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1 _

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excites me
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people doing
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Graphis,
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It made me
realize how
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Graphis today,
I feel the
same way."
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PHOTOGRAPHE R
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//
VOLUME TWENTY-ONE,
NUMBER ONE, SUMMER 1994
EXECUTIVE PUBLISHER:
CHARLES M. WILHELM
EDITOR: MARGARET RICHARDSON
MANAGING EDITOR: JOYCE RUTTER KAYE
CONSULTING EDITORS:
EDWARD GOTTSCHALL
ALLAN HALEY
GRAPHIC DESIGN:
PENTAGRAM
CREATIVE SERVICES DIRECTOR:
JANE DiBUCCI
ART/PRODUCTION MANAGER: CLIVE CHIU
ART/PRODUCTION:
JAMES MONTALBANO, SID TIMM
OPERATIONS: REBECCA L. PAPPAS
PUBLIC & MEDIA RELATIONS:
SHARON BODENSCHATZ
SUBSCRIPTIONS: ELOISE A. COLEMAN
ADVERTISING SALES:
CALHOUN & ASSOCIATES
PHONE: (404) 594 -1790
FAX: (404) 594-1849
INTERNATIONAL TYPEFACE
CORPORATION 1994.
U&Ic (ISSN 0362 6245) IS
PUBLISHED QUARTERLY BY
INTERNATIONAL TYPEFACE CORPORATION,
866 SECOND AVENUE,
NEW YORK, NY 10017.
ITC IS A SUBSIDIARY OF
ESSELTE LETRASET.
U.S. SUBSCRIPTION RATES,
$30 FOR THREE YEARS;
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$60 U.S. FOR THREE YEARS;
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P.O. BOX 129,
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ITC OPERATING EXECUTIVE BOARD 1994
MARK J. BATTY,
PRESIDENT AND CEO
MAUREEN A. JACKSON,
CONTROLLER
CHARLES M. WILHELM,
VICE PRESIDENT, CORPORATE MARKETING
AND COMMUNICATIONS
ILENE STRIZVER,
DIRECTOR OF TYPEFACE DEVELOPMENT
ITC FOUNDERS:
AARON BURNS, HERB LUBALIN,
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ITC, U/$/c AND THE
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VBPA
MEMBER
6
4
MESSAGE FROM ITC
Introducing
ITC Design Palette,
an instant
access system
for design
professionals.
8
TYPE WITH ATTITUDE
Advertising
type directors
Edwin Torres
and Graham Clifford
review their
favorite current
print ads.
14
SCREEN FONTS
Is innovative typography
making TV commercials
more effective, or just
adding to the noise level?
18
GREAT ADS
A round-up of the
few, the memorable,
the amusing.
24
ADS WHICH APPEAL
Pro bono ads which
take an artistic,
not an antagonistic,
approach to
promoting good causes.
28
FRIZ QUADRATA ITALIC
A new slant
on a popular design.
32
THE FRAGMENTED
FUTURE
OF ADVERTISING
The ads of the
futureand their
creatorswill be
smarter and more
responsive.
34
SMOKE AND MIRRORS
Steve Heller explains how
cigarettes were sold
to women in the early
20th century.
38
NEW TECHNOLOGY
An overview of new
digital products for
the design community.
54
SEYBOLD/BOSTON 94
What graphic
designers were looking
for at the show.
55
U8,1c COLOPHON
How this issue was designed
and produced.
THE DESIGNERS
International Typeface
Corporation would like to
thank Woody Pirtle,
John Klotnia and 'vette
Montes de Oca of
Pentagram for the design
of this issue of U8.1c.
In the 25 years since its founding, ITC has continually kept pace
with the changing market by being among the central players
in changing typographic technology. This is still the case, and as
graphics technology continues to develop, merge and blend
into an integrated digital environment where all graphics needs
can be met simultaneously, it follows that ITC should evolve to
become an important part of this development. This is why ITC
has become the marketer and supplier of an instant access
system for a wide range of digital graphics products
for design professionals. The system is ITC Design
Palette, and adheres to the quality and commit-
ment for which ITC has become known in its
typeface licensing activities.
ITC Design Palette is a seamless instant
means for locating and purchasing a vast library
of digital graphics products. Comprised of both a
software and hardware component, it enables users
to instantly access and purchase items they require, without
having to exit their active application. Eliminated are all the time
consuming and taxing requirements of current CD access and
on-line systems. There are no unlocking codes, no on-line charges
or credit cards involved. There is basically no down time at all.
Each user will have his or her own vast library of products,
available 24 hours a day, seven days a week. With the simplicity
of opening a Macintosh file, the user can access everything from
a single weight of a typeface, high and low resolution photo-
graphs, backgrounds and textures to sounds and video clips,
software upgrades and program extensions. The ITC Design
Palette even coordinates, at purchase, license agreements and
registration requirements. It also inventories purchases, and
tracks when and why a specific item was purchased, at what
price and by whom.
ITC Design Palette was presented at the Seybold New
Technology conference in Boston on March 24,
where it was one of 12 recipients of a Seybold
Award for Excellence. With strong positive
support from our Subscribers, industry asso-
ciates, the press and our friends we returned
to New York with the knowledge that we
do have a successful new venturenot just
for ITC, but for the design community and the
publishers of quality graphics products.
More will be said about ITC Design Palette both in
L 18,1c
and other media over the coming months. Commercial release
of ITC Design Palette is scheduled for this coming September.
If you would like further information on ITC Design Palette,
or have a product that you would like distributed, please let us
know. As in the past, ITC wants to make this new technology
available to everyone, and continues to support the vendors
and end users in the graphic arts community.
(TABLE OF CONTE NTS) HE ADLINE : FRIZ QUADRATA ITALIC NUME RALS/TE XT: FRIZ QUADRATA (ME SSAGE FROM ITC) HE ADLINE : ITC OFFICINA SANS BOOK TE XT: FRIZ QUADRATA, ITALIC
MASTHE AD: ITC FRANKLIN GOTHIC BOOK CONDE NSE D, BOOK CONDE NSE D ITALIC FRONT COVE R: ITC FRANKLIN GOTHIC HE AVY THE INDE X TO ITC TYPE FACE S APPE ARS ON PAGE 5 2
4
ero''
Underpants $39 (Pa g
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Includes: The licensed Adobe and
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9
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x-height, published by FontHaus,
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FontHaus Inc. North America 203 367
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FontHaus and the FontHaus logo are registered trademarks and x-height is a trademark of FontHaus Inc. Bitstream and TypeShop are trademarks of Bitstream Inc. Monotype and
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Other product and company names are trademarks of their respective owners. Prices in $US. Product programs, prices and availability are subject to change without notice. Some products may not be available from all FontHaus authorized agents, dealers and distributors.
C21994 FontHaus Inc.
Circle 286 on Reader Service Card
ITC
DESIGN PA-LETTE
The Instant Graphics Source
Coming
September
For More Information Circle 331 on Reader Service Card
6
e ca nri Backgrounds
Borders,yet they are so
much more than that.
ese six collections of textures,
patterns,shapes,and scenery
can not only provide backdrops
and frames for great designs,
hey can be the centerpiece of
today's most inventive layouts
and illustrations.
I ihrifabdi r i d
C ircus
from the Expressions Collection
Each collection includes both
high-resolution (266 dpi)
and low-resolution (72 dpi)
black-and-white images
for the Macintosh.
ads packaging poster
book covers annual reports
greeting cards menus
direct mail brochures
calendars C D covers
Pillar
from the Abstractions Collection
Frame Border
from the Synthetix Collection
a
alto it I/ d s
1110111
E R
S
Letraset
For free brochure and demo disk,call 1 -800-343-TYPE or contact an authorized Letraset dealer.
.0 ESSELTE
Circle 265 on Reader Service Card
THE YET CON.
HELPING TO
SAVE THE
ENVIRONMENT.
AGE NCY:
BARTL E BOGL E HEGARTY,
L ONDON
ART DIRE CTOR:
DENNIS L EWIS
COPYWRITE R:
STEVE HOOPER
TYPOGRAPHE R:
MATTHEW KEMSL EY
PHOTOGRAPHE R:
DAVE STEWART
AGE NCY:
THE BAL L PARTNERSHIP
EURO RSCC, SINGAPORE
ART DIRE CTOR:
ANDY CL ARKE
COPYWRITE RS:
DANNY HIGGINS,
JIM AITCHISON
TYPOGRAPHE R:
FOTOSETTER
PHOTOGRAPHE R:
AL EX KAIKEONG
ILLUSTRATOR:
ANDY CL ARKE
0
AGE NCY:
GGT L ONDON
ART DIRE CTOR:
KATE STAMMERS
COPYWRITE R:
TIM HEARN
TYPE DE SIGNE R:
JONATHAN BARNBROOK
TYPE DIRE CTOR/
TYPOGRAPHE R:
L EN CHEESEMAN
PHOTOGRAPHE R:
JOHN PARKER
Why mart
learned to walk.
YE T CON
RE STAURANT
Lurpak
0
GC:
This is inspired.
You have a fish
changing into a
carrot with a type-
face that then
combines lower
case letters with
capitals, serif
with sans serif
and it all gets
incorporated into
one font. This
funky font throws
you for six.
E T:
This is a subliminal
one-two punch.
The surreal idea
here extends to
the type which is
weirdalso imply-
ing half one, half
the other. Also
the layout is "off:'
allowing you to
relate to this
strange world
created here.
Sony
9
GC:
These ads are
clean, simple and
considered with
a strong sense of
design. It is like
you'd imagine tele-
vision technology
to bevery orderly
and controlled as
seen in the sans
serif body copy.
The type here is
opened up with
character spacing
and leading. This
shows they were
confident about
what they were
saying by putting
all that air around
the type. Classic.
E T:
This is about let-
ting the headline
be the headline.
Knowledgeable
spacing lets the
letters breathe,
lets them walk.
There is great
color to the type,
to the weight of
it. The type works
perfectly with
the rest of the ad-
synchronicity.
8
Clarks
0
GC:
The type in this ad
works especially
well with the photo-
graph and the
background color.
There is also an
interaction
between the type
and what the type
is trying to sell
shoes. Notice the
effective use of
serifs modified
here from an old
French-style type.
Some of the serifs
look like feet, some
like shoes. The
type projects the
product and ser-
vice; it enhances
these ideas.
typewith
AGE NCY:
BMP DDB NEEDHAM,
L ONDON
ART DIRE CTOR:
PETER GATL EY
COPYWRITE R:
JON MATTHEWS
TYPOGRAPHE R:
DAVID WAKEFIEL D
PHOTOGRAPHE R:
BRANKA JUKIC
E T:
The concept
including the kind
of typography
used here depicts
its own world...
It is organic in that
it grows from the
ideas within it. The
typeface itself is
really remarkable
in its feet. It is feet.
There is beautiful
kerning here and a
lot of craft.
Alto cAN YOU
TRosT TO
Look AFTER THE
LITSTE ONES*?
CLARKS
Yet Con Restaurant
GC:
The type in this
ad gives you an
instant feeling
of what kind of
restaurant they're
talking about.
E ffective use of
Xeroxing type cre-
ating these weird
inconsistencies
and blurring. Dis-
tressed, decon-
structed type, if
you like.

TWO TYPE
DESIGNERS DISC USS
C URRENT TYPOGRAPHIC
TRENDS IN PRINT
ADVERTISEMENTS

E T:
Playing off the
menu idea, this
type captures fast
food. It has a fast
Xerox quality.
The feeling in the
type completes
the world it comes
from.
AtTiTuDe
by Margaret Richardson
GRAHAM C LIFFORD
AND EDWIN TORRES ARE
TYPOGRAPHIC DESIGNERS
WORKING IN ADVERTISING.
EAC H IS A STYLIST USING
TYPE,AND EAC H IN HIS OWN
WAY ADDS A SENSE OF IN-
TEGRITY AND A PERSONAL
PANAC HE TO THE PRINT ADVER-
TISEMENTS THEY C REATE.
BOTH C LIFFORD AND TORRES
HAVE BUILT IMPRESSIVE
PORTFOLIOS AND DEVELOPED
PERSONAL THEORIES ON
WHAT MAKES TYPE WORKWELL
IN AN AD (SEE PAGE 12). WE
ASKED THEM TO C HOOSE
REC ENT PRINT ADS WITH EFFEC -
TIVE TYPE TREATMENTS AND
C OMMENT ON THEM. HERE ARE
SOME OF THEIR SELEC TIONS.
GC:
Very well consid-
ered type. It is
touchy-feely with
the sans serif type
redrawn to be
fat, wide, very
black, serious and
actually touch-
ing. Matches the
mood of the great
photo on the
opposite page.
uys. .txPavet
Rau
E T:
The type here is
illustration. It is as
if the words smile,
have humor, a sen-
sory experience.
You could touch
the typeface itself.
The type looks
as though it is
saying the same
thing the photo-
graph is saying
and you want to
hold the whole ad.
HAAGE N-DAZS
AGE NCY:
BARTL E BOGL E HEGARTY,
L ONDON
ART DIRE CTOR:
MARTIN CAL TON
COPYWRITE R:
WIL L AWDRY
TYPOGRAPHE R:
MATTHEW KEMSL EY
PHOTOGRAPHE R:
NADAV KANDER
10
AGE NCY:
BMP DOB NEEDHAM,
L ONDON
ART DIRE CTOR:
TONY DAVIDSON
COPYWRITE R:
KIM PAPWORTH
TYPOGRAPHE R:
DAVID WAKEFIEL D
PHOTOGRAPHE R:
PIETRO PRIVITERA
n
f
rom The Mouth of The Lour.
HOUSE AND
GARGLE.
WE WOULD like to think that Aberlour Single Malt
Whisky has always maintained its sense of decorum.
The bottle rcitrained and decorous to a fault, the hue
of its contents confined to a mellow palette. Its sub-
tlety of flavour having appeal for only the moil dis-
cerning palate. Furthermore, Aberlour is a sensitive
soul, accatomed to the moil felicitous surroundings,
the diklillery neilling in a pine clad vale, served by its
own limpid spring, in the very heart of Speyside.
We would ask, therefore, that you maintain particu-
larly high ilandards with regard to your own personal
surroundings. For while Aberlour should be served at
room temperature, it should certainly not he served
in any room. Indeed, where flock wallpaper, PVC
replacement windows or false oak beams are in evid-
ence, householders have frequently found the bottle
exceedingly difficult, if not impossible, to open.
Under the direil decorative conditions, the cork has
a tendency to swell to such proportions as to render
the golden liquid within totally inaccessible, thereby
reducing the hapless bolt to a condition of gibbering
embarrassment. Although it's reassuring to reflelt
that, given this predileilion, few enough of such folk
are likely to be of an inclination to embarrass easily.
.$V,RLO&
A,
I
S 101/EAS OLD .1
SINGLE SPE YSIDE MALT
f
rom The Mouth of The Lour.
A KICK UP THE
ARTS.
MODERN ART. A contradiaion in
terms, wouldn't you agree?
Picasso, for goodness' sake, was
positively square compared with
his pof'tcursors, curse them all.
Precious few of the blighters would
pass milkier as decent painters and
decorators.
I, for one, would be the to
invite Jackson Pollock to wallop
the walls chezmoi.
And what pearls of wisdom or
light of enlightenment have they
bellowed upon the world?
Hockney tells us that there are
a lot of swimming pools in
California. 0 blinding flash of
insight!
While, as for Bacon, a fitting
Romeo jamiliae if ever there was
one, moil of his scratchings
(pork) resemble the interior of the local butcher's shop.
The latat thing, we hear, is crazy paving (the
arta)?sculptor?landscape gardener?should and will
remain anonymous.) Ycs, the careful arrangement of
chunks of slate, large and small, into jolly little circles
or squares. A talking point on the patio, maybe, but
sitting in {late in the Tate?(Where, one might add,
one dare not so much as use a litter bin for fear of
defiling some priceless exhibit, though one's crumpled
copy of The Times, casually discarded on the foyer
86V,R 1, 00,0
IS' 10 TEARS OLD ' 4
SINGLE SPE YSIDE MALT
floor, has every chance
of becoming one and
will, like as not, soon
find itself roped off in
its own little temenus,
the objet of mass
veneration.)
Aberlour Single
Malt Whisky is, of
course, an ancient art,
inured in the time-
honoured ways of our
forefathers.
And if it is to claim
commonalty with
any of those dabblers
in oil and water, it
would be with
Turner. Both being
juilly famous for the
magnificent mellow
glow they create
DISTILLE RS LTD.
AGE NCY: BMP
DDB NEEDHAM, L ONDON
ART DIRE CTOR:
MARK REDDY
COPYWRITE R:
RICHARD GRISDAL E
TYPOGRAPHE R:
DAVID WAKEFIEL D
ILLUSTRATOR:
AL L YSON MCNEIL L
CAMPBE LLS
0
E T:
Care is taken here
to the layout and
the space. This
has an organic
quality. It's ele-
gant, but really off
in a way. There's
an understanding
of positive/nega-
tive space which is
hard to achieve
with originality.
Campbells
Distillers Ltd.
0
MarcO'Polo
GC:
Simple, interactive
ad. The type is
curved, organic,
flower-shaped and
captures the folds
of the photograph
and feeling of
the mood of the
whole ad.
O
z

MARCO'POLO
/11
a
t e
riais
GC:
When you think
of single malt
Scotch whisky,
you simulta-
neously think:
'Where's that
metal type?'
But this is a dif-
ferent class.
Painstakingly set,
beautifully crafted
and pleasing and
appropriate
for people who
drink Scotch
(or aspire to).
E T:
Here Scotch is
Scotch and it
looks it with the
type having an
old world feeling.
Timeless, classic
type with a deli-
cate use of orna-
mentsthings
you don't see
enough of.
11
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212-533-8500 Saturday, October 18
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Typographic Designer, Chiat/Day graham

LiFfOrD
NEW YORK
CARES

AGENCY:
CHIAT/DAY, NEW YORK
ART DIRECTOR:
L IBBY BROCKHOEF
COPYWRITER:
COURTNEY ROHAN
TYPOGRAPHIC
DESIGNER:
GRAHAM CL IFFORD
TYPE:
PRECIOUS METAL
POINTED STICK
THEATER

AGENCY:
MAD DOGS &
ENGL ISHMEN, NEW YORK
ART DIRECTOR:
NICK COHEN
COPYWRITER:
GRAHAM TURNER
TYPOGRAPHIC DESIGNER/
HANDLETTERER:
GRAHAM CL IFFORD
Although he is a
realist about an
advertisement
meeting the mar-
keting needs of the
client, Graham
Clifford is essentially
a romantic when it
comes to formulating
what works well in a
print ad. He responds
to the feeling of the
ad, the mood it cap-
tures, the thrill of the
concept, and the rela-
tionship between
images and type.
His response to an
impeccable type
treatment in an ad
is instinctive and
heartfelt.
"When working with
art directors and
copywriters, it is
important for me to
know what mood
we're trying to create
and what will work to
create this mood,"
Clifford says. "I tend
not to go to a type
book, but rather to
a bottom drawer of
references to kick-
start my mind. I am
interested in more
than just what will
work now; I need to
know that the ad will
have an afterlife. I
want a classic quality,
something timeless.
Strictly speaking, I
don't have a partic-
ular style. I try
to apply a level of
craftsmanship to
everything that
comes across my
desk," Clifford says.
Clifford discovered
his talent and passion
for typography
through his father,
Reg Clifford. Clifford
senior did a seven-
year apprenticeship
working in metal
type, then he became
a type director for ad
agencies in London in
the 1960s. He went
on to set up a 24-hour
phototype house
there called Ad Make
Up. Graham Clifford
states, "I was literally
trained in typography
by my father evenings
and weekends.
Because of my Dad, I
come from a lucky
place since I was first
taught about working
in metal type, then I
learned phototype-
setting. Now we're in
the digital age, and I
understand that:'
At 30, Clifford has
now been working
with typography in
advertising for 12
years. Starting as a
junior typographer at
18 under Peter Wood
at a now-defunct
agency in London, he
then went to Collett,
Dickenson, Pearce to
work under E d
Church and then Len
Cheeseman. From
there he went to
Gold, Greenlees,
Trott where he was
the head of typog-
raphy for four years
before being talent
scouted by Chiat/Day
in New York in 1989.
Two years later,
Clifford left it all to
get on his motorbike,
and with art director
Dave Cook of GGT,
travel from London to
Nairobi. "Halfway
across the Sahara, I
decided I should be
working in a big New
York advertising
agency," he explains.
Clifford returned to
New York and first
worked for Ogilvy &
Mather for a year
before returning to
Chiat/Day to his cur-
rent position. The
agency's best-known
clients include New
York Life Insurance
Co., Nickelodeon and
NYNE X Yellow Pages.
"I feel lucky because
our clients under-
stand the importance
of good typography
in their ads. E ven
when ads have to be
put together quickly
there is a lot of
research, a lot of
care, a lot of craft.
"There are over 5 00
years of movable
type behind us; it is
then ludicrous to just
use the first typeface
that pops up on a
Macintosh menu. The
typography must
remain honest and
relevant to the con-
cept. This is the stan-
dard in advertising
by which typography
should be judged,"
he feels.
12
AGE NCY:
MARCEOTES, FERTITTA,
DONAHER & WEISS,
NE W YORK
ART DIRE CTOR:
BRIAN O'REIL L Y
COPYWRITE R,
L ORI KORCHEK
TYPE DE SIGN AND LAYOUT:
EDWIN TORRES
PHOTOGRAPHE R:
GEORGE HOL Z
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March of Dimes
deame am. mracial
edwin
tOrReS Freelance Type and Graphic Designer
E dwin Torres thinks
and talks like a poet
This is not surpris-
ing, for along with
designing ads at
Margeotes, Fertitta,
Donaher & Weiss,
New York, Torres also
has acquired a repu-
tation presenting his
poems at places like
The St. Mark's Poetry
Project. His perfor-
mances as a poet, in
which he creates a
" word world" to share
with an audience,
has also influenced
how he relates to ad-
vertising. To him an
ad presents a visible,
viable, organic, self-
actualizing world
which affects and
moves the reader.
Torres explains that
a world created by an
ad works because
people respond to
the "honesty" of it.
An advertisement at
its essence is com-
munication," he says.
When the visual, the
verbal and the typo-
graphic elements
combine to create a
dialogue with the
viewer, this dialogue
is the catalyst to get
the viewer to respond
to the world in the ad'.'
Type plays an impor-
tant part in this con-
ceptualized world
according to Torres.
"A good ad has an
organic quality, it is
true to itself. The ad
grows from within
itself so that nothing
is extraneous, and
what happens in the
ad seems natural and
real.Type has to fit
naturally into this
world. Sometimes
within the ad, type is
the main message,
sometimes a sec-
ondary message,
sometimes a non-
message, all fitting
into this world.
"Sometimes good
type becomes invis-
ible to the message
because that's how
it should be. Some-
times type is the mes-
sage; it is the illustra-
tion. Type can live
in many waystype
as text,as border,
as ornament. Type
should exist on many
levels."
As a student at Pratt
Institute, Torres was
introduced "very
gently" to typography
by Jack Tauss. "I
responded to typog-
raphy as art. Letter-
forms were like
painting. There was
the excitement of a
big headline, the sub-
tleties of spacing.
Type could be big,
malleable."
Torres, now 35 , has
worked as a graphic
designer in New York
for 15 years. As assis-
tant type director at
J. Walter Thompson
from 1980 to 1982
he honed his typo-
graphic sensibility.
As a freelance
designer and hand-
letterer, Torres incor-
porated in his designs
his personal visual
language inspired by
living in the E ast
Village. In 1986, he
became art director
at Scholastic Publica-
tions' software divi-
sion, which added an
editorial focus to his
design. In 1989, he
went to Margeotes,
Fertitta & Weiss as
design director.
"When I discovered
poetry in 1991, my
typographic language
also opened up," he
says. "Designing is
being a sculptor of let-
ters on a page, and
words as poems
became a natural
extension of that idea
for me."
Torres strongly feels
that the best adver-
tising creates worlds
we want to share in,
and these are fueled
by "letting the real in,
letting ads be influ-
enced by the world
around you rather
than focusing just on
design and only
design.
"E veryone should be
influenced by
everyone," he asserts.
"The more tools you
have, the more
resources you have
to create."
NE WSDAY

AGE NCY:
MARGEOTES, FERTITTA,
DONAHER rR WEISS,
NEW YORK
ART DIRE CTOR:
RICH CROL AND
COPYWRITE R: CHARL ES HAL L
TYPE ILLUSTRATION:
EDWIN TORRES
MARCH OF DIME S

AGE NCY:
MARGEOTES, FERTITTA,
DONAHER & WEISS
ART DIRE CTOR:
RICH CROL AND
COPYWRITE R: CHARL ES HAL L
HE ADLINE TYPE DE SIGN:
EDWIN TORRES
PHOTOGRAPHE R:
JON HOL DERER
HE ADUNE S/BYLINE JINTRO TE XT: ITC SYMBOL BOLD SUBHE ADS/CAPTION HE ADS: ITC SYMBOL ME DIUM TE XT: ITC SYMBOL BOOK, ME DIUM CAPTIONS: ITC SYMBOL BOOK, BOOK
ITALIC CAPTION NUMBE RS: ITC ZAPF DINGBATS
13
Your high school lour
SOIIaS
baseball
\-earbook. card collection
Forour free
Fire Safety Guide"
please call:
1-800-AE TNA-11C.
EVERYTHIlip IN LIFE
EVERYTHING IN LIFE
was as reliable as a
was as reliable as a.

IS
INNOVATIVE
TYPOGRAPHY
MAKING
TELEVISION
COMMERCIALS
MORE
EFFECTIVE,
OR JUST
ADDING TO
THE NOISE
LEVEL?
BY
PETER
HALL
"EVERYONE IN ADVERTISING SEES SLOGANS AS A LINE
OF TYPE AT THE BOTTOM"SAYS NANCY LAURENCE OF EYE chalkboard (Wrigley's Doublemint gum) and typewriter-style typefaces
DESIGN, WHO DESIGNED AND ANIMATED THE ROLLING TYPE
IN THIS BUDGET GOURMET SPOT BY YOUNG & RUBICAM.
(Midas car care). The effect is quite mesmerizing. But what does it mean?
"I ALWAYS SAY 'LOOK, WE'VE GOT THE WHOLE SCREEN!'"
How did type get to be so popular?
EBEEMS). Typographer Jonathan Barnbrook, who works with Kaye, reasons: "An ad needs
novelty to carry on selling. Type is used to give identity to increasingly bland products. And agen-
cies have also realized that it's important to have sympathetic type in a commerciar Adds Kaye:
"Type does have a tone of voice, and there are certain things you want to use that tone for. It also
gets you 'round the problem of the copywriting not being as good as you'd have liked:'
There is another theory that a type-oriented commercial simply commands more
attention than a largely word-less spotas well as counteracting the effect of the mute button
in a commercial break. An obvious example is the type-only commercial, in which words appear
DWECK & CAMPBELL'S MUDSLINGING SPOT FOR
GIANT CARPET PLUNGES INTO CHEAPSKATE POLITICAL
SATIRE, SMARTLY CAPITALIZING ON THE HIGH IMPACT,
MINIMAL PRODUCTION COST AND MINIMAL PRODUCTION
TIME OF A BLACK-AND-WHITE, TYPE-ONLY CAMPAIGN.
Type used to be an afterthought in television commercials. It was either
tacked at the end of the spot to inform you what you were being
sold, or ambling across the bottom of the screen, telling you all the
things it was legally bound to tell you in small print. Television
in general was a compost heap of typography. It was the place where
classic fonts were distorted beyond recognition by the low resolu-
tion screen, and where lines of type were put together with little or no
respect for spacing, kerning and character.
TYPE DESIGNER JONATHAN BARNBROOK MIXED DIF-
FERENT WEIGHTS OF GOTHIC, BODONI AND CHARMAGNE
Then, suddenly it changed. Sometime back in the late 1980s
IN THE SAME SLOGAN TO GIVE AN "IRREVERENT"FEEL TO A
COMMERCIAL BY TONY KAYE FILMS FOR VOLKSWAGEN someone decided to use type creatively, to add another dimension to TV.
CARS THAT WAS BORDERING ON THE NOSTALGIC.
Perhaps it was inspired by new technology, the arrival of video toasters, DIY
typesetting on the Macintosh, and the animation possibilities of Quantel's Paintbox and Harry;
or perhaps it was the influence of a few inspired, type-savvy people in TV land like designer Tibor
Kalman in New York and commercials director Tony Kaye in London. "It irritated me that I'd
be given these scrappy bits of type to put on the end of the
says Kaye, "so I encouraged
agencies to work with somebody [a type designer] who knew what he was doing:'
Now the television commercial is becoming a typographic
playground. A simple spot-closing logo for a bank will have a well-crafted serif font dissolve into
black; a commercial for an unremarkable product like Budget Gourmet frozen dinners will have
letter "m"s elegantly rolling like a soundwave across the screen to illustrate
THE EXPERIMENTAL TV-INSPIRED, DISSOLVING FONTS
OF THE LAST FEW YEARS HAVE FOUND THEIR WAY INTO COM-
the song "Things that make you go mmm..."; and a current commercial for
MERCIALS FOR CORPORATIONS AS BIG AS NATIONSBANK, AS
SHOWN HERE, COURTESY OF ART DIRECTOR DAVID CARSON McCann-Erickson's Taster's Choice Flavored Coffees designed by Paula Scher
AND AGENCY MARGEOTES, FERTITTA, DONAHER & WEISS.
even has colorful, nostalgic-looking fonts sliding seductively across a black
background, like the rising steam in a coffee cup.
That is not to say that all commercials are this good. A mere hour of commercial
surfing reveals a whole jamboree of typographic effects, from the elegant to the adventurous
to the downright ugly. Words scroll, circle and float (Conran's Habitat, Chevy Camaro), explode,
fly at you (Campbell's Soup) or punctuate images (AT&T, Mazda). Letters appear at random
to form words, dissolve and change places (NationsBank, WordPerfect software), typefaces and
fonts are jumbled in the same word (ESPN, Volkswagen). Popular typefaces crop up again and
again: Garamond, Franklin Gothic, Bodoni Bold, Frutiger and Gill Sans, along with a cartload of
new fonts, particularly rubber stamp ("Be Young, Have Fun, Drink Pepsi"),
BY PLAYING THE WORDS OFF AGAINST BACKGROUND
NOISES IN THIS COMMERCIAL FOR AETNA INSURANCE,
AGENCY AMMIRATI & PURIS CRAFTILY PUT A NEW FACE ON THE
TRADITIONAL BLACK AND WHITE, TYPE-ONLY SPOT. ART
DIRECTION AND TYPE BY MAX JEROME AND BILL SCHWAB.
1.5
COMPUTER-ANIMATED TYPE FLIES OUT OF THE SCREEN
IN R/GREENBERG ASSOCIATES' TREATMENT OF A CAMP-
BELL'S SOUP SLOGAN BY AGENCY BBDO. SURPRISINGLY,
MANY DESIGNERS AND DIRECTORS PREFER ROSTRUM
CAMERA ANIMATIONS FOR THEIR "NATURAL SHAKE."
(often in Franklin Gothic) in white on a black background or black on white, with no imagery, as
in the "drinking and driving wrecks lives" kind of campaign, or Aetna Insurance's current campaign,
which uses screen words accompanied by sound effects. Martin Fox, editor of
Print magazine,
has this explanation: It seems to me that not using visuals implies that an advertisement is not
only serious, it is honest. In times when people did more reading, people trusted words less and
images more. The image could not lie. But through our exposure to TV, we've seen that images
do lie. It's a kind of reversal. People don't trust the image, so advertisers are eliminating the image:'
Since in advertising, new ideas have the lifespan of a fruitfly
before they are copied, the all-type commercial has already evolved into
self-parody. New York agency Dweck and Campbell uses the technique with
considerable aplomb in its low-budget commercials for Giant Carpet, and
the Chicago Congress Hotel. One Giant Carpet spot airing around the time of the last presidential
election had various insults hurled between candidates relayed in white typewriter type on a black
screen, ending with a pun on the effects of "mudslinging" on your old carpet.
A distinctly different philosophy seems to be at work in the current wave of layered
commercials on MTV and its various clones. Here where commercial breaks sandwich youth and
culture shows, the type is reinforcing a sense of information overload, adding another dimension
to spots that are already deeply textured and fragmented. The best examples are sneakers adver-
tisements, for companies like Reebok, Nike and Vans. Between the fast-cuts, disjointed music
and (intentionally) deteriorated imagery appear equally disjointed and
deteriorated typefaces, with letters often appearing in fast succession to
form barely discernible words and sentences to spell out the advertising
message. In that extraordinarily self-referential TV way, these fonts have
themselves been actually inspired by the deteriorating effect of low resolution TV on typography.
Oddly enough, such developments have not necessarily gone hand in
hand with the capabilities of type-manipulating technology. Though it is possible to make type
do almost anything you want with a Paintbox computer, many directors and typographers prefer to
take a traditional approach. Eye Design, New York, has animated type to do elegant acrobatics in
food, furnishings and tampon commercials by filming it with an old-fashioned Oxberry stop-motion
camera, once even using Letraset rub-downs. P. Scott Makela's type in the "Think Twice" Vans
sneakers spot was animated by splitting the letters of the slogan onto each side of a spinning card,
and Kaye and Barnbrook filmed the explosive "Can You Kick It" Nike spot
at London's Speedy Films using only distorted Xeroxes as artwork. "I like
the things that film can give you that video can't:' says Nancy Laurence,
principal of Eye Design, "such as the color and motion and subtlety:'
You get the impression that such widespread inventiveness is a healthy sign for typog-
raphy in advertising. The fact that agencies and directors are beginning to work in conjunction
with print designers (like Makela, Barnbrook, Scher, Barry Deck and David Carson) seems to be an
indication that the advertising industry has finally woken up to an awareness of typography's
potential on TV. Or is it evidence that graphic designers have finally given up their disdain for the
phosphorescent box, and learned to see its potential?
Peter Hall is aBritish journalist who specializes in d esign and ad vertising. He writes for
several publications in England and the United States.
IN NIKE'S "CAN YOU KICK IT?"UK SPOT, JONATHAN BARN-
BROOK'S STRETCHED FRANKLIN GOTHIC INTERMITTENTLY
BURSTS OUT OF THE SCREEN IN A SEQUENCE BY SPEEDY FILMS
OF LONDON, ANIMATED ON A ROSTRUM CAMERA. "NOTHING
WE DO IS ANIMATED ON THE MACINTOSH;' SAYS BARNBROOK.
HE ADLINE : (S) ITC LUBALIN GRAPH BOLD, (C) ITC KABE L ULTRA, (R) ITC AVANT GARDE GOTHIC DE MI, (E ) ITC FE NICE ULTRA, (E , F, Ns) ITC FRANKLIN GOTHIC X-COMPRE SSE D DE MI, (0) ITC AVANT GARDE GOTHIC BOLD,
(T) ITC OFFICINA SE RIF BOLD, (S) ITC AVANT GARDE GOTHIC BOLD SUBHE ADS/BYLINE /PULL-QUOTE : ITC OFFICINA SE RIF BOLD TE XT: ITC OFFICINA SANS BOOK CAPTIONS: ITC OFFICINA SANS BOLD
PAULA SCHER'S LUXURIOUS ORNAMENTED TYPE,
ANIMATED BY CURIOUS PICTURES, HELPS CONVEY THE
IMPRESSION OF TIME STANDING STILL WITHIN A THIRTY
SECOND SPOT FOR TASTER'S CHOICE FLAVORED COF-
FEES BY AGENCY McCANN-ERICKSON, NEW YORK.
THE WILDLY EXPERIMENTAL REEBOK "INSENSITIVE PIG"
SPOT BY DIRECTOR JEFFREY PLANSKER, WITH TYPE BY BARRY
DECK, WAS CUT AND THEN PULLED OFF THE AIR BY AGENCY
CHIAT/DAY AFTER COMPLAINTS BY FEN OFFENDED AT THE
INSINUATION THAT THEY COULD BE THOUGHT OF AS PIGS.
"SO MUCH TYPE ON TV IS DONE IN-HOUSE BY PEO-
PLE WHO ARE ESSENTIALLY B-MINUS STUDENTS"SAYS
P. SCOTT MAKELA, WHO DESIGNED THE SPINNING TYPE
ON THIS VANS COMMERCIAL BY AGENCY EISAMAN,
JOHNS & LAWS, DIRECTED BY JEFFREY PLANSKER.
16
NEVER
UNDERESTIMATE
THEPOWER
OF SOUP
CC
9
11.1
0
11
"TYPE IS
USED TO GIVE
IDENTITY TO
INCREASINGLY
BLAND
PRODUCTS:'
dr MANY OF
THESE ADS
APPEAL
TO OUR
INTE LLIGE NCE
Takin g a bun ch of plastic-lookin g models, put
GREAT ADS
YES, THEY'RE OUT THERE.
PATRICIA A. RIEDMAN
asks creative people to select their favorites
and explain their appeal.
UT OF THE HUNDREDS OF ADS
that we are exposed to every day, a handful man ,
age to register in our consciousness. A FEW may
even be deemed attractive enough to be framed and hung
on walls. What are the SPECIFIC QUALITIES that make
these ads so memorable? We were curious, so we asked a
sampling of graphic designers, illustrators and critics to
share their favorite print ads with us.
What we found, naturally, is that an affinity for a cer ,
tain ad is no different than an attraction to a particular
fine artist.
WHAT MAKES A C AMPAIGN APPEALING IS Q UITE PERSONAL'
Some people, for example, appreciate sardonic humor,
while others are drawn to an emotional hook. Yet most of
the ads here share one QUALITY : many transcend a simple
product message with a larger statement about culture or
society, such as a Barneys ad steeped in supercilious attitude
or a Benetton ad showing the bloodied shirt of a young sol-
dier killed in Bosnia and Herzegovina, punctuated with
copy in which his Serbo'Croatian father pleads for peace.
and offer insight into a generation, a
race or a gender. Since t989, a Nike
print campaign which features frank
copy about real women has elicited
countless letters from people ranging
from husbands worried about their
wives to students writing term papers. When they first set
out to do the campaign, Wieden & Kennedy copywriter
Janet Champ and art director Charlotte Moore merely
wanted to create ads that speak sincerely to women and
counter all the beauty myths hyped in women's magazines.
Above all,
THE BEST ADS ARE HIGHLY ORIGINAL AND UNDERIVED
Campaigns like Absolut stay fresh and popular because
artists are given free rein to interpret the product within
the familiar bottle shape and logo, which act as signposts
for readers to find the ad and product.
A S I l i A L L
CREATIVECOMMERCIAL WORK, the
hard-sell message in all of these ads be,
comes invisible beneath a cloak of provocative images
or entertaining copy.'P.A.R.
18
ACTIVEWEAR BY U.S.A. CLASSIC, INC.
them in ridiculous outfits an d photographin g them in places n o on e really goes.
J ILLY
SIMONS
Principal
Concrete, Chicago
UNITkn COLORS
Of bk NE MK
GARY KOEPKE
Principal
Koepke International, Ltd.
Magnolia, Massachusetts
Client: Benetton
Agency: In'house
Art Director:
Oliviero Toscani
Photographer:
Oliviero Toscani
k It's such a simple
illustration style, but there's so
much attitude in it, and
it's so New York. It's this
sort of irritated chichi atti'
tude that's so beautifully
captured. I really relate
to what they do because
there's so much humor
in it and it's so human.
There's still this enormous
level of sophistication and
yet they don't talk down
to you, in fact they allow
you to take it even further
in your own mind.
it These ads make me think, not only about Benetton and buy ,
ing their clothes, but about the rest of the world and our place
in it. I don't mind them making a political and social statement;
it's something that needs to be done anyway. It doesn't have any
thing to do with Benetton, their clothes, or looking good. It has
do with a comment. It's really a strong statement and I don't
think they're doing it to sell clothes. I think they're doing it to
be active.
Client:
Everlast Activewear
Agency: Goldsmith/
Jeffrey, New York
Art Director:
Gary Goldsmith
Copywriters:
Tom Churm ,
Gary Goldsmith
MICHAEL
BIERUT
Partner
Pentagram
New Y ork
-0 I thought it was great
because it attempts to
short circuit all the usual
ways that things get sold.
And appropriately somy
guess is that their strat ,
egy is that they're the real
thing and everyone else's
sportswear is about having
some sort of attitude.
This comes from the peo,
ple who make the clothes
for the guys who get the
crap pounded out of them
day in and day out. So it
has to be good by exten'
sion somehow.
Client: Barneys
New York
Agency: BNY Advertising
Art Director:
Siung Fat Tjia
Copywriter:
Glenn O'Brien
Illustrator: JeanePhillippe
Delhomme
19
ABSOLUT WARHO
TOR GIFT DE MIRY OF Aasotui VODKA (EXCEPT WHERE PROHIBIT ED BY LW CALL 14300-243-37E17
PRODUCT OF SWEDEN 40 AND 50%A C OL(.' 1 AND100PROOF).100%GRAINNEUIRAL SRRITS01985 ESTATEAND ECINDATION WAR4at
Client: Absolut
Agency: TBWA, New York
Art Director: Arnie Arlow
Copywriter: Peter Lubalin
Illustrator: Andy Warhol
GARY
KELLEY
Illustrator
Cedar Falls, Iowa
to It's always there, it's always in the same format
and it's highly recognizable for that reason. But with ,
in that framework there's a high degree of creativity:
It's letting the artist respond to the campaign and the
product and in doing that giving the artist an incredi'
ble amount of freedom and still creating a product
awareness. I don't think you could ask for much more.
20
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Cap Beale atm as wam br
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SW NS LANGSTON
Client: The Gap,
San Francisco
Agency: In-house
Art Director:
Susan Toland
Photographer:
Annie Leibovitz
J ANE
KOSSTRIN
Principal
Doublespace
New York
-0From Shaq uille O'Neal
to Herb Ritts to Spalding
Grayonce you saw Gap
clothes on these people, all
of a sudden there was a
real aspirational q uality
to them . The ads took
one Gap item, whether it
be a T-shirt, or a jacket or
a pair of jeans, and placed
it within their wardrobe so
you saw that Gap clothes
had the capacity to be part
of your style-conscious
wardrobe. I think it was
incredibly successful and
worked on so many levels.
It totally changed people's
perceptions of the Gap.
Also, the beautiful black-
and-white imagery,
whether Matthew Rol ,
ston was shooting it or
Annie Leibovitz, really
captured the soul of the
people and that just trans ,
lated to a good feeling
about the company.
Client: NYNEX Information
Resources
Agency: Chiat/Day, New York
Art Director: Dion Hughes
Copywriter: Cabell Harris
Photographer: Rick Dublin
ELLEN
SHAPIRO
Principal
Shapiro Design
Associates, Inc.
New York
k It did m ore than j ust tell you
about a product, it entertained you and got
you to think. It also alerted me that there is one "authentic"Yellow Pages
because we're often getting bombarded with offers to advertise in other yellow
pages, and there could have been such a heavy-handed way to go about this.
The art direction is so simple, and that's what's great about it. It also says that
NYNEX is an unconventional company. You may think of your telephone
company as this enormous, corporate, uncreative bureaucracy, but then look
at these very offbeat and funny ads.
21
t.
c. Cream
V.on,
*1....11..1*....by.
Von
Client: Logitech
Agency: Woolward &
Partners, San Francisco
Art Director:
Tracy Hopper
Copywriter:
lain Woolward
Photographer:
Dan Ham Photography
MICHAEL
OSBORNE
Principal
Michael Osborne Design
San Francisco
to It's one of those
things that when you're flip ,
ping through a magazine,
you have to stop and
look at it.
On top of all that, that's
my son. It's two different
babies but the one on the
right is my son, who's now
14 and has size 11 feet.
When he was a baby I was
doing a promotion piece
for a printer, and while
we were shooting him on
a light table, he kind of got
this weird look on his face,
rolled over on his back and
started going. The photog,
rapher just kept shooting
and so I have this sequence
of shots where it's creating
this perfect arc.
The first time I saw that
shot used was in this ad.
[I later discovered] the pho-
tographer sold it to a stock
house. My son hammers on
me pretty regularly about
it, physically. I had the ad
hanging up in the office and
he'd see it and just start
wailing on me, "DAD!"
Client: Colom bian Coffee
Agency:
DDB Needham , New Y ork
Art Director:
Sharon Occhipinti
Copywriter: Susan Lieber
Photographer: Stuart Heir
4There are certain ads in this series that they've
been playing with the logo for years and years. And
this is one that I think is very clever and good. It's
not about the coffee really, and it's not about any of
the standard things that coffee ads are about. They've
just chosen to focus on this logo and all the visual
games that they can play with it.
feels Good
KARRIE
J ACOBS
Writer at large
Metropolis
Patricia A. Riedm an is associate editor of Advertising Age's Creativity.
22
A WOMAN IS OFTEN MEA-
SURED BY THE THINGS SHE CANNOT
CONTROL. SHE IS MEASURED BY THE WAY
HER BODY CURVES OR DOESN'T CURVE, BY
WHERE SHE IS FLAT OR STRAIGHT OR ROUND.
SHE IS MEASURED BY 36-24-36 AND INCHES
AND AGES AND NUMBERS, BY ALL THE OUT-
SIDE THINGS THAT DON'T EVER ADD UP TO
WHO SHE IS ON THE INSIDE. AND SO IF A
WOMAN IS TO BE MEASURED, LET HER BE
MEASURED BY THE THINGS SHE CAN
CONTROL, BY WHO SHE IS AND WHO SHE IS
TRYING TO BECOME. BECAUSE AS EVERY
WOMAN KNOWS, MEASUREMENTS ARE ONLY
STATISTICS. AND STATISTICS LIE.
Client: Fam ily Life
Magazine
Agency: Fallon
McElligott, Minneapolis
Art Director: J oe Poprocki
Copywriter: Luke Sullivan
Photographer:
Rick Dublin
J OE DUFFY
Principal
Duffy Inc.
Minneapolis
to This serves as kind of
a breath of fresh air in that it's
classic, it's very legible and
perhaps most important,
the typographic treatment
really conveys the personals
ity of the product. It com-
plements the look of the
magazine without aping it
and it's lighthearted with-
out being difficult to read.
It also stopped me because
it's well-crafted and nicely
designed. This ad could have
been appropriate 50 years
ago, yet at the same time it's
appropriate for today.
I Hair Tinting
NY NEX
If it's out there, it's in here. Y ellowPages
Client: Nike
Agency:
Wieden & Kennedy,
Portland, Oregon
Art Director:
Charlotte Moore
Copywriter: J anet Cham p
Photographer:
Michael O'Brien
DICK
MITCHELL
Principal
RBMM/
The Richards Group
Dallas
I will always remember
this ad. I first noticed it
pinned to an art director's
wall and even though
graphically, it wasn't very
unusual, it was very
unlike Nikewith ele-
gant typography and
sophisticated photogra,
phy. Most ad copy
leaves me with a memory
of the product, but this
copy left me with some ,
thing more, an insight
into women. It made me
want to read it. And I
remember I wanted to
take it with me.
O ne minute
you're tiowiny
tuiies, iAe
next, you're
explf aininy sex.
f
iyure.
Client: NY NEX Inform ation
Resources
Agency: Chiat/ Day, New Y ork
Art Director: Dion Hughes
Copywriter: Cabell Harris
Photographer: Rick Dublin
STEVE
HELLER
Senior
Art Director
The New Y ork
Tim es
to There's nothing more exciting in an advertisement than something that
engages you to act and react. The one thing about the NYNEX ads is that
they keep you interested by posing the ridiculous riddle, which is as much
a pun as it is a riddle and therefore keeps you in touch with the advertising
message. I'm not all that interested in NYNEX Yellow Pages, but it cc ,
tainly got embedded in my brain after that series. Quite frankly, I miss
the fact that they're not there anymore; I think they added something to the
cityscape that most advertising does not.
HE ADLINE : ITC FRANKLIN GOTHIC DE MI X-COMPRE SSE D SUBHE AD: ITC FRANKLIN GOTHIC HE AW, ITC GOLDE N TYPE ORIGINAL BOLD 8IO/CAPTIONS/DROPCAPI1E XT: ITC GOLDE N TYPE ORIGINAL, BLACK; ITC FRANKLIN GOTHIC DE MI, BOOK X-COMPRE SSE D, HE AVY; ITC ZAPF DINGBATS
23
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---
ATTENTION CONTROL FREAKS: Like
keeping someone on a short leash,
making them beg, and play dead I you're
such a sick)/ Call me, common..
absolutely no fetching
sticks aro stupid and who knows where
they've been If this is kosher with you.
stop by HS and let's talk eclectic.
261-2910.
PROSE ANYONE?
These walls his cage my barrio
I sit. a lonely terrier
I long for you. I know your face
Get me the heck out of this place
The Humane Society of Limn. 261.24119,
EX-FRISBEE CHAMP. I [mph:gine days
when I felt the wind in ray fur and a disc
between my Meth. Let's hit the park arid
toss a few. n you've got the arm, I've got
the chops. 261-2919.
The Humane Society would like to liok the
faces of Chip Simons, Ed Rosenberger,
Scannercralt, and EmnsGroup for their
considerable talent, time. and effort in
producing this ad. We had a howling good
time wonting with all of you.
someone to me over and play dead, keep
looking. But I do have a soh side
right under my, uh, well, we can discuss
that later Call me_ 261-2919.
Of MOM. eeds are
few, however tuna in a white sauce would
be purrfect novv and then. .27 261.2919.
BE HUMANELY. CORRECT. Have your
Do I look Ike I want to fetch your slippers?
Realist, call 261-2919.The Human
Society of Utah.
s feline with an ear for Elvis and a
penchant for anything deep fried and
greasy. Who cams about high fiber. I've
got nine lives. The Humane Society of
Utah. 201-2919.
ONLY THE LONELY NEED APPLY.
Talk about needy, 1 five to cuddle. Wale,
lick, and whimper. All you have to do Is
provide an occasional caress and maybe
(pieasel scratch behind my ears. I'm
pathetic, call me 261-2919.
my bone am
261.2919.
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261.2919.
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Society of LP
ADVERTISING CAMPAIGNS PROMOT-
ING GOOD CAUSES HAVE LONG BEEN
REGARDED BY THE AD COMMUNITY
AS AN EASY SELL TOCLIENTS AND A
SHOO-IN AT AWARDS SHOWS. BUT
HOW DOAGENCIES CREATE PROBONO
CAMPAIGNS WHICH ARE ALSOEFFEC-
TIVE? J ADED CONSUMERS NOLONGER
RESPOND TOADS WHICH RESORT TO
BY J OY CE RUTTER KAY E
When creating this print cam paign to en-
courage people to adopt pets from the
Hum ane Society of Utah in Salt Lake City,
art director Steve Cardon ignored the
obvious solution of showing scrawny,
abandoned pets peering plaintively out
from their cages. Instead, he and his
EvansGroup partners took the opposite
approach by highlighting pets' irresist-
ible q ualities. Ads feature close-up snap-
shots of cats and dogs superim posed on
pages of newspaper "personal ads" pro-
m oting their finer traits. "That death and
doom approach is overused; explains
Cardon. "We didn't want people to adopt
an anim al out of guilt. We wanted to show
that youare instead adopting a specific
personality. We thought the personal ads
would be a good way to illustrate that:'
The cam paign is currently running in
regional m agazines such as Utah Holiday,
Salt Lake City Magazine and Utah Business.
The visual approach was inspired
by a series of q uirky anim al portraits shot
by New Mexico photographer Chip Sim ons.
When Sim ons showed his work last year at
a m eeting of Salt Lake City's chapter of the
Am erican Society of Media Photographers,
Cardon im m ediately envisioned them for
the cam paign. He felt Sim ons' offbeat use
of colored gels and slightly-skewed cam era
angles gave his work an appealing im m e-
diacy. "The anim als seem to be looking eye
to eye at the reader;' he says.
The larger challenge was pulling
the copy together for the classified ad back-
ground. Since each ad was m eant to be
read, copywriters J ohn Kinkead, Rebecca
Bentley-Mila and Bryan DeY oung wrote
som e 4o original ads from the pets' point
of view, borrowing the sam e form ulas
used by m ate-seeking hum ans. One ad, for
exam ple, reads, "I'm big, bad and full of
energy. If you're into the prissy, bow-on-
the-head poodle type, you're barking up
the wrong tree. But if you're looking for a
howling good tim e, let's get together and
watch the fur fly. 261-2919. The Hum ane
Society of Utah:' New Y ork's Village Voice
inspired m any of the racier exam ples, says
Cardon, with its colum ns of "alternative
lifestyle" ads which are scarce in a city half-
populated with conservative Morm ons.
This was evident in one dog's ad, which
reads: "Black lab looking for som eone into
bondage. Tie m e up. Put m e on a leash.
Show m e youcare:'
In order to m ake the Hum ane Soci-
ety ads resem ble true classified ad pages,
the shelter's logo was com pletely om it-
ted from layouts. The client agreed to
take this risk, says Cardon, because their
nam e and phone num ber are repeated in
each tiny ad. "How m any clients can say
their nam e appears 4o tim es in one ad?"
he asks. (Careful readers will also notice
one space which lists credits for those
who contributed to the cam paign, from
the copywriters to the color separators.)
Taking unusual m easures like these
are necessary for any client, Cardon says,
because, "youhave to get noticed:' But he
does appreciate the creative freedom pro
bono work som etim es offers: "Y oucan
often see the best work in this category,
because people can really cut loose:'
USING SHOCKING, GRAPHIC IMAGES
AND NEGATIVE COPY . THE BEST PRO
BONOCAMPAIGNS THESE DAY S TAKE A
POSITIVE APPROACH TOPERSUADING
PEOPLE TOACTION. MANY , LIKE THOSE
SHOWN HERE, COMBINE A GOOD IDEA
WITH ATTRACTIVE VISUALS TOMOTI-
VATE, RAISE AWARENESS, INSPIRE AND
OFFER A GLIMMER OF HOPE.
CLIENT:
THEHUMANE
SOCIETY
OFUTAH
AGENCY :
EVANSGROUP,
SALTLAKECITY
ARTDIRECTOR:
STEVECARDON
COPY WRITERS:
J OHNKINKEAD,
REBECCABENTLEY -
MILA, BRY AN
DEY OUNG
PHOTOGRAPHERS:
CHIPSIMONS
(ANIMALS),
ED ROSENBERGER
(NEWSPAPERS)
25
Since 1961, Amnesty International has
campaigned to free prisoners of conscience
those people detained for their beliefs,
ethnic origin, sex, color or language. To help
raise awareness of the organization and
encourage people to volunteer, Amnesty
tapped Doyle Advertising, Boston, to create
a print and television campaign to run in
the U.S. market. Both agency and client
agreed that resorting to shock tactics like
showing "images of atrocity"and the hor-
rors of confinement would not effectively
appeal to people on an emotional level,
says agency principal John Doyle, who art
directed the campaign. "They wanted some-
thing that instead offers hope:' he says.
Doyle's television campaign creates
empathy for the families of prisoners
without exploiting their grief. Commer-
cials shot by Chelsea Pictures director Neil
Burger artfully show silhouettes of young
people shot through a rough, gauzy fabric
while a mother wonders with bitterness
and sadness how her child has become one
of the "disappeared?' In one commercial,
a mother asks, "Have you seen my daugh-
ter?This is her photograph. She still hasn't
come home, not in ten years. Only yester-
day she was a little angel in my arms. Now
she's a young lady, a studentanother 'dis-
appeared:"A bright light then shines
through the hazy gauze, to signify Amnesty
International's symbol of hopea lighted
candle wrapped in barbed wire. The closing
voiceover says, "Every day, Amnesty Inter-
national shines a light on such cases, wher-
ever they occur?' This statement is followed
by information on how viewers could vol-
unteer for the organization.
A print campaign offers further
incentive to help. Spreads feature black-
and-white photographs of former prison-
ers who have been released through the
efforts of the organization. Each photo
emphasizes the hands of the subject in
order to show that while prisoners' hands
are bound, free people are able to take
action, explains Doyle, who created the
campaign with copywriter Robin Raj. Fif-
teen celebrated photographers have con-
tributed their talents to shoot the print
campaign, including Annie Leibovitz, Matt
Mahurin, Phil Porcella, Nadav Kander
and Curtis Johnson. Eventually, there will
be 5o ads produced in the series. Current-
ly, John Doyle is organizing an exhibition
of the work to be held at the International
Center of Photography in New York City,
and hopes to have the images published
in a book.
In each print ad, the portraits face
a page which briefly describes other cases
still under investigation. The copy is fol-
lowed by ten blank lines to suggest a letter
the reader could write to appeal for a pris-
oner's release. Giving people clear-cut
options like this, Doyle adds, allows them
to become involved without feeling as
though they are being manipulated. "The
ads can't overextend themselves:' he says.
"You have to allow the audience to enter
into the message?'

CHOICE
WI-4AT A SEAVTIFVL
CLIENT:
THE NEW YORK STATE
CHAPTER OF THE NATIONAL
ABORTION RIGHTS ACTION
LEAGUE (NARAL)
AGENCY:
MAD DOGS & ENGLISHMEN,
NEW YORK
ART DIRECTOR:
JULIE KATAKURA
COPY WRITER:
SUSAN TREACY
PRODUCTIONCOMPANY :
IN-HOUSE
After viewing the short film, "Photocopy
Cha Cha"at an animation film festival,
copywriter Jean Rhode and art director
John Morrison had the same idea. "It's
perfect for the Blood Center;' they agreed.
At the time, the McElligott, Wright, Mor-
rison, White team was in the midst of
working on a television campaign for
the Memorial Blood Center of Minneapo-
lis which incorporated an eclectic mix
of visual and musical styles to encourage
young people to donate blood. When
they saw the film's unique style of anima-
tion, which manipulates images photo-
graphed on a copy machine, they thought
it would perfectly illustrate the fact that
medical technology can copy anything,
except blood.
Chel White, the feature's Portland-
based director, shared their enthusiasm
and agreed to cut a commercial from the
original film. Backed by Citizen M's funky
techno/hip-hop/jazz version of Duke
Ellington's classic, "Caravan,"the :3o
"Photocopy Jazz"shows fleeting shots of
faces, hands and other body parts cap-
tured by a copier's light source. (In this
case, White used a Sharp model SF82o).
White animated the images by filming
them with traditional stop-motion anima-
tion, and used colored gels to add depth
and heighten the dream-like sense of sur-
realism. White says he enjoys working
within the limitations of the copier, which
include a small surface area, a shallow
depth of field, and a low-quality resolu-
tion. "On a graphic level I am attracted
to its grittiness and high contrast level:'
he says. "It's not like traditional photog-
raphy; it's almost like looking at x-rays."
In both the commercial and film, black
sequences appear between images to
simulate the pauses the machine makes
between copies. This White says adds
a "sense of mystery;' and allows the view-
ers time to add their own interpretation
of the work, an approach he feels benefits
cause-related advertising.
"Photocopy Jazz"is remarkable
because most pro bono spots are more
likely to borrow conventional visual
approaches instead of introducing a new
medium to television. But the Blood Cen-
ter had already shown a propensity for
experimentation by accepting two ear-
lier commercials from the agency which
used twangy cowboy music and an ele-
gant mlange of typefaces. (McElligott,
Wright, Morrison, White has since closed.)
According to Rhode, the client realized
that these unexpected elements would
appeal to a younger audience, rather than
commercials which focused on the dire
effects of dwindling blood supplies. "We
didn't want anything that said, 'you're
the next to die;"says Rhode, who is now
working at Wieden & Kennedy, Portland.
White appreciated the creative team's
subtle approach to this life-or-death issue.
"As image makers we're all developing
a vocabulary:' he says. "It makes sense to
try something different."
26
Amnesty I nternationa
1 - g(111 -7,' - M FY
ART DIRECTOR:
JOHN DOYLE
COPY WRITER:
ROBIN RAJ
PRODUCTIONCOMPANY :
CHELSEA PICTURES,
NEW YORK
DIRECTOR: NEIL BURGER
AGENCY :
MCELLIGOTT, WRIGHT,
MORRISON, WHITE,
MINNEAPOLIS
ART DIRECTOR:
JOHN MORRISON
CLIENT:
MEMORIAL BLOOD
CENTER OF
MINNEAPOLIS
Medical technology can
copy' just about anything .
Freedom of choice is celebrated in an up-
beat, irreverent way in this animated spot
for the New York State Chapter of the
National Abortion Rights Action League
(NARAL) by advertising agency Mad Dogs
& Englishmen. The commercial employs
simple black-and-white line drawings
and an upbeat jazz score to illustrate the
freedoms all Americans are guaranteed,
from choosing a hairstyle and religion to
whether to have a baby or an abortion.
The tagline emphasizes: "Choice. What
a beautiful life:'
The commercial was created to
respond to a glossy anti-abortion campaign
running for two years on network and cable
channels by the privately-funded DeMoss
Foundation. Those commercials show
softly-lit, slow-motion footage of children
playing while their parents reflect in a
voiceover how they made the difficult, but
rewarding decision to bear a child. The
spot closes with the tagline, "Life. What a
beautiful choice."
To present NARAL's opposing view-
point, the creative team eschewed using
an emotional approach because they felt
that would be too manipulative and would
potentially repel certain fragments of the
pro-choice faction they were targeting. "We
felt playing with people's emotions would
be wrong; it's like an invasion of privacy,"
says Julie Katakura, who art directed the
spot. Her partner, copywriter Susan Treacy,
adds: "We wanted to have a really fair ad;
one that was inarguable:'
Their commercial, therefore, en-
compasses a broad variety of personal
preferences through a rapid succession
of Katakura's white-on-black line draw-
ings and hand-written title cards created
to introduce each category. At first, the
team considered using stock footage or
photographs to represent these choices,
but realized that the simpler the artwork,
the more the spot could embrace a wider
audience. Often there are humorous
visual surprises. The super reading, "Who
You Worship,"for example, is followed
by a drawing of a bible, a Buddha and Elvis
Presley. A peace symbol, a gun and a tele-
vision set are used to illustrate both "What
You're Against"as well as "What You're
For."The spot closes with the image of a
man and woman, who are soon joined by
scores of other people, which Katakura and
Treacy say symbolizes the diversity and
the numbers of those who support the pro-
choice movement.
Before breaking on New York City's
WCBS-TV this spring, the spot was screened
at a dinner celebrating NARAL's 25th anni-
versary, where it was welcomed by support-
ers with cheers and applause. According
to Treacy, representatives from the organi-
zation told her they were pleased that
they are now able to defend their position
with an approach which celebrates Amer-
ican freedoms, instead of one which tries
to evoke guilt or shame. "We didn't want to
fight fire with fire,"explains Treacy. "We
wanted to fight fire with water."
COPY WRITER: JEAN RHODE
PRODUCTIONCOMPANY :
CHEL WHITE FILMS,
PORTLAND
DIRECTOR: CHEL WHITE
Except blood.
HE ADLINE /NUME RALS/INTRO, ITC CHARTE R RE GULARBYLINE /TE XT: BOLD CRE DITS: RE GULAR, BOLD
27
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italic cornpa
ion to th
Boar
ily, b
RAL
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phic C
bold
nd VG
that do
3, Friz
ench d
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by the
new d
's result
e fine-t
uidance in s ie, h
ns. FOR SUCH
The or
OR SUCH A SMALL type
family, Friz Quadrata has
had a long and diverse
history. The original design,
and first weight, of Friz
Quadrata was created in 1965 by Swiss designer Ernst Friz,
who studied graphics in Zurich with Rudolf Bircher and
Walter Koch. Friz Quadrata made its first international appear-
ance when Visual Graphics Corporation released the design in
the late 196os as one of the winners of its International Typeface
Design competition.
Several years later, ITC entered into a cooperative arrange-
ment with Visual Graphics Corporation through which Victor
Caruso collaborated with ITC to add a bold weight to Friz's origi-
nal. Both designs then became available through ITC and VGC.
For this reason, this family is one of only two typefaces in the
ITC library that does not carry the ITC prefix.
Since its introduction as an ITC family in
1973,
Friz
Quadrata has suffered from the lack of an italic companion.
In 1992, the French designer Thierry Puyfoulhoux submitted
his solution to the problem with two weights of Friz Quadrata
Italic. The ITC Typeface Review Board was delighted by the
prospect of finally completing the Friz Quadrata family, but
knew that the new designs had to be worthy complements to
the existing roman designs. This resulted in an unprecedented
level of involvement on the part of the Board in the fine-tun-
ing of character shapes and proportions. Puyfoulhoux not
only took the guidance in stride, he also proved to be a master-
ful interpreter of the Board's suggestions.
Puyfoulhoux, 32, studied calligraphy and typog-
raphy at the Scriptorium of Toulouse with Bernard
Arias, and at the Imprimerie Nationale (the Government
Printing O ffice) in Paris under the direction of Jose
Mendoza, another ITC typeface designer. The Friz
Quadrata Italics are Puyfoulhoux's first commercially
produced typeface design.
Friz Quadrata is available in Roman and Bold weights,
as well as their corresponding italics. O ldstyle figures are
available for the new italic designs. O nly licensed ITC Sub-
scribers are authorized to reproduce, manufacture and
offer for sale these and other ITC typefaces shown in
this issue. This license is your guarantee of authenticity.
These new typefaces will be available to the public on
or after May 23,1 994, depending on each manufacturer's
release schedule.
29
Scriptoriurn
ale (the Go
Mendoza,
Puyfoulho
RATA IS AVAI
ding Italics
licensed I
offer for s
nse is your
able to the
cturer's rel
graphy at t
rimerie Nat
section of
to Italics
FRIZ QUA
correspon
signs. O ni
acture and o
e. This licen
,S
with Bern
rinting O ffi
C typeface d
mmercially
, and B
d other ITC t
f authentici
after May
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m of Toulo
overnment
, another I
oux's first c
ABLE in Ro
O ldstyle fig
C Subscribe
le these and o
uarantee of
Y FOULHOUX, 3
Toulouse wi
ent Pri
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cribers ar
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ntee of a
on or of
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torium
the Gov
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lhoux'
VA1LABLE
ics. O lds
d ITC
grap
n, a
Paris
ner. Th
roduced ty
Id weights as well
ailable for the new
zed to repr
pefaces sho
ty: These n
23, 1 994, d
OUX, 32, STU
se with Be
Printing O f
C typeface
mmercially
an, and Bold wet
es are availab
re authori
igns. O nly li
facture an
issue. This 1 '
es will be a
on each ma
raphy and t
, and at the
ris under th
he Friz Qua
typeface des
s well as their c
new italic de
uce, ma
sed ITC Sui
r sale th
your gua
o the pubi
's release
at the Sc,
ie National
of Jose Mei
ics are PuyA
Z QUADRATA
esponding Iti
. O nly licen
e and of
Friz Quadrats Bold Italic
, nu ac
n this issue.
typefaces will be a

ending on ani
1ED calligra d ty,
rnard grin,
ffice) in Pa
e designer.
Ily produced
old weights
ailable for t
rized to rep

efaces shown tss,

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1 ff API I Ofk Mb114I MN AMPSAA
Friz Quadrata Italic
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1 234567890
8/10
Excellence in typography is the result of nothing more than an attitude. Its appeal comes from t
he understanding used in its planning; the designer must care. In contemporary advertising th
e perfect integration of design elements often demands unorthodox typography. It may requir
e the use of compact spacing, minus leading, unusual sizes and weights; whatever is needed to i
mprove appearance and impact. Stating specific principles or guides on the subject of typograp
by is difficult because the principle applying to one job may not fit the next. No two jobs are ides
10/12
Excellence in typography is the result of nothing more than an attitude. Its ap
peal comes from the understanding used in its planning; the designer must c
are. In contemporary advertising the perfect integration of design elements o
ften demands unorthodox typography. It may require the use of compact spac
ing, minus leading, unusual sizes and weights; whatever is needed to improve
appearance and impact. Stating specific principles or guides on the on the subje
12/14
Excellence in typography is the result of nothing more than an a
ttitude. Its appeal comes from the understanding used in its pla
nning; the designer must care. In contemporary advertising the p
erfect integration of design elements often demands unorthodox t
ypography. It may require the use of compact spacing, minus lead
ing, unusual sizes and weights; whatever is needed to improve ap
14/16
Excellence in typography is the result of nothing more
than an attitude. Its appeal comes from the understand
ing used in its planning; the designer must care. In cont
emporary advertising the perfect integration of design ele
ments often demands unorthodox typography. It may re
quire the use of compact spacing, minus leading, unusua
Friz Quadrata Bold Italic
ABCDEFGHIJKLMN
O PQRSTUVWXYZ
abcdefghijklmnopqr
stuvwxyz1 234567
8901 0CE%ciliffffic
1 234567890
8/10
Excellence in typography is the result of nothing m ore than an attitude. Its appeal com es fr
om the understanding used in its planning; the designer m ust care. In contem porary adver
tising the perfect integration of design elem ents often dem ands unorthodoxtypography. I
t may require the use of compact spacing, minus leading, unusual sizes and weights; wh
atever is needed to improve appearance and impact. Stating specific principles or guide
s on the subject of typography is difficult because the principle applying to one job may
1 0/1 2
Excellence in typography is the result of nothing m ore than an attitude. It
s appeal com es from the understanding used in its planning; the designer
m ust care. In contem porary advertising the perfect integration of design
elements often demands unorthodox typography. It may require the us
e of compact spacing, minus leading, unusual sizes and weights; whate
ver is needed to improve appearance and impact. Stating specific princi
12/14
Excellence in typography is the result of nothing m ore than a
n attitude. Its appeal com es from the understanding used in i
is planning; the designer m ust care. In contem porary adverti
sing the perfect integration of design elements often deman
ds unorthodox typography. It may require the use of compa
ct spacing, minus leading, unusual sizes and weights; what
1 4/1 6
Excellence in typography is the result of nothing mor
e than an attitude. Its appeal comes from the unders
tanding used in its planning; the designer must care
In contemporary advertising the perfect integration
of design elements often demands unorthodox typo
graphy. It may require the use of compact spacing, m
31
m
The future of advertising either looks scary or exciting these days, depending
upon where you're perched. Talk to a young "hot shop" creative director like
Jeff Weiss of Margeotes, Fertitta, Donaher & Weiss or a cutting-edge graphic
designer like David Carson and you'll hear that advertising is on the cusp of an
era of wide-open experimentation, which could be more stimulating than the
"creative revolution" of the 1960s. Talk to a nervous, mid-level creative director
at agencies like Lintas or McCann-E rickson and you're more likely to hear dire
predictions of slashed budgets, encroachment from Hollywood, and a com-
ing techno-revolution that threatens to destroy "classic" advertising as we
know it (strike up the violins!). , Both sides are right. In all likelihood, the next
five to seven years will be one of the most tumultuous periods in advertising
history, bringing a Colgate smile for some and an E xcedrin headache for many
others. But there's little question that when the dust clears, advertising will look
different than it does today. k New & Im proved: Audiences, Clients
and Media Change is already occurring all around. Start with the audi-
ence: Designers and art directors such as Carson, Weiss, and Wieden &
Kennedy's Jelly Helm have demonstrated that the post-Boomers, weaned on
MTV and video games, seem to respond to information in more abstract, live-
lier and quirkier forms. At the same time, this audience is more ethnically and
culturally diverse than any other in history. Hence, the classically art-directed,
slogan-driven, star-studded, mass-appeal commercial doesn't generate so
much as a blip on the radar of this younger audience. , Clients are chang-
ing, too. They're devoting more resources to direct marketing and other adver-
tising alternatives. They're experimenting with smaller, regional agencies, or in
Coca-Cola's case, saying to hell with agencies altogether (Lastyear, Coke hired
Creative Artists Agency, a Los Angeles talent agency, to handle much of the
creative portion of its account.) . Finally, as we've heard ad nauseam,
the media world is changing. True, there's a certain degree of hype and
production of ads on lower budgets, because clients will need a lot more ads.
"Where once you made three commercials, you'll have to produce 30," says
Balkind. The reason? If there are 5 00 channelsor even 15 0 channels, or 100
options available on one interactive channelthere are going to be a lot more
places to put customized commercials. 'This fragmentation in the media dove
tails with the growing diversity of the audience: a channel for every kind of per-
son. . The idea of targeted advertising isn't new, but so far the ad industry
has done a pretty lousy job of it. Ads for ethnic minorities often do little more
than insert actors of a particular ethnicity into Norman Rockwellish commer-
cials; these ads end up being just more wallpaper, albeit in different colors. But
when targeting is done with true empathy and sophistication, such as Wieden
& Kennedy's resounding Nike campaigns for women, the results are quite ef-
fective. For future advertising to succeed, ad creators must become more cul-
turally aware. Account planning and focus groups may help. What might help
even more is a deliberate effort by agencies to recruit non-white, non-males
into creative departments. . Finally, it may be time for advertisers to stop talk-
ing about "standing out." More likely, the commercial of the future will blend
into the surroundings, like a double agent. "The distinctions between pro-
gramming and advertising will continue to blur," says Balkind. We've already
seen the rise of "infomercials= and while you may laugh at their lack of sophis-
tication, advertisers are taking them very seriously. What began as a medium
for chatty entrepreneurs is now moving to the next level. Microsoft, Braun,
Revlon, Mattel and other major companies have either produced or are now
producing infomercials. "You'll see infomercials become much more sophisti-
cated, with higher budgets, better directors and more of a storytelling format," -
says Steve Dworman, publisher of The Infomercial Marketing Report.
Print advertising is undergoing a similar blurring of the boundaries that
a
e



speculation surrounding the chatter about 5 00 channels, but even if
the new media environment hasn't fully taken shape, we know
it's coming. By the end of this year, Time Warner's interactive TV
pilot program in Orlando, Florida, should be up and running. View-
ers will use a mouse to manipulate commercials on the TV screen: You
click for more detailed specs on a product, click again for an elaborate
demonstration, click yet again and a coupon prints out alongside your
TV set. A more advanced version of this system could conceivably enable
viewers to alter the background scenery or the color of a car in a com-
mercial. But even in its present form, this system "irrevocably alters the
way advertisers interact with customers," says Time Warner multimedia
manager Bruce Judson, who predicts that interactive TV will be rolled
out nationwide in the next three to five years. Ads which are 'Liv-
ing Brochures' So what do all of these changes mean in terms of
what the commercial of the future will look like? The consensus seems to
be that new commercials will have to be faster, smarter, and far more re-
sponsive than the old ones. Not to say that there won't be a place for ad-
vertising's glib copywriters and visionary art directorsonly that they
might have to work a little harder. Peter Farago of Farago Advertising,
who will help create commercials that run on the Time Warner interac-
tive system, says that ads will still need to attract viewers with a simple,
effective hook (a dramatic visual, a great opening line)but will be
required to follow that up with detailed information that comes at view-
ers in stages, continually tempting them to proceed to the next stage. In
some ways, commercials may become more like living brochures, sug-
gests Aubrey Balkind, president of Frankfurt Balkind Partners: "Infor-
mation and images will have to be structured hierarchically," he says.
Balkind thinks graphic designers, as well as video game creators, will
play an important role in developing these commercials. Don't
expect a lot of high-production glitz and overpaid celebrity endorsers in
the commercial of the future. There will be a demand for more in-house
IIVI G 1111
separate editorial from ads. In the last year or two, we've seen a
spate of "magalogs," which attempt to disguise a catalog as a maga-
zine. In one of the more bizarre twists in this phenomenon, the clean-cut
Land's End catalog recently hired the down-and-dirty playwright David
Mamet to pen an essay for its pages; next, we might see John Updike
waxing eloquent about Sony headphones. Y ou Can't Run, Y ou
Can't Hide Of course, this commingling is unsettling because it
makes advertising even more insidious than it has been in the past. In the
latest video games from Sega, advertising characters and logos are slyly
embedded in the game itself. And that kind of infiltration could be just
the beginning of things to come. A recent issue of Wired magazine
raised the fascinating prospect of ad 'viruses" that would be planted in
the information networks that we use; every time you watch a shower
scene on your computer/TV, an image of Ivory soap would sneak into
the picture. That's pretty futuristic, but one way or another, advertisers
will continue to cross boundaries into programming. They have no
choice, after all; if ads aren't camouflaged, we'll all just keep shooting
them down with our remotes. In some ways, the coming changes in
advertising can be beneficial to all of usthe creatives, the clients, even
the audience. If old commercials were like bad salesmenscreaming
a rehearsed sales pitch at you as they push the same product on every-
body who comes into the storethen maybe new commercials will be
like good salesmen. They II actually listen to you, respond to your needs
and give you enough information so that you can make the right choice.
On the other hand, they'll be so smooth and friendly you won't even
know you're being sold something. Until you notice that you bought the
darn thing. Warren Berger writes about advertising for The New York Times
Magazine, Communication Arts, and Advertising Age's Creativity.
HE ADLINE /SUBHE AD/BYLINE ITC MIXAGE BLACK

TE XT/B10: ITC E RAS LIGHT, ME DIUM, DE MI, BOLD, ULTRA

32
LUCKY
" It's toasted' STRIKE
C IGARETTE
COMING EVENTS CAST
THEIR SHADOWS BEFORE'
77howle (Imp/wit f-7-- 044 I
by refraining from over-
indulgence, if you would
m aintain the m odern fig-
ure of fashion
We do not represent that
sm oking Lucky Strike Ciga-
rettes will bring m odern figures
or cause the reduction of flesh.
) 110 -Thaltko,
Id (RatGor Ilaue
a,Alcb9
Lucky Strike was America's larg
est selling cigarette in the '20s
and no expense was spared in re
cruiting more women customers
A series of early 1930s magazine
ads featuring stylized paintings
of sensual women dressed it
their evening finest promoted an
image of haute sophisticatior
In "OK Miss America!"a buxoff
model wearing a low-cut satin
gown is so above the fray that she
isn't even holding a Lucky. Whict
is not the case in the haughty
"I do"ad where a sultry, suitably
bored bride pauses for a relaxer
smoke before commencing hei
march down the aisle. It is no sui
prise that cigarettes were mai
keted as fashion accessories, but
these Depression-era ads were
not targeted exclusively tc
women who could afford the
fashions. Like the movies, cis
arette advertising appealed tc
every class and income group anc
suggested the promise of a better
life through smoke and mirrors.
AenWoa Oro&
a Snack
(Reach 60/t acPad o
ag-IM4,1 antelt&a!
We thank you for your patronage
and
A Woman Is Only a Woman,
But a Good C igar Is a Smoke
y
ou've com e a long way,
baby, from the pre-suf-
frage era when it was un-
ladylike to sm oke. In the early
20th century cigarettes becam e
a cause clbre, but they were
really a sm oke screen for attain-
ing m ore fundam ental liber-
ties. One right was linked to the
other, so earning the right to
vote m ade it easier to sm oke
in public. Y et, by achieving first
class citizenship, wom en also
becam e first class tobacco con-
sum ers. If wom en are going to
sm oke, reasoned the cigarette
industry, then why not encour-
age them to sm oke a lot? So
by the late teens national ciga-
rette advertisem ents hinted
that sm oking was a right. By the
1920s they suggested sm oking
was a duty.
Starting around 1920, advertising
wizards found ways to make ciga-
rettes seductive to women by in-
voking a Platonic ideal and using
Aristotelian logic. They appro-
priated high culture for a Lucky
Strike ad, for example, that bor-
rows Henry Wadsworth Longfel-
low's poetic line, "First a shadow
then a sorrow,"to announce that
this cigarette had a diet plan.
"Avoid that future shadow:' states
the persuasive copy, "by refrain-
ing from over indulgence. If you
would maintain the modern figure
of fashion:' The ad, which shows
an idealized color painting of a
young American beauty haunted
by the double-chinned specter of
excess, reads: "We do not repre-
sent that smoking Lucky Strike
Cigarettes will bring modern fig-
ures or cause the reduction of
flesh. We do declare that when
tempted to do yourself too well,
if you will 'Reach for a Lucky' in-
stead, you will thus avoid over-
indulgence in things that cause
excess weight and, by avoiding
over indulgence maintain a mod-
ern, graceful form!'
RTISING C IGARETTES TO WOMEN IN THE '20s, '30s AND '4
Y our Throat
h Irritants
:27,1, YOU INHALE?
asel
fl
0 0
Congiaterbiotir
almt, Appge
Cigarettes were a staplea veri-
table vitamin supplementfor
Depression-weary and war-torn
Americans. Yet despite their
promise of weight control, cig-
arettes offered no good health
inducements. Even tobacco
manufacturers acknowledged
that frequent use of their prod-
35
t 1, At
.
PIN
r oi st of . u! R, GAR: 8 :7
IOW 0-01 41(.124i
Lucky Strike < "I The Man Who Know
LUCKY STRIKEMEANS FINE TOBACCO
ucts resulted in coughing, throat irritation, and raspy voices, although the
latter was sometimes promoted as sexy. Yet to deflect public attention
away from those ailments, cigarette advertising exploited certain per-
ceived health benefits, such as increased vigor and stamina. Camels
asserted that their costlier tobaccos had a stimulating effect, while Lucky
Strike took the wholesome approach with their motto "It's toasted,"as in
an ad that reads: "Everyone knows that sunshine mellowsthat's why the
`TOASTING'process includes the use of the Ultra Violet Rays...Everyone
knows that heat purifies and so `TOASTING'...removes harmful irritants
that cause throat irritation and coughing."Increasingly concerned with
complaints of ill health side effects, by the mid-1930s Lucky Strike had
added the following tagline to its ads: "sunshine mellowsheat purifies."
Men played a key role in cigarette advertising for women. They ran
the agencies, produced the images, and wrote the copy that created the
stereotypical or commercially correct woman. But in clubhouse fashion,
men also made fun of their own ludicrous stereotypes. In "Shanghaied by
a Silly Salt?...Light an Old Gold"the Esquire magazine pinup artist George
Petty's voluptuous gal is hit upon by a licentious old gent, but the copy
reads that Old Gold is her saving grace: "When a retired skipper proves he
is anything but retiring by dropping anchor alongside of you...Offer him
36
COSTLIER TOBACCOS
an Old Gold... he'll welcome it
like a breeze in the doldrums
...while you breeze gracefully
away."During World War II men
were an implied missing pres-
ence in ads that featured women,
usually movie stars and starlets,
as spokespeople. In a 1943 ad,
Betty Grable, star of the movie
"Pinup Girl;' is presented on a por-
trait in a soldiers' barracks, rein-
forcing Chesterfield's assertion
that they are overseas "With the
boys..."In the same spirit Joan
Bennett, dressed in her Women's
Volunteer Army uniform, lights
up "His cigarette and mine,"in
one of a long series of Chester-
field testimonials. To soldiers,
cigarettes were as valuable as
rations, so to the tobacco indus-
try the war was therefore a boon.
Ads invoked the image of Amer-
ican boys, exploited the image
of American girls, and portrayed
cigarettes as American as apple
pie. After the war men became
active role models in ads target-
ed down to women. In one from
1949 a picture over the subhead
"Lucky Strike presents the man
who knows,"referring to their ex-
pert tobacco buyer, shows a styl-
ish woman collaged against a
tobacco leaf, peering out appre-
ciatively as she lights her Lucky.
POOR LITTLE RIC H GIRL
Sue Carol's wealth was a hin-
drance rather than a help. Holly-
wood thought she was ritzy, but
Sue soon proved she was a "regu-
lar guy"... she mode 14 pictures
her very first year .. her latest
is UNIVERSAL'S "GRAFT." She
has reached for a LUCKY for two
years. Not a farthing was paid
for those kind words, That's
white of you, Sue Carol.
112 The liner Tnhipra
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Cigarette ads aimed at women during the Depression and
war years had one purpose: to seduce by appealing to the
conflicting senses of fashion and patriotism. While the styl-
istic manner of this seduction has changed since these ads
were first printed, the method is the same. Ads today con-
tinue to appeal to weakness, prop up myth, massage fan-
tasy, and sell that tobacco. Or as Lucky Strike succinctly said
in at least one of its ads: "It's the tobacco that counts:'
1 BOO 32
0
Compuse

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1922

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31
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call + 1708
328
InterNet phabetsppleliok.a291e.00111
PO Box 5448,
Ega0St011, it 60204
OSP
designOn%'toe': 108 328 8123
sup
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9%4 Clip Art Images*
751 Brand Name Fonts
4255 Stock Photographs.
50 Design Tips & Tricks
I SOO MT 9193
Cal4 fax or write for your free
Image Club Software Catalog today!
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Im age Club Graphics, Inc. 729- 24th Avenue Southeast Calgary, Alberta, Canada T2G5 K8
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C atalog includes representative samples of products. 1994 Image C lub Graphics,Inc
Circle 289on Reader Service Card
1

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Software
QuarkXPress for Power Macintosh
Quark, Inc., developers of the page
layout program QuarkXPress has
announced the development of a
native version of QuarkXPress for
Apple Computer's line of systems
based on PowerPC technology. (A na-
tive application is one that has been
recompiled for the PowerPC chip
and takes full advantage of the supe-
rior speed of PowerPC technology.)
The Power Macintosh version is
scheduled for release in the first half
of 1994 and will ship on CD-ROM,
making it Quark's first product to be
produced in this format. Included
on the CD-ROM with the new version
will be more than $1900 worth of
additional software, including Apple
Events Scripts, QuarkXPress librar-
ies, two image databases, fonts and a
variety of Quark XTensions. For Mac-
intosh. $995. Quark Inc., 1800 Grant
Street, Denver, CO 80203. (303) 894-
8888. For more information, circle
422 on reader service card.
PageMaker and FreeHand for the
Power Macintosh
At Apple Computer's international
launch event for the new Power Mac-
intosh computer line, Aldus Corpo-
ration announced native versions of
Aldus PageMaker 5.0 and Aldus Free-
Hand 4.0. Both applications have
been recompiled and optimized to
take full advantage of the superior
speed of the PowerPC microchip. As
a result, PageMaker and FreeHand
for the Power Macintosh computer
perform between two and ten times
fasterdepending on the operation
than their counterparts running the
faster Quadra computers in Apple's
current Macintosh line. Other Aldus
products slated for conversion to
the Power Macintosh in 1994 are Per-
suasion, TrapWise, Gallery Effects,
Fetch, Color Central and CoSA After
Effects, making Aldus the supplier
of the largest family of native appli-
cations. PageMaker $895, FreeHand
$695. Aldus Corporation, 411 First
Avenue South, Seattle, WA 98104-
2871. (206) 622-5500. For more
information, circle 423 on reader
service card.
Add 3D Impact to Type and Graphics
addDepth is a new graphics applica-
tion from Ray Dream that allows
users to easily add the impact of 3D
graphics in all types of business com-
munications. Users can create 3D
text and objects either from scratch
or from imported clip art and illus-
trations. Ray Dream has also intro-
duced the addDepth Wizard, a
graphics assistant that fully auto-
mates the creation of 3D graphics.
The addDepth Wizard allows the user
to choose from dozens of profession-
ally designed 3D graphics templates.
Users simply enter their text and
select the design they want. For Mac-
intosh and Windows. $149. Ray
Dream, Inc., 1804 N. Shoreline Boule-
vard, Mountain View, CA 94043. (415)
960-0768. For more information,
circle 424 on reader service card.
New Image Libraries
Letraset has announced the release
of three new collections of photo-
graphic images designed especially
for users of multimedia and desktop
publishing applications. The Letra-
set* Images forMultimedia and
Desktop Publishing series contains
120 images in each CD collection
for use as backgrounds. Images range
from standard marble, stone and
paper surfaces to the unusual and
unimaginable. For example, the
Industrial CD offers galvanized back-
grounds such as rusted metal and
tin cans to manhole covers, Styro-
foam peanuts and broken glass. All
of the full-screen backgrounds are
ready to use in 72 dpi, 24-bit RGB
and TIFF format. For Macintosh and
IBM compatible computers. $249 per
CD; $599 for all three CDs. Letraset
USA, 40 Eisenhower Drive, Paramus,
NJ 07653. (800) 526-9073. For more
information, circle 425 on reader
service card.
Create Innovative Effects
Fractal Design Corporation has intro-
duced version 2.0 of Fractal Design
Painter' The program offers 70 new
features, brushes and functions for
Continued on page 42
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ITC Typeface Directory
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Corporation operates under
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is known as "ITC:' ITC
and its typeface names are
registered trademarks
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1585 Charleston Road
I 00 I K I 0 I
PO Box 7900
Mountain View, CA
94039-7900
I I K I I I O K I 0111 I I
(800) 833-6687
Fax: (415) 961-3769
I I I 90 Industrial Way I
K
I I
n, MA 01887
(508) 658-5600
Fax: (508) 657-8268
0 00 I I I K I I I I I I I I I I I I I I I I I O I

I I I

I I I I I I I 1050 Rancho Conejo Blvd.
I
I I
K K
I
K I I K I
Thousand Oaks, CA 91320
(805) 498-9611
Fax: (805) 498-7099
I I I I I I K I I I I I I I I I I I I I I I I I I I I I I

I I I Athenaeum House
1. K
I
I
I
11111
I
I I 215 First Street
Cambridge, MA 02142
(617) 497-6222
K
U U mam mm Fax: (617) 868-4732
9955 West 69th Street
I E l
K
I O K
Eden Prairie, MN 55344
(612) 944-9264
Fax: (612) 941-8652
I K I K I I K I I I I K I
Be 12 b
I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I
Dorfstra
25485 p_ Lan gan, Germany
Tel: 49 41 234 843
Fax: 49 41 236 027
I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I Fax: 011 49 4123 6027

1375
Fairfield,
Kings Highway East
T06430
(800) 942-9110
Fax: (203) 367-7112

Bergmannstra Be 102

D40961B
Berlin

Germany
49 30 69 37 022
I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I
I Fax: 011 49 30 6900 6277

I I K K
0 000
,_, 729 Twenty Fourth Avenue Southeast
K K K 0 DO 0000 K K
L-' Calgary, Alberta
Canada T2G 1P5
(403) 262-8008
K
I I
I 00 K RD K
I
K DO DOOD K 000
K
K
Fax: (403) 261-7013
Linotype-Hell AG
0
U
K 0
Mergenthaler Allee 55-75
D-65760 Eschbom, Germany
..... 49 6196 98-2731 Fax:49 6196 98-2185
Linotype-Hell Company
K K I 0 I I 425 Oser Avenue Hauppauge, NY 11788
(800) 633-1900 Fax: (516) 434-2748
Rissener &mile 112-114
K I Postfach 220, D-2000
Wedel bei Hamburg
Germany
I K
... 49 41 0380 1196
Fax: 011 49 4103 80 1228
I I K I I I K I I I K I I I I I I I I I I I I I I I I I I I I I I
Suite
150 South th Wacker Drive
Chicago, IL 60606
(312) 855-1440
I I K I I I K I I I K I I I I I I I I I I I I I I I I I I I I I I I
Fax: (312) 855-9475
1 Magnum Pass
K K K I K K

Mobile, AL 36618
-
.....
(205) 633-4300
Fax: (205) 633-0013
K K K I K
K I
URW America
0 a . 0 . a . .................. ......... 4 Manchester St., Nashua, NH 03060
1 (800) 229-8791 Fax: (603) 882-7210

''
URW Software & Type GmbH
Harksheider StraBe 102
I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I p_22399 Hamburg, Germany
49 (40) 60 60 50
I


11 Mount Pleasant Avenue I I I

K
K I
1.1 11 :111111. 1111. III East Hanover, NJ 07936
(800) 526-0767
... Fax: (508) 663-3935
I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I
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41
NewGen System s
Corporation
NewGen Systems Corporation
(Fountain Valley, CA) signed
a licensing agreement with
International Typeface Corpo-
ration (ITC) in order to bundle
ITC typfaces in its FontPac"
SCSI hard drive font bundle.
Since it was founded in1988,
NewGen has established itself
as a worldwide leader in high-
resolution, high-performance
printing solutions. NewGen
manufactures printers with
resolutions of up to 1200dpi
output in 12 X19.5 " formats for
virtually any printing need.
Its printers are available in the
United States and in over 90
countries around the world
through select distributors
and key resellers.
NewGen Systems Corporation
175 5 0 Newhope Street
Fountain Valley, CA 92708
Phone: (714) 641-8600
Fax: (714) 641-2800
Visualogik Technology & Design
('s-Hertogenbosch, The Netherlands)
designs and manufactures digital
fonts, logos and pictograms by uti-
lizing various kinds of software,
including its own. It specializes
in custom products and corporate
identity components. Visualogik
and International Typeface Cor-
poration (ITC) recently concluded
a licensing agreement enabling
Visualogik to offer ITC typefaces
within its IDEEr software, a digi-
tal corporate identity program.
Visualogik will also produce ITC
fonts using its Visualogik
fonttechnology.
Visualogik Technology & Design
P.O. Box 195 3
5 200 BZ 's-Hertogenbosch
The Netherlands
Phone: + 31-73-132-747
Fax: +31-73-142-107
Continued front page 38
both Macintosh and Windows com-
puters. Color separation, magic wand
and photo compositing allow Painter
users to incorporate photo image de-
sign into their artwork and output
the final image into four-color sepa-
rations for printing. Common photo
design features such as resize, equal-
ize, highpass, posterize, sharpen,
soften, motion blur, scale, distort,
flip horizontal/vertical are all includ-
ed. For Macintosh and Windows.
$399. Fractal Design Corporation,
335 Spreckels Drive, Aptos, CA
95003. (408) 688-5300. For more
information, circle 426 on reader
service card.
One- Button Scanning
OFOTO version 2.0 is a software
product that provides one-button
scanning and high-quality color
printing capabilities. OFOTO oper-
ates on most popular flatbed color
scanners including those made
by Agfa, Hewlett-Packard, Microtek,
Canon and UMAX. With a click of
the Autoscan button, the program
automatically scans and classifies
the image as a color photo, grayscale
photo, or black-and-white line art
and adjusts resolution and bit depth
accordingly. OFOTO then straight-
ens, crops and sharpens the images.
For Macintosh and Windows. $295.
Light Source Computer Images, Inc.,
17 East Sir Francis Drake Boulevard,
Suite 100, Larkspur, CA 94939. (415)
461-8000. For more information,
circle 427 on reader service card.
Stock Photos on CD- ROM
PhotoDisc, a leader in stock photog-
raphy on CD-ROM, has expanded
their collection of high-quality im-
ages. Sports & Recreation,Volume 10,
features a wide variety of sports and
and recreational activities in football,
baseball, basketball and bowling to
white water kayaking, roller-blading
and darts. Retro Americana Collec-
tion, Volume 11, focuses on a variety
of black-and-white stock photos
from the 1920s through the 1960s by
recording American culture during
those eras. Food & Dining,Volume
12 covers everything from apple pie
and hot dogs to sushi and baklava.
For Macintosh and Windows. Each
volume is $299. PhotoDisc Inc., 2013
Fourth Avenue, Fourth Floor, Seattle,
WA 98121. (206) 441-9355. For more
information, circle 428 on reader
service card.
Billing and Invoicing Software
Desktop Graphic Services has
announced the release of MacDesign
Billing, a series of invoicing and bill-
ing templates for owners of FileMaker
Pro!MacDesign Billing is a complete
system for estimating, invoicing and
billing clients. Included are estimate
and invoice layouts, an automatic
statement generator, accounts re-
ceivable and year-to-date summary
reports. The software also includes
MacDesign Rolodex, a database for
client contacts that automatically
inserts information into billing
records. For Macintosh. $49 to $129
based on modules; or $349 for all
modules. Desktop Graphic Services,
2265 Westwood Boulevard, #105, Los
Angeles, CA90064. (310) 391-5275.
For more information, circle 429 on
reader service card.
CD-Quality Quicklime Sound Editor
SoundEdit 16 is a powerful 16-bit,
Quicklime-compatible sound editor
capable of recording and playback of
multi-track CD-quality soundtracks
without special hardware. SoundEdit
16 allows users to manipulate and
shape sounds to meet their creative
needs. Over 300 SoundEffects from
The Hollywood Edge are bundled
with the program. Windows users can
also access the power of SoundEdit
by editing and saving sound files in
the Windows format. For Macintosh.
$379. Macromedia, 600 Townsend,
San Francisco, CA94103. (415) 252-
2000. For more information, circle
430 on reader service card.
Prepress
Faster RIP Technology
0
yphen has announced a
new architecture to take
advantage of the multitask-
ing power in their PostScript Level 2
SPARC! based Raster Image Proces-
sor. Key features include support for
multiprocessing operating systems
which provide the ability to utilize
parallel processing and multithread-
ing technologies. As PostScript files
are interpreted, they are converted
into a flexible, resolution-indepen-
dent display list called GList. The
GList files are then passed to the ras-
terization phase, where they can
then be split among multiple CPUs
for parallel processing, providing
huge output gains in RIP efficiency.
Hyphen Inc., 181 Ballardvale Street,
Continued on page 46
42
DI 1%7 labstS
Dinybats: various punctuatioh marks
1,3), I ton, dorm. clock, Aweriosn
flay, anat.:, opple.
arwadillo, arrows It). atom.
stem bowls, baseball, bold
face, bowl, Lone, books,
borders 1, 2). box, box w/ check.
box w/X, Lover starts, buildings
131. crass, clock, dub, diamond,
Lesrt, spade, cup o'gos, dice,
dollar, dotted line, eraser,
eyeball 1, eyeball 2, fire
Lydrant, football. for, golf
ball, Laws.. etc., Land & quilh
toppy feet, Louse, jet, key, hps, wan on filw,
ectsnioal, snot/sets-op, okay. open Lad, penoil,
pointing finyer, poison, sea.' signals, stoke Lands,
skull/bones, solo. system, stop sign, sunbattiny,
tank, tax time, television, toilet. traffic liytt,
valuable yew, x-ray, and fin yang.
E ntertainh.ent
E ntertainwent: notion!, aotor/friykt, actor/Lran.
aotoStree, syent, Look strap
pas, boob tube, boom, box office,
caasersasax. can olouyts,
c urt
ain couct, CD, conduotor,
elatiV
tnnc, entonk7a, frenct
cliv- ater' S stair, dressing room,
curtain time, director,
cane, tollywoodland, nay liytts
12, lgktihy, wayioion,
torn, yrand piano, yuitar. kat &
mokeup table, masks, wicroplone,
((tilk)
wovie oers, wovie screen, note,
one-artned Londit, *or,
paparaara, payola, pick a crd,
pporn. prop yuy, raoord, sa,

r yirl, soft drink,

x
spot
ligtt, ste.eo, take two. talk sto

j
tte t ttler, tickets
w,
a, TV cowers,
ventriloquist, and violin.
Face Parts
Var various parts
ttat you can put
toyetker in any
yoofball way you
want. Lots o'Isuyts.
Yuck yuck p..).
Food
Food: 3-minute eyy, apple,
apple slice, banana split,
bananas. bury, butter. con
pop, carrot, .terries. ctili,
Chinese tskeout, 000kie, corn, fork,
fortune cookie, frenct bread, fried
.kickers , fried eyys, fries, fruit
stand, ysrlic, ykerkin, ylass/ice,
youdo dem, 'rapes, peen
al d, tappy Iirttday, kern
sandu,ict, tors d'oeuvres, tot
cakes, tot dry, ice ores., co.,
ketotup, knife, lemon/line, walt
straw, martini, Mexioan food, milk, wuy o'coffee,
mustard, oil/vineyor, omelette, onion, orange/slice,
pan etc., peanuts, pass, pisra., plate, ...Haas, roll,
salt/pepper, sandwict, sausage/kraut, slid, kebab,
slab o'pie. slow, swoked spaytetti, spatula,
spoon, s a una., sushi, Swiss oteese. syrup, t-lsone,
taco, tranatoes, towlette, tropical drink, waffles,
woterwelon, whisk, wLite bread, and wooden spoon.
V' I V If gr 1.r gri '11W" r w 77STS-SSSS-SSIVI I -Vs-SSIrs
`71/Slir7'SS SSTS SNFIrss-vs 7
Anirnals
alliyotor,
ranoelso, nts,
oranadillo, 61,6Pon,
Lkrractoclk, bat
flyiny, Lot tsnyiy,
bear cu6, 64e, Mack
widow, blockbird,
brontossurus, buffslo,
cat, cLioken, cow, dodo,
dog I, d o., 2, elapkont,
flamingo, fray, yila wonster,
giraffe, gorilla, kangaroo,
IcOnSt, octopus, opossum., ponds,

ce
, rake, s Sucknp , skUrc
tortois, tyranosaurus, vulture,
wolrus, wtale,
Business: 3.2"
disk 12), Lay
owoney, carrot/stick, oast refister,
ckeok, coffee mug, credit cords, dollar bill,
rev lope, fax mature, file cabinet, floppy,
Litollikiny exec., knife, mac, mad bps paperwork
12). parcel, PC, pen 1 &2, pepto, rubber seinen},
safe, skarpener, silver wins, t-square, tape,
telapkone 121, trod. can, typewriter. winytips.
T. I: Air control, airplane 13), bike, bus, car.
kr/trkilar, coverld wagon, dellY.P7 ckr. gall `
Lot kir balloon, enoviny vkin. pkrkckutirl, rocke
Skip, signpost, skatelsoord,
suitcase, taxi, traffic, train
121, trunk, and ugly
tourist.
Business
& Travel
(Get tukile teire &rt.)
Swell news froh. FohtHaus! Now you
can yet de coh.plete Art Parts
collectiondirteen sets! five
of der,. brand hello! Oh 2a
single, skiny, unlocked
cotrap2act disc. Siwonderful!
Sia.fford&ble, too. Only
$399 for over 65 0 Art
P2.rtswlsy, tits only
pennies per part! TLe
CD-ROMis Mac only
for how, but PC people
and tiro C ID- ih,plarecl can
' cause dese puppies
like floppies, too.
Pssst! Buy de wLole Art
Parts collection and dere's
free font ih it for you!
HelaltlIMRJIC&I
Healtt/Madical: awbulance, Issralsye,
brain, caduceus, capsule, oticken soup,
....low, cotton studs, outotes, dental
char, dents! floss, dr. Lay, dressing,
dum.Ibells. E KG, elixir, emergency,
exracycla, eye .kart, false 'Natl.,
'lasses, LesItty foods, teoltLy Man,
1,SkItky woman, .cart, tospital,
hospital bed, tospital food, Lospital
typo, inSuranc<, IV stand, wan
on cale, wadioine. Mr. Douytnut,
natural food, nurse sloes, office scale,
preyyers, prescription, red cross,
reflex Low..., cale, speciwen
cup, stattoscope.
s
stitches, sun
protection, tkeranoweter, toe tay,
'torque depressor, toad, toottbrust/
prate, untesItty foods, waiting room,
walker, wolkirsy wounded, X bandage.
x-ray guy, and raray/tand.
Holidays
New Years: alsy new year, ctanspayne/yoblet,
fatter time, Jan. 1st. widniykt clock. Valentine's
Day: cupid, kart, man udkaart. Presidents &
Dinybats: Ale, Georye, borders 141, word balloons
14). St. Patrick's Day: lepreoLoun,
Fat ,gold, Skknnroak. E CM,:
bunny, E aster basket, E aster eyy.
NbstUrt/E hVilt*Ohtsseloot
Nature/E nvironment: acorns,
alumina m o, Lsr barrelcactus, bear,
lied WI., bi
at.
A rd prints. ra/sic/his,
louds, sonspost. coral reef, dripping
f &L ice, earn 121, flying birds, yorlsoye,
yaLaye truck, yard., yorden stakes,
ykrcItn tool, 7,k1S, Loa prints. island,
!ewes, Cy. ley cabin, lone pi., wan prints, mow
bird, ....tains, newspapers, oak, palm tree, paw
prints, pLases of woo, pine cones, pine trees,
plostic bottle, prickly gar, reoyolable loyo, recycle
bins, recycled logo, road track NI, rooks, sayusro
sofas, seaweed, stills, stn.), 131. skull, stars,
sun, tall palms, toxic waste, trees 121. tree tolyer,
turd, water, water cycle, water d rop, weatter
vane. and what a dump.
4th of July: America points,
bah., firacraokers 12), Old
Glory, Statue
of Likerty,,
Uncle Saw s tat. Halloween:
Leadstone, clook ,lantern, wan
in Use woo n, soarradee cat.
skeleton. skeleton Land, trick or
treat, /mita. TI..211S7iNfill:
cornucopiA. fall lesves, it rums tot, turkey.
Hanukkat: dreidel, man al, star of David.
Christmas: bells, Christmas tree, elf, elf w/
eindeer, elf welding, ornament, Santa, St. Nick,
wrestk. Party stuff: balloon, coke, gifts, tots.
C&tak ,
our hew parts.
Art. ! Fohtii&us j ust unleb.sLed five new
sets of Art Parts, eb.cl. one a cism rspion:
Entert&inh.ent, Heald. & Medical, Sports
& Recreation, Patterns and Occupations
Is sb.h.ples at left). Now dere are
tisirteen different sets of Art Parts for
you to collect! Tail MI! Art Parts are
EPS (Encapsulated PostScript) ih.2.7es for
de Macintosh and WMF (Windows
Met&file) ih..2t7es for de PC. Tiseire
well-belm red and can be opened, ..codified
and printed by shy forh-.2%t-friendly illus -
tration Or layout pro7rtatr, Drool! Slobber!
Art Parts are easy to use, easy to love.
Only $49 per set leads set I.2.s 5 0 or
h.ore illustrations). Take soh.se koh.e today!
To yet your FREE Art Parts poster
slsowin7all 13 sets, or to place is order,
call FOhtH&US toll - free froh. de USA or
C anada
800 942
9110.
Art P&rts c&t:t t&ke your
paws off 'etc.. Woof.
Fontli&us kc.
1375 Kin7s Hi7kual E ast
Fairfield, CT 06430 USA
Tke free part.
(You're 50.6,7 in it!) Order tke
corhylete Art Parts collection on
elide or CD-RO M and you'll
receive 'Re NEW font "Regular
Joe"FREE. Nice font. Tkis is
wkat it looks like. Tkis. You're
reading it. Get it?
oc culablionS
Occupatios: stuck or wan,
.tor woman. arckitects
12), ostronower, barber,
bartender, bumpkin,
butcter, carpenter, ckefs
121, ctewist, oldwney
sweep, caot, crook,
doredevil
o
, desiy.r.
doctors 12/, Joy catcker,
exeos 121, farm.,
fireman. Irkiktb.74
gigolo, yofer. Looker,
jackkamwerist, fudges
lumbergsck, middle
wonsyra, winister,
naturolist, Norton,
padre, pointers 121,
Plumber,
pizza yuy,
pluwiser, politicians 121, salesman, secretary, steel
worker, teacters 121, traffic cop, trucker, waiter,
and waitress.
Pa
tterns: on
sortweht of
textures, frames,
patterns and
eery tiles.
CJxy cool.
People
People:BBC)
wsn, Carmen,
otef, cowboy.
cowgirl, Custer,
danoiny
skeleton Devil,
doctor, E .
Alla,. Poe,
exec. P desk,
exec. 1.-kn, <can.
wowan, /randy, felon,
flyiny wah, flyiny wowan, Frankenstein,
',shyster. yraduate, Jaokie Robinson,
janitor, Judy, juggler, klny, lion tamer,
Louis XIV, was.. 10/cloy, Mr. Dead, Mr. E d, play
ball, Pope, prospector, gueen, robot. Rowan, secret
service, Stakespeare, Satiny Bull, slols, super
1.4.o. Uncle skin, Vincent, Viryinia Wolfe, visiting
yrandwo, witct, wornan, woman briefing, and
woman uncle,
Sports/Recreation
Sports/Recreation: bollpsk,
baseball baseball
ges, bedroll, bowl; y, boxiny,
borang gloves, buy off, bunyee
jumper, .amp fire, crassping
esentials, cannonball cleckered
floy, ckeys, cookie., year, cyclist.
duffel lay, fetch, football, football
Lelwet, football ploy, frisbee, yoal
r est, /goalie, golf fall, yr..host,
kranmock, Lae," gliding. hike,
Liki. boots, Lookey stick, loops,
torsestoes, jockey. kayak, lure,
obnoxious fais, Olywric rings,
Olywp10 pnnant, picnio,
r e f, skier, neakers,
soccer, socoer 1.11.
s
stadiums,
Sunday drive, sunscreen, urfiny,
terosis, tennis balls, tent,
s
warm.
socks, and weekend warrior.
FONT
HAAS
FOOHAUS Inc. Nortk An.erica 203 367 1993 Australia & New Zealand 61 3 747 9301 Franca, Bel7iuhs, Lux41,33our7, Spain & Portugal 33 1 48 89 60 46
Geri...any, Switzerland & Austria, 49 40 789 2608 Sweden, Finland & Norway 46 8 16 81 00 United Kihydons 44 73 287 5 111 or 44 71 25 1 3746
IllurIrltions .994 Art Parts. FantHaus and tie FontFlaus lay. are ra,isterad trkclain.hrk, .5 FohtHous Inc. Art Parts, Faa, Parts and Regular Joe as, N. /h./ ran k /4s at Aat Parts. PostScript k trademark .1 Ado), Systalass. Inc. Flaaiatask is a tradaskark .5 Apple Computes, In.. Windows and Met/side are trademarks el
Mlarasaft Corporation. Prodaat and cowpony nantas era trademarks of tIsair raspestive owners. Prices in WS. Praduat prayrstas, Haas and availability are subject t. akan i e without notice. So.. products way not be available fro., all FontHaus authorized spats. dealers and distributors. 01994 Fentlisus Inc.
Circle 223 on Reader Service Card
International Typeface
Corporation is a devel-
oper and marketer
of high quality typeface
designs that are applic-
able to a wide variety
of graphic communica-
tion needs. ITC has a
professional understand-
ing of both the esthetics
and business of type.
As a result, we have
established a business
relationship with the
companies listed to
the right of this column.
Purchasing fonts and
type imaging equipment
from any of these com-
panies assures authen-
ticity of ITC typefaces
and optimal quality
design representation.
These Subscriber com-
panies are licensed
to manufacture and sell
ITC typefaces.
ACCENT Software, Inc. Autologic, Inc. dada Indugu The Font Com pany GST Software Products
902 Veneto 105 0 Rancho Conejo Boulevard 9095 Picasso 12629 North Tatum Boulevard Lim ited
Irvine, CA 92714 Newbury Park, CA 91320 St. Leonard, Quebec HIP 3JS Suite 210 Meadow Lane, St. Ives
(714) 5 5 2-7672 (805 ) 498-9611 Canada Phoenix, AZ 85 032 Huntington, Cambridgeshire
High-Quality Graphics and Phototypesetting and Laser (5 14) 5 26-6200 (602) 998-9711 PE 17 4LG
Typefaces for Use with Computer
Aided Design/Drafting on
Imaging System Photo Units,
Digital Photo Units/Digital Dainippon Screen Mfg.
PostScript Publisher of the Font
Company Type Library for Mac,
E ngland
44-480-496789
Macintosh, IBM PC and
UNIX Platforms
Recorders, Laser Recorders,
Headline Typesetters, Scanners
Co., Ltd.
Overseas Division
Next and PC (603) 329-5 076
Software for Typesetting on
12-2 Bohjoh-cho, Chudoji The Font Factory Personal Computers
Adobe System s Inc. Autologic SA Shimokyo-ku, Kyoto, 600 Japan 2400 Central Parkway
15 85 Charleston Road 1030 Bussigny Pres Lausanne (81) 75 /365 -3131 Suite A Heidelberg-PMT
P 0. Box 7900 Switzerland Color Scanners, Imagesetters, Houston, TX 77092 Co., Ltd.
Mountain View, CA 94039-7900 021 89 29 71 Color Prepress Systems (713) 682-8973 3-21-4 Minami Oi
(415 ) 961-4400 Bobst Graphic Products and and Graphic Arts E quipment Desktop Publishing Typefaces Shinagawa-ku, Tokyo
Interactive Software Tools for Phototypesetting Systems for Ventura Publisher and Japan
Graphic Arts THEDatafile Window/PageMaker (03) 763-4141
Bitstream Inc. 71 Anson Road
Aim Graphics, Inc. Athenaeum House Locking FontHaus Inc. Ham pstead
6 White Plains Drive 215 First Street Weston-Super-Mare 1375 Kings Highway E ast Com puter Graphics
Chesterfield, MO 63017 Cambridge, MA 02142 Avon BS24 7DQ Fairfield, CT 06430 378 E merson Avenue
(314) 5 36-285 5 (617) 497-6222 E ngland (203) 367-1993 Hampstead, NH 03841
Developer of AIM-3D Computer High Quality Digital Type for 011 44 934 823005 PostScript Font Resellers and
Animation System for 80386 the Macintosh and IBM PC Software Developers Supporting HelixLim ited
and 80486 PCs DawlexSoftware Macintosh and IBM Formats P 0. Box 15
British Broadcasting Halesowan
Lye Stourbridge
Am pexCorporation Corporation West Midland B63 3XE FONTS West Midlands DY9 7/U
401 Broadway Broadcasting House E ngland Hardy-Williams (Design) Ltd. E ngland
Redwood City, CA 94063-3199 London W1A 1AA 021 5 85 6897 300A High Street (0384) 424441
(415 ) 367-2011 E ngland Sutton, Surrey
AVA-3 (Video Graphic Art 01 5 80 4468 DIGI-FONTS, Inc. SM1 PQ E ngland Dr.-Ing Rudolf Hell
Generator) Video Fonts for the BBC 5 28 Commons Drive 01-636-0474 Gm bH
Golden, CO 80401
D-2300 Kiel 14
Anagraph, Inc. CADCAMPUNCHLTD. (303) 5 26-9435 FontShop International Grenzstrasse 1-5
35 80 Cadillac Avenue 43, Arkwright Street Manufacturer of Scalable BergmannstraBe 102 Germany
Costa Mesa, CA 92626 Nottingham NG2 2JR Outline Fonts and Font Utility D-10961 Berlin (0431) 2001-1
(714) 5 40-2400 E ngland Software for HP LaserJet Germany Digiset Phototypesetting
Graphic Design Systems,
Plotting and Cutting Systems
0602 8625 61
CADCAM Textile Designing
Family and PostScript Printers 49 30 69 37 0 22 E quipment and Systems,
Digiset-Fonts
Systems Digital Com position Font World, Inc.
Apple Com puter, Inc. System s, Inc. 2021 Scottsville Road Hewlett Packard
205 25 Mariani Avenue Carter & Cone Type Inc. 1715 West Northern Rochester, NY 14623-2021 Vancouver Division, Washington
Cupertino, CA 95 014 215 5 Massachusetts Avenue Suite 201 (716) 235 -6861 18110 S.E . 34th Street
(408) 996-1010 Cambridge, MA 02140 Phoenix, AZ 85 021 Supplier of Multiple Language Camas, WA 98607
Manufacturer of Apple's (617) 5 76-0398 (602) 870-7666 Publishing Systems (206) 944-8110
Macintosh E quipment Independent Type Designers and Database Publishing Software
Font Makers for Microcomputer Users Fundicion Tipografica Hewlett Packard
Applied Arabic Lim ited Neufville, S.A. Corporation
Sales and Marketing Casady & Greene Inc. Digital Typeface Puigmarti, 22 Boise Division
Pulse House, Bonny Street 22734 Portola Drive Corporation Barcelona-12 11311 Chinden Boulevard
London NW1 9PG. U.K. Salinas, CA 93908-1119 995 5 West 69th Street Spain Boise, ID 83714
(Tel) +44 (0) 71-485 -0285 (408) 484-9228 E den Prairie, MN 5 5 344 219 5 0 00
(Fax) +44 (0) 71-267-1031 FAX: (408) 484-9218 (612) 944-9264 Poster Types HOUSEstyle
Technical Division Manufacturer Of Bitmap High-Quality Typefaces from 5 0-5 4 Clerkenwell Road
Bradbourne House and PostScript Typefaces URW, ITC and Other World-Class GDT Softworks Inc. London E C1M 5 PS
E ast Mailing for Macintosh Type Libraries Suite 188 E ngland
Kent ME 19 6DZ. U.K. 4664 Lougheed Highway 071 25 1 3746
Tel: +44 (0) 732-875 -000 Color Im age dtp Types Lim ited Burnaby
Fax: +44 (0) 732-875 -333 Products Com pany 13 Nurserylands Gossops Green British Columbia V5 C 6B7 Im age Club
Designers and Manufacturers of 1116 Manheirr Pike Crawley West Sussex RH11 8RH Canada Graphics Inc.
Arabic Typefaces and Fonts. Lancaster, PA 17601 E ngland (604) 291-9121 729 Twenty Fourth Ave. SE
Suppliers of Digital Data in All (717) 393-25 91 0293 615 469 Developer of Macintosh Printer Calgary, Alberta
Formats Manufacturer of Manufacturers of Software and Driver, E mploys Outline Font Canada T2G 1P5
Dry Transfer Letters Font Products for E lectronic Technology for HP Deskjet, HP (403) 262-8008
Apply Design Group Publishing and Graphic Arts Laserjet Series, and HP Laser Manufacturer of PostScript
Am Gehrkamp 45 Com puter Associates Compatible Printers Typefaces
D-3160 Lehrte International, Inc. Dubner Com puter
Germany Great Valley Corporate Center System s, Inc. General Param etrics Inform ation
011 49 5 1 32 12 28 40 Valley Stream Parkway 6 Forest Avenue Corp. International, Inc.
Supplier and Manufacturer of Malvern, PA 1935 5 Paramus, NJ 0765 2 125 0 Ninth Street 5 933 Slauson Avenue
Digital Typefaces (215 ) 25 1-9890 (201) 845 -8900 Berkeley, CA 94710 Culver City, CA 90230
Manufacturer of Graphic Broadcast TV E quipment (415 ) 5 24-395 0 (213) 390-8611
Architext Inc. Software for Apple Macintosh
Phototypesetting Systems
121 Interpark Boulevard Computer Electra Font Genicom Corporation
Suite 1101 Technologies Genicom Drive International Business
San Antonio, TX 78216 Com puter Gesellschaft 1601 Trapelo Road Waynesboro, VA 22980 Machines Corporation
(5 12) 490-2240 Konstanz MBH Waltham, MA 0215 4 1 (800) 4-GE NICOM Old Orchard Road
The Architext OmniFont Library Max-Stromeyer-Strasse 116 (617) 890-1288 (1 (800) 443-6426) Armonk, NY 105 04
&Digitization Services. Fonts D-775 0 Konstanz Distribution of High Quality (303) 924-4807
for HP, IBM, Kodak, PostScript,
Siemens and Xerox Laser
Germany
(075 31) 87-4433
Image Printers/Fonts
(Standard/PostScript)
Genigraphics
Corporation
E lectronic Printing Systems
Printers. Custom Fonts for IBM Laserset-Laser Typesetter 2 Corporate Drive International Digital
&Okidata Desktop Printers OCR-E quipment Elsner +Flake Suite 340 Fonts
Designstudios Shelton, CT 06484-6206 1431 6th Street Northwest
ASIBAGm bH Com puter Output Dorfstrage 12 b (203) 926-8808 Calgary, Alberta T2M 3E 7
Ostengasse 7 Printing, Inc. D-25 485 Langeln Computer Generated Canada
8400 Regensburg 4828 Loop Central Drive Germany Graphic Production (403) 284-2288
Germany Houston, TX 77081 Tel: 04123-4843 Digital Fonts for Laser Printers
(0941) 5 2240 (713) 666-0911 Fax: 04123-6027 GeoPoint, Inc. Available in PostScript Type 1
Letterplot 33 (Software for High E nd E lectronic Printing High Quality Digital Type for 401 China Basin Street and TrueType Formats
Signage) Systems and Digital Fonts Apple Macintosh and IBM PC Suite 200
San Francisco, CA 94107 Izum iya Co., Inc.
Aston Electronic Corel System s ETPSystem s, Inc. E bisu Subaru Building 4F
Designs Ltd. Corporation 2906 North E ast Glisen Street Gepeto Electronica Ltda 20-08, E bisu 1-chome
125 /127 Deepcut Bridge Road 1600 Carling Avenue Portland, OR 97232 Praia de Botafog 440-16 andar Shibuya-ku, Tokyo 15 0
Deepcut, Camberley, Surrey Ottawa, Ontario KZ 8R7 (5 03) 234-5 5 22 Rio de Janeiro CE P 2225 0 Japan
GU16 6SD E ngland Canada Manufacturers of Laser Brazil 011 81 3 440 15 31
(025 2) 836221 Publishing Systems (021) 286-8284
Video Character Generators Crosfield Incorporating Typesetting and Telex 021-33499 Kagem a AG
Lightspeed Inc.
47 Farnsworth Street
Fonts into Unit Based Computer
System
Digital Phototypesetters,
Photocomposition Systems
Postfach 422 CH-805 1
Zurich, Switzerland
Boston, MA 02210 (1321) 0600
(617) 338-2173 Glyph System s, Inc.
Lightspeed Color Layout 2 Stevens Street
Systems, Lightspeed Andover, MA 01810
Interactive Kerning E ditor (5 08) 474-8087
44
Kroy Mannesm ann Nippon Inform ation Qualitype Sun Microsystem s/ Folio VCG Holdings
Scottsdale Airpark Scangraphic Gm bH & Science Ltd. 630 Ninth Avenue 100 View Street Berkshire House
145 5 5 N. Hayden Road Rissener StraBe 112-114 Sumire Building 4F New York, NY 10036 Suite 106 5 6 Herschel Street
Scottsdale, AZ 85 260 D-2000 Wedel/Hamburg 5 -4-4 Koishikawa (212) 765 -7000 Mountain View, CA 94042 Slouth SL1 1PY
(602) 948-2222 Germany Bunkyo-ku, Tokyo 112
(415 ) 960-1300 E ngland
(04103) 80 1196 Japan m antel Lim ited Technology for Digital (404) 95 6-0325
Kyocera Corporation Manufacturer of the Scantext 033 814 3201 31 Turnpike Road Typography Software Developers for
2-14-19 Tamagawadai
Setagaya-ku, Tokyo 15 8
Japan
Phototypesetting System,
Frontend, Typesetter, Graphic
Page, Logoscanner, Interfaces
Digital Fonts, Latin and
Non-Latin Alphabets,
Including Kanji Characters
Newbury
Berkshire RG13 2NE
E ngland
Synapsis Corporation
5 460 White Oak Avenue
Presentation Graphics for
Macintosh and IBM Systems
and Digital Fonts (0635 ) 48222 Suite A336 VideoSoft, Inc.
LaserGo, Inc.
Officine Sim oncini s.p.a.
Designers and Manufacturers of E ncino, CA 91316-2407 2103 South Broadway
9369 Carroll Park Mecanorm a
Casella Postale 776 Digital Television Broadcasting (818) 906-15 96 P.O. Box 165 920
Suite A 14 Route de Houdan
40100 Bologna
E quipment; the Paint Box E lectronic Forms Vendor Little Rock, AR 72206
San Diego, CA 92121 78610 Le Perray-en-Yvelines
Italy Focusing in All CPU Hardware (5 01) 376-2083
(619) 45 0-4600 Paris, France
(05 1) 744246
Qum e Corporation E nvironments/5 0 Page Per Supplier and Manufacturer
PostScript Interpreter Software (1) 34 83 92 66
Hot Metal Composing Matrices
5 00 Yosemite Drive Minute/Below Non-Impact of Digital Fonts for E lectronic
GoScript, GoScript Plus, and Dry Transfer Letters
and Phototypesetting Systems
Milpitas, CA 95 035 Printers Systems
GoScript Select
1-800-223-2479
Mesac Gm bH
Pacific Data Manufacture and Distribute Tegra, Inc. Visualogik
LaserMaster Saarstrasse 29
Products, Inc.
E lectronic Office Printing Middlesex Technology Center P.O. Box 195 3
Corporation 6360 Friedberg/H.
9125 Rehco Road
Systems 900 Middlesex Turnpike 5 200 BZ 's-Hertogenbosch
715 6 Shady Oak Road Germany
San Diego, CA 92121 Billerica, MA 01821 The Netherlands
E den Prairie, MN 5 5 344 06031/3677
(619) 5 5 2-0880 Ryley Com m unications (5 08) 663-7435 31-73 132 747
(612) 944-9330 UNI.LE T (CAD-CAM System) Lim ited E lectronic Printing and Fax: 31-731 42 107
Manufacturer of Printer
ParaGraph
39 Haviland Road Imaging Systems Manufacturer of Digital Fonts
Controllers/Typesetters for Micrografx, Inc.
1309 S. Mary Avenue
Ferndown Industrial E state
and Pictograms;
PC Compatibles/Macintosh 1303 Arapaho
Suite 15 0 Wimborne Dorset BH21 7SA Tektronix, Inc. Corporate Identity Programs
Richardson, D( 75 081-2444
Sunnyvale, CA 94087
E ngland Wilsonville Industrial Park
Esselte Letraset (214) 234-1769
(408) 5 22-3000
(0202) 871313 26600 S.W. Parkway Visual Graphics
Letraset Lim ited
Television Character Generators Wilsonville, OR 97077 Corporation
St. George's House Microtype
ParaGraph (5 03) 682-3411 5 701 N.W. 94th Avenue
195 -203 Waterloo Road 8 Faubourg St. Jean
International
Ryobi Lim ited Printing Ink Jet Printers 4692/4695 / Tamarac, FL 33321
London SE 1 8)U 21200 Beaune
32 Krasikova Street
Eq uipm ent Division 4696, Laser Printer 4636, (305 ) 722-3000
E ngland France
Moscow 117418
762 Mesaki-cho Thermal Wax Printer 4693 Manufacturer of Photo Typositor
071 928 75 5 1/3411
Dry Transfer Letters, TrueType
and Type 1 Format Fonts
Film Fonts Manufacturer,
Alphabet Designers
Russia
(7095 ) 129-15 00
Developer of Cursive
Fuchu-shi
Hiroshima-ken 72
Japan
Models, Phaser Printer Card
45 30 and Quick Draw Printer
Driver
and Original Typositor Film Fonts
Wang Laboratories, Inc.
Letraset USAInc.
Agfa Division,
Miles Inc.
Handwriting Recognition
Technology/Fonts (Including
03 25 7 15 02
Text Display Phototypesetters The Software
One Industrial Avenue
Lowell, MA 0185 1
40 E isenhower Drive 90 Industrial Way
Cyrillic Fonts) and Type Construction Com pany (5 08) 45 9-5 000
Paramus, NJ 0765 2 Wilmington, MA 01887
Management Software
Seaside Software 2900 B Longmire Document Processing and
(201) 845 -6100 (5 08) 65 8-0200 Incorporated College Station, Tx 77845 Office Automation Specialist
Dry Transfer Letters, TrueType AgfaType" CD ROM; ProSet"
Phoenix
Clio Chigasaki 2-bankan #301
and Type 1 Format Fonts Series: 9400, 95 5 0, and 9800
Technologies Ltd.
1-21-3 Higashikaigan-minami TypeMasters, Inc. Xenotron, S.A.
Laser Imaging Devices;
846 University Avenue
Chigasaki, Kanagawa 15 Union Hill Road 3, Rue Sandoz
Lexm ark SelectSet" 5 000 Laser Imaging
Norwood, MA 02062
Japan 25 3 West Conshohocken, PA 19428 B.P. 118
International, Inc. Device; StudioSet" 2000 Plus
(617) 5 5 1-4000
81-467-83-4372 (215 ) 834-7840 93130 Noisy-le-Sec
740 New Circle Road Laser Imaging Device; 9000
Multiple Printer Language Full Graphic Services France
Lexington, KY 405 11 PS MAX Plus/J Kanji PostScript
Interpreter and Operation
Sim ulation Excel A.S.
(1) 48 91 78 33
(606) 232-2000 RIP; 5 000 and 9000 PS Star
System for Laser Printer
Dag Hammarskjolds vei 15 Typesoft Lim ited Manufacturer of Laser
PostScript RIPs; Agfa Color Oslo 5 , Norway 17 Willow Close Imagesetters
A. J . Lincoln & Co., Inc. Scape Color E lectronic
Polycutters Lim ited
47-2-15 66 90 Hamworthy, Poole
29 Domino Drive Prepress Systems; Focus"
25 Bridge Street
PAGE scan Digital Typesetter Dorset, E ngland XeroxCorporation
Concord, MA 01742 Scanner family; PostScript
Rothwell, Kettering PAGE comp Interactive Ad (0202) 6315 90 Xerox Font Center
(5 08) 369-1441 Slidemakers
Northants NN14 2JW and Page Make-up Terminal
880 Apollo Street
LincPage7 High-Speed
E ngland TypoGabor MS P2-83
Interpreter of PostScript for Monotype Typography
(05 36) 712627
SoftCraft, Inc. 5 Rue Du Mai 1945 E l Segundo, CA 90245
Printing, Imagesetting, Fax Monotype Typography Ltd. 227 N. E l Camino Real #201 925 86 Clichy-Cedex (213) 333-6612
Conversion, and Other Perrywood Business Park
Presentation
E ncinitas, CA 92024 France Fonts for Xerox Printing Systems
Applications Honeycrock Lane
Salfords, Redhill
Technologies, Inc.
743 North Pastoria Avenue
(619) 944-015 1
SoftCraft Font Library
33 1 47 39 66 00
XeroxCorporation
Linotype-Hell Com pany Surrey, RH1 5 JP
Sunnyvale, CA 94086 Typogram , Inc. Intran Operation
Linotype-Hell Company E ngland
(408) 749-195 9
SoftWood, Inc. 900 Broadway 8400 Normandale Lake
425 Oser Avenue Tel: +44 737 765 95 9
Image-Maker Slide-Making 7776 Pointe Parkway West New York, NY 10003 Boulevard
Hauppauge, NY 11788 Fax: +44 737 769243
System
Suite 270 (212) 5 05 -1640 Bloomington, MN 5 5 431
(5 16) 434-2074
Phoenix, AZ 85 044
(612) 831-0342
Monotype Typography Inc.
PROSOFT Tesler
(602) 431-915 1 URWSoftware Digital Fonts, Xerox High-E nd
Linotype-Hell Limited Suite 2630
Software Corporation & Type Gm bH Printing Systems
Chelham House 15 0 South Wacker Drive
7248 Bellaire Avenue
Special Graphic Harksheider StraRe 102
Bath Road Chicago, IL 60606
No. Hollywood, CA 91605
Lettering System s D-22399 Hamburg Zenographics, Inc.
Cheltenham-Glos. GL5 3 7LR USA
(818) 764-45 5 5 Holland B.V. Germany 4 E xecutive Park Circle
E ngland Tel: (312) 85 5 -1440
"Fontasy" Software
P. O. Box 211 011 49 40 60 60 5 0 Irvine, CA 92714
(0242) 222 333 Fax: (312) 85 5 -9475 2160 AE Lisse IKARUS-Digital Type Production (714) 85 1-635 2
Purdy and
The Netherlands SIGNUS-Type Setting with Foils Professional Graphics Software
Linotype-Hell AG NEC Corporation
Associates, Inc.
01718-26114/22871
and Windows-Based Printing
Mergenthaler AI lee 5 5 -75 7-1, Shiba 5 -Chome
100 Perimeter Road
Dry Transfer Lettering URW America Solutions
D-65 760 E schborn Minato-Ku, Tokyo 108-01
Nashua, NH 03063 4 Manchester Street
Germany Japan
(603) 883-9796 Straightforward Nashua, NH 03060
(06196) 98 2260 0423 641111
Device Independent Computer
15 000 Halldale Avenue (800) 229-8791
Typefaces and Fonts of
Board for Printers
Gardena, CA 90249
Digital Typesetters (CRT and NEC Inform ation (213) 324-8827 U.S. Lynx
Laser), and other Visual System s, Inc.
Purup Electronics
Z-Font Software 85 3 Broadway
Communication E quipment 1414 Massachusetts Avenue
5 Sonderskowej New York, NY 10003
(e.g. PostScript LaserPrinters). Boxborough, MA 01719
DK-85 20 Lystrup
Strata Inc. (212) 673-3210
Linotronic Laser Imagesetters,
CRTronic Imagesetting
(5 08) 264-8000
Personal and Small Business
Denmark
45 86 2225 22
2 West St. George Boulevard
Ancestor Square, Suite 210
Lynx Laser Plain-Paper
Proofing System
E quipment and Systems Computer Systems, Printers
Purup PrePress Products: High
St. George, UT 84770
Managem ent
and Peripherals
Resolution Laser Image Setters,
Interactive Graphic Systems for
(801) 628-5 218 Varitronic System s, Inc.
300 Shelard Tower
Graphics, Inc.
140179th Street E ast
Neo-Visuals, Inc.
1200 E glington Avenue E
Forms and Label/Packaging,
Purup Typeface Libraries, High
Stone Type Foundry Inc.
626 Middlefield Road
600 South County Road 18
Minneapolis, MN 5 5 426
Minneapolis, MN 5 5 425 Suite 404
Resolution PostScript: Purup
Palo Alto, CA 94301 (612) 5 42-15 00
(612) 85 4-1220 Don Mills, Ontario
Image Maker
(415 ) 324-1870 Merlin E lectronic Lettering
Manufacturer of
Slide-Making System
Canada M3C 1H9
(416) 443-9811
High E nd 3D Computer
QMS, Inc.
One Magnum Pass
Fax: (415 ) 324-1783
Sum itom o
Systems for the Office
Varityper Inc.
For further information
write or call:
Graphics and Animation
Mobile, AL 36618
Bakelite Co., Ltd. A Tegra Com pany
International
(205 ) 633-4300
2-2, 1-chome, Uchisaiwai-cho 11 Mt. Pleasant Avenue
Typeface
NewGen System s Chiyoda-ku, Tokyo 100, Japan E ast Hanover, NJ 07936
Corporation
Corporation
QMS/ Im agen
(03) 5 95 -9391 (201) 887-8000
866 Second Avenue
175 5 0 Newhope Street
Corporation Printwheels, Daisy Wheels and E lectronic Prepress Systems New York, NY 10017
Fountain Valley, CA 92708
265 0 San Tomas E xpressway
Thimbles (212) 371-0699
(714) 641-8600
Santa Clara, CA 95 05 2-8101
Fax: (212) 752-4752
(408) 986-9400
E lectronic Printing Systems
45
Big Callon
Display rom an,
full ligatures &
SMALL CAPS.
Mac & PC fonts
Carter & Cone
800 95 2-2129
617 576-0398: Fax 617 354-4146
Circle 267 on Reader Service Card
More than just great translations!
We've also got
the in-depth type
and graphics
expertise to help you
produce your foreign language
project more easily and
economically... conventionally
or through PostScript... from
Arabic to Zulu. Ask for our free
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SPECTRUM
Multilanguage
Communications
225 West 39th Street New York, New York 10018
Tel: (212) 391-3940 Fax: (212) 921-5 246
SPEC T RUM
Circle 212 on Reader Service Card
Continued from page 42
Wilmington, MA 01887. (508) 988-
0880. For more information, circle
431 on reader service card.
Multitasking Speeds Prepress Work
Hyphen Spectraserver 3 can per-
form several prepress management
tasks, including graphic storage,
OPI picture replacement and print
spooling. Spectraserver is designed
to resolve critical throughput prob-
lems, including the management
and movement of high-resolution
graphics on the network and the dis-
tribution of jobs to the designated
or next available RIP. Hyphen Inc.,
181 Ballardvale Street, Wilmington,
MA 01887. (508) 988-0880. For more
information, circle 432 on reader
service card.
Scanning and Separation Software
ColorQuartet 3.0 is the latest version
of scanning and separation software
that is designed to run on standard
hardware and software platforms,
rather than using proprietary solu-
tions. Version 3.0 of ColorQuartet
uses software algorithms to perform
CMYK separations on the fly. Un-
sharp masking is performed on the
fly as well and can be applied to both
RGB and CMYK scans. ColorQuartet
is the first color handling program
that can scan to CMYK using either
its own separation tables or ones
imported from other suppliers' color
management systems such as Agfa
FotoTune, Efi Cachet, Adobe Photo-
shop and Apple ColorSync. For
Macintosh and Windows. $1650.
ScanView, Inc., 330 Hatch Drive,
Suite A, Foster City, CA 94404. (415)
378- 6360. For more information,
circle 433 on reader service card.
Affordable Drum Scanner
Hits the Market
ScanView has developed an entry-
level compact drum scanner named
the ScanMate Magic. The ScanMate
Magic offers professional-level drum
scanner quality at an affordable
price. With a density range of 3.0, a
large color range and a price of only
$13,000, the ScanMate Magic is the
least expensive drum scanner on
the market. The ScanMate Magic is
supplied with easy-to-use plug-on
software for Photoshop as standard
equipment and supports the com-
pany's award-winning ColorQuartet
software for scanning and separa-
tion. For Macintosh and Windows.
$13,000. ScanView, Inc., 330 Hatch
Drive, Suite A, Foster City, CA
94404. (415) 378-6360. For more
information, circle 434 on reader
service card.
Prepress Software on the
Information Highway
Agfa now offers a full complement
of ColorTags for their color manage-
ment software downloadable from
CompuServe. More and more people
are using color devices on the desk-
top, such as scanners and printers.
This has prompted the need for color
management software like FotoTune,
which allows users to calibrate colors
of each device so that "what you see
is what you get." ColorTags are soft-
ware files which describe the color
behavior of each device when using
FotoTune. The company also pro-
vides free technical support through
CompuServe, allowing users to
ask Agfa questions regarding pre-
press. Agfa Division, Miles Inc., 100
Challenger Road, Ridgefield Park,
NJ 07660. (201) 440-0111, ext. 4672.
For more information, circle 435
on reader service card.
Color Matching from Scan to Print
Electronics for Imaging, Inc. is now
shipping EFICOLOR Works, an
all-in-one color management appli-
cation that provides users with
a complete set of tools to accurately
match colors throughout their
workflow. The software package fea-
tures an extensive library of color
profiles that characterize the capabil-
ities and limitations of devices, from
scanner to monitor, and translates
colors into a universal language for
consistent output. For Macintosh.
$199. Electronics for Imaging, Inc.,
2855 Campus Drive, San Mateo, CA
94403. (415) 286-8600. For more
information, circle 436 on reader
service card.
Hardware
Next Generation Macintosh
Computers Debut
pple Computer, Inc. has un-
veiled Power Macintosh, a
new line of Apple Macintosh
computers that offers the power of
workstation systems and the capabil-
ity to run applications created for
Macintosh, MS-DOS and Microsoft
Windows. The Power Macintosh is
based on the PowerPC 601 micropro-
cessor, a joint development byApple,
46
INTRODUC ING
A PERMANENT ADHESIVE SYSTEM
YOU'LL WANT TO STIC K WITH
DESKTOP APPLICATOR
(12"& 24"MODELS)
HAND APPLICATOR
(21/2"ROLLER)
Daige introduces ROLLATAQ, a revolutionary new cold adhesive system that
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and displays, you cannot afford to be without the Rollataq system. There are
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It's perm anent. Rollataq adhe-
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It's safe. Rollataq adhesive is
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It's econom ical. Rollataq can
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The Rollataq system features
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For more information or for a
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1-800.645 -3323
dealer near you, please call toll free
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Circle 245 on Reader Service Card
IBM and Motorola. When running
new versions of native software opti-
mized for PowerPC, Power Macin-
tosh systems offer two to four times
the performance of existing 680x0-
based Macintosh computers. More
than 150 software developers world-
wide have commited to shipping
PowerPC native versions, the first
among them are graphics and pub-
lishing applications (See p. 38).
List prices range from $1819 for the
Power Macintosh 6100/60 base
system with 8MB RAM and a 160MB
hard disk to $4249 for the Power
Macintosh 8100/80 base system with
8MB RAM and a 250MB hard disk.
Apple Computer, Inc., 20525 Mariani
Avenue, Cupertino, CA (408) 996-
1010. For more information, circle
437 on reader service card.
PowerPC Graphics Cards
Radius Inc. has also announced avail-
ability of its display, graphics accel-
eration and digital video products
for the Power Macintosh. The prod-
ucts include Radius' IntelliColor,
PrecisionColor, Pivot, Color Pivot,
LeMansGT and PrecisionColor Pro.
Radius Inc., 1710 Fortune Drive,
San Jose, CA 95131. (408) 434-1010.
For more information, circle 438
on reader service card.
Larger Monitors Increase
Design Productivity
The SuperMatch 21T XL is a 21"diag-
onal display for use in professional
design applications. The display sup-
ports multiple resolutions, including
the highest in the industry at 1600x
1200 dpi. At 1600x1200 pixel reso-
lution, the SuperMatch 211 XL color
display offers 92%more viewable
work area than standard two page
display resolution (1152 x 870 dpi.)
For Macintosh. $2599. SuperMac
Technology, Inc., 215 Moffett Park
Drive, Sunnyvale, CA 94089. (408)
541-6100. For more information,
circle 439 on reader service card.
Affordable High-Res Printers
The SelectPress 600 is a new printer
by GCC Technologies that provides
11"x 17"output at a resolution of
600x600 dots-per-inch. The Select-
Press 600 offers edge-to-edge print-
ing with bleed capabilities on page
sizes up to 11"x 17"for printing two-
page brochures or catalog spreads.
The printer is designed to perform in
multi-platform environments via ser-
ial or parallel connections, as well as
network using AppleTalk and Ether-
net. Equipped with a 40 megabyte
internal hard disk, the printer stores
downloaded fonts for faster print-
ing and allows for the convenient
addition of software enhancements.
For Macintosh and Windows. $4499.
GCC Technologies, 209 Burlington
Road, Bedford, MA 01730-9143. (800)
422-7777. For more information,
circle 440 on reader service card.
The SelectPress 1200 provides 1200
x 1200 dots-per-inch resolution for
producing camera-ready output. In
addition, the printer handles paper
sizes up to 12"x 19;' allowing full
bleed spreads or tabloid-size pages
to be printed with crop marks. A
160 megabyte internal hard disk
stores downloaded fonts. For Macin-
tosh and Windows. $7499. GCC
Technologies, 209 Burlington Road,
Bedford, MA 01730-9143. (800) 422-
7777. For more information, circle
441 on reader service card.
Low- Cost PostScript Color Printer
Brother International Corporation
has introduced a full color, plain
paper PostScript printer using solid
ink jet technology. The HS-1PS2 is
a true plain paper printer that can
also print transparencies. The HS-
1PS2 features Photo Print technology
for reproduction of Kodak PhotoCD
images, 66 scalable fonts, automatic
emulation selection and automatic
intelligent interface switching. The
printer is the only one in its class
which has been granted Energy Star
approval by the Environmental Pro-
tection Agency for its energy-saving
design. For Macintosh and Windows.
$8995. Brother International Corpo-
ration, 200 Cottontail Lane, Somer-
set, NJ 08875-6714. (908) 356-8880.
For more information, circle 442
on reader service card.
Flatbed Scanner Increases
Dynam ic Range
UMAX Technologies, Inc. has begun
shipping a new "second generation"
flatbed scanner that provides higher
resolution, faster scanning and bet-
ter quality. The PowerLook is a 30-
bit flatbed color scanner that offers
an affordable alternative to higher
priced drum scanners. The Power-
Look has a dynamic range of 3.0,
allowing users to detect very subtle
differences in color levels from light
to dark. Other features include a
Continued on page 52
47
p.a
Sum m er 1994
The typefaces
shown on these
pages represent
the complete
collection of ITC
typefaces as of
May 21,1994
International Typeface
Corporation operates
under this name domes-
tically and in foreign
countries and is known
as "ITC' ITC and its type-
face names are regis-
tered trademarks of
International Typeface
Corporation in certain
countries. In addition,
ITC typefaces are pro-
tected by design legisla-
tion and copyrights in
certain countries. (See
ITC specimen booklets.)
*Protected by United
States patent Des. 317,621,
324,535, 323,849, 322,985,
325,042, 325,219.
ITC Am erican
Typewriter
Light
Light Italic
Medium
Medium Italic
Bold
Bold Ratty
Light Condensed
Medium Condensed
Bold Condensed
IN MNNA
ITC Avant Garde
Gothic
Extra Light
ExtraL ight Oblique
Book
Book Oblique
Medium
Medium O blique
Dem i
Demi Oblique
Bold
Bold Oblique
Book Condensed
Medium Condensed
Demi C ondensed
Bold C ondensed
ITC Barcelona
Book
Book Italic
Medium
Medium Italic
Bold
Bold Italic
Heavy
Heavy Italic
ITC New Baskerville
Roman
Italic
Sem i Bold
Semi Bold Italic
Bold
Bold Italic
Black
Black Italic
ITC Bauhaus
Light
Medium
Dem ibold
Bold
Heavy
IT! PCCIVNCCI
ITC Benguiat
Book
Book Italic
Medium
Medium Italic
Bold
Bold Italic
Book Condensed
Book Condensed Italic
Medium Condensed
Medium Condensed
Italic
Bold Condensed
Bold Condensed Italic
ITC Benguiat Gothic
Book
Book Italic
Medium
Medium Italic
Bold
Bold Italic
Heavy
Heav y Italic
ITC Berkeley Oldstyle
Book
Book Italic
Medium
Medium Italic
Bold
Bold Italic
Black
Black Italic
ITC Bookm an
Light
Light Italic
Medium
Medium Italic
Dem i
Demi Italic
Bold
Bold Italic
ITC Caslon No.224
Book
Book Italic
Medium
Medium Italic
Bold
Bold Italic
Black
Black Italic
ITC Century
Light
Light Italic
Book
Book Italic
Bold
Bold Italic
Ultra
Ultra Italic
Light Condensed
Light Condensed Italic
Book Condensed
Book Condensed Italic
Bold Condensed
Bold Condensed Italic
Ultra Condensed
Ultra Condensed
Italic
ITC Century
Handtooled
Bold
old Italic
ITC Cerigo'"
23ook with Swash
23ook Italic with Swash
Medium
Medium Italic
Bold
Bold Italic
ITC Charter'"
Regular
Regular Italic
Bold
Bold Italic
Black
Black Italic
ITC Cheltenham
Light
L ight Italic
Book
Book Italic
Bold
Bold Italic
Ultra
Ultra Italic
Light Condensed
Light Condensed Italic
Book Condensed
Book Condensed Italic
Bold Condensed
Bold Condensed Italic
Ultra Condensed
Ultra Condensed Italic
ITC Cheltenham
Handtooled
Bold
Bold Italic
ITC Clearface
Regular
Regular Italic
Bold
Bold Italic
Heavy
Heavy Italic
Black
Black Italic
ITC Cushing
Book
Book Italic
Medium
Medium Italic
Bold
Bold Italic
Heavy
Heavy Italic
ITC Elan
Book
Book Italic
Medium
Medium Italic
Bold
Bold Italic
Black
Black Italic
ITC E ras
Light
Book
Medium
Dem i
Bold
Ultra
ITC Esprit
Book
Book Italic
Medium
Medium Italic
Bold
Bold Italic
Black
Black Italic
ITC Fenice
Light
Light Italic
Regular
Regular Italic
Bold
Bold Italic
Ultra
Ultra Italic
ITC Flora
Medium
Bold
ITC Franklin Gothic
Book
Book Italic
Medium
Medium Italic
Dem i
Demi Italic
Heavy
Heav y Italic
Book Condensed
Book Cond ensed Italic
Medium C ondensed
Medium Condensed Italic
Dem i Condensed
Demi Condensed Italic
Book Compressed
Book Compressed Italic
Dem i Com pressed
Demi Compressed Italic
Book X-Compressed
Dem i X-Com pressed
Friz Quad rata
Regular
Italic
Bold
Bold Italic
ITC Galliard
Rom an
Italic
Bold
Bold Italic
Black
Black Italic
Ultra
Ultra Italic
ITC Gam m a
Book
Book Italic
Medium
Medium Italic
Bold
Bold Italic
Black
Black Italic
ITC Garam ond
Light
L ight Italic
Book
Book Italic
Bold
Bold Italic
Ultra
Ultra Italic
Light Narrow
Light Narrow Italic
Book Narrow
Book Narrow Italic
Bold Narrow
Bold Narrow Italic
Light Condensed
Light Condensed Italic
Book Condensed
Book Condensed Italic
Bold Condensed
Bold Condensed Italic
Ultra Condensed
Ultra Condensed Hal
ITC Garannond
Handtooled
Bold
Bold Italic
ITC Giovanni
Book
Book Italic
Bold
Bold Italic
Black
Black Italic
ITC Golden Type
Original
Bold
Black
ITC Goudy Sans
Book
Book Italic
Medium
Medium Italic
Bold
Bold Italic
Black
Black Italic
ITC Highlander"
Book
Book Italic
Medium
Medium Italic
Bold
Bold Italic
z
0
r.4
.4
0
U
U
4
a.
E.+
U
6-4
i s
48

1
ITC Idadirurt
` Regular
` Beld
ITC Isbell
Book
Book Italic
Medium
Medium Italic
Bold
Bold Italic
Heavy
Heavy Italic
Italia
Book
Medium
Bold
ITC J am ille
Book
Book Italic
Bold
Bold Italic
Black
Black Italic
ITC Kabel
Book
Medium
Dem i
Bold
Ultra
ITC Korinna
Regular
Kursiv Regular
Bold
Kursiv Bold
Extra Bold
Kursiv Extra Bold
Heavy
Kursiv Heavy
ITC Modern No. 216
Light
Light Italic
Medium
Medium Italic
Bold
Bold Italic
Heavy
Heavy Italic
tic Mona Lisa Recut
ITC Mona Li sa Sol i d _ona -isa _o_i_
ITC Motter torpor
Regular
Condensed
ITC Newtext
Light
L ight Italic
Book
Book Italic
Regular
Regular Italic
Dem i
Deml Italic
ITC Novarese
Book
Book Italic
Medium
Medium Italic
Bold
Bold Italic
Ultra
ITC Officina Sans
Book
Book Italic
Bold
Bold Italic
ITC Officina Serif
Book
Book Italic
Bold
Bold Italic
ITC 401ozvailel
ITC Pacella
Book
Book Italic
Medium
Medium Italic
Bold
Bold Italic
Black
Black Italic
ITC Panache
Book
Book Italic
Bold
Bold Italic
Black
Black Italic
ITC Quay Sans
Book
Book Italic
Medium
Medium Italic
Black
Black Italic
ITC Quorum
Light
Book
Medium
Bold
Black
ITC Serif Gothic
Light
Regular
Bold
Extra Bold
Heavy
Black
ITC Slim bach
Book
Book Italic
Medium
Medium Italic
Bold
Bold Italic
Black
Black Italic
ITC Souvenir
Light
Light Italic
Medium
Medium Italic
Dem i
Demi Italic
Bold
Bold Italic
ITC Stone Inform al
Medium
Medium Italic
Sem i Bold
Semi Bold Italic
Bold
Bold Italic
ITC Stone
Phonetic Sans
[at ti: si: staun
fau'netik swnz]
ITC Stone
Phonetic Serif
[at ti: si: staun
fau'netik 'serif]
ITC Stone Sans
Medium
Medium Italic
Sem i Bold
Semi Bold Italic
Bold
Bold Italic
ITC Stone Serif'
Medium
Medium Italic
Sem i Bold
Semi Bold Italic
Bold
Bold Italic
070 Etacko script .
ITC Symbol
Book
Book Italic
Medium
Med ium Italic
Bold
Bold Italic
Black
Black Italic
ITC Syndor
Book
Book Italic
Medium
Medium Italic
Bold
Bold Italic
ITC Tiepolo
Book
Book Italic
Bold
Bold Italic
Black
Black Italic
ITC Tiffany
Light
Light Italic
Medium
Medium Italic
Dem i
Demi Italic
Heavy
Heavy Italic
ITC Usherwood
Book
Book Italic
Medium
Medium Italic
Bold
Bold Italic
Black
Black Italic
ITC Veij ovic
Book
Book Italic
Medium
Medium Italic
Bold
Bold Italic
Black
Black Italic
ITC Weidem ann
Book
Book Italic
Medium
Medium Italic
Bold
Bold Italic
Black
Black Italic
ITC Zapf Book
Light
Light Italic
Medium
Medium Italic
Dem i
Demi Italic
Heavy
Heavy Italic
ITC Zapf Chancery
Light
Light Italic
Medium
Medium Italic
Dem i
Boat
ITC Zapflnternational
Light
Light Italic
Medium
Medium Italic
Dem i
Demi Italic
Heavy
Heavy Italic
ITC Leawood
Book
Book Italic
Medium
Medium Italic
Bold
Bold Italic
Black
Black Italic
ITC LegacySans
Book
Book Italic
Medium
Medium Italic
Bold
Bold Italic
Ultra
ITC LegacySerif
Book
Book Italic
Medium
Medium Italic
Bold
Bold Italic
Ultra
ITC Lubalin Graph
Extra Light
Extra Light Oblique
Book
Book Oblique
Medium
Medium O blique
Dem i
Demi O blique
Bold
Bold O blique
Book Condensed
Book Condensed Oblique
Medium Condensed
Medium Condensed
O blique
Dem i Condensed
Demi Condensed
O blique
Bold Condensed
Bold Condensed
O blique
ITC Mendoza Rom an
Book
Book Italic
Medium
Medium Italic
Bold
Bold Italic
ITC Mixage
Book
Book Italic
Medium
Medium Italic
Bold
Bold Italic
Black
Black Italic
49
ITC Boutros Calligraphy"
6...)
Light
3'1-4 Ui=1-1-;\'"A 0,, ,)-1=i-)
Light Italic
i/Z-6 LP4)-964
Medium
3
;k4 '91.4 1).,146.6.66.4
Medium Italic
19.-101 .4,12-446.tru-Att
Bold
SbLe 39-41}312-w-e 04.1)404
Bold Italic
ITC Boutros Kufic"
041-1 - 1
Light
310 d'"A"i\ 011)
Light Italic
-1= u493-0 (2-40 011*14
32-0
MediumItalic
LTi94 Ogli4A4
Bold

SA4) 1.1441 011)4g4

Bold Italic
ITC Boutros Modern Kufic"

J=4.41,i-g-G J-146
Light
Light Italic
.6.Augio jgis,64
Medium
SAO "C}14 . "14.MN 141564
Medium Italic
agami pg.fi jigs's!
Bold
Vita amt lag& At
^
lku
Bold Italic
ITC Boutros RokaaT"
Medium
ITC Boutros Setting"
Light
3!'\-0 04\
Light Italic
6ALII 014,111
Medium
Skto 3:1-6.13 ' &14
Medium Italic
0. 0.34/0 kyktii?
Bold
SA4 &s_\ 4626,0 41.E
Bold Italic
ITC Lab!'
Litt..ictJ
Light
J-11-0 U6+ 11 1!Y-11
Light Italic
kLAA09.X0 Littgad
Medium
4Sto
Medium Italic
Bold
J ib .1...uluiLakt3
Bold Italic
ITC Avant Garde Gothic Cyrillic
ITC ABaHrapA romi<
HOpMaAbHb10
Book
ITC ABaHrapA RDT 14K
HOpMaAbHb1121
Book Oblique
ITC ABaHrapp,10T14K
nonymoaptibik
Demi
ITC ABCIHrapA rOT HK
nomoniptuaii HOK AOHH1,1H.
Demi Oblique
ITC Bookman Cyrillic
ITC ByTemax CBeTabIti
Light
ITC Byicivtart CBeTablii
Kypcua
Light Italic
ITC Spat ail
noapinipHburi
Demi
ITC Byxmati
nonyoicuplibel icypcua
Demi Italic
ITC Fat Face Cyrillic
ITC en *air
ITC Garamond Cyrillic
ITC Fapamox CBeTJIbIA
Light
ITC Tapamon ceeTablit
Kypcue
Light Italic
ITC Tapamon ampHhifi
Bold
ITC Tapa.nou 3 ICUPHblii
icypcue
Bold Italic
ITC Kabel Cyrillic
ITC Ka6enb HOpMaAbHbICI
Book
ITC KaGeAb ynbipa
Ultra
ITC New Baskerville Cyrillic
ITC Hb10 BaCKepB14.11b
Hopmandmiii
Roman
ITC Hwo Bacxepeurit. xypcue
Italic
ITC HmoBacicepmum
Bold
ITC Hb10 EaCK ep611 16
NeUpliblit xypcue
Bold Italic
ITC Studio Script"Cyrillic
ITO Onvgao eicpandn,
ITC Zapf Chancery Cyrillic
ITC 7fan95 4faiicepu
ITC AMLINES
E U0 i_ao,Gat@em
uTy@camAlGz mcm,
CIATMAmV
ITC Bauhaus Heovy
[0:13 1QT1aulE CNIQww
CDE q
ITC Bernase Rom an
ITC Bolt Bold
ITC/ LSC Book
Regular Rom an
Regular Italic
Bold Rom an
Bold Italic
X-Bold Rom an
X-Bold Italic
IME C,
CDICE LE G wnlln
OweD,g3W
ITC Bookm an
Contour with
ITC BUSORAMA
LIG-T
ME DIUM
BOLD
ITC Caslon Headline
ITC /LSC C aslon
No. 223
L ight
L ight Italic
Regular
Regular Italic
Bold
Bold Italic
X-Bold
X-Bold Italic
Cheltenham
OjtUne
ITC Cheltenham
Ontllne Shadow
ITC Cheltenham
Contour
HTC aearface OtU
ITC Clearface
Contour
ITC
Ontillne Silla4cAv
ITC /LSC C ondensed
ITC/L SC Cond ensed Italie'
ITC IMdi
E TZ aMO OuNnInG
ITC Eras Co[ tour'
ITC Fail Face
ITC Firenze
GO[ ahAn (c.i4rdag
Cad= h61
TC Frankii Gothic
Contour
ITC Gorilla
ITC Grizzly
ITC Grouch
ITC Honda
GIG Dad.Gu ounqudom'
ITC Kabul Contour
Korrfinnn.
OutUne
ITC MACHINE
ITC MACHINE BOLD
IMAM: Atiallnitimi."
ITC Milano Rom an
ITC NEON
LLLWLLL
ITC Ronda
Light
Regular
Bold
ITC , etaV Goihk BO d
Olt)JMns
: C/1_,&C Stymie
cGIhe
ITC Tom 's Rom an
ITC Uptight
Regular
ITC Upright neon
z
4
z
0
50
Agfa Division. Miles Inc. Typographic Systems. 90 industrial Way. Wilmington, MA. 01887. USA. 508. 657.8568 [FAX]
WELCOME
to the AgfaType idea Catalog.
We created the AgfaType idea Catalog with you, the designer in mind.
A NEW CONCEPT. Most type catalogs are
bigger than the phone book. And we have all those typefaces too. But you don't have time to look at a phone book to pick a typeface. The
AgfaType idea Catalog provides a genuine alternative - 48 pages of typeface selections by professionals like you, that set a tone
and have a look.
There's even more inside the AgfaType idea Catalog where creative ideas and stimulating images abound. issue Number One features typefaces
selected by 14 of Chicago's leading graphic designers and art directors, together with full-page artworks created exclusively for this issue, and inspirational
thoughts from each of them. It's all put together by Chicago designer Carlos Segura of Segura Inc. in the very latest style, with images from Hatch
Show Print of Nashville.
Agfa offers all the most popular typefaces on our award-winning AgfaType CD-ROM and on floppy disk, including
The Adobe Library, the Agfa' PostScript Library, Font Bureau, Inc., [T-26] Digital Type Foundry, and many more -
all at competitive prices.
Sample this visual feast! Fax us or circle #233 on the Reader Service Card to receive your AgfaType idea Catalog today! (ME=
Agfa and the Agfa Rhombus are registered trademarks of Agfa-Gevaert, AG. AgfaType. Idea Catalog, and Rotis are trademarks of Miles Inc., Agfa Division. Adobe and PostScript are trademarks of
Adobe Systems Inc., which may be registered in certain jurisdictions. The Adobe Library is under license form Adobe, Systems Inc. [T-26] is a registered trademark of F9-261 Digital Type Foundry AG FA jigiCi
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Continued from page 47
maximum resolution of 2400x2400
dpi, a 2-megabyte output buffer and
proprietary bus caching to increase
throughput, ten bits per RGB pixel
totaling 30 bits of color and 10 bits
of gray scale and clean-room assem-
bly to ensure dust-free optics. The
PowerLook includes Photoshop for
either the Macintosh or Windows
platforms. $3495. UMAX Technolo-
gies, Inc., 3353 Gateway Boulevard,
Freemont, CA 94538. (510) 651-8883.
For more information, circle 443
on reader service card.
Larger SyQuest Drives
SyQuest has increased the capacity
of its well-known removable hard
cartridge drives. The SQ5200C is a
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88 or 200MB SyQuest cartridges.
For Macintosh and Windows. $599.
SyQuest Technology, 47071 Bayside
Parkway, Fremont, CA 94538. (800)
245-2278. For more information,
circle 444 on reader service card.
Fonts
URW Library Expands
RW Software & Type has
added the following fonts
to its library of faces: URW
PrintWorks is a collection of 20 true-
cut classic text and display faces
supplied for the first time in up to 25
different weights each. All fonts
come with 1000 kerning pairs each.
PrintWorks is supplied on CD-ROM
and supports the PostScript Type 1
and TrueType font formats. All fonts
are unlocked and immediately
accessible. The fonts are designed
for all book, magazine and news-
paper publishers. $199. URW Euro-
Works is a library of 500 true-cut
typeface designs, each supplied
with special accented characters
which support all Eastern and West-
ern European languages. All fonts
come with 1000 kerning pairs each.
$1399. The URW Typeface Library
contains all the popular designs from
ITC, Letraset, Berthold, etc. Cus-
tomers can choose any number of
fonts with no minimums or pre-
selected packages. For more infor-
mation on the URW fonts, contact:
URW Software & Type GmbH, 4 Man-
chester Street, Nashua, NH 03060.
(603) 882-7445. For more informa-
tion, circle 445 on reader service
card.
New Typeface Collection
Monotype Typography has signed li-
cense agreements for 21 new art and
font packages from four independent
type foundries and type designers.
The new font packages are included
in the Monotype Type Designers of
the World collection. Type styles in-
clude SignPix from Harris Design,
KidTYPE and DingBRATS from DS
Design and bar code fonts from Aza-
lea Software. All Type Designers of
the World fonts are PostScript Type 1
for Macintosh and Windows systems.
$35-$265. Monotype Typography
Inc., 150 South Wacker Drive, Suite
2630, Chicago, IL 60606. (312) 855-
1440. For more information, circle
446 on reader service card.
Adobe Systems Announces
Two New Adobe Originals
Adobe Systems Inc. adds two new
Adobe Originals in its library of fonts:
Mezz, a multiple master typeface for
the Macintosh, and Adobe Wood Type,
the first Adobe typeface package that
can be used chromatically for multi-
color printing for both Macintosh and
Windows systems. Mezz, $145. Adobe
Wood Type 3, $75. Adobe Systems,
Inc., 1585 Charleston Road, Moun-
tain View, CA 94039-7900. (800) 862-
3623. For more information, circle
447 on reader service card.
A Typographer's Design Tool
FontLab 2.5 is a new typographer's
design tool used to design, edit and
create digital typefaces and symbols.
The program allows typographers,
artists and designers to create and
edit characters with maximum qual-
ity and accuracy. Developed in
Russia by a team of young mathema-
ticians, typographers and program-
mers, FontLab 2.5 includes TrueType
compatibility, a macro language and
library, up to 640 symbols per font
and a new font audit feature that
automatically checks symbols for
errors and quality deficiencies. For
Windows. $495. Pyrus North America,
Ltd., P.O. Box 465, Millersville, MD
21108. (410) 987-4980. For more in-
formation, circle 448 on reader ser-
vice card.
Barry Zuber is principal of Egeland
Wood & Zuber Inc., a graphic design
and advertising agency based in
Scotia, NY
52
em
1400 fonts for Mac,
PC (Windows 3.x + ATM)
or Unix (Solaris 2.11).
C D-ROM format provide
open low-res outline fon
for presentations:
Diamond (high resolution)
fonts unlockable by phone.
All available singly and by
family.
SPITZENQ UALITAT
The other type companies
have been dreading this
for 1 40 years
Berthold Univers 56 Medium Italic.
`Ordinary' Univers 55 Oblique.
Spot the real italic.
Spot the sloped roman. No prizes.
Right from the start, in 185 8, Berthold built
a name for precision. Then, through the transition
from metal to photocomposition to digital type,
this grew into the finest typographic heritage
in the world bar none .
G. G. Lange, Berthold's creative
director since the '5 0's, has kept his eagle eye
on every single character of every single
typeface much to the chagrin of our friends
mentioned above. His fully-licensed versions
of the classics through Garamond and
Bodoni to Futura and Univers are
considered more faithful than all other
interpretations.
Interpretations are essential in adapting
original metal type designs to digital letter-
forms, and Berthold have well over thirty
years experience in reworking original designs
to provide the highest quality typography.
When you study the examples you'll
immediately see the results
in the Berthold cuttings of the classic faces
over 1400 in all. From Bembo to Baskerville,
Venus to Walbaum. Not to mention the
5 00 superb original Berthold designs.
Now, produced by Berthold themselves,
in PostScript for Mac, PC and Unix systems
Univ ers 5 6 Italic BQ
Iv e
Berthold Bembo and, er..
'Ordinary' Bembo.
Some shapes are
more usable than others.
And look better, too.
on unlockable CD or floppy
disk, costing no more than
you'd pay for ordinary fonts
So whatever system you
use, the most renowned
type library in the world
is a telephone call away.
FontShop Austria
0 (0222) 523 29 46
FontShop Switzerland
C4044
/326 26
FontShop Benelux
(09) 220 65 98
FontShop France
6
)(1) 45 89 09 03
FontShop Canada
(1)
800 46
-
FONTS
FontShop German
y
0
(030) 69
58 95
FontShop
Italy
@(2) 7010 0555
Font Works UK
CD(071) 490 5390
F
ontShop
US
( D( 1)
800
36-
FONTS
H. Berthold Systeme GmbH
(030) 77 95-0
Berthold Optima.
'Ordinary' Optima.
You thought regularization
had been outlawed?
BQ stands for Berthold Q uality.
It's in every font name,
so no font name conflcts .
CD users have immediate access
to low-res outlines good enough
for presentations and roughs.
Berthold Types for PostScript.
Available from Berthold. And FontShop.
Typeface used: headline Berthold Bodoni
Old Face' Italic; text Berthold AG Old Face ".
Berthold Bodoni Old Face and Berthold AG Old
Face are registered trademarks of H. Berthold
Systeme GmbH. Bembo is a registered trademark
of Monotype Typography, registered in the U.S.
Patent and Trademark Office; Futura and Venus
are trademarks or registered trademarks of
Fundicion Tipografica Neufville S.A.; Optima and
Univers are trademarks of Linotype-Hell GmbH
andlor its subsidiaries. All other trademark rights
acknowledged.
Optima B

Circle 285 on

IEW
fir
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IfiCHERIJIMPIIIMIClobcdEfghijklmllopqrstuvwxy1011/395119
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OST OFF THE PRESS...
The Precision Type FontSam pler
5 71 font specimens from over twenty type foundries
including Adobe, Agfa, Bitstream, Letraset, Linotype,
Monotype and URW.
The FontSampler also
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.51 ' 1.57 9_ i


Circle 25 4 on Reader Service Card
Seybold Seminars Boston, held this spring at the Hynes Con-
vention Center in downtown Boston, was a giant exposition
and conference covering a wide range of new electronic pub-
lishing technologies. The four-day event attracted some
14,000 attendees, who flocked to an expo hall with 172
exhibits, an adjacent New Typeface Gallery and special
conference sessions.
U& Ic was interested in determining which new products
and technologies interested the graphic designers who
attended. Now that most designers work on the computer
with page layout and illustration software programs, how
are they supplementing those tools?Which vendors caught
their attention?To find out more, U& k interviewed visi-
tors to the New Typeface Gallery, an exhibit coordinated by
Agfa displaying type samples from 109 typeface designers.
The following question was directed to designers: What
new product or technology interests youthe m ost
at this Sem inar? The responses reflect designers' broad
range of needs and interests. Some people were merely
window shopping to prepare for their future needs. Others
were looking for very specific toolsa tabloid-sized print-
er, for example. Many mentioned that they were attending
to simply network with others. Above all, everyone shared an
enthusiasm for the wide array of electronic tools currently
available to them in today's marketplace.
Richard Lipton,type designer,Font Bureau,
Boston,MA
I'm interested in looking at any image manipulation software.
As a calligrapher, I'm sometimes asked to do certain effects
to lettering that would take hours and hours by hand, and if
I could scan a piece of lettering into my Mac and apply some
dry brush effects to it, it would save lots of time. Kai's Power
Tools interest me, because I have Photoshop, so I can use
the filters; or Aldus Gallery Effectsany third-party effect
plug-in for Photoshop. On the floor, I've been standing
around at Adobe watching some of the demos of Photoshop
and Illustrator. I'm also interested in finding out about True-
Type GX from Apple, because that's more related to what we
do. I've worked on some GX fonts at Bitstream. It's the next
big step in type technology, and Apple is really paving the
way. There will be no more technical constraints to design-
ing type. It makes the job harder, more interesting and
hopefully in the long run, more beneficial to everybody.
Sakwa Hatoum,principal,SALWA,Boston,MA
I headed for the Apple booth to see the Power Macs dem-
onstrated, and was impressed with their speed. I work on a
Centris 610 and a 650 now; I do a lot of desktop publishing
newsletters, catalogs and corporate identity work. I've been
working in the fundamentals: Quark, Photoshop, Illustrator
and FreeHand. I usually leave PostScript to my printer, I
haven't taken on that responsibility yet. I was looking at the
Apple QuickTake 100 [digital camera] to see if I would be
interested in using that instead of a scanner, but it did have
some problemsits range is only four feet. I'm also inter-
ested in looking at color printers. Now I'm working with a
550C Deskwriter inkjet printer, and it's okay for proofs, but
I've been using vendors for higher-quality proofs. I have
a small studio and budget's a big question, so I'm trying to
see what's out there in the future in order to plan for
business strength.
Patrick Mitchell,design director, Garbage
magazine,Gloucester,MA
Basically, I'm interested in new technology that will make
my job easier; and new fonts. I use a Quadra 650. I've been
looking for something I haven't heard about, but it seems
like there's a lull now in the industryyou've got Quark
and your Illustrator and Photoshop. I thought I would pick
up some tips about Illustrator and Photoshop but I stopped
by the booths and those guys seem like they're really focus-
ing on prepress. I suppose I'm interested in the Power Macs
because of speed, since we do three magazines and two
books with only a four-person art department.
J acqueline Sakwa,designer,J . Sakwa
Design,Reading,MA
I just bought a Mac myself, so I'm pretty new to this. I'm
spending most of my time looking at graphic programs I will
be interested in using myself, such as Adobe Illustrator
and Photoshop. I'm also looking at different monitors and,
of course, looking at all the new type designs and how peo-
ple are presenting them in the Type Gallery.
Matt Mayerchak,Glassman/Mayerchak,
Needham,MA
This field has gotten pretty mature, so there's not really
anything that's new at this point. Now it's detail stuff like
Quark XTensions. For me, it's a chance to ask people
questions. We're also looking at tabloid-sized printers.
For us, the dpi isn't the issue, it's the size of the paper.
I would like to learn more about QuickDraw GX fonts;
that's a new technology that does impact us directly.
Adelaide J aquith,graphic artist; Mary Pat
Glover,graphics supervisor; C arol Wigger,
production supervisor, Hemmings Motor
News, Bennington,VT
J aq uith: The Power Macs are just incredible, for their speed
their redraw capability. It's on my wish list. Right now we
use a Mac Ilci, and Quark, Adobe Illustrator and Photoshop.
I came here to find out what's out there, not just in my
little world.
Glover: What really caught my eye are the drawing pro-
grams, ones with caricatures of people, such as KurtaXGT.
I would love to get one of those in the art department. It had
all sorts of tools we could use for drawingit was really
incredible. I supervise four graphic artists and they can all
draw, so it would be nice to have.
Wigger: We use Quark and have fx's and ci's so I'm just
looking around. Our magazine is over 800 pages a month
of black and white and 40 pages of color, so we just use
Quark in the black and white section. If price were not an
object 1 would get a Power Mac.
Rich Root,Allen Mercer,House Industries
(type foundry),Wilmington,DE
Roat: We're on a fact-finding mission. We're just going to
look around on the floor and absorb what we can. We're not
as interested in electronic gadgetry as much as seeing what
everyone else is doing.
The drive up here was worth it just for the two hours we
spent at the party [at Font Bureau, following Seybold's Font-
Free-for-All session]. The beauty of the type market is that
the more cool stuff that's out there creates an appetite for
more; it's like a snowballing effect. There's such a big need
among design firms, in-house art departments, video pro-
ducers, for just different typeeven if it's ugly. People are
just devouring the stuff.
Mercer: What surprised me was the attitude of all the
other artists. What I enjoyed the most was getting these
free lectures about type from these heavy hitters like
Matthew Carter, finding out what they're interested in,
and where they're going to go with their type. O
54
THE DIRECTORY
OF NEW TY PEFACES
Updated Quarterly
From All Maj or
Foundries and Type
Designers.
Text, Display & Im age Font
specim en pages include:
Complete alphabet
Selections of symbols
Text blocks showing
various weights
Text blocks showing
variety of leading
Names of other faces
in the family
Designer's name and
technical data
Resource information
and 800 numbers to
call to get faces
Distinguishing characters
to help you recognize
the face
The
Directory
of New
Typefaces AL K INT OMICIAINOPOSAInnal
As -741......roompasnirvenam
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249.
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T Y POGRAPHY la th
Tyrtzowtmes-we sa L
TY POGRAPHY la
Current Participating
Foundries Include:
Adobe Systems
Agfa
Apply Design Group
Bitstream
Carter & Cone Type
Casady & Greene
Club Type
Elsner + Flake
Emigre
Esselte Letraset
FontHaus
FontShop
The Font Bureau
Image Club Graphics
Isis
Linotype - Hell
Monotype
Panache
Red Rooster
Stone Type Foundry
Treacyfaces
URW
and many others
7Reasons This Directory Is Of Value To Y ou
1. Makes your job easier finding 4.
new and fresh faces
2. Keeps you current with what's 5.
happening in new typefaces 6.
available from around the world
3. Indexed 6 different ways, including
by designer, by classification, and
by typeface name
7.
Updated quarterlyYou receive new
specimen pages every 3 months
Free binder, tabs and index listings
There is no other industry- wide
service that compiles for you all the
new typefaces from around the
world - as they are being released
Special savings if you order now.
Cut along the dotted line and return today to:
r
ITC Directory of New Typefaces
q. MMG 65 Commerce Road, Stamford, CT 06902
K Please send me the 4 quarterly issues of the 1994ITC Directory of New
Typefaces for only $125, induding the 3-ring binder and tabs.
K Please send me the 19931TC Directoty of NewTypefaces including the
binder, tabs, 256 Specimen Pages, plus over 100 Opinion & Gallery and Index
Pages for only $125. Limited stock available.
Publisher's No-Risk Moneyback Guarantee
Your satisfaction is guaranteed with the Directory. You may cancel at any time,
for any reason, and receive your money back for all the unmailed issues.
Name Title
Company
Address
City State Zip
Country
Please check the appropriate boxes
K Check enclosed K Please bill my credit card
K Visa K MasterCard
Account Number Exp date
Name as it appears on the card
Signature
Or call today
1-800-634-9325
In New Your State call 212-371-0699. Or FAX your order any time to 212 - 75 2- 475 2.
All payments must be made on U.S. banks only. Canada add $14, Far East add $40,
and all others outside North America, please add $28 for shipping. Ul
L
Circle 271 on Reader Service Card
U&Ic, Issue 21.1, Sum m er, 1994
This colophon exists to share with readers
information about the electronic tools used
to produce this issue. The production team
responsible for these pages includes: Jane
DiBucci, director of creative services; Clive
Chiu, production manager; and designer
and type consultant James Montalbano,
president, Terminal Design, New York.
Cover
Hardware: Macintosh Quadra 900, Laser-
Master 1200XL0 printer, UMAX 840 scan-
ner, Hell 341 Scanner/imagesetter.
Software: QuarkXPress 3.2, Adobe Illus-
trator 5.0, Adobe Photoshop 2.5.
Com m ents: Classified ad art was scanned
with a UMAX 840 scanner at 800 dpi (to
hold type resolution); shadow was edited
in Photoshop to merge it with background
tint, then saved as an EPS file. The logo,
type and background tint were assembled
in Adobe Illustrator, and saved as an EPS
file. Files were imported into QuarkXPress,
then output to film on the Hell 341 Scan-
ner/imagesetter.
4
Message from ITC; Table of Contents
Hardware: Macintosh Quadra 700, Laser-
Master 1200XL printer, Linotronic image-
setter.
Software: QuarkXPress 3.2, Adobe Illus-
trator 5.0.
Com m ents: Graphic was created in Adobe
Illustrator and saved as an EPS file. Type
was created in QuarkXPress. File was out-
put to film on the Linotronic imagesetter.
6
Type 94
Hardware: Macintosh Quadra 650, Laser-
Master 1200XL printer, Linotronic image-
setter.
Software: QuarkXPress 3.2
Com m ents: Type was created in Quark-
XPress. The file was output to film on the
Linotronic imagesetter.
8
Type with Attitude
Hardware: Macintosh Quadra 900, UMAX
840 scanner, Aristo digitizing tablet, Laser-
Master 1200XLO printer, Crosfield 646
scanner, Dolev 800 imagesetter.
Software: QuarkXPress 3.2, Adobe Illustra-
tor 5.0, Adobe Photoshop 2.5, Ikarus M 3.0.
Com m ents: Large graphics were scanned
using a UMAX 840 scanner, digitized in
Ikarus M and saved as EPS files. Halftone
art was scanned on a Crosfield 646 scanner
and saved as EPS files. All EPS files were
imported into QuarkXPress, where type
was created and pages were assembled.
The file was output with Automatic Picture
Replacement (APR) using the Dolev 800
imagesetter.
14
Screen Fonts
Hardware: Macintosh Quadra 950 with
Diaquest board, Macintosh Quadra 900,
Macintosh Quadra 700, LaserMaster 1200
XL printer, linotronic imagesetter.
Software: QuarkXPress 3.2, Adobe Illustra-
tor 5.0, Adobe Photoshop 2.5.
Com m ents: Beta video frames were isolat-
ed from tapes using Diaquest software and
saved as RGB 72 dpi PICT files. They were
then edited in Photoshop to convert to
CMYK format; resolution was resampled
to support a 120 line screen. Images were
saved as EPS files and imported into Quark-
XPress. Headline art was created in Adobe
Illustrator, saved as an EPS file and brought
into QuarkXPress. All type was created in
Quark. The file was output to film using the
Linotronic imagesetter.
18
Great Ads
Hardware: Macintosh Quadra 650, Laser-
Master 1200XL printer, Hell 350 scanner,
UMAX 840 scanner, Dolev 800 imagesetter.
Software: QuarkXPress 3.2, Adobe Photo-
shop 2.5
Com m ents: Art was scanned on a Hell 350
scanner; line art was scanned at 1200 dpi
using a UMAX 840 scanner. All were saved
as EPS files and imported into QuarkX-
Press. The file was output to film with APR
using the Dolev 800 imagesetter.
24
Ads Which Appeal
Hardware: Macintosh Quadra 950 with
Diaquest board, Hell 350 scanner, Macin-
tosh Quadra 900, Macintosh Quadra 700,
LaserMaster 1200XL printer, linotronic
imagesetter.
Software: QuarkXPress 3.2, Adobe Illustra-
tor 5.0, Adobe Photoshop 2.5.
Com m ents: Beta video frames were isolat-
ed from tapes using Diaquest software and
saved as RGB 72 dpi PICT files. They were
then edited in Photoshop to convert to
CMYK format; resolution was resampled
to support a 120 line screen. Images were
saved as EPS files and imported into Quark-
XPress. Headline art was created in Adobe
Illustrator, saved as an EPS file and brought
into QuarkXPress. All type was created in
QuarkXPress. The file was output to film
using the Linotronic imagesetter.
28
Fris Quadrata Italic
Hardware: Macintosh Quadra 650, Macin-
tosh Quadra 700, Crosfield 646 scanner,
LaserMaster 1200XL printer, Linotronic
imagesetter, Dolev 800 imagesetter.
Software: QuarkXPress 3.2, Adobe Illus-
trator 5.0
Com m ents: Photo was scanned using a
Crosfield 646 scanner. Large characters
were created in Adobe Illustrator, saved
as EPS files and imported into QuarkX-
Press. Type was created in QuarkXPress.
Page 31 was output to film with APR using
the Dolev 800 imagesetter; all other pages
were output to film using the Linotronic
imagesetter.
32
The Fragm ented Future of Advertising
Hardware: Macintosh Quadra 700, Laser-
Master 1200XL printer, Crosfield 646 scan-
ner, Dolev 800 imagesetter.
Software: QuarkXPress 3.2, Adobe Illustra-
tor 5.0, Photoshop 2.5
Com m ents: Photograph was scanned using
the Crosfield 646 scanner, colored in Photo-
shop, saved as an EPS file and imported
into QuarkXPress. Line art and dingbats
were created in Adobe Illustrator, saved as
EPS files and placed into QuarkXPress. All
type was created in Quark. The pages were
output to film on the Dolev 800 imagesetter.
34
Sm oke and Mirrors
Hardware: Macintosh Quadra 700, Laser-
Master 1200XL printer, Hell 350 scanner,
Dolev 800 imagesetter.
Software: QuarkXPress 3.2.
Com m ents: Art was scanned with the Hell
350 scanner, saved as EPS files and import-
ed to QuarkXPress. All type was created in
QuarkXPress. The file was output with APR
on the Dolev 800 imagesetter.
Compiled by Joyce Rutter Kaye
and Jane DiBucci
Throughout this colophon, trademarks are
used. Rather than place a trademark sym-
bol at every occurrence of a trademarked
name, we state that we are using the names
in an editorial context with no intention of
infringement of the trademark.
5 5
by URW Hamburg Kernu
PalatinoN18 Kernpai
Pointsiae:

18.00
Kernstrength: 1 .01
Destination:
Calculate
Kerning File: fl_1000.KRN
Open original font and choose
from the available styles.
Specify point size specific
kerning pairs and
kernstrength for desired fit.
2
1
B Palatino Bold 4
BI Palatino Boldl...
I Palatino Italic
Palatino
URW gtrnus
Style : - 0 Regular K Bold
K Italic K Bold Italic
Kerning on the Fly
pica
Designsize:
mmcapheight
1039
didot 16.851 4.38 1
pica 12.00
Adobe Palatino
Typeset at 16 point with the
normal kerning pairs supplied
with the font.
Optimize the clarity of text as small
as 6 point. Comparison showing
Adobe Palatino with supplied kern-
ing (top) versus kerning created by
Kernus for use at 6 point (bottom).
The beauty of a typeface lies in its restfulness and the way it s
eems to extract light from the paper. This restfulness which ma
kes a type beautiful has nothing lifeless or paralyzed about it,
it might rather be described as organized life. As in the other
arts, it consists of a balance of movement. This calm therefore
has two components: life, and balance or rhythm. The beauty
of a typeface lies in its restfulness and the way it seems to extra
ct light from the paper. This restfulness which makes a type be
autiful has nothing lifeless or paralyzed about it, it might rathe
The beauty of a typeface lies in its restfulness and the way
it seems to extract light from the paper. This restfulness wh
ich makes a type beautiful has nothing lifeless or paralyze
d about it, it might rather be described as organized life. As
in the other arts, it consists of a balance of movement. this
calm therefore has two components: life, and balance or rh
ythm. The beauty of a typeface lies in its restfulness and th
e way it seems to extract light from the paper. This restfuln
ess which makes a type beautiful has nothing lifeless or pa
Adobe Palatino
Typeset at 16 point with 1000
URW kerning pairs created by
Kernus.
RETURN ADDRESS

SEC ONDC LASS POSTAGEPAID

INTE RNATIONAL TYPE FACE CORPORATION
2 Hammarskjold Plaza
New York, NY 10017
Kerning easy as 123
The URW . ,rnus Solution
POPOPPIPPOPPPMPOPPOPPIOPPOPPIPPPPOPOPPOPPDPIIMPOPOPPIPPPOOPMPOPPIIMPOPPOPOPPIPPO 444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444441
At URW,technology and common sense equal simplicity,which
is the shortest distance between two points. It's also the quickest
road to profitability,so forget about making kerning pairs manu-
ally. You'll go insane before you're finishedor worse,you'll go
broke before you get a chance to use them. Manually kerning a
font is like crocheting a fishing net. Not only is it senseless,it
doesn't guarantee you'll catch fish.
If you want great looking kerning and time to fish for new clients,
consider URW Kernus. You can automatically create over 1,000
point size specific kerning pairs for any PostScript or TrueType font
in about 30 seconds! Thomas Roosevelt once said," If you can't
finish the job,don't start it:' Reality says," You can't eat what
you can't invoice:'
Available for the Macintosh or PC . Also
includes an editor to modify individual
pairs. Kern an entire typeface library for
only $499.
3
C alculate. The new Kernus
font(s) will be ready for use.
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The beauty of a typeface lies in its restfulness an
d the way it seems to extract light from the paper.
This restfulness which makes a type beautiful ha
s nothing lifeless or paralyzed about it, it might r
ather be described as organized life. As in the oth
er arts, it consists of a balance of movement. This
calm therefore has two components: life, and bal
ance or rhythm. The beauty of a typeface lies in it
The beauty of a typeface lies in its restfulness and
the way it seems to extract light from the paper. Th
is restfulness which makes a type beautiful has no
thing lifeless or paralyzed about it, it might rather
be described as organized life. As in the other arts,
it consists of a balance of movement. This calm the
refore has two components: life, and balance or rh
ythm. The beauty of a typeface lies in its restfulne
Ham burge onts
72 point ITC Berkeley OldStyle Medium from Linotype, with supplied kerning
Ham burgefonts
72 point ITC Berkeley OldStyle Medium from Linotype, with URW Kernus pairs
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URW
For more information about Kernus or other products, call 1.800-229-8791 or fax 603-882-7210.
URW Software & Type 4 Manchester Street Nashua, NH 03060
Circle 269 on Reader Service Card