Go Aussie. This can of Coca-Cola found, discarded, illustrates the transience of not only an event but of a font…
Such was the advertising art of the late 1940s (post-war) from which this advert is drawn. How an industry has been destroyed in a couple of generations. I place it in this blog for it is a piece of whimsy, and also forms part of our social history when beautiful women in beautiful gowns were called on by the men of advertising to promote the art of smoking. At least she is using a cigarette holder, the better for her pose no doubt. The illustration comes from a book I picked up for a couple of dollars at a jumble sale (boot fair) called Future Books, vol 3 (undated but possibly 1946-7).
This advert was published on Thursday, November 7, 1991. I know that because I have the original kept from The Guardian newspaper. The newsprint is fading but the joy of the lettering remains. No idea who the designer was – if it’s you please send me a line. [The ad, by the way, was for Epson’s LQ series printers.]
S.L.Hartz rates just one page in Sebastian Carter’s Twentieth Century Type Designers (Ist edition, 1987) yet, as Carter himself suggests, his work is unduly neglected. I was reacquainted with Juliana by an article I chanced upon in the 1958 issue of the Penrose Annual. (For those new to this blog please search for other posts that mention Penrose, possibly the greatest printing annual ever produced, and in letterpress of course.) Here Hartz was writing on An Approach to Type Designing at a time when the designer still drew letters by hand (at each size) and had to co-operate with the punch-cutter,who translated those drawings into metal suitable for die making. At the time he designed Juliana Hartz was general art director at the great printing-house of Joh. Enschede en Zonen in Haarlem, Holland. He had succeeded Van Krimpen (see here for a post about him and Spectrum), but was more of an engraver and stamp and banknote designer than typographer. Nevertheless Juliana is a pleasing face, apart from those squared ‘dots’ over the lower case i.