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Archive for the ‘U&lc’ Category

by Allan Haley

U&lc ceased print publication in the fall of 1999. Over its almost 27 years in hardcopy form, it inspired, informed and delighted readers. In the process, U&lc won over 100 awards for design and typographic excellence from the AIGA, Society of Publication Designers, Type Directors Club, and many other prestigious organizations.

U&lc’s tenure was marked by powerful – sometimes brash and always stirring – typographic design. The publication bristled with life and energy. The graphic design community – in addition to illustrators, photographers and calligraphers – eagerly anticipated each issue. However, even though U&lc was celebrated for its strength and dynamism, it was also fragile.

U&lc was dependent upon the understanding and financial support of someone who truly understood the value of the publication. Aaron Burns, one of the co-founders of ITC and the genius behind U&lc, was that person. Burns was also a savvy and gifted marketer. Decades before terms like “pragmatic marketing” and “buyer persona profiles” became popular, he understood that the best way to market a product or service was to reach out in an engaging and personal way to the ultimate consumers of those products and services. ITC licensed typeface designs to font providers – but Burns knew that his ultimate customers were graphic designers. Burns also knew that not all good marketing efforts can be directly linked to bottom line profits. At over one million dollars a year (in 1970s and 1980s money) U&lc was expensive to produce – and it’s advertising sales didn’t come close to paying for the publication. Burns, however, understood the true business value of U&lc and was fond of saying, “We don’t make money with U&lc – we make it because of U&lc.”

When Burns sold ITC in the late 1980s, its new owners presented themselves as smart business people. Maybe they were, but they were clueless about the value of U&lc. All they saw were its costs – and diligently sought to eliminate them. Over the next few years, this led to reducing the publication’s page count, then to downsizing from U&lc robust tabloid dimensions to a modest 8.5 X 11 inches, and ultimately to the cessation of publication.

U&lc was a vehicle to announce new ITC typefaces and showcase old ones, in addition to serving as a palette for virtuoso typography from the likes of Herb Lubalin, B. Martin Pedersen, Ellen Shapiro, Roger Black, Push Pin Studio, Pentagram and Why Not Associates, just to name a few. U&lc rejoiced in exceptional typographic design. Although there have been many attempts, no publication as been quite like it. To this day we continue to receive requests to provide back issues and re-publish particularly exceptional articles – which is why we scanned the issues we had, and undertook this series of blog posts.

Unfortunately, we do not have every issue of U&lc. We’re missing a couple. We are, however, getting those that are missing, and will add them to the PDFs we have already made available.

It has been a joy for me, these last couple of years, to walk down U&lc’s memory lane with you. I hope that you have enjoyed receiving the issues and reading the posts, as much as I have enjoyed bringing them to you.

The illustrations accompanying this post are the covers of the last big issue of U&lc and the first small one.

Click the PDFs below to find out what is in our remaining collection of U&lc issues.

Low Resolution:

Volume 24–1 (Low Res).pdf (6.6 MB)

Volume 24–2 (Low Res).pdf (19.5 MB)

Volume 24–4 (Low Res).pdf (4.7 MB)

Volume 25–1 (Low Res).pdf (5.0 MB)

Volume 25–3 (Low Res).pdf (5.6 MB)

Volume 25–4 (Low Res).pdf (6.1 MB)

Volume 26–2 (Low Res).pdf (5.6 MB)

High Resolution:

Volume 24–1.pdf (34.5 MB)

Volume 24–2.pdf (96.4 MB)

Volume 24–4.pdf (19.2 MB)

Volume 25–1.pdf (18.3 MB)

Volume 25–3.pdf (21.5 MB)

Volume 25–4.pdf (25.6 MB)

Volume 26–2.pdf (23.3 MB)

Allan Haley
Allan Haley is Director of Words & Letters at Monotype Imaging. Here he is responsible for strategic planning and creative implementation of just about everything related to typeface designs.

 


by Allan Haley

New Fonts – Lots Of New Fonts – And A Leap Into The Digital Age

Volume 23, Number 2 of U&lc asks the question, “Is the availability of 50,000 to 60,000 digital fonts too many?” That was in the fall of 1996. In the 16 years since then, that number has probably quadrupled – and new fonts are still being released daily. While the desktop revolution of the mid 1980s democratized the making of fonts, it was the Internet that made it practical. Prior to the Internet and Web font stores, it would have simply been impossible to display, market, and sell this many fonts. ITC added their share of new typefaces (over two dozen) in the pages of U&lc, Volume 23.

ITC Kallos, by Phill Grimshaw, was announced in Volume 23, Number 1. Grimshaw was passionate about both disciplines of letterform creation: calligraphy and typeface design. Although he drew many display typefaces, ITC Kallos was his first design aimed at both text and display uses. He went on to design ITC Klepto, ITC Obelisk, ITC Rene Mackintosh and several other typefaces before his untimely death in 1998.

The revival of Eric Gill’s Golden Cockerel typeface family was announced in Volume 23, Number 2, along with a suite of six display typeface designs from Phill Grimshaw, Jill Bell, Frank Marciuliano and J.R. Cuaz. (The preceding links will take you to showings of all the typefaces from these designers.)

U&lc Volume 23 Number 3 was the “auteur” issue; a term applied to cinema directors who had strong signature styles that usually emerged from taking complete control of a project, from authoring the screenplay to overseeing the final edit. This concept has been broadened to denote an artist in any medium whose particular style and conceptual control make the work distinctive and influential. The auteurs covered in this issue were Pablo Picasso, Saul Bass, Philippe Starck, Peter Greenaway, Fred Woodward and Richard McGuire. The articles, though somewhat dated, are excellent views into the lives of six exceptionally creative artists.

ITC continued to add to its display typeface offering by announcing 13 new designs in Volume 23, Number 3: ITC Aftershock, ITC Belter, ITC Braganza, ITC Freddo, ITC Juanita, ITC Kokoa, ITC Lennox, ITC Musica, ITC Out of the Fridge, ITC Riptide, ITC Static, ITC Temble, ITC Vintage and a bevy of dingbats and symbols in its “DesignFonts” collection.

In providing these posts – and the PDFs – we’ve discovered that we are missing a couple issues. Volume 18, Number 2, was the first. However, thanks to Simón Cherpitel, who kindly donated his copy, we will make this issue available soon – along with Volume 23, Number 4, which is missing from today’s post.

This will be the penultimate post in this series about U&lc. At the end of Volume 24, U&lc was downsized from its tabloid format to a more, in the words of its editor, “conventional 8.5 x 11 inches.” The downsizing was done for several reasons – most of them financial. The problem was that in doing so, U&lc also became more conventional. Previous issues of U&lc were powerful design statements that bristled with energy. The small issues – not so much.

Click the PDFs below to find out what else was in (most of) U&lc Volume 23.

Low Resolution:

Volume 23–1 (Low Res).pdf (8.6 MB)

Volume 23–2 (Low Res).pdf (18.2 MB)

Volume 23–3 (Low Res).pdf (5.9 MB)

Volume 23–4 (Low Res).pdf (currently unavailable)

High Resolution:

Volume 23–1.pdf (42.3 MB)

Volume 23–2.pdf (95.2 MB)

Volume 23–3.pdf (30.3 MB)

Volume 23–4.pdf (currently unavailable)

Allan Haley
Allan Haley is Director of Words & Letters at Monotype Imaging. Here he is responsible for strategic planning and creative implementation of just about everything related to typeface designs.

 


by Allan Haley

New Fonts – Lots Of New Fonts – And A Leap Into The Digital Age

Prior to 1995, ITC released about four new typeface families per year. From the summer of 1995 to the spring of 1996, nearly 40 new ITC families became available, along with a suite of Cyrillic extensions to existing designs, swashes and ornaments for the ITC Bodoni family, and a bevy of symbol fonts – all in the pages of U&lc, Volume 22. Articles on Web and video typography also peppered the pages of Volume 22, and the designers of a couple of issues had fun playing with the U&lc logo on the cover.

In addition to announcing six new display typeface designs, Volume 22, Number 1 contained two articles about books on CD (the beginning of e-publishing) and a roundup of early websites for children. It also featured the first ad for the Creative Alliance, an endeavor by the Type Division of Agfa (the precursor to Monotype Imaging) to build its own exclusive typeface library. Many of the typefaces in the Creative Alliance have since found their way into the ITC and Monotype typeface libraries. Oh, and on page 48, there is an ad for Graphic Solutions, a newsletter that I published for about three years – and that taught me how difficult the publishing business can be.

Volume 22, Number 2, continued to address the issues of publishing in a digital age and provided some guidance in designing with HTML – this was when the Times New Roman and Courier typefaces were considered the basic text designs. Chip Kidd also wrote about designing the cover of Nicholas Negroponte’s book, Being Digital, an analog solution for a hardcopy book on the future of digital technology, which is now online. Announcements for 21 new ITC typefaces (10 typeface families) filled many of the remaining pages of Volume 22, Number 2.

Volume 22, Number 3 was dedicated to “Graphics and the Cinema.” The issue also ushered in over 20 new ITC display typefaces, Cyrillic fonts for the ITC Franklin Gothic, ITC Korinna and ITC Flora typeface families, the ITC Humana super family, and a collection of swash and ornament characters for the ITC Bodoni family. ITC continued to look to the future of typography in several articles about type in film and video.

Volume 22, Number 4 focused on education and contained a wide range of articles, from advice for schools on preparing students to create meaningful digital content to a story about four educators in Japan who used experimental methods to teach students about sensitivity to the elements of design. New typeface releases included six new single-weight display typefaces, two new families and three ITC Goony ’Toons image fonts.

Click the PDFs below to find out what else was in U&lc Volume 22.

Low Resolution:

Volume 22–1 (Low Res).pdf (9.9 MB)

Volume 22–2 (Low Res).pdf (10.6 MB)

Volume 22–3 (Low Res).pdf (11.1 MB)

Volume 22–4 (Low Res).pdf (9.5 MB)

High Resolution:

Volume 22–1.pdf (48.3 MB)

Volume 22–2.pdf (58.5 MB)

Volume 22–3.pdf (58.8 MB)

Volume 22–4.pdf (50.8 MB)

Allan Haley
Allan Haley is Director of Words & Letters at Monotype Imaging. Here he is responsible for strategic planning and creative implementation of just about everything related to typeface designs.

 


by Allan Haley

New Fonts, New Technology and Predictions For The Future

The pages of U&lc Volume 21 ushered in a typeface family extension, two new complete families, four single-weight display designs, eight Cyrillic family additions and a suite of fonts that took advantage of a new technology. Volume 21 also predicted the future of typeface design, and announced ITC Design Palette, a digital distribution center that preceded the Internet – but not by enough.

Friz Quadrata was used by graphic designers for almost 30 years before Thierry Puyfoulhoux drew its italic complement that was announced in Volume 21. Two typeface families, ITC Bodoni and ITC Edwardian Script, were also announced in the same Volume. The latter, by Ed Benguiat, found influence in the flowing character shapes drawn with a steel-point pen. Varying the pressure on this writing instrument – rather than the angle of the nib – produces thick and thin strokes.

ITC Bodoni was one of the most carefully researched and accurate interpretations of Bodoni’s typefaces ever attempted. The process involved two trips to Parma, Italy; hundreds of hours of research; and thousands more hours carefully designing fonts using one of the original copies of Bodoni’s 1818 Manuale Tipografico as a benchmark for accuracy. The complete story is told in Volume 21, Number 2. It’s worth a read.

Cartoon graphics from the 1960s influenced David Sagorski’s ITC Snap and ITC Juice typefaces, while Michael Stacey’s ITC True Grit and ITC Wisteria were revivals of designs found in an old lettering book.

The Cyrillic typefaces were a second edition of designs from ParaGraph, and included designs for both text and display applications. ParaGraph continues to provide ITC with new Cyrillic designs to this day.

ITC announced the availability of twelve fonts that took advantage of Apple’s new TrueType platform called “TrueTypeGX.” Heralded as “smart fonts,” GX fonts were predicted to revolutionize graphic communication. ITC’s offering included small caps, fancy initial letters and a bevy of biform, swash and other alternate characters. Some of these are still available today in OpenType fonts.

The 8-page feature, “Timeless Typefaces,” in Volume 21 Number 2, collected the opinions and predictions of 21 type design luminaries. The predictions – and photos of the starts of the typographic community from 18 years ago – are great fun.

The idea behind ITC Design Palette was that it would make design tools like fonts, photographs, Iine-art and design software plug-ins available “24–7” at a click of a button. Sounds like the Internet, doesn’t it?

Trouble was, ITC Design Palette had nothing to do with the Internet. It was a box containing over a hundred CDs that sat on a designer’s desk. The CDs’ content could be browsed through an interface and downloaded to the designer’s computer desktop. When the content was licensed, ITC Design Palette would send a message over phone lines to a billing center that sent out monthly invoices. It seemed like a good idea at the time, but the growth and scope of the Internet made ITC Design Palette obsolete before any devices were delivered.

Click the PDFs below to find out what else was in U&lc Volume Twenty-one.

Low Resolution:

Volume 21–1 (Low Res).pdf (9.6 MB)

Volume 21–2 (Low Res).pdf (12.3 MB)

Volume 21–3 (Low Res).pdf (10.3 MB)

Volume 21–4 (Low Res).pdf (8.7 MB)

High Resolution:

Volume 21–1.pdf (45.8 MB)

Volume 21–2.pdf (59.1 MB)

Volume 21–3.pdf (49.6 MB)

Volume 21–4.pdf (41.3 MB)

Allan Haley
Allan Haley is Director of Words & Letters at Monotype Imaging. Here he is responsible for strategic planning and creative implementation of just about everything related to typeface designs.

 


by Allan Haley

A Bevy of New Typefaces – And Thomas Wolfe is Proved Wrong.

I was enjoying reading the four issues of U&lc Volume 20 in preparation for writing this blog –  until something on one of the pages caused me to reflect a little more than usual on the publication and my tenure with ITC. It wasn’t something that most people would notice (certainly not today), and probably would not care about. I was, however, a bit taken back.

Volume 20 began with the spring issue of 1993 and ended with the spring issue of 1994. More new ITC typefaces were announced in those 12 months than in any previous time since ITC was founded. Three were brand new designs: the ITC Cerigo family by Jean-Renaud Cuaz, ITC Highlander from Dave Farey and ITC Motter Corpus by Othmar Motter. The remaining typefaces were extensions to existing families and a technology upgrade to ITC’s first, and one of its most important typeface designs.

Adobe extended its PostScript Type 1 format in the 1990s to enable users to customize a font while maintaining the integrity of a typeface design. The technology was called Multiple Masters and provided a design matrix based on one to four predetermined axes. These axes determine the range of possible font variations and could include such aspects as typeface weight, width, style and optical size. A type designer created master designs at each end of a design axis. The user could then interpolate, or generate intermediate variations, between the master designs on demand. ITC Avant Garde Gothic Multiple Masters was released by Adobe as a two-axis typeface incorporating weight and width changes. The dynamic ranges extend from extra light to bold in weight, and condensed to normal in width.

While Adobe’s Multiple Masters technology is no longer a commercial product, you can still license all the weights of the ITC Avant Garde Gothic family from a number of authorized online stores.

Three “handtooled” variations were also announced for the ITC Century, ITC Cheltenham and ITC Garamond typeface families. Handtooled designs are special display versions of type designs that have a distinctive highlight engraved or “tooled” into the left side of the character strokes. While this modification could probably be accomplished relatively easily with current digital design tools, this was not the case in the early 1990s. The analog design talent of Ed Benguiat was, instead, put to good use on this project.

The other additions to the ITC typeface offering were Cyrillic versions for 20 of ITC’s most popular designs. For some time, ITC wanted to make a number of its typefaces compatible with the many Slavic languages. The problem was finding a suitable design team to undertake the challenge. In 1989, ITC had the opportunity to meet principals of ParaGraph International, a Russian-American joint venture based in Moscow and Sunnyvale, California. ParaGraph’s type design group consists of seasoned typeface design professionals who formed a respected type foundry developing Cyrillic fonts and typographic tools for digital imaging.

ITC commissioned the designers at ParaGraph to create Cyrillic characters, which maintain integrity to the original Latin ITC typeface designs while remaining consistent with the Cyrillic type design conventions. Over the years, many more Cyrillic designs were added to ITC’s typeface library.

  

The thing that caused me to reflect on my years at ITC and contributing to U&lc? I’m not listed in the masthead of issue Number Four. I was gone.

I continued to consult to ITC and contribute to U&lc as an independent writer – but I was no longer an employee of the company. What happened? It’s a long story but, basically, ITC and I changed over the years. We grew apart.

I was saddened by leaving the company – and a little apprehensive about my future – but it was the right thing to do. I also discovered that Thomas Wolfe was wrong – you can go home again. I’m back at ITC – well, back at the company that owns ITC – and I’m doing many of the same things I did while an employee at one of the most influential “type” companies from the early 1970s to the mid-1990s. Sometimes “what goes around, comes around” is a good thing.

Click the PDFs below to find out what else was in U&lc Volume Twenty.

Low Resolution:

Volume 20–1 (Low Res).pdf (12.9 MB)

Volume 20–2 (Low Res).pdf (10.4 MB)

Volume 20–3 (Low Res).pdf (10.2 MB)

Volume 20–4 (Low Res).pdf (9.7 MB)

High Resolution:

Volume 20–1.pdf (64.5 MB)

Volume 20–2.pdf (45.1 MB)

Volume 20–3.pdf (45.1 MB)

Volume 20–4.pdf (42.5 MB)

Allan Haley
Allan Haley is Director of Words & Letters at Monotype Imaging. Here he is responsible for strategic planning and creative implementation of just about everything related to typeface designs.

 


by Allan Haley

Four Sets of Designers, Six New Typeface Families, A New Font Technology from Apple – and an Apology

U&lc Volume 19 is a feast of world-class typographic design. Each issue is a tour-de-force created by a different studio or designer. WBMG Design (Walter Bernard, Milton Glaser, and Frank Baseman) designed Volume 19, Number One. The work of Alexander Isley, Seymour Chwast and Paul Davis followed in succeeding issues.

An update to Apple’s TrueType font platform was heralded in the pages of Volume 19, as akin to having a typographer living inside your computer. Maybe you’ve heard of the technology…

The updated TrueType platform was called “TrueTypeGX” and it allowed users the ability to automatically access a variety of typographic tools. The technology was unique in that it was integrated in Apple’s operating system as well as in the fonts themselves. The “GX” part was additional tables in the “sfnt” font file format that was part of QuickDraw GX. This offered powerful extensions in two main areas. First was font morphing, (allowing fonts to be smoothly adjusted from light to bold or from narrow to extended). Second was Line Layout Manager, a technology that provided for automatic insertion of alternate characters, such as small caps, ligatures and swash letters. (Sounds a little like OpenType, doesn’t it?)

Unfortunately, the lack of user-friendly tools for making TrueType GX fonts limited their development to no more than a handful of these “smart” fonts – primarily from ITC, Linotype, and Bitstream. Much of the technology in TrueTypeGX, including morphing and substitution, however, lives on as AAT (Apple Advanced Typography) in Mac OS X.

The calligraphic ITC Syndor family, from Hans Edward Meier, was announced in Volume 19, Number One. This was followed, in Volume 19, Number Two, by condensed designs to complement the earlier released ITC Lubalin Graph family. The display designs of ITC Ozwald and ITC Mona Lisa Solid, in addition to a phonetic character suite for the ITC Stone family, were announced in Volume 19, Number Three. The first of what was to become the very large – and very popular – ITC Legacy typeface family, by Ron Arnholm, was announced in Volume 19, Number Four.

Volume 19 also contained the first apology from ITC for potentially offensive content in the pages of U&lc. Can you find it?

 

Click the PDFs below to find out what else was in U&lc Volume Nineteen.

Low Resolution:

Volume 19–1 (Low Res).pdf (12.1 MB)

Volume 19–2 (Low Res).pdf (8.3 MB)

Volume 19–3 (Low Res).pdf (10.6 MB)

Volume 19–4 (Low Res).pdf (10.3 MB)

High Resolution:

Volume 19–1.pdf (60.3 MB)

Volume 19–2.pdf (39.3 MB)

Volume 19–3.pdf (51.9 MB)

Volume 19–4.pdf (45.8 MB)

Allan Haley
Allan Haley is Director of Words & Letters at Monotype Imaging. Here he is responsible for strategic planning and creative implementation of just about everything related to typeface designs.

 


by Allan Haley

Aaron Burns passed away in 1991. In addition to being one of the founders of ITC, Burns was the heart, soul – and driving force behind the company. As I wrote in his memorial in U&lc, Volume Eighteen, Number Three, “Burns dedicated his career to the typographic arts. His ceaseless mission was to improve the quality of typographic communication and to provide graphic designers with a rich palette of typefaces from which to choose. ITC’s success was, in a large part, due to Aaron’s uncompromising dedication to excellence, his unerring sense of ethic, and his commitment to provide meaningful educational resource to the graphics community.”

Burn’s passing was a profound loss to all who had the good fortune to know him. This was especially true for those of us who worked at ITC. The company, however, continued to build upon his legacy and U&lc continued to publish articles that inspired and delighted graphic communicators.

While ITC had the well-earned reputation as the most successful type-marketing firm for many years, like all companies, it made missteps from-time-to time. Such was the announcement of a new brand in Volume Eighteen, Number One of U&lc. The brand was ITC Typographica, “a resource of typefaces intended for larger sizes …faces which have been created to attract attention, create a mood or make a statement” (basically, display typefaces). Four additions to the ITC Typographica series were announced in 1991, the ITC Mona Lisa Recut, ITC Studio Script, ITC Beesknees and ITC Anna designs. All are still in use today. And while ITC continued to add new designs to the ITC Typographica offering for some time – typefaces that would also become staples of display typography – the brand had a very short shelf life. What ITC forgot was that its typefaces and company name were the most important brands – and that another brand name was superfluous.

The ITC Mendoza Roman family was also announced in Volume Eighteen of U&lc, as were additions to the ITC Franklin Gothic and ITC Garamond families – the latter having an interesting backstory. In the mid 1980s, Apple adopted a digitally condensed version of ITC Garamond as its brand typeface. The face’s proportion fell somewhere between the regular weights of ITC Garamond and ITC Garamond Condensed. Like most digital distortions, however, it lacked the refinement of a typeface developed by a type designer or lettering artist. Apple used the typeface in all its advertising and corporate literature for several years before approaching ITC and Bitstream, the first digital type foundry, to develop a properly designed version of the face. This was to become ITC Garamond Narrow.

The “Felix The Cat” cover of U&lc Volume Eighteen Number Three, added more collectability to a publication that was already horded by graphic designers. It was printed as a series of three, each with the same “Felix” image, but with a different background color: florescent pink, orange and green. We’ve provided the pink cover in this series of PDFs. True collectors of U&lc have all three covers.

Click the PDFs below to find out what else was in U&lc Volume Eighteen.

Low Resolution:

Volume 18–1 (Low Res).pdf (10.2 MB)

Volume 18–2 (Low Res).pdf (temporarily unavailable)

Volume 18–3 (Low Res).pdf (11.2 MB)

Volume 18–4 (Low Res).pdf (13.2 MB)

High Resolution:

Volume 18–1.pdf (52.7 MB)

Volume 18–2.pdf (temporarily unavailable)

Volume 18–3.pdf (56.5 MB)

Volume 18–4.pdf (62.4 MB)

Editorial footnote: At the time of (original) posting we do not have PDFs available for the second issue of volume 18. Don’t worry, we do have this issue in our archives and we plan on posting PDFs at a later date.

Allan Haley
Allan Haley is Director of Words & Letters at Monotype Imaging. Here he is responsible for strategic planning and creative implementation of just about everything related to typeface designs.

 


by Allan Haley

The four issues of U&lc, Volume Seventeen, were published in 1990; a year that presented graphic designers with unanswered questions about the future of typographic communication – and one that marked ITC’s twentieth anniversary. Among a great crop of articles on everything from Japanese kites to the Vigeland Sculpture Park, two new typeface families were announced in Volume Seventeen and the lives of a pair typographers that changed the course of British typographic history were explored.

In Volume Seventeen, Number Three, U&lc approached a wide range of creative specialist with  the question, “Can fine typography exist in the 90’s?” The introduction to the article sets the stage for their answers. “The question is not so easily answered. From different perspectives the response can be a resounding “yes,” or a qualified “no.” Electronic typesetting and type designed for a computer and on a compute have made type lovers anxious. Yet other fastidious and committed type users have found working with type in this electronic age a compelling challenge.” The answers may surprise you.

ITC celebrated its twentieth anniversary in U&lc Volume Seventeen, Number Four. However, rather than provide a history of the company or its accomplishments, the six-page “tribute” featured the reflections of 20 luminary designers (from Art Chantry to Hermann Zapf) on images which influenced or inspired them over the previous two decades.

The ITC Quay Sans™ design was announced in the pages of Volume Seventeen – as was the ITC Officina™ family. Even thought the goal for the latter was to “create a small family of type ideally suited to the tasks of office correspondence and business documentation,” ITC Officina went on to become a stable for all manner of graphic communication.

The QuarkXPress™ 3.0 software for IBM computers running Microsoft Windows® 3.0 or OS/2® was also announced in the pages of Volume Seventeen – as was the availability of the now ubiquitous PowerPoint® application.

Click the PDFs below to find out what else was in U&lc Volume Seventeen.

Low Resolution:

Volume 17–1 (Low Res).pdf (12.2 MB)

Volume 17–2 (Low Res).pdf (11.0 MB)

Volume 17–3 (Low Res).pdf (12.2 MB)

Volume 17–4 (Low Res).pdf (11.2 MB)

High Resolution:

Volume 17–1.pdf (61.2 MB)

Volume 17–2.pdf (54.0 MB)

Volume 17–3.pdf (63.3 MB)

Volume 17–4.pdf (57.2 MB)

Allan Haley
Allan Haley is Director of Words & Letters at Monotype Imaging. Here he is responsible for strategic planning and creative implementation of just about everything related to typeface designs.

 


by Allan Haley

You may notice something different in the last two issues of U&lc Volume Sixteen. The table of contents, that normally ran on page one of each issue, is moved back several pages to make way for advertising. Letraset, primarily known as the premier provider of dry transfer lettering the 1970s and 1980s, had acquired ITC just a couple of years earlier – and the ads were for the company’s new line of design software and plug-ins.

I remember the general manager of Letraset in North American at the time telling me that fonts were a “mature” product with little hope for growth. “The future,” he said, “is in software. ITC’s main function will be to serve as a conduit to provide graphic designers with Letraset design software.” He didn’t realize that fonts were also quickly becoming software available to a much wider audience than he imagined. Which is why the folks that founded Monotype Imaging purchased ITC, and its typefaces, in 2000, even though it was abandoned by Letraset and reduced to a shell of its former self. Today, new typefaces are added to the ITC Library on a regular basis and it’s fonts are seen in everything from websites to smart phones – in addition to traditional hardcopy environments.

Along with the increase in advertising, U&lc continued its tradition of announcing new ITC typefaces. After many years and very many requests, a suite of italic designs was announced for the ITC American Typewriter™ family. Two new scripts, the ITC Flora™, and ITC Isadora™ designs by Gerard Unger and Kris Holmes respectively, were also announced in the same issue. The ITC Giovanni™ family, from Robert Slimbach, was first shown in Volume Sixteen Number Three, and a revival and extension of William Morris’ Golden Type by a team of young designers, Helge Jorgensen, Sigrid Engelmann, Bildende Künste and Andy Newton, as the ITC Golden Type™ family was announced in Volume Sixteen Number Four.

Also featured in the pages of Volume Sixteen were articles on the lettering artist, Michael Doret, a retrospective by Steven Heller of the Broadway caricaturist Al Hirschfeld – and a piece that provided insight into the Japanese love of Roman letters.

Click the PDFs below to find out what else was in U&lc Volume Sixteen.

Low Resolution:

Volume 16–1 (Low Res).pdf (12.9 MB)

Volume 16–2 (Low Res).pdf (11.4 MB)

Volume 16–3 (Low Res).pdf (12.1 MB)

Volume 16–4 (Low Res).pdf (12.5 MB)

High Resolution:

Volume 16–1.pdf (62.5 MB)

Volume 16–2.pdf (60.9 MB)

Volume 16–3.pdf (62.7 MB)

Volume 16–4.pdf (65.2 MB)

Allan Haley
Allan Haley is Director of Words & Letters at Monotype Imaging. Here he is responsible for strategic planning and creative implementation of just about everything related to typeface designs.

 


by Allan Haley

After 14 years of issues in just black and white, in 1988, color finally appeared on the pages of U&lc. It was only used on the first and last four pages of the publication, and its implementation was pretty timid – but it was a start. There were also four typeface release announcements in U&lc’s Volume Fifteen and a coterie of articles bejeweled with exceptional typography and brilliant illustrations.

After years of requesting, negotiating and downright pleading, we were finally given the OK to use color in the pages of U&lc. While we reveled in the ability to finally use more that just black ink, the first implementation of color could only be described as sedate. Future issues of U&lc, however, would take full advantage of the new capabilities.

The first of the “Letter” series, which traced the history of the letters in the Latin alphabet, appeared in Volume Fifteen, Number One, and the ITC typeface review board was announced in the following issue. Actually, ITC had a review board to help determine what typefaces were added to its typeface library from the very beginning but, because of growing reader inquiries about how ITC determines what typefaces to produce, we thought that it would be good to introduce the board members and explain the review process to the readers of U&lc.

Four sets of typefaces were also announced in the pages of Volume Fifteen: the ITC Panache®, ITC Jamille® and ITC Stone® families from Vince Pacella, Mark Jamra and Sumner Stone; and a suite of the first ITC Arabic typefaces from Mourad Boutros. Sumner Stone and Mourad Boutros continue to design typefaces for ITC and Monotype Imaging.

While U&lc featured the work of many illustrators in its pages, the drawings of Murray Tinkelman tended to show up with marked frequency. This was because Tinkelman is not only a terrific illustrator but also drew on some particularly intriguing topics for his work. His drawings of fellow illustrators, graphic designers, for the “Varoom, Varoom, Varoom, Varoom. Pussycats on Bikes?” article in the first issue of Volume Fifteen, is a case in point.

Click the PDFs below to find out what else was in U&lc Volume Fifteen.

Low Resolution:

Volume 15–1 (Low Res).pdf (13.9 MB)

Volume 15–2 (Low Res).pdf (14.3 MB)

Volume 15–3 (Low Res).pdf (13.9 MB)

Volume 15–4 (Low Res).pdf (12.7 MB)

High Resolution:

Volume 15–1.pdf (61.9 MB)

Volume 15–2.pdf (69.1 MB)

Volume 15–3.pdf (65.0 MB)

Volume 15–4.pdf (61.2 MB)

Allan Haley
Allan Haley is Director of Words & Letters at Monotype Imaging. Here he is responsible for strategic planning and creative implementation of just about everything related to typeface designs.

 

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