Design ideas for the real world

RESOURCES THAT INSPIRE

50 Type Treasures FROM FONTS TO FORUMS Insights for Icons PUSHING THE RIGHT BUTTONS Spread Good Cheer OPTIMISTIC COLOR

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TLFeBOOK CONTENTS

DYNAMIC GRAPHICS DECEMBER/JANUARY 2005 - VOLUME 9 NUMBER 6

FEATURES

34 50 Type Treasures by Allan Haley A type expert offers his insight into fonts, books, blogs, and more from the world of letter lore.

40 Insights for Icons by Sheree Clark Managing these workhorses of the visual arts is more effective with a structured approach.

46 In-House Inspiration by Michelle Taute For in-house creatives, it’s all about making connections and looking beyond the office walls. 50 My Favorite Things Top designers share their personal picks: graphic resources that inspire, delight, and enable.

This themed package by And 56 Envelope Envy by Alyson Kuhn Partners NY is designed to incite A look at the three “ens” of envelopes: “Envelope Envy” (page 56). enclosing, ensuring, and enticing

COLUMNS & DEPARTMENTS

16 Design Dynamics by Sheree Clark Approach competitions carefully to get the most from your efforts—Part 1 of 2. 20 Color Management—Part 5 by Michael Jahn Prove your printer to accurately predict the color you’ll see on press. 28 Real-World Solutions New recreation guide sends a clear message. 30 Make It Your Own Promotions that keep on giving 32 Color on Call Optimistic: cheerful, hopeful, assured, confident, sunny 68 Software Specific Not-so-extreme makeovers

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DYNAMIC GRAPHICS DECEMBER/JANUARY 2005 - VOLUME 9 NUMBER 6

REGULARS 8 From the Editor 14 Letters 24 Reader Insights

64 Classifieds/Connections 70 Workspace Savvy The latest must-haves for desktop and library 72 Cover to Cover/Coming Up

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 for their success or failure in any real-world business application.

E/A 05V9N6 2005 DEC/JAN 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. December/January 2005, Vol. 9, No. 6. Canadian GST Account No. 125145193. Canada Post Permit No. 2493675. Design ideas for the real world

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, Ill., and additional mailing offices. Visit www.dynamicgraphics.com/dgm and click Subscriber Services, or e-mail directly at [email protected]. RESOURCES THAT INSPIRE © 2004 Dynamic Graphics, Inc. All rights reserved. Contents of this magazine may not be reproduced in any manner without written consent from the publisher. 34 50 Type Treasures Mention of any product does not constitute endorsement by Dynamic Graphics FROM FONTS TO FORUMS magazine. Dynamic Graphics magazine assumes no responsibility for return of 40 Insights for Icons unsolicited manuscripts, photos, art, or cartoons, and reserves the right to reject PUSHING THE RIGHT BUTTONS any editorial or advertising materials. Unsolicited materials should be accompanied 32 Spread Good Cheer by a self-addressed, stamped envelope. Dynamic Graphics magazine is a regis- OPTIMISTIC COLOR tered trademark of Dynamic Graphics, Inc.

Production Notes: This issue was produced using InDesign 2.0 on PowerMac G4s. Text imported from DEC/JAN 2005 $7.95 US $8.40 CAN Microsoft Word and set in Clarendon BT, Gotham, and Adobe Garamond. Unless 06> otherwise noted, all Pantone color references that appear in the magazine are taken from the . All visuals placed in posi- dynamicgraphics.com/dgm 0274470 90182 Pantone solid to process guide coated tion and separated electronically. Output direct to plate at 150 lpi at RR Donnelly & Sons Co. All rights reserved.

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

6 DynamicGraphicsDynamicGraphics TLFeBOOK the perfect font is out there

find it on Fonts.com

When the formation above appeared in the plains of England, the locals were hardly surprised. Reports of font circles date back to the Druids, who are said to be exceptional landscapers and typographers. Skeptics quickly labeled the formation a hoax. Still, others were captivated by the beauty and clarity of the letterforms. Was this the work of a higher life-form? Had a greater civilization left behind a typeface so advanced its superior legibility would improve communication between people of all races and religions, ultimately resulting in world harmony? Unfortunately, no. Turns out a group of rowdy design students pulled the prank using plywood, rope and several weights of ITC Avant Garde Gothic.® Today, authorities use Fonts.com to identify suspicious typographic formations. So next time you’re searching for the right font or need to identify one you've stumbled across, don’t run around in circles. Turn to Fonts.com and find your type.

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Agfa Monotype • 1.800.424.8973TLFeBOOK • www.fonts.com All trademarks are the property of their respective owners. FROM THE EDITOR

Most of us are as tired of hearing about information overload as we are of suffering from it. Is there any wonder in the fact that we sit through an avalanche of sensory stimuli every day and yet can recall virtually none of it? But creative people never really tire of learning about the antidotes to the info glut, because it’s both their vocation and their passion to craft the images, messages, and impressions that stand out from the mundane. This issue—which explores design resources—represents our attempt to assist readers in that effort. Design resources take many forms, of course. There are the ser- vices we never imagined that enable us to find just the right font, the perfect paper, the image that leaves a lasting impression. Then there are sources of pure inspiration, the ones that get transformed in the creative mind in a magical way, and in turn spark audiences’ imaginations. This issue presents resources of both kinds. On page 34, type authority Allan Haley shares “50 Type Treasures.” In “My Favorite Things,” page 50, top designers offer their personal picks for services, sites, and states of mind that activate their cre- ativity. And you’ll discover that Alyson Kuhn not only folds her own envelopes, but collects the best and writes about them with felicity; learn how to incite “Envelope Envy” on page 56. Several common threads run through the resources presented here, underlying facets that make the work of their contributors noteworthy. There is attention to detail, as well as that over-maligned and elusive trait, taste. Most of all there is the willingness to personalize the font, the image, the inspiration—to somehow internal- ize it and make it one’s own. Because in an era of prepackaged solutions and corporate blanding, it’s the touch of a human hand that leaves a lasting impression.

Tom Biederbeck, editor

8 DynamicGraphics TLFeBOOK TLFeBOOK TLFeBOOK Design can be dated, art direction is timeless.

Dynamic Graphics Training helps you gain confidence and improve your skills in areas such as creative design, graphics management, and print production.

Here’s just one of many Dynamic Graphics Training courses available: The Art of Art Directing $695 Redesign, reposition, and launch! No, it’s not a shuttle command from NASA’s Space Center in Houston, but rather it’s what Greg Paul, a veteran magazine designer with over 300 national and international awards, can do for the creative talent of anyone who is an Art Director!

In the course titled, “The Art of Art Direction,” Paul uses his high-level expertise to help you renew your own conceptual thinking and refresh your creative inspiration. He tackles the issues that are not taught anywhere else—from how to get non-visual bosses to approve your work, to building your team’s dynamics, to being creative under a looming deadline. You’ll also find out how to compel your audience to read your message, get ideas approved using ten proven strategies, improve the art and editorial relationships in your department by forming a creative alliance, guide designers to the best choice of images and typography, and much more.

Classes take place in Washington DC, San Francisco, San Diego, Atlanta, Chicago, and Boston. For more class offerings, information, and dates, visit our Web site or call our customer service represen- tatives at the number below.

Register before December 31, 2004 and pay only $595. LEARN AND EARN DYNAMIC GRAPHICS TRAINING www.dynamicgraphics.com/training 888.698.8545 CIRCLE 6 ON CONNECTIONS CARD TLFeBOOK Computer to Plate Technology

TLFeBOOK Business Cards Postcards Single Sheet 2”x3.5” 4/0 or 4/1 4”x6” 4/0 or 4/1 8.5”x11” 4/0 14 Pt. C2S UV Coated 14 Pt. C2S UV Coated 100 lb. Gloss Book 1,000 $59 1,000 $129 2,000 $89 2,000 $189 1,000 $ 5,000 $199 5,000 $379 199 10,000 $275 10,000 $629 2,500 $ 2”x3.5” 4/4 5”x7” 4/0 or 4/1 249 14 Pt. C2S UV Coated 14 Pt. C2S UV Coated 1,000 $89 1,000 $239 5,000 $ 2,000 $119 2,000 $349 299 5,000 $209 5,000 $479 $ 10,000 $289 10,000 $779 10,000 599 Brochures 4 Page Catalog Letterhead 8.5”x11” 4/0 8.5”x11” 4/4 11”x17” Folded to 8.5”x11” 24 lb. Classic Crest 100 lb. Gloss Book 4/4 100 lb. Gloss Book 1,000 $299 2,000 $399 1,000 $ 1,000 $ 5,000 $649 379 599 10,000 $849 2,000 $ 2,000 $ #10 Envelopes 399 699 9.5”x4.125” 4/0 24 lb. Classic Crest 5,000 $ 5,000 $ 1,000 $299 499 799 2,000 $399 $ $ 5,000 $699 10,000 899 10,000 1299 10,000 $1149 Posters Presentation 13”x19” 4/0 100 lb. Gloss Book 1,000 $ Folders 329 9”x12” With 2/4” Glued Pockets 2,000 $499 4/0 12 Pt. C2S Cover With AQ 5,000 $599 $ 10,000 $999 1,000 1199 24”x36” 4/0 100 lb. Gloss Book + AQ 2,000 $ 1,000 $1099 1599 2,000 $1399 5,000 $2599 5,000 $1999 $ 10,000 $2799 10,000 3999

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If you receive a bill after you’ve paid, our letters prob- Editor Tom Biederbeck ably crossed in the mail. Please disregard any bill or renewal Art Director Kathie Alexander notice you receive soon after mailing your payment or order. Assistant Editor Marcy Slane (If you continue to receive notices, let us know.) Production Artist Jesse Hoerr Editorial Contributors Sheree Clark, Allan Haley, If your issue is damaged or missing, call 888.698.8542. Cassie Hart, Michael Jahn, We’ll replace the issue or extend your subscription, whichever Alyson Kuhn, StudioAlex you prefer. Dynamic Graphics is published six times a year. Photography, Michelle Taute Cover Consultant Celli Hott To know when your subscription ex pires, check the Editorial Director Emily Potts printed address label on the magazine cover. The date your Creative Director Michael Ulrich subscription expires is on the right of the mailing label. Director of Publications Ted Lane Please allow six to eight weeks after renewing for the label to refl ect the new expiration date. Associate Publisher Rania Abbassi Advertising Sales publication ID# code Director, Training & Events Laura Des Enfants expiration Senior Manager, Publications & Marketing Operations P.J. Bayler Circulation Manager Mary Schmidt Single Copy Sales Manager Alicia Butler Publisher/CEO David Moffl y

Toll-Free Customer Service 888.698.8542 M–F, 9 a.m. to 5 p.m. (EST) Advertising contact Rania Abbassi, 212.260.2777, ext. 28, Outside the U.S., call 856.380.4121. [email protected]

E-mail Customer Service at [email protected], To carry DG in your store, contact Alicia Butler or visit www.dynamicgraphics.com/dgm at 309.687.0244 or [email protected]. and click Subscriber Services. For reprints, contact Heather Osborne at PARS International at 212.221.9595, ext. 333, Customer Service Mailing Address: or [email protected]. Dynamic Graphics magazine For list rental inquiries, contact Kerry Fischette P.O. Box 9006 at MKTG Services at 215.968.5020, ext. 163, Maple Shade, NJ 08052-9006 or kfi [email protected]. For editorial comments/questions, contact Marcy Slane at 309.687.0271 or [email protected].

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].

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TLFeBOOK LETTERS Creative Feedback

I just received my latest issue of DG today and We’re lost in translation was pleasantly surprised to see my letter pub- I was reading the article “Shelf Space,” by Michelle lished about the Makeovers Contest [October/ Taute, on page 46 of your August/September 2004 November 2004, V9N5]. However, when I go [V9N4] issue. The only language that translates to the web address listed to download a form, terra and vida as earth and life is Portuguese. the old issue information shows up. Do you know Since Portuguese is the spoken language in when the form will be available? I am excited to get Brazil, a country that produces about one-quarter of it fi lled out and returned to you all. the world’s coffee supply, a Portuguese name would Melissa Albertson make a lot more sense for a coffee brand, but this

Jefferson City, Mo. 05> point was completely missed in the article. 0274470 90182 Besides this, I love your magazine and after I’m Forms for entering our 2005 Makeovers Contest are done with your last release I can’t wait until I receive now available at www.dynamicgraphics.com/dgm. To each her own your new issue. You can’t be serious Aldo Granzo about mentioning White Plains, N.Y. Pantone’s new web- site on Colorstrology You are correct: We misidentifi ed Terra Vida as Latin. [October/November Don’t keep 2004, V9N5]. It is Thanks for the language lesson, Aldo. laughable to think that any intelligent reader Get a job us guessing: would believe in that I am an avid reader of Dynamic Graphics magazine nonsense. I thought and have been for many years. My son graduated Share your thoughts. Dynamic Graphics was from the National College of Design & Technology dedicated to educat- here in New Zealand in April. Despite his best Your opinions about Dynamic Graphics ing its readers, giving efforts, he cannot secure a position (there doesn’t magazine are very important to us, so we’re them something tangi- seem to be a lot available). He gets told he doesn’t ble and real. Pantone offering you the opportunity to share your have enough experience! is obviously looking views online. To take this brief survey, go to Do you have any ideas that my son could imple- to make the big kill- ff www.dynamicgraphics.com/dgm and look ing with consumers ment to secure a job? I am sure there is a di erent for the 8-ball icon. Click on it and you’ll go at large and this is a way he could approach the employment market that directly to the survey form. hackneyed, overused has a “wow” factor, but I’m not sure what. Once you’ve taken the survey you may way of getting there. Faye Partridge register for a drawing of a book that’s reviewed It really is incredible to Blenheim, Marlborough in this issue, Typography Workbook, from me that they would go New Zealand Rockport Publishers (see page 71). in this direction. Are It takes just a minute or two to complete you brave enough to Being just out of school, your son lacks professional the survey. It’s more reliable than ESP. You get print this? experience, so he’ll need to work a bit on his resumé to sound off, and you might win a great book. Marianne Martinez and portfolio. There is an article in our February/ Oakland, Calif. March 2004 issue (V9N1), on page 50, called Q: Should you take “Resumés: When the Brand Is You” that may help. the survey? Also, in our last issue (V9N5) Sheree Clark wrote about building up your portfolio in “Design Dynamics” A: SIGNS POINT (Part 2 of “Making the Jump from In-House to TO YES. Agency,” page 18). Your son could get involved with a nonprofi t or local enterprise on a pro bono basis to build up the weak points in his portfolio. There are books referenced in that article that may also be useful. Finally, we suggest Starting Your Career as a Freelance Illustrator or Graphic Designer, by Michael Fleishman, $19.95, Allworth Press, www.allworth. com. Whether or not your son wants to do freelance work, this book may be a good resource for him to learn to sell himself.

14 DynamicGraphics TLFeBOOK CIRCLE 9 ON CONNECTIONS CARD TLFeBOOK DESIGN DYNAMICS | Sheree Clark Ask the Experts

Dare to Win (the Smart Way) Approach competitions carefully to get the most from your efforts—Part 1 of 2.

What’s the truth about design Recommended • Credibility of the competition and its sponsor. Have awards? Will winning help resources you ever heard of it? Is it held in high regard by your advance my career? How do I Designers’ Self Pro- colleagues and clients? Q know which ones to enter? motion: How De- signers and Design • How winners are announced. A competition that Companies Attract publishes or circulates its results to a wide audience Attention to Them- selves, by Roger will be more attractive to you than one that does Your questions are ones all designers have, and not Walton, $35, HBI, not. Likewise, the makeup of the potential audience just at the beginning of their careers. There is no www.amazon.com will be important to you. all-purpose answer to the question, “Do I enter or don’t I?” But there are plenty of good reasons to The Creative Business • Judging procedure. Does the system sound fair? If submit work to competitions. By having your work Guide to Running a a panel of judges is announced in advance, do you published in awards annuals and trade reference Graphic Design Busi- respect the individuals on the panel? books, you establish credibility for your fi rm at the ness, by Cameron S. Foote, $29.95, W.W. same time you’re promoting yourself. By developing • Cost of entering. If there is an entry fee, will win- Norton & Company, an organized and strategic approach to submitting www.amazon.com ning justify what you spent to be considered? your work, you increase your chances for success. There are all sorts of competitions for design, The Graphic Design- Learning of opportunities. Chances are good that illustration, and photography on the international, er’s and Illustrator’s if you belong to a professional organization, sub- national, regional, and local levels. Some are for spe- Guide to Marketing scribe to design publications, and are active in your cial interests (annual reports, editorial design) while and Promotion, by discipline, you are aware of many competitions. others are for specific disciplines (book design, typog- Maria Piscopo, $19.95, Still, you may be missing some opportunities. Trade raphy). Some are sponsored by magazines and pub- Allworth Press, www. magazines will give you a quick and relatively thor- lishers, others by trade associations, and still others allworth.com. See ough idea of national/international competitions. by private organizations. There are competitions that review, page 71. In addition, there are many at local and regional are relatively easy to get work into and others with levels. Although most do not result in a widely cir- Coming up: stringent guidelines and thus tougher odds. In Part 2, I’ll describe culated annual or special edition of a magazine, they Most competitions occur on a regular basis, usu- how to position your may be of value to you in your local market. Contact ally annually. The best-regarded ones publish some work to increase your professional organizations such as your AIGA chapter sort of annual or awards book to document winning chances of winning. to find information on nearby awards programs. entries. The annual or book makes these competi- Following is a partial list of national organiza- tions valuable as self-promotion vehicles. Clients, Sheree Clark (sheree tions that sponsor design competitions. Visit their prospects, and others view annuals as documented @saylesdesign.com) websites or request a call for entries to learn more. proof that your firm—and you—possess expertise in is managing partner your field and are recognized by your peers. of Sayles Graphic • American Institute of Graphic Arts (www.aiga.org) Design in Des Moines, • University & College Designers Association Iowa; an author and Deciding which competitions to enter. The most (www.ucda.com) ffi speaker on organiza- e cient and productive method for entering com- tional and business • The Type Directors Club (www.tdc.org) petitions of any kind is to fi rst become familiar with issues; and owner of • The American Advertising Federation each competition and, if applicable, the organization Art/Smart Consulting, (www.aaf.org) sponsoring it. While there will be many opportuni- which provides self- • The Art Directors Club (www.adcglobal.org) ties for you to put your work forth for evaluation, it promotion and busi- • The Outdoor Advertising Association of America is up to you to decide which competitions are wor- ness strategies to (www.oaaa.org) thy of your attention and, in many cases, the entry creative professionals. • The One Club (www.oneclub.com) fee you’ll pay. Here are some criteria you might want • Society for Environmental Graphic Design to consider for evaluating competitions: (www.segd.org) g

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TLFeBOOK COLOR MANAGEMENT | Michael Jahn 6 Steps to Better Color

6 Steps to Better Color—Part 5 Prove your printer to accurately predict the color you’ll see on press.

In the previous articles in this series, we have Canned vs. custom adjustments, but they do it automatically and with- gone through the processes of setting up your ICC profi les out the trial and error. If you have a well-calibrated system, applications, and monitor to display A signifi cant differ- monitor and high-quality profi les, your prints color and neutral gray correctly. Now comes the ence exists between should match your monitor image with little effort canned and custom part that deals with your system printer. on your part. This is the approach I will focus on. profi les: Custom pro- As designers, we need color to be stable and fi les are more accu- consistent at every step, but when we show our work, rate. Here’s why. Many What are ICC profi les? we most often show it as a printout or some type of devices like printers As described in previous articles, the International hard copy proof. If color isn’t managed at this stage ship with a canned Color Consortium is a group of companies that and the job goes to print on a press, a color mis- profi le that, while joined forces to create, promote, and encourage the match can result in headaches and high costs. This is it may be reason- standardization and evolution of an open, vendor- when it really matters if your printout was wrong and ably accurate for the neutral, cross-platform color management system. on-press color isn’t what you expected; conversely, if model of printer you Since its 1993 inception, the ICC has grown from the press color is right and your proof misled the cli- have, doesn’t refl ect 8 to more than 50 companies like Apple, Microsoft, the specifi c behavior ent. Either way, it’s no time for surprises! Adobe, Agfa, Heidelberg, Kodak, DuPont, and Fuji. of the printer that’s As we’ve seen, color management is a set of actually on your desk The ICC has developed standard profi les—or device tools and techniques intended to maintain reason- (the same goes for characterizations—that contain information about ably consistent and predictable color appearance monitors and scan- the color reproduction capabilities of devices such in images captured or displayed on devices with ners). While canned as scanners, digital cameras, monitors, and printers. different color responses (or gamuts). With properly profi les are better The ICC website (www.color.org) provides implemented color management you can achieve than nothing, for information about the group’s current efforts, along optimum monitor/print matching and make prints accuracy’s sake you with current profile specifications. with nonstandard inks and papers. Although it takes should build your own There are two types of ICC profiles: canned some effort to learn, it’s not difficult to do once profi le using a system and custom (see description in center column). you’ve mastered it. such as a colorimeter Regardless of which type you’re using, you’ll need or spectrophotometer Two popular methods of adjusting your system two profiles—one for source and one for output—for that can measure the printer to produce managed, predictable color are: output of your per- a color-matching session. These profiles allow for the 1. Printer driver adjustments (using onboard color sonal printer. These vital cross-platform communication of color informa- controls). Using this method seems simple but can devices require an tion. With ICC profiles, machines of various manu- be somewhat cumbersome in practice. It involves investment but could facture, function, and origin can speak the same manually adjusting the controls in the printer driver save thousands of dol- color language. shipped with your output device and installed on lars on proofs. Visit Printer profiles are created by printing and then your computer. There is a lot of trial and error and www.color.org for a measuring a test pattern of colored patches. The ink and paper waste before you get where you need list of vendors who resulting measurements are fed into profile creation to be. With the passage of time, changes in media, sell these systems, or software that turns them into a profile suitable for check for service pro- and replacement of ink cartridges, this process will use as an ICC output profile for your printer. Once viders in your area. have to be repeated. you’ve captured how your printer behaves and have 2. ICC profi les. These characterize the behavior of recorded this as an ICC profile, your color manage- printer/ink/paper combinations and may come with ment system will convert the images or pages into your printer installer. ICC profi les, which I’ve dis- the right condition so they print accurately. cussed in previous articles in this series, are a key Working closely with your service provider feature of color management. Essentially, ICC pro- remains the best way to establish a reliable color fi l e s p e r f o r m the same functions as manual printer management system. Even when you have accom-

20 DynamicGraphics TLFeBOOK Men are From Mars, Women are From Venus… Images are From JUPITER!

A division of

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The largest collection of wholly-owned digital images in the universe

ComstockImages.com • Photos.com • ThinkstockImages.com • ThinkstockFootage.com • Clipart.com • Animations.com

Photo:www.comstock.com Image # FL100989. All images © 2004 Comstock Images, a division of JupiterImagesTLFeBOOK Corporation. CIRCLE 21 ON CONNECTIONS CARD plished a good match between your monitor and Michael Jahn (mike 2. Monitor. It’s essential to have an accurate monitor printer, keep in mind that this is only part of the [email protected]) is a profi le; you can use one supplied by your monitor’s workflow solution. To establish predictability on writer, speaker, and manufacturer, or you can create one using a colori- press, you’ll also need either an output profile sup- consultant for digi- meter or spectrophotometer. plied by your service provider or a canned profile tal workfl ow system 3. System printer/proofer. In most cases, a profi le vendors in the pub- that you’ve tested to simulate how the file will print. for a color printer can be obtained from the manu- lishing and prepress You can obtain canned profiles from many industry. His exper- facturer (check the website) or can be built using a manufacturers of scanners, digital cameras, and tise is in PDF, PDF spectrophotometer and profi ling software. printers, and from plenty of service providers. processing, prefl ight- 4. Final output. Big money is spent going to press Apple has pooled an extensive library of profiles ing, and color man- and an accurate profi le is absolutely critical. Work for free distribution at the ColorSync website: agement. He works with your service provider to determine the exact www.colorsync.com. for PC Mall in busi- requirements for your project. In summary, there are four places where pro- ness development. fi l e s are needed: Coming next issue: Perfect your PDFs 1. Source. This profi le represents the gamut of the In Part 6 of “6 Steps to Better Color,” I will describe image fi le. It can be embedded in the image or cho- how to make sure your color intent is embedded sen in the application, or it can be a standardized inside the PDF that you provide to your service pro- color space such as sRGB. vider for fi nal output. g

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22 DynamicGraphics TLFeBOOK WE CAN HELP.

Dynamic Graphics 2005 Makeovers Contest Let us take your idea the rest of the way in our eighth annual Design Makeovers contest. Simple as stop and go: You send us the project, our judges select the fi nalists, DG designers work their magic. Results are published in our June/July 2005 Makeovers special issue. Go: Download entry form and requirements at www.dynamicgraphics.com/dgm.

Deadline: February 1, 2005 TLFeBOOK READER INSIGHTS Sharing Collective Wisdom

What is your most embarrassing Q design moment?

In our last issue, we asked DG readers to share problem” ... but by this time, with 24 hours of no their wisdom. Here are the best responses. sleep, I was really tired. As I sat down at my workstation, the clients A really hot number formed a circle behind me, commenting while I My most embarassing design moment? Easy. I used made the changes. About 30 minutes into it I fell Fontographer to create a specialty font for a client’s asleep suddenly: My head went forward, hitting the continuing education magazine and used my “bril- monitor. My hand went to the right with the mouse, liant” new font throughout the piece. and everything fell off my desk. The publication gave a phone number and a The clients just gasped in amazement. My website to sign up for online courses. Unfortunately, coworkers all began laughing hysterically. My boss Let’s do it again! at the time I wasn’t as proficient in font design as I It’s only fair to ask came by and told me to go home and get some rest, thought, and the numerals I created weren’t as legible DG readers that they while the clients gave me some strange looks. as they could have been. This hit home when some share a little more … Paxton Commissiong-Payne of the recipients of the magazine called the company and give themselves Trinidad, West Indies I was working for, complaining that they had called the chance to win the the number given and got responses such as, “Hi, I’m very cool and hard-to- The perfect analogy Shelly, but I’m much more than a number.” fi nd book The Art of Being a web designer doesn’t necessarily mean hav- I’m quite sure this wasn’t the kind of education the Letter by Doyald ing overwhelming common sense, at least not for the customers were looking for. Since that time I’ve Young, published by this designer. On one particular project, I was going Smart Papers. This gotten better in font design; my number three now back and forth with an account exec on a button the limited-edition volume looks much more like a three than a nine! is packed with insights clients had requested to have added to their homep- Raymond Duprey into the creative pro- age. The site’s design was simple and elegant, and Old Orchard Beach, Maine cess and chronicles this navigation element already existed in the main Young’s classic work navigation. I spent a great deal of time formulating A really wrong number for General Electric my analogy to justify leaving the design uncluttered My embarrassing design moment came when I was and other major cli- by this additional piece of “signage.” Armed with designing a simple phone directory ad for one of our ents. Here’s how to what I believed to be a strong line of reasoning, I company’s branch offices. I copied what I thought share your design approached the account exec. The conversation that was the phone number and address from the previ- insights and be followed went something like this: ous listing, only to be told by the company president rewarded with cool Me—“I believe the design should be left intact. stuff: Each issue we that I had used the contact information from our This button exists elsewhere, so there’s really no need pose a new question biggest competitor, listed directly above us! relating to the art and for the additional navigation.” Bethany A. Ames business of design, AE—“I know, but the clients insist on adding Lansing, Mich. and invite you to this button. They don’t believe users access that sec- respond. We choose tion often enough.” Sleep deprivation the best responses Me (grand analogy time)—“Just tell the clients I worked for a fl exography company years ago, and and publish them that saying there is a need for this button is like say- we had some foreign clients coming in to have us here, and the reader ing that it’s useful to have several roads leading to the redesign their labels from scratch. The night before who provides the top same destination.” the clients arrived I worked on a freelance job until response will receive Need I say more? I immediately added the Young’s book (and a 5 a.m. I was at the office at 7:30 a.m. to prepare for button and stuck my head under my desk to “plug surprise or two, too!). my company’s clients, so I did not sleep at all. See next issue’s ques- something in.” When the clients arrived I made my presenta- tion on page 26. Mel Hogan tion. They wanted to see some changes; I said “no Kansas City, Mo.

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TLFeBOOK Go to liquidlibrary.com/dgm or call 800.255.8800 Ya gotta live with it it, the more unbalanced it was and the less The moral of this story? Be sure you My most embarrassing design moment was I liked it. I’d drawn three evergreen trees in like the first design you offer your client. with one of my very fi rst clients, a transi- silhouette. While I’m sure they had no idea, If they fall in love with it, you’ll be seeing tional house for mental health clients pre- they were clearly spruce trees, not pine trees it a lot. paring to live on their own. Before I came [as they should have been]. They were con- Chris Laning along, they had been using letterhead that tained inside a circle that, in retrospect, was Davis, Calif. was literally created with scissors, paste, definitely too lightweight to work with the and a typewriter. The straggly pine tree art dark silhouettes. Some kind of welcome they used was awkward, faded, and spotty But my clients had never before seen I once used the words “Pubic Welcome” from several generations of photocopying. anything that was professionally designed, instead of “Public Welcome” for an exhibit I offered to design them something. and I think the fact that it was clean, bal- at our museum! Ugh! The words were in a They fell in love with the first design anced, and designed especially for them really pretty script and no one noticed the l I showed them. But the more I looked at bowled them over. was missing in the proofs. However, once the signs were on the floor, one of our salespeople noticed and promptly announced the error to everyone she could get to laugh with her. The news spread like lightning and I couldn’t get Anatomy of a Template the signs off the floor fast enough. I think there still may be a few people out there who kept some of the posters as souvenirs! Headlines and Royalty-free license. Use Tracy Cooper advertising Fully customizable layout layouts and artwork as file in QuarkXPressTM, Pendleton, Ore. copy content many times as you like Adobe® InDesign®, PageMaker®, Illustrator® Gone with the wind and Microsoft® Publisher My most embarrassing moment occurred right before an important meeting with potential clients. Upon leaving the studio I placed my design partner’s portfolio on the roof of my car as I fumbled for my keys. Arriving at the meeting, I realized my partner’s portfolio was missing. It then occurred to me that I had driven off and sent my partner’s original artwork fl ying among rush hour traffic on the freeway. Not only did I show up to the meeting empty-handed, I also had to inform my partner that her work was gone for good. Karmen Marasovich Calabasas, Calif. Logo design artwork in Press ready files, suitable vector format for offset printing or digital color copying High resolution Exceptional stock photos and Next Question: design quality original artwork CIRCLE The year’s end brings holidays, StockLayouts high-end graphic design templates, Templates starting at $39 deadlines ... and loads

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Contact us for a free catalog or to learn more. TLFeBOOK REAL-WORLD SOLUTIONS Design Makeovers from the Pros

La Palma Recreation and Community Services New guide sends a clear message.

When Liz Parker of Parker 1. Original 1 Graphics took over the job For DG art director of laying out the activity guide Kathie Alexander, the for the city of La Palma, Calif., current cover doesn’t represent the term several years ago, the powers that community as well be wanted her to continue with the same overall as photographs of design. “Although I had made some improvements, the kinds of courses the basic look was the same,” Parker says. “With the offered by La Palma approach of another calendar year, we now want to could. Her other con- give it a whole new look.” cerns: “The original There are two basic design challenges in the cur- course listings are rent course catalog: incorporating a separate “City disorganized, and City News” section into the publication while maintaining News is being treated a cohesive look, and formatting the courses in an like a completely separate newsletter,” easy-to-read and consistent manner. “As one target she says. “It even has audience is really adults, we want to strive for a more its own masthead with sophisticated look,” Parker explains. “We’d also like contact information.” to use La Palma’s photographs of the classes instead of the line art we’ve been using, and I’d like to see a 2. New typefaces bit more white space.” “Arial is not only clean DG art director Kathie Alexander agrees with and readable, it’s Parker on the design issues the La Palma catalog a large font family, needs to address. “City News is treated too much like which provides plenty of design choices,” a separate newsletter—it even has its own masthead,” 2 notes Alexander. She first updated the catalog cover explains Alexander. The BlackJack font to include images that represent each season’s activi- lends a creative touch ties, as well as the contact information that was origi- to smaller sections. nally included in City News. She also devised a new color palette for the entire catalog, using eye-catching 3. Colors shades that can be changed according to the season, This palette is an along with photographs of that season’s activities. entire year’s worth of Alexander’s next step was to reorganize the colors for La Palma’s course listings. “A lot of room is taken up by detailed catalog. The hues are class information, such as dates and times.” Her rede- bright, upbeat, and sign includes simple headings (Sports, Arts, Online very youthful, which is what a community Classes, etc.), and grids for each course listing (Youth 3 C0 C20 activity guide should M60 M50 Sports, Adult Sports, etc.). This way, readers can see reach for. Y100 Y0 at a glance what activities are offered for their age K0 K30 group, and at what times. Alexander’s color-coded grid system further eases the process. g C55 C0 M0 M80 Y25 Y100 K0 K0

28 DynamicGraphics TLFeBOOK 4. Cohesive look Alexander moved La Palma’s contact 4 information from City News to the catalog cover. Now City News doesn’t look so much like a separate piece.

5. Redesigned cover “This represents La Palma’s mission— events, programs, health, and wellness,” Alexander says. “It’s also more obvious that this is a course cata- log. The images can be alternated each issue according to the season.” Images, clockwise from top left: BananaStock 22149622; Creatas 22133987; Creatas 22291154; IT Stock 5 Free 22201041; all from www.picture quest.com

6. Course listings Main headings (Arts, Sports, etc.) are divided into sections, each with its own grid. Here Alexander created a spread on Youth Sports.

7. Imagery The new format 6 allows La Palma to use photography or illustration in an organized fashion. Image 015_0300EC, www.liquidlibrary.com

8. Schedules Grids organize course information in one place per section and include color coding. In this example, Pee 8 Wee classes are in darker orange and 7 Youth classes are in light orange, so read- ers can quickly fi nd the classes they want.

TLFeBOOK DEC/JAN 2005 29 MAKE IT YOUR OWN Thrifty Spinoffs that Inspire

“Regifting” Corporate promotions that keep on giving

Their take. We’ve all been faced with Other twists. Going the predicament of deciding what to with the motif of a give away that clients will actually want. stationery set, we like Why not send something that recipients can the idea of a cigar bestow on others, or as many call it, “regift”? box similar to the one for everyone and every occasion. The unstated mes- Sending promotions that can be given away as gifts used for 100 Maverick sage is that both senders and recipients are smart, will not only please your clients, it will also spread Postcards, but fi lled bright, curious, entertaining, sparky, intelligent, your message exponentially. with cards and enve- interesting, creative, and imaginative people.” 100 Take Alan Fletcher’s 100 Maverick Postcards set, lopes. They can be Maverick Postcards: Pictures, Images & Thoughts for published by Phaidon Press this year. Not only does blank cards with your Each Conceivable Occasion, $19.95, Phaidon Press, the set promote Fletcher’s two books, Beware Wet own designs, or you www.phaidon.com Paint and The Art of Looking Sideways, but recipients, can include themes. whether they got the postcards for free or bought Go the extra mile by Our spins. You don’t need a big budget to promote them from Phaidon, help circulate Fletcher’s work. throwing in stickers, yourself in your “regift”-giving. DG art director “Perhaps 100 Maverick Postcards can also solve the stamps, or pens or Kathie Alexander came up with some inexpensive recurring dilemma of what to send for birthday, pencils tied together gift ideas that your clients will want to share with Christmas, Easter, anniversary, graduation, congratu- with a ribbon. others—you won’t go broke sending these presents lations, ‘love you,’ and ‘thanks for asking me to din- to everyone on your list! ner’ presents,” explains Fletcher. More Alan Fletcher Everyone needs gift labels at some point, espe- The idea to make the boxed set came simply, Internationally recog- cially during the holiday season. Make sheets of 12 and the cards have proven quite versatile. “I thought nized for his standing labels, leaving the last label for your logo and contact the imagery reproduced as postcards would appeal to in the design commu- information. Do this with any theme—people will the same audience as those who enjoyed the books,” nity, Alan Fletcher not only appreciate them, they’ll save them to use. Fletcher says. “For example, the drawing of a waving has authored several And each time they give a gift, they’ll fondly remem- hand could deliver a message of either ‘Hello, here books, including the ber who sent the labels. I am,’ or ‘Goodbye, get lost.’ The glass of wine—an two discussed in this Another creative idea is to remake candy bar invitation for drinks, a subtle reference to a recent column. Beware Wet labels in your own inventive style, wrap the labels intimate encounter, or a salute to someone’s health, Paint, $29.95, and around a standard rectangle bar, and send them off luck, achievement, or success. And once you’ve sent The Art of Looking to your clients. Or if your budget’s pretty tight, just all 100 cards, you have a small wooden box to keep Sideways, $39.95, send the labels, and recipients can still use them as personal treasures.” both published by gifts—they’ll just need to cough up the dough for Fletcher further explains his design and the Phaidon Press, were the candy itself. These candy bar designs show your purpose of the postcard set: “The sleeve enclosing the inspiration be- creative side, and are easy to “regift.” They’re an the box of cards emulates the design for the cover hind his 100 Maverick inexpensive token of your appreciation and a way to of The Art of Looking Sideways. It’s looking for the Postcards set. www. show you’re thinking of someone. Your clients may same audience. The message states that the cards are phaidon.com even decide not to share the wealth. g

30 DynamicGraphics TLFeBOOK 1

1. Make labels that not only show off your design capabilities, but recipients can also “regift.” Buying a pattern or border with elements to use in your design makes a simple task out of label-making. Find a piece of art with a number of compo- nents to save yourself both time and money. In this example for a catering business, DG art director Kathie Alexander had over 30 examples of candies to choose from in one image. Image 063C0903PM, www.liquidlibrary.com

2. Make your own 2 candy bar labels to give away to clients. They can “regift” them to employees, clients, friends, or family. Who wouldn’t love getting a candy bar with a creative edge? Make your design more believable by using the free fonts (KittKat, Snickers, and Mr. Goodbaur) available at www.sharkshock.com. Follow the lead of your favorite candy bar, and get creative with your message.

TLFeBOOK DEC/JAN 2005 31 COLOR ON CALL Trouble-Free Palettes

Optimistic: cheerful; hopeful; assured; confi dent; sunny

Diane Bigda could have a patent on optimistic illustrations. She has por- trayed botanicals and gardening, travel, fashion and modern culture, food, and health issues in her upbeat, sophisticated style. When it comes to her illustration process, Bigda fi nds it necessary to have stimulating surroundings, and passionately believes that your environment is expressed in the work you do. Illumination for Bigda comes from a daily morning ritual of tea and an observational walk through her garden. “I rely on inspiration and imagi- nation to come up with concepts for editorial or book projects,” she explains. “I try to let things come upon me and not force anything. The environment you work in should stimulate and evoke good energy to nurture the creative spirit.” Eat, drink, and Bigda’s clients include The New Yorker, be merry Condé Nast Traveler, Gourmet Magazine, House This fun, carefree holiday bash illustra- & Garden, Chronicle Books, Houghton Mifflin, tion gives off a buoy- Crate & Barrel, and Crabtree & Evelyn. She stud- ant vibe. The bright ied illustration at the Art Institute of Boston, the colors and attention Massachusetts College of Art, and the Rhode Island to detail are inspir- School of Design. Her illustrations have won awards ing. Diane Bigda, in Print and American Illustration, and she has also www.lillarogers.com been featured in the “Made in Massachusetts” show at the Norman Rockwell Museum. Fancy-free Illustrations by Bigda are usually done by hand photography and often refl ect her joie de vivre. She works pri- Children, animals, and people laughing marily in gouache (opaque watercolors) and mixed exhibit a sense of media. “This method supports the projects I tend to hope for the future. illustrate—hip with a contemporary feel,” she notes. Image 22357620, “Upbeat and optimistic are the moods I strive for in Photodisc, www. my work. It is my attempt to offset the political tur- picturequest.com moil, negativity, and general malaise of today.” g

PANTONE PANTONE PANTONE PANTONE PANTONE 485 715 203 3105 284 C0 C0 C0 C43 C55 M95 M36 M34 M0 M19 Y100 Y71 Y3 Y12 Y0 K0 K0 K0 K0 K0

32 DynamicGraphics TLFeBOOK Fonts Typefaces can make a big difference in adding cheer and confi dence to your design. DG art direc- tor Kathie Alexander recommends these R192 G36 B39 R215 G135 B99 fun fonts for a sunny HEX C02427 HEX D78763 theme: Coker Two (energy), Irezumi Italic (laughter), Foxhop (hope), and Especial Kay (youth). All can be found free at www.fontface.com.

Symbols Optimistic symbols R228 G182 B96 R233 G191 B204 for birthdays, parties, HEX E4B660 HEX E9BFCC family gatherings, and holidays further enhance your mes- sage. Image 22319150, Photodisc, www. picturequest.com

Images Try including col- R230 G192 B46 R145 G174 B219 orful fl owers, blue HEX E6C02E HEX 91AEDB skies, and party imagery (hats, bal- loons, and streamers) to embellish your sunny design. Image 22366571, Stockbyte, www.picturequest.com

Perk up R183 G87 B120 R174 G211 B224 Your designs often HEX B75778 HEX AED3E0 refl ect your mood—try surrounding your- self with things that bring on happiness and confi dence. Image 22162099, Brand X Pictures, www.picturequest.com

R134 G190 B61 R182 G117 B31 HEX 86BE3D HEX B6751F

PANTONE PANTONE PANTONE PANTONE PANTONE 368 471 7416 7433 7409 C57 C0 C0 C0 C0 M0 M59 M60 M75 M30 Y100 Y100 Y60 Y15 Y95 K0 K18 K0 K15 K0

TLFeBOOK DEC/JAN 2005 33 A type expert offers his insight into fonts, books, blogs, and more from the world of letter lore.

By Allan Haley

Seeking information about the Interrobang? Looking to Interrobang buy fonts online? Deeply need to share with someone Do you really want about your favorite typeface? Longing for a typographic to know!? The Inter- support group? Or do you just want to meet a bunch of robang is a relatively new and seldom-used fellow type geeks? punctuation mark. The typographic community has it all. There is It’s a combination of an endless array of typographic resources available to a question mark and graphic communicators interested in type, fonts, and exclamation point used typography. In addition to the hundreds—maybe thou- in sentences like the sands—of online font stores, there are internet discus- above. I don’t know of sion groups, books about type and typography, clubs a digital font that has dedicated to the typographic arts, and at least two an- an Interrobang; the nual conferences jam-packed with technical, historical, typeface Americana and cutting-edge typographic content. had one in metal and phototype but lost it in What follows is just a sampling of what’s available the transition to digital. to typophiles, typographic aficionados, and type hypers For more information, … as well as the typographically challenged. see my article at www. fonthaus.com/xheight/ Allan Haley (allan.haley@agfamonotype. interrobang.cfm. com) is director of Words & Letters for the International Typeface Corporation.

34 DynamicGraphics TLFeBOOK Online font stores:

1. FontHaus 8. www.fonthaus.com Monotype One of the fi rst online suppliers to have amassed www.monotype a very large selection of fonts, FontHaus also has fonts.com A brand new site a good collection of royalty-free images. that is now the best source for Monotype fonts—and the only site to have the entire 2. Font Bureau Monotype library. www.fontbureau.com Also provides exten- Only site to have the complete Font Bureau library. sive information on Along with its excellent collection of fonts, this site’s Monotype typefaces clean design and effective user interface make it a and designers. pleasure to visit.

9. P22 3. Emigre www.p22.com www.emigre.com Typefaces inspired by art, history, and Best source for Emigre fonts. The home of Mrs. sometimes science. P22 Durer Eaves and many other popular typefaces. Home of the popular Cézanne typeface and notable for its interna- tional offerings (check 4. Phil’s Fonts out the International www.philsfonts.com House of Fonts, Font One of the largest font sales sites. Phil’s Fonts carries Pavilion, and more). P22 Sniplash type from many foundries.

10. 5. MyFonts.com Fonts.com www.myfonts.com www.fonts.com MyFonts carries fonts from hundreds of foundries, Carries fonts from many foundries and and its What The Font system is probably the best has a wealth of type- font identifi cation tool available. related content. The type trading card series is fun, informa- tive, and worth a look. 6. Nick’s Fonts www.nicksfonts.com Excellent selection of period and retro fonts—and they’re priced right.

7. Veer www.veer.com/products/type A growing selection of exclusive and nonexclusive designs, as well as a source for royalty-free images. New typefaces are offered regularly.

TLFeBOOK DEC/JAN 2005 35 11. 13. Adobe Type Hoefl er & Frere- store.adobe.com/type/main.html Jones Typography Best source for Adobe fonts—but only Adobe fonts. www.typography.com Hoefl er & Frere-Jones If this is where you want to shop, be sure to book- Relatively small—but is one of the hottest mark the page; it’s a little difficult to fi nd otherwise. very sophisticated— New York shops for library of fonts. new typeface designs.

14. Linotype Library www.linotype.com Best source for Linotype fonts—and the only site to have the entire Linotype library. This recently rede- signed site is easy to navigate, with new designs and revivals of old favorites being released regularly.

15. T.26 www.t26.com Wide selection of “not-so-traditional” fonts. Inter- esting site design with a useful typesetting function.

Whitney from Hoefl er & Frere-Jones 16. FontShop www.fontshop.com Another of the largest font sales sites, FontShop car- 12. ries fonts from major foundries and hot designers. House Industries www.house 17. ITC (International industries.com Typeface Corporation) Great collection of www.itcfonts.com retro and theme fonts, plus its own line of Best source for ITC fonts—and the only site to have clothing and deco- the complete 1500+ ITC library. Another outstand- rative items. Check ing site for information and educational content. out the font sets: A superb collection of Ed Benguiat’s designs is the newest. Typographic annuals:

18. Type Directors Club Annuals www.tdc.org What’s hot and new according to the Type Directors Club; published annually. Free with membership or $59.95 at www.harpercollins.com. Benguiat Collection: new from House Industries

36 DynamicGraphics TLFeBOOK Type specimen books:

19. Adobe Type Library Reference 26. Guide, OpenType Edition FontBook store.adobe.com/store/products/master.jhtml?id=cat www.fontshop.com Unfortunately, the ATLBook, $25 current edition is sold out, but it’s worth waiting for the new edition, due in early 20. ITC 1500 2005. To be notifi ed Available from International Typeface Corporation when it’s available, [email protected], no charge phone 888.333.6687. It’s simply the best single hardcopy resource. $99 21. Monotype Library Available from Agfa Monotype [email protected], no charge

22. Font Bureau Type Specimens, 27. Third Edition House Industries www.fontbureau.com/publications/index.tpl?ca Font Catalog www.houseind.com/ rt=10960412052928713&books=Publications- house.php?page= SpecimenBook03, $20 request, prices vary from free to $69 for the book at left 23. Phil’s Font Catalog www.philsfonts.com/catalogrequest.html, no charge

24. Underware Unusual type specimen books from this Netherlands-based foundry are at www. underware.nl; prices vary.

28. 25. Veer Visual Elements Catalog The Emigre www.veer.com/ideas/catalogs, no charge Type Catalog (updated monthly) www.emigre.com/ EmigreCatalog.php, $2 U.S. orders/$4 non-U.S.

TLFeBOOK DEC/JAN 2005 37 Type conferences:

29. ATypi 30. Yearly conference. Held in the fall, usually in TypeCon Europe. Next year’s will be in Finland. Decidedly Annual North American conference; European fl avor. Learn more at www.atypi.org and held in early summer. www.typesociety.org. Next year’s will be in New York. Friendly and chock-full of typographic content. www.tdc.org and www.typesociety.org

Books on typeface design: Font forums:

31. 35. Speak Up Logo, Font & www.underconsideration.com/speakup Lettering Bible, by Leslie Cabarga. The title says it all. If you are designing type 36. Yahoo Type Sites or making letters, dir.yahoo.com/Arts/Design_Arts/Graphic_Design/ this is a must-have. Typography. Links to almost every type-related site. How Design Books, www.howdesign.com/ store, $32.99 37. Typophile Forums www.typophile.com/cgibin/discus.pl

32. Fonts & Logos, by Doyald Young. 38. FontZone Beautiful and well-written. A must for every type www.fontzone.com lover’s library, whether you design type or not. There’s a small subscription fee, but this is an excel- Delphi Press, www.delphipress.com, $75 lent typographic content resource.

33. Logotypes & Letterforms, by 39. Design Observer Doyald Young. Handsome companion to Doyald’s www.designobserver.com other book. Gotta have this one too! Delphi Press, www.delphipress.com, $65

34. Designing Typefaces, by David Earls. Excellent book on typeface design. RotoVision, www.rotovision.com, $40

38 DynamicGraphics TLFeBOOK Books on typography:

40. The Elements of Typographic Style, 43. The Complete Manual of by Robert Bringhurst, is a typographic grammar of Typography, by James Felici, looks and reads like a good taste. This combination of simple guidelines history text, but is an excellent book on typographic and short essays can be found on every typogra- style. Adobe Press, www.adobepress.com, $45 pher’s bookshelf. Hartley & Marks Publishers, www.elliotbaybook.com, $39.95 44. Type Rules! , by Ilene Strizver, is highly recommended. It’s essentially a course 41. Type & Typography, by Phil Baines in “gourmet typography.” North Light Books, and Andrew Haslam, discusses the history and www.howdesign.com/store, $32.99 philosophy of typographic communication. Lots of illustrations (although sometimes they get in the way of the guidelines). Watson-Guptill Publications, www.watsonguptill.com, $29.95 45. About Face: Reviving the Rules , by The Complete Typographer: A of Typography 42. David Jury, is about Manual for Designing with Type, by Christopher fonts, language, Perfect and Jeremy Austen, contains 175 pages of typesetting systems, typeface specimens and background information; and typography—it’s 24 pages on working with type. Prentice Hall, not a style manual, www.amazon.com, $75 however. RotoVision, www.rotovision.com, $40 hardcover/$30 softcover

Organizations:

46. TDC (Type Directors Club) 49. The Letterheads www.tdc.org www.letterheads.com, www.theletterheads.com A club with dues. Events and services if you live in A delightfully eclectic group that is more about let- the New York area; elsewhere, membership allows a tering than type. Of course they have two official free copy of the TDC Annual. websites! The best lettering support group. 48. AIGA (American Institute of Graphic Arts) 47. SoTA (Society of Typographic www.aiga.org 50. ATypI (Association Afi cionados) Has a typographic Typographique Internationale) www.typesociety.org “community of www.atypi.org Not really a “club,” but organizes the yearly interest” at www. A club with dues, but mostly about the yearly TypeCon conference. aiga.org/content. ATypI conference. cfm?ContentID=613

TLFeBOOK DEC/JAN 2005 39 Managing these workhorses of the visual arts is more effective for with a structured approach.

by Sheree Clark

1 At fi rst glance, logos and icons appear to be kissing cousins. In the graphic arts world, both terms are used to describe marks that have meaning or convey a particular message. But while a logo is generally thought of as an emblem representing an organiza- tion, an icon is really a pictograph—a symbol rep- resenting a single word or idea. Logos stand alone, but icons are like birds of a feather—more likely to travel in fl ocks. Each member of the icon group performs a particular function, usually identifying a particular thing. Often more ephemeral than logos, icons are developed to address a communications need in an environment of immediacy. Icons identify, clarify, describe, warn. They are the workhorses of the visual communication world.

1. Access-ible These icons were design.com) worked developed for a with a representa- ticket sales promo- tive central image in tion piece for Access each icon, adding very Air, a regional airline simple linear accom- seeking to empha- panying background size adventure and elements. These two travel. Jason McArtor components come of McArtor Design together to give the (www.mcartor icons their style.

40 DynamicGraphics TLFeBOOK 2. Like/Unlike 2 Tracey Holdeman of Insight Design Communications (Wichita, Kan.) designed this set of icons for the Hayes Company, a manu- facturer of lawn, garden, and home accessories. The proj- ect started out as a set of product cat- egory icons, but as it developed, the Hayes Company essentially decided to structure its organization to match the icons. Now the company has a product manager for each product line: Large versions of the icons hang from the ceiling above each product manager’s work area. Although the icons vary con- siderably from one to the next, the set is held together by a consistent use of “neo-retro” style and the fact that colors are consistent in value and hue. This icon set pushes the edges of disassociation but still holds together as a group. Insight Design Communications, 316.262.0085

TLFeBOOK DEC/JAN 2005 41 3 When designing a series of icons, you’ll want to ask:

• What is the intended use for the icon series? Are the marks expected to relay actual information or are they primarily decorative elements?

• Where and how will the icons be used? Will they be reproduced in color?

• Will the icons appear in more than one medium? At what size will they be reproduced?

3. Party pack • Do the symbols need to communicate in a uni- These three “cel- versal language, i.e., across multicultural lines? Will ebration” icons words ever appear in conjunction with the icon art- designed by Tracy work to support or help explain the meaning? Holdeman for the Excel Corporation are held together almost • What is the expected lifespan of the series? Are the exclusively by stylized marks for a short-lived event, or will they be in use for a long time? Will the series need to grow in the 4 confetti. Developed for use in promoting future? Will any symbols be phased out over time? employee events, the set underscores the • Do the icons need to work in conjunction with an notion that just one existing visual system? Will they play a supporting visual element can role in the clients’ brand or can they be developed be the glue providing independently of existing graphic standards? commonality to an icon group. • Are there already icons in use—either in the pub- lic domain or by similar organizations—that should 4. Corporate group Six more Excel icons— be reviewed and considered to avoid confusion or to also designed by capitalize on an existing visual language? Holdeman and used on a broader basis in • How big does the series need to be? Will the series the company—have a be subgrouped or tiered, with some icons being corporate feel and a “major” and others less so? 5 consistent visual style. Once you have a grasp of the function of the icons 5. Intranet set and the setting in which they’ll perform their duties, Burkey Belser cre- ated these icons to you are in a position to answer the most important replace standard Mac question of all: How similar or dissimilar should the icons on his fi rm’s marks appear from one to the next? They can look intranet. References: nearly identical, or they can push the envelope of (top row, left to association and still be an effective group. A variety right) accounting and of factors can be called upon or considered to make administration, traf- the icons have an appropriate level of “family resem- fi c and production, blance.” These include: print design; (middle row) copywriting, vital Shape. A distinct silhouette can do wonders in the information, market- creation of a workable icon series. The form can be ing; (bottom row) account management, as simple as a circle or as involved as anything you web design, print- can dream up. The same profi le can be employed ing. High-contrast throughout the entire series, or the shape can be colors stand out, altered by icon relevance or some other grouping even at a small scale. rationale. In instances where icons will be repro- Greenfi eld/Belser, duced in a very small size, the silhouette may even www.gbltd.com become the icon itself.

42 DynamicGraphics TLFeBOOK HOW SIMILAR OR DISSIMILAR SHOULD THE MARKS [ICONS] APPEAR FROM ONE TO THE NEXT? THEY CAN

LOOK NEARLY IDENTICAL, OR THEY CAN PUSH THE ENVELOPE OF

ASSOCIATION AND STILL BE AN EFFECTIVE GROUP.

6

6. Not standard This icon set was devel- oped for a clothing store in Kansas City called Standard, which offers surf-, skate-, and ski- inspired clothing with a youth orientation. The visual personality that designers Brian Miller and Luke Bott of Gardner Design (www.gardner design.com) created for Standard incorpo- rates a tone they call

“corporate irony”— taking a “standard” element and throwing it back with a non- standard spin. The store’s logo is based on Helvetica Bold—a standard font if ever there was one—but the design team put a custom grunge twist on it to create an original presentation. The approach trickles down through all of the store’s icons.

TLFeBOOK DEC/JAN 2005 43 7. Aria icons 7 Created by Rodney Davidson of DogStar Design and Illustra- tion (www.dogstar design.com), these icons promote a small opera company called Local Vocal. All four icons in the set have the same layout, but each features its own character. The fi rst was inspired by Brünnhilde, daugh- Color. The use of color can be an ally in design, but 8 ter of Wotan from it is a good idea to develop your icon series in black Wagner’s Ring Cycle. and white fi rst to ensure a good, workable design The second depicts that isn’t dependent on color to get the point across. the character Canio Conversely, it is also possible for color to play from the tragic opera a critical role in an icons series’ performance. For Pagliacci. The third example, a distinctive shape used in different colors icon represents all the working mothers in to mean different things can provide an effective way the opera company. to communicate with icons. The fi nal icon is based on Nanki Poo from Style. Because icons are often tiny illustrations, each The Mikado, an oper- mark will of course be infl uenced by the designer etta set in Japan. developing the series. Certain styles lend themselves easily to icon design. Although there are exceptions, 8. Tourism set most often “less is best” and a simple approach Davidson developed speaks most clearly and directly. Often this is this set of six icons because the icons will be very small in eventual use. 9 for Alabama Tourism’s print promotions. Each image is silhou- Content. Some icons are humorous, either due to etted on a black disk the manner in which they are executed or because to create positive of the subject matter depicted. Other icons have and negative space. content that may appear “harsh” in order to convey Consistent line move- danger or peril. Obviously it is important for both ment and the use of style and content to be appropriate to the message a dominant visual are and the audience. other unifying factors.

Future use. When the fi rst icons in a series are 9. Inside art being designed it’s not always possible to know how Clients of DogStar Design get a dose extensive the series will eventually be. It makes sense of fun with these cor- to design with an eye to the future and to plan for respondence icons. how additions will be treated or how modifi cations Rodney Davidson to existing marks might make expansion possible. g created them with a canine character as Sheree Clark ([email protected]) is the dominant visual managing partner of Sayles Graphic Design element. The icon in Des Moines, Iowa; an author and speaker called “Tidbits” is on organizational and business issues; and used for pro-bono the owner of Art/Smart Consulting, which pro- project correspon- vides self-promotion and business strategies dence. A caricature to creative professionals. of Davidson’s fi rst pet, a Chihuahua named Tidbit, it has become a mascot at DogStar.

44 DynamicGraphics TLFeBOOK 10

10. Africons 11 John Sayles of Sayles Graphic Design Recommended Resources developed the icons above as elements for interior design of Selected Texts http://design.iconfactory.com) Timbuktuu Coffee How to Design Logos, Symbols • www.iconarchive.com (each Bar in Des Moines, & Icons, by Gregory Thomas, icon set has its own terms and Iowa. The images $24.99, North Light Books, conditions) were used to create www.howdesign.com/store one-of-a-kind coun- Selected Tools for Editing and tertops, tables, 3D LogoLounge: 2000 International Creating Icons wall art, stationery, Identities by Leading For Windows: and packaging. They Designers, by Bill Gardner and • IconForge from CursorArts, reinforce the coffee Cathy Fishel, $50, Rockport $37.95, www.cursorarts.com bar’s African-inspired Publishers, www.rockpub.com • IconWorkshop from Axialis, environment. $34.95 (personal)/$59.95 (cor- Dictionary of Symbols: An porate), www.axialis.com 11. Athleticons Illustrated Guide to Traditional • Articons from Aha-Soft, The icons at left were Images, Icons, and Emblems, Standard $19.95/Pro $39.95, created by John by Jack Tresidder, $24.95, www.aha-soft.com Sayles to represent Chronicle Books, www.chronicle • Microangelo Complete! the various lines of books.com from Impact Soft, $79.95, athletic equipment www.eclipsit.com manufactured by 1000 Signs, by Colors, $29.99, American Athletic, Inc. Taschen, www.taschen.com For Mac: Each icon is circular Iconographer from Mscape in shape and features Visible Signs, by David Crow, Software, shareware/$15, the same stylized $39.95, Ava Publishing, www.mscape.com character engaged www.sterpub.com Icon Machine from Uncommon in various activities. Place, shareware/$25, Letters are incorpo- Icons Available: Websites www.uncommonplace.com rated in the art to • www.iconbazaar.com (RM/Fee further clarify associa- for commercial use) For Mac & Windows: tions. www.sayles • www.iconfactory.com (free- Icon Builder (Photoshop plug- design.com ware, RF stock at www.stock in) from Icon Factory, $69, icons.com, custom icons via www.iconfactory.com

TLFeBOOK DEC/JAN 2005 45 by Michelle Taute

For in-house creatives, it’s all about making con- nections and looking beyond the office walls.

Whether it’s convincing your boss to invest in stock photography or pushing your own creative bound- aries, there’s an extra set of challenges that comes along with many in-house design jobs. A lot of small companies can’t—or simply don’t—provide the same creative resources that come standard at agen- cies or larger in-house design groups. Read on to fi n d o u t h o w you can build your own creative tool set—one that helps you jump over everyday hurdles and push your design work to the next level.

Staying in the loop Tim Hale, senior vice president of design services at Fossil (www.fossil.com), says one of the biggest chal- lenges for in-house designers is staying connected with the larger design community. “It’s really easy to get used to what will be approved,” Hale explains. “Your level of creativity gets stunted. You don’t chal- lenge yourself anymore.” He believes being engaged with the design world helps creatives bring a sense of energy and freshness to their work. “The main thing is to stay engaged in the trade,” he says, and recommends reading industry journals, joining a local chapter of AIGA or other visual communications club, and trying to convince your company to send you to at least one design con- ference a year. It’s also essential, Hale believes, to develop a close relationship with two or three other local designers. Interacting with professionals you respect can make you see your work in a new way and enable you to discover better design solutions. If you’d like to push the quality or direction of your design work, Hale suggests linking the changes to return on investment. “The best way to convince someone to go in another direction is to build a busi- ness case for going in that direction,” he says. “You’ve got to get away from the idea of just saying ‘I think this looks better.’”

46 DynamicGraphics TLFeBOOK 1

1. This blow-in card, 2. Fossil designer designed by David David Eden found 2 Kirkwood, was saddle inspiration for these stitched or perfect watch tins on the bound into consumer album covers for retro magazines. Fossil de- stereo sound demon- signers have access to strations. The covers a reading room where featured bold geomet- they can keep up with ric designs that illus- the latest industry and trated the properties design-forward publi- of sound. cations. “I almost see designers as cultural 3. This block calen- agents,” says Fossil’s dar designed by Gabe senior vice president Jackson features in- of design services Tim terchangeable num- Hale. “It’s part of the bers and days of the cultural landscape.” week. It’s part of a pattern-driven design campaign for the Fossil brand called 3 Truly Inspired.

TLFeBOOK DEC/JAN 2005 47 Andrea McCorkle 4 4. Pushing your creativity teamed up with Even though she has a supportive manager and ac- another local designer, cess to a lot of creative resources, Andrea McCorkle Tricia Bateman, to cre- makes it a priority to stay in touch with the rest of ate this poster project the design world. Her day job is working as one of for Versus 1.0—a cre- ative challenge hosted two full-time designers in marketing and commu- by the Art Directors nications at Cincinnati Children’s Hospital Medical Club of Cincinnati. Center (www.cincinnatichildrens.org). Participants are ran- Right now McCorkle is tackling a design chal- domly paired with lenge called Versus 2.0 through the Art Directors another designer to Club of Cincinnati (www.adcc.org). The project create a piece under randomly pairs designers to work together on a joint a theme, in this case creation over a six-week period. Participants send the the letter T (inverted pieces back and forth each week, and the final works in the form of photo are displayed at a local gallery. “I just think it’s inter- subjects’ legs). It’s an opportunity for esting to see how the other designer can interpret designers to stretch your design and expand on it,” she says. “It lends ff their creative muscles. itself to a di erent type of creative energy.” The concept is one that’s easy to replicate 5. McCorkle helps no matter where you live. Just choose a fellow defi ne and execute designer—in the same town or across the country— branding guidelines and tackle a poster or some other project together for the Cincinnati under a loose theme. Set up a timeline for sending Children’s Hospital’s the piece back and forth and watch as the project print materials. This unfolds organically. packet was created for patients and their families to prepare them for surgery. Solving practical problems “Look at your current resources and knowledge and focus on what you can do really well,” says Damien Wolf, founder of OrangeSeed Design 5 (www.orangeseed.com), the fi rm behind the new book Bringing Graphic Design In-House from Rockport Publishers (see page 71 for a review). “Then look at who you need to fi ll in the gaps.” Outside help might include anyone from a copy- writer to a photographer. Another practical tactic for filling gaps is taking advantage of free resources. If you work on a lot of print projects, Wolf says it’s best to build a long-term relationship with one printer. They’ll work with you on production and other issues in return for the repeat business. Paper company reps are also good resources, offering paper samples, swatchbooks, and other helpful giveaways. To demonstrate your value within a business, Wolf recommends tracking where you spend your time. A slow computer, for example, might be cost- ing your organization two extra hours for every bro- chure that crosses your desk. This kind of concrete information can help you get what you need in a business environment. g

Michelle Taute ([email protected]) is a freelance writer and editor in Cincinnati who specializes in design topics.

48 DynamicGraphics TLFeBOOK “LOOK AT YOUR CURRENT 7 RESOURCES AND KNOWLEDGE AND FOCUS ON WHAT YOU CAN DO REALLY WELL.”

6. Damien Wolf says 6 in-house creatives need to be proactive about tapping outside resources for projects they can’t handle themselves. His fi rm, OrangeSeed Design (www.orangeseed. com), created these pieces for Gearworks, a company with desktop publishing capabilities but no dedicated designer.

7. This pricing guide offers fl exibility for the client. OrangeSeed did the layout, but 8 Gearworks staff can make pricing changes in Adobe Acrobat.

8. This Word template maintains the etrace identity but allows the client to create a vari- ety of documents.

9

9. Because it includes technically compli- cated features like diecuts and pull tabs, this market- ing piece for etrace was a natural item to be outsourced to OrangeSeed Design. Wolf thinks in-house designers should con- sider teaming up with a small outside fi rm for a communications audit, followed by a few hours of consult- ing every month or so.

TLFeBOOK DEC/JAN 2005 49 my things

Top designers share personal picks: graphic resources that inspire, delight, and enable.

Even before Archimedes leaped from his bathtub and ran naked through the streets of Syracuse shouting “Eureka!,” creative people struggled with the force of inspiration. Where does it come from? What brings it on? How do you get more of it? Most of the time, creative professionals aren’t looking for the kind of inspiration that leads to breakthrough discoveries. They’re usually working on more immediate issues: capturing the interest of audiences, presenting work to potential clients, pro- totyping ideas, promoting themselves. Often the factor that sparks a concept or enables a project is a simple piece of person-to-person advice. With that sharing process in mind, we asked some leading designers to offer a few of the “favorite things” they rely on to make their work stand out.

50 DynamicGraphics TLFeBOOK The Ransom Group: At the grocery, on the web “I’m a guy who likes to shop,” admits Steve Brink, creative director of Ransom Group in Lakeland, Tenn. “I usually only buy a few items, but I’m likely to be in a store for 90 minutes, looking at every package.” Studying products in their sales environ- To develop a cam- ment is a handy habit to have, given that Ransom paign for an industrial client, designer Steve Group’s business is strong in packaging design, Brink (The Ransom point-of-purchase, and brand management. On occasion Brink finds his inspiration even Group) found inspira- Obtaining quality fi les tion close to home at closer to the studio than the neighborhood gro- of corporate logos is BuyCreative, a web- cery: Ransom Group also operates BuyCreative no longer a struggle site operated by his (www.buycreative.com), an e-commerce site that with the Logos & fi rm. The spark was a provides resources, tools, and training to creative pro- Trademarks Collection layered royalty-free fessionals. “Sometimes I can find everything I want ‘04 from Innovative background image, for a project in the way of art, type, and backgrounds Multimedia. With over shown directly below right from our own site,” he says. 15,000 EPS-format (Stratosphere, $15.95, symbols and service from Dosch Graphics). While noting that “inspiration is everywhere and anywhere,” Brink also cautions, “In addition marks for $149.97, It became the unify- it’s one of thousands to being out there and looking hard, you have to ing element for a bro- of design-oriented chure (below, at left), develop an understanding of why some things work resources available at templates for presen- and others don’t. When you really understand why www.buycreative.com. tations and web, and a something catches your eye, then you can apply the capabilities video. concept to your own work.” www.ransomgroup.com

TLFeBOOK DEC/JAN 2005 51 Gouthier Design: Recycle, D.I.Y. Gouthier Design the paper.” Their approach is literally do-it-yourself: Jonathan Gouthier, principal of Gouthier Design applied two favorite “I run my studio from my home. My kitchen is in Ft. Lauderdale, Fla., mines his extensive per- techniques—recycling fairly large, and I have two old oak drafting tables sonal collections to keep the ideas coming. Like and in-studio screen- we silkscreen on. The frames we buy with the screens printing—for this self- many designers, he has a fondness for out-of-print already on them. My interior bathroom has no win- promotion celebrating books on type and printers’ dingbats, adding that 10 years of being in dows, so we can coat the screens with emulsion there he collects fabric swatches and handmade papers business. Not only do and burn them in the shower.” Using environmen- as well. Reusing and recycling more contemporary the screened 1 and tally friendly chemicals keeps the process tidy and materials is another favorite strategy at his fi rm. the fl oppy disk form safe. Projects screenprinted in the studio are generally “At Christmas we used shipping cardboard from a an appropriate 10, limited to prototypes, comps, and self-promotions printer and silkscreened it for cards,” he notes. “And but the presence of because only small quantities are produced. just recently we reused the insides of fl oppy disks as the diskette is itself a If you’re interested in doing your own screen- elements in a mailer.” witty commentary on printing and lack Gouthier’s space and daring, check In-studio screenprinting has been a favorite the pace of techno- out the Gocco screenprinting kit. A starter set is avail- logical change in the technique ever since Gouthier and his employees able for $139 at www.etchworld.com and through communications world. took a class on the subject at the Art Center of South many other online retailers. “It’s very simple and Florida. “We got hooked,” he says. “It’s very tactile easy to use,” Gouthier says. “It will help the novice.” once the ink dries, and it creates an opaqueness in www.gouthier.com

52 DynamicGraphics TLFeBOOK Gardner Design: Of auctions and lounges Exploring eBay for For Brian Miller of Gardner Design, inspiration can period styles and come from anywhere, often unexpectedly. Like most other jogs to the cre- ative imagination is a designers he keeps his own library of type books and technique Brian Miller annuals, and he sometimes looks to styles from years of Gardner Design gone by to spark ideas and suggest directions. endorses. He based A strategy that’s a current favorite with Miller an entire program is searching eBay for styles and graphics to use in for an elaborate fam- projects. “It’s handy because I can pull up images of ily reunion (below) products and use them for inspiration or reference.” on vintage ice cream Miller also recommends www.logolounge.com, and treat packaging operated by Gardner Design, as an almost limitless from the ’50s and ’60s resource for those working on identity projects. Firm found on the popular principal Bill Gardner created the site in 2001 after auction site. Miller also recommends becoming dissatisfied with the timeliness of existing a website operated media for researching logo designs. “By the time I by Gardner Design, found something I liked in a book, it would be two www.logolounge.com, or more years old,” Gardner says. “That means it’s as an ideal resource no longer part of a trend. Logo designs are changing for researching iden- faster than ever, so we created a site where designers tities. A book of the can share their work in real time.” While there is a same title was pub- charge of $100 per year for access, Gardner points lished by Rockport; out that the growing collection of more than 18,000 the follow-up vol- logos by top designers is far greater than $100 worth ume at right will be released in 2005. of books could hold. “And we have lots of free things for members and a great search engine,” he adds. www.gardnerdesign.com

TLFeBOOK DEC/JAN 2005 53 Cooper Smith: Ex-post-futurism Sally Cooper Smith, creative director at Cooper Smith & Company in Des Moines, Iowa, is among designers with extensive collections of historical books and documents. But the ways in which her collection infl uences her work are not obvious. In fact, she makes a point of distancing herself from the practice of reproducing period styles. “I’m not interested in mimicking,” she empha- sizes. “I’m interested in why people did things like that way back then. So I collect material that speaks not just to a style but how that culture was com- municating.” Her goal is to incorporate the ideas she discovers in ways that often appear completely mod- ern and free of a retro feeling. Work that her firm does for smaller Midwestern banks illustrates how she employs historical refer- ences. “I have lots of materials from banks in the ’20s and ’30s, examples of how those banks com- The Convention and A 1941 volume of municated their integrity to farmers during a time Visitors Bureau of Des printing technologies when there was a lot of mistrust of financial institu- Moines, Iowa, commis- yielded an answer to tions. The historical material helps you tap into a sioned Cooper Smith the budget dilemma. kind of collective unconscious. It’s a mind game; it & Company to create Pages that separate frees you up to explore a subject creatively.” That in a travel guide, but sections in the old the client lacked the book have simple, turn helps her communicate with modern audiences budget for conven- low-cost diecuts that that still place a high value on integrity in a bank. tional tabs to separate the reader folds back www.coopersmithco.com sections of the guide. to form tabs (detail at Designer Sally Cooper right). Applied to the Smith found a cost- Des Moines visitors’ effective solution in guide, the technique her large collection of appears fully up-to- vintage books. date (below).

54 DynamicGraphics TLFeBOOK “EVER SINCE I LEFT MINNESOTA FOR COLLEGE AND BEYOND, MY MOTHER WOULD SEND ME A SMALL STASH OF FALL MAPLE LEAVES WRAPPED IN WAX PAPER. THEY BECAME A LOADED

SYMBOL OF MY YOUTH AND MY ROOTS.”

Ingalls Design: Forces of nature Whether as a setting for contemplation or a source of colors, textures, and materials, nature is the ulti- mate storehouse for designers seeking inspiration. Tom Ingalls, principal of Ingalls Design, relates the following case in point: “Ever since I left Minnesota for college and beyond, my mother would send me a small stash of fall maple leaves wrapped in wax paper. They became a loaded symbol of my youth and my roots. Settled in northern California for the past 25 years, I still have them about the studio.” His “small stash” of leaves proved valuable when Ingalls was asked by a client to design a collector’s edition of a speech given in 1876 by the English sur- geon Dr. Joseph Lister about the need for antiseptic procedures during surgery. As the text was “seriously medical and not full of romance,” Ingalls explored format, typography, materials, and ultimately color for the core of his design. He turned to the maple leaves for his palette: “The complexity of reds, oranges, yellows, and purples created this intense, rich ensemble that called out to be explored.” To convince the client that layout, colors, and materials would work, Ingalls made a paper dummy and included a schematic chart with actual materials. It sold the client on his design in one pass. Ingalls isn’t letting go of his leaves or his Mid- western roots. “The annual shipments from my mother have ceased,” he notes. “I like to think she lost interest in the seasons, not in me.” www.ingalls design.com g

Nature’s inspiration period of the 1876 guided the selection speech reproduced of colors and textures within. Even the press, for this carefully de- a Chandler & Price tailed, handcrafted platen, and the sewing volume. Designer Tom machine used to stitch Ingalls selected the the books were of the typeface, Cloister, to same era. Photo cour- be appropriate to the tesy of Mark Johan.

TLFeBOOK DEC/JAN 2005 55 1

by Alyson Kuhn A look at the three “ens” of envelopes: enclosing, ensuring, and enticing

An envelope’s primary job is to protect its contents so they arrive in good shape. The envelope also needs to provide for the piece’s return, in case of nondelivery. In turn, the contents—whatever they may be—cannot do their job unless the envelope gets opened. It is increasingly challenging to design mail (even highly targeted promotions) that will capture the recipient’s attention and produce the desired enclosure-opening behavior. On the bright side, the intrinsic appeal of real mail is greater than ever: It’s tactile, and it has con- text simply because it did not come from cyberspace. By investing your envelope choices and designs with the same consideration applied to their contents, you can make opening an envelope a delightful ritual.

Alyson Kuhn ([email protected]) is a freelance writer whose recent projects include Words at Play, a book and website (www.wordsatplay.com) sponsored by Adobe. She has taught envelope-folding workshops at the STEP inside design Stretch conferences. She also represents Dickson’s, a specialty printer in Atlanta.

56 DynamicGraphics TLFeBOOK Good things come in SMALL envelopes.

A little envelope can add a lot, and it is a fairly inex- pensive way to create a positive impression. These diminutive enclosures convey attention to detail as well as respect for contents and recipients. Rather than putting a loose business card or swatch inside a letter, brochure, or package—or attaching it with a paperclip—consider adding a small envelope. 2

1. Gift (tag) with purchase More Than A Pretty Vase, a “purveyor of fi ne fl ora” in Auburn, Calif., invested in letterpress-printed stationery, including an enclosure card with a super- smooth 100-percent cotton envelope (2⅝ x 3⁹⁄₁₆ inches). The designer put the phone number on the envelope fl ap in tiny print, below the shop’s name— a great bit of very soft marketing. Tip: This tiny envelope is too small to run through a litho press.

Design: M. Leonardini Design, 916.645.1747 Printer: Full Circle Press; Nevada City, Calif.; 530.273.5606 Envelope: Mr. & Mrs. Envelope, from Crane & Company, www.crane.com Client: More Than A Pretty Vase, 530.889.5630

2. Coin envelopes These small, open-end envelopes are a happy holdover from the days when jewelers, particularly watchmakers, used them to fi le customers’ valuables and spare parts. Terrifi c for enclosing a business card, color chip, swatch, or precious paper sample, they are still readily available in several smaller- than-mailable sizes. The Canadian commodity- paper equivalent of American brown kraft is a warm beige with visible fi bers. Color varies from lot to lot, from palest taupe to wheat toast. These envelopes also come in a great array of larger sizes, available singly and by the box at many Canadian stationers, as well as through printers.

Seek: Samples and sources wherever you go

TLFeBOOK DEC/JAN 2005 57 The MEDIUM is the fl ap.

From the front, all envelopes are basically the same—rectangular. The backside is where they differ in construction. Flaps can be straight across (Announcement style), pointed (Baronial style), or tapered and slightly rounded (Commercial). For the recipient, turning over an envelope and fi nding interesting typography or art on the fl ap can seem like a bonus.

3 3. Long live the Monarch Monarch envelopes (3⅞ x 7⅞) have long been popu- lar for executive stationery. They are also great for sending a notecard or an invoice. For fi ne tableware specialist Period George, they communicate reserved sophistication. Crane & Company makes Monarchs with a very deep fl ap—handy and handsome. The envelope face features the return address, plus lines for hand addressing. The face and fl ap were letter- pressed in a single pass, with the fl ap extended. This shop’s oval business cards and handwritten description tags also feature the oversized logo on their backs.

Design: Urbain Design, 415.252.8282 Envelope: Crane’s Crest Pearl White Printer: Full Circle Press Client: Period George, 415.752.1900

4 4. Flap-happy campers The gang’s all here on the deckled fl ap of this A-7 envelope: new baby Luca, his parents, his sister, and the family’s nine cats. Even recipients who didn’t recognize the new return address could guess the source from the style (similar to the parents’ wed- ding invitation). Artist Rob Craigie drew “a super- duper card for all reasons” with hand-outlined type, plus lots of little arrows and big parentheses. Both the card and the envelope are letterpress-printed in black; even the tiniest type is legible.

Artist: Rob Craigie Printer: One Heart Press, San Francisco, www.oneheartpress.com

58 DynamicGraphics TLFeBOOK 5. Motifs à la mode 5 A Day in May specializes in contemporary wedding invitations that are letterpress-printed. The return address on the envelope fl ap is frequently paired with an art element, usually one that refl ects the venue of the festivities. This immediately creates both ambiance and anticipation. Carrying the art over from face to fl ap increases the drama. These motifs are wonderfully tactile: Type is debossed into the paper, so it feels pressed down. Larger artwork— even though it’s printed the same way—tends to pop back up, so the image feels raised.

Design: A Day in May, www.adayinmay.com Printer: Full Circle Press Clients: Discerning brides everywhere

6

6. Print ’n’ peel Marketing consultant Corinne Lamata uses a diecut label on her custom-converted unprinted letter enve- lopes. All of the labels’ Courier type is letterpressed, looking as if it has been typed on a preprinted form using a typewriter. The envelope label wraps onto the envelope fl ap; it can also be applied to larger envelopes and packages. A section of the label on the fl ap features check-off boxes to indicate the date the letter was posted. Custom rubber stamps con- fer a sense of official approval and confi dentiality. Lamata’s letterhead and business cards each use a similar wraparound label; all three labels were pro- duced on a single press sheet.

Design: Dave Zauhar, Z Squared Design, www.zsquareddesign.com Offset printer: Precision Graphics; San Leandro, Calif.; 510.357.6300 Letterpress & diecutting: Full Circle Press Client: Corinne Lamata, 510.486.0380

TLFeBOOK DEC/JAN 2005 59 7 BIG does not have to be boring.

A large envelope is a proportionally large oppor- tunity to do something visually interesting. You needn’t go to the expense of printing them; mailing labels imprinted with a return address allow you (or your client) to use an unprinted envelope. Labels are versatile, because you can use them on any size of envelope or package. You can even design labels so they can be trimmed down to fi t smaller envelopes.

7. Ready, set, makeready! MOD (Michael Osborne Design) in San Francisco created a “pre-cycled” mailer to hold a recent self- promotion piece. Hemlock Printers ran makeready sheets from the job through the press a second time, utilizing them as makeready for another form, producing a vibrant layering of imagery—and an eye-catching preview of the envelope’s contents. Hemlock rule-diecut and scored the sheets in a single pass, then wrapped each sheet around a rect- angle of chipboard, fi xing the fl ap with release tape. The 10½ x 14¼ envelopes were delivered to MOD with the release-strip still covering the tape on the seal fl ap. (Commodity envelopes with this construc- tion—a paper front and a chipboard back—are popular in Europe.)

Design: Michael Osborne Design, www.modsf.com Printer: Hemlock Printers Ltd; Vancouver, Canada, with sales offi ces in the U.S.; www.hemlock.com

60 DynamicGraphics TLFeBOOK 8. Recycling in real time The creative team at Chronicle Books in San 8 Francisco receives volumes of mail from graphic and industrial designers, illustrators, and photographers from all over the world. Much of this mail arrives in large envelopes, which recipients tidily slit with a letter opener or X-Acto knife; then the envelopes are reused for outgoing mail, embellished with a rubber stamp of recycling arrows surrounding “Reused by Chronicle Books.” Resealing is a brand-extending breeze, thanks to stylish tape bearing the company’s signature eyeglass icon.

QUICK TIPS

1. Self-adhesive stock is widely sold and 1 frequently printed as 8 ⁄2 x 11 sheets. If you are designing a mailing label, it is economi- cal to work within the diecuttable area of this sheet size. Don’t waste: You may also be able to fi t a small sticker or sealing strip on the press sheet.

2. If you are going to mail (rather than messenger) a large envelope, consider using several lesser-denomination postage stamps. They can provide color and the- matic content that you do not have to pay to print.

TLFeBOOK DEC/JAN 2005 61 9 9. Enjoy the view Elixir Design in San Francisco sends promotional mailings in full-view window envelopes, usually showcasing a single client project per mailing. Enclosures include project details on a 6 x 9 post- card. Contents are arranged in the envelope for an engaging preview. For an event at the San Francisco Museum of Modern Art, Elixir designed over 100 humorous stickers that attendees could affix to themselves and fellow guests. The mailing about this project included several of these stickers.

Design: Elixir Design, www.elixirdesign.com Envelope: Full-view mailer, available through most printers

62 DynamicGraphics TLFeBOOK Let them envelop you 10. Clearing the air … resourcefully. Whimsical wit and business acumen coexist in this annual-report-themed package titled “5 is the Magic Crane & Company Number” by And Partners (New York). Housed converts its own 100- within a resealable bubble bag are four blank stock percent cotton enve- dummies and the fi rm’s fi rst annual report for a lopes. If your local public company, VF Corporation. Designers tend source can’t help, try to send 5 or 10 current-year samples to prospects the Crane Connection: to attract new business; And Partners didn’t have a 800.527.2636 or www.crane.com. stack of reports to send, so they embraced the fact with humor. An enclosed quick-read booklet with Jam Paper’s slogan illustrations and witty copy explains the concept sums it up: “If it’s off and invites recipients to learn more. All contents are the wall, give us a circumscribed by a big, bright, red rubber band. call!” Specialty enve- lope lines include Concept: And Partners, NY; www.andpartnersny.com pastel, neon-bright, Design: David Schimmel, And Partners 10 sizes of black Copywriter: Charlie Veprek envelopes, recycled, Illustration: Seymour Chwast plastic, and giant Bubble Bag: No. S-5101 from Uline, www.uline.com envelopes for art- Piccari Press, www.piccari.com Lithography/Bindery: work. Get a catalog: Coe Displays, [email protected] Screen Printer: 800.801.0526 or Red Rubber Bands: Standard Buying Service, www.jampaper.com. www.standardbuying.com

Announcement enve- lopes from Matz 10 Paper—with match- ing plain, panel, and fold-over cards—are designed for invitation packages and include 4-Bar envelopes for RSVP’ing. They also offer translucent envelopes in four announcement sizes and #10s, converted from Gilbert Clearfold Translucent 30 lb., and square enve- lopes in four sizes. No order minimums. 800.776.4153

Paper Source now has 14 retail locations, a wholesale division, and an easy-to-order- from website. Their “p.s. collection” includes 10 sizes of envelopes prepack- aged in 25s. Their per- fectly red envelopes are ideal for valentines and other red-letter events. www.paper- source.com

TLFeBOOK DEC/JAN 2005 63 CLASSIFIEDS Sourcing Solutions

Dynamic Graphics Classifi eds is a forum for innovative desktop products and services. Ads include reader service numbers for fast, easy response. Highly original, Rates royalty-free images Large ad: for designers 1 issue $936 | 3 issues $889 | 6 issues $845 Small ad: 1 issue $343 | 3 issues $326 | 6 issues $310 ƒStopimages.com Multiple ad per issue rates are also avail- able. Prepayment must accompany each 046.001 insertion. AMEX/VISA/MC are welcome. Circle 17 on Connections card. Ad format Large ad: 2¼ x 4¾-inch. Small ad: 2¼ x 1¼-inch. Specifi cations for electronic fi l e t y p e s , Call 1-800-8010-JAM fonts, and correct media are available on request. Publisher reserves the right to edit supplied ads to meet section specifi cations. Circle 18 on Connections card.

Classifi eds rates (3 line minimum)

Per line:

1 time $25 | 3 times $22.50 | 6 times $20

Deadlines Dynamic Graphics magazine is published Circle 20 on Connections card. six times a year. DG Classifi eds closing Circle 16 on Connections card. is four weeks prior to issue date. For more information, call Rania Abbassi Get at 212.260.2777, ext. 28, or e-mail [email protected]. Images. Get 300 new royalty-free images each month, get a monthly magazine that provides practical tips and how-to articles, get innovative layouts to inspire all your projects and get access to over 75,000 online images…for one low fee. Get liquidlibrary. Circle 19 on Connections card.

Refreshing images and ideas ... monthly

800.255.8800 liquidlibrary.com

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64 DynamicGraphics TLFeBOOK TLFeBOOK TLFeBOOK CONNECTIONS Reference and Interaction

Statement Of Ownership, Management, And 1. For inspiration, access this FREE information Circulation Required by 39 U.S.C. 3685 1. Pub- lication Title: Dynamic Graphics 2. Publication Number: 016-929 3. Filing Date: October 2004 Advertiser Page No. 4. Issue Frequency: Bi-monthly (every other month) 5. Number of Issues Published Annu- Agfa Monotype 7 5 ally: Six (6) 6. Annual Subscription Price: $36.00 7. Complete Mailing Address of Known Offi ce of Corel 1 2 Publication: 6000 N. Forest Park Dr., Peoria, IL Creatas Inside front cover 1 61614-3592 (Peoria County) 8. Complete Mailing Address of Headquarters or General Business Of- Comstock 2–3 3 fi ce of Publisher: 6000 N. Forest Park Dr., Peoria, IL 61614-3592 9. Full Names and Complete Mail- Digital Vision 5 4 ing Address of Publisher, Editor, and Managing Editor: Publisher, David Moffl y, 36 W. 10th St., Dynamic Graphics Training 9 6 New York, NY 10011; Editor, Tom Biederbeck, Fonthead 22 15 6000 N. Forest Park Dr., Peoria, IL 61614-3592 10. Full Name and Complete Mailing Address FontShop 64 16 of Owner: Dynamic Graphics, Inc., 6000 N. For- est Park Dr., Peoria, IL 61614-3592 11. Known ƒStop Images 64 17 Bondholders, Mortgagees, and Other Security Jam Paper 64 18 Holders: None 13. Publication Title: Dynamic Graphics 14. Issue Date for Circulation Data Jupiter Images 21 21 Below: Oct/Nov 2004 15. Extent and Nature of Circulation, Average No. Copies Each Issue During LiquidLibrary 25, 64 14 Preceding 12 Months / No. Copies of Single Issue MacWorld 18–19 11 Published Nearest to Filing Date A. Total Number of Copies (Net Press Run) 36,260 / 35,019 B. Paid Pantone 13 8 and/or Requested Circulation (1) Paid/requested Outside-county Mail Subscriptions Stated on Peachpit Press Inside back cover 23 Form 3541 20,797 / 22,490 (2) Paid In-county Subscriptions 0 / 0 (3) Sales Through Dealers Photos.com Back cover 24 and Carriers, Street Vendors, Counter Sales, and Photoshop Fix 16A&B–17 10 Other Non-USPS Paid Distribution 9,854 / 8,932 (4) Other Classes Mailed Through the USPS 0 PictureQuest 27 13 / 0 C. Total Paid and/or Requested Circulation 30,651 / 31,422 D. Free Distribution by Mail (1) Print Runner 10–11 7 Outside-county as Stated on Form 3541 0 / 0 (2) Publishing Perfection 66–67 22 In-county as Stated on Form 3541 0 / 0 (3) Other Classes Mailed Through the USPS 90 / 90 E. Free Stock Layouts 26 12 Distribution Outside the Mail 1,197 / 1,400 F. Total Free Distribution 1,287 / 1,490 G. Total Distribu- Stora Enso North America 8A&B 25 tion 31,938 / 32,912 H. Copies Not Distributed 4,339 / 2,107 I. Total 36,277 / 35,019 J. Percent Typobrand 64 19 Paid and/or Requested Circulation 95.97% / UPM Kymmene 15 9 95.47% 16. This Statement of Ownership will be printed in the Dec/Jan 2005 issue of this publica- Within Reach Concepts 64 20 tion. 17. I certify that all information furnished on this form is true and complete. P.J. Bayler, Senior Manager, Publications & Marketing Operations.

2. Complimentary samples Circle the number on the attached card to receive complimentary samples or informa- tion on the products you’d like to know more about.

3. Drop it in the mail Detach the postage paid card and drop it in the mail.

4. Need it fast? Fax the attached card to 239.213.2199 or go to www.dgm-connections.com, your instant web connection to the samples and information available for the products and services offered in this issue of Dynamic Graphics.

TLFeBOOK DEC/JAN 2005 65 Find the Perfect Photo

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TLFeBOOK CIRCLE 22 ON CONNECTIONS CARD SOFTWARE SPECIFIC Solutions for Windows and Mac Before After

Picture Perfect Not-so-extreme makeovers

There are several very subtle ways to do a makeover without calling in a plastic surgeon or makeup artist. Try the following effects to enliven eyes, whiten teeth, and smooth away facial imperfections. You’ll never have to worry about a pimple on picture day again. g

1. Photoshop 1 Open the fi le. Make 3 a background copy into a new document to avoid destruction of the original image. Select the eyes (the polygonal lasso tool gives you the most control). In the Layers palette, make a new Color Balance adjust- ment layer.

2. In the Color Balance 4 Before menu, uncheck Pre- serve Luminosity. Set 2 Midtones and High- lights Color Levels as pictured below. You can also experiment with the Color Levels to your preference, depending on the eye color of your model. After Brighter eye colors work better with this effect, but it works on any color. Click OK.

3. In the Layers pal- ette, select Lighten from the blending modes menu.

4. Your fi nal result will yield a subtle effect, but the adjust- ment will noticeably brighten the image.

68 DynamicGraphics TLFeBOOK 5. Now select the 5 model’s teeth with 7 the magic wand tool, making sure you don’t Before select the gums.

6. In the Layers pal- ette, once again make a new Color Balance adjustment layer and set the Midtones and Shadows Color 6 Levels to what you see below, or vary the After levels (especially Blue) so the teeth aren’t too bright. You want to pull the yellow out of the teeth, but not so much that they look unnaturally white. Click OK.

7. The model’s smile is noticeably brighter—if only it was this easy in real life!

8. The fi nal step is Before After to correct any skin 8 imperfections. Using the Healing Brush tool, option-click the area on the face you want to copy (the good skin area). Now simply use the same tool to dab away blemishes, moles, red spots, or wrinkles. Finally, you can make variations. First, go to the Layers palette menu and fl at- ten the image. Select Image > Adjustments > Variations, and sub- tly lighten the image as we did here.

TLFeBOOK DEC/JAN 2005 69 WORKSPACE SAVVY Tech Tools and Texts

Toolworthy

Relief at last Heads-up management Wrists weary? Suffering from fi nger fatigue? Ready to revamp your project management strat- If you’re looking for comfort at the keyboard, egy? Aquent has launched a web-based system UncommonGoods has a remedy just for you. These designed to help marketing and creative profes- Corduroy Computer Rests are fi lled with organi- sionals get organized. RoboHead helps streamline cally grown fl axseed, and they emit herbal scents communication and collaboration, track and man- to relax body and mind. They’re multipurpose, age work, automate schedules, route materials, and Safety fi rst: special too—pop them in the microwave or chill them in more. Users pay a monthly fee. To see if RoboHead offer for DG readers the fridge to create a hot or cold pack. Perfect for Protect your com- is right for your team, check out the live demo at an aching neck after a day at the desk. From $18, puter fi les with the www.robohead.net/info. www.aquent.com www.uncommongoods.com SecuriKey from Griffi n Technologies. Just add the SecuriKey to Straighten up your key chain and Liven up a dull desk with Mini Miracle Page Ups— keep it with you. It colorful little round doodads to keep your impor- uses a USB plug-in tant notes, photos, and business cards in one place. and is now available Great for restoring order or simply adding a little for most Windows operating systems fun to the workday. A dozen assorted Page Ups in and Mac OS 10.3 or each tin. $27, www.fl axart.com higher. Special offer for DG readers only: Visit www.griftech. com and get 15 per- cent off the regular price. You’ll need to mention this code: Color without guilt MDY124. There’s no better way to relieve stress than to turn back the clock and pretend you’re age 6 again. Nobody’s watching: Get your crayons and grab a Color Therapy coloring book. This limited- edition wirebound notebook is fi lled with sooth- ing shapes that beckon for blue, plead for purple, and yearn for yellow. Indulge your inner child! $16, www.uncommongoods.com

70 DynamicGraphics TLFeBOOK Textworthy

Typework Timothy Samara’s Typography Workbook explores techniques used in web design, text, posters, books, and animation. Examples and color images are paired with insightful commentary to illustrate Bringing Graphic Design In-House the benefi ts of mastering top-notch type. Learn to establish visual identities and boldly brand like never before. An excellent companion vol- Promotion in motion In the house ume to AdamsMorioka’s Logo Design Workbook, Looking for new cli- Considering producing marketing and promotional also from Rockport. $40, Rockport Publishers, ents? Need to get materials inside? OrangeSeed Design’s Bringing motivated? Step up www.rockpub.com Graphic Design In-House can help you learn more your marketing plan, about creating brochures, letterhead, logos, and stay focused, and suc- ff ceed, writes author websites using cost-e ective design strategies. Gain Maria Piscopo. The an understanding of hardware and software require- Graphic Designer’s ments. Get a grip on design basics: typography, and Illustrator’s Guide layout, grids, paper, project management, and more. to Marketing and And take a look at case studies to see how several Promotion is packed organizations successfully established their own in- with useful informa- house design departments. $35, Rockport Publishers, tion for independent www.rockpub.com creatives. Learn how to target clients and develop sales strate- Typography Workbook gies, and see how Tic tac tile promotional materials Ceramics specialist Gordon Lang has compiled can help your busi- an absorbing collection of all things tile in 1,000 Web mastery ness grow. $19.95, Tiles: Ten Centuries of You don’t have to be an internet guru to create a Allworth Press, www. Decorative Ceramics. Move functional web page. Don’t let the details get you allworth.com from medieval times into down; use Creating a Web Page With HTML by the present while learn- Elizabeth Castro as a guide to your next web proj- ing about the history and ect. It’s the fi rst in a new series of Visual Quick- techniques of artistic tile Project guides—illustration-based, easy-to-follow creation. Organized by handbooks. Write your own HTML code; no web- period and style with com- building software necessary, just you, the book, mentary on origins, sym- and your computer’s text editor. Recommended for bolism, and motifs. personal web pages and last-minute projects at work. $29.95, Chronicle Books, $12.99, Peachpit Press, www.peachpit.com www.chroniclebooks.com

TLFeBOOK DEC/JAN 2005 71 COVER TO COVER Up Front, Start to Finish

Design ideas for the real world

RESOURCES THAT INSPIRE

50 Type Treasures Clockwise from upper left: Photodisc 22345049, Image Farm 22449436, Photodisc 22320421, Stockbyte 22381820; FROM FONTS TO FORUMS www.picturequest.com Insights for Icons PUSHING THE RIGHT BUTTONS Runners-up Spread Good Cheer For this issue’s cover, but the connection OPTIMISTIC COLOR holiday visions danced seemed tenuous, and in our heads—until that idea was quickly we refl ected on how buried. The library quickly they become theme was obvious— dated once seasonal too much so, in fact: DEC/JAN 2005 $7.95 US $8.40 CAN celebrations have shelved. And the crisp 06> passed. We toyed with image of a shirtfront images associated with pens was vetoed with digging (“mining by the anti-pocket- dynamicgraphics.com/dgm 0274470 90182 design resources”), protector lobby.

With a theme of design resources, this issue posed a confounding challenge for cover selec- tion. There are hundreds of thousands of tools Coming Up available to designers and artists, a mother lode It’s been said that work expands to fi ll the that’s growing by the day thanks to the transfor- time available to do it. The same thing mative power of the internet. And these tools take a dizzying array of in reverse holds true when it comes to forms; what, after all, is a design resource? The only possible answer budgets: Is there ever enough money to to the question: It’s anything that allows a designer to create or allow your design dreams for a project to improve a design. Not much help there for visualizing the subject. come true? It turns out there are practi- cal strategies for achieving success when Once we gave up trying to define what we were trying to visual- funds are limited. In the next issue, we ize, the task was—oddly enough—simplified. Our approach was to explore these strategies for mastering the select a symbolic image of the “goodie bags” that hold all those marvel- “Impact/Value Equation.” And because ous, creativity-enhancing tools. In our final selection, the colors were we’ve been listening to what you’re saying right, and the human touch was present. Because the design world you want to fi nd in DG magazine, we’ll be runs on ideas, we emphasized that concept in our main coverline. g rolling out expanded editorial coverage (more stories!), new columnists, and an Cover photo from PictureQuest, www.picturequest.com: increased selection of how-to quick tips. BananaStock 22151567

72 DynamicGraphics TLFeBOOK Peachpit Essential books for the creative community

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Real World Scanning and Halftones, 3rd Edition By David Blatner, Glenn Fleishman, Steve Roth, and Conrad Chavez 0-321-24132-0 • $39.99

Real World Adobe InDesign CS By Olav Martin Kvern and David Blatner 0-321-21921-X • $44.99

Real World Color Management, Second Edition By Bruce Fraser, Chris Murphy, and Fred Bunting 0-321-26722-2 • $49.99

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