 Egyptian 505, an award winner This article is sponsored by the Mergenthaler Linotype Company The first prize in the competition was awarded to Egyptian 505 —a team effort of about 1 2 graphic design students from the Allgemeine Gewerbeschule (AGS) in Basel, Switzerland, who were organized and directed by their Professor Andre Garden Professor Giirtler achieved three goals with this project: a successful collaboration between students and teacher; the design of a finished alphabet for the students' portfolio; and international recognition for them all, as publicity from VGC was sent out about the Competition results. At the outset of the project, the team investigated two possible solutions: a straight square-serifed Egyptian and an Egyptian with a bracketed serif (sometimes called a Clarendon). After the initial investigation, the team chose the bracketed serif for execution, recognizing it as the most legible text form. They then determined a standard, or "control letterform" for the alphabet. Each student designed a lower case "n" and "o". The drawings were done with an x-height of approximately three inches; legibility and clarity were evaluated by reviewing the designs at 24 point. Then, one "n" and "o" was selected and established as the standard. The remainder of the alphabet was given to team members who worked individually on some letters, and in groups on others. To insure uniformity, the entire team had to work in close harmony throughout the project. Egyptian 505—named for classroom 505 at the AGS—took four months to complete, with each member of the team committed to working at it for four hours per week in class. Since the original release of the Roman weight of Egyptian 505, three additional weights have been added to the family. Available on the Phototypositor since 1 966, the full series of Egyptian 505 is now offered in a complete range of sizes, both text and display, on Mergenthaler's V-I-P and Linocomp. Today's typography includes faces from a variety of sources, most unthinkable ten years ago—and Mergenthaler, Linotype, Stempel, Haas now reaches out to all of them. In the last six months we have released faces from transfer type, Letraset University Roman; from conventional foundries, ATF Americana; truly original designs, Frutiger and new weights of Helvetica; all the new ITC faces, ITC Zapf Book, ITC Kabel and ITC Eras; faces from other composing machine manufacturers, Monotype Gill Sans, Perpetua and Grotesques; and now this student design originally released for photo headlines, VGC Egyptian 505. All of these designs are available to you, the art director, at more than seventy V-I-P shops across the United States, with more to come. This text is set in 1 0 on 1 1 Egyptian 505 with Egyptian 505 Bold title. It was set on a Mergenthaler V-I-P with ATP 1 /54, using track 1 and automatic character kerning with hung punctuation and ligature generation. New. Now available. Mergenthaler, Linotype, Stempel, Haas. Ten years ago Visual Graphics Corporation (VGC) sponsored an International Typeface Design Competition. On June 1 4, 1 966, the jury of 1 5 leading designers met in New York City to select the award-winning typeface designs from the 770 designs submitted from over 30 different countries. The panel of jurors included Arnold Bank, Lester Beall, Lucian Bernhard, Will Burtin, Louis Dorfsman, Alvin Eisenman, Robert Jones, Herb Lubalin, Paul Rand, Klaus Schmidt, Bradbury Thompson, and Carl Zahn. Aaron Burns directed and coordinated the competition. For the third time: the coordinated, uniform perfection of computer spaced typography, from typesetters located in every major city, all across the country. a standard set of kerned character combinations; hung punctuation; a choice of three levels of fit: normal, tight, very tight with the large sizes automatically adjusted; a standard system of specifying computerized spacing in use all across the country; the finest programmed typography available today without paying for expensive operator intervention. To receive our booklet showing you how to specify computerized spacing on Mergenthaler's V-I-P complete the formbelow and return it to us. Typographic Development Division Mergenthaler Linotype Company Mergenthaler Drive Plainview, New York 1 1 803 or call u%. area code 51 6, 752-4022 or 752-4023 Mergenthaler Eltra c ompany 51 It's happening all across the country for the third time. • • • • Egyptian 505 Light Egyptian 505 Egyptian 505 Medium Egyptian 505 Bold Wherever good type is set on the Mergenthaler V-I-P you may find Typography Plus, Mergenthaler's new subscription plan, bringing good new faces to your typesetter on the date of release: •• • Gr otesque1 2 6 wi th Itali c Grotesque 21 5 wi th Itali c Grotesque 216 with Italic • ITC Er asLight ITC Eras Book ITC Eras Medium ITC Eras Demi ITC Eras Bold ITC Eras Ultra • • Univer8ity Roman UniveresityItalic This month: • Licensed from ITC. Eras was the result of a design collaboration between Albert Boton and Albert Hollenstein. This large x-height gothic has been published by ITC and is now available on the Mergenthaler V-I-P. • • Licensed from Letraset. University, designed by Robert Newman, is the perfect sample of charm and whimsy—a revival of the ambiance of the twenties, available on the Mergenthaler V-I-P. • • • Licensed from The Monotype Corporation, London. Over 70 years old in concept, the Monotype Grotesques are the premiere grotesques of the 50's and now available on the Mergenthaler V-I-P. • • • • Licensed from VGC. Egyptian 505, winner of the 1 966 VGC sponsored International Typeface Design Competition, is a team design effort from the AGS, Basel, Switzerland, now available in four weights on the Mergenthaler V-I-P. all in a complete range of text and display sizes New Now available. Mergenthaler, Linotype, Stempel, Haas. Name.   Company.   Address- Telephone.   I am also interested in using the new faces: Egyptian 505 series ITC Eras series Monotype Grotesque series University series 52 T h i s a r t ic le i s s p o n s o r e d b y t h e M e r g e n t h a le r L in o t y p e C o m p a n y Grot Gro ttw o o nef tveandtwo o nesix Gro tesqu e Gr otesq uetwo onefiv eandtwoonesix In 1 965,   vvhen I showed my portfolio to F. H• it at all, . K. I-Ienrion in London, But in a Monotype News Letter, about fifteen years ago, Phyllis I-Iandover   the only typefaces that apes peared in   were   Grotesque 21 5 and Z6. At   the Henrion   ign Studio, we used to talk about them as Grottwoonefiveandtwoonesix as ifs And, to   rd with another word   o notyp e. him out naturally called John Dreyfus—scholar and type advisor to Mono- type —for the background on them. I got him at his home London: "Frightfully sorry, Lorna,twoo " he said, "but I haven't the faintest idea who designed Grotesquenefiveandtwooesix. So, when Mergenthaler decided to develop the   in wrote a rather good article on the history of Gro tesqu e • See if you can find a copy."   know their origin: for corn   Grotesque was the generic term used for sans serif faces. This was, and is still, the case in Fortunately, Matthew Carter had mailed one to me. German today. us, Grotesquetwoonefiveandtwoonesix was synonymous When I read it, I realized why even a scholar like Dreyfus didn't William Thorowgood, in a supplement to his type specimen   u e. book, showed an unserified design which he named Gr o t es q serif in 1 81 6, and when, decades later, Stephenson Blalce According to 1 -1 andover, the first time the word appeared was in 1 832• (then Blake, Garnett & Co.) they renamed apt Grotesque also. more legible than Fraktur—quickly popularized the "Gr n tesk- schrliten." Handover mentions that Mergenthaler' s ovv— D Stempel AG of Frankfu rt — was one of the foundries that had Groteskschriften in a large number of weights and sizes, by At the turn of the century, the German   he to find laces the early nineteen hundreds. William Caslon (the f they were one word. Fourth) had desig   bought Fou   Grotesq ues,I and betwee n _ the ned a sans two world wars, England and Germany apparently d 1 -landover writes that in   uring— di d not go the periods d out of their way to share the "secrets" of their new typeface The British Monotype Corporation, founded at the beginning of the twentieth century, had cut, as its fourth typeface, an alpha- design developments with each other. bet of unseriffed capitals. In 1 926 the Corporation cut the 21 5 Ni e an w hi\ e, the Germans were philosophizing on letters without serifs. The princip al   a catalyst being the Bauhaus—a training and 21 6 series• school for architects and designers which was founded in 1 91 9 The bask principle in all Bauhaus work was "{unction lism" by the architect, Walter Groplus. —simple, clinical forms without decoration. To thetypogr apher , this meant a letter form uncluttered bY serifs or variations in stroke width This school and its philosophies had a profound influence on the United States and Switzerland , particularly in the 1 930's when the Nazi destruction of the Bauhaus drove many members of the school to find refuge in these two countries. • from enthaler, Lino type,Stempel, Haas Merg The Swiss"Graphiker's" (graphic designer's) fine use of grotesque faces, and the excellence of the Swiss presswork, were fundamental to the success of these faces. They became evenore popular m book,   t after the publication of Jan Tschichold's innovative D ie 1 4 eu e Typo graphie,   or trend setters in 1 92B—which was itself se in a light grotesque. In fact, grotesques were used so extensively by the Swiss (Max Bill was one of the maj ) lover's that the "New Typography"—and here I depart from Han work—was ultimately known as "Swiss T ypography." In the 1 950's, the most popular grotesques were the Monotyp "Swiss text faces, e 21 5 and 21 6 series which virtually symbolized fine 'Typography." Designers, using 21 5 and 21 6 mainly as combined them with display sizes of Neue Haas   only — later renamed k-kelvetica. made the Grotesque This is the first time that Mergenthaler has series available on its photocomposing equipment worldwide. And for perfectionist designers who care about the art of typography and to whom Gro tesqu e has always stood as a sym s of the bol of this "art," it can now be m. ify the V - I - P, and t combined with the refinement Advanced Typography Progra (Spec he ATP is the software that gives you multip I le options of letter o do it. acing, kerning, and hung punctuation.) f you've got an oppor- tunity to experiment with type, these are the laces with vvhich t V1 r I t t e n - \- - designed by Lo rna Shanks P. M. Handover, published in the Monotype NeWs ter in March 1 963. The reference material for this article was Grotesque Let Letters" b y Grotesque 21 5 Ro man and Italic, Z6 Ro man a nd Itald Typography ing ic and 1 26 ROMan and Italic on V - I - P together with the Advance Program Normal, Tight, and Tighter spacing options with kern and   hung punctuation refinements. The Gro tesqu e Series 117 31(11)111 vtiar r ( typo graphic ) hifo rmatio n Kerning Yo Te LY YA Normal Yo Te LY YA Minus 1 unit Yo Te LY YA Minus 2 units Yo Te LY YA Minus 3 units Kerning is the reduction of space between certain characters achieved by moving a letter to the left so it will fill in any undesirable open space caused by the shape of the letter preceding it. Used with care and good taste, kerning can greatly improve letterfit and the overall evenness and read- ability of a line of type, particularly in display sizes. Letter combinations such as Yo, Te, LY, YA and certain others are generally improved by kerning. The designer should be aware of these problem combinations and, if the particular job warrants, should include "kern where necessary" as part of his instructions when specifying the type. Kerning is not always easy. With conventional type, the metal body itself must be cut (notched or mortised) in order to be kerned, and this can be quite expensive. To avoid this cost, kerning is usually done by the designer, with a razor blade, on the repro proof. In phototypesetting, of course, type can be set with greater flexibility; the designer, however, should inform the typesetter of his esthetic preferences and authorize the typesetter to "kern where necessary:' On some sophisticated equipment, such kerning combinations are already a part of computer programs. Above are four samples showing the same letter combina- tions set normal and with various degrees of kerning. Remember, when specifying kerning, that not all letter combinations require the same amount of kerning and that kerning, in relation to the type size, will vary according to the phototypesetting equipment. NOTE: Kerning is selective minus-letterspacing and should not be confused with overall minus-letterspacing in which a uniform fraction of space is removed between letters in order to get a tighter overall appearance. Even when overall minus leading is specified, kerning may still be desirable. Adapted from James Craig's Production for the Graphic Designer rtt; COOKS rTA tt=i ' CIRCLEI.1 4\. I L. 5 3 OER l el, 4# o vER 4,-4, .% ,( 4$ oscER l e ftict4  < < % 0% /\/ N 0 CORP A) r 4 9CI PPPp / 1 1 2 ZZ C:1 Ca CTI1 \ 1 4' ...' kkC' ' 'C' • R' ?' 99' % ' ‘... 4 IA C3 Ni z. - - ....a„, ' '' -13  r...1 N— &- 1 ,,...) if-ZNI r-ri%,66'6,a8este,•\/ 7.1 P8/0 /01 1 0 liPiljo4  eZZZZII 1•11110 lip% 4' ,-,„ 7.1pily.„ 11PRi* .74; 4tr 17:.k 4 v7)0191ott:ZIP//to 4 4 rigiN rA `4•2 19 intiggpA('  el yvvIIIIVA = 19: milt:1-tr'   INNOVATIVE ENCLOSURES Cook' sCir c le is pr esently av ailablein four styles, solid (in blac k or white) and outline, with c har ac ter sfac ingin or outof thec entr al point. Eac h stylec omesin a two- sheetset with sev en differ enttypesizesper sheet. Thisnew typestyleisav ailableexc lusiv ely fr omZipatone. Seeyour dealer or wr ite.. /ipal - onenc 1 50 Fond Lcnc Illinois601 62 1 1 MODELS TOCHOOSEFROM UPTO1 8 x 2 4. the au o stat system 5 4 HOW THE *#Z! DOES HE JUSTIFY $250 IN STATS WHEN WE CAN OWN A DUOSTAT MACHINE FOR $125*A MONTH HE CAN'T Not when times are so rough and DuoStat is so easy. Like an office copier; dial a size and push a few buttons. In seconds, automatically and without plumbing or darkroom, repro- quality razor sharp stats or veloxes enlarged or reduced from 255% to 40% are made. A single photographic solution with no critical temperature control and no warm-up time means you need only a regular 20 amp electrical outlet. Imagine, an 8x1 0 stat o r velo x fo r o nly 32 c ents and... no mo re missed deadlines. Based on indiv idual c r editappr ov al and pr ev ailingleasingter ms. Offices in principal cities Nationwide . P. 0. Box 1 87 — 1 1 4 Beac h St., Roc kaway, N. J. 07866Phone(2 01 ) 62 5- 4400 DIAL TOLL FREE ( 800) 631 - 935 3 5 5 Geetype Go o type Geotype Ge• All r ightc lass. What' sthe amper sand for ? Sittingther ein the middleof thepagewith its legsc r ossed, lookingold- fashioned. Whaf sitgotto do with Geotype? You ther e, with theT- squar e behind your ear , speak up. Itmeans —and mor e—you say. And mor ewhat? And mor ec har ac ter sper sheet. 2 2 % mor ethan theother guys. Good, whatelse? And mor eeasy to use. Guidelines pr inted r ighton thesheet. Guar anteed shelf- life. Won' tc r ac k or br eak up bec auseof a mor e stablec ar r ier sheet. Won' tknoc k off, hasa low- tak adhesiv e you hav eto lean into. Good stuff. Whatelse. Ifsmor eheat- r esistanttoo. Independenttestspr ov ethat Geotype' sr esultsar ebest. Can be used for ozalid or white- pr int r epr oduc tion systems. Coated paper s don' thav eto bespr ayed. Doesn' tneed fixing. Whatmor edo you need? Itc ostslessthan our major c ompetitor . Av ailablein 1 65 fac es, blac k and white. And thewhiteis whiter . Tr ue! whiter and mor eopaque. And ther e' sstill mor e. Mor epr oduc ts. Geoc olor easy- to- c utac etate c olor film. Geotoneself- adhesiv e c ut- outshadingfilm. Geosign self- adhesiv ev inyl letter ing. Geoex dr y tr ansfer shadingand textur e sheets. Geotapec har tingtapes. And mor eto c ome? Mor efac es expec ted soon. Maybeweshould hav ec alled it Geotypeplus. gives us great pleasure loannounce Mese newfin2eersions ofoganno1 1 1 2cemenl faces. (-7.h'e‘ yare ..key6-oaroleorina earielyolusefufsizes. p our inaruiries are repesleoi: lo Mjb M J BA U IVIWEL L - lYPOGRAPHY 461 81 H AVENUE, NEW YORK, NY1 3001 (21 2) 868-051 5 Autturitil awitatitiv Opt 9- innouncthy)Cupbal6crip . qnmounri ng Ade 9 1 4 Cfcripl nouneing Ensruvcrs Intine Announcin . Li' Tyro Roman r nv  1 1 - in uncut, . \ to man Lime (D) yip Almonmeling 7p lyr o Roman ()pen 0 ilyroRo  Shad ci 1 1 ii astir xt ANNOUNCING GOIRVINA CLINE 'O1 ) nnourvaing a Ittoincd pr o 1 1 CINL U NCI Ad TypeSac r amento, Calif. Akr on TypesettingCo. Akr on, Ohio Gr aphic sRoc kfor d, Illinois Ather ton' sAdv er tisingTypogr aphy Palo Alto, Calif. Baumwell Gr aphic sNew Yor k, New Yor k Bohme& Blinkmann Inc . Clev eland, Ohio Buffalo TypeSer v ic eCor p. Buffalo, New Yor k Centr al Tr adePlantGr and Rapids,Mic higan Centr al TypesettingPhiladelphia, Penn. Centr al TypesettingSan Diego, Calif. Centur y Typogr apher sTampa, Flor ida Composition Cor p. Albany, New Yor k Computer TypesettingCo. Inc . San Antonio, Texas For stall GeotypeNew Or leans, Louisiana Fr anklin TypeBoston, Mass. Gr aphic Ar tsMemphis, Tenn. Gr aphic Composition Ser v ic eInc . Miami, Flor ida Gr aphic Pr oduc tsHollywood, Calif. Har loweTypogr aphy Inc . Washington, D.C. Hi- Speed/Adv er tisingTypogr aphy LosAngeles, Calif. Hoflund Gr aphic sDenv er , Color ado HolmesTypogr aphy Inc . San Jose, Calif. Inter stateGr aphic sInc . Char lotte, N. Car olina Distr ibuted by theseleadingtypogr apher s: lb gum Er e\1 1 lr uti ; I, Jaggar s, Chiles& Stov all Inc . Dallas, Texas Mats& MoldsInc . Dayton, Ohio Mer c ur y Typogr aphy Inc . San Fr anc isc o, Calif. Nev ada Gr aphic sLasVegas, Nev ada Pear son Typogr apher s- Ber keley, Illinois ReaysTypogr aphic Ser v ic e Albuquer que, New Mexic o P.G.R. Assoc iatesInc . Roc hester , New Yor k Edwin H. Stuar tInc . Pittsbur gh, Penn. Tec hnic al Ser v ic eand Supply Co. SaltLakeCity, Utah. Tr adeComposition Inc . Spr ingfield, Mass. Tr adetyper sInc . Houston, Texas TheTypeHouseMinneapolis, Minnesota TheTypeHouseSeattle, Washington Typo Gr aphic sOr lando, Flor ida Typogr aphy Shop Atlanta, Geor gia Typoser v ic eCor p. Indianapolis, Indiana Typo- SetInc . Cinc innati, Ohio Updikeand Johnson Inc . Por tland, Or egon Wester n Headliner sSt. Louis, Missour i Wester n TypesettingCo. Chic ago, Illinois VVestemTypesettingCo. KansasCity, Missour i Wester n TypesettingCo. Omaha, Nebr aska WestypeFr esno, Calif. Yaeger TypesettingCo. Inc . Colombus, Ohio Geotypeof Wisc onsin Milwaukee, Wisc onsin ANNOUNCING LITHO LIGHT ANNOUNCING LITHO BOLD s. fl n nou nCI nGFLRPPEQ GOTHIC RUN- AROUND Thisiswhatyour c har ac ter sc an do with our c har ac ter s. Thisiswhatyour c har ac - ter sc an do with our c har ac ter s. Thisis whatyour c har ac ter sc an do with our c har ac ter s. Thisiswhatyour c har ac ter s c an do with our c har ac ter s. Thisiswhat your c har ac ter sc an do with our c har ac ter s. Thisiswhatyour c har ac ter sc an do with our c har ac ter s. Thisiswhatyour c har - ac ter sc an do with our c har ac ter s. Thisiswhatyour c har ac ter s c an do with our c har ac ter s. Thisiswhatyour c har ac ter sc an do with our c har ac ter s. Thisiswhatyour c har ac ter sc an do with our c har ac ter s. Thisiswhatyour c har ac ter sc an do with our c har ac ter s. Thisiswhatyour c har ac - ter sc an do with our c har ac ter s. Thisis whatyour c har ac ter sc an do with our c har ac ter s. Thisiswhatyour c har ac ter s c an do with our c har ac ter s. Thisiswhat your c har ac ter sc an do with our c har ac LETTERSPACING This is what your characters can do with our characters. This is what your characters can do with our characters. This is what your characters candowith our characters. CHANGEPOINTSIZEIN ALINE This is whatYOUr characters c an do with OUrcharacters. This isWhat your c harac ters can 56   THIS IS WHAT YOUR CHARACTERS CAN DO WITH OUR CHARACTERS. AUTOMATICRAGGEDRIGHT, JUSTIFICATION, & RAGGEDLEFT This is what your characters can do with our characters. This is what your characters can do with our characters. This is what your characters can do with our characters. This This is what your characters can do with our characters. This is what your characters can do with our characters. This is what your char- acters can do with our characters. This is what This is what your characters can do with our characters. This is what your characters can do with our characters. This is what your characters can do with our characters. FONTCHANGES - FOURFACES IN ALINE This is what yo u r characters c an do with our c har- ac ters. Thi s i s what yo u r cha r a c- te r s c an do with BLOWUP36PT. TO72 PT. This is wh c harac te This char CENTERING This is what yo u r c harac ters c an do with o u r c harac ters. This is what yo u r c harac ters c an do with o u r c harac ters. All type for this ad was set on a Mergenthaler Linocomp.The samples on This page were set In: ITCTiffany, ITCSerif Gothic , ac Souvenir, Avant Garde, ITCBauhaus, and Korinna All new ITC text typefaces announced in this U&Ic could be in your studio within two weeks of seeing this ad. If you had a Mergenthaler Linocomp. Linocomp. A table top typesetter. Mergenthaler Eltra COMP.), Mergenthaler Linotype Company Mergenthaler Drive Plainview, N.Y. 11803 MERGENTHALER ^ INOCOMP 1117 3701011 for your (typographic) information Cursive? Italic? Oblique? As far as the designer is concerned, the terms "italic," "cursive," and"oblique" all meanthe same thing: the slantedversionof a giventypeface. (JANSONITALIC) Slantedtype wasfirst usedinlatefifteenth- centuryItaly—hence the name "italic." This is still the preferredterminEnglish- speaking countries andinFrance. Most other countries, however; use the term "cursive," whichmeans running orflowing. (ITCBOOKMANLIGHT ITALIC) The term "ob li que"is most commonly associated wi th the Futurafamily of type- faces. In thi s case, ob li que i s used rather than italic or cursive because the designer, Paul Renner, felt that the Futurai tali c was not a "true"i tali c and that i t should have a name that more accurately described i t. So he called i t "ob li que: ' whi c h si mply means slanted. (FUTURAOBLIQUE) It shouldbe borne inmind, however, that there is a growing tendency inAmerica toapplythe term"oblique" toa slantedface whose lowercase follows, letter-for-letter, the shape of its upright mate. Franklin, Optima, Univers andtraditional metal Bookmanare goodexamples of this. (BOOKMANITALIC. METAL) Adapted from James Craig's Production for the Graphic Designer Nina? Kimberly-Clark Neenah, WI 54956 Neenah Paper Division Neenah Bond and other fine papers 1 want to thank the copywriter, the account person, our production man, the media guy, my wife ... and Neenah. 57 We can give you the same standards of excellence, the same quick service, (Example: We can set \ a 32 page annual report in one day), and the same huge selection of type you'll find in places like NewYork, Chicago and Los Angeles. We just don't have their astronomical prices. So even if you work in New York, you can save your client money without sacrificing quality by having your type set in the South. In Miami. By Birmy. 2244 N.W. 21 Terrace, Miami, Fla. 331 42 (305) 633-5241 Send for specimen book or call collect. ITC BOOKLETS FOR SALE 38 Ala:RICAN TYPEWRM1 R 4A ISA G 5 T TIFILNY U&LC BACK COPIES FOR SALE my   UnitPr ic eTotal These handsomely designed, colorful ITC specimen booklets and back copies of U&Ic are available for your personal useand collection. To obtain them, just complete this order form and mail it to us. All orders must be accompanied by a remittance. No CODs, or purchase orders without remittances, can be handled. Please make checks payable to ITC. ITCBOOKLETS:  American Typewriter  750    Avant Garde Gothic  750    Avant Garde Gothic Cond 750    Friz Quadrate  75C   Korinna  750    Lubalin Graph  750    Newtext  750    Serif Gothic  750    Souvenir  750    Tiffany  750   Ulric BACK COPIES:  U&Ic, Vol. 2, No. 1  $1 50    U&Ic, Vol. 2, No 2  $1 50    U&Ic, Vol. 2, No. 3  $1 .50    U&Ic, Vol. 2, No. 4  $1 50    U&Ic, Vol. 3, No. 1  $1 .50   Vol. 3 No. 2  $1 50     Total order     Addpostage for booklets only    50   NewYork residents addstate soles tax     Remittance enclosed   International Typeface Corporation 216 East 451h Street New York, N.Y. 10017 Name Company Title Street Address City State   Zip Code Country —J BUSINESS CLASSIFICATION (Check one only) (a)  Printer (Commercial, forms, etc.) (b)  Typesetting, Composing (c)  Advertising Agency, Art Studio, Design (d)  Newspaper, Magazine (e)  Book Publisher (f)  Packaging (g)  Internal Printing (not for resale) (h)  Education (i)  Libraries 0)  Government (k)  Corporation advertising, design, promotion ( 11)   Student (1 0)  Other   MY PRIMARY JOB FUNCTION IS: (Check one only) (n)  Artist, Illustrator (o)  Art Director, Creative Director (p)  Pasteup Artist (q)  Type Director (r)  Graphic Designer (s)  Advertising Manager, Sales Promotion Manager ( t)  Production Manager (u)  Printing Buyer, Purchasing Agent (v)  Principal, Officer (w)  Other   IF YOU ARE NOT NOW RECEIVING U&lc AND WOULD LIKE TO BE PLACED ON OUR MAILING LIST, PLEASE COMPLETE THE INFORMATION ON THIS FORM AND MAIL TO U&LC, 216 EAST 4 STREET, NEW YORK, N.Y. 10017. NAME TITLE COMPANY NUMBEROF PERSONS EMPLOYED IN YOURORGANIZATION (1)  1 -9 ( 2)  1 0-1 9 ( 3)  20-49 ( 4)  50-99 ( 5 )  1 00-249 ( 6)  250 and  over ADDRESS   CITY   STATE ZIP SIGNATURE easyc o at 9 waxer A definite asset for your busy production area. TheEasyc oat9Waxer isan immediatetimesav er for your busy pr oduc tion depar tment. Itquic kly and easily appliesa pr ec ise, smooth c oatingof adhesiv ewax to phototypesetting, and c ommon pasteup mater ials. TheEasyc oat9Waxer hasther eliability and dur ability needed for high- v olumepr oduc tion applic ations. Itsc ompac t sizeallowsoptimumplac ementfor maximumusageby all per sonnel, and itslow pr ic eeasily justifieshav ingoneateac h wor k station. Whatev er your r equir ements, theEasyc oat9assur estotal sur fac ec ov er agewithoutmar r ing, str eaking, or show thr ough. TheEasyc oat9isshipped assembled, and r eady for usein lessthan 1 5 minutes. Inc luded ar e: 1 0 c akesof Easyc oatwax, bur nishingtool, and a 1 2 - pageinstr uc tion booklet. TheEasyc oat9ismanufac tur ed, sold, and ser v ic ed by Cor n- pugr aphic Cor por ation — leader in thegr aphic ar tsindustr y. For special introductory offer, call 800-225-1626 In Massachusetts only 800-752-0104 Cg compugraphic Suppliesand Ac c essor iesDiv ision 2 0 Commer c eWay, Wobur n, MA01 801 The new bo o k fo r all graphic c o mmu nic ato rs has arrived. ItisTypogr aphy: how to makeitmost legible, by Rolf F. Rehe. Thisc ar efully r esear c hed r efer enc e book pr ov idesguidelinesand r ec ommen- dationsfor themostlegibleapplic ation of typogr aphy. Easily under standable, illustr ated, pr ac tic al. Questionsmostoften asked about typogr aphy ar eanswer ed: Whattypesize should beused? Whatweightof type? Ser if or sans- ser if type? What' sthebest leadingfor texttype? Whatlinewidth? Author Rolf F. Rehe, pr ofessor at Indiana/Pur dueUniv er sity and exper i- enc ed typogr apher , c ompiled and inter pr eted ov er 1 80 legibility studies. Fr omr esear c h findings, pr ac tic al r ec om- mendationsar efor med and pr esented. Itisthebook for all concerned with mor eeffec tiv ec ommunic ation. Instr uc tiv e for thebeginner . Nec essar y for theexper t. 80 pages, softc ov er , $5.50. Or der now—and makeyour next gr aphic pr ojec tmor elegible. WlijograPhY: how to make it most Design Research International P.O. Box 27 Carmel, Ind. 46032 Pleasesend meTypogr aphy: how to makeitmost legibleby Rolf F. Rehe. Ac hec k for $6.1 0 (inc ludes shippingc har ges) isenc losed. Name Address City (please print) State Zip 59 Can a company that has been printing shading films since 1926 produce exceptional dry transfer lettering sheets today? YOU BET! Zipato ne has spent the last fifteen years in extensive researc h to pro du c e a lettering sheet who se ink, adhesive and c arrier sheet are o f the exc eptio nal qu ality we o ffer yo u to day. To satisfy the demanding needs o f designers, Zipato ne c o mbines these qu alities with a selec tio n o f o ver 200 styles. We have c arefu lly c ho sen c o ntempo rary and dec o rative styles to enhanc e o u r line o f mo re po pu lar and well established typefac es. Ou r new c o nc ept in lettering sheets, Co o k's Circ le°, is the beginning o f a trend to ward dry transfer lettering that c reates new avenu es o f applic atio n. Try us and see what we mean ! /1 1 OC bno Inc 1 50 Fend Lane, Hiltic e, Illinois601 62 Only the following manufacturers of equipment and materials are licensed to market ITC typefaces: ADDRESSOGRAPH MULTIGRAPH CORPORATIONNARITYPER DIVISION ALPHATYPE CORPORATION AMERICAN TYPE FOUNDERS CO., INC. ARTYPE, INC. AUTOLOGIC, INC. H. BERTHOLDAG J. BOBST ET FILS SA DR. BOGER PHOTOSATZ GmbH CELLO•TAKMFG., INC. CHARTPAK COMPUGRAPHICCORPORATION DEANS GEOGRAPHICS LTD. DYMO BELGIUMN.V. DYMO GRAPHICSYSTEMS, INC. FOTOSTAR INTERNATIONAL FILMOTYPE HARRIS CORPORATION ITEKCORPORATION LETRASET INTERNATIONAL, LIMITED LETRASET U.S.A., INC. MECANORMA MERGENTHALER LINOTYPE COMPANY MGDGRAPHICSYSTEMS 3MCOMPANY THE MONOTYPE CORPORATION LIMITED PHOTOVISION OF CALIFORNIA, INC. PRESSURE GRAPHICS, INC. PROTYPE, INC. D. STEMPEL AG TACTYPE, INC. TECHNOGRAPHICS/FILM FONTS VISUAL GRAPHICS CORPORATION ZIPATONE, INC. For further information, write or call: International Typeface Corporation, 216 East 45th Street New York, New York 10017 (212) 371-0699 LICENSED 60 Unbelievable: But True: a LARGE 10"x 15" skeet DRY TRANSFER LETTERING BBCCCCDDDDEEEEEE; EEEEEEEFFFFGGGG; _ g-g-g-HHHHHIIIIIIIIJ JEKKKKKKIcK&I_ , LL LLLMMMMNNNNNNN Nkkl\LNP00 000-00 P? PPPQQ_ RRRRRRRRR R,KM,SSSSSSS8SSSS TTTTTTTT GIIVI' GrU# VwUwUxUxUyVyVyVyrz z1 V1 /4f: a .a r tf amaenenenetAiitirnime c . ig z EiEC6CEC 6 0_ 001 3.1 3 4t 1 .1 .1 1 1 1 222 33344- AW 6`?: 666771 88- $1 .00 This sheet is comparable to brands selling for $3.50 -$4.00 and $4.58 per sheet. Sharp clear printing (suitable for reproduction) and a heat resistant adhesive compliment our Unbelievable low price. Join the thousands of satisfied customers already using "PRESS - SURE LETTERING". Available only from PRESSURE GRAPHICS (not available through dealers), write for flee samples and complete typeface listing   Buy Direct and Save: Pressure Graphics, Inc. 1 72 5 Ar mitageCour t Addison, Illinois601 01 (312) 620-6900 San Eranc isc o . We wo n't let a little water c o me between u s. Spartan Typo graphers o ffers yo u great advertising typo graphy, su per typefac es, versatile V- I- P pho to typesetting, exc eptio nal day and night servic e and twenty- five years o f experienc e. We kno w yo u 're lo o king fo r great typo graphy to matc h yo u r great ideas. And we c an help. Give u s a c all. Ou r c hario t is waiting. Spartan Typo graphers, ( 41 5 ) 836- 0933 o r ( 41 5 ) 781 - 5 645 . OFF 61 Whales a Photoletterling 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 21 6 EAST 45TH STREET. NEW YORKCITY•1 001 7   '21 2/MU2-2345 Please . . . give us a chance to design volume 5 before you order it! Well, to all of you who have patiently waited, we have good news . . . volume 4 is ready. (Hooray!) And here is more good news. Volume 4 contains 30 new classic designs devoted entirely to those little devils we commonly call redeemable coupons. For your convenience, we've designed each border to reduce to the two most com- monly used coupon formats . . . dollar bill size or 3-1 /4" x 2-7/1 6". And now for the best news. We've reduced our price from $1 5 to only $1 2 (for a limited time only) for this exciting new series (we just had to use one of our i coupons!) Oh, (we almost forgot) one other point. If you are not a big user of redeemable coupons, these borders are great for warranties, guarantees, fake money, blurbs, or small display ads. If you've missed the first three volumes of the full size BORDER HOARDER borders, order volume 4 today (or tomorrow) and we'll enclose our 1 7 x 22 wall chart mailer showing all the designs. But, please don't send payment for volume 5 yet (When it's ready, we'll let you know.) We were surprised (and elated) when some of our customers actually sent payment in advance for volume 4 of the popular new Border Hoarder ) series when we didn't even have a volume 4! On April 22 we received a letter from Swami S. of South Africa enclosing his order for volume 3, plus advance payment for volume 4. (That's one way to beat the inflationary postal rates!) And another customer called from Chicago to order volume 3 and said, "send us number 4 when it's ready !" The BORDER HOARDEW* is a collection of fresh, new contemporary readyo-use borders available in 4 volumes. Each book is printed on enamel stock and contains 30 borders ... clip and paste, cut and splice or do   just own thing by adding color or screen tints your . coupon Hurry ... send BORDER HOARDER Vol. 4 Our payment for $1 2 is enclosed• right away. ORDERS IN MICHIGAN ADD4% SALES TAX. ADD ORDERS OUSIDE U.S.A.   $2.00 Name Firm Address State SCSI-ATTER DESIGN RICHARD 265 CAPITAL BATTLE CREEI‘ MI 4901 7 Zip watoon-guptitt pubtecatons,), *144—Illustrators 17 Ed. Roland Descombes for the Society of Illustrators More than 500 examples of the best American illustrations of the year in books, magazines, and advertising, in print, TV and film.1 1 - ley run the gamut of styles and techniques.The standard reference of what is good, new, and important. Full index in- cludes addresses of all artists represented. 9 x1 2 $24.50. 9 40 Art Director's Index to Photographers No. 4 The work of 1 77 top pro- fessional photographers from around the world (40 Ameri- can) in 440 high fidelity color plates and 1 00 b/w pictures. Atreasure trove of creative ideas. Lists addresses, phone numbers of photographers and agents. Includes multi- lingual biographies. Photog- raphers'showings are grouped by country 1 4 countries being represented. Slip case. 300 pages. 9 x 1 2 1 /2. $39.95. 9 04 and 9 05— Trade Marks & Symbols By Yasaburo Kuwayama "103—Production for the Graphic Designer By James Craig Written by a designer for the designer. Covers typesetting, printing, paper, inks, binding/ folding/imposition, and prep- aration of mechanicals. A basic fact book. Glossary of 1 1 00 entries. Paper section lists papers by generic names, describes their characteristics and uses.Type specimens. An excellent table of comparative typesetting systems. Bibliog- raphy, index. 208 pgs. 81 /2 x 1 1 . Over 400 illustrations. $1 8.50. cusses elements required to make the package sales effec- tive, describes package char- acteristics and functions. Available—July 1 , 1 976. 208 pgs. 83% x 1 0 3/4 . 253 b/w photos, 33 in color. Paper, $8.95. #107— Publication Design By Allen Hurlbut Aguide 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 process of publication design with full coverage of the design elements; a technical section on color, typography,and pro- duction technique and a reviews changing of marks with the times, similarities, design competitions, and illustrates over 1 500 symboli- cal designs in 25 categories. Each volume 7 x 1 0, 228 pgs. No. 1 04—Vol. 1 Alphabetical Designs. $9.95. No. 1 05—Vol. 2 Symbolical Designs.$9.95. "106—Packaging By Robert G. Neubauer Adefinitive study of the art of packaging. Tells how to make the package a more effective means of communication, analyzes current trends, dis- Pac kaging the contemporary media Volume I shows over 1 500 alphabetical designs from around the world. Indices list company names, type of in- dustry, product or service, and designer. Historical review of marks in the West and in Japan, their varieties, roles, formative components. Vol- ume II is similarly indexed, !Pu blic atio n design history of magazine design from the 1 920s. Paperback. 1 38 pgs. 8 y4 x 91 /2. $8.95. *146—Electronic Composition Acomprehensive reference to contemporary typesetting tech- nology. Will help you evaluate new electronic techniques, maximize cost effectiveness, make the best buying decisions, and specify, manage and main- tain a computer typesetting system. Covers in detail how systems work, how they differ, and good and bad points of input, editing, typesetting, and output systems. Includes a 7000-word hypenation "ex- ceptions dictionary'and a 300- term glossary 384 pages. 83% x1 1 1%. $48.00. "112—Calligraphic Lettering, 3rd Ed. By Ralph Douglass Abasic introduction to the tools, techniques, historic and contemporary styles. All hand lettered. Spiral bound. 1 1 2 pgs. 77 /8x 1 01 /2 $7.95. #139 —Groins Posters '76 Ed. Walter Herdeg 62 Seven new bo o ks are o ffered in this editio n o f yo u r U&Ic Bo o k Sho p. They are: #1 42- D ertho ld Fo to types El; #1 43- Co mplete Gu ide to Pasteu p; #1 44 Illu strato rs 1 7; #1 45 - Co rpo rate Identity Manu als; #1 46- Elec tro nic Co mpo sitio n; #1 47- Pho to graphis '76; #1 48- The One Sho w. Every bo o k listed here was c arefu lly reviewed by Wyk edito rs to bring yo u the best o f the c u rrent c ro p o n a wide range o f su bjec ts. #148 —The 55th Annual of Advertising, Editorial & Tele- vision Art C . Design. The complete visual record of the most important competition in the communication arts industry—the One Show, a joint effort of the New York Art Directors Club and the Copy Club of NewYork. Over 1 000 examples of the year's best copy, art, and design in vir- tually all media including print, TV, radio, and film.This is the internationally recognized annual encyclopedia of graphic and copy ideas. An unmatched source of ideas and talents. Over 800 pages. 8 x1 1 1 A. 1 6 full color pages. $ 25.00. *141—Understanding Photo- typesetting by Michael L Kieper Oriented to the needs of buyers, specifiers, designers and editors. Of great value to those new to the field but also useful to plant managers and department heads in printing plants and advertising and promotion offices. Explains what phototypesetting is, what it can do. Starts with basic typographic information, moves through the full range of today's photo electronic methods and equipment. 1 66 pages. 7 ixt x 1 0 1 /4. $24.50. UNDETAN DING pHOTO TypEsErfiii $ MiChriel L- NePe' 0 .01 c l c l • oo Halftone Reproduction Guide BERTHOLD 1 FOTOTYPE/1 El CITY   ZIP  PleasePr int  STATE 63 position, headlines, body type, spacing, copyfitting, proof- reading, tools, materials, clipfiles. Includes glossary, bibliography. 247 pages 81 /2 x1 1 $24.95. #132—Designing With type By James Craig Aimed at the design educator and the student working with type, this is at once a book and a working tool. It is basic, clear and contemporary in viewpoint and content. As a book on this subject should be, it is heavilyvisual, with over 1 80 typographic illustrations. It is not simply a schoolbook but of much value to anyone in the graphic arts who wants a clear concise understanding of type- faces, typesetting systems and procedures. It has a good selection of display type showings and in- depth coverage of five basic text type families. Design projects at end of each chapter. #129—Halftone Reproduction Guide By Harvey Sternbach This isa reprintof a mostvalu- able reproduction planning tool. It enables the user to visualize results in two-color printing by showing how a halftone looks when a second color is added by using flat philosophical book, not a how-to and not a history. It covers language and writing, craft, pictures, function,and expression. Instead of the usual rules and guidelines, this book helps you develop the insight one needs to make sound individual judgments for each lettering/typographic decision. It puts thinking about letterform into a system and thus facilitates analysis whether one is considering handlettering or computer- controlled typography. 1 76 pgs. 9 x 1 2. Semi- concealed Wire-0 Binding. Glossary. Index. Bibliography. $1 2.95. Still available: 142—Berthold Fototypes El Acompendium of all Berthold Fototype faces with more than 1 200 alphabets, 700 text samples and the new Mpewriter NMNMI NMI *1 1 3—To p Symbo ls and Trademarks o f the Wo rld. 3000 pgs. $1 35 . *1 1 5 — Graphic D esign Manu al. $1 2.95 . *1 1 8— Graphis Annu al 1 974- 1 975 . Ed. Walter Herdeg. $37.5 0. The best current advertising, cultural, social, and decora- tive posters from 34 countries. Avisual anthology of value to all in communication— not just designers. Large illustra- tions beautifully printed in b/w and full color. 220 pages. 9 v2 x 1 2. $35.00. 938—Design Concept Realisation by Wolfgang Schmittel The internationally recog- nized industrial design con- cepts of Braun, Citroen, Miller, Olivetti, Sony, and Swissair. Covers product, advertising, and corporate graphics and traces concepts through design and execution. Heavily illustrated, much full color. 228 pages. 1 0 % x 1 0 1 /4 . $42.50. #121—Graphis/ Diagrams-1974-75 Ed. Walter Herdeg graphis diagrams Proven techniques for com- bining legibility of information with aesthetically satisfying solutions. Covers statistical, comparative diagrams such as charts, graphs, tables, flow diagrams, organization and time charts; diagrams visualizing functions; tabula- tions, timetables, etc. 1 84 pages. 91 /4 x $2 8.00. 143—Complete Guide to Pasteup By Walter B. Graham Ahow-to-do-it manual for the in-plant manager. Atool for training new personnel. Covers manuscript preparation, corn- 34—Erre by Roland Barthes Erie, the great fashion illus- trator of the twenties, is repre- sented today in museums and private collections throughout the world. Text appraises Ede and his work. Full color, full page plates include a set of 26 showing Erte's famous alphabet inspired by the fe- male form. First United States edition. 9 1 /4 x 1 4, silk cover, gold stamped, slipcase. All copies are signed and numbered. $1 00.00. #135—Erie—Things I Remember An autobiography. 208 pages. 7x 93/4. $1 3.50. 9 36— Erte By Charles Spencer 1 98 pages. 81 /2 x 1 1 34 . $1 6.95. *137—Ent Fashions By Erie 1 1 2 pages. 83/4 x 1 1 $1 0.00. *130 —Compendiumfor Literates By Karl Gerstner This is a system of writing. It is a thoughtful, provocative, tints, duotones,or triple dot techniques. Tints of 20%, 40%, 60%,and 80% are shown,as are reverse and surprinteffects and all on both coated and uncoated paper 1 00 colors shown, including the standard AMAcolors. Over 1 200 half- tone effects. 21 0 pages. 1 2x91 /2. $2 9.95. 1 80 pgs. 6 x 6. Illustrated. $1 5.00. 145—Corporate Identity Manuals Ed. David E. Carter The heart of this book is 1 3 complete manuals from large national corporations.These show, by example, how to effectively produce a corporate manual. Shows how to make the most of the corporate mark. Illustrates proper usage of typography, signage, etc. Open- ing chapters cover the why and how of corporate identity. 81 /2 x 1 1 1 /4$30.00. onentation system in which similar typefaces are grouped together. Amost excellent and complete collection.This is a multilingual book. It includes complete information on those technical details so important for the accurate ordering of phototypesetting. Large format. Cloth bound 506 pages. $39.95. To o rder any o f these bo o ks, c o mplete the c o u po n belo w o r a c o py o f it and fo rward it with yo u r c hec k to the address belo w NMMil I= 147— Photograph is '76 Asource of ideas, a spotter of trends, a directory of talent. An up-to-the-minute work for art directors, advertising men, and photographers. The year's best applied photography in ads, booklets, calendars, pack- aging, record album covers, film/television, editorial pages, magazine and book covers, annual reports, all done in the usually beautiful Graphis manner. 224 pages. 91 /2 x 1 2. $37.50. 102— Milto n Glaser Graphic D esign. $30.00. *1 08— Type and Typo graphy, by Ben Ro sen. Paperbac k $9.95 . *1 1 1 — Graphic Arts Manu al. Available J an. 1 977 $43.5 0. *1 23— The 5 4th Art D irec to rs Clu b Annu al. $25 .00. *1 26— Eu ro pean Illu stratio n '75 - '76. Ed. Edward Bo o th- Clibbo rn. $37.5 0. *1 33 — Cameraready, by Kenneth Caird. $30.00. U&Ic Bo o k Sho p 21 6 East 45 th Street New Yo rk, N.Y. 1 001 7 Please enter my o rder fo r the bo o ks who se nu mbers are c irc led belo w: 1 02 1 03 1 04 1 05 1 06 1 07 1 08 1 1 1 1 1 2 1 1 3 1 1 5 1 1 8 1 21 1 32 1 33 1 34 1 35 1 36 1 37 1 38 1 39 1 40 1 41 1 42 1 43 1 44 Enc lo sed is my c hec k fo r $  . All o rders will be shipped po stpaid. No COD 's. New Yo rk residents add sales tax. Shipments o u t o f the United States, add 5 %. Bo o ks are no t o n display at U&Ic 's o ffic es. 1 23 1 26 1 29 1 30 1 45 1 46 1 47 1 48 NAME ADDRESS  Please make checks payable to: U&Ic Boutique Mail order formand check to: U&Ic Boutique 21 6 East 45th Street, New York, N.Y. 1 001 7 SHIPTO (PLEASEPRINT) NAME STREET ADDRESS CITY   STATE ZIP COUNTRY Please allowup to six weeks for delivery. 1 UAldc, GREENONWHITE 1 776-1 976, REDANDBLUEONWHITE. L   EmiiiiI • I • Secondprice is for Sweatshirts I- SHIN 1 5 WOMEN'S JR S  ML  XL I - SHIRTS MEN'S S  ML  XL SWEATSHIRTS S  M L  XL U&Ic @ $7.00; $9.00 JOY @ $7.00; $9.00 [email protected] $7.00; $9.00 [email protected] $7.00; $9.00 1 776/1 976 @ $1 0.50; $1 2.50 GOTOHELL @ $7.00; $9.00 AVANT [email protected] $7.00; $9.00 OH! AH! @ $1 0.50; $1 2.50 ORDERFORM: (PLEASEENTER QUANTITY INAPPROPRIATEBOXES) Sub Total $ New York State residents, please addsales tax $ Postage andmailing, US andCanada please addSI for first shirt, 50Cfor each additional shirt $ Foreign countries add$3 for first shirt and$1 for each additional. Total of check enclosed$ COLD WEATHER'S COMING! OUR T- SHIRTS ARE NOW SWEATSHIRTS. FILL OUT THE ORD ER FORM BELOW FOR EITHER OR BOTH. These designs are by Herb Lubalin and Tom Carnase. Sweat- shirts are 50/50% (cotton, acrylic) with long sleeves. T-shirts are 50% polyester, 50% cotton. Designs and fabrics are washable, colorfast. Shrinkage 3-5%. Sweatshirt sizes for men S (34-36), M (38-40), L (42-44), XL (46-48). Ladies order men's small or medium. T-shirt sizes for women Jr. sizes S (5-7), M (9-1 1 ), L(1 3-1 5),XL(1 7-1 9). T-shirt sizes for men S (34-36), M (38-40), L (42-44), XL (46-48). GOTOHELL, REDONWHITE   AVANT GARDE, BLACKONWHITE ITEMTOTAL $ S $ MOVING? CHANGE OF ADDRESS: SEND THIS LABEL (OR COPY OF IT) WITH YOUR CORRECTIONS TO: U&LC 216 EAST 4 STREET NEW YORK N.Y. 10017 L