Custom Script For A Packaging Line

I am showing this project as a example of what is involved to create lettering for a packaging line. The design director requested several different styles of lettering based on samples from my website. After the styles were created the project was put on hold due to product manufacturing and flavor issues. Sometimes beautiful design work does not make it to the shelf due to legal issues.

When I develop custom scripts I do a lot of quick practice writing to learn flow of letterforms. I often use many sheets of paper to get something that I can scan and use for drawing templates in Illustrator. The 3 images below are what I used for drawing templates on this project as they provided the information needed for a starting point.







This screenshot is a good example of what happens while drawing in Illustrator. I first start with a single line, create an offset path and refine the letter shapes by adding thicks and thins. Next I will do variations of the letters so the client will have different versions to choose from.



This image shows variations for the word Truffle including the difference between the template image and the vector art. The drawing template is just a starting point. Sometimes what may look good in the template will not work when creating the finished lettering. I am basically using the drawing templates as layout notes so I understand where to loop a letter, bend or connect it.



These are the first 2 styles created for the project. After reviewing these styles the client requested a less traditional style.



This is the 3rd style created and the series that ended up on the comp packaging.

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Awesome Organic Type Designs For Inspiration

More and more designers are getting into creating their own fonts these days. I posted some tutorial that covers pretty much what you need if you are also into it or you can also find tons of tutorials off the web. Looking for inspiration to start my own font designs, I collected these awesome organic font designs for inspiration - Enjoy





















Font:http://www.theorganictype.com/

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Typography Designer Alan Ariail Under The Spotlight


Alan Ariail
is a Typography Designer who has created famous logo types such as: Simply Orange and Nut Harvest. He studied painting and drawing in college. But found out soon enough that his real passion and ability was in type designs. Let's have a chat with him!

TSD: Hi Alan Ariail, it's a pleasure to have you here on Think Smart Designs. Tell us a little bit about yourself, where you come from and how your passion for typography started?

Hello,
Let me start by saying I am very impressed with your Think Smart Designs blog. It's truly an amazing site for visual inspiration and I am honored to do an interview with you.

I was born and raised in the Chicago area. I currently work as a freelance lettering artist in my home studio in Palatine located 35 miles northwest of the city. I have always had strong interest in lettering. I remember penmanship classes in grade school and I am certain the early handwriting lessons provided me with interest in the alphabet and letterforms.


(Mini-Wheats (2005) Of the numerous commercial projects I have worked on over years Mini-Wheats was one of my favorites. On this project I worked with Christine Kennedy a phenomenal designer at Schawk! With her direction I created and refined a solid piece of lettering that still holds up as a recognizable image after years on packaging, in commercials, print media and the internet.)


TSD. Did you go to school to get a degree or you are a self taught designer?

I am basically self taught in the lettering arts. I studied painting and drawing in college and earned a BFA from the Univ. of WI, Oshkosh in '80. After college I wanted to be a commercial illustrator but my natural ability with type design lead me to early opportunities at an ad agency and then a packaging company.

In the early mid 80's my lettering portfolio allowed me to get into the Chicago advertising art studios as a custom letterer. Initially as a staff artist and then freelance on commission. The studio environment taught me how to work under the extreme deadline pressures. There were no Mac computers back then with no command "Z" to knock out quick revisions. Every lettering treatment I produced had to be meticulously drawn by hand using French curves, flexible curves, Rapidograph pens and speedball pens. Full color lettering art was created with blue lines, film overlays, rub-down transfers and an airbrush.

While at the ad arts studios I refined both my lettering and business skills. Besides just creating lettering I learned how to work with artiist reps, clients and pricing structures. By the mid 80's the Mac computer with Adobe software had arrived and some of the area advertising arts studios started to go out of business. Times were changing and I learned how to use new technology to create lettering for digital output. By going digital I was able to handle a higher volume of lettering projects. I had an artist rep with accounts for McDonald's, Taco Bell and NBA properties. In addition to my reps workflow I began taking projects from packaging and design firms in Chicago. I produced an unbelievable amount of custom lettering at that point in time. My art rep eventually retired and I was working exclusively with packaging firms producing custom lettering for food accounts.

TSD. You have created some very famous logotypes that are well recognized today like: Nut Harvest and Simply Orange... How do you come up with your ideas?

I have been fortunate for many years to work with very talented designers who use my ability to produce lettering for their design projects. There is always an exchange of ideas and sometimes it takes many versions or refinements to produce lettering that will be successful for the client needs, the product and market place. If lettering is not readable it fails.

From my early days to present I have always made lettering readable for a variety of sizes and media applications. Commercial lettering has to be recognizable for the human eye when it is viewed on the internet, a billboard, television commercial, print media or a package line on the store shelf. When developing a lettering treatment I usually include variations of letterform shapes in an attempt to find the the best visual solution for the human eye to comprehend,

As for generating ideas I often create a lot of quick rough sketches to send to a client as a starting point. I believe it is best to try a variety of quick ideas and thoughts than to put a lot of time in one or two refined sketches that may or may not work. Sometimes a client will send me sketches of their package design and I do preliminary studies which are scanned for use as templates in Adobe Illustrator. All the meticulous refinements and drafting happen while drawing in Illustrator.




(Nut Harvest (2004) After years of creating the Nut Harvest lettering it continues to hold up visually as well designed type treatment. The sketches are good examples of tight and meticulous pencil concepts for presentation to final art.)

TSD. Is Typography one of your main passions or do you work on some other design fields?

Custom lettering is my fine art form and I never grow tired of it. I am now in my early 50's and I'd love to do this another 50 years or more. There is always something new to try and to look forward to.

My other design interest is the botanical garden that surrounds my home. I've been involved with this landscape design for over 10 years. There are textures, colors and patterns that inspire me. The garden always evolves and changes as with life.



(Hey Hey My My Tattoo Lettering has to be readable no matter if it's printed on a commercial packaging line or a personal request for a tattoo. The client for this project wanted an interlocking script with flourishes on top and bottom. A lot of rough sketch studies had to be created to find a readable solution to fulfill the clients request.)


TSD. What programs do you use to digitize your work?

I use Adobe Illustrator and Photoshop for the majority of the lettering that I produce. I also use FontLab Studio and Fontographer when I am requested to design a typeface. What I find interesting at this stage of my career is I now use antique and hand carved writing instruments for some lettering projects. I recently started playing with vintage fountain pens from the 1900's -1930's including hand carved bamboo pens and brushes. I am always searching for methods that are more spontaneous and looser then when I draw with a Wacom pen and tablet.


(Milepost (2005) This example shows the importance of creating variations. A consumer has to be able to read the lettering at a quick glance. It's always a matter of trial and error to find a solution that will work for the package design and market place.)

TSD. Saul Bass once said: "If you want to be a good designer you have to be a good drawer" What are your thoughts about it? Do you agree with that statement?
I believe it is important to draw a lot to communicate ideas. There are so many different drawing styles in the world we live in. Perhaps its best for an individual to develop a style they feel natural with and one that they can do a lot of.


TSD. Are you always happy with your designs? is there anything out there you wish you have done differently?
It's a great feeling when a client is satisfied with the lettering I produced and everything goes smoothly with the package or product. I am accustomed to the ups and downs of the business. There are times when a beautiful lettering piece will not get used due to a focus group decision, a marketing name change, or a legal matter. I honestly can not recall any lettering project I would have done differently.


(Chocolates. My lettering roughs are attempts to find rhythm and flow of letterforms. The rough for Chocolates was created with a then scanned for use as a template in Adobe Illustrato. A single line was drawn over the template, outlined, reshaped for thickness and finessed for final art.)

TSD. Are you involved with any design communities? How important is it to share ideas with some other fellow designers?

In years past I have been very low key. Basically a one man studio working long hours and taking on as many projects as possible. Then about 6 months ago I started putting effort into The Art of Hand Lettering blog. Since then I have had a number of inquiries from young designers and students about lettering. The inquiries turn into discussions about the realities of the freelance business, dealing with deadlines, keeping a positive attitude, reliability, producing high quality work, developing a natural style and being tenacious.

It is very rewarding to help people better understand the business side of the profession as opposed to discussing some lettering technique or a filter in Illustrator. This is something I hope to continue doing as the years progress. Perhaps some day I will have the opportunity to lecture or talk to groups of people about the process of lettering from scratch including concept sketching, spacial relationships of letterforms, legibility, rhythm and flow.


TSD. Is there anyone who inspires you? Any new type designer we should keep our eyes on?

There is so much great lettering talent in the world and very easy to access it all on the internet. The Best of 2009 at LetterCult is an excellent site to view for the best lettering happening at present.

http://www.lettercult.com/archives/1271



(The Amazing SB (2009). This is a personal lettering piece. After many years of lettering for consumer packaging projects I wanted to create art with no commercial restrictions. What started out as a quick sketch evolved into a complex freeform lettering treatment with all swashes connected to one another.)

TSD. Are there any books you would recommend our readers? like ,"THE MUST HAVE TYPOGRAPHY BOOK"?

Besides viewing a variety of type, lettering, calligraphy sites and blogs I always look forward to viewing Print's Regional Design Annual as well as Communication Arts, HOW and other industry publications. I have looked at many print, packaging, logo and type design books since first getting into the business. The one book that still stands out is MARKS New Directions in Logo Design which goes back to the mid 80's. It showcases the work of Jay Vigon who at that time documented his rough concept sketches and the final art on his projects.



(Simply Orange(2000) This is one of many projects I worked on with Linda Voll of Murrie, White, Leinhardt Associates during a two decade period that began in the mid 80's. Linda would send me her roughs in the evening and I turned over a variety of styles to her within a day or two. My relationship with Linda was the equivalent of Lettering Heaven. I created beautiful award winning lettering for her projects while also refining my skills to a very high level.)

TSD. Besides looking at those well known design labels you've created at every major grocery store, where else can we find you online?
I have a website, a Flicker photostream and the Art of Hand Lettering blog. At some time in the future I hope to have a site that offers prints of custom lettering I create. I might need a slow period to devote some time to this project. At present I am always dealing with new lettering requests and multiple deadlines. That's life in the lettering biz.

http://alphabetguy.com
http://www.flickr.com/photos/alphabetguy/
http://custom-lettering.blogspot.com/

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Great Political Posters That Changed U.S. History

We all know that pictures speak a thousand words - and these posters, with their bold illustrations and persuasive slogans, drive that point straight home. Since the early 20th century, civil rights advocates, military recruitment officials, political agitators, grassroots community leaders, and student activists have all utilized posters in order to propel their messages into the mainstream. Here, a look at some of the most memorable, widely disseminated pieces of political art in U.S. history.


1. Rosie the Riveter "We Can Do It" Poster
Following the attack on Pearl Harbor, men were enlisting in the military in record numbers, leaving a void in the work force. To address the issue, the government issued several propaganda posters beckoning women to put their domestic duties aside and seek out jobs at factories, construction companies, and shipyards, becoming streetcar conductors, taxi drivers, and railroad workers, and foraying into other typically male-dominated realms. The most prominent poster featured an image of the fictional character "Rosie the Riveter." Illustrator Norman Rockwell created this now iconic image of Rosie, which was originally published on the cover of the Saturday Evening Post on May 29, 1943. In the illustration, Rosie is pictured in a blue jumpsuit with one sleeve rolled up to reveal her flexed bicep and her hair wrapped in a polka dot scarf, with the words "We Can Do It!" floating atop in a comic book-like speech bubble. Thanks to images such as this one, the female workforce rose from 27% to 37% from 1940 to 1945.


2. John Fitzpatrick's Che Guevara Poster In 1967, Irish artist John Fitzpatrick created this striking image of Che Guevara, the Argentine Marxist doctor, thinker, and revolutionary who served as Fidel Castro's second-in-command during the Cuban Revolution, To create the poster, Fitzpatrick utilized an image of Guevara taken by Alberto Korda, Castro's official photographer, at a memorial service in 1960. When Fitzpatrick saw Guevara's image in the German magazine Stern, he decided to interpret it and create a poster that could be widely disseminated and could raise awareness about El Che's efforts in Bolivia, where he was leading another revolution.


3. "Warning! Our Homes Are In Danger Now!" World War II Poster Produced by General Motors in 1942, this image depicts a Luger-toting Adolf Hitler and a bloody knife-wielding Japanese man (presumably a reference to Emperor Hirohito) hovering over a globe, their hands clawing the surface before them and their sights set on a map of North America. Meant to instill a sense of fear and urgency among the masses, the poster features the word "Warning!" at the top and the message "Our Homes Are In Danger Now!" along the bottom. Though similar propaganda posters were issued throughout the course of World War II, this was by far one of the most terrifying, sensationalist images utilized.


4. "Boycott Grapes: Support the United Farm Workers" Poster In the summer of 1972, Arizona lawmakers passed a law that made it illegal for farm workers to go on strike or lead any boycotts. In response, Mexican-American United Farm Workers of America founder Cesar Chavez mobilized the masses, climaxing in a massive boycott the following year, when the UFW's three-year grape contract expired and many grape growers chose to make under-the-table deals with the UFW's opposition, the Teamsters Union, an organization that didn't protect workers' rights. In response to these injustices, artist Xavier Viramontes created this poster in 1973, which features an Aztec warrior squeezing blood out of red and green grapes. The poster became a key visual element in Chavez's grassroots efforts which, in turn, proved rather effective: according to a Louis Harris poll taken in 1975, 17 million Americans were boycotting grapes at the time.


5. "Silence Equals Death" Poster In 1984, when the Center for Disease Control and Prevention revealed that 4,177 AIDS cases had been reported in America, then-president Ronald Reagan remained silent about the health crisis and instead seemed to silently agree with the views of right-wing hate monger Pat Buchanan who, in 1983, stated that AIDS was "nature extracting an awful retribution" on homosexuals. In 1987, in order to raise awareness about HIV and AIDS, six New York-based gay activists formed the Silence = Death Project and began distributing these posters, featuring the "Silence = Death" slogan beneath a pink triangle, which was meant to reference the Holocaust, during which homosexuals were forced to wear inverted pink triangle badges in Nazi concentration camps. The posters underlined a sense of urgency by drawing these parallels and making people understand that an open discussion about safe sex was the only way to save lives. The logo and the slogan were later adopted by the non-profit organization Act Up, which continues to use them to this day.


6. "I Want You for the U.S. Army" Poster
Created by James Montgomery Flagg, this portrait of Uncle Sam beckoning the masses to enlist in the U.S. Army originally appeared on the cover of the July 6, 1916 issue of Leslie's Weekly. Over four million copies of the image were printed in poster form between 1917 and 1918, at the dawn of World War I. A slightly altered version of the poster was also used during World War II, making this perhaps the most popular and iconic image used in U.S. political propaganda.



7. "Unity In Our Love Of Man" Poster
This piece, which depicts a young Vietnamese boy giving his younger brother a piggyback ride through the fields, was one of several posters designed, printed and distributed by California student activists during a series of protests against the Vietnam War printed at the University of California at Berkeley between 1968 and 1973.



8. Huey P. Newton Poster In this dramatic photograph, taken in 1967, the Black Panther Party's Minister of Defense and one of its founders, Huey P. Newton, is pictured sitting atop a throne-like wicker chair, with a rifle in his right hand and a spear in his left. Decked out in a black leather jacket, a black beret, and military boots, Newton stares at the camera defiantly, driving home the BPP's message of self-defense. When Oakland police raided the BPP headquarters in the fall of 1968, following a third degree voluntary manslaughter conviction for Newton, they ravaged the space, leaving it ridden with bullet holes and destroying a life-seized poster of this very image. Undeterred, young radicals continued to taking to the streets, hanging up posters such as this one on their walls and distributing them at "Free Huey" rallies.



9. "I Am A Man" Poster In March 1968, after the accidental deaths of two local African-American sanitation workers, the black community in Memphis, Tennessee prepared a major strike to fight for their right to unionize. Placards bearing the words "I Am A Man" in bold red letters were printed for the sanitation workers strike, which was held on April 3rd. It was there, before the 1,300 workers gathered at the Mason Temple in Memphis, that Reverend Martin Luther King, Jr. delivered his famous "I've Been to the Mountaintop" speech. The following day, the civil rights icon was assassinated. Dr. King's riveting final speech and the memory of the posters bearing the words "I Am A Man" continue to inspire civil rights activists.

10. "Give Her Of The Fruit" Women's Suffrage Poster Designed by Buffalo, New York native Evelyn Rumsey Carey in 1905, this poster supporting women's right to vote depicts an ethereal, almost celestial figure emerging from the earth like a tree, with her hands outstretched and her fingers intertwined with tree branches and ripe fruits. Behind her is an image of the White House and written underneath are the words," Give her of the fruit of her hands and let her own works praise her in the gates." The poster was one of the most prominent visuals utilized in the women's suffrage movement.


11. Barack Obama "HOPE" Poster No image was as closely linked to Barack Obama's presidential campaign as this red, white, and blue poster by street artist Shepard Fairey. The poster, which was first circulated in early 2008, seemed to encapsulate everything the Obama campaign represented: progress, change and, above all, hope. Unfortunately, Fairey hasn't been able to fully enjoy the poster's success as he's been embroiled in a yearlong copyright suit over his unauthorized usage of an Associated Press photo to create Obama's likeness on the poster. Fairey's case took a turn for the worse when, in October of 2009, he admitted he lied to the courts and destroyed evidence linking his work to the AP photo. No outcome has been determined yet.

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