Sep 8
Graphics Tech
With all of the improvements in mapmaking in recent years you'd think there was little room for innovation. Then someone like Penn State geographer Cindy Brewer steps forward with tool that incorporate visual perception research.
Wired says, "Brewer's best-known invention is a website called Color Brewer, which helps mapmakers pick a color scheme that's well-suited for communicating the particular type of data they're mapping. More recently she's moved on to other cartographic design dilemmas, from picking fonts to deciding what features should change or disappear as the scale of a map changes (or zooms in and out, as non-cartographers would say). She's currently helping the U.S. Geological Survey apply the lessons she's learned from her research to redesign its huge collection of national topographic maps."
Thanks to Wendy Kalman for pointing us to it.
From Wired: Thank This Geographer for Making Sure New Maps Aren't a Total Mess...
Wired's first story: The Cartographer Who's Transforming Map Design...
ColorBrewer...
ScaleMaster...
Ben Sheesley's TypeBrewer...
Brewer's Resources page at Penn State...
Also from Chuck Green: Use the leading online learning company, Lynda.com, FREE for 10 days—no kidding...
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Sep 4
Basic design
I've said it before: There are so many variables in any particular design that I am skeptical that following any set of rules will guarantee success. But I'm always open to the idea. And I think that Nick Kolenda offers some interesting ideas in his article: The ideal characteristics of a visual advertisement.
Do you have a design formula that you've found useful?
The ideal characteristics of a visual advertisement...
Also from Chuck Green: Check out the biggest, best place on the web to find and buy fonts...
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Jul 22
Print Design
"Bond" could be a brilliant idea—a service that converts your text into a fountain pen-on-paper note that is mailed to the anyone you choose.
Or it could be 1990 comedy that speculated about what the world would be like 25 years in the future, when we've digressed to the point that we're too lazy to (or are incapable of), handwriting a note.
Haha... in the Bond promotional video the CEO actually says, "An organization can add the personal touch that they've never been able to do before." Which makes me wonder if that's just a poorly turned phrase or if he's to young to remember a time when handwritten were a common occurrence?
The big question, of course, is: if a robot writes it, is it a personal note?
All that jabbing done, it does seem like a useful, well executed service.
The idea...
The Bond website...
Free trial Lynda.com...
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Jul 15
Typography
Print Magazine recently featured the work of Shiva Nallaperumal which includes the a typeface under development with the working title of "Labyrinth".
As Nallaperumal describes it, "The typeface is pseudo artificially intelligent and the design process was equal parts design and programming. For the project I collaborated with and was guided by Tal [Leming], who created the advance opentype features while I designed the system of glyphs. We have been working on it for almost two years now, and [it] will soon be published commercially."
Shiva Nallaperumal's typeface...
He was Print's designer of the week in March of 2015...
Nallaperumal's Tumblr page...
And his Twitter feed...
Free trial Lynda.com...
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Jul 13
Print Design
I ran across PrintNinja.com a while back and though I have not used them, I've read enough positive press about their services to recommend you take a look.
The nut they crack, in particular, is the 4-color printing of books and magazines that can be case bound (hardcover), perfect bound (softcover), or wire bound—for prices you'd typically have to print in large quantities to get into the reseller range of profitability.
They are, for the most part, a gateway to printing in China. Why China? Because it is affordable. They can deliver a competitively priced, high quality product while they eliminate the complexities of language barriers, customs, quality control, and so on.
About PrintNinja...
Their cost calculation process is simple, straight-forward, and immediate...
Frequently asked questions...
If you do decide to print overseas, be certain to read this...
Need some typography ideas?
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Jul 10
Illustration
There are other illustrators whose overall style seems similar to Dykes'—but look closely—I feel like you can pinpoint the originals from the also-rans by looking at their body of work. John S. Dykes is an explorer.
Example 1...
Example 2...
Example 3...
John Dykes' website...
Dykes on Illoz.com...
Free trial Lynda.com...
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Jul 8
Graphics Tech
Years ago I wrote a book exploring the scope of what you could do with a new set of graphics tools referred to as "desktop publishing". Today we've graduated to printing 3-dimensional objects from vector drawings produced using widely available 3D Authoring tools.
Shapeways is, as they describe it, "Giving anyone the ability to quickly and affordably turn ideas from digital designs into real products, Shapeways is fundamentally changing how products are made and by whom."
The process and product...
What people are making...
About creating 3D designs...
3D printing materials...
Supported 3D authoring tools...
In case you're interested, I buy most of my fonts from MyFonts.com. (A little tip: Look closely at the listings, some include one or two weights or widths you can add to your cart for free)...
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Jul 6
Marketing PR
iSpot.tv offers a sophisticated platform for the, "real time tracking of paid TV media and the related earned digital activity across social, search, and video." They score current spots and measure their activity.
Don't care? Then use it to see what everyone else is up by industry categories across 110 broadcast and cable networks.
Browse the current lineup...
Top 10 most engaging tv ads of the week...
How the paid service platform works...
Free trial Lynda.com...
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Jun 15
Learning
This is an interesting exercise. The folks at Medium.com asked, "A list of clever thinkers and interesting friends in the design world," 12 questions on the future of the general practice of design.
Ask yourself the same questions—the answers may well give you some insights into where to head in your own life as a designer.
1. What do you do, make, or design?
2. What three key works or ideas set the stage for what you're doing now?
3. What's the most under-appreciated idea in design right now?
4. What idea is most overhyped?
5. What recent tool do you think has had the biggest impact on how your field works and what you create?
6. Who's the most important person in your field right now?
7. What's the most important design to come out of your field in the past 10 years?
8. What's the biggest challenge, problem, or question your field needs to tackle right now?
9. What piece of pop culture has the most interesting notion of what the future might look and feel like, design-wise?
10. Ten years from now, will design in your field look and feel more like the natural world, or more artificial? More complex and ornate, or more spare and minimal?
11. What new thing do you wish technology could do in order to open up the potential of your work?
12. What one word would sum up your predictions for where design in your field is headed next?
Thanks to Chris Miller for pointing us to it.
The answers from Medium's survey...
Check out the latest typefaces at MyFonts.com...
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Jun 12
Web Design
In an article from AdAge, Shareen Pathak defines experiential marketing as, "Messaging you can touch, feel or view in a physical space." Is "experiential marketing" the 2015 equivalent of "engagement marketing"? There are certainly some similarities.
What is clear is that experiential marketing is getting lots of play these days because, in many cases, it deserves lots of play. Creative people are finding imaginative, engaging ways of introducing and perpetuating brands.
Here are some recent examples...
Examples from Econsultancy.com...
More examples from Econsultancy.com...
Examples from XStudios.com...
Examples from Pinterest...
From AdAge.com: Just what is experiential marketing, and how can it be measured?
Check out the latest typefaces at MyFonts.com...
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Jun 5
Typography
Today, one highly respected type designer brings us some sad news about another—Roger Black Tweets, "RIP Hermann Zapf. With sad and complete respect, we're remembering the designer who raised the bar for all of us in the type world."
Every graphic designer knows the name Hermann Zapf. He was a calligrapher without peer and a typeface designer who had an a truly appreciable effect on the entirety of modern day typography.
I've been fortunate to hear a few stories about Mr. Zapf from calligrapher, and typeface designer Micheal Clark—who, if I remember correctly, met Zapf when Micheal worked at Hallmark.
Hermann Zapf died yesterday at 96.
The Art of Hermann Zapf...
Zaph's lifestory form Linotype...
My first appreciation of Zapf came through my subscription to U&LC...
Fred Showker reviewed Rick Cusick's book What Our Lettering Needs: The Contribution of Hermann Zapf to Calligraphy & Type Designs at Hallmark Cards...
You'll find many of his typefaces on MyFonts.com...
Lorenzo Caputo edits a Hermann Zapf Pinterest board...
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Jun 3
Illustration
If you love witnessing the creative process, don't miss this interesting post about Saul Bass' design of the poster for Stanley Kubrick's "The Shining".
"Dear Stanley:
Here are the five designs which surfaced out of the work done since I returned. I am excited about all of them, and I could give you many reasons why I think they would be strong and effective identifiers for the film. But the one I think is strongest is No. 1. It's provocative, scary and emotional. It has size, and promises a picture I haven't seen before."
Thanks to Bob Staake for pointing us to it.
The designs and correspondence...
Film of Jack Nicholson preparing for "The Shining"...
Yes, of course, there is an entire website dedicated to the movie (caution, some of it is not for the weak of heart)...
Can't identify a typeface? Try "WhatTheFont" at MyFonts.com...
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May 29
Typography
My new car is testament to how much of a media experience driving a car has become. Two cameras show blind spots, multiple text screens show vehicle stats, organize entertainment, offer directions via maps and voice commands, APP support, even a plug for HDMI—and, oh yeah, there's that little thing about driving.
Here's an interesting study that looks at typeface characteristics and "glance time". (We're going to need self-driving cars because there's just going to be too much to read and watch.)
Thanks to Jessica Jones for pointing us to it.
From MIT, reported by Gizmodo: This Typeface Makes You a More Alert Driver By Distracting You Less...
Here is an Abstract and the actual paper: Assessing the impact of typeface design in a text-rich automotive user interface...
Learn more for less at Lynda.com...
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May 25
Illustration
The Paris-based illustration and graphic arts studio Violaine & Jeremy is the territory of Violaine Orsoni and Jeremy Schneider. Schneider's pencil work is beautiful/quirky and their collaborative designs are fresh and interesting.
The posters for the National Orchestra of Lorraine Illustrated stopped me in my tracks.
Example 1...
Example 2...
Example 3...
Barbara Majsa of hypeandhyper.com interviewed the team here...
Have you tried Lynda.com? Here's a free ride...
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May 22
Illustration
Roman Mars, host of "99% Invisible, a tiny radio show" points us to the often sad state of city flags and leads us through, "the five basic principles of flag design and shows why he believes they can be applied to just about anything."
(That's our Richmond, Virginia city flag below. It features a silhouette of a person navigating a James River bateau—a river craft from the 1700s.)
Thanks to Wayne Belvin for pointing us to it.
Roman Mars: "Why city flags may be the worst-designed thing you've never noticed"...
He describes his radio show, "99% Invisible, as a tiny radio show about design, architecture and the 99% invisible activity that shapes our world"...
A list of 99% Invisible Radio Episodes...
Got you interested in vexillology? Flags of the World (FOTW) offers 58,000 pages about flags and more than 115,000 images of flags of countries, organizations, states, territories, districts and cities, past and present....
Have you checked out the new fonts at MyFonts.com?
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May 20
Illustration
Illustrators, photographers, graphic designers, printers—virtually all those associated with commercial imagery—have experienced a massive shift from paper to pixels in the last 30 years. But I sense we are seeing the beginnings of some settling back to legacy media as the dust settles and we recognize that digital screens are not necessarily the best hammer for every nail. (Especially considering the fact that, in most cases, digital erases any semblance of privacy.)
When you dig into how photographic and illustrative media have been used in the past, you can begin to conjure up some of the ways it might be modernized to work in the future.
Whether it's a conical mirror anamorphose, a lithophane transparency, or a myriorama picture-card, I think you'll find this amazing collection offered by Richard Balzer and Brian Duffy is a wonderful catalyst for ideas.
Example 1: A circle panorama...
Example 2: Shadow work...
Example 3: A phenakistoscope...
The Richard Blazer Collection website...
Balzer's blog...
From Wired: These Incredible Animated GIFs Are More Than 150 Years Old...
A video composed with works from the collection...
Looking for fonts? MyFont.com offers typefaces from most of the popular foundries in the world...
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May 11
Typography
In "The Confusion", novelist Neal Stephenson describes the physicality of handwriting, "The quill swirled and lunged over the page, in a slow but relentless three steps forward, two steps back sort of process and finally came to a full stop in a tiny pool of its own ink."
If you don't pay close attention today, you'd think that the fine art of writing by hand had all but disappeared. Not so. Lots of folks still maintain a beautiful hand, and people like Harald Geisler are going to keep us reminded of the richness of handwriting by reproducing the handwriting of the past.
In 2013, Harald Geisler captured the spirit of Sigmund Freud's hand, and now, he is working on a similar project to create a typeface that captures a sense of Albert Einstein.
Harald Geisler's Albert Einstein Typeface on Kickstarter...
In 2013 Geisler produced the Sigmund Freud typeface...
You can purchase the Sigmund Freud typeface here...
A few other faces in the same vein include Notera, Germinal, and Cezanne...
Geisler's website...
Try Lynda.com graphic design training videos for free...
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Apr 22
Typography
In or around 1987, having spent 30 years in advertising, designer Edward Fella retired from doing commercial work (almost entirely). He would become, what he called "exit level" designer. As he explains in a recent interview with Typeradio, "That meant I would no longer do and kind of professional, or commercial or remunerative work. But I would still stay in the profession, and just do personal work (but not client work), and teach and inspire, enable, help, everything for the next generation but not compete with them for jobs or money."
To that end, I think of him as more of an artist than a graphic designer. His typographic experimentation and collage work is an exercise in expanding the boundaries of a profession that, by its very nature, require lots of work within very defined boundaries. A little crazy before crazy was cool.
Three examples of his "exit level" work: Example 1...
Example 2...
Example 3...
Fella was a commercial artist between 1957 to roughly 1987...
Ed Fella's website...
Fella's bio (16.6MB PDF)...
The first of a two-part interview with Fella on Typeradio...
He designed two typefaces for the equally eccentric type foundry Emigre...
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Apr 20
Packaging
Illustrator and typographic designer Daniel Pelavin points us to an exhibition of packaging and products produced under the tutelage of Victor Vaissier in the late 19th century.
Now, having read a good deal about Victor Vaissier I remain unsure if he was himself a designer, or if the Victor Vaissier packaging was create by a staff. Clearly, even if he did not have a hand in its design, Vaissier had an eye for it.
On Wikipedia, under the Trademark listing, I read that, "The first modern trademark laws emerged in the late 19th century. In France the first comprehensive trademark system in the world was passed into law in 1857 with the 'Manufacture and Goods Mark Act'." It occurs to me that Vaissier's products must have been among the first branded for consumers in ways similar to current branding practices.
Daniel Pelavin's post from Drawger: Victor Vaissier, Le Roi du Congo...
An in-depth look at Vaissier's business, an extensive collection of its packaging, Vaissier's castle, and his life...
A letter provided by the City of Roubaix Digital Library (Bibliotheque Numérique de Roubaix)...
In case you'd like to have an original, this seller on Ebay has a collection...
A post about Pelavin from 2010...
Free trial Lynda.com...
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Apr 17
Typography
In his recent talk on "The Reading Experience" from the Quo Vadis Editorial-Design Conference 2015, in Munich, Roger Black, seems to still be asking questions. And I find that terrifying. How, I ask myself, is a designer with my comparatively minuscule skill set going to discover the answers to contemporary design questions if a guy who knows more about publication design than any other designer on the planet, still hasn't nailed them down. Answers to questions as foundational as...
How do we keep readers reading?
What is a workable publication business model?
How do we make advertising work?
The reason, of course, people like Roger Black are who they are is because they are forever asking questions—not presumptive enough to think that they have all the answers. But, that said, I sure wish we (collectively), had a clearer idea of where publication design and all other things digital, were headed.
Roger Black on "The Reading Experience"...
Don't know Roger Black? (Seriously?)...
His Twitter feed...
Black, of course, co-founded Font Bureau with type designer David Berlow...
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Apr 10
Typography
In some ways, type design looks easy. Then you look at the curriculum vitae of Laura Meseguer, a type designer from Barcelona, Spain and teacher of Advanced Typography at Eina Escola d'Art i Disseny, and you begin to appreciate the knowledge and skill necessary to make it look easy.
I like that most of her work is casual looking, but has a professional finish to it. There is seemingly, nothing out of place or added without reason.
Laura Meseguer's CV (300KB PDF)...
Example 1...
Example 2...
Example 3...
The Laura Meseguer website...
Meseguer also contributes typefaces to the Type-Ø-Tones digital foundry...
She also has some fonts on Myfonts.com...
Meseguer's Pinterest feed...
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Apr 1
Marketing PR
I don't get how this is effective.
Who recommends that their client go around bad-mouthing and demonizing its competition? It makes Taco Bell look manipulative and angry. "We can't compete so let's berate the leader." (I assume MacDonald's is the leader.)
I believe this kind of stuff, ultimately, becomes intertwined with the brand that creates it. That after people see the message a few times, that they'll start associating the negative imagery with Taco Bell as much as they do with MacDonald's.
Obviously, Taco Bell's agency wants to position it as the little guy, the David who slays Goliath. But that seems like a pretty tough spot to grab when you're part of Yum! Brands (KFC, Pizza Hut, Taco Bell, and others) and you have 6000 Taco Bell restaurants.
Demonizing MacDonald's...
From Adweek's Ad of the Day: Taco Bell Launches Cold War Against McDonald's With Propaganda Imagery...
Stats on Yum!, Taco Bell's parent...
In case you're interested, I buy most of my fonts from MyFonts.com. (A little tip: Look closely at the listings, some include one or two weights or widths you can add to your cart for free)...
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Mar 30
Typography
I have a copy of this book and have always thought I'd get around to scanning it and putting it online. Thank goodness David Armstrong at Sevanti Letterpress beat me to it.
Here, in all its glory, is what some consider the "culmination of specimen printing,"—1148 pages of typefaces, typeface accessories, printing equipment, and insights into the era.
Sixty thousand copies were produced at a cost of three hundred thousand dollars and they said, "The opinion is ventured that in no other work of such magnitude can there be found as high a degree of good craftsmanship—an incentive to all who study it.
The 1923 American Type Founders Company Specimen Book and Catalogue...
About digitizing it...
A Wikipedia article about American Type Founders...
Others have digitized earlier and later versions (via Wikipedia): The 1896 ATF Specimen Book...
1897 ATF Specimen Book...
1900 ATF Specimen Book...
1912 ATF Specimen Book...
1917 ATF Specimen Book...
1934 ATF Specimen Book...
Free trial Lynda.com...
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Mar 23
Illustration
Hindi Film cinema, often referred to as "Bollywood" (some consider the term demeaning) has, like the U.S. film industry, created movie posters since the early 1900s. I'm fascinated not only by the subjects, but by the diversity of designs and illustration techniques.
I have no clue what the films from these examples are about, I just love the artwork. Perhaps some of my Indian friends will share their thoughts on how this type of work figures into India today.
Interested? Below are some examples and few links to whet your appetite.
Example 1...
Example 2...
Example 3...
Here's a large collection on Pinterest...
From the New York Times: Hindi Cinema, in Poster Form, at a Mumbai Shop...
Indian Hippy is a collective of old-school movie poster artists and billboard painters in India who, among other things, will create a poster on a subject of your choosing...
In case you're interested, I buy most of my fonts from MyFonts.com. (A little tip: Look closely at the listings, some include one or two weights or widths you can add to your cart for free)...
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Mar 16
Typography
On the 500th anniversary of his death, there is some recent recognition of printer and innovator, Aldus Manutius. (Also, of course, the namesake of the Aldus Corporation, developers of the PageMaker desktop publishing program, and others, that were folded into the Adobe suite of tools when the two merged in 1994.)
Who created the first italic typeface? In her article on Aldus and the exhibit from the New York Times, Jennifer Schuessler tells us...
"Most of Aldus's contributions to the art of printing are more subtle, like that first italic typeface, which he created with the type cutter Francesco Griffo, a shadowy fellow who broke with Aldus acrimoniously and then slugged a man to death with an iron bar before reputedly meeting his own demise at the end of a hangman's rope. Italics, which were intended to mimic the humanist handwriting of the day, first appeared in a modest five words in a 1500 edition of the letters of St. Catherine and soon spread to other Aldines, and beyond."
Thanks to Roger Black for pointing us to it.
The exhibit, "Aldus Manutius: A Legacy More Lasting Than Bronze," is at The Grolier Club in New York City...
In case you're in New York City, the exhibit runs through April 25, 2015...
About the Grolier Club...
A Tribute to the Printer Aldus Manutius, and the Roots of the Paperback by Jennifer Schuessler at the New York Times...
From John Hockenberry's The Take Away, a discussion about Aldus Manutius: The Steve Jobs of the Renaissance: Meet The Man Who Set Books Free...
Yes, there is an Aldus typeface...
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Feb 25
Illustration
I'm sure millions of folks who watched the Oscars last week paid no special attention to the graphic design of the title sequences used to introduce nominees. In a case like the Academy Awards, with so much visual imagery, graphic design is like the soundtrack of a movie—you might not notice it, but without it, you'd certainly sense that something about the experience was missing.
But I'm guessing most of the folks reading this, couldn't help but notice the 2015 title sequences, created under the guiding hand of Henry Hobson—they were stellar.
Thanks for Chris Miller for pointing us to them.
This year's Best Picture Oscar Nomination Title Sequences by Henry Hobson...
2015 Production Design Nomination Title Sequence...
Partial of the original screenplay frames...
Hobson's bio from IMDb.com...
Also from his portfolio: The Walking Dead title sequence...
Hobson's website (and portfolio)..
An interview with Slate...
Looking for interesting typefaces? I buy most of my fonts from MyFonts.com. (A little tip: Look closely at the listings, some include one or two weights or widths you can add to your cart for free)...
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Feb 23
Graphics Tech
Just kidding—it has always had color. But, believe it or not, it once did not have layers or history. And I recall, with some degree of pain, how long it took me to simply grasp the concepts involved in making the transition from analog to digital in the late 80s and early 90s.
This month we celebrate the 25th anniversary of Photoshop—along with programs like PageMaker, among the most world-changing software applications yet invented. Desktop publishing certainly, completely redefined graphic design, typography, printing, and photography.
To celebrate, let's take a look back...
A history of the Photoshop icon...
The Photoshop toolbar (via PetaPixel)...
The Photoshop splash screen...
An interesting thread from Reddit—Thomas Knoll (who co-founded Photoshop with his brother John), discusses Photoshop and how it has affected his life over the last 25 years...
From Adobe, a post on the anniversary from the Photoshop blog...
About Photoshop in architecture (via ArchDaily.com)...
An in depth tribute by Lynda.com...
From the Computer History Museum: Adobe Photoshop Source Code...
Need help with your grammar (who doesn't)? Try Grammarly for free...
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Jan 30
Illustration
Two things that strike me about Gemma O'Brien's work: First, I love the diversity of the techniques she uses—she seems willing to try anything. Second, I greatly appreciate the fact that so much of her work is done live, at full size. I think that brings a different dimension to it.
Example 1...
Example 2...
Example 3...
A video featuring Gemma O'Brien...
And on Instagram...
If you're looking for an e-commerce solution, I have used and highly recommend Big Commerce. Sign up here and I earn a small commission...
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Jan 12
Copywriting
There are lots of text tools online. Those that compare two different versions of your text and point to the differences, sort lists alphabetically, by word order, and length, that remove duplicate lines, that number each line, and so on.
That's just a glimmer of the possibilities. If you ever perform some form of tedious manual text edit and think, there must be a better way, these handy text tools prove there is.
TextMechanic.com includes a long list of basic text tools and so on...
DiffNow.com lets you compare two different blocks of text and highlights the differences...
Unit-Conversion.info does a little bit of everything...
If you're looking for an e-commerce solution, I have used and highly recommend Big Commerce. Sign up here and I earn a small commission...
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Jan 7
Marketing PR
I don't need to tell you how sophisticated wedding design has become. What gets's designed? Well, for starters: The invitations, the dress, the ring, the cake, the flowers, the photographs and videos, and that's just the obvious stuff.
The annual number of weddings in the United States is 2,077,000 (CDC, National Survey of Family Growth) and the wedding industry is measured in the tens of billions of dollars. That spells opportunity for folks who specialize in storytelling. And storytelling is what weddings are all about.
Have you considered how you might get your piece of the cake? Have a look at a few of these sites and think creatively.
Once Wed features "the world of unconventional weddings"—one of many wedding resource sites...
Lucky Luxe, among other pieces, designs and prints invitations in the vein of, what they term, "couture correspondence"...
Vogue Magazine named Mindy Weiss as one of the top wedding planners...
Another planner featured by Vogue is Easton Events...
Some recent stats...
After all this time, as many times as I've watched this video, I still get choked up by its pure happiness...
To my way of thinking, Lynda.com is one of, if not THE best way to learn the tools of the design trade. Sign up for a month and tell me what you think...
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Dec 31
Web Design
I am enthralled with the design of MailOnline, the world's most popular online newspaper website. It was designed by London based creative agency Brand42 for Associated Newspapers Ltd, is part of the Daily Mail, and is said to have generated revenues over 90 million dollars in 2014.
The Design Business Association (UK) annually presents the Design Effectiveness Awards using commercial data as a key judging criteria. MailOnline was the recipient of its top prize in 2013, the Gold, Grand Prix Award.
Below is a look at the site and insights from a case study published as part of the Design Effectiveness Awards. Clearly, key to the sites effectiveness are the long-form headlines and lead-ins, the bullet point summaries that precede each article, and the abundant illustrations and images.
Those mechanics, of course, are just supporting players to the real star of MailOnline, the tremendous amount of fascinating information written and aggregated by the newspaper's staff and its contributors.
Here's an article about the website from the DBA Design Effectiveness Awards, ...
A sample article...
The Mail Online US Home page...
The By the Numbers page—Mail Online website statistics...
MailOnline: Designing a global success (2.9MB PDF)...
The folks who designed the site are Brand42...
To my way of thinking, Lynda.com is one of, if not THE best way to learn the tools of the design trade. Sign up for a month and tell me what you think...
While you're here, subscribe to my Design Briefing--all things design delivered to you via email twice a month...
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Nov 17
Learning
Michael Bierut is, by all measures, a highly successful, well respected designer. So when he was commissioned by MIT Media Lab to remake its popular identity scheme, you'd think it would be a sure bet that he would produce something interesting and innovative.
But this one leaves me cold.
While a grouping of the marks might generate some visual interest, I wonder about, for example, the Social Computing group's mark (below). When the dust settles and they are left to deal with their particular piece of the larger puzzle, I can't help but think they'll find it difficult to reconcile. Do you disagree?
Some of the parts...
From fastcodesign.com: Pentagram's Michael Bierut Rebrands The MIT Media Lab...
More discussion via Brand New at UnderConsideration...
By the way, here's a nice new handwritten typeface called CoalhandLuke...
While you're here, subscribe to my Design Briefing--all things design delivered to you via email twice a month...
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Nov 3
Reference
If you have the occasion to design signage, you have probably searched for the hardware used to display it. I happened on this resource recently and thought you might be interested.
So, for example, I could design a corrugated plastic sign and have two copies printed for roughly $75 (plus shipping). Then purchase an Blank A-Frame Folding Sidewalk Sign to hold them (one on each side). Total cost, roughly $200 (plus shipping).
For the right client, that's very cost effective marketing.
Sidewalk signs and sign stands...
Banner brackets...
Sign blanks...
The Sign Bracket Store website...
The parent website is Hooks and Lattice (pretty interesting too)...
If you're looking for an e-commerce solution, I have used and highly recommend Big Commerce. Sign up here and I earn a small commission...
While you're here, subscribe to my Design Briefing--all things design delivered to you via email twice a month...
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Sep 19
Typography
I don't know about you but my penmanship is awful. A decade or so ago, my brother bought me a beautiful fountain pen that, lately, I'm almost embarrassed to use. Early in my career I wrote and sketched daily, now handwriting is a secondary skill.
As an devotee of good penmanship, my jaw dropped when I started going through the The Zaner-Bloser, Inc. / Sonya Bloser Monroe Collection at The Weinberg Memorial Library at The University of Scranton—it documents the history of American penmanship in the late 19th and early 20th centuries through a company that, "...prepared students for careers as penmen. Penmen often worked in business, preparing ledgers, writing correspondence and creating documents before the invention of the typewriter."
Example 1...
Example 2...
Example 3...
The Zaner-Bloser Collection is housed at The Weinberg Memorial Library at The University of Scranton ...
Zaner-Bloser is still around in 2014 teaching, among other things, handwriting...
An earlier post, What we can learn through the relationship between penmanship and typography...
By the way: I have used Build A Sign a couple of times in recent months (to create banners for a client). The quality of the product is is quite good and the prices, to me, seem almost unbelievable......
While you're in the neighborhood: Have you subscribed to my Design Briefing? The Briefing gathers a couple of weeks of these posts in one place and delivers them to you via email twice a month...
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Sep 12
Learning
This is an interesting idea. As explained in an AIGA Los Angeles interview, designer Michael Stinson started TypeEd because he thought there was a learning gap between design school and professional practice.
I point you to it (even if the courses it offers are not online) because I like the model (you might think of other applications) and I like the design of the website—the UI and the aesthetic.
Here's TypeEd...
Michael Stinson is the lead instructor at TypeEd...
That AIGA interview with Stinson...
Stinson is a partner at Ramp Creative—here are some examples of their work...
Some reviews of TypeEd from Yelp...
FYI: Need an E-commerce website? I have used and highly recommend Big Commerce...
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Aug 27
Print Design
I love to read someone who knows what they're talking about, talking about what they know. And you have only to read the first line of Robert Newman's credits to know you're going to learn something every time you read one of his reviews of contemporary magazine covers. He is currently a creative director and media consultant and formally, the design director of Real Simple, Fortune, Vibe, New York, Details, Reader's Digest, and Entertainment Weekly. (So what does he do in his spare time.)
These pieces are well worth your time.
An example of one of his cover reviews for Folio.com the magazine about magazines (print and digital)...
More, deeper, better, from Newman's own website...
In case you don't know Folio, here's the home page...
Lynda.com is a learning machine—one of, if not THE best way to learn about using the tools of the design trade. Click here and try it out free for a week.
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Aug 13
Print Design
I was in a shop recently, that specializes in paper ephemera, and I found an early advertisement (1910s) for an interesting contraption—a centrifugal cream separator. What does this have to do with graphic design? I think it's a pretty sophisticated example of a classic mail order ad. Note the letter within the layout, the "30 Days' FREE TRIAL," the "Double Guarantee," the mail-in coupon, and all of the wonderful copy.
I thought it was interesting enough that I would frame and hang it. In case you'd like a printout, the link is to an 11 x 17 inch version that I scanned in high resolution.
The Sharples Genuine Tabular "A" Cream Separator (8.29 MB PDF)...
Some history of the Sharples Cream Separator from West Chester University...
Lynda.com is a learning machine—one of, if not THE best way to learn about using the tools of the design trade. Click here and try it out free for a week.
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Aug 11
Print Design
Jeff Fisher points us to an article addressing the recent redesign of the packaging for the United States Postal Service.
I agree with the many others who prefer the revised versions. The originals certainly set the direction (and that designer should be credited for the theme), but the revised versions are, to me, more sophisticated, cleaner, and the typography is a step tighter.
Also, let's be realistic, there was never a chance the USPS was going to use those ominous-looking eagles. The designs are either a bit contrived or surprisingly naive in that sense. There are some brands that require a certain amount of restraint because of the scope of their use and the USPS would seemingly be the preeminent case.
From Fast Company: The Badass Postal Service Branding That Could Have Been...
From the designers, GrandArmy...
From Dieline: Before & After: USPS Priority Mail...
The USPS Priority Mail page...
In the unlikely event you are unfamiliar with designer Jeff Fisher, here is LogoMotives...
In case you're interested, I buy most of my fonts from MyFonts.com. A little tip: Look among these listings and you'll find that many of the typeface families include one or two weights or widths for free...
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Aug 4
Web Design
I came across a website I wanted to share with you and I thought I'd try something new: a quick show and tell. It's a simple-looking design but it has a lot of visual interest. And thats what its all about isn't it?
Show and tell: The Venables Bell & Partners...
The website...
Webtype.com...
FYI: Need an E-commerce website? I have used and highly recommend Big Commerce...
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Jul 2
Ideas 101
A friend who teaches a college-level design course bought a walls-worth of small frames and invited fifty designers to contribute a piece of work. The idea being, to provide future students with nuggets of motivation and inspiration. This phrase, an opinion near and dear to my heart, is one I would like every young designer to hear. (I wish someone had told me early on.)
To that end, I have created a 8.5 by 11-inch sheet that includes the phrase and a few tips on keeping your solutions new and fresh.
Agree? Print it out and hang it up. Disagree? Print it out, hang it up, and throw stuff at it.
Commercial graphic design is NOT self-expression (45KB PDF)...
Lots of folks have commented on the article here...
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Jun 23
Print Design
Henry Voigt collects menus and tracks down the stories behind them on his blog, The American Menu.
As he explains it, "Menus aid our cultural memory. They provide unwitting historical evidence--not only of what people were eating, but what they were doing and with whom they were doing it; who they were trying to be; and what they valued. Deciphering the particular story behind each menu requires great sleuth-work."
As any designer will tell you, menu design in 2014 is a sophisticated marketing and design process. The collections of Voight and the Culinary Institute of America give us a look at the broad field from which modern day menus originated.
The menu collection of the Culinary Institute of America...
Example 1...
Example 2...
Example 3...
Henry Voigt's fascinating blog, The American Menu...
My earlier post, What graphic designers need to know about restaurant menu design--some preliminary research...
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May 14
Print Design
To create the best design, you've got to understand the scope of what is possible. I must admit I have not kept up with the changes in what is called, "grand format" printers. "Grand format" or "super-wide" printers are defined as those that print on substrates over 100 inches. One printer, the "Infinitus" built by Big Image Systems, is in fact, capable of printing a 40 by 150 FOOT seamless backdrop.
So, in the event you need a solution for printing very large images, here are some examples and resources to get you started. (Do not miss the Big Image Systems Flickr Photostream—it is certain to kick you into creative mode.)
A building wrap from Britten Studios...
The world's largest poster from Macro Art...
An example of a grand format printer...
The Flickr Photostream for Big Image Systems provides an array of large format printing examples that will knock your socks off...
Haha... while we're on the subject of re-thinking the bounds of imagery...
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Apr 30
Web Design
Here's a good example of how many small design decisions contribute to a subtle, but effective style. For example...
The navigation controls at the top right.
The "HERE TODAY" "GONE TODAY" text icons to the left and right.
The GIF animations.
The diversity of thumbnail accent images.
Nice.
Designer and illustrator Tyler Deeb's website...
And his product store...
About Deeb's Kickstarter project...
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Apr 18
Typography
He is best known for his iconic Rolling Stone nameplate but that, as far as I am concerned, is a mere footnote to his real contribution—typefaces including Modesto, Roswell, Poster Black, and so many others.
He's the real deal, a hand lettering artist whose work has the added dimension that comes with knowledge of the physical craft of typography—the composition of characters with pencils, pens, and ink.
Jim Parkinson interview, part 1 of 2...
Jim Parkinson interview, part 2 of 2...
The Parkinson Typo Design website...
Parkinson's typefaces...
Another biography...
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Mar 31
Print Design
It points to a story, reported last week, about 14-year-old student Suvir Mirchandani who published an article that the United States Government could save over $136 million per year by changing the typefaces it uses to Garamond. What surprised me was, when I mentioned the same on Facebook last week and it reached more people than any other post I've ever written.
What the on-air story failed to mention was, while it is a good idea on the student's part and a good reminder, that it was, by no means, a revelation. Having dug a little deeper, I found a large number of initiatives in and outside of government that address this very issue.
But what really piqued my interest was, how easily restating your case in a different context can so dramatically revive interest in a topic. It got me thinking about other issues and ideas that I could help clients recast in different terms.
Here is the original story followed some examples of what anyone can do to save money on paper and ink.
Thanks to Matt Hanna for pointing us to it.
The CNN report about student Suvir Mirchandani's article...
The article: A Simple Printing Solution to Aid Deficit Reduction by Suvir Mirchandani and Peter Pinko...
This report from the EPA demonstrates how to reduce the use of ink AND paper using a combination of reduced margins and line spacing, changes in fonts used and their size, using "shrink to fit," deleting advertisements from web articles, and so on.
From the Federal Electronics Challenge (FEC) (revised in 2012): Reducing Paper and Printer Ink Usage (383KB PDF)...
The differences between legibility and readability by Allan Haley at Monotype Imaging...
There's even a font designed to address ink usage —:"Ecofont" (I have not tried it)...
From 2009: Measuring Type...
PrintWise is a government-wide awareness campaign designed to help federal employees print less and make cost-cutting print decisions across the U.S. government through simple behavior changes...
The other side of the coin, from June of 2013: Consumer Reports points to the most efficient printers under the title, The high cost of wasted printer ink...
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Mar 24
Photography
A new royalty-free image collection has sprouted up that is offering, what looks like, a very attractive deal—it's called the Dollar Photo Club.
Membership, they explain, is simple: "...just $10 a month gives you unlimited access to our images, all royalty-free and available for any project or document with absolutely no limits on time, region, or print runs."
The collection is from Fotolia.com and includes access to over 25 million images. So far, I'm impressed by both the selection and the quality.
Thanks to Lee Garvey for pointing us to it.
The Dollar Photo Club...
The license details...
Fotolia.com...
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Mar 19
Typography
In the late 1800s, the new technology of the day, factory manufactured metal type, required hot metal, heavy machinery, and massive people power.
The Lanston Monotype Machine Company was founded in 1887 and was played a key role in the development of metal type--which, in turn, changed the very nature of the dissemination of information. The books, newspapers, and other collateral that factory-produced movable type made possible shifted the course of communication in ways so profound that we (in my never to be humble opinion) can no longer clearly gauge what the world would have looked like without them.
Here's an introduction to Monotype and an exhibit on it's history titled, Pencil to Pixel.
A 1950s aerial photo of the Monotype Works in Salfords, Surrey, England...
Pencil to Pixel...
Interview with typeface designer Robin Nicholas, a 50-year veteran of Monotype...
The Monotype website has a labyrinth of articles and information regarding typeface history and design...
The London exhibition...
The New York exhibition...
Monotype today...
Eye Magazine dedicated its No. 84 issue to Monotypes—a photograph from that issue...
Nice idea: They let you browse the issue before you purchase it...
An interesting, inside baseball discussion about the Monotype name...
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Mar 3
Typography
To me, what identifies a truly talented type designer is their ability to create organic-looking shapes and curves. Australian designer Bobby Haiqalsyah has a particular gift for creating compositions of letters and filigree that look as if they grew from magic ground.
Example 1...
Example 2...
Example 3...
Example 4...
Bobby Haiqalsyah's Website...
Haiqalsyah also maintains a wonderful Pinterest page called "Vintage Type"...
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Feb 26
Typography
Knowing who our decedents are, where they came from, what they contributed, and what their lives were like, to a degree, helps us put our own lives in perspective. The same holds true about understanding your craft—knowing some history about graphic design and some of the players has, to me, always seemed a worthwhile pursuit. When, for example, I look back at a particularly handsome nameplate for a magazine, knowing how it evolved potentially helps me identify the steps that might reveal ways of producing a similarly impressive outcome.
To that end, here is a piece of typographic news that is worth knowing, noting, and appreciating: Mike Parker died Sunday. If you have not heard the name, I hope the following parts and pieces will begin to help you appreciate the gravity of his life—and his influence on ours.
Thanks to my friends Jessica Mills Jones and David Frenkel for alerting me to the news. They have many good remembrances of their friend Mike's passion for the art and science of typography.
A remembrance from Cyrus Highsmith in the Font Bureau website...
Mike Parker, the Font God: A brief biography composed by Sibyl Masquelier...
An interview with Mike Parker from the Type Directors Club...
Mike Parker prepared this Starling series for Font Bureau...
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Feb 7
Marketing PR
To me, branding coffee is a lot like branding wine. There are lots of wine and coffee connoisseurs but there are also many of us who, all other things being equal, look for style and packaging.
So when a recent article from Roast Magazine listed the 10 most popular coffee shops in America, my eyes perked up. It's interesting to see how differently each company (the REALLY successful ones) markets its product.
1. Café Du Monde, New Orleans, Lousiana...
2. La Colombe Torrefaction, New York, New York...
3. Stumptown Coffee Roasters, Coffee Shop and Café, New York, New York...
4. Sightglass Coffee, San Francisco, California...
5. Four Barrel Coffee, San Francisco, California...
6. Blue Bottle Coffee, San Francisco, California...
7. Starbucks, Seattle, Washington...
8. Birch Coffee Coffee Shop, New York, New York...
9. 85°C Bakery Cafe, Irvine, California...
10. Intelligentsia Coffee, Chicago, Illinois...
The Roast Magazine article..
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Jan 31
Marketing PR
I was commenting that I wasn't "feelin" the graphics from the new H&R Block ad campaign. It is a rather plain-looking border (everything is "flat" these days) with a clown-like bow tie symbol. I not only didn't understand the style, I didn't understand the bow tie reference.
When others began to speculate what the bow tie might mean, my interest was piqued and I dug a little deeper. I discovered that, if you look close, that the spokesperson for the ads, H&R Block preparer Richard Gartland, is wearing a brightly-colored green bow tie in the four spots that make up the campaign.
And that reminds me of how important it is to avoid getting stuck in the account cocoon. Where you see the whole of what you're doing but others don't. Where you, because of your daily involvement, see nuance that the average viewer (who sees a single spot on one occasion) does not.
I forget where I heard this but it has always stuck with me: When creatives present full page newspaper ads to a group, they typically hang or project them on a wall. The problem with that is that standing six feet away from an ad and holding a newspaper in your hands 12 inches away is a very different experience.
My point is, we've got to continually remind ourselves of who we are trying to reach—who they are, where they are, what we can realistically expect they understand about our subject, and how involved they will actually, realistically, become in it.
The campaign...
Details about the campaign from Adweek...
The agency is Fallon...
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Jan 22
Ideas 101
What follows is a fascinating example of how one group of artist's pulled parts and pieces of the work that preceded them and recast it as their own. It is not about relative unknown, in this case it is a side-by-side, shot-by-shot comparison (by StooTV) of George Lucas and Steven Speilberg's "Raiders of the Lost Ark" and 30 other adventure films produced between 1919-1973.
My point is, questions of intellectual property are complex. When does borrowing become stealing? When is imitation, transformation? What is the difference between the idea and the expression of it?
StooTV's Raiders of the Lost Archives...
In a TEDTalk based on his book, Steal Like An Artist, Austin Kleon says, "There is no longer good art and bad art, there's just art worth stealing and art that isn't."
...
An aside, two more interesting, related links...
Some behind-the-scenes footage from a Japanese television production (NHK), The Pioneers of the Visual Revolution...
A massive collection of Steven Spielberg-related materials...
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Jan 20
Typography
The creative world is not without its controversies. Design is opinion and those who have strong opinions often disagree.
But I was surprised to learn of the lawsuit type designer Tobias Frere-Jones has filed against Jonathan Hoefler for, "not less than $20 million."
The name of (arguably) the world's most prestigious type foundry is, "Hoefler & Frere-Jones." Though the name would lead one to believe it was a partnership between its principals, it evidently is not. And that, as it turns out, is the rub.
I am certain of one thing: on the face of it, Jonathan Hoefler looks very bad...
Google Search (01/18/2014): "Jonathan Hoefler" about 28,100 results; "Tobias Frere-Jones" about 39,200 results
The Complaint...
Hoefler's attorney responds...
Tobias Frere-Jones on Wikipedia...
Jonathan Hoefler on Wikipedia...
The New York Times: Typography Partners Part Ways in Money Fight...
My most recent post about the firm...
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Jan 13
Typography
Matthew Butterick, the author of Typography For Lawyers, Essential Tools For Polished & Persuasive Documents, has published a second book for a wider audience titled, Butterick's Practical Typography.
In its Forward, type designer Erik Spiekermann explains, "A few hundred years of type and typography have established rules that only a fool would ignore. (Or a graphic designer keen to impress his peers.) For all those who need to communicate clearly and even add a modicum of aesthetic value to their messages, this publication provides everything you always wanted to ask but didn't know how to."
I point you to it because I think it is a solid, straightforward text for learning the fundamentals of type composition and a useful introduction to Butterick's particular, workman-like approach to design and usage.
It would be particularly useful to anyone who has an interest in typography but not a lot of experience with it. And to those who write, edit, and compose pages for publication online or in print who want to learn some of the basics do's and don'ts.
Though the book is free to access, the author asks for a donation (yes I did).
Thanks to Russ Mitchell and Cool Tools for pointing us to it.
Butterick's Practical Typography...
We would all do well to point those who don't know anything about typography to this chapter: Typography in ten minutes...
An earlier post about Matthew Butterick...
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Jan 6
Print Design
Promotional/retail signs are a real design challenge. When you're charged with attracting the attention of folks driving by a business on a very busy road, you've got to strip away all the pretense.
This article by Robert Wilson for Psychology Today points to the simplicity of the concept necessary to produce a effective sign.
(To be precise, I realize billboards and signs can be different animals, but often, the content and visibility basics are similar.)
The Perfect Ad...
SignsNow.com offers a good overview of signage basics including...
Letter height/visibility calculations...
Color and contrast guidelines...
The United States Sign Council offers the Sign Legibility Rules of Thumb (875KB PDF)...
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Dec 30
Books
There are countless paths to mastering the arts of marketing and graphic design—I know of at least three: via the classroom, through a mentor, and on-the-job.
In the classroom, a teacher uses their knowledge of the subject, a curriculum, and supporting materials to lead you through theories and explain practices. Ultimately, you find a job and use what you are taught as a foundation for figuring what works and what doesn't and building your own mix of practices.
You learn from a mentor by going to work for a design studio, an advertising agency, or some other entity. The individual or the group that leads it, presumably, has already built a repertoire of practices that you ultimately amend and adopt as your own.
Perhaps the most challenging way to learn about marketing and design is on-the-job (to work on the engine while it's running). In this case, you are thrust into real marketing situations and invent solutions in response to the problems you are presented with. Ultimately, through trial and error, you cobble together what works for you and your clients. It's a tough, long-way-around learning process, but the fact that your ideas are proven by experience gives you the confidence that comes with that type of certainty.
Today I want to point you to a book and website produced by a designer who learned his craft that last way, on-the-job. His name is Dan Antonelli and the name of his book is Building a Big Small Business Brand. I point you to it for two reasons. First, because it offers a thoughtful look at small business branding, and second, because he provides an excellent model for promoting and selling marketing and design services.
First, the book.
As I said, Antonelli learned his craft on-the-job and Building a Big Small Business Brand is a blueprint for what, he found, works for real clients in the real world. His primary message is this: In small business branding, the logo is the hub around which all marketing revolves. The book presents a smart, clearly explained approach to branding that should be required reading for anyone planning to open a small business (or turn around a failing one).
"Most businesses make a critical error," he explains. "They never really consider a brand or logo for their business, they don't understand how important it is, so they opt for the expensive way to move forward. They've exhausted most of their funding on equipment, rent, furniture, etc. Ironically, they've spent all their money on getting into business, and they have little left to actually market their business."
The book lays out broad, foundational ideas, discusses specific approaches to naming, logo design, and branding, cites real-world marketing case studies, and explains how and where to get help.
Secondly, and what I think other graphic designers and marketers will find particularly interesting, is how Antonelli's uses the book and his website to promote his studio's design and marketing services.
The book presents the studio's philosophies, reveals its process, and shows examples of its work—and the web site fills in the details (displaying the book prominently throughout). I'm not suggesting that every designer or marketer need write a book, but when you view it as a package, you'll see the value of how the book and the website are used together to establish credibility and attract new business.
A free preview of the book...
The Graphic D-Signs website...
You can purchase the book here: Building a Big Small Business Brand...
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Dec 18
Illustration
David Plunkert is a guy who likes to mix it up. Unlike most illustrators, I'd be hard-pressed to guess that one illustrator created all three of the examples I'll point you to. Yet he seems to have perfected each medium.
Example 1...
Example 2...
Example 3...
Plunkert's website home page...
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Dec 11
Copywriting
I met another designer online today and immediately pointed to a typo on his website. Yes, I know it's obnoxious, but as I've always said, I'd rather find out sooner than later. Fortunately, I believe he felt the same way.
It reminded me of a campaign that ran a bunch of years ago for a large state economic development agency. They ran a series of ads in business publications, I believe multiple times, before someone noticed that, in the headline of the ad, the name of the state had been misspelled.
What was so extraordinary was the no one seemed to notice. Perhaps an indication of the quality of the ad's impact. Perhaps one of those quirky typos that your brain fixes automatically. In either case, I doubt the account executive enjoyed making that call to the client.
Someone mentioned recently, the technique of reading text backwards for proofreading purposes which prompted me to search out a more comprehensive list of tips. Here are few useful style and proofreading resources I found.
A good list of proofreading tips from Philip Corbett, the editor in charge of The New York Times style manual...
Proofreader's marks from The Chicago Manual of Style...
Guidelines for proofreading from Purdue Online Writing Lab...
Some definitions of proofreading from the Society for Editors and Proofreaders (UK)...
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Dec 2
Copywriting
Back in the 1980s, International Paper ran what remains one of my favorite advertising campaigns of all time: The Power of the Printed Word. It was, at once, informative, interesting, and featured input by celebrity-status experts at the top of their game.
You'll not only find it interesting reading (the copywriting is exquisite), you'll doubtlessly find some excellent ideas for structuring and presenting your own information.
The Power of the Printed Word series:
How to make a speech by George Plimpton
How to write a resume by Jerrold G. Simpson, Ed.D.
How to spell by John Irving
How to enjoy poetry by James Dickey
How to read an annual report by Jane Bryant Quinn
How to enjoy the classics by Steve Allen
How to use a library by James A. Michener
How to write with style by Kurt Vonnegut
How to write clearly by Edward T. Thompson
How to improve your vocabulary by Tony Randall
How to write a business letter by Malcolm Forbes
How to read faster by Bill Cosby
The entire series in PDF form (4.2MB PDF)...
When Doubleday published the campaign in book form, the New York Times, in this article detailing its creation (1985), pointed to the fact that the campaign had generated requests for 27 million copies of the ads...
PaperSpecs.com provided the PDF...
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Nov 28
Basic design
I am an affiliate of several services. If you use these links to make purchases, I get a small commission. Thanks in advance for your support.
Nov 20
Shopping
Design is everywhere. Sometimes it's obvious, sometimes not. Clearly, one of the places that regularly develops, fosters, and establishes all manner of design is the motion picture industry. From the storyboards, to the posters, to the props, to the costumes, and beyond—the industry has long been a harbinger of design change.
So it is with wide-eyes and a touch of envy that I share an opportunity some will have next week to own some truly iconic motion picture design pieces by way to an auction curated by Turner Classic Movies.
Unfortunately and fortunately, it is all clearly out of my league.
What Dreams Are Made Of, November 25, 2013....
The auction catalog (9.5MB PDF)...
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Nov 18
Print Design
Herman Miller has been issuing a yearly report (since 2006) that addresses its efforts on the fronts of environmental performance, inclusiveness and diversity, health and
well-being, and community service. It is titled, "A Better World Around You."
I point you to it because it struck me as a particularly elegant solution. It features a series of bold, iconic illustrations created by Brent Couchman.
The web page...
Herman Miller's A Better World Report (3MB PDF)...
The illustrator is Brent Couchman...
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Nov 13
Web Design
At the risk of hurting your brain (this kind of stuff sometimes hurts mine), I point you to Adobe Web Platform team's blog.
As they explain it, "The Adobe Web Platform team is committed to providing better features for the web by working with the community to develop new standards and make them possible by contributing to Open Source projects such as WebKit and Chromium. We're just one of the several teams working on some amazing Open Web technologies at Adobe."
Adobe explores the future of responsive digital layout with National Geographic content...
An overview of Adobe's involvement in the web...
And Adobe & HTML...
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Nov 4
Typography
To me, though he looks like a fairly young guy, Matthew Tapia is an old-school lettering artist. The best way I can think of describing it is, though it has a feeling of being free-form, when you look at it closely, his work is methodically organized.
Example 1...
Example 2...
Example 3...
Tapia's Tumblr page...
And his Dribbble page...
A few photos of Tapia at work...
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Oct 30
Ideas 101
It's called Niice and it is a search engine for creative inspiration. I've played with it for a while now and am impressed by the quality of what it finds.
As the designers of Niice explain it, "The internet is full of inspiration, but since Google doesn't have a 'Good Taste' filter, finding it means jumping back and forth between blogs and gallery sites. Niice is an inspiration search engine, letting you search across multiple hand-picked sources (Behance, Illustration age, Designspiration, SiteInspire & Fonts In Use for now, but we're working to add more)."
By the way, I very much like the idea that the sponsor of the site is given top billing at the top left, just below the search window.
Example: Here are the results for a search of the word "cheese"...
Niice: The creative inspiration search engine...
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Oct 28
Learning
Essayist and cartoonist Tim Krieder struck a blow for creatives Sunday in the New York Times. As he explains it, "People who would consider it a bizarre breach of conduct to expect anyone to give them a haircut or a can of soda at no cost will ask you, with a straight face and a clear conscience, whether you wouldn't be willing to write an essay or draw an illustration for them for nothing."
As of noon Sunday there were already over 400 comments, including this gem from Max Alexander: "With every new book I write, the publicist of the moment earnestly advises me that the best way to get publicity is to do lots of free blogging and tweeting. Then she sends me a bill."
Thanks to Jessica Mills-Jones for pointing us to it.
Slaves of the Internet, Unite!...
Tim Kreider's website...
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Oct 23
Web Design
And we know that rarely happens. But I l-o-v-e the new interface and design of Square Cash. It is a new service offered by Square Inc.—the folks who make Square Register, the device and app you've seen being used for completing credit cards transactions using an iPhone.
Square Cash allows you to transfer money from your debit account to another person's debit account—for free. Yes, for free.
Square's Creative Director is Robert Andersen, formerly a product designer at Apple. I must say, I admire his ability to oversee a project of this magnitude and arrive at such a simple-looking solution. Stand by, I've asked who should be credited with the design and I'll share it with you when (and if) they share it.
In the meantime...
Square Cash...
A measured assessment of the service by Walt Mossberg, the Personal Technology columnist at the Wall Street Journal...
Square Inc...
Andersen's Dribbble page...
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Sep 30
Learning
Look at history. The Hartman Center for Sales, Advertising & Marketing History in Duke's Special Collection Library, "Acquires and preserves printed material and collections of textual and multimedia resources and makes them available to researchers around the world."
Here's an introduction:
Duke Ad Access: An image database of over 7,000 advertisements printed in U.S. and Canadian newspapers and magazines between 1911 and 1955.
Ad Access...
They have an extensive collection of the personal papers of a growing number of advertising luminaries.
For example...
Ad Views: Thousands of television commercials created or collected by the D'Arcy Masius Benton & Bowles (DMB&B) advertising agency, dated 1950s-1980s.
Ad Views...
Emergence of Advertising in America: A database of over 9,000 advertising items and publications dated 1850-1920, illustrating the rise of consumer culture, and the birth of a professionalized advertising industry.
Emergence of Advertising in America...
Medicine and Madison Avenue: A database of over 600 health-related advertisements printed between 1911 and 1958, as well as 35 selected historical documents relating to health-related advertising.
Medicine and Madison Avenue...
ROAD: Resource of Outdoor Advertising Descriptions: A database of over 50,000 descriptions of images of outdoor advertising dating from the 1920s through the 1990s, pulled from four outdoor advertising collections including the Outdoor Advertising Association of America (OAAA).
ROAD: Resource of Outdoor Advertising Descriptions...
Outdoor Advertising Association of America Slide Library, 1891-1994: More than 11,000 images of outdoor advertisements and slide presentations from the Outdoor Advertising Association of America, the primary professional organization in the field.
Outdoor Advertising Association of America Slide Library...
There's plenty more. For example this Russian Posters Collection: A collection of 20th-century Russian posters spans almost the entire history of the Soviet Union (1917-1991).
Russian Posters Collection...
The home page of the Hartman Center for Sales, Advertising & Marketing History...
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Sep 18
Ideas 101
I received this email September 17th...
_______________________________________________________
"Hi there!
I wanted to get in touch with somebody I could compliment for this amazing site & blog - I love your demonstrated work, tips, tricks, and professionalism. I think it is absolutely amazing. In the topic of graphic design, I thought you should know that we, [company name], are having a Logo Design contest! This contest is viewed by us as a career-making opportunity for a freelance designer to potentially have their work seen nationally by millions of people on TV and on the Internet, driven by one of the largest advertisers in the country...plus the winner will receive $1,050.
I thought this would be a great opportunity to mention on your blog for your aspiring graphic designers and followers to see. This is such a big opportunity that it can't be missed! It started today, Sept 17th and ends on Sept 23rd.
Instructions are as such:
The logo should communicate that [company description].
Follow [logo contest website] to register for a free account and to post your design. For more information on [company name], please do not hesitate to visit our website (contestants are encouraged to do so, as well).
Best regards,
[Sender's name]
_______________________________________________________
My response...
_______________________________________________________
[Sender's name]
Excellent--perhaps [company name] would like to have a contest amongst new accountants to see who can do the best job of filling out its 2013 tax return (with $1050 going to the winner!) or maybe amongst fledgeling manufacturers to see who can come up with the best new product (with $1050 going to the winner).
Better yet, perhaps [company name] could change its business model. You and your competitors each complete a project [they provide an expensive product and service], the customer chooses their favorite, and the winner gets $1050!
"It's not the same thing," you argue?
It is. If you think a brand designer's time, training, equipment, software, office space, and so on, are somehow less expensive or less important than those of any other profession, you are simply mistaken.
Be clear: Such "contests" are not participated in by any designer who respects his or her profession and are not offered by any organization that appreciates and understands the value of excellence.
Sincerely,
Chuck Green
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Sep 16
Typography
If you're not a design nut, you might not understand why I'm doing a blog post about a letter of the alphabet. With that proviso, I gotta say, the cap "R" from Alcala Roman stopped me in my tracks.
It was designed by Damien Gautier and Quentin Margat of the French foundry 205 Corp. Just when I think its all been done, I am surprised by yet another typographer who discovers a new way of seeing a terminal, a bowl, a finial, a loop, and so on.
Thank God for diversity of thought.
Alcala Roman...
The Alcala Specimen book (3.3MB PDF)...
The 205 Corp website...
You can purchase it through myfonts.com, but it is on the expensive side...
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Sep 2
Print Design
While we're on the subject (Friday's post on the Sign Painter movie) here is a library of old school books and guides on the craft of sign painting.
A Textbook on Lettering and Sign Painting, 1902...
How to Paint Signs and Sho' Cards, 1920...
The Sign Painter, A complete system and set of lessons for beginners, 1916...
The Sign Painter's Guide, OR hints and helps to sign painting, glass gilding, pearl work, etc., 1871...
The Silent Sign Writer, A book devoted entirely to the art of sign writing in all its branches, 1903...
The Expert Sign Painter, A book of reference designed for the use of practical sign painters and letterers, 1911...
The Signist, A compilation of the most modern and artistic designs, valuable to sign writers, draughtsmen, designers, architects, engravers, etc., 1903...
Henderson's Sign Painter, A compilation of the very best creations from the very best artists in the their specialties, 1906...
The Expert Sign Painter, Second Edition, 1922...
Atkinson Sign Painting, 1915...
Art of Letter Painting Made Easy, 1888...
The American Sign Writer, 1877...
Strong's Book of Designs, A masterpiece of modern ornamental art, 1917...
Sign and Show Card Writing, 1899...
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Aug 28
Color
Among other things, Ruslan Khasanov dabbles in liquid calligraphy and studies of color. If you wonder where the next frontier of design is, or want to create it, you've got to experiment. I found Ruslan Khasanov's work particularly interesting.
Example 1: Pacific Light, a still frame...
Pacific Light video...
Example 2: Typography for Wired...
The full Wired post...
A recent interview with the designer...
Khasanov's website...
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Aug 16
Graphics Tech
Photoshop's Layer Style feature really has changed the world of design in profound ways. It makes it possible to simply copy and apply styles that instantly, fundamentally transform the artwork. It also makes it possible to create new effects by looking at how someone else as constructed a style and taking it a few steps further.
Thanks to my friend Chris Miller for pointing us to Graphic Burger, the home of Romanian designer and illustrator Raul Taciu who offers a growing collection of PSD layer style resources.
Thanks to Raul Taciu for sharing his expertise.
Here's one for generating long shadows...
And there are many more...
An article about the long shadow trend...
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Aug 14
Illustration
I got started on this little design journey when I came across a wonderful illustrated map titled, "A cartograph of Treasure Island in San Francisco Bay, Golden Gate International Exposition."
Which led me to an excellent Wikipedia article about the event and an immense collection images and print materials compiled by photographer and urban explorer, Jon Haeber.
The exposition or "World's Fair," was going on at the same time as the 1939 World's Fair in New York and its primary purpose was, as I understand it, to showcase west coast products and companies.
I'm finding it provides lots of interesting retro design inspiration.
The 1939 World's Fair picture map...
An immense collection of print materials from the Exposition...
An antiquated film snapshot of 1939 California and the exposition from the Prelinger Archives...
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Aug 12
Ideas 101
This is a great example of how a designer with a specific set of skills has turned his passion into a business. Simon Vernon combines his artistic skills for drawing and painting with his understanding of surveying and mapping to create, print, and package illustrated maps of estates.
I don't know if he thinks of himself as a designer, but you can certainly see all of a designer's skills at work.
An overview of his practice...
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Aug 7
Typography
Lettering artist and designer Gunnlaugur SE Briem invited a long list of "letterforms practitioners" to contribute work samples and notes to The Briem Report, Letterforms 2012.
As he explains, the 250-page book, deals with everything from pyrography and stonecarving to low-resolution hinting and handwriting therapy.
More than anything, it will give you an idea of the many, many angles from which artists, designers, and technicians approach the world of typography.
The Briem Report, Letterforms 2012...
The ATypI (Association Typographique Internationale) website...
Another of Briem's books: Improve Your Handwriting...
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Aug 2
Illustration
Walk down the streets of most cities and towns and, if you've been around for a while, you'll note that something significant missing: hand-painted signs. If there are signs at all, they are typically flat, bland, digitally manufactured banners that seem to drone names and marketing messages in monotone.
I'm not saying all banners and vinyl lettering are bad, I'm just saying a sign painted by a talented sign painter has more soul.
So I was excited to receive a book from Princeton Architectural Press titled, Sign Painters by Faythe Levine and Sam Mancon. It offers a fascinating look at the craft of sign painting and features interviews with some of the most storied sign painters working today.
It is the prelude to the Sign Painter movie which is now touring to selected venues around the world.
The movie trailer for Sign Painters...
The movie website provides a schedule of where and when you can see the movie...
Sign Painters on Instagram...
Buy the book: Sign Painters by Faythe Levine and Sam Mancon...
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Jul 19
Print Design
This poster for Starbucks caught my eye. Why?
1. It drew me in. The large circle and then the white circle within a circle is almost a target. It led my eye to the message the poster is meant to communicate: riding a bike.
2. It juxtaposes nostalgia with modernism. The the modern layout with bold shapes and the smooth, extra-condensed typeface make it unexpected.
3. It uses shapes for emphasis. Note how the designer repeats the shape of the wheel. I particularly like the cropping of the large photograph—wheels within wheels.
4. It uses color in a literal way. I like how the poster is a half-filled cup of coffee.
5. It uses multiple types of images to add interest. There's the small, full-color (big) apple, the straight black and white photo, the high-contrast, diagram-like image of the smaller bike, the distressed, coffee-colored overlay, and the isolated logo.
Nicely done by IAAH / iamalwayshungry.
Describe pic link...
More pieces of the Starbucks Ride Share campaign...
The IAAH website...
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Jun 26
Graphics Tech
I was watching a news program the other day and it occurred to me how one-dimensional news set design seems to be. By that I mean there seem to be very few sets that don't look like the flight deck of the Star Ship Enterprise.
And that got me to looking. Here are some sources that will get you started at looking into this fascinating field. Whether it's the graphics used to represent specific stories or the design of the sets themselves, it would seem to be a burgeoning field for graphic designers.
It is certainly one close to my heart. I started my design career working at WTTG in Washington, DC creating the graphics for the 10 0'Clock News. It was, in those days, an exciting place to be. Not only because I was designing on the fly for the evening's newscast, but because I part of a newsroom team of dedicated writers, technicians, and talent that focussed on getting a one-hour program on the air every night—as you can imagine there was rarely a dull moment.
That said, the FX Design Group does some great work. Here are some of their set designs...
And here is a recent showreel for Giant Octopus, the motion graphics division of FX...
More examples from Renderon Broadcast Design...
If you're interested in the subject, another source, Newcast Studio...
What was it like for me? This article on Television New Graphics from a 1978 issue of Broadcast Programming & Production discussed the Vizmo rear projection system we used to present graphics in prehistoric times.
See page 12 for the article titled, Television News Graphics (4MB PDF)..
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Jun 17
Packaging
I'm not big on beer—anything that dulls your senses makes it more difficult to make sense of things. But that's just me. That said, it's fun to watch how the owners of an iconic brand like Budweiser periodically re-invent their flagship products. To that end, the latest incarnation of the Budweiser can takes on the shape of its bowtie logo. I like it.
(It helps that I'm a sucker for complex, medicine bottle-like package labels).
A video overview...
The Dieline did a nice piece on it...
The current bowtie design was introduced in 2011...
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Jun 12
Illustration
Apple announced a major redesign of it's mobile operating system a few days ago which is, in some ways, analogous to the changes in Windows 8 that Microsoft thrust upon the market last year.
They call it simplicity. And as we discussed with the Microsoft redesign, the goal it to find an alternative to what some see as the heavy-handed nature of a skeuomorphic interface.
Whether you like the changes of not (I'm good with it), it occurs to me that, in cases such as this, design has become a dictate. With many of us getting antsy about how much control the digital world is wielding these days, I wonder how long we'll accept having a major shift like this thrust upon us at the whim of the provider?
In any case, here is the new design and some discussion about it.
From Apple: The redesign of iOS 7...
The typefaces appear to from the Helvetica Neue family, perhaps UltraLight and Thin?
An analysis from Gizmodo...
We discussed the decline of the skeuomorphic interface last year...
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May 29
Basic design
Retailers of housewares and furnishings clearly have an enormous impact on the ever-changing design aesthetic. What people buy is, in large part, the vision of a designer—and the combination of decisions they make regarding functionality, materials, textures, color, and so on. People see a vision they like and adopt it as their own—and I believe graphic design is much the same.
I thought about the importance of such influences when I received the 2013 Restoration Hardware Catalog(s)—five parts, 1300-plus pages, roughly 8 lbs of highly opinionated design. Unlike some mass marketers, RH is not shy about asserting its vision, so much so that I suspect most who see it are either for it or against it.
I don't love it all, but I like lots of it. What intrigues me most about its most recent offerings is the "Objects of Curiosity" catalog. An eclectic collection of accent pieces, sculptures, and such. I don't recall ever seeing anything like it.
Restoration Hardware Objects of Curiosity...
Stephen Gordon founded Restoration Hardware in 1979, "...I put together photocopied catalogues of fittings and fixtures, hung a sign advertising, 'Restoration Hardware,' outside my house, and invited people in to look at binders and order things."...
Stephen Gordon's story
In 2001 Gary Friedman joined the company and, by at least one account, saved the company from bankruptcy. It would appear that Friedman was the one to cast RH's current creative vision...A profile of Friedman from the Wall Street Journal...
Another look at Friedman's tenure at Restoration Hardware from the New York Times...
The Restoration Hardware website...
For contrast, this is RestorationHardware.com in the year 2000...
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May 15
Print Design
Pretty interesting. StreetArt Agency out of Ekaterinburg, Russia has developed a corporate identity for Malina.am, a new Internet TV channel. The art director is Andrei Kolokolov.
Various elements of the identity...
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May 6
Typography
Louise Fili not only produces great work, she has a knack for hiring great talent — Jessica Hische got her start there. But today, I want to point you to a few projects produced by another terrific designer, John Passafiume.
First is a series of ten book covers art directed by Louise Fili and executed by Passafiume that commemorate the 150th anniversary of the unification of Italy.
The book covers and an interview with Fili...
An interview with John Passafiume from Method & Craft...
Describing his hand-drawn thesis, Passafiume explains, "I developed a debilitating case of Carpal Tunnel Syndrome heading into the spring semester of my senior year. I was forced off of the computer--faced with a difficult task of graduation without the crutch of technology. This prompted the hand-drawn (Process), which visually documents 700+ hours with a Bic mechanical pencil over the course of 90 days."
Passafiume's thesis titled "Process"...
About the making of a poster for the School of Visual Arts in New York City inspired by NYC subway lettering...
Passafiume's Website...
And his Dribbble.com page...
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May 3
Illustration
I suspect most designers have seen an episode or two of the AMC series Mad Men. It provides us with a pulp fiction-like look inside a 1960s, Madision Avenue advertising agency (hence "Mad Men") against the backdrop of a rebellious time in United States history.
Today I want to point you to a behind the scenes look at the making of the opening sequence to the show. As Cara McKenney, the producer of the piece for Imaginary Forces, puts it, "This was a new show and a period drama at that, with no-name actors, on a network with no success in developing original content."
The opening sequence was produced for AMC by Imaginary Forces...
Here's an interview with the creative team that produced the opening...
An aside: Sixties-era model Gita Hall May, whose image appears in the sequence, is suing Lionsgate for failing to seek permission to use it...
And while we're at it: A nice collection of behind the scenes photographs of the set and players by James Minchin III...
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Apr 22
Copywriting
I heart proofreaders and copyeditors. They have a tough, mostly thankless job — the very nature of which is to demonstrate, at best, how careless and inattentive their client is, and, at worst, how downright illiterate.
So, when I get a solicitation from a proofreader, my radar goes up and I scan it for any possible problems in the hope I might find something to point out. Not to be helpful, but to get some gut-level payback for all the times an editor or proofreader has made me feel like Cro-Magnon man.
It was the receipt of an email message from a proofreader last week that got me started. Horrors, I thought, they are using two spaces after each period! I dashed off an immediate reply, "Two spaces after a period? I exclaimed, "I thought those of us who have abandoned typewriters were using one?"
"It's just a style choice," replied the proofreader, "not actually incorrect."
"I understand," I said, "but it is clearly considered a mistake if you include it in text for publication. That would seem to be an important issue for a proofreader."
"As a designer," I explained, "if I had you proofread a document and you allowed double spaces, I would have to correct them myself or be corrected by an editor down the road."
If you doubt the near-universal application of the rule (and, god forbid, if you use two spaces yourself), you have only to look at any top selling publication from a major publisher. In a quick look, I couldn't find a single contemporary book or magazine with double spacing following a full stop.
Is this minutia? Yes, but it (momentarily) made me feel superior to someone who is doubtlessly more intelligent than myself. Of course now I will suffer the countless corrections of my grammar, punctuation, and veracity that are sure to follow.
Here, for you minutia men (and women), is some further discussion...
The Chicago Manual of Style...
The Modern Language Association...
Mignon Fogarty...
For the broad view...
Interested in the topic? Get The McGraw-Hill Desk Reference for Editors, Writers, and Proofreaders ...
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Apr 12
Photography
The Good Web Guide quotes the creator of this website, Chris Wild, as describing himself as a "retronaut" — someone who "goes back in time using just perception;" we travel in time he says in "that tiny, tiny moment, just before we grasp the fact that our beliefs are wrong."
I love the idea, but I love Retronaut.com more. Wild serves up what is, perhaps, the most intreguing collections of imagery I've seen on the web.
Thanks to Bonnie Larner for pointing us to it.
Example 1: Artforms of nature...
Example 2:The Beatles Sgt. Pepper's Lonely Hearts Club Band album cover shoot...
Example 3: Interior of the Public Library of Cincinnati...
The Retronaut.com website — note that the image displayed is often just the first of, in many cases, an entire collection...
An article about Wild from The Good Web Guide...
The concept and the piece from The Good Web Guide led me to a wealth of film ephemera on YouTube. I found this ride through San Francisco in 1900 particularly haunting...
But this is closest to what I think Wild describes as a "retronaut" experience — a wonderfully enhanced piece from England during the Edwardian era...
If, for some odd reason, you are unfamiliar with Sgt. Pepper's Lonely Hearts Club Band, buy this immediately...
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Mar 25
Basic design
Would you take a few moments to share your thoughts? I'd like to hear your answer to the question and I'd also appreciate it if you'd point me to resources — bloggers, professional organizations, studios, advertising agencies, and so on — that you turn to keep up with design trends in your part of the world.
To be clear, I'm not looking for international resources — my hope, instead, is to get an idea of what distinguishes, if anything, the graphic design business in your country from the United States.
There might be differences regarding technical details, measurements, religious or political influences, language and typography, legal restrictions on professional practices, pervasive color palettes, trends in design styles, particularly influential individuals or organizations, and so on. What are those differences? Where do turn to discuss them or learn more?
The reason I ask is I'd like to write an article examining this issue. Please send you answers to chuckgreen(a)ideabook.com and use the "Subject:" "design by country."
Thanks in advance for anything you're willing to share.
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Feb 25
Print Design
"Off Book is a web-original series from PBS Arts that explores cutting edge arts and the artists that make it."
The piece on graphic design, for example, features commentary from and work by design heavyweights Debbie Millman, Drew Freeman, and Steve Attardo. Trying to explain what you do to a non-designer? These five to seven minute pieces are a good place to start.
The Universal Arts of Graphic Design...
The Art of Web Design...
The Art of Creative Coding...
The Off Book homepage...
Debbie Millman's website...
Drew Freeman's website...
Steve Attardo's website...
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Feb 6
Typography
There are plenty of design lessons to be learned on this site dedicated to stills of motion picture titles. Designer Christian Annyas explains, "I've seen a lot of movies over the years. To prove I've sat through at least the first ten minutes of them I started making screenshots of the titles."
The resulting collection, which begins in the 1920s and extends through the current day, offers an interesting timeline of typeface design and period aesthetics.
An example of an early John Ford film, Prisoner of Shark Island (1936)...
The home page...
You may recall another title design collection we visited back in 2009 — The Art of the Title Sequence...
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Jan 18
Learning
An old discussion surfaced this week and I'd like to hear your opinion about it. The question being, is it necessary to recognize the trademarks of third-party brands in materials you create for your clients? (I'm talking about word marks here, not design images.)
First, a disclaimer: The content of this website is offered for informational and educational purposes only — it is not legal advice. I recommend you check into these issues for yourself before taking any action.
My understanding has always been that it is only necessary to recognize the trademark of a third party when there is the potential for confusion or misrepresentation. In that case you mark the text with a trademark declaration (TM), a registered trademark symbol (R), a service mark (SM), or one of the prescribed citations designated by the trademark grantor.
Yes, trademark owners would like us to help them build brand recognition by adding marks, but it is my understanding that actually doing it is more of a courtesy than a requirement.
As you'll see listed below, lots of organizations declare trademarks (TM) and many go to the added expense of register those trademarks (R) with the United States Patent and Trademark Office. They publish very strick-sounding rules about what you must do in order to use their word marks but the question is what are the actual legal requirements. That's where it gets cloudy.
Furthermore, when I do label trademarks, I was instructed a long ago that it was sufficient to mark the first or most prominent use of the word or words only.
That said, I'd like to hear how you handle this issue.
Trademark marking requirements from the International Trademark Association...
An in-depth discussion of the topic from The Cover Pages...
About the law: What is Section 43(a) of the Lanham Act?...
Examples of corporate trademark guidelines:
Apple...
Adobe (137KB PDF)...
Google...
From the International Trademark Association: A Guide to Proper Trademark Use (275KB PDF)...
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Jan 4
Learning
The controversial subject of designer certification has raised its ugly head once again. If this doesn't scare the heck out of you, nothing will.
"Not every well known designer has a formal education. Nonetheless, education is at the core of tackling the problems and challenges of our ever-changing world. A formal design education combines theory, history and design engaged with sociology, anthropology and the environment. Design should not be driven by aesthetics, but by a deep understanding of design principles, its history and the evolving practices and methodologies of our field."
That is the first of five proposed edicts that would earn you a capital "D" in your "Designer" title. A campaign christened as CertifyD proposed by Esteban Pérez-Hemminger at Pratt Institute.
Ironically, the first sentence points to the primary problem with entire argument: "...Education is at the core of tackling the problems and challenges of our ever-changing world."
First, no it is not. Formal education is certainly one way of learning some aspects of the design but it is by no means "at the core" of it. And the very nature of that statement demonstrates the obvious problem with certification: As soon as you allow someone to define what a designer is and does, you narrow the scope of those possibilites.
What the author has not yet discovered is that design is opinion, not a structured, hierarchal reality that can be articulated like algebra or law. Whether a particular designer is qualified to tackle a particular project — for a particular client, in a specific market, at a particular time — is easy to determine. The designer shows what they have done for others in the past and proposes what it is they can do for the new client in the present.
If proponents of certification think they can somehow insert themselves into that process and substantively improve the outcome by certifying the designer they are simply opening the door to corrupt the most rigorous of standards: the meeting, the portfolio, and the brief.
The edicts...
A video of the event: Designers are obsolete...
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Dec 19
Print Design
In the last few weeks a team of designers at the University of California have received a painful lesson in brand ownership. It's called "don't mess with my logo".
It's a fairly common problem: branding works. If you spend a lot of time and effort building one, you must understand that you can't just barge into the room and change the wallpaper. You've got to be diplomatic about how you make the transition. In some cases people simply don't like change. In others, a majority of those effected might not like the new solution.
In this case, it appears, the reaction was negative on both fronts. I even saw a comment from an internationally known type designer on one blog that simply said, "The new logo sucks" — that hurts.
The design aside, you'll see one seemingly silly, actually serious mistake was made in the video used to roll-out the design: they show the existing University of California seal unceremoniously wiped off the page. That was a very bad idea.
A monogram is "a mark composed of one or more letters". Ironically, in defense of the design it was later argued that it wasn't the seal that was being replaced at all, just the university's existing monogram. Oops. Ouch. Over.
The new monogram for University of California...
From Brand New...
A sample of the banter...
From the blog of Vanessa Corrêa, Creative Director at University of California...
The end of the new monogram for University of California: The brass bails out...
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Nov 28
Web Design
I want to point you to an interesting discussion on Quora about the ultra-simple design grid and tiles being used on Microsoft Windows 8 and within application interfaces created using its Metro design language.
It seems that increasing numbers of designers are abandoning the skeuomorphic-rich interfaces that have been so prevalent in the ramp up years of personal computing.
The term is new to me. In the digital world, a skeuomorph is an object the visually emulates an object in the physical world in the hope that the viewer will associate a similar action or feeling to it. In other words, a designer might use a three-dimensional button with shadows and reflections to communicate that, like a physical button, it begs to be pushed.
Why is Microsoft headed backwards with graphics?...
From Fast Company: About the Windows 8 redesign...
This NYT article points to possible design changes at Apple...
If you're interested in the nitty gritty...
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Nov 12
Typography
Adobe has taken another step on the web font front. First it acquired Typekit, a paid service that allows you to choose from a library of typefaces and easily apply them to your web pages. Now they have launched Adobe Edge Web Fonts, a free service that allows you to apply open sources typefaces in much the same way.
Adobe's first open source typeface family, Source Sans Pro, was released in August.
Adobe Edge Web Fonts...
The announcement...
How it works...
Source Sans Pro: Adobe's first open source type family...
Adobe's extensive conventional typeface collection is available here...
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Nov 7
Illustration
Adam Hill is all over the place — in a good way. I love how he is able to bring a very different look and feel to each of the pieces he produces. That, to me, is the mark of a truly talented designer.
Example 1...
Example 2...
Example 3...
An interview with Adam Hill...
Hill's website...
Hill's Flickr account...
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Oct 24
Illustration
The Present & Correct website is a thing of diagramatic beauty — is that a word? I particularly appreciate the thoughtful, unique layouts of the illustrations. But the products are interesting too — have you ever seen a circular wooden ruler? I hadn't.
Eraser Pick & Mix...
A Circular Wooden Ruler...
The Wood Atom Set...
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Oct 19
Illustration
This is fresh stuff no? Part of the value of studying the work of a talented illustrator and designer like Chris Jinkins is in parsing the work to identify what makes it tick. For example, in this case, I'm seeing some consistency in the use of similar line weights, earthy color palettes, an almost exclusive use of all caps type, and designs that all communicate a subtle sense of wit.
I'm not trying to box him in, just trying to see if I might find a formula to apply some of the same rules to a future project of my own.
Example 1...
Example 2...
Example 3...
A short video about the playing cards...
You can purchase the Monarchs Deck here...
Jinkins' full portfolio...
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Oct 17
Learning
This growing collection of video tutorial are designed and produced by two folks who know their stuff: interaction and product designer Russ Maschmeyer and letter and illustrator Jessica Hische.
Their idea is to provide a basic introduction to HTML & CSS for non-web designers. I point you to it for two reasons: First, you might want to show it to someone who is new to the process, and second, for the sheer value of the design and layout of the tutorials and website. They are clean, simple, and interesting to look at.
Describe pic link...
Jessica Hische's website...
Russ Maschmeyer's website...
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Oct 12
Typography
If you can get excited about proof that "highly assimilated letterforms increase ambiguity," hold on to your hat. Bryan Reimer, Bruce Mehler, Joseph F. Coughlin, researchers with MIT's AgeLab, "...have found that dashboard displays using the more open and differentiated lettering found in the 'humanist' family of typefaces are easier for people to read quickly than displays using the more uniform and tightly spaced letters of the 'square grotesque' style. Male drivers, in particular, can process messages in humanist lettering about 10 percent faster, on average."
Seriously, this is pretty interesting stuff. As we travel the amazing path new technologies afford us, it is this type of discovery that (ultimately) will improve communication on a visceral level. It will also, I think, create new classes of utilitarian versus aesthetic approaches to design.
Thanks to my friend Jessica Jones for pointing us to it.
An overview of the research...
The new release...
The white paper: An Evaluation of Typeface Design in a Text-Rich Automotive User Interface (4.3MB PDF).
I assume the term "humanist" refers to a classification of typefaces (devised by Maximilien Vox in the 1950s) that imitate early humanistic manuscripts)...
Frutiger is the humanist typeface tested...
Eurostile was chosen as the standard because it is often used in automotive applications...
Monotype Imaging sponsored the study. It owns Linotype which, in turn, owns the trademarks to typefaces such as Eurostile, Frutiger, Univers, and Helvetica...
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Oct 1
Learning
A few posts back I pointed you to a new forum for learning about integrated branding — here's another. This one, Google's Creative Sandbox, provides the names of people, the companies they work for, and the tools they used to create some impressive projects and campaigns. In this case you'll even find details such as the number of lines of code written, the number of photographs taken, and so on.
For example: A project for Herman Miller...
The Creative Sandbox website...
Creative Sandbox Submitter's Guide (291KB PDF)...
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Sep 26
Basic design
Though I believe it is important not to view one's self as a statistic, I thought these definitions and predictions from the United States Bureau of Labor Statistics were worth pointing to.
Graphic Design...
Art and Design Occupations...
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Sep 24
Illustration
I'd classify Colin Johnson as both an illustrator and an artist (it looks as if his commercial work is mainly editorial). I am particularly fascinated with his intricate, small collages (check out the page sizes). There's a link below that shows the process.
Example 1...
Example 2...
Example 3...
Johnson's website...
A step-by-step look at his collage process...
Johnson's advice for illustration students (aren't we all?)...
An interview with the artist...
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Sep 21
Ideas 101
The folks at Beakbane Marketing in Toronto, Canada are working to create a resource for the marketing industry: A site that will document some of the many pieces and parts organizations create to build their brands. Collateral, packaging, advertising (print, radio, TV, online), identity, and so on — the whole of which we think of as of the integrated brand.
As they explain it, "There are many sites on the Internet that show astonishing advertising or that show phenomenal online communications. Or clever corporate identity. Or beautiful products. But there are no sites that show how savvy managers are creating brands with a singular vision that are expressed coherently across diverse modalities."
The website is IntegratedBrands.org and you are invited to join in by adding your client's brand or another brands that interest you.
Here, for example, is how the tourism folk in Newfoundland and Labrador are developing the brand for their region of the planet...
Print advertising...
TV spots...
And so on...
The IntegratedBrand.org home page...
I've written more about integrated branding here...
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Sep 12
Print Design
This invitation from the Minneapolis, Minnesota branding firm Cue is, to me, full-strength design. Full-strength means it works on many different levels: the concept, the overall look and feel, the typography, the color palette, the diversity of patterns and shapes, and so on.
When it happens, it's a joy to see.
The Emerald & Ruby invitation for the Children's Theatre Company...
Two other examples of out-of-the-ordinary work produced by Cue — the first...
and second...
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Sep 7
Print Design
While we're on the subject of emblems (my last post) check out this glorious collection of bicycle head badges. Need some inspiration? I particularly like the wealth of ideas for integrating typography with imagery.
The Bicycle Head Badge group pool on flickr...
Example 1...
Example 2...
Example 3...
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Sep 5
Print Design
I really like these bold, old-school emblems designed by Richie Stewart at Commoner. They are not only distinctive, you can imagine how versatile this type of stark, on or off design is in everyday use.
Example 1...
Example 2...
Example 3...
The Commoner home page...
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Sep 4
Print Design
One of my clients, Click2Mail.com is sponsoring a sweepstakes with a major league prize — a 6-night trip to Paris! (You don't need to buy anything, just give them your name and address.)
The big idea behind Click2Mail.com is that you can create a direct mail piece (postcard, letter, booklet) and send it to your mailing list right from where you're sitting. For less than it costs to print and mail it conventionally.
You don't need a USPS business mail account, you don't label, sort, or drag boxes to the post office -- all you do is create a PDF and load it to your account along with your mailing list. (You can but lists through them too.) You can even personalize individual mail pieces with a process similar to "mail-merge".
They mail Standard, First-Class, Priority, Certified, and Reply Mail all over the US and now they're starting to mail directly into Europe through France (Maileva) — hence the sweepstakes. The only hitch is you've got to sign up now, it ends September 15th.
Win a trip to Paris...
How Click2Mail.com works...
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Aug 15
Typography
Here's beautiful custom typeface commissioned by creative agency Saturday from the pan-European design collective Underware. It, like many great typefaces by top typeface designers, was designed exclusively for use by a single client — in this case, MrPorter.com, a men's luxury-goods webshop.
If you have the resources, there's nothing quite so un-usual as a typeface that is your's alone. This one, to me, is particularly distinctive.
Mr Porter...
The typeface in use on MrPorter.com: Example 1...
Example 2...
Example 3...
The creative agency Saturday commissioned the typeface from Underware...
Thought this was interesting too... a media kit that explains the inner-workings of MrPorter.com (12.2MB PDF)...
These are some of the Underware typefaces you can buy...
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Jul 27
Illustration
Illustrator? Animator? Architect? Designer? Typographer? I'm not certain what to call Bradley W. Schenck. Instead, I'll just direct you to his web page labyrinth and you can decide for yourself.
The Celtic Art Works...
Thrilling Tales of the Downright Unusual...
The Toaster With TWO BRAINS...
The Webomator...
About Bradley W. Schenck...
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Jul 23
Print Design
There are two types of people in the world: Those who care about writing instruments and those who don't. Which one are you? If you can pick up a ballpoint pen without thinking about its design and functionality, you are far too sane and practical to care about this post — you may leave the room.
If, however, you are so obsessed, you will LOVE JetPens.com — and, by the end of this session, will have shelled out at least twenty or thirty bucks you hadn't planned on spending today. Sorry.
These are a few of pencils and pens I've purchased in the last few years.
My favorite: The Pentel Sharp Kerry Mechanical Pencil...
Uni-ball Alpha Gel Shaka Ballpoint Pen...
Retro 51 Tornado...
Zebra Tect 2way 1000 Drafting Pencil...
The home page...
I reviewed the Pentel Sharp Kerry Mechanical Pencil for CoolTools...
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May 28
Typography
I've have lots of favorite typefaces — Slippy, Minion, Myriad, Trajan, Giza, Griffith Gothic, and so on — but I found another to add to the list. It's from Jackson Cavanaugh and Okay Type and its name is Alright Sans.
Alright Sans strikes me one of those faces that effortlessly reflects the style you pair it with. It is, to me, a 2012 substitute of something versatile and authoritative like Franklin Gothic.
An example of Jackson Cavanaugh's lettering prowess...
Alright Sans...
A detailed specimen of Alright Sans (505KB PDF)...
The Okay Blog...
You can purchase it on MyFonts.com...
A web version of Alright Sans can be licensed through WebType.com...
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Apr 9
Basic design
Store Front: The Disappearing Face of New York is a book by Karla and James Murray, two photographers who have made a hobby of capturing the design of the one-of-a-kind storefronts that make New York City and the surrounding boroughs so distinctive.
When you think of it, a storefront is much like a page design: the store name is the headline, the store tag line is a subhead, the windows and doors are shaped like text boxes, and the myriad of logos and other imagery used as signage act as illustrations.
I find these photographs are a good reminder of the importance of distinguishing your client's brand from everyone else's. By that I mean, when you drive by a 7-Eleven or a Target or a Panera, you have a fairly good idea of what you're going to find inside.
As the world is homogenized there's a movement to homogenize design along with it. To create liquid layouts and non-specific designs that readapt themselves to the devices they are shown on. I want my client's website to work on a tablet, a smartphone, and a desktop, but to relegate the layout to a canned application surrenders a lot of what makes your branding unique.
There's a place for elasticity, but don't make the mistake of allowing your client's information to be interpreted as nothing more than data. Their "storefront", their unique design, creates some mystery and says and shows what they're about in ways others do not.
Example 1...
Example 2...
Example 3...
The author's website...
A video about the process...
The book...
Here's an example of a liquid layout...
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Apr 7
Illustration
Roberto de Vicq is clearly someone we can learn from. I can typically look at six or eight pieces from a particular designer's portfolio and get a pretty good feel for what they do. I relate their work to a particular genre or design and study it within that context.
But I find de Vicq's work difficult to categorize. He has an unusual, interesting way of communicating ideas that, to me, is both bold and elegant.
Example 1...
Example 2...
Example 3...
The DE VICQ DESIGN website...
And his blog...
De Vicq is the author of Men of Letters and People of Substance...
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Apr 4
Typography
Back in January, typeface designer Matthew Butterick sent a letter to film director Brad Bird chastising him about his use of the Verdana typeface for the subtitles of the film, Mission Impossible. Bird's response came in the form of a tweet and was dismissive: "...If you direct a big film on a tight budget & schedule, chances are fonts won't ever be your most pressing problem."
I can't think of an example that better illustrates the chasm between those who specify and apply typefaces without giving it a thought and those who find significance in the many ways typefaces, properly used, are used to clarify the communication of information and make it easier to read and digest.
Matthew Butterick, who is also a lawyer, is the author of Typography For Lawyers, Essential Tools For Polished & Persuasive Documents. Though it is clearly written for lawyers, most of the book is applicable to non-lawyers as well. As he states in its introduction, "If you ignore typography, you are ignoring an opportunity to improve both your writing and your advocacy."
Though much of the book is presented online we are told that about two-thirds, including many visual examples, specific technical instructions for specific word processing programs, and other segments are only available in the for purchase versions.
Though I do not adhere to every nuance, I certainly recommend you take a look. Matthew Butterick's book offers a valuable, compelling example of typographic mastery.
Thanks to Jeff Fisher for pointing us to it.
Typography For Lawyers, the Introduction...
Some excellent ideas on font substitution...
Before and after documents...
The front door to Butterick's website...
Sample pages (7) from the book (630KB PDF)...
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Mar 21
Ideas 101
Yes even graphic design is, at its core, as much science as it is art. Those who see design as a pursuit of style miss the point. Design is about solving problems, communicating ideas, moving people to take specific actions, immersing audiences into new experiences, and so much more.
If you want a sense of what a broad, important discipline design is, take a few moments to explore these links. They are both inspirational and challenging. Lots of us flounder around in an attempt to find our place in the wonderfully rich profession of design. I have no doubt there is a place for anyone with a passion for the creative process and an open mind.
Let's start with Paola Antonell, senior curator in the Department of Architecture and Design for the Museum of Modern Art. A few years ago, at the first 5D Conference she talked about design and science...
The 5D Conferences are about "immersive design" for narrative media (film, TV, and so on) and the construction of imaginary worlds. This is the conference website...
Organizations like OBLONG, think big — that's what great designers (and scientists) do. Instead of narrowing one's focus, their mission is to "fundamentally change how humans use computers". Design is a scientific discipline...
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Mar 19
Web Design
The Test Tube with David Suzuki is a rich, interactive experience produced by the National Film Board of Canada to promote The David Suzuki Movie. Follow the link, answer the question: "If you could find an extra minute right now, what would you do?" (any answer) and you're on your way.
I was particularly taken by the vibrant, film image of Suzuki on a bold black background. It's a particularly powerful example of combining photographic imagery with type and graphics.
The Test Tube with David Suzuki...
A further look at The David Suzuki Movie...
David Suzuki's story is one of many works produced by the National Film Board of Canada — "Interactive works, social-issue documentaries, auteur animation and alternative dramas that provide the world with a unique Canadian perspective." The main website...
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Mar 9
Print Design
Shaun Usher has done us the great favor of finding and curating a collection of interesting letterhead designs used by the famous, the infamous, and the organizations they represent. It's a fascinating look at how people and organizations perceive their brand.
(Ironic, Paul Rand's letterhead has no logo.)
Bride of Frankenstein promotional letterhead (1935)...
The Bauhaus letterhead (1927)..
Abraham Lincoln's letterhead (1860)...
Shaun Usher's Letterheady website...
His other website, Letters of Note, Correspondence deserving of a wider audience...
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Feb 17
Typography
If there's such a thing as a type expert's expert, Paul Shaw is it. Shaw has researched and written about the history of graphic design — with a focus on typography, lettering and calligraphy — for thirty-plus years.
To get you started, here are a couple of his articles from the American Institute of Graphic Arts (AIGA) website and links to his book and website.
The (Mostly) True Story of Helvetica and the New York City Subway...
Lettering Grows in Brooklyn...
About Paul Shore's book, Helvetica and the New York City Subway System
Shaws website...
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Feb 1
Basic design
Gene Gable is curating a virtual museum of design, typography, and related ephemera over at CreativePro.com under the title of Scanning Around With Gene.
He certainly has the credentials. At various times he has been the head Publish magazine, the publisher of The Seybold Report, and a member of the Ziff-Davis executive team which was responsible for major business events such as Comdex.
If you don't yet know him and his eye for interesting, you're in for a treat.
Three examples of his column: The Dead Letterhead Department...
When Halftones Were an Art Form...
When Letraset Was King...
An introduction to the author by way of his website...
Gene Gable on twitter...
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Jan 30
Print Design
I love these stamp designs created for the Royal Mail by Hat-Trick Design and letterer Marion Deuchars. There's just something about black, white, and red that makes a subject a bit more profound.
This is the rare case when lettering that might normally be construed as having a light or lyrical tone is successfully paired with a serious subject. Why is that?
Hamlet...
The Tempest...
Henry VI...
King Lear...
A Midsummer Night's Dream...
Romeo and Juliet...
Marion Deuchars...
Hat-Trick Design...
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Jan 23
Illustration
Two reasons to watch this video. First and foremost, I really like the way it tells the story of its subject. The juxtaposition of a person with type and illustrations is effective and the scene us use to build the story drew me in and made me want to sick around for the outcome.
The second reason to watch the video is to learn about Hyper Island, a school of sorts for students and a continuing education source for working creatives.
It sounds as if, one important aspect of the experience is to get you up to speed on the digital world -- as one attendee, Kathy Hepinstall a former Creative Director at Martin Agency, put it: "It used to be charming for a creative in advertising to be a technophobe. Not so anymore so climb out of the tar pit, Dino".
I don't know enough about it to know just how relevant it all is, but the testimonials by attendees reads like a who's who of advertising agencies so there must be something cooking.
Hyper Island On a Wall...
About Hyper Island...
Programs...
Master classes...
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Jan 9
Illustration
How do you make a better map? Ask cartographer David Imus. Mapmaking is not only about measurements and data, a great map is a feat of graphic design.
David Imus recently won the Cartography and Geographic Information Society's (CaGIS) annual Map Design Competition, Best of Show designation for his acclaimed new map: The Essential Geography of the United States of America.
Seth Stevenson takes a look the making of the map and explains what makes it significant in a piece he wrote for Slate.com.
Many thanks to Wendy Hersh for pointing us to it.
The Essential Geography of the United States of America...
An insightful piece about the map by Seth Stevenson for Slate.com...
The Imus Geographics website...
The Cartography and Geographic Information Society's (CaGIS) website...
About David Imus...
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Jan 2
Basic design
The Walker Art Center in Minneapolis and the Smithsonian Institution's Cooper-Hewitt, National Design Museum, in New York have co-organized an international exhibition titled Graphic Design: Now in Production — what is being called, "an ambitious look at the broad-ranging field of graphic design".
As the exhibit's website describes it, the exhibit "explores how graphic design has broadened its reach dramatically over the past decade, expanding from a specialized profession to a widely deployed tool." The work featured, "explores design-driven magazines, newspapers, books, and posters as well as branding programs for corporations, subcultures, and nations".
Whether or not you are able to visit the exhibit, I encourage you to order a copy of the exhibit catalogue, a 225-page book that includes hundreds of examples plus twenty-some opinion pieces on the recent history and current state of graphic design by the exhibit's curatorial team and others.
The irony is graphic design, as Ellen Lupton puts it, is "about doing something in the world" or pragmatics — and the very nature of such an exhibit is to look at the work and describe it (for the most part) outside the context for which it takes action. It will fascinating to see how well the exhibit is able to bridge that divide.
I'm anxious to see it — here are the venues:
Walker Art Center, Minneapolis through January 22, 2012
Cooper-Hewitt, National Design Museum, New York, May 16, 2012
Hammer Museum, Los Angeles, California, September 30, 2012
Contemporary Arts Museum, Houston, Texas, July 19, 2013
Southeastern Center for Contemporary Art, Winston-Salem, NC, Oct 24, 2013
A quick overview...
The exhibit web page...
About the exhibit catalogue...
Purchase the exhibit catalogue...
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Dec 26
Illustration
A few years back illustrators Jason Teegarden-Downs and Billy Baumann started Delicious Design League as a hobby — mainly to create posters for events in the Chicago area. Today, they not only create illustrations for a long list of top tier clients, they design and print posters for sale in their store.
I'm a big fan and have a couple of their posters hanging on the walls of my home.
Example 1...
Example 2...
Example 3...
Their portfolio...
And the store...
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Nov 23
Typography
Here's something you don't see very often — a three-dimensional product design that feels like a logo come-to-life. These vibrant designs give each of the products a personality and identity of its own — imagine how many more of these will be sold simply because the designer had the foresight to have each show and tell its own story.
The marriage of typography and product design — Example 1...
Example 2...
Example 3...
Eric van den Boom of Boom Artwork did the design and illustration...
More of Boom's work — logos...
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Nov 7
Typography
I typically get a raised eyebrow when I tell people I took Russian in high school. Truth be told, if I am ever in Russia and I meet a girl name Marsha, and I need a pencil, I'm set. Other than that, I couldn't tell you a thing about it. (The sole thing I remember is, "Marsha, do you have a pencil?" or "Марша, у вас есть карандаш?")
So I'll share this site with you with the proviso that I'm not quite sure what we're looking at. By that I mean, I could show you snippets of type I've seen around the United States, but what I show you would be colored by what I like, or that I think is most interesting. So, I don't know if we're seeing a good representation of Russian type, or just one person's opinion.
In any case, it's fascinating stuff. I particularly like to look at type in a language I don't understand. It allows us to see the styles without being distracted by the content.
Do you know of another design or typography site that represents another non-english culture particularly well?
Example 1...
Example 2...
Example 3...
The Green Type Blog...
Green Type type foundry based in St. Petersburg, Russia...
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Nov 2
Typography
I'm sure you know Grace Bonney and Design*Sponge — it's a one-of-a-kind source of creative inspiration for both do-it-yourselfers and serious designers. Grace has that very unusual talent for being able to gather disparate elements and combine them in ways that make them seem as if they have always belonged together.
This time she's done it with people — three of her favorite "local" type-centric designers (local to New York City). As she says, "I packed up my camera and hopped on the subway to meet with some of my favorites..."
Jesse Ragan..
Louise Fili...
Jessica Hische...
A compilation of the interviews...
Design Sponge: Best of Fonts in Homes...
About Grace Bonney and Design*Sponge...
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Oct 31
Web Design
That's a quote from a member of the development team for Muse, a new web design and publishing product Adobe is creating for professional graphic designers (now in public beta).
I haven't used it so I have no opinion about its value, but if you aren't familiar with it, you need to be. Why? Because the barriers to design are going to continue to fall away. To make a living at graphic design we're going to need to be independent thinkers and doers.
I believe that, as the tools become easier to use and proliferate, more and more people with want to design. And that, as the field expands, good design will be more widely recognized, better understood, and the best of it will be more highly valued.
But being a good designer will be more difficult too — it will no longer be enough to simply make our designs look good, we're going to have to know how to make them work well.
In other words, more than ever, we'll need examine and understand the entire picture:
1. What is my client trying accomplish?
2. How can I optimize the content and design to facilitate that goal?
3. What combination of devices, technologies, and messages will we use to draw our audience into the conversation?
4. How will my client keep their marketing fluid?
Yes it's all moving quickly and it can get a bit overwhelming, but don't be discouraged, if you love it, you can find your place in it.
The Adobe Muse website (made using Muse)...
A series of videos that explain the product...
Some anti-Muse sentiment...
Another recent post about fundamental changes in the world of graphic design...
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Oct 14
Print Design
Technology can be a little overwhelming sometimes. We're moving so fast, it's difficult to know which ideas to adopt and when to adopt them. Just when you settle on a content management system, for example, someone invents a new system that makes the one you just adopted looking kinda lame.
But it's inevitable. Hardware and software companies are like sharks, unless they keep moving forward, they drown — so they relentlessly invent and re-invent devices and tools in the hope that they'll maintain and grow their audience.
The good news is the creative options are ever expanding, the downside is it's almost a full time job separating the necessary and valuable from the gingerbread and hype. I love Adobe, in my lifetime they have played a major role in transforming my profession from a craft to a way of life.
I know it has become the industry way — but the Broadway show stuff makes me uneasy. I'm beginning to feel less like a partner and more like a member of the audience. Honestly, given the forces at work, I don't know that it is a problem that can be resolved, I just feel compelled to point to the obviousness of it.
You be the judge: Adobe's next big thing -- the creative cloud.
Adobe Chief Technology Officer Kevin Lynch's keynote presentation at MAX 2011...
The expressive web...
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Oct 7
Print Design
A restaurants is a packaged experience. I've always thought it was one of the toughest businesses you could possibly undertake. A great restaurant requires a great chef, smart financing, good management, thoughtful interior design, superb customer service, and a solid brand.
One of a customer's first impressions is formed by the menu. The minimum requirement is that it is comprehensive, interesting, and inviting. I'm always fascinated to see how designers handle it.
So I was excited to read that UnderConsideration has started a page highlighting distinctive menus from around the world. Thanks to The Print Handbook Newsletter for pointing us to it.
Example 1...
Example 2...
Example 3...
The Art of the Menu...
Need more? I did another post about menu design here...
Thanks to The Print Handbook Newsletter for pointing us to it...
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Oct 5
Web Design
Much of the time the principles large companies use to develop and market their products does not translate well to small- and medium-sized concerns. The web is different. All websites have one significant thing in common — they all pursue a one-to-one relationship with the reader.
So it stands to reason that there is some value in understanding how successful websites make that connection. And there is no website that has more experience at it than Google. Here are their design principles.
Ten principles that contribute to a Googley user experience...
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Sep 21
Typography
"You have to convince the client you have as much at stake as he does." Those are the words of the late designer and calligrapher Raphael Boguslav (1929-2010). You'll see many familiar brands in his portfolio. There's lots to see and learn from this old school icon.
Logos...
Lettering...
Calligraphy...
A video profile from the 1980s...
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Sep 7
Typography
My general rule is don't use too many typeface families — too many meaning 3 or more. Here's how you break that rule with abandon. I see at least 6 typefaces from various families and it works just fine. I love how the hanging string and piece of chalk are used to divide the columns.
Via Fabien Barral at Graphic Exchange.
The Hummingbird Kitchen and Bar...
More on the identity from Analogue's website (the designers)...
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Sep 2
Reference
Luc Devroye is a Belgian born professor of computer science and mathematics and a self-confessed type nut. I've been a fan of his site for many years.
As he describes it, he joined the McGill University in Montreal "...in 1977 as a young snotnose, and found academic freedom and cybercover from conservative forces in 2006 at the Computational Geometry Lab of Carleton University, Ottawa." I assume that explains the title of his page, "On Snot and Fonts."
He strikes me as the type of person who prefers others don't attempt to interpret his motives or speculate about what he thinks, so I'll leave it at this: Devroye's pages constitute the wild west of the type world — "wild west" because he is neither a respecter of rules or status. The resulting collection of type-related articles, resource descriptions, and its vast collection of links is like no other.
If you're a typophile you already know Luc Deveroye's extraordinary resource — if you're not, you may end up as one.
Luc Devroye wild west of typography...
An interview from planet-typography.com...
Once you think you've got your arms wrapped around his font resource, you'll want to visit his home page. Haha... what you've seen is just the beginning...
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Aug 24
Typography
I was surprised to find I've never pointed you to Tom White — he is a long-time favorite of mine — in my never-to-be-humble opinion, one of (if not the) top lettering illustrators working today.
I want to use the word "meticulous" to describe his work but I'm afraid you'd think there was some negative associated with it. So I'll couch it by saying his work is "good meticulous" — his creations demonstrate an attention to detail, a sense of order and balance, and a level of technical expertise that (to me) firmly ensconce him in the top tier of designers.
As you'll see, White is a master of Photoshop and Illustrator. I hope someday he'll give us a peak behind the scenes at the techniques he uses to produce his broad portfolio of work.
Example 1...
Example 2...
Example 3...
White's 9 Surf Studios website...
His blog...
The 9 Surf Studio Facebook page...
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Aug 17
Typography
Wordmark is wonderful online tool that allows you to see words and phrases in all of the typefaces loaded on your computer. So, for example, I can type in "ideabook" and see it rendered in all of the hundreds of the typefaces on my system -- every family and every typeface within them.
A Pro version allows you to save selections, zoom in and out, toggle cases, adjust spacing and so on (free for one month).
Thanks to Jay Nelson and Design Tools Monthly for pointing us to it.
Try it here...
Thanks go to its designer and developer Fahri Özkaramanlı...
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Aug 8
Basic design
Noel Weber was one of the original "Letter Heads" — a group of professional sign and lettering artists that formed back in the 1970s. Today, he and his team at the Classic Design Studio produce products — signage, identity, architectural elements, and so on — that seem to reflect a love of the creative process.
In competitive markets companies resort to all kinds of machinations to find and hold an audience. I suspect that this is the type of business the audience finds and supports without the hype.
There's something uniquely satisfying about seeing designs reproduced in physical form. I suspect as the world continues its shift to digital, these physical expressions of graphic design will become that much more popular.
Example 1...
Example 2...
Example 3...
The Classic Design Studios website...
Their portfolio continues on their Facebook page...
A brief bio of Weber on one of my favorite sites, Letterhead Fonts...
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Jul 18
Typography
I guess this is lettering month. I think of "lettering" as the design of a specific group of characters for a specific purpose. (Any letterers out there who have a more accurate definition?)
In any case, if you don't already know him, meet Jude Landry. His work reminds me of how often I look at the sum of the parts of a design without considering what it took to get there. Imagine, for example, the work it required to create and puzzle together the examples below.
Good design often looks simple. It is anything but.
Example 1...
Example 2...
Example 3...
Example 4...
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Jul 11
Typography
I mentioned Louise Fili last week and I came across the names of a couple of the other talented people who work for her studio. I particularly like these chalkboard lettering pieces created by graphic designer Dana Tanamachi.
Example 1...
Example 2...
Example 3...
Time lapse video of the making...
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Jul 4
Typography
I guess the reason I find ephemera so fascinating is that it freezes ideas in time. Advertisements, specimen sheets, instruction guides, product labels, and other forms of printed matter that were never meant to outlive their immediate purpose, provide a snapshot of the producer's intent and reveal a designer's approach to solving a problem.
Below is a brief tour of a new book the folks at publisher Thames & Hudson sent along: Scripts: Elegant Lettering from Design's Golden Age. It's a collection of elegant and eccentric examples of script lettering — French, British, German, Italian, and American — compiled over a thirty year period by authors Louise Fili and Steven Heller.
If you know the work of Fili and Heller, you might expect they'd have amassed a rather substantial collection of ephemera over the years. Heller, a former art director for the New York Times and well-known lecturer on the history of graphic design, has authored over 100 books on design and popular culture. Louise Fili, formerly a designer for Herb Lubalin and art director for Pantheon Books, has authored another twenty titles, many of them in collaboration with Heller (they are husband and wife).
Fili is among my favorite designers. If you have no idea why you'd want a book of this type, take a look at her portfolio of work. Though she offers a fresh and modern approach, you can't help but see the influences of 19th and early 20th century graphic design and typography.
Discovering, digesting, and deconstructing the work of others — finding the essence of how disparate elements are arranged in order — is part of the design mind's blessing/curse. Whether it's a conscious effort or gut-level assimilation, you can't help but absorb the layouts, typefaces, colors, and imagery that pass through your vision each day and mentally store them away. The beauty of this book is that it captures some of the best of what these two experienced designers have found and distills it in a form we can easily access.
The book is virtually all images — there are brief introductions to each section and footnotes, but just enough to supply the necessary orientation. The wonderful cover design was created by Louise Fili and John Passafiume. (I'm told that another favorite of mine, Jessica Hische, worked on the early stages of the interior design.)
I have hundreds of design books on the shelves around me. And, though I love digital, I love print too. I get some indescribable sense of satisfaction knowing that the thoughts of so many good designers and tens of thousands of their designs are by my side.
Scripts: Elegant Lettering from Design's Golden Age by Louise Fili and Steven Heller, ISBN 0500515689, 352 pages, published by Thames & Hudson, 2011
Some links...
Louise Fili...
Steven Heller...
Thames & Hudson, the publisher...
Jessica Hische...
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Jul 1
Basic design
As the story goes, Adobe was founded in 1982 and named for the Adobe Creek that ran behind John Warnock's house in Los Altos, California. Who could have predicted what Adobe would become — the company that started as the home of the PostScript page description language, ended up precipitating the desktop publishing revolution and today has 9000-plus employees and revenues of $3.8 billion.
But the magic, to me, is what Adobe has done for my profession. It has helped to grow seemingly creative disciplines -- graphic design, photo editing, illustration, animation, and so on -- into scientific collaborations and pursuits of the highest order.
Adobe invests 20% of its revenues in research and development. But, as they explain it, "The company's commitment to innovation... goes far beyond dollars spent. With a wide range of initiatives that provide resources, tools, and support to stimulate innovative practices at every level of the company's activities, Adobe has ensured that innovation remains an essential element of its long-term strategy."
For a guy who once used a T-square and press type, the stuff going on in places like the Adobe Advance Technology Labs is science fiction made real.
Cosaliency and image triage...
Video Tapestries...
Articulated puppet building...
PatchMatch...
About Innovation at Adobe...
Adobe Advanced Technology Labs home page (Above are just a few of the many developments Abobe has pursued on its own and in collaboration with other organizations. Be sure to explore the many headings under "Technologies" in the right column and meet the some of the players.)...
The Adobe Creek
Haha... press type
Hahahaha... the olden days...
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Jun 22
Illustration
If you're a writer, designer, illustrator, photographer, editor, developer, or marketer, the obvious answer is yes. The proof is in the many new studios popping up to specialize in the development of content for the new generation of phones and tablets.
Electric Type, for example, bills itself as a digital book foundry. Here, they provide us with a taste of how some of the aforementioned players have collaborated to reinvent a storybook.
A video tour of their first project: The Jungle Book...
How it was made...
About Electric Type...
Illustrator Nigel Buchanan's portfolio...
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Jun 20
Illustration
In his short career (he's only 30) Alex Varanese has demonstrated a talent for illustration, design, typography, and 3D modeling. In an interview I link to below, he speaks of the influence of video games and computer science — both of which are obvious in his work.
Example 1...
Example 2...
Example 3...
Varanese's website...
An interview with Smartpress.com...
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Jun 15
Typography
Type is magic. The characters of our alphabet are so ingrained, our brains are able to intuitively translate certain mixes of characters into an infinite array of feelings, impressions, and understanding. There is much speculation about how a typeface influences the message it conveys, but it think it's safe to assume that it can be significant.
So it's no wonder organizations would commission Ray Cruz to design a unique typeface. He has developed many you will recognize — for Pella Windows, Xerox, United States Postal Service, New York Life, and Este Lauder — exclusive typefaces that add an additional layer of distinction to the brands they represent.
Why a custom typeface? The most obvious advantage is, of course, that a custom design distinguishes an organization's collateral, signage, website, and other branding materials from all others. It can be designed to reflect the particular preferences of the organization's creative team and conform to branding standards.
But there are also financial and logistical reasons for a custom design. Some organizations, for example, commission typefaces to avoid the fees and distribution restrictions associated with a typical retail font license.
Logistically, an organization might commission a typeface that is optimized for use with a specific language and/or to include a set of special characters that addresses the needs of a particular industry or profession.
Cruz, formerly the Type Director at Young & Rubicam Advertising, has his own firm devoted to designing custom typefaces, logos, and book covers. He also, luckily, has designed many retail typefaces for type foundries such as Agfa/Monotype, Garage Fonts, Bitstream, and P22.
Cruz's website...
His portfolio of typefaces (1.9MB PDF)...
Some of his retail typefaces on myfonts.com...
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Recognize this custom typeface for Xerox?
May 25
Graphics Tech
I'm just back from the aforementioned conference and I thought I'd sit down and share some impressions. My hope is that, if you don't normally attend these events (I don't either), that you might be interested in the goings-on...
First impression: It's a global thing.
Roughly 400 folks attended the conference from 33 states and 11 countries — I believe it was a sell-out. I heard mention of Australia, Hong Kong, Serbia, Belgium, United Kingdom, Guatemala, and others. I know that kind of diverse participation is no great revelation to people who move in design and software circles frequently, but to someone who doesn't, I am particularly aware of the privilege it is to be a part of this type of international event.
It's a community.
Equally as interesting is the sense of community I felt. Designers, geeks, authors, and designer-geek-authors have much in common. Many of us are most comfortable in designing our world and staying within its bounds — so it's particularly exciting to be with other folks who spend so much of their lives on the same layer. I love my wife, but she couldn't care less about which device and software I use to calibrate my HP ZR30w monitor (thank goodness). Occasionally, it's a good idea to sit with people whose brains are trying to solve similar problems and attain similar outcomes.
There is no single voice.
For some reason I had the expectation that I would hear one side of things. Yes, that sounds silly in hindsight, but that's what I was thinking. The reality of it reminds me that there are as many workflows, approaches, and opinions about design and production as there are people doing it. For example, I sat in a session with the InDesign development team who all seemed to think that it should be the printer's responsibility to produce final production PDFs from native InDesign files. That was followed by the "Long Live Ink" roundtable with Design Tools Monthly editor Jay Nelson and prepress troubleshooter and Adobe Certified Instructor James Wamser both of whom seemed to think the opposite — that most jobs are best prepared for printing by the user (using the printer's guidelines).
E-publishing is in its big-bang stage.
There are MANY ways to create and view e-publications and MANY devices and platforms on which to view them. That's about all anyone agrees on. Which software and software settings to use (including InDesign's EPUB export) will be dictated by the device you're preparing your publication for, the complexity of the document, the intended distribution channel, and so on. As conference organizer David Blatner pointed out, you can't, for example, produce PDFs to sell through Apple — not because you can't produce them, not because the iPad can't read them, but because Apple doesn't yet allow you to distribute them through iBooks.
There are also significant design considerations to be tackled. When you convert page layouts for different devices and orientations, you'll need to design different layouts for each setting or create simplified, "elastic" layouts that adapt to multiple uses. I heard someone refer to that conversion as changing your layout into a Microsoft Word document.
Software developers and designers alike are in the very early stages of figuring out how to recast information in ways that are compatible with the new devices yet as aesthetically pleasing as print and conventional web page design. I think even the folks at Adobe would agree that (for now), that InDesign's EPUB export is not for creating e-versions of complex layouts.
Chris Kitchener, Senior Product Manager for Adobe InDesign, "Meet my extended family," 2011 InDesignSecretsLive Print and ePublishing Conference (doctored image)
The best early tools are expensive.
It's not surprising that the tools that allow the most control over page layout and effects are being developed for the upper echelon of the publishing trade. James Fritz, another respected author and trainer, discussed some of the many platforms used to create digital versions of magazines — Adobe Digital Publishing Suite, WoodWing's Digital Magazine Tools, Mag+, and others — and the fact that the new pricing models require both upfront fees (most in the thousands of dollars) for the initial content management systems and ongoing monthly or per-piece publication fees. (The good news is that by the time you read this [a couple of hours after I write it] everything will have changed.)
Much of what I learned was from the audience.
I went because of the featured speakers but I learned lots from the audience too. Questions, suggestions, and comments from audience members were every bit a useful as those from the assembled experts. For example, in one session, Eddy Hagen, the managing director of VIGC in Belgium offered some excellent insights on the production of PDFs and pointed us to his own Flemish Innovation Centre for Graphical Communication and the Ghent PDF Workgroup. There we're lots of high-powered users and experts in the audience.
Technology is a moving target.
No revelation here, but it is impressive when a presenter changes her slides in the hours just preceding her presentation because of some new tidbit of information. From his view inside Adobe, the Lead Product Manager for Adobe InDesign, Chris Kitchener, explained the perplexing process of gathering suggestions for new features, fixing bugs, and working with engineers to update a program as complex as InDesign. It's easy to forget the divergent pressures applied by users, reviewers, stockholders, partners, marketers, and so on to influence the decisions about which features or fixes to produce when and why.
BTW, the Adobe team was particularly impressed by and thankful for this blog post which explains that InDesign is a database and why, for example, files are not backward compatible.
There is a modicum of tension between Adobe and its community.
One of the most intriguing revelations of the experience was the respectful tension there is between the product producers and their users. All of it was friendly and in good humor, but it's obviously, a real issue. Adobe wants everyone to like its products and users are great at pointing to flaws. None less than Michael Ninness, now the VP of Content for Lynda.com, formally the Senior Product Manager for InDesign, rose to ask the current Senior Product Manager when certain features (such as charting) would be added to InDesign. It was all good-natured (especially when Ninness pointed out that he, himself, hadn't added the feature when he could have), it is a complicated dance.
There are few better venues for meeting the people you want to meet.
I had the pleasure of meeting, face-to-face, some of the many people I communicate with online and introducing myself to others I would not have otherwise had the opportunity to meet.
First and foremost I got to meet and speak with one of the conference organizers, David Blatner. My only complaint about the entire conference is we didn't hear more from David. He is a smart, personable guy who knew as much or more about InDesign (from a user standpoint) as anyone in attendance.
If you don't know Blatner, he's the editorial director of InDesign Magazine, wrote Real World InDesign (and 14 other books), teaches courses on InDesign at Lynda.com, and co-hosts InDesignSecrets.com with Anne-Marie Concepción.
Their combined experience with InDesign, the InDesign community, and Adobe corporate made David and Anne-Marie uniquely qualified to pull together this wide and deep gathering of designers, technicians, and developers.
If you don't know Anne-Marie Concepción, she too teaches courses on InDesign at Lynda.com, does the InDesignSecrets.com thing, plus rules her own creative empire at Seneca Design & Training.
This was also an opportunity to sit with Jay Nelson and Lesa Snider. Jay is the affable publisher of Design Tools Monthly, the only industry publication I read cover to cover, every issue. It was a real treat to spend some time comparing notes with someone else who is as interested as I am in finding and sharing the the best of design and publishing ideas. Lesa is a writer for Macworld, author of numerous books, chief evangelist for iStockphoto.com, and host of graphicreporter.com
I also had the good fortune to have one-to-one discussions with conference speakers Gabriel Powell, InDesign and Photoshop author and Senior Solutions for Typifi Systems, Ron Bilodeau, the Production and Design Specialist at O'Rielly (who once worked for the beautifully designed Cooks Illustrated), Chris Kitchener, Lead Product Manager of Adobe InDesign, Nigel French, the author of InDesign Type (who spoke about designing with a grid), and Cari Jansen, a technical writer and print and publishing consultant who spoke about the challenges of this new medium.
And I gathered some great insights from Keith Gilbert, a brilliant tech- and design-savvy guy who spoke about XML and data publishing and who showed me an impressive project he had just finished. It's a beautifully designed iPad-based catalog/brochure his client's sales force will use at an upcoming trade show.
All that and, of course, all of the good stuff I learned (I just downloaded a 344-page PDF of conference slides that Anne-Marie Concepción made available to those who attended.)
Finally, most happily, I got to meet a few folks who subscribe to my newsletter at ideabook.com and who read my blog at PagePlane.com. Thank you all for introducing yourselves. (If I didn't get your business card please send me an email so we can stay in touch.)
So... where's the 2012 conference?
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May 20
Print Design
I rarely point you back to the same place — once you've seen it I assume you'll look again if you're interested. But in case you missed it, Kelli Anderson has, again, demonstrated her passion for different.
An invitation in the form of a paper record player...
A paper record player...
Her description of the project...
My original post about Anderson: This is why I want to be a designer...
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May 2
Typography
Well here's a heck of an interesting turn of events: A return of the photo-lettering idea -- buying words and headlines set in a particular, premium display typeface without buying a license to the font.
House Industries, publisher of many high-end, rather pricey display faces, is offering an engine for previewing and outputting words as vector files -- a smart alternative to spending lots of bucks for a typeface you will only use for a single project.
PhotoLettering.com...
The FAQ...
The industry standard in the 1970s and 80s was the PhotoTypositor ($4 per word in my town)...
Sidelight: A charming language lampoon by 102-year-old Ed Rondthaler, formally the head of Photo-Lettering Inc.,...
While we're on the subject of type, I added a "Webfonts" section to Jumpola.com: Web Design > Toolbox > Webfonts...
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Apr 15
Web Design
I like how Carnegie Fabrics uses typography as a window to its products — simple, effective, purposeful.
Carnegie Fabrics..
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Apr 8
Basic design
It's easy to lose track of that simple fact but Keetra Dean Dixon, kindly, reminds us of it. She got me asking myself when I last designed something, primarily, for the purpose of expressing myself — its been a while.
Dixon is as much an artist as she is a designer. I'll point you here, to some examples of here work that include typography but be sure to explore her whole portfolio of work.
Example 1...
Example 2...
Example 3...
Dixon's website: FromKeetra.com...
A profile of Dixon from the Designing Minds series...
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Apr 4
Basic design
Fifty and Fifty an fascinating project curated by designer Dan Cassaro. It offers a "...new way of looking at our country. Fifty designers, one per state, will illustrate their state motto, creating something steeped in history but completely modern and unique: a kind of designer's atlas."
I have two reasons for pointing you to it. First, the illustrations/designs are excellent, and second, Cassaro's choice of designers is out of the ordinary. He has tapped the talents of several designers I was not yet familiar with and that are well worth knowing.
Three of my favorites. First, Meg Hunt's Connecticut: He who transplanted sustains...
Second, Josh Brill's Maine: I lead...
Third, Micah Smith's Louisiana: Union, justice, confidence...
Here's the entire gallery...
And the list of the contributors...
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Mar 28
Typography
One of the panel discussion at the recent South by Southwest (SXSW, Inc.) Interactive Festival featured four typography experts discussing typeface selection. (SXSW is a set of film, interactive, and music festivals and conferences, the interactive component of which is attended by many in the design community.)
Generally my feeling is, when it comes to typography, that there are very few truths but many religions. But this is session is worth listening to. I especially appreciated Jason Santa Maria's insights.
Here's a breakdown of the recording:
Frank Chimero @ 2:45 minutes, slide 9
Tiffany Wardle @ 13:42 minutes slide 41
Jason Santa Maria @ 19:45 minutes slide 58
Stephen Coles @ 26:35 minutes slide 82
Cure for the Common Font — A Web Designer's Introduction to Typeface Selection...
Frank Chimero's upcoming book...
Tiffany Wardle's website...
Jason Santa Maria's website...
Stephen Coles is the editor of Fonts In Use which I pointed you to earlier this year...
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Mar 25
Typography
Three Islands Press specializes in crafting historically accurate handwriting and typography in digital form.
For example, the Emily Austin font is patterned after the handwriting of Emily Austin (Bryan) Perry, an early colonist of Texas. As designer Brian Willson explains it, "In her travels, she wrote many letters home — letters that show a distinctively compact, legible hand. The challenge for me in designing the face: resisting the temptation to read and re-read her bossy directives and urgent appeals, all packed tightly together on a page."
I'm just guessing, but 3IP Type Foundry (formerly The Type Quarry) seems that it might be one of those companies that sees money as enabling the work versus money being the only focus. Nothing wrong with making money, but in most cases, passion produces a superior product.
The handwriting of Emily Austin...
Timothy Matlack and the American Scribe...
Penned by Mirabeau B. Lamar...
3IP's Facebook page...
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Mar 7
Typography
As a young designer, I waited with bated breath for the next issue of U&LC (Upper and Lower Case) — a who's who and what's what of typography in the 1970s. Herb Lubalin was the editorial and art director of the first issue and through it, helped to inspire and motivate an entire generation of designers.
Allan Haley is the former executive vice president of International Typeface Corporation (ITC) — the company that published U&LC. In recent months he has been discussing the magazine and posting scans of each issue in full. He has promised to re-publish them all, over 9,000 pages in low and high resolution.
Thanks to John McWade at Before & After for pointing us to it.
Volume 1, Issues 1-3...
Volume 2, Issues 1-4...
Volume 3, Issues 1-4...
Volume 4, Issues 1-4...
Volume 5, Issues 1-4...
About the publisher, International Typeface Corporation (ITC)...
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Feb 18
Illustration
In times when just about anything can be simulated digitally, I think the work by Flemish designers from Coming Soon offers examples of the very different look and feel you can achieve by melding the physical with the digital. It produces a result that is achievable no other way — one that will have your audience asking, "How did they do THAT?"
Campaign image for the city of Ghent, Belgium...
An identity example...
the Coming Soon portfolio..
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Feb 14
Typography
The Museum of Modern Art has begun acquiring typefaces for its Architecture and Design Collection. They explain that the criteria ranges from, "...aesthetics to historical relevancy, from functionality to social significance, from technological ingenuity to economy."
Why typefaces? It's obvious to type lovers, but they explain it like this, "Type is a design universe unto itself, an essential dimension in the history of modern art and design. Typefaces — the building blocks of information printed or displayed onscreen — are design in and of themselves, even before they are used.
It is an eclectic, curious list — worth a look.
An example: Retina, designed for the WSJ financial tables to be used at very small sizes. Designed by Jonathan Hoefler and Tobias Frere-Jones...
Why MoMA has begun to acquire typefaces...
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Feb 4
Typography
I'm not big on tattoos — my sense of aesthetics is far too fickle for that type of commitment. But I do have a penchant for this latest offering from a master of edgy script typefaces (and others), Alejandro Paul. Be sure to check out the character set — it offers a seemingly incalculable number of variations.
A presentation of Piel Script specimens at Veer...
Take a look at the depth of the character set...
A specimen booklet from Paul's website, Sudtipos.com (1.2MB PDF)...
An earlier post about Paul's work...
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Jan 24
Ideas 101
Before I can design something — a website, a logo, a brochure, whatever — I've got to understand what needs to happen. What my client's purpose and motive is, and the action they want their audience to take.
Once I understand what I am being asked to accomplish, I can design with purpose. I'm not a decorator, I'm a designer — my job is to determine the combination of elements — the images, typefaces, and user interface — necessary to communicate messages in a way that makes them interesting and accessible.
Teaching that process is what John McWade is so expert at. Through the pages of Before & After Magazine, he has been teaching what others don't, in ways that others can't, since the days when the first version of Aldus PageMaker was in beta testing. He parses, deconstructs, and studies a design problem, then packages a solution in a form that is easy to understand, digest, and reproduce.
I've written for B&A and I can testify that there's nothing easy about making things simple. I have pointed you to John in the past, but there is some new news worth sharing: John McWade has begun a series of wonderful short stories about design — video snippets that once again have me thinking about what is possible.
One in the series, How to design without graphics...
The beginnings of the new collection...
Plus, for the first time, the entire Before & After collection goes digital...
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Jan 7
Typography
Here's one to keep your eye on. Fonts In Use is a new, independent project launched by Sam Berlow (publisher), Stephen Coles (editor), and Nick Sherman (designer).
They explain its mission like this: "So much of design critique is focused on graphics and photography. It's time to shed light on the most basic element of communication: the type. At Fonts In Use we'll catalog and examine real-world typography wherever it appears -- branding, advertising, signage, packaging, publications, in print and online -- with an emphasis on the typefaces used."
What will garner much attention is the pairing of interesting design examples and the names of the typefaces used to create them. Thanks to I Love Typography for pointing us to it.
Meet Fonts In Use...
About the site...
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Jan 5
Typography
I am often drawn to ephemera such as these documents featured on GraphicsFairy.com. I especially like those in languages other than English because, when I don't understand the wording, I don't get hung up with subject and can focus entirely on the graphic forms.
Example 1...
Example 2...
Example 3...
These images are featured on GraphicsFairy.com...
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Dec 24
Typography
Part of my job as a designer is to find people to collaborate with. I haven't met a designer yet who had also mastered all of the other talents necessary to create great designs — photography, type design, copywriting, and illustration, not to mention other critical gifts such as programming, development, and business administration.
So, here are the names of three top lettering designers you might want to consider collaborating with. They do hand lettering, design logotypes, are master calligraphers, and designs typefaces.
Laura Worthington...
Michael Clark...
Carol Kemp...
Fred Showker at graphic-design.com did a nice profile on Carol Kemp recently...
And I have profiled Michael Clark here...
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Dec 13
Typography
It's a bold statement from the originators of many bold designs — Emigre. "Emigre has its own take on this typographic technique," they say. "Instead of providing rules, which often render safe but bland results, we believe that ultimately any font can be successfully combined with any other font. It's not so much a matter of which font combination to pick, it's a matter of how you use the fonts in combination. Size, color, tracking, contrast, layout and overall purpose determine how fonts can be combined successfully."
Take a look, they make convincing argument.
Emigre's Historia Type Specimen...
An interview with Emigre founder Rudy Vanderlans from Plazm Magazine...
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Dec 6
Typography
As its founders explain it, "Typedia is a community website to classify typefaces and educate people about them. Think of it like a mix between IMDb and Wikipedia, but just for type. Anyone can join, add, and edit pages for typefaces or for the people behind the type."
The beginnings of a great new resource...
You can keep track of its progress here...
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Nov 29
Illustration
I'm going to speculate that Dave Smith is one of the most talented, skilled sign artists of our time — I doubt anyone will object. He cuts, etches, paints, and gilds glass in ways that will amaze you.
A film about signwriter David Adrian Smith...
Another fascinating step-by-step illustration..
Smith's website..
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Nov 17
Typography
Jonathan Barnbrook has designed some of the best known, unknown typefaces. By that I mean you've probably seen his typefaces — maybe Regime, Moron, Exocet, or Mason — but you might not know its name or the name of its designer.
Virus Fonts...
Jonathan Barnbrook's Blog..
Barnbrook's studio..
The Creative Characters profile of Jonathan Barnbrook...
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Nov 3
Typography
Pardon my French (my translation is not perfect), but I believe this is a typeface developed for use by the village of Montreuil (you'll see a sample of a sign among the string of images). I point you to it for two reasons. First, because I like the way it looks, and second, because I like the thinking behind it.
It is an amorphous face that is intended to be used for both creating words and images--as its designer, Julien Priez, puts it, "to write the word "bicycle" or to draw the bicycle." You can also use ligatures to build and extend individual characters.
The typeface: Le Montreuil...
Video of the typeface in use...
An example of Priez's calligraphy...
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Oct 4
Typography
If you started out in print, you are (perhaps) more aware of the value of typography as an element of design. In print we have near-complete control over type—the choice of faces, glyphs and special characters, kerning and leading values, and so on.
Web design, as you are doubtlessly well aware, has been an entirely different story. You have much less control and to exert what little control there is requires a fair bit of technical expertise.
As the web matures, those of us who design for it have been yearning for a universal, user-friendly system that gives us that control and in recent months, its looks as though we are closer than ever to realizing it.
Last week, I set out to write a short article pointing to some of the many sources I have happened upon lately—some are listed below. And then I found an excellent article by Richard Fink that explains it all in a way that is much more informed and thoughtful than anything I could have written myself.
First Richard's article, and then some links to further explanations and solutions.
The big picture: Web Fonts at the Crossing by Richard Fink...
The big picture: Jeffrey Zeldman, Dan Benjamin, Ethan Dunham of Fontspring and Font Squirrel and Jeffrey Veen of Typekit...
See some web fonts in action...
THE Web Font Awards...
Solutions: Font Deck...
Solutions: Fontspring...
Solutions: Font Squirrel...
Solutions: Google Font Directory...
Solutions: Typekit...
Solutions: Typotheque...
Solutions: Webtype...
Fink's excellent blog—Readable Web...
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Oct 1
Typography
If you are as hopelessly addicted to letterforms you're already well aware of this typographic primer authored by educator and historian Ellen Lupton. What's new is this new, online version of the book.
Ellen Lupton's Thinking With Type..
Type Families (190KB PDF)..
It even includes some teaching tools for educators...
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Sep 22
Typography
I like what's happening with the brochure for The Australian National Academy of Music. Watch how the designers integrate type into the photographs—it really is musical isn't it?
The Australian National Academy of Music brochure...
A PDF of the brochure (8.4MB PDF)..
The designers—Creative Page...
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Sep 20
Typography
Some time back I pointed to the tried and true idea of creating illustrated headlines by sizing lines of text to fit a set width.
Watch how this designer applies the idea in various ways to an entire series of elements. It's a good reminder of how using a similar technique on many elements produces a design that is greater than the sum of its parts.
The HackFwd Blueprint...
A PDF of the blueprint (421KB PDF)...
The HackFwd site...
My simple tip about "Illustrated Headlines"...
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Aug 27
Typography
The goal of a new typography curriculum at The Cooper Union is to prepare students to design professional quality digital typefaces and lettering. The course, developed in conjunction with the Type Directors Club, offers a Certificate of Typeface Design. Classes are limited to 18 members and are scheduled on evenings and weekends to accommodate working professionals.
Looks like an impressive lineup of instructors and guest lectureres.
About the program...
The core instructors are Jesse Ragan, the designer of Gotham and Archer (for Hoefler & Frere-Jones)...
and Alexander Tochilovsky--a self-professed type-nerd...
Faculty and lectureres...
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Jul 5
Illustration
I had the good fortune to meet Daniel Pelavin years ago when I was working on a book. As you will see by the video clip, he has a passion for his craft, a self-effacing attitude, and wonderful talent for cooking ideas down to shape and color.
An example of his illustration skills...
A typeface design...
In this recent interview he reveals his passion for the design craft...
And his web site...
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Jun 28
Typography
What's that font?
It's a common question but with ten's of thousands of typeface designs in use, finding an answer can be a challenge. (My terminology rant: A "typeface" is a design and a "font" is the vehicle for delivering it. If you want to identify a particular design, you want to identify a "typeface" not a "font". The feature-length rant by Allen Haley: They're not fonts! here...)
My first step to identifying a typeface design name is to attempt to find it myself. I don't like asking directions and I prefer to wander through a store and find what I'm looking for myself—yes, it's some sort of stupid macho thing. (Could be a trifecta for A&E: Intervention, Obsessed, now Directions?!)
Step 1 > Identify the category. Finding a particular typeface is a simple process of narrowing and the first way to narrow the search is to identify the typeface category and to do a quick scan of the associated faces to see if you can pick it out...
Step 2 > Capture an image and upload it to WhatTheFont. Take a photo, grab a screenshot, or find a URL for a sample of the typeface and feed it into the WhatTheFont database. It show you some suspects. (There's even an app that allows you to shoot and send samples from your iPhone)...
Step 3 > Narrow the possibilities Using Identifont. If that doesn't do it, try another do-it-yourself strategy—Identifont. It asks you a series of questions about various features of the typeface and narrows the search as you go...
Step 4 > Ask the experts. Still can't find it? Time to ask for help. Try the typophile Type ID Board...
OR more experts... at the WhatTheFont Forum on MyFonts.com...
Still can't find it? It might be a design by a somewhat obscure designer or foundry, a custom design, or perhaps a typeface that is not yet available in digital form.
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May 26
Print Design
Time to revisit Beast Pieces, the site that features the letterpress work of Studio On Fire. They seem to produce a very high quality product—whether they do the design of allow others to take the lead. Wow, that is difficult—very impressive.
Business cards for Many Fold Farm...
Stationery for Vista Caballo ranch retreat...
Atomic Playpen drink coasters...
The Beast Pieces home page...
The Studio On Fire arm...
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May 24
Illustration
Asif R. Naqvi's site design reminds me of the fine filigree work a seventeenth century jeweler might produce. I picked out a few parts and pieces of his site to highlight. I particularly like the giant, intricate nameplate collage on the home page.
The cover page nameplate...
A scaled down version of the nameplate used on second-level pages...
Example 1 of supporting images...
Example 2...
Example 3...
Naqvi's portfolio site...
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May 21
Typography
It is not often that I see something that seems distinctly different than anything I've seen before—this is one of those rare cases. Dado Queiroz's work (to me) is VERY different and I like it a lot.
My first reference to Dado Queiroz comes from livingdesign.info—more on that next time...
Example 1...
Example 2...
Example 3...
A font design (available from MyFonts.com)...
His web site...
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May 19
Web Design
Pattern Tap is an invention of Matthew Smith at Squared Eye. It is (loosely) similar to other pattern libraries (Yahoo has a notable one) in that it presents the what, how, and why of user interface. The value is, instead of searching through a thousand sites for interesting and innovative UI ideas, you can discover designs someone else has found to be particularly notable.
I think you will find that Matthew Smith know of what he speaks. His company site, Squared Eye, is nice to look at AND easy to use—I have long admired it.
Pattern Tap...
The Pattern Tap Twitter page...
Matthew Smith's Squared Eye...
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May 17
Typography
Palaeography is the study of ancient handwriting. Look closely at early handwriting and you will find the roots of much modern language and typography. You can shortcut the process by reading some learned practitioner's interpretations of such study or you can spend some time doing a little digging yourself. I think you'll find it fascinating.
A tutorial about reading handwriting from 1500 to 1800...
What is Palaeography? by Julian Brown...
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Apr 30
Print Design
Graphic design is a quirky business. You can explain what you do to relatives and friends, but no matter how hard you try, only about 10 percent seem to get it. The say, "Yeah, ____ is a graphic designer. We're, uh, real proud...real proud."
So when I meet someone who speaks my language I appreciate it. Jeff Gamet and Jay Nelson do a podcast hosted by CreativePro called Design Tools Weekly--they speak my language. It's nice to sit down once a week and hear a discussion about the hardware, software, and the general state of our business. I recommend it highly.
The Design Tools Weekly Podcast...
AND, as always, you can checkout a free sample issue of Design Tools Monthly here(1.9MB PDF)...
Jay's Twitter page...
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Apr 26
Ideas 101
This is a great reminder of the problem solving aspect of design. It got me thinking about the many techniques we use to solve problems and how important it is to our work as graphic designers and marketers. My curiosity led me to an excellent page on the subject by Robert A. Harris, Ph.D.
Thanks to my friend Cathleen Rittereiser for pointing us to this.
So you need a typeface—start by choosing the project you need the typeface for (center)...
The designer, Julian Hansen...
An excellent, in-depth page on problem solving techniques...
If the subject interests you, you might like this too...
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Apr 16
Typography
One way is to focus on the quality of the kerning.
Kerning, as Robert Bringhurst defines it, is the act of "altering the space between selected pairs of letters". Though it is not widely discussed, it is a critical part of typeface design.
Kerning is both artistic and mathematical. The difference in spacing, for example, between an "O" and an "M" is different than the spacing between an "r" and a "w". Most typefaces employ independent definitions for each pairing to upper case to upper case letters, upper case to lower case, upper case to punctuation, lower case to lower case, and so on. It is not unusual, in fact, for a single font to have well over 2000 kerning pairs.
But here, let an expert explain. Igino Marini offers an auto-spacing and auto kerning service to type designers. That may sound like a yawn to those who are not fanatics about type, but for those of us who are, it is fascinating stuff.
Igino Marini's iKern...
An interview with artist/engineer Igino Marini...
And his wonderful (free) revival fonts...
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Mar 17
Illustration
Clay Hayes' GigPosters.com features posters used to advertise music shows and events. As you might imagine, the subject matter allows the designers and artists great creative freedom—so you're going to see some exciting and interesting uses of type, color, and illustration. (The examples I link to are tame, but I'll caution you that if you wander around, there's also material some might find offensive.)
Example 1 by Gwenola Carrere...
Example 2 by Nate Duval...
Example 3 by Matthew Fleming...
The front door...
The GigPosters Twitter page...
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Mar 12
Print Design
The first issue of Popular Science magazine appeared just seven years after the close of the Civil War. This month it began offering (in partnership with Google) its entire 137-year archive for free browsing. Each issue appears just as it did at its original time of publication, complete with period advertisements. Amazing.
How the new Popular Science is printed, for example, is detailed in the October 1938 issue. It explains, "At the huge Dayton, Ohio, plant where POPULAR SCIENCE is printed, a workman, the other day, pressed an electric button and this record-breaking machine whirled into action." Then it goes on to show and tell one of its signature stories—filled with informative photographs and illustrations.
Thanks to Jim Green for passing this on—great find.
October 1938, page 74, How the new POPULAR SCIENCE is printed...
March 1984, page 99, Introducing the 32-bit Apple Macintosh...
August 1950, page 93, Typewriter with a memory "sets type" on photo film...
March 1963, page 35, Commercial art talent hunt open to you...
May 1872, page P5, Issue number one...
Search for yourself...
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Feb 10
Basic design
What I like so much about Fred Showker is that he sees the graphic design industry from more than one angle--he's is a working designer, an experienced teacher and presenter, a bit of a technoid, and the creative mind behind one of the top marketing and design resources on the Web--the Graphic Design & Publishing Center.
Not only does he stay curious about what's next, he has amassed a huge archive of insightful articles and tutorials on design, photography, typography, marketing, and the business of graphic design.
He recently did a major reorganization and re-launch of the site so, if you haven't already, I urge you to take a look.
The Design & Publishing Center...
Example 1: Visual Proofreading: 10 Rules...
Example 2: Designing Spaces...
Example 3: Throw Your Press Release in the Trash...
Fred's bio...
I've been a subscriber to his newsletter, DT&G NEWS, for years...
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Dec 2
Typography
Alison Morris at Publishers Weekly points us to a couple of typefaces with big personality. One culled from a 1923 Speedball lettering manual and several from the Tart Workshop--a great source I had not yet found. (Thanks to my sister Deb Green for pointing us to Alison.)
Milk Script from Sudtipos...
Silverstein from Tart Workshop...
Nelly Script from Tart Workshop...
Seasoned Hostess from Tart Workshop...
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Nov 30
Typography
In her own words, "The Daily Drop Cap is an ongoing project by typographer and illustrator Jessica Hische. Each day (or at least each WORK day), a new hand-crafted decorative initial cap will be posted for your enjoyment and for the beautification of blog posts everywhere."
It is a sight to behold.
An example...
The home page...
A stellar Christmas present type lovers...
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Nov 9
Illustration
If you want some terrific presentation inspiration, head over to The Art of the Title Sequence. It demonstrates how top film title designers, past and present, combine pictures with words to communicate ideas in thoughtful and intriguing ways.
While there, check out the wonderful collection of alphabet posters created for the film Coraline. Take note of how each letter of the alphabet is modified to provide a secondary meaning.
These are the titles for Coraline...
For fun... the Coraline movie site...
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Oct 23
Typography
Hope you'll share this with someone who has yet to grasp the idea that honest work deserves honest treatment. If they want to trade fonts and images outside of established licensing, all we ask is that they first email the designer to explain why they think the ability to create a design and the long hours necessary to produce and market it, does not merit compensation.
Here's an example of one step of the font design process. It does not even address the issue of the talent and dedication it takes to determine a need and to design something that is useful, stylish, and distinctive.
Watch John Roshell create the Moritat font...
The finished typeface...
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Oct 16
Typography
It's one thing to choose from a large catalog of typefaces--it is another to envision how those same faces might be used on specific projects. Font Bureau's Image and Project Galleries reveal how designers apply particular combinations of typefaces to actual publications.
Be sure to click the "Inside Pages" tab to see the complete demonstration...
And the Project Gallery...
The entire Image Gallery (not as complete explanations)...
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Sep 30
Typography
Just when I have fooled myself into thinking I have some type of handle on the scope of what designers are designing, I come across something like this. These organic, three-dimensional typographic illustrations by designer Luca Ionescu of Like Minded Studio redefine (to me) what is possible. Old dog. New trick?
Example 1: from Texas Monthly magazine...
Example 2... (Full post)
Like Minded Studio...
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Sep 21
Illustration
I don't have a clue about the subject matter here but Aaron Horkey's illustrations and hand-lettered word groupings are fabulous.
BTW, anyone know of an official term for the assembly of individual words into a composition—the process of putting together the pieces of the puzzle? Seems as if there should be a term for it other than "word grouping."
Example one...
Example two...
His portfolio on Rock of Eye...
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Sep 16
Typography
This site, to me, is interesting on at least three different levels. First, it uses a standard metaphor—the printed page—in a slightly different way. When you click "Preview" at the top right of the screen, the entire page shifts to reveal the surface underneath it.
Second, I like the subtleties of the folds and light manifest as different shades of yellow.
And third, the icons ain't bad either!
Royalty-free vector icons, glyphs, and symbols based on the Helvetica Bold typeface...
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Aug 28
Typography
If you can continually expand your visual vocabulary, every day is new. What I like most about "lapsed Graphic Designer" Marian Bantjes is the seemingly endless ways she invents to say a thing. I'm guessing that making each project different is a challenge she relishes. Here are some wonderful examples.
A menu of items...
And then something entirely different...
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Aug 10
Illustration
Alison Carmichael has a wonderful gift for all types of lettering design. You can see the depth of her talent under "Poster ads."
See "Poster ads"...
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Aug 3
Ideas 101
True passion is rare.
Much creative energy and expertise is expended moving value from one hand to the other. That's not a criticism--commerce makes lots of good things possible--I am a card carrying member of the commerce thing. But I can't help but take special notice when I encounter expressions of interest and involvement that appear at least, to have grown out of a pure devotion to its subject.
I see that in a new publication--UPPERCASE magazine (2009). A magazine? Are you kidding?! Who starts a magazine in the year of Twitter? People with passion do--their names are Janine Vangool and Deidre Martin and they've enlisted the help of an eclectic collection of talented contributors--designers, illustrators, photographers, typographers, writers, and others.
The purpose of UPPERCASE is to take a look at the creative process from all angles: profiling creatives, peeking into work environments, pointing to examples of styles and palettes, uncovering interesting ephemera--they even devote a section of the magazine to brief profiles of five or six of their subscribers--an approach that (to me) demonstrates something important about their thinking.
Enough with the accolades--at this point you probably think these are relatives of mine--they aren't, I have no connection with them whatsoever. But I can tell you the first thing I did after closing the last page was to go online and subscribe. I figure that when you find a passion you share, you should support it.
UPPERCASE Magazine: Issue 2 preview...
The magazine is just part of the mix, their web includes lots of interesting material...
Their blog...
You can buy the current issue or subscribe here...
Once you've seen it, I'd love to hear your comments below...
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Jul 24
Typography
While we're on the subject of ephemera (my post on Monday). How would you use it? Well, one way certainly is to choose parts and pieces as influence and inspiration. Another way is to recast it in a new light. That is what Lorenzo Petrantoni does. In fact, in a profile on his philosophy in Communication Arts, he says, "I love old books. I want to bring them back to life, discover their stories and tell the present through the past."
A Petrantoni illustration for The New York Times Magazine...
The profile of Petrantoni at commarts.com...
Lorenzo Petrantoni's web...
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Jul 20
Learning
Dick Sheaff is, among other things, is a collector of ephemera [i-fem-er-uh]--materials that were designed to be disposed of after they served their purpose: advertisements, pamphlets, posters, programs, labels, and so on. Sheaff is now sharing some of the best of his collection online. It is wonderful, inspirational stuff--a must see.
Sheaff is also a designer of postage stamps. Search Arago (a resource of the Smithsonian's National Postage Museum) and you will find Sheaff listed as the designer of over 100 stamps.
Sheaff's Gaslight Style Ephemera...
Sheaff's Artistic Printing Ephemera...
Sheaff's front page...
Sheaff's work on Arago, a resource of the Smithsonian's National Postage Museum...
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Jul 17
Learning
I was reading one of Tim Girvin's blog posts this evening (the well-respected calligrapher, writer, and designer) in which he mentions that his mentor was Lloyd J. Reynolds. That made me curious--who was Lloyd Reynolds?
A little detective work turned up this progression: In 1896 William Richard Lethaby (1857-1931) founded the Central School of Arts and Crafts in London, England. In 1899 Lethaby encouraged a colleague, Edward Johnston (1872-1944), to start a class on illumination. One of his students was Alfred J. Fairbank (1896-1982) who later referred to himself as a "disciple" of Johnston. Fairbank was Reynolds' (1902-1978) mentor. And, as I explained, Girvin (1953- ) now names Reynolds as his mentor.
Why should you care? Because I think it is a good reminder of the importance of sharing what we know. This simple progression--Lethaby, Johnston, Fairbank, Reynolds, and Girvin--demonstrates a clear, distinct path of ideas and encouragement that was passed from teacher to student. Read their history and look at their work and you will see how profoundly one influenced the next.
About Lethaby...
About Johnston...
About Fairbank...
About Reynolds...
About Girvin...
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Jul 15
Basic design
Historic Stock Market is an international online-market for historical shares, old stocks, bonds, and financial documents. Their collection includes at least 20,000 old stock and bond certificates, many of which include elaborate illustrations, ornate typography, and/or highly complex borders and patterns. This is one place to remember when you need some graphic design inspiration.
Look at the meticulously crafted filigree on this 1920s British certificate...
and this French certificate from the 1890s...
If you're interested in exploring further...
Another excellent source: George H. LaBarre Galleries...
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Jun 26
Typography
In addition to the fact that OurType offers some interesting typefaces, their web page offers some unique ideas about navigation. I must admit it took me a couple of beats to figure out that you click and drag the orange arrows to move up and down, but other than that I like how the designer has made everything accessible from one screen. The only downside being I can't point you to specific information--no variable URL.
OurType...
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Jun 22
Typography
Art director and designer Kent Henderson has assembled a wonderful collection of type specimens via Flickr under the umbrella of Depression Press.
Kent's “Typecase” set...
More print- and type-centric sets...
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May 22
Mind Vacations
Well--would you settle for Fonts, a couple of entertaining film shorts? You can thank (or blame) my son Jeff for bringing these to our attention.
Font Conference...
Font Fight...
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Mar 23
Typography
We've all run up against a typeface we want to use but can't identify. Just in case you had not come across it, here is a link to one of the type community's great resources: The Typophile Type ID Board. If this collective can't name it (or at least give you a hint to its origin) you may as well give it up.
And while we're on the subject, kudos to those of you who are willing to participate in the un-puzzling. The only thing that makes a forum like this possible is the willingness of those who participate in it. As someone who needs an occasional assist, I thank you.
The Typophile Type ID Board...
If, by chance, you are not familiar with the great resource that is Typophile, here is the front door...
In the Ideabook Design Store: Getting It Printed...
Jan 30
Typography
Check out this interesting series of interviews by font mega-reseller MyFonts.com. It includes profiles of some of the best including Jim Parkinson, Mark Simonson, Christian Schwartz, and David Berlow.
Creative Characters from MyFonts...
NEW in the Ideabook Design Store: Tintbook CMYK Process Color Selector...
Dec 24
Typography
It's a claim that stirs more than a little controversy, but FontShop gave it a shot. They enlisted seven people who most would acknowledge as experts and weighted the list as follows:
Sales figures: 40%
Historical significance: 30%
Aesthetic quality: 30%
It is opinion, obviously, but pretty interesting.
The list...
A rough translation of the explanation (German to English) via Google Translate ...
A booklet with the list and illustrations (in German) (6.8MB PDF)...
In the Ideabook Design Store: Templates for InDesign, QuarkXpress, or PageMaker...
Nov 12
Typography
FontEmbedding.com states it clearly: "Applications, authoring tools and operating systems provide various, often very powerful, ways to manipulate, package, embed and modify fonts. But just because your software makes it easy to do does not mean you have the legal rights to do so. That is why it is very important to understand the license agreement which covers various commercial fonts."
As we design web sites using methods such as sIFR (Scalable Inman Flash Replacement) and electronic documents using encoding processes such as PDF (Portable Document Format), we need to be aware of the underlying information being attached in the background.
Does a special license need to be purchased? Do security special measures need to be instituted? This is an ongoing discussion between communication designers, type designers, IT managers, and so on that is resulting in a mishmash of licenses and rules. Since you and I must understand and comply with the results, we need to be aware of the issue. In case you have not yet addressed it, here's an introduction.
An overview of font embedding...
An example of how one leading foundary (Hoefler & Frere-Jones) addresses the issue: "What's involved in using fonts on websites?" and "Can I use fonts to make PDFs?" ...
In the Ideabook Design Store: FontHead Typefaces...
Oct 3
Typography
Recently, I've heard buzz from several corners about Museo, a font designed by a Dutch art director named Jos Buivenga and published by his foundry, exljbris.
There are two interesting things about it. First, it is a well-designed font that deserves a look. And second point of interest is how it is being marketed. The Museo family is listed on MyFonts.com in five different styles—what amounts to light to heavy. The mid-range weights are offered for free and the lightest and heaviest versions are priced like a regular font. A clever way to get you to try it. I, of course, want the other two weights as wells. Hence I will be light $33.
Museo at MyFonts.com...
A new family, Museo Sans at MyFonts.com...
Jos Buivenga's foundry: exljbris...
Jos Buivenga's blog...
In the Ideabook Design Store: Art Parts Clip Art...
Sep 19
Typography
Half the battle of organizing a toolbox is keeping track of what's in it. One handy resource we all have access to (but that I rarely use) is the collection of symbols and dingbats associated with various fonts on our systems. Jesse Gardner has made browsing and inserting these little gems a breeze with an ingenious tool called SymbolAssist.
The idea is simple: you locate the symbol you want to use on the SymbolAssist chart and click it to copy it to your computer's clipboard. Then, you simply paste it into whatever you are writing or designing. (Paste on the Mac is Command-V, on the PC is Control-V). Very cool.
SymbolAssist from Plasticmind.com...
In the Ideabook Design Store: Becoming a Graphic Designer
Sep 1
Typography
John Parker, the Director of Brand Communication at Veer, has posted a sneak peek at Compendium. A hard-edged calligraphic script that boasts almost 700 glyphs.
Compendium Specimen (1.8MB PDF)...
Parker's post...
In the Ideabook Design Store: The Color Harmony Guide...
Aug 29
Typography
I have pointed to Michael Doret's typographic illustrations in an earlier post but I just became aware that Doret offers four comprehensive typefaces that you can use to build your own illustrations. Below is a link to the foundry (Alphabet Soup) followed by the instruction guides for each of the four typefaces.
Michael Doret's Alphabet Soup...
Metroscript (600KB PDF)...
PowerStation (900KB PDF)...
Bank Gothic AS (600KB PDF)...
Orion (1MB PDF)...
In the Ideabook Design Store: The Copywriter's Handbook...
Aug 15
Typography
I don't know that I have seen anything quite like this before. It is so simple yet so compelling, it just stopped me in my tracks. The fact that you must read your way through it ensures you get the message. On top of all that, the idea of supporting folks around the world with micro loans is a wonderful idea that is proving to be an valuable way to communicate caring and sharing--love it. Thanks to Jesse Gardner at plasticmind.com for pointing to it.
The Girl Effect...
In the Ideabook Design Store: Moleskine Notebooks...
Aug 6
Typography
On the cover of Adobe's Font page is an interesting collection of type plus motion. It demonstrates some theoretical uses and provides an abbreviated look at how you build an effect in programs such as InDesign and After Effects. I particularly like selection number five: DVD Menus.
Click “Step inside and be moved”...
In the Ideabook Design Store: Becoming a Graphic Designer
Aug 4
Typography
One way to improve your understanding of typography and to master proportion and placement is to study the relationship between characters and shapes in fine handwriting and calligraphy. And the ideal place to start is at the International Association of Master Penmen, Engrossers, and Teachers of Handwriting (IAMPETH).
The gallery......
A wonderful collection of out-of-print books on calligraphy and penmanship in PDF form...
In the Ideabook Design Store: Before & After: Graphics For Business...
Jul 16
Typography
Here's the presentation catalog from Tipos Latinos 2008 in Buenos Aires. I am particularly taken by the typeface Presidencia on page 12 designed by Gabriel Martinez Meave of Kimera Type.
Tipos Latinos 2008...
In the Ideabook Design Store: The Copywriter's Handbook...
Jul 9
Typography
I received a heads-up from Dave Seidl of Ascender Corporation pointing me to their new commercial/reseller font web at fontmarketplace.com—I found it to be an interesting new source. They offer a unique End User License Agreement that allows them to sell certified true type fonts for $5.
Ascender is the BASF of the typographic world. By that I mean they could easily adopt BASF's famous tag line: “We don't make a lot of the products you buy. We make a lot of the products you buy better.”
For example, Ascender's Steve Matteson designed a family of fonts named Convection for the Xbox 360. And they are also credited the design of Droid, a family of fonts licensed to Google for Android—a new open, free mobile platform.
The Convection family for the Xbox 360...
The Droid family for Google's Android platform...
Ascender's new FontMarketplace.com...
In the Ideabook Design Store: Brenner Pricing Tables...
Jul 2
Typography
Scott & Nix is a publishing firm specializing in nature and science books. What you might not know (if you are not another obsessed type nut) is that it is owned by Charles Nix who also happens to be the current president of the Type Directors Club.
I tell you that to tell you this: the Scott & Nix site includes a list of fifty-plus typefaces S&N designers use in their work. The accompanying lead begins: “Typography is both the form of type and how it is used. It plays a major role in differentiating our products from the rest. We consider the typefaces below to be essential raw ingredients to our work.”
They know of what they speak.
The Scott & Nix typeface list...
There is also a list of 100 Typographic Books...
The Type Directors Club...
In the Ideabook Design Store: Moleskine Notebooks...
May 9
Typography
You need real guts to take on a job like this. Amsterdam studio Bolt Graphics designed this handsome set of posters for Adidas and translated them into 24 languages—not just translated words but word illustrations.
Bolt Graphics posters...
In the Ideabook Design Store: Templates for InDesign, QuarkXpress, or PageMaker...
Mar 14
Typography
To me, this is a design painting. You have to step back from it to see what all the brush strokes add up to. You can argue that the technique is an impediment to reading, but it certainly made me take notice.
The Schwarzdesign blog...
An English version (via Google Translate)...
Google Translate (in case you have not used it)...
In the Ideabook Design Store: The Color Harmony Guide...
Feb 6
Typography
I have been a Tim Girvin fan for many years. He has long been one of the premiere calligraphers in the world. So I was excited to see his name on Will Sherwood's blog a couple of weeks ago—it was a real blast from the past. What I found is that there is nothing “past” about this innovator. His work is at the forefront of design and his knowledge of marketing and branding is second to none.
Tim Girvin's visual world...
His blog...
Jan 18
Typography
Why does a guy from the United Kingdom move to Japan to write about letters cut from German potatoes (01/13 post)? To explain it, John Boardley, the voice of ilovetypepography.com, invokes the words of type designer Eric Spiekerman, “I can’t explain it; I just like looking at type. I just get a total kick out of it. Other people look at bottles of wine or whatever...I just get kicks out of looking at type.”
Boardley offers a refreshing look at typography, both serious subjects and the simple joys of form and expression.
John Boardley's ilovetypepography.com...
Jan 11
Typography
There are understood “rules” in all disciplines of graphic design. In typography, there are widely accepted practices for the leading of lines, the kerning of individual characters, how and where lines of type should break, and so on. This example shows how you can base a design on defying those rules. Designer Miguel Ripoll demonstrates his keen understanding of type by transforming headlines and subheads into word illustrations.
Breaking typesetting rules...
Ripoll's portfolio...
Dec 17
Typography
Here is a handy little CSS generator for playing with typefaces, sizes, and colors. You adjust the settings until you find just the right combination then click “Generate CSS” to create and capture the code.
Typetester...
Dec 10
Typography
As publisher FontFont tells it, “It took three years and three designers to develop FF Meta Serif. ...Erik Spiekermann made several attempts at designing a counterpart for his groundbreaking FF Meta. He recommended Swift, Minion, FF Clifford, and others, until he realized that he should just buckle down and draw his own serif Meta. True to his principle of collaboration, Spiekermann enlisted the help of accomplished type designers Christian Schwartz and Kris Sowersby.” Gimme.
Meta Serif by Spiekermann, Schwartz, and Sowersby...
Spiekermann's blog...
Schwartz's site...
Sowersby's site...
Sep 14
Typography
I LOVE type. With two sons in art school, I am reminded of the importance typography plays in the education of designers. I am always thrilled to find others who have a passion for the art and science of typography—in this case, the Argentinean type foundry collective, Sudtipos. I would guess these designers prefer not to be pegged as designing for a certain industry, but the lyrical typefaces they produce have the kind of warmth that lends itself so well to food and hospitality projects. Wonderful.
They do both casual...
And elegant...
The entire menu...
My big list of foundries at Jumpola.com...
NEW in the Ideabook Design Store: Tintbook CMYK Process Color Selector...
Sep 5
Typography
Twenty-five years ago I was not alone in thinking the type industry was doomed. PhotoTypositor technology was on its last leg as the advent of digital fonts dropped the cost of display type from $4 per word to virtually free. How many typeface designers could survive such a total industry meltdown we thought?
Armageddon? Not so much. In their Our Favorite Fonts of 2006 article the folks at typographica.org estimate over 1,800 new commercial typefaces were released last year. Huge numbers of new typefaces, some of which are simply stunning.
Typographica's Our Favorite Fonts of 2006...
What the heck is a PhotoTypositor?
In the Ideabook Design Store: The Desktop Publisher's Idea Book...
Aug 20
Typography
Watch how Jessica Hische designs a typographic still life. Click on her typography portfolio (click the “T”) and page through. What strikes me is the near perfect balance of each composition.
Click the “T” to see Jessica's type design portfolio...
In the Ideabook Design Store: The Copywriter's Handbook...
Aug 15
Typography
An “ambigram” is an illustration that spells out a word and then respells it in another direction or orientation (if you are an expert, forgive me for the incomplete definition). It is easier for me to show you than tell you. Suffice it to say John Langdon is a master at creating them.
John Langdon's Ambigrams...
NEW in the Ideabook Design Store: Tintbook CMYK Process Color Selector...
Jul 18
Typography
If you love type, you'll love two wonderful hybrid films created by Brand New School (it seems to me that labeling them as advertisements doesn't afford them proper respect). While you're there, have a look around. Brand New School has a stunning portfolio of work.
Toyota Slippery Styling (click on “Images” below the screen to see stills)...
Toyota Sportivo...
Gush, gush...A marvelous mural installation they created for Adobe...
The Brand New School montage...
In the Ideabook Design Store: Design-It-Yourself: Graphic Workshop...
Jun 11
Typography
This typeface, designed by Eduardo Rodríguez Tunni, caught my eye for two reasons: First, because of the unusual mix of hard angles and slopes, and second, because it is so finely rendered. The examples show that the most dramatic effect is achieved through the use of the complete set of alternative characters.
The Titulata typeface...
A specimen brochure (228KB PDF) ...
Another beautifully cut face from the same foundry, Malena...
In the Ideabook Design Store: Before & After Page Design...
Apr 18
Typography
Among the word marks created by lettering designer Holly Dickens, you will find more than a few familiar names: Intel, Kraft, Procter & Gamble. As with most work: if the end product looks simple, you can be certain an enourmous amount of work went into the research and execution. Love the cover page of her Web—striking!
Her Web...
Her Workbook Portfolio...
Mar 2
Typography
At the 2007 Macworld Conference and Expo, Extensis hosted a discussion on font design. They cover topics such as trends, licensing, the scope of the process and so on.
The Extensis Font University...
Feb 2
Typography
Roger Black continues to reinvent his signature palette to great effect: Giza and Interstate typefaces and black, red, and white space.
Black's blog...
Jan 22
Typography
This is an excellent demonstration of the importance of letter spacing. I tried a few and agreed with most of the solutions. (Except for the ones I got wrong—they, of course, were mistakes on the author's part.)
The Typography Workshop (Univ of Delaware)...
Did well? Treat yourself to this...
Jan 5
Typography
Watch how this designer uses what might be termed a whimsical typeface for a very serious subject.
www.stepupspeakout.com
Jan 1
Typography
Not all typefaces need to look as though they are highly engineered.
A new set of distressed typefaces by Device.
The Device set at www.veer.com
Another in the recent wave of handwriting fonts at www.p22.com
Nov 29
Typography
Tobias Frere-Jones, now a principal of and Director of Typography for Hoefler & Frere-Jones, is the architect of two of my top ten typeface families: Interstate and Griffith Gothic.
GriffithGothic
Interstate
About Tobias Frere-Jones
Nov 17
Typography
Here, the choice of typefaces and the gentle swale of the headlines demonstrates how profoundly even a small element can influence overall design.
www.pronghornclub.com
Oct 27
Typography
On this page—the designer makes the reverse type pop by subduing everything else on the page:
www.fontsmith.com
Oct 13
Typography
If you do not yet know Comicraft, you have not seen the definitive site for comic book fonts. Like great comic book art, the fonts are tightly rendered and beautifully proportioned.
http://www.comicbookfonts.com
Oct 11
Typography
Ray Fenwick's “Hall of Best Knowledge” is a collection of wonderful typographic riffs—fascinating.
http://www.flickr.com/photos/rayfenwick/sets/787564/
Sep 13
Typography
I can think of lots of business marketing applications for this product—Wall Words are pre-pasted and pre-spaced transfer letters for painted walls, wallpaper, windows, mirrors, furniture and metal.
http://www.wallwords.com/index.htm
Sep 11
Typography
The Typetester is an online application for comparison of the fonts for the screen.
http://typetester.maratz.com/
Apr 21
Typography
As defined The Society of Typographic Aficionados (SOTA) is “an international not-for-profit organization dedicated to the promotion, study, and support of type, its history and development, its use in the world of print and digital imagery, its designers, and its admirers.” This exhibit is worth a look.
The 2003 exhibit...
http://www.typegallery.com/TG2003/circa.html
The Society of Typographic Aficionados (SOTA)...
http://www.typesociety.org/
Apr 7
Typography
I love the lyrical sense of these fonts and this site. It is the work of Just van Rossum and Erik van Blokland in The Hague and Haarlem, The Netherlands.
LettError Type & Typography...
Speaking of type tools, one of the most impressive type preview tools I've seen is the Type Tester at Letterhead Fonts.
Choose "Type Tester" from the top menu bar...
Feb 6
Typography
Lots of sites claim to be creating “community” but Typophile.com looks like the real deal. I count hundreds of type aficionados trading intelligent comments, questions, and answers—and found an excellent collection of type-related articles and interviews. The cover is here:
The Typophile community
Jan 16
Typography
And now for something completely different. Take a tour with Phil Baines (curator of the Central Lettering Record) through central London to see an eclectic collection of public lettering examples.
http://www.publiclettering.org.uk/
Jan 9
Typography
Years ago Chuck Davis happened across a font software program and decided to use it to translate some of the letters used to hand paint signs into font form. Thank goodness for happenstance. To see the result—Letterhead Fonts.
http://www.letterheadfonts.com/
To see examples of how to use them.
http://www.letterheadfonts.com/gallery/index.php
For free fonts and software.
http://www.letterheadfonts.com/downloads/index.shtml
Dec 28
Typography
I'd be surprised if there is a total of 800 words on the whole of designer Gerard Huerta's Web. His logos, magazine covers, illustrations say everything that needs to be said. Recognize any of these publication nameplates?
http://www.gerardhuerta.com/portfolio/mastheads
His lettering illustrations are second to none.
http://www.gerardhuerta.com/portfolio/lettering-and-illustration
Want more? Take the entire tour.
http://www.gerardhuerta.com/
Dec 7
Typography
The Hoefler & Frere-Jones Type Foundry, to my way of thinking, ranks among the top type foundries on the planet. Jonathan Hoefler, the founder, has created original typeface designs for no less than Rolling Stone, Harper's Bazaar, The New York Times Magazine, Sports Illustrated, and Esquire. If you've not yet discovered Knockout, the redevelopment of Hoefler's first typeface, Champion Gothic, run don't walk.
http://www.typography.com/
