AnalysisThe three figures areembraced first bv •'then by a pentagorby a star pent<>finally by a pc-the center asfrom the female d<rhip. Even the smallfigure at the bottorinto this structure .head meets the ci"pentagon,

(below) The triangl.ed by the dancers i <golden section triangle.

The Star PentagramThe subdivisions of the pentagon createan interior star whose center is a penta-gram. The golden section is present in

that the triangles have two equal sides, Bor C, that relate to the third side. A, as 1:1.618, the golden section ratio.

Folies-Bergere Poster. Jules Cheret, 1877

Foiies-Bergere by Jules Cheret is an engaging anddynamic work that captures the movement of a groupof dancers. At first glance the composition appearsspontaneous and without geometric organization butcloser examination reveals a very carefully developedvisual structure. The positions of the dancers limbsclosely correspond to a pentagon embraced by a circle.

The interior subdivisions of the pentagon create starpentagrams which in turn create a smaller proportional

pentagon. The ratio of the sides of the triangles with-in a star pentagram is 1. 1.618, the golden sectionratio. The exact center of the poster is a pivot point onthe female dancer's hip, and the legs of the maledancers create an inverted triangle, the top point ofthe pentagram star, that embraces the female dancer.Each limb and shoulder is carefully positioned accord-ing to the geometry of the structure.

Job Poster, Jules Cheret, 1889

Cheret was a master lithographer and is credited withelevating the chromolithography printing process to anart form. His knowledge of chromolithography printinggrew from an apprenticeship begun at age 13. The onlyformal education he received in art and design was acourse at the Ecole Nationale de Dessin, National Schoolof Design. It is perhaps in this course that he wasintroduced to geometry and the principles of compo-sition. Although his formal education was limited,throughout his career he made the major art muse-

urns of Europe his personal schools and carefullystudied the works of the masters.

Many of Cheret's posters were instant successesbecause of the beautiful play in color and the delight-ful illustrated figures. He understood the chromolith-ographic printing process and used it to his advan-tage. He also understood the principles of composi-tion and used them to unify this and many otherworks.

PAPIER A CIGARETTES

RIS 1889

The Star Pentagram and FormatProportionExpanding the star pentagraminscribed in a circle reveals that theposter format proportions are basedon this system known as the "penta-gon page." The base of the posterconforms to the bottom side of thepentagram and is extended so thatthe top corners meet the circle.

AnalysisA circle with its center atthe center of the page gov-erns the placement of thefigure and the type, "JOB."The upper right to lowerleft diagonal visuallyorganizes the placementof the head, eye, and hand.The upper left to lowerright diagonal flowsthrough the shoulderand past the hip.

Bauhaus Ausstellung Poster, Fritz Schleifer, 1922

Fritz Schleifer celebrated the tenants of Construct-ivism in his 1922, Bauhaus Aussteilung (BauhausExhibition) poster. As per the Constructivist ideals ofthe time, the human profile and the typography areabstracted into simple geometric shapes of themechanical machine age.

The geometric face, originally designed as part of aBauhaus seal by Oskar Schlemmer, is further re-duced from Schlemmer's original to five simple rec-

tangular shapes by eliminating the fine horizontaland vertical lines. The width of the smallest rec-tangle, the mouth, is the module of measure forthe width of the other rectangles.

The typography is designed to be consistent withthe same rectangular elements as the face. Itechoes the rigid angular forms. The typeface issimilar to an original face designed by Theo vanDoesburg in 1920.

48

Bauhaus Seal. OskarSchlemmer, 1922

BRUHRU5RUSSTELLUnG

.HUDSEPT IBS:

Type DesignThe type structure is based on a 5 unit by 5 unit square,which permits the widest characters, M and W, to occu-py a full square with each stroke and counterforrn occu-pying a unit. The narrower characters occupy a 5 X 4portion of the square, again with each stroke occupyinga unit and the counterforms enlarged to two units. The Band R deviate in that a concession of 1/2 unit is made tothe rounded forms and to distinguish the R from the Aand the B from the number 8.

AnalysisThe eye aligns along thecenter vertical axis. Theother facial elements areplaced in asymmetricrelationship to this axis.The type aligns top andbottom with the neckrectangle.

H

Rectangle WidthProportion

Mouth

Head, Musi:— 1

*

/HRLJHRD5HUS5TELL

L'Intransigeant Poster, A. M. Cassandre, 1925

'The mathematically expressed module can only act toconfirm a spontaneous insight. The golden rule mere-ly defines the ideal proportion previously intuited bythe artist; it is a means of verifying, not a system (itwould be doomed [i f it were], like every system)."Diary, Adolphe Mouron, 1960The L'Intransigeant poster designed in 1925 byAdolphe Mouron, who was more widely known asA. M. Cassandre, is both a conceptual triumph and a

study in geometric construction. The poster is fo r .Parisian newspaper, L'Intransigeant, and the conceptual triumph is the translation of the representationform of a woman's head into the visual symbol aMarianne, the voice of France.

Cassandre was educated as an artist and studieipainting at a number of studios in Paris. Indeed, hitook the pseudonym Cassandre with the idea tha

when he returned to painting that he would do sounder his given name, Adolphe Mouron. Very soon,however, he became fascinated by poster art andfound that it held more potential for dynamic exper-imentation than did paintmc; 'he idea ofmass communication was H; • as theidea of an art that cross utional andentrenched boundanc- tion.

Because of his interest and studies in painting,Cassandre was deeply influenced by Cubism. In aninterview in 1926 he described Cubism. ".. its relent-less logic and the artist's endeavors to construct hiswork geometrically bring out the eternal element, theimpersonal element beyond all contingencies andindividual complexities " He acknowledged that hiswork was "essentially geometric and monumental,"and the elements of geometric construction can be

AnalysisThe poster format is nto a series of modules 6X 8, yielding a total of 48 square visual fields. All elementsof the poster correspond to this plan in terms of place-ment and proportion. The inner ear is at the intersectionof these visual fields as is the center of the mouth. Thecorner of the "L" lands in the exact center of the poster.The chin of the figure fits into a visual field, as does the

telegraph pole. The 45° angle of the neck moves fromcorner to corner of a square of four visual fields. Thetelegraph wires begin at the ear center and move at 15"increments forming again 45" angles above and belowthe horizontal.

found in almost all of his posters. In particularCassandre was very conscious of the compellingvisual power of the circle and consciously used thecircle in this poster and many other posters to directand focus the viewer's attention,

In addition to fine-art Cubism, the poster movementcalled Sach Plakat, or the object poster, influencedCassandre's work. The object poster movement

departed from the expressive and embellished workof the past with objectivity and function as the pri-mary goals. This philosophy was echoed by theBauhaus in the 1920s and can be seen repeatedly inCassandre's posters throughout his career. InL'lntrans the newspaper is reduced to a just a portionof the masthead that overlaps a more powerful sym-bol, Marianne, the voice of France.

Angles and Root 2The format of the poster is a root 2 rectangle. The eye isbisected by the diagonal of the root 2 rectangle, shownwith a dashed line. This diagonal also bisects the center ofthe poster at the lower left corner of the "L" The baselineof the word, L'INTRANS, is at a 45" diagonal from the cen-ter of the poster. The Telegraph wire lines are arranged atapproximately 15° increments which yield the 45° modulethat is repeated in the nose and neck angles.

Circle Diameter Ratios

head circle = 4 mouth circles

mouth circle = outer ear circle

mouth circle = 2 1/2 small ear circles

inner ear circle = eye circle

inner ear circle = insulator circles

inner ear circle = ear lobe circle

53

Circle ProportionsThe outer ear and mouth circles are the diameter of onevisual field. The smaller circles of the eye, inner ear, earlobe, and insulator have a diameter of two fifths of avisual field, The largest circle, the head, has a diameterof four visual fields.

The placement of the circles is organized so that thecenter points of circles on the head are aligned on 45°diagonals. The insulator circles are all aligned on diago-nals at approximately 15" increments. Three of these15" increments yield the 45" module.

East Coast by L.N.E.R. Poster, Tom Purvis,1925

Tom Purvis' 1925 poster, East Coast by L.N.E.R., is aninvitation to the viewer for summer vacation travel onthe London Northeast Railroad. More than twenty-five years earlier two designers who called them-selves the Begarstaffs experimented with the thenradical approach of developing powerful composi-tions of flat areas of color defining simplified graphicsilhouettes. Purvis' poster uses a similar technique ofsimplification and play of space, color, and pattern.

The umbrella ellipse is the most powerful and com-pelling visual force in the poster, not only becauseof the vibrant color but also because of the shapeand diagonal placement. The bright orange is incomplimentary contrast to the blue sky and water.The elliptical shape is close to the shape of the cir-cle, which attracts more visual attention than anyother geometric form. The diagonal direction is themost provoking visual direction due to its instability

and implied motion. The dramatic ellipse is repeatedtwo more times in the interior structure of theumbrella and in the black pole support.

All of the shapes are simple silhouette shapes creat-ed with great economy of detail. The striped textureand casual arrangement of the towel provides achange in texture from the simple shapes.

AnalysisThe poster is readily analyzed by means of a 6 X 6 grid.The horizon line of the sky and water divides the posterand occupies the top two thirds. The minor ellipse axisof the orange umbrella passes through the center of the

poster and balances the composition,left and right of this axis, provitdand shape.

Barcelona Chair, Mies van der Rohe, 1929

The Barcelona Chair was designed in 1929 for theGerman Pavilion at the International Exhibition inBarcelona, Spain. The pavilion was unlike any of theothers in that it did not contain any exhibits; the build-ing itself was the exhibit. Elegant, sparse, and con-sisting of travertine marble, gray glass, chromecolumns, and dark green marble, the building's onlyfurnishings were Barcelona Chairs and BarcelonaOttomans upholstered in white leather, andBarcelona Tables. The ottomans and tables used a

Chair Proportions (right)The chair side view {top right) as well asfront view (bottom right) fit perfectly intoa square. The divisions of the back cushionapproximate small root 2 rectangles.

support "x" frame similar to the chair. Mies van derRohe designed the building and the furniture, andboth are considered milestones of design as well asthe greatest achievement of van der Rohe'sEuropean career.

It's difficult to believe that such a contemporary, cl.T.sical piece was designed and produced more thanseventy years ago. The Barcelona Chair is a sympho-ny of meticulous proportions based on a simple]

square The height of th^'chair is equal to the lengthwhich is equal to th^aepth, i.e. it fits perfectly into acube. The rectangles of leather on the cushions are inroot 2 rectangle proportion attached to a steel frame.The same/ectangles were designed so that whenthe chair i as upholstered they would still be perfectrectangles despite the stress and tension of theupholstery process. The script "x" construction ofthe lees form an elegant frame and lasting trademarkfor me chair.

Curve ProportionsThe primary curve of the:hair back and front leg isormed by a circle withhe same radius as thesquare, with center pointA. The curve of the origi-nal circle is repeated onthe front of the seat sup-port with an identical cir-cle with center point B.Another circle, wit!half the radius of Vdefines the back leg withcenter point C.

Chaise Longue, Le Cor busier, 1929

Architects educated in the Beaux Arts tradition oftenare very aware of the principles of classic proportion,and involve these principles both in the architectureand furniture that they design. Le Corbusier is one ofthese architects and the attention to detail and pro-portion in his architecture can also be found in hisChaise Longue Corbusier was influenced in the1920s by other architects such as Mies van der Rohewho were designing tubular steel furniture for theirbuildings. Both Corbusier and Mies were influenced

by the geometric forms of Thonet Bentwood furni-ture and used simplified similar forms in their ownwork.

In 1927, Le Corbusier began a collaboration withCharlotte Perriand, a furniture and interior designer,and his cousin, Pierre Jeanneret. The collaborationwas highly successful and lead to a number of classic;furniture designs that bear Le Corbusier's name,including the Chaise Longue.

Predecessor of theChaise LongueThe Thonet recliningrocking chair, ca. 1870

The chrome tubular frame of the ChaiseTs an arc run-ner that rests on simple black stefta This arc is an ele-gantly simple system that sliples in either direction andallows the user an mfinit^vanety of positions, and isheld in place by frictiorf and gravity with either thehead or feet raised/Similar to the geometric arcframe, the pillow is/also a geometric form of a cylin-der that is easily ^positioned by the user. The arc ofthe frame is such/that the frame can be removed fromthe stand and used as a reclining rocker.

AnalysisThe proportions of the chaise relate to the harmonicsubdivisions of a golden rectangle. The width of the rec-tangle becomes the diameter of the arc that is the frameof the chaise. The stand is ih direct relationship to thesquare in the harmonic subdivision.The Chaise Longueis analyzed by a harmonic decomposition of a goldensection rectangle.

Brno Chair, Mies van der Rohe, 1929

Mies van der Rohe received a commission to designa family residence for the Tugendhat family based onhis highly acclaimed architecture for the BarcelonaPavilion in 1929. In addition, he was asked to designfurniture for the residence that would be in keepingwith the stark modernism of the building.

Mies had successfully developed a cantilever arm-chair, the MR Chair, in 1926. At the time the technol-ogy of bending tubular steel was new and presented

innovative design options. The design of the MRChair was based on earlier nineteenth-century de-signs of tubular iron rockers and the celebratedBentwood Rocker by Michael Thonet. Because ofthe strength of tubular steel the frame of the MRChair was cantilevered and the design simplified.

The Tugendhat house had a large dining room and atable that could seat 24. The MR Chair was original-ly specified for this purpose but was awkward as a

60Predecessors of the Brno Chair(left) Thonet Bentwood Rocker, ca. 1860, (right) sideview of the MR Chair, Mies van der Rohe, 1926

dining chair because the extended arms did not fitunder the table. The Brno Chair, named after thetown of Brno where the Tugendhats lived, wasdesigned for this purpose and the low sweep of thearms and compact form fit neatly under a diningtable. The original chairs were upholstered in leatherand the design was executed in both tubular steeland flat bar versions, which resulted in structuralvariations.

AnalysisThe chair top view fits per-fectly into a square (aboveright),The front view of thechair (right) and side view(far right) fit neatly into agolden section rectangle.The angle of the front legsand chair back (belowright! are symmetrical, andthe radii of the curves arein 1:3 proportion.

Negerkunst Poster, Max Bill, 1931

This poster was for an exhibition of South African pre-historic rock painting. The fierce simplicity and geom-etry of Max Bill's 1931 Negerkunst poster have rootsin the development of the Art Concrete ideal of the1930s. This movement demanded arithmetical con-struction of pure visual elements. Bill embraced thisideal as a universal visual language of absolute clarity.

The diameter of the center circle becomes themeasure for the entire figure. The measure ofdiameter is the same as the height of the topbottom. Half of this diameter is the measure ofsides. The vertical that pierces the center of thecle becomes the axis for the left edge of the typi

negerknnstprahistorische

ielsbilder sndairikaskiiiistgewerbenraseum Zurichausstellung 2. 30. august 1931geoltnet 10-12 M-18 nhrsonntag —17 nhrmontag geschlossen

eintriti .!•()nachmittag and sonntag frd

Large Circle Proportions (right)The exterior circles are two times the size of theinterior circle.

Root 2 Proportions (far right)The format of the poster is based on a root 2 rectangle.The diagram is a harmonic decomposition of a root 2rectangle. The vertical line becomes the axis for theblock of type and the center of the interior circle.

AnalysisThe proportions of the

large "0" are based on amodule of the interior cir-cle. The left and right sidesare one-half the diameterof the interior circle andthe top and bottom sidesare the measure of onediameter of the interior cir-cle. The corner to cornerdiagonal pierces the centerof the interior circle, and avertical through the centerdetermines the left marginof the type box.

negerkunprahistoriscne

felsbOder siidafrikaskimstgewerbeiimseum Zurichausstelhmg 2. 30. august 1931geftttnaT 10-12 I4-I8 nhrsonntag

emtnttsonntag Irnachminag imd

63

Wagon-Bar Poster, A. M. Cassandre, 1932

"Some people call my posters Cubistic. They are right inthe sense that my method is essentially geometric andmonumental. Architecture, which I prefer above all oth-ers, has taught me to abhor distorting idiosyncrasies...I have always been more sensitive to forms than to col-ors, to the way things are organized than to their details,to the spirit of geometry than to the spirit of refine-ment..."Adolphe Mouron, A. M. Cassandre, La Revue de/'Union de i'Affiche Fran^aise, 1926

The Wagon-Bar Poster is no less a marvel of geo-metric interrelationships than is the earlier L'lnfrans.Again, Cassandre selects representational elementsto be simplified and stylized into simple geometricforms. The seltzer bottle, wine and water glasses,loaf of bread, wine bottle, and straws are placed infront of a photograph of a train wheel.

The diameter of the wheel becomes the measure ofthe railroad track segment that emphasizes,

6-1

WAGOKiSW! ITS

"RESTAUREZ-VOUS," and "A PEU DE FRAiS." Thecenter of the poster is visually punctuated by theends of the two straws in the drinking glass. Theposter is easily divided into thirds on the vertical.

The geometry of the drawn imagezs is apparent inthe shoulders of the bottles and the bowl of the wineglass. There is a beautiful play of space as the whitebackground of the poster bleeds into the siphon topof the seltzer bottle. A similar change of space occurs

AnalysisConscious placement and control of eachelement is evident in the center points ofthe circles that form the wine glass bowland the shoulders of the seltzer bottle asthey land on the diagonal from the upperleft corner to lower right corner. Likewise,the center of the wine bottle circle andthe wheel center align on the samevertical.

with the bread loaf and the wine bottle label as well asthe top of the glass and the edge of the wheel casing.

This poster is relatively complex in the number of ele-ments that require geometric simplification, structur-al interrelationships, and organizational control. Yetupon analysis it is clear that there is a reason for eachand every decision.

65

Konstruktivisten Poster, Jan Tschichold, 1937

"We do not know why, but we can demonstrate thata human being finds planes of definite and intention-al proportions more pleasant or more beautiful thanthose of accidental proportions."Jan Tschichold, The Form of the Book, 1975

This poster, created by Jan Tschichold in 1929, wasfor an exhibition of Constructivist art. Since thisposter was created at a time when the Constructivistmovement was dissipating, the circle and line can be

interpreted as a setting sun. The Constructivist at:movement mechanized fine art and graphic designvia mathematical placement of abstracted geometrii.elements as a functional expression of industrial culture. As a poster, this work utilizes the Constructive.!ideals of geometric abstraction, mathematical visualorganization, and asymmetric typography as advocaled in Tschichold's book, Die Neue Typographie, pub-lished in 1928.

• ronx IS lanmrt'iW.ltb'utrOay

konstruktivisten

AnalysisThe diameter of the circle becomes a unitof measurement for the poster and place-ment of the elements. The circle itself is afocal point and the eye is inexorably pulledtoward it. The circle also highlights thetitle of the exhibition as well as the list ofexhibitors. The small bullet circle next tothe line of text with the dates of the exhi-bition is an element of visual punctuationas it echoes to and contrasts in scale withthe major circle. The list of exhibitioncontributors begins at the meeting pointof the diagonals of the poster format andthe diagonal of the bottom rectangularsection. The distances of the text to majorelements are modules of the distance fromthe horizontal line to the base line of"konstruktivisten," which is centered inthe circle.

Format ProportionsThe narrow rectangular format is a penta-gram page and is derived from a pentagoninscribed in a circle. The top surface ofthe pentagon becomes the width of therectangle and the bottom point the bottomof the rectangle. The horizontal line in theposter is placed so as to connect two ofthe vertices of the pentagon.

Compositional TriangleThe typography of the

poster forms a trianglewhich serves to anchor itto the format and enhancevisual interest.

Der Berufsphotograph Poster, Jan Tschichold, 1938

This 1938 poster by Jan Tschichold was for an exhi-bition of the work of professional photographers andis a classic in concept and composition after manydecades. Because of the exhibition content, theimage of a woman is representational but alsoabstracted in that she is portrayed as a film negative.This technique focuses the viewer's attention on theprocess of photography rather than on a single imageof a woman. The main title, "der berufsphotograph,"

is printed as a split font, whereby three different col-ors of ink, yellow, red, and blue are placed on a print-ing roller and "mix" as the roller turns. This rainbowof color in the typography is a rare expressionistdeparture from the formalism of Tschichold's otherwork. However, his love of asymmetric and function-al typography are evident in the layout o\yaligned and related typographic elements and textures.

gewerhemuseiim base! ausstellung

seine arbeilin - win wertzeqj

Root 2 Rectangle

Relationships

The root 2 constructiondiagram is placed on top

of the poster. The corner

of the reciprocal and the

diagonals bisect the eye of

the figure in the photograph.photograph

ihotograph

AnalysisThe negative photograph is just to the right of the center

of the root 2 rectangle format. The left eye of the figure

is carefully placed and the image cropped so as to

become the nexus of diagonals that regulate the place-

ment of elements. The measure of the width and depth

of the image is echoed by the typographic elements to

the left.

center

line

Plywood Chair, Charles Eames, 1946

Although he had a full scholarship to study architec-ture, Charles Eames left college after two years atWashington University in St. Louis. The curriculumwas based on the traditional principles of theAcademy of the Beaux Arts, which clashed with hisavid interest in modernism and the work of FrankLloyd Wright. However, throughout his life he appre-ciated the foundation that the Beaux Arts training hadgiven him in the classical principles of proportion andarchitecture.

His Plywood Chair was designed for an OrganicFurniture Competition sponsored by the Museum ofModern Art in 1940. Eames and his collaborator archi-tect Eero Saarinen sought to bring organic formstogether into a unified whole. As a result the beauti-ful curvilinear forms caught the eye of the judges, asdid the innovative technologies of three-dimensionalmolded plywood and a new rubber weld techniquethat joined the plywood to metal. The entry won firstplace.

70

Plywood Chair(above) All plywood version and (right)plywood and metal version. The chairwas made in two versions; a lowerlounge chair version and a slightly higherdining chair version.

The current chair, still in production, evolved fromthat winning entry. It is impossible to state unequiv-ocally that the relationship of the chair's proportionsto the golden section rectangle were fully con-sciously planned, but the classical Beaux Arts train-ing, as well as the collaboration with Eero Saarinen,make this assumption highly likely-

Chair Back (above)The chair back fits perfectlyinto a golden sectionrectangle.

Chair Proportions (right)The dining chair propor-tions are roughly those ofthe golden section.

Chair Detail ProportionsThe radii of the corners ofthe chair back as well asthe tubular legs are inproportion to each other1:4:6:8.

A= 1B=4C=6D=8

Konkrete Kunst Poster, Max Bill, 1944

'I am of the opinion that it is possible to develop an artlargely on the basis of mathematical thinking."Max Bill, from an interview in 1949, TypographicCommunications Today, 1989

Max Bill was distinguished as a fine artist, architect,and typographer. He studied at the Bauhaus underWalter Gropius, Moholy-Nagy, and Josef Albersamong others. At the Bauhaus he was influenced bythe ideals of functionalism, the De Stijl style, and for-

mal mathematical organization. The hallmarks of the1920s De Stijl style included a very formal dividing ofspace with horizontal and vertical lines. This style hadsoftened by the time this work was created in 1944The space is divided but with a circle and arcs, andthe rigid horizontal lines of some De Stijl typefacesare evolved to include circles and diagonals.

Bill's use of geometric abstraction was developed toinclude the typographic elements as well. The lettci

Root 2 Construction (right)Root 2 construction relates directly to theplacement of the circles. The diagonalpierces the centers of the largest andsmallest circles, and the smallest circlerests on the line of the root 2 constructionsquare.

Circle Proportions (far right)The proportion of the circles is 1:3:6.

AnalysisThe diameter of the small-est circle is 1/3 the posterwidth as well as 1/3 thediameter of the nextlargest circle, and 1/6 thediameter of the largestcircle. The smallest typehas an alignment with thesmallest circle and thelarger type aligns with thecircle tangent and edge ofthe smallest circle.

kyM5tl/iAll<-

forms are hand generated and based on the sameroot 2 principle as the poster format. Each typo-graphic character has a direct geometric relationshipto the structure of the root 2 rectangle and is createdin modular form. The font was used for other postersand also for an exhibit that Bill designed in 1949.

Type ConstructionThe construction square of the rectangleis the base line and mean line or x-heightof the lowercase font. The ascenders anddescenders are defined by the length ofthe root 2 rectangle. The strokes are basedon geometric construction with anglesrestrained to 45°. Deviation of the anglesoccurs in the "s" with 30° and 60° con-struction, and in the major strokes of the"a" and "v" with 63° angles. Two roottwo rectangles are used to create the "m"which is two repeated "n" shapes. Thenumbers are created with the same con-struction methods, utilizing a perfect circle,which reflects the larger circle shapes inthe composition.

74

Letter Form SizeProportionsThe letter forms are of asingle weight and thesame proportion as thecircles, 1:3:6.

Pevsner, Vantongerloo,Bill Poster, Max Bill,1949

This poster designed fouryears after KonkreteKunst, uses the same letterform construction. Billlater slightly refined theletter form constructionfor use in an exhibition,and this face is currentlyavailable from The Foundryin London.

75