SPD competition & .design domain

SPD (the Society of Publication Designers in NYC) has finally posted the guidelines for their annual student competition.

And remember that new .design domain i mentioned? It looks like all entrants receive a free .design domain. (although I’m guessing it’s just for a year.)



AAUP Book Show Visit

In this case, the AAUP is the Association of American University Presses, so the publishing arms of Universities (like UGA Press) that are some of the prestigious publishers in the US and many are known for their strong book design. AAUP has a competition each year, the 2017 Book, Jacket, and Journal Show. The winning entries then travel around to on view at various pressed, including UGA Press this year. UGA Press has ….multiple designers and production artists on staff and often successfully mentor our interns (for credit, but unpaid). Find their internship info here.

We’ll go check out the show in Friday, Jan. 19 at UGA Press, now located in the main library. << DIRECTIONS. >>

Book design is a particular niche of design or even of publication design very much related to typographic skilss (and often publishers and art directors complain that they can’t find enough skilled junior designers to hire!)

Grid Systems in UX Design

This article is from the  Interaction Design Foundation:

The Grid System: Building a Solid Design Layout

One of the easiest ways to achieve an organized design is to apply a grid system. It’s a tried and tested technique that first found favor in print layout. Low-tech and cheap, this is a great resource for you as a designer–consider it a top-ten tool….Grids in interactive design can also help provide a consistent experience across multiple devices with different screen sizes. Users are happy when they see familiar features laid out as they would expect to find them.

The grid system helps align page elements based on sequenced columns and rows. We use this column-based structure to place text, images, and functions in a consistent way throughout the design. Every element has its place that we can see instantly and reproduce elsewhere. Consider the grids we find in maps. Islands, towns, lakes ll appear on an exact part of a map, on a set of North-South/East-West coordinates. They will always appear in the same place on other maps. A GPS accesses these coordinates to help guide us; imagine the chaos if there were no grid system for it to latch on to and keep us right on the road!….

Clearview: the story of the redesigned the highway signage typeface

Images: Although these two typefaces have the same stroke width to height ratio, the Clearview is designed to allow clear reading of letter shapes and word shapes at the furthest point possible for normal vision.

traffic1In early 2016, the Federal Highway Administration made a controversial announcement, about fonts. Effective immediately, the agency announced, it would rescind its approval of Clearview, a typeface designed to make highway signs easier to read.

(Note that the bottom terminal of the L curves (to help differentiate between the i) in addition to more open counter forms and more extended descenders on letters like g.)

The Highway Administration, which, among other things, oversees federal funding for highway construction and maintenance, had given the typeface provisional endorsement in 2004. Studies had found it more legible, and therefore safer, than the Standard Alphabets for Traffic Control Devices—more commonly called Highway Gothic—which had gone largely unchanged for more than half a century. Many of America’s highway signs were subsequently updated; if you’ve driven in Pennsylvania, Texas, or some 20 other states, you’ve probably seen the typeface yourself. Clearview has both a classroom kind of simplicity and government-issued authority. Its letterforms are a little taller, a little roomier, and—under certain circumstances—more identifiable than the font it replaced.
In 1997, Penn State researchers subjected Clearview to a range of legibility tests. The results were unambiguously positive, showing that Clearview increased nighttime reading distance by as much as 16 percent. In 2001, a team led by Texas A&M transportation researcher Paul Carlson independently confirmed that Clearview improved the recognition distance of highway signs by as much as 12 percent, a difference of 74 feet over Highway Gothic.
That might not sound like much, but 74 feet provides someone driving 70 mph an extra seven-tenths of a second to react.

“Highway signage is the single most visible manifestation of the government in our day-to-day,” he says. “Everybody knows [the old typeface] looks like a dog’s lunch.”

The Smithsonian Institution’s design museum, the Cooper Hewitt in New York, added the font to its collections and celebrated Clearview as “a beautiful example of design as a form of social activism,” because it made highway signs more readable for older drivers.


The New York Times OpEd (written by a Civil Engineering and Infrastructure Professor at Duke) [link below] argues that font licensing might be the *real* reason that permission to use Clearview has been rescinded. In spite of these massive improvements in legibility, states using it have to pay a onetime fee to the firm that developed the face, whereas Highway Gothic is in the public domain so is free.


Complete  article here:
America’s Highway Fonts Got More Drama Than The Bachelor

Related resources:
New York Times: Easy-Reading Road Signs Head to the Offramp

CityLab: America’s Sudden U-Turn on Highway Fonts
Clearview is out, Highway Gothic is (back) in. Critics want to know why.

Highway Administration’s Standard Highway Alphabet (originally developed in 1945)

UK’s Transport type for roadways