This magazine was the final project for our Typography 2 class where we had to use our exercises and projects from the year in addition to two articles in a 16 page Zine.
Email Marketing is a unique digital channel that many businesses use to increase brand awareness, share content, improve customer retention and
generate hot new leads.
Even though email marketing is one of the oldest digital marketing forms there is, it’s still one of the most effective channels, as this presentation will demonstrate.
Email Marketing is a unique digital channel that many businesses use to increase brand awareness, share content, improve customer retention and
generate hot new leads.
Even though email marketing is one of the oldest digital marketing forms there is, it’s still one of the most effective channels, as this presentation will demonstrate.
Lapsus syamina jika_kita seorang rohingya- syamina.orgardiansyahani
<a>Burma</a> (atau sekarang disebut sebagai Myanmar) adalah negara dengan banyak etnis, ras, dan agama. Ia bukanlah negara kelompok tertentu—baik mereka Bamar (Burman), kelompok minoritas Shan,
Kachin, Kachin, Kayah, Kayin, Rohingya, Rakhine, Mon, Karen, China, India, atau mana pun itu. Namun, berulangkali realitas ini dilupakan.
syamina.org
Round Mini Air Cylinder made of aluminum are ideal for small part positioning, clamping, and ejecting. They are the perfect choice for applications where small bore, medium duty.
This is a powerpoint that I made for a class where I pretended to be a monk creating a manual for a new scriptorium in Northern Ireland in the later Middle Ages.
Lapsus syamina jika_kita seorang rohingya- syamina.orgardiansyahani
<a>Burma</a> (atau sekarang disebut sebagai Myanmar) adalah negara dengan banyak etnis, ras, dan agama. Ia bukanlah negara kelompok tertentu—baik mereka Bamar (Burman), kelompok minoritas Shan,
Kachin, Kachin, Kayah, Kayin, Rohingya, Rakhine, Mon, Karen, China, India, atau mana pun itu. Namun, berulangkali realitas ini dilupakan.
syamina.org
Round Mini Air Cylinder made of aluminum are ideal for small part positioning, clamping, and ejecting. They are the perfect choice for applications where small bore, medium duty.
This is a powerpoint that I made for a class where I pretended to be a monk creating a manual for a new scriptorium in Northern Ireland in the later Middle Ages.
This interactive presentation was developed to help art students learn and apply the basics of portraiture. Users are guided step-by-step through the entire process of drawing a human portrait. Afterward, students are asked to submit a drawing for review. Students will apply this new knowledge to drawing portraits of subjects such as Great Americans, Great Artists, Gods of Mythology, etc.
Expert Accessory Dwelling Unit (ADU) Drafting ServicesResDraft
Whether you’re looking to create a guest house, a rental unit, or a private retreat, our experienced team will design a space that complements your existing home and maximizes your investment. We provide personalized, comprehensive expert accessory dwelling unit (ADU)drafting solutions tailored to your needs, ensuring a seamless process from concept to completion.
Between Filth and Fortune- Urban Cattle Foraging Realities by Devi S Nair, An...Mansi Shah
This study examines cattle rearing in urban and rural settings, focusing on milk production and consumption. By exploring a case in Ahmedabad, it highlights the challenges and processes in dairy farming across different environments, emphasising the need for sustainable practices and the essential role of milk in daily consumption.
You could be a professional graphic designer and still make mistakes. There is always the possibility of human error. On the other hand if you’re not a designer, the chances of making some common graphic design mistakes are even higher. Because you don’t know what you don’t know. That’s where this blog comes in. To make your job easier and help you create better designs, we have put together a list of common graphic design mistakes that you need to avoid.
White wonder, Work developed by Eva TschoppMansi Shah
White Wonder by Eva Tschopp
A tale about our culture around the use of fertilizers and pesticides visiting small farms around Ahmedabad in Matar and Shilaj.
Transforming Brand Perception and Boosting Profitabilityaaryangarg12
In today's digital era, the dynamics of brand perception, consumer behavior, and profitability have been profoundly reshaped by the synergy of branding, social media, and website design. This research paper investigates the transformative power of these elements in influencing how individuals perceive brands and products and how this transformation can be harnessed to drive sales and profitability for businesses.
Through an exploration of brand psychology and consumer behavior, this study sheds light on the intricate ways in which effective branding strategies, strategic social media engagement, and user-centric website design contribute to altering consumers' perceptions. We delve into the principles that underlie successful brand transformations, examining how visual identity, messaging, and storytelling can captivate and resonate with target audiences.
Methodologically, this research employs a comprehensive approach, combining qualitative and quantitative analyses. Real-world case studies illustrate the impact of branding, social media campaigns, and website redesigns on consumer perception, sales figures, and profitability. We assess the various metrics, including brand awareness, customer engagement, conversion rates, and revenue growth, to measure the effectiveness of these strategies.
The results underscore the pivotal role of cohesive branding, social media influence, and website usability in shaping positive brand perceptions, influencing consumer decisions, and ultimately bolstering sales and profitability. This paper provides actionable insights and strategic recommendations for businesses seeking to leverage branding, social media, and website design as potent tools to enhance their market position and financial success.
2. 2
Type Collages
Every 2 weeks a composition of 16 squares in a grid is due. These compositions must use
foundtypography,andeachmusthaveitsowntheme.Themescanbeasabstractas“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.
Shortcuts
Throughout the semester each student will
be responsible for teaching the class 5–7
keyboardshortcuts.Themoreusefulthebetter!
You will have a good sense of what you need
to learn as you continue to work in Illustrator,
InDesign and Photoshop. Keep a list to use
in the future, and keep adding when you can.
This zine Type 2 was printed by FedEx on Sharon Amity Rd Charlotte NC
Typefaces used are Helvetica Neue, Times New Roman , and Big Caslon.
Project descriptions were written by Cynthia Frank.
Projects were designed by Rebeca
Zine Designer Rebecca Garber
Article authors, Rudy Vander Lans and Ellen Lupton
12-10-13
3. 3
Contents
Increase by increment~⌘-Shift->
Decrease by increment~⌘-Shift-<
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 accomplish its meaning with typography
instead. You may use rules and shapes in your design. Black and white only.
7. 7
Type 2
Fit content proportionally~⌘-Opt-Shift-E
Biodiagram
You are a complex person, but there is one facet of your life that you think is the most
interesting, unique thing about yourself! Maybe your messy bedroom has its own sense
of perfect order, maybe you practice the guitar meticulously every day, maybe you are
widely traveled as a bike messenger, maybe you have a collection of snow shakers.
Choose one facet of your life and represent it in a clear conceptual and visual framework.
The form and design must grow out of the hierarchy and nature of the content. You
may use color, you may include a legend, you may use images if they are necessary.
Remember that this is a DIAGRAM you are creating, and diagrams, by nature, tend to
be more abstract in their representation of information. You MUST use style sheets.
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
Create a poster that prominently shows the new glyphs and their effectiveness in
context. Include the name of the typeface you chose, the title of the project (glyphs for
a new millennium), a brief paragraph about the characteristics of the typeface, a brief
paragraph about you (the glyph designer).
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 positioned rather small on the front of the bottle,
but the rest of the design speaks of a kinder, gentler world. The product contains baking soda—a household chemical that you can
actually eat. The detergent is also “pure,” “essential,” and smells like “white lilac.” (White lilac is surely cleaner, more invisible
and ethereal, than purple lilac, no?)
The one thing that actually makes this product greener than what my mother used to buy is its concentrated form. A more potent product is cheaper to
ship, package, and store than a diluted one—yet many people dump more detergent than they need into their laundry, canceling out
the environmental benefit. Liquid detergents are less green than powders because they are heavier to ship.
The Tide Pure Essentials bottle is a classic example of green washing. Graphic designers and branding experts choose colors, language, imagery, and
materials that speak to the emotions of a certain class of consumers. “Green” is a cultural vocabulary that talks about nature and
purity and ecology but may have nothing to do with how products actually affect the world.
Here’s another piece of packaging: a returnable glass milk bottle. Once a week, Cold Mountain Creamery delivers fresh dairy products to my house.
The milkman picks up the empty bottles and takes them back to be washed and reused. Screenprinted on the front of the bottle is
the date “2003”—the bottle has been circulating for six years. The package is owned by the dairy and merely leased by the customer
(I pay a $2 deposit for the privilege of using it). What I am purchasing each week is access to a well-designed system. The milk I
buy is a service, not a product.
This milk bottle suggests a more exciting approach to green packaging than the detergent jug—and yet it represents an old business model that was
made obsolete by strip malls and parking lots in the 1960s, when the modern housewife learned to pick up her own milk in her own
car, embracing a more private and isolated lifestyle. Today, new ecological priorities along with the online networks are making
systems like this one convenient and attractive once again. Designers are starting to work with industries to imagine and implement
new systems for getting things done.
A Barbie doll box—with its shiny plastic window and its twisted wire attachments—only serves to sell the product in the store. It’s 100% marketing,
with no value added for the user. Some packaging, however, is actually useful to consumers. If milk didn’t come in a carton, how
could I pour it on my cereal or store it in my fridge? Packaging has other useful functions as well. It also helps make manufacturers
accountable for their goods and encourages consistency, promoting relationships between consumers and brands. It protects goods
in transit and keeps them clean in the store and in your house. Packaging can explain how products work or how to use them, and
it can disclose important data such as ingredients, warnings, and
sell-by dates. And then there’s the beauty factor—elegant, in-
telligent packaging can stimulate desire for beneficial products.
Greener design strategies seek to maintain benefits like these
while reducing—or eliminating—waste.
Here are some basic green design principles and how they work:
Recycle. This is the old-school approach to green design. People think that by
putting their stuff
out on the curb for recycling, they are solving the problem.
But recycling consumes a lot of energy, and typically, recycled
goods can’t be turned back into the same products they started
13. 13
Type 2
Undo~⌘-Z
Redo~⌘-Shift-Z
as. Soda bottles get turned into plastic lumber, an ugly material with limited uses. William McDonough,
author of Cradle to Cradle and one of the world’s leading sustainability advocates, prefers the term “down-
cycling” to “recycling,” because the process yields lower-quality substances and does nothing to upset the
need for more virgin materials at the front end of the process.
Repurpose. The D.I.Y. approach is to make adorable objects out of old containers. Although this can become an engaging hobby,
it’s not a solution to our bigger problems. If I were to use a year’s worth of plastic milk jugs to make bracelets,
flower pots, and lamp shades, I would fill my house with over 200 dubious crafts projects. And that’s not even
getting started with the beer bottles and soda cans.
Reduce materials. Laundry detergent would be hard to carry home without a package. But what if detergent took a different
form, such as a pill or a sheet that doesn’t need a container? Or what if it were packaged for single use, and
the container dissolved in the washing machine? Or how about an appliance that gets filled just once a year
with detergent? In the UK, the cleaning products manufacturer Reckitt Benckiser N.V. has filed a patent for a
cartridge-based system that would automatically dispense detergent as needed. Ideally, when the cartridge is
empty, it could be returned to the manufacturer for refilling, just as we now do with ink cartridges.
Rent, don’t own. As John Thackara points out in his influential book In the Bubble: Designing in a Complex World, many business-
es lease cars, trucks, photocopiers, and office spaces. Likewise, consumers are accustomed to renting a hotel
room or a seat on an airplane—we don’t need to own these things in order to enjoy their benefits. Couldn’t
packaging be rented as well? What if everything from breakfast cereal to dish detergent came in a beautiful,
high-value package designed to be refilled rather than thrown away? What if all household products were deliv-
ered to people’s homes instead of getting picked up at the store? This would mean less driving, smaller parking
lots, and warehouses designed for optimum efficiency rather than for putting goods on display. Think of the
open refrigerators in a typical American grocery store. An enormous amount of energy is wasted just to make it
easy for shoppers to grab a carton of yogurt or a brick of cheese from an open dairy case.
Create new behaviors. In Europe, shoppers have always brought their own bags to the store (and bagged their own groceries). In
the U.S., we expect free bags, at the cost of trillions of discarded bags each year. Passing a law is one way to
change behavior. In 2007 San Francisco banned standard plastic bags at large supermarkets and drug stores
(paper ones are still permitted). People tend to resist change if they don’t see an obvious benefit to themselves.
Walmart and Costco have introduced a cubic milk jug that supports its own weight when stacked, eliminating
the need for plastic shipping crates. Getting rid of the crates saves room on the trucks; ditching the crates also
means not having to clean and sterilize them, saving more money and energy. The problem is, pouring milk
from the new jugs is a little different (you have to tilt the jug rather than lifting it to pour), so the change has
met with consumer resistance. Consumers are willing to buy the new milk, however, because it is cheaper than
the old style—saving people money can inspire them to accept new behaviors.
Next time I buy laundry detergent, I’ll try to give it more thought. Which product packs the most cleaning power into the smallest
package? Which product has the lowest weight per wash? Which product works best in cold water? Someday,
I hope the soap won’t come in a package at all—that’s the goal that “green” designers are working toward.
Ellen Lupton is curator of contemporary design at Cooper-Hewitt, National Design Museum in New York City and director of the
Graphic Design MFA program at Maryland Institute College of Art (MICA) in Baltimore. An author of numerous
books and articles on design, she is a public-minded critic, frequent lecturer, and AIGA Gold Medalist.
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 medium-sized car with her husband. She tries to walk instead of using the car, when and wherever
she can. She occasionally tries to get off mailing lists to stop the barrage of catalogs arriving in the mail each day, but she found out
that trying to do so often increases the number of catalogs she receives. She’s working on trying to beat that scam.
Sometimes I try to imagine what this world would be like if everyone acted the way she does. Some people say that recycling and reusing are a drop in
the bucket, that they don’t address the real problems this world is facing. I say that these activities probably are some of the most
important, because they are the simplest and easiest things everybody can do to reduce waste and limit consumption. Recycling is a
great place to start caring about the environment. Best of all, if you commit to recycling, you start realizing how much you consume.
If overconsumption is one of the greatest threats facing planet Earth, and I believe it is, then recycling and reusing are where you
start turning the tide.
A person who grows up believing in the value of recycling and the need to limit consumption, and who understands that the Earth’s resources are finite,
will be a different corporate head or ad exec than the one who never cared or thought about these issues in the first place. The prob-
lem is that in today’s marketplace the former hardly stands a chance. The reason is obvious: because the public by-and-large doesn’t
demand responsible use of resources from industry. It’s not that they don’t agree with the issues; most people actually do. They just
don’t believe that their individual actions and demands can make a real difference anymore. They are simply overwhelmed by the
onslaught of products.
And so it is in design and advertising. A few months ago, a number of advertising and design people signed and published the First Things First 2000
manifesto in an effort to encourage and inspire colleagues to put their creative talents to a more socially responsible use. The general
response to this publication was one of skepticism. Most respondents said it is unrealistic to think that anything can be changed
about today’s market-driven society. I disagree again. Much can be done, and being a socially responsible designer or ad person
does not mean quitting your ad agency job to work for your local ecology center. It means working at your job with an understand-
ing that your actions affect others far beyond whether they will or will not buy your gizmo. Something as simple as considering
the use of real recycled paper containing a high percentage of
post-consumer waste, or to not overpackage a product, is a great
way to start making a difference. Imagine all designers and ad
people doing this on a regular basis - it would have a tremen-
dously positive effect on our resources and environment.
There are examples of this being done successfully. Take a company such as Pata-
gonia, for instance, which makes outdoor gear. Much of their
catalogs and clothing are produced using recycled and organic
materials. They’ve built a lasting and powerful image based on
the simple premise of being environmentally conscientious. It’s
15. 15
Type 2
Soft Return~Shift-Return
part of their brand identity. As such, they are mavericks.
Advertising has become very shrewd at coopting society’s most radical ideas to hawk product. What are at first taboos eventually
become tools for targeting specific audiences. Wouldn’t it be a radical idea if eco-friendly packaging were
coopted as a marketing strategy by large corporations? The use of recycled materials and development of re-
cyclable and reusable packaging would, in turn, bring this awareness to the greater population - that packaging
containers have material value and that they should not become trash the moment they are emptied.
Imagine when Patagonia’s model is copied and applied on a much larger scale. I predict it will catch on like wild fire. Not just be-
cause it will make everyone look smart like Patagonia, but because doing the right thing is intoxicating. Once
you start caring about the environment and become aware of the positive difference that you can make as a
citizen and a professional, you’ll want to do more. Like the person in the beginning of this article; there’s no
turning back for her. It becomes a way of life. I know, because she also happens to be my wife. She inspired me
to change my ways, which brings me to the idea behind this issue.
At Emigre, over the past 16 years, we have saved all our obsolete computers and other hardware. It now occupies three gigantic
shelving units in our warehouse. It is a computer mortuary of sorts, collecting dust. At first we held on to out-
dated hardware simply because we thought it might come in handy later. And to some degree we felt a certain
sentimental attachment - among the heaps is a Macintosh 128, the very first Macintosh computer. Then, as the
stacks of outdated computer equipment grew, we reached a point where we simply couldn’t get ourselves to
throw it out, feeling guilty about filling up landfills with plastic.
As we continued adding outdated equipment at an ever-increasing pace, seeing the shelves bending under the weight of old hard-
ware, we began to worry. We started to imagine that perhaps our true professional legacy, the things that will
have the most impact, the stuff we’ll pass on and that will remain for generations to come, are not the Emigre
Fonts, or the issues of Emigre magazine, but these heaps of planned obsolescence. And that became a depress-
ing thought.
Our situation is not unique. Most design studios, or any office for that matter, generates the same kind of hardware waste at a steady
pace. Fortunately, there are always people finding ways to balance out the shortsightedness of others. While the
computer industry continues to produce and market new equipment at an ever-increasing rate without much
regard for the environment, others have invented ways to soften the blow that “progress” inflicts upon planet
Earth. Over the past years, computer recycling centers have sprouted all over, providing a necessary service
in a waste-based society. These organizations recycle, refurbish or upgrade donated computer hardware and
software and redistribute these items to disadvantaged individuals, nonprofit organizations, schools, libraries,
and developing countries.
These organizations are not a license to consume more. They provide an option to recycle, instead of simply discard, what you
already have consumed, which is only one part of the solution to save this planet. The other part is to consume
less, and for manufacturers to become as radically inventive in manufacturing as in marketing their products by
using eco-friendly and reusable materials, and for us consumers to encourage and demand this.