![]() It is a simple plugin (83 lines of codes including comments) with no configuration screen needed. Robert L.I have created a new plugin, WP-ShowHide. Let’s face it, this type was made for you and me…. Les’ eponymous Usherwood, and Cartier Book by Rod M c Donald also make appearances. Much of this issue is set in Goodchild and Brown by Nick Shinn, R.G.D., MGDC. Hobart, MGDC) for the oh-so-apt Big-O cover and to my Circle colleague Susan McWatt FitzGerald, MGDC for this publication’s design and her review of Canadian Robert Bringhurst’s The Solid Form of Language and The Elements of Typographic Style. To this end, we owe special thanks to this issue’s eloquent, talented (and patient) contributors: Matt Warburton, FGDC in Vancouver for his recollections (and production coordination) Nick Shinn, R.G.D., MGDC in Toronto for his insightful articles and the supply of unique fonts Val Fullard for her piece on Mambo maritimer Rod M c Donald for the article and font Cartier Book Walter Jungkind, FGDC, of Edmonton for his scholarly call for a new alphabet to suit these times Richard Hunt for his words of wisdom regarding scalability the various contributors to the call for ‘character spaces ’ our production sponsors, StoraEnso, Blanchette and Pacific Bindery book designer Zab (E.A. ![]() The purpose of this journal is to provide a forum to encourage dialogue, to promote excellence in design and visual communication, and to help record the history and development of graphic design in Canada. What you’ll discover in these pages is only the tip of the iceberg, as regards typographis canadensis-a look at Luc Devroye’s extensive website at will bring you to a remarkable online collection of information and links-though you’ll be on your own in sorting the bona fide types from the ‘rasterbaters and pixel-jockies,’ as one cynical typophile labels the under-thirtysomething set. Arguably, there’s an aesthetic that grows in the vast spaces that separate Canadians (we can claim some of the widest character spacing on the planet) across the breadth of our five time zones. Good type has always had to do with the use of space, a rare commodity in much of the crowded world, yet something we have in abundance up here. In this issue you’ll encounter a variety of Canucks and their types, and you’ll read about others (past and present) who have left their imprint on our typology and communications landscape. Typecasting Canada, Canadians, and their ilk is also no easy thing. This journal (at long last) in your hands is a manifest attempt at same, even if it has had to skim past many a type-A typographer between Antigonish and Abbotsford. We are a lettered people, but admittedly, attempting a definitive ‘Canadian type issue’ may have been an impossible idea. ![]() ALSO AVAILABLE Universal Principles of Design ISBN: 978-1-59253-007-6 Making and Breaking the Grid ISBN: 978-1-59253-125-7 Design ElementsĮh to Zed? Some contend that up here in the great, far-flung, white-space reaches of our strong-and-free O Canada we have our own true-North beginnings, ligatures and ends. Tondreau has been involved as a mentor in the AIGA/NY Mentoring Program and has served on the board of directors of AIGA/NYC. She currently teaches design courses at Fashion Institute of Technology in New York. ABOUT THE AUTHOR Beth Tondreau is the founder and principal of BTD, a small design fi rm that works with publishers to design books and book jackets and small businesses to develop logos, identities, and websites. Not only does this book provide solid rules and lessons for working successfully with grids, but also it demonstrates, using real-world examples, different kinds of grids and how to occasionally break the rules to achieve truly inspirational design. From working with one column to multicolumn formats using type, color, images, and more, Layout Essentials provides the best information on how to achieve great design with 100 strategies and examples. The fi rst one-stop reference and resource for building and using grids in all design projects Grids are the basis for all design projects, and learning how to work with them is fundamental for all graphic designers.
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