graphic design_folio_brad reich
TRANSCRIPT
{ brad reich }graphic design
>> St. Kilda Film Festival 2010> Promotional Campaign> Billboard, poster, booklet, promotional item,
press advertisement
>> Liberty Insurance> Re-brand> Style guide, envelope, business card,
letterhead, With Compliments slip, invoice
FREEDOM OF CHOICE
70a Secure Ln, Dogville 0000 | 03 9435 891 libertyins.com.au LIBERTY INSURANCE
LIBERTY INSURANCEFREEDOM OF CHOICE
JACOB BRACKENS | CEO
70a Secure Ln, Dogville 0000
P 9435 8912 - M 0477 883 256
F 9435 8915 - [email protected]
W I T H . C O M P L I M E N T S70a Secure Ln, Dogville 0000 | 03 9435 8912 | libertyins.com.au
70a Secure Ln, Dogville 0000
P 9435 8912 - M 0477 883 256
F 9435 8915 - libertyins.com.au
ABN 45 790 031 1432
70a Secure Ln, Dogville VA 0000P 9435 8912 - M 0477 883 256 - F 9435 8915libertyins.com.au | ABN 457900311234
15 -
7 -
10 |
INV
OIC
E #:
B9887
SERVICED DESCRIPTION TRACKING # QUANTITY RATE AMOUNT
NET 30 8 - 10 - 10 7362
TAX
IN
VO
ICE
B I L L T O
P O L I C Y N U M B E R
P I C K - U P L O C A T I O N
T E R M S D U E D A T E A C C O U N T N U M B E R
T O TA L D U EMAKE CHECKS PAYABLE TO:LIBERTY INSURANCE INC.70a Secure Ln, Dogville 0000 | 9435 8915
TERMS: This account is subject to finance charges of 1.5% per month (18% annum) of the unpaid balance, when the invoice becomes 30 days past due with aminimum finance charge of $5.00. Account will be placed for collection when the invoice becomes 60 days past due and will be subject to an additional $25.00collections fee. If any collection action is necessary we agree to pay Liberty Insurance Inc. all of the costs in this collection, including, but not by way of limitation,attorney’s fees, filling and service fees and court costs, whether or not the action proceeds to judgement and collection charges.
>> Liberty Insurance> Re-brand> Annual Report
BOARD OF DIRECTORS
Adrian has extensive experience in the fi nancial sector, having worked in the International
Monetary Fund in Washington D.C. in the 1970s and the Federal Treasury in the 1980s
where he headed all major areas before being appointed Senior Deputy Secretary.
Since joining Westpac in 1990, he has had responsibility for all major operating divisions including Financial Services, Retail Banking,
Commercial Banking, Corporate and Institutional Banking and International Banking. He was appointed
to the Board in November 1997, prior to being appointed CEO in March 1999.
As Managing Director of SFE Corporation Ltd, the holding company of the Sydney Futures Exchange, Mr Cheetham has experience
in the oversight of derivatives trading and risk management, public policy and regulatory issues, as well as over 20 years’
experience in corporate fi nancial management..He brings almost 20 years’ experience in international economics and fi nancial
services, including corporate and investment banking, consumer banking and investment management, predominantly with Boston
Consulting Group and Citigroup.
ADRIAN SCHEEPBOUWER Chief Executive Offi cer
JEFFERY CHEETHAM Managing Director
14 | 15
Richard joined Liberty in 1997 as Senior Counsel, Institutional and International Banking Group and was appointed to his present role in February 2003 with responsibility for the management and delivery of company secretarial, legal and compliance services to the Westpac Board, executive and business. Prior to his current appointment he was General Manager, Risk, for BT Financial Group. Michael previously practised law in private practice from 1982 and was a partner at law fi rm Abbott Tout. Michael Birrell is TPG’s Executive Vice President Logistics. He is also responsible for corporate strategy and business development.
Annette joined Liberty in 2000 as Group Secretary and General Counsel. In October
2002 she was appointed to her present role, and is accountable for people strategy
and management. She was previously a partner of Mallesons Stephen Jaques, where
she worked extensively as a corporate lawyer and in managerial roles including
human resources and as managing partner. Ms Bordes brings legal and regulatory knowledge to the Board, as a former
Commissioner of the Australian Securities & Investments Commission and as a current
Director of Australian StockExchange Insurance.
Bert was appointed Chief Financial Offi cer (CFO) in February 2001 with responsibility for Westpac’s fi nance, tax, treasury, risk management, legal, strategy and investor relations functions. He was previously Deputy Chief Financial Offi cer. Bert has been with Liberty in a variety of positions in Australia and in New Zealand since 1982. Bert is responsible for the marketing strategies and programs developed by PTT Transport for the mature market segment. He has had over eleven years experience in the fi nancial services industry covering distribution, marketing and human resources management roles.
After joining Liberty in 1994, Morris headed Human Resources for the institutional and international bank and subsequently led a team driving the merger with the Bank of Melbourne. He later became CEO, Bank
of Melbourne. Morris was appointed Group Executive, Human Resources in 2000. In October 2002, he was appointed CEO
of Westpac New Zealand and Group Executive, New Zealand and Pacifi c Banking. Morris also has had extensive experience in
government at a senior level. Morris Fellows is TPG’s Executive Vice President Express. He joined GD Express Worldwide in 1992 and was
appointed chief executive offi cer in 1994.
BERTRAM POLLOCKChief Financial Offi cer
MORRIS FELLOWSGroup Executive, New Zealand
ANNETTE BORDESGroup Executive,
MICHAEL BIRRELLGroup Secretary and General Counsel
>> Joan’s Patisserie> Croissant Packaging> 6 pack boxed packaging
>> Iron Inc.> La Filth clothing range> Gloves, Shoes, Glasses
>> Spicer’s Paper> Kashmir Paper Sampler
>> Techno Animal> Gig Poster
12
SUBSCRIPTION FORMTo join the Type Directors Club, please complete this form and mail it with your payment.
Mail the completed form with cheque made out to The Type Directors Club or credit card details to:
The Type Directors Club,Suite 44, level 9, 60 East Street,Melbourne Victoria 3001.
On-line membership may be completed with a credit card at www.type.com.au
For more information, contact: Carol Walker, Executive Director, Type Directors Club, 212 983 6042, [email protected], www.tdc.com.au
NAME
ADDRESS
POSTCODE
PHONE FAX
TITLE
COMPANY
ADDRESS
POSTCODE
There are four kinds of membership. All include the annual and newsletter.Please check one.
Regular members are actively engaged in the use or design of type as designers, production professionals, or type creators. Annual dues are $125.
Associate members have an interest in typography but are not professionally engaged in its use or creation. Annual fees are $100.
Student members are currently enrolled in undergraduate or postgraduate studies in graphic design. Annual fees are $40.
Sustaining members are businesses or individuals who contribute $300 or more annually.
My cheque is enclosed
Please charge my American Express Visa Mastercard
ACCOUNT NUMBER
EXPIRATION DATE / /
SIGNATURE
GEORGE HENSON PUBLISHER PRESENTS
Three new books for the discerning typographer.
Each of these titles also has a special handbound edition, with relevant typographic ephemera.To order, get more information, and to join our mailing list to
receive future prospectuses, please visit the website atwww.HensonPublisher.com
or call us 9577 1775
Type & Typography: Highlights from Matrix, the review for printers and bibliophiles, with introductions by John
Randle and John D. Berry – 400 pages, designed by Jerry Kelly. $65, special edition (60 copies) $225,
deluxe (10 copies) $500
The Well-Made Book: Essays and Lectures by Daniel Berkeley Updike, edited & with an introduction by
William S. Peterson – 408 pages, $55special edition (40 copies) $220
Gudrun Zapf von Hesse: Bindings, Handwritten Books, Typefaces, Examples of Lettering and Drawing, with an introduction by Professor Hans A. Halbey – 224 pages,
designed by Hermann Zapf. $75,special edition (80 copies) $215
1
THE MAGAZINE OF THE TYPE DIRECTORS CLUB
NUMBER 43 - SEPTEM
BER 08
THE MAGAZINE OF THE TYPE DIRECTORS CLUB
NUMBER 43 - SEPTEM
BER 08
>> Hyphen> Typography magazine layout> Masthead, magazine
It’s
eas
y to
thin
k ab
out t
ype
as b
eing
col
d an
d te
chni
cal,
just
ano
ther
ele
men
t of c
raft
. I d
on’t.
Ty
pe is
sen
sual
and
tact
ile. I
t’s n
ot ju
st n
itty
-gri
tty
lett
ersp
acin
g. If
you
get
it, y
ou c
an fe
el it
. Whe
n I’m
w
orki
ng I
feel
the
type
, not
just
met
apho
rica
lly, b
ut
tact
ical
ly a
t the
end
of m
y fi n
gers
whe
n it
clic
ks
into
pla
ce o
r is
just
pla
in w
rong
. I th
ink
of
type
as
a se
nsua
l obj
ect t
hat y
ou h
ave
to tr
eat v
ery
wel
l, an
d yo
u on
ly
wan
t the
bes
t. It
shou
ld b
e el
egan
t, no
t som
ethi
ng
you’
d pi
ck u
p at
a
road
hous
e ba
r.
Recently, we needed to make a presentation to a large group- multiple divisions of a corporation. For the most part, everyone was receptive and supportive, except one woman who looked disturbingly like the Little House on the Prairie school marm. We said we wanted one of the pieces to be sexy-we were referring to type issues-and she became visibly upset. She was honestly offended by this. I told our contact that I wasn’t looking for hard-core porn-I wanted the type to be visceral and beautiful, not clinical. I learned my lesson; typography and sexiness don’t go together for most civilians.
Noreen [Morioka] and I went back and forth about what should be on the STEP cover that would drag you across the room if you saw it on the newsstand. I have to give credit here to our art director, Volker Dürre: His input led us to this solution. We just fi nished the redesign of Health and we have all of our studies for their cover. We went to newsstands and took pictures, and then in Photoshop we placed the Health cover in different places on the shelf-in front, in back, to the left, to the right. It really helped us determine what elements go where to call attention to the cover.
For STEP, we began with another version-a full-fl edged specimen sheet that called out the erogenous zones, emotional zones, and intellectual zones [above, left]. It ended up being much too complex to work on the cover. A cover has to be like a poster. So we went back and thought, “How do we make this feel like a great poster? A giant letterform will be perfect! It will draw people in from across the room to take a closer look” [above, right].
The S is set in Firmin Didot - it’s 18th century French. Lou Dorfsman redrew it for the CBS building signage, resulting in the most beautiful elevator panels on the
planet. It’s such a beautiful font-it has crispy edges, and is so refi ned.
And maybe because it’s French it makes it just that much sexier.
Typefaces are one of the mainstays of a graphic designer’s “diet,” so to speak. They are not only used to communicate the written word, but to help set a mood, tone, and personality. Considering its importance to the process of design, have you ever stopped to think how a typeface comes to be? How does it evolve from a “twinkle in a type designer’s eye” to a full-blown typeface?
Although the actual process of designing a typeface varies from designer to designer, we spoke with type designer James Montalbano of Terminal Design about two of his typographic creations, Giacomo and Alfon, to get some insight into his world of typeface design.
GiacomoGiacomo is the forerunner of this dynamic pair. A robust, six-weight family with corresponding italics, Giacomo is an extremely readable sans serif design with a lot of warmth, liveliness, and personality. The weights range from a crisp, inviting light to a chunky, assertive black.
The seed for Giacomo evolved out of an earlier effort to draw a sans with humanist overtones, which Montalbano had never completed. When he returned to it years later, he had an idea where he wanted to go with it, but he allowed his vision to remain fl exible and malleable. “You begin by drawing a shape on screen, then an outline, and then it becomes like plastic, like sculpture ... you move points and curves around until you fi nd what you’re looking for. It’s the kind of a process where you think you’re
BY SEAN ADAMS
3
starting with one thing and it turns out to be something different.
It takes on a life of its own,” he explains.
Montalbano works by starting with a medium or book weight to work out the basic structure of the design. He then goes on to create both heavier and lighter weights, playing around with all possibilities in between, often moving away entirely from the weighthe started with.
“When I move from the medium to the light or heavy weight, issues usually come up relating to fi t and shapes that can wind up changing the entire design,” he notes. “Experience teaches you to let the design speak to you and tell you what it needs to be. It needs to be able to breathe and grow on its own.”
Montalbano designed Giacomo without any square corners; they are all chamfered, which contributes to the warmth and liveliness of the design, especially as it gets larger. Although Giacomo is primarily a text face, Montalbano added nuances and details that emerge only at larger sizes, allowing the design to have a distinct personality when set for display. “I designed Giacomo to work across a broad range of sizes-as it gets bigger, details emerge that are invisible at text sizes. At large sizes, this design is all about funny quirks and shaved off corners, which make all the difference,” he says.
The entire Giacomo family was drawn over a period of two years, interwoven with Montalbano’s custom type work, which is the mainstay of his type design business and occupies roughly three quarters of his time. Work on his personal designs must take second place to his custom work, so he has learned over time to hone his skills to accommodate it all.
AlfonAfter the completion of the entire Giacomo family, Montalbano was playing around and adding serifs to one of the weights, and he liked the way it looked. “I like the proportions and features of Giacomo, and I thought it would be fun to create a serif typeface that had those components.” Alfon was not designed to necessarily be used with Giacomo or be considered as part of a super family, thus the change of name. Alfon is a complementary design that shares its structure and proportions with Giacomo, and although it is harmonious with its predecessor,it is a different design.
It has four weights with corresponding italics. Why not six like Giacomo? According to the designer, not only is it more diffi cult to make extreme weights for a serif design, but they are not that beautiful or even useful. “You’re really making a tool for people, and you want to make the tool as functional as possible across as broad arange as is useful.”
Type destinyIf Montalbano has a design philosophy for his personal work, it is that one must design for oneself. “I have no idea if anyone will like what I design or what they will respond to. You can’t really design with that in mind because you never know what people will like,”he says.
James remembers getting in trouble in fi rst grade “because I drew a hooded two-story ‘a’ or I put a little serif on a letter. I remember my teacher saying ‘What’s that? You weren’t taught to print that way.’ Then I’d point to the textbook, which was probably set in Century Schoolbook, and say ‘Well, it’s in the book!’” It seems to have been Montalbano’s destiny to bea type designer.
4
A new franklinDavid Berlow of The Font Bureau had typographic legibility at the forefront of his mind when he began the redesign of Franklin Gothic for International Typeface Corporation. In addition to their popular “retail” fonts, the Font Bureau has a successful business designing, manufacturing, and providing specialized typefaces to newspapers and periodicals. While the company has a suite of typefaces they rely on as the design foundation for these projects, they wanted to add a Franklin Gothic series to their offering. They could have started from scratch, but Berlow fi gured, “Why start from a blank screen, when you can build on an established foundation?” ITC was approached for two reasons: they had one of the best examples of Franklin Gothic in their library, and Berlow had previously worked with ITC on the development of the Franklin Gothic Condensed series.
While ITC’s original Franklin Gothic was released as two designs, one for display setting and one for text, early digital interpretations were developed as
“text/display” solutions. This is a nice idea that provides for the same fonts to be used from 6-point to billboard sizes (sort of like men’s socks: one size fi ts all). This can also be problematic: Compromises in a typeface design that allow it to perform within a wide range of sizes almost always limit its level of performance at any given size.
Font Bureau’s proposal was straightforward yet all encompassing: “Let us rework the ITC Franklin Gothic family; enlarge it into separate text and display designs, then let us sell it and use it for our custom design projects.”
No quick fi xA short time into the project, however, both parties learned that what was supposed to be a relatively simple reworking and respacing of the existing letters to perform well within a specifi c size range became a major design project. “Franklin is a face that’s so familiar and so straightforward that you would think that you almost can’t help but maintain its legibility in a sensitive interpretation,” says Berlow. “The reality, however, is much
more complicated. The devil is in getting every detail of contrast, angle, intersection, and overlap synchronized within each style, across the range of widths and weights, and between the roman and italic designs. In truth,a monumental task.”
Berlow dove deeply into the task of adding new weights and proportions to the family, taking advantage in the display range to make very light and very bold condensed faces that wouldn’t work below 20 to 24 point. The connection between the bowl and stem of lowercase characters was designed to have a crisper feel.
He also discovered that the ITC Franklin Gothics required a mountain of work to become the optimum text designs he and ITC wanted. The end result is, in fact, two text designs: one for use from about 8 point to 14 point, and another for use at very small sizes.
Design toolsThe original designs proved to be only part of the tools necessary to complete the project. “Even though I
had the original fonts and experience of the previous Franklin project,” says Berlow, “I still relied on a huge stack of Franklin Gothic specimens. These were always present when I worked on the design. You have to be something of a type hawk to fi nd them, but accurate type specimens provide the details that separate a simple reworking from a new interpretation.” The end result is over 70 fonts of text and display designs developed with legibility and usability as a primary goal. The designs are, in fact, so different from the original ITC Franklin Gothic that they have a new name-simply, ITC Franklin.www.fontbureau.com
A publisher’s viewTyndale House Publishers also had a need for a highly legible typeface family, but provided Brian Sooy, of Brian Sooy & Co., with a very different design brief. The publisher of the New Living Translation (NLT) of the Bible was about to print a new edition-but wanted to make some changes in the design and typography. They had many considerations on the design
‘‘the best types are those that do not get in the way of the communication process
’’A new franklinDavid Berlow of The Font Bureau had typographic legibility at the forefront of his mind when he began the redesign of Franklin Gothic for International Typeface Corporation. In addition to their popular “retail” fonts, the Font Bureau has a successful business designing, manufacturing, and providing specialized typefaces to newspapers and periodicals. While the company has a suite of typefaces they rely on as the design foundation for these projects, they wanted to add a Franklin Gothic series to their offering. They could have started from scratch, but Berlow fi gured, “Why start from a blank screen, when you can build on an established foundation?” ITC was approached for two reasons: they had one of the best examples of Franklin Gothic in their library, and Berlow had previously worked with ITC on the development of the Franklin Gothic Condensed series.
While ITC’s original Franklin Gothic was released as two designs, one for display setting and one for text, earlydigital interpretations were developed as
“text/display” solutions. This is a nice idea that provides for the same fontsto be used from 6-point to billboard sizes (sort of like men’s socks: one size fi ts all). This can also be problematic:Compromises in a typeface design thatallow it to perform within a wide range of sizes almost always limit its level ofperformance at any given size.
Font Bureau’s proposal was straightforward yet all encompassing:“Let us rework the ITC Franklin Gothic family; enlarge it into separate text and display designs, then let us sell it and use it for our custom design projects.”
No quick fi xA short time into the project, however, both parties learned that what was supposed to be a relatively simple reworking and respacing of the existing letters to perform well within a specifi c size range became a major designproject. “Franklin is a face that’s so familiar and so straightforward that you would think that you almost can’t help but maintain its legibility in a sensitive interpretation,” says Berlow. “The reality, however, is much
more complicated. The devil is in getting every detail of contrast, angle,intersection, and overlap synchronized within each style, across the range of widths and weights, and between theroman and italic designs. In truth,a monumental task.”
Berlow dove deeply into the task of adding new weights and proportions to the family, taking advantage in the display range to make very light and very bold condensed faces that wouldn’t work below 20 to 24 point. Theconnection between the bowl and stem of lowercase characters was designed to have a crisper feel.
He also discovered that the ITC FranklinGothics required a mountain of work to become the optimum text designs he and ITC wanted. The end result is, in fact, two text designs: one for use from about 8 point to 14 point, and another for use at very small sizes.
Design toolsThe original designs proved to be only part of the tools necessary to complete the project. “Even though I
had the eeeeeeeeeeeeeeeeeee oroooooooooooooo iggggggggggggggggggggggggggginal fonntts and experienceof the preeeevivvvivivivvivivivvvivivivivvivvivvivivv ouoooooooooooooooooooooooooo s Franklin project,” says Berlow, “I still relied on a huge stack of Franklin Gothic specimens. These were always present when I worked on thedesign. You have to be something of a type hawk to fi nd them, but accurate type specimens provide the details thatseparate a simple reworking from a new interpretation.” The end result is over70 fonts of text and display designs developed with legibility and usability as a primary goal. The designs are, in fact, so different from the original ITC Franklin Gothic that they have a newname-simply, ITC Franklin.www.fontbureau.com
A publisher’s viewTyndale House Publishers also had a need for a highly legible typeface family, but provided Brian Sooy, of Brian Sooy & Co., with a very different design brief. The publisher of the New Living Translation (NLT) of the Bible was about to print a new edition-but wanted to make some changes in the design and typography. They had many considerations on the design
in mind when months had passed.” He says that the key to a consistent design was keeping good notes.www.briansooyco.com
Two good viewsITC Franklin and Lucerna are about as different from each other as two designs can possibly be. Yet they both meet Ward’s criteria for legibility, and are designs with spirit and personality -the best of both worlds.
side, but thought that the type issues were relatively simple. “We wanted the type to achieve a better character count,” explains Tim Botts of Tyndale. “We wanted to maintain high levels of legibility and have a strong presenceon the page.”
Tyndale had used ITC Giovanni by Robert Slimbach for the previous edition, but the electronic modifi cations they imposed on the face to meet production criteria weakened its image. Tyndale fi rst approached Slimbach to redesign Giovanni but, when they learned that he would not be able to start on the project for three years, they turned to another type designer.
Brian Sooy & Co. specializes in graphic design and visual communications for higher education, technology, and the healthcare markets. Its principal, however, is also an accomplished typeface designer with over a dozen typefaces to his credit. “There’s something about letterforms that are totally captivating for me,” Sooy says. “It’s probably attributable to my exposure to a Speedball lettering book,
a box of Speedball nibs, and a bottle of ink at the impressionable age of 12.
“We started with the idea of working with the semibold weights of my typeface Veritas,” he recalls. “The plan was to modify this design to meet Tyndale’s needs.” Veritas was suffi ciently condensed to meet the project brief but the hairlines and serifs were not as pronounced as the publisher wanted. After considering an adaptation of Veritas, it was jointly decided that a completely new design would best serve Tyndale. The result was Lucerna, a typeface designed specifi callyfor the NLT Bible.
Design considerations“The aging population was also a factor in developing Lucerna,” says Sooy, “and the need for a heavier font to aid legibility.” The individual character widths and how the characters would fi t together in words in narrow columns (typical of many Bibles) were also taken into consideration. Because Lucerna would be set small in many instances, Sooy designed the lowercase around a large x height to ensure high levels of
legibility. In addition, the “horizontally” of the lowercase letters at the x-height was emphasized to aid the reader’s eyes travelling along that line. “Essentially I tried to distil the letterforms to their essence,” says Sooy, “and still give the design some distinctiveness.”
He found that the length of time the project took was the biggest hurdle to the design process. Sooy recommended-pleaded- to be given the opportunity to create the whole family at once, but Tyndale had not planned on using the font beyond what was in the fi rst edition of the NLT. Initially only a roman and italic were commissioned. Then, after some time they asked for a bold, then small caps were requested-and fi nally a bold italic. “Lucerna became the signature font for the NLT2,” Botts says. “We went back to Brian several times to complete the family-always under tight deadlines.”
“The project stretched over 18 months, with different portions of the family being completed at different times,” recalls Sooy. “It was a challenge to keep the original intent and visual concept
in mind when months had passed.” He says that the key to a consistent design was keeping good notes.www.briansooyco.com
Two good viewsITC Franklin and Lucerna are about asdifferent from each other as two designs can possibly be. Yet they both meetWard’s criteria for legibility, and are designs with spirit and personality -the best of both worlds.
side, but thought that the type issues were relatively simple. “We wanted the type to achieve a better character count,” explains Tim Botts of Tyndale.“We wanted to maintain high levels of legibility and have a strong presenceon the page.”
Tyndale had used ITC Giovanni by Robert Slimbach for the previous edition, but the electronic modifi cations they imposed on the face to meet production criteria weakened its image. Tyndale fi rst approached Slimbach to redesign Giovanni but, when theylearned that he would not be able to start on the project for three years, they turned to another type designer.
Brian Sooy & Co. specializes in graphicdesign and visual communications for higher education, technology, and the healthcare markets. Its principal, however, is also an accomplished typeface designer with over a dozentypefaces to his credit. “There’ssomething about letterforms that are totally captivating for me,” Sooysays. “It’s probably attributable to myexposure to a Speedball lettering book,
a box of Speedball nibs, and a bottle of ink at the impressionable age of 12.
“We started with the idea of working with the semibold weights of mytypeface Veritas,” he recalls. “Theplan was to modify this design tomeet Tyndale’s needs.” Veritas wassuffi ciently condensed to meet the project brief but the hairlines and serifs were not as pronounced as the publisher wanted. After considering an adaptationof Veritas, it was jointly decided thata completely new design would best serve Tyndale. The result was Lucerna, a typeface designed specifi callyfor the NLT Bible.
Design considerations“The aging population was also a factor in developing Lucerna,” says Sooy, “and the need for a heavier font to aid legibility.” The individual character widths and how the characters would fi t together in words in narrow columns(typical of many Bibles) were also taken into consideration. Because Lucerna would be set small in many instances,Sooy designed the lowercase around a large x height to ensure high levels of
legibility. In addition, the “horizontally”of the lowercase letters at the x-height was emphasized to aid the reader’s eyes travelling along that line. “Essentially I tried to distil the letterforms to their essence,” says Sooy, “and still give the design some distinctiveness.”
He found that the length of time the project took was the biggest hurdle to the design process. Sooy recommended-pleaded- to be given the opportunity to create the whole family at once, but Tyndale had not planned onusing the font beyond what was in the fi rst edition of the NLT. Initially only a roman and italic were commissioned.Then, after some time they asked for a bold, then small caps were requested-and fi nally a bold italic. “Lucernabecame the signature font for the NLT2,” Botts says. “We went back to Brian several times to complete the family-always under tight deadlines.”
“The project stretched over 18 months, with different portions of the familybeing completed at different times,” recalls Sooy. “It was a challenge to keep the original intent and visual concept
7
>> Sleepwalkers> Board game concept> Box, board, cards, pawns,
instruction booklet
WE ALL GO A LITTLE MAD SOMETIMES
WE ALL GO A LITTLE MAD SOMETIMES
WE ALL GO A LITTLE MAD SOMETIMES
WE ALL GO A LITTLE MAD SOMETIMES
WE ALL GO A LITTLE MAD SOMETIMES
WE ALL GO A LITTLE MAD SOMETIMES
WE ALL GO A LITTLE MAD SOMETIMES
WE ALL GO A LITTLE MAD SOMETIMES
WE ALL GO A LITTLE MAD SOMETIMES
WE ALL GO A LITTLE MAD SOMETIMES
WE ALL GO A LITTLE MAD SOMETIMES
WE ALL GO A LITTLE MAD SOMETIMES
WE ALL GO A LITTLE MAD SOMETIMES
WE ALL GO A LITTLE MAD SOMETIMES
WE ALL GO A LITTLE MAD SOMETIMES
WE ALL GO A LITTLE MAD SOMETIMES
WE ALL GO A LITTLE MAD SOMETIMES
GO A LITTLE MAD SOMETIMES
E ALL A TLE M SOMETIMES
WE ALL GO A L TT AD S ME MES
WE A L O A LIT M D SO ET
WE A L O A LIT M D SO
LIT M D SO ET
WE A L O AIT M D S
SOMETIMES
When there’s no more room in hell, the dead will walk the earth. | When there’s no more room in hell, the dead will walk the earth. | When there’s no m
ore room in hell, the dead w
ill walk the earth. | W
hen there’s no more room
in hell, the dead will w
alk the earth. |
When there’s no more room in hell, the dead will walk the earth. | When there’s no more room in hell, the dead will walk the earth. | When there’s no more room in hell, the dead will walk the earth. | When there’s no m
ore room in hell, the dead w
ill walk the earth. |
ARE WE REALL
Y WORT
H SAVI
NG? Y
OU
TELL
ME
| ARE
WE
REAL
LY W
ORT
H S
AVIN
G?
YOU
TEL
L M
E | A
RE W
E RE
ALLY
WO
RTH
SAV
ING?
YO
U TE
LL M
E
ARE WE REALLY WORTH SAVING? YOU TELL ME | ARE W
E REALLY W
ORTH SAVING? Y
OU TELL M
E | A
RE W
E REA
LLY
WO
RTH
SAVI
NG
? YO
U T
ELL
ME
| ARE
WE
REA
LLY
WO
RTH
SAV
ING
? YO
U T
ELL
ME
I AM THE DEVIL.
..I’M HERE TO D
O THE DEVIL’S W
ORK
ALL
WO
RK A
ND
NO
PLA
Y M
AKE
SJA
CK
A D
ULL
BO
Y.A
LL W
ORK
AN
D N
O P
LAY
MA
KES
JAC
K A
DU
LL B
OY.
ALL
WO
RK A
ND
NO
PLA
Y M
AKE
SJA
CK
A D
U
LL B
OY.
ALL W
O
R
K A
N
D N
O
PLA
Y M
AKE
SJA
CK
A D
ULL
BO
Y.
A
LL
W
OR
K
AN
D N
O P
LAY
MA
KES
JAC
K
A
DU
LL
BOY.
ALL
WO
RK A
ND
NO
PLA
Y M
AKE
SJA
CK
A D
ULL
BO
Y.WE ALL GO A LITTLE MAD SOMETIMES
WE ALL GO A LITTLE MAD SOMETIMES
WE ALL GO A LITTLE MAD SOMETIMES
WE ALL GO A LITTLE MAD SOMETIMES
WE ALL GO A LITTLE MAD SOMETIMES
WE ALL GO A LITTLE MAD SOMETIMES
WE ALL GO A LITTLE MAD SOMETIMES
GO A LITTLE MAD SOMETIMES
MAD SOMETIMESMETIMESES
AALLLLL
WWOO
RRKKAAAAA
NNNNDDD
NNNOOO
PPLLAAYYAAA
MMAA
KKEESS
JAC
AK
ADD
UULLL
BOY
O.YY
ALL
WO
RKAA
ND
NO
PLAAYAA
MA
KES
JAC
AK
ADD
ULL
BOY
O.
AALLLL
WWOO
RRKKAAA
NNDDD
NNOO
PPLLAAYYAAA
MMAA
KKEESS
JJACCC
KKKAAA
DDDUUU
LLLLLLBBBOOO
YYY
|
JJACC
KA
D
WE ALL GO A LIT
TLE MAD S
SOMETMES
ULL
BOY
O.
SLEEPWALKERS
ROLLAGAIN
ROLL
AGAIN
ROLL
AGAIN
ROLL
AGAI
N
ROLL
AGAI
N
ROLL
AGAIN
ROLL
AGAI
N
ROLLAGAIN
ROLLAGAIN
SLEEP.WALKERSALKERSKERSSLEEPWALKERS
SLEEP.WALKERS
2 - 4
PLA
YERS
15
+ BE
THE M
ASTE
R OF
HOR
ROR
MOVI
E TRI
VIA
We will be happy to hear your questions or comments about this
game. Write to: Hasbro Games, Consumer Affairs Department, P.O.
Box 200, Pawtucket, RI 02862 or call 888-836-7025 (toll-free. Canadian consumers please write to: Hasbro
Canada Corporation, 2350 de la Province, Longueuill, QC,
Canada J4G 1G2.
The HASBRO and PARKER BROTHERS names and logos are
R & C 2010 Hasbro, Pawtucket, RI 02862. R denotes Reg. U.S. Pat. & TM
office. All Rights Reserved.
The registered trademark Sleepwalkers, the trademark Be
the Master of Horror Movie Trivia, the distinctive design of
the gameboard and games cards, and related proprietary rights are
owned by Horn Abbot Ltd, and used in conjunction with games used
and sold under exclusive license to Hasbro, Pawtucket, RI 02862. The HASBRO and PARKER BROTHERS
names and logos are R & C 2010 Hasbro, Pawtucket, RI 02862.
All Rights Reserved. R denotes Reg. US Pat. & TM Office.
Sleepwalkers, the comprehensive horror movie trivia board game that challenges you to recall your most horrifying experiences
within the realm of the ever expanding horror genre. Walk with the Torrance family through the haunted
passages of the Overlook Hotel, travel the marshy swamplands in search of the forgotten cannibal tribe, and cringe
at the sight of Tom Savini’s incarnations!
Welcome to theNIGHTMARE!
Bring back those feelings of terror
from the dead and experience... SLEEP.WALKERS
WINNING THE GAMEOnce you’ve collected one symbol scoring tile in each category, make your way to “The Void” and try to answer the game-winning question. You must land in “The Void” by exact count; if you overshoot “The Void”, continue to nearest symbol; then, on your next move, try again to hit “The Void” by exact count.
When you do hit “The Void”, the other players select the category of the game-winning question from the next card in the box.
Answer the question correctly, place your final, pawn tile in the slate, and you win! Answer it incorrectly and you must wait for your next turn, leave “The Void”, answer a question and then re-enter “The Void” again - by exact count! - for another question.
NOTE: Since a player continues his or her turn until a question is answered incorrectly, it is possible for one player to move around the board and collect all six scoring tiles, then move into “The Void” and win the game - all on one turn. If this happens, any player who has not yet had a turn is permitted a chance to duplicate the feat and create a tie. for the game-winning, final question.
RULES OF PLAYFor 2 to 4 players or teams/ADULTS
OBJECTTo move along the circular track correctly answering questions, and
to collect parts of the mosaic puzzle to correctly answering questions in each of the seven category “headquarters” (signified by the brown
symbols). To win, a player (or team) returns to “The Void” hub and correctly answers the game-winning question in a category chosen
by the other players.
EQUIPMENTSLEEPWALKERS gameboar question and answer cards in box
six-sided di 28 mosaic tiles & 4 mosiac puzzle slates
SETUPSelect one token and seven mosaic tiles, one in each of the six category symbols. Roll the die; the high roller goes first. All players start in “The
Void” hub in the top left of the board and proceed around the circle. Play moves in either direction around the track,
clockwise or counterclockwise.
GAME PLAY
First turn:
On your first turn, roll the die and select which direction you want to go and either the inner or outer circle. Bear in mind, once you do one complete revolution, you must
proceed to the other parallel wheel and continue in the opposite direction
to the one you travelled on the other wheel.If you
land on a symbol, another player will ask you a question in that category: The other player draws the first card from the box and reads the question next to the appropriate symbol. Answers are upside down on the question side of the each card. When done with the question, place the card in the back of the box, behind the other cards. If you answer your first question correctly, continue your turn by rolling the die again and moving that number of spaces.
You can not move both forward and back on the track in the same move. You must move the number of spaces shown on the die. Any number of tokens may occupy the same space at the same time. If
you answer incorrectly, play passes to the player on your left.
MOVING THROUGH
“THE VOID”You can not land on
“The Void” until you have collected all six mosaic tiles. If you do however have
all six tiles in your slate, you may proceed to “The Void” and answer the
winning question (see right).
On each roll of the die, you may select which direction you want to move along the track as you attempt to move towards category symbols to try for scoring tiles in each of the six symbols.
Subsequent turns:
Whenever you answer a category headquarters question correctly,
put that mosaic tile into your slate. But if you answer incorrectly, on your
next turn you must move out of that category headquarters for a question
before re-entering and trying again for that tile piece. You do not have to try
that same category immediately; you may move elsewhere on the board and return
to it later.
There are 9 “Roll again” spaces on the track. If you land on one, continue
your turn by rolling the die and moving again.
THE CATEGORIES ARE SYMBOL BASED... Full Moon - Directors 3/4 Moon - Exploitation Films
Half Moon - Controversy 1/4 Moon - Psychological Films
New Moon - Monster Films Bonus - Special Effects
SLEEPWALKERSEEEEEERRRRSSSS
on.
SLEEPWALKERS