PROFESSIONAL

CONTEXT

PROFESSIONAL CONTEXTBY VANESSA JARAMILLOFDA DESIGN PRACTICESUMMER PROJECT

01

ver the summer I looked at how my practice relates to a professional context. This book shows my collated findings on some of the industry subjects, which include: studio practice, design management methodologies, technological developments, economic strategies, the contemporary market

for design, contractual and legal conventions, ownership, work flow, production, marketing and promotional methodologies.

In this book you find questions answered by designers on the subject, you will find my experience at a 3-week placement at Two by Two, and my in-depth information on typography and how it relates to branding and everything we do in design.

This book has been separated into sections; each section contains information on my findings, explaining what i learnt and what should be expected in the working world of design. This is part of a preparation process which allows us to engage with the importance and meaningfulness of been prepared on how the industry works at first hand.

01

O

03 Methodologies 47 Typography 13 What They Said 57 Organizations

21 Studios 67 Websites & Blogs

33 Placement 73 Bibliography

TABLE OF CONTENTS

METHODOLOGIES03

METHODOLOGIES

05 Studio Working Practice 09 Legal Conventions

07 Design Management 10 Current Market

08 Technological Developments 11 Marketing Methodologies

METHODOLOGIES

EDUCATION OF A DESIGNER AND EMPLOYMENT

Designers agree that the best way to learn is by working in a studio, but emphasize how important is it to go to a design school. The true purpose of education is to learn how to learn. Graphic design has rules and conventions, software skills to be learnt and technical knowledge to obtain. These are normally learnt through training at a work place. However, education teaches designers to learn; with good education comes a good ability to understand ourselves and the world we live in.

Learning to be a designer is hard enough, but trying to find employment is even harder. Stability for a designer is always hard as studios are always changing and expanding. Many designers are employed on short contracts, and some run their own studios whilst being employed in others. It is important that new designers understand that short-term jobs are common and doing internships are all normal especially with new designers. By changing jobs frequently we gain valuable insights into the working methodologies of studios. We must be flexible to be better designers; it’s important to be different.

BRIEF

Every Design project starts with a brief, and how individual designers respond to a brief is the most important aspect in determining the outcome of a project. Often clients complain that designers ignore

briefs. It is important to understand briefs; to challenge the bad ones and dig deeper into good ones. The AIGA describes a design brief as “ A written explanation given by the client to the designer at the outset of a project.“ As the client, you are spelling out your objectives and expectations and defining a scope of work when you issue one. You’re also committing to concrete expression that can be revisited as the project moves forward. If the brief rises questions, all the better. “Questions early are better than questions late”. It is important to question briefs to fully understand them and to be able to make the most of them, ask yourself: Does the brief state the deliverables? Does it supply the various delivery dates that we are required to work to? Does it provide budget details? These are the things that us designers must be clear on before proceeding with any project. Once the practical issues are dealt with we must think about the brief: Is what is expected of us obvious? Are there any guidelines to work to? Have we been given everything we need? If some questions are left unanswered then the client must be questioned,if necessary rewrite the brief and have it mailed back to client to avoid further questions.

RESEARCH

Once the brief is understood and you know what the client wants, the next step is to research and find reference material. This has two roles: it’s practical as it helps us respond to the brief in a more informed way and inspirational as it stimulates us into coming up with ways of responding

STUDIO WORKING PRACTICE

05

to the brief with original ideas. This means looking through the Internet, books or artists who you feel will inspire you to do a good job.

When looking at reference you should always aim to be original. Be inspired, but by no means copy others work, ‘Most designers look at books when they want ideas... We should force ourselves to go to unlikely books and unlikely places in cyberspace; if we are all looking at the same hip design books we mustn’t be surprised if everything we do looks the same as everything else’.In most cases in a studio there will be more than one person working on one particular project. The job should be divided between designers and each individual should attempt to come up with at least three different routes for the role they are designing.It is important that the work is regularly checked, and you will find that reviews with your peers and the director of the studio will be very helpful. It is very helpful to get different points of view from different people ‘The best ideas are usually made better by other people’.

PRESENTATIONS

In some cases certain work might be a pitch, which means you will be competing against other designers or studios for a project. If this is the case you will find that all studios/designers will present their ideas to the client, hoping to be chosen. If the job is already yours then it is just a matter of presenting your ideas, and the client choosing a route that works best with their brief, and suggesting any changes that they might wish to

make to the ideas. It is important that you get your presentation in perfect order, and be prepared to update it.

REFINING

Once the job is yours, it is a process of refining your ideas and working to a format. A brief must be your priority; it is important to keep looking back at the brief to be sure you are taking your ideas and implementing them in the right way, which is why it is so important to get the brief right as the first step of any project.At this point there will be a lot of communication with the client, via emails or in person, to be sure that the project is being completed. Once the client it happy with the work produced, the work can then be sent to the printers. But before there are some things you should check. This list is subjective it will depend on the type of print job and how your printer sets up their workflow. Your chosen printer will be the best guide as to how to supply digital design files.

You should also check the format that the printer prefers files to be delivered in. If they prefer the original DTP page layout files, and include all relevant files. And if the printer or magazine prefers the file as a PDF, it is worth checking what type of PDF is preferable. Make sure you provide a printed proof, ensure that all colours have been applied correctly and that all pages have been checked. Check that all bitmap graphics files are to a high enough resolution, check for the usual spelling and grammar mistakes. Think about the size of the text and paper size and how this might print out, as well as all the above.

Managing well can mean the difference between success and failure. You must manage the designs, studios, and strategies, and be able to control a creative process.

STUDIO MANAGEMENT

Successful studios rapidly grow and once they reach a certain size, it is difficult to manage them without a manager. Depending on the size of the studio, the manager can be the person responsible for keeping the printer stocked, or in other studios the decision maker in the studio.

Studio management must be thought of as the key factor in the way clients are looked after. It can boost income, efficiency, and making the working atmosphere more enjoyable overall, which is why it’s important to employ someone good!

The role of a studio manager can be defined simply as: the person in change of all non-design related matters, allowing designers to be free when designing. They are responsible for doing everything a designer shouldn’t have to deal with to have time to concentrate on the designing, such as: work scheduling, budgeting, invoicing, keeping records etc. They must have good production and management skills. They should be sophisticated and sympathetic.

Clients are impressed by the way a studio is run: with a friendly environment and hard working atmosphere, which the studio manager is responsible for. This can reassure clients that they are making the right decision by choosing that studio.

PROJECT MANAGEMENT

The design process features in corporate identity, branding, image. Design is central to advertising, marketing, promotion, and in the development of new products. Also new services and technical development of all sorts, such as websites, blogs and other internet systems.

The project must be managed with certain principles; first, the project aims should be established and agreed, thinking about a budget, timescales and all design related matters. You should consider fitness for purpose; as a project manager you must review the brief and make sure all standards are set and questions are answered. You must be very aware of the way the studio works. Once aims are established you must make sure everyone is aware of these arrangements.

Different to a studio manager, a project manager must be very involved in the design of every project; they should have a very good knowledge of the way the studio works and of every designer that forms part of it. The project manager must break down the brief into realistic sections, and they must decide who does what and how long they should have on each task. They are well informed about how the studio runs and what is expected from the client, therefore should be able to make the right decisions.

Having a good studio manager to manage non-related design tasks, and a good project manager to deal with the design related matters can 07

DESIGN MANAGEMENT

TECHNOLOGICAL DEVELOPMENTSdramatically change the performance of a studio. They organise the way a studio works, they create an atmosphere, and manage the studio and it’s designers. Performance of a studio. They organise the way a studio works, they create an atmosphere, and manage the studio and it’s designers.

Change is exciting; it is always good to strive to be one step ahead, and design is pushed by technological developments, such as the ones below.

INTERACTIVE DESIGN

‘All graphic design is interactive. But it’s only recently become interactive in the sense that users can determine the way content is perceive, arranged, used and generated.’ Interactive design, made possible by the ever-advancing technology, has changed the nature of being a designer more than any other modern development. It has taken design from locked content to users being able to ‘use’ and control the content. It can be interrogated and reconfigured to revolutionize the way designers think and act, and the way the audience reacts to design.

Looking at websites that allow social interaction, such as facebook and airline websites that allow you to enter your flight details to update us of circumstances that have changed, our lives are run by interactivity. It would be almost impossible to live without it. The problem with interactive design is that although they design by setting the form to the function, with interaction, if the form is changed the function can be

as well. This means designers have to be well equipped to deal with new technology, used to being able to control what they inform. Interactive design has pushed designers to be more aware, and to do this designers must work alongside others such as product designers, engineers, psychologists, computer scientists, sociologists, and others who can help create designs as a group.

MOTION DESIGN

Motion graphics are graphics that use video and/or animation (often combined with audio technology to create the illusion of motion, or a transforming appearance), usually displayed via electronic media technology. The term is useful for distinguishing still graphics from graphics with a transforming appearance over time.

Examples include the typography and graphics you see as the titles for a film, or opening sequences for television or the spinning, web-based animations, three-dimensional station identification logo for a television channel. About 12 minutes in every hour of broadcast television is the work of the motion graphics broadcast designer. This is known as the invisible art, as many viewers are unaware of this component.

Motion graphic design has been considered a speciality skill, usually handled by artists that concentrate on designing for television or films. In the future they believe the majority of graphic designers will work with time-based media, but the general population will associate graphic design with moving imagery.

COPYRIGHT

Copyright is a straightforward matter when it comes to photography or illustration, as it’s usually the work of an individual, and can be used for a fee. However, when talking about graphic design, it all becomes a bit more complicated. The AIGA explains that “most graphic design should be copyrightable”. It also mentions that “basic geometric shapes, such as squares and circles, are not copyrightable, but artistic combinations of these shapes can be copyrighted. Typeface design are also excluded from being copyrightable,” except for typefaces, as they are a building block for every designer. It‘s unrealistic for designers to retain copyright in their own work, for example with logos, as the client would not like to have to negotiate each usage of the logo. Things become even more complicated, as when employed by a design studio the employer legally owns any work made. There is also a belief that clients assume once they have paid for a design, ownership poses to them.

A designer must make their terms and conditions clear at the beginning of a commission; it’s the only way for designers to prevent threatening legal action. The process of registering via a national copyright office can be costly, and most designers are happy to allow clients to benefit from their design for a small cost,. However, it is when their designs are used badly by third parties that designers are most unhappy. To make matters worse, a designer’s biggest fear is the risk of infringing someone else’s copyright;

from images to soundtracks it is essential to ensure all work is original.

GRAPHIC AUTHORSHIP

The term graphic authorship has been used to describe work by designers who have created their own content without the sponsorship of a client. Also known as self-initiated work, examples of designers who write books, magazines, and websites without a client or a client brief are often cited as graphic authors.

But can graphic designers ever be authors? Should a graphic designer who designs the packaging of a rice bag have the authorship of that design? Surely if that one person creates the design where it didn’t previously exist, this is indulging an act of authorship. So when we are hired to work for a client in a project, this should not preclude the ability to have authorial intent.

Graphic authorship is a difficult matter to understand. The word has an important ring to it, with connotations of origination and agency. But the question of how designers become authors is a difficult one. And exactly who qualifies, and what authored design might look like, depends on how you define the term and determine admission into the pantheon.An examination of the designer-as-author could help us to rethink process, expand design methods, and elaborate our historical frame to incorporate all forms of graphic discourse. But while theories of graphic authorship may change09

LEGAL CONVENTIONS

CURRENT MARKETthe way work is made, the primary concern of both the viewer and the critic is not who made it, but rather what it does and how it does it.The design world is constantly changing; design needs to adapt and evolve to the times that we live in, and it is important to keep design original and to find new ways of communicating to the new world.

The thing about design is that it is replaced. Out with the old and in with the new: things like Internet explorer being replacements, and perhaps HTML taking over flash. So how do we keep up with the current market when it comes to design? Below are some trends that have seemed to show popular for the years to come.As design evolved some things are obvious; whereas before places where filled with details, now cleaning things up is very appealing. Clean spaces show that the information is well distributed, and the navigability is completely functional.

Another factor is font. Large fonts can often be very successful if used well, utilizing big and bold fonts with the exclusive intention of grabbing the audiences attention. It’s okay to use big fonts, not a serious mistake. Likewise, the idea of small fonts to show genius is now obsolete, and these days can be easily confused as a lack of trust. Not only does the size matter, but the spacing between letters, kerning and tracking form a big part, by being able to use fonts not just to inform but as an illustration.

The grunge look that was so popular during the nineties has

been reinterpreted and adapted to the present time, with a new style of combining grungy textures along with clean interfaces and bold typefaces. Graphic designers are returning to the creation of custom Photoshop textures, which are now much nicer than before. By making lighter backgrounds, information can be easily processed by the average viewer, because with darker backgrounds an inclination towards clutter shows up, and people spend less time on the page before switching to another one.

During the past few years, there’s been a tendency for developing heavy, over saturated websites with dark colours and bright fonts on top of them, but now that tendency is beginning to change. Along with the new wave of making everything much cleaner and minimal than before comes also a preference for lighter spaces, with pastel tones and light palettes.

Diagramming is something implicit in graphic design; the novelty of this category is that now many graphic designers are using small boxes to organize all the information, instead of big columns and cluttered structures, which points to the clean look that we already talked about before.

Looking at all the above trends, however, the current market isn’t so much about what studios are looking for, but what designers have to offer. Experience is very important, and people who have travelled anywhere internationally and have gained experience should be able to look beyond their own backyard.

A lot of the time, marketing people are unsympathetic to design, and designers to marketing. But marketing controls design because it is all about strategy and planning. According to AIGA, successful marketing involves systematic planning, implementation, and control of a wide range of business activities. For creative firms, some of the most important aspects include clear positioning on the competitive landscape, a varied promotional mix that is appropriate to your creative discipline, and a focus on long-term mutually advantageous relationships. When marketing for your own business, and to get your business out there, these are some vital things to keep in mind when marketing:

POSITIONING: the way that clients view competitive firms. Understanding the TYPE OF FIRM by stating the general category of business that you are in, such as graphic design or advertising.Description of services: State your core competencies. Understand the CLIENT CATEGORIES, identify the industries of your largest clients, such as manufacturing, financial services or entertainment. Your UNIQUE SELLING POINT is the distinction between your firm and others that are serving the same market, make clear what the client will gain by hiring you instead of someone else.PROMOTIONS PROGRAM: The next challenge for you is to choose the most appropriate mix of promotional activities (such as personal selling, advertising, publicity and public relations) for communication with your target market.

IDENTITY SYSTEM: think about how to promote your own business, through website/interactive projects and demo reel of motion graphics or direct mail. Marcus Maurer from Keller Maurer Design said: ‘we mainly get new clients through recommendations. Therefore we do not actively promote our studio since there was no need to in the past’ If you are a good designer it turns out to be easier to promote yourself than you think; good work will be featured in good design magazines and others.

Marketing is used to sell things. Honest marketing should allow you to exercise free choice, however often they are manipulative. Most of the time marketing is followed by design; marketing hires designers to fulfil their plans. As a result, most of the thinking is already done by the marketing, when it should be an equal input. The big design groups have developed strategic marketing skills, and as designers, we ourselves should grow and learn these necessary skills too.

In the case of marketing, we have to keep learning and adapting to its rules, conventions and mechanics. As designers we must make decisions about who we work for; do we agree with the ethics of the marketing group trying to hire us? It is important to keep a calm relationship with the marketing team, because designers will often find themselves working with them, which is why it is important to understand them and work well with them. This can often be a solution to the current market, and being able to understand current trends and what is indeed expected from a designer.11

MARKETING METHODOLOGIES

MARKETING DESIGN AWARDS

The Awards are open to organisations of all sizes, that can clearly show how their use of design for marketing, whether in the UK or overseas, has formed an integral part of their marketing planning & implementation, and had an impact on the performance of their brand and of their business. Entries are sought from brand consultancies, independent designers, design consultancies, in-house design departments, advertising, public relations, sales promotion, direct marketing & other marketing services agencies, communications agencies, web design & development companies, and manufacturers.

WHAT THEY SAID13

WHAT THEY SAID

15 Marcus Maurer 19 Ashwin Shaw

17 Bruno Maag 21 Stefan Kraus

WHAT THEY SAID

1. How has the market for design changed over the last few years?The market for design is changing all the time. Technology is changing, media are changing. What remains the same are the basic principles of design, ie. Legible type, visual language, grids, proportions, within others.

2. What are your marketing and promotional strategies?We mainly get new clients through recommendations. Therefore we do not actively promote our studio since there was no need to in the past. We participate in award schemes from time to time. Our work is featured in blogs, magazines and books.

3. Who to your knowledge is a good practitioner of contemporary typography?We believe most of the Swiss studios, very few Germans and some UK studios. To name a few we like: Bibliotheque, Atelier Kuchenbeiser, Thomas Mayfried, Spin, Made Thought, Cornel Windlin, Kai Bernau. And lots more!

4. What are agencies looking for in terms of typographic skills and what advice would you give an aspiring graphic designer on developing such skills? We as a studio look for excellent typographic skills in students and an eye for design in general. Most German students are quite well trained when leaving college, however we look mostly for people who are street wise in international design. We love to work with people who have worked anywhere internationally, with experience from different places.

5. Which of your projects and design would you consider to be the most successful and why?We are proud of projects which start of as quite boring tasks and turn into really interesting projects. Some clients can be great to deal with to make a project somehow special. It’s not about budget or size of the project but the level of communication you are able to achieve. It’s not about the freedom to design what you want but rather a really challenging task. That’s when we have the best results. We love restrictions, they often make a project more interesting.

6. What do you consider to be the most crucial elements when it comes to creating type?It’s sticking to all the rules and then breaking them to create exiting designs. A typeface really helps.

7. What is the role of typography when it comes to branding and identity design?The basic elements of every corporate design are logo, colours and typeface. Typography is the application of one of those elements and it’s therefore of course very important. Good typography can communicate quality on a subtle but crucial level. A typeface needs to provide the foundation within a brand upon which other elements can be built and can shine. If the type is too strong it will only stand in the way of successfully communicating the client’s messages, I don’t mean that a font has to be bland. It can have its own expression for example a beautifully tailored Saville Row suit will enhance the wearer, not the suit itself.

Marcus Maurer from Keller Maurer Design

15

New Year’s card 2010/2011 - Self-promotion

With reference to Freud’s dream theory and his term ‘day’s residues’ they designed their 2010 New Year’s card. Their ‘Year’s residues’ are an exploration of seemingly random memory traces and associations left by various projects, themes and issues. Like dreams, the selection of visuals is mysterious and without explanation, although some of their clients and partners might recognise projects they were involved in.

1. How has the market for design changed over the last few years?I cannot comment on design in general but only on our small segment of it, namely fonts. During the last ten years the competition has grown quite a bit due to the Unit of Reading and KABK (Den Haag) offering MA courses in type design. Of course this has also meant that there is now more talent available to employ for companies like us. Generally, I think this is good but I am also afraid that eventually there is not going to be enough work for so many type designers.

Currently, there is plenty of work available. Emerging markets like Brasil are expanding and growing aggressively and as they were only marginally affected by the financial crisis we see an increased demand for type and general brand and identity design from South America. But also the Arabic markets are moving forward fast. For type designers, I would suggest the long term future lies in the development of complex script systems like Arabic, Hindi or Chinese but it is also linked with considerable risks.

2. What are your marketing and promotional strategies?Like most type foundries we work on two different strands, depending on what it is we market and promote: our own font library sees continuous promotion through our website, emailers and of course our specimen sheets that are sent out twice a year. It is the specimen sheets that probably have most marketing value as they provide a useful tool for potential users of our fonts. On top of that we also go out and visit potential

customers to introduce them to our fonts personally.Work for our custom fonts we get mostly through word-of-mouth and of course visiting agencies and clients alike to inform them of the benefits of a custom font. This is something that cannot be done through mailers or advertising.

3. Who to your knowledge is a good practitioner of contemporary typography?Are you referring to typedesign or typography in general. I am afraid that I can’t answer the latter so well as I am not really involved in that scene. As for type designers, there are many around the world who produce good quality fonts besides ourselves, too many to name, really.

4. What are agencies looking for in terms of typographic skills and what advice would you give an aspiring graphic designer on developing such skills?It’s not so much a question of what the agencies are looking for but what a typographer should offer. Ours is such a specialised skill that demands long training and a very keen eye for detail. Most graphic designers in agencies have not got that particular skill. As a type designer I need to be able to advise the agency on the best possible typographical interpretation of their brief to ensure the visual expression of the font reflects the attitudes of the client.

In addition I have to ensure that the font also highly functional and can be accessed by the client’sCustomers. I need to advise the client on language usage and how the display of the font is affected.

Bruno Maag from Dalton Maag

17

5. Which of your projects and design would you consider to be the most successful and why?For sheer financial return it has to be the fonts we designed for the BT directory. Introducing our fonts, besides a change of layout, meant that the client was able to save on average ten lines per page. Multiplied over an average of around 300 pages and approx 25 Million books printed a year you can calculate the savings the client makes. It took two print runs to return the investment in the fonts. We haven’t even addressed the environmental impact yet.

About eight years ago we developed a font suite for the German building society ‘Sparkasse’ who was suffering a serious brand problem, which affected its business. Working with Interbrand who rationalised basic brand elements our font family - the main part of the brand - helped the client regain business. Although difficult to quantify the client reports customers as saying that ‘the new typography is so friendly and inviting. It is easy to read and gives me the feeling the bank cares’. The design consists of a modern Sans Serif with a matching Serif suite, designed for high legibility considering that many of the bank’s customers are 40+ years old.Our recent work for Ubuntu (font.ubuntu.com) is worth reporting on, as it is one of the first font suites with extensive language support. As it is OpenSource it is free for all to use delivering high quality type to all corners of the world and supporting languages that traditionally have been neglected. This is an ongoing project and we’re soon due to launch support for Hebrew and languages

that use the Arabic script (Arabic, Farsi, Urdu, Javi, Pashtu, Kashmiri, Kyrgyz and many more). In addition the fonts also support classical Greek, biblical Hebrew and Quranic setting.

6. What do you consider to be the most crucial elements when it comes to creating type?Naturally, it depends how the font is used. If it is a display type its function is to attract. The design can and needs to be more creative and legibility is secondary. In display environments rarely more than five to seven words are set making reading little effort. In text type I strictly follow Adrian Frutiger’s dogma that ‘type must be read, not seen’. The more invisible the font, the better its performance. That means that for this environment in particular the standard of craftsmanship has to be extremely high. Any mistake in drawing, spacing and kerning is likely to be picked up by the reader (subconsciously) affecting his/her reading of content.

7. What is the role of typography when it comes to branding and identity design?Typography forms the foundation of the majority of communications. It is the transmission of a thought through the means of the written word. As type designers and typographers we have a responsibility to ensure that communication is facilitated. Often designers (in general) think of themselves as artists. No, we’re not artists, we’re craftspeople - we have a job to do but we need to do it artistically. We solve problems, we improve existing situations. That’s what we do if we do it right.

19

1. How has the market for design changed over the last few years? The global recession has made the marketplace more competitive, with agencies cutting their rates in order to obtain new clients. The advent of faster and more efficient technology has also influenced the expectations of clients, and deadlines have generally become much tighter, this has caused for less print work going on than years before. Main investment goes into websites or web related projects.

2. What are your marketing and promotional strategies? Two by Two produce a highly creative and top quality Christmas card each year to send to clients. We also produce a few playful email shots per year, mostly connected to current events (ie the world Cup or Valentine’s Day). We also keep our website updated, which includes an ongoing blog.

3. Who to your knowledge is a good practitioner of contemporary typography? We have associations with a couple of top calligraphers, but I do believe John Morgan and Fraser Muggeridge are good examples

4. What are agencies looking for in terms of typographic skills and what advice would you give an aspiring graphic designer on developing such skills? Typography is an essential part of being a designer. Font identification is a great skill to learn, it will help you understand the nuances and subtleties of each font. It is essential that aspiring graphic designers keep themselves informed of current

trends in typography. We want beginners to have basic software skills, and more importantly a good eye. Be passionate about type.... Be passionate about the relationship in between type and content.

5. Which of your projects and design would you consider to be the most successful and why?There have been too many to list! Tangible success comes in the good sales & shelf-life of the Sainsbury’s Sardines tins we designed, for example or in the consistent winning of awards for best beauty salon (In Harmony, for which we designed the brand and interior). But many below-the-line designs have also been highly successful for the clients, in many ways.

6. What do you consider to be the most crucial elements when it comes to creating type? Suitability for the brand and the relevant marketplace/clientele but also we believe as designers you need to be able to sense type with your heart on one hand side; on the other you need the capacity to judge it with reason at the same time.

7. What is the role of typography when it comes to branding and identity design? It is integral to any identity, consistent typography helps to reinforce the brand promise. The concept of voice refers to how a brand speaks. The tone it takes when it interacts with an audience. Typography and typefaces are key visual elements of developing an appropriate tone. Others being style of copy, event marketing and placement and many more.

Ashwin Shaw from TWO by TWO STUDIO

PURE DUTCH HVSIER SAMPLE BOOKS

Two by two created these sample books for HVSIER, who believe that they produce ‘only the best quality papers and boards for designers, printers and corporates.’

S T U D I O S21

23 Atelier Works 29 Keller Maurer

25 Browns 31 Polimekanos

S T U D I O S

23

ATELIER WORKSThere are really two models for any design studio: the business with a chief executive and shareholders, and the owner managed business. Having had experience of both kinds, they have chosen the latter. They set Atelier up, they run it, they take all decisions, and they are accountable to no one except their clients. The way they are structured means every client works with one or two of the principals, with all their skills and experience, and the team of designers and other experts they build that particular project

They believe no one can design alone, with a few rare exceptions. The process is collaborative. As you design, you need to behave in first a private and then a public way; you talk things over, share excitement, reiterate, fret, jump to conclusions, and express dismay and delight. They own the ground floor of a Victorian piano factory, the segment that used to be the showroom, with high ceilings and big windows. It’s open plan form allows them instant access to one another should they need it.

They give this advice to young designers: Forget the A4 ‘cv’ as a way of introducing yourself, it might have worked in the nineteenth century, but it doesn’t work today. And, what the hell does anyone want to know about ‘interests’, like walking and swimming? Make the quality of how you present your samples of work as good as possible, don’t show too much, just the best stuff. You are only one of a lot of designers seeking work, and some of your competitors are making really impressive efforts. E-mailed PDFs are quick and easy to look at,

don’t clutter and can easily be filed. For God’s sake, check the name of who you send things to, don’t get it wrong. Anything with my name or the studio’s name wrong hits the bin instantly. You don’t care, we don’t care.

It helps if you look at examples of a designer’s work before you ask him to look at yours. Talk to whoever you manage to get on the phone, don’t treat the receptionist like a receptionist. Sometimes the people who pick up the phone can tell you a lot about who to write to, when to call, whether the studio is busy, and so on. Look in Design Week and Creative Review to find studios who have recently won big projects; they are the ones likely to need help right now.

Contact all those bodies that exist to help designers, the CSD, the DBA, D&AD, the Design Council, some of them have portfolio surgeries, and they all have big databases. Think about in-house design studios, that don’t get written about or exposed much. Most book and magazine publishers have good designers doing interesting work. Many big companies, the big banks, Shell, the television companies, Boots have thriving studios.

Consider foreign studios; the competition might be less intense than London. Several designers we know have got enjoyable work without Herculean effort in other countries. Use your time wisely; your ‘in between jobs’ time is the perfect opportunity to work on personal projects and develop your portfolio. And remember, don’t give up.

PHAIDON RANGE OF BOOKS

They have been working for Phaidon for over a decade, fulfilling a range of roles. They have an ambition: to produce beautiful art, and design books that sell in huge quantities. Above is a series of books created for Phaidon by Atelier works.

25

Browns is an independent design studio that started in a pop-up tavern in a museum to a special edition conceptual tome: ‘Browns’ forward-thinking approach and handling of work is like no other design studio.’Founded in 1998 Browns has created work with weight and cultural significance. Purposefully side-stepping the tidal trends of stylised design, the studio tenders a fresh aesthetic, applying an artist’s sensibility to a two- and three-dimensional design context.

The studio abstracts stimulation from all strands of culture and their commonplace surroundings, to produce sensitive work with a purity of form that has a shared relationship to the world and the poeple around it.

The spirit of Browns is encompassed by its founder, Jonathan Ellery, a conceptual artist who creates thought-provoking, narrative-based works through an assortment of materials. The studio also has its own publishing house, Browns Editions, which, since its founding in 2005, has designed and published collectable printed matter, sustaining the tradition of print and book art in a 21st century arena. It is this synthesis of studio, publishing house and conceptual artist, together with an overview from creative director Claire Warner, that strengthens all in-house creativity, crafting a contemporary design studio that functions like no other.

Browns, Browns Editions and Jonathan Ellery reside down a cobbled path in south-east London. They work with many esteemed clients from around the world and

have received numerous notable awards, most recently Creative Review magazine’s ‘Design Studio of the Year 2011’.Some of their latest work includes: Jonathan Ellery was commissioned to produce three large scale brass installations for Mulberry’s new flagship US store in Soho, NYC. Browns as a studio, and their work, is discussed in a new American publication, published by Princeton Architectural Press. And Jonathan Ellery talks about the publishing arm of Browns, Browns Editions, in an interview featured in Australian publication Process Journal: Edition Four.Their studio has been so successful that they have received the following awards in the year 2011 alone:

Editorial/Book design What Happens Is GoodPaul Davis

PostersV&A London PosterEllery

Creative Review The AnnualDesign Studio of the Year Browns

Big Bang watch Jonathan ElleryBell & Ross/Wallpaper

Worldy Cares and Love Affairs – Jonathan Ellery Mulberry

D&ADGraphic Design Catalogues and BrochuresWorldy Cares and Love Affairs – Jonathan Ellery

BROWNS

IDENTITY FOR STANDARD 8

‘Anything but Standard’ was the inspiration for the identity and brochure for Standard 8, a company that design and manufacture three-dimensional objects from modular exhibitions to unique retail fixtures.

27

During a visit to Browns studio, we spoke to Annabel, a new designer at Browns studio. We were able to ask her all sorts of questions regarding the market now and what us as new designer should expect:

Annabel: ‘So, when I went to college in Leeds, I went to Leeds college of art and did BA honours graphic design. And then when I left it was like the height of the recession and I couldn’t get any work. I got a job near Leeds, but just like artwork in an outdoor advertising place, and I absolutely hated it. It was horrible, and I hated it. And I think when I was at university I didn’t tailor my portfolio enough to where I wanted to be. The thing I had to do was I worked at this place and hated it, and ended up saying ‘I’m leaving to go to London’, and they said you can work from home in London, so I thought ‘ah fine, I’ll do that’, and I redid my whole portfolio in a year, working and doing placements at the same time.

So I’d do a placement and then I’d do work at night. It was tiring, but you’ve gotta do it. So I re-did my portfolio, and then I got made redundant in January. But it was good, I needed it. I didn’t want to do what I was doing, then I worked for NB studio. One of their founders left and sort of set me up on his own, so I freelanced with him. I went to his house everyday for like 4 months, and then when he couldn’t offer me full-time freelance I sort of started looking for more work.

The only thing I can tell you is, and I wish someone told me this, pick the studios that you like and ask why you like them. And then tailor your

portfolio based around their work. That’s like, I wish someone had told me that.’

Annabel: ‘Yeah, I think so. Well, I was at...I think...I know that at Browns there are quite a few of us who are new. So, I think Browns has stuck throughout. It’s done well throughout it. But it’s based on studios reputations competing with each other. And I know that a lot of studios went under.’ And even explained their design management methodologies

Annabel: ‘Well here we’ve got...There’s 4 designers here, and then we’ve got a creative director which is Claire, and then John and he’s in the studio all the time. He lives above the studio. So, I think I asked this question when I joined: how does the work come in? But I think quite a lot of work comes to Browns, or we get approached to do projects. And then we have a studio manager who, say at the moment there’s like a big problem going on, so there’s a lot of people in the studio working on it, and if we need more people we get free lancers in to work on it.

So more people are allocated to a project to work on. We’ve been doing this Howard Smith stuff. I was given the project. So, for that, it was my first project and I worked with the creative director, and then the client. I speak to the client, and then we all sort of speak, so it sort of goes back and fourth through stages, to get to a certain point. And then, yeah it’s just a process of doing development.It is important to understand that as young designers we must keep trying and we will succeed.

BROWNS

29

Formed in 2002 by Martina Keller and Marcus Maurer after working several years abroad, they have over 16 years of experience in delivering design of the highest standards. Their approach to communication is one of simplicity and clarity, allowing them to create content-driven, original and relevant design strategies for their clients. While placing an emphasis on creativity they have a pragmatic outlook in finding intelligent design solutions that really work. They work across a wide range of disciplines and media with a tailored network of specialists and partners. They design in the following areas:

Corporate and financial literature, book and catalogue design, signage systems and exhibitions, web and interactive design as well as creative and strategic design direction. One of their most successful clients MUNICH RE who they do very interesting type based projects such as the Identity and exhibition design:

Akademie der Bildenden Künste

Identity and exhibition design for an art competition held by Munich Re and attended by students of the art academy. The students submitted ideas on the subject of climate change. The winner’s concept will be implemented on a public square close to the Munich Re headquarters. Keller Maurer Design was commissioned to design the identity and all related media such as posters and entry forms. The exhibition for the finalists had to conform to a very limited budget and had to be produced environmentally friendly. Their design solution included rented

scaffolding and a rough look-and-feel contrasting the luxurious setting of the headquarters.They designed a corporate typeface for Munich RE ‘we were commissioned by Munich Re to art direct and manage the development of a new corporate typeface. Working closely with the type designers Kai Bernau and Christian Schwartz the sans serif Munich Re was created over a period of nearly one year. The resulting typeface includes eight weights and many technical features that help improve Munich Re’s diverse and often complex typographical applications. Our knowledge of the client’s requirements helped to develop a highly functional and on-brand typeface.’And they have also received awards such as:The Risk Award which is presented biannually at the International Disaster Risk Reduction Conference in Davos. Awarded are projects, which reduce vulnerability and increase resilience of communities to natural disasters and risks in general. Their identity uses a visual theme of circular lines reflecting the emanating nature of disasters like earthquakes while at the same time focusing on prevention.

They also produce packaging work for Schloss HohenkammerThe manor of Schloss Hohenkammer, is run as a strictly organic farm. Cooking oils and fine spirits are the estate’s premium products. Their packaging reflects the wide range of flavours and playfully extends the corporate design of Schloss Hohenkammer into a range of high quality products.’

KELLER MAURER

Corporate typeface - Art direction and consulting

They were commissioned by Munich Re to artdirect and manage the development of a new corporate typeface. Working closely with the type designers Kai Bernau and Christian Schwartz the sans serif Munich Re was created over a period of nearly one year. The resulting typeface includes eight weights and many technical features that help improve Munich Re’s diverse and often complex typographical applications. Their knowledge of the client’s requirements helped to develop a highly functional and on-brand typeface.

31

Polimekanos is a graphic design practice based in London. It was founded in 2001 by Joseph Kohlmaier and Stefan Kraus, and works across a variety of media. This ranges from books, posters, identities & stationery to exhibition design, signage and websites. Their clients include individuals and small businesses, as well as institutions in the corporate, educational and cultural fields.

Their philosophy is to respond to each brief specifically and combine research and intuition to create idiosyncratic work that stands out. Their clients include individuals and small businesses, as well as institutions in the corporate, educational and cultural fields.

They currently employ four people and work with a variety of consultants, printers, programmers and partners which add their skill and expertise to their projects. They aim to ensure that the expectations and specific needs of their clients are understood and met, and they only accept work that they can deliver.

They adopt a high professional standard and ensure all their work is undertaken with care and integrity. Their staffs receive the appropriate training to continuously develop their own skills and grow their creative and professional output. They meet regularly to review the quality of our work, the development of their projects and audit internal procedures. Their studio is made up of some important people: Joseph Kohlmaier was born in Vienna, Austria. He founded Polimekanos with Stefan Kraus in 2001.

Joseph studied photography at the Schule für Künstlerische Photographie in Vienna and architectural history in London, where he gained a masters degree in 2005 and where he also teaches as a senior lecturer in the history and theory of architecture.

He is director of MUSARC, a research-based music, sound and architecture project at the London Met where he also runs a choir. In the past, Joseph has worked as a lecturer, researcher, performance artist and on public art projects.

Prior to starting Polimekanos together with Joseph in 2001, Stefan Kraus worked in London for Imagination Ltd, for Nick Bell Design and for Duncan Baird Publishers. Before moving to England in 1997, Stefan studied at the Hochschule der Bildenden Künste Saarbrücken in Germany, where he received his degree, and also for one year at the Beaux-Arts de Nancy in France. Main focus of his studies were fine art, art theory and design.

Shoko Mugikura received a BA in Visual Communication Design from Musashino Art University in 2003 and an MA in Book Design from the University of Reading in 2006.

Her special interest is the historical development of multi script typography, on which she has spoken at the ICHILL5 and the Association Typographique Internationale in the 2010 conference in Dublin. But before joining Polimekanos in 2007, she had also been working as an information designer for Boag Associates.

POLIMEKANOS

ASD, London Metropolitan University

A series of posters, from 2004 for an MA architectural course at London Metropolitan University, showing images of the work from previous students.

33

P L A C E M E N T

35 Two by Two 39 My work

37 Their work 43 Journal & Evaluation

P L A C E M E N T

35

I liked the fact that they did such a variety of work, from simple yet professional to really fun ideas. They did packaging and digital identities. I thought it would be great to get a feel of all these areas, and so I applied for a 2 week placement. They are clever in the way they use their design to encourage people: ‘as part of our quest for environmental certification, we have produced some gentle reminders to save energy wherever and whenever possible. Clever puns, witty illustrations and arty lettering combine to raise a smile and encourage the serious business of looking after the environment’

At first glance a project that caught my attention was: ‘into the studio where a brilliant plan has been cooked up. We’re going to make a chart matching everyone’s preferred tea colour to a Pantone chip, so that whoever is designated tea maker has a fighting chance of achieving satisfied consumers and the perfect cup of tea.’ Whilst working there they did indeed have the tea chart, however every time some one had to make their tea they found themselves asking everyone exactly how they wanted their tea; maybe not a successful project but the idea was definitely there.

They are a very small studio of only 4 designers, two studio managers and a secretary. The studio is divided into two floors, one for designers and one for the managers. They have well recognised clients such as: Armani, Design Art London, Dolce V,Garnier, L’Oréal Paris, L’Oréal Professionnel, London Tea Company and Ralph Lauren Two by Two made an in-house

interior designer, one of the directors manages that part of the business. Whilst working at Two by Two I was able to input some ideas for the L’Oréal Paris and L’Oréal Professionnel brand and educational book, it was a very exciting project and I think I was there at the right time. The best part of it was that one of my routes was put in a presentation, which helped them win a pitch against three other studios. I also helped on their DA BEERS new client, wedding invitations for a L’Oréal Professionnel client and promotional work for a spa website. It was an exciting opportunity and I was able to learn a lot about the way studios run, the process of a briefs and everything else involved in a studio.

Every project started with a meeting between all designers, deciding how to tackle the brief. The interesting thing about working in the studio was that most briefs were about working on an already existing product: for example for ’L’Oreal Paris, they had to work on this years Brand book and educational book, they were given last years books and told to work on them and to make them better, the client wanted the book to look a certain way, but it was different for me to work on something that was already made, as in college we always started from scratch. However, when working on the wedding invitations I had to start from scratch, and this turned out to be a little difficult as I was struggling to find inspiration. It was only when I was told by the director to move away from the computer, and to start with simple mood boards, I began to come up with better ideas.

Two by Two Studio

37

Their Work

L’Oreal Brand & Educational Booklets

Winning pitch with L’Oreal Professional against 3 other design studios. Each booklet consisted of their theme ‘Dream Excel Succeed Together’, which they considered a description of their business.

39

My Work

L’Oreal Brand & Educational Booklets

Winning pitch with L’Oreal Professional against 3 other design studios. Each booklet consisted of their theme ‘Dream Excel Succeed Together, which they considered a description of their business. To the left are 4 front covers i came up with for the educational booklet, and to the right is what the inside of the booklets would look like.

41

L’Oreal Booklets & Wedding Invitations

To the left are the insides of the final route for the Brand booklet, which was used in a presentation that helped win the pitch. To the right are some examples of the starting ideas for the wedding invitation project.

43

WEEK 1 - DAY 1 - MONDAY 8/8/2011 As it was my first day working at Two by Two it was a 9.30 am start. I was introduced to the designers and directors and given my own computer and desk to work at for the time I was going to be there.The first project I was given consisted of creating a 16 page little booklet for collective nouns, without any illustrations. I was given 14 titles and was told to work with that and some dummy text per title to arrange on a page each. It was a difficult task to start with because there was not much to work with; without images I was finding it very difficult to place the text. However I tried my best, and looking for illustration on the internet I came up with a few routes. I worked on this for the whole day and was told to go home at 5.30. Today was definitely a wake up call; the studio was rather quiet and I did indeed miss the working environment that we have at university.

DAY 2 - TUESDAY 9/8/2011Today the day started with a new brief. They were told to work on a Band book for L’Oreal. It was interesting to be part of the meeting as jobs were assigned and even though I was not part of this particular section of the project, I was told to take part. Feeling a little confused about the booklet I was working with I felt there was not much more I could do with it so I asked for help. I was told they would check my progress later and was given a completely different task. It was an interesting project for L’Oreal: a 16-page booklet aimed at school leavers on how to take your hairdressing career further. I was

happy to know that I was working on a project that other designers were too doing. It was to be presented to the client on Wednesday the 17th. I was also happy to receive help from Lee, one of the designers, who told me to start by gathering references, making drawing of layouts and making decisions away from the computer first. I was happy to know that what our tutors at university told us about referencing really did matter in the working world.

DAY 3 - WEDNESDAY 10/8/2011Today was a pretty straightforward day; I started working on the computer and I actually managed to come up with two routes, I tried to keep them fun but sophisticated which is what they wanted. The only problem was that I felt like I needed some feedback and because everyone was very much into their work I was a little nervous about asking for help.

DAY 4 - THURSDAY 11/8/2011I was happy to start the day with the director looking at my work. He had some ideas about what should be changed and what should stay as it is; the two versions I had created were mainly different in terms of colour and title fonts. I was advised by he director to try and stick to more mutual colours such as blue, which worked for both men and women, rather than pink. He advised me to come up with another route, as they had to show 3 to their client, I was told to make it different and therefore once again I had to start by getting some references. I spent the whole day coming up with a new route and I even had time to come up with some front covers for the booklet.

Journal

DAY 5 - FRIDAY 12/8/2011The director was out for most of the day so Lee and Alf, two of the designers, had a look at the work I had done. To my surprise they were very impressed with the third route; they actually really liked it and asked me to use the same idea to work on the brand booklet. So now I was not only taking part in designing the educational booklet, but the brand booklet too. The good thing was that I actually came up with this third route all on my own. It was good feeling to have, to know that I had a good idea and that it was taken into consideration by the designers. Alf advised me to make a couple of changed in terms of colour so that it could work well with the branding idea he was working on.

WEEK 2 - DAY 6 - MONDAY 15/8/2011Ashwin the director looked at the work I had been doing and I was told to keep in mind a hierarchy, to make sure the spreads were consistent. So I spent the whole morning working on that and trying to get that finished. Although the educational booklet was to be presented on Wednesday, the branding book was to be presented tomorrow so everyone was working very hard, trying to finish all the work. I myself stayed until 6 o clock making sure I finished my route, as they wanted to use it for the presentation.

DAY 7 - TUESDAY 16/8/2011Today was the brand book presentation, which meant the studio was even quieter, as most designers were at the presentation. Today I was expected to work all day on the educational booklet as that was to be presented on Wednesday,

so I worked on it all day. When the designers got back I was happy to hear it had gone really well and that my idea was also presented but that we would have to wait until Thursday to find out if they had won the pitch.

DAY 8 - WEDNESDAY 17/8/2011As my idea was used for the brand booklet, the educational booklet was presented by Lee and with his 3 ideas. As it was a new day I was given a new brief which was to come up with a website for a spa chain, it was mainly to do with colour as a basic layout was already set up. I only worked on that for the morning as the director had something else prepared for me. It was a brief for wedding stationery.

I was given an invitation that the client liked. It was quirky and fun and she wanted something similar, so for the rest of the day I was looking for reference material, which became the first approach I took with every project. Also last week the director said I should bring in my portfolio so that they could have a look at it, so today they had a look at my portfolio. I was so pleased with the feedback. They were actually very impressed; one even said ‘my portfolio was never this good during my first year’. Of course they also had some very productive feedback on the projects, for each one there was good and constructive feedback, and I was even offered to come back for a placement whenever I wanted.

DAY 9 - THURSDAY 18/8/2011I was eager to find out what L’Oreal has decided and I was happy when told two by two were chosen for the L’Oreal pitch, and I was told that

45

they had chosen different bits from each route to create their final Brand book and that once it was made I would be sent a PDF of it. I started working on the invitations, which I was looking forward to as they were fun and quirky. However, finding a background was difficult enough so I found myself making it on illustrator which proved to take a lot of time, in fact a whole day for just one idea.

DAY 10 - FRIDAY 19/8/2011Today a brief introduced: DA BEER jewellery were requesting a booklet for workers to use to sell jewellery effectively. Although I was doing a different project I too was briefed and my opinions were taken into account. Once again it was a pitch but the studio was very excited about the thought of having a new client.Today was actually a good week as Joanna the receptionist asked me if I would like to stay another week. It was good news as it meant they were happy with me, unfortunately I could only do 3 days that week, but they were happy with that.

In the afternoon the director came down to look at my work and it turns out I had made a typical mistake, I used the reference the client had sent and made it too similar, this means starting again and I began too realise this was turning out to be too difficult.These had been two long hardworking weeks so as a studio we all ended the day by going to the pub.

WEEK 3 - DAY 11 - TUESDAY 23/8/2011I carried on working on the invitation, and the director had a look and once again I had failed to do what I was

asked. This project was proving to be harder than I thought, it was about getting the right idea and for some reason I was missing it. He said the invitations looked too finished and they had to be more simple so I was taken away from the computer and started by looking at magazines and reference material. I was told to cut out things I liked and to simply do mood board of what it could look like.By the end of the day I had come up with some new ideas and was hoping I was getting somewhere with it. Of course I would have to wait for some feedback the following day.

DAY 12 - THURSDAY 25/8/2011For most of the morning I carried on trying to improve yesterdays ideas. I started thinking more about fonts and imagery and after lunchtime the whole studio started looking at each other work. We started with the DA BEERS work which was actually looking really good. Once they started looking at my work finally it had started to shape up. Some ideas were good but still they needed to be worked on. I was happy to know after the long process I was finally getting somewhere and with one day left I was keen to get it going.

DAY 13 - FRIDAY 26/8/2011Today was my last day. They liked one particular idea I had which was based on typography only. They told me to work on that idea and that the imagery will follow! So I started form scratch and before the day was over, I managed to leave the studio with an idea that started to speak for itself.We were pushed to do a work placement to learn on a day-to-day basis how the design world works.

Journal

We were told it was an important part of the course and although it was no longer compulsory I thought it was a good idea. Most placements are unpaid training positions they are designed to give you really good experience to kick-start your career. The fact is internships are unpaid to allow studios to find students really good positions, where the focus is on their learning.

Having worked at Two by Two for three weeks I learnt a lot of things! One, that I am not ready to work yet, and although I made some interesting work and had very good feedback, looking at the type of work I was creating it was clear that for me there is still a lot to learn. My placement started with me feeling a little out of place as I expected the atmosphere to be very similar to college. But I found it was rather awkward and the designers were very much into their work. As the days went by I became more comfortable and familiar with the designers, and although I felt uncomfortable to ask for help they were very willing to offer their opinions.

The most important thing I learned was the process of working. At college we’re told to research over and over again and I thought that whilst working this would not be as important, and although you have less time to research whilst working, it is clearly necessary to find referencing material to work with before you start any project. During my placement often I was told to do so, and even half way through a project I was stopped and told to go back and look through

referencing material again. Especially when doing the wedding invitations, which proved to be the most difficult project. It was a great experience and I received a lot of advice, not only on the work I had produced during my placement but also my university work. I was happy when asked to show my portfolio and although I had not produced one yet I found myself looking back at my work and thinking of how to present it. I was also very happy with the feedback, as for every project they seemed to really like something about it and also have great advice on how to improve each project.

They were keen to help, and I was relieved to have produced some work that was good enough to go into a studio presentation for a client which helped them win a pitch. I don’t mean because of one of my ideas, but because they are a good studio. During the last day I looked through all my work and realised that I had done quite a lot. Some were good and some not so good ideas. I could see how every idea had developed and how they worked together throughout. I was able to understand the process of a project, from the briefing to it being sent to printers, which I think is good to know for when we leave university.

I was adviced to return, but I would prefer to do my placement somewhere else next summer. As it will be a good idea to work in different places to get different feels from design studios, although if unsuccessful in finding another placement I will be sure to return to Two by Two next summer for another 3 weeks of work.

Evaluation

TYPOGRAPHY47

49 History & Typography Scope 53 Identities & Branding

51 Anatomy of typography 55 Contemporary Typography

TYPOGRAPHY

49

TYPOGRAPHY

Type is one of a designer’s most important tools. It is everywhere, and taken for granted, as a way of communicating it should allow the reader to access the information without distraction. Typography, is more than that. It’s the technique of arranging type; making decisions such as typefaces, point sizes, tracking, leading and kerning are critical when designing. Typography goes beyond graphic designers; it’s used by typesetters, compositors, typographers, art directors and anyone else who arranges type for a product. The principle of typography dates back to 1600 BC, realized in the Phaistos Disc from Crete, Greece. It was the reuse of identical characters punched or printed with dies as a principle of communicating. However it was the development of printing, the discovery of moveable type, and the invention of paper that allowed type to flourish.Paper was invented in China around AD 105 and as early as the eight-century printing was used using wood block on paper in Korea. However it wasn’t until 1440 that Johannes Gutenberg invented movable type technology in Europe.he developed an invention that concluded with him printing one of the first books in the western world. It consisted of an ingenious process employing a separate matrix, or mold, for each alphabet character, from which metal types could be hand-cast in great quantities.

SERIF AND SANSERIF TYPE

Serif means a line or curve that finishes off the end of a letterform

and Sans Serif literally means “without serifs”. The serif helps the reader’s eye distinguish individual letters while providing visual continuity across words. Stroke width is variable, thereby creating more visual cues for the reader. Where continuous reading is required, a serif typeface is usually preferred over sans serif. It is used for both Body Text and Headings and is also the oldest style of type.

The English type designer William Caslon originally introduced Sanserif in 1816. Because the English thought that it looked primitive compared to serif type, it became known as “gothic,” meaning barbarous or primitive. It wasn’t until over a hundred years later that the Bauhaus school of design in 1919 popularized sans serif type design. Stroke width is consistent, which gives it a clean and modern look particularly fitting for Bauhaus design. Sans serif is geometric with a strong vertical stress. There is a higher contrast between plain and bold, lending itself for use as hierarchical signals such as Headings and Sidebars.

SERIF: Adobe Caslon (Carol Twombly), Minion (Robert Slimbach), Bodoni (Giambattista Bodoni), Glypha (Adrian Frutiger), Sabon (JanTschichold) and Monotype Modern and Garamond (Claude Garamond)

SANS SERIF: Myriad (Twombly & Robert Slimbach), Frutiger 57 condensed (Adrian Frutiger), Univers 57 condensed (Adrian Frutiger), Gill Sans condensed bold (Eric Gill), Stone Sans (Sumner Stone), Futura (Paul Renner), Optima (Hermann

History

HISTORIC TYPE CLASSIFICATIONS

There are a number of historic type classifications, all of which fall under either the “serif” or “sans-serif” categories. Below is a brief description of the most important and generally accepted categories in use today by printers, type designers, and foundries in the US and Europe.

Venetian Oldstyle: Venetian roman typefaces from the late fifteenth century, were initially designed to imitate the handwriting of Italian Renaissance scholars. These typefaces originated as book type and, because of their clarity and legibility.

Garalde: In the fifteenth century, Ventian printer Aldus Manutius helped to refine type design, creating the very first italic typeface. Italics were used as text type until the eighteenth century, eventually evolving into the current accepted usage as a supplement to roman.

Script: Script typefaces often mimic handwriting techniques. They were first designed in Paris in 1643, and often imitate writing instruments such as the brush, broad-edged pen or pointed pen. They are special-purpose faces.

Transitional: In the eighteenth century, for the first time, type designers began to use complex mathematical formulas as part of their design process. This period was transitional in that it used elements from the both “oldstyle” designs and the modern (Didone). Some of the best known type designers were active during this period.

William Caslon based his designs on seventeenth century Dutch type and his work is still very much in use. John Baskerville, an admirer of Caslon’s work, designed what is today one of the most popular English book faces.Caslon’s and Baskerville’s designs have been used for text-extensive situations, as books because of their regularity and precision.

Didone or Modern: Modern type is characterized by its emphasis on strong verticals and fine hairlines, which creates a strong visual contrast on the page. In France, during the late eighteenth century, the Didot family took advantage of improvements in paper production, composition, and printing that allowed for these refinements in type design. The Italian printer Bodoni took these refinements further, developing numerous versions of his designs, and they quickly became popular throughout Europe. He increased the strength of his verticals and made hairlines even thinner, making them especially well suited to headings, title pages, and other situations where a heavy, yet elegant, style is desired.

Neo-Grotesque type designs are contemporary and considered to be more graceful than the earlier Grotesques.

Geometrics were influenced by the Bauhaus mechanical and geometric designs.

Humanist typefaces incorporate some features of serif types, such as a slightly more varied stroke than is typical of sans serif type.

51

THE ANATOMY OF TYPE

Understanding the fundamental principles and concepts of typography is the first step to being a successful typographer. The most basic component of typography is the letter, and each letter of the alphabet is distinguished by its unique shape, or letterform.

In typography, it could be said that legibility is the main goal, it must be large enough to be easily read and distinct enough for a reader to discriminate individual words or letters. Although text might be legible it does not mean it is readable; when this happens the reader becomes tired and bored, therefore it must be pleasing to the eye. It is important to consider the size, spacing, the nature of the material and circumstances of the reading. Many factors affect the readability but the main two elements that would make a readable composition are the correct proportions of type size to line or column and the white space between the lines. Since serif faces tend to move the eye along the horizontal direction of reading, the serifs themselves become an additional means of differentiating letters from one another. It is assumed that serif typefaces are more legible than sans serif ones. It has not been conclusively shown that sans serifs decrease legibility, yet many people do find that reading sans serif type can be tiring.

Primarily the design classes are based on anatomy and terminology of type. It’s not difficult to recognize serifs, descenders, ascenders but simultaneously it’s true that for one

class one has to learn nearly 100 definitions and terms. It’s necessary to possess some basic knowledge of the terminologies. It can be puzzling if type is discussed using informal terms like slants and squiggles.

Typeface: An alphabet designed with consistent visual characteristics.

Font: A set of characters in the same size comprising all the letters of the alphabet in both upper- and lowercase including all the figures and symbols of punctuation.

Points and Picas: The standard measurements used for type specifications are the Point and the Pica.

Text Type (or Body Text): Type used for continuous reading, usually set between 9 and 12 points, depending on the x-height, column width and other factors.

Roman (or Normal): Characterized by its vertical orientation. Usually refers to serif faces.Italic: The term used when a slanted style is used with serif type. Generally, italic is preferred over bold where emphasis is required.Oblique: The term used for slanted

Weights: A style of type whose designations are based on the stroke width of a face. The most common weights are light, normal, bold, and extra bold.

Condensed: Faces that are taller than usual in proportion to their width. Extended (or Expanded): Faces that are wider in proportion to their height.

Anatomy of typography

A relative type measurement based on the lower case “x” of any given type family because it sits directly on the baseline and has no ascenders or descenders.

The x-height effects the reader’s perceived size of type: a large x-height type looks larger than type of the same size with a smaller x-height. An awareness of point size and its relationship to x-height will effect visual size, and a large x-height may appear friendlier and make reading easier for children as well as those with poor vision.

Cap height: The cap height is an imaginary line wherein the heights of all the capital letters are marked in a typeface. However it has to be kept in mind that the cap height is below the maximum height of the typeface.

Mean line: The mean line, known as midline, is an imaginary horizontal line that marks the top edges of the lower case letters. It is not literal as a “mean line” because it actually doesn’t imply the central line between the base line and the cap height.

Bowl: It is the rounded curve that covers the negative space in a letter form. for example in the following letters “I”, “e”, “D”, “o” and “g”.

Descender: happens to be the bottom part of the lowercase letter that usually goes below the baseline of a typeface. Some other features

that particularly extend below this baseline comprise of the old style numerals typefaces. These specific numerals were basically thought to mix appropriately with the lowercase roman numbers. If used within the body of the text they look beautiful.

Counter: refers to the negative space within a letter, particularly if you consider letters like “A”, “o” and “P” etc where the counter is fully enclosed. In letters like “G”, “u” and “c” the non enclosed negative space is reflected and they are also called counters.

Stem: The main vertical or diagonal stroke depicted in a letterform is known as Stem. They consists of the vertical parts of the letters like “I” and “H” and also simultaneously all the strokes in the letter “W”.

Tittle: is defined as the dot above the lowercase “j” and “i”.

Ascender: It is an extension that goes above the meanline and is generally found in some lowercase letters. , “b”, “d”, “f” and “t”.

Leg: Legs are the lower angled strokes which you can see in the letters “K”, “R” and “Q”.

Ligature: Addition of two characters to create another character is called ligature. Commonly seen in serif faces .It is present to give space between certain characters and give the characters an aesthetic imprint.

53

Identities & BrandingThe brand name is used interchangeably with “brand”, although it is more correctly used to specifically denote written linguistic elements of any product. In this context a “brand name” constitutes a type of trademark, if the brand name exclusively identifies the brand owner as the commercial source of products or services. A brand owner may seek to protect proprietary rights in relation to a brand name through trademark registration and such trademarks are called “Registered Trademarks”. Advertising spokespersons have also become part of some brands. Local branding is usually done by the consumers rather than the producers.

Typography has long been a vital part of promotional material and advertising. Designers often use typography to set a theme and mood in an advertisement. Type is often used to draw attention to a particular advertisement, combined with efficient use of color, shapes and images. Today, typography in advertising often reflects a company’s brand. Fonts used in advertisements convey different messages to the reader, classical fonts for a strong personality, modern fonts are for a cleaner, neutral look. Bold fonts are used for making statements and attracting attention.

Typography is definitely having a moment, adorning walls, interiors, posters, street art, stationary and fashion. The art of typography and font display is also being used for driving brand communication through visual merchandising and retail signage. Currently, retail is in the midst of a serious revolution where

consumer behaviour is changing and encouraging customers to come ‘into’ a store is proving more challenging than ever before. A return to simple, clean typography has been noticed, in the brand and retail areas well as others.

The more components a brand identity contains, the more onerous it can be. Logo, pictogram, texture, color scheme, wordmark: each must be laboriously created, launched, and cared for, and each of these stages has its own substantial costs.

Looking at the large consumer landscape of iconic pieces of typographic design, many brands stand out for the sheer fact that they have never changed or hardly changed at all, such as McDonald’s and Coca-Cola, who have been around for decades. Their design personalities are virtually “time-stamped,”. You can get an instant picture in your head of these type identities and you probably could draw them with their exact colors on blank paper. This is known as, “unaided awareness”.

These brands have embraced their graphic identities and not budged. Most have come up with support graphics over the years to remain relevant. And they certainly have braved time periods when they seemed hopelessly out of sync with a modern world. For example when boutique coffee juggernaut Starbucks expanded worldwide, Dunkin Donuts simply added a coffee cup to the side of their logo. In each of these examples it is clear that typography has allowed these identities to maintain their statuses.

Various Identities & Typography

2007–PRESENTIn a relatively short period, INKLAB developed a collection of identities, logotypes, typographic treatments and illustrations for clients, friends and themselves.

55

Digital tools may have allowed designers new power and flexibility, but typography remains the bedrock of good graphics, and one of the most exciting areas of experimentation. Originally, type foundries manufactured and sold metal and wood typefaces and matrices for line-casting machines like those made by Linotype and Monotype, and were designed to be printed on letterpress printers. Today’s digital type foundries accumulate and distribute typefaces created by type designers.

Contemporary artists use all printing processes for their work. During the 1970’s there was a resurgence of interest in letterpress printing, and at the same time artists produced editions in greater quantities with offset printing, often experimenting with the processes of color separation and platemaking. Syl Lebrot’s Pleaure Beach is an example of a book in which the artist created the images in the act of making the separations by hand.

Today,with computer imaging systems, it is much easier for artists to create compound images, and to either generate color separations directly from the computer, print the book on a color printer, or publish the work directly from the computer onto the World Wide Web.

Contemporary typographers view typography as craft with a very long history. The basic elements of typography are at least as old as civilization and the earliest writing systems, a series of key developments that were eventually drawn together as a systematic craft.

Major changes to the face of typography came with the Industrial Revolution. For more than three centuries, typography and printing had been firmly tied to book publishing and its refined aesthetics. In the early 1800s, the printing industry veered off in a new direction. New print media appealing to the masses: newspapers and all forms of advertising, were emerging as a dominant force, calling for a new style of type design compatible with mass production and consumer tastes. Print journalism necessitated types that were both readable and boldly eye-catching. Slab Serifs, also known as Egyptian typefaces, quickly became the flavour of the day.

A more evolved form of Egyptian was Clarendon, designed by Robert Besley for London’s Fann Street Foundry in 1845. It was intended as a bold display companion to text faces for commercial printing. This design, named for the Clarendon Press in Oxford, had the strong presence of the typical Egyptian, but was more refined and carefully designed, with greater contrast between thick and thin strokes and its trademark bracketed serifs. Its instant success spurred multiple foundries to issue their own variants, and an entire sub-classification of Slab Serifs was named after the typeface.

Clarendon’s popularity continued, and Edouard Hoffmann and Hermann Eidenbenz at Haas revived the typeface in 1953. A variety of Clarendons have been issued since then, with added weights and styles making this design suitable for both text and display applications.

Contemporary Typography

Movable type

Movable type is the system of printing typography using movable pieces of metal type, made by casting from matrices struck by letterpunches.

ORGANISATIONS57

59 AIGA 63 Atypl

61 ISTD 65 Graphic Artists Gild

ORGANISATIONS

AIGA, the professional association for design, believes designers serve a critical role as communicators, educators and innovators. AIGA sets the national agenda for the role of design in economic, social, political, cultural and creative contexts.

In 2006, The American Institute of Graphic Arts changed its name, retaining the acronym AIGA as its name, and adopting the descriptor line “the professional association for design.” The name change initially caused confusion within the organizations’ membership and the design community. Véronique Vienne, in the March/April 2007 edition of the American design periodical Print, criticized the name change as reducing rather than extending understanding of the profession. The article quotes Marc Gobé, author of Emotional Branding, “The AIGA missed an opportunity to make a strong statement... Replacing the authoritative ‘American Institute’ with the banal ‘Professional Association.’”

Founded in 1914 as the American Institute of Graphic Arts, AIGA remains the oldest and largest professional membership organization for design and is now known simply as ”AIGA, the professional association for design.“ AIGA’s mission is to advance designing as a professional craft, strategic tool and vital cultural force and they work to:Inform about best practices, standards for ethical conduct and professional expertiseCommunicate design’s importance to the public and business leaders about the power of design

Inspire through articles, online galleries, profiles, videos and exhibitions represent the profession through a network of chapters, and student groupsstimulate discussion of the industry through events, social media and websites.

AIGA represents a variety of professions under the umbrella of communication design, ranging from book and type design to interactive design and experience design. We support design professionals, educators and students throughout their careers.AIGA believes members are our most valuable asset. We support you by providing invaluable opportunities at the local and national level through events, resources and more. No matter where you are in your career: a design student, recent graduate, educator or seasoned professional, there’s an AIGA membership level for you.

Professional: An individual who has practiced or taught in any design community for four years or more.Associate: An individual who has practiced in any design community for fewer than four years.Student: Fall student membership drive through A student who is registered for at least six (6) credit hours and presents a copy of a class schedule or student ID with the date of the current semester verifying their enrolment. Full-time faculty: Current full-time faculty members may apply for a special membership rate.Group: Current full-time faculty members may apply for a special membership rate.

AIGA

59

THE WEEKLY WRAPAROUND: SEPTEMBER 23

Article by AIGA editors. September 23, 2011.Filed Under: Inspiration, The WraparoundAn immersive digital theater made from 5,600 silicon rods, Curtain Call, by Ron Arad, “The Weekly Wraparound” is an editorial roundup of links to the week’s best design stories, posted every Friday by the editorial staff of AIGA.org.

61

Founded by Vincent Steer in 1928 as the British Typographers Guild, ISTF stands for The International Society of Typographic Designers. It is a professorial body run by & for typographers, graphic designers, and educators. This international body allows typography to be understood and debated through the online forum. Their mission is to establish and maintain the standards of typography through their website.

In the UK they are mainly recognized as the authoritative body for typography but their influence is growing internationally as they try to keep sight of its original purpose ‘to bring together in friendship and mutual help, all those with a love of the printed word’. Though these ethos are still intact today (eight years ago when the development of desktop publishing became so important they could not foresee that the typeset word ‘on screen’ would be so popular and how it would effect typography), the try to work closely with education and the industry to promote and sustain typographic standards.

From as early as 1911 Vincent Steer was known for his typographic skills. Being described as an ‘Advertising Typographer’ it was clear what his roots were. In a world where most ‘design’ was carried out through compositors’ layouts he recognized the importance and place that typographer’s skills will play in the design world. It started as the British Typographers Guild with six other like-minded founding members. In the early 1950s the name was changed to the Society of Typographic Designers, STD.

Nearly 50 years later to recognize growing influence in other countries. STD became ISTD, the International Society of Typographic Designers.‘ISTD recognises that, with the ever-broadening role of the ‘graphic’ designer, there is an even greater need to share experience and dialogue with its members, design students and educators, the wider industry and related organisations. ISTD’s aim is to inform, create and inspire interest in typographic communication to the widest possible audience.’

They have done this by extending its reach beyond the UK to Ireland, South Africa and the Lebanon. Recently, they launched in Australia and New Zealand and want to expand as more design colleges add the ISTD briefs to their curriculum.

ISTD welcomes applications for membership from those involved in the field of visual communication, who can provide evidence to the Board of their competence as typographic, graphic and visual communication designers, who agree to uphold the professional aims and ideals of ISTD. There are four categories of membership.

Honorary Fellowship: awarded to outstanding typographic work, or to a contributor to the industry.Fellowship: awarded to a professional standing or for services to the Society.

Membership: for all practising typographers, graphic designers and educators through evidence of competence in their field of activity, at a standard required by the Society.

ISTD

Design Criminals exhibition, MAK, Vienna

Exhibition graphics made from sugar pastillage and wafer paper printed with edible ink. Bespoke typeface Lina 05 used throughout the exhibition and a 4m x 4m sugar lettering installation as well as for the limited edition catalogue. Nominated for the Brit Insurance Designs of the Year 2011.

Everyone who matters in the type world: type designers, type publishers, graphic and typographic designers, are all here. Many of the members are household names. Information about the ATypI Board, the country delegates and corporate members can be found there. Its members: ATypI is a not-for-profit organisation which is democratically run by an elected Board. They have members in over 40 nations, and almost 20 countries have their own country delegations.

ATypI provides a structure for the type community to meet and act together. They do not only preserve the culture, tradition and history of type and typography, they also promote contemporary digital fonts, encourage outstanding typography and typographic design, campaign for the protection of typeface designs, influence legislators around the world and run conferences every four or five years. ATypI awards the Prix Charles Peignot for Excellence in Type Design to a designer under the age of 35 who has made an oustanding contribution to type design.

Individuals are people such as designers, art directors, educators, calligraphers, stone-cutters and software writers. Organisations include manufacturers and vendors in the graphic arts industry, as well as most significant software suppliers world-wide – type is on every screen. TypI conferences are always lively and very varied affairs. Each year they happen in a different city, usually one with a rich typographic heritage, and are organised with the help of local members and institutions.

During each conference, a small team puts together a newsletter on site. For the last few years the newsletter has appeared in some form on the web during or just after the conference.

The site has brought together and archived the web presence from each of the last few years where this is possible. In some cases the conference organisers have created their own websites for their conference, using technologies which that can’t be reproduced on the site. In some cases they have part of the conference website but not all of it. In all cases what you see is what you get.

The latest was at Dublin with the theme ‘from the Book of Kells to Samuel Beckett and beyond. The word has always been at the centre of Irish political, cultural and social life. Dublin was therefore the ideal place for a gathering of those who were closely involved with the visual and material form of words. Thus from the cultural heart of a literary city the theme for ATypI 2010 – The Word’ and other including:

The ATypI 08 St Petersburg conference in St Petersburg, Russia from 17 to 21 September 2008, which included speakers such as: Tim Ahrens, Yomar Augusto, Ken Barber, John D. Berry, Roger Black, Frank E. Blokland, Bert Bos, David Bezina, Nadine Chahine, Anna Chaykovskaya, Petr Chobyt’ko, Si Daniels, Susanne Dechant, Alexey Dombrovskiy and others. Also The ATypI Rome Conference ran from Thursday 19 September to Sunday 22 September 2002.

ATypI

63

Poster for 2004 Conference

After 35 years, Association Typographique Internationale (ATypI) returned to Prague, Czech Republic, for its 48th annual conference. The Conference was co-produced by the Academy of Arts, Architecture and Design in Prague (AAAD/VSUP), and was conducted in the famous Archa Theatre, an avant-garde underground theater complex in the middle of Prague.

The purpose of the Graphic Artists Guild is to promote and protect the social, economic and professional interests of its members (which include designers and non-designers) who want to learn more. The Graphic Artists Guild is governed by its National Board of Directors, which is made up of representatives elected by the members of each chapter. Every chapter has at least two reps, with one additional rep for each 250 members over 500.

The Guild is committed to improving conditions for all graphic artists, raising standards for the entire industry. The Guild embraces graphic artists at all skill levels. The Guild supports its members in numerous ways: The very popular Graphic Artists Guild Handbook: Pricing & Ethical Guidelines, reflects current pricing trends and trade customs for national markets that relied upon by artists who sell services and the clients who buy them. The Guild equips artists with the skills they need to compete effectively, with a range of programs and services to meet specific needs, both locally and nationally.

They are graphic designers, web designers, digital artists, illustrators, cartoonists, animators, art directors, surface designers, and various combinations of these disciplines. A union of men and women in the same craft or trade whose purpose is to uphold and improve standards and protect the rights of its members. They strive to move the industry closer to the guidelines that are fair to both artists and buyers of art. A career in art, especially as a freelancer, can be an

isolating existence. You work in a void, painting yourself into corners of indecision. The Guild is a great way to stay connected and to make friends, attending programs and parties, taking courses, talking shop, getting help from fellow members, or getting involved as a volunteer in whatever aspect or activity peaks your interest. Personally and professionally, your links with other artists will become the most vital necessities and rewarding aspects of your career. In a world where organizations talk to other organizations and to the government, the Guild speaks for your concerns as graphic artists. Their union structure makes their organization very democratic, so our voiced opinions and your votes for officers make our voice heard. “As a group, their opinions carry more weight with the powers that be”. - John Schmelzer, former Guild National President

The Guild is a place where people come when they have a need for support and help with business or design problems. It is also be a place to stay and help others who will profit from your knowledge and experience. The gild provides classes such as teleclasses on a wide range of topics, from optimizing your portfolio to utilizing social media for marketing and self promotion, to copyright trends and issues. The gild allows non-artists, or artists making less than half of their income from their graphic work, to join as associate members with all membership privileges, except voting rights. Meetings are open to all members, and any member may introduce resolutions. There is no portfolio review.

Graphic Artists Gild

65

Meet & Greet The Graphic Artists Guild

On Friday, January 8, 2010, at 7:00PM, the Graphic Artists Guild held a Los Angeles Area Graphic Artists Meet & Greet at Dinah’s Family Restaurant1 near LAX. They encouraged graphic artists of all kinds to attend.

SITES & BLOGS67

SITES & BLOGS

69

THE PROFESSIONAL ASSOCIATION FOR DESIGN http://www.aiga.org/

ASSOCIATION TYPOGRAPHIQUE INTERNATIONALEhttp://www.atypl.org/International Society of Typographic Designers http://www.istd.org,uk/

GRAPHIC ARTISTS GUILDhttps://www.graphicartistsguild.org/

WEBSITES

CREATIVE REVIEW http://www.aiga.org/

SEPTEMBER INDUSTRYhttp://www.septemberindustry.co.uk/EYE MAGAZINEhttp://www.eyemagazine.com/home.php

GRAPHIC ARTISTS GUILDhttps://www.graphicartistsguild.org/

BLOGS

BIBLIOGRAPHY71

BIBLIOGRAPHY

BOOKS

Brook, T (2009). Studio Culture: the secret life of the graphic design studio. London: Unit Editions.

Cano, P (2007). Typosphere. Barcelona: Collins Design.

Shaughnessy, A (2009). Graphic Design: A User’s Manual. London: Laurence King Publishing LTD.

Shaughnessy, A (2005). How to be a graphic designer, without losing your soul. London: Laurence King Publishing LTD.

Veksner, S (2010). How to make it as an advertising creative. London: Laurence King Publishing LTD.

EMAILS

Dalton Maag StudiosMaag, B. bruno@daltonmaag.com. Questions & Answers. 26th August 2011.

Two by Two StudiosShaw, A. info@twobytwo.co.uk. Questions & Answers. 26th August 2011

Keller Maurer StudiosMaurer, M. marcus@km-d.com. Questions & Answers. 26th August 2011.

Bibliography

73

WEBSITES

AIGA: Available: http://www.aiga.org/Inspiration/.Last accesssed 27th Aug 2011.

ATELIER WORKS: Available: http://www.atelierworks.co.uk/index_flash.html . Last Accessed 21st Aug 2011.

ATypl: Available: http://www.atypi.org/2011-reykjavik. Last accesssed 27th Aug 2011.

BROWN STUDIO: Available: http://brownsdesign.com/work/?cat=40&id=22 .Last accesssed 27th Aug 2011.

GRAPHIC DESIGN SCHOOL: Available: http://www.thegraphicdesignschool.com/blog/ . Last Accessed 22nd Aug 2011

GRAPHIC GUILD: Available: https://www.graphicartistsguild.org/join/. Last accessed 23rd Aug 2011.

ISTD: Available: http://www.istd.org.uk. Last Accessed 21st Aug 2011.

Keller Maurer Design: Available: https://www.km-d.com. Last Accesssed 11th Aug 2011

MARKETING DESIGN AWARDS: Available: http://www.marketingdesignawards.com/ . Last Accessed 21st Aug 2011.

OSU: Available: http://www.osu.edu/identity/typography.html .Last accesssed 27th Aug 2011. TOM APPALARDO: Available: http://blog.tompappalardo.com/?p=1662 . Last Accessed 22nd Aug 2011.

http://www.twobytwo.co.uk/. Last Accessed on 11th Aug 2011.

TYPOGRAPHIC: Available: http://www.rsub.com/typographic/. Last accessed 27th Aug 2011.

TYPOTHEQUE: Available: http://www.typotheque.com/articles/new_faces_mapping_contemporary_type_design . Last Accessed 21st Aug 2011.

WIKIPIDIA: Available: http://www.wikipedia.org/ .Last accesssed 27th Aug 2011.

POLIMEKANOS: Available: http://www.polimekanos.com/ .Last accesssed 27th Aug 2011.