 I'm Michael Stinson, and I'm here from Type Ed. I'm the co-founder of Type Ed. And we're here to, it's a Los Angeles-based typographic program. And like I said, I teach at LCAD, Laguna College of Art and Design, and Emily was a student of mine. And we're here to talk about upper and lower case magazine project that we have a couple years back. It's called From Characters to Page Systems. Yes, I was a student at LCAD from 2014 to 2017, and I had Michael as an instructor for two semesters, luckily, and he really brought a really crucial element to our school in just teaching us all the nuances of the technicalities of typography. So before we get into this thing, I wanted to mention the brief here about what the students got. And I'll give you a little bit of feedback, or a little bit of insight into UNLC in just a minute. First, they had to follow a regular process, design process that we have at LCAD. They had to pick an article, read it, of course, generate some concepts and thumbnails. And then with all those thumbnails, make it down to a cut to a couple and do some tight roughs. Then from there, they develop a grid, it'll lay out on the computer, start to develop their comps, and eventually produce a mock-up that's to scale. And then of it, the project was to build it in a broadsheet format, which is this large format so they could see type larger, get that experience. This project isn't two pieces, two parts, if you will, and they were to design the mast head and using the four characters UNLC. And then the second part was for the spread, the article that they were to reinterpret from one of the older issues. So in these briefs, I give them a lot of examples, like the one on the left here, from Doyle Young at Art Center, and how you would go about if you wanted to create your wordmark or your mast head by hand, which I encourage them to do. I also showed them examples of existing magazines, mast heads, so they can get an idea of scale and form and placement and that kind of stuff. And for the spreads, I showed them a project that my agency did a few years back called Los Angeles Business Journal, just to show them what a paper looks like and how the mast head is large and that kind of stuff. And also showed them examples of student work here on the right. So just a little bit about UNLC, I don't know if all of you know about UNLC, but it was a beautiful magazine that was produced, typographic magazine that was produced 30 or so years ago. I think it ran through the 70s, 80s, 90s, early 2000s, I believe. But I wanted them to redesign this because this magazine really influenced me when I was younger. My first boss had a subscription to this and I always liked the single color ones, the older ones, because they used to show such great craftsmanship and negative space. Showed them examples of monograms, what they could do with the UNLC characters, because it could be a possibility to do a monogram like this if they wanted to. Then examples of spreads to show them not to fill up the page because that seems to be a common thing these days to fill up the page. So also showed them where the visuals are placed, they could use only characters, they weren't allowed to use color or photography or any kind of illustration. They were only to use type and one color black. So then I showed them some design inspiration and some direction. And one of my favorite designers is Fred Woodward. He was a really great designer at Rolling Stone, you may know. And then he moved on to Gentleman's Quarterly and he was a master of picking typefaces and arranging type to fit and accommodate the photo that is next to it. He's really good at it. And my mentor and first boss always told me that an image will tell you what to do with the type, like this here, with Conan's hair blower and whatnot. This is a great example as well, if you got the image but you didn't know what you were doing yet with the type, can arrange the type in a way to the character or the photographs, attitude, personality, that kind of a thing. They also had to design in just one color and black and white and they really grumbled about that, not having color and photography and everything. So I showed them the third one from the left that showed that type can be, here she's coming. So you can come. But I showed them this kind of stuff where you can use type as image and it could really come out with a beautiful outcome in the end. So just a few student examples to show you an overview of where we're at. Here's some examples of covers from past students. And the one in the middle I really liked because the student used the C, the L and the U characters to make the ampersand. The one on the far left in the middle, the student actually sewed it and then scanned it and put it in. And the one in the lower right, the student melted wax and form until it hardened and used it as a treatment. Some others here, one student did it in pencil, like on the left there. And the student on the right inked this one. This really unique one on the right with pen and ink. Really beautiful ampersand here with the characters involved. So now I just wanna show you just a couple of standout examples from Emily's class at LCAD, friends of hers that really did a very good job with their projects. First one is Rob and he had volume 10 issue four in 1983 called Stocking the Phantom. And his article was really great. It was about Richard Hamilton and he was in SOA in New York and he did his life-size human silhouette phantom paintings. So Rob interpreted that word phantom. I told him to pick a few key words that they could design from in there. Rob's masthead. Now I told him for the masthead in the spread, nowadays with magazines sometimes mastheads change with every magazine. The attitude of every magazine and they're not necessarily branded like Vogue or Time and they don't change. But they could do either one if they wanted to. And Rob's crit, I told him that maybe we should look at this in a thinner and actually much thicker range of weight that they could be an option for this solution. Some sketches of scale for the cover Rob was messing with and grids. I informed him that this wasn't necessarily editorial. It's kind of expressive. So when they did these X box, you know, where the images are gonna go, that should be more free form with characters, if you will. This was his final. I really like how he made the body copy scared of the headlines. Really beautiful negative space. I also make them put it in mock-up form so they can see the reality of what it's gonna look like in knowing that it's not the ink is it gonna come out in the end if we produce this newspaper to be fully black. Winston did volume nine, issue four, 1982 in the Chinese Zodiac. And his was everything about the Zodiac. He was really interested in this. His master was very, very simple, dynamic with an outline. Some examples of his layouts. These are turned sideways in all different directions here. Spreads, roughs and thumbnails. You can see he's playing with the scale of the mast head. This is his final. I really like how he incorporated both languages in the subheads for Chinese and the header for Chinese and then the Roman characters reading Ingress left to right with the content. Here's his in mock-up format. And here's Emily's gonna talk about hers. Yes, so this UNLC project really was the culmination of Michael's typography class. He had a really methodical approach to how he structured our class from giving us projects that would really help us to understand characters and letter forms all the way to the end where this project took place where we were kind of educated on how to handle large amounts of content. So for my article, I chose this article called Moe's Art and Moe's Art. And the premise is, it's written by Moe Liebowitz, a graphic designer, and it's about his admiration for the composer Moe's Art. So there's these really lovely ideas of musicality and typography and there's a nice parallel that he draws between his own creative process and that of Moe's Art. And so as this project was beginning, Michael gave us an example of a spread and the title of that spread was called Birds in Flight. And he used to say this phrase and I used to get so irritated and you would say, graphic design is not that hard. If your article is about birds in flight, then make the type fly. I don't know if that was good or bad, but. It was good. We did it. It was good because this simple yet profound way of thinking has stuck with me ever since. And I had to ask myself, how do I apply this same type of thinking to my article about music and parallelism? And so at a very basic level, I have to make the type on my spread sound like music. It has to, there has to be a sound to it. So in creating my master, I went through multiple iterations of whether the letter forms could dance upon a musical staff or if there was some sort of parallel I could draw between an ampersand and a treble clef or if these letter forms could act in 3D and come in from different sides of the page just like sound is an immersive experience. I finally landed on this idea of orchestra seating as an example for creating this formal language for the UNLC. And this kind of curvature of the orchestra seating lent itself really nicely to the shape of the U, the L and the C. And also in light of the idea to create the interior spread as a musical, a sheet of music, it just kind of lent itself nicely to have an orchestra and something to read. And so here are multiple iterations of layouts for this interior spread. And so this idea of parallelism lent itself nicely to sheet music because Mozart's main form of communication is to put his thoughts onto paper as well as Mo Leibovitz, putting his thoughts onto paper, communicating through type and musical notes. So there's just this lovely language that I started to play with. And you see here in this final comp that Mo and Mozart, their names are parallel to each other and acting in this kind of repetitive rhythm across the page creating this visual of sheet music. And the poll quotes are even treated in five lines as a musical staff. In addition, the type that I chose, it's kind of like this dichotomy between old and new, Baskerville and Futura, these two lives that are being compared in this article. And so this is the final comp. And as Michael said, it's quite stunning to see these comps in real life and at the broadsheet scale. Because I think he really tried to emphasize in the class how to play with scale, how to use white space and negative space effectively. And so at this scale, you can really see the dynamism of how that letters and layouts start to play out on a page. So that was really, really special. Here are some pictures of our final critique in that class of all of our articles in a row. So it's just quite special to see all of them at once. Yeah, it's great to see it at the real scale because the students get so used to seeing things small on the computer. Eventually they'll probably be designing things on their iPhones, I guess, the way we're going. But this is just a good amount of that and get to see something. The goal too was to actually produce something to see it actually printed. So I had them collect all their articles and we put it in this one file and send it off to newspaper club in London. So I collected money from each of them and we're able to print a big enough run where they got like 10 copies and the school got some copies. But the end goal actually was to, when I came here three years ago, the department chair wanted me to help them put the school on the map because it's the small school in Southern California. So I said, in order to do that, you gotta enter contests and get the name out there and do all that kind of stuff. So we wanted to enter it into a contest and we did. We entered it into Comm Arts, which I'll show you in a second. This is what it looked like when it came out just like I was showing you. So this is this paper here. And after we're done, you can always come up and look at it if you like. It really is great to see it in its real form. So we entered it in Comm Arts and we were really lucky to get in and was really proud of these guys with all the work they did. And the school was really happy. The school was really excited because I don't even know if they had a Comm Arts entry in a long time, but it was really great to have them enter these. And the school got a trophy and I kidded them, hey, you might as well build a trophy case because you're gonna win some more of these things after a while. And I was really proud of these students and grateful that Emily came to speak with me today. Thank you.