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. DwightEnglewood 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. CURATIONCentral 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; DecemberMarch, 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. CURATIONRadiator 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 PUBLICATIONSSelf 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: Radiators 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 20x30 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. 17 pm Sat. and Sun. 16 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 Radiators 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 mediapainting, drawing, sculpture, photography, installation, and points in betweenwas vibrant and humorous, full of exuberance and color. Curator Lee Anne Swansons smallish paintings were dense with cake-frosting- colored swirls and depicted ironically idealized scenes of ducks, ponds, and the like; Carol Swiszczs faux-naif scratchy drawingson paper, on the wall, on whatever was at handpresented 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 artistsand their ingenuity in facing that fact. That not much has been heard from Radiator nearly six months later gives one pauseand 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-sicle Ottoman Empire, todays art world is stagnant and unproductive, a victim of the bloated success at the upper echelons (Manhattans art scene being a distant and inaccessible sultans 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 Murphyare 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, Georgiaapparently 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, theyve 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 toolstoothpicks, dull pencils & knitting needles. It is the world of SX-70, where you look to subjects not only for that certain Je ne cest 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 cant quite remember? There are times when I start getting too serious or tightso 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 artistthe part of me that wants to be reminded of simpler times or maybe its the part of me that wants to live outside realitywhere things are not quite as they seemwhere 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 ood of 1960 something, a downtown warehouse re, 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 intentionslabeled 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 ction, 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 owers. 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 isnt 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 20x16 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. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +++++++++++++++++++++++++++++++++ +++++++++++++++++++++++++++++++++ +++++++++++++++++++++++++++++++++ +++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++ +++++++++++++++++++++++++++++++++ +++++++++++++++++++++++++++++++++ +++++++++++++++++++++++++++++++++ +++++++++++++++++++++++++++++++++ +++ ++++++++++++++++++ +++++++++++++++++++++++++++++++++ +++++++++++++++++++++++++++++++++ +++++++++++++++++++++++++++++++++ +++++++++++++++++++++++++++++++++ +++++++++++++++++++++++++++++++++ +++++++++++++++++++++++++++++++++ +++++++++++++++++++++++++++++++++ +++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++ 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 . 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 BALTIMOREWASHINGTON 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 . TypefacePROJECT SUMMARY 33. | PROJECT SUMMARY 63 NovaClutch // Typographic Annex _ Turner TUR_NER_Regular TURNEROblique . Turner_Regular . 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 . TypefacePROJECT SUMMARY 34. | PROJECT SUMMARY 65 Type sampling and complete character set display. Digital Type Design TURNER 12pts (Complete Character Set) BASIC ALPHABET ABCDEFGHIJKLMNOPQRSTUVWXYZ/ abcdefghijklmnopqrstuvwxyz 1234567890 $%#&.,:;!?- *_|([{}])`@+= TURNER 36pts. (Complete Character Set) BASIC ALPHABET ABCDEFGHIJKLMNOPQRSTUVWXYZ/ abcdefghijklmnopqrstvwxyz 1234567890 $%#&.,:;!?- *_|([{}])` @+= TURNER 24pts. (Sample Kerning Pairs) AT AV AW AY Av Aw Ay Fa Fe Fo Kv Kw Ky LO LV LY PA Pa Pe Po TA Ta Te Ti To Tr Ts Tu Ty UA VA Va Ve Vo Vr Vu Vy WA WO Wa We Wr Wv Wy TURNER 24pts. (Sample lowercase/incidentals) w! w? f! f? a a nonohho&o{h}hhooh@hhhhhhhhhhhoo`h hhwh.h,h:h;ho.o,o:o;o(h)[h]h/hh(o)[o]h-ho- o(h)[h]h/hh#(o)[o]hho-hh$hhhhh*hhhhhooh hho oh+h=hhhhh#hh%hhh1h2h3h4h5h0hh6h7h8h9h0h1101213141 51$161718191222324252627282930% TURNER 24pts. (Sample Sidebearing test) HAHBHCHDHEHFHGHHHIHJHKHLHMHNHOHPHQHRHSHTHUHVHWHXHYH ZHHHHHHHHHHHHHEHHH&HaHbHcHdHeHfHgHhHi HjHvkHlHmHnHoHpHqHrHsHtHuHvHwHxHyHzHHHHHHHHH HHHH1H2H3H4H5H6H7H8H9H0HHH$HHH!HH?HH*H#H/H+H=HH HHvHHHHH~HHH.H,H;H:HHHHHHHHHHH[H]H(H)H{H}H HHH%HH|HHHHHH@HHH`HHHHHHHHHHHH TURNER 12pts. TURNER 24pts. TURNER 36pts. Think about it. TURN_ERNovaClutch // Typographic Annex NovaClutch // Typographic Annex _ Turner I think its rather difcult to create a new typeface design, or for that matter, to create a new anything thats in everyday use. A new piece of music would parallel the creation of a new typeface. ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ({[*.,:;?!/$@%]}) SET THE ABOVE COPY IN A SIZE THAT WILL ACCOMMODATE THE ENTIRE QUOTE SET THE ABOVE COPY LINE FOR LINE. VARY SIZE AND SPACING AS NECESSARY SHOW THE CHARACTER SET AS LARGE AS POSSIBLE. PACK MY BOX WITH FIVE DOZEN_ _LIQUOR JUGS!PANGRAM HEADLINE MUST BE SET IN ALL CAPS. SIZE WILL VARY SLIGHTLY DEPENDING ON LENGTH OF PANGRAM USED. NovaClutch // Typographic Annex I think its rather difcult to create a new typeface design, or for that matter, to create a new anything thats in everyday use. A new piece of music would parallel the creation of a new typeface. For example, the notes of music dont change, and the letters of the alpha-bet dont change, either. Its a matter of how theyre put together. The most impor- tant feature must be that its newness has a reflection all its own and ts into the pattern of todays generation of graphic designers. The new creation must have something in its character that makes the potential user sit up and take notice. These typographic traits could create a popular demand but we must also consider that this popularity may only be temporary. Personally, I dont think theres anything wrong with that. I know we all feel our designs will last forever, but some things like music dont last either. Its like here today and forgotten tomorrow. Anyway, you and I can be sure of one thing: the number of typefaces will surly increase. ED BENGUIAT, as quoted in U&lc ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ({[*.,:;?!/$@%]}) 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 TH_E TRIXTER WITH A SENC_E OF HUMOR HAS THE_ 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 its rather difcult to create a new typeface design, or for that matter, to create a new anything thats in everyday use. A new piece of music would parallel the creation of a new typeface. For example, the notes of music dont change, and the letters of the alpha-bet dont change, either. Its a I think its rather difcult to create a new typeface design, or for that matter, to create a new anything thats in everyday use. A new piece of music would parallel the creation of a new typeface. For example, the notes of music dont change, and the letters of the alpha-bet dont change, either. Its a matter of how theyre put together. The most important feature must be that its newness has a reflection all its own and ts into the pattern of todays 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 dont think theres anything wrong with that. I know we all feel our designs will last forever, but some things like music dont last either. Its 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 U&lc I think its rather difcult to create a new typeface design, or for that matter, to create a new anything thats in everyday use. A new piece of music would parallel the creation of a new typeface. For example, the notes of music dont change, and the letters of the alpha-bet dont change, either. Its a matter of how theyre put together. The most important feature must be that its newness has a reflection all its own and ts into I think its rather difcult to create a new typeface design, or for that matter, to create a new anything thats in everyday use. A new piece of music would parallel the creation of a new typeface. For example, the notes of music dont change, and the letters of the alpha-bet dont change, either. Its a matter of how theyre put together. The most impor- tant feature must be that its newness has a reflection all its own and ts into the pattern of todays 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 its rather difcult to create a new typeface design, or for that matter, to create a new anything thats in everyday use. A new piece of music would parallel the creation of a new typeface. For example, the notes of music dont change, and the letters of the alpha-bet dont change, either. Its a matter of how theyre put together. The most important feature must be that its newness has a reflection all its own and ts into the pattern of todays 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 dont think theres anything I think its rather difcult to create a new typeface design, or for that matter, to create a new anything thats in everyday use. A new piece of music would parallel the creation of a new typeface. For example, the notes of music dont change, and the letters of the alpha-bet dont change, either. Its a matter of how theyre put together. The most important feature must be that its newness has a reflection all its own and ts into the pattern of todays 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 dont think theres anything wrong with that. I know we all feel our designs will last forever, but some things like music I think its rather difcult to create a new typeface design, or for that matter, to create a new anything thats in everyday use. A new piece of music would parallel the creation of a new typeface. For example, the notes of music dont change, and the letters of the alpha-bet dont change, either. Its a matter of how theyre put together. The most important feature must be that its newness has a reflection all its own and ts into the pattern of todays 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 its rather difcult to create a new typeface design, or for that matter, to create a new anything thats in everyday use. A new piece of music would parallel the creation of a new typeface. For example, the notes of music dont change, and the letters of the alpha-bet dont change, either. Its a matter of how theyre put together. The most important feature must be that its newness has a reflection all its own and ts into the pattern of todays 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 dont think theres I think its rather difcult to create a new typeface design, or for that matter, to create a new anything thats in everyday use. A new piece of music would parallel the creation of a new typeface. For example, the notes of music dont change, and the letters of the alpha-bet dont change, either. Its a matter of how theyre put together. The most impor- tant feature must be that its newness has a reflection all its own and ts into the pattern of todays 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 . 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 FIR S T A ID A N D R E D C R O S S E P H E M E R A P R IN C IP LE S O F A B S T R A C T M A T H FO U N D A R T H IS TO R IC T Y P O G R A P H IC S A M P LE S M E TA P H O R IC A L P O E T R Y TH R O U G H STO R IES O FTEN TO LD BY M Y G R EA T A U N T LU C ILLE, IT W A S R EV EA LED TH A T FO R TH IR TY Y EA R S S H E H A D B EEN S EC R ETLY M A R R IED . A U N T LU A N D H ER H U S BA N D JEFF H A D A C H ILD EA R LY IN TH ER E R ELA TIO N S H IP,W H O D IED A T B IR TH IN 1939.M Y A U N T A N D H ER H U S BA N D N EV ER LIV ED TO G ETH ER , A N D H A D K EP T TH EIR M A R R IA G E A S H R O U D ED S EC R ET FR O M M Y G R EA T G R A N D M O TH ER A N N A M P U H L U N TIL H ER D EA TH IN 1965. A FTER W H IC H , LU A N D H ER H U S BA N D C O N TIN U ED TO LIV E A PA R T O U T O F R ES P EC T TO H ER M O TH ER . TH IS S EC R ET W A S TO LD IN B ITS A N D P IEC ES A N D IS O LA TIO N .TH IS S EC R ET W A S P R ES U M ED Y ET R EM A IN ED U N K N O W N TH R O U G H O U T TH E FA M ILY. 111 1 10 JO H N P A G E C O R R IG A N TH RO U G H STO RIE S O FTEN TO LD BY M Y G REAT AU N T LU CIL LE, IT W AS REVEALED TH AT FO R TH IR TY YEARS SH E H AD BEEN SECRETLY M ARRIE D. AU N T LU AN D H ER H U SBAN D JEFF H AD A CH IL D EARLY IN TH ERE RELATIO N - SH IP,W HO D IE D AT BIR TH IN 1939.M Y AU N T AN D H ER H U SBAN D N EVER LIV ED TO G ETH ER,AN D H AD KEPTTH EIR M ARRIA G E A SH RO U D ED SECRET FRO M M Y G REAT G RAN D M O TH ER AN N A M PU H L U N TIL H ER D EATH IN 1965. AFTER W H IC H ,LU AN D H ER H U SBAN D CO N TIN U ED TO LIV E APART O UT O F RESPECT TO H ER M O TH ER.TH IS SECRET W AS TO LD IN BIT S AN D PIE CES AN D IS O LATIO N . TH IS SECRET W AS PRESU M ED YET REM AIN ED U N KN O W N TH RO U G HO UT TH E FAM ILY. TH RO U G H STO RIE S O FTEN TO LD BY M Y G REAT AU N T LU CIL LE,IT W AS REVEALED TH AT FO R TH IR TY YEARS SH E H AD BEEN SECRETLY M ARRIE D.AU N T LU AN D H ER H U SBAN D JEFF H AD A CH IL D EARLY IN TH ERE RELATIO N SH IP,W HO D IE D AT BIR TH IN 1939.M Y AU N T AN D H ER H U SBAN D N EVER LIV ED TO G ETH ER,AN D H AD KEPT TH EIR M ARRIA G E A SH RO U D ED SECRET FRO M M Y G REAT G RAN D M O TH ER AN N A M PU H L U N TIL H ER D EATH IN 1965.AFTER W H IC H ,LU AN D H ER H U SBAN TH RO U G H STO RIE S O FTEN TO LD BY M Y G REAT AU N T LU CIL LE,IT W AS REVEALED TH AT FO R TH IR TY YEARS SH E H AD BEEN SECRETLY M ARRIE D.AU N T LU AN D H ER H U SBAN D JEFF H AD A CH IL D EARLY IN TH ERE RELATIO N SH IP,W HO D IE D AT BIR TH IN 1939.M Y AU N T AN D H ER H U SBAN D N EVER LIV ED TO G ETH ER,AN D H AD KEPT TH EIR M ARRIA G E A SH RO U D ED SECRET FRO M M Y G REAT G RAN D M O TH ER AN N A M PU H L U N TIL H ER D EATH IN 1965.AFTER W H IC H ,LU AN D H ER H U SBAN D CO N TIN U ED TO LIV E APART O UT O F RESPECT TO H ER M O TH ER.TH IS SECRET W AS TO LD I TH RO U G H STO RIE S O FTEN TO LD BY M Y G REAT AU N T LU CIL LE,IT W AS REVEALED TH AT FO R TH IR TY YEARS SH E H AD BEEN SECRETLY M ARRIE D.AU N T LU AN D H ER H U SBAN D JEFF H AD A CH IL D EARLY IN TH ERE RELATIO N SH IP,W HO D IE D AT BIR TH IN 1939.M Y AU N T AN D H ER H U SBAN D N EVER LIV ED TO G ETH ER,AN D H AD KEPT TH EIR M ARRIA G E A SH RO U D ED SECRET FRO M M Y G REAT G RAN D M O TH ER AN N A M PU H L U N TIL H ER D EATH IN 1965.AFTER W H IC H ,LU AN D H ER H U SBAN D CO N TIN U ED TO LIV E APART O UT O F RESPECT TO H ER M O TH ER.TH IS SECRET W AS TO LD IN BIT S AN D PIE CES AN D IS O LATIO N .TH IS SECRET W AS PRESU M ED YET REM AIN ED U N KN O W N TH RO U G HO UT TH RO U G H STO RIE S O FTEN TO LD BY M Y G REAT AU N T LU CIL LE,IT W AS REVEALED TH AT FO R TH IR TY YEARS SH E H AD BEEN SECRETLY M ARRIE D.AU N T LU AN D H ER H U SBAN D JEFF H AD A CH IL D EARLY IN TH ERE RELATIO N SH IP,W HO D IE D AT BIR TH IN 1939.M Y AU N T AN D H ER H U SBAN D N EVER LIV ED TO G ETH ER,AN D H AD KEPT TH EIR M ARRIA G E A SH RO U D ED SECRET FRO M M Y G REAT G RAN D M O TH ER AN N A M PU H L U N TIL H ER D EATH IN 1965.AFTER W H IC H ,LU AN D H ER H U SBAN D CO N TIN U ED TO LIV E APART O UT O F RESPECT TO H ER M O TH ER.TH IS SECRET W AS TO LD IN BIT S AN D PIE CES AN D IS O LATIO N .TH IS SECRET W AS PRESU M ED YET REM AIN ED U N KN O W N TH RO U G HO UT TH E FAM ILY. TH RO U G H STO RIE S O FTEN TO LD BY M Y G REAT AU N T LU CIL LE,IT W AS REVEALED TH AT FO R TH IR TY YEARS SH E H AD BEEN SECRETLY M ARRIE D.AU N T LU AN D H ER H U SBAN D JEFF H AD A CH IL D EARLY IN TH ERE RELATIO N SH IP,W HO D IE D AT BIR TH IN 1939.M Y AU N T AN D H ER H U SBAN D N EVER LIV ED TO G ETH ER,AN D H AD KEPT TH EIR M ARRIA G E A SH RO U D ED SECRET FRO M M Y G REAT G RAN D M O TH ER AN N A M PU H L U N TIL H ER D EATH IN 1965.AFTER W H IC H ,LU AN D H ER H U SBAN D CO N TIN U ED TO LIV E APART O UT O F RESPECT TO H ER M O TH ER.TH IS SECRET W AS TO LD IN BIT S AN D PIE CES AN D IS O LATIO N .TH IS SECRET W AS PRESU M ED YET REM AIN ED U N KN O W N TH RO U G HO UT TH E FAM ILY. TH RO U G H STO RIE S O FTEN TO LD BY M Y G REAT AU N T LU CIL LE,IT W AS REVEALED TH AT FO R TH IR TY YEARS SH E H AD BEEN SECRETLY M ARRIE D.AU N T LU AN D H ER H U SBAN D JEFF H AD A CH IL D EARLY IN TH ERE RELATIO N SH IP,W HO D IE D AT BIR TH IN 1939.M Y AU N T AN D H ER H U SBAN D N EVER LIV ED TO G ETH ER,AN D H AD KEPT TH EIR M ARRIA G E A SH RO U D ED SECRET FRO M M Y G REAT G RAN D M O TH ER AN N A M PU H L U N TIL H ER D EATH IN 1965.AFTER W H IC H ,LU AN D H ER H U SBAN D CO N TIN U ED TO LIV E APART O UT O F RESPECT TO H ER M O TH ER.TH IS SECRET W AS TO LD IN BIT S AN D PIE CES AN D IS O LATIO N .TH IS SECRET W AS PRESU M ED YET REM AIN ED U N KN O W N TH RO U G HO UT TH E FAM ILY. 2 2 3 4 5 FIR S T A ID A N D R E D C R O S S E P H E M E R A P R IN C IP LE S O F A B S T R A C T M A T H FO U N D A R T H IS TO R IC T Y P O G R A P H IC S A M P LE S M E TA P H O R IC A L P O E T R Y 01 D ecem ber1971 JO H N P A G E C O R R IG A N TH RO U G H STO RIES O FTEN TO LD BY M Y G REAT AU N T LU CILLE,IT W AS REV EA LED TH AT FO R TH IRTY YEA RS SH E H A D BEEN SECRETLY M A RRIED. AU N T LU A N D H ER H U SBA N D JEFF H A D A CH ILD EA RLY IN TH ERE RELATIO N SH IP,W H O D IED AT BIRTH IN 1939.M Y AU N T A N D H ER H U SBA N D N EV ER LIV ED TO G ETH ER,A N D H A D KEPT TH EIR M A RRIAG E A SH RO U D ED SECRET FRO M M Y G REAT G RA N D M O TH ER A N N A M PU H L U N TIL H ER D EATH IN 1965.A FTER W H ICH ,LU A N D H ER H U SBA N D CO N TIN U ED TO LIV E A PA RT O U T O F RESPECT TO H ER M O TH ER.TH IS SECRET W AS TO LD IN BITS A N D PIECES A N D ISO LATIO N .TH IS SECRET W AS PRESU M ED YET REM A IN ED U N KN O W N TH RO U G H O U T TH E FA M ILY 2 3FIR S T A ID A N D R E D C R O S S E P H E M E R A P R IN C IP LE S O F A B S T R A C T M A T H FO U N D A R T H IS T O R IC T Y P O G R A P H IC S A M P LE S M E TA P H O R IC A L P O E T R Y 0 1 D E C E M B E R 1 9 7 1 J O H N P A G E C O R R I G A N One of five Two of five Three of five HIGH CONTRAST LAYERING HIERARCHY 36. | PROJECT SUMMARY 69 T H R O U G H S T O R IE S O F T E N T O L D B Y M Y G R E A T A U N T L U C IL L E , IT W A S R E V E A L E D T H A T F O R T H IR T Y Y E A R S S H E H A D B E E N S E C R E T L Y M A R R IE D . A U N T L U A N D H E R H U S B A N D J E F F H A D A C H IL D E A R L Y IN T H E R E R E L A T IO N S H IP , W H O D IE D A T B IR T H IN 1 9 3 9 . M Y A U N T A N D H E R H U S B A N D N E V E R L IV E D T O G E T H E R , A N D H A D K E P T T H E IR M A R R IA G E A S H R O U D E D S E C R E T F R O M M Y G R E A T G R A N D M O T H E R A N N A M P U H L U N T IL H E R D E A T H IN 1 9 6 5 . A F T E R W H IC H , L U A N D H E R H U S B A N D C O N T IN U E D T O L IV E A P A R T O U T O F R E S P E C T T O H E R M O T H E R . T H IS S E C R E T W A S T O L D IN B IT S A N D P IE C E S A N D IS O L A T IO N . T H IS S E C R E T W A S P R E S U M E D Y E T R E M A IN E D U N K N O W N T H R O U G H O U T T H E F A M ILY2 4 F I R S T A I D A N D R E D C R O S S E P H E M E R A P R I N C I P L E S O F A B S T R A C T M A T H F O U N D A R T H I S T O R I C T Y P O G R A P H I C S A M P L E S M E T A P H O R I C A L P O E T R Y 0 1 D E C E M B E R 1 9 7 1 J O H N P A G E C O R R I G A N J O H - N P A -G E C O R - R I G -A N T H R O U G H S T O R IE S O F T E N T O L D B Y M Y G R E A T A U N T L U C IL L E , IT W A S R E V E A L E D T H A T F O R T H IR T Y Y E A R S S H E H A D B E E N S E C R E T L Y M A R R IE D . A U N T L U A N D H E R H U S B A N D J E F F H A D A C H IL D E A R L Y IN T H E R E R E L A T IO N S H IP , W H O D IE D A T B IR T H IN 1 9 3 9 . M Y A U N T A N D H E R H U S B A N D N E V E R L IV E D T O G E T H E R , A N D H A D K E P T T H E IR M A R R IA G E A S H R O U D E D S E C R E T F R O M M Y G R E A T G R A N D M O T H E R A N N A M P U H L U N T IL H E R D E A T H IN 1 9 6 5 . A F T E R W H IC H , L U A N D H E R H U S B A N D C O N T IN U E D T O L IV E A P A R T O U T O F R E S P E C T T O H E R M O T H E R . T H IS S E C R E T W A S T O L D IN B IT S A N D P IE C E S A N D IS O L A T IO N . T H IS S E C R E T W A S P R E S U M E D Y E T R E M A IN E D U N K N O W N T H R O U G H O U T T H E 2 F I R S T A I D A N D R E D C R O S S E P H E M E R A P R I N C I P L E S O F A B S T R A C T M A T H F O U N D A R T H I S T O R I C T Y P O G R A P H I C S A M P L E S M E T A P H O R I C A L P O E T R Y 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 SLINN 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 Slinn Bank Bulbs, Fast Bank Digital Type Design Pepa Stick ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstvwxyz 1 2 3 4 5 6 7 8 9 0 @ 1 2 3 4 5 6 7 8 9 0 VINYLABCDEeFGHIJKLMNOPQRSTUVWXYZ 1 2 3 4 5 6 7 8 9 0 SlinnABCDEFGHIJKLMNOPQRSTUVWXYZ 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 42. | PROJECT SUMMARY 81 This grouping of studies examine the comparative visual properties of a given set of two texts. Using a flexible grid and layering techniques the task was to create subtle hierarchy shifts allowing each parts of the text to be illuminated. A designers approach to visual hierarchy reflects his or her personal style, methodology, and training as well as the zeitgeist of the period. Hierarchy can be simple or complex, rigorous or loose, flat or highly articulated. Regardless of approach, hierarchy employs clear (and in some cases subtle) marks of separation to signal a change from one level to another. This grouping of studies was originally prepared for the Hierarchy chapter of the MICA GDMFA studio publication, Graphic Design: The New Basics, edited by program director Ellen Lupton and published by Princeton Architectural Press. The purpose of the book was to reexamine formal aspects of contemporary design and create a guide to basic design principles. SUBTLE CONTRAST GRID SYSTEMS LAYERING HIERARCHY SUBTLE HIERARCHY STUDIES Prison design is about as unglamorous as architecture can get. Corrections agencies want the cheapest cage they can buy; communities want the monstrosities out of sight. Innovation has typically meant anything that will cut costsfor instance, casting an entire prefabricated cell, from the bed frame to the toilet, as a single piece of low-grade concrete. But when British nonprofit Rideout (Creative Arts for Rehabilitation) approached the architect Will Alsop about designing a concept prisonfrom the inside outhe jumped at the chance. If prisons are meant to make troubled men and women into citizens, he won- dered, might there be a social cost to bad prison design? On Alsops first trip behind bars, he passed around wide sheets of butcher paper to a group of inmates, all of them in for at least 15 years, and asked them to draw a new prison cell. What happened next shocked him: they drew the cells they had. A decade or more of life in prison made it difficult to imagine any change in space or routine. They said, It would be too expensive to give us more space, Alsop recalls. Perhaps its more expensive for society not to give you a larger space, he responded. Eventually Alsop scrapped the idea of floor plans and asked them instead to draw the view from an imaginary cell. All at once the men began to draw gardens. In prison, they explained, there is time to watch things grow. Incarceration had not simply rewired their ideas about space, Alsop realized, it had also warped their sense of time. As he spent more time with the men, Alsop began to feel that prison was molding them to prison life, not the life they would one day lead beyond the prison walls. It was conditioning them to live like animals. Design could do something about that, he thoughtand without turning cell blocks into boutique hotels. Instead of a traditional sprawl- ing plan, he imagined the blocks as narrow towers, which would free up space for working gardens, where inmates could get job training.The inmates were also interested in construction and food service, so Alsop set aside space Posted July 17, 2006 By Douglas McGray Will Alsop rethinks prisons with the help of the inmates. Behind the Bars Metropolis Observed on the grounds for building sites and added a restaurant, a low-power radio station, and a barber shop. As Alsop facilitated, the men found they had more and more to say. Exposed toilets were dehumanizing, they argued (and the guards agreed). Many of them had families who traveled long distances to visit, but they had nowhere to stay. Inmates wished they could lock their own cell doorsnot from guards but from other inmates. Alsop suggested doors that lock from the inside and a small prison hotel, and pondered ways to give prison- ers more privacy in the john without compromising secu- rity. This is the way all things should be designed, he explains. Its not about me being some maestro architect and saying whatever Ive designed is good for you. Most radically he abandoned massive cell blocks, replacing them with units to house no more than 14 prisoners, which he believes could encourage a sense of community. While the final product is just a design studyon display beginning in September at the Modern houses are often dismissed as little more than boxes, simple to the point of sacrifice. But as recent back-to-back trips to Chicago and Copenhagen underscored, a lot can be done architecturally with a box. It was purely chance that I ended up visiting Mies van der Rohes Farnsworth House (1951) a couple of weeks before Hanne Kjrholm gave me a tour of the 1962 home that she designed for herself, her husband Poul, and their children. Aside from a few superficial similaritiesthe first is situated on the Fox River, the latter on the Oresund; both feature structural innovations and incorporate elements meant for other applicationsthe two have little in common. Still, I couldnt help but compare them, particularly how they accommodate life within the box. Miess relationship with his client famously soured toward the end, and though he meant to design the houses interiors, he never had that chance. Dr. Edith Farnsworth, the Chicago physician who commissioned the weekend house in Plano, Illinois, complained about feeling on display; she felt like she was fight- ing the structure: The truth is that in this house with its four walls of glass I feel like a prowling animal, always on the alert. I am always restless. Even in the evening. I feel like a sentinel on guard day and night. I can rarely stretch out and relaxWhat else? I dont keep garbage under my sink. Do you know why? Because you can see the whole kitchen from the road on the way in here and the can would spoil the appearance of the whole house. So I Urban Journal By Kristi Cameron Two Modern homes with vastly different personalities show that a lot can be made of a simple rectangle. Accommodating SpacesPosted September 6, 2006 hide it in the closet further down from the sink. Mies talks about free space: but his space is very fixed. I cant even put a clothes hanger in my house without considering how it affects everything from outside. Any arrangement of furniture becomes a major problem, because the house is transparent, like an X-ray. The architect confined the interior functions to a central wall that holds two bathrooms, the kitchen, utilities, and a fireplace. Because he made it of beautiful (and costly) primavera wood, Mies avoided cutting any holes or inserting any hardware into it, hiding schloss hinges behind the doors and positioning electrical outlets in the marble floor. By radically reducing interior walls and all but eliminating the vertical steel structure, Mies produced the perfect platform for experiencing the surrounding landscape.To be fair, Farnsworth knew exactly what she was getting (as a photo of her studying the plans confirms), and the house was strictly designed to be a summer residence, not for full-time occupancy. Even though she had to fight for some essential concessionsfor example, a wardrobe for storing personal effects; Mies only wanted to give her a single hanger in the bathroom for her clothes- Farnsworth did keep and use the house until 1972, when a noisy highway was built nearby and she sold it to Lord Peter Palumbo. Impossible in an urban context, the Farnsworth House was an experiment in transparencyand perhaps the greatest artistic achievement in minimalist architecture. Yet as the saying goes: Its a nice place to visit. Prison design is about as unglamorous as architecture can get. Corrections agencies want the cheapest cage they can buy; communities want the monstrosities out of sight. Innovation has typically meant anything that will cut costsfor instance, casting an entire prefabricated cell, from the bed frame to the toilet, as a single piece of low-grade concrete. But when British nonprofit Rideout (Creative Arts for Rehabilitation) approached the architect Will Alsop about designing a concept prisonfrom the inside outhe jumped at the chance. If prisons are meant to make troubled men and women into citizens, he wondered, might there be a social cost to bad prison design? On Alsops first trip behind bars, he passed around wide sheets of butcher paper to a group of inmates, all of them in for at least 15 years, and asked them to draw a new prison cell. What happened next shocked him: they drew the cells they had. A decade or more of life in prison made it difficult to imagine any change in space or routine. They said, It would be too expensive to give us more space, Alsop recalls. Perhaps its more expensive for society not to give you a larger space, he responded. Eventually Alsop scrapped the idea of floor plans and asked them instead to draw the view from an imaginary cell. All at once the men began to draw gardens. In prison, they explained, there is time to watch things grow. Incarceration had not simply rewired their ideas about space, Alsop realized, it had also warped their sense of time. As he spent more time with the men, Alsop began to feel that prison was molding them to prison life, not the life they would one day lead beyond the prison walls. It was conditioning them to live like animals. Design could do something about that, he thoughtand without turning cell blocks into boutique hotels. Instead of a traditional sprawling plan, he imagined the blocks as narrow towers, which would free up space for working gardens, where inmates could get job training. The inmates were also interested in construction and food service, so Alsop set aside space on the grounds for building sites and added a restaurant, a low-power radio station, and a barber shop. As Alsop facilitated, the men found they had more and more to say. Exposed toilets were dehumanizing, they argued (and the guards agreed). Many of them had families who traveled long distances to visit, but they had nowhere to stay. Inmates wished they could lock their own cell doorsnot from guards but from other inmates. Alsop suggested doors that lock from the inside and a small prison hotel, and pondered ways to give prisoners more privacy in the john without compromising security. This is the way all things should be designed, he explains. Its not about me being some maestro architect and saying whatever Ive designed is good for you. Most radically he abandoned massive cell blocks, replacing them with units to house no more than 14 prisoners, which he Posted July 17, 2006 Will Alsop rethinks prisons with the help of the inmates. By Douglas McGray Behind The Bars Metropolis Observed Modern houses are often dismissed as little more than boxes, simple to the point of sacrifice. But as recent back-to-back trips to Chicago and Copenhagen underscored, a lot can be done architecturally with a box. It was purely chance that I ended up visiting Mies van der Rohes Farnsworth House (1951) a couple of weeks before Hanne Kjrholm gave me a tour of the 1962 home that she designed for herself, her husband Poul, and their children. Aside from a few superficial similaritiesthe first is situated on the Fox River, the latter on the Oresund; both feature structural innovations and incorporate elements meant for other applicationsthe two have little in common. Still, I couldnt help but compare them, particularly how they accommodate life within the box. Miess relationship with his client famously soured toward the end, and though he meant to design the houses interiors, he never had that chance. Dr. Edith Farnsworth, the Chicago physician who commissioned the weekend house in Plano, Illinois, complained about feeling on display; she felt like she was fighting the structure: The truth is that in this house with its four walls of glass I feel like a prowling animal, always on the alert. I am always restless. Even in the evening. I feel like a sentinel on guard day and night. I can rarely stretch out and relaxWhat else? I dont keep garbage under my sink. Do you know why? Because you can see the whole kitchen from the road on the way in here and the can would spoil the appearance of the whole house. So I hide it in the closet further down from the sink. Mies talks about free space: but his space is very fixed. I cant even put a clothes hanger in my house without considering how it affects everything from outside. Any arrangement of furniture becomes a major problem, because the house is transparent, like an X-ray. The architect confined the interior functions to a central wall that holds two bathrooms, the kitchen, utilities, and a fireplace. Because he made it of beautiful (and costly) primavera wood, Mies avoided cutting any holes or inserting any hardware into it, hiding schloss hinges behind the doors and positioning electrical outlets in the marble floor. By radically reducing interior walls and all but eliminating the vertical steel structure, Mies produced the perfect platform for experiencing the surrounding landscape. To be fair, Farnsworth knew exactly what she was getting (as a photo of her studying the plans confirms), and the house was strictly designed to be a summer residence, not for full-time occupancy. Even though she had to fight for some essential concessionsfor example, a wardrobe for storing personal effects; Mies only wanted to give her a single hanger in the bathroom for her clothesFarnsworth did keep and use the house until 1972, when a noisy highway was built nearby and she sold it to Lord Peter Palumbo. Impossible in an urban context, the Farnsworth House was an experiment in transparencyand perhaps the greatest artistic achievement in minimalist architecture.Yet as the saying goes: Its a nice place to visit. While Hanne Kjrholms intentions for her family home were much less lofty, her design is no less purposeful. One of the first things she said about the house was that we should take photos from down low, as the cozy space (the ceilings cant be more than eight feet high) is meant to be experienced from a seated position. And while the Farnsworth house propels your attention outward, the Kjrholm house wraps itself around you. Here, the wood walls are made of humble, untreated pineand rather than being left reverently bare, they are hung with personal items throughout.The room that now serves as Kjrholms office has a collection of global sandals mounted in long rows.The three sides of the house that face land and are surrounded by neighboring structures have relatively modest windows, hung closer to the ground than the ceiling. Only the fourth, water-facing wall is entirely glass.The family had both privacy and an optimal view of the natural surroundings.Though Kjrholm did not design her own door handles as Mies had, she did give them careful consideration, selecting a model intended for ships.Tactile Haitian straw mats (the third set in 24 years) cover the floors.The bedroom was formerly subdivided into a studio by a storage wall of Kjrholms design; a pale mark is still visible where the sliding wall was once positioned.This compact house allowed for a great deal of flexibility as the familys circumstances changed. They are two simple rectangles housing wholly dissimilar programs.The firsta spot for a single woman to escape to on weekends to pursue peaceful interests like poetry and musicwas more suited to architectural experimentation, while the second had to accommodate the unpredictable, evolving, and very real demands of a family. With such different purposes any comparisons of the Farnsworth and Kjrholm houses is ultimately unfair, other than to conclude that though Modernism has popularly been deemed unlivable theres no reason it has to be. Urban Journal By Kristi Cameron Two Modern homes with vastly different personalities show that a lot can be made of a simple rectangle. Accommodating Spaces Posted September 6, 2006 Prison design is about as unglamorous as architecture can get. Corrections agencies want the cheapest cage they can buy; communities want the monstrosities out of sight. Innovation has typically meant anything that will cut costsfor instance, casting an entire prefabricated cell, from the bed frame to the toilet, as a single piece of low-grade concrete. But when British nonprofit Rideout (Creative Arts for Rehabilitation) approached the architect Will Alsop about designing a concept prisonfrom the inside outhe jumped at the chance. If prisons are meant to make troubled men and women into citizens, he wondered, might there be a social cost to bad prison design? On Alsops first trip behind bars, he passed around wide sheets of butcher paper to a group of inmates, all of them in for at least 15 years, and asked them to draw a new prison cell. What happened next shocked him: they drew the cells they had. A decade or more of life in prison made it difficult to imagine any change in space or routine. They said, It would be too expensive to give us more space, Alsop recalls. Perhaps its more expensive for society not to give you a larger space, he responded. Eventually Alsop scrapped the idea of floor plans and asked them instead to draw the view from an imaginary cell. All at once the men began to draw gardens. In prison, they explained, there is time to watch things grow. Incarceration had not simply rewired their ideas about space, Alsop realized, it had also warped their sense of time. As he spent more time with the men, Alsop began to feel that prison was molding them to prison life, not the life they would one day lead beyond the prison walls. It was conditioning them to live like animals. Design could do something about that, he thought- and without turning cell blocks into boutique hotels. Instead of a traditional sprawling plan, he imagined the blocks as narrow towers, which would free up space for working gardens, where inmates could get job training.The inmates were also interested in construction and food service, so Alsop set aside space on the grounds for building sites and added a restaurant, a low-power radio station, and a barber shop. As Alsop facilitated, the men found they had more and more to say. Exposed toilets were dehumanizing, they argued (and the guards agreed). Many of them had families who traveled long distances to visit, but they had nowhere to stay. Inmates wished they could lock their own cell doorsnot from guards but from other inmates. Alsop suggested doors that lock from the inside and a small prison hotel, and pondered ways to give prisoners more privacy in the john without compromising security. This is the way all things should be designed, he explains. Its not about me being some maestro architect and saying whatever Ive designed is good for you. Most radically he abandoned massive cell blocks, replacing them with units to house no more than 14 prisoners, which he believes could encourage a sense of community. While the final product is just a design studyon display beginning in September at the National Centre for Citizenship & Law Galleries of Justice, in NottinghamBritish prison officials have already approached Alsop and Rideout for further thoughts on the idea. We havent Posted July 17, 2006 By Douglas McGray Will Alsop rethinks prisons with the help of the inmates. Behind the Bars Metropolis Observed Modern houses are often dismissed as little more than boxes, simple to the point of sacrifice. But as recent back-to-back trips to Chicago and Copenhagen underscored, a lot can be done architecturally with a box. It was purely chance that I ended up visiting Mies van der Rohes Farnsworth House (1951) a couple of weeks before Hanne Kjrholm gave me a tour of the 1962 home that she designed for herself, her husband Poul, and their children. Aside from a few superficial similaritiesthe first is situated on the Fox River, the latter on the Oresund; both feature structural innovations and incorporate elements meant for other applicationsthe two have little in common. Still, I couldnt help but compare them, particularly how they accommodate life within the box. Miess relationship with his client famously soured toward the end, and though he meant to design the houses interiors, he never had that chance. Dr. Edith Farnsworth, the Chicago physician who commissioned the weekend house in Plano, Illinois, com- plained about feeling on display; she felt like she was fighting the structure: The truth is that in this house with its four walls of glass I feel like a prowling animal, always on the alert. I am always restless. Even in the evening. I feel like a sentinel on guard day and night. I can rarely stretch out and relaxWhat else? I dont keep garbage under my sink. Do you know why? Because you can see the whole kitchen from the road on the way in here and the can would spoil the appearance of the whole house. So I hide it in the closet further down from the sink. Mies talks about free space: but his space is very fixed. I cant even put a clothes hanger in my house without considering how it affects everything from outside. Any arrangement of furniture becomes a major problem, because the house is transparent, like an X-ray. The architect confined the interior functions to a central wall that holds two bath- rooms, the kitchen, utilities, and a fireplace. Because he made it of beautiful (and costly) primavera wood, Mies Urban Journal By Kristi Cameron Two Modern homes with vastly different personalities show that a lot can be made of a simple rectangle. Accommodating Spaces Posted September 6, 2006 POSTED JULY 17, 2006 WILL ALSOP RETHINKS PRISONS WITH THE HELP OF THE INMATES. DOUGLAS McGRAY BEHIND THE BARS METROPOLIS OBSERVED Prison design is about as unglamorous as architecture can get. Corrections agencies want the cheapest cage they can buy; communities want the monstrosities out of sight. Innovation has typically meant anything that will cut costsfor instance, casting an entire prefabricated cell, from the bed frame to the toilet, as a single piece of low-grade concrete. But when British nonprofit Rideout (Creative Arts for Rehabilitation) approached the architect Will Alsop about designing a concept prisonfrom the inside outhe jumped at the chance. If prisons are meant to make troubled men and women into citizens, he wondered, might there be a social cost to bad prison design? URBAN JOURNAL BY KRISTI CAMERON POSTED SEPTEMBER 6, 2006 Modern houses are often dismissed as little more than boxes,simple to the point of sacrifice. But as recent back-to-back trips to Chicago and Copenhagen underscored, a lot can be done architecturally with a box. It was purely chance that I ended up visiting Mies van der Rohes Farnsworth House (1951) a couple of weeks before Hanne Kjrholm gave me a tour of the 1962 home that she designed for herself, her husband Poul, and their children. Aside from a few superficial similaritiesthe first is situated on the Fox River, the latter on the Oresund; both feature structural innovations and incorporate elements