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Type CollagesEvery 2 weeks a composition of 16 squares in a grid is due. These compositions must use found typography, and each must have its own theme. Themes can be as abstract as “light”, “dark, “rough” or “smooth” or as concrete as “green”, “serif”, “newsprint”, “right angles”. Regardless of the theme, the form of the composition must hold together and make sense as a designed object. Use the lessons you learned from the first in-class project to think about the progression of images and shapes, the relationship of each square to its neighbors and to the entire composition. Tell a story. ShortcutsThroughout the semester each student will be responsible for teaching the class 5–7 keyboard shortcuts. The more useful the better! You will have a good sense of what you need to learn as you continue to work in Illustrator, InDesign and Photoshop. Keep a list to use in the future, and keep adding when you can.

This zine Type 2 was printed by FedEx on Sharon Amity Rd Charlotte NC Typefaces used are Helvetica Neue, Times New Roman , and Big Caslon. Project descriptions were written by Cynthia Frank. Projects were designed by Rebeca Zine Designer Rebecca GarberArticle authors, Rudy Vander Lans and Ellen Lupton12-10-13

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Contents

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Type collages page 2

Shortcuts page 3

3-D story page 5

Long lists page 6

Biodiagram page 7-9

Gliph Design page 10

Glyphs for a New Millennium page 11

Does that look green to you? page 12-13

The Emigre Legacy page 14-15

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3D storyTell a typographic “story” on a 3-D cube. Choose a single letter, in a single typeface and style. Use texture, rhythm, layering, scale and form to control the visual connections and pace. Adjust and compensate the letterform to create visual flow as you turn the box over in your hands. Think about how each panel relates to and/or ties in to the adjoining panels. Think about white space, form and counterform. You may cut apart the letterforms. The goal is to create a unified design with energy and rhythm. Your design may have a smooth visual flow or one full of contrasts and surprises as the box turns.

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Type 21 Inchworm Stand up tall with the legs straight and let those fingertips hit the floor. Keeping the legs straight, slowly lower the torso toward the floor, and then walk the hands forward. Once in a push-up position, start tak-ing tiny steps so the feet meet the hands.

2 Tuck Jump Standing with the knees slightly bent, jump up as high as possible and bring the knees in toward the chest while extending the arms straight out. Land with the knees slightly bent and quickly jump again!

3 Bear Crawl Starting on the hands and knees, rise up onto the toes, tighten the core, and slowly reach forward with the right arm and right knee, followed by the left side.

4 Plyometric Push-Up Start on a well-padded surface and com-plete a tradition-al push-up. Then, in an explosive motion, push up hard enough to come off the floor.

5 Stair Climb with Bi-cep Curl Turn those stairs into a car-dio machine. Grab some dumbbells and briskly walk up and down the stair-way while simulta-neously doing bi-cep curls to work the whole body.

6 Mountain Climber Starting on your hands and knees, bring the left foot forward directly under the chest while straightening the right leg. Keeping the hands on the ground and core tight, jump and switch legs. The left leg should now be extended behind the body with the right knee forward.

7 Prone Walkout Beginning on all fours with the core en-gaged, slowly walk the hands forward, staying on the toes but not moving them for-ward. Next, gradually walk the hands backwards to the starting position, main-tain stability and balance.

8 Burpees This one starts out in a low squat posi-tion with hands on the floor. Next, kick the feet back to a push-up posi-tion, complete one push-up, then immediately re-turn the feet to the squat position. Leap up as high as possible before squat-ting and moving back into the push-up portion of the show.

9 Plank Lie face down with forearms on the floor and hands clasped. Ex-tend the legs behind the body and rise up on the toes. Keeping the back straight, tighten the core and hold the position for 30-60 seconds.

10Plank-to-Push-Up Start-ing in a plank position, place down one hand at a time to lift up into a push-up position, with the back straight and the core en-gaged. Then move one arm at a time back into the plank position.

11 Wall Sit Slow-ly slide your back down a wall un-til the thighs are parallel to the ground. Make sure the knees are di-rectly above the ankles and keep the back straight.

12 Lunge Stand with the hands on the hips and feet hip-width apart. Step the right leg for-ward and slowly lower your body until the right knee is close to or touching the floor and bent at least 90 degrees. 13 Clock Lunge Complete a

traditional forward lunge, then take a big step to the right and lunge again. Finish off the semicircle with a backwards lunge, then return to standing. 14 Lunge-to-Row

Start by doing a normal lunge. Instead of bring-ing that for-ward leg back to the starting position, raise it up off the floor while lifting the arms overhead.

15 Lunge Jump Stand with the feet together and lunge fzorward with the right foot. Jump straight up, propelling the arms forward while keeping the elbows bent. While in the air, switch legs and land in a lunge with the opposite leg forward.

16 Curtsy Lunge When lung-ing, step the left leg back behind the right, bending the knees and lowering the hips until the right thigh is almost parallel to the floor.

17 Squat Stand with the feet parallel or turned out 15 degrees. Slowly start to crouch by bending the hips and knees until the thighs are at least paral-lel to the floor. Make sure the heels do not rise off the floor. Press through the heels to return to a standing position.

18 Pistol Squat Stand holding the arms straight out in front of the body, and raise the right leg, flexing the right ankle and pushing the hips back. Then lower the body while keeping the right leg raised. Hold, then return to standing.

19 Squat Reach and Jump Perform a normal squat, but imme-diately jump up, reaching the arms straight overhead.

20 Chair Squat Pose Stand with the feet hip-dis-tance apart and squat until the thighs are parallel to the floor while swinging the arms up. Straighten the legs, then lift up the right knee while swinging the left arm outside the right knee.

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AnywhereLong ListsThink about the many different ways lists can be designed and formatted. Create

an 11 x 17” poster that uses hierarchy, alignment and layout to make the information easy and enjoyable to scan and read. You may use up to 2 typefaces. You must use style sheets to format all type. You must use all copy including the numerals. You may make edits to punctuation if you can accomplish its meaning with typography instead. You may use rules and shapes in your design. Black and white only.

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BiodiagramYou are a complex person, but there is one facet of your life that you think is the most interesting, unique thing about yourself! Maybe your messy bedroom has its own sense of perfect order, maybe you practice the guitar meticulously every day, maybe you are widely traveled as a bike messenger, maybe you have a collection of snow shakers. Choose one facet of your life and represent it in a clear conceptual and visual framework. The form and design must grow out of the hierarchy and nature of the content. You may use color, you may include a legend, you may use images if they are necessary. Remember that this is a DIAGRAM you are creating, and diagrams, by nature, tend to be more abstract in their representation of information. You MUST use style sheets.

Let It Snow

Holiday

Animal

History

Fantasy

Car

2001

2003

2005

2006

2007

2009

2010

2011

2012

2013

Blue

Pink

Green

Red

Purple

Brown

Boston Massachusetts

Orlando Florida

Unknown

Charlotte North Carolina

Glasgow Scotland

Paris France

Atlanta Georgia

Gatlinburg Tennessee

Baltimore Maryland

Charleston South Carolina

York South Carolina

Pineville North Carolina

Minneapolis Minnesota

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Rating

Them

eColor

When

Where

Snow globes galore

Let It Snow

Holiday

Animal

History

Fantasy

Car

2001

2003

2005

2006

2007

2009

2010

2011

2012

2013

Blue

Pink

Green

Red

Purple

Brown

Boston Massachusetts

Orlando Florida

Unknown

Charlotte North Carolina

Glasgow Scotland

Paris France

Atlanta Georgia

Gatlinburg Tennessee

Baltimore Maryland

Charleston South Carolina

York South Carolina

Pineville North Carolina

Minneapolis Minnesota

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2

3

4

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Rating

Them

eColor

When

Where

Snow globes galore

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Glyph DesignIf our numbering system were base-12 instead of base-10, there would be 2 extra glyphs before the “0” (1 2 3 4 5 6 7 8 9 ? ? 0)! Your job is to design them. Think about unity and variety, grid, counter form, proportion, stroke weight, etc. They must fit in with the typeface and also be unique. Choose a more classic serif typeface that has OLD-STYLE numerals.

Glyphs for a New MillenniumCreate a poster that prominently shows the new glyphs and their effectiveness in context. Include the name of the typeface you chose, the title of the project (glyphs for a new millennium), a brief paragraph about the characteristics of the typeface, a brief paragraph about you (the glyph designer).

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Rebecca Garber chose this typeface because of the great con-trast of the tick and thin strokes. These allowed her to

focus on the curves and overall feel of the typeface and incorporate that in to the glyphs she created.

She started with around 30 sketches of glyphs before choosing Big Caslon

Medium as the typeface to pull inspiration from.

B i g Caslon Medium is

a variation on the design of William Caslon’s typeface

design from 1722. This variation is defined by its thick and thin tran-sitions. The ends of the serifs are not as thin as the thinnest stroke, giving more weight to those areas of the

letters. On the numerals, serifs are not consistent with each char-

acter with some having none at all

Big Caslon Medium

Glyphs for a N

ew Millennium

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Does That Look Green to You?Essay, 2009. By Ellen LuptonLast week, I had to buy some laundry detergent. I confess that I didn’t apply any rigorous thought to this routine task. I just stood in front of the shelf

and grabbed what spoke to me: Ultra Tide Pure Essentials with Baking Soda. Why that one and not something else? Because it looked green to me.

Ultra Tide Pure Essentials comes in a cream-colored plastic jug. It’s made from the same material as the bright orange bottles used for Tide’s other products (No. 2 HDPE plastic), but the soft ivory color makes it look…greener. And the lid actually is green—a pale, soothing tint of sage. Tide’s familiar logo (jaunty blue letters leaping out from a toxic tornado) is positioned rather small on the front of the bottle, but the rest of the design speaks of a kinder, gentler world. The product contains baking soda—a household chemical that you can actually eat. The detergent is also “pure,” “essential,” and smells like “white lilac.” (White lilac is surely cleaner, more invisible and ethereal, than purple lilac, no?)

The one thing that actually makes this product greener than what my mother used to buy is its concentrated form. A more potent product is cheaper to ship, package, and store than a diluted one—yet many people dump more detergent than they need into their laundry, canceling out the environmental benefit. Liquid detergents are less green than powders because they are heavier to ship.

The Tide Pure Essentials bottle is a classic example of green washing. Graphic designers and branding experts choose colors, language, imagery, and materials that speak to the emotions of a certain class of consumers. “Green” is a cultural vocabulary that talks about nature and purity and ecology but may have nothing to do with how products actually affect the world.

Here’s another piece of packaging: a returnable glass milk bottle. Once a week, Cold Mountain Creamery delivers fresh dairy products to my house. The milkman picks up the empty bottles and takes them back to be washed and reused. Screenprinted on the front of the bottle is the date “2003”—the bottle has been circulating for six years. The package is owned by the dairy and merely leased by the customer (I pay a $2 deposit for the privilege of using it). What I am purchasing each week is access to a well-designed system. The milk I buy is a service, not a product.

This milk bottle suggests a more exciting approach to green packaging than the detergent jug—and yet it represents an old business model that was made obsolete by strip malls and parking lots in the 1960s, when the modern housewife learned to pick up her own milk in her own car, embracing a more private and isolated lifestyle. Today, new ecological priorities along with the online networks are making systems like this one convenient and attractive once again. Designers are starting to work with industries to imagine and implement new systems for getting things done.

A Barbie doll box—with its shiny plastic window and its twisted wire attachments—only serves to sell the product in the store. It’s 100% marketing, with no value added for the user. Some packaging, however, is actually useful to consumers. If milk didn’t come in a carton, how could I pour it on my cereal or store it in my fridge? Packaging has other useful functions as well. It also helps make manufacturers accountable for their goods and encourages consistency, promoting relationships between consumers and brands. It protects goods in transit and keeps them clean in the store and in your house. Packaging can explain how products work or how to use them, and it can disclose important data such as ingredients, warnings, and sell-by dates. And then there’s the beauty factor—elegant, in-telligent packaging can stimulate desire for beneficial products. Greener design strategies seek to maintain benefits like these while reducing—or eliminating—waste.

Here are some basic green design principles and how they work:Recycle. This is the old-school approach to green design. People think that by

putting their stuff out on the curb for recycling, they are solving the problem. But recycling consumes a lot of energy, and typically, recycled goods can’t be turned back into the same products they started

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as. Soda bottles get turned into plastic lumber, an ugly material with limited uses. William McDonough, author of Cradle to Cradle and one of the world’s leading sustainability advocates, prefers the term “down-cycling” to “recycling,” because the process yields lower-quality substances and does nothing to upset the need for more virgin materials at the front end of the process.

Repurpose. The D.I.Y. approach is to make adorable objects out of old containers. Although this can become an engaging hobby, it’s not a solution to our bigger problems. If I were to use a year’s worth of plastic milk jugs to make bracelets, flower pots, and lamp shades, I would fill my house with over 200 dubious crafts projects. And that’s not even getting started with the beer bottles and soda cans.

Reduce materials. Laundry detergent would be hard to carry home without a package. But what if detergent took a different form, such as a pill or a sheet that doesn’t need a container? Or what if it were packaged for single use, and the container dissolved in the washing machine? Or how about an appliance that gets filled just once a year with detergent? In the UK, the cleaning products manufacturer Reckitt Benckiser N.V. has filed a patent for a cartridge-based system that would automatically dispense detergent as needed. Ideally, when the cartridge is empty, it could be returned to the manufacturer for refilling, just as we now do with ink cartridges.

Rent, don’t own. As John Thackara points out in his influential book In the Bubble: Designing in a Complex World, many business-es lease cars, trucks, photocopiers, and office spaces. Likewise, consumers are accustomed to renting a hotel room or a seat on an airplane—we don’t need to own these things in order to enjoy their benefits. Couldn’t packaging be rented as well? What if everything from breakfast cereal to dish detergent came in a beautiful, high-value package designed to be refilled rather than thrown away? What if all household products were deliv-ered to people’s homes instead of getting picked up at the store? This would mean less driving, smaller parking lots, and warehouses designed for optimum efficiency rather than for putting goods on display. Think of the open refrigerators in a typical American grocery store. An enormous amount of energy is wasted just to make it easy for shoppers to grab a carton of yogurt or a brick of cheese from an open dairy case.

Create new behaviors. In Europe, shoppers have always brought their own bags to the store (and bagged their own groceries). In the U.S., we expect free bags, at the cost of trillions of discarded bags each year. Passing a law is one way to change behavior. In 2007 San Francisco banned standard plastic bags at large supermarkets and drug stores (paper ones are still permitted). People tend to resist change if they don’t see an obvious benefit to themselves. Walmart and Costco have introduced a cubic milk jug that supports its own weight when stacked, eliminating the need for plastic shipping crates. Getting rid of the crates saves room on the trucks; ditching the crates also means not having to clean and sterilize them, saving more money and energy. The problem is, pouring milk from the new jugs is a little different (you have to tilt the jug rather than lifting it to pour), so the change has met with consumer resistance. Consumers are willing to buy the new milk, however, because it is cheaper than the old style—saving people money can inspire them to accept new behaviors.

Next time I buy laundry detergent, I’ll try to give it more thought. Which product packs the most cleaning power into the smallest package? Which product has the lowest weight per wash? Which product works best in cold water? Someday, I hope the soap won’t come in a package at all—that’s the goal that “green” designers are working toward.

Ellen Lupton is curator of contemporary design at Cooper-Hewitt, National Design Museum in New York City and director of the Graphic Design MFA program at Maryland Institute College of Art (MICA) in Baltimore. An author of numerous books and articles on design, she is a public-minded critic, frequent lecturer, and AIGA Gold Medalist.

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The Emigre LegacyBy Rudy VanderLansThis article was first published in 2000 in Emigre 56.

I know someone who is a real stickler for recycling. She recycles her glass, paper, aluminum and cardboard. She lives in a city where most of these

items are picked up by local agencies on a weekly basis. Plastic isn’t picked up, so she drives to the local recycling center in town

once every now and then to drop it off. When she goes out to buy groceries, she brings used paper shopping bags. She’ll get 10 or

15 trips to the grocery store out of the same double bag before it falls apart. She tries not to buy products that are overpackaged.

She does not read newspapers because she feels they create an unmeasurable amount of waste. Instead, she gets her news from the

radio or Internet. Old clothes or clothes that don’t fit anymore she takes to the Salvation Army. She carefully plans meals to avoid

throwing out food. She shares a medium-sized car with her husband. She tries to walk instead of using the car, when and wherever

she can. She occasionally tries to get off mailing lists to stop the barrage of catalogs arriving in the mail each day, but she found out

that trying to do so often increases the number of catalogs she receives. She’s working on trying to beat that scam.

Sometimes I try to imagine what this world would be like if everyone acted the way she does. Some people say that recycling and reusing are a drop in

the bucket, that they don’t address the real problems this world is facing. I say that these activities probably are some of the most

important, because they are the simplest and easiest things everybody can do to reduce waste and limit consumption. Recycling is a

great place to start caring about the environment. Best of all, if you commit to recycling, you start realizing how much you consume.

If overconsumption is one of the greatest threats facing planet Earth, and I believe it is, then recycling and reusing are where you

start turning the tide.

A person who grows up believing in the value of recycling and the need to limit consumption, and who understands that the Earth’s resources are finite,

will be a different corporate head or ad exec than the one who never cared or thought about these issues in the first place. The prob-

lem is that in today’s marketplace the former hardly stands a chance. The reason is obvious: because the public by-and-large doesn’t

demand responsible use of resources from industry. It’s not that they don’t agree with the issues; most people actually do. They just

don’t believe that their individual actions and demands can make a real difference anymore. They are simply overwhelmed by the

onslaught of products.

And so it is in design and advertising. A few months ago, a number of advertising and design people signed and published the First Things First 2000

manifesto in an effort to encourage and inspire colleagues to put their creative talents to a more socially responsible use. The general

response to this publication was one of skepticism. Most respondents said it is unrealistic to think that anything can be changed

about today’s market-driven society. I disagree again. Much can be done, and being a socially responsible designer or ad person

does not mean quitting your ad agency job to work for your local ecology center. It means working at your job with an understand-

ing that your actions affect others far beyond whether they will or will not buy your gizmo. Something as simple as considering

the use of real recycled paper containing a high percentage of

post-consumer waste, or to not overpackage a product, is a great

way to start making a difference. Imagine all designers and ad

people doing this on a regular basis - it would have a tremen-

dously positive effect on our resources and environment.

There are examples of this being done successfully. Take a company such as Pata-

gonia, for instance, which makes outdoor gear. Much of their

catalogs and clothing are produced using recycled and organic

materials. They’ve built a lasting and powerful image based on

the simple premise of being environmentally conscientious. It’s

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part of their brand identity. As such, they are mavericks.

Advertising has become very shrewd at coopting society’s most radical ideas to hawk product. What are at first taboos eventually

become tools for targeting specific audiences. Wouldn’t it be a radical idea if eco-friendly packaging were

coopted as a marketing strategy by large corporations? The use of recycled materials and development of re-

cyclable and reusable packaging would, in turn, bring this awareness to the greater population - that packaging

containers have material value and that they should not become trash the moment they are emptied.

Imagine when Patagonia’s model is copied and applied on a much larger scale. I predict it will catch on like wild fire. Not just be-

cause it will make everyone look smart like Patagonia, but because doing the right thing is intoxicating. Once

you start caring about the environment and become aware of the positive difference that you can make as a

citizen and a professional, you’ll want to do more. Like the person in the beginning of this article; there’s no

turning back for her. It becomes a way of life. I know, because she also happens to be my wife. She inspired me

to change my ways, which brings me to the idea behind this issue.

At Emigre, over the past 16 years, we have saved all our obsolete computers and other hardware. It now occupies three gigantic

shelving units in our warehouse. It is a computer mortuary of sorts, collecting dust. At first we held on to out-

dated hardware simply because we thought it might come in handy later. And to some degree we felt a certain

sentimental attachment - among the heaps is a Macintosh 128, the very first Macintosh computer. Then, as the

stacks of outdated computer equipment grew, we reached a point where we simply couldn’t get ourselves to

throw it out, feeling guilty about filling up landfills with plastic.

As we continued adding outdated equipment at an ever-increasing pace, seeing the shelves bending under the weight of old hard-

ware, we began to worry. We started to imagine that perhaps our true professional legacy, the things that will

have the most impact, the stuff we’ll pass on and that will remain for generations to come, are not the Emigre

Fonts, or the issues of Emigre magazine, but these heaps of planned obsolescence. And that became a depress-

ing thought.

Our situation is not unique. Most design studios, or any office for that matter, generates the same kind of hardware waste at a steady

pace. Fortunately, there are always people finding ways to balance out the shortsightedness of others. While the

computer industry continues to produce and market new equipment at an ever-increasing rate without much

regard for the environment, others have invented ways to soften the blow that “progress” inflicts upon planet

Earth. Over the past years, computer recycling centers have sprouted all over, providing a necessary service

in a waste-based society. These organizations recycle, refurbish or upgrade donated computer hardware and

software and redistribute these items to disadvantaged individuals, nonprofit organizations, schools, libraries,

and developing countries.

These organizations are not a license to consume more. They provide an option to recycle, instead of simply discard, what you

already have consumed, which is only one part of the solution to save this planet. The other part is to consume

less, and for manufacturers to become as radically inventive in manufacturing as in marketing their products by

using eco-friendly and reusable materials, and for us consumers to encourage and demand this.

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