Fontshop 149 9Th Street, Suite 302 San Francisco, Ca 94103 1 888 Ff Fonts Toll-Free 1 415 252 1003 Local Font 006 Think Globally, Design Locally
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006 font FontShop 149 9th Street, Suite 302 San Francisco, ca 94103 1 888 ff fonts toll-free 1 415 252 1003 local www.fontshop.com font 006 thInK GLoBaLLY, DEsIGn LocaLLY Font is published by FontShop The not-so-old adage is pretty simple: “Think globally. Act locally.” 149 9th Street, Suite 302, San Francisco, ca 94103 We started using it a few decades ago as an environmental call to 1 888 ff fonts toll-free · 1 415 252 1003 local · www.fontshop.com action. But in today’s networked global community, where pollution drifts and fl ows across countries and continents, can acting locally 04 editors really be enough? Yes and no. Doing the right thing in our own Amos Klausner communities is an important step to save and sustain our wild places Stephen Coles and designed spaces. But we also need to gain a wider perspective design and art direction Conor Mangat / www.typographicproblemsolving.com and focus on the big picture fl ickering just beyond our fundamentally narrow view. creative consultant 09 Punchcut / www.punchcut.com Unfortunately, Font won’t give you any tips on sorting recyclables, proJect manager but it will suggest another interesting idea: “Think globally. Design Michael Pieracci h locally.” Most of us are pretty good at the latter, but maybe don’t contributing editor Tamye Riggs / www.typelife.com have the time or inclination to go global and seek out smaller, more intimate pockets of design diversity. The problem we run into image credits 13 covers: International flight density (diagrammed in 1968), overlaying as we all reach for success is that increasingly internationalized f Stop 048.015 and 414.016; © their creators / www.fstopimages.com commercial communication is distilling messages down to a page 3: Tony de Marco by Egly Dejulio; Pepe Menéndez by Laura Llópiz common denominator. And as certain logos and images (and the pages 10 –12: © their creators / www.fstopimages.com pages 20 –23: © Tony de Marco copycats they spawn) multiply across the world, fi nding inspiration pages 33 –35: © Pepe Menéndez in our own backyards – or someone else’s – is getting harder. sources 16 www.factiva.com, www.placenames.com, www.timeanddate.com, www.wikipedia.org In this issue, we hope to bring back some of the wonder that comes printing with design exploration. We’re featuring the work, the images, and Dome Printing, Sacramento / www.domeprinting.com the concerns of graphic designers in places overlooked in the face of ∞ clients, kids, and too many deadlines of every kind. Our travels take us to South Africa, where a dedicated community is designing their way toward an end to illiteracy. Nina Knežević shows us the new 20 Sarajevo, while in Brazil, Tony de Marco clears away the clutter to reveal São Paulo’s ban on advertising. In Iran, Reza Abedini shares the ancient beauty of Farsi calligraphy before we make our fi nal stop in Havana, Cuba, where Pepe Menéndez dusts off his city’s typographic details. 24 In sharing these stories with you, we hope that you’ll gain an appreciation for the wide variety of contributions made to our design community each and every day. We also encourage you to think about preserving the diversity of our design culture and even integrating these kinds of cultural nuances back into your 29 own practice. So sit back and strap on that extra pair of solar panels C you’ve got laying around the studio. Font is taking you for a ride. aMos Klausner Editor 33 36; © 2007 Fsi FontShop International. All rights reserved. All trademarks named herein remain the property of their respective owners. The views expressed herein are solely the opinions of their respective contributors, and do not necessarily represent the viewpoint of Fsi. The contents of this publication may not be repurposed or duplicated without express prior written permission. fonts used ff celeste® ff clan™ (titles and statistics throughout) ff milo™ (caPtions throughout) ff oxide™ fontshop.com 3 The number 26 doesn’t mean much to most people. But in South Africa—where there are 11 official languages, the HIV infection rate is approaching 20 percent, and the nation ranks 2nd in per capita assaults and murders—numbers have taken on new meaning. That’s where 26 comes in. It’s the number a group of dedicated South African graphic designers and writers are using to bring attention to violent crime and one of its notable precursors, illiteracy. fontshop.com 5 beloW: If you can’t read, you he 26 Letters project is built on the idea that, without a sound can’t succeed when M is for foundation in language arts, South Africans could have a more Monopoly, by Terri Santos and T Christopher Radcliffe. diffi cult time connecting to the world around them. They might left: A is for ayeye, by Jonathan have trouble creating a sense of belonging, could become bored Edwards and Neo Makongoza. opposite, left: V is for violence and frustrated, and, without words, might ultimately express by Greg Naude and Minky Venter. themselves with violence. In teams that pair a graphic designer opposite, right: Followed by the letter ‘N’, the letter ‘K’ silently with a copywriter, more than fi fty professionals from across the signs for peace in a poster by country have designed almost seventy posters in support of this Francois Smit and Debbie Smit. previous page: A is for amandla, literacy campaign. In some cases, that means depicting a single by Tiffany Turkington-Palmer. letter, but more often teams have included related words or phrases that explore, subvert, or celebrate the colloquial nature of language in multicultural South Africa. Creative director and copywriter Desiree Brown, spearhead of the 26 Letters project, has been spelling out its benefi ts. “We call it literacy against crime. We believe that if people harness the power of the alphabet and regain a love of reading and writing, we can work through our problems more constructively and end up with a less violent society.” An exhibition of the 26 Letters project was launched at this year’s Design Indaba conference in Cape Town. REpUBLIc of The show is expected to travel throughout South Africa, Southern soUth afRIca Africa, and possibly as far as Nigeria. Motto Unity in diversity “Perhaps someone with a book in his hand Acknowledged Through these collaborations, themes converge and the prospect 1488 Major cities of impending danger is palpable. In their poster for the letter ‘V’, Bloemfontein (judicial capital) Greg Naude and Minky Venter portray violence as it’s perpetrated may not have a gun in it instead”—Desiree Brown Cape Town (legislative capital) Johannesburg (largest city) Pretoria (executive capital) by vermin on their victims. The team of Gaby de Abreu, Sulet Time zone Schulze, and Brown entwined the letter ‘X’ with hate and barbed GMT +2 National population (2005) wire. Jonathan Edwards and Neo Makongoza extended the letter 47,432,000 (or 101/sq. mi.) ‘A’ into ayeye, a Zulu warning cry and an anarchist’s vision of Johannesburg population (2001) 3,225,812 (or 5,082/sq. mi.) American imperialism. 6 font 006 fonts used ff letter gothic text® ff soul™ fontshop.com 7 Wordplay is also popular. To describe just about anything cool in Afrikaans is to call it lekker. That includes Margie Backhouse and Harry Kalmer’s poster for the letter ‘L’. The Xhosa language gets a turn in another poster for the letter ‘A’, this time in Tiffany Turkington-Palmer’s African call for amandla, or power. Goalposts help form eish or the letter ‘H’ because Emma Douglas and Claire Harrison remember exclaiming Eish! (which translates into something like “oh man”) when South Africa won the 1995 Rugby World Cup and blacks and whites were united both on and off the field. With their creativity in check, the designers and writers of the 26 Letters project recognize that solving South Africa’s problems will take more than their goodwill. But as communication professionals, they also know that they need to play a role, however large or small, in helping South Africa and the African continent confront violence. Brown puts it succinctly when she says, “Perhaps someone with a book in his hand may not have a gun in it instead.” That makes the goal of returning literacy to its place as a pillar of education a worthy cause indeed. pp top left: L is for lekker, by Margie Backhouse and Harry Kalmer. top right: H is for eish, by Emma Douglas and Claire Harrison. above: I hate the X, by Gaby de Abreu, Desiree Brown, and Sulet Schulze. 8 font 006 fontshop.com Tried and true can easily become staid Featured and stale. Look beyond — the typefaces most fitting are often found on the Distractions road less traveled. 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