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VOLUME 24, NUMBER 2, FALL 1997

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Type Trancformationv Wes
ITC continues to transform with new type and a new Web site.

R/Greenberg's opening sequence for Night Falls on Manhattan creates EXECUTIVE PUBLISHER:

MARKJ. BATTY
a masterful optical deception. By Peter Hall.
EDITOR/PUBLISHER: MARGARET RICHARDSON

MANAGING EDITOR: JOYCE RUTTER KAYE

Four new typefaces from ITC build on the influential 1950s script CONTRIBUTING EDITORS:

PETER HALL,
faces of Roger Excoffon. Text by John Berry.
KAREN S. CHAMBERS

GRAPHIC DESIGN :
Although pundits believe print is dead, HardWired proves them ROGER BLACK INCORPORATED:

all wrong, writes Steven Heller. ROGER BLACK, MARYJANE FAHEY,

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A collective and selective surfing of Web sites on type, travel and literature. CREATIVE SERVICES DIRECTOR:

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An annual supplement featuring International Typeface

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be the ideal graphics solution for print and the Web. By Gene Gable. BHA ASSOCIATES INC.

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Handwritten letterforms are the main influences
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1111 - Four new books address Web graphics issues. INTERNATIONALTYPEFACE

CORPORATION 1997.

116 LI kingt Matthew Butterick describes how to refine U8tic (ISSN 0362 6245) IS

PUBLISHED QUARTERLY BY
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YPE ON THE PAGE, on the big screen, and on the ITC has also transformed its capability to introduce,

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monitor are all included in an overview of type display and provide information about new ITC and Web: vewitefonts.com

EDITORIAL/PRODUCTION:
transformations in this issue designed
r, by Rogerz-., Fontek typefaces by launching a revised and expanded Web designedit@aol.com

Black Incorporated. Type, as always, informs a design site at www.itcfonts.com . Designed by Interactive Bureau CIRCULATION: UlcRPappas@aolcom

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in transition as the focus. type samples onscreen and to compare two different type P.O. BOX 129,

Also in this issue, ITC continues its commitment to samples at the same time. Finally, once a desired type design PLAINVIEW, NY 11803-0129.

creating innovative type styles with a range of new Fontek is found, users can quicldy and securely purchase Type i ITC OPERATING EXECUTIVE BOARD 1997

MARK J. BATTY, PRESIDENTAND CEO

faces. For example, Mistral Light, Choc Light, Banco and TrueType versions of the typeface online using a credit RANDY S. WEITZ, CONTROLLER

Light and Bold by ITC are contemporary interpretations card, and have the typeface immediately downloaded to ILENE STRIZVER,

of typefaces created by Roger Excoffon and rendered by their computer. The new Web site also offers information DIRECTOR OF TYPEFACE DEVELOPMENT

ITC FOUNDERS:
Phill Grimshaw. These capture the flair and flourish of for aspiring designers who would like to submit a type- AARON BURNS, HERB LUBAUN,
the Excoffon style for a digital market. Also premiered face idea to ITC, serves as a technical support center for EDWARD RONDTHALER

here are ii display fonts ranging from John Peter's artful . type users, and acts as a springboard to other type-related ITC, U&Ic ANDTHE U&Ic LOGOTYPE

andwityrbueoJMawithITCPer'so sites covering technical, creative and legal issues. Lastly, ARE REGISTERED TRADEMARKS OF

INTERNATIONALTYPEFACE CORPORATION.
to Timothy Donaldson's robust ITC Musclehead. the new Web site is the home of UCIc Online, a supple- MICROFILM (16mm OR 35mm)

This issue also presents the second L/c.'':71c supple- ment to our printed quarterly publication, that features AND MICROFICHE (105mm ) COPIES

OF Mc ARE AVAILABLE FROM

ment of the entire ITC type collection including Fontek expanded text and visuals and frequent editorial updates. UMI, 300 NORTH ZEEB ROAD,
fonts. The ITC typeface collection cover, also designed International Typeface Corporation continues to trans- ANN ARBOR, MI 48106-1346.

by Roger Black Incorporated re-interpets the main cover form and to transform its range and scope of typefaces, PHONE: (800) 521-0600

OR (313) 761-4700.
design and the collection is organized by styles of type: and www. itCfOrITS.com provides constant access to ITC. FAX: (313) 761-3221.

serif, sans serif, display, ornaments and illustration fonts. —Mingaret Richardson VBPA ezigm
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
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MEDIUM CONDENSED ITALIC. BOLD CONDENSED
4
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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.
Continued on page 8

6
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VIIIEr S111111Cir
overprint"
Saturday Sans'
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UL-C997

Circle 3 on Reader Service Card

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
Inspired by an art
book cover and
a city skyline,
that a film reviewer will bother to remark on the
R/Greenberg's
design of a title sequence, but many noticed this ori,
opening titles to Night
the prelude to director Sidney Lumet's film Night Falls
Falls on Manhattan on Manhattan. "An expert opening credit sequence?'
capture the tone and wrote Janet Maslin in The New York Times, "[is] one
feel of a vintage of the little details that give Night Falls on Manhattan
Saul Bass sequence. its color?' "Starkly effective?' wrote Harper Baines of
It was very clever the St. Louis Post-Dispatch, "a stunning abstraction
and respectful of the of the Manhattan evening skyline?'
history of the genre;' Film titles buffs (if such a breed exists) might
notes producer Thom even detect an homage to the genre's forefather,
Mount. This, the Saul Bass, in the sequence, designed by the veteran
more "painterly" solu- effects and titles firm R/Greenberg Associates. It
tion of a shortlist of begins with a thick, blue line descending on a black
four proposals, struck background from the top of the cinema screen, just a
a chord with R/GA, few feet away from where a descending white stroke
Mount and director began Bass's groundbreaking opener to director Otto
Sidney Lumet, Preminger's film The Man with the Golden Arm in 1955.
according to Mount.
Both sequences share a jazz score, and both use stark
"We liked Its reductive
graphics to evoke the mood of the film.
aspect;' he says."It
According to Jakob Trollbeck, who designed and
required the audience
directed the titles at R/Greenberg, the inspiration for
to think, and we liked
the sequence was Manhattan itself. Trollbeck noticed
the idea that truth
the cover of a European art book featuring a simple
and reality are gradu-
composition of type and watercolor brush strokes.
ally revealed to you,
as in the film. The
"Two nights later, I was out in one of those miraculous
more we looked at it,
Manhattan nights where you can see different pieces
the more its abstract of color and gradation in the sky and I thought,
nature appealed." `they're my brush strokes'," he says.
Much of the success of the painterly animation,
however, comes from its contrast with the subse-
quent 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 dis-
covers 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 contempla-
tive, rather than tense opener, and producer Thom
Mount, who had previously worked with R/Green-
berg 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 photo-
graphic montage, another portrayed the city in a
more surreal, painted light, and another— a strong
contender—presented the credits as lights, swim-
ming into focus and then dissolving into the back-

8
 ground as the windows of Manhattan buildings.
Lumet was decisive, however, when he reached the
vertical brush strokes proposal. "It took him liter-
ally 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 lack-
ing something," admits Trollbeck. There was only
Manhattan in a slightly surreal light, using
one solution. "We added a building," he confesses.
"It felt so great!"
A MOUNT/KRAMER PRODUCTION
NIGHT FALLS ON MANHATTAN
Proposal number two portrayed
treated photographs of the city to
enhance its distinctive luminescence.
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 pow-
erless to do anything but wait for the film premiere
to hear it. "I can't say it worked as well;' says Troll-
beck, "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 Ange-
les 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 par-
ticularly 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 num-
ber 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.

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
limitless trickery made available to titles and effects
designers with the advent of the digital studio, com-
puters are demanding beasts. To produce the entire
sequence in-house at R/Greenberg at full film reso-
lution-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 capa-
bilities. For while the skyline painting sequence could
be rendered at lower resolution without any notice-
able 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, mean-
while, was set in QuarkXPress, timed on an Avid The third proposal was especially promising, with the

video machine, then sent to one of New York's opti- credits appearing vertically before fading back to form the
patterns of lighted windows in the skyline.
cal houses, Cineric, to be filmed The resulting
It was discarded, however, partly because of the
"cards"—white type on black film—were sent back
difficulty of reading vertical type.
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 over-
come, Night Falls on Manhattan had one last twist in
NIGHT FALLS ON MANHATTAN
HEADLINE/1EXT/B10: ITC FRANKLIN GOTHIC DEMI, DEMI COMPRESSED, HEAW; ITC GALLIARD ROMAN, ITALIC
SUBHEAD/BYLINE/CAPTIONS: ITC FRANKLIN GOTHIC DEMI, DEMI ITALIC
9
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Choc &Signed in 1955 by R
Page front Mistral brochure from Ponde thap redacm$t
She
died the meta
C\. C haw w ta p 30 Pe when out
'Moder\ f_oropear
1M ^ti (Q wn ha of
ap p s o Grimed O
ff the
to dfsappear stv°‘kes 6(soc7 lased or comes ator e
WeIghturflorrtfy
V\g'"ev' but by
c‘0t sal:\slact°'6't\let'6"111ev Was bas s
pd tended
was a hardwotrg, V...xciotfor Choc tfutchIrgs sakf
prirted at scaaff saes. So the des%grer Ircreased the tr'adMaas laPaaese savosh ca\40PM. \t:lest s
became at affWhey
the thIo strokes to getsetfr
proofed-text a wore
the Ps
herew fe to date, t
haodwobrg \ato type.. each tfrae you Note a fetter, face at IS poIrt or a 600-dpk faser prfoter, cook), WheretOck, staccato, saggestNe,
NNIstraf
Wevgpt he thwas abouth tr196S,'Ihtsfs probabfy the beau
of\ ray otertors ,
rt. changes, dependIrg everythogirora your tfte of the authert‘c brush scvipts "Itosraf"
a\la.f\a‘ofts apparer
r000d to Where the fetter faffs Ili a Word , but each a\thofe showsfacfk rrobaty.
said, 'Vor the fa 1\ av or \N
txrae a typographIc character Is ported, rt. comes see that "thks rew wevghtfuht\\ed of havogbeeo s cap be ratsfeadag; fr tact,
woght ard there
stroke ‘sfor
a
EY,Colloahfroseff e \oWevcase
a forg , the N\fstraf
sacoe, urdertakog seecred or- readabfe arc), lace.
atld poshalefy
does Odeed ea capture
capture the fe
CO35‘5
te
were apse
out exactfy the w ith a Pea-
acimevabf.tokepafther dor,f\thesport- ord the figure Choc ‘s a roo-poragscopt, so
\D haad one probfera.Soceriphas‘s.lhe
M\straf ts a heav‘er raaton oognoot both capvtafs and
tarekty of hardwobrgdesp\te the ogorous imp.er-
castmgIrt \cad, soseeried
-free. soa graphic,
\ost causal,
tflat,`(et.
as, the POO eras of how the fetters touch
Wart Os9VaY cal* but \r‘ 0'004 ver'av\ka\D\e
Was
°ace' ‘1"uv" c3n't \l"e " "\\c•IP15 c"uaknes
sOft Was a \NVItte3
of the fetter re-cre- Sot there
s ree patter ft scr vpt \ratter ‘r show
abve
E..xcott or' s fetters 01963.. \opca\\y be used, b So Grim
sc in t
the doesO
ore wr Or pot rt,O" ost. rapid text y ou otter need to
ates the (farce
typeface of op of said
of wh%chIR.S.1-futchogs them rev erovtgoaf
bo\d" desxgredm`$to took
fook
set ot
,00r.f
5(0\f
at text
caps,saes.
r the same
fa cap-
Was
Osp\ay type desvpl.
crarOOpt:' typefacestob aew \r\ -text.
Wstva\ Soce\ookW,Coag,rtext.
W 006 of o\dsta\e
tterrat\ortaf socoess Shaw added emphasis
the crodera hrstory of
wee,
hoght rucaeOfs of
19531•

wen
Brochure cover for Mistral (desig,necl
 e:
ti a
downs t ok
i‘l e
ietie4 4c7 (sePrAti vv. t.(e of sheet rnetaf. Toe tapervags okews of Banco are
v ab pt
ing
"it‘, (Pcke4 oot4 ■ VIA,
all very uprfght, We a serfes of '0° `P\ace \ d o not s an advertis
0( tiOte1 ‘)e74'
so,o,ested
Mode vsifth a precfse sharp
s are
ianbvus •
t \Noe t
display letter, it is one
Pkre4 ofactyam 1.001111e sffeitsfarit ot aff the fetters, the
the counter
tPt leCktiv ■ of the boldest and
C(Sakg.,O$C, upper ends of strokes, and
tY‘e c\°\jes af\d stva‘g,htffn-eed:oed
taper aod curve give Banco

rieelAt0( 4ellt"A ,a,,og,bevs °fof ng,htrnot‘on. tAce aWnost

most interestinq
the solotke "vnterp\ay
stypofthe
faces, Banco has the effect
iekooN) viand'
-

and to
-
-
or GOO rood.
up -

sttn
■W ad` ,C0{-10' oreoffy ao
cots 510
61;10,140 vvie4 A0vNe
EY 0.ffckfy sketched by a
of befog,

eiAt'i (e (Dui ■ toct

a,\\ Was

acaps Mistral
tinffke typeface,
aodE..xceon -Made no atteropt
Choc, Baoc° to coufd
Wi a"■ 4 type that
desfgo fowercase. 11 the purpose of a oew, ffghter Banco° Neal! by
‘\) tot`t4
t(okt eevvIed to volLtilAe to wa
s to proY \de a cochpa0on als o try a

Ce OkVNA, eVV1 ak-1 VNe0( be used for tex, then WI that oeeded a fower-
versfoo
case-, Grirnshaw decfded that he woufd
O fowercase for toe oogtoaf Wefght
cAean, as \Neff.
posinve ode\ 00ksfr\gthe
vsitifch
1409011110111041
" foWercase,' Grfcnshaysi deftb-
t(e to base an foterpreted
eXistiog, caps as
eratefy "underdegOed" the fowercase,"0 order
CPC' Nst 116 %if

011 Oil
to produce a coosfstextt 'cofor; Whtfe otafntafoiog
I Sitting

ARC)
ec, the sirnpfe fetterforrns evident M the oriOrta1:'
at
pveseried
wed
Ifter\ came the chaffr\g,e of creat4, a tighter v 0--
his 11110P4,..

-0 ?Qggl k(vvivxoportiA
N Ai l
sfoo of Banco. Goroshaw found tnat
the characterfstics of Banco best a \\Otter
yon
alk
6caleOG was to make 'it quite rovrow, angles coodeosed-,thfs 023
acKnoWledges
,., Kemp

St,12 31-6(7 er01-1 pr e- of the erophas\s on the taperfog of the sterns, GOO-
tefully
tii6Ac gra lls and Ca
sin ditf eventGrimshaW
wefghts before
NI shiftedhad
he found that E.xcotfoo the Wefght of the
used 0 the curvesface.
orfOrof sffghtfy toward
Ps part
sented
but a serfous
t'ne face reffes chafferige. had
so fteavify on the shapes ofto
itsredraw Way hecoufd keep the saroe arfg)esbetweeo strokes
the tops of the fettersIhe ifoaf de\g,:n is fess fronie-
bfackest parts that reat:0ga \\Otter Choc
shaW
d'otefy recognaabfe as at.:4:0.t.
varoton areonasBar\co
var \atolls
thanon 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,
ooe that worked as a text lace and rernafned true an°
it sev era\ tOfes Mfstcaf :iht

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 characters,
oreof desfgo and afwaysf-ceepir\g, 'it
the cafffgrap`nic 0 project affowed fro a rare opportunity to study ssOg„
l,oyvevcase Wstra\ ,
work 11C the Ido of divaW\ng,rn‘ ve
--1,C,011011, faces he\ohangto one -00003\‘tv\lasf`dese

0 "0 that had

-ast‘covav
mind Ospfred
qvo\led to be nntennOW io this context' 1\s a which
refatfvefysee
sfrnpfe task, and\
the resufts beffe
of thfs project,
tradkhon
he says. 11 he Vsept the forro of the 'ik frorn the &serial:0ns
ewoff&
it " \r‘
oaf foot, ft ended to fookfog, More like edrChar` an. V(1
hear1-
g. So
yea Woufd Whofeheartedfy approve.
tat
Vt, which that comp\erneote
woufd be m\sfea"the other
x"
character as an
characters
he
1( ok fine
opr(ss(s son
afternate the character set of the fin font. Other that ff E..xcoffoo could -

sty le
athe set': \Pike
savOgthe GncoshaNN,Ocfoded WO
001'1
N.N, whfch uoderWeot MOO changes
anco 1_1(111 i'lP06
adjusted characters, says
',color' and ease of fegOftity:'
Ka Of- V- \?V_O-\ (v■ 1.0
n fo „..
G and rm
for purposes of
for
'011«) LOt goo Wavy by \IC 1950s
\.1(

aod Cf-oc rofght be considered afroost

the Errs
as candidates for fighter versfoos-,
V■135 e
b q( 10\!
Nits
sty
not
strafghtiorward at aff. ft.
yes refeased by the Fooderfe
\Pen, 'PO Vile genera\ eYAA'ans-
o.)0...6\1\1\11,1Nos)0\2.s--. ,23456
01-1(0
---
Conskand
Baoco
0, 1-9621,
at
rap
War
0eaccordfogto CNNI.
Review,
"he geheva\
N\001 ‘S h(d( (\-111\\\ nrOpqrS1.0\0\11 \
too
\IAof World
alg53 arVAcxe to Printing,
v(nproy enlent taste avldBritainand
er\ngsOftnlochenturn typography,
the Conicnon-
weafth, fs sadly aOseot Frarice': V_xcoif on p\ayed
that.
2A\
chars
vOesaid of the then-new Baoco-. "As an adver-
Cousfaxid
r°3\6(
t\s‘ng,,d‘sp\ay \ettev, ce
it isNeufarfd':
one of the bofdest
"Coe and, most
coMpaosoo to
n
IS
Neuf-and iscuts
Mterestog, -apt,
siafthough the stroogiorros of Banco
fook not so Much carved out of wood as roffed out
bonne typographic sUr

13
 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 environ-
ment 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 quan-
tifiable 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 typog-
raphy 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 through- by thousands each year in Nevada's Black Rock
out these print-based products. And the Wired
imprimatur insures the highest degree of futuris-
tic 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
b oar ds i s not the answer. While Hard-
between boards
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" medium that even some Wired pundits brand as
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" Wired has certainly resurrected it for the digital era.
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
Books of the
future: Paper is
alive and well at
HardWired, where
fully fused into a single editorial unit independent design toes the
of the magazine. The cover did not include the line between the
traditional book
Wired logo (as some subsequent books do), but and the next wave.
The Wired brand
the vibrating fluorescent colors shining through frames contempo-
die-cut stencil letters and printed on matte var- rary approaches
to typography and
nished stock evoke an unmistakable Wired feel. page layout that
define the line as
Likewise, Reality Check, a sardonic prediction a unique compo-
of changes in lifestyles in the future (beginning in nent of the Wired
constellation.
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 prob-
lems 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
Desert originally was a pictorial essay in an issue
of Wired. But Plunkett was frustrated by the limi-
tations 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, skel-
etal/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,
, ,
but Plunkett ultimately ncluded a signature of
, included
1
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, sur-
prise is key and shows that there are many different
ways to invoke the futuristic message.
HardWired is an anomaly rooted in a traditional
obsolete. Nevertheless, paper and ink are here to
stay. And even if print were on its deathbed, Hard-
Steven Heller is co-author of Faces on the Edge: Type
Design in the Digital Age (Van Nostrand Reinhold).
The Medium is the Massage McLuhan/Fiore 0400

BURNING p'es`
MAN e
e
The
Medium
iS the

Cal
a p*cktt dicti*nary
f*r the jittErati
as OverhEard py 43arth Branwyn

1. What the digitaL generation

becomes after tanking up on
too much coffee. 2. Fear and
PC
anxiety associated with not
knowing the Latest jargon,
acronyms, and buzzwords of
the OigitaL Revolution.

041001 0 0

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 4 410 0 10f 0
A collective and selective
surfing of World Wide Web
sites of typographic interest,
travel tips and literary merit.
The Word Made Pixel BECAUSE I AM A TYPE DESIGNER-turned-Internet entrepre-
neur, colleagues sometimes ask me whether the advent of the
by Matthew Butterick
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 dif-
ference 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
Allmon Main la
logas
Wok M 9. &W.!! '
11110111
7rpp
Recipe( far a lazzy
% 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-as-
art experience, while
Swoon creates impact
with type. (Bottom)
The CondeNet epicu-
rious.com site fea-
tures food (and travel)
using the resources of
Conde Nast magazines.
I COULD BE WRONG. But as digital
media have evolved, text has played
a central role in facilitating communica-
tion between user and machine, mostly
for practical reasons: text is the most
efficient form of human-computer com-
munication there is. The textual com-
mand-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 Macin-
tosh understood text and typography. Though the
name given to this interface was "graphical," it was really
just as "typographical?' But since then, as the process-
ing 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 "multi-
.
media" 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 indica-
tion that typographic thinking for digital media has too.
MOt1044, "AY SS
10111111/111/14141W
This trend against text in desktop interfaces has
SuraYM--
t4t been magnified tenfold on the Internet. At the very
luld *Mown
least, desktop applications have to conform to the user
*COW 00440
Otsn ►ys obens•la 4arentl
YOrf
interface standards of the platform. Web sites on the
" • '
Internet, however, are not beholden to any such stan-
dards. On the contrary, because viewing a Web site is
laininx Vlatinine BON A PPLTI T 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
Recipes attention. For example, on the Silicon Graphics site
& Ingredien, [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.
.sammer standout 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 con-
straints 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 con-
fines 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 undiffer-
entiated 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 typog-
raphy 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 con-
sistency, 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 news-
paper 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 news-
paper. 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 tradi-
tion to draw on. But it does have one of the first design
departments to recognize that they'd be better off em-
bracing 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 "redis-
covered?' Designers are realizing that pixel for pixel, kilo-
byte for kilobyte, text is a real bargain in terms of what
it costs to download vs. how much it can communi-
cate. 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 par-
ticular strengths of the medium. There are designers
who have learned the ground rules of classic typogra-
phy; 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 mag-
azine motif but really looks and feels like a digital expe-
rience. 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 sur-
vived because it works.
As a postscript, I offer a few examples of great exper- and allows the armchair traveler/gourmand many ways
imental 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 mov-
ing 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 dia-
grams, 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 func-
tion like the most efficient concierge at a luxury hotel,
anticipating your every need and desire, efficiently dis-
pensing 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 guide-
books: it allows you to access a broad range of informa-
tion 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 com-
paratively 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 Record?' Naturally, the site has links to details about
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 envi-
ronment. 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 thank over 5,000 ilastimtioss
Tike ate these )
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,
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. SOW • niis• to apart
64.4 Central America
Rather than aping the identities of those publica- ArkterclicalgEk
Asia
Fuson
MidAh East
tions, 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 destina-
tions and the ability to refine a search to suit the taste Our u
of the traveler. The area is linked to Epicurious Food fist of the
agate deo
so that one may find information about San Francisco tut 25 of t
and then look for restaurants in the Bay area. Bargain
airfares and a Deal of the Week can be found in the p.ptiltr roti
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 SS •
mop
f
t 1.41 - rtt
to< IL hoot
is more cluttered and less graphical than Epicurious
Traveler, but it is extremely comprehensive because it is IIN ubCONTIN ENT
run by the Excite search engine, and so offers numer-
ous 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 (Top) The site for City.
populated by advertisements and corporate sponsors, Net Travel provides
many links related to
but as a clearinghouse of travel information, the site
every aspect of travel
does the trick. information from spe-
For homespun travel information with an irrever- cific sites to guided
ent twist, visit Lonely Planet [www.lonelyplanet.com ], Web Tours. (Center) The
created by this print publisher of more than 200 guide- travel site on epicuri-
ous.com complements
books, which offer the independent traveler "down (and is accessed to)
to earth travel information?' The Web site opens with a the food site in its pas-
3-D push button guide to resources with visuals that tel design with line
play off its space theme so rigorously one might initially drawings and clear type
treatments. The con-
mistake it for the site dedicated to NASA's Sojourner
tent includes relevant
mission on Mars. Once past the home page, however, and timely information
the site efficiently uses illustrative and pictorial icons to culled from its data-
aid navigation to regions and cities of interest. Once base of magazines.
a viewer has clicked on a destination, a wealth of infor- (Below) Lonely Planet.
coin reflects the edi-
mation is provided, ranging from history to culture and torial perspective of
attractions, enhanced by slide shows of GIF images if Lonely Planet publica-
one chooses to see them. The copy is comprehensive tions' "down to earth
and informative, casual but not stodgy and offers intrigu- travel Information:' This
site effectively uses
ing, occasional insider tips about where to find places
navigational images
that are off the beaten path in little sections called "Off and icons and links.
where the Lonely Planet books can be purchased, but
this is handled with great humor in an area unapologeti-
cally 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
21

THE VOICE IN THE CLOSET
by Raymond Federman.
(Top) Home Page for
FlashPoint at Web-
delsol.com . captures
this Journal's esthetic
and literary point of
view. The logo, article
titles and illustration
simulate and estab-
lish 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 head-
ings. "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, con-
temporary 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 fea-
tured destination and whimsical icons leading to high-
lighted specials. Users may also access information on
their destination of interest, but articles are not as in-
depth 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.map-
quest.com] is the perfect travel accessory, with inter-
active 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 person-
alized 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.
"buzzwords" alone, which include: Typographiphobia,
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 Medioc-
rity," an article by FlashPoint editor Carlo Parcelli, pre-
sented on the screen with a vertical FlashPoint logo
HEADLINE/INTRO/SUBHEADS: ITC FRANKLIN GOTHIC HEAW, ITC GALLIARD ROMAN, ITALIC TEXT/CAPTIONS/BYLINES/BIOS: ITC FRANKLIN DEMI CONDENSED; ITC GALLIARD ROMAN, ITALIC
22
border treatment and centered, clean text. This for-
matted 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 estab-
lished 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 Conjunc-
tions with hot links to a selection of prose and poetry,
as well as past issues.
The Web del sol home page is colorful and func-
tional, 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 endeav-
ors to bridge the often vast and howling gulf between
the world of the contemporary literary arts and the cyber-
world?' 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 "Trans-
forming 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 pul-
sating 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 ever-
growing cyberculture. AltX, in other words, is a crash-
course site for electronic lit-crit '97.
It's worth getting to AItX for the list of current
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 comple-
mentary 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 proj-
ects), 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.
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designer must care. In contemporary advertising the perfect integrati esigner must care. In contemporary advertising the perfect integratio

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Light Regular Bold Extra Bold Heavy

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www.itcfonts.com Serif
ITCS lim bac h®
Ro bert S lim bach 1987
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Book Book Italic Medium Medium Italic Bold Bold Italic Black Black Italic
ITC Souve n ir ®
Edward Bengu iat 1970

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de. Its appeal comes from the understanding used in its planning; the
designer must care. In contemporary advertising the perfect integrati

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•
Sumner Ston e 1 988
ITC Sto ne® Informa l

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tude. Its appeal comes from the understanding used in its plannin
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Excellence in typography is the result of nothing more than an attitude. I
is appeal comes from the understanding used in its planning; the design
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ITC Stone®Serif
with P honetic
Su mne r Sto ne 1992

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Excellence in typography is the result of nothing more than an att
itude. Its appeal comes from the understanding used in its planni
ng; the designer must care. In contemporary advertising the perfec
Excellence in typography is the result of nothing more than an attitude. It
s appeal comes from the understanding used in its planning; the designer
must care. In contemporary advertising the perfect integration of design e

aA -ea aA aA aA aA aA
Medium Phonetic Medium Medium Italic Semi Bold Semi Bold Italic Bold Bold Italic
Aldo Novarese 1984

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EdwardMe ier 1 992

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care. In contemporary advertisingthe perfect integration of design elements temporary advertising the perfect integration of design elements often demands u

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• CYRILLIC VERSION AVAILABLE

32 Serif wwwitdonts.com • RELATED STYLES IN OTHER SECTIONS

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Light Light Italic Medium Medium Italic Demi Demi Italic Heavy Heavy Italic

CYRILLIC VERSION AVAILABLE A

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www.itcfonts.com Serif 33
 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.

•
ITC Bailey Sans- ITCAvan t Garde Gothic®ITCAva n t Garde Gothic®

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titude. Its appeal comes from the understanding used in its pl
alining; the designer must care. In contemporary advertising the

aA aA aA aA aA aA aA aA aA aA
Ext a Light Extra Light
Oblique
Book Book Oblique Medium Medium Oblique Demi Demi Oblique Bold Bold Oblique
Edwa rd Beng u iat 1974
Co n de nse d

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Excellence in typography is the result of nothing more than an altitude. Its ap
peal comes from the understanding used in its planning; the designer must c
are. In contemporary advertising the perfect integration of design elements of

aA aA aA aA
Book Medium Demi Bold

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Kevin Bai ley 1996

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appeal comes from the understanding used in its planning; the designer peal comes from the understanding used in its planning; the designer must c
must care. In contemporary advertising the perfect integration of design el are. In contemporary advertising the perfect integration of design elements o

aA Book
aA
Book Italic
aA aA Bold Bold Italic

••
ITCBau haus®

Edwa rd Beng u iat/V icto r Ca ru so 1975

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Light Medium Demibold Bold
ITC Be ngu iat Go thic®

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Edward Be ng u iat 1 97 7, 1 979

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Boo k Book Italic Medium Medium Italic Bold Bold Italic Heavy Heavy Italic
C harlotte Sa ns"

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Mic hae l G i lls 199 2

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omes from the understanding used in its planning; the designer must care. In contem
porary advertising the perfect integration of design elements often demands unorth

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Book Book Italic Medium Bold

• CYRILLIC VERSION AVAILABLE

34 Sans Serif wwwitdonts.com • RELATED STYLES IN OTHER SECTIONS

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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

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ITC Gou dy Sa ns®

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Timo t hy Dona ldson 1 995

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are. In contemporary advertising the perfect integration of design elements of gner must care. In contemporary advertising the perfect integration of

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Boo Medium Demi Bold Ultra

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ITCLegacy®Sans

Ro na ld Arn ho lm 1992

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from the understanding used in its planning; the designer must care. In contemporary a
dvertising the perfect integration of design elements often demands unorthodox typogra

aA aA aA aA aA aA aA
Book Book Italic Medium Medium Italic Bold Bold Italic Ultra

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.

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aA aA aA aA aA aA aA aA
Book Book Italic Medium Medium Italic Bold Bold Italic Black Black Italic

• CYRILLIC VERSION AVAILABLE

36 Sans Serif www.it(fonts.com • RELATED STYLES IN OTHER SECTIONS


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italic is its cursive,flowingform, as opposed-to the more solid form of a roman.
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roman is never the same.

CYRILLIC VERSION AVAILABLE •

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www.itcfonts.com Sans Serif 37
 D i splay
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 Phill Gr ims haw 1986
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Pau l C larke 1 984, 1987, 1 991

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Type gives body and voice to silent thoughts

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 0 ■ rn aments Typographic ornaments have been used since the early 16th century, when they were most often flowers,

• or fleurons, cut in metal to match or complement a type style. In this century ornaments have taken on a
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www.itcfonts.com Ornaments 87
 tration DesignFonts are collections of spot illustrations representing anything from people to concepts to commonplace
objects, all in font form that can be modified and manipulated just like a type font. From whimsical and abstract
fonts to delicate and refined, these images recall techniques like woodcuts, pen and ink, cut paper and pencil etchings.
ft rial* 1esignVonts®
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regular x-height, or slightly taller. When you shrink a full-size cap to imitate a small
cap, IT LOOKS Too LIGHT next to the lowercase letters.
• RELATED STYLES IN OTHER SECTIONS

88 Illustration Fonts www.itcfonts.com

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 Pepp e r Tha rp 1995

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appearance so the thin strokes wouldn't get lost among the thick, and he spaced between the lines
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RELATED STYLES IN OTHER SECTIONS •

wwwitdonts.com Illustration Fonts 93

 yrillic Cyrillic typefaces in the ITC library include a balanced selection of text and display, serif, sans serif
and script designs. All are interpretations based on popular ITC type designs. These typefaces are
developed carefully in order to preserve the integrity and spirit of the original designs, while honoring
the conventions of Cyrillic letterform construction.

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 1997.98 ITC TYPEFACE COLLECTION
Chiller- 48 ITC Golden Type" 29 ITC Slimbach" 32
ITC Gorilla" 58 Mistral" Light by ITC 68 Slipstream- 78
Aachen- 38 Chipper- 49
ITC Goudy Sans" 36 ITC Mithras- 68 Smack - 78
Academy- Engraved 38 Choc 49
ITC Grapefruit - 58 ITC Mixage" 36 Smudger - 78
ITC Aftershock- 38 Choc'" Light by ITC 49
Gravura- 58 Mo' Funky Fresh'" 68 ITC Snap'" 78
Agincourt - 38 Chromium'" One 49
Green- 58 Mo' Funky Fresh - Symbols 91 ITC Souvenir" 32
ITC Airstream" 38 Citation'" 49 ITC Modern No.216" 30
ITC Aki Lines" 38 Claude'" Sans 49 Greyton- Script 58 ITC Spirit'" 79
ITC Grimshaw Hand'" 58 Moderns 91 Spooky'" 79
Algerian Condensed 39 ITC Clearface" 26, 49
ITC Grizzly' 58 ITC Mona Lisa' 68 Spotlight- 79
Ambrose" 39 ITC Clover'" 50
ITC Grouch" 59 Montage'" 68 Squire- 79
ITC American Typewriter" 24, 39 Commercials 88 69
ITC Motter Corpus'" ITC Stained Glass'" 93
ITC American Typewriter" 24 Commerical Script 50 69
ITC Musclehead - ITC Static'" 79
Condensed Com pacta- 50
Hadfield'" 59 ITC Musics" 69 ITC Stone" Informal 32
ITC Angryhog" 39 ITC/LSC Condensed" 50
ITC Anna" 39,94 ITC Conduit"' Hand Drawn 59 ITC Stone' Sans 37
35
Aquinas'" 39 ITC Connectivities- 89 Harlow- 59 ITC Stone" Sans Phonetic 37
Harvey- 59 Naturals 92 ITC Stone Serif" 32
Aquitaine'" Initials 39 Coptek- 50
Hazel- 59 Neo Neo"" 69 ITC Stone Serif* Phonetic 32
Aristocrat" 40 Corinthian"' 50
Heliotype- 59 ITC Neon" 69 ITC Stranger- 79
ITC Arnova- 40 Crillee- 50
Helvetica Condensed 60 ITC Newtext" 31 Strobos" 79
Arribe 40 Cult- 51
ITC Highlander- 36 ITC Noovo- 69 ITC Studio Script" 80, 96
Arriba-Arriba" 40 ITC Cushing" 26
Highlight- 60 ITC Nora'" 69 ITC Stylus- 80
Artiste'" 40 ITC Cyperkugel'" 51
Hollyweircr 60 ITC Novarese" 31 ITC/LSC Stymie Hairline" 80
ITC Atmosphere'" 40
Attitudes 88 ITC Home Improvement'" 90 Superstar'" 80
Augustea Open 40 Dancin' - ITC Honda" 60 ITC Surfboard'" 80
51 ITC Obelisk- 31
ITC Avant Garde Gothic" 34, 94 Data 70 - ITC Hornpype - 60 ITC Symbol" 32
51 Oberon- 70
ITC Avant Garde Gothic* Cond. 34 ITC Humana'" 29 Synchro- 80
ITC Dave's Raves'" One 89 70
ITC Humana'" Sans 36 Odessa" ITC Syndor" 32
Avenida" 41 ITC Dave's Raves- Two 89
ITC Humana'" Script 29 ITC Odyssee'" 37
ITC Dave's Raves'" Three 89 ITC Officina" Sans 37,96
Delectables 89 ITC Officina" Serif 31,96
ITC Backyard Beasties' 88 Tag- 80
Demian- 51 70
Ignatius' " 60 Old English'" Tannhauser- 81
ITC Bailey- Quad Bold 41 ITC Didi" 51
Impakt- 60 One Stroke'" Script 70 Teknik- 81
ITC Bailey Sans" 34 ITC Digital Woodcuts- 51
Incidentals 91 Orange'" 70 Telegram' 81
Balmoral' 41 Digitek- 52
Industrials 91 ITC Orbon - 70 ITC Tern ble- 81
Banco- by ITC 41 ITC Din itials- 52
Indy'" Italic 61 Organics 92 ITCTempus- 81
Bang- 41 Diversions 89
Informal'" Roman 61 Organics 2 92 ITC Tempus"' Sans 81
Banner- 41 Diversities 89
Inscription'" 61 Orlando" 70 ITC Tiepolo" 32
ITC Barcelona" 24 Dolmen'" 52
Inspirations 91 ITC Outback'" 71 ITC Tiffany 33
ITC New Baskerville" 24, 96 ITC Drycut - 52
Iris 61 ITC Out of the Fridge'" 71 Tiger Rag- 81
ITC Bauhaus" 34, 41, 94 Dynamo Shadow 52
ITC Ironwork'" 61 ITC Ozwald" 71 Tiranti- Solid 82
Becka- Script 42
ITC Beesknees" 42, 94 ITC Isadore 61 ITC Tom's Roman' 82
ITC Belter- 42 ITC Isbell" 29 ITC TotSpots- 93
ITC Eastwood'" 52 71
Isis- 61 Pablo" Trackpad - 82
Belwe- 42 Eclectics 90
Italia- 29 ITC Pacella" 31 Tropice Script 82
Bendigo" 42 Edwardian" Medium 52
ITC Panache" 37 ITC True Grit - 82, 96
ITC Benguiat" 24 ITC Edwardian Script'" 53 Papyrus- 71 Twang- 82
ITC Benguiat" Condensed 24 ITC Élan' 27
ITC Jaft - 62 Party- 71 ITC Typados - 82
ITC Benguiat Gothic" 34, 94 ITC Ellipse- 53
ITC Jambalaya- 62 Pendry" Script 71 Type Embellishments One 87
Bergell - 42 Elysium- 27
ITC Jamille" 29 ITC Pete's Miro 72 Type Embellishments Two 87
ITC Berkeley Oldstyle" 25 Emphasis"' 53
Jazz- 62 Pink'" 72 Type Embellishments Three 87
ITC Bernase Roman" 42 Energetics 90
ITC Jellybaby- 62 ITC Pioneer' 72
Beale- 43 Enviro- 53
John Handy - 62 Plaza'" 72 1,Wv
Bertram- 43 Epokha- 53
Jokerman- 62 Pleasure'" Bold Shaded 72 Ulysses'"
Bible- Script & Flourishes 43 Equinox- 53
Journeys 91 Pneume 72 University'" Roman 83
Bickley- Script 43 ITC Eras' 35,53
ITC Juanita- 62 Prague- 72 ITC Uptight Regular" 83
ITC Binary- 43 ITC Esprit' 27
ITC Juice- 63 Premier- 73 Urbans 93
Bitmax- 43 Etruscan'" 54 Primitives 92 ITC Usherwood" 33
ITC Blackadder - 43 Expressions 90 Princetown - 73
Blackmoor- 44
ITC [Caber 36, 63, 95 Pristine 73
ITC BlackTulip- 44
ITC Kallos- 29 Pritchard - 73 Van Dijk- 83
ITC Blaze- 44 Faithful Fly'" 54
Kanban- 63 Pump- 73 Varga- 83
Bluntz" 44 ITC Farmhaus- 54
ITC Bodoni- Seventy-Two 44 Katfish- 63 Vegas- 83
Fashion- 54
ITC Bodoni- Twelve 25 ITC Kendo- 63 ITC Veljovic" 33
ITC Fat Face" 54,95 Quadrus 73
ITC Bodoni- Six 25 ITC Kick" 63 ITC Verkehr - 83
ITC Fenice" 27 ITC Quay Sans- 37
ITC Bodoni Ornaments"' 87 Klee'" 63 Vermont- 84
Figural'" 27 73
ITC Klepto- 64 Quixley- Victorian- 84
ITC Bodoni Brush - 44 Fine Hand'" 54
ITC Korinna" 30, 64, 96 ITC Quorum" 31 Vienna- Extended 84
Boink- 44 ITC Firenze" 54
ITC Bolt Bold' 45 ITC Kokoa- 64 ITC Viner Hand'" 84
Flamenco Inline- 55
ITC Bookman" 25, 45, 94 ITC Kristen'" 64 ITC Vintage'" 84
Flamme 55 Radicals 92
Bordeaux'" 45 ITC Kulukundis- 64 ITC Vinyl'" 84
ITC Flatiron- 55 Rage'" Italic 74
ITC Bradley Hand'" 45 Vivaldi 84
Flight- 55 Ragtime- 74
ITC Braganza' 45 Fling- 55
La Bambe 64 Rapier- 74
Brighton- 45 ITC Flora' 55,95
Lambada- 64 Refracta- 74 Wade'" Sans 85
Bronx- 45 ITC Florinda- 55
Laser- 65 Regatta- Condensed 74 Wanted'" 85
ITC Buckeroo- 46 Follies- 56
Laser- Chrome 65 ITC Rennie Mackintosh'" 66 Waterloo'" Bold 85
Burlington" 46 ITC Fontoon- 56
Latino'" Elongated 65 ITC Rennie Mackintosh'" ITC Weidemann" 33
ITC Busorama" 46 ITC Fontoonies- 90 Initials & Ornaments 87
Buzzer Three 46 Laura- 65 Well Beings 93
Forest- Shaded 56 Retail'" Script 74
LCD- 65 Westwood'" 85
Frances'" Uncial 56 Retro- 74
Le Griffe- 65 Wild Thing'" 85
Frankfurter'" 56 ITC Riptide- 75
Cabaret - 46 ITC Leawood" 30 Wildlife 93
ITC Franklin Gothic" 35, 56, 95 Riva- 75
Cabarge Cursiva 46 ITC Legacy" Sans 36 ITC Wild West - 93
ITC Franklin Gothic" Comp. 35 Robotik- 75
Calligraphic Ornaments 88 ITC Legacy" Serif 30 Willow - 85
ITC Franklin Gothic* Cond. 35 Rom ic- 75
Campaign - 46 ITC Lennox - 65 ITC Wisteria'" 85
ITC Franklin Gothic" ITC Ronde 75
Cancellaresce Script 47 Lexikos- 65 ITC Woodland - 37
X-Compressed 35 Roquette- 75
ITC Cancione - 47 ITC Freddo- Lightnin'" 66
56 Ru'ach- 75
ITC Caribbean- 47 Limehouse- Script 66
Freestyle - Script 57 Rubber Stamp- 76
Carlton- 47 Lino Cut- 66 Xylo- 86
Friz Quad rata 27,95 Rundfunk- 76
Carumba- 47 Locarno 66
Caslon 540 Italic & Swashes 47 ITC Lubalin Graph" 30
ITC Caslon No. 224' 25 ITC Lubalin Graph" Cond. 30 Young Baroque 86
ITC Galliard" 27 Santa Fe- 76
Caxton'" 47 ITC Gamma" 28 Savoye- 76
Celebrations 88 ITC Garamond" 28,95 ITC Schizoid - 76
ITC Century" 25 ITC Machine* 66, 96 ITC Zapf Book' 33
ITC Garamond" Condensed 28 Scratch- 76
ITC Century" Condensed 25 Malibu'" 66 ITC Zapf Chancery" 33, 96
ITC Garamond" Handtooled 57 Scribe 76
ITC Century" Handtooled 48 ITC Malstock- 67 ITC Zapf Dingbats® 87
ITC Garamond" Narrow 28,95 Scriptease - 77
ITC Cerigo- 26 ITC/LSC Manhattan' 67 ITC Zapf International' 33
ITC Gargoonies- 90 Scriptek- 77
Challenge- 48 Marguerite 67 Zaragoza'" 86
Gigi- 57 Scruff' 77
Champers- 48 Mastercard'" 67 ITC Zemke Hand - 86
Gilgamesh- 28 ITC Serengetti - 77
Charlotte 26 ITC Matisse- 67 Zennor- 86
Gill Display Compressed 57 ITC Serif Gothic* 31,77
Charlotte- Sans 34 Mekanik- 67 ITC Ziggy- 86
Gill Kayo Condensed 57 Shaman- 77
ITC Charter'" 26 ITC Mendoza Roman" 30 Zinjaro- 86
Gillies Gothic Extra Bold Shaded 57 Shatter - 77
ITC Cheltenham' 26, 48 68
ITC Giovanni' 28 Sinaloa- 78
ITC Cheltenham" Condensed 26 Glastonbury"' 57 ITC Milano' 67
ITC Situations'" 92
ITC Cheltenham" Handtooled 48 ITC Golden Cockerel'" 28 ITC Minska 68
Skid Row'" 78
ITC Cherie'" 48 ITC Golden Cockerel'" Initials & 87 Mistral'" 68
ITC Skylark' 78
Ornaments 97
w w w.it c f on t s.c o m

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or e-mail us at info@itcfonts.com .
ITC
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 posing of content, digital ad delivery, computer-to-
plate impositioning and a host of other processes
like colors or fabrics, occasionally enjoying stunning comebacks or in which the complexity and linearity of PostScript
crashing falls from grace. Kodak PhotoCD, Live Picture IVUE and was causing extra work.
In version 3.o of Acrobat, Adobe has come around
FlashPix are a few recent stabs at new ways to store and print visual to adding high-end printing features like color sep-
aration support, pattern support, support for OPI
information. A few years ago GIF (Graphics Interchange Format) files (Open Prepress Interface), black generation, under-
were considered the low-resolution, mass market, blue-light-specials color removal, and more sophisticated halftone
screening. Now a PDF file can pretty much carry all
of the graphics world, pretty much limited to rendering screen images the information it needs to print to screen, paper
or to high-resolution film—you can even embed the
and thought to be of no value to the graphic design community: sud- fonts and graphics into a single document file.
denly, thanks to the less-demanding capabilities of the Web, GIFs And since each page in a PDF document is inde-
pendent, you can easily customize printing ranges,
were on even the hippest of designer lips. impose pages, trap pages and generally rip apart a '
document the way printers pre-
All the while, PDF, the Portable Document For- discussed application was fer—this requires a lot
mat at the heart of Adobe's Acrobat software, has destined to be the electronic of work in PostScript.
been quietly enjoying a slow buildup of interest. The paper of the future—a way As it is, most of the pre-
latest version of Acrobat, 3.o, has been greatly antici- for any person with any system press equipment manufac-
pated. No longer constrained by its humble "paper- and any printer to open, view, turers have already developed
less office" roots, PDF has been working out, adding search and print a document. their own internal formats—
features and setting its sights on the professional The currency of Acrobat they take your Quark or
graphics market, where Adobe is most comfortable software is the Portable Docu- Illustrator file, turn it into
(and capable). ment Format (PDF)—a simple something more flexible
file that requires only a small (TaigaSpace, Mainstream,
DON'T LOOK BACK viewer application (given Delta, etc.) then muck
Adobe invented PostScript as a way to describe away free) to see on screen around with it before mak-
pages to various printing devices so that they would and print. When the paperless ing film or printing to a
print in a predictable fashion. PostScript isn't a file office didn't materialize in a press. With the new features
format, it's a general purpose programming language huge way, Adobe dusted off to PDF, they won't necessar-
and quite complex. PostScript files, like those gener- Acrobat as the perfect solution ily have to do this anymore—
ated by QuarkXPress, PageMaker, Illustrator or other for the Web. It was, in a sense, they can do most of what they
applications, call on certain features of PostScript in already a document browser, want directly to the PDF file.
very strict sequence to create a desired result. These only one that could retain orig- Adobe has opened the format
files tend to be large, as they must be completely inal typefaces and layouts, even to outside developers so that
editable, down to the last character or pixel on the over the Internet. And while all kinds of specialized features
last page. In addition, fonts, artwork and other page it hasn't caught on like wildfire for either use, Acro- (Above) can be added. As a format
elements must move along with the PostScript file bat-produced documents are becoming more and Using the cover for passing data along the pro-
of U&Ic, Roger duction and printing process
as separate items. more common both on and off the Web. It actually
Black Incorporated
Quite simply, PostScript files carry way too much is a pretty cool way to send electronic documents— created a PDF file
(after initial creation), PDF
baggage to make them efficient. In the early days no it has always done that well. In Acrobat 3.0 is a good choice.
one really thought we'd be zapping Quark and Illus-
trator files all over the world to be viewed, printed, NOW, MORE THAN EVER WHAT'S IT TO YOU?
modified, enlarged, reduced, laid out and archived Unfortunately, while Adobe was wide-eyed about Soon, you should be able to save a page right out
by who knows whom on who knows what kind of this paperless universe, it neglected to add some of of PageMaker, Illustrator, Quark or other applications
machine and with what version of which software. A the features that would make Acrobat and PDF the directly into PDF format. This you can e-mail right
Quark file can't easily be opened and printed in Page- ideal solution for designers, printers and pre-press pro- to your printer, and eureka —the printer has everything
Maker—and vice-versa. fessionals. This user group was facing more complex it needs to make filth or drive a platesetter. It could
So Adobe invented Acrobat (you may remember telecommunications issues, multi-platform networks be that simple, and probably will be if everyone gets
it fondly by its code name, Carousel). This much- and digital presses, as well as taxing tasks like re-pur- on board.
Continued on page 112
99
 A
Having live or f
adult life, I have never made
picked berries, never grow
garden and never redecorat
linen. But as I look through
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.
 he best magazines are creating this complete experience. In these highly competitive times,

T 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 skim-
reading 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 dis-
turbed 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 experi-
ence, 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 direc-
tion 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

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.

that is communicated by design, whether

or not any other message gets through
(if, in fact, there is a message). Entertain-
ment Weekly is very entertaining, Saveur
is full of delicious spreads and Wallpaper
surrounds you with cool modernism. From
National Geographic to Interview, maga-
zines must portray a consistent worldview
and evoke emotional attachments that re-
affirm 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 status in the '90s. For decades Life was the
ultimate magazine brand, marketing books, photography and products. Then, in the
early 1970s, Life and Look collaps persisted with storyboard photo essays even as televi-
sion became a more powerful v hotoreportage and narratives. What television could not
capture was the single powerf us, photo-icon r It of
personality came to domina magazines. Three s fo
Special interest mag ich didn't need the ass audie hus
while a small publicatio deryPackaging could my have been a trade magazine
Beall's days, today Mo et is a niche consumer ublication founded to make up for "the
shipful attention that een denied by the mainst am pet media:'
 A magazine can be defi brand if the reference lives e when content is repla
example, Martha Stewart L fired. Each has a particular orial tude and an acco
ing visual experience that is tely identifiable, and theref can b y larodied. The publica
Is Martha Stuart Living? mi the't, MSL process so perfectly t its p o story of how to ma
water is almost believable. u fluorescent colors and 'tally anced image manipul
tions, albeit less successfully, to fer he magazine that defin e dig
Magazine design was once editorial design, tha desteased on expressing (or
questioning) the concepts of the a les. is is most obvious i design triumphs of M.F.
Agha at Vogue and Vanity Fair, T.M. Celan • t Fortune and lat 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
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.

r-
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
■
SWEDISH
Feeling a little squeezed m Mat ove prmedstudic ,num.shoebon?
into design magazines. Or perhaps it just Then it might be worth considering the communal ble.
With sociasgn, Scandinavian design and ample spate guiding
the, man ifesto, our interioor editors came up with a ca., cool
means that designers will read anything get tot(eon the fringes &central Staldnohn

that looks interesting enough.

While new magazines tend to have
fewer words on a page, typographic pre-
SOO td

sentation is increasingly critical to the

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

S M1 C
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
Sitc .rd In 41 n
nod b AA.A.vallocantextrr. ounal rurvo .1.11
also the television show and the radio broadcast. It's called Martha Stewart Liv
lit 4, 6 51.1....1 o vantua NJ, a• acoupt MI., 2 I. dr At

mAlsoh,ed ber wr» lr AY ing Omnimedia. Really. Yet, the magazine remains the flagship. It's the vessel
,'d duvni 11» jc..d1 Ned Nu+ sh,,,osbolo,,,, ,

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
4--)-6trJa
i7 e) r
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 alpha-
bet (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

ArCVEFICIII/RINNOMRSTUVWXYZ

ffC MusctchEati
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
is appropriate
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-
wherievEr you pctigi
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
a robust, 'man
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.
&Indy packEel tiara-
writing typE for a

printfel ovEr a
a 11 1
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 IT( 0-1(Kl(m nol

TA10-11(1)0 HWY (ONIMIS() PISr[OY 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

Vlq MOP( (11) ENTIRELY OF created with the brush," she often incorporates
hand lettering into her designs. She based ITC
Cherie on a logo for which she had developed

f!-!ARPIY TAPMP(
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-

STRflIbHT 0!IP Nr\VO STROW.

ese chopsticks crossed, best expresses its
personality. The typeface is entirely capital let-

ITS 11■ 111(111( Of (01TRI(TIO!I IS MOST

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

(1111)(11- IN THE K 0!`19 TR R. lower halves are short. There are also curved forms
of some letters as alternates to the straight forms. This

THE 1-rN(110-1T-11)(9 X 1_001■5 LIFE TWO

variation gives a designer using ITC Cherie the chance
for subtle changes in a line of text.

10r(1110( (HMTIM (IMS(P.

A13(1)([0-IIIMPOPQRXTUVWXYLOr)(1)(NHIIMINOrQRSTOV NXY71)34567890
ITC Ironwork -
1 cy f
GI
(though the curlicues
NE INSPIRATION FOR SERGE PICHII'S
ITC Ironwork was a piece of decorative let-
on the ends of some
tering done in the early 1920s by Jan
Tschichold. Tschichold interlocked a series
letters are present in the
MI 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
loilrerCIIICHOLD LETTER2I G,•:•
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-
Pichii extended this trait
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-
to the lowercase,
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
referring to photographs
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. of iron scrollwork.
ABCDEFGHIJKLMNOPQRITUVWXYZabcdefghijklmnopqrstuvwxyz1254E67890
106
 The tetters m IT( 091100tif

ABCDEFGEUKLIAN PORSTUVWXYZa bcde rghijkimn opqrstuvwxg z123456789 0

r
k rh

Typados are URE 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

Uttie tear 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-

drop-beaded 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

figures with the ornaments, Walton provides a number of alternate letters and single words like "of" and "to."

tapering bodies
that bend 13CDffGtliJ liLM N 0 IT RSTUVWX1T1254567890
themselves into
the shapes
of our alphabet ITC 09 KWH IS ITU DISPHY
white main- filid PS SUITfl
taining a life of
&USING gp
their own.
1TC Typados-
ROXWIIIN
C
IC"" LLY . 1-1" fl
fliGfl
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
&•::f
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-
f01111, Wilfl Elf ill lai-fl ND-
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
MIN \M ►NION (3J"BRUSI-1
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-
STROlifS ON STOIlf.
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.
:41* --"APiz-MNSV
107
 sec ceoyet3- row

otn3CS gFiiNc9,9 %ge970200kgarlia,rXWa icAfrily4bv2opqt3s-tuvwxy3 1234567n0

ABCDEKIIIIKLMNO
ILL BELL'S TASTE FOR VARIETY IS
evident when you compare ITC Clover

TERI KAMAN IS with her other current type release,

e9
ITC Stranger: they couldn't be farther
apart in style or spirit. Where Stranger

FASCINATED is rough, condensed and nervous,

Clover is even, round and friendly,
almost childlike. It looks like the loopy

WITH LETTERFORM5
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-

WITII POINTED 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

STROKES. 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.

MERE THEY C4i/e13 eVe72,

PotOZGe GOZce
friadoey, a lloJof

TWIST IN A SORT OF
cAliaceUe. Sot
4o4s ti,ke #fie ,60s4joy

SINVOVS,
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4ALLVMPIIIN4
Scitioa eSItice02-fs,
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TIM LINE. Gittfiog94 iits inucifi
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IT< SVRFROARDT" roam 4G372ct hoops end
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,
atitztes give
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
Me -typeface a
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
free shapes and the precise edges and angles that create them. cePotai?2,
108
ITC ArKova" svvrawteer the fetter-
N THE WORLD OF CALLI-
graphic lettering, there's
forms to fook tA pre -
as.
efictabfe, as if afAey cotAfer
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
Have been writfe" ik%
fAe saKer, yet Aavii/.5
scrawl, with a hint of the
gilim 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
sc• RHYTHAka—ACKee
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-
fAe varyiK5 bafaKee/
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
cotAKI-erbalaKce tAat-
restAfts sivAciA 1-tie falters
balance/counterbalance that results when the letters are
combined." Cerasoli considers herself a graphic designer

Pt
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. are co mbiKeef.
A3CPER31-4.1JKLAk t4012 0,1Z5T“ \AA/XYZ ab c tf et A ij kfm N mrsfeAvwxyz12311567890

The effect in oatl becalm rie4troefer toorr

yuu lee the strokes themselves; in
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

the effect ,1 a We tougher, more

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

clifftw, asthe bristly mull of some of the

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.

strokes become awl*

DeM4.1193aWNOTV4TIAVWXYZa betiefihijklotHopgrItuvwxyr1231567890
109

International Typeface
Corporation develops and
markets high-quality type-
face designs that are applica-
ble 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 opti-
mal 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
LICENSEES
A.B.Dick-Itek Ltd.
983 Great West Rd.
Adobe =SHOP Brentford, Middlesex, England TW8 9DN UK
13' 011-4 4-181- 5 6 8 - 9 2 97
Adobe Systems Europe Ltd. FontShop Berlin GmbH
West One Business Park Bergmannstrage 102 A.J. Lincoln & Co., Inc.
5 Mid New Cultins Berlin D-10961 Germany 29 Domino Drive
Edinburgh, Scotland EH114DU UK 6 011-49-30-69 58 95 Concord, MA 01742
011-44-131-453-22-11 Fax: 011-49-30-6-9288 65 12(508) 369-1441 Fax: (508) 371-2287
hhtp://www.adobe.com http://www.fontshop.de
Ik1 345 Park Avenue
Adobe Systems Inc.
Adobe Systems Inc. Adobe San Jose, CA 95110-2704
345 Park Avenue 12(408) 536-6000
San Jose, CA 95110-2704
FontWorks Ltd. Fax: (408) 537-6000
65-69 East Road http://www.adobe.com
17 (408) 536-6000
Fax: (408) 537-6000 London, England Ni 6AH UK
13' 011-44-171-490-53 90 Adobe Systems Europe Ltd.
hhtp://www.adobe.com West One Business Park
Fax: 011-44-171-490-5391
5 Mid New Cultins
http://www.type.co.uk
AGFA, Edinburgh, Scotland EH114DU UK
13'011 -44 -131-453 - 22 -11
Agfa Division/Bayer Corp. http://www.adobe.com
90 Industrial Way
Wilmington, MA 01887 Image Club Graphics Agfa Division/Bayer Corporation
Tr (508) 658-5600 or (800) 425-8973 833 4th Avenue Southwest, Suite 800 90 Industrial Way
Fax: (508) 657-8568 Calgary, Alberta T2P 3T5 Canada Wilmington, MA 01887
http://www.agfahome.com/products/prodfam/type.httnt IT (403) 262-8008 or (800) 661-9410 6(508) 658-5600 or (800) 425-8973
Fax: (800) 814-7783 Fax: (508) 657-8568
http://www.imagectub.com http://www.agfahome.com/products/prodfam/type.html
Amiable Technologies Inc.
Bitstream Inc. Scott Plaza Two
215 First Street Letraset Suite 625
Cambridge, MA 02142 Letraset USA Inc. Philadelphia, PA 19113-1518
13' (800) 522-3668 40 Eisenhower Drive 11` (610) 521-6300 Fax: (610) 521-0111
Fax: (617) 868-4732 Paramus, NJ 07652
IT (800) 343-8973 Fax: (201) 845-5047 Anagraph, Inc.
http://www.bitstream.corn
http://www. letraset com 3100 Pullman Avenue
Costa Mesa, CA 92626
6(714) 540-2400 Fax: (714) 966-2400
Bitstream BV Linotype Library GmbH Apple Computer, Inc.
Prinsengracht 659-661 Dupont Strasse 1 Infinite Loop
Amsterdam 1016 HV Bad Homburg v.d.H 0-61352 Cupertino, CA 95014
The Netherlands Germany 12(408)996-1010 Fax: (714) 996-0275
11" (011) 31 20 5200 320 6 011-49-6172-4840 http://www.apple.com
Fax: (011) 31 20 5200 399 In US call (800) 297-7423
Apply Design Group
e-mail: fonts@ccl.lhag.de
Devrientstraf3e 12A
http://www.linotypelibrary.com
Hanover D-30173 Germany
6011-49-511-98057-08
Bitstream UK MONOTYPE http://www.tripleclick.de/apply-design-group/apply_(e)
The Atrium Court; Apex Plaza
Reading Bershire RG1 1AX Monotype Typography Ltd. Architext Inc.
England Unit 2, Perrywood Business Park 121 Interpark Boulevard
17(011) 44 118 925 4229 Salfords, Redhill Suite 208
Fax: (011) 44 118 956 0380 San Antonio, TX 78216
Surrey, England RH1 5DZ UK
6(210)490-2240
13' 011-44-73-776-5959
A• \ http://www.monotype.com
http://www.atext.com/
Aston Electronic Design Ltd.
E+F Designstudios 123/127 Deepcut Bridge Road
Friedensallee 44 ParaGraph International Deepcut, Camberley
Hamburg 0-22765 Germany 32 Krasikova Street/19th FL Surrey, England GU16 6SD UK
6 011-49-40-3988 3988 Moscow 117418 Russia 13' 011- 4 4 - 2 5 2 - 3 6 - 2 2 1
Fax: 011-49-40-3988 3999 73' 011-7-095-129-1500
Autologic Information International, Inc.
Fax: 011-7-095-129-0911
1050 Rancho Conejo Boulevard
FACES http://www.paragraph.com/paratype Thousand Oaks, CA 91320
6(805)498-9611 Fax: (805) 499-1167
Faces, Ltd. http://www.autologic.com
549 Yorktown Road
r r) Pe •
Collegetown, Camberly Berthold Systeme GmbH
Surrey, England GU15-4PX UK Precision Type Berliner Strasse 27
Tr 011-44-0276-38888 47 Mall Drive Berlin 0-13507 Germany
Fax: 011-44-0276-38111 6011-49-89-6114-091
Commack, NY 11725
13' (800) 248-3668 Fax: (516) 543-5721 Bitstream Inc.
(,10
4!) Athenaeum House
FontHaus Treacyfaces 215 First Street
Cambridge, MA 02142
1375 Kings Highway East akacletnersi 6(800) 522-3668 Fax: (617) 868-4732
Fairfield, CT 06430 Treacyfaces http://www.bitstream.com
13' (800) 942-9110 43 Maltby Avenue
Fax: (203) 367-1860 British Broadcasting Corporation
West Haven, CT 06516
http://users.aol.com/fonthaus Broadcasting House
13*(203)389-7037 London, England W1A IAA UK
Fax: (203)389-7039 12011-44-171-580-4468
111C:SHOP www.treacyfaces.com http://www.bbc.co.uk
FontShop Australia Canon Canon, Inc.
343 Sydney Road
Type Associates 16-1 Shimonoge 3-Chome
AUS-Brunswick Takatsu-Ku, Kawasaki-Shi
2 Kerri Court
Victoria 3056 Australia Kanagawa 213 Japan
Huntington Station, NY 11746
6 011-61-3-9388-2700 6011-81-3-3758-1205
Chicago, IL 60604
Fax: 011-61-3-9388-2818 http://www.canon.com
6(800) 297-7423
Fax: (516) 549-5847 Carter & Cone Type Inc.
ipSHOP &CONE
TYPE1Nc 2155 Massachusetts Avenue
Cambridge, MA 02140
FontShop BVBA (Belgium)
Type USA 6(617)576-0398 Fax: (617) 354-4146
Hutsepotstraat 36
53 West Jackson Blvd.
Zwijnaarde 9052 Belgium Cello-Tak
IT 011-32-9-220-26-20 Suite 909 35 Alabama Avenue
Fax: 011-32-9-220-34 45 Chicago, IL 60604 Box 120
U(800) 897-3892 Island Park, NY 11558
IC SHOP Fax: (312) 360-1997 6(516) 431-7733 Fax: (516) 431-7736
FontShop France Chartpak
6, rue Desaix 1 River Road
Leeds, MA 01053
Paris 75015 France
6(413) 584-5446 or (800) 762-7918
Tr 011-33-1-43-06 92 30
Fax: 011-33-1-43 06 54 85
http://www.fontshop.jca.fr
Ell DISPLAY Reseller
110
 Claris Corporation
5201 Patrick Henry Drive
Glyph Systems, Inc.
P.O. Box 134
Management Graphics, Inc.
1401 79th Street East rli
r Stone Type Foundry Inc.
626 Middlefield Road
Santa Clara, CA 95052 Andover, MA 01810-0003 Minneapolis, MN 55425 Palo Alto, CA 94301
12(408) 987-7305 Fax: (408) 987-7558 12(508) 470-1317 Fax: (508) 474-8087 12(612) 854-1220 Fax: (612) 851-6159 12(415) 324-1870 Fax: (415) 324-1783
http://www.claris.com
Graphic Products Corporation Manhattan Graphics Corporation Strata Inc.
ColorAge 1480 S. Wolf Road 250 East Hartsdale Avenue 2 West St. George Boulevard
900 Middlesex Turnpike Wheeling, IL 60090-6514 Hartsdale, NY 10530 Suite 2100
Building 8 12(847) 537-9300 Fax: (847) 215-0111 12(914) 725-2048 Fax: (914) 725-2450 St. George, UT 84770
Billerica, MA 01821 12(801) 628-5218 Fax: (801) 628-9756
12(508) 667-8585 Fax: (508) 667-8821 GST Software Products Limited Micrografx, Inc. http://www.strata3d.com/default.html
Meadow Lane, St. Ives 1303 Arapaho Road
Computer Associates International, Inc. Huntington Richardson, TX 75081-2444 SUN Microsystems
1 Computer Associates Plaza Cambridgeshire, England PE17 4LG UK 12(214) 234-1769 Fax: (214) 994-6475 2550 Garcia Ave.
Islandia, NY 11788-7000 5011-44-480-496-789 http://www.micrografx.com SUIT Mountain View, CA 94043-1100
5(516) 342-2621 Fax: (516) 342-5329 5(415) 960-1300 Fax: (415) 969-6649
Eh l HEWLETT
Hewlett - Packard Afcrosoft Microsoft Corporation http://www.sun.com
http://www.cai.com aYJ
Vancouver Division One Microsoft Way
Computer Output Printing, Inc. 18110 SE 34th Street Redmond, WA 98052-6399 Synapsis Corporation
4828 Loop Central Drive Camas, WA 98607 12(206) 882-8080 Fax: (206) 936-7329 5460 White Oak Avenue
Houston, D( 77081 12(206) 944-8110 http://www.microsoft.com Suite A336
12(713) 666-0911 Fax: (713) 666-0957 http://www.hp.com/ Encino, CA 91316-2407
Monotype Typography Inc. 12(818) 906-1596
Hewlett - Packard 985 Busse Road
momINl
COREL Corporation
Boise Division YP. Elk Grove Village, IL 60007 Tektronix Tektronix, Inc.
The Corel Building z
1600 Carling Avenue 11311 Chinden Blvd 12(847) 718-0400 or (800) 666-6897 26600 SW Parkway
Ottawa, Ontario K1Z 8R7 Canada Boise, ID 83714 Fax: (847) 718-0500 Wilsonville, OR 97070-1000
12(613) 728-8200 Fax: (613) 728-9790 12(208) 396-2789 Fax: (208) 396-3457 http://www.monotype.com 12(503) 685-3180 Fax: (503) 685-3063
http://www.corel.com http://www.hp.com/ http://www.tektronix.com
Monotype Typography Ltd.
Dai Nippon Printing Co. Ltd. Hewlett - Packard Unit 2, Perrywood Business Park U.S. Lynx
1-11, Kita-Yamabushicho Seattle Division Sa [fords, Redhill 915 Broadway
Shinjuku-Ku 101 Stewart Street/Ste.700 Surrey, England RH1 5DZ UK New York, NY 10010
Tokyo 162 Japan Seattle, WA 98101-1048 12011 - 44 - 73 - 776 - 5959 12(212) 673-3210 Fax: (212) 673-5261
73'011 - 81 - 3 - 3266 - 2656 IT (206) 448-9600 Fax: (206) 448-7220 http://www.monotype.com
http://www.hp.com/ Varitronic Systems
http://www.dnp.co.jp
NEC NEC 300 Interchange North
Dainippon Screen Mfg. Co., Ltd. HOUSEstyle 7-1, Shiba 5-Chome 300 Highway 169 South
Tenjinkita-Cho 1-1, Teranouchi-Agaru 50-54 Clerkenwell Road Minato-Ku Minneapolis, MN 55426
4chome, Horikawa-Dori London, England EC1M 5PS UK Tokyo 108-01 Japan 12(612) 542-1500 Fax: (612) 541-1503
Kamikyo-Ku, Kyoto 602 Japan 12011-44-171-251-3746 V011-81-3-3454-1111
http://www.nec.com Vicarious Inc.
5011 - 81 - 75 - 365 -3131
- - -
Fax: 011 81 75 414 7606- S1 IBM Three Lagoon Drive
- P.O. Box 1900 NEC Suite 300
Datafi le 6300 Diagonal Hwy 339 North Bernardo Avenue Redwood City, CA 94065
71 Anson Road Boulder, CO 80301-9191 Mountain View, CA 94043 12(415) 610-8330 Fax: (415) 610-8302
Locking, Weston-Super-Mare V(303) 924-5280 12(800) 632-4636 http://www.vicarious.com
Avon, England BS24 7DQ UK http://www.ibm.com http://www.nec.com
VS Software
116 011-44-1-934-823-005 323 Center Street
ILFORD Ilford Limited Pacific Data Products, Inc.
Dataproducts West 70 Century Road 9125 Rehco Road Suite 810
Paramus, NJ 07653 San Diego, CA 92121 Little Rock, AR 72201
1757 Tapo Canyon Road
5(201) 599-4414 Fax: (201) 599-4373 12(619) 552-0880 Fax: (619) 552-0889 13' (501) 376-2083
Simi Valley, CA 93063
5(805) 578-4000 http://www.ipapercom http://www.pacdata.com
Wang Laboratories
http://www.dpc.com 600 Technology Park Drive
Image Club Graphics PrePress Solutions
Digital Graphix wo 833 4th Avenue Southwest, Suite 800 11 Mount Pleasant Avenue Billerica, MA 01821-4130
Calgary, Alberta T2P 3T5 Canada East Hanover, NJ 07936 5(508) 967-5000
1280 Blue Hills Avenue
12(403) 262-8008 or (800) 661-9410 12(201) 887-8000 or (800) 631-8134 http://www.wang.com
Bloomifeld, CT 06002
Fax: (800) 814-7783 http://www.prepress.pps.com
12(203) 242-4242
http://www.imagedub.com
Williams & Heintz Map Corp.
Digital Typeface Corporation Purup Prepress A/S 8119 Central Avenue
International Digital Fonts (Purup-Eskofot A/S) Capitol Heights, MD 20743
9955 West 69th Street
1431 6th Street NW Sonderskowej 5 5(301) 336-1143
Eden Prairie, MN 55344
12(612) 944-9264 Calgary, Alberta T2M 3E7 Canada Lystrup DK-8520 Denmark
XEROX Xerox Corporation
12(403) 282-0512 5011-45-87-43-43-43
555 South Aviation Blvd.
dtp Types Limited
Kagema AG QMS, Inc. El Segundo, CA 90245
P.O. Box 336 QMS
Postfach 422 One Magnum Pass 116 (31o) 536-7000
Crawley
Zurich CH-8051 Switzerland Mobile, AL 36618 http://www.xerox.com
West Sussex, England RH11 8RH UK
5011-44-293-615-469 5011-41-1-321-0600 12(334) 633-4300
http://www.qms.com Xionics
Kroy, Inc. 70 Blanchard Road
ESSELTE Esselte N.V.
14555 North Hayden Road Quantel Burlington, MA 01803
Industriepark-Noord 30
Scottsdale, AZ 85260 31 Turnpike Road 12(617) 229-7000 Fax: (617) 229-7120
P.O. Box 85
12(602) 948-2222 Fax: (602) 951-7033 Newbury http://www.xionics.com
Sint-Niklaas B-9100 Belgium
5011-32-3-760-3311 Berkshire, England RG13 2NE UK
Kyocera Electronics Inc. TP011 - 44 - 6 - 354 - 8222 Zenographics, Inc.
Fax: 011-32-3-760-0612
1321 Harbor Bay Parkway hap://www.quantel.corn 34 Executive Park Circle
http://www.essette.com
Alameda, CA 94502-6561 Suite 150
ETP Systems, Inc. 12(510) 748-6680 Fax: (510) 748-6965 Ryobi Limited Irvine, CA 92714-6743
1466 NW Front http://www.kyocera.com 3-15-1 Sotokanda 12(714) 851-6352 Fax: (714) 851-1314
Portland, OR 97209 Chiyoda-Ku http://www.zeno.com
Lan Software Tokyo 101 Japan
5(503)223-5522
207 S. Elliott Rd. Suite 203 5011-81-3-3257-1502
Font World, Inc. Chapel Hill, NC 27514
2021 Scottsville Road 12(919) 968-0789 Fax: (919) 968-0801 Ryobi Limited
Rochester, NY 14623-2021 http://www.tarisoftware.com 762 Mesaki-cho
12(716) 235-6861 Fuchu-shi
LaserGo, Inc. Hiroshima-ken 726 Japan
General Parametrics Corp. 9715 Carroll Center Road V011-81-3-257-1502
1250 Ninth Street Suite 107
Berkeley, CA 94710 San Diego, CA 92126 Scangraphic GmbH
12(510) 524 - 3950 Fax: (510) 524-9954 12(619) 578-3100 Fax: (619) 578-4502 112 - 114 Rissener Strasse
http://www.spectrastaccom http://www.lasergo.com Wedel, Hamburg D-22880 Germany
12 0 11- 4 9 - 4 1 0 3 - 8 0 1 0
Genicom Corporation LaserMaster Corporation
1 Genicom Drive 7156 Shady Oak Road SoftPress Systems Ltd.
Waynesboro, VA 22980-1999 Eden Prairie, MN 55344 8 Blenheim Office Park
116 (800) 436-4266 Fax: (540) 949-1392 5 (612) 944-9330 Fax: (612) 944-0522 Lower Road, Long Hanborough
http://www.genicom.com http://www.lasermasteccom Oxon, England OX8 8LN UK
12011-44-1993-882588
Genigraphics Corporation LEXMARK Lexmark International, Inc. Fax: 011-44-1993-883970
2 Corporate Drive/Suite 340 740 New Circle Road http://www.softpress.com
Shelton, CT 06484-6206 Lexington, KY 40511
-
TT' (203) 542 6988 12(606) 232-2000 Fax: (606) 232-4659 Softwood, Inc.
http://www.genigraphics.com http://www.lexmark.com 7776 Pointe Parkway West
Suite 270
Gerber Scientific Products Linotype Library GmbH Phoenix, AZ 85044
151 Batson Drive Dupont Strasse 12(602) 431-0949
Manchester, CT 06040 Bad Homburg v.d.H http://www.softwood.com
12(203) 643-1515 0-61352 Germany
http://www.gspinc.com 72011-49-6172-4840
In US call (800) 297-7423
e-mail: fonts@ccl.lhag.de
http://www.linotypelibraty.com
111
 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 ser-
vice provider will require the newest
version of RIPS and other systems —
0 oateveace they're in development right now and
Ply C
SepkecobeS 1991 should be out within months. But most
Ve3.6\c`g of the pre-press industry users agree
-`e, Or` e'cs \\••1
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 (Above)
predictable and A PDF file carries all
familiar on the the information needed
to print. Cover, U&Ic
other end. This
Spring, 1997
could all result (Left)
in much fewer Details like fonts
imaging prob- are embedded in a
lems, fewer files PDF file.
ptOts being rerun, and own equipment at
ratt:16 de an easier transi- whatever resolution
loocA`i \,\\00)0\(
,4,1% ar\ tion to direct-to- their device supports.
plate and direct- For online document
to-press work- storage and retrieval,
-N
1\a' \(oks3caa flows. PDF Acrobat is already the
v \
Feed ooOSC\ makes sense for
Jai` best choice. And for
Pe\c ,l oo\a3 archiving, too, anyone sensitive to
a\ (\l
0,cao v,vv( os although it good type and good
j'\o doesn't replace layout on the Web,
vt,o\DeS ro,\\ the original PDF provides one
\\,0 ca ,( 0,61-° application file. possible option.
co es
usete
fop NOT EVERYTHING TO
N\°Pe \1 5.3\ EVERYONE
A
0 3\1- C;( Of course don't forget that PDF files
9°e\1 1 are small and efficient—they get that
'OB\I \a c.Aos
way by simplifying what's there. This
\v\c'e vkaV \leN
doesn't mean any loss of quality, of
1\\°\''ae -\00\e'( course, but it does mean some lack of
3,- .`0 3c\ •Nos\-\\
pc\ v1/4 \( editability. PDF files can be modified
?okess co° (N for simple things—fixing a last-minute
03\i\ e•1 typo, changing a color, or deleting a
raes
line. But that's about it—these are meant
)2' i\oasvaN to be finished files, not works in pro-
cyc Ner\ 000
gress. And one drawback at this point
v,do 03,64,e'( is that it is not possible to import more
than one PDF file into a single page, a
\ 6? 2S\ \s vOG\ limit that makes PDF less suitable for
Oa
things like fractional newspaper ads.
p,oss JO
A host of companies have expressed
.)as se vvea support for PDF—virtually any RIP
c oos er ,ccom .
that supports Adobe PostScript 3 can While Acrobat 3.o PDF files are
\( 5V`e\( 1 .2,coW
\ ,No sec'c\
process a PDF file. Agfa has embraced isn't perfect for everything small and
itat'oev viovelaxWn \\NB\
the format as the core of its imaging at this point, Adobe is gen- efficient, but
resist heavy
ease cootact technology for the near term. Quark erally good at listening to editing.
is supposedly working with Adobe to the industry and providing
Ssc-Oot\ \ivog
CoOetec\ce \ce build in strong PDF support in )(Press, solutions that work. The current ver-
0\ and you can be sure PageMaker, Illus- sion of the Portable Document Format
0 Fk\dge\Nay ckoaa trator, Photoshop and other Adobe may not be the trendiest format on the
10 1,Suc.ceN products will provide great PDF capa- graphics runway today, but it's sensible,
P,e 60\ \-\ ■)\( bilities in future versions (many fully versatile and looks good on almost
?,\A1 support it now). any device.
1131 12,0'00
I honestly believe that in a year you Gene Gable is publisher of Publish
0)
11'31 1'60160 ..),\( won't be sending your Quark files, fonts magazine and he can be contacted at
t co
vog and graphics to the printer—you'll be ggable@publish.com .
f ato
sending PDF files instead. And if you
e atycies
ONV-.11\foN\N aky .(-5(g e-mail the exact same files to your clients,
they can view and print the job on their
HEADLINE/BYLINE/SUBHEADS/CAPTIONS . ITC FRANKLIN GOTHIC DEMI, DEMI COMPRESSED HEAVY TEXT/BIO: ITC GAWARD ROMAN, ITALIC

112
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
If your heart doesn't skip a
beat when you drive past a
speed trap—even if you aren't
speeding—don't bother read-
ing this. I can't tell you how
many times that has hap-
pened to me. Driving down
■ The Phazer will the interstate with my
cruise control set at eight
"jam" both radar
miles over the limit, I catch
and laser guns,
a glimpse of a police car
preventing police
parked on the side of the
from measuring
road. My heart skips a
your speed. 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, pray-
ing the police officer will pass me
up for a "bigger fish."
It seems that as speed-detec-
tion technology has gotten more
and more advanced, speeding
tickets have become virtually
unavoidable. And although de-
vices 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
Special infrared beam with "noise"
Police laser
waveguide antenna, effectively confusing the
computer inside the radar gun. The laser com-
ponent 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!
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 de-
vices that foil speed traps by making vehi-
cles electronically "invisible" to police
radar. Radar scramblers mix a portion of
the radar signal with background clutter
II 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 ver-
ify 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 pro-
tects 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 puls-
es 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.
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 dri-
ving. While the Phazer is de-
signed to help you (and me) avoid
speed traps, it is not intended to
condone excessive speeding. For that
reason, within the first year, the manufac-
turer 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 Wash-
ington, D.C. Ask
your representative
for more details!
Risk free. Thanks to Rocky Mountain Radar,
-
speed traps don't make my heart skip a beat
anymore. Try the Phazer or the Phantom your-
self. 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 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
Phone and Fax: 30-31-239-82
STORES! DISTRIBUTORS!
To carry U&lc, contact Rebecca Pappas at (212) 949-8072, ext 131.
Web Design
SOUTH AMERICA
by the Book
Documenta SRL A trio of titles on Web designer is how to straddle the
Maipu 763, 2nd floor, Dept. D line between image quality and file
1006 Capital Federal
Argentina
Web graphics shows size. Unlike printed documents, Web
Phone: 54-1-393-9125
Fax: 54-1-393-9595
designers how to design decisions are often made with
one eye on the clock—how long will
Libreria Tecnica CP67 SA
make the most of it take for my page and its graphics to
download along a phone line, given
Florida 683 Local 18
1375 Buenos Aires
existing technology. standard modem connections?
Argentina
Phone: 54-1-314-63-03 BY HAROLD GREY Now in its second edition, Design-
Fax: 54-1-314-71-35 ing Web Graphics quickly moves beyond
Rio Books
the technical into the design realm.
THE WEB currently offers designers Using numerous full-color screen shots
Rua Castro Tavares 146
Manguinhos Cep: 21041-170 very little control over the appearance and images, Weinman explains how
Rio de Janiero-RJ-Brazil
Phone and Fax: 55-021-590-8997
of visual elements on a page. How to spec color for a Web page, and how
do you create a reliable Web page
to work within a range of "browser-
OTHER when the computer monitor, operating safe" colors that will reproduce reliably
system, Web browser, modem speed, across different computer systems. She
FontShop Australia and installed fonts all affect its appear- also discusses creating background tiles
343 Sydney Road
Brunswick, Vicroria 3056
ance? While many designers advocate and transparent graphics, and shows
designing for the lowest coin- mon how to incorporate design elements
Australia
Phone: 61-3-9388-2700 denominator, three new books from into a Web site such as rules, borders,
Fax: 61-3-9388-2818
www: fontshop.com.au.
New Riders Publishing explain that by navigational buttons and image maps.
understanding the techni- Although Web typography is
cal limitations and variables that will still in its infancy, Weinman devotes
affect the presentation of your work, an entire chapter to it. Unlike print
Logos Impex a designer can build a consistent and design, Weinman explains, the Web
Strada Curtatona 5/F reliable Web site without sacrificing offers rudimentary type capabili-
41010 San Domaso-Modena innovation or content.
Italy
ties and controls. Body type usually
Phone: 39-59-28 02 64 defaults to a resident system font
Fax: 39-59-2816 87 or Designing Web Graphics 2, by such as Times Roman, while headline
39-59-28 05 07
Lynda Weinman, is an up-to-
Bruil & Van de Staaii date primer on Web site design.
Zuideinde 64 Weinman, a former designer,
7941 GJ Meppel
The Netherlands animator and computer consul-
Phone: 31-522-261303 tant who has taught at the Art
Fax: 31-522-257827 Center College of Design in <designing we graphl
Dest Arte Pasadena, California, weds the How to Prepare Images and Media for the
Armazem Parede technical challenges of Web
Rua A Cava
2775 Parede
design to the design elements,
Portugal and places special emphasis
Phone: 351- (0)1-3470214 on how to design high-quality,
Fax: 351-(0)1-3475811
low-bandwidth graphics that
Paragraph International can be viewed by end users as
32 Drasilcova Street, 19th Floor quickly as possible.
Moscow, 117418
Russia After a brief introduction to
Fax: 7-095-129 09 11 HTML (HyperText Markup
Berlin Libros Language), the underlying code
c/Cordoba,17 used to describe all Web pages,
28770 Colmenar Viejo Weinman introduces the most
Madrid
Spain common file formats used on the
Phone: 34-1-8462971 Web, including GIF and JPEG, Designing Web type is usually created as a
Fax: 34-1-8455922 carefully explaining issues such Graphics 2, by graphic that must be down-
berlin.libros@redestb.es
as bit depth, resolution, file com- Lynda Weinman, loaded along with the rest
Pal ell. AB pression and color space. While shows how to of the Web page. While
Fabriksvagen B6
these concepts are familiar to handle design this approach to expressive
176 71 Jarfalla
Sweden print designers who use high-res- and technical typography often slows a
Phone: 46- (0)8-583-50130 olution images in 24-- or 32-bit
limitations page's download, Weinman
Fax: 46- (0)8-583-500 21
CMYK color, the Web often does a good job at discuss-
turns those standards upside down. ing different techniques for creating
In the Web environment, RGB is the interesting type effects using current
dominant color space, and often the software applications, such as Adobe
goal is to use as few bits as possible to Photoshop, while minimizing file sizes.
accurately display an image. As Wein- Weinman's tips on how to scan
man explains, one problem for any images and prepare them for inclusion
114
 platforms, operating systems
and Web browsers, and offers
tips on how designers can 3-‘e Komfilete
create Web pages that remain
consistent despite the myriad ,Weraelei Kirk' io Keeediew
variables that impact the appear-
ance of color on screen. Berthold
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 con-
dlr.-tete rezvieved i„./a
■ Lynda We inm
■ Bruce Heavin
cept of "browser-safe" colors—
the 216 colors that are shared
Aerciaracfer Jek
by the built-in system palettes t exfiaruled, 1fireeit,
used by the Macintosh and Win-
dows operating systems. Using fiteldaea
"browser-safe" colors assure that
Coloring Web on Web pages are help- your pages appear the same regardless
Graphics ful in moving printed of operating system or monitor. How-
discusses the material online. There ever, the use of such a limited palette
unique chal- are also useful exam- does have drawbacks when showing
lenge of pre- ples of how tables and photographic images on your site.
senting color frames have become While some of the information
on the Web. the standard way of
aligning and position-
in Coloring Web Graphics appears in
Designing Web Graphics, Weinman
fonts
ing items on a Web page. and Heavin explain in more detail how
Call your local distributor or contact E FONTS at
Movement, sound and interactivity color selection can influence the com- 47 West Polk Street #100-205
are ways of differentiating Web pages pression and size of graphics files. The Chicago, Illinois 60605 USA
from printed pages, and Weinman, as book also offers the basics of color the- T +1 (312) 913 1908
a former animator, discusses creating ory and explains the HTML tags for F +1 (312) 913 9049
and including all these setting the colors info@efonts.com
media formats, from
the simplest animated Using of backgrounds,
text and links.
While offering
E FONTS is either a registered trademark or trademark of E FONTS L.LC. in the United States and/or other countries.
Berthold is a registered trademark of Berthold PrePress GmbH.
GIFs and sound files
to sophisticated Quick-
Time movie clips and
"browser- printed specimens
(using CMYK inks)
Circle 6 on Reader Service Card

Shockwave animations.
safe" colors to represent on-
The book also includes
a thorough glossary
and explanation of the assure that
screen graphics
(using RGB colors)
might seem para- ARK YOU (\t, 4;irr-

most common HTML

tags, and each chapter
contains several URLs your pages
doxical, the book
includes a com-
panion CD-ROM
PLANNING
(Uniform Resource
Locators) which point appear the
which contains elec-
tronic versions of TO MOVE?
to more information
about each topic.
same regard-
the color swatches
printed in the book,
as well as browser-
ffe sure ta take Tdie
COLOR THEORY,
color palettes, and bit less of oper- safe color palettes
which can be loaded
`Witith_ you"
depth are further ex- into Photoshop,
plored in Coloring
Web Graphics. Co- ating system Paint Shop Pro,
PhotoPaint, Free-
Fi[aving Date:
authored by Lynda hand and Painter. 0 LD Address (Please print or attach mailing label)
Weinman and Bruce
Heavin, a painter
or monitor. The CD-ROM also
contains a collec- Name Title

and illustrator who has designed graph-
ics 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 Windows-
tion of clip art for Web use, sample
Address
HTML pages using different color
combinations, and a collection of pat-
terns, backgrounds, buttons and
City State Postal/Zip Code
objects that can be customized using
the electronic color swatches. A large Country
section of the book consists of a
sample Web page presented in differ- NEW Address.
ent color combinations that work
well together, and serves as a refer- Name Title

based PC. In some cases, colors appear ence when deciding on what color
Address
to be different altogether due to color combinations to employ on your site.
remapping by the operating system.
Through text and a software tutor- ACCORDING TO LYNDA WEINMAN,
City State Postal/Zip Code
ial, Coloring Web Graphics explains how one of the benefits of the Web is
color is handled by different computer that any designer can see how exist- Country
continued on page 118
Fax to 212.949.8485 or mail to U&Ic PO Box 129, Plainview, NY 11803-0129
115
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 h tools,
but unfortunately, they work about as well as auto-
Nobody really understood it, so they left me alone to do my job, and kern algorithms: okay for government work, but they
when I was finished, they rarely complained. After all, it was done. won't impress anyone who can tell good from bad.
Like kerning, quality hinting only comes from delib-
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 And this, in turn, might not be insurmour table
for the few remaining souls who felt the need t o learn
could fit into a single Boston subway car. With room left over for hinting if there were decent tools for creating and
the Red Sox. 'MENNEN( Emma editing hinted font . Sadly,
--...r,--- - - -,...,.mr-ws most of the existing tools 4

Type design may be an arcane vocation, but hinting is 1.111 BM

are years old, bugg∎ slow,
downright cultish. Hinting involves using a computer MO
MM. . ■■
ME and require you to • write
friendly bits of coda like
coding language to describe the relationships between the "MIRP[m> RGr], 2 18 "
over and over again . I had
visual features of an outline typeface in order to preserve
these features when the typeface is rasterized in pixels. ■■
■■ cared
only one colleague who
about screen type
enough to get to thiss stage,
A computer rasterizes a typeface by scaling its fully hinted: look at them at a van- and after her first le sson
outline to the appropriate point size, lays it over a ety of small screen sizes and note in the TrueType hin ting lan-
pixel grid, and then turns on the pixels that fall how clean the letterforms are, all MIMEO guage, she was cure d of
within the outline. The problem is that as the grid without the benefit of bitmap fonts. (Above) any lingering desire to hint
gets coarser, it's less likely that a given outline will There are a few hitches though. Both PostScript This is an example of her own fonts.
hit the pixels that best define the shape of the letter and TrueType have a facility for hinting, but Post- a hinted H.
So, can you sen d out
(or any pixels at all), as in the riamma Script hinting doesn't allow
. 51
your fonts to be hinted and will they look bate r?
example to the right.
'ME r nearly the amount of control of Sure, just as I suppose my cooking would taste better
This capital H isn't hitting
the right pixels to look like a capi- T •• 1I TrueType, which has a whole
language written for the pur-
if I raised my own livestock. The truth is, the b enefit
that hinting adds to your typeface is getting sty caller
tal H. However, with hinting,
•I pose. If you're serious about and smaller; and if this is the first time you're n ading
you can tell the scan converter (a
tool the computer uses to deter- • I-
hinting that works at screen
resolutions, TrueType is the
about it, it might as well be the last. PostScript hint-
ing ends up being more than adequate for mos t fonts.
mine which pixels to turn on) only game worth playing. But For hardcore screen use, it's still no big deal to whip
that the horizontal and vertical • MIN how many TrueType fonts did up a couple of bitmaps to accompany your out line.
stems are more important and • MIN you buy this year? You see the And with screen rasterizers ever-improving (Pi -n writ-
• INN
ought to sit on the grid lines,
and that the serifs are less impor- ■
t MIL
problem. Type manufacturers
have not exactly been rushing
ing this text with the benefit of greyscale type f ro-
vided by ATM 4.o) the practical benefit of hini ting
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 es
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 n
of an unhinted H.
of relationships among letter features that are true pany that publishes the most staying power!
(Below)
regardless of type size. Consequently, with some well- An example of a
TrueType faces (Microsoft) is the
placed hints, you can get bitmap-quality letterforms run of unhinted H's, last great proponent of hinting. Matthew Butterick is president and creative direc-
at all screen sizes. versus hinted H's. That wouldn't be so bad if tor of Atomic Vision, a Web development firm based
It's a great idea. And usually it works pretty well. there were tools for automatically hinting fonts in in San Francisco. Earlier Butterick worked for several
All of the core fonts on Windows and the Mac OS are TrueType—after all, Fontographer has automatically 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 releas-
R.RHHHHHHHHHHHHHHHHHEIHEIH ing several successful original designs, such as Wessex
and Hermes.

HHHHHHHHHHHHHHH HHHHHH H H H Illustrations courtesy of Font Bureau

HEADUNE/CAPTIONS/BYLINE: ITC FRANKLIN GOTHIC DEMI, DEMI COMPRESSED, HEAVY TEXT/B10/CREDFT: RC GALLIARD ROMAN, RAM

116
 A pointed
reminder to
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of publishing
technology.
The publishing landscape is drama ically
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graphicdesn,tI pho rap h y,
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cc Redder Sur,tcc Gard SW97AD45
 continued from page 115

Web designers. The book

is peppered with useful tips
for creating Web graphics,

clusinesdirect <decons ructu web gr phics>

such as how to create seamless
background tiles using Photo-
shop's Offset filter or adding
a neon glow to a GIF anima-
tion, although most of the tips
are geared mainly toward
Photoshop users.
More importantly, Decon-
structing Web Graphics discusses
the specific goals for each site
To place a and the pre-planning that went
into the design and mapping
classified ad in of each site—a step that Wein-
man stresses is often more
U&kBusiness important than the actual cre-
ation of pages. This book
Direct reviews and compares the dif-
or for rates and In Deconstruct- ing pages were con- ferent software tools and resources
ing Web Graphics, structed by simply used to create the pages and artwork,
information, contact Weinman reviews viewing the HTML and offers profiles of the Web design-
Venture Communications techniques used source code for a ers which provide insights into the
Print Media, the exclusive in 11 real Web particular site. Most bridge between traditional print design
representative of sites Web browsers offer and Web design.
a simple menu com- Given the breakneck pace of
U&lcBusiness Direct mand that allows you to view and save change on the Web, these three books
Call: this raw HTML code. In Deconstruct- may soon become obsolete. Weinman
ing Web Graphics, Weinman goes one even jokes that these books may one
-684-4800 step further, reviewing the techniques day move from the computer section
used to create it real Web sites. Each to the history section in local book-
of her case studies stores. However, she is
illustrates a different
Circle 8 on Reader Service Card
fundamental design The book probably too hasty in
her assessment, as many
technique or solves a of the concepts explored
common Web design
problem. These sites
discusses and explained will re-
main relevant as long as
include HotHotHot,
a site for a small com- the pre- there are different hard-
ware choices and users

Creators pany that sells exotic

and hard to find hot
sauces, the Discovery
planning
who continue to access
the Web using different
modem speeds. Until

of
Channel Online and
@tlas, a site which that went the day they become his-
tory books, New Riders
highlights the work of has created a detailed and
independent artists.
The first few sites
into the cohesive collection of
texts to explain to new

fotirts show how to create

navigational buttons
and image maps,
enhance navigation
design and Web designers how to
move from the printed
page to the interactive
mapping Web page. These books

letter-fort/Lis This ad is set in ITC Iflora T."

through the use
of frames, position
and align page ele-
ments with tables,
of each
should also appeal to
seasoned Web designers
who want to incorpo-
rate new technologies

for fitie Oesi9ned bti Terminal Oesicin

and available from anti
use animated GIFs,
and include forms
site. in their pages and who
can appreciate the chal-
licensed ITC font reseller.
for retrieving end user information. lenges faced by their contemporaries
Deconstructing Web Graphics also in- designing for the Web.

cJiscervititici cludes a few sites which use more

advanced technologies, such as push
and pull, Java, Shockwave and VRML
As new technologies such as
embeddable fonts and Java applets
appear, the palette of tools and tech-

cirel IC!
I
PAL _
1 212-01-17 4
(Virtual Reality Modeling Language).
Weinman also discusses the different
video and audio formats on the Web,
and the use of CGI scripts in creating
niques 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 ,

vest tier.
Web page forms.
Replete with color illustrations
and screen shots, Deconstructing Web
Graphics walks through the HTML
source code for portions of each site,
ta Ttire Leiteritrtg Oest vi ,
explaining the relevant HTML tags
1,4 Z tiotrt, CtnsiotM er vti and breaking the code into a series of
step-by-step tutorials for fledgling
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
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Web Designer's WE Ni ME
Guide to SOME SEE BETTER THAN OTHERS.

Typography FLIGHTCHECK® is the multiple

award-winning software that is the
An introduction to all possible and—at the same time— ultimate application for verifying,
made typography so difficult. And the
type, typography purists called the designers traitors?' checking, and collecting all your files
and the use of type This is essentially the state we find,
and the crux of why it is so difficult to
before you go to press! FLIGHTCHECK®
in Web design. make type look like type on the screen. scans your documents for over 140
These authors write from expe- potential print problems — and is
BY MARGARET RICHARDSON rience. HTML may be frustrating,
but it is all we have to work with, so
user customizable. Once the en re
Web Designer's Guide to Typography, understanding style sheets—and writ- document has passed inspect n
written by Michael Leary, Daniel Hale ing your own—is not just suggested FLIGHTCHECK® then collects the
and Andrew DeVigal (Hayden Books), but demanded. The first detailed
is an extensive overview of typography tutorial here explains how to set up whole job for you — including both
and its applications for designing on a simple, formatted HTML page. screen and Anter fonts as well as
the Web. The major thesis of this text (The tutorial continues online at www.
is that good typography should be the hayden.com/internet/type.) The tutor-
all images — into a FLIGHTCHECK®
underpinning for all design, including ial approach is used again for specifying approved folder that's ready for press!
Web, site design. typography for a theoretical literary
The authors, collectively, acknowl- online magazine Again, here are de-
edge that good presentation of type tailed instructions with excellent exam- DON'T LOSE SIGHT
on the Web can be a challenge given ples, with each change emphasizing OF A JOB WELL DONE.
the current technical limitations. But a typographic nuance. r r,®
each enthusiastically Part 3 of the 1,.rj r P
focuses on what the book deals with
problems are and
explains how, with We b Type as Image and
moves beyond just
assiduous effort Des i • ner's HTML and its lim-
itations to working
and firm commit-
ment, your type with type in Photo-
can look better on shop to create GIF,
your Web pages. JPEG or PNG files.
The opening Typography This exploration i****
Publish,.
section of the book continues with cre-
sets out the basics ating type using
of typography in akk
the
to discover
ben
art Web design
of
other software pro- COLLECT SCREEN
lucid, precise terms grams like Adobe
Illustrator and Mac-
1111
"
in a functional, sim- woe.
MERE

ple design. This sec- romedia Freehand.

tion is a comprehensive, no-nonsense General informa- Font software and Tech
primer and reference for everything tion and specific, how it works is also upport!
you need to know about typographic detailed instruc- explained in detail.
terms and type in use. The last chapter tions make this The last sec-
here introduces fonts created specifi- typographic guide tion of the book
cally for the Web, and as soon as the a reference as concentrates on FONTS DATABASE
contrast of these types and those which well as a how-to OpenType and the
previously appeared in typographic book. concluding por-
examples becomes clear, the challenge tion of the book
is on how to make type on the Web provides a series of useful Appendices.
acceptable from a typographic stand- The authors manage to convey
point. Essentially, this is the task one voice and one focused approach
explored in the remainder of this book. to typography on the Web. There is
Part 2 deals with Type on the Web, no disguising that working with type
providing in the opening chapter a on the Web is tedious and detailed but
status report on the Web. Accepting worth it when you can impose typo- •1..4

that "The Web is a mess?' it contin-
ues 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
graphic style to a Web site. The interac-
tive component of test driving some New Windows Version Just Released!
of these ideas on the www.hayden.com/
internet/type site adds practical expe-
rience to this typographical guide.
WARE ,
If you love type, and design for P.O.Box 16431 - 2500 BK The Hague - The Netherlands

needs. The major dilemma is still based Web sites, this is an invaluable resource web: www.markzware.com -ii.S,A.phone: 714

on HTML restrictions, "which made it book for you.

119
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