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ITC Take one old s le roman type, then turn it into a pile of little sticks, but keep the classic form of the letters: you might end up with something like ITC Eastwood (named for Clint). At text sizes, it simply looks interestingly rough; at display sizes, it looks like a 16th-century French face seen through a monochrome kaleidoscope. British designer Martin Archer, who now manages a restaurant in Los Angeles, was looking for an ordinary, plain old style typeface with open lowercase letterforms; he ended up using Stempel Gara- mond as his starting point, although Eastwood evolved well beyond its inspiration. With its semi-inline effect, Eastwood looks like a quick outline sketch by the sort of typographer who can quickly draw an intensely elegant serif typeface in a convincing manner. And who knows how to space it properly, too. TM AaBbCcDdEeFfGgfih Iijj KkLIMnaNnOoPp QqRrSsrtUuVvWwXx YyZz&fl -fl@*#%$ 1234567890 BY MARTIN ARCHER AABBCOODEEM11411J4100.1.1VIMAINOOPPOORASSTTUOVVWWXXYVZz FROM AMERICAN WOOD TYPE AABBOODOterffitiff4JKKIJAVIIVINNOOPPOORASSIT fl§ITOINATIONAt. OSE fliwie BY 1.4J1S Ire SMOOT A tot Di% LUIS SIQUOT FOUND THE INSPIRATION FOR ITC FLORINDA IN ROB ROY KELLY'S AMERICAN WOOD TYPE: 1828- 1900, A FERTILE SOURCE Of DISPLAY TYPES RIPE FOR REVIVAL WHEN HE PUBLISHED THE BOOK IN 1969, KELLY THOUGHT THAT ALTHOUGH THE 19m-carom TYPE DESIGNS WERE FINDING NEW USES IN THE WORK Of CONTEiVI PORARY GRAPHIC DESIGNERS, THEY WERE DOOMED TO OBSOLESCENCE. SIQUOT, ON THE OTHER HAND, FINDS THAT THE UNLIMITED POSSIBILITIES Of DIGITAL TYPE GIVE THESE OLD DESIGNS A WHOLE NEW LIFE. HIS MODEL FOR FLORINDA IS IDENTIFIED ON PAGE 316 Of KELLY'S BOOK AS "NO. 515. PATENTED BY WILLIAM PAGE IN 1881:' ALTHOUGH THE SAME CAPTION APPEARS UNDER A DIFFERENT FACE WITH SIMILAR FEATURES ON PAGE 290. SIQUOT, WHO ALSO DESIGNED ITC JUANITA, LEARNED THE NUTS AND BOLTS OF DIGITAL TYPE DESIGN BY DIGITIZING SEVERAL TYPEFACES FROM AMERICAN WOOD TYPE, Of WHICH ELORINDA IS THE FIRST TO BE FINISHED FOR INTERNATIONAL USE. AS HE SAYS, "THE IDEA Of fLORINDA DOESN'T ACCEPT LOWER CASE:' SO HE ADDED SMALL CAPS "TO INCREASE THE COMPOSITION POSSIBILITIES:' TO DO SO, HE REDREW THE SMALL CAPS TO HARMONIZE WITH THE FULL CAPS. "FROM THE MODEL I MAINTAINED THE FORM AND `COLOR' BUT I CHANGED LETTER SHAPES AND PROPORTIONS, ALWAYS TRYING TO BE FAITHFUL TO THE ORIGINAL SHAPE:' TO A MODERN EYE, FLORINDA LOOKS LIKE FRANKLIN GOTHIC WITH BUMPS: A QUIRKY EFFECT AT DISPLAY SIZES, AND AT TEXT SIZES LEGIBLE BUT LOOKING AS THOUGH THE WORDS WERE CROSSED OUT WITH A FINE LINE THROUGH THE MIDDLE. 28
EICIILIO, ORNAMENTED LETTERING BEICH ERUU BY MCA MUELLER CORRSSTTUu VVWW) xcosaz &Pi in@fftrntiESO (11I??4,vm... 127Y567890 rekflith ITC BUCKEROO MAKES NO BONES ABOUT ITS ORIGINS: NOT ONLY DOES IT LOOK LIKE THE BOLD, ORNAMENTED LET- TERING FOUND ON SALOONS IN THE OLD WEST, BUT, WITH THE NOTCHES CUT OUT OF THE ENDS OF THE LETTERS, IT EVEN APPEARS AS THOUGH SOMEONE HAD TAKEN OUT HIS SIN-GUN AND SHOT THE SIGN FULL OF HOLES. RICK MUELLER'S INSPI- RATION FOR Buciusium WAS A BOOK TITLE THAT HE SAW SEV- EMAIL. YEARS AGO, SET IN A VERY BLACK DECORATIVE TYPEFACE. FROM THAT STARTING POINT, RE CREATED HIS OWN DISPLAY TYPEFACE. "I DREW THE BASE SHAPES DIRECTLY IN ILLUSTRA- TOR, THEN MOVED THEM TO FONTOGRAPHER TO BUILD THE ALPHABET AND THE REST OF THE CHARACTERS;' HE SAYS. FT4 DRIMUT ITC Outback ITC DRYCUT, LIKE ITC OUTBACK, IS DV Sellbt PICHII BASED LOOSELY ON THE TRADITION OF HEAVY "WOOD-CUT" TYPEFACES, BUT IT TAKES THE OPPOSITE TACK: A ADUCCDDie SHARP, CLEAN EDGES, EVEN THE WHITE CUT MARKS AND BLACK SLIV- (RS LOOKING LIKE SHARDS OF GLASS. "THE SLIVERS AROUND THE EDGES SUGGEST TRACES LEFT AFTER AWK- WARD MOVEMENTS OF A KNIFE, WHICH ARE OFTEN VISIBLE ON OLD WOODCUTS;' SAYS VANCOUVER- BASED DESIGNER SERGE "FOLK ARTISTS OFTEN DIDN'T CARE MUCH ABOUT REFINING THEIR CARVINGS—THE SLIVERS WOULD HAVE BEEN LEFT AS LON6 AS THE LETTERS REMAINED READABLE:' THE LETTERS ALL HAVE A SLIGHTLY DIAGONAL MOTION, ACHIEVED BY COMBINING A SLIGHT INCLINATION WITH THE DANCING SLIVERS. M 0 0 P P ITC Outback comes out of Bob Atom's background at Photo-Lettering in New York, where he has worked for a total of )) years. Outback is a contemporary typeface in the "distressed" mode, crude and rough, but embodying Alonso's long expe - rience of how a display typeface works. It's condensed, very economical of space, and quite bold. In a way, it weds the rus- tic '105 feel of Rudolph Koch's Neuland with the proportions of a '60s headline face, then roughs up the edges '90s style with a coarse wood-file. Outback is clearly intended for display, but it reads surpris- ingly well at sizes as small as 18 point. A tOti By Bob Alonso AaBbCcDdLe rfGQHhiiJjKk 1,1NmOoPpQq RrIsTtlluilv WwXxYyZz &1111@*.# 0/0StiY (1?"tt>
Page 2 and 3: 0 D ITC On Display. A resource that
Page 4 and 5: iN VT 4) Message from ITC Collabora
Page 6 and 7: # COLLABORATE, YOU COLLABOAATE, WE
Page 8 and 9: WOMAN NEEDS A MAN LIKE A FISH NEEDS
Page 10: Imageand Narrative:A Layered Thingi
Page 13 and 14: d'image,musicand .air? mAhan de sta
Page 16: Creative,5Hedonism BY ANDREA CODROI
Page 20 and 21: hor BY JOYCE RUTTER *AVE
Page 22 and 23: It's about ciel atir an, nvironmen
Page 24 and 25: Have I Told You Abou Together, we c
Page 26 and 27: iTO fONTS T M ITC WILD WEST OirLI 4
Page 30 and 31: When the Stork CIA closes . cdef cj
Page 32 and 33: '50 cYfe-W, rvo; 11) PAJ AAil,r
Page 34 and 35: gleg (Mat Sronto isissfeek.issuctge
Page 36 and 37: ITC Resellers ITC typefaces, includ
Page 38 and 39: (Continued from page 37) Helvetica
Page 40 and 41: lisie is available at the following
Page 42 and 43: ■■■■■tislellusinessIlirec
Page 44: 1K—Km" .""""fvew'*ftw 5—DIGIT 9

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