A boutique styled independent design studio encouraging intelligent and innovative design solutions. NovaClutch’s experience ranges in scope from website graphics, book and magazine design, event planning, package design, identity and brand development, signage systems, promotional materials for artist exhibitions, and art direction. I understand what goes into bringing typography, advertising, marketing and design concepts to the public. I enjoy the idea that a design studio is a transparent interwoven blend of work, play, and a professional space. A flexible and diverse working environment specializing in: Graphic Design, Publication and Book Design, Curatorial + Museum Services, Research, Writing, Typography, Retail Applications, Signage, Fine Art and illustration, and Education.

1. NOVA-
CLUTCH//
TYPO-
GRAPHIC
ANNEX

2. JOHN PAGe
CORRIGAN
400 GROVELAND AVE.
NO. 708
MINNEAPOLIS
MINNESOTA
55403
612.813.1333
jpagecorrigan@hotmail.com
PORTFOLIO
WORK SAMPLES
CASE STUDY
FACSIMILE

3. ©2010 JOHN P. CORRIGAN
NOVACLUTCH // TYPOGRAPHIC ANNEX
All rights reserved.
Published by Central Air :: Nomadic Art Space
Type + Design: John P. Corrigan
Online: http://jpagecorrigan.wordpress.com

4. | 5
EDUCATION
BFA from the Minneapolis College of Art +
Design, Minnesota, 1994; studio concentration in
graphic design, typography and illustration.
MFA in Graphic Design, Maryland
Institute College of Art, Baltimore, 2008.
CONTINUING EDUCATION
Haystack Mountain School of
Crafts, Deer Isle, Maine. Woodcarving taught
by Bob Trotman, summer 1995.
The Loft Literary Center, Minneapolis,
Minnesota. Poetry Journal, taught by
Grace Willow Morgan, spring 1999.
INTERNSHIP
September 2007 – August 2008, paid research
internship at the United States Holocaust
Memorial Museum, Washington, D.C.
Exhibitions Department, Fall 2007. Research
assistant to historian Danny Greene. I developed
and edited potential content for upcoming
exhibition on Nazi Propaganda and anti-Semitism.
Collections Department, Spring 2008. Research
assistant to art and acquisitions historian and curator
Suzy Snyder. I was responsible for registering
recent donations to the museum, providing detailed
content listings and Deeds of Gift registration.
Exhibitions Department, Summer 2008.
Research assistant to historian Ann Millin.
Created and maintained image database for
copyright clearance and permissions for online
exhibition materials of Nazi propaganda.
RESEARCH
MFA Thesis Development
Graphic Expression of Internment refers to the specific
representation of shared graphic art and artifacts
of the Holocaust. The graphic nature of the three
photo albums/scrapbooks addresses the language
of design. The design process includes editorial
decisions made in the process of their articulated
planning and creation. By definition, graphic design
is an art or profession of visual communication
that skillfully combines images, words, and ideas
to convey information to an audience. Graphic
design can also be a form of personal expression
that reflects the attitudes of a community for which
the work is intended. This collection looks at the
expressive nature of design in its ability to structure
content, thereby creating a more inclusive narrative.
The subject matter of the research is Holocaust Art,
Displaced Persons (DP) Camps, the Organization for
Rehabilitation and Training (ORT), and the Art and
Artifacts collections of the USHMM. Through each of
the three albums, I identify major themes common to
Holocaust studies. Themes such as documentation,
preservation, dedication, and memorial place each
album in the grand context of Holocaust studies.
CURRICULUM VITAE

5. | 7
TEACHING
In the past ten years I have been frequently
asked to present my portfolio as an entry point
for young artists and design students. While this
has predominantly taken the form of question-
and-answer sessions, these have also become
opportunities for me to offer opinions, guidance,
and informal critique of students’ work. On
separate occasions I have presented seminars to
introduce print making and book art techniques, in
association with developing a working portfolio.
“eMAC Class: DIY Printmaking
Workshop.” Maryland Institute College of Art
with instructor Jenna Frye, November 2006.
“Mentor/Sounding Board for Adam Flannigan.”
Minneapolis College of Art and Design, Senior Thesis–
Design, invited by instructor Pam Arnold. Spring 2002.
“Interim Art Teacher.” Minnesota Business
Academy, St. Paul, Minnesota. September 2000.
VISITING ARTIST LECTURER
“Senior Thesis Presentations.” Minneapolis
College of Art and Design. Spring 1999.
“Professional Practice and Portfolio Preparation.”
University of Minnesota, St. Paul, Minnesota. April 1999.
“Introduction to the Profession of
Graphic Design.” Dwight–Englewood School,
Englewood, New Jersey. March 1998.
EXHIBITIONS
Dimension And Typography: A Survey
Of Letterforms In Space And Time. I Space
Gallery, Chicago, IL. January 2009.
Artcrank-07. Invitational Poster Show,
One on One, Minneapolis, MN. April 2007.
Ms. Matched. Ivy Lounge,
Minneapolis, MN. September 2005.
The Mayor of Uptown. Central Air :: Nomadic
Art Space, Minneapolis, MN. February 2005.
89th
Annual Fine Arts Exhibition. Juried show,
Minnesota State Fair, St. Paul, MN. August 2000.
Radiator .001– UltraNormal. Group
exhibition, Radiator Art Exhibition Company,
Minneapolis, MN. September 1999.
First Alert: prints and drawings. Dunn Brothers
Coffee Gallery, Minneapolis, MN.
November 1995.
84th
Annual Fine Arts Exhibition. Juried
show, Merit Award – drawings, Minnesota
State Fair, St. Paul, MN. August 1995.
Selections. Invitational exhibition, Minneapolis
College of Art and Design. August 1994.
CURATION—Central Air :: Nomadic Art Space
2005 – Present. Established Central Air :: Nomadic
Art Space, I have organized exhibitions and
produced opening receptions and exhibition
catalogues, including the following:
NoNegative: Photographic work by Jerome
Page Tobias, May 2007. Baltimore, Maryland.
Ivy Lounge: fashion, art, and music.
July 2005 – March 2006. Curated a collection of
exhibitions over several months at Ivy fashion
boutique, Minneapolis, Minnesota. Featured by
month and artist: July, Jennifer Davis; August,
Roxanne Warren; September, Ms. Matched, works
by J. Page; October, Amy Rice; November, Ellen
Fitzgerald; December–March, Amy Crickenberger.
The Mayor of Uptown, February 2005.
Minneapolis, Minnesota. Curated an exhibition of
eighteen artists including: John Diebel, John Urste,
Dan Keefe, George Mahoney, David Foley, Michael
& Abigail Mouw, Robert Roscoe, Terence P. Brashear,
Flaneur Productions, John Veda, Nissa Hagstrom,
Signe Albertson, Terrence Payne, Stacey Meyer, John
Nelson, Clea Feline, Kate Pabst, and Alissa Valdovinos.
CURATION—Radiator Art Exhibition Company
September 1999 – December 2002, Co-founder,
Curator and Director for Radiator Art Exhibition
Company, co-curated exhibitions with Lee Anne
Swanson-Peet. Its mission was to create a collective
art space allowing founding-members to exhibit
and promote their work as well as the works of
like-minded artists. Radiator radically provided an
exhibition space for group shows as well as thematic
artist pairings. Radiator looked to reinvigorate the
exhibition options
in Minneapolis.
.006 Duped, December 2002. Exhibiting
paintings by Lee Anne Swanson-Peet
and photographs by Danny Peet.
.005 Ephemera Melancholia, December
2001. Featuring Ms. Davora Lindner,
Darrin Mueske, and Anu Schwartz.
.004 The Underside of Heaven, September 2001.
Artists Erica Olson and Christopher Zerendow.
.003 Save the Robots, April 2001.
Artists J. J. Peet and Wilson Webb.
.002 Industry Standard, September 2000.
Group art exhibition including: Richard Brewer,
Lee Anne Swanson-Peet, Carolyn Swiszcz, Al
Wadzinski, David Wiedel, and John Parot.
.001 UltraNormal, September 1999. Featuring
artwork by: Amy Goldberg, Tracey Halvorsen,
Randall Mastel, Maia Namtvedt, J. Page, Lee
Anne Swanson-Peet, Carolyn Swiszcz, Amy
Toscani, Wilson Webb, and David Wiedel.

6. RESEARCH PUBLICATIONS—Self Published
Graphic Expression of Internment. John
P. Corrigan. Published independently,
blurb.com. Baltimore, MD, 2008.
Nazi Anti-Semitic Propaganda: Historic
Visual Survey. John P. Corrigan. Published
independently, lulu.com. Baltimore, MD, 2007.
FEATURED PUBLICATIONS
“Exhibition Catalogs.” Indie Publishing:
How to Design and Produce Your Own Book, by Ellen
Lupton. MICA and Princeton Architectural
Press, 2008. Pages 40, 43, 96-97, 98-101.
Graphic Design: The New Basics, by Ellen
Lupton, Jennifer Cole Phillips. Princeton
Architectural Press, and Maryland Institute
College of Art, 2008. Pages 132, 176-177, 179.
PUBLICATION DESIGN
Type + Code: Processing For Designers. By Yeohyun
Ahn, and Viviana Cordova.
MICA: Center for Design Thinking, 2009.
NoNegative: Photographic works by Jerome Page Tobias.
Central Air Nomadic Art Space. 2007.
500 Artists Return To Artists Space: 25
Years. Artists Space, New York, NY. 1998.
2wice: visual/culture/document. Uniform,
Vol. 2, No. 2. 2wice Arts Foundation. 1998.
ARTICLES + PRESS COVERAGE
Natasha Walter. “Central Air Opens in Uptown,”
Pulse of the Twin Cities, Minneapolis, February 23, 2005.
“Best of the Twin Cities, BEST NEW
ART TREND: Invasion of the Young Turks,”
City Pages, Minneapolis, 2001.
“Best of the Twin Cities, BEST GROUP
ART SHOW: Radiator’s UltraNormal at the Minn
Par Building,” City Pages, Minneapolis, 2000.

7. + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + +
SECTION ONE
GRAPHIC DESIGN
I) Research and Investigation is the key to developing
design solutions. During this phase, the scope of
work, problems and criteria are determined. The
thoroughness of information obtained in this phase
determines the success of the solutions.
|

8. | 13
SPRING 2007
DOUBLES AND
DOPPELGANGERS
Three color memorial stones laid at Gemini Farms, Wadena, MN,PROJECT
SUMMARY
QUARTER ACRE
LIFESTYLE

9. | 15
Art Exhibition Postcard
Graphics, 2005
Art Exhibition Poster, 11x17, 2004
Exhibition Postcard, 4x6, 2004
ROSALUX GALLERY NEITHER HERE NOR THENNEOGRAPHY

10. | 17
Stationary System
2004
PROJECT
SUMMARY
Stationary system for architect
Craig Beddow consisting of
letterhead, envelope and
business card.
CRAIG BEDDOW, ARCHITECT

11. ©2006 NovaClutch Typographic Annex
client ::: Dale Tremain project ::: Tremain Logo Design
©2006 NovaClutch Typographic Annex
client ::: Dale Tremain project ::: Tremain Logo Design
©2006 NovaClutch Typographic Annex
client ::: Dale Tremain project ::: Tremain Logo Design
©2006 NovaClutch Typographic Annex
client ::: Dale Tremain project ::: Tremain Logo Design
©2006 NovaClutch Typographic Annex
client ::: Dale Tremain project ::: Tremain Logo Design
©2006 NovaClutch Typographic Annex
client ::: Dale Tremain project ::: Tremain Logo Design
©2006 NovaClutch Typographic Annex
client ::: Dale Tremain project ::: Tremain Logo Design
©2006 NovaClutch Typographic Annex
client ::: Dale Tremain project ::: Tremain Logo Design
©2006 NovaClutch Typographic Annex ©2006 NovaClutch Typographic Annex
©2006 NovaClutch Typographic Annex
client ::: Dale Tremain project ::: Tremain Logo Design ::: REFINEMENT TWO
©2006 NovaClutch Typographic Annex
client ::: Dale Tremain project ::: Tremain Logo Design ::: REFINEMENT TWO
©2006 NovaClutch Typographic Annex
client ::: Dale Tremain project ::: Tremain Logo Design ::: REFINEMENT TWO
©2006 NovaClutch Typographic Annex
client ::: Dale Tremain project ::: Tremain Logo Design ::: REFINEMENT TWO
©2006 NovaClutch Typographic Annex ©2006 NovaClutch Typographic Annex
Logo Refinements, Round One
| 19
CASE STUDY
Stationary System
2006
PROJECT
SUMMARY
Stationary system for architect
Dale Tremain consisting of
letterhead, mailing label,
envelope and business card.
TREMAIN ARCHITECTS + PLANNERS
DALE TREMAIN, ARCHITECT
A R C H I T E C T U R E
B U I L D I N G
C O M M U N I T Y
Logo Refinements, Round Two
Type and Color Study
Preliminary Concept

12. ©2006 NovaClutch Typographic Annex
client ::: Dale Tremain project ::: Tremain Stationary Design
Front_Business Card: 2 x 3.5”
Back_Business Card: 2 x 3.5”
A
T: +B
C
ARCHITECTS + PLANNERS DALE TREMAIN
PRESIDENT
1487 GOODRICH AVENUE
SAINT PAUL
MINNESOTA
55105
651.308.3257
datremain@aol.com
:PHONE
:EMAIL
A R CHI TECTUR E
BUI LDI NG
COM M UNI T Y
TREMAIN
TREMAIN
Typographic Annex
e Tremain project ::: Tremain Stationary Design
Front_Business Card: 2 x 3.5”
Back_Business Card: 2 x 3.5”
ARCHITECTS +PLANNERS
DALE
TREMAIN
1487
GOODRICH AVENUE
SAINT PAUL
MINNESOTA
55105
651.308.3257
A
R
C
H
IT
E
C
T
U
R
E
B
U
ILD
IN
G
C
O
M
M
U
N
IT
Y
TREMAIN
PRE SIDENT
datremain@aol.comT: E:
Front_Business Card: 2 x 3.5”
Back_Business Card: 2 x 3.5”
ARCHITECTS +PLANNERS
DALE
TREMAIN
1487 GOODRICH AVENUE
SAINT PAUL
MINNESOTA
55105
651.308.3257
datremain@aol.com
PHONE:
EMAIL:
ARCHITECTURE
BUILDING
COMMUNITY
TREMAIN
PRESIDENT ©2006 NovaClutch Typographic Annex
client ::: Dale Tremain project ::: Stationary System
BUS Card: w3.5 h2.0
ADHESIVE Mailing Label: w5.0 h3.0
BUS Card: w3.5 h2.0
LTR Head: w8.5 h11.0
No. 10 Envelope: w9.5 h4.125
02.14.06
Toni Uri Sands/Pierce-Sands
88 N. Lexington Ave
St. Paul, MN 55104
Dear Toni and Uri Sands
My name is John Page Corrigan. I operate a small graphic design studio and art
gallery. I have tremendous respect and devotion towards independent arts organiza-
tions. As a designer, my interests in promotion and art event graphics, allow a needed
voice to the organization, and participants to shine. I have designed art opening
collateral materials for Rosalux Gallery that include posters, announcements cards,
press kits, and installed vinyl graphics.
I continue an ongoing relationship with Ivy, a small fashion boutique, with event
graphics for fashion shows, curation of monthly art exhibitions, t-shirt designs,
announcements, and programs. As a past designer in New York, I have worked for the
publication 2WICE Magazine, formerly Dance Ink, produced by Patsy Tarr. A stunning
collection of dance studio photographs, an emotional resonance was able to elaborate
on movement, and evoke the soulfulness of dance itself. This influence, continues my
motivated interest in the promotion of enveloping art institutions.
This experience, my past design history, and passionate promotion of the arts, I feel
makes me an ideal candidate for your graphic needs. I see from your website that
Penny Freeh is a new addition to your register of dancers. Penny is the wife of a friend
and collaborator of mine, Jim Bovino, I also noticed that you have performed at Jeune
Lune, which is my favorite venue for arts performances in the Twin Cities. These
Jeune Lune images, I feel evoke a strong and motivated response. A response that I
can react to and promote with reverence and motivated inspiration.
If you would like to meet for a full portfolio review, or if I can answer any further
questions, please contact me. I look forward to hearing from you.
Thank You.
John P Corrigan
A R C H I T E C T S + P L A N N E R S
1487
GOODRICH AVENUE
SAINT PAUL
MINNESOTA
55105
T R E MAI N
DALE
TREMAIN
PRESIDENT
ARCHITECTS +PLANNERS
1487
GOODRICH AVENUE
SAINT PAUL
MINNESOTA
55105
TREMAIN
ARCHITECTS +PLANNERS
DALE
TREMAIN
1487
GOODRICH AVENUE
SAINT PAUL
MINNESOTA
55105
651.308.3257
TREMAIN
PRE SI DENT
datremain@aol.comT: E:
ARCHITECTURE
BUILDING
COMMUNIT Y
ARCHITECTS +PLANNERS
DALE
TREMAIN
1487
GOODRICH AVENUE
SAINT PAUL
MINNESOTA
55105
ARCHITECTURE
BUILDING
COMMUNITY
T: 651.308.3257
TREMAIN P R E S I DEN T
E: datremain@aol.com
©2006 NovaClutch Typographic Annex
client ::: Dale Tremain project ::: Stationary System
BUS Card: w3.5 h2.0
ADHESIVE Mailing Label: w5.0 h3.0
BUS Card: w3.5 h2.0
LTR Head: w8.5 h11.0
No. 10 Envelope: w9.5 h4.125
02.14.06
Toni Uri Sands/Pierce-Sands
88 N. Lexington Ave
St. Paul, MN 55104
Dear Toni and Uri Sands
My name is John Page Corrigan. I operate a small graphic design studio and art
gallery. I have tremendous respect and devotion towards independent arts organiza-
tions. As a designer, my interests in promotion and art event graphics, allow a needed
voice to the organization, and participants to shine. I have designed art opening
collateral materials for Rosalux Gallery that include posters, announcements cards,
press kits, and installed vinyl graphics.
I continue an ongoing relationship with Ivy, a small fashion boutique, with event
graphics for fashion shows, curation of monthly art exhibitions, t-shirt designs,
announcements, and programs. As a past designer in New York, I have worked for the
publication 2WICE Magazine, formerly Dance Ink, produced by Patsy Tarr. A stunning
collection of dance studio photographs, an emotional resonance was able to elaborate
on movement, and evoke the soulfulness of dance itself. This influence, continues my
motivated interest in the promotion of enveloping art institutions.
This experience, my past design history, and passionate promotion of the arts, I feel
makes me an ideal candidate for your graphic needs. I see from your website that
Penny Freeh is a new addition to your register of dancers. Penny is the wife of a friend
and collaborator of mine, Jim Bovino, I also noticed that you have performed at Jeune
Lune, which is my favorite venue for arts performances in the Twin Cities. These
Jeune Lune images, I feel evoke a strong and motivated response. A response that I
can react to and promote with reverence and motivated inspiration.
If you would like to meet for a full portfolio review, or if I can answer any further
questions, please contact me. I look forward to hearing from you.
Thank You.
John P Corrigan
A R C H I T E C T S + P L A N N E R S
1487
GOODRICH AVENUE
SAINT PAUL
MINNESOTA
55105
TREMAIN
DALE
TREMAIN
PRESIDENT
ARCHITECTS +PLANNERS
1487
GOODRICH AVENUE
SAINT PAUL
MINNESOTA
55105
TREMAIN
ARCHITECTS +PLANNERS
DALE
TREMAIN
1487
GOODRICH AVENUE
SAINT PAUL
MINNESOTA
55105
651.308.3257
TREMAIN
PRE SIDENT
datremain@aol.comT: E:
ARCHITECTURE
BUILDING
COMMUNIT Y
ARCHITECTS +PLANNERS
DALE
TREMAIN
1487
GOODRICH AVENUE
SAINT PAUL
MINNESOTA
55105
ARCHITECTURE
BUILDING
COMMUNITY
T: 651.308.3257
TREMAIN P R E SIDENT
E: datremain@aol.com
©2006 NovaClutch Typographic Annex
client ::: Dale Tremain project ::: Stationary System
BUS Card: w3.5 h2.0
BUS Card: w3.5 h2.0
LTR Head: w8.5 h11.0
No. 10 Envelope: w9.5 h4.125
02.14.06
Toni Uri Sands/Pierce-Sands
88 N. Lexington Ave
St. Paul, MN 55104
Dear Toni and Uri Sands
My name is John Page Corrigan. I operate a small graphic design studio and art
gallery. I have tremendous respect and devotion towards independent arts organiza-
tions. As a designer, my interests in promotion and art event graphics, allow a needed
voice to the organization, and participants to shine. I have designed art opening
collateral materials for Rosalux Gallery that include posters, announcements cards,
press kits, and installed vinyl graphics.
I continue an ongoing relationship with Ivy, a small fashion boutique, with event
graphics for fashion shows, curation of monthly art exhibitions, t-shirt designs,
announcements, and programs. As a past designer in New York, I have worked for the
publication 2WICE Magazine, formerly Dance Ink, produced by Patsy Tarr. A stunning
collection of dance studio photographs, an emotional resonance was able to elaborate
on movement, and evoke the soulfulness of dance itself. This influence, continues my
motivated interest in the promotion of enveloping art institutions.
This experience, my past design history, and passionate promotion of the arts, I feel
makes me an ideal candidate for your graphic needs. I see from your website that
Penny Freeh is a new addition to your register of dancers. Penny is the wife of a friend
and collaborator of mine, Jim Bovino, I also noticed that you have performed at Jeune
Lune, which is my favorite venue for arts performances in the Twin Cities. These
Jeune Lune images, I feel evoke a strong and motivated response. A response that I
can react to and promote with reverence and motivated inspiration.
If you would like to meet for a full portfolio review, or if I can answer any further
questions, please contact me. I look forward to hearing from you.
Thank You.
John P Corrigan
ARCHITECTS +PLANNERS
DALE
TREMAIN
1487
GOODRICH AVENUE
SAINT PAUL
MINNESOTA
55105
651.308.3257
TREMAIN
PRE SI DENT
datremain@aol.comT: E:
A
R
C
H
IT
E
C
T
U
R
E
B
U
ILD
IN
G
C
O
M
M
U
N
IT
Y
ARCHITECTS +PLANNERS
DALE
TREMAIN
1487
GOODRICH AVENUE
SAINT PAUL
MINNESOTA
55105
ARCHITECTURE
BUILDING
COMMUNITY
T: 651.308.3257
TREMAIN P R E S I DEN T
E: datremain@aol.com
| 21
CASE STUDY
Stationary System
2006
PROJECT
SUMMARY
Stationary system for architect
Dale Tremain consisting of
letterhead, mailing label,
envelope and business card.
TREMAIN ARCHITECTS + PLANNERS
DALE TREMAIN, ARCHITECT
A R C H I T E C T U R E
B U I L D I N G
C O M M U N I T Y
client ::: Dale Tremain project ::: Stationary System
©2006 NovaClutch Typographic Annex
Preliminary Business
Card Concept
Business Card Refinements
Stationary System

13. | 23
1/2 gallon carton
1/2 gallon plastic
Designed branding logo simplyright from Schroeder, in co-ordination
with Kathy Sorranno
simplyright brand, is based on the milk packaging system for
Schroeder Milk, under Kathy Sorranno at bamboo, Minneapolis, MN
whole, skim, one, two
PACKAGE DESIGN
2001
PROJECT
SUMMARY
Milk packaging design for
simplyright, a rBST hormone
free milk class offering from
Schroeder, 2001
DESIGN OFFICE: bamboo,
Minneapolis
SCHROEDER MILK CO.

14. | 25
POSTER
APPLICATION
SERIES
RICK VALICENTI
DAVID PLUNKERT
PAUL SAHRE
FALL 2006
ALL POSTERS 20”x30”
CASE STUDYDESIGN
LANGUAGE
STUDIO

15. | 27
Gallery 360, Announcement Postcard, 2002.
Art Exhibition Postcards, 1998-2001.
Swallow Gallery, NYC; Announcement Card, 2000.
Swallow Gallery, NYC; Announcement Card, 2002.
Art Exhibition Postcards, 2000.
LEE ANNE SWANSON ARTIST PROMOTION

16. | 29
NATIONAL PORTFOLIO DAY
Maryland Institute College of Art
Atlanta, GA
Baltimore, MD
PROJECT
SUMMARY
A grouping of unused National Portfolio Day posters designed for the
Maryland Institute College of Art communications office.

17. | 31
BROADSIDES
Quarrel My Mother Dresses in
Ensembles
Letterpress
Screen prints
PROJECT
SUMMARY
Printed broadsides with visual and concrete poetry.
flash
burst
blaze

18. | 33
THE MAYOR OF UPTOWN
Press Release
Announcement cards.
The
Mayor of
Uptown
Mission Statement:
As curator and observer, my
intentions are to bring together
seemingly disparate artists
interpretations under the
confines of what makes a GREAT
collection of ideas vs. a good
group show. I look at artists
objectives, and render a visual
connect between the artist and
the eyewitness and postulate
what the two may create
together.
The idea of CENTRAL AIR, a
preset, a control, a distinctive
set of variables enabled to create
a level of comfort. The energy
it takes to cool, is that much
greater than to actively heat a
space.
Set the temp. to an easy comfort
level. Relax, let the air blow.
ENJOY.
J. Page
CENTRAL AIR
Nomadic Art Space Presents
PRESS KIT: For Immediate Release
Contact: J. Page Corrigan, T. 612.703.5444
Under the coolness of CENTRAL AIR, former
co-founder and co-curator of Radiator Art
Exhibition Company, John Page Corrigan,
curates a brief showing of exceptionally
diverse and astute visual artists. From flower
arrangements, lighting design, furniture,
jewelry, the medium of paint and collage, and
through photographic allure.
The Mayor of Uptown, might reflect on the
changing nature of attitudes and architecture
of the Uptown neighborhood.
The Mayor of Uptown, might connect a variety of
south Minneapolis artists that crave a voice
in the insular Minneapolis art community.
The Mayor of Uptown, will offer artistic variance
of similarly like-minded artists with the
chance to run a visual campaign in the center
of historic Uptown Minneapolis.
PROJECT
SUMMARY
Established Central Air Nomadic Art Space, Curated the Mayor
of Uptown, February, 2005 Installation of 18 artists work;
photography, painting, sculpture, performance, flora, furniture
and jewelry.
February 10th through 26th
Artist Reception
Friday 18 February, 2005
6-11 pm
GALLERY HOURS:
Thur. and Fri. 1–7 pm
Sat. and Sun. 1–6 pm
IN THE OLD LOBBY OF
THE CALHOUN HOTEL
1428 WEST 31ST ST.

19. |J. Page
John Diebel
John Urste
Dan Keefe
George Mahoney
David Foley
Michael Abigail Mouw
Robert Roscoe
Terence P. Brashear
Flaneur Productions
John Veda
Nissa Hagstrom
Signe Albertson
Terrence Payne
Stacey Meyer
John Nelson
Clea Feline
Kate Pabst
Alissa Valdovinos
anyone else...
John Page Corrigan
Former co-founder and co-curator of
Radiator Art Exhibition Company
City Pages
2000 Best of the Twin Cities
BEST GROUP ART SHOW
Radiator’s UltraNormal at the MinnPar Building
Oh, to be a new “nomadic” arts organization like
Radiator bursting on the scene, heart all aflutter with
its first show! This exhibition from late September
of last year was a colorful, energetic, and witty
conglomeration of work by ten young local artists.
And its mere existence indicates that good art
continues to be made in the Twin Cities despite the
relatively difficult time young artists have in making
their mark. The work in all manner of media—painting,
drawing, sculpture, photography, installation, and
points in between—was vibrant and humorous, full of
exuberance and color. Curator Lee Anne Swanson’s
smallish paintings were dense with cake-frosting-
colored swirls and depicted ironically idealized
scenes of ducks, ponds, and the like; Carol Swiszcz’s
faux-naif scratchy drawings—on paper, on the wall,
on whatever was at hand—presented personal
stories culled from her own Middle American life.
That the show was exhibited in the far-off and grimy
confines of an empty warehouse, the MinnPar
Building, is indicative of the lack of money available
to new art groups and young artists—and their
ingenuity in facing that fact. That not much has been
heard from Radiator nearly six months later gives
one pause—and inspires prayers for another such
burst of fresh energy in the often
staid local art scene.
City Pages
2001 Best of the Twin Cities
BEST NEW ART TREND
Invasion of the Young Turks
Much like the fin-de-siècle Ottoman Empire,
today’s art world is stagnant and unproductive,
a victim of the bloated success at the upper
echelons (Manhattan’s art scene being a distant
and inaccessible sultan’s palace, so to speak).
Fortunately for the Ottomans, a collection of
transnational army officers, dubbed the Young Turks,
led a successful coup and after 1908 instituted a
sweeping program of modernizing reforms.
Our dismal local art scene is ripe for just the same
sort of updating, so it is fortunate that a new class of
brash young artists and gallery owners--
Joe Del Pesco, John Corrigan, J. Heikes, Jennifer
Murphy—are settling into town just as indicators
point the fine-art world toward oblivion. Our Young
Turks, like those of yore, come from all over--
New Jersey, Delaware, Oregon, Georgia—apparently
attracted to the high local standard of living by a
sense of adventure, and, perhaps most important,
our local sultanate of arts-funding institutions.
The past few months things have been looking up
in the art scene, as the Young Turks have opened
new galleries such as the Waiting Room and the
Radiator Art Exhibition Co. In the process, they’ve
reinvigorated the exhibition options for an artist
pool eager for new places to show work. We can
only hope that our Young Turks stick around longer
than the originals, whose ten years of inept rule
eventually helped bring about World War I and the
dissolution of the Ottoman state.
CENTRAL AIR
Nomadic Art Space Presents

20. | 37
September, 1999 .001_ultranormal
December, 2000 .002_industry standards
April, 2001 .003_save the robots
September, 2001 .004_the underside of heaven
RADIATOR ART EXHIBITION COMPANY Co-founder+Director+Curator of gallery and
exhibition space, providing support for emerging
contemporary artists.

21. | 39
RADIATOR ART EXHIBITION COMPANY December, 2001 .005_ephemera melancholia
October, 2002 Bird x bird
December, 2002 .006_duped

22. | 41
S TAT E M E N T:
Collecting found images is an obsession for me. I am inspired
by the satisfaction that I get from combining paint with images
torn from magazines and newspapers and giving them new
life. Painting is a daily ritual for me and by finishing most
of my works in one sitting I am able to use art as a journal
for my ideas, experiences and memories. There is little or no
planning involved in any of my paintings, rather they develop
specifically through the artmaking process. The narratives
become apparent through cutting, pasting and painting.
Making art is a release for me. It is my hope that others will
find wonder in my images which may then spark their own
imaginations.
B I O :
Jennifer Davis has lived all of her life in Minnesota.
She discovered her passion for painting and drawing at the
University of Minnesota and graduated with a Bachelor of Fine
Arts degree in 1998. Jennifer has shown her work in several
galleries in Minnesota, New York, Vermont and North Carolina
and has been a member of Rosalux Gallery in Minneapolis
since 2002.
For more information please visit:
www.jenniferdavisart.com
I V Y L O U N G E
Art Scapes
Jennifer Davis
ivy lounge
curated by
C E N T R A L A I R : : :
Nomad i c A r t S p ac e
IVYS T AT E M E N T:
I first started using Polaroid films in an experimental photo class when I was in
college. Along with other experimental methods, I was intrigued by the limitless
creative possibilities that this film offers. The curiosity was forever changed when
my Grandmother handed me an old leather pop up Polaroid Land Camera.
Now, I stalk the sun and wait. With my bag of tools—toothpicks, dull pencils
knitting needles. It is the world of SX-70, where you look to subjects not only for that
certain Je ne c’est quoi, but for the subjects ability to melt and transform. In the time
it takes the emulsion to harden there is a vast creative workspace. Sometimes I feel that
the subject reveals itself in that space of time. Is it a cartoon, a childhood memory,
or a dream that I can’t quite remember…?
There are times when I start getting too serious or tight—so I take a walk with my
Polaroid. It calms me, reminds me to slow down and look at the world around me.
There is so much beauty.
There is A poetic quality to things that starts to appear. It is the light hearted old
romantic side my artist—the part of me that wants to be reminded of simpler times…
or maybe it’s the part of me that wants to live outside reality—where things are not
quite as they seem—where lines begin to blur and the magic appears.
i v y l o u n g e
Art Scapes
Roxanna Warren
ivy lounge
curated by
C E N T R A L A I R : : : N o m a d i c A r t S p a c e
MS. MATCHED
Marguerite and Fred Tobias
My grandfather and grandmother intentions were to document their own lives, and the family member around them. Occasionally, they were
also to capture the catastrophes of the region. My grandfather managed to be almost drawn to the later, the great river flood of 1960
something, a downtown warehouse fire, the tornado destruction in Hopkins, MN. He also was seeming drawn to the mundane aspects of a
squirrel, or perhaps a cake at a funeral or anniversary. My grandmother, with good intentions—labeled boxes of Kodak Ektachrome™,
having listed dates, places, occasions, and the very family members that included them both apparently as voyeur.
These gatherings, and happenings, allowed them to exchange the camera and note taking. They seem to move freely, and gather images as a
nonparticipant, document librarians askew.
As with any photographer, volume is the key towards the potential of a great image. By pairing up several photos, a new context increases the
potential accuracy, or questioning(?) of events. A second generation historians take on unknown events. With so many images, and badly mis-
labeled groupings, without the matriarch and patriarch, I intend to create a new story, part fiction, part truth. The time to create my own (his)story,
from the past that I come from, and have believed to be incorporated into my very own truth.
ENJOY !
© 2005 J Page ALL RIGHTS RESERVED
NOMADIC
ART
S P A C E+
THISSIDE
TOWARDSSCREEN
I V Y
L O U N G E
P R E S E N T S
ARTSCAPESCURATEDBY
ARTIST STATEMENT
Most of my work is created using large plastic stencils that I design and cut
myself. Often 3-4 different layers (each layer representing a different color)
are needed to complete an image. I will sometimes cut a stencil of just an
outline of an image and use watercolors, acrylics or house paint to color it in.
Although this medium is basically a form of printmaking, I have the freedom
to experiment with color, surface texture, and grouping of objects and thus
mood and tone, making each piece unique. As an art instructor/advocate for
adults with severe and persistent mental illness, I am a true believer in the
powerful healing tool that art can be. I am inspired in my life and in my art
by the struggles and successes of my clients. I am additionally inspired by the
urban community in which I live, childhood toys, vintage botanical prints, my
dog Ella, bicycles, street art, and random found objects, collective endeavors
that challenge hierarchy, acts of compassion, downright silliness and things
with wings.
Grow flowers.
Ride a bike.
Love an animal.
Learn something new.
Find your wings.
Make art of it all.
1226 Adams St. NE #2
Minneapolis MN 55413
612 379 0192
amyr@amyrice.com
I V Y
L O U N G E
PRESENTS
A M Y R I C E
1:4
2:1
3:1
1:1
curated by
July, 2005 Jennifer davis
August, 2005 roxanne warren
September, 2005 j. page_Ms. matched
October, 2005 amy rice
Ivy + Central Air present
IVY Lounge
Womens fashion boutique, Minneapolis, MN.
Press Release, Announcement cards, T-shirt design
Series of announcement post cards, 4 x 6”

23. | 43
Recent work by Ellen Darth Fitzgerald. Ellen recently received her MFA from the Minneapolis
College of Art + Design, and will be teaching photography in the following semester. Her portraits,
from friends to strangers looks at the potential distance of the viewer and the observed. Heavy
breath and coldness capture a womans unusually unique beauty.
ARTIST STATEMENT
Ellen was raised in the swamps of Florida, sandwiched between space shuttles
and theme parks. As a teenager, she saw the work of Rineke Dijkstra, and
subsequently moved to the icy Midwest to study photography. After a brief stint
in New York, where she was bullied by art stars, Ellen eventually returned to
the south. When the gators and tourists became too much to bear, she migrated
north to Minnesota. When she isn’t taking photographs, she is learning how to
play the drums and planning trips to far off places.
Minneapolis Minnesota
612.327.1258
ladydarth@mac.com
I V Y
L O U N G E
P R E S E N T S
E L L E N F I T Z G E R A L D
1:4
2:1
3:1
1:1
curated by
ELLEN D. FITZGERALD
Untitled from ”Outside” series
C-Print
20”x16”
2003-2004
$125 per image
$1500 for series
denim exchange
PRE-HOLIDAY SALE
SUMMER SALE
Special event design and
marketing collateral
Ivy + Central Air present
IVY Lounge
IVY
Fashion Boutique
November 2005 ellen fitzgerald

24. | 45
NEW VIEWS
Poster Submissions
Self-AuthoredPROJECT
SUMMARY
Poster design for submission to New Views 2, an international
conference held at the London College of Communication,
July 2008.

25. | 47
MS. MATCHED Self-AuthoredPROJECT
SUMMARY
DOCUMENTATION ASKEW: Marguerite and Fred Tobias digital
prints of slides from grandparents, manipulating grandmothers
handwritten labels of slide contents with mismatched descriptions of
relatives, places, and events.

26. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+++++++++++++++++++++++++++++++++
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+++ ++++++++++++++++++
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SECTION TWO
TYPOGRAPHY + TYPE DESIGN
II) Concept and Design is the phase when potential
solutions are conceived and developed, based upon
information gathered in the first phase.
At the conclusion of this phase, the final designs
and copy are completed, then reviewed and
approved by the client.
|

27. |
PROJECT
SUMMARY
51
Constructed photographic type
prepared for Marian Bantjes
EXPERIMENTAL
TYPOGRAPHY
ANXIOUS
ANXIETY

28. WRITING
LETTERING + TYPE
|
FALL 2006
EXPERIMENTAL
TYPOGRAPHY
PROJECT
SUMMARY
53
KEN BARBER
CHRISTIAN SCHWARTZ
BEN KIEL
WRITING LETTERING
TYPE
NAMEPLATE
WRITING
LETTERING
TYPE

29. |
FALL 2006
EXPERIMENTAL
TYPOGRAPHY
PROJECT
SUMMARY
55
KEN BARBER
CHRISTIAN SCHWARTZ
BEN KIEL
MATERIAL OBSESSIONS
FLAT PROVIDES EASY ACCESS TO A
WELL-DESIGNED APARTMENT, OR FLAT
(UK). WE ARE A ONE-STOP RESOURCE
FROM SOME OF THE MOST EXCITING
FURNITURE DESIGNERS INTERNATIONALLY.
THE DESIRE TO DELIVER GREAT PRODUCTS
TO A BROADER GROUP OF PEOPLE AND
TO ELEVATE THE INTEREST IN LEGITIMATE
DESIGN HAS BEEN HERE SINCE THE
BAUHAUS. OUR GOAL IS SIMPLYTO
ACCELERATE THE WAY THAT DESIGN GETS
TO THE PUBLIC.
UNFINISHED PINE TOP
TRESTLE TABLE
WITH TWO SAW HORSES
$ 675.00
06.FLAT.PIN.3960.TBL
H:31.5 X W:39 L:60
E AT AT IT
ANTIQUE STYLED
TABLE TOP
ACCESSORIES
FACTORY GREEN
$ 89.00
POWDER BLUE
$ 95.00
WOODEN
AMMUNITION
STORAGE BOX
$ 115.00
KITCHEN TABLES
COVER
SAMPLE
SPREAD
FLAT
CATALOGUE
FLAT
LETTERING

30. |
FALL 2006
EXPERIMENTAL
TYPOGRAPHY
PROJECT
SUMMARY
57
KEN BARBER
CHRISTIAN SCHWARTZ
BEN KIEL
©2006 NovaClutch Typographic Annex
client ::: Experimental Type project ::: Type as Texture
9377100001
8.4 FL. OZ
[250mL]
EXTRACTED
USEFUL
TASTY
REFRESH AND RESTORE
Zh(e) is full of the right stuff to help
support active joint mobility.
Naturally extracted birch juice
is both useful and tasty,
Zh(e) is a delicious solution
for enhanced movement
and flexibility.
LUSCIOUS NATURAL
BIRCH FLAVOR
CERTAINLY TO MAKE IT MORE TASTY
A LITTLE SUGAR HAS BEEN ADDED.
IN THE TRADITION OF BELARUS, RUSSIA
CAN GRAPHICSCARTON KEY LINE
Zhe
RUSSIAN BIRCH JUICE
PACKAGE DESIGN
TYPE AS
TEXTURE
BORROWED
LANGUAGE
LOGO DESIGN
Zhe
RUSSIAN BIRCH JUICE

31. | 59
FALL 2006
EXPERIMENTAL
TYPOGRAPHY
SOVADA ƒ. Typeface PROJECT
SUMMARY
PROJECT
SUMMARY
KEN BARBER
CHRISTIAN SCHWARTZ
BEN KIEL
S E C U L A R H E B R E W D A T E S U N R I S E N O O N S U N S E T T W I L I G H T
M O N T H M O N T H
M A R C H 26 6:02 12:13 18:24 19:03
N I S S A N 28 5:57 12:12 18:27 19:07
A P R I L 1 5:52 12:11 18:30 19:10
4 5:48 12:10 18:32 19:13
7 5:43 12:09 18:35 19:16
10 5:38 12:08 18:38 19:19
12 5:34 12:08 18:41 19:22
16 5:29 12:07 18:44 19:26
19 5:25 12:06 18:47 19:29
22 5:21 12:05 18:50 19:32
I Y A R 24 5:17 12:05 18:53 19:36
28 5:13 12:05 18:56 19:39
M A Y 1 5:09 12:04 18:59 19:42
4 5:05 12:04 19:02 19:46
7 5:02 12:03 19:05 19:49
10 4:59 12:03 19:08 19:52
13 4:56 12:03 19:11 19:56
16 4:53 12:03 19:13 19:59
19 4:50 12:03 19:16 20:02
22 4:48 12:03 19:19 20:05
S I V A N 26 4:46 12:04 19:21 20:08
28 4:44 12:04 19:24 20:11
31 4:43 12:04 19:26 20:13
J U N E 3 4:41 12:05 19:28 21:16
6 4:40 12:05 19:30 20:18
9 4:40 12:06 19:32 20:20
12 4:39 12:06 19:33 20:22
15 4:39 12:07 19:34 20:23
18 4:39 12:07 19:36 20:24
21 4:40 12:08 19:36 20:25
T A M M U Z 25 4:40 12:09 19:37 20:26
27 4:41 12:09 19:37 20:26
30 4:43 12:10 19:37 20:26
J U L Y 3 4:44 12:10 19:37 20:25
6 4:46 12:11 19:36 20:24
9 4:47 12:11 19:35 20:23
12 4:49 12:12 19:34 20:22
15 4:51 12:12 19:33 20:20
18 4:54 12:13 19:31 20:18
21 4:56 12:13 19:29 20:15
A V 24 4:59 12:13 19:27 20:13
27 5:01 12:13 19:24 20:10
30 5:04 12:13 19:22 20:07
A U G U S T 2 5:06 12:12 19:19 20:03
5 5:09 12:12 19:15 20:00
8 5:12 12:12 19:12 19:56
11 5:15 12:11 19:08 19:52
14 5:17 12:11 19:04 19:47
17 5:20 12:10 19:01 19:43
20 5:23 12:10 18:56 19:39
23 5:26 12:09 18:52 19:34
E L U L 25 5:28 12:08 18:48 19:29
29 5:31 12:07 18:43 19:24
S E P T E M B E R 1 5:34 16:06 18:39 19:20
4 5:37 12:05 18:34 19:15
7 5:39 12:04 18:29 19:10
10 5:42 12:03 18:25 19:05
13 5:45 12:02 18:20 19:00
16 5:48 12:01 18:15 18:55
19 5:50 12:00 18:10 18:50
T I S H R I 23 5:53 11:59 18:05 18:45
25 5:56 11:58 18:00 18:40
28 5:59 11:57 17:55 18:35
O C T O B E R 1 6:02 11:56 17:51 19:30
4 6:04 11:55 17:46 18:25
7 6:07 11:54 17:41 18:21
10 6:10 11:53 17:37 18:16
13 6:13 11:53 17:32 18:12
16 6:16 11:52 17:28 18:07
19 6:19 11:51 17:23 18:03
C H E S H V A N 23 6:22 11:51 17:19 17:59
25 6:26 11:50 17:15 17:56
28 6:29 11:50 17:11 17:52
31 6:32 11:50 17:08 17:48
N O V E M B E R 3 6:35 11:50 17:04 17:45
6 6:39 11:50 17:01 17:42
9 6:42 11:50 16:58 17:39
12 6:46 11:50 16:55 17:37
15 6:49 11:51 16:53 17:35
18 6:52 11:51 16:50 17:33
K I S L E V 22 6:56 11:52 16:48 17:31
24 6:59 11:53 16:47 17:30
27 7:02 11:54 16:45 17:29
30 7:05 11:55 16:44 17:28
D E C E M B E R 3 7:08 11:56 16:44 17:27
6 7:11 11:57 16:43 17:27
9 7:14 11:58 16:43 17:27
12 7:16 12:00 16:44 17:28
15 7:18 12:01 16:44 17:28
18 7:20 12:03 16:45 17:29
T E V E T 22 7:22 12:04 16:46 17:31
24 7:24 12:06 16:48 17:32
27 7:25 12:07 16:50 17:34
30 7:26 12:09 16:52 17:36
SECULARHEBREWDATESUNRISENOONSUNSETTWILIGHT
MONTHMONTH
JANUARY17:2612:1016:5317:37
47:2612:1116:5617:40
77:2612:1316:5917:43
107:2612:1417:0217:45
137:2612:1517:0517:48
167:2512:1617:0817:51
SHEVAT207:2312:1717:1117:54
227:2212:1817:1517:57
257:2012:1917:1818:00
287:1812:2017:2118:04
317:1512:2017:2518:07
FEBRUARY37:1212:1917:2918:10
67:1012:1817:3218:13
97:0612:1717:3618:17
127:0312:1617:3918:20
156:5912:1517:4318:23
186:5612:1517:4618:26
ADAR(I)226:5212:1417:4918:29
246:4812:1317:5318:33
276:4312:1217:5618:36
MARCH26:3912:1117:5918:39
56:3512:1018:0218:42
86:3012:0918:0518:45
116:2612:0818:0918:48
146:2112:0818:1218:51
176:1612:0718:1518:54
206:1112:0618:1818:57
236:0712:0518:2119:00
2007
2006
5767
PERMANENT CALENDAR
BALTIMORE—WASHINGTON
G.M.T. -5:00
LAT. 39° N
LONG. 77°
ADJ. 6:5
JUDAIC
SOLAR CALENDAR
20 x 30”
1234567890
1234567890
1234567890
1 2 3 4
5 6 7 8
9 0
8 pt.
12 pt.
24 pt.
FOUND NUMERIC EPHEMERA
NUMERALS

32. |
FALL 2006
EXPERIMENTAL
TYPOGRAPHY
PROJECT
SUMMARY
61
KEN BARBER
CHRISTIAN SCHWARTZ
BEN KIEL
POSTER APPLICATION
WORD SAMPLES
MODULAR TYPE
4x MODULES
MODULAR NUMERALS
MODULAR
TYPOGRAPHY
GLEN BURNIE ƒ. TypefacePROJECT
SUMMARY

33. |
PROJECT
SUMMARY
63
NovaClutch // Typographic Annex
ƒ_ Turner
ªTºUºR_NªEºR_Regular
TURNEROblique
ƒ. Turner_Regular
ƒ. Turner_Oblique
Digital typeface design
consisting of a complete and
full character set with
additional snap on slab-serif
letter extensions.
Digital Type Design
ABCDEFGHIJKL
MNOPQRSTUVWXYZ
1234567890
-=!@#$%^*()_+
{}|:”?[];’,./
ABCDEFGHIJKL
MNOPQRSTUVWXYZ
1234567890
-=!@#$%^*()_+
{}|:”?[];’,./
TURNER ƒ. TypefacePROJECT
SUMMARY

34. |
PROJECT
SUMMARY
65
Type sampling and complete
character set display.
Digital Type Design
TURNER 12pts (Complete Character Set)
BASIC ALPHABET
AÆBCÇDEFGHIJKLMNOŒØPQRSTUVWXYZ/
aæbcçdeffiflghijklmnoœøpqrstuvwxyz
1234567890
°’”$¢ƒß£¥%⁄#.,:;…·!?“”‘’•- – —*„‚_|®©™([{«»‹›}])ˆ˜¯˘˙˚¸˝˛ˇ`´¨†‡§¶@+=±
TURNER 36pts. (Complete Character Set)
BASIC ALPHABET
AÆBCÇDEFGHIJKLMNOŒØPQRSTUVWXYZ/
aæbcçdeffiflghijklmnoœøpqrstvwxyz
1234567890
°’”$¢ƒß£¥%⁄#.,:;…·!?“”‘’•-
–*„‚_|®©™([{«»‹›}])ˆ˜¯˘˙˚¸˝˛ˇ`´¨ †‡§¶@+=±
TURNER 24pts. (Sample Kerning Pairs)
AT AV AW AY Av Aw Ay Fa Fe Fo Kv Kw Ky LO LV LY PA Pa Pe Po
TA Ta Te Ti To Tr Ts Tu Ty UA VA Va Ve Vo Vr Vu Vy WA WO Wa
We Wr Wv Wy
TURNER 24pts. (Sample lowercase/incidentals)
w! w? f! f? ¡a ¿a
«n»«o»‹n›‹o›h∂hoo‚{h}h•ho•oh@hªhºh⁄h‚h„h™h®h©hh·ho·o`´˘¨ˆ˜¯ˇ˙˚¸˝˛ˆh
”h“h“w”h.h,h:h;‘h’o.o,o:o;‘o’(h)[h]h/hh(o)[o]h-ho-
o(h)[h]h/hh#(o)[o]hho-h£h$h¢hƒh¥hh*h†h‡h§h–ho–oh h—ho—
oh+h=h±h’h”h°h#hh%h‰h…h1h2h3h4h5h0hh6h7h8h9h0h£1101213141
51$1617181912223242526¢27282930%
TURNER 24pts. (Sample Sidebearing test)
HAHBHCHDHEHFHGHHHIHJHKHLHMHNHOHPHQHRHSHTHUHVHWHXHYH
ZHÆHŒHÄHÖHÜHÅHÇHÁHÛHÍHÏHÌHÓEHÙHØHHaHbHcHdHeHfHgHhHi
HjHvkHlHmHnHoHpHqHrHsHtHuHvHwHxHyHzHßHæHœHäHöHüHfiHflHå
HıHçHøH1H2H3H4H5H6H7H8H9H0H£H¢H$H¥HƒH!H¡H?H¿H*H#H/H+H=H÷H
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TURNER 12pts.
TURNER 24pts.
TURNER 36pts.
Think about it.
ªTUºRN_EºRNovaClutch // Typographic Annex
NovaClutch // Typographic Annex
ƒ_ Turner
I think it’s
rather difficult to
create a new typeface
design, or for that matter,
to create a new anything that’s
in everyday use. A new piece of music
would parallel the creation of a new typeface.
ABCDEFGHIJKLMNOPQRSTUVWXYZƌ
abcdefghijklmnopqrstuvwxyzfiflßæœ
ÁÀÂÄÃÅÇÉÈËÊÍÌÎÏÑÓÒÔÖÕØÚÙÛÜŸ
«áàâäãåçéèêëíìîïñóòôöõøúùûüÿ»1234567890
({[*•·.,:;“”‘’¿?¡!/$¥£ƒ¢¶§†‡#@%ªº™©®]})
SET THE ABOVE COPY IN A SIZE THAT WILL ACCOMMODATE THE ENTIRE QUOTE
SET THE ABOVE COPY LINE FOR LINE. VARY SIZE AND SPACING AS NECESSARY
SHOW THE CHARACTER SET AS LARGE AS POSSIBLE.
ªPACK MY BOX
WITH ºFIVE DOZEºN_
_LIQUºOºR JUºGS!PANGRAM HEADLINE MUST BE SET IN ALL CAPS. SIZE WILL VARY SLIGHTLY DEPENDING ON LENGTH OF PANGRAM USED.
©NovaClutch // Typographic Annex
I think it’s rather difficult to create a new typeface design, or for that matter, to create
a new anything that’s in everyday use. A new piece of music would parallel the creation
of a new typeface. For example, the notes of music don’t change, and the letters of the
alpha-bet don’t change, either. It’s a matter of how they’re put together. The most impor-
tant feature must be that its newness has a reflection all its own and fits into the pattern
of today’s generation of graphic designers. The new creation must have something in its
character that makes the potential user sit up and take notice. These typographic traits
could create a popular demand but we must also consider that this popularity may
only be temporary. Personally, I don’t think there’s anything wrong with that. I know we all
feel our designs will last forever, but some things like music don’t last either. It’s like
“here today and forgotten tomorrow.” Anyway, you and I can be sure of one thing: the
number of typefaces will surly increase. —ED BENGUIAT, as quoted in Ulc
ABCDEFGHIJKLMNOPQRSTUVWXYZƌ
abcdefghijklmnopqrstuvwxyzfiflßæœ
ÁÀÂÄÃÅÇÉÈËÊÍÌÎÏÑÓÒÔÖÕØÚÙÛÜŸ
«áàâäãåçéèêëíìîïñóòôöõøúùûüÿ»1234567890
({[*•·.,:;“”‘’¿?¡!/$¥£ƒ¢¶§†‡#@%ªº™©®]})
14/16
12/14
10/12
10/12 REVERSED
9/11
8/10
SET THE ABOVE COPY IN A SIZE THAT WILL ACCOMMODATE THE ENTIRE QUOTE
SHOW THE CHARACTER SET AS LARGE AS POSSIBLE.
7/8
6/7
ªTH_E TRIXTEºR WITH A SENC_E
ºOºF HUMOºR HAS
TªHE_ ILLUSION TO DUPE_PANGRAM HEADLINE MUST BE SET IN ALL CAPS. SIZE WILL VARY SLIGHTLY DEPENDING ON LENGTH OF PANGRAM USED.
NovaClutch // Typographic Annex
I think it’s rather difficult to create a new typeface design, or
for that matter, to create a new anything that’s in everyday
use. A new piece of music would parallel the creation of a
new typeface. For example, the notes of music don’t change,
and the letters of the alpha-bet don’t change, either. It’s a
I think it’s rather difficult to create a new
typeface design, or for that matter, to
create a new anything that’s in everyday
use. A new piece of music would parallel
the creation of a new typeface.
For example, the notes of music don’t
change, and the letters of the alpha-bet
don’t change, either. It’s a matter of how
they’re put together. The most important
feature must be that its newness has a
reflection all its own and fits into the
pattern of today’s generation of graphic
designers. The new creation must have
something in its character that makes the
potential user sit up and take notice.
These typographic traits could create a
popular demand but we must also
consider that this popularity may only be
temporary. Personally, I don’t think there’s
anything wrong with that. I know we all
feel our designs will last forever, but some
things like music don’t last either. It’s like
“here today and forgotten tomorrow.”
Anyway, you and I can be sure of one
thing: the number of typefaces will surly
increase.
—ED BENGUIAT, as quoted in Ulc
I think it’s rather difficult to create a new typeface design, or for that
matter, to create a new anything that’s in everyday use. A new piece of
music would parallel the creation of a new typeface. For example, the
notes of music don’t change, and the letters of the alpha-bet don’t change,
either. It’s a matter of how they’re put together. The most important
feature must be that its newness has a reflection all its own and fits into
I think it’s rather difficult to create a new typeface design, or for that matter, to create
a new anything that’s in everyday use. A new piece of music would parallel the creation
of a new typeface. For example, the notes of music don’t change, and the letters of the
alpha-bet don’t change, either. It’s a matter of how they’re put together. The most impor-
tant feature must be that its newness has a reflection all its own and fits into the pattern
of today’s generation of graphic designers. The new creation must have something in its
character that makes the potential user sit up and take notice. These typographic traits
I think it’s rather difficult to create a new typeface design, or for that matter, to create a new
anything that’s in everyday use. A new piece of music would parallel the creation of a new
typeface. For example, the notes of music don’t change, and the letters of the alpha-bet don’t
change, either. It’s a matter of how they’re put together. The most important feature must be that
its newness has a reflection all its own and fits into the pattern of today’s generation of graphic
designers. The new creation must have something in its character that makes the potential user
sit up and take notice. These typographic traits could create a popular demand but we must
also consider that this popularity may only be temporary. Personally, I don’t think there’s anything
I think it’s rather difficult to create a new typeface design, or for that matter, to create a new anything
that’s in everyday use. A new piece of music would parallel the creation of a new typeface. For example,
the notes of music don’t change, and the letters of the alpha-bet don’t change, either. It’s a matter of how
they’re put together. The most important feature must be that its newness has a reflection all its own and fits
into the pattern of today’s generation of graphic designers. The new creation must have something in its charac-
ter that makes the potential user sit up and take notice. These typographic traits could create a popular
demand but we must also consider that this popularity may only be temporary. Personally, I don’t think
there’s anything wrong with that. I know we all feel our designs will last forever, but some things like music
I think it’s rather difficult to create a new typeface design, or
for that matter, to create a new anything that’s in everyday
use. A new piece of music would parallel the creation of a
new typeface. For example, the notes of music don’t change,
and the letters of the alpha-bet don’t change, either. It’s a
matter of how they’re put together. The most important feature
must be that its newness has a reflection all its own and fits
into the pattern of today’s generation of graphic designers. The
new creation must have something in its character that makes
the potential user sit up and take notice. These typographic
I think it’s rather difficult to create a new typeface design, or for that
matter, to create a new anything that’s in everyday use. A new piece
of music would parallel the creation of a new typeface. For example,
the notes of music don’t change, and the letters of the alpha-bet don’t
change, either. It’s a matter of how they’re put together. The most
important feature must be that its newness has a reflection all its own
and fits into the pattern of today’s generation of graphic designers. The
new creation must have something in its character that makes the
potential user sit up and take notice. These typographic traits could
create a popular demand but we must also consider that this
popularity may only be temporary. Personally, I don’t think there’s
I think it’s rather difficult to create a new typeface design, or for that matter, to create
a new anything that’s in everyday use. A new piece of music would parallel the creation
of a new typeface. For example, the notes of music don’t change, and the letters of the
alpha-bet don’t change, either. It’s a matter of how they’re put together. The most impor-
tant feature must be that its newness has a reflection all its own and fits into the pattern
of today’s generation of graphic designers. The new creation must have something in its
character that makes the potential user sit up and take notice. These typographic traits
TURNER ƒ. TypefacePROJECT
SUMMARY

35. |
PROJECT
SUMMARY
67
A series of typographic sketches used as educational examples in
the manipulation of typographic hierarchy. Each sketch uses the
same components to create a high degree of contrast between each
elements of the design. Through the series of five, each single piece
of information should shift its importance to reveal its self to the
reader. These examples were a submission to the Maryland Institute
College of Art MFA studio book project Graphic Design: The New
Basics, edited by Ellen Lupton.
In each:
1.) Name
2.) Birthdate
3.) Objects of obsession
4.) A family secret
5.) Photograph of hand
HIGH CONTRAST
TYPOGRAPHIC
HIERARCHY STUDIES
Graphic Design: The New Basics
2
197
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1
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ED
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ber1971
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One of five
Two of five
Three of five
HIGH CONTRAST
LAYERING
HIERARCHY

36. |
PROJECT
SUMMARY
69
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T
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01
D
EC
EM
B
ER
1971
Five of five
Four of five
HIGH CONTRAST
TYPOGRAPHIC
HIERARCHY STUDIES
HIGH CONTRAST
LAYERING
HIERARCHY
Graphic Design: The New Basics

37. | 71
Digital typeface design based on
letterforms drawn with a small
stick. The collection consists of
both upper case letters and low
case along with two alternate
sets of numbers.
Typeface design rendered from
a widely used Dutch typeface
used primarily for book design.
PROJECT
SUMMARY
PROJECT
SUMMARY
PEPA STICK
DIGITAL TYPEFACE DESIGN
SÓLINN
DIGITAL TYPEFACE DESIGN
TYPE SPECIMEN
from the collection
Critters HALL OF FAME:
9:28 -Medical assist with subject
who had been run over by
a cow on East St. south.
from the collection
It Was Nothing:
10:07 -
Caller reports she's following a gray
Ford Taurus through town that's
driving real slow and ran a red light…
While on the line, the subject in the
Taurus called 911 stating someone has
been following him since he got to
town; officer arrived on the scene at
that time,
everything okay.
TYPE SPECIMEN

38. 73
|
Capital only typeface design
based on letterforms from
a plastic stencil kit that had
been worn down and worn out
through its years of usage
Typeface design rendered
from a single stroke in font
creation software.
PROJECT
SUMMARY
PROJECT
SUMMARY
PEPA STICK
DIGITAL TYPEFACE DESIGN
SWANNY
DIGITAL TYPEFACE DESIGN
TYPE SPECIMEN
11:16 P.M. -
WOMAN CALLED 911 TO
REPORT DOMESTIC PROB-
LEM, THEN SAID SHE DID
NOT WANT OFFICERS TO
RESPOND; RELAYED TO
GRINNELL POLICE WHO RE-
PORT COUPLE HAVING A
DISAGREEMENT, NO AS-
SAULT, JUST VERBAL.
1:22 A.M. -
MALE HALF OF
PREVIOUS DIS-
PUTE CALLS 911 TO
REPORT DOMES-
TIC PROBLEM: SAYS
FEMALE HALF IS
THROWING HIS STUFF
INTO THE STREET
AND FRONT YARD;
MALE HALF IS IN-
TOXICATED, NO SIGNS
HIS STUFF WAS
THROWN OUT LIKE
HE SAID.
FROM THE
COLLECTION
-DRUNK:
TYPE SPECIMEN

39. 75
|
FROM THE
COLLECTION
“WTF”: 5:15-
Female got hand
stuck in couch,
400 block East.
from the
collection
“It Was
Aliens”:4:39 a.m. -
suspicious vehicle, 1700 block of Spring:
vehicle in the drive,lights kept going on
and off; thought to be a relative from
out of town; lights kept flashing, turned
red and spun rapidly; vehicle lifted slowly
above 1700 Spring, vanished; turned out
to be relatives from Outer Space.
Type designs using monoweight
stoke aligned around tightly
packed set of squares.
Tightly geometric typeface
constructed to a grid of squares.
PROJECT
SUMMARY
PROJECT
SUMMARY
TRACTION
OVERHEAD-Light
DIGITAL TYPEFACE DESIGN
TRACTION
OVERHEAD-Normal
DIGITAL TYPEFACE DESIGN
TYPE SPECIMEN TYPE SPECIMEN

40. 77
|
FROM THE COLLECTION
MISC.:
4:41 - CRIMINAL
MISCHIEF: REPORT OF
WATER FOUNTAIN
BROKEN AT
CENTRAL PARK;
CHECKED AND WAS
UNABLE TO LOCATE,
POSSIBLY AT MERRILL,
SEE OTHER ENTRY. 4:45
- CRIMINAL MISCHIEF: REPORT OF
DRINKING FOUNTAIN BROKEN AND
SPRAYING WATER AT MERRILL
PARK.@@@@@@@@@@@@@
Two digital typeface designs
based on illuminated bank
marquees. Each letter is drawn
from outlined or filled circles set
to a modular proportion ratio
Modular typeface design
rendered from four
repeated, rotated, and
multiplied graphic elements
PROJECT
SUMMARY
PROJECT
SUMMARY
BANK BULBS and
FAST BANK
DIGITAL TYPEFACE DESIGN
GLEN BURNIE
DIGITAL TYPEFACE DESIGN
TYPE SPECIMENTYPE SPECIMEN

41. |
PROJECT
SUMMARY
79
Pepa Stick
Swanny
Vinyl
Sólinn
Bank Bulbs, Fast Bank
Digital Type Design
Pepa Stick
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstvwxyz
1 2 3 4 5 6 7 8 9 0 @ ¡ ™ £ ¢ ∞ § ¶ • ª º
1 2 3 4 5 6 7 8 9 0
VINYLABCDEeFGHIJKLMNOPQRSTUVWXYZ
1 2 3 4 5 6 7 8 9 0
SólinnABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstvwxyz
1 2 3 4 5 6 7 8 9 0
@BANK BULBS
NC@FASTBANK
ABCDEFGHIJKLMNOPQRSTUVWXYZ
1 2 3 4 5 6 7 8 9 0
! @ # $ % ^ * ( ) . , / ? : ;
Etching CAPS
Traction Overhead_Light
Traction Overhead_Normal
Glen Burnie
Sovada (numerals Only)
NovaClutch // Typographic Annex
Typeface Collection
ETCHING CAPS
ABCDEFGHIJKLMNOPQRSTUVWXYZ
1 2 3 4 5 6 7 8 9 0
TRACTION OVERHEAD
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
1 2 3 4 5 6 7 8 9 0
TRACTION OVERHEADABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
1 2 3 4 5 6 7 8 9 0
SOVADA NUMERALS ONLY
0 1 2 3 4
5 6 7 8 9
LIGHT
NORMAL