Local Printing and Binding Options

Thanks Danielle Rhodes for all the footwork on this!

UPS Store, Central Entrance - Gorgeous Canon Printer (BEST PRINTING OPTION)
NO BINDING OPTIONS
Least Expensive Pricing Option, Ask for Tyler or Rachel

UPS Store, Kenwood & Arrowhead - (BEST BINDING) DON'T PRINT HERE-permanent line through drum until fixed
BINDING OPTIONS:
1/2" spiral coil (on the spot)
all sizes uni-bind steal binding (2 hours)
plastic comb (on the spot)
thermal binding (5 business days)
Saddle Stitch
Least Expensive Pricing Option

Duluth, Rule and Binding  207 1st Street W - PRINTER BROKEN, usually print Color
BINDING OPTIONS:
1/2" spiral coil (on the spot)
plastic comb (on the spot)
Stitching and Hard Cover Options (5 business days, $$)
Wire Binding (Professional, on the spot)
Velobind / SecureBind (on the spot)
Saddle Stitch

Paper Hog, Lake and 1st Street -
Expensive Pricing Option, Friendly and Helpful
BINDING OPTIONS:
Spiral Coil : Variety of Colored, Clear, and Black Large / Small
Saddle Stitch

Office Max, Central Entrance - NICE PRINTING OPTION
Inexpensive quality printing, Ask for Doug during regular business hours
BINDING OPTIONS:
Spiral Binding all sizes
Comb Binding
Saddle Stitch

UMD School Store - Terrible Printing Option, Nice Binding and CD Perks
Most Expensive
BINDING OPTIONS:
Spiral Binding all sizes
Comb Bind
Saddle Stitch
Perfect Binding - Canvas Tape


**For Best Quality, always print a test sheet with rich blacks and true colors on correct paper.
Allow 2 business days, just in case
Always check alignment on both sizes by holding to light
Use a bleed and cut marks (indesign files) for optimal cutting
Use smooth color copy paper rather than a texture (unless using an ink-jet printer).

Cool Website for Inspiration

Check out this website. It called the Do Lectures and it's a variety of people speaking about what they do. And, they usually do cool things.

http://www.dolectures.com/about-do/

You should look at this lecture in particular by Geoff McFetridge who does motion work and general graphic design work. It's an interesting lecture and inspiring.

Lecture by Geoff McFetridge

Book Design and Binding Examples

These are just a few book design and binding examples from some great inspirational books I found:

More Paperwork by Nancy Williams
Great Design Using Non-Traditional Materials by Sheree Clark and Wendy Lyons

book_examples.pdf

Example of Logo Development Process

Here is an example of the process for logo development:

blackwood.pdf

Type Rules for Logo Development

1. Look at the form: How does it complement the mark?
2. Look at how the characters work together. Check your negative space. (particularly with logotype/wordmark, pay attention to tracking, kerning, leading)
3. Legibility--it needs to read at all sizes (really thick and thin strokes are probably not a good idea)
4. How does the type work along side the mark--build equality between the mark and the type
5. Don't be afraid to change the letterforms to fit your idea and with the mark--customize
6. Check style, family, creator, use, history of typeface--does it fit with your intended meaning
7. Look very closely at the forms--this will give you some clue as to how well the face is made
8. Build harmony/balance between mark and type
9. What does the form of the face say about the idea? i.e. A community-focused project might call for a softer humanist typeface like Gill Sans or an accessible and familiar typeface like Helvetica

10 Rules with which to Check your Logo

From the book, Logo Design Workbook by Sean Adams, Noreen Morioka with Terry Stone

1. Answer who, what, why?
2. Identify, don't explain (should not literally describe the client's business--it identifies the company and reflects it's attitudes and values)
3. Understand limitations (trying it out)(a logo can't make a company good)
4. Be seductive
5. Make mnemonic value* (memorable)
6. Pose a question (make compelling)
7. Design for longevity (don't make too trendy)
8. Make the logo the foundation of the system (everything else should work with it: type, imagery, etc.) **
9. Design for a variety of media
10. Be strong

* First we see shape and color, second we put it in historical context, then we associate a meaning to it, then we make an emotional connection based on experience and memory

** A visual system is derived from the logo. It does not copy the mark's form but complements it. The visual system will include guidelines for usage of color, typography, imagery, copy style, and product usage.

Weekly Inspiration

This is cool stuff. Little & Co., a Minneapolis design firm has an interesting website where they talk about their process for branding and other things. Check it out: Little & Co.

One of their recent personal projects is all the rage. They spent time going around the country asking big-name designers what design inspired them and where they design going next. Take a look at these ongoing interviews at: Thirty Conversations about Design

Online Printer Possibilities

Project 3 Examples

What it will be:
Holiday_Style_Guide.pdf


Symbols:
logos.pdf

Typographic Styling:
type_styling.pdf

20 Typographic Rules (If'n you need reminders)

From Experimental Typography by Rob Carter (with some of my own commentary)

1. For optimum legibility, choose classical, time-tested typefaces with a proven track record. (Can be more contemporary but should be designed by legit people like Tobias Frere-Jones)

2. Be mindful not to use too many different typefaces at any one time (unless that is part of your concept--otherwise, usually no more than two maybe three per campaign)

3. Avoid combining typefaces that are too similar in appearance

4. Text set in all capital letters severely retards reaading. Use upper-and lower-case letters for optimal readability (lower case letters are more interesting anyway)

5. For text type, use sizes that according to legibility studies prove most readable

6. Avoid using too many different type sizes and weights at the same time

7. Use text types of book weight. Avoid typefaces appearing too heavy or too light (I see alot of the too light lately)

8. Use typefaces of medium width. Avoid typefaces that appear extremely wide or narrow in width

9. For text type, use consistent letter and word spacing to produce an even, uninterrupted texture

10. Use appropriate line lengths. Lines that are too short or too long disrupt the reading process

11. For text type, use line spacing that easily carries the eye from one line to the next

12. For optimum readability, use a flush left, ragged right type alignment

13. Strive for consistent rhythmic rags

14. Clearly indicate paragraphs, but be careful not to upset the integrity and visual consistency of the text

15. Avoid widows and orphans whenever possible

16. Emphasize elements within text with discretion and without disturbing the flow of reading

17. Always maintain the integrity of type. Avoid arbitrarily stretching letters

18. Always align letters and words on the baseline

19. When working with type and color, ensure that sufficient contrast exists between the type and its background

20. (Once you've learned a thing or two more about type and image/design in general, then break the rules as much as possible.)

8.