Font 004

font

*According to unesco, in the world today

there are about one billion non-literate

Fontshop 60 Tehama Street San Francisco California 94105 usa 1 888 Ff fonts toll-free 1 415 512 2093 local www.FontShop.com

adults.

Font

the making m a cover

From: akiem@underware.nl Subject: the cover Date: May 17, 2005 1:10:54 am gmt +03:00 To: sami@underware.nl, bas@underware.nl I was thinking again about the cover. I still believe that there is also a chance to tell a message. I would like to give a critical point of view on the design community (conferences, awards... you know what I am talking about. Designers celebrating themselves).

I would like to tell this not directly. I would prefer to communicate this indirectly.

I think the fact that 863.000.00 people on earth (13.7 %) can still not read and write could be a good content. But we should use this in a clever way. Perhaps humor helps.

Some suggestions for the texts: front: we can change the world* back: *if you know how to write and talk. front: Our community counts 5.400.000.000. But that’s not enough!* back: *we also want to have the 862.000.000 who can not read this.

Hmmm, I do not really like my suggestions, but perhaps they bring up ideas for you?

From: sami@underware.nl Subject: school year Date: May 17, 2005 3:40:45 pm gmt +03:00 To: akiem@underware.nl, bas@underware.nl Perhaps a bit too radical...

From: bas@underware.nl Subject: Re: Date: May 17, 2005 2:37:15 pm gmt +03:00 To: sami@underware.nl, akiem@underware.nl

:) groet, Sami

front: ‘We can change the worlt’ - Adi Bubil, 35 years back: Adi Bubil is a farmer in Zimbabwe, living with his 5 kids and his wife in a tribe counting 200 people. His wife is 32, his kids 1,2,3,4 and 6 years. he loves his country and his family. Adi is illiterate.

From: bas@underware.nl Subject: also Date: May 17, 2005 3:47:03 pm gmt +03:00 To: sami@underware.nl, akiem@underware.nl

hmm I do not really like one of these suggestion, but perhaps they bring up more ideas by you?

front: What’s the message back: if you can’t read?

gruß Akiem ===== Perhaps a short sentence about a nearly dead language?

front: Send us a short statement on your daily life... back: ...if you can write == http://www.sil.org/literacy/LitFacts.htm http://www.lovetoread.org/literacyfacts.html http://www.uis.unesco.org/ev.php?ID=4960_201&ID2=DO_TOPIC

Silbo Gomero is a whistling language from one of the Canary Islands. It was used to communicate over long distances...and sounds quite ingenious. It is now required for all children on the island to study Silbo Gomero until age 14, ensuring that even if the language isn’t necessarily practiced, it will not be forgotten.

There are an estimated 799 million illiterate adults in the world, about two-thirds of whom are women

For the Yavapai-Apache Nation, there are only eight fluent Yavapai speakers. The youngest of these eight is 58 and the average age is 72.

Teaching the language to the younger generations is now critical, according to Yavapai Cultural Preservationist Katherine Marquez. gruß Akiem

== Literacy A person is literate who can, with understanding, both read and write a short simple statement on his or her everyday life.

From: sami@underware.nl Subject: Education for girls & women (mothers!)

Date: May 17, 2005 1:34:46 pm gmt +03:00 To: akiem@underware.nl, bas@underware.nl

== http://www.uis.unesco.org/ev.php?ID=5020_201&ID2=DO_TOPIC http://www.uis.unesco.org/ev.php?ID=4958_201&ID2=DO_TOPIC http://www.mapsofworld.com/thematic-maps/world-illiteracy-map.htm

Our community counts 5.400.000.000. But that’s not enough! we also want to have the 862.000.000 who can not read this.

groet, Bas

So such a message also needs a real link to a real campaign, like this: http://www.unicef.org/girlseducation/campaign_acceleratingprogress.html groet, Sami From: sami@underware.nl Subject: font mag, one try.

Date: May 17, 2005 2:07:23 pm gmt +03:00 To: akiem@underware.nl, bas@underware.nl Feel free to improve this:

groet, Sami

back:

Half of the 860 million an-alphabetic adults live in one of these two countries.

Make our community larger.

In the end, type is about reading, not about design.

community

toronto was a cool place to be in the summer of 2002. Despite a garbage worker’s strike which left festering mounds of refuse piled on the sidewalks, summer in the city never felt so fine. For I, along with a couple of hundred other aficionados (aka fanatics), was immersed in the typographic geekfest known as TypeCon. Conference attendees, obsessed with all things type-related, had a golden opportunity to feast on their favorite mental meal in a roomful of like-minded inviduals. It’s not often that type geeks are able to wax poetic on the supple curves of the latest Jannon revival or the fit factor of Avant Garde’s™ alternate ligatures without sounding insane.

In addition: http://www.sil.org/lingualinks/literacy/PrepareForALiteracyProgram/ WhereThePeopleCannotRead.htm == another idea: front:

font 004

blurb front: When you buy a typeface, also donate some money back: and help illiteracy to dissappear front: Okay, you buy a typefaces. back: But how many people can read your designs? front: What’s the message... back: if you can’t read?

In the middle of the mixing and mingling at TypeCon, a trio of young European designers joined us in Toronto, offering friendship and delicious type to a hungry crowd. The Underware boys went way beyond drawing beautiful letters. They brought us into their world with warmth, humor, and sexy typefaces.

After a long and satisfying day at the conference, I was in my hotel room with a few young type designers, listening to ’80s new wave through a Powerbook’s tinny speakers while we fondled Underware’s Read Naked, a book allegedly designed to withstand rough treatment in the heat and moisture of a sauna.

Although no sauna was available in the hotel at midnight, we were determined to test the validity of Underware’s claim. We turned the shower on full blast at the highest temperature and let the bathroom fill with steam.

04

10

Much to our delight, heretofore unseen stories surfaced in the pages of Read Naked as the heat and humidity increased. Five of us bonded in that tiny bathroom as we discovered the joys of Underware.

Lavande

20 gamers from all categories me

DEBUT EXHIBITION

In publishing font again after a The panel was chosen review several candidates to ®swap hints from theirtofavor three-year hiatus, the FontShop work and collect their impressions 26and comments team wanted to explore community. to the board for final approval. These results The word has many definitions; to are presented here to commemorate the fine. us, it means sharing, participation, 28 and friendship. As you turn the pages of font, I hope you’ll feel that sense of discovery and belonging, 30 as I did in Toronto.

From: bas@underware.nl Subject: iChat Date: May 17, 2005 3:52:12 pm gmt +03:00 To: sami@underware.nl, akiem@underware.nl ugh, let’s change to iChat, enough of emailing for today!

background info According to UNESCO, in the world today there are about one billion non-literate adults.  This one billion is approximately 26% of the world’s adult population.  Women make up two-thirds of all non-literates.  98% of all non-literates live in developing countries.  In the least developed countries, the overall illiteracy rate is 49%.  52% of all non-literates live in India and China.  Africa as a continent has a literacy rate of less than 60%.  In Sub-Saharan Africa since 1980, primary school enrollment has declined, from 58% to 50%.  In all developing countries, the percentage of children aged 6–11 not attending school is 15%. In the least developed countries, it is 45%.

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headlines: ff Absara Serif, ff Zwo,™ ff Absara Sans, ff Meta,® ff Kievit,™ Bello,™ Sauna™ body: ff Absara Serif, ff Absara Sans, ff Avance,™ Sauna™ captions: ff Zwo, ff Unit,™ ff Kievit™

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SAC Àembroidery FARINE

tamye riggs

This issue is dedicated to the memory of Evert Bloemsma.

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PATH * BRUNO’S 38

!

Out on the veranda, I saw Tom down below.

He was talking to himself about the busted plumbing he was attempting to fix. In his back jean pocket, covered paper with mud,and was my letter.ink means less Better new QUERIDO” that I could seenewsprint the words, “A MIon your fingers and minimized I had written justgain! a few hours dot All ago. ourI wondered papers are 40% post if he had opened it already, or if he had shoved consumer waste or greater. it back there with disregard, with aggravation.

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PRANZO Us * BREAKFAST * tangerine

Marian Bantjes

front: Send us a short statement on your daily life... back: ...if you can write

FontShop 60 Tehama Street San Francisco, CA 94105 1 888 ff fonts toll-free 1 415 512 2093 local www.FontShop.com

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MARK ROTHKO n

font is published by FontShop in San Francisco editors: Tamye Riggs and Stephen Coles design: Punchcut / www.punchcut.com art direction: Joe Pemberton and Jared Benson staff: Joanna Rosenfeld, Michael Pieracci, Zara Evens, Vince Stinson, Ali Norris, and Sarah Bush contributing designer: Marian Bantjes / www.quatrifolio.com contributing writers: Margaret Richardson / mer@aracnet.com John D. Berry / typographer@earthlink.net cover design: Underware / www.underware.nl printing: Dome Printing, Sacramento / www.domeprinting.com © 2005 fsi FontShop International. All rights reserved. All trademarks named herein remain the property of their respective owners. The views expressed herein are solely the opinions of their respective contributors, and do not necessarily represent the viewpoint of FSI. The contents of this publication may not be repurposed or duplicated without express prior written permission.

PAPER SHR Them *

confidential hard

>>>>>>>>>>>>>>>>>>>> 32

P OST STER EXHIBIT H POSTER

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Underware is Akiem, Bas and Sami. They sit in three different studios in three different cities. So, when they work on the same project, there’s always a huge amount of emails and iChatting.

When FontShop & Punchcut asked Underware to design a cover for this issue of font, these emails, screenshots and iChattings reveal what happened before the final idea for a cover was born.

soup-to

38 new soy milk, soy beverages and found to decrease appetite and e finally an excuse to42binge on fast

GALLERY 74 4

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Make eye contact. Say hi.

Discover powerful fonts and images for your next design at FontShop.com.

Here are a few ideas to get the gears whirring.

Dizzy™

05:

Sure, a picture can paint a thousand words. But in graphic design, words are required. That’s why thoughtful typography is critical. Under the right conditions, type can wield as much power as imagery.

Paired with the right image, type has the power to turn heads and change minds.

KIM, I saw You with jim at the party.

How come you didn’t say hello. I was hoping we could gohook up at the cafe afterwards. See you at the game next week. That is, if you got my email. Fo font

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Style #110

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The FontShop collection is infused with the latest work of today’s most engaging type designers so your work always stays fresh. Keep up to speed on new font releases by subscribing to the FontShop newsletter: send email to news@fontshop.com.

Austin Veterinary Clinic

triumphs with newest permit Includes maps, biographical info Freight™ Text

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The latest and most ambitious release from GarageFonts, this 60-font family was crafted by Joshua Darden to work well in any setting. Freight™ Serif and Sans are elegant text faces, and Micro is tuned for tiny print, but every font in the package has headline potential.

Hawaiian luau interests runners

quintessential phyllo recipe wins Freight™ Sans

A key formula interests land remediation professionals and the small scientific community who will participate with the regional Freight™ Text

Shut your eyes, gents. One moment. A little trouble about those white corpuscles. Silence, all. He peered sideways up and gave a long slow whistle of a call, then paused awhile in rapt attention, his even white teeth glistening here and there with gold points. Chrysostomos. Two strong shrill whistles answered through Freight™ Micro

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In 1990, Neville Brody and Erik Spiekermann founded FontFont®, a type library created “by designers for designers.” It quickly became a haven for type connoisseurs and a digital playground for creative wizards worldwide.

Fifteen years and more than 3,500 fonts later, FontFont is still setting standards, pushing limits, and influencing new generations. While a decade-and-a-half might seem like a relatively short time in the history of the centuries-old type game, it’s a lifetime in the technology age.

FontShop is celebrating this 15-year anniversary with an exhibition documenting FontFont’s history and extraordinary impact on design.

The show opened in London in November 2004, then visited Manchester, Berlin, and New York.

FiFFteen will travel to other venues in the coming months. Next year, Dutch designer and writer Jan Middendorp will publish a book exploring the FontFont universe.

fonts used: ff Meta® Headline, ff Absara™

15 years of type for independent minds

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Featured Distractions

Agincourt™ linotype

Brooklyn

Venturing into a new project, it’s too easy to revisit the same tried-and-tested typefaces. Our advice: look beyond. The fonts most fitting are often found on the road less traveled. Explore these underexposed faces that can take your work places it’s never been.

|io +UEJO Mantinia™ carter and cone

Akihabara Station Metroflex™ garagefonts

Freehand™ 521 bitstream

PORTOFINO Stock Exchange Chicago GOLDEN GATE BRIDGE Walburn™ shinntype

FF Gateway™ fontfont

Hollander™ elsner+flake

Erbar Neo Mini™ urw

22

font 004

Regency Gothic™ stylus

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Linotype-Hell AG

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Trademark Info Trademark of Heidelberger Druckmaschinen AG, Licensed to Linotype

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A quick brown fox jumps over the lasy dog.

Sphinx of black quartz judge my vow. About sixty codfish eggs will make a quarter pound of very fizzy jelly. Grumpy wizards make toxic brew for the evil Queen and Jack. New farmhand proves strong but lazy, picking just six quinces.

Crazy Fredericka bought many very exquisite

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Linotype-Hell AG

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Trademark Info Trademark of Heidelberger Druckmaschinen AG, Licensed to Linotype

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14pt

A quick brown fox jumps over the lasy dog.

Sphinx of black quartz judge my vow. About sixty codfish eggs will make a quarter pound of very fizzy jelly. Grumpy wizards make toxic brew for the evil Queen and Jack. New farmhand proves strong but lazy, picking just six quinces.

Crazy Fredericka bought many very exquisite

Character Set

24

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lucasfonts the sans™ Thesis was designed to be the definitive font for every aspect of a corporate identity campaign. The font is so carefully drawn, that it maintains its form in sizes ranging from business card text to lettering on the side of a building.

the antiqua™ the sans™

A book serif, Luc(as) style.

Designed for newspaper copy, but versatile enough for any text.

jesus loves you all™ Rarely do you find a typeface with such emotional power.

Three fonts with varying effects. None of them tame.

spiegel™

Better paper and new ink means less newsprint on your fingers and minimized dot gain! All our papers are 40% postconsumer waste or greater.

Inspired by Franklin Gothic™, de Groot updated the look of the popular sans for the German weekly magazine Der Spiegel. the antiqua™

“Community is in my head. Ik ben een Einzelgänger – always have been.”

— Luc(as) de Groot

jesus loves you all™

new soy milk, soy beverages, and other low-flavor goods found to decrease appetite and ensure nutritional bene finally an excuse to binge on fast food that is not so fast

spiegel™

font descriptions: ff Kievit™

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v

The panel was chosen to review several candidates work and collect their impressions and comments process type foundry to the board for final approval. These results are presented here to commemorate the fine.

lolli

klavika™

Originally proposed as a custom typeface for the Design Institute at the University of Minnesota, Locator™ is now a complete family of 12 fonts with a true italic.

community. The sense of collective sufficiency, support, and

independence gave me direction. Years later, it still shapes the

way I consume, earn a living, and treat others.” — Eric Olson

BREAKFAST PRANZO

*

tangerine *

A set of three typefaces (sans, serif, and script) in the spirit of early email and ascii art explorations.

locator™

and it was the most meaningful interaction I’ve had with a

* BRUNO’S 38

A modern squarish sans designed with identity programs and editorial design in mind. Emphasis was given to alternate numeral styles and typographic details like small caps and ligatures.

fig™

“I spent four years touring the States in a punk rock band,

SAC Àembroidery FARINE

klavika™

stratum™

fig™

The austere geometry of early 20th century display faces paired with a desire for a contemporary lowercase have merged to produce this contemporary family of six weights.

bryant™

locator™

Long since replaced by computers, the mechanical lettering kits used by draftsmen and amateur sign makers served as the inspiration for the Bryant™ family of typefaces.

stratum™

bryant™

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Lavande

mark simonson studio coquette™ The charismatic Coquette™ celebrates the happy marriage of a geometric sans and a French upright script.

Il est adorable.

gamers from all categories me to swap hints from their favor

mostra™ coquette™

Based on a style of lettering often seen in Italian Art Deco posters and advertising of the ’30s. Each multifaceted weight comes with three alternates.

goldenbook™ An Art Deco take on classic Roman letterforms.

With its fine features, it shines at large sizes. mostra™

changeling™ A redesign of China, a VGC Photo-Typositor face released in 1975. Four styles — Light, Regular, Stencil, and Inline — were added, as well as extensive kerning tables for perfect, ’70s-style spacing. goldenbook™

PATH

!

Out on the veranda, I saw Tom down below.

He was talking to himself about the busted “Community is where you are, either physically plumbing he was attempting to fix. In his back or metaphysically. It’s the context of what you jean pocket,docovered with mud, was—my letter. in your life.”

Mark Simonson I could see the words, “A MI QUERIDO” that I had written just a few hours ago. I wondered if he had opened it already, or if he had shoved it back there with disregard, with aggravation.

From the look on his face, I gathered that if he

changeling™

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p22 type foundry

Penne

cézanne pro™ p22’s most popular font just got the OpenType treatment. Over 1200 glyphs and “smart features” emulate the handwriting of French artist Paul Cézanne.

all’Arrabbiata Sugo di Carne

stanyan™ Created for beat poet Rod McKuen. Reads like a serif roman at small sizes and sketchy lettering when set large.

cézanne pro™

RISOTTO

ed rogers™

ALLA MILANESE

Pasta alla

v

Hot Dog

plus some Bacon A SIDE OF CHEESE

sticks

stanyan™

Rogers’s vibrant ink slinging has been featured on album art for rem and others. Now it’s a font. Includes a set of his erratic illustrations.

fllw exhibition™ One of three sets based on lettering by Frank Lloyd Wright. The architect’s stylized geometry in three headline fonts and linking borders.

“Community evokes a shared sense of purpose and common goals. The typographic community shares an unattainable goal of typographic perfection.”

— Rich Kegler

ed rogers™

fllw exhibition™

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constructivist™ Six fonts recreate the bold graphic design of early Soviet Era artists such as Rodchenko and Popova.

london underground™

arts & crafts™ The lettering of Dard Hunter at the Roycroft, circa 1900. Part of a 16-font a&c celebration, including the styles of Frank Lloyd Wright, Maxfield Parrish, and William Morris.

czech modernist™

constructivist™

Drawn from the work of designer Vojtech Preissig.

Combines bold experimentation with a high degree of legibility.

posada™ The poster lettering and imagery of Mexican printmaker Jose Guadalupé Posada (1852–1913). Two fonts and 60 illustrations celebrating the Day of the Dead.

arts & crafts™

czech modernist™

posada™

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GALLERY 74 4

POSTER P OST STER EXHI H

london underground™ p22 teamed up with London’s Transport Museum to digitize Edward Johnston’s legendary face of the Underground.

A motley collection of nametags from various events over many years suggests some of the possibilities – good, bad, and peculiar. How many could actually be read from six feet away?

AT ANY PLANNED GATHERING OF A COMMUNITY THAT’S TOO LARGE OR FAR-FLUNG FOR EVERYONE TO KNOW EVERYONE ELSE BY SIGHT, THE TIME-HONORED SOLUTION TO THE RECOGNITION PROBLEM IS NAMETAGS. AT A FAMILY GATHERING, THESE ARE PROBABLY PLAIN WHITE STICK-ON LABELS, WITH NAMES HANDLETTERED BY AUNT FRIEDA; AT A CONFERENCE, THEY’RE USUALLY PREPRINTED AND HOUSED IN PLASTIC HOLDERS MADE FOR SUCH AN EVENT. NAMETAGS ARE A VERY LOCAL AND SPECIALIZED BRANCH OF INFORMATION DESIGN, AND, AS SUCH, THEY FORM PART OF THE GLUE THAT BINDS TOGETHER A COMMUNITY.

Nametags are utterly practical, or at least they should be – they exist as labels, and nothing more.

In a professional environment, where a hefty admission fee may be charged, they serve dual purposes: in addition to identifying the person, a nametag signifies that the wearer is a registered attendee of the conference, convention, or trade show. That aspect – and the (sometimes casual, sometimes serious) attempts to prevent an outsider from counterfeiting a badge in order to get in – can lead to baroquely elaborate badges, where the name of the attendee is relegated to a fairly minor position. To the professional event organizer, it may seem more important to identify each person as a member of the group; but to the individuals themselves, it’s more important to identify other individuals.

Although the tag from TypeCon2004 gives pride of place to

This is where the humble nametag enters the same

the name and uses a clear typeface, there was no reason the

realm as highway signage and wayfinding systems, as

point size couldn’t have been a good deal larger – even while

a kind of walking environmental design. The moment the design of nametags really matters is when one

what’s my name? nametags in theory and in practice

allowing for unusually long names. (That’s a good reason for using a fairly compact face.)

is stumbling about at an opening reception, trying to spot familiar names without rudely staring at people’s chests. That surreptitious sideways glance – trying to catch a glimpse of a person’s name without being too obvious – certainly has a better chance of being inconspicuous if the name on the tag is typeset in a large, clear typeface, in upper and lowercase letters against a background that doesn’t clash with the type.

Even 24-point Helvetica™ Bold will do, if there’s nothing around it on the card; something like 40-point ff Meta®

by

Bold Condensed would be far better, or perhaps 36-point Medium. Given the distance at which these names will be read, a typeface that is normally reserved for use at very small text sizes could work well – Bell

This cosmic badge, while sporting a charming illustration, is cluttered. The name is too small and blends into the background, making it difficult to discern.

Centennial,™ for example. The idea is clarity, above all.

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fonts used: ff Absara Sans™, ff Zwo™

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In a less security-conscious era, attendees sometimes took

The nametag from FontShop’s Fuse98 conference, while

matters into their own hands. In 1977, the Westercon xxx

elegant and spare, suffers from a common problem: the

nametag – more decoration than identifier – inspired

conference’s visual identity takes up more room than

cartoonist Dan Steffan to turn the cardboard card over and

the attendee’s name.

draw a larger and more amusing nametag on the back.

The least functional is the nametag for a science fiction

The most beautiful of these nametags was created

convention held in 1986, where the plastic badge-holder

for the opening of a student book design exhibition.

serves as an advertisement for the convention and a

In keeping with the aesthetics of many of the book

frame for an illustration, but only incidentally as a way

designs, this badge has no clutter at all. But the tag is

of identifying the individual wearing the tag.

small, and the name is too tiny to be read easily.

Times™ Bold isn’t a highly legible typeface at a

And, of course, there is the straight-forward skewing

distance, but it’s at least familiar. At this size, on an

of expectations. What would you write in the space

unusually large nametag, it manages to do its job.

provided when the tag says, “Hello, My Name Is Not?”

Allowing attendees to customize their nametags can help break the ice.

At TypeCon2004, FontShop’s stickers served as a catalyst for conversation.

Clockwise from above: Mike Parker (Font Bureau®), Dyana Weissman (Font Bureau), Stephen Coles (Typographica®), Thomas Phinney (Adobe®), Calliope Gonzales (Tricky Pup®).

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5/17/05, 3:55 PM / Sami invites Akiem & bas to ichat.

Who are you?

We believe a typeface can be as expressive as the human face. The hundreds of images posted to the “I Am” Gallery prove this is true. Join in our celebration of typographic diversity at FontShop.com/IAm.

¶ Akiem / typeface Auto 1 italic Sami / typeface Auto 2 italic   Bas / typeface Auto 3 italic A cover: it’s about reading, not about design  B cover: when you buy a font,  also donate a school year for a girl in India  Bas Jacobs has joined this chat.

Akiem Helmling has joined this chat. ¶ Ugh... much too forced... keep it simple and ¶ funny and people will listen.

Ok, ok.  4:00 PM Akiem, I think you’re the master  in combining fun & serious stuff!!  So we take the portable dog again...   Okay, we keep on posting content in this chat. front: the fonts in this magazine are for reading.  back: but 1 billion people  will use the mag as toilet paper.  4:05 PM front: this mag is toilet paper for 1 billion people.   front: What’s the message  back: if you can’t read?

4:10 PM Combining only text can make it easily serious.  So adding an image helps to get the fun. 

4:25 PM  Typedesign is dead, if you can’t read.  A typeface is meaningless, if you can’t read.  This typeface is no damn good, if you can’t read.  (sucks might be a bit rough maybe?)  This typeface is useless, if you can’t read. ¶ No way! It is the power.

4:30 PM Check your mail. 

4:15 PM ¶ Getting religious: you should love othermens fonts, ¶ as much as you love your own ones. ¶ The holy community. ¶ Peace on earth.

 Okay, so the text is decided now?  This type(face?) sucks, if you can’t read.  That’s it? ¶ Hmm, why not: type sucks - if you can not read.  Okay. ¶ What is the format again?  184 × 279.

Also okay for me,  but on the other hand ‘This typeface’  looks really strong in the sketches of Bas.  4:50 PM  Okay, let’s send this screenshot of Akiem to FSI/Punchcut  and let them discuss. Again, it’s about the concept, not  about the final visual form. Let’s do that now, and don’t  waste too much useless time today. ¶ One second please.

4:20 PM

4:55 PM ¶ I think it is more easy to convince them with the design ¶ I just sent by email. ¶ So we would need front and back. ¶ I think I am happy with it.  Type rocks, if you can design.  Type rocks, if you can read.  Type rocks, if you design.

 Reminds me of this:

 (again, what’s the message if you can’t read). ¶ front: this type sucks. back: if you can not read.

That’s it! 

¶ Where is this from?  I took it at the KABK. ¶ Who did it?  A student I guess (graphic design?)

Check your mail. 

4:45 PM

¶ or both one on page really big and really small. ¶ front: type sucks. ¶ typedesign sucks.

Wauw, Akiem, you did it!  Works really well with front + back  ¶ Perhaps it does not need a bubble on the front?

Yes, it’s stronger to have only one bubble (in the back)   rock = front? ¶ Of course.  Okay, send it.

Yes, do it.  ¶ Now it is much more positive. Yes please send it.  Don’t go to details yet (colours, etc).  First we need approval for this concept.  Sami, you send it, shall I do it?

Ok, so it’s my job to send it?   Type faster guy! I’ll send it.

5:00 PM / chat ends