2. 2
Type Collages
Every 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.
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 Garber
Article authors, Rudy Vander Lans and Ellen Lupton
12-10-13
3. 3
Contents
Increase by increment~⌘-Shift->
Decrease by increment~⌘-Shift-<
Shortcuts
Throughout the semester each student will be responsible for teaching the
class5–7keyboardshortcuts.Themoreusefulthebetter!Youwillhaveagood
sense of what you need to learn as you continue to work in Illustrator, InDesign
andPhotoshop.Keepalisttouseinthefuture,andkeepaddingwhenyoucan.
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
5. 5
Type 2
Increase leading~Option-Down arrow
Decrease leading~Option-Up arrow
3D story
Tell 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 inyour 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.
6. 6
Type 2
1 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.
12LungeStandwiththehands
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
raisetherightleg,flexingtherightankle
andpushingthehipsback.Thenlower
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.
20ChairSquatPoseStandwiththefeethip-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.
20
Bodyweight
Exercises
You
Can Do
Anywhere
Long Lists
Think 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
accomplishitsmeaningwithtypographyinstead.Youmayuserulesandshapes
in your design. Black and white only.
7. 7
Type 2
Fit content proportionally~⌘-Opt-Shift-E
Biodiagram
Youareacomplexperson,butthereisonefacetofyourlifethatyouthinkisthe
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.
10. 10
Type 2
Glyph Design
If 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 Millennium
Createaposterthatprominentlyshowsthenewglyphsandtheireffectiveness
incontext.Includethenameofthetypefaceyouchose,thetitleoftheproject
(glyphs for a new millennium), a brief paragraph about the characteristics
of the typeface, a brief paragraph about you (the glyph designer).
11. Type 2
Select all~⌘-A
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
GlyphsforaNew
M
illennium
12. Type 2
Does That Look Green to You?
Essay, 2009. By Ellen Lupton
Last 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 posi-
tioned 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 func-
tions 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, intelligent packaging
can stimulate desire for beneficial products. Greener de-
sign 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
13. 13
Type 2
Undo~⌘-Z
Redo~⌘-Shift-Z
by putting their stuff out on the curb for recycling, they are solving the problem. But recycling con-
sumes a lot of energy, and typically, recycled goods can’t be turned back into the same products they
started 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 “downcycling” 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 engag-
ing 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 businesses lease cars, trucks, photocopiers, and office spaces. Likewise, consumers are accus-
tomed 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 delivered 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 gro-
ceries). 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 di-
rector 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.
14. 14
Type 2
The Emigre Legacy
By Rudy VanderLans
This 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 medi-
um-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 proba-
bly 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 problem 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 understanding that your actions affect others far be-
yond 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 mak-
ing a difference. Imagine all designers and ad people do-
ing this on a regular basis - it would have a tremendously
positive effect on our resources and environment.
There are examples of this being done successfully. Take a company such as
Patagonia, 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 power-
ful image based on the simple premise of being environ-
mentally conscientious. It’s part of their brand identity. As
15. 15
Type 2
Soft Return~Shift-Return
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 materi-
als and development of recyclable 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 because 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 dif-
ference 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 outdated 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 hardware, 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 depressing 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 short-
sightedness 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 orga-
nizations 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 oth-
er 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.
