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04 25 50 75 100 04 25 50 75 100 04 25 50 75 100 04 25 50 75 100 CONTENTS

DYNAMIC GRAPHICS OCTOBER/NOVEMBER 2005 - VOLUME 10 NUMBER 5

FEATURES 40 Type Crimes & Misdemeanors by Michelle Taute Avoid the worst typographic transgressions. 46 Hand Lettering Rediscovered by Sheree Clark Historic hand lettering can inspire today’s projects.

52 Writ Large by Terry Lee Stone Type in large-scale formats has big impact, but holds unique challenges for environmental designers.

60 Type Terminology by Cassie Hart Get huge response with large-scale Learning the language of type is essential to environmental type (page 52). mastering it. Get started with this glossary. 66 Font Smart: Making the Right Buys by Allan Haley Best ways to build a productive type library

COLUMNS & DEPARTMENTS

18 Design Dynamics by Sheree Clark Get teams on track with concerted effort—Part 1 of 2.

20 Management Matters by Maria Piscopo Project stress: 5 ways NOT to lose your mind 22 Smart Moves 28 Real-World Solutions We put the emphasis on consistency, fl exibility, and quality content in DG’s redesigned website. 38 Color on Call Spooky: eerie, chilling, creepy, mysterious, frightening 72 How’d They Do That? How to multiply graphics to create patterns, and turn bitmaps into vector fi les with CS2’s Live Trace 79 Design Makeovers Call for Entries Submit your project for a DG redesign.

2 DynamicGraphicsDynamicGraphics

CONTENTS

DYNAMIC GRAPHICS OCTOBER/NOVEMBER 2005 - VOLUME 10 NUMBER 5

REGULARS 8 From the Editor 12 Letters 76 Workspace Savvy The latest must-haves for desktop and library 78 Classifieds/Connections 80 Cover to Cover/Coming Up

79

Although the techniques and ideas outlined in Dynamic Graphics are offered with the best possible intentions, the publication or its publisher will assume no liability ENTER YOUR DESIGN PROJECT FOR A FREE MAKEOVER! for their success or failure in any real-world business application.

Dynamic Graphics magazine (ISSN 1094-2548/USPS 016-929) is published bimonthly by Dynamic Graphics Group, 6000 N. Forest Park Drive, Peoria, IL 61614-3592, for $36 per year in the U.S. Single copies are $7.95 each. Prices vary outside the U.S. October/November 2005, Vol. 10, No. 5. Canadian GST Account No. 125145193. Canada Post Permit No. 2493675. Design ideas for the real world TYPE SEECCRETS POSTMASTER: Send change of address forms to Dynamic Graphics magazine, P.O. Box 9006, Maple Shade, NJ 08052-9006. Periodical postage rates paid at Peoria, REVEALED Ill., and additional mailing offices. Visit www.dynamicgraphics.com and click Con- tact Us, or e-mail Customer Service directly at [email protected].

© 2005 Dynamic Graphics, Inc. All rights reserved. Contents of this magazine may not be reproduced in any manner without written consent from the publisher. Mention of any product does not constitute endorsement by Dynamic Graphics magazine. Dynamic Graphics magazine assumes no responsibility for return of unsolicited manuscripts, photos, art, or cartoons, and reserves the right to reject any editorial or advertising materials. Unsolicited materials should be accompanied by a self-addressed, stamped envelope. Dynamic Graphics magazine is a regis- 40 The 6 Worst Type Crimes tered trademark of Dynamic Graphics, Inc. & HOW TO AVOID THEM 20 Combat Project Stress Production Notes: 5 WAYS NOT TO LOSE YOUR MIND This issue was produced using InDesign 2.0 on PowerMac G4s. Text imported from OCTOBER/NOVEMBER 2005 $7.95 US $8.40 CAN 05> Microsoft Word and set in Clarendon BT, Gotham, and Adobe Garamond. Unless 52 Tips for mastering large letters otherwise noted, all Pantone color references that appear in the magazine are

dynamicgraphics.com 0274470 90182 taken from the Pantone solid to process guide coated. All visuals placed in posi- tion and separated electronically. Output direct to plate at 150 lpi at RR Donnelley & Sons Co. All rights reserved.

Printed in the U.S.A. using soy-based process color inks.

4 DynamicGraphicsDynamicGraphics

)LOVE MYIMAGE

)MAGES, h"LUESv2 h0ASTEL4HOUGHTSv!MANDA2OHDE !USTRALIAEXCLUSIVETOI3TOCK ISTOCKPHOTOCOMHIDESY (IGH RES ROYALTY FREE IMAGESFORORLESS

/VER HIGH QUALITYIMAGES  NEWlLESEACHWEEK .OSUBSCRIPTIONFEESnEVER !BSOLUTELYFREETOJOIN ISTOCKPHOTOCOM FROM THE EDITOR

With type—as with any creative element—some people “get it” and some don’t. “It,” of course, is pretty hard to defi ne; maybe it means the whole tragicomic spectrum of arts and let- ters. In this issue, we present knowledge and ideas to help you “get” type, from people who know when to express admiration for beautiful characters, laugh off the typos, and sign the warrant on the worst of the typographic transgressors. In “Type Crimes & Misdemeanors” on page 40, Michelle Taute presents an amusing but dead-serious look at outright atrocities, common errors, and pet peeves, while offering some fun examples of the right way to break the rules. On page 46, Sheree Clark explores “Hand Lettering Rediscovered,” with pointers on how to put the style and presence of hand-rendered letterforms to use in your next project. Type used in environmental design and other super-sized applications brings unique challenges; in “Writ Large” on page 52, Terry Lee Stone provides tips for avoiding room-sized errors and details the qualities that make certain fonts suitable for large-scale use. Knowing how to speak the language of letters is essential for designers. “Type Terminology” by Cassie Hart on page 60 presents more than 60 key defi nitions; it’s a useful review for the knowledgeable or a crash course for the self-taught (and those who slept through Typography class in school). Finally, our regular type commenta- tor Allan Haley advises on the best ways to build your type library in “Font Smart: Making the Right Buys” on page 66. Type is art, information, and entertainment. We hope you “get” plenty of all three in this issue.

Tom Biederbeck, editor

p.s. Enter your project for a free redesign in our ninth annual Makeovers contest; go to www.dynamicgraphics.com/makeovers for rules and forms.

8 DynamicGraphics combined power

Introducing PANTONE® essentials — the value package that’s the cost effective way to upgrade to a full set of our new 2005 edition guides. This powerful line-up gives you bigger size, added features and everything you need to select, spec and match solid and process colors in print and on the Web. With a special package price and free carrying case, you’ll row home a winner. Order your specially priced PANTONE essentials now at pantone.com or call 888-PANTONE. and other Pantone, Inc. trademarks are the property of Pantone, Inc.© Pantone, Inc., 2005. All rights reserved. Illustration by Seymour Chwast. ® PANTONE

PANTONE guides should be replaced every 12 months to maintain their reference standard. Subscriber Services

To make any changes to your subscription, visit www. DYNAMIC GRAPHICS dynamicgraphics.com, click Sub scribe, then follow the instructions under the “Already a Subscriber?” link in the upper right-hand corner. Remember, the post office will only forward mail for 60 days. Editor Tom Biederbeck Art Director Kathie Alexander If you receive a bill after you’ve paid, our letters prob- Managing Editor Marcy Slane ably crossed in the mail. Please disregard any bill or renewal Assistant Editor Tami Terrell notice you receive soon after mailing your payment or order. Editorial Contributors Sheree Clark, Allan Haley, (If you continue to receive notices, let us know.) Cassie Hart, Maria Piscopo, Terry Lee Stone, StudioAlex If your issue is damaged or missing, call 888.698.8542. Photography, Michelle Taute We’ll replace the issue or extend your subscription, whichever you prefer. Dynamic Graphics is published six times a year. Cover Consultant Bill Thompson Editorial Director Emily Potts To know when your subscription ex pires, check the Creative Director Michael Ulrich printed address label on the magazine cover. The date your Director of Publications Ted Lane subscription expires is on the right of the mailing label. Please allow six to eight weeks after renewing for the label to refl ect the new expiration date. Associate Publisher Birte Pampel Advertising Sales

publication Circulation Manager Mary Schmidt ID# code expiration Assistant Circulation Manager Megan Losher Single Copy Sales Manager Alicia Butler Group Publisher Chris Elwell

Advertising contact Birte Pampel, 212.389.2016, [email protected]

Toll-Free Customer Service 888.698.8542 To carry DG in your store, contact Alicia Butler M–F, 9 a.m. to 5 p.m. (EST) at 309.687.0244 or [email protected]. For reprints, contact Heather Osborne Outside the U.S., call 856.380.4121. at PARS International at 212.221.9595, ext. 333, or [email protected]. E-mail Customer Service at [email protected], or For list rental inquiries, contact Kerry Fischette visit www.dynamicgraphics.com and click Contact Us. at MKTG Services at 215.968.5020, ext. 163, or kfi [email protected]. Customer Service Mailing Address: For editorial comments/questions, contact Dynamic Graphics magazine Marcy Slane at 309.687.0271 or [email protected]. P.O. Box 9006 Maple Shade, NJ 08052-9006 Subscriptions Basic rate is $36/year (prices vary outside the U.S.). Single copies are $7.95 each. For group rates, e-mail [email protected].

10 DynamicGraphics ®

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Check out our NEW WEBSITE, dynamicgraphics.com, debuting Aug. 1! Seeking identity We are a small information architecture consulting company that has been struggling for fi ve years with Design ideas for the real world DRIVE BUSINESS a brochure/website/logo for our company. How do TO YOUR WEBSITE • Get your portfolio on track • Master the 9 online type rules I request a makeover or help? I am currently doing • Freshen up your content

INTRANET Total Training for Adobe Creative Suite, but am vs. INTERNET lacking the understanding of what our company DESIGN FOR THE DIFFERENCE should portray visually to grab future customers’

AUGUST/SEPTEMBER 2005 attention. I have been subscribing to your magazine $7.95 US $8.40 CAN 04>

since I started my training and it has been very dynamicgraphics.com 0274470 90182 image inspiring and helpful. Any help you can give to “little guys” like us? Software appeal Michelle Register I recently bought my Dover, N.H. downloads fi rst issue of your Each June/July issue of DG is devoted entirely to magazine, and liked makeovers. The 2005 Makeovers issue can be pur- it very much. As a chased online (www.dynamicgraphics.com). If you’d nonprofessional want- with like to be considered for our 2006 Makeovers issue, ing to know more, I look for the Call for Entries in this issue on page 79 read and practice a and on our website. All you need to do is fi ll out the lot with photo editing. form and send it in—there’s no fee. Because I do this for myself and friends— some newsletters, IT’S BEEN DIFFICULT etc.—I use Paint Shop Pro. Will your maga- zine ever address tips STAYING CREATIVE using PSP? Everyone addresses only IN THE CORPORATE WORLD ... Photoshop, but a lot Look for this “free” of us can’t afford it. DO YOU THINK YOU COULD Barbara Cannon icon within the Glendale, Ariz. DEVOTE SOME FUTURE ISSUE Thank you for the suggestion. We are pages of the TO THOSE OF US WHO ARE interested in which software packages magazine. Then you think DG should CORPORATE DESIGNERS? cover. Readers: Please sound off! Send your visit www.dynamic requests to slane@ Corporate challenges dgusa.com. graphics.com/ I was lucky enough to have gone back to school in my 30s for graphic design, graduated, and landed Reads it all downloads for a great job as a designer. It’s been difficult staying I received the issues of creative in the corporate world of existing templates, Dynamic Graphics you sent. They are fantas- boring branding standards, and company clients instructions on tic! This is defi nitely a who don’t want to see any deviation from “the way magazine I’ll be read- how to download it was always done.” Do you think you could devote ing cover to cover! some future issue or part of an issue to those of us Christine Gregory who are corporate designers? Santa Barbara, Calif. your free images! Frank Altomari New York, N.Y. continued on page 14

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Moving fast on the web Thank you so much for fi nally doing an issue on web design. As a graphic designer I fi nd that I am being asked to do more web pages. I enjoy the medium but at times I fi nd that it moves so fast you don’t know what the biggest and greatest ideas are or how to do them. I think it would be great if you had an article or a section on how to create layers, keeping your page stable, and slicing up your page ... then you could dive into the business of it all and give us a few pointers on pricing. I love your maga- zine and the content is right on the money. Keep up the good work. And thanks for the free downloads. S. Hulan Grande Prairie, Alberta

HAVE YOU EVER CONSIDERED

PUTTING OUT A “BEST OF” BOOK?

Wants the best I have been an avid reader of your magazine for years. Have you ever considered putting out a “Best Of” book? Sid Yellan Toronto, Ontario We have in fact considered developing a Best of DG book and may well do this. For now, we’re focused on expanding our new website, which will eventually incorporate much of our recent material. Please visit and feel free to let us know what you think.

continued on page 16

14 DynamicGraphics @=G/:BG4@33ABG:3 7;/53 ' "!$

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– #8c^WbS`7[OUSaORWdWaW]\]T8c^WbS`[SRWO1]`^]`ObW]\/ZZ@WUVba@SaS`dSR I WILL BE USING YOUR Idea quest Capsule review I have received one The staff at Dynamic Graphics are polished pros COLORS IN MANY PROJECTS issue of your maga- and the makeovers you did for our natural foods zine so far and I store [“Vitamin Cottage,” June/July 2005, V10N3] TO OUR think it’s awesome! were stunning. Here are a couple of comments on FURTHER I’ve been looking the redesign [pg. 31]: After being in the vitamin for something ... a COMPANY IMAGE. magazine, a book, a business for many years, we have found that many brochure, anything people do not like pills—so I think I will stick with ... that gives me cre- a cottage image. The colors you used are futuristic, Will we ever live it down? ative, practical, and summery, and friendly. The orange and green color I’ve been a long-time reader of your magazine and eΩective ideas and scheme is impeccable, and it looks great with our have enjoyed it very much over the years. One fea- suggestions for this dark purple. I will be using your colors in many ture that I really enjoy is the presentation of the ink ever-changing projects to further our company image. The bro- color palettes. Working with four-color is rather industry, and your chure [pp. 42–43] is very attractive. The newsletter new to me. So I really like the way you present the magazine defi nitely approach works really well and I’ll send you a copy does that. I can’t CMYK and now the PMS and RGB palettes. I also when I get it made. Again thanks for the opportu- wait to get the next enjoy the redesigns that are presented. In the June/ issue and check out nity to work with you. July issue I have just noticed that on page 60 of the the launch of your Mona Kail “after” Professional Anesthesiologists logo there is a enhanced website. Lakewood, Colo. typo in the small text. Greater is spelled GEATER. Keep up the terrifi c It has always been my experience to have another work and eΩort. Correction person review and proofread my work. It is easier to Cynthia Campbell In our last issue (Aug/Sept 2005, V10N4), we listed spot another person’s error than to see your own. San Francisco, Calif. the book Branding: From Brief to Finished Solution James J. Scott as a Rockport Publishers release. It is, in fact, from Durham, N.C. Rotovision, available at www.rockpub.com. %*'#%%* ­hide [dci[dci#^bV\Z/ ž [[jc^i k^gjh[dcih! ž

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16 DynamicGraphics

Image 22926705

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JupiterImages™ is a division of Jupitermedia Corporation. DESIGN DYNAMICS | Sheree Clark Ask the Experts

Getting to Teamwork—Part 1 of 2 When teams go off track, concerted effort is critical to restoring forward momentum.

The creative team I work with isn’t Recommended and formality. If everyone knows—and agrees on—a really a team at all. There is com- resources: destination, the group automatically rows in the petition, backstabbing, and a lack The ABC’s of Building same direction. Conversely, if the group, company, of trust. How do we get to a point a Business Team That or department is without a mission, it will get some- Q Wins, by Blair Singer, where we can achieve synergy? where, but how will it know when it has arrived? $16.95, Warner Books, 3. Stress and pressure are taking a toll. www.richdad.com Perhaps the single most benefi cial condition for fos- It’s not unusual for strained relationships to develop Everyone a Leader: A tering creative work is a supportive and nurturing among groups of people who work closely together. Grassroots Model for environment. Stress, pressure, and anxiety are anti- As creative professionals, we have the added stress the New Workplace, thetical to a productive creative environment. When of deadlines, client demands, and the self-imposed by Horst Bergmann a team does not honor individual contribution, cel- need to produce brilliant work … making it even et al, $24.95, Wiley, ebrate group performance, or simply allow for down more likely for strife to appear. www.wiley.com time, it runs the risk of burnout, stagnation, and, of The fi rst step in solving the problem is for course, excessive group confl ict. group members to individually refl ect on what they Group Dynamics 4. Team members have differing expectations. for Teams, by believe is the root cause: What is the origin of the Whether you call it work ethic, work/life balance, or Daniel Levi, $58.95, friction? The goal in pinpointing the issues affecting simply passion, people have different levels of dedica- Sage Publications, ff the team is not to place blame; rather it is to achieve www.sagepub.com tion to their careers at di erent points in their lives. consensus on what needs adjusting. By reviewing Newlyweds or new parents, for example, may invest the situation privately—perhaps with the aid of a The Team Handbook, fewer hours at the office than new hires trying to questionnaire or survey—the potential for a gripe by Peter R. Scholtes establish themselves. When one faction feels it is giv- session is removed, and team members are better able et al, $39, Joiner/Oriel ing more—or entitled to give less—team confl ict is to come to the table in a spirit of open-mindedness Inc., www.bn.com sure to present itself. and cooperation. Of course one person’s perceptions 5. Good leadership is lacking. People tend to of what a team’s shortcomings are may not match The Wisdom of Teams, perform at peak capacity when they have leaders they another’s, but, if conducted properly, the mere exer- by Jon R. Katzenbach look up to and trust. Just as a sports team wants to and Douglas K. Smith, cise of sharing insights will be an important step in “win one for the coach,” creative teams are empow- $17.95, Harper Collins, ff resolving many of the problems. www.harpercollins.com ered by leadership that e ectively balances encour- Remembering that a group can be (and usually agement with constructive criticism, discipline with is) plagued by more than one issue, let’s look at fi ve Sheree Clark (sheree freedom to explore, teaching with learning. When a reasons for discord among creative colleagues: @saylesdesign.com) group leader has a hidden agenda, is insecure, or is 1. Team members have dramatically different is managing partner not forthcoming, optimal group function is unlikely. work styles. Whether it’s the Early Bird vs. the Night of Sayles Graphic Once each team member has had a chance to Owl, or the Free Spirit vs. the Corporate Thinker, Design in Des Moines, think about the sources of confl ict, it is time for the there are as many ways of working as there are sans Iowa; an author and group to come together to share their assessments out serif fonts. In a dysfunctional team environment, speaker on organiza- loud … and reach a consensus about how to remedy tional and business differences become rifts and points for polarization. the situation. Most often this will mean a facilitated issues; and owner of A “we/they” mentality develops as cliques vie for session (sometimes more than one), with an agenda ff Art/Smart Consulting, position or favoritism. In healthy teams, di erences which provides self- dedicated to the topic at hand. How this session is are valued and seen as a way for the group to achieve promotion and busi- positioned and conducted will infl uence its outcome; depth and balance. ness strategies to carefully plan it out well in advance. 2. There is no shared vision or common goal. creative professionals. When teams lack accord on where they are going, Part 2: In the next installment, I’ll explore how to the result is a sort of pandemonium and directionless conduct the assessment session, correct the team’s feeling. When teams agree on certain values, there is trajectory without bruising egos, and get buy-in for less need for elaborate procedures, documentation, the long term. g

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Managing Project Stress 5 ways NOT to lose your mind: Handle diffi cult clients and projects with these techniques.

Most stress in a business based on Recommended agree with it will go far toward smoothing over a creative services comes from trying resources: stressful situation. If you have met all the measurable to balance confl icting needs, espe- The Business of design objectives, maybe you should not be asking cially on client projects. It’s a famil- Graphic Design: A “How high?” if no one has asked you to jump. iar quandary: You have to meet the Sensible Approach, by Ed Gold, $32.50, client’s needs and you want to be creative. You need 3. Get it off your chest. Worry is a great producer of Watson-Guptill to dedicate yourself to your business and you want Publications, stress. The best technique is to let it out. Have pen to spend time with your family. www.watson- and paper handy so you can write down any particu- Sound familiar? You could probably write a guptill.com lar concern. Put your writing aside to be considered long list of personal and professional stressful situa- later (i.e., sleep on it). By the time you return to your tions other than client projects. Fortunately, all the How to Grow as a list, chances are at least some of your worries will techniques here apply equally well to stress on the Graphic Designer, have resolved themselves or are no longer overwhelm- job and at home. The fi rst thing to accept: Stress is by Catharine Fishel, ing. You’ll wonder what you were so worried about! normal. Distress—such as family illness or natural $15.95, Allworth Press, Motivational seminar leader and one of the authors disasters—isn’t, and can’t be managed like stress can. www.allworth.com of the Chicken Soup for the Soul series, Mark Victor If you have determined that you are dealing with Hansen, calls this type of stress “stewing without Creating the Perfect stress and not distress, keep these points in mind. Design Brief, by Peter doing.” You can waste a lot of time worrying. L. Phillips, $15.95, 1. You’ll never be caught up. Stop trying. There Allworth Press, 4. Practice the art of saying no. Stress is often cre- will always be a neverending succession of business www.allworth.com ated in a situation where you say yes when your and marketing tasks in addition to your projects. mind, body, and soul are telling you to say no. Say Stop waiting to fi nd the bottom of your in-basket or The Power of Full a client wants to make a change to a deadline or pric- the top of your desk. Stop dreaming about feeling Engagement, by ing request, and you know that an unqualifi ed “Yes, caught up. Design projects are like the ongoing rush Jim Loehr and fi ne, no problem” will cause stress and reduce your and fl ow of a river, not a calm, still body of water. Tony Schwartz, profi t. Instead of caving, try one of these approaches: Besides, if you ever do get caught up, you’ll have no $26, Free Press, • “ No, but here’s what we can do ... .” (Name some www.simonsays.com work—and that’s bad. To deal with this stress, have other option.) a good time management system in place (see my Maria Piscopo • “ Yes, and that’ll cost ... .” (Name a specifi c cost.) column in the April/May 2005 issue, V10N2). Rid (www.mpiscopo.com) • Simply say, “Let me get back to you.” your life of the stress of playing catch-up. started her busi- In each case, you have presented considerations that ness as a creative will reduce the stress of saying yes when you mean 2. You’ll never make everyone happy. You can only services consultant no. This is a valuable technique to learn because do your best to please your clients and run a profi t- and art/photo rep it shares with the client the stress and the cost of able business. There will always be clients that want in 1978. She teaches changes she wants to make. you to behave differently (especially with approvals, classes for creative changes, and pricing) so they can be happy. In this professionals, speaks 5. Explore the concept of hidden costs. When man- at industry confer- stressful situation, stop and differentiate between sub- aging project stress, it’s important to understand that ences, and writes jective and objective happiness. “Subjective” implies for several industry costs are not just about money. The hidden costs someone’s opinion is involved; “objective” is based on publications. Her fi fth of managing and completing a project can be time, accountable and measurable design goals. You must book, The Graphic energy, attention, prestige, and self-esteem. When make clients happy on an objective level … but it’s Designer’s and you talk with a client about stressful project changes, unrealistic to always expect them to be happy on a Illustrator’s Guide try this: “Yes, we can do that, and this is what it subjective level. They will have opinions you don’t to Marketing and will take.” Name specifi cs the client will need to do like. Stop and ask yourself if you need to do anything Promotion, is avail- involving his own time or attention. Identifying the other than register and acknowledge those opinions. able at Allworth Press hidden costs of making changes will go a long way in Recognizing someone’s opinion without needing to (www.allworth.com). helping you manage stress, clients, and projects. g

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50
XXXBCMFTUPDLDPNQSPNPHSBOEF SMARTMOVES What’s New

Logos from Letters Tunes, type, & cogitation Packaging color, Type foundry P22 is posing the question, “What managed Are you a logo & let- does a downtempo electronic music duo have to do When it comes to with a semifamous 18th-century type designer?” managing color for terform know-it-all? The answers as such are to be found in P22’s new predictability and consistency, few tasks CD release The William Caslon Experience, which Then play Joey Kat- are more demand- pairs electronic music tracks from The William ing than packaging. zen’s Retail Alphabet Caslon Experience (the just-referenced musical duo) GretagMacbeth has and a newly digitized exclusive font based on the introduced Profi le- Game. At least one work of the above-named designer. Contents are Maker 5 Packaging to packaged with arresting letterpressed graphics by address the category. letter in his four on- Bruce Licher of the Independent Project Press in Managing up to 10 Sedona, Ariz. Still having trouble sorting this one colors is a snap—when line editions should out? Purchase the disc at www.p22.com or get it free as spot colors change, a premium with the new LTC Caslon Family font set. they can be quickly stump you. Here’s exchanged within an existing ICC pro- how it works: Katzen fi le by measuring the new colors and pulls letterforms importing them into the existing profi le, from A to Z out of without recreating test charts, plates, or corporate or product cylinders. Two unique Photoshop plug-ins logos. You get to de- are included to pro- vide one-click separa- cide on the source of tions, as well as easy soft and hard proofi ng each letter. Answers directly in Photoshop. Your molecules, ma’am Profi leMaker 5 Pack- from editions 1–3 It’s not every day that you need a molecular image aging is available indi- of, say, ciprofl oxacin or atomoxetine (shown). vidually or bundled are on the site; latest But when you do, there’s one place to turn: with GretagMacbeth InsilicoStudios.com, purveyors of “molecular- color measurement edition confi rms only level photorealism” in royalty-free stock images. instruments. See the InsilicoStudios offers an affordable alternative to specs at www.gretag correct answers. commissioning a costly illustration, but if you don’t macbeth.com. see what you need, let them know—they can also Test your retail alphabet knowledge, free at www. create custom graphics. Browse at the molecular level joeykatzen.com/alpha. at www.insilicostudios.com. continued on page 24

22 DynamicGraphics Graphic Design Templates.

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1-877-833-3305 www.stocklayouts.com Jam in 24 Event: cre824. Date: Nov. 17–20, 2005. Challenge: build a website in 24 hours in competition with teams from across the nation. Chattanooga, Tenn., will be the setting for a ’round the clock “webjam,” with one professional and one student team selected to represent the U.S. at the Webdesign International Festival competition in Limoges, France (founding sponsor is Adobe Systems). Last year’s winners in the international competition were awarded a $100,000 Type personals Thoughts on success contract to redesign an Audi website. Visit www. A series of mock personal ads convey the tongue- and failure cre824.com to learn more, or call 866.821.6210 for in-cheek personality of Fontsmith’s typography at You may not realize it registration info. its new website. “We wanted to try to express each when it happens, but font’s unique characteristics in a bold way using a kick in the teeth may be the best thing in very human analogies,” explains Craig Thompson of the world for you … the site design team from interactive agency Carter —Walt Disney Wong Tomlin. So they have, while also providing a new, streamlined download and licensing process. It is possible to fail in Laugh—and letter—along at www.fontsmith.com. many ways … while to succeed is possible only in one way (for which reason also one Don’t keep is easy and the other diffi cult—to miss the mark easy, to hit it us guessing: diffi cult). —Aristotle Share your thoughts.

Life is the art of draw- Your opinions about Dynamic Graphics maga- ing suffi cient conclu- zine are very important to us, so we’re offering sions from insuffi cient you the opportunity to share your views premises. online. To take this brief survey, go to www. —Samuel Butler dynamicgraphics.com and look for the 8-ball icon. Click on it and you’ll go directly to the Airing one’s dirty linen survey form. never makes for a Once you’ve taken the survey you may masterpiece. Show us yours register for a drawing for a book that’s reviewed —Francois Truffaut “Characters Welcome,” the theme of USA Network’s in this issue, Fantastic Folders and Exceptional brand and website redesign, has been expressed in Walk not on the Earth Envelopes, from Rockport (see page 77). an intriguing and highly interactive way by Hello exultantly, for thou It takes just a minute or two to complete Design (www.hellodesign.com). Hello Design canst not cleave the the survey. It’s more reliable than ESP. You get worked with advertising agency mono on the main Earth, neither shalt to sound off, and you might win a great book. site, www.usanetwork.com, and also built the inter- thou reach to the active “Show Us Your Character” section that allows mountains in height. visitors to make their own bid for fame via webcam —The Koran Q: Should you take or uploaded movies and photos. You can browse the survey? There could be other visitors’ submissions by map and vote for your no honor in a sure favorites, all online. Celebrate the full spectrum of success, but much A: SIGNS POINT humanity at www.showusyourcharacter.com. might be wrested TO YES. from a sure defeat. —T.E. Lawrence

continued on page 26

24 DynamicGraphics continued from page 24

BESIDES PANTONE COLORS AND CMYK EQUIVALENTS, THE NEW COLOR BRIDGE ADDS RGB AND HTML INFORMATION FOR GREATER VERSATILITY IN PUBLISHING ACROSS DIGITAL ENVIRONMENTS.

Pantone bridges the gaps A brand new name heralds Pantone’s Color Bridge, More accurate matches yield a more useful pre- a replacement for its Solid to Process Guide that’s dictive tool. But here’s where the issues get tricky. been the industry standard for years. At a casual To accomplish the improvement, Pantone changed glance the Color Bridge may appear similar to the 97 percent of the formulas from the former guide. former guide—it still shows a Pantone color and the Bottom line: A new and improved color from the four-color counterpart side by side—but this is one Color Bridge may not match the old color you’ve new product that’s been more than updated. While been accepting for years. it’s a better product, some of the changes it contains As Pantone admits, the former Solid to Process have the potential to trip up unwary users unless formula for, say, Pantone 466 PC (Process Coated) Take the tour they’re fully informed. is not the same as the Color Bridge formula. Yet the X-Rite, a provider of First, though, the name: Pantone chose to call new formula will definitely give you a closer match color management the new guide Color Bridge to emphasize that it’s to the solid Pantone 466 swatch. You must make a solutions, is offering a designed to bridge the gaps between solid (Pantone decision if a better match to the color swatch is most free educational DVD Matching System), process (CMYK), and web color important, or if matching something you had printed for its Pulse ColorElite reproduction. And that’s where the first big improve- a year ago is more critical. System. The DVD ment comes into view: Besides the Pantone colors One way to avoid mismatches is to continue shows how to cali- and CMYK equivalents, the new guide adds RGB using your Solid to Process Guide; the new Color brate and profi le your monitor, scanner, cam- and HTML information for greater versatility in Bridge libraries supplement and coexist with the era, and printer with publishing across digital environments. Solid to Process libraries. step-by-step walk- Additional improvements: The book itself is But if past is prologue, it won’t be long before throughs of the Pulse larger, with bigger color swatches, and it’s printed on Color Bridge becomes the de facto standard. And system. Not ready to brighter, more durable stock. Far and away the big- if you want to take advantage of the improvements buy? The DVD also gest plus is improved accuracy in the reproduction Pantone’s built into it, you’ll want to get started right provides information of many of the Pantone colors with their CMYK away. Learn more or purchase Pantone Color Bridge at on color management equivalents. To accomplish this, Pantone used color www.pantone.com. and how it simplifi es management software to arrive at the specific color digital workfl ows. For combinations and numbers for the formulas, then the free DVD, visit www.xritephoto.com/ visually evaluated every color and adjusted each of pulse-dvd. the 1,089 individual color matches as necessary. Compare the Color Bridge with its predecessor and your eye will see the improved accuracy.

26 DynamicGraphics IMAGE SOURCE DOUBLE DISC DEAL 40% OFF ANY TWO DISCS 50% OFF THREE OR MORE

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IS654-026 www.imagesource.com REAL-WORLD SOLUTIONS Design Makeovers from the Pros

DynamicGraphics.com We put the emphasis on consistency, fl exibility, and quality content in our redesigned website.

Phew! Redesigning a website from 1. Original site 1 scratch is not an easy task. Take it from The original DG site DG editors Tom Biederbeck and Marcy missed the mark in Slane, art director Kathie Alexander, and several areas: There Steve Kapsinow, editor of the Graphics.com was no archive of past issues, it didn’t network, which DG is now part of. With the help provide any content of many others, they diligently worked on a new besides a general web presence for DG for months, bringing it to a table of contents and semi-conclusion August 1—semi because the site will short introductions for constantly evolve, being updated with new content each article, and its every week. branding was pretty While Biederbeck, Slane, and Alexander were much nonexistent. responsible for the content and layout of the web- site, their experience is in print design, so aspects of 2. Fonts their wish lists didn’t translate well to the web. “A The internet doesn’t lend itself well to a website is always a challenge for print designers,” says ff variety of fonts. We Alexander. “It’s a completely di erent monster.” weren’t able to use Kapsinow had the role of separating the “dream” Gotham, one of our site from web reality. “One request that stands out signature fonts, on is changing the site’s color palette with each issue, our site, but Verdana 2 which was too ambitious and impractical,” explains is a reasonable match. Kapsinow. “Think of a website as one constantly growing issue—design and navigation should be 3. Color consistent.” Another problem with the staff’s original The concept of imple- recommendations was that layouts were too pre- menting an accent cise. Not an issue for print, but when a site is to be color was carried over from the magazine. updated weekly, strict layouts can cause problems. 3 C100 Art director Kathie M0 “I wanted the site to be a resource of informa- Alexander chose cyan, Y0 tion and inspiration,” Alexander says, “a place for which works well with K0 designers to visit when stumped by a design problem, most images, and is a to learn something new with every visit.” Kapsinow bright, eye-catching successfully combined the magazine group’s redesign hue that doesn’t hin- wishes with the constraints of the web, creating a site der readability. that everyone—DG staff, upper management, and 4 especially readers—is happy with so far. 4. Branding elements “We’re thrilled to be out there in the web The circle motif was brought into the new environment with a site that offers a lot of content,” ff DG website for brand- notes Biederbeck. “Our site is di erent from most ing consistency. We design magazines in that we’re not fearful that post- sought to carry the ing free content on the web will hurt our print cir- personality of DG culation. We think visitors will be intrigued by what throughout the rede- they see and want to get the whole picture by sub- sign, regardless of scribing to our print version. This is simply a great web constraints. way to offer more to the design community.” g continued on page 30

28 DynamicGraphics TM UNCOMMON IMAGERY FOR INTELLIGENT DESIGN

www.thinkstock.com © 2005 Thinkstock Images, a division of JupiterImages Corporation. Image #: C0013349 “THINK OF A WEBSITE AS ONE CONSTANTLY GROWING ISSUE— DESIGN AND NAVIGATION SHOULD BE CONSISTENT.”

Main navigation Search The top DG navigation You can now search is the primary guide through all our online to basic publication- content. We designed related info, such as the site entirely in how to subscribe, HTML so everything about us, contact is searchable. us, newsletters sign- up, and advertising Coming attractions information. It also We carried over our includes a new search Coming Up section feature covering many from the last page of topics and keywords. the magazine, so read- ers can look forward Topics to the next issue. The left-hand naviga- tion leads visitors to Feature articles DG’s primary content Every week, we will and past issue archive. be adding new con- We wanted to catego- tent from the most rize our content in the current issue of DG simplest way possible, to the website. This so we chose our most keeps it fresh and popular reader topics creates anticipation. for the headers. Archived content Main image When we add new The top image will features to the web- be changed out each site, we will archive week, and is chosen more content from to match the theme past issues—as new of the current issue, content is added, our as well as the color of archive will expand. the site.

Tutorials Suggestions Tutorials are the most sought requested tools in DG, so we made them Send us a note more prominent and about what you’d easier to locate. like to see more of on our website, or just tell us what you like or dislike.

E-mail your com- ments to Marcy Slane, slane@ dgusa.com.

continued on page 32

30 DynamicGraphics

Topics Necessary limitations Under each Topic The very top gray nav- (Color, Electronic, igation, right-hand Identity, Makeovers, column, and bottom Print, Tutorials, Type, footer carry adver- Management, Past tising requirements. Issues) visitors will Advertising space sur- fi nd an archive of all rounding the new site the stories relating to was a big challenge that topic. Each week for site designers. We these sections will needed to include the grow, providing infor- essential ads, but we mation to help you wanted the DG site successfully complete to stand on its own, your next project. too. By incorporat- ing our branding—like Tutorials color, circles, and a Each tutorial will font close to the print guide viewers through publication’s—we were a different tech- able to give the DG nique completed in identity prominence Photoshop, Illustrator, while “softly” accom- InDesign, and more, as modating advertisers. covered in print issues of DG. These tutori- als are structured to assist everyone from beginning graphic designers to experts in professional design projects. Screen cap- tures of the process further simplify learn- ing the techniques.

continued on page 34

32 DynamicGraphics refreshingly

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a property STEP inside design STEP Online Our sister publication STEP’s top navigation underwent a major is quite similar to that web overhaul at the of the DG site, but the same time as DG. topics in the left-hand The biggest concern navigation refl ect its voiced by both STEP content, which isn’t and DG designers technique-driven like was to avoid a clut- DG’s. Sections are cat- tered look. This was egorized by Designers, accomplished by bold Departments, and imagery that grabs Design Topics. the visitors’ atten- tion. STEP content STEP Inside was divided into three This area provides main concepts on the information on the redesigned site: STEP issue currently offered Online, STEP Inside, on newsstands, and and STEP Beyond. features the Editor’s STEP’s site was also Desk, which sum- created completely in marizes the current searchable HTML. issue’s content.

STEP Beyond This section of the site offers content in the form of previously published articles as well as extra content not published in the magazine version. As with DG’s, STEP’s site will be updated on a weekly basis.

34 DynamicGraphics

COLOR ON CALL Trouble-Free Palettes

Spooky: eerie, chilling, creepy, mysterious, ghostly, frightening

Severed body parts, displaced objects, Paperback joyride and muted, hazy color tones conjure up Adam Larson (www. chilling images. These eerie themes recur shrine-design.com) in the work of illustrator and graphic composes thought- designer Adam Larson of Shrine Design, provoking pieces, such as this eerie and are evident even in his fi rst commissioned and vision accompanying printed illustration, “Everything You Do Is a Little a poem in a regional Paperback Joyride.” arts publication. “I try to capture intangible moments in life. Moments of thought, illusion, confusion, change— Ominous scenes the times during which we are usually so preoccupied Images of foreboding trying to fi gure out what’s going on that we can’t skies, shadowed stat- slow down enough to recognize and enjoy the experi- ues, and swirling birds ence,” explains Larson. portend creepy, skin- Inspired by music, fi ne art, and everyday life, crawling moments. Image 22184183, Cor- Larson primarily uses color to evoke a particular bis, www.creatas.com mood or reaction. “The colors I choose are usu- ally subtle and somewhat monochromatic,” he says. “Darker, moody pieces usually lean toward browns, dark greens, and blues. I gravitate toward brown; it reels me in.” Other palettes Larson favors are moss green and the more optimistic choice of light blue. Using Photoshop and Illustrator to alter and combine digital and scanned images into a seamless fi nal picture, Larson’s process is much like traditional cut-and-paste collage. “I fi nd images that work well together and that, when composed properly, begin to tell a story different than the one they told before.” Larson’s stories have been told in his work for Sony, Dreamworks, Fleetwood Mac, Harper Collins, Random House, and more, with recent illustrations also appearing in Time Out New York, New York Magazine, and Travel and Leisure. g

PANTONE PANTONE PANTONE PANTONE PANTONE 5405 BLACK 2 417 409 1815 C58 C0 C1 C0 C0 M17 M3 M0 M13 M90 Y0 Y55 Y25 Y15 Y100 K46 K87 K65 K45 K51

38 DynamicGraphics Fonts Let the fear build with Typewriter Oldstyle (scary); SalesLip (weird) is a scab itch- ing to be picked; Xband Rough (fearful) is a nightmare from R84 G105 B134 R46 G44 B19 the Twilight Zone; and HEX 546986 HEX 2E2C13 you can suggest evi- dence of a crime with Finger prints Inside (dark). All of these frightfully fun fonts are available at www. fontface.com.

Images R72 G31 B0 R109 G108 B89 Scare yourself silly with these wickedly HEX 481F00 HEX 6D6C59 disturbing search concepts: occult, graveyard, tomb- stone, hangman’s noose, haunted man- sions, dilapidated houses, cadavers, sci-fi , bats, vampires, black cats, ghouls, R109 G23 B0 R153 G142 B131 ghosts, and monsters. HEX 6D1700 HEX 998E83 Image 22159207, Brand X Pictures, www.creatas.com

Classic inspiration Requisites for a night of hair-raising design inspiration: Amityville Horror, The Birds, The R200 G110 B30 R213 G212 B199 Exorcist, Halloween, HEX C86E1E HEX D5D4C7 Night of the Living Dead, The Omen, The Thing, an extra large bag of popcorn, and a healthy set of lungs. Image 22172187, Brand X Pictures, www.creatas.com R173 G141 B111 R92 G80 B101 HEX AD8D6F HEX 5C5065

PANTONE PANTONE PANTONE PANTONE PANTONE 479 7448 413 173 490 C30 C32 C0 C0 C0 M48 M42 M0 M69 M74 Y57 Y0 Y9 Y100 Y100 K0 K55 K20 K4 K72

OCT/NOV 2005 39 & Misdemeanors by Michelle Taute

Don’t make us break out the handcuffs. Avoid the kind of typographic transgressions that make clients cringe.

1. Wretched rags Oscar Fernández, associate profes- sor in the Digital Design Department at the University of Cincinnati, recom- mends that designers go back through the copy after the proof- ing stage to correct the profi les. Fix odd gaps, funny shapes, and prepositions that can easily be kicked over to the next line.

40 DynamicGraphics “KNOW THE RULES BUT KNOW HOW TO BREAK THEM TO IMPART MEANING AND EMOTION.”

In typography, as in dating, there are deal breakers. Recommended Another important step is taking the time to No one wants to struggle through a block of dis- resources: actually read the writer’s copy. Oscar Fernández, torted, hard-to-read text any more than they want a Type Rules!, by Ilene who teaches in the Digital Design Department at rundown of your ex-girlfriend’s fl aws on a fi rst date. Strizver, $45, John the University of Cincinnati, says this gives you the That sounds easy enough, right? But the tricky part Wiley & Sons (new opportunity to think more carefully about legibility edition avail. Jan. is that not everyone agrees on what constitutes a (whether readers can decipher the letters clearly) and 2006), www.wiley.com type crime. readability (the full experience of comprehending the While there are some universal no-no’s that Lapsing Into a Comma, text). It’s also a chance to contemplate headings, sub- most designers can agree on, other preferences boil by Bill Walsh, $14.95, heads, and other ways the copy can be broken down down to personal pet peeves or are dictated by a McGraw-Hill, www. for the audience. concept for the project at hand. Read on for a gut mcgraw-hill.com check on your own type choices—provided by a jury Grooming habits of your peers. Eats, Shoots & One of the most universal complaints from design- Leaves: The Zero ers is that no one has taken the time to groom the Making time for type Tolerance Approach to type. “It looks like it just came off the computer, Punctuation, by Lynne For David Schimmel, president and creative direc- and no one paid attention to it,” says Todd Nesser, a Truss, $19.95, Gotham tor of And Partners (www.andpartnersny.com), one Books, www.penguin design director at Larsen (www.larsen.com). Critical of the biggest gripes is boring type. He hates to see putnam.com things to keep in mind include widows, orphans, default-set type where nothing really sparks. “For punctuation, and appropriate letter spacing. And as us, type is a huge part of what we do in convey- About Face: Nesser points out, the rag shouldn’t draw pictures ing meaning and reinforcing the message,” he says. Reviving the Rules of or create funny shapes. “Your eye is not supposed to “Know the rules but know how to break them to Typography, by David be drawn to it,” he says. “It’s supposed to be a nice, impart meaning and emotion.” To keep his own Jury, $30, RotoVision, soft edge.” work fresh, Schimmel collects pieces of inspiration www.rotovision.com Richard Boynton, a partner at Wink (www. everywhere he goes. He saves catalogs and product wink-mpls.com), can’t stand bad quote marks. He hangtags and picks up fl iers from coffee-shop coun- hates it when an inch mark or foot mark masquer- ters—anything that catches his interest. ades as a quote mark or apostrophe. “The most

2. Funky numbers With standard numerals With old-style numerals Larsen’s Todd Nesser wishes designers It contains above 80,000 It contains above 80,000 would use old-style 600,000 numerals more often. houses, and about houses, and about 600,000 Standard numerals inhabitants. It is in length 3 inhabitants. It is in length 3 sit on the baseline and are a consistent glongluns (which make about glongluns (which make about height, but old-style 54 2Q Q numerals go up and English miles) and in 54 English miles) and 2 in down. “In body copy, breadth ... . breadth ... . they blend in really nicely,” he says. “If you have regular numbers they kind of stick out.”

OCT/NOV 2005 41 Shorthand for and “I’m a big amper- sand advocate,” says Fernández. While it’s not appropriate for big blocks of text, the Footlight MT Light Mesquite Std American Typewriter Garamond Regular ampersand is a great choice for all kinds of display copy—even signage. In this fast- paced digital age, he explains, it’s a symbol that communicates quickly and simply. He’d like to see more designers take note. Clarendon BT Curlz MT Cooper Black Didot Regular

Princetown LET Optima Edwardian Script ITC Rockwell The nearly infi nite range of forms of this versatile symbol is well-represented in the font Ampersands (www.fonts.com).

Giddyup Std Harrington Rosewood Std Lithos Pro

3. “Free” costs Actual: Imagine: When he sees a logo in a typeface like Arial or Verdana, type designer Mark Simonson longs for variety. He wishes that more designers Arial MT Medium explored the thou- sands of quality fonts available. “The client probably paid a cou- ple thousand dollars for a logo, and they Verdana Regular didn’t even buy a font,” he says.

42 DynamicGraphics “AN AMPERSAND IS A BEAUTIFUL FORM ... IT ENHANCES THE READABILITY. THE CONNECTING WORDS STAND OUT

MORE AND CAN BE READ MORE QUICKLY.” common violation occurs in logos, surprisingly,” he Get some guidance Template Gothic, designed by Barry Deck in 1990, says. “I can’t tell you how many times I’ve driven by What’s the best way evokes a ’90s zeitgeist. Says Wink’s Boynton, “Sorry, a Louie[foot mark]s Pizza or been subjected to a tag- to up your type I.Q.? but it’s time to put Template Gothic away unless line that reads The [inch mark]Real Deal[inch mark] Nesser recommends you’re doing a retrospective. You’re not making any- in personal banking.” He also thinks it’s time to drop fi nding a mentor— one feel like the product is ‘new, cutting edge, and perhaps a designer in that extra space after the period—a holdover from counterculture’ when using it anymore. That ship the offi ce with a fi rm the days of the typewriter. grasp of typography. sailed over a decade ago.” He also suggests get- Fernández, on the other hand, would like Personal pet peeves ting your hands on designers to stop giving the cold shoulder to the Then there are the kinds of annoyances that fall some actual samples ampersand. He thinks it’s a perfect choice for display squarely into the category of personal pet peeves, of the design projects copy, titling, and signage. “An ampersand is a beauti- though most are backed up with some thoughtful pictured in award ful form,” he says. “It enhances the readability. The rationale. Dave Bull, a senior partner at Shift Global annuals and studying connecting words stand out more and can be read (www.shiftglobal.com), is tired of seeing Trajan the type choices in more quickly.” used for movie titles. While it’s a beautifully propor- those pieces. The list could go on and on. Schimmel tioned typeface with roots that date back to Roman thinks typefaces named after cities are generally times, he says it often appears out of context. “It’s ugly. Not surprisingly, Mark Simonson, a type used for effect instead of appropriateness,” he says. and graphic designer at Mark Simonson Studio Bull might consider Trajan a good choice for the (www.marksimonson.com), is annoyed at the fre- fi l m Gladiator, for example, but not when it shows quency with which designers rely on free fonts. up in the opening for the latest teen fl ick. Personal preferences aside, Boynton sums it up Other instances of good type gone wrong can best: “I think it all comes down to appreciation of be caused by not realizing that typefaces become the craft, being a student of the industry—knowing closely identifi ed with particular eras. It’s not the what’s going on now and what’s happened in the type’s fault—employing one of these gems without past—and being driven to improve your choices.” a certain amount of self-consciousness can make Surely that’s the type of statement every designer a designer look less than skillful. For example, can get behind.

4. Kerning neglect Before After Unlike those games in the Sunday paper, you don’t want readers to see words inside of words. Nesser thinks it’s critical to pay attention to spacing, especially the distance between capital and lowercase letters. It’s often an issue for dis- Fax Fax play copy and things like business cards. Fax, for example, shouldn’t look like an F followed by ax.

OCT/NOV 2005 43 Criminal intent This 1999 AIGA con- garbage.com) design- ference brochure is ers Peter Girardi, John consciously naive. Giordani, and Helene It’s meant to capture, Silverman put them- exaggerate, and cel- selves in laymen’s ebrate the look of shoes and broke type items in our everyday rules with abandon. lives created by non- The book features professionals. Funny fonts ranging from Garbage (www.funny Abbess to Xebec.

Type salad In general, Schimmel caught his eye, even typically doesn’t like though it used more to see projects with than 40 different more than one or two typefaces. Bottom typefaces together, line: A bold choice like but there are excep- this should serve a tions. A Las Vegas- project’s overarching themed AIGA piece concept, not hinder it.

5. Wrongful fonts Appropriate: Contemporary titles set in Trajan are annoying to Dave Bull, senior partner at Shift Global. While Trajan, a classically proportioned type- Inappropriate: face, might be a good choice for the fi lm Gladiator, too often “it’s used for effect instead of appropri- ateness,” he says.

44 DynamicGraphics Back to square one Rookie mistakes “We tried to strip In the spread at lower away any sense of left, the designers being trained design- intentionally used ers from what we poor justifi cation. It’s were doing,” says easy to see the odd Silverman, who word spacing in the now owns her own deck, especially the company, Helene fi rst line, as well as the Silverman Design. The bad break in the word right-hand page of the conference. A gaudy top spread, for exam- headline font, Fourth ple, mixes fonts from of July, was chosen completely different to convey kitschy decades that have excitement, while the nothing to do with informational type one another. Copy is boring and bland. about the exhibitors’ Nonprofessionals, reception is set in a Silverman says, com- default computer font, monly try to make the which might seem like display type exciting a valid type choice and largely ignore the to the untrained eye. body copy. “The thing I remember most about this proj- ect was Helene and I trying to top each other with horrible layouts, including as many ‘design crimes’ into one page as pos- sible,” notes Girardi. Michelle Taute “We searched for (michelle@michelle fonts we didn’t like taute.com) is a free- and forced ourselves lance writer and edi- to use them.” tor who specializes in design topics and is based in Cincinnati.

6. Criminal quotes Possibly most abused in the world of type crime is the humble quote mark. Wink’s Richard Boynton says, “The most com- mon violation occurs in logos, surprisingly.” He gets especially exasperated when foot and inch marks take the place of quotes. Frequent accomplice in crime: the apostrophe.

OCT/NOV 2005 45 Necessary then, distinctive now: Historic hand lettering can inspire today’s projects. Here’s Hand how to put it to use. Lettering Rediscovered by Sheree Clark

Type hunters agree Enthusiasts of hand everyday objects that lettering fi nd that the are ephemeral or one quest for references of a kind. The perfect is almost as satisfy- type treatment is ing as transforming liable to arise from a their inspirations into vintage hand-lettered design. Good historic article that’s gathered type is often found in dust for decades.

46 DynamicGraphics In the fi rst half of the 20th century a signifi cant Vintage Vornado Vintage workforce was engaged in the production of one-off Tracy Holdeman posters, signs, and show cards. Distinctly differ- ([email protected]) ent from commercially set type, the work created reports that he’s used retro references in by “lettering artists” was included in all sorts of many projects, but advertisements as well as what we would now call until this assignment environmental graphics. The supply of display fonts he’d never had a cli- available for use was limited, and frequently there ent not only ask for was no alternative to hand-rendered type—even for retro, but also be able things that would be mechanically reproduced. to provide the historic So what killed the demand for professional hand reference material. lettering? Among the more notable factors was the His client, Vornado 1959 introduction of Letraset, transferable lettering Air Circulation Revived that made custom work possible without advanced Systems, decided to drawing skills. Another likely cause was the Photo bring one of its for- mer products—the Typositor, which revolutionized typesetting in the VornadoFan—back to 1970s and ’80s. With this machine, the operator life. Holdeman’s fi rm could visually do kerning so that the type could be developed packaging set tight, normal, wide, or even with letters touching. and a sales brochure Yet another factor may have been the design educa- based on an old own- tion curriculum, which had evolved from emphasiz- er’s guide cover—even ing manual techniques to stressing conceptual skills. recreating a worn, Today’s designer—not constrained by the stash faded look for the of rub-down letters available at art supply stores, background color— nor confi ned to the hours the typesetter’s studio is along with elements of Vornado advertise- open—has an infi nite array of options for employing ments from the 1950s. display type. But the truth is that the allure of hand- Holdeman recreated drawn type persists. There is certain charm to that the Vornado logotype, which is custom made for a particular project or use. invoking the era of the Such work is inarguably more human in its feel, per- original hand lettering. haps because of its inherent fl aws and imprecision. Luckily, the lettering artists of days gone by have left us a legacy—an impressive lot of reference mate- rial—and today’s designers are smart to gain inspira- tion from those typographic pioneers.

Long-term loaner Like many design- using hand-rendered ers, Holdeman is a type. Holdeman collector of unusual offered to buy the cat- graphics and historic alog, but the elderly references. One day man didn’t want to sell he met an elderly gen- it. He did, however, let tleman who showed Holdeman borrow the him an “Advertising book for a time. When Match Book” catalog Holdeman offered the he owned. The book catalog back, he was features a wonderful told to “keep borrow- array of matchbook ing it.” That was over cover designs, many 12 years ago.

OCT/NOV 2005 47 Original Redesign

For many designers, the quest to fi nd hand- Nostalgic display even used record albums. Best of all, the items are rendered reference material is almost as much fun Michael Doret (www. typically priced to move. Another source for rare as winning a typography award. While much of the michaeldoret.com) and out-of-print books is, of course, the inter- research done for design projects today is conducted has a large collection net. Check out sites such as www.alibris.com or of interesting historic from an ergonomical chair in front of a nonglare www.abebooks.com. type samples and computer screen, good historic typography examples uses them to bring are often found in things that were ephemeral, many fresh perspectives to Going-out-of-business sales one of a kind. Let’s look at where to fi nd some won- his work. His logo for Very often old retail stores will sell everything when derful reference materials for this vanished era. Cliff’s Amusement they close—from fi xtures to scrapbooks of their old Park in Albuquerque, advertisements to in-store signage. And you can Antique stores and malls N.M., features display strike a bonanza when a printer or service bureau Even if you’re not an antique buff, you’ll benefi t type created to evoke decides to change locations and subsequently parts from a shopping trip to one of these venues. Pick a prior era. The new with old samples or reference materials. You may not one that specializes in paper goods—including design includes a even need to wait for a business to have a sale; some- books—for the best selection of historic typeface visual nod to the pre- times a well-timed inquiry will be rewarded. vious Cliff’s logo by examples. You may fi nd your inspiration in some including a hint of the unexpected places, such as an old high school year- typestyle: thick and Through the viewfi nder in your camera book, a manual for a household item, or even the thin with Copperplate There are many reference materials you might never metal plate on a small appliance. Don’t forget to style serifs. In addition truly own, but can “collect” just the same via a check out antiques venues when you travel, as differ- to matchbook covers, photographic image. Signage, marquees, exhibits, ent regions will yield various sorts of items. decals, and old let- or other unobtainable artifacts are easily captured. tering books, Doret Take your camera everywhere or invest in a dispos- Tag, garage, and estate sales keeps his camera able one for when something engages your eye. People who have lived in their homes for a number handy to document of years typically accumulate stashes of old books, out-of-the-ordinary Online auctions things as he sees them magazines, packaging, and all sorts of interesting OK, now we’re back in front of a computer screen, (see facing page). things. Items at a garage or estate sale are often in but the fact is there is a ton of good reference stuff excellent condition and attractively priced. To fi nd on eBay and other auction sites. Check out auctions sales in your area, consult the newspaper or keep for magazines such as Flair (produced for just one your eyes open for signs posted on telephone poles. year and highly stylized), vintage clothes that still have their hangtags attached, or old board games. Used bookstores and book fairs Many designers report picking up a coveted copy of It’s no secret that many designers use the work of an old Graphis annual or an ancient Art Direction their contemporaries as a jumping off point for their show book at a dusty bookstore or during a book own projects. By looking back further—to a time fair. Also available in these settings are things when “lettering artist” was a career path—new cre- like old comic books, posters, and occasionally ative dimensions are open to exploration.

48 DynamicGraphics A designer’s collection Doret acquired some of the items shown here at swap meets, shows, and on eBay. The photo of the neon “Auto-torium” sign was taken at a gallery in California; the owner was exhibiting a large collection of signs. (It is advisable to seek permission before photographing in a private venue.)

OCT/NOV 2005 49 17th century

Distinctive scripts Some designers have tion for the cover of discovered the beauty Desire, a journal she of work of pre-20th created for Chronicle century origin. Margo Books. The infl uence Chase of Chase Design of the older book’s Group (www.margo ornate scripts is chase.com) bought evident in the fl our- 20th century a book—published in ishes in the journal, Paris in 1647—from although the new a rare-book dealer book is undeniably and used it as inspira- original in its design.

Period

From old to new Other hand-drawn here are logos for display type by Chase Charmed, a television is startlingly contem- series on The WB; porary, despite being The Flying Dutchman, infl uenced by antique an animated feature- styles. In part this may fi lm title for Curious be due to the intricacy Pictures; and Tattoo of her work; such skill Teardrop, a short fi lm is rare today. Shown about gangs in L.A.

Contemporary

50 DynamicGraphics Estate sale fi nd Inspiration Reinterpretation Recommended Eric Rickabaugh resources: (www.rickabaugh graphics.com) found American Penmanship, a textbook published 1800–1850: A History in 1882 called Natural of Writing, by Ray History at a relative’s Nash, $35, Worcester, estate sale. Soon after, www.oakknoll.com he was hired to create a promotional piece Calligraphy: A Guide and wanted a classic, to Hand-lettering, by archival look. Using Margaret Morgan, the type layout on $15.99, New Holland, the textbook cover www.amazon.com as a springboard, he gave the new book a Handwritten: similar—yet updated— Expressive Lettering design. Larry Martin in the Digital Age, provided the fi nal by Steven Heller and touch with an illustra- Mirko Ilic´, $29.70, tion that had the look Thames & Hudson, of an old engraving. www.amazon.com

The Art & Craft of Hand Lettering: Techniques, Projects, Still inspiring: Hand-lettering volumes continue to Inspiration, by Annie provide practical ideas for type treatments. Cicale, $24.95, Lark, www.larkbooks.com

Then Is Now: Sampling Lettering and art the Past for Today’s specimen books like Graphics, by Cheryl these are ideal for Dangel Cullen, $45, searching out inspira- Rockport Publishers, tional hand-rendered www.rockpub.com. type. These were produced to instruct lettering artists in Sheree Clark (sheree the fi ner points of @saylesdesign.com) their craft, and often is managing partner include how-to infor- of Sayles Graphic mation and exercises Design in Des Moines, to build skills. Iowa; an author and speaker on organiza- tional and business issues; and owner of Art/Smart Consulting, which provides self- promotion and busi- ness strategies to creative professionals.

OCT/NOV 2005 51 writ

Largeby Terry Lee Stone Type in large-scale formats has huge impact, but holds unique challenges for environmental designers.

Big letters To announce the launch of the Gold Line commuter train, Metro Los Angeles’ in-house design team developed a series of extra-large, two- sided banners to adorn train stations. Simple in concept and execution, designer Volker Dürre and cre- ative director Michael LeJeune played up the name in a modi- fi ed version of the font Scala Bold, with a photographic image on the other side. “We took into account the existing signage when designing the ban- ners,” Dürre says, “The Union Station typog- raphy is meant to be part of the banner’s design.” Visibility was the goal, with the ban- ners working to draw in busy passersby.

52 DynamicGraphics Typography in environmental design, including Friendly vs. sleek signage programs and exhibition graphics, presents Atlanta design fi rm a set of challenges unlike those in any other kind of Lorenc + Yoo (www. project. Moving ideas from the sketch phase to the lorencyoodesign.com) created these two actual built space requires skill and imagination. varieties of exterior The main reason for this is that the design will be monuments for two ff delivered in a medium and at a scale vastly di erent very different set- from the computer screen. These projects demand tings. The Tampa, Fla., that the designer be able to visualize the environ- Shriners Hospital’s 5 x ment and experience it as the viewer will, in order 150-foot sculpted con- to verify that their type and other design choices crete sign is designed will work as intended. It takes practice to get the to comfort children, typography right—8 point looks very different from and is visible across a 8-foot-tall letterforms! lake when approach- ing the hospital. In contrast is the sleek Visualizing the work fabricated metal Los Angeles County Museum of Art (LACMA) entrance sculpture graphic designer Paul Wehby says, “It’s hard for (right) developed for most people to visualize scale. There is a gap in their the Meridian Business expectations—they read the blueprints, but when Campus in Research the piece is installed, it can seem very different.” Triangle Park, N.C. It is expensive to manufacture and install graph- Dramatic lighting ics in environments, so clients expect designers to do accentuates the pol- it right the fi rst time. Redoing signs, especially large- ished curves of the m scale public ones, is often impossible because of both letterform; changes in color provide varia- budget and time constraints. tions in appearance To ensure proper results, some designers get test and texture. proofs made of a portion of their design, while oth-

OCT/NOV 2005 53 25,000 feet of brand Lorenc + Yoo rede- The installation func- signed furniture man- tions as product ufacturer Haworth’s showroom and infor- showroom space to mational exhibit. The complement product reception area (above) display and establish features an 8-foot-tall a bold identity. The logo in raised fabri- space works creatively cated metal letters, while addressing while the opposite pragmatic constraints. wall tells the Haworth A bold color palette story. The wall graph- combined with black ics (right) diminish the and white graphics, huge space and work metaphorical images, with clever sales mes- and witty copy com- sages in Meta type- municate Haworth’s face to enhance the multifaceted nature. brand experience.

Type and color A thematic, striped 100-foot wall and 2- foot type showcase an array of products (left). Jan Lorenc notes, “Color was applied in an archi- tectural manner, creating focal ele- ments in space, as well as dematerializing a forest of internal structural columns to form an artistic graphic composition.” Typography is integral to the composition, working as both prod- uct descriptor and invitation to experi- ence the chairs posi- tioned on the fl oor for testing and suspended from the ceiling as art- work. Throughout the space, the designers use large-scale type coupled with color as a unifi er.

54 DynamicGraphics ers resort to piles of printouts tiled together. Some X marks the spot role in environmental design, the details of design designers create 3D computer-generated models The World From Here elements are still critical. Especially with regard to of the spaces they are designing to help them pre- exhibition explores typography, graphic elements that are enlarged to visualize their designs. Jan Lorenc, creative director the holdings of Los unusual and extreme dimensions bring up com- of Atlanta-based environmental graphic design fi rm Angeles’ libraries. pletely different issues than what are encountered Designer Louise Sand- Lorenc + Yoo, says, “The physical model is the best when the same fonts are used small. Tiny problems haus (www.wildluv. way to see the space, since you can walk through it com) collaborated in the cut of a font—from the overall craftsmanship in your mind at your own pace without technology with Durfee/Regn of the type family to the specifi c characteristics of hindering your participation.” All of these methods Architects (www. each letterform—are greatly magnifi ed at a huge provide an approximation of what the graphics will drsstudio.com) to scale. Misalignment of type, graphics, and images look like, but there is no substitution for the ability create an environ- become glaring mistakes. Precision and alert pro- to think spatially that comes with experience. ment that fosters duction supervision are required when dealing with appreciation of books, large-scale pieces. Getting it built encouraging deeper The installation process is key to the success of understanding of the Some things never change works as artifacts. The any environmental concept. Designers need a good As in all graphic design, those working at the envi- main graphic element fabricator to interpret their design and render it at is an X motif. As on ronmental scale depend on their typographic skills scale. Type modifi cation is typically done by the treasure maps, it sug- to tell brand stories. Type sends messages, echoes fabricator, not the designer. Inventor and exhibi- gests “X marks the themes, provides information, and focuses attention. tion designer Roy Alexander, whose fi rm Alexander spot” and refl ects the It is an organizing and identifying element, one that Design is based in Chicago, comments, “Most of Here referred to in the can hardly help but impact audiences. And of course my designs have been produced by fi rms referred to exhibition title. These it must create a response in the viewer. as exhibit houses. My designing has been done on graphics show the Big or small, type must be carefully selected paper to be scaled up by the producer. Large work power of a letterform to be appropriate, evocative, and effective. George has structural requirements which are partially used at a large scale. Nelson, one of the most infl uential designers of the resolved by me and my staff, but the builder, with 20th century, noted in his 1977 book How To See responsibility for safety, may or may not make alter- that “Letterforms can be graceful, clumsy, brash, vul- ations related to safety or cost.” Wehby echoes the Terry Lee Stone gar, elegant, modern, old-fashioned, dense, delicate. (terry@terryleestone. importance of great collaborators, calling his team Then there is the matter of legibility.” Large type can com) is a design man- “highly skilled and very detailed craftsmen.” agement consultant be used for distance identifi cation, to convey content and writer/educa- in a readable way, or even as a decorative element. Sweating the details tor in Los Angeles, Successful design is always a matter of being dedi- While broader issues such as context—location and and coauthor of the cated to effective typographic usage. It isn’t some- size of the space, type of lighting and manufacturing recently published thing a designer can learn from a book. It’s in the materials to be utilized, and, obviously, the intended Color Workbook from “trial and error” side of design that large-scale type use and purpose of the work—all play an essential Rockport Publishers. springs to perfection.

OCT/NOV 2005 55 Writing on the wall Larsen Design + Inter- active (www.larsen. com) in Minneapolis created large-scale typographic impact in two very dif- ferent ways in the Novellus Systems’ Copper Launch at the SEMICON West trade show (near right), and the Welcome and Discovery wall graphics at The Minneapolis Institute of Arts (far right). The Novellus exhibit fea- tures Univers 67 Bold Condensed projected on the walls and fl oors. The designers took a more tradi- tional approach with a custom variation on the classic Trajan font for the MIA by paint- ing the typography right onto the walls. The font works well at large and small scale, meeting the museum’s needs for versatility.

Seeing & believing Paul Wehby (pwehby (above), draw children @lacma.org) designed into various areas and the title graphics for give clues about what Los Angeles County they’ll fi nd there. As Museum of Art (LACMA) an in-house designer, children’s exhibition Wehby is constantly LACMA images © Museum Associates Seeing with 10-foot creating innovative mirrored letters on a graphics that enhance red wall (right). The the museum’s experi- large-scale words ences for visitors.

56 DynamicGraphics Mummy mobile Again designing for children, Wehby developed the graph- ics for LACMA’s “The Ancient World” mobile art gallery. The con- verted semitrailer has a time travel theme enhanced by the use of large-scale graph- ics based on actual art pieces. The interior (right) feels like the inside of an ancient Egyptian tomb, and contains craft tables for art projects and learning exercises. The exterior (lower right) also includes giant murals of Egyptian hieroglyphics. This mummy mobile travels to various Los Angeles elementary schools, transporting children back in time and cre- ating a greater under- standing of ancient art and culture.

Spelling it out Another children’s exhibition at LACMA, Nano, presented the subject of nanotech- nology, which Wehby represented in a title wall graphic (left). He used plastic half-dome spheres (above) to spell out Nano. Each letter is about 4 x 10 feet—a challenge since each sphere had to be hand applied as the graphic was projected onto the wall.

OCT/NOV 2005 57 Hollywood’s heyday The signage by Hunt Design (www. hunt-design.com) of Pasadena, Calif., for MGM Studiowalk retail space in Las Vegas recalls the neon signs of old Hollywood. The classic type treat- ments evoke a sense of glamour and mys- tery. The signs have since been replaced with those of busi- nesses with different themes. Wayne Hunt says, “Themed envi- ronments go in and out of vogue,” espe- cially true in a visually frenetic place like Las Vegas. For inspiration and information on large-scale typog- raphy, see Hunt’s book, Environmental Graphics: Projects and Process (www.harper collins.com).

Initial this Dominate that In contrast to visu- The two-level struc- ally hyperactive trade ture accommodates show booths, Lorenc the dual nature of the + Yoo’s Sony Ericsson exhibit. Product dem- exhibit displays the onstration and recep- company’s initials in tion areas are on the huge letters. Massive fi rst fl oor, private con- yet ethereal, this sym- ference space on the bolizes the client’s second. The exhibit prominent position in has a landmark quality the industry and its capable of dominating futuristic outlook. a trade show.

58 DynamicGraphics Good Type vs. Bad Type: Choosing the right font is an important part of any project, but selection is critical when the type will be applied in an environmental setting. What’s the best way to decide?

Minute details become Univers extremely important when letterforms are in huge scale. The Myriad curve forms of each letter weight in a typeface work proportion together to create a specifi c feeling or precision “read.” Beyond this, there are often a vari- ety of cuts of each negative font family to choose negative space shape from. Classic, well- space shape drawn fonts are time- less and will always be effective. Train your eye to distinguish a well-structured alpha- weight bet. Sean Adams, proportion creative director of curve AdamsMorioka (www. adamsmorioka. com), developed this Good/Bad graphic to help his CalArts students with the Century Expanded subtle but critical differences in fonts. Century Oldstyle curve Adams recommends that designers “look at the details of each letter’s construction— proportions, especially precision precision the contrast of thicks and thins; curves versus linear strokes; negative positive and nega- negative space shape tive spaces.” Look space shape at the craftsmanship of the component parts—ascenders, descenders, terminals, curve crossbars, and loops. weight Finally, check for con- proportion sistent typographic curve color and texture—this indicates that com- pensation was made for optical variances.

OCT/NOV 2005 59 Learning the lan- guage of type is essential to master- ing it. Get started with this glossary.

by Cassie Hart

Do you know the difference between a dingbat and “It’s important to be familiar with characteristics of Cassie Hart (cahart@ a diphthong? Do you reach for the Rogaine when a typeface because being aware of details and con- att.net) is a freelance the conversation turns to hairlines? Are you con- versing [with other professionals] go hand in hand,” writer specializing in vinced that ems and ens melt in your mouth, not in Strizver notes. marketing and pro- your hand? motion for businesses and organizations. If you’re new to the design world, you may still Apex point at the top of a character where two She’s written for The strokes meet (e.g., the top of the A) be absorbing an abundance of type-related terms. Music Trades and the And if you’ve been in the game for a while, you know McGraw-Hill Compa- how important it is to stay current with industry Arm horizontal stroke that does not connect nies. Cassie is an avid jargon. “Designers, clients, art directors, and found- to a stroke or stem on one or both ends (e.g., jazz fan, performs on ries need to have a common language to talk about T, E, F) saxophone, and is a visual messages,” says Ilene Strizver, a typographic contributor to All consultant, designer, and founder of The Type Studio Ascender portion of a lowercase character AboutJazz.com. Visit (www.thetypestudio.com). “Designers need to learn extending above the height of a lowercase x her website at www. to be more verbal. You have to be able to talk about (e.g., b, d, f, h, k, l) cassiehartwriter.com. type, justify your choices, and educate clients so they can appreciate what you do—and why you do it.” Bar horizontal stroke in e, f, t, A, H, and T Allan Haley, director of Words and Letters at Monotype Imaging (and regular DG contributor), Baseline imaginary line upon which all charac- agrees. “It’s the vocabulary designers use for the busi- ters sit ness that they’re in. If you don’t have a strong grasp of this language, it becomes difficult to communi- Bowl the fully closed, rounded part of a char- cate—especially when you deal with others who work acter (e.g., d, q, P, R); also called Loop with type and fonts.” Whether you’re wondering about the mean- Counter open space in a fully or partly closed ing of a particular term or just want to brush up on portion of a letter (e.g., q, Q, d, D) general jargon, this glossary will help fi ne-tune your type vocabulary. Who knows? Being able to spout off Cross stroke horizontal stroke that intersects a few of the more obscure terms may even make you the stem of a lowercase t or f a winner the next time your typographic knowledge is challenged. Crossbar horizontal stroke that connects two strokes in capital letters such as A or H Character anatomy At fi rst glance a letterform may look simple, but Crotch acute angle where two strokes meet there’s more to each stroke than meets the eye. (e.g., V, A, W); see also Vertex

60 DynamicGraphics Terminal

Bracket Fillet

Stem

Apex

Typography Workbook Bar The following pages of typography visuals have been repurposed with permission from Typography Workbook by Timothy Samara, published by Rockport Publishers (www.rock pub.com). Highly rec- ommended.

OCT/NOV 2005 61 Stem or Main stroke Cross stroke Tittle

Letterform anatomy Ascent line Because it is an ever- evolving art form, Cap line there is no tried- and-true, steadfast Mean line vocabulary for the world of typography. Here we’ve attempted to defi ne some basic terminology, as well as the more obscure. Baseline

Descent line Crossbar Serif

Fun font fact Descender portion of a letter that falls below Serif line that crosses the end of a main charac- William Addison the baseline (e.g., g, j, p, q, y) ter stroke Dwiggins (who cre- ated Electra and Ear small stroke extending from the upper-right Shoulder curved stroke aiming downward from Caledonia) illustrated side of the bowl of lowercase g; also appears in a stem (h, m, n) a 1931 edition of H.G. the angled or curved lowercase r Wells’ novel, The Time Machine. His Spine main stroke in the letter s non-design hobbies Hairline the thinnest stroke in a typeface that included puppetry; demonstrates varying stroke widths Spur small stroke at the base of a stem (occurs he even built a mari- in some designs of G) onette theater in his Leg short, descending portion of a letter (e.g., garden to indulge his y, R) Stem vertical, full-length stroke in upright char- passion for the stage. acters like T or L; also called Main stroke Ligature two or more letters combined to form one character (fi , fl ) Stroke main portion of a character

Mean line imaginary line running along the top Swash ornamental additions to some letters of non-ascending, lowercase letters; see also X-height Tail short, downward stroke in K, Q, and R Bracketed serif Sans serif category of type that does not Terminal the end of a stroke that does not incorporate serifs include a serif

Vertex the point at the bottom or top of a Hairline serif character where two strokes meet (V, A, W); see also Crotch

X-height height which lowercase letters reach based on height of lowercase x; does not Slab serif include ascenders or descenders

Symbols Type designer Jill Bell (www.jillbell.com) gives a nod to technology for familiarizing the general pub-

62 DynamicGraphics Terminal Shoulder

Bowl Ascender Ear Counter Leg

Tail Bowl or Loop Juncture or Joint

lic with symbols. “Digital fonts have helped people Leader series of repeated characters (usually More font facts learn what pound signs and asterisks are,” she says. dots) used to connect type on opposite col- Fred Goudy (Goudy “E-mail has also changed a lot of things, like the at umn margins or pages (e.g., tables of contents, Old Style), who symbol (@) and the greater than or less than signs menus, etc) penned more than 100 typefaces, did (> <) that you’ll fi nd in addresses.” And for design- not begin designing Prime symbol denoting inches (12") and feet (1') ers, the ability to talk in detail about other com- seriously until he monly used symbols can help establish credibility in was 45 years old. both coworkers’ and clients’ eyes. Smart quotes quotation marks that curve or angle inward (“Hi.”); also called Curly quotes Eric Gill (Gill Sans) Ampersand a stylized character of the Latin et chose to have his used to represent the word and (&) Underscore line appearing on the baseline gravestone notate beneath a word or phrase notating italic type his profession not as Asterisk star-like symbol indicating a footnote (e.g., “Dynamic Graphics magazine”); now more a type designer, but or other additional information (*) commonly used in e-mail addresses as a stone carver.

Braces symbols used to enclose words meant Virgule alternate term for the slash symbol (/) to be grouped together {} General terms Brackets symbols used to enclose groups of It’s not uncommon for some of the following terms related words, often within parentheses [] to come up regularly in conversations with clients, coworkers, or typesetters. “I talk about basic parts Dingbats utility characters that include icons, of type all the time with both laymen and art direc- symbols, fl eurons, and ornaments tors,” Bell explains. “We might discuss whether to adjust letter spacing, word spacing, or line spacing.” Diphthong a single glyph that represents two James Montalbano, founder of Terminal Design vowels (œ) (www.terminaldesign.com), notes that he converses regularly with traffic engineers and sign manufactur- Em dash a solid, wide dash used to indicate a ers when he creates type for highway and interstate break in thought (—) signage. “I talk to clients about type on a daily basis,” he says, adding that educating clients is a En dash relative measurement equal to one- large part of his job. While it’s not necessary for the half of an em; often used to represent a range client to be familiar with technical terms, “the more between two items (e.g., 1995–2005, pages information the designer has, the more intelligent he 3–30) sounds—and the more he can communicate.”

OCT/NOV 2005 63 Type speak Ascent line The terms defi ned here may come up Cap line regularly in conver- Cap Height sations with clients, Mean line coworkers, or type- setters. “I talk about x-Height basic parts of type all the time with both laymen and art directors,” says type Baseline designer Jill Bell.

Descent line Aperture Spur

Font facts Alternate font complements a text font; in- Glyph any special character, punctuation, or Hermann Zapf cludes alternate characters such as fractions, symbol in a font (Optima, Palatino) cre- small capitals, old-style numbers, etc.; also ated his fi rst typeface called an Expert-set font Gutter vertical band of white space separating (Gilgengart) when he two or more columns of text was just 20 years old. Anti-aliasing smoothing out images (in this context, glyphs) by shading pixels at the char- Kerning the addition or subtraction of space William Caslon (Cas- lon) was known as a acter edges between two characters prominent engraver (much of his work was Baseline shift typesetting control; allows Leading distance from the baseline of one line done on gun barrels) characters to be raised or lowered according of type to the baseline of the line of type before before he tried his to the baseline it; space inserted between two lines of type hand at type design. Bitmap an image composed of pixels with a Letterpress printing relief printing pro- fi xed resolution cess where raised inked surfaces are pressed against paper to transfer images; this process is Cap height the height of capital letters in a reversed, or “wrong-reading” specifi c typeface Logotype two or more characters combined to Display type large type (14 pt. and up) often form a single unit (e.g., ellipsis: …) used for titles, headings, subheads, etc. Offset printing printing process where plates Drop cap an oversized, fi rst letter in a para- are inked and an image is offset on a roller be- graph (or article) whose baseline hangs below fore transferring the ink to the paper; the text is the normal baseline “right-reading,” meaning the image of the page appears as printed, not reverse Encapsulated PostScript (EPS) PostScript language fi le format containing vector and OpenType new cross-platform font format sometimes bitmap info with encapsulated bit- developed jointly by Adobe and Microsoft that map preview accommodates TrueType or PostScript Type 1 data; OpenType supports widely expanded Font a member of a specifi c typeface family character sets and layout features, and allows for a greater number of characters (about 65,000) to be included in a single font

64 DynamicGraphics Descender Ligature

Pixel a single rectangular point in a larger graphic image that is composed of many rect- Online Resources: These websites will angular points help build up your font knowledge. PostScript language used by many image setters to create printed versions of electroni- cally composed pages; all marks are treated as graphics Association Typographique mitted to increasing public Internationale awareness and appreciation of Rasterize process of converting a vector www.atypi.org the art and history of typogra- image to a bitmap (a raster-based or pixel- Exactly what its name implies, phy and its uses based image) with a decided European fl avor The Type Studio FontZone www.thetypestudio.com Tracking addition or subtraction of space www.fontzone.com Designer and speaker Ilene between characters in a block (usually a line) News, knowledge, links, calen- Strizver’s site includes a wide of text dar, talk—the works (although range of informative articles there is free content, there’s a on type design and use. TrueType digital font fi le format (developed by small membership fee to get Apple) designed to work with most PostScript much more) Type Directors Club (TDC) interpreters; contains outlines that Windows www.tdc.org and Mac operating systems automatically use to Identifont A club of type-minded artists rasterize images for onscreen viewing www.identifont.com and designers; events and ser- Identify a font by answering a vices in New York City; mem- bership includes a copy of the Typeface a collection or family of characters, structured series of questions; discover interesting tidbits vaunted TDC Annual numbers, and symbols that share common about designers and font his- design elements tory (also a good source for Typophile free fonts) www.typophile.com Weight measurement of the thickness of a Forums, links, and general stroke (e.g., extra light, light, medium, heavy) Society of Typographic typemania; includes Typophile Afi cianados (SoTA) Wiki, a “user-created encyclo- Vector resolution-independent graphics www.typesociety.org pedia of all things type- and defi ned by mathematical statements; vector A nonprofi t organization com- design-related” images are assigned individual properties such as color, fi ll, and outline

OCT/NOV 2005 65 MMakingaking RRightight BBuysuys by Allan Haley

Building a productive type library is a matter of being informed and organized. These guidelines will help you make versatile— and cost-effective—choices.

P22 Type Foundry Whether cabinetmaker, chef, or photographer, arti- (www.p22.com) sans choose their tools carefully. Good tools make bills its typefaces the job go easier and can improve the quality of the as “inspired by Art, fi nished product. (Ever try to fl ip a burger without History, and some- a spatula?) times Science.” P22 typefaces are avail- So it is with graphic designers and their fonts. ffi able in four collections It’s pretty di cult to design a parts list without for those who need a a condensed typeface or a wedding invitation wide range of fonts. without a script. Before buying fonts, how- The Works includes ever, you should fi rst know your options. 168 fonts for $849.95. There are basically four ways that Most foundries and fonts can be purchased: as libraries, in resellers offer sizable packages, in volumes, and as individual packages or even fonts. Type libraries are very large packages complete libraries for of fonts from a single foundry or supplier. best value per font. Font packages are smaller collections put together by font foundries or font resellers. Volumes are normally all the weights of a typeface family or a logical collection of fonts from a very large family. Individual fonts are single weights or versions of a typeface design.

66 DynamicGraphics Libraries Type libraries are the largest assortment of fonts that can be purchased. They represent a considerable investment, usually containing in excess of 1,000 fonts and costing several thousand dollars. Within the libraries, however, average prices of individual fonts are at the lowest prices obtainable. Where individual fonts generally run between $25 and $50, GarageFonts (www. a library of 1,500 fonts sold at $5,000 means that garagefonts.com) was the individual font price is below $3.50. originally established Type libraries are almost always assemblages to distribute some of of the total offerings from a font foundry. Typical the fi rst type designs created for the leg- examples are the FontFont (www.fontfont.com), endary Raygun maga- International Typeface Corporation/ITC (www.itc- zine. Its collection has fonts.com), Adobe (www.adobe.com/type), Linotype grown to more than (www.linotype.com), and Monotype (www.fonts. 750 original designs. com) libraries. Type libraries are cross-sections of type styles and families. Some libraries, like P22 (www. The Font Bureau p22.com) or GarageFonts (available through several (right, www.font outlets, including Fonts.com), are as small as 200 or bureau.com) offers 300 fonts, while the major foundries’ offerings can a special value “pick range from 1,200 to over 3,500 fonts. 200” package: Any 200 fonts from its retail library at $20 Packages per style for a single Font packages are generally organized around a CPU. Pricing varies theme, a range of applications, or a collection of according to number designs that their providers think will supply a basis of CPUs, but always for a broad range of uses. These can contain as few represents a great as 25 fonts and as many as 250. Typical examples deal. Contact type might be a group of faces that will work well for sales@fontbureau. signage, a group for setting wedding invitations, or a com for a quote. collection of fonts from a specifi c typeface designer. They could also be simple cross-sections of found- Type packages come in various sizes, but ries’ offerings. Prices of font packages range from are generally meant about $100 for 25 fonts to $500 for 125 fonts. to form an affordable foundation for a type- Volumes face collection. The Font volumes usually contain a typeface family or ITC Elements pack- part of a very large family. Sometimes they contain a age includes more complete family in a non-Latin language like Greek than 200 fonts from or Cyrillic. A typical volume of four roman weights International Typeface plus italics will cost about $80. A very large volume, Corporation. Find it at such as a “super” family of serif and sans designs, www.fonts.com/font complete with complementary small caps and old packages/libraries collections.htm. style fi gures, can cost as much as $500.

OCT/NOV 2005 67 Individual fonts Linotype offers a Individual fonts vary in price from free to as much collection of all the as $100 per font. Generally, however, they run from typefaces designed by $25 to $50, with OpenType fonts claiming a slight the legendary Adrian price premium. The majority of font sales are single- Frutiger in a 3-CD, 173-font set. Find it at font purchases. www.linotype.com/6- 1793-6/frutigerslife. How many fonts? html. Like most font Think of your font collection as a palette of paints houses, Linotype also that might be used by an artist. While an artist offers packages tai- could probably get by with just the primary colors of lored to specifi c appli- red, blue, and yellow, a larger palette provides more cations or themes. The freedom and subtleties of application. Similarly, Seasons Greetings bundled “system” fonts (those included with soft- package includes 50 ware applications) will not take you very far. A fonts suited for cards, recipe books, fl yers, single-person or small design studio could probably and signs. It starts get by with about 200 well-chosen text/display type- at $45; see more at faces (basically, text families that can also be used at www.linotype.com/ large sizes) and 20–30 display-only typefaces. 6-1795-6/linotypesea A medium-sized studio or design office should sonsgreetings.html. provide its staff with 1,200—or so—typefaces to work with. And a large design agency, branding fi rm, Vista Sans, a unique or college design department should have at least one new typeface family complete typeface library. in six weights from Emigre, is both func- Building a basic type collection tional and expressive. It includes alternate The idea behind building a versatile type collection companion fonts with is, fi rst, to provide a broad cross-section of fonts, italic and fl ourished then to add depth to the resource. Since many details for greater design applications also have fonts bundled with the versatility in headlines software, these could be considered as part of the and word logos. Find additional fonts a designer should have. The cross- it at www.emigre.com. section should have at least one family from each of the major typeface styles: • Old style • Transitional • Neoclassical or Didone (also called Modern) • Slab serif VISTA SANS • Glyphic • Grotesque (a basic sans serif design) • Geometric sans A family of 36 fonts • Humanistic sans • Script type styles (at least one formal script, a cal- ligraphic script, and a casual script) DESIGNED BY Buy families Purchase the complete volume when you are buying a typeface family. Why? First, the per-font price is less expensive than purchasing individual weights Xavier Dupré over a period of time. If you purchase a typical four-weight family with corresponding italics one font at a time, it can easily run over $230. Purchase the same family as a volume and the cost drops to Licensed by Emigre Fonts around $170. The second reason is to maintain font UZUZUZUZUZUZUZUZUZUZUZUZUZUZUZUZUZUZUZUZUZUZUZU design consistency. For example, just about every foundry offers a Baskerville design. If you purchase

68 DynamicGraphics the roman and italic of ITC’s Baskerville and then six months later purchase Monotype’s or Linotype’s bold and extra bold, they will not match the design of your fi rst purchase. If you have a project that calls for even one or two faces from a family, it’s worth (BSBNPOE
considering purchasing the complete volume. Create depth


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Display designs The 25 (or so) display faces in your collection can be virtually any designs that are distinctive enough Adobe is offering to stand out from the crowd, but not so eccentric Creative Suite 2 users that their use is impaired. For example, a typeface a new interpreta- that looks to be made from fl owers may be distinc- tion of the classic tive, but its use will be limited … to, well, ads for typeface Garamond simply for registering fl owers. Papyrus (an Apple system font, by the way), their CS2 software. on the other hand, is very distinctive but also can Garamond Premier be used to set display type in everything from res- Pro’s fi ve weights taurant menus to annual reports. in four distinct size ranges—caption, text, Libraries: Make it your call subhead, and dis- Type libraries are large purchases—so large that in play—are modeled on many cases your organization’s purchasing manager original punchcuts. will want to make the choice. Don’t let this happen. An OpenType family, Since you will be spending several thousand dollars Garamond Premier Pro contains an on the acquisition, be sure the purchase provides extensive glyph the creative tools you need. While price is clearly an complement, includ- issue, more important is the quality and selection of ing central European, the tools you will be purchasing. Cyrillic, and Greek characters, and takes New tools advantage of the Typeface libraries are continually growing things. advanced type manip- You will be adding to your collection of fonts as new ulation capabilities of projects come along and as new typefaces are pro- Creative Suite 2 appli- vided to the market. Add to it like you would any cations. Not a CS2 valued set of tools—with care, and an eye toward a user? See http://store. adobe.com/type/ good deal. browser/landing/gara mond/garamond.html. Allan Haley (allan.haley@monotypeimaging. Papyrus com) is the director of Words & Letters at Monotype Imaging, Inc. He is chairperson of AIGA Typography and a past president of the New York Type Directors Club.

OCT/NOV 2005 69 What Serif Bracketed Old Style and angled • Weight stress is at around 8 and 2 o’clock. • Contrast in stroke weight is not dramatic. the • Hairlines tend to be on the heavy side. Some versions have a diagonal cross stroke of the lowercase e. F nt?! • Serifs are bracketed; head serifs are angled. Weight stress Old Style Typefaces: Bembo, Berkeley * at 8 and 2 Oldstyle, Centaur, Weidemann, Legacy Serif Ty pe cla ssifi cation (font shown) made easy Transitional Weight stress • Axis of curve strokes generally has a verti- Most typefaces can be divided into three vertical cal stress. basic groups: those with serifs, those • Weight contrast is more pronounced than without serifs, and scripts. Many more in old style designs. defi nitive classifi cation systems have been • Serifs are bracketed; head serifs are oblique. developed—some with over a hundred Transitional Typefaces: Americana, Basker- different categories. ville, Bulmer, Electra, Perpetua (shown) A classifi cation system can be help- ful for identifying and combining various Neoclassical & Didone typefaces. While three categories—four, if • Contrast between thick and thin strokes is you include otherwise-unclassifi able orna- abrupt and dramatic. mental styles as a separate category—may • The axis of curved strokes is vertical with not be adequate, a list with hundreds of little or no bracketing. categories tends to become self-defeating. Ball terminal • Often, stroke terminals are “ball” shapes. Sixteen groups of type styles are presented Neoclassical and Didone Typefaces: Arepo, here … larger systems would be subdivi- Bodoni (shown), Fenice, Modern No. 216, sions of these 16. Walbaum

Slab • These typefaces have very heavy serifs with Serif Sans serif no—or very little—bracketing. • Generally, changes in stroke weight are No brackets imperceptible. Slab Serif Typefaces: Lubalin Graph (shown), Offi cina Serif, Rockwell, Silica, Tyke

Clarendon • Stroke contrast is slight and serifs tend to be short to medium length. Little stroke Clarendon Typefaces: Accolade, Bookman, contrast Charter, Clarendon (shown), Nimrod Script Ornamental Glyphic • Contrast in stroke weight is at a minimum. • The axis of curved strokes is usually vertical. • Triangular-shaped serif design. Glyphic Typefaces: Albertus, Cartier Book, Triangular Élan, Friz Quadrata, Quorum (shown) serif

70 DynamicGraphics Sans Serif Script

Bowl and Grotesque (sometimes called Formal loop g “19th Century Grotesque”) • Typefaces derived from 17th-century • Obvious contrast in stroke weight. formal writing styles. • Slight “squared” quality to curves. • Many characters have strokes that Formal • Many designs have the “bowl and style join them to other letters. loop” lowercase g. Formal Script Typefaces: Bickham Grotesque Typefaces: Bureau Script, Edwardian Script (shown), Grotesque, Franklin Gothic, Helvetica, Helinda Rook, Mahogany Script, News Gothic, Univers (shown) Young Baroque

Squared Square Casual curves • A defi nite squaring of normally • Typefaces designed to look informal. curved strokes. Casual Script Typefaces: Brush Script, • Often the typeface is condensed. Informal Freestyle Script, Limehouse Script, Square Sans Typefaces: Cachet style Nadianne (shown), Studio Script (shown), Eurostile, Felbridge, Neo Sans, Phenix American, Smart Sans Calligraphic Calligraphic style • Script faces that mimic calligraphy. Geometric • Many appear to have been written • Simple geometric shapes. with a fl at-tipped writing instrument. • Strokes have the appearance of Calligraphic Script Typefaces: being strict monolines. Belltrap, Blaze (shown), Mistral, • Character shapes are made up of Riptide, Vivaldi seemingly perfect geometric forms. Geometric Geometric Sans Typefaces: Avant Manuscript Blackletter and Lombardic Garde Gothic, Avenir, Bauhaus, style • Typefaces patterned to look like Futura, Kabel (shown) manuscript lettering prior to the invention of movable type. Humanistic Blackletter and Lombardic Script • Based on the proportions of Roman Typefaces: Agincourt, Cresci Rotunda, inscriptional letters. Goudy Text, Lombardic Capitals • Contrast in stroke weight is apparent. (shown), Monmouth • Strong calligraphic infl uence. Stroke Humanistic Sans Typefaces: Frutiger, contrast Gill Sans, Goudy Sans, Mentor Sans, Ornamental Stone Humanistic (shown) Art Deco Antiques, Art Nouveau, Art Deco • Typefaces used for display applica- tions from mid-1800 to early 1900, and their revivals. Antiques, Art Nouveau, & Art Deco Typefaces: Beesknees, Buckeroo, Parisian (shown), Raphael, Rosewood, Virgin Roman Defy categorizing Decorative • Typefaces that defy pigeonholing. Decorative Typefaces: Aftershock, Airstream, Mo Funky Fresh (font shown), Tremor, WacWakOoops!

OCT/NOV 2005 71 HOW’D THEY DO THAT? Get Results Like the Pros

Tips From Our Last Issue How to multiply graphics to create patterns, and turn bitmaps into vector fi les with CS2’s Live Trace

Making duplicates There are several ways

DO’S & DON’TS DO’S NEXT to make patterns in 7532 375 355

DO’S

DO DON’TS CORPORATE LOGO Illustrator. The follow-

CORPORATE COLOR SINGLE-COLOR LOGO >

BLACK LOGO + COLOR BACKGROUND TYPOGRAPHY > WHITE LOGO + COLOR BACKGROUND > ing technique works DO’S & DON’TS MINIMUM SIZE > STATIONERY ICONS AS A PATTERN > TRADEMARK best when duplicating DOWNLOAD The corporate logo is our visual brand. The logo works best in the three-color PRINT Whether it appears on a product or e- form. Black is the preferred one-color mail, T-shirt or legal prospectus, make option. The logo can also be reversed out CONTACT US sure it is used correctly. (appear in all white) on a wide variety of a few objects, icons, Our logos are trademarked. All logos colors. The key is to make sure there is have a TM symbol and should be adequate contrast between the logo and accompanied by a trademark legend. the background. or logos at a time.

1. In Illustrator, select 1 2 “Seeing I to i,” V10N4 the image you want (page 38) to duplicate. In this selection we changed the arrow’s color to brown to add interest, then grouped the ele- ments into one object (Command-G). 3 2. Using the Selection tool (solid arrow), click on the object and press Option- Shift, dragging it to the right. Align the duplicate object to 4 the right edge of the original. Do not dese- lect the duplicate.

3. Press Command-D to duplicate the object as many times as you want, making a row.

4. Select the entire 5 Quick tip: row, and group the You can use the objects by pressing duplicate command Command-G. Using (Command-D) for the Selection tool, other things, such as drag the row down sizing an image. Select while pressing Option- the image and double Shift. Align the row click on the Scale tool. with the bottom edge Type in a percentage of the previous row. and click OK. Then press Command-D to 5. Now you can dupli- resize the image as cate (Command-D) often as necessary. the row as many times as you’d like.

72 DynamicGraphics 1 Corporate patterns 2 What better way to expand your identity than to duplicate your existing logo? Patterns 156 284 286 inspired by corporate graphics can be used for numerous applica- tions—websites, back- grounds, stationery, or an interesting addi- tion to a promotional piece. Send clients company-branded holiday gift wrap, or fi ll up the empty space on the back cover of a brochure or annual report with your logo pattern.

1. Some logos lend themselves to many different designs, as shown here. 3 Warm 7417 2. Even if you don’t Gray 1 have a graphic in your logo, play up a smaller, existing graphic element. In Warm 7477 this case we chose Gray 4 the dot in the i.

3. Once you have a pattern you like, vary Warm 137 the colors—you’ll be Gray 6 surprised at the dif- ferent messages your company can send just by changing the color. Example: For an annual report, you can use a more subtle and mature palette; for a fl ier for the company picnic or another fun promotion, you can use brighter, more 577 7477 284 playful colors.

OCT/NOV 2005 73 Bitmaps into vector 1 Original 6 fi les: Illustrator CS2 1. To use Live Trace, place a bitmap in Illustrator CS2 using the File > Place com- mand. You can use bmp, jpg, gif, png, tif, or even psd fi les.

“Color on Call: Hip-Hop,” 2 2. Choose Object > V10N4 (page 32) Live Trace > Tracing 7 Before Options. Use the options shown or experiment with the others to see what happens. This dialog will tell you how many paths, anchor points, colors, and areas the object contains—you can decide what you want to preview. Click the Trace button when you’re fi nished. 3 3. You can see the dif- ference in the image, but it still looks like it’s one piece.

4. Choose Object > Live Trace > Expand, then click Trace. This converts the image 4 into vector paths. 5. Choose Object > After Live Trace > Tracing Options. Use these choices to get a black- and-white effect.

6. Result from Step 5.

7. Get a stunning 5 effect with more than one image. A new 2 FREE Images! feature in Illustrator Both the butterfl y CS2, Live Trace allows and guitar girl you to trace logos, images are avail- sketches, scans, and able free on our many other bitmap website. See page images, tasks that 12 for informa- used to be time- tion, or visit www. consuming and dif- dynamicgraphics. fi cult. Butterfl y image com/downloads. 10053691, Guitar girl image 23301641; PhotoObjects.net, www.photoobjects.net

74 DynamicGraphics Last chance! Deadline now October 17. Enter online at www.StepInsideDesign.com/d100 CALL FOR ENTRIES STEP inside design 100

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Toolworthy

Timing is everything Dress up your desk with a timeless timepiece. The Sign us up Nelson Night Clock is Recycling isn’t just for cans and cardboard—now functional—when in your retired street signs are in the mix, too. These left- line of sight, you’ll never miss over metals yield colorful coasters that look great another meeting—and fun. anywhere. They’re handmade and sold in sets of Collectors will be interested to four. $70 per set, UncommonGoods, www. know that these clocks, originally uncommongoods.com designed by George Nelson, have been reissued by the Vitra Design Museum. Other models are available, too (Nelson Tripod and Nelson Pill). Don’t wait another second to select your favorite. $325, Design Within Reach, www.dwr.com

Frame of mind On the go and can’t download digital pics to your computer, but want to view them on some- thing other than your camera’s tiny screen? Check out Vialta VistaFrame, a 6.8-inch color LCD Personality pods that reads fi les directly from your memory card. Protect your iPod mini with one of 16 provoca- VistaFrame interprets JPEG fi les in fi ve formats, tive Chameleon Cases from Griffin Technology. saves up to eight photos in its internal memory, Imaginary workmates Available in an assortment of wild, mild, or artsy and lets you set up a slide show with as many Meet Ted and his designs, the Chameleon Case is made of durable pics as your memory card can hold. Great for buddy Bob. Then polyvinyl material and includes a belt clip and there’s Ann and her home and desktop use. Available at Sharper Image 21-inch lanyard. $14.99, Griffi n Technology, boss Joe. At 2 (www.sharperimage.com) and Amazon.com for around inches tall, these pos- www.griffi ntechnology.com $250; or visit PictureQuest at www.picturequest.com/ able plastic people promotions.aspx to fi nd out how to get one free. are ready to entertain during long workdays. Each fi gure comes with essential cube- ware: walls, desk and chair, fi le cabinet, in/outbox, phone, and computer. Expand by adding new people and additional acces- sories (cell phone, cof- Snooze in transit fee cup, new hairdo). Feeling sleepy on the commute to work? Just don Just don’t let your real this comfy neck support and matching sleep mask boss see you playing and catch a few more Zs (unless you’re driving, of during billable hours. course). Choose from green or orange-striped pat- $12.95 per set, Archie terns. Masks and supports are pressure-free, light- McPhee & Co., www. weight, cool, and covered in stretch nylon Spandex cubefi gures.com for a relaxed, comfortable fi t. $36, Flax Art & Design, www.fl axart.com

76 DynamicGraphics Textworthy

For creative types When did designers send their typesetters packing? Find out in Creative Type, an illus- trated record of the infl uence of digital technology on typog- raphy. Retrace the past 20 years of type via this collection of CS2 4 U 34 visual modern clas- Adobe Photoshop CS2: Classroom in a Book con- sics. Three essays and Fine designs tains tips from top experts to help you learn Adobe an examination of Designers, photographers, and illustrators will Photoshop Creative Suite 2 (CS2). These 16 les- faces from days past dig the Designer’s Notebook series. The fi rst two sons uncover new program features, including round out the text. books—Photo Retouching with Photoshop and $50, Thames & Hudson, Adobe Bridge and the updated fi le browser. Rehash Illustrations with Photoshop ($24.95 each)—target www.wwnorton.com the basics as well with tips on color-correction, issues like restoring old images and working with a image sharpening, digital body sculpting, and colorimeter (Photo Retouching) and provide narra- more. Includes a CD with lesson fi les for working tives of journeys in digital illustration (Illustrations). the projects in the book. $49.99, Peachpit Press, The other texts—Creating Photomontages with www.peachpit.com Photoshop ($24.95) and Assembling Panoramic Photos ($19.95)—take a look at creative commercial proj- ects and the magic that ensues when Photoshop is unleashed. All books include step-by-step les- sons and full-color screen shots. O’Reilly Media, Type talk www.oreilly.com Looking for more tips on type? Typography, the third title in AVA’s Smarter stuff Basics Design series, Looking to learn Photoshop CS2 but haven’t found has plenty to share. Empower your art- the right guide? Enter Photoshop CS2 for Dummies. work with effective This user-friendly text sidesteps technical talk and typefaces guaranteed gets right to the point. Learn to import images to grant your work a with ease, fi ne-tune your fi xes, punch up photos personality of its own. with text, optimize online images, and much more. Add to or refresh your Plus, this is the fi rst For technical know-how Dummies book to appear Unfl appable design while viewing exam- in full color. $24.99, Prepare for the best in functional design with ples of embossing, foil John Wiley & Sons, Fantastic Folders and Exceptional Envelopes, a book blocking, varnishing, www.wiley.com and printing tech- that’s both practical and inspirational, featuring 160 niques. Also check out pages of real-world examples. Prowl though paper the fi rst two books ff choices, pick up tips on working e ectively with in the Basics Design printers, and unveil ultra-creative folding secrets. series (Format and Also get a grip on glue choices and other essentials Layout). $24.95, AVA for your next envelope/folder design project. $30, Publishing, www.ava Rockport Publishers, www.rockpub.com books.ch

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Design ideas for the real world TYPE SEECCRETS REVEALED

Clockwise from upper left: Image numbers 22829424, 22178373, 22830144, 22778661; all from Brand X Pictures, all available at www.picturequest.com

Cover options Concepts we explored (mostly female), but and associated images weighed against this included “type that the fact that cov- The 6 Worst Type Crimes makes you a star” ers of our previous & HOW TO AVOID THEM (upper left), “be two issues featured a type champion” women. We decided Combat Project Stress (upper right), “type to strike a blow for 5 WAYS NOT TO LOSE YOUR MIND secrets” (lower gender equality and OCTOBER/NOVEMBER 2005 $7.95 US $8.40 CAN right), and “hidden tacitly endorse the Tips for mastering large letters 05> type” (lower left). preservation of the Demographics came species with a cover

dynamicgraphics.com 0274470 90182 into play: We consid- image that features ered our readership both sexes.

Illustrating this issue with an appropriate cover image presented us with an interesting dilemma. The focus of the issue—type—could Coming Up easily be represented by an image of, well, type. What could be Special occasions, the focus of our next more obvious? Nothing: It was such an obvious choice that we were ff issue, call for powerful design solu- relieved to decide to go in a di erent direction. tions. We’ll explore how to create last- At that point we were on the other horn of the dilemma—if a type ing impressions for sports, politics, and image wouldn’t do, what would? After considering several alternative relaunching an organization’s identity. concepts (see options, above at right), we settled on a main coverline Plus we’ll be looking at all sorts of invita- that offers type “secrets.” The image we eventually chose has, we think, tions and event collateral, as well as the an honest, unposed quality that alludes to hidden knowledge without care and feeding of that essential actor being—here’s that dirty word again—obvious. in all big occasions, script type. And the next issue will inaugurate SmartWare, a Cover photo from PictureQuest, www.picturequest.com: Big Cheese Photo new department designed to help you stay informed and make smart purchas- 22157849 ing decisions on essential tools of the trade—printers, scanners, monitors, and digital cameras.

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