Engrave by Melissa Y

Vol. 1 Dec 2014

123985764537 3579459985

ENGRAVE

December 2014

Cut Into Design

INITIATE pg. 60

Articles: INITIATE * Grooming The Font * Back To Basics * Type Casting

Read what this typographic instalation is all about

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Back To Basics: Stopping Sloppy Typograpy By: John D. Berry Pg. 24 Type Casting Rules to live by and Rules to break in the book cover industry By: Steven Brower Pg. 31 Grooming The Font: Typographic Considerations Legal, Ethical, and Aesthetic Pg. 43

ENGRAVE

Eh Ne ibi gr w E tion 6 T aphic xhib Type e de it h : Ne ch sig on n pr w A It O leg ors c u d By ed o en be t: e d : n 11 G Dar ted Ap Pa ul p r c ell re s d Ra Le et T at el E r a nd e i th vi eiv gr rn nd e t a a e rin y By ph ll a y ru i W gto : c b nAl By tr ou it n um F en t h 14 na IDM d this It: W Ju ne lia Gra In elc w o typ o p W Dy va m hi a oe l c t ck By sle ive To De x sig Ne Sy ia Ne Th n 24 w d e po n 18 F F e r on am en y L Ba Ne t t u i he ly Ex w pk St ck T : l a ps in By opp o B Da clus nd 3 w a nd 1 T : Joh ing S asic ith By na ive N o Li : T Ta In te yp n D lop s: zin nn ter wo R e . B py a E am vi r ul C e t b a er Ty e re s to st ssm ac w hy a : 43 By S k in live ing: ry pogra ak hi with er ph tev th b ya y G e e n B bo n ro Ty om ro ok d R p 60 Legal ograp ing T wer cover ules t , E hi he in o In cC F du t h i ica on on str Re tiat t l y e s a , i gr d : d a e n d A rat By aph all a i : M c i bo es ion th s u n eli st t F eti ssa ala al c Ye tion l 20 ar 14 wo ty od po -

Letter from the Editor Dear Reader, As this is the first Issue released of this Magazine I thought you might want to know a little about what ENGRAVE is. This magazine is centered on typography. The articles and columns are meant to teach and inform the members of the typographic community. It is our goal to help new and old typographers learn as much as they can about this fascinating topic. In this issue there is an article about a project done by Flagler College in St. Augustine Florida. A group of students in a typography class designed several installations around the small town; this article centers around one installation in particular; this installation spelled out the word Initiate and you can read all about it on page 59. The five main columns in this magazine are meant to inform you about new and interesting topics in the typographic world. Welcome to the Family is about new typefaces that have recently been designed. Tech It Out is to teach you about the newest technology that has come out that can greatly help you out when design new fonts. Exhibition Type is about typography exhibitions that are going on and where to find them. Get Trendy With It discusses the newest trends that we have seen designers doing. My favorite part of this magazine is the New and Noteworthy section that has exclusive interviews with designers that are new to the typographic world. At Engrave we want to inform our readers and teach them new tricks but still allow them to read something fun and interesting. Sincerely, Melissa Yearwood Editor E mmyearwood@comcast.net or find me on my blog mmyearwood.tumbler.com

E h i b i t i o n T y p e

xhibit honors graphic design legend

A new exhibition at Sterling Memorial Library aims to celebrate the life of an iconic graphic designer. Located in the library’s Memorabilia Room, “Paul Rand: Pioneer by Design” opened on Sunday and features a variety of the designer’s works, including magazine advertisements, illustrations for children’s books and writings on design theory. The exhibition is curated by Molly Dotson, special collections librarian; Jae Rossman, assistant director for special collections and Holly Hatheway, assistant director for collections, research and access services.

Dotson highlighted Rand’s longstanding relationship with the University and said that the exhibit was conceived as a commemoration of the designer’s centennial — he would have turned 100 years old this August. “We wanted to showcase the wealth of materials available in archival collections, as well as focus on his writings and his teaching here at Yale,” Dotson said. “The goal is to showcase the Paul Rand papers as a resource for students, classes and researchers.”

Organized in roughly chronological order, the objects in the exhibition follow various stages of Rand’s career. During his early years, Dotson said, the designer engaged heavily in editorial design and advertising. Examples from this period of his career include a handful of cover designs for “Direction” — an anti-fascist cultural magazine — completed in the late 1930s and early 1940s. Dotson noted that Rand’s commercial design vocabulary drew heavily upon concepts adapted from European avant-garde influences. “For him, design was about problem-solving,” Dotson said. “He took various design principles from modern art trends, but always brought it back to the particular problems of a specific project or client.”

On the advertising end of the spectrum are a series of designs for an air freshening product called “Airwick,” Frazer Manhattan luxury cars, Coronet Brandy and El Producto cigars, whose advertisements and packaging feature swaths of palm green and flamingo-pink, as well as Panama hats and playing cards. Amounting to much more than tongue-in-cheek visuals and witty wordplay, Rand’s formal advertising vocabulary was revolutionary, Dotson said. She explained that in Rand’s designs, text and images were directly integrated into a cohesive whole for the first time in the history of graphic design. Previously, she noted, the pictorial and verbal elements of advertisements appeared as physically separate entities.

The exhibition also features examples of the designer’s “corporate identity” work, including a variety of logos for a number of corporations — IBM’s, with its horizontally-striped block capitals, is still in use today. Samples of Rand’s own writings on design theory and lesser-known selections, such as the four-part series of children’s books that he and his wife jointly produced, appear in the exhibit as well. Dotson said the concluding section of the exhibition focuses on Rand’s career at Yale, where he joined the faculty in 1956 — five years after the University established the nation’s first graduate program in graphic design. Rossman said this portion of the exhibit touches upon the designer’s relationship with the School of Art. Along with a collection of prints he designed for the school, there are projects Rand assigned his graduate students, including the redesign of a Parcheesi game board.

Mark Saba, who designed the exhibit’s banner and online promotional materials as well as the show’s section labels, said that as a graphic designer, he is glad that the University is showcasing Rand’s work and revisiting the importance of his career. “I think the thing that separates Paul Rand from other designers is his willingness to use design as a functional tool, but that gives something commercial a meaning and an identity,” added prospective architecture major Natalie Sheng ’17, who visited the exhibit.

Paul Rand: Pioneer by Design will be on view through Jan 30

Copy, art, and Typography should br seen as a living entity; each element integrally related, in harmony with the whole, and essential to the execution of an idea.â&#x20AC;? -Paul Rand

Tech It Out New Adobe Apps Deliver Unprecedented Creativity on iPhone, iPad & Android

By Darrell Etherington 6

At Adobe MAX, the creative

Adobe holds their Adobe MAX

software company announced

conference each year at this

some cool products for mobile

time and usually announces

users, including some updates

new products or updates to

to their Adobe Creative Cloud

those already out. This year

desktop apps that work with

they focused some of their

their new mobile apps. These

time on mobile.

new apps and the syncing fea-

â&#x20AC;˘Adobe Premiere Clip â&#x20AC;&#x201C; We

tures now built into Adobe CC

get some advanced video

allow creative professionals and

editing on an iPhone or iPad.

enthusiasts to use their tablets

With the larger iPhone 6 and

and phones to not only shoot

iPhone 6 Plus screens and

but do professional level video

stellar cameras, shooting vid-

editing. They can also take pho-

eo continues to happen. Now,

tos and turn them into brushes

those mobile video shooters

and shapes for Photoshop, Illus-

can also edit their videos on

trator or more to make some ar-

the go and then sync the proj-

tistic or commercial layout proj-

ect up with their computer to

ects.

finish it off in Adobe Premiere CC.

•Adobe Brush – Create beautiful

•Adobe Color – Color hit the iOS

brushes for use in other Adobe tools.

App Store earlier, but this update

Grab a photo and convert the im-

brings in a new name (changed for

age into a brush to paint inside Pho-

Kulor to Color, thankfully) and brings

toshop CC or Illustrator CC on the

the Creative Cloud sync integration

desktop. The Live Preview features

that we get with the other apps.

lets the user test out their brush live

•New CC SDK – The three new

inside the app. Thanks to the new

mobile apps and updated mobile

sync features (see more below) in

apps were built on Adobe’s SDK

Creative Cloud, these brushes will

that’s now available for third-party

become available on the desktop

developers who want to use the fea-

almost immediately.

tures available in these apps in their

•Adobe Shape – Turn photos tak-

own apps. Developers can make

en on the iPhone into vector-based

their apps work with Creative Cloud.

shapes for use in creative projects

This lets them work with the libraries

in the Creative Cloud programs. The

of files, photos, colors, shapes and

app takes the camera image and

brushes to enhance their creative

turns it into a vector based drawing

apps on iPad and iPhone.

for use in Illustrator, Draw or some

Other Mobile Apps – Adobe up-

other tool. See it demoed on the

dated many of their other mobile

Adobe tutorial page.

apps to make them work with the new tools in Adobe CC.

Edgy Temporary Tattoos

Get Trendy With It By FIDM Graphic Design Alumna Julia Walck 11

A whole new career opportunity has opened up for designers in the area of temporary tattoos thanks to brands like Tattify, Tattly and Flash Tattoos that are ramping up the noncommittal body art market. The New York Times mentioned this rising trend earlier this year, citing new methods for achieving permanent watercolor and 3-D versions of traditional tattoos, with a nod to the shimmering jewelry-inspired temporary Flash Tattoos worn by the likes of Alessandra Ambrosio, Vanessa Hudgens and BĂŠyonce. Flash Tattoosâ&#x20AC;&#x2122; metallic designs have a glamorous, modern vibe and reflect some serious fashion sensibility with tribal, Native and Egyptian-inspired styles, and last up to six days, according to their site.

Find these great designs at Tattly.com

We’ve had our eyes on Tattly known as “designy temporary tattoos” for some time now, the first brand we noticed rethinking temporary tats, with collaborations with trendy graphic design heavy-hitters, illustrators and typographers like Jessica Hische, Blanca Gómez, James Victore and Stefan Sagmeister. The charming, illustrative style of Tattly’s designs appeal to the arty/hipster markets with products that have expanded into gift cards, stationery, and custom Tattlys for the brands like Dreamworks, Twitter, Buzzfeed, Martha Stewart Living and Etsy. Los Angeles-based Tattify is a nice blend of the two, offering a variety of sketchy fine-line tats with fine lines, typographic quotes, metallic jewelry and retro icons that pay homage to traditional ink. Tattify also partners with artists and photographers, and accepts design submissions.

Lucky for the FIDM Digital Arts team, we were able to catch up with Tattify art director Julia Walck, a graduate of FIDM/ Fashion Institute of Design & Merchandising’s Graphic Design program. As art director, Walck plans out tattoo releases, manages photo editors, oversees the creative team, brainstorms new projects/photo shoots, and much, much more, she says. “Temporary tattoos are trending because they’re just, well, fun. Everybody loves them; it doesn’t matter how old you are. The concept of being a bit different just for a little while is appealing, and Tattify’s wide range of artistic and quirky tattoos cater to that,” says Walck. “It’s a pretty sweet tattoo, without the lifetime commitment.” By FIDM Graphic Design Alumna Julia Walck

Welcome To The Family

As a child, Christian Boer had difficulty with reading and writing. The now 33-year-old Dutch artist said he was eventually diagnosed with dyslexia, which explained why he often reversed letters in his head and why sentences on the page often ran together in a confusing blur.

By SYDNEY LUPKIN and LIZ NEPORENT 15

I This font is especially designed for people with dyslexia. When they use it, they make fewer errors whilst they are reading. It makes reading easuir for them and it takes less effort. THe Dyslexie font is used by several schools, universities, speech therapists and remedial teachers.

n his last year of art school in 2008, he began wondering why people with dyslexia had so much trouble with words but no trouble at all recognizing objects, even if they were tipped upside down or turned around. In a stroke of inspiration, he realized he could design a font that more closely resembled 3-D objects, making it easier for dyslexics to read. About 10 percent of the population has dyslexia, according to the International Dyslexia Association. This means their brains struggle to decode words on a page, making it a challenge to read and write.

A 2013 Spanish study looked at whether changing some key features in fonts would help dyslexics conquer some of their problem with interpreting the written word. The researchers found that serif fonts -- which include little flourishes on the ends of letters -- and fonts where letters vary in size and spacing were the most difficult for people with dyslexia to read. To address some of these problems, Boer designed his new font, Dyslexie so the bottoms of the letters are thicker and bolder.

“You don’t flip them around in your brain so they are easier to keep track of,” he explained. Boer also changed any character that was similar to another character to avoid confusion. For instance, he redesigned the “s” so it was less likely to be mistaken for a “5” and he enlarged the bubble in the center of a lower case “e” so it looked less like an “o.” Because dyslexics tend to skip over pauses in sentences, he also enlarged the period and comma and made capital letters extra bold when they appeared at the start of a sentence. “It worked for me right away and when I sent it out to others it worked for them too,” he told ABC News.

Nearly 100,000 people have downloaded Dsylexie so far, confirming the need for such a font. However, Ben Shifrin, vice president of International Dyslexia Association, said there is no single font that will work for every dyslexic. “What we do see for some students is that fonts make a difference, but some don’t,” he said. It certainly can’t hurt to try using a specialized font for a month or two if you’re dyslexic, Shifrin said, noting that some people will see a huge improvement and some people won’t. Studies also show that some dyslexic people benefit from using traditional fonts such as Helvetica, Courier, Arial and Verdana.

Boer said he is gratified that so many people have found using Dyslexie helpful. He said businesses and schools all over the world have begun using it, too. Several books have been printed using the font, including titles written by the actor Henry Winkler, who is also a dyslexic. “When I first started this I thought it was a graduate project that would just sit on the shelf,” he said “It’s a most beautiful thing as a graphic designer when you can help people with their lives.”

Find out more about this revolutionary font, watch videos, and buy products at dyslexie.com

DANA TANNAMACHI Dana Tanamachi is a Texas-bred, Dana Tanamachi is a Brooklyn-based graphic designTexas-bred, Brooker and letterlyn-based graphic er who enjoys designer and letterer living a quiet life enjoys and working who living a with her hands. quiet life and working She currently with her hands. She spends her days creating large-her currently spends scale typographdays creating ic installations large-scale in chalktypographic and has been commisinstallations in chalk sioned by clients and has been commissuch as Rugby sioned by clients such as Ralph Lauren, The Ralph Ace Hotel, Rugby Lauren, West and The AceElm, Hotel, West Bloomingdale’s. Elm, andrecentBloomingdaMost le’s. ly,Most she recently, had the she honor of had the honorcreatof creating O Magazine’s ingfirst O Magazine’s entirely first entirely hand-lettered hand-lettered cover. cover. 19

The interview with this amazing girl who has taken the typographic world by storm with her unique chalk board designs

For example, I was now dealing directly with clients on a daily basis, which was great practice and preparation for the next season in my career. I was also no longer drawing letters or manipulating type; it was my job to take care of existing clients’ needs instead of experimenting with new typographic treatments or logos. That task was left to my talented co-worker, John Passafiume, who is damn good at it! At that time, it became even more important to create personal projects where I could continue to practice lettering. Being on the computer all day, I didn’t want to lose the ability to draw with my hands—I didn’t want to get rusty. That actually became a very real concern, which spurred me on to pursue creative typographic outlets in my spare time. That’s where the chalk came in. Did I ever think it would become something I could do full-time? Never. Am I glad it did? Of course.

There’s an obvious design element in your work. Are you doing strictly chalk lettering or are you doing any other type of work as well? At this time, I’m pretty much strictly chalk when it comes to client work or commissions. There’s a huge satisfaction that

comes from physically working with your hands and having created something when you’re done. Exactly.

Exactly. There are some people who are just born to design on the computer and they’re amazing masters of the pen tool, but that’s just not me. If I’m honest, I consider it to be one of my limitations. It’s probably why I leaned so heavily towards hand-lettering—it was easier than clicking around in Illustrator all day. Sometimes your limitations can be a launching pad into an unexpected story by Tina Essmaker

Most recently, she had the honor of creating O Magazine’s first entirely hand-lettered cover for its February 2012 issue. You’re currently working as a fulltime chalk letterer and before that, you worked as a designer. Would you describe your path to what you’re doing now? Sure. After graduating from the University of North Texas with a Communication Design degree, I came to New York for a three month internship with Good Housekeeping magazine. I thought I might be interested in editorial design and figured this would be a good way to test the waters. Turns out, I was not as interested as I thought! That’s what internships are for, right?

never meant to move to New York, but after the internship was over, I landed my first job at SpotCo, a creative agency specializing in Broadway/entertainment branding. In essence, SpotCo designs the majority of the Broadway show posters—it was the perfect first job for me. It was there that I was able to put my knowledge of graphic design history to the test. One week, I’d be creating type for a show set in the Victorian era and the next week, I’d be researching mod 1960’s type for the musical, Catch Me If You Can. SpotCo fed my addiction for hand-lettering. I knew the basics, but I simply wanted to get better. That = a year and a half at SpotCo, I took a design position at Louise Fili Ltd, a boutique studio specializing in the design of restaurants and food packaging. Louise is known for her beautiful, custom typography, so it was an honor and pleasure to make a new home in her studio. Under Louise, my job description looked a bit different than my role at SpotCo.

By: Tina Essmaker 23

ack to Basics

There’s a billboard along the freeway in San Francisco that’s entirely typographic, and very simple. Against a bright blue background, white letters spell out a single short line, set in quotation marks: “Are you lookin’ at me?’ The style of the letters is traditional, with serif; it looks like a line of dialogue, which is exactly whit it’s supposed to look like. Since this is a billboard, and the text is the entire message of the billboard, it’s a witty comment on the fact that you are looking at “me”- -that is, the message on the billboard-- as you drive past.

Stopping Sloppy Typography By: John D Berry

But, as my partner and I drove past and spotted this billboard for the first time, we both simultaneously voiced the same response voiced the same the response: “No I’m looking at the apostrophe!” The quotation marks around the sentence are real quotation marks, which blend in with the style of the lettering--“typographers’ quotes,” as they’re sometimes called- but the apostrophe at the end of “lookin” is, disconcertingly, a single, “typewrite quote,” a straight up-anddown line with a rounded top and a teardrop tail at the bottom

“Ar

To anyone with any sensitivity to the shapes of letters, whether they know the terms of typesetting or not, this straight apostrophe is like a fart in a symphony-boorish, crude, out of place, and distracting. The normal quotation marks at the beginning and end of the sentence just serve to make the loud “blat!” of the apostrophe stand out. If that had been the purpose of the billboard, it would have been very effective. But unless the billboards along Highway 101 have become the scene of an exercise in typographic irony, it’s just a big ol’ mistake. Really big, right out there in plain sight.

e Yo u Lo

okin

’ At

Me?

”

e Devil Is in the Details

This should not be so. These fine points ought to be part of the education of every graphic designer. But clearly, this isn’t the case-- or else a lot of designers skipped that part of the class, or have simply forgotten what they once learned about type. Or, they naively believe the software they use will do the job for them. Maybe it’s time for a nationwide-- no, worldwide--program of remedial courses in using type. Automated Errors As my own small gesture toward improvement, I’ll point out a couple of the more obvious problems-in the hope that maybe; maybe, they’ll become slightly less commonplace, at least for a while.

This may be a particularly large-scale example, but it’s not unusual. Too much of the signage and printed matter that we read-- and that we, if we’re designers or typographers, create-- is riddled with mistakes like this. It seems that an incapable number of people responsible for creating graphic matter are incapable of noticing when they get the type wrong.

Typewriter quotes and straight apostrophes are actually on the wane, thanks to word-processing programs and page layout programs and page-layout programs that offer the option of automaticaly changing them to typographers’ quotes on the fly. The program can turn straight quotes into typographers’ quotes automatically, making any quotation mark at the start of a word into an open quote, and any quotation mark at the end of a word into a closed quote, but it has no way of telling that the end into a closed quote, but it has no way of telling that the apostrophe at the beginning of ‘em isn’t supposed to be a single open quote, so it changes it into one. The only way to catch this is to make the correction by hand—every time.

(I’m not sure what has made the phenomenon I spotted on that billboard so common, but I’ve noticed a lot of examples recently of text where the double marks are correct but the apostrophes are straight.) But those same automatic typesetting routines have created another almost universal mistake: where an apostrophe at the beginning of a word appears backwards, as a single open quotation mark. You see this in abbreviated dates (’99, ’01) and in colloquial spellings, like ‘em for them.

Fake caps are a what you get when you use a program’s “small caps” command. The software just shrinks the full-size capital letters down by a predetermined percentage—which gives you a bunch of small, spindly-looking caps all huddled together in the middle of the text. If the design calls for caps and small caps—that is, small caps for the word but a full cap for the first letter—it’s even worse, since the full-size caps draw attention to themselves because they look so much heavier than the smaller caps next to them. (If you’re using caps and small caps to spell out an acronym, this might make sense; in that case, you might want the initial caps to stand out. Otherwise, it’s silly. (And—here comes that word again—distracting.)

Anemic Type

The other rude noise that has become common in the symphony hall is fake small caps. Small caps are a wonderful thing, very useful and sometimes elegant; fake small caps are distraction and an abomination.

If it weren’t for a single exception, I’d advise everyone to just forget about the “small caps” command – forget it ever existed, and never, ever, touch it again. (The exception is Adobe InDesign, which is smart enough to find the real small caps in an OpenType font that includes them, and use them when the “small caps” command is invoked. Unfortunately, InDesign isn’t smart enough, or independent enough, to say, “No, thanks,” when you invoke “small caps” in a font that doesn’t actually have any. It just goes ahead and makes those familiar old fake small caps.)

You don’t really need small caps at all, in most typesetting situations; small caps are a typographic refinement, not a crutch. If your going to use them, use real small caps: properly designed letters with the form caps, but usually a little wider, only as tall as the x-height or a little taller, and with stroke weights that match the lowercase and the full caps of the same typeface. Make sure you’re using a typeface that has true small, if you want small caps. Letterspace them a little, and set them slightly loose, the same way you would (or at least should) with a word in a caps; it makes the word much more readable

Pay Attention, Now

There are plenty of other bits of remedial typesetting that we ought to study, but those will do for now. The obvious corollary to all this is, to produce well-typeset words , whether in a single phrase on a billboard or several pages of text, you have to pay attention. Proofread. Proofread again. Donâ&#x20AC;&#x2122;t trust the defaults of any programs you use. Look at good typesetting and figure out how it was done, then do it yourself. Donâ&#x20AC;&#x2122;t be sloppy. Aim for the best. E

Words to live by, I suppose. And, certainly, words to set type by.

Type Casting

By: Steven Bower

My first job in book design was at New American Library, a publisher of mass-market books. I was thrilled to be to be hired. It was exactly where I wanted to be. I love the written word, and viewed this as my entrance into a world I wanted to participate in. Little did I suspect at the time that mass-market books, also known as “pocket” books (they measure approximately 4” x 7”, although I have yet to wear a pocket they fit comfortably into), were viewed in the design, gaudy and unsophisticated.

I came to understand that this was due to the fact that mass-market books, sold extensively in supermarkets and convenience stores, had more in common with soap detergent and cereal boxes than with their much more dignified older brother, the hardcover first edition book. Indeed, the level of design of paperbacks was as slow to evolve as a box of Cheerios. On the other hand, hardcover books, as if dressed in evening attire, wore elegant and sophisticated jackets.

Next in line in terms of standing, in both the literary and design worlds, was the trade paper edition, a misnomer that does not refer to a specific audience within an area of work, but, rather, to the second edition of the hardcover, or first edition, that sports a paperbound cover. Trade paperbacks usually utilize the same interior printing as the hardcover, and are roughly the same size (generally, 6â&#x20AC;? x 9â&#x20AC;?). Mass-market books were not so lucky. The interior pages of the original edition were shrunk down, with no regard for the final type size or the eyes of the viewer.

The interiors tended to be printed on cheap paper stock, prone to yellowing over time. The edges were often dyed to mask the different grades of paper used. The covers were usually quite loud, treated with a myriad of special effects (i.e., gold or silver foil, embossing and de-bossing, spot lamination, die cuts, metallic and Day-Glo pantone colors, thermography, and even holography), all designed to jump out at you and into your shopping cart as you walk down the aisle.

The tradition of mass-market covers had more in common with, and, perhaps, for the most part is the descendant of, pulp magazine covers of earlier decades, with their colorful titles and overthe-top illustration, than that of its more stylish, larger, and more expensive cousins.

What I Learned So, when I made my entry into the elite world of literature, I began in the â&#x20AC;&#x153;bullpenâ&#x20AC;? of a mass-market house. I believed I would be afforded a good opportunity to learn something about type and image.

Mass-market paperbacks are divided into different genres, distinct categories that define their audience and subject matter. Though they were unspoken rules, handed down from generation to generation, here is what I learned about type during my employ:

Typefaces

Square serif Script and cursive LED face Nueland

Western Romance Science Fiction African (in spite of the fact that the typeface is of German origin) Latin Mystery Fat, round serif faces Childrenâ&#x20AC;&#x2122;s Sans serif Nonfiction Hand scrawl Horror 1950â&#x20AC;&#x2122;s bouncy type Humor/Teen titles

And so it went. Every month, we were given five to six titles we were responsible for, and every month, new variations on old themes hung up on the wall. For a brief period I was assigned all to romance titles, which, themselves, were divided into subgenres (historical, regency, contemporary, etc). I made the conscious decision to create the very best romance covers around. Sure, I would use script and cursive type, so distinctive, elegant, and beautiful that I, or anyone else, would recognize the difference immediately. (When, six months after I left the job, I went to view my achievements at the local K-Mart, I could not pick out any of my designs from all the rest on the bookracks.) Soon after, I graduated to art director of a small publishing house. The problem was, I still knew little of and had little confidence in, typography. However, by this time, I knew I knew little about typography. My solution, therefore, was to create images that contained the type as an integral part of the image, in a play on vernacular design, thereby avoiding the issue entirely.

Genre

Eventually, my eye began to develop, and my awareness and appreciation of good typography increased. I soon learned the pitfalls that most novice designers fall into, like utilizing a quirky novelty face does not equal creativity and usually calls attention to the wrong aspects of the solution. The importance of good letterspacing became paramount. Finding the right combination of a serif and sans serif face to evoke the mood of the material within was now my primary concern. . The beauty of a classically rendered letterform now moved me, to quote Eric Gill, as much â&#x20AC;&#x153;as any sculpture or painted picture.â&#x20AC;? I developed an appreciation for the rules of typography.

Thus began a series of collaborations with talented illustrators and photographers, in which the typography of the jacket was incorporated as part of the illustration. Mystery books especially lent themselves well to this endeavor. A nice thing about this approach is that it has a certain informality and familiarity with the audience. It also made my job easier, because I did not have to paste up much type for the cover (as one had to do back in the days of t-squares and wax), since it was, for the most part, self-contained within the illustration. This may seem like laziness on my part, but hey, I was busy.

The Rules As Iâ&#x20AC;&#x2122;ve said, it is a common mistake among young designers to think a quirky novelty face equals creativity. Of course, this couldnâ&#x20AC;&#x2122;t be farther from the truth. If anything, for the viewer, it has the opposite of the intended effect. Rather than being the total sum of individual expression, it simply calls attention to itself, detracting from, rather than adding to, the content of the piece. It is no substitute for a well-reasoned conceptual solution to the design problem at hand. As a general rule, no more than two faces should be utilized in any given design, usually the combination of a serif face and a sans serif face. There are thousands to choose from, but I find I have reduced the list to five or six in each category that I have used as body text throughout my career:

Serif

Bodoni Caslon Cheltenham Garamond

Sans Serif Franklin Gothic Futura Gill Sans News Gothic

You should never condense or extend type. As I stated, this leads to unwanted distortions. Much care and consideration went into the design of these faces, and they should be treated with respect. There are thousands of condensed faces to choose from without resorting to the horizontal and vertical scale functions. Do not use text type as display. Even though the computer will enlarge the top beyond the type designerâ&#x20AC;&#x2122;s intention, this may result in distortions. Do not use display type as text. Often, display type that looks great can be difficult to read when small. Do not stack type. The result is odd-looking spacing that looks as if it is about to tumble on top of itself. The thinness of the letter I is no match for the heft of an O sitting on top of it. As always, there are ways to achieve stacking successfully, but this requires care. Also, as I noted, much care should be given to letterspacing the character of each word, this is not as it seems. The computer settings for type are rife with inconsistencies that need to be corrected optically. Certain combinations of letterforms are more difficult to adjust than others.

It is paramount that even optical (as opposed to actual) spacing is achieved, regardless of the openness or closeness of the kerning. It helps if you view the setting upside down, or backwards on a light box or sun-filled window, or squint at the copy to achieve satisfactory spacing. I would caution you in the judicious use of drop shadows. Shadows these days can be rendered easily in programs easily such as Adobeâ&#x20AC;&#x2122;s Photoshop and Illustrator, and convincingly, too.

The problem is, it is so easily done that is overdone. Thus, the wholesale usage of soft drop shadows has become the typographic equivalent of clip art. Viewers know they have seen it before. Rather than being evocative,, it mainly evokes the program it was created in. Hard drop shadows in Quark and placed behind the main text. This method is generally employed when the main text is not reading against the background, because of a neutral tone or an image that varies in tone from dark to light. The handed-down wisdom is: If you need a drop shadow to make it read, the piece isnâ&#x20AC;&#x2122;t working.

These solid drop shadows always look artificial, since, in reality, there is no such thing as a solid drop shadow. There should be a better solution to readability. Or perhaps the type should be paneled or outlined. There are an infinite number of possible variations.

If you must use a solid drop shadow, it should never be a color. Have you ever seen a shadow in life that is blue, yellow, or green? It should certainly never be white. Why would a shadow be 100 percent lighter than what is, in theory, casting the shadow? White shadows create a hole in the background, and draw the eye to the shadow, and not where you want it to go: the text.

Justified text looks more formal than flush left, rag right. Most books are set justified; while magazines are often flush left, rag right. Centered copy will appear more relaxed than asymmetrical copy. Large blocks of centered type can create odd-looking shapes that detract from the copy contained within. Another thing to consider is the point size and width of body copy. The tendency in recent times is to make type smaller, regardless of the intended audience. However, the whole purpose of text is that it be read. A magazine covering contemporary music is different from the magazine for The American Association of Retired Persons.

It is also common today to see very wide columns of text, with the copy set at a small point size.. The problem is that a very wide column is hard to read because it forces the eye to move back and forth, tiring the reader. On the other hand, a very narrow measure also is objectionable, because the phrases and words are too cut up, with the eye jumping from line to line. We, as readers, do not read letter by letter, or even word by word, but, rather, phrase by phrase. A consensus factors an average of ten to twelve words per line. Lastly, too much leading between lines also makes the reader work too hard jumping from line to line, while too little leading makes it hard for the to discern where one line ends and another begins. The audience— not the whim of the designer, or even the client—that defines the level of difficulty and ease with which a piece is read. As Eric Gill said in 1931, “A book is primarily a thing to be read.”

Choosing the right typeface for your design can be time-consuming. There are thousands to choose from. Questions abound. Is the face legible at the setting I want? Does it evoke what I want it to evoke is it appropriate to the subject matter? There are no easy answers. When a student of mine used Clarendon in a self-promotion piece, I questioned why he chose a face that has 1950’s connotations, mainly in connection with Reid Miles’ Blue Note album covers. He answered, “Because I though it was cool.” I lectured him profusely on selecting on selecting type simply based on it’s “coolness.” Later, I relayed the incident to Seymour Chwast, of the legendary Pushpin Group (formerly Pushpin Studios). He observed that Clarendon is actually a Victorian face, which he and his peers revived as young designers in the 1950’s. When I asked him why they chose to bring this arcane face back to life, he replied, “Because we thought it was cool.”

Breaking The Rules Choosing the right typeface for your design can be time-consuming. There are thousands to choose from. Questions abound. Is the face legible at the setting I want? Does it evoke what I want it to evoke is it appropriate to the subject matter? There are no easy answers. When a student of mine used Clarendon in a self-promotion piece, I questioned why he chose a face that has 1950’s connotations, mainly in connection with Reid Miles’ Blue Note album covers. He answered, “Because I though it was cool.” I lectured him profusely on selecting on selecting type simply based on it’s “coolness.” Later, I relayed the incident to Seymour Chwast, of the legendary Pushpin Group (formerly Pushpin Studios). He observed that Clarendon is actually a Victorian face, which he and his peers revived as young designers in the 1950’s. When I asked him why they chose to bring this arcane face back to life, he replied, “Because we thought it was cool.” E

Grooming

t n o f the

writing begins with the making of meaningful marks. That is to say, leaving the traces of meaningful gestures. Typography beings with arranging meaningful marks that are already made. In that respect, the practice of typography is like the playing the piano â&#x20AC;&#x201C; an instrument quite different from the human voice. On the piano, the notes are already fixed, although their order, duration and amplitude are not. The notes are fixed but they can be endlessly rearranged, into meaningful music or meaningless noise. Pianos, however need to be tuned. The same is true of fonts. To put this in more literary terms, fonts need to be edited just as carefully as texts do â&#x20AC;&#x201C; and may need to be re-edited, like texts, when their circumstances change. The editing of fonts, like the editing of texts, beings before their birth and never ends. You may prefer to entrust the editing of your fonts, like the tuning of your piano, to a professional. If you are the editor of a magazine or the manager of a publishing house, that is probably the best way to proceed. But devoted typographers, like lutenists and guitarists, often feel that they themselves must tune the instruments they play.

LEGAL CONSIDERATIONS Check the license before tuning a digital font. Digital fonts are usually licensed to the user, not sold outright, and the license terms vary. Some manufacturers claim to believe that improving a font produced by them is an infringement of their rights. No one believes that tuning a piano or pumping up the tires of a car infringes on the rights of the manufacturer—and this is true no matter whether the car or the piano has been rented, leased or purchased. Printing type was treated the same way from Bi Sheng’s time until the 1980s. Generally speaking, metal type and prototype are treated that way still. In the digital realm, where the font is wholly intangible, those older notions of ownership are under pressure to change.

The Linotype Library’s standard font license says that “You may modify the Font-Software to satisfy your design requirements.” FontShop’s standard licenses has similar provision: “You do have the right to modify and alter Font Software for your customary personal and business uses, but not for resale or further distribution.” Adobe’s and Agfa Monotype’s license contain no such provision. Monotypes’ says instead that : You may not alter Font Software for the purpose of adding any functionality…You agree not to adapt, modify, alter, translate, convert, or otherwise change the Font Software…” If your license forbids improving the font itself, the only legal way to tune it is through a software override. For example, you can use an external Kerning editor to override the kerning table built into the font. This is the last elegant way to do it, but a multitude of errors in fitting and kerning can be masked, if need be, by this means.

10.2 Ethical & Aesthetic considerations 10.2.1 If it ain’t broke . . . . Any part of the font can be tuned – lettershapes, character set, character encoding, fitting and sidebearings, kerning table, hinting and, in an OpenType font, the rules govsub-situations. character erning What doesn’t need tuning or fixing shouldn’t be touched. If you want to revise the font just for the sake of revising it, you might do better to design your own instead. And if you hack up someone else’s font for practice, like a biology student cutting up a frog, you might cremate or bury the results.

10.2.2 If the font is out of tune, fix it once and for all. One way refine the typograpy of a text is to work your way through it line by line, putting space in here, removing it there, and repositioning

10.2.3 Respect the text first of all, the letterforms second, the type designer third, the foundry fourth. The needs of the text should take precedence over the layout of the font, the integrity of the letterforms over the edo of the designer, the artistic sensibility of the designer over the foundry’s desire for profit, and the founder’s craft over a good deal else.

10.2.4 Keep on fixing. Check every text you set to see where improvements can be made. Then return to the font and make them. Little by little, you and the instrument – the font, that is – will fuse, and the type you set will start to sing. Remember, though, this process never ends. There is no such thing as the prefect font.

10.2 HONING THE CHARACTER SET 10.3.1 If there are defective glyphs, mend them. If the basic lettershapes of your font are poorly drawn, it is probably better to abandon it rather than edit it. But many fonts combine superb basic letterforms with alien or sloppy supplementary characters. Where this is the case, you can usually rest assured that the basic letterforms are the work of a real designer, whose craftsmanship merits respect, and that the supplementary characters where added by an inattentive foundry employee. The latters errors should be remedied at once. You may find for example that analphabetic characters such as @ + ± × = · - – © are too big or too small, too light or too dark, too high or too low, or are otherwise out of tune with the basic alphabet. You may also find that diacritics in glyphs such as å ç é ñ ô ü are poorly drawn, poorly positioned, or out of scale with the letterforms.

I+2=3<9>6±I·2×4 a+b=c·

Jose Mendoza y Almeida’s Photina is an excellent piece of design, but in every weight and style of Monotype digital Photina, as issued by the foundry, arithmetical signs and other analphabetics are out of scale and out position, and the copyright symbol and at sign are alien to the font. The raw versions re shown in grey, corrected versions in black. éùôã→éùôã Frederic Goudy’s Kennerlet is a homely but quite pleasant type, useful for many purposes, but in Lanston’s digital version, the letterforms are burdeneed with some preposterous diacritics. Above left: four accented sorts as issued by the foundry. Above right : corrected versions. All fonts are candidates for similar improvement. Below left: four accented sorts from Robert Slimbach’s carefully honed Minion, as originally issued by Adobe in 1989. Below right : the same glyphs, revises by

Slimbach ten years later, while preparing the OpenType version of the face. áèïû→áèïû 1 0.3.2 If text figures, ligatures or other glyphs you need on a regular basis don’t reside on the base font, move them.

For readable text, you almost always need text figures, but most digital fonts are sold with titling figures instead. Most digital fonts also include the ligatures fi and fl but not ff, ffi, ffl, fj of ffj, You may find at least some of the missing glyphs on a supplementary font (an ‘expert font’), but that is not enough. Put all the basic glyphs together on the base font. If, like a good Renaissance typographer, you use only upright parentheses and brackets (see § 5.3.2), copy the upright forms from the roman to the italic font. Only then can they be kerned and spaced correctly without fuss.

10.3.3 If glyphs you need are missing altogether, make them.

Standard ISO digital text fonts (PostScript or TrueType) have 256 slots and carry a basic set of Western European characters. Eastern European characters such as ą ć đ é ğ ħ ī ň ő ŗ ş ť ů are usually missing. So are the Welsh sorts ŵ and ŷ, and a host of characters need for African, Asian and Native American languages.

The components required to make these characters may be present on the font, and assembling the pieced is not hard, but you need a place to put whatever character you make. If you need only a few and do not care about system compatibility, you can place them in wasted slots – e.g., the ˄ ˂ ˃ \ | ͂ ˋ positions, which are accessible directly from the keyboard, or slots such as ₵ ÷ ¹ ² ³ ™ ¤ ‰ ¦, which can be reached through insertion utilities or by typing character codes or by customizing the keyboard. If you need to add many such characters, you will need to make a supplementary font or, better yet, an anlarged font (True-Type or OpenType). If these are for your own use only, the extra characters can be placed wherever you wish. If the fonts are to be shared, ever new glyph should be labeled with its PostScript name and Unicode number

10.3.4 Check and correct the sidebearings. The spacing of letters is part of the essence of their design. A well-made font should need little adjustment, except for refining the kerning. Remember, however, that kerning tables exist for the sake of problematical sequences such as ƒ*, gy, “A, To, Va and 74. If you find that simple pairs such as oo or oe require kerning, this is a sign that the letters are poorly fitted. It is better to correct the sidebearings than to write a bloated kerning table.

The spacing of many analphabetics, however, has as much to so with editorial style as with typographic design. Unless your fonts are custome made, neither the type designer nor the founder can know what you need or prefer. I habitually increase the left sidebearing of semicolon, colon, question and exclamation marks, and the inner bearings of guillemets and parentheses, in search of a kind of Channel Island compromise: neither the tight fitting of a kind of Channel Island compromise: neither the tight fitting preferred by most anglophone editors nor the wide-open spacing customary in France. If I worked in French all the time, I might increase these sidebearings further.

abc: def; ghx? klm! <<non>> abc: def; ghx? klm! <<hmm>> abĂ§: dĂŠf; ghx? Klm! <<oui>>

Three options for the spacing of basic analphabetics in Monotype digital Centuar: foundry issue (top); French spacing (bottom); and something in between. Making such adjustments one by one by the insertion of fixed spaces can be tedious. It is easier by far, if you know what you want and you want it consistently, to incorporate your preferences into the font. Digital type can be printed in three dimensions, using zinc or polymer plates, and metal type can be printed flat, from photos or scans of the letterpress proofs. Usually, however, metal type is printed in three dimensions, and digital type is printed in two. Two-dimesional type can be printed more cleaning and sharply than three-dimensional type, but the gain in sharpness rarely equals what is lost in depth and texture. A digital page is therefore apt to look aenemic next to a page printed directly from handset metal.

This imablance can be addressed by going deeper into two dimensions. Digital type is capable of refinements or spacing and kerning beyond those attainable in metal, and the primary mean of achieving this refinement is the kerning table. Always check the sidebearings of figures and letters before you edit the kerning table. Sidebearings can be checked quickly for errors by disabling kerning and setting characters, at ample size, in pairs: 11223344... qqwweerrttyy..... If the spacing within the pairs appears to vary, or if it appears consistently cramped or the pairs appears to vary, or if it appears consistently cramped, or loose, the sidebearings probably need to be changed. The function of a kerning table is to achieve what perfect sidebearings cannot. A thorough check of the kerning table therefore involves checking all feasible permutations of characters: 1213141516 . . . qwqeqrqtqyquqiqoqpq . . . (a (s (d (f (g (h (j (k (l . . . )a )s )d )f )g . . . -1 -2 -3 -4 -5 . . . TqTwTeTrTtTyTuTiToTp . . . and so on. This will take several hours for a standard ISO font. For a full pan-European font, it will take several days.

Class-based kerning (now a standard capability of font editing software) can be used to speed the process. In class-based kerning, similar letters, such as a á â ä à å ã ă ā ą, are treated as one and kerned alike. This is an excellent way to begin when you are kerning a large font, but not a way to finish. The combinations Ta and Tä, Ti and Tï, il and íl, i) and ï), are likey to require different treatment. Kerning sequences such as Tp, Tt and f( may seem to you absurd, but they can and do occur in legitimate text. (Tpig is the name of a town in the mountains of Dagestan, near the southern tip of the Russian Federation; Ttanuu is an important historical site on the British Columbis coast; sequences such as y = ƒ(x) occur routinely in mathematics.

On pages 204-205 is a short example of such a test file, showing the difference between an ungroomed font and a groomed one. It is nothing unusual for a well-groomed ISO font (which might contain around two hundred working characters) to have a kerning table listing a thousand pairs. Kerning instructions for large OpenType fonts are usually stored in a different form, but if converted to tabular form, the kerning data for a pan-European Latin fornt may easily reach 30,000 pairs. For a well-groomed Latin-Greek-Cyrillic font, decompling the kerning instructions can generate a table of 150,000 pairs.

Remember too that there is no such thing as a font whose kerning cannot be improved. If you know what texts you wish to set with a given font, and know that combinations such as …. these will never occur, you can certainly omit them from the table. But if you preparing a font for general use, even in a single language, remember that it should accommodate the occasional foreign phrase and the names of real and fictional people, places and things. These can involve some unusual combinations. (A few additional examples: McTavish, FitzWilliam, O’Quinn, dogfish, jack o’-lantern, Hallowe’en.) It is also wise to check the font by running a test file – a specially written text designed to hunt out missing or malformed characters and kerning pairs that are either too tight or too loose.

10.3.6 Check the kerning of the word space. The word space – that invisible blank box – is the most common character in almost every text. It is normally kerned against slopping and undercut glyphs: quotation marks, apostrophe, the letters, A,T, V, W, Y, and often to the numerals 1, 3, 5. It is not, however, normally kerned more than a hair either to or away from a preceding lowercase ƒ in either roman or italic. A cautionary example. Most of the Monotype digital revivals I have tested over the years have serious flaws in kerning tables. One problem in particular recurs in Monotype Baskerville, Centaur & Arrighi, Dante, Fournier, Gill Sans, Poliphilus & Baldo, Van Dijck and other masterworks in the Monotype collection. These are well-tried faces of superb design – yet in defiance of tradition, the maker’s kerning tables call for a large space (as much as M/4) to be added whenever the ƒ is followed by a word space. The result is a large white blotch after ever word ending in ƒ unless a mark of punctuation intervenes.

Is it east of the sun and west of the moon â&#x20AC;&#x201C; or is it west of the moon and east of the sun? Monotype digital Van Dijck, before and after editing the kerning table. As issued, the kerning table adds 127 units (thousandths of an em) in roman, and 228 in the italic, between the letter Ć&#x2019; and the word space. The corrected table adds 6 units in the roman, none in the italic. Other, less drastic refinements have also been made to the kerning table used in the second two lines.

Professional typographers may argue about whether the added space should be zero, or ten, or even 25 thousandths of an em. But there is no professional dispute about whether it should be on the order of an eighth or a quarter of an em. An extra space that large is a prefabricated typographic error â&#x20AC;&#x201C; one that would bring snorts of disbelief and instantaneous correction from Stanely Morison, Bruce Rogers, Jan van Krimpen, Eric Gill and others on whose expertise and genius the Monotype heritage is built. But it is an easy error to fix for anyone equipped with the requisite tool: a digital font editor.

10.4 HINTING 10.4.1 If the font looks poor at low resolutions, check the hinting. Digital hints are important chiefly for the sake of how the type will look on screen. Broadly speaking, hints art two kinds: generic hints that apply to the font as a whole and specific hints applicable to only to individual characters. Many fonts are sold unhinted, and few fonts indeed are sold with hints that cannot be improved. Manual hinting is tedious in the extreme, but any good font editor of recent vintage will include routines for automated hinting. These routines are usually enough to make a poorly hinted text font more legible on screen. (In the long run, the solution is high-resolution screens, making the hinting of fonts irrelevant except at tiny sizes.) E

10.5 NAME CONVENTIONS The presumption of common law is that inherited designs, like inherited texts, belong in the public domain. New designs (or in the USA, the software in which they are enshrined) are protected for a certain term by copyright; the names of the designs are also normally protected, in factm because infringements on the rights conferred by a trademark are often much easier to prove than infringements of copyright. Nevertheless there are times when a typographer must tinker with the names manufacturers give to their digital fonts.

Text fonts are generally sold in families, which may include a smorgasbord of weights and variations. Most editing and typesetting software takes a narrower, more stereotypical view. It recognizes only the nuclear family of roman, italic, bold, and bold italic. Keyboard shortcuts make it easy to switch from one to another of these, and the switch codes emplyed are generic. Instead of saying “Switch to this font’s italic counterpart, whatever that may be.” This convention makes the instructions transferable. You can change the face and size of a whole paragraph or file and the roman, italic and bold should all convert correctly.

The slightest inconsistency in font names can prevent this trick from working – and not all manufacturers name their fonts according to the same conventions. For the font names must abide by rules known to the operating system and software in use. If, for example, you install Martin Majoor’s Scala or Scala Sans (issued by FontShop) on a PC, you will find that the italic and the roman are unlinked. These are superbly designed fonts, handsomely kerned and fully equipped with the requisite text figures and small caps – almost everything in a digital font should be – but the PC versions must be placed in a font editor and ren-named in order to make them work as expected.

2014 1968

INITIATE

Instalation

By: Melissa Yearwood

The Team *The camera man: Alex Steers- This individual was always there camera in hand, he was able to capture photos and film as we went through the course of our project. *The planer: Danielle Sumner- This individual was able to keep up with each group members schedules and plan when and where the team was to meet up *The mathematician: Melissa Yearwood- I was able to come up with the amount of pixels needed for each letter and the dimensions for the typeface; I also was responsible for averaging out how much money would be spent on each product we would be using. *The Savior: Nan and Co.- One of our group members grandparents came to our rescue and graciously offered to cut out over one-thousand 4x4in cardboard squares, without Nan and her friends it would have taken us countless nights without sleep to cut out our many pixels.

Project Brief Situation: To raise awareness of the importance of Typography in this modern world and how typography can be used to initiate curiosity and ignite intrigue in individuals. This Type installation is meant to get people asking questions about recycling so that they can learn how, like typography, is important to our society. Investigation: Research started first with scouring the Internet for the history of both type and St. Augustine and finding the correlations between the two. After discover the important historical fact we started to do research on our chosen pixel (cardboard squares) we wanted to find out what St. Augustine offered in the recycling business. Insight: The insights gained from our research allowed us to have a set direction of where our design was going. We took inspiration from the history of Flagler College and combined it with our investigation into Recycling; this allowed us to come up with a unique Collegiate inspired installation made out of recycled goods.

Idea: Our ideas centered on the desire to inform the community of the importance of typography and recycling, not only for St. Augustine but for the entire world. We were able to accomplish this by using a typeface that represented the beginnings Flagler and indirectly the beginnings of typeface as well. We than created our word INITIATE out of recycled cardboard we found around campus to create a pixelated typographic installation. We designed this installation so that is would reflect the light from around St. Augustine and capture the attention of the people walking down the street in hopes that it would initiate conversations.

Once the people are attracted to our installation we plan to talk to them about the significance of type in our society and the effectiveness of recycling in St. Augustine. In The beginning stages of this project our team considered many different variations of how we could get our point across. We began our design ideas with figuring out the best font to use; we scoured the Internet searching for the best one. We started out with a more mechanical and futuristic font and then went to a more boxy and professional look, however we found that neither of these fonts gave the feeling we wanted to get across. So we found a font called Victory, which was a colligate font that had the feel of a letterman jacket.

Budget As this was a class project and we had to be as cost effective as possible, we were responsible for spending our money in a well thought out way so that we could buy the supplies we needed. •Spray-Paint: $40 •Metal Wire: $25 •Cardboard: Free •Labor: Pro bono

Research The research our tem did was a key factor in creating this installation. With our research we were able to come up with a design that is immersed with historical context, which also has the ability to inspire the community to get more involved with recycling. Our research started in the middle of the Fall 2014 semester in our Type1 design class. This stage of our project was focused on awareness and information; we spent our time searching the Internet to see what we could find. We first researched the history and importance of typography in St. Augustine Florida. With the 450th anniversary of the settling of St Augustine there was a lot of history to search through; all of which was filed with typography. We decided to focus mainly on the use of type during the Civil rights movement; we found it was interesting to find that, like today, they to were celebrating an anniversary for St. Augustine, the 400th anniversary to be exact.

In the spring of 1964 Martin Luther King Jr. launched a supporting local movement to end racial discrimination in the nation’s oldest city. However, we had found that people began organized protests in the early days of 1963. It was at these protests that typography became a necessity. The people used the written word to create amazing speeches and moving posters that would allow the rest of the world to see their struggles. These protesters made countless signs with amazing words on them; some of which included phrases like “We shall overcome,” “I am a man,” and “Equal rights for all.” The type on these posters had to have been well thought out in order to make the biggest impact, looking back at photos from this time you can see that is exactly what these signs did. After this our group then went on to research the history of Flagler College and when it was initiated. The school began in 1968 as an all girls school; the mastermind behind this was Lawrence Lewis Jr, who served as Chairman of the Board of Trustees of Flagler College for more than 20 years.

Strategy Our ideas centered on the desire to inform the community of the importance of typography and recycling, not only for St. Augustine but for the entire world. We were able to accomplish this by using a typeface that represented the beginnings Flagler and indirectly the beginnings of typeface as well. We than created our word INITIATE out of recycled cardboard we found around campus to create a pixelated typographic installation. We designed this installation so that is would reflect the light from around St. Augustine and capture the attention of the people walking down the street in hopes that it would initiate conversations.

Challenges Throughout the course of this project our team only came across one real project; and that was a cost effective way to create the installation. We knew we wanted to create the main portion of our installation out of cardboard but we he had no idea how to keep the pixels together. We spent many hours sitting in front of a calculator trying to figure out what to use to keep our pixels together. Our first thought was tape however we realized that using tape with spray paint would not make a very good-looking design. We also searched all over the web for a decently priced bag of metal jewelry circles but the bag that cost the least was $100. We ended up figuring out that creating our own metal connecters out of wire it would be the most cost effective way to hold our pixels together and still have an installation that people want to look at. E

Cut Into Design