2. Flux Logos & Installations
Logos:
These logos were developed to represent an urban performance space/lounge called Flux. It shows that viewers that the
kinds of presentations and shows they will see are new, risky, and electrifying. A broken lightbulb, toaster, and car batter
are used to create vatiations for the logo. They establish a unified and creative logo family for Flux.
Indoor Installation:
This installation is a strobe light flashing on a rusty metal plate with the Flux logo cut out of it causing a projection of
the logo onto the space behind it. It helps establish a feeling of the kind of art that is going be shown there.
Outdoor Installation:
This installation is meant to incorporate the logo into the front entrance to building. The light bulb portion of the logo
acts as the door to enter the building and above it the “Flux” portion of the logo is a wondow in the wall. The outline of
the logo is made with neon lights so that it may be seen from far away, catch people’s attention, and to go along with the
electrifying aspect of the logo.
3. Flux Promo Card & Poster
Open Mic Night Promo Card:
The print application shown advertises open mic night at Flux on one side and on the other gives a little information
about the organization. It employs a much more simplistic approach than previous projects done for Flux, yet it is still
unified with the other works through the use of glowing images and typeface. Symbols are used to represent the words
“Open Mic Night” and represent a concept that can be used in future materials. The dimesnions are 8.5”x5.5” and is
designed to be used as a handout.
Deadma5 Laser Light Poster:
The poster promotes a laser light show put on by deadmau5 at the Flux performance space. The processes used create
a random and broken up design while still being unified through the use of images, hierarchy, and continuation. The
chaos and movement of the poster invoke the experience of the performance. This poster radiates an electrifying and
experimental feeling that will stimulate people’s interest and remind them of the Flux logo and identity.
4. Black Light Chalk Festival
The Black Light Chalk Festival is an event that Flux will throw asa brand expereince beyond print.
Flux employees will show up to Pioneer Courthouse Square with a bunch of black light chalk and get
everyone in the area to join in drawing anything they want on the ground. It will begin jsut before it
starts to get dark and as it gets dark, black lights will be set up to make the chalk glow. It is a unique
and random event designed to involve the community and make them aware of Flux.
Place of event: Pioneer Courthouse Square Medium: Black light chalk
Random people from the area drawing with chalk. Flux logo is drawn out in chalk and the daylight
fades away
Black lights are lit up as it gets dark and makes the
chalk glow
Example of what the chalk will look like under a black light. Another example of what the chalk will look like under a
black light.
What Pioneer Courthouse Square will look like at night.
Example of chalk drawn on the ground.
5. CLEAN
MONEY
Exxon Mobil
80%of the world’s
power usage are fossil
fuels
TheGulfCoast
global
warming
corruption
NationalIranian
OilCompany
Chilean coal miners
Biomass
Tidal Power
Solar Power
Wave Power
Nuclear Power
Radiant Energy
Hydroelectricity
Geothermal Power
20%
ofthe
world’spowerusage
isrenewableenergy
Letsmakethisworldabetterplace
tolivein.Visitwww.epa.govtofind
outmoreinformationonrenewable
resourcesandenvironmentalissues.
PSA Poster
The PSA poster is designed to let people know about renewable resources and how much of a better energy source they are than fossil fuels. The
poster is set up in such a way to show people that fossil fuels and oil companies make our world chaotic while renewable energy is clean and
efficient. The word “power” is in big bold letters and splits the poster in two. The split is uneven to show that eighty percent of the world’s power
usage is fossil fuels and only twenty percent is renewable energy.
6. LIFE
LIBERTY SECURITY
Article
3Everyone has the right to
Life
Liberty
Security
Universal Declaration
of Human Rights
Place
Stamp
Here
“So long as we do not harm others
we should be free to think, speak,
act, and live as we see fit, without
molestation from individuals, law,
or government. . . .”
- John Stuart Mill
Everyone deserves
Life, Liberty, and
Secturity of person
and you can do
something about it.
Please visit
www.amnesty.org
and find out how
you can help.
Universal Declaration
of Human Rights
Place
Stamp
Here
“Slavery can only be abolished by
raising the character of the people
who compose the nation; and that
can be done only by showing them a
higher one.” - Maria W. Chapman
Everyone, man and woman deserves to be free
no matter their race, beliefs, or social status.
Please help to make everyone a free person by
going to the Amnesty International website.
www.amnesty.org
Article
4No one shall be held in slavery or servitude; slavery
and the slave trade shall be prohibited
in all their
forms.
Article
5No one shall be subjected to torture or to
cruel, inhuman or degrading
treatment
or
punishment.
Place
Stamp
Here
Torture: the act of inflicting excruciating pain,
as punishment or revenge, as a means of
getting a confession or information, or for sheer
cruelty. This should never happen. Please help
to stop the injustice by visiting the
Amnesty International website.
www.amnesty.org
Universal Declaration
of Human Rights
“You can chain me, you
can torture me, you
even destroy this
body, but you will
never
imprison my mind.”
- Mahatma Gandhi
Postcard Series
The postcard series conveys Articles 3, 4, and 5 of the Universal Declaration of Human Rights using imagery
and text. The post cards are text oriented and various techniques are used to make them the emphasis of the
post card. Every picture is black and white to create less emphasis on the images. The post cards consist of one
image on front and back with each article and the title on the front. A quote, call to action, and the Amnesty
International logo is placed on the back.
7. 19 20
vision of form and technology. The
MoMA exhibition found a similarly
skewed interpretation of modernism
in the works of Frank Gehry, Daniel
Libeskind, Peter Eisenman, and others.
The word deconstruction quickly
became a cliché in design journalism,
where it usually has described a style
featuring fragmented shapes, extreme
angles, and aggressively asymmetrical
arrangements. This collection of formal
devices was easily transferred from
architecture to graphic design, where
it named existing tendencies and
catalyzed new ones. The labels decon-
structivism, deconstructionism, and
just plain decon have served to blanket the differ-
ences between a broad range of design practices
and an equally broad range of theoretical ideas.
I take a narrower view of deconstruction. Rather
than viewing it as a style, I see it as a process
- an act of questioning. In Derrida’s original
theory, deconstruction asks a question: How
does representation inhabit reality? How
does the external appearance of a thing get
inside its internal essence? How
does the surface get under the
skin? For example, the Western
tradition has tended to value
the internal mind as the sacred
source of soul and intellect,
while denouncing the body as
an earthly, mechanical shell.
Countering this view is the
understanding that the conditions
of bodily experience temper the
way we think and act. A parallel
question for graphic design is
this: How does visual form get
inside the content of writing?
How has typography refused
to be a passive, transparent
vessel for written texts, developing as a system
with its own structures and devices?
A crucial opposition in Derrida’s theory of
deconstruction is speech versus writing. The Western
philosophical tradition has denigrated writing as
an inferior, dead copy of the living, spoken word.
When we speak, we draw on our inner conscious-
ness, but when we write, our words are inert and
abstract. The written word loses its connection
to our inner selves. Language is set adrift. Gram-
marians, schoolteachers, and other “priests”
of verbal correctness have long bemoaned
“Typography as Discourse”
the inaccuracies of the alphabet - its
inability to consistently and concisely
represent the sounds of speech. . In
written English, for example, the func-
tion of a letter pair such as ph is woefully
at odds with our expectations of how
these letters behave individually. Herbert
Bayer’s “fonetik alfabet” (1958-60)
attempted to reform this situation.
The Latin alphabet is supple-
mented by a range of conventions with
no relation to speech at all. Spacing,
punctuation, the styles of letterforms,
the conventions of page layout - these
are nonphonetic devices on which the
alphabet now depends. Writing is not
merely a bad copy, a faulty transcription,
of the spoken word. Writing has, in fact,
changed the way we think and talk.
A work of design can be
called deconstruction when it
exposes and transforms the established rules of writing, interrupting the sacred “inside”
of content with the profane “outside” of form. Modernist typography has long engaged
in such structural games, from the calligrammes of Apollinaire, which use typography
as an active picture rather than a passive frame, to the experiments with simultaneous
overlapping texts produced within the “new typography” of the 1970s and 1980s.
Such self-conscious explorations of language and design within the context of modernism
are matched by numerous developments
within the “vernacular” field of commer-
cial publishing, which since the early nine-
teenth century has expanded the limits
of classical book typography to meet the
needs of advertising and popular media.
The early nineteenth-century display face
called Italian deliberately inverted the
anatomical parts of the “modern” letter-
forms that had been formalized in the
late eighteenth century. The neoclassical
fonts of Didot and Bodoni epitomized the
tendency to view typography as a system
Chapter 2: Theory
April Greiman, 1987
Libeskind
Libeskind sketch
Amplified Book
living
breathing
readable 13 14
Consider the burning typographic ques-
tions of line length and the appropriate
number of characters per line. The Swiss
modernists have long promoted short,
neat lines as ideal for reading, from Josef
Müller-Brockman (seven words per line)
to Ruedi Rüegg (forty to sixty charac-
ters). Such rules of thumb have become
basic instinct for many designers.
Science, however, tells a different
tale. One study determined that long line
lengths are more efficient than shorter
ones, concluding that columns of text
should fill up as much screen real estate
as possible.6 (Grotesque images swim
to mind of marginless, unstructured
pages of HTML, expanding to fill the
screen with one fat column.)
Another study compared texts
with 80 characters per line to texts
with 40 characters per line.
The 80-character lines were created—
get this!—by collapsing the width of each
letter, thus jamming more text into the
same space.7 Despite this unforgivable
crime against typography, the study found
that subjects could read the denser lines
more efficiently than lines with fewer
—albeit normally proportioned—
characters. Ugliness, we learn, does
not always compromise function.
Upsetting assumptions is not a bad
thing. Although the research cited here
may not tell us exactly how to set type,
its conclusions could be useful in other
ways. For example, it was once progres-
sive to promote the use of “white space” in
all things typographic. Perhaps it is time
to reconsider the value of density, from
page to screen to urban environment.
Down with sprawl, down with
vast distances from a to b, and up with
greater richness, diversity, and compact-
ness among information and ideas,
people and places.
What we might expect from the
science of type is a seamless web of rules.
Such is not forthcoming. In its drive to
uncover fixed standards, the research
has affirmed, instead, human tolerance
for typographic variation and the elas-
ticity of the typographic system. Science
can help ruffle our dogmas and create
a clearer view of how variables interact
to create living, breathing—and,
yes, readable—typography.
Notes
1. D. G. Paterson and M. A. Tinker, “Studies of Typographical Factors Influencing Speed of Reading: II. Size of Type,” Journal of Applied
Psychology, 13, 2 (1929): 120–30.
2. D. G. Paterson and M. A. Tinker, “Studies of Typographical Factors Influencing Speed of Reading: X. Style of Type Face,” Journal of Applied
Psychology, 16, 6 (1932): 605–613.
3. Daniel Boyarski, Christine Neuwirth, Jodi Forlizzi, and Susan Harkness Regli, “A Study of Fonts Designed for Screen Display,” CHI 98,
18–23 (April 1998). Not paginated.
4. John D. Gould, Lizette Alfaro, Vincent Barnes, Rich Finn, Nancy Gischkowsky, and Angelo Minuto, “Reading is Slower from CRT Displays
than from Paper: Attempts to Isolate a Single-Variable Explanation,” Human Factors, 29, 3 (1987): 269–299.
5. John D. Gould, Lizette Alfaro, Rich Finn, Brian Haupt, and Angelo Minuto, “Reading from CRT Displays Can Be as Fast as Reading from
Paper,” Human Factors, 29, 5 (1987): 497–517.
6. Robert L. Duchnicky and Paul A. Kolers, “Readability of Text Scrolled on Visual Display Terminals as a Function of Window Size,” Human
Factors, 25, 6 (1983): 683–692.
7. Study by Kolers et al, cited in Carol Bergfeld Mills, and Linda J. Weldon. “Reading Text from Computer Screens,” ACM Computing Surveys,
19, 4 (December 1987): 329–358.
First published in Print magazine, Cold Eye, Summer 2003
“The Science of Typography”
CH
2THEORY
Contained within this book, by a design collaborative called Amplified, are graphic design articles and essays from history to
contemporary times. The cover of the book is designed to resemble the Amplified logo. On the back of the book are quotes from
authors of the essays to give people an idea of what they will read about. Each chapter is color coordinated and a grid structure
was used to help create an easy navigation and neat layout of text and images throughout the book.
8. Infographic
N
E
S
W
NW NE
SESW 32m 32m
46m
32m
32m
St. Basil’s
Cathedral
On the left is a
venn diagram
showing the relationship
between a mathemetician
and St. Basil’s Cathedral.
When you combine the two
you get a combination of
numbers, pattern, color, and
organics.Architecture;
however, encompasses both
St. Basil’s Cathedral and
mathematics.
To the left is a
diagram that shows
the height of each of the
spires.The red lines indicate
the position of each spire in the
diagram on the picture of the
cathedral.The largest spire is
the central church; it stretches
46 meters tall and has a square
footage of 64 square
meters.The four main side
chuches stretch 32
meters tall.
At St.
Basil’s Cathedral
there originally were eight
spires over eight chapels,
but now there are nine.All
are placed on a symmetrical
floor plan.
All the
churches are octan-
gonal in shape.The four
main churches are placed on
the compas points N, S, E, and
W.The four smaller churches
are placed at NW, NE, SW,
and SE.
The eight
side churches are
arranged in perfect
symmetry, but the largest
central church is deliberately
offset to the west from the
geometric center to
accomodate its
larger apse.
As a result of
this subtle
calculated assymetry
viewing from north and south
presents a complex milti-axial
shape while the western facade
appears properly symmetrical
and monolythic.
Displayed is an info graphic about St. Basil’s Cathedral is to show how a mathematician would look at the
cathedral and how it pertains to their field of work. It uses various diagrams, symbols, shapes and information to
show the unique relationship between the two subjects. Only two colors were chosen to help the viewer read the
facts without being overwhelmed visually. A grid structure was used to accurately place each object and body of
text to show the uniformity of mathematics.
9. presents
presents
a film by
Nathan Vonn
edited by
Lori Chonos
original music by
Peter Sorensen
A Saarinen Life
in association with
a film by
Nathan Vonnin association with
in association with
Documentary Film Titles
Chair grows up from the bottom of the frame. Chair becomes fully grown as the“Independent
Lens presents”fades in.
The chair starts to morph into a new chair.
“Independent Lens presents”fades out as“in
association with PBS”and“PBS logo”fade in.
“In association with PBS”and ”PBS logo”
become fully visible as the the new chair
begins to take form.
The new chair becomes fully formed as“in
association with PBS”and“PBS logo”fade out
and“a film by Nathan Vonn”fades in.
“A film by Nathan Vonn”becomes fully visible as
the chair begins to morph into a new chair.
“A film by Nathan Vonn”fades out and“edited
by Lori Chonos”fades in and becomes fully
visible like in slides 2-4.
“Edited by Lori Chonos”fades out and“original
music by Peter Sorensen”fades in and becomes
fully visible. Chair morphs into a new chair.
“Original music by Peter Sorensen”fades and
and film title fades in. Chair morphs into
picture of Eero sitting in one of his chairs.
The storyboard shows the opening film title sequence of a documentary about Eero Saarinen. Throughout the slides silhouettes of
Eero’s chairs morph from one chair to the next and by doing this it expresses the organic design and feel of his chairs. A silhouette
shows the very basic design of the chair and gives the audience a little preview of what they’re about to see without revealing too
much. As the chairs are morphing, the text fades in and out. Each piece of text fades in at a different location than the previous
piece of text to make the title sequence dynamic. The colors are meant to represent the ones used in one of Eero’s most famous
chairs, the Tulip chair, and give a sense of some of the design trends that were popular in that time period.
Documentary Film Title
The storyboard shows the opening film title sequence of a documentary about Eero Saarinen. Throughout the slides silhouettes of
Eero’s chairs morph from one chair to the next and by doing this it expresses the organic design and feel of his chairs. A silhouette
shows the very basic design of the chair and gives the audience a little preview of what they’re about to see without revealing too
much. As the chairs are morphing, the text fades in and out. Each piece of text fades in at a different location than the previous piece
of text to make the title sequence dynamic. The colors are meant to represent the ones used in one of Eero’s most famous chairs, the
Tulip chair, and give a sense of some of the design trends that were popular in that time period.
10. degnahCtahTsecioVngiseD
The World
Timeline Brochure
The timeline brochure is designed to show the history and characteristics of the artist Theo van Doesburg. Its use of geometric
grids, alignment, and use of primary colors shows the viewer what Theo van Doesburg and the De Stijl movement is all about.
The unique pattern follow the characteristics of De Stijl and the inside of the timeline directs the viewer from one section to
the next as well as symbolizes Van Doesburg’s artwork going from complicated to simple.
Theo van Doesburg was born
with the name Christian Emil
Kupper on August 30th 1883.
He was adopted and considered
his stepfather, Theodorus
Doesburg, to be his real father
and adopted his name
becoming Theo van Doesburg.
His first works were influenced by Amsterdam Impressionists
and Vincent van Gogh, but he realized that there is a more
spiritual level in painting that comes from the mind and the
outcome was abstraction.
Van Doesburg and Piet Mondrian with
Bart van der Leck, Anthony Kok, Vilmos
Huszar, and J.J.P. Oud started the
magazine and movement called De Stijl,
which litterally means “the style.”
Van Doesburg came in contact with the works of Piet
Mondrian which he saw to be in agreement with his
ideals of painting; a complete abstraction of reality.
Van Doesburg went to the
Bauhaus School of Art
promoting De Stijl. He
never became an official
teacher at the school but
gave private lessons to
students at Bauhaus. He
became a crucial person in
the development of
the Bauhaus.
Van Doesburg and Kurt
Schwitters started a
so-called Dutch Dada
campaign which had
similar ideals to De Stijl. Van
Doesburg created a leaflet
entitled “Wat Is DADA?” to
promote it. Expirimenting with
DADA was dangerous for Van
Doesburg. He feared that if his
De Stijl colleagues found out
they’d reject him. So he made
a fake name, I.K. Donset, to
sign all his DADA work with.
Mondrian left the group. He
and Van Doesburg had
disagreements on the form of
De Stijl. Van doesburg
believed that diagonal’s
dynamic aspect and the color
green should be embraced
while Mondrian wouldn’t
accept them. Mondrian
believed De Stijl should have
strict rules.
With the artists Jean Arp and
Sophie Taeuber, Van Doesburg
recieved the commission to
refirbish the inside of a
mid-eighteenth-century building
creating the Caffe Aubette.
Theo van Doesburg
“De Stijl” magazine cover
Piet Mondrian painting
“Wat Is Dada?” cover
Caffe Aubette
11. De Stijl Flash Video
For this flash video, a previous project that has been done was used to create a unique
and engaging video. The various colors and shapes of the De Stijl movement were used
to create an interactive experience for the viewer. Sound was created and incorporated
into the video to help establish the feeling and experience of what is seen.
12. Enriching Our Communities
Monmouth Independence Community Foundation
Give a Gift that will
Benefit your Community
in Perpetuity
PO Box 84
Monmouth, OR 97361
Phone: 503 838-0251
Website: MIFoundation.net
This project made possible, in part, by funding
from the Polk County Cultural Coalition
Your endowment gift will support the
education, charitable, civil, recreational
and cultural organizations of Monmouth
and Independence Forever!
100% of all donations are dedicated to
their stated purpose. MICF administrative
costs are not funded by dedicated donations.
Enriching Our Communities
Education
Central High Scholarships for both university and
vocational education. Classroom Enrichment
provides modest funds to Central 13J teachers to
enrich their curriculum through mini grants on an
annual basis.
Libraries
The Independence Library fund is devoted to acquiring
books, periodicals, and technological equipment. Funds
may also be used for personnel costs, and adult and
children’s programs. The Monmouth Library fund is used
to initiate new programs, services, and collections and to
enhance existing ones. Normally, the fund will not be used
to support routine operational costs.
Museums
The Foundation helps the Independence Heritage Museum
through both endowment and present-use funds, their role
is preserving the history of Monmouth, Independence
and Buena Vista and making their collections available to
the public. The Polk County Historical Society is operated
by volunteers using only donations and admissions. Their
mission is to collect historic artifacts and archives of Polk
County. The Foundation manages their endowments.
Other Community Partners
The Foundation assists with fiscal endeavors of the fol-
lowing Non-Profit and Community Event Organizations:
Project Adelante, CSD13J, the Hop & Heritage Festival,
24 Hour Relay, Riverview Community Playground, Polk
County Cultural Coalition, Monmouth Bicentennial,
Rotary; and the Ford Institute Leadership Program.
For more information about these groups send an email
inquiry to:
Info@MIFoundation.net
What is the Community Foundation?
The Monmouth-Independence Community Foundation
is a nonprofit corporation established in 2000 to benefit
the people of the greater Monmouth-Independence
area. The Foundation was organized through the efforts
of a group of area citizens who recognized the need for
an independent nonprofit and tax deductible
organization. It is incorporated as an independent entity
and is not affiliated with any other public or private
organization or agency.
MICF
Monmouth Independence
Community FoundationMICF
Who is on the Board?
The Foundation Board of up to fifteen
community members. The board is
responsible for management and services
without compensation. Learn more about our
leaders on our website: MIFoundation.net.
_____Iwanttoknowmore.PleasehaveaFoundationrepresentativecontactme,orsendemailto:MIFoundation.net
_____Enclosedisa$____________contributiontotheFoundation.
Iwantthismoneytobe:_____Placedintheendowmentfund_____Usedasneededwithinthecommunity
Idirectthatmycontributionbeusedtosupportnon-endowmentprograms(check):
____Scholarships____ClassroomEnrichment____IndependencePublicLibrary
____MonmouthPublicLibrary____IndependenceHeritageMuseum____Rotary____Unrestricted
MailChecksto:P.O.Box84,MonmouthOR97361
MyName:________________________________________________________________________________
MyAddress:______________________________________________________________________________
Telephone(day)___________________________(evening)_____________________________________
e-mail:___________________________________________________________________________________
Purposes of the Foundation
The Foundation provides financial support for
educational, civic, recreational and cultural activities,
programs, institutions, facilities and organizations and those
serving youth and adults residing within the boundaries of
the Central 13J School District. Basically, anything which
might be of benefit to the greater Monmouth-Independence
community and its residents is within the general purpose of
the Foundation.
The Foundation:
• Administers scholarships for graduates from
Central High School
• Provides funds for classroom enrichment activities in
Central 13J classrooms
• Supports Independence and Monmouth
Public Library programs
• Supports Independence Heritage Museum
• Supports other community services on an asneeded basis.
The Foundation has helped ob tain funds or has acted as
a fiscal agent for the Central School District’s Project
Adelante, the Monmouth-Independence Rotary Club’s
Monmouth Main Street Park improvement, Independence
Police Benevolence Fund, American Legion, and the
Monmouth Sesquicentennial celebration.
• Money
• Real Estate
• Living Trust
• Proceeds
• Securities
• Life Insurance
• Will
• Annuities
Common Types of Donations
How Do I Make My Investment?
• Retirement Planning
The Foundation is now associated with the Oregon
Community Foundation. It is now able to
offer professional management of such forms of
Deferred Gifts as Unitrusts, Deferred Annuities,
Pooled Income Funds, and gifts of Life Insurance
and Retirement Accounts. The Foundation and
the Oregon Community Foundation experts can
work with you and your attorneys or tax advisors
in designing a Planned Giving program that can
have favorable income tax and estate tax results.
• Gifts may be restricted or unrestricted.
Restricted donations are to a specific purpose, field
of interest, organization or agency in the community.
Unrestricted gifts allow greater flexibility to meet
community needs.
• Gifts may be designated for present-use or for
the Endowment Fund. Gifts to the Endowment
Fund mean that the principal is never spent, only
the interest and earnings on that gift from investments.
Gifts not designated for the Endowment
Fund may be used for the designated charitable
purpose during the current year.
Where Do I Go From Here?
Feel free to contact the Foundation for more information
at 503-838-0251. We will be pleased to work
with you and your professional advisors at no cost or
obligation to you and in complete confidence.
Please understand, however, that the Foundation
cannot provide you with legal, financial or estate
planning advice. For that you should work with an
attorney, accountant, financial planner, insurance
agent, or other professional with experience in estate
planning and charitable giving.
Are Gifts Tax Deductible?
Yes. The Internal Revenue Service has declared the
Monmouth-Independence Community Foundation
exempt from income tax under the provisions of
Section 501(c)(3) of the Internal Revenue Code. A
receipt will be provided to you when you make a
contribution
Oregon Income Tax Credits
The Foundation is now affiliated with the Oregon
Cultural Trust. If you make matching gifts to the
Monmouth-Independence Community Foundation
and the Oregon Cultural Trust, your gifts to the
Oregon Cultural Trust may be treated as a complete
offset against your Oregon Income tax. Your tax
advisor can tell you how this works.
Memorial Gifts
The Foundation accepts gifts in memory of former
citizens of our community. Memorial gifts have
been received in memory of::
Stephen Pfaff Mathew R. Thompson
Corrine M. Boyd Helen K. Thompson
Mildred Kane Lucas Albert Mendazona
How wonderful it is that nobody need wait a single
moment before starting to improve the world.
~Anne Frank
MICF
Monmouth Independence
Community Foundation
MICF
Monmouth Independence
Community Foundation
MICF: Logo & Brochure
The MICF foundation is about helping our students and community grow. The logo created represents the foundations iden-
tity. The small silhouette on the right represents a grade school student and the large silhouette on the left represents a college
student. Together they represent helping our young students make their way to a higher education. The colors chosen, red
and black, are both Central High School’s and Western Oregon University’s school colors and help tie the two communities
together. The placement of colors provides movement and unity within the logo. It is a simple and memorable design that
when more recognized, could have just the two figures stand alone and be recognized as the MICF.
On the bottom is a brochure that is intended to inform people about the MICF organization., I have included pictures that I
have taken of Monmouth and Independence to give people something familiar to look at and also see what they are going to
improve. Each picture is either greyscale or monotone red to match the color scheme or the collateral and create unity.
Brochure: Outside Brochure: Inside
13. All amounts over the utility portion owed to the City of Monmouth will be forwarded to the Monmouth-
Independence Community Foundation.
The Internal Revenue Service recognizes the Monmouth-Independence Community Foundation as a
Section 501(c)(3) charity. That means that contributions made to the Foundation are deductible to the full
extent allowed by law for both State and Federal income tax purposes. And remember, all dollars donated stay
right here to build our community!
~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~
_____Yes! I would like to participate in the Utility Bill Rounding Program and support the local community
programs that are listed on the other side of this paper. Please direct my contribution as needed to one of
the programs listed.
…OR…
_____I don’t want to participate in the Utility Bill Rounding Program right now, but please accept my one-
time tax-deductible gift to support these valuable community programs.
To make sure your donation is properly credited, please provide the information below.
NAME __________________________________
ADDRESS __________________________________
PHONE NUMBER __________________________________
If you’d like further information about the Foundation, or would like to know how to leave a legacy in this
community, please contact one of the directors.
We can also be contacted by mail at:
MONMOUTH-INDEPENDENCE COMMUNITY FOUNDATION
PO BOX 368
MONMOUTH, OREGON 97361
Please complete and return this sheet with your utility bill payment.
Thank you so much for your support!
MICF
Monmouth Independence
Community Foundation
Fellow Citizen!
The Board Members of the Monmouth-Independence Community Foundation
are asking for your assistance in helping our community.
The Monmouth-Independence Community Foundation is a charitable
foundation that solicits funds for local programs listed here.
Founded in 2000, the Foundation manages both Endowment Funds and Non-
Endowment Funds for these organizations. This gives local museums, libraries
and other groups a chance to invest money for long-term future needs AND to
receive funds for current programs and operations.
The Foundation operates with an all-volunteer board, keeping expenses to
a minimum, which means that when funds are donated to one of the program
areas indicated, NONE goes to salaries, and Board members themselves cover
most operating expenses.
In the first sentence on this page, we stated that the Community Foundation is
asking for assistance. How can you help your community?
Everyone receiving this correspondence also received a utility bill from the
City of Monmouth. We would like you to consider donating to the Monmouth-
Independence Community Foundation by simply rounding your utility bill up to
the next nearest dollar every month. For instance, if your bill is $45.34, you
would write a check to the City of Monmouth for $46.00. Of course, you are
welcome to donate more if you wish.
The City of Monmouth has agreed to accumulate these funds and turn them
over to the Monmouth-Independence Community Foundation.
If you would like to participate in the Utility Bill Rounding Program,
please complete the back of this paper and return the entire sheet with
your utility payment.
MICF BOARD of DIRECTORS
Vernon Wells, President
City of Independence
Dr. Stephen Scheck, Vice-President
Western Oregon University
Marilyn Morton, Secretary
Independence City Council
Cec Koontz, Treasurer
West Coast Bank
Greg Ellis, Past President
City of Independence
Scott McArthur, Past President
Attorney, Retired
Donald Duncan
Western Oregon University, Retired
Paul Evans
Office of Ted Kulongoski
Tom Gallagher
Ford Leadership Institute
Beau Horn
Central School District
Ben Meyer
Edward Jones Investments
Peggy Schorsch
Heritage Museum
Chris Larsen
Monmouth City Council
PARTNERS
Central School District:
Classroom Enrichment Grants
Central High School:
Scholarships to Graduating Seniors
Monmouth Public Library
Monmouth Bicentennial Celebration (2056)
Independence Public Library
Heritage Museum
American Legion
Polk County Historical Society
Independence Police
Benevolence Fund
MICF
Monmouth Independence
Community Foundation
PO Box 84
Monmouth,
Oregon 97361
Fax (503) 838-0149
Phone (503) 838-0251
Email: info@mifoundation.net
Website: www.mifoundation.net
Monmouth Independence Community Foundation (MICF): A nonprofit corporation
established in 2000 to benefit the people of the greater Monmouth-Independence area
MICF BOARD
Stephen Scheck,
President
Western Oregon
University
Vernon Wells, Vice
President
City of Indepen-
dence
Cec Koontz,
Treasurer
Rural Development
Initiatives
Ben Meyer
Secretary
Edward Jones
Investments
Marilyn Morton,
M-I Chamber of
Commerce
Scott McArthur, Past
President
Attorney, Ret.
Donald Duncan
Western Oregon
University, Ret.
Tom Gallagher
Ford Family
Foundation
Forrest Bell
Central School
District
Barbara Welander
Central School
District
Stephen Deptula
Oregon National
Guard
John Hasbrook
Attorney
PARTNERS
Central School
District: Classroom
Enrichment
Central High School:
Scholarships to
Graduating Seniors
Independence
Public Library
Monmouth Public
Library
Heritage Museum
American Legion
Polk County
Historical Society
Monmouth
Bicentennial
Independence Police
Benevolence Fund
YMCA: Nite
Court
Revolving
Community Funds
December 23, 2010
Dear ,
We would like to take this opportunity to thank you for your financial support of
the Monmouth-Independence Community Foundation in recent years. With
your help we have been able to support a number of community causes.
This past year the Foundation provided financial support to Central School
District teachers for classroom enrichment, to Central High School graduates for
college or vocational scholarships, to both the Monmouth and the Independence
libraries, as well as to the Independence Police Benevolence Fund, the Mon-
mouth Bicentennial Committee and the Independence Heritage Museum.
Dedicated volunteers from the community serve on the Foundation board. No
one receives a salary. All donations to the Foundation are 100% tax deductable
(the Foundation is an IRS 501(c)3 organization); indeed, all operating costs, such
as this mailing, are covered by board members. So every dollar you give goes
directly to the community cause.
We thank you for your past gifts and ask that you invite neighbors and
colleagues to join you as active supporters of your Community Foundation. We
believe in the future of Monmouth-Independence and with your help, we will
continue to fund the dreams of our seniors, students, families and neighbor-
hoods.
Wish to help? Please send your donation to: MICF
P.O. Box 84
Monmouth OR 97361
Your contribution may be designated for a specific worthy cause noted above or
spread among all the causes the Foundation supports.
Wishing you the very best,
Vernon Wells Stephen Scheck
MICF President MICF Board Vice-President
Chief of Police, Independence Dean, Western Oregon
University
Letterhead
Flyer
MICF: Letterhead & Flyer
Here is a letterhead and flyer that have been developed for the Monmouth Independence Community Foundation
(MICF). Both have been created to embody the look and feel of the logo and establish unity throughout the designs.
Through the use of only two colors, an inexpensive, yet effective way for the foundation to get their message out to
the community has been created. The overall design represents the MICF as a strong and committed foundation.
14. MICF
Monmouth Independence
Community Foundation
Part B: Visual Design Elements
6
Logo Usage
- No other text or graphic element may
be added to the MICF Logo. The logo
may not be changed in any way (except in
certain cases, see footnote on page 13 ).
- The logo must always be easy and clear
to read, which means not being placed on
busy background, patterns, or textures.
It must also have sufficient airspace
around the logo. The logo should have
approximately {.25 inches} of airspace
all the way around it. The airspace needs
to adjust proportionately if the logo is
enlarged or shrunk.
- The logo should stand out in the midst
of other graphic elements in a design.
When creating hierarchy in a design, the
logo should always be at the top of that
hierarchy. The logo also may not be added
to another mark or illustrations.
MICF
Monmouth Independence
Community Foundation
MICF
Monmouth Independence
Community Foundation
MICF
Monmouth Independence
Community Foundation
MICF: Indentity Manual
The MICF identity manual was created to let people within the company or anyone else who may try
to use the MICF logo how to use it properly. Included is a brief summary of the company and who
they are, visual design elements of the collateral material, and implementation standards. The manual
is designed to keep a cohesive and unified identity for the MICF.
Table of Contents
Part A: Introduction 1
Who We Are & Purpose ..........................................2
Part B: Visual Design 3
Logo.........................................................................4
Typography..............................................................8
Colors ......................................................................9
Images and Graphic Elements ...............................11
Part C: Implementation Standards 12
Letterhead .............................................................13
Utility Bill Insert.....................................................14
Brochure................................................................15
Storefront Poster...................................................16
Website Design......................................................17
Other Promotional Materials ................................18
15. Self Promotional Item
The shoe was created and intended to give an employer something creative and fun to play with on their desk. It conatins a
catapult in which you launch a little ball into a rim that is on the tongue of the shoe. Two quotes that were made up were placed
on each side of the shoe to show important values of the designer. On the heal of the shoe are the designer’s name and contact
information. This self-promotional device is to specifically target athletic companies.
