dynamic graphics magazine

8/18/2019 Dynamic Graphics magazine

1/88

TeAMYYeP

G

Digitally signed byTeAM YYePGDN: cn=TeAMYYePG, c=US,o=TeAM YYePG,ou=TeAM YYePG,[email protected]: 2005.12.0411:36:02 +08'00'


2/88

dynamicgraphics.com

DECEMBER/JANUARY 20067.95 US $8.40 CAN

274470 90182

0 6>

274470 90182

0 6>

BUILD YOURBUILD YOURBUSINESS INBUSINESS IN EVENEVEN TT &

SPORTSSPORTS GRAPHICSGRAPHICS

BRAND GAMESBRAND GAMESHOW TO GETHOW TO GET

EMPLOYEE BUY-INEMPLOYEE BUY-IN

nvitations & Campaigns CLIENTS CAN’T RESIST

BUY TECH :Smart Decisions for

• SCANNERS• MONITORS• PRINTERS• DIGITAL CAMERAS

WW AAYSYS TOTO SS HINHIN EE UU PPYYOO UURR SS CC RR IIPP TT TTYYPP EE

udienceAudience ApppepealaDesign That Draws A Cro


3/88

You don’t compromise your vision and neither does Epson.Introducing the Epson Stylus® Pro 4800 Professional Edition.First impressions are important in any business, but in the graphic arts, they’reeverything. You know your designs will blow them away, but only if your vision reproduces exactly as you planned. Consider our revolutionary Epson UltraChrome K3™ink technology. It delivers unrivaled color accuracy for stunning prints that will dazzle even your most demanding cliPrint after print, day after day, meeting after meeting. For more information, call 1.800.241.5373 or visit www.epson.com/k3.

Actual price may var y. Epson, Epson Stylus, Exceed Your Vision and Epson UltraChrome K3 are trademarks/registered trademarks of Seiko Epson Corporation. All other trademarks are properties of their respective companies.©2005 Epson America, Inc. ©Phil Marco


4/88

Epson Stylus® Pro4800 Professional Editiononly $2495 (fully loaded)

Unique 8-color pigment-based ink system

Extreme printing resolutions up to 2880 x 1440 dpi

PostScript ® Language Level 3™ CompatibleColorBurst ® RIP

PANTONE ® Licensed & SWOP ® Certified Color

Professional media handling, prints up to 17” wide

Built-in Ethernet for both Mac and Windows platforms

Highly accurate photographic image quality

High resolution text and line-art

Accurate spot color matching

Rich blacks

http://cp.jupiterweb.com/index.php/1556_default/5512e6777b4a02143159f4b4967d34ee


5/88

2DynamicGraphics

GRAPHIC D Y N A M I C

CONTENTS

FEATURES

32 You’re Invited by Michelle Taute Three strategies for making any occasion buzzworthy

with the right invitation and event collateral

38 National Sensations by Rodney J. Moore The high-prole business of creating sports identities

42 Political Parties by Alissa Walker Designing for political and fundraising events has

become a sustaining market niche for Design Army.

50 Qpass Revival by Terry Lee Stone A software company relaunches its brand to employees.

54 Care and Feeding of Script Type by Allan Haley Six tips for appropriate use of scripts

60 Found Fonts The passionate pursuit of typographic treasures

68 Smart[Ware] by Eric Grevstad A buyers guide with expert advice for choosing digital cameras, scanners, printers, and monitors

COLUMNS & DEPARTMENTS

14 Design Dynamics by Sheree Clark “Creative therapy” gets teams back on track—Part 2 of 2.

18 Marketing Matters by Sandra J. Blum Understanding the Aesthetics of Value

20 Creative Source21 Design Makeovers Call for Entries Submit your project for a FREE DG redesign.

30 Color on Call Fiesta: carnival, festivity, celebration, gaiety, revelry

78 How’d They Do That?How to x shadows and highlights in CS2 quickly

Created by IE Design + Communica-tions, this sign was part of a series for

a client event ( page 32 ).

2 DynamicGraphics

DECEMBER/JANUARY 2006 - VOLUME 10 NUMBER 6


6/88

®

We’ve just added 10,000new images to our owncollection, plus 45,000more from thesepremium royalty-freeproviders:• Thinkstock Images• IT Stock Free• Creatas Images• Goodshoot• Brand X Pictures

OUR COLLECTIOHASGROWN

www.comstock.com

© 2005 Comstock Images, a division of JupiterImages Corporation. Image # FL101100

http://www.comstock.com/http://www.comstock.com/


7/88

4DynamicGraphics

dynamicgraphics.com

DECEMBER/JANUARY 2006$7.95 US $8.40 CAN

0 274470 90182

06>

0 274470 90182

06>

BUILD YOURBUILD YOURBUSINESS INBUSINESS IN EVENEVEN TT &

SPORTSSPORTS GRAPHICSGRAPHICS

BRAND GAMESBRAND GAMES

HOW TO GETHOW TO GET

EMPLOYEE BUY-INEMPLOYEE BUY-IN

Invitations & Campaigns CLIENTS CAN’T RESIST

BUY TECH :Smart Decisions for• SCANNERS• MONITORS• PRINTERS• DIGITAL CAMERAS

WW AA YSYS TOTO SS HINHIN EE UU PP

YY OO UU RR SS CC RR IIPP TT TT YY PP EE

udienceAudience ApppepealalDesign That Draws A Crowd

GRAPHIC D Y N A M I C

CONTENTS

REGULARS

8 From the Editor

12 Letters

24 Workspace Savvy The latest must-haves for desktop and library

76 Classieds/Connections

80 Cover to Cover/Coming Up

Although the techniques and ideas outlined in Dynamic Graphics are offered withthe best possible intentions, the publication or its publisher will assume no liabilityfor their success or failure in any real-world business application.

Dynamic Graphics magazine (ISSN 1094-2548/USPS 016-929) is publishedbimonthly by Dynamic Graphics Group, 6000 N. Forest Park Drive, Peoria, IL61614-3592, for $36 per year in the U.S. Single copies are $7.95 each. Prices varyoutside the U.S. December/January 2006, Vol. 10, No. 6. Canadian GST AccountNo. 125145193. Canada Post Permit No. 2493675.

POSTMASTER: Send change of address forms to Dynamic Graphics magazine, P.O.Box 9006, Maple Shade, NJ 08052-9006. Periodical postage rates paid at Peoria,Ill., and additional maili ng offices. Visit www.dynamicgraphics.com and click Con-tact Us, or e-mail C ustomer Service directly at [email protected].

© 2005 Dynamic Graphics, Inc. All rights reserved. Contents of this magazine maynot be reproduced in any manner without written consent from the publisher.Mention of any product does not constitute endorsement by Dynamic Graphicsmagazine. Dynamic Graphics magazine assumes no responsibility for return ofunsolicited manuscripts, photos, art, or cartoons, and reserves the right to rejectany editorial or advertising materials. Unsolicited materials should be accompaniedby a self-addressed, stamped envelope. Dynamic Graphics magazine is a regis-tered trademark of Dynamic Graphics, Inc.

Production Notes:This issue was produced using InDesign CS2 on PowerMac G5s. Text set inClarendon BT, Gotham, and Adobe Garamond. Unless otherwise noted, all Pantonecolor references that appear in the magazine are taken from the Pantone solid to

process guide coated . All visuals placed in position and separated electronically.Output direct to plate at 150 lpi at RR Donnelley & Sons Co. All rights reserved.

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

4 DynamicGraphics

DECEMBER/JANUARY 2006 - VOLUME 10 NUMBER 6

3850

68

54

32

Cover photo from PictureQuest,www.picturequest.com: Stockbyte 23054988


8/88

1-877-833-3305 www.stocklayouts.com

Graphic DesignTemplates.

StockLayouts high-end graphic design templates, for users of professional layout and graphics programs, provide fast and affordablesolutions for producing exceptional marketing materials. The StockLayouts template library is packed with brochures, newsletters,postcards, stationery, menus, ads and more. Visit our website to view designs and download the free sample template today.

Pre-designed layouts with photos and artwork, royalty-free and fully editable.

CD collections $299-$499. Individual templates $39-$149.

Finishbefore you start. TM



9/88

This page / Image# 456789: Nature: almond tree blossomThat pa ge / Image# 876547: Elegance by Eva Serrabassa (Spain)That pa ge / Im a ge# 813328: Zen Panel 07 (Vector) by George Hoeylaerts (Belgium)istockpho to.com/caracterdesign. Exclusive to iStock

Elegantly priced.

http://cp.jupiterweb.com/index.php/1556_default/5512e6777b4a02143159f4b4967d34eehttp://cp.jupiterweb.com/index.php/1556_default/5512e6777b4a02143159f4b4967d34ee


10/88

Over 500,000 high-quality images. 11,000 new les each week.No subscription fees – ever. Join us: iStockphoto.com


11/88

8DynamicGraphics

FROM THE EDITOR

Who doesn’t want the adulation of the crowd? At thesame time, who is honestly willing to admit to beingpart of the audience? “I’m not one of them,” we pro-test, even if secretly—implying that we are more ana-lytical, more discerning, more scientic.

This sense of oneness and otherness is at the heartof the mystery of audience appeal, one-half of thetheme of this issue. Among the best pieces of adviceI ever received is this: “You don’t win people over inbig bunches. You win them over one at a time.” Usingdesign to capture the attention and then the allegianceof the individual in the crowd is the critical part ofappealing to an audience. When the breakthrough iscompelling, individuals can be connected in an emo-tional web, and mass appeal becomes possible.

The other half of this issue’s theme has to do withevents and special occasions. The heightened expecta-tions for special occasions set the stage for successfulaudience appeals. Events can also serve as a kind oflens for examining the design ingredients that go intocapturing mass attention; they make for instructive casestudies here.

In this issue, we cover both events and the design-ers who make them a prominent part of their prac-tices. Invitations are the focus of “You’re Invited” by

Tom Biederbeck, editor

p.s. There’s still time to submit your project for a FREEDG makeover. Go to www.dynamicgraphics.com/makeovers and nd out how.

32 685438 42

Raise your hand if you don’t wantaudience approval.

Michelle Taute on page 32 . Football’s Super Bowlis the epitome of an occasion; designing for onetakes special skills and preparation, as you’ll see in“National Sensations,” by Rodney J. Moore onpage 38 . Design Army, a rm that plays a signicantrole in Washington, D.C.’s political and fundrais-ing scene, is proled by Alissa Walker onpage 42 .Frequent contributor Terry Lee Stone describes howemployees were enlisted in a company rebrandingin “Qpass Revival” onpage 50 (also, check out hernew volume,Color Design Workbook , from RockportPublishers, reviewed onpage 25). Script type is anatural element in many event designs; nd out howsix rules can help you apply scripts for maximumimpact in Allan Haley’s “Care and Feeding of ScriptType” on page 54 .

Finally, when it comes to your opinions, thoseof us here at DG are the audience. And because youhave asked us repeatedly for real-world advice onpurchasing hardware that’s essential to your profes-sion—printers, scanners, monitors, and digital cam-eras—we’re instituting a new department this issue,Smart[Ware]. Turn to page 68 for technology com-mentator Eric Grevstad’s practical take on purchasingimaging essentials.

Comments? Ques-tions? Suggestions?

Write us at DynamicGraphics magazine,6000 N. Forest ParkDr., Peoria, IL 61614,or e-mail [email protected].


12/88

Image 22617626

picturequest.com • 800.764.7427

EXPERIENCE THE STOCK PHOTOGRAPHY ALTERNATIVE

http://www.picturequest.com/


13/88

10DynamicGraphics

GRAPHICS D Y N A M I C

Advertising contactBirte Pampel, 212.389.2016, [email protected]

To carry DG in your store, contact Alicia Butlerat 309.687.0244 or [email protected] reprints, contact Heather Osborne

at PARS International at 212.221. 9595, ext. 333,or [email protected].

For list rental inquiries, contact Kerry Fischetteat MKTG Services at 215.968.5020, ext. 163,

or [email protected] editorial comments/questions, contact

Marcy Slane at 309.687.0271 or [email protected].

Subscriptions Basic rate is $36/year (prices varyoutside the U.S .). Single copies are $7.95 each.For group rates, e-mail [email protected].

EditorArt Director

Managing EditorAssistant Editor

Editorial Contributors

Cover ConsultantEditorial Director

Creative Director

Associate PublisherAdvertising Sales

Circulation ManagerAssistant Circulation Manager

Single Copy Sales ManagerGroup Publisher

Tom BiederbeckKathie AlexanderMarcy SlaneTami TerrellSandra J. Blum, Sheree Clark,Eric Grevstad, Allan Haley,Cassie Hart, Rodney J. Moore,Terry Lee Stone, StudioAlexPhotography, Michelle Taute,Alissa Walker

Bill ThompsonEmily Potts

Michael Ulrich

Birte Pampel

Mary SchmidtMegan LosherAlicia ButlerChris Elwell

Subscriber Services

To make any changes to your subscription, visit www.dynamicgraphics.com, click Subscribe, then follow theinstructions under the “Already a Subscriber?” link in theupper right-hand corner. Remember, the post office will

only forward mail for 60 days.

If you receive a bill after you’ve paid, our letters prob-ably crossed in the mail. Please disregard any bill or renewalnotice you receive soon after mailing your payment or order.(If you continue to receive notices, let us know.)

If your issue is damaged or missing, call 888.698.8542. We’ll replace the issue or extend your subscription, whicheveryou prefer.Dynamic Graphicsis published six times a year.

To know when your subscription ex pires, check theprinted address label on the magazine cover. The date your

subscription expires is on the right of the mailing label.Please allow six to eight weeks after renewing for the labelto reect the new expiration date.

Toll-Free Customer Service 888.698.8542M–F, 9 a.m. to 5 p.m. (EST)

Outside the U.S., call 856.380.4121.

E-mail Customer Service at [email protected], orvisit www.dynamicgraphics.com and click Contact Us.

Customer Service Mailing Address:Dynamic Graphics magazineP.O. Box 9006Maple Shade, NJ 08052-9006

ID#

expiration

publicationcode


14/88

combined power

PANTONE guides should be replaced every 12 months to maintain their reference standard.

P A N T O N E ®

a n d o t h e r

P a n t o n e

, I n c

. t r a d e m a r k s a r e

t h e

p r o p e r t y

o f

P a n t o n e

, I n c

. © P a n t o n e

, I n c .

, 2 0 0 5

. A l l

r i g h t s

r e s e r v e d .

I l l u s t r a t i o n b y

S e y m o u r

C h w a s t .

Introducing PANTONE ® essentials — the value package that’s the cost effective way to upgradeto a full set of our new 2005 edition guides. This powerful line-up gives you bigger size, addedfeatures and everything you need to select, spec and match solid and process colors in printand on the Web. With a special package price and free carrying case, you’ll row home a winner.Order your specially priced PANTONE essentials now at pantone.com or call 888-PANTONE.



15/88

12DynamicGraphics

Design ideas for the real world

OCTOBER/NOVEMBER 2005$7.95 US $8.40 CAN

0 274470 90182

05>

dynamicgraphics.com

The 6 Worst Type Crimes& HOW TO AVOID THEM

TT YYPP EE SS ECEC RR EE TT SSRR EE VV EE A LLEE DD

Combat Project Stress5 WAYS NOT TO LOSE YOUR MIND

Tips for mastering large letters

ENTER YOUR DESIGN PROJECT FOR A FREE MAKEOVER!

LETTERSCreative Feedback

Referring to typeThank you so muchfor putting togetheran extensive typereference guide

[Oct/Nov 2005,V10N5] that I’ll haveon my shelf forever!As someone whonever had formaltraining, I found thislatest issue invalu-able for understand-ing certain nuancesand allowing me tospeak more informa-tively to my clientsabout type designand choices.Matt StoffelRochester, N.Y.

What’s the charge?Since graphicdesigners earn theirincome charging fortheir design time, itwould be very inter-esting if you includedtotal design time

your staff takes to doyour makeovers.Sue McCallisterVisalia, Calif.

Thanks for the sug- gestion. We arelooking into doingthis in our annualMakeovers issue(June/July 2006) .

Building praise I just read “Building Tra ffic” [Aug/Sept, V10N4,page 50]—very sharp and to the point. Ninety per-cent of websites are not being promoted at all, and

it’s important to educate our clients. I wanted tocompliment you on your honest eff ort to share withothers what comes only from experience.Eugene Trak Minneapolis, Minn.

Motion graphics? When I rst opened DG , I was blown away with althe stuff that’s in one issue. I love the how to’s, themakeovers, the tips, and advice for designers. I canbelieve how much valuable informationDG has. Ilook forward to every issue, reading it cover to covDG forces me to put my other subscriptions to theside until I read it all the way through. My request:I am a motion graphics designer who primarily works in After Eff ects, Illustrator, and Photoshop.Could you dedicate some articles to motion graphicsThings like work ow between apps, eff ects we seeon TV, makeovers, how to’s, tips, and tricks.Dirk DallasRiverside, Calif.

We-a culpa I picked up DG for the rst time and I’m reallyenjoying it—but I was a bit frustrated trying to fol-low the instructions on page 70 [“How’d They DoThat?” Aug/Sept, V10N4]. Steps 2 and 3 were in thincorrect order: You have to Select > Inverse beforeyou enter Quick Mask mode and choose your lter.Only then do you achieve the circular border.Cindy Kelly

Warrington, Penn.

Our bad, Cindy. You are correct: We reversed stepsand 3.

Color concept I love how you publish the color circles with CMYK

breakdowns. You should do a poster of a year’s worth of circles with all CMYK breakdowns. I oftend myself with back issues laid around my feetlooking at all the circles trying to nd the perfectcolor. Thank you for publishing a terric magazine,and hopefully you’ll consider my idea.C. Hughes

Your idea sparked interest here. We’re investigatingdoing a poster along these lines in 2006. Stay tune

Look for this “free” iconwithin the pages of the magazine.

Then visitwww.dynamicgraphics.com/downloads

for instructions on how to downloadyour free images!

Paint Shop Pro: One in favor In response to Ms. Cannon’s letter in the Oct/Novissue [V10N5], our group also uses Paint Shop Proexclusively. It can do nearly everything Photoshop

can, but at a fraction of the price. We encourageDG to break away from the Photoshop focus in yourarticles. Sure, it’s a leading graphics tool ... but it’snot the only tool being used out there.Charlie Teall of The CongalineEl Granada, Calif.

And one against I sympathize with those who can’t a ff ord expensive Adobe products, but please don’t waste a singlepage ofDG covering nonprofessional software. I’ma design pro. I use professional tools. I read trademagazines. If you write about the lesser-used software packages, some will benet, but you’d wastevaluable real estate trying to tap into a smaller mar-ket segment. If anything, cover how to get into thedesign game on nickels and dimes, and where to getcheap artwork and software.

And for the reader who is unable to a ff ordPhotoshop, why not nd an old copy of an earlierversion? As people upgrade they inevitably get rid oftheir old software. I just upgraded to CS2 (love it!)and I’ll gladly sell you my Photoshop 5.0.Brandon Little

Atlanta, Ga.


16/88



17/88


18/88

023P06

©2005 liquidlibrary, a division of JupiterImages Corporation

go to liquidlibrary.com/smile or call 800.255.8800

unlimited royalty-free image downloads access to over 90,000 images, up to 50MB files, all model-released

photos, illustrations, music, motion and powerpoint templates

52-page monthly magazine with images and ideas

save $200 on a 12-month subscriptionregularly $699, you pay only $499—offer expires February 28, 2006

refreshingly different

http://www.liquidlibrary.com/smilehttp://www.liquidlibrary.com/smile


19/88

16DynamicGraphics

Sheree Clark ([email protected])is managing partnerof Sayles GraphicDesign in Des Moines,Iowa; an author andspeaker on organiza-tional and businessissues; and owner ofArt/Smart Consulting,which provides self-promotion and busi-ness strategies tocreative professionals.

on a ip chart I have prepared in advance, or I maydevelop a handout that shows a summary of answers.This sharing of the results is an important part ofthe session, because it marks the point at which thegroup begins to clarify the issues it faces.

Subsequent activities in the gathering will de-pend on the nature of what needs to be xed. Thenext steps might include:

• Group brainstorming for solutions• Small group breakouts by topic• Presentations by team members or the facilitator• Facilitated team-building or consensus-seeking

exercises

Holding the gains Once progress has been made toward issue resolu-tion, it makes sense to establish a list of action

steps or “group accords” to carry forth and imple-ment after the meeting. Action steps almost alwaysrequire the team to identify who will be responsiblefor getting something done. Group accords—thinkof them as unanimous agreements or “rules of theroad”—should be distributed to each member andreviewed periodically.

Finally, it is a good idea to evaluate the sessionand to determine if a subsequent meeting—perhapsof shorter duration—is necessary. In some cases, perodic follow-up sessions can even take the place of asta ff meeting.

Confronting group conict is certainly notsomething most people look forward to. Ignored,team conicts tend to build and worsen. With a logical and direct approach, however, a team can becommore cohesive and productive, and produce a moreenjoyable work environment in the process. g

ONCE PROGRESS HAS BE EN MADE TOWARD ISSUE RESOLUTION,

IT MAKES SENSE TO ESTABLISH A LIST OF ACTION STEPS OR “GROUPACCORDS” TO CARRY FORTH . . . AFTER THE ME ETING.



20/88


21/88



22/88

TM

UNCOMMONIMAGERY INTELLIGENT

DESIGN

FOR

www.thinkstock.com© 2005 Thinkstock Images, a division of JupiterImages Corporation. Image #: C0013349

http://www.thinkstock.com/http://www.thinkstock.com/


23/88

18DynamicGraphics

MARKETING MATTERS | Sandra J. BlumBuild Your Skill Set

Understanding the Aesthetics of ValueConsider both psychology and proven strategies

when crafting marketing messages. Aesthetics is a fancy word that means a

science, language, or philosophy ofexpression. Applied to marketing, it

implies systematic thinking behindhow art is employed in commerce—

what we can think of as the Aesthetics of Value.The second part of this phrase,Value , seems like

a simple concept with a plain meaning ... but maybenot. Let’s look at various meanings of the word:

Value (noun) = price, cost, charge, worthValue (verb) = 1) estimate, evaluate, appraise, assess;

2) appreciate, respect, esteem, treasure

Your promotion has to off er something com-pelling to gain viewers’ consideration. It has to getattention. Of course, you need to understand yourtarget audience and what it values. But realistically,the viewers of your promotional design are going touse automatic, mindless response—or shortcuts—todetermine Value. Some specic feature, even a tinyaspect of the totality, can trigger a response.

Expensive = GoodOne shortcut people use in determining worth isassociation with “class.” The palette used byMarthaStewart Living when it rst began publication hadan association with New England class, helping toconfer that status on customers of her product line.

High price is often associated with worth. Some-times raising the price and prominently displaying itcan move people to buy, as retailers can attest.

The principle of contrast in human perceptionsays that when you present two things together thatare fairly diff erent, the second thing is seen as more

diff

erent from the rst than it actually is. Whenpresenting expensive and inexpensive items together,showing the expensive item rst causes the lessexpensive item to seem a better value. Presenting theless expensive item rst can have the opposite eff ect.

In other words, basic principles of psychologyplay a powerful role in the Aesthetics of Value.

It’s a deal! A standard device that triggers an automatic Valueresponse is the discount coupon. As an illustration

of just how automatic the response can be, there’sthe standard marketing story of the company thatsent out coupons in error that off ered no savings butproduced as much response as the correct ones thatoff ered a great deal.

The Aesthetics of Value also include a port-folio of techniques that signal “good deal” to theconsumer, from the standard burst to a techniquelike substituting a plain listing of items with pricescrossed out and deal prices written in.

Branding and selling Branding and selling can sometimes conict. Forexample, in direct response marketing you need to worry about one thing: getting a response. If thebrand image is strong, recognized, and respected,you may be able to leverage it. But forcing brandimagery into direct marketing design or enforcingbranding guidelines can be counterproductive tocreating the feeling of person-to-person communi-cation that’s often at the heart of successful directresponse. Large logos and slick corporate graphicscan even depress response to direct mail.

In direct marketing, graphical approaches thatmay appear naive or even crude are often the eff ect ofdeliberate tactics—and the resulting marketing met-rics often bear out the wisdom of these choices.

“Packed but organized” creates condence Home pages packed with information dominate thescene on the web today. Why? This design approachhas proven to inspire condence in users that they will nd or discover Value on the site quickly. Inonline direct marketing design, a circus approach—a “hot” depiction of Value—often works. The circu

approach, however, is highly organized. Everywherthe eye is directed, Value is projected.

Give and get No matter the marketing media, your job is to makepeople feel they will get Value. And, if you are asking the audience to respond, here’s a simple formulato keep in front of you while you’re creating. It tendto keep you focused!

Value = What they get ÷ What they give.

Seeking Value onlineThe recent PoynterEyetrack III study ofnew websites hadsome provocativendings that can beapplied in an evolvingAesthetic of Value forthe web. For example,the study reportsthat “Photographs,

contrary to what youmight expect ... aren’ttypically the entrypoint to a home page.Text wins on the PCscreen—both in orderviewed and in overalltime spent looking atit.” (See more at www.poynterextra.org/ eyetrack2004.) Andthe study also foundthat “simple text adshad the highest view-ing of all ads on allof the home pages ittested,” even thoughlarge image-laden adswere seen rst.

Author of DesigningDirect Mail That Sells ,Sandra J. Blum hascreated winning cam-paigns and marketingcommunications forclients such as theNational GeographicSociety, The Atlantic ,JPMorgan Chase,

Smithsonian , andACNielsen. She is anoted speaker at con-ferences and consultson business strategyand market develop-ment. Learn moreabout her at www.blumdirect.com. g


24/88

difficult?buying printing has to be

Think

creativepro.com and PrintingForLess.com have joined forces tobring you the easiest way to buy commercial printing in the world.Find out why thousands of your colleagues (and competitors!)

trust us with their full-color printing needs.

Think Again!

V i s i t N o w

8 0 0 . 9 3 0 . 6 0 4 0

http://cp.jupiterweb.com/index.php/1556_default/5512e6777b4a02143159f4b4967d34eehttp://cp.jupiterweb.com/index.php/1556_default/5512e6777b4a02143159f4b4967d34ee


25/88

20 DynamicGraphics

CREATIVE SOURCEWhat’s New

Better wear shadesDesigned to dazzle,Wausau Paper’s new

Astrobrights Glistenand Royal Metallicspapers have hit themarket in 14 trendycolors. AstrobrightsGlisten are pearles-cent in six shades;Royal Metallicssparkle in eight. Allare coated on bothsides and guaran-teed for offset print-ing (formulationsoptimized for inkjetare available, too).

Extend the hand Signifying the unity of humanity, a poster under- written by the School of Visual Arts and designedby Milton Glaser is the keynote of a campaign tochange political and social indiff erence to globalpoverty. “We are all African” posters were timed toappear during the UN World Summit on Poverty inNew York; the poster directs viewers to One.org, anantipoverty site that lists African and global chari-ties, including the Red Cross.Posters available for$35 at www.schoolofvisualarts.edu and www.miltonglaserposters.com.

Choc-o-graphically speaking Just by itself chocolate is hard to refuse. But com-bined with a good cause and art from some oftoday’s visual innovators, it’s irresistible. Chocolate

Bar, a chic redoubt in New York’s West Village,has teamed up with neighboring retailer Yoyamartto off er Artist Bars, with a portion of the proceedsgoing to kids’ art education. Featuring the work ofGary Baseman, Nathan Jurevicious, David Horvath,Sun-Min Kim, Rolito, Toy2R, Friends With You,Tim Biskup, Dalek, and J.D. Boujnah, the smartlypackaged bars include standbys like milk chocolate,bittersweet, and crispy rice along with the boutique’sfavorite, salty pretzel.Succumb to a “gallery box” of10 for $40 at www.chocolatebarnyc.com.

Print for the planetKeeping pace withits commitment tothe environment,Mohawk Fine Papers

has produced Senseand Sustainability ,a guide to printingon recycled papers.Mohawk describes itas the “what and howto” book on sustain-ability. Impacts ofpaper choices andhow to communicatesame are among thetopics covered … allthe more appropriategiven Mohawk’s status

as the rst large-scaleproduction facility inthe U.S. to use non-polluting wind energyto manufacture paper.Get one via www.mohawkpaper.com orcall 800.843.6455.

You can, too“Look Good onPaper,” advisesNeenah Paper’s latestpromo. Arresting sta-tionery/identity suitesin a variety of stocksand nishes calculatedto jump-start yourcreative journey areoffered in a practicaland persuasive port-folio format (createdby Design Guys—seepage 35 this issue formore of their work).E-mail [email protected],visit www.neenah

paper.com, or con-tact your authorizedNeenah merchant.

Contact your Wausau Paper distributor forswatchbooks or visit www.wausaupaper.com.


26/88

DON’T THROW IT OUT JUST YET.

DYNAMIC GRAPHICS FREE MAKEOVERS CONTESTEnter our Ninth Annual Design Makeovers contest today. Send us your logo, newsletter,

website or other design project. Our judges select the entries with the greatest potentialfor improvement and Dynamic Graphics magazine designers rework it —FREE! Results are

published in our June/July 2006 Makeovers special issue. Download the entry formand requirements at www.dynamicgraphics.com/makeovers.

DEADLINE: FEBRUARY 1, 2006

Design ideas for the real world

http://www.dynamicgraphics.com/makeovershttp://www.dynamicgraphics.com/makeovers


27/88

22 DynamicGraphics

Don’t keepus guessing:Share your thoughts. Your opinions about Dynamic Graphicsmaga-zine are very important to us, so we’re off eringyou the opportunity to share your viewsonline. To take this brief survey, go to www.dynamicgraphics.com and look for the 8-ballicon. Click on it and you’ll go directly to thesurvey form.

Once you’ve taken the survey you mayregister for a drawing for a book that’s reviewedin this issue,Color Design Workbook , fromRockport Publishers (seepage 25).

It takes just a minute or two to completethe survey. It’s more reliable than ESP. You getto sound off , and you might win a great book.

Q: Should you takethe survey?

A: SIGNS POINTTO YES.

Striking, not stuffy If Bari Zaki’s Ardour Bookbinding sounds bookishto you, shake it off and head for her new websiteat www.barizaki.com. The literary life for Zakiconsists of exquisite handmade books, boxes, deskaccessories and inventive notecards and inspiredenvelopes. Well-known photographers present theirportfolios in Zaki’s creations, but that needn’tintimidate the weekend shootist; why not commis-sion your own album? Bari will build it for you with lush fabrics, ribbons, papers, and detailing thatdo justice to your memories.Shop live in the studioat the annual holiday sale Dec. 10 & 11 at 2119 W.Roscoe, Chicago.

Modern classic, improved Avant Garde Gothic, the classic typeface created byHerb Lubalin and Tom Carnase for Avant Garde magazine in 1968, is now available in OpenTypeformat from ITC. Avant Garde Gothic Pro is com-plete with all the original alternate characters andligatures, plus a suite of additional cap and lower-case alternates, new ligatures drawn for this releasmany extras, and the usual OpenType features.Nothing says “swinging ’60s” quite so expressively Available in individual fonts or as a complete fam package at www.itcfonts.com.

ITCNT

GRDOTHIC

®

Images from type, revisited A new process for producing images from text has

been unveiled by Innite Image. Text Magic allowsletters to grow, move, thicken, and distort to cre-ate lightness, darkness, and color. Unlike otherapproaches where type is layered atop an existingimage, creating in eff ect a lter for the image, inText Magic the letters actually become the image. Works with any image, any font, any language, andcan be animated, too.Visit www.innite-image.net.

Thoughts on time &timeliness

One good thing aboutpunctuality is that it’s

a sure way to help youenjoy a few minutes ofprivacy.–Orlando A. Battista

How long a minuteis depends on whichside of the bathroomdoor you’re on.–Zall’s Second Law

Punctuality is the vir-tue of the bored.–Evelyn Waugh

If you want work welldone, select a busyman—the other kindhas no time.–Elbert Hubbard

So we beat on, boatsagainst the current,borne back cease-lessly into the past.–F. Scott Fitzgerald

… the art of getting

rich consists not inindustry, much less insaving, but in … timeli-ness, in being at theright spot.–Ralph WaldoEmerson

There is one kind ofrobber whom the lawdoes not strike at, andwho steals what ismost precious to men:time.

–Napoleon I

Time is the wisestcounselor of all.–Pericles

Photos by Michelle Litvin


28/88

http://www.ablestock.com/promo/grande


29/88

24 DynamicGraphics

WORKSPACE SAVVYTech Tools and Texts

Toolworthy

Tunes, anytime Tired of hearing the same 10 songs repeatedly onthe radio? Tune into the Magix Webradio Recorderand choose from 2,000 international preset radiochannels. If you like what you hear, simply record Don’t worry if you missed most of the song—digittechnology allows complete recording from the rsnote. A ltering process also lets you select yourfavorite artists and songs and block the ones youaren’t keen on. Recordings can be converted intomost formats (OGG, MP3, WAV), saved on mobiledevices, and burned onto CDs/DVDs. Windowsusers only.$29.99, www.magix.com

ColoricGet clued into colorwith the new PantoneColor Cue2, a hand-held colorimeter thatcombines the PantoneMatching System Li-brary and the PantoneTextile Color SystemLibrary for easy cross-matching of any mate-rial or surface. Thisnew model makes iteasier than ever fordesigners to conservetime and money spenton identifying colors.The Color Cue2 pointsout related colors,records the last 20colors measured, andsimulates variouslighting conditions forfast matches. $349,www.pantone.com

Have o ffi ce, will travel Stay organized on the go with the new AdobeMessenger Bag and safely store your essential equment: laptop, cables, MP3 player, cell phone, etc. An oversized shoulder strap provides comfortablesupport, and durable, attractive leather and nylonconstruction will keep your gear protected and youimage classy. Designed using Adobe Creative Suitsoftware.$250, http://adobe.mediumdesigngroup.

On the ball Don’t be alarmed by the puzzling appearance of theMemory Ball Alarm Clock and Radio. It’s not justfunky—it’s functional. Change stations simply byrolling the magnetized ball across the top grid toselect one of 18 of your favorite stations. AA batter-ies or standard AC/DC plug required.$60, www.uncommongoods.com

Chicks rule Hey ladies: Showyour coworkers thatyour mind is constantly cranking with ceramicmugs that daringly declare “Smart women thirst forknowledge.” $22 buys a set of two, so keep one foryourself and give one to a gal pal. Mugs are dish- washer and microwave safe.Visit www.uncommon goods.com for other “Smart Women” items.

Sneaky sounds Perfect: Technology to help youannoy your cubicle mates. Check outthe Mind Molester from the mas-ters of hijinks at Thinkgeek. Thissimple gadget connects to a 9-voltbattery and emits a one-second elec-tronic chirp every ve minutes, thenincreases to once every three minutes.Plant it near an unsuspecting neigh-bor’s cube and make him go mad try-ing to locate the noise.$24.99, www.thinkgeek.com


30/88

http://www.dgusa.com/pubframes/dgmframe.aspx?src=505&S=B05L2243http://www.dgusa.com/pubframes/dgmframe.aspx?src=505&S=B05L2243


31/88


32/88

DEC/JAN 2006 25

Textworthy

Vital colors Whether you’re creating websites, print documentsor product designs, color choice plays a starring rol when convincing consumers to take closer look.DGcontributor Terry Lee Stone and her compatriots at AdamsMorioka outl ine communication tips, theorybasics, and al l-purpose color information in herlatest work,Color Design Workbook: A Real-WorGuide to Using Color in Graphic Design . This handyreference is loaded with examples of actual projectand is an essential primer for learning—or review-ing—color fundamentals.$40, Rockport Publisherwww.rockpub.com

Good habitsDeadlines got youdown? Need newideas for promot-ing your business?Worried about puttingtogether an effectivecreative team? Seewhat other respectedprofessionals haveto say about theseand other issues in100 Habits of HighlySuccessful GraphicDesigners . The com-mentators emergefrom a variety ofareas—typography,industrial design,

fashion—to sharepractical and creativeobservations aboutissues many designersconfront during theircareers. $25, RockportPublishers, www.rock

pub.com

Publications bible Want to design magazines, newsletters, and annualreports with more pizzazz? Learn from success-ful models—Timothy Samara’sPublication DesignWorkbook: A Real-World Design Guideanalyzes top-notch print designs from conception to creation.Case study proles and real-world projects focus onpractical applications, including planning, layout,and typography. This presentation of design funda-mentals provides readers with lots of quality piecesto review and enjoy.$40, Rockport Publishers, www.rockpub.com

Spectacular spectrum Is your favorite hue blue? Does brown makeyou frown? Explore the physical, psychological,and learned behavioral eff ects of color inColorManagement and gain insight into using color tocreate meaningful messages. Tackle technical issuelike theory, systems, mixing, inks, papers, printingand perception. Ideal for designers in every eld o

visual communica-tion. Includes a CD with a 10,000-colorswatch system.$40,RotoVision, www.roto vision.com

Worldly design Embrace cultural identity while expanding yourhorizons—go global withWorldwide Identity andview projects from 40 countries featuring over 300identities. Get inspiration from each country’s cul-ture as bits of the economy, government, and socialissues are reected in an assortment of identityelements, including logos, packaging, publicationdesign, and other branding media.$45, RockportPublishers, www.rockpub.com


33/88

26 DynamicGraphics

Story time Revisit your favorite classic fairy tale and enjoyfresh, visually exotic artwork by some of today’smost talented illustrators in1,001 Nights: Illus- trated Fairy Tales From One Thousand and OneNights . This collection features 16 traditional tales,such as theEnchanted Prince , Sinbad the Sailor , and Aladdin and His Lamp , each showcasing a diff erentdesigner’s handiwork. Perfect for your kids, your-self, or as a gift for story (or art) lovers.$42, DieGestalten Verlag, www.die-gestalten.de

Movin’ on upDon’t be left behindas technology pushesvisual communicationand motion graph-ics ahead. Type inMotion 2 explores over80 animated digitaltypography projectsfeaturing the mostinnovative computer,lm, and video type-styles, as well astrendy text designedfor cell phone screensand car dashboardcontrols. Each chap-ter strives to helpdesigners stay in linewith animated typedesign. $45 , Thames& Hudson, www.ww norton.com

Imaginative imaging Users of Elements 3 and Photoshop CS and CS2 will discover thatDigital Imaging is a must-have forthe reference shelf. Explore essential basic techniquesand work through projects to help build skills forpopular digital imaging processes. An accompany-ing CD-ROM includes video tutorials, supportingimages, printable PDFs, handy links, and more.$32.95, Focal Press, www.focalpress.com

Visual identity Two primary questions arise in the newest BasicsDesign series book,Image : 1) What exactly doimages mean? and 2) How can we create them eff ec-tively? Discover answers by exploring terminologycomputer generation, iconography, and computerand print manipulation. Striking photos accom-pany this text, serving as inspirational examplesfor all designers, regardless of experience. Be sureto also check out other titles in the Basics Designseries:Format , Layout ,Typography , andColour . $24.95, AVAPublishing, www.ava books.ch


34/88

WWW.CREATAS.COM 800.255.8800

Creatas Images ™ is a JupiterImages ™ property, a division of Jupitermedia Corporation.

Get creative

at creatas.comAt Creatas Images, you’ll find

imagery that brings out your creative

best and you’ll get exciting offers

that won’t melt your budget. Call

your Account Executive or visit

creatas.com today!

http://www.creatas.com/


35/88



36/88


37/88

30 DynamicGraphics

Fiesta: carnival, festivity, feast,celebration, party, gaiety, revelry

From their people, uptempo music, foodrich in taste and texture, and moving

histories, Latin American cultures havemany reasons to celebrate. You too can

have a blast incorporating esta-inspired colorsin your projects. For a lively palette, do as RafaelLopez often does, and turn to Latin America forenergetic colors that almost seem to dance.

Working out of his San Diego studio, Lopezfuses a strong graphic style with magical symbolism,reecting his cultural heritage and the colors of Latinlife. Lopez cultivated his craft while growing up inMexico City and was strongly inuenced by Mexicanmuralists such as Diego Rivera and Runo Tamayo.Like much of Lopez’s art, “Wingworks” (shown attop right) has a bold, vital drawing style with rootsin these traditions. “I was thinking of the revival ofmany urban areas and the inux of new, youthfullife,” the artist remembers of his thought process increating the piece.

“I make conscious emotional connections as Ipaint,” explains Lopez. “Being from Mexico, I wasraised surrounded by color. Color becomes an intrin-sic part of who you are or what statement you wantto make about yourself.” Lopez’s pieces draw particu-larly from Latin America, but he’s also inuenced bymusic and his travels as well.

“Music inspires me in a big way and gives tex-ture and tone to my work. I travel extensively, andthe rhythms of life nd their way into my paintings,”Lopez says. “Latin jazz is the best music to listen to while I’m working—if you look closely, you’ll see itclearly between the brush strokes.”

And soon, youngsters also will be sharing in thecelebration of color as Lopez, inspired by his son,ventures in a new direction: children’s books. g

PANTONE193

C 0M100Y66K13

PANTONE349

C 100M0Y91K42

PANTONE390

C 22M0

Y100K8

PANTONE1675

C 0M67Y100K28

PANTONE2738

C 100M87Y0K2

COLOR ON CALLTrouble-Free Palettes

In tuneBold choices in colorand theme rockthis painting titled“Wingworks,” byRafael Lopez. www.rafaellopez.com

Party placesScenes of Latinmurals, restau-rants, and general

celebration con-vey a esta theme.Image 23000174,MedioImages, www.picturequest.com


38/88

DEC/JAN 2006 31

FontsFor a bold take ona Latin look, call onScurlock ( hola ) andOliver ( amigo ), bothfree at www.fontface.com; or try ITC Juice(chica ), Arriba-Arriba

( bueno ), and FrancesUncial ( adios ), fromwww.itcfonts.com.

CultureInfuse the grace of abullghter, the energyof the tango, and therich histories of LatinAmerica into yourproject with terms likematador , Latin dance ,Cinco de Mayo , andMexican Revolution .

Image 22376367,Stockbyte, www.picturequest.com

FoodDraw colorful inspi-ration from exoticfoods like tropicalfruits (papaya, guava,mango) or spicy pep-pers (jalapeños, chiles,habañeros). Image22176127, Brand XPictures, www.

picturequest.com

TextureBrightly patternedtextiles are saturatedwith creativity. Weaveindigo, turquoise,natural greens, yel-lows, and brownsfor impact. Image22173790, Brand XPictures, www.picturequest.com

R 10 G 101 B 50R 177 G 0 B 118

R160 G 90 B 20R 191 G 208 B 36

R 171 G 0 B 58R 51 G 43 B 129

R 170 G 209 B 228R 71 G 0 B 119

R 228 G 183 B 66R 45 G 148 B 197

PANTONE313

C 100M0Y8K13

PANTONE233

C 11M100

Y0K0

PANTONE143

C 0M35Y85K0

PANTONE636

C 45M0Y9K0

PANTONE2597

C 85M100

Y0K0

HEX 0A6532HEX B10076

HEX A05A14HEX BFD024

HEX AB003AHEX 332B81

HEX AAD1E4HEX 470077

HEX E4B742HEX 2D94C5


39/88

32 DynamicGraphics

by Michelle Taute

Three strategies for making any occasion buzzworthy with theright invitation and event collateral.

Invited You’re

Can-do campaign

Designsensory inKnoxville, Tenn.,designed theseposters to promoteGoodwill’s annualsignature event. Thisyear the rm playedoff a highly recogniz-able image—Rosiethe Riveter—to drawattention to the com-munity fashion showand sale. After shoot-ing their own image,

the rm reproduced itas a duotone (Pantone123U and 541U) tostay within budget.Where yellow andblue areas are heavy,a tone close to blackis achieved, giving theposter the appearanceof three-color printing.


40/88

DEC/JAN 2006 33

In the business world, a poorly designed invitationcan easily get lost in the daily pile of junk mail.That’s why it’s so important to make sure thesepieces stand out from the pack. A good invitation—and its corresponding event collateral—should makepeople excited to mark down another commitmentin their calendars. These three smart strategies

can keep those a ffi

rmative RSVPs rolling in andenhance the event experience itself.

1. Think rst, design secondNo matter how tight a project’s schedule, JosephNother, the creative director and founder ofDesignsensory (www.designsensory.com), believesthat every good invitation starts with a strong con-cept. Take the time to think about how a piece isgoing to be used and explore the ideas and detailsbehind the event at hand. If you know what’s driv-ing your design choices, he observes, you’ll also getquicker buy-in from clients.

Steve Sikora, creative director of Design Guys(www.designguys.com) in Minneapolis, echoesthose sentiments. Materials should reect the event’spurpose, he says, rather than an aesthetic that thedesigner wants to experiment with. “Try to be evoca-tive,” says Jay Theige, a senior designer who works with Sikora. “What does it feel like being at thatevent in the best possible interpretation?” An invita-tion should set the scene accordingly.

Versatile ticketThe admission ticketfor the event, above,did double duty forthe rafe door prize,with space for gueststo write their names in... another great ideafor tight budgets.

Strong programThe program at rightoutlines the evening’sagenda, providingattendees with a quickrundown of activi-

ties in a lively verticalformat. Like all of thecampaign materials,it’s emblazoned with apowerful slogan: “TheAmerican Woman.Strong and Beautiful.Then and Now.”

“WHAT DOES IT FEEL LIKE BEING

AT THAT EVENT I N THE BEST P OSSIBLE

INTERPRE TATION?” AN IN VITATION S HOULD

SET THE SCENEACCORDINGLY.

Type selectionsAn eclectic mix oftypefaces selectedfor the campaigninclude RailroadGothic, Univers andUnivers Condensed,Rosewood Fill andRosewood Regular.


41/88

34 DynamicGraphics

2. Be detail-orientedIt’s also key to understand the parameters of a proj-ect as soon as possible. For example, Theige learnedfrom his client that the invitation for a recent proj-ect would have to t in a No. 10 envelope, a detailthat determined the invitation’s nished size. A cli-ent’s preference for gathering RSVPs can also a ff ectdesign decisions. At IE Design + Communication(www.iedesign.net) in Hermosa Beach, Calif., de-signers put together invitations for one client’s com-pany meeting with the understanding that RSVPsneeded to be returned by fax. As a result, replyinformation was presented on a fairly plain 8½ x11-inch sheet as opposed to a small card or as partof the invitation itself.

In other cases, a tight budget might force you tograb attention with outside-the-box creativity. Notherrecommends browsing the aisles of local hardwareand secondhand stores: An a ff ordable accessory just

might be the perfect nishing touch. For one client’sevent, Nother’s team created inexpensive take-awaysfrom old records that were purchased for pocketchange at the local Goodwill. The record sleeves wereupdated with event-related graphics, and guests got amemento they would be more likely to keep becausethey could check it out at home.

The success of many invitations relies on shape,feel, or unusual touches. Designers at IE address thisissue by taking the time to create detailed mock-ups

Creative giveawayDesignsensory’s chal-lenge was to developattention-grabbingmaterials with powerto cut through theclutter that business

executives (the tar-get audience) face.To capture intereston a budget, thedesign team addedmusic to the mix:Each attendee at thecampaign dinner wenthome with a real LPrecord—purchased forpocket change at thelocal Goodwill. CDsplaced in the centerof each record held

nancial data andother details from thecampaign. This con-cept provided eachattendee a keepsake.“We needed some-thing that even anexecutive would havetrouble parting with,”says Nother.

of proposed designs. “We’re cutting and folding anddoing everything we can to make it as nal as possi-ble,” says designer Kenny Goldstein. “It really ushout a lot of problems.” This approach also means nosurprises for the client, who gets to appraise the lookand feel of the nal materials rsthand.

3. Use the right accessoriesThe rst job of event collateral is to make thingsclear for attendees—they need to feel welcome andknow where to go. But before you dive into a sign-age system, make sure you understand the venue where things will be displayed. For one client’scompany meeting, IE Design wanted to create eye-catching, oversized banners. But, ultimately, those just didn’t work in the rooms. Instead, the team went with 24 x 36-inch boards that could be set oneasels in the appropriate locations.

When a client looks to you for ideas on what

types of collateral to create, remember that some-times the smallest items make the biggest impact.“Just try to come up with unique solutions,”Goldstein says. “They don’t have to be costly.” Hesuggests items that attendees can take home, such ascoasters. They’ll add energy to the event and keeppeople talking after the last guest leaves.

Michelle Taute ([email protected])is a Cincinnati-based freelance writer and edi-tor specializing in design topics.

Landmark lookThese materialshelped launch Restore

America, an effortto preserve some ofthe country’s lesser-known landmarks.


42/88

DEC/JAN 2006 35

Eames eventsNeenah Paper heldevents in New York,Chicago, and LosAngeles to promotethe launch of newpapers based on thework of Charles andRay Eames. Thesefoldable “save thedate” cards functionedas desk toppers andinvited recipients totouch the elegant tex-

tured stock (EamesFurniture Cover here).Design Guys createdthe campaign.

Modernist inviteDesign Guys choseEames icons, images,furniture, and colors,all laid out on a mod-ernist grid, to portraythe namesake design-ers while showcasingthe paper’s capabili-

ties. Prominent amongthe images was theclassic Eames loungechair and ottoman;these were door prizesat the three receptionsheld in associationwith the launch.


43/88

36 DynamicGraphics

Design on a dimeSpecial touches don’thave to break the bud-get. A twine tie wasan inexpensive wayto extend the westerntheme and captureattention. “It’s super-cheap,” says designerKenny Goldstein, com-menting on the twine.“You can get it at anyhardware store. It’s $2for a roll.”

Old WestAn invitation by IE De-sign + Communica-tions for an AllianceImaging companymeeting plays off the

est in the medicalimaging rm’s event.Easily overlookeditems—like a noteabout the weather

Casual responseKnowing that RSVPswould be returned byfax allowed IE Designto create a low-costsolution that was stillin keeping with thecampaign’s overallstyle. Printed singlecolor on colored, tex-tured stock, the replyform proved ideal.

Typographic presenceDisplay type usedin the invitation andother materials re-creates the look ofvintage letterpressprinting with big,bold letters and jus-tication. A mix ofRosewood and Gazzfonts makes the illu-sion plausible.

event’s Dallas settingwith a western theme.Playful graphics addan element of fun thathelped generate inter-

or a reminder to bringan umbrella—wereemphasized by plac-ing them in colorfulcircles and icons.


44/88

DEC/JAN 2006 37

Banner issuesAn extensive seriesof banners was origi-nally planned for theAlliance Imagingevent, but issuesrelated to hangingthem meant that, forthe most part, easelboards were thedefault choice. Theeasel boards woundup functioning as akind of signage toestablish the event’stone and direct traf-c to the appropriatemeeting rooms. Aseventually produced,the signage fell intotwo groups: moreformal “conditioning”

messages (top row)and session and di rec-tional boards (lowerrow), which featuredmore casual colorsand images.

Appetizing colorsMeal cards with clipart lent a light touchand employed thecampaign’s color pal-ette. The cards t onthe same press sheetas the invitations andthus were inexpensiveto produce.

C57M0Y5K0

C26M83Y99K9

C55M44Y100K10

C1M32Y69K12


45/88

38 DynamicGraphics

NationalSensationsby Rodney J. Moore

High-prole sports identities have to connect emotionally with fans and be extendable across a variety of platforms.Here’s how one designer is mastering the market.

New NationalsTodd Radom designedthe identity suite forthe new WashingtonNationals Major

League Baseballclub, including theuniforms. His tech-nique begins withpencil sketches (hedescribes himselfas “a hand-letteringguy”), which he thentakes into Illustrator.With a dozen or moresketches in digitalform, he mixes andmatches elementsfrom each, essentially

taking a modularapproach to arriveat his nal design.

AP/WIDE WORLD PHOTOS


46/88

DEC/JAN 2006 39

It’s the dream of nearly every design studio: a na-tional sports identity project. But what happens

when you nally do land that high-prole job? Af teryou pop open the champagne, it’s time to get downto business. Ideas may be coming fast and furious,but before you rush into the future, you should con-sider the past. Where might you nd inspiration?

Todd Radom is an artist who has a knack forbringing the past into the present. You may not haveheard of him, but there’s little doubt you’ve seen his

work. After all, he has designed such high-proleidentities as the 2004 Super Bowl logo and MajorLeague Baseball’s Washington Nationals.

Radom is one of the lucky few who have man-aged to fuse passion with work. A graduate of theSchool of Visual Arts, Radom had aspirations ofdesigning logos for sports teams as far back as age13. He even remembers doodling logos on scorecardsduring Yankee games.

“A hand-lettering guy”“I graduated from college a few years before the Macrevolution,” Radom says. “Technology has sort ofleveled out the playing eld. Especially for designers

who are just breaking in, it’s harder to get noticednow than when I rst started. You had hand skillsthen that aren’t as valued now. As a result of tech-nology being as accessible as it is today, I always taabout being a hand-lettering guy. I think if you cannd a niche, you are going to break through thecrowd, get yourself noticed, and have staying powerin what is a difficult industry right now.”

After a few years designing book covers at apublishing company, Radom began to notice a trenddeveloping in his work. He was designing primarilysports-related books, particularly those with baseballthemes. Determined to extend his niche in sports

graphics, Radom sent his work to Major LeagueBaseball and won his rst job designing logos for afew minor-league teams. Pleased with his work, thebig leagues hired him to redesign the MilwaukeeBrewers logo in 1993.

“Like any other small niche segment in ourdesign industry, people sort of gravitate to whatthey are interested in,” Radom says. “There arepeople who are gaga over music and eventually theyare going to nd their niche there if they are goodenough and aggressive enough.”

1. Genesis of a SuperBowl logo, phase oneThe brief for the 2004Houston Super BowlHost Committee logowas to use the col-ors of the HoustonTexans, the hostclub for Super BowlXXXVIII, and to visu-ally reect the com-munity and the sport.(The Host Committeeserves as liaisonbetween the NFL andthe Houston com-munity, coordinatingefforts leading up toSuper Bowl Sunday.)In phase one of theprocess, Radom sub-mitted six directionsfor renement. Severalelements made it intothe nal design—see ifyou can identify them.


47/88


48/88

DEC/JAN 2006 41

A Logo for theBig-Money Game

While the logo for the Super BowlHost Committee on the precedingpages was designed for commu-

nity applications, the ofcial gamelogo shown here—also designed byRadom—is all business. Consider thatby kickoff on Super Bowl Sunday, anaudience of 800 million will be watch-ing—and seeing the logo on every-thing from TV graphics to the gameball to the eld itself.

The money starts owing before thegame even begins, however, with theNational Football League market-ing machine licensing 50 or morecompanies to create products bear-

ing the logo. An estimated $2.9 bil-lion in NFL-licensed merchandise issold each year, with sales of SuperBowl-licensed products estimated at$100 million annually. And of coursea licensing fee for every item of mer-chandise goes to the league. Very bigmoney, indeed.

5. As with most logosof this nature, a com-promise was made,and it was for thebest. The football isback in, leaving nodoubt of the nature ofthe event. The lines oneither side of the ballll up the space visu-ally, and complement

the curvature of thebottom of the wordHouston . Radom feelshe achieved symmetryand came up with amark that is complexbut not chaotic. Thisdesign was very userfriendly and translatedwell across a varietyof platforms.

Final logo

12355395 187

In addition to the logos and identitiesshown here, Radom has also designedcomprehensive programs for base-ball’s Anaheim Angels, the NaismithMemorial Basketball Hall of Fame,the Women’s National BasketballAssociation’s Indiana Fever, and more.See it all at www.toddradom.com.

C30M45Y70K0

C80M70Y60K60

C15M95Y90K5


49/88

42 DynamicGraphics

PART ı ESDesigning for political and fundraising

events has become a sustaining market niche for Washington, D.C.’s Design Army.

POLITICALby Alissa Walker

ending in ion , set ingraceful text treat-ments that interactwith images of youngdancers from theorganization’s presti-gious ballet school.A belly band holdsthe book closed.

Stunning performanceCelebrating both theWashington Ballet’s60th anniversary andits seasonal gala, thisdual invitation is builtaround the themeof “Generation.” Theshortened pages fea-ture a series of words


50/88

DEC/JAN 2006 43

Print campaignFox River Paper gaveDesign Army carteblanche for invitations(above) to a promo-tional event, simplyinstructing the design-ers to use the theme“freedom” and keep ittasteful. The resultinginvitations humor-ously merged patrioticrhetoric with creative-friendly terms, andgenerated praise,some controversy, andexcellent attendance.

Cinematic designPromoting the NordicFilm Festival meantrepresenting all veparticipating coun-tries. Design Armycreated an image thatreferences the crossfound on each of theve ags. This posterwas inkjet printed inlimited numbers.

Amidst the gridlocked graphics of Washington,

D.C., Jake and Pum Lefebure are armed and readyto take on the capital’s biggest events.For both, it was their rst job after college, a

chance to live in a great city, and an opportunity togrow within a large company. But after countlesslate nights and weekends working as juniors at alarge design agency, Pum Mek-arronreung and JakeLefebure realized they shared something else: a deter-mination to get themselves on the D.C. design map.

Quickly scoring their own freelance projects, theduo logged hundreds of hours together, winning doz-ens of awards and the attention of the local designcommunity. Soon they were managing a roster ofclients as well as a budding romance; they married in2001. When Jake left the agency in 2003 to start hisown company, Pum joined him, and their mission was underway.

Design militantsTo capture their passionate work ethic and directstyle of execution, the Lefebures searched for aclever name for their new rm. Taking cues fromthe patriotic culture around them seemed appropri-ate, but they also wanted to incorporate the worddesign and their desire to sound big, even as theirshop stayed small.

“After scouring for a URL and not having muchluck, we joked about how two poor little designers—one from the mountains of Pennsylvania and theother from the sprawling city of Bangkok—wouldever stand out in the huge D.C. metro design com-munity,” says Jake. “We said it would take an ‘army’of designers to do it. So we keyed in www.designarmy.com and there it was—just waiting for us tosnatch it up. It was perfect. We are well-trained andorganized, it’s easy to remember, and we plan to con-quer D.C. creatively.”

Design Army was called into service. For this

couple in the capital, it was crucial to cater to theubiquitous political audience, yet Design Army’s skill with concepts and their polished look begged formore than annual reports. With the glitz of fundrais-ers and galas before them, Design Army embarkedon a campaign to bring intelligent design to events.“There’s a lot of demand on good invitations toattract the audience or donors who provide moneyto the organization,” says Pum. “We saw this as anopportunity to devote ourselves to specializing inhigh-end invitation design.”


51/88

44 DynamicGraphics

Inltrating the ranksInvitations provided Design Army with exposureto the Washington elite: high-rolling clients and an A-list audience. Many of these organizations have aninternational presence and mailing lists that includeformer presidents. And since most of these eventsare recurring, promoting them provides uniquechallenges in capturing the interest of many of thesame people each year.

When concepting a theme for an event, Design Army will often build an entire identity from theground up, including logo and program design. Inthe process, they are given the opportunity to specspecialty paper stocks and printing techniques.

That said, it’s not always frills and full color.“While invitations are fun, they can also be verystressful because the names of the sponsors andhonorary list are usually added, deleted, or changed

at the last minute,” says Pum. By working on somany invitation projects, however, Design Army haslearned to expect alterations and incorporates exiblelayouts to address the inevitable changes.

Even with the instability that last-minutechanges bring, the stability of the event graphicsbusiness is a plus. Events are slotted ahead of timeand must meet printing and mailing dates, so design-ers get a solid deadline—and a solid paycheck. “Wecan always count on invitation projects,” says Pum.

A new homeWhen Human RightsCampaign wanted toannounce its reloca-tion to Washington,Design Army sug-

gested embracingalternatives to thetraditional look ofhuge organizations.“We took headlinesand paired them withhand-painted illustra-tions to create a freshlook that reects the‘home sweet home’image they originallywanted,” says Pum.The absence of insti-tutional graphics and

surprising use of colorgave Human RightsCampaign a freshidentity that’s friendly,accessible, and expo-nentially more human.

Partisan policiesIn a town where some companies parade their political motivations, Design Army has yet to declaretheir allegiances in order to pursue new business: Atheir clients have come to them by word of mouth.But Jake notes that an organization’s a ffi liation wouldn’t deter them from accepting a project. “We would never turn down a creative chal lenge, but we will reject close-minded clients,” he says. “I am adesigner and regardless of their party I plan to givethem the best creative I can.”

While the partisan leanings of their clients don’create ideological conicts, the Lefebures are stillvery selective about who makes it past round two oftheir recruitment process. “Anything we feel won’t ba good t for our studio, we don’t take the project,”says Pum. “Anyone who doesn’t click in our rstmeeting, we don’t take it. If the rst question is ‘How

much will it cost?’ we won’t take the project.”Design Army embraces a steady stream of workfrom nonprots and lobbyist groups as not only achallenge, but an important part of living in D.C.“If you have no interest in politics, you shouldn’t livin Washington,” says Pum. “I’m a native of Bangkokand I’ve found American politics fascinating. Ilearned to appreciate it. Any good designer shouldbe able to solve any problem. And good design start with a good attitude towards the projects.”

DESIGN ARM Y WILL SPECIFICALLY USE A COLOR LIKE

LIME GREEN TO MAKE AN IDENTITY STAND OUT.“THERE ARE WAY TOO MANY RED AN D BLUE LOGOS IN THIS TOWN!”


52/88

DEC/JAN 2006 45

Nutty is niceA rethinking of TheNutcracker stagedby the WashingtonBallet was set in aGeorgetown manorand featured GeorgeWashington as the

Nutcracker and KingGeorge III as the RatKing. Design Armydevised a witty andeconomical, holiday-appropriate, two-coloridentity and translated

Press credentials

When the NewspaperAssociation ofAmerica broughtits annual conven-tion to town, theywanted to convincepotential attendeesthat D.C. was a fresh,hip destination. “Oursolution was incor-porating newspapertexture into a series ofgraphic illustrations ofnational monuments,”says Pum. Playingwith the city’s tradi-tion in an exciting way,plus the use of vividcolors (note Lincoln’sbow tie), contributeddirectly to a healthyturnout for the event.

it to a variety of pro-motional materials,including invitations,programs, greetingcards, posters, andbanners. The titular“nutty” gure, a

colonial-era nut-cracker with cockedhat, became a famousface in Washingtonthroughout the holi-day season, thanks toeye-catching graphics.


53/88

46 DynamicGraphics

Activist graphicsFor ACT, a grass-roots organizationdedicated to electingDemocrats, DesignArmy developeda series of “doorknocker” kits to drawin potential support-ers. The nationalawareness campaignalso included theseinvitations to a fund-raising party at theDemocratic NationalConvention. Sincethe materials had toappeal to a highlydiverse audience,red, white, and blueseemed appropri-ate, but Design Armychose unexpectedshades to give thepieces distinction.

Rules of Attraction

portrayed love with anaughty side. For theYoung Voter Alliancelogo, the designershad to incorporateve organizations in asingle, cohesive mes-sage; the ve-pointedstar represents themerged groups andfeatures words fromeach of their missions.

Creating logos forfundraisers and orga-nizations demands alot from simple andoften small graphics;they have to standout from hundredsof competing marks.For the WashingtonBallet’s “Love” gala,Design Army cre-ated an identity that


54/88

DEC/JAN 2006 47

Beyond stars and stripesConsidering some of the most famous graphic

designs to come from Washington—currency, W-9forms—it’s obvious that political clients favor under-stated concepts. Flags, diversity, and traditionalfonts are all popular with this conservative crowd.But Jake and Pum jump at this opportunity to show what’s possible beyond the look that’s already onclients’ agendas.

“We are risk takers and will show a conserva-tive client the wildest design,” says Jake. “While theymay not select that design, it will often spin off somegreat conversations that elevate the more traditionaloptions they love. It’s sort of like us turning the lightson for them, but they hit the switch.”

Not surprisingly, many of Design Army’s clientsclamor for a very specic color palette. “Politicalclients seem to really like red, white, and blue,” saysPum, who notes that Design Army will specicallyuse a color like lime green to make an identity standout. “There are way too many red and blue logos inthis town!”

With so many organizations vying for publicattention, it’s not difficult for Design Army to con-vince clients of the importance of looking diff erent,especially when donations are at stake. “There are somany political clients these days ranging from themild to the wild, and they all are after the same dol-lars, so the competition is erce,” says Jake. “But I dothink that they are taking a bigger look at the pictureand realizing the political landscape is changing andso must they.”

Staying on targetPropelling political messages beyond the conven-tional, Design Army transforms these simple invita-tions into beautiful pieces impossible to ignore. Butby meeting the needs of their clients with appropri-ate business-savvy style, they’re also changing the way this not-so-niche market communicates with

constituents. As planned, Design Army’s strategyfor addressing the D.C. social scene is making gooddesign contagious.

“I think in the past two years we have madequite a impact on D.C., and we are starting to getmore recognition,” says Jake. “But what’s even betteris that we’re getting more competition, and some ofit is quite good. I know I said that we want to con-quer D.C. creatively and that it will take an ‘army’ todo it—but I never said they all have to be employedby us.” g

Foreign relationsThe American Instituteof ContemporaryGerman Studiesturned 20 in 2003and looked to DesignArmy to craft galapackages that wouldconvey the institute’shistory of energy andcommitment. Thedesigners managedto steer their clientaway from the unin-spired style of previ-ous collateral. “Wehave weaned them offclichéd images andpushed them towarda new idea of lettingtheir words speaklouder than theirpictures,“ says Jake.These invitations, withtheir intriguing folds,clean layouts, andmodernist-inspiredgraphics, have helpedto bring the instituteinto the 21st century.

Alissa Walker ([email protected])comes up with storyideas while wander-ing the hills near herHollywood home. Shewrites about designand culture, and is aregular contributorto DG ’s sister publi-cation, STEP insidedesign magazine.


55/88


56/88


57/88

50 DynamicGraphics

QpassRevival:in the cards A wild and crazy card game helps a software company

relaunch its brand to employees.

Not everyone thinks of branding as a game, butit turned out to be a perfect solution for Qpass, ahigh-tech company that provides infrastructure software for global mobile telephone companies. WhenQpass shifted its business focus from consumers tobusiness-to-business, an important objective was torelaunch its brand internally with employees. Qpasscalled on Seattle-based brand rm Methodologie fora solution that would capture the interest of associ-ates so they’d know the company was changingfocus and understand the new context in which they would be working. In this way, each employee couldbecome a “brand steward” for the newly trans-

formed organization.No brand manual, please“Our client was looking for an innovative reposi-tioning solution that would capture the exuber-ance of this digital company’s culture and educateemployees about changes in their business struc-ture,” says Methodologie creative director DaleHart. “Qpass knew they didn’t want a manual, andthey were willing to explore some fun and inter-esting alternatives.” The company wanted to get

By Terry Lee Stone

their employees excited about changes in businessoff erings as well. To meet this brief, Methodologiedeveloped an unorthodox campaign that centeredon a unique card game supported by promotionalitems and a temporary redesign of Qpass’ employeeintranet site.

The spirit of the game and its wild ‘n’ crazygraphics was tuned for the break-the-rules culture ofthe young company. According to Hart, “Our bestand most successful work comes from clients whoare risk takers. It’s rare, but great when it happens. Ithe case of Qpass, [the question] was how far can wpush it?”

Each of the 29 game cards represents a brandelement (mission, promise, etc.), company fact (yeafounded, company folklore), or company associa-tion (primary market information, corporate icon).The entire sta ff became involved in playing the gamover the course of what was, in eff ect, a month-longspecial event.

Collecting for employee interactionThe point of the game was to learn more aboutthe company and brand by trading and collecting

Cards (facing page)The unique solutionto the Qpass brandrelaunch was to cre-ate a card game,with employees com-peting for prizes.Methodologie (www.methodologie.com)designed both gameand brand cards tot with the client’syouthful, irreverentculture. The graphicexecution of this con-cept was as varied aspossible. The design-ers leveraged a rangeof fun company andpop culture referencesto create the cardbacks. Some imagesare cryptic, invitingfurther examination;others are evergreenpop references.


58/88

OCT/NOV 2005 51

Card caseTo heighten the col-lectible aspect of thebrand trading cards,Methodologie selecteda keepsake steel boxto house them. Thecard game became a

credenza piece thatemployees wanted tohold on to and enjoy.


59/88

52 DynamicGraphics

“brand cards.” Each employee received a metal keesake box and 10 random cards. Employees traded with each other to col lect “suits” of like cards, whicallowed them to win prizes.

The Methodologie project team had a few trickup their sleeves: In some instances, senior managersheld certain key cards, which caused sta ff members

to have to come to them and respond to a quiz ques-tion; with the correct answer, the employee would brewarded with the prized card. Other cards were hid-den around the company’s headquarters to be spottedby sharp-eyed employees.

The game created a frenzy of interaction andtrading activity almost immediately. “We noticed tha within days of the game’s launch, Qpass cards werebeing traded at a premium on eBay! This brandingexercise really inspired a fun competitiveness withinthe company,” notes Methodologie marketing man-ager John Carroll.

As “uncorporate” as possibleDesigning the cards was a treat for Methodologie,an opportunity to be wildly creative with icons,imagery, and graphics that were playful, varied, andas satirical as possible, all in keeping with the atti-tude of Qpass. All the designers on Methodologie’ssta ff were involved; they pursued a variety of stylistic interpretations, mostly with a pop-culture spin.Images of clowns, children’s books, woodworkingtools, the game Twister, the color blindness test, themoon walk photo … even Elvis made it into thedeck. The game has a Joker card; just for fun theQpass marketing director (Methodologie’s clientcontact) was the featured image.

All these cards, rendered in a variety of illus-trative styles, work together in a crazy quilt ofbrand expression. Dale Hart summarizes the designapproach: “The whole system is really a carnival ofcolor, no two cards being the same. We did this tomake the game feel as ‘uncorporate’ as possible toappeal to the young, high-tech sta ff .”

In addition to the cards, Methodologie createdicons to represent aspects of the Qpass brand state-ment that were then put on T-shirts in a spectrumof brand colors. And to further enhance the game,

ve diff

erent “skins,” randomly rotating, were devel-oped for Qnet, the employee intranet site; each timeemployees logged on during the campaign, theysaw a variety of colorful patterns that promoted thebrand game. A release party kicked off the campaign, which was concluded after a month with the award-ing of prizes.

The Qpass card game put a human touch and asense of play into branding, an engaging way to get complex set of information into the minds of corpo-rate sta ff . Who says branding can’t be fun? g

Brand apparelGiveaway T-shirtswere part of the brandrelaunch campaign.Symbols (some ofwhich also appearon the game cards)are featured as supergraphics in a vari-ety of brand colors.Qpass’ corporateidentity system con-tains a palette of 11colors used in variouscombinations. Thesymbols reference dif-ferent aspects of thebrand; for example,the airplane symbol-izes “global,” whilethe camera’s mes-sage is “security.”The shirts, modeledhere by lead designerGabe Goldman, fur-ther enhanced brandknowledge in a lessdirect, but denitelyentertaining way.

THE GAME CREATED A

FRENZY OF INTERACTION ANDTRADING ACTIVITY ALMOST IMMEDIATELY.

“THIS BRANDING EXERCISE REALLYINSPIRED A FUN COMPETITIVENESS

WITHIN THE COMPANY.”


60/88

OCT/NOV 2005 53

Intranet skinsDuring the campaign,the Qpass intranetsite featured a seriesof specially designedskins that promotedthe Qpass brandawareness effort.Unorthodox graph-ics sparked interest,publicized prizes,and provided furtherinformation. Whenemployees loggedon to the site, theywere greeted witha rotating series oftop pages, some ofwhich are shown here.Design elements suchas pattern and colorwere deliberately

playful to portray thespirit of the campaignand encourage partici-pation in the game.

Terry Lee Stone([email protected]) is a design man-agement consultantand writer/educa-tor in Los Angeles.She is coauthor ofthe recently pub-lished Color Design

Workbook from Rock-port Publishers.

Playing the Qpass GameSimple to play, the gamedeveloped by Method-ologie spurred a tremen-dous amount of interactionas employees acquiredbrand knowledge whilecompeting to win prizes.

Setup:Each player received 10cards to begin. The objectwas to collect a full deck(29 cards), which wasdivided into eight suitsof varying numbers ofcards, plus one Joker.Prizes and additional cardswere awarded for collect-ing a full suit, three of akind, and instant winners.Platinum cards were the

holder’s ticket to winningthe grand prize.

Ways to collect cards:• Network: Trade with

another player.• Knowledge is power:

Correctly answer ques-tions relating to the cardswhen asked by seniormanagement.

• Get lucky: Find cardslocated in mysteriousplaces.

Rules:• The game’s duration was

one month.• To redeem a full suit,

employees were askedquestions relating to theinformation on the cards.Cards by themselvescould not be used toredeem prizes.

• The Joker card was“wild” and could be usedto complete a suit.

Complete sets of ruleswere posted on the com-pany’s intranet site andthroughout the companyheadquarters.


61/88

54 DynamicGraphics

Care

& Feeding

̃of ˜by Allan Haley

Tend to your script typefaces carefully with thesesix tips for appropriate use.

Script typefaces are emotional, lyrical, even passion-ate communicators. They enhance the written word.Scripts have a soul and a heart. Words set in scriptare perfect examples of things that are greater thanthe sum of their parts.

Perhaps the most expressive of all letter styles,scripts can project a mood, create a sense of the erain which they were rst written, and reect the toolsused to create them. The rotund strength of a type-face like Forte has a very diff erent personality fromthe passionate Bendigo, and both of these are distinctfrom the elegant Young Baroque.

Pretty—but not simple

The rst thing to remember when working withscripts is that they are harder to read than serif orsans serif typefaces. We are not as familiar withtheir character shapes as we are with those in moretraditional typeface designs. This slows down thereading process … and can a ff ect document com-prehension and information retention. Studies havealso shown that blocks of script copy are not invit-ing to the reader. While scripts stand out, they alsotend to create a busy visual texture that is subtlyoff -putting to readers. To thrive, scripts should be

employed in an environment where ease of readingis maximized. Here are six tips to ensure your scripare well maintained.

1. Use with care in text.Make lines of text in a script typeface more engag-ing by setting copy in narrow columns. That waythe eye does not have to travel far to catch every-thing on a line. Adding a little extra space betweenlines of copy will also make the copy more invitingand help the reading process by reducing the chancof “doubling” (reading the same line twice). Scriptsshould also be set large. Their x-heights are usuallyquite small, which means that most are difficult

to read below 14 or 18 point. A good script rule ofthumb: When in doubt, go bigger.

2. Be bri

dynamic graphics magazine

Documents