Volume 8–4 (Low Res).pdf - U&lc

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ient, it was firm enough to permit the finest hairsbreadth edge.He also discovered the joy of using color in his work, and how to dilute ink with quantities of water to create variations in tone.This variety of tone, texture and incidental transparencies give life to his letter forms and to an entire page. "Calligraphy for me;' writes Veljovie,"is a serious play of heart.The sharpness, softness or other quality of letters depends upon the meaning of the text and the mood I am in. Concentration and peace are essential to my work:' Though his work rings with authority, Jovica Veljovie is refreshingly humble; he hands out bouquets to all his mentors.Aside from his teachers at the Academy and Hermann Zapf, he is unabashedly devoted to Mr. Henri Friedlaender of Israel for the influence he has had on his career.Veljovie describes their relationship, and how it came to be: In December 1976, while still a student at the Academy, he created a hand-lettered greeting card and sent it to a few addresses on the A.TVP.I list. Mr.Friedlaender, one of the recipients, responded with a note of thanks, a few words of commendation and a few words of criticism.Veljovie, elated over the critique, has continued to correspond with Friedlaender and eagerly awaits his letters with their comments and suggestions, which he feels have tremendously influenced his work. "FY is the one most responsible that my head, hand and heart are in accordance (sic) when I hold my pen:' Although Veljovie is a fairly recent graduate of the Academy (1979), he already has a number of professional credits to his name. He participated and received a special award in the October Salon in Belgrade, 1979. He was represented at the Victoria and Albert Museum in "A Survey of Western Calligraphy from the Roman Period to 1950:' And in the same year participated in "International Calligraphy lbday" at the ITC Center in New York. His work has also been published in a collection called Modern Scribes and Lettering Artists,published by Studio Vista, London. It isn't a long reach from calligraphy to type design.After his recent visit to the ITC Center and meetings with Aaron Burns and designers Benguiat, DiSpigna and Lubalin,Veljovie was noticeably impressed with the demands and problems of type design, as well as the esthetic latitude. We would not be at all surprised if, in the near future, we receive an alphabet designed by him. Off the top of our heads, we already have a name for it —Veljovie Ultra Fine. — Marion Muller
QUAISA INIQUE C 0 ItIPARATITAI EST! HI QUI TERENTILIS MINUS HARE T UT tiE Pk.'NL. AU QUID AIMANT DIVITI 0 RUMS Quotation from the work of Pubhus lerentius Afer Wooden stick& ink on handmade paper Quotation from Thomas Moore "Irish Melodies': Wooden stick & ink zo /wits loifvf4 4IL ailio vcisAt i. THIS ARTICLE WAS SET IN ITC ZAPF BOOK. 13
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Page 3 and 4: WHERE TYPEFACES FIT IN Typefaces (a
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Page 7 and 8: adapted for the mass market, design
Page 9 and 10: ( CONSOLIDATED A 4 Elaborately Desi
Page 11: ASINNIALVtTSTHEIDENIN:THEMI N D I S
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Page 32 and 33: 32 ITC GALLIARa ROMAN Excellence in
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Page 36 and 37: 36 BEAS TS® It's not exactly a com
Page 38 and 39: 38 JUKEBOX: The Golden Age may be p
Page 40 and 41: U F Even when radios became a stapl
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Page 44 and 45: 44 r) 0 z This was the last jukebox
Page 46 and 47: 46 Something from Everybody for U&l
Page 48 and 49: MA Varityper The Informationists.
Page 50 and 51: 50 Lou Dorfsman and Panaprint Web a
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Page 54 and 55: 54 "I miss ordering pizza from Uno'
Page 56 and 57: 56 CRESCEN'T CPSO.BOPPO cot.m) p.c.
Page 58 and 59: New Sans Serifs & Decoratives lead
Page 60 and 61: 60 WE LOVE A ERTISING AS MUCH ASYOU
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Page 72 and 73:
72 Neenah Paper Neenah — a qualit
Page 74 and 75:
74 Announcing toliNew & Innovative
Page 76 and 77:
76 Name Now Company Firme Firma Tit
Page 78 and 79:
78 If you are not receiving your ow
Page 80:
80 CALENDAR OF EVENTS eri #5 df(kif
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