National Park Service U.S. Department of the Interior HFC onMEDIA March / April | 2006 Issue 11 In This Issue that is distinc- tive, easy to read, and used Introducing consistently is an important OpenType component of NPS graphic identity. One of several new 2 signs at Lyndon B. Johnson NHP (pictured here with the one it replaces above) shows how NPS standard Why & (Frutiger and NPS Rawlinson) NPS Rawlinson can be used to identify an 3 important park facility.

Sharing Frutiger & NPS 5 Rawlinson From the Director The NPS Uniform Like our colleagues across the Service, Harpers Ferry Center has been challenged by Collection tight budgets and a smaller staff . One way we have dealt with this situation is to provide 6 park and program staff with better tools and timely training to meet their own interpre- Call for Career Collections tive media needs. The National Park Service Graphic Identity Program, managed by the HFC Offi ce of NPS Identity, is an excellent example of a service we continue to provide to the Park Service community. Launched in 2001, the program has developed graphic standards that help establish a unique organizational identity expressed through the full range of communication materials used by the National Park Service. Today, this program is expressed through such diverse media as park publications, news releases, wayside exhibits, websites, audiovisual programs, and even highway signs. In this issue of HFC onMEDIA, we announce the release of new OpenType® versions of the NPS typefaces Adobe Frutiger and NPS Rawlinson—key components of the NPS Graphic Identity Program. These typefaces represent our best eff orts to continue providing up- to-date tools for the everyday work we all do in communicating our programs, services, and essential mission.

onMEDIA National Park Service 1 HFC onMEDIA is produced Introducing OpenType Fonts and published by Harpers Ferry The Next Level of Digital Typography Center. Statements of facts and views are the responsibility of the authors and do not necessarily NPS employees who produce newsletters, news releases, rack refl ect an opinion or an endorse- ment by the National Park cards, reports, site bulletins, and other forms of print commu- Service. Mention of trade names or commercial products does not nications and interpretive media have probably used the NPS- necessarily constitute recommen- approved typefaces Adobe Frutiger and NPS Rawlinson. dation for use by the National Park Service.

These typefaces, selected by the HFC The landscape for digital typography has Send questions and comments to Gary Candelaria either by email Offi ce of NPS Identity in 2001, have been thankfully improved over the past fi ve at [email protected] or widely used and distributed across the years. GIS applications now recognize call 304 535 6058. National Park Service community (see PostScript Type 1 fonts. Windows-PC Secretary of the Interior sidebar Why Frutiger and NPS Rawlin- printer drivers translate PostScript as Gale A. Norton son, 3). They are an integral part of fl uently as TrueType. Even ’s Director, standards proscribed in own offi ce applications treat PostScript National Park Service Director’s Order 52A to bring a consistent and TrueType fonts alike. Still, many NPS Fran P. Mainella look to our public communications. users across the country—including the Associate Director, designers at Harpers Ferry Center—saw Partnerships, Interpretation The Trouble with PostScript room for improvement. “Bugs” in the and Education, Volunteers, The adoption of these typefaces, unfor- display of NPS Rawlinson fonts emerged and Outdoor Recreation Chris Jarvi tunately, was accompanied by a variety as and Windows XP were of technical problems. The approved adopted across the Service (see fi gure 1 Director, versions of Adobe Frutiger and NPS below). Type selection menus in the new Harpers Ferry Center Gary Candelaria Rawlinson were PostScript Type 1 fonts, applications (Illus- a standard recognized by the profes- trator CS, InDesign CS, and Photoshop Editor David T. sional community and CS) wouldn’t display all the NPS Rawl- commercial printing industry—including inson variants properly. Files shared Art Director Robert Clark, most HFC IDIQ contractors and GPO between MacOS and Windows-PC Offi ce of NPS Identity print vendors. However in 2001, many computers periodically resulted in font NPS offi ces lacked desktop laser printers matching errors. And choosing when Designer David T. Gilbert that supported the PostScript page de- to use old style numbers and tabular scription language. GIS staff and NPS sign numbers added typographic confusion Contributors shops also reported that their core soft- to many workfl ows. Chad Beale Sylvia Frye ware applications recognized TrueType Jane Merritt Fonts—a competing and widely distrib- Introducing OpenType Mark Muse uted alternative to Type 1 developed by Anyone working in the world of graphic Phil Musselwhite Tom Patterson Microsoft—but not PostScript. design and print has most likely heard of

The National Park Service cares for special places saved by the American people so that all may experience our heritage. Figure 1. Among the problems with the PostScript Type 1 versions of NPS Rawlinson were too much spacing after a in a sentence, a height difference between an “” dash and an “” dash, and EXPERIENCE YOUR AMERICA™ an oldstyle 1 that looked more like the capital letter “I”. These problems have all been addressed in the new OpenType versions of NPS Rawlinson. onMEDIA March / April 2006 National Park Service 2 OpenType. OpenType isn’t really a new OpenType Frutiger and Why Frutiger and font format, but rather a hybrid of exist- NPS Rawlinson NPS Rawlinson?

ing formats. Developed jointly by Micro- In the fall of 2005, Harpers Ferry Cen- In 2000, a team drawn from soft and Adobe, it combines the outline, ter decided to embrace OpenType. A the National Park Service, metric, and bitmap data in Adobe’s workgroup comprised of HFC managers, National Park Foundation, and Ogilvy Public Relations found PostScript Type 1 format with Microsoft’s visual information specialists, informa- that among the barriers to a TrueType format to form one compact tion technology specialists, and contract greater public understanding of font fi le. The two main benefi ts of the specialists revised the NPS licensing the breadth and depth of our OpenType format are its cross-platform agreement for Adobe Frutiger to include agency was a lack of consistency in the content and appearance compatibility (the same font fi le works the OpenType version of this font. James of visual materials presented on MacOS and Windows-PC computers), Montalbano, the original creator of to the public. Consequently, and its ability to support widely expanded Rawlinson, was contracted to revise and Harpers Ferry Center was tasked to develop graphic standards character sets and layout features, which convert NPS Rawlinson to OpenType. that would establish a unique provide richer linguistic support and After extensive testing on Windows-PC organizational identity that advanced typographic control. and MacOS computers in January and could be expressed through the February 2006, these new typefaces have full range of communication materials used by the National Based on —an international fi nally been made available Servicewide. Park Service. multi-byte that covers (See sidebar Sharing Frutiger and NPS virtually all of the world’s languages— Rawlinson, page 5, for download infor- A clear and strong graphic identity for an organization OpenType fonts can make multilingual mation and use restrictions). is achieved through a careful typography easier by including multiple mix of visual elements. These language character sets in one font. Uni- The OpenType version of Adobe Frutiger typically include a logo (the Ar- rowhead), a limited palette of code supports up to 65,000 in a is comprised of virtually the same char- colors, a limited set of typefaces single font fi le (a is a visual repre- acter set as the PostScript Type 1 ver- (usually a and sans serif sentation of a character). By comparison, sion. Although it lacks the rich extended ), and a number of dis- a typical PostScript Type 1 font comprised glyphs that Unicode encoding makes tinctive graphic devices (like the black band), all carefully orches- of ISO-Latin encodings used in the West possible, it has the major advantage of trated to achieve a distinctive is limited to 256 glyphs. cross-platform portability. Best of all, look. None of these elements the National Park Service incurs no cost alone can create a strong iden- In OpenType, a letter or number may be for upgrading from the PostScript to tity. But when used together, the combination serves to create a represented by more than one character, OpenType version of Adobe Frutiger: visual impression (both con- or glyph. The numeral “1”, for instance, if an NPS user who already has Adobe sciously and subconsciously) that might be displayed as a tabular character Frutiger downloads the OpenType ver- is unique to that organization. ( 1 ), an old style character ( 1 ), a numera- sion, it still counts as one user license. Typography is one important tor for a ( ½ ), or a way to bind together such superscript character ( 1 ) disparate media as printed ma- terials, fi lms and videos, indoor (see fi gure 2). These extend- and outdoor exhibits, vehicle ed characters are typically markings, uniforms, and signs. accessed from the Symbols Road signs, for instance, are one palette in of the most pervasive ways the Park Service communicates with or from the Glyphs palette park visitors. Finding typefaces in Adobe InDesign CS. that work effectively in all of these media types was no easy Figure 2. The Glyphs palette in task. A team of HFC designers, Adobe InDesign allows users working with Meeker & Associ- to visually access the entire ates (a environmental character set for NPS Rawlinson graphic design fi rm), the Dennis OT. Here, available alternates for Konetzka Design Group, Federal the number 1 appear as a pop- Highway Administration, and up box by clicking and holding down the mouse. continued on next page onMEDIA March / April 2006 National Park Service 3 The real benefi ts of OpenType show up to blend in visually with a line or block Continued from previous page

in the new versions of NPS Rawlinson. of text. Tabular style numbers are best Pennsylvania Traffi c Institute at Taking advantage of the font’s extended suited for use in tables, charts, and other Penn State University, looked at range of characters, the typeface has been applications where the quantitative a variety of typefaces to satisfy reorganized into three families: NPS Raw- display of numbers is important. the broad needs of the National Park Service. linson OT, NPS Rawlinson OT Oldstyle, • The oldstyle numeral 1 has been re- and NPS Rawlinson OT Condensed (see designed (it no longer looks like the The team fi nally settled on two typefaces: Adobe Frutiger and fi gure 3 below for a complete list of font Roman Numeral I ). The height of the NPS Rawlinson. Frutiger is a sans names). Notable features of the NPS number relative to the text serif typeface developed in 1968 Rawlinson OT fonts include: remains unchanged. by for signage • Each font includes extended sets of at the Charles de Gaulle Airport outside Paris. In contrast to Hel- • Standard tabular style numbers (1, 2, 3, 4, ( ¼, ⅓, ½, ⅔, ¾, etc. ) vetica (or its 5, 6, etc.) are now available by default in • Each font includes custom ligatures counterpart ), Frutiger is NPS Rawlinson OT, while the old style ( ff, fi, fl, ffi, and ffl ). characterized by “open” let- numbers (1, 2, 3, 4, 5, 6, etc.) are available • Each font includes Hawaiian diacritical terforms, which means, for ex- ample, that there is less chance in NPS Rawlinson OT Oldstyle. How- glyphs (Pu‘u Koholā Heiau). for confusion between a “c”, an ever, you can still access the old style “e” or an “o” on a small map numbers as glyphs in NPS Rawlinson OpenType Aware and or brochure, or on a road sign viewed from a distance. OT and NPS Rawlinson OT Condensed. Non-Aware Applications Old style numbers, which are drawn It’s important to note that not all Win- NPS Rawlinson is a serif typeface with ascenders extending above a text dows-PC applications access OpenType developed by James Montalbano of Terminal Design. Because baseline ( 6 ) and extending fonts the same way. Applications like Mi- Rawlinson was designed with below a text baseline ( 9 ), are designed crosoft Word, Microsoft Excel, FileMak- a larger x-height—the size of lower-case letters relative to adjacent upper-case letters—it Figure 3. Adobe Creative Suite (CS) applications Adobe PageMaker, Microsoft Word, and other too works well in both very small display these OpenType font names: MS Offi ce applications display these font names: and very large sizes. Testing at the Pennsylvania Traffi c Institute, NPS Rawlinson OT - Book NPSRawlinsonOT which included both day and NPS Rawlinson OT - Book Italic NPSRawlinsonOT - italic night driving conditions with NPS Rawlinson OT - Medium NPSRawlinsonOTTwo both younger and older drivers, NPS Rawlinson OT - Medium Italic NPSRawlinsonOTTwo - italic found that NPS Rawlinson was NPS Rawlinson OT - Bold NPSRawlinsonOT - bold more legible than or NPS Rawlinson OT - Bold Italic NPSRawlinsonOT - bold italic —the only previ- ous typefaces approved for use NPS Rawlinson OT - Heavy NPSRawlinsonOTTwo - bold on highway signs by FHWA. NPS Rawlinson OT - Heavy Italic NPSRawlinsonOTTwo - bold italic The design team found that, in NPS Rawlinson OT Oldstyle - Book NPSRawlinsonOTOld addition to the functional ad- NPS Rawlinson OT Oldstyle - Book Italic NPSRawlinsonOTOld - italic vantage of improved legibility, NPS Rawlinson OT Oldstyle - Medium NPSRawlinsonOTTwoOld the distinctive letterforms of NPS Rawlinson OT Oldstyle - Medium Italic NPSRawlinsonOTTwoOld - italic both Frutiger and NPS Rawlinson NPS Rawlinson OT Oldstyle - Bold NPSRawlinsonOTOld - bold set them apart visually from the more common typeface varieties NPS Rawlinson OT Oldstyle - Bold Italic NPSRawlinsonOTOld - bold italic found on typical offi ce comput- NPS Rawlinson OT Oldstyle - Heavy NPSRawlinsonOTTwoOld - bold ers. This distinctiveness, when NPS Rawlinson OT Oldstyle - Heavy Italic NPSRawlinsonOTTwoOld - bold italic applied across the many forms of media used by the NPS, contrib- NPS Rawlinson OT Condensed - Book NPSRawlinsonOTCn uted subtly but effectively to the NPS Rawlinson OT Condensed - Book Italic NPSRawlinsonOTCn - italic team’s overall goal to “establish NPS Rawlinson OT Condensed - Medium NPSRawlinsonOTTwoCn a unique organizational identity NPS Rawlinson OT Condensed - Medium Italic NPSRawlinsonOTTwoCn - italic that could be expressed through NPS Rawlinson OT Condensed - Bold NPSRawlinsonOTCn - bold the full range of communication NPS Rawlinson OT Condensed - Bold Italic NPSRawlinsonOTCn - bold italic materials used by the National NPS Rawlinson OT Condensed - Heavy NPSRawlinsonOTTwoCn - bold Park Service.” NPS Rawlinson OT Condensed - Heavy Italic NPSRawlinsonOTTwoCn - bold italic onMEDIA March / April 2006 National Park Service 4 Sharing Frutiger and NPS Rawlinson

NPS users can download Adobe Frutiger and NPS Rawlinson from the NPS Graphic Identity Program website at www.graph- ics.nps.gov. These font fi les are furnished in ZIP compressed format, and complete download and installations instructions are available on the website.

This website is only available to computers on the National er Pro, and Macromedia Freehand only and the Glyphs palette provides access to Park Service network—contrac- tors, vendors, and most partners recognize four variants of any one font the full range of extended characters (see cannot access it. You may share (regular, italic, bold, and bold italic). This fi gure 4 below). these font fi les on disk or via is a limitation imposed by the Windows email attachment, but only in XP operating system (and by Windows The Benefi ts of OpenType accordance with the licensing requirements described below. 98 and Windows 2000 before it). Adobe How benefi cial will OpenType be to the Frutiger, however, has nine variants, while average Park Service user? Many users NPS Rawlinson. You may furnish copies of NPS Rawlinson to each version of NPS Rawlinson has six may not need enhanced foreign language anyone who is using this type- variants. So, for instance, if you want to support or access to special characters face for NPS-related business. format a headline in NPS Rawlinson used in enhanced typographic applica- Contractors, vendors, partners, Heavy, you won’t fi nd this font name in tions. Nor will OpenType make every and others are not authorized to use NPS Rawlinson for non-NPS your Microsoft Word formatting toolbar NPS user an expert typesetter. Never- work. or character dialog box. Instead, you’ll theless, OpenType does off er cross-plat- have to select NPSRawlinsonTwo and form fonts, plus access to many new Adobe Frutiger. Frutiger is licensed only to NPS employees then format it in Bold (see fi gure 3 on the typographic features now and in the working on NPS computers. You previous page). The good news is that the future. As Microsoft and other software may not copy or share Adobe OpenType font you select will appear and companies build support for OpenType Frutiger with contractors, ven- dors, partners, or others unless print just fi ne. into their next generation of products, all they already own a license for Park Service users should benefi t. this font (for example, they OpenType aware applications like Adobe have a MacOS version but not a InDesign CS, on the other hand, bypass To download the new OpenType fonts, go Windows-PC version, or a Post- Script Type 1 version but not an the limitations of the Windows operat- to the NPS Graphic Identity Program web- OpenType version). ing system and expose the full power of site at www.graphics.nps.gov. OpenType, off ering rich linguistic support, Following standard industry practice, if a contractor, vendor, advanced typographic control, and full Figure 4. Simple font selection menus in the or partner do not own a valid cross-platform compatibility. Selecting Adobe Creative Suite (CS) product line provide license for Adobe Frutiger, they the correct font is much more intuitive, quick access to multiple OpenType variants. must purchase their own copy. This is also true with fi les you furnish to GPO for commercial printing. To ensure compliance with this licensing require- ment, make sure you list the Adobe Frutiger fonts you are using when you draw up your GPO contract paperwork, and always add a line reminding the competing vendors of their legal responsibility to have a valid license should they win the contract award. onMEDIA March / April 2006 National Park Service 5 The NPS Uniform Collection Call for Career Collections Preserving powerful symbols of tradition and pride

Thanks to sentimentalists or “packrats,” Harpers Ferry Center has been collecting photographs, documents, books, uniforms, accoutrements, and other NPS memorabilia for over 35 years. Former Director George Hartzog established the National Park Service History Collection at HFC in 1971 for the purpose of preserving the history and culture of the NPS. Hartzog’s goal Items appropriate for inclusion in the National Park Service was to some day open a museum of National Park Service his- History Collection are still tory in Washington, D.C. sought. They need to fi t within the scope of the collection but uniforms, accoutrements, The history collection documents the Photograph Collection and several NPS memorabilia, photographs, etc. associated with an individual’s evolutionary history and material culture archival collections (see “A Window into NPS career are of interest. Such of the National Park Service, forming the Our Past,” July/August 2005 HFC onMe- a “career collection” illustrates most complete record of NPS history dia, page 7). and documents an individual’s available. The ranger uniform, its insignia, career, which may include the visual evolution of the uniform’s and accessories are one of the history col- The uniform collection, which dates back style during that time. The goal lections’ many components critical to the to the agency’s establishment in 1916, is to collect enough uniforms complete understanding and portrayal spans the entire 20th century. Maintained and associated material—from of the NPS and its role in the history of by HFC Museum Curator Sylvia Frye, it both men and women—to pro- vide a strong cross section of the the United States. Other key components is the largest and most complete uniform various duties found within the of the collection are the NPS Historic collection in the National Park Service, National Park Service. These “ca- reer collections” will be the fo- cus of exhibits and celebrations for the 90th Anniversary (2006) and 100th Anniversary (2016) of the National Park Service.

Donations will be permanently incorporated in the National Park Service History Collection housed at Harpers Ferry Center. All items will be considered museum property and preserved as such. These collections will be used to honor and celebrate the NPS employee and the roll they have played in the development of the National Park Service. Please contact Sylvia Frye (phone: 304-535-6263; email: [email protected]).

Above: National Park Service Law Enforcement/Search and Rescue Career Collection. (Photo by David T. Gilbert)

Harpers Ferry Center curated this temporary National Park Service uniform exhibit at the National Conservation Training Center (NCTC) in Shepherdstown, West Virginia. The exhibit was on display from 2001–2004. (Photo by Sylvia Frye) onMEDIA March / April 2006 National Park Service 6 and perhaps the only collection of its kind in the U.S. Government. Items in the col- lection include uniforms of all shapes and sizes, arrowhead patches, “Eagle” badges, Stetson hats, and various other uniform accoutrements. Frye still takes donations to the collection, fi lling in omissions and gaps to the long history of NPS uniforms.

Career Collections Frye is also working on “career collec- tions” which focus on a series of uniforms a single employee would have worn through his or her NPS career. With the assistance of Rob Danno, Chief Ranger at C&O Canal National Historical Park, Frye has developed the fi rst career col- lection to focus on Law Enforcement and Search & Rescue. Danno’s donated uniforms span 24 years of NPS service, and include Class A and Class B items, a SET Team Uniform, 2002 Olympic Ski Pa- trol Team Uniform, Tactical/Camoufl age Uniform, Riot Gear, Bike Patrol Uniform, Desert Camo Guilly Suit, Snow Patrol Uniform, Swiftwater Rescue Suit, Wild- land Fire Uniform, and SAR Flightsuit. comprises a collection of sample types (in this case NPS uniforms) that can be Another career collection has been ac- used as a reference tool from which deci- quired from Betty Knight, former Curator sions or identifi cations about additional of the Alaska Region, which covers her 30- collection items can be made. year career through the 1960s, 1970s, and 1980s. This collection is unique because What Do Uniforms Teach Us? it demonstrates three decades of dramatic What exactly can a uniform teach us? style changes. New uniforms are also be- The most common lesson is the evolu- ing added to the collection. Through the tion of style. By concentrating on details eff orts of Ken Mabery and Ramie Lynch, like style features, brand names, fabric

former and current National Uniform types, dye lots, and stitching techniques, Top: Exhibit case in the National Program Managers, HFC receives all one can learn about item quality, dura- Park Service Director’s offi ce. “First Issue” uniform items before being bility, functionality, and popularity of a The park ranger is future Presi- dent Gerald Ford, who served as released to the fi eld. particular style or manufacturer. Certain a seasonal ranger at Yellowstone features can also verify a uniform’s age, National Park in the summer of The depth and breadth of the uniform such as the manufacturer’s tag, or the 1936. collection now provides us with a unique shape and depth of the scallops on a shirt Above: Permanent and tempo- opportunity to create a “type collection” pocket or collar. The evolution of the ar- rary park rangers wore a fl at, of items that can be used by anyone inter- rowhead patch also helps date a uniform, nickle-plated, one-piece badge ested in researching the history and de- revealing subtle changes in color, stitch- of German silver. velopment of the NPS. A “type collection” ing, detailing, and size over time.

onMEDIA March / April 2006 National Park Service 7 Museum Curator Sylvia Frye proudly displays one of the earliest uniforms in the NPS collection, which dates to 1915. (Photo by David T. Gilbert)

The uniforms also refl ect societal change, the most visible symbols of the NPS to- especially during the 1960s and 1970s. day. The evolution of NPS identity is well This is particularly true for women, documented in the evolution of uniform where fashion dictated uniform style designs and styles. over function. After World War II, for instance, women wore adaptations of the Pride in the Park Service Women’s Auxiliary Army Corps (WAAC) Butch Farabee, former Assistant Superin- uniform until the early 1960s. This was tendent of Glacier National Park, wrote followed in succession by the Airline in 2001: “Recognized and respected Stewardess Pattern, the “stylish and chic” the world over, the gold badge, uniform, tan, and the green polyester uniform of and arrowhead make us special. They the 1970s. Clearly, style took precedence are ours and unite us all: interpretation, over functionality or practicality for fi eld protection, and resource management. work. With the exception of the short- They bind us in our diversity, courage, lived “urban” uniform, the men’s uniform and commitment to quality and garner was not signifi cantly aff ected by society’s respect from the public and our profes- infl uence. sional peers.”

Many more subtle lessons also lay hidden Today, the National Park Service uniform within the uniform collection. Frequent collection serves as a potent reminder of style changes, for instance, also represent the hard work, dedication, commitment, the eff orts the National Park Service has and loyalty of thousands who endured undergone in its search for an identity endless hardships to develop the Nation- and to establish itself as an agency. The al Park Service that we know today. Most uniform, which includes the arrowhead importantly, it is a powerful refl ection of patch, shield badge, and Stetson hat, has pride in ourselves, in our work, in our come to identify the ranger and is one of agency, and in our tradition.

onMEDIA March / April 2006 National Park Service 8