South Aiken vs. White Knoll
Ellen Lupton AIGA Lecture
McMaster
Honestly didn’t know they still made typewriters
The sky
The back stairs
My classroom, after class
A Zoo Valdes Unwantable hanging out on my shelf
Fancy Nancy
Handprints at my wife’s school
Well worn: Retiring my original 4GB iPhone
This post was originally posted on September 29, 2010 on Sketchbook B. It’s reposted here as part of a project to move some of my favorite writing to my new site.
I purchased my iPhone just over three years ago. In fact, I purchased it the day Steve Jobs announced the $200 price cut and I snapped up a 4GB model from my local AT&T store that afternoon.
This was a big change for me. I had never really paid for a phone before. I got whatever Nokia was free with the plan… And I rarely used texting, camera or data.
When I first got the iPhone, it seemed like everywhere I went, I was demoing the phone. Everyone wanted to zoom in on maps and flip through pictures.
Several days after I got my new iPhone, my youngest daughter was born. And from the hospital, I took pictures and emailed them immediately to friends and family. (In fact, when my wife went into labor, I found myself without a watch and used the stopwatch to time contractions. It remains the only time I’ve ever used the stopwatch.)
Initially, I wasn’t interested in the camera. I had a high quality SLR and point and shoot. But I found time after time, when I needed a camera, the iPhone was with me. And the high end equipment wasn’t. I got lots of great candid shots with the iPhone.
I also stopped carrying my iPod. While I couldn’t store all my music on the 4GB iPhone, I was able to sync the stuff I listened too most. And found myself slowly using my iPod less and less.
Deteriorating
The first sign that my iPhone was starting to show it’s age was that after about two years, the speaker developed a minor issue where it was hard to hear when there was a lot of background noise. It wasn’t a deal breaker, but occasionally, I was frustrated. I contemplated replacing my iPhone with a shiny new 3G or 3Gs. But I didn’t.
A few months ago, I dropped the iPhone. I had dropped it previously without serious damage, but this time it hit just right… and the face cracked. It still worked. But now, a new phone was going to have to happen soon. At the time, the iPhone 4 was just out and with the reception issues, I decided to wait a little bit. After all, it still functioned fine. Plus the idea of replacing my reliable old iPhone made me a little sad.
A few weeks later, I dropped it again. This time, the screen didn’t crack. But the side bowed out a little bit. The side with the volume was bent so that the volume down button was constantly depressed. So the phone would turn the volume down at random times. My iPhone was no longer functional as a phone. It was time to replace my iPhone.
My new phone
I stopped into an AT&T store and upgraded. A shiny new iPhone 4. Shockingly they had some in stock and the transfer was painless.
The phone is faster. The screen is better. The camera is better. I don’t have to deal with slow data speeds. My reception is better and I haven’t had any of the antenna issues that are so well documented. In every way, the new iPhone is a better device. But, just a little bit, I miss my original iPhone.
How we relate to tech
I’ve had a lot of computers. And iPods. And other gadgets. But the iPhone is the first piece of technology that I’ve had with me constantly. I can take my laptop or my iPad with me, but I don’t always have it. I carried my iPod frequently, but if I forgot it, no big deal. However, my iPhone was indispensable. For 3 years, I carried and used it every day.
As gadgets become more portable, they become more a part of our lives. iPhones - and other smartphones - are becoming an integral part of how we experience, document and remember the world around us. My iPhone was with me for a whole range of monumental events over the last three years - my last year as president of AIGA South Carolina, numerous trips and vacations and the birth of my child. And often it was used to take pictures, make arrangements, get directions and even time contractions. And for that reason, I’ll always have a special place in my heart for my slow, well-worn first generation iPhone. (Even if I love my new phone…)
Delivering Presentations with the iPad
This post was originally posted on April 9, 2010 on Sketchbook B. It’s reposted here as part of a project to move some of my favorite writing to my new site.
I teach a college class on Visual Communication twice a week. So that means that twice a week, I pack up my laptop and haul it to class. It’s not that heavy, but since it is our main computer, taking the laptop wasn’t always convenient. So I figured I’d try using my new iPad (with the VGA adapter) and Keynote for the lecture.
Building the presentation
I’m really impressed with Keynote for the iPad. I was able to create a very simple presentation on the iPad in about 30 minutes. It’s intuitive and very easy to use.
Please note: This version of Keynote cannot do everything that the full version of Keynote can do. There are limitations - typeface selection, limited customization of templates, difficulty importing existing presentations. And the way you sync documents is exceptionally clumsy.
If you are wanting to build an amazingly complex presentation, you’ll need to do it on the Mac. If you need to access an existing library of Keynote or Powerpoint presentations, I’d stick to using the laptop. But for building (or importing) a simple presentation, it’s nice. And considering that it’s $10, I’d say it’s well worth the price.
Hooking up to the projector
The VGA adapter looks pretty simple. Plug it into the dock connector, connect the VGA cable and you are good to go… And for the most part, it is that simple. Be aware that when working from Keynote, video projection doesn’t start until you hit the play button.
When the iPad is in presenting mode, your slides show through the projector and the iPad has a simple forward/back control. And you can simply tap to advance. If you push and hold on the iPad touch screen, a faux “laser” pointer pops up.
My only complaint is that the slide thumbnails are so small. In my classroom, the screen is behind me and over my head, so I occasionally had to turn around to see what slide was being presented.
A screenshot of the presentation screen for Keynote on the iPad.
Will I do it again?
Absolutely. I use relatively simple presentations for my classes. So Keynote is perfect for how I’m using it. Plus not having to lug my laptop to class is nice. I’m optimistic that Keynote will continue to improve on the iPad… But as a lightweight presentation setup, the iPad is absolutely a winner.
Customizing InDesign's Links Panel
This post was originally posted on February 5, 2010 on Sketchbook B. It’s reposted here as part of a project to move some of my favorite writing to my new site.
NOTE: While this page may have useful insights, be aware that it was published more than 10 years ago and may not be relevant for current software versions.
I’m primarily a print designer. So when it comes to linked files in InDesign, I need to know two main things – what is the color space of the linked file and what is the resolution of the file. InDesign CS4 makes it easy to find this info. If you click the arrow in the lower left hand corner of the Links Panel, you’ll see a link information box that gives you all sorts of data about the selected link including color space, actual PPI and effective PPI. (Actual PPI measures what the resolution of the file in its native form. Effective PPI calculates the output resolution based on how it is scaled within InDesign.)
It’s great and very handy, but you can only see one link at a time. And if you are trying to scan a document quickly to find low-res or RGB files, you still have to click on each link. Thankfully, Adobe offers another option. On the Links Panel, go to the flyout menu and select “Panel Options.”
Select “Panel Options” from the flyout menu…
…and you can fully customize the appearance of your Link Panel.
Here you can customize what information is shown in the Link Info Box AND you can add information to show up in the Link Panel itself. Very handy for scanning a document quickly.
Link Panel showing color space and effective resolution.
Soup, Spoons and Social Media
This post was originally posted on November 12, 2009 on Sketchbook B. It’s reposted here as part of a project to move some of my favorite writing to my new site.
I went to Subway last week. I don’t typically eat at Subway, but there is one by my office and I didn’t have much time for lunch. As I walked in, on the door, there was a window cling encouraging me to order soup with a combo. When I got in line, I looked up and there on the menu was an ad encouraging me to order soup. At the register there was another sign.
So I ordered soup.
I grabbed a seat. And realized I didn’t have a spoon. I looked up by the straws and napkins. There were forks and knives, but no spoons. So I asked the woman behind the counter – the same woman who sold me the soup – if they had any spoons. After asking another employee, she confirmed that they had no spoons in the restaurant.
The big picture
It seems both silly and odd that a franchisee would go to all the trouble of putting up all the signs and ads and then mess up something as simple as having spoons.
But I think this type of thing is very common in business. Often, we see people obsess over seemingly insignificant details, only to completely overlook a major issue. They work on the details and lose sight of the big picture.
As designers, we see this a lot.
Clients spend time and energy critiquing minor elements of a design, but often forget to shore up the logistical issues that support a campaign. Marketing and design are critical, but so is customer service and support. Think about my Subway story for a second. The marketing worked. I entered the store. And I purchased soup. However because of a minor – but critical – oversight, I was a dissatisfied customer.
Social media and a lack of spoons
Right now, social media is all the rage. Everyone seems to be talking about how social media can help their business. Worrying that they’ll be left behind if they aren’t on Twitter or Facebook. Consultants are aggressively selling social media services.
But I fear many of these folks are losing sight of the big picture. Social media is a tactic. And yes, it can be an effective and powerful tactic. But as companies develop their social media plans, they cannot forget that it is just the beginning of the customer relationship. Strategically, you need to think through the entire customer experience. What are you going to do with your customers after you reach out to them through social media? How do you want to engage your customers on a continuing basis?
I’m not saying social media is bad or that it isn’t important. There are absolutely uses for social media in business and marketing. Just remember that the social media tactics are only the beginning. You and your company need to prepare for a long-term customer relationship.
Or in other words, when you decide to sell soup, make sure you are ready to provide spoons.
Bob Wertz is a creative director, type designer, Ph.D. student and researcher living in Columbia, South Carolina. He’s been blogging since 2008.
How GREP can save you time in InDesign
This post was originally posted on October 6, 2009 on Sketchbook B. It’s reposted here as part of a project to move some of my favorite writing to my new site.
NOTE: While this page may have useful insights, be aware that it was published more than 10 years ago and may not be relevant for current software versions. Sadly, links to other resources might be broken.
I received a file containing 100 pages of information in a table. The table needed to be placed into InDesign. No problem…
Well, of course there was one problem. Randomly, the lines began with spaces. Not every line, but most lines. So the left edge of the table looked ragged. So how do you take out random spaces at the beginning of text? In a table? Without doing it manually? (Because I have much better things to do than going through a 100+ page document line-by-line…)
What is GREP?
In InDesign CS3 and CS4, you can choose to do GREP find and change. GREP is a text search function originally written for UNIX. Basically, it lets you look for patterns and allows you to do find and replace based on those patterns.
So back to the random spaces…
What I had was a pattern. Find all spaces at the beginning of the paragraph and replace with nothing. GREP was the perfect solution.
Next to the find and change fields are flyout menus (marked with “@”) that give you shortcuts to all of the variables. For example, go to “Locations>Beginning of a Paragraph” and InDesign inserts a “^” into the field.
So I typed “^ ” (there is a space after the ^) in the “Find what” field – which tells InDesign to find one space at the beginning of any paragraph. I left the “Change to” field blank, clicked “Change All” and several thousand instances were changed instantly. Without having to go through line-by-line…
EDIT: Above, I set up the search with the ^ (to find the beginning of the paragraph) and a space after it. And while it works, a reader pointed out correctly that a better search would have been “^\s+” which would have found one or more spaces at the beginning of a line.
What else can GREP do?
I’ve used GREP to replace dashes or periods at the beginning of lines. And GREP is perfect for standardizing the formatting of a phone number across an entire document. GREP is amazingly powerful and you can build a GREP search for anything with a pattern. I’ve only scratched the surface…
You can save queries to be reused. (Several sample searches – including a phone number formatting query – are already saved as a sample searches in InDesign. It’s located at the top of the dialog box.)
InDesign also lets you apply GREP-based character styles – for example, telling it to find all prices in a document and apply a particular style.
It’s probably not for everyone.
You aren’t going to need GREP find/change unless you are doing some pretty heavy duty, long document work like magazines, catalogs and directories.
I’m pretty sure most InDesign users aren’t doing that kind of work. But if that type of project comes across your desk, keep in mind that GREP might be a great – and time-saving – solution for your project.
More resources
Want to learn more about what GREP can do for you? If you do a search for GREP, there are lots of resources out there. Two that I have found helpful:
- A very helpful and well-written PDF from Michael Murphy at The InDesigner. It’s actually about CS3, but it’s very helpful in detailing how to build a GREP search.
- Search using GREP expressions from Adobe’s InDesign help documentation. Provides some great examples of what GREP is capable of doing.
More powerful text placement in InDesign
This post was originally posted on July 29, 2009 on Sketchbook B. It’s reposted here as part of a project to move some of my favorite writing to my new site.
NOTE: While this page may have useful insights, be aware that it was published more than 10 years ago and may not be relevant for current software versions.
So let’s say you have a long text to place into InDesign – a magazine article or a training manual. In talking to some friends who are InDesign users, many of them place the text one frame at a time. But it can be so much easier than that…
Enlargements of InDesign’s text placement cursors. The cursors (and functions) change depending on what additional modifier keys are pressed. From left to right: Manual (default), Semi-Autoflow (Option/Alt), Autoflow (Shift) and Fixed-Page Autoflow (Shift + Option/Alt).
Default behavior…
When your cursor is loaded with text in InDesign, you can place the copy by clicking or by drawing a text box. You load your cursor by going to File>Place or by clicking on a text frame’s overset indicator (the red plus in the lower right “out port”).
If you click on the page, a text frame is created to fill either the page margins or a single column. (You set the margins and column settings when you open a new document.) If you draw a text frame, the text fills the new frame.
One more thing to note about the default behavior. When you are done placing the text, the tool reverts back to what it was before you went to File>Place. So if the Rectangle Tool was selected when you loaded your cursor, after you place the text, the tool becomes a rectangle again. Most of the time, that’s exactly the behavior you want.
Hold down the option key…
(Or the Alt key for you Windows users) If you are placing a long piece of text, you may want to draw a few text boxes and have the story flow between them. In this case, the default behavior of reverting back to original tool is irritating because it forces you to keep switching tools.
However, if you hold down the option key, the cursor stays loaded. You can continue to click or draw frames and the copy with automatically flow between them.
Or the shift key…
So let’s say you have a long training document that’s going to be several pages. When you place the copy, you keep having to add pages and link the text frames. If only InDesign would add the pages and frames for you…
Well, it can. Hold down the shift key when your text is loaded and click. InDesign will autoflow the copy, adding pages and text frames for the entire length of the copy.
Note: If you hold down the shift key and try to draw a text box, the default behavior kicks in and the tool reverts to what it was before you placed the text.
Use the shift key and the option/alt key together…
If you hold down the shift and option keys at the same time and click, InDesign autoflows the copy for that spread only, but it leaves the cursor loaded. If you draw a new text frame instead of just clicking, the copy doesn’t autoflow, but the cursor does stay loaded.
TypeCon 2009 Thursday and Friday Highlights
This post was originally posted on July 18, 2009 on Sketchbook B. It’s reposted here as part of a project to move some of my favorite writing to my new site.
So I’ve been at TypeCon 2009 in Atlanta for the last day and a half. Here are some of the highlights from preliminary workshops and the first full day of sessions.
Historical Calligraphy – This workshop focused on the calligraphic roots of modern letter forms. To demonstrate the process, the instructor, Joey Hannaford – covered the walls with paper and we experimented with letterforms on a large scale with foam brushes and tempera paint. A really engaging way to teach the relationship between historical and modern forms.
A great way to teach the calligraphic roots of modern lettering. On a large scale…
Hatch Show Print – I’ve seen Jim Sherraden’s lecture twice before when he visited AIGA South Carolina. He has expanded his normal presentation and it’s more inspirational than ever. He’s a great guy and the presentation is amazing.
Gail Anderson from SpotCo – Gail gave a delightful talk about her love of type and her history. She also gave a preview of her upcoming book with Stephen Heller, New Ornamental Type, and showed some fascinating typographic videos done by her students. Great presentation.
The “Playroom” – Local Atlanta printer Jessica Germaine brought in her gear to allow TypeCon attendees to experiment with letterpress printing. We were able to use three small presses and a selection of metal and wood type.
Printing my notecards on a small letterpress.
Jessica walked us through all the details and helped with the process. I was able to select and set my type and made some Sketchbook B notecards. I’d never had an opportunity to work with letterpress and the whole experience was amazing.
My completed notecards.
Coming Up – I’m looking forward to the next two days of sessions. Lots of stuff on the schedule, including… Armin Vit from Under Consideration will be talking about the TypeCon identity for this year. REM’s Creative Director Chris Bilheimer (and a former AIGA South Carolina speaker) was added to the agenda. Also on the schedule is a two hour panel discussion on web typography with a various foundries and designers. I’ll post more highlights as the weekend progresses.
Practicing my ABC’s. Experimenting with calligraphic letterforms on a large scale in a pre-TypeCon Workshop.
Originally published on Flickr.
Sketchbook B: The Bookcase
This post was originally posted on July 6, 2009 on Sketchbook B. It’s reposted here as part of a project to move some of my favorite writing to my new site.
A few months ago, I came across Ponoko, a New Zealand-based online fabrication service and marketplace. People make everything from jewelry to furniture. Ponoko offers a marketplace where people can sell products or plans.
I decided to make a small bookshelf for my office based on a bookshelf I made in Shop Class in the seventh grade. After signing up for a free account, I downloaded the “Making Guide” that explained the whole process.
My bookshelf, assembled, with an assortment of books and DVDs.
Basically, you upload an Illustrator EPS with your cuts and pick your material. They laser cut the material and ship it to you. Using their template, I marked my cuts on an Illustrator file. You use different line colors to mark cuts and burns. Once I was done, I uploaded the file to their server and selected materials. Materials include various types of wood, acrylic, metal, felt, leather and cardboard.
I had one minor problem when ordering. I planned to have the piece made at their San Francisco shop to save on shipping. So I designed the shelf to use 6mm bamboo that was only available from the San Francisco shop, but when I went online, I could only use the New Zealand facility which didn’t have the material I wanted. (The San Fran shop is relatively new and I’m assuming, slammed.) So I had to change to another 6mm material - an Italian Poplar plywood - and pay a little extra for the shipping.
A close-up of the laser burning, The edges are darker from the laser cutting. The “B” is burned in at medium strength.
It was a few days before they started processing the job. But when they started working on it, everything progressed quickly. And once the shipped it, it once took three days to get here from New Zealand. (And I didn’t pay for express shipping.) Total time from order to arrival was about two weeks.
I opened the box and started to assemble it. When assembling, I figured out that I made a couple of very minor measurement errors that made a couple of pieces a tight fit. A little sanding and filing and everything fit.
Based on the prototype, I’m going to make some changes to the design. The slots need to be slightly bigger. And with heavier books, there is some slight bowing, so I’m going to modify the support under the shelf. (Or look at a thicker material).
If you are interested in designing and creating 3-D objects, I highly recommend looking into Ponoko. The online experience and process is very well thought out. Everything is documented so it’s very accessible to designers who maybe aren’t familar with the fabrication process.
Update on 2009-07-08 13:10 by Bob
So, it’s really easy to switch to the San Francisco location… I was just looking in the wrong place. I just published a follow-up post to explain how to switch between fabrication locations.
Evolving Screen Design: Star Trek and the Viewscreen
This post was originally posted on June 1, 2009 on Sketchbook B. It’s reposted here as part of a project to move some of my favorite writing to my new site.
One of the defining design characteristics of a ship in the Star Trek Universe is the forward viewscreen. And in the J.J. Abrams reboot of Star Trek, the entire concept of the viewscreen has also been reimagined.
By looking at how our vision of the future has evolved, we can often learn more about how we as a society have changed. And I think by looking at how the concept of the viewscreen has changed over the last four decades, I think we can draw some conclusions about how we have changed as culture and where we are going.
The Original Viewscreen
In Gene Roddenberry’s original Star Trek TV Show, the view screen was primarily a giant screen showing the outside. Very rarely, the screen would be used to show scientific data.
At the time, in the late 60’s, that concept was enough to seem futuristic. TV’s were still a relatively young technology. A screen that size providing live pictures with the ability to show content from the ship’s computer… That was the future. Computers were room-sized devices with limited capabilities. The whole concept would have seemed very advanced.
The expectation was that interaction with a large viewscreen would be passive. It was something to watch, more like a TV than a computer interface.
To the big screen and back to the small screen
When the Star Trek series moved to the big screen in the late 70’s and into the 80’s, the viewscreen concept was only slightly refined. The expectation was still that the viewscreen provided a passive experience. Some odd touches were added, like a digital clock over the screen.
With the success of the movie franchise, Star Trek: The Next Generation launched into syndicated television. Because the series took place even further in the future, they took the established concepts and “enhanced” the technology. The viewscreen evolved, but only from a technical level. The screen was now “holographic.” (Note: I’m assuming this means the images were more realistic.)
The way the crew actually used and interacted with the screen was still passive and static. And through the three series that followed, the viewscreen never really did much more than provide pretty pictures.
Reimagining the Viewscreen
When Abrams and crew started work on the reboot, they faced a challenge of honoring the style of the past and while projecting a modern, futuristic feel:
We had the weird challenge of having to take a 43 year old vision of the future and make it a current vision of the future. I wanted the movie to feel as tactile and tangible and as real as possible, but given what our computer interfaces are like now, its preposterous to assume that hundreds of years from now there won’t be some version of holographic screens and things that seem almost ubiquitous now in science fiction.
-Abrams in an interview with Memory Alpha
We as a culture have evolved to expect more from our “viewscreens.” Many of our TV channels have crawls and information graphics. Look at what CNN produced during the elections or what ESPN News does on a daily basis. Our computers provide constant updates. Even our cars and phones have interactive interfaces. We expect modern screens to do more than just show us pictures. We expect them to inform us.
That old concept of a passive viewscreen has been discarded in the new Star Trek movie. The giant viewscreen acts as a heads up display for the ship. Warnings, current speed, the health of the away team, status of the ship and more appear over the top of the screen. And the information that is provided is contextual, only appearing when needed or applicable.
We have become a viewscreen culture
Looking at the new Star Trek viewscreen, it feels futuristic. And what that really means is that it feels like a radically advanced version of where we are now.
I think that we have become a viewscreen culture. We have become comfortable interacting with screens in a way that wasn’t comprehended in the late 60’s and wasn’t fully understood even in the 80’s and 90’s. In fact, we are more than just comfortable. We now expect our screens to provide us information and feedback.
As the web, digital television, phones and computers evolve, our cultural expectations of the screens and surfaces around us with continue to change and evolve. We as designers are already starting to see this. People expect more from their web sites and other digital interfaces. They expect these tools to interact with them. To provide the information they need when they need it.
What designers need to remember is that this is just the beginning. People will continue to become more and more comfortable with screen-based content. And we must continue to push the limits of the medium to provide the interaction and capabilities that our society is beginning to expect.
Bob Wertz is a creative director, type designer, Ph.D. student and researcher living in Columbia, South Carolina. He’s been blogging since 2008.