Elizabeth Peters
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Posts by Elizabeth Peters
how to make a button invisible
May 4th
yeah yeah, you should know this… but I actually forgot. And I had to use it a ton in the application and it kept getting muddy.
1 make a square
2 right click and convert to symbol (make sure it is a btn)
3 in scene one, double click into the button
4 drag the highlighted box that is labeled “UP” into the box labeled “HIT” (now make sure that you are not copying the box instead you only want one box in the “HIT” stage)
5 when you move back into scene 1 make sure that your button is a shade of light blue
This is useful when you are putting buttons over images, or existing art that you want to make interactive, or make the button simply imvisible.
yeah!
how to click on and off (what i used on the grid)
May 4th
used in the application where you click on and off the square in the grid.
I have two layers, one for actions and one for my square button that has been made into an invisible button (named pixel)
then inside the button which holds this movie clip
I have 3 layers.. one for two stops, one that has the button on and off, and one that shows a black square for the on part of the button
the code that goes on scene one is..
pixel.btn.addEventListener(MouseEvent.CLICK, onpixelClick);function onpixelClick(event:MouseEvent):void { pixel.play(); }
the picture here represents the three layers inside the movie clip.. the bottom layer holds the black square in the second frame.
Turning Limitations into Opportunities: Designing Mobile
May 4th
http://www.uxmatters.com/mt/archives/2010/03/designing-mobile-search-turning-limitations-into-opportunities.php
Including: 1) The difficulty of typing 2) the small amount of screen real estate 3) awkward touch controls 4) the fat finger problem
Even though we, as a class, went into scenarios, interviews, design studies, testing on classmates, thinking about the environment and limitations.. it is still a good idea to review the basics of the mobile device regardless of the time, place or user.. just the device on it’s own.
Very interesting, especially after I have finished the “first iteration” makes me think about the last comment made by t-mobile.. we do just need to step back.
Follow up on case study
May 4th
http://museummedia.nl/case-studies/case-study-2-ipod-tour/
Apple makes it look so easy – and it is, if you’re as brilliant, creative and resourceful as Chris Alexander from San Jose Museum of Art and Ted Forbesof Dallas Museum of Art. In this podcast, Chris & Ted walk us through their developments of iPod Touch tours for their museums: from wireless networks, to interfaces, to back-end content management and signage in the galleries. Even better, they’re making their code and wireframes available to all through the Museums to Go opensource project on the MuseumMobile wiki, and are happy to answer any further questions you might have about doing it in-house and what help museums can still use from vendors in the field.
Case Study: Handheld Guide Survey
May 4th
http://museummedia.nl/case-studies/case-study-17-handheld-guide-survey-and-the-aanm/
The goal of the survey was to gain “a better collective understanding of the museum community’s use and ambitions with handheld guides and mobile interpretation.” For the sake of clarity, the term “handheld” refers to the following in this survey: all types of digital, mobile interpretation tools including audio tours, PDA/multimedia tours, MP3 download tours, iPod Touch tours/applications, interactive tours, and cell phone tours.
Not surprisingly, the three main reasons museums utilize handheld devices are to provide supplementary information to visitors, to create a more interactive experience and to provide multiple voices into the visitor experience.
The reason museums are latching on to iphone apps may be to give more information, to ease up on all the questions for the guards, to serve as a docent for every little wall of artwork, or to help guide you through the museum.. but lets be honest, it is the best way to interact and engage the “hi-tech” community, especially in the arts culture today. Also, the best way to keep the younger audience engaged in a scenario that looses interest after 3 seconds.
I think there is a huge outlet for improvement, and a whole new level of engagement and interactivity that can be available without loosing the same serene quiet atmosphere of a museum.
we all do it..
Apr 20th
MORNIN’ YALL
http://observatory.designobserver.com/entry.html?entry=5497
really, more related to my application but this is so true.
13 ways we look at type. Michael Beirut
1. Because it works.
Some typefaces are just perfect for certain things. I’ve specified exotic fonts for identity programs that work beautifully in headlines and even in text, but sooner or later you have to set that really tiny type at the bottom of the business reply card. This is what Franklin Gothic is for. Careful, though: some typefaces work too well. Frutiger has been used so much for signage programs in hospitals and airports that seeing it now makes me feel that I’m about to get diagnosed with a brain tumor or miss the 7:00 to O’Hare.
2. Because you like its history.
I’ve heard of several projects where the designer found a font that was created the same year the client’s organization was founded. This must give the recommendation an aura of manifest destiny that is positively irresistible. I haven’t had that luck yet, but still try to find the same kind of evocative alignment. For instance, I was never a fan of Aldo Novarese‘s Eurostyle, but I came to love it while working on a monograph on Eero Saarinen: they both share an expressiveness peculiar to the postwar optimism of the 1950′s.
3. Because you like its name.
Once I saw a project in a student portfolio that undertook the dubious challenge of redesigning the Tiffany’s identity. I particularly disliked the font that was used, and I politely asked what it was. “Oh,” came the enthusiastic response, “that’s the best part! It’s called Tiffany!” On the other hand, Bruce Mau designed Spectacle, the book he created with David Rockwell, using the typeface Rockwell. I thought this was funny.
4. Because of who designed it.
Once I was working on a project where the client group included some very strong-minded architects. I picked Cheltenham, an idiosyncratic typeface that was not only well-suited to the project’s requirements, but was one of the few I know that was designed by an architect, Bertram Goodhue. Recently, I designed a publications program for a girls’ school. I used a typeface that was designed by a woman and named after another, Zuzana Licko’sMrs. Eaves. In both cases, my clients knew that the public would be completely unaware of the story behind the font selection, but took some comfort in it nonetheless. I did too.
5. Because it was there.
Sometimes a typeface is already living on the premises when you show up, and it just seems mean to evict it. “We use Baskerville and Univers 65 on all our materials, but feel free to make an alternate suggestion.” Really? Why bother? It’s like one of those shows where the amateur chef is given a turnip, a bag of flour, a leg of lamb and some maple syrup and told to make a dish out of it. Sometimes it’s something you’ve never used before, which makes it even more fun.
6. Because they made you.
And sometimes it’s something you’ve never used before, for good reason. “We use ITC Eras on all our materials.” “Can I make an alternate suggestion?” “No.” This is when blind embossing comes in handy.
7. Because it reminds you of something.
Whenever I want to make words look straightforward, conversational, and smart, I frequently consider Futura, upper and lower case. Why? Not because Paul Renner was straightforward, conversational, and smart, although he might have been. No, it’s because 45 years ago, Helmut Krone decided to use Futura in Doyle Dane Bernbach’s advertising for Volkswagen, and they still use it today. One warning, however: what reminds you of something may remind someone else of something else.
8. Because it’s beautiful.
Cyrus Highsmith’s Novia is now commercially available. He originally designed it for the headlines in Martha Stewart Weddings. Resistance is futile, at least mine is.
9. Because it’s ugly.
About 10 years ago, I was asked to redesign the logo for New York magazine. Milton Glaser had based the logo on Bookman Swash Italic, a typeface I found unimaginably dated and ugly. But Glaser’s logo had replaced an earlier one by Peter Palazzo that was based on Caslon Italic. I proposed we return to Caslon, and distinctly remember saying, “Bookman Swash Italic is always going to look ugly.” The other day, I saw something in the office that really caught my eye. It was set in Bookman Swash Italic, and it looked great. Ugly, but great.
10. Because it’s boring.
Tibor Kalman was fascinated with boring typefaces. “No, this one is too clever, this one is too interesting,” he kept saying when showed him the fonts I was proposing for his monograph. Anything but a boring typeface, he felt, got in the way of the ideas. We settled on Trade Gothic.
11. Because it’s special.
In design as in fashion, nothing beats bespoke tailoring. I’ve commissioned custom typefaces from Jonathan Hoefler and Tobias Frere-Jones and Joe Finocchiaro, and we’re currently working with Matthew Carter and Chester. It is the ultimate indulgence, but well worth the extra effort. Is this proliferation? I say bring it on.
12. Because you believe in it.
Sometimes I think that Massimo Vignelli may be using too many typefaces, not too few. A true fundamentalist requires a monotheistic worldview: one world, one typeface. The designers at Experimental Jetset have made the case for Helvetica. My partner Abbott Miller had a period of life he calls “The Scala Years” when he used that typeface almost exclusively. When the time is right, I might make that kind of commitment myself.
13. Because you can’t not.
Princeton Architectural Press is about to publish a collection of essays I’ve written, many of which first appeared here on Design Observer. I wanted it to feel like a real book for readers — it has no pictures — so I asked Abbott to design it. He suggested we set each one of the 79 pieces in a different typeface. I loved this idea, but wasn’t sure how far he’d want to go with it. “What about the one called ‘I Hate ITC Garamond?’” I asked him. “Would we set it in ITC Garamond?” He looked at me as if I was crazy. “Of course,” he said.
The book is beautiful, by the way, and not the least bit slutty
books vs. ipad
Apr 19th
I commented this, but I think it is relevant to how we design for screen.
http://craigmod.com/journal/ipad_and_books/
The most interesting part of the article is about content.. Formless content and Definite content..
how do they relate, and how do you take the content we are familiar with in books, and translate it (the same content) in a way that is it understood in a new medium? but so it works for that medium to it’s full advantage..
“in the context of the book as an object, the key difference between Formless and Definite Content is the interaction between the content and the page. Formless Content doesn’t see the page or its boundaries. Whereas Definite Content is not only aware of the page, but embraces it. It edits, shifts and resizes itself to fit the page. In a sense, Definite Content approaches the page as a canvas — something with dimensions and limitations — and leverages these attributes to both elevate the object and the content to a more complete whole.
Put very simply, Formless Content is unaware of the container. Definite Content embraces the container as a canvas. Formless content is usually only text. Definite content usually has some visual elements along with text.”
the ipad totally shifts the idea, is it easier to read a book on screen?
you make your own opinion.
Fontstruct
Apr 19th
http://fontstruct.fontshop.com/faq
I think everyone interested in type should get an account. I have already found so many sweet typefaces, played around with the actual tool to inspire my application, and it seriously connects you to so many avenues… criticism, processes, downloads, tutorials ..etc
FontStruct is a free online font-building tool, devised and developed forFontShop International by Rob Meek.
The heart of FontStruct is the FontStructor, a web-application that lets anyone quickly and easily build fonts using basic geometric shapes in a grid — just like tiles or bricks. Fonts created with the FontStructor are called FontStructions. They can be downloaded as TrueType fonts and used in Mac or Windows applications.
More than a tool, FontStruct is a vibrant online type-design community. Type-design enthusiasts from all over the world use the FontStructor to experiment with letter shapes and to design fonts, and who give each other comments online on the FontStruct website. They are the FontStructors, the soul of FontStruct.
For non-FontStructors, FontStruct is a source of fresh fonts available under flexible, liberal CreativeCommons licenses.
Finally, for educators, FontStruct is an ideal environment to teach the basics of type design. The brick principle and the simplified, easy-to-use interface of the FontStructor help students to overcome the complexity inherent to type-design and focus on the most important aspects first
Working Screens
Apr 6th
OBJECTIVE: To create a typeface ( a working system of units with rules and exceptions) by completing the puzzle with modular units based on an analysis of found type
Interview of the Meaney, Katie that is
Mar 9th
After talking to Katie’s Students last Thursday, which I will also post… (it was more of an informal interview Q & A) I wanted to talk to Katie about her method of teaching type. Since I had Will and Martha for two different type classes I thought it would be useful to compare her methods.
During the interview she added in a few challenges that she imposed on me, and we discussed a lot about how to personalize the method to the user but including feedback and motivations.
1- what is your teaching method for type students?
A.research- go look at type in the environment (camera.. signage salvage, photograph old signs.. how things used to look and what to preserve) B. find a typeface out of method of discovery (could just be a word) puzzle off of those letters, build a family what would characters look like.. swash, serif, identify x height and match, figure out stroke width, do new letter share tributes, capture good typography.. some that did not exist digitally C. you need something in mind to base the typeface on, unique to project D. make it a game.. extending system into numbers can you build 26 from 7 E. 3 ways.. scan, live trace, pen tool .. sketch, graph paper, tracing paper, sharpie, pencils, erasers, whiteout, letterform per page making connections between letters (not necessarily in ABC order) layering transparency papers F. build words you are familiar with before you get so far… and look at legibility and readability, look at system at play (flow unity rhythm thick and thins) G. continue building more words and letters (look at a sentence) tweak on the computer back and forth between computer and printer, make alternate characters for letter a with (x) extra letters per alphabet H. type specimen sheet, numeral number characters.. print out and look at it together, system. I. only bring into type tool when everything looks good
“it is like making your master page in InDesign” when making type, you need to set your parameters, test out a few letters, see what works best, then go from there.
2- What do you feel is the hardest part for the students? How important is feedback and criticism in the early stages? What is the most useful information you have to give?
Slump- in the tweaking, after developing 26 letters and putting it together.. then seeing where those letters act like a family.. one might be to light or thick.. and identify which ones don’t fit. How to fix? Most useful feedback come from initial start, to get going. Need to explore with the first couple of letters.. have 4 or 5 different ways and then you have something to work with. Multiple directions and play in the beginning.
3-Would you say that making the modular/unit typeface is a good first step in understanding modular typefaces and how to “puzzle” together a system (finding out which letters can be grouped together or will solve problems for multiple letters like, DPBR)? I like that as an initial project because it forces a student to work with a “kit if parts” limits them so that they can’t go wrong. The tighter the constraints the increase in success. If everyone works with the same kits of parts they will naturally build a unified font and systemitized.. also a good lesson so that students can recognize that parts are built from shared parts. Doesn’t have to be taught that way.
4-How much anatomy and type basics would you explain, and how much should be left to explore?
I want to teach everything I know to a student, for the sake of knowing the parts… not so much on the terminology, the emphasis is on design. If they dont know the terms it is a shame, but the project is around the design.
5-Should the direction of your first (step 3) typeface be decided (display, copy, azif, readability, serif, san serif)?
need to know context.. a masthead (maybe only a few letters).. project
a. project or job to solve a problem, b. inspired by type, self initiated c. tools make the type look different..to define how you made it.. reflective of tool.. paintbrush, sharpie, hand painted, hand drawn, sculpy, jello. The tool makes the aesthetic of the typeface. could be photographs you gang up.
6- Would breaking the process up with a series of motivations (points, feedback, enabling certain visual effects) help along the way? People don’t want to see the anger come out, dangle the carrot. Motivated by treats, I get a reward in half an hour if I get it done. Cake, beautiful design, break, listen to good music, helping someone out (service), looking at all typefaces on application.
WORDS FROM KT: Thinking about letter forms as Heiroglyphs, what if the letter B stands for house or ox, wouldn’t it be interesting to know that Katie has a lot of “oxes” in the name.
WORDS FROM KT: Think about how this device connects people, insights, used with other artifacts that exist, when people come together is there an activity that people have together. One thing that is so different to bring this app, inventing instead of incorporating. Small moment. Like automatically creates type in space for you, design a typeface and you can couple it with audio depending on the word you spell out, what you think about when you see the type.
wireframes AND storyboards
Mar 9th
i am having a hard time understanding the wireframes, in my next step i plan to map out my actions so it will be easier to understand my wireframes. I have a general idea for the flow of activity but I think it needs to be more linear.
coming soon..
Interview with an experienced Typeface creator
Mar 2nd
Grif Friedman, a two time typeface creator. Successfully completing Type 1, Type 2, and Type 3.
My goal here was to see how the existing process here in the COD is working, also Grif is an iPhone expert so I wanted to see his views about using a phone during the process… interesting response.
1-Do you think walking around and observing type before you even touched the computer or sketch pad was important for discovering a range of typefaces, deciphering how they were made, and critiquing their system, readability, azif factor, etc?
Definitely, though most of my understanding came from using the letterpress. Otherwise when I walk around I definitely notice type I like (and more often type I don’t like) but I’m really bad about remembering it so I’m not sure how much direct influence it has had on my work.
2-Would you say that making the modular/unit typeface from ID/GD studio was a good first step in understanding modular typefaces and how to “puzzle” together a system (finding out which letters can be grouped together or will solve problems for multiple letters like, DPBR)? How did the grid system help?
That first project definitely helped a lot, though I’m not sure it was the modular nature of the typeface specifically that aided my understanding. More likely it was just the act of having to go through and think about each letter individually and as part of a larger system that helped me. That said, I think the process would have been a lot more difficult and daunting the first time if we weren’t dealing with modular typefaces. It took away a lot of the more difficult choices and let us really focus on just the shape of the letters.
3-When you began the motion piece while creating the typeface for Type 2 do you feel that inspired the design of your typeface
I honestly don’t remember doing a motion piece… so I guess that says something about how much it influenced my work. Which one are you talking about?
4-When you first started to think about your Type 2 typeface, how did you decide which direction you wanted to go … (display, copy, azif, readability, serif, san serif)?
I wanted to do something that wasn’t me exactly. I’ve always identified more with sans-serif typefaces so I wanted to do a serif one. My game for studio was about rock climbing so I wanted something that was kind of tall and tippy. I liked bodoni a lot so I decided to use it as an inspiration. I drew a bunch of different letter h’s, chose the one I liked the best, and let that determine the design of the rest of the typeface. That’s the way I did it then, but I wouldn’t use the same process now, nor would I likely design the same typeface. I kind of wish I did more of a display face and less of a body copy face.
5-As you were creating the rules for your Type 2 face, or the system, did you find places where you could successfully break the system? What parts of the process were the hardest, most difficult? Where do you burn out or find problems? Would breaking the process up with a series of motivations (points, feedback, enabling certain visual effects) help along the way?
Every time I broke my system Will would object, so no, I didn’t really find any places where that was appropriate. I think that had a lot to do with the fact that I was designing a serif body copy face though. I’m not sure what you mean by a series of motivations. What would have helped me the most was having easy reference to a set of “rules” related to the type of face I was designing. I felt like I was basically guessing and checking the whole time and it would have been nice to have a little guidance… sort of like that book that Katie showed us in type last semester.
6-Did you want to dive right into sketching or did you want to work directly on the computer? What part of the process seemed most important or gave you that “aha” moment?
I designed the entire thing on paper first and then scanned it into the computer to do manipulations. I designed on tracing paper so that I could match bits and pieces of letters. I wasn’t as comfortable drawing in illustrator back then, so working on paper seemed more fluid. What helped the most was Katie’s suggestion to print them out big. I had been working at roughly 200 pt. She suggested printing them out one per page and then using a pen and whiteout to make adjustments. It helped a lot.
7-Would you like to have a mobile application that would help you create moodboards, take pictures, help create a movable grid system for modular type, superimpose your type on billboards or real space? Do you think a mobile application would help you or get in your way?
There you go with that moodboard word! I thought that I was done hearing that stupid term. Just kidding, but seriously, I’m not that fond of them, so no, I wouldn’t use that in a mobile app. I would like the taking pictures thing, especially if I could use it to create found alphabets similar to our first project in type one. I’m not sure about superimposing type on billboards or real space. I’d probably have to try it but most of the type that kind of stuff seems gimmicky. If you can pull it off and have it be a useful feature though then I can see it being of some use. I would love some sort of modular type creator. I don’t know if it would be useful for designing typefaces, but it would be a lot of fun and keep my mind going. I designed this modular typeface website for ambers class: http://accipitergallery.com/pixelfont/test.php . I still play around with it just for fun and it would be a lot more useful if it could save the typefaces I created.
storyboard- peters
Feb 25th
Learning the Process…
How to create your first task, the modular typeface based on a specific shape.
Service Objectives
Feb 23rd
How to create a typeface…
Purpose- to create a typeface (a working system of units with rules and exceptions)
Goals-
1. observe the history and anatomy of type
2. development of initial modular typeface system
3. complete the puzzle with a complex system using illustrator and type tool
Outcomes- Developing a sense of comparing type, observing working and broken systems, conquering type in illustrator and type tool
1. The user should know how to create a system using parts that fit together in a readable context
2. The user should be able to appreciate the applications illustrator and typetool, pushing themselves to create and solve more complex creative typefaces
3. The users should be able to understand the difference between different typefaces, how they were made, and possible identify type in real space.
4. Over all the user will be able to understand simple type, create their own system, analyze and revise their own work, and have the ability to critique and analyze type around them. Avoid using horrible type … ever again.