Vignelli

Vignelli If you canâ&#x20AC;&#x2122;t find it design it Exposing the Vignelli Design Process: Making Sketches, Models and Objects Visible

A Collaborative Book Project School of Photographic Arts and Sciences Lella and Massimo Vignelli Vignelli Center for Design Studies

Vignelli

If you canâ&#x20AC;&#x2122;t find it design it

Making the Archive Visible

In 1975, Dr. Maurice Kessman, a visionary administrator at Rochester Institute of Technology wrote: “It is out of the relationships we establish among ourselves, while participating in this enterprise and it is with the fruits of our cumulative efforts, born as we collectively proceed toward clearer expressions of an understanding of our times, that we can expect a prophetic style and image to emerge.” If You Can’t Find It, Design It was developed and produced as an interdisciplinary course project at the Vignelli Center for Design Studies and the School of Photographic Arts and Sciences. Under the direction of Professor Nitin Sampat, students became familiar with selected artifacts from the Vignelli Collection. They photographed preliminary sketches, prototype models and finished objects, and produced this book which makes visible for the first time the special design process of the world-class designers Massimo and Lella Vignelli. Professors Bruce Ian Meader and R. Roger Remington, with the support of Katie Nix, facilitated the work in the Vignelli Center and the design of this book. The contents of this book were conceived, researched, written, photographed, designed, critiqued, refined and printed at Rochester Institute of Technology.

Contents

Knoll International

Handkerchief Chair

Knoll Cafe Table

Bertola Chair

Sasaki 29

Color Stone Dinnerware

Ciga 41

Ciga Silverware

Sunar Hauserman

Rotonda Sofa

Circolo Chair

Rotonda Chair

Massimo Vignelli

Massimo Vignelli, born in Milan in 1931, studied architecture in Milan and Venice. Prior to establishing the offices of Vignelli Associates in 1971, and Vignelli Designs in 1978, with Lella Vignelli, they established the Vignelli Office of Design and Architecture in Milan in 1960, and in 1965, Massimo Vignelli became co-founder and Design Director of Unimark International Corporation. Massimo Vignelli is the co-founder and President of Vignelli Associates and Chief Executive Officer of Vignelli Designs in New York. His work includes graphic and corporate identity programs, publication designs, architectural graphics, and exhibition, interior, furniture, and consumer product designs for many leading American and European companies and institutions. Mr. Vignelli’s work has been published and exhibited throughout the world and entered in the permanent collections of several museums; notably, the Museum of Modern Art, the Metropolitan Museum of Art, the Brooklyn Museum, and the Cooper-Hewitt Museum in New York; the Musée des Arts Décoratifs in Montreal; and the Die Neue Sammlung in Munich. Mr. Vignelli has taught and lectured on design in major cities and universities in the United States and abroad. For the past ten years he has taught a summer course at the Harvard University Graduate School of Design. He is a past president of the Alliance Graphique Internationale (AGI) and the American Institute of Graphic Arts (AIGA), and a Vice President of The Architectural League. Two feature length television programs on the Vignellis’ work have been aired worldwide. A monographic exhibition of the Vignellis’ work toured Europe between 1989 and 1993, and was featured in St. Petersburg, Moscow, Helsinki, London, Budapest, Barcelona, Copenhagen, Munich, Prague and Paris.

Among Massimo Vignelli’s many awards: Gran Premio Triennale di Milano, 1964; Compasso d’Oro, awarded by the Italian Association for Industrial Design (ADI), 1964 and again in 1998; the first Presidential Design Award, presented by President Ronald Reagan in 1985, for the National Park Service Publications Program. He has been awarded an Honorary Doctorate in Architecture from the University of Venice, Italy and Honorary Doctorates in Fine Arts from Parsons School of Design, New York, Pratt Institute, Brooklyn, Rhode Island School of Design, Providence, the Corcoran School of Art, Washington D.C., the Art Center College of Design, Pasadena, California, and the Rochester Institute of Technology, Rochester, New York. In 1996 he received the Honorary Royal Designer for Industry Award from the Royal Society of Arts, London. Massimo and Lella Vignelli have received numerous awards together, including the 1973 Industrial Arts Medal of the American Institute of Architects (AIA); the 1982 Art Directors Club Hall of Fame; the 1983 AIGA Gold Medal; the 1988 Interior Design Hall of Fame; the 1991 National Arts Club Gold Medal for Design; the 1992 Interior Product Designers Fellowship of Excellence; the 1995 Brooklyn Museum Design Award for Lifetime Achievement; the 2001 Russel Wright Award for Design Excellence; the 2003 National Design Lifetime Achievement Award; the 2004 Visionary Award from the Museum of Art and Design, New York; and the 2004 and the 2005 Architectural Awards from the American Academy of Arts and Letters.

Lella Vignelli

Lella Vignelli was born in Udine, Italy, in 1934. She received a degree from the School of Architecture, University of Venice, and became a registered architect in Milan in 1962. In 1958, she received a fellowship as a special student at the School of Architecture, Massachusetts Institute of Technology, Cambridge, Massachusetts. In 1959, Ms.Vignelli joined Skidmore, Owings & Merrill, Chicago, as designer in the interiors department. The following year, with Massimo Vignelli, she established the Vignelli Office of Design and Architecture in Milan. In 1965, she became head of the interiors department for Unimark International Corporation in Milan and New York (1966). In 1971, the Vignellis established Vignelli Associates, where Lella Vignelli was initially Executive Vice President, and eventually Chief Executive Officer. Seven years later, they formed Vignelli Designs, a company dedicated to product and furniture design, of which she is President.

Ms.Vignelli has been the recipient of many awards including the American Institute of Architects (AIA) Industrial Arts Medal, 1973; AIGA Gold Medal, 1983; Interior Design Hall of Fame, 1988; National Arts Club Gold Medal for Design, 1991; Interior Product Designers Fellowship of Excellence, 1992; The Brooklyn Museum Design Award for Lifetime Achievement, 1995; The Russel Wright Award for Design Excellence, 2001. In 2003 Lella and Massimo Vignelli received the National Design Lifetime Achievement Award and the 2005 Architectural Award from the American Academy of Arts and Letters. She is also the recipient of Honorary Doctorates from the Parsons School of Design, New York; the Corcoran School of Art, Washington D.C. and the Presidential Medallion from Rochester Institute of Technology, Rochester, New York.

Ms.Vignelli’s work is widely featured in design publications in the United States and abroad. Examples of her work have been included in the permanent collections of numerous museums, including the Museum of Modern Art, the Cooper-Hewitt Museum, and the Metropolitan Museum of Art in New York, the Dallas Museum of Art, the Musée des Arts Décoratifs in Montreal, and Die Neue Sammlung in Munich. The Vignellis’ work has been the subject of two feature length television programs that have been televised worldwide. A monographic exhibition of the Vignellis’ work toured Europe between 1989 and 1993, and was featured in St. Petersburg, Moscow, Helsinki, London, Budapest, Barcelona, Copenhagen, Munich, Prague and Paris. Lella Vignelli lecures in schools and universities and is a frequent speaker and juror for national and international design organizations.

Our Great Collaboration

I first met Professor Nitin Sampat in 2005 when we both got involved in a wonderful collaboration. I designed a gallery book, The American Image; U.S. Posters from the 19th to the 21st Century for an exhibition of 78 fantastic posters from the collection of Mark and Maura Resnick held in RIT’s Bevier Gallery in 2006. Nitin’s contribution was to photograph the posters using his color management system that guaranteed perfect color reproduction for every poster. It was an enlightening experience and the beginning of a beautiful colleagueship in which we saw the potential for rich collaboration. As opportunities arose, we sought content worthy of transforming into elegant documentation. The Importance of Good Design

As the Vignelli Center for Design Studies has emerged on the RIT campus as a beacon for advancing design excellence, we are always looking for opportunities to demonstrate the importance of good design through practical application. What better way to do this than to have students and faculty working directly with actual physical resources from the Vignelli collection as the primary content for a publication? This book is that vision realized and represents a great collaboration in which Nitin Sampat’s students have been able to learn about important design principles, not just from exposure to the sketches, models and fabricated work from the collection, but also from the process of designing a 70-page book at a very high level of design excellence. This kind of project is exactly what the Vignelli Center is all about: perpetuating the principles of good design through direct, hands-on exposure to the archived work.

Working with Students

Through a quick exposure to fundamental design principles, Professor Sampat’s students enthusiastically embraced this ambitious project and in six weeks designed this beautiful book that honors the design principles of the Vignelli Canon and debuts many beautiful images of preliminary sketches and models of some of the most celebrated Vignelli work, most of which have never been seen until now. The students were enthusiastic, self-motivated, resourceful, inventive, respectful, and thirsty to learn. It has been a pleasure working with these students and with Nitin on this project. The students fully took charge and developed the concept of the book, so by the time I received the InDesign file, all that was left to do was to suggest refinements. I am very impressed with how quickly everyone was able to grasp and understand the vital goal of making this book design meet the standard of excellence that is the hallmark of the Vignelli philosophy. This successful project is a model for future collaborations and a perfect example of people across disciplines coming together to share their expertise and generate something far richer than any one discipline can achieve on their own. Congratulations to Professor Nitin Sampat and his talented students! Many thanks to my colleague and friend, R. Roger Remington for his insights and guidance, and to our valued colleague, Katie Nix for her talents and efforts in coordinating the project. Bruce Ian Meader Associate Professor, Graphic Design Vignelli Center for Design Studies Rochester Institute of Technology

Our Great Potential

The Vignelli Center for Design Studies

The Vignelli Book Project

The Vignelli Center for Design Studies mission statement reads: The Vignelli Center for Design Studies leads through practice and programs in the interpretation of quality design. We strive to inspire widespread recognition of how the artifacts we collect, preserve and understand broaden and enrich life. We do so as stewards of the legacy of Massimo and Lella Vignelli, who value excellence, creativity and innovation. In relationship to this mission, the goals of the Center are to advance design excellence through education, advocacy, preservation, collaboration, public good and globalism.

Of these goals, of special relevance for this Vignelli book project are education, preservation and collaboration. As such, this project with Professor Nitin Sampatâ&#x20AC;&#x2122;s Imaging Workflows course realized both his educational course goals as well as those of the Vignelli Center. Students became aware of the vast Vignelli Archive holdings, made selections of artifacts, photographed the objects, researched information for text and then integrated the elements into this publication. With the guidance of Professor Bruce Ian Meader and Katie Nix, students also learned about the process of book design, typography and layout. It was an excellent model of a Vignelli Center demonstration project, one in which faculty and students use archival resources to learn about graphic design and graphic arts technology. It was my great pleasure to support this project, to work with Professor Sampat and to continuously sense the enthusiasm and motivation of the students in the class. They behaved like the true professionals they are becoming and this is education at its very best. R. Roger Remington Vignelli Distinguished Professor of Design Vignelli Center for Design Studies Rochester Institute of Technology

Knoll International

“I talk of feelings, possibilities and what a design can be.” Massimo Vignelli

“I talk of feasibility, planning and what a design can be.” lella Vignelli

Knoll International

Handkerchief Chair 1987

“The handkerchief chair took seven years to realize.We started to work on this chair, and began with a draft. Then we made a model in our office. At first we wanted to have it made in metal, like the fender of a car. But there was no one… They had presses to do it, but the presses were in Detroit. And they were very busy making cars. They can’t stop to make a chair. So eventually, we started looking into different materials like hyper-gloss and plastics. Plastics were not developed at the time, so the seat of the handkerchief chair is made from fiberglass. We named it the Handkerchief Chair because it looks so light. The thing is, it’s not light at all. It’s really heavy because of the fiberglass and metal, but it gives the feeling of being a light chair. We wanted to do chairs that could be one piece and could be stackable. And this is stackable. So that’s how we got to that.” Massimo Vignelli

Knoll International

Handkerchief Chair Designed with David Law Sketch

Knoll International

Handkerchief Chair Designed with David Law 2.75" x 2.25" x 2.25" Model

Knoll International

Handkerchief Chair Designed with David Law 2.75" x 2.25" x 2.25" Model

Knoll International

Handkerchief Chair Designed with David Law 8" x 7.5" x 5" Model

Knoll International

Handkerchief Chair Designed with David Law 8" x 7.5" x 5" Model

Knoll International

Knoll Cafe Table 3.75" Model

Knoll International

Bertola Chair Designed with David Law Left, 4" x 2.75" x 2.75" Right, 1.75" x 1.75" x 2" Model

Knoll International

Handkerchief Chair Top Left, 3.5" x 2.75" x 3" Bottom Left, 2.5" x 1.75" x 1.75" Model Handkerchief Chair Right, 4.5" x 4" x 3.5" Model

Knoll International

Handkerchief Chair 29" x 19" x 22" Object

â&#x20AC;&#x153;Quality is defined as things that are done with knowledge.â&#x20AC;? Massimo Vignelli

Sasaki

Sasaki Dinnerware 1982

“Lorem ipsum dolor sit amet, consectetur adipiscing elit. Morbi luctus pretium odio, nec auctor dolo r suscipit a. “The Suspendisse Sasaki line is very easy.posuere, It’s a plate, and then nisi it hasnec a bowldictum imperdiet, velit urna on top. We went to Japan to see how they were making plates. volutpat First, they dip them magna, in the glaze, and non then before mattis putting sapien mauris ac erat. Proin these plates in the kiln, they wipe out the bottom. I noticed that molestie when they do nulla that, they take etaway mitheullamcorper glaze, and you can malesuada. Curabitur see the material, which is nice. I said, ‘Can you try to take away the eget glaze from magna the edges here?’. leo,When ut they convallis took out the glaze orci. Etiam semper mi a on the edges, they revealed the material was light colored, and the tellus contrast accumsan was terrific. nec blandit lectus lacinia. Duis lobortis We risus were achieving pharetra a decoration purus by subtraction imperdiet instead of ac ornare nisi commodo. addition. This is really the way we work. Pellentesque imperdiet tempus ornare. Quisque fringilla The cups are also like that, and they have a handle that comes down. dapibus We wipe out laoreet. the edge here Vivamus so you can have color venenatis and convallis consequat. also see the edge. The teapot is just like this… they’re all parts of Sed a sphere, aca segment elit dui. of a very Proin large sphere. et The sugar mi bowl id mauris imperdiet placerat is also a sphere. They all go back to basic geometry. That is the sit amet acit libero. saving grace, because lasts forever.” Cras vitae ipsum ipsum. Vivamus varius tempor imperdiet. Sed tempus, ante sed rutrum aliquet, Massimo Vignelli tortor nulla venenatis augue, non accumsan lacus nisi elementum ipsum. Lorem ipsum dolor sit amet, consectetur adipiscing elit. Morbi luctus pretium odio, nec auctor dolo r suscipit a. Suspendisse posuere, nisi nec dictum imperdiet, velit urna volutpat magna, non mattis sapien mauris ac erat. Proin molestie nulla et mi ullamcorper malesuada. Curabitur eget magna leo, ut convallis orci. Etiam semper mi a tellus accumsan nec blandit lectus lacinia. Duis lobortis risus pharetra purus imperdiet ac ornare nisi commodo. Pellentesque imperdiet tempus ornare. Quisque fringilla dapibus laoreet. Vivamus venenatis convallis consequat. Sed ac elit dui. Proin et mi id mauris imperdiet placerat sit amet ac libero. Cras vitae ipsum ipsum.” 30

Sasaki

Sasaki Color Stone Dinnerware Sketch

Sasaki

Sasaki Color Stone Dinnerware Designed with David Law 6.5" x 5.5" Model

Sasaki

Sasaki Color Stone Dinnerware Cup: 3.375" Saucer: 6" Plate: 7.5" Model

Sasaki

Sasaki Color Stone Dinnerware Designed with David Law 5.25" x 5" Model

Sasaki

Sasaki Color Stone Dinnerware Designed with David Law Top, 3.25" x 3.25" Bottom, 3" x 3" Model

Sasaki

Sasaki Color Stone Dinnerware Designed with David Law Bowl: 7.375" Large Plate: 11" Model

Sasaki

Sasaki Color Stone Dinnerware 6.5" Object

“When I design something, I want it to be an improvement over what’s been done.” Massimo Vignelli

Ciga

Ciga Silverware 1979

“Ciga is a nice story. We designed the whole corporate identity, and then we designed flatware. The president of the company was in Venice. We were having lunch on the terrace, and he said, “How are you coming with the glassware?” I said, “Oh, terrific.” I hadn’t done it yet. Out of desperation, since we were on the terrace, I said “As a matter of fact, they’re just like that,” pointing out the domes of the Salute Church across the Grand Canal. He said, “That’s great.” Then I knew what to do with the design. Later, I went back to the office, and drew the whole thing. It has all these ribs, so when you make them in a glass, it catches the light and becomes more interesting. The pitcher is just like that. It continues through the whole family of glassware. The point is that I knew already what I wanted, somehow, I knew the direction I wanted for this. The design was Venetian, because this was a Venetian company. It had a relationship with those domes there, and then of course the domes became my inspiration. This is something we have done many times: Taking an object and reversing it.” Massimo Vignelli

Ciga

Ciga Silverware Sketch

Ciga

Ciga Silverware Appoximately 4" Model Ciga Silverware Bottom, Appoximately 4" Object

Ciga

Ciga Silverware Approximately 7.25" to 7.5" Model

Ciga

Ciga Silverware Approximately 7.25" to 7.5" Model

Ciga

Ciga Silverware Approximately 8" Model

Ciga

Ciga Silverware Fork: 7.25" Knife: 8" Spoon: 6.25" Object

Ciga

Ciga Silverware Forks: 7.25" Spoon: 6.25" Teaspoon: 4.875" Soup Spoon: 7.25" Knife: 8" Object

â&#x20AC;&#x153;Designers are not artists, they may have talent, but they have different priorities. Conversely, artists are not designers, they should have different priorities.â&#x20AC;? Massimo Vignelli

Sunar Hauserman

Rotonda Chair 1979

“We designed all the sets of chairs for an Italian television channel – every set from the news, to special shows, one of the shows was an interview with different people. They had chairs like this. There was a conductor there who was talking with all of these people. He said we need a chair, not that looks like an easy chair, but basically a bar chair, because when people sit in an easy chair they compress their diaphragm. They’re on TV, so if they can sit straighter in a chair, it would be better for them. This chair has the height of the seat the same as a bar chair. It’s a little more inclined. Then there is the back, which gives them the sense of an easy chair, because it is so enveloping and protective. The chair works fine. It’s a beautiful chair. The lucky stuff is that this chair was on TV every day. Free advertising. It became incredibly successful. And still after many years, still successful. They sell thousands of that chair, because of the exposure.” Massimo Vignelli

Sunar Hauserman

Sunar Rotonda Chair Sketch

Sunar Hauserman

Sunar Rotonda Chair and Sofa Chair: 2" x 2" x 3" Sofa: 2.75" x 1.5" x 4" Model

Sunar Hauserman

Sunar Rotonda Sofa 2.75" x 1.5" x 4" Model

Sunar Hauserman

Sunar Rotonda Sofa 2.75" x 1.5" x 4" Model

Sunar Hauserman

Sunar Rotonda Sofa 2.75" x 1.5" x 4" Model

Sunar Hauserman

Sunar Circolo Chair 6" x 8.75" x 10.75" Model

Sunar Hauserman

Sunar Circolo Chair 6" x 8.75" x 10.75" Model

Sunar Hauserman

Original Sunar Rotonda Chair 2" x 2" x 3" Model

Sunar Hauserman

Sunar Rotonda Sofa 28" x 25" x 25" Object

â&#x20AC;&#x153;I was raised to believe that, as a designer, I have the responsibility to improve the world around us, to make it a better place to live, to fight and oppose trivia, kitsch and all forms of subculture which are visually polluting our world.â&#x20AC;? Massimo Vignelli

Our Favorite Photographs

The Production of this Book

This book, Vignelli: If You Can’t Find It, Design It, is the culmination of a group project of the many enthusiastic students taking the Imaging Workflows class, in partial completion of a Minor in Applied Imaging Systems offered through the School of Photographic Arts and Sciences at the Rochester Institute of Technology, Rochester, New York. In this project, each student played multiple roles – designer, photographer, color specialist and printer– and most important, worked as a team to complete the task of planning, designing, photographing, color managing and printing a complex book from concept to final product in an unprecedented six weeks! These ‘partners in crime,’ listed in alphabetical order below, are: Aaron Thomas Nicholas Mancuso Barbara Pitts Samuel Levine Benjamin Lang Sarah Holden Brian Peterson Shane Keller Drew Swantak Shelby Leeman Kevin Kim Tiffany Salerno Matthew Herrington Timothy Tiebout The technical challenges of producing such a book in such a short time were numerous. A strategy had to be developed for the concepts and contents of the book and how to translate those ideas into a complete book in such a short time. Technical efficiency and organization were a required mandate. In consultation with Professors R. Roger Remington and Bruce Ian Meader from the School of Design, the team began to develop a book concept that would expose the reader to the Vignelli’s design process. A decision was made to show the stages of a design, from sketch to model, to final product. Some students visited the Vignellis at their home in New York City, interviewing them to gain insight into their design process. This interview contributed to the text in the book.

A photography strategy was developed for shooting all the models and products and for scanning the sketches. A book size and a paper choice was made. The devices – camera, lights and printers, used in the overall workflow were characterized (‘profiled’) for accurate color reproduction. Colors were measured from the objects being photographed and used as a reference ‘aim’ for the overall color accuracy of the reproduction. A workflow was developed for the design, photography, editing, color correcting, proofing, pre-flighting, printing and post-production of the book. Given the extraordinarily short time allocated for this project – six weeks from concept to production– a large part of the workflow was executed in ‘tactical mode,’ i.e., problems had to be addressed as they arose. There was no time for strategizing each stage. A deep understanding of the imaging workflow from capture to print was necessary to respond to the needs in such an efficient manner. The most important aspect in the project was ‘teamwork.’ Working and collaborating using a ‘facebook group’ was invaluable in keeping everyone informed of all the work that was ongoing. The end result is this wonderful book and the knowledge gained by the students in executing such a workflow. Makes a teacher proud! Nitin Sampat Associate Professor School of Photographic Arts and Sciences

Acknowledgments

This book, Vignelli: If You Canâ&#x20AC;&#x2122;t Find It, Design It, is truly an example of collaborative work between the many unique organizations within RIT and with its industry partners. We would like to acknowledge the institutions and people that offered their enthusiastic support, advice, guidance to the students, technical expertise, logistical support or donations of resources such as paper or press time. First and foremost, we would like to thank the designers of these wonderful works of design, Massimo and Lella Vignelli. First, for creating them and second for donating them to RIT so students may enjoy and learn from their lifeâ&#x20AC;&#x2122;s many contributions. Their generous donation enabled us to embark on collaborative projects such as this book. The fact that they spent some of their invaluable time, during this project, with the students and allowed them to interview and photograph them at their home speaks volumes of their generosity and support for this project. We would like to thank Professors R. Roger Remington and Bruce Ian Meader for allowing the class to conduct meetings in their wonderful space at the Vignelli Center and for offering design guidance and encouragement to the students throughout this project. Without their involvement and support this project would never have been possible. Each of the following organizations comprise of personnel who generously contributed resources, their time or their knowledge to this project. To all of them, a heartfelt Thank you! Nitin Sampat Associate Professor School of Photographic Arts and Sciences

Vignelli Center for Design Studies

Katie Nix helped the students with access to collection and offered guidance on the selection of the works for this book. She also scanned some of the images for this book. Mohawk Fine Papers

Chris Harold donated his support, encouragement and paper for this project. Printing Applications Lab

William Garno, John Dettmer and Barbara Giordano offered either technical assistance, access to the HP Indigo Digital presses or logistical support for the printing of this book. College of Imaging Arts and Sciences

Dean Lorraine Justice offered encouragement and support for this project as well as a commitment to the costs associated with final book production. School of Photographic Arts and Sciences

Therese Mulligan, director of the school makes possible the availability of resources, such as labs and studios, that allow a technical minor such as the Imaging Systems minor, to be offered within the school. Cary Graphic Arts Press

Molly Cort offered her expertise in print production to the project.

Colophon

Vignelli If you canâ&#x20AC;&#x2122;t find it design it

Copyright 2012 AIS Press. All Rights Reserved. No part of this book may be used or reproduced in any manner without dual written permission from the AIS Press and RITâ&#x20AC;&#x2122;s Vignelli Center for Design Studies.

Content

The complete design process from sketches, models, to full size designs made available by Massimo and Lella Vignelli via the Vignelli Center.

Production

Students in the Imaging Workflows Class, Applied Imaging Systems Minor, Spring 2012

Capture Models: Canon 5D Mark II Sketches: HP Scanjet 6530 Lighting: Profoto Acute Pack with Acute Pro Heads GretagMacbeth ColorChecker

Processing

GretagMacbeth Profile Maker 5.0.8, Adobe Photoshop CS5.1, Lightroom Versions 3.2 and 4.0

Book Layout

Adobe InDesign CS5.5

Typefaces

Adobe Garamond Pro and Helvetica Lt Std Open Type Technology

Paper

Cover: Mohawk Ultrawhite Smooth Cover i-Tone 324 gsm Body: Mohawk Ultrawhite Smooth Cover i-Tone 216 gsm

Printer

HP Indigo 5700 Digital Press, RIT Printing Applications Lab HP Color Laserjet cP4025