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UPPER AND LOWER CASE
THE INTERNATIONAL JOURNAL
OF GRAPHIC DESIGN AND DIGITAL MEDIA
PUBLISHED BY INTERNATIONAL TYPEFACE CORPORATION
VOLUME 24, NUMBER 2, FALL 1997
$5.00 US, $9.90 AUD, .£4.95
*********************5-D IGIT 54117
ITC C 127 P 426
0543251 50 0
GREG DUNDIS
GREG DUNDIS DESIGN & PROD
1801 HAYES ST APT 6
SAN FRANCISCO CA 94117-1250

I T C n Dsplay. i A resource t h a t w i I I last f o

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the ITC On Display
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For more information, call
1-800-634-9325 x124, write to us at
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228 East 45th St, New York, NY 10017,
or visit us at www.esselte.com/ITC.
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Type Trancformationv Wes
1111
ITC continues to transform with new type and a new Web site.
R/Greenberg's opening sequence for Night Falls on Manhattan creates
a masterful optical deception. By Peter Hall.
faces of Roger Excoffon. Text by John Berry.
all wrong, writes Steven Heller.
Four new typefaces from ITC build on the influential 1950s script
Although pundits believe print is dead, HardWired proves them
A collective and selective surfing of Web sites on type, travel and literature.
By Matthew Butterick, Joyce Rutter Kaye and Margaret Richardson.
Corporation's entire collection, including Fontek typefaces.
An annual supplement featuring International Typeface
be the ideal graphics solution for print and the Web. By Gene Gable.
lifestyles of their own. By Rhonda Rubinstein.
Adobe Acrobat's latest version of PDF may
Contemporary magazines are using visual styles to create enveloping
Handwritten letterforms are the main influences
for these 11 new Fontek typeface designs.
116 LI kingt
- Four new books address Web graphics issues.
digital typefaces for the computer screen.
Matthew Butterick describes how to refine
International Typeface Corporation would like to thank Roger Black Incorporated for the design
of this issue of U&lc.
TYPE ON THE PAGE, on the big screen, and on the
monitor are all included in an overview of type
transformations in this issue designed by Roger
r, z-.,
Black Incorporated. Type, as always, informs a design
with appropriate nuances and an enhancement of content.
Type transforms text, and, when effectively used,
type embodies ideas and provides style. Here we feature
projects from film credits to Web pages with type
in transition as the focus.
Also in this issue, ITC continues its commitment to
creating innovative type styles with a range of new Fontek
faces. For example, Mistral Light, Choc Light, Banco
Light and Bold by ITC are contemporary interpretations
of typefaces created by Roger Excoffon and rendered by
Phill Grimshaw. These capture the flair and flourish of
the Excoffon style for a digital market. Also premiered
here are ii display fonts ranging from John Peter's artful .
and witty tribute to Joan Mira with ITC Peter's Miro
to Timothy Donaldson's robust ITC Musclehead.
This issue also presents the second L/c.'':71c supple-
ment of the entire ITC type collection including Fontek
fonts. The ITC typeface collection cover, also designed
by Roger Black Incorporated re-interpets the main cover
design and the collection is organized by styles of type:
serif, sans serif, display, ornaments and illustration fonts.
ITC has also transformed its capability to introduce,
display and provide information about new ITC and
Fontek typefaces by launching a revised and expanded Web
site at www.itcfonts.com . Designed by Interactive Bureau
in New York, the revised site allows type users to preview
ITC typefaces and learn more about the inspirations and
designers behind the designs. By using the Euripedes utility,
type users also are able to set their own anti-aliased
type samples onscreen and to compare two different type
samples at the same time. Finally, once a desired type design
is found, users can quicldy and securely purchase Type i
and TrueType versions of the typeface online using a credit
card, and have the typeface immediately downloaded to
their computer. The new Web site also offers information
for aspiring designers who would like to submit a typeface
idea to ITC, serves as a technical support center for
type users, and acts as a springboard to other type-related
sites covering technical, creative and legal issues. Lastly,
the new Web site is the home of UCIc Online, a supplement
to our printed quarterly publication, that features
expanded text and visuals and frequent editorial updates.
International Typeface Corporation continues to transform
and to transform its range and scope of typefaces,
and www. itCfOrITS.com provides constant access to ITC.
—Mingaret Richardson
FRONT COVER: ITC FRANKLIN GOTHIC HEAVY; ITC GALLIARD ROMAN, ITALIC TABLE OF CONTENTS HEADLINE/TEXT: ITC FRANKLIN GOTHIC HEAVY. BOOK. BOOK ITALIC SUBHEADS: BANCO — HEAVY BY ITC
MESSAGE FROM ITC HEADLINE: ITC FRANKLIN GOTHIC HEAVY: BANCO — HEAVY BY ITC TEXT: ITC FRANKUN GOTHIC BOOK: ITC GALLIARD ROMAN, ITALIC MASTHEAD: ITC FRANKLIN GOTHIC MEDIUM, MEDIUM CONDENSED,
MEDIUM CONDENSED ITALIC. BOLD CONDENSED
4
EXECUTIVE PUBLISHER:
MARKJ. BATTY
EDITOR/PUBLISHER: MARGARET RICHARDSON
MANAGING EDITOR: JOYCE RUTTER KAYE
CONTRIBUTING EDITORS:
PETER HALL,
KAREN S. CHAMBERS
GRAPHIC DESIGN :
ROGER BLACK INCORPORATED:
ROGER BLACK, MARYJANE FAHEY,
ARIEL CEPEDA, LAURA EISMAN
CREATIVE SERVICES DIRECTOR:
CLNECHIU
ART/PRODUCTION:
JAMES MONTALBANO
ASSOCIATE PUBLISHER:
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ADVERTISING SALES:
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PHONE: (617) 259-9207
FA/I: (617)259-9883
DISTRIBUTION: EDWARD WORMLY
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UST RENTAL OFFICE:
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INTERNATIONALTYPEFACE
CORPORATION 1997.
U8tic (ISSN 0362 6245) IS
PUBLISHED QUARTERLY BY
INTERNATIONAL TYPEFACE CORPORATION,
228 EAST 45TH STREET,
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ITC IS A SUBSIDIARY OF ESSELTE LETRASET.
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ITC OPERATING EXECUTIVE BOARD 1997
MARK J. BATTY, PRESIDENTAND CEO
RANDY S. WEITZ, CONTROLLER
ILENE STRIZVER,
DIRECTOR OF TYPEFACE DEVELOPMENT
ITC FOUNDERS:
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R/Greenberg's elegant opening sequence
to the movie NIGHT FALLS ON MANHATTAN uses
old and new film technology to create a seamless
visual overture.
By Peter Hall
The stark, two-minute animation is strangely
moody and nostalgic: A series of blue vertical
paint stripes descend on a black screen to a mel-
low trumpet and piano score. Each stripe ends
its journey halfway down the screen, leaving a
distinctive black space unpainted. After three
or four stripes have rolled, the scene reveals
itself: the blue is the negative space—the sky
above the buildings of Manhattan.
6
Continued on page 8

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Continued from page 6 IT'S NO
Spelling Films Presents
Andy Garcia
Night Falls on Manhattan
Written for the Screen and Directed By
Sidney Lumet
8
Inspired by an art
book cover and
a city skyline,
R/Greenberg's
opening titles to Night
Falls on Manhattan
capture the tone and
feel of a vintage
Saul Bass sequence.
It was very clever
and respectful of the
history of the genre;'
notes producer Thom
Mount. This, the
more "painterly" solu-
tion of a shortlist of
four proposals, struck
a chord with R/GA,
Mount and director
Sidney Lumet,
according to Mount.
"We liked Its reductive
aspect;' he says."It
required the audience
to think, and we liked
the idea that truth
and reality are gradu-
ally revealed to you,
as in the film. The
more we looked at it,
the more its abstract
nature appealed."
that a film reviewer will bother to remark on the
design of a title sequence, but many noticed this ori,
the prelude to director Sidney Lumet's film Night Falls
on Manhattan. "An expert opening credit sequence?'
wrote Janet Maslin in The New York Times, "[is] one
of the little details that give Night Falls on Manhattan
its color?' "Starkly effective?' wrote Harper Baines of
the St. Louis Post-Dispatch, "a stunning abstraction
of the Manhattan evening skyline?'
Film titles buffs (if such a breed exists) might
even detect an homage to the genre's forefather,
Saul Bass, in the sequence, designed by the veteran
effects and titles firm R/Greenberg Associates. It
begins with a thick, blue line descending on a black
background from the top of the cinema screen, just a
few feet away from where a descending white stroke
began Bass's groundbreaking opener to director Otto
Preminger's film The Man with the Golden Arm in 1955.
Both sequences share a jazz score, and both use stark
graphics to evoke the mood of the film.
According to Jakob Trollbeck, who designed and
directed the titles at R/Greenberg, the inspiration for
the sequence was Manhattan itself. Trollbeck noticed
the cover of a European art book featuring a simple
composition of type and watercolor brush strokes.
"Two nights later, I was out in one of those miraculous
Manhattan nights where you can see different pieces
of color and gradation in the sky and I thought,
`they're my brush strokes'," he says.
Much of the success of the painterly animation,
however, comes from its contrast with the subsequent
scenes, a gritty moral tale set in the streets of
Harlem and the courtrooms of Manhattan. Though
the film could be construed as a cop thriller, at its
heart is the story of the internal moral dilemma of a
young, idealistic assistant district attorney who discovers
that he won a case and rose to power on
"tainted evidence" (the name of its source, a Robert
Daley novel). Lumet, who had commissioned the
jazz trumpet player and composer Wynton Marsalis
to write a soundtrack, was looking for a contemplative,
rather than tense opener, and producer Thom
Mount, who had previously worked with R/Greenberg
on several other films, proposed the New York
team take on the project. "Sidney Lumet and I felt
we wanted titles that suggested the tone and texture
of Manhattan in a thoughtful way," says Mount.
"The context of the movie was so real—courtrooms
are not very elegant. We liked the idea of a welcome
moment, rather like an overture, to get you thinking?'
For Trollbeck, a gradual, but initially mystifying
reveal seemed the most appropriate response to the
storyline and music. "The underlying things were
important?' he says. "Everybody is lying and you
can't really trust what you see:' Several ideas were
storyboarded (as Adobe Photoshop files) to present
to Lumet and Mount, each suggesting inconstancy
and deception, reflecting how the young attorney
finds a lack of solidity wherever he treads. One idea
proposed blurry cityscapes in a sweeping photographic
montage, another portrayed the city in a
more surreal, painted light, and another— a strong
contender—presented the credits as lights, swimming
into focus and then dissolving into the back-

ground as the windows of Manhattan buildings.
Lumet was decisive, however, when he reached the
vertical brush strokes proposal. "It took him literally
one minute from the point where they were all
lined up;" says Trollbeck. "It was amazing because
he picked the one I was going to sell to him. I didn't
have a chance?'
Manhattan wasn't the easiest skyline to build
backwards. Having selected an appropriate image of
the city, the design team set to work at replicating
the irregular motion of a brush stroke on a computer,
at the same time as forming the silhouette of a sky-
scraper. "We wanted the brush strokes to look some-
what believable, but we couldn't have them coming
down in the middle of a building" says Trollbeck.
The effect was achieved by permitting each brush
stroke some artistic license as it formed the partial
shape of a building. The strokes were also accelerated
and decelerated with the Flame digital editing soft-
ware to create the effect of the human hand at work.
The most dramatic view of Manhattan, from its
southernmost tip, is also distinctly narrower than
that seen from East or West. On the wide format of
the cinema screen, this produced an undesirable
falling off at each end. "Our perfect skyline was lacking
something," admits Trollbeck. There was only
one solution. "We added a building," he confesses.
"It felt so great!"
Three alternative approaches, rendered as
Photoshop files, were discarded at the early
stages of the project. Proposal number one set the type-
face against a series of blurry cityscapes,
pl4ing off the cloudy circumstances of the hero's
first big court case.
ANDY GARCIA
A MOUNT/KRAMER PRODUCTION
NIGHT FALLS ON MANHATTAN
A MOUNT/KRAMER PRODUCTION
NIGHT FALLS ON MANHATTAN
Proposal number two portrayed
Manhattan in a slightly surreal light, using
treated photographs of the city to
enhance its distinctive luminescence.
limitless trickery made available to titles and effects
designers with the advent of the digital studio, computers
are demanding beasts. To produce the entire
sequence in-house at R/Greenberg at full film resolution-4,000
by 2,000 pixels—would have required
approximately 14.4 gigabytes of computer storage
per minute, a stretch for the studio's computing capabilities.
For while the skyline painting sequence could
be rendered at lower resolution without any noticeable
loss of quality, the human eye is far less forgiving
with low resolution typography. The credits were
storyboarded to appear, in the typeface Sabon at a
relatively small size, in the lower right-hand corner
of the screen.
The design team settled that the type should be
shot the traditional way, at an opticals house. This
allowed them to produce the background sequence,
without type, relatively effortlessly using the Flame
and faster Inferno software on a Silicon Graphics
Onyx machine at lower resolution. The type, meanwhile,
was set in QuarkXPress, timed on an Avid
video machine, then sent to one of New York's optical
houses, Cineric, to be filmed The resulting
"cards"—white type on black film—were sent back
for Trollbeck to approve the timing and color. After
a night of rendering, the painted skyline sequence
was output to film, and type and image were finally
reunited at Cineric.
Computational and architectural hurdles overcome,
Night Falls on Manhattan had one last twist in
HEADLINE/1EXT/B10: ITC FRANKLIN GOTHIC DEMI, DEMI COMPRESSED, HEAW; ITC GALLIARD ROMAN, ITALIC
SUBHEAD/BYLINE/CAPTIONS: ITC FRANKLIN GOTHIC DEMI, DEMI ITALIC
9
store. Because of negative audience reactions to the
Marsalis score in early tests, according to Mount,
the whole soundtrack, including the opening piece
for trumpet and piano—to which Trollbeck had set
the entire opening sequence—had to be replaced
with new music by Mark Ishan. Trollbeck was powerless
to do anything but wait for the film premiere
to hear it. "I can't say it worked as well;' says Trollbeck,
"but it's very similar?' Perhaps the change gave
the sequence a less smooth, more jarring feel that
wasn't entirely undesirable. The critics certainly
didn't notice.
For Trollbeck, the generous press comments
couldn't have come at a better time. Having replaced
much of its analog filming equipment with digital
studios, R/Greenberg's New York office has been
somewhat eclipsed by the titles work of its Los Angeles
office. "When we closed the opticals side, people
started to think we didn't do film titles here:' he
says. "It fell a little aside from our main focus!' With
a reshuffle that allowed three former It/Greenberg
employees to take over ownership of the L.A. office
and change its name to Imaginary Forces, New York
was left facing the loss of a prestigious—if not particularly
profitable—field of work. "That's why I'm
really happy about Night Falls;' says Trollbeck, who
worked with some of the West coast team on a number
of sequences, including Indecent Proposal and
True Lies. "It's the first piece where the art has clicked
for me. In almost every corner of the company, even
the most hardline people would look at our reel and
say, 'we should do more of that'."
Peter Hall, a contributing editor of U&lc, is senior
writer at I.D.
The third proposal was especially promising, with the
credits appearing vertically before fading back to form the
patterns of lighted windows in the skyline.
It was discarded, however, partly because of the
difficulty of reading vertical type.

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ItecovottteaCs, ene
71'11;'5"
clot 4,1A‘c*.
ogolg
Vo
siec
tc oostittle
coerm,e. ea.
et et dryy
vvoictoi3
w sis
rie Olive.
as t
C.ls'otior by the eXercIes of 66,4659\2,y
obwetNe
type
w
Ir
the
150s. "Ph-hough
er very \SA 't1336g‘tte3' eileet 503'; SMs ar‘gcreate
that a
rte
vg,
with ape
geed \O-13 GOOsY04
rafght Wok 3 coore lce- fx haadwrItrrAgdo
'6v \g,r`a\\
okt ee-01440)0
oger Excoffon.
Choc &Signed in 1955 by R
Page front Mistral brochure from Ponde
thap
redacm$t
She
died the meta
C. \ C haw w tap 30 Pe
1M ^ti (Q app s 6(soc7
V\g'"ev' but c‘0t sal:\slact°'6't\let'6"111ev stv°‘kes
was
prirted at scaaff saes. So the des%grer Ircreased
rt. changes, dependIrg everythogirora your
scr vpt \ratter ‘r
own ha of to aff the fr of\ the
'Moder\ f_oropear
Grimed O
ff the
lased or comes ator
Was bas s
hardwotrg, V...xciotfor Choc
face at IS poIrt or a 600-dpk faser prfoter, cook), Where NNIstraf
of\ ray otertors
see that "thks rew wevghtfuht\\ed
acimevabfe.. keep eedorr, sporttarekty
of hardwobrgdesp\te the ogorous imp.er-
e
out
pd tended
tfutchIrgs sakf
the tr'adMaas laPaaese savosh ca\40PM. \t: s
Whey proofed-text setfr the rew
Ps
he
tOck, staccato, saggestNe,
,
of "Ito straf"
a\thofe the authert‘c showsfacfk brush scvipts rrobaty. a\la.f\a‘o fts apparer
the fa 1\ av or \N
of havogbeeo
a forg , the N\fstraf urdertakog seecred or- readabfe lace.
01963..
typeface of wh%chIR.S.1-futchogs said
ft
abve E..xcott or' s fetters
sc
ore wr Or pot rt,O"
in
s
the
ost. rapid
\opca\\y be used, b So Grim
doesO
ates the (farce of op of them
Was Osp\ay type desvpl.
crarOOpt:' typefacestob
tterrat\ortaf socoess
the crodera hrstory of
bo\d" ovtgoaf m`$ took
t
show
text y ou otter need to
rev er desxgred to fook ,00r.f at text saes.
of o\dsta\e
Shaw added aew
when
WeIghturflorrtfy by to dfsappear
a
became at
he
haodwobrg \ato type.. each tfrae you Note a fetter,
tfte
r000d to Where the fetter faffs Ili a Word , but said, each 'Vor
txrae a typographIc character Is ported, rt. comes
EY,Colloahfroseff
e
sacoe,
arc),
atld
poshalefy
does Odeed
ea
capture
capture
the fe
out exactfy the
castmgIrt \cad, so seeried -free. so a graphic, \ost causal, tflat, `(et. as,
ree patter
set ot 5(0\f caps, r the fa cap- same
Wstva\ \r\ -text. W 006 Soce \ookW,Coag,rtext.
emphasis
wee,
hoght rucaeOfs of
Wevgpt
aff the thIo strokes to get a wore
with a Pea-
\D haad
of the fetter re-cre- sOft Was a \NVItte3 Sot there Was
lest
fe to date, t
thwas abouth tr196S,'Ihtsfs probabfy the beau
s cap be ratsfeadag; woght fr tact, ard there stroke ‘s for a
\oWevcase
te
CO35‘5
were apse
one probfera.Soce
riphas‘s.lhe
M\straf ts a ord the figure Choc ‘s a roo-poragscopt, so
heav‘er raaton oognoot both capvtafs and
Wart Os9VaY cal* but \r‘ 0'004 ver'av\ka\D\e the POO eras of how the fetters touch
°ace' ‘1"uv" c3n't \l"e " "\\cIP15 c"uaknes
wen Brochure cover for Mistral (desig,necl
19531

tPt leCktiv ■
"it‘, (Pcke4 oot4
0(
Pkre4
tiOte1 ‘)e74' ■ VIA,
61;10,140■W vvie4
eiAt'i (e (Dui
Wi
‘\) tot`t4
■A0vNe
iekooN)
toct
a"■4
t(okt eevvIed to volL tilAe to
bonne typographic sUr
ietie4 4c7 (sePrAti vv. t.(e
rieelAt0( 4ellt"A
Ce OkVNA, eVV1 ak-1 VNe0(
O
t(e
CPC' Nst 116
ec, 011 Oil
ARC)
N -0?Qg gl
alk 6caleOGAi l k(vvivxoportiA
St,12 31-6(7
IS
C(Sakg.,O$C,
tinffke acaps Mistral typeface, aod E..xceon Choc, Baoc° -Made no atteropt
type that
to
coufd
desfgo fowercase. 11 the purpose of a oew, ffghter
acKnoWledges
,., tefully
er01-1 pr e-
of the erophas\s on the taperfog of the sterns, GOO- tii6Ac gra and Ca
lls
sin ditf event wefghts NI before he found that E.xcotfoo shifted had the Wefght used 0 the of the orfOrof curves face. sffghtfy Ps part toward
but t'ne face reffes so fteavify on the shapes of its
the tops of the fettersIhe ifoaf de\g,:n is fess froniebfackest
parts that reat:0ga \\Otter
shaW d'otefy recognaabfe as a varoton on Bar\co than
ooe that worked as a text lace and rernafned true
it sev era\ tOfes
Mfstcaf :iht an°
sfoo of Banco. Goroshaw found tnat
the characterfstics of Banco best a \\Otter
yon
was to make 'it quite rovrow, angles coodeosed-,thfs 023
Kemp
sented a serfous chafferige. GrimshaW had to redraw Way hecoufd keep the saroe arfg)esbetweeo strokes
Choc t.:4:0.t. are as var \atolls on the Michael Gills
sources, but at 'its best Baoco tight expresses some for resource materials for the
of French typography porn the 'DSOs visuals in this article,
orfoaf.
to the he shapes of rnaoy of the fetters in Choc are
on the papa
the creator\ ot the new
a new forrh.
almost abstract, thfs abstractor\ doesn't a\Ways
Choc and Baoco loots, -She entire type
to bore text. GrfrnshaW found that agaM he
GvirnshaW obsenJes Of
had to Modify the certain oreof characters, desfgo and afwaysf-ceepir\g, the cafffgrap`nic 0 project
Wstra\
affowed
,
fro a rare opportunity to study ssOg
work
11C
the Ido of divaW\ng,rn‘ ve
faces he\ohangto one -00003\‘tv\lasf`dese
„
l,oyvevcase
--1,C,011011,
'it
0 "0 mind -ast‘covav qvo\led to be nntennOW io this context' 1\s
he says. 11 he Vsept the forro of the 'ik frorn the ew off& it " \r‘
oaf foot, ft ended to fookfog, More like he a redr 1- Char` an.
yea g. So
Vt, which woufd be m\sfea"
a style
that had Ospfred
a which refatfvefy see sfrnpfe the resufts task, and\ of thfs beffe project,
tradkhon
&serial:0ns
V(1
Woufd Whofeheartedfy approve.
tat
that comp\erneote the other character characters as an
afternate the character set of
x"
he
-
the fin font. Other that ff E..xcoffoo could
savOgthe
GncoshaNN,Ocfoded WO
the set': \Pike
N.N, whfch uoderWeot MOO changes
adjusted characters, says
',color' and ease of fegOftity:'
G and
for purposes of
for
downs i‘lte
of sheet rnetaf. Toe tapervags okews v ab pt of Banco are
oti kae:
all very uprfght, We a serfes of '0° `P\ace \ do not
so,o,ested ianbvus t \Noe
Mode vsifth a precfse sharp
t
s are
of the counter
tY‘e c\°\jes af\d stva‘g,htffn-eed:oed
ad` oreoffy ao
Was
sttn
actyam 1.001111e sffeitsfarit ot aff the fetters, the
upper ends of strokes, and
taper aod curve give Banco
,a,,og,bevs °f of
the solotke "vnterp\ay of
of befog, EY
a,\\ 0.ffckfy sketched by a
,C0{-10'
ng,htrnot‘on. tAce aWnost
- styp faces, Banco has the effect
-to-the
up -and or GOO rood.
'011«) LOt goo Wavy by \IC
s to proY \de a cochpa0on also try a
wa
versfoo
be used for tex, then WI that oeeded a fowercase-,
Grirnshaw decfded that he woufd
fowercase for toe oogtoaf cAean, Wefght posinve as \Neff. ode\ 00 ksfr\gthe vsitifch
aod Cf-oc rofght be considered afroost
as candidates for fighter versfoos-, the Errs
V■135 e
Nits strafghtiorward at aff. ft.
not yes refeased by the Fooderfe
sty
Baoco
"he geheva\
0,
Review,
1-9621,
\IA alg53 arVAcxe to Printing,
atrap
0e
\Pen, 'PO Vile genera\ eYAA'ans-
Conskand
War accordfogto CNNI.
N\001 ‘S
too of World
v(nproy er\ngsOftnlochenturn enlent taste avld Britainand typography, the Conicnon-
r°3\6( vOe
2A\
chars
that.
weafth, fs sadly aOseot Frarice': V_xcoif on p\ayed
Cousfaxid said of the then-new Baoco-. "As an adver-
t\s‘ng,,d‘sp\ay \ettev, ce it is Neufarfd': one of the "Coe bofdest coMpaosoo and, most to
n
Mterestog, Neuf-and is cuts -apt, siafthough
the stroogiorros of Banco
fook not so Much carved out of wood as roffed out
13
opr(ss(s son1(
ok fine
1_1(111 i'lP06
rm
n(v■ 1.0 fo „. .
1409011110111041
to base an foterpreted " foWercase,' Grfcnshaysi deftbeXistiog,
caps as
eratefy "underdegOed" the fowercase,"0 order
to produce a coosfstextt 'cofor; Whtfe otafntafoiog
%if
the sirnpfe fetterforrns evident M the oriOrta1:'
his 11110P4,..
at
Ifter\ came the chaffr\g,e of creat4, a tighter v 0-- wed
pveseried
I Sitting
anco
Ka Of- V- \?V_O-\
\.1( 1950s
ing
s an advertis
display letter, it is one
of the boldest and
most interestinq
cots 510
viand'
Banco° Neal! by
001'1
b q(
01-1(0 o.)0...6\1\1\11,1Nos)0\2.s--. ---
10\!
h(d( (\-111\\\ nrOpqrS1.0\0\11 \
,
23456

FROM
THE
Wired's new book publishing venture proves that rumors of

If you can see the denuded forests through the trees, you know
that words on paper are here to stay, and that books are a pro-
tected species. If you are immersed in the future but haven't
fallen for all the blather about print's passing, then the thing for
you to do —in the name of creative direction—is to go with the
flow. Which is what John Plunkett, creative director of Wired,
a magazine about digital culture, did when he co-founded
HardWired, the book division of the Wired media conglomer-
ate (recently renamed Wired Books). "Ordinary information
is going to gravitate to electronic media," states Plunkett, "but
extraordinary content is going to remain in the print domain?'
That is why a little more than two years ago HardWired was
founded to make the magazine's mission—"to deliver news
from the future"— both relevant and accessible, in the present.
print's demise have been greatly exaggerated. BY STEVEN HELLER
Time will tell whether or not HardWired can convince
Wired's devoted readership that books are really here
to stay, but for now Plunkett is certain there is a viable
niche for them on the media landscape for the fore-
seeable future. HardWired is documenting the history
of the future by reprinting media classics such as The
Medium is the Massage and War and Peace in the Global
Village by Marshall McLuhan and Quentin Fiore
and originating commentaries on forthcoming waves,
including Jargon Watch: A Pocket Dictionary for the
Jitterati, Mind Grenades: Manifestos from the Future
and Bots: The Origins of a New Species.

Plunkett is already aggressively staking out his
claim, and HardWired is not just another meek,
independent publisher in a stampeding herd of
competitors. Its tonier books, including Wired
Style: Principles ofEnglish Usage in the Digital Age
and Digerati: Encounters with the Cyber Elite, have
done very well in a difficult publishing environment
where newcomers are about as welcome as
silverfish, and where securing shelf space in the
bookstores is tougher than getting seats to a Knicks
game. Yet HardWired has an edge, owing not only
to the Wired equity, but also to Plunkett's original
design scheme that has given the books both quantifiable
allure and distinctive branding.
HardWired's overall design scheme evokes the
graphic language of mainstream futurists. Plunkett
has developed visual cues and iconic devices that
identify the individual books as both a total entity
and a part of a larger family. His strategy serves as
a lesson for anyone involved in the fusion of typography
and graphic design as a branding tool.
Wired's kinetic look is not as undisciplined as the
more radical cyberzines. It does not mimic design
on the screen, or what Plunkett refers to as a "dumb
visual metaphor?' Rather it is a kind of speculative
translation of what people relate to as the computer
experience. But the "simple tricks" that graphically
distinguish Wired, and now HardWired, such as
the color-banded spines (an homage to Paul Rand's
IBM logo?), send off what Plunkett calls "signal
flares" that the Wired message is imbedded throughout
these print-based products. And the Wired
imprimatur insures the highest degree of futuristic
intelligence.
Content drives the books, but "the package is
an equally important part of the message;' asserts
HardWired's design director, Susanna Dulkinys.
Her mission is to distinguish HardWired books
from the ephemeral nature of the magazine yet
maintain the magazine's identity. Both Plunkett and
Dulkinys agree that repackaging magazine articles
between boards i is not the answer. While Hard-
Wired books strictly adhere to the brand franchise,
each is conceived as a unique form, united by cer-
tain color and type preferences.
The line where the magazine stops and the book
begins was initially drawn with HardWired's pre-
miere release, Mind Grenades, edited and designed
by Plunkett and Wired's publisher, Louis Rossetto.
The book is a compilation of Wired's four-page, ex-
perimental, front-of-the-book "idea advertisements"
of quotes extracted from articles and illustrated by
various designers. While helping to define the mag-
azine's look, when these self-contained "visual essays"
were bound between covers, they were transformed
into chapters of a book. Although the designs were
produced separately over many years, they success-
HEADLINE/SUBHEAD: ITC FRANKLIN GOTHIC HEAVY, DEMI EXTRA COMPRESSED
BYLINE/CAPTION: ITC FRANKLIN GOTHIC HEAVY TEXT/B10: ITC GALLIARD ROMAN, ITALIC
fully fused into a single editorial unit independent
of the magazine. The cover did not include the
Wired logo (as some subsequent books do), but
the vibrating fluorescent colors shining through
die-cut stencil letters and printed on matte varnished
stock evoke an unmistakable Wired feel.
Likewise, Reality Check, a sardonic prediction
of changes in lifestyles in the future (beginning in
1996 and ending well into the 21st century), was art
directed by Dulkinys with the cover by Plunkett.
It builds upon the Wired format of various weights
of sans serif light and bold type that seem to float
within an otherwise tight grid. The cover is printed
on matte stock with Wired's fluorescent colors,
including Day-Glo orange and lime. Colorful
ruled spines reinforce the brand.
With Wired Style, designed by Dulkinys and
cover by Plunkett, here again the basic identifiers
are in place, but this book begins to veer off on its
own, and is a celebration of the book as object.
Plunkett asserts that books today must be "highly
visual and highly tactile" to counterbalance the problems
inherent in the familiarity of the form. While
this package tips the hat to tradition through its
serif type and slipcase, it gives a nod to the future
with interior pages that are acidic lime green.
The evolution from magazine to book takes a
sharp turn with Burning Man, designed (and
edited) by Plunkett. This photographic document
of a little-publicized millennial carnival attended
by thousands each year in Nevada's Black Rock
Desert originally was a pictorial essay in an issue
of Wired. But Plunkett was frustrated by the limitations
of the magazine and the inability to do
more than a six-page picture spread. This book is
unique even among HardWired products, with
its minimalist cover showing a bright yellow, skeletal/robotic
pictograph under the condensed gothic
title set in yellow against a black background in
contrast to the colorful photographs inside.
The book was planned without any text at all,
,
, included ,
1
but Plunkett ultimately ncluded a signature of
writers' impressions. Printed on a separate paper
stock, it was positioned three-fifths into the book
and dramatically separates the pictorial transition
from day to night. With Burning Man, Plunkett
proves that even within a tight design family, surprise
is key and shows that there are many different
ways to invoke the futuristic message.
HardWired is an anomaly rooted in a traditional
medium that even some Wired pundits brand as
obsolete. Nevertheless, paper and ink are here to
stay. And even if print were on its deathbed, Hard-
Wired has certainly resurrected it for the digital era.
Steven Heller is co-author of Faces on the Edge: Type
Design in the Digital Age (Van Nostrand Reinhold).
Books of the
future: Paper is
alive and well at
HardWired, where
design toes the
line between the
traditional book
and the next wave.
The Wired brand
frames contemporary
approaches
to typography and
page layout that
define the line as
a unique component
of the Wired
constellation.

The Medium is the Massage McLuhan/Fiore 0400
04100100
BURNING
MAN
I
The
Medium
iS the
a p*cktt dicti*nary
f*r the jittErati
p'es`
as OverhEard py 43arth Branwyn
1. What the digitaL generation
becomes after tanking up on
too much coffee. 2. Fear and
anxiety associated with not
knowing the Latest jargon,
acronyms, and buzzwords of
the OigitaL Revolution.
You've heard the hype.
[alma] asked the experts.
Here's the real future.
Brad Wieners and David Pescovitz
Foreword by Bruce Sterling
liwor
ce in the Global Village McLuhan
e
4410 0 10f 0
e
Cal
PC

A collective and selective
surfing of World Wide Web
sites of typographic interest,
travel tips and literary merit.

The Word Made Pixel
by Matthew Butterick
BECAUSE I AM A TYPE DESIGNER-turned-Internet entrepreneur,
colleagues sometimes ask me whether the advent of the
Internet spells doom for traditional typography. If the coarse
screen resolution and crude font specifications don't annoy
you enough, the work of plebeian designers will. There are
people designing Web sites who couldn't tell you the difference
between Electra and Elektrix if their mouse-clicking
finger depended on it. Kerning, leading and tracking have
been replaced by their hideous Bizarro-world counterparts:
drop shadow, bevel and 3-D rotation.
Do my colleagues have valid concerns or are their opinions
mere snobbery? I don't speculate, but rather observe that
typography on the Internet may not be great yet, but it exists.
Indeed it must exist because text is at the core of the Internet
experience, and, I believe, always will be. Typography will
always be key.
19

07 . »iik
.
Man WM 'S awl laininx Vlatinine BON
Allmon Main la
logas
Wok M 9. &W.!! '
11110111
7rpp
%tit ,
(Top) The Post Tool
play page features a
typographic treatment
ranging from playful
to garish. (Center) The
Jodi.org site takes
visual web vocabulary
and maximizes it into
a singular screen-asart
experience, while
Swoon creates impact
with type. (Bottom)
The CondeNet epicurious.com
site fea-
tures food (and travel)
using the resources of
Conde Nast magazines.
Recipe( far a lazzy
.sammer standout
MOt1044, "AY SS
10111111/111/14141W
SuraYM--
t4t
luld *Mown
*COW 00440
Otsn►ys obensla 4arentl
" ' YOrf
A PPLTI T
Recipes
& Ingredien,
I COULD BE WRONG. But as digital
media have evolved, text has played
a central role in facilitating communication
between user and machine, mostly
for practical reasons: text is the most
efficient form of human-computer communication
there is. The textual command-line
interface was an important step
forward in human-computer interface
but there was no typography. (You think
Windows 95 is bad? Try punch cards.)
The alphabet was just an extension of the
symbol set that a computer could parse.
Things didn't really change until the introduction
of the Macintosh in 1984. The designers of the Macintosh
understood text and typography. Though the
name given to this interface was "graphical," it was really
just as "typographical?' But since then, as the processing
and display capabilities of desktop machines have
steadily improved, the trend in interface and screen
design is that more is more. The thinking seems to have
gone something like this: text i s good, therefore pictures
are better, therefore colored pictures are even better, therefore
3-D colored pictures are best of all! It's no coincidence
that typographically the Macintosh has barely moved
in the last 12 years, and Windows isn't much better.
Text is fundamental to digital communication, but
it's just not sexy: you'll never see a laptop ad campaign
with a slogan like The new IBM Thinkpad swoo. Displays
text. Better. Faster. And a whole lot more of it. No one's
impressed by text anymore: sound, animation and
video are the major selling points of so-called "multimedia"
computers, even though, I'm sure, 90 percent
of what consumers do with their PCs relies on text.
But if text technology has stagnated, it's only an indication
that typographic thinking for digital media has too.
This trend against text in desktop interfaces has
been magnified tenfold on the Internet. At the very
least, desktop applications have to conform to the user
interface standards of the platform. Web sites on the
Internet, however, are not beholden to any such standards.
On the contrary, because viewing a Web site is
entirely voluntary, Internet design tends to err on the
side of the flashy and gratuitous. On the Internet (as in
life) bright colors and 3-D effects are used to get your
attention. For example, on the Silicon Graphics site
[http://innovate.sgi.com/iol/distributionfindex.html]
beveled discs and bars are scattered around the page
with the only apparent function of trying to look cool.
It's the rare site that exercises restraint. One example is
MSNBC [www.MSNBC.com] Its home page is not
packed to maximum density with links, but rather scrolls
to display a list of the current top stories.
Typography—the idea of creating communication,
or a message, or an image, out of type—hardly exists
on the Internet. This has been exacerbated by the constraints
of the technology: HTML, the language of
Web pages, really only understands two fonts natively:
proportional and monospaced. Anything else is extra
work, since it has to be made into a bitmapped image.
During the Web's infancy, there were just clumsy
attempts to do real "text formatting" within the confines
of HTML. Over time, things got a little more
sophisticated...or did they? Consider the home page
for Time Warner's Pathfinder [www.pathfinder.com ].
The page is typographically dense, tight and undifferentiated
by texture; no print designer would willingly
create a layout like this. Of course, the screen and the
page are different design problems, but there is the
20
seemingly persistent belief that something that would
be bad typography off the Web will becomegood typography
on the Web. It won't.
Right now, designers are struggling to bring the
basic rules for quality typography onto the Internet.
Web designers, many of whom didn't learn about design
in a typocentric environment, are having to relearn
500 years of sensible typographic principles, such as consistency,
clarity and a fit between form and function.
For some, it's a struggle. The Popular Mechanics site
[www.popularmechanics.com ] falls prey to the "beveled
metal" school of typographic ornament.
Sometimes the most innovative online typography
comes from traditional sources. The New York Times
[www.nytimes.com] has done a wonderful job with its
site, which refers to the visual experience of the newspaper
without directly imitating it It's the typographic
sophistication of the Times brought to the Web. But
mind you, it's not merely a mapping of the print look
onto the screen. There are many sites which imitate
print and fail miserably.
The designers of the Times Web site avoided that
trap by carefully modulating and adapting the print
look for the Web. For instance, although the familiar
Cheltenham and Franklin Gothic faces are used on
the site, the designers also make use of secondary and
tertiary colors in the text that don't appear in the newspaper.
They make it look easy, but a lot of thought
has gone into this design. The Times designers have
made sure their navigation pages don't overwhelm
the user: they communicate more by saying less.
CNET [www.cnet.com], a publishing company
that started on TV and the Internet, has no print tradition
to draw on. But it does have one of the first design
departments to recognize that they'd be better off embracing
the typographic limitations of the Web than
doing an end run around them. They took Times and
Courier and turned them into part of their style manual,
choosing a small palette of colors and type styles and
applying them consistently throughout the site. Because
of this, its look can be a little antiseptic, but overall the
order and cleanliness is a welcome change.
We can be glad that now text is starting to be "rediscovered?'
Designers are realizing that pixel for pixel, kilobyte
for kilobyte, text is a real bargain in terms of what
it costs to download vs. how much it can communicate.
Moreover, designers are recognizing that although
animation, sound and 3-D images are valid channels of
communication, they can't replace text, which in many
cases is still the right tool for the job. We are starting to
see typography on the Internet that's playing to the particular
strengths of the medium. There are designers
who have learned the ground rules of classic typography;
now they're starting to adapt the rules to create
designs which could only exist on the Internet. A visual
and methodological vocabulary is starting to grow.
Epicurious [food.epicurious.corn] plays off the magazine
motif but really looks and feels like a digital experience.
The designers at CondeNet show that bringing
personality to a page through typography is not just
possible, it's possible to do well. Simple, bold typefaces
and colors give Epicurious a cohesive look.
Swoon [www.swoon.com], a more recent
CondeNet publication, is even more evolved. Its design
relies largely on text and typography for its effect, but
uses more au courant typefaces and colors (acid greens,
hot pinks). Compared to Epicurious, Swoon is a couple
of steps farther removed from the magazine model and
has even more of a feel of typography that could exist
only online.
In the near future on the Internet, I believe text will
once again be recognized as the premier way of commu-

nicating information and that most Web sites will be
based on text. Why? It's based on natural selection.
Time and again, efforts to displace text have failed,
and there's no reason to think it will be any different on
the Internet. The fact is we're still using the keyboard
to do 90 percent of our work. Text hasn't survived
because the people of the world fear change. It's survived
because it works.
As a postscript, I offer a few examples of great experimental
typography on the Web, made by designers who
understand type and use the Internet to destroy it in very
deliberate ways.
The Crash Site [www.crashsite.com] comes from
Los Angeles. Its menu page turns lines of text into moving
machines that display a series of video images. It's
the noise and animation of the Web taken over the top:
a simple menu (there are only four choices) retooled
to reflect the media oversaturation that's already part of
the Web experience.
Post Tool of San Francisco has created a site that's
at once straight and subversive. The typography there
ranges from the quietly playful to the aggressively
garish. The Post Tool Play Page [http://www.posttool.
cc■rniplanmgei] features jumbled 3-D letterforms that
look like children's blocks, and a series of novelty faces
mixed in with singing birds and floral borders.
One of my favorite sites on the Web is Jodi [www.
di.org]: a large collection of pages that are mostly
filled with visual Web detritus. Nobody seems to know
who Jodi is or why he or she is doing this, but it's totally
great. Flashing snippets of computer code, network diagrams,
satellite photos, dialogue boxes: Jodi takes the
visual vocabulary of digital communications noise and
amplifies it until signal and noise become inseparable
and synonymous.
—Matthew Butterick is president
and creative director of Atomic Vision, a Web
development firm based in San Francisco.
Traveling the Web hi
by Joyce Rutter Kaye
IN ITS IDEAL FORM, a Web site on travel should function
like the most efficient concierge at a luxury hotel,
anticipating your every need and desire, efficiently dispensing
invaluable information and insider tips, and
always maintaining an aura of calm and control. The
environment itself should be an oasis of relaxation and
order, a place for information-overloaded travelers to
repair and prepare for their journeys in the real world.
Although the Web's interactive technologies have
their limitations, cruising the Net for travel information
does have advantages over thumbing through guidebooks:
it allows you to access a broad range of information
from many sources, view hotel amenities through
image files, listen to sound files of native music, check
daily weather reports and get updates on potential
problems in politically unstable nations—all in a comparatively
short period of time. The Web also offers
opportunities to act as your own travel agent by tracking
airfares and booking air, hotel and car rental reservations.
The following is a sampling of well-organized sites
that deliver to travelers solid information on locations
around the world within a pleasant, upbeat design environment.
And even if travel plans are not imminent, the
Web can provide a restorative mid-morning armchair
getaway for anyone seeking to escape the confines of
the office for a few minutes on a sandy, deserted beach
on St. Baits. Of course, it's always good to have a cool
drink handy to sip while the images are downloading.
Epicurious [www.epicurious.com], divided into
Epicurious Food and Epicurious Travel, provides such
a diversion. Created by CondeNet, the site is comprised
of content culled from and inspired by Gourmet, Bon
Appetit, Condi Nast Traveler and Fodor's travel guides,
and allows the armchair traveler/gourmand many ways
to satisfy his or her wanderlust by locating the latest
travel bargains; reading articles, essays and reviews on
travel and food; and meeting with fellow enthusiasts
in a variety of discussion forums.
Rather than aping the identities of those publications,
the site has a youthful, irreverent personality of
its own with pastel colors, 195os-style line drawings and
a judicious use of white space that combine to create a
clean, uncluttered and highly navigable environment.
Epicurious Travel is a virtual travel guide, with a search
engine in the Places page offering links to soo destinations
and the ability to refine a search to suit the taste
of the traveler. The area is linked to Epicurious Food
so that one may find information about San Francisco
and then look for restaurants in the Bay area. Bargain
airfares and a Deal of the Week can be found in the
Planning area, and the Play realm is comprised of travel
forums, maps and a traveler's bookshelf.
For those seeking a broader range of information
or a more obscure locale, Travel by City.Net [www.city.
net] is the next stop, with more than s,000 locations.
Because of the density of information, the home page
is more cluttered and less graphical than Epicurious
Traveler, but it is extremely comprehensive because it is
run by the Excite search engine, and so offers numerous
links. A home page showing a world map allows
users to type in a destination in a search box or to access
a region in general. Other upfront links are to Travel
Essentials, an index of information on cities around the
world, links to Ticketmaster and the Travel Channel,
and also a list of Guided Web Tours tailored to the user's
interests, such as Women Traveling Alone or Budget
Travel. Although designed to be functional, and free
of the usual Internet flashiness and dreck, the site's wide
format is difficult to print out. Pages are also widely
populated by advertisements and corporate sponsors,
but as a clearinghouse of travel information, the site
does the trick.
For homespun travel information with an irreverent
twist, visit Lonely Planet [www.lonelyplanet.com ],
created by this print publisher of more than 200 guidebooks,
which offer the independent traveler "down
to earth travel information?' The Web site opens with a
3-D push button guide to resources with visuals that
play off its space theme so rigorously one might initially
mistake it for the site dedicated to NASA's Sojourner
mission on Mars. Once past the home page, however,
the site efficiently uses illustrative and pictorial icons to
aid navigation to regions and cities of interest. Once
a viewer has clicked on a destination, a wealth of information
is provided, ranging from history to culture and
attractions, enhanced by slide shows of GIF images if
one chooses to see them. The copy is comprehensive
and informative, casual but not stodgy and offers intriguing,
occasional insider tips about where to find places
that are off the beaten path in little sections called "Off
the Record?' Naturally, the site has links to details about
where the Lonely Planet books can be purchased, but
this is handled with great humor in an area unapologetically
labeled "Propaganda?'
Once you have found the perfect locale, head over
to Preview Travel [www.previewtravel.com ], subtitled
"Travel on Your Own Terms?" The company operates
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(Top) The site for City.
Net Travel provides
many links related to
every aspect of travel
information from specific
sites to guided
Web Tours. (Center) The
travel site on epicurious.com
complements
(and is accessed to)
the food site in its pastel
design with line
drawings and clear type
treatments. The content
includes relevant
and timely information
culled from its database
of magazines.
(Below) Lonely Planet.
coin reflects the editorial
perspective of
Lonely Planet publications'
"down to earth
travel Information:' This
site effectively uses
navigational images
and icons and links.

THE VOICE IN THE CLOSET
by Raymond . Federman
(Top) Home Page for
FlashPoint at Webdelsol.com.
captures
this Journal's esthetic
and literary point of
view. The logo, article
titles and illustration
simulate and establish
its online identity.
(Center) The AltX.com
site offers links to ebr,
the electronic book
review, as well as to
literary reprints. (Below)
Two Ala section headings.
"What's New" is
the electronic contents
listing. "Amerika Online"
is the virtual op-ed
column of Mark Amerika.
the primary ticketing service on America Online (and
is co-branded with Excite) and allows customers to act
as their own travel agents, booking airline tickets, car
rentals and hotels. Here the home page uses colorful
illustrations and retro-192os-style display typefaces for
subheads to aid navigation and create an upbeat, contemporary
environment. The opening page leads to the
three main categories of Vacations, Airline Tickets and
Resources, with updates on low fares and other specials.
The Vacations page opens with a postcard from a featured
destination and whimsical icons leading to highlighted
specials. Users may also access information on
their destination of interest, but articles are not as indepth
as those found in Epicurious or through some
links on City.Net. One of the best features of Preview
Travel is Farefinder, where daily updates of fares on 700
airlines can be found by entering specific information
about departure and arrival, airports and dates.
Of course, every traveler needs a map, even if he or
she is simply trying to find an uptown Manhattan address
from a starting point in Tribeca. Mapquest [www.mapquest.com]
is the perfect travel accessory, with interactive
features that allow users to retrieve highly detailed
driving directions to locations in the United States in
TripQuest; locate addresses and intersections with the
Interactive Atlas; and, in another area, create personalized
maps of their own. Ostensibly, one could purchase
related goods in ShopQuest, but the store was being
renovated when I stopped by for a visit.
Tourism is a huge industry, so one needn't go very
far into any travel-related sites to realize that all roads
lead to some sort of commerce, whether for an offer to
buy a first-aid kit for traveling, a set of travel guides to
Europe or a couple of first-class tickets to Johannesburg.
But, like that efficient hotel concierge, Web travel sites
should help you along with your needs and then send
you on your way. Armed with your treasure trove of
research, you can then bite the bullet, book that trip to
a deserted stretch of sand on St. Barts and conveniently
leave the laptop behind altogether. Now that's a vacation!
—Joyce Rutter Kaye is managing editor of U&lc.
by Margaret Richardson
IS THE INTERNET RESPONSIBLE for a lack of interest
in reading and a decline in literacy levels? Not really. A
search for poetry and prose on the Web leads to reams
of great texts, but, more importantly, some Web sites
that are effective models for electronic publishing. Two
particular sites provide forums for excellent writing and
criticism and are enhanced by distinctive graphic styles.
These are Web del sol and AItX.
The first, Web del sol [www.webdelsol.com],
describes itself as "a literary arts complex on the www"
and it works remarkably well as an electronic anthology.
This site includes a wide range of linked Web sites of
literary journals. There is much to read, and each site
captures the particular personality of its publication. If
you access FlashPoint: a multidisciplinary journal in
the arts and politics (Webdelsol.com/FLASHPOINT/),
for example, the online contents page establishes this
publication's identity with its striking logo, stylized
article titles and a cover illustration by artist Sue Coe.
You can access and read "The Trouble with Mediocrity,"
an article by FlashPoint editor Carlo Parcelli, presented
on the screen with a vertical FlashPoint logo
border treatment and centered, clean text. This formatted
style is seen again in "Lives of the Novelists,"
two texts by Stephen Dixon and Raymond Federman.
The online version of FlashPoint reflects this journal's
polemic stance and formal style.
Another Web del sol link is to Conjunctions
[http://www.conjunctions.com/njhome.html], a Bard
College journal that publishes "innovative fiction,
drama, art and interviews by both emerging and established
writers?' Here the look is concise, uncluttered
and contemporary. (The site is designed by Anthony
McCall Associates.) When linking to a short story like
Jeffrey Euginides' "Timeshare?' the onscreen layout is
sedate and structured with wide white borders framing
the text. The site provides the latest issue of Conjunctions
with hot links to a selection of prose and poetry,
as well as past issues.
The Web del sol home page is colorful and functional,
creating a supportive, accessible environment
for its many diverse contributing publications. Michael
Neff; editor and Webmaster of the site, says of the
Spring/Summer issue, "Web del sol once again endeavors
to bridge the often vast and howling gulf between
the world of the contemporary literary arts and the cyberworld?'
This site provides a venue on the Web for good
writing, and there is plenty of that here. To quote Web
del Sol, "bytes complement books?'
Having been introduced to the AltX (Alternative-X)
site through one of its sections, ebr (for electronic book
review), for the last issue of Uelc (See the article "Transforming
Text"), I became intrigued by the literary and
critical content found here. A1tX [www.altx.com] is
filled with attitude and intensity reflected on its pulsating
home page. Its publisher, Mark Amerika, has his
own Amerika Online column, his made-for-the-Web
hypermedia project and his own promo -bio page (with
photos and the opportunity to buy his books). Amerika
also provides a broad range of reprints, reviews and
previews of experimental writing targeted for the evergrowing
cyberculture. AltX, in other words, is a crashcourse
site for electronic lit-crit '97.
It's worth getting to AItX for the list of current
"buzzwords" alone, which include: Typographiphobia,
Networked-Narrative Environment, Hypertextual
Consciousness, Swift Nudes and GRAMMATRON.
(The latter is Amerika's project.) Essentially, A1tX's
commitment to the radical and new with text and form
intended for the World Wide Web literati guarantees
volumes to read and react to.
One example is Raymond Federman's Voice in the
Closet in A1tX's Electronic Reprint section. Onscreen,
Federman's work is dramatically presented with strong
design in large reversed type on a black background.
This work is compulsive reading on the screen, and the
downloaded printed version works well in a complementary
style. (There is also a biographical section on
Federman here in the same design style and a hot link
to Amerika's interview with the author.)
Also included on the A1tX site with Mark Amerika,
Electronic Reprints and the Electronic Book Review are
Hyper-X (focusing on Web-based hypermedia art projects),
Hypertext Visions (interviews), Black Ice Fiction
(selections from Black Ice Books), Congress Attacks
Writers, Dirty Desires (fiction collection), Manifesto
Destinies, Floating Gallery of the Mind, Interspews
(chat room) and No Mo Po Mo (essays on the end of
postmodernism and the introduction of Avant Pop).
Each section presents effectively designed content.
A1tX quotes Publisher's Weekly description of this
site as "the literary publishing model of the future?'
It is worth a visit right now.
—Margaret Richardson is editor/publisher of U&lc.
HEADLINE/INTRO/SUBHEADS: ITC FRANKLIN GOTHIC HEAW, ITC GALLIARD ROMAN, ITALIC TEXT/CAPTIONS/BYLINES/BIOS: ITC FRANKLIN DEMI CONDENSED; ITC GALLIARD ROMAN, ITALIC
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RELATED STYLES IN OTHER SECTIONS www.itcfonts.com Serif
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ITC Slim bach ®
ITC Souve nir ®
ITC Sto ne® Informa l
ITC Stone® Serif
with Phonetic
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1-7
Ro bert S lim bach 1987
Edward Bengu iat 1970
Sumner Ston e 1 988
Aldo Novarese 1984
Edward Me ier 1 992
Alp haOmega Typograp hy 1987
Su mne r Sto ne 1992
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s appeal comes from the understanding used in its planning; the designe
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32 Serif wwwitdonts.com
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contemporary advertising the perfect integration of design elements often dema e. In contemporary advertising the perfect integration of design elements ofte £861. uumap am Li nN
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ust care. In contemporary advertising the perfect integration of design ele ust care. In contemporary advertising the perfect integration of design ele
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®
Te!nuo 'ZI PlemP3
£861. 'Doom-1a4 s1-1 sal
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ITC Bailey Sans- ITC Avant Garde Gothic® ITC Avant Garde Gothic®
Co nde nsed
ITC Bau haus®
ITC Be ngu iat Gothic®
Charlotte Sans"
Kevin Ba i ley 1996
Edward Beng u iat/Victo r Caru so 1975
Edward Be ngu iat 1 97 7, 1 979
Michael G i lls 199 2
Edward Beng u iat 1974
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34 Sans Serif
Sans serif typefaces first appeared in print in the early 19th century. Three basic styles have since
emerged: those based on the strict geometric roots of experimental Bauhaus designs in the 1920's,
middle ground styles that evolved from the first 19th century designs (grotesques),
and those inspired by traditional old style Roman letterforms and proportions.
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ning; the designer must care. In contemporary advertising the p alining; the designer must care. In contemporary advertising the
aA aA aA aA aA aA aA aA aA aA
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Oblique
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wwwitdonts.com
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CYRILLIC VERSION AVAILABLE
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used in its planning; the designer must care. In contemporary advertising the perfect integration of design elem
ents often demands unorthodox typography. It may require the use of compact spacing, minus leading, whatever is
We often use serif sans serif typefaces together to complement each other and to
distinguish different kinds of text. But the presence or lack of serifs alone isn't enough to make the distinction
obvious; you need another contrast as well, whether it's a contrast of size, of weight or of
position on the page r roan
CYRILLIC VERSION AVAILABLE A
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166 1 nea.i ng L uoj
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David Fa rey 19 93
Timothy Donaldson 1 995
Photo Lettering/ Linotyp e AG 1 976
Ro nald Arn ho lm 1992
Al do Novarese 1985
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ner must care. In contemporary advertising the perfect integration of d
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eal comes from the understanding used in its planning; the designer must car
e. In contemporary advertising the perfect integration of design elements oft
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s appeal comes from the understanding used in its planning; the designer
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comes from the understanding used in its planning; the designer must care. In cont
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care. In contemporary advertising the perfect integration of design element dvertising the perfect integration of design elements often demands unorthodox typogra
aA
Book
aA aA
Book Italic Medium aA
Medium Italic
aA
Bold
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There's always a temptation to tighten up the
space between letters of a sans serif typeface. The space inside the
letters has to be balanced by space between the letters; otherwise, we don't see the letter shapes and
the words become hard to read. That's why the lightest weight of a type family needs more open letter spacing than the boldest weight.
aA
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Book Book Italic Medium Medium Italic Bold Bold Italic Black Black Italic
CYRILLIC VERSION AVAILABLE
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36 Sans Serif www.it(fonts.com

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1997.98 ITC TYPEFACE COLLECTION
Aachen- 38
Academy- Engraved 38
ITC Aftershock- 38
Agincourt- 38
ITC Airstream" 38
ITC Aki Lines" 38
Algerian Condensed 39
Ambrose" 39
ITC American Typewriter" 24, 39
ITC American Typewriter" 24
Condensed
ITC Angryhog" 39
ITC Anna" 39,94
Aquinas'" 39
Aquitaine'" Initials 39
Aristocrat" 40
ITC Arnova- 40
Arribe 40
Arriba-Arriba" 40
Artiste'" 40
ITC Atmosphere'" 40
Attitudes 88
Augustea Open 40
ITC Avant Garde Gothic" 34, 94
ITC Avant Garde Gothic* Cond. 34
Avenida" 41
ITC Backyard Beasties' 88
ITC Bailey- Quad Bold 41
ITC Bailey Sans" 34
Balmoral' 41
Banco- by ITC 41
Bang- 41
Banner- 41
ITC Barcelona" 24
ITC New Baskerville" 24, 96
ITC Bauhaus" 34, 41, 94
Becka- Script 42
ITC Beesknees" 42, 94
ITC Belter- 42
Belwe- 42
Bendigo" 42
ITC Benguiat" 24
ITC Benguiat" Condensed 24
ITC Benguiat Gothic" 34, 94
Bergell- 42
ITC Berkeley Oldstyle" 25
ITC Bernase Roman" 42
Beale- 43
Bertram- 43
Bible- Script & Flourishes 43
Bickley- Script 43
ITC Binary- 43
Bitmax- 43
ITC Blackadder- 43
Blackmoor- 44
ITC BlackTulip- 44
ITC Blaze- 44
Bluntz" 44
ITC Bodoni- Seventy-Two 44
ITC Bodoni- Twelve 25
ITC Bodoni- Six 25
ITC Bodoni Ornaments"' 87
ITC Bodoni Brush- 44
Boink- 44
ITC Bolt Bold' 45
ITC Bookman" 25, 45, 94
Bordeaux'" 45
ITC Bradley Hand'" 45
ITC Braganza' 45
Brighton- 45
Bronx- 45
ITC Buckeroo- 46
Burlington" 46
ITC Busorama" 46
Buzzer Three 46
Cabaret- 46
Cabarge Cursiva 46
Calligraphic Ornaments 88
Campaign- 46
Cancellaresce Script 47
ITC Cancione- 47
ITC Caribbean- 47
Carlton- 47
Carumba- 47
Caslon 540 Italic & Swashes 47
ITC Caslon No. 224' 25
Caxton'" 47
Celebrations 88
ITC Century" 25
ITC Century" Condensed 25
ITC Century" Handtooled 48
ITC Cerigo- 26
Challenge- 48
Champers- 48
Charlotte 26
Charlotte- Sans 34
ITC Charter'" 26
ITC Cheltenham' 26, 48
ITC Cheltenham" Condensed 26
ITC Cheltenham" Handtooled 48
ITC Cherie'" 48
Chiller- 48
Chipper- 49
Choc 49
Choc'" Light by ITC 49
Chromium'" One 49
Citation'" 49
Claude'" Sans 49
ITC Clearface" 26, 49
ITC Clover'" 50
Commercials 88
Commerical Script 50
Com pacta- 50
ITC/LSC Condensed" 50
ITC Conduit"' 35
ITC Connectivities- 89
Coptek- 50
Corinthian"' 50
Crillee- 50
Cult- 51
ITC Cushing" 26
ITC Cyperkugel'" 51
Dancin' - 51
Data 70- 51
ITC Dave's Raves'" One 89
ITC Dave's Raves- Two 89
ITC Dave's Raves'" Three 89
Delectables 89
Demian- 51
ITC Didi" 51
ITC Digital Woodcuts- 51
Digitek- 52
ITC Din itials- 52
Diversions 89
Diversities 89
Dolmen'" 52
ITC Drycut- 52
Dynamo Shadow 52
ITC Eastwood'" 52
Eclectics 90
Edwardian" Medium 52
ITC Edwardian Script'" 53
ITC Élan' 27
ITC Ellipse- 53
Elysium- 27
Emphasis"' 53
Energetics 90
Enviro- 53
Epokha- 53
Equinox- 53
ITC Eras' 35,53
ITC Esprit' 27
Etruscan'" 54
Expressions 90
Faithful Fly'" 54
ITC Farmhaus- 54
Fashion- 54
ITC Fat Face" 54,95
ITC Fenice" 27
Figural'" 27
Fine Hand'" 54
ITC Firenze" 54
Flamenco Inline- 55
Flamme 55
ITC Flatiron- 55
Flight- 55
Fling- 55
ITC Flora' 55,95
ITC Florinda- 55
Follies- 56
ITC Fontoon- 56
ITC Fontoonies- 90
Forest- Shaded 56
Frances'" Uncial 56
Frankfurter'" 56
ITC Franklin Gothic" 35, 56, 95
ITC Franklin Gothic" Comp. 35
ITC Franklin Gothic* Cond. 35
ITC Franklin Gothic"
X-Compressed 35
ITC Freddo- 56
Freestyle- Script 57
Friz Quad rata 27,95
ITC Galliard" 27
ITC Gamma" 28
ITC Garamond" 28,95
ITC Garamond" Condensed 28
ITC Garamond" Handtooled 57
ITC Garamond" Narrow 28,95
ITC Gargoonies- 90
Gigi- 57
Gilgamesh- 28
Gill Display Compressed 57
Gill Kayo Condensed 57
Gillies Gothic Extra Bold Shaded 57
ITC Giovanni' 28
Glastonbury"' 57
ITC Golden Cockerel'" 28
ITC Golden Cockerel'" Initials & 87
Ornaments
ITC Golden Type"
ITC Gorilla"
ITC Goudy Sans"
ITC Grapefruit-
Gravura-
Green-
Greyton- Script
ITC Grimshaw Hand'"
ITC Grizzly'
ITC Grouch"
Hadfield'"
Hand Drawn
Harlow-
Harvey-
Hazel-
Heliotype-
Helvetica Condensed
ITC Highlander-
Highlight-
Hollyweircr
ITC Home Improvement'"
ITC Honda"
ITC Hornpype-
ITC Humana'"
ITC Humana'" Sans
ITC Humana'" Script
Ignatius'"
Impakt-
Incidentals
Industrials
Indy'" Italic
Informal'" Roman
Inscription'"
Inspirations
Iris
ITC Ironwork'"
ITC Isadore
ITC Isbell"
Isis-
Italia-
ITC Jaft-
ITC Jambalaya-
ITC Jamille"
Jazz-
ITC Jellybaby-
John Handy-
Jokerman-
Journeys
ITC Juanita-
ITC Juice-
ITC [Caber
ITC Kallos-
Kanban-
Katfish-
ITC Kendo-
ITC Kick"
Klee'"
ITC Klepto-
ITC Korinna"
ITC Kokoa-
ITC Kristen'"
ITC Kulukundis-
La Bambe
Lambada-
Laser-
Laser- Chrome
Latino'" Elongated
Laura-
LCD-
Le Griffe-
ITC Leawood"
ITC Legacy" Sans
ITC Legacy" Serif
ITC Lennox-
Lexikos-
Lightnin'"
Limehouse- Script
Lino Cut-
Locarno
ITC Lubalin Graph"
ITC Lubalin Graph" Cond.
ITC Machine*
Malibu'"
ITC Malstock-
ITC/LSC Manhattan'
Marguerite
Mastercard'"
ITC Matisse-
Mekanik-
ITC Mendoza Roman"
ITC Milano'
ITC Minska
Mistral'"
97
29
58
36
58
58
58
58
58
58
59
59
59
59
59
59
59
60
36
60
60
90
60
60
29
36
29
60
60
91
91
61
61
61
91
61
61
61
29
61
29
62
62
29
62
62
62
62
91
62
63
36, 63, 95
29
63
63
63
63
63
64
30, 64, 96
64
64
64
64
64
65
65
65
65
65
65
30
36
30
65
65
66
66
66
66
30
30
66, 96
66
67
67
67
67
67
67
30
68
67
68
68
Mistral" Light by ITC
ITC Mithras-
ITC Mixage"
Mo' Funky Fresh'"
Mo' Funky Fresh- Symbols
ITC Modern No.216"
Moderns
ITC Mona Lisa'
Montage'"
ITC Motter Corpus'"
ITC Musclehead-
ITC Musics"
Naturals
Neo Neo""
ITC Neon"
ITC Newtext"
ITC Noovo-
ITC Nora'"
ITC Novarese"
ITC Obelisk-
Oberon-
Odessa"
ITC Odyssee'"
ITC Officina" Sans
ITC Officina" Serif
Old English'"
One Stroke'" Script
Orange'"
ITC Orbon-
Organics
Organics 2
Orlando"
ITC Outback'"
ITC Out of the Fridge'"
ITC Ozwald"
Pablo"
ITC Pacella"
ITC Panache"
Papyrus-
Party-
Pendry" Script
ITC Pete's Miro
Pink'"
ITC Pioneer'
Plaza'"
Pleasure'" Bold Shaded
Pneume
Prague-
Premier-
Primitives
Princetown-
Pristine
Pritchard -
Pump-
Quadrus
ITC Quay Sans-
Quixley-
ITC Quorum"
Radicals
Rage'" Italic
Ragtime-
Rapier-
Refracta-
Regatta- Condensed
ITC Rennie Mackintosh'"
ITC Rennie Mackintosh'"
Initials & Ornaments
Retail'" Script
Retro-
ITC Riptide-
Riva-
Robotik-
Rom ic-
ITC Ronde
Roquette-
Ru'ach-
Rubber Stamp-
Rundfunk-
Santa Fe-
Savoye-
ITC Schizoid-
Scratch-
Scribe
Scriptease-
Scriptek-
Scruff'
ITC Serengetti-
ITC Serif Gothic*
Shaman-
Shatter-
Sinaloa-
ITC Situations'"
Skid Row'"
ITC Skylark'
68
68
36
68
91
30
91
68
68
69
69
69
92
69
69
31
69
69
31
31
70
70
37
37,96
31,96
70
70
70
70
92
92
70
71
71
71
71
31
37
71
71
71
72
72
72
72
72
72
72
73
92
73
73
73
73
73
37
73
31
92
74
74
74
74
74
66
87
74
74
75
75
75
75
75
75
75
76
76
76
76
76
76
76
77
77
77
77
31,77
77
77
78
92
78
78
ITC Slimbach"
Slipstream-
Smack-
Smudger-
ITC Snap'"
ITC Souvenir"
ITC Spirit'"
Spooky'"
Spotlight-
Squire-
ITC Stained Glass'"
ITC Static'"
ITC Stone" Informal
ITC Stone' Sans
ITC Stone" Sans Phonetic
ITC Stone Serif"
ITC Stone Serif* Phonetic
ITC Stranger-
Strobos"
ITC Studio Script"
ITC Stylus-
ITC/LSC Stymie Hairline"
Superstar'"
ITC Surfboard'"
ITC Symbol"
Synchro-
ITC Syndor"
Tag-
Tannhauser-
Teknik-
Telegram'
ITC Tern ble-
ITCTempus-
ITC Tempus"' Sans
ITC Tiepolo"
ITC Tiffany
Tiger Rag-
Tiranti- Solid
ITC Tom's Roman'
ITC TotSpots-
Trackpad-
Tropice Script
ITC True Grit-
Twang-
ITC Typados-
Type Embellishments One
Type Embellishments Two
Type Embellishments Three
80
81
81
81
81
81
81
32
33
81
82
82
93
82
82
82, 96
82
82
87
87
87
1,Wv
Ulysses'"
University'" Roman 83
ITC Uptight Regular" 83
Urbans 93
ITC Usherwood" 33
Van Dijk- 83
Varga- 83
Vegas- 83
ITC Veljovic" 33
ITC Verkehr- 83
Vermont- 84
Victorian- 84
Vienna- Extended 84
ITC Viner Hand'" 84
ITC Vintage'" 84
ITC Vinyl'" 84
Vivaldi 84
Wade'" Sans 85
Wanted'" 85
Waterloo'" Bold 85
ITC Weidemann" 33
Well Beings 93
Westwood'" 85
Wild Thing'" 85
Wildlife 93
ITC Wild West- 93
Willow- 85
ITC Wisteria'" 85
ITC Woodland- 37
Xylo- 86
Young Baroque 86
ITC Zapf Book'
ITC Zapf Chancery"
ITC Zapf Dingbats®
ITC Zapf International'
Zaragoza'"
ITC Zemke Hand -
Zennor-
ITC Ziggy-
Zinjaro-
80,
32
78
78
78
78
32
79
79
79
79
93
79
32
37
37
32
32
79
79
96
80
80
80
80
32
80
32
33
33, 96
87
33
86
86
86
86
86

w w w.it c f on t s.c o m
worth
xciting. Informative. And online. It's ITC's new Web site: typesetter — called euripedes — and see it on-screen. Additionally, at
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Do Right By Your Type
www.itcfonts.com

Teaching
an Old Acrobat
New Tricks BY GENE GABLE
COMPUTER GRAPHIC FILE FORMATS tend to go in and out of fashion
like colors or fabrics, occasionally enjoying stunning comebacks or
crashing falls from grace. Kodak PhotoCD, Live Picture IVUE and
FlashPix are a few recent stabs at new ways to store and print visual
information. A few years ago GIF (Graphics Interchange Format) files
were considered the low-resolution, mass market, blue-light-specials
of the graphics world, pretty much limited to rendering screen images
and thought to be of no value to the graphic design community: sud-
denly, thanks to the less-demanding capabilities of the Web, GIFs
were on even the hippest of designer lips.
All the while, PDF, the Portable Document Format
at the heart of Adobe's Acrobat software, has
been quietly enjoying a slow buildup of interest. The
latest version of Acrobat, 3.o, has been greatly anticipated.
No longer constrained by its humble "paperless
office" roots, PDF has been working out, adding
features and setting its sights on the professional
graphics market, where Adobe is most comfortable
(and capable).
DON'T LOOK BACK
Adobe invented PostScript as a way to describe
pages to various printing devices so that they would
print in a predictable fashion. PostScript isn't a file
format, it's a general purpose programming language
and quite complex. PostScript files, like those generated
by QuarkXPress, PageMaker, Illustrator or other
applications, call on certain features of PostScript in
very strict sequence to create a desired result. These
files tend to be large, as they must be completely
editable, down to the last character or pixel on the
discussed application was
destined to be the electronic
paper of the future—a way
for any person with any system
and any printer to open, view,
search and print a document.
The currency of Acrobat
software is the Portable Document
Format (PDF)—a simple
file that requires only a small
viewer application (given
away free) to see on screen
and print. When the paperless
office didn't materialize in a
huge way, Adobe dusted off
Acrobat as the perfect solution
for the Web. It was, in a sense,
already a document browser,
only one that could retain original
typefaces and layouts, even
over the Internet. And while
last page. In addition, fonts, artwork and other page it hasn't caught on like wildfire for either use, Acro-
elements must move along with the PostScript file bat-produced documents are becoming more and
as separate items. more common both on and off the Web. It actually
Quite simply, PostScript files carry way too much is a pretty cool way to send electronic documents—
baggage to make them efficient. In the early days no it has always done that well.
one really thought we'd be zapping Quark and Illustrator
files all over the world to be viewed, printed, NOW, MORE THAN EVER
modified, enlarged, reduced, laid out and archived Unfortunately, while Adobe was wide-eyed about
by who knows whom on who knows what kind of this paperless universe, it neglected to add some of
machine and with what version of which software. A the features that would make Acrobat and PDF the
Quark file can't easily be opened and printed in Page- ideal solution for designers, printers and pre-press pro-
Maker—and vice-versa.
fessionals. This user group was facing more complex
So Adobe invented Acrobat (you may remember telecommunications issues, multi-platform networks
it fondly by its code name, Carousel). This much- and digital presses, as well as taxing tasks like re-pur-
99
posing of content, digital ad delivery, computer-toplate
impositioning and a host of other processes
in which the complexity and linearity of PostScript
was causing extra work.
In version 3.o of Acrobat, Adobe has come around
to adding high-end printing features like color separation
support, pattern support, support for OPI
(Open Prepress Interface), black generation, undercolor
removal, and more sophisticated halftone
screening. Now a PDF file can pretty much carry all
the information it needs to print to screen, paper
or to high-resolution film—you can even embed the
fonts and graphics into a single document file.
And since each page in a PDF document is independent,
you can easily customize printing ranges,
impose pages, trap pages and generally rip apart a '
document the way printers prefer—this
requires a lot
of work in PostScript.
As it is, most of the prepress
equipment manufacturers
have already developed
their own internal formats—
they take your Quark or
Illustrator file, turn it into
something more flexible
(TaigaSpace, Mainstream,
Delta, etc.) then muck
around with it before making
film or printing to a
press. With the new features
to PDF, they won't necessarily
have to do this anymore—
they can do most of what they
want directly to the PDF file.
Adobe has opened the format
to outside developers so that
all kinds of specialized features
(Above) can be added. As a format
Using the cover for passing data along the proof
U&Ic, Roger duction and printing process
Black Incorporated
created a PDF file
In Acrobat 3.0
(after initial creation), PDF
is a good choice.
WHAT'S IT TO YOU?
Soon, you should be able to save a page right out
of PageMaker, Illustrator, Quark or other applications
directly into PDF format. This you can e-mail right
to your printer, and eureka —the printer has everything
it needs to make filth or drive a platesetter. It could
be that simple, and probably will be if everyone gets
on board.
Continued on page 112

Having live or f
adult life, I have never made
picked berries, never grow
garden and never redecorat
linen. But as I look through
A
Living, I fully intend to start. Then I put down
the magazine. Elsewhere, a million other
readers also dream of living Martha Stew-
art. They, too, imagine transforming their
lives by creating something wondrous with
their own hands. It's the ethereal appeal
of the soothingly uncluttered, resplendent,

■ by Rhonda Rubinstein
color-coordinated pages. It's those glorious
still lifes of the vegetable, mineral and deco-
rating worlds. And it is this kind of temporal,
emotional connection that is the essence of
today's magazine.

Blue's off-the-grid design motif (above), sets It apart from traditional travel
magazines. Wired (below) continues to explore the boundaries in design,
even though the typography is much more low-key than its reputation would
suggest; while the premiere Issue of Sweater (right) has a deliberately
arbitrary, unravelled edge to appeal to its night-crawling audience.
The best magazines are creating this complete experience. In these highly competitive times,
seductive covers, provocative images or compelling writing alone cannot make the maga-
zine and garner impressive doorstop-size awards. It's the total product with a consistent
voice and imagery. It's all about look and feel. The cover, the page-flipping and the skimreading
all lead to a particular world with its ideals and attitude. I'm hip to cool music, style
and the end of print! Well, at least I am when I read RayGun, or rather, when I experience the raucous
confrontation of type and image slamming onto the page. The consistent lack of consistency in its disturbed
type, random grid, layered imagery and overall graphic irreverence made a direct hit on the
jagged nerve of youth. Like music, where the lyrics are harder to decipher than the sound and experience,
the visual experience is used to challenge the reading of RayGun.
Through design, the content is turned into experience. The art director's vision becomes the voice
of the magazine. The recent launch of Blue was promoted as much for its concept as for its art direction
by David Carson. Carson streamlined his signature style to give the "journal for the new traveler" a
clean, linear, modern experience.
The magazine as an experience in itself is crucial to its branding. As with other products, the
brand name is trusted to deliver the desired experience. Magazines as brands distinguish themselves
on the newsstand and in the mind to become the must-buys and must-reads. Magazines use style to
brand because style itself is the significant means of communication. Fabien Baron updated Harper's
Bazaar's tradition of exaggerated photography and dynamic typography into a hip fashion experience.
Baron spawned Extreme Bodoni, a graphic sport where type
competes in the ability to overlap without losing legibility points.
It has become synonymous with elegance, trendiness and a
sense of self-conscious style. People are aware of the intention
that is communicated by design, whether
or not any other message gets through
(if, in fact, there is a message). Entertainment
Weekly is very entertaining, Saveur
is full of delicious spreads and Wallpaper
surrounds you with cool modernism. From
National Geographic to Interview, magazines
must portray a consistent worldview
and evoke emotional attachments that reaffirm
membership in the club.
A magazine conveys its fraternal affil
iation by amplifying the design elements
of the genre. Take a fast-growing category,
the British lad magazine. Started almost
20 years ago with innovative men's fashion magazines such as The Face and Arena, it is now at the
level of the Page Six pinup. The graphic symbolism and custom typefaces developed by Neville Brody
made The Face diverse, yet coherent and extremely powerful, and his subsequent work with Arena ini
tiated the Helvetica revival that's become the font of fashion. However, in the last few years a slew of
British magazines such as Dazed and Confused, Loaded, Maxim, Stuff and Eat Soup have arrived
Each newcomer is slightly louder and more tasteless than the last amore
screaming tabloid type and mostly, more glossy naked en, able-bod ed and accessible. These
magazines of post-feminist masculinity hark back od of
added! irony! and they are now penetrating th
Branding is not a new concept, desp
ultimate magazine brand, marketing
early 1970s, Life and Look collaps
sion became a more powerful v
capture was the single powerf
personality came to domina
Special interest mag
while a small publicatio
Beall's days, today Mo
shipful attention that
status in the '90s. For decades Life was the
books, photography and products. Then, in the
persisted with storyboard photo essays even as televi-
hotoreportage and narratives. What television could not
us, photo-icon r It of
magazines. Three s fo
ich didn't need the ass audie hus
deryPackaging could my have been a trade magazine
et is a niche consumer ublication founded to make up for "the
een denied by the mainst am pet media:'

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A magazine can be defi brand if the reference lives e
example, Martha Stewart L fired. Each has a particular
ing visual experience that is tely identifiable, and theref
Is Martha Stuart Living? mi the't, MSL process so perfectly
water is almost believable. u fluorescent colors and
tions, albeit less successfully, to fer he magazine that defin
Magazine design was once editorial design, tha
questioning) the concepts of the a les. is is most obvious i
Agha at Vogue and Vanity Fair, T.M. Celan t Fortune and lat
Loaded (left) has packed pages of cheeky, sans serif outline typography,
and full-spread photography; the opposite is found in Martha Stewart
Living (above), where clean and simple reign. (Below): Rolling Stone's
highly directed photography and quirky, site-specific typography shout
Roiling Stone even when the layout whispers. (Right): Beyond the liberal
use of white space and non-repro blue type, many characteristics of
Wallpaper are reminiscent of the postwar euro sensibility.
also read images, we read typography,
and we read design. This visual literacy
might also explain why magazines like
Emigre, Speak and Dance Ink, which were
once cultural magazines, have evolved
into design magazines. Or perhaps it just
means that designers will read anything
that looks interesting enough.
While new magazines tend to have
fewer words on a page, typographic presentation
is increasingly critical to the
when content is repla
orial tude and an acco
can b y larodied. The publica
t its p o story of how to ma
'tally anced image manipul
SOO
e dig
desteased on expressing (or
design triumphs of M.F.
Thompson at Mademoi
se//e and Alexey Brodovitch
at Harper's Bazaar. Up until
the late 1960s and early
'70s, art directors around
the world were innovating
I stories in Twen, Nov
Show, Look , as well
many other magazines
with orlgerf.--
Today, we practice an
enlightened" approach to
design that reflects our new
literacy. We still read words
in the same way we have
since Gutenberg put mov
able type to paper, but we
SWEDISH
Feeling a little squeezed m Mat ove ■prmedstudic ,num.shoebon?
Then it might be worth considering the communal ble.
With sociasgn, Scandinavian design and ample spate guiding
the, man ifesto, our interio or editors came up with a ca., cool
get tot( eon the fringes &central Staldnohn
branding of the magazine. Photographic style has become more identifiable
with the photographer than the publication, and illustration has become less
fashionable. Typography itself has become the new illustration, making a brand
unique and instantly recognizable. For example, the story-specific lettering in
Rolling Stone gives the magazine its strong brand identity, especially within the
limited amount of continuous editorial pages. Fred Woodward turns Rolling
Stone headlines into exotic interpretations of the story that often interact with
the imagery.
A rich, stylistic experience is the stepping stone to creating a brand. The brand
then transcends the identity of the magazine to emerge in other forms. RayGun
Publishing has applied its slightly off-center, off-color and off-the-grid esthetic
attitude to its more recent magazines, Bikini, Huh, Stick and Sweater. RayGun
Publishing has claimed the hipper, alternative, lifestyle magazine to be its brand
With Martha Stewart Living, in addition to each monthly magazine, there's
also the television show and the radio broadcast. It's called Martha Stewart Liv
ing Omnimedia. Really. Yet, the magazine remains the flagship. It's the vessel
that's continually being refilled with fresh material, carrying the brand forward
into other media. And if the brand is as carefully directed as is the "Martha empire" under the supervi-
sion of design director Gail Towey, confidence in one product is immediately transferred to the next.
(Tempted as I am to make my own paints in eggshell colors, I am relieved that I can simply buy them
through the Martha by Mail catalog.)
I can imagine my home in those colors, alongside other tasteful houses in the Martha Stewart
Gated Community Living, only a few minutes from Martha's Restaurant, which serves picture-perfect
nutritious dishes. To escape this perfection, I would book a trip with Blue's Extreme Travel, deciding
between a tour of Chernobyl or hang gliding in the Himalayas. Or else there's Wall-to-Wallpaper who
would treat me to a fabulous vacation in an exotic locale accompanied by 20-year-old models while
my home is redecorated in pale shades of modernism. From the safe comfort of Martha Stewart to
the adrenaline rush of Blue or the hip knowingness of Wallpaper, these magazines deliver extravagant
emotional experiences. Open your eyes, your heart and your wallet! Live the brand!
Rhonda Rubinstein is a magazine art director with lots of brand-name experience.
HEADLINE/BYLINE: ITC FRANKLIN GOTHIC HEAVY TEXT/CAPTIONS/B10: ITC FRANKLIN GOTHIC BOOK, BOOK ITALIC, HEAVY, HEAVY ITALIC
103
td

4--)-6trJa
ri7 e)
Handwritten letterforms are the main inspiration for these 11
new ITC Fontek typefaces, which draw on influences from Ori-
ental calligraphy to spontaneous scrawls. TEXT BY JOHN D. BERRY
Act..8-ey C al) 4, Eefi g -4,0i4J-tiLZAAriNr 00P Q Pi) Wc0C-o066-2,z, I LS 67 cfr 0
ITC PeAey-/% ALLYt®TM
NE NEW YORK-BASED DESIGNER,
John Peter, brings a deep love of type
and a long experience with how it's
used to the design of ITC Peter's Miro.
Peter was art director of McCall's mag-
azine and serves as a consultant in the
magazine business in the United States
and Europe. In 1947, with artist Thomas
Coryn, he designed one of the maga-
zine's first exclusive typefaces that was
developed for the phototypesetting
process. Peter says that "the calligra-
phy of artists has always interested
me," and he has collected samples of it for many years. When it came to ITC Peter's
Miro, he wanted to have fun. The typeface is inspired by the letters used by Joan Miro
in his paintings. "No one used letterforms more frequently in his work than Joan Miro,"
says Peter. But, he continues, in this typeface "considerable liberty has been taken
with his original letters, and missing characters have been added." ITC Peter's Miro is
intended as an homage to the master, and a playful extension of one aspect of his
work. The letters are a very simple script, irregular and apparently crude, but bursting
with uncontrollable energy. Peter wants graphic designers to give full play to their
creativity when using the typeface, so he provides two complete versions of the alphabet
(Peter's Miro and Peter's Miro Too) in both upper- and lowercase. Although very
few of the letters actually connect, they do flow together freely, and, as Peter points out,
"They lend themselves to ligatures." They also lend themselves to being filled in, here
and there, with bright colors, as Miro often did in his own art. This way, the letters keep
the impact of black, the most powerful color for text, but they offer a home for color
in their interior spaces and details. Some examples of this can be seen in recent issues
of Architectural Digest, where Peter's type has been used for headlines. Peter says
that Peter's Miro wasn't created out of a perceived need or a market niche, but because
he "just wanted to do it." He hopes some other people will have fun with it, too.
003 GcJI) ,I 70)-/-th.rc3)mLei\i\fryl_ 6)-2,0-e0))))4,07z,JubhrTtnxi)(0)(Stog_zciy -LLI2,5456-16 9 O'
104

TM
OLLOW THE BOUNCING BALL:
British calligrapher and typographer
Timothy Donaldson likes to write
occasionally with an extra-fine ball-
point pen. "I like the spindly, scrawny
forms that it gives me when I follow
all the usual 'italic' writing conven-
tions," he says. That was the origin
of ITC Cyberkugel, but he took the creative process
away from pen-on-paper entirely by creating an appro-
priate tool in Painter and writing the letters at large
size on a Wacom tablet. "I like the fact that people will
be buying it to give them a tuman,"organic,"non-
digital' look, and yet no ink has soiled paper," he says.
"Although the movements of the hand are still the
essence, the whole thing was created in cyberspace."
Hence the name: CYBERspace plus KUGELschreiber
(German for ballpoint pen) = Cyberkugel. Like many of
the best current handwriting typefaces, Cyberkugel is
based on the conventions and letterforms of italic cal-
ligraphy, but it's a loose, freehand interpretation with
a lot of nervous energy.
ArCVEFICIII/RINNOMRSTUVWXYZ
ffC MusctchEati
is appropriate
wherievEr you pctigi
a robust, 'man
&Indy packEel tiara-
writing typE for a
a 11 1
printfel ovEr a
photograph or
scrfcriEgli-back art.
a 6cilEfgilijkIrwyptirstusvxvz/1340'7A -go
DC Mucck4,Fa1 TM
HEN YOU NEED A ROBUST, HEAVY, DENSELY PACKED HANDWRITING TYPE
for a headline printed over a photograph or screened-back art, you might find
ITC Musclehead just the thing. With a liveliness that almost looks like brushwork,
it holds the space it's in without dissolving against a busy background. In fact
the face was made not with a brush but with a ruling pen, which Timothy Donald-
son had recently bought from a company in Salem, Massachusetts. "The world's gone ruling-pen
mad at the moment," says Donaldson, "and I was beginning to tire of all the skinny splashiness of
the letters that most people were making with them. I wanted to do something heavy and robust
with the tool, so that's what I did."
105

THIS (1/01N011Y Nr0(1) INTO fl
TA10-11(1)0 HWY (ONIMIS() PISr[OY
Vlq MOP( (11) ENTIRELY OF
f!-!ARPIY TAPMP(
STRflIbHT 0!IP Nr\VO STROW.
ITS 11■ 111(111( Of (01TRI(TIO!I IS MOST
(1111)(11 - IN THE K 0!`19 TR R.
THE 1- rN(110-1T-11)(9 X 1_001■5 LIFE TWO
10r(1110( (HMTIM (IMS(P.
IT( 0-1(Kl(m nol
BEGAN DABBLING IN LETTERFORMS AT 13,"
says Ten Kahan, "and I never looked back."
A calligrapher and designer who describes her-
self as "most partial to scripts and elements
created with the brush," she often incorporates
hand lettering into her designs. She based ITC
Cherie on a logo for which she had developed
a "sophisticated, feminine look." This eventually
turned into a two-tiered, highly condensed dis-
play face made up entirely of sharply tapering
straight and curved strokes. Its principle of con-
struction is most evident in the K and the R.
The straight-sided X, which looks like two Japan-
ese chopsticks crossed, best expresses its
personality. The typeface is entirely capital let-
ters, but Kahan uses the upper- and lowercase
as alternate alphabets. The primary difference is that
in the uppercase letters the cross strokes are high and
the upper halves of the letters are short, while in the
lowercase the cross strokes fall low on the body and the
lower halves are short. There are also curved forms
of some letters as alternates to the straight forms. This
variation gives a designer using ITC Cherie the chance
for subtle changes in a line of text.
A13(1)([0-IIIMPOPQRXTUVWXYLOr)(1)(NHIIMINOrQRSTOV NXY71)34567890
ITC Ironwork -
1 cyf
GI
NE INSPIRATION FOR SERGE PICHII'S
ITC Ironwork was a piece of decorative let-
tering done in the early 1920s by Jan
MI
Tschichold. Tschichold interlocked a series
of rough-edged sans serif letterforms
and embellished them sparingly with dec-
orative elements. He used only capital
letters in the original piece, touching and overlapping
both horizontally and vertically like an ironwork gate
made of letters. Pichii decided to complete the type-
face with a lowercase, and he gave his letters smoother
edges than Tschichold's. Although the curlicues on the
ends of some letters are present in the Tschichold letter-
ing, Pichii extended this trait to the lowercase, using
as models photographs he'd taken of iron scrollwork in
Vienna and Prague. There's a starkness to the basic
letterforms that is contradicted by the curvilinear ele-
ments. "A lot of attention was paid to the elements
of the typeface in order to 'smooth out' and balance
proportional relations between the elements," says
Pichii. The obvious uses for the face are in signage and
display type, but it was designed to hold together in
small amounts of text as well.
(though the curlicues
on the ends of some
letters are present in the
loilrerCIIICHOLD LETTER2I G,:
Pichii extended this trait
to the lowercase,
referring to photographs
of iron scrollwork.
ABCDEFGHIJKLMNOPQRITUVWXYZabcdefghijklmnopqrstuvwxyz1254E67890
106

The tetters
Typados are
Uttie tear
drop-beaded
figures with
tapering bodies
that bend
themselves into
the shapes
of our alphabet
white main-
taining a life of
their own.
1TC Typados-
ROXWIIIN
TC TYPADOS IS COMPOSED OF CHARAC-
ters in two very different senses. First off,
it's made up of letters, quite clean, read-
able, clear letters, with generous widths and
x-heights. There is just a sprinkling of Art
Nouveau style, perhaps somewhat like the
typefaces of Georges Auriol, in the tapering,
brush-like strokes. But the letters in Typados
are also made up of characters in the the-
atrical sense: little tear-drop-headed figures
with tapering bodies that bend themselves
into the shapes of our alphabet while maintaining a life
of their own behind the page. Roselyne and Michel
Besnard of Rouen, France, designed ITC Typados based
on a continuing character who shows up in Michel's
sculpture and painting: Ado. "Ado is the first character
who sings and repeats itself in all my creations," says
Michel. "This adventure brings new forms for my paint-
ing and my sculpture: coiffed heads, bodies in the
form of a cone, arms in the form of spread wings, etc."
He has incorporated "Ado" into the names of many
of his finished works: Ado, Adoise the dancer, Adone,
Adomoiselle, Odao the leaper, Adonis, Coroado,
Doado, Siadomoises and so on. "Type" plus "Ado" and
a plural S and you have Typados, the typeface.
PORSTUVWXYZabcde rghijkimnopqrstuvwxgz1234567890
ABCDEFGEUKLIAN
m IT( 091100tif k rh
rURE DISPLAY TYPE, ALL-CAPS AND SUITABLE FOR USING REALLY BIG: ITC CANCIONE.
Taking her inspiration from fourth-century Roman inscriptions, Brenda Walton gave Cancione
a slender, elegant, high-waisted form, with the thick-and-thin variation of brush strokes
on stone. She then heightened the effect by adding a rough texture to the letters, as though
they'd been rubbed from a weatherworn facade. Walton, who lives in Northern California,
is a calligrapher and illustrator who "focuses mainly on developing hand lettering and illus-
trations for gift collections, gourmet food packaging, book jackets and business identities."
One of her specialties is designing collections featuring botanical illustrations. It's not surpris-
ing that ITC Cancione includes a large number of floral ornaments and tendril-like flour-
ishes, each showing the flowing forms of brushwork but again roughened and weathered. Along with
the ornaments, Walton provides a number of alternate letters and single words like "of" and "to."
13CDffGtliJ liLM N 0 IT RSTUVWX1T1254567890
ITC 09 KWH IS ITU DISPHY
filid PS SUITfl
&USING gp
IC"" LLY
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fliGfl &::f
f01111, Wilfl Elf ill lai-fl ND-
MIN \M ►NION (3J"BRUSI-1
STROlifS ON STOIlf.
:41* --"APiz-MNSV
107

ABCDEKIIIIKLMNO
TERI KAMAN IS
FASCINATED
WITH LETTERFORM5
WITII POINTED
STROKES.
MERE THEY
TWIST
IN A SORT OF
SINVOVS,
4ALLVMPIIIN4
DANCE ALON4
TIM LINE.
RSTVWXYZ12345678
IT< SVRFROARDT" roam
free shapes and the precise edges and angles that create them. otn3CS gFiNc9,9%ge970200kgarlia,rXWa 1234567n0
ily4bv2opqt3s-tuvwxy3 icAfr
HE BOLD, PLAYFUL ELEMENT IS EVERYTHING IN ITC SURFBOARD. DESIGNER
Ten Kahan shows the same fascination with pointed strokes in Surfboard that she
demonstrates in ITC Cherie, but here they bend and twist in a sort of sinuous,
gallumphing dance along the line. "The inspiration for ITC Surfboard," says Kahan,
"was a video title designed by Richard Stumpf [her then husband and business
partner at the time]." She took the design to its final form and added the specific
PIIII"surf"
elements to it, such as the abstract shapes that suggest waves, sails,
and yes, surfboards. Part of the strength of ITC Surfboard comes from the tension between its very
108
sec ceoyet3- row
BELL'S TASTE FOR VARIETY IS
evident when you compare ITC Clover
with her other current type release,
ITC Stranger: they couldn't be farther
apart in style or spirit. Where Stranger
is rough, condensed and nervous,
Clover is even, round and friendly,
almost childlike. It looks like the loopy
e9ILL
handwriting taught to grade-school
students, although it's much more controlled than any
child's hand. Loops and curlicues on the caps and
some of the lowercase letters give the typeface a cer-
tain twinkle. Clover almost cries out to be animated,
to dance across the screen to the sounds of a sprightly
tune. And, true to its name, the font includes, as one
of its special characters, a sprig of clover. Like many of
Jill Bell's type designs, Clover began as a hand-letter-
ing project that later evolved into a full typeface.
C4i/e13 eVe72,
PotOZGe GOZce
friadoey, a lloJof
cAliaceUe. Sot
4o4s ti,ke #fie ,60s4 joy
43 (vitt -to racee-
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44602. any cittaceS
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ITC ArKova"
gilim
N THE WORLD OF CALLIgraphic
lettering, there's
as. an art to the balance of
spontaneity and control.
In ITC Arnova, designer
Genevieve Cerasoli took
classic handwritten let-
terforms and gave them
the freshness of a quick
scrawl, with a hint of the
brush style of Japanese
sign painting. "The style was originally designed for use
with the word 'natural," says Cerasoli, "so I began explor-
ing various tools that would give me somewhat organic-
looking forms with a texture that was reminiscent of
stone or tree bark." Unlike most typefaces developed
from hand lettering, Arnova varies the slant of the strokes
from letter to letter, most obviously in the straight ascen-
ders and descenders. This gives the face an unstudied
look, though it works best in words without pairs of iden-
tical letters. "I wanted the letterforms to look unpredict-
able, as if they could have been written in the sand or dirt
with a stick, yet having some rhythm—hence the varying
balance/counterbalance that results when the letters are
combined." Cerasoli considers herself a graphic designer
and hand-letterer, rather than a type designer; most of
her work is in "free-flowing scripts and non-traditional let-
terforms." ITC Arnova holds up just fine in text, but it really
soars in display lines with only a single word or a phrase.
svvrawteer the fetter-
forms to fook tA pre -
efictabfe, as if afAey cotAfer
Have been writfe" ik%
fAe saKer, yet Aavii/.5
sc RHYTHAka—ACKee
fAe varyiK5 bafaKee/
cotAKI-erbalaKce tAat-
restAfts sivAciA 1-tie falters
are co mbiKeef. Pt
A3CPER31-4.1JKLAk t40120,1Z5T“ \AA/XYZ ab c tf et A ij kfm N mrsfeAvwxyz12311567890
The effect in oatl becalm
yuu lee the strokes themselves; in
the effect ,1 a We tougher, more
clifftw, asthe bristly mull of some of the
strokes become awl*
rie4troefer toorr
HE SLASHING, ALMOST MENACING
style of ITC Stranger comes from quick cal-
ligraphic strokes done with a partly dry
brush—or the digital illusion of the same—
in a very narrow, upright style. The effect
in small sizes is spiky, because what you
see is mostly the strokes themselves; in
large sizes, the effect is a little rougher,
more diffuse, as the bristly ends of some of the strokes
become apparent. Designer Jill Bell is a lettering artist
with a diverse artistic background. She has done every-
thing from portrait painting to sign painting, and she
likes to experiment. Having created six-foot-high letters
as a sign painter gave her "a deeper understanding
and appreciation for letterform construction and spatial
relations." She has a particular fondness for Chinese
painting and Japanese and Chinese calligraphy. "East-
ern styles," she says, "incorporate the natural flow of
the hand, and human qualities (including mistakes) are
accepted, not scorned as in the 'white-out' Western
culture." Her appreciation of Oriental calligraphy shows
clearly in ITC Stranger.
DeM4.1193aWNOTV4TIAVWXYZa betiefihijklotHopgrItuvwxyr1231567890
109

International Typeface
Corporation develops and
markets high-quality type-
face designs that are applicable
to a wide variety of graphic
communication needs. As
a result, ITC has established
business relationships with
many companies, known as
ITC Partners. ITC typefaces
are incorporated into hardware
and software products, and
are also made available directly
to end users in a variety of font
formats through a network
of Resellers. Purchasing fonts,
or other hardware or software
products, from any ITC Partner
company is your guarantee
of ITC authenticity and optimal
quality design.
For further information
about any of these companies
or on becoming an ITC Partner,
write or call:
International Typeface
Corporation
228 E 45th Street 12th Floor
New York, NY 10017
TY: (212) 949-8072
Fax: (212) 949-8485
E-mail: i nfo@itcfonts.com
'Web: www.itcfonts.com
Adobe
Adobe Systems Europe Ltd.
West One Business Park
5 Mid New Cultins
Edinburgh, Scotland EH114DU UK
011-44-131-453-22-11
hhtp://www.adobe.com
Adobe Systems Inc.
345 Park Avenue
San Jose, CA 95110-2704
17 (408) 536-6000
Fax: (408) 537-6000
hhtp://www.adobe.com
AGFA,
Agfa Division/Bayer Corp.
90 Industrial Way
Wilmington, MA 01887
Tr (508) 658-5600 or (800) 425-8973
Fax: (508) 657-8568
http://www.agfahome.com/products/prodfam/type.httnt
Bitstream Inc.
215 First Street
Cambridge, MA 02142
13' (800) 522-3668
Fax: (617) 868-4732
http://www.bitstream.corn
Bitstream BV
Prinsengracht 659-661
Amsterdam 1016 HV
The Netherlands
11" (011) 31 20 5200 320
Fax: (011) 31 20 5200 399
Bitstream UK
The Atrium Court; Apex Plaza
Reading Bershire RG1 1AX
England
17(011) 44 118 925 4229
Fax: (011) 44 118 956 0380
A \
E+F Designstudios
Friedensallee 44
Hamburg 0-22765 Germany
6 011-49-40-3988 3988
Fax: 011-49-40-3988 3999
FACES
Faces, Ltd.
549 Yorktown Road
Collegetown, Camberly
Surrey, England GU15-4PX UK
Tr 011-44-0276-38888
Fax: 011-44-0276-38111
(,10
4!)
FontHaus
1375 Kings Highway East
Fairfield, CT 06430
13' (800) 942-9110
Fax: (203) 367-1860
http://users.aol.com/fonthaus
111C:SHOP
FontShop Australia
343 Sydney Road
AUS-Brunswick
Victoria 3056 Australia
6 011-61-3-9388-2700
Fax: 011-61-3-9388-2818
ipSHOP
FontShop BVBA (Belgium)
Hutsepotstraat 36
Zwijnaarde 9052 Belgium
IT 011-32-9-220-26-20
Fax: 011-32-9-220-34 45
IC SHOP
FontShop France
6, rue Desaix
Paris 75015 France
Tr 011-33-1-43-06 92 30
Fax: 011-33-1-43 06 54 85
http://www.fontshop.jca.fr
=SHOP
FontShop Berlin GmbH
Bergmannstrage 102
Berlin D-10961 Germany
6 011-49-30-69 58 95
Fax: 011-49-30-6-9288 65
http://www.fontshop.de
FontWorks Ltd.
65-69 East Road
London, England Ni 6AH UK
13' 011-44-171-490-53 90
Fax: 011-44-171-490-5391
http://www.type.co.uk
Image Club Graphics
833 4th Avenue Southwest, Suite 800
Calgary, Alberta T2P 3T5 Canada
IT (403) 262-8008 or (800) 661-9410
Fax: (800) 814-7783
http://www.imagectub.com
Letraset
Letraset USA Inc.
40 Eisenhower Drive
Paramus, NJ 07652
IT (800) 343-8973 Fax: (201) 845-5047
http://www. letraset com
Linotype Library GmbH
Dupont Strasse
Bad Homburg v.d.H 0-61352
Germany
6 011-49-6172-4840
In US call (800) 297-7423
e-mail: fonts@ccl.lhag.de
http://www.linotypelibrary.com
MONOTYPE
Monotype Typography Ltd.
Unit 2, Perrywood Business Park
Salfords, Redhill
Surrey, England RH1 5DZ UK
13' 011-44-73-776-5959
http://www.monotype.com
ParaGraph International
32 Krasikova Street/19th FL
Moscow 117418 Russia
73' 011-7-095-129-1500
Fax: 011-7-095-129-0911
http://www.paragraph.com/paratype
rr) Pe
Precision Type
47 Mall Drive
Commack, NY 11725
13' (800) 248-3668 Fax: (516) 543-5721
Treacyfaces
akacletnersi
Treacyfaces
43 Maltby Avenue
West Haven, CT 06516
13*(203)389-7037
Fax: (203)389-7039
www.treacyfaces.com
Type Associates
2 Kerri Court
Huntington Station, NY 11746
Chicago, IL 60604
6(800) 297-7423
Fax: (516) 549-5847
Type USA
53 West Jackson Blvd.
Suite 909
Chicago, IL 60604
U(800) 897-3892
Fax: (312) 360-1997
110
Ell DISPLAY Reseller
Ik1
LICENSEES
A.B.Dick-Itek Ltd.
983 Great West Rd.
Brentford, Middlesex, England TW8 9DN UK
13' 011-4 4-181- 5 6 8 - 9 2 97
A.J. Lincoln & Co., Inc.
29 Domino Drive
Concord, MA 01742
12(508) 369-1441 Fax: (508) 371-2287
Adobe Systems Inc.
345 Park Avenue
Adobe San Jose, CA 95110-2704
12(408) 536-6000
Fax: (408) 537-6000
http://www.adobe.com
Adobe Systems Europe Ltd.
West One Business Park
5 Mid New Cultins
Edinburgh, Scotland EH114DU UK
13'011 -44-131-453 - 22-11
http://www.adobe.com
Agfa Division/Bayer Corporation
90 Industrial Way
Wilmington, MA 01887
6(508) 658-5600 or (800) 425-8973
Fax: (508) 657-8568
http://www.agfahome.com/products/prodfam/type.html
Amiable Technologies Inc.
Scott Plaza Two
Suite 625
Philadelphia, PA 19113-1518
11` (610) 521-6300 Fax: (610) 521-0111
Anagraph, Inc.
3100 Pullman Avenue
Costa Mesa, CA 92626
6(714) 540-2400 Fax: (714) 966-2400
Apple Computer, Inc.
1 Infinite Loop
Cupertino, CA 95014
12(408)996-1010 Fax: (714) 996-0275
http://www.apple.com
Apply Design Group
Devrientstraf3e 12A
Hanover D-30173 Germany
6011-49-511-98057-08
http://www.tripleclick.de/apply-design-group/apply_(e)
Architext Inc.
121 Interpark Boulevard
Suite 208
San Antonio, TX 78216
6(210)490-2240
http://www.atext.com/
Aston Electronic Design Ltd.
123/127 Deepcut Bridge Road
Deepcut, Camberley
Surrey, England GU16 6SD UK
13' 011- 4 4 - 2 5 2 - 3 6 - 2 2 1
Autologic Information International, Inc.
1050 Rancho Conejo Boulevard
Thousand Oaks, CA 91320
6(805)498-9611 Fax: (805) 499-1167
http://www.autologic.com
Berthold Systeme GmbH
Berliner Strasse 27
Berlin 0-13507 Germany
6011-49-89-6114-091
Bitstream Inc.
Athenaeum House
215 First Street
Cambridge, MA 02142
6(800) 522-3668 Fax: (617) 868-4732
http://www.bitstream.com
British Broadcasting Corporation
Broadcasting House
London, England W1A IAA UK
12011-44-171-580-4468
http://www.bbc.co.uk
Canon Canon, Inc.
16-1 Shimonoge 3-Chome
Takatsu-Ku, Kawasaki-Shi
Kanagawa 213 Japan
6011-81-3-3758-1205
http://www.canon.com
&CONE
TYPE 1Nc
Carter & Cone Type Inc.
2155 Massachusetts Avenue
Cambridge, MA 02140
6(617)576-0398 Fax: (617) 354-4146
Cello-Tak
35 Alabama Avenue
Box 120
Island Park, NY 11558
6(516) 431-7733 Fax: (516) 431-7736
Chartpak
1 River Road
Leeds, MA 01053
6(413) 584-5446 or (800) 762-7918

Claris Corporation
5201 Patrick Henry Drive
Santa Clara, CA 95052
12(408) 987-7305 Fax: (408) 987-7558
http://www.claris.com
ColorAge
900 Middlesex Turnpike
Building 8
Billerica, MA 01821
12(508) 667-8585 Fax: (508) 667-8821
Computer Associates International, Inc.
1 Computer Associates Plaza
Islandia, NY 11788-7000
5(516) 342-2621 Fax: (516) 342-5329
http://www.cai.com
Computer Output Printing, Inc.
4828 Loop Central Drive
Houston, D( 77081
12(713) 666-0911 Fax: (713) 666-0957
COREL Corporation
The Corel Building
1600 Carling Avenue
Ottawa, Ontario K1Z 8R7 Canada
12(613) 728-8200 Fax: (613) 728-9790
http://www.corel.com
Dai Nippon Printing Co. Ltd.
1-11, Kita-Yamabushicho
Shinjuku-Ku
Tokyo 162 Japan
73'011- 81-3-3266-2656
http://www.dnp.co.jp
Dainippon Screen Mfg. Co., Ltd.
Tenjinkita-Cho 1-1, Teranouchi-Agaru
4chome, Horikawa-Dori
Kamikyo-Ku, Kyoto 602 Japan
5011- 81-75-365-3131
Fax: 011- 81-75-414-7606
Datafi le
71 Anson Road
Locking, Weston-Super-Mare
Avon, England BS24 7DQ UK
116011-44-1-934-823-005
Dataproducts
1757 Tapo Canyon Road
Simi Valley, CA 93063
5(805) 578-4000
http://www.dpc.com
Digital Graphix
1280 Blue Hills Avenue
Bloomifeld, CT 06002
12(203) 242-4242
Digital Typeface Corporation
9955 West 69th Street
Eden Prairie, MN 55344
12(612) 944-9264
dtp Types Limited
P.O. Box 336
Crawley
West Sussex, England RH11 8RH UK
5011-44-293-615-469
ESSELTE Esselte N.V.
Industriepark-Noord 30
P.O. Box 85
Sint-Niklaas B-9100 Belgium
5011-32-3-760-3311
Fax: 011-32-3-760-0612
http://www.essette.com
ETP Systems, Inc.
1466 NW Front
Portland, OR 97209
5(503)223-5522
Font World, Inc.
2021 Scottsville Road
Rochester, NY 14623-2021
12(716) 235-6861
General Parametrics Corp.
1250 Ninth Street
Berkeley, CA 94710
12(510) 524 -3950 Fax: (510) 524-9954
http://www.spectrastaccom
Genicom Corporation
1 Genicom Drive
Waynesboro, VA 22980-1999
116 (800) 436-4266 Fax: (540) 949-1392
http://www.genicom.com
Genigraphics Corporation
2 Corporate Drive/Suite 340
Shelton, CT 06484-6206
TT' (203) 542-6988
http://www.genigraphics.com
Gerber Scientific Products
151 Batson Drive
Manchester, CT 06040
12(203) 643-1515
http://www.gspinc.com
Glyph Systems, Inc.
P.O. Box 134
Andover, MA 01810-0003
12(508) 470-1317 Fax: (508) 474-8087
Graphic Products Corporation
1480 S. Wolf Road
Wheeling, IL 60090-6514
12(847) 537-9300 Fax: (847) 215-0111
GST Software Products Limited
Meadow Lane, St. Ives
Huntington
Cambridgeshire, England PE17 4LG UK
5011-44-480-496-789
Eh l
aYJ HEWLETT Hewlett- Packard
Vancouver Division
18110 SE 34th Street
Camas, WA 98607
12(206) 944-8110
http://www.hp.com/
Hewlett- Packard
Boise Division
11311 Chinden Blvd
Boise, ID 83714
12(208) 396-2789 Fax: (208) 396-3457
http://www.hp.com/
Hewlett- Packard
Seattle Division
101 Stewart Street/Ste.700
Seattle, WA 98101-1048
IT (206) 448-9600 Fax: (206) 448-7220
http://www.hp.com/
HOUSEstyle
50-54 Clerkenwell Road
London, England EC1M 5PS UK
12011-44-171-251-3746
S1 IBM
- P.O. Box 1900
6300 Diagonal Hwy
Boulder, CO 80301-9191
V(303) 924-5280
http://www.ibm.com
ILFORD Ilford Limited
West 70 Century Road
Paramus, NJ 07653
5(201) 599-4414 Fax: (201) 599-4373
http://www.ipapercom
Image Club Graphics
wo 833 4th Avenue Southwest, Suite 800
Calgary, Alberta T2P 3T5 Canada
12(403) 262-8008 or (800) 661-9410
Fax: (800) 814-7783
http://www.imagedub.com
International Digital Fonts
1431 6th Street NW
Calgary, Alberta T2M 3E7 Canada
12(403) 282-0512
Kagema AG
Postfach 422
Zurich CH-8051 Switzerland
5011-41-1-321-0600
Kroy, Inc.
14555 North Hayden Road
Scottsdale, AZ 85260
12(602) 948-2222 Fax: (602) 951-7033
Kyocera Electronics Inc.
1321 Harbor Bay Parkway
Alameda, CA 94502-6561
12(510) 748-6680 Fax: (510) 748-6965
http://www.kyocera.com
Lan Software
207 S. Elliott Rd. Suite 203
Chapel Hill, NC 27514
12(919) 968-0789 Fax: (919) 968-0801
http://www.tarisoftware.com
LaserGo, Inc.
9715 Carroll Center Road
Suite 107
San Diego, CA 92126
12(619) 578-3100 Fax: (619) 578-4502
http://www.lasergo.com
LaserMaster Corporation
7156 Shady Oak Road
Eden Prairie, MN 55344
5 (612) 944-9330 Fax: (612) 944-0522
http://www.lasermasteccom
LEXMARK Lexmark International, Inc.
740 New Circle Road
Lexington, KY 40511
12(606) 232-2000 Fax: (606) 232-4659
http://www.lexmark.com
Linotype Library GmbH
Dupont Strasse
Bad Homburg v.d.H
0-61352 Germany
72011-49-6172-4840
In US call (800) 297-7423
e-mail: fonts@ccl.lhag.de
http://www.linotypelibraty.com
Management Graphics, Inc.
1401 79th Street East
Minneapolis, MN 55425
12(612) 854-1220 Fax: (612) 851-6159
Manhattan Graphics Corporation
250 East Hartsdale Avenue
Hartsdale, NY 10530
12(914) 725-2048 Fax: (914) 725-2450
Micrografx, Inc.
1303 Arapaho Road
Richardson, TX 75081-2444
12(214) 234-1769 Fax: (214) 994-6475
http://www.micrografx.com
Afcrosoft Microsoft Corporation
One Microsoft Way
Redmond, WA 98052-6399
12(206) 882-8080 Fax: (206) 936-7329
http://www.microsoft.com
Monotype Typography Inc.
INl 985 Busse Road
mom YP. Elk Grove Village, IL 60007
12(847) 718-0400 or (800) 666-6897
Fax: (847) 718-0500
http://www.monotype.com
Monotype Typography Ltd.
Unit 2, Perrywood Business Park
Sa [fords, Redhill
Surrey, England RH1 5DZ UK
12011-44 -73-776-5959
http://www.monotype.com
NEC NEC
7-1, Shiba 5-Chome
Minato-Ku
Tokyo 108-01 Japan
V011-81-3-3454-1111
http://www.nec.com
QMS
111
NEC
339 North Bernardo Avenue
Mountain View, CA 94043
12(800) 632-4636
http://www.nec.com
Pacific Data Products, Inc.
9125 Rehco Road
San Diego, CA 92121
12(619) 552-0880 Fax: (619) 552-0889
http://www.pacdata.com
PrePress Solutions
11 Mount Pleasant Avenue
East Hanover, NJ 07936
12(201) 887-8000 or (800) 631-8134
http://www.prepress.pps.com
Purup Prepress A/S
(Purup-Eskofot A/S)
Sonderskowej 5
Lystrup DK-8520 Denmark
5011-45-87-43-43-43
QMS, Inc.
One Magnum Pass
Mobile, AL 36618
12(334) 633-4300
http://www.qms.com
Quantel
31 Turnpike Road
Newbury
Berkshire, England RG13 2NE UK
TP011-44-6-354-8222
hap://www.quantel.corn
Ryobi Limited
3-15-1 Sotokanda
Chiyoda-Ku
Tokyo 101 Japan
5011-81-3-3257-1502
Ryobi Limited
762 Mesaki-cho
Fuchu-shi
Hiroshima-ken 726 Japan
V011-81-3-257-1502
Scangraphic GmbH
112-114 Rissener Strasse
Wedel, Hamburg D-22880 Germany
12 0 11- 4 9 - 4 1 0 3 - 8 0 1 0
SoftPress Systems Ltd.
8 Blenheim Office Park
Lower Road, Long Hanborough
Oxon, England OX8 8LN UK
12011-44-1993-882588
Fax: 011-44-1993-883970
http://www.softpress.com
Softwood, Inc.
7776 Pointe Parkway West
Suite 270
Phoenix, AZ 85044
12(602) 431-0949
http://www.softwood.com
rli
r
Stone Type Foundry Inc.
626 Middlefield Road
Palo Alto, CA 94301
12(415) 324-1870 Fax: (415) 324-1783
Strata Inc.
2 West St. George Boulevard
Suite 2100
St. George, UT 84770
12(801) 628-5218 Fax: (801) 628-9756
http://www.strata3d.com/default.html
SUN Microsystems
2550 Garcia Ave.
SUIT Mountain View, CA 94043-1100
5(415) 960-1300 Fax: (415) 969-6649
http://www.sun.com
Synapsis Corporation
5460 White Oak Avenue
Suite A336
Encino, CA 91316-2407
12(818) 906-1596
Tektronix Tektronix, Inc.
z
26600 SW Parkway
Wilsonville, OR 97070-1000
12(503) 685-3180 Fax: (503) 685-3063
http://www.tektronix.com
U.S. Lynx
915 Broadway
New York, NY 10010
12(212) 673-3210 Fax: (212) 673-5261
Varitronic Systems
300 Interchange North
300 Highway 169 South
Minneapolis, MN 55426
12(612) 542-1500 Fax: (612) 541-1503
Vicarious Inc.
Three Lagoon Drive
Suite 300
Redwood City, CA 94065
12(415) 610-8330 Fax: (415) 610-8302
http://www.vicarious.com
VS Software
323 Center Street
Suite 810
Little Rock, AR 72201
13' (501) 376-2083
Wang Laboratories
600 Technology Park Drive
Billerica, MA 01821-4130
5(508) 967-5000
http://www.wang.com
Williams & Heintz Map Corp.
8119 Central Avenue
Capitol Heights, MD 20743
5(301) 336-1143
XEROX Xerox Corporation
555 South Aviation Blvd.
El Segundo, CA 90245
116 (31o) 536-7000
http://www.xerox.com
Xionics
70 Blanchard Road
Burlington, MA 01803
12(617) 229-7000 Fax: (617) 229-7120
http://www.xionics.com
Zenographics, Inc.
34 Executive Park Circle
Suite 150
Irvine, CA 92714-6743
12(714) 851-6352 Fax: (714) 851-1314
http://www.zeno.com

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112
Teaching an Old Acrobat New Tricks (Continued from page 99)
For now, however, most users
have to open their Quark or other file
into the Acrobat software and save it
as a PDF file—a procedure that is not
too complicated. Proper workflow
and printing use of PDF by your service
provider will require the newest
version of RIPS and other systems —
they're in development right now and
should be out within months. But most
of the pre-press industry users agree
that Adobe has addressed their major
concerns with early versions of PDF.
The Acrobat software itself is a
powerful set of applications that lets you
not only write PDF files, but also open,
view, edit and manipulate them. It's a
bit like the universal translator on "Star
Trek"—no matter what you put in, it
comes out as
predictable and
familiar on the
other end. This
could all result
in much fewer
imaging problems,
fewer files
being rerun, and
an easier transition
to direct-toplate
and directto-pressworkflows.
PDF
makes sense for
archiving, too,
although it
doesn't replace
the original
application file.
NOT EVERYTHING TO
EVERYONE
Of course don't forget that PDF files
are small and efficient—they get that
way by simplifying what's there. This
doesn't mean any loss of quality, of
course, but it does mean some lack of
editability. PDF files can be modified
for simple things—fixing a last-minute
typo, changing a color, or deleting a
line. But that's about it—these are meant
to be finished files, not works in progress.
And one drawback at this point
is that it is not possible to import more
than one PDF file into a single page, a
limit that makes PDF less suitable for
things like fractional newspaper ads.
A host of companies have expressed
support for PDF—virtually any RIP
that supports Adobe PostScript 3 can
process a PDF file. Agfa has embraced
the format as the core of its imaging
technology for the near term. Quark
is supposedly working with Adobe to
build in strong PDF support in )(Press,
and you can be sure PageMaker, Illustrator,
Photoshop and other Adobe
products will provide great PDF capabilities
in future versions (many fully
support it now).
I honestly believe that in a year you
won't be sending your Quark files, fonts
and graphics to the printer—you'll be
sending PDF files instead. And if you
e-mail the exact same files to your clients,
they can view and print the job on their
While Acrobat 3.o
isn't perfect for everything
at this point, Adobe is generally
good at listening to
the industry and providing
(Above)
A PDF file carries all
the information needed
to print. Cover, U&Ic
Spring, 1997
(Left)
Details like fonts
are embedded in a
PDF file.
own equipment at
whatever resolution
their device supports.
For online document
storage and retrieval,
Acrobat is already the
best choice. And for
anyone sensitive to
good type and good
layout on the Web,
PDF provides one
possible option.
solutions that work. The current version
of the Portable Document Format
may not be the trendiest format on the
graphics runway today, but it's sensible,
versatile and looks good on almost
any device.
Gene Gable is publisher of Publish
magazine and he can be contacted at
ggable@publish.com .
HEADLINE/BYLINE/SUBHEADS/CAPTIONS . ITC FRANKLIN GOTHIC DEMI, DEMI COMPRESSED HEAVY TEXT/BIO: ITC GAWARD ROMAN, ITALIC
PDF files are
small and
efficient, but
resist heavy
editing.

TECHNOLOGY UPDATE
How to make your car invisible
to radar and laser.../egally►
Rocky Mountain Radar introduces a device guaranteed to make your
car electronically "invisible" to speed traps—if you get a ticket while
using the product, the manufacturer will pay your fine!
by Phil Jones
■ The Phazer will
"jam" both radar
and laser guns,
preventing police
from measuring
your speed.
If your heart doesn't skip a
beat when you drive past a
speed trap—even if you aren't
speeding—don't bother reading
this. I can't tell you how
many times that has happened
to me. Driving down
the interstate with my
cruise control set at eight
miles over the limit, I catch
a glimpse of a police car
parked on the side of the
road. My heart skips a
beat and for some rea-
son I look at my speedometer. After I
have passed the trap, my eyes stay
glued to my rear view mirror, praying
the police officer will pass me
up for a "bigger fish."
It seems that as speed-detection
technology has gotten more
and more advanced, speeding
tickets have become virtually
unavoidable. And although devices
exist that enable motorists
to detect these speed traps, they
are outlawed in many states...
including mine.
The solution. Today, Rocky Mountain Radar
offers drivers like me a perfect solution—the
Phazer. Combining a passive radar scrambler
with an active laser scrambler, the Phazer makes
your automobile electronically "invisible" to
police speed-detecting equipment.
The radar component works by mixing an X,
K or Ka radar signal with an FM "chirp" and
bouncing it back at the squad car by way of a
tell ■ 11.1111■ 11.11■111.111MI■
Reflected radar with an FM "chirp"
Police radar II
Special infrared beam with "noise"
waveguide antenna, effectively confusing the
computer inside the radar gun. The laser component
transmits an infrared beam that has the
same effect on laser Lidar units.
Shown actual size,
the Phazer is only
3'W x 4"L x 1.5"H!
Police laser
Perfectly legal. Some radar devices have been
outlawed because they transmit scrambling
radar beams back to the waiting law enforce-
ment vehicle. The Phazer, however, reflects a
portion of the signal plus an added FM signal
back to the police car. This, in effect, gives the
waiting radar unit an electronic "lobotomy."
Best of all, unless you are a resident
of Minnesota, Oklahoma or Wash-
ington, D.C., using the Phazer is
completely within your legal rights.
MO TO MU Mit INSAPPEAR
Radar and laser scramblers are devices
that foil speed traps by making vehicles
electronically "invisible" to police
radar. Radar scramblers mix a portion of
the radar signal with background clutter
and reflect it back to the squad car. This
technique, pioneered by Rocky Mountain
Radar, creates an unreadable signal that
confuses the computer inside the radar gun.
The laser scrambler in the Phazer
works in a similar manner. It transmits a
special infrared beam with information
designed to scramble the laser signal. The
result? Readouts on police radar and laser
guns remain blank. As far as the police
officer is concerned, your vehicle is not
even on the road.
Circle 5 on Reader Service Card
■ The
Phazer
makes your car
invisible to police
radar and lasers or
the manufacturer will
pay your speeding ticket!
How it scrambles radar.
Police radar takes five to 10 measurements of a
vehicle's speed in about one second. The Phazer
sends one signal that tells the radar the car is
going 15 m.p.h. and another signal that the car is
going 312 m.p.h. Because police radar can't verify
the speed, it displays no speed at all. To the
radar gun, your car isn't even on the road.
Works with laser, too! The Phazer also protects
your vehicle from Lidar guns that use the
change in distance over time to detect a vehicle's
speed. The Phazer uses light-emitting diodes
(LEDs) to fire invisible infrared pulses through
the windshield. Laser guns interpret those pulses
as a false indication of the car's distance,
blocking measurement of your speed. Again, it's
as if your car isn't even on the road.
Risk-free. Thanks to Rocky Mountain Radar,
speed traps don't make my heart skip a beat
anymore. Try the Phazer or the Phantom yourself.
They're both backed by our risk-free trial
and three-year manufacturer's warranty. If
you're not satisfied, return them within 90 days
for a full "No Questions Asked" refund.
The Phazer $199 $14 S&H
The Phantom $349 $18 S&H
Please mention promotional code 2541 -11397.
For fastest service call toll-free 24 hours a day
800-399-7863
Range up to three miles. The
Phazer begins to scramble
both radar and laser signals
as far as three miles away
from the speed trap. Its range
of effectiveness extends to
almost 100 feet away from
the police car, at which point
you should be able to make
visual contact and reduce
your speed accordingly.
Encourage responsible driving.
While the Phazer is designed
to help you (and me) avoid
speed traps, it is not intended to
condone excessive speeding. For that
reason, within the first year, the manufacturer
will pay tickets where the speed limit
was not exceeded by more than 30%, or 15
miles per hour, whichever is less.
Double protection from speed traps. If
the Phazer sounds good, but you prefer to be
notified when you are in range of a police
radar, the Phantom is for you. The Phantom
combines the Phazer (including the Ticket
Rebate Program) with a
radar detector. It's legal
in every state except
Minnesota, Oklahoma,
Virginia and Washington,
D.C. Ask
your representative
for more details!
7;1 LIM
comtradindustries
2820 Waterford Lake Drive, Suite 102 Midlothian, VA 23113

lisle is available at the following locations:
NORTH AMERICA
Bates Art and Drafting Supplies
Art Drafting Digital Source
4901 Century Plaza Rd
Indianapolis, IN 46254
Phone:1 (317) 297-8000 or
1 (800) 745-1345
Fax: 1 (317) 290-7032
Bernard DeBoer, Inc.
113 East Centre Street
Nutley, NJ 07110
Phon.e: 1-973-667-9300
Fax:1-973-667-0086
H.R. Meininger
499 Broadway
Denver, CO 80203
Phone:1-303-698-3838 or
1-800-950-2787
Fax:1-303-871-8676
meininger@aol.com
Parlor News Coffeehouse
135 E. Second Street
Powell, WY 82435
Phone:1 (307) 754-0717
coffee@witnet
www.parlornews.com
Untitled
159 Prince Street
New York, NY 10012
Phone: 1 (212) 982-2088
Fax:1 (212) 925-5533
bevandavies@worldnet.att.net
www.finea.rtinprint.com
EUROPE
Tegnecenter
St Kongensgade, 21
DK-1264 Copenhagen K
Denmark
Phone: 45-33-14-90-33
Fax: 45-33-11-90-33
Central Books
99 Wallis Road
London E9 5LN
England
Phone: 44(0)181-986-4854
Fax: 44 (0)181-533-5821
central@centbks.demon.co .ulc
Shipley Specialist Art Booksellers
70 Charing Cross Road
London WC2H OBB
England
Phone: 44-171- 836-4872
Fax: 44-171-379-4358
Zwemmer Media Arts
24 Litchfield Street
London WC2H 9 NJ
England
Phone: 44-171-240-4157
Fax: 44-171-836-7049
Flammarion 4/ La Hune
170 Boulevard St-Germain
75006 Paris
France
Phone: 33 (1) 45-48-35-85
Fax: 33 (1) 45-44-49-87
Papasotiriou S.A.
International Technical Bookstore
Stournara 35 Athens
Greece
Fax: 30-1-364-8254
Typophilia Publishing and the
Typography Bookshop
6 Delliou Srt.
546 21 Thessaloniki
Greece
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114
Web Design
by the Book
A trio of titles on
Web graphics shows
designers how to
make the most of
existing technology.
BY HAROLD GREY
THE WEB currently offers designers
very little control over the appearance
of visual elements on a page. How
do you create a reliable Web page
when the computer monitor, operating
system, Web browser, modem speed,
and installed fonts all affect its appearance?
While many designers advocate
designing for the lowest coin- mon
denominator, three new books from
New Riders Publishing explain that by
understanding the techni-
cal limitations and variables that will
affect the presentation of your work,
a designer can build a consistent and
reliable Web site without sacrificing
innovation or content.
Designing Web Graphics 2, by
Lynda Weinman, is an up-todate
primer on Web site design.
Weinman, a former designer,
animator and computer consultant
who has taught at the Art
Center College of Design in
Pasadena, California, weds the
technical challenges of Web
design to the design elements,
and places special emphasis
on how to design high-quality,
low-bandwidth graphics that
can be viewed by end users as
quickly as possible.
After a brief introduction to
HTML (HyperText Markup
Language), the underlying code
used to describe all Web pages,
Weinman introduces the most
common file formats used on the
Web, including GIF and JPEG,
carefully explaining issues such
as bit depth, resolution, file compression
and color space. While
these concepts are familiar to
print designers who use high-resolution
images in 24-- or 32-bit
CMYK color, the Web often
turns those standards upside down.
In the Web environment, RGB is the
dominant color space, and often the
goal is to use as few bits as possible to
accurately display an image. As Weinman
explains, one problem for any
Web designer is how to straddle the
line between image quality and file
size. Unlike printed documents, Web
design decisions are often made with
one eye on the clock—how long will
it take for my page and its graphics to
download along a phone line, given
standard modem connections?
Now in its second edition, Designing
Web Graphics quickly moves beyond
the technical into the design realm.
Using numerous full-color screen shots
and images, Weinman explains how
to spec color for a Web page, and how
to work within a range of "browsersafe"
colors that will reproduce reliably
across different computer systems. She
also discusses creating background tiles
and transparent graphics, and shows
how to incorporate design elements
into a Web site such as rules, borders,
navigational buttons and image maps.
Although Web typography is
still in its infancy, Weinman devotes
an entire chapter to it. Unlike print
design, Weinman explains, the Web
offers rudimentary type capabilities
and controls. Body type usually
defaults to a resident system font
such as Times Roman, while headline

■ Lynda We inm
■ Bruce Heavin
Coloring Web on Web pages are help-
Graphics ful in moving printed
discusses the material online. There
unique chal- are also useful exam-
lenge of pre- ples of how tables and
senting color frames have become
on the Web. the standard way of
aligning and positioning
items on a Web page.
Movement, sound and interactivity
are ways of differentiating Web pages
from printed pages, and Weinman, as
a former animator, discusses creating
and including all these
media formats, from
the simplest animated
GIFs and sound files
to sophisticated Quick-
Time movie clips and
Shockwave animations.
The book also includes
a thorough glossary
and explanation of the
most common HTML
tags, and each chapter
contains several URLs
(Uniform Resource
Locators) which point
to more information
about each topic.
COLOR THEORY,
color palettes, and bit
depth are further explored
in Coloring
Web Graphics. Coauthored
by Lynda
Weinman and Bruce
Heavin, a painter
and illustrator who has designed graphics
for numerous books, CD-ROMs
and Web sites, the book discusses the
unique challenge of presenting color
on the Web. For instance, have you ever
looked at a Web site on a Macintosh
and then viewed it on a PC running
Windows? Colors that were intended
to be muted on the Mac suddenly seem
bright and vibrant on the Windowsbased
PC. In some cases, colors appear
to be different altogether due to color
remapping by the operating system.
Through text and a software tutorial,
Coloring Web Graphics explains how
color is handled by different computer
Using
"browser-
safe" colors
assure that
your pages
appear the
same regard-
less of oper-
ating system
or monitor.
platforms, operating systems
and Web browsers, and offers
tips on how designers can
create Web pages that remain
consistent despite the myriad
variables that impact the appearance
of color on screen.
Heavin and Weinman also
offer tips on selecting colors
that will increase the speed of
file downloading, and discuss
the necessity of dithering and
anti-aliasing of graphics. The
book further discusses the concept
of "browser-safe" colors—
the 216 colors that are shared
by the built-in system palettes
used by the Macintosh and Windows
operating systems. Using
"browser-safe" colors assure that
your pages appear the same regardless
of operating system or monitor. However,
the use of such a limited palette
does have drawbacks when showing
photographic images on your site.
While some of the information
in Coloring Web Graphics appears in
Designing Web Graphics, Weinman
and Heavin explain in more detail how
color selection can influence the compression
and size of graphics files. The
book also offers the basics of color theory
and explains the HTML tags for
setting the colors
of backgrounds,
text and links.
While offering
printed specimens
(using CMYK inks)
to represent onscreen
graphics
(using RGB colors)
might seem paradoxical,
the book
includes a companion
CD-ROM
which contains electronic
versions of
the color swatches
printed in the book,
as well as browsersafe
color palettes
which can be loaded
into Photoshop,
Paint Shop Pro,
PhotoPaint, Freehand
and Painter.
The CD-ROM also
contains a collec-
tion of clip art for Web use, sample
HTML pages using different color
combinations, and a collection of patterns,
backgrounds, buttons and
objects that can be customized using
the electronic color swatches. A large
section of the book consists of a
sample Web page presented in different
color combinations that work
well together, and serves as a reference
when deciding on what color
combinations to employ on your site.
ACCORDING TO LYNDA WEINMAN,
one of the benefits of the Web is
that any designer can see how exist-
continued on page 118
115
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fiteldaea
fonts
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Taking the Hint
The technology is willing but
the flesh is weak BY MATTHEW BUTTERICK
I USED TO MAKE MONEY HINTING FONTS. It really wasn't bad work. hinted PostScript fonts for years. There are suc
Nobody really understood it, so they left me alone to do my job, and
when I was finished, they rarely complained. After all, it was done.
but unfortunately, they work about as well as
kern algorithms: okay for government work,
won't impress anyone who can tell good from
HHHHHHHHHHHHHHH HHHHHH H H H
Like kerning, quality hinting only comes from
I was paid a decent rate in accordance with any skilled laborer who erate human effort.
shares his trade with a national population of practitioners which
could fit into a single Boston subway car. With room left over for hinting if there were decent tools for creating
'MENNEN( Emma editing hinted font
the Red Sox.
4 --... r,--- - - -,...,.mr-ws most of the existing
Type design may be an arcane vocation, but hinting is
downright cultish. Hinting involves using a computer
coding language to describe the relationships between the
visual features of an outline typeface in order to preserve
these features when the typeface is rasterized in pixels.
h tools,
autobut
they
bad.
delib-
And this, in turn, might not be insurmour
for the few remaining souls who felt the need t
1.111
MO
MM.
BM
ME
.
are years old, bugg ∎
and require you to
■■
■■
over and over again
only one colleague
cared about screen
enough to get to this
A computer rasterizes a typeface by scaling its fully hinted: look at them at a van-
and after her first le
outline to the appropriate point size, lays it over a
pixel grid, and then turns on the pixels that fall
ety of small screen sizes and note
how clean the letterforms are, all
in the TrueType hin
MIMEO guage, she was cure
within the outline. The problem is that as the grid without the benefit of bitmap fonts.
(Above)
any lingering desire
gets coarser, it's less likely that a given outline will
hit the pixels that best define the shape of the letter
(or any pixels at all), as in the
example to the right.
This capital H isn't hitting 'MEr
the right pixels to look like a capi- T 1
tal H. However, with hinting,
I
you can tell the scan converter (a
I
tool the computer uses to deter- I-
There are a few hitches though. Both PostScript
and TrueType have a facility for hinting, but Postriamma.
51 Script hinting doesn't allow
nearly the amount of control of
TrueType, which has a whole
language written for the purpose.
If you're serious about
hinting that works at screen
resolutions, TrueType is the
This is an example of her own fonts.
a hinted H.
So, can you sen
your fonts to be hinted and will they look bate
Sure, just as I suppose my cooking would taste
if I raised my own livestock. The truth is, the b
that hinting adds to your typeface is getting sty
and smaller; and if this is the first time you're n
about it, it might as well be the last. PostScript
ing ends up being more than adequate for mos
mine which pixels to turn on)
that the horizontal and vertical
stems are more important and
ought to sit on the grid lines,
and that the serifs are less impor- t ■
MIN
MIN
INN
MIL
only game worth playing. But
how many TrueType fonts did
you buy this year? You see the
problem. Type manufacturers
have not exactly been rushing
For hardcore screen use, it's still no big deal to
up a couple of bitmaps to accompany your out
And with screen rasterizers ever-improving (Pi
ing this text with the benefit of greyscale type f
vided by ATM 4.o) the practical benefit of hini
tant and can collapse.
to support a feature of a format fast fades away.
So what's the advantage of hinting over bitmaps? (Above)
they never liked in the first place. Well, now you know why I design Web sit
Hinting is resolution-independent: it describes a set This is an example It's no coincidence that the com- instead. Oh yeah, there's something with prove
of relationships among letter features that are true
regardless of type size. Consequently, with some wellplaced
hints, you can get bitmap-quality letterforms
at all screen sizes.
of an unhinted H.
(Below)
An example of a
run of unhinted H's,
versus hinted H's.
pany that publishes the most
TrueType faces (Microsoft) is the
last great proponent of hinting.
That wouldn't be so bad if
staying power!
It's a great idea. And usually it works pretty well. there were tools for automatically hinting fonts in
All of the core fonts on Windows and the Mac OS are TrueType—after all, Fontographer has automatically
R.RHHHHHHHHHHHHHHHHHEIHEIH
■■ friendly bits of coda
table
o learn
and
. Sadly,
tools
slow,
write
like
"MIRP[m> RGr], 2 18 "
. I had
who
type
s stage,
sson
ting land
of
to hint
d out
r?
better
enefit
caller
ading
hintt
fonts.
whip
line.
-n writroting
es
n
Matthew Butterick is president and creative director
of Atomic Vision, a Web development firm based
in San Francisco. Earlier Butterick worked for several
years as a graphic and type designer. During this time
he designed and engineered typefaces for companies
from Apple to Microsoft to Ziff:Davis, as well as releasing
several successful original designs, such as Wessex
and Hermes.
HEADUNE/CAPTIONS/BYLINE: ITC FRANKLIN GOTHIC DEMI, DEMI COMPRESSED, HEAVY TEXT/B10/CREDFT: RC GALLIARD ROMAN, RAM
116
Illustrations courtesy of Font Bureau

199' SOFTBANN Forums ?resented by Seybold Semi
Ai; names are Me property of their respective holders.
I
III
yl
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1 1 11))111*Il1 1,
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I I 1000)
11111,1010 111 ' 1,11111
ifri,(0111)*( 111,1,1,1,,,
I ° 1 11111
1
I
I
si
A pointed
reminder to
stay on top
of publishing
technology.
The publishing landscape is drama ically
changing. New technologies are re d efining
graphic design, the Internet, photo rap h y,
prepress and printing. Their wides read
impact will be felt for years to c c
Seybold San Francisco, the world' most
comprehensive and respected pub ishing
forum, gives you an unobstructed iew of
these breakthrough technologies. From
innovative new products to money- aking
best practices, we'll show you exact y what
it takes to be a 21st-century publi her.
5o+ Conference Sessions provid an
intensive look at new markets/solutions
Special Interest Seminars guide ou
to profitable, emerging technolo ies
In-depth Tutorials quickly raise our
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30o top companies demo thousands of
products for your business
FREE GUIDE & EXPO PASS
SAVE $50
No one under 16 admitted, including
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CALL: 1-888-473-9265
INT'L: +1-415-372-7078
WWW.SEYBOLDSEMINARS.COM
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Main Conference:
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3-Day Exposition:
cc Redder Sur,tcc Gard
PUBLISHING 9 7
Sept. 29-Oct. 1, 1997
Sept. 29-Oct. 3, 1997
October 1-3,1997
SW97AD45

To place a
classified ad in
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Direct
or for rates and
information, contact
Venture Communications
Print Media, the exclusive
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Call:
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clusinesdirect
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Creators
of
fotirts
letter -fort/Lis
for fitie
cJiscervititici
PAL _
cirel 1 IC! 212-01-17 4
I
vest tier.
ta T tire
1,4 Z
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This ad is set in ITC Iflora T."
Oesi9ned bti Terminal Oesicin
and available from anti
licensed ITC font reseller.
Leiteritrtg Oest vi ,
tiotrt, CtnsiotM er vti
continued from page 115
In Deconstruct- ing pages were con-
ing Web Graphics, structed by simply
Weinman reviews viewing the HTML
techniques used source code for a
in 11 real Web particular site. Most
sites Web browsers offer
a simple menu command
that allows you to view and save
this raw HTML code. In Deconstructing
Web Graphics, Weinman goes one
step further, reviewing the techniques
used to create it real Web sites. Each
of her case studies
illustrates a different
fundamental design
technique or solves a
common Web design
problem. These sites
include HotHotHot,
a site for a small company
that sells exotic
and hard to find hot
sauces, the Discovery
Channel Online and
@tlas, a site which
highlights the work of
independent artists.
The first few sites
show how to create
navigational buttons
and image maps,
enhance navigation
through the use
of frames, position
and align page elements
with tables,
use animated GIFs,
and include forms
for retrieving end user information.
Deconstructing Web Graphics also includes
a few sites which use more
advanced technologies, such as push
and pull, Java, Shockwave and VRML
(Virtual Reality Modeling Language).
Weinman also discusses the different
video and audio formats on the Web,
and the use of CGI scripts in creating
Web page forms.
Replete with color illustrations
and screen shots, Deconstructing Web
Graphics walks through the HTML
source code for portions of each site,
explaining the relevant HTML tags
and breaking the code into a series of
step-by-step tutorials for fledgling
The book
discusses
the pre-
planning
that went
into the
design and
mapping
of each
site.
Web designers. The book
is peppered with useful tips
for creating Web graphics,
such as how to create seamless
background tiles using Photoshop's
Offset filter or adding
a neon glow to a GIF animation,
although most of the tips
are geared mainly toward
Photoshop users.
More importantly, Deconstructing
Web Graphics discusses
the specific goals for each site
and the pre-planning that went
into the design and mapping
of each site—a step that Weinman
stresses is often more
important than the actual creation
of pages. This book
reviews and compares the different
software tools and resources
used to create the pages and artwork,
and offers profiles of the Web designers
which provide insights into the
bridge between traditional print design
and Web design.
Given the breakneck pace of
change on the Web, these three books
may soon become obsolete. Weinman
even jokes that these books may one
day move from the computer section
to the history section in local bookstores.
However, she is
probably too hasty in
her assessment, as many
of the concepts explored
and explained will remain
relevant as long as
there are different hardware
choices and users
who continue to access
the Web using different
modem speeds. Until
the day they become history
books, New Riders
has created a detailed and
cohesive collection of
texts to explain to new
Web designers how to
move from the printed
page to the interactive
Web page. These books
should also appeal to
seasoned Web designers
who want to incorporate
new technologies
in their pages and who
can appreciate the challenges
faced by their contemporaries
designing for the Web.
As new technologies such as
embeddable fonts and Java applets
appear, the palette of tools and techniques
available to Web designers will
only grow. Until new editions of these
books are released, Weinman has set
up her own Web site, www.lynda.com ,
which offers additional, up-to-date
material to complement these books.
Harold Grey is ITC's director of product
and market development.
_1()(4e.sWow
To order these books, (24 hrs, 365 days) please call
(800) 962.6651 ext. 5800 or visit us at http://www.booksnow.com

Web Designer's
Guide to
Typography
An introduction to
type, typography
and the use of type
in Web design.
BY MARGARET RICHARDSON
Web Designer's Guide to Typography,
written by Michael Leary, Daniel Hale
and Andrew DeVigal (Hayden Books),
is an extensive overview of typography
and its applications for designing on
the Web. The major thesis of this text
is that good typography should be the
underpinning for all design, including
Web, site design.
The authors, collectively, acknowledge
that good presentation of type
on the Web can be a challenge given
the current technical limitations. But
each enthusiastically
focuses on what the
problems are and
explains how, with
assiduous effort
and firm commitment,
your type
can look better on
your Web pages.
The opening
section of the book
sets out the basics
of typography in
lucid, precise terms
in a functional, simple
design. This sec-
tion is a comprehensive, no-nonsense
primer and reference for everything
you need to know about typographic
terms and type in use. The last chapter
here introduces fonts created specifically
for the Web, and as soon as the
contrast of these types and those which
previously appeared in typographic
examples becomes clear, the challenge
is on how to make type on the Web
acceptable from a typographic standpoint.
Essentially, this is the task
explored in the remainder of this book.
Part 2 deals with Type on the Web,
providing in the opening chapter a
status report on the Web. Accepting
that "The Web is a mess?' it continues
by hearkening to the scientific and
academic roots of the Internet and then
moves on to the intrusion of designers.
Designers wanted graphic control, with
software companies responding to their
needs. The major dilemma is still based
on HTML restrictions, "which made it
all possible and—at the same time—
made typography so difficult. And the
purists called the designers traitors?'
This is essentially the state we find,
and the crux of why it is so difficult to
make type look like type on the screen.
These authors write from experience.
HTML may be frustrating,
but it is all we have to work with, so
understanding style sheets—and writing
your own—is not just suggested
but demanded. The first detailed
tutorial here explains how to set up
a simple, formatted HTML page.
(The tutorial continues online at www.
hayden.com/internet/type.) The tutorial
approach is used again for specifying
typography for a theoretical literary
online magazine Again, here are detailed
instructions with excellent examples,
with each change emphasizing
a typographic nuance.
Part 3 of the
book deals with
We
Des b
i ner's
Typography
akk ben to discover
the art of Web design
woe.
Type as Image and
moves beyond just
HTML and its limitations
to working
with type in Photoshop
to create GIF,
JPEG or PNG files.
This exploration
continues with creating
type using
other software programs
like Adobe
Illustrator and Macromedia
Freehand.
General informa- Font software and
tion and specific, how it works is also
detailed instruc- explained in detail.
tions make this The last sec-
typographic guide tion of the book
a reference as concentrates on
well as a how-to OpenType and the
book. concluding por-
tion of the book
provides a series of useful Appendices.
The authors manage to convey
one voice and one focused approach
to typography on the Web. There is
no disguising that working with type
on the Web is tedious and detailed but
worth it when you can impose typo-
graphic style to a Web site. The interactive
component of test driving some
of these ideas on the www.hayden.com/
internet/type site adds practical experience
to this typographical guide.
If you love type, and design for
Web sites, this is an invaluable resource
book for you.
119
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