Volume 9–2 (Low Res).pdf

2
VOLUME NINE. NUMBER TWO, JUNE. 1982
EDITOR: EDWARD GOTTSCHALL
ART DIRECTOR: BOB FARBER
EDITORIAL/DESIGN CONSULTANTS: LOUIS DORFSMAN, ALAN PECKOLICK
EDITORIAL DIRECTORS: AARON BURNS. EDWARD RONDTHALER
ASSOCIATE EDITOR: MARION MULLER
CONTRIBUTING EDITOR: ALLAN HALEY
RESEARCH DIRECTOR: RHODA SPARSER LUBALIN
BUSINESS MANAGER: JOHN PRENTKI
ADVERTISING/PRODUCTION MANAGER: HELENA WALLSCHLAG
ASSISTANT TO THE EDITOR: JULIET TRAVISON
ART/PRODUCTION: ILENE MEHL, ANDREA COSTA. SID TIMM
SUBSCRIPTIONS: ELOISE COLEMAN
©INTERNATIONAL TYPEFACE CORPORATION 1982
PUBLISHED FOUR TIMES A YEAR
IN MARCH. JUNE, SEPTEMBER AND DECEMBER
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ISSN 0362-6245 PUBLISHED IN USA
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AARON BURNS. PRESIDENT
EDWARD RONDTHALER, CHAIRMAN EMERITUS
HERB LUBALIN EXECUTIVE VICE PRESIDENT 1970-1981
ITC OFFICERS 1982:
GEORGE SOHN, CHAIRMAN
AARON BURNS. PRESIDENT
EDWARD GOTTSCHALL. EXECUTIVE VICE PRESIDENT
BOB FARBER, SENIOR VICE PRESIDENT
JOHN PRENTKI. VICE PRESIDENT. FINANCE AND GENERAL MANAGER
EDWARD BENGUIAT. VICE PRESIDENT
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In this issue:
Editorial
Typography needs to be felt. The emotional impact of
the letterforms and the way they are put together
greatly affects the effectiveness of the message they
represent. Page 2.
Thoughts
gb ponder, feed on, muse about or file away for future
contemplation. Page 3.
Chess-People
1500 years of warfare without a casualty! A brief
review of the armies, with special emphasis on the
Knights. Page 4.
Cut...Paste...Pow!
An inspired illustrator and collagist reveals his
sources. Page 10.
Insects
Whatever you may think of them, they are creatures
beloved by their mothers as well as entomologists,
writers, poets, and the illustrator Bernard Darin.
Page 14.
Letters
Pleas, requests, warnings and other expressions of
interest from our readers. Page 16.
Capitalizing on Insects
Another insect fancier presses them into service.
Page 18.
Something for Everybody
Remarkable Words with Astonishing Origins, by
John Train, aptly and amusingly illustrated by
Lionel Kalish. Page 20.
Artists in Wonderland
A visit to a computer graphics research and
development center, where artists use "wands" and
work of days is produced in seconds, Page 22.
Puzzle
Compose yourself and concentrate on finding the
80 composers hidden in the letter grid. Page 26.
Ex Libris
You can't judge books by their covers, but you can
learn a lot about owners if their book plates are
designed by Andrzej Kot. Page 28.
What's New From ITC
ITC Modern No. 216"" is a classical revival, created by
Ed Benguiat, with all the dignity and grace of earlier
"Moderns" plus up-to-date modifications. Page 30.
The Saga of Two Mo's
The colossal genius Mozart is the subject of versatile
virtuoso Mo Lebowitz. Cover, concept, copy and
design—all created by our guest art director,
Lebowitz. Page 36.
This issue of U8cic was mailed to 180,000 readers: 148,000 in the
United States and Canada, and 32,000 abroad. It will be read by
over 500,000 people.
TABLE OF CONTENTS AND EDITORIAL SET IN ITC MODERN NO. 216""
MASTHEAD SET IN ITC NEVVTEXT" (REDUCED).
EDITORIAL
TYPOG
RAPITY
NEEDS TO BE
FELT
With all the current emphasis
(ours included) on technologies, one needs to be
constantly reminded that typography is an essential
and powerful force for increasing communication
effectiveness. That is its essential role. Improved technologies
are only means towards that end.
In this regard a pro-
vocative and very quotable editorial appeared in
the March/April issue in 1981 of Typografische
Monatsblatter,' the Swiss journal of typography. In it,
Helmut Schmidt includes the following observations.
he message needs interpretation.“...not
interpretation as a masquerade of
typefaces but interpretation as an evaluation of
content. Interpretation in the sense of discovering
the message which has been broken up into essential,
minor and insignificant thoughts. Interpretation
not only in advertising but also in literature, and
ideally a close collaboration between form and
content:'
T o bawl, to whisper.
"...To bawl and to whisper, quickly and slowly, all these
are expressions of verbal communication. Reading
matter will also have to bawl and whisper, will have
to run and to stroll, will have to emerge quietly and
lovingly as esthetic experiences."
T
44
ypography lives its own
esthetic life next to the functional typography, the
typography of messages. We read words and sentences
but are not aware of the formal qualities of typefaces
as long as letters are lined up in order to convey a
message:'
To be audible, to be felt.
"Typography need not only be visible and legible.
Typography needs to be audible. Typography needs
to be felt. Typography needs to be experienced.
Typography today does not mean to place, typography
today means to portray?'
At its best, typography
today is a wonderful blend of art and technology. And
that is nothing new It was that way when ideograms
were cut in tablets, or letters were chiseled in stone
or penned on papyrus or scrolls. We just need to
remember that long before today's technologies were
just ideas, and long after they are obsolete, the artist
will have to manipulate some technology so that
typography will be seen, and read, and understood,
and, to be truly effective, be felt.